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 #1190 ecto, Number 1190 Tuesday, 26 July 1994 Today's Topics: *-----------------* Giving up Milla, sort of Ani DiFranco Toni Childs in Capistrano Re: Mazzy Star (and a VH1 rant) Re: Moxy Fruvous Schedule for Aug. Re: Moxy Fruvous Schedule for Aug. Tori Interview transcript a.m.e. Hello everyone, I'm back! access nodes All Those Naughty Words... Mae Moore ======================================================================== Date: Mon, 25 Jul 1994 15:48:29 CDT From: Subject: Giving up Milla, sort of Yesterday, I gave up the chance to see _Return to the Blue Lagoon_, featuring young Milla Jovovich, in order to do other things I'll get to later. Based on what I've heard, I probably disn't miss much, but still.... :-) Before it was time to go, I managed to see the prolog, in which the kids and their mother bug out from the ship that's returning them home, to return to the desert is- land. The last thing I saw was their discovery of mucho fresh fruit on trees. Someone doing a spoof on the whole thing would doubtless be able to attribute the kids' adolescent satyriasis to an excess of fructose in their blood :-). Milla's career shift seems like a wise move, all things considered. I gave the aforesaid up in order to see a documentary called _Out of Sight_ at the Film Center. It's a documentary about a blind woman who has a career working with horses, a more active sex life than Hollywood usually gives the disabled credit for, and is generally one of the more interesting people to be found on the big screen this summer season. The only thing to mar the experience was that enroute, the traffic flow was slowed to a crawl by traffic to and around the Grateful Dead concert, of which I had read absolutely nothing in the general-circulation media, so I ended up missing a chunk out of the front end of the film (I rechecked the papers when I got home, and the only mention was a small squib at the bottom of a page in the Friday arts section). The remainder stood on its own very well, however. The subject and the film- maker appeared after the show for a Q&A, and I ended up giving them directions to the subway back to O'Hare. My small footnote in history, especially if they really wanted to go to Midway :-). (It dawned on me later that I should have asked explicitly about that.) Velocity Girl, of whom Meredith waxed rhapsodic in these pages the other day, were on the program at a Chicago street festival called the "World's Largest Block Party" over the weekend. Seems to me that Happy should look into next year's edition as a place to ply her trade. How 'bout those lyric quiz results? Never thought I'd place directly ahead of Erland Sommarskog on one of those things :-). Hope my younger cat has deigned to emerge, during the course of this day, from behind the floor-to-ceiling bookcase at home. He disappeared into that space this morning when I tried to latch onto him to give him his medicine. The vet wants to see him tomorrow, and I'd hate for that little appointment to fall through. In memory of Michael Current, cofounder of the Cybermind mailing list. Mitch ======================================================================== From: snpf@ugcs.caltech.edu (The Duchess Of York) Subject: Ani DiFranco Date: Mon, 25 Jul 1994 14:57:19 -0800 (PDT) Yes! Ani DiFranco is Wonderful! She is racuous, energetic and very interesting lyrics accompany her songs. I have two of the albums recorded, and they are fantastic. 'The Diner' ta song off of her newest album (I'm sorry, I don't have names) "I'm calling from the diner, the diner on the corner, I ordered two coffees, one is for you. I was hoping you could join me, cause I ain't got no money, and I miss you, I guess I should mention that too." Augh! no, really, I"m fine. I have tori amos and laurie anderson tickets. I'm fine. really. -seanympf ======================================================================== Date: Mon, 25 Jul 94 16:30:19 PDT From: Neal Copperman Subject: Toni Childs in Capistrano It's always a curious experience going to a show at the Coachhouse in San Juan Capistrano. Not only does it have some of the most expensive tickets in town, they slap you with a 2 drink minimum, and (or maybe or) a 5 to 10 dollar minimum food purchase if you actually want to get close to the stage. Nothing like snarfing down a full steak dinner before seeing a rowdy show. Well, overpriced munchies weren't too hard to stomach as we sat amongst strangers waiting for Toni Childs second show to start. To the throbbing heartbeats that begin the album opener "Womb", the 5 piece band entered the stage, followed shortly by Toni. She's an interesting woman, whose background I know nothing about. She doesn't seem to have any African features, but is slightly dark, and flavors her music and clothing with African touchs. She was dressed in a dark flowing robe with a large medalion hanging over her chest, and had her hair wrapped up under some sort of scarf. She performed barefoot, and had a couple of nice toe rings on. The show mostly followed the course of her latest album, "The Woman's Boat," with a few older songs thrown in at appropriate times. Toni's voice has to be one of the strangest around, a powerful, slightly rough, deep voice that seems to come from her throat rather than her diaphragm. She varies from a soul shouting preacher style to a more melodic, moving croon. The show was disappointing for it's reliance on taped backing tracks, despite the presence of an apparently able band (although the bass player did need music to play the songs). The focus seemed a bit wrong to me, trying to accurately reproduce the exact sound of the album, and relying on the tapes, rather than using the instruments at hand to create a similarly interesting live soundstage. Particularly underused was a brilliant female percussionist, whose occasional rowdy interplay with the drummer provided the instrumental high points of the show. Given more freedom, the two of them could have done some very interesting things. I was surprised that the music stuck so closely to the album, but didn't mind too much. The third song, Predator, reminds me very strongly of Tom Waits, both in the vocal style and the lyrics. "House of Hope" from the second album was interjected early into the set, before returning to the new album. About halfway through, Toni started having trouble with her voice, warbling on a few notes, and looking kind of strained. She opted on skipping The Ocean from Union, and sat down on the stage to sip some hot water and sing some of the slower WOman's Boat songs. Despite the occasional crack in the voice, and the totally lame idea of singing a duet with Peter Gabriel on tape, I Met A Man and were powerful moving moments. They were marred briefly by an overenthusiastic woman in the crowd. As Toni complained about voice problems, this woman ran up to give her a small package. Something usefull, like throat lozenges, I thought, but they turned out to be glow in the dark condemns she had bought in the bathroom. She then repeatedly propositioned Toni, who eventually had to tell her, quite strongly, "You get back into your seat! Sit down and behave yourself! RIght NOW!" I couldn't help but be baffled as to how the presentation of condoms was supposed to aid in one woman picking up another. Any suggestions? Anyway, Toni kept struggling with her voice on the slow songs, skipped a few more, but kept forging ahead. Made me kind of nervous she might actually do damage to her voice. She played an incredibly energetic and intense version of "Don't Walk Away". This song blows me away anyway, and live it was all the more exciting. I don't know how the guy in the LA Times could have not liked it. Oversung indeed. This song completely blew out her voice, since when she came back for an encore, she was unable to actually speek at all. There were 3 songs left on the set list, and she opted for doing only Walk and Talk like the Angels (and not completing the cycle by playing Death). The band gamely started playing, despite the fact that Toni could do no more than whisper and croak. She kept going around to members in the audience and inviting them up to sing in her place, which was amusing for about a minute, but grew quite wearisome as the ok singers paraded across the stage. I felt for Toni, since she was trying so hard and was clearly frustrated, but I had to wonder whose brilliant idea it was to schedule her for 2 shows in one night. Even though what we got was quite good, I couldn't help but feeling pretty disappointed, since we were stuck spending about $30 for the show. Overpriced for a great show, but way out of the ballpark for the one we got. Neal ======================================================================== Date: Mon, 25 Jul 1994 20:08:39 -0400 From: pmcohen@netaxs.com (Paul Cohen) Subject: Re: Mazzy Star (and a VH1 rant) >...So my question is: Does anyone have any comments >about Mazzy Star? I wasn't blown away by the video, but I was a little >intrigued. Mazzy Star aren't the kind of band that blows you away, but they are definitely intriguing. They have two albums: "She Hangs Brightly" and "So Tonight That I Might See". They are basically David Roback and Hope Sandoval. I recommend both albums. Now if you follow the time line back a little bit, you wind up with Opal, pretty much the same kind of thing, but with Kendra Smith instead of Hope Sandoval. They only made one official album, "Happy Nightmare Baby", but all of their non-album tracks have been collected on a CD entitled "Early Recordings". I also recommend both of these. "Early Recordings" might be a tad tough to find, since it was on a Rough Trade label that is now defunct. Now you could track the time line back a little farther to the Rain Parade, David Roback's highly psychedelic band from the early 80s. They made wonderfully dreamy rock. A good starting point would be their first album and EP, but together by Restless: "Emergency Third Rail Power Trip" / "Explosions in the Glass Palace". I would NOT recommend starting with "Demolition", a collection of outtakes and live tracks. It just doesn't show the band at their best. Hope I helped. ________Paul Cohen______________________pmcohen@netaxs.com__________________ Philadelphia, PA __________________ ======================================================================== From: jzitt@ssnet.com (Joseph Zitt) Subject: Re: Moxy Fruvous Schedule for Aug. Date: Mon, 25 Jul 1994 20:18:33 -0400 (EDT) By the way, when I was in Suburban Station in Philadelphia last weekend (or was it 30th Street Station the week before?), I saw a woman in a Moxy Fruvuous T-Shirt. Pretty funny. ======================================================================== From: jzitt@ssnet.com (Joseph Zitt) Subject: Re: Moxy Fruvous Schedule for Aug. Date: Mon, 25 Jul 1994 20:21:33 -0400 (EDT) David Loshin (definitely not Loshin Hara!) speaks: > Went to a big shabbas nachamu weekend this weekend at the Concord. It was > nice to drive up along rt 17 again, although it was a madhouse when we > reached the place. Waited 1 hr. to check in. A lot of jews and jewesses. I A shabbas nachamu weekend? Now I *have* seen everything on Ecto! *grin* ======================================================================== Date: Tue, 26 Jul 94 15:10:25 +1000 From: anthony@xymox.apana.org.au (Anthony Horan) Subject: Tori Interview transcript Hi Ectopersons! Well, I'm 672 messages behind in Ecto, so I thought I'd better let you know I'm still here and eventually will be back posting regularly - I'm just so busy at the moment that net.time has been at a premium. I'm off to Sydney in a few hours to master the About Six Feet CD (enquiries about the band to tony@xymox.apana.org.au, who's the keyboard player :-) which I produced last month; I'm doing that at the rather legendary Studios 301, where Duran Duran recorded "Seven And The Ragged Tiger" and probably more importantly, where Margot recorded some of her album, and mastered it - in fact, the mastering engineer I'll be working with, Don Bartley, mastered Margot's CD as well as hundreds of other things including the current Falling Joys album. Should be fun, if I survive the 12 hour bus trips there and back, one tonight, one tomorrow night. A big ptooie to the airlines who assume that just because I want to come back on the same day that I go up, I must be a rich business traveller and able to afford a $360 air fare. No thanks, the $90 return bus fare is more my speed. :) As promised, here's the Tori interview I did, which will appear in edited form in Beat Magazine tomorrow. This is a complete transcription, only lightly edited to remove negotiations with Telecom and tour managers, and to remove Tori's occasional bursts of umm, like, umm, err, like, y'know, like, umm. And mine. :) This one's actually being sold to interstate mags, so although I don't need to tell you all because you're fuzzy people, this transcript is copyright 1994 Beat Magazine and myself, and can't be used in any printed medium without my permission. Free electronic distribution is, however, just fine by me. AH = Me TA = no prizes for guessing Interview date was July 14th, 1994, at 2.45pm Australian Eastern Standard Time. This was a phone interview. *********** AH: Hi Tori, how's it going? TA: Hi Anthony, what's up? AH: I'm having a long day today... TA: Yeah, I understand. AH: This is a much-rescheduled interview, this one. TA: Is it? They don't tell me these things, Anthony, I have no idea. I just did a show here in Iowa. I'm in Iowa. I'm in the middle of the cornfields. I'm not kidding you, I really am. AH: How did the show go tonight? TA: Really good. The kids were great, fantastic. So open and loving, I mean it was like... they really really appreciate it. I love going to the places that don't get much live music, because they appreciate it so much, they're starving for it. AH: This has been a very long tour for you, and it's still going... TA: Yeah, I've done 80 shows tonight since February... AH: And how many more to go? TA: Ninety-some... A hundred I think, I don't know. I'm doing six shows a week until the second week in December. AH: That's like doing Broadway... TA: It's nuts, isn't it? But you have to do it that way. If you want to play America, you have to play it properly. I'm doing 110 cities in America. AH: There was originally a tour scheduled for Australia for around about now, but it looks like that's been put back. Is there actually a date set for Australia yet? TA: Yeah, it's the end of November, I think. When it's nice and warm and yummy there. I have to be realistic, you have to go where it works. I've got my crew, I've got my trucks, I can't leave in the middle of a tour of one country and split, I have to finish a country and then go. We finished Europe around the first of June, and then we started America, and this is such a big country that it takes time to do it properly. Then we're going to come to Australia. AH: Do you get tired of the routine of going from city to city and playing almost every night - do you wonder where your life's gone? TA: I get tired of the routine, I don't get tired of the people, because each night it's a totally different energy. It really really is, and I work through things. I mean, being on the road, you get a bit wacky. You just change. It's like you're in a goldfish bowl, you and your crew. I'm very true about this. I probably think things on the road that I would never think if I was just hanging out. Because it's not a life, it's not part of reality. Do you know what I mean? Whatever reality is, I don't think I wanna be a part of that either, but I do know that you give and give and give so much, and it's hard sometimes to get fulfillment. The shows can be fulfilling if the audience is giving. AH: From what I hear of the shows in the US, you've been getting some pretty rowdy audiences at times... TA: Yeah, I love it. I totally love that. It's fantastic, the shared screaming (adopts high-pitched member-of-crowd voice) "Yeah, Tori, aaaaahhhhhh!" AH: A lot of people are under the impression that they have to keep totally silent at your shows - a lot of the fans wish the loud people in the crowd would just shut up. TA: Well, you know... I'm sure there are people at the shows that, for them, want silence. But for me, I'm a big believer in freedom, and I think an audience has to act spontaneously. Now if they were disrespectful, then that's another thing, and you know I'll nail them if they are. I'm not a victim up there. Ever. So if they're being stroppy, I'm gonna fucking nail them. But I haven't run into that. I mean, once in a while, there's some guy that wants to have a conversation, so we just stop the show and have one. We just chat. In front of everyone. Because it's like, he's got to get it out. And then he gets it out, and then he's usually OK. I don't mind, it's about dealing with things in the moment. But in New York, some guy tried to jump from the balcony. To become like... the flowers on the piano, I don't know. It's nuts. AH: That was the show where there was a lot of screaming in the balcony? TA: Yeah, there was loads. We turned the lights on, and rushed up and got the guy out, and I just started playing again, and it moved on. AH: There's been a bit of press, especially in England, about the manic, obsessed and fanatical fans that you're supposed to have - especially since "Under The Pink" came out. What do you think about that? TA: I think that "God" - that was a number one hit in America on alternative radio - got a lot of the fundamentalist Christians pissed off. So, that's a good thing, I think, because that means you're stirring the pot up. I like stirring the pot up a bit. "Cornflake Girl" was the big single in England, and "God" is being released there in a few weeks. So the energy is a little different in the States compared to England, in that you've got this whole religious fervour thing in America where the kids are coming to the shows, especially the ones who have been suppressed and are trying to break free, and that's why they can't contain themselves. In England, they're not as rowdy anyway. They don't carry guns and stuff, it's a different culture. It just is. So I don't let it worry me how people are reacting. I can't gauge my behaviour on how people react, it isn't my responsibility. My responsibility is to say what I believe in and back it up with whatever I'm doing. Whatever anybody else is doing, they can knock themselves out... AH: I assume your time for meeting fans after the shows is much more in demand now... TA: Well I meet them all. I meet them at every show. I just don't do signings. I mean, let's put it this way - I will never get to Australia, Anthony, if I'm doing signings in Cedar Rapids. It ain't gonna happen, because I'm gonna collapse. You can't get up at seven o'clock in the morning, do interviews, radio all day, and fly to the next town, and eat your one big meal a day, and do your soundcheck, and get ready for the show, then I'm a one-woman show for an hour and a half kickin' ass, then go and do a two hour signing, then get up and do it all again - you couldn't fucking do it for two weeks, I'm sure - don't take this personally. But my guys, people that come out and hang with me, from the record company or whoever, after five days, they're exhausted, they're like "I have to get out of here". Even groupies - groupies will come and hang for a week, and then they're like, we've gotta go home and sleep. And I'm like, "You didn't even do anything, you just sat there and listened". I mean, I love them, but give me a break... you know I'm not like a plug you can just plug into the wall and say "okay, do this now". I love music. I just had to make a choice, was this going to be a signing tour or a music tour. And I mean, maybe it's a tough decision Anthony, but I think music's a little more important than a signature. AH: You must be drawing on a source of energy to get through this tour, then... TA: Well, it's an emotional energy. I think when you start tapping into feelings, it's an incredible charge. Getting in touch with all these feelings, it's like all these little endorphins start running around. My estrogen goes up. AH: Speaking of manic fans once again, the current price on the second-hand market of the Y Kant Tori Read album is something over 400 dollars, and people are paying it. TA: Isn't that sad, it's such a waste of money. Go treat yourself to something really good, don't waste your money. I'm telling you, it's crap. AH: I suppose the one thing people want to know about that album is, will it ever come out again? TA: No. Never. I promise you, it's not gonna happen. Ever. It's over. AH: It's taken on legendary status, that record... TA: Isn't it hilarious? Do you know, it's become way more important than it ever would have been if it had been a hit. AH: Record Collector magazine in England listed a single that you did before Y Kant Tori Read, called "Baltimore", which is changing hands for similar prices... TA: Ah. Ah. Yeah, I was 14 years old when I did that. I wasn't even in puberty yet. AH: I'm sure the City Of Baltimore appreciated it... TA: Well they did, actually - they gave me a little award. AH: Have you still got it? TA: My mom has it somewhere. You know moms have that stuff. My mom's so excellent. She is the coolest, she's great. AH: She wouldn't have seen much of you in the past six months... TA: No, but she comes out on the road and hangs out. She's a total road dog, my mom. She is, out of everybody in my family and my friends, my mother is the best road person. She just loves travelling and hanging out with musicians and the crew, and meeting the kids. She's really fascinated by it. Keeps her young, she says. AH: She survives longer than the average record company executive, then? TA: Oh, forget it. Way longer. But you know she's got Cherokee blood in her, so my mom's very tough. AH: The extra tracks you do on CD singles - there's almost enough there to fill a couple of albums with. There's so much material - is there a chance of a b-sides compilation album? There's some great songs there... TA: I don't know, I've been thinking about it. At some point we'll do a compilation of everything so it's easy for everybody to get. But sometimes, I don't know what's going to happen next. Like, the "God" single in England, it's all different remixes from different remixers. Carl Craig, CJ Bolland, they all got their hands on "God" and did a totally different thing. Which I thought would be good fun, to let somebody else just knock themselves out. And I stayed totally out of it. I just said "here guys, this is about you hearing it the way you hear it". So that's what the next CDs are gonna be for "God". But, you know, it's a challenge when you can put extra tracks down and they would get wasted if I didn't do this. AH: "Honey" was a different story, though - it was going to be on "Under The Pink", wasn't it? TA: That was going to be on the album, but I knocked it off. But Honey was OK with it. She was OK, she really was. We had a long talk about it. Because believe it or not, she's getting great status as a b-side. People love her. So she's getting all this praise because she's a bit of an underground song. She's a bit of a cult song, so she kind of loves this attention. She's getting more attention than she would if she were on the album. I think everything has its place. The only regret I ever have is that "Upside Down" wasn't on "Little Earthquakes". AH: "Here In My Head" you've said during a show that you wish it had been given more prominence as well. TA: Yeah, but that was written after the album was way out. I would have held it for "Under The Pink" - I was gonna hold it, because I was writing it just when I started writing "Pretty Good Year", and should have done that. "Pretty Good Year" is really part two of "Ode To The Banana King". "Ode To The Banana King" is part one - as you see, Lucy reoccurs. That's part two, "Pretty Good Year". So I'll probably write part three. AH: For "Little Earthquakes" you brought in people like Davitt Sigerson and Ian Stanley to produce many of the tracks, and produced a few of them yourself with Eric. This time you and Eric have produced the entire album yourselves; is producing yourself more satisfying, and does it get better results for you? TA: Well, they're both great people, Ian and Davitt, but with Eric there are no limitations. He's amazing about that, there's just no limitation. A lot of times, the producer's vision can get in the way. They're involved, and they're creating with you, but they're also listening to me as a writer and where it needs to go from that point of view. I mean, "Precious Things", as you can see, is totally different from anything that Ian or Davitt produced. It had a rawness and a passion, just like "God" has. And Eric really helped support that side of me, so that when I go into those places he helps with the whole arrangement of the track, so that they have that thunder and that passion. AH: The studio recordings are a completely separate entity from your live versions of the songs; is there any possibility you might in the future go out with more musicians, and play the "album versions" live? TA: Maybe. If you're gonna bring musicians, it's gotta be for a very clear intention, not just to recreate the album, because you know I'm not interested in doing that anyway. Live is about creating a moment with the songs that's appropriate for now. And if I can't move on my phrasing - as you'll see when you come and see me live this time, I'm really working heavily with my phrasing. So instead of going okay, we've gotta get from the top of "Precious Things" to the bottom - no. This is about, I have to get from the top of this measure to the bottom of this measure. Everything is working within the phrase, so that there is all kinds of dynamics and crescendo, it's internal rhythm. AH: I noticed that when you played "Precious Things" on Letterman the other week. TA: Oh, you saw Letterman? AH: Yeah, we get Letterman out here in the middle of the night. TA: So how'd you like it? AH: It was great. But you had to censor yourself on that one? TA: Well I had to say "calm" or they were gonna totally bleep me. And I didn't want them to bleep me. So they put me in a funny position. But I tried to let it slip through. This is America, you know... AH: It was good that they let you on without being backed by the Letterman band. TA: Yeah, it was good. The only reason they let me on without the band was because they were in a bind. Because I'd just been on a few months ago, and somebody had cancelled, some comedian, and they needed somebody in less than 24 hours. So I said if I do it, I'm playing alone. I like Paul and everything, Paul's a trip. But I wanted to play alone, and I did and it was fun. AH: On "Good Morning America" you seemed tired... TA: Oh yeah. Up so early, it was painful. John's giving me the two minute sign, so we have to finish up soon. AH: Okay, I've got a huge list of things still to ask you, so I'll save them for next time... one last thing then. The strings you have on "Under The Pink"; someone described the album before it came out as "classical Tori", and it's a description well applied to "Yes, Anastasia". TA: Yeah, that's my big epic. A lot of Debussy influence on the first half, and the Russian composers on the second half. I was real excited working with Phil Shenal, who arranged the strings. We'd had quite a famous arranger arranging and Eric and I erased it all after we had some margaritas. No, we purposely did, it was shit. AH: Can you name him? TA: No, can't. You know, it's... tacky. So we erased it, and we started with our friend Phil. And we loved what he did. I just thought it was so perfect, everything. AH: "Cloud On My Tongue" has one of the most beautiful string arrangements I've ever heard in a song. TA: It's beautiful, isn't it? He just really crawled inside and understood. Strings are really tricky, because you can get it wrong so easily. AH: For the live shows in Australia, will you be bringing out the prepared piano for "Bells For Her"? TA: Unfortunately, I think you're gonna miss that. (To John Witherspoon: "Are we gonna bring out the prepared piano for 'Bells For Her' for Australia?") Johnny says we're going to try and come up with something. We'll see, I mean, wouldn't it be great. Because we have it on tour with us now in the States, we had it all through Europe - I really want to bring it to Australia, because it's such an important part of the show. AH: Will you do that song without the prepared piano? TA: No, can't. It's like, forget it. It's like pasta with no noodles if I do it without that piano. But anyway you've gotta come and say hi when we come out, hopefully at the end of November. When it's warm. We're gonna make it there right when the cold sets in in the States, and we're coming down and hangin' out. -- ----------------------------------------------------------------------------- Anthony Horan, Melbourne Australia - anthony@xymox.apana.org.au "All told, Under The Pink is small but likeably formed; ideal for those herbal-tea moments." - Caroline Sullivan of The Guardian reviewing the new "Victoria Amos" album. ----------------------------------------------------------------------------- ======================================================================== From: Tim Cook Date: Tue, 26 Jul 94 08:21:54 BST Subject: a.m.e. Michael sez: > Which of course begs the question, what should us Ectophiles do about a.m.e.? > Double our online time by giving full attention to both? Ignore it as a place I can't even get to a.m.e. I'm only allowed to send/receive email at my site :-( ======================================================================== Date: Tue, 26 Jul 1994 07:47:56 -0400 (EDT) From: Michael Colford Subject: Hello everyone, I'm back! Wow! I'm really back! After being denied internet/e-mail access for 2 months while our computer system was upgraded, and becoming quite accustomed to being ecto-less, I am amazed at how frantic I was to resubscribe once I got e-mail back. Anyway, it was great to check my messages this morning and see the requisite bunch from ecto. I hope you all had a great May/June/July! It's been HOT up here! Not much to say this time out really. I did see Sam Phillips a few days ago and she was terrific. A real rock 'n roll show, with T-Bone Burnette on guitar. BTW, what's the latest on the new Happy Rhodes album? Still late summer? Well, take it easy! Glad to be back! Michael -------------------------------------------------------------------- Michael Colford | Reading Public Library | Reading, Massachusetts colford@noble.mass.edu | *North of Boston Library Exchange* -------------------------------------------------------------------- ======================================================================== From: Tim Cook Date: Tue, 26 Jul 94 14:12:50 BST Subject: access nodes A friend of mine is moving to Holland (Den Haag) and wants to know if their are any local providers she can subscribe to to get internet access (basically email and telnet). Any suggestions? tim PS This msg does have ecto content - she wants the account to subscribe to ecto!! ======================================================================== From: Chad Edward Lundgren Subject: All Those Naughty Words... Date: Tue, 26 Jul 1994 10:37:56 -0500 (CDT) Hello all! I am normally a lurker, but what the hell. Why not? I wanted to comment on the whole censorship situation. With all of the experiences of this on TV, I'm happy to report that radio is not following suit. In Milwaukee, the radio stations are extremely open minded where language is concerned. It was not always this way, but I think they struck a deal with the FCC. It all started last year when WLZR wanted to broadcast the concerts that they sponsored at Summerfest. The only problem is, WLZR is a hard rock/heavy metal station; as are the bands the concerts. Now, we all know the filth that comes out of the concerts (mock distaste) and WLZR wanted to broadcast them live and uncensored. I dunno for sure what happened, but the concerts were aired in their entirety with all the naughty bits included. The Jackyl concert (which I personally attended) was rather profane, but was broadcast. Phenomonal band. This has carried over into the regular broadcast day. The song "You" by Candlebox has two "fuck"s, that song by Green Day (whose title I can't remember at this time) has a couple of "shit"s and a couple of "fucking"s and they were not edited. Yes, that's right. The songs are being played with all of the words included; word that would send Beavis and Butthead into a hysteric fit. Most notably, one friday night, I was listening to the radio only to hear a new Suicidal Tendencies song, "No Fucking Problem". You can't censor the swears in this song without destroying it. So, happily I lay at night listening to the radio to hear my favorite songs unedited and complete, just like they are on the CD. What is this world coming to. OH, MY VIRGIN EARS!!!!! Chad Chad Lundgren (Morpheus) ----------------------------------------------------- 10223 W. Terra Ave. "There are two kinds of people in this world, Tuco, Milwaukee, WI 53224 those with loaded guns and those who dig. You dig." (USA) -Blondie The Good, the Bad, and the Ugly *HUGS* and pongs ----------------------------------------------------- for all!!! "Spew!" -Skippy the Squirrel Animaniacs ----------------------------------------------------- ======================================================================== From: Tim Cook Date: Tue, 26 Jul 94 17:01:08 BST Subject: Mae Moore I just picked up a copy of the Bohemia single over here. Its got two UK remixes of Bohemia + the album versions of Bohemia and Ophelia. All they need to do now is release the album over here! tim ======================================================================== 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)