From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V7 #343 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Thursday, September 3 1998 Volume 07 : Number 343 Today's Subjects: ----------------- fripps on the grill [The Great Quail ] Re: not really *that* bored on a tuesday morning [Mark_Gloster@3com.com] Re: chops on the grill [MARKEEFE@aol.com] Zep vr Who [LORDK@library.phila.gov] Just had to send this... [Dede Davis ] Croc Show [GARGOIDS@aol.com] Re: Heavy Metal gentry [james.dignan@stonebow.otago.ac.nz (James Dignan)] Buddha Fish [james.dignan@stonebow.otago.ac.nz (James Dignan)] beaver update (RHless) [Danielle ] RIAA Couldn't Keep Them Down ["Hallucinogenic Woodpecker" ] Re: RIAA Couldn't Keep Them Down [Terrence M Marks ] Re: Cocker 100%, Hitchcocker 0% (long, contains rant) [amadain ] ThIs WeEkEnD iN FeGgYvIlLe [Mark Gloster ] ---------------------------------------------------------------------- Date: Wed, 2 Sep 98 18:35:31 -0500 From: The Great Quail Subject: fripps on the grill Fripp says, via Marshall, >Although in the same article, Fripp decried the notion that >his music had anything to do with metal, because he eschewed power chords >and triads, because they were too pleasing to the ear Heh heh . . . "I've eschewed power chords because they are too pleasing to the ear." Oh, that wacky Mr. Fripp. This is one of those dry statements that really cracks me up, and makes me want to hire myself out to Uncle Bobby to clean his big black Dr. Mengele shoes and whittle toothpicks for him all day long. I love this man, his band, and even his wife's voice. Then Gene says, >Sure, but there's one big difference: chops. Black Sabbath were >troglodytes with guitars in a cave after a fruitless day of hunting, and >King Crimson were their neighbors with the gas grill full of filet mignon >and lots of shiny new utensils. But yeah, they both rocked. Oh, well said! I am going to have to frame this above my Epitaph boxed set. And it brings to mind a comment Uncle Bobby once made, that his favorite bit of criticism leveled at King Crimson was that they were "a thinking man's Black Sabbath." Ah, *English* rock critics. - --Cigarettes, Ice Cream, Figures of the Virgin Quail ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The Great Quail, Keeper of the Libyrinth: http://www.rpg.net/quail/libyrinth "Countlessness of livestories have netherfallen by this plage, flick as flowflakes, litters from aloft, like a waast wizzard all of whirlworlds. Now are all tombed to the mound, isges to isges, erde from erde . . . (Stoop) if you are abcedminded, to this claybook, what curious of signs (please stoop) in this allaphbed! Can you rede (since We and Thou had it out already) its world? . . . Speak to us of Emailia!" --James Joyce, Finnegans Wake ------------------------------ Date: Wed, 2 Sep 1998 16:31:49 -0700 From: Mark_Gloster@3com.com Subject: Re: not really *that* bored on a tuesday morning >> >anton barbeau > >> Who dat? >californian songwriter who, like Scott Miller, has undeservedly been >claimed by the tepid "power-pop revival" crew. (i'm not sure why you feel >guilty about liking Miller, Eb, but anyway he's certainly not peddling >fourth-rate Material Issue rehashes like his supposed scenemates.) very >attractive nasal voice. i keep meaning to mailorder his albums. Anton is a former feg, as a matter of fact. He has great pop stylings which are thwarted/made interesting by psychological and sexual context. He and his band were fun to watch live in an eentsy beentsy club in SF. I recommend his CD's- I have two of them. - -Markg ------------------------------ Date: Wed, 2 Sep 1998 19:57:19 EDT From: MARKEEFE@aol.com Subject: Re: chops on the grill In a message dated 98-09-02 17:47:54 EDT, you write: << Ehhh(tm), I think you're working too hard to unite all of pop music history into one neat ideological curve. There will always be arty bands, there will always be stoopid-bash-it-out bands. >> Right, of course. But I'm talking about general trends -- I didn't mean to say that EVERY band from 1968-1972 was an "art rock" band. Not at all. But, certainly, the boundaries of what's "acceptable" (in terms of relative complicatedness of songwriting) were strecthed much further back then and have greatly condensed since then. It's actually probably gone in several waves and will probably continue to do so. The mid-to-late 70's were certainly less adventurous than the late 60's/eary 70's; the late 70's and early 80's were certainly *more* adventurous than the few years right before that. 1985-1987 was REALLY unadventurous! 1988-1991 was more risk-taking; 1992-1995 or so has been extremely tepid. Sure, there have been exceptions to the rule in every era. But, in terms of what the masses are into, I see some definite trends. I was being too narrowly focused before and not allowing for deviations to the rules. I can now see the error of my ways. But, overall, I stand behind the larger picture of my "creativity-pendulum" theory of pop/rock music. - ------Michael K. ------------------------------ Date: Wed, 2 Sep 1998 19:58:51 -0400 From: LORDK@library.phila.gov Subject: Zep vr Who The great problem with Zep(and I admitt to having spent time under their influence) was their stupidity. Not being a musician, I cant make claims as to their skill or lack of such, but they did manage to make music which could be both brutal and beautiful, a neat, and not easy, trick. the problem was, you could only go so far with them. The lack of soul / intelligence made for, ultimetly, a dead end. By the way, I agree with whoever it was who posted that III, side 2 was there favorite. And the point that \Page was at his best doing folkish stuff. I love the short track on Physical Graffitti, named after the Welsh town--Bron, I think. Anyway, a lovely, bittersweet sweep. And --Got a Woman. Now that was good rythm guitar. the Who,who could be, and often were, hysterical,cliched,over the top, and, occasionally boring, nevertheless, somehow managed to hold onto the good of soul/intelligence, and therefore were always worthwhile(even when they werent.) I know that makes no sense--but a certain authenticity, which one feels they did everything they could to whore, still pulled them thru. Im fascinated and repulsed by Townsend--who seems quite a piece of work. I know Im going to tred on the toes of the terminnally hip here, but in some ways he reminds me of Lou Reed(but a Lou Reed without Delmore or a college education, or NY, or smart Jewish genes(I can say this--being 1/2 jewish myself, and therefore buying into the fact that Ashkanazi Jews are the smartest people on earth(as demostrated by my spelling:-)))) Plus Moon was divine. I saw them at the NY Opera house, doing both Tommy and the Live at Leeds set. O.K, I was just 14 and impressianable--but that was a concert I still hold up as a yardstick for other rocknroll bands to meet.And may I mention, that once at the old Ritz in Ny, with Peter Buck twirling in, The Edyptians did meet it, and perhaps even...well... Undr the Mercy K ------------------------------ Date: Wed, 2 Sep 1998 17:10:40 -0700 (PDT) From: Dede Davis Subject: Just had to send this... Given the usual treatment of Yes on this list (no flames, puh-leez! Everyone's entitled to an opinion), I thought y'all might enjoy this. It's from an interview with The Loud Family's Scott Miller: I mentioned Yes, as I often do — Yes is one of those bands that are really good, and one day it became effective culture to hold a gun to people’s heads and say "you can’t like them, you have to like punk because it’s unpretentious." And the world bowed down; I bowed down, to a limited extent, or I should say the pressure to was unbelievable. I realized what I "liked" could turn on a dime according to the social powers of the world. That really put the fear in me at a certain level. == Dede "Out of boredom/ I decided/ I'd get with it"--MCC _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Tue, 1 Sep 1998 19:50:58 EDT From: GARGOIDS@aol.com Subject: Croc Show Fegmaniacs, Do you or do you know of anyone I can get in contact with who would have a recording of the June,26 1998 show at the Crocodile Cafe in Seattle? It was my friend's first Hitchcock experience and she would absolutely love a copy of it! Thanks! Jefferson Workman gargoids@aol.com P.S. Please help me! It is very important. ------------------------------ Date: Thu, 3 Sep 1998 15:51:25 +1200 From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: Re: Heavy Metal gentry >On Wed, 2 Sep 1998, James Dignan wrote: >> The term Heavy Metal was coined by Steppenwolf (in "Born to be wild"). I've >> also heard suggestions that Heavy Metal as a gentre was invented by (you >> guessed it) Kign Crimson! > >I have a suspicion that it originates in William Burroughs's oeuvre, >probably in the Naked Lunch. And doesn't that album 'Hapshash and the >Coloured Coat featuring the Human Host and the Heavy Metal Kids' predate >BTBW? could be - I'm not sure (Fact is, I've never heard of it!). I always thought BTBW was the first use of it in rock music. >As far as the musical gentry are concerned, Dave Davies has as good a >claim as anyone (unless of course it was Jimmy Page who actually played on >'You really got me' - was that ever resolved?) not sure whether that's been resolved or not. Perhaps our resident kinkophile (read that however you may ;) Susan might have something to say on that matter. ISTR that Page did play on the early Who classic "I can't explain", though. Let's throw that into the current debate. (James's rating: LZ, 6.5/10; the Who, 11/10) >And, supposedly, Carl Palmer has *TWO* gongs in his drum kit. uh, did someone say Gong? The thot plickens... >>(an accident, he said). It was an old black and white one. > ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ >the hammer? or the filling? > >In the Partidge family episode this was described as "the Pibald Syndrome" >(they didn't spell it and I'm not going to look it up). nuff said. Piebald means black and white. They must've copied it off Gilligan's Island. James (just what was the professor a professor OF, anyway?) 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, 3 Sep 1998 16:01:41 +1200 From: james.dignan@stonebow.otago.ac.nz (James Dignan) Subject: Buddha Fish >Here's the skinny on the Buddha fish (as advertised in the classified >section of _Tricycle_): > >"Promote Buddhism on the road with humour! These handsome 5" plaques are >made of strong plastic and a chrome-like finish that stick to cars and >just about anything! It is like the Darwin fish, only twice the size. >$6 each, or order 5 or more for $3.50 each." Big Mook Creations P.O. Box >15371, San Francisco, CA 94115 all Shiriekback fans join me on the chorus! "We're on the road and we're gunning for the Buddha..." James (who was once supported in concert by the band Buddha Duck) 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: Wed, 2 Sep 1998 21:43:49 -0700 (PDT) From: Danielle Subject: beaver update (RHless) From a Puritan distressed at inter-colonial mercantile warfare: 'What have we come to, that we are cutting each other's throats for beaver?' Additionally, the first page of Robert A. Gross' The Minutemen and Their World (Hill and Wang, 1976) mentions 'abundant beaver'. I thought you all should know. Danielle, wondering if Natalie could make her a Tinfoil Beaver (tm) for an appropriate fee _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Wed, 2 Sep 1998 23:51:01 -0500 From: "Hallucinogenic Woodpecker" Subject: RIAA Couldn't Keep Them Down Negativland Outcry Leads RIAA To Amend Pressing Plant Rules Collage band and its fans provoke music organization to change guidelines for 'fair use' of sound samples. In a surprising response to a furor raised by underground collage band Negativland, the group's fans and its supporters, the Recording Industry Association of America announced on Tuesday that it had agreed to amend its CD Plant Guidelines to account for the existence of "fair use" material on CDs. Negativland, notorious for their use of unlicensed sound samples on their recordings, had been scrambling to find a pressing plant willing to manufacture their latest CD, Over The Edge Volume 3 -- The Weatherman's Dumb Stupid Come-Out Line -- which contains unlicensed samples of music from psychedelic band Pink Floyd and disco group the Village People. The decision to amend the plant guidelines was an about-face for the RIAA, which had previously criticized Negativland for questioning the original guidelines. "The RIAA has received your e-mails on sampling and our CD Plant Guidelines - -- some thoughtful and persuasive, others offensive and uninformed," read the press release from RIAA president and CEO Hilary Rosen that was addressed to "Fans of Negativland." "Unfortunately, Negativland, and many of you, believe that our CD Plant Good Business Practices -- formalized earlier this year into specific guidelines for CD plants to recognize pirated product -- has had the unintended effect of prejudicing the group's ability to get their album pressed," the release continued. "As an organization that has worked tirelessly to protect freedom of expression, we are gravely concerned about this perception. Our objective in issuing the CD Plant Guidelines has been to stop piracy, not artistic expression. Accordingly, the RIAA has amended its CD Plant Guidelines in response to your concerns." As a result, for the first time in nearly a month, Negativland's co-leader Mark Hosler had nothing negative to say about the RIAA. "I'm amazed. It's a really incredible thing," Hosler said Tuesday night of the memo, issued after the music industry trade organization received an unspecified amount of e-mail and letters from irate Negativland fans. Hosler said Rosen had called him earlier in the week to discuss the numerous letters the RIAA had been receiving in light of Negativland's well-publicized search to get their latest recording pressed. According to Hosler, five pressing plants have refused to manufacture the CD, originally slated for release Aug. 17, due to fear of reprisals from the RIAA. The trade association's CD Plant Guidelines includes wording that warns plants can be held liable for damages if they wittingly, or unwittingly, reproduce unlicensed material. "This is really the first time they've acknowledged that 'fair use' is a gray area in the copyright law," said a giddy Hosler in response to the RIAA amendment. Negativland have long professed their belief that their collage-like appropriation of copyright-protected material is covered under a 'fair use' provision of copyright law that protects their "transformative" works of art. "The fact that an organization that represents the major labels is coming out and saying it's not a black-and-white issue, as far as Negativland is concerned, is unprecedented," added Hosler. According to the amended RIAA guidelines, "some recordings presented for manufacture may contain -- as part of an artist's work -- identifiable 'samples' or small pieces of other artists' well-known songs. In some instances, this sampling may qualify as 'fair use' under copyright law, and in other instances, it may constitute copyright infringement. There are no hard and fast rules in this area and judgments on both 'fair use' and indemnification must be made on a case-by-case basis." Rosen could not be reached for comment by press time. In an Aug. 20 press release, Rosen had labeled Negativland's concerns about the guidelines as "misplaced." "The voluntary guidelines suggest procedures CD plants can follow to minimize their legal exposure," Rosen explained. "Those guidelines do not mention or make any recommendations about the use of samples in sound recordings." Negativland have run afoul of the recording industry in the past on copyright issues. The biggest flap was caused by their 1991 EP U2 -- named after the popular Irish rock quartet -- which featured a parody of U2's song "I Still Haven't Found What I'm Looking For," as well as outtakes from top-40 radio countdown host Casey Kasem. U2's label, Island, and the band's publishers brought suit against Negativland and their label, SST. The EP was eventually recalled and destroyed. Hosler said he first heard about the amendment from a National Public Radio story on the controversy that aired Tuesday morning. He added the group has still not found a plant to release the album, but he is hopeful that will soon change. "As to how the amended guidelines will play out in the real world and will help people doing collage work, that remains to be seen," Hosler said. "I don't know how many plants will understand 'fair use,' but this might be one of the best things we've managed to accomplish." ------------------------------ Date: Wed, 2 Sep 1998 21:53:53 -0700 From: Eb Subject: Re: RIAA Couldn't Keep Them Down >Negativland Outcry Leads RIAA To Amend Pressing Plant Rules I've received five or six emailed press releases regarding this conflict (statements back and forth by Mark@Negativland and Hilary Rosen@RIAA, etc.), but after I posted one and nobody commented, I figured no one else was interested. Hrm. Eb ------------------------------ Date: Thu, 3 Sep 1998 01:23:23 -0400 (EDT) From: Terrence M Marks Subject: Re: RIAA Couldn't Keep Them Down > I've received five or six emailed press releases regarding this conflict > (statements back and forth by Mark@Negativland and Hilary Rosen@RIAA, > etc.), but after I posted one and nobody commented, I figured no one else > was interested. Hrm. Well, I'm moderately interested by this. (I was interested enough in that U2 thing to read the book). I just couldn't thin of anything interesting to say. I'm surprised Mr. Tews didn't post something demeaning about the RIAA. I personally don't have an opinion on this because I think its a matter of legal minutae. (Of course, I'm the sort of dude who thinks that the packaging of the U2 single was misleading and the content goes beyond fair use.) Terrence Marks normal@grove.ufl.edu ------------------------------ Date: Thu, 3 Sep 1998 02:27:42 -0600 From: amadain Subject: Re: Cocker 100%, Hitchcocker 0% (long, contains rant) >It doesn't *upset* me, it disappoints me... Huh. I was thrilled with it. In fact, I don't think "Wheeeee!" would be inappropriate. It was such a quantum mega-leap up artistically that it really threw me for a loop. Not that I'm knocking "Different Class" either, but TIH is a horse of a different safari :). >... granted, it >may be because TIH was meant as an 'album' album rather than a 'singles' >album, but then why release so many singles from it (was this 3rd or >4th?)? Because record companies have to make money? Seriously. They didn't spot a standout single like "Common People", so I guess they figured they'd try their luck with several and see if anything stuck. Though I suspect the decision to release the title track as a single was probably more to do with appeasing the artistes :). Personally I would have thought that even given the album's nature, there are some tracks more suited than others.....would have picked "I'm A Man" or "A Little Soul" myself. *****************spoiler**********rant upcoming********************************** OK, so I did cut and paste your post a bit, but I kinda wanted to put these two thoughts together, because there was something here that bothered me. And before I start in on the big windup, I should add that this is not a slam on Gary personally- he just provided me with a good soapbox :). Nor on our UK listmembers (you know I'm not talking about you anyway :)), nor is it meant to imply anything concerning the superiority of the average American musicfan who is also something of a twerp. >And now they just seem to be slowly drifting back into obscurity They spent 12 years in obscurity. I'm pretty sure they can handle it alright :). Unlike the Oasis boys et al, Pulp paid some dues before becoming successful. And their success was really something of a fluke, all things considered. I think once you become mega-successful it becomes pretty difficult to know who your actual friends are, but it may also be disturbing to some that they don't know who their actual LISTENERS are. I think it could just be that the members of Pulp want to know exactly that. From the perspective of this one across-the-pond observer the UK pop scene looks like Short Attention Span Theater. There's a new Beatles every freakin week, and every freakin week some other band that was the most amazing thing ever gets thrown out with the rest of the used kleenex and the press and public are off to the races again. It's absolutely amazing. I mean, this is a country where "NOEL CALLS LIAM A CUNT"- by Sir Anthony Hated-Guest Noel Gallagher's maid's third cousin's fiance reported today that Noel Gallagher, perhaps bored with the phrase "FUCKING CUNT", has decided that the simpler, shorter, more elegant "CUNT" will do. Does this indicate a new direction for the band's new album?.....etc. etc. would be frontpage news, and "SADDAM ANNOUNCES INTENTION TO BLOW UP WORLD" would be relegated to page 5. The UK obsession with this week's pop stars absolutely blows my mind. And most of them are musically mediocre. As far as I can tell it doesn't seem to have a whole lot to do with music. There is this oddball obsession with number ones and sales that seems to permeate EVERYTHING, and a downright rabid television and press industry that's propped up by it. Built-in disposability is part of what makes it run, and it's so damn easy for even talented people to become has-beens quickly. Unfortunately many of these bands haven't got the, shall we say, field experience that Pulp does, and they don't understand that the love of the British public is a fleeting thing. They aimed to get number one, they got it, the next album bombs, they're flat on their ass driving taxis. Two years on and most of these press darlings are oldies acts. I'm amazed at how long the Gallaghers have hung on, frankly. Boys, keep fighting, because Lord knows your music ain't going to keep them interested for long :). Perhaps this isn't something this band wanted to be and perhaps they even went into the studio deliberately with this in mind. Having attained success in a somewhat flukish manner, after long years of music-making, they know what a fickle beast success is in this kind of world, and if they don't feel like dancing with it, but rather wish to just continue making music as they see fit rather than cater to fickle 16 year olds, NME, and a whole nation of Jukebox Jury members, I say more power to them. There IS an audience for the album they made. It's ambitious and clever and above all very honest and ADULT (God knows we need that!)- maybe not the stuff of Top 40 candyfloss dreams, but perhaps the stuff of a classic album that'll stand time. I suspect that Pulp will, after toiling in obscurity, then hitting a peak of exposure, settle into a moderate success mean with an established consistent fan base, and would even postulate that that's what they probably would prefer although of course I can't speak for them personally, it's just a guess. Who knows but that if they continue to do what they do the way they wish to do it, they will go the way the Kinks did in the 60s.......there was quite a gap between "You Really Got Me" and "Lola", with a lot of quality music in between that didn't necessarily bust the charts, but nonetheless found an audience and continues to do so thirty years on. >only vaguely memorable single off the new album so far. The Different >Class singles are played on pub juke boxes all the time - the new ones >aren't. Popularity doesn't equal musical value, but we are talking >about the singles market here. Again, I think this is a fairly UK-centric POV (no, that's NOT a knock, it's an observation :)). Remember that my perspective may be summat different because Pulp is far from a hit band over here, in fact, they are only a few percentage points LESS obscure than they were 3 years ago. So "dive into obscurity" does look a little dramatic from over here because in effect over here they ARE a cult band :). In any event, maybe they're not AIMING for that this time around. In fact I would say it's a distinct possibility that perhaps they were aiming for an "up yours to the jukeboxers" this time around :). So TIH is a succes d'estime rather than a succes de Virgin Radio. The world will keep turning and people who like Pulp will continue to buy their records. I don't fear at all that they will disappear altogether, but probably will continue on as they did before. >understand here and not be completely bored with (they do have the BBC >world service too!). And the Berlin radio stations are a mix of >American chart and country!!! Odd :). Er, if you don't mind my asking, what kind of American chart? Brandy and Toni Braxton and all that garbage, or Matchbox 20 and that garbage, or some mix of both? :) I remember once in Germany listening to the radio and being very perplexed by a German hit that went something like "She speaks American English/She speaks the language of loovvvve". WHAT? Also a fairly droll version of "ObLaDi ObLaDa" by I swear ta God, what appeared to be a polka band made up of non-English speakers. >talk about here. And after saying I didn't think much of the song, I >remembered you saying you liked the album a great deal, so... Ok, now understood :). Love on ya, Susan ------------------------------ Date: Thu, 3 Sep 1998 02:52:49 -0600 From: amadain Subject: No RH but some Ike Turner- Inventor of Metal! Plus gratuitous Gilligan >not sure whether that's been resolved or not. Perhaps our resident >kinkophile (read that however you may ;) Susan might have something to say >on that matter. ISTR that Page did play on the early Who classic "I can't >explain", though. Let's throw that into the current debate. I do actually, though it's not what you might expect- what I'm wondering is if we give cred to Dave Davies shouldn't we also give "Rocket 88" and Ike Turner some consideration? I mean, where does this end? :) And FWIW I also wonder where the latter thing ends. Did Page actually secretly play guitar on 90 percent of singles released in that era, or what?!!!???? What's so incredible about the idea of the guitarists of the bands in question having played on the singles in question? :) >(James's rating: LZ, 6.5/10; the Who, 11/10) I knew you were a man of taste :). >James (just what was the professor a professor OF, anyway?) Um, I believe botany. I seem to recall an episode where another academic got shipwrecked on the island, and in an attempt to impress him enough with his brilliance to compel said academic to rescue them.....the Professor took him around the island showing him various flora and fauna and reeling off latin names and stats supposedly from memory (but really from cleverly hidden footnotes, bwahahaha). He was found out in the ruse, dismissed as not suitably brilliant enough to warrant rescue, and they were stranded once again. What I don't understand about this show is......how come no one ever wanted to rescue them JUST to rescue them, eh? I mean, it seems to me that the vast majority of people would upon reaching humanity again, at least casually mention that "hey, there's this island with stranded people on it, you might want to see about this". Am I missing something here? Love on ya, Susan who thinks too much ------------------------------ Date: Thu, 3 Sep 1998 06:37:17 -0700 (PDT) From: Patrick Welker Subject: You and Oblivion. Just thought I would mention that even after two years, You and Oblivin, the song not the cd, still gives me shivers down my spine. It's a painfully beautiful tune. Does anyone know what this is? Is it perhaps a secret Robyn record? It's on Glass Fish2 records I found it at www.musikweb.com Hegley,John And The Popticians (Robyn Hitchcock) "I Saw My Dinner On TV" Cheers, Pat. ____________ _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Thu, 03 Sep 1998 08:19:29 -0700 From: Mark Gloster Subject: ThIs WeEkEnD iN FeGgYvIlLe Okay, so the big fegweekend hullaballo extravaganza is really happenning. I will be picking up Bayard at the airport this evening. Jeme should be in tomorrow evening, so we will round up a surreal posse to pick him up. I haven't heard about this from him lately, but we should make arrangements quickly. I don't think anyone else will be flying in. We will probably start taking arrivals tomorrow evening. Bay Area Fegs: please bring your own sleeping bags, air mattresses, and pillows if you are staying over. Bring your security blankets and favorite pictures. Please email us quickly if you have special dietary requirements that go beyond gourmet vegetarian or voracious omnivorous tendancies. Saturday afternoon we'll be doing some serious barbecue action. Veggie skewers, fish, rubber sharks (what smells?)... We will have BEER, lemonade, BEER, cranberry juice, BEER, BEER,... you get the picture. If Sydney would show up we'd even have wine. Since I've been really busy with work lately, I haven't had the time to plan this and schedule naked volleyball tournaments and upside down archery activities. It'll be more of a do-what-you-want-but-be-respectful-to-the-neighbors-and-o-yea-don't-kill-anybody kind of a thing. It looks like there will be a preview (listen) of GF2 submissions (I can just hear old Eb kicking himself for not coming!) I live at 536 Maple St. Aptos, CA, USA (in case some NZ fegs might be driving) There is a map to get to my house at: http://www.tigermonkey.com/maps.html The map leaves off some important details, but there are some great directions thingies on the web. Since I think y'all will be coming from somewhere north of here I'll give you some directions like this: Get to highway 1 south in Santa Cruz via 880/17, 92, 280...whatever... Go south on 1, passing through Santa Cruz, Soquel, Capitola. EXIT at PARK AVENUE (this probably also says Capitola Beach, New Brighton Beach exit) RIGHT at the light at the bottom of the exit. This is Park Av. LEFT at first stop sign (one scant block) this is MacGregor in this direction. The street sign is often missing. If you go in any other direction, you won't be on MacGregor. Follow MacGregor, which is a frontage road for a little over a mile. RIGHT at MAR VISTA (the first stop sign that makes you stop.) You will go toward the ocean for about five blocks. RIGHT just past the railroad tracks on CEDAR. KEEP TURNING RIGHT. RIGHT on POPLAR. It is an immediate fork that parallels the train tracks. LEFT at fork (one block) this is MAPLE. 526 Maple is on the right side of the road. It is a faded nipple colored house (but whose?). Please try to park in a way that makes the neighbors happy (not on people's lawns, children, pets, etc.) I am looking forward to seeing y'all. I hope LJ and Quail accidentally fell into the box they were sending us (and I hope it gets here before the party.) Car pools will save the air, parking spaces, and fegs are really fun to travel with. Contact info: home (408 [soon 831]) 662-8867 work (408) 326-8167 rubrshrk@tigermonkey.com mark_gloster@3com.com markg@ipg.3com.com (feel free to email more than just the rubrshrk address) Fegs are the best! - -Mark Gloster ------------------------------ End of fegmaniax-digest V7 #343 *******************************