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 #814 ecto, Number 814 Tuesday, 19 October 1993 Today's Topics: *-----------------* The Sheila Chandra Interview (Raw version) more happyvangelizing Rubberband Post Re: Coming soon to an Ecto near you... Re: Sarah McLachlan T-Shirts Re: I vote YES for Happy on Ecto ======================================================================== Date: Tue, 19 Oct 93 2:27:57 EDT From: WretchAwry Subject: The Sheila Chandra Interview (Raw version) Sheila Chandra September 11, 1993 (Unedited) S: Sheila Chandra C: Charley Cvercko V: Vickie :::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: V: I played you on my very first show. [indecipherable] I'm sorry that you went on first--just made it there in time, so we did catch it but I did talk to a lot of people that didn't get here in time. Just want to check the levels real quick. Tell me what you-- Wait a minute-- C: It's not turning. Why is it making that noise? V: [Inarticulate, guttural sound of distress, much in the manner of someone whose tape recorder is pouring forth a glistening brown fountain of finely pleated magnetic tape] C: What's wrong? Do you have another tape? V: No I don't. C: Okay, well, we'll just use this. V: All right. C: Here. [Indecipherable] V: I'll start from that point so I won't have to go over the-- [Indecipherable] C: Is it stuck? what's the deal? Okay. [Indecipherable] C: [To Sheila:] Suspended in Gaffa focuses on female artists. "Suspended in Gaffa" is the title of a Kate Bush song. S: Oh right. V: [More inarticulate distress sounds, suggesting someone whose tape recorder refuses to listen to reason] C: Well we'll just use this one, Okay? It's fine. Do you want to rewind it a bit? Fast forward a bit? [Indecipherable] C: [To Sheila:] Have you been to America before this tour? On your own? S: Not to tour. C: As a vacation? Have you visited before? What's your favorite city? S: [Indecipherable. (Laughs)] C: [Laughing] Okay. Of all the cities I've been in, Chicago is of course my favorite. S: I've never been to Chicago before--[Drowned out by background] C: If you get a chance, downtown Chicago is very nice. S: One of the security ladies was filling me in on good restaurants. C: Oh, good. What did she recommend? Do you remember? S: I don't remember the names. She was giving directions to my husband; he's driving. C: Do you like Chinese? S: Yeah. C: There's a spectacular--little, tiny hole-in-the-wall Chinese-- It's Hunan, it's more spicy-- Um, on Clark? It's near Wrigley Field. S: Clark. Near Wrigley Field. C: Yeah--thirty, it's thirty-seven-forty North Clark, and it's just-- spectacular, if you like spicy Chinese food. V: Sorry about that. Tell me what you had for breakfast. S: Um, I went down, having arrived on the bus, at five o'clock this morning, I went down at six o'clock and had the full works: hash browns, over-easy eggs, sausage patties . . . V: Okay. Great. Is this your first time in America? S: To tour, yes. V: But you've been here to-- S: Just to vacation. V: Vacation? Okay. How did you get started? You're from England, right? S: Yes, I was born in London. V: Did you start singing when you were a child? S: I started singing when my voice broke, which was when I was twelve. And um, I don't think a lot of people know that women's voices break. There's a definite point where suddenly you lose that kind of child, one-tonality type voice, and get into all thhe emotion. Maybe it's that your hormones are whizzing around and, and suddenly your voice becomes a much more expressive instrument. And I was addicted. Once I'd heard that sound coming out of my mouth, so effortlessly, I was addicted to singing. V: Were you listening to other people at the time, and singing along with records or anything? S: Yeah, I was singing along with--who was I singing along with? Um, people like Rolls Royce, and Chic, and George Benson, and people like that. Anything that was really soulful that was in the charts. And also on a Sunday morning, I lived in a house for eighteen months where there was a, a Black Pestical--Pentecostal church-- V: Oh, wow! S:--out the back, and it was a tempr'y building, so all their singing came out of the building on a Sunday morning and I could sit in the garden and hear it. V: Oh, wonderful! S: And it was, it was really great. V: And did you, um, how did you start professionally? S: I was at a theater-art school from the age of eleven to sixteen, and at sixteen, Steve Coe, who founded Monsoon, had found a demo of mine, an audition I had done for a record company a couple of years before. And he decided that, uh--on hearing,that my voice was the right voice for Monsoon, and then found that I was Asian as well so it seemed like too great a coincidence. And so I joined Monsoon and our first single was--went to the top ten. V: "Ever So Lonely." S: "Ever So Lonely." And that's how I got started. V: And you only did the one album with Monsoon. S: That's right, because the record company started to pressure us to conform to a, well a more hit-making-machine type demeanor and we didn't want to compromise the music, so we disbanded. C: Did they want to move you away from the Asian, or--? S: Yes, away from the Asian, and towards, well towards less experi--um, experimental music; something that was more guaranteed to be a hit. C: More "Ever So Lonely," if they could try to guarantee that-- S: Well, "Ever So Lonely" was quite radical, and I don't think they, they felt that we-- They didn't-- In a s-- In a way they didn't want to take a chance of us duplicating it. C: Right. So they were, they wanted to make *sure* that you duplicated it. [General laughter] C:So it's important to, then, to-- Obviously, looking at the rest of your, your music since then, the rest of your albums since then, to-- your--to continue with the Asian and focus more on that, really, than, than on-- Do you consider the fact that "Ever So Lonely" was a hit, do you consider that a *fluke*? Would you ever *try* to achieve that again, or--? S: I haven't tried-- I haven't released singles since the Monsoon album, because, because of the business side of things, less so than the music. If you have a company-- If you're going to release a single, first of all you need a major company; you need somebody who's going to be able to get you radio promotion and so on. You need quite a lot of backup, and you need large budgets. But once they're spending those large budgets on you, a lot of companies get very possessive. And that's what left a nasty taste in my mouth after the Monsoon experience. So I haven't released singles from any of my solo albums. And, I mean, "Ever So Lonely"-- It was a fluke in the sense that I don't think anybody expected quite such a radically Indian fusion-- I mean a song that was actually Indian in the terms of its *writing,* and its structure, to make it into the charts. But on thhe other hand, the second you heard it, I mean it sounded like a hit to me the minute I walked into thhe studio and thhe backing tracks were being laid down. C: It was a hit here as well, in the dance clubs. S: Was it? C: I don't think it was ever a radio hit; some of thhe radio stations played it, but I'm not sure how big of a hit in terms of chart success, but, I remember-- S: Well we didn't have an album at that point, and I think America was waiting for an album. C: Okay. Right. I bought the twelve-inch in Paris-- S: Really! C: --in eighty-three. I'd been listening to it at the dance clubs for a year, and couldn't find it anywhere and then was in Paris and found it and ran back and got money and-- S: [laughs] C: --it was quite a find. V: The Monsoon album is one of my very favorites. I consider it a perfect album. But I have all your albums. S: Thank you. V: So what came next, after that? And what did you do between the time of Monsoon and, um-- What was your first solo one? Was it *Out on My Own*? S: *Out on My Own*. I was studying through Monsoon, so I went back and took my A levels, which you take when you're eighteen, which get you into college. V: How old were you when you did the Monsoon album? S: I was sixteen when it was in the charts, sixteen-seventeen. And, um, so I went back to college and finished my studies, which was only about, well about nine months or so. And then I signed to Indipop because it was an independent label and, um, started with, with *Out on My Own* which sort of took up where Monsoon left off in a way. And then came *Quiet*, which was, uh, I started to write with *Quiet*, so it became very much more vocal-orientated (sic); lots of psychic riffs, and no, um, no lyrics. Which is a great way to learn to write, actually. [General laughter.] S: And the experimentation has gone on from there. The first four albums were made in the space of two years-- V: Wow. S:--so I had no time to play live, and very little time for promotion, but it was the making of the music that was the most important thing. V: How did the contract with Real World come about? You, uh--*Roots and Wings*-- S: *Roots and Wings* happened after the sabbatical of four-and-a-half years, and, um, I decided then, after *Roots and Wings*, that I wanted to play live. Because there were seminal tracks on *Roots and Wings* like "Mecca" and "McCrimmon" where I was starting to be able to-- Instead of juxtaposing different vocal styles on the multitrack, I was starting to be able to go between one and another without taking a breath. And, uh, that set up the idea--the challenge of a solo voice performance, where I wouldn't need any other instruments. I could walk out on stage completely alone, and do what I wanted to do. And uh-- In a way it was back full circle, because when you're first starting and your mum says "Oh Sheila wants to be a singer" your, you know, your Auntie Edie sits you down in the front room and says "Go on, then," you know, and it never sounds the same without an orchestra. Whereas this was the ultimate sort of Auntie Edie performance, where I could sit down in anybody's front room and actually do it, and tell people what I was about. Um, so, um, I recorded *Weaving My Ancestors' Voices*. Real World didn't ask for any demos, they, they-- I licensed the album to them based on what I'd described to them because I'd explained that it was the kind of album that you couldn't really hear until it was mixed. It was just, it's just that kind of thing. And they, uh, they were fantastic--they, they trusted me. C: There's some, um, Irish-sounding music on *Weaving My Ancestors' Voices*, and some, some other traditional, non-Indian--do you, do you, um, do you listen, have you been listening to a lot of that, always, or recently? A lot of, like the Scottish mouth-music and things like that, do you-- S: I, I started listening to that when um, when I went away for four years, In eighty-five. And uh, a friend of mine, called Paul James, who played on the Monsoon album, he played um, I think he played shehnai, or shorm [sp?] which is very like the Indian shehnai, and he was in a folk band called Blowzabella and he recommended-- C: Oh! S:--that I start--yeah-- C: Yeah! S:--that I start listening to June Tabor and Maddy Pryor, and-- C: Oh, right-- S:--and so on. And so I really got into folk after that and, and spotted so many similarities that it led me to start comparing Bulgarian music with what I was doing, and Spanish music, and all sorts of things, and uh, suddenly a whole world opened up. C: It's amazing how the, the similarities, even some of the Irish jigs with the heavy percussion sound very much like a lot of the, the, the percussive Indian music, I'm surprised-- V: Are you familiar with Marta Sebestyen? I saw her in concert and she sang part of an Irish song, and part of a Hungarian song-- S: Oh, yeah. V: It's great that people are doing that. S: Well it's the vocal ornaments that are so similar. I mean the key, um, turn, well--what people call in classical music a turn, um, and the arpeggios and trills and things, um-- Maybe it's because all of us have heard birdsong and all of us wish to emulate it: there are certain juxtapositions of notes which turn up everywhere. And you can't say that they belong to India or they belong to Bulgaria or England, or--or any one place; they, they really are all kind of World Heritage. C: There's a, there's a tone--I--my father-- My father's family is Russian, and I grew up in Russian Orthodox churches. And what we used to call the Baba's pews, where all the old--the grandmothers would sit down in front, and there were certain hymns that only *they* sang, that none of the other people knew, and it was in that--that very distinct, nasal, very powerful, resonating with the, the facial bones, and then-- So growing up with that, and then hearing the, the Bulgarian music more recently, and then I hear that in Indian music, and in some Irish music as well. There-- Your vocal, your vocals tend to be more the clear, bell-like-- Do you, have you experimented with any of those, those methods? S: I think the Islamic-- I know Arabic-style vocals are more like that. I don't do *too* much of it, because, um, too much of it hurts my voice. And I think it was developed in cultures where they wanted the music to carry, voice to carry, and all the treble frequencies carry a lot, a lot more so that the treble is really highlighted when you're producing that very nasal kind of sound. C: Right. S: Yeah. C: Could you tell us a little bit about, um-- A lot of the Indian music I'm familiar with--and it's very hard to find Indian music here, and when you do find it it's usually hundreds and hundreds of CDs and I don't know which ones to buy-- A lot of it that I'm familiar with is tied in with the Hindu religion. S: Mm hm. C: The music seems to come from a lot of, um--traditon--in, in common-- Um, the music that you do: how much of it is religious in nature, and how important is that to you, and, um, can you, and, are-- What is your religious background, and how is that-- S: I'm of no--I'm of no organized religion and, um, what I do inevitably draws on the spritual aspects of, of, uh, Indian classical music because, um, in a way all music is considered to be a kind of divine, uh, connection with, with a creator, and it's not forgotten that the act of creativity is a connection to the divine. And so artists performing in temples are actually performing a service, uh, by connecting the congregation with something divine. And um-- So there are elements like "Sacred Stones" on, on *Weaving My Ancestors' Voices* which puts Gregorian chanting alongside, um, Sanskrit chanting, and the two are remarkably similar. And I think there is a very spiritual connotation to the idea of a single voice. It's been used in so many religions, um, and I suppose it just symbolizes oneness. Um-- So I mean it's important--it's important in the sense that intrinsically, singing is like meditation for me, and it makes me feel clearer; it's almost my spiritual practice. But not in any organized sense. C: Okay. Because when I'm playing your-- When I'm playing *Weaving My Ancestors' Voices* I, I can't help but sing along to "Om Namaha Shiva" when that comes on, and I have to play it over and over again, because it's not long enough-- S: [Laughs.] C: --to be able to sing along with-- S: [Laughing:] I thought it was *too* long! C: --for about twenty minutes, but I can begin to-- S: [Still laughing:] Push the repeat button, that's it! C: Yeah, I do. I begin to-- There's a little bit of a feeling of meditation just from-- I wondered if that--how important that is to you as a reason for choosing that, or just musically you chose that because, because of, you liked the way it sounded, or-- S: Um, it was actually, uh-- It's the last piece on the album because in a way it was an afterthought. And um--Steve Coe, who I write with, uh, wanted it to go on and, um-- After all this kind of clever, intense stuff, it seemed like the right thing to do. So, it wasn't particularly the chant-- I mean it was a nice melody, but it wasn't particularly a, a, a very profound spiritual message for me. Um, but I s'pose it *is* the space on the album where you stop thinking about all the connections and the, and the intellectual stuff, and uh, you're reminded that, um, that --Yes, I, I *do* have to-- In a way I have to meditate; if I didn't have a sort of, um, *faith* about being able to sing what I sing I'd be so overwhelmed by it because I've *absorbed* all these techniques, I haven't been *taught* them. And, um, when I think about what I knew five years ago, or ten years ago, sometimes, some nights I go out there and I think: "Can I really do this?" [laughs] So yeah, it is--it *is* faith, and it *is* meditation. C: So you're a believer in reinventing the wheel; in learning--learning as you go, and um, because-- I'm, I'm an artist, and there--there have been times when I've picked up a new medium or a new technique and just decided, without knowing how to do it, just to see what I could get from it myself, before I learned-- Because all these--all of the, uh, the problems that you come to when you're learning a new medium, there are traditional, um, solutions to these problems, and if you start out with those tradtional solutions then that's what you end up with, but sometimes you come up with your *own* solutions to these age-old problems. Um-- Because I've read in some of the interviews--that-- You always make a point of saying that you're, that you *haven't* learned this; that this is, that you've developed this-- S: That I've absorbed it, yeah. C: --yourself, and you continue to do that. How do you-- S: Yeah. C: --Do you do that actively? How do you-- Do you look for those, for sources, things like that, or just-- S: If I come across-- Actually, I've got a list of things that are, are like waiting for me to, to get into them, and it's "must learn this must learn this"--[laughs] I can't, actually I can't remember. Usually it'll be, it'll maybe be a song, or it'll be a certain technique, and I don't know necessarily how I'm going to use it, but if I like it, I'll learn it anyway. C: Have you uh-- Are you familiar with Scottish mouth music? S: Oh, yeah! Yeah. C: Yeah, it's wonderful stuff. S: It's fabulous C: And, when I hear the, the vocal percussion, it reminds me of that. [Deborah, in charge of radio promotions for the WOMAD tour, enters our field of vision and apologetically drags her index finger across her throat.] V: How--how much time-- [Indecipeherable] V: I'd like to get some show i.d.s, if I could-- S: Mm hm. V:--for my show. S: All right. V: Um-- Let me write it down. S: Do you think we've covered the main points? C: I think so; is there anything--? Um, we're kind of new at the interviewing --thing. S: Right. C: Vickie's been playing the music on her show for five or six years, and we've just started looking for people to interview. Um, we've found-- just a few. She spoke briefly to Jane Siberry last year (sic), and we just recently spoke to Mary Coughlan, um, interviewed her for quite a while; that --that was great. Um. So we're just kind of [indecipherable]ing it here. Do you have any suggestions? Any pointers? As a victim of many interviews? S: Um--Well, I mean no-- You did fine. [Laughs.] C: Yeah? Okay. Um-- Can-- Any-- Um, could you tell us your favorite unknown female artists? S: Unknown female artists. V: Well, we were talking earlier about how the, um, there are very few female artists on WOMAD and Lollapalooza, and-- There's you, and Shankar 'N' Caroline, and-- S: Yeah normally they have, they have a greater list than this, um, and--and I mean they've--they've--they've tried very hard to balance their, um-- V: They didn't do a very good job. [General laughter.] S: I mean-- But you do get-- If he had more women, I s'pose there'd be people coming up saying "You don't have enough *Bulgarians*, or you don't have enough-- C: You don't have *any* Bulgarians. Have you heard-- S: [Laughing:] Oh god-- C: Do you know Zap Mama? Have you heard Zap Mama? S: Oh, yeah! Yeah. C: Great stuff. S: Yeah. V: I heard that interview the other night when some guy asked "Why don't you have any Bulgarians or Eastern, um-- S: [Laughs; indecipherable.]-- V: --Remember when you guys were on the radio station? C: Right. V: Okay this is the mame of my show. I need three i.d.s, uh, one for, uh, "'s is Sheila Chandra you're listening to Suspended in Gaffa on WZRD in Chicago," and then "KKFI in Kansas City," and I'm trying to get on some other stations so, one with just the name, but without a station, um-- S: Okay. V: --so I can use it for something else. S: Right. Um [to Charley, re: the Unknown Female Artist question:] I can't remember any of them, though. [Indecipherable.] C: [Laughs.] Do you know Ingrid Karklins. S: No. C: Okay. Can I send you a, a disc? S: Yeah! Have you got the, um, CD? C: I don't have it with me, no. S: No, there's an address in there. C: Yeah. Oh yeah, that. S: Just send it there. C: Yeah, yeah I will. I will. Actually I have an Ingrid with me, but I left it in my box, so-- Maybe I can bring it and give it-- S: If you catch me before six. C: --to Deborah later. Okay. S: [To Vickie:] Uh, tape going? V: Yeah, it is. Yeah. S: [Extended quote from "Speaking in Tongues I," then:] Hi. This is Sheila Chandra. You're listening to Suspended in Gaffa. W-Zed-R-D, Chicago. [Pause, then:] Hi, this is Sheila Chandra. You're living in-- You-- [General laughter:] S: Hi. This is Sheila Chandra. You're listening in Suspended in Gaffa, KKFI, Kansas City. [Shorter quote from "Speaking in Tongues I," then:] Hi, this is Sheila Chandra. You're listening to Suspended in Gaffa. C: Thanks. Very much. S: Thank you. V: Thank you. Um, very quickly-- ::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::: tape ends That's the point where I gave Sheila the CDs of Warpaint and Equipoise. Vickie (well, I'm learning, anyway) ======================================================================== Date: Tue, 19 Oct 93 00:24:10 PDT From: stevev@miser.uoregon.edu (Steve VanDevender) Subject: more happyvangelizing Last week I went on a road trip with the rest of my project team at work to visit McChord Air Force Base to get background material for the game that our team is working on. We visited a squadron of A-10 pilots, who are very interesting people who fly a very intersting airplane, but that's another story. One of the people we took with us is our company's theatrical coordinator, who works with actors, makeup, and costuming for those parts of our games where we digitize live actors. One of the things that made me decide Dynamix would be a good company to work for was when I passed by her office during my initial interview and she was blasting _The Whole Story_ behind her closed door (I didn't know who she was then but if you could play Kate as loud as you wanted in your office that was one big point in favor of working conditions). Anyway, Sher is indeed a big Kate Bush fan and was overjoyed to find out that Kate is coming out with a new album soon (we hope). In anticipation of the long drive from Eugene to Seattle I brought along a couple of my Kate Bush tapes and my tape of _Warpaint_. So all we really got to listen to on the trip up was _Warpaint_, mostly because the driver of the van I was in seemed ambivalent about Kate. Sher remarked that Happy sounded very interesting, but I knew that she couldn't have the fullest impression when all the details were masked by all the car noise. Today I left _Warpaint_ and my tape of the TWW I & II CDs on her desk just before I left for a while. When I got back I got a call from Sher. "Is that the same woman singing both high and low?" she asked. "Yes," I said. "Wow!" said Sher. We raved to each other about how great Happy is for a while. I offered to give her Aural Gratification's address so she could send off for a CD of her own. She surprised me by telling me she had already called a couple of local music stores, one of which had _Equipoise_ in stock, the other _Warpaint_, and both willing to order Happy's other albums. Although I had been thinking of pushing Happy on some other local record stores (I had left my copy of _Warpaint_ with one store owner overnight so he could test-listen, and now it's his store that has _Equipoise_ in stock) I hadn't known that anyone was stocking Happy's stuff. Now I have somewhere to send the burgeoning masses of Happy fans I hope to inspire. In return Sher has loaned me some tapes of Julia Fordham. They aren't striking me particularly strongly yet but I'm willing to give them a couple of listenings to see if they grow on me. For Bob Lovejoy or whoever can pass the information on to Susanne, here's some record store names, addresses, and phone numbers: Balladeer Music [has _Equipose_, will special-order, my original contact] 296 E 5th, Eugene OR 97401 (503) 343-8043 Compact Disc World [has _Warpaint_, will special-order] 2100 W 11th, Eugene OR 97402 (503) 683-6902 Happy Trails Records [a cool and appropriate shop, hmm?] 365 E 13th, Eugene OR 97401 (503) 485-5351 Record Garden 1030 Willamette, Eugene OR 97401 (503) 344-7625 Actually, all of these stores are friendly to special orders, and Eugene has a lot of independent record stores like these. ======================================================================== From: Philip Sainty Date: Tue, 19 Oct 1993 23:15:34 +1300 Subject: Rubberband Post hmmm... just found this in my mailbox: > From Postmaster@ns1.rutgers.edu Tue Oct 19 21:00:11 1993 > Date: Tue, 19 Oct 93 03:59:45 EDT > From: Postmaster@ns1.rutgers.edu (Mail Delivery Subsystem) > Subject: Returned mail: Cannot send message for 3 days > To: > > ----- Transcript of session follows ----- > 421 axon.rutgers.edu.tcpld... Deferred: Connection timed out during user open with axon.rutgers.edu > > ----- Unsent message follows ----- > Received: from kaukau.comp.vuw.ac.nz by ns1.rutgers.edu (5.59/SMI4.0/RU1.5/3.08) > id AA10469; Sat, 16 Oct 93 01:31:31 EDT > Received: from greta-pt.comp.vuw.ac.nz by kaukau.comp.vuw.ac.nz with SMTP > id for ; Sat, 16 Oct 1993 18:31:11 +1300 > From: Philip Sainty > Received: by greta-pt.comp.vuw.ac.nz > id for ecto@ns1.rutgers.edu; Sat, 16 Oct 1993 18:31:10 +1300 > Date: Sat, 16 Oct 1993 18:31:10 +1300 > Message-Id: <199310160531.AA08624@greta-pt.comp.vuw.ac.nz> > To: ecto@ns1.rutgers.edu > Subject: Rubberband Girl soooo... did anyone actually get my post? (sent two or three days ago I think) weird... To summarise, for those that missed it, Rubberband Girl was the fifth most requested song on a local radio station the other night!! (I found out by chance, as I very rarely listen to the radio, and haven't done so since, so I have no further information) The other thing was that you won't hear an awful lot from me for the next several days, as my exams begin this Friday (and Saturday :-( Philip (who has spent far too little time studying today...) .________________________________________. ._______. | __ _ ___ _ __ __ |\________/| | | / / | / \ | \ | | | | / | _ _ | _O_ | | \_ | | | | |__/ |__| | | \_ | / \/ \ | |/ | | / | | | | | | | | | / | \ / | |\ | | \__ \_ | \_/ | | | | |__ \__ | \ / | T W W | |________________________________________| \/ |_______| \ Philip Sainty: psainty@comp.vuw.ac.nz \________/ / `-------------------------------------------------------' "This is where I want to be This is what I need" --KT ======================================================================== From: S.L.Fagg@bnr.co.uk Subject: Re: Coming soon to an Ecto near you... Date: Tue, 19 Oct 1993 12:42:42 +0100 (BST) On Tue, 19 Oct 93 at 2:03:14 EDT WretchAwry wrote: > I'll be posting the interview Charley and I did with Sheila Chandra. > There are two versions of it, the "Raw" version and the "Cleaned Up" > version. Charley has talked me into posting the raw version, for Ectophile > eyes only. All the strangeness and ums&uhs&ahs and my tape recorder > eating the tape, and Charley and I not really knowing what we're doing > and Sheila's great answers and our weird (sometimes) questions and > everything else that usually gets edited down, will be in there. > Charley typed it all up and we both thought that some of you would > be amused at the whole interviewing process. Thanks for posting the raw version, Vickie. It will be especially interesting to compare the "before" and "after" versions. The cleaned up version hasn't arrived here yet, I assume Rose Royce and Maddy Prior get their names sorted out in that one :-) -- Regards Steve Fagg ( S.L.Fagg@bnr.co.uk +44-279-402437 ) BNR Europe Ltd., London Road, Harlow, Essex, CM17 9NA, UK *** "Better drowned than duffers. If not duffers, won't drown". *** ======================================================================== From: brianb@netcom.com (Brian Bloom) Subject: Re: Sarah McLachlan T-Shirts Date: Tue, 19 Oct 93 8:38:44 PDT Klaus compactly klauses: > I'd like to turn your attention from Jane Siberry T-Shirts to > Sarah McLachlan T's, as I'm thinking about treating myself to > one of them. The Nettwerk catalogue lists: Doodles, Solace & > Medusa, and I was wondering if someone has an idea what they > look like. I've got the 'Medusa' shirt, that I got at her concert. It's a white shirt with a more-or-less blue print of a fairly hideous female hag drawn by Sarah herself. It's got the letters S-O-L-A-C-E in pseudo-illuminated blocks around the medusa. I got Sarah to sign mine! ;) I like it a lot but I get a *lot* of strange looks from people. br!an PS to those who Notice. I'm moving my mail to brianb@netcom.com rather than @lobby.ti.com. FYI -- __ ____ __ ____ __ __ (__==__) /\ \ / \_\ / /\ / \ \ / |\ / /\ (oo) ( moo.) / \_\ / /\ |_| / / /| /\ \ \ / ||/ / / /-------\/ -' / /\ | |\ \/ /_/_ / / / \ \/ \ \ / |/ / / / | U.T.|| / \/ |_| \ __ \_\ /_/ / \ /\ \_\ / /| / / * ||----|| / /\ ./_/ \ \ \/_/_\_\/ \ \ \/_// / | / / ^^ ^^ \ \/ |_| \ \_\ /_/\ \ \_\ /_/ /|_/ / Br!an Bloom \__/_/ \/_/ \_\/ \/_/ \_\/ \_\/ brianb@netcom.com .. but music hides me so well, ..and reveals me.. oh well - HR ======================================================================== From: S.L.Fagg@bnr.co.uk Subject: Re: I vote YES for Happy on Ecto Date: Tue, 19 Oct 1993 13:02:48 +0100 (BST) Albert's poll seems to have generated a surprising amount of heat. Perhaps if people thought of it as an opinion poll rather than a binding vote they might be less upset. Although from what Bob tells us the question is moot, I would like to think that Happy would have taken the views of the list into account in deciding whether to join in or not. If the newsgroup alt.fan.pratchett is anything to go by I would say there are definite advantages to be gained from having the artist involved, though it would undoubtedly change the tone of the list. The more vocal participants here seem to agree that Happy would be welcome, and that's fine by me, but I hope Albert won't have been deterred from posting the results of his poll. The members of alt.fan.douglas-adams have a peculiar worry about artist participation in their group which is that with Dougie's renowned penchant for procrastination the net will doubtless provide him with even more distractions from the unpleasant business of actually writing. I'm sure that's something Happy would be plenty strong-willed to avoid! Her rate of production seems to be closer to "two books a year" Pterry than to the protracted genesis of DNA's works (which often puts me in mind of a certain K*** B***). -- Regards Steve Fagg ( S.L.Fagg@bnr.co.uk +44-279-402437 ) BNR Europe Ltd., London Road, Harlow, Essex, CM17 9NA, UK *** "Better drowned than duffers. If not duffers, won't drown". *** ======================================================================== 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)