Errors-To: owner-ecto@ns1.rutgers.edu Reply-To: ecto@ns1.rutgers.edu Sender: ecto@ns1.rutgers.edu From: ecto@ns1.rutgers.edu To: owner-ecto@ns1.rutgers.edu Bcc: ecto-digest@ns1.rutgers.edu Subject: ecto #1214 ecto, Number 1214 Sunday, 28 August 1994 Today's Topics: *-----------------* Re: Women at WOMAD Re: BTC (no spoilers) Tori's San Diego Concert Review Indigo Girls Ticket For Sale - SD, August 28 Re: Lots'o Nouveau Musique Re: Tori's San Diego Concert Review Re: Women at WOMAD BTC Re: BTC Re: BTC Re: BTC Re: Message from Susanne! Why RDT's been down Montreal Re: Spines Re: spines argh! Building The Colossus ======================================================================== Date: Fri, 26 Aug 1994 17:47:16 -0700 (PDT) From: Emily Breed Subject: Re: Women at WOMAD On Fri, 26 Aug 1994, S Trowbridge wrote: [snip] > So there you have it, folks. Peter Gabriel wants to know what *you* > think! If you have any suggestions/comments you'd like to make to him > about female artists who would be good additions to next year's WOMAD > festival, email them to me, and I'll collect them and forward them to > Gabriel's management (providing it doesn't take me 'til next May to track > down the address! :-) ). If I'm actually able to get his email address, > I'll send them there. Well, right off the top of my head -- HAPPY! :-) Also, D'Cuckoo would probably be a *big* hit. They are very, very good live (and a lot of fun). -- Emily (who got Freedy Johnston and the Jazz Butcher's latest on Sunday, and hasn't managed to listen to them yet...) ======================================================================== Date: Fri, 26 Aug 1994 21:02:30 -0400 From: pmcohen@netaxs.com (Paul Cohen) Subject: Re: BTC (no spoilers) (...in which Paul sits in his apartment cursing under his breath beause his local cd store forgot to hold him a copy) :P :P :P :P :P :P :P :P :P :P :P :P :P :P :P :P :P :P :P :P :P :P ________Paul Cohen________________pmcohen@netaxs.com________________________ Philadelphia, PA http://www.netaxs.com:8080/~pmcohen/ ======================================================================== From: Joel Siegfried Date: Fri, 26 Aug 1994 17:55:02 -0700 Subject: Tori's San Diego Concert Review Hi, With rdt being unavailable, I've decided to post a review here of Tori's San Diego concert on Sunday, August 21st. BTW, I was the one who brought her some festive cupcakes with a candle that couldn't be blown out. It's mentioned in the article. I think they may have dropped it into a bucket of water! :) That's the only thing I would have changed. So far, I've seen Tori perform in Las Vegas, San Diego, and Los Angeles (2nd show), and will see her tomorrow at UC Irvine, next week in San Jose and San Francisco (2 shows), and on Sept. 14th in Seattle. I may post my own notes later, but for now I'm still editing them. Enjoy the reviews. Cheers, Joel joel@cyber.net Paper Name: UNION-TRIBUNE Pub. Date: 23-Aug-1994 Tuesday Section: LIFESTYLE Column/Series: POP MUSIC REVIEW Headline: Tori is beatified by her adoring worshipers Byline: JAMES HEBERT Creditline: Staff Writer Photographer: J.T. MacMILLAN Caption: Grand pianist: Tori Amos performs an encore. Art: 1 PIC Story Type: REVIEW Story Subject: Tori Amos They gave Tori Amos a birthday cake Sunday night -- marched it right up to the stage at Copley Symphony Hall. Poof; she blew out the candles. Whoosh; they crackled back to life. No matter. From this performance -- and this adoring crowd -- there was little more Amos could have wished for anyway. Alone with her piano at center stage, Amos played some 100 minutes of intricate music that soared and seared. Every baroque flourish, every breathy phrase glided uninterrupted to the farthest reaches of the sold-out theater, as the audience responded with a rapt attention normally reserved for a classical recital. Some concertgoers were even chided by comrades for presuming to cheer during Amos' intros; those doing the shushing didn't want to miss a note. This was less a rock 'n' roll show than a visit to the Temple of Tori. Amos did nothing to discourage the notion of herself as some mystic presence. Levis ripped to her thighs, a silver chain glinting on her ankle, she looked, if not like a fallen angel, at least like one relegated to celestial reform school. As she straddled the piano bench to face her audience, the classically trained pianist (and, almost impossibly, former heavy-metal band member) waved her red mane, writhing in rhythm and gazing upward beatifically. The songs on Amos' two solo albums -- 1992's "Little Earthquakes" and this year's "Under the Pink" -- fuse melodies that are sometimes nursery-rhyme simple to dramatic, imaginative piano work and lyrics that run to the nakedly anguished. Amos takes listeners on haunting forays into a place where love and betrayal seem forever twinned. Her songs are often populated by children, learning to mask hurts by creating their own perfect worlds. She writes from a defiantly feminine perspective: "Do you need a woman to look after you?" Amos asks the namesake of the new album's "God." She has a mesmerizing presence, especially on a song like "Icicle," also from the new album. Amos played expertly with dynamics, magnifying through a near-murmur the impact of the line, "I think the Good Book is missing some pages." That Amos can sing with such impact is startling, since her piano heroics tend to grab more attention. But she can glide across octaves with an effortless grace that's reminiscent of Kate Bush, a singer to whom Amos is often compared. Just how powerful Amos' voice -- and writing -- can be came across like a punch to the lungs with "Me and a Gun," from her first album. Sung a cappella, the song -- which Amos wrote to cope with the trauma of being raped -- was the show's most riveting moment. The stark lyrics are haunting on their own, but it was Amos' perfectly timed silences that really chilled. The two best-known tracks from "Under the Pink" -- "God" and "Cornflake Girl" -- both got backing from programmed drum tracks, and not always to good effect. On "God" in particular, the percussion seemed to thump Amos into the background, as the suddenly frenzied stage lights whirled in fractal patterns around her. Some unnecessary recorded vocals also intruded on "Cornflake Girl," though Amos' beautiful, rippling piano runs rescued that song from the machines (as well as from the crowd's awkward attempt at a clap-along, almost as bad an idea as their abortive attempts to sing "Happy Birthday" to Amos when her cake was delivered). Those lulled by the delicacy of many Amos offerings were likely surprised when she broke into stage banter four songs into the set; her off-color talk on gender differences concluded with, "Don't take this wrong boys. Sometimes we need you, and you do a fairly good job. But sometimes we don't need you." Her remarks stirred whoops of approval from the (predominantly female) crowd. But the real surprises were saved for the three encores. In one, Amos segued from singing a line from Don McLean's "American Pie" -- "the day the music died . . . " -- into a slow, reverent rendition of Nirvana's "Smells Like Teen Spirit." If the approach was heavy-handed, the dirgelike tribute to the late Kurt Cobain was still affecting. Later, Amos launched into Fleetwood Mac's mid-'70s hit "Landslide," bringing out a tension between faith and fear that wasn't so evident in the original -- and making Stevie Nicks sound like something of an amateur. Landslides, earthquakes . . . on Sunday night, Tori Amos almost did seem to hold sway over the elements. Native American guitarist and singer Bill Miller, an Amos "discovery," opened the show with a rich and well-received set that mixed traditional Indian music with hints of blues and standard pop. His storytelling was as entertaining as the music. During one break, he reminisced: "When I was a boy, we always played cowboys and Indians. I was always an Indian." Then, when the laughter subsided: "We always won." **END OF STORY REACHED** ----------------------------------------------------------------------- Paper Name: UNION-TRIBUNE Pub. Date: 18-Aug-1994 Thursday Section: ENTERTAINMENT Column/Series: DATEBOOK Headline: Tori Amos finds magic `Under the Pink' Byline: KARLA PETERSON Creditline: Arts Writer Photographer: 1. LOREN HAYNES Caption: 1. Tori Amos gets to the heart of all that matters. 2. Tori Amos performs Sunday at copley Symphony Hall. (NIGHT & DAY-3) Keywords: MUSIC Notes: For information box, see end of text. Art: 2 PICS Story Type: BIOG. INTERVIEW. REVIEW Story Subject: Tori Amos Listening to Tori Amos' "Under the Pink" album is like reading someone else's high-school yearbook. First-name-only characters exchange cryptic notes about moments of high drama and low self-esteem. Memories are shared in a shorthand of self-conscious poetry and sudden confessions. Each message is extremely personal and terribly intense, and no one on the outside knows what they really mean. Not even Amos. "I guess I should have sold anesthesia packs with the album and maybe it would have made more sense, because it's about going through layers to find out what the subconscious is doing," said the singer-songwriter, who performs Sunday at Copley Symphony Hall. "I have to know what the songs are about, because I'm performing them every night. But even now, sometimes I'll think, `Oh, that's what that girl is talking about,' because I just figured it out." The words don't always make sense, but the emotions are clear enough. Propelled by Amos' vivid voice and thundering piano, her songs about soul-sapping jealousy ("The Waitress"), petty patriarchy ("God") or murderous demons ("Yes, Anastasia") touched a raw public nerve. Since its release earlier this year, "Under the Pink" has sold more than 500,000 copies, bringing the woman behind it dangerously close to living up to her wildest dreams. "I always wanted to be a rock chick," Amos wisecracked from her hotel room in Orlando, Fla. "Sometimes I think I still am. When I get around a can of hair spray, I get all jittery." She started playing the piano before she turned 3. Two years later, she won a scholarship to the Peabody Conservatory in Baltimore. But by the time Amos turned 11, rock 'n' roll had won her soul, so the conservatory booted the rest of her out the door. "When I heard John Lennon, that's when I knew," the 30-year-old Amos said. "I remember thinking, `OK, why are we concentrating on all these guys who have been dead all these years when this guy is alive and doing the same thing?' I knew that he was one of those guys reincarnated." The Peabody may not have been open to Amos' interpretation, but her Methodist-preacher father and her homemaker mother were. With their support, the 13-year-old former prodigy began playing Top 40 tunes in piano bars and cocktail lounges around Washington, D.C. Five years later, Amos headed to Los Angeles, determined to become a rock chick if it killed her. Which, artistically speaking, it nearly did. Tricked up with hair goop, bimbo gear and the silliest name this side of Kajagoogoo, Amos made her recording debut in a metal-minded band called Y Kant Tori Read. After it was released in 1988, the group's self-titled album went almost directly to the discount bins. With no band and no direction to speak of, Amos stumbled back to her piano. "My intentions were coming from a very needy place," Amos said of her early L.A. days. "I had to be accepted no matter what, so when people said, `That girl-and-her-piano thing isn't working,' I believed them. And it was humiliating." Humiliation turned into salvation when the wrenching tunes she wrote as therapy became her 1992 solo album, "Little Earthquakes." Buoyed by enthusiastic reviews and Amos' theatrical live performances, "Little Earthquakes" sold more than 1 million copies to an audience who thought the girl-and-her-piano thing worked just fine. After a fashion, Amos began to think so, too. But there are times when she still wonders about the piano and the secrets that are locked inside. "When a song isn't finished, it's like I have a terrorist living in my colon, which is not really fair," said Amos, sounding much more down-to-earth than her dreamy songs would suggest. "Say you're out on a date, and you're trying to enjoy yourself, but you know you're not getting anywhere tonight because the terrorist is there and it won't leave you alone. Then you just want it done, and you're willing to write anything just to get the terrorist to go away." But as Amos has discovered, one person's terrorist can be another person's liberator. One of the stunning moments on "Little Earthquakes" is "Me and a Gun," a hushed, a cappella song about getting raped at gunpoint, and surviving. Amos wrote the song from painful personal experience, and it resonated far beyond her own heartache. She still gets letters and backstage visits from fans who found comfort in her chilling ballad, and she has a hard time turning anyone away. Like the characters in her songs, the people in Tori Amos' life have stories to tell, and she couldn't stop listening if she tried. "I need people to survive. I'm the type of person who wants to sit down and have Oreos with everyone I meet, because I find them all so fascinating. There is a bit of the life force in everyone, and I like to know how it's mutated. As a writer, that helps me. "I try to throw myself into whatever situation my heart tells me to," Amos said. "It causes problems sometimes, but I just have to do it." DATEBOOK Tori Amos, with Bill Miller 7 p.m. Sunday, Copley Symphony Hall, 750 B St., downtown. **END OF STORY REACHED** -- +--------------------------------------------------------------------------+ | Joel Siegfried San Diego, California - USA Voice (619) 222-9236 | | Internet addresses: joel@cyber.net Joel.Siegfried@esbbs.esnet.com | | "But I haven't seen Barbados so I must get out of this." - Tori Amos | | "It's easy when you're blessed with money, love and sex." - Heather Nova | +--------------------------------------------------------------------------+ ======================================================================== From: Joel Siegfried Date: Fri, 26 Aug 1994 18:16:08 -0700 Subject: Indigo Girls Ticket For Sale - SD, August 28 I have an extra Indigo Girls ticket for Sunday, August 28, 7 pm at Embarcadero Marina Park, San Diego. Price is $34.25, which is my cost exactly. If interested, please call me at 619-222-9236. Joel joel@cyber.net -- +--------------------------------------------------------------------------+ | Joel Siegfried San Diego, California - USA Voice (619) 222-9236 | | Internet addresses: joel@cyber.net Joel.Siegfried@esbbs.esnet.com | | "But I haven't seen Barbados so I must get out of this." - Tori Amos | | "It's easy when you're blessed with money, love and sex." - Heather Nova | +--------------------------------------------------------------------------+ ======================================================================== Date: Fri, 26 Aug 94 22:10:43 EDT From: WretchAwry Subject: Re: Lots'o Nouveau Musique > 21. Eddi Reader -- S/T -- has anyone heard this yet? I only have this one ('twas a bday present) and I like it. I don't think it's anywhere near as brilliant as _Mirmama_ though, but if this one gets a lot of attention then maybe Mirmama will be released in the US. Anyway, I recommend it and I'm ecstatic that Eddi is finally being released here. Vickie ======================================================================== Date: Fri, 26 Aug 94 23:15:28 EDT From: WretchAwry Subject: Re: Tori's San Diego Concert Review > Hi, > > With rdt being unavailable, I've decided to post a review here of Tori's > San Diego concert on Sunday, August 21st. BTW, I was the one who brought > her some festive cupcakes with a candle that couldn't be blown out. It's > mentioned in the article. I think they may have dropped it into a bucket > of water! :) That's the only thing I would have changed. So far, I've > seen Tori perform in Las Vegas, San Diego, and Los Angeles (2nd show), > and will see her tomorrow at UC Irvine, next week in San Jose and San > Francisco (2 shows), and on Sept. 14th in Seattle. I may post my own > notes later, but for now I'm still editing them. Enjoy the reviews. > > Cheers, > > Joel > joel@cyber.net Joel, thanks for those reviews. Good for you for doing the birthday thang! Vickie ======================================================================== Date: Sat, 27 Aug 94 0:32:58 EDT From: WretchAwry Subject: Re: Women at WOMAD Sue writes: > Ages ago, Vickie posted a question she wanted to ask Peter Gabriel -- why > weren't there more women on the WOMAD bill? I was able to relay the > question to Gabriel through a journalist I know who was going to be > interviewing him, and today, I was finally able to get a copy of this > part of the transcript. (Apologies to Vickie for keeping her in suspense > for so long!) :-) It's ok. The only thing is, I'm even more confused by Gabriel's answer than I was frustrated by not knowing what it was. I'll have to think about what to write. Thanks Sue! Vickie ======================================================================== Date: Fri, 26 Aug 94 21:51:41 PDT From: kyrlidis@templeton.cchem.berkeley.edu (Angelos Kyrlidis) Subject: BTC SPOILERS After a couple of listens, which haven't been undisturbed, I have to agree that BTC is an awesome album. It reminds me of Prince's Sign o' the times in a twisted sort of way. Happy has managed to explore and expand the several styles of songwriting that she has developed in the past, and discovered the art of writing catchy hooks, and songs with a beat without compromising the quality. I still have a long way to go before I can do a song by song analysis, but already some songs stand out. 'If I ever see the girl again', 'Hold me', 'Collective Heart', 'Glory' and 'Building the colossus' (which doesn't feature the title in its lyrics much to my disappointment :)) all have the potential to become HUGE radio hits in an ideal ectopia. In my opinion the album's weakest song is 'Just like Tivoli' which reminds me of 'Temporary and Eternal'. I have skipped it in most of my listens so far. The rest is simply brilliant. I never expected to hear an electric guitar solo on a Happy Rhodes album, but Kevin and the two Davids make the electric guitar the newly found instrument with which Happy plays around in the arrangements. The use of 'metal' percussion in one song whose title escapes me now, is also a promising step. I don't expect Happy to go Einstuerzende Neubauten on us anytime soon, but the experimentation with sounds is something I was looking forward to, something I did not expect to find, and something that impressed me with this new album. Certainly, the more I listen the more I will be able to discover. HIGHLY recommended (as if there was ever a doubt). Angelos PS. Today I had a revelatory experience. My nephews have developped great taste in music for their age (10 and 11). We had extensive talks about Nirvana, and listened to a tape with parts of the unplugged performance and some live tracks, and they identified most songs within the first couple of notes. I am sure this is a result of ODing in MTV, but still I did not expect to hear that they cried when they learned that KC had shot himself. What I need to work on is their addiction to Aerosmith. If I hear 'Crazy' one more time, I will scream. ;) ======================================================================== From: jzitt@ssnet.com (Joseph Zitt) Subject: Re: BTC Date: Sat, 27 Aug 1994 02:30:59 -0400 (EDT) > > SPOILERS > > a song by song analysis, but already some songs stand out. 'If I ever see > the girl again', 'Hold me', 'Collective Heart', 'Glory' and 'Building the > colossus' (which doesn't feature the title in its lyrics much to my The standouts for me are, as in your list, "If I Ever See That Girl Again", and "Hold Me", and (not in your list) "Down Down" (which has been lodged in my head for days). I have a feeling others will grow on me, though I can't bring most of them up in my mind by their titles yet. > disappointment :)) all have the potential to become HUGE radio hits in an > ideal ectopia. In my opinion the album's weakest song is 'Just like Tivoli' I like one aspect of that a lot: the cymbal whoosh in the choruses. I guess it's the percussion equivalent of the Bass Note from Hell. BTW, my historical/geographical lacunae may be showing here, but is there a real place named Tivoli? If so, where is it? (I know there's a computer company by that name in Austin, but it doesn't resemble the song B-]). BTW(2): One packaging gripe I have with the album: The spine printing is upside down. I'm kinda fanatical about keeping my CD rack organized, and to have this CD (as well as 4 or 5 others, though not the rest of Happy's discs) have the opposite polarity from everything else drives me bonkers. Well, at least this time her name is easily read (though I just _know_ some hooked-on-phonics record store clerk is going to file it under "C". B-]). > > PS. Today I had a revelatory experience. My nephews have developped > great taste in music for their age (10 and 11). We had extensive talks > about Nirvana, and listened to a tape with parts of the unplugged performance > and some live tracks, and they identified most songs within the first couple > of notes. I am sure this is a result of ODing in MTV, but still I did not > expect to hear that they cried when they learned that KC had shot himself. The Unplugged performance, along with some live tracks, is going to be released as a double CD in October, if what I heard in a record store today is correct. The Unplugged has grown on me -- what sounded half-assed when I first saw the show has become a lot more meaningful now that I know what Cobain was dealing with at the time. ======================================================================== Date: Sat, 27 Aug 1994 02:19:26 -0600 (MDT) From: Damon Harper Subject: Re: BTC On Sat, 27 Aug 1994, Joseph Zitt wrote: > BTW(2): One packaging gripe I have with the album: The spine printing > is upside down. I'm kinda fanatical about keeping my CD rack > organized, and to have this CD (as well as 4 or 5 others, though not > the rest of Happy's discs) have the opposite polarity from everything > else drives me bonkers. Well, at least this time her name is easily > read (though I just _know_ some hooked-on-phonics record store clerk > is going to file it under "C". B-]). Ack! i know *exactly* what you mean - sometimes i'm tempted to rip the spine bits out , turn 'em around and put 'em back in the *right* way around!! ;) perfectionism and nit-pickyism are horrible afflictions, aren't they? :P lauHUGs, Damon (anxiously waiting to finally hear BtC tomorrow 8) -- ]*[ -- "Days go by endlessly, endlessly pulling you into the future." - Laurie Anderson, "White Lily" /~~~~~~~~~~~~~~~~~~~~~~~~~~~~~\ /~~~~~~~~~~~~~~~~~~~~~~\ /~~~~~~~~~~~~~~~~~\ ( Damon_Harper@mindlink.bc.ca X nomad@kazak.nmsu.edu X nomad@helix.net ) \_____________________________/ \______________________/ \_________________/ ======================================================================== Date: Sat, 27 Aug 1994 08:29:38 -0400 (EDT) From: S Trowbridge Subject: Re: BTC On Sat, 27 Aug 1994, Joseph Zitt wrote: [re: "Just Like Tivoli" > I like one aspect of that a lot: the cymbal whoosh in the choruses. I > guess it's the percussion equivalent of the Bass Note from Hell. BTW, > my historical/geographical lacunae may be showing here, but is there a > real place named Tivoli? If so, where is it? (I know there's a > computer company by that name in Austin, but it doesn't resemble the > song B-]). Tivoli is a splendid amusement park in Copenhagen, Denmark. It was there that I rode a ferris wheel for the first (and last) time. :-) --Sue Trowbridge ======================================================================== Date: Sat, 27 Aug 94 17:50:49 MET DST From: Albert Philipsen Subject: Re: Message from Susanne! Robert Lovejoy writes: > Oh, and yes, Albert: Mitch Elrod is into Jane Roberts work >bigtime! Susanne mentioned he was into Seth (I'd sent her your >post!)... Thanks! That's so cool! Actually, if I had been a little less stupid, I could have found that out myself, for in the liner notes to the album, there is the line: "THANKS to Jane Roberts and her pal Seth, whose writings and observations have inspired some of these songs." I didn't know Jane Roberts and Seth when I first read that line, and I was just reminded of the songs when I read Jane Roberts later. I think the songs that show some influence by Seth are tracks 3, 6, 8, 9, 10 and 12. I found out there is a mailing list for Seth. To subscribe, send a message to listproc@svcs1.digex.net containing the line: "subscribe sethworks ". The address of the mailing list itself is sethworks@svcs1.digex.net. Albert "I try to build the perfect model of-a who I wanna be There's an ideal person hiding, lurking, waiting inside of me" -- Happy Rhodes ======================================================================== From: Richard Handal Subject: Why RDT's been down Date: Sat, 27 Aug 1994 12:18:05 -0400 (ADT) Hey, Kids: I finally heard from Anthony Kosky, as to what the troubles are with RDT. At my suggestion, he agreed that it was a good idea to relate this information to ecto and Reaching-From-Nowhere, the Milla list. Here is what he says: Forwarded message: > From: Anthony Kosky > To: handal@access.digex.net > Subject: Re: RDT's been down for five days > > Hi Richard! I'm well, but have been in Paris without access to email > since Monday. I'm now in London, and have access again, though through > telnet and very slow modems. I know about the problem, and was > desperately trying to get it fixed before I went, but unfortunately > haven't been able to do much other than nag systems administrators who > are too busy with all the other problems and don't consider it a high > priority. The problem has coincided with, and presumably been caused > by, an operating system "upgrade" to Solaris. Part of the difficulty > is that I don't actually know what the problem is, or what's causing > it. The individual parts of the scripts and batch files seem to be > working, but they just don't seem to be able to function together. If > I were at Penn I could probably do more, and try recompiling various > programs and such like, but it's difficult from here. I just altered > the scripts to use temp files instead of pipes in case it makes a > difference. (theoretically it shouldn't, but then, theoretically it > should still be working). Beyond that I'm going to have another go at > pestering our systems administrators. > > I'm delaying dealing with any new subscription notices until I can get > the list working again, and trying to respond to all the queries I get > as quickly as possible. Posting on other lists is a good idea. I > should have thought of it. If you do, ask if anyone out there has any > experience with Solaris or idea why pipes should break in it. > > I hope to have it working again soon. > > -Anthony There you go. Hope this helps to explain, to those effected. Love you madly, Richard Handal || I'm not a M/B/RS Division || cataloger, Library of Congress || but I play one Washington, DC 20540-4804 "Master of the Obscure" || on the internet ======================================================================== From: Alain.Lachapelle@167-290-33.hexacom.com (Alain Lachapelle) Date: 27 Aug 94 09:56:45 -0500 Subject: Montreal "Alex Gibbs" wrote: > Announcer summarizes where she has lived and mentions her > retreating into the wilderness of Montreal to write _Fumbling > Towards Ecstasy_. I dunno but... (perhaps I do since I was born and raised in Montreal) and this may be trivial (or it may be not) but Montreal may be a lot of things but wild it isn't. In fact on many nights at up to 2 AM you can see people downtown (on St-Denis street) very leisurely walking in and out of bars, others talking and having a drink at 'terrasses' (tables and chairs outdoor). From the very little travelling I did (Washington, D.C., San Diego, New England, New York) I've never seen such a truly peaceful atmosphere at night and up to 2 AM at that. So wild Montreal it ain't. What the annoucer meant was that he skipped geography at school. Montreal is a city. Quebec is a province. In Canada, for the time being at least . In Quebec there is wilderness and very nice scenic spots. As a city, Montreal is presently having the Festival des films du monde (World's Film Festival) which will include mass outdoor showings of "Toward the Within", the Dead Can Dance concert as a world premiere (Lisa Gerrad and Brandon Perry, band members, will be there to see it); and also a showing of everyone's favorite, The Leningrad Comboys, from Finland, in a live concert done in Helsinki in front of 70,000 people and featuring 100 chorists, 40 musicians, and 20 dancers from the Alexandrov section of the Red Army. People will remember the Leningrad Cowboys almost surrealist histrionics from the movie "Leningrad Cowboys Go America". Cheers, Alain al@hexacom.com Now Playing: "The Sixth Night" - Teru's Symphonia ================================================= ======================================================================== Date: Sat, 27 Aug 1994 16:42:26 -0400 From: pmcohen@netaxs.com (Paul Cohen) Subject: Re: Spines >BTW(2): One packaging gripe I have with the album: The spine printing >is upside down. I'm kinda fanatical about keeping my CD rack >organized, and to have this CD (as well as 4 or 5 others, though not >the rest of Happy's discs) have the opposite polarity from everything >else drives me bonkers. Well, at least this time her name is easily >read (though I just _know_ some hooked-on-phonics record store clerk >is going to file it under "C". B-]). >Ack! i know *exactly* what you mean - sometimes i'm tempted to rip the >spine bits out , turn 'em around and put 'em back in the *right* way >around!! ;) perfectionism and nit-pickyism are horrible afflictions, >aren't they? :P Well, personally I consider the orientation of the spine on the shelf more important than the orientation of the disk. Flip the box so the spine reads the same as the rest. I do have one friend (who doesn't come over much) who insists on going through my collection (and with 2500 CDs, it's a bit of an effort on his part) and flipping all the discs so that they are all oriented the same, regardless of the spine's orientation. I'll try to stop him, but as soon as I do something like go to the bathroom, he'll be back at the CDs again, flipping 'em over. When he's over, he can't get the 'mis-oriented' CDs out of his head. But I do agree, there's no reason for an upside down spine. It's not all that uncommon, however, especially with imports. ________Paul Cohen________________pmcohen@netaxs.com________________________ Philadelphia, PA http://www.netaxs.com:8080/~pmcohen/ ======================================================================== Date: Sat, 27 Aug 1994 18:35:48 -0400 (EDT) From: THE OLIVE-LOAF VIGILANTE Subject: Re: spines Hi! Saying that the printing on the CD spine of _BtC_ is "the wrong way" is a rather Americocentric view, considering that the printing is in the same orientation as European (or at least German) book and CD spines. Dealing with this is easy -- just place the CD on the shelf so the printing is in the same orientation as all the others! (This pissed woj off no end when I helped him alphabetize his CD collection one (very, very long ;) Saturday afternoon, since he has this Thing about being able to pull a disc off the shelf and open it immediately, but hey.) The thing that bugs me no end about the printing on the _BtC_ spine isn't the orientation, but the mistake. It reads "c:\building the colossus/happy rhodes". Argh! It should be "c:\building the colossus\happy rdes", right? It's another subdirectory and not a qualifier, dammit! It makes me itch. Meredith the DOS fiend, long live DOS ;> meth@delphi.com ======================================================================== Date: Sat, 27 Aug 1994 18:38:07 -0400 (EDT) From: THE OLIVE-LOAF VIGILANTE Subject: argh! Hi! So Happy was on World Cafe on Wednesday night. Guess who fell asleep 5 minutes before she came on, and thus was unable to tape it? (I'm not naming names or anything, but it wasn't me, and I only live with one other person, and it sure as hell wasn't the cat -- she's the only creature awake at that hour of the night around here!) So if we could get a copy of anybody's tape of the interview posthaste, we would be eternally grateful. Thanks! Meredith meth@delphi.com P.S. Our cable system just picked up DMX... I think we're going to order the free month and see what's up... ======================================================================== Date: Sat, 27 Aug 1994 18:41:37 -0400 (EDT) From: Mike Matthews Subject: Building The Colossus After seeing Forrest Gump (probably the best movie I've seen this year; highly recommended), I decided to try the Tysons Tower to see if they had BTC yet. I was originally going to hit the Rockville Tower, on my way home, because I had thought we were going to Pennsylvania this weekend to visit some family members in Harrisburg. I had even given notice that I was taking Monday off. Then I realized that it's *next* weekend we're going up to PA, and I'm supposed to take next *Tuesday* off. I need a vacation so bad, I don't even know when I'm taking off. But anyway. It was a bad omen when the police had closed off the ramp to I66 west; it's pretty much a straight shot down 66, a mile's worth of travel on I495, then about two or three miles on Route 7 to Tower. But they closed off the I66 ramp. So I had to take an, um, detour. I hate traffic lights. Some detours, this one included, had lots and lots of 'em. The only thing I was thinking was, "they had BETTER have BTC." Must've heard my thre-er, thoughts. They did. Now they have one less. There was a non-negligible Happy section there, which was kinda cool. Silly me, I looked under 'H' first. That vacation thing again, I guess. I also bought the Forrest Gump soundtrack (not what I'd call Ecto material, but it's got lots of great - to me - songs on it) and Seal's new CD. Still no Rebecca Pidgeon. I've only listened to BTC once so far. It's got a fairly large range of "moods" in it, methinks. I'm not sure if I like it better than her others or not, but it's definitely good. I'm also not sure if I can trust my own opinion right now either.... eh, if it's good, it's good. My co-workers will be blessed with it on Monday. On a semi related note, Welcome back, Vickie! *HUG* ------------------------------------------------------------------------------ Mike Matthews, Mike_Matthews@sgate.com (NeXTmail accepted) ======================================================================== The ecto archives are on hardees.rutgers.edu in ~ftp/pub/hr. There is an INDEX file explaining what is where. Feel free to send me things you'd like to have added. -- jessica (jessica@ns1.rutgers.edu)