From: owner-ecto-digest@smoe.org (ecto-digest) To: ecto-digest@smoe.org Subject: ecto-digest V11 #310 Reply-To: ecto@smoe.org Sender: owner-ecto-digest@smoe.org Errors-To: owner-ecto-digest@smoe.org Precedence: bulk ecto-digest Sunday, November 13 2005 Volume 11 : Number 310 Today's Subjects: ----------------- Today's your birthday, friend... [Mike Matthews ] Re: no love for "Bertie"?:-( and Re: Editing Aerial [Joseph Zitt ] Re: Kate Interview [Joseph Zitt ] Re: Kate Interview [Markku Kolkka ] kate bush article & "aerial" review. [Ms Heidi Maier ] Aerial copy protection? [raven@igc.org] Re: More great PR for Sony BMG [Daniel ] Fwd: More great PR for Sony BMG [Bowen Simmons ] Re: Fwd: More great PR for Sony BMG ["afries@internode.on.net" ] Re: Fwd: More great PR for Sony BMG [Sue Trowbridge ] ---------------------------------------------------------------------- Date: Sat, 12 Nov 2005 03:00:03 -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********* *************************************************** *************************************************************************** ******************* Michael Doyle (maeldun@i-2000.com) ******************** *************************************************************************** -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- Michael Doyle Wed November 12 1969 Scorpio Jenny Bruce Mon November 14 1966 fire-horse scorpio Dave Cook Mon November 15 1971 Scorpio Jeff Pearce November 16 Orpheus Naama Avramzon Mon November 18 1974 Scorpio Jeff Smith Mon November 19 1962 Crash Kevin Bartlett Fri November 21 1952 Scorpio with Saturn and Pluto issues Claudia Spix Wed November 23 1960 Schuetze Anja Baldo Tue November 23 1965 Garbanzo Tommy Persson Wed November 25 1964 Sagittarius Pat Tessitore November 26 Sagittarius Valerie Kraemer November 26 Sagittarius Justin Bur Fri November 27 1964 Sagittarius Sue Trowbridge Sun November 27 1966 Skytten Ward Kadel Tue November 29 1977 Sagittarius Jesse Hernandez Liwag Wed November 29 1972 Water Rat Mirko Bulaja Sat November 30 1974 Block Juha Sorva Thu December 02 1976 Sagittarius Chip Lueck Thu December 05 1968 Sagittarius Lenore December 05 sagi Michele Wellck December 08 Sagittarius Jeremy J. Corry Fri December 11 1970 Sagittarius - -=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=- ------------------------------ Date: Sat, 12 Nov 2005 03:09:13 -0800 From: Joseph Zitt Subject: Re: no love for "Bertie"?:-( and Re: Editing Aerial afries@internode.on.net wrote: >"I remember it was that Wednesday >Oh when it rained and it rained >They traipsed mud all over the house... " > > Oddly, I heard it as "he traipsed mud..." But the lyric booklet agrees with what you heard. >"I think I see you standing outside >But it's just your shirt >Hanging on the washing line >Waving its arm as the wind blows by >And it looks so alive..." > This resonates with the animated suit in the "King of the Mountain" video. ------------------------------ Date: Sat, 12 Nov 2005 03:20:27 -0800 From: Joseph Zitt Subject: The Red Shoes I listened to "The Red Shoes" for the first time in seven or so years today. Hearing it drubbed so often as close to worthless, I had filed it away, but for some reason "And So Is Love" had popped into my head. Listening to it, I found some songs that I really loved, including "And So Is Love","Moments of Pleasure", and "You're the One." And there's a lot to like about most of the other songs, though some have factors that override that for me. And it probably helps that I've forgotten most of "The Line, the Cross, and The Curve" (which keeps getting stuck in my head as "The Line, the Cross, and the Wardrobe"). ------------------------------ Date: Sat, 12 Nov 2005 03:39:04 -0800 From: Joseph Zitt Subject: Re: Kate Interview Tim Cook wrote: > Not sure if this has already been mentioned but there's an audio > interview with Kate. Just go to the beebs front > page (www.bbc.co.uk) and click on the link. Now that I've apparently procrastinated so long that the interview has fallen off the main page... is there a more direct link? ------------------------------ Date: Sat, 12 Nov 2005 14:12:22 +0200 From: Markku Kolkka Subject: Re: Kate Interview Joseph Zitt kirjoitti viestissddn (ldhetysaika lauantai, 12. marraskuuta 2005 13:39): > Now that I've apparently procrastinated so long that the > interview has fallen off the main page... is there a more > direct link? http://www.bbc.co.uk/radio4/arts/frontrow/ is the page for the program, the Real Audio stream is http://www.bbc.co.uk/radio4/arts/frontrow/ram/editors_pick/frontrow20051104_katebush.ram - -- Markku Kolkka markku.kolkka@iki.fi ------------------------------ Date: Sun, 13 Nov 2005 00:36:08 +1000 From: Ms Heidi Maier Subject: kate bush article & "aerial" review. these are both from the saturday edition of the sydney morning herald, though both are also available online. you do need to register [it's free] to access the online edition, however, so i've pasted the text for both the interview and the review below. warmly, heidi. . . . http://www.smh.com.au/news/music/domestic-goddess-of- song/2005/11/10/1131578153373.html Domestic goddess of song By James Button November 12, 2005 Twelve quiet years of 'normal life' haven't dimmed Kate Bush's fiercely individual take on pop music. It starts with a high piano tinkling in the key of A - so far so normal. Then it shifts and shifts again, four quick key changes, sharp to flat, major to minor, sweet to downright strange. A classical pianist would have understood what the girl was doing to get such unsettling sound but no one wrote pop like that. And no one sang like that wailing falsetto, with its hint of the madwoman in the attic, its dash of Emily Dickinson and touch of Emily Bronte herself, who died of consumption in her early 20s and who was born on July 30, the same day as a teenager growing up in Kent in the 1970s called Catherine Bush - who heard this fact, was spooked and thrilled by it, and sat down one night under a full moon at midnight and wrote a song called Wuthering Heights. Released in 1978, when Bush was 19, Wuthering Heights raced to the top of the British charts (knocking off Abba), the first time a woman had done so with a song she wrote herself. That year she put out two albums, drawing on hundreds of songs she had written since she was 12. She sang of incest and suicide, of Peter Pan and the ghost of a shot- down Spitfire pilot yearning to see London Bridge in the rain. As her London gay fan club later described her, she was "eccentric, elusive, and very, very English". If her roots could be defined they were in folk, classical music, literature and the romantic tradition, never in the trends of the day. At the snarling, spitting height of punk, she wore a leotard and pranced about on videos trailing bits of pre-Raphaelite fabric behind her. She was an easy target for parody, because she was one of a kind. She made five albums in seven years, culminating in her 1985 work Hounds of Love, perhaps her masterpiece, which former Sex Pistol John Lydon described as "beyond an album, an opera". Though she toured only once - she disliked live performance and is said to have a fear of flying - she attracted an army of adoring, sometimes obsessive, fans. Then, in 1993, after two commercially unsuccessful albums and widening pauses between them, the music stopped. Bush vanished. She made no records, gave just one interview in 12 years. Despairing fans debated on websites whether it was all over. The tabloids, possibly irked by a celebrity who dared to deny them their daily feed, painted her as Miss Havisham of Great Expectations, a weirdo recluse shut up in her mansion on an island in the upper Thames. What was she up to? Rumours ran wild: Bush had finally succumbed to the pleas of record company executives, invited them to her house to witness her latest creation, and produced a batch of home-made cakes from the oven. At last, in August, came an EMI press release: a new Kate Bush album was imminent. After 12 years, the revelation caused a stir. Newspapers dusted off headlines: Kate Expectations and Dithering Heights. Journalists were invited to EMI's London headquarters to get a sneak preview, with a security man watching over them. Bush even did an interview. This week she released Aerial, a 16-track double album. As with everything she has done, it is diverse, unpredictable, wild. A conventional rock track precedes a cascade of flamenco guitar, which runs on from a strings arrangement. Her word imagery is characteristically vivid: "the spider of time is crawling over the ruins," she sings in A Coral Room, about the death of her mother, Hannah. She also sings to a pigeon and, as immune to fashion as ever, has a dialogue with Rolf Harris, who plays a street painter and blows the didgeridoo. The album betrays Bush's preoccupations: there's a song about Elvis and Citizen Kane, another called How to be Invisible. Yet there's a better clue to the mystery in the narcotic ballad Mrs Bartolozzi. A woman is watching clothes in a washing machine. Around and around they go, slosh slosh, and as she stares at them, she starts to imagine ... "My blouse wrapping itself around your trousers ... oh the waves are coming in ... my shirt floating up around my waist ..." Then she looks outside: "I think I see you standing outside, but it's just your shirt hanging on the washing line." The dream broken, drudgery returns: "Slooshy, sloshy, slooshy, sloshy ... washing machine, washing machine, washing machine." Bush broke her silence in an interview in Mojo this month. "For the last 12 years, I've felt really privileged to be living a normal life," she said. "It's so a part of who I am. It's so important to me to do the washing, do the Hoovering. Friends of mine in the business don't know how dishwashers work. For me, that's frightening. I want to be in a position where I can function as a human being." She was devastated by the death of her mother in the early 1990s. She slept a lot, couldn't work, watched a lot of bad television. She ended one long relationship - with the musician and sound engineer Del Palmer - and started another, with musician Danny McIntosh. In 1998, the couple had a child and managed to keep it quiet for 18 months, until Bush's friend, the musician Peter Gabriel, blurted it out on radio. She built a home studio so she could make her own music. She took complete control of her life. Here's how Bush has explained her seclusion: "The more I got into presenting things to the world, the further it was taking me away from what I was, which was someone who just used to sit quietly at a piano and sing and play ... I am just trying to be a good, protective mother. I want to give Bertie as normal a childhood as possible while preserving his privacy." In an age of obsession with even the minutiae of celebrities' lives, being a recluse is the only way Bush can lead a normal life. To Paul Rees, editor of British music magazine Q, it helps to explain her success. "She is a genuine enigma," he says. "Contrast her with Madonna. You can't possibly want to know any more about Madonna." He sees Bush's restraint as the key to her longevity. "What you know of her you know through her music." Rees, who hadn't heard Aerial when he spoke to the Herald, sees it as a critical album for Bush: will it help her break through to a new, younger audience? BBC entertainment writer Darren Waters thought Aerial was "not for the iPod generation". Yet several contemporary bands cite her as an inspiration, from Antony Hegarty of Antony and the Johnsons to Placebo, who sang a cover of Running Up that Hill, to the Futureheads, whose 2001 version of Hounds of Love was a bigger hit than it was for Bush. So far critics are divided about the album. Incomparable, impenetrable, pretentious and sublime: British reviewers have used all these words in the past two weeks. One found its heavy use of synthesisers dated, like a Sting album from 1985. Although Pete Paphides in The Times found much to admire on it, he also wondered whether it marked the point where "her lifelong artistic deceleration finally grinds to a halt". But to The Observer reviewer Kitty Empire, Aerial was genius and "arguably the most female album in the world, ever". That may be the point. "Luvverly Bertie," Bush trills to her son, backed by Renaissance guitars. Its intensity is compelling, though as The Guardian reviewer Alexis Petridis pointed out, it's a song that will have Bertie slamming doors and yelling, "Mum, you're so embarrassing," when he gets to 15. For now, though, Bertie leads a magical life of sun, wind, paint, chirruping birds and English green. His mother's life is also in the music, not hidden. If Aerial tells the truth, at 47, Kate Bush has found her compass, her own way home. Kate Bush's Aerial is out now on EMI. . . . http://www.smh.com.au/news/music/cd-review- aerial/2005/11/10/1131578153364.html CD review: Aerial By Bernard Zuel November 12, 2005 Kate Bush's Aerial. Kate Bush Aerial (EMI) 'The wind is whistling through the house." It was with some appropriateness that Kate Bush named her 1989 album The Sensual World. It is in the realm of the senses that Bush explores and always has: from the dark Yorkshire moors to the utterly primal pleasure in the response to your child's smell. It is in the realm of the senses that Bush is at her most compelling and, often, confounding. That duality is the coin of this realm so if you enter it with this double album - split into slightly emotionally divergent discs called A Sea of Honey and A Sky of Honey - you must come knowing that you may not always "understand" intellectually but that you will always feel. Take, for example, Mrs Bartolozzi, from the first disc, which on superficial reading could be dismissed as some ode to the char lady (the refrain is "washing machine/washing machine" and there is a bit of "slooshy sloshy slooshy sloshy"). But feel it rather than think it and you begin to grasp issues of domestic bliss and loneliness; earthiness and innocence; Virginia Woolf and W. H. Auden. Similarly, on disc two - which is a song-cycle built from one day's first birdsong through to the morrow's dawn - there is Somewhere in Between. Built on a warm, ambient bed reminiscent of Talk Talk's Life's What You Make It, it could be cast aside by the hasty as both lyrically and musically slight. But that would be to miss the slowly settling warmth and pleasure, that sensation of coming to rest at the end of a day of action. To skip over what Somewhere in Between does would be to miss the way it prepares the ground for one of this album's climactic and quite stunning emotional soundscapes, Nocturn and Aerial. Here are songs that open up to you like one of those time-lapse photography nature documentaries: gentle, promising, then flowering, bursting and finally radiant and erotic. It charges you with energy, with life. The songs already mentioned are, in a sense, the tent markers, the perimeters, rather than the whole story of this album (I could spend twice as much time talking about the heart- and gut-wrenching A Coral Room alone). There isn't a genuine pop song here, a Hounds of Love or even a Cloudbusting, and in isolation some tracks would feel lost. But then this is an album to be played for its cumulative effect rather than its single moments. An album to be felt. "The wind it blows the door closed." ------------------------------ Date: Sat, 12 Nov 2005 11:27:34 -0500 From: wojizzle forizzle Subject: Re: Kate Interview one time at band camp, Markku Kolkka (markkuk@tuubi.net) said: >Joseph Zitt kirjoitti viestissddn (ldhetysaika lauantai, 12. >marraskuuta 2005 13:39): >> Now that I've apparently procrastinated so long that the >> interview has fallen off the main page... is there a more >> direct link? >http://www.bbc.co.uk/radio4/arts/frontrow/ is the page for the >program, the Real Audio stream is >http://www.bbc.co.uk/radio4/arts/frontrow/ram/editors_pick/frontrow20051104_katebush.ram oh cool! glad to see the interview is being retained for posterity on the bbc site. thinking something like that wasn't going to happen, i captured the front row program before it fell off the archive and cropped out the interview. here's the realaudio in all its glory: http://www.smoe.org/woj/kate/katebush2005-11-04-bbcradio4frontrow.rm and a conversion to mp3 for the realaudiophobic: http://www.smoe.org/woj/kate/katebush2005-11-04-bbcradio4frontrow.mp3 woj n.p. nothing! ------------------------------ Date: Sat, 12 Nov 2005 15:54:09 -0800 From: raven@igc.org Subject: Aerial copy protection? I've heard the concerns about Aerial's measures to prevent unauthorized copies, so I was curios when I bought my copy. I never play CD's on my computer, but will often copy commercial CD's and listen to those, saving the original CD as backup... and my CD burner is a stand-alone (the Aiwa XC-RW700), I do not burn any CD's with my computer, just a small laptop. My commercial copy of Aerial plays in both of my CD players as I expected. But I was curious (1) if I could burn a copy of Aerial (I assumed yes), and (2) if I could burn a copy of a copy (I assumed no)... according to my Aiwa manual I can't make "copies of copies" of commercial CD's, they use SCMS. Results: both methods worked, I was surprised I could make an Aerial "copy of a copy", this is not supposed to be able to work on my burner. Anybody else try this with a stand-alone burner? - -- John ------------------------------ Date: Sat, 12 Nov 2005 17:48:52 -0800 From: Daniel Subject: Re: More great PR for Sony BMG DanStark wrote: > It's on the home page of most major news outlets today. First the > discovery of a new virus, then a pair of trojans that use Sony's CD > rootkit to their advantage. Also, the inevitable class action > lawsuit. Thanks, Sony, now *that's* entertainment! Has this been posted? Which CDs have the rootkit: http://www.eff.org/deeplinks/archives/004144.php ------------------------------ Date: Sat, 12 Nov 2005 18:24:18 -0800 From: Bowen Simmons Subject: Fwd: More great PR for Sony BMG This whole thing has such a bizarre quality to it: the record companies are trying to get people to buy, not pirate music, so they make sure that customers who legally buy their music get scary malware installed on their computer. Not to mention, of course, that those who've installed it really have something to look forward to with their next operating system upgrade: will their computer still work once the Sony malware meets the new OS? Who knows? No company ever was so richly deserving of the beating that Sony is taking on this. Bowen On Nov 12, 2005, at 5:48 PM, Daniel wrote: > DanStark wrote: > > >> It's on the home page of most major news outlets today. First the >> discovery of a new virus, then a pair of trojans that use Sony's CD >> rootkit to their advantage. Also, the inevitable class action >> lawsuit. Thanks, Sony, now *that's* entertainment! >> > > Has this been posted? Which CDs have the rootkit: > http://www.eff.org/deeplinks/archives/004144.php ------------------------------ Date: Sun, 13 Nov 2005 14:39:56 +1050 From: "afries@internode.on.net" Subject: Re: Fwd: More great PR for Sony BMG > No company ever was so richly deserving of the beating > that Sony is taking on this And yet they are not taking enough beating to satify me. They are not bankrupt, their headquarters are not in flames, and senior executives still walk around, their kneecaps intact. And people keep buying stuff from them! Go figure... ------------------------------ Date: Sat, 12 Nov 2005 22:51:28 -0800 From: "Jack Sutton" Subject: RE: Fwd: More great PR for Sony BMG Sony is just a small player in the criminal corruption and greed driven exploitation of our planet that has been hijacked by world corporations. The only power we the people (that support and allow these criminals to survive) are to boycott their products. It can be done on a local level. Examine the products you buy and what price our environment and our culture pay to support sweat shops and unfair labor practices. You don't have to look far, try Safeway, Walgreens, Walmart, Starbucks, Tower, Sony, Aol, and I could run out of bandwidth forever to list the rest. Just a suggestion, Jack > -----Original Metssage----- > From: owner-ecto@smoe.org [mailto:owner-ecto@smoe.org] On Behalf Of > afries@internode.on.net > Sent: Saturday, November 12, 2005 7:50 PM > To: ecto@smoe.org > Subject: Re: Fwd: More great PR for Sony BMG > > > No company ever was so richly deserving of the beating > > that Sony is taking on this > > And yet they are not taking enough beating to satify me. > They are not bankrupt, their headquarters are not in flames, > and senior executives still walk around, their kneecaps > intact. > > And people keep buying stuff from them! Go figure... ------------------------------ Date: Sat, 12 Nov 2005 22:08:43 -0800 From: Sue Trowbridge Subject: Re: Fwd: More great PR for Sony BMG On 11/12/05, Jack Sutton wrote: > Sony is just a small player in the criminal corruption and greed driven > exploitation of our planet that has been hijacked by world corporations. > The only power we the people (that support and allow these criminals to > survive) are to boycott their products. It can be done on a local level. > Examine the products you buy and what price our environment and our > culture pay to support sweat shops and unfair labor practices. You don't > have to look far, try Safeway, Walgreens, Walmart, Starbucks, Tower, > Sony, Aol, and I could run out of bandwidth forever to list the rest. I'm not a fan of the ubiquity of the Starbucks chain, and always make an effort to seek out a locally owned shop if I need a coffee fix, but Starbucks is generally recognized as paying good wages and benefits to its employees. And if you have to choose between buying your groceries at Safeway (unionized) vs. Wal-Mart (aggressively non-union), well, there's no contest. Costco is another chain that pays relatively high wages to its employees. Buying at chain stores is a fact of life for most people so if you *have* to patronize one (and when it comes to things like groceries, you probably do), you should do some research and not just assume that they're all equally evil. - --Sue ------------------------------ End of ecto-digest V11 #310 ***************************