Chalkhills Digest Volume 5, Issue 160
Date: Sunday, 4 April 1999
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
Soup!
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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Enter Easter and she's dressed in yellow yolk.
---------------------------------------------------------------------- Message-ID: <3704EE46.1382@realtime.com> Date: Fri, 02 Apr 1999 16:20:23 +0000 From: chris vreeland <vreecave@realtime.com> 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 song- 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$5ca5883e@o.e.e> From: "John Bartlett" <john@bartlett132.freeserve.co.uk> Subject: Drinking songs Date: Fri, 2 Apr 1999 22:18:05 +0100 Dom wrote; "Chambers' thumping dominates the album and injects so much rockular muscle into the proceedings that it remains my absolute favourite XTC album in terms of crank-it-up-and-shout-along pre-piss up potential. " Meccanic Dancing can be added to that. Just the thing before going out to TOTS or Zero 6 to get mangled. (about 15 years ago, of course. Too.....mature for that sort of thing now. )
------------------------------ Message-ID: <000c01be7d5c$b944a720$302b56d1@mabrey> From: "Andisheh Nouraee" <mabrey@mindspring.com> Subject: Request XTC Date: Fri, 2 Apr 1999 18:01:18 -0500 Hey Chalkface! I have about 10 issues of Atlanta's "Stomp & Stammer" magazine with XTC on the cover. I'm offering them to the whoever wants them. All I ask is that you send me an envelope with your address and postage. E-mail me privately if you're interested. mabrey@mindspring.com First come, first served. Secondly, take 30 seconds and request Easter Theatre on 99x at the following link: http://www.wnnx.com/equestbody.html Just scroll to the bottom of the page and type Easter Theatre by XTC then make up some nonsense about when you listen.
------------------------------ Message-ID: <000501be7d5e$f66a1de0$ad1c1d26@wes> From: "Wesley Hanks" <whanks@earthlink.net> 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: <199904030021.QAA11640@zoon.lafn.org> 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) buh-bye Ian
------------------------------
Message-ID: <000101be7d72$854ccfe0$978afbd0@default>
From: "Joe Funk" <jomama68@email.msn.com>
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!!!!!!!
Britney Whoever...........AARRRRRRRRRRRRRRRRGGGGGGGGGGGGG!!!!!
U2..,Yes U2..............ARRRRRRRRRRRRRRRRRRRRGGGGGGGGG!!!!!!
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
rant..........
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 be..it 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
inspiration!
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,
Jomama
------------------------------
From: SeamusII@webtv.net (Nanette & Phil Smith)
Date: Fri, 2 Apr 1999 22:02:46 -0600 (CST)
Subject: music theory 101
Message-ID: <293-370592E6-229@mailtod-272.iap.bryant.webtv.net>
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
further.
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)
------------------------------ From: fheaney@erols.com Message-Id: <199904030600.BAA09561@smtp4.erols.com> 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
------------------------------ From: StarlingV@aol.com Message-ID: <3c4573c5.24371051@aol.com> Date: Sat, 3 Apr 1999 01:33:53 EST Subject: Even the singer from Bow Wow Wow.... "Steven Paul" <spaul@armstronglaw.com> 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. -Janis http://members.aol.com/starlingv/starling.htm
------------------------------ From: StarlingV@aol.com Message-ID: <101cf9bd.243712f5@aol.com> Date: Sat, 3 Apr 1999 01:45:09 EST Subject: Re: I Buried Col and Backin' vocals Dan <wiencek@aaos.org> 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! -Janis
------------------------------ Message-ID: <005701be7db1$78061320$381217d4@smj> From: "Stephen Jackson" <smj@zen.co.uk> Subject: hipocrite (sic) Date: Sat, 3 Apr 1999 09:40:33 +0100 >Is that how you spell "hipocrite" in YOUR DICTIONARY? Get a spell checker! >Terrybarry This is a piss-take, right? Or else a waste of everyone's time...... Steve. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Two steps forward, six steps back.
------------------------------ Message-Id: <l03110705b32b8cf869f2@[206.173.208.107]> Date: Sat, 3 Apr 1999 01:28:12 -0800 From: Eb <gondola@deltanet.com> Subject: Re: Pepper >From: "Steve Oleson" <Steve.Oleson@OAG.STATE.TX.US> > >The reason that Sgt Pepper is so highly regarded, is that AT IT'S TIME, it >was so different from everything that had come before, in pop music. Prior >to Sgt. P, songs were generally, about boyfriend/girlfriend bliss/disgust. >This album's songs covered the spectrum of emotion.... Umm, I'll defend Sgt. Pepper to the death (though I do rank Revolver slightly higher), but Sgt. Pepper's acclaim is hardly based in its LYRICS. You're way offbase here. If you want to talk about LYRICS being pushed to a new level, look to Bob Dylan about three years earlier. As for this "What was YOUR Sgt. Pepper?" question: I believe that anyone's musical experience should contain a LOT of little Sgt. Peppers, lots of awakenings to various wee corners of music history. If your musical perspective can be summed up in a discovery of just one album, you either haven't heard enough music or are just way too narrow in your pursuits. <shrug> Eb now recommending: The Olivia Tremor Control/"Black Foliage: Animation Music"
------------------------------ From: garyt@dna1.dnet.co.uk (Gary Thompson) Subject: GO2 Sleeve Date: Sat, 3 Apr 1999 12:54:14 +0100 Message-ID: <000001be7dc8$b205ac40$f0022ec2@gt628.dnet.co.uk> Just noticed something while playing the GO2 CD - when you put the inset on top of the back cover to read all the credits, the title of the second song is shown as ' Battery Bridges ( Andy paint Brian ). You wouldn't guess that I'm bored would you? Happy Easter Gary 'We won't be told the past was pure gold We were there and it wasn't' Paddy McAloon
------------------------------ Message-ID: <19990403150419.29232.qmail@hotmail.com> From: "kristi leigh siegel" <beatlebird@hotmail.com> Subject: Soup! Date: Sat, 03 Apr 1999 07:04:19 PST Bennett, Kristen L. writty: >Vichyssoise (sp?) is a type of French >fish soup. I guess it's notable in the soup world for being served cold.... Actually, vichyssoise is a chilled French soup made of potatoes, leeks, and cream. The fish soup you're thinking of is called bouillabaise... --someone's in the kitchen with... Kristi http://beatlemania.webjump.com http://thriftgoddess.webjump.com Get Your Private, Free Email at http://www.hotmail.com
------------------------------ Message-Id: <199904031648.LAA22379@mail1.javanet.com> Subject: Seagulls Screaming Kiss Her Kiss Her? Date: Sat, 3 Apr 99 11:52:31 -0500 From: Max Germer <maxindu@javanet.com> Fellow Chalkies... On my band's last trip into the deep dark forboding world known as NYC I noticed that a band called Seagulls Screaming Kiss Her Kiss Her was playing the same club a week after us. Has this already been covered here? Anyone know if they are an original band or an XTC tribute? Sir Yazbek - any idea? max www.themaggies.com
------------------------------ Message-ID: <003601be7dfa$d4f9f6c0$a2fcabc3@vucqprlj> From: "David Seddon" <D.Seddon@btinternet.com> 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 <PHENLY@laneshealth.com> 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.
------------------------------ From: OMBEAN1@aol.com Message-ID: <5e60b3a9.2437f3f0@aol.com> Date: Sat, 3 Apr 1999 17:45:04 EST Subject: XTC interview Hillo, 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 privately. 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" <D.Seddon@btinternet.com> 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!: http://www.ed.brocku.ca/~paul/favorite/elevators/discography.html
------------------------------ Message-ID: <3706C0EB.7799883A@pacbell.net> Date: Sat, 03 Apr 1999 17:31:23 -0800 From: Ken Sanders <moparson@pacbell.net> 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 AM..so 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 time..it 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. Ken
------------------------------
Date: Sat, 03 Apr 1999 20:25:15 -0600
From: Nicole Malmquist <nevina@bresnanlink.net>
Subject: You Don't Know Jack
Message-ID: <19990404022216.AAA24983@pronell.bresnanlink.net>
>From: "Wiencek, Dan" <wiencek@aaos.org>
>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
>coincidence.
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)
--
nevina@bresnanlink.net http://www.geocities.com/wellesley/3925
"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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5 April 1999 / Feedback