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Wreck the Ghost of Serge Gainsbourg in Amsterdam

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: 348: Gainsbourg / Gainsbarre in Amsterdam PTP in the ether: 88.3FM Where
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      wReck thiS meSS ~ Radio Patapoe 88.3 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: 348: Gainsbourg / Gainsbarre in Amsterdam

      PTP in the ether: 88.3FM
      Where purity & puerility are synonymous
      streaming via internet:
      <http://freeteam.nl/patapoe/>

      Serge Gainsbourg: Een Hommage / Paradiso / Amsterdam / 23 September

      "Records, TV , newspapers, having an impact on millions of kids, it's
      hallucinatory.
      A painting by Raphael will never sell as many tickets as Michael
      Jackson - never.
      Hallucinatory - a minor art screwing a major art up the ass."
      o Serge [in Fistful of Gitanes]

      18 September 2006

      Generique Les Loups > Serge Gainsbourg [1]
      Fuite du Roquin > Serge Gainsbourg [1]
      Les Loups dans la Bergerie > Serge Gainsbourg [1]
      Lemon Incest > Serge & Charlotte Gainsbourg [2]
      La Horse [Gainsbourg] > Sofa Surfers [3]
      Dub Charlotte > Serge Gainsbourg [4]
      Charlotte Gainsbourg Radio Interview
      + Dub Charlotte > Serge Gainsbourg [4]
      Shush Shush Charlotte > Serge Gainsbourg [4]
      La Horse > Serge Gainsbourg [3]
      Toi Dub > Serge Gainsbourg [4]
      Je T'Aime, Moi Non Plus > Dub Syndicate [5]
      Nuits Francaises > Him and Her [6]
      Je T'Aime (Moin non Plus) > Judge Dread [7]
      Nouveau Western > MC Solaar [8]
      Je T'Aime, Moi Non Plus > Malcolm McClaren [9]
      Dub From the Stars > Serge Gainsbourg [4]
      Sex Machine > Serge Gainsbourg vs La Horde [10]
      Bonnie & Clyde > Bridget Bardot & Serge Gainsbourg [11]
      Bad News From the Stars > Serge Gainsbourg [4]
      Requiem Pour un Con > Franz Treichler [12]
      Requiem Pour un Con remix 91 > Serge Gainsbourg [13]
      Requiem Pour un Con > The Orb [14]
      Requiem Pour un Twister > Serge Gainsbourg [15]
      La Horse [Gainsbourg] > Howie B. [3]
      + Serge et Mort > Radio Actualities
      Angoisse > Serge Gainsbourg [15]
      Un Violin un Jambon Serge Gainsbourg [16]
      Intoxicated Man > Serge Gainsbourg [15]
      Jane Birkin & Serge Gainsbourg > Christian Marclay [17]
      Poincenneur de Lilas > Serge Gainsbourg [13]
      L'Homme a Tete de Chou > Serge Gainsbourg [16]
      Sex Machine > Serge Gainsbourg vs La Horde [10]

      [1] "Jazz in Paris / Jazz & Cinema vol. 3" on Gitanes/Universal.
      Handsome series of repackaged jazz and soundtrack music focused
      mainly on Paris. Rare soundtrack showing his atmospheric Mancini /
      [rival] John Barry side.

      [2] Scandalous video and single.

      [3] "Cinemix" on Universal. "Cinemix" on Editions Sido / Universal.
      Hip and contentious reuses of forgotten French soundtracks. Here Tati
      becomes almost unrecognizable for better or worse.

      [4] "Mauvaises Nouvelles des Etoiles" on Philips/Mercury/Universal,
      2003. Album title named after a Paul Klee work. Amazingly cool 2-CD
      repackaging of rediscovered missing dub and reggae tracks plus the
      original album and DJ interpretations. Great package for all those
      Serge reggae-period fans, an oft-neglected aspect of SG's output. I
      really like this stuff because it sounds so full and modern, full of
      dubby psychotropic playfulness and SG was the first francophone to
      use reggae [1978 with the 1979 release of his controversial "Aux
      Armes et caetera", and preceded the Clash's visit to Jamaica
      [although SG recorded his Jamaican material in the Bahamas which
      included the provocative/antagonizing parody of "La Marseillaise"
      that got him in trouble with the right wing and some old war
      veterans. So antagonistic that his Jamaican backing band got spooked
      to the point of refusing to appear before an ornery crowd, which
      compelled Gainsbourg to go out solo and perform some material a
      capella. On this album he addresses the antagonism of the old Vet
      Parachutists who threatened boycotts [which only increased sales of
      Aux Armes] on But here SG also makes you realize that reggae and the
      French language are very amicable. There is something smooth and
      slurred about French that lends itself well to ganja and dub. Disc
      one is basically fairly similar to the original 1981 release but they
      are still SG's versions, some phrases are emphasized, some songs are
      shorter or longer or have a bit more reverby atmosphere.

      [5] 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." of the Serge
      original I quote from an email from Steve Petrica, M.P.H. Division of
      Child and Adolescent Psychiatry @ the U. of Maryland: "you might be
      unaware of the connotation of the line: 'the dillapidation of his
      physical body through self-abuse'. Self-abuse is an old euphemism for
      masturbation, and generations of boys were supposedly told that
      dilapidation of the body (and mind) was its consequence. OTOH,
      perhaps you did know that and used the line for its irony...

      [6] Just discovered this on an old radio program tape of WTM c. 1992.
      Typical orgasmic sigh send up. "Je T'Aime" must be one of the most
      satirised songsŠ

      [7] Very naughty dready version with all the appropriate big penis
      allusions. "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
      cabin."

      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."

      [8] MC Solaar is one of the great jazz-influenced rappers who does
      not go in for gangsta rap and maintains a certain high level of
      content, sound and self-esteem. Cool for years here sampling
      generously the pneumatic sighs of Bardot from "Bonnie & Clyde".

      [9] It is easy to see why MM would like SG. The insouciant spirit of
      tweaking straight media and boring culture must have had a hand in
      this version. Scandal-driven must have learned some of his naughty
      tactics not only from the Situationists but also from Gainsbarre.

      [10] Amazing piece by La Horde commandeering some SG vocals for the
      funky "Sex Machine" of James Brown. I like this kind of cultural
      plunderphonics so much I played it twice. [thanx black sifichi at
      radio aligre for sending that along!!]

      [11] [Broken] English version of this great song that romanticises
      outlaws. With Bardot's prominent lungs adding vocal percussive verve.

      [12] "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 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 or appreciated him from afar. While some of the others are
      purposelessly clueless or contrarian as if the had a nose for a good
      project but then set out to deny SG any musical point of ref. 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.

      [13] "De Gainsbourg a Gainsbarre" First collection I got on CD. It's
      a pignant overview of his career with many of the standards and
      nuggets but peppered with enough oddities to keep you shaking your
      head.

      [14] "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.
      Much better than the more recent youth band homage.

      [15] "Du Jazz dans le Ravin" on Philips. They don't come cooler than
      this. Highly recommended, stylish and nicely compiled collection of
      SG jazz oriented music.

      [16] "Serge Gainsbourg vol. 3" on Universal. Weird selection of
      less-successful works with some amazing oddities squeezed in like
      this. Some hillbilly inspired sounds here and there!

      [17] turntablist CM historically [early 80s] rudimentarily respins
      and recontextualizes JB & SG in a manner that is at once
      iconoclastic, antique and full of homage and fascination.

      o to read several article I wrote on Serge you can go to:

      Serge Gainsbourg: The Obscurity of Fame <www.wfmu.org/~bart/sg.html>
      Or <http://hangoverguide.com/out/hall/gainsbourg.html>

      The Rascal as Cultural Provocateur
      <www.litline.org/ABR/PDF/Volume20/plantenga.pdf>

      o A bit out of sequence as the busyness of life collaborates with the
      ever narrower corridor of how we experience the squeezing and
      shrinking of time. The arguments between perception and actuality
      don't matter. There is an acceleration of the passage and duration of
      events that can't be explained so easily.

      o That is my excuse but I am putting this show ahead of others
      because tomorrow in Amsterdam will see the big night of over 2 weeks
      of Serge-related activities at the Maison Descartes
      <www.maisondescartes.nl> until 29 Sept, At the film Museum
      <www.filmmuseum.nl> showing his tv commercials, the feature "Je
      T'Aime Moi non Plus" [starring Joe Dellasandro! I think], Equator and
      Charlotte Forever; and Saturday at the Paradiso with Jean-Claude
      Vannier [the man behind Melody Nelson], Cor Gout [Dutch
      interpretations of Serge songs], Sylvie Simmons reading from her
      excellent book "A Fistful of gitanes", Pablo & Julien with their
      Dutch translation of Euvgenie Sokolov and DJ Guuzbourg with his
      special selection of sighing-girl songs. After midnight begins the
      dance night with 60s French ye-ye music and othersŠ

      o For something not unexpected but nonetheless totally different, see
      my 22 September article in the Guardian on yodeling related to the
      release of "my" CD compilation ROUGH GUIDE TO YODEL.
      <http://arts.guardian.co.uk/filmandmusic/story/0,,1877513,00.html>.
      THANKS Imogen & Jacqui...

      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 Solus: Minimal electro techno acid french hiphop / Thursdays 22.00

      o Super Nova is a big potpourri of sounds influences and information
      both local and elsewhere. Can you picture a sound? On Sundays
      18.00-20.00.

      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

      ~~~~

      * Wreck This Mess-Paris @ Radio Libertaire, Paris 89.4 hosted by
      Laurent Diouf 1/2 PanouPanou on Tuesdays 12:30-14:30 check
      <http://www.wtm-paris.com>
      * Black Sifichi / Audiometric radio check <http://www.blacksifichi.com>

      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio Patapoe
      bart plantenga
      Dina Appeldoornstraat 11-3
      1076 AX Amsterdam
      the Netherlands

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      o 2500± READERS-EYEBALL "LISTENERS" per WEEK
      o Check out NEW excerpts from my erotic-dérive novel: Paris Sex Tete
      on Parisiana <http://www.parisiana.com/>

      __________________

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