There's me at work at the TV station running episodes of Charlie's Angels. The woman next to me running the programming for the Fox affiliate discovers she has a screwed up tape of Sally. She barks "fuck fuck fuck" over and over again. Sometimes I wonder if she does that not because a huge boo boo happened. I think she does it actually asking someone to......well, never mind. At that point, I was nearly drifting off to sleep, but then remembered it's only a few more hours until I get out and get my Belle and Sebastian album. There's me in my car. I had just bought the Belle and Sebastian album and am listening to it in the CD player. I have plenty of time since I'm battling the evil rush hour traffic. I realize later on that afternoon that my CD player is in "random" mode and not playing things in album order. It is during a later playing that I notice the band does their usual or signature intro (depending on what word you want to use, and how big and important you think they are) of starting with acapella singing then quickly building. Nevertheless, this is the present and I immediately like "Is it Wicked Not to care." I can't say why. Let's just leave it at that. I'm sick of trying to put in my own words why I like anything because it comes out with some critical bull crap......I know I'll change my mind later on this stance, so I don't know why I'm writing it here. My favorite is the title song, but I realized something eerie....a few months ago, I had almost written a song with the same melodic line. I kept thinking "this sounds familiar, where have I heard this before?" It happened that it was one of those songs where I envisioned a different melody line than the one that came out. I don't know what to make of Seymore Stein. This one worries me. Is this the point in their song that they turn into Morrissey by adopting the philosophy "I'm not going to talk to someone and deal with them on a human level, I'm just going to publish a song about them on albums for the world to see." ? I remember reading once during the height of Moz's war with the media back around 92 that he would only deal with the media "through his songs" and now fans have to listen to great songs like Speedway ruined by the self pity of a rock star. I know most big stars have that special song or album dedicated to how they were shat apon by the record industry, but for the most part, fandom doesn't want to hear it. It's much easier for people to get excited about "Get me away from here I'm dying" where everyone has dreams about escaping. Maybe it's why most bands last only a few years losing their relavancy to the masses. Maybe it's why poetry in general has lost any chance of mass appeal and is only left for dank coffee houses. It's just words for a few people. I happen to catch the tail end of a local slam and noticed that there are more poems about what it's like to be on stage or how they stretch words beyond the realms of meaning than there is actually any poems on anything useful. They forget who their audience should be and only work to please the same people they see everyday. Afterall, at this point, good criticism from their peers means something because their peers "are poets" and can hook them up with better events and book deals while everyone else is a Zombie who just doesn't get it. Thumbs up anyway....it proves that they are able to overcome many people's expectation of stagnation. s.s. +----------------------------------------------------------------------+ +---+ Brought to you by the Sinister mailing list +---+ To send to the list please mail "sinister@majordomo.net". To unsubscribe send "unsubscribe sinister" or "unsubscribe sinister-digest" to "majordomo@majordomo.net". For list archives and searching, list rules, FAQ, poor jokes etc, see http://www.majordomo.net/sinister +---+ "legion of bedroom saddo devotees" +---+ +-+ "the cardie wearing biscuit nibbling belle & sebastian list" +-+ +----------------------------------------------------------------------+