From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V8 #7 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Thursday, January 7 1999 Volume 08 : Number 007 Today's Subjects: ----------------- Re: 1000 biffo folks [Stewart Russell 3295 Analyst_Programmer ] Re: Dave & John get erudite (RH 0%) [Capuchin ] 1000 Wealthy White People. [Capuchin ] Re: Dave & John get erudite (RH now 1%) [Christopher Gross ] Re: Paragraph Hitchcock [MARKEEFE@aol.com] Re: Paragraph Hitchcock [VIV LYON ] Re: Paragraph Hitchcock [MARKEEFE@aol.com] 1000 biffo folks: bum bum bum BUM! [The Great Quail ] ANOTHER BEST OF 98 LIST [Ken Ostrander ] O Come and See My Swarming Shrine.... [Bayard ] ---------------------------------------------------------------------- Date: Thu, 7 Jan 1999 11:34:55 +0000 (GMT) From: Stewart Russell 3295 Analyst_Programmer Subject: Re: 1000 biffo folks >>>>> "James" == James Dignan writes: James> Columbus is placed staggeringly James> high, and in the world of exploration is probably (IMHO) James> not as important as de Gama or Magellan. Very suprised that any of them appeared above John Harrison, who actually allowed explorers to know where they were through the development of chronometry. George Fox probably doesn't rate high enough either, if at all. Oh well. It's just a list. - -- Stewart C. Russell Analyst Programmer, Dictionary Division stewart@ref.collins.co.uk HarperCollins Publishers use Disclaimer; my $opinion; Glasgow, Scotland ------------------------------ Date: Thu, 7 Jan 1999 11:45:12 +0000 (GMT) From: Stewart Russell 3295 Analyst_Programmer Subject: Re: Dave & John get erudite (RH 0%) >>>>> "James" == James Dignan writes: James> ISTR the first computer in the James> modern sense was being used around that time to crack James> German coded messages at Bletchley Park in England James> (ENIAC?). Colossus, actually (see: http://www.cranfield.ac.uk/ccc/bpark/ ) [I knew a retired vicar who was suspiciously good with computers. In 1991, once the 50 year secrecy rule had passed, he admitted he was one of the Bletchley Code Boys.] Colossus wasn't programmable. Manchester's Baby was the first programmable [binary - Zuse was doing things with trinary electronics in Berlin before this] electronic computer. James> As a five year-old James> kid visiting that office was a huge adventure. It was like James> Houston Mission Control, I can tell you. Know the feeling. I did my first programming at age 5 on my dad's bureau computer. It was the last computer that I cared more about the colour than the internals; it was a bright orange ICL 2900 running Fortran 66. - -- Stewart C. Russell Analyst Programmer, Dictionary Division stewart@ref.collins.co.uk HarperCollins Publishers use Disclaimer; my $opinion; Glasgow, Scotland ------------------------------ Date: Thu, 7 Jan 1999 08:07:45 -0500 From: "Chaney, Dolph L" Subject: six degrees? you got it! Five, even! Maceo Parker ---> Vernon Reid (Living Colour, _Time's Up_) Vernon Reid ---> Bill Frisell (_Smash & Scatteration_) Bill Frisell ---> Elvis Costello (_Deep Dead Blue_) Elvis Costello ---> Glenn Tilbrook ("From A Whisper To A Scream") Glenn Tilbrook ---> Robyn Hitchcock ("Beatle Dennis") The link from Maceo to EC might be even shorter, considering some of the jazz players he's employed. I just dunno. But this works, and I bet nobody else even cares. 8-) Happy New Year, Fegs! Dolph ------------------------------ Date: Thu, 7 Jan 1999 09:29:36 +0000 From: overbury@cn.ca Subject: Re: Paragraph Hitchcock You forgot one influence. "Respect is due to" my hero: John Lennon. I was just reflecting on this the other day; John is the first and last pop musician I will likely ever call a hero. > In e-mailing round my office to see who'd want to go se SH, I had to > summarise Robyn's style in a paragraph. I came up with this: > > Robyn Hitchcock is pretty much an psychedelic folkie guitar hero, with > strong influences from Syd Barrett, Roy Harper, The Byrds and The > Kinks. He has inspired many bands with both his sound and his surreal > musings, most notably R.E.M. - -- Ross Overbury Montreal, Quebec, Canada ------------------------------ Date: Thu, 7 Jan 1999 17:25:04 +0000 (BST) From: Michael R Godwin Subject: Re: Movies movies movies movies movies movies movies. On Wed, 6 Jan 1999 MARKEEFE@aol.com wrote: > In a message dated 99-01-06 18:03:25 EST, you write: > > << JAN 23&24 > SAT 23 7P.M., SUN 24 4:30P.M. > JIM HALL: A LIFE IN PROGRESS > U.S. 1998 > DIRECTOR: BRUCE RICKER > WITH > TALMAGE FARLOW > U.S. 1981 > DIRECTOR: LORENZO D >> > > Jim Hall is a very influential jazz guitarist. I think Tal Farlow > might be one of his pupils, as is/was Bill Frisell. I don't know a thing > about the actual film, though -- just the subject. I've seen the Tal Farlow film on TV. He's quite an old, white jazz guitarist, very talented, with enormous hands that enable him to stretch to outrageous chord inversions. He was once very well-known, but at the time the film was made, he had given up touring and just liked to sit in occasionally at the local jazz club. Definitely worth seeing if you're a jazz fan. I saw the Sidney Bechet film more recently. He had a kind of needle relationship with Louis Armstrong - always felt that LA got more credit than he deserved, while SB got less. He split with LA and moved to France in the 30s(?), where he became very successful, and since he died they have a big jazz festival every so often in his honour. He played some sort of horn but I can't remember what. - - Mike Godwin PS Everyone knows that Germans are called things like Baron von Richthofen, and Dutchmen are called things like Rembrandt van Rijn. So why is it Ludwig VAN Beethoven and not Ludwig von Beethoven? ------------------------------ Date: Thu, 7 Jan 1999 10:42:39 -0800 (PST) From: VIV LYON Subject: Betty Friedan - ---Terrence M Marks wrote: > Well, assuming that James was feigning ignorance of Ms. Friedan to amuse > the rest of us... > Who the hell is Betty Friedan? ARE YOU KIDDING ME? You must be joking. You can't be serious. C'est impossible. Friedan, Betty Naomi 1921-, American feminist; b. Peoria, Ill. In 1963 she galvanized the women's movement by publishing The Feminine Mystique, an attack on the notion that women find fulfillment only through childbearing and homemaking. Founder of the NATIONAL ORGANIZATION FOR WOMEN (1966), she also helped organize the National Women's Political Caucus (1970). In The Second Stage (1981) she evaluated the progress of FEMINISM, remaining a moderate and criticizing its radical elements. _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Thu, 7 Jan 1999 10:37:09 -0800 (PST) From: Capuchin Subject: Re: Dave & John get erudite (RH 0%) On Wed, 6 Jan 1999, Terrence M Marks wrote: > On Thu, 7 Jan 1999, James Dignan wrote: > > turn cogs to line the gun up right. ISTR the first computer in the modern > > sense was being used around that time to crack German coded messages at > > Bletchley Park in England (ENIAC?). Even as late as the late 1960s, > > computers were too big to be of any practical use onboard aircraft. > > (Warning! Anecdote alert!) > No, it was the Enigma machine, an amazing little gadget that could be > used to encode things millions of different ways. The Germans were using > them to encode and decode things, and we got one that fell off the back of > a truck. It was about the size of a typewriter. You press a key and a > letter on top of it lights up. Colossus was the electronic computer the English used to attempt to crack German (and Allied!!!) codes during WWII... I think that's the machine to which James was referring.. Now, as for the Enigma machine... that's something else. I was watching the History Channel a few months ago and a fellow was on there giving an interview and telling about how his navy vessel captured a German U-boat that carried an Enigma machine. They didn't know what was, exactly, but he was told to take all the papers and machinery that he could pry off the desks, so he took it and gave it to his commander and that was the first Enigma machine captured. He had a great story about how he played with it for a couple of minutes before he could unbolt it from the desk. He hit A and got F... then he hit A again and got N. It was a really fascinating machine. Not terribly strong encryption by today's standards, though. So which was indeed the FIRST Enigma machine captured by Allied forces? Hrrm. J. ________________________________________________________ J A Brelin Capuchin ________________________________________________________ ------------------------------ Date: Thu, 7 Jan 1999 10:40:42 -0800 (PST) From: Capuchin Subject: 1000 Wealthy White People. OK, Einstein wasn't all that wealthy... But anyway, I deleted the original post, but Betty Friedan was the author of The Feminine Mystique and numerous other books and founder of the National Organization for Women. I might put her up there with the 100 most important people of the century... and that would probably get her in that list of 1000 for the milennium. But then again, she might not make it. She is, however, affluent and white. Je. ________________________________________________________ J A Brelin Capuchin ________________________________________________________ ------------------------------ Date: Thu, 7 Jan 1999 13:52:43 -0500 (EST) From: Christopher Gross Subject: Re: Dave & John get erudite (RH now 1%) I'd like to take this opportunity to recommend the novel _Enigma_, by Robert Harris, set at Bletchley Park during the darkest days of WWII. (Harris is the same guy who wrote _Fatherland_, an excellent alternate history novel later butchered by HBO.) RH content? Well, umm, the book is set in England, and Robyn is, er, English.... - --Chris np: Uz Jsme Doma, Live At the Starfish Room ______________________________________________________________________ Christopher Gross On the Internet, nobody knows I'm a dog. chrisg@gwu.edu ------------------------------ Date: Thu, 7 Jan 1999 14:26:55 +0000 From: overbury@cn.ca Subject: Re: Dave & John get erudite (RH 0%) > It was a really fascinating machine. Not terribly > strong encryption by today's standards, though. "crypt implements a one-rotor machine designed along the lines of the German Enigma, but with a 256-element rotor." - -- from my SYS V/68 manual entry on the 'crypt' command - -- Ross Overbury Montreal, Quebec, Canada ------------------------------ Date: Thu, 7 Jan 1999 14:48:48 EST From: MARKEEFE@aol.com Subject: Re: 1000 biffo folks In a message dated 99-01-06 22:46:20 EST, you write: << Yeah, that was the one. The article is available at http://www.usatoday.com/life/enter/books/b932.htm >> Well, the authors said they had the hardest time with the music-related people. And, IMO, they blew it. Beethoven over Bach?! Ridiculous. I know we just recently had a pretty thorough going over of classical music, so I don't want to start that back up or anything . . . I just couldn't help but point this one out. In what way did Beethoven shape the Millennium more than Bach? Don't get me wrong -- I like Beethoven quite a bit and definitely think he was influential in that he went one step further than Mozart in bringing "romanticism" into classical music. But Bach laid a much more important and lasting foundation for the understanding of music (esp. counterpoint and harmony). His compositions were also beautiful and often extremely moving. Plus, he was considered a master keyboardist! (although Ludwig could probably hold his own at the ivories -- at least during his hearing days) Anyway, Bach rules, dude. - ------Michael K., probably preaching to the choir ------------------------------ Date: Thu, 7 Jan 1999 11:56:45 -0800 (PST) From: Capuchin Subject: Re: Dave & John get erudite (RH 0%) On Thu, 7 Jan 1999 overbury@cn.ca wrote: > > It was a really fascinating machine. Not terribly > > strong encryption by today's standards, though. > "crypt implements a one-rotor machine designed along the lines of the > German Enigma, but with a 256-element rotor." > -- from my SYS V/68 manual entry on the 'crypt' command Right... and how many notches on the Enigma rotor? Seven? Yeah. Zero Knowledge Systems offers 4096-bit encryption. That blows my mind. I swear, I'm about to write a job description and send a resume to these guys. Hey, they're in Montreal... isn't that where Ross lives? J. ________________________________________________________ J A Brelin Capuchin ________________________________________________________ ------------------------------ Date: Thu, 7 Jan 1999 15:01:38 EST From: MARKEEFE@aol.com Subject: Re: Paragraph Hitchcock In a message dated 99-01-07 03:41:21 EST, you write: << In e-mailing round my office to see who'd want to go se SH, I had to summarise Robyn's style in a paragraph. I came up with this: Robyn Hitchcock is pretty much an psychedelic folkie guitar hero, with strong influences from Syd Barrett, Roy Harper, The Byrds and The Kinks. He has inspired many bands with both his sound and his surreal musings, most notably R.E.M. >> Pretty good description, although I think you're robbing Robyn of one aspect of his multidimentionality if you don't include the word "pop" or "poppy" in there somewhere. I just think he's got too many hooks and too much energy to be called a "folkie" and then leave it at that. Also, I guess I've never really been too keen on the term "psychedelic" to describe Robyn, as he seems to me to just be delightfully odd and not at all reminiscent of being in a drug-induced state. You don't want people to think he's going to be sitting on a stool, singing three-chord songs about moonbeams and acid trips while some guy sits off to the side playing sitar! :-) I hope this is taken constructively. I didn't intend to "shred" your description or anything. I just thought it could be edited slightly . . . maybe "a quirky folk-pop guitar hero," instead. That's my two cents. - ------Michael K. ------------------------------ Date: Thu, 7 Jan 1999 13:20:43 -0800 (PST) From: VIV LYON Subject: Re: Paragraph Hitchcock - ---MARKEEFE@aol.com wrote: > maybe "a quirky folk-pop guitar hero," instead. That's my two cents. The adjective 'quirky' makes my hackles stand on end. As do 'eclectic,' and 'eccentric.' And 'psychedelic.' So, I decided to see if synonyms of these words might do better. Some of the results were inspiring. quirky- erratic, kinky, out of line eclectic- universal, catholic eccentric- droll, outlandish, queer psychedelic- loud, resplendent, brilliant. "Robyn Hitchcock is a kinky, queer, catholic guitarist whose music is brilliant and rather out of line." _________________________________________________________ DO YOU YAHOO!? Get your free @yahoo.com address at http://mail.yahoo.com ------------------------------ Date: Thu, 7 Jan 1999 16:28:26 EST From: MARKEEFE@aol.com Subject: Re: Paragraph Hitchcock In a message dated 99-01-07 16:18:58 EST, you write: << "Robyn Hitchcock is a kinky, queer, catholic guitarist whose music is brilliant and rather out of line." >> Yeah! I bet Robyn would approve of that one! I think that's the *perfect* description. - ------Michael K. ------------------------------ Date: Thu, 7 Jan 99 17:03:41 -0500 From: The Great Quail Subject: 1000 biffo folks: bum bum bum BUM! I've watched this whole 1000 list controversy swish across the List (I guess "rage" isn't exactly the best verb for it) and I just had to chime in about a few things, especially about Columbus and Beethoven. I don't really think some of them are to be interpreted *personally* such as Columbus or Neil Armstrong. I agree with the person who said that it is much more the place they occupied in history; although one should really ask the question *why* did they occupy that particular place? What drove them? What made Columbus do it and no one else? And before you belittle his personal importance, I think it is important to realize that Columbus very well may be the second most influential person in the millennium! Just look at all that unfolded, indeed, is *still* unfolding, because of him. The fact that he worked for Spain and not England -- who can possibly measure the amount of difference that small thing has had, snowballing across the centuries? Would there now be a Greater Aztec State of Xebljzelda Quailzefegatl? How would have colonial politics gone a few hundred years later if, perhaps, a Dutch sailor named Mickey Van Maus had discovered the "New World?" What if Columbus would have been more sympathetic with the natives or approached a different shore on his several voyages? Or have been eaten? It's like that apocryphal butterfly in chaos theory -- one flap of delicate wings is magnified across time and space to God knows what -- your children having lizard tongues and donuts raining from the sky, perhaps. . . . Having said that, I just wanted to respond to Michael's comments, even though I run the risk of spooling another classical thread. > Well, the authors said they had the hardest time with the music-related >people. And, IMO, they blew it. Beethoven over Bach?! Ridiculous. >Bach >rules, dude. Yes, Bach rules, a clear genius. But not more influential, no way. A few things to clarify what was, in my opinion, the correct decision: >Bach laid a much more important and >lasting foundation for the understanding of music (esp. counterpoint and >harmony). Not really true. The basics of counterpoint were worked out well before JS Bach. As a matter of fact, Bach in his old age was considered a bit of a holdover, clinging to the Baroque style when even his very sons were moving towards the pre-Classical "style galant," a style that eschewed counterpoint and polyphony for melody -- and a style that lead to Classical. Now Bach did indeed raise counterpoint to a new level -- he more than mastered it, he committed miracles with it. But it was already a fading art form. True, Mozart picked it up a bit at the end of his life and played with it; but the Bach we know and love today is largely a twentieth-century creation. Bach was virtually unknown for almost 100 years after his death -- not to musicians, of course, who generally appreciated him; but he was hardly the rage he is now, and his shadow on music was much slighter than you may think. >His compositions were also beautiful and often extremely moving. So are Beethoven's . . . that's subjective, so really shouldn't count here. I am talking simply about who was more influential. >Plus, he was considered a master keyboardist! (although Ludwig could probably >hold his own at the ivories -- at least during his hearing days) Ludwig was more than a master keyboardist; the Young Beethoven was infamous all over Europe for his revolutionary virtuoso performances on the keyboards. True, Bach was a master as well, but Bach never strayed far from Leipzig and was quite content with his church-sponsored position. Bach would often skip work to go hear other organists and harpsichord players; he marveled at them. Beethoven on the other hand, was more fond of blowing them out of the water -- which he did consistently until he lost his hearing, a secret which he hid for quite a long time. Now, about influences -- Beethoven has had clearly more influence. He took the classical form, perfected by Haydn, taken to new levels of invention by Mozart, and he mastered it, then freed it completely -- he made it work for him, rather than adapt his work for the form. Everything he did he did his own special way, and nothing was ever the same again, from piano sonatas to string quartets to the symphony. He was a true revolutionary; neither Bach nor Mozart are considered that, even though they both advanced their fields tremendously. But Lou; his inventions, his style, his ideas -- they were immediately recognized in his lifetime, and they are still casting a shadow over music. It was Beethoven that forged the popular idea of the composer -- an ARTIST, not a servant, but an artist who expresses his inner world with his music. Again, neither Bach nor Mozart possessed that ideal; with them, music was for a purpose, be it religious, entertainment, or to glorify the form of music itself. With Beethoven we see the beginnings of the Romantic ideal -- Music was art and expression. This torch was really picked up by Wagner, an other revolutionary, and has been burning ever since. Put it this way: people LOVE Bach, but they come near to *fearing* Beethoven. Even today Beethoven is much more influential than Bach, and I mean by far. Post-Beethovian composers, whether they are inspired by him - -- Brahms, Bruckner, Wagner, Strauss, Mahler, Shostakovich, Hindemith, Bernstein, even pomos like Tan Dun -- or whether they reacted against him - -- Debussy, Schoenberg, Berg, Webern, Cage -- all of them recognize his genius and all of them feel his influence. Not so with Bach -- as sublime as he is, I cannot think of any composers of the last 200 years to really have been greatly influenced by Baroque, except as experimentations or as part of a unique idiom. (Schnittke, for example.) One of my favorite quotes about Beethoven comes from Debussy, who loved to whine about Germans: "The Ninth Symphony has become a universal nightmare." There was no way to shake off Lou. I'm sorry of I sound a bit pedantic . . . - --Quail, who has not yet had the time to record his glorious transformation from the Ghosts of Fegmas Past, Present, and Future. . . . PS: I really think what this 1000-List is doing more than anything else is showing what prejudices everyone else has. Why aren't there more women? Why are most of them white? How was such and such considered over so and so. . . . but that's half the fun, isn't it? Or why make such a list? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ The Great Quail, Storyteller of New York by Night http://www.rpg.net/quail/NYBN "But we are pledged to set this world free -- our toil must be in silence and our efforts in secret for in this enlightened age, when men believe not even what they see, the doubting of these men would be his greatest strength." --Abraham Van Helsing, "Dracula" ------------------------------ Date: Thu, 07 Jan 1999 18:52:06 -0500 From: Ken Ostrander Subject: ANOTHER BEST OF 98 LIST ALBUMS: SAINT ETIENNE - GOOD HUMOR/FAIRFAX HIGH. very cool and clever dance music. i have no sympathy for those who didn't buy this album when it first came out and missed the bonus disk of b-sides. the lounge dance grooves and retro-sixties feel tie both disks together. the ninties' best kept secret. LAURYN HILL - THE MISEDUCATION OF LAURYN HILL. everything you've heard is true. this album mixes soul, gospel, reggae, rap, and hip-hop with very satisfying results. educational and inspirational. GARBAGE - VERSION 2.0. take your favorite alterno-rock classics and throw them in a blender. that's what these guys did. glamrock, beatbox, and recycled riffs rip it up like the first version. MEKONS - ME. no, it's not chumbawamba. the mekons have been reinventing themselves for decades and they still sound fresh. there's a glossy sheen over the whole album with touches of country, blues, reggae, and psychedelia. sexy and sassy. JON LANGFORD - SKULL ORCHARD. one of several albums that he has worked on this past year. a roots rock solo work that is both topical and intensely personal. it incorporates varied instrumentation for the music that runs from straight-forward rockers to beautiful melodies. one of the hardest working men in show business. ANI DI FRANCO - LITTLE PLASTIC CASTLE. her most accessible album yet. her usual folk guitar style has been filled out with more studio production; but her lyrics are just as powerful and topical. spoken word stylings mixed with her own kind of rock. she does it her way. LIZ PHAIR - WHITECHOCOLATESPACEEGG. worth the wait. she's playing with more mellow sounds and moods; but she's still the same frank lyricist with an axe to grind. she's still our pottymouth girl. BILLY BRAGG & WILCO - MERMAID AVENUE. this tag team ensemble put lost lyrics written by the late, great woody guthrie to music to great effect. apparently, there are lots of songs that didn't make this collection. can a second set be far behind? HOLE - CELEBRITY SKIN. the more you listen, the more you like. sweet and sticky pop with a glittery, glam-rock edge. this stuff gets under your skin. ELLIOT SMITH - XO. bitterness can be beautiful. these beatlesque melodies are loaded with overdubs and instrumentation that make the pill of the lyrics easier to swallow. eventually the medicine becomes the disease and you're hooked. AIR - MOON SAFARI. a lush musical landscape of pseudo-jazzy keyboards and rhythms that will sneak up on you. mellow movie grooves and some beautiful guest vocals don't make the new-wave synthesizers sound any less dated. light and airy. BELLE & SEBASTIAN - THE BOY WITH THE ARAB STRAP. a blend of the smiths and the beautiful south. the delicate melodies are a stirring backdrop for the wispy, clever vocals. pensive pop for precocious people. MERCURY REV - DESERTER'S SONGS. a dreamy, majestic rock record with symphonic lullibies and electric roadhouse blues. it has the effect of an aching sigh. PJ HARVEY - IS THIS DESIRE? a mix of tribal rhythms and layered sythesizers with occasional blasts of guitar noise. the songs wash over you and leave you asking the question yourself. PULP - THIS IS HARDCORE. a monument to world-weary decadence, fear and realization, and the horrors of growing old. sweeping, cinematic strokes and cool glam-rock grooves carry the album through its dark passages. not as much fun as tasty. BECK - MUTATIONS. an understated, deliberately uncommercial record of blues, folk, country, and psychedelia with a touch of bossa nova thrown in for good measure. my favorite is the untitled song at the end. SIMPLE MINDS - NEOPOLIS. a return to their majestic sound from the eighties. the industrial synth and drum beats still sound fresh. why it wasn't released in the states is still a mystery to me. NEUTRAL MILK HOTEL - IN THE AEROPLANE OVER THE SEA. a strange and magnificent statement from the elephant six collective. surreal imagery and a motley assortment of instruments from psychedelic guitar to trumpets and trombones make this ambitious work soar. a testament to lo-fi. DAN BERN - SMARTIE MINE. the unborn child of zimmerman and macmanus. a sprawling double-album of folk and blues that take his twisted visions of reality to delirium. heartfelt and hilarious. RUFUS WAINWRIGHT - RUFUS WAINWRIGHT. the child of musical parents comes through in his own right. loungey, brooding, piano-based ballads with stringed accompaniment that sound almost too cool. bring your smoking jacket. ELVIS COSTELLO WITH BURT BACHARACH - PAINTED FROM MEMORY. in some ways it's a wonder these two guys never got together before. the arrangements may be a stretch for some with mr. macmanus' incomparible voice; but they're so powerful and emotional that they wear down all resistance. MARTIN SEXTON - THE AMERICAN. indie-folk's best kept secret. his vocal range is amazing and his style defies definition. this major-label debut effectively showcases his ability to go from acoustic power chords to cool jazz swing. blue eyed soul. OTHER COOL ALBUMS: madonna - ray of light, beastie boys - hello nasty, neil finn - try whistling this, tori amos - from a choirgirl hotel, spinnanes - arches and aisles, the church - hologram of baal, tommy keene - isolation party, bob mould - the last dog and pony show, barbara manning - in new zealand, mike scott - still burning, sonic youth - a thousand leaves, public enemy - he got game, mary lou lord - got no shadow, jeffrey gaines - galore, smashing pumpkins - adore, pearl jam - yield, r.e.m. - up, jesus & mary chain - munki PREVIOUSLY UNRELEASED/REISSUES: throwing muses in a doghouse van morrison the philosopher's stone bruce springsteen tracks prince crystal ball saint etienne continental oasis the masterplan wouldn't you know that this year i completed my collection of john lennon's albums and also acquired a bootleg copy of the very dylan concert that was released this year. i guess i saved myself a lot of money. LIVE ALBUMS: lou reed perfect night robyn hitchcock storefront hitchcock LIVE SHOWS: x mekons liz phair john cale with the creatures ani di franco pj harvey jonathan richman saint etienne skull orchard martin sexton bauhaus MOVIES: happiness slums of beverly hills the spanish prisoner next stop wonderland elizabeth the mighty the butcher boy saving private ryan opposite of sex celebrity the big lebowski ------------------------------ Date: Thu, 7 Jan 1999 19:55:18 -0500 (EST) From: Bayard Subject: O Come and See My Swarming Shrine.... It still has a ways to go (I hope to have the audio and video up soon, let's say a week) but if you like, visit my robyn site, the glass hotel! http://travel.to/glasshotel Any and all feedback is most eagerly welcomed! Thrash me, praise me, send me things to put up! I mostly did what I wanted, but it should be useful to at least some of you. And I think it has very little overlap with the other highly useful and entertaining robyn sites we all know and love. The "room" called The Laboratory deals with stuff folks on this list are doing. The best is gonna be when JH3 and I finish Robynbase, the Hitchcock Killer App, and its frontend The Asking Tree. That should be in several weeks or so. Anyway, what are you waiting for? =b ps. Remind me again of how to get the search engines to list me? pps. woj et al, you may add me to your links! ------------------------------ End of fegmaniax-digest V8 #7 *****************************