From: owner-ecto-digest To: ecto-digest@ns2.rutgers.edu Subject: ecto-digest V2 #148 Reply-To: ecto@nsmx.rutgers.edu Errors-To: owner-ecto-digest Precedence: bulk ecto-digest Tuesday, 4 July 1995 Volume 02 : Number 148 The Ecto digest is now being generated automatically. Please send problems and questions to: ecto-owner@nsmx.rutgers.edu. ---------------------------------------------------------------------- From: awphili@xs4all.nl Date: Sat, 01 Jul 95 21:22:32 Subject: Moose Sick I have been reading Ecto for a long time, and still I have not been able to figure out what this music is you seem to be describing. You appear to me as little moving dots on a large black surface. You talk about "hearing music". How do you do that? How does the music get itself transformed into your hearing implements? Does it involve experience? These many questions need to be asked, or else it would seem you would always appear alien to me. As such it will be, Albert ------------------------------ From: Mary M Date: Sat, 1 Jul 1995 17:34:35 -0500 Subject: band o' sues If any of you are a fan of Band of Susans (and you should be), you may wish to know that you shouldn't put off getting out and getting their most recent stuff. I've just learned that their last concert ever may have been a recent show in Hamburg, Germany. It gets tough to keep going in the music biz over a long period of time. From what I hear, if they do stop as a band, Robert Poss and Susan Stenger will continue to work on music together. (She, by the way, is a classically trained flutist, and the bass player for the Susans -- she sings a lot of the leads and writes a lot of the songs. I believe she was recently mentioned in Musician magazine.) So if you've been putting off checking them out, you may be running out of time, tho right now their stuff is available for the most part... They have an email address too, but I guess that isn't really relevant enough to print in this post, tho I have once before posted you their website. cheers, mary (got a question about them? ask me..) ------------------------------ From: awphili@xs4all.nl Date: Sun, 02 Jul 95 10:42:50 Subject: Re: Moose Sick I wrote: > I have been reading Ecto for a long time, and still I have not been able to > figure out what this music is you seem to be describing. You appear to me > as little moving dots on a large black surface. You talk about "hearing > music". How do you do that? How does the music get itself transformed into > your hearing implements? Does it involve experience? Well, I figured it out. :) All dots have an X and a Y coordinate. Let the X coordinate correspond to a frequency, and the Y coordinate to a volume. Mix all these sounds together, and poof! Music. There is a musical instrument that works according to this principle. You can just move your hand in the air, and its position in a plane is trans- formed into sound. There must be a description of it somewhere in the Ecto archives. Does anyone remember? Of course, it would be more interesting to scan the whole surface of a hand and transform all these dots into sound... Albert ------------------------------ From: awphili@xs4all.nl Date: Sun, 02 Jul 95 12:37:23 Subject: Re: Theremin the about know... Well, here it is, retrieved from the Ecto archives for your convenience... Albert - -- - -- Date: Sat, 3 Jul 93 5:26:06 EDT - -- From: WretchAwry - -- Subject: Theremin the about know... ...to wanted you Everything This is a bit late wrt the theremin thread, but I just didn't have a chance to type this in earlier. Jeffy mentioned a video he got from me of a woman playing a theremin, and brni asked what a theremin was. This is about both things. The video was an excerpt of a Clara Rockmore concert, and I got it from the late, great, lamented music show "Night Music" hosted by David Sanborn. So many great performers appeared on that show, performing live. Mary Margaret O'Hara, Diamanda Galas, Julee Cruise, Kronos Quartet, Aster Aweke and so many others...I taped it whenever possible. They very rarely showed video of any kind. Actually, Clara's performance was one of the few. They only showed a few minutes of it, but those few minutes are mesmerising! The theremin is probably best known for the spooky sounds in many 1950s science fiction movies (heard a *lot* in Mystery Science Theater 3000 features), and in the Beach Boys' song "Good Vibrations." (Chris says it's used quite a bit in the film _Forbidden Planet_.) Shortly after I saw the Clara Rockmore video I found a CD by her called "The Art of the Theremin" and bought it immediately. The booklet included is a very good one, and includes lots of information and photos of the theremin, Clara Rockmore, and Professor Theremin. I've typed in quite a bit of it, but I did have to edit it here and there. For one thing, I left out and entire section on exactly *how* the theremin works. If you'd like to know...if you're *that* interested, I'd recommend buying the CD :-). Still, this is pretty long. It's kind of dry, but I think it's fascinating information. The theremin itself is interesting, and Clara's mastery of it is nothing short of amazing. She single-handedly brought respect to an instrument that has been used in some fairly dubious ways. Professor Theremin was the father of electronic instruments, so he's interesting *and* important! (Dave Stewart & Barbara Gaskin wrote a song about him. It appears on the album "Spin" and you'll hear the instrument in the song.) Enjoy! (I hope...) - ------------------------------------------------------------------------- The theremin itself is housed in a wooden cabinet approximately eighteen inches wide and a foot deep. With its legs, it stands about three and a half feet high. The front is slanted to form a convenient music stand. A vertical pitch antenna rod is located in the upper right hand corner of the cabinet. A tubular loop for controlling volume emerges from the cabinet's left hand side. Tuning knobs and control switches are located on the lower part of the front of the cabinet. | (pitch) | | ___________|_ ____ | | (volume) (____)---| (slanted) | | | |------------| | ooo (knobs)| |____________| To play the theremin, the performer stands in front of the instrument, a little left of center. The feet are spread slightly to keep the body as motionless as possible. To determine the pitch of the instrument's tone, the player varies the distance between her right hand and the pitch antenna. When the instrument is properly tuned, the pitch goes from lower than two octaves below middle C when the player's right hand is back at her shoulder, to approximately 2 1/2 octaves above middle C when the player's hand barely touches the pitch antenna. To determine the loudness of the instrument's tone, the player varies the distance between her left hand and the middle of the volume antenna. Maximum loudness occurs when the hand is removed from the antenna; complete silence occurs when the hand is an inch or so from the loop. The two antennas actually respond to all body movements. Therefore, it is necessary for the player to exert firm control over her body and head motions as well as her hand motions. The ability to stand motionless is absolutely essential. Concert-goers have remarked on Ms. Rockmore's controlled stance. One reviewer even wrote: "Miss Rockmore's seance-like management of this slightly supernatural instrument is quite amazing. Of course, the purpose of remaining still is not theatrical or hypnotic at all, but strictly musical." The thereminist must move her hands with incredible precision as well as speed if she wishes to play distinct notes with corrent intonation. Ms. Rockmore actually uses fingering patterns to play the most rapid passages. (...) No other theremin player has ever mastered this difficult and intricate technique for playing rapid successions of precise pitches - "aerial fingering" as one reviewer termed it. The theremin performer plays without the benefit of any tactile reference whatever. Unlike the violinist, who is in constant contact with the instrument's fingerboard, (...) the thereminist feels no shape or force as she moves from one pitch to another. She is constantly moving her hands, listening to the resulting pitch changes, then "trimming" the precise position of her hands to home in on the desired pitch and volume. The process is one of continous aural feedback. For this reason, placement of the theremin loudspeaker is extremely important. Ms. Rockmore uses a large open-backed speaker which she places behind and slightly above her head, pointing out toward her audience. With such an arrangement, she is able to hear the effect of her hand motions soon enough so that her audience is rarely, if ever, aware of the aural feedback corrections that she intuitively applies. In 1927, two remarkable people arrived in the United States after lengthy and successful tours of Europe: Lev Sergeivitch Termen (anglicized to Leon Theremin) and Clara Reisenberg Rockmore. Theremin was a young Russian physicist who was demonstrating a new musical instrument that he invented (...the aetherphon, aka thereminvox, later known as the theremin). Clara Rockmore, a professional violinist from the age of 9, became aware of the musical potential of Theremin's invention. She spent several years collaborating with Theremin during which time he developed his invention into a sensitive, wide-range musical instrument. Clara subsequently embarked on a performance career that encompassed well over a hundred concerts, including appearances with major symphony orchestras, and set the definitive standard for theremin performance technique. Clara Reisenberg was born in Russia, the youngest of three musically gifted sisters. (...) Clara was a true child prodigy, with absolute pitch and an uncanny sense of music. At the age of two, she could pick out on the piano or sing any melody she heard. (...) Her career as a violinist began when her uncle gave her a quarter-size violin for her fourth birthday. At the age of 5 she was admitted as an exceptional student to the Imperial Conservatory of Music in St. Petersburg (now Leningrad). She was the youngest student ever to have received this honor. Later she became one of Professor Leopold Auer's most prom- ising pupils and, at the age of nine, received permission from the Russian government to leave her native land in order to concertize. Clara and her sister Nadia (a well-known concert pianist in her own right) embarked on an extensive tour of Europe. (...) Finally, their recital circuit led them to New York City, where Clara met Leon Theremin for the first time. Leon Theremin developed his aetherphon in Russia while he was a student at the University of Petrograd. In 1920, he demostrated a working instrument at a convention of engineers and psysicists. At that time, the vacuum tube had been in existence for only a few years; Theremin himself was only 21 years old. During the following years Theremin imporved his instrument and staged a number of concert demonstrations. The first composer to use this new instrument was A. F. Paschtschenko. His composition, "A Symphonic Mystery" for theremin and orchestra, was premiered in May, 1924 by the Leningrad Philharmonic. In 1927, Theremin embarked on a European tour. His performances in Frankfurt, Berlin, London, and Paris were met with unrestrained enthusiasm. Listeners were amazed that the seemingly inaccessible technology of electronics had been harnessed to enable a musician to make music by simply waving his hands. At the Paris Opera, police were called to keep order among the crowds that thronged Theremin's concert-demonstration. For the first time in history, standing room was sold in the boxes. By the time Theremin arrived in New York in Decemberr 1927, news of his fame had reached the rich and fashionable. His first "by invitation only" presentation included such notables as Edsel Ford, the Vincent Astors, the Fritz Kreislers, Rachmaninoff, and Toscanini. (...) Theremin set up a laboratory and studio...to build new instruments and train performers. He and his new students joined the New York Philharmonic Sympohony Orchestra on August 27, 1928, for a concert performance with four theremins and orchestra. (...) On September, 1929, Theremin licensed the Radio Corporation of America to manufacture the thereminvox. (...) The RCA Theremin was not a commer- cial success. (...) (...) ...Theremin trained many musicians to perform slow simple music on his instruments. However, the development of technique to perform pieces from the standard instrumental repertoire would require the dedication and effort of an unusually sensitive and talented performer. Clara Rockmore was this person. Clara worked intensively with Theremin's instruments, developing means for greater control and more precise articulation. At one of Theremin's concerts in 1932, Clara performed on an experimental dance plarform called the terpsitone. The platform was equipped with thereminvox-like antennas, enabling the dancer to play a melody while dancing - the perfect synchronization of sound and motion. Clara recalls that Prof. Theremin asked her to perform on the platform, "because none of the dancers who tried it could carry a tune." Ms. Rockmore gave her first solo theremin concert and New York's Town Hall, on October 30, 1934. (...) During the twenty years or so following her theremin debut, Clara Rockmore toured widely, performing as guest soloist with major symphony orchestras, and made three coast-to-coast tours, sharing the program with the famous singer Paul Robeson. On several occasions she performed under the baton of Leopold Stokowski, one of her most enthusiastic supporters. (...) During the past few years, Ms. Rockmore has retired from active concertizing. Her appearances have been limited to a few radio interviews and private recitals. However, Clara maintains her enthusiasm for the theremin, and her masterful playing. She frequently points out that today's "space-concious" listeners are interested in electronic music, "and what is more natural to electronic music than a space-controlled instrument?" She hopes that this disc, the first commerical recording of her playing, will acquaint today's listeners with the musical resources of the theremin, and with her own approach to the theremin as a musician interested in making music rather thatn just new sound effects. (...) Theremin remained in the United States for about ten years. During his stay he developed several musical instruments based on the beat frequency oscillator principle. (...) He also experimented with visual displays, including rotating discs illuminated with stroboscopic lights. Theremin's experiments laid much of the groundwork for subsequent developments which led to many of the electronic musical instruments which are in use today. Unfortunately, the economic climate of the 1930's was not conducive to commercially profitable introduction of new musical instruments. Theremin returned to his native Russia around 1938. He continues to do research in electronic musical instruments and acoustics at the University of Moscow. Robert Moog - ---------------------------------------------------------------------- Clara Rockmore The Art of the Theremin (Delos D/CD 1014) Clara Rockmore, theremin Nadia Reisenberg, piano 1) Rachmaninoff: Vocalise 2) Song of Grusia 3) Saint-Saens: The Swan 4) De Falla: Pantomime 5) Achron: Hebrew Melody 6) Wieniawski: Romance 7) Stravinsky: Berceuse 8) Ravel: Piece en forme de Habanera 9) Tchaikovsky: Berceuse 10) Tchaikovsky: Valse sentimentale 11) Tchaikovsky: Serenade melancolique 12) Glazunov: Chant du menestrel 1987 Delos International, Inc. 2210 Wilshire Blvd., Suite 664, Santa Monica, CA 90403 - ------------------------------------------------------------------------- Vickie ps, I'm not absolutely sure, but I think that Clara Rockmore and Prof. Theremin are both dead now. Nadia Reisenberg definitely is. ------------------------------ From: bjr1011@earthlink.net (Barbara Reynolds) Date: Sun, 2 Jul 95 14:24 PDT Subject: [none] subscribe bjr1011@earthlink.net ------------------------------ From: Vickie the Ectophile Date: Sun, 2 Jul 1995 21:54:40 -0500 (CDT) Subject: RIP Marv (Re: No birthdays, just a monthly listing On Sat, 1 Jul 1995, Michael Matthews wrote: > -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- > > Marvin Camras Sat January 01 1916 Tapehead I was watching CNN the other night and he died last week. RIP and thanks for the invention! (He invented recording on wire....Mitch can tell more about him. I don't think ole' Marvin ever knew he was an honarary Ectophile.) RIP also to Wolfman Jack and Phyllis Hyman (sp?) HAPPY BIRTHDAYS to everybody else! Vickie ------------------------------ From: Sue Trowbridge Date: Mon, 3 Jul 1995 00:05:05 -0400 (EDT) Subject: Musical guests on late night talk shows Nothing but reruns this week! LATE SHOW WITH DAVID LETTERMAN, CBS Mo 7/3 Harry Connick Jr. (Repeat of 7/8/94) Tu 7/4 Emmylou Harris (repeat of 5/18/94) We 7/5 Sponge (repeat of 4/21/95) Th 7/6 Roseanne Cash (repeat of 10/12/93) Fr 7/7 Megadeth (repeat of 2/2/95) Mo 7/10 Joan Osborne We 7/12 Dave Mathews Band THE TONIGHT SHOW WITH JAY LENO, NBC Mo 7/3 Travis Tritt (repeat of 2/2/95) Tu 7/4 The Go-Go's (repeat of 1/26/95) We 7/5 Alan Jackson (repeat of 1/13/95) Mo 7/10 The Doobie Brothers Tu 7/11 Chris Isaak We 7/12 Shania Twain Th 7/13 Seal LATE NIGHT WITH CONAN O'BRIEN, NBC Mo 7/3 Jewel (repeat of 5/15/95) Tu 7/4 The Suits (repeat of 5/16/95) Fr 7/7 Faith No More (repeat of 5/11/95) Mo 7/10 Alex Chilton We 7/12 Ringo Starr Th 7/13 Green Apple Quickstep LATER WITH GREG KINNEAR, NBC Tu 7/4 LL Cool J (repeat of 4/20/95) Th 7/6 Duran Duran (repeat of 5/11/95) - --Sue Trowbridge trow@access.digex.net +++ trow@charm.net http://www.access.digex.net/~trow/ Album of the month, July: Neil Young, "Mirror Ball" ------------------------------ From: Michael Matthews Date: Mon, 3 Jul 1995 03:30:01 -0400 Subject: Today's your birthday, friend... i*i*i*i*i*i i*i*i*i*i*i *************** *****HAPPY********* **************BIRTHDAY********* *************************************************** *************************************************************************** ************ Anders Hallberg (Anders.Hallberg@eua.ericsson.se) ************ *************************************************************************** -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Anders Hallberg Tue July 03 1962 Cancer Kevin Harkins Thu July 05 1973 Cancer Laurel Krahn Mon July 05 1971 Cancer Jim Gurley Mon July 06 1959 Cancer Courtney Dallas Fri July 09 1971 Catte Michael Peskura Sat July 09 1949 HallOfFamer Finney T. Tsai Sat July 09 1966 Cancer Marion Kippers Tue July 13 1965 Kreeft Mitch Pravatiner Mon July 14 1952 Cancer John Zimmer Sun July 16 1961 Cancer Dan Stark July 16 Cancer Cathy Guetzlaff Mon July 18 1955 Cancer Vlad Sat July 18 1970 Warning: severe tire damage Jani Pinola Thu July 20 1972 Jonquil David Koehler Mon July 25 1966 Leo Tom Johnson Mon July 25 1966 Leo Alvin Brattli Sun July 27 1969 Lefthanded Christy Eger Smith Thu July 27 1944 Horse Crossing Rob Woiccak (woj) Sun July 28 1968 children at play John Relph Sat July 28 1962 Leo Bob Kollmeyer Wed July 28 1971 Leo Steve Lusky Tue July 29 1952 Bike! Kate Bush Wed July 30 1958 God Chuck Smith Wed July 30 1958 Reboot Yves Denneulin Fri July 30 1971 Lion-Heart Joel Kenyon Wed July 31 1963 Leo - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ------------------------------ From: THEEDLOS@aol.com Date: Mon, 3 Jul 1995 14:37:15 -0400 Subject: EDLOS APPEARING: PALO ALTO, SACRAMENTO Here's your chance to catch the only group to win all three top awards at the Harmony Sweepstakes in Marin, the only group to be featured at the Grand Ole Opry, the World's First A Cappella Country Western Band (with a groundbreaking new album to show for it, available in August: "A CAPPELLA COUNTRY")... THE EDLOS!!! VARIETY SHOW (featuring originals and some cover tunes, including the tune that won "BEST SINGLE" from CASA: Hurdy Gurdy Man!!!) July 6th, 8 PM, Lucie Stern Theater, 1305 Middlefield Rd., Palo Alto; $20 COUNTRY WESTERN SHOW (featuring all of the tunes from "A CAPPELLA COUNTRY" and then some; the show that took Nashville by storm!) July 8th, 8 PM, Sierra Two Theater, 2791 24th St., Sacramento; $18 both shows are general seating, first come first served, tickets sold at the door day of show starting at 6:30 pm; tickets can be reserved by calling (415) 864-3548 or 86-HELIUM for the numerically challenged... look for updates re Freight and Salvage in Berkeley sept 9th and many more, including tours of CO, UT, TX and elsewhere upcoming!!! cal 510 TH'EDLOS for concert updates e mail back with message "UNSUBSCRIBE" in order to be dropped from this list... ------------------------------ From: Neal Copperman Date: Mon, 3 Jul 1995 16:20:05 -0400 (EDT) Subject: tripping: Portland/Seattle Looks like I've finally managed to swing a west coast business trip! Unless everything falls apart, I'll be in Portland for the weekend of July 15 and in Seattle from midweek through the following weekend. The Portland phase looks kind of iffy, so if that part does fall through, I'll just go play in Seattle for the previous weekend instead! Anyway, I've got lots of friends in Seattle, but still would like to meet people if anyone's around and free. I believe there are a few people in the Portland area too? Actually, I could use more help there, since I've never been to Oregon and don't know anyone there. I recall a few people from the Vancouver ecto-party and posts (steve, mklprc, bubba>. Any tips on places to go, things to see, or places to eat? Anyone want to play tour guide, get together for lunch or dinner, or (best yet) offer me a place to stay? (As always, I'll be happy to visit with people even if they can't put me up:) Thanks, Neal ------------------------------ From: jeffw@smoe.org (Jeff Wasilko) Date: Mon, 3 Jul 1995 16:30:35 -0400 (EDT) Subject: Suddenly, Tammy! Is We Get There When We Do their latest? I'm putting together my shopping list, and from what I've heard here, it's a sure bet.... Thanks, Jeff - -- Jeff @ Home.... "I'll be youah race-cah drivah..." -- Jewel "Pahrk youah race-cah in Havahad Yahd?" -- Anja [smoe] ------------------------------ From: Neile Graham Date: Mon, 3 Jul 1995 17:10:37 -0700 (PDT) Subject: Re: Suddenly, Tammy! Jeff asks: > Is We Get There When We Do their latest? Yes. > I'm putting together my shopping list, and from what I've heard > here, it's a sure bet.... Well, nothing's a sure bet, but I think it's wonderful. There other disc is self-titled and is also wonderful. Enjoy! - --Neile P.S. Did ecto just get spammed? What was that country band thingy? ------------------------------ From: Philip Sainty Date: Tue, 4 Jul 1995 14:48:08 +1200 Subject: Re: rhodeways #5 (bounce bounce bounce) Yay!!! :) :) The new Rhodeways arrived in my letterbox the other day, and I am a *very* happy cat! Aside from the neato contents, I'm now the proud owner of a big signed photo of Tirk (of "Equipoise"-cover fame) !!! I'm going to frame it and hang it in my room :) Philip (bouncy kiwi with a big smile) _ _ ___ _ _ _ (_ / | / \ |_) |_| | | (_ Philip Sainty (_ \_ | \_/ | | | | |_ (_ ectophil@comp.vuw.ac.nz - -------------------------------------------------------------- "This is where I want to be, this is what I need." --Kate Bush ------------------------------ From: Jason Date: Mon, 3 Jul 1995 20:16:51 -0700 (PDT) Subject: Aimee Mann's new album Hello folks! For those of you who are interested, Aimee Mann's new album is slotted to be released on the 11th of July. The title of the album is called, "I'm with Stupid." Lots of luck! Jason ------------------------------ From: THE OLIVE-LOAF VIGILANTE Date: Tue, 04 Jul 1995 01:12:22 -0400 (EDT) Subject: Canadian Ecto Heaven :) Hi! Saturday woj and I spent a lovely day in the sun (fried ectophile, anyone?) at the Friendship Festival in Fort Erie, Ontario enjoying sets of live music from: Universal Honey Rheostatics Wild Strawberries Crash Vegas Mae Moore Susan Werner Moxy Fruvous 10,000 Maniacs Jann Arden The Waltons Billy Bragg Barenaked Ladies The day began when Universal Honey came on at 11:45 AM, and ended when Bare- naked Ladies left the stage at 1:20 the next morning. And we were there for the WHOLE THING, slow-roasting ourselves, eating high-cholesterol food, and defending our blankets on the lawn from dirty-footed interlopers who insisted upon walking through us while trying to get by. It was great fun. :) There were Canada Day fireworks before Billy Bragg's set too, and they were quite spectacular, even if most of them were blocked by a bunch of trees. woj and I are sure there have been some mentions of Universal Honey in these pages in the past -- could someone please help us out here? We know nothing about them. I thought they were okay. Rheostatics were quite good, though I think most people were left perplexed by them. Wild Strawberries were fun, but the only technical glitch of the day came at the beginning of their set, when the microphone didn't come on until they were almost to the end of "Life Sized Marilyn Monroe" and didn't have time to start it over. I slept through most of Crash Vegas' set, so I'll let woj talk about them. :} Mae Moore was a lot better than I thought she'd be -- her voice was a lot more powerful than on her albums. Susan Werner was *fantastic* -- she was the first performer to get any sort of response from the crowd either way, and really got things going. All she had was an acoustic guitar, an attitude, and charisma to go. She should team up with Melissa Ferrick -- I don't think the walls of the venue would be left standing by the end! I'm going to pick up her album _The Last Of The Good Straight Girls_ now, and see her again if I get the chance. Highly recommended. 10,000 Maniacs were pretty good -- not as wonderful as when I saw them at Toad's Place in April, but solid nonetheless. Mary Ramsey seems to be a lot more comfortable with their older material now. Jann Arden was nice. We missed most of her set as we were standing in line for food, but we were able to hear it and while not riveting, it was... nice. Just nice. (I'm not too hot on her music to begin with, so mine is not a good opinion by which to judge her. :) Whoops -- forgot Moxy Fruvous! They were great. I'd heard them talked about a lot around here, but never heard any of their music. Great stuff -- I'd definitely see them again. "King of Spain" is indeed a classic. :) Back into the queue -- The Waltons were marginally interesting, but all their songs sounded alike. I don't remember enough about them to describe them -- can anybody else help me out here? The day ended with Billy Bragg and Barenaked Ladies. Billy was alone with his electric guitar for most of his set, but he did have a keyboardist and backing vocalist along for a couple of songs. His between-song banter was positively hysterical, and pissed off a few of the people we were with. ;> (I especially loved his theory that the reason HOV lanes exist in America is so the New York State Troopers can easily pick out the Socialists. ;) He sang a good mix of new and older songs, including my personal favorite, "Sexuality". After he was done the event everyone else in the crowd was waiting for happened: the Barenaked Ladies took the stage. I wasn't that into it -- the few songs of theirs I had heard on the radio, while amusing didn't do much for me at all. But live is another story. This is definitely a band that is NOT to be missed live -- they're beyond funny. They're improv comedy with instruments. They do stuff like come out with covers of Duran Duran songs for encores, and stop songs in the middle to go off on ridiculous tangents that usually end up falling hysterically flat when they can't come up with that one final rhyme for the punch line. Their fans do stuff straight out of Rocky Horror audience participation: when they sing the line about "I won't need to eat Kraft dinner" in "If I Had A Million Dollars", scores of boxes of Kraft Macaroni And Cheese come flying at the stage. (woj and I were the only two people in the crowd who didn't know about this -- when it happened, we were paralyzed with laughter and immediately planned to get tickets to see them (with Mae Moore and Billy Bragg) at the Beacon Theater in NYC next week, just so we can hurl macaroni and cheese in such an esteemed venue. ;) In short, these guys are great. I still wouldn't buy their albums (unless they were live recordings), but I will definitely go see them again, Kraft dinner in hand. So that was our Canada Day. :) I'm still in pain from severe sunburn, but it was worth every killing UV ray. Yesterday we stopped by Niagara Falls on the way home, which was seriously neat -- nature is way cool. And we were good and didn't stick around to go see Sarah McLachlan's final show with her full band at the ArtPark in Lewiston, NY last night, even though we probably could have gotten tickets. If someone was there, please don't tell us how it was -- we don't wanna know. :) I have a ton of stuff to reply to, but not now. Jewel's on Conan in a few minutes, and I can't miss it this time! Happy Fourth to all my fellow Yanks in the audience -- don't hurt yourselves with anything combustible and illegal. +==========================================================================+ |Meredith Tarr meth@delphi.com| |Boonton, NJ USA finger info at: mtarr@eagle.wesleyan.edu| +==========================================================================+ | "if the truth isn't funny, what good is it? does reality have a duty to | | amuse us? did *anyone* else ever play Paranoia?" - veronica | +==========================================================================+ ------------------------------ End of ecto-digest V2 #148 ************************** ======================================================================== Please send any questions or comments about the list to ecto-owner@nsmx.rutgers.edu