HDTenEightyP/NetNews huggingface dataset:
From: mbl@media.mit.edu (Marc LoCascio)
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Organization: MIT Media Laboratory
Date: Wed, 15 Apr 1992 18:13:11 GMT

In article <1992Apr14.131537.6357@ncrcae.ColumbiaSC.NCR.COM>, elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
> Did anyone see the guest editorial in Guitar Player (May, 1992)?
> Neil Young spoke his mind about digital music (CDs).  It was
> very uninformed...   Here are some highlights....	

yes.  i had a free trial issue before subscribing, and they run that piece
of garbage in it.  i wrote "CANCEL" across the invoice with a note about how
i thought it was a great April Fool's piece until i noticed that it was the
May issue.

Marc LoCascio	(mbl@media-lab.media.mit.edu)
From: chrisc@gold.gvg.tek.com (Chris Christensen)
Newsgroups: rec.music.makers
Subject: Re: Advice wanted: RC or ?
Date: 9 Apr 92 19:15:48 GMT
Organization: Grass Valley Group, Grass Valley, CA

In article <4083@ucsbcsl.ucsb.edu> dcd123@pumpkin.ucsb.edu (Hanson) writes:
>I have a problem.  Recently I moved into an apartment building, and my
>monitors annoy the neighbors.  The building is such that low frequencies are
>the only problem.  As an experiment, I decoupled the monitors from the floor
>(by lifting them.  Ouch.) and this helped immensely.  My question: could RC
>be used to make a "stand" for these 20 kg things?  Is there a weight rating
>available?  My only other idea was to make a cage and suspend them with 
>strips of rubber.  Ugly, bulky, and stupid.  Any suggestions welcome.
>I may be wrong, but it seems foam would not help until I stacked enough of
>it to create unstability problems.
>Regards.

In the case of 20 kg (44 lbs) I would suggest a structural rubber matting, 
something that will support the weight and not become unstable.  This also 
assumes that the speakers are stable enough NOT to vibrate a lot when
decoupled in this fashion.

I don't have trade names handy but one source may be a feed store!
Ya the place where you buy chicken feed and hay.  This trip you are
looking for the ribber matting that is used in horse stalls and horse
trailers.

Another mothod of decoupling would be to use a mass of material,
like concrete.  Setting the speaker on this mass would impede the
transmission of vibrations through the floor.

Additionally a mass and rubber matting may be required.

(remember my foam solution was actually only intended for small
speakers)

Please post your tests and selected solution, along with the reasons
for the selected solution.  Also please include any perceptual
information ie: "imaging, air, etc!"
-- 
Chris Christensen                  The opinions I express are my own,
chrisc@gold.gvg.tek.com            and sometimes they are wrong!
916-478-3419 FAX 916-478-3887      After all, I AM only human.
From: pete@wlbr.imsd.contel.com (Pete Lyall)
Subject: Re: bass guitars
Organization: Contel Federal Systems
Distribution: usa
Date: Mon, 13 Apr 92 20:36:56 GMT

I too am a long time guitar player, and a couple of years ago I bought
my son a Fender Squier (II ?) bass. It's a P-bass clone, and it has a
blond neck and black body. I also had the idea in the back of my head
that I would occasionally snatch it for a studio bass track.

Recently I snagged it and began using it. I noted that the tone was
_okay_, but could be beefier. I also noted that the original pickups
were highly whine & hum sensitive.

This past weekend I took it to my guitar tech, and at his
recommendation put in active EMG's, new pots, a switching jack for
the battery, and some new GHS Bass Boomers (strings).

All I can say is _wow_ ... what a metamorphisis. It no longer sounds
like a radio antenna, has great beef and clarity. The bass was
originally about $200 and the work (parts, labor, strings) was around
$125. I'm fairly sure that I couldn't have gotten a reasonable bass off the
shelf for this little amount of money, and certainly not with active
pickups. (NOTE: I *HATE* active pickups in a guitar, but they seem to
be fabulous in a bass.)

Another vote for guitar hacquery, and using pickups as an upgrade
path.

Pete Lyall


-- 
Pete Lyall [GTE]   Compuserve: 76703,4230   Internet: pete@wlbr.imsd.contel.com
                UUCP: {hacgate,jplgodo,voder}!wlbr!pete 
"... So I picked up my pride from beneath the pay phone, and combed his breath 
right outta my hair. And sometimes, it's not so easy ..." J. Hendrix/My Friend
Xref: sparky rec.music.makers:5570 alt.guitar:2209
From: abby@chopin.udel.edu (Louis Abbruzzesi)
Newsgroups: rec.music.makers,alt.guitar
Subject: Fender Pro Reverb Amp
Date: 11 Apr 92 16:58:25 GMT
Followup-To: rec.music.makers
Organization: University of Delaware


    Anybody out there know anything about this amp.  Theres one for sale
nearby and it sounds pretty good.  Its obviously an old one with a silver
face and regular and vibrato channels, two 12s--- I was wondering what the 
going price is and how many watts it is.

Thanks in advance

Lou

abby@brahms.udel.edu
From: jpmakela@cc.helsinki.fi (jP M{kel{)
Newsgroups: rec.music.makers
Subject: Re: digital Is A Huge Rip
Date: 17 Apr 92 12:32:27 GMT
Organization: University of Helsinki

In article <1992Apr15.200356.20272@en.ecn.purdue.edu>, defrain@en.ecn.purdue.edu (Paul D. DeFrain -- aka master guru) writes:
> In article <1992Apr15.181144.3418@rose.com> bohdan.kiszczuk@rose.com (bohdan kiszczuk) writes:
>>
>>Date Entered: 04-15-92 13:12
>>
>>
>>E > From: elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New)
>>
>>E > Subject: "Digital Is A Huge Rip-Off" (Neil Young)
>>E >Digital, CDs - I hate them.  Digital is a disaster. This is the darkest age
> 
> I doubt Neil has an engineering degree and knows anything about what he is
> talking about.  I doubt he's ever been in a controlled listening test and
> is merely an advocate of anything old.

<lots of technically-oriented stuff deleted>

	You're talking about different thing than Neil. He said 
	"digital doesn't sound as good than analog" and you say
	"digital sounds accurate". There's a difference; Why
	do you think many guitarists prefer tube amps, or
	studio engineers prefer 30-year old tube compressors?
	Not to get accuracy but to color the sound in a pleasing
	manner.

	Anyway, there exist no completely digital recording. We
	have yet to see a digital microphone. Even the records
	with that misguiding "DDD" label contain a lot of analog
	signal processing and converting.

	Anyway, i don't think Neil Young is any good guide to what
	sounds good or what sounds not: He is reportedly having
	lots of trouble with his hearing (tinnitus, loss of
	frequencies), after playing with too loud stage volume 
	so long.

> To think that digital is a scam... that statement is a scam.
> 

	Let us just say it's a matter of preference. I'm not particular
	about the method of recording. I prefer music, not sounds.


> My regards to Neil, at least he isn't doing Pepsi commercials...

	I agree with that one.
> 
> Paul D.
-- 
 jP M{kel{	({'s are a's w/ umlauts)	  jpmakela@cc.Helsinki.fi
-----------------------------------------------------------------------------
 "Mit{ turvallisuutta toi nyt sitten on
		jos on vaan kaks katuu joilla uskaltaa k{vell{...?"
							    (R.H. Lindholm)
From: mikem@col.hp.com (Mike McTigue)
Newsgroups: rec.music.makers
Subject: Question on Fender Pro Amp
Date: 14 Apr 92 20:51:46 GMT
Article-I.D.: col.1992Apr14.205146.27105
Organization: HP Colorado Springs Division

Question for Fender amp experts. What years did Fender 
make the Pro amp. I have had one since Jr. high school
(72?). It is black faced, NO reverb, 2 6L6's (40Wrms),
a vibrato channel and regular channel, and a cabinet for
a single 15" speaker.

I've use this amp with a JBL 15" D-130 in it and have
always loved the tone. Very warm but with clean high end.

Thanks in advance for any info.         Mike M
From: rmd@tellabs.com (Bob Dyas)
Newsgroups: rec.music.makers
Subject: Re: Chapman Stick information
Date: 10 Apr 92 23:52:32 GMT
Organization: Tellabs, Inc., Lisle, IL

In article <1992Apr8.045702.2671@moliere.uucp> pmk@moliere.uucp (Peter Michael Klausler) writes:
>
>The Stick is played by holding the instrument vertical (there's a hook behind
>the pickups that sticks into your beltline) and tapping the ten strings lightly

Can the Stick be played while sitting down?  I'm a guitarist thinking of
buying a Stick and was wondering if I'll have to practice standing up.


--
---------------
Bob Dyas
Tellabs
rmd@tellabs.com
From: boba@netcom.com (Bob Amstadt)
Newsgroups: rec.music.makers
Subject: Re: Bass music-how is it read?
Date: 7 Apr 92 14:59:19 GMT
Article-I.D.: netcom.+9pjpn-.boba
Organization: Netcom - Online Communication Services  (408 241-9760 guest)

In article <RckTiB2w164w@netlink.cts.com> guido@netlink.cts.com (Joel Cherney) writes:
>Does this mean: 
>   I'm playing my music at school one octave high,
>   The stuff in the Rush book is an octave low, or
>   Rock music is written differently than jazz music?

Your Rush book isn't written the same as your jazz book.  As is true with
most popular music, the music written is actually played an octave lower
than written.  This is for convenience of not having read everything
below the staff.  In fact if you look at an instructional book for
electric bass, that is how they teach you how to read music.  But then
again very few popular bassists actually play music from a score.
Most bass parts are created on the fly.
-- 
	Bob Amstadt		|  "When I need that extra bit of volume, it
	boba@netcom.com		|   comes from my fingers, not from cranking
	408-738-2479		|   the amp to 11."  - Sting
From: halj@hollywood.WV.tek.COM (Hal Jones)
Newsgroups: rec.music.makers
Subject: Re: Question on Fender Pro Amp
Date: 16 Apr 92 21:29:45 GMT
Organization: NWD Marketing

In article <1992Apr14.205146.27105@col.hp.com>, mikem@col.hp.com (Mike McTigue) writes:
|> From: mikem@col.hp.com (Mike McTigue)
|> Subject: Question on Fender Pro Amp
|> Date: Tue, 14 Apr 92 13:51:46 PDT
|> Organization: HP Colorado Springs Division
|> 
|> Question for Fender amp experts. What years did Fender 
|> make the Pro amp. I have had one since Jr. high school
|> (72?). It is black faced, NO reverb, 2 6L6's (40Wrms),
|> a vibrato channel and regular channel, and a cabinet for
|> a single 15" speaker.
|> 
|> I've use this amp with a JBL 15" D-130 in it and have
|> always loved the tone. Very warm but with clean high end.
|> 
|> Thanks in advance for any info.         Mike M

The original Pro was introduced in the early 60's as a brown tolex amp. There
was a Professional introduced in the mid 50's which was was more like the twin.


=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+
Hal Jones
Video Products Operation
Phone: (503) 685-2584 60-876
Fax:   (503) 685-3998
U.S. E-MAil: <halj@orca.wv.tek.com>
=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+=+
Newsgroups: rec.music.makers
From: andre@rurutu.wri.com (Andre Kuzniarek)
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Organization: Wolfram Research, Inc.
Date: Thu, 16 Apr 1992 02:28:21 GMT

In article <74117@netnews.upenn.edu> bae@eniac.seas.upenn.edu (Kyung Nam  
Bae) writes:
> 
> I think he is right.  This is just my opinion.  Try this, get a CD and
> the same on album.  Play them both (of course you need a quality 
> turntable) next to each other.  You can tell a big difference (at least 
> I can).  I personally like the analog sound.
> 
> Oh well, it's all preference.

Recordings tend to require a lot of compression when put on vinyl, and I  
understand that the frequency range of vinyl cuts off pretty sharply up in  
the 14Khz area (not quite sure about that figure). Anyway, these things  
can greatly affect the sound and not necessarily in a bad way. I remember  
George Harrison making the complaint that the Beatle's CDs were too clear  
and seemed strange to him (me too), especially since he was so used to  
pretty well worn vinyl.

I think Neil Young was probably being intentionally provacative (in his  
usual way), and probably just wants to emphasize his point that analog  
mastering is different than digital.

AK
From: sells@husc9.harvard.edu (Bryan Sells)
Newsgroups: rec.music.makers
Subject: MISC MUSICAL GOODIES FOR SALE
Date: 6 Apr 92 05:22:57 GMT
Article-I.D.: husc3.1992Apr6.012259.10742
Distribution: usa
Organization: Harvard University Science Center

.
.
MISC MUSICAL GOODIES FOR SALE
.
Tamborine - Professional crescent-style tamborine.  You've
always wanted one!
          - $15
.
Cowbell - Professional type - $10
.
Ibanez Bass Compressor/Limiter pedal - $10
.
Guitar strap - $3
.

Call Bryan at (617) 267-1988.
.
.
SYNSONICS DRUMS FOR SALE
.
Unknown condition.  $10.
.
Call Bryan at (617) 267-1988.
.
.
Xref: sparky rec.music.makers:5499 rec.music.synth:7637
From: nick@dcs.ed.ac.uk (Nick Rothwell)
Newsgroups: rec.music.makers,rec.music.synth
Subject: Re: MIDI clock & FSK
Date: 8 Apr 92 10:21:19 GMT
	<hjv.702415637@groucho.phil.ruu.nl> <NICK.92Apr6122922@vaila.ed.ac.uk>
	<1992Apr8.074025.212@tcom.stc.co.uk>
Organization: Friends of the Salter Duck
In-reply-to: iann@tcom.stc.co.uk's message of 8 Apr 92 07:40:25 GMT

In article <1992Apr8.074025.212@tcom.stc.co.uk> iann@tcom.stc.co.uk (Ian Newman) writes:

   OK. Am I right in thinking then that, if you have a sequence made up of, say,
   2 segments of different tempos, that the MIDI clock will pulse more slowly for
   the slower section and vice versa?

Correct. This is different from the dodgy scheme that some software (including
Apple's MIDI Manager, yuck) sometimes uses, which is to use MIDI clock as a
sort-of SMPTE. With my setup, if the tempo slows down, I can see the
effect on the LED's on my MIDI Time Piece.

   I understand that it pulses at 24/96 ppqn,
   but does the sequencer actually slow down its clock when recording at slower
   tempos or does the clock speed stay the same and the MIDI events occur
   effectively further apart (in clock pulse counts)?

The sequencer slows down the rate of MIDI Clock messages. (The sequencer's
"clock" or notion of real time is something else, of course.)

   I hope this question is clear.

Ditto for this answer.

Nick.
--
Nick Rothwell, LFCS, Edinburgh | Mark X here if article is a gift .. .. .. (X)
             nick@dcs.ed.ac.uk | Il s'agit d'un cadeau
Mentation Consultancy Services | or a sample of merchandise .. .. .. .. .. ( )
   cassiel@cix.compulink.co.uk | d'un enchantillon de marchandises
From: peteg@sequent.com (Pete Gibson)
Newsgroups: rec.music.makers
Subject: Personal:  Looking for `bestwic@uk.oracle.com'
Date: 13 Apr 92 16:13:19 GMT
Article-I.D.: sequent.1992Apr13.161319.3174
Organization: Sequent Computer Systems Inc.

Sorry for the wide distribution.....

Mail to you bounces.  Please send correct or alternate address to
peteg@sequent.com


Thanks,

Pete
From: pbertsch@hpcupt3.cup.hp.com (Peggy Bertsch)
Date: Mon, 6 Apr 1992 23:46:00 GMT
Subject: Re: Re: Band practice and hearing-mho
Organization: Hewlett Packard, Cupertino
Newsgroups: rec.music.makers


God, could the two previous posters *please* come to one of my band rehearsals
and talk to my bandmates?  They never seem to listen to me.  Or maybe they
just can't hear me anymore :-)

I finally got myself a good set of protective earplugs.  Should've done it 
a few years ago.
From: djones@megatest.UUCP (Dave Jones)
Newsgroups: rec.music.makers
Subject: Re: Band practice and hearing
Date: 9 Apr 92 18:08:26 GMT
Organization: Megatest Corporation, San Jose, Ca

From article <1992Apr01.172536.23969@hplabsz.hpl.hp.com>, by enorwood@hplabsz.hpl.hp.com (Earl Norwood):
) Yes, you don't have to play load at all.
) 
) I just don't like to play all that load. I have quit bands because they are
) TOO LOAD.

I thought the "play load" was the cache of Milton Bradly games that
the astronauts take up with them in the space shuttle.

) Drummers are not the cause of this, all the time.

Most of the time, though.

) A good drummer can play well without having to pound his set to death.

A good drummer is hard to find. (I'm looking right now.)
From: djones@megatest.UUCP (Dave Jones)
Newsgroups: rec.music.makers
Subject: RMP scale
Date: 9 Apr 92 03:09:28 GMT
Organization: Megatest Corporation, San Jose, Ca

Remember our discussion of the "real minor pentatonic scale"?
Or did we decide to call it the minor-6 pentatonic? Probably that's
better. Or maybe the "Tyner Scale". Anyway, it goes like this:

	I II bIII V VI

(It is the fifth mode of the traditional Japanese "in sen" scale.)

Well I just want to report back that it has become a standard weapon
in my arsenal. I use it in blues quite a bit. The other day I tried using
it exclusively on a couple of sax choruses of "Sugar" by Stanley Turrentine,
just for the halibut. I'm here to tell you, it's really effective to play a
lick on one minor-6 scale, then immediately transpose the same lick
into a different minor-6 when the chord changes. Let's just say that the old
scale kicked buttocks.

Here's how:

|  C-          | D-7b5 G7alt  |  C-          | D-7b5 G7alt  |
|  C-          | C-           |  D-7b5       | G7alt        |
|  C-          | Gb7+4        |  F-7         | Eb7          |
|  D7alt       | G7alt        |  Ab7+4       | Ab7+4        |

translated into minor-6 scales becomes...

|  C           | F      Ab    |  C           | F      Ab    |
|  C           | C            |  F           | Ab           |
|  C           | Db           |  F           | Bb           |
|  Eb          | Ab           |  Eb          | Eb           |

Notice that while there are eight chord types in the changes,
there are only six minor-6 scales, because some of the chords are
derived from the same melodic minor scales. Hmmm.
From: dcampbel@timshel.austin.ibm.com (David L. Campbell)
Newsgroups: rec.music.makers
Subject: Re: "Digital Is A Huge Rip-Off" (Neil Young)
Date: 16 Apr 92 14:29:19 GMT
	<1992Apr15.181311.15368@news.media.mit.edu>
Organization: IBM Austin, TX

In article <1992Apr15.181311.15368@news.media.mit.edu> mbl@media.mit.edu (Marc LoCascio) writes:
>In article <1992Apr14.131537.6357@ncrcae.ColumbiaSC.NCR.COM>, elliott@ncrcol.ColumbiaSC.NCR.COM (Elliott New) writes:
>> Did anyone see the guest editorial in Guitar Player (May, 1992)?
>> Neil Young spoke his mind about digital music (CDs).  It was
>> very uninformed...   Here are some highlights....	
>
>yes.  i had a free trial issue before subscribing, and they run that piece
>of garbage in it.  i wrote "CANCEL" across the invoice with a note about how
>i thought it was a great April Fool's piece until i noticed that it was the
>May issue.

Not to flame, but it *was* an editorial, which doesn't necessarily
represent the opinion of GP.  I suspect that somebody will write a 
rebuttal which will also be printed (and I suppose there are some
who will consider that garbage as well).  I'd like to encourage you
to write the rebuttal since you obviously have fairly strong feelings
on the subject...


>Marc LoCascio	(mbl@media-lab.media.mit.edu)
--
+----==== opinions expressed do not represent those of my employer ====----+
| David L. Campbell, IBM PSP Austin       | "After all, he was the walrus. |
| INET: dcampbel@ajones.austin.ibm.com    |    I could be the walrus too." |
| IBM TR: dcampbel@timshel.austin.ibm.com |               FBDO             |
From: joncon@hpcc01.corp.hp.com (Jon Connolly)
Newsgroups: rec.music.makers
Subject: Re: Eric Clapton's "After Midnight"
Date: 13 Apr 92 16:59:29 GMT
Organization: the HP Corporate notes server

I don't know if it's still available but it was also released as a single.

JC
From: jgj@ssd.csd.harris.com (Jeff Jackson)
Newsgroups: rec.music.makers
Subject: Re: Percussion Q's
Date: 7 Apr 92 21:01:47 GMT
Distribution: world,public
Organization: I would rather be windsurfing.
In-reply-to: jonathan@mantis.co.uk's message of 7 Apr 92 12:04:35 GMT


>>How many drummers feel that sampled drum sounds and drum machines gives us l
>>jobs in the industry today?
>
>Ironically, I thought that there was a global shortage of drummers, and that
>in many cases drum machines are being used because no drummer is available.

I know that if I ever form a band (right now I just play with my 4
track, drum machine, keyboards and guitar for fun), I have no desire
to have a drummer on stage, unless he's willing to play an Octopad or
equivalent.  Real drums are too large, too loud and too much bother.
Don't take this as a flame against drummers.  I would rather have a
real piano on stage, but I will almost certainly just use a synth
instead (and probably supplemented with sequences at that).

--
============================================================================
Jeffrey Glen Jackson  _|_Satan jeered, "You're dead meat Jesus, I'm gonna
jgj@ssd.csd.harris.com |     bust you up tonight."
x5120                  | Jesus said, "Go ahead, make my day."
                   ~~~~~~~~~ -- Carman, "The Champion"
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
From: lunind@vccsouth02.its.rpi.edu (Daniel B. Luning)
Subject: POLL
Organization: Rensselaer Polytechnic Institute, Troy NY
Date: Wed, 15 Apr 1992 01:56:05 GMT


Hello, since Weird Al just released a new album, I would 
like to do a Weird Al poll.

I would like your ratings of his top songs(upto 10 songs).
Also I would like you to rate his albums.

In a few weeks, I'll be happy to send the results to those who 
paticipate in the poll and will also post them.

To take part in this poll, please e-mail me at 
lunind@rpi.edu

Every vote counts only once per person,but no matter
how small of a list you send, it WILL be counted.
 
THANX FOR YOUR TIME
			DAN

-- 
                        lunind@rpi.edu
                                It's hard to bargle nawdle zouss
                With all these marbles in my mouth
				-Weird Al
Newsgroups: rec.music.dementia
From: gerberrl@NeXTwork.Rose-Hulman.Edu (Richard L. Gerberding)
Subject: Wierd Al
Reply-To: gerberrl@NeXTwork.Rose-Hulman.Edu (Richard L. Gerberding)
Organization: Rose-Hulman Institute of Technology
Date: Fri, 10 Apr 1992 17:36:06 GMT

Wow this is great!!  A new Al album coming out in less than a week and it  
was only a week ago that I finally got his Peter and the Wolf/Symphony of  
the animals.  I wasn't going to get it because I didn't think he could get  
much out of Peter and the wolf, but now I must say that it should be an  
integral part of any Al or dementia collection.  Has anyone heard of other  
songs other than the 3 listed for Dr. D, maybe another original Al (one  
more minute, good ol' days) that have consistently been my favorites over  
the past couple albums.   Oh the sun has come out in dementia-land once  
again!!

--

\===================================================================\|||||
|\  Richard Gerberding              Disclaimer: Like I even know     \||||
||\                                           what they think!!!      \|||
|||\ gerberrl@nextwork.rose-hulman.edu                                 \||
||||\===================================================================\|
From: es2r+@andrew.cmu.edu (Elliott Schiff)
Newsgroups: rec.music.dementia
Subject: Weird Al's new video!
Date: 7 Apr 92 13:27:58 GMT
Organization: Junior, Social & Decision Sciences, Carnegie Mellon, Pittsburgh, PA

From USA Today, 4/6/92

------------------------
SMELLS LIKE WIERD AL:  Weird Al Yankovic,
the pop parodist famous for comic twists on Michael Jackson hits,
returns after a three-year absence with a slapstick spoof of Nirvana's
mega-hit, _Smells_Like_Teen_Spirit.  _Smells_Like_Nirvana_,
set in a gymnasium with hirsute cheerleaders and farm animals,
pokes fun at the Seattle garage band's untnintelligible lyrics:
"It's hard to bargle nawdle zouss/With all these marbles in my mouth."
The video prremieres onMTV at 5 p.m. EDT/PDT April 13, the day
before Yankovic's _Off_the_Deep_End_ album is released.
------------------------


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Newsgroups: rec.music.dementia