From: owner-lucy-list-digest@smoe.org (lucy-list-digest) To: lucy-list-digest@smoe.org Subject: lucy-list-digest V4 #157 Reply-To: lucy-list@smoe.org Sender: owner-lucy-list-digest@smoe.org Errors-To: owner-lucy-list-digest@smoe.org Precedence: bulk lucy-list-digest Sunday, July 14 2002 Volume 04 : Number 157 In this issue: [lucy-list] Lucy in Westbury 7/12 [lucy-list] the NPR interview Re: [lucy-list] the NPR interview Re: [lucy-list] the NPR interview Re: [lucy-list] the NPR interview Re: [lucy-list] the NPR interview Re: [lucy-list] the NPR interview [lucy-list] assumptions... RE: [lucy-list] the NPR interview ---------------------------------------------------------------------- Date: Sat, 13 Jul 2002 07:33:29 -0400 (EDT) From: "Benay Bubar" Subject: [lucy-list] Lucy in Westbury 7/12 OK, first I just have to say...TWO nights in a row of seeing Lucy and NOT seeing waterbugs upon arriving home! Maybe the pattern really is broken...or maybe the waterbugs just don't realize I've been to see Lucy (I've been trying to keep from saying her name aloud in the apartment, just in case). WELL...it occurred to me that I might sound like a more credible reviewer if, amidst all I tend to say about how wonderful Lucy was after every show, I occasionally threw in a little criticism, a little angst, a little dissatisfaction. So OK, let's see...well, tonight in Westbury I was unhappy that Lucy didn't get to stay on the stage all the time and sing for the ENTIRE show...no, guess that doesn't work as criticism. But hey, Lucy doesn't make it easy for me to come up with anything negative...sorry, but she really DOES just keep getting better every time I see her! This show was unusual for several reasons. For instance, there were several other singers there aside from Lucy: Judy Collins, Tom Paxton, Beth Neilsen Chapman, and Arlo Guthrie. (You may have heard of them, as they seem to have developed sort of a following!---grin.) Virtually all of them said lovely things about Lucy, whose set was first after Judy Collins's introductory songs, and all of them had at least one or two songs in their individual sets that I really enjoyed. Arlo Guthrie was particularly neat...he talked about how singing sad songs made him happy...it was almost verbatim what Lucy says on the subject, though I doubt they'd ever consulted one another about it! Arlo also recited a "poem about mooses" that turned out to be a children's book he wrote, and that was weirdly wonderful. Tom Paxton did a nice set of songs, including The Last Thing On My Mind, which was to me a Cry Cry Cry song because of the Bleecker Street album---I wished Lucy were singing with him on it! I was unfamiliar with Beth Neilsen Chapman, but she did some songs I rather liked...at the end of her set she broke into This Kiss, which I hadn't realized she'd helped write, and the pop-radio familiarity of the song was an odd contrast (oh, yeah...mainstream music...I remember that...before I discovered folk!). And Judy Collins was, well, Judy Collins---far more captivating than I would ever have expected before I'd seen her live. They had the timing worked out much better than when I saw Judy Collins and Lucy with Richie Havens and Tom Rush in Newark in April...each of the four "guests" did a 20-minute set, a time limit they pretty much stuck to, and then Judy did a longer set, and they all sang together on several encores. The venue was, fascinatingly, a theater in the round with a rotating stage! I'd heard about the rotating stage, though I'd never seen it before...I couldn't quite picture it before seeing it, because all I could think of was those playground contraptions kids spin around on, faster and faster until they get sick, and that didn't sound like a promising concert concept! As it turned out, it WAS a round stage that rotated, but very sedately and sometimes in fits and starts and in different directions. It was a strange yet intriguing way to see a show...here are the singers...now you see 'em, now you don't...seldom was anyone totally hidden, but at least half the time you could only see the back of whomever you were watching. The rotation and the songs interplayed in odd ways in my mind. For instance, my memory of Lucy's set goes like this: Written on the Back of His Hand (Lucy directly in front of me, to my left, drifts slowly right, counterclockwise...by the second stanza, she's centered...then she's going, going...) Intro where Lucy says how much she was influenced by Judy Collins and how neat it is that she used to listen to Judy as a teenager and how now Judy just gave her a kiss and said nice things about her (Lucy's way off sideways, can't see her face...but I notice that the stage lights from the back, shining off of her hair and perhaps the leather jacket---no leather pants this time, by the way, just blue jeans---give her this neat ethereal Touched-By-An-Angel sort of glow) Don't Mind Me (she's facing the other way, way on the other side of the stage to my right, so I hear it rather than see it) Land of the Living (she's still backward, but to my left...huge amounts of applause again...incidentally, every single one of the performers did some song related to September 11th, and Judy Collins's was particularly moving, but Lucy's song remained the most powerful) Short intro about true love but no time for the bug part (yes, she's coming back...closer...closer...) Ten Year Night (and here she is! In front of me again!) Lucy said she liked moving around and was actually going to miss it when she got offstage! I liked it fine, too, especially since the two songs for which I really got to SEE Lucy, WOTBOHH and TYN, were my favorite ones to watch her play. But it was funny how anxious one could get when the stage was facing the opposite way...come on, TURN, TURN!...and how correspondingly greedy one could become when the stage was in the perfect viewing position...come on, STOP, STOP! (Haven't yet mentioned that the audience seemed much more aware of Lucy than the Newark Judy Collins crowd had been---she got a great deal of heartfelt applause. And in a quick trip to the ladies' room at intermission, I heard the following conversation between two older women: "Lucy..." "Lucy Kaplansky?" "Lucy Kaplansky." "Lucy Kaplansky?" "Lucy Kaplansky." I could not for the life of me manage to hear more, so I have no idea whether they were actually discussing Lucy or just randomly enjoying the repetition of her name...which does, after all, roll off the tongue quite pleasingly. But they sounded quite enthused in any case, which I took as a positive sign!) The encores, with everyone onstage together, were: City of New Orleans There Are Places I Remember (not sure of its name) Wild Mountain Thyme (?) Will the Circle Be Unbroken Amazing Grace My favorite of the encores was Will the Circle Be Unbroken, because Lucy got to sing lead for the first few lines to start it off. Like The Water Is Wide from last night, it was a song I'd heard a number of times before and liked but not been particularly wild about...and then there was Lucy's voice singing it, and things were different. I really couldn't see her at that point---she was on the part of the stage rotated most away from me, blocked by the piano---but her voice (the sound was excellent all night) rang out loud and clear and gorgeous, and I had one of those moments it's hard to believe I still have now and then (but I do) when I felt as if I were hearing that voice for the first time, and I thought for a split second, "Wow, whoever that is deserves to be my favorite singer!" And then I realized, well, yes, that's Lucy, and she already IS my favorite singer and has been for the last four and a half years, give or take a few months...and then I thought, gosh, whatever my many faults may be, I really do have STUNNINGLY excellent taste in favorite singers! :-) And I got to say hi to Lucy and Rick amidst the sales/signing mob. And I was delighted to finally meet Kristen, talented creator of The Book that we all were so impressed with and so thrilled to give Lucy. (Libby, I'm sorry I haven't met YOU yet...but we have to somehow meet at Falcon Ridge!). And even though it took me three hours to get home (the classic NYC transit odyssey) and an hour to write this and I have to be up in a little more than four hours to listen for Lucy's NPR interview (four hours...heck, why go to bed?), I can't complain. Lucy proved tonight once again that not just I, but ALL of us who love her voice and her music have truly excellent taste! Benay poised to react to the NPR interview, but passing the LIVE Lucy-reporting torch to Sharon and Kristen and Libby and whoever else is off to New Bedford...I would have loved to go but couldn't...so full reports, please!!! ------------------------------ Date: Sat, 13 Jul 2002 10:17:44 -0400 From: "Benay Bubar" Subject: [lucy-list] the NPR interview Well, here I sit this morning with that vague dull sick feeling one gets after one has gone to bed when it's already getting light outside, then gotten up just a couple of hours later---haven't done all-nighters since college, and now I know why. But even after the excitement of last night's show, and coming home and taking forever to write a post about it, I couldn't bear to sleep in and miss Lucy's NPR interview with Scott Simon, which just aired here in NY from 8:45 to 9 a.m. Maybe they archive these things and anyone who missed it will hear it later, but I'll give a synopsis anyway because hey, I feel like it (and I think that if one can manage to feel like doing ANYTHING while suffering from post-all-nighter malaise, one should go for it!) So they played a piece of Goodnight first, and Scott Simon talked about how they'd played it a couple of weeks ago on NPR and lots of people had written in to ask about it, and it was Lucy Kaplansky, a clinical psychologist who had left music and then returned to it...and then there was Lucy. He asked how music was like clinical psychology, and Lucy talked about finding emotional truth...he played part of Written on the Back of His Hand and they spoke of its being about physical/emotional abuse...and the "one true word's gonna beat a pack of lies" line and how again finding emotional truth is important and Lucy thinks psychotherapy is very valuable and it was through psychotherapy that she realized she wanted to sing even though she was telling people she'd stopped. A piece of Every Single Day played, and then Scott Simon said "I listened to this the first time and thought it was about someone you knew, and then I listened the second time and thought it was about YOU before you left music!" Lucy said she hadn't considered that, but hmmm, there COULD be some truth in it. (How else, I wonder, can that sort of question be answered except "yes, there's what it means to me too" or else "there COULD be some truth to that, but I haven't thought about it"? You never quite know how the interviewer is going to interpret things, and I had this sudden mental picture of Scott Simon playing something else of Lucy's and saying something like, "You know what I think this song is about, Lucy?...African elephants!" and Lucy's saying again, nicely, "Well, I hadn't thought of that, but there COULD be some truth to it...") On to Don't Mind Me...the love song with a "stalker element"...and how it was written for a movie---Lucy said "Sherman Alexie" and Scott Simon triumphantly said "Smoke Signals!" and she had to explain about its being a movie never to be made. On songwriting...Lucy mentioned writing with Rick, and how songs take her anywhere from a week to six months and someone told her they have to fall from the sky into your lap...then on to Song for Molly, how it was a meditation on memory and what women can pass on to one another...finally, You're Still Standing There and Lucy's saying she danced around to it desperately wanting to sing it when she first heard the song on Steve Earle's album. Last question: did Lucy plan to retire from music again? She had no plans to EVER reture from singing, she said...she'd have to be dragged away kicking and screaming. (A lucky thing...I believe lots of us would be kicking and screaming if she tried to leave music now!) Overall, Lucy herself came across very well...whenever I hear her interviewed I reflexively try to think of answers to the questions before I hear hers, and I usually find myself entirely tongue-tied...and then Lucy comes right out with a smooth, focused, friendly, intelligent answer and I am awed. This interview was no exception...I mean, of course she's been interviewed a lot, so she's had practice, but it's still a skill to be able to sound good in an interview---a different skill from singing---and Lucy's got it. General comments: I thought Scott Simon did a good job working the songs into the interview---playing pieces of lots of her songs from the CDs was a good way to introduce people to Lucy who might never have heard her, and he made some interesting choices of songs to play and ask her about, as well as some predictable ones. The only thing that bothered me a bit was that I thought he was a little TOO focused on the clinical-psychologist-leaving-music-and-coming-back angle. I mean, of course it's an extremely interesting and unique background for a singer/songwriter---I remember first discovering Lucy and being intrigued to find it out---and Lucy talks about it well too, so I wouldn't argue that it shouldn't be mentioned and discussed. But I've been listening to Lucy's music and seeing her shows for four and a half years now, which means she's been "back" in music even longer than that, because I'd never heard of her before she "left"---and OK, that's not 20 years, but still, it seems like she's now been BACK in music, and successful at it, for a long enough time that she shouldn't so often be treated as this psychologist who used to be a singer and is now JUST trying to start things up again! I end up wondering what gets missed every time the focus is placed TOO heavily on the "Dr. Kaplansky" (or "Dr. Lucy," as she said to Scott Simon today) angle. There are so many interesting avenues to explore in Lucy's songs without necessarily having to relate them all directly to psychology simply because she's a psychologist...and I think that gets missed sometimes. In any case, despite the above meditations, it was a Lucy interview well worth listening to, and I'll bet it won her a lot of new fans. And now...at least for a little while...BACK TO BED! Benay who is sleepily wondering if anyone else was home to hear the interview or if EVERYONE else is in fact in New Bedford...and who will stop monopolizing the list for the moment... ------------------------------ Date: Sat, 13 Jul 2002 17:52:43 +0200 From: Dierk Schlie Subject: Re: [lucy-list] the NPR interview Thanks Benay for you fine line ... Hope you're sleeping well right now ... The NPR Interview with Dr. Lucy was - thanks to your lovely time zones over there - just aired on the West Coast (KCRW), and until NPR archives it, it's here http://www.yellow-tigerduck.de/downloads/more1/ Have a fine weekend over there dierk Benay Bubar wrote: > ... > In any case, despite the above meditations, it was a Lucy interview well > worth listening to, and I'll bet it won her a lot of new fans. > > And now...at least for a little while...BACK TO BED! > > Benay > who is sleepily wondering if anyone else was home to hear the interview or > if EVERYONE else is in fact in New Bedford...and who will stop monopolizing > the list for the moment... ------------------------------ Date: Sat, 13 Jul 2002 15:29:59 -0400 (EDT) From: " Gina" Subject: Re: [lucy-list] the NPR interview Hey Benay, Thanks for the great reviews! The concert sounds wonderful, even though I can barely handle the voice of Judy Collins. I like the woman and I like the music, just can't stand the voice and vocal technique or something. As for the interview. Did she even get close to who ESD is about? It HAS to be about Nanci Griffith. I find this so interesting. I was going to ask Lucy if it was about Nanci when I last saw her in concert, but forgot. I hope someone asks. As for the PhD part, interviewers always like to discuss backgrounds like that. It can get old though - especially for those of us who know it already. It can work for or against you too. Darryl Purpose comes to mind. He used to be a world renown professional black jack player. He has the ability to "count cards" like in the movie "Rainman" where Tom Cruise takes Dustin Hoffman to the casino. I find it kind of cool that he was able to beat the casinos at their own game because of this skill. (Of course the casinos treat him like public enemy #1 and he has been banned from all of them.) Anyway, my point is that I know several people who are really turned of by this past of his and assume that because he did this, there is something "seedy" about him. I'm sure assumptions are made about shrinks too. So, the details of the past can cause some limitations. BTW, you all know that Darryl and Lucy made a song together right? It's "Ring on My Hand." Just some thoughts. Gina - ----- Original Message ----- From: "Benay Bubar" To: Sent: Saturday, July 13, 2002 9:17 AM Subject: [lucy-list] the NPR interview > Well, here I sit this morning with that vague dull sick feeling one gets > after one has gone to bed when it's already getting light outside, then > gotten up just a couple of hours later---haven't done all-nighters since > college, and now I know why. But even after the excitement of last night's > show, and coming home and taking forever to write a post about it, I > couldn't bear to sleep in and miss Lucy's NPR interview with Scott Simon, > which just aired here in NY from 8:45 to 9 a.m. Maybe they archive these > things and anyone who missed it will hear it later, but I'll give a synopsis > anyway because hey, I feel like it (and I think that if one can manage to > feel like doing ANYTHING while suffering from post-all-nighter malaise, one > should go for it!) > > So they played a piece of Goodnight first, and Scott Simon talked about how > they'd played it a couple of weeks ago on NPR and lots of people had written > in to ask about it, and it was Lucy Kaplansky, a clinical psychologist who > had left music and then returned to it...and then there was Lucy. He asked > how music was like clinical psychology, and Lucy talked about finding > emotional truth...he played part of Written on the Back of His Hand and they > spoke of its being about physical/emotional abuse...and the "one true word's > gonna beat a pack of lies" line and how again finding emotional truth is > important and Lucy thinks psychotherapy is very valuable and it was through > psychotherapy that she realized she wanted to sing even though she was > telling people she'd stopped. > > A piece of Every Single Day played, and then Scott Simon said "I listened to > this the first time and thought it was about someone you knew, and then I > listened the second time and thought it was about YOU before you left > music!" Lucy said she hadn't considered that, but hmmm, there COULD be some > truth in it. (How else, I wonder, can that sort of question be answered > except "yes, there's what it means to me too" or else "there COULD be some > truth to that, but I haven't thought about it"? You never quite know how the > interviewer is going to interpret things, and I had this sudden mental > picture of Scott Simon playing something else of Lucy's and saying something > like, "You know what I think this song is about, Lucy?...African elephants!" > and Lucy's saying again, nicely, "Well, I hadn't thought of that, but there > COULD be some truth to it...") > > On to Don't Mind Me...the love song with a "stalker element"...and how it > was written for a movie---Lucy said "Sherman Alexie" and Scott Simon > triumphantly said "Smoke Signals!" and she had to explain about its being a > movie never to be made. > > On songwriting...Lucy mentioned writing with Rick, and how songs take her > anywhere from a week to six months and someone told her they have to fall > from the sky into your lap...then on to Song for Molly, how it was a > meditation on memory and what women can pass on to one another...finally, > You're Still Standing There and Lucy's saying she danced around to it > desperately wanting to sing it when she first heard the song on Steve > Earle's album. Last question: did Lucy plan to retire from music again? She > had no plans to EVER reture from singing, she said...she'd have to be > dragged away kicking and screaming. (A lucky thing...I believe lots of us > would be kicking and screaming if she tried to leave music now!) > > Overall, Lucy herself came across very well...whenever I hear her > interviewed I reflexively try to think of answers to the questions before I > hear hers, and I usually find myself entirely tongue-tied...and then Lucy > comes right out with a smooth, focused, friendly, intelligent answer and I > am awed. This interview was no exception...I mean, of course she's been > interviewed a lot, so she's had practice, but it's still a skill to be able > to sound good in an interview---a different skill from singing---and Lucy's > got it. > > General comments: I thought Scott Simon did a good job working the songs > into the interview---playing pieces of lots of her songs from the CDs was a > good way to introduce people to Lucy who might never have heard her, and he > made some interesting choices of songs to play and ask her about, as well as > some predictable ones. The only thing that bothered me a bit was that I > thought he was a little TOO focused on the > clinical-psychologist-leaving-music-and-coming-back angle. I mean, of course > it's an extremely interesting and unique background for a > singer/songwriter---I remember first discovering Lucy and being intrigued to > find it out---and Lucy talks about it well too, so I wouldn't argue that it > shouldn't be mentioned and discussed. But I've been listening to Lucy's > music and seeing her shows for four and a half years now, which means she's > been "back" in music even longer than that, because I'd never heard of her > before she "left"---and OK, that's not 20 years, but still, it seems like > she's now been BACK in music, and successful at it, for a long enough time > that she shouldn't so often be treated as this psychologist who used to be a > singer and is now JUST trying to start things up again! I end up wondering > what gets missed every time the focus is placed TOO heavily on the "Dr. > Kaplansky" (or "Dr. Lucy," as she said to Scott Simon today) angle. There > are so many interesting avenues to explore in Lucy's songs without > necessarily having to relate them all directly to psychology simply because > she's a psychologist...and I think that gets missed sometimes. > > In any case, despite the above meditations, it was a Lucy interview well > worth listening to, and I'll bet it won her a lot of new fans. > > And now...at least for a little while...BACK TO BED! > > Benay > who is sleepily wondering if anyone else was home to hear the interview or > if EVERYONE else is in fact in New Bedford...and who will stop monopolizing > the list for the moment... ------------------------------ Date: Sat, 13 Jul 2002 14:48:51 -0500 From: "Richard Hill" Subject: Re: [lucy-list] the NPR interview <> Gina, The song is very definitely about Nanci Griffith, and specifically her 8-19-00 Rocky Mountain Folks Fest 'bad day'. The details are all right there in the lyrics. Yes, the song is more than just that, I suppose, but that day is certainly the crux. I am equally certain that Lucy would never publicly say "what it's about". ~Richard ------------------------------ Date: Sat, 13 Jul 2002 13:03:41 -0500 From: " Gina" Subject: Re: [lucy-list] the NPR interview Yes, the details really are there. It seems obvious to me too. But, to make it the title song of an album is a pretty public thing to do and the events of the evening were very public So, it's really NO secret. I can't imagine that Lucy would want to create any tension with Nanci Griffith or anyone else for that matter. That is why the whole thing intrigues me. Either Nanci must have given her approval to immortalize her "bad day" or she is totally clueless about the whole thing, which I doubt. Gina - ----- Original Message ----- From: "Richard Hill" To: Sent: Saturday, July 13, 2002 2:48 PM Subject: Re: [lucy-list] the NPR interview > < to be about Nanci Griffith. I find this so interesting. I was going to > ask Lucy if it was about Nanci when I last saw her in concert, but forgot. I > hope someone asks. >> > > Gina, > The song is very definitely about Nanci Griffith, and specifically her > 8-19-00 Rocky Mountain Folks Fest 'bad day'. The details are all right there > in the lyrics. Yes, the song is more than just that, I suppose, but that day > is certainly the crux. > > I am equally certain that Lucy would never publicly say "what it's about". > > ~Richard ------------------------------ Date: Sat, 13 Jul 2002 13:21:19 -0500 From: " Gina" Subject: Re: [lucy-list] the NPR interview Dierk! Thanks for recording the NPR interview. It was a really good one :-) Gina - ----- Original Message ----- From: "Dierk Schlie" To: Sent: Saturday, July 13, 2002 10:52 AM Subject: Re: [lucy-list] the NPR interview > Thanks Benay for you fine line ... Hope you're sleeping well right now > ... > > The NPR Interview with Dr. Lucy was - thanks to your lovely time zones > over there - just aired on the West Coast (KCRW), and until NPR archives > it, it's here > > http://www.yellow-tigerduck.de/downloads/more1/ > > Have a fine weekend over there > > dierk > > Benay Bubar wrote: > > > ... > > > In any case, despite the above meditations, it was a Lucy interview well > > worth listening to, and I'll bet it won her a lot of new fans. > > > > And now...at least for a little while...BACK TO BED! > > > > Benay > > who is sleepily wondering if anyone else was home to hear the interview or > > if EVERYONE else is in fact in New Bedford...and who will stop monopolizing > > the list for the moment... ------------------------------ Date: Sat, 13 Jul 2002 21:58:23 -0400 From: "Benay Bubar" Subject: [lucy-list] assumptions... Hmmm...didn't know that about Darryl Purpose. How interesting! I don't know much about him at all, but I have heard "Ring on My Hand." And now I'm kind of intrigued by what you said, Gina, about assumptions that are made based on people's pasts. I was implying earlier there was sometimes a bit TOO much emphasis on Lucy's psychologist past, and here I go sounding like a total hypocrite and belaboring the subject...but now I'm thinking, just as an interesting sidenote...DID finding out about Lucy's psychology background affect me when I first became a fan, and did I make any assumptions based on that? I don't think it greatly affected my reaction to the music...I mean, undeniably there are psychological influences in Lucy's songs (WOTBOHH comes to mind---Scott Simon wasn't wrong about that---and Nowhere does, too), but by and large, I think I would have loved the music just as much whether Lucy had been a psychologist or a cattle rancher in her "former life"! I think the psychology aspect did initially affect the way I viewed Lucy herself, though. It made me view her as more approachable somehow. Not in the sense of, "Oh, she's a psychologist, therefore she'll automatically know and understand me completely and solve all my problems"---while I don't have an advanced degree, I was a psych major in college and know enough to realize it's not some big magical thing like that! But of all the singer/songwriters I like a lot and try to see whenever possible---Dar, the Nields, Susan Werner, Richard Shindell, John Gorka, etc.---Lucy is the only one I make a point of trying to say hi to after shows, and I think my knowing about her psychology background may have something to do with why this is true. I used to get CDs signed by performers whenever I could, but I'm sadly subject to that not-so-unusual syndrome whereby as soon as I reach the front of the line, I feel as if my entire vocabulary has been sucked out of my brain and I can barely blurt out the spelling of my name. The performers are all accustomed to such afflictions in their fans, of course, and were always perfectly nice to me, but I felt awkward, and with most of them, I kept enjoying the performances but soon stopped trying to get in line to talk to them afterward except if I was with a group, and sometimes not even then. It was only with Lucy that I persevered. As per usual for me, early on I'd work up the courage to wait and say hi to her after a show and get a CD signed and then promptly go virtually speechless and decide that she must think (if indeed she thought anything of me at all) that I was a complete idiot. But then I was sort of able to convince myself that with all her psychology training, she'd somehow have some deeper understanding of the fact that my speechlessness didn't actually mean I had no thoughts in my head. So I'd take a deep breath the next time and work up the courage to go up to her after the show...and do the exact same thing. And gradually, I found I could get up to see Lucy with SOME small percentage of my vocabulary intact, and the percentage became greater as time went on. (In all honesty, I still don't feel I've gotten to the point of having ALL my wits about me when I speak to Lucy---I'm not consciously intimidated by her at all these days, and she's incredibly nice, but I think there's just something about standing in line that breeds nervousness.) So fine, I'm still a little nervous, but that's really OK because I DO feel like Lucy realizes there's a bit more to me than the not-always-very-fluent Benay who tends to appear before her after shows! And no, at this point I don't actually believe she knows it because of her psychology training. It's much more likely that she knows it just because she's Lucy Kaplansky, singer/songwriter and human being who no doubt encounters lots of adoring yet tongue-tied fans. But I think knowing about her psychology background let me play a little con game with myself for a while that helped me get comfortable enough so I could talk to her, as hugely as I admire her, without feeling that internal pressure to be brilliant and articulate at every moment, and I'm grateful for that. It's enough that Lucy knows when I'm there that I feel privileged to get to hear her sing and happy to see her. Stepping off soapbox now, Benay ------------------------------ Date: Sat, 13 Jul 2002 22:19:49 -0700 From: "Susan Krauss" Subject: RE: [lucy-list] the NPR interview I agree that the incident at RMFF with Nanci sparked Every Single Day. Lucy said in the interview that the song was a composite of a lot of performers she's known. I'm not sure all the verses are all about Nanci - I think there's a touch of Shawn and Suzanne in there as well. Nanci brought Lucy up on stage at the Kate Wolf Festival a couple of weeks ago and talked glowingly of Lucy's harmonies on Mary Margaret and other songs. There did not seem to be any tension between them. susan in alameda who witnessed Nanci's RMFF performance and Lucy & Nanci at Kate Wolf ------------------------------ End of lucy-list-digest V4 #157 ******************************* This has been a posting from the Lucy Kaplansky mail list digest To unsubscribe send mail to Majordomo@smoe.org with "unsubscribe lucy-list-digest" in the body of the message