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Subject: 02/20/91 - The National Midnight Star #175

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          The National Midnight Star, Number 175

               Wednesday, 20 February 1991
Today's Topics:
                  A Show of Hands Rumor
                   Hiss on Hemispheres
              Analysis of "The Pass" take 2.
               Opening acts, my $0.02 worth
               Re: Rush and Sinead O'Connor
            Kim Mitchell, Freewill (the band)
                      CUSTOM PLATES
                  DDD AND QUALITY OF CDS
                  Re: xloadimage problem
                    New Song Released?
              Neil's Drumming and Aesthetics

Date:         Tue, 19 Feb 91  12:40:33 EDT
From: "Paul Kroculick (tjw3220@bingtjw.bitnet)" 
Subject:      A Show of Hands Rumor

I know this is a rumor, but it's funny. ASOH didn't come out on
it's original release date (what else is new). According to a friend, the
courier lost the masters somewhere between the studio and the record
company. They had to RUSH back into the studio to re-mix (like they'd
send the only copy they had). That's why it was late and didn't sound
as clean as E..SL.



From: Dan Dickerman 
Subject: Hiss on Hemispheres
Date: Tue, 19 Feb 91 10:12:59 PST

Bill Barry writes:

> Also, this may be an isolated case, but for those who have the
> Hemispheres CD, (as I am sure most do) does there seem to be
> a large amount of hiss? This bothers me very much. I can get
> rid of it by fooling around with an equalizer or setting the
> treble down to zero, which incidentally destroys most of the highs.

Well you're not alone.  I've always attributed it to bad analog mastering,
as even the album version had noticeable hiss (along with the surface noise).
Remeber that the entire album was made during a hectic touring schedule,
and they may not have had time to worry about tape noise.  It's both my
favorite Rush album, and the worst mastering job I own -- a shame, really,
considering the number or quiet passages.


Date: Tue, 19 Feb 91 14:37 EST
From: Broonsey 
Subject: Analysis of "The Pass" take 2.

Greetings RUSHans--

There's been a lot of regurgitation (gross word, but it fits) about "The Pass".
Just recently, I noticed someone (forgive me, I didn't write down the name)
posted that the Christ was a noun, not an interjection.  I disagree
emphatically.  In the past, Neil has stayed away from the religious aspect of
life (i.e. Christianity specifically).  Why would he start now?  It seems to me
that he put that in there to show the pain and suffering that the survivors are
feeling (I mean, just listen to the way Ged sings it!).  I did an analysis a
little over a year ago, but I don't know what issue it's in (anyone want to
help?).  To get a FULL idea of where I'm coming from, take a gander at that.

Rush on tour in the fall?  "And there was much rejoicing."
	Anyone in the Dayton, Ohio area (Cincinnatti, Columbus, etc.) to meet
for the next tour (hey, maybe at WSU's fabulous new Nutter Center!)?  Besides
you, Steve...

Adam Dickson				|     "HARRY SULLIVAN IS
Wright State University			|	  AN IMBECILE!!!!!!!!!"
Dayton, Ohio				|		- The Doctor
orion@wsu.bitnet			|


Date:  Tue, 19 Feb 91 14:44:50 -0500
Subject: Opening acts, my $0.02 worth

I saw Marillion open for Rush on the Power Windows tour.  The audience reaction
was very subdued, but I enjoyed Marillion, and I felt they were a perfect
opener for Rush.

As for redistribution, if there is anyone who is not graduating U. of Michigan
on the list, you may want to set up an MTS "group."  I know this is one way
the info-mac digest is distributed to non-Usenet people.  Mr. Manager, is this
alright with you?!?

[ Proably, but send mail to the administrative address to explain it more
  fully, please.                                                  :rush-mgr ]

|Daniel L. McDonald    | Internet:             |
|University of Michigan| Bitnet:|
|Computer Science, '91 | USnail:   1705 Hill St.  Ann Arbor, MI 48104|
|"rising falling at force ten                    | THIS MAY, I'M OUT |
| we twist the world and ride the wind..." - Rush| OF HERE, FOLKS!   |


Date: 	Tue, 19 Feb 1991 11:43:11 PST
Subject: Re: Rush and Sinead O'Connor

I realize that Rush and Sinead O'Connor don't have much in common,
but do we have to bash someone to make Rush look good?  I think Rush
is good enough to stand on its own merit.  I also think Sinead O'Connor
is good enough to stand on her own merit (even if her politics do seem
a little schizoid and overdone at times).  So let's drop the
other-artist-bashing and get back to the real stuff this mailing
list is about...please?  I think the NMS readership listens to a *very*
wide variety of music (goes along with Rush not fitting into a category,
IMHO).  So the chances that you'd be bashing someone else's second :-)
favorite group/artist are pretty high. I don't want to hurt someone
like that.

Ok, I'm off my soapbox...sorry, I just read too many "Redd Kross/Sinead
O'Connor/etc. suck" messages (and I've never even heard Redd Kross...).

[ Thanks, couldn't have said it better myself.                   :rush-mgr ]


"I swear- by my life, and love of it- that I will never live for the
 sake of another man, nor ask another man to live for mine."
    - John Galt

    (I haven't read this, but it sure sounds like something Howard
    Roark from "The Fountainhead" would say, too...did Ayn Rand just
    have one plot for all her books?)


Date: Tue, 19 Feb 91 13:59 EST
From: Shane Faulkner 
Subject: Kim Mitchell, Freewill (the band)

Yes, Mr. Mitchell did perform at the 'Q Year's Eve' show... along with
Gowan... the show was broadcast live on Q-107, and I recorded the Mitchell
I think 'Shakin like a Human Being' is his best effort to date, with Rockland
a close second...  'In My Shoes' from Shakin simply MAKES the album, along
with Hitting the Ground and That's the Hold.

Freewill-  They are from Toronto, and far as I know, they ONLY play in
Toronto, Buffalo and Cleveland.  Don't get your hopes up TOO high before
going to see them... they do have several shortcomings, the guy tries to
sing too much like Geddy...sometimes it ends up sounding funny, and his bass
playing is very much sub-par (especially in comparison to Geddy's).  The
guitar player alters Alex's solos very often (I wouldn't mind if he could
somehow ADD to them, but he doesn't).  The drummer is VERY good though and
he has ALL the toys!!!
This isn't to say you shouldn't go see them... I go everytime they come here
(Sinbad's in Cheektowaga, NY).. they have an independently released cassette
with several very good tunes on it, and some total garbage (IMO)...



Date: 19 February 1991 16:33:39 CST

hello, RUSH HEADS. just out of curiosity, i have custom plates and i was
wondering how many others out there in RUSH LAND have them as well. so
how about if we take a poll? email to my address directly and i'll print
out the results next week in NMS. ok?

to start us off:  RUSH 55  IL
                  RUSH FAN IL  (MY BUDDY'S)
                  RUSH FN  IL   (TRUCK PLATES)




Date: 19 February 1991 16:50:07 CST

HEY! i'm sure everyone is anxiously awaiting the arrival of the next album.
since a lot of people are talking about the ADD and DDD process of RUSH cds
i thought i would put my 2 cents in, since being an audiophile and a RUSH
fanatic has its advantages. If you listen closely to Mov. Pics. especially to
the beginning of Red Bar. and Limelight (after the 2 or 3 power chords Alex
does) you can hear a bit of tape hiss. You can also hear a little tape hiss
in the beginning of the Weapon and on Losing it. It is very difficult to
hear tape hiss on P/g , that album was recorded rather well for a analog
source. But it is a little "brittle" and "bright" for my tastes. And obviously
Everything after that, it was all DDD with the exception of ASOH. For a live
album, ASOH is phenominal. the other DDD albums are just flawless.
  for those of you who are "esoterics" you may wish to try and find the RUSH
cds on Japanese Import. I have signals and H.Y.F. as of now and you can
notice a nice improvement on the SIGNALS album as an import. There is less hiss
the cymbols and Neil's hi-hat are much cleaner sounding. The drums are also
tighter and deeper sounding too. Ged's keyboards have a more transparent
quality to them as well. As far as H.Y.F. goes, well i really couldn't find
the difference since the album was a masterpiece to begin with. I'll have to
listen to it a few more Million times. thats about it. l8r

the patster

"he won't need a bed cause he's the digital man"


Date: Tue, 19 Feb 91 16:43:32 -0700
From: (Les Rackl)
Subject: Re: xloadimage problem

I am posting this here in case anybody else has any problems such as
Dan Kelley had - displaying images with xloadimage.

The error message comes when you already have an image on your screen.
(I have my login files display one automatically every time I logon.)

Let me give a short explanation of colormap:

A colormap (as far as my understanding goes) is basically a "table" which
assigns numbers to colors you can display on the screen.  The colors are
usually combinations of red, blue, and green.  I believe all the colormaps
that I use have numbers (three of them) which specify the intensity of
the red, blue, and green.  Since there are millions upon millions of
possible intensities of colors (as well as kinds of colors), but you
can only display 256 on the screen (if you're lucky like me :-) ),
a lot of times the numbers are picked arbitrarily.  Also, I don't think
that there is a standard regarding this sort of thing.

The end result is that practically every picture has a different colormap.
That is, each picture tells the computer a different set of numbers (and
thinks each number is a different color than everybody else).

When you display a picture on the screen, that picture gives the machine a
colormap.  I believe there is also a default colormap loaded into memory
on bootup (depending on machine, etc.).  If you are still looking at that
picture, and try to tell the computer to install another colormap that isn't
compatible, you will probably get that message.

Try using the -force option.

There is another possibility, since you are loading in onto your root window,
that picture will definitely be interfering with your default machine colormap.
You may not be able to load that particular picture onto your root window.
Try displaying it without putting it in your root window.  Try another picture
for your root window.  I think you will find (I have) that a lot of pictures
are not compatible with your default colormap.  I don't think you can change
the default colormap, since it is in charge of all of your windows and stuff.

If you know of some way to safely change the default colormap, tell me, please!

[ On the DECstation 3100, it's included in the window manager.  Ed?  
                                                                :rush-mgr ]



Date: Tue, 19 Feb 91 21:29 EDT
Subject: New Song Released?

Howdy all Rush Lovers --

	Today one of my friends told me that he heard THE new Rush song on the
radio yesterday.  He didn't know the name of it, be he said it sounded REALLY
good.  I have also heard this from one other friend.

	Does anyone know anything about this?  Or has anyone heard the song?
What's it called?  Info, please --

Ian Bjorhovde
			University of Pittsburgh


Date: Wed, 20 Feb 91 02:08:31 CST
From: (Sinistar)

Here's a paper I'm turning in to English this morning.  Hope you guys
like it.


Packaged like a rebel or a hero
Target mass appeal
To make an audience feel
He really means it

Package the illusion of persona
Careful to conceal
The fact that she's only too real
She's got to screen it

Hit you in a soft place
A melody so sweet
A strong and simple beat
That you can dance to

Watch his every move
Orchestrate illusions
Watch his every move
Hoping you'll believe
Designing to deceive
That's entertainment

He can put a target on the market
Bask in your applause
Reality withdraws
Now he believes it

The role becomes the actor
She's addicted to applause
The stage a world because
She never leaves it

Hit you in a soft place
With sentimental ease
They know the fantasies
That you romance to

Watch her every move
She can manipulate reactions
Watch her every move
Pin the donkeys on her tail
Fantasy for sale
That's entertainment...

     Thousands of glassy-eyed teenie-boppers fill the
crowded arena to catch a glimpse of their famed idol.
Stepping out on the stage in a sold-out city, gazing out at
the rows of screaming sixteen-year-old spectators squeezed
into the stadium.  She sells her heart to the audience like
a whore sells her body, except her record is cheaper.  She
sings carefully engineered lyrics about love or talking on
the telephone, designed to deceive the fan into believing
their object of fantasy cares about what she is writing,
when her ulterior motive is really to push as many of her
recordings up the charts.
     Turn on the radio, and listen to the drum track on any
pop song.  One, two, three, four, one, two, three, four,
where the snares hit two and four.  Simple to dance to, a
familiar rhythm and melody is a sure way to strike the key
in any unsuspecting listener's heart.  Creativity is stifled
and energy is channeled into finding ideas that will drive
the public to their record stores.  She will hire a
recording engineer whose only job is to implement and
explain popular musical and lyrical formulas to her.
"That's entertainment?"
     Making popular music does not necessarily imply
deception.  It is when the performer tries to appear as if
he is speaking from his own heart, and when he takes himself
so seriously that he steps into the arena of immorality.  He
packages himself carefully to hide his money-making motives
and to appear sincere.  When he calls his agent to have an
interview arranged with MTV at just the right time of the
year projected by his financial advisors, and talks about
how introspective his new album is, and how he really cares
about his fans, "that's entertainment."
     Sadder still is when the artist becomes so involved in
her sheltered existence of stardom that she begins to fall
into her own trap, and "the stage becomes her world." Then
she can follow up her previous efforts and forget she is
even deceiving her audience, because she herself believes in
what she writes.  She won't need her recording engineer
because she can write from her shallow heart what she has
learned from her previous successes.  She has learned to
deceive without her fans or herself even realizing it.  She
has learned to create a reaction in her audience, to sell a
popular fantasy.  "Pin the donkeys on her tail." "That's

	Jeff Axelrod


Date: Tue, 19 Feb 91 22:12:44 EST
From: chuckles@egrlab (Charles L. Hamilton)
Subject: Neil's Drumming and Aesthetics

Hello all...

	In my Philosophy of Music course this semester, I have to
complete some sort of final project/paper, so I thought I could do
some sort of analysis of Neil's drumming.  So, if anyone could give
me a hand with the following:

	1) sending me tapes of solos [not ATWAS, ESL and ASOH :-) ]
	2) titles and issue numbers of magazines in which he discusses
	   the musicality or aesthetics of his playing

[ Check the FAQL for back issues dealing with this.             :rush-mgr ]

	3) anything else you feel might be helpful.

If you have an idea, drop me a note at

All responses will be appreciated!

Chuck Hamilton


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End of The National Midnight Star Number 175

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