my circle of existence (part2)
Gary Miller
>i like seeing bands
>with only ten people in the room. all i don't need is a hundred unbathed
>geeks in bowling shirts stinking up the stale cigarette air i'm trying to
>breathe.
I meant to comment on this in my other message. I have to say that, as a
band member, I want a hundred unbathed geeks stinking up the air. I don't
care what anyone thinks about this next statement: I WANT A FREAKING
AUDIENCE AT SHOWS!!!! I write songs all the time, and a lot of them I
write for me alone. Sometimes I sit down with my 4-track and I just record
all day. But, that's for me. When I play in public I want people to come
and see me. Call me an exhibitionist, because I am. I jump and bounce and
scream, "yeah." But I don't do that if there's an empty room. I'm
energized by people in the room. I'm showing off. I'm like a freakin'
peacock showing off my tail feathers going "look at me." And I can admit
that.
That said, I think we write songs that are challenging and interesting --
probably more so now than at any time in our two-year history. The stage is
not just a trampoline for me. We played Nashville on Saturday, and we were
discussing on our 10 hour drive back why we have a hard time getting a
crowd in certain towns (including chapel hill). I don't know the answer.
I wish I did.
Is it because we're song-based and people like to know songs before seeing
bands? Is it because we're not hip enough? Is it because some towns don't
like pop music as much as others? Is it because we're not hanging with the
"right" people. Is it because our one single didn't make the "top 35" of
either XYC or XDU? Are we just not interesting enough? Have we not paid
our dues?
These are mysteries. Will they keep us from playing? No. Will it keep us
from bringing wonderful bands such as Holiday to town? No. Do I feel
disappointed almost everytime? Yes.
c-ya
Gary
Chris Calloway
gary:
>I WANT A FREAKING AUDIENCE AT SHOWS!!!!
ok, now here's where i'm sorry for saying i like being at the show with
just ten people. because i do know you'd like to have a crowd. and i'd
be tempted to mess with that, with you're even being aware that you
like to show off, except that i've seen you and i know you're really
fucking good at it. so my comfort in crowds and some bands needs to have
big crowds are at odds. idunno what to say about that. except that
some bands make the little discomfort worth enduring for the payoff.
>Is it because we're song-based and people like to know songs before seeing
>bands?
it's not one thing and that's part of it. well, the song based part. songs
are not hip anymore. anything with melody. especially melodious vocals.
editting decks, that's hip. theremins. get a banjo. cello, maybe.
FUCK DAT!
well, not fuck it but i just can't get any more interested in one information
than another. 's the stuff of fascists posing as committed leftists.
>Is it because we're not hip enough?
it's not one thing and that's part of it. you guys are very eighties.
you remind us of reagan. we'd rather forget that time or celebrate it
in a more faux european way.
>Is it because some towns don't like pop music as much as others?
it's not one thing and that's part of it. much lesser extent. well
connected pop music can make it here. i'd tell you to go to the right
parties and get some power clothes but you're already branded.
>Is it because we're not hanging with the "right" people.
it's not one thing and that's part of it. if you'd worked at xyc you'd be
on a couple of comp cd's already.
>Is it because our one single didn't make the "top 35" of either XYC or XDU?
i about choked when i saw your single was not even on the playlist at xdu.
i mean, you know, and i know, the thing was not recorded right and made a
great song come out sounding like stacks of other generic singles. we've
talked about that. but it's not like plenny of that doesn't get played anyway.
you know, like the marsh arabs or wiggle or jeez, so many fogettable bands
that i can't even remember, but like any of that other stuff is any more
worthy. i can't see, unless something specifically sucks, not putting -all-
local stuff on the playlists of community stations. anything else amounts to
nothing more than fashion, informed style, zinetrash. (i can think of one,
only one out of hundreds of local rekkids, the whole time i was a dj, that
was not good enough to even play once on the air. and -that- was mainly
because that particular was doing a very poor job of pandering to a
very trendy infostyle of the time. it didn't seem to hurt 'em. they
make a living at playing music.)
i wanna assert this loud and clear so all the real intellectuals can hear:
FUUUUUUUUUCCCCCCKKKKKKKKKK DDDDDDAAAAAAATTTTTTT!!!!!!!!!
>Are we just not interesting enough?
'smatter of opinion which can only be asserted, one as good as another.
informed opinions are hardly interesting. 'sjus taking dictation.
>Have we not paid our dues?
this is it. now. paying dues, that is.
i mean, this question sounds likes, and i always kinda got the feeling from
listening to you, that part of your goals is to be popular. and i just don't
any sympathy for that, even though you might want popularity and i like your
in-person persona and your trampoline persona. ask butch what i think of
that. idunno what to tell you.
if you're playing to sound great and interesting, you succeed here with me.
i'm sorry if that's, uh, not enough and i -can- understand and sympathize with
that.
3.2.3
Michael Ruthere Quaife-Dalton
Mr. Gary Miller wrote:
>We played Nashville on Saturday, and we were discussing on our 10 hour
>drive back why we have a hard time getting a crowd in certain towns
>(including chapel hill). I don't know the answer.
>I wish I did.
Well at least you have a crowd in Nashville and other places. One of the
bands I play in regularly plays Greensboro to around 150 to 200 people.
Granted the singer/guitarfrontguy does live there and I am originally from
there as well, we still can't get arrested in Chapel Hill either. We've been
slogging at it for close to three years. We just got our first weekend show
in Chapel Hill just last month. Despite that, we have been getting radio
airplay in Europe and Australia, major and large indie label interest, and our
distributor (Not Lame, Denver, Co) is selling bucket loads of our CD's.
Playing show is all well and good (I love it, beats watching TV) but it's not
the only thing about being a band. It does sort of act as glue for some
combos. My favorite band hasn't played a gig since 1982. I guess what I'm
saying is, don't let it get you down. Your band ROCKS! Truly. Great stuff.
>Is it because we're not hip enough?
Are you in your early twenties?
Do you go to the right parties? promote your your band in a cool way?
If not, yes you are not hip enough. That's just fine with me.
Is it because some towns don't like pop music as much as others?
Some towns don't know what pop music is. You just gotta rock 'em. Case in
point, Greensboro. That afforementioned band I play in sounds a lot like the
Beatles and that flies better in *less intellectual* atmospheres like
Greensboro. It gives 'em something to grab onto.
>Do I feel disappointed almost everytime? Yes.
Take pride in your good music. Realize that you play Gumption music better
than anyone!
M
Squealer
In article
<96Nov25.163945-0500_...@listserv.oit.unc.edu>,
ch-s...@listserv.oit.unc.edu wrote:
> gary:
> >I WANT A FREAKING AUDIENCE AT SHOWS!!!!
> >Is it because we're not hip enough?
> >Is it because some towns don't like pop music as much as others?
> >Is it because we're not hanging with the "right" people.
> >Is it because our one single didn't make the "top 35" of either XYC or XDU?
>
> >Are we just not interesting enough?
> >Have we not paid our dues?
And then Calloway said:
> i mean, this question sounds likes, and i always kinda got the feeling from
> listening to you, that part of your goals is to be popular. and i just don't
> any sympathy for that, even though you might want popularity and i like your
> in-person persona and your trampoline persona. ask butch what i think of
> that. idunno what to tell you.
Here's where I suppose I should jump in (as if anyone really cares), cause
despite the fact that Gary and I have never met and I've never heard
Gumption, I suspect that there are many similarities in our situations.
I've spent many an hour pondering these same questions, both with my band
(Yak!) and in those solitary moments where you're, well, solitary. Yak!
has been a "unit" for roughly three years, in which time we've played a
bunch o shows, several in Chapel Hill with a bunch of cool bands (Minerva
Strain, Joby's, Bourbon, Pine State, Spatula, Tinsel, Pipe, Archers etc.),
but we never really broke through to get any sort of regular crowd of our
own. In fact, I'd say the opposite ocurred, in that there were actually
less people at each progressive show! Hoo boy. It makes for a lot of
soul-searching and questioning and etc.
I finally had to be honest with myself, and just admit that we weren't
that interesting as a band.
That's a tough thing to have to admit, but I suppose it's the truth. We
have a good time playing, we know all the "right" people, we have all the
"right" influences (at least in our hearts), but when it comes down to our
actual performance, it's not as interesting as a couple dozen other
things, and as people pointed out, there are a lot of options.
Now don't get me wrong. I'm not looking for a bunch of people to jump in
and go 'hey! You guys really are interesting and loved and we'll be there
for ya next time', cause that's not the point. The point is trying to
figure out why I'd want to play in a band in the first place, and
determining if that desire to play supercedes any other "stuff" that might
happen.
Even here in Blacksburg we can't get much of a break. Even with three
years of playing (and my "King of the Scene" status-it is a small town,
after all) we have a tough time getting gigs, and we don't really fit in
to the "houseparty" scene cause the the young 'uns could give a shit about
our brand of "rawk". They're into whatever they're into, and simply
because of their relative youth, they're not going to necessarily have the
same influences as someone who's in their 30's (like me-oh shit...).
The bummer for me is playing really good shows that seem to effect some
people very strongly (like the psychotic guy we dubbed "the howler"), and
then turning around and not seeing it keep some sort of momentum.
Of course, it's difficult for me to really have any idea what we sound
like or who we might appeal to, cause we just sort of do it, and don't
really think about fitting into any kind of niche, or try to come up with
any sort of "personae" that might give people something to grab onto. In
some ways, this is a product of my personal brand of rebellion, which
states that I have to rebel against any sort of conformity whatsoever,
especially conformity within the indie "scene". (Actually, I think
"rebellion" is a bit strong of a term, but I've gotten to the point where
I like what I like, and do what I do, and I don't hang out too much and I
don't try too hard to kiss anybody's ass. I do kiss some people's asses, I
will admit.) Thus, success would actually be a sort of "conformity" (if
people liked us and came to our shows then we'd be the "bandwagon" and
it'd be time to get off), so perhaps we consciously try to throw curves so
that only the most loyal/committed/paid-off people will remain in the
"circle". Or perhaps that's just some sort of defense mechanism.
Just to continue with the Gumption/Yak! parallels, we also released a
crappy sounding single (in fact, I'd say that it's the worst "sounding" 7"
I've ever heard), which then failed to generate any interest which then
failed to generate any more gigs which then made me more depressed.
My problem is that I really want to be accepted by the people who I feel
the most common bond: music junkie folks with interesting tastes. And I
don't think our music necessarily appeals to those folks. If I got our
record in the mail, I'd probably dismiss it just as I dismiss hundreds of
other things (I mean, hell, we don't sound like Monoshock, Tortoise,
Thinking Fellers, Mickey Katz, the Roots, Analogue, Chrome or any of the
other "hipster" things that I like). We should probably be playing at the
Cave or some other more "rocknroll" type club, as opposed to trying to
force our way into the the "hipsterindiescene" through connections or
whatnot, but it's hard to abandon my personal interests to try and go find
a potential audience that I don't necessarily feel that much connection
with (as an aside, I always wondered whether the Dillon Fence folks or the
Connells folks really felt that much of a bond with their largely
fraternity-oriented audiences, and how they dealt with that).
So, it comes down to whether we have a good time or not. Sometimes we do,
and I think that this (fairly recent) revelation of mine about our band
actually makes it easier to get out and play shows. That is, booking
out-o-town shows has come to seem more like work, so perhaps we just won't
try too hard, and take a low-key approach when we play. Removing the
"pressure" to try and be great and popular and loved makes it a little
easier to just get out and do what we do, and not worry too much about how
we're perceived.
Just like Gary (I guess), I had/have big rock stardom dreams, at least on
a limited scale. I just wanted somebody else to offer to put out a
record, and for us to play shows up the East Coast so that we could take
little "vacations" every once in a while. I wanted us to make enough
money that we could afford to record in a decent studio. That sad thing
is that none of those (admittedly, fairly modest) things happened. And
that's what puts me in the position I'm at now; trying to decide whether
it's worth it to even keep a band together in name only, to only
occassionally do stuff and not try too hard, but to try and have a good
time doing it when you do do it.
Lastly, I also sort of have a theory, the "anointment theory". Despite
any amount of hard work that you may do as a band, it's all going to come
down to your getting "anointed" by some sort of media/hipster Trilateral
Commission. You'll find yourself beating your head against a wall for
years, and then suddenly the anointment comes and it all becomes a lot
easier (see; Guided By Voices, Yo La Tengo). Hard to say how you can
encourage the "anointment" process; a combination of hard work, luck and
well-placed acquaintances.
Nate said many good things (as usual), but especially:
>At first, playing to a room crowded by people who hate you is much worse
>than playing for nobody. Then you get to hating them back and everything
>works out fine.
This was how I dealt with it for a while, but I just got tired of it being
"us vs. them". I think the goals we have now might be a bit more modest,
and perhaps it will make the whole thing more "fun". My wife kept asking
me why I did this in the first place, with the ultimate reason coming down
to "fun". Of course, it's probably a lot more "fun" to be young, popular,
sexy and rich, but I'm none of those so I should probably look for a more
organic reason as to why I can't get the desire to "rawk" out of my
system.
Anyway, hope this little tale helps some shed light on their own lives,
Butch
--
Squealer:
mad...@swva.net
http://www.mal.com/~squealer
Spatula, Minerva Strain, H.M.S. Cervix, Stigma, Refrigerator, Geezer Lake, June, Rake, Yak!, the Ah Club...
alan benson
At 12:54 PM 11/26/96 -0500, Michael John Ruthere Jacob Quaife-Dalton
Jingleheimer Schmitt wrote:
>Well at least you have a crowd in Nashville and other places. One of the
>bands I play in regularly plays Greensboro to around 150 to 200 people.
>Granted the singer/guitarfrontguy does live there and I am originally from
>there as well, we still can't get arrested in Chapel Hill either.
<snip>
>Is it because some towns don't like pop music as much as others?
>Some towns don't know what pop music is. You just gotta rock 'em. Case in
>point, Greensboro. That afforementioned band I play in sounds a lot like the
>Beatles and that flies better in *less intellectual* atmospheres like
>Greensboro. It gives 'em something to grab onto.
As a less intellectual from Greensboro, I believe two things: 1) Everything
is real. Dat's wuzzup. 2) I don't know your band's name, aforementioned or not.
Names are good. Mebbe then people'll be able to find ya in the clubs.
Shameless promotion: it's working for all of us.
-alan
---
Alan Benson | Managing Editor | CitySearch/The Triangle
http://www.citysearch.com | al...@citysearch.com
"When the ratings go up, it's like the whole world's
made of doughnuts." --Brak
Michael Ruthere Quaife-Dalton
>As a less intellectual from Greensboro, I believe two things: 1) Everything
>is real. Dat's wuzzup.
Thanks for your remarks concerning my post. As a Greensburger (b. 9/13/62
@ Moses Cone Hospital) I really did err in insinuating that Greensboro is full
of less than intelligent people. There are probably a few people from
Greensboro that would love to apply a sucker punch to my face. I was just
trying to imply that most Chapel Hill audiences THAT WE PLAY TO are
smaller yet more "hip" to what we're doing. We have had some bizzare
experiences in G-burrito. Ask anyone who has ever played the Jetson Club
(where the banner behind the "stage" said: "Official NASCAR nightspot", or
Blind Tiger where 200 drunken 30something x-fratboys pair up with their
female counterparts for an evening of drinkin' & pawin'. I guess what I'm
saying is that in G-boro the music is secondary to other activities that are
going on in the bars we play.
>2) I don't know your band's name, aforementioned or not.
>Names are good. Mebbe then people'll be able to find ya in the clubs.
>Shameless promotion: it's working for all of us.
The foot-in-mouth disease that I displayed in my previous post (and have
been afflicted with since birth) is precisely why I don't like to mention my
band's name too much. People might think my band's crap just because of all
the crud that I type. Rather than assessing our crappitude without prejudice.
Plus Ross might not approve. (The Anti-Ross is sitting right next to me as I
type and he told me to put that in!)
M
Michael Ruthere Quaife-Dalton
Hi Alan,
I play in Bullwinkel Gandhi(pop, psychedelia), The X-Rayons (surf), and
Dedicated Followers (All Kinks-All The Time; hence the Quaife-Dalton name
thing).
See also my post in AMCH.
Later, bye
Mike Nicholson
http://www.mindspring.com/~mnick/BG1.html
http://www.mindspring.com/~mnick/fizzpop.html
http://www.mindspring.com/~mnick/mott.html
http://www.mindspring.com/~mnick/konk.html
http://www.mindspring.com/~mnick/mnresume.html
GARY MILLER
Butch said a bunch of stuff and then said:
> Just to continue with the Gumption/Yak! parallels, we also released a
> crappy sounding single (in fact, I'd say that it's the worst "sounding" 7"
Well, I wouldn't say our 7" sounds CRAPPY! It just doesn't sound great.
I've never heard the Yak! 7".
But anyway, our 7" has actually garnered a fair amount of attention. It's
been added at over 100 stations and has been reviewed in Hits Magazine,
Ink 19, and a bunch of Independent-like weeklies.
I actually think it's just flat sounding. I don't know why we have been
getting "3 chord punk pop" descriptions on this list when the reviews are
saying Meat Puppets, Sugarplastic, and other more interesting pop
groups. Maybe some of ya'll haven't heard us recently.
I don't know if I'd say we were particularly 80s sounding either. At
least no more than, say, versus or small factory. Although Kurt has a
few retro qualities (raspy voice, guitar tone), the song structures and
chords are actually pretty "modern" we regularly use flatted-fifths, major
sevenths, diminished chords, and weird progressions.
Okay. I'm officially done talking about Gumption.
c-ya
Gary
grady
Butch wrote a lot of stuff, which I'll attempt to get to, but first, the
one part I felt like clipping:
> Lastly, I also sort of have a theory, the "anointment theory". Despite
> any amount of hard work that you may do as a band, it's all going to come
> down to your getting "anointed" by some sort of media/hipster Trilateral
> Commission. You'll find yourself beating your head against a wall for
> years, and then suddenly the anointment comes and it all becomes a lot
> easier (see; Guided By Voices, Yo La Tengo). Hard to say how you can
> encourage the "anointment" process; a combination of hard work, luck and
> well-placed acquaintances.
In both of these cases, I think (and I thought about this a while,
especially as to how it relates to Butch) that both of these bands'
"successes" are the cases of record collector-types [in the bands
themselves] finally outgrowing their collections. Or digging their way
out from other them. Both GBV and YLT, on earlier records, sound like a
couple too many parts Influences, and too few parts Other Stuff.
Or, to attack it a different way, too much of each record was songs
which were trying too hard to assimilate all of these influences.
They're way too self-conscious of the existence of their influences,
whether pro (here's our Kinks reference!) or anti (see how we fuse our
disparate influences, XY and Z, into this new synthetic whole?). Even
when you're not hearing any influences, you're hearing too much effort
put into denying them.
Their more recent records, the ones which earned them their anointments,
show them more at ease with all that stuff which came before 'em,
whether or not the influences themselves are still overtly apparent (and
in both cases, they quite often obviously are).
And though I haven't seen Yak! in a while, I recall a certain
awkwardness in some of it which I find reminiscent of this scenario.
Plus there's all the other stuff Butch wrote, and the sheer bulk number
of records in the man's house, all of which leads me to draw this
parallel.
If all of art is coming to terms with that which came before, then those
folks who go out of their way to obsessively collect that which came
before simply have a lot more shit to work through.
Now, this process of working through may translate into the music itself
in a myriad ways--the common denominator of which, perhaps, is that it's
hard for Yak!, for example, to break through to the next level.
In other bands, it may manifest itself differently, or not at all. Them
are the breaks.
I will say this: I have seen one fiery Yak! show in which Butch went
crazy, did the jerky hip-dance where he whacked the guitar with his hip,
made it jerk all around. It was awesome. I can say without reservation
that I loved it.
Butch also has the best shoes of anyone I know.
Anyway. I have not, personally, written off Yak!, as Butch thinks people
have. Rather, I'm planning to bide my time, check in every year or so,
and figure on payoff somewhere down the road.
Once upon a time I had the same plan for Bill Curry, but I'm not sure
how that's working out. Ditto Tinsel. Tinsel already yielded some pretty
cool shit on that last record, so there you go. I truly enjoy that
seizure song.
Move along to next subject.
Not only do I own the Mudflap single, but I play "Jody" on my show
probably once a month. It has grown on me enormously over the years. If
Mudflap had been together longer, and had recorded the single later, it
would be 45 seconds shorter than it is, and better for it, but as it is
it's still pretty fucking good.
The B-side of the Gumption single sounds, for a few seconds, like it
could be an old Small song. Then the singing starts.
And I don't know what happens at that point. I don't know that I have
the tools available to me to explain why or why not I like or dislike
the Gumption single. There have always been local records which have
done this to me--ones which I neither reacted to horribly positively nor
negatively. Instead I just find myself not quite able to think of how I
would describe them, or describe my reaction to them.
So they used to slip through the cracks, back when I was reviewing
everything, and then people who never showed up in the column would
assume I was doing them a favor by not reviewing their stuff because I
hated it so much but was too nice to say so.
Though anybody who read me regularly knew that if I really hated
something, I'd jump at the chance to say so. There are just some records
which seem to slide off my exterior without leaving enough of an
impression for me to report on. This is perhaps a reflection on the
records themselves, though I'm not sure how damning "unable to make an
impression on Ross Grady" really is, as criticism.
Point is, *I* don't characterize that as damning. I assume that other
peoples' exteriors have different coefficients of friction than mine.
Word. There are shows tonight, the night before thanksgiving. I'm gonna
go give thanks to some bands for showing up.
Ross
--
Give Frank Heath a Hug for the Holidays!
le...@utarlg.uta.edu
The theory you are trying to supercede Butch's anointment theory with is
Harold Bloom's "Anxiety of Influence" theory. The son tries to overcome
(kill) the influence of the father(s). "We are a good band" means "We
have given birth to ourselves."
mal
Todd Morman
Michael Ruthere Quaife-Dalton wrote:
>
> Hi Alan,
>
> I play in Bullwinkel Gandhi(pop, psychedelia), The X-Rayons (surf), and
> Dedicated Followers (All Kinks-All The Time; hence the Quaife-Dalton name
> thing).
>
> See also my post in AMCH.
>
> Later, bye
>
> Mike Nicholson
And the list/newsgroup dichotomy rears its ugly-but-occasionally-useful head
again. :)
When is Dedicated Followers playing around next, Michael? I'm a big
mid-period Kinks fan and that would be a fun night out, I think. To be
honest, most indie rockpop shows bore me to death. Not that I don't
appreciate the power of good poprock songwriting (Sleepyhead is still one of
my fave bands to listen to), just that the scene (show up, drink beer, watch
decent musicians with rockstar dreams play their hearts out, drink beer, go
home) isn't enough to draw me out these days.
I want *more*.
Theatre, puppets, audience participation, movies, politics, spirituality,
what*ever*. Just give me *more* than a rock show and maybe I'll get excited
about your band. But, jesus, don't take my indifference personally. I try
not to give a fuck if you don't like *my* art, so why should you give a fuck
if I don't thrill to yours?
And Nate's right (as usual) with his Small example. I don't know why folks
beat themselves to death about not being all that popular in Chapel
Hill--the place is *tiny*. On any given weekday night there are maybe 30
people who'll go out to see local shows at all. I'm serious. So if you get
half of them, I'd say you're doing ok.
And there's always the frat circuit (no dis intended). Good money there, and
a great way to build an audience.
Oh, you don't want *that* audience? You want the audience of 26-36-year-old
smart poprockers? On a Tuesday night?
Good luck.
todd you're gonna need it morman
Michael Ruthere Quaife-Dalton
Todd wrote:
>just that the scene (show up, drink beer, watch decent musicians with >rockstar dreams play their hearts out, drink beer, go home) isn't enough to >draw me out these days.
Huh?!
I'm not the one bitchin' about our "lack of success" on the Chapel Hill scene. I
pretty much could care less. Just tryin' to offer Gary some encouragement
regarding Gumption. As far as the rock-star dreams, that might apply to
some people I know, but us guys just like to play to anyone be they a
psuedo-intellectual boho or a Bud-swillin' gutbucket good ole boy.
>And there's always the frat circuit (no dis intended). Good money there, and
>a great way to build an audience.
Been there, done that. Money is good. Always could use it. However, it's a
hell of a grind. A good frat gig can be fun (if you like having beer poured on
you) but a bad one is one of the deepest pits of hell.
>Oh, you don't want *that* audience? You want the audience of 26-36-year-old
>smart poprockers? On a Tuesday night?
Uh, preaching to the converted there, bub. We figgered that out in 1991.
There was a time (1979-80) when we stuck up a few posters and, VOILA,
crowds appeared, money was made, and followings created. Them days are
long gone.
>When is Dedicated Followers playing around next, Michael? I'm a big
>mid-period Kinks fan and that would be a fun night out, I think.
Uh, we have yet to play our first DF show. I think the debut is gonna be in
Greenboro at the Flatiron. A free show, methinks. Hopefully before x-mas. I'll
let you know.
>To be honest, most indie rockpop shows bore me to death.
Well I don't think I described BG as "indie rockpop". To be quite honest we're
pretty damn uber-retro Rutlesesque psychedelia. I think we aspire to
something different from Pavement. We also gave up the puppets in favor of
vomit contests and midget tossing (both based on viscosity over weight).
Actually, disclosing the names of my bands was meant to be a private email
to Alan. I've tried not use AMCH as a vehicle to plug my combos. Some other
newsgroups I post to are quite vocally and adamantly opposed to "shilling". I
assumed the same held true here.
> I trynot to give a fuck if you don't like *my* art, so why should you give a >fuck if I don't thrill to yours?
What exactly is your art? I know of NHL, which I totally dig BTW. I don't
ever remember bemoaning the fact that you didn't thrill to one of my combos.
I never knew or frankly cared if you or anyone else gave a toss about us or
were impressed with our ouvre. I'm too busy trying to impress upon my kids
the importance of dental hygiene. Not sure playing music in my case is my
art.
Anyway, I appreciate your words of encouragement, of course in this forum I
can't always tell if someone is being sincere or patronising. I find it hard
sometimes to convey my sarcasm and doofy attempts at wit.
Mikeluckaintgotathingtodowithitlikemylateauntruthsaidyoujustgottabedamne
d,damnedgoodRQD