Errors-To: ecto-owner@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 #1137 ecto, Number 1137 Monday, 13 June 1994 Today's Topics: *-----------------* Tori/Bill Miller Articles in New Haven Advocate Catching Up With Pie A La Mode oh yeah... Re: oh yeah... Re: Toni Childs Re: Gentle Giant this'n'that Undeliverable Mail Laura Niro Tori on 120 Minutes cute story Sam Philips LA Times review ======================================================================== Date: Sun, 12 Jun 1994 19:25:11 -0400 (EDT) From: Suspended In Duct Tape Subject: Tori/Bill Miller Articles in New Haven Advocate Hi! The following article appears in the current issue of the New Haven Advocate, the weekly news & arts paper around here. A less-than-flattering picture of Tori is on the cover, with the headline, "Sultry Songs Of Summer: Tori Amos Kicks Off A Season Of Must-Sees". The interview is by Christopher Arnott. ============ TORI ON TOUR: AMOS EXODUS It's Friday evening in Washington, DC and, right after this brief phone inter- view, Tori Amos is off to "do something I don't get to do enough of." In the midst of a 110-date national tour, she's entertaining a group of kindergarten- ers and other children. It wasn't that long ago that she was a child herself, a pre-adolescent prodigy who was booted out of the Peabody Conservatory in Baltimore for her indifference to reading music and her preference for improv- isation and playing-by-ear. At 17, she changed her name. "I hated my name. My body was screaming to be called something, and it wasn't Myra Ellen." The number of *inner* children she has touched in the past three years of ceaseless touring and recording, is beyond number. Spokesperson for a dysfunc- tional generation, her lyrics elaborate on big, unanswerable questions - the existence of God, the nature of sexual relationships, various denominations and moral capitulations. Her singing and stage performance, by contrast, are straightforward and disarming. Her songs are touching and direct, whether un- adorned live or swirled with ethereal production techniques on record. Tori Amos plays the Palace Theatre in New Haven on June 13 (already sold out, alas), and at the Strand Theater in Providence on June 24. Her 1992 album _Little Earthquakes_ was only one part of her initial break- through, delicately marketed but with the fear that it would get lost in the mass-market shuffle. A concurrent four-song EP, _Crucify_, with two original songs and three inspired, wistful covers - The Rolling Stones' "Angie", Led Zeppelin's "Thank You" and Nirvana's "Smells Like Teen Spirit" - solidified her acceptance in a cross-marketed singer-songwriter/alternative world. Her not-so-well-known and self-admittedly botched 1988 debut album, _Y Kant Tori Read?_ has become a holy grail in the collector's market and is widely bootlegged. "I only have one thing to say about that," Amos says. "*Why??*" (Or is that *Y?*) "The only good thing about that album is my ankle high boots," she says. Too bad the bootlegs aren't reproducing the original art- work. It goes without saying that she had little control over _Kant_, a situation assertively remedied since. Free from conventional studio sterility, _Under The Pink_ was recorded "in New Mexico in an old hacienda. We'd be cooking chicken while they were setting up the drums. Life *happened* while we were making the record." The title _Under The Pink_ refers to inner turmoil that is more than skin deep ("Pink" referring to pulpy flesh). The latest single off the album, "Cornflake Girl", is inspired by graphic details of women's genitalia being removed by a patriarchal society, in Alice Walker's novel _Possessing The Secret of Joy_. The single "God" talks back irreverently to a deity. But in "Waitress", one of the stand-outs on _Under The Pink_, Amos fends for herself on a much lower level of the social order, exploring the service-trade pecking order. [Bzzzt. Thank you for playing. - me] Describing an aggravated feeling of inner violence, "Waitress"'s ironic kicker (a line now emblazoned on a diamond-shaped metal pendant sold at shows) is "But I believe in peace, bitch." Whether in church or in a restaurant she dares to question the ritual. She then has the rare strength, when necessary, to throw up her hands and say she doesn't get it. Perhaps it's that not-my-idea first album, or the single-voice intimacy of her lyrics, or the piercing wail that shouldn't be harmonized, but Tori Amos is frankly not keen on collaboration. "It bores me - I know what I want any- way, so what's the point?" Nevertheless, she reveals that she and Neil Gaiman - the British novelist best known for his comic book _Sandman_ - "are working on something. Not really something *yet*, but it may be something." [! - me] She's touring now without a band. "I really don't want to repeat the CD. I use loops and stuff in the show, but the songs have a different feel to them." The solo instrument she's bringing to the Palace is "not just a piano. It's nine feet long, baby. It's the one that sounds exactly the way I need it to. Without this piano, the shows are totally inconsistent. There's things you just can't do." Having cut her teeth performing in cabarets in the '80s, she has affection for the old standards. Asked for her favorites, she comes up with songs which reflect the same mixture of multi-layered internal-monologue lyrics and accessible pop melodies as can be found in her contemporary covers, not to mention her own songs: "I Can't Get Started With You", "These Foolish Things", "Spring Can Really Hang You Up The Most", and, seasonally apt, Gershwin's "Summertime". Thinking about the old tunes ("Nobody ever asks me about them"), she decides that she might try performing one at her New Haven concert. [YAY! - me] She certainly has the voice to sing them. She is frequently, if superficially, compared to Kate Bush [groan - me], whose wavering mezzo-soprano she shares. But in the spell she holds over audiences, in the skill with which she recon- structs any song into something uniquely hers, she more resembles a Nina Simone or a Chet Baker. Like those figures, she has tapped a spiritual sycophancy in many of her fans, who worship her like a goddess. Just one more irony, one more internal/external, lust/faith, heaven/hell dilemma for Tori Amos to explore. ============ A few pages later we find the weekly calendar of what's going on, called Happen- Stance, also by Christopher Arnott (the guy basically writes the entire paper). In it we find the following: ============ ... To another marketplace entirely, Comics Buyers Guide - that puffrag for the comics industry - announced the news that Alice Cooper was collaborating on an album/comic book combo with sainted _Sandman_ scribe Neil Gaiman, by interviewing Cooper, Gaiman, and artist Michael Zulli in the May 27 issue. The project, entitled _The Last Temptation_, ressurects the Steven character from _Welcome To My Nightmare_ ... and the top-hatted Alice from the same period. The other current Gaiman/rock connection is the Tori Amos concert June 13 at the Palace Theatre in New Haven. Gaiman has dropped Amos' song lyrics into _Sandman_ scripts, verbatim as background music, and a lot of her fans arrive at concerts wearing Sandman T-shirts. Gaiman & Amos share an open-minded spirituality, a matter-of-fact approach to horror, and a tourist-guide mentality when entering dream worlds. Amos' opening act Bill Miller has a few things in common with Amos as well- a Native American heritage (he is Mohican, she is part Cherokee) and a strong Christian background. "I was brought into the Christian church because mission- aries had visited our tribe," Miller relates. "They allowed us to worship Christ as we wanted, and they were condemned [by the Church] for being so respectful to us. I don't consider myself a radical Christian - I'm not about to drop my Native American heritage for a church." He nevertheless appears to be more devoutly respectful of God than his tour- mate Tori, several of whose songs are reactions against her strict Methodist upbringing. But Miller doesn't mind. "Everybody from Moses on down is crying out to God," he says in discussing Amos' antagonistic single "God". "I take that song as being much more abstract. She's a true artist." There are some obvious presentational similarities. Miller is traveling with just a bass player, and "she doesn't have a band either," he says. "Like with Tori, when you hear my songs you can hear the roots of the songs on the album, in the overtones of the guitar or piano, you can almost hear the strings, all the production elements." After 18 years in the receptive college-concert circuit and the independently released albums, Miller's been thrilling wider and harder-to-please audiences - including crowds waiting to see Pearl Jam or The Oak Ridge Boys, and movie audiences for an upcoming Lou Diamond Phillips feature whose soundtrack includes a Bill Miller song - with a soft, warm set of Western tunes which reflect his Wisconsin-based Native American upbringing and culture. Abused an impoverished as a child, Miller found salvation in a combination of Native American, Christian and artistic values. _Red Road_, his major label debut album on Warner, is produced by Richard Bennett, who was lead guitarist in Steve Earle's band and produced a series of Emmylou Harris albums. The tracks on _The Red Road_ are extraordinary for merging tribal rhythms, chants, esoteric wind sounds and classical strings with standard country/folk elements like pedal steel guitar, harmonica and keyboards. That in itself is not so special - making it sound like more than a lame 90s retread of _Wichi- Tai-To_ is the awesome achievement. "This is the most honest piece of work I've ever put out. _The Red Road_ is a portrait of my life at the time - like Picasso's blue period, mine is a red period," Miller says. Aptly, he's also a painter - those sharp colored- pencil artworks in _Red Road_'s CD package are his, and he's considering having prints made of his sketches and paintings for sale at shows. Musically, Miller's known as a singer-guitarist, but a lot of the other sounds on _Red Road_ are his too. "The flutes I play are ones I have been given over the years - people don't think it's me, but I've been playing the flute 15 years." A cliche found in most Miller interviews is how he brags about overcoming skepticism and overwhelming unprepared audiences. The acclaim is noteworthy, if overstated, because it's genuine. Warner was having little success finding appropriate acts for Miller to tour with on a schedule which coincided with _Red Road_'s promotional push, when Tori Amos called out of the blue (or Under The Pink, as it were), having read about him in the Irish Times, having bought his album, and having felt an immediate kinship. "It works because I'm honest, and I'm a pretty likeable guy. I don't want to fake anything. I don't think of an age group of 18, 19 when I'm writing" - much of his audience is now in that age range, though Miller himself is 39 with a wife and kids. "I grew up with a Native American way of looking at things." But he doesn't see himself as a propagandist for Native American affairs. "I'm not going on the road to be a medicine man." ============ That's it. Hope you enjoyed it. Meredith meth@delphi.com ======================================================================== Date: Sun, 12 Jun 1994 22:36:38 -0400 (EDT) From: Suspended In Duct Tape Subject: Catching Up With Pie A La Mode Hi! Ah, finally a chance to catch up on my ecto backlog. Assuming I can find it all -- I have a feeling I'm forgetting about a file somewhere containing a whole week's worth of mail, but probably the real deal is, I've missed a week of my life somewhere. If you see seven days' worth of my life lying about, please let me know! I've bought way too much music lately. I can't even remember what all I've accumulated, but what does come to mind is The October Project (which I also gave my dad for his birthday this past week -- he loves it!); Mae Moore's _Bohemia_, _Century Flower_ by Shelleyan Orphan; _Last Of The Independents_ by The Pretenders (they're a guilty pleasure, so sue me); _Swamp Ophelia_ by Indigo Girls (featuring utterly indiscernable backing vocals by one Jane Sibery :); and of course that Go Van Gogh tape I talked about yesterday. I also contributed $60 more to my local NPR station to support Echoes and get a tape called something like "Lost Music Of The Soul" featuring tracks by Peter Gabriel, Philip Glass, David Sylvian, and Kate Bush. I'm sure there's nothing new there, but I just couldn't resist. I'll let y'all know how it is once I get it -- it'll be a while, surely. Hey, has American Public Radio changed its name? Echoes this week is saying it's brought to us by PRI (Public Radio International) -- anybody know what's the deal there? In other news, my friend Jody's dance concert last night was great. I'd forgotten just how cool her dances are, and they're just getting better. The final dance of the evening was a new solo work, an improvisation to a Bela Fleck tune, whee! She was presenting works with another choreographer, whose stuff I found quite boring, but all in all the evening was a success. And there were reviewers there from the Village Voice, some local dance papers and the New York Times, even! There's no guarantee anyone will actually write a review (though I'd be surprised if the Voice didn't write something up, since Jody is a dance reviewer for the Voice herself), but still, it was exciting. Before the concert I searched no fewer than 5 record stores, from Tower on down, for Tori's Past The Mission singles, to no avail. Argh! I'm beginning to think I'll never get my hands on these things... Anyway. Justin noted: >Director Percy Adlon has made at least two other feature films as >well as several documentaries (in German). The other two features >I can think of both star Marianne Sagebrecht (the German woman >in the desert in Baghdad Cafe); one of them is called Sugarbaby, >the other I have forgotten. Ah, _Zuckerbaby_! That was the first German-language movie I ever saw. It was three weeks into my first semester of German, and the Wesleyan Film Series showed it. I decided to go and see if I could get along without the subtitles (yeah, right :). I enjoyed the movie immensely, and then pretty much forgot about it. Fast-forward two years. I arrive in Munich for my year of study there, and on my first subway (U-Bahn :) ride I have this incredible feeling of deja-vu, and I can't for the life of me figure out why. Fast-forward another year. I'm back in America now, in the video store with my sister looking for something interesting to rent that's either captioned or subtitled. I remember that _Sugarbaby_ was a good movie, and convince her that she wants to see it too. And as we watch it, I freak out -- I had no clue when I first saw it that it was set in Munich, and the U-Bahn line where most of the action takes place, the U6, was "my" line! Nordfriedhof, where Marianne Sagebrecht works at the beginning, was two stops before mine on the line, which was Studentenstadt (in the scene where she stays on the train so she can hear the driver's voice she gets off at Studentenstadt -- I can't tell you how many times I got off at that platform). All of a sudden it all makes sense- especially why my feeling of deja-vu on that first jetlagged ride on the U6 set in at the Nordfriedhof station. My sister thinks I'm nuts, and watches the movie. Anyway, whenever I'm feeling nostalgic for the U-Bahn, I rent _Sugarbaby_. I spent quite a bit of my time riding those trains, and I really really really loved the Munich U-Bahn. On Sunday afternoons a few of my friends and I would sometimes ride the lesser-traveled (for us) lines out to their endstations, just to see what was there. I think I saw every station on that system at one point or another. We even stole some route posters in the dark of night out of their display cases for souvenirs, and I had mine on the wall of my room my senior year in college until it fell down and the cat puked on it. :P I especially enjoy the plotline of the movie, since it was always amusing to hear these various Bairisch voices intoning, "Zurueckbleiben, bitte" (Please stand back) before closing the doors at every stop, and announcing each ensuing stop religiously. There was one guy who drove the U6 on Tuesday mornings who would do stand-up comedy in between stops, and he was pretty hilarious. I'll stop now. See _Sugarbaby_ -- it's a wonderful movie, and for me the perfect slice of Munich life to bring it all back. So I'm weird. I know. Oh, one last thing- Marianne Sagebrecht lives in Munich, in the Schwabing district, not too far from the university. One of the people in my program literally ran right into her on the street one day, and got yelled at by her for not watching out where he was going. Whoo-hoo. woj reported: >it's been a busy past few weeks filled with lots of excuses for not >posting, the primary of which was that i moved from new brunswick to >boonton, nj. that tale is a long and sordid new chapter in the book >chronicling the flight of the rutgers ectophiles from the home of >ecto which would no doubt bore you all to tears so i'll spare you. >suffice to say that memorial day weekend was spent discovering just >how much stuff i possess, putting it in boxes and driving it across >the state. Yes, it's true, Ecto Central New Jersey has disbanded, for now. :( But it will hopefully live again in the sleepy town of Boonton! I'm moving down there at the end of July, when I get to spend a week discovering just how much stuff *I* possess and schlepping it across state lines. I'll surely be having a moving sale in a few weeks involving books and CDs, so keep your eyes peeled. I'll post announcements as they're available. Laurel enticed: >Which reminds me... with any luck, I'll be an extra in the no-budget >movie being made of Emma Bull's fine novel WAR FOR THE OAKS (which that >song is from...)... At least, I *think* they are filming the First Avenue >scenes this week sometime, and I think I'll be able to get to Minneapolis >for the event. :) :) :) (and I'll get to see lotsa friends and hear some >good music and like that) Who's making the movie??? Any chance of folks outside of Minneapolis ever getting to see it??? Well kids, I guess that about catches me up for now. Tomorrow night at this time I'll be thrilling to the live sounds of Tori Amos right here in New Haven... last night there was apparently a Tori Amos Party at the local new trendy club, sponsored by WDRE. They were going to give away tickets to the show and backstage passes, as well as passes to be in the studio audience for her appearance at the station later on this week. I'm not sure when that's going to be, though. If I'd been around, I might actually have gone to this party thing... it's amazing the lengths to which fans will go, isn't it? Nighty 'night... Meredith, looking for a .sig beneath these dirty sheets meth@delphi.com ======================================================================== Date: Sun, 12 Jun 1994 22:37:34 -0400 (EDT) From: Suspended In Duct Tape Subject: oh yeah... Hi again... I just was informed that Jane Siberry is on the cover of the current issue of Mondo 2000. What she's doing there I've no idea, but I plan to check it out anyway. Meredith meth@delphi.com ======================================================================== From: Ron Hogan Subject: Re: oh yeah... Date: Sun, 12 Jun 1994 22:53:18 -0700 (PDT) > I just was informed that Jane Siberry is on the cover of the current issue of -> Mondo 2000. What she's doing there I've no idea, but I plan to check it out -> anyway. She's looking pretty dang mystical is what she's doing. I gave up on trying to figure out the logic of why Object A is in a given issue of MONDO a long time ago, but if they interview Jane, more power to them. Ron ======================================================================== Date: Mon, 13 Jun 1994 00:36:30 -0700 (PDT) From: "Rod L. Bourland" Subject: Re: Toni Childs I too very much enjoy the new Toni Childs. A much better piece of work since her last release.. She is living up to the promised she showed in her first release. BTW, was someone looking for EVE OF DESTRUCTION by Barry McGuire on CD? It seems that it was here that someone asked, Though his entire album isnt available (yet) the song EoD is on "Songs of Protest" on Rhino Records. I enjoy the cd very much. Bring back the memories, the times, and whoops, it ages me... :-) Well... Peace, with Love, Revvie We're Waking Up, Yes, its Good; We're waking up, I knew we would; There's a growing force of people who care, In all the years of struggle it seems we're making way, I have never been afraid to change the circumstances of the world". - Happy Rhodes, "waking up" ======================================================================== Date: Mon, 13 Jun 1994 00:41:14 -0700 (PDT) From: "Rod L. Bourland" Subject: Re: Gentle Giant Though I enjpyed Gentle Giant back then and I have replaced their vinyl lps with cd's in my collection, I rarely listen to them anymore. Though they have been quite an influence on my musical taste. This brings up one of those odd pairings. I once went to see Gentle Giant at the Hollywood Bowl, where they were opening act for Black Sabbath. Yes indeed an odd pairing. A Black Sabath fan yelled out to the m , during their set, "Boggie Rock and Roll". To wgich one of them replied quitematter-of-factly, "Gentle Giant does _not_ boooogie". :-) Revvie We're Waking Up, Yes, its Good; We're waking up, I knew we would; There's a growing force of people who care, In all the years of struggle it seems we're making way, I have never been afraid to change the circumstances of the world". - Happy Rhodes, "waking up" ======================================================================== From: Tim Cook Date: Mon, 13 Jun 94 13:41:09 BST Subject: this'n'that Just arrived back from Berlin. What a great place! At first I was a bit disappointed with the CD shops (the Virgin Megastore is really really crap) but I fould a WOM (World of Music) store that had everything. I could have spent all weekend in there. And they take credit cards :-). I see OverPriced are selling CDs to mark Virgins 21st anniversary. Each compilation (there are three) contains a whole mix of stuff. Some I recognise, a lot that I don't. The big plus is they're 1.99 (that's right - a penny off 2 quid) each. I picked up the one that had Sheila Chandra's "Speaking in tongues III" on it. ======================================================================== Date: Mon, 13 Jun 94 10:22:15 EDT From: Don Subject: Undeliverable Mail *** Resending note of 06/13/94 10:00 From: Don Received: from RUTVM1.RUTGERS.EDU by ALBNERIC.BITNET.EDU (Mailer R2.10 ptf000) with BSMTP id 8665; Mon, 13 Jun 94 10:00:44 EDT Received: from RUTVM1 (NJE origin SMTP@RUTVM1) by RUTVM1.RUTGERS.EDU (LMail V1.1d/1.7f) with BSMTP id 9655; Mon, 13 Jun 1994 10:01:30 -0400 Date: Mon, 13 Jun 94 10:01:29 EDT From: To: <@RUTVM1.RUTGERS.EDU:DHOWE@ALBNERIC.BITNET> RUTVM1.RUTGERS.EDU unable to deliver following mail to recipient(s): RUTVM1.RUTGERS.EDU received negative reply: 550 ... User unknown ** Text of Mail follows ** Received: from RUTVM1.RUTGERS.EDU by RUTVM1.RUTGERS.EDU (IBM VM SMTP R1.2.1MX) with BSMTP id 7760; Mon, 13 Jun 94 10:01:27 EDT Received: from ALBNERIC.BITNET.EDU (NJE origin MAILER@ALBNERIC) by RUTVM1.RUTGERS.EDU (LMail V1.1d/1.7f) with BSMTP id 9653; Mon, 13 Jun 1994 10:01:27 -0400 Received: from ALBNERIC (DHOWE) by ALBNERIC.BITNET.EDU (Mailer R2.10 ptf000) with BSMTP id 8663; Mon, 13 Jun 94 09:59:43 EDT Comments: Converted from PROFS to RFC822 format by PUMP V2.2X Date: Mon, 13 Jun 94 09:57:22 EDT From: Don Subject: Cancel To: Hey there, as the summer is here, please remove me from the ECTO list. Thanks. UNSUBSCRIBE ECTO DHOWE@NERIC.BITNET * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * Don Howe DHOWE@ALBNERIC.BITNET Ballston Spa Central School 518-884-7129 * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * ======================================================================== Date: 13 Jun 94 11:10:39 EDT From: Mike Mendelson Subject: Laura Niro Anyone have any words of wisdom re: Laura Nyro? She's playing in Chicago all week and I'm pondering going. Have people seen her live? Is it worth doing? I don't know much about her (except that she wrote some popular songs for other people) so I'd be interested to hear comparisons as well. If you had to choose between Nyro and Moyet, who would you go see? :-) -mjmahotbedforcontroversy ======================================================================== Date: Mon, 13 Jun 1994 13:03:36 -0400 (EDT) From: Stuart Myerburg Subject: Tori on 120 Minutes I see that no one has mentioned this yet, so I thought I would let everyone know. At the end of 120 Minutes this week, Elvis Costello, the guest host, said that they would have a live performance from Tori next week. The guest host will be Frank Black (AKA Divine), so we'll probably not get more than 1 song from Tori. I just hope it's not "Cornflake Girl" again. Stuart ______________________________________________________________________________ Stuart Myerburg labspm@emoryu1.cc.emory.edu "I need more things. I need more money. Don't want to work. Want things for free." - Jane Siberry ______________________________________________________________________________ ======================================================================== Date: Mon, 13 Jun 1994 13:29:18 -0500 (EST) From: HOLLY@umbc2.umbc.edu Subject: cute story Just in case y'all thought I was ignoring just you, here is an excerpt from an email message from my mom, the subject of which is "Where you is?": Dear Holly, Haven't heard from you in a while, RSVP. See? Even my *Momma* is wondering how come I've not been writing email very much. But now I'm going to be busy over the summer (touch wood) and will have plenty of time to write! Yay! Anyway, in the "Where you is?" message my mother sent me, she included a little story about my brother and my 6 year-old nephew and that "500 Miles" song by the Proclaimers. Here it is: Brenda [my sister-in-law] tells this story on your brother John. He was driving Jason [my nephew] to T-ball practice and "500 miles" played on the car radio so John made up his own words to sing to Jason. "And if it's practice, then you know I'm gonna bee, I'm gonna be the man who's practicing with you, And if it's T-ball, then you know I'm gonna bee, I'm gonna be the man who's hollerin for you. And I would drive about five miles, And I would drive about five more, Just to be the Dad who drove about ten miles to take you to your school" And Jason said "AWWWWW Daaaad, don't sing!" Ob Happy: I got a letter in the snail-mail from long-lost Yngve, and he told me to tell y'all that Bel Canto has a copy of RhodeSongs, courtesy of him. Details later! :) Holly ======================================================================== Date: Mon, 13 Jun 94 11:49:25 PDT From: Neal Copperman Subject: Sam Philips LA Times review Sam Phillips WOrks Her Will at the Roxy - Chris William Since reinventing herself from gospel singer to heady mainstream thrush in the late '80s, Sam Phillips has developed one of the oddest performing personas in pop - basically, the rock singer as stationary object. She would literally stare down the audience from a fixed spot, offering a sort of sober, sultry, confrontational cabaret in place of pop's mandatory exuberance. [Stuff about new album deleted] [Stuff about band deleted] Phillips ironically uses her physical conservatism to sing about abandon. She dedicated "Circle of Fire" to Rush Limbaugh and Jerry Falwell, "who I think just announced their engagement," and the too-short set focused on her virulently pro-"love"/anti-"moralism" protest songs, which are at once bitterly anti-religion yet sexily religious. Her personal and political metaphor-mixing is some of pop's most provocative writing right now, and she's found a live context to do her theoretics justice. ======================================================================== 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)