Andre,You are right, I got too bent out of shape. I was so peeved I didn't even get the screeners' numbers down correctly. Rejection is hard, you are right there also. There are almost always little flaws when one looks hard enough, you are right again.The perspective of others is good not bad, as you say. A few, but not many, of the Taxi screeners' criticisms contained some truth to them, others seemed so irrelevant they infuriated me.However, I still want to apologize for my angry post to anyone who read it. I can go about this criticism of Taxi in a more logical and positive manner.What I cannot do is provide my actual songs to others on the forum. It is my policy that I do not listen to the work of my fellow competitors and they do not listen to mine. A trade secret thing. I do not have broadband or a website, so it is rather difficult anyway. That is why I posted here and not in the Peer to Peer thread. I have the same belief in my songs I had before I got five consecutive rejections on what I consider a novel and unique country song with obviouis hit potential.Another thing I should have done is confine my rant to the country screeners, since they are the only ones who, so far, I think are blowing it.True, I have submitted only to the most premium listings, a dozen times in all, and been forwarded only once. Some of the instrumental pieces I sent to other genres were old recordings with some hiss and would not pass snuff, I knew beforehand, but I gambled. Still, I think the Taxi country screeners are blowing itLet me start here. The screeners (country) keep nagging "Where's the chorus," or "Where's the bridge?"I think they may not listen to current country. After a long shift at the salt mines their ears may not be up to it.As instructed by the Taxi literature itself, I do listen to the radio and watch the country stations on the tube. I did so just this evening. I watched three video performances of current top country songs in a row. None of the three had a bridge, even the one by Brooks and Dunn called Building Bridges. The other two were The 8th of November by Big & Rich and Hicktown by Jason Aldean. They had chorus like structures that barely tried to pass as bridges with the catch-line at the end. Only in the case of Brooks and Dunn was this fake/bridge quasi/chorus even distinct from the rest of the song, what the Taxi critique form calls "Sectional Contrast."No bridge and a chorus which is a fake bridge with the tagline at the end of it, is very common in today's country music, probably as common as songs which have a full-on developed bridge and a distinct, separate chorus.Like I say, it is very common to combine the bridge and the chorus into one structure. Some songs are a done deal without every well defined section found in the book of Hoyle. That is why you hear them on the radio frequently.Another thing they have said is "Write like your friends converse." This advice can only teach people to write bad songs. I can't even think of a song that is written like anybody converses.The poet W.B. Yeats wanted to write like people talked also, but he was smart enough to know that it was a very distilled version of the way people talk. So it was not actually actually the way people talked. It was the way people would have talked if they were all poets, with every useless world boiled away before the sentence left their lips.In another critique the screener objected my consecutive use of the word "line" as a rhyming triplet. The word was used in three different ways, and the three lines set the song up exactly the way I wanted and very succinctly, I might add. I was having fun, playing with words. But this little bit of originality and word play was met with, "Isn't there another way to say this?" First the screener points out that I have done this, like I was not aware of itNo, sir or madam, there is not another way to say it. Say it any other way and you have said something else.Another recent country listing asked for neo-traditional songs for a male artist, and added that songs featuring the dobro were most welcome. I had two that I figured could not be rejected, since I know they are excellent and timely. The screener admitted the subject matter was very timely in one of the songs, that the dobro playing was what was asked for, that the songs were "pitched correctly in the style as needed," that I had a "whole laundry list of colorful little story bytes, that I "sure got my share of lyrical zingers," but then rejected the songs anywaybecause "musically they are by the numbers," that I needed to "break out," that when they say traditional they still seek songs that find fresh ways of working within these boundaries." Anyone who listens to country music knows there is not anyone saying things in a fresh way, unless thirty year old rock and roll with a fiddle included is fresh.But fresh is what I had given anyway. I had found fresh ways of working within the boundaries, both lyrically and musically, but the screener did not even notice. And by the way, "by-the-numbers is still an insult in my book. Go tell a painter his painting looks like it was painted by numbers and see what reaction you get.Another point is: I assume the people in Nashville know how to juice a song up. Does this screener (named correctly now as # 152) think the folks in Nashville do not know how to put a little distortion guitar into a song on a demo that did not have one? No song is going to be done just as it is sent in. They are going to arrange it, tweak it, interpret it. But my opionion is rapidly becoming that the Taxi country screeners themselves lack the imagination to hear beyond your own arrangement of a tune. There must be many tunes that would have been accepted by the people they were meant for, but the Taxi screeners lacked the imagination to hear this. They seem like chess players that can only look one move ahead but not two.That is all I have to say. I apologized and I explained myself. I have no intention yet of giving up, on either Taxi or myself. Now I will go back to work on the music because I have just begun to fight, and I know what I write is good enough.P.S. You should only join Taxi if you also know damned well that your stuff is better than ninety-five percent of the current music you hear on the radio. That is my opinion. If I did not believe this I would not even bother with it.