you don't want us taking day jobs because you're liable to end up with ozzie osborne as your plumber, you're in a lot of trouble. such a transition would be a huge loss, not only for american culture but also for our economy. ascap members are overwhelmingly the owners of small innovative members. i am a small businessman, mr. chairman. music createors and owners depend on the efficiencies of performing rights organizes, pros like ascap. i love ascap. we rely on a network of reciprocal relationships an ever increasing portion of american music creators income, it's over one-third and makes a positive contribution to our balance and trade. i am sad to report that we are grossly underpaid for public performances for our works in russia. for french and italian economies, our performance royalties in france are 11 times greater, viva la france. and an economy one-tenth the size of russia collects twice as much as public performances in russia. we believe the russian legal system handy caps the efforts of row in collecting public performance royalties. russian courts don't follow the law.

. >> reporter: and ozzie osborne ♪ [ music ] >> reporter: they all trusted him and he got the shot. >a way as being mythological they were more like creatures almost, than people, i saw the magic. >> reporter: rock's 40 year career began when he was 19 it started with a few pictures of pink floydest sid baron ♪ [ music ] ♪ >> reporter: but that led to a meeting with david bowie in 1972 ♪ [ music ] >> magical i think david was, well, he was and is a master of his craft and i learned through photographs of him. >> reporter: he would become bowies private photographer and that would lead him to other up and coming rock stars. >> i was one, lucky and two i had good instincts. >> reporter: a little divine intervention never hurts either. >> and then my name of course, you know, it is michael david rock what can i tell you. >> reporter: is that really your name? >> yeah, i didn't invent it it sounds like i did but i didn't. >> reporter: rock's photographs are on display at the w hotel in dc, he dish add little bit ou all of them rockers. this is trueman kapote and andy warhol for high times

. ♪ [ music ] >> reporter: and ozzie osborne ♪ [ music ] >> reporter: they all trusted him and he gotin a way, being mythological to me they were more like they were more like creatures almost, than people. i saw the magic. >> reporter: rock's 40 year career began when he was just 19 it started with a few pictures of pink floyd's sid bare on ♪ [ music ] >> reporter: but that led to a meeting with david bowie in 1972. ♪ [ music ] >> magical i think david was -- well, he was and is a master of his craft and i learned through photographing him. >> reporter: he would become bowies private photographer and that would lead him to other up and coming rock stars. >> i was lucky and had good instincts. >> reporter: a little divine intervention never hurts. >> my name, it is michael david rock. >> is that really your name? >> yes, i didn't need a name change sounds like invented it but didn't. >> reporter: his photographs are on display at the w hotel in dc he dished a little bit about some of his images not all rockers this is trueman kapote and andy warhol for high times magazine 1979. >> he

senator who said you don't want is taking a job senator, you're you are liable to end up with ozzy osborneas your plumber and you will be in a lot of trouble. such a transition would be a huge loss not only for american culture but also for our economy. ascap members are overwhelmingly the owners of small innovative businesses. i've always said i am metaphorically perfect president for ascap for i am a small businessman mr. chairman. user creators and owners depend on the efficiencies of performing rights organizations like ascap. this to license their public performance rights and collect and distribute royalties prefer example of a bus to make a living writing songs that i but i live in california. how am i a songwriter living in california expected to collect royalties for performances of my songs throughout the world? ascap does this for me. we rely on a network of reciprocal relationships with foreign pro's and companies all over the world. these foreign royalties can constitute an ever-increasing portion of american music creator's income. is over one third and makes a positive contr

oz osborn as your plumber. -- ozzie osbourne as your plumber. we are the owners of small businesses. i always said that i am metaphorically the perfect president for ascap. i am a small businessmen. music creators and owners depend on the efficiencies of performing rights organizations, pro's, to license their public performance rights and collect and distribute royalties. for example, i have made a living writing songs. how my living in california? ascap does this for me. it we rely on a network of suri -- if we rely on a network of foreign pro's. these royalty constitute a portion of american music creators income. it is over one-third. i am sad to report, however, that we are underpaid for public performances of all works in russia. two comparisons prove my point with the french and italian economies. in france, the royalties to work 11 times greater. in italy, nine times greater. denmark, with only question% of russia today population, denmark collects nearly twice as much for public performances as russia. it is clear that american music cr