Errors-To: owner-ecto@ns1.rutgers.edu Reply-To: ecto@ns1.rutgers.edu Sender: ecto@ns1.rutgers.edu From: ecto@ns1.rutgers.edu To: ecto-request@ns1.rutgers.edu Bcc: ecto-digest-outbound@ns1.rutgers.edu Subject: ecto #295 ecto, Number 295 Wednesday, 15 July 1992 Today's Topics: *-----------------* Point of Information Re: Indigo KaTemas THIS_N_THAT pedantism frothing at the mouth He's alive--me too Ecto and Me: Anniversary Reminiscences (Part II) seven wonders ======================================================================== Date: 15 Jul 92 14:02:15 EDT From: Subject: Point of Information Re: Indigo Subject: Point of Information Re: Indigo Girls Vickie writes: I just thought of another Sophie/kd parallel. In both cases, the "mainstream" audience found them before the lesbian audience discovered them. That happened with The Indigo Girls too. If I know anything about Does anyone know definitively whether both Indigo Girls (Emily (high voice, guitar skills, light hair) and Amy (excellent low, gritty voice, dark hair)) are lesbians, or just one? And if they are seeing each other, or some third party/s? The reason I ask is because I have heard rumors re: just about every combination and I'd like to be able to be definitive with people I know who continue to spread miss info. (pun-intended) Just curious. -mjm ======================================================================== Date: Wed, 15 Jul 92 14:54:47 -0400 From: gb10@gte.com (Gregory Bossert) Subject: KaTemas >>>>>>>>>>>>>>>>>>it is this that brings us together<<<<<<<<<<<<<<<<<< this is a reminder about the 1992 Northeast North American KaTemas Party to be held in cambridge (next to boston), massachusetts, u.s. of a. on the weekend of August 1, as part of the international celebration of Kate Bush's birthday (July 30, 1958) (see the end of this post for full details) your hosts will be greg (who will refuse once again to reveal the source of the magic word "footah!" ;) and jessica, the Ecto goddess herself! last year, parties were held across the u.s.a., the uk, finland, australia, etc... i hosted the Boston-area party, and had guests from new jersey, new york, canada, etc. this year, i have already had RSVPs from people in from canada to georgia, and from new jersey to california -- so don't let the distance deter you! ;) i am crossposting this message to many music lists because we are really celebrating the whole range of alternative music, particularly that produced by women. feel free to invite your friends -- everyone and anyone who can cope with hours of good, interesting music, unabashed fandom, and amazing people is welcome! planned activities include: * live music (featuring your hosts (jessica on vox!) and a cast of thousands.. well, maybe 4 or 5, anyway ;) * official videos from KaTe, Sinead, Tori, Enya, the Sugarcubes, etc. etc. etc. * non-official vidoes ;) from KaTe and others... * musical rarities (including some real treasures!) * photos, posters, magazines, buttons, and generally rare and nifty stuff from KaTe, Happy Rhodes, et al... * lots of CDs (LOTS of CDs ;) by alternative female musicians (and extra CD players/cassette decks with headphones... :) * huge quantities of homemade pizza (if you were there last year, fear not! i'll make it all in advance this time :) * amazing anecdotes and stunning stories of fame and fandom!! * lots of way cool people you've never met in person before (and this was by far the best part of last years party :) * contests and prizes!!! * phone calls and net access to the other parties spread across the world... special guests include |>oug Alan, founder of LoveHounds/r.m.gaffa, and Ron Hill (all the way from CA!) -- renowned for his expertise in things KaTely, and for his stamina in typing in interviews ;) limited lodging is available (and i am sure we can find more volunteers to put people up) -- the party is officially saturday. but friday night we'll be having a blast setting up, and sunday we will go sightseeing in cambridge and boston (and stop by some of the best CD and bookstores in the northeast!!) side trips include possibly seeing the local/soon-to-be-national- and-truly-great group Tribe on wednesday the 29th, and taking a day trip to Maine to visit the site of Organon, as commemorated in KaTe's song "Cloudbusting". last years party literally changed my life, and this one should be far better!!!! details: >>> KaTemas <<< saturday, august 1, 1992 12noon - 12midnight the celebration will begin with setting up friday night and go through sunday; please let me know if you plan on arriving and helping friday, so i know how many people to expect :) the Lowell House Master's Residence 50 Holyoke St. cambridge, massachusetts right in Harvard Square for you local types. near boston, for you distant type ;) the party will be in a 32 room mansion in one of the major tourist and alternative lifestyle centers of the boston... it also happens to be my parent's house, so some dignity is requested... but not much ;) the house is accessible by public transportation, including from the Amtrack and bus stations. rides will be available with advance notice. full driving/transportation directions will be coming soon, or contact me for particular details! RSVPs, requests for lodging, questions, or just friendly messages to: greg bossert (617) 547-1780 (leave a message!) footah@world.std.com OR gb10@gte.com footah! -greg -- gb10@gte.com -- "a woman drew her long black hair out tight and fiddled whisper music on those strings and bats with baby faces in the violet light whistled, and beat their wings" -- T.S. Eliot >>>>>>>>>>>>>>>>>>it is this that brings us together<<<<<<<<<<<<<<<<<< ======================================================================== Date: Wed, 15 Jul 92 15:17:24 EDT From: gda@wayback.creare.com Subject: THIS_N_THAT > Bzzzt! Sorry but the bus driver was wrong. The Grand Canyon isn't a man-made > structure and therefore doesn't qualify. And it has been there for more than > 3,000 years, which is when mankind started building things that could be > classified as 'wonders'. Actually, there were several sets of "wonders of the world". One set was the Seven Natural Wonders of the World (Niagra Falls and the Grand Canyon might be in this list - I don't remember). Another was the Seven Wonders of the Ancient World (Colossus of Rhodes was one. I think most Ancient wonders - except for the pyramids - are no longer around). And the other I've heard of were the the Seven Wonders of the Modern World (Empire State Building and others). So not all Wonders of the World have to be manmade - it depends on who's making up the rules. Nowadays, there's probably an ISO committe, and ANSI standards groups, an IEEE study section, and a White House Basement secret operations team involved in defining what's a world wonder. All of this facinating information, by the way, comes not from good historical training in school, but from a youth wasted reading Richard Halliburton's travel books. Gray Abbott gda@creare.com "Everything's real here. Many people are surprised." -Mr. Edwards at The Sword in the Stone ======================================================================== Date: 15 Jul 92 17:31:28 EDT From: Subject: pedantism greg says: Pawtah! Shouldn't it be "Pawah"? ======================================================================== Date: Wed, 15 Jul 92 17:50:50 EDT From: justin@crim.ca (Justin Bur) Subject: Re: pedantism Shouldn't that be pedantery? :-) justin the pedant ======================================================================== Date: Wed, 15 Jul 92 19:11:09 EDT From: woj@remus.rutgers.edu Subject: frothing at the mouth while driving home from work this afternoon, i was surprised to notice that a car passing me on the right (which is supposedly illegal in new jersey) had the license plate "kiri". didn't know that the official ascii artist of ecto owned a car in this great state. ;) jeffy@syrinx.umd.edu sez: >I seem to remember somebody (woj, I believe) saying something a few days >ago about finally getting to see the _other_ Tori Amos video, "Crucify." well, as far as i was concerned, it was *both* for the first time. but i was lead to understand that there are only two tori videos that have been getting airplay on emptv (probably mislead by my own haziness). are the others played with any sense of regularity? or are they only for the euroemptv crowd? >So far, I think the best single scene in any of her videos are the mutiple >Tori cheerleaders at the end of "Crucify." _Wondeful!_ i was pretty amused by that too. i liked the tori twins doing the piano mime thing better though. longtime fans and friends will be comforted to know that i ordered my htr cds (all five) yesterday afternoon. okay, dinnertime. +w ======================================================================== Date: 15 July 1992 15:24:04 CDT From: Subject: He's alive--me too Having been unable to find my name in the obituaries of either of Chica- go's two daily newspapers this morning, I am back online after blowing off all of yesterday. My thanks to all who sent me birthday greetings either through the list or through interpersonal email. Hope midlife continues to go this smoothly; after all, I'm going to be stuck with this age for a whole year. My principal mode of celebration was to attend the regular July meeting of the Media Research Club, which is traditionally held on a boat on Lake Michigan (as opposed to a downtown restaurant the rest of the year). It was enjoyable despite the rain--which, when you get right down to it, simply meant that there was water above the boat as well as below it. Usually, I like to eat French cuisine for lunch on my birthday, it also being Bastille Day. (Sometimes I think that if I had it to do over, I would have studies French rather than German in high school, for no other reason than that successive reunion books have alluded to what a delightful experience the courses of a particular French teacher reportedly were.) This year, having already eaten, I contented myself with stopping at the bar of a French restaurant downtown for a Pernod. I went home, and looked at (I can hardly say read) the French magazine I picked up earlier in the day, having been mesmerized by the cover photo of Sharon Stone. The photos of her inside were even better; there were also good photo layouts on Beatrice Dalle, Marlene Dietrich, and someone else who escapes me; now if I could only have made sense of the text. One can only speculate on the unconscious motivations that would attract a wordsmith to the transient exper- ience of functional illiteracy. I received a card from my mother with an off-the-wall spin on various nursery rhymes. An example: "Jack and Jill went up the hill/To fetch a pail of water/Jack fell down and broke his crown/But luckily he was wearing clean underwear/and was not embarrassed in the hospital emergency room." I didn't think my writing style was _that_ lampoonable :-). I went on to watch the convention (which typically occurs around my birthday in election years), feat- uring commentary by John Chancellor, whose birthday it also was (along with Gerald Ford, Ingmar Bergman, and Woody Guthrie, among others). I closed out the French connection by timeshifting Studs Terkel's traditional Bastille Day show while I watched Jay Leno, on whose show Celine Dion (French-Canadian, but close enough under the circumstances :-) ) was to slated appear, and on whose appearance I naturally fell asleep. I woke up and turned to one of the lesser films of Humphrey Bogart and Lauren Bacall, one of Hollywood's leading Fun Couples of their time, whose 25-year difference in age seems to remind me of my penchant for recollections in these pages of events which predate the birth of most of you. This morning, NPR did a story on how one San Francisco TV station is showing the network's prime-time schedule an hour earlier, the better to reach aging baby-boomers who often fall asleep by 11 PM. I can empathize. In re the "9th wave" perplexities: in the 1950's, Eugene Burdick wrote a novel by that title about pollsters; "wave," in survey research, refers to successive rounds of interviewing. Somehow, I don't think that new age musicia ns would have looked to that for inspiration. My musical pick for the day: _Water to the Soul_, by Colourhaus, whose good video of "Innocent Child" ran on the same episode of _Friday Night Videos_ a few weeks back as one of Tori Amos' (or at least someone else of unusual interest to us). Their sound is very like that of T'Pau, though it does diverge in many places. In a half-assed attempt to switch back from the foreign language I don't know to the one I do (sort of), let me sign off by saying simply: B E I N A U :-). Mitch ======================================================================== Date: 15 July 1992 15:10:10 CDT From: Subject: Ecto and Me: Anniversary Reminiscences (Part II) II: Stalking The Wild 1st4 Toward the end of last July, I officially lost my lurker status on ecto, when I posted a question for the Happy interview project. It concerned the issue I had raised, in passing, at the Katemas party the previous weekend: whether Happy might have been named in commemoration either of Happy Rockefeller, or of Happy Hotpoint. I went on to propose Flanders and Swann's "A Happy Song" as part of the musical tradition epitomized by Blackgirls' "Happy" and Victoria Williams' "Happy Come Home." In the long run, of course, it was merely the first of many; but for the next couple of months, my actual contributions to these pages were limited to a query or two on aspects of the distribution of Happy's recordings. I have only just remembered something that happened offline during this period, which I think serves to illustrate my relatively moderate approach to the business of being an Ectophile. I was at the August, 1991 meeting of the Media Research Club of Chicago, and happened to be sitting next to Ray Nordstrand, one of the rotating hosts of "The Mid- night Special" on WFMT, a show where I thought, and still think, that Happy's music would fit in well. Needless to say, I made no effort to make a damn nuisance of myself by hammering incessantly at the virtues of his playing Happy's recordings. I did, however, play with the idea of relating this encounter on ecto, prefaced with the statement, "For- give me, ecto-mother Vickie, for I have sinned :-)," in consideration of Vickie's periodic exhortations to us all, at the time, to propagate Happy's music. The next time I wrote about anything of substance was sometime last September. I had recently seen the "Degenerate Art" exhibit at the Art Insti- tute of Chicago, which featured works of German art, literature and music that the Nazi regime had showcased precisely to ridicule their political incorrect- ness (by the regime's standards). Naturally, the writings of Bertolt Brecht and the music of his composer collaborator, Kurt Weill, enjoyed a prominent place in the contemporary showing of these sundry works. As I viewed the exhibit, I was reminded both of Happy's song "Words Weren't Made for Cowards," and of the very Weillesque tunes of it and "Lay Me Down." I posted a commen- tary to that effect, which Jessica liked so well that she asked for, and got, my blessing to reprint it in the ecto magazine whenever it finally arrives on earth. :-) I went back to lurking until early October, when I joined in the colloquy over the exegesis of "Terra Incognita." A much more significant event in my life in the ecto world occurred a week or so later. It's worth the digression for me to expound on it at some length, because it's kind of an amusing story in itself. In consideration whereof, I now shift into the Mr. Gridley mode (cf. the first half of this essay, posted a couple of weeks ago) to expound on what I went through to acquire the rest of the Happy discography. In the few months after I acquired _Warpaint_, I sought information on whether, and where, there were places in my area where I could get the 1st4 over the counter, payable on plastic (the method most gentle to my personal finances, especially if I got them all at once). I was eventually gratified to learn that the Evanston store in the local Record Exchange chain was such a place. I called to inquire about current availability, and was told they were on order but not currently in stock. The same question and answer were exchanged a few more times in the ensuing weeks. Finally, I called only to be informed they were in; so I spent one warm, sunshiny Indian Summer afternoon in the first half of October making the pilgrimage. The elevated ride from downtown started uneventfully enough; though the train may have been a little slower than usual. When the train emerged from the subway tunnel from downtown onto the north side elevated tracks, I began to switch the radio circuit on my walkman periodically between WZRD (flagship of the Suspended in Gaffa radio network :-) ), which I can't get where I live, and WNUR, which I can get only in a highly vestigial form. This undoubt- edly softened the impact for me when, a couple of blocks north of the Fullerton Avenue station, the train simply stopped. Brief standstills aren't unusual on the CTA, so there was nothing inherently eyebrow-raising about this. On the other hand, this train was dead in the water many times longer than the norm. As is its usual practice at times like that, the train crew made no announce- ment at all as to why we were stuck for so long. Eventually--If I had it to do over, I naturally would have timed the standstill for posterity--we were told that we were to evacuate the train at the next station, where other trains would be along shortly. The Belmont Avenue stop, where the train's entire ridership was thrown off, has about the same size platforms in each direction as other stations, despite serving either two or three lines, depending on the time of day. It is poss- ible that other trains had similarly been emptied shortly before, for the plat- form was already awash with people when we arrived. As I stood and waited from my niche within the "wall of human flesh," as W.C. Fields once called it, I continued to flip between WNUR and WZRD, depending on what each was playing at a given moment. I debated whether to try to strike up a conversation with an attractive woman standing next to me. I seem to recall commiserating with somebody or other about the whole thing, wondering out loud whether the CTA was engaged in some kind of perverse natural-settings experiment to see how many people they could stuff onto one platform at one time; but I'm not sure if it was her. Sooner or later, a train arrived, but it turned out to be use- less for my purposes, and those of those around me; I no longer remember wheth- er it dumped its own load of passengers onto the already swollen platform, or simply barrelled on through without stopping. Happily, it was followed immedi- ately by a train which stopped, and received us all. As the train pulled out of Belmont, it was announced that it would run express to Morse Avenue (on the far north side and, by an appropriate coinci- dence, the station closest to Gaffa/Ecto Central). It got to Morse reasonably expiditiously, albeit not fast enough to offset all the time wasted by the earlier train's failure to move. Finally we made it to the terminal at Howard Street, the transfer point to the Evanston train for the remainder of this safari. :-) There was a brief wait at most for the Evanston shuttle, and a relatively brief ride up to Dempster Street, a station which the CTA had proposed closing for budgetary reasons despite its serving a major shopping district. Having been made somewhat hungry by the protracted trip up there, I looked around briefly for a place for lunch, found no full-service eateries in the price range I wanted, and finally settled on the coffee house--whose name I made a mental note of, but have long since forgotten--around the corner from the L station. I went inside, found a seat with a view of a modicum of the social interaction within and without, and ordered a cup of the day's special blend and presumably, something to eat (I no longer have any idea what). I nursed the first cup, watched the world go by, munched on whatever the rather light solid repast was, and was finally ready for my free refill, which the people behind the counter eventually gave me after working through the significant number of other customers who were alongside me. I may or may not have ordered additional food, but apparently desired additional coffee regardless, for I returned to the counter with the intent of investing six bits in a third cup of Kenyan blend (as it now vaguely comes back to me that it might have been.) The harried worker, apparently unaware that I'd already gone through the refill included in the price of the initial cup, gave me another such--be thankful for small windfalls :-). After I ingested enough food and drink to satiate me, I walked to the rear of the restaurant for a pit stop. The audio system was playing the "What Now My Love" album by Herb Alpert and the Tijuana Brass, an album I had enjoyed listening to back in 1966. Notwithstanding the apparent maturation of my musi- cal tastes in 25 years (as evidenced by my membership in this mailing list, if nothing else :-) ), it was a pleasure to be able to listen to "Memories of Ma- drid," one of the album's better cuts by far, while in the lavatory. To extend my chance to listen a little longer, I paused on the way out to look at the posters of 1930's vintage European auto and petroleum advertising, and then at various items on the bulletin board at the front of the shop. At long last, I decided it was time to fulfill the destiny of this excursion, and headed out. With brief pauses enroute to window-shop in the intervening stores, I finally arrived at Record Exchange. I looked around initially to see if there was anything else that appealed to me (there was), and finally asked at the counter for the 1st4 tapes. After chatting briefly with the staff about the odds that the CTA would go through with its illogical plan to close the Demp- ster station (which it ultimately didn't), I collected all my musical swag, and headed back to the elevated. By this time, it seemed to be too late to do much else that afternoon that might be time-intensive, so I decided to stop off at a used record store of my acquaintance further down the line, and then head home. At that time of day, fares on the Evanston line are collected on the train. Somehow, they forgot to collect in the car I was riding. I thus man- aged to get a free ride down to the other store, where I actually found a few more bargains. By this time, it was time for _Fresh Air_ on NPR, so I bade goodbye to the low-reach North Side alternative stations as I waited for the train back downtown. They ran one segment that seemed at the time both inter- esting and relevant to the business of ecto, but I no longer remember what it was about. I navigated the public transportation system the rest of the way home, and started listening to the new acquisitions. Always one to start at the beginning when the matter was as weighty as this :-), I played _Rhodes I_ first. I was immediately struck by the distance Happy had traveled between the first album and _Warpaint_. To this day, "Rain- keeper" comes across to me as one of her more minimalist songs. My first im- pression was that it was easy to understand how she might come to be regarded principally as a folkie in some circles. But with "Oh The Drears," the sophis- tication of the music seemed to take a quantum leap. It occurred to me that this would be a good song to use as incidental music for some _film noir_, against the backdrop of some urban streetscape, deserted except for the pro- tagonist. While Happy's diversity of musical styles did manifest itself within the totality of the album, light acoustic folk still came across to me as being the first among equals. There was not time to give any of the next three albums a careful listen that evening. I don't remember just when I finally got to _Rhodes II_; nor am I sure that the beginnings of Happy's musical evolution were fully apparent the first time I heard it. But eventually, the greater sophistication of many of the tunes, as well as of the musical accompaniment, shone through. "Come Here" emerged as my personal favorite on the second album. I did, however, conclude that "Beat It Out" would be an ideal musical accompaniment for a PSA on dealing with clothing fires :-). The intricacies of music like Happy's typically cannot be fully absorbed in a single listening, and _Rearmament_ was no exception. But eventually, the contrast between currents in her music, between the lugubrious (but not depressing to the listener) on the one hand, and the romantic--even erotic-- on the other, emerged more and more clearly. To this day, however, the tunes to many of the songs don't stick clearly in my memory, likely a function of the lower level of repetition in my listening compared to many of you. None of my favorites from the 1st4, it seems, must have come from the third album, for I can't seem to evoke any of their tunes at this moment. About a week after I bought the set, I posted what proved to be the first of many ideas for ecto marketing tie-ins, for "Eau de Drears" perfume, and then headed off to the annual meeting of the Illinois Sociological Association. I used the travel time to listen to _Ecto_, probably for the first time. In ret- rospect, it seems appropriate that I was listening to it as the train passed the spot where my quest to acquire the 1st4 was temporarily derailed the previ- ous week (the quest, not the train itself :-) )--_quelle belle revanche_, and all that. I don't think I listened to it all on that trip, but I do specific- ally recall listening to what has emerged as my favorite song on all the 1st4. It is "Project 499," which seems to me to dovetail well with the specific dynamics of my long and frequently star-crossed career in graduate school, and I suspect those of others as well. (In the university of my education, 499 is the standard course code for dissertation research.) Overall, the last of the 1st4 seems to be the most developed example of Happy's knack for expressing dysphoria in esthetically pleasing ways, coexisting with messages of hope and intimacy. I am tempted to quip that the 1st4 continue the high artistic standards that Happy first set with _Warpaint_. This is, of course, an illogical time ordering; but it does make some minimal sense in the context of the sequence of my initial exposure to the albums. While the latter differs in some ways from the others, in terms of the elaborateness of the musical arrangements, these five albums are as one in putting Happy's personal esthetic vision first. While I believe as steadfastly as the rest of us that Happy's music as it is can and should please a broader audience than it's been able to reach so far, the fact remains that her music, and its adherents, does operate on a more advanced level than much of that which has gotten through to the masses. Whether it's the simple acoustic romanticism of "Rainkeeper" or the more disso- nant, politically explicit "Murder," one constant holds throughout: this is not high concept stuff. It is music for intelligent people. It is music for adults. Once I'd been exposed to all of Happy's recordings, and so fully grounded in the common currency of our discussions at that point, I was able to contrib- ute more to the running currents of those discussions. My postings became more frequent and diverse, albeit still heavy with the product ideas. The rest, as the saying goes, is history. I eventually settled into what seems to be my current niche as the list's house intellectual/humorist/_enfant terrible_/ master craftsman of run-on sentences/what'd I miss? :-). While there are moments when I wonder if the tail is wagging the dog, in terms of the energy I invest in writing for ecto in the context of my total mix of life activities, it makes my interactions with this electronic peer group no less pleasurable. I have been tipped off to a lot of musical enjoyment in these pages, and have hopefully succeeded in performing the same service for the rest of you. The same sentiments apply to the panoply of other ideas we exchange. So as we now near our 13-month anniversary together, I look forward with the rest of you to Happy's sixth album, and in the meantime to continuing to bask in the climate of fuzzy blueness, whatever we decide that really means at a given time; and-- from my end, at least--to leaving undisturbed what seems to be my natural proclivity for never saying anything the simple way :-). Mitch Pravatiner ----------------------- "It was a dark and stormy night." --Edward Bulwer-Lytton Frequently quoted in the comic strip _Peanuts_ ======================================================================== Date: 15-JUL-1992 21:31:43.60 From: Valerie Nozick Subject: seven wonders okay, i'll add my knowledge into the fray. there are two different sets of wonders: the seven natural wonders of the world, and the seven ancient wonders of the world (or the seven wonders of the ancient world, depending on your mood). here are the ones i can name: ancient wonders: -the gardens of babylon -the colossus at rhodes -one of the greek temples (diana, perhaps?) -the great pyramid in egypt (i think this includes the sphinx, but i'm not sure...i'll look that up tomorrow) -the library at alexandria that's all i can think of of those...i'll check on it. natural wonders: -(i think) angel falls in south america -grand canyon -maybe niagara falls ( can't think of more off hand...as you can tell, i'm more into history than natyure. btw: the only one of the ancient wonders still standing is the pyramid in egypt. all the otehrs have been destroyed. btw2: i picked a lot of this up from a trip many years ago to egypt & greece. some of the others i recalled after people posted them on ecto. so thanks. btw3: i think the great wall of china might belong on a similar list, but since it's still standing, it can't be on the ancient list, and since it's not natural, it can't be on the nature list. any ideas? and i'm pretty sure (about 90%) about btw1--one of those tings you pick up. if no one else has posted a definitive list by tomorrow night, i'll post it. 5r ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Valerie Nozick "happy rhodes, kate bush, tori amos? vnozick@eagle.wesleyan.edu atlanta didn't know what hit her!" ---a recently-become-southerner ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ======================================================================== The ecto archives are on hardees.rutgers.edu in ~ftp/pub/hr. There is a README file explaining what is where. Feel free to send me (or leave in the incoming directory, just let me know) things you'd like to have added. -- jessica (jessica@ns1.rutgers.edu)