From: owner-support-system-digest@smoe.org (support-system-digest) To: support-system-digest@smoe.org Subject: support-system-digest V2 #309 Reply-To: support-system@smoe.org Sender: owner-support-system-digest@smoe.org Errors-To: owner-support-system-digest@smoe.org Precedence: bulk support-system-digest Tuesday, October 19 1999 Volume 02 : Number 309 Today's Subjects: ----------------- faves & missing Ms. Liz... [Shelly ] my own local chapter of fight club ["Morrise, Jason" ] Re: fight club [tommyk7@excite.com] Liz postcards!! Yeah! [JJewelbaby@aol.com] 10 fave non-liz [Mike Marlatt ] 10 fave non-liz ["Henry, Gregory" ] response to your college radio sucking [Kelly Scofield ] 10 isn't the magic number [JR? ] Bounced message [Jason Long ] Bounced message [Jason Long ] Bounced message [Jason Long ] Bounced message [Jason Long ] Bounced message [Jason Long ] Re: support-system-digest V2 #308 [Emerald314@aol.com] hmmm.. tongue-in-cheek from matador? [Ascending to the Stars ] ---------------------------------------------------------------------- Date: Mon, 18 Oct 1999 05:02:00 -0700 From: Shelly Subject: faves & missing Ms. Liz... Hmm...fave non-Liz songs. It's hard to pin down a small list, my favorite songs are ever-evolving, changing and rotating. But, here's a go at a few: Bruce Springsteen ~ Thunder Road Melissa Etheridge ~ Chrome Plated Heart Paul Simon ~ Late in the Evening Simon & Garfunkle ~ Sound of Silence Led Zeppelin ~ I'm Gonna Quit You Dixie Chicks ~ Am I the Only One Indigo Girls ~ Leeds The Smiths ~ How Soon Is Now The Cure ~ Why Can't I Be You The Pixies ~ Monkey's Gone to Heaven (can't remember the "proper" title) Well, that's mine...I'm sure I could go on, since there's only a couple of songs on there from my "beloved youth" (The Cure & The Smiths)...and I truly can't help it, even though the movie "The Wedding Singer" helped to quell it some, but "You Spin Me Round" by Dead or Alive always always makes me wanna dance, baby! Aching & completely, sinusly, stuffed from a full day of house cleaning ~gunshy~ Shelly NP: Talking Heads: Sand In the Vaseline (Only Disc two, since Disc one was carted off & buried by my lovely, but highly energetic Border Collie...) ------------------------------ Date: Mon, 18 Oct 1999 08:13:26 -0500 From: "Morrise, Jason" Subject: my own local chapter of fight club what an excellent movie. I wish david fincher had kept up with the interesting visual style throughout the entire movie, but still, what a mindtrip. and it's about time brad pitt did another good role, I don't think I've liked him in anything this much since 12 monkeys. did anyone else see it? did you catch the toadies song at the end of the movie? it sounded good, I really think they should release that new album soon. speaking of '10 things I hate about you,' I watched that one yesterday. maybe not the best teensploitation flick out there, but I was excited to see letters to cleo featured so prominently. jake ------------------------------ Date: Mon, 18 Oct 1999 07:05:05 PDT From: tommyk7@excite.com Subject: Re: fight club On Mon, 18 Oct 1999 08:13:26 -0500, Morrise, Jason wrote: "what an excellent movie...did anyone else see it?" Saw it...not sober...good...would see it again. Oh, for DC people - the Toledo Lounge (a bar) in the Adams Morgan neighborhood has "Exile" in their jukebox...I was there Sat. and someone played "Fuck and Run." Stunned, I tried to find out who had played it...but I was too shy to ask any of the people milling around the 'box. After that third shot of 'Jager, I think I tried to play "Stratford" like three times in a row...can't remember much, but Liz is a great drinking companion. TMK Believe me when I tell you Life will not break your heart It'll crush it - -Henry Rollins ________________________________________________________________ Get FREE voicemail, fax and email at http://voicemail.excite.com Talk online at http://voicechat.excite.com ------------------------------ Date: Mon, 18 Oct 1999 11:42:07 EDT From: JJewelbaby@aol.com Subject: Liz postcards!! Yeah! I just wanted to extend a THANK YOU SO MUCH to Greg Henry for sending me a Liz Phair Calvin Klein postcard!! I just got it the other day, and I love it! :) THANKS!!! ~Julie ------------------------------ Date: Mon, 18 Oct 1999 11:58:40 -0400 From: Mike Marlatt Subject: 10 fave non-liz - -Two Step- Dave Matthews Band - -Never Say Never- That Dog - -President Garfield- Juliana Hatfield - -Dancing Nancies- Dave Matthews Band - -Feed the Tree- Belly - -Bright Yellow Gun- Throwing Muses - -Feelin' Massachusettes (sp?)- Julian Hatfield - -Lie in Our Graves- Dave Matthews Band - -Political- Spirit of the West - -Weekapaug Grove- Phish MIKE MARLATT Investment Advisor NESBITT BURNS INC. Work Tel: 604-443-1622 Fax: 604-443-1490 Toll Free: 1-888-346-3133 ------------------------------ Date: Mon, 18 Oct 1999 13:49:08 -0400 From: "Henry, Gregory" Subject: 10 fave non-liz Mountains of Love by Juliana Hatfield Cracking by Suzanne Vega Emperor's New Clothes by Sinead O'Connor Scissors by Barbara Manning TV Teens by Maria McKee Blood of Feeling by Barbara Manning We Belong Together by Rickie Lee Jones Manchild by Neneh Cherry Idly by Tarnation Get Up by Sleater-Kinney Gregory Henry 5-3199 > -----Original Message----- > From: Mike Marlatt [SMTP:Mike.Marlatt@nbpcd.com] > Sent: October 18, 1999 11:59 AM > To: 'Liz List' > Subject: 10 fave non-liz > > > -Two Step- Dave Matthews Band > -Never Say Never- That Dog > -President Garfield- Juliana Hatfield > -Dancing Nancies- Dave Matthews Band > -Feed the Tree- Belly > -Bright Yellow Gun- Throwing Muses > -Feelin' Massachusettes (sp?)- Julian Hatfield > -Lie in Our Graves- Dave Matthews Band > -Political- Spirit of the West > -Weekapaug Grove- Phish > MIKE MARLATT > Investment Advisor > NESBITT BURNS INC. > Work Tel: 604-443-1622 > Fax: 604-443-1490 > Toll Free: 1-888-346-3133 ------------------------------ Date: Mon, 18 Oct 1999 14:39:49 -0700 (PDT) From: Kelly Scofield Subject: response to your college radio sucking I guess this is a response to who ever was saying their college radio sucks... where are you going to school???? .... my college radio isn't the best, but it is pretty good... but around here there is a much better station ... better than any other i have ever heard... and you can listen to them on the internet at wber.monroe.edu - definately worth checking out if you are interested in good music... i have met some people from nyc who said there isn't even a station like that there (don't know if it's true, but hey, it's a compliment)... So, if nothing else check it out, they play a lot of the music that is on the top ten college albums in rolling stone too. ===== __________________________________________________ Do You Yahoo!? Bid and sell for free at http://auctions.yahoo.com ------------------------------ Date: Mon, 18 Oct 1999 16:05:01 -0700 From: JR? Subject: 10 isn't the magic number This Is Just A Modern Rock Song - Belle And Sebastian Set The Ray To Jerry - The Smashing Pumpkins Does Your Hometown Care? - Superchunk Butch - The Geraldine Fibbers Good Things - Sleater-Kinney Lucy - Helium Elephant Stone - The Stone Roses The World Has Turned And Left Me Here - Weezer It's All Too Much - The Beatles Some Things Come From Nothing - Super Furry Animals End Of A Century - blur i think it's nappy time for me, Daniel http://www.gurlpages.com/music/abnormal_spice/ ICQ-1010543 AIM-CoxonRyder The new Foo Fighters is really good. ------------------------------ Date: Mon, 18 Oct 1999 20:17:35 -0400 From: Jason Long Subject: Bounced message From: "Al" Subject: Selling Out...Again! Warning! Long Post! Let me apologize in advance for the longness of this post! Sorry! With all this talk of selling out, here is an article I fetched from a back issue in the LA Weekly on Liz Phair and her reasoning behind her change so to speak. It seems to answer a lot of questions as to the direction she wants to go in. The address is here: http://www.laweekly.com/ink/98/39/music-schwartz.shtml I firmly believe that an artist (of any kind) needs to reinvent themselves every now and than and hope that his/her change is for the better. If an artist remains the same, it appears that they haven't grown/matured as individuals. Picture this, a 40 year old Liz Phair singing about some of the ordeals which are in EIG/Whip Smart. It won't work. "People would be saying, hasn't she grown up? She's too old to be making that sort of music." Unfortunately, she has to change and there's nothing we can do about that. Sorta like the aging process. I don't think she will ever give us another ablum like EIG. She's over that faze of her life. However, it will always go down as one of my all-time favorite albums and that's all that matters. The one thing I don't necessarily agree on in regards to "this change in Liz Phair" is that the music she seems to be creating nowadays isn't geared for her awesome guitar playing. That is her signature as far as I'm concerned, one of the reasons I dig her so much. I hope she realizes what an awesome tool she has in her hands. Also, I think that Steve Kilbey of the band the Church had an interesting opinion on the growing (changing) artist syndrome: In an interview at Launch.com Kilbey says: LAUNCH: There have been a lot of false alarms that the Church were breaking up. But you never really broke up, did you? KILBEY: Well, we were thinking of breaking up last year, but we were just playing so well, it seemed a shame to actually break up. I realized, if I quit this and go play with some other guys, who the hell would I get that could do this? It's like shooting a horse and buying a donkey. We should stay together, because together we're better than we ever could be apart. LAUNCH: Why did you ever want to end the Church in the first place? KILBEY: I sort of felt nobody was interested anymore. I thought, let's just finish this off and then I can move on to something else. And then, when we played, people were just ecstatic. A lot of people were coming back and saying, "You can't break up, you can't break up!" And then we made this record and it was like, maybe there's a bit of life left in the old beast. Why knock a thing that's going well, if people still want it? I just didn't think people wanted it anymore. LAUNCH: Actually, it seems like people are more interested in the Church than they have been in years. Do you have a theory why? KILBEY: I think bands' careers go up and down all the time. Something comes around that seems to make you obscure, but then that goes away. I remember thinking during the early '80s, when all those people were doing that dance on the floor where they get on their backs and go 'round and 'round [Uh, that would be break-dancing--editor's note], "No one's going to want to see us anymore! Everyone's gotten into this, and it's the end of us." But then that goes away and everyone's back into guitars and psychedelia--and there's been so many waves of guitars and psychedelia! In two years' time, someone will come out playing autoharps and lutes or something, and suddenly we'll be finished. But then everyone will discover electric guitars again, and we'll be back. LAUNCH: Are you surprised that the Church has lasted so long--18 years? KILBEY: Well, when we first formed, my ambition was just to play in Melbourne! So yeah, I'm really surprised. Pop groups aren't supposed to last for a long time. But people seem to go on liking us, so as long as people go on liking us, I guess we'll go on playing. But ideally, great pop groups should form, make two great albums and then break up; I think they're the best ones, really. LAUNCH: Yes, but unlike a lot of bands that have been around for 18 years or more, you've gotten more adventurous. Unlike-- KILBEY: - --the Rolling Stones, for example. What happened? They're not the same people. They're impostors. It's good that they're out there though, because we can look at that and say, "F--k, if I ever start doing that, please shoot me." The trouble with the Rolling Stones is they have this rebellious-youth, we're-sexy-we're-dangerous thing calculated into it, and as you get older and older, that becomes ridiculous. Hopefully, with the Church, it's mainly about our music, it's not about us being spokesmen for a generation or anything like that. Hopefully that means when we're 60 we could still conceivably be playing and it won't seem ridiculous, because we're making good music together and our age doesn't come into it. LAUNCH: Are there any artists who are older that you look up to as an example of how to age gracefully? KILBEY: Leonard Cohen. As he gets older and older, he gets better and better. Everybody's got to get older--I mean, when I was a young man, I used to poke fun at "old" guys. I remember being in a music shop buying a guitar, and there was a guy in there who was 27, and I was 18. And I said, "You're 27! F--king put that guitar down and get out of the business, man! You're washed-up, you're old!" This guy was crying! And I was just baiting him mercilessly, because I was an 18-year-old young buck, y'know? That's part of the thing--certain parts of rock 'n' roll are about youth and rebellion and all of that. But okay, if you are going to get older, you may lose all that fieriness and all that, but bring your wisdom and all the things you've learned into it! I think you've got to stop singing about cars and girls and start singing about things that are appropriate to your age. And that's what Leonard Cohen does. LAUNCH: "Glow-Worm" is one of my favorites. It's a very moving love song. Who is that song about? KILBEY: Oh, it sounds really corny if I say who it's about....I've got children, and I write songs for them that I know they won't listen to now, but I just hope one day, when I'm dead and gone, they'll put my records on and realize how much I loved them. LAUNCH: Aw...that's not corny, it's sweet! KILBEY: No, it is corny; if I read that, I'd go, "Oh f--k, I don't want to hear that record!" LAUNCH: The lyrics are very vague. It sounds like it could be a romantic love song. KILBEY: No, I don't seem to write those anymore. LAUNCH: Like I said, you've become more experimental over the years, while with other bands that've been around a long time, it's the other way around. KILBEY: Isn't that good thing? I'm happy that you see it like that. My ambition is to make weird music. Anything but ordinary. Anything except someone saying it's "nice." It's good because everyone has a bent like that in the band--nobody wants to do ordinary things. I even thought "Under The Milky Way"--even though it was a "pop" song and a hit single--I still think it had enough of a strangeness about it to justify it. I don't mind playing it now, because even that song is off-the-wall enough. LAUNCH: It was a very different time for music when "Milky Way" came out, even though it wasn't that long ago. I know you've been really outspoken about your dislike of the music industry, but wouldn't you say the business is even worse now? KILBEY: Well, the strange thing about the music industry is most of the people in the music industry don't like music, and don't like musicians. I've always thought that was really weird. People always say, "How does it feel to be on such-and-such label?" And it's like, who cares? As long as you can buy our record, who cares what label it's on? It's the record, surely! I don't see why anyone who likes your records cares what your relationship is with your label. It's like, if you're betting on a jockey in a horse race, you don't care if him and his wife are getting on well, do you? LAUNCH: So, who do you think your core audience is today? KILBEY: I'm not really sure. I like to make music for my peers, and we're all fortyish, so I'd hope that fortyish people are listening; maybe they're not. But if it's young people, that's fine too. No! There's a lot more interesting things he had to say, so for the complete article: http://www.launch.com/Features/fs_Start.asp?contentType=INTV&FeatureMode=In terview&contentId=661 Sorry so long, but I think it answers a lot about what we've been debating over since WCSE came out. Oh well... Al ------------------------------ Date: Mon, 18 Oct 1999 20:19:33 -0400 From: Jason Long Subject: Bounced message From: "G.Hartland" Subject: New Tabs Just to prove I'm still chippin' away at 'em! http://btinternet.com/~gez.gtr/ "Nobody wins, unless everybody wins!" B.Springsteen ------------------------------ Date: Mon, 18 Oct 1999 20:19:41 -0400 From: Jason Long Subject: Bounced message From: "G.Hartland" Subject: Ooops New Tabs Just to prove I'm still chippin' away at 'em! This is the right one! http://www.btinternet.com/~gez.gtr/ Gez "Nobody wins, unless everybody wins!" B.Springsteen ------------------------------ Date: Mon, 18 Oct 1999 20:20:55 -0400 From: Jason Long Subject: Bounced message From: "G.Hartland" Subject: Getting up to speed Hello my fellow "listees". I hope you are all vibrant, tinglely and ripe for the picking :) This is just me getting up to speed: Is there a definitive list of Liz songs anywhere and on what tapes etc they are on?. How can I get hold of them? (I'm in the UK) Finally, I hate to mention the dreaded "C" word but Christmas is coming (and the goose etc...) So, which Xmas song would you like to hear Liz cover?. My vote is "I saw Mommy kissing Santa Claus" done the same way as "Tra La Song". or maybe "Lets have a party" by Peggy Lee (I think) although i know its not strictly a Xmas song. Au revoir mon petit munchkins! Gez "Nobody wins, unless everybody wins!" B.Springsteen ------------------------------ Date: Mon, 18 Oct 1999 20:21:54 -0400 From: Jason Long Subject: Bounced message From: "Sally Mae" Subject: Article in Dallas Observer - bit about Liz, Lilith Fair Found this thanks to the delightful Chickmail. Apparently women can't rock, at least that's what this person has the nerve to suggest. LIES!!!!!!!!!!!!!! Girl trouble Rock and roll is still a man's, man's, man's, man's world By Christina Rees Trees was packed that night, and you couldn't help but wonder whether the club would have been quite so packed if the band on stage, Sleater-Kinney, were made up of three men instead of three women. Drummer Janet Weiss was capable but not great, suffering from that awkward, constipated look common to female drummers. Corin Tucker sang her defiant lyrics in a kewpie-doll voice and stood stock-still with her guitar. And the other guitarist, Carrie Brownstein, well, she was all right. But the only reason her coolness was conceded was because she loped around stage and enjoyed the instrument in her hands with the ease of a guy, unlike her bandmates. She stood out by comparison rather than by competence. Yet music writers across the country have trumpeted Sleater-Kinney's victorious leap over old pop constructs toward a new approach to rock and roll ever since 1997's Dig Me Out; they wax on about how this is one of the most important bands of the '90s. But Sleater-Kinney's ascendancy feels more like fad than fact. Months after the release of the group's third album, it's doubtful that anyone listens to the unlistenable The Hot Rock anymore. The fact is, Sleater-Kinney hasn't so much managed to rethink rock as to drag it to an amateur slumber party, leaving things like musicianship and hooks and cohesion behind. And unlike any all-male band that might sound the same way, these three girls have been crowned for it. Face it, women in rock haven't come a long way, baby. Growing up in the '70s and '80s, there were so few women playing rock -- or at least playing the kind of rock I wanted to hear -- that it was easy to assume they couldn't. Joni Mitchell was too earnest and tedious, and Patti Smith was little more than a scrawny groupie spouting pretentious poems. Real rock heroes were rangy, entitled, and male. Guitars seemed a natural extension of their bodies; song structures and pop hooks were as intrinsic to them as eating and sleeping. The key: equal parts effortlessness and swagger, something female rockers at the time sadly lacked, and most of them still do, as Sleater-Kinney ably demonstrated at Trees. Of course, the members of Sleater-Kinney are handicapped; they come from a generation that spent its formative years scanning MTV for role models. The women who did join the '80s rock world showed up on the all-music channel wielding a very non-democratic weapon, one that most male musicians didn't need to sell themselves: sex. Right out of the gate, they wore stiletto heels and bustiers, cooing oversimplified songs in seductive voices. And the whole world listened not because the music was phenomenal, but because the singers were female, still a novelty at the time. Instead of challenging the male-dominated work of rock, they titillated it. The women who emerged during the early days of MTV, influencing a generation in the process, sold themselves on the very thing (or things) that blocked them from the ranks of the creatively and intellectually keen, and it's had lasting effects. Tits and ass, a promise of a great blowjob -- Madonna understood the backhanded power of such display, and everyone talked about her antics, not her tunes. The talent of most female musicians still comes into question because of this unspoken affirmative action, and it should. Like Ladies Night at a smarmy bar, most women get into the Rock Club for free because they have good legs, not chops. But some of them did have the chops, most notably Chrissie Hynde. The Pretenders' singer-guitarist was one of the only women of that era worth listening to, because she was lean and ballsy and wrote great songs in the post-Beatles tradition: two-guitars-bass-drums, two-part harmony, one-three-five chord progressions. It's a template women musicians might resent, but they have yet to come up with anything better. Ethereal earth-goddess jams are not the answer to bulletproof structure, nor is angsty rambling femme-folk, no matter how many magazine covers Ani DiFranco or Alanis or Jewel grace. Granted, for the non-songwriters, the playing field is mostly even -- Britney Spears is no more or less talented than male counterparts such as the Backstreet Boys, Madonna no less ingratiating than Ricky Martin. Plus, that whole contingent uses sex appeal with equal aplomb, music coming in a distant second at best. No one's ever going to accuse Christina Aguilera or 'N Sync of breaking any new ground, or fault them for it. But in terms of writing and playing your own music, if the woman can't do it with the confidence and focus of a man, then she should get off the stage. For example, Liz Phair's 1993 debut, Exile in Guyville, was lyrically raw and crammed with loose, warbling hooks -- the kind of record that proved some women could do it as well as or better than men. But then she showed up at David Letterman's studio and delivered the album's punchy opener "6'1" with hollow, shaky uncertainty and painfully real stage fright -- eyes glued to her guitar neck, voice flatter than ever, paralyzed to her spot. Absolutely no follow-through. Same goes for the Breeders. Sure, "Cannonball" was a great song, but the rest of the album (1993's Last Splash) was awful, and, for that matter, so was their 1990 debut, Pod. Like many of their peers, Kim Deal and company were about as charismatic as cardboard, as interesting to watch live as a TV test pattern. The phenomenon is so common among the one-hit-wonder rock girls that it's hard not to watch them on Late Night With Conan O'Brien or The Tonight Show with the slightly amused trepidation of a parent who knows her kid is gonna choke during the talent contest. More often than not, they do. But just because a woman slings her guitar low and attacks a song with some confidence doesn't make her perfect. Justine Frischmann took Elastica to the top of the charts (in England, at least) on the coattails of formula, affected aloofness, and borrowed Wire riffs, and then went into hibernation, apparently cashed out on ideas. When Elastica returned last month with its first release after a four-year absence, it was obvious that Frischmann didn't use the time off to come up with anything new. Courtney Love has an ongoing and serious identity crisis, sometimes leaning back on temper tantrums or the ever-reliable T&A to hold the spotlight. And Sonic Youth's Kim Gordon is just another chick bass player with a sideline career of designing tiny T-shirts. Role model my ass. Gordon is perhaps the perfect example of what is wrong with women in rock. She is a stereotype: the token female in an all-male band, another girl who decided at the last minute to join her boyfriend/brother's band and picked up bass because it's allegedly the easiest of the rock instruments to learn. Female musicians like Gordon did not spend their teenage years banging away at chord progressions, building a record collection, or considering their relationship with rock anything more than a hormonal affair. They didn't start playing music because they were compelled to; they did it because they might as well. Talent's not an issue, because they have none. Women use excuses not to learn to play music well, but that shadowy affirmative action protects them from heavy scrutiny. Beauty, politics, a parallel career as an actress-model-whatever -- you name it, they'll use it to sidestep the pursuit of technical or aesthetic prowess. The most offensive female crutch for weak musicianship is political, and the riot grrrls are the biggest culprits. Spawned from the anger of youthful feminism, this contingent careens along on recycled gender theories about the imbalance of power and has yet to show that one of their own can write and play a decent tune. It would be far easier to listen to a political sermon from a woman who knows her E-string from her g-spot. If you don't like the music guys make, then pioneer your own musical forms, but keep in mind that two-chord abuse and shrill ranting does not a pioneer make. You can't beat someone at their own game if you can't play it. Several years back, Elvis Costello piped Bikini Kill over the sound system before his show at Starplex Amphitheatre. Instead of coming off as Costello making a bid for hipness, it felt more like a challenge: If you can sit through this tripe, you can stay for the real music. So depressing was the aural onslaught and the horrid discrepancy of talent between Costello and Kathleen Hanna, it was tempting to leave. Hanna couldn't write a Costello-caliber song to save her scrappy little life. Costello, however, could write Hanna's entire oeuvre in about five minutes. To the same political end, the Lilith Fair population seems to think that cloistering their music in an all-female nunnery will make it sacred and precious, but it really just protects it from the big, bad, cross-gender world. Seems cowardly, given that Lilith Fair's audience will embrace just about anything with two legs and labia, no questions asked. It's like playing your songs for your mom. And all those guys in the Lilith audience are either just as frightened of male constructs as women, horny, or gay. Not surprisingly, the few women who have successfully redrawn some of pop's parameters for their own aesthetics aren't cynical young girls in tiny Ts or post-folkie earth goddesses; PJ Harvey and Bjork are too busy forging their own sounds to be concerned with what the boys or girls are doing. If these two bona fide musicians sometimes come off angry or anguished, it has nothing to do with a battle of sexes -- it has to do with being human and communicating human conflict. It seems that the R&B and hip-hop heroines understand this universal condition far better than so many pop women. While Lauryn Hill, Missy "Misdemeanor" Elliot, and Macy Gray never deny their femininity, they don't make it a war cry or an excuse to turn out anything but the strongest, most intelligent material they're capable of. This is the upside for a truly musical woman: She floods public consciousness because of her talent, not despite her lack of it. And there are women rockers out there who can do the same. For every guitar-frightened Liz Phair, there's a Carrie Brownstein; for every numbingly self-righteous Natalie Merchant, there's an unassuming drummer like Yo La Tengo's Georgia Hubley. It's enough to almost give you hope. Instead of turning off the stereo at the first sound of a female voice, wait a few bars to see where she's headed. But more often than not, she'll likely end up at the same place Sleater-Kinney resides: at the top of this week's critics' list, with nary a great tune in sight. ------------------------------ Date: Mon, 18 Oct 1999 22:49:40 EDT From: Emerald314@aol.com Subject: Re: support-system-digest V2 #308 Oh Dan.... Untouchable Face, Tear in Your Hand, AND Faith?? I just have to say, you are the coolest. ~Emily ------------------------------ Date: Mon, 18 Oct 1999 23:44:00 -0400 From: Ascending to the Stars Subject: hmmm.. tongue-in-cheek from matador? as i'm sure many of you already know, the following appeared in today's matador news update: > Now! Carrie McLaren Presents: > Top 10 Things Matador Artists Have in Common > ... > 9. None appear on gigantic cK billboards that cover apt. > building windows, contributing to the increasingly bleak > downtown vista SOUTH of Houston > what's that all about matador? speaking of which, did anyone else find gerard cosloy's naration of a nice weekend in nyc absolutely hillarious... okay, since i spent the evening listening to Elie Wietzel speak, i am going to go do work now. later folks (:ruthie:) - -- *******Deceive*******Inveigle*******Obfuscate******* "Wild and unwise, I wanna be mesmerizing, too" "So I hope you all will see, there just isn't a place here for me" --Liz Phair "With you here with me I could be happy ... I miss who I used to be" --Jen Trynin "What's the matter with the truth, did I offend your ears?" --Aimee Mann ------------------------------ Date: Tue, 19 Oct 1999 00:05:39 EDT From: Fox913@aol.com Subject: top non-Liz songs Even though tomorrow I could have a totally different list, here are my top non-Liz songs: 1. Madonna-Promise to Try 2. Tori Amos-Winter 3. Paula Cole- Bethlehem 4. Barenaked Ladies-What a Good Boy 5. Garbage- Wicked Ways 6. Madonna-Bad Girl 7. Sarah McLachlan-Fall from Grace 8. Fiona Apple-Never is a Promise 9. Ben Folds Five-Mess Nicole visit my trading page at: http://hometown.aol.com/fox913/nowhere.html "Is it me or you that I'm afraid of? I tell myself I'll show you what I'm made of."-Madonna ------------------------------ Date: Tue, 19 Oct 1999 00:52:25 -0400 From: Jason Long Subject: Bounced message From: Chiang Subject: Re: Important brain racking question!! >Okay, so I was listening to the radio and I heard the lyrics "I Don't Wanna >Pickle, Just want to ride on my motorcycle." This is from the late 60s early >70s. It might be by Janis Joplan, Country Joe & the Fish, or Arlo Guthrie. The last one's correct. It is 'The Motorcycle Song' from Arlo's first album 'Alice's Restaurant' - -- http://members.aol.com/chiang1 ------------------------------ End of support-system-digest V2 #309 ************************************