From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V12 #15 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Thursday, January 16 2003 Volume 12 : Number 015 Today's Subjects: ----------------- i need you again [drew ] Re: Feels Like 1990: Echo & the Bogusmen [Eb ] Re: Feels Like 1990: Echo & the Bogusmen [Aaron Mandel ] Re: talk talk ["Eugene Hopstetter, Jr." ] Re: Feels Like 1990: Echo & the Bogusmen [Miles Goosens ] kodak dc215 camera [bayard ] Re: went to a party / didn't say a word [rosso@videotron.ca] Re: talk talk [Dolph Chaney ] Name a Rex ["Michael Wells" ] Re: Norah [steve ] Re: Top tennery againery [Sabina Carlson ] Re: The usual dribs n drabs [Jeffrey with 2 Fs Jeffrey ] ---------------------------------------------------------------------- Date: Thu, 16 Jan 2003 13:31:32 -0800 (PST) From: drew Subject: i need you again > From: "Rex.Broome" > > I almost added "doubtless beloved by Drew" to that list. I'd almost bet > that if you and I ranked the albums by artist we both like, the list would > come out as exact inversions of each other. Love it! Sure does look that way, doesn't it? :) > I can see your reasons for liking the later Church records as much as you > do, but honestly, how can you even make it through "Terra Nova Caine"? That > song mars that record so severely that I'd choose my "Russian Autumn Heart" > single over the album any day. And here's a perfect example, because "Terra Nova Cain" through "Monday Morning" is the sequence I want to hear when I want to hear _Gold Afternoon Fix_. "Russian Autumn Heart" is the song that makes me want to turn it off, and it's still one of my least favorite Church songs post-_Starfish_ (the earliest Church album I own, not counting compilation songs obviously). > From: The Great Quail > > Anyway, I don't think I deserved your trouncing, and I am afraid you made > quite a lot of hay out of my single straw. You read a whole lot into my lone > statement that I think castration is appropriate for serial rape, but not > for a single instance of viewing child porn! I actually didn't know what chemical castration was, but apparently it's just an injection that lowers testosterone levels, right? So that guys can still have sex but their sex drive is considerably lowered? If that's the case it strikes me as pretty lenient for serial rape compared to actual castration. I'd also like to point out that if you morally equate child porn (which may or may not include actual child rape) with murder (and Kay's case I think is pretty reasonable), and you morally equate supporting said porn with creating it, then you had best not pay your taxes anymore. The way I see it we're supporting murder all the time and just as directly. The only difference is that there's coercion involved with paying taxes. > From: "Jason Brown (Echo Services Inc)" > > You can hear far more of his influence in the music of his "legitmate" > daughter, Anoushka. We had a long running office argument here this > summer over who was hotter Nora or Anoushka as well as whose music was > better. The general consensus was that Nora was hotter but Anoushka's > music was better. I preferred Anouska on both accounts I'm gonna stick to my vote on the hotness, but I'll agree it's a close race. Drew - -- drew at stormgreen dot com http://www.stormgreen.com/~drew/ ------------------------------ Date: Thu, 16 Jan 2003 13:41:22 -0800 From: Eb Subject: Re: Feels Like 1990: Echo & the Bogusmen > >Fact is, as I browse my collection, 1990 was a pretty subpar year for guitar >>pop, with half the crowd attempting to "modernize" their sounds to keep up > >with the Stone Roses (Extricate), > >I'm not sure if I'd generalize about 1990 being an up or down year >in music. On the whole, I didn't enjoy the music of 1989-1993 as >much as the music of the years just before or after it, but I didn't >enjoy those years in general. 1990, a subpar year for guitar pop? That was when the whole Big Star revival started! Teenage Fanclub's A Catholic Education was the big indie-buzz album of the year. Everyone discovered the Posies and Shonen Knife. The Chills released their masterpiece. World Party released its best album. Redd Kross released what's probably (?) its top-selling disc. Juliana Hatfield and the Blake Babies released what's probably the best album she ever did. The Breeders, Lush, the Sundays, the Cavedogs and Jellyfish debuted. Poi Dog Pondering debuted on Columbia. The Clean returned. The Pixies, Adrian Belew, the Blue Aeroplanes, Ultra Vivid Scene, the Jazz Butcher, the Replacements, Yo La Tengo and the Verlaines hung in there. Guitar pop was doing pretty darn well, seems to me. Actually, for a short time window between the shoegaze and grunge crazes, nostalgic guitar pop was all the rage. I'd say there's almost 50 albums from 1990 which I strongly enjoy, headed up by (in very approximate order) the Chills' aforementioned Submarine Bells, Thin White Rope's Sack Full of Silver, Neil Young/Ragged Glory, Eye, Sonic Youth/Goo, Nick Cave/The Good Son, Reed/Cale's Songs for Drella, PE/Fear of a Black Planet, the Pogues/Hell's Ditch and Mazzy Star/She Hangs Brightly. Many of the guitar-pop albums cited above fall in the #11-20 range. Eb, who never gave a damn about Echobunny and always switched stations when "The Cutter" came on ------------------------------ Date: Thu, 16 Jan 2003 16:59:40 -0500 (EST) From: Aaron Mandel Subject: Re: Feels Like 1990: Echo & the Bogusmen On Thu, 16 Jan 2003, Eb wrote: > The Pixies, Adrian Belew, the Blue Aeroplanes, Ultra Vivid Scene, the > Jazz Butcher, the Replacements, Yo La Tengo and the Verlaines hung in > there. That Blue Aeroplanes album Swagger is also generally acclaimed as their masterpiece. (I think I like 1995's Rough Music better, but despite being a near-completist when it comes to them, I don't have strong opinions about one Blue Aeroplanes album against another. Langley's previous band, the Art Objects, deserved a reissue more than that solo album needed to be put out, though.) a ------------------------------ Date: Thu, 16 Jan 2003 17:01:04 -0500 From: "Stewart C. Russell" Subject: Re: went to a party / didn't say a word drew wrote: > > it's tuned(or can be tuned?) to a major chord. > It seemed like a brilliant and obvious idea. not having played any other stringed instrument, why would anyone do otherwise? Stewart ------------------------------ Date: Thu, 16 Jan 2003 17:10:25 -0500 From: "Bachman, Michael" Subject: RE: Feels Like 1990: Echo & the Bogusmen - -----Original Message----- From: Eb [mailto:ElBroome@earthlink.net] Sent: Thursday, January 16, 2003 4:41 PM To: fgz Subject: Re: Feels Like 1990: Echo & the Bogusmen Eb wrote: >1990, a subpar year for guitar pop? That was when the whole Big Star >revival started! Teenage Fanclub's A Catholic Education was the big >indie-buzz album of the year. Everyone discovered the Posies and >Shonen Knife. The Chills released their masterpiece. World Party >released its best album. Redd Kross released what's probably (?) its >top-selling disc. Juliana Hatfield and the Blake Babies released >what's probably the best album she ever did. The Breeders, Lush, the >Sundays, the Cavedogs and Jellyfish debuted. Poi Dog Pondering >debuted on Columbia. The Clean returned. The Pixies, Adrian Belew, >the Blue Aeroplanes, Ultra Vivid Scene, the Jazz Butcher, the >Replacements, Yo La Tengo and the Verlaines hung in there. Guitar pop >was doing pretty darn well, seems to me. Actually, for a short time >window between the shoegaze and grunge crazes, nostalgic guitar pop >was all the rage. Yeah! Ultra Vivid Scene's Joy 1967-1990 is a great one. It's a compellation, but I would add the Go-Betweens 1978-1990 as well. Michael ------------------------------ Date: Thu, 16 Jan 2003 14:25:21 -0800 From: Tom Clark Subject: Re: Feels Like 1990: Echo & the Bogusmen on 1/16/03 2:10 PM, Bachman, Michael at Michael.Bachman@fanucrobotics.com wrote: > Yeah! Ultra Vivid Scene's Joy 1967-1990 is a great one. One of my all-time faves. Kim Deal makes a nice cameo too. - -t "now SHE's a babe!" c np - Eugenius "Mary Queen of Scots" ------------------------------ Date: Thu, 16 Jan 2003 14:42:06 -0800 (PST) From: "Eugene Hopstetter, Jr." Subject: Re: talk talk > From: drew > Subject: talk talk > > On the basis of hearing so much about The Spirit of Eden > (most recently in that best of the 80s list from Pitchfork > we talked so much about) I asked for it for Christmas. I > was pretty impressed and have been picking up the other > albums. Laughing Stock is pretty much like The Spirit of > Eden but hasn't registered on me as much yet. I've always really enjoyed those two albums, The Spirit of Edan and The Colour of Spring, and was sad that there were only two of them. After listening to them for ten or so years, they've become a bit old. However, just yesterday I heard for the first time one of Marc Hollis's solo CDs, and it sounds very much like those two albums. It's shorter, but much airier, if you will, and I like it even more than the Talk Talk albums. I believe Hollis has a few other solo CDs available but they're tough to come by. . Yahoo! Mail Plus - Powerful. Affordable. Sign up now. http://mailplus.yahoo.com ------------------------------ Date: Thu, 16 Jan 2003 17:06:55 -0600 From: Miles Goosens Subject: Re: Feels Like 1990: Echo & the Bogusmen At 01:41 PM 1/16/2003 -0800, Eb wrote: >> >Fact is, as I browse my collection, 1990 was a pretty subpar year for >guitar >>>pop, with half the crowd attempting to "modernize" their sounds to keep up >> >with the Stone Roses (Extricate), >> >>I'm not sure if I'd generalize about 1990 being an up or down year >>in music. On the whole, I didn't enjoy the music of 1989-1993 as >>much as the music of the years just before or after it, but I didn't >>enjoy those years in general. > >1990, a subpar year for guitar pop? That was when the whole Big Star >revival started! Hey, that was Rex who said it, not me. Heck, I even bailed on trying to figure out what "guitar pop" actually was. :-) Actually, you've reminded me to put the Chills, the Posies (though I'd like 'em much better later), the Breeders, the Blue Aeroplanes (who somehow I haven't integrated into the lists; I'm more of a BEATSONGS guy myself), Neil Young, Thin White Rope (ditto on not being on my lists, mostly because I've never sat down with the CDs and figured what year they go in - my fandom was all ex post facto), Public Enemy, and Mazzy Star on my list. Believe it or not, I have yet to buy SONGS FOR DRELLA. If your point is to say that there were lots of guitars making noise out there, I'll agree 100%. But I still feel like it wasn't a special music year for me, as exemplified by the number of artists you cited that got a lot of college/120 Mins.-type airtime but did little or nothing for me: Shonen Knife, Juliana Hatfield, Lush, Sundays, Jellyfish (yeech!), etc. And Nick Cave remains for me a better idea than actuality. later, Miles ------------------------------ Date: Fri, 17 Jan 2003 12:03:11 +1300 From: grutness@surf4nix.com (James Dignan) Subject: Re: 1990/band names/Norah Jones >> it kicks the ass out of Bunnymen's 5th record and Electafixion, a pair of >> fashion-victim records nonpareil. > >By their 5th record, you mean the self-titled album with >"Bedbugs and Ballyhoo" and "Lips Like Sugar" on it, right? >That's got some slight songs on it, I'll grant you, but >this is a surprising claim nonetheless. I'd agree that "Reverberation"'s a far better album that the Electrafixion one, but I wouldn't put it above "E&tB". I think that if "Reverberation" had been released under a different band name, a lot more people would enjoy it. It's not a bad album at all, but a lot of purist fans are put off by the "who do they think they're trying to kid calling it a Bunnymen album" thing. I kinda like the new albums, but feel that, coincidentally given recent screeds on Townshend, they haven't been as good since the death of their drummer. If 1990 seemed dull musically, it was only because you were in the wrong country. As to top albums of that year, I'd go for these 15, in approximately this order: Wrong Way Up (Eno & Cale) Submarine Bells (Chills) Eye (Robyn Hitchcock) Passages (Ravi Shankar & Philip Glass) The House of Love (House of Love) Melt (Straitjacket Fits) Flood (They Might Be Giants) Mustt Mustt (Nusrat Fateh Ali Khan) The Las Weeville (Tall Dwarfs) The Vegetarians of Love (Bob Geldof) Fragile (Porcelain Bus) Blazing Away (Marianne Faithfull) Doubt (Jesus Jones) Wish list (Falling Joys) I suspect that I'm the only person on the planet to have heard of Australia's Porcelain Bus. At the janglier end of the Triffids/GoBetweens sound, and with a bass-baritone lead vocalist.Only ever put out this one mini-album and a couple of singles. > ( ) Rainland > ( ) Challenging Stage > ( ) They both blow They Both Blow is a reasonable name for a band. Of the other two, Rainland is better. >>> 8. Norah Jones "Come Away with Me" >>> Jazz? Pop? It's _music_, pure and simple. No wonder so many have gone away >>> with her. >> >> Is there really any music there? I thought she only got attention >> because she's hot. > >She's hot? She's not ugly, but I would hardly classify her as hot. I saw >her on SNL recently and I was impressed with her performance. She seems >very sincere about her music. So did Seals and Crofts about theirs. It doesn't necessarily make for great music. I'd have described her sound as innocuous and mildly pleasant, but that's about it. But perhaps I should give her a more detailed scrutiny - I've heard very little of her stuff. >It seems to me like, to the extent that this matters at all, the vinyl way >was better -- the list of names was actually overwhelming and it wasn't >clear which part was what. It's like including a lyric sheet with your >album: nobody's going to sit down and read the whole lyric sheet, but many >people will check it if they're curious about a particular line. Tracking >several of the noisy bits together on the CD makes it ostentatious in the >wrong way. erm, excuse me - I always read through the entire lyric sheet of an album between my first and second listens to it. Part of the 'new album purchased' process for me: listen, read, listen, then shelve, listen again or listen to individual tracks. James James Dignan, Dunedin, New Zealand. =-.-=-.-=-.-=-.-=-.-=-.-= .-=-.-=-.-=-.- .-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-.-=-. -.-=-.-=-.-=-.-=-.-=-.-= You talk to me as if from a distance =-.-=-. And I reply with impressions chosen from another time -=-.-=-.-=-.-=-.-=-.-=-.-=-.-=- (Brian Eno - "By this River") ------------------------------ Date: Thu, 16 Jan 2003 15:08:51 -0800 From: "Rex.Broome" Subject: I was country when country wasn't alt- Drew: >>If someone has to say to you, "hey, maybe you should put such and such on >>your top ten list" it's meaningless to me. Well, what I really meant was that when I talk to people about their top 10's (usually in the nascent stages), I like hearing recommendations for stuff I may have missed (or dismissed) throughout the year, and in return like to drop names for the more obscure stuff I really enjoyed so that they can evaluate it for themselves... not to suggest it necessarily *should* go on any such list. Like Nextdoorland, which may have struck many as "another reunion record", or the Giant Sand covers record or the Wire EP's. I mean, nobody I talked to put those on their list, but maybe a few of them found out about them or listened to and enjoyed them because I mentioned them. >>Having come from Alabama, I've avoided the banjo as much as possible I went through that with my West Virginiosity and my dad's banjo-band background, but all that stuff actually made it almost eventually imperative that I learn it. To my credit I embraced that kind of music pretty much right out of high school and long before "alt-country" became cool. Actually playing the thing, though... still working on that. I wonder how your average Appalachian reacts to how "cool" their traditiional music is these days. When I grew up there, we learned folk songs in elementary school and then were more or less made to feel ashamed of that "woodhick stuff" for the rest of our lives. 'Cause God knows Great White was better. ________ Miles: >>non-ugly Norah Oh jeez, how did that take so long? >>I do think you're being far too harsh on ECHO & THE BUNNYMEN -- which, of >>course, puts you in the company of most of their fans and the Bunnymen >>themselves. I know it's a cliched position but I've grown more sure of it over the years. That was the first Bunnymen album I heard; shortly thereafter I became obsessed with Television and then heard the earlier E&TB albums and gave them a much, much bigger hell yeah. Now when I hear the 5th one, the production just dates it so much more than albums 1-4 (and 6, as it turns out)... I mean, there was already a perfectly good Mighty Lemon Drops out there. Well, a perfectly adequate one, anyhow. Also, I didn't mean to dis "Extricate"-- I'm under the impression that I like it far more than the average Fall fan does. Looked like I was implying literal Stone Roses copying, which is wrong, but it did mark a step away from guitar crank into some acid-housey touches. Glad you trotted out the 1990 list... indeed many fine records that I was kinda viewing as outside the admittedly nebulous guit-pop envelope. Some interesting stuff... >>1) Lloyd Cole, Lloyd Cole (with a killer band (Quine, Maher, Sweet)) Holy hell, I knew nothing of that. Cole is kind of a blind spot for me. I remember his videos on "Postmodern MTV" and usually found him good but not quite, erm, "My Bag", as it were. Not, umm, scruffy enough for me, or something. I'd probably feel differently now. >>7) The Jazz Butcher, Cult of the Basement Just delving into his catalog via some Blatzman-assembled compilations; great stuff. Solo Morrissey is an undistinguished and undistinguishable blur to me; Hell's Ditch another mild disappointment. My files also show a majorly disappointing Steve Earle record that year. The Eno/Cale and TMBG records are very good, but I put them outside my stupid guitar-pop rubrick. For me, the aforementined Ragged Glory and Ride's Nowhere are indispensible classics to this day. Other highlights of 1990, in no real order: The Clean, Vehicle (which I didn't hear until years later) The Chills, Submarine Bells (ditto) Cocteau Twins, Heaven or Las Vegas Galaxie 500, This Is Our Music Lush, Gala (sort of a compilation, really) Pylon, Chain Public Enemy, Fear of a Black Planet Reed & Cale, Songs for Drella Yo La Tengo, Fake Book Also passable records by Buffalo Tom, Nick Cave, Flaming Lips, Posies, Victoria Williams, Suzanne Vega, etc. etc. I still get a nostalgic kick from the first Charlatans album and would still argue for Happy Mondays' "Pills 'n' Thrills" as a good and artistically legit record. But not exciting times. Kinda between the first failed wave of major label attempts to break alternative music and the post-Nirvana goldrush... pretty much coinciding with this: >>On the whole, I didn't enjoy the music of 1989-1993 as much as the >>music of the years just before or after it However, over on the band name front... >>Please God, not #2. I get the pun, but I'd expect you to be Jupiter >>Coyote, and we really don't want that, do we? Hmmm, I didn't recognize the name Jupiter Coyote, and now having looked them up, I'm not sure I get my own pun! I just took the words Challenging Stage from the third round (etc.) of Galaga; it seemed to apply to most of the difficult phases of life as well as just the way I wasted a lot of time as a kid in the '80's. Had an odd kind of "Ice Storm"-like poignancy to me. Best not to delve any deeper, I guess I hate naming bands. - -Rex, all of whose previous bands had even lamer names ------------------------------ Date: Thu, 16 Jan 2003 18:03:59 -0500 From: Ken Ostrander Subject: Re: The usual dribs n drabs >If Townshend, or anyone, has repeatidly paid for images of child sexual molestation, they have contibuted money that has actively supported the sexual molestation of children. This is a criminal act. Whether they have wanked off to it is not of legal consequence. agreed. however, the two crimes are not both deserving of castration. in fact, i'd say that castration isn't going to make everything all better in any case. obviously, these people need serious help. in many cases, they are victims of abuse themselves. i've been reading robert kennedy, his life by evan thomas and was struck by this exerpt last night: "during his forays around manhattan in 1955 and 1956, bobby saw some shocking atrocities, on all sides. one night in harlem, he was out with a flying squad that caught a man sexually abusing a two-year-old. as bobby watched, the police threw the man out a window." both actions are extreme. i am horrified more by the first much more than the second for some reason. probably the same reason that child molesters are given the harshest of treatment in prisons. i don't think anyone could possibly defend child molestation. still, there are organizations that attempt to do that very thing. that man-boy love group would be a joke if they didn't really exist. there's a whole sub-culture built around it, as depicted in the film l.i.e. in africa, grown men have sex with baby girls because there is a myth that if a man has sex with a virgin, he will be impervious to aids. it turns my stomach. yet rape and murder are both intolerable. forcing sterilization, brain surgery, mutilation, or cannibalism seem equally intolerable to me. ken ------------------------------ Date: Thu, 16 Jan 2003 15:46:15 -0800 (PST) From: bayard Subject: kodak dc215 camera Tech help needed! is anyone familiar with this digital camera? A friend bought one and asked me for help. - -- http://glasshotel.net/glassflesh ------------------------------ Date: Thu, 16 Jan 2003 16:45:58 -0500 From: rosso@videotron.ca Subject: Re: went to a party / didn't say a word On 16 Jan 2003 at 17:01, Stewart C. Russell wrote: > drew wrote: > > > > it's tuned(or can be tuned?) to a major chord. > > It seemed like a brilliant and obvious idea. > > not having played any other stringed instrument, why would anyone > do otherwise? From Fretboard Logic, by Bill Edwards: "There are two primary classes of tunings for stringed instruments. They are either symmetrical, meaning equal string to string intervals, or chordal, meaning tuned to a specific chord. For example, most of the string family, violins, violas, etc., are tuned symmetrically in 5ths. The electric bass is likewise tuned in straight 4ths. On the other hand, traditional five-string banjo tuning is GDGBD, making an open stringed G Major chord, and a pedal steel is tuned to either an E9th or a C6th chord. The guitar's tuning system is neither symmetrical nor chordal. It is literally in a class by itself. The notes EADGBE from bass to treble, result in intervals of 4th, 4th, 4th, 3rd, and 4th." To paraphrase what follows, symmetrically tuned instruments are meant to be played primarily one or two notes at a time. Chordally tuned instruments are meant to be played with all strings at a time. If you tuned a guitar to a chord (often done, but not standard tuning), you reduce the number of chords that can be played without having to mute out non-chordal notes on some strings. Standard guitar tuning is optimised for playing 6-string barre chords. ------------------------------ Date: Thu, 16 Jan 2003 18:45:48 -0600 From: Dolph Chaney Subject: Re: talk talk At 04:42 PM 1/16/2003, Eugene Hopstetter, Jr. wrote: >I've always really enjoyed those two albums, The Spirit of Edan and The Colour >of Spring, and was sad that there were only two of them. After listening to >them for ten or so years, they've become a bit old. > >However, just yesterday I heard for the first time one of Marc Hollis's solo >CDs, and it sounds very much like those two albums. It's shorter, but much >airier, if you will, and I like it even more than the Talk Talk albums. Yes, the Mark Hollis solo album is fricking gorgeous. It's really a progression from Spirit Of Eden through Laughing Stock into Mark Hollis. To me, Laughing Stock is the one that stands tallest... but then, I heard it first. This is what I call "Yo La Tengo Syndrome" -- latching onto the first rekkid you heard by a band and, while recognizing the good qualities of the other ones, never really giving any other recording by them a fair chance. >I believe Hollis has a few other solo CDs available but they're tough to >come by. Never seen any of these -- if you have, LET ME KNOW. He's apparently retired from music. dolph ------------------------------ Date: Thu, 16 Jan 2003 19:47:11 -0600 From: "Michael Wells" Subject: Name a Rex Rex: > I am THIS CLOSE to finally naming my latest musical project/band-like thing. Please select from the following: > ( ) Rainland > ( ) Challenging Stage Of course you could scramble the two and come up with something altogether different..."A GRAND ENGLISH GELATIN CLAN" perhaps, a kind of Beefheart-meets-the-Colourfield-meets-Leo Kottke type thingy. Hmm...but only if that's what you sound like. Michael "didn't Yes have an early four-part trilogy called that?" Wells Ps. I can vouch for the 1994-remaster of 'Tormato'...great stuff. ------------------------------ Date: Thu, 16 Jan 2003 20:30:30 -0600 From: steve Subject: Re: Norah On Thursday, January 16, 2003, at 02:21 PM, Jeff Dwarf wrote: > Well, Ravi wasn't a terribly involved father in Norah's case > apparently. The folk of Denton, Texas proudly claim Norah as one of their own. I don't know much more than that, or if she was ever in the music school at the University of North Texas, famous for the One O'Clock Lab Band and sending loads of their students into big bands all over the country. - - Steve __________ They tend to be people who are insecure and vain. They are frequently nervous about their marriages and uncomfortable about parenthood. They often lack confidence in their driving skills. Above all, they are apt to be self-centered and self-absorbed, with little interest in their neighbors. - Keith Bradsher's summary of the auto industry's own marketing research about SUV buyers. ------------------------------ Date: Thu, 16 Jan 2003 22:07:02 -0500 From: Sabina Carlson Subject: Re: Top tennery againery aaron: It's like including a lyric sheet with your > album: nobody's going to sit down and read the whole lyric sheet, but many > people will check it if they're curious about a particular line. Tracking > several of the noisy bits together on the CD makes it ostentatious in the > wrong way. i read the entire lyric sheet!!!!! maybe that's because i'm me like that....... also, with the whole norah jones thing, i read an interview with her and she basically said that she doesn't know why everyone made such a big deal out of her father because he never really had any place in her life. ever. or something along those lines. kay: "Children are fairly helpless beings. If we refuse to protect our own young, we can babble all we like about rights and laws and philosophies, we are beastlly than beasts and more barbaric than the false Molochs who demanded child sacrifice." being a kid under legal terms i have to agree with kay. i know kids who are going to be scarred for the rest of their lives because of things that happen to them now and things that have happened to them. not molestation in particular but other abuses that should be paid attention to. the future of this damned world lies on the future inhabitants of this world. i have mixed feelings about my generation and it's future. mixed. and i believe i am one of the only fegs without a top ten list. it's just hard for me to label my music and say one is better than the other. again, that's just me! :-) may i just say, can we please let pete townshend go from our heads now? i don;t think we have anything to discuss on him until the verdict and all the facts come out. unless you want to discuss the whole issue and not just p.t. eh that's all my brain spilling for today :-) and it's only a poisonous plant, sabina sheena "does anyone see the irony in cloning sheep?" - Dillinger Four ------------------------------ Date: Thu, 16 Jan 2003 21:28:32 -0600 From: Jeffrey with 2 Fs Jeffrey Subject: Re: The usual dribs n drabs Quoting "Maurer Rose, Inverse Nome" : > Really? Are you joshing me? Cause thats darn interesting. Especially > since, > from her voice, I just assumed she was black. > > Hmmm--and now I realize there is a faintly Indian drum thing going on > in the background of "Something is Calling You." > > What an unusual medley of influences she must have grown up with. Not that it's always accurate, but allmusic.com notes that she was raised in Texas by her mother (who's she? Anyone famous?). I'm not sure wat you mean by her *voice* sounding black - I can readily imagine any number of singing *styles* that might sound black, having historically been performed primarily by black artists - but I can't quite hear "black" (or anything else) solely in the *sound* of a voice. But maybe you meant style. The implication of the allmusic thing is that Ravi wasn't around to raise her, so the Indian influence must have been secondhand (unless, of course, her mom then married Ali Akbar Khan...). I haven't heard her stuff (knowingly), and I didn't know what she looked like, so I googled her image. Doesn't look particularly black, fwiw - but I think I'll concur on the hot. ..Jeff J e f f r e y N o r m a n The Architectural Dance Society www.uwm.edu/~jenor/ADS.html :: sex, drugs, revolt, Eskimos, atheism np: The Go-Betweens _Bright Yellow Bright Orange_ (advance - due 2/18) ------------------------------ End of fegmaniax-digest V12 #15 *******************************