From: owner-ecto-digest@smoe.org (ecto-digest) To: ecto-digest@smoe.org Subject: ecto-digest V6 #369 Reply-To: ecto@smoe.org Sender: owner-ecto-digest@smoe.org Errors-To: owner-ecto-digest@smoe.org Precedence: bulk ecto-digest Friday, December 8 2000 Volume 06 : Number 369 Today's Subjects: ----------------- Re: triple film threat [vylette ] Today's your birthday, friend... [Mike Matthews ] Re: Historical Irony [Amanda Williams ] marina releases ep [Leon van Stuivenberg ] 20 Years Ago... [Patrick Varker ] Re: 20 Years Ago... [Joseph Zitt ] Bulgarian Folk Singing (Re: Fave movie theme song/title track?) [Libby ] Re: Fave movie theme song/title track? ["Rosana L. de Oliveira" ] RE: Bulgarian Folk Singing [Phil Hudson ] The disappearing popular songwriter (part 1 of 4) [Mike Connell ] Fwd: [singer-songwriters] Emm Gryner In Our Living Room [RocketsTail@aol] Re: Fave movie theme song/title track? ["Michael Pearce" ] FW: Brave Sir Robin ["Michael Pearce" ] ---------------------------------------------------------------------- Date: Fri, 08 Dec 2000 02:25:36 -0500 From: vylette Subject: Re: triple film threat At 06:52 PM 12/6/00 -0500, Mike Connell wrote: >Found the following article on sonicnet.com today, which got me thinking. > > ... > >James Bond Singer's Hits Getting Remixed > >Propellerheads redoing Shirley Bassey's 'Goldfinger' now that if i do say so myself is gonna be da bomb! and just the other day we were watching Austin Powers 2, and i remembered how much i loved the theme song which is a drop dead gorgeous spoof of "Goldfinger", and i was thinking damn is that the Propellerheads or what (it's not, it's apparently TMBG), because if not it needs to be, but i never did find out who the singer was cos i had to return the movie first. but if it wasn't Shirley Bassey she was faking it toooo well. At 09:21 PM 12/6/00 -0500, Joseph Zitt wrote: >On Wed, Dec 06, 2000 at 09:57:17PM -0500, Mike Connell wrote: >> >> >This doesn't count songs that happened to be in movies, instrumentals >> >from movies, or TV show themes (Does anyone else know the original, >> >unused lyrics to the Star Trek theme?) or it would go on for ages. >> >> Yeah...that is not what I was asking for either...hence "theme songs/title >> tracks". > >I suspect that we'll get some submissions from each of these categories, >though. and what *ever* makes you think that? ;) which oh, btw, reminds me that the other day i dug out the soundtrack for "Romeo and Juliet" (you know, the modern leonardo dicaprio, et al, one) because it had been too too long since i heard the Garbage track, "#1 Crush", which if it's not the title track i'm not sure what is, cos it's first up and i don't think the album even has a song called "Romeo and Juliet", tho i could be wrong. so there :P and freakishly enough, the day after i pulled the cd out (for the first time in many many moons), i heard the song over the pa at the gym. synchroinkydink-ity! which brings us via Shirley Manson full circle to At 10:04 PM 12/7/00 -0500, Chuck Davis wrote: > >Thought of one, theme song from the last Bond flick "The World >is Not Enough" by Shirley Manson (Garbage). which i also rather liked too. hmm from Shirley to Shirley... how shircularly concise! -veronica p.s. and i can't pass without mentioning the oh i can't remember the name right now of course Alanis track that rolls over the end credits of _Dogma_. which ok may not he the greatest song ever but it is sooo exactly right for that spot in the movie. oops, there goes the 3 in triple in the subject... and baby makes four??? ------------------------------ Date: Fri, 8 Dec 2000 03:00:05 -0500 (EST) From: Mike Matthews Subject: Today's your birthday, friend... i*i*i*i*i*i i*i*i*i*i*i *************** *****HAPPY********* **************BIRTHDAY********* *************************************************** *************************************************************************** ************** Michele Wellck (mwellck@alumni.stanford.org) *************** *************************************************************************** -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Michele Wellck December 08 Sagittarius Jeremy J. Corry Fri December 11 1970 Sagittarius Renee Canada Tue December 13 1977 Sagittarius Julie C. Kammerzell Sun December 15 1968 Sagittarius/Scorpio combo Gloria Jackson-Nefertiti Sat December 15 1956 queen_nefertiti@prodigy.net Damon Harper Tue December 16 1975 COOL BANANAS Laura Clifford Tue December 17 1957 Sagittarius Dirk Kastens Tue December 17 1963 Sagittarius Milla Wed December 17 1975 Sagittarius Chris Schernwetter Tue December 17 1974 Sagittarius Sherry Haddock Sat December 17 1960 Sagittarius Tracy Benbrook Tue December 18 1973 Sagittarius Mark Lowry Mon December 22 1969 Capricarius Kay Cleaves Wed December 22 1976 Prancing Pony Uli Grepel Wed December 25 1968 Steinbock Joseph Wasicek Sat December 25 1976 Brown Eagle Stuart Castergine Mon December 30 1963 You Are Here Marvin Camras Sat January 01 1916 Tapehead Jeanne Schreiter Tue January 03 1967 Capricorn John Sandoval Wed January 04 1967 Capricorn Paul Cohen Tue January 05 1954 Capricorn Tony Garrity Mon January 08 1962 Pool of Life - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ------------------------------ Date: Fri, 8 Dec 2000 18:59:48 +1100 (EST) From: Amanda Williams Subject: Re: Historical Irony On Mon, 20 Nov 2000 RedWoodenBeads@aol.com wrote: > In a message dated 11/19/00 11:04:30 PM Pacific Standard Time, > owner-ecto-digest@smoe.org writes: > > << As fate would have it, Thomas More (cf. the post by RedWoodenBeads) > actually _was_ executed, for refusing to go along with certain power grabs > by Henry VIII. The whole affair was the subject of the play and movie _A > Man for All Seasons_. >> > > Yes, Henry VIII wanted all of the "churchmen" in England to sign a document > stating that Henry VIII was Head of "The Church of England". Thomas More was > the only one who refused and because Henry was such a caring guy, he executed > him. I admire Thomas More's refusal to back down from his convictions, even > to the point of death. That's really amazing, when someone will actually go > to their death rather than denounce the things that mean the most to them. It > would've been so easy for him to simply sign that paper. His daughter even > begged him to do so, saying "Sign a lie onto paper and keep the truth in your > heart". Yet still, he wouldn't do it. It's unreal. What makes someone do > something like that? This is an old message but i have been juggling so much lately that I saved it to come back to. This period of history has always been fascinating for me, and i wanted to draw your attention to another person from the 'opposing team' of the day as it were - Thomas Cranmer, Archbishop of Canterbury. He had been classified as spineless. He had been Henry's Archbishop when Henry had chosen to break away from Rome. He was given the task of writing the Book of Common Prayer for the Protestants in the reign of Edward VI. History does not record what his opinion was of the sacking of the monasteries which went on throughout England. It of course was to feather the pockets of the Crown Treasury - I don't think that Cranmer would have received much of it. When Edward died barely a teenager, Catholic Mary came to the throne. Priests who had gone across to the new religion were originally given an amnesty as long as long as they cast aside their wives and signed a declaration that they knew they were in error and had been led astray. He signed. He couldnt be Archbishop of Canterbury of course, but for a while he was not bothered. But, on the marriage of Mary to Philip II of Spain, uprisings throughout England prompted Mary to call into question everyone's faith and Cranmer was pressed. Where previously he had allowed himself to be ridiculed as a strayed sheep, he found his backbone and declared that he had supported this religion all along and believed in it. And he declared furthermore that when he was going to be burnt alive at the stake, the hand which he used to sign the document which had declared that he had never supported the new faith. And he did. Yes More is to be applauded for sticking to his principles through thick and thin, and to all accounts A Man for All Seasons was accurate about the degredation and torture which More suffered for his beliefs, but I think that one also has to have some sympathy for Cranmer. He must have been so scared. To have originally been working for someone like Henry, who was most likely going through stages of demetia brought on by his syphilis toward the end of his life. Henry later turned on Boleyn as the person responsible for making him kill More. Surely Cranmer was worried that as he had been the person who had performed the marriage ceremony for Henry and then been godfather to his now bastard daughter Elizabeth, he could have been blamed as well. Then the pressure to give some substance to a new faith, that would surely have been mighty frightening. Everybody would have had their own ideas about what should be in the new books. And then, for Edward to die when only really still a child, and all of a sudden there is a catholic ruler again! People cannot be blamed for having a survival instinct. But in the end Cranmer's faith prevailed. And he died witih just as much courage as More, and in a much more grisly way as well. His last words were 'This hand hath offended' More information can be found at: http://www.geocities.com/Athens/Forum/9194/tudor/pcranmer.html amanda ~~~~~~~~~~~~~~~~~~~~~~~~~~~~ooooooooooooooooooo~~~~~~~~~~~~~~~~~~~~~~~~~~ '"Must!" Is "must" a word to be addressed to princes? Little man, little man! Thy father, if he had been alive, durst not have used that word.' - -Elizabeth I to Robert Cecil, on being asked to name her successor while on her deathbed (well death cushions, really :) _________________________________________________________________________ Amanda Williams ph(m)0417 503 130 (w) +61 3 9607 9350 fax +61 3 9607 9449 ------------------------------ Date: Fri, 08 Dec 2000 15:15:58 +0100 From: Leon van Stuivenberg Subject: marina releases ep hi http://decembergirl.com/discography.html http://decembergirl.com/getmerchandise.html Could it be true? At last, Marina's first solo effort, decembergirl. Bridging from the past into the future, the 5-song EP includes her rendition of the October Project classic "Return to Me" (reuniting most of the band for the track), three originals (one a co-write with singer/songwriter Dana Pomfret) and a holiday bonus track. The first 1000 copies will be a limited edition "3D-CD" (so much fun to say!), signed and numbered, featuring a 3D photograph by New York artist/photographer Steven Lowy on the cover and 3D glasses inside. Featuring celtic harp, cello, tympani, the Two Siberians and famed jazz trumpeter Randy Brecker, the EP is Marina's first step toward bringing together the many musicians and producers with whom she has crossed paths. The second step will be a full length CD planned for release in 2001. ------------------------------ Date: Fri, 8 Dec 2000 10:32:17 -0500 (EST) From: Patrick Varker Subject: 20 Years Ago... Just wondering...for those of you that are old enough, what were you doing and how did you learn of John Lennon's death 20 years ago today? As for me, I learned from Howard Cossell as I watched Mon. Night Football and I can't forget what a shock it was. ------------------------------ Date: Fri, 8 Dec 2000 10:04:38 -0500 From: Joseph Zitt Subject: Re: 20 Years Ago... On Fri, Dec 08, 2000 at 10:32:17AM -0500, Patrick Varker wrote: > Just wondering...for those of you that are old enough, what were you doing > and how did you learn of John Lennon's death 20 years ago today? As for me, > I learned from Howard Cossell as I watched Mon. Night Football and I can't > forget what a shock it was. I was arts editor of the college newspaper at the time, and we were putting the paper together for a release the next morning. I heard via a frantic call from the sports editor who, yes, heard it from Howard Cosell. I managed to fairly quickly marshall resources (the Playboy interview, a stack of Lennon LPs from various staffers, etc) and put together a half-page article for the next morning. A lot of people on campus found out from my article, and the school was in a funk for the next few days. - -- |> ~The only thing that is not art is inattention~ --- Marcel Duchamp <| | jzitt@metatronpress.com http://www.metatronpress.com/jzitt | | Latest CD: Jerusaklyn http://www.mp3.com/josephzitt | | Comma: Voices of New Music Silence: the John Cage Discussion List | ------------------------------ Date: Fri, 08 Dec 2000 10:53:10 -0500 From: Libby Subject: Bulgarian Folk Singing (Re: Fave movie theme song/title track?) Brian Bloom wrote: >And I'm eyeing the 7 DVD set of Cosmos that Amazon has on sale... ;) > >That soundtrack was also my first exposure to Bulgarian folk singing, long >before the 'Trio Bulgarka' and 'The Sensual World' came into my life..... For anyone interested in Bulgarian folk singing, or who has never heard any, I strongly recommend this highly ectopian art form. These chorale groups achieve astounding harmonic resonances that can stop you dead in your tracks. I love this set of cds, which to me are a perfectly controlled ecstatic revelation: Le Mystere Des Voix Bulgares (recorded in Bulgaria by Marcel Cellier Elektra/Nonesuch, 1987 Vol 1, 1988 Vol 2) I meant to post about this selection during the thread which discussed the merits of listening to foreign music whose lyrics one doesn't understand. (on that thread... as a visual artist, when I'm working I will sometimes prefer music that is emotionally or intellectually stirring without lyrics that will distract me. I love words, and I love to sing, so pieces that demand my direct attention on a verbal level interfere with certain work processes.) ~!L n.p. Le Mystere Des Voix Bulgares n.r. Go West Young F*cked-Up Chick, Rachel Resnick - ------------- "The limits of human potential are glimpsed, if at all, with much greater difficulty than are the outlines of our folly." - Barash - ------------- ------------------------------ Date: Fri, 08 Dec 2000 10:57:55 -0500 From: Laura Clifford Subject: Re: 20 Years Ago... At 10:32 AM 12/08/2000 -0500, Patrick Varker wrote: > Just wondering...for those of you that are old enough, what were you doing >and how did you learn of John Lennon's death 20 years ago today? As for me, >I learned from Howard Cossell as I watched Mon. Night Football and I can't >forget what a shock it was. > I remember clearly. I was home alone that night and for some reason hadn't heard the news. When I was getting ready for work the next morning, I thought it was odd that they were playing one Beatle tune after another on the radio and actually got a bad feeling and called my mother - she gave me the news. Bad day. Laura ------------------------------ Date: Fri, 08 Dec 2000 15:20:54 -0500 From: "Rosana L. de Oliveira" Subject: Re: Fave movie theme song/title track? Hello, Well, I'll just mention two movies that were important to me as a child (whose soundtracks I used to play non-stop back then) and that I love until today: "The NeverEnding Story" (whose great title track is sung by Limahl) and the musical "Annie" ("Tomorrow" was the first "big" song I learned to sing in English :)). Regards, Rosana rioliv@br.homeshopping.com.br http://www.geocities.com/jerayna - ------- n.p. Hannah Fury - Soul Poison ------------------------------ Date: Fri, 08 Dec 2000 12:41:11 -0500 From: Mike Connell Subject: Re: 20 Years Ago... > Just wondering...for those of you that are old enough, what were you doing >and how did you learn of John Lennon's death 20 years ago today? I was at work on 2nd shift and a friend told me. When I got home, I pretty much stayed up all night listening to the changing (developing) news reports all night on the Jim Bohanan radio show. It was eerie how a little more information on the killer and the event came out at each and every half hour news report. I'm close enough to NYC that I still regret not going to the Strawberry Fields memorial the fans had a couple of days later. Was certainly a sad time. Mike ------------------------------ Date: Fri, 8 Dec 2000 09:46:25 -0800 From: Phil Hudson Subject: RE: Bulgarian Folk Singing I have mentioned the Berkeley-based group Kitka in these threads before, but seldom pass up a chance to promote them and their beautiful work (www.kitka.com) Check out their site and download some samples of their work. "Shto Mi E Milo" is a unique and sublime arrangement from the Nectar CD, which is worth purchasing just for that one track. Luckily for us, every other track is just as wonderful. They are currently on tour again on the west coast. The schedule is on their site. They normally play in churches or roomy halls, and their ability to fill the space is uncanny. (And they're looking for another singer, if anyone on Ecto knows of any possible contenders. Start working on your 15-note scales!) Regards phil ------------------------------ Date: Fri, 08 Dec 2000 13:19:07 -0500 From: Mike Connell Subject: The disappearing popular songwriter (part 1 of 4) Hi people. I am not aware of this violating any longstanding list policy, but I found this very interesting article in todays' USA Today and decided many of you would be interested in such an article. (it's quite large....35K) WOJ, if I have sinned, let me know. (it'll likely bounce for size anyway) From http://www.usatoday.com/life/lphoto.htm Title: The disappearing popular songwriter By Elysa Gardner, USA TODAY NEW YORK  It's after 3 o'clock on a late-summer afternoon in downtown Manhattan, and Joan Osborne is finally ordering lunch. Osborne has been busily promoting her new album, Righteous Love, the long-awaited follow-up to her 1995 major-label debut, the multiplatinum Relish. The delay, she explains, was because of a number of factors, including Mercury Records' decision to drop her in 1999  only three years after she garnered seven Grammy nominations and graced the cover of Rolling Stone. Joni Mitchell 'Big Yellow Taxi' 'The Circle Game' James Taylor 'You've Got a Friend' Osborne muses that label executives "might have lumped me in with a Lilith Fair moment that they thought was over," alluding to the concert tour that became a media metaphor for the critical and commercial success of young female singer/songwriters in the mid-to-late '90s. "But I don't think my time has passed because I'm a woman who sings and writes songs." Fast-forward about four months, to the present. Righteous Love, which arrived in stores Sept. 12, has sold fewer than 80,000 copies, despite glowing notices and numerous high-profile television appearances. Certainly, it's too early to proclaim the album a dud, or to issue a postmortem on Osborne's career. The singer notes, "An artist can have loyal fans and a legitimate career without being on the cover of every magazine at a given moment." Still, it could be argued that the relatively slow progress of Osborne's latest CD highlights a trend that has affected similar artists, both male and female, in recent years. As bubblegum pop and more aggressive forms of rock and hip-hop have gained commercial clout, the singer/songwriter  that folk-based breed whose stock in trade is the ability to craft and deliver songs  is becoming less prominent on magazine covers and, more significantly, radio playlists. Prefab and image-driven acts have, of course, always played a key part in rock 'n' roll. But since the '60s, the singer/songwriter has, in various guises, also managed to remain a forceful presence in rock music and culture. Bob Dylan, Paul Simon, James Taylor, Joni Mitchell, Carole King, Stevie Wonder, Elton John and others shared the public's fascination along with The Monkees and Alice Cooper. Creatively autonomous stars as diverse as Bruce Springsteen and Elvis Costello, Prince and Tracy Chapman, Sinead O'Connor and Sheryl Crow followed. But radio is seemingly less friendly for many of those artists and their would-be successors today. Even contemporary stations that have traditionally embraced singer/songwriters are relying more on boy bands and baby divas. Sean Ross, editor of radio magazine Airplay Monitor, points to the cyclical nature of pop charts and playlists. "Eventually, radio turns on anything that it plays a lot of," he says. "I guess the cycle turns on what (programmers) get sick of." Over the past two years, Ross says, that has led to a backlash against some female singer/songwriters who came to the fore in the Lilith era. "When the last Jewel album came out, there was only one hit. The last Alanis Morissette album didn't have many hits, either." Ross also identifies "a generational split that has affected some older rock artists. You have 26-year-old (program directors) who don't want to play Billy Joel or Don Henley." Actually, Henley's current album, the platinum Inside Job, is one of the few CDs released by baby-boomer singer/songwriters recently  Sting's double-platinum 1999 effort, Brand New Day, is another  that has shown tenacity on the commercial airwaves. But Henley remains concerned about the state of radio and about what the declining profiles of singer/songwriters  artists who often develop careers more slowly than other pop sensations, and who are valued for injecting thoughtfulness and social commentary into pop music  may reflect about the music business and society at large. Overfed and undernourished "I don't begrudge the kids their teeny-bopper music," Henley says. "But I have a concern about the balance on radio and in the marketplace. There should be a wide spectrum out there. But it seems we're not living in a very philosophical or introspective time. There are a lot of young people who are socially minded, but many of them are laboring in relative obscurity. The emphasis is now on exhibitionism. That's always been true to a certain degree in rock 'n' roll, but I've never quite seen things reach this level of form over content. "I think we're living in an age of unbridled capitalism. And as we're seeing the (music) industry become more and more caught up in the global corporate machinery, we're seeing less support for art and more support for artifice." Paul Simon, who also recently released an album, the widely praised You're the One, perceives a similar dynamic. "There's no dearth of people who are producing beautiful and satisfying music for every taste," he says. "But that diversity of talent is not reflected in the corporate culture. "The problem is that what radio lays out isn't broad enough. That's because radio owners are concerned about revenue, and revenue is decided by creating demographic groups and serving those groups a certain menu, repeatedly, so that they end up overfed and undernourished." For James Taylor, this problem is exacerbated by the "merger mania" that has seen record companies folding into conglomerates. "When I was coming up, the business was more whimsical and friendlier to the artists," Taylor says. "But there are about five record companies now, and if you're an executive at one of those companies, you have to show a corporate overlord a bottom line. So the businessmen are sweating bullets, too." Michael Penn, a critically respected singer/songwriter who had one hit single, No Myth, a decade ago, concurs. "There's no longer a system where record company executives feel like they can establish tenure and dedicate their time to developing an artist," he says. "They're always looking over their shoulder, waiting for the ax to fall. So it's 'What's on the radio? What's selling now? Get me something like that, fast.' And I think that's devalued music." Adds Rickie Lee Jones, "Ninety percent of people in the record industry wouldn't know a good song if it called them on their cellphones. I don't think anyone has anything against singer/songwriters personally; there's just a general malaise, a decline in things artistic." The obvious question, then, is where the next generation of influential singer/songwriters will come from, and how or if they will be nurtured. This is an especially significant issue for Billy Joel, who is focusing on writing classical music but whose 14-year-old daughter, Alexa Ray Joel, is a budding singer/songwriter. "She writes extremely interesting chord progressions -- very different, very unorthodox," the elder Joel says proudly. "But when I try to encourage this individual voice, she says, 'Dad, I can't be a pop singer if I write that way.' That may be indicative of how a lot of young people feel now. All the radio formats seem very strict, and it's probably very intimidating for a young person with a unique, original approach." Another fledgling singer/songwriter whom Joel admires, Shawn Mullins, has additional worries about the current pop climate's influence on young people. Resurgence in storytelling Mullins, whose 1998 breakthrough hit, Lullaby, made him one of the few new singer/songwriters to crack the top 10 in the past couple of years, says: he shares Henley's ambivalence about the abundance of apathetic or, sometimes, violent lyrics and imagery in today's flashier and frothier pop. "I'm all for people expressing themselves however they want to. But some of the stuff I'm hearing, from people like Eminem  I think, man, we need to take a look at this. The singer/songwriters I've loved would talk about important stuff in a constructive way. I'm hoping there's a resurgence of real storytelling. I think there will be, because younger people are starting to think politically again." For longtime cult favorite Aimee Mann, the lack of substance and sensitivity in songwriting is a reflection of "the cynicism of the record industry. If all people hear is music written by people who don't care what they're writing about, that's what they'll buy." Another esteemed veteran, John Hiatt, is more optimistic. Hiatt sees the singer/songwriter tradition being adapted and revitalized in a contemporary vein by stars such as Macy Gray, whom he praises as "a great example of the boat being shaken up." Indeed, Sade, a forerunner of Gray's, recently entered the Billboard album chart at No. 3  above Ricky Martin  with the album Lovers Rock, a collection of spare acoustic songs that she wrote and produced herself. VH1 executive Bill Flanagan, creator of the singer/songwriter-driven series Storytellers, adds that many of today's more rock-oriented singer/songwriters, particularly men, are fronting bands. "There were a lot of openings for female singer/songwriters on the pop charts in recent years, but very few for men," Flanagan says. "I think the male singer/songwriter has very much gone into rock bands." Flanagan won't get an argument from Lilith founder Sarah McLachlan. "There were great male singer/songwriters like David Gray and Ron Sexsmith who couldn't get played on the radio a few years ago if it killed them," McLachlan says. "At one point, there were certain stations that played nothing but women. It was like, 'Women are hot, so we're not going to bother with men.' "I just wish there was more of a sense of balance. I don't think that when Lilith ended, Limp Bizkit suddenly took over, but the industry makes it seem that way. The bands making that kind of harder, slightly misogynistic music are now the ones getting the covers of Rolling Stone and the record sales and the MTV play. But I think people still listen to me and Tracy Chapman and Sheryl Crow. And I think there's the same frustration over radio that existed when we were getting tons of airplay and David Gray couldn't get any." Perhaps McLachlan can take heart in Gray's progress in recent months. Flanagan identifies him as one of several artists who have emerged from England as a "great, classic singer/songwriter." Pop fans are beginning to agree: Gray is one of a pair of young British minstrels  the other, Dido, is a woman  who have enjoyed steadily rising album sales in recent months. Notably, both artists use modern technology to update their approach. "I think songwriting has to move into the next century," says Gray, whose fans also include Hiatt and Henley. "It's going to look more and more ridiculous to emulate things that happened in the '60s and '70s. There have been some massive characters in the singer/songwriter field that have cast huge shadows, and that's been a bit daunting for those coming after them. But maybe there's enough of a gap now that it can be done differently." Former artist manager and major-label executive Danny Goldberg, now CEO of the independent Artemis Records, agrees. "There's always been a lot of competition in music, because the public only has an appetite for so many heroes," he says. "But I still think there's an environment in which people making personal, idiosyncratic statements can reach an audience." "There's a tremendous underground swell of songwriters and players who have no interest in who or what the latest pop sensation is," Paul Simon says. "The whole concept of stars is bogus, anyway. What's a star compared to a song that lasts 100 years? Nothing. Absolutely nothing." ------------------------------ Date: Fri, 08 Dec 2000 13:37:44 -0500 From: Mike Connell Subject: Re: The disappearing popular songwriter (part 1 of 4) At 01:19 PM 12/8/00 , Mike Connell wrote: >Hi people. > >I am not aware of this violating any longstanding list policy, but I found >this very interesting article in todays' USA Today and decided many of you >would be interested in such an article. (it's quite large....35K) > >WOJ, if I have sinned, let me know. (it'll likely bounce for size anyway Ooops. It's part 1 of 1. Didn't mean to scare you with that subject. I WAS thinking of sending it in four parts, but when I realized it was actually about 13K (stripped the HTML), I sent it in one and forgot to change the subject. Mike ------------------------------ Date: Fri, 8 Dec 2000 10:49:03 -0800 From: Phil Hudson Subject: RE: 20 Years Ago... Interestingly, people in the UK did not respond in the same manner as those in the US. Everyone was naturally upset and disturbed by the news, but adopted the usual British "life goes on" attitude that kept people going through the war years. I think we must have all learned that response from our parents' generation, (although to us, "getting bombed" was something entirely different, and a lot more fun!) In the US, Lennon's death seemed much more to epitomize the end of an innocence, a big blow to the aspirations and hopes of what remained of the hippie generation. Folks in the US always took the Beatles themselves, as opposed to their music, far more seriously than in Britain. By that I don't mean that we liked their music any less, but we didn't know of anyone outside of the US who sat around obsessing over whether the photograph of Paul shoeless on Abbey Road meant that he was dead, or that John had killed him (or was it George?). The frenzied and contentious analysis of their lyrics, however was a invention of both countries; Lennon himself said on many occasions, that they were " just writing what came into their heads", but many people insisted on analyzing their work to sometimes completely ridiculous levels. Books were published, and many pseudo-intellectual idiots with three working synapses or less received insanely large amounts of money for writing some very inane and pretentious material on the topic. The overall UK impression of American Beatles fans was that here was an entire group of people with WAY too much time on their hands! The UK discussions I recall on this topic, were mostly concluded with the assumption that these folks were either completely bonkers, or had no real life to speak of. I think, possibly because of the Beatles' geographical proximity, and resultant daily press coverage, people in the UK quickly came to view them as regular mortals, albeit, highly gifted ones. They were, after all four lads from Liverpool, a bastion of working class sensibilities. They were regular working classguys who just made it big, no big deal, we were happy for them; they gave us all hope, and inspired many of us to learn to play instruments and torture our parents in the process. I don't think that occurred in the US, where no-one really knew their background as intimately as the Brits did, and where they seldom made personal appearances and so inadvertantly maintained their status as minor deities throughout their entire career and beyond. Phil (Whose sister once dated Ringo when he was still Richard Starkey, giving Phil bragging rights for months at skool !!!.) - -----Original Message----- From: Joseph Zitt [mailto:jzitt@metatronpress.com] Sent: Friday, December 08, 2000 7:05 AM To: Patrick Varker Cc: ecto@smoe.org Subject: Re: 20 Years Ago... On Fri, Dec 08, 2000 at 10:32:17AM -0500, Patrick Varker wrote: > Just wondering...for those of you that are old enough, what were you doing > and how did you learn of John Lennon's death 20 years ago today? As for me, > I learned from Howard Cossell as I watched Mon. Night Football and I can't > forget what a shock it was. I was arts editor of the college newspaper at the time, and we were putting the paper together for a release the next morning. I heard via a frantic call from the sports editor who, yes, heard it from Howard Cosell. I managed to fairly quickly marshall resources (the Playboy interview, a stack of Lennon LPs from various staffers, etc) and put together a half-page article for the next morning. A lot of people on campus found out from my article, and the school was in a funk for the next few days. ------------------------------ Date: Fri, 8 Dec 2000 15:13:24 EST From: RocketsTail@aol.com Subject: Fwd: [singer-songwriters] Emm Gryner In Our Living Room "you can't leave me here i've got your back now you'd better have mine cause you say the coast is clear but you say that all the time" ~Ani DiFranco Return-Path: Received: from rly-xb03.mx.aol.com (rly-xb03.mail.aol.com [172.20.105.104]) by air-xb05.mail.aol.com (v77.14) with ESMTP; Fri, 08 Dec 2000 15:09:48 -0500 Received: from ho.egroups.com (236.yahoo.240.211.64.in-addr.arpa [64.211.240.236]) by rly-xb03.mx.aol.com (v77.27) with ESMTP; Fri, 08 Dec 2000 15:09:23 -0500 X-eGroups-Return: sentto-6193-1860-976306121-rocketstail=aol.com@returns .onelist.com Received: from [10.1.4.52] by ho.egroups.com with NNFMP; 08 Dec 2000 20:08:45 -0000 X-Sender: showdates@bigfoot.com X-Apparently-To: singer-songwriters@egroups.com Received: (EGP: mail-6_3_1_3); 8 Dec 2000 20:08:40 -0000 Received: (qmail 51676 invoked from network); 8 Dec 2000 20:08:39 -0000 Received: from unknown (10.1.10.142) by m8.onelist.org with QMQP; 8 Dec 2000 20:08:39 -0000 Received: from unknown (HELO mv.egroups.com) (10.1.1.41) by mta3 with SMTP; 8 Dec 2000 21:09:44 -0000 X-eGroups-Return: showdates@bigfoot.com Received: from [10.1.2.207] by mv.egroups.com with NNFMP; 08 Dec 2000 20:08:39 -0000 To: singer-songwriters@egroups.com Message-ID: <90rf45+ff2k@eGroups.com> User-Agent: eGroups-EW/0.82 X-Mailer: eGroups Message Poster X-Originating-IP: 32.97.110.73 From: "SHOW DATES" MIME-Version: 1.0 Mailing-List: list singer-songwriters@egroups.com; contact singer-songwriters-owner@egroups.com Delivered-To: mailing list singer-songwriters@egroups.com Precedence: bulk List-Unsubscribe: Date: Fri, 08 Dec 2000 20:08:37 -0000 Reply-To: singer-songwriters@egroups.com Subject: [singer-songwriters] Emm Gryner In Our Living Room Content-Type: text/plain; charset=US-ASCII Content-Transfer-Encoding: 7bit Emm Gryner In Our Living Room Thursday December 07, 2000 @ 04:00 PM By: ChartAttack.com Staff http://www.chartattack.com/ When a small figure arrived just after we opened our doors this morning wearing a huge parka with the hood up, we had no idea it was Emm Gryner. Bundled under layers of warm clothing was Emm, who dropped by to put on make-up. Unlike visits from other bands, most notably gob, Emm was polite, friendly and more than accommodating while ChartAttack fired off some digital photos. She hadn't even consumed her morning coffee yet, but there she was like a trooper letting him snap photos. Thankfully she didn't grab the camera out of his hands either and race to the washroom to take photos that we can't publish because they're too graphic, again not like gob. After completing her Stylin' photo shoot, she'll be recording her next album and planning her next tour, Living Rooms Across America tour. Anyone in the following cities, Chicago, IL, St. Louis, MO, Tulsa, OK, Dallas, TX, Fort Worth, TX, Austin, TX, Phoenix, AZ, Tucson, AZ or San Diego, CA that would love to see Emm perform in their living room in January is asked to contact, jdaniels@sympatico.ca. - -------------------------- eGroups Sponsor -------------------------~-~> eGroups eLerts It's Easy. It's Fun. Best of All, it's Free! Click Here! - ---------------------------------------------------------------------_-> To unsubscribe from this group, send an email to: singer-songwriters-unsubscribe@egroups.com ------------------------------ Date: 8 Dec 2000 13:34:23 -0800 From: "Michael Pearce" Subject: Re: Fave movie theme song/title track? At 1:55 AM -0500 12/8/00, Brian Bloom wrote: >(Another Brick in) The Wall - Pink Floyd - almost a chicken and egg >paradox. Is the album the soundtrack to the movie or is the movie an >embodiment of the album? Hmmmm... The album came first. Roger Waters may have had the movie scripted in his head at the time, but there is no doubt as to the order. Loved that movie! Movie theme: "This One's From The Heart" by Crystal Gayle and Tom Waits, as part of the soundtrack to "One From The Heart," which I WISH would come out on DVD. Michael ------------------------------ Date: 8 Dec 2000 13:41:48 -0800 From: "Michael Pearce" Subject: FW: Brave Sir Robin At 1:55 AM -0500 12/8/00, "Foghorn J Fornorn" wrote: >- -----Original Message----- >From: owner-ecto@smoe.org [mailto:owner-ecto@smoe.org]On Behalf Of >Foghorn J Fornorn >Sent: Sunday, September 05, 1999 5:27 PM >To: ecto >Subject: Brave Sir Robin > > >Don't know how many of you have had the opportunity to see this in print, >Happy mentioned she was faxed these lyrics before she attempted to do "one >of her favorite songs", but since I have this copy of the 1975 screenplay of >the film I'll dust it off and share: > >Bravely good Sir Robin, rode forth from Camelot, >He was not afraid to die, oh brave Sir Robin, >He was not at all afraid to be killed in nasty ways, >Brave brave brave brave Sir Robin. > >He was not in the least bit scared to be mashed into a pulp >And have his eyes gouged out and his elbows broken; >To have his kneecaps split and his body burned away >And his limbs all hacked and mangled, brave Sir Robin. > >His head smashed in, and his heart gouged out, >And his liver removed, and his bowels unplugged, >And his nostrils raped, and his bottom burnt off, >And his penis [split and...] Ad do you remember the following lyrics after he backed down from the ogre at the bridge? "When danger reared its ugly head, He bravely turned his tail and fled. Brave, brave, brave brave Sir Robin." (This is from memory; please fill in the rest!) Michael ------------------------------ End of ecto-digest V6 #369 **************************