Kenneth Lane's Performance Credentials req by Michael Black
Ken B Lane
Re: MICHAEL BLACK's AND DEBORAH OVERES' legitimate inquiry into my performance
credentials. I performed the the leading tenor role of Mosca
in George Antheil's opera Volpone [book by Shakespeare'ss contemporary Ben
Jonson] in the opera's world professional premiere. The following year after 30
performnces as Mosca, I sang the famous 11 page Gold aria that concludes the
opera, with its 12 second hHIGH D FLAT above high C at my first performance in
the main hall of Carnegie Hall. That marked the longest held super high note
sung at Carnegie. It was not a tiny tone, but a full-throated " in the gola"
[as the Italians call it]
open throat pharyngeal tone that filled the auditorium. I plan to add that as
an encore next year when I sing at Lincoln Center's Avery Fisher Hall. I sang
the title role in
the American premiere of Prokofieff's The Gambler [book by Dostoievsky]
Outside of the young Siegfried role it is the longest role in opera.
Premiereing operas in the lead roles has been a penchant for me because I
believe that even more than performers themselves, the careers of composers
relies on
financial backing or resources far beyond their means. Performers have many
avenues for their art. Composers, of any era, suffer personality conflicts and
depression in their wearied search for the financial support to bring their
works to the stage. Not many buy music scores and read them {sic!] Like
Shakespeare, but even more so, it is better to see performed than just read to
oneself, as stimulating that experience can be. . Wagner and
Beethoven both changed from happy optimistic people to ogres, because they had
to spend rthe greatest span of time enlistiing, encouraging others to help them
pay for productions performing their large scale works. .
Pardon the digression. You can find out more about my career by referring to
the booklets in my CDS and by reading my website. Good Luck!! Kenneth Lane,
lake Hiawatha, NJ 07034-0131
Website: WagnerOpera. com
Michael Black
Ken B Lane wrote:
> [blah, blah, blah...]
When are you going to figure it out that no one really cares?
--
Michael Black, Youngstown, OH
http://www.stairway.org/bjorling/
"Dolora Zajick Rules!!! Any questions?"
Ken B Lane
Perhaps you MICHAEL BLACK do not know enough to care! I have received
hundreds of replies through all my e-mail, FAX, telephone and mailing addresses
for purchaes of my CDS.
Kenneth Lane, Lake Hiawatha, NJ 078034-01`31
Website: WagnerOpera.com
Michael Black
Ken B Lane wrote:
> Perhaps you MICHAEL BLACK do not know enough to care! I have received
> hundreds of replies through all my e-mail, FAX, telephone and mailing addresses
> for purchaes of my CDS.
Well, that's it. Kenny Lane is officially now on my killfile.
LuciaMim
Just curious, what is the title role in The Gambler? Saw it here at the LOC a
few years ago. Didn't remember it being all that long and somehow Pauline and
the Grandmother stick with me a little more. Who was your Pauline and
Grandmother? We only had Sheri Greenawald and Felicity Palmer. What do you
think of the Florence production?
LuciaMim
Are your CD's only available by e-mail? No one else seems to have them, either
in any stores in Chicago or on the Internet. Please send me a listing
Thanks.
Ken B Lane
Lucia Mim in answer to your inquiry, the title role of Prokofieff's The Gambler
is ALEXIS. My Pauline was Jeanne Beauvais and the Grandmother was Tamara
Bering. The General was portrayed by Bob Falk. The English translation was by
Irving and Georgette Palmer. Irving was the stage director and Georgette was
the conductor. The production had no cuts. It was the first production in
America and, perhaps, the reason for its not leaving a deep impression on you
in the tenor contingent is because outside of his recurrent theme, leitmotive,
as we Wagnerians call it, he has no aria per se. Monologues, yes, but no
formal aria. His leitmotive is the most beautiful in the opera, and also the
most recurrent. Remember, Alexis is, as it is in the Dostoievsky novel, the
author Dostoievsky himself. He gambled and loved in Wiesbaden, the famous
gambling house prospering to this very day.
In another letter of yours also dated June 28th, you ask how you may purchase
my [Valhalla Records] Compact Discs. If you were in Manhattan [New York] you'd
have the 14 major large record stores and Lincoln Center's Library for the
Performing Arts to hear them over headphones with the option to buy them at the
stores or take them home from the Library. Two of the biggest chains are
currently negotiating for the CDs distribution. The classical record music
scene is going through a crisis now because of the heady costs and little
interest from the largest purchasers of records, the young generation of
teenagers. Outside of Pavarotti and Domingo there is no real interest on the
part of the consuming public for the current occupants of the tenorial ranks.
My situation is quite different, as my voice girts from the super-heavy roles
to the stratospheric roles. My CDs sell for this very unique strong,
core-centered point in the voice, with a timbre that, immodestly, is rare and
beautiful. That you can find out for yourself by listening to my Wagner and
HIGH Cs on my website WEagnerOpera.com If you want to purchase my CDs,
E-Mail: Valha...@aol.com The cost per CD is, as at all the stores
$16.99, plus ^6% New Jersey tax plus $2 shipping and handling for a single CD
and a total of $3 S&H for 2 discs. The ones we are promoting now are my "Ten
Language Solo Debut Carnegie Hall "Live" [VRCD 1594] and "Wagner's Epic Heroes"
[VRCD 1595]. My suggestion for you to avoid S&H is to get your local record
stores to contact VALHALLA RECORDS by E-Mail or telephone (973) 335-0111/0112..
My distributor world-wide H&B Recordings Direct 1-800-222-6872 charges a
heftier S&H when selling directly to the public. Their International telephone
number, for those outside the USA will be given anyone interested, but then
again the S&H charges are much higher. The best bet if you are not in a hurry
is to await the nationwide distribution which we anticipate will be months off.
One of my voice teahers FRIEDA HEMPEL was to be represented in bookstores all
over by an English language [a German language version was a big seller in
Germany the country of her birth] version of her autobiography [actually a
joint venture with a professional ghost writer] before my Father's Day Sunday
June 18th 1995 main hall Carnegie Hall ALL-WAGNER solo concert. It was to
have been sold along with my CDs and T-shirts [with pictures of Wagner,
Carnegie hall's interior and yours truly, and reviews of my performances
emblazoned on the front, with the entire program, with dates of composition and
premiere dates, printed on the back] . I repeat it was to have been sold in
the Lobby the day of the concert, but to this day Amadeus Press is not
confirming a date of publication. "My Life in Song" by Frieda Hempel. is to
nclude pictures of Hempel and voluminous historical and anecdotal information
that I supplied, added to the autobiography with many other contributors as
well. As I said, it still awaits a publication date by Amadeus Press. One
discouraging aspect of this delay is that the John Rae oil painting of Hempel
replicating Jenny Lind's original concert at Castle Garden in New York, which
Hempel sang in the main hall of Carnegie Hall in 1923 was not to be included.
That painting I own. It is magnificent in catching the momentous event at which
after the concert Hempel accepted floral tributes. It was the first picture in
color in a magazine, The Woman's home companion of February 1923. Instead the
book ois to have a human interest picture of Hempel with Harriet, a delightful
baby.
Perhaps you can attend my concerts next year in New York at Carnegie Hall [in
the main hall] or at lincoln Center's Avery Fisher Hall. The CDs, posters and
T-shirts will be sold at both venues as well as in many stores, besides the 14
mentioned earlier. Hope to meet you in person after the shows. My European
venues will be announced later.
Kenneth Lane, Lake Hiawatha, NJ 07034-0131
Website: WagnerOpera.com Hear my singing of Wagner and HIGH Cs on my website.
"The highest reward for a man's toil is not what he gets for it, but what he
gets by it" John Ruskin
Kate Brown
In article <199806280942...@ladder03.news.aol.com>, Ken B Lane
<kenb...@aol.com> writes
>and T-shirts [with pictures of Wagner,
>Carnegie hall's interior and yours truly, and reviews of my performances
>emblazoned on the front, with the entire program, with dates of composition and
>premiere dates, printed on the back] .
o, a T shirt! A T-shirt! Printed on both sides! A must-have! Has
anybody got one?
--
Kate B
London
Ken B Lane
You can also order them from H&B RECORDINGS DIRECT, one of my distributors,.
by FAX: (802) 244-4199, E-Mail: st...@hbdirect.com Internet:
hbdirect.com
International [from outside continental USA] Orders: 001 (802) 244-5290
Mailing Address: P.O. Box 309, Waterbury Center, VT 05677
Kenneth Lane, Lake Hiawatha, New Jersey 07034-0131, USA
My website; WagnerOpera.com Hear my WAGNER and HIGH Cs on my website, read my
most recent Thursday May 28th, 8 PM, 1998 CARNEGIE HALL [main hall] solo
concert, "WAGNER--The Epic & The Lyric" STAGEBILL, the program of the event,
considerable Wagneriana, chronollogy of W's life and pictures of Carnegie Hall,
Wagner, and paintings in color of the Wagner operas and much more, always being
updated.
RGandel676
I've not heard Mr. Lane sing so I am no position to offer any criticism.
However, I must say that his posts are truly wonderful - some of the most
entertaining reading on RMO since --- was going to say since some of Kessler's
more precious pieces -- but Lane's have Kessler's beat by a mile.
Ron
Grand Inquisitor
RGandel676 wrote
Speaking of Kessler, where IS that globe-trotting airhead? I've got a strong
hunch that he and Lane are one and the same.
Grand Inquisitor
Michael Volpe wrote "Kenneth, Since you atttacked me (for no reason I might
add) I have read a few ofthe posts under your name. True to say you are
taking a fearsome beating but you keep coming back for more. Are you a real
person or is this a spoof biography we have all been reading? There is a
saying I often take comfort from as I hold
court from time to time: " If you do not blow your own trumpet, someone else
will use it as a spitoon". Kenneth, you are blowing the brass section of the
London Philharmonic. And yet still people are flobbing and expectorating
merrily and mercilessly into the horns of your trumpets and you care not a
jot. You go on, regardless of the abuse being hurled at you, with no thought
for your public dignity. You recieve a relatively fair review of your CD
and still you pronounce the "rare beauty of your timbre". I have never
heard you. Your timbre might be rare and beautiful. But few who have heard
you think so. I have
no way of knowing if they are right or wrong. I may have been duped by a
lavish prank but if not.....I fear for your sanity. Please stop. Please
retreat. I can't stand it anymore. I can't take it any longer. Your
immodesty is merciless. Your self promotion ferocious. Please stop,
pleeeeeeeaaaasssee....(dissolve to tears, telephoning the Samaritans etc
etc.)
Volpe
The concerned Britalian
Michael, I fell off my chair from laughter and rolled helplessly all about
the carpet. I was guffawing so loudly my neighbors threatened to call a
Bobby. What a priceless post!
But I remind you, Sir, that you have agreed to accept Mr Lane into tutelage,
and further, his ticket is ONE-WAY ONLY.
Michael Volpe
Kate Brown wrote:
>
> In article <199806280942...@ladder03.news.aol.com>, Ken B Lane
> <kenb...@aol.com> writes
>
> >and T-shirts [with pictures of Wagner,
> >Carnegie hall's interior and yours truly, and reviews of my performances
> >emblazoned on the front, with the entire program, with dates of composition and
Kenneth,
Since you atttacked me (for no reason I might add) I have read a few of
the posts under your name.
True to say you are taking a fearsome beating but you keep coming back
for more. Are you a real person or is this a spoof biography we have all
been reading? There is a saying I often take comfort from as I hold
court from time to time: " If you do not blow your own trumpet, someone
else will use it as a spitoon". Kenneth, you are blowing the brass
section of the London Philharmonic. And yet still people are flobbing
and expectorating merrily and mercilessly into the horns of your
trumpets and you care not a jot. You go on, regardless of the abuse
being hurled at you, with no thought for your public dignity.
You recieve a relatively fair review of your CD and still you pronounce
the "rare beauty of your timbre". I have never heard you. Your timbre
might be rare and beautiful. But few who have heard you think so. I have
no way of knowing if they are right or wrong. I may have been duped by a
lavish prank but if not....
....I fear for your sanity. Please stop. Please retreat. I can't stand
it anymore. I can't take it any longer. Your immodesty is merciless.
Your self promotion ferocious. Please stop, pleeeeeeeaaaasssee........
PANPERSON
Actually as far as Kenneth Lane goes I care about all singers because,hmmmmmm,
because I love the opera at least as much as Ronnie Cammereri and I love opera
singers and I wish them all the success in the world. When it comes to
performing of any kind I leave my sarcasm at the door.
DAVID MY COFFEE MUG SAYS: HOLD ME, I AM A FERMATA IT MAKES MY DAY
Michael Volpe
Panperson,
I believe you to be genuine in what you said above. and I too care for
the welfare of singers and have the utmost admiration for those who
would stand on a stage an invite the wrath of an audience. But please,
we are having fun with a man who invites all and sundry to believe in
his greatness. I draw the line between when someone is asking for
support - which I would give to anyone - and those who are demanding to
be canonised by people as profoundly opinionated and experienced as some
of those on this group. And, furthermore, I have to say that despite a
consistently combative stance by Ken Lane, most postings have been
fairly gentle and warm-hearted ribbings.
I myself was enroled into the fay unwittingly but hey, I probably asked
for that too !
All the best.
volpe
the britalian
Ken B Lane
Congratulations on your comments. There is so much beauty in the great music
well sung, that there is room for a Gigli, a Pavarotti, a Caruso, a Bjoerling,
etc. singing the same music, because they bring their own special timbre,
musicality, and "presence", charisma, that is so identifiable. Each is
"unico", because each is so good and yet so different. Let's not say this or
that one is the greatest and therefore conjecture "why bother with any but the
greatest?" If we follow that agenda, we would miss much of the joy to be
experienced in this greatest of unified art forms. Again, my congratulations
to you for your comments.
Kenneth Lane, Lake Hiawatha, New Jersey 07034-0131
website. Downloading the 3 minute 41 seconds Siegmund heiss' ich [Die
Walkuere] reqires about 3 to 4 minutes; the Svarta rosor, 1 minute 58
seconds, requires half as much time to download.
"The highest reward for a man's toil is not what he gets for it, but what he
Placido 21
PICK THE ONE THAT DOES NOT BELONG:
Jan Kiepura
Franco Bonisolli
Kurt Baum
Kenneth Lane
Charlie Handelman
(Answer: the guy who is the only modest one in the list...some people would
say,"Well,the dude has a lot to be modest about." CH
Charlie, baritono somewhat supremo,and no.1 fan of the great Diana Soviero..so
there!
Michael Volpe
Ken B Lane wrote:
>
> Firstly, Kate B of London, it is amazing how gullible you are to believe
> nonsense written about someone's voice when it is so easy to arrive at the
> facts. My recordings are
> "LIVE" from the main hall stage of CARNEGIE HALL. You can hear excerpts from
> my Carnegie Hall "Live" concerts and my other compact discs by tuning in to my
> own website WagnerOpera. com You emphasiized the T-shirts. They were
> only part of the pre-concert publicity for the event. And they are still
> requested by people to this day as mementoes of a concert that made history as
> the first ALL-WAGNER concert in a major concert hall or opera house and the
> first time the Wesendonck Lieder was sung complete by a male voice. The latter
> is omportant because the selections actually sound at least as good, but I do
> believe BETTER in a male voice. Stefan Jux, Music Critic for the "New Yorker
> Staats Zeitung und Herold", America's largest German language newspaper wrote
> in his review of my 3rd Carnegie Hall concert, the one ballyhooed on the
> T-shirt, on Father's Day June 18th, 1995, at 2 PM, "With impressive vocal
> skills and record-setting stamina heldentenor Kenneth Lane delivered the
> performance of a lifetime. For the first time ever a single singer
> ALL-WAGNER program was sung in a major concert hall and virtuoso Kenneth Lane
> certainly gave the audience their money's worth. The athletic feat included
> all 9 heroic tenor roles. . . .as well as all five Wesendonck songs (the first
> time ever sung in a major concert venue by a male voice). . . .[Lane]
> effortlessly filled Carnegie Hall with tenor more dramatic and heroic than
> Wagner himself could have hoped for." The world- famous composer and music
> critic Martin Kalmanoff (whose operas include "opera! Opera! ,with a libretto
> by saroyan; the "Bald Soprano" with a libretto by Ionesco; and "Insect Comedy"
> with a libretto by Lewis Allan; and songs for films, notably for Elvis
> Presley;and pop favorite "Just say I Love Her") wrote about that same concert
> in 1995, "Hearing Kenneth Lane sing wagner one is transported . . .
> .convincingly to the entire Wagner canon, sensing the majesty, wide emotional
> outpourings, and deeply-felt tenderness. . . .we have not heard since the one
> and only Melchior."
> Don Goldberg, of radio station WRHU reported Kenneth Lane's ALL-WAGNER solo
> concert marathon was one of the erxtraordinary events of the century. It's hard
> to imagine anyone daring to stand on the stage of the hallowed Carnegie Hall,
> and with no more than about a miniute in between selections, to peal forthin
> lustrous tones Wagnerian scenes from Rienzi to Parsifal, and then amazingly add
> all of the Wesendonck Lieder. Each selection was treated as an example of
> genuine introspection and committed vocal authority. My own personalfavorite
> was tristan, which captured the agony and ecstacy in the heartbroken hero in a
> voice that rode the crest of wagnerian passion." George Jellinek wrote,
> "Kenneth Lane's CDs are quite an achievement--displaying wide scope, fine
> musicianship, and, above all, his stamina." Jellinek is the host of 2
> nationally broadcast series,The Vocal Scene [for over 30 years] and Vocal
> Gold,is a regular intermission guest on the Metropolitan Opera broadcasts, and
> the author of "History Through the Opera Glass from the Rise of Caesar to the
> fall of Napoleon".
> Kenneth Lane Lake Hiawatha, New Jersey 07034-0131, USA
> My website: WagnerOpera.com Besides a copy of the "Stagebil" of my most
> recent main hall Carnegie Hall concert on Thursday May 28th, 1998, at 8 PM,
> contains recordings of my singing Wagner and HIGH Cs. "Revving up"for the over
> 4 minute Wagner requires about 3 to 4 minutes. In my Lincoln Center solo
> concert debut at that venue, I shall sing the aria from Lohengrin that follows
> the In fernem Land, but is never sung in opera performances in major opera
> houses. It presents an in-depth psychological study which Wagner in
> after-thought concluded would not "work" in the rtheatrical setting. In
> Tristan-composing days, his philosophical bent, stressed the static, the
> "pondering", because Tristan is not an action opera in the sense of some operas
> , but a musically-chromatic treatise on love and honor and customs and the
> AVOIDANCE OF THE MUNDANE. Tristan rebels against the light of DAY [ "exposure
> to reality"] but opts for NIGHT, which can conceal his disloyalty to the
> customs of the day, and to his uncle King Mark, whose fealty he betrayed.
> Tristan was written in glorious Venezia, Venice, which Wagner much appreciated
> over Germany for its weather and the Italian language, which he rightly felt is
> more conducive both to singing and expression.. His residence there at the
> Palzzo Vendramin is like a Lourdes to Wagnerians.
I am sorry Ken, but I have to say this - SHUT UP ! It ISN'T WORKING.
NOBODY GIVES A SHIT. WE WILL NOT BUY YOUR CDs. WE WILL NOT COME TO YOUR
CONCERTS. I AM GOING TO WRITE TO THE US DRUGS ADMINISTRATION AUTHORITY
TO ASK THEM TO DESIGN A NEW DRUG JUST FOR YOU. It will be called
"oper-mute" and it will be administered via a semi-quaver shaped
suppository - sideways. I will also send a collection of your posts to
one of our supporters, John Cleese, who will create a whole new
character based upon them.
You are totally barking man. I am sorry to be rude but wit is beyond you
- satire is lost on you. I, nor my hard drive, can take anymore.
I am off to listen to that very modest man volpe castrato extraordinaire
supremo.
Volpe
the britalian
Kate Brown
>Ken B Lane wrote:
<an unconscionable quantity of rant>
il volpissimo wrote
<a deliciously well-proportioned riposte>
my hero - where's the queue? I'm right behind you, acsoT!
--
Kate B
London
Ken B Lane
charitable, a miserable wretched befuddled cry baby Don Quixote!!
For his enlightenment, since he is so in the dark in more ways than one-----
I KNEW AND HEARD MELCHIOR PERSONALLY. I'M NO MELCHIOR! There is as much
likelihood of another Melchior as there is for the Messiah to do the role of
Christ in Jerome Hines' "I am the Way" at the "Met" Opera. Unlike practically
all of you posters and readers out there, I both heard and knew the Melchiors,
Lauritz and Kleinchen, when he performed at the "Met" Opera, Carnegie hall,and
later at Jones Beach in the Arabian Nights spectacle. From age 12 when my
audio tastebuds first savored of Wagner--the Dawn and Siegfried's Rhine
Journey and Funeral Music [Goetterdaemmerung] broadcast over WNYC, New York's
municipal station, I got to hear as a standee at the "old" "Met" Opera House
performances of such grandeur vocally that recordings simply cannot relay.
Still, when on one of my many visits backstage after a Melchior performance to
visit with Melchior, the Great Dane asked me if indeed it could be possible
that I have a voice as other standees had told him. A tyro with no inhibitions,
I pulled out my chromium-plated pitchpipe, sounded an F natural and commenced
to sing "Amfortas! die Wunde!. Fritz Stiedry,the conductor of the Lohengrin
--before his "Met" Opera assignments was conductor of the New Friends of
Music-- lurched into the dressing room from his adjacent Maestro's room.
Tenors notoriously need a conductor's input, it would seem. [The dressing
rooms for the male contingent was on the stage right side of the building, the
tenors and conductor one flight up from stage level and the baritones and
basses two flights up from the stage level.] "I don't believe it, I actually
heard you sing after a performance!" Good-naturedly Melchior replied to
Stiedry, "No", It was this young man. Pound for pound he has a bigger voice
than I" Stiedry was apoplexed. "When you get a little older, I would like to
hear you again" I was only a teenager. And to me I could not wait to be old
enough to be taken seriously and to demonstrate my potential. Yes, I agree
wholeheartedly with you. I KNEW & HEARD MELCHIOR SING PERSONALLY AND I AM
DEFINITELY NOT A MELCHIOR! I have a picture that Melchior promised me, which
was made on stage at his last "Met" Opera performance, a performance of
Lohengin. He had autographed it To Kenneth B. Lane with best wishes from
Lauritz Melchior". Other autographed pictures iof him, some with Kleinchen
were more effusive, but this picture shows him in front of soldiers with lances
at the Act 1 scene before the swordplay encounter with Telramund. Durihg the
performance his mood was sombre. Throughout the performance , he went in and
out of character, often scanning the house as if to get one last look After
the performance, I was there in the small dressing room that was packed with
Bjoerling , Leonard Warren and many others of his colleagues who were
unashamedly weeping at the closure of his stage career. He was clearly
despondent. The scene in that room amidst these friends was painfully
bitter-sweet. Weeks later I received the 8 inch by 10 inch black and white
glossy with a note attached to it from Kleinchen that Melchior's world had
collapsed under his feet and that although he had clashes with Rudolf Bing (
who incidently ran Glyndebourne before coming to the "Met", and hated Wagner's
music) he would miss the "old house". Bing's intransigence forced the issue
and Melchior was just as stubborn as Bing. Had Melchior cooperated with Bing
regardinge rehearsal attendance and singing full voice in those rehearsals,
Melchior might well have sung another ten or even more years at the "Met" IF
he kept in condition, even with his predilection for acquavit. Melchior
recommended me as an up-and-coming heldentenor in letters and in conversations,
but added that "you'll have to find him a like-sized Isolde". As the saying
goes, "never will you see another such {Melchior] in a million years!
Kenneth Lane, Lake Hiawatha, New Jersey 07034-0131, USA
My website WagnerOpera.com Tune in and hear me sing Wagner and high Cs from
my Valhalla records Carnegie Hall "live" and other iconcert themes Compact
Discs.
"The highest rewrd for a man's toil is not what he gets for it, but what he
becomes by it." John Ruskin
Skip
point across? Very tiresome.
Ken B Lane wrote:
>
> The Grand Inquisitor sounds more like a Sancho Panza, a Leporello, and to be
Paul R. Goodman
>Damn Ken, Do you always need to write an entire Libretto to get a
>point across? Very tiresome.
>
I wholeheartedly agree. Ken, it would also be nice if you wouldn't
post the same article five dozen times.
- Paul Goodman
prg...@ibm.net
The Grand Inquisitor
--
"I'll ask the questions here, Ma'am."_Sgt. Joe Friday
Matthew B. Tepper
pati...@teleport.com spake unto the unwashed masses:
>
>Uh--who did you say your teachers were?
Apropos of nothing, I'll mention that *my* teachers were Eugene Fulton,
Earl Jones, and Chelsea Quinn Yarbro. (That's right, the author of
various vampire and other horror novels.)
--
>"I'll ask the questions here, Ma'am."_Sgt. Joe Friday
>
>
>
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://www.deltanet.com/~ducky/index.htm
My main music page --- http://www.deltanet.com/~ducky/berlioz.htm
And my science fiction club's home page --- http://www.lasfs.org/
To write to me, do for my address what Androcles did for the lion
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