From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V3 #1005 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Wednesday, December 8 1999 Volume 03 : Number 1005 Today's Subjects: ----------------- What kind of amp does Murray use? ["Adam Hartfield" ] It's late, I'm blathering, don't mind me. ["Angela Anuszewski" ] Toronto Sun interview, Dec. 7th [Mike Wood ] Re: "the wrong way" [srm9988n@aol.comicrelief (Lori at fruhead dot com)] Re: 12/4/99 - Open letter from Russell Wolff [vika@attglobal.net (Vika Za] Re: Behavior during opening acts. [srm9988n@aol.comicrelief (Lori at fruh] Re: Toronto Sun interview, Dec. 7th [vika@attglobal.net (Vika Zafrin)] Re: Fruheads unite and..Calm DOWN (fwd) [srm9988n@aol.comicrelief (Lori a] Re: 12/4/99 - Open letter from Russell Wolff [Ellen ] re: tangents (was re: rant ... post d.c. show) [Ellen Subject: What kind of amp does Murray use? Anyone know what kind of amplifier Murray uses for his bass? One of my coworkers is looking to buy one, likes Fruvous' sound, and is curious. - --Adam adamh@javanet.com ashamed that as a Murray's Person he doesn't know this ------------------------------ Date: Tue, 7 Dec 1999 23:47:29 -0500 From: "Angela Anuszewski" Subject: It's late, I'm blathering, don't mind me. For those of you that met me at the Nov. 24 Rochester show, you know I'm that Al-gal... well, now I don't think I had to hide my Weird Al shirt from certain band members (ok, call me a 23 year old fishgirl)... I just came across this picture in Bermuda's photo gallery on weirdal.com. This is definitely my new desktop photo! http://www.weirdal.com/almoxy.htm Angela P.S. Is the gateway being fickle again? - -- Defender of Ultros, King of the Octopi! Weird AlTeam #23 (cha'maH wej) http://home.rochester.rr.com/aanusze1 ------------------------------ Date: Wed, 8 Dec 1999 03:36:34 GMT From: nmcgrath@world.std.com (Nancy McGrath) Subject: Re: 12.1.99 NYC review "^kat^" writes: >sean altman is freakin' awesome (even his chocolate was good). his >song with jian, though, "your town no more"... wow. when alt.mania comes >out, RUN and buy yourself a copy. > Seeing two of my all-time fave bands on the same bill was a dream come true for me, and every bit as wonderful as I'd imagined it would be! Sean had an awesome time performing before such an appreciative crowd, and sends his thanks to all. He also really appreciates your flattering words, ^kat^! Finally, Sean invites everyone in the NYC area (or further afield, if you're so inclined) to join him for his *free* gig at Arlene Grocery (95 Stanton St. between Ludlow & Orchard, one block south of Houston) this Thursday, 12/9 at 9pm. Nancy McGrath The Seanosphere nancy@bigsean.com ------------------------------ Date: Wed, 08 Dec 1999 05:23:53 GMT From: Terry Smith Subject: you guys Rock! (and a request for info) First off I'd like to say I've been reading the ng for a while now this evening, smiling and chuckling to myself. Thank you all. I dropped in on Russell Wolff's home page, found DaVinci's Notebook, and rather than typing a *seminal* paper on the international political implications of electronic commerce, flashed back to memories of my best friend and fellow rabble rouser playing card tricks before the last 9:30 club show in D.C. All this is further evidence that MOXY FRUVOUS IS IRREVOCABLY ALTERING MY LIFE!!!!!!! Frankly I'm shocked. :^p My first show was the columbia (MD) lakefront show, and I will try to use properly authorized channels to get a copy of it. I've got a question, though... Those of you who have heard the guys talk about it, What the &$%#$! is Horseshoes about? I understand the narrative parts of the song, but after musing for a while, I still don't understand the chorus. What the heck does it mean to be handing out horseshoes??? Or for that matter, tossing them??? -Terry, whose allegory circuits are on the fritz this week. - -- - ------------------------< http://www.gl.umbc.edu/~terry >---------- Terry A. Smith \ Celui que tient la peur de devinir nuage \_________________________________________ U of MD, Baltimore County : Computer Science/Int'l Relations TRW Maryland Engineering Lab: Space and Defense Division #include ------------------------------ Date: Wed, 08 Dec 1999 01:09:29 +0100 From: Mike Wood Subject: Toronto Sun interview, Dec. 7th I was reading the Toronto Sun... and came across this lovely article in today's entertainment section. Probably one of the nicest Fru-articles I've seen in the Canadian press for quite some time. Enjoy, and please excuse any spelling errors incurred through transcribing ;p ~MikeWood - -------------- FANS HAVE MOXY For "Fruheads," it was a contentious issue when Moxy Fruvous recently declared a moratorium on taping concerts. To appreciate how contentious, you have to understand that -- especially in the U.S. -- this band, which Torontonians knew as a quarter of wiseacre street-busking popsters, has become the closest thing Canada has produced to a Grateful Dead or Phish. They operate just under the pop culture radar, yet people follow them around from city to city, trade travel tips on the Internet and create private bootlegs for trade. "We'll go somewhere we've never been, like Portland, Oregon, without media exposure or MTV or whatever, and sell out a theatre with 500 kids," says Moxy Fruvous lead singer Jian Ghomeshi, over the phone from a truckstop outside Hartford. "And we'll ask, 'How do you know about us?' And it turns out somebody traded a tape, and there was the newsgroup and Web site and they saw us on Conan (O'Brien)." The band, which plays Trinity-St.Paul's tomorrow with singer-songwriter Dar Williams, has been filling 1,500-seat halls recently in places like Philadelphia and Washington, D.C. "This is totally where we get to be rock stars," Ghomeshi says. "It's amazing to us, but we know how we got here. "It's weird, especially for Canadians who haven't followed us. We hear, 'How'd you guys end up on Conan?' I wish I could tell you it just happened, but it's the result of hard work. The fans aren't here to hear one song. They buy the band as a whole." And they follow them stylistically. Judging by their latest album, the thoughtful, layered pop album Thornhill (produced by erstwhile R.E.M. producer Don Dixon), the Fruvous that fans are getting these days is a subtler combo than the funsters behind witty, radio-friendly ditties like Green Eggs And Ham and King Of Spain. At the time, Fruvous was considered as much a comedy act as a musical one, and was booked at things like the Just For Laughs fest in Montreal. "That (booking) kind of sucked," Ghomeshi laughs, "because if you're a comedy fan, you know that we're not that funny. We're only funny if you compare us to other bands." So he's no Weird Al? "No, but he's a big fan! He always comes out to our shows when we play out West." A sometimes-humorous band of Canadian ex-buskers who were old news at home but became huge in the States? Did somebody say Barenaked Ladies? "We hear the comparison all the time," says Ghomeshi. "They're more of a commercial band than we are. But I've certainly sat down with them and had them say to me, 'Yeah, it's wild. We just played a massive arena in Detroit and then went home and played someplace small.' And that's certainly the way we feel." "Not only did we emerge at the same time as the Ladies with music that could be considered humorous, but we emerged when the status quo of pop music was the opposite of that (laughs) -- grunge, shoe-gazing, suicidal Trent Reznor stuff. I think pop music has turned around at the end of the decade." So what about that moratorium on taping? "On Wednesday, you will see people taping at the back of the hall, just like at a Deadheads show," Ghomeshi says. "We've supported that in a non-commercial way. But there's also this sense that for three years, we hadn't done a show that wasn't taped. "A few weeks ago, I felt fed up knowing everything's on the record. We had big shows in Philly, Boston, Pittsburgh and D.C. and we said, 'Let's have a moratorium for a week and see how it feels creatively to know no one's taping it.' "It felt great. We're allowing taping this week. But there's something really gratifying about a really good show living in people's memories as opposed to on second-rate dubs." ------------------------------ Date: 08 Dec 1999 14:06:09 GMT From: srm9988n@aol.comicrelief (Lori at fruhead dot com) Subject: Re: "the wrong way" Lizzie said: >> WOuld I sing at a fruvous show.. or possibly sway the >> >"Wrong way" during the drinking song... probably. Can I handle >> >the dirty looks, sure. Will it make me stop? Probably not > >Don't worry, dear, I'm pretty sure they meant the wrong *direction*, as >in the opposite direction as everyone else. I think Lawrence was the one who originally wrote about the "wrong way", and yes I *know* he meant the "wrong direction", as in the Drinking Song sway-line in Ottawa that could not get coordinated. He was on the extreme right end of one direction of swayers, Steve on the extreme left of those going in the opposite direction in the same line, and Angie and I both had to drop out of that line to keep from getting squooshed. Which resulted in Lawrence and Steve hip-checking each other, then parting, then hip-checking again, in rhythm, throughout the song, because neither of them could reverse their end of the line. Even *after* the Nintendo break. It was really funny to watch, in an anti-coordinated way. Or at least it was once I got out of my perilous situation of nearly being crushed. - -- Lori ************* goodnight Irene goodnight Irene I'll see you in my dreams ------------------------------ Date: Wed, 08 Dec 1999 14:41:18 GMT From: vika@attglobal.net (Vika Zafrin) Subject: Re: 12/4/99 - Open letter from Russell Wolff Spake sasu@mail.albany.net: >(his guitar style also >strongly reminded me of ani's, especially on one particular song, the title >of which completely escapes me at present.) So am I the only person who thought that Russell's guitar style more closely resembles that of Jim Infantino, of Jim's Big Ego fame? - -v - -------- Vika Zafrin -------- vika@attglobal.net -------- http://www.brown.edu/Research/Decameron "You never know where you're going 'til you know where you've been." -Will Smith's dad ------------------------------ Date: 08 Dec 1999 14:50:58 GMT From: srm9988n@aol.comicrelief (Lori at fruhead dot com) Subject: Re: Behavior during opening acts. Adam the Landmark said: >> don't like a band's set, go sit outside...your friends'll hold your spots >for >> you. >> -J > >Oy, this wasn't very easy to do at Clifton Park... Only energetic dancing >and singing along to the Frank Sinatra album they played *twice* kept Angie >and Lori's spots open... And that wasn't even during the show, but during the intermission when we were trying to buy Russell Wolff's CDs. If we'd had to leave our spaces for any reason during the actual show, we probably never could have made it back through the forward-pushing crowd that was eager to claim our spaces. One of the reasons I *like* seated venues. ;) - -- Lori ------------------------------ Date: Wed, 08 Dec 1999 14:48:01 GMT From: vika@attglobal.net (Vika Zafrin) Subject: Re: Toronto Sun interview, Dec. 7th Spake Jian, in the Sun interview: > there's something >really gratifying about a really good show living in people's memories >as opposed to on second-rate dubs." Heyheyhey!! Whatchou calling second-rate?? ;) Seriously, wonderful interview. Thanks for posting it, Mike! And, for the record, I understand the sentiment behind Jian's words above. It *is* gratifying, not only to them but to the fans who feel privileged to have *been* at a non-taped concert, to know that they've been a part of something that will never quite be repeated again. - -v - -------- Vika Zafrin -------- vika@attglobal.net -------- http://www.brown.edu/Research/Decameron "You never know where you're going 'til you know where you've been." -Will Smith's dad ------------------------------ Date: 08 Dec 1999 14:59:05 GMT From: srm9988n@aol.comicrelief (Lori at fruhead dot com) Subject: Re: Fruheads unite and..Calm DOWN (fwd) Donna is peeved: >Lori, I know you're talking all about me here, and I'm deeply hurt and >offended >that you didn't take this into private email with me, but instead decided to >air >our dirty laundry here on the ng. Damn you. > >I know that you're just jealous because my parrot is involved in a twisted >love-triangle with you and my roommate, but there's no need to get snarky in >public >about it. That's right, my darling clementine. It's all about you. DonnaDonnaDonnaDonnaMarciaDaveMarciaMarcia MarciaDonnaDaveMarciaMarciaMarciaDonna ..... :P >We all love fruvous. Can't we all just get along? Hey, the parrot's what really matters here. Let's focus on HIS needs. You know we both have his interests at heart, so let's put aside our petty grievances and do what's best for him. - -- Lori ***************** Trust the people for whom living is a sport. ------------------------------ Date: Wed, 08 Dec 1999 06:25:46 -0800 From: Ellen Subject: Re: 12/4/99 - Open letter from Russell Wolff In article <1.5.4.32.19991207212222.0070d434@mail.albany.net>, sasu@mail.albany.net wrote: Yes, I emailed him to tell him how much I enjoyed his show and got an answer within 20 minutes, too. This tells me 2 things: Russell's a fellow geek and is probably reading this right now.. ;) and Russell's also a potential fruhead. Russ? Resistance is futile. You will be assimilated. *smooch* Seriously, I was glad to see that he plans (or hopes, anyway) to tour a little further south in the future as well. I'd definitely go see him again, if he came to the Balt/DC area. peace, ellen * Sent from RemarQ http://www.remarq.com The Internet's Discussion Network * The fastest and easiest way to search and participate in Usenet - Free! ------------------------------ Date: Wed, 08 Dec 1999 06:45:32 -0800 From: Ellen Subject: Re: you guys Rock! (and a request for info) In article <384DEB99.62B7570A@gl.umbc.edu>, Terry Smith wrote: > My first show was the columbia (MD) lakefront show, and I will try > to Welcome, Terry. That was my first show, too. A stellar example of the old saw, "first one's free." ;) re: Horseshoes > I understand > the narrative parts of the song, but after musing for a while, I > still don't understand the chorus. What the heck does it mean to > be handing out horseshoes??? Or for that matter, tossing them??? The way I understand it, it is an allegory about setting oneself up for certain failure. You hand out a horseshoe, what do you *expect* to happen to it? It's going to be tossed. Each verse, IMO, is an illustration of that, eg. you hand over control of your train set (let that be a metaphor for whatever you want it to ;) to someone else, and what do you *expect* to happen? Of course it's going to get destroyed. "Look straight at the coming disaster/ realize what you've lost you keep handing out horseshoes/ horseshoes have gotta be tossed" Look at what's about to happen to you and realize that you, to an extent, orchestrated it yourself. Story of my life. ;) peace, ellen * Sent from RemarQ http://www.remarq.com The Internet's Discussion Network * The fastest and easiest way to search and participate in Usenet - Free! ------------------------------ Date: 08 Dec 1999 14:41:14 GMT From: srm9988n@aol.comicrelief (Lori at fruhead dot com) Subject: re: tangents (was re: rant ... post d.c. show) ellen asked my opinion: >Here is a perfect example of the Common Courtesy Breach: there was an >*appalling* amount of line-jumping at Saturday's Clifton Park show. It >seemed like there was a cutoff point (Those Who Know People Up Front >and Those Who Don't) in the line outside the venue, and after about 7PM >or so, the front end of the line just started swelling and swelling >with ammf-ers. There, I said it. I recognized an awful lot of you, >and that meas that you were newsgroup people. > >Come on, people, don't pretend that you don't know that this is >horribly, horribly rude and unfair to all those people who *don't* know >everyone at the front of the line. Just because you've waited outside >venues for 3 hours on many past occasions does not give you some sort >of Line Tenure that means you don't have to do it anymore. You do. If >you want to get into the venue first, you need to be out there waiting >first, too. > >If this were just an issue of getting a choice spot up front, it might >not be as big a deal. But on days like Saturday in particular, it's >also a matter of getting out of the cold and damp and into the warm. > >Lori, I don't know if this is what you mean by being specific. I would >name names if I thought it would serve any purpose (do you agree? >Because if not, you were also among the first 10 or so ppl there and >have just as much right to speak of it). My impression of what *usually* happens on concert lines is that when people find other people they know, they bounce back and forth to chat, but essentially know where their positions are in line and return to them as the doors open. Usually they arrange with others near their "real" position to hold their spot. I saw this happen in very orderly fashion in DC and Ottawa recently, and some of the people who bopped back and forth among groups of friends in those places, but ultimately took the places they "earned" by the order in which they arrived at the venue, were the ones who seemed to "line-jump" in Albany. However, because the staff in Albany got involved in carding outside the venue before the doors opened, dividing those whose ID they had checked from those they hadn't and setting up a second line whose purpose wasn't clear, then telling us all to stay where they *put* us, I think lots of people couldn't figure out how to get to their "proper" place further back in the original line without being pushed to the very end of that line. There may have been some whose intention was to line-jump, but I thought it was more a matter of "okay, they told us to stand here, and they reconfigured the line, so we will stand here even though we don't really belong here because we've already been "processed"." In other words, I'm not sure it was intentional "tenure-seeking" so much as general confusion. For the record, yes I was the sixth person to arrive, yet I was the seventeenth admitted to the club. (It was easy to count; we were admitted in groups of five.) That means 11 people managed to "jump" in front of me. But the venue staff directed a bunch of them there, so I'm not really blaming the "jumpers" for it. It was an odd night, but a good one. :) - -- Lori ------------------------------ Date: 08 Dec 1999 10:16:36 EST From: Deborah Shuman Subject: Re: you guys Rock! (and a request for info) Terry, I don't know what anyone else might say about Horseshoes, but I've always thought that it's about those moments in life when you realize that you have, through some amount of bone-headedness, brought some catastrophe upon yourself. That's my take, anyway. Deborah Terry Smith wrote: > First off I'd like to say I've been reading the ng for a while now > this evening, smiling and chuckling to myself. Thank you all. I > dropped in on Russell Wolff's home page, found DaVinci's Notebook, > and rather than typing a *seminal* paper on the international > political implications of electronic commerce, flashed back to > memories of my best friend and fellow rabble rouser playing card > tricks before the last 9:30 club show in D.C. All this > is further evidence that MOXY FRUVOUS IS IRREVOCABLY ALTERING MY > LIFE!!!!!!! Frankly I'm shocked. :^p > > My first show was the columbia (MD) lakefront show, and I will try to > use properly authorized channels to get a copy of it. > > I've got a question, though... Those of you who have heard the guys > talk about it, What the &$%#$! is Horseshoes about? I understand > the narrative parts of the song, but after musing for a while, I > still don't understand the chorus. What the heck does it mean to > be handing out horseshoes??? Or for that matter, tossing them??? > > -Terry, whose allegory circuits are on the fritz this week. > > -- > ------------------------< http://www.gl.umbc.edu/~terry >---------- > Terry A. Smith \ Celui que tient la peur de devinir nuage > \_________________________________________ > U of MD, Baltimore County : Computer Science/Int'l Relations > TRW Maryland Engineering Lab: Space and Defense Division > #include ------------------------------ Date: Wed, 08 Dec 1999 10:11:02 -0500 From: Chad Maloney Subject: Re: What kind of amp does Murray use? Adam Hartfield wrote: > > Anyone know what kind of amplifier Murray uses for his bass? One of my > coworkers is looking to buy one, likes Fruvous' sound, and is curious. I haven't looked at the new one. The old one that fried after constant use was a Nemesis combo. Looked like a 2x10 or a 2x12. It's a decent compact amp that puts out a decent amount of sound. It didn't fry because it was a bad amp, it fried because of daily use over a long period of time. The new one from afar looks like a GK head and cabinet, but I haven't really looked at it much. Honestly, I wouldn't go by "this is the amp Murray uses" to buy anything. I highly recommend setting a price range and taking the bass you want to use out to music stores and finding the combo or head/cabinet you want based on how you hear it. No offense, but if you aren't willing to do this, you probably don't want to spend as much money as someone whose job day in and day out is to play through the amp will. - Chad ------------------------------ Date: Wed, 08 Dec 1999 08:17:37 -0800 From: Ellen Subject: re: tangents (was re: rant ... post d.c. show) In article <19991208094114.24889.00000028@ng-fn1.aol.com>, srm9988n@aol.comicrelief (Lori at fruhead dot com) wrote: > My impression of what *usually* happens on concert lines is that > when people find other people they know, they bounce back and forth to > chat, but essentially know where their positions are in line and return > to them as the doors open. Usually they arrange with others near their > "real" position to hold their spot. I'd be willing to believe this if any of the people in question had actually secured themself their rightful place in line. I only saw 2 such people even approach the back of the line when they arrived. Everyone else walked right to the front. > There may have been some whose intention was to line-jump, but I > thought it was more a matter of "okay, they told us to stand here, and > they reconfigured the line, so we will stand here even though we don't > really belong here because we've already been "processed"." I wouldn't have thought it would be this easy to find someone more likely than me to give people the benefit of the doubt. ;) peace... ellen (except when driving-- then i assume *everyone* is out to cut me off) * Sent from RemarQ http://www.remarq.com The Internet's Discussion Network * The fastest and easiest way to search and participate in Usenet - Free! ------------------------------ Date: Wed, 08 Dec 1999 16:43:49 GMT From: omegakap@usa.net (Kyle) Subject: How to get to the show tonight? :) Could anyone tell me how to get to the Trinity St Paul's Center in toronto, if I get off the subway at the Spadina subway stop? I don't feel like getting too lost in Toronto tonight. Thanks :) ------------------------------ Date: Wed, 8 Dec 1999 09:23:06 -0800 From: "Mike Yoshioka" Subject: Re: Toronto Sun interview, Dec. 7th Vika Zafrin wrote in message <384e6efb.2790604@news3.attglobal.net>... >Seriously, wonderful interview. Thanks for posting it, Mike! AAAAAaaaaaarrrrrrggggghhhhhhh :) Ok, uhm, for reasons beyond my control, my isp has decided to not pick up on the original message (Toronto Sun interview, Dec. 7th) Yet it has allowed a response to said message to come through, just teasing me enough to know that there was that message, but I can not read it. Could some kind fruhead please e-mail it to me? Oh, and then please post here that you have e-mailed it to me, so that I don't get 1 million copies (that's how many fruheads would do this, right? ;) ) of the message. Thanks in advance :) Mike aka Racer PS This is the same isp that has allowed several enlarge your .... articles to come through. Just what I wanted to read first thing in the morning. :P ------------------------------ Date: Wed, 08 Dec 1999 11:22:39 -0500 From: Chad Maloney Subject: Re: you guys Rock! (and a request for info) Terry Smith wrote: > I've got a question, though... Those of you who have heard the guys > talk about it, What the &$%#$! is Horseshoes about? I understand > the narrative parts of the song, but after musing for a while, I > still don't understand the chorus. What the heck does it mean to > be handing out horseshoes??? Or for that matter, tossing them??? That part of the song for me pretty much just says that if you keep opening the door for people, you should be prepared for what they'll do once they are inside. It's kinda a grim picture to me, almost saying don't trust people because they are just gonna screw you. You traded your night on the train set to your sister if she'd do your dishes. Great trade! But she ends up maliciously busting your train set after you've trusted her with it. You trust in your lover so much that you admit feeling a little wrong in the relationship right now and would like their help in exploring it. Reading between the lines, I infer that the narrator gets dumped right after it because the trusted lover doesn't want to deal with a relationship with that needy of a person. You trust your (different) lover again. They want to so much to go be with someone else, and following the old adage if you love something, set it free, and if it returns you know that the love is true. So you trust your love and heart enough to let loose your lover knowing deep down they will come back because you've have shared something real. Then you get the letter from them after not seeing them for awhile and you knew exactly what it is: a good, nice, letter-style break-up letter. The chorus is just saying get used to the fact that when you make yourself vulnerable (handing out a horseshoe), you are going to get hurt by it (they are gonna throw the horseshow, what else are they gonna do with it?). Again, I find that very pessimistic because there's no way to truly make gains in life without opening yourself up and making yourself vulnerable. In order to explore the greatest parts of life, you have to open yourself up and be incredibly vulnerable. You risk the chance of being deeply hurt for the chance that you connect honestly with someone, a connection that may last the rest of yourself. The narrator of the song seems to have given this up and decided it isn't worth it. All the hurt and scarring isn't worth the chance that a true friendship or relationship will happen. And that's my opinion-laden answer to your question. - Chad ------------------------------ Date: 08 Dec 1999 18:54:07 GMT From: srm9988n@aol.comicrelief (Lori at fruhead dot com) Subject: re: tangents (was re: rant ... post d.c. show) ellen said: >I'd be willing to believe this if any of the people in question had >actually secured themself their rightful place in line. I only saw 2 >such people even approach the back of the line when they arrived. >Everyone else walked right to the front. now that's a rather incriminating observation. :) O front-of-the-line people, is this true? >I wouldn't have thought it would be this easy to find someone more >likely than me to give people the benefit of the doubt. ;) I sometimes think I was the sucker born in my particular minute ... ;) Come on, "other people" who made it to the front of the line, speak up here. Ellen and I were both there early. We have different interpretations of the motivations of those who arrived much later but who ended up in the front. Care to say whose view more closely equates with what you think you did that night? - -- Lori, a sucker but not a controversy-shunner. :) ------------------------------ Date: Wed, 8 Dec 1999 10:51:22 -0800 From: "Mike Yoshioka" Subject: Re: Toronto Sun interview, Dec. 7th Thanks to Chad M and the Dancing Queen for sending me the article! :) Now I can agree with Vika, second rate dubs?! :) Mike aka Racer ------------------------------ End of alt.music.moxy-fruvous digest V3 #1005 *********************************************