From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V9 #162 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Monday, June 19 2000 Volume 09 : Number 162 Today's Subjects: ----------------- Re: Marc Ribot [Eb ] Re: Bottom Line report [johann johann ] Re: OT/ Marc Ribot-Muy Divertido [Michael Gardiner ] Covers, rivers, etc ["Gary Sedgwick" ] sk all over the world [johann johann ] Another extra ticket SanFran ["D C" ] yay! ["twofangs..aka..randi " ] counting them ["Ghost Surfer" ] vanity, vanity, all is vanity [Natalie Jacobs ] storefront premiere [Ken Ostrander ] an alt band moving UP for a change, instead of down [Eb ] I'll tell you about it if no one else will [lj lindhurst ] Re: storefront premiere [Ken Ostrander ] Fwd: Pat Metheny on Kenny G [Tom Clark ] Re: Fwd: Pat Metheny on Kenny G [overbury@cn.ca] Re: storefront premiere [Jon Fetter ] ---------------------------------------------------------------------- Date: Sun, 18 Jun 2000 15:40:50 -0700 From: Eb Subject: Re: Marc Ribot >I recently bought the new Marc Ribot album, and I highly recommend it! Yeah, it's good stuff. I like it better than his last Cuban album, too -- the new one has more of Ribot's personal stamp on it. Speaking of good stuff, I managed to see the first two parts of "Gormenghast" last night, and liked it a lot. I'll be looking out for parts three and four. Eb ------------------------------ Date: Sun, 18 Jun 2000 19:19:20 -0400 From: johann johann Subject: Re: Bottom Line report when we last left our heroes, Bayard exclaimed: >anyone get a complete setlist? sounds like they were pretty great. yep. yep. bottom line, nyc. 16 june 2000 first show (the standard set): mexican god / balloon man / aquarium / you and oblivion / trilobite / glass hotel / (switch to piano) i used to love you / flavour of night / (back to guitar) queen elvis / heartfull of leaves / the devil's coachman / my wife and my dead wife // (encore on piano) astronomy domine (spliced with readings from _ulysses_ and backing track from the floyd's original via cassette walkman held up to the microphone) second show (the unstandard set): tonight / cynthia mask / vistorian squid / new age (velvet underground) / viva sea-tac / raymond chandler evening / old brown shoe (beatles) / dark princess / chinese bones / "hanging moose" (improv) / no, i don't remember guilford / (an as-of-yet unfinished new song which featured the lines "horn of florida" and "pot of rock'n'roll"; cut off at the middle eight since it hasn't been written yet) / insect mother / the yip song // (encore, on piano) chapter 24 (the pink floyd) / i used to love you / (guitar) ride woj ------------------------------ Date: Sun, 18 Jun 2000 19:36:20 -0400 From: Michael Gardiner Subject: Re: OT/ Marc Ribot-Muy Divertido >I recently bought the new Marc Ribot album, and I highly recommend it! >Ribot played guitar for Tom Waits (see RainDogs) and Elvis Costell, for >a while, and has backed up numerous others. >Muy Divertido! is the album, and the >name is accurate. I heartily concur...Marc Ribot y Los Cubanos Postizos (the Prosthetic Cubans) whip up a wonderfully heady mix of..er...can something be entirely heartfelt and cheezy at the same time? Anyhow, this rocks, I love the two records this band has done. Interesting how the lyrics "the hills of New Jersey are beautiful/ It would please me to go back there" sound oh-so-much better in Spanish. Ribot is also the guitarist responsible for some amazing fretwork on T Bone Burnett's "Criminal Under My Own Hat" record (as well as Burnett's Missus, Sam Phillip). Back on topic...does anyone have urls for RH tabs/chords that are more current than those posted on Fegania? Puhleeeze. ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: Michael "wierd how he ended years of lurking with that particular post" Gardiner ------------------------------ Date: Mon, 19 Jun 2000 02:05:36 +0100 From: "Gary Sedgwick" Subject: Covers, rivers, etc This may be a UK perspective, but my understanding of covers is that you have to pay performance royalties to the publisher unless the song is recorded for free distribution and hence becomes a "tribute" version. I was told this when my band put together a demo CD and we included a few covers; apparently, having the songs for free download off the web, or giving the CD to interested parties, was fine; but we couldn't sell any album containing a cover for profit without first getting permission. I don't have any hard facts to back this up, and would be interested in hearing if anyone does. As for live, I think you're generally covered (in this country anyway) by the licence held by the venue you play at. I've got tickets for the Lee River Valley trip - anyone else apart from Stewart and myself going? Gary PS I'm still calling out to all you feg-musicians / bands on the list - please sign up to the list at digital-music@smoe.org if you're at all interested in my new unsigned bands / artists website. I know a few of you have, but there are plenty more out there! ------------------------------ Date: Sun, 18 Jun 2000 21:54:18 -0400 From: johann johann Subject: sk all over the world big article by greil marcus in today's new york times. online version can be found at: enjoy! woj n.p. marty wilson-piper -- hanging out in heaven ------------------------------ Date: Sun, 18 Jun 2000 21:51:17 PDT From: "D C" Subject: Another extra ticket SanFran Hey there, I've also ended up with an extra ticket for the Great American Music Hall show. Shoot me a message if you know of anyone who needs one. I'd hate to see it go to waste. d. ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ------------------------------ Date: Mon, 19 Jun 2000 06:00:46 -0400 From: "twofangs..aka..randi " Subject: yay! Wow! Monday I get to meet Eddie, then we drive to my favourite unca' nick's place and then it's Robyn Robyn Robyn and Robyn. I am so lucky to know you all - or I would never be here. And remember, I have a camera and I want pictures with each person separately ... just a warning :-} happy happy happy now that I can focus on the better things in life ... Robyn & fegs. A heady brew : ) yay! fading back into yesterday before tomorrow comes, randi ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ *what scares you most will set you free* ~ robyn hitchcock *I feel the fear and I know I'm alive* ~ neil finn *acting steady always ready to defend your fears* ~ aimee mann *what I believe ain't always what I feel* ~ michael penn ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ ~ please ... trust me ... this is a terrible server ... do not ever ... get your free gURLmAIL at http://www.gURLmAIL.com ------------------------------ Date: Mon, 19 Jun 2000 03:54:48 PDT From: "Ghost Surfer" Subject: counting them Date: June 16th Place: wembley Arena, Counting Crows gig. In the middle of 'Round Here' Adam Duritz sat down on the monitors and started singing 'I let her go like the fool that i was...' and proceeded to sing the rest of 'She Doesn't Exist' before going back into the original song. He then ended 'Round Here' by repeating 'she doesn't exist anymore' as the song faded. At least two people knew the song to start with, about 8,000 more have heard it now. - ----------------************************************************------------ "There are times when i can't think about the future, when all my days seem so dark and life seems cruel" - Mojave 3 & "Make a moment last forever, gaze across the ocean to the sun" - Unknown !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!! ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com ------------------------------ Date: Mon, 19 Jun 2000 08:41:08 -0700 From: Natalie Jacobs Subject: vanity, vanity, all is vanity > For those who don't know, the idea behind Fegfotos is to > immortalize any occasion when two or more Fegmaniax-ers meet in person. > So, with the new tour upon us, *now* is the perfect time to organize to > meet up at the show closest to you ...and bring your camera! Yes, for god's sake! The pictures of me on Nick's site are two years out of date and are nearly unrecognizable, not to mention rather embarrassing. (I had "issues" with my hair at that time.) Anyone who takes a nice (or at least decent) picture of me at the Portland show will receive my undying gratitude, and perhaps even a tinfoil objet d'art! n., frantically mass-producing Thoths in preparation for the Of Montreal show on Wednesday ------------------------------ Date: Mon, 19 Jun 2000 14:23:28 -0400 From: Ken Ostrander Subject: storefront premiere i finally walked down to the coolidge corner theatre on a sweltering saturday afternoon to get my ticket for the premiere of the almost four year old flick in boston. i got down there a little before eleven for the midnight show and there were several folks already waiting in line. i was supposed to meet mitch dickerman at a local pub, but he hadn't shown yet; so i decided to wander the area and see if i could spot him. i didn't; but i ran right into uncle bobby walking down the street with his guitar case. we exchanged pleasantries and he went into the theatre with no detectable fanfare. after a few drinks mitch and i went to get into line and were amazed to find that it stretched around the corner and across the back parking lot. the turnout was fantastic. it wasn't sold out but had about seventyfive percent filled. robyn came out with his guitar and started in on the first of several hilarious monologues. he started out with something he called "an old folksong" which i didn't recognize. he also played 'neitzsche's way' and two covers, 'the ghost in you' and 'nightfall'. the crowd was very enthusiastic and responsive. there was a bit of Q and A with humorous replies, my favorite being the story about ted, woody and junior. "they were three lads who tried to conserve water in the water shortage of 1976 by showering together whilst being photographed for muscleboy magazine which tried to pass itself off as a fitness rag when it was really thinly disguised homoerotica..." anyhow, the flick was very well done. demme pulls out all sorts of backdrops and moods for the fifteen songs. robyn looks and sounds great. only changes his shirt (the lizard and bullseye shirt dominates the film) once for the last song with tim. there are songs on the vinyl soundtrack that aren't in the actual movie (statue with a walkman, where do you go when you die?, the wind cries mary, eerie green storm lantern) and i know that there were four different sets that were recorded for the film. from what's been said about the DVD, there is no extra footage or anything. or is there? what happens to all of this stuff? i'm just wondering what other juicy bits there might be out there? ken "i've been very lonely in my isolated tower of indecipherable speech" the kenster np chumbawamba wysiwyg ------------------------------ Date: Mon, 19 Jun 2000 11:48:47 -0700 From: Eb Subject: an alt band moving UP for a change, instead of down I just heard that Beulah got signed to Capricorn Records...nifty! Eb ------------------------------ Date: Mon, 19 Jun 2000 15:06:11 -0400 (EDT) From: Bayard Subject: Re: storefront premiere was the "old folksong," "silver dagger"? <> And what a shame, those are four of the most interesting songs. The rest are ones we've heard so many times before. but then that was the idea, to capture a typical hitchcock show. I wonder if RH would agree to a more small-budget production, perhaps on digital video, showing the more unusual side of his performance (perhaps taking more risks, like it sounds like he did at the bottom line the other night.) any film makers in the audience? << and i know that there were four different sets that were recorded for the film. from what's been said about the DVD, there is no extra footage or anything. or is there? what happens to all of this stuff? i'm just wondering what other juicy bits there might be>> I have very nice sounding recordings of two of the storefront sets, if you want to hear what they sounded like originally. didn't want to mention it eariler (for obvious reasons) =b ------------------------------ Date: Mon, 19 Jun 2000 15:24:38 -0400 From: lj lindhurst Subject: I'll tell you about it if no one else will So we saw Robyn Friday night at the Bottom Line. I took a bunch of pictures of everyone, so those will be coming along soon... Jet! (who prefers his real name remain a mystery) was there, and he took a number of very fine pictures with his digital camera, so hopefully he will share them with the list. Tony Blackman and Kate were there, and we all received some VERY FINE CDs from Tony-- THANKS!! They're GREAT stuff...Tony is such a cool guy-! They went with us to see Shane McGowan and the Popes on Saturday night as well...but more about that debacle later... So Robyn was in rare form Friday night. Lots of good stuff, lots of crazy covers, and he was talkative and quite funny. The particulars: 1.) Shirt: Black and white polka dot 2.) Blinking: Profusely, especially during second show. My new theory is that he does it to count time, sort of like a blinking metronome. 3.) head flipping: Moderate. 4.) head flipping variation: with 2 pairs of glasses on head 5.) Saturation of Paste Eating Geeks in audience: Immeasurable 6.) baskets of fries consumed: 4 7.) quality of fries: poor to moderate Highlights: 1.)This dumb-looking guy with a BLEEDING WOUND on his neck was sitting in front of Robyn and he kept hooting and yelling things out (loudly) at inappropriate moments. He actually made Robyn wince a few times. 2.) Fegs in attendance: Jet! and a couple of his friends, TGQ, Woj, Chris Gross, Jon Fetter, Tony & Kate, and Ferris. Our friend Judie was there too-- she's a semi feg now. 3.) Jon brought Robyn a giant turnip, and we threw it on the piano bench for him right before the encore. He goes, "Is this a giant radish or are you just happy to see me?" 4.) THEN, TGQ stands up and hands him his copy of Ulysses. Everyone yells out that it's Bloomsday, so Robyn opens to a page and does a reading to a psychedelic cover of "Astronomy Domine". That was COOL! 5.) I imagine that the recordings of the show may include the following dialogue: "Give Robyn the turnip now!" "I'm not going to do it!" "Go on, you're sitting closest to the stage!" "No way! Make Allen do it!" "Allen! Give Robyn the turnip!" -song begins here... But the adventure truly began the next night when we went to see Shane McGowan. It was me, Judie, Chris, Allen, and then we met up with Tony and Kate at a bar around the corner from Irving Plaza (New Yorkers will know it as that crappy "number bar" with the big Elvis poster right next to backstage). (Drinking at the bar was actually the highlight of the evening, as we were soon to find out.) Shane McGowan was an HOUR AND A HALF late!! Tony and Kate left after about 45 minutes, and I left after an hour and five minutes. It was MISERY...the crowd was rowdy and hostile, with lots of big asshole guys shoving everyone around and trying to pick fights. And the longer we waited, the more hostile and DRUNK everyone got! I was so glad that I left... you'll have to ask TGQ or Chris for the rest of this tale, but apparently the crowd started throwing beers, and someone bounced a full beer off of Shane's head... ( I went home and watched Saturday night Live. I think it may have finally happened: I'm too fucking OLD and CRANKY for this kind of shit!!!!) - -- +++ +++++ ++ +++ ++++++++ +++++ ++ LJ Lindhurst White Rabbit Graphic Design NYC ljl@w-rabbit.com http://www.w-rabbit.com ++ +++ +++ ++ +++ ++++++ + + + + + + "Mars is essentially in the same orbit...Mars is somewhat the same distance from the Sun, which is very important. We have seen pictures where there are canals, we believe, and water. If there is water, that means there is oxygen. If oxygen, that means we can breathe." -- Dan Quayle, 8/11/89 ------------------------------ Date: Mon, 19 Jun 2000 15:54:14 -0400 From: "Thomas, Ferris" Subject: RE: I'll tell you about it if no one else will > 1.)This dumb-looking guy with a BLEEDING WOUND on his neck was > sitting in front of Robyn and he kept hooting and yelling things out > (loudly) at inappropriate moments. He actually made Robyn wince a > few times. Robyn wasn't the only one wincing, my dear lj. He certainly was an excitable little thing--what he did during the beginning of Astronomy Domine was just wrong. On that note: I finished mastering the first set on Sunday night and have to admit I'm getting good--I managed to turn him down quite a bit...he's still there but not so much. I'll work on the second set tonight. > 5.) I imagine that the recordings of the show may include the > following dialogue: "Give Robyn the turnip now!" "I'm not going to > do it!" "Go on, you're sitting closest to the stage!" "No way! > Make Allen do it!" "Allen! Give Robyn the turnip!" -song begins > here... A bit muddled there--TGQ does say "this is for you," I think, when handing over the book. Robyn asked if it's the abridged version. I'll post the early setlist when I get home and the late after I've transferred the disc. - -ferris. ------------------------------ Date: Mon, 19 Jun 2000 16:14:49 -0400 From: mad Subject: Stereolab/Sonic Youth DC (0%RH) Any fegs going to the show tonight at the 9:30 Club? I'll be there with a bunch of folks (non-fegs), but I'd love to meet other fegs. S.Mary ps - I am so upset that I missed the Bottom Line shows. Must have been a ton o' fun. ------------------------------ Date: Mon, 19 Jun 2000 16:39:20 -0400 From: Ken Ostrander Subject: Re: storefront premiere >was the "old folksong," "silver dagger"? yesindeedilydoodley! ><song with tim. there are songs on the vinyl soundtrack that aren't in the >actual movie (statue with a walkman, where do you go when you die?, the >wind cries mary, eerie green storm lantern)>> > >And what a shame, those are four of the most interesting songs. The rest >are ones we've heard so many times before. but then that was the idea, to >capture a typical hitchcock show. I wonder if RH would agree to a more >small-budget production, perhaps on digital video, showing the more >unusual side of his performance (perhaps taking more risks, like it sounds >like he did at the bottom line the other night.) i doubt he'd mind. >any film makers in the audience? just give me a camera! ><< and i know that there were four >different sets that were recorded for the film. from what's been said >about the DVD, there is no extra footage or anything. or is there? what >happens to all of this stuff? i'm just wondering what other juicy bits >there might be>> > >I have very nice sounding recordings of two of the storefront sets, if you >want to hear what they sounded like originally. didn't want to mention it >eariler (for obvious reasons) eeriely obvious. how 'bout napster? which brings up another question: should robyn cover metallica? should anyone? ken " 'It lacked certain elements that we need to market a film successfully.' 'What elements?' 'Suspense, laughter, violence. Hope, heart, nudity, sex. Happy endings. Mainly happy endings.' 'What about reality?' " the kenster np air moon safari ------------------------------ Date: Mon, 19 Jun 2000 14:29:26 -0700 From: Tom Clark Subject: Fwd: Pat Metheny on Kenny G A friend sent this to me. I can't vouch for it's authenticity. - -tc Subject: Controversy and Kenny G (complete) Question: Pat, could you tell us your opinion about Kenny G - it appears you were quoted as being less than enthusiastic about him and his music. I would say that most of the serious music listeners in the world would not find your opinion surprising or unlikely - but you were vocal about it for the first time. You are generally supportive of other musicians it seems. Pat's Answer: (june 8) kenny g is not a musician i really had much of an opinion about at all until recently. there was not much about the way he played that interested me one way or the other either live or on records. i first heard him a number of years ago playing as a sideman with jeff lorber when they opened a concert for my band. my impression was that he was someone who had spent a fair amount of time listening to the more pop oriented sax players of that time, like grover washington or david sanborn, but was not really an advanced player, even in that style. he had major rhythmic problems and his harmonic and melodic vocabulary was extremely limited, mostly to pentatonic based and blues-lick derived patterns, and he basically exhibited only a rudimentary understanding of how to function as a professional soloist in an ensemble - lorber was basically playing him off the bandstand in terms of actual music. but he did show a knack for connecting to the basest impulses of the large crowd by deploying his two or three most effective licks (holding long notes and playing fast runs - never mind that there were lots of harmonic clams in them) at the keys moments to elicit a powerful crowd reaction (over and over again) . the other main thing i noticed was that he also, as he does to this day, play horribly out of tune - consistently sharp. of course, i am aware of what he has played since, the success it has had, and the controversy that has surrounded him among musicians and serious listeners. this controversy seems to be largely fueled by the fact that he sells an enormous amount of records while not being anywhere near a really great player in relation to the standards that have been set on his instrument over the past sixty or seventy years. and honestly, there is no small amount of envy involved from musicians who see one of their fellow players doing so well financially, especially when so many of them who are far superior as improvisors and musicians in general have trouble just making a living. there must be hundreds, if not thousands of sax players around the world who are simply better improvising musicians than kenny g on his chosen instruments. it would really surprise me if even he disagreed with that statement. having said that, it has gotten me to thinking lately why so many jazz musicians (myself included, given the right “bait” of a question, as i will explain later) and audiences have gone so far as to say that what he is playing is not even jazz at all. stepping back for a minute, if we examine the way he plays, especially if one can remove the actual improvising from the often mundane background environment that it is delivered in, we see that his saxophone style is in fact clearly in the tradition of the kind of playing that most reasonably objective listeners WOULD normally quantify as being jazz. it’s just that as jazz or even as music in a general sense, with these standards in mind, it is simply not up to the level of playing that we historically associate with professional improvising musicians. so, lately i have been advocating that we go ahead and just include it under the word jazz - since pretty much of the rest of the world OUTSIDE of the jazz community does anyway - and let the chips fall where they may. and after all, why he should be judged by any other standard, why he should be exempt from that that all other serious musicians on his instrument are judged by if they attempt to use their abilities in an improvisational context playing with a rhythm section as he does? he SHOULD be compared to john coltrane or wayne shorter, for instance, on his abilities (or lack thereof) to play the soprano saxophone and his success (or lack thereof) at finding a way to deploy that instrument in an ensemble in order to accurately gauge his abilities and put them in the context of his instrument’s legacy and potential. as a composer of even eighth note based music, he SHOULD be compared to herbie hancock, horace silver or even grover washington. suffice it to say, on all above counts, at this point in his development, he wouldn’t fare well. but, like i said at the top, this relatively benign view was all “until recently”. not long ago, kenny g put out a recording where he overdubbed himself on top of a 30+ year old louis armstrong record, the track “what a wonderful world”. with this single move, kenny g became one of the few people on earth i can say that i really can't use at all - as a man, for his incredible arrogance to even consider such a thing, and as a musician, for presuming to share the stage with the single most important figure in our music. this type of musical necrophilia - the technique of overdubbing on the preexisting tracks of already dead performers - was weird when natalie cole did it with her dad on “unforgettable” a few years ago, but it was her dad. when tony bennett did it with billie holiday it was bizarre, but we are talking about two of the greatest singers of the 20th century who were on roughly the same level of artistic accomplishment. when larry coryell presumed to overdub himself on top of a wes montgomery track, i lost a lot of the respect that i ever had for him - and i have to seriously question the fact that i did have respect for someone who could turn out to have have such unbelievably bad taste and be that disrespectful to one of my personal heroes. but when kenny g decided that it was appropriate for him to defile the music of the man who is probably the greatest jazz musician that has ever lived by spewing his lame-ass, jive, pseudo bluesy, out-of-tune, noodling, wimped out, fucked up playing all over one of the great louis’s tracks (even one of his lesser ones), he did something that i would not have imagined possible. he, in one move, through his unbelievably pretentious and calloused musical decision to embark on this most cynical of musical paths, shit all over the graves of all the musicians past and present who have risked their lives by going out there on the road for years and years developing their own music inspired by the standards of grace that louis armstrong brought to every single note he played over an amazing lifetime as a musician. by disrespecting louis, his legacy and by default, everyone who has ever tried to do something positive with improvised music and what it can be, kenny g has created a new low point in modern culture - something that we all should be totally embarrassed about - and afraid of. we ignore this, “let it slide”, at our own peril. his callous disregard for the larger issues of what this crass gesture implies is exacerbated by the fact that the only reason he possibly have for doing something this inherently wrong (on both human and musical terms) was for the record sales and the money it would bring. since that record came out - in protest, as insigificant as it may be, i encourage everyone to boycott kenny g recordings, concerts and anything he is associated with. if asked about kenny g, i will diss him and his music with the same passion that is in evidence in this little essay. normally, i feel that musicians all have a hard enough time, regardless of their level, just trying to play good and don’t really benefit from public criticism, particularly from their fellow players. but, this is different. there ARE some things that are sacred - and amongst any musician that has ever attempted to address jazz at even the most basic of levels, louis armstrong and his music is hallowed ground. to ignore this trespass is to agree that NOTHING any musician has attempted to do with their life in music has any intrinsic value - and i refuse to do that. (i am also amazed that there HASN’T already been an outcry against this among music critics - where ARE they on this?????!?!?!?!- , magazines, etc.). everything i said here is exactly the same as what i would say to gorelick if i ever saw him in person. and if i ever DO see him anywhere, at any function - he WILL get a piece of my mind and (maybe a guitar wrapped around his head.) ------------------------------ Date: Mon, 19 Jun 2000 17:42:59 -0400 From: overbury@cn.ca Subject: Re: Fwd: Pat Metheny on Kenny G Can this mean that Pat Metheny fans will stop buying Kenny G. records? That ought to *devastate* his market share! ------------------------------ Date: Mon, 19 Jun 2000 19:59:25 -0400 From: Jon Fetter Subject: Re: storefront premiere I wonder if RH would agree to a more >small-budget production, perhaps on digital video, showing the more >unusual side of his performance (perhaps taking more risks, like it sounds >like he did at the bottom line the other night.) I'll say he did. He had a turnip on his piano. Jon ------------------------------ End of fegmaniax-digest V9 #162 *******************************