From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V8 #336 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Saturday, September 4 1999 Volume 08 : Number 336 Today's Subjects: ----------------- DAT Acoustic Cafe [Plpalmer@ix.netcom.com] MEEP MEEP MEEP [Doc ] Seven Old Ladies ["Scott Hunter McCleary" ] Seattle-area fegs, this looks interesting [lj lindhurst ] Re: EC's Beyond Belief [lj lindhurst ] stipey makes an announcement [ultraconformist@ets.cncdsl.com] lavatory ladies [Katherine Rossner ] lavatory ladies II [Katherine Rossner ] Re: EC's Beyond Belief ["JH3" ] Re: stipey makes an announcement [Aaron Mandel ] Re: grilled about cheese ["Russ Reynolds" ] eb all over the world ["Capitalism Blows" ] ---------------------------------------------------------------------- Date: Fri, 03 Sep 1999 10:22:20 -0700 From: Plpalmer@ix.netcom.com Subject: DAT Acoustic Cafe Does any DAT taper on this list get Acoustic Cafe? I will trade you some Robyn for a tape of The Innocence Mission on September 6th. Peter ------------------------------ Date: Fri, 3 Sep 1999 10:41:46 -0700 (PDT) From: Doc Subject: MEEP MEEP MEEP I'd said: >>I use MP3 files because the compression factor is **HUGE** (10:1, in >>some cases) Eb said >Actually, my research tells me that the compression is between 12:1 and >13:1. No? I wouldn't doubt it. There are variables that affect the compression--namely, the information encoded in the original track and the sampling rate. The higher the sampling rate, the better the fidelity. Since I do the "burn a bunch of audio CD-s onto one MPP3 CD" stunt, I find that using a 10:1 ratio is a little easier on my poor tired brain. It also gives me a little bit of room to fudge. (I'm a programmer, and my perceptions of time and space are different than the average human's due to numerous project plans.) >But tell me, those of you who burn MP3s onto CDs -- there IS a >noticeable difference in quality between that CD and a conventional >CD, right? Even though the difference may not be that striking or >disturbing? Yeah, there is a sound quality difference, just as there would be a sound quality difference in taping a CD, or burning a CD from a tape, or any other sort of media transfer. For MP3s there are things that you can do to tweak the fidelity, and the first thing is upping the sampling rate. It makes for bigger files and a longer encoding process, but I find the sound is better. Not surprisingly, the ripper(software that converts the CD track to a .wav file in Windows land) or the encoder (software that converts the CD track into an .MP3 file) will make a difference. I haven't played with them extensively, but I'd bet Mark Gloster's lunch money that some work better than others, and that various combinations of rippers and encoders work better than others overall. Also, the MP3 player I use, WinAmp, has a built-in equalizer. While I'm not a guru by any stretch of the imagination, I can usually tweak the sounds for various MP3s to something listenable. I find I only have to do this for about 1 in 100 CDs. (The last one I hadda tweak was The Jazz Butcher's "Cult Of The Basement" where the highs were very squeaky and loaded with echo.) >As for this much-discussed CDDB apparatus, once again, I'm comforted to >discover a limit to my collector weenieism. ;) This reminds me, do you still want my collection of dryer lint? Remember, I've got the one from the '68 Maytag that was on the army base in Guam. - -Doc __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com ------------------------------ Date: Fri, 3 Sep 1999 11:03:38 -0700 From: "Scott Hunter McCleary" Subject: Seven Old Ladies Ran this by a friend who's a singing wench at RenFaires. This may be a slightly sexier version than what you know (knowing her). For what it's worth: SEVEN OLD LADIES     Oh, dear, what can the matter be   Seven old ladies got locked in the lavat'ry   They were there from Sunday 'till Saturday   Nobody knew they were there     The first to come in was the minister's daughter   (The first was the Bishop of Chichester's daughter)   She went in to pass some superfluous water   She pulled on the chain and the rising tide caught her   And nobody knew she was there     The next to come in was dear Mrs. Mason   The stalls were all full so she pissed in the basin   And that is the water that I washed my face in   And nobody knew she was there     The third old lady was Amelia Garpickle;   Her urge was sincere, her reaction was fickle.   She hurdled the door; she'd forgotten her nickel,   And nobody knew she was there     The forth to come was old Mrs. Humphrey   She shifted and jiggled to get herself comfy   Then to her dismay, she could not get her bum free   And nobody knew she was there     The fifth to come in, it was old Mrs. Draper   She sat herself down, and then found there was no paper   She had to clean up with a plasterer's scraper   And nobody knew she was there     The sixth old lady was Emily Clancy;   She went there 'cause something tickled her fancy,   But when she got there it was ants in her pantsy   And nobody knew she was there     The seventh old lady was Elizabeth Bender;   She went there to repair a broken suspender.   (But how in the world she got a suspender)   It snapped up and ruined her feminine gender,   (Caught up in the site of the feminine gender)   And nobody knew she was there   ( I 'aven't the slightest idea.)     The janitor came in the early morning.   He opened the door without any warning,   The seven old ladies their seats were adorning,   And nobody knew they were there.     alt:   (The __ old lady was Abigail Quimm   Who crossed her legs on a personal whim,   But her thigh got caught twixt the bowl and the rim   And nobody knew she was there.)   - ----- MailStart Plus - http://www.mailstartplus.com Consolidate Your Mailboxes Into an Organized, Filtered, Spell-Checked, Anywhere, Anytime WebBox ------------------------------ Date: Fri, 3 Sep 1999 09:46:14 -0400 From: lj lindhurst Subject: Seattle-area fegs, this looks interesting BOY Center on Contemporary Art Seattle, WA USA United States of America For CoCA, Fletcher + Rubin will create new work with and about Gregory Smart, an eleven-year-old boy who lives with his family in Seattle. Working closely with Gregory, Fletcher + Rubin will use a variety of strategies and media to present Gregory=EDs everyday life. http://absolutearts.com/cgi-bin/news/elaborate.cgi?find=3D474 - ----------------------------------------------------------- Some of the elements incuded in BOY a large-scale altered photograph of Gregory with Fletcher + Rubin a display of various used balls from Gregory's backyard a small-scale working soccer field where visitors to CoCA can play=20 according to Gregory's rules a series of six video projections depicting scenes from Gregory's life To acquire these video pieces, Fletcher + Rubin made a "video helmet"=20 for Gregory to wear while he went about his everyday=20 activities-playing soccer, riding his bike, walking his dog, eating,=20 playing the flute, reading books, etc. =46letcher and Rubin are emerging artists from Berkeley, California who=20 have created a number of community-based conceptual art projects,=20 including These Fine People, portrait busts of ordinary citizens=20 mounted on pre-existing light poles in downtown Fairfield,=20 California; and at the San Francisco Art Institute, Anthony, an=20 installation about art student Anthony Powells life. Using a variety=20 of media and approaches the show explored some of Anthonys interests=20 including heavy metal music and World Federation Wrestling. The=20 installation included significant objects from Anthonys past,=20 enlarged drawings of all the dogs Anthony has owned, a time line of=20 Anthonys life, a video of Anthony demonstrating wrestling moves on=20 the artists, photographs from his childhood in Long Island, NY, 20=20 portraits of Anthony produced by a beginning painting class at the=20 school, and 30 T-shirts with photographs of Anthonys high school=20 buddies on them. * * * * * * * * * * * * * * * * LJ Lindhurst White Rabbit Graphic Design http://www.w-rabbit.com NYC ljl@w-rabbit.com * * * * * * * * * * * * * * * * ------------------------------ Date: Fri, 3 Sep 1999 11:26:54 -0500 (CDT) From: Marshall Needleman Armintor Subject: beck Dolph said: <> I heartily agree with that - _One Foot in the Grave_ is a truly awesome record. It's like his IODOT...sort of. After the media orgasm over _Odelay_, Beck got tagged with some Dylan comparisons (charmingly tuneless voice, word-vomit lyrics, etc.), but I think One Foot reveals that he shines writing real songs, as opposed to cool sonic collage. My favorite song on it is "Outcome," followed closely by "Forcefield." << He's likely to make seemingly random genre excursions a long time before then. I figure we're gonna have an analogue to Neil Young -- where the hip-hop records correspond to Crazy Horse albums, and then Beck would have occasional fits of genre-hopping a la Neil in the '80s.>> That's a interesting take...thought that _Mutations_ was the beginning of that. Oddly enough, in some places it sounds like an old Floyd album. Let's hope he doesn't go totally erratic like Neil. I love the guy, but we're talking about someone who backed Reagan in the 80s. This from the man who wrote "Ohio." marshall np Sonny Rollins, Vol. 2 (Blue Note) ------------------------------ Date: Fri, 3 Sep 1999 11:56:44 -0400 From: lj lindhurst Subject: Re: EC's Beyond Belief Of course I would have to chime in on this one. And actually, Viv (who is now wandering across America with the underpants-challenged Capuchin) just posted not so long ago about her love of this song. I've consulted my (er, Quail's) copy of "Elvis Costello: God's Comic-- A Critical Companion to His Music and Lyrics", by David Gouldstone, and he says: "'Beyond Belief' is fundamentally a jaundiced and horror-struck meditation on the state of the world. The opening couplet serves as a kind of prelude to the album as a whole: it reminds us that people generally don't learn from their mistakes." Then again, he also says it's hard to tell exactly WHAT it's about, and that it's like a hallucination or a nightmare. I've always thought that it was about drinking, and the way you start to have visions of grandeur when drunk. Gouldstone also mentions this, but he writes that off as a "less literary" explanation. (bastard!!) I have always thought EC was writing from the vantage point of a philosophizing drunk in a bar ("you'll never be alone in this bone orchard/This battle with the bottle is nothing so novel"). It is definitely a good prelude for the rest of the album-- those tales could be swirling around any tavern... - ------------------------------- Beyond Belief History repeats the old conceits The glib replies the same defeats Keep your finger on important issues With crocodile tears and a pocketful of tissues I'm just the oily slick On the windup world of the nervous tick In a very fashionable hovel I hang around dying to be tortured You'll never be alone in the bone orchard This battle with the bottle is nothing so novel So in this almost empty gin palace Through a two-way looking glass You see your Alice You know she has no sense For all your jealousy In a sense she still smiles very sweetly Charged with insults and flattery Her body moves with malice Do you have to be so cruel to be callous And now you find you fit this identikit completely You say you have no secrets And then leave discreetly I might make it California's fault Be locked in Geneva's deepest vault Just like the canals of Mars and the great barrier reef I come to you beyond belief My hands were clammy and cunning She's been suitably stunning But I know there's not a hope in Hades All the laddies cat call and wolf whistle So-called gentlemen and ladies Dog fight like rose and thistle I've got a feeling I'm going to get a lot of grief Once this seemed so appealing Now I am beyond belief - ---------------------------------------- =============================== LJ Lindhurst White Rabbit Graphic Design NYC ljl@w-rabbit.com http://www.w-rabbit.com =============================== "I don't care if I'm right or wrong Or if my typewriter can spell" -Elvis Costello ------------------------------ Date: Fri, 3 Sep 1999 13:48:42 -0600 From: ultraconformist@ets.cncdsl.com Subject: stipey makes an announcement Word on the street (ok, someone emailed me about it, actually) is that at REM's show last night in Seattle, Stipe dedicated a song to "Robyn and Michelle, who were recently joined like Georgia grasshoppers". Hmmmm. Love on ya, Susan ------------------------------ Date: Fri, 03 Sep 1999 16:33:43 -0400 From: Katherine Rossner Subject: lavatory ladies Here's a version of the "Three Old Ladies" one (from Digital Tradition at www.mudcat.org--best folk database I know). I couldn't find a "Seven Old Ladies" version but will keep looking. It definitely exists--I'm sure that those lyrics have been posted to at least one and I think two mailing lists I'm on within the past year. Next time I get something from the (very low-traffic believe it or not) Bawdy mailing list I'll query there; their info is on my real computer which is still en route from California. Or you might try posting to rec.music.folk and rec.music.filk where there are probably umpteen people who know the song. - -- Katherine settling in in Connecticut (but with no comma key) > >THREE OLD LADIES > >Oh, dear, what can the matter be >Three old ladies locked in the lavatory >They were there from Monday to Saturday >Nobody knew they were there > >The first one's name was Elizabeth Porter >She went in to be rid of some overdue water >And she stayed there far more than she ought to >And nobody knew she was there. > >CHORUS > >The second one's name was Elizabeth Pomphrey >She went in and made herself comfy >Then she said: "Girls, I can't get my bum free." >And nobody knew she was there > >CHORUS > >The last one's name was Elizabeth Carter >She was known as a world renowned farter >She went in and played a sonata >And nobody knew she was there. > >CHORUS Ye knowe ek, that in forme of speche is chaunge Withinne a thousand yere, and wordes tho That hadden pris, now wonder nyce and straunge Us thinketh hem, and yit they spake hem so. - Chaucer, "Troilus and Criseyde" ------------------------------ Date: Fri, 03 Sep 1999 16:44:02 -0400 From: Katherine Rossner Subject: lavatory ladies II Ha! Found it at http://users.bigpond.com/kirwilli/songs: >Seven Old Ladies > > > Chorus: > Oh dear what can the matter be? > Seven old ladies locked in the lavatory > They were there from Sunday to Saturday > Nobody knew they were there > > They said they were going to chat with the Vicar > They went in together they thought it was quicker > The lavatory door was a bit of a sticker > And the Vicar had tea alone > > The first was a wife of the Deacon of Dover > Always was known as a bit of a rover > She passed out in the ladies napkin disposal > And nobody knew they were there > > The next old lady was dear Mrs. Bickles > Found herself in a bit of a pickle > Locked out of the stalls for she hadn't a nickel > And nobody knew they were there > > The next was the Bishop of Chichester's daughter > She couldn't wait so she used the basin > Unaware it was the basin a pope had washed his face in > And nobody knew they were there > > The next old lady was Abigail Humphery > Who settled in and made herself comfy > Tried to get up but couldn't get her bum free > And nobody knew they were there > > The next old lady was Elizibeth Spender > Was doing all right 'til her vagrant suspender > Got all twisted up in her feminine gender > And nobody knew they were there > > The last was a lady named Jennifer Tripp > She couldn't wait, couldn't wait to get started > But when she sat down she only farted > And nobody knew they were there > Ye knowe ek, that in forme of speche is chaunge Withinne a thousand yere, and wordes tho That hadden pris, now wonder nyce and straunge Us thinketh hem, and yit they spake hem so. - Chaucer, "Troilus and Criseyde" ------------------------------ Date: Fri, 3 Sep 1999 16:08:49 -0500 From: "JH3" Subject: Re: EC's Beyond Belief >>What do y'all think this song is about? >I've always thought that it was about drinking, and the way you start >to have visions of grandeur when drunk. Gouldstone also mentions >this, but he writes that off as a "less literary" explanation. >(bastard!!) I have always thought EC was writing from the vantage >point of a philosophizing drunk in a bar... On the face of it, I'd say it *is* about going to a bar and getting drunk and starting to think you're ostensibly more charming and attractive than you actually are. But I seem to remember that when it was released, EC was supposedly getting really tired of his fake name, his reputation as some sort of genius, and the way a lot of critics would fawn on him to no end while at the same time saying he was "too literate" or intelligent to sell a lot of records, which in effect was (to his way of thinking, at least) a self-fulfilling prophecy. So maybe that song was a clever way of saying that he wasn't really quite as big a deal as he'd been made out to be, and that as far as he was concerned he was a lot more "appealing" before he acquired all that excess baggage. Of course, I'm probably wrong... but I don't think it's a meditation on the state of the world or anything like that, except to the extent that any or all of his songs are. John "the only flame-bait in town" Hedges ------------------------------ Date: Fri, 3 Sep 1999 18:58:33 -0400 (EDT) From: Aaron Mandel Subject: Re: stipey makes an announcement On Fri, 3 Sep 1999 ultraconformist@ets.cncdsl.com wrote: > Word on the street (ok, someone emailed me about it, actually) is that at > REM's show last night in Seattle, Stipe dedicated a song to "Robyn and > Michelle, who were recently joined like Georgia grasshoppers". on August 23rd, perhaps? through the miracle of mp3s i have recently heard many early REM shows, and i'd never fully realized how much Stipe used to be both gregarious southern dude and creepy art guy (at least onstage), which makes it all the sadder that he, both onstage on in his music, isn't really either anymore. still a fan, a ------------------------------ Date: Fri, 03 Sep 1999 19:58:37 -0700 From: "Russ Reynolds" Subject: Re: grilled about cheese I wrote: >I just got off the phone with Travis from the Gallup Poll who asked me a >seemingly endless string of conversations about cheese. ^^^^^^^^^^^ This was the wrong word. I know that. I am from America, have spoken English all but the first two years of my life and though I am a product of the California public school system I think I have a pretty good idea of how to use most of the words the language has to offer. Many of you have met me and know this to be true. Those of you who haven't are probably now convinced I speak no English at all and rely on Alta Vista Translations for my all my posts. The word I should have used was "trapezoids." Sorry for any confusion this may have questioned. - -rUss (no synthesizers were used in the making of this post) ------------------------------ Date: Sat, 04 Sep 1999 12:08:44 PDT From: "Capitalism Blows" Subject: eb all over the world here's a review of thursday's r.e.m. show. . ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ End of fegmaniax-digest V8 #336 *******************************