From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V16 #19 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Sunday, January 21 2007 Volume 16 : Number 019 Today's Subjects: ----------------- Re: My name is "Eb", and I sense a disturbance in my johnson [Capuchin ] Re: Discovery of the week [Capuchin ] Re: My name is "Eb", and my butt smells of Pep-O-Mint! (Or is it Wint-O-Green? I can't seem to remember???) [] Re: Discovery of the week [Eb ] Re: Discovery of the week [Capuchin ] hey, I'm surprised we made it this far [Jill Brand ] Re: Discovery of the week [Capuchin ] Re: Discovery of the week [Eb ] alright...yeah! ["ken ostrander" ] Re: Discovery of the week [2fs ] Re: Discovery of the week [Eb ] Re: Ms&Ps, Soft Boys [hssmrg@bath.ac.uk] From Kofi's Hat (103.125% RH Content) [FSThomas ] Re: Ms&Ps, Soft Boys [Eb ] ---------------------------------------------------------------------- Date: Sat, 20 Jan 2007 14:37:24 -0800 (PST) From: Capuchin Subject: Re: My name is "Eb", and I sense a disturbance in my johnson On Fri, 19 Jan 2007, Stewart C. Russell wrote: > Stacked Crooked wrote: >> i'm sure you know as well as anybody that up-and-coming bands see about >> two nickels out of that $17. > > Well, that's a dime more than they get from not buying the album. I was at a show last night and afterward, I was looking at stuff on the merch table. The keyboardist from the band was there and he said, "Hey, if everybody here spends $80, that will pay for our tickets to Europe." (They are a local band that is touring Europe in the next couple of months.) I looked over the merch and saw there was a CD that I hadn't seen before. It turned out to be an EP or something with just five tracks, three of which I already had. I asked him how much they wanted for two songs. He replied, "Six bucks for five songs!" And pre-empted my response with, "You only THINK you've got the other three. They're different mixes... OK, only slightly different mixes. Like, it would take a serious student to tell the difference... or you could just download it." So I said, "How about I just hand you two bucks and go download it?" And he said, "That'd be awesome." And as I did, four other people held out two bucks to the guy. He was totally pleased. Now, if they weren't a local group, I wouldn't really even consider buying the CDs and would call my attendance at the gig appropriate patronage. Having removed the scarcity barrier that physical media imposed, we don't have to think about spending money on music (a silly concept, to be sure) and can now think more properly about spending our money on the lives of artists and our estimation of whether or not our patronage will encourage the artist to continue to do their work. Also, we will continue to pay for the genuinely scarce privilege of attending live performances. That's the new model, I think. There's no going back. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin _______________________________________________ ------------------------------ Date: Sat, 20 Jan 2007 15:13:36 -0800 From: Eb Subject: Re: Discovery of the week Brian wrote: > Why anyone would feel the need to turn *that* into a > pissing match is beyond me. That's kinda how I felt about seeing Miles' "alarm" go off when I touted a non-country Nashville band, because he wanted to stick up for...non-country Nashville bands? michael wells wrote: > Just going out on a limb here, but maybe > this kind of nonsense is why he stopped posting in the first place. Indeed, you are. Steve Schiavo wrote: > > > A bit of the Partridge, Andrews, Barker album. Ouch. If that's really the most engaging, marketable track.... Eb np: Sloan/Never Hear the End of It...once again, this band solidifies its backhand-compliment status as one of my very favorite "near-miss" bands. It's hard to even verbalize exactly what prevents me from liking these guys...I guess they just don't quite rise above "simulating a genre's sound" to find their own distinctive voice. ------------------------------ Date: Sat, 20 Jan 2007 16:36:46 -0800 (PST) From: Capuchin Subject: Re: Discovery of the week On Fri, 19 Jan 2007, Miles Goosens wrote: > On 1/18/07, Eb wrote: >> If you like the l'il acoustic songs on Kinks albums like Face to >> Face, Muswell Hillbillies, Something Else, Village Green and The >> Great Lost Kinks Album, you should check this out. It owes plenty >> (almost too much) to Ray Davies' gentle side. There's a bit of >> country too, but not as much as you would expect from a Nashville- >> based band. (I wonder if they're tight with Lambchop?) > > This paragraph provokes several thoughts: The main thought provoked in me by this paragraph is the misused apostrophe. I will also chime in to note that an emphasis on "marketability" and "national recognition" is very much a de-emphasis of innovation and artistic vision. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin _______________________________________________ ------------------------------ Date: Sat, 20 Jan 2007 16:54:50 -0800 (PST) From: Capuchin Subject: Re: My name is "Eb", and my butt smells of Pep-O-Mint! (Or is it Wint-O-Green? I can't seem to remember???) On Thu, 18 Jan 2007, Sebastian Hagedorn wrote: > -- Stacked Crooked is rumored to have mumbled on 18. Januar > 2007 11:12:28 -0800 regarding My name is "Eb", and my butt smells of > Pep-O-Mint! (Or is it Wint-O-Green? I can't seem to remember???): >> The Decemberists -- The Crane Wife >> ~ lord knows i've had my criticisms of this band; but it certainly >> deserves a *lot* of credit for trying something new (and in largely >> succeeding). > > I agree. I'm really curious what the show in February is going to be like. Being a Portlander (for the next little bit, I guess), I've seen The Decemberists many, many times (and almost inadvertantly followed them up and down the west coast last fall). I must say that I was quite surprised at the live show that kicked off the recent tour. I saw them play just before The Crane Wife was released (at the State Fair, no less) and it was a fairly typical show with a couple of previews from the new record (The Perfect Crime 2 and O Valencia). I missed the "secret gig" between then and the first show of the tour. Then I saw them after the release of The Crane Wife at the Crystal Ballroom. The show consisted almost entirely of The Crane Wife and very little material not from The Crane Wife. Also, the older songs were not the staples of previous shows, but more obscure tracks. Also, there was a new song. I enjoyed the show very much, but it certainly wasn't typical. I assume the rest of the tour to be similar and I suspect Capitol has something to do with that. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin _______________________________________________ ------------------------------ Date: Sat, 20 Jan 2007 16:54:12 -0800 From: Eb Subject: Re: Discovery of the week Capuchin wrote: >> On 1/18/07, Eb wrote: >>> If you like the l'il acoustic songs on Kinks albums like Face to >>> Face, Muswell Hillbillies, Something Else, Village Green and The >>> Great Lost Kinks Album, you should check this out. It owes plenty >>> (almost too much) to Ray Davies' gentle side. There's a bit of >>> country too, but not as much as you would expect from a Nashville- >>> based band. (I wonder if they're tight with Lambchop?) >> >> This paragraph provokes several thoughts: > > The main thought provoked in me by this paragraph is the misused > apostrophe. Food for thought, indeed. You are a true aesthete. > I will also chime in to note that an emphasis on "marketability" > and "national recognition" is very much a de-emphasis of innovation > and artistic vision. Hey, lookie...Jeme popped in for another rare "music" post and whaddya know? It just happens to take shots at me. However, if Jeme would like to testify further about the innovations of unsigned Nashville club bands, I give him free reign. Or for that matter, he also could demonstrate how an artist's "innovations" can never lead to "national recognition." Eb ------------------------------ Date: Sat, 20 Jan 2007 18:19:03 -0800 (PST) From: Capuchin Subject: Re: Discovery of the week On Sat, 20 Jan 2007, Eb wrote: > Hey, lookie...Jeme popped in for another rare "music" post and whaddya > know? It just happens to take shots at me. I didn't take any shots at you, sir. I'm sorry if that hurts your ego, but I wrote my opinion about ideas that are not "Eb". Allow me to go ahead and feed your idea of the Eb-centric Universe for just a minute and genuinely write about you: You seem to believe that the bands you like and the opinions you hold are "you". When someone writes something negative about a band you like or disagrees with some notion you've professed, you claim that they are "taking shots at" YOU. I don't think most of the people on here think that way at all and would be quite surprised to learn that anyone else has so flimsy a construction of self. > However, if Jeme would like to testify further about the innovations of > unsigned Nashville club bands, I give him free reign. I've got no input regarding Nashville bands. I would guess that, on average, they are of similar quality to Portland bands (whom I support as much as possible). This is only a guess. > Or for that matter, he also could demonstrate how an artist's > "innovations" can never lead to "national recognition." The intent in that sentence was to make a connection between the items respectively, so, strictly speaking, I intended "innovation" to be contrasted with "marketability" and "artistic vision" to be contrasted with "national recognition". But for the sake of argument, I'll go ahead and explain what I see as the connection (or disconnection, as it is) with national recognition. Institutions are inherently conservative. The system of music writers and commentators who are the source of the "recognition" that's being meaured here have aesthetic ideals (either academic or acquired through experience) that are necessarily challenged by innovators (that's what makes them innovative). These same writers and commentators, interested, as they are, in national phenomena rather than local, are inundated with material for their scrutiny. Most music doesn't ever reach their ears, of course, and much of what does must please or interest the writer on a single exposure. So unless the "innovation" is the most obvious logical consequence of the current wave of popular music, it runs a high risk of being dismissed as failing to achieve any known aesthetic ideal. Local bands, on the other hand, by openning shows for other acts and each other over the course of years, provide numerous exposures to the local music-lovers giving them an opportunity to develop a taste for the innovation. As this goes on, the local audiences respond to the innovation and it may be adopted by other artists interested in appealing to these show-goers. Thus a "scene" is developed and sometimes that scene "breaks out" on the national stage (when enough of the "national recognizers" are exposed to enough of the sound via this outbreak of artists from a particular region to develop a sense of the aesthetic applied). The only opportunity for innovation to come to national recognition avails itself itself only to artists from L.A. or New York (or artists who are close enough to frequently play L.A. or New York) where there is a high concentration of these commentators and recognizers who can be serially exposed to the innovation. The innovations from Nashville or Portland will fail to achieve national recognition until one of the following occurs: There is such a thing as a "Nashville sound" or a "Portland sound" that can break out onto the national scene or the innovation is stumbled upon by an artist already nationally recognized or from L.A. or New York or already has an "in" in the industry. That's how it works. And it's a wonder that anyone who wishes so badly to be inside that industry isn't fully cognizant of the mechanism. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin _______________________________________________ ------------------------------ Date: Sat, 20 Jan 2007 21:30:21 -0500 (EST) From: Jill Brand Subject: hey, I'm surprised we made it this far Eddie Tews wrote: "but, jill, you realise that vinatieri will be lining up on the opposite sideline come sunday? i suspect that that will be your undoing." Look, honey, I was sure that we would lose last week, so one more week of Pats football is a bonus, even if we get creamed. I mean, really, with this receiving corps, I thought that the Jets had a really good chance of taking the division in early December. Do you think Adam will be the Pats undoing? I don't. I think it will be something else. Last year everyone thought that the defense would crumble against Denver in Denver, but they didn't. It was the offense that fucked up major big time. When Troy Brown fumbled the punt return, well.... The thing that sucks for me is that my first day of class is Monday, and I know I won't sleep either way tomorrow night, either out of hilarious joy or unsubstantiated disappointment. I don't want to walk into class looking like a lunatic or a mourner. But I'm going to see Robyn in late March, so I should get excited about that. That was a bit on topic. Jill ------------------------------ Date: Sat, 20 Jan 2007 19:04:12 -0800 (PST) From: Capuchin Subject: Re: Discovery of the week On Sat, 20 Jan 2007, Capuchin wrote: > The only opportunity for innovation to come to national recognition > avails itself itself only to artists from L.A. or New York (or artists > who are close enough to frequently play L.A. or New York) where there is > a high concentration of these commentators and recognizers who can be > serially exposed to the innovation. I should amend this sentence to read (leaving the parentheticals untouched and re-inserted in their proper places): "The other opportunity for innovation to come to national recognition avails itself only to artists from L.A. or New York where there is a high concentration of these commentators and recognizers who can be serially exposed to the innovation." Sorry for the confusion. I was hurrying. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin _______________________________________________ ------------------------------ Date: Sat, 20 Jan 2007 20:29:57 -0800 From: Eb Subject: Re: Discovery of the week Capuchin wrote: >> Hey, lookie...Jeme popped in for another rare "music" post and >> whaddya know? It just happens to take shots at me. > > I didn't take any shots at you, sir. I'm sorry if that hurts your > ego, but I wrote my opinion about ideas that are not "Eb". > > Allow me to go ahead and feed your idea of the Eb-centric Universe > for just a minute and genuinely write about you: > > You seem to believe that the bands you like and the opinions you > hold are "you". When someone writes something negative about a > band you like or disagrees with some notion you've professed, you > claim that they are "taking shots at" YOU. Yeah, as if taking a paragraph of music-based thoughts, and responding with nothing but a petty quibble over an apostrophe is constructive and not personally directed. Eddie recently posted a lengthy, annotated list of his favorite 2006 releases. Did you really have ZERO objections to any of those picks? But on the other hand, both times I recently posted a sustained "positive testimony" about an individual band (Lylas, the Dresden Dolls), you crept out to voice your disapproval. Even if it only meant grumbling about tangential issues like apostrophes and "industry buzz." >> However, if Jeme would like to testify further about the >> innovations of unsigned Nashville club bands, I give him free reign. > > I've got no input regarding Nashville bands. Great. Wouldn't it be something if even a fraction of the energy which people are expending on the Nashville=country issue was redirected toward reaching a verdict on some streamed Lylas tracks? > Institutions are inherently conservative. The system of music > writers and commentators who are the source of the "recognition" > that's being meaured here have aesthetic ideals (either academic or > acquired through experience) that are necessarily challenged by > innovators (that's what makes them innovative). These same writers > and commentators, interested, as they are, in national phenomena > rather than local, are inundated with material for their scrutiny. > Most music doesn't ever reach their ears, of course, and much of > what does must please or interest the writer on a single exposure. > So unless the "innovation" is the most obvious logical consequence > of the current wave of popular music, it runs a high risk of being > dismissed as failing to achieve any known aesthetic ideal. > > Local bands, on the other hand, by openning shows for other acts > and each other over the course of years, provide numerous exposures > to the local music-lovers giving them an opportunity to develop a > taste for the innovation. As this goes on, the local audiences > respond to the innovation and it may be adopted by other artists > interested in appealing to these show-goers. > The innovations from Nashville or Portland will fail to achieve > national recognition until one of the following occurs: There is > such a thing as a "Nashville sound" or a "Portland sound" that can > break out onto the national scene or the innovation is stumbled > upon by an artist already nationally recognized or from L.A. or New > York or already has an "in" in the industry. > > That's how it works. This is such typically bitter, "The Big Man is holdin' me down" horseshit from you. Buzz bands come from loads of different places (nowadays, every other one comes from Canada or Sweden, seemingly), and you're just postulating that there is "innovation" on the club level for the sake of argument. Go check out some unsigned bands tonight, and see the reality. Derivative acts with weak musicianship and no ideas, most likely. I *would* say a buzz band probably needs to be based in either a good- sized metropolis or a solid "college town," but that's a far cry from saying they have to hover around LA or NY. And as if no Portland bands have any widespread recognition? Christ, even Everclear had their years in the spotlight, and they make a good case for being the all-around Suckiest Band of the '90s. And the Decemberists and the Shins are obviously doing pretty well. Meanwhile, I can't even think of the last new "phenom" from LA which I enjoyed. Has there even been one since Rufus Wainwright? I suppose Audioslave could *faintly* count, but they're barely passable for me - -- and I mainly like them for their "Seattle factor," besides. I don't see LA as being on the leading musical edge at all, nowadays. Eb ------------------------------ Date: Sat, 20 Jan 2007 23:33:50 -0500 From: "ken ostrander" Subject: alright...yeah! checking out the upcoming march tour and i just might be able to make it to the cat's cradle gig. according to mapquest, it's only three hours away. it all hangs on if daddy day care can get eight hours off. of course, there's always the sundance special. i am "dime-challenged". love the lists from eb and eddie. i don't understand how someone can love springsteen and not dylan or vice versa. i don't know which album i like better. bruce and bob need to write, record, and tour together and get it over with. they could call themselves "lean and louche". when i visited nashville (albeit more than ten years ago) it seemed to be a mecca for aspiring country songwriters and performers. of course, there's more to it (as there is to any city) than that; but any artist trying to break out from there has got a honky tonk albatross around their neck. it remains to be seen if there is a cohesive nashville scene that is devoid of country music. it will take some serious success for the national stereotype of the (country) music city to change. just saw the first couple of episodes of 'i'm with rolling stone'. pretty good behind the scenes on how some of these faulty bits of journalism can make it to print. i like the fact that (unlike other televised apprenticeships) no one gets fired; but rather, the winner is decided at the end of it all. it seems pretty clear who it's going to be though. as far as the honorary knighthood goes, neither bono or sting actually care for the "sir" bit. elton gets a little snooty if you forget it; and macca doesn't return my calls. ken "i've got nazi bullets in my ass" the kenster np 'the river in reverse' costello & toussaint. incisive and groovy. new orleans is the new new orleans. was anyone able to watch all of spike's documentary? strong stuff. this time of year is such a dizzying flood of great music. i get to sink my teeth into all of the stuff i overlooked during the past year. thanks for the 'under the covers' endorsement. my wife likes it; and that's always a good thing. funny, i was listening to 'odessey & oracle' (borrowed from the library) just before i heard it; also on recommendation from ye fegs. does anyone (besides george martin) prefer the mono mixes to the stereo? i've yet to hear mono beatles. - ------------------------------------------------------------------------ Get FREE Web site and company branded e-mail from Microsoft Office Live ------------------------------ Date: Sun, 21 Jan 2007 00:54:41 -0600 From: 2fs Subject: Re: Discovery of the week On 1/20/07, Eb wrote: > > > > Wouldn't it be something if even a fraction of the energy which > people are expending on the Nashville=country issue was redirected > toward reaching a verdict on some streamed Lylas tracks? And over on the Eblist, that's exactly what's happening. Over here, I'd guess that people's downloading or not downloading Lylas tracks has much more to do with the priorities of their lives generally, and not with weighing the Eb-effect of either discussing the genre expectations of Nashville acts vs. that of downloading a Lylas track or two. People were more interested in a general question (Nashville genre) than in hearing the music of a specific band they hadn't heard of (most of them). And it isn't all because we're trying to piss you off. (Paragraph of earnest pleading with Eb to consider the effect of the tone of his writing deleted on account of estimated zero probability of effectiveness.) - -- ...Jeff Norman The Architectural Dance Society http://spanghew.blogspot.com ------------------------------ Date: Sun, 21 Jan 2007 00:13:54 -0800 From: Eb Subject: Re: Discovery of the week WM: >> Wouldn't it be something if even a fraction of the energy which >> people are expending on the Nashville=country issue was redirected >> toward reaching a verdict on some streamed Lylas tracks? > > And over on the Eblist, that's exactly what's happening. > > Over here, I'd guess that people's downloading or not downloading > Lylas > tracks Can you spell s-t-r-e-a-m? I knew that you could. Eb ------------------------------ Date: Sun, 21 Jan 2007 14:03:55 +0000 From: hssmrg@bath.ac.uk Subject: Re: Ms&Ps, Soft Boys Quoting fegmaniax-digest : Eb, you're obviously right about the Mamas and Papas, but in this country at any rate you still hear 'California Dreaming' and (to a lesser extent) 'Monday Monday' on the radio fairly regularly, so John Phillips must have had something going for him. Has anyone else ever seen that dire cut of 'Monterey' which has what seems like a full half hour of the Ms&Ps set, whilst all the other astounding acts (CJFish, Hendrix, Airplane, Who, Otis Redding etc) get one or two songs each? Anyone would think that John Phillips had produced the film... I can strongly recommend the Soft Boys at Evershot Village Hall, even though they hadn't learned 'Strings' properly. I would have recorded it myself if I had bothered to check the batteries on my Minidisk before I went out... - - Mike Godwin ------------------------------ Date: Sun, 21 Jan 2007 10:10:29 -0500 From: FSThomas Subject: From Kofi's Hat (103.125% RH Content) Spied an article on Sex, Food, Death ... and Insects on the music blog Kofi's Hat: http://kofis-hat.blogspot.com/2007/01/robyn-hitchcock-documentary-coincides.html The post is a re-hash, complete with concert dates and links to two MP3s (/Agony of Pleasure/ and /Flavour of Night/), but the best is a link to prnewswire that has a press release for the film: http://www.prnewswire.com/cgi-bin/stories.pl?ACCT=KGOENT.story&STORY=/www/story/01-18-2007/0004508380&EDATE=THU+Jan+18+2007,+09:00+AM Sundance Channel Premieres Robyn Hitchcock: Sex, Food, Death ... and Insects Tuesday, March 27 at 10:00pm Film Features The Venus 3 Including R.E.M. Members Peter Buck, Scott McCaughey, and Bill Rieflin NEW YORK, Jan. 18 /PRNewswire/ -- Robyn Hitchcock: Sex, Food, Death ... and Insects, a Sundance Channel original production, debuts on Tuesday, March 27, 2007 at 10:00 pm et/pt. Directed by John Edginton (The Pink Floyd and Syd Barrett Story), the hour-long documentary follows British singer/songwriter Hitchcock and band The Venus 3, featuring Peter Buck (R.E.M.), Bill Rieflin (Ministry, REM), and Scott McCaughey (Minus 5, REM, The Young Fresh Fellows), as they spend a week in July of 2006 recording an album of new material at Hitchcock's house in West London. The film captures Hitchcock at work as he adds to his stockpile of wonderfully wry and twisted rock songs. The musical equivalent of black comedy, Hitchcock's songs express a fundamentally dark worldview, energized by droll wit, surreal imagery and a dynamite vocabulary. The film culminates with live footage of performances in Hoboken, NJ and Seattle in December 2006; the resulting album Ole! Tarantula was released by Yep Records in October 2006. Robyn Hitchcock: Sex, Food, Death ... and Insects also features appearances by musicians including Morris Windsor (The Soft Boys, Robyn Hitchcock and The Egyptians), Nick Lowe, John Paul Jones (Led Zeppelin), Gillian Welch and David Rawlings. Hitchcock's career spans three decades beginning with The Soft Boys in 1976. After The Soft Boys broke up in 1981, Hitchcock began recording both as a solo artist and with the band Robyn Hitchcock and The Egyptians (with Roger Jackson and two former members of The Soft Boys, Andy Metcalfe and Morris Windsor). In the late 1980s and early 1990s Hitchcock became better known to US audiences via college and alternative radio and MTV with the singles "Balloon Man" in 1988, "Madonna Of The Wasps" in 1989 and "So You Think You're In Love" in 1991. In 1998 Hitchcock collaborated with director Jonathan Demme on the live concert film Storefront Hitchcock (1998). Hitchcock has released over 20 albums. Robyn Hitchcock: Sex, Food, Death ... and Insects is produced by Edginton and Otmoor Productions and executive produced by Lynne Kirby and Laura Michalchyshyn for Sundance Channel. Under the creative direction of Robert Redford, Sundance Channel is the television destination for independent-minded viewers seeking something different. Bold, uncompromising and irreverent, Sundance Channel offers audiences a diverse and engaging selection of films, documentaries, and original programs, all unedited and commercial free. Launched in 1996, Sundance Channel is a venture of NBC Universal, Showtime Networks Inc. and Robert Redford. Sundance Channel operates independently of the non-profit Sundance Institute and the Sundance Film Festival, but shares the overall Sundance mission of encouraging artistic freedom of expression. Sundance Channel's website address is http://www.sundancechannel.com ------------------------------ Date: Sun, 21 Jan 2007 09:44:56 -0800 From: Eb Subject: Re: Ms&Ps, Soft Boys hssmrg@bath.ac.uk wrote: > Quoting fegmaniax-digest : > > Eb, you're obviously right about the Mamas and Papas, but in this > country at any rate you still hear 'California Dreaming' and (to a > lesser extent) 'Monday Monday' on the radio fairly regularly, so > John Phillips must have had something going for him. Has anyone > else ever seen that dire cut of 'Monterey' which has what seems > like a full half hour of the Ms&Ps set, whilst all the other > astounding acts (CJFish, Hendrix, Airplane, Who, Otis Redding etc) > get one or two songs each? Anyone would think that John Phillips > had produced the film... Well, you do know that Phillips wasn't just a performer, but a major organizer of the whole festival, right? He probably earned the extra face time. At the moment, it appears that all Earthlink-user websites are down. Yikes. Eb ------------------------------ End of fegmaniax-digest V16 #19 *******************************