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WRECK: Serge Ahead Gains Behind

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: 330: Serge Ahead Gains Behind PTP in the ether: 88.3FM Where purity &
    Message 1 of 1 , Apr 30, 2006
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      wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: 330: Serge Ahead Gains Behind

      PTP in the ether: 88.3FM
      Where purity & puerility are synonymous
      streaming via internet:

      3 april 2006 / 17.00-19.00

      "Gainsbourg n'attend pas d'etre mort pour etre immortel"
      o Philips slogan for "Gainsbourg a Gainsbarre"

      "For me it is indelible. A young boy having to wear the [yellow] star
      - it was like a bull branded with a red-hot iron."
      o Gainsbourg on having to wear a yellow Jewish star in occupied France

      "Bukowski and Barry White, Jim Morrison and Leonard Cohen, Scott
      Walker and Chet BakerŠ"
      o The Guardian trying to describe SG

      "He's so many things. A bit of a mutant, someone who kept changing
      forms - jazz, pop, rock, sometimes all 3 and more of his own
      inventions. I think he was the first man in France who did a real
      'swing' with French lyrics -
      he had a technique of cutting the words in the middle and replacing
      them with a rhythm and accent that
      was very English but with a meaning that was completely FrenchŠ"
      o Dominiqu Blanc-Francard


      Les Aventures de Vidocq > Serge Gainsbourg [1]
      Manon 70 > Serge Gainsbourg [2]
      Requiem pour un Con > Serge Gainsbourg [3]
      Five Easy Pisseueses > OGM vs. Serge Gainsbourg [4]
      Requiem pour un Con > Orb vs. Serge Gainsbourg [4]
      Requiem pour un Con > Franz Treichler [5]
      Requiem pour un Con > Mick Harvey [6]
      Ballade de Melody Nelson > Howie B. [4]
      La-Bas C'est Naturel > Faze Action vs. Serge Gainsbourg [4]
      La-Bas C'est Naturel > Cyro Baptista [5]
      Marabout > Bob Sinclar vs. Serge Gainsbourg [4]
      Marabout > Serge Gainsbourg [7]
      Lola Rastaquoere > Serge Gainsbourg [8]
      Lola Rastaquoere > Chateau Flight vs. Serge Gainsbourg [4]
      Le Claquer de Doigts > Serge Gainsbourg [9]
      Je T'AimeŠ Moi Non Plus [instrumental] > Serge Gainsbourg [9a]
      Je T'AimeŠ Moi Non Plus > Cat Power [10]
      Love at First Sight > Artie Scott Orchestra [9a]
      Ça > Andre Bourvil & Jaqueline Maillant [9a]
      Je T'AimeŠ Moi Non Plus > Fausto [9a]
      Je T'AimeŠ Moi Non Plus > Barry Adamson [9a]
      Je T'AimeŠ Moi Non Plus > Cibo Matto [5]
      Je T'AimeŠ (Moi Non Plus) > Judge Dread [9a]
      Je T'AimeŠ Moi Non Plus > Dub Syndicate [11]
      Je T'AimeŠ Moi Non Plus > Malcolm McLaren [9a]
      Je T'AimeŠ Moi Non Plus > Mick Harvey vs Nick Cave vs Anita Lane [6]
      Je T'AimeŠ Moi Non Plus > Donna Summer [12]
      + Interview with Serge Gainsbourg [13]
      Up Je T'Aime > Frankie Howard & June Whitfield [9a]

      [1] A single by this Russian Jew covering Dylan, an American Jew from
      Minnesota. They had a lot more in common than just these facts and
      this cover version/interpretation of Dylan's "Hollis Brown" in 1964.
      Dylan was still largely unknown to the French listeners then. Too bad
      Dylan has never turned to SG to cover one of his songs. It would be
      an interesting exercise.

      [2] From film of the same name released in 1968 in Germany. Aka
      "Hemmungslose Manon"

      [3] "Requiem for a Jerk" Con loosely translated as jerk or asshole,
      by Harvey as unt to capture that percussive punch to the face of the
      KK sound. Harvey's version is great. SG a song about writing a song
      written especially for a jerk [unnamed] who caused him lots of grief.
      Basically please listen to this song where I talk about home much you
      disgust me and after you listen you'll know where we stand.

      [4] "I Love Serge: ElectronicaGainsbourg" on Mercury France 2001.
      This is such an exquisite and right-on direct hit that it surpasses
      instantly ALL nostalgic value and becomes music for today. It is as
      if SG is still alive and instead of going into he studio with Sly &
      Robbie like he did in 1979, he went into the studio with all the
      youngest and hippest loungey trip hopster producers and came away
      with a great disc. As if he had nonchalantly gone on
      auto-cannibalization... and came back with something MOVING. What
      makes this one distinctive is one it uses the actual
      songs/voice/lyrics of SG to revamp old hits AND he cool loungy feel
      would fit in perfectly with SG's own demeanor and appetites. I highly
      recommend it. Especially SNOOZE, the Orb, Howie B. and Faze Action.

      [5] "Great Jewish Music: Serge Gainsbourg" on Tzadik, 1997, produced
      by John Zorn is at once a beautiful collection full of vexing and
      clueless homages. The ones that hit right to the quick. Marc Ribot's
      tribute is right on as are Robin Holcomb / Wayne Horovitz, Cyro
      Baptista, Franz Treichler & Tronte, Medeski/Wood & Martin are all
      direct hits. They actually studied SG or at least boned up. While
      some of the others are purposelessly clueless or contrary as if
      making a mess of beauty can still be seen as earnest protest. Anyway,
      you can program your CD-player to skip the annoying and the dross and
      come up with a mighty nice short homage.

      [6] "Pink Elephants" is Mick Harvey's follow-up to "Intoxicated Man"
      and is just as good as an accurate yet soul driven attempt to render
      Gainsbourg's songs in English.

      [7] "Couleur Cafe" on Philips. This is one of 4 repackagings of Serge
      works in 4 themes. It is a very nicely produced series, better than
      any number of other rehashes of SG music. Death is certainly a boon
      to the reissue market. For more about SG see:
      <http://www.litline.org/PDF/ABRMJ99plan.PDF>. This is from the
      soundtrack for Comment Trouvez-vous ma Souer? Also includes songs I
      have never heard: "Marshmallow Man" and "Rocking Horse" and "No Love
      for Daddy". SG was developing his "unique" or at least interesting
      use of ambiences, a kind of wall of sound effect.

      [8] "Aux Armes et Caetera" on Mercury. Not a soundtrack although a
      beautiful reissue and reestaablishment of the sound at the time of
      the recording - late 1970s. We get an incredibly lively atmosphere in
      Jamaica as the geniuses of late 1970 dub/reggae vie with Gainsbourg
      to create a loose and jolly album of deep bouncy dub that holds up
      incredibly well. Great package with original mixes, remixes and
      update versions by young French rappers and reggae singers.

      [9] "Serge Gainsbourg no. 2 avec Alain Gorguer" on Philips. Excellent
      rereleases of early Serge material with original artwork, cover, etc.
      showing him in his emergent dandy [Dali-Baudelaire-meets-mambo] phase.

      [9a] "Je T'Aime Š Encore Une Fois" courtesy of Dr. Benway a colleague
      at Radio 100 International. I quote generously here from chapter 8 in
      A Fistful of Gitanes by Sylvie Simmons, Helter Skelter
      <helter@...>. It is an excellent account in an
      incredibly well-researched book that is not only full of little-known
      details and gossip but full of insight and places Gainsbourg in a
      more global and retrospective context. The book is an incredibly
      fascinating bio. Please patronise the publisher and order a copy.
      This deserves much broader circulation if not for SG himself then for
      the great job done by SS.

      "When, in 1991, Serge secured a place in the renowned French
      encyclopaedia 'Larousse', slotted betweeen the painter Thomas
      Gainsborough and Nietzsche's poetic opus 'Gai Savoir', the song the
      compilers selected as representative of his oeuvre was 'Je T'Aime,
      Moi Non Plus', his duet with lane Birkin. A song whose release as a
      single in 1969 caused outrage in several languages, at least one
      excommunication, incalculable unplanned pregnancies and sales in
      excess of six million singles worldwide.

      While its vaporous, quasi-classical melody had its roots in an
      instrumental that Serge had written for the 1967 film Les Coeurs
      Verts, its title, he claimed, had been inspired by something that
      Salvador Dali once said: "Picasso is Spanish - me too. Picasso is a
      genius - me too. Picasso is a communist - me neither (moi non plus)."

      Although there are several Gainsbourgologists who claim that this was
      a later press invention on Serge's part - and its neat way of
      bringing the conversation around to his own artiness, anti-communism
      and genius would certainly have been the kind of shrewd device he
      liked - it must be said that he did have a lifelong habit of coming
      across a catchphrase or a slogan and twisting it into a title which
      would, serve as the inspiration for a song.

      And it might also be worth remembering that Serge - who never hid his
      admiration and affection for Dali, from buying his paintings and
      borrowing his home decor ideas to accompanying him on porn-watching
      sessions - had one of his seminal sexual experiences (which had long
      since become a favourite anecdote) with a woman he no longer loved,
      on the surrealist's living-room floor.

      Certainly Je T'Aime, Moi Non Plus's languid, almost over-pretty,
      chocolate-box melody contained some surreal images for a love song -
      'je vais et je viens, entre tes reins', translation: 'I come and go
      between your kidneys'. But then, as the title indicated, this was a
      love song that denied it was a love song; or was too cynical or
      insecure to own up to what it really was.

      Something that Serge told Bayon in his 'Mort Ou Vices' interview
      comes to mind: All the key women in his life, he said, had told him
      that they loved him, "But me? Never. I feel it, but I don't know how
      to say it - although I love to hear it said."2

      "I was shocked," Dominique Blanc-Francard (who years later would go
      on to become Serge's engineer) recalled the first time he heard the
      song on the radio as a teenager in France. "But at the same time I
      was excited. It was great - and it was amazing that someone had dared
      to do that. No-one else I know of in France had ever gone that far on
      a record, and certainly not with the talent that the record showed. I
      think that was what was so special about it - to have managed to be
      so provocative and at the same time to make such a beautiful piece of
      music. There are a lot of Anglo-Saxon artists who have been just
      provocative - Bowie, Lou Reed - but never in France, and never with
      such a beautiful, and such a chaste melody."

      But the lyrical subtleties were lost on late '60s Brits (a repressed,
      quite puritanical bunch, in spite of the efforts of Swinging London
      and 'free-love' hippiedom); these, after all, were people who
      believed that 'French' was a sexual position. What they heard on 'Je
      T'Aime, Moi Non Plus' was a slippery, expertly-stroked organ; a man
      and a woman's orgasmic groans; and a vaporous, soR-focus melody, the
      musical equivalent of a Vaseline-smeared Emmanuelle movie. Here it
      was known as 'that dirty record'- confirmation that life across the
      Channel was one of unchecked lubriciousness, and as essential a part
      of any successful seduction as a nice chilled bottle of Blue Nun.

      The press, of course, speculated - as they had with the Bardot
      version - that Serge and Jane had recorded a live sex session on a
      tape-recorder hidden under the bed. "To which Serge, said, 'Thank
      goodness it wasn't otherwise I hope it would have been a long-playing
      record'. We made it," said Jane, "very boringly in the studio in
      Marble Arch, both of us in sort of telephone cabins. When you
      recorded in the old days you only had two takes anyway He also put
      his hand up - because he was very afraid I was going to go on with
      the heavy breathing two seconds longer than I should and miss the
      high note - which was very, very high, an octave higher than the
      Bardot recording, because Serge thought that was more perverse, like
      a little choirboy - so he was waving at me like a madman from his

      All in all it was better version, Serge said, than his original
      recording with Bardot. That one was "sublime", he told Bayon, but at
      the same time "it was too... hot, whereas with Jane and me it was
      total technique. It's like fucking: if you fuck hot, you fuck badly,
      if you fuck technique, you fuck better." With Bardot he said "It was
      a horrifying kind of copulation, which was, I believe, too much."

      As soon as they had finished recording the song, Serge and Jane
      rushed back with it to Paris. "The hotel where we were living at the
      time - where Oscar Wilde died; Serge liked it because of that
      anecdote - had a restaurant in the wine-cellar where people could sit
      in the little compartments and have dinner. There was a man that used
      to play rather slow and discreet records for background music. Serge
      couldn't resist popping on 'Je T'Aime, Moi Non Plus'," said Jane. As
      they sat back and watched, "Everybody's knives and forks were in the
      air, suspended. Nobody went on eating. Serge said 'I think we've got
      a hit'." So did the record company chief. "He already knew the song
      because he'd heard the Bardot version, but he listened to it and
      said, 'Well Serge, I'm willing to go to pason but I'd rather go for a
      long-playing record, so go back to London and make another 10 songs,
      and I'll bring it out under a plain cover'. So we went back to
      England - Serge made up a couple of new songs on the ferry boat and
      we resung a few others so we could put out an L.P. And they put 'Je
      T'Aime, Moi Non Plust' out in a plastic cover on which they wrote
      'Interdit aux moins de 21 ans "' Over 21s only. Which of course
      guaranteed that sales soared.

      Meanwhile, in Italy, 'Je T'Aime, Moi Non Plus' was banned after being
      denounced as "obscenity" in the Vatican newspaper, L'Osservatore
      Romano. "The head of Phonogram in Italy was sent to prison and
      excommunicated," said Jane - actually a two-month suspended sentence
      and a fine for the distributor. "Serge said it was the biggest PR he
      could ever get. Then they heard about the record in South America
      through this Vatican newspaper and it got slipped back into Italy
      under the camouflage of Maria Callas record covers. So the whole
      thing from then on was extremely stimulating and exciting, because
      no-one had ever done anything like it before." Bans followed in Spain
      and Sweden. In the U.S., with very limited airplay, it hit an
      implausibly perfect soixante-neuf in the singles charts; the song
      seemed to take on a life and an inbuilt publicity campaign of its own.

      In Britain, soon after its summer '69 release, the BBC predictably
      banned it, announcing that the song was "not considered suitable for
      play". Equally predictably, the statement ensured that the record
      would be a hit. On August 2 the song made it to number two in the
      charts - and would have gone to the top if Philips' U.K. arm,
      Fontana, had not bowed to pressure from its international H.Q. They
      too issued a statement, which announced: "Certain sections of the
      press and general public have seen fit to make a controversy over the
      contents of this recording. And as Philips does not intend to allow
      any of their products to be the subject of controversial matters, the
      record is being withdrawn from our catalogue."

      "Philips," said Gilles Verlant, "was partly owned by the reigning Dutch queen
      Juliana. When she heard of the scandal, the story goes, she told the
      board of directors she was displeased and asked for the song to be
      dropped immediately." At which point British keyboard player Tim
      Mycroft, operating under the group name Sounds Nice, took the
      opportunity to step in with an instrumental version, renamed 'Love At
      First Sight'. His reasoning made sense: since the BBC's ban (which,
      with their near-monopoly of the airwaves at the time, effectively
      meant zero airplay, outside of a couple of pirate stations and
      discotheques) had been based on the song's lyrical content (although,
      since the Iyrics were in French, no-one could precisely say what they
      were about) there could find no other objection once the words were
      removed. Profiting from the song's new infamy, Mycroft's rendition
      charted too, reaching number 18 on September 6.

      Then suddenly Serge and Jane's version was back in the shops again -
      resuscitated by an independent record label Major-Minor. On 11
      October 1969 it made it to number one. 'Je T'Aime, Moi Non Plus', the
      first foreign-language single to take the pole position, spent a
      total of 34 weeks on the U.K. chart. Over the years it would continue
      to make the odd - sometimes very odd - reappearance. First, as
      expected, came the spoof version: Up Pompeii's Frankie Howard
      duetting with June Whitfield in 1971 on 'Up Je T'Aime'. Upholding the
      fine reputation of British sexuality, it featured June trying to stir
      the snoring Frankie by whispering French words of love in his ear,
      only to be met by protests: "Not again! Do you know what time it is?
      What on earth's got into you? It's not Friday, is it? Speak English,
      woman!" and so on. In 1974, the Jane and Serge original was reissued
      with a sexy picture-sleeve, bringing it back in the charts for a
      third time, this time reaching number 31. The following year, Judge
      Dread's interpretation of the song made it into the top 10. Even into
      the '80s, the song could still shift copies. A quite dreadful cover
      by actors Gordon Kaye and Vicki Michelle from the TV series Allo,
      'Allo, singing in their characters of Rene and Yvette, managed to
      squeeze into the Top 60. The '90s in their turn brought a bagpipe
      version by The Lothian & Borders Police Band. The song made its last,
      and possibly least appropriate British appearance of the millennium
      as the theme music to a British TV commercial - the not entirely
      erotic John Smith's Bitter beer.

      In the U.S. 'Je T'Aime, Moi Non Plus' was tugged into a 16-minute
      epic in 1978 by disco queen Donna Summer and tackled by Cibo Matto
      and Sean Lennon on jazzman John Zorn's tribute album to Serge. As
      this book went to press [2003?], Madonna had sought and been granted
      permission to record her own version of the song and, since her
      original plan - a reputed duet with Britney Spears - sadly (or not)
      fell through due to their "divergent schedules", she was last
      reported to have approached David Bowie to be her new singing partner.

      In Australia, the song was translated into English by Mick Harvey of
      The Bad Seeds and sung by Nick Cave and Anita Lane. But it was the
      U.K. that truly embraced the song - for which Serge had a theory. He
      shared it with French magazine Rock & Folk in 1971: "I know certain
      people close to Princess Margaret who think it's about sodomy. A fact
      which made them very happy Perhaps that's the reason why I got to
      number one in England."

      The source "close to Princess Margaret" one assumes, was Lord Snowdon
      - alias Anthony Armstrong-Jones, the man name-checked in 'Un Poison
      Violent, C'Est Ca L'Amour' on Anna, and Serge's future album-sleeve
      photographer. Snowdon also told him, to Serge's utter delight, that
      on one of his trips with the wife to the Caribbean, the brass band
      dispatched to the airport to give the distinguished visitors their
      official greeting played the only two 'British' tunes they knew - the
      U.K. National Anthem, and 'Je T'Aime, Moi Non Plus'.

      "Even now, when I go to England" said Jane, "taxi drivers screech to
      a halt when I can't resist saying I was the girl who sang 'Je T'Aime,
      Moi Non Plus'. One of them turned round and said, 'I had three
      fucking children to that record!' He had it at home and I went there
      and signed it. It's a historical record - but it's also a criminal
      record; you're reminded of it constantly. All I got from the British
      press for the last 30 years, was 'what dirty records have you made,
      Jane?' which was a bit demoralising. But actually, if you're going to
      be well-known for something until you die, why not that?"

      In a sober moment, Serge claimed that his hymn to sexual liberation
      was, in fact, an "anti-fuck" song, about the desperation and innate
      impossibility of physical love. If the Vatican had not approved of
      its "almost liturgical" melody, they could at least have commended
      him for lyrics in which he did not allow himself to come. Anyway, he
      joked, the record was too short: "As for reaching a climax, it would
      have had to have been a 1 2-inch record for that."

      Whatever, at the age of 41 and after 11 years in the business, Serge
      finally had his hit. An enormous hit. One that deserved a mark of
      recognition. Since nobody had awarded him one, he took himself off to
      Cartier the jewellers and ordered himself a star - a Jewish star, in
      platinum. A first step towards exorcising the rejection and
      humiliation of his teenage 'sheriff's badge' years."

      [10] "Monsieur Gainsbourg Revisited" on Barclay/Universal. I don't
      have the record but I do have a sampler that came with a great
      retrospective issue of Inrockuptibles. Having just read a review of
      the entire album in 'our' Volkskrant [daily] I suspected as much from
      the names of the participants: that for the most part it is all a bit
      of clueless bandwagon aping. Doing what might be good for a young
      career. But for the most part it, the young Brits interpreting SG,
      and the project proves you can't just let people hear a song once and
      tell them a bit about him or whatever and expect a lot of soulful
      results. This is an exception. For better Eng versions check Mick
      Harvey. For better youthful interpretations check the reggae/dub
      collections "Mauvaises Nouvelles" and "Aux Armes et Caetera" which
      are great collections of SG's reggae era work recorded in Kingston
      with Sly & Robbie & a top notch crew. It includes not only original
      versions, but many dubbier outtakes and young interpretations by
      youthful rappers, reggae singers.

      [11] This is a very cool version which goes perfectly along with
      their other send up of a singer who indulges in prurience, Barry
      White [there is some loungy relaxed aspect of the 2 that converges at
      insinuated prurience] "I'm the Man For You Baby."

      [12] "Je T'Aime (Moi non Plus)" on Columbia, 1978. From soundtrack of
      a dreadful movie "Thank God It's Friday." And the sheer fat length
      [over 16 minutes] of it makes it an amazing version in and of itself.
      But it is also a strangely on target update of the song [albeit only
      8 years after the original]. [10] "Thank God It's Friday" Soundtrack
      on Casablanca, 1978. It says its a bonus single. I never saw the film
      so I don't know if that means it isn't in the film. It doesn't
      matter. This is a grueling but somehow appropriate send-up homage and
      at 17 minutes clocks in at the same length as In-a-Gadda-da-Vida! I
      got squeamish and backed out at about 8 minutes.

      [13] Excerpts from an interview with SG in 1989 with Christian Fevret
      that appeared on an Inrockuptible cd I think. It reveals SG as a
      self-effacing and reserved star who mumbles in a humble imploding

      o The enduring value of SG for me is his taunting and jaunty
      multifarious nature. He engaged in a wide variety of artistic
      activities while always maintaining a delicate balance between
      various poles: fucked up and yet connivingly on top of his game;
      great songwriter but totally capable of huge blunders that seem to
      seamlessly enter his canon as displaying his humanity; fragile and
      sensitive yet hardass and cynical; avant and hipster and yet also
      simultaneously a dedicated follower of fashion; a confabulating self
      mythmaking ego maniac and yet at the next moment the shyest and most
      self-effacing relativizer of his own geniusŠ His continued resonance
      is due to that magical and unmeasurable quality called creativity.
      And the ability to maintain a self-critical sense of humor throughout
      - that is where charm and grace come in to make genius all the more
      palatable. Idiot-savant, preposterous and yet somehow making a sense
      that only became evident later. His most enduring trait for me after
      his music is his iconoclastic streak, his keeping everyone on guard
      with his high-spirited and on-target media pranks that were both
      selfish and selfless, both picayune and universal. He pissed a lot of
      people off in his life: Jews and the rightwing, left and right,
      liberated women and Neanderthal men but most of all he confused or
      irritated regimented and conforming sorts. He broke out of norms, out
      of boxes, categories, expectations.

      Plus he describes a modern position that we have in society: one of
      acknowledged [or not] mixed feelings toward culutre, toward genres of
      music, toward our own relationship to what we feel defines our
      identity. This became clear when I found almost every 'type' of
      person admiring, knowing, loving, listening to Serge regardless of
      their own lifestyles. This included the avant-industrialists, the
      post-de Sade blood theatre punks, the jazz hipsters, the nerds,
      computer geeks, the unemployed, older people of a more devout
      background... whatever. And when you walked around paris, you just
      FELT like listening to his music - not that it described Paris like
      some others like Piaf but that it created the feel and ambience of
      Paris in sound.

      Notes on other Patapoe audionauts & nuts:
      o Jonges v/d Vlakte [Boys from the Plains]: "De cottonpickin' Jongens
      van de cottonpickin' Vlakte" play a piquant, illuminating, and
      playfully irritating mix of faulty music, of near-misses, of obscure
      failures, of world music that is not from this world 19.00-20.30
      [Dutch time, subtract 1 hr for UK, subtract 6 hrs for US East Coast]
      Mondays @ PTP

      o Dr. Doo Wop is one of the most eccentric and stimulating radio
      shows anywhere. Sartre, DeSade, Doo Wop and music from the gonads.
      Now on Radio Patapoe on Sunday 17.00-18.00 Amsterdam time

      o Radio Antarctica is in temporary exile in the UK. Expect periodic
      patriotic broadcasts to rouse the troops on the mainland.

      o Super Nova is a big potpourri of sounds influences and information
      both local and elsewhere. Can you picture a sound? On Sundays

      o Wildcat Radio: Anarchist organization presents radio as it should
      be - in your ear. Saturdays 18.00-20.00.

      o De Oktoskoop: Kinderen/kid/children/rugrats and other visionaries.
      Sat. 11.30-13.30

      o POLYPHAKE PLAPPERLAPAPP: "polyphone audioerosion featuring
      occasional beatweirdniks in an plaperlappap assemblage hosted by
      F.Fiasko 22:30-?? Wednesdays

      o Radio Worm: Rotterdam-based radio collective presents inventive
      programming to baffle all preconceptions. Midnight Sundays and in
      autopilot rotation.

      o HET PROGRAMMA: industrial lounge for collapsing people. Tuesdays 21:00

      * new home of Amsterdam's Radio Vrije Keyser: 89.6 FM
      * Radio Tonka, The Hague's 10-year-old free radio <www.radiotonka.nl/>
      * Radio Wanklank 90.9 FM, free radio in Wageningen <www.wanklank.nl>
      * Wreck This Mess-Paris @ Radio Libertaire, Paris 89.4
      <http://dune2.info:5000/radiolib.m3u> on Tuesdays 12:30-14:30
      * Black Sifichi / Audiometric is broadcast on: Aligre FM / 93.1 Paris
      (sat 22.30 - sun 7:00) http://www.aligrefm.org
      Eko Des Garrigues 88.5 FM Montpellier ( 19h - 22h)
      RTF 95.4 FM Limoges (wed 21h-23h) http://www.rtflimoges.com)

      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio 100 / Radio Patapoe
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands

      After May 15
      Dina Appeldoornstraat 11
      1076 AX Amsterdam

      o Old playlists archived at <http://www.wfmu.org/~bart/
      o Selected Playlists at http://www.romanapoli.com/black/wreckthismess.html
      o Someday: <http://wreckthismess.com/>
      o Check out NEW excerpts from my erotic-dérive novel: Paris Sex Tete
      on Parisiana <http://www.parisiana.com/>


      CONTACT ninplant@... FOR REMOVAL

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