YTSEJAM Digest 1420
Today's Topics:
1) Mail Item Format Warning
by "RESPONSE at IBMMAIL 04/08/96 - 10:01:15" <response@ibmmail.com>
2) Re: da guess
by borlangw <borlangw@dcs.gla.ac.uk>
3) Re: Shadow Gallery (Re:Re: Brian Werry) {YTSEJAM} (fwd)
by NUPRIN <nuprin@wichita.fn.net>
4) FAQ
by borlangw <borlangw@dcs.gla.ac.uk>
5) Magazine Spam: No Phone
by "Jonathan Byrne" <RRI02@WVNVM.WVNET.EDU>
6) RE: What is a musician?
by xanadu <xanadu@nik.publishnet.nl>
7) RE: Hot Sticks
by xanadu <xanadu@nik.publishnet.nl>
8) NDTC - Respecting My Elders .......
by "mmetzger" <mmetzger@bostech.com>
9) Criss Oliva's grave
by Jaime Kimpton <mrlefler@vwc.edu>
10) (U)Antiquities et al.
by "Steven Johnson" <svjohnson@amoco.com>
11) Re: Jason and the German Guitar-Playing Jammer
by brian.kirk@USVGI.mail.abb.com
12) KJL doing MJ??
by Partha Mukhopadhyay <ahtrap@umich.edu>
13) Antiquities
by michael.bradley@mail.cc.trincoll.edu (Michael Bradley)
14) crackheads, bulls, and other fine assorted vegetables i ate
by WildKoba@aol.com
15) Re: YTSEJAM digest 2112
by Marc Respass <marcr@tiac.net>
16) What is music
by Marc Respass <marcr@tiac.net>
17) Motion to supress
by Marc Respass <marcr@tiac.net>
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Date: Mon, 08 Apr 1996 05:00:01 EDT
From: "RESPONSE at IBMMAIL 04/08/96 - 10:01:15" <response@ibmmail.com>
To: ytsejam@ax.com
Subject: Mail Item Format Warning
Message-ID: <199604080900.CAA20319@mindcrime.ax.com>
The mail item that you sent at 08:59:55 GMT on 08 Apr 1996 has been delivered.
However, it has been necessary to convert this item into a
format that is acceptable to the recipient, FITIPMOL at IBMMAIL.
Information beyond column 79 in the mail item will have been wrapped.
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Date: Mon, 8 Apr 1996 13:52:07 +0100
From: borlangw <borlangw@dcs.gla.ac.uk>
To: ytsejam@ax.com
Subject: Re: da guess
Message-ID: <9604081252.AA06843@keppel.dcs.gla.ac.uk>
Ernie wrote:
> >Caught in a Web. James is holding a tambourine.
> >
> You know, it's kinda hard to hold a tambourine when both your hands are in
> your pockets...
It wasn't a tambourine. He was just pleased to see you.
:-)
Graham B.
____________________________________________________________________________
| |
| Graham Borland, borlangw@dcs.gla.ac.uk, http://www.dcs.gla.ac.uk/~borlangw |::
|____________________________________________________________________________|::
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Date: Mon, 8 Apr 1996 07:55:07 -0500 (CDT)
From: NUPRIN <nuprin@wichita.fn.net>
To: ytsejam@ax.com
Subject: Re: Shadow Gallery (Re:Re: Brian Werry) {YTSEJAM} (fwd)
Message-ID: <Pine.BSI.3.91.960408075456.4090A-100000@wichita.fn.net>
---------- Forwarded message ----------
Date: Mon, 8 Apr 1996 02:46:48 -0400 (EDT)
From: Andy <ytsejam@UDel.Edu>
To: "John T. Nguyen" <nuprin@fn.net>
Subject: Re: Shadow Gallery (Re:Re: Brian Werry) {YTSEJAM}
I just wanted to say, after talking to the band on the subject of live
shows it doesn't seem like they are very into, or should I say a very
prolific live band. I am very courious myself how they would pull some
of the shit off. They do NOT however, plan to tour until the new album
is released, Spring of '97.
later--irc--andy
Andrew Miller "My right hand immediately starts to tense up
ytsejam@Udel.Edu when I approach that inside of the strings
technique... Some guys have this taken care of,
but, ah, we'll have to shoot 'em all, but anyway."
-John Petrucci "Rock Discipline"
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Date: Mon, 8 Apr 1996 14:25:43 +0100
From: borlangw <borlangw@dcs.gla.ac.uk>
To: ytsejam@ax.com
Subject: FAQ
Message-ID: <9604081325.AA06892@keppel.dcs.gla.ac.uk>
Does anyone plan on updating the FAQ at www.dreamt.org?
It is very out-of-date . . .
Graham B.
____________________________________________________________________________
| |
| Graham Borland, borlangw@dcs.gla.ac.uk, http://www.dcs.gla.ac.uk/~borlangw |::
|____________________________________________________________________________|::
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Date: Mon, 8 Apr 1996 09:52:50 -0400 (EDT)
From: "Jonathan Byrne" <RRI02@WVNVM.WVNET.EDU>
To: "Marillion/Fish list" <freaks@AX.COM>, "YtseJam" <ytsejam@AX.COM>
Subject: Magazine Spam: No Phone
Message-ID: <wvmail32.1996apr8.094923.rri02@wvnvm.wvnet.edu>
Hey everybody
Well, I just tried information for Staten Island. Sure enough, they have no
business by the name given in the spam. Therefore, I don't have a phone
number :(. I'd say that a snail mail campaign might still be worth it, but
since there is a big line that says they won't acknowledge hadwritten forms,
they'll probably just throw it away.
Now I'm pissed with nowhere to vent. :|
-------------------------------------------------------------------------
"Bury your memories bury your friends Jonathan Byrne
Leave it alone for a year or two West Virginia University
Till the stories go hazy rri02@wvnvm.wvnet.edu
and the legends come true
Then do it again. Some things never end."
-"Eleventh Earl of Mar", Genesis
------------------------------
Date: Wed, 03 Apr 1996 22:39:06 +0100
From: xanadu <xanadu@nik.publishnet.nl>
To: ytsejam@ax.com
Subject: RE: What is a musician?
Message-ID: <3162EFFA.2951@publishnet.nl>
>Benny-Ben Laussade dares to ask "what is music?" but I would like to modify
>the question and as "what is a musician?" Many of you will probably not
>like what I have to say.
I'll read this with an open mind.
>Requirements for a real musician, by Deborah J. Seeger
O god I hope I have them, otherwise the last 15 years of playing music will have been useless.
>1. HAVE THE DRIVE. First and foremost, a musician must have to desire to
>make noise out of an instrument, or many instruments. Then he/she must
>learn the technique for the desired instrument(s.)
I can live with that
>2. LEARN THE LANGUAGE. This includes knowing what all the dots, lines,
>and other symbols, as well as the jargon, stand for. I know I'll start to
>piss a whole lot of you off right now. So what. Learn to read them and
>write them on paper (the Encore notation program will do as well!)
Funny, when you say "learn the language" you start talking about the notation of it. It's just
like a normal language, the knowledge of the notation is not REQUIRED for speaking the language.
It's kind of stupid to state that a dislexic person is incapable of speaking. Don't get me wrong,
knowledge on the notation can be a very usefull tool for creating music, but it is not making
music. A great storyteller does not have to be a great reader.
>3. KNOW WHAT THE COMBINATIONS OF THE AFOREMENTIONED DOTS, LINES, AND
>SYMBOLS MEAN IN CONTEXT. Some say that theory doesn't make music fun
>anymore. I beg to differ. A muscican should know what certain sounds are
>and why they are used. Analyzing music gives a musician more thorough
>understanding of the notes on a page. One should understand in order to
>create.
I agree that understanding can be important, but it's the same story as in 2. you do not need to
understand in order to create. On the other hand understanding will enable anyone to create
richer things. This goes for a lot of things, not just music.
>4. HAVE THE EAR. Having a "good ear" means different things to each
>person. Obviously if you're tone deaf, music isn't the hobby or career for
>you. Know how to interpret notes on a page and don't be afraid to deviate
>from them.
I've two of them (was born that way). But seriously, you can train your hearing. Listing to rich
music is the most enjoyable way. DT is an excelent example of music that is both enjoyable and
offers lots of stuff to learn from.
>5. BE FAMILIAR WITH MANY GENRES OF MUSIC. An open mind is essential for a
>musician. One limits him/herself by only listening to or playing one style
>of music. Take aspects of a number of styles when creating your own.
Not objection here, I agree.
>6. TAKE INITIATIVE TO CREATE. Being a musician means much more than
>performing. Applying your abilities to compositions can only sharpen your
>skills.
It's harder than you make it look here, but you're right.
>7. LEARN MANY INSTRUMENTS (IF POSSIBLE.) Having working knowledge of
>several instruments is an asset to composition as well as adds variety to
>your musical life.
It's even a lot of fun!!!
>8. KNOWLEDGE, KNOWLEDGE, KNOWLEDGE! Learn about music. Learn about
>composers/songwriters, history (anyone calling themselves a musician should
>be able to name the major eras of Western Art Music,) copyright and
>licensing information, etc.
Don't overdo this. I know many classicly trained people that know so much about the great
composers that they would never consider writing music themself. The know that for example Bach
was on a so much higher level them they will ever be that anything they would write would be just
crab im comparrison. So they do not write just replay that great music. This is not what you
meant with "take the initiative to create" right. DON'T LET KNOWLEDGE STOP YOU FROM CREATING
ANYTING (BOOKS, MUSIC, PICTURES,.....).
>If you make noise from an instrument but can't apply most or all of these
>points to yourself, you are not a musician but merely play a musical
>instrument.
>I know I view music from a scholarly standpoint (I have a $16,000 tuition
>bill accumulated over the past four years that says I can.) Call me a
>college snob if you must, but if I hadn't come to school for music I
>wouldn't be a true musician. Some of you may be able to relate to that.
>If you can't and you don't like my standards for musicians, so be it. You
>have your opnion, I have mine. Now will this spark some more stimulating
>conversation than goddamn drum talk?
That utter nonsence. I did not go to school for music (I chose another career path and kept music
as my hobby) does that make me a "not true musician"? Sorry you're out of line there. I respect
(and even envy) your total commitment to music and if you feel you need to study music then you
should do it. I'd be very intrested in what kind of music you create. But you can not condemn
others for taking another approach to the beauty of music. DT quit their school in order to play
music and they creating some intresting pieces of music I'd think.
So now it's your turn I'm looking forward to your comment (and anybody elses) on my point of
view.
See you, Mirko
-- "The willow knows what the storm does not: that the power to endure harm outlives the power to inflict it."The Ice Man (Mirko) & The Dragon Lady (Hilda) http://www.publishnet.nl/~xanadu/
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Date: Wed, 03 Apr 1996 21:32:04 +0100 From: xanadu <xanadu@nik.publishnet.nl> To: ytsejam@ax.com Subject: RE: Hot Sticks Message-ID: <3162E044.5AB0@publishnet.nl>
Bafu Vai wrote: >Does Portnoy really use purple Hot Sticks? I've heard from drummers >everywhere that they're crap. Is this true?
Mike uses purple Hot Sticks, I know he gave me one. (I had to bang my head off for 20+ minutes at the BosPop gig last summer in holland on ACOS and try to keep up with all the changes they made to the song, but it was worth it).
-- "The willow knows what the storm does not: that the power to endure harm outlives the power to inflict it."
The Ice Man (Mirko) & The Dragon Lady (Hilda) http://www.publishnet.nl/~xanadu/
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Date: 6 Apr 1996 14:01:13 U From: "mmetzger" <mmetzger@bostech.com> To: "YTSEJAM" <ytsejam@ax.com> Subject: NDTC - Respecting My Elders ....... Message-ID: <n1383323265.84640@macsmtp>
>> Here goes...Mark Metzger is an official asshole now. He qualified >> after insulting me in public. He is really sensitive and was offended >> with what I had said to you. I really didn't know that you two were >> lovers. IMO, IMHO, :>)
I could respond and flame the shit out of old Warren, er, ol' Warren. But instead I will take the high road and respect my elders.
Later, Mark Metzger Superior keeps sounding great. Anybody up for a Ytse-Con in DE to see them this summer ??
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Date: Mon, 8 Apr 1996 13:38:39 -0300 From: Jaime Kimpton <mrlefler@vwc.edu> To: ytsejam@ax.com Subject: Criss Oliva's grave Message-ID: <12383932606976@vwc.edu>
Nate Bradley wrote:
<< Criss Oliva was the one that died. On Oct. 17, 1993 he was headed to the rock festival "LiveStock" in Zephr Hills, Florida when a drunk driver attempted to pass a semi truck. He ran head on into Criss and Dawn. Criss was killed instantly and Dawn has recovered from her injuries. It was the drunk drivers seventh DUI offense!!! This is still a rough subject with the band, esp Jon. It is still really hard to talk about. Chris's tombstone quotes Believe (off of Streets) >>
Actually, last I heard (a few weeks ago from a friend of the band's who lives near Tampa), Dawn was NOT fully recovered - given the list of injuries I was told she had, she's probably still going to be recuperating for a while to come. I don't remember half the list I was given anymore, but supposedly it included a broken back, and I *think* she's still in a wheelchair; I'll have to check the letter to be sure. If anyone knows for absolute certain I'm wrong (which is a possibility; I don't always rate my friend's reliablity at 100%), speak.
The same friend has been to visit Criss' grave and has sent me photos of that and a nearby tree that was dedicated to his memory. Both photos will be appearing on my Web page, which *should* be going up within the next couple weeks. I hope...
<< Speaking of Rook, anyone remember Robotech? >>
YEAH! Japanimation *rules*! I'm eagerly awaiting the US release of Macross Plus #4...
Jaime the Dragon :)
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Date: 08 Apr 1996 11:17:11 GMT From: "Steven Johnson" <svjohnson@amoco.com> To: ytsejam@ax.com Subject: (U)Antiquities et al. Message-ID: <199604081642.AA08446@interlock.amoco.com>
Hey everyone! Gotta love the flame wars, eh?
Got Antiquities....I, too, can't believe Arch was gonna be the man! He sounds ridiculous! Is he impersonating the Crypt Master, or what?James' singing thoroughly outclasses Arch's. I'm scared to hear any Fates' stuff with him at the helm. Also, Stone was pretty weak, too. Was there a lack of real talent out there at the time? That leads to my next thread.
It seems a number of prog. singers are so set in the "classically" trained tag , that they need to use as much range and vibrato as they can possibly muster. I really cringe when I hear every note out of Stone's mouth with heavy vibrato whether the note is for 6 bars or it's a half note. The guy doesn't even use a flat tone and then blend into vibrato. It's just "lahyahyahyahyahyah". I hear this way too often from these singers. Between that and trying to show how high they can sing, it's too much of an earful.
Am I the only person who hears a lack of control and stylistic variation? Not saying they aren't out there (James Geoff Ray), but it's hard to find. I didn't even listen to the rest of the Arch tacks on Antiquities because his voice was too annoying.
Also, Antiquities' ACOS is good, but not my favorite. For it being a studio version, I thought James was gonna rip into the "Don't go"s at the end like he did on Subcon. I felt cheated....used....lied to...when he held back. (sniff)
AWAKE PHOTO: I don't have it in front of me, but having all the guys in one room and their amps in another is excellent for communication and nulls the bleedover effect. If they are in the room, it may be a la Beatles where they just played and didn't worry about mix down. But most likely it was rehearsal or just an open-air recording where two, three or four mics are just positioned around the room.
Steve
*************************************************************** "I'll be defending you on the charge of......MURDER ONE!?! Wow! Even if I lose, I'll be famous!!" - Lionel Hutz, attorney ***************************************************************
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Date: Mon, 8 Apr 1996 13:02:20 -0400 From: brian.kirk@USVGI.mail.abb.com To: " - (052)ytsejam(a)ax.com" <ytsejam@ax.com> Subject: Re: Jason and the German Guitar-Playing Jammer Message-ID: <0010200002426104000002*@MHS>
Jason Breitweg mentioned:
> When talking about the band Superior (who everyone should check out > because they kick ass!) to friends does the conversation go like this? > > Who is this? > > Superior. > > Yeah, I know the are pretty good, but who is this? > > Superior. > > Ahhhhhhhh (friend runs off screaming) >
Or, when you're listening to the second song on the disc:
Friend: Hey, this is pretty good! Who is it?
Me: Superior
F: Cool. What's the name of the song?
M: Why.
F: Because I want to know.
M: I already told you.
F: No you didn't.
M: Yes, I did.
F: No. You did not.
M: Then you must be as deaf as Neil.
F. Whatever, just tell me the name of the song.
M: Why.
F: BECAUSE I WANT TO KNOW!!!!!
M: Jeez, man. No need to yell. I can hear you just fine.
F: WHAT'S THE NAME OF THE FUCKIN' SONG?!?!?!?!?!
M: Why.
F: %$^#%*&$#(*&$#&@$#)(&*$&#($*#@^$)#@^$*&@
Apologies to Abbot and Costello.
.sig? .sig!?! We don't need no steenkin' .sig!!!
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Date: Mon, 8 Apr 1996 13:20:02 -0400 (EDT) From: Partha Mukhopadhyay <ahtrap@umich.edu> To: ytsejam@ax.com Subject: KJL doing MJ?? Message-ID: <Pine.SOL.3.91.960408131556.20930F-100000@galaxian.rs.itd.umich.edu>
(On AQ's ACoS) yeah, that might be it....the vocals, the echo effects, etc are just really odd, takes a bit of getting used to, and I'm getting there slowly....... Partha
"I'm in trouble for the things I haven't got to yet"--Dave Mustaine (thanks for setting me straight on that, Sir Krod) (IRC reference: be there or remain clueless ;)
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Date: Mon, 8 Apr 1996 13:28:11 -0500 From: michael.bradley@mail.cc.trincoll.edu (Michael Bradley) To: ytsejam@ax.com Subject: Antiquities Message-ID: <v01520d00ad8f0963a741@[157.252.65.110]>
Hey Guys!
I got my copy of AQ today and I thought I'd share some thoughts. The CD starts off with Derek tearing up the keys, so that alone basically made the disk for me. Anyone still doubting Derek's abilities should definately buy AQ and prepare to be blown away. All the live material from the Awake tour is great. The outake of UAGM sounds killer. I also liked James' version of DLPM, but the sound is a little muddy. About the vocalist auditions, I had already heard Arch and Stone sing these songs, and IMHO, they can't touch James. Overall the sound quality of this recording is consistently very good. At least in my opinion, the first three songs alone make this CD a must-have. Well, Mike great work...I can't wait for Scenes.
-Mike Bradley
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Date: Mon, 8 Apr 1996 14:09:52 -0400 From: WildKoba@aol.com To: ytsejam@ax.com Subject: crackheads, bulls, and other fine assorted vegetables i ate Message-ID: <960408140951_371395592@emout10.mail.aol.com>
i'm baaaaaaaaaaaaaaaaack!
yo ladies, gentlemen, and bafu vai's.
i can't go thru reading 37 jams, all missed during the break. fuck it. but i did read a few.
crackheads raping a bull. hmm, that reminds me of a horrid joke. a few nights ago, i happened to get with this sheep grazing out in the meadows, and yesterday, before i left, i asked him, "hey- was it good for you last night?" to which the sheep replied, "not baaaaaaaaaaaad."
what a musician is? very interesting points mentioned by ms. seeger (particularly the one about encore), and interesting replies by a bunch of people. again, i don't know if i agree with all the requirements, but, i'd like to add one or 2 more requirements. a) smoke a lot of crack b) eat vegetables, c) and learn to say "rdnzl" until you can pick up other girls and boys with it.
as you see, i'm not making sense much. but fuck you.
yo estoy muy canzado. yo tengo que estudiar para mi clase de kaplan esta noche, y yo tengo que presentar un papel para mi clase de filosofia manana. y su madre parece como un toro violado.
peter collins on the next dt album. oh boy. i don't know if i should cheer, or put a gun to my head.
has anyone done my little kevin moore thingy thingy and bitched to some right authority about re-releasing his old demos?
umm, i don't know what else to write. i'm just tired.
i have cd's for sale (i make a list later), and steffen b. and mike ostrich, i hope you get your wfs soon. i sent them out early last week. lemme know.
peace out, g's.
the original crackhead (don't let anyone else tell ya differently) david the magical kobayashi.
speaking of, i was a crackhead would go and rape those pesky chicago bulls.
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Date: Mon, 8 Apr 1996 14:19:10 -0400 From: Marc Respass <marcr@tiac.net> To: <ytsejam@ax.com> Subject: Re: YTSEJAM digest 2112 Message-ID: <199604081819.OAA06237@mailserver2.tiac.net>
>From: "Damon M. Fibraio" <s0067977@hawkmail.monmouth.edu>
>Mark you are twisted indeed
Thanks :). BTW, it's MarC. Or I'll start calling you dEmon ;).
--MarC Respass
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Date: Mon, 8 Apr 1996 14:19:11 -0400 From: Marc Respass <marcr@tiac.net> To: <ytsejam@ax.com> Subject: What is music Message-ID: <199604081819.OAA06242@mailserver2.tiac.net>
> SO, if someone who can make music with his ass, calls his > ass a musical instrument, then it can be USED as a musical > instrument and do everything a musical instrument can do
I can't agree or disagree because I'm laughing too hard :). That's wicked funny!
> On the contrary. It started when I asked: What is music?
And look where it went. From "what is music" to "requirements for musicians" to "is an ass a musical instrument." It's just like that game where you whisper something to the guy next to you and see how it changes except that we've been saying it out loud :).
--Marc Respass (marcr@tiac.net) Come visit the Joel Rivard Group home page at http://www.tiac.net/users/marcr/
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Date: Mon, 8 Apr 1996 14:19:15 -0400 From: Marc Respass <marcr@tiac.net> To: <ytsejam@ax.com> Subject: Motion to supress Message-ID: <199604081819.OAA06249@mailserver2.tiac.net>
> Until this list starts rejecting mail sent from > non-subscribers, there won't be an end to this.
Why not have the Jam set up as member's only? I mean, if we wanted to be public we could've set up a Usenet group and had our discussion there in public. The point of a mailing list is to have a place to discuss a particular topic and have it delivered to your door step. Allowing non-member's would be like allowing advertising - or in the case of Spammers, _free_ advertising. Since the ads (spam) isn't helping the jam at all, why not lock 'em out?
All in favor, raise your hand.
--Marc Respass
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End of YTSEJAM Digest 1420 **************************
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