YTSEJAM Digest 4145
Today's Topics:
1) Why The World Will End When/If James Writes Metropolis Part II (fwd)
by Keith Aspinall <big.smooth@asu.edu>
2) Re: Just a quick note....
by Damon Fibraio <damon@shell.monmouth.com>
3) Re: help!
by Damon Fibraio <damon@shell.monmouth.com>
4) Re: Derek
by Jeroen <jeroen.hendrix@wxs.nl>
5) the battle begins
by Deedlit <ebonomi@scott.skidmore.edu>
6) Re: Neil Peart
by Damon Fibraio <damon@shell.monmouth.com>
7) Re: You mean shredded cheese!?
by "Elydian" <elydian@netcomuk.co.uk>
8) Re: Derek sounds
by "Elydian" <elydian@netcomuk.co.uk>
9) Sitting at Hampton Beach
by Inflammabl@aol.com
10) I'm sick of this
by Deedlit <ebonomi@scott.skidmore.edu>
11) Where to start w/ Crimson?
by "D. Frantz" <dfrantz@blue.weeg.uiowa.edu>
12) Re:Drinking game/CarvinLB75
by jogopogo@freemail.nl
13) On music and diversity...
by "KorgX3" <korgx3@safelink.net>
14) Re: I'm sick of this
by Matt Johnston <matt2518@gladstone.uoregon.edu>
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Date: Thu, 06 Aug 1998 10:24:16 -0700 (MST)
From: Keith Aspinall <big.smooth@asu.edu>
To: ytsejam@ax.com
Subject: Why The World Will End When/If James Writes Metropolis Part II (fwd)
Message-ID: <Pine.GSO.3.96.980806102217.11856B-100000@general3.asu.edu>
this is part two. if you haven't read part one, i suggest you do that first.
you might get a little lost...
Keith
---------- Forwarded message ----------
Date: Thu, 06 Aug 1998 02:57:38 -0700 (MST)
]From: Mad dog <jhaveman@u.arizona.edu>
Subject: Why The World Will End When/If James Writes Metropolis Part II
He (Kevin) decided that he was not going to defend the Sleeper twin anymore.
Why? Because "the siren [kicked] him from a dream." 'Siren' must of course
refer to James/Charlie, who is the same person, who is The Miracle and The
Sleeper in one, who is Dream Theater. He knows all about the honor of God,
Mary Jane, but he also knows when he's hopelessly outmatched.
Kevin's album with Chroma Key, _Dead Air For Radios_ is an attempt to let
the world know what is going to happen, but Kevin chooses to do so rather
abstractly.
"i'm colorblind three way tragedy...
maybe i'm paranoid yeah that's my problem" - Colorblind
In "Even the Waves" he speaks of three pairs, "me & judas" followed by
"me & jonas" and then finally "me & joseph." Note that all three start
with the letter 'j.' Like Petrucci's Metropolis, this is also a 3-way
tragedy. We have the first, Judas, Death and Charlie, followed by Jonas,
Deceit and DT's middle period, and then finally, Joseph, Love, and
Armageddon. [Judas, the betrayer, followed by Jonas, an oblique reference
to Jonah (and the whale), who appeared to be dead, and then finally
Joseph, the father (Love) of the prophesized one (in this case, James)].
Since DAFR is so oblique, I will only include a few more quotes in the
effort of moving on.
"there's a song that i'd rather forget" - Undertow
"i was half outside and half inside a dream" - America The Video
"left them behind or ahead and he said
sooner or later you get up off the floor
when no one wants to hear it anymore" - S.O.S.
"each time i walk out the door
someone mixes metaphors" - On the Page
"she steps into the stream the level rising" - Mouse (Now watch what
happens)
Note the cry for help, ie SOS, 'She' once again is Dream Theater, the
Mother. But, the 'someone' who 'mixes metaphors,' well, that bring us
back to what I tried to skirt earlier. The part about "Deceit is the
second without end," and what "Lie" Kevin really wrote about. But be
patient.
A 'Change' of Seasons indeed. We now have Derek instead of Kevin, and a
new ep. I invite you to search through the title track on your own, in
order to find out how much Mike really knew about this whole thing.
Compare the earlier versions of this song to the official one, and see
what, if any, changes Mike made now that Kevin, the main Sleeper force,
was gone.
But let us look at the covers. "Funeral For a Friend/ Love Lies Bleeding"
is fairly obvious. The members were still morning the loss of the Kevin,
and possibly still the loss of Charlie. In the Flesh? - Possibly James
questioning his own existance as the Dream Theater, the Miracle and the
Sleeper in one mind, or flesh.
Brace yourself for this one.
Carry On Wayward Son - John Petrucci is speaking to James, his adopted
son, who he wants to finish his work here by writing Metropolis Part II -
Armageddon.
We're through the looking glass, folks.
Yes. John Petrucci - he who wrote a song with each of the incarnations of
the two twins in one, he who wrote of the future in Metropolis Part I, he
who spoke of himself with the line "Deceit is the second without end," he
who is the 'stepfather' (of James/Charlie with Dream Theater the Mother)
from Kevin's expose "Lie," he who mixes metaphors like nobody's business,
he who wrote of "Poor Vanessa" (aka Dream Theater the Mother, aka "Mother
Mary quite contrary" [hence the Mary Queen of Scots logo]), he who wrote
of his "Fortune In Lies" - is the true villian here.
Petrucci is the mastermind behind this. He found Dream Theater, the
Mother, and married her, becoming stepfather to the two twins. He was not
pleased with the first incarnation, Charlie, and demanded another, "this
time for real" - from the ominously titled "The Ones Who Help to Set the
Sun." Thus cames James. John was estatic, so much so that he allowed the
greatest force against him, Kevin Moore, to remain in the band for another
two albums ("you tell me 'bout your two more coming"). He writes of his
overwhelming joy in "Under A Glass Moon." I will not analyze it at this
time, but you can't help but think that that song was written by some
hyper child, rejoicing in what has been given him. John was less jubilant
after _Awake_, and quickly disposed of Kevin, who was replaced by Derek,
who John claimed to be a "Perfect Stranger." I think it's clear - Derek
is a clone of John Petrucci, placed in the band to do John's bidding,
which is why Derek hasn't written anything yet - there is no need for it.
What else can we tie in? John's facination with pop songs, as mentioned
before. To this list we can add "The Silent Man," a song which John wrote
both the lyrics and the music for, which was released as a single.
[Previously, only the rebellious Kevin Moore had written both music and
lyrics for a song, with SDV and "Wait for Sleep." Or, as he wanted to
call it, "Wait for Sleeper."] The point is, Petrucci is branching out,
trying to get a larger audience for his band, which is his ticket to world
domination.
If James was the evil one here, he could just write "Metropolis Part II -
Armageddon" and be done with it. But he's not, and he's only just
realizing that he is merely a pawn in Petrucci's game.
Several questions, areas for study, remain. First off, we need to study
that final verse of "Metropolis Part I" to learn what the future holds for
us. From FII, Petrucci's "Lines In The Sand" seems fairly prophetic, but
even I cannot yet interpret it. And also, what does Desmond Child have to
do with Petrucci's conspiracy of a planned Armageddon? Did he think that
Petrucci was being to arrogant, calling the song "You Or Me"?
And just where do Mike Portnoy, who wrote "Why'd I betray my friend" in
"The Mirror," his companion song to Kev's "Lie;" and John Myung, who
possibly was Kevin's only true friend in the band - he was also part of
the Sleeper twin; he wrote LtL so Kevin could write the intro song, WfS -
stand on this issue? And is James really neutral or is he going to rebel
like so many before him, forcing Petrucci to either find another
replacement incarnation of the two twins together in on mind/flesh? And
if that does happen, will Petrucci replace James as he did Kevin, with a
clone of himself? And actually, is the current John Myung, who wrote
"Trail of Tears," a Miracle/Theater song, the same one that wrote LtL and
LSoaD?
TO SUM UP:
John Petrucci and his army of clones (Sherinian and Myung) are taking over
DT, waiting for a Charlie/James incarnation to write "Metropolis Part II -
Armageddon," sparking the end of the world as we know it.
If John and his clones of the Miracle/Theater twin are victorious in the
final battle, Petrucci will reign forever - for he loves only himself, and
"Love is the Dance of Eternity."
The wild cards? Mike Portnoy, who appears to be a solid Miracle/Theater
follower, who plays the party line, who has never written a Sleeper/Dream
song, could be on the side of good, i.e. the side against John Petrucci.
There is also Kevin Moore, who was beaten by Petrucci once, but has
returned with his _Dead Air For Radios_, which he is trying to use to once
again do battle with the evil that is John Petrucci.
So support Kevin and his fight by buying DAFR. As for Mike? Well, we
can't really help him, but he still can help himself. Mike, you must take
it upon yourself to write "Metropolis Part II - John's Dementia" exposing
to the world the chilling scheme that John Petrucci is trying to hatch.
To close, ever wonder why "The Killing Hand" is the only song with vocals
from WDADU that is still played with any regularity? It is John's
confession:
"No one is left now
my one and only land
I laugh at what I've done
I am the Killing Hand" - "The Killing Hand" - John Petrucci
Mad dog --- jhaveman@u.arizona.edu --- John Haveman
"Im Anfang war das Wort?" ... "Nein. Im Anfang war die Tat."
Goethe's Faust I - Scene III - as quoted in Phillip K. Dick's _Valis_
P.S. - John, I am _so_ sorry for exposing your plan to the entire
Ytsejam...
------------------------------
Date: Thu, 6 Aug 1998 13:53:01 -0400 (EDT)
From: Damon Fibraio <damon@shell.monmouth.com>
To: Multiple recipients of list <ytsejam@ax.com>
Subject: Re: Just a quick note....
Message-ID: <Pine.BSI.3.95.980806135226.993C-100000@shell.monmouth.com>
Well, we have to define rock keyboardists vs prog keyboardists then. Is
the distinction what the person listened to growing up? what separates a
rock keyboardist from a prog keyboardist anyway?
-- Damon Fibraio, email damon@monmouth.com Keyboardist, vocalist, and looking for work "I can see much clearer, now I'm blind."--Dream Theater, Take The Time, Images and Words------------------------------
Date: Thu, 6 Aug 1998 14:02:58 -0400 (EDT) From: Damon Fibraio <damon@shell.monmouth.com> To: Multiple recipients of list <ytsejam@ax.com> Subject: Re: help! Message-ID: <Pine.BSI.3.95.980806140227.993F-100000@shell.monmouth.com>
Well, I would go with you guys, but I am near broke, I have a band audition tonight, and unless somebody has a Jones Beach ticket they would donate to a poor ytsejammer and a ride to the same show, iw ill be missing out.
-- Damon Fibraio, email damon@monmouth.com Keyboardist, vocalist, and looking for work "I can see much clearer, now I'm blind."--Dream Theater, Take The Time, Images and Words
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Date: Thu, 06 Aug 1998 19:32:37 -0500 From: Jeroen <jeroen.hendrix@wxs.nl> To: ytsejam@ax.com Subject: Re: Derek Message-ID: <35CA4B25.68D2@wxs.nl>
> Now, what I'm about to say is based on my personal experience, so please > don't flame me. I really was not impressed with Derek. Fine, he played > keyboards and seemed to be playing great. But it was the conersations > with him before the show that led me to believe he was just a > cheesehead/poser guy. He may have the skills, but it doesn't matter. > > Any thoughts? Please don't flame me....I just didn't find him very nice > on a personal level....it has nothing to do with his musical abilities, > although I do think DT can find someone just as good, or better, and > with a better personality.
Well, from what my experiences are with Derek he's a very cool and nice (in that order ;o)) guy. I was lucky to take a keyboard-lesson from Derek and I must say that during that lesson he was the most patient man I've ever met. I guess that this man is a real musician and he lives for the music. He's ok, believe me!!!!
Jeroen
p.s.: And wowwww, this man knows how to play.
------------------------------
Date: Thu, 06 Aug 1998 14:33:03 -0400 From: Deedlit <ebonomi@scott.skidmore.edu> To: ytsejam@ax.com Subject: the battle begins Message-ID: <3.0.2.32.19980806143303.006a0970@scott.skidmore.edu>
from Vinnie: > Deedlit, you know I respect you, but judging from your post, you've >obviously NEVER heard Symphony X. Symphony X is MUCH heavier than Dream >Theater. This is not a power metal band. As far as just plain >"heavieness" is concerned, Symphony X, IMO, is on par with bands like >Slayer, Deliverance, Pantera, and Tourniquet. Just because they're >neoclassical doesn't mean they're "cheese" or "light". Thank you.
Ah, I totally disagree...Pantera and Slayer don't sound anything like S-X; they are completely different genres and cannot be compared in terms of heaviness. Maybe S-X is heavy in it's genre, but it's not heavy compared to Slayer and Pantera and other bands akin to them.
> hahahah!! Russell Allen is a baritone :) He sounds more like Dio or Zak >Stevens (Savatage). Once again, you've never heard Symphony X.
Ahhh, Dio was a tenor, wasn't he?
HAHAHAHA, yeah I've never heard them at all, you're right. You know Vinnie, you're always right, You're an omniscient god. I just came up with that to piss YOU OFF. No, I have heard quite a lot of Symphony X, Angra, and Stratovarius. To me, I find them all sounding *quite* similar in both instrumental and vocal sound.
What I meant was, most of the singers of these bands emulate Geddy Lee's vocal timbre and inflections, not necessarily his range. Duh.
> So classical should be old, played with old instruments? Why not play >classical music with electric or even synthesised instruments? Is it no >longer good? Is it no longer technically challenging? I don't agree with >you here, but everyone is entitled to their own tastes.
Classical music is old. And the instruments don't have to be ancient, but they should be classical. But christ, this is just my damn OPINION, eh? I was wondering if anyone else felt the way I do, or if it was perhaps a result of me living in a classical music world for so long.
>Erica, don't take offense, but please listen to more of something before >bashing it, thank you.
I only take offense at your assumption that my damn opinion is wrong. It's just an opinion.
]From Johnathan: >Ooooh. Well, I must love guitar wankery lots. And unless the singer sounds >like Dio or Labrie, I don't even care about vocals much. I got all the Tony >Macalpine and Vinnie Moore albums, I'm acquiring the George Bellas and Joe >Stump stuff gradually, and I can tell the difference between them.
hey, whatever floats your boat! That's fine! I listen to the stuff, but I don't like it all that much. Just my take on it all.
>I get what you're saying about PURE classical music. When Vinnie Moore >plays 'Air on a G string' on electric guitar, you just think...no, not good. >Ditto Ritchie Blackmore on Rainbow's Difficult to Cure with Beethoven's >Ninth. But neoclassical shred as a whole...gimme gimme gimme.
I like neoclassical blended highly with other styles...but not just as itself....
To flamers: GET OVER IT...it was my take on it...you don't have to agree, but don't say I'm stupid, because that is irrelevant and not necessarily true.
Variety is the spice of life, but you can be allergic to certain spices, eh?
Erica
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Erica Bonomi, ebonomi@skidmore.edu Deedlit or Deedo on DTnet and ICQ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ http://deedlit.animeonline.org/ Check here for the original mp3 of the week! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
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Date: Thu, 6 Aug 1998 14:30:00 -0400 (EDT) From: Damon Fibraio <damon@shell.monmouth.com> To: Multiple recipients of list <ytsejam@ax.com> Subject: Re: Neil Peart Message-ID: <Pine.BSI.3.95.980806142942.993K-100000@shell.monmouth.com>
I was purely speculating, but the fact that he is hopsitalized gives a sign that he is not handling things well at all.
-- Damon Fibraio, email damon@monmouth.com Keyboardist, vocalist, and looking for work "I can see much clearer, now I'm blind."--Dream Theater, Take The Time, Images and Words
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Date: Thu, 6 Aug 1998 18:44:21 +0100 From: "Elydian" <elydian@netcomuk.co.uk> To: <ytsejam@ax.com> Subject: Re: You mean shredded cheese!? Message-ID: <01bdc161$d82c1cc0$LocalHost@elydian>
Deedlit, on bail for arson after a recent Symphony X encounter, posted:
> I think it's because I play a classical instrument (oboe) but playing >classical music on electric instruments makes me want to burn things...it >totally irks me. Am I the only person who feels like this??!
To me, neo-classical shred, and classical (as a whole, not just the era), are extremely different, not just because of the instruments. For instance, if say The Eyes Of Medusa was arranged for classical instruments, it probably wouldn't sound like standard classical, it would still sound like neo-classical. If someone was to arrange say Grieg's Piano Concerto In Am, for electric guitar and keys, it would still sound like standard classical.
I think that the main difference between the two styles, is that neo-classical is held at a certain tempo at any instant, mainly because of the fixed tempo brought about by the modern drumming style. Standard classical is not held to exact tempo, it's written to a tempo, but the performers will play certain phrases slowly and some quicker. To me, the standard classical style of composition and performance, is more expressive, because of the freedom of tempo that is has.
I don't think that the instrument itself is the major factor in the feel of the music, it's the way the music is written and performed.
========================================== In a world which your mind controls, belief is reality. -- E-Mail: elydian@netcomuk.co.uk -- ICQ UIN: 1491970 -- Web Pages: http://www.netcomuk.co.uk/~elydian/ ==========================================
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Date: Thu, 6 Aug 1998 19:11:38 +0100 From: "Elydian" <elydian@netcomuk.co.uk> To: <ytsejam@ax.com> Subject: Re: Derek sounds Message-ID: <01bdc165$a7efa500$LocalHost@elydian>
Damon spoke the following words:
>I have been in tons of bands where the guitarist gets so offended when I >whip out the distorted guitar patch. Why? I have attributed this to >insecurity. Just like the drummer who gets pissed when he can't understand
It is insecurity, without a doubt. The synth is a far superior instrument to the guitar, in terms of the possibility brought around by it. When you use a guitar patch, the guitarist feels that you can sound like a guitar as well, but you can also sound like practically anything you want, on top of that, when the guitarist can only sound like a guitar. Also, on a guitar, you have to vary the techniques you use for varying ideas, eg. Linear runs; alternate picking, Fast arpeggios; sweep picking, etc. But with keys, similar techniques are used for varying ideas. Also, the harmonic possibilities brought about by keys: you can play 10 notes at a time, which, unless you want to explore intervals less than a semi-tone, is more than enough to perform whole pieces on just that instrument alone, which also makes composition easier. The notes are layed out in a way that makes perfect sense, but with a guitar, they're layed out across several strings, which is inevitably more difficult to work with.
All these issues appeared in my mind, during my recent battle with myself, not to change instruments, you see, I'm a guitarist. It would be a lot easier if I was like 5, I could just change, but I'm 18, and have already come several years too far with guitar. Anyway, I got over it, and I'm perfectly happy with guitar now.
------------------------------
Date: Thu, 6 Aug 1998 14:58:59 EDT From: Inflammabl@aol.com To: ytsejam@ax.com Subject: Sitting at Hampton Beach Message-ID: <224875b6.35c9fcf4@aol.com>
>> Sitting Down for a DT show ............
SUCKS !! >>>>
You've got that right! I don't understand why everone sat though! All you had to do was tuck in your chair and there was plenty of room to stand. I was one of the few people standing there, over on JP's side of the stage. I actually feel bad for the band, because I don't think they knew why everyone was sitting
Art
**Well, it's not that I wouldn't have stood, in fact, I stood everytime I had the chance but the house rules are that HBCB is a club. They denounce standing so that everyone can see. Everytime I stood up some dickhead that worked there made me sit. I can sorta see how the HBCB feels, but at the same time I'm sure that it made the band feel kind of un-special. But, besides the fact.. the show fucking rocked and I left there deaf, happy and mesmerized (as usual following a DT show). I must say that if the mix was better, it would have been the best DT show that I have ever seen. The Toad's show (first date on the FII tour) was the best mix that I have ever heard live, but DT wasn't in their best form (still working out the bugs at that point) but this show kicked nonetheless!! I can't wait to see them headlining again. Does anyone else feel the way I do about the mix? KJLB's vox were too high and their wasn't enough low end (I couldn't hear JM) and I could barely hear DS. All I could hear was MP's drums and JP guitar with an occasional ear piercing vocal.. I'm not complaining I'm just stating what I heard. How could anyone actually complain right? Later, J Jeremy "Jay" Kube inflammabl@aol.com kube@nh.ultranet.com jkube@cyberportal.net "Sex is Death, Death is Sex; Says it right here on my crucifix!" John P. Petrucci, Dream Theater. "If I had breasts, I would never leave the house. Ever." John Perrault "I don't know what this prog thing is, but it fucking rules" Me, 1992
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Date: Thu, 06 Aug 1998 15:05:24 -0400 From: Deedlit <ebonomi@scott.skidmore.edu> To: ytsejam@ax.com Subject: I'm sick of this Message-ID: <3.0.2.32.19980806150524.006a1e20@scott.skidmore.edu>
You are all right. I am stupid and I have no idea what I'm talking about. I cannot have legitimate opinions.
You're all right, forget what I said. I'm not posting ever again, so don't worry.
Erica
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Erica Bonomi, ebonomi@skidmore.edu Deedlit or Deedo on DTnet and ICQ ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ http://deedlit.animeonline.org/ Check here for the original mp3 of the week! ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
------------------------------
Date: Thu, 6 Aug 1998 14:56:11 -0500 (CDT) From: "D. Frantz" <dfrantz@blue.weeg.uiowa.edu> To: Multiple recipients of list <ytsejam@ax.com> Subject: Where to start w/ Crimson? Message-ID: <Pine.A41.3.95.980806145041.12584C-100000@yellow.weeg.uiowa.edu>
Just recently got Thrakattack and B.L.U.E., love both. I also got In the Wake of Poseidon and didn't like it much at all. Can anyone tell me where the lineup and style changes take place w/ the band, esp. when Bruford joins? I'm thinkin since I didn't like Poseidon, I wouldn't like much of the other earlier stuff either. Any help would be appreciated. -Oh, and 'hey' to all the Chi show jammers, I've got e-mail again.
-Frantz-
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Date: Thu, 6 Aug 1998 19:59:06 GMT From: jogopogo@freemail.nl To: ytsejam@ax.com Subject: Re:Drinking game/CarvinLB75 Message-ID: <199808061959.TAA27722@freesrv3.freemail.nl>
Hello, everybotty
Matt, about the drinking game: are u talking about a #ytsejam drinking-game? I mean for the ICQ/IRC chat-box? Or do u mean the Ytse Jam drinking game, to be used while reading the Ytsejam mailinglist? I do have the latter, only in printed version, I deleted the original fils from my comp. U can mail me privately and if you ask, I might even re-type it for u.
About the Carvin LB75 bass: I wasn't really trying to talk anybody out of buying it. I was just explaining that I would never buy a 5-string for less than $1000,- I have never seen this bass or read about it (although I do regularly purchase a copy of the Bass Player mag. As I said, I just don't trust low-priced basses. And this is MY opinion.
See ya
Jogo da Pogo(Jogopogo@freemail.nl)
"Virtue constitutes happiness and selfcontrol is the essential part of virtue.">Cynic
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Date: Thu, 6 Aug 1998 14:29:13 -0600 From: "KorgX3" <korgx3@safelink.net> To: <ytsejam@ax.com> Subject: On music and diversity... Message-ID: <003601bdc179$4328e8c0$4ff086cc@korgx3>
>easier if I was like 5, I could just change, but I'm 18, and have already >come several years too far with guitar. Anyway, I got over it, and I'm >perfectly happy with guitar now.
Actually, there's nothing stopping you from playing both. I recommend for any serious musician to take up as many instruments as possible. It doesn't really limit your learning of any other instrument by playing another. Hell, I play keys, guitar, sax, bass, and just ordered a violin. Playing another instrument opens up a whole new realm of inspiration and ideas. Escpecially guitar/keys because they have such different spproaches of playing them. Why limit yourself to one instrument? IMO, mastery comes from diversity. Look at Tony McAlpine. The dude is as scary on piano as he is on guitar! Those are just my thoughts. I hate to see someone categorize themself and stay there (unless you're happiest that way, of course). :)
Next on my list: flute! --KorgX3
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Date: Thu, 6 Aug 1998 13:31:35 -0700 (PDT) From: Matt Johnston <matt2518@gladstone.uoregon.edu> To: Multiple recipients of list <ytsejam@ax.com> Subject: Re: I'm sick of this Message-ID: <Pine.GSO.3.96.980806132912.1232B-100000@gladstone.uoregon.edu>
On Thu, 6 Aug 1998, Deedlit wrote:
> > You are all right. I am stupid and I have no idea what I'm talking >about. I cannot have legitimate opinions.
Don't take them seriously... I mean, it's not like their exactly A-list posters or anything. I mean, who actually trusts a man named Vinnie anymore? ^_^
> >You're all right, forget what I said. I'm not posting ever again, so don't >worry. >
Don't do that. There are some of us here who still respect the sanity that comes with not being so anal as to participate in a flame war over an opinion.
It would suck if you took your ball and went home. ^_^
--Matt (Anal? Me?!? Never!)
--------------------------------------------------------------------- "..." --James LaBrie, "Hell's Kitchen" ---------------------------------------------------------------------
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End of YTSEJAM Digest 4145 **************************
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