Precedence: bulk
Subject: Chalkhills Digest #5-160

         Chalkhills Digest, Volume 5, Number 160

                   Sunday, 4 April 1999

Today's Topics:

        Sgt. Pedant and his lonely history lesson
                      Drinking songs
                       Request XTC
                  influential influences
                    Re: Rhythm Matters
                 Happy Easter Theatre!!!!
                     music theory 101
                       The Una-guy
           Even the singer from Bow Wow Wow....
           Re: I Buried Col and Backin' vocals
                     hipocrite (sic)
                        Re: Pepper
                        GO2 Sleeve
          Seagulls Screaming Kiss Her Kiss Her?
     Novice's impressions/Harvest F Appreciation Club
                     Set those videos
                      XTC interview
                 Roky Erikson informatoin
 Thanks for the soothing suggestions + My "Sgt. Peppers'"
                   You Don't Know Jack


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    The views expressed herein are those of the individual authors.

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

Enter Easter and she's dressed in yellow yolk.


Message-ID: <>
Date: Fri, 02 Apr 1999 16:20:23 +0000
From: chris vreeland <>
Organization: Vreeland Graphics
Subject: Sgt. Pedant and his lonely history lesson

Me I'm just the lucky kind
Love to hear you say that love is love
And though we may be blind
Love is here to stay and that's enough....
		--John Lennon, fixing one of Paul McCartney's doodles

Greetings from the far-flung Isles of Langerhans-

Finally feeling the need to weigh in on a couple of the recent threads-
pardon my tardiness, as they may be old news already, but actually, I've
been out of town celebrating the Vernal Equinox astride an active
volcano with a beautiful virgin child. (Wait. Before all you pagans get
exited, my six year old daughter came down from Mt. Hood alive and with
a smile on her face.)

I left Apple Venus in my suitcase for two weeks, and finally put it on
the headphones for the first time a couple of days ago. I think I may
have astral-projected during The Last Balloon. I won't bore everyone
with a pedantic song by song description of my maudlin emotings just
yet, though be assured I'm not done shedding tears of joy.

Aahhrrem... Sgt. Peppers.   Let me begin with a toast to Harrison
Sherwood. It was your eloquent poem-rambling on this subject that caused
me to reach for the print button for the first time since subscribing.
It's being passed around, down here. Let me know when you get published,
I'll pre-order 10 copies of whatever it may be.

My Sgt. Peppers?  Welllll............(drums, please).....Sgt. Peppers!
The Reason:

(part 1, the Recording)

Let's visit the historical reasons why we refer to Sgt. Peppers instead
of some other album in discussing this topic. For several millennia,
music was performed live. At some point during the last few hundred
years of this time span, a notation system was devised whereby a
composer could write music in one location, and musicians he had never
seen or met could perform (roughly) the same piece in other places, on
multiple occasions. This, to my thinking, must have caused a major
paradigm shift, at least in the "western" world, as to what music was
good for.

In the early 1900's, there was another major shift, with the invention
of a practical, commercially viable method of recording. For some 60
something years, however, the concept stayed pretty much the same. A
musician or group performed a composition live, which was recorded for
playback. Even when the technological advance called "overdubbing" came
along in the late fifties, it was for several years sort of a "gee whiz"
idea. Look ma, I played rhythm AND lead guitar.

This is where Sgt. Peppers comes in. It was the approach to the
recording concept that made the record unique at the time. For the first
time, a record was not merely a means of preserving the original work of
art, a collection of songs. Rather, the recording itself became the work
of art. The Beatles (arguably, I'm sure) were the first recording
artists to treat the magnetic tape itself as a canvas, painting with
sounds the way Jackson Pollack flung paint.  This opened up a whole
world of possibilities that we now 32 years later, take almost wholly
for granted. You can see the explosion that was "Psychedelia," and the
profusion of similar woks of art, some greater than others, from that
point foreword. Electric Ladyland, Dark Side of the Moon, Security, and
English Settlement all owe a debt of gratitude to Sgt. Peppers for being
so immensely popular, if nothing else. Sure, if the Beatles hadn't done
it, someone else would have, and perhaps some other record would rest at
that milestone. But to suggest that any other work should hold it's
place in the pantheon would be revisionist history at it's worst.

(part 2, the songs)

I'm in agreement with alot of people that overall, Sgt. Peppers is not
the strongest Beatles album, songwise, with one major exception- A Day
in the Life. This also requires historical context. (sigh)

In 1966, pop music was just that. If you wanted cultural content, or
much of an intellectual challenge, you had to look elsewhere. Pop music
was about love, (both kinds-found and lost) dancing, and not too much
else. Folk music had evolved, though. It had social and political
content galore, but it was played on acoustic instruments, and was NOT
for having a good time to.

At some point in '65 or '66, Bob Dylan took it upon himself to go to
England for the purpose of meeting the Beatles. A "summit," if you will.
(or so the legend goes.-This may be somewhat apocryphal) Dylan was
apparently extremely impressed with their musician ship, but remarked to
Lennon, "But you're not SAYING anything." well, the long and short of it
was that Dylan went off to buy himself a Stratocaster, (thereby setting
Newport on it's collective ear) and John Lennon went off to write A day
in the Life. First rock song of it's kind.  Folk music fans scattered
from Dylan like cockroaches from the light, and a new consciousness was
born of Rock and Roll. (In some respects, the snare drum crack at the
beginning of Like a Rolling Stone was the first shot fired in this
popular uprising, but that's another chapter.)

Because of it's profound influences on Western Pop Culture in the last
half of the 20th century, Sgt. Peppers will always stand alone in the
history of music.

one last note:  If I could have XTC appear at my door to perform one
I'd ask Colin to stay at my house and show me the bassline to "Roads
Girdle the Globe". Meanwhile, I'd send Andy to My ex-wife's house for
her own private listening of Your Dictionary.  I know, what a waste, but
it would be worth it. Where was that song when I was getting divorced?

Interminably yours,
The other other chris


Message-ID: <001501be7d4e$4db6cfa0$5ca5883e@o.e.e>
From: "John Bartlett" <>
Subject: Drinking songs
Date: Fri, 2 Apr 1999 22:18:05 +0100

Dom wrote;
"Chambers' thumping
dominates the album and injects so much rockular muscle into the
proceedings that it remains my absolute favourite XTC album in terms of
crank-it-up-and-shout-along pre-piss up potential. "

Meccanic Dancing can be added to that. Just  the thing before going out to
TOTS or Zero 6 to get mangled. (about 15 years ago,  of course.
Too.....mature for that sort of thing now. )


Message-ID: <000c01be7d5c$b944a720$302b56d1@mabrey>
From: "Andisheh Nouraee" <>
Subject: Request XTC
Date: Fri, 2 Apr 1999 18:01:18 -0500

Hey Chalkface!

I have about 10 issues of Atlanta's "Stomp & Stammer" magazine with XTC on
the cover.  I'm offering them to the whoever wants them.  All I ask is that
you send me an envelope with your address and postage.  E-mail me privately
if you're interested.  First come, first served.

Secondly, take 30 seconds and request Easter Theatre on 99x at the following

Just scroll to the bottom of the page and type Easter Theatre by XTC then
make up some nonsense about when you listen.


Message-ID: <000501be7d5e$f66a1de0$ad1c1d26@wes>
From: "Wesley Hanks" <>
Subject: influential influences
Date: Fri, 2 Apr 1999 15:17:20 -0800

Right, off I went on a perfectly ordinary sort of day...

Elementary school: Beatle's White Album, Revolver
Jr. High: Alice Cooper's Killer, Roxy Music's Stranded, Jethro Tull's
Passion Play
High School: Brian Eno's Before and After Science, Elvis Costello's Armed
Forces, The Clash's London Calling
College: XtC's English Settlement, Husker Du's Zen Arcade

(I have cancelled my order for my car's vanity license plate that says "XTC
FAN" as this would be wrong and horrible and in bad taste and will offend
and Andy wouldn't approve.)

Overcome with grief,
Wes Hanks


Message-Id: <>
Date: Fri, 2 Apr 1999 16:25:13 -0800
From: bg769@lafn.ORG (Ian Dahlberg)
Subject: Re: Rhythm Matters

>Does anyone actually understand how the line "River of Orchids" fits in
>rhythmically in the rest of that song. I feel it starts somewhere between
>the second bar (assuming it's 4/4 which might be wrong) and any other
>bar,I don' know, its pronounciation and intonation sounds like it had to be
>starting on the 1, but like someone moved it around on the harddisc
>recording program window.

It's certainly in 4/4; where beat one starts could be subjective but my ear
says it's right on "I" as in "I heard the dandelions..." as well as "Ri" as
in "River of Orchids" It sounds like a two bar cycle for the orchestra.

>>Same with Greenman, the intro woodwind bit is not starting on the 1 of
>>the rest of the song, how does it work ? Anyone knows ? Any tabla players
>>out there who don't get lost in 17/39 rhythms ?

>Funny - I hear this as definitely starting on the 1 in a very fast 4/4.
>The rest of the song, to me, then slows down to a more majestic 1/2 tempo,
>even though the tempo is still pretty fast. It is interesting how people
>perceive music differently.

It's hard not to think of Greenman starting on beat one. On the first
listening you would definitely think that. But when the song kicks in, the
intro placement is cleared up. The contrabassoon definitely starts on the
upbeat of one with two sixteenths (as I would notate it), or two eighths if
you think it in cut-time. Same with Wake Up. Until the bass and drums come
in, your brain places the dueling guitars an eighth off from where they are
supposed to be.

Someone named Gene pointed this out in a 1996 posting but I also wanted to
mention how similar ROO is in subject matter to Talking Heads' "Nothing But
Flowers". It certainly would be a better place if we lessened the spread of
concrete and got back to our roots! (pun intended)




Message-ID: <000101be7d72$854ccfe0$978afbd0@default>
From: "Joe Funk" <>
Subject: Happy Easter Theatre!!!!
Date: Fri, 2 Apr 1999 19:36:35 -0600

Happy Easter!!

"Now the son has died, the father can be born"
Very apropos this time of year! Don't Ya' think?

I have been listening to Easter Theatre with a passion lately, and can see
why it is being released as a single in the U.K.  It is so full of beauty,
melodrama, grandiosity and PASSION!!!  Something we're missing over here in
the states. Don't get me wrong Chalkerz... We, unfortunately, are the
exception ( loud and proud I might add! ) rather than the rule.  Personally,
I am tired of being force-fed corporate Funk Pop a Roll.  Corporate music
moguls are lambasting us with music contrived using formulated "templates"
that sell, sell, SELL!!  The commercialization of the art form know as music
in the U.S. has reach an all-time high.
John Cougar Whatever..........ARRRRRRRRRRRGGGGGGGGGGGGGG!!!!!!!
Thank God for NPR and the few renegade stations who refuse to comply with
the corporate formats.  Luckily we have such a station here in Austin; KGSR
( though I have heard Cougar on it....nobody's perfect! ), that plays a wide
variety of non-commercial and commercial music alike.  Mix and match...very
nice!  Unfortunately most FM stations have fallen prey to corporate America.
It is like Payola all over again!....What a shift from the Easter theme!
But these corporate ASSHOLES really PISS ME OFF!!!!  I just want the art
back in music, if you don't mind Mr. Corporate America!!!  Enough of the

On the lighter side...After listening to Greenman for the upteenth time,  I
noticed that Andy is playing the same guitar chord through the entire song!
Yes, this Arabic-laced masterpiece with it's unusual modal changes ( not
mention the chorus and the bridge ), has an F# anchor chord being strummed
throughout.  I am not sure what kind of guitar he is playing, but I read in
Guitar Player that he had recieved a 3/4 sized guitar as a gift.
Could has kind of a ukelele sound to it.  Andy, you genius!

And the Sgt. Pepper thing.....

Here are some of my faves:

Jazz: Miles Davis; Bitches Brew - one of the most influential jazz
recordings since Bird!
          Pat Metheny Group: Imaginary Day - Full of texture... soulfull

Zappa: One size fits all - Inca Roads is a classic ( followed right behind
by Peaches En Reggallia! )

Beatles: Love 'em all! ( well, Let it Be..not as much..I just have something
against Phil Spector..)

XTC: Until now, Skylarking had to be my favorite!  So many suprises! Great
production - mediocre mix, Todd!! ( the God of mid-range ) But AV1 has all
of Skylarking's chemistry and more.  Superb Production!! Hip Hooray AV1!!!

Happy Easter to all of you!!

God Bless,



From: (Nanette & Phil Smith)
Date: Fri, 2 Apr 1999 22:02:46 -0600 (CST)
Subject: music theory 101
Message-ID: <>

Re: the questions about River of Orchids & Greenman - it always amazes
me how many different responses these kind of questions get; almost
makes you believe the answers are subjective! Sorry - this wasn't a
multiple choice question...

From the posts I've read, I've only seen one person get it right on
River of Orchids - sorry I've got primitive WebTV so I can't go back &
credit the right person, but he/she pointed out how each section of the
vocals in ROO begins on beat 2, 3 or 4 (never on 1) over the recurring
accompaniment. (Incidentally, I can't quite understand how River of
Orchids qualifies as minimalism, a la Philip Glass or Steve Reich; my
understanding of minimalism is repetitive phrases which slowly evolve,
often with just a note or two changing every 'X' bars. Back in the LP
days, you could take a Glass orReich record, drop the needle at several
places along the record, & hear dramatically different music. Then you
could listen to the piece straight through & hear how it gradually moves
from one idea to the next. In contrast, once River of Orchids reaches
the first vocal line, the accompaniment is static & doesn't evolve any

Forgive me for droning on like, well, a Philip Glass record, but I've
always been a big fan of minimalist music, & having heard before AV's
release about ROO, I was expecting something different. I like ROO in
its own right, but it ain't minimalism.

On to Greenman - the bassoon-like lick at the start begins on 2. The two
bar rhythm is:

Beat 1 (rest)
Beat 2 (2 8th notes)  (F#, G)
Beat 3 (2 8th notes)  (D, F#)
Beat 4 (Quarter note, tied to...)  (G)

Beat 1 (...this quarter note)
Beat 2 (2 8th notes)  (F#, G)
Beat 3 (2 8th notes)  (D, F#)
Beat 4 (quarter note)  (G)
       (or Beat 4 could be interpeted as a 8th note followed by an 8th
note rest)

This rhythm is more easily heard when the middle section of the song
comes along (with the Gm & Cm chords.) The notes are different at that
point, but the rhythm is identical.

To my knowledge, the entire song "Greenman" is in 4/4.

And my vote for the hardest part of AV to transcribe - the 'distant
piano' chords before the last verse of "The Last Balloon." What is that
last chord? If you know, please let me know - also, how you determined
what it was!

-  Phil (Smith)


Message-Id: <>
Subject: The Una-guy
Date: Sat, 3 Apr 1999 00:54:30 -0500

Chris wrote:

>   That's Kacsinski, kids.

I was willing to let all the blatant misspelling of the Unabomber's name go
uncommented upon, despite the fact that I am extremely anal, but if you're
going to _correct_ someone, then you should really know the right spelling.
And the correct spelling is: Ted Kaczynski.  That is all.  Thank you.

-- Francis Heaney

"I do have a genuine and almost miserly interest in worthless objects."
   -- John Steinbeck


Message-ID: <>
Date: Sat, 3 Apr 1999 01:33:53 EST
Subject: Even the singer from Bow Wow Wow....

"Steven Paul" <> wrote:

<<This thread has been thoroughly depleated, but upon reading several
responses in digest #150, I wanted to share my Sgt. Pepper.

XTC - Black Sea and Adam Ant - Ant Music>>

Content versus form.



Message-ID: <>
Date: Sat, 3 Apr 1999 01:45:09 EST
Subject: Re: I Buried Col and Backin' vocals

 Dan <> wrote (and it bears extensive re-quoting):

<<...wouldn't it be cool if Andy
and Colin sang on each other's songs more, the way Lennon and McCartney used
to?  I think that's an important part of the Beatles' chemistry, one so
obvious people forget it's there: they had not one, but two (some would say
three) phenomenal singers to choose from, and having a middle eight or a
chorus sung by a different singer keeps the song fresh, surprises the
listener, and adds new layers of meaning to the song.  I think XTC have
gotten a little complacent about their "the writer sings the song" policy
and that there are times when it could be bent a little, to good effect.

For instance: in "I Can't Own Her," a song I consider nearly flawless, I
desperately want to hear *Colin* sing the opening "And I may as well wish
..." bit, with that still-amazing falsetto he has.  Hell, he can sing it
again in the middle too, just for continuity.  Close your eyes and imagine
it: wouldn't that be great?  Mmm ...

Of course, I also would love to see Colin and Andy write together a la
Lennon-McCartney, with one guy doing the verse/chorus, the other doing the
bridge ... but that's another fantasy.>>

I feel exactly the same way, Dan, and I am with you in both fantasies, for
sure!  Part of why I love, say, the acoustical Oranges and Lemons stuff so
much is because you can hear some staggeringly lovely Andy/Colin harmonies in
the songs.  Their voices sound amazing together, with Andy singing low and
Colin high.  As for their writing together, I'm maybe not as certain that
would work, but I'd certainly love to hear the result!

And speaking of the Beatles, was anyone else as amazed and entertained as I
was by DinsdaleP's Beatles/XTC parallels?  Scary indeed, but all quite true
and lots of fun to read!  Thanks, John!



Message-ID: <005701be7db1$78061320$381217d4@smj>
From: "Stephen Jackson" <>
Subject: hipocrite (sic)
Date: Sat, 3 Apr 1999 09:40:33 +0100

>Is that how you spell "hipocrite" in YOUR DICTIONARY? Get a spell checker!


This is a piss-take, right? Or else a waste of everyone's time......

Two steps forward, six steps back.


Message-Id: <l03110705b32b8cf869f2@[]>
Date: Sat, 3 Apr 1999 01:28:12 -0800
From: Eb <>
Subject: Re: Pepper

>From: "Steve Oleson" <Steve.Oleson@OAG.STATE.TX.US>
>The reason that Sgt Pepper is so highly regarded, is that AT IT'S TIME, it
>was so different from everything that had come before, in pop music. Prior
>to Sgt. P, songs were generally, about boyfriend/girlfriend bliss/disgust.
>This album's songs covered the spectrum of emotion....

Umm, I'll defend Sgt. Pepper to the death (though I do rank Revolver
slightly higher), but Sgt. Pepper's acclaim is hardly based in its LYRICS.
You're way offbase here. If you want to talk about LYRICS being pushed to a
new level, look to Bob Dylan about three years earlier.

As for this "What was YOUR Sgt. Pepper?" question: I believe that anyone's
musical experience should contain a LOT of little Sgt. Peppers, lots of
awakenings to various wee corners of music history. If your musical
perspective can be summed up in a discovery of just one album, you either
haven't heard enough music or are just way too narrow in your pursuits.


now recommending: The Olivia Tremor Control/"Black Foliage: Animation Music"


From: (Gary Thompson)
Subject: GO2 Sleeve
Date: Sat, 3 Apr 1999 12:54:14 +0100
Message-ID: <000001be7dc8$b205ac40$>

Just noticed something while playing the GO2 CD - when you put the inset on
top of the back cover to read all the credits, the title of the second song
is shown as ' Battery Bridges ( Andy paint Brian ).
You wouldn't guess that I'm bored would you?
Happy Easter

'We won't be told the past was pure gold
We were there and it wasn't'
Paddy McAloon


Message-ID: <>
From: "kristi leigh siegel" <>
Subject: Soup!
Date: Sat, 03 Apr 1999 07:04:19 PST

Bennett, Kristen L. writty:

>Vichyssoise (sp?) is a type of French >fish soup.  I guess it's notable
in the soup world for being served cold....

Actually, vichyssoise is a chilled French soup made of potatoes, leeks,
and cream. The fish soup you're thinking of is called bouillabaise...

--someone's in the kitchen with...
Get Your Private, Free Email at


Message-Id: <>
Subject: Seagulls Screaming Kiss Her Kiss Her?
Date: Sat, 3 Apr 99 11:52:31 -0500
From: Max Germer <>

Fellow Chalkies...

On my band's last trip into the deep dark forboding world known as NYC I
noticed that a band called Seagulls Screaming Kiss Her Kiss Her was
playing the same club a week after us. Has this already been covered
here? Anyone know if they are an original band or an XTC tribute?

Sir Yazbek - any idea?



Message-ID: <003601be7dfa$d4f9f6c0$a2fcabc3@vucqprlj>
From: "David Seddon" <>
Subject: Novice's impressions/Harvest F Appreciation Club
Date: Sat, 3 Apr 1999 18:38:17 +0100

I enjoyed reading this article from #5-156.  I agree with most of the
comments that the very perceptive listener made.  Andy is getting keener at
making the rhythms of his music fit the words.  He has always enjoyed
putting in as many syllables as he could into a bar,and no doubt he still
does.  But this music is the music of a mature songwriter on the top of his
craft.  Almost every song has an interesting or even unusual rhythmic
pattern that blends with the lyrics. I can think of only a handful of
living people who could match this grasp of songwriting that is tuneful,
interesting lyrically and challenging in an artistic way (Kate Bush and
Julian Cope come to mind, and just once in a while, when he can be bothered
like on the beautiful Golden Earth Girl, Paul McC).

I agree that the lyrics of HF are incredibly good.  I don't think he's ever
written better.  It is poetry indeed.  One of the reasons HF sounds so
celebratory is because it has that bitter-sweet quality of a hymn:chiming
piano, hall-like ambience and a slow majestic rhythm that seems to make
regal progress.  All the time it hints at a march tempo, but in the chorus
it really goes for it, with that slow chugging rhythm that I adore and have
talked about before.  At this point the song sounds like a slow,
procession, later on introduced by chiming tubular bells.  At the end it
disappears into the distance, leaving behind a shimmer.  Incidentally,
there are lots of other march tempos on the album which help to give it
that uplifting theme (ET being an obvious case).

I actually like TLB a great deal, and since I enjoy jazz, I think it's an
interesting piece.  I think it sits well at the end although, personally, I
think a longer pause of say 10 seconds before it starts might have helped
in the sense that others have commented on.  Don't you think that the end
of TLB echoes HF (only sadder) in it's shimmering into the distance?  It's
musical punctuation.  It, too, is a bit processional and I think that's why
the two go together on the album so well.  I don't know if HF would be so
effective as the very last track.


Message-ID: <FBDF04743A94D21197E700A0C9AADB8D09B471@GRLNT01>
From: Paul Henly <>
Subject: Set those videos
Date: Sat, 3 Apr 1999 19:46:22 +0100

A quick message to all you Brits. Andy Partridge is supposedly on 'Never
Mind The Buzzcocks' on Monday 6th April, set your video!!!
I've often watched the show and thought AP would be just the right sort
of guest, we will now find out.
Happy Easter Theatre to you all, I hope this makes the digest in time.


Message-ID: <>
Date: Sat, 3 Apr 1999 17:45:04 EST
Subject: XTC interview

 I have The XTC interview  from the World Cafe on tape. Theres too much
going on for me to transcribe it but anyone who wants a copy, e-mail me
I paused during the songs so all I have is the dialect. Hear Andy describe
who the Greenman is! Hear Andy & Colin light-heartedly make fun of all of us
on Chalkhills! Hear them bust on the Raelbrook shirt company! All for the
price of one cassette tape. Order yours now! Running time isnt even 20
minutes without the songs so Its a quick high. (All of you out of this
country may want to help with postage)
 Now hitting the "dub" button, Roger


Message-ID: <010701be7e2c$86d32d40$30ebabc3@vucqprlj>
From: "David Seddon" <>
Subject: Roky Erikson informatoin
Date: Sun, 4 Apr 1999 00:48:49 +0100

>From David Seddon

Thanks to those who agreed with my Elevators remarks.  The more I think of
it, the more it makes sense.  XTC music at it's most psychedelic and the
Elevators are not so far apart.  For those who are curious, try this 13th
Floor Elevators site...the album covers you will see are awesome, but then
so is the music!:


Message-ID: <>
Date: Sat, 03 Apr 1999 17:31:23 -0800
From: Ken Sanders <>
Organization: Pacific Bell Internet Services
Subject: Thanks for the soothing suggestions + My "Sgt. Peppers'"

Chalkers, and especially Erik and Todd, thanks for the music suggestions
to  soothe my troubled heart.  I think part of wehat added to my
troubles was bein' physically tired, online at oh-dark-hundred in the I'll try to not do that again.

On another topic that's been going on in here..I REALLY had to think
about this one, 'cause for a period of time, while at college and
involved with the radio station on campus, I weas exposed to so much
music in such a short was like a new flavor every week!

Anyhoo, the album that made a big impact on me in terms of musical taste
was DEVO's "Freedom of Choice".  I was a kid in jr. high-school (middle
school, actually), helping a friend with a paper route, and for weeks on
end that tape would be playing while folding papers in the dark
morning.  After a while, my friend got tired of it, but not me...and to
this day I enjoy the ablum as a whole...much in the same way I think
"Black Sea" stands up in it's entirty (well.......'cept for "Living in
Another Cuba"..personally I could do without THAT one).

There were some other topics I felt inclined to add my thoughts on, like
the "car" thread , or Harrison's card-joke...but, I don't feel that it'd
be worth it or anymore insightful than what's been already said *plus,
it'd be a waste of  bandwidth* SO, Happy Easter wishes to y'all.



Date: Sat, 03 Apr 1999 20:25:15 -0600
From: Nicole Malmquist <>
Subject: You Don't Know Jack
Message-ID: <>

>From: "Wiencek, Dan" <>
>While playing an updated version of You Don't Know Jack, everyone's
>favorite computer trivia game ("Ooh!  It has attitude!"), one question
>category was "There Is No Language In Our Lungs."  I naturally chose to
>answer it, and the question itself was a geography puzzle presented as a
>scene from Where in the World is Carmen Sandiego?.  Knowing that XTC
>contributed a track to the soundtrack for that show, I hypothesized that
>either a) the writers of that game are extremely anal XTC fans, able to
>weave in references of incredible subtlety, or b) it's a hell of a

Oh my, irony abounds. I was reading this digest when a thought stuck me,
'Hey, why not go to the chalkhills archives and do a search for You Don't
Know Jack?,' because I had a similar experience to the one above recently.
And just as I switch from my Netscape window (happily searching) back to my
email window and hit the space bar, the above paragraph magically appeared.

Yep my hubby bought YDKJ 1-3, plus the "special" 4th one called The Ride a
couple of weeks ago. We were playing number 2 when the No Language In Our
Lungs option came up during my hubby's turn to pick the category. I
literally jumped out of my seat and started screaming "Pick that one! Pick
that one, I'm begging you!" while wildly pointing at the screen. I was
already primed for it though, since when we were playing The Ride (which
gives a set of 13 questions under one topic) AP showed up in a (wrong)
answer under the topic of War. There is definately a fan among the writers.

The Other Nicole (and it's a fun game, regardless of XTC content, though
that does make it better)
"And if you must put me in a box, make sure it's a big box
 with lots of windows, and a door to walk through" (Dan Bern)
 w.a.s.t.e.r #14946


End of Chalkhills Digest #5-160

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