From: owner-fegmaniax-digest@smoe.org (fegmaniax-digest) To: fegmaniax-digest@smoe.org Subject: fegmaniax-digest V16 #20 Reply-To: fegmaniax@smoe.org Sender: owner-fegmaniax-digest@smoe.org Errors-To: owner-fegmaniax-digest@smoe.org Precedence: bulk fegmaniax-digest Monday, January 22 2007 Volume 16 : Number 020 Today's Subjects: ----------------- Re: Ms&Ps, Soft Boys [2fs ] jambase interview [wojbearpig ] fast forward 1 [wojbearpig ] Re: My Name Is Nobody ["C Tupman" ] april dates [wojbearpig ] Blonde on .... er, not blond? ["vivien lyon" ] Re: oh, and another reap [grutness@slingshot.co.nz] Re: Ms&Ps, Soft Boys [FSThomas ] Re: Discovery of the week [Capuchin ] RE: Ms&Ps, Soft Boys ["Bachman, Michael" ] Re: And incidentally, Jeff... [Rex ] Re: Blonde on .... er, not blond? [Rex ] Re: Discovery of the week [Rex ] Re: Discovery of the week [Rex ] My name is "Eb", and it is my pleasure to kill Jesus ["Stacked Crooked" <] ---------------------------------------------------------------------- Date: Sun, 21 Jan 2007 12:07:35 -0600 From: 2fs Subject: Re: Ms&Ps, Soft Boys On 1/21/07, 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. And I'd say definitely "12:30 (Young Girls Are Coming to the Canyon)" is worth hearing. - -- ...Jeff Norman The Architectural Dance Society http://spanghew.blogspot.com ------------------------------ Date: Sun, 21 Jan 2007 13:00:57 -0500 From: wojbearpig Subject: jambase interview http://www.jambase.com/headsup.asp?storyID=9777&disp=all THE BEAUTIFUL RAMBLING OF ROBYN By: Dennis Cook I feel it coming on again Just like it did before They feed your pride with boredom And they lead you on to war Some songs open up whole universes to us - only a few chords wrapped around words yet we find ourselves stirred and delighted in ways that defy this surface simplicity. In 1981, fresh from junior high school, I stumbled upon "I Wanna Destroy You" by The Soft Boys, a wildly giddy, nihilistic chant, crooned sweetly by what sounded like Graham Nash's dark cousin. By the time I tracked down Underwater Moonlight, the glorious 1980 release where "Destroy" first appeared, I found out the Soft Boys were no more but their lead singer, a severely English chap named Robyn Hitchcock, was busily releasing heaps of inspired strangeness. From that random encounter has bloomed a 25-year love affair with the poet laureate of weird rock. Hitchcock is a musician's musician, rubbing shoulders with the likes of R.E.M.'s Peter Buck, Gillian Welch, The Damned's Captain Sensible, and The Sadies. Stop Making Sense director Jonathan Demme made a fun documentary about him in 1998 called Storefront Hitchcock. Often painted as a pop eccentric, Hitchcock is really a child of the '60s out of time, an endlessly gifted songwriter who picked up the gauntlet tossed down by Bob Dylan, Syd Barrett, and The Byrds and managed to find his own way after setting out in their footsteps. His work has both the electric jangle of Roger McGuinn and the creeping intimacy of Nick Drake's finest. Only Steely Dan and Dylan [who Hitchcock saluted on 2002's Robyn Sings, which recreated Bob's legendary 1966 Royal Albert Hall electric set] rival his gift for memorable, peculiar characters. Multicolored worlds froth and wriggle in his verses, populated by balloon men and amorous specters whose initial oddness ultimately reveals a perverse, poetic understanding of the human condition rivaled only by the giants who first inspired him. Tarantulas! His latest release is Oli! Tarantula, a bright, deliriously infectious outing with his band The Venus 3 comprised of pals Peter Buck, Scott McCaughey (Young Fresh Fellows), and Bill Rieflin (Revolting Cocks/Ministry). Also helping out are keyboard legend Ian McLagan, Chris Ballew (Presidents of the United States of America), and ex-Soft Boys Kimberley Rew (co-author with Eddy Grant of '80s staple "Walking On Sunshine") and Morris Windsor. His 22nd solo record, Tarantula presents many of Hitchcock's disparate threads in one well-stitched tapestry, swaying between thoughtful ruminations and crunchy rockers with easy grace. "My stuff's very much a hybrid," says Hitchcock. "I can recognize where I got most things from, even if it's just out of the dictionary. I tend to like major keys more than minor keys. I'm not sure there's anything in a minor [key] on it [Tarantula]. Even Spooked [his previous album, produced and performed with Gillian Welch and David Rawlings], which was a darker sounding record, there's not much in a minor key there either, just songs that sound reflective." As always, the linguistically obsessed Hitchcock shows a profound love of language, rolling words over his tongue with a gourmand's relish. "I think if you're not a fan of words it's harder to get my stuff," offers Hitchcock. "Though, I don't personally think the words are that important. The melody is the most important thing because that's what carries the emotion. Songs are basically feelings. You have a feeling and you try to find the words to go with it. I've always hated clichis. I think it's the death of thought. I suppose that can put one in rarified air in places. It's a good filtering process, though there were loads of dumb Beatles fans and the Beatles were the greatest group on Earth." The Venus 3 swings like seasoned pros despite this being their first official release. Hitchcock says, "It's just a combination of time and luck. It's always good to have both working for you rather than against you. In this instance, I've known Peter for so long, Scott for a while, and Bill for a good few years  I met him through my daughter Mazy, who's a big Ministry fan. They've all known each other for ages and they're in two other bands with each other [Minus 5/R.E.M.]. We were quite played in before we even played a note." Animal Spirits Throughout his career there've been swarms of odd creatures in his lyrics. There's a palpable connection to living, breathing life in Hitchcock's verses, often expressed through animals both real and imaginary. Amongst the menagerie in his compositions are insect mothers, globes of frogs, an ant woman, midnight fish, acid birds, wise pythons, and obscenely wide-mouth bass. He has the distinction of being the only songwriter I know of that's ever mentioned meerkats. "Suzanne Vega might have mentioned meerkats but Johnny Thunders wouldn't have [laughs]. Let's call them non-human animals because we're animals, too. We're just animals with dictionaries. It doesn't make us any smarter," observes Hitchcock. "I'm not constantly running around in the wilds or scrambling through the rocks looking for different species. They just make their way into my songs. Maybe it's just because of the way they look. I mention beasts I like the look of. Meerkats sit bolt upright like humans, very good posture. The tarantula is a very iconic creature, not necessarily as bad as its reputation. Plus it's a great sounding word. So, if I like the sound of the word and the look of the creature it's likely to crop up." Playing Politics Tarantula's "The Authority Box" takes a few well-placed shots at George W. Bush but Hitchcock has been speaking to power with clear-eyed wisdom since the beginning. With quiet insight and gentle humor, he takes the legs out from fools who misuse their power. A good example is "The President" from 1986's Element of Light, which contains sticky bits like "When I hear the word 'Democracy' I reach for my headphones" and "He's talking to the dead/They're the only ones who'll listen or believe a word he said." Without histrionics, Hitchcock breathes fresh air into protest music by offering it up without apology or fanfare. Good ideas will always shine in the face of bad ones. "America is a nightmare institution full of great people. My biggest following is here. I've got a lot of friends and fans here, and they're all sort of trapped in the thickening nightmare. One of my functions is to go around and rally the faithful like Billy Bragg," comments Hitchcock. "Once they shot Martin Luther King it was pretty clear which side the bread was buttered. I did hear an amusing song by Lieber and Stoller on the radio called 'Only In America,' that said, 'Only in America can a poor kid without a cent grow up to be President.' I just couldn't believe that anyone bought that myth or anyone's buying it now." "I was [in America] when Bush got elected again, and I found myself this magnet for heartbroken Democrats. I don't attract many Republicans. I actually said my audience was 100-percent Democrat. Somebody emailed in and said, 'I'm not. I'm a Libertarian!' I think my GOP rating is nill, and I'm very proud of that." On his taking a good swipe at power mongers, he says, "It's what they deserve, but it's easier to do that [in the U.S.] than it would have been somewhere else. You couldn't speak your mind in Soviet Russia but you did have free health care and no unemployment. It's a question of what will you trade for what? Freedom just generally means the right of anybody to sell anybody anything and no safety net. Capitalism eats itself. It needs constant expansion. That's what 'Balloon Man' was about on an unconscious level. Accelerated consumption means you wind up feeding on yourself when there's nothing left to eat. It's a weird human thing, this tendency towards models, whether it's a Stalinist state model or a capitalist model where everything keeps merging and there's only two record companies left and eventually there'll just be one. People used to laugh when I talked about Sonyweaversal ten years ago but it's pretty much there now." A Backward Glance While discussing the gentle turns of Spooked, talk turned towards older acoustic-leaning records like 1984's I Often Dream of Trains and 1990's Eye. Hitchcock observes, "I know my voice subtly modulates as it goes back in time. I've got more of my own voice now. I'm quite a good mimic so it may have taken me some time to shed other voices. When I play acoustic I take a lot from Eye. It was a fertile period. There are some good songs on Trains. It's got a few instrumentals and it's got me having fun with overdubs, which was the first time I did all that, lots of Robyn and The Robyns, which isn't always a good idea but it's definitely fun on that record." In a vast catalog, Trains' title tune is a simple daydream that slices across great distances, making big things personal and approachable, a rare gift Hitchcock possesses in joyous abundance. "I play it about half that speed now. You find that with quite a lot of old things," says Hitchcock. "I don't change the older songs much but I think they tend to drift, and they drift downstream. You really do get slower as you get older, unless you're very agitated, in which case you're probably going to pop [laughs]." I often dream of trains when I'm alone I ride on them into another zone I dream of them constantly Heading for paradise Or Basingstoke or Reading JamBase | California Go See Live Music! ------------------------------ Date: Sun, 21 Jan 2007 13:15:59 -0500 From: wojbearpig Subject: fast forward 1 just posted this on fegmania... two of robyn's poems have been included in a science fiction anthology, fast forward 1, edited by lou anders and published by pyr . the collection is slated to hit the stores on february 5th. you can already order it at amazon and other online book stores. woj ------------------------------ Date: Sun, 21 Jan 2007 18:36:20 +0000 From: "C Tupman" Subject: Re: My Name Is Nobody It's pleasing how many of these artists (many of whom I'm totally unfamiliar with) have put free downloads/listens on . I've always been someone who liked familiar bands and was happy to stick with them, but I'm feeling a more adventurous phase coming on - I've taken all the songs I know off my iPod and replaced them with songs/artists I know nothing of yet. Time for a change methinks. Charlotte Date: Fri, 19 Jan 2007 16:55:13 -0800 From: Eb Subject: Re: My Name Is Nobody ... Well, I can't be TOO tough...there are at least 80 albums from 2006 (so far) which I either own or want to get. My list just doesn't intersect an awful lot with yours. Adrian Belew-Side Three Aloha-Some Echoes Andy Partridge-Fuzzy Warbles Collector's Album Badly Drawn Boy-Born in the U.K. Barry Adamson-Stranger on the Sofa Beck-The Information Belle & Sebastian-The Life Pursuit Ben Folds-Supersunnyspeedgraphic - The LP Beth Orton-Comfort of Strangers Bettie Serveert-Bare Stripped Naked Bob Dylan-Modern Times Buzzcocks-Flat-Pack Philosophy Cocteau Twins-Lullabies for Violaine, Vol. 1 Cocteau Twins-Lullabies for Violaine, Vol. 2 Cracker-Greenland David Sylvian-Blemish Ed Harcourt-Beautiful Lie Elvis Costello & Allen Toussaint-The River in Reverse Eric Matthews-Foundation Sounds Frank Black-Fast Man Raider Man Golden Smog-Another Fine Day Grandaddy-Just Like the Fambly Cat Great Lakes-Diamond Times Grizzly Bear-Yellow House Imitation Electric Piano-Blow It Up, Burn It Down, Kick It 'Til It Bleeds Isobel Campbell & Mark Lanegan-Ballad of the Broken Seas Joanna Newsom-Ys. Jon Auer-Songs from the Year of Our Demise Kelley Stoltz-Below the Branches Lambchop-Damaged Lambchop-The Decline of Country & Western Civilization Part II Les Claypool-Of Whales and Woe Lylas-Lessons for Lovers Matmos-The Rose Has Teeth in the Mouth of a Beast Matthew Friedberger-Winter Women/Holy Ghost Language School Matthew Sweet & Susanna Hoffs-Under the Covers Vol. 1 Mission of Burma-The Obliterati Mogwai-Mr. Beast Mosquitos-Mosquitos III Mouse on Mars-Varcharz Mudhoney-Under a Billion Suns Neil Young & Crazy Horse-Live at Fillmore East Neil Young-Living with War Neko Case-Fox Confessor Brings the Flood Paul Simon-Surprise Pere Ubu-Why I Hate Women Placebo-Meds Portastatic-Be Still Please Portastatic-Who Loves the Sun Quasi-When the Going Gets Dark Robert Pollard-From a Compound Eye Robert Pollard-Normal Happiness Robyn Hitchcock & the Venus 3-Ole! Tarantula Sean Lennon-Friendly Fire Snow Patrol-Eyes Open Sonic Youth-Rather Ripped Sonic Youth-The Destroyed Room Soundtrack (Nick Cave)-The Proposition Stereolab-Fab Four Suture Tanya Donelly-This Hungry Life The Annuals-Be He Me The Arctic Monkeys-Whatever People Say I Am, Thats What Im Not The Decemberists-The Crane Wife The Dresden Dolls-Yes, Virginia... The Essex Green-Cannibal Sea The Feeling-Twelve Stops and Home The Fiery Furnaces-Bitter Tea The Flaming Lips-At War with the Mystics The Futureheads-News and Tributes The Long Winters-Putting the Days to Bed The Ms-Future Women The Minders-It's a Bright Guilty World The Minus 5-The Minus 5 The Strokes-First Impressions of Earth The Vines-Vision Valley The Wedding Present-Search for Paradise Tom Verlaine-Around Tom Verlaine-Songs and Other Things Tom Waits-Orphans Yo La Tengo-I Am Not Afraid of You and I Will Beat Your Ass _________________________________________________________________ Find Love This New Year With match.com! http://msnuk.match.com ------------------------------ Date: Sun, 21 Jan 2007 17:18:04 -0500 From: wojbearpig Subject: april dates looks like there will be some additional shows in april as well.... http://www.ticketweb.com/user/?region=wa&query=detail&event=710753 Friday, April 6 at 9:00 PM Robyn Hitchcock & The Venus 3 at Crocodile Cafe, Washington 21 and over w/ID. 9pm doors. 10pm show. U.S.$15.00 ------------------------------ Date: Wed, 17 Jan 2007 16:16:16 -0800 From: "vivien lyon" Subject: Blonde on .... er, not blond? It's been at least four years since I unsubbed from the list, but I have read the archives from time to time. And from time to time, I read something upon which I feel a faint urge to comment (or something upon which I feel a faint urge to vomit, see recent flame war). I decided to wait until the urge (to comment) became so strong that I could no longer restrain myself. Now, the time has come to subscribe once again, and for only one reason: to say "What the fuck?" in regards to this line from a recently posted article. "Hitchcock - the one-time Soft Boy - is nearly 54. He's been in bands for more than 30 years. Lean and louche, he still has a full head of floppy blond hair, which he makes much of with frequent, girlish tosses of the head, of a kind not seen since the mid-Sixties." Blond??? Is there any light on earth that would make his hair look blond? What manner of eyes are these, that impress on their owner the notion that Robyn is blond? I mean... but you... it's not... how could..... I guess it's not really a big deal, but it was one of those moments when I start to really doubt my ability to ever understand or even imagine someone else's perceptual world. Blond. Huh. Weird. Hello, everyone I used to know! I don't think I saw any of you at the show in Seattle on Thanksgiving weekend. Eddie? Cynthia? Vivien ps- I have to say, after having skimmed and finally skipped huge swathes of spiteful and repetitive nonsense, I'm a little wary of joining the list again. But how bad could it be? Right? ------------------------------ Date: Mon, 22 Jan 2007 13:50:48 +1300 From: grutness@slingshot.co.nz Subject: Re: oh, and another reap >Actress Solveig Dommartin, of Wim Wenders movies fame. damn. Only 45, too. Well, that's ruined my day. May have to watch Wings of Desire sometime in the next few days... 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: Sun, 21 Jan 2007 22:50:28 -0500 From: FSThomas 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 ... 'Monday Monday' on the radio fairly regularly I'd so much rather hear Sunday Morning on the radio that often. Just me. - -f. ------------------------------ Date: Mon, 22 Jan 2007 01:35:39 -0800 (PST) From: Capuchin Subject: Re: Discovery of the week On Sat, 20 Jan 2007, Eb wrote: > 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. Nope. Wasn't. Sorry. > Eddie recently posted a lengthy, annotated list of his favorite 2006 > releases. Did you really have ZERO objections to any of those picks? Actually, I looked everywhere and don't see that I ever received that post! I am a bit miffed at that, actually. I saw a bunch of replies to it, but haven't seen the post proper. I'd really like to see it, but haven't had the time to poke into the archives and grab a copy. > 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. I didn't write anything about Lylas. And I kind of thought I was replying to Sebastian on the Dresden Dolls thing, but it looks like I was mistaken. So I'm afraid I can't support any ideas you have about personal attacks on that score, either. Seriously, though, if I wanted to attack you personally, I would write something about one of your numerous unpleasant personal characteristics, not the characteristics of bands you like. That would be meaningless. > This is such typically bitter, "The Big Man is holdin' me down" > horseshit from you. Like so many systemic effects, I think the damage the industry does to the art is completely unintentional and likely contrary to the will of those perpetrating the atrocities. > 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. For every breakout band, you will find a dozen similar bands in the local scene whence they came. That's what the "breakout" part means. > Go check out some unsigned bands tonight, and see the reality. > Derivative acts with weak musicianship and no ideas, most likely. Everyone is derivative. Innovation is merely the emphasis of previously unrecognized influence. I saw four unsigned bands on Friday night. Two of them, I didn't like one bit. Of the two, one of them played, in my estimation, with weak musicianship. I couldn't rightly comment upon their ideas since they were so poorly executed as to be indecipherable. The other is a band I've seen half a dozen times in the past year or so. They've got their thing down pat at this point. I first dismissed them as having no ideas and being hacks. Michael Wolfe and I decided that their songs take twice as long to play as they do to write (since the last half is usually just a repeat of the first half). However, some people really love them. I was talking to a girl who felt that way. She went on about the particular method of using the shallow insipidity of the music and lyrics to reflect various aspects of music and culture generally. She also liked the dancey bits a whole lot, but she thought they were just a joke at first. See, the new way in which the ideas were expressed didn't register as a means of expressing ideas. Since it didn't match any known pattern, it was disgarded as noise. After a while, though, you can get to see the internal patterns and appreciate what it is doing for its own sake. That's when you recognize innovation. > 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. In other words, they have to become part of a local scene so that they can emerge from it as the breakout band. > And as if no Portland bands have any widespread recognition? Um, did I ever make such a claim? Why would I even give a shit? I will point out, though, that with no exceptions, the seemingly innovative, nationally recognized acts (as opposed to the bandwagoneering hacks) coming out of Portland were all part of a much larger community of similar acts that developed the sound and tuned the ears of columnists and commentators to prepare the way for whatever representative would be selected for the media scene. > 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. Everclear made it big because of their enormous willingness to sell out and do whatever it takes to cling to commercial success. Hence, the suckiness. > And the Decemberists and the Shins are obviously doing pretty well. Sure. And if you checked out most any of the other acts that played the Robyn Hitchcock Tribute Night at the Rabbit Hole back in 2001, you would find a dozen or more people with similar talents and sounds. These artists were influenced by Robyn and by 70s art rock and some of them were solo acts and some of them had bands. One of those people was Colin Meloy. All of them were self-producing recordings and getting them into the hands of whomever would listen. Thus, the ear of the recognizers was trained. It took five or six years for that sound to come across the radio. Rather than fostering innovation, the system of commentators is just finally joining something that developed independently. But most of the time, they're not even doing that. Most of the time, the national recognition is going to somebody spewing out the same old safe crap that nobody ever got fired for promoting. The Shins got their boat sailed under that flag. > Meanwhile, I can't even think of the last new "phenom" from LA which I > enjoyed. Has there even been one since Rufus Wainwright? Rufus Wainwright is a fucking awesome example. If that guy had come from Chicago and been born the son of a salesman, nobody would know his name. He got a record deal because his name assured attention and the label hyped him to his 15 minutes. When people actually stopped and listened to it, he fell off the "nationally recognized" radar. > I don't see LA as being on the leading musical edge at all, nowadays. The musical edge is not on the national radar UNLESS the bands are from L.A. or New York. And the lack of edge in L.A. is one of the main reasons for the lack of edge in the acts nationally recognized. J. - -- _______________________________________________ Capuchin capuchin@bitmine.net Jeme A Brelin _______________________________________________ ------------------------------ Date: Mon, 22 Jan 2007 10:10:03 -0500 From: "Bachman, Michael" Subject: RE: Ms&Ps, Soft Boys Mike Godwin 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... Criterion came out with a Monterey expanded deluxe DVD set chocked full extras last year. I haven't seen it yet. I might check it out if our local library has one though. It's a bit pricey to buy new. Still hoping for a Criterion version of Goddard's masterpiece My Life To Lead to be released sometime soon. My Life To Lead is my favorite nouvelle vague movie. Michael B. ------------------------------ Date: Mon, 22 Jan 2007 11:09:24 -0500 From: The Great Quail Subject: Re: Discovery of the week Jeff writes, > (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.) Oh, for heavens' sake. Eb was just being his usually critical self -- you are the one who turned it personal with your deliberately provocative post. I mean, even Rex was quiet. I mean, come on. Eb has strong musical opinions, and can occasionally be irritating in his curt dismissals. I mean, he still refuses to acknowledge the awesomeness of Rush. But after the whole Broome War scenario, do we really need anyone taking the spark of Eb's musical crankiness and tossing on some gasoline? (That being said, I do find the discussion between Jeme and Eb to be interesting....) - --Quail ------------------------------ Date: Mon, 22 Jan 2007 09:15:18 -0800 From: Rex Subject: Re: And incidentally, Jeff... On 1/19/07, Eb wrote: > > ...while you're sarcastically snorting about my long-distance view of > the Nashville scene vs. Miles' direct exposure, let's not forget > which one of us has heard/heard of Lylas. Score another one for mister popular! - -Rex ------------------------------ Date: Mon, 22 Jan 2007 09:23:17 -0800 From: Rex Subject: Re: Blonde on .... er, not blond? On 1/17/07, vivien lyon wrote: > > ps- I have to say, after having skimmed and finally skipped huge swathes > of > spiteful and repetitive nonsense, I'm a little wary of joining the list > again. But how bad could it be? Right? Could be pretty bad! - -Rex ------------------------------ Date: Mon, 22 Jan 2007 09:28:26 -0800 From: Rex Subject: Re: Discovery of the week On 1/20/07, Eb wrote: > > > Hey, lookie...Jeme popped in for another rare "music" post and > whaddya know? It just happens to take shots at me. It's cute how badly Eb misses me, innit? - -Rex ------------------------------ Date: Mon, 22 Jan 2007 09:37:36 -0800 From: Rex Subject: Re: Discovery of the week On 1/22/07, The Great Quail wrote: > > Jeff writes, > > > (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.) > > Oh, for heavens' sake. Eb was just being his usually critical self -- you > are the one who turned it personal with your deliberately provocative > post. "Wingman" makes even more sense as a name for a self-described bird. Quail, the guy's head is exploding over minutiae-turned-personal, and everyone can see it. I mean-- jumping on Miles? Miles????? Other'n that, Jeme nailed it, I think. We should order Eb one of those Onion "Your Favorite Band Sucks" t-shirts, and scribble "ergo you do too" at the bottom of it, as that seems to sum up his "usual critical self". - -Rex - -Rex ------------------------------ Date: Mon, 22 Jan 2007 10:11:38 -0800 From: "Stacked Crooked" Subject: My name is "Eb", and it is my pleasure to kill Jesus fair enough. but... ...do yourself a favour, and stay far, far away from these. they'll just make you hate your life (and hate life in general). c'mon, dude. this is akin to arguing that (for example) even though fifty percent (and more) of the american tax dollar is allocated to the military, because a small (and shrinking) percentage is given over to constructive ends then americans should not only *not* consider the paying of federal income taxes morally objectionable, but should in fact feel morally *compelled* to pay them. that may be how *your* argument would go, but it wouldn't be how mine would go. ------------------------------ End of fegmaniax-digest V16 #20 *******************************