Precedence: bulk
Subject: Chalkhills Digest #5-132

         Chalkhills Digest, Volume 5, Number 132

                  Friday, 12 March 1999

Today's Topics:

                 Now dont get me wrong!!!
                 Nurse, Where's My Mush?
A Very Long Rant On Why The Prodigy Can't Have My First-Born.
                    Amplify his Call.
                     Re: Beauty & XTC
                Re: MY PRE-MIDLIFE CRISIS
                     Thoughts re: AV!
                         who, who
                   Re: AV2 Drummer Info
            A Thought-Experiment in Nastiness
     Getting old, misheard lyrics, Omnibus and stuff
                 Re: demos and (non)such
              Re: Dave, Dave, and Dave again
                     re: dictionmary
                     One more time...
                    A Few Observations
                  Nonsuch all over again
             It's the Pictures that got small
               Masturbating with one arm...
          more on beauty (and the color yellow)
                   little drummer boys
                  Dressed in Yellow Yolk


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    The views expressed herein are those of the individual authors.

    Chalkhills is compiled with Digest 3.7 (John Relph <>).

You can see it on TV / From the pleasing safety of your armchair.


Message-Id: <s6e8d9eb.042@OAG.STATE.TX.US>
Date: Fri, 12 Mar 1999 08:46:59 -0600
From: "Steve Oleson" <Steve.Oleson@OAG.STATE.TX.US>
Subject: Now dont get me wrong!!!

In C #5-129 David Robson mentions that: "It appears that many on this list
tend to favour the early XTC releases over the later ones."

I believe that this statement is true, and have two theories that might
account for this.

1. People generally have the greatest affection for the recording that
"flipped the switch" for them, and turned them into fanatic fans.
Chalkhillians are die-hard fans, and die-hard fans are by definition, people
who are fans of long standing. Therefore, they generally favor the earlier

2. The recordings of the late 1970s were unique. There was no one who made
music similar to the music XTC made at that time. Their expressive use of
dissonance and atonality was brilliant and original. They continued to
develop this style of music through The Big Express. After which, their
music became much more melodic, harmonic, and traditionally composed, more
like music created by lesser mortals.

Now dont get me wrong...
I LOVE and treasure every recording XTC have done, and expect to continue to
do so. However, I think that THOSE elements (mentioned above) which made
them so original, bracing, and unique have been left out of their "big box
of paints".

Please dont take me for one of those fans who wish that XTC "still made
music like they used to." I applaud them for continuing to evolve and grow.

Steve Oleson
Austin, TX


Message-Id: <>
Date: Fri, 12 Mar 1999 09:26:26 -0600
From: John A Lane <>
Subject: Nurse, Where's My Mush?

At 11:02 PM 3/11/99 -0800, Dom Lawson wrote:
>I'm getting old. Not sitting-in-plastic-pants-full-of-three-week-old-poop
>old, but old nonetheless. It crept up on me, like bad wind, and threatens to
>trample on all my adolescent dreams. Where once I was lithe, lean and many
>other things beginning with 'l' I am now increasingly flabby, woefully unfit
>and losing my few remaining marbles with alarming speed. And I'm only twenty
>six. "Apple Venus Vol.1" doesn't bloody help much either.

Take a number, sonny. I turn 30 this year. As your twenties slip away &
your waistline slowly but suddenly becomes Oliver-Hardy-esque, you'll look
back on 26 and wish you had it. I certainly do.  As for AV1, for me at
least, it kind of reaffirms that life can be alright no matter how much I
find myself settling into OldFarthood. I'm glad I've got x-number of years
experience to be able to appreciate this here and now. You're right --
would we have truly grasped it if we'd been any younger? Depends on the
person. I myself would have been too restless (like I was when 'Nonsuch'
came out).  So relax and enjoy, friend! We all made it to this point;
that's worth celebrating, right?

>I ...find
>myself becoming increasingly amenable to the idea of a nice Van Morrison box

Good GOD, man! Life isn't that bad, is it? ;-)
Next thing you know you'll be buildig a humidor in your house and
collecting friends with names like "Biff".
Get out of the house now and take a nice long walk.
p.s. Now i'm going to go have a good cry because I'm *choke* turning *sob*
30 this year...


Message-Id: <>
Date: Fri, 12 Mar 1999 10:49:59 -0500
From: Ben Gott/Loquacious Music <>
Subject: Endorsements


So, I was lying in bed this morning (no Friday classes!), thinking about
various things: annotated bibliographies; my paycheck; the upcoming March
Break.  Of course, my XTC "shrine" is within spitting distance of my bed,
so it wasn't long before my thoughts turned to the Boys from Swindon.  I
started to ponder the current "Apple Venus" sale situation, and the "are
they making money?" question that seems to be arising again.

Then, I got in the shower.  Now, we all know that our best ideas occur when
we're in the shower -- which is why I wasn't surprised when, all of a
sudden, like a load of bricks, it hit me:


Now, I don't mean that I want to see XTC on American TV advertising Fords,
because that would suck.  Actually, I was thinking of something that would
involve "Apple Venus Vol. 2", and a major corporation's tag-line.

To wit: the band didn't have to pay any organization (and did not get paid
by any organization) to write "Do What You Will, But Harm None" on "AV1."
But what if corporate sponsors vied for that position on the next album?
For example:

Apple Venus Vol. 2:  "Think Different."
Apple Venus Vol. 2:  "Endorsed by the American Dental Association."
Apple Venus Vol. 2:  "The Best a Man (or Woman) Can Get."
Apple Venus Vol. 2:  "Drivers Wanted."

Of course, my musings television sit-coms:

Apple Venus Vol. 2:  "And Then There's Maude..."
Apple Venus Vol. 2:  "Alf, Don't Eat the Cat!"
Apple Venus Vol. 2:  "What Would We Do, Baby, Without Us?"
Apple Venus Vol. 2:  "The Truth Is Out There..."

My final thought occured as I reached for the shampoo (my roommate Curtis's
"St.  Ives Swiss Formula"): since we know how much Andy and Colin like to
"expell gas," let's include a little "Scratch 'n' Sniff" card with the new
album, and attach St. Ives's motto to it:

Apple Venus Vol. 2:  "Inspires Your Senses With Fragrances Captured From

Now, if I were a giant corporation, I would jump at the chance to have my
name attached to the next XTC release.  I would even pay one million
dollars!  What do we think?  This beats the pants off of bumper stickers
and "Java Jackets"!

On another note altogether: I played "Your Dictionary" last night at the
popular and very well attended Residential Life-sponsored coffeehouse.  The
audience responded well...they laughed when the song got so mean it sounded
silly (at least in my performance!), and were deferentially quiet during
the "Now your laughter..." bit.  Since my topic of performance was "crazy
break-up songs," I also played "Coming Back Soon (The Bereft Man's Song)"
by Crash Test Dummies, "Red Shoes" by E.C., and "Girlfriend in a Coma" by
the Smiths.

That's it for now...


XTC SONG OF THE DAY:  "I'd Like That"


Message-Id: <>
Date: Fri, 12 Mar 1999 10:47:29 -0500
Subject: A Very Long Rant On Why The Prodigy Can't Have My First-Born.
From: "Duncan Watt" <>

This is a very long post. My apologies to those who aren't interested in
Partridge getting paid for letting someone else use his music.

>Subject: the sampling issue rages on...

Tyler Hewitt <> wrote, defending his(I'm paraphrasing
here, my apologies if I'm off) general concept of allowing musicians to use
each other's music freely and without due compensation:

(backstory:Negativland had success with an unlicensed sample from U2, and
was 'stomped' for it)

>4.  Negativland espouse a utopian ideal where everyone would be able
>to borrow freely and creatively from everyone else without fear of
>legal repercussions. This is as about as likely to occur as there ever
>being "a river of orchids where we had a motorway".  The bottom line
>is this-where there is money involved, some people want as much of it
>as they can get, all else be damned. Greed is a major motivator,
>folks, and if the environment and creative expression get in the way
>of the acquisition of wealth, they will be stomped.

Tyler, it's interesting who you're accusing of being greedy. Let me be sure
I've got this straight: Let's say Artist A uses without permission Artist
B's work to generate art that goes on to make Artist A a pile of $$$. You're
saying Artist A is the innocent, and the Artist B is the greedy one for
asking for a slice of the pie? I think you're being blinded by the fact that
in this particular case(the U2/Negativland case), the original artist was
very rich. But what about the opposite case? The rich corporate artist
stealing the poor artists work and basically re-releasing it? Do you really
have such a rosy look at this coprse-strewn world that you don't see this as
a possibility? The only reason this doesn't happen is because of the law. I
understand your wish for the utopian ideal, wherein artists shouldn't need
to lean on their work for an income, but you're really opening a can of
worms here, obviously, as unwealthy artists need to make money to live.
Alternatives are very, very shaky: government-sponsored artists(hey, cool,
"I'd Like That" just came on on my radio while I was writing this... 'like a
really high thing, say a....'), corporate-sponsored artists,
religion-sponsored artists, or maybe we should leave the whole art thing to
the rich, who can afford to do it and get nothing in return... ?

I am a musician. I did not come from a wealthy family. I have worked for
every penny I have(I make all my money from music now, after ten years of
holding down 'real' jobs as well) by balancing my art and the commerce my
artistic ability(which I have worked on almost daily for thirty years) can
generate, such as teaching and producing other artists. I, daily, face the
unwealthy artist's dilemma: I could make more $$$, but at the expense of
the very thing I'm good at in the first place: art, ironically the reason I
can do what I do is because I *don't* spend every day chasing $$$. I'm
interested in original, creative music, not lawyering. But this interest,
and my choice, doesn't mean the world owes me a living, so I'm not
complaining. It's a balancing act: art/commerce. A fair price to pay for
freedom. I'm happy to work, and because I don't fit in the tiny boxes the
music/media biz requires an artist to fit in, I'm not in line for any big
payday anytime soon. This is my choice.

Now you'd like to tell me that a greedy corporation can take my original
ideas, squeeze them into a 3.5 minute song(read:ad) for the skinny-assed
'artist'(read:Natalie Imbruglia) who looks great on MTV and was already a
TV star and just got bored and thought she'd make an album so let's say she
picked out my song because her friend told her I was cool, then have her
re-cut the lyrics with a quick gender change and take ALL THE FUCKING
MONEY?  I have lived through years of watching the Saturday night gigs go
the rich kids who just gave the tickets away, lived through having my
co-writing deemed 'arrangements' to avoid cutting me into the royalties,
lived through having a very famous producer literally accuse me, to my
face, in front of the artist(whose demos which I produced got the guy
interested in in the first place), of being 'too safe(read:uncreative)',
and then going on to literally COPY the work he supposedly hated! And he
took the $$$... I have Zen'd-out the bad things that I lived through, and
I'm still working. But I'm no longer anyone's fool. Lawyering.(ouchie-ow! I
swear, that fucking Imbruglia just came on the same station! And it's the
FUCKING ACOUSTIC VERSION! With lots of reverb like she's giving a

The fact that you weren't familiar my example(the Puff Daddy treatment of
Zep's "Kashmir" for the "Godzilla" soundtrack) explains a lot. Let me hip
you to it: PD literally plays back the original record sans vocals, then
literally grunts "come to me" over it. This is not a reconceptualization,
it's stealing. Of course, PD paid Zep a lot of money, so everyone was
happy.  But there's no way he would've paid unless he had to. How is this
different from you and I working on a piece together, then me recording it
and simply saying I was 'collaging' your ideas? If it's a hit? Will you be
happy while I lie tanning amongst the palms, drinking a cola of a mystery
brand? Under your ideal, YOU GET NOTHING, unless you quit with this 'fair
use' thread and protect the little guy. And the big guy gets protected,
too, that's how the legal system works. And why shouldn't he? You yourself
said you shouldn't take this case-by-case, but don't you see, that's the
whole point?

So you'd like Partridge to stand by and watch anyone repackage his best
work, changed to fit the biz, make $$$ off of it, and do nothing? DO
YOU(okay, sorry, no more yelling, it's not at you, it's at her) want to see
Natalie Imbruglia re-singing I'd Like That to her fake boyfriend in the
video('I'd like that... if we could just walk down some trail...') and just
take all the money? How about Oasis doing 'Greenman'("Let's all stand up
around the Greenman, he's my father and he's your father too...')

Aside #2: There's a great game we could play on the list.... here's a
possible format: (insert 'artist' here) doing (insert XTC song here):
"(insert possible lyrics here)"...

The point is: Expanding 'fair use' results in the opposite of what you wish
for: large, powerful corporations standing behind the very law that should
protect the little guy while they take what he has and repackage it to make
$$$ with. And here's a little reverse Rand for Fountainheads: why make art
if it will be bastardized for money while you stand helpless?

Tyler, you may not be as cynical as I, or you may not need to support
yourself with your art. And you're entitled to your opinions, of
course. But you're playing with the $$$ that I support myself, my family
and my art with, and too many people have done that to me in the past to
believe it won't happen again. Welcome to the music business.

Duncan Watt

Kanuba Music


Message-ID: <>
Date: Fri, 12 Mar 1999 08:19:11 -0800 (PST)
From: Jon Rosenberger <>
Subject: Amplify his Call.

Greetings Chalkwalkers,

In Chalktalk 129

Paul S. wrote about the practice in English church's of placing pagan
Icons on the walls of the church's.

Firstly I am wondering what a greenman looks like? Anyone have a pic?

I found this to be pretty interesting as I have visited England and
found the churchs to be incredibly beautiful. I don't know if that is
what AP meant in the Greenman tune or not but it was interesting

Next time I am in England I will be checking for some in the church's.

NONXTC Content

By the way Paul I am also a non-club decent cyclist if an American can
even be considered such a thing. You are fortunate to be able to see
races. They are few and far between over here. Enjoy.


Jon Rosenberger
The Mole


Date: Fri, 12 Mar 1999 08:40:05 -0800 (PST)
Message-Id: <>
From: John Relph <>
Subject: Re: Beauty & XTC

Sheridan Zabel wrote:
>I am writing in response to Jill Oleson's post regarding the 1990's view
>of beauty.
>I am also baffled by people's obsession with ugliness.

Methinks this obsession with ugliness is akin to the Punk backlash in
the late '70s.  The music that was being made then was this big
bombastic orchestral over-produced art-rock, lavishly and expensively
produced.  Punk was a reaction to that: low-tech badly played trash
that ANYBODY could make.  The music on the charts today is mostly
beautiful music (there are exceptions, of course), lavishly and
expesinvely produced (Celine Dion comes to mind).  So the expected
reaction is the embrace of ugliness in music.

Just my two cents.

	-- John


Date: Fri, 12 Mar 1999 08:43:58 -0800 (PST)
From: relph (John Relph)
Message-Id: <>

Dominic Lawson <>, usually referred to as "Our
Dom", wrote, and I am leaving out the vast bulk of his excellent work:
>I'm getting old.

And that three massive paragraphs of sorry self-analysis had me, as
they say in cyberspace, ROTFLMAO.  Yow.  Keep up the good work!

You summed it all up, I think.

	-- John


From: "Tim Lovegrove" <>
Date: Fri, 12 Mar 1999 12:02:45 -0500
Subject: Thoughts re: AV!
Message-ID: <>

- First let me say its simply a great record
- IMHO there is only one weak link ( Fruit Nut)
- initially wasn't impressed with Frivolous either but the damn thing
  just doesn't give up and I love it now.
- to continue on the Colin Moulding note, he is one of the few
  pop/rock bass players over the last 25 years that I often will find
  myself listening to the bass playing and miss the rest of the
  song.The bass parts in  Easter Theatre, I'd Like That, The
  Last Balloon, Greenman are outstanding, and that "Little Help
  From My Friends" snippet in Frivolous makes me smile.
- the chorus of Easter Theatre, the bridge in Harvest Festival,
  the last verse of Your Dictionary just come out of nowhere
  and are amazing.



Message-ID: <>
From: Steve Sims <>
Subject: who, who
Date: Fri, 12 Mar 1999 09:11:32 -0800

I did my best to avoid English history when I was in school: can someone
explain the significance of Albert/Victoria and Nelson/Hamilton?
Hector/Helen was an easy one...



Message-ID: <>
From: "K. D." <>
Subject: Re: AV2 Drummer Info
Date: Fri, 12 Mar 1999 09:34:48 PST

>Does the "Pentium" jingle/arpeggio trigger "Vanishing Girl" in anyone
>else's mind?
>       Does the opening of "I Can't Own Her" evoke Conan O'Brien's "In the
>Year 2000"?

Haha!  Hadn't recognized the "Vanishing Girl" similarity until now, but
Conan's "In The Year 2000" skit sounding like the opening to "I Can't
Own Her" is right on the money!  Which isn't really saying anything good
about either thing, but Can't Own Her's opening is a lot easier on the
ears.  I'm sure we could find a million crazy similarities between
sounds in XTC's music and other pieces of pop culture with all of the
unique sounds they incorporate into their songs.

Now I have the skit's theme going through my head...ack!



Date: Fri, 12 Mar 1999 12:23:42 -0600 (CST)
From: Marshall Joseph Armintor <>
Subject: A Thought-Experiment in Nastiness
Message-ID: <>

 << Hypothetical question:  If Elvis Costello and Andy had been married,
who'd pen the nastier song about it?  ;-) >>

  Heh heh.  Well...
  I adore _Blood and Chocolate_ (it's my wife's favorite EC record),
maybe because after ten years of throwing tantrums on vinyl, EC pulled the
gloves off after his divorce and said, "Okay, you left me, I'm going to
write a WHOLE ALBUM ABOUT YOU, SUNSHINE!  Take that!" the process he
showed how personal and human he could get.  It may sound odd to say this,
but I think _Painted from Memory_ is B&C's natural bookend-album: the
lyrics seem to be from the point of view of the resigned, disappointed
lover rather than the angry, betrayed one.
  I've said this before, but I think the reason _Your Dictionary_ is
startling is that Andy's never really cut loose in precisely that way.
XTC's got angry and sarcastic songs, but never like that one.


np Robert Pollard, _Kid Marine_


Message-ID: <>
Date: Fri, 12 Mar 1999 13:31:17 EST
Subject: Getting old, misheard lyrics, Omnibus and stuff

Hi all,

Dom's post about getting old probably warmed the cockles of my heart,
although I can't say for certain because I don't know exactly what cockles
are. In my youth, I was a metal/punk kind of girl... the louder the
better. And I was 29 the day my at-the-time fiance and I were watching MTV
and wondering of a performer, "Is that a guy or a girl? How can you tell,
with that awful hair?"  It hurt, I tell you. But I'm a much happier person
now, if that counts for anything. And at 34, I still have no qualms about
going out in platforms and a boa if the mood strikes (Dom, this may not be
much reassurance to you, I realize), so I haven't *completely* atrophied.

It seems that *almost* everyone who's weighed in as being disappointed with
AV1 has expressed a preference for the harder, edgier stuff. (If this is
not the case with you personally, please note that I said "almost." Thank
you.) I suspect that these folks would have been disappointed with any
orchestral album, not just what this one happens to offer in that
genre. And when I was 20, I'd have felt the same. Which has left me
wondering on more than one occasion, "I'm 15 years older; Andy's 15 years
older; Colin's 15 years older... what's up with you guys?" By which I do
not mean at all to suggest immaturity or inferiority, just that I can't
begin to conceive of craving or relating to the same sort of music I
enjoyed back in the days when I dated guys mostly on the basis of really
excellent hair and thought glittery Flying Vs were kinda bitchin'. Maybe
this is just a sign that I had a much scarier youth than most... anyway...

I'm beginning to warm up to the idea of not including a lyric sheet. As
I've listened to this album obsessively, I've found that each song
temporarily becomes my favorite at the moment I fid you can't beat that
kind of entertainment. Oh, to whoever it was that listed "He's the
greenman" as one of their amusing mishearings... I couldn't figure out what
was funny about that until the next time I heard the song and realized
where, exactly, you were hearing it. Now it cracks me up regularly.

Count me in on the Nonsuch-lovin' bandwagon... this one remains my favorite
(although I do have to edit out two songs, but I've had songs I skipped on
every album until the new one, so that's no great sin). And I think Omnibus
is genius, and I'm female, not English, and completely inexperienced in the
ways of weird social encounters on public transportation.

Re the sales figures that were posted here of 13-thousand-and-some-odd... I
assume those numbers were based on Soundscan? If so, keep in mind that that
mostly comprises major chains; my little shop sold 20 the first week and 10
the second, and we're not included, so I'd imagine the actual sales are
higher. To the person who thought that the 1400 members of this list were
XTC's sole support: fear not, there are plenty of people out there who love
this band, but not to the extent that they wish to be constantly updated on
their activities. I've sold CDs to quite a few of those people myself, not
to mention to people who've never heard of them before this album and are
blown away. They may never sell 30 million albums, but for an indie release
by a band that won't tour, this album is doing freakishly well.

The Gallery of Indispensable Pop Music / \ the coolest cds on the Internet


Message-ID: <>
From: "K. D." <>
Subject: Re: demos and (non)such
Date: Fri, 12 Mar 1999 10:44:49 PST

>one other thing i'd like to toss out there: with the exception of one or
>two songs 'nonsuch' is one of my favorite albums of all time. when i go
>through my stacks and rediscover xtc (about every 3-4 months) 'nonsuch'
>is the album that gets played and fawned over the most. i wish 'smartest
>monkeys' had been shunted off to some scrapheap release like 'rag &
>bone..' and 'wardance' i often skip over, but every other song on the
>album is an emotional, artistic feast for me. i'm only saying this b/c i
>hear the album getting bashed alot and i see it in the bins for $6.95
>new, and it burns me up. i feel like the album is being overlooked by
>xtc fans the same way xtc is overlooked by people this world over.
>i welcome anyone's thoughts on the subject.

Nonsuch is pretty much my favorite XTC album.  "Crocodile" and "The Ugly
Underneath" are right up there in my all time favorite songs of any
band, and other great songs like Peter Pumpkinhead and Disappointed are
high on the list as well.  I think it's big draw for me is that in my
opinion the album is the least "happy" XTC album as a whole.  It's sort
of funny to think of having the charming love songs that are included on
the album mixed in with Crocodile, Ugly, and Disappointed, but it pretty
much all works.  Nonsuch was created during what sounded like a downer
of a time for the band-Andy especially-and you can hear it.  It's nice
to hear that someone else thinks that Smartest Monkeys sticks
out...being one of my least favorite songs, I like War Dance well enough

On a side note, I just wanted to thank the list for providing me many a
laugh.  I haven't been able to read my mail much lately, but going
through the backlog today and seeing the many amusing posts really makes
for a good time.  I just have to stop myself from replying to each
one...don't want to fall into THAT trap (OK OK they KNOW they're funny,
no need to make an arse of yourself.)  So, uh, keep up the good work!?
And yes, I also enjoy the
not-so-humorous-but-very-interesting-and-often-insightful messages
included in each list...the trolls and flames I can live without, but
even they have their humor and insight.

(Maybe I should just crawl back under my rock and continue to
lurk...hehe.  Oh yeah, and await the arrival of a Rag & Bone Buffet
equivalent filled with leftover AV songs and anything else the guys can
part with.)
Get Your Private, Free Email at


Message-ID: <>
Date: Fri, 12 Mar 1999 14:40:30 +0000
From: Brian <>
Subject: Re: Dave, Dave, and Dave again


Todd "39 is NOT middle aged!" Bernhardt posts:
>I think this is where computers will make their presence most known in the
band's future. You're right, Dave's a stunning and distinctive keyboard
player, and his contributions are obvious on Colin's AV1 songs, but he
mostly mimics Andy's parts on Andy's songs (part of the reason for Dave's
frustration, I'm sure). Because the computer can, to a degree, render
technique irrelevant, I think they'll just program the keyboard parts in
the future. That means they'll run the risk of losing the "feel," of
course, so maybe they will bring in someone.<

I agree with inevitability of it all. There are already a number of
artists in one genre that already are superstars - The Chemical
Brothers, The Dust Brothers, Beastie Boys - and all use technology in a
big way in producing their cuts. The tools and the technology are out
there, and all you need is the talent - of which there is none lacking
in XTC.

* Digital & traditional illustration/animation
* Caricaturist-for-hire
* RENDERMAN ~ One-Man Band Ordinaire


Date: Fri, 12 Mar 1999 11:40:14 -0800 (PST)
From: Misty Shock <>
Subject: re: dictionmary
Message-ID: <>

<<Hypothetical question:  If Elvis Costello and Andy had been married,
who'd pen the nastier song about it?  ;-)>>

Gee, Andy can be bitter, but Elvis is a bonfide bitch, God love him. Just
look at This Year's Model, an album which people love, but which I think
gets very tiresome in its unremitting vitrol.  I think that any bitterness
in Andy's songs is accompanied by this undertone of pain, whereas any such
pain in Elvis's songs is obscured by this masculine, tough guy, anger
thing.  In short, Andy seems more *sensitive*, while Elvis is a crank!
This is why I like XTC more -- because Elvis just never seems to happy
with anything.  For example, a simple Elvis Costello love song does not
exist (except for maybe the aptly named song "Uncomplicated").

Misty Shock
"No round of drinks can extinguish this feeling of love and engulfing
bliss."						--Andy Partridge


Message-ID: <>
Date: Fri, 12 Mar 1999 11:50:20 -0800 (PST)
From: Tyler Hewitt <>
Subject: One more time...

In my career as a visual artist I have often found myself
>in the position of appropriating images to incorporate into my own
>collage-based work.  The key here is recontextualization.

That's just a bunch of fancy words for theft, innit?

NO IT ISN'T! and that's the point I've been trying to make all along.
These ideas of appropriation and recontextualization are not new
ones-check out Dadaist collage, especially the work of John Heartfield
and Hannah Hoch for proof of that. Using appropriated source material
gives the work a meaning that goes beyond what is possible from using
only original images.
I've really said about all I can about this. You want to see it in
action, go to your local library and look up John Baldessari. Since
the early 1980's this California-based artist's work has consisted
almost entirely of images appropriated from film. It's all borrowed
imagery, but he manages to create complex, intelligent, thought
provoking art which has been hugely influential throughout the art

Whichever side of this argument you're on, it is difficult to deny
that engaging art, both visual and musical, has been created from
borrowed source material. It's there, people, much of it is good, and
some of it has enabled major conceptual advances in the arts..

To restrict access to source material, and to make arists and
musicians fearful of litigation should they choose to communicate
their ideas in this manner is a serious threat to the development and
evolution of the creative arts.


Message-ID: <>
From: "Joe Funk" <>
Subject: A Few Observations
Date: Fri, 12 Mar 1999 11:34:11 PST


A few quick observations, then on to more important things:

"S-H-I-T  Is that how you spelled me in your Dictionary"  will not,
Repeat, WILL NOT be the name of any forth-coming XTC album....
nor will the last line of the first verse.....

Also, my last contribution to ths list, "Mr. Funk Completely" ( Mr. was
spelled as "missed her" ) was either lost, or rejected by the chalkhills
Police.  Besides the title, of which I meant to offend no-one, the body
of my message basically said " I AM BEING MIS-QUOTED!"  Way too many
>>>>> have led a few folks to believe I had a distaste for ROO!  Far
from the truth!!!! " One of THE Best Ever!!!!" -quoted from this month's
issue of "Jomama Reviews". Whew!!! Had to get that out!

Jill Oleson, Bless her heart, brought me back a suprise from SF: a
signed poster ( about the size of an LP ) of AV1 on which AP wrote the

" To Joe Funk;

               F-U-N-K is that how you spell Waltz in your dictionary.

Andy Partridge"

Needless to say, I put AP up to this by having him fill in the blank, that how you spell ( insert superlatives here ) in your
Waltz?.......Waltz!!?  Humorous indeed, but there must be some hidden
meaning here.......  Any ideas out there, Chalkerz?

Anyway, I am having the poster framed and matted to place next to my
signed Todd Rundgren poster. ( Just Kidding!!! ) It is going right next
to my Beatles Photograph ( circa 68 ).  Thanks Jill!!!!!!!!!!!!!  What a
Darling!!  Carried it on the plane herself so it wouldn't get damaged!!!

Got to go!



Message-ID: <618F91505D89D21185330001FA6A49544646C4@HFD-EXCH008>
From: "Witter, Karl F" <>
Subject: Nonsuch all over again
Date: Fri, 12 Mar 1999 15:17:19 -0500

There have been some posts about arranging Nonsuch in some sort of
subject order for a story arc. However, the more I listen to AV1
the more I want to divide Nonsuch by sounds. What do you think?

More like AV1 style: My Bird Performs, Bungalow, Rook, War Dance,
Humble Daisy, Wrapped in Grey.

More like O&L style: Peter Pumpkinhead, Dear Madam Barnum, Holly
up on Poppy, Disappointed, Crocodile, Then She Appeared, Smartest
Monkeys, That Wave.

Other: Books are Burning, Omnibus, Ugly Underneath. To my ears the
three most confusing tracks, and they defy categorization (even by
XTC standards).

Here the maestro put down his pen,


Date: Fri, 12 Mar 1999 11:09:23 -0800 (PST)
From: Misty Shock <>
Subject: Dave/REM
Message-ID: <>

I have a question that is shallow and irrelevant and just symptomatic of
my voyeuristic desire to know 'bout the private lives of the band...
What happened between Aimee Mann and Dave?

Also, I did just read the Mojo article, and I have to agree with the
person who said that it's a damn shame we have such shitty magazines in
America.  What a great overview of XTC's career, and I was impressed by
the author's knowledge in his review of the albums!  I'm curious
about one thing the article mentioned -- what XTC songs did REM
play when opening for the band?

In addition, regarding Dave and his diabetes, Colin seems to agree with
Andy in his statement about the affects that Dave's diabetes had on his
attitude.  If this is nonsense, as Amanda claims, is it that Colin is just
used to agreeing with everything that Andy says?

Love the horrid picture of Andy in the plaid, BTW.

Misty Shock
"No round of drinks can extinguish this feeling of love and engulfing
bliss."						--Andy Partridge


Message-ID: <618F91505D89D21185330001FA6A49544646C5@HFD-EXCH008>
From: "Witter, Karl F" <>
Subject: It's the Pictures that got small
Date: Fri, 12 Mar 1999 15:26:42 -0500

>"The British film The Full Monty is being turned into a stage
>musical in the US."

Aarrgghh! When will we learn? What's wrong, there aren't any
2-1/2 star French comedies left to reshoot in English?

I'm one of those Yanks who goes to the art cinema and loves the
"little Englishness" of many imports lately. The good indie-
style movies all have a flavor, no matter where made, which
isn't bleached out of the final product. It's sort of the
"shed" way of moviemaking and I'm the first to hail the better
distribution of such films compared to when I was in college.

So why fuck with the good buzz and warm feelings we Yanks have
for The Full Monty? The Broadway stage will do for that what
it did for "Big" (a good Hollywood movie) and "Footloose" (an
okay Hollywood movie): Turn it into "Grease" reincarnate. Or
worse, it could collapse under its own weight and never even
get to Broadway.

Musicalisation 101 demands certain questions be answered:
So why this? How can it be as intimate and unguarded as the
(actors in the) movie made it? Where are they going to find
six less-than-beefcakey actor/dancers for the American
stage? Will they put on body padding to look less attractive?
What will the songs add to this?

No real XTC content, except for XTC being the example of
having something perfectly of its time and place, and *not*
screwing it up along the way.

The poor sap--he always wanted a pool,


Message-ID: <>
Date: Fri, 12 Mar 1999 12:03:49 -0800 (PST)
From: Tyler Hewitt <>
Subject: Masturbating with one arm...

I just spotted the 'joke' in 'I'd Like That'.

>If I could row your heart and head
>With you laid on one arm
>I'd be your Nelson if you'd be my Hamilton, what fun

Nelson  - one arm, geddit? Ithangyou, thangyouverymuch.


Reminds me of when Andy was on MTV's 120 Minutes back around '92 or
so, and said "I'd give my right arm to be in Def Leppard!"

Maybe there is a bit of a leitmotif here-could tie in to all the
masturbation jokes in Song Stories...


Message-ID: <900822C71730D2118D8C00805F65765C48190D@EINSTEIN>
From: Jill Oleson <>
Subject: more on beauty (and the color yellow)
Date: Fri, 12 Mar 1999 15:21:35 -0600

Thanks to all those Chalkers who responded to my post about
beauty and its role in our contemporary world.  It's nice to see
a topic like this taken seriously and I appreciate those who wrote
me personally and those who posted responses to the group.

Todd Bernhardt was quite right in his assessment that
artists seem to be rejecting beauty simply because it is
beautiful.  That was a point I did not make clear in my original
post.  He also clearly illustrated the point that artists (musicians
included) often create their strongest work out of their most
intense pain, in other words, out of emotions/thoughts/events
that are so unpleasant they might be termed ugly.  His example
was "vitriolic breakup songs" having to do with the pain one
endures when a relationship between two people is breaking apart.
I agree; many of the world's best artworks have been inspired
by the state of mind triggered by such events.

Unfortunately, simply being alive means that we will suffer both
great beauty and great pain--often both extremes at once!  But to
accept one without accepting the other seems foolish at best,
and perfectly shameful at worst.

In his work "Nadja," the French Surrealist Andre Breton wrote
"Beauty will be convulsive or not at all."
[La beaute sera convulsive ou ne sera pas.]
And by that, I assume that he meant that there is such a strong
relationship between beauty and ugliness that one is not possible
without the other, and that both are capable of eliciting very
strong responses from the viewer (or in the case of music,
the listener).

All this reminds me of a painting by American Abstractionist
Elsworth Kelly entitled "Who's Afraid of Yellow?"  As I understand
it, in this painting the artist was making the point that the color
yellow--just because it is sunny, happy, and bright--is still a valid
color for making artwork.  (Goths and post-punks take notice:
black is not the only color!  Of course, some would say that black
isn't a color at all and others would say it is all colors at once, but
that is another discussion altogether.)

Jill Oleson
Austin, Texas
[who notes "The Mind is a Terrible Thing to Taste" and likes it!]


Date: Fri, 12 Mar 1999 16:40:04 -0500 (EST)
Message-Id: <v03007800b30ef32e774a@[]>
From: Mitch Friedman <>
Subject: little drummer boys


Who will play drums on AV2? Depends. If in April or May when Andy and Colin
get back home and give a good listen to what they've already
started/finished on the songs for AV2 and they like what they have then
Prairie Prince will be the drummer (since he's done all the drumming for
all the AV2 songs already). But Andy mentioned that they might decide to
just start the whole thing over again so that it all has some continuity in
sound in which case Dave Mattacks would be brought in to re-drum.



Date: Fri, 12 Mar 1999 17:32:23 -0500 (EST)
From: Tom Getter Slack <>
Subject: Dressed in Yellow Yolk
Message-ID: <>


After claiming the right to waste bandwidth because I rarely post, here I
am posting for the second time in a week. There's nothing like new XTC
music to make a soul appreciate the ability to share viewpoints with the
family of intelligent music (and beauty) lovers we have here.

(Actually, I must apologize for the somewhat vitriolic intro to my last
post. If one could picture a narrator, it would have been Dennis Leary, a
man who is as likeable as a whirly in a bus station toilet. I tend to
project my own distaste for music "experts" into a defense of XTC, which
isn't really necessary with this crowd.)

Anyway, I would like to thank David Edward very much for his recent post -
it was the most enlightening perspective on the inspiration of our Mr.
Partridge that I have seen yet. I will most certainly be reading Joseph
Cambell's work, and expect that I may find it to be as comforting an
affirmation of my own life values as I seem to derive from the
uncompromising devotion to the muse exemplified by XTC.

My own personal take on the "now the son has died the father can be born"
line: I experienced a deep empathy with this line the first time I heard
AV1 because of the recent death of my father. It's difficult to explain
unless you've been there, but I couldn't fully realize the role of father
that I serve for my own children until my own father passed, both because
I was no longer actively in the role of son, and because I no longer had
the power of his guidance. The mantle was passed, so to speak. When my
daughter was born, I actually felt that a certain life force was pulled
out of me and into her; this will belong to her long after I'm gone, and
she may need it in the role of being a parent.

Sorry for the very personal missive, but I thought you all might
understand the revelation that can occur when a lyric from an XTC song
touches you in a very meaningful and relevant way.



End of Chalkhills Digest #5-132

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