From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V10 #87 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Friday, March 23 2001 Volume 10 : Number 087 Today's Subjects: ----------------- rolling stone interview [recount chocula ] Tonight... [Bayard ] Re: Pics from the DC show [recount chocula ] FW: Soft Boys B'Day [Larry Tucker ] Re: Robyn's guitar (was Re: Pics from the DC show) [Tom Clark ] Re: Robyn's guitar (was Re: Pics from the DC show) [recount chocula ] Reap ["Jason R. Thornton" ] Fletcher's video project ["Poole, R. Edward" ] RE: DC show ["Poole, R. Edward" ] Re: Robyn's guitar (was Re: Pics from the DC show) [Tom Clark ] Old Interview... ["brian nupp" ] RE: Raymond Hitchcock ["Brian Huddell" ] 9:30; other thoughts ["Poole, R. Edward" ] Re: Old Interview... ["Chris Franz" ] Digesting ["In Praise Of Limestone" ] ---------------------------------------------------------------------- Date: Fri, 23 Mar 2001 12:20:25 -0500 From: recount chocula Subject: rolling stone interview Hitchcock Talks Soft Boys On twentieth anniversary, legendary "Underwater Moonlight" is re-released For every Sgt. Pepper or Nevermind -- albums whose impact was immediate and indelible -- there are those post-dated masterpieces that serve notice of their charms only when the world's ears are ready to hear them. The Velvet Underground and Nico and Big Star's #1 Record both spring to mind. No less deserving of a spot on that short list is the Soft Boys' Underwater Moonlight. Hardly noticed by the British music community on its release in June 1980, the album eventually found an audience in the American underground of the mid-Eighties, where bands as diverse as R.E.M., Yo La Tengo and the Replacements all shared a fondness for the then-unheralded treasure. The album's jangling arpeggios, harmony vocals and psychedelic undercurrents provided a link to pre-punk rock & roll that was crucial to the renaissance of stateside guitar bands. But by then, the Soft Boys were little more than a vague memory. Robyn Hitchcock formed the Soft Boys in 1976 in Cambridge, England. During their five-year life span, they released only two albums, one EP and a few singles, seemingly altering their lineup with each recording. Even the incarnation that made Underwater Moonlight -- Hitchcock, guitarist Kimberly Rew, bassist Matthew Seligman and drummer Morris Windsor -- had a brief shelf life. Within a year of the album's release, the band quietly split. Hitchcock embarked on a solo career, eventually reuniting with Windsor and original Soft Boys bassist Andy Metcalfe as Robyn Hitchcock and the Egyptians; Rew formed Katrina and the Waves and scored a Grammy-nominated hit with "Walking On Sunshine"; and Seligman began a successful career as a session musician. Despite its growing stature, Underwater Moonlight has spent the better part of its existence out of print. This week it returns to record store shelves as a two-CD set: the original album with outtakes, plus a second disc of rehearsal recordings featuring many songs that never made it out of the practice room. With the Soft Boys reunited and ready to tour the U.S. (a particular treat for American fans as the band's commercial realities twenty years ago prevented them from touring beyond New York), Robyn Hitchcock talked with us about the making of a masterwork. What are your memories of recording Underwater Moonlight? Well, it was in the days before mobile phones and email. I don't even think we had a tuning machine, I think we probably tuned to a tuning fork. When I tried to re-learn some of the songs off the record, they didn't seem to be in any recognizable key, so everything's probably sped up or slowed down. Most of the time we were in this place that had lots of mattresses tied to the walls. It wasn't a sexy, state-of-the-art recording studio on a farm or in an industrial complex or anything, it was actually a flat in South London. The guy lived in it -- it was his own house, and it was also a studio. He had cats and the cats used to use the mattresses quite a lot, so the mattresses smelled of cat. It was cold, very Victorian, really, probably like you imagine traditional London studios are [if you live] in the States. It was cold and smelly, but it was fantastic. We managed to produce music in there that was far better than things we'd done in state-of-the-art twenty-four-track studios the previous year or so when there was a record company funding our first aborted record. I think we spent something crazy like 20,000 pounds trying to record various things for them, and we made Underwater Moonlight for effectively about 600 pounds. Why was recording in that environment so much better? It wasn't really the environment, it was the state of the band. I had to do a sort of dodgy publishing deal in order to finance the record. I think Matthew's father paid for a track, and there were a couple of things left over from the session the previous year. But I guess we just had better material by then. We were a kind of different shaped Soft Boys anyway. What we were trying to do was probably simpler. The songs were more songs and less arrangements, I suppose. Did you go into the studio with a conscious idea of what kind of album you were going to make? It was all done in rehearsals. Every incarnation of the Soft Boys was based around heavily rehearsing. We were the antithesis of, say, the Rolling Stones or something, who write their records in the studio. Everything was always rehearsed someplace near a cafi where you could buy egg and chips. The songs were probably written fairly concisely, but I would have rehearsed them with the others so the arrangements would have been worked out communally. That bit on "I Wanna Destroy You," where Kimberly hears what I'm singing so he hits his harmony and then Morris hears what I'm singing so he hits his harmony, and each person responds in turn to what the other person's noise is. That was the way the arrangements were done. When an album like this becomes so influential, history seems to rewrite itself, but you were just a little indie band at that time, weren't you? [Laughs] It wasn't even called "indie" in those days. [Indie] just meant that you didn't have a major record deal and you didn't sell very much. But I think also, we weren't a trendy indie band. There were trendy indie bands like Spizz or Swell Maps, or there were certainly people like Joy Division who were very successful, even in Ian Curtis' lifetime. They may not have sold millions of records but they had a very high indie profile. We didn't really have any of that. Was your profile diminished because your sound was so different from the other bands of the time? I think sound, image and attitude. We really weren't part of the time at all. I mean, we did speed up a little in 1977 and we went to see the Damned and the Vibrators and everybody and we kind of knew what was going on, but it didn't really effect the songs I wrote or the way we played them. We were still based around harmony and melody and that kind of thing. After Andy Metcalfe left in '79, we became less experimental and that coincided with a gear change in my songwriting, which means I finally started writing halfway decent songs. I don't think I wrote anything good till I was twenty-six, which was the age I was when I wrote most of the songs on Underwater Moonlight. What was the response when the album came out? It was alright. They really didn't really like our previous record [A Can of Bees], which was a difficult record. I think they could have given us points for trying, but they weren't even prepared to do that. But in the end it's down to whether you enjoy the record or not, and it wasn't an enjoyable record so you can't really blame them for responding negatively. The response to Underwater Moonlight was OK. I don't remember it being demolished by anybody. But there wasn't much of a fanfare either. To give you some idea of the way things have changed, apparently we have a nice review in the NME [New Musical Express] this week. Now the record isn't actually out yet. But when it first came out in 1980, the NME didn't review it for three months. That gives you an idea of what kind of priority we were. It might have taken them three months to find a journalist who could be bothered to review it. When did you realize that the album was influencing a lot of the American bands? About 1984, I think. Various feelers were coming out from R.E.M., and then people started to ring up from America and ask if we wanted to do things. The Replacements asked me if I wanted to produce them, which I didn't because I didn't think I'd be up to the job, really. But there was a general breeze coming over from the States that indicated that the seeds that we'd sown there had begun to sprout. But that was three or four years after the Soft Boys stopped. Did you hear the Soft Boys' influence in these bands? No, I've never heard Soft Boys' or my influence in anybody. I think probably all it was was that we were the connection between their generation and the people in the Sixties, because music in the Seventies, on the whole, was in denial of or in recovery from what happened in the Sixties. In the Eighties they were ready for that kind of thing, and we were revealed to have been the missing link. Underwater Moonlight was a great album and I think I've got some damn good songs on it, so I'm not belittling us. I just think in terms of stylistic influence, it's a big difference between whether we were a good band or whether the songs were good. But if you're talking about style -- putting it very crudely, we were the link between the Byrds and R.E.M. Why do you think the album has held up after all these years? Great band, good songs and most importantly, just a vibe about the recordings. There was something about our collective state of mind when we recorded them. It's not the notes you play, it's the life that's in the notes you play and I think there was a spirit in us - we were going against the times. Also, politically things were getting darker and darker as time went on. The Russians invaded Afghanistan. Jimmy Carter looked like he was on the way out. Reagan became a serious contender. Margaret Thatcher was elected in Britain. The swing to the right that had been first noticeable in the late Seventies had really arrived. This produced a deep feeling of dread. We didn't even know if we were going to be alive by Easter or whenever. It was just that we've got to make this record. [I remember] sitting in the VW with Matthew and saying, "God, we could be gone by Christmas, but at least we'll have this record out." So, there was that kind of urgency in the air, socially, and then there was my own personal paranoia or whatever. There was an urgency and a life to what we were doing, and that's really what shines through on the record. Why did the band break up after Underwater Moonlight? We probably knew we weren't in a climate that could sustain us. I think that was part of the intensity of making it. We probably knew that we had a record in us that we could deliver. It's like a salmon swimming upstream to lay her eggs and then dying: She knows she's not going to go back out to the Galapagos Islands, or wherever it is, and conceive another batch of eggs and swim back up to Nova Scotia. She's got one load of eggs and that's it. We had this one record that we wanted to yield up, and that felt like our function, really. Beyond that, Kimberly was writing songs and you could feel the genesis of his career with the Waves building up again. He'd been with Alex, the drummer for the Waves, before we recruited him for the Soft Boys. So, Kim had these songs that needed an outlet and they wouldn't have fitted with mine. Although it's a beautiful picture, I can't really imagine the Soft Boys having scored with "Walking On Sunshine," certainly not with me singing it [laughs]. So he had that career that was gestating inside him and I'd already got halfway through a solo album. And I really wanted to be a solo artist anyway. I didn't see myself being in a group indefinitely. I think we may have all re-thought that if the group had been making lots of money. But it didn't look like we could do any worse on our own. How does it feel playing together after twenty years? Quite good really, but different. The currents inside the band have changed. Everyone's magnetic fields have altered. It's probably more comfortable, which unfortunately may mean it's less exciting. I think it's more fun, it's probably more good natured and less spiky. But that's probably as it should be -- we're all in our late forties now. I hate middle-aged rock & roll and part of me is really galled to be doing this, especially as I've gone on record so many times as saying people over forty shouldn't be allowed to wield electric guitars. But I've been solo now for about seven years, just borrowing musicians and being musically promiscuous, and I definitely feel ready to be submerged in a band again even if I'm basically the frontman and the songwriter still. I quite like the difference of focus between being Robyn Hitchcock and being in the Soft Boys. MICHAEL ANSALDO (March 16, 2001) ------------------------------ Date: Fri, 23 Mar 2001 12:24:22 -0500 (EST) From: Bayard Subject: Tonight... hey, I hear Dan Poppe's group is meeting in the restaurant part of Maxwell's around 8, who else is going? Also - if anyone who can do anything is reading, a few people still need tickets for this sold out show, including the guy who has seen and recorded the last 40 robyn shows and the guy who has been running this list for over 11 years. they need your help to get tickets or otherwise get in!! =b ------------------------------ Date: Fri, 23 Mar 2001 13:02:24 -0500 From: recount chocula Subject: Re: Pics from the DC show when we last left our heroes, mel@scw.org exclaimed: >Hmmm. Do we need a feg sign of some sort? Secret handshake? Button? Large >purple squid on the forehead? well, if we'd remembered to bring the pink thoth placard with us, it might have been easier. >It would keep us from glaring at each other as we try to tape and photograph >shows. i only glare at people who blow cigarette smoke in my face. +w ------------------------------ Date: Fri, 23 Mar 2001 13:50:33 -0500 From: Larry Tucker Subject: FW: Soft Boys B'Day *************************************************************** ********* HOLD THE EMAILS THE 21 FREEBIES ARE GONE **************** *************************************************************** I'll try to let everyone know when they get mailed. - -Larry - -----Original Message----- From: Larry Tucker Sent: Friday, March 23, 2001 11:25 AM To: Fegmaniax (E-mail) Subject: Soft Boys B'Day To honor the 21st birthday of UNDERWATER MOONLIGHT and the celebratory tour that's underway, and while I'm still in my post show altered state of mind. I'm giving away 21 copies of a recording of their performance at Fletchers in Baltimore this past Monday night. It's not the complete show, it's missing 2 songs, but as it is, it then fills one 80 min CDR. The first 21 responses get one...absolutely free. For people annoyed with copyright issues, please look the other way. - -Larry wishin' I coulda seen all the shows. ------------------------------ Date: Fri, 23 Mar 2001 11:10:48 -0800 From: Tom Clark Subject: Re: Robyn's guitar (was Re: Pics from the DC show) on 3/23/01 8:45 AM, Jason R. Thornton at jthornton@ucsd.edu wrote: > If you're wondering what model Telecaster Robyn is sporting this tour, I > believe that it's an American made Telecaster Plus, which has been out of > production since the mid 90's. It has a Blue Lace pickup in the neck > position, and two Red Lace pickups in a splittable humbucker configuration > at the bridge. I used to own this exact model, only mine had a transparent > red finish. This is the only guitar I've ever really regretted selling, > which I stupidly did back in my "I'm only going to play Stick" phase. > > Bah. > > The only other person that I know of the uses this model Tele extensively > is Jonny Greenwood of Radiohead. > Is this the guitar Robyn bought in Nashville a few years ago? I think I remember him saying something about this during the Moss Elixir tour... - -tc, jealous that my non-feg friends will be at the NYC show with Quail & lj!!! ------------------------------ Date: Fri, 23 Mar 2001 14:11:44 -0500 From: Ben Subject: Re: Soft Boys B'Day I'll take one, if I make the cut! > > > To honor the 21st birthday of UNDERWATER MOONLIGHT and the celebratory tour > that's underway, and while I'm still in my post show altered state of mind. > I'm giving away 21 copies of a recording of their performance at Fletchers > in Baltimore this past Monday night. It's not the complete show, it's > missing 2 songs, but as it is, it then fills one 80 min CDR. The first 21 > responses get one...absolutely free. > > For people annoyed with copyright issues, please look the other way. > > - -Larry > > wishin' I coulda seen all the shows. ------------------------------ Date: Fri, 23 Mar 2001 14:28:51 -0500 From: recount chocula Subject: Re: Robyn's guitar (was Re: Pics from the DC show) when we last left our heroes, Tom Clark exclaimed: >-tc, jealous that my non-feg friends will be at the NYC show with Quail & >lj!!! more to the point, we will be with them after the show as well. muhahahahaha! +w ------------------------------ Date: Fri, 23 Mar 2001 14:51:07 -0500 From: mad Subject: Re: Robyn's guitar (was Re: Pics from the DC show) At 02:28 PM 3/23/2001 -0500, recount chocula wrote: >when we last left our heroes, Tom Clark exclaimed: > > >-tc, jealous that my non-feg friends will be at the NYC show with Quail & > >lj!!! > >more to the point, we will be with them after the show as well. muhahahahaha! > >+w And maybe even the next morning as well... Tom - you should be here too : ( S.mary ------------------------------ Date: Fri, 23 Mar 2001 12:07:12 -0800 From: "Jason R. Thornton" Subject: Reap Mir and William Hanna of Hanna-Barbera cartoon fame. - --Jason "Only the few know the sweetness of the twisted apples." - Sherwood Anderson ------------------------------ Date: Fri, 23 Mar 2001 15:00:04 -0500 From: "Poole, R. Edward" Subject: Fletcher's video project I have 60 minutes worth of Dig8 video from the 3/19/01 Fletcher's show in Baltimore (i.e., my tape ran out during the last 5 seconds of Mr. Kennedy; consequently, I missed all of the encores). Though the sound didn't turn out that well, the video is pretty good, or at least I think so. [Dave -- whaddya think? Besides my 4-year old son, your the first to see it.] So, here's my plan -- I'm seeking the replacement audio sources, which I will combine through the magic (actually, the tedious drudgery) of macintosh-based video editing, with the original video source. I grabbed the MP3s from um.com; Larry has kindly agreed to send me a CDR of his recording (which, unfortunately, lacks all songs beginning with the letter "K"); but, I understand that someone (Bayard, hmmm?) may have a complete recording (and high quality, too) of the show. Anyone interested in contributing to the project please contact me. Although I'm especially looking for audio, if anyone has still photographs or anything else that could be incorporated, I'd love to hear from you. (I can incorporate still images into the edit; I'll be using Matthew's setlist-napkin, fer instance). Anyone who contributes automatically gets a copy of the finished product. Anyone else interested, just let me know. I'm particularly interested in trades, but don't mind taping on a blank video you send me. Keep in mind, the whole process will take a few weeks. salud. - -ed ============================================================================This e-mail message and any attached files are confidential and are intended solely for the use of the addressee(s) named above. This communication may contain material protected by attorney-client, work product, or other privileges. If you are not the intended recipient or person responsible for delivering this confidential communication to the intended recipient, you have received this communication in error, and any review, use, dissemination, forwarding, printing, copying, or other distribution of this e-mail message and any attached files is strictly prohibited. If you have received this confidential communication in error, please notify the sender immediately by reply e-mail message and permanently delete the original message. To reply to our email administrator directly, send an email to postmaster@dsmo.com Dickstein Shapiro Morin & Oshinsky LLP http://www.legalinnovators.com ------------------------------ Date: Fri, 23 Mar 2001 15:07:42 -0500 From: "Poole, R. Edward" Subject: RE: DC show I've been away (business, not SB, unfortunately), so I'm just getting this now, but I second the kudos on the chili and my great pleasure in meeting you all. Eddie, sorry to have freaked you out by recognizing you from the FegFotos online. who knew there were so many DC fegs? not I, previously, at least. - -ed - -----Original Message----- From: shmac@ix.netcom.com [mailto:shmac@ix.netcom.com] Sent: Thursday, March 22, 2001 2:57 PM To: fegmaniax@smoe.org Subject: DC show Hey, the tour merch guy is on the list? Cool! I'll second Mel's assessment -- that WAS good. Excellent in fact. Probably the best show I've seen in a long, long time. High fun factor -- and the Fegs! Bayard is right, we ARE the nicest people. Second the thanks to Dave, who makes an EXCELLENT veggie chilli. Great meeting Dave, Mel, Ed, Eddie and sort of meeting Carissa the balloon lady. Good seeing Woj and Bayard again, too. Kimberly Rew has GOT to be the guy Dana Carvey had in mind when he came up with the bit about guitarists looking surprised at every chord change. I noticed several folks (not in our party) scoping out set lists at the end - -- who got them? ========= SH McCleary Prodigal Dog Communications PO Box 6163 Arlington, VA 22206 shmac@prodigaldog.com www.prodigaldog.com www.1480kHz.com ============================================================================This e-mail message and any attached files are confidential and are intended solely for the use of the addressee(s) named above. This communication may contain material protected by attorney-client, work product, or other privileges. If you are not the intended recipient or person responsible for delivering this confidential communication to the intended recipient, you have received this communication in error, and any review, use, dissemination, forwarding, printing, copying, or other distribution of this e-mail message and any attached files is strictly prohibited. If you have received this confidential communication in error, please notify the sender immediately by reply e-mail message and permanently delete the original message. To reply to our email administrator directly, send an email to postmaster@dsmo.com Dickstein Shapiro Morin & Oshinsky LLP http://www.legalinnovators.com ------------------------------ Date: Fri, 23 Mar 2001 12:17:03 -0800 From: Tom Clark Subject: Re: Robyn's guitar (was Re: Pics from the DC show) on 3/23/01 11:51 AM, mad at mad@loona.net wrote: > At 02:28 PM 3/23/2001 -0500, recount chocula wrote: >> when we last left our heroes, Tom Clark exclaimed: >> >>> -tc, jealous that my non-feg friends will be at the NYC show with Quail & >>> lj!!! >> >> more to the point, we will be with them after the show as well. muhahahahaha! >> >> +w > > And maybe even the next morning as well... > > Tom - you should be here too : ( > > S.mary > AAAGH! You fegs are NOT the nicest people! I want pictures!! Lots of em!! I can't stop exclaiming!!! - -tc!!!!! ------------------------------ Date: Fri, 23 Mar 2001 20:44:20 -0000 From: mel@scw.org Subject: Raymond Hitchcock Hey fegs, I'm finally reading Venus 13 by Robyn's dad. It's about a couple having the first space child. It might just be the post concert effect but it's pretty damned funny. Have to recommend. Esp. if you're really tired. from p. 63 'We have tumescence...significant tumescence.' back to my real work Melissa ------------------------------ Date: Fri, 23 Mar 2001 16:12:33 -0500 From: "brian nupp" Subject: Raymond Hitchcock http://www.cyber-nation.com/victory/quotations/authors/quotes_hitchcock_raymond.html _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ------------------------------ Date: Fri, 23 Mar 2001 16:26:48 -0500 From: "brian nupp" Subject: Old Interview... I haven't seen this one, but it's dated. Here it is anyway: http://edweb.gsn.org/hitchcock.html Nuppy _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ------------------------------ Date: Fri, 23 Mar 2001 15:32:12 -0600 From: "Brian Huddell" Subject: RE: Raymond Hitchcock Nuppy: > http://www.cyber-nation.com/victory/quotations/authors/quotes_hitchcock_raym ond.html Cool, respect is due to Raymond Hitchcock. In addition, I'm guessing, to tens of thousands of dollars in fortune cookie royalties. ------------------------------ Date: Fri, 23 Mar 2001 16:37:47 -0500 From: "Poole, R. Edward" Subject: 9:30; other thoughts Sorry, I'm several steps behind, but: 1. Anyone else think it was hilarious the way Robyn repeated "the paint is cracked and dry" about 16 times during Insanely Jealous. At first I thought the band hadn't caught up from the instrumental section, but after 7 or 9 times, the repetition itself took on an absurd charm. For me, anyhow. 2. Before the gig, Melissa posited that Robyn tells so many stories between songs out of shyness, or as a defense mechanism so that he need not interact with his audience. I readily agreed with this theory, noting that for a man who spends so much time talking TO audiences, Robyn very rarely talks WITH audiences. And yet, that night, when he asked "is Dubya here now or is he still in Texas?" and I replied "yeah, I saw him in the back bar," Robyn actually acknowledged this comment, remarking "He's in the back of the house? Well, he should be -- he's got super powers -- he'd need to use them to get in here." Hmmm, I guess that showed us. 3. Rock 'n' Roll Toilet was really good. "You'll never know whether that's ironic." Hmmm? 4. If Matthew or whoever is in charge of such things doesn't post I Wanna Destroy You and/or Mr. Kennedy as the MP3s from this show, someone else needs to do the judging from now on. wow. - -ed ============================================================================This e-mail message and any attached files are confidential and are intended solely for the use of the addressee(s) named above. This communication may contain material protected by attorney-client, work product, or other privileges. If you are not the intended recipient or person responsible for delivering this confidential communication to the intended recipient, you have received this communication in error, and any review, use, dissemination, forwarding, printing, copying, or other distribution of this e-mail message and any attached files is strictly prohibited. If you have received this confidential communication in error, please notify the sender immediately by reply e-mail message and permanently delete the original message. To reply to our email administrator directly, send an email to postmaster@dsmo.com Dickstein Shapiro Morin & Oshinsky LLP http://www.legalinnovators.com ------------------------------ Date: Fri, 23 Mar 2001 13:55:29 -0800 From: "Chris Franz" Subject: Re: Old Interview... Nupp: >I haven't seen this one, but it's dated. Here it is anyway: >http://edweb.gsn.org/hitchcock.html From that interview: >My youngest sister, Fleur, writes books. So I supposed my >father's creativity ran rampant through the family. A quick search on "Fleur Hitchcock" yielded the following site -- a mother-daughter (yes, with Joyce) partnership of art galleries! http://www.hitchcocks-bath.dial.pipex.com/ ------------------------------ Date: Fri, 23 Mar 2001 21:56:14 -0000 From: "In Praise Of Limestone" Subject: Digesting Sam Adams started a revolution with: A very drink friend of >mine insisted on referring to K. as "Bev Bevins" after the show. >Bev Bevan played drums for ELO (and also Black Sabbath for a spell, >too). I think he may have also been the first choice for Led Zepplins's drummer? By the way, looked at a pic of ELO and none of them looked like Rew to me. Ross seems equally taken by Rew: >Up >close w/ the chiseld cheek lines & the coiffed silver hair got some >Keith Richards effect. Maybe I wasnt close enough--(2 feet?)--but naw naw naw. Richards looks like somebody youd scare your kids with, Rew like someone who'd end up playing with them. I have to admit that looking at him, my main thought was--"hey, like me he's got really thick hair and needs to find a better conditioner. If I ever find something that properly tames my mane down, Ill send him a sample." Ken added: >A sex-starved moose in Norway mistook >a small, yellow car for a would-be partner, but defecated on >it after it got no response. Needless to say, I had to follow this link. What I want to know is-- so how did the side mirror get bent? Chris: >(Kay, the amount of energy you >displayed dancing before the stage frightened me a little.) Would have frightened me too if I didnt know what a self-disciplined responsible adult I am except for a few times a year when I clean out the system and indulge in a bit of better living thru alchahol and chemestry. So dont worry, if we meet again youll find me quite civilized. Joyously, the apple twisted: >If you're wondering what model Telecaster Robyn is sporting this >tour, I >believe that it's an American made Telecaster Plus Thank you muchly. Love the vibrant deep blue(its the same color as my bike;-) He's been playing the black n white for so long--Im not sure why--but I really got a kick out of seeing him with a new toy. As for RH and physical presence--I think he's always used his body to semiphore signels. When he's in high eye-blink self-consious mode theres less of it, but when he's loose--you should have seen him doing his Bowie imitation at the GLB thing, it was a hoot. He knows he's big and uses it to advantage, the same way he uses his voice when he does the monologues. Kay _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com ------------------------------ End of fegmaniax-digest V10 #87 *******************************