From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V12 #393 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Friday, October 24 2003 Volume 12 : Number 393 Today's Subjects: ----------------- Reap, finally ["Jonathan Fetter" ] Re: Reap, finally ["Matt Sewell" ] DR is for Dumptruck Reissues [Miles Goosens ] Re: Reap, finally [Ken Weingold ] For Eddie (et al) [FSThomas ] unreleased wishlist ["ross taylor" ] Re: Reap, finally ["Jonathan Fetter" ] Re: Confessions of a feg monkey... [Capuchin ] Re: Reap, finally [Capuchin ] Re: Reap, finally [Capuchin ] yip yip yip yip yip yip yip yip ["Jason R. Thornton" ] Re: Confessions of a feg monkey... [Tom Clark ] Re: unreleased wishlist [Alfred Masciocchi ] The Name of this Thread is... I forget... ["Rex.Broome" ] Re: yip yip yip yip yip yip yip yip ["Jason R. Thornton" Subject: Reap, finally Soong Mei-ling, widow of Chaing kai-shek, at 105. http://story.news.yahoo.com/news? tmpl=story&u=/ap/20031024/ap_on_re_as/obit_madame_chiang ------------------------------ Date: Fri, 24 Oct 2003 15:14:57 +0100 From: "Matt Sewell" Subject: Re: Reap, finally Did you hear about that from a mei-ling list?! Ok, ok, I'm going... Matt ;0P >From: "Jonathan Fetter" >Reply-To: "Jonathan Fetter" >To: Fegmaniax >Subject: Reap, finally >Date: Fri, 24 Oct 2003 09:44:05 -0400 (EDT) > >Soong Mei-ling, widow of Chaing kai-shek, at 105. > >http://story.news.yahoo.com/news? >tmpl=story&u=/ap/20031024/ap_on_re_as/obit_madame_chiang - ------------------------------------------------------------------------ Get a free connection, half-price modem and one month FREE, when you sign up for BT Broadband today! ------------------------------ Date: Fri, 24 Oct 2003 09:15:29 -0500 From: Miles Goosens Subject: DR is for Dumptruck Reissues Rx for some of you, I'm sure... Anyway, according to the Miles of Music update that just landed in my inbox, Rykodisc is reissuing D IS FOR DUMPTRUCK, FOR THE COUNTRY, and POSITIVELY DUMPTRUCK on November 4th. IIRC, a lot of folks on these here lists have been looking for 'em. later, Miles ------------------------------ Date: Fri, 24 Oct 2003 10:19:34 -0400 From: Ken Weingold Subject: Re: Reap, finally On Fri, Oct 24, 2003, Jonathan Fetter wrote: > Soong Mei-ling, widow of Chaing kai-shek, at 105. > > http://story.news.yahoo.com/news? > tmpl=story&u=/ap/20031024/ap_on_re_as/obit_madame_chiang Wow, 105. Well done. - -Ken ------------------------------ Date: Fri, 24 Oct 2003 10:28:56 -0400 From: FSThomas Subject: For Eddie (et al) Not to stir the pot (again), but I've been poling around for Eddie's address. Since I don't seem to have it here at work, I thought I would post this to the list. There's a decent article on the Economist's site today that got Slashdotted under the title "End Of Oil Age???". In reading through the comments, some anonymous coward queried "...Then what will KFC fry their chicken in?" - -ferris. http://tinyurl.com/s77e The future of energy The end of the Oil Age Oct 23rd 2003 Ways to break the tyranny of oil are coming into view. Governments need to promote them THE Stone Age did not end for lack of stone, and the Oil Age will end long before the world runs out of oil.This intriguing prediction is often heard in energy circles these days. If greens were the only people to be expressing such thoughts, the notion might be dismissed as Utopian. However, the quotation is from Sheikh Zaki Yamani, a Saudi Arabian who served as his country's oil minister three decades ago. His words are rich in irony. Sheikh Yamani first came to the world's attention during the Arab oil embargo of the United States, which began three decades ago this week and whose effects altered the course of modern economic and political history. Coming from such a source, the prediction, one assumes, can hardly be a case of wishful thinking. Yet a generation after the embargo began, the facts seem plain: the world remains addicted to Middle Eastern oil (see article). So why is Sheikh Yamani predicting the end of the Oil Age? Because he believes that something fundamental has shifted since that first oil shock and, sadly for countries like Saudi Arabia, he is quite right. Finally, advances in technology are beginning to offer a way for economies, especially those of the developed world, to diversify their supplies of energy and reduce their demand for petroleum, thus loosening the grip of oil and the countries that produce it. Hydrogen fuel cells and other ways of storing and distributing energy are no longer a distant dream but a foreseeable reality. Switching to these new methods will not be easy, or all that cheap, especially in transport, but with the right policies it can be made both possible and economically advantageous. Unfortunately, many of the rich world's governments and above all the government of America, the world's biggest oil consumer are reluctant to adopt the measures that would speed the day when the Saudis' worst fears come true. The $7 trillion heist If treating the West's addiction to oil will be costly, is it really worth doing? To be sure. Petro-addiction imposes mighty costs of its own. First, there is the political risk of relying on the Organisation of Petroleum Exporting Countries (OPEC). Oil still has a near-monopoly hold on transport. If the supply is cut off even for a few days, modern economies come to a halt, as Britain discovered when tax protestors blockaded some domestic oil depots two years ago. And despite what sound like large investments in new oil fields in Russia and elsewhere, Saudi Arabia's share of the world oil market will actually grow over the next two decades simply because it has such huge reserves of cheap oil. Geology has granted two-thirds of the world's proven oil reserves to Saudi Arabia and four of its neighbours. Because of this continuing concentration of supply, the risk of a disruption to oil flows will continue to be a threat, and may even rise. That points to a second sort of cost. According to one American government estimate, OPEC has managed to transfer a staggering $7 trillion in wealth from American consumers to producers over the past three decades by keeping the oil price above its true market-clearing level. That estimate does not include all manner of subsidies doled out to the fossil-fuel industry, ranging from cheap access to oil on government land to the ongoing American military presence in the Middle East. The final disguised cost of oil is the damage it does to the environment and human health. Unlike power plants, which are few in number and so easier to regulate, cars are ubiquitous and much more difficult to control. The transport sector is a principal source of global emissions of greenhouse gases. The only long-term solution to this connected set of problems is to reduce the world's reliance on oil. Achieving this once seemed pie-in-the-sky. No longer. Hydrogen fuel cells are at last becoming a viable alternative. These are big batteries that run cleanly for as long as hydrogen is supplied, and which might power anything in or around your home notably, your car. Hydrogen is a fuel that, like electricity, can be made from a variety of sources: fossil fuels such as coal and natural gas, renewables, even nuclear power. Every big car maker now has a fuel-cell programme, and every big oil firm is busy investigating how best to feed these new cars their hydrogen. Another alternative likely to become available in a few years is bioethanol. Many cars (quite a few of them in America) already run on a mixture of petrol and ethanol. The problem here is cost. At the moment, the ethanol has to be heavily subsidised. But that might alter when biotechnology delivers new enzymes that can make ethanol efficiently from just about any sort of plant material. Then, the only limit will be how much plant material is available (see article). All in good time Such changes will not occur overnight. It will take a decade or two before either fuel cells or bioethanol make a significant dent in the oil economy. Still, they represent the first serious challenges to petrol in a century. If hydrogen were made from renewable energy (or if the carbon dioxide generated by making it from fossil fuels were sequestered underground), then the cars and power plants of the future would release no local pollution or greenhouse gases. Because bioethanol is made from plants, it merely borrowsits carbon from the atmosphere, so cannot add to global warming. What is more, because hydrogen can be made in a geographically distributed fashion, by any producer anywhere, no OPEC cartel or would-be successor to it could ever manipulate the supplies or the price. There need never be another war over energy. It all sounds very fine. What then is the best way to speed things up? Unfortunately, not through the approach currently advocated by President George Bush and America's Congress, which this week has been haggling over a new energy bill. America's leaders are still concerning themselves almost exclusively with increasing the supply of oil, rather than with curbing the demand for it while increasing the supply of alternatives. Some encouragement for new technologies is proposed, but it will have little effect: bigger subsidies for research are unlikely to spur innovation in industries with hundreds of billions of dollars in fossil-fuel assets. The best way to curb the demand for oil and promote innovation in oil alternatives is to tell the world's energy markets that the externalitiesof oil consumption security considerations and environmental issues alike really will influence policy from now on. And the way to do that is to impose a gradually rising gasoline tax. By introducing a small but steadily rising tax on petrol, America would do far more to encourage innovation and improve energy security than all the drilling in Alaska's wilderness. Crucially, this need not be, and should not be, a matter of raising taxes in the aggregate. The proceeds from a gasoline tax ought to be used to finance cuts in other taxes this, surely, is the way to present them to a sceptical electorate. Judging by the debate going on in Washington, a policy of this kind is a distant prospect. That is a great shame. Still, the pace of innovation already under way means that Sheikh Yamani's erstwhile colleagues in the oil cartel might themselves be wise to invest some of their money in the alternatives. One day, these new energy technologies will toss the OPEC cartel in the dustbin of history. It cannot happen soon enough. ------------------------------ Date: Fri, 24 Oct 2003 11:48:08 -0400 From: "ross taylor" Subject: unreleased wishlist From Steve Hoffman Forum: From the Austin American Statesman newspaper today: 15 greatest albums that have never been released on CD The Beatles, 'Meet the Beatles' (Capitol, 1964 Sun Ra, 'Strange Strings' (Saturn, 1967) Howlin' Wolf, 'This is Howlin,' Wolf's New Album' (Cadet, 1969) Rasputin's Stash (Cotillion, 1971) Loudon Wainwright, 'Album II' (Atlantic, 1971) Michael Hurley, 'Hi Fi Snock Uptown' (Warner Bros./Raccoon, 1972) Lindsey Buckingham and Stevie Nicks, 'Buckingham Nicks' (Polydor, 1973) The Kinks, 'The Great Lost Kinks Album' (Reprise, 1973) Marion Brown, 'Sweet Earth Flying' (ABC/Impulse!, 1974) Anthony Braxton, 'New York, Fall 1974' (Arista, 1975) Albert Brooks, 'A Star Is Bought' (Asylum, 1975) Jules and the Polar Bears, 'Fenetiks' (Columbia, 1979) Martha and the Muffins, 'This is the Ice Age' (Virgin/Dindisc, 1981) Human Switchboard, 'Who's Landing in My Hangar?' (Faulty Products, 1981) Comateens, 'Pictures on a String' (Mercury/Virgin, 1983) E. Koestyara and Group Gapura, 'Sangkala' (Icon, 1985) Charlie Pickett, 'Route 33' (Twin Tone, 1986) - --- I bet Stange Strings is good. The Hownlin Wolf album is uneven, but has a couple of great tracks. "This is the Ice Age" is great & I've long looked for the Human Switchboard album. A lot of Michael Hurley stuff is available from the website. Someone else on the SH formum added "Soul of a City Boy" by Jesse Colin Young. I'd add "These Things Too" by Tom Rapp. Ross Taylor Need a new email address that people can remember Check out the new EudoraMail at http://www.eudoramail.com ------------------------------ Date: Fri, 24 Oct 2003 11:58:46 -0400 (EDT) From: "Jonathan Fetter" Subject: Re: Reap, finally On Fri, 24 Oct 2003 10:19:34 -0400, Ken Weingold wrote : > On Fri, Oct 24, 2003, Jonathan Fetter wrote: > > Soong Mei-ling, widow of Chaing kai-shek, at 105. > > > > http://story.news.yahoo.com/news? > > tmpl=story&u=/ap/20031024/ap_on_re_as/obit_madame_chiang > > Wow, 105. Well done. Couldn't protect her from the black hole of death that is 2003. There seem to be indications that she was also 106. Leading a double life, I guess. >Did you hear about that from a mei-ling list?! >Matt :-) Jon ------------------------------ Date: Fri, 24 Oct 2003 09:07:29 -0700 (PDT) From: Capuchin Subject: Re: Confessions of a feg monkey... On Fri, 24 Oct 2003, Matt Sewell wrote: > Words of wisdom, Brian... I don't mind Cappy slagging off long guitar > solos as only for stoners - Christ, I expect it. I don't think that's what I wrote... just that The Allman Brothers and Santana are stoner noodlers rather than serious musicians. > And I don't think that long guitar solos are for stoners only - Ash Ra > Tempel's first album is basically 2 long guitar works and for > appreciation of it, well, dope is optional! While I'm not particularly fond of long guitar solos, I'm sure some folks that aren't stoners dig them. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin ------------------------------ Date: Fri, 24 Oct 2003 09:16:38 -0700 (PDT) From: Capuchin Subject: Re: Reap, finally On Fri, 24 Oct 2003, Jonathan Fetter wrote: > Soong Mei-ling, widow of Chaing kai-shek, at 105. Man, the Dead Pool at stiffs.com just got VERY interesting. she's been topping lists since 1998 at least. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin ------------------------------ Date: Fri, 24 Oct 2003 09:28:19 -0700 (PDT) From: Capuchin Subject: Re: Reap, finally On Fri, 24 Oct 2003, Capuchin wrote: > On Fri, 24 Oct 2003, Jonathan Fetter wrote: > > Soong Mei-ling, widow of Chaing kai-shek, at 105. > > Man, the Dead Pool at stiffs.com just got VERY interesting. she's been > topping lists since 1998 at least. Yeah, near as I can tell, someone just jumped from the 6-way tie at 7th place to an unchallenged 1st. Wow. I'm probably the only one that follows these things. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin ------------------------------ Date: Fri, 24 Oct 2003 09:44:20 -0700 From: "Jason R. Thornton" Subject: yip yip yip yip yip yip yip yip At 02:40 AM 10/24/2003 +0200, Sebastian Hagedorn wrote: >AFAIK that's pretty much straight on and even seems to the the common >assessment of what happened. "Straight on" based on what? Nothing but sick, petty speculation and ugly, baseless assertions about Clapton's intentions. The idea that he was exploiting the situation in any way is ludicrous. That it's a common assessment just goes to show how malicious, mean-spirited and downright pessimistic some people can be. I chose the more optimistic path, and definitely am not going to pass that sort of judgement on an obviously suffering human being without some pretty substantial evidence about his intentions to back it up. Otherwise it's just stupid rumor and gossip. He was hurting, wrote a song about it, and a lot of people obviously related to it, or just felt sorry for him, and purchased it. He's an artist (or is trying to be) and created "art" - I'm being generous here, because I think the song is crap - about what he going through at the time, and released it to the general public. How the fuck is that exploitive? It became popular, and Clapton felt validated that he could connect to an audience with whom he could share his emotional turmoil. He made money in the process, doing what he's always done, continuing on with his life and career. As would most anyone who has gone through that sort of loss. He's just in unique position where his job entails the sale of his creative work - and at times that creative work is deeply personal. And, yes, he did profit on death - as do a lot of people who end up with an inheritance. Ask him whether or not he'd rather have the song and its royalties, or his son back, and which do you think he'd pick? I mean, shit, just based on this "common assessment," anytime any singer-songwriter, or author, or film-maker, does anything even semi-autobiographical and offers it up to the marketplace, it'd be "exploitation." Sadly, there are some extremists out there that think any sort of profit is exploitation. A song about a failed relationship, where each person suffered to some small degree, could also be seen as such. How, really, is Clapton's behavior any different than Robyn Hitchcock recording, releasing and performing "The Yip Song"? Other, of course, than dollar amount. Neither artist can really control the amount of popularity they have, or their sales. But each is in a situation where they're selling a product to the general public, and that product is a song about the death of a loved one. >I like "Layla" and other early Clapton, though. Clapton's music really doesn't do too much for me, to be honest. I like "Layla," that song "Cocaine," and probably a few other things I can't remember right now. But I can take it or leave most of it. - --Jason "Only the few know the sweetness of the twisted apples." - Sherwood Anderson ------------------------------ Date: Fri, 24 Oct 2003 09:58:33 -0700 From: Tom Clark Subject: Re: Confessions of a feg monkey... on 10/24/03 9:07 AM, Capuchin at capuchin@bitmine.net wrote: > On Fri, 24 Oct 2003, Matt Sewell wrote: >> Words of wisdom, Brian... I don't mind Cappy slagging off long guitar >> solos as only for stoners - Christ, I expect it. > > I don't think that's what I wrote... just that The Allman Brothers and > Santana are stoner noodlers rather than serious musicians. > I was never much of a Santana fan, but I still contend that their performance of "Soul Sacrifice" at Woodstock was one of the greatest performances ever filmed. And, Coleen and I had one of our first dates at an Allman Brothers concert. New Years '79 in New Haven. Other than that, I agree with Jeme. - -tc ------------------------------ Date: Fri, 24 Oct 2003 13:03:03 -0400 From: Alfred Masciocchi Subject: Re: unreleased wishlist ross taylor wrote: >>From Steve Hoffman Forum: > >>From the Austin American Statesman newspaper today: > > 15 greatest albums that have never been released on CD > > Loudon Wainwright, 'Album II' (Atlantic, 1971) > Wrong - Album II was released along with Loudon's first album by Rhino Handmade. ------------------------------ Date: Fri, 24 Oct 2003 10:30:17 -0700 From: "Rex.Broome" Subject: The Name of this Thread is... I forget... Brian then Glen: >I think I'd rather hear a 90-minute guitar solo. >+brian (mine glows in the dark) in New Orleans >>Your guitar glows in the dark? Cool! Don't be daft... it's the solo that glows, not the guitar! I'm not that cool, but the white pickguard on my black Rickenbacker looks neat under black light! _____ Me: >>- --The Name of This Band is Talking Heads (with the definitive >>Love --> Building on Fire, the unreleased New Feeling, D'oh! I meant "the unreleased Clean Break"... New Feeling is totally available elsewhere. Miles: >>E) TNOTBITH is a two-LP set that is longer than 80 minutes, i.e., the capacity of a >>normal CD. But but but... I have the whole thing on a single disc! Possible explanation: CD run time capacity got longer at some point. I seem to recall that the Ryko Mission of Burma comp was heralded for breaking some kind of run-time barrier when it came out... is that when we went from 74 to 80 minutes per disc? ____ Eb: >>I instantly think of Dylan, Tom Waits and Costello as far as >>musicians who shouldn't die, but I'd have to work to figure out a >>whole top 5. Beck, Andy Partridge, Rufus Wainwright, Thurston Moore? >>PJ Harvey? Bjork? Dunno. Hmmm. Interesting. I've bagged on Wainwright before, but while I'm not going to do that right now, I am surprised at how quickly he's climbed that high into your personal panoply of indispensible musicians. He's on what, his third album? Admittedly that does constitute a career in this day and age, but I don't think I've ever glommed onto an emerging artist that strongly that quickly... at least not for many many years. _____ Mike S: >>Has anyone else noted the appearance of Paul >>Westerberg on SNL as a musician with the band >>recently?? There was a stretch where Lee Ranaldo and J Mascis were doing that... seemed odd since I think of the SNL band as kind of boogie-oriented and sax- and organ-centric, but there was Lee, right after some skit featuring Britney Spears, doing "Mote". Is SNL any better this year? ___________ Matt S: >>Interesting you should mention The Miracle Legion - there are people >>round these parts who wet their pants at the very mention of the name - >>hence Mark whossisname from that band plays over here every now and >>again... The Unbelievable Truth (defunct Oxford band featuring Thom >>Yorke's bro Andy on vox) were huge fans... I never really "got" them, >>though... They're kind of a guilty pleasure. What's odd is that I did a web search for them recently and *everything* I found on them mentioned Radiohead, and I was all, what the hell, until I found out that the only reason anyone's ever heard of them these days is that Thom Yorke dropped their name in some interview at some point, and, well, you know how Radiohead fans hang on his every utterance. I guess I can see a very vague paralled between Mulcahy's voice and Yorke's, but otherwise the connection is tenuous at best. Me & Mr. Ray is a very nice, quiet record, though, and "You're the One Lee" is heartbreakingly beautiful. (M&MR did very exist on CD very very briefly and somehow I got ahold of one... otherwise their catalog is yet another "vanished along with Rough Trade" affair.) - -Rex, who briefly entertained, but ultimately rejected the notion that the character Mr. Ray in "Finding Nemo" was a shout-out to Miracle Legion... ------------------------------ Date: Fri, 24 Oct 2003 13:35:28 EDT From: HSatterfld@aol.com Subject: Re: the Velvet Underground--Squeeze "Roberta Cowan" said: <> Unsophisticated Time has been reissued by eFolkMusic, and is available inexpensively from www.efolkmusic.org. My own short CD wish list is (1) Kim Carnes' appearance on King Biscuit Flower Hour, which was supposed to be one of the early King Biscuit releases, but apparently ran into some legal/contractual problems. Maybe the Stones hated hearing her do "Under My Thumb", I dunno. (2) I'd like to hear Evanescence's first CD, "Origin" without paying $300 for it on eBay (or spending 20 hours downloading poor quality mp3s). But that's just me. Hollie ------------------------------ Date: Fri, 24 Oct 2003 13:01:23 -0500 From: Miles Goosens Subject: Re: The Name of this Thread is... I forget... At 10:30 AM 10/24/2003 -0700, Rex.Broome wrote: >Miles: >>>E) TNOTBITH is a two-LP set that is longer than 80 minutes, i.e., the >capacity of a >>normal CD. > >But but but... I have the whole thing on a single disc! Possible >explanation: CD run time capacity got longer at some point. I seem to >recall that the Ryko Mission of Burma comp was heralded for breaking some >kind of run-time barrier when it came out... is that when we went from 74 to >80 minutes per disc? But the MoB comp came out in '88 or thereabouts, and labels were still reluctant to go past 74 for several years thereafter. The original CD of Prince's 1999, fer instance, omitted "DMSR." Some CD players *still* have trouble with longer CDs. Speaking of Prince -- wow, I can't imagine my collection without that massive batch of Prince albums, and I even have mostly good things to say about the ones with copyright dates in the '90s. Need some guidance/sampler help there, Rex? Anyway, I could swear I remember running out of room when I tried to transfer TNOTBITH from vinyl to disc, but that might have been on a 74-minute disc instead of an 80-minute one, and in my memory, I thought it was over 80 minutes instead of over 74. At any rate, it'd be silly to argue that you *didn't* manage to get it all on one disc. :-) later, Miles ___ > >Eb: >>>I instantly think of Dylan, Tom Waits and Costello as far as >>>musicians who shouldn't die, but I'd have to work to figure out a >>>whole top 5. Beck, Andy Partridge, Rufus Wainwright, Thurston Moore? >>>PJ Harvey? Bjork? Dunno. > >Hmmm. Interesting. I've bagged on Wainwright before, but while I'm not >going to do that right now, I am surprised at how quickly he's climbed that >high into your personal panoply of indispensible musicians. He's on what, >his third album? Admittedly that does constitute a career in this day and >age, but I don't think I've ever glommed onto an emerging artist that >strongly that quickly... at least not for many many years. >_____ > >Mike S: >>>Has anyone else noted the appearance of Paul >>>Westerberg on SNL as a musician with the band >>>recently?? > >There was a stretch where Lee Ranaldo and J Mascis were doing that... seemed >odd since I think of the SNL band as kind of boogie-oriented and sax- and >organ-centric, but there was Lee, right after some skit featuring Britney >Spears, doing "Mote". Is SNL any better this year? >___________ > >Matt S: >>>Interesting you should mention The Miracle Legion - there are people >>>round these parts who wet their pants at the very mention of the name - >>>hence Mark whossisname from that band plays over here every now and >>>again... The Unbelievable Truth (defunct Oxford band featuring Thom >>>Yorke's bro Andy on vox) were huge fans... I never really "got" them, >>>though... > >They're kind of a guilty pleasure. What's odd is that I did a web search >for them recently and *everything* I found on them mentioned Radiohead, and >I was all, what the hell, until I found out that the only reason anyone's >ever heard of them these days is that Thom Yorke dropped their name in some >interview at some point, and, well, you know how Radiohead fans hang on his >every utterance. I guess I can see a very vague paralled between Mulcahy's >voice and Yorke's, but otherwise the connection is tenuous at best. > >Me & Mr. Ray is a very nice, quiet record, though, and "You're the One Lee" >is heartbreakingly beautiful. (M&MR did very exist on CD very very briefly >and somehow I got ahold of one... otherwise their catalog is yet another >"vanished along with Rough Trade" affair.) > >-Rex, who briefly entertained, but ultimately rejected the notion that the >character Mr. Ray in "Finding Nemo" was a shout-out to Miracle Legion... ------------------------------ Date: Fri, 24 Oct 2003 11:45:03 -0700 (PDT) From: Capuchin Subject: Re: yip yip yip yip yip yip yip yip On Fri, 24 Oct 2003, Jason R. Thornton wrote: > How, really, is Clapton's behavior any different than Robyn Hitchcock > recording, releasing and performing "The Yip Song"? I don't recall The Yip Song having a video featuring clips from a Jennifer Jason Leigh movie, for one. Also, Robyn had an interesting take on a unique experience, whereas Clapton wrote some dumb crap about going to heaven and being sad. There was nothing personal about Clapton's song. It was engineered for universal appeal. > Neither artist can really control the amount of popularity they have, or > their sales. An "artist" (or musical performer, in this case) can control whether or not their work is pimped to every video and television market on Earth. > But each is in a situation where they're selling a product to the > general public, and that product is a song about the death of a loved > one. And Clapton made damned sure everyone KNEW that it was about his dead son. There was no attempt at all to let the song stand on its own as a creative work. The emotional ploy was central to the marketting of his product. It was implicit in the facile lyrics and then re-iterated in press release, talk show appearance, and promo single sleeve. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin ------------------------------ Date: Fri, 24 Oct 2003 12:05:08 -0700 From: "Jason R. Thornton" Subject: Re: yip yip yip yip yip yip yip yip At 11:45 AM 10/24/2003 -0700, Capuchin wrote: >I don't recall The Yip Song having a video featuring clips from a Jennifer >Jason Leigh movie, for one. A difference only in degree. >Also, Robyn had an interesting take on a unique experience, whereas >Clapton wrote some dumb crap about going to heaven and being sad. "Interesting" to you, not necessarily to others. There's nothing particularly unique about the death of a father - although every individual and their experiences are unique. So, in that sense, Clapton's experiences are no less unique than Robyn's. Hell, more people die from cancer than from falling out of windows. Clapton's experiences could be seen as more unique. The song, however, was dumb crap. But Clapton's failure to create great art in this case is not an indicator that he purposefully created crap just take advantage of the situation for nothing but personal monetary gain. >There >was nothing personal about Clapton's song. Bullshit. It was extremely personal, just not very well executed. >It was engineered for >universal appeal. Your bias seems more against the popularity and sales figures of the artist and song than the processes by and reasons for the creation of the artwork. >An "artist" (or musical performer, in this case) can control whether or >not their work is pimped to every video and television market on Earth. You're just bitching about differences in degree again. Whether Robyn pimps his art to the few people that are interested and Clapton pimps his to a larger audience, there's no fucking difference. He's still making a buck off it. Just because only a small handful of folks read his interviews, and is ignored by the press, and a lot more people pay attention to Clapton, does not show that their actions were in any way not similar. >And Clapton made damned sure everyone KNEW that it was about his dead son. And Robyn hasn't made it well aware what "The Yip Song" was about? >There was no attempt at all to let the song stand on its own as a creative >work. The emotional ploy was central to the marketting of his product. More twisted speculation about another human being's motivations with absolutely no basis in reality. Only someone with an extreme prejudice would make these judgements. >It was implicit in the facile lyrics and then re-iterated in press >release, talk show appearance, and promo single sleeve. Now it's a fucking crime to tell people what a song is about? Bullshit. - --Jason "Only the few know the sweetness of the twisted apples." - Sherwood Anderson ------------------------------ End of fegmaniax-digest V12 #393 ********************************