From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V9 #99 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Monday, April 17 2000 Volume 09 : Number 099 Today's Subjects: ----------------- Paul on Parkinson [tanter ] Hail Atlanta ["Russ Reynolds" ] Re: great album titles ["Russ Reynolds" ] Subject: Re: Greatest Album Titles Ever? ["Russ Reynolds" ] Re: Greatest Album Titles Ever? [digja611@student.otago.ac.nz] Elaine... [digja611@student.otago.ac.nz] Re: Elian.... [JH3 ] Re: Bush (NR) [JH3 ] Re: Greatest Album Titles Ever? ["Joel Mullins" ] Re: Greatest Album Titles Ever? [ultraconformist ] Re: more movie music ["Stewart C. Russell" ] Re: Greatest Album Titles Ever? [Beebster@aol.com] Album titles [Tony.Blackman@sita.int] Re: Album titles ["J. Katherine Rossner" ] Floored - RedAnt Records Goes Bust [mrrunion@palmnet.net] Orlando Apples [mrrunion@palmnet.net] RIP: Edward Gorey [Christopher Gross ] Doing Covers [mrrunion@palmnet.net] Re: RIP: Edward Gorey [mad ] Re: Greatest Album Titles Ever? ["Gene Hopstetter, Jr." Subject: Paul on Parkinson Did anyone tape Paul McCartney's edition of Parkinson? I set my VCR last nite and the satellite screwed up and I got nothing. HELP!! Marcy L. Tanter Assistant Professor of English Tarleton State University Stephenville, TX 76401 254-968-9892 (9039 to leave a message) ------------------------------ Date: Sun, 16 Apr 2000 21:32:12 -0700 From: "Russ Reynolds" Subject: Hail Atlanta I know there's a Donovan fan or two on this list. Finally got my copy of his Greatest Hits today from Second Spin. Too much of a coincidence, then, that tonight's episode of Futurama (which I never watch) happened to include a send-up of of "Atlantis." I missed the credits--anyone know if that was actually Donovan singing? - -rUss "I said the Giants needed a ballpark with no WIND, not no wins!" - -Peter McGowan, complaining to architect. ------------------------------ Date: Sun, 16 Apr 2000 21:38:55 -0700 From: "Russ Reynolds" Subject: Re: great album titles > - --LET THE WAR AGAINST MUSIC BEGIN has *got* to be the greatest album title > ever devised. i defy anyone to "posit" its superior. "Weasels Ripped My Flesh. " Check please. - -rUss ------------------------------ Date: Sun, 16 Apr 2000 21:45:16 -0700 From: "Russ Reynolds" Subject: Subject: Re: Greatest Album Titles Ever? ...but how 'bout the greatest disparity between greatness of album title and quality of music therein: "You Can Tune A Piano But You Can't Tune A Fish" by REO Speedwagon ------------------------------ Date: Sun, 16 Apr 2000 21:57:13 -0700 From: Chris Gillis Subject: Re: great album titles Russ Reynolds wrote: > > > - --LET THE WAR AGAINST MUSIC BEGIN has *got* to be the greatest album title > > ever devised. i defy anyone to "posit" its superior. > > "Weasels Ripped My Flesh. " > Check please. > Too true. This may be the one. I think a lot of album names are simply classics for their personal effect, linguistically or on a more musical matter, they have on us. A big part of this is the album cover. The art being a huge part with many albums, e.g. the White Album and the aforementioned Frank album. Stuff you do not see all that often, then the title cinches the deal. .chris ------------------------------ Date: Mon, 17 Apr 2000 17:35:20 +1200 (NZST) From: digja611@student.otago.ac.nz Subject: Re: Greatest Album Titles Ever? A white sports coat and a pink crustacean Four ounces of plastic with a hole in the middle Sons of beaches 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: Mon, 17 Apr 2000 17:40:47 +1200 (NZST) From: digja611@student.otago.ac.nz Subject: Elaine... There's a justice in this world... >Cuba, of course, is an evil totalitarian Communist state, the government of >which constantly violates the basic rights of its people sorry to leap into what probably should be kept a US only discussion (man it's good tyo see y'all attacking the govt!), but I though it was the US that was currently violating the rights of one of Cuba's people... and yes, Jason, I did catch the bitter irony in your comments... James ------------------------------ Date: Mon, 17 Apr 2000 00:57:21 -0500 From: JH3 Subject: Re: Elian.... Eddie T. writes thusly: >the influence of the miami cubans (as with that of the "jewish >lobby") is highly overrated. i'm sure that mr. hedges has seen >plenty of documents lamenting that cuba poses an immense >threat so long as it propagates the notion that poor people >should have some manner of control over their own destinies. Interestingly enough, when I worked for NARA's Declassification Division I *did* go through several boxes of documents from the late 1950's dealing with the Cuban Revolution. We all did, in fact - there were at least 100 of 'em (Hollinger boxes, each of which can contain roughly 1,500 pages) on Cuba from the State Department for 1956- 1962 alone. Of course, we weren't supposed to actually *read* them, just skim them for references to CIA activity, WHICH OF COURSE WE NEVER ACTUALLY FOUND, NEVER EVER. But I *can* tell you that nearly all the stuff I saw was concerned with (1) the seizure of US corporations' assets by the Castro regime; (2) fear of the USSR using Cuba for the exportation of propaganda, especially via radio & TV; and (3) most interestingly of all, ways to somehow discredit Castro so that his people would rise against him. I hardly ever saw a State Department document that indicated much concern for the suffering of Cubans before or after the revolution (though I did see one or two), and I don't think I ever saw ANY that suggested that US citizens could possibly be swayed ideologically by anything the Cubans might do or say; I just don't think they gave them that much credit at the time. However, #2 above *would* include the exporting of revolutionary ideology and arms to other Latin American countries, and they were all most definitely (and justifiably, from their perspective) concerned about that, as is well known. After all, what's good for the United Fruit Company is good for Latin America! I guess you have to remember that the folks working for State back then were some of the most snooty, elitist Ivy-league WASPish wankers who ever lived, and that's no exagerration. What's more, their punctuation wasn't even all that good. It's a perfect example of why historians rarely rely on original source material... >let me say, though, that the bit about the kennedy administration >being scared shitless of the "threat of a good example" was not >speculation... ...it's in the (now) public record. ...And I'm not necessarily disagreeing with that. Most of the stuff I saw, 99.9% of which was cleared, was from the Eisenhower Administration - and nearly all of it was written by career diplomats and people who had at least some incentive, for the sake of their own phony-baloney jobs, to minimize the apparent seriousness of the Cuban "threat" - in order to make their own failure (to adequately gauge the level of popular resentment towards the Batista regime or the level of support for Castro) seem like less of a blunder than it was. Kennedy's people would have had no such incentive; just the opposite, in fact. Which is to say that a lot of what you're interpreting as the administration being scared shitless *might* actually have simply been an effort to make their predecessors look worse than was strictly necessary, by over- emphasizing the same so-called threat. As for the political influence of the Cuban refugee community at the time, obviously they had none whatsoever in diplomatic circles and precious little among politicians in Washington. I suspect they were seen either as cannon-fodder for a counter- attack against Castro, or as a collective security risk due to the ease by which Soviet-trained Cuban KGB spies could infiltrate their ranks and obtain valuable information about highly sensitive MLB spring-training rosters. Of course, that all changed somewhat once they became wealthy enough to make campaign contributions. And as far as little Elian himself is concerned, well, I dunno... I think the funniest thing would be to have a whole *series* of blockbuster sci-fi-action movies about Elian, all starring Sigourney Weaver as Janet Reno. In each movie Elian disgustingly pops out of of some poor blighter's chest, and Sigourney has to try and send him back to Cuba before the cute little tyke manages to make a complete mockery of the entire US justice system. Anyway, sorry if I've bored anyone. Just don't get me started about the Turks. John "Cuba, schmooba" Hedges PS. Favorite album title: "What Does Anything Mean? Basically", though it probably isn't as good as "Let the War Against Music Begin" ------------------------------ Date: Mon, 17 Apr 2000 01:07:20 -0500 From: JH3 Subject: Re: Bush (NR) >He got elected (in a Republican state) because his name is >Bush and he's not a troglodyte aggie idiot like the previous >Republican candidate... Hey, I resent that! There's nothing wrong with being named after a form of shrubbery, and not all "aggies" are unintelligent, prehistoric ape-like anthropoids... or even Republicans. >...who bragged about how he and his pals got "serviced" at >a Mexican whorehouse. Hey, maybe they just ran out of gas! (Though admittedly, I don't see why you'd want to brag about something like that.) John "education is like my numero-uno priorities" Hedges ------------------------------ Date: Mon, 17 Apr 2000 01:09:17 -0700 From: "Joel Mullins" Subject: Re: Greatest Album Titles Ever? "Taking Drugs to Make Music to Take Drugs To" -- Spaceman 3 ------------------------------ Date: Mon, 17 Apr 2000 01:42:49 -0600 From: ultraconformist Subject: Re: Greatest Album Titles Ever? Yah well, I like making lists, so this is another boring list. Skip if you do not like to read boring lists, I guess. Rahsaan Roland Kirk-Does Your House Have Lions? The Case of The Three-Sided Dream in Audio Color Cecil Taylor-It Is In The Brewing Luminous Sun Ra- Outer Spaceways Incorporated Nothing Is John Cale- Vintage Violence Henry Threadgill- Just The Facts And Pass The Bucket Kinky Friedman- Sold American Lyle Lovett- Joshua Judges Ruth Nick Lowe- Pure Pop for Now People The Jam- All Mod Cons Talking Heads- Fear of Music And last but not least, agreement with Gnat on "It Crawled Into My Hand, Honest" , "Rum, Sodomy and the Lash", and with Katherine on "Don't Crush That Dwarf, Hand Me The Pliers". Love on ya, Susan ------------------------------ Date: Sun, 16 Apr 2000 23:45:01 -0700 (PDT) From: Jeff Dwarf Subject: Re: Greatest Album Titles Ever? ultraconformist wrote: > Nick Lowe- Pure Pop for Now People but his greatest title is still the EP "Bowi" ===== "Life is just a series of dogs." -- George Carlin __________________________________________________ Do You Yahoo!? Send online invitations with Yahoo! Invites. http://invites.yahoo.com ------------------------------ Date: Mon, 17 Apr 2000 08:18:41 +0100 From: "Stewart C. Russell" Subject: Re: more movie music Christopher Gross wrote: > > "This track is called 'Sussudio.' Great song." Aiee! American Psycho indeed! Stewart ------------------------------ Date: Mon, 17 Apr 2000 05:18:46 EDT From: Beebster@aol.com Subject: Re: Greatest Album Titles Ever? Spooky Tooth's "You Broke My Heart So I Busted Your Jaw" has always been my personal favorite in this catagory. ------------------------------ Date: Mon, 17 Apr 2000 11:43:47 +0000 From: Tony.Blackman@sita.int Subject: Album titles One I just had to buy when I spotted it for 20p in the second hand bin was; "Stocking-clad Nazi Stormtrooper Bitches" by The Bleach Boys Apparently they also have a CD entitled "The Four Cyclists of the Apocalypse" Tony. ------------------------------ Date: Mon, 17 Apr 2000 08:01:00 -0400 From: "J. Katherine Rossner" Subject: Re: Album titles At 11:43 AM 4/17/00 +0000, Tony.Blackman@sita.int wrote: >One I just had to buy when I spotted it for 20p in the second hand bin was; > >"Stocking-clad Nazi Stormtrooper Bitches" by The Bleach Boys > >Apparently they also have a CD entitled "The Four Cyclists of the >Apocalypse" Well, if we're going to talk bargain bins, I remember seeing two by Elvis Hitler..."Disgraceland" and "Supersadomasochisticexpialidocious". Katherine - -- 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: Mon, 17 Apr 2000 06:42:54 -0700 From: mrrunion@palmnet.net Subject: Floored - RedAnt Records Goes Bust Hey guys, Sorry to forward on something lengthy like this, but I'm sitting here floored by the seeming audacity of this email I got. I mean, I really don't know what to say... Mike - --- Original Message --- Record Label News Wrote on Mon, 17 Apr 2000 08:00:12 ------------------ "A record label not doing so well" -- That's something you don't hear much about these days. Most do well or seek venture capital to sustain existance. RedAnt Records did not and left many vendors and fans wondering what happens next. Our company worked with RedAnt for quite sometime until recently when no communication (or payment) has been made. After just a few emails being sent we found we were not alone. RedAnt has gone belly-up with outstanding debts to at least a handful of companies. "Where have the Audio Clips gone?" is the question that appears in the Inbox just about daily here. Simply put we had to take them down because we were not being paid--and they left nearly $10,000 in outstanding invoices as well. Can you help? By sending just a few dollars you will help the music industry by helping to cover some expenses incurred by them. Sure, go and buy more CDs and posters of your favorite bands, but what about the company not being paid for the Real Audio clips? $10? $5? $3? Even a dollar will help. Here is the address: RNG, Inc. Attn: Red Ant Fund P.O. Box 1902 St. Cloud, MN 56302-1902 I thank you in advance for your kindness. - ----- Sent using MailStart.com ( http://MailStart.Com/welcome.html ) The FREE way to access your mailbox via any web browser, anywhere! ------------------------------ Date: Mon, 17 Apr 2000 06:47:29 -0700 From: mrrunion@palmnet.net Subject: Orlando Apples Hey all, The Apples In Stereo are playing the Sapphire here in Orlando on Wednesday night for $6. I'm very tempted to go, though I've only heard Tone Soul Evolution and never quite gelled to it. I guess they're like my least fave E6 band. Has anyone seen them lately? Wondering if I should make the trip. Opening act: Le Charm Conspiracy (?) Gnat? Mike - ----- Sent using MailStart.com ( http://MailStart.Com/welcome.html ) The FREE way to access your mailbox via any web browser, anywhere! ------------------------------ Date: Mon, 17 Apr 2000 09:57:08 -0400 (EDT) From: Christopher Gross Subject: RIP: Edward Gorey This one really saddens me. From the New York Times: Edward Gorey, Artist and Author Who Turned the Macabre Into a Career, Dies at 75 By MEL GUSSOW Edward Gorey, the artist and author who was a grand master of the comic macabre and delighted generations of readers with his spidery drawings and stories of hapless children, swooning maidens, throbblefooted specters, threatening topiary and weird, mysterious events on eerie Victorian landscapes, died on Saturday at Cape Cod Hospital in Hyannis, Mass. He was 75 and lived in Yarmouth Port, Mass. He had suffered a heart attack on Wednesday, said Elizabeth Morton, a cousin. Edmund Wilson, the first of many critics to extol Mr. Gorey's work, described his world as "poisonous and poetic." It was that and much more: witty, woeful, devious and delirious to the point of obsession. He was one of the most aptly named figures in American art and literature. In creating a large body of small work, he made an indelible imprint on noir fiction and on the psyche of his admirers. Mr. Gorey, who wrote more than 100 books and illustrated more than 60 by other authors (from Edward Lear to Samuel Beckett), also had a career in the theater, with revues based on his stories and as a scenic designer. "Dracula," in the Gorey version, was a Broadway hit in 1977. In person Mr. Gorey was as instantly identifiable as his work. Toweringly tall, he had a white beard and frothy hair, an earring in each lobe and rings on most of his fingers. When he lived in New York, he often wore a raccoon coat, although later in life he became sheepish about wearing fur. He looked foreboding, like a buccaneer between piracies or a figure out of one of his books, and his self-portrait lurks on the fringe of many of his stories. But in contrast to the work, the man was genial and gentle, and sometimes childish in his language, peppering his conversation with words like "jeepers" and "zingy." "There was this false idea that he was a brooding, melancholic man," said Andreas Brown, a friend of Mr. Gorey's and the owner of the Gotham Book Mart in Manhattan. "He was not a recluse. He was jovial and effervescent, and he loved to laugh." The books could be bizarre in the extreme. His alphabet books chronicle the mishaps of unfortunates deceived by fate. "The Gashlycrumb Tinies" begins with "A is for Amy who fell down the stairs" (a ghostly child plummeting headlong to her doom) and ends with "Z is for Zillah who drank too much gin." The stories of peril are frightful, but with a strong sense of mockery. Though sometimes mistakenly categorized as an author of children's books, Mr. Gorey appealed to all ages, at least everyone with a taste for the fanciful. Only a few of his books, including "The Wuggly Ump" and "The Bug Book," were intended specifically for young readers. In both his art and his writing Mr. Gorey was inimitable. Developing crosshatched line-drawing into an art form, he used pen and ink to create a world of barren moors, abandoned railway stations and storm-struck formal gardens. A stroller in one of those gardens could suddenly be brained by a piece of falling masonry, as in the Gorey animated film that for years has acted as a prelude to the "Mystery" series on public television. In Goreyland the moon is a skull, and no sun shines. A tiny green face peers through the curtained window of a black motor car. Frightful beasts are perched on a crag, and upstairs in the listing attic. Death is by drowning, dismemberment or being dropped by the Devil into a flaming pit. The Beastly Baby is a bulbous blob carried away by an eagle and exploding in midair. Mr. Gorey could be sportive as well as horrific, as in "The Broken Spoke," which, in his words, "combines, with breathtaking cleverness, two objects of consuming interest: postcards and bicycles." Although sometimes confused with the cartoonist Charles Addams, with whom he shared an interest in the ghoulish, Mr. Gorey generally told cautionary tales that offered moral instruction along with tearful laughter. As an artist he was close to Daumier and, with his aura of surrealism, to Magritte, as in "The Betrayed Confidence," a series of pernicious postcards, closing with wordless pictures: a dangling rope, an empty frying pan, an unmarked grave. As an author he bore the mark of S. J. Perelman, inventing an atlas that found room for place names like Nether Postlude, Backwater Hall in Mortshire (between West Elbow and Penetralia) and the Cycle Cemetery near Dingy Cruet, Blots. He also played word games with his name, anagrammatizing it in infinite ways, as Edward Gorey became Ogdred Weary, Dogear Wryde and D. Awdrey-Gore. A passionate lover of the ballet, Mr. Gorey for years ritualistically attended all performances of dances by George Balanchine at the New York City Ballet. Often he dreamed up stories about ballets and operas and occasionally designed sets, costumes and drop curtains. For many years he lived in a cluttered apartment in Manhattan, and at the end of the ballet season he would leave for his home on Cape Cod. After Balanchine's death in 1983, stripped of his primary cultural outlet, Mr. Gorey began thinking seriously about leaving New York permanently. In 1986 he moved to Cape Cod, first to Barnstable, and then to Yarmouth Port, eventually living alone in a 200-year-old house that may or may not have been haunted. In 1994 he mentioned to a visitor the strange disappearance of all the finials from his lamps along with his collection of tiny teddy bears. The house was in disarray, with esoteric objects (a toilet with a tabletop) and with no sign of Mr. Gorey's work. There was, however, a definitive Gorey touch: poison ivy creeped inside through cracks in the wall. A speed reader of writers from Agatha Christie to Jane Austen, he packed his home with books, many of them Victorian, and tempered his scholarliness with subcultural pursuits, watching soap operas and checking out horror movies from a nearby video stores. A covey of cats shared his life and, in Gorey fashion, had free run of the furniture. The number varied from five to six. If a stray showed up at his door, he would immediately welcome it in. (After his death a friend moved into the house to take care of the cats.) Mr. Gorey remembered the time that the cats were on a couch and suddenly "everyone turned," eyes opening wide, as if someone, or something, unseen had entered the room. Although the Gorey-like figure in his stories seemed icily removed, the real Mr. Gorey was a friendly neighbor on Cape Cod, holding court daily at Jack's Outback, a cafeteria-style coffee shop. He would take his personal mug from a rack reserved for regulars and join in the local gossip. He was close to his cousins, some of whom lived nearby, but there are no immediate survivors. In 1994 he was told he had prostate cancer and diabetes, and he met his illnesses with his customary cheerful demeanor. "Why haven't I burst into total screaming hysterics?" he asked, and added, "I'm not entirely enamored of the idea of living forever." Edward St. John Gorey, known to his friends as Ted, was born in Chicago on Feb. 25, 1925, the son of a Hearst journalist. "I like to think of myself as a pale, pathetic, solitary child," he said. "But it was not true." He taught himself to read at 3 1/2, and by 5, he had read "Dracula" and "Alice in Wonderland," two books that were to have a profound effect on his life. The protagonists, one evil incarnate (but he can't help it), the other all innocence and curiosity (she gets what she deserves), were to haunt his dreams and dominate his art. By 8, he had graduated to reading Victor Hugo. He taught himself to draw and subsequently took courses at the Art Institute of Chicago. Drafted into the Army at 18, he sat out the Second World War as a company clerk and in 1946 entered Harvard, where he majored in French literature and roomed with the poet Frank O'Hara. He and O'Hara joined the Poets Theater in Cambridge, Mr. Gorey as a designer, director and playwright. After graduation he remained in Boston, illustrating book jackets. Then he went to New York and worked in the art department at Doubleday, staying late in the office to create his own books. "I didn't envision a career in anything," he said, unless, perhaps, it was running a bookstore. Unable to find a publisher, he invented his own imprint, Fantod Press, and sold his books directly to stores. His first book, "The Unstrung Harp," was published in 1953. "The Doubtful Guest" (1958) quickly became a Gorey classic. In it a strange, hook-nosed creature, wearing a long scarf and tennis shoes, shows up uninvited at a dreary mansion and soon becomes a permanent member of the family, peering up flues in the fireplace, tearing up books and sleepwalking through the house. And after 17 years he showed "no intention of going away." "The West Wing" (1963) is one of Mr. Gorey's wordless masterworks. It is the house that is the central character, with its dark passageways, doors leading to other doors, a carpet that looks like a turbulent sea and shadows floating in space. A turning point in Mr. Gorey's career was his meeting with Andreas Brown. When Mr. Brown bought the Gotham Book Mart, it became the central clearing house for Mr. Gorey, presenting exhibitions of his work in the store's gallery and eventually turning him into an international celebrity. The Gotham sold great quantities of his books and also collectibles: greeting cards, T-shirts (one reads, "So many books, so little time"), calendars and stuffed toys. With the publication of his first anthology, "Amphigorey" (in 1972), followed by two sequels, his audience widened. Mr. Gorey worked slowly and precisely and because of his amiability often overcommitted himself to projects. Suddenly he would be struck with an idea, and that would draw him to his studio. In Yarmouth Port he worked in a cubicle about the size of a Gorey book. Pinned above his drawing table were postcards of paintings by Goya and Matisse (his favorite artist) and of an Indian sculpture of a tiger devouring a missionary. He said he was inspired by "practically anything visual or verbal" and always tried to keep himself open to new experiences and new images. When he saw the French silent movie "L'Enfant de Paris," he was so excited that he began making notes in the dark, and then went home and wrote "The Hapless Child." "The Willowdale Handcar" and other cliffhangers derive from movies by D. W. Griffith. The moors murder case in England led to "The Loathsome Couple." For "The Raging Tide: or, The Black Doll's Imbroglio," he drew an impish inkblot named Figbash (inspired by Max Ernst), and then years later produced a Figbash alphabet book. In his books, he acted as his own scenic and costume designer and typographer. He believed in hand lettering, even drawing the Library of Congress number in his books. In addition to "Dracula," Mr. Gorey's work has been the subject of many theatrical revues, including "Gorey Stories," "Amphigorey" and "Tinned Lettuce." In recent years a series of revues were done on Cape Cod for limited audiences, with the author supervising as director. One friend regularly supplied him with dreams. Mr. Gorey always insisted that he never used his own, which were "grandiose architectural dreams" and occasionally horror movies. Late in life he was troubled by insomnia, awake in the dark of night thinking Gorey thoughts. Last year he published a new Christmas story, "The Headless Bust," subtitled "A Melancholy Meditation on the False Millennium." In a variation on a previous book, "The Haunted Tea-Cosy," Edmund Gravel (the Recluse of Lower Spigot) and the Bahumbug (a pear-shaped insect with six limbs) embarked on a disaster-prone journey through the village of Godly Wot. After phantasmal adventures, the author concludes: They saw it was about to come: The end of the millennium, So find themselves perforce to be Into another century. Once when he was asked why he wrote so much about murder and other forms of violence, Mr. Gorey answered: "Well, I don't know. I guess I'm interested in real life." ______________________________________________________________________ Christopher Gross On the Internet, nobody knows I'm a dog. chrisg@gwu.edu ------------------------------ Date: Mon, 17 Apr 2000 06:57:24 -0700 From: mrrunion@palmnet.net Subject: Doing Covers Hey all, One more thing. I know we've gotten into some pretty deep discussions in the past regarding intellectual property, royalties, RIAA, etc. I'm thinking Jeme was a big contributer here. My wife's found herself in a bit of a stickler with a co-author of some songs (his lyrics, her music) and he's tossing some legalistic things at her seeing as she's starting to make money performing and is in the process of cutting a local self-financed CD. It's turned a little ugly...emotionalism vs. cold business kinda stuff. There's also a side issue of putting several covers on the CD without permission, which I've expressed my concern to her about, but this sorta thing is apparently pretty rampant in the folk circles she runs with. She's curious for a little outside guidance in these matters. If anyone's interested in commenting (Jeme? Bayard?), let me know and I'll forward you some of the emails they've been exchanging. Mike n.p. Eels - Daises Of The Galaxy (I'm utterly in love with the record right now!) p.s. E and crew played Orlando on Friday, but I skipped it as they were opening for Fiona Apple and tickets were like $24 or so. Ugh. - ----- Sent using MailStart.com ( http://MailStart.Com/welcome.html ) The FREE way to access your mailbox via any web browser, anywhere! ------------------------------ Date: Mon, 17 Apr 2000 10:14:25 -0400 From: mad Subject: Re: RIP: Edward Gorey This is truly sad news...although appropriate news for a rainy Monday. M is for Mary who wouldn't be so Scary if there was no Mr. Gorey. np - Trans Am - Surrender to the Night ------------------------------ Date: Mon, 17 Apr 2000 09:25:49 -0500 From: "Gene Hopstetter, Jr." Subject: Re: Greatest Album Titles Ever? >From: MARKEEFE@aol.com >Subject: Re: Greatest Album Titles Ever? > >some album titles I like a lot: > >Hal Willner: "Whoops, I'm an Indian" Actually, IIRC, several years before Wilner's album, some nutjob called P. Catham released an album called "A Man's Mouth" which had a song called "Whoops, I'm An Indian" on it. I actually have a copy of it at home. It had two other great songs on it, too: "Playing the Beard for Harry and Louise" and "Using God Like Ketchup." Has anybody else besides me actually heard of this record? ------------------------------ End of fegmaniax-digest V9 #99 ******************************