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Subject: 09/25/92 - The National Midnight Star #524
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List posting/followup:
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          The National Midnight Star, Number 524

                Friday, 25 September 1992
Today's Topics:
                 Angels batting practice
                Territories:  Better beer
          Rush's best opening band (that I saw)
               Dream Theater/New Rush Boots
                      RUSH tape tree
               assorted ramblings & whatnot
          Rush and Sha Na Na (remember Bowser?)
                    Appearance by Neil
              Superconductor Video Logistics
             Appreciating "Newer" Rush Music
                      Computer Name
                    St. Louis '80 show
              First few seconds of Dreamline
            Yet another (long ago) first time
                      Opening Acts!
               Caress of Steel live stuff?
      What's wrong with appreciating what's there ?
                     The Boyz and NMS
                       My last post
                     music in general
              To Be OR Not To Be A RUSH Fan
                      CD Warning!!!!
                       Get Yer FTP
                "The Prisoner" description
                    high school halls
      insight into Neil's views on the supernatural

Date:        Thu, 24 Sep 92 18:33:30 EDT
From: B7JD000 
Subject: Angels batting practice

Hello fellow dudes,

     Did anyone else see Geddy and Alex take batting practice w/ the
Angels during late spring/early summer?  I saw it on TSN (Canadian
ESPN.)  My brother saw it and taped it for me (ain't that nice!!
even though he hates Rush as much as I love Them) and Alex made
a lot of bad jokes.  I know they did get hits, just don't know if
they were dribblers to third or towering shots to the parking lot.

Rodney Chang

Les Expos all the way in '93, '94, '95, '96, '97, '98, '99....


Date: Thu, 24 Sep 92 19:50:59 EDT
From: (Larry Salomon Jr.)
Subject: Territories:  Better beer

I imagine the "better beer" was due to Geddy's apparent affinity for the
beverage (I cannot list specific references, but I'm pretty sure if you
check the RTB tourbook, you'll find something in there), and not for any
other particular reason.


From: Duner 
Subject: Rush's best opening band (that I saw)
Date: Thu, 24 Sep 92 18:57:50 CDT

   I'd have to say that Rush's best opener was Eric Johnson.  When the
   boyz came to Illinois (Chicago & Normal) EJ opened up for them and he
   was awesome.  A very excellent guitarist.  I didn't have any of his
   albums and only heard that "Cliffs of Dover" tune.  I was very impressed
   with the music and the band that backs him up I didn't get to see Primus
   and God I wanted to.  That band is awesome live, and HILARIOUS.

   Mr. Big sucks.



Date: Thu, 24 Sep 92 19:59:46 EDT
Subject: Dream Theater/New Rush Boots

	First of all, to the person who asked if Dream Theater had any other
albums out.  They have one other one that I know of.  It's called
"When Dream and Day Unite" (I think), but it was on an independent label,
so if you ever see it around somewhere don't hesitate to buy it.

	I was at the CD store tonight and I saw the Rush CDs "Bravado" and
"Tour Over Europe 1992."  "Bravado" comes in a double CD case, and is from
Nassau 3/15/92.  "Europe 1992" comes in one of those new jewel cases that
hold two discs in one by way of a moving CD bed.  I don't think it said
exactly where it was from, but it's definitely from "over there" because
"Cygnus X-1" was in the medley.  Both of these go for $50 a shot at this
store, though, so I left 'em there for now (Until I get more money, that

	The "A Story of Kings" interview disc is definitely a bootleg.
It's made by a company called Baktapak who is notorious for recording
interviews with bad sound equipment is noisy restaurants and right in
front of highways.  I think someone mentioned how bad this Rush one is in
terms of quality, but I'd stay away from past experience.  Plus, I think
it's an old interview with Alex from 1987.

	Well, that's all the news I have for now.  Usually these bootlegs can
be picked up at record conventions for about $20 per CD.  "Goldmine"
magazine is a great source for listings of upcoming conventions, so check an
issue out and see if there is an upcoming show in your state or province.
If you've never been to one before, I'd highly recommend trying to get to one.

							Moravian College
							Bethlehem, PA


From: leeg@microsoft.COM (Lee Gates)
Subject: RUSH tape tree
Date: Thu, 24 Sep 92 17:22:00 PDT

Hello.  I'm interested in setting up an ongoing RUSH tape trading tree (or
getting on an existing one).  I can make DAT-DAT dubs, but I don't have any
boots/roio's though.  If you wouldn't mind loaning me your discs (or can
make DAT's) for a short while, please send me some email (I'm sure we can
work out a good trade).

If you're interested in getting on this tree, please send me some email and
specifiy whether you can make DAT->DAT, DAT->Analogue, or A->A dubs.

apologies if this gets in twice, I sent it 9/22 I think a mailer ate it.


Date: Thu, 24 Sep 92 20:11:08 cdt
From: "Funky Driver (Gordon,James A)" 
Subject: assorted ramblings & whatnot

	Howdy, my name is Jim and hey! this is my first post for the NMS.  I
couldn't help but notice the ragging on some of Rush's new material.  While
I'll grant that Rush's newer material is not quite the same (an
understatement) as the old stuff, but as others have said before me, it's
just a matter of artistic changes.  I seriously doubt that you can call newer
Rush "commercial".  Just because music is commercially successful doesn't
mean that it was created with the sole purpose of making money.  How can one
put great albums like HYF or RTB on the same level as say, the new Def
Leppard album (disgusting piece of crap).  Just because a group's new album
is different than previous ones is not bad.  I mean, you need to be able to
appreciate each album in its own context.  It's like people who refuse to
listen to any post-Gabriel Genesis don't know what they're missing just
because it's different.
	Well enough of that rambling.  I have a technical question.  For 
anyone who knows:  What sort of effects does Alex Lifeson use to get his 
distinctive sound?  As an avid self-taught guitar player with a bunch of FX, 
I'd like to know how he attains his particular sound.
		-signing off
		Jim "snow d." Gordon


Date: Thu, 24 Sep 1992 22:19 EST
From: "Hey! Neil Peart has a mowhawk!! ... WAY!!" 
Subject: Flames..

Looks like the NMS is about to erupt in flame wars...

   [ No flame wars here, that's for :)	: rush-mgr ]

Have fun blasting each other, I think I'll take Neil's advice and
"get a life" now..

| From the Amiga   |     Multitasking...     | No one is blameless            |
|    of...         |     ---------------     | But we're all without shame..  |
|     -.EZ.-       |  A M I G A   S T Y L E  | We fight the fire  --          |
| |  =-=-=-=-=-=-=-=-=-=-=  | While we're feeding the flames.|


Date: 24 Sep 1992 21:32:07 -0500 (CDT)
From: Yucca 
Subject: Rush and Sha Na Na (remember Bowser?)

	Someone inquired about where i got my info on Rush being booed
off the stage while opening for Sha Na Na.  I read this in a magazine
interview with Alex in the mid-to-late '80s.  I'm sure i have it somewhere..
if i run across it, i will post it to the group.

	By the way -- Rob Halford from Judas Priest is DEAD?

Thomas Beaudoin


Date: Thu, 24 Sep 1992 21:54 PST
Subject: Appearance by Neil

I've been away from this list all summer, so I hope this isn't old news.
If it is, I apologize.

I was reading in Music Express magazine (put out in Wherehouse stores) that
a Canadian band called the Rheostatics was going to put out an album on
which Neil Peart makes an appearance.  For the next couple of weeks I
continuously contacted various Wherehouses to see if it was in.  Of, course
it never was & no one had ever heard of it.  I finally took matters into my
own hands and wrote their label, Intrepid Records.

Soon afterwards I received a postcard in the mail from Dave Bidini, a vocalist
and rhythm guitarist for the band.  He said I was the 1st from California
to inquire and gave me a phone number for ordering it (as well as their 1st
album).  I promptly called and received it shortly thereafter.

ANYWAY, the album is called "Whale Music" and Neil plays on 3 of the tracks.
At the end of the song "Guns" he performs a classic Neil Peart drum solo.
On the whole, I really enjoy this disc.  It isn't much like Rush (or at all)
but, it's very unique.  Kind of weird, sometimes funny, alternative music
with a vocalist that reminds me of David Bowie.

I highly reccommend this CD (if not for anything else, A NEIL PEART DRUM SOLO!)
If you would like your very own copy, call 1-800-663-1616 (which is in Toronto).
It cost something like $13.75 (U.S. dollars) including shipping.


Derek Atlansky


Date: Fri, 25 Sep 92 2:26:43 EDT
From: Richard Koesel 
Subject: Superconductor Video Logistics

This is a reply to Ken F., who asked about the nuts 'N' bolts of the
Superconductor video.  Yes, I did hear about it on WNEW.  Danno said
that if you want to be in a Rush video, call this number...  I called,
and it was a production company (and, I think it was called Fly By
Night Productions!)  I told the guy that I wanted to be in the video,
and he took my name and number, and told me to be at Manhattan Center
Studios at 9:00 the next morning.  The video did take 2 days to shoot,
though Rush was only there on the second day.  Geddy did stand on the
left of the stage (from the audience viewpoint...)  There were about
150 Rush fans there, and 4 "models" who spent most of their time
primping their hair and saying "I'm NOT a Rush fan...I'm just here for
the job."  It was really pretty cool hanging out for 2 days with a
bunch of Rush fanatics.  The company needed us to be, well, Rush fans
sitting in the audience (most of us had no trouble with that!)
Hmmm...I think I've answered all the questions...can't remember right
now.  Well Ken, if I've left anything out, let me know.



From: Randall Stark 
Subject: Appreciating "Newer" Rush Music
Date: Fri, 25 Sep 92 13:18:13 BST

   As for all this general discussion of people who don't like any Rush music
   after X (where X is any album), it seems to me that they have stopped
   developing themselves and hence are unable to appreciate new directions in
   the music.   I say this as someone who has had difficulties accepting
   new Rush music at times.  What I have learned is that I like the band's taste
   in music in a general sense, and that whenever they compose something, *they
   think it is good*.  This is my starting point, and with every album I work
   at finding out exactly *why* they thought it was worthwhile when they wrote
   and performed it.  Sometimes it takes me a while to "get it", and sometimes
   even after I see the aesthetic behind a tune I decide I still don't like it,
   but I end up appreciating enough of it to make the effort anew with every

   Although I can be very critical indeed of particular tracks and even whole
   albums, it seems ignorant to blame the mismatching of Rush's aesthetics and
   my own on them "selling out" or becoming lazy or losing their abilities,
   when there is a huge body of evidence to the contrary.

   Daniel Benbenisty  (qsp!danb@uunet.UU.NET) defends Rush's 70's work
   as being truly progressive:

> Whereas most genres of popular music obey a strict
> set of rules (e.g. reggie must have a clean guitar strumming staccato chords
> on the 2 and 4), progressive rock attempts to break free of this, in effect
> becoming a non-genre.

    but then claims that everything after that is "TOTAL CRAP":

> The only way you can distinguish new Rush from the rest of the pap
> out there is from the occasional bass solo and Geddy's unique voice.
> Their current composition is banal and boring.  I don't care about
> their current lyrics, since they are no longer emotionally connected to
> the music.

> New Rush = GARBAGE ... just trying to make money, not music.

   of course, WE all know that Mr. Benbensity is WRONG, don't we?

   He seems to be saying that all of Rush's music since 1979 "obeys a strict
   set or rules" in its composition, and that the band's only consideration in
   writing new material is to "make money."  This is palpably false, I pity this
   man for his inability to break from his conceptions of what progressive
   music is, and for his inability to actually *listen* to the music!

   I say this as someone who became a fan in the '70s and initially had a very
   hard time accepting the change in direction starting with PeW.  Like Mr.
   Benbensity, I thought they had betrayed their principles by writing material
   that could conceivable be played on the radio, that it was commercial trash,
   and that the composition would necessarily suffer.  I could never bear to
   listen to "Spririt of Radio" or "Tom Sawyer" because they were played on the
   radio and all the "newbies" at the concert cheered them more than the old

   Well I was wrong, and I regret the "lost" couple of years that I spent under
   this delusion, just as I pity Mr. Benbensity today.  Rush's composition is
   if anything more complex and orginal than ever before, as they have learned
   to work within tighter forms.  For all the raw energy and tempo changes of
   2112, the fact is a song like "The Big Money" (which I *hated* when it came
   out) packs in just as much energy, compositional originality, and tempo
   changes as 2112 does, in a much tighter, more disciplined format (I could
   give dozens of examples of this, from "Analog Kid" to "Roll the Bones").

   Although I must admit I have never been a huge fan of Rush lyrics, the fact
   that Mr. Benbensity finds the newer ones "no longer emotionally connected to
   the music" is surely because Mr. Benbosity himself is no longer connected to
   the music; if he can listen to the music and hear only "pap", this prevents
   the possible of seeing the emotional connections between the various
   componets of the music.  Try "Limelight", "The Analog Kid", "Afterimage",
   "Middletown Dreams", "Tiem Stand Still", "Available Light", or "Ghost of a
   Chance" to name tracks of each of the post-PeW albums whose lryics are well
   matched emotionally to the music.

   To say that Rush has altered their music for commercial purposes it patently
   ridiculous.  If they wanted to make money, they would write 4 minute songs
   in 4/4 time and get a sexy female singer, they are not stupid.  The fact is
   that they have lost sales since 1982, and it doesn't seem to worry them too
   much.  They have altered their compositional style to a more compact format
   not to make money, but as part of they development and maturation as
   musicians, and anyone who can not accept the concept of a musician growing
   and maturing is unlikely to become a very interesting musician.

   This is not a flame, everyone is entitled to their opinions.  Its just a
   message from someone who's been there, and knows the ample rewards of
   investing the time in understanding Rush's post-70's music.

-Randall Stark


Date: Fri, 25 Sep 92 08:43:43 EDT
From: Tim Alberta 
Subject: Computer Name

Greetings fans!

I'm getting a new computer here at work and I need a name (such as
syrinx). Can anyone out there give me some ideas?  I've thought of
presto, xanadu, and a few others, but I can't come up with one to use.
I suppose e-mail would be the right way to go on this - I wouldn't want
to clog up TNMS, although the responses might me of interest to others
out there.  Thanks in advance,

Tim Alberta  (


From: "Travis Williams" 
Subject: St. Louis '80 show
Date: 25 SEP 1992 08:54 -00

    Regarding the post about the St. Louis radio broadcast from 1980, I
believe that there are about 5 different versions.  Xanadu, a two
record set, Temples of the Syrinx, a one record boot, and La Villa
Strangiato and The Spirit of St. Louis, two CD versions.  Also, there
is the original vinyl copy of the radio broadcast which occassionally
can be picked up at record shows or through the Old Hippie in Goldmine.
 At an outrageously high price, however.  But if you really like that
show (and a good show it is!) the broadcast is the only way to go.
Obviously all the other copies came from the radio show, but from what
I've heard, they have all taken the obligatory damage to sound quality
through the generations.  Later...


Date: Fri, 25 Sep 1992 11:08 EST
Subject: First few seconds of Dreamline

	A few issues ago, someone made a reference to the sound at the
beginning of Dreamline, saying it was the sound of a car.  I've never thought
of that before, and listening to it with that in mind hasn't convinced me.
Unfortunately, I can't come up with a better theory as to what that sound
is.  Anyone out there have any ideas?  I guess the car thing fits with the
idea of the song (we're only at home when we're on the run and all that),
but it just doesn't sound all that much like a car, at least to me.  I
suppose it could be just random noise, but that doesn't make much sense.
Just wondering.
	And while I'm wondering, I'd just like to say that after the line
"better people, better food, and better beer", I don't think the noise that
follows is the sound of a beer can opening.  Sounds like a cymbal to me.
Anyone else think it's just part of Neil's drum line, and not intended to
be a can popping?  True, the can popping theory sounds neat, but I'm a little
skeptical.  I wonder (I tend to do that a lot) if people just read into
things too much.  Later, all!
						--------------	Al Wolf

"Sadder still to watch it die, than never to have know it
For you the blind who once could see, the bell tolls for thee..."


Date: Fri, 25 Sep 92 09:11:20 -0600
From: Doug Steele 
Subject: Yet another (long ago) first time

   I noticed people talking about their first RUSH concert.  I actually got
to see them twice in one week back in 77 (Wing Stadium and Cobo Hall back in
Michigan).  This was after the 2112 album came out.  They were actually opening
up for ZZ Top!

   As for the fact that most people seemed to get into RUSH at either 2112 or
Permament Waves, I grew up outside of Detroit and remember hearing an add for
this new local (to Canada) band that had an album coming out (I used to listen
to CKLW out of Ontario Canada) I heard the opening of Anthem and loved it.  Fly
By Night wasn't out yet, so I got the RUSH album and was hooked.  It seems a
little odd now a days, but back in High School, I remember a lot of the kids
going crazy over Caress of Steel!!

   Does this catagorize me as an "old-timer"?

Doug Steele


Date:           Friday, 25 September 1992, 10:59:36 EDT
From: Charles J McDonald 
Subject:        Opening Acts!

	This is my first letter in this fine collumn.  And I was inducted
as a RUSH fan in 1981 by Tom Sawyer on MP.  It and HYF are my favorite
albums and contain some of the most meaningful songs.

Opening Acts:
	I wouldn't want a Rush-Look-a-Like as an opening act, they might
take some of the steam from the boyz.  I've seen Vinny Moore and Mr Big
both open for RUSH and they were good choices.  Not bad music but nothing
you wouldn't mind getting up and getting a beer during.

RUSH at Great Woods:
	Who saw this show in Mansfield, MA?
	It was their second show in the area.  I also saw the RtB tour in
Providence just a few months earlier.  RtB was great, and the Great Woods
show emphisized lots of the old tracks with a few medleys through the
"Chronicles" albums.  During both shows the entire audience stood up and
sung most of the songs along with them.  (You could tell the new RUSH
fans, they only sung during the RtB tracks)  It was great, it wasn't
merely a concert, it was an event.  (My friends and I spent the entire day
"spiritually preparing" ourselves buy listening to every RUSH album ever
cranked at high volume all morning and afternoon!)

: Charles J McDonald
: Department of Earth and Planatary Sciences
: McGill University
: 3450 Rue de University			    (514) 398-6767
: Montreal, Que  H3A 2A7			fax (514) 398-4680


From: Scott David Daly 
Date: Fri, 25 Sep 92 12:12:45 EDT
Subject: Caress of Steel live stuff?


	I was thumbing through VISIONS this past week (I know lots of
people don't like the style of that book...I'm not crazy about it,
but it's one of the few sources of Rush info out there...), and I
came across a shred of hope about CoS live tapes!  I know I've read
parts of that book over and over, but for some reason this time a
couple of lines just jumped out at me.  It says something to the
effect of "...the band debuted much of the new material (referring to
2112 stuff) on the last leg of the 'down the tubes tour'.  They
wanted to iron out as many of the bugs as possible before entering
the studio, and there was no better way than to test it in front of a
live audience".   Now this is just speculation, but doesn't it make
sense that a band working on new material is going to RECORD as much
of that practice as possible!?  This implies that Caress Of Steel
live tapes (probably soundboards) least at one time.
The question is : "have they survived?"   Just food for thought...



Date: Fri, 25 Sep 1992 12:35:01 -0400
From: Scott Lawr Matthews 
Subject: What's wrong with appreciating what's there ?

Maybe I'm one of the few out there, but is there some reason that Rush
fans don't consider others Rush fans unless they listen only to art-rock
bands from 1970 to 1978 and then stopped buying new 8-tracks ? Sure,
there's nothing that I love more than to listen to Hemispheres, or Brain
Salad Surgery, or Close to the Edge, but music, for reasons right or
wrong, has changed, and it's not some evil thing to like an album from the
80's or 90's. The new ELP album is tremendous. And while I wouldn't call
Roll the Bones the greatest thing ever created by mankind, it certainly
has its merits. I saw the shows on this tour in Chapel Hill and Charlotte,
NC, Richmond, VA, Columbia and Landover, MD, Philadelphia, PA, and East
Rutherford, NJ, and they were better than ever. And while the cheesy
rapping skeleton didn't match the intensity of Limelight or the Trees,
Rush can still hold their own.
As for opening acts, I personally thought Primus was great, while the
annoying glam of Mr. Big and the senseless speed of Vinnie Moore were
pointless. I heard somewhere that Metallica opened for Rush on an early
tour (in their career), like Grace Under Pressure/Ride the Lightning or
something. Is this true ?
Well, that's my 80 ore in Swedish Currency.....

 - Scott Matthews, appreciator of mutated art-rock bands...


Date:    Fri, 25 Sep 1992 11:53:38 -0500 (CDT)
From: RKB6116@SIGMA.TAMU.EDU (Mr. Weather)
Subject: The Boyz and NMS

Has anyone ever tried mailing copies of the NMS to Neil, Geddy, and Alex
on a regular basis?  I realize that they probabaly don't have time to
read 6 or 7 issues a week, but how about if we get someone to summarize the
major threads and send that to them?  Then (hopefully) the boyz would respond
on a somewhat regular basis and become somewhat of an interactive part of
the digest that is all about them.

Is this totally insane and unworkable?  Could we be assured that they
would actually get the copies we mailed to them?  Has this thread already
been discussed before?

	[ If the band in fact reads the Rush fanzine A Show of Fans
	  or the UK fanzine Spirit of Rush - UK, then they certainly
	  are aware of the NMS's existence.  Also, a copy of the tour
	  listing with many NMS help was forwarded to the band and Frank's
	  interview with Neil last April was based on questions from
	  NMS members.  In issue 5, Neil was actually shown some copies
	  of the NMS, a funny story, you should check it out.  Now if
	  only someone mentions the mailing list on Rockline! :) : rush-mgr ]


Mr. Weather <> aka Ken Blair <> <> Aggieland USA


Date: Fri, 25 Sep 1992 13:12:55 -0400
From: Jeremy Weissenburger <>
Subject: My last post

	The point I was trying to make (in #520, I believe...) was that
these "first time" posts all seem to say the same thing: you heard about
Rush from friends, and finally listened to either:
	a) Moving Pictures
	b) 2112
and it "blew you away!"  Yeah, great.  Let's move on to something else, shall

	"Goodbye, Freedom.
	 Hello, Mom!"  -Scatterbrain
	"Timshel!"  John Steinbeck


Date: Fri, 25 Sep 1992 13:21:44 -0400
From: Jeremy Weissenburger <>
Subject: music in general

	One other thing, (and this REALLY ticks me off): I understand that
all people have different tastes, but to say any music (and I mean ANY music)
"sucks" is intensely ignorant and stupid.  I understand if you don't LIKE an
album, that's one thing.  But to start throwing blanket statements around is
just going to increases the flames on this post.

	About the opening acts: I understand you not wanting to see an opening
band, because you paid to see Rush, right?  So if you're not into that, do one
of two things:
	1) Come to the show at 7:30, and stay outside while the opening act is 
	2) COME LATE TO THE SHOW!!  We know Rush will play at the latest 9:00 
	   or so, so get there around 8:30, and miss the opening act!!

	I thought the opening acts on the tours I've seen have been pretty
good.  I'm not going to go and buy all their albums, but they played decently,
IMHO.  So the moral of this post is:  JUST CHILL!!

	"Every exit is an entrance someplace else."  Tom Stoppard


Date: Fri, 25 Sep 1992 12:19:00 +0000
From: "Robert (R.A.) Herrage" 
Subject: To Be OR Not To Be A RUSH Fan

I'm not going to put on my asbestos suit for this one; any flames will
just get redirected to /dev/null :)  I'm not out to cause a flame war.
I have a right to my opinion and here it is...

                         A "TRUE" RUSH FAN!!!

The way I see it, it's like so-called sports fans; they only support
the team when they are winning.  If they're losing, they have nothing
but negative comments to say about them.

I've been a RUSH fan since 1977.  I'm 32 years old and like RUSH just
as much now as I did when I first saw them (on Don Kirschner's Rock
Concert which at that time came on at 1am on Sunday mornings).  I'm a
percussionist and have been since 1972.  That particular night, RUSH
played "A Farewell to Kings" and "Xanadu".  I had always had aspirations
of being in a band and playing more than just drums (ie. some of the
other percussion instruments.  Neil Peart was the epitome of that dream
(for me at that time) and I have been hooked ever since.

For us old fogies that have stayed with RUSH through the years, it was
tough getting used to some changes.  I remember how disappointed I was
(at first) when "Grace Under Pressure" came out.  The only song that I
really liked was "Between The Wheels" since it was the only song that
I thought resembled the older stuff.  But the more I listened to that
release, the more I liked it.  A lot of the other releases since then
have required the same "getting used to" period.  However, I have never
had to listen to a release before considering buying it.  I'm usually
one of the first ones in line.  Practically every release that I've
purchased after I was hooked the record store person had to open up a
box to get me one because they weren't even on the shelf yet!  My wife
says I'm like a kid anxious for a new toy -- so what?

Speaking of changes, I think that you have to take a lot of things into

  + they're not getting any younger

    I won't deny the fact that I would like to hear another epic.
    However, shorter, more commercially playable songs allows them
    to rest a little more, spend more time with their families, enjoy
    the other aspects of life, etc.  They don't have to play non-stop
    for up 18-20 minutes at a time for one song.  That takes a lot
    out of you.  You might be able to do in your 20's or early 30's
    but these guys are starting to get up there.

    I don't think that they could keep up the pace of 3-4 hour shows
    very long either.  If they did, they would probably burn out in
    a year or two.  I'd rather see them around for a little longer.

  + their seeming desire to be considered "versatile"

    I think that is why they first tried (and had so much success
    with) "Permanent Waves".  They had something to prove; that
    they could do whatever everyone else was doing -- if they
    wanted to.  Plus, they are able to satisfy a much broader au-
    dience.  IMO, that's also why we saw "The Weapon" on "Signals"
    (recall Neil's comment about a d-d-dance tune?) and the rap
    portion of "Roll The Bones".  I don't think that they've com-
    promised anything either.

  + they just can't be everything to everybody

    I suffered some disappointment the past few tours because some
    of my favorite songs on the new releases didn't get played.  But
    I'm not going to have a negative attitude because of it.  "Witch
    Hunt" wasn't played until the "Grace Under Pressure" tour when
    all three parts to the trilogy were completed.  I think that it
    had a lot more to do with new technology, though, that made the
    difference.  Maybe some of my favorites like "Chain Lightning" &
    "High Water" will show up in coming tours.

These are just my opinions; I have mine and you have yours.  Feel free
to state yours -- just don't flame me.



Date: 25 Sep 1992 12:52:38 -0500 (EST)
Subject: CD Warning!!!!

In last issue John Becker I believe was nice enough to list some rare Rush CDs
for us. However, for you perspective buyers of these CDs out there,
enlightenment: Life Under Pressure, Enemies Within, and Currently In Vogue
(no, the date is incorrect, it's from the GuP tour) are from the same show. I
really hate this scam that they pulled, because I know it has caused some lost
money. Recommended CDs: Rushian Roulette and Spirit Of St. Louis; excellent
quality CDs. Catch ya'll later!
P.S. Keep sending those lists; I've almost got enough to make a List.


Date: Fri, 25 Sep 1992 16:04 EDT
Subject: Get Yer FTP

Hello, Rush Nuts!

    Finally, I got some of the lyrics I wanted from anonymous FTP!
(Happy Happy Happy! Joy Joy Joy!)  I noticed something quite

    The lyrics for Rush's 1st album seem to have been more top-40
ready then.  (Flames to the left of me...gums to the right of me...)
That does not mean I will burn my tape, but I think Rush really picked
up the respect by adding Neil Peart.  What a poet!

    I posted something about getting ASoH last week.  I gave it
praise, but I have to play Indian giver now... :(
    Unless it's my tape, and with the exception of The Rhythm method,
it sounds horrid (not the tunes, but the sound quality's
too muddy in some places.).  I wanted to finish my collection, so I
bought it as a filler.  Anyone who is a diehard ASoH listener can
flame me, and I won't mind.

Yawn...I'm tired.  Gotta getsome Zs.

Brian Colby
( &


Date: Fri, 25 Sep 92 16:24:07
From: (Doug White)
Subject: "The Prisoner" description

I found this description of the "Prisoner" TV show, thought some of you
might be interested. Dunno if it's FAQL material or not, but it does
mention the balls HYF seems to draw attention to.  Doug
-- Reproduced without permission from _More_of_the_Straight_Dope_ by Cecil
Adams, Ballantine Books, C 1988, pp 22-24 --

Q: Years ago, British TV produced a brillian series called "The Prisoner". It
starred Patrick McGoohan as a recently resigned secret agent. He is
kidnapped and taken to a place called "the Village" where some apparently
evil-minded no-gooders try and tap the knowledge he has acquired in his
years as a spy. What I want to know is, what exactly was the show all about?
What exactly was the Village? Who was Number One, the Village's top man?
What were they trying to get out of McGoohan? And most of all, what the hell
was going on in that final crazy episode that sees the escape of McGoohan
and the demise of the Village?

A: Why people get worked up over this absurd show I will never know, but it
has attracted a cult following since it first aired as a summer replacement on
CBS in 1968.
The purpose of the Village (in reality the Welsh resort town of Portmeirion),
who operated it, and what exactly they were trying to pry out of McGoohan
were kept purposefully vague in order to heighten the Kafkaesque quality
of the show. Apparently it was some sort of halfway house for former secret
agents and other government officials who Knew Too Much, run by the
mysterious, unseen Number One. (McGoohan is Number Six.) Life in the Village
is pleasant, if a bit eerie, but it is still a prison and McGoohan is
continually trying to escape. He is thwarted by, among other things, the
Big Bubbles, more commonly known as "rovers" (actually they were weather
balloons), which apparently suffocate their victims. The rovers and various
other bad guys are directed by a series of characters - there was a new one
each week - known as Number Two. The different Number Twos went through
various machinations trying to get McG to divulge "information".
The series ran 17 episodes, and mixed James Bond-type thriller elements with
a half-baked allegory on The Role of the Individual in Mass Society. The show
is confusing partly because there was a struggle between McGoohan and story
editor George Markstein for creative control. Markstein wanted to keep the
show fairly rational, while McGoohan preferred to indulge his penchant for
two-bit surrealism. Markstein finally quit, and McGoohan wrote and directed
the last two episodes himself, with bizarre results. The plot of the finale
defies quick summary, but the drift of it is that the Village's head honchos
are so impressed with McGoohan's indomitable will thay they want to make him
head dude (or something like that - nothing in this show is very clear). A
long hallucinatory sequence in the Village's underground HQ transpires in
which Beatles tunes, the song "Dem Dry Bones," and a gallery of weird geeks
in white cloaks and face masks are prominently featured. Finally, McGoohan
is taken to see Number One. He pulls of Number One's mask to reveal an ape
mask, which he also pulls off, only to find that Number One is ... McGoohan
himself. No kidding. While McGoohan-as-Number-One escapes, McGoohan-as-
Number-Six finds his way to the control room, where he triggers a missile
countdown. Panic breaks out among the Villagers. McGoohan and several
confederates escape in what looks like a big moving van. Just as they get
past the gates, a rocket blasts off out of the center of the Village containing
who knows what and heading God knows where, while the Village itself is
abandoned (I guess). McGoohan and friends then cheerfully drive to London,
where he resumes residence in the apartment from which he had originally
been kidnapped.
And that, incredibly enough, is it. No explanations, no nothing. Baffled
viewers jammed the switchboards when the show was first aired and wrote
irate letters to the newspapers. Critics and even people involved in the
show's production agreed that the last episode had gotten totally out of
hand, although ironically the widespread bewilderment it created helped the
show attain the underground status it enjoys today. People have tried to
tell me the whole thing is some sort of allegory for the 60's, but you
couldn't prove it by me. The series is available on videocassette if you
want to check it out for yourself.


Date: Fri, 25 Sep 92 13:50:01 PDT
From: mattb 
Subject: high school halls

          A few years ago on MTV I saw that a Rush poetry packet of
          some type was distributed to a shitload of high school
          classes.  If I remember correctly, it included lyrics from
          Power Windows (some if not all the songs). It was supposed
          to be a new approach to get kids interested in poetry.  Does
          anybody know the actual contents of this packet?  I was just
          wondering if it included lyric analysis? And if so by who,
          was it the band or was it somebody who was trying to market

          Aside, it would be nice to see a much less frequent use of
          the following words in future posts:  boyz, thread, flame.
          "That's just my 16% of a monetary bit", he says with a hint
          of sarcasm.

                      "my zero to your power of ten
                           equals ... nothing at all"
                                  -Ian Anderson _One White Duck_


Date: Fri, 25 Sep 92 16:58:03 -0400
From: (Gregg Jaeger)
Subject: insight into Neil's views on the supernatural

> Neil Peart's lyrics in many of the Rush songs
>have very deep meaning to me (and probably other listeners as well).  My
>question is this:  Is Neil Peart an athiest, and if not, does he have
>any religious convictions (pro/con/other) at all?

Here's something that'll better inform you on the issue:

With MAJOR ACKNOWLEDGEMENTS to Robert Herrage who typed all this stuff
for me awhile back!

"'An Interview' of RUSH", hosted by Jim Ladd and aired on KTXQ 102.1 in Dallas,
Texas.  I would guess that this was sometime around 1980-81 just after the re-
lease of "Permanent Waves".

Neil Peart:     ...A lot of mysticism, whether it's astrology or religion,
                would have you believe that men are evil and must be con-
                trolled.  And that the whole premise behind all those things
                is that there is something better than man, because man isn't
                so good, and, those things

  "Freewill" begins in the background...

                have to look after us because we can't look after ourselves.
                And, uh, I believe that: that might be a nice delusion to
                hide behind, but when it comes down to it, you make the choices
                -- even if you avoid making the choices -- by chosing one of
                the screens to hide behind.  You have still made a choice that
                affects the outcome of your life.

  "Freewill" continues as the lyrics begin...
  Then as the instrumental portion of the song starts...

Jim Ladd:       Let's say that next week you, uh, go to, uh, some kind of
                gathering or you are at a friend's house and for some reason
                you run into, let's say, uh, a bobarandas (sp?) or, a maha-
                rishi or (...can't make this out...), you sit down,
                have a conversation with the guy, you go "god, I never heard it
                that way before; yeah, that's exactly what I feel."  Would this
                preclude you from becoming, uh, let's say a follower of that,
                of any particular path, or would you just rule all that out?

Neil Peart:     I-I-I don't rule it out because I'm not a cynic.  And I'm very
                interested mystical, non-real things.  One of my favorite TV
                shows is the "Twilight Zone".  I love fantasy and science-
                fiction books.  Obviously, I'm not an agnostic who only be-
                lieves in things I can knock my head against.  But, by the
                same token, I feel that the amount of knowledge that I have
                been able to achieve over the past few years would preclude
                me from becoming a blind follower, because I've tried to
                learn what everyone has to say and what everyone thought
                (at least in a general sense) -- not that I know the whole
                history of the world or anything -- but I've tried to explore
                at least enough into even eastern mysticism, and so on, to at
                least find out what it is about that attracts people and what
                it is that has to say that people find important.  I mean, I
                do believe in non-physical things and I believe there are a
                lot of things we can't explain.  But, I don't believe in su-
                preme beings and I don't believe that there's anyone running
                my life except me.

  "Freewill" lyrics come back in...
  "Freewill" ends...

Neil Peart:     I would like to believe in a more higher evolved lifestyle,
                or whatever, but, on this planet, and given the parameters of
                reality that we have to deal with, I think there's no doubt
                that people are directing their own course whether for good
                or evil.

Jim Ladd:       I was considering this the other day.  I was reading a book
                called "The Invisible College",

  "Cygnus X-1" starts in the background...

                which is, uh, one man's interpretation of the UFO phenomenon
                and how people have seen religious visions, uh, in the past
                and, actually, there were these phenomenons that repeat them-
                selves, and so on, and so on, and he sees it more as a natur-
                al thing than, uh, than any kind of, really even an extra-
                terrestrial.  But considering that if someone was evolved to,
                uh, let's say that if there is this other plane of existence
                (non-physical) why someone would want to come back and eat
                McDonald's cheeseburgers

                ...Neil chuckles...

                and try get, you know...

Neil Peart:     Yeah.  I know.  Like I said, I don't have trouble accepting
                it, but, uh, I don't understand.  I do think there are
                certainly a lot of things that go on that are beyond our
                knowledge, but I think there might be other explanations as
                well.  I have, you know, theories and beliefs in the nature
                time that allow for a lot of strange cross-flow and feedback
                and so on, that, I think, might go a long way toward explain-
                ing the more real of those experiences, both with UFOs and
                with, uh, reincarnation, and all those kinds of mystical

Narrative beginning of "Cygnus X-1" begins...

 Webster's Ninth New Collegiate Dictionary defines:

  athe-ism \ n.; 1 a: a disbelief in the existence of deity    b: the doctrine
                 that there is no deity.
  athe-ist \ n.; one who denies the existence of God
  de-i-ty  \ n.; 1 a: the rank or essential nature of a god : DIVINITY
                 b cap: GOD 1, SUPREME BEING  2: a god or goddess  3: one
                 exalted or revered as supremely good or powerful

Now, Dave Brown ( contributed the following,
which I agree with personally:

[This] dictionary's puts
a disbelief in deity and the doctrine that there is no deity in the same
definition (one is 1a, the other 1b).  I think that means-- someone correct
me if I'm wrong-- that the two are supposed to be alternative statements of
the same idea.  But in this case we have what seems to me an inconsistency.
Disbelief sounds like a passive thing, while "the doctine that there is
no..." seems active somehow.

I suppose atheism could have both a passive and an active facet,
but I've always understood that agnosticism was passive,
while atheism was active.  (This is not from dictionary definitions, but
from experience with real, live, in-the-trenches atheists and agnostics.)

Neil doesn't really seem to pin himself down in terms of dictionary
definitions and real-life in-the-trenches perceptions. It sounds to me like
he claims not to be agnostic, admits his interest in the mystical and the
possibility of becoming "a follower," and _nowhere_ endorses (I'm
splitting hairs here) "the doctrine that there is no deity."  (I percieve
"I don't belive..." and "There is no..." as two different things.)  Then he
turns around and admits "a disbelief."  I don't think we're goimg to get to
the bottom of this until or unless Neil tells us one way or the other, citing
definitions as he does.

Changing the subject, but not by much-- There are religions, Christian ones
even, which expressly teach that free will is an essential part of the
human existence, given to man by deity to see whether he will do that
which deity commands.  They say that it is on _this_ basis that people
will be judged in the hereafter, which makes some kind of sense to me.
It gives one control over one's own life, while still allowing a
guiding and supporting force.  Sounds like the best of both worlds to me.
But my point is that the fact that one chooses free will does not make
him atheist or agnostic.


Gregg Jaeger    (     | Tristero?   ______/|/|  Treestero?
Dept(s). of Physics (and Philosophy)      ------------    (_) \|\|  Trystero?
Boston University, 590 Commonwealth Ave.,Boston MA 02215 ---------------------


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