>> From the Library of Congress in Washington DC. [ Silence ] [ Applause ] >> Members of Congress, ASCAP Foundation President Paul Williams, Executive Director Karen Sherry, board members and everyone in the audience joining us tonight for the special concert of some of the best and most memorable songs of our time performed by their very creators. There cannot be a more genuine rendition of a song than when it comes straight from the composer and indeed from the composer's heart as music does. The ASCAP Foundation and the Library of Congress have shared for many years a common goal to support and preserve musical creativity. This partnership was cemented last year when ASCAP began what will be an ongoing donation of its remarkable collection to the Library of Congress. This acquisition representing the creative output of American composers in all musical forms and genres for almost a hundred years strongly supports the Library of Congress' mission to collect, preserve and make accessible to scholars and others the full scope of creativity in American life, a creativity which is an expression of American life and of our more vital instincts. The ASCAP collection joins many of us those already here which were donated by composers over the years, John Philip Sousa, Victor Herbert, Leonard Bernstein, Irving Caesar, Irving Berlin, George and Ira Gershwin, Howard Ashman, Aaron Copland, all of them, members and key figures in ASCAP. So we thank you once again for this landmark gift to the Library of Congress and to the American people. With members of Congress present, this is a perfect opportunity to acknowledge their historic role in building and maintaining the preeminent music collections here, as well as collections in all subject areas. The continuous, generous support of the Congress for 210 years have made the Library of Congress not only our oldest cultural institution federally supported but America's national library and by far by now the largest and most comprehensive repository of both the world's knowledge in recorded forms and America's special creativity. It is a real pleasure particularly to think of this in a series of congressional resolutions that are in effect created here in the heart of the nation's capital, a national patrimony of America's creativity. This knowledge was founded on the principle that knowledge, individual creativity, education, free access to information are all critical to a vibrant and expanding democracy. The Congress' support of this institution is proof that they continue to uphold and advance its principle on behalf of the American people. And indeed, quite simply stated, the Congress of the United States has been the greatest patron in the history of the world and the gathering in of the national patrimony of our creative people. Now it is my pleasure to introduce Congressman John Conyers representing Michigan's 14th district. As chairman of the judiciary committee and throughout his long and distinguished legislative career, John Conyers has consistently championed the rights of creative people, especially those connected to music, songwriters, lyricists, arrangers and performers. For all that, we owe him a great debt of gratitude. He is a champion of equitable treatment of performers, of sound recordings, of-- he has billed the Performance Rights Act and currently pending before the house would provide fair compensation to performers for over-the-air broadcast of their recordings and at the same time provide protection for small broadcasters and others. He was a sponsor of Orphan Works legislation as well, which is important to libraries and other nonprofit institutions. He is a connoisseur of jazz himself, a frequent patron, if I may put it that way, and visitor to our performing arts reading room. He is a real lover and true fan of American music and of those who have produced it. We're honored to have him here tonight. Ladies and gentlemen, please welcome Congressman Conyers. [ Applause ] >> Thank you, Dr. Billington. I'll return the books that are outstanding at the Library [laughter] first thing tomorrow morning. It's so nice that all of us are here for ASCAP and that we're in the Library of Congress and I'm introducing an icon, Paul Williams, who has after all he's done it all. Is this-- is this gentleman a sort of a musical genius, is he an artist of such comparability that when you take-- he writes, he acts, he's in-- he does music-- movie scores, theater, basketball. [Laughter] I mean this guy has got it. And so I am-- I am so proud to be selected. And he also has a jazz sensitivity speaking on behalf because many of-- some of his music is used by the jazz artists who play ballads and many of them are [inaudible], Paul Williams. Let us recognize him now. [ Applause ] >> Thank you chairman, thank you. He was asking if where I was playing somewhere and anything before 1989 is Maybeville, so I couldn't really remember that for you. But thank you, I appreciate the [inaudible]. Chairman Conyers, ladies and gentlemen. [ Applause ] >> Oh, the podium. Note to Dr. Billington. [ Laughter ] >> How the hell you-- it's-- when you can only the see glasses and the hair, it's hard to look presidential. [ Laughter ] >> Good evening everybody and a big thank you to Chairman Conyers for that wonderful introduction. It's a great pleasure to be here once again at the Library of Congress, the repository, a word I've never used in rhyme, repository. [ Laughter ] >> Don't even go there. Of so much of our nation's history. All of us at ASCAP and the ASCAP Foundation are so pleased that it is now the home of the ASCAP archive, officially the ASCAP collection at the Library of Congress. Thank you so much. [ Applause ] >> Would the owner of a 1957 Buick-- oh no-- I'm grateful to Dr. Billington for his eloquent words about the collection. It is certainly meaningful to all of us who are songwriters. We've always been part and parcel of our country's history famous, infamous, we were there. We were there for the rocket's red glare, we were there on the back of that Chevy with you, so our songs have been a part of the-- From Julia Ward Howe who was moved right-- The Battle Hymn of the Republic. I said the bottle hymn of the republic. Some things just will not change. The Battle Hymn of the Republic, just blocks from here, as the civil war raged, to Brother Can You Spare a Dime by Yip Harburg and Jay Gorney during the darkest days of the Depression to the very topical rap songs of today. Speaking of rap songs, it was interesting, Dr. Billington was in-- it was in Los Angeles when we had the ASCAP R&S Awards, which is the Rhythm & Soul Awards. So, Karen Sherry was our-- amazing head of every-- all of these special events ran into Dr. Billington and said, "What are you doing in town?" They had a nice little conversation. "What are you guys doing?" "Well, we're doing the Rhythm & Soul Awards" which is hip hop, rap, whatever. Dr. Billington, would you and Marjorie like to come to the show?" So, they came to the show, they sit right down in front at bling city, [Laughter] One of the great numbers was-- and I'm sit-- I'm look-- watching Dr. Billington while a guy is up there singing Birthday Sex. Birthday sex, birthday, you know [laughter] you know. >> And I'm going, when worlds collaborate, when worlds collaborate, you know. Birthday sex, I usually get golf balls, you know, so-- Tommy Bahama, right? I very much liked the fact that ASCAP's archive is being housed at the Library of Congress. Those of us who spend our lives writing the songs that have made American music the most popular in the world understand the great debt we owe to America's lawmakers, past and present. It's pretty simple. The fact is that technology outruns the law. Technology outruns the law. I'll give you the sort of thing we deal with. You know, you come up with this amazing new technique to bring music into peoples' homes and they say, "Wait a minute, no it's an electronic transmission, you don't need to be paid." Am I talking about the internet? No, I'm talking about radio. It's something that we dealt with for years. As the technology changes, we come to Washington. It's a great honor of us as songwriters to come to Washington as composers, as publishers to come to Washington and to go to the house and talk to the senators and congressmen, the lawmakers who have saved our bacon again and again and again. It is an honest legit honor for me to be here tonight. [ Applause ] >> I want to express my personal thanks to-- first of all, Karen Sherry can do anything, you know, I mean touch the hem, she is working on a tree. This woman is amazing Karen Sherry, Adrian Ross, Colleen McDonough, Jim Steinblatt, Janelle Travers and Esther SanSaurus for their invaluable help in planning tonight's event, and special thanks to John LoFrumento who makes it all possible. The amazing John LoFrumento, thank you. [ Applause ] >> We would also, we would also like to acknowledge the great efforts and cooperation of everyone at the Library of Congress in welcoming the ASCAP collection and making this evening a reality. This is the second year. It's fantastic. In particular, Dr. Billington of course but also Sue Vita and Betty Auman and the entire team here at our Library of Congress. It's your library, it's my library. Give them a round of applause. [ Applause ] >> And now for some live music. I'm not gonna sing tonight. You know, I got a little something extra to stay quiet. [Laughter] You know, you don't get to hear the songwriters sing all the time. It is, you know, and the fact is I love to sing my own songs but I realized if I had been the one who sang them I'd be hot walking the horses right now. [ Laughter ] >> But there's something really special about hearing a song performed by the person who wrote it. You know, so you're gonna be hearing the songs performed by the songwriters who wrote it. They'll each tell you the stories behind the song. These are guys who showed up when all the good titles were already taken. Sat up late at night writing something that was brilliant and looked at the piece of paper the next day and went, "Oh my God, I have rewritten O Little Town of Bethlehem." You know. [ Laughter ] >> Which actually happened to me, I swear to God, I did. I wrote a rock and roll anthem, I took my place beside you girl, I went dan doo dan doo beside you girl, o little town of Bethlehem, oh no, oh Jesus. No offense, I mean no offense. [Laughter] It's also special we have a number of legislators with us who will be introducing our songwriters, demonstrating the song bond between those who write the laws and those who write the songs. Where do songwriters live? They live in New York. They live in Atlanta. They live in Nashville. They live in Los Angeles. They live in Baltimore. They live in Rhode Island. They live in Texas. They live everywhere. One nice thing is that the songwriters tonight are gonna be introduced by the people who represent them and their state. So, we must begin with some great music. Please welcome the representative of the 6th district of Virginia and a member of the House Judiciary Committee, the Honorable Bob Goodlatte. Alright Bob. [ Applause ] >> Well, ladies and gentlemen, it's an honor to be here tonight, an honor to be here with Paul Williams and I knew that he was a repository of musical talent. I did not know, I guess I had forgotten that he was a great standup comedian as well. But the first performer tonight did not originate anywhere near the 6th congressional district of Virginia but I am filling in for Congressman Louie Gohmert of Texas. But our chairman, Chairman Conyers will be glad to know that our first songwriter performer tonight is a native of Detroit who grew up in Amarillo, Texas. Now, how is that a transition for you? He was an integral part of the country rock fusion that exploded out of Los Angeles in the early '70s collaborating most notably with members of the Eagles, Linda Ronstadt and Jackson Brown. You can applaud all three of them. [ Applause ] >> Most of us are familiar with the beautiful songs he wrote for Linda Ronstadt including Faithless Love, and Black Roses, White Rhythm and Blues. All of us know the massive hits he co-wrote with the Eagles like New Kid in Town, The Best of My Love, James Dean and more. He's also enjoyed success as a member of the Souther Hillman Furay Band and as a solo recording artist. Two years ago he returned to the recording world with a jazz oriented album titled, If the World Was You. Pleas welcome, J.D. Souther. [ Applause ] [ Cheering ] >> That was a beautiful introduction even if you didn't pronounce my name right. [Laughter] It's Souther and I am from your state now. You know, I've moved to Tennessee so I'm getting closer and closer, so. We couldn't find any Texas reps to introduce us tonight. There must be a big vote on something, I'm not sure what. But it's a pleasure to be here. It's an honor. We had a wonderful day in the library. It's a magnificent experience to see what's been done here to collect and preserve music and musical instruments and musicians as well. Some of us are pretty well preserved. So, I'm honored to be singing and playing for all of you. I'm in mind of an address that Mark Twain gave in this city once where he expressed his pleasure at his company, similar company that he was in, congressmen, burglars, all of us in the trade. So, not to let Mr. Clemens [phonetic] down, I'm gonna actually do a song that wasn't mentioned and we'll see where it goes from there. This is a song that the Eagles did and it was a great surprise to me. We wrote about half of the song and we're stuck, Glenn Frey and I and he sang the song over the phone to Bob Seger and at the appropriate moment Bob Seger came in and sang the chorus. So, songs get written in a variety of ways. This one got written a long distance Texas, LA, Ann Arbor, Michigan. And let's see what you think of it. [ Music ] >> 1, 2, 3, 4. [ Music ] [ Singing ] >> Somebody's gonna hurt someone before the night is through. Somebody's gonna come undone. There's nothin' we can do. And everybody wants to touch somebody if it takes all night. And everybody wants to take a little chance, make it come out right. There's gonna be a heartache tonight, a heartache tonight, I know. There's gonna be a heartache tonight, a heartache tonight, I know. Lord, I know. Some people like to stay out late. Some folks can't hold out that long but nobody wants to go home now. There's too much goin' on. And this night is gonna last forever. Last all, last all summer long. Some time before the sun comes up the radio is gonna play that song. There's gonna be a heartache tonight, a heartache tonight, I know. There's gonna be a heartache tonight, a heartache tonight, I know. Lord I know. There'd be a heartache tonight, the moon's shinin' bright so turn out the light, and maybe get it right. There's gonna be a heartache tonight, a heartache tonight I know. >> I know it. [ Music ] [ Singing ] >> I think there's gonna be a heartache tonight, a heartache tonight, I know. There's gonna be a heartache tonight, a heartache tonight, I know. I know. We can beat around the bushes; we can get down to the bone. We can leave it in the parkin' lot, but either way, there's gonna be a heartache tonight, a heartache tonight I know. Yeah, I know. There's gonna be a heartache tonight, a heartache tonight I know. [ Music ] [ Applause ] >> Thank you. Thank you very much. Some songs are collaborative and it's wonderful. There's nothing better than writing songs with your friends because they get finished that way. The next song I'm gonna play was-- actually it was also a hit the same year. It was a nice Christmas. They were both in the top 10 the same week. I spent money like a drunken fool. [Inaudible] I though it would never end. But I wrote this song alone in Colorado. I used to go to a cabin in Colorado when I got called in LA. It makes no sense whatsoever, [laughter] but it was a good way to torture myself into coming up with something. So I rented a cabin from Steven Stills up on a ridge and a truck with a snowplow on the front. And the second year I was there someone-- the cover blown off the wood pile and that was the only heat for the cabin, so most of the winter was me splitting wood and stacking it around the living room and moving it gradually closer to the fireplace, so I didn't freeze to death. And in the course of that, a wonderful woman was flying out to Denver every other week or so and I go get her, we come back to the cabin and I wrote this song for her but I just never finished it. This is a long, long time ago. And when I was doing an album in 1979 or '80 with my friend Waddy Wachtel who is my main guitar gun back in when I have guitar-- guitar bands. I was playing them songs for the album and I played them about 6 or 7 songs and they said, "You know, Jake, they are wonderful but do you have anything more uptempo?" They are all dirges." I said, "Couldn't we just take one of the ballads and speed it up a lot?" And he said, "No. I don't think it's gonna work. What else do you got?" And so, well, I have this one tiny catchy little thing I wrote in Colorado years ago but it doesn't have a last verse and it doesn't have a chorus [laughter ] and it doesn't have bridge either. There's actually not that much to it at all. But it's sort of catchy and he said, "Well, play it for me," and so I did. And he said, "Jake, that's it. It's our hit. That's a hit song." And could we get a drink of water and [inaudible] here. This is what happens on the floor of congress. They get to reach for the water. 'Cause I watch C-SPAN [phonetic] and I don't see a lot of reaching for water here. I wanna know what kind of laws that you guys have that I don't have. So anyway, I play this thing for Waddy. He says, "That's it. That's our hit." I said, "Well, it doesn't have all these things. It's not really a finished song." He gave me the best advice I've ever had in songwriting. He said in his Queen's accent which I can't really do. Like I said, I'm from Detroit and Cleveland and Texas and California, every place but Queens, New York. But he said, "Sing the first verse again." [ Strumming ] [ Laughter ] >> So I did. This is how the first verse goes. [ Music ] [ Singing ] >> When the world is ready to fall on your little shoulders. And when you're feelin' lonely and small you need somebody there to hold you. You can call out my name when you're only lonely. Don't you ever be ashamed when you're only lonely. [ Music ] [ Singing ] >> When the world is ready to fall on those nights that try you. Remember I was there when you were a queen and I'll be the last one there beside you. You can call out my name when you're only lonely. Now, don't you ever be ashamed when you're only lonely. >> You're only lonely. You're only lonely. You're only lonely. >> Ooh. When the world is ready to fall on your little shoulders and when you're feelin' lonely and small you need somebody there to hold you, so don't you ever be ashamed when you're only lonely. Darling call out my name when you're only lonely. >> When you're only lonely. >> When you're only lonely. >> You're only lonely. >> You know it's no crime. >> You're only lonely. >> Darlin' we got lots of time. >> Ooh, ooh, ooh. >> Whoa. >> You're only lonely. >> Whoa. >> You're only lonely. >> No, there's nothin' wrong with you. >> You're only lonely. >> Darlin', I get lonely too. >> You're only lonely. You're only lonely. >> So, if you need me. All you've gotta do is call me, you're only lonely. >> If you're only lonely. [ Applause ] >> Thanks very much. Thanks [inaudible]. [ Cheering ] [ Applause ] >> Thank you. [ Cheering ] [ Applause ] >> Ladies and gentlemen, the newly elected representative for Florida's 19th congressional district and an aspiring member of the House Judiciary Committee, the Honorably Ted Deutch. [ Applause ] >> As a lover of music, I was excited to be here with ASCAP at the Library of Congress tonight. But to follow Tracy Chapman on stage is a particularly exciting moment for me. It's wonderful to know that my Florida District has among its distinguished residents a rock and roll hall of famer who's been performing for more than 5 decades. As the leader of the Bronx doo-wop group, the Belmonts, he caught American's attention with great records like I Wonder Why? and A Teenager in Love. As a solo artist, he recorded hit after hit that were and still are the musical personification of what it means to be young. He helped our nation heal after the assassination of-- assassinations of President Kennedy and Dr. King, with the heartfelt recording of Abraham, Martin and John. Over the years he has also recorded folk, blues, and country music. He is acknowledged as a vital influence by artists like Bruce Springsteen, Paul Simon and Billy Joel. Ladies and gentlemen, a true hero of rock and roll Dion DiMucci. [ Applause ] [ Music ] >> Yo! [ Music ] >> Look at you. Everybody say yo! >> Yo. >> One more time, yo! >> Yo. >> Alright. [ Music ] [ Singing ] >> Here's my story, sad but true. It's about a girl that I once knew. She took my love then ran around. I feel like I'm at the high school dance with every single guy in town. Nothing changed. [ Music ] [ Singing ] >> Ah, I should have known it from the very start. This girl will leave me with a broken heart. Now listen people what I'm telling you a-keep away from-a Runaround Sue. I miss her lips and the smile on her face. The touch of her hair and this girl's warm embrace so if you don't wanna people cry like I do a-keep away from-a Runaround Sue. [ Music ] [ Singing ] >> Ah, she likes to travel around. She'll love you and then get you down. Now people let me put you wise. Sue goes out with other guys. Here's the moral and the story from the guy who knows. I fell in love and my love still grow but ask any fool that she ever knew, they'll say keep away from-a Runaround Sue. Play that thing. One more time play that thing. Keep away from that girl and you know what you do. She likes to travel around. She'll love you and then get you down. Now people let me put you wise. Sue goes out with other guys. Here's the moral and the story from the guy who knows. Again, I fell in love and my love still grows. Ask any fool that she ever knew, they'll say keep away from-a Runaround Sue. One more time. Keep away from that girl and you know what you do. [ Music ] >> I know her. [ Music ] [ Singing ] >> Ah, she likes to travel around. She'll love you and then get you down. Now people let me put you wise. Well, Sue goes, she goes out with other guys. And the moral and the story from the guy who knows. I'd ask any fool she ever knew that keep away, keep away, keep away from-a Runaround, yeah, yeah. One more time play that thing. Got me going, got me go. Come over here. Come on up. [ Music ] [ Singing ] >> Oh, I need someone. I need someone. Oh, I need someone, oh, someone like you, you, you. I need. I need you all. I need you. I need you. I need everybody on the left, I need everybody on the right. I need everybody. Yo! [ Music ] [ Applause ] [ Cheering ] >> Yo! So I'm hanging out in the Bronx 1957, you know and I meet Susan who's from Belmont. I never knew they grew anything as beautiful as Susan up in Belmont. I was like a 17 year old stalker. And Susan was a wordsmith because you know I was trying to impress her. I finally got her attention. I said, you know, and my tank top on I said, "Yo, Sue. That guy Billy is a real grease ball." She said, "Well, I believe Billy's perception of reality is colored and skewed by his limitations and his faulty dependencies and his insecurities. I said, "That's what I said. He's a real grease ball." But there was this guy Jackie Burns in my neighborhood and this next song is like I guess it was a little before it's time because Jackie used to have his tank top on with his do. You know, and he used to walk down the street with that attitude. And every girl he dated he got a tattoo on his-- I got Janie, and then he broke up with Janie. She got married, covered up Janie with a leopard. [Laughter] Big leop, you know. Then he got married you know, he covered up with pair of dice, so you know I mean he got Flo. And then he finally got Rosie on this chest. When he broke up with her, he put like a battleship on his chest. So this song is a little before it's time but it does turn in on itself and in the bridge. It goes like this. He was worth the song. [ Music ] [ Singing ] >> I'm the type of guy that likes to roam around. I'm never in one place, I roam from town to town. And when I find myself I'm a-fallin' for some girl. Yeah, I hop right into that car of mine. I drive around the world. Yeah, I'm a wanderer, yeah the wanderer, I roam around-around-around. You know, and there's Flo on my left and there's Mary on my right. And Janie is the girl well that I'll be with tonight. Little girl when she asks me which one I love the best. I tear open my shirt and I show her Rosie on my chest 'cause I'm a wanderer. Whoa, little girl, yeah the wanderer. I roam around-around-around. I roam from town to town. I go through life without a care. And I'm as happy as a clown. I've got my two fists of iron but I'm going no way. I'm a type of guy like to roam around where pretty girls are well you know that I'm around. I kiss 'em and I love 'em 'cause to me they're all the same. I hug 'em and I squeeze 'em they don't even know my name. I'm a wanderer. Yeah, I get around, I get all around. I know heck. I know you can do baby. [ Music ] [ Singing ] >> Yeah, I'm a type of guy that likes to roam around. I'm never in one place, I roam from town to town. Beach love in the ocean where I'm gonna need to [inaudible], loves in the treetops to put me down. I'm a wanderer. Yeah, I get around. I get all around. You know, I roam from town to town. I go through life without a care. And I'm as happy as a clown. I got my two fists of iron, but I'm going nowhere. I'm the type of guy that likes to roam around. I'm never in one place, I roam from town to town. And when I find myself I'm a-fallin' for some girl. Yeah, I hop right into that car of mine. I drive around the world. I'm a wanderer, yeah, I get around-around-around-around-around. Yeah. I'm a wanderer, yo, I get around, I get all around. I'm a wanderer. Oh, lucky lady. I get, I get around, yeah. I get around. I get around, round. I don't kid around. [ Applause ] >> Leave the gun. Take the cannolis. Yo! [ Music ] >> God bless your grandma. [ Music ] [ Background Music ] >> Have a good night. God bless you all. You're the greatest. You're wonderful. Thank you. Yo! Thanks for everything. [ Music ] [ Applause ] >> Ladies and gentlemen, the representative for Tennessee's 7th Congressional District, a member of the House Energy and Commerce Committee and co-founder and co-chairman of the Congressional Songwriters Caucus, the Honorable Marsha Blackburn. [ Applause ] >> I hope you're enjoying this as much as I am. And Karen, Paul, thank you for giving us the opportunity to sit here in this beautiful building and really appreciate the gift that songwriters give to each of us each and everyday. And I think that what this evening really needs is a little touch of honest to goodness country music from the great music center that I represent, Nashville Tennessee. [ Applause ] >> And I will tell you, we all may be drowned river rats but we still got a song to sing coming out of Tennessee. And so we're going to give you an extra special double helping of country music and in this country music segment you're going to hear two very special songwriters. One of the most successful and well-respected music city tunesmiths to be followed by a remarkable newcomer who's star is truly on the rise. Our first performer is originally from Arkansas. We don't hold it against him. We're glad he crossed that big river. But he has lived and worked in Nashville for nearly 4 decades so we claim him as our own in Tennessee 7th Congressional District. He has written or co-written over 40 top hits and get this, 14 number 1 songs. Songs like You're My Best Friend, Rednecks, White Socks, and Blue Ribbon Beer and Till the Rivers All Run Dry. How appropriate for us this week. We're waiting for drying out in Tennessee. They have all been recorded by country music's best singers ranging from Don Williams, Tammy Wynette, Earnest Tubb and the Nitty Gritty Dirt Band, to that British country music lover Peter [inaudible]. An inductee of both the National Songwriters Hall of Fame and the Arkansas Entertainers Hall of Fame, he is an active member of the music industry and is truly seen as a music industry leader. He serves as chairman of the Nashville Songwriters Foundation and is a member of both the ASCAP and ASCAP Foundation board of directors. He will be followed by a beautiful young Tennessee native who is making her name both as a songwriter and as an artist. She has had her songs recorded by some top country music talent including Patty Loveless and Trisha Yearwood. She has also released her own album on the Columbia label. But 2009 was her biggest year yet. A song that she co-wrote called The Climb for the hit film Hannah Montana the movie and recorded by Miley Cyrus went to the top of the billboard charts. You'll be hearing it in a few moments but right now to perform his unforgettable Grammy nominated hit is Wayland Holyfield. [ Inaudible Remark ] [ Applause ] [ Cheering ] >> Thank you Congresswoman Blackburn. She is my congresswoman in Tennessee and Albert Hammond is gonna be singing a little bit. It never rains in Southern California. Boy, could we have used him in Middle Tennessee last week. It was some tough stuff. Did you know that behind every successful songwriter is an astonished mother-in-law? [ Laughter ] >> You've mentioned-- you mentioned Peter Towns and he did cut a song of mine called Till the Rivers All Run Dry which Jessi I think we're talking about earlier. Now, you know, he had some health problems. And my question was always did he record it before or after he went deaf? I prefer to think, you know. This song we're gonna do is, you know, we talk about things that why you write songs and why do we do what we do as songwriters. Well, we do it I think to touch people's lives. Are we successful often? Not always. Do we try to do that? Sure. But every now and then you have one that kind of works and this one kind of work. Anne Murray recorded this. It was in the movie [background music] Urban Cowboy. It's a song that was played in the wedding scene and people still use this song in their weddings. And can I tell you when we talk about payment, we certainly wanna be remunerated for our work but this kind of payment that you get from the feedback sometimes when you touch people's lives at a time like this is special. Tracy mentioned something about the inspiration not knowing where it comes from always. But I know exactly where this one came from. [ Music ] [ Singing ] >> I'll always remember the song they were playing, the first time we danced and I knew. As we swayed to the music and held to each other, I fell in love with you. Could I have this dance for the rest of my life? Would you be my partner every night? When we're together it feels so right. Could I have this dance for the rest of my life? Always remember that magic moment, when I held you close to me. 'Cause we moved together, I knew forever, you're all I'll ever need. Could I have this dance for the rest of my life? Would you be my partner every night? When we're together, it feels so right. Could I have this dance for the rest of my life? Could I have this dance for the rest of my life? Would you be my partner every night? When we're together, it feels so right. Could I have this dance for the rest of my life? [ Music ] [ Applause ] >> Ladies and gentlemen, please welcome a singer songwriter who's been flooded out of her Nashville home but she's with us tonight, Jessi Alexander. [ Applause ] >> Very funny. It's okay, I'm making new memories here tonight. Thank you guys so much for having me. I can't tell you what an honor and thrill it is to share the stage with some of my favorite songwriters in the world and it's just such a pleasure. I'm gonna do a song that she mentioned earlier that-- to tell you the real story, it actually came out of deep frustration in the music business. You have to write what you know, right? And there's been a lot of highs and lows and had record deals and publishing deals and I was just at a point where I felt like nothing was happening and it wasn't happening fast enough and there is this place I was trying to get to and I just couldn't get there and it hit me one day that it really isn't about that place. It's about everything leading there and once I chilled out and just started to enjoy the journey, I realized that that's where the good stuff is and luckily, Miley Cyrus and the director of the film heard this song and baby's got shoes now. [ Music ] [ Singing ] >> I can almost see it. That dream I'm dreaming but there's a voice inside my head saying, you'll never reach it. Every step I'm taking. Every move I make feels lost with no direction. My faith is shaking but I, I got to keep trying, got to keep my head held high. There's always gonna be another mountain. I'm always gonna to want to make it move. Always gonna be an uphill battle, sometimes you gonna have to lose. Ain't about how fast I get there. Ain't about what's waiting on the other side. It's the climb. These prayers I'm praying. The chances I'm taking. Sometimes seem all in vain but no they're not wasting. I mean I'm knowing. But these are the moments that I'm going to remember most yeah. These years of golden and I, I got to be strong. Just keep pushing on. There's always going to be another mountain. I'm always gonna want to make it move. Always gonna be an uphill battle. Sometimes I'm gonna have to lose. Ain't about how fast I get there. Ain't about what's waiting on the other side. [ Music ] [ Singing ] >> Always gonna be another mountain. I'm always gonna want to make it move. Always gonna be an uphill battle. Sometimes I'm gonna have to lose. Ain't about how fast I get there. Ain't about what's waiting on the other side. It's the climb. Lord, it's the climb. Oh, I know it is. I just gotta keep on moving, keep climbing, keep the faith baby. It's all about, it's all about, it's all about the climb. I gotta keep the faith. Oh, yeah. [ Applause ] [ Cheering ] >> Thank you John Randall [phonetic]. [ Applause ] >> Ladies and gentlemen, the senator from California and the chairman of the Senate Environment and Public Works Committee, the Honorable Barbara Boxer. [ Applause ] >> Thank you. What an honor it is to be here. Wow! What an honor it is to be here as we see our life-- our life go by through all these music. It's a fantastic show and the man I am about to introduce will keep the magic going. I can assure you of that. He has enjoyed a 5-decade collaboration with his partner in life and in songwriting. I'm gonna ask her to stand up, Marilyn Bergman. [Applause] Would you do that, Marilyn? Yey, Marilyn. Marilyn served-- Marilyn served as ASCAP's president and chairman for 15 years. [Cheering] Wow. And is a member of the board of both ASCAP and the ASCAP Foundation. The two of them have provided words for standards sung by Frank Sinatra, Barbara Streisand, Neil Diamond, Tony Bennett, Ray Charles, Dusty Springfield and many others. Over the years, Alan and Marilyn have been honored with 16 academy award nominations. [Applause] Yes, and they won three Oscar's as well as four Emmy's and two Grammy's and they have been inducted into the songwriter's hall of fame. Their credits include, How do you Keep the Music Playing, What are You Doing the Rest of Your Life, Nice and Easy, In the Heat of the Night, and the theme from Tootsie, It Might Be You. I am deliberately omitting two of their greatest titles which you will be hearing momentarily. >> Basically, the words of Marilyn and Alan Bergman have chronicled the human experience when it comes to relationships and they are still writing. That's the great news. You need to know that introducing Alan is a real moment for me and I am very [inaudible] about it. [Laughter] That is because I am the co-chair of the California Bergman Groupies and the other chair is Marilyn. And in 2007, our songwriter recorded his first album titled Lyrically, and he will now treat us to performances of two of his Oscar-winning songs from that acclaimed CD. Ladies and gentlemen, Alan Bergman. [ Cheering ] [ Applause ] >> Proud to be introduced by the great senator from California who is real-- a real champion for the rights of the creative people. [Applause] And that's-- and furthermore for the environment in this world, so [inaudible]-- yeah. [Applause] She does the important work. Yeah. I agree-- [ Inaudible Remark ] >> Huh? [ Inaudible Remark ] >> Yeah. This first song I'll do is a collaboration with a gentleman we've been writing with since 1967, Michel Legrand and we were asked by a wonderful director, Norman Jewison to write a song for the picture called the Thomas Crown Affair. And Norman showed us this scene where the Steve McQueen character who had just masterminded the robbery of a bank and he was flying his glider which he-- that was his hobby but he was very grim. He was very anxious and Norman asked us to write a song that would underline the anxiety that the character was feeling at that time and we-- so with Michel Legrand who was living with us at that time came downstairs and he played us about eight melodies for this one spot. Ah, really reaches one after another and we couldn't decide which one and finally we said, let's wait till tomorrow morning. And so he played us the eight melodies again the next day and we-- over the night, the three of us independently had picked the same melody, luckily. [Laughter] And so, this is the song we-- [background music] we used the phrase in the song, we didn't know what to call it and we-- it was kind of-- it was a one phrase and then it was kind of attractive to us and so we've decided to call it the Windmills of Your Mind. [ Music ] [ Singing ] >> Round, like a circle in a spiral. Like a wheel within a wheel. Never ending or beginning, on an ever-spinning reel. Like a snowball down a mountain, or a carnival balloon. Like a carousel that's turning, running rings around the moon. Like a clock whose hands are sweeping past the minutes of its face and the world is like an apple whirling silently in space. Like the circles that you find in the windmills of your mind. Like a tunnel that you follow to a tunnel of its own, down a hollow to a cavern where the sun has never shone. Like a door that keeps revolving in a half-forgotten dream. Or the ripples from a pebble someone tosses in a stream. Like a clock whose hands are sweeping past the minutes of its face and the world is like an apple whirling silently in space. Like the circles that you find in the windmills of your mind. Keys that jingle in your pocket. Words that jangle in your head. Why did summer go so quickly? Was it something that you said? Lovers walk along a shore and leave their footprints in the sand. Was the sound of distant drumming just the fingers of your hand? Pictures hanging in a hallway and a fragment of a song, half-remembered names and faces but to whom do they belong? When you knew that it was over. You were suddenly aware that the autumn leaves were turning. To the color of her hair? Like a-- see, I forget the words. [Laughter] Like a circle in a spiral. Like a wheel within a wheel. Never ending or beginning on an ever-spinning reel. As the images unwind like the circles that you find in the windmills of your mind. [ Music ] [ Applause ] [ Cheering ] >> Thank you. Oh. Thank you so much. Oh, thank you very much. Thank you. Thank you. And I have to thank Chris Caswell for that wonderful piano. Thank you, Chris. Now, this next song-- you know, sometimes, sometimes the stars are really right, a great title. This is-- and we usually come up with the titles but this was a title of a book and a screen play and a movie. We also had the great pleasure of working with a wonderful director, Sydney Pollack, terrific man. To a marvelous wonderful composer, Marvin Humes who-- this is now maybe 35 years later, we were writing a Broadway show with Marvin at the moment and he is a real joy to work with and he was then and he still is. Maybe-- the title was Arthur Laurents' from a book of his and a screenplay of his, as I said, and to write for the greatest voice of our generation, Barbara Streisand. So, this is the song. [ Music ] [ Singing ] >> Memories light the corners of my mind. [Applause] Misty watercolor memories of the way we were. Scattered pictures of the smiles we left behind. Smiles we gave to one another for the way we were. Can it be that it was all so simple then or has time rewritten every line? If we had the chance to do it all again, tell me would we? Could we? Memories, may be beautiful and yet. What's too painful to remember? We simply choose to forget. So it's the laughter. We will remember. Whenever we remember the way we were. Every day was life of gift of flowers. Ribbon-wrapped and waiting to be seen. Eagerly, we opened all the hours then what happened? Happened. Memories, may be beautiful and yet. What's too painful to remember? We simply choose to forget. So it's the laughter. We will remember. Whenever we remember the way we were. The way we were. [ Music ] [ Applause ] [ Cheering ] >> I-- thank you. I just have to remind you that those lyrics were co-written with the most remarkable woman in the world, Marilyn Bergman. [ Applause ] [ Footsteps ] [ Noise ] >> Ladies and gentlemen, the representative for California's 28th Congressional District and the chairman of the House Committee on Foreign Affairs, the Honorable Howard L. Berman. [ Applause ] >> Thank you. [ Applause ] >> I have to say that no one in this town puts on a show like ASCAP. [Applause] The fellow-- the fellow I'm gonna present, if you know him, you have to love him and if you don't know him, I think you and hundreds and hundreds of millions of people around the world love his songs. You've heard of the songwriter's hall of fame. Well, I'll hand to perform next is both its inductee and its chairman and CEO. I guess that's like being chairman of the board. He's been honored by both Oscar and Grammy Awards and many, many other accolades. A native New Yorker now living in Southern California, a familiar migration pattern, [laughter] he is the lyricist behind dozens of standards including Alfie, What The World Needs Now, Raindrops Keep Falling On My Head, Walk On By, and Close To You. And now, the show he wrote with Burt Bacharach in 1968, Promises, Promises is back on Broadway. He served as ASCAPs president from 1980 to 1986 and has remained active as chairman of the ASCAP Legislative Committee. He also serves on the board of the ASCAP Foundation, and for my nearly 28 years in Congress, he has been a very wise and knowledgeable adviser on issues affecting the creative community and the music industry. More than that, he has been a great friend. I'm very pleased to call upon Hal David. [ Applause ] [ Cheering ] >> Thank you, Howard. You are very generous and very kind. Thank you. In 1968, Burt Bacharach and I were on a road-- we're in Boston with Promises, Promises and the show looked rather good. We had one problem. We have a song called Wouldn't That Be A Stroke Of Luck which every liked except the audience. [Laughter] And so, we sat down and wrote another song which remains in the show, it's back on Broadway. And that night, the first night it went in, it's [inaudible] show and I'd like to sing that for you. [ Music ] [ Applause ] [ Singing ] >> What do you get when you fall in love? You'll only get lies and pain and sorrow. So for at least until tomorrow, I'll never fall in love again. I'll never fall in love again. What do you get when you kiss a girl? You only get germs to catch pneumonia. After you do, she'll never phone you. I'll never fall in love again. I'll never fall in love again. Don't tell me what it's all about. 'Cause I've been there and I'm glad I'm out. Out of those chains those chains that bind you. That is why, I'm here to remind you. What do you get when you fall in love? You only get lies and pain and sorrow. So for at least, until tomorrow. I'll never fall in love again. I'll never fall in love again. Don't tell me what it's all about. 'Cause I've been there and I'm glad I'm out. Out of those chains those chains that bind you. That is why, I'm here to remind you. What do you get when you fall in love? You only get lies and pain and sorrow. So for at least, until tomorrow. I'll never fall in love again. I'll never fall in love again. [ Music ] [ Applause ] [ Cheering ] >> That's a great band you have. Thank you. Thank you so much. You know, I've got to tell you about somebody else. Often it takes more than one person to write a song and I've been blessed with some great songwriting partners over the years notably Burt Bacharach. And then there is the gentleman I am so proud to introduce tonight. He was born in London, raised in Gibraltar and first made a name for himself in Spain, England and both-- as both a performer and a songwriter. He now makes his home in Los Angeles. He has written many hits and I am particularly proud of the hit we've created together for Julio Iglesias and Willie Nelson. Welcome too my friend Albert Hammond. [ Applause ] [ Cheering ] >> Thank you [inaudible]. >> I don't know who's gonna be Willie and who's gonna be Julio. [ Laughter ] >> I think I can be Willie. I'll be Julio. [ Laughter ] >> When Hal and I first met, we didn't know what to talk about. So, we talked about the-- >> Girls. >> Girls, that's it, and we wrote this song. [ Music ] [ Singing ] >> To all the girls I've loved before. [Applause] Who traveled in and out my door. I'm glad they came along, I dedicate this song to all the girls I've loved before. To all the girls I once caressed and may I say I've held the best. For helping me to grow, I owe a lot I know to all the girls I've loved before. The winds of change are always blowing and every time I try to stay. The winds of change continue blowing and they just carry me away. To all the girls I've shared my life. I'm glad they came along, I dedicate this song to all the girls I've loved before. The winds of change are always blowing and every time I try to stay. The winds of change continue blowing and they just carry me away. To all the girls I've loved before. Who traveled in and out my door. I'm glad they came along, I dedicate this song to all the girls I've loved before. [ Music ] [ Applause ] >> You did it right. [ Inaudible Remark ] [ Applause ] [ Laughter ] >> Thank you so much. >> Thank you. Hal David. Mr. Hal David, please [inaudible]. [ Applause ] [ Cheering ] >> Yes, yes. [ Applause ] [ Cheering ] [ Inaudible Remark ] >> You know writing songs with Hal was like going to see the psychiatrist. You would always lie on a couch. [Laughter] Anyway, he did say I'm from Gibraltar and it's true and when I was speaking with the senator from Ohio, Senator Brown and I said Gibraltar, he looked at me and I guess I'm the first Gibraltarian to be at the Library of Congress. [Laughter] [Guitar strum] So, here's a little song for not many [guitar strum] that I love. [ Music ] [ Singing ] >> Got on board a westbound 747. Didn't think before deciding what to do. Oh, that talk of opportunities, TV breaks, and movies rang true. Sure rang true. Seems it never rains in Southern California. Seems I've often heard that kind of talk before. It never rains in California. But girl don't they warn ya. It pours, man it pours. Out of work, I'm out of my head. Out of self respect, I'm out of bread. I'm underloved, I'm underfed, I wanna go home. It never rains in California. But girl don't they warn ya. It pours, man it pours. [ Music ] [ Singing ] >> Will you tell the folks back home I nearly made it? Had offers but don't know which one to take. Please don't tell 'em how you found me. Don't tell 'em how you found me. Give me a break, give me a break. Seems it never rains in southern California. Seems I've often heard that kind of talk before. It never rains in California. But girl don't they warn ya. It pours, man it pours. It never rains in California. But girl don't they warn ya. It pours, man it pours. [ Music ] [ Applause ] >> Thank you. [ Applause ] >> Thank you. [ Applause ] >> Ladies and gentlemen, the representative of West Virginia's Second Congressional District and a member of the House Financial Services Committee, the Honorable Shelley Moore Capito. [ Applause ] >> Thank you. It is such an honor for me to be here among such talented folks. Our next performer was born and raised in West Virginia's coal country. He was born in Slab Fork, a little town called Slab Fork. In West Virginia, we're always proud of our heritage. From very humble beginnings, he went on to serve in the United States Navy and later worked in aircraft manufacturing. He was already in his 30s when he attempted a musical career, was met with great success and acceptance. He has gone on to become a Grammy-winning writer and performer of classic songs like Grandma's Hands, Lovely Day, Just The Two of Us, Use Me and a couple of the blockbusters you'll be hearing in a moment. There was something about his songs that is so direct and universally appealing. As a fellow West Virginian, I think it is because his lyrics are written in the language of the heart. I know all of us West Virginians will be proud to know that remains as modest and plain spoken as ever. He will be performing two songs. On the first, he will be joined by his daughter, Kori, a talented young song-- singer and songwriter in her own right and on the second song, he will sing with one of Broadway's stars of The Color Purple, Elisabeth Withers, only related by talent. Please welcome, the great Bill Withers. [ Cheering ] [ Applause ] >> Thank you. I know that I'm a senior now because the congress lady's father gave me a proclamation many years ago [laughter] when he was governor of West Virginia. I was sitting there and I was thinking like, man, the American song book would be a lot thinner without these people we have, [applause] you know? Are you okay standing there? >> Yeah. >> Okay. >> You want me to leave? >> No. No. No. This is, this is Kori. [Applause] I've been teasing her since she ran the LA marathon. We have to call her marathoner now. But I was listening to all the different genres and places that have been represented here tonight. From the elegance of Alan Bergman, and Hal David who write things that if you just read it on a sheet of paper, My new friend Wayland came up and we had a young lady, I mean how much more contemporary can you get than Miley Cyrus? [Laughter] And we had the New York duo guys from the corner. They hit it. They're still-- [laughter] you know? I could almost see this burning-- remember those big 55-gallon cans, Hal, would it build a fire in New York? It was staying all night on the corner? Yeah. [Laughter] And, you know, I'm just thinking about all the stuff and you think about movies that make you hear things and then there are songs that make you see things and I was listening to that-- the real, I mean Alan, you, you, you, recite that stuff man and you and Marilyn write so-- you know, and I was thinking like, hmm, the evolution of time. Those Oscar-winning songs and then I thought about another Oscar-winning song. It's hard down here for a pimp. [ Laughter ] [ Applause ] [ Cheering ] >> And I said, okay, it's cool, it's cool, hey, each thing has its own soul. [Laughter] And it jostled my sense of humor and having visited sort of, you know, stuck my toe in several of these genres made me think of a reason for A, I took with a friend of mine, Jimmy Buffett. Jimmy called me up and says Bill, I'm gonna make a country album and I said, "Why did you call me for?" [Laughter] He says, "Well, you're about as country as anybody I know." So, I took on that challenge and I channeled somebody that I listened to as a kid, Little Jimmy Dickens. >> Oh yeah. >> You ever hear Little Jimmy Dickens for? Funny guy man. Sleeping at the foot of the bed. So Jimmy Buffett gave me a phrase. He was talking, he says, "Well, it's just simply complicated." I said, "Okay, Jimmy, next time I get back to you, we'll be ready." And I was-- as I usually do, people talk about song writing techniques and I have a technique. I sat around scratching myself and wait for something to cross my mind. [Laughter] [Applause] I figured. That's why they call it a gift. [Laughter] [Applause] Sit there and open up your mind and let yourself be a conduit and it all came to me. When you find out things about yourself that you had and ought to know and your grandma calls and books you on the Jerry Springer Show. [Laughter] And you find out you and your wife of 10 years just might be related. Brother, life ain't over. It's just simply complicated. [Laughter] [Applause] Okay. So usually, when I trust people not to think that I'm rude and somebody says whoa, what were you thinking when you wrote that song? I said I was thinking that. [Laughter] [Applause] But like Paul said, you know, can-- you just-- Sherry does not play. So, if she tells you to tell a story, then I'll tell you a story. I was watching a movie, Days of Wine and Roses and Lee Remick and Jack Lemmon. See? See, I know how David now, so it smoothed me out a little bit and they were in and out of alcoholism and one would get sober and the other one would go and he was sad when she left. And so from that, I sat there and scratched myself. [Laughter] Oh, excuse me, Kori girl. Kori does things like that. [Guitar strum] And if you'll notice tonight, I'm primarily gonna exploit these young women because at this age, it may be the last chance I get to do that. [Laughter] If I dropped something, would you note that I'll try not to do. Kori will probably pick it up. And Elisabeth, when you come up here, I want you to know, those are the rules. [ Laughter ] [ Singing ] >> Ain't no sunshine when he's gone. It's not warm when he's away. Ain't no sunshine when he's gone and he's always gone too long anytime he goes away. Wonder this time where he's gone, wonder if he's gone to stay. Ain't no sunshine when he's gone and this house just ain't no home anytime he goes away. And I know, I know, I know, I know, I know, I know, I know, I know, I know, I know, I know, I know, I know, I know, I know, I know, I know, I know, oh, I'll leave the young thing alone, but ain't no sunshine when he's gone, ain't no sunshine when he's gone. Only darkness every day. Ain't no sunshine when he's gone. And this house just ain't no home anytime he goes away. Anytime he goes away. Anytime he goes away. Anytime he goes away. Anytime he goes away. [ Music ] [ Applause ] [ Cheering ] >> Okay. Did you notice how smoothly I missed that chord? [Laughter] It's got to be smooth. I've had the pleasure for the last couple of days of meeting someone that a lot of people asked me if that was my daughter and we had some humor about that too and then I met her family. Just a nice family, husband, I told you, you better keep that guy-- you know, of course, I've been a guy a long time, so you know. I know the ones you keep. And then I met her father who incidentally answers to the name Bill Withers and so I said, well, maybe it was him that did all these stuff that they blamed me for. [Laughter] So, he and I will certainly have a long conversation after this to sort out who did what to whom. Elisabeth, girl. [Applause] Yeah, come on here sweetie. [ Applause ] >> And I'll tell you why I called Elisabeth out here. I was supposed to explain the song first or as much explanation as I can give. And I told you it's mostly scratching your self. But that kind of friendship that developed very quickly between Elisabeth's family and mine-- the most fun was just knocking on her father's door anyway. >> You can't tell the story. [ Laughter ] >> And him thinking it was just her 'cause, he had, you know, she said my father's always wanted to meet you. It couldn't have been more perfect. He came to the door in his pajama. [Laughter] Yeah, and he was cool. But you mentioned being from Gibraltar Al-- Hal and Al, one at a time. Being from a small place myself as the congress person said, I'm from Slab Fork, West Virginia. We compensated for what we didn't have by having each other. I remember we had a phone, the people across the road had refrigerator, so they gave us ice. Somebody else might have a plow, somebody might have a horse, you know, everybody had a garden in the back but we made it work by people doing things for each other and on those hot days that ice came in-- you know, was pretty cool we got from that lady's refrigerator and being about 9 years old, she had this pretty long legged teenager daughter and they would come over there and get on our phone [Laughter] And they would cross those long legs [Laughter] To all the girls, come on Elisabeth. Thank you for coming sweetie. [ Music ] [ Background Music ] >> Let's have a round of applause to Billy Withers. [ Applause ] [ Background Music ] >> This is the last song, so feel free to sing along. [ Music ] [ Singing ] >> Well, sometimes in your life we all have pain, and we all have sorrow. But if we are wise, we know that there's always tomorrow. >> Lean on me, when you're not strong and I'll be your friend. I'll help you carry on. For it won't be long till I'm gonna need somebody to lean on. Please swallow your pride. If I have things you need to borrow. For no one can fill all of your needs if you won't let it show. >> Okay, let's sing it. >> You just call on me brother, when you need a hand. We all need somebody to lean on. I just might have a problem that I'd understand. We all need somebody to lean on. Lean on me when you're not strong and I'll be your friend and I'll help you carry on. For it won't be long till I'm gonna need somebody to lean on. Ya'll sing with me. So just call on me brother, when you need a hand. We all need somebody to lean on. You just might have a problem that I'd understand. We all need somebody to lean on. If there is a load you cannot bear or you cannot carry. I'll carry your load and I'll share your load if you just call me. Now won't you [inaudible] now, call me. In the morning time, call me. Say it again now. Call me. Say. Call me. I can't hear you now. Call me. I little louder say. Call me. Oh. Call me. I can't hear you. Call me. I can't hear you. Call me. Oh. Call me. Take me a little higher. Call me. One time. Call me. Oh. Call me. Oh. Call me. [Inaudible] for me. Call me. Talk to me. Call me. Two and three. I want ya'll to break this down. One two. Call me. Now listen. Put your hands together like this. [Clapping] [Background music] Now don't do it if you don't mean it, alright? Congress, we are trying, don't be a [inaudible]. If you don't recognize for the music, we'll be spending hours and hours and hours on in right at midnight. I just got back from LA on Thursday in [inaudible] to Philly to record for two days, recording one of Bill's songs and doing an album. So it's tireless in this world and I'm just trying to get Well, I want you all to stand up on your feet. And Congress, I want you all to stand and just facing ASCAP and I want you all to sing as loud as you can. I want you all to sing with me. I want, want, want you to sing. Call me. You all say. Call me. You all say. Call me. One more time. Call me. I'd fill with a [inaudible]. Call me. With my girl Kori. Call me. Oh. Call me. [Inaudible] me down. Call me. One more time. Call me. Last time, call me. >> Thank you so much [inaudible]. [ Music ] [ Applause ] [ Cheering ] [ Background Music ] >> God bless all of you for coming. For John Lee Sanders, James [inaudible], Chris [inaudible]. Debra Damron [phonetic]. All of us today ASCAP and the ASCAP Foundation, thank you Dr. Billington, for all you knew, we lean on you. Thank you. God bless you. God bless America and good night. [ Music ] [ Cheering ] [ Applause ] [ Singing ] >> Call me. Call me. Call me. Well, call me. Call me. Call me. Call me. Oh baby. Call me. Call me. Well, call me. Call me. Call me. Call me. Call me. Call me. Call me. Call me. [ Music ] [ Applause ] [ Cheering ] >> This has been a presentation of the Library of Congress.