From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V7 #130 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Thursday, April 2 1998 Volume 07 : Number 130 Today's Subjects: ----------------- Re: Production [Dave Librik ] Re: music questions ["Capitalism Blows" ] Re: From todays Addicted to Noise news [Tom Clark ] Whatever happened to Leon Trotsky? [james.dignan@stonebow.otago.ac.nz (Ja] Followers & Peers/Antpeople (robyn content minus zero) [james.dignan@ston] defending the metcalfe [dwdudic@erols.com (David W. Dudich)] Re: Followers & Peers/Antpeople (robyn content minus zero) ["Hallucinogen] Re: music questions [Eb ] pete jones r.i.p.? + chicagoland request ["Capitalism Blows" ] Re: Where's the party? [woj spice ] Re: nmh [lj lindhurst ] Re: Production [Aaron Mandel ] RE: Whatever happened to Leon Trotsky? [firstcat@lsli.com] Producers ["Cartman's Father" ] producers [tanter ] Tape Trading (was Re: nmh, but it ain't 'bout that no more) [Jason Thornt] I Got Stung ["Cartman's Father" ] Eitzel/live records/27 Various (Robyn who?) ["Chaney, Dolph L" Subject: Re: Production >>I definitly do not want Jeff Lynne anywhere near Robyn Hitchcock. > >I'd be happy if they kept Jeff Lynne away from the entire music industry. OK, put a big IMHO in front of what follows ... it's mostly ranting. Better Jeff Lynne than Steev Albeenee any day. The latter represents 25% of what sucks about music nowadays anyway: the Wall Of Guitar Noise that destroys melody and vocals and expresses only rage. Come on, at least Sonic Youth had avant-garde classical experimentation and good tunes. (BECAUSE I KNOW YOU CARE, the next 25% of the blame goes to the "it's supposed to sound like shit" Indie Lo-Fi Aesthetic. There's a big difference between low production and deliberate sloppiness; in fact, it takes a lot of real engineering talent to capture the natural sound of a band. Consider the difference between the Mountain Goats, who record on the condensor mic of a boom box, and most of the things that come out on Rounder Records. Or, for that matter, consider Robyn's "Dr. Sticky," which could be called early lo-fi if it weren't for the fact that he obviously worked very hard to get that exact sound to create the sonic aesthetic that particular track; there's nothing slack about it.) In fact, I think Jeff Lynne needs someone like Robyn to make him work harder. Since the early 80s, Lynne has taken the easiest route out of technical problems, adding overdubs and samey production until everything sounds "good" but often loses its distinct character. What's easy to forget is that he used to be a wizard of the studio. Much of the recent Gorky's Zygotic Mynci stuff sounds remarkably like Lynne's work with the Idle Race in the late 60s, and the early ELO albums are often aurally astounding. Check the two-disc Idle Race compilation "Back To The Story," or the "Early ELO" collection on EMI. (Admittedly, the first ELO disc benefits from the collaboration of the True Genius And Obscure English Eccentric, Roy Wood, who attempted to deconstruct the traditional pop song a few hundred times before turning the job over to XTC.) Since Hitchcock was obviously trying for a pop "L.A." sound on "Perspex Island," he might have done better with Jeff Lynne than with Paul Fox. The lyrics would have been far more audible (less buried in the mix), and Morris's drumming would have come to the fore. But "Oceanside" might have ended up as a big retro-rock song, a la "Hold On Tight," and been put at the end of the CD! - - David Librik nerdy groover librik@jaka.ece.uiuc.edu p.s. The remaining 50% of the blame for the crappiness of music goes where it belongs, the Record Industry. I'm probably not the only person bored stiff with hearing about it though ... :) ------------------------------ Date: Wed, 01 Apr 1998 12:05:52 PST From: "Capitalism Blows" Subject: Re: music questions <>and a thrashy but poppy US (I think) band called Dada. Anyone? Not very thrashy actually, more like candy-coated egghead pop for folks who like Steely Dan and (ahem) Phish. Big novelty hit was something about "Diz-nee-land."> i can't even believe i'm going to question eb. but, i thought it was the dharma bums that did that song? i'm *going* to buy it soon as i can find it used, so go ahead and count me. as has been mentioned, nobody seems to have heard of it. even in indie stores where you might expect them to, they're like, "neutro what?" uh, shouldn't you have been using a browning? ------------------------------ Date: Wed, 1 Apr 98 17:51:31 -0800 From: Tom Clark Subject: Re: From todays Addicted to Noise news On 4/1/98 2:38 PM, Russ Reynolds wrote: >======== Original Message ======== >>The 41st annual San Francisco International Film >> Festival (April 23 - May 7) has announced a tribute >> to documentary filmmaker Robert Frank, >> highlighted by a rare screening of "Cocksucker >> Blues," his lurid, suppressed film of the Rolling >> Stones' 1972 American concert tour. > >Wow, cool. Has anyone here seen this? Godwin? Details? > >Eb >======== Fwd by: Russ Reynolds ======== >I just talked to a coworker who said he saw it when it came out. Not much >of a movie, he says. Kind of like Magical Mystery Tour, but without "I Am >The Walrus". I understand much of the debauchery was staged. > >Interesting that the Castro Theater site notes Robert Frank will make an >appearance, while in the listing for Storefront Hitchcock there is no >mention of Demme or Hitchcock showing up. I'm gonna guess RH will be there, >though... > I'm not sure if this had been mentioned, but the reason it's so rarely seen is that because of a contractual squabble with the Stones, the film cannot be shown unless Frank is in attendance. I guess the easiest way to do that is to tell the guy your having a tribute to him. - -tc ------------------------------ Date: Thu, 2 Apr 1998 14:23:46 +1200 (NZST) From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: Whatever happened to Leon Trotsky? >> I found an import of The Stranglers' "Black And White" during my stay on >> the island, and snatched it right up. Its just as I remembered--I love Side >> A, and wonder what the hell Side B is about. Does anyone love The >> Stranglers on here? I must admit to it: Meninblack, Rattus Norvegicus and the much neglected (probably because it's more pop oriented) Aural Sculpture are in my collection and more than occasionally get an airing, as is/does the Collection. Ersatz punk vocals and frothy keyboards, with more than a touch of Doors influence. What more could you want? :) One of my 'best songs' mixtapes has Skin Deep on it, too... James James Dignan___________________________________ You talk to me Deptmt of Psychology, Otago University As if from a distance ya zhivu v' 50 Norfolk Street And I reply. . . . . . . . . . Dunedin, New Zealand with impressions chosen from another time steam megaphone (03) 455-7807 (Brian Eno - "By this River") ------------------------------ Date: Thu, 2 Apr 1998 14:23:31 +1200 (NZST) From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: Followers & Peers/Antpeople (robyn content minus zero) From: Eb >>obNZ music comment :) - add Chris Knox's name to the true followers of Robyn. >Isn't Knox more of a PEER than a follower? yeah, I suppose you're right. There's that same way of looking at the world from 10 degrees off standard, and they've both been journeyman entertainers rather than just singers. You get full entertainment with weird spiel between the songs etc. And there are points where their lyrics move towards the same sort of exalted moments: 'Airscape/Lapse'; 'Cynthia mask'/'Turning brown and torn in two', and the general feel of songs like 'Light'... another such peer would be David Thomas of Pere Ubu. Also, no-one other than Knox or Hitchcock would come up with a title like Lament of the Gastropod. Okay, on followers of Robyn, does anyone here see a strong RH influence in Ween's Mollusk album? Re producers (not to be confused with reproducers): since no-one took my Nick Lowe bait (which would have pleased Clean Steve), how about T-Bone Burnette? He does great producery things with the likes of Elvis Costello and Sam Phillips (there's a name that was left out of the female Robyn debate...) I am going to have to hunt for that Julian Jaynes book... and that movie sounds pretty good too especially (as you said) for people who prefer peoplewatching to shoot-em-ups, which, as a fan of Koyaanisqatsi, includes me) James James Dignan___________________________________ You talk to me Deptmt of Psychology, Otago University As if from a distance ya zhivu v' 50 Norfolk Street And I reply. . . . . . . . . . Dunedin, New Zealand with impressions chosen from another time steam megaphone (03) 455-7807 (Brian Eno - "By this River") ------------------------------ Date: Thu, 02 Apr 1998 03:06:52 GMT From: dwdudic@erols.com (David W. Dudich) Subject: defending the metcalfe On Wed, 1 Apr 1998 20:29:04 -0500 (EST), you wrote: > Roger Jackson may have been great but behaved so foolishly in concert > that who knows, and I think that covers it. Yeah, what happened to roger? I remember reading somewhere "he had great ideas, but...". but where is he now? -luther In defense of Andy, get ahold of the New Orleans "tipitina's" 6/92 radio broadcast tape...his keyboard work especially is excellent... (to say nothing of the "wax doll" on there that SMOKES the QE rendition, musically, vocally, and lyrically.) > ------------------------------ Date: Wed, 1 Apr 1998 22:06:31 -0500 From: "Hallucinogenic Woodpecker" Subject: Re: Followers & Peers/Antpeople (robyn content minus zero) > Okay, on followers of Robyn, does anyone here see a >strong RH influence in Ween's Mollusk album? Uh, maybe, but only a little. There are so many more influences that I see that are above Robyn. Namely they are the Moody Blue, the Residents, Frank Zappa, King Crimson, even a little Beatles. The most Robyn influence that I see would be lyrically. Ramblings about exotic animals, not exactly prawns, but mollusks are close enough to me. >Sam Phillips (there's a name that was left out of the female >Robyn debate...) IMO, another name that was left out was Lisa Germano. Meditating violently, - --michael ostemy ========================#**********#============= For million of years mankind lived just like the animals Then something happened which unleashed the power of our imagination We learned to talk ' ' ' From the desk of, /'^'\ Hallucinogenic Woodpecker ( o o ) - --------------------------------------oOOO--(_)----OOOo--------------- e-mail: trentd@claynet.com .oooO ( ) Oooo. - ---------------------------------------\ (--------( )--------------- ) ) / (_/ ========================#**********#============= ------------------------------ Date: Wed, 1 Apr 1998 19:32:40 -0700 From: Eb Subject: Re: music questions >Not very thrashy actually, more like candy-coated egghead pop for folks >who >like Steely Dan and (ahem) Phish. Big novelty hit was something about >"Diz-nee-land."> >i can't even believe i'm going to question eb. but, i thought it was >the dharma bums that did that song? Nope. The Dharma Bums never had a hit. They did have a really talented tour manager, though. >i'm *going* to buy it soon as i can find it used, so go ahead and count >me. as has been mentioned, nobody seems to have heard of it. even in >indie stores where you might expect them to, they're like, "neutro >what?" Someone told me that the NMH album has been #1 on the CMJ college chart for a month...and #3 on the more commercial Gavin chart...it's becoming less and less obscure.... Eb ------------------------------ Date: Wed, 01 Apr 1998 20:26:33 PST From: "Capitalism Blows" Subject: pete jones r.i.p.? + chicagoland request ok, this is the first time i've ever done this. everyone's allowed once, right? feg pete "the undertaker" jones, of the uk, seems to have disappeared. i sent a sizable parcel to him a month or so ago, and would like to know if it arrived safe and sound. fuck, i could go for safe *or* sound. can anybody help me find the undertaker? chicago fegs: the mclibel documentary, "Mclibel: Two Worlds Collide" is going to be shown on Chicago Cable Access Network monday the 6th, at 7pm. if one of you would be so kind as to tape this for me, i'd love you for it. and, of course, i'd send you some good robyn shit in return. by the way, i'm planning on taping the neutral milk hotel gig in seattle later this month. i'd send you a copy, eb, except that i know you don't approve of tape-trading... "The Dude abides"...I don't know about you, but i take comfort in that. It's good knowin' he's out there, "The Dude," takin' 'er easy for all us sinners. Shesh...I sure hope he makes the finals. --The Stranger ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Wed, 1 Apr 1998 21:28:27 -0700 From: Eb Subject: Re: nmh >i'd send you a copy, eb, except that i know you don't approve of >tape-trading... I wouldn't put it that way...I'm just *not interested* in tape-trading. Or at least, concert tape-trading. But that's my personal indifference -- I have no "moral" objections to it. It's just that to me, it's like telling someone, "Hey, I hear you'll be vacationing in the Caribbean -- send me a postcard, so I can share the experience!" I'll be seeing Neutral Milk Hotel myself on April 10th. I'll adore the show, and have a happy three-dimensional, high-fidelity, audio-video memory of the night which will last years (just as with the last time I saw NMH, about two years ago). I wouldn't want to replace that memory with a crummy-sounding, non-visual cassette which brutally deletes all the spatial-temporal ambiance of the night. That represents quite a downgrade, for me. Plus, on a less philosophical level, I'm just not so fanatical that I need to own multiple live versions of a given song, when I already own a "definitive" version on album. There's just too much great music out there for me to start wringing my hands over whether or not I own the live version of "Oh Comely" where Jeff laughs in the middle and flubs a lyric. Etc. But of course, we've been through this before. Eb ------------------------------ Date: Thu, 02 Apr 1998 00:55:53 -0500 From: woj spice Subject: Re: Where's the party? >> So, where the hell is this thing gonna be? > >Harrisburg, PA which is about two hours from DC as the Rick Wakeman >plonks. More details to come when I post the Web site! i'll be driving down from new haven, ct...so anyfeg along the way (southwest connecticut, noo yawk city, new jersey) who may need a ride should feel free to drop me a line. woj ps. still recovering from the simple machines fest. will catch-up tomorrow. ------------------------------ Date: Thu, 2 Apr 1998 09:48:05 -0500 (EST) From: lj lindhurst Subject: Re: nmh Eb, of all people, writes: >There's just too much great music out there >for me to start wringing my hands over whether or not I own the live >version of "Oh Comely" where Jeff laughs in the middle and flubs a lyric. There's a version like THIS?? How do I get it?!?!? Who's Jeff? lj ------------------------------ Date: Thu, 2 Apr 1998 11:15:25 -0500 (EST) From: Aaron Mandel Subject: Re: Production On Wed, 1 Apr 1998, Dave Librik wrote: > engineering talent to capture the natural sound of a band. Consider the > difference between the Mountain Goats, who record on the condensor mic of a > boom box, and most of the things that come out on Rounder Records. i assume you're endorsing one of these and claiming the other is horrendous, but i can't guess which is which. a ------------------------------ Date: Thu, 2 Apr 98 09:55:38 From: firstcat@lsli.com Subject: RE: Whatever happened to Leon Trotsky? Graham Kerr (the Galloping Gourmet) used to have a show in the late 80s that used "Peaches" as the opening and closing music....I always found that ammusing... Cheers Jay - --- On Thu, 2 Apr 1998 14:23:46 +1200 (NZST) James Dignan wrote: >>> I found an import of The Stranglers' "Black And White" during my stay on >>> the island, and snatched it right up. Its just as I remembered--I love Side >>> A, and wonder what the hell Side B is about. Does anyone love The >>> Stranglers on here? > >I must admit to it: Meninblack, Rattus Norvegicus and the much neglected >(probably because it's more pop oriented) Aural Sculpture are in my >collection and more than occasionally get an airing, as is/does the >Collection. Ersatz punk vocals and frothy keyboards, with more than a touch >of Doors influence. What more could you want? :) > >One of my 'best songs' mixtapes has Skin Deep on it, too... > >James > > James Dignan___________________________________ You talk to me > Deptmt of Psychology, Otago University As if from a distance > ya zhivu v' 50 Norfolk Street And I reply. . . . . . . . . . > Dunedin, New Zealand with impressions chosen from another time > steam megaphone (03) 455-7807 (Brian Eno - "By this River") > - -----------------End of Original Message----------------- - ------------------------------------- Jay Lyall Channel Sales Director Livermore Software Laboratories, Intl. 2825 Wilcrest, Suite 160 Houston, Texas 77042-3358 1-713-974-3274 jay@lsli.com Date: 4/2/98 - ------------------------------------- Two-Hour Luxury Goods Commercial Also A Spy Film ------------------------------ Date: Thu, 2 Apr 1998 08:47:21 -0800 (PST) From: "Cartman's Father" Subject: Producers fegs, I've been thinking quite a bit about this producer debate and I agree with some of your choices. I would love to hear what Nick Lowe would do with Robyn. Pat Collier, as always, remains a great choice. John Leckie did a great job with _Respect_; I presume he would do a great job with other RH material. Steve Albini? That would be a bold move. However, I side with some of you on this one, too: _Surfer Rosa_ is my favourite Pixies album, so it would be interesting to see what Albinization could do for RH. Why has no one brought up Andy Metcalfe as producer? Everything he had a hand in producing for the Egyptians sounded fabulous. The bass wasn't muddy, the vocals were crisp, the guitars were "sparkly" and the drums had that certain sound that I appreciate (no gated reverb/echoey/monster-of-rock sound). Of course, I think Andy was always co-producer with Pat Collier, wasn't he? Other choices: Todd Rundgren (sure he's a bastard, but he has produced the Tubes and XTC) Rick Rubin (on the strength of Johnny Cash's _American Music_ and Tom Petty's _Wildflowers_). BTW- I think Mitchell Froom would do an excellent job for Robyn *depending upon the strength of the material*. It would be nice to see some keyboards pervading Robyn's work again. Das ist alles, - -g- ----------==========**********O**********==========--------- Glen E. Uber uberg@sonic.net "Without deviation from the norm, progress is not possible." --Frank Zappa ----------==========**********O**********==========--------- ------------------------------ Date: Thu, 02 Apr 1998 11:54:38 -0500 From: tanter Subject: producers I would like Eb to produce a record for RH--he was so many opinions on so many matters, I'd like to hear his "perfect" album...!! Marcy ;) ------------------------------ Date: Thu, 02 Apr 1998 09:51:00 -0800 From: Jason Thornton Subject: Tape Trading (was Re: nmh, but it ain't 'bout that no more) I'd have to agree with Mr. E Flat's post on trading, at least in part. Or, more specifically, I used to feel that way - so, I don't want to "debate" Eb's personal feelings on the subject. I've only recently gotten "into" tape trading, myself - and have purchased a few bootlegs (only VERY inexpensive ones, in Tokyo and Hong Kong) - and really don't tend to listen to them all that much. Except certain ones - RH and some Sylvian boots come to mind. At 09:28 PM 4/1/98 -0700, Eb wrote: >I wouldn't put it that way...I'm just *not interested* in tape-trading. Or >at least, concert tape-trading. But that's my personal indifference -- I >have no "moral" objections to it. It's just that to me, it's like telling >someone, "Hey, I hear you'll be vacationing in the Caribbean -- send me a >postcard, so I can share the experience!" Exactly. To some extent, a "live" recording is NOT the same as a concert, but it is an "experience" unto itself. I enjoy postcards/letters from friends - it's not the same as going to the Caribbean with them, but it is still a shared experience. Many times, a live recording is not a very good "experience," IMHO, just because often they can sound like crap. >Plus, on a less philosophical level, I'm just not so fanatical that I need >to own multiple live versions of a given song, when I already own a >"definitive" version on album. There's just too much great music out there >for me to start wringing my hands over whether or not I own the live >version of "Oh Comely" where Jeff laughs in the middle and flubs a lyric. >Etc. Personally, I don't see myself as fanatical enough to want multiple copies of shows from the same tour, from most artists. Heck, I've seen the Cure numerous times over the year - and there's not much difference, from show to show, in "The Forest." There's a difference between really early Cure, and later Cure...but the official live releases tend to satisfy my desire to own a copy of the reinterpreted (ie, later Cure) version. Tape-trading/bootleg wise, the stuff that really interests me are: 1) Copies of shows were songs are radically reinterpreted. Some artists tend to this, reinvent their older songs into a new "style." I don't need a poor or uninteresting recording of a song played exactly the same way as on an album, or on a better quality live release. Take, for example, Bowie's recent tour, and some of the "drum 'n' bass" versions of songs he did. Or David Sylvian's recent solo acoustic tour, "Slowfire." 2) Rarities/New Songs. What I'm mainly hunting for in boots is music I haven't heard before - regardless of sound quality. Tours I missed, for example. Or, more importantly, unrealesed stuff (studio or live), or just b-sides no longer readily available. I've purchased bootlegs of Morrissey and David Sylvian "rarities" (mostly studio stuff), and tend to play these a great deal. Of course, this sorta goes beyond the scope of what Eb was talking about...live tapes. Recent RH recordings I've obtained from fellow beloved feggy listmembers, chock full of unrealesed songs and covers (all live) also end up in heavy rotation in my MD player. 3) Improv. The unofficial live recordings I most enjoy are those from artists that tend to improv a great deal. I'm not talking about a 30 second guitar solo per song - I'm talking about music where each performance goes into wildly different directions. And, no, I know what you're thinking... I'm no deadhead - in fact, I hate the Grateful Dead. The last three concerts I've attended, David Torn and Projekct Two (Trey Gunn, Adrian Belew, and Big Daddy Bobby Fripp - twice) have been the sorts of shows of which I wish I had recordings. Completely different from gig to gig. There's a damn good reason why obsessive jazz collectors want to obtain every studio take and live version possible. They're often wildly different, and just as interesting as what is "officially" released. I own a bootleg of a Fripp-Sylvian-Gunn trio performance that gets a lot of playtime, because it's nothing like the released stuff ("The First Day" or "Damage"). Heck, I enjoy RH recording JUST for his improved chatter alone...regardless of which songs he plays. >But of course, we've been through this before. Sorry. I might not have been there then, or I missed that discussion during skim-mode. I apologize if I'm going over old ground. Just found your post very interesting, and exactly on target to my "old way" of thinking. Not that it's changed all that much. Although, purchasing a digital recording device (MD) may have helped create the shift. Side note: Speaking of NMH anyway...and experiences in which things sound like crap... I recently explored the NMH webpage, and checked out a few soundfiles there. I wasn't that impressed, mainly because the files were of such poor quality or I had a bad connection or something (making it a "bad" listening experience). Still looking for the CD, though, to give the band a more thorough and fair listen. I've checked at Tower a couple of times the past weeks, and still no NMH. There's an article on NMH in the latest Pulse!, but no CD's in the store (not the first time that's happened). Haven't been up to the Encinitas store, Lou's, which I'm sure will have it. So, Eb, I guess you can't count me "in" yet. ;) I did pick up the recent Scott Weiland release "12 Bar Blues." Very highly recommended, especially if you're into albums like ""Heroes."" Terrific album. np: Projekct Two - "Space Grooves" (an official release) - --Jason ------------------------------ Date: Thu, 2 Apr 1998 10:38:18 -0800 (PST) From: "Cartman's Father" Subject: I Got Stung On Wed, 1 Apr 1998, MARKEEFE wrote, concerning Sting: > Now he doesn't do anything. Unless, of course, you count making the > kind of albums he makes nowadays as doing something. > Or collaborating with country (or as I am wont to call it: "hat rock") artists on songs HE wrote and THEY recorded. - -g- - ----------==========**********O**********==========--------- Glen Uber uberg@sonic.net "Without deviation from the norm, progress is not possible." --Frank Zappa - ----------==========**********O**********==========--------- ------------------------------ Date: Thu, 2 Apr 1998 15:20:22 -0500 From: "Chaney, Dolph L" Subject: Eitzel/live records/27 Various (Robyn who?) Since the subject of live records has come up today, and since we talked a little about Mark Eitzel the other day, I thought I'd mention that I just bought and listened to the most engrossing live album I've ever heard -- Eitzel's _Songs Of Love Live_. Solo acoustic, recorded and released in England (Demon Records, FIEND CD 213), dating from between Everclear and Mercury. He connects. Also, I got the 27 Various's _Approximately_ in the mail today. It's thoroughly fine power-pop, but Polara listeners won't find much commonality. Ed's voice even sounds different, and there's neither as much fuzz guitar nor nearly as much Moog droning. It's much more 60s influenced. I think I got why the AMG listed them as Robyn-influenced, though. There are some noticeable vocal dips into the low range that sound familiar, and certain lyrical touches (the last and maybe best song is called "Out Of Lungs") recall Our Man's wacky side, just with less maturity or dedication. Still and all, a nice album fading quickly out of print (Clean / Twin/Tone CR 89200-2). Now playing: Eggman, _First Fruits_ (Boo Radleys side project, $2.99 in Borders cutout bin) Dolph p.s.: does someone who's going to the Casa Quail party have the _Hen_ video? If not, I might be persuaded to send it in my stead... ------------------------------ Date: Thu, 2 Apr 98 17:19:03 -0500 From: The Great Quail Subject: Pyramid Schemes and Taroting Infernals Mike Godwin wrote: >"Not so fast, El Dorado", spat Mary Poppins. She stood in the doorway, >a .9mm rifle levelled at the huge, glittering torso. "Show us how to get >out of here, and make it snappy". Ah, Mike -- I am replacing my bathroom statuette of Cthulhu with a small bust of you, after which I shall have your above words tattooed across my chest, right below "I want a golden goose now, daddy" and above "A screaming came across the sky. . . " Oh, yeah, but really: "queztal birds?" Come on, Mike, we all know the truth . . . what are you afraid of? And then Gnatalie: >I was thinking that, in lieu of a Robyn Magic game, we could get some Tarot >cards and label them with the names of Robyn characters, and then do >readings for each other. The suits could be Prawns, Cones, Uncorrected >Personality Traits, and Melons. The greater trumps could be things like >Clean Steve, Reg, Leppo, the Man Who Invented Himself, the Glass Hotel, and >so forth. (Death and the Devil would remain unaltered.) Natalie . . . Natalie . . . Is this the time to mention that I collect Tarot decks? Truly -- I have at least fifteen, from the classic Rider White to the delightfully skewed PoMo Deck. But a Robyn deck -- ahhh! Wouldn't it be wonderful to actually have Robyn artwork to decorate them? Let's see, we can work out a table of correspondences, yesss. . . . . Hmmm . . . I am feeling that weird urge to actually suspend all useful work and actually begin *planning* a Robyn deck -- you know that urge, yes, that total fan devotion, that unholy light that shines from the eyes like a lantern left burning at Valhalla long after the gods have checked out; the twitching of the fingers in idle circles, yesss . . . that benign fanaticism that makes you ramble for hours about some fan-thing to your friends, and then suddenly you fall silent and realize they are all staring at you uncomfortably? Well, I am feeling that glorious rush right now -- last time I felt this, I spend a few hours recasting "Jesus Christ Superstar" with my favorite musicians. . . . And some people think we're in some sort of cult! Sheesh. (I bet they never doodled Pink Floyd lyrics across their notebooks, or made Billy Joel scrapbooks in high school.) >"Let's see, you have the 3 of Cones crossing the Tropical Flesh Mandala, >that means you're going to meet someone that nobody knows but everyone >knows someone who knows them." I see it so clearly! Ahhh . . . Reg is inverted in the House of Figgy, which of course means the gurgling behind the hedge is a bad omen . . . but, ooops! Mucky the Pig is crossing the Queen of Eyes, and the Dark Princess is in the spiral of Linctus . . . Erm, I hate to tell you this, but a Billy Bragg collaboration is in your future. . . . - --Quail ------------------------------ End of fegmaniax-digest V7 #130 *******************************