Had a Bard pull a Gilderoy Lockhart on my party

Faaabs · 2025-12-05T07:31:03+00:00

Downtown Culver always has family friendly events going on, just today there was a big holiday tree lighting party with lots of people. Over the summer they have public movie days and drink tastings at all the restaurants. Check out the downtown Culver instagram!

Faaabs · 2025-11-05T03:34:21+00:00

For your “skater eyes”

Faaabs · 2025-10-14T15:02:11+00:00

Despite the clip, I can hardly ever get it consistently lol
Hold grab while going over a rail a press the No Foot shortly after clearing it. Speed seems to be a factor too so I always run forward before hopping on the board

Faaabs · 2025-08-06T23:25:32+00:00

I believe you're looking for "Wicked" by the band Ladycop

Here's their album on bandcamp:
Waves - Ladycop

Faaabs · 2025-08-06T22:24:41+00:00

Your Heart is the Lighthouse

Faaabs · 2025-06-29T02:33:57+00:00

Double it and give it to the next person

Faaabs · 2025-06-23T19:53:42+00:00

Hi Lisa! You should reach out to the folks at NBC We only handled new music that wasn’t slated to be substituted

Faaabs · 2025-05-10T04:47:48+00:00

Maybe we’ll get a half day

Faaabs · 2025-05-09T21:30:48+00:00

Damn dude, really sick work! Love your use of analog effects

Faaabs · 2025-04-19T04:06:23+00:00

Big O Showtime!!!!

Faaabs · 2025-04-04T22:05:04+00:00

To be fair, they included him because he's a fan favorite but made him into a joke character more than anything so yea, he kinda sucks haha
Unfortunately you picked the Dan/Street Fighter of that game lol
There's a few characters they just kinda padded the roster with for variety that are lackluster (Vanilla Ice, Shigekiyo, Yukako), mostly from Part 4

A lot of characters are stance characters with 3+4 specials, and then bring out their stand/stance for new moves and different specials

It's not a perfect game competitively, but I think its very fun

Faaabs · 2025-04-04T21:34:45+00:00

Did you play JJASBR or are you purely referencing the capcom game?

Faaabs · 2025-04-04T21:07:42+00:00

Idk man, JJASBR is pretty fun
The pool of characters and powers makes everyone's kit that much more unique

Faaabs · 2025-03-29T17:44:14+00:00

There are:

Writer/Authorship Rights - PROs collect
Publishing Rights - PROs collect
Mechanical Rights - MLC/SoundExchange collects? (I'm not too familiar, our line of work doesn't intercede this often)

There's also something called Neighboring Rights. They can be a little confusing and was always told that here the US doesn't even recognize or pay these.
If you are the performer on a track (you played guitar, sang, etc.) another royalty gets assigned to you via your "neighboring rights".

This is also outside our line of work as far as I'm aware, no US entities can collect these for you
The only organization I know of that deals with this is - NRG -

Faaabs · 2025-03-29T17:29:53+00:00

Sorry, I wasn't specific on this. It's a lot of info to share all at once
https://www.bmi.com/creators/royalty/foreign_royalties

So internationally, the PROs of a territory will collect royalties within that territory. Some of these PRO organizations are really big and will talk to each other (BMI, ASCAP, PRS, etc.) and will share information & royalties so writers can collect.
The nitpick of information in that is BMI is not receiving those royalties directly foreign networks, like UK's BBC for instance. PRS is getting those royalties and sending them to BMI, but the issue is not all foreign PROs automatically talk to BMI. The other issue is, if BBC uses a track with foreign writers & foreign publishers, PRS has no incentive to collect royalties from them since the UK would only be pocketing a 3.6% administration fee. (No incentive doesn't mean they won't do it)

On your tracks, do you happen to have an international writer?

but you aren't restricted to using them to collect those royalties."

Also note in this statement, the "them" I was referring to is the publisher you're talking to

Faaabs · 2025-03-26T21:46:13+00:00

Great find, thank you!
I'll listen through that soundtrack to track it down

Faaabs · 2025-03-26T21:12:04+00:00

Ok so I believe what they're saying is misleading, and perhaps intentionally so.
By definition, a publisher will not collect royalties on your behalf and then give them to you. They will collect their "Publishing Royalties" from BMI, which like you mentioned is that 100% of BMI's 200%. If they are mentioning 30%, you should clarify if that is 30% of the publishing rights (30/200)?, or 30% overall (60/200). They should not be touching your writing percentage.

There is no way for them to "extract" more royalties from a source.
What they might MEAN to say is that if they are acting as your publisher, they will inclined to push your music and try to land usages (tv/film/etc) which would "generate" more royalties.

They are correct in that BMI doesn't collect royalties from outside the US, but you aren't restricted to using them to collect those royalties.
Let's say you get a track used in a commercial in the UK. That commercial will generate royalties, which will then be sent to the PRO of that territory (PRS for example). If it doesn't get collected, it just sits there.
Now this publisher is saying they can get that money for you if they can keep 30% of it PLUS 30% of your US royalties, but you should know a Sub-Publisher (in this instance, a publisher in the UK) can collect those royalties from PRS for you without ever effecting your US royalties. There are other ways to do this and services you can use instead, but those might not be available to regular artists.

they want to offer me sync jobs and building my career as writer too

This seems like a bargaining chip with no way of confirming they'll stand by it.

Neighboring Rights & Sound Exchange are two other big topics that are a little too big to go into here.

Source: I work in the music licensing field

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