HDTenEightyP/NetNews huggingface dataset:
From: xxrich@alliant1.lerc.nasa.gov (Rich Rinehart)
Subject: Re: "Modern" <chuckle> theory question
Keywords: theory arrested
Organization: NASA Lewis Research Center
Date: Fri, 22 Jan 1993 13:33:50 GMT

In article <C13z1t.94p@sci.kun.nl> pieterh@sci.kun.nl (Peter Herweijer) writes:
>
>                TATATAAAAAAA!  People of the net rejoice!
>                 This man has just discovered INVERSION!
>    Maybe video game music will become just a little bit more bearable...
>    wouldn't trust it though.
>
>....
>
>Sorry for this piece of bad netiquette. I couldn't resist it. And,
>if you're serious about this (which I somehow doubt), do yourself a
>favor and read a beginner's theory book before you make a fool out
>of yourself again. Otherwise, please post more of these gems. I
>love to flame now and then.
>
>Peter Herweijer

Yes, what a wonderful way to encourage dialogue.  Please flame agian.


-- 
-----------------------------------------------------------------------------
Rich Rinehart                  |     phone: 216-433-5211
NASA Lewis Research Center     |     email: xxrich@lerc.nasa.gov
Cleveland, OH                  | Are you drawn more towards fundamentals
                               | or overtones?
-----------------------------------------------------------------------------
From: burley@apple-gunkies.gnu.ai.mit.edu (Craig Burley)
Newsgroups: rec.music.compose
Subject: What Is Modern "Chuckle" Theory?
Date: 26 Jan 93 14:11:10
Organization: Free Software Foundation 545 Tech Square Cambridge, MA 02139
Distribution: rec
NNTP-Posting-Host: apple-gunkies.gnu.ai.mit.edu

I've seen, but not read, postings with the subject "Modern <Chuckle> Theory"
here lately, and I suddenly realized I wasn't so sure I knew what it meant.

In particular, I didn't realize that today's Chuckle Theory regarding
musical composition could even be considered "modern", because I wasn't
aware that there was a Classic Chuckle Theory, Renaissance Chuckle Theory,
Baroque Chuckle Theory, or whatever.

In fact, I can't think of more than a few examples of Chuckle Theory being
practiced in the recordings I have.  Examples that do come to mind are:

    -  A chuckle just before a loud, full-"orchestral" recapitulation
       in Mike Oldfield's _Amarok_

    -  Some chuckling before "spinning the coin" in Gentle Giant's live
       album _Playing the Fool_

Are these examples of Chuckle Theory, or do they just happen to involve
people chuckling for no real reason?

Anyway, what are some examples of pre-modern Chuckle Theory in practice?
For example, I'm pretty sure this isn't the case, but is there any
Chuckling in, say, the 1812 Overture by Tchuicklesky?

And must Chuckle Theory be expressed only in human voice, or is it
possible (cite examples, please, if you know any) of Chuckling being
achieved solely via orchestration, or perhaps via manipulation of the
audience (a persuasive argument against studio recordings if I've ever
heard one)?

Finally, how controversial is Chuckle Theory in general, and Modern
Chuckle Theory in particular?  Are there practitioners of it who are
disabused by their peers, or is there general consensus on its
legitimacy and appropriateness of use?

Maybe the answers are in the FAQ already, but I don't remember seeing
them there.  I did find the answer to "How to Compose Like Beethoven"
enlightening, though -- thanks to whoever wrote that (though, personally,
I suspect I'll be more successful at decomposing like Beethoven :-).
--

James Craig Burley, Software Craftsperson    burley@gnu.ai.mit.edu
Member of the League for Programming Freedom (LPF) lpf@uunet.uu.net
Newsgroups: rec.music.compose
From: velhart@epas.utoronto.ca (Nicholas Velharticky)
Subject: Good music notation programs for IBM?
Organization: University of Toronto - EPAS
Date: Sat, 23 Jan 1993 05:02:28 GMT
Followup-To: velhart@epas.utoronto.ca


I own SongWright 5.1 (recently upgraded from 5.0), and find it a very
tedious program for scoring music.  The upgrade includes the ability
to use a mouse (yay), but it still seems to lack a lot of the
immediacy and integrated visual feedback and editing that Windows-based
notation programs have.

My main purpose was to convert standard MIDI files (created in
Cakewalk Pro 4.0) into standard musical notation.  Cakewalk is great.
SongWright isn't.  I thought that my $100 or so was well spent until I
tried driving this clunker.

Does anyone have recommendations on other moderately priced notation
programs (i.e., under $500), preferably for Windows?  Or do any
SongWright veterans out there have any advice to a frustrated fellow
user?  Does the program just grow on you after a while?

Any raves/horror stories/reviews/price quotes are most welcome.

Cheers :')

Nick Velharticky
velhart@epas.utoronto.ca
From: cottle@cmp-rt.music.uiuc.edu (David M. Cottle)
Subject: Re: Modulations
Organization: University of Illinois School of Music
Date: Wed, 27 Jan 1993 03:02:06 GMT

In article <1k3n4cINNpnk@srvr1.engin.umich.edu> darrin@shopsun.engin.umich.edu (Darrin P Cardani) writes:
>
>Any cool ideas? Thanks for your help.
>

As a general rule, the more distant the key, the more of a surprise
or shock it will have.  By distant, I mean the number of accidentals
involved in the two keys.  C to A major, for example, is a mediant
relationship (popular around Schubert's time) with three accidentals
added to the key signature (this, by the way, is what makes "Giant
Steps" so fascinating and difficult to play/solo over--the
relationships are almost exclusively mediant, or distant).  C to G =
only one accidental difference.  Not very exotic.  (BTW, key
relationships is one of the ways you can tell when a piece
was written.)

One of the slickest ways I know of to get around distant 
keys (including those mentioned in previous articles) are 
enharmonic fully diminished sevenths, and
enharmonic augmented sixths.  In very general terms, a fully
diminished seventh (stacked minor thirds) can resolve to any key above
any note in the chord.  C#, E, G, Bb, would normally resolve to d
minor, but can also be respelled (thanks to equal temperament) as E,
G, Bb, Db (C#) and resolve to f minor (or F major, call it a
borrowed chord).  It can also resolve to Ab, and B.  So, if you can
get to one of the three (and there are only three) fully diminished
seventh chords, you can get to any key:

C# E G Bb ->	D, F, Ab, B
D F Ab Cb ->	Eb, Gg, A, C
Eb Gb A C -> 	E, G, Bb, Db

Augmented sixth chords are a little more complicated.  An erzats
explanation (without any theory) is that any dominant seventh chord
or dominant seventh with a flated fifth can resolve to a dominant
seventh a half step below it's root, then to that dominants tonic.
Likewise, an augmented sixth (in C; Ab C F# -- Italian) can resolve
as if it were a V7: Ab, C Gb.

Example:

	F   Gg  Gg    F#   G  F   E
	Db  Eb  Ebb   D    D  B   C
	Ab  C   C     C    B  G   G
	Db  Ab  Ab    Ab   G  G   C
	I   V7  V7-5  Fr+6 V  V7  I
	DbM 	      Cmajor

Db major to C = distant key.  Take a look at _Tristan und Isolde_
opening for slippery key relationships (by Richard "incompetent
jingoistic megalomaniac" Wagner).

Have fun!

-- 
David Cottle            CERL Sound Group                     
Software Consultant     103 S Mathews, Urbana, IL 61801
                        (217) 244-6686 Lime@uiuc.edu      
Ballo ergo sum.  (Barn Dance Gypsy)
From: cottle@cmp-rt.music.uiuc.edu (David M. Cottle)
Subject: Re: Harmonizing
Organization: University of Illinois School of Music
Date: Fri, 22 Jan 1993 15:14:06 GMT

In article <C19DCM.B7G@gpu.utcs.utoronto.ca> yjohn@gpu.utcs.utoronto.ca (John Ross) writes:
>Hi Netters,
>have relatively few chord changes. On the other hand, in hymn books I
>notice that the songs have many chord changes--in some cases practically
>a chord change per note.  Why?  Any comments would be appreciated.

I'm sure you'll get plenty of responses to the harmonization question
(we tell our students to write every possible chord--four for each,
including sevenths--above the note, then chose the best progression),
but my first observation is about how they wrote music in the 18th
century (when chorale style was developed).  The reason there is a
"chord" change on nearly every note is partly because back then (before
the theory of tonality was observed or "discovered") they didn't think
vertically (i.e. chords) but horizontally.  They wrote four individual
lines, very much like an invention, that worked together.  They ended
up with more than one chord per bar (per 8 bars if you consider
country) because having the soprano sing one note for an entire bar was
very boring (altos do it anyway, I know).  When composers began
thinking in terms of a harmonic bass (chords) with a melody above, the
harmonic rhythm slows down to a chord per bar or so.


-- 
David Cottle            CERL Sound Group                     
Software Consultant     103 S Mathews, Urbana, IL 61801
                        (217) 244-6686 Lime@uiuc.edu      
Ballo ergo sum.  (Barn Dance Gypsy)
From: archer@ucscb.UCSC.EDU (Zog Archer)
Newsgroups: rec.music.compose
Subject: Re: What Is Modern "Chuckle" Theory?
Date: 28 Jan 1993 06:58:05 GMT
Organization: University of California, Santa Cruz
Distribution: rec
NNTP-Posting-Host: ucscb.ucsc.edu


Oh, god.

"Modern Theory" is a self-contradiction, I've always believed. I'm rather
new to the music composer's empire, I used it to get (unnecessary)
attention.

Anyway, this message is going nowhere fast, so I just want to thank all the 
great folks who helped me out and showed me the light. "It only goes
up from here!"

-- ZOG
From: darrin@shopsun.engin.umich.edu (Darrin P Cardani)
Newsgroups: rec.music.compose
Subject: Modulations
Date: 26 Jan 1993 15:59:08 GMT
Organization: None.
Distribution: world
NNTP-Posting-Host: shopsun.engin.umich.edu
Originator: darrin@shopsun.engin.umich.edu


I was working on a piece recently when I realized that it wasn't
going anywhere interesting. I thought about putting in some modulations,
as I noticed that I rarely do that in anything I write.

So my question is this: What are good ways to modulate to other keys?
Where is this usually used?

The only ways I know of off the top of my head, are to try things 
like, IV - V7/V - V, or V - V7/vi - VI. This is good, it works, but
it doesn't sound right in all cases. 

Any cool ideas? Thanks for your help.

					Darrin Cardani
darrin@engin.umich.edu
Newsgroups: rec.music.reviews
Organization: Pages Software Inc.
Apparently-To: uunet!rec-music-gaffa
Newsgroups: rec.music.gaffa

I realise this isn't really the place for it, but what is the "MotorVoter Act"?   
I saw it on someones reply about the Happy song yesterday and tried to look it  
up.
x-gateway: rodan.UU.NET from love-hounds to rec.music.gaffa; Wed, 27 Jan 1993 18:01:43 EST
Date: Wed, 27 Jan 1993 01:34:09 -0500
Message-ID: <m0nH6L6-000ilXC@fciad2.bsd.uchicago.edu>
From: chrisw@fciad2.bsd.uchicago.edu (chris williams)
Errors-To: Love-Hounds-request@uunet.uu.net
Subject: Re: "new" Never For Ever era boot
Organization: FCIA Univ. of Chicago
Newsgroups: rec.music.gaffa

Loren writes:
>In article <1m3aXB3w165w@netrun.cts.com> rhill@netrun.cts.com wrote:
>>         Following is a quote and an old message about Astrology (which 
>> I don't personally belive in myself, but to each his own. 
>> 
>
>hey! thanks for the quote, and the message. You may not believe it, and 
>that's fair. But I did want to thank you. And thanks to Chrisw, as well
>(whose sign I will not venture to guess) for the message.


    Someone *has* attempted to guess, and has already made three wrong 
guesses via e-mail. Not exactly a ringing endorsement. BTW, another 
practioner of western voodoo did a "handwriting anaylsis" from the 
r
several available examples of Kate's handwriting. The results were
laughable. Sorry, I didn't ask for a copy.

>daemien (who is in fact a man)

   I know how it is having a name that can be either male or female. I
was on some mailing list somewhere as Ms. Chris Williams, and was
swamped with offers to subscribe to various magazines that smell.


                            Chris Williams of
                               Chris'n'Vickie of Chicago
                                  chrisw@fciad2.bsd.uchicago.edu
x-gateway: rodan.UU.NET from love-hounds to rec.music.gaffa; Wed, 27 Jan 1993 18:12:27 EST
Date: Wed, 27 Jan 1993 18:10:25 -0500
From: news@leland.stanford.edu (Mr News)
Errors-To: Love-Hounds-request@uunet.uu.net
Message-ID: <9301272310.AA04642@leland.Stanford.EDU>
From: drk@leland.Stanford.EDU (David Koehler)
Subject: Re: For further amusement...
Organization: DSG, Stanford University, CA 94305, USA
Date: Wed, 27 Jan 93 23:10:17 GMT

In article <9301272201.AA16224@hivnet.ubc.ca> Andrea@hivnet.ubc.ca writes:

>Okay, so let's say you're at a party and Kate is there (I'd already be too
>happy to ask for more, but we are dreaming here so...) and you're talking to
>her and she actually wants your opinion... if you could ask Kate to write a
>song about anything at all - any subject, what would you like to see her
>write about?
>
I'd like to see a song, or even better a whole album of songs, about *Kate*.
No characters or fantasies, but a baring of her soul.  Okay, TSW was a small
step in this direction, but I want a full-blown confession.  What is this
person known as Kate Bush actually like?  The chances of this happening
are slim, IMHO.  For now I'd settle for a new album.

Cheers,
-------------------------------------------------------------------------------
      David R. Koehler                         "His DNA is skewed!"
   drk@leland.stanford.edu                       -- Dr. Beverley Crusher  
-------------------------------------------------------------------------------



x-gateway: rodan.UU.NET from love-hounds to rec.music.gaffa; Thu, 28 Jan 1993 11:52:10 EST
Date: Thu, 28 Jan 1993 11:50:12 -0500
Message-ID: <MAILQUEUE-101.930128114822.352@ksgrsch.harvard.edu>
From: "Michael Blackmore"  <MICHAELB@ksgrsch.harvard.edu>
Errors-To: Love-Hounds-request@uunet.uu.net
X-Pmrqc:      1
Priority: normal
X-Mailer:     Pegasus Mail v2.3 (R5).
Newsgroups: rec.music.gaffa
Subject: (no subject given!)

Others may have already sent this info, but here goes!

Owen,

    "Homeground"  - UK      Europe  (all currency British)
        6 Month     3.80    4.30
        1 year      7.50    8.30
        2 year      14.50   16.00

        Homeground
        P.O. Box 176
        Orpington Kent
        BR5 3NA

    It comes out quarterly and lists in each issue other Kate Clubs
around the world.

    There's also the Kate Bush Club which is the official Kate Bush
group, but they really only come out with stuff when Kate comes out
with an album.

Drewcifer & Graham,

    Happy Rhodes stuff:

    CD's (prices in US currency)
    Title       Order #         Price

    WARPAINT    AGCD0017        13.99
    ECTO        AGCD0013        13.99
    REARMAMENT  AGCD0011        13.99
    Rhodes II   AGCD0008        13.99
    Rhodes I    AGCD0007        13.99

   Postage and Handling 2.00.  Add .50 per item when ordering more
than one title.  Europe 8.30 + item charge.

    Aural Gratification
    P.O. Box 8658
    Academy Station
    Albany, NW  12208

    - Michael B. (michaelb@ksgrsch.harvard.edu)
x-gateway: rodan.UU.NET from love-hounds to rec.music.gaffa; Sat, 23 Jan 1993 01:19:14 EST
Date: Sat, 23 Jan 1993 01:18:06 -0500
From: vickie@pilot.njin.net (Vickie Mapes)
Errors-To: Love-Hounds-request@uunet.uu.net
Message-ID: <9301230618.AA07922@pilot.njin.net>
Subject: Happy & Bill (was Re: A great day for America
Newsgroups: rec.music.gaffa

>From: jondr@sco.COM (Karen Silkwood's car)
>vickie@pilot.njin.net (WretchAwry) writes:
>>   Feel the searing heat of
>>   Heightened consciousness
>>   Feel the yearning for
>>   Peace and happiness

>Feel the burning urge
>To vomit in the nearest wastebasket
>Feel the yearning for
>The days when love-hounds was mercifully free of Happy Rhodes lyrics

Ok, so I shouldn't have cross-posted, sorry. I'm serious, I really am
sorry. Happy's 6th album is coming out in a month and there's going to
be plenty of talk about her then. The last thing I want is another
flame war centered around her. I try now, and will continue to try
to steer inquiries to Ecto. I respond via e-mail sometimes, and post
sometimes (so it doesn't seem as if inquiries are being ignored).
We *will* be letting people who might be interested know that the album
is out, though. Since the majority of Ectophiles found Happy via gaffa/
Love-Hounds, she will continue to be mentioned here. It's a fact of life.

This time around will be totally different. Now that we have Ecto, all
extended discussions can go on there, and we will do our best to see
that they do. No lyrics, interviews, official reviews, articles or
long posts will appear in gaffa, as they did in 1991 when _Warpaint_
came out, so I hope that those people who aren't interested in hearing
about her will be patient with the mentions that do appear.

Again, my apologies for posting those lyrics.

>(don't get too excited about clinton just yet, he said cautioningly.)

Gag rule-out
Fetal tissue research-in
RU486-in
Freedom of Choice Act-in
Gays in the military-in
MotorVoter Act-in
George Bush-out
Dan Quayle-out
Al Gore-in
Hillary Clinton-in

Frankly, I don't care what he does for the next 4 years. These things
are good enough for me.

-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Vickie                "Fight for the right     "My ears are lucky to hear
vickie@pilot.njin.net    to have monsters" TA    these glorious songs" HR
                                _________
"Imagination sets in, then     |_  _ | _   The Happy Rhodes mailing list
 all the voices begin" KB      |__|_ ||_|  ecto-request@ns1.rutgers.edu
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-

x-gateway: rodan.UU.NET from love-hounds to rec.music.gaffa; Mon, 25 Jan 1993 13:56:26 EST
Date: Mon, 25 Jan 1993 13:53:06 -0500
From: sgilbert@utkvx3.utk.edu (Steve Gilbert)
Errors-To: Love-Hounds-request@uunet.uu.net
Subject: KaTe BBS listing?
Message-ID: <25JAN199313530221@utkvx3.utk.edu>
News-Software: VAX/VMS VNEWS 1.41    
Organization: University of Tennessee Computing Center
Apparently-To: rec-music-gaffa@uunet.uu.net
Newsgroups: rec.music.gaffa

	Is there a listing somewhere of BBSs that have KaTe areas?  Long
distance calls can be devastating for a college student!

--Steve

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Steve Gilbert            ~ "We can make beans 	~ sgilbert@utkvx.utk.edu
Clement Hall, Box 408    ~  into peas!"         ~ pa26017@utkvm1.utk.edu
1629 W. Cumberland Ave.  ~     --Benson,        ~ gilbert@cs.utk.edu
Knoxville, TN  37916	 ~	 "Time Bandits" ~ sgilbert@nyx.cs.du.edu
x-gateway: rodan.UU.NET from love-hounds to rec.music.gaffa; Tue, 26 Jan 1993 09:28:32 EST
Date: Tue, 26 Jan 1993 09:27:28 -0500
From: v115p8d6@ubvmsb.cc.buffalo.edu (she listens like her head's on fire..)
Errors-To: Love-Hounds-request@uunet.uu.net
Subject: Re: TWW on ice
Message-ID: <C1GtH8.658@acsu.buffalo.edu>
News-Software: VAX/VMS VNEWS 1.41    
Organization: University at Buffalo
	<9301260027.AA19137@wente.llnl.gov>
Apparently-To: rec-music-gaffa@cis.ohio-state.edu
Newsgroups: rec.music.gaffa

In article <9301260027.AA19137@wente.llnl.gov>, ed@wente.llnl.gov (Ed Suranyi) writes...
>In article <C1FCwM.7y5@acsu.buffalo.edu> :
>>In article <9301251853.AA18058@wente.llnl.gov>, ed@wente.llnl.gov (Ed Suranyi) writes...
>>>In article <1993Jan24.023042.22422@eaglet.rain.com>:
>>> Songs
>>>with vocals are not permitted at the Olympics,
> 
>>Thats odd. I could have sworn that Torville and Dean used vocal music
>>in the 1984 olympics in one of their routines. I remember it distinctly.
> 
>I'm afraid your memory must not be as good as you think.  Torville
>and Dean did their famous ice-dancing routine to the Ravel's Bolero,
>which has no words.

Not that one. It was the final program...I forget what is it called...where
the skaters are allowed to create their own routines without having to
put in the obligatory jumps, etc. She was wearing white and the singer in
the piece of music was male.
argh
am I hallucinating?

> 
>Ed
>ed@wente.llnl.gov
x-gateway: rodan.UU.NET from love-hounds to rec.music.gaffa; Mon, 25 Jan 1993 12:06:08 EST
Date: Mon, 25 Jan 1993 12:04:14 -0500
From: csa@lectroid.sw.stratus.com (Chris Arthur)
Errors-To: Love-Hounds-request@uunet.uu.net
Subject: Kate Tour?
Followup-To: poster
Organization: Stratus Computer, Inc.
Distribution: world
Message-ID: <1k16h4INNj9b@transfer.stratus.com>
Newsgroups: rec.music.gaffa

Rumour has it that Kate may be touring soon, including the US.  I just
skimmed through the last couple of weeks of posts and didn't see anything
relevant.  Can anyone clue me in?  Please reply to me, whether or not you
post the answer as well; much as I love Kate's work (and Tori's :-), I
just don't have time to read this group (or any other) regularly...

While we're at it, any rumours about new albums in the works?

						Chris Arthur
						csa@sw.stratus.com

-- 
Interface copyrights and software patents will devastate the software
industry.  Join the LPF (mail to lpf@uunet.uu.net for more info).
x-gateway: rodan.UU.NET from love-hounds to rec.music.gaffa; Tue, 26 Jan 1993 04:16:22 EST
Date: Tue, 26 Jan 1993 04:15:19 -0500
From: news@dutrun2.tudelft.nl (UseNet News System)
Errors-To: Love-Hounds-request@uunet.uu.net
Message-ID: <9301260502.AA03556@dutrun2.tudelft.nl>
From: rec-music-info@cp.tn.tudelft.nl (Leo Breebaart)
Subject: REC.MUSIC.INFO [Monthly `pointer']
Followup-To: rec.music.misc
Summary: This article advertises the musical general-interest group 
    	rec.music.info. 
Originator: recmusic@cygnus
Supersedes: <rec-music-info-pointer-2_724813207@cp.tn.tudelft.nl>
Reply-To: rec-music-info@cp.tn.tudelft.nl
Organization: Delft University of Technology
Date: Tue, 26 Jan 1993 05:02:39 GMT
Expires: Thu, 11 Mar 1993 05:00:02 GMT

This message is intended to make new readers of the newsgroups in the
rec.music/alt.music hierarchy aware of the existence of the moderated
group rec.music.info.

In rec.music.info you will find many valuable resources of information:
descriptions of the musical newsgroups, info about ftp-sites, mailing lists
and other Internet resources, but also discographies, concert dates,
musical FAQ's, chart listings, info about new releases, and much more.

If you subscribe to any of the regular music newsgroups, it will probably 
be a good idea to subscribe to rec.music.info as well.

I urgently ask you to note that rec.music.info is NOT meant for *requests* 
for information, however. Please read the introductory article entitled
"Welcome to rec.music.info!" for more information.

Thanks for your attention,

-- 
Leo Breebaart -- Moderator rec.music.info
Submissions & other mail to: rec-music-info @ cp.tn.tudelft.nl
!!! Requests for information do *not* belong in r.m.info! !!!
x-gateway: rodan.UU.NET from love-hounds to rec.music.gaffa; Sat, 23 Jan 1993 20:33:47 EST
Date: Sat, 23 Jan 1993 20:33:17 -0500
From: msubu@csv.warwick.ac.uk (Mr E D G Robertson)
Errors-To: Love-Hounds-request@uunet.uu.net
Subject: Re: Electric Cafe BBS...
Organization: Computing Services, University of Warwick, UK
Distribution: world
Message-ID: <1jsrk4INNi1@saffron.csv.warwick.ac.uk>
Newsgroups: rec.music.gaffa


	OK, for those of us in the UK, who have internet access but not access to
a phone line suitable for connecting to things like BBS's (especially not in the
US!), is there any way we can lay our hands on said JPEGs/GIFs?

	Thanks,
                    |
____________    __ -+-  ____________    
\_____     /   /_ \ |   \     _____/                Xolf
 \_____    \____/  \____/    _____/       (msubu@csv.warwick.ac.uk)
  \_____                    _____/    (UUCP, !mcsun!uknet!warwick!msubu)
     \___________  ___________/    We'llSplitYourPersona,SeeYourMindDivide,
               /    \                  PullYouApart,TakeYouBothForARide
               ~~~~~~
x-gateway: rodan.UU.NET from love-hounds to rec.music.gaffa; Thu, 21 Jan 1993 12:40:31 EST
Date: Thu, 21 Jan 1993 12:36:24 -0500
From: tipper@bsbbs.columbus.oh.us (Tipper Gorebot)
Errors-To: Love-Hounds-request@uunet.uu.net
Subject: An American Renewal (of the PMRC)
Message-ID: <aJmqXB3w165w@bsbbs.columbus.oh.us>