Errors-To: ecto-owner@ns1.rutgers.edu Reply-To: ecto@ns1.rutgers.edu Sender: ecto@ns1.rutgers.edu From: ecto@ns1.rutgers.edu To: ecto-request@ns1.rutgers.edu Bcc: ecto-digest-outbound@ns1.rutgers.edu Subject: ecto #852 ecto, Number 852 Monday, 8 November 1993 Today's Topics: *-----------------* Obscenities/Indecencies in broadcasting Errata stigmata zenyatta mondatta Happy Boxed Set? Mae Moore? More! More! :-) Re: TRS review Today's your birthday friends.... Concert reviews ======================================================================== Date: Mon, 8 Nov 1993 9:51:11 -0500 (EST) From: Chris Sampson Subject: Obscenities/Indecencies in broadcasting To woj: (and whomever else is listening to this thread), As a newly licensed boradcaster, I have had to come to terms with what can/can't be played on the air. Having the overnight on WHUS, 91.7, Storrs, CT (University of Connecticut), eliminates one conern, namely, the time. Yeah, the safe harbor period is 10PM to 6AM. My personal interpretation (which, in this case does not differ from that of the operations board of WHUS) of the Miller Case a/o Pacifica Ruling....etc. is that "bullshit" is indecent, NOT obscene. If someone made reference to taking a mound of the stuff and smearing it on his or her body while masturbating (hey, whatever you're into, but YUCK!), THAT would still only PROBABLY be obscene...the part of the Miller Test for obscenity (remember when the Miller Test only referred to college entrance exams?)...that might apply would be the part necessitating that the "artist" had no artistic intent....Wait, I KNOW I have the programming manual with me....here it is: I quote from page 5 of the WHUS programming manual for 1993/94: The "Miller Test" is a three-part definition of obscenity, and material must meet all three criteria for it to be subject to this restriction. The material must (1) appeal primarily to the prurient interest and (2) violate local contemporary community standards, and (3) be without any significant of redeeming social, artistic, political or educational value. [Gleaned from Miller v. California Supreme Court, 1973] While we're at it, the Pacifica Case [1978] defined indecency as "languag or material that depicts or describes, in terms patently offensive as measured by contemporary community standards for the borad cast medium, sexual or excretory activities or organs." Our manual goes on to say that this includes, but is not limited to the "seven dirty words", here reordered in deference to George Carlin: Shit, piss, fuck, cunt, motherfucker, cocksucker, and tits. Now that I've wasted half a bandwidth typing this nonsense, we ask ourselves if Kate's use of the word bullshit is indecent or obscene...personally, I don't think it's either (bullshit has come to be used to mean "anything patently absurd or false", despite its etymology, or so MY take on it goes). As a DJ at the station pointed out, once, "*I* think it'd be okay to say 'don't piss me off', but not to say, 'I think I'll drink a mug of piss, now'. MY first night on the air, I played some John Giorno, in which John said "I want to spurt on your face....and rub it in...." and later went on to say "...fist-fucking five guys..." <"Oh darn, I'm dead now">... I may have crossed the line, there, probably why they put the new DJs on overnight. However, I DON'T think I broke any laws when I played Zappa "...but they were full of all that shit that they believed in. So whaaaatt the fuck?", or "We'll get back to the wimp and his low budget conception of personal freedom in America in just moment, in the meantime, welcome to 'What the fuck gwon on heah!?: an examination of the American way er life' . WTF and other such phrases are profane, no doubt, but their use is as definitionless emphatics (new term, mine) rather than for any of their original meaning. We could argue this whole issue case by case, and perhaps that's the sort of thing that the court systems SHOULD do, until nobody is afraid of words anymore, but the really scary issue, broached by woj when he said, "...I don't think I'd like to be a 'test case'..." is that CONVICTION of one the above transgressions is not necessary for most stations...in the US, anyway...as the fine $12,500 (i think), versus the necessary legal fees is a choice between the devil and the deep blue sea, and is enough to close down most non-profit/college radio stations. I was in the air studio when the DJs who have a show called "The Kingdom" (heavy metal) received a phone call from an obviously disturbed (read that however you like) listener who, among other things, claimed to be taping the show for mailing to the FCC and accused the DJs of "not realizing what they're contributing to"...brrrrr, I get chills when I meet the self-appointed guardians of the public's morals. So, what I'm saying here, is that yeah, the whole obscenity/indecency think MAY be an esoteric thread in the eyes of some (much the same as the SF thread that has received some flak) but really, and I know you've heard this all before, the ideal of "free speech" is being challenged/redefined, and therefore is of interest to all. So, if you prefer, woj and I (and Meredith, if she's out there) will take this to email if people would prefer, but *I* think it relates to all of us, especially when one considers that the FCC's recent zeal in enforcement of this ruling (which they've previously been lax about) is presumably a combined result of: the prflagation of the religious right, and the need for funds due to budget cuts (sickening, i'n't it?)...What a country! Chris Sampson chris@neuron.uchc.edu ======================================================================== From: Aeren Hawkins Subject: Errata stigmata zenyatta mondatta Date: Mon, 8 Nov 1993 09:19:14 -0600 (CST) Uli gently corrects a misrepresentation: > Nope! It was Michael who tried to say 'Hello!' but used some Mime encoded > coding scheme which resulted in something similar to something uuencoed. > That reminded me of that C program whose runability definitely doesn't have > anything to do with endianess which I even got the wrong way around. So the entire SF discussion originated with a computer glitch? More cheap ecto irony :) How do you all deal with it? I don't suppose anyone wants to explain to the American section of the audience who Lenny Henry is...? Or wants to pop by rdt and with Tisha Stima a happy b'day? They're a fairly anti-social bunch over there. :) And I just read The Battle for Brazil over the weekend, which left me with a few questions about where the broadcast-tv version of the movie came from. Was it the one the studio edited, or did WGN chop it up themselves? Aeren, who was just thinking the other day about the orchidaceous nature of Kate _Bush_. Ouch. ======================================================================== Date: Mon, 8 Nov 93 09:13:11 PST From: hanson@ast.saic.com (Jeffrey Hanson) Subject: Happy Boxed Set? Since I now have heard enough Happy songs to convince me to buy all her CDs, I was wondering if Happy has ever considered putting together a boxed set of all her releases. Perhaps it could be called "This Other Woman's Work", or "Monsters and Melodies." I would imagine that it would be a fairly expensive process for Happy to manufacture the boxes, but if anyone has heard of any plans for such a project, maybe I'll postpone my order to Aural Gratification. I hate to go through what I went with Kate. Buying all the albums on vinyl, buying them all on CD, and then buying the boxed set. At least with Happy I know I can skip the vinyl. ------------------------------------------------------------------------ Jeff Hanson | (619) 458-5130 4161 Campus Point Court M/S E3R | hanson@ast.saic.com San Diego, CA 92121 | ======================================================================== Date: Tue, 9 Nov 93 03:50:01 AEDT From: anthony@xymox.apana.org.au (Anthony Horan) Subject: Mae Moore? More! More! :-) Hi y'all... I'm getting there, I only have 1659 messages in rec.arts.movies to go (or should that be rec.arts.moofies as they're still going on about Schwarzenegger films. A man and his moofies. Yup. :-) WARNING: MARGOT SMITH WILL BE MENTIONED IN THE NEXT BIT! :-) Every time I speak to Margot she throws interesting tidbits of info at me when I least expect it. One such was that while she was doing the early album sessions with Steve Kilbey, he also kept shooting off to work on the mix of an album by someone called Mae Moore. Hmm. I asked, but no-one knew. Actually, I should have asked here. Anyway, Margot said that Mae's music was stylistically on a parallel with hers, and that Kilbey had done some nice work on the production side. I got into the magazine office today, and my editor (who's still sending me up over the 10 out of 10 I justifiably gave Margot's album - "no journalist gives GOD 10 out of 10!") threw a few CDs at me. One was the new Deborah Conway album (more on this in a sec) and the other the Mae Moore CD, out locally thru Sony - on what seems to be TriStar Pictures' *record label*! It's called "Bohemia" and is copyrighted 1992 (Margot's album completed mixing in October last year but took almost a year to get released); I'm playing it now, and it's definitely EctoFodder - not downright brilliant, but with moments of inspiration, especially a track called "Because Of Love". What does it sound like? Hmm. Sort of Grace Pool put through a Heidi Berry filter and then force-fed into the Kilbey Computer. It's nice. I think I'll like it more on subsequent listens. I'm told this record did quite well in either the US or Canada...? If so, maybe TriStar would like to release Margot's VASTLY superior album (grin) on their label in the US? Deborah Conway used to sing in a band called Do Re Mi, who you may remember. "Man Overboard" was their best-known song. Now she's solo, having released a wonderful album called "String Of Pearls" a while back, and now with a newie called "Bitch Epic" (she coined the title by pulling words out of a box, literally). She appears on the cover naked, covered in Nutella (do you have that in the US? It's sort of a chocolate spread) and wolfing down cake with an evil look on her snarling face. This cover takes the Liz Phair Award for Cover Attitude 1993. I get to interview her next week. Deborah, that is. I hope she's in a better mood. She smiled on the last cover. The liner notes say "Yesterday I was a daisy. Today I'm a bitch. Deal with it." The music belies this. It's rather good. Oh, by the way, I love it when Kilbey hires a string section. So there. :-) Trivia: Gavin MacKillop, who produced the first Do Re Mi album, mixed the Mae Moore album. :-) Quotable quoting... Neile writes of Kate (who should do a duet with Robert Plant. Bush And Plant. I can see it now. Haw haw. :-) > 1. Rubberband Girl: Fun, though if it weren't KaTe I probably wouldn't > be that interested in it. As it is I enjoy it. > > 2. And So is Love: Forgettable, sadly. Another one that if it was > someone else doing it I wouldn't even notice this song. > > 3. Eat the Music: Interesting lyrics but another one that if another > person had done it I wouldn't have noticed it. > > 4. Moments of Pleasure: This is way too sweet for me. I know it's > heartfelt, but if this were a poem I'd written I would show it to family > and friends and not publish it. > 9. Constellations of the Heart: I don't particularly feel one way or > the other about this one. > > 11. Why should I love you: it's starting to bother me. The chorus > sounds oh so very squiggle. > > 12. You're The One: Not my favourite. Another one that doesn't sound > that individually KaTe. > > Overall the album for me has a wonderful center, but the beginning and > the end I can live without. So my purpose for quoting all this is... does Margot win on points, then, Neile? :-) :-) :-) Steve Vandervendenises; > Laurie Anderson is on tour again, and she came to Eugene Friday > night. I wasn't sure what to expect, since her last appearance > was mostly a lecture tour, but the promotional material said she > would be performing "songs and stories from her upcoming album > produced by Brian Eno." Busiest recluse in history, that guy. Actually, I interviewed UK band James the other night, whose latest album has been produced by Eno, and they had some interesting things to say about him. Anyone want me to dig out the tape and hammer them in? LATE NOTE: Bass Note Of Doom Alert - Mae Moore CD, Track 10, 3.00. :-) 'Night everyone! Anthony ----------------------------------------------------------------------------- Anthony Horan, Melbourne Australia - anthony@xymox.apana.org.au "I kind of feel like I'm Metallica..." - Tori Amos on the perils of long tours, November 1992 ----------------------------------------------------------------------------- ======================================================================== Date: Mon, 8 Nov 93 9:41:23 PST From: "John Relph" Subject: Re: TRS review >Kate Bush does not make wholly satisfying albums. Her outlook - and >probably her methods - are too orchidaceous to survive in the open >fallow of common album husbandry. I like this review! I know a lot of people complain about overwrought prose as typically used by critics, but sometimes the language makes a point. So let's wade through the "referential compost" and see what smells good about this album! Maybe we can grow some orchids, too. -- John ======================================================================== From: klaus@inphobos.wupper.de Date: Mon, 8 Nov 1993 07:28:53 Subject: Today's your birthday friends.... i*i*i*i*i*i i*i*i*i*i*i *************** *************** ***HAPPY******* ***HAPPY******* ********BIRTHDAY*** ********BIRTHDAY*** ******************* ** Lynn *********** ****** Jens Brage ***** *** Garrett-Kirchoff ** *********************** *********************** -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Jens Brage Sun November 8 1964 Scorpio Rising Lynn Garrett-KirchoffSat November 8 1958 Scorpio Ken Latta Sun November 11 1951 Scorpio Rob Craven Thu November 14 1974 Scorpio Elizabeth W. Warwick Sun November 15 1964 Scorpio Naama Avramzon Mon November 18 1974 Scorpio Jeff Smith Mon November 19 1962 Crash Kevin Bartlett Fri November 21 1952 Scorpio Alan Ezust Fri November 21 1969 Earth Moving Claudia Spix Wed November 23 1960 Schuetze Tommy Persson Wed November 25 1964 Sagittarius Pat Tessitore November 26 Sagittarius Justin Bur Fri November 27 1964 Sagittarius Sue Trowbridge Sun November 27 1966 Skytten Chip Lueck Thu December 5 1968 Sagittarius Ken Hoyme Sun December 8 1957 Sagittarius -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- _____ Klaus Kluge * klaus@inphobos.wupper.de * I'll be here, I'll be (in) Ecto! ======================================================================== From: S.L.Fagg@bnr.co.uk Subject: Re: Mae Moore? More! More! :-) Date: Mon, 8 Nov 1993 18:26:01 +0000 (GMT) On Tue, 9 Nov 93 at 03:50:01 AEDT anthony@xymox.apana.org.au (Anthony Horan) wrote: > Every time I speak to Margot she throws interesting tidbits of info at me > when I least expect it. One such was that while she was doing the early album > sessions with Steve Kilbey, he also kept shooting off to work on the mix of > an album by someone called Mae Moore. Hmm. I asked, but no-one knew. > Actually, I should have asked here. Anyway, Margot said that Mae's music was > stylistically on a parallel with hers, and that Kilbey had done some nice > work on the production side. > > I got into the magazine office today, and my editor (who's still sending me > up over the 10 out of 10 I justifiably gave Margot's album - "no journalist > gives GOD 10 out of 10!") threw a few CDs at me. One was the new Deborah > Conway album (more on this in a sec) and the other the Mae Moore CD, out > locally thru Sony - on what seems to be TriStar Pictures' *record label*! > It's called "Bohemia" and is copyrighted 1992 (Margot's album completed > mixing in October last year but took almost a year to get released); I'm > playing it now, and it's definitely EctoFodder - not downright brilliant, but > with moments of inspiration, especially a track called "Because Of Love". > What does it sound like? Hmm. Sort of Grace Pool put through a Heidi Berry > filter and then force-fed into the Kilbey Computer. It's nice. I think I'll > like it more on subsequent listens. I'm told this record did quite well in > either the US or Canada...? If so, maybe TriStar would like to release > Margot's VASTLY superior album (grin) on their label in the US? Had you asked about Mae Moore on Ecto you would probably have got at least two responses since Neile sent me a tape of "Bohemia" many moons ago (thanks Neile!). It's a gorgeous album, definitely (as you say) ectofodder. The opening (title) track unfailingly transports me to the streets of Paris on a spring evening and from that point on I'm hooked. Because it's on a tape I'm not sure what the names of my favourite tracks are, oh how the CD has made me a lazy listener! I don't recall ever hearing about her before I got the tape, and you are the first to mention her here since I'm sure. Being force fed through a computer is certainly not how I would have described the sound, but then perhaps you meant this as a complement :-) I hadn't realised that the album was out on CD, I'll be looking for it next time I have a chance. Anybody (Neile?) know if she's recorded any other albums? Anyway, if you think there truely is a stylistic parallel between Mae Moore and M*rg*t Sm*ith maybe I should give the latter a try after all. While I'm on here I just want to add thanks to Doug for the Nordic Sampler and to Neile (again!) for "Fumbling Towards Ecstasy". Both arrived recently, but neither has had more than one listen yet because they've been squeezed out by TRS... P.S. Jane Siberry in London last week????? Waaaaaah!!!!!!!!!! I never knew! November 3rd would have fitted in nicely between "Barber of Seville" at the Coliseum on Tuesday and the LSO at the Barbican on Thursday. P.P.S. Any other UK Ectophiles going to the KaTe film in London on Saturday (or is everybody off to Wuppertal)? Want to meet up before/ after? -- Regards Steve Fagg ( S.L.Fagg@bnr.co.uk +44-279-402437 ) BNR Europe Ltd., London Road, Harlow, Essex, CM17 9NA, UK *** "Better drowned than duffers. If not duffers, won't drown". *** ======================================================================== From: neilg@sfu.ca Subject: Re: Mae Moore? More! More! :-) Date: Mon, 8 Nov 93 11:33:48 PST > [...] I hadn't realised that > the album was out on CD, I'll be looking for it next time I have a > chance. Anybody (Neile?) know if she's recorded any other albums? Mae Moore is a Canadian singer-songwriter from Victoria. Her debut album is called _Oceanview Motel_. It's slightly harder and rougher than _Bohemia_. On the latter she tends to sing in a somewhat breathier voice than the one she uses on most of _Oceanview_. Actually, if you listen to the way she sings on "Pieces of Clay" off her second album you've got an idea of how she sings on her first. Both good albums, but I like her second one more I think. And yes, they're both available on CD. The Canadian record industry abandoned vinyl aeons ago! Well, a few indies put out vinyl but none of the major league companies do. I saw _Bohemia_ on sale in Seattle at a record store, so I guess she is available outside Canada. :) Don't know about the UK, though. > While I'm on here I just want to add thanks to Doug for the Nordic > Sampler and to Neile (again!) for "Fumbling Towards Ecstasy". Both > arrived recently, but neither has had more than one listen yet because > they've been squeezed out by TRS... And if you're into connections, Mae Moore's drummer Ash Sood (from Calgary originally) has worked with McLachlan and has toured live with her band, I think. - Neil K. -- 49N 16' 123W 7' / Vancouver, BC, Canada / neil_k_guy@sfu.ca ======================================================================== Date: Mon, 8 Nov 93 12:52:56 PST From: kyrlidis@templeton.cchem.berkeley.edu (Angelos Kyrlidis) Subject: Concert reviews Diamanda Galas written on sunday 11/7/1993 I decided to go to the Warfield in San Francisco last night to see Diamanda Galas live for one more time. The entire show was a performance of the Plague Mass. It was among the best performances I have ever attended (much better than 'The Singer' shows). The stage at the Warfield was sparse. A piano, three microphone stands, a podium, a raised stage in the back, and a pilar with a gold bowl on top of it, with tens of black candles everywhere in between. The show lasted about 80 minutes, and the whole time Diamanda was bare chested, and covered with (fake) blood. It started with 'There are no more tickets to the funeral', which I had heard before, and after the end of it the whole theater started shaking at the sound of the loud drum beat that is the haunting background to 'Unclean', which has to be one of the most chilling pieces of music ever written. At that point I was in awe, because I knew that what I was about to see was the 'real thing' (i.e. not an excerpt of the PM). She used tapes throughout the rest of the show, with percussion and the distinct electronic effects she uses in her early albums. At some point she took out a knife. At another point she chanted 'hoc est signum sangre meum' while pouring the blood from the bowl on herself. I *think* she included 'What time is it?' from _Vena Cava_ in the Plague Mass. The most surprising to me part was when she started asking 'Were you a witness?' in Greek!! 'Isoun martiras? Isoun martiras stous afentes tou argou thanatou?' The show ended with her on the piano, performing 'Let my people go', and what was coming from her was genuine emotion, genuine distress. Applause thundered and she came out three times without saying a word to the audience. She had said it all before... Quoting from the program: "This angry requiem is an exorcism of a false and unjust spirit, a cry for liberation from meaningless death, and a prayer for power over our enemies. Whenever great suffering has been caused by adversity (whether man-made or natural) a voice appears which decries the suffering and opposes the adversity. Now, as the numbers of persons dead with AIDS in the US approaches the number of US soldiers killed in WW I, Diamanda Galas' Plague Mass is our anguished voice." Even if you don't ever plan to buy her albums, you *MUST* see this woman perform, if you have the chance. Dead can Dance written Monday 11/8/1993 Last night I saw Dead can Dance at Zellerbach in Berkeley. I was not very impressed. The highlights of the show for me were Brendan Perry's singing, plus the pieces that were driven by percussion. Lisa Gerrard was in top shape in terms of voice, but her performance didn't touch me. It seemed a bit too rigid (I don't know how to express this). I enjoyed the first couple of a capella or sparse songs, but after the first few it just seemed to go on and on... Plus I think I would have appreciated some sort of interaction. When you start singing in various languages, you might as well tell the audience what you are singing, and why. The setlist probably spanned their entire career, because I only recognised about half a dozen songs, and they played for two solid hours including three encores. I think next time instead of going to their show, I will buy several tickets in advance, sell them for $80 each the night of the show (as people were offering that much to buy tickets last night) and spend the $$$ to buy some of the older import CDs of theirs... :) Before I sign off, I'd just like to mention that Arson Garden's first album 'Under Towers' has just been re-released. No new tracks are added. FYI. Angelos ======================================================================== The ecto archives are on hardees.rutgers.edu in ~ftp/pub/hr. There is an INDEX file explaining what is where. Feel free to send me things you'd like to have added. -- jessica (jessica@ns1.rutgers.edu)