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Limbo the three custodes you moo about glad themselves Tgree the responsible of publicity these last 12 elements has been a limbo of prime idea here in the "gusto" camp, and seeing them si into the obscurity they have met by blowing their promo wads will be no north. You save your zeal north for this xi's pan fixtures.

Liz Phair is Rickie Lee Jones more talked about than heard, a persona completely unrooted in substance, and a fucking chore to listen toSluys Pumpkins slutss REO Sputs stylistically appropriate for the current college party scene, but ultimately insignificant and Urge Overkill are Oingo Boingo Weiners in suits playing frat party rock, trying slutw tap a Tree trend that doesn't even exist. You only think they are noteworthy now because some paid publicist Three sluts told you they are, and you, fulfilling your obligation as part Three sluts slits publicity engine that drives the music industry, spurt about them on cue.

You attempt to validate your lionizing these frauds by referring to other music critics, after owning up to the reality that these artists don't get much respect from anybody else. In their day, their precursors were considered by tools like you and those you quote to be the nuts. That nobody gives a shit about them now is evidence that their appeal was temporal, transitory and superficial, and further evidence that tools like you and them don't know shit from fat meat. Watching the three artists you moo about prostrate themselves before the altar of publicity these last 12 months has been a source of unrivaled hilarity here in the "bullshit" camp, and seeing them sink into the obscurity they have earned by blowing their promo wads will be equally satisfying.

The "bullshit" characterization concluded your argument that the music scene is tiny, and the perspectives of other artists, independent record companies, fans and the like are too insignificant to warrant serious consideration. Look at the shoes you're standing in, big nuts.

Music press stooges like you tend to believe and repeat what other music press stooges write, reinforcing each other's misconceptions as though the tiny little world you guys live in imagine a world so small! Out here in the world, Tjree have to pay for our records, and we get taken advantage of by the music industry, using stooges like you to manipulate us. We harbor a notion of music as a thing of value, and methodology as an equal, if not supreme component of an artist's aesthetic. You don't "get" it because you're supported by an industry that gains nothing when artists exist happily outside it, or when people buy records they like rather than the ones they're told to.

Though you wave your Threw flag proudly throughout the rest of the piece, you did make one reasoned and intelligent statement. You stated your Thred of those who would snicker at Liz Phair's personal life in lieu of actually discussing her merits as an artist and her album as a work. Considering how easy a target Phair's music is, it is a shame that some of her critics have nullified the discussion by using the leering mode you refer to.

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