From: owner-fegmaniax-digest@ecto.org To: fegmaniax-digest@ecto.org Reply-To: fegmaniax@ecto.org Errors-To: owner-fegmaniax-digest@ecto.org Subject: Feg Digest V5 #176 Fegmaniax Digest Volume 5 Number 176 Thursday July 24 1997 To post, send mail to fegmaniax@ecto.org To unsubscribe, send mail to majordomo@ecto.org with the words "unsubscribe fegmaniax-digest" in the message body. Send comments, etc. to the listowner at owner-fegmaniax@ecto.org FegMANIAX! Web Page: http://remus.rutgers.edu/~woj/fegmaniax/index.html Archives are available at ftp://www.ecto.org/pub/lists/fegmaniax/ ---------------------------------------------------------------------------- Today's Topics: ------- ------- RE: "Gimme boy-rock!" she proclaimed The Mollusk really, I am bonus disks (1% RH) Elastica v. Alanis v. Oasis Re: Love Poisoning Re: "Gimme boy-rock!" she proclaimed re: the first hidden track Re: "Gimme boy-rock!" she proclaimed (0% RH) Girly get yourself connected Re: get yourself connected this is just to say zit-maps: the American Pizza Face re: the first hidden track Re: Various people wrote... Robyn's signature Re: Robyn's signature Clipped Wing Re: Clipped Wing Re: More thread grab-bag Re-opening Brenda Re: little girly whirly admin stuff ------------------------------ From: "Chaney, Dolph L" Subject: RE: "Gimme boy-rock!" she proclaimed Date: Wed, 23 Jul 1997 16:30:41 -0400 Yes, Elastica's "Connection" is a great song. I just liked it better when Wire did it under its original title, "Three Girl Rhumba", in 1979. Dolph ------------------------------ Date: Wed, 23 Jul 1997 13:42:17 -0800 From: John Barrington Jones Subject: The Mollusk I wonder what Robyn would have to say about Ween's new album?? Someone let me borrow it. I'm not really familiar with Gene, Dean, and Mean Ween :) and their body of work, but the cd was pretty odd. But tastily seafoody. Back to lurky lurky land, Lobstie aka ------------------------------ Date: Wed, 23 Jul 1997 13:41:38 -0500 From: Gary Parker Subject: really, I am >[note: gary claims to be cone #12. this isn't in the vcm, is it?] The pictures are taken, but not yet developed. Hopefully we will finish the roll before Christmas holidays. Probably soon, since we have a baby due. Don't get too excited, though, as mine doesn't have the candy top, it having fallen off in the backseat of the rental Robyn and Vaughan were driving at the time. I thought of replacing it, but it didn't seem right. If you look closely you will see the impression of an m&m preserved in Elmers. gvp Cone #12, really! ------------------------------ Date: Wed, 23 Jul 97 13:51:00 -0800 From: Russ Reynolds Subject: bonus disks (1% RH) >Related topic: What do y'all think about the very minor trend of including >bonus disks? bonus discs are cool. That's something that dates back to vinyl days. Elvis costello's live EP with "Armed Forces", Stevie Wonder's "Something's Extra Bonus Disc" with "Songs In The Key Of Life". The single that came with the first Clash album ("Groovy Times" b/w "Jail Guitar Doors" I think). Even Robyn Hitchcock had one--a flexi that came with the "The Man Who Invented Himself" 45. >except in the Sugar case, where I'd already bought the one without the >live CD and couldn't see buying the same album again just for the bonus. That's what trade-ins are for! >More hated is when an album comes out in both a one CD and a two CD >format: namely the last live Velvet Underground album. I'd already bought >the abbreviated one-disk version before I realized my mistake! I don't get that. Were both versions released in the same country? Remember XTC's "English Settlement" was released as one disc stateside, so the poor saps who weren't aware there was a double album in the import sectionwere deprived of some great tunes, including "knuckle down," which I think is one of the albums best songs. -rr ------------------------------ Date: Wed, 23 Jul 1997 14:10:25 -0700 From: Eb Subject: Elastica v. Alanis v. Oasis 1995's best singles, according to the influential, much-quoted Village Voice Pazz & Jop critics' poll: 1 Coolio "Gangsta's Paradise" 2 Edwyn Collins "A Girl Like You" *2 (tie) Alanis Morissette "You Oughta Know" *4 Elastica "Connection" 5 TLC "Waterfalls" 6 Joan Osborne "One of Us" 7 PJ Harvey "Down by the Water" 8 TLC "Creep" 9 Dionne Farris "I Know" 10 Shaggy "Boombastic" *11 Oasis "Wonderwall" And if anyone chooses to sneer at this list, let it not be based on your own genre biases. Eb ------------------------------ Date: Wed, 23 Jul 1997 17:35:16 -0400 (EDT) From: lj lindhurst Subject: Re: Love Poisoning we have assumed control...we have assumed control... did y'all miss me? lj n.p.: wonderful tape that hal made me ------------------------------ Date: Wed, 23 Jul 1997 20:08:59 -0500 (CDT) From: Mississippi Malcolm McDowell Subject: Re: "Gimme boy-rock!" she proclaimed On Wed, 23 Jul 1997, Eb wrote: > Susan's bias against almost all modern "girl" acts continues. Eh, that's just it. Women are fine. I don't like girls. Girlygirl voices give me a pain. Andat the moment they happen to be in fashion, unhappily for me. One thing I'll say about the mediocrity known as Alanis- at least she sounds more like Pat Benatar than Diana Ross. This is a happy thing. You KNOW full well Eb, that your list included none of rock or pop's elder stateswomen aside from Marianne Faithfull and Patti Smith (I believe you didn't even mention Mo Tucker). If it had I might have found more to get excited about. I find it also worth noting at this time that a LOT of what you had listed I was simply not familiar with, not because I'm actively avoiding female acts, but because in general I try to avoid indie rock and the snobbery associated therewith. I haven't gotten around to hearing the Eric Matthews solo album either but I don't notice you getting into a snit over that, I guess because he has XY chromosomes. > personally liked) to offer quick views on, and the ONLY one she would wax > enthusiastic about was Marianne Faithfull, who of course basically has a > male voice (as well as heavy male input on almost all her records)? Sheesh. > ;P Oh I see, so it was a MAN who came up with the line "why did you spit on my snatch"? > also recorded back in 1982. Anyone else know for sure? I don't own any GnR > albums. And the Beach Boys' version had a slightly different title, right? > Something like "Never Learn Not to Love (Cease to Exist)?" The Beach Boys' one was called "Cease to Resist". > >> Eb, who thinks that Elastica's "Connection" should also be on the short > >> list of this decade's great singles > > > >WHAT? > > See opening comments. See Dolph's comments. This has to do with a prejudice against blatant ripoffs, not a prejudice against women, thanks much. I'm a little sick of arguing this. Love on ya, Susan ******************************************************************************* "The worship of the beautiful always ends in an orgy"- Benjamin Disraeli, "Lothair", lxxvii ******************************************************************************* ------------------------------ Date: Wed, 23 Jul 1997 20:16:06 -0500 (CDT) From: Mississippi Malcolm McDowell Subject: re: the first hidden track On Wed, 23 Jul 1997, Russ Reynolds wrote: > from the booklet was that the SB's version of Heartbreak Hotel came "by way > of John Cale"...I had always thought this was a Soft Boys arrangement. Were > they just playing John Cale's arrangement? And if so, where can John Cale's > version be found? It's a truly warped arrangement, and I've always given > Hitchcock credit for that...I wanna make sure I'm giving credit where credit > is due. There are a couple different recordings of Cale's version that I know of, the studio version on "Slow Dazzle" (this can be found by itself or as part of the "Island Years" 2 disc set) and the tamer (but still pretty grim) arrangement on the live album "Fragments from a Rainy Season". The Soft Boys' version is indeed, aside from a few lyrical variations which are obviously Robyn's, John Cale's arrangement. There are minor differences here and there but I don't think even Eb would argue with me that this is a cover of Cale rather than a cover of Presley. Love on ya, Susan ******************************************************************************* "The worship of the beautiful always ends in an orgy"- Benjamin Disraeli, "Lothair", lxxvii ******************************************************************************* ------------------------------ From: Terrence M Marks Date: Wed, 23 Jul 1997 21:45:38 -0400 (EDT) Subject: Re: "Gimme boy-rock!" she proclaimed >> Something like "Never Learn Not to Love (Cease to Exist)?" >The Beach Boys' one was called "Cease to Resist". No. The Beach Boys one was called "Never Learn Not TO Love". It was based on a Manson song called "Cease to Resist". THis was all, ofc, before the murders, mind you. Terrence Marks Remember-Jesus is your friend. normal@grove.ufl.edu ------------------------------ Date: Wed, 23 Jul 1997 20:52:44 -0500 From: hal brandt Subject: (0% RH) Eb wrote: > > 1995's best singles, according to the influential, much-quoted Village > Voice Pazz & Jop critics' poll: > And if anyone chooses to sneer at this list, let it not be based on your > own genre biases. > > Eb I choose to sneer at this top ten list because it has nothing to do with anything pertaining to Robyn Hitchcock. Susan wrote: > I'm a little sick of > arguing this. Then don't! Respect, hal ------------------------------ Date: Wed, 23 Jul 1997 21:52:08 -0700 From: Eb Subject: Girly Susan wrote: >Eh, that's just it. Women are fine. I don't like girls. Girlygirl voices >give me a pain. Like I said: Bias. That's a pretty superficial dismissal of quite a wide variety of artists and styles. And anyway, my original list contained lots and lots of singers who didn't have "girlygirl" voices. Also, you KNOW full well Susan, that my list wasn't an attempt at some definitive Women In Music list, but just a list of women artists whom I had bought/acquired albums by in the past year or so. >You KNOW full well Eb, that your list included none of rock or pop's elder >stateswomen aside from Marianne Faithfull and Patti Smith (I believe you >didn't even mention Mo Tucker). If it had I might have found more to get >excited about. Oops, I didn't realize that only ELDER women could make worthwhile music. What's your minimum age requirement? And Mo Tucker? Sheesh. She fulfilled the need for a primitive pounder in VU, but an artist to be reckoned with in her own right? Ehhhh...not in my eyes. And anyway, how many "elder" stateswomen wrote good songs? Are you only interested in women as pure singers/interpreters? >in general I try to avoid indie rock and the snobbery associated therewith. Bias...blanket dismissal.... >I haven't gotten around to hearing the Eric Matthews >solo album either but I don't notice you getting into a snit over that, I >guess because he has XY chromosomes. This comment isn't even relevant, since we're talking about artists which you HAVE heard. But while I'm here, I'll say again that EM's upcoming The Lateness of the Hour is probably the best record I've heard all year. >Oh I see, so it was a MAN who came up with the line "why did you spit on >my snatch"? No, but it was a man wrote the song which put her on the map and gave her a career. It was men who wrote (as far as I can recall) ALL of the abundant cover songs she has recorded. It was men who played the vast majority of the instruments on her albums. It was men who produced her albums, often adding their own distinctive style to her sound. It was a man who collaborated with her on A Secret Life. Offering one song lyric in her defense seems like a rather strange debate tactic. Sure, she has written some great lyrics. But she's had a lot of male help over the years. Pretty hard to deny that. >See Dolph's comments. This has to do with a prejudice against blatant >ripoffs, not a prejudice against women, thanks much. So how come "Connection" was a tremendously catchy pop song, and a big hit single? And how come "Three Girl Rhumba" was just a sketchy art-punk scrape, which really doesn't amount to an awful lot when taken out of its original album context? And don't give me the DGC argument, because Harvest was perfectly capable of marketing a hit at the time (see "Wuthering Heights," released that same year). (And yes, Dolph, Pink Flag came out in 1977, not 1979.) "Connection" may be based on a Wire riff, but Elastica mixed in a lot of their own ideas. The Wire portion of that song is NOT what made it a hit. Leaf on ya, Eb ------------------------------ Date: Thu, 24 Jul 1997 00:11:15 -0500 From: Miles Subject: get yourself connected Susan and Eb joust thusly about Elastica's "Connection": >>See Dolph's comments. This has to do with a prejudice against blatant >>ripoffs, not a prejudice against women, thanks much. > >So how come "Connection" was a tremendously catchy pop song, and a big hit >single? And how come "Three Girl Rhumba" was just a sketchy art-punk >scrape, which really doesn't amount to an awful lot when taken out of its >original album context? Egad! By those standards, I guess New Kids on the Block *are* better than Robyn after all, since they sold a lot of records 'n' made catchy pop singles ("Hangin' Tough," woo-hoo!)... Personally, I think Eb just likes to argue. >came out in 1977, not 1979.) "Connection" may be based on a Wire riff, but >Elastica mixed in a lot of their own ideas. The Wire portion of that song >is NOT what made it a hit. The problem isn't simply that "Connection" lifts the riff wholesale from "Three Girl Rhumba" -- thievery is a time-honored rock tradition. It's that instead of "mix[ing] in a lot of their own ideas," Elastica instead mixed in the ideas of Blondie, the Stranglers, and the Au Pairs, not to mention another Wire song, "I Am the Fly." Yeah, "Connection" is a tremendously catchy song, but I've got to deduct some points because of their inability to synthesize their influences. It's one thing to write a song that evokes another artist (the Lennon-like sounds of Hitchcock's "Flavour of Night" and "Somewhere Apart" come to mind, or Blur's clever cobbling of XTC, the Jam, the Kinks, and Eno), another to cop things entirely from other songs, and yet a greater offense to begin no less than six of your album's songs (maybe more if I pay more attention on my next listen) with direct steals from another band's oeuvre. later, Miles, Rider of Rohan and lover of the "sketchy art-punk scrape" ------------------------------ Date: Wed, 23 Jul 1997 22:36:02 -0700 From: Eb Subject: Re: get yourself connected >Egad! By those standards, I guess New Kids on the Block *are* better than >Robyn after all, since they sold a lot of records 'n' made catchy pop >singles ("Hangin' Tough," woo-hoo!)... Hey, the original issue was "best singles," and there's a difference between best SINGLES and best SONGS. Catchiness IS the main component of a great single. I mean, look at the rest of that Village Voice list. Coolio? Joan Osborne? Great songs? No, but certainly great singles! I would happily concede that Oasis' "Wonderwall" is a better SONG than "Connection"...but not a better SINGLE. See what I mean? "Balloon Man": great song? Nope. Great single? You bet. Anyway, I never heard anything by NKOTB which I would call catchy. ;P >Personally, I think Eb just likes to argue. My original comment was "Eb, who thinks Elastica's 'Connection' ought to be added to the short list of the decade's great singles." Susan was the one who shrieked the confrontative "WHAT?" My opinion was totally sincere. I played that song OVER and OVER when I first got it. That's not really my style -- I'm much more of an "albums guy" than a "singles guy." VERY few singles get me off in that obsessive way. Only a few individual HITCHCOCK songs did that to me, and "Balloon Man" definitely ain't one of them. And while we're talking about Britpop songs that rip off "I Am the Fly," I also got a MAJOR kick out of Blur's "Girls & Boys." So shoot me. >and yet a greater offense to begin no less than >six of your album's songs (maybe more if I pay more attention on my next >listen) with direct steals from another band's oeuvre. I'd be curious to hear your six examples. Edumacate me. And by the way, I DO like Wire far more than Elastica in general, if that's not readily apparent. Then again, I don't think Elastica has reached their full potential yet, and I breathlessly await their second album. Love on yeast, Eb ------------------------------ Date: Thu, 24 Jul 1997 02:37:21 -0500 (CDT) From: Mississippi Malcolm McDowell Subject: this is just to say On Wed, 23 Jul 1997, Eb wrote: (blah blah blah deleted) I'll be happy (well ok, so that's rhetorical, I won't exactly be delighted, but I'll be WILLING) to take this up in private email, which is where it belongs. I shouldn't have responded publically in the first place. Now I'm getting this horrible urge to defend myself, and the only thing that's stopping me is the firm belief that no one on this list could possibly care :). I AM fairly annoyed that Eb dragged a private discussion into the public sphere, but since I responded to it I have to take half the blame. That's fine. But I officially bow out of the public part of this argument starting now. Love on ya, Susan ******************************************************************************* "The worship of the beautiful always ends in an orgy"- Benjamin Disraeli, "Lothair", lxxvii ******************************************************************************* ------------------------------ Date: Thu, 24 Jul 1997 09:05:44 -0700 From: mrrunion@tng.net (Runion, Michael R.) Subject: zit-maps: the American Pizza Face Hey all, The fegmap count is now up to 66. We've hit 50 in the US alone. America is rapidly becoming one huge pizza face, ripe for Robyn's perusal whilst planning his next gig-trek stateside. For the uninitiated, the fegmaps can be accessed at: http://www.spacecoast.net/users/mrrunion/fegmaps Mike Runion (trying hard to refrain from making an Eb-Method comment...whoops! Damn.) n.p. Beck: One Foot In The Grave ------------------------------ Date: Thu, 24 Jul 1997 14:25:36 +0100 (BST) From: M R Godwin Subject: re: the first hidden track On Wed, 23 Jul 1997, Russ Reynolds wrote: > Every once in a while you've gotta sit down and read the booklet that comes > with the Soft Boys 1976-1981 compilation. I'd like to, but I think it's a US-only release.... One thing I gleaned > from the booklet was that the SB's version of Heartbreak Hotel came "by way > of John Cale"...I had always thought this was a Soft Boys arrangement. Were > they just playing John Cale's arrangement? And if so, where can John Cale's > version be found? It's performed live on the notorious ACNE album 'June 1st 1974'. But there's a studio version as well. I listened to ACNE quite recently and, for me, it is spoiled by the very intrusive, self-congratulatory applause of an audience who are so pleased with themselves for being at such a trendy gig. Ollie Halsall's solo on 'Shouting in a Bucket Blues' has the edge on Steve Hillage, though, I think. - Mike Godwin PS According to http://faraday.ucd.ie/~eoin/calealbm.html, the studio version is on 'Slow Dazzle'. ------------------------------ Date: Thu, 24 Jul 1997 14:30:30 +0100 (BST) From: M R Godwin Subject: Re: Various people wrote... > On 7/23/97 9:03 AM, Mississippi Malcolm McDowell stated: > >Oh well, I think "Wonderwall" was one of the better singles of the past > >couple years, so what the hell do I know? On Wed, 23 Jul 1997, Tom Clark wrote: > You mean the Mike Flowers version, right? ;^) Oh, this is different from the George Harrison soundtrack album, is it? :-) - hssmrg ------------------------------ Date: Thu, 24 Jul 97 08:37:00 -0800 From: Russ Reynolds Subject: Robyn's signature Anyone have any actual "Robyn Hitchcock" autographs? I've got a few "Robyn H" and one or two "R. Hitchcock"...even a "Robyn Shit" (which he wrote on my white vinyl copy of Groovy Decay), but not one "Robyn Hitchcock." Based on this somewhat small sampling group it would appear that a full signature would be somewhat of a rarity. Of course "Robyn Shit" may be even rarer, unless he signs every copy of Groovy Decay that way. -rr ------------------------------ From: "G. E. Uber" Date: Thu, 24 Jul 1997 09:04:02 -0800 Subject: Re: Robyn's signature A long time ago in a galaxy far, far away, Russ Reynolds wrote: > Anyone have any actual "Robyn Hitchcock" autographs? I've got a few > "Robyn H" and one or two "R. Hitchcock"...even a "Robyn Shit" (which > he wrote on my white vinyl copy of Groovy Decay), but not one "Robyn > Hitchcock." I, too, only have Robyn H. I managed to procure (read: pilfer) the setlist after the April 28, 1993 show at the Warfield in SF and had Robyn and the band sign it the next day at their in-store gig at Reckless Records. Only Morris signed his full name. Robyn and Andy were Mssrs. H. and M., respectively. If I remember correctly, Robyn was signing everything from Mr. H. to R. Hitchcock that day. I don't really know if he signed his full name, though. Do you know the way to San Jose? --g If I wanted to hear the pitter patter of little feet around the house, I'd put shoes on my cats. --Source unknown ************** Glen E. Uber glen@metro.net ************** ------------------------------ Subject: Clipped Wing Date: Thu, 24 Jul 97 12:21:31 -0000 From: The Great Quail Hello, FegFriends. . . . I am writing to let you know that I will be gone from the Feg List for a week or so. The reason is simple: I almost cut my fucking thumb off on Monday. ER time, stitches, some permanent nerve damage, oh yes, a lot of fun! It hurts to type right now, not to mention the fact that the bandage makes my whole left hand practically useless for the next few days. Grrr . . . OK, well I didn't really cut it almost off, but let's say I did slice it to the bone and screw it up real good. All I could think about was that scene in "Evil Dead 2," when ash is sawing off his hand, screaming "NOW who's LAUGHING????" Heh. Some of you understand, I am sure. So anyway, I'll be gone for a week or so, which will make some of you ecsatic, I'm sure, and cause others to wail and gansh their teeth in sorrow. Or, to be honest, most to say, "What? What Quail? You were gone for a week? Ummm . . . oh." --The Quail PS: Oh, yes. I was sheathing a sword cane rather violently and missed. PPS: I was completely sober at the time, so I *really* feel like an idiot! So please do not feel pity. Rather, shun me, and pray I never reproduce and pollute the gene pool. . . . ---------------------------------+-------------------------------- The Great Quail, K.S.C. | TheQuail@cthulhu.microserve.com | "Keeper of the Libyrinth" | Sarnath - The Quailspace Web Page: riverrun Discordian Society | http://www.microserve.net/~thequail 73 De Chirico Street | Arkham, Orbis Tertius 2112-42 | ** What is FEGMANIA? ** "The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents." -- H.P. Lovecraft ------------------------------ Date: Thu, 24 Jul 1997 10:48:57 -0700 From: Eb Subject: Re: Clipped Wing >PS: Oh, yes. I was sheathing a sword cane rather violently and missed. What the heck does that mean? Eb ------------------------------ Date: Thu, 24 Jul 1997 14:36:03 -0500 (EST) From: Tracy Copeland Subject: Re: More thread grab-bag On Tue, 15 Jul 1997, Miles wrote re: "Sleeping Knights of Jesus": > 'Sides, anyone who rejects anything country-sounding out of hand is cutting > themselves off from not only a load of crap (and tell me 90% of college > radio isn't crap too, huh, huh?), but from Merle Haggard, the Mavericks, > Bob Wills, the Louvin Brothers, Wayne Hancock, BR5-49, Emmylou Harris, > large portions of the Kinks' MUSWELL HILLBILLIES, and the Greatest American > Songwriter Ever, Hank Williams. And that's just for starters. And to do > that is a cryin' shame. > I don't reject anything country-sounding out of hand, I assure you, but I'm not much for "Sleeping Knights" or any of Hitchcock's pseudo-country work ("I Like Bananas ..." et al.) They sound too condescending to me. Reminds me of a musician friend who started a bad surf-rock band because he hated surf-rock; he said he wanted to show how stupid it was. I never did understand why doing something you love because you love it is stupider than doing something you hate because you hate it. Then again maybe that's why I never got Frank Zappa. One reason I'm willing to believe Hitchcock would be involved with _Jet Set Flier_ is that it's country music performed by a bunch of people who don't seem to like it. -- "I hope you're not going out to get up to any of your silly toast antics" - Toast Kid's dad (in _Viz_) ------------------------------ Date: Thu, 24 Jul 1997 14:54:01 -0500 (EST) From: Tracy Copeland Subject: Re-opening Brenda On Thu, 17 Jul 1997, James Dignan wrote: > >hssmrg again:: > >Have another look at the cartoon on the cover of the 12". Definitely a > >caricature of HMQE2, I'd say. > I'm less sure myself - Hitchcock's not much of a realist or a caricaturist. If it's meant to be her it doesn't look much like her. In my opinion, I mean. > not all of us have the 12". It's also on the back cover of the booklet that came with the Rhino re-issue of _Gotta Let This Hen Out_. (All together now: "not all of us have ...") > And I'm still sure he's equated the song with > "Britain under Thatcher". Not that it's really worth either of us getting > into a lather over - both HMQ & Queen Maggie represent different parts of > "the ruling class" > I held off entering the thread because I was looking for this quote, which turned out to be less helpful than I'd remembered it being, but maybe I was thinking of a different one: "Brenda's Iron Sledge is a thinly disguised allegory of political decline, which explains why people on top use the people underneath as shock absorbers. The reason it takes so long for any change to come through from the powers that be is that everyone else is laid underneath them like a load of sausages, cushioning them from the effect of whatever disaster is happening. There's just, you know, mounds of human flesh between the powers that be and the powers that aren't, and most of us are somewhere up and down that scale, trying to get to the top of the sausages and become a power that be, rather than staying down the bottom and being crushed, or just exploding." Which I guess isn't any help after all. Ah well. -- "I hope you're not going out to get up to any of your silly toast antics" - Toast Kid's dad (in _Viz_) ------------------------------ Date: Thu, 24 Jul 1997 13:13:25 -0700 From: Eb Subject: Re: little girly whirly Ken wrote: >and it's pretty apparent that susan wasn't talking about >ONLY elder stateswomen being able to make worthwhile music. you made that >leap all by yourself. Well, I have yet to hear her express admiration for ANY '90s-generation female-led act. Simple as that. She's welcome to correct this perception. Eb np: Of Montreal's debut Cherry Peel -- adorable! (And yes, this is an all-male group...heh) ------------------------------ Date: Thu, 24 Jul 1997 17:40:21 -0400 (EDT) From: mr bean jeans Subject: admin stuff fegs, i'm going to be out of town friday to sunday night. as usual, there will be no digests while i am gone. i'll send out a batch on sunday evening after i get back. please don't wreck he place while i'm gone. ;) woj ps. sorry about no digest yesterday -- 12 hours of work, six games of volleyball, kickball with the neighbors (how do you say no to a pleading eight year old?) and a trip to maxwell's tends to chew up a day... ---------------------------------------------------------------------------- The End of this Fegmaniax Digest. *sob* .