From: owner-precious-things-digest@smoe.org (precious-things-digest) To: precious-things-digest@smoe.org Subject: precious-things-digest V2 #309 Reply-To: precious-things@smoe.org Sender: owner-precious-things-digest@smoe.org Errors-To: owner-precious-things-digest@smoe.org Precedence: bulk X-To-Unsubscribe: Send mail to "precious-things-digest-request@smoe.org" X-To-Unsubscribe: with "unsubscribe" as the body. precious-things-digest Monday, November 3 1997 Volume 02 : Number 309 Today's Subjects: ----------------- Another Tori Magazine Appearance (UK) [Mike Gray ] New Tori Commercial [jlovoi@sps.edu (Space Dog)] Demos and Studio Outtakes [Dennis Snelders ] Re: tori in Texas??? [Nadyne Mielke ] icing (baker baker in UtP) [aliciau@ibm.net] Tori in Boston Phoenix, 9/19-26/96 [Richard Handal ] ---------------------------------------------------------------------- Date: Sat, 01 Nov 1997 11:26:34 +0000 From: Mike Gray Subject: Another Tori Magazine Appearance (UK) Thumbing through the pages of PC Pro this month, I came across an advert for another magazine published by the same group, called "Escape". I'd never heard of it before and I don't think I've seen it, apparently it's quite new. Anyway, the front cover lists Tori as one of the features, under a section called "Exposed". If anyone passes a copy of the magazine in the shops (November '97 #8), perhaps they could take a look and tell us what the article is about? Cheers Mike E-mail : michael@pta15.u-net.com (\o/) and visit my web pages at http://www.pta15.u-net.com/mike/index.html /_\ for Gloria Estefan, Peach and Erasure information and Links! e.d.a. Erasure/Wonderland stuff at http://www.pta15.u-net.com/wonderland/index.html Why not visit my *UPDATED* web pages and sign the guestbook today? Then listen to "White On Blonde" by Texas ------------------------------ Date: Sun, 2 Nov 1997 04:06:30 -0500 (EST) From: Richard Handal Subject: Re: Spongey's meet with Tori Yvette responded to my post-- > Hi Richard! :) :-) Hi. > Frankly, you are one of the luckiest people I know. One of the most well-traveled, at least. ;-) No, you're right. I was lucky to have been able to see a lot of shows in many cities last year, and to have been able to click with Tori on some level. Good thing I lost my job early last year, huh? I have yet to go back and kiss my boss who had to give me the news. He'd probably not mind if I never got around to that, anyway. > To have met Tori *four* times, and to have become friendly with her, > amazes me. Actually, I met her 13 times. And I'm not sure what you mean by becoming friendly with her. Every once in a while after I've posted something about talking to Tori, someone writes me and says, "I didn't realize you know Tori." I always tell them that as much give and take as we had, that I still only know her from seeing her around shows just like everyone else, and I don't consider it "knowing" her. I want to put a stop to anyone thinking I really know her. I never talked with her without her game face on. Let's be clear about that. She knows who I am, and she even asked me to do some odd little favors for her, but that's the long and the short of it. > More than that, the fact that you were able to not freak out when you > met her also speaks volumes. HA HA HA HA! Who *said* I was able to not freak out when I met her? The first time I spoke with her I could barely mumble while shaking. I needed to really have a conversation with her, but there were too many people in the blazing sun that afternoon for that to make any sense, so I managed to give her a note from my best friend and told her I wanted to get her ear for a couple minutes, but I thought another time would be better for that. She agreed and thanked me for that. That next time turned out to be three days and 850 miles later. I thought I was gonna just plain faint. I thought my knees were gonna collapse. I thought I was gonna throw up. I was unable to keep my composure, and was soon totally crying my eyes out and she was biting her lip and holding back tears. Joel's cell phone rang and he answered it for a second, and then he told her "They'll be ready for you in a couple minutes." I felt awful for taking her time that way, so I started to back away while apologizing. She waved me back to her and called out to me, "No, no--come back." Then she turned to Joel and said, "Just another couple minutes." I never mentioned that before publicly. By pure coincidence, the second concert that night was to be my only show in the front row--right in the middle. When she first came out she spent a few minutes looking over at me like, "Is that *really* the guy from this afternoon?" At the end of that concert, she gave her standard "turning with both hands up in the air" kind of wave to the audience, and then she turned right to me from about fifteen feet away and gave me my own little personal wave and walked off the stage. Is it any wonder I came to be so attached to her? She's incredibly wonderful. > I think if she wants to meet us she'll find a way. If she doesn't, she > won't. I think so, too. You know, not many people know this, but there were a few days when it was raining before shows, and she couldn't meet us in the usual way. On some of those occasions, she had people ONE AT A TIME UP INTO HER BUS to meet with them. That is completely astonishing to me. > We the fans need to realize how lucky we are that she even takes > the time to meet with us, and even tries to give us as much personal > attention as possible. That's exactly right. > But you, Richard, also need to understand that most of us are not used > to meeting someone we respect so much and who has touched our personal > lives so deeply as Tori has. So it's normal to want to realize that > she's human (that's why I went to meet her, just to know that she is > after all just like us, flesh and bone...), but it is still incredibly > difficult to keep your emotions in check. I'm not exactly sure what you're saying, there, but I totally hope everyone who has a need or strong desire to meet her can do so. Partly because, damn, she's wonderful; but also, as you say, I think it's good for people to see her as human. I know a lot of people are being hyperbolic with all the stuff about calling her a goddess, but it still makes me a little uncomfortable. I can't imagine it does much for Tori, either! Imagine if people were regularly acting as if you were some form of diety. How can anyone be expected to deal with that on a rational basis? I don't think it's healthy for anyone concerned. > Agent Orange was nice enough to me and the others. I can see that he > wants to protect her, (it's his job and he also seems to care very much > about her) although he can be a little intense. He definitely needs as much calm as can be arranged with a lot of people around her, so he can easier see any sudden movements, or anything out of the ordinary. > There was also this other fellow, another bodyguard, I assume, with > black hair, a very large man, very built. We called him "The Roman" > although he may be called something else by others. Steve Sanchez. Tori's number two in security. Tori always called him Steve, and called Steve Caton, Caton. I think that's one reason some of us got into the habit of calling Caton, well, Caton. > *He* was very rude to us, like a bull dog, mean, and he didn't seem to > care that Tori might actually want to meet us. I didn't like him at > all. :P Yeah, he was rude, dismissive, and condescending to a lot of people for a lot of the tour. That was unfortunate. I'm happy to report, though, that somewhere around early October last year, he started to calm down a lot. Perhaps much of that was that he was seeing a lot of "regulars" at that point who he knew would be no trouble, but I think partly, even he saw that all the stuff going on was important to a lot of people. He seemed like a decent guy deep down. It's a shame he wasn't nicer to more of them during the whole tour. It's funny--at the barricade in Boulder before the final show of the tour last year, a friend of mine wanted to take Steve's picture. He refused to pose. A number of minutes later he came out with his own camera, and wanted to take pictures of all of *us* standing there at the barricade. I yelled to him after that, "Hey, Steve--now you *have* to let us take your picture." And he did. He even came into the middle of the crowd and posed with a number of people. He was smiling and joking with us all afternoon. He probably recognized 80% of us from other parts of the country. People were there from all over. It was amazing to see that. In Binghamton, N.Y. on October 6 last year, some girl was saying that she had given Tori a rubber rat on an earlier leg of the tour. Steve got all friendly and told her, "Yeah, we got a lot of use out of that rat." The girl ended up with Tori giving her tickets to the show that night. > > I heard that someone also tried to rush her during one of the > > pre-soundcheck meetings last year, which was why they started to use > > barricades between her and us if there were more than a few of us. [...] > I think I know the incident your talking about. I met the guy, and he > was a nice guy. In fact, he was right next to me when I met her, and he > was just a devoted fan. He went to a pre-soundcheck meeting to meet her. > He just wanted to give her a poem he'd written for her, but apparently > Agent Orange stopped him, and he tried to get past him to give it to her, > and there was a minor scuffle (this guy was a lanky, *really* skinny kid, > not even half the size of Joel Hopkins!), which scared Tori. I never heard about that incident, and it may very well be the one I'd heard about. I can certainly see why no one wanted to see *that* happen again! People can't be allowed to go past security! From the stage in Boston on September 9 last year, Tori told of another tense incident. This crazed New York City guy named Frankie (Tori said he supposedly had "everything" pierced, but she could not confirm that ) who always would speak with her in NYC was running after her (I think he must have been late to meet her that day or something), and someone in Tori's security force physically tackled him. Frankie had something big bulging under his jacket, and Joel or whoever demanded to know what it was. It was a Winnie the Pooh book he wanted to give Tori. In retrospect, Tori obviously found this to be very amusing. You can imagine how bad an idea it is to be running after her, though! (BTW, those of you at the May 15, 1996 Madison Square Garden show in NYC will recall that it was Frankie's request earlier in the week which resulted in Professional Widow on the harmonium. She spoke with him from the stage that night.) > He wasn't attacking her, but it sounds like that was what you heard. I only heard exactly what I related--that someone had tried to rush her. It was not characterized to me beyond that. No one told me the person in question had evil intent. > The truth is that being in the entertainment business, any artist risks > putting themselves in that kind of position where someone could attack, > and I'm sure she knows that--why else would she have a bodyguard? But I > think she also knows that most of us are there because we respect her > and in some cases adore her. With between 20 and 60 people a day thanking her for changing their life, for the music, for RAINN and for speaking out about violence, giving her one book and stuffed animal after the other, yes, she definitely knows how people feel about her. I'm not sure where people think she might be able to *keep* some 8,000 stuffed animals while traveling on the road with three buses, two semi trucks and 30 people, but I heard that a lot of them were given to children's charities along the way. > It's a tricky situation because I always get the feeling that she loves > us back (as a collective)--she's a performer and she knows that she > really wouldn't be much without an audience. :) My feeling is that you're right about that, but that it goes much deeper. It's funny, because the more time I spent speaking with her dad and seeing him interact with folks at the shows, the more I saw in her of the way he operates. (And the intense stubbornness.) Think about it--he would always see his congregation in a reception line after each church service, shake their hands, and have brief, highly personalized exchanges with them. We're *her* congregation. Bizarre. Soon after the Diana death I heard something interesting which allayed some of my fears for Tori ending up in similar circumstances. It was an essay on the radio about differences between different types of celebrities, and how they relate to their fans. The guy was talking about how such media stars as Diana, as well as huge film actors, are usually in such a protected bubble that fans can't get up close to them, ask them for autographs, etc. He went on to describe how in the U.S., even the biggest sports stars (save maybe two of three) can travel alone and remain unmolested by the public. His point in this essay was that they were regularly accessible for autographs and photos, would chat with fans, whatnot, and that overall that's a much healthier state of affairs for all concerned. It was the mere fact of her isolation from the public in such a manner that made Diana such a prize for photographers. On Mike Whitehead's web site, he has a story of someone who was in a NYC department store in August, turned around, and there was Tori. What was she doing? Posing for a photo with someone. There's little need to chase someone like that for a photo. And has *anyone* in the world ever had her photo taken more than Tori? And, BTW, does the camera love anyone *more* than Tori? :-) > Personally I think *that's* why she comes out to meet us, and I think > she's willing to take the risks involved to let us know she cares too. She absolutely wants us to know she cares, yes. And frankly, I don't even think she realizes how she's changed the lives of some people by speaking to them for a few moments. > There are always sickos and freaks who want to track celebrities down > and just dog them because they are obsessed. Yes, and like a dog chasing a car, what would they do if they *caught* the car? I don't understand that entire dynamic. > However, I think it's safe to say that the larger majority of people > understand that she is human and has a right to privacy, even if she has > chosen a life in the public eye. To varying degrees, surely you are right about that. We all have our lines over which we would not cross, or would judge others if we saw *them* cross those lines. I feel I'm pretty far into respecting her privacy, but surely others would think *I'm* not respectful enough. I hope those people have nice lives somewhere--else. The knowledge that one sick person could be a danger to her means she has to have people around her who are ready to deal with that. I have a lot of faith in her to make the right decision about most things, because I've *seen* how brilliant she can be, so I hope she can manage to meet with us and still remain safe. This is incredibly long, and I'm not going to apologize. ;-) Be seeing you, Richard Handal, H.G. ------------------------------ Date: Sun, 2 Nov 1997 11:26:50 -0500 From: jlovoi@sps.edu (Space Dog) Subject: New Tori Commercial Hey! I don't know how long this has been out, but I don't watch TV so it's new to me. But MTV is running a commercial with Tori talking about food and just sorta babbling. I actually think it's pretty trippy but it's kinda obvious that they're trying to take her for a ride and make her out to be a crack-smoker. It doesn't offend me--I think it's a really kewl commercial, but anybody else have thoughts??? - --JOE ************************************************************** Alanis Underground www.geocities.com/SunsetStrip/6864 Listen, My Children www.geocities.com/SoHo/Lofts/4845 *NEW!*Old Dads Club www.geocities.com/Athens/Delphi/8220 *NEW!* "Years go by, will I still be waiting for somebody else to understand" Tori Amos "Don't let anyone look down on you because you are young, but set an example for believers in live, love, faith, and purity." I Timothy 4:12 ************************************************************** ------------------------------ Date: Sun, 02 Nov 1997 18:04:35 +0100 From: Dennis Snelders Subject: Demos and Studio Outtakes Hi! does anyone know where I can download audio files of cute little demos and studio outtakes such as 'when i was dreaming' and 'distant storm'? Thanks alot! Dennis S. - -- This message was sent by Dennis Snelders - ---------------------------------------- Tori Amos page 'Little Amsterdam' http://www.geocities.com/hollywood/lot/1017/littleamsterdam.html - ---------------------------------------- E-mail: dsnelders@geocities.com ------------------------------ Date: Sun, 2 Nov 1997 15:47:52 -0500 (EST) From: Nadyne Mielke Subject: Re: tori in Texas??? On Sat, 1 Nov 1997, AnaisBleu wrote: > I just heard a rumor (one that sounds crazy to me) that Tori is going to be in > Texas (I think Dallas or Houston) in December doing a show. . . a friend of a > friend supposedly says they're going to see her. Does anyone know if there;s > any truth to this? Well, there's no new material out for her until after Christmas, so I wouldn't hold my breath on that. The Great Expectations soundtrack won't be out until December or January, and the new album won't be out until this spring. The only way I could see this happening was if she was doing another one of those Christmas shows {several acts, each gets a 1/2 hour set or so, like the KROQ Almost Acoustic Christmas she did last year}, but they rarely thave their ticket lined up this early. ;) /nad *************************************************************************** * Nadyne Mielke, CS majour, Southern Tech, Marietta, GA * * * * "I regret to say that we of the FBI are powerless to act in cases of * * oral-genital intimacy, unless it has in some way obstructed interstate * * commerce. " -- J. Edgar Hoover * *************************************************************************** ------------------------------ Date: Sun, 2 Nov 1997 21:38:34 GMT From: aliciau@ibm.net Subject: icing (baker baker in UtP) Hi, I just bought UtP (I love it!!) and there is a part in Baker Baker in which she says: "Baker Baker can you explain if truly his heart was made of icing and I wonder how mine could taste maybe we could change his mind", and I don't really know what icing means. I know it's a mixture you use to cover cakes, I use it to cover my cakes, but I don't understand its meaning in this song. When she says "made of icing" does she mean good or bad? Thank you all so much, Alicia "tears on my pillow, of course they're not mine..." Tori Amos ------------------------------ Date: Sun, 2 Nov 1997 19:13:27 -0500 (EST) From: Richard Handal Subject: Tori in Boston Phoenix, 9/19-26/96 Hi, All: I just happened upon this last night. This reviewer knows music, and really understands Tori on a lot of levels. I always find it difficult to explain what makes Tori so wonderful and unique on a purely musical level, and why the concerts are so amazing, but this guy did a great job. I hope everyone will read it. I found this when I came across a pointer to it on Michael Whitehead's amazing web site. A Dent In The Tori Amos Net Universe http://www.aye.net/~mikewhy/toriamos.html I can't believe I missed this before. The scary thing is, I thought that Boston show was one of Tori's upper level, solid, straight ahead shows. I wonder what Mr. Schwartz might have written about some of the truly astonishing shows from last year. Be seeing you, Richard Handal, H.G. ____________________________________________________________________ http://bostonphoenix.com/alt1/archive/music/reviews/09-19-96/TORI_AMOS.html September 19 - 26, 1 9 9 6 Vic-TORI-ous Ms. Amos at Harborlights by Lloyd Schwartz Last spring I ran into a former student of mine on his way to Tori Amos's concert at the Wang Center. Tori Amos. I'd seen the art-rock phenom on Letterman and liked her, but my student's passion was another matter. Some friends played me her impressive debut album, Little Earthquakes; then I heard "Horses" on her recent Boys for Pele, and I was hooked. Her riveting Harborlights concert last week was my first live experience with her, and I'm even more impressed. Amos was a classical child prodigy. She's now 32 and her musicianship is stunning. She writes her own songs, and whether hard-rocking or languorous, they have a rhythmic punch -- and lilt -- that never lets you off the hook. She's also one of the few rock composers I've heard who has a gift for melody. Her best tunes have a surprising little bump in the melodic line, an intervallic leap -- suddenly there, not led up to -- that takes your breath away, then lodges in your mind and keeps you awake nights. Like Schubert or Brahms. The songs are ambitious -- often five or six minutes long, with complex musical structures more like opera arias than pop songs. There's also her voice -- it's one of the rangiest in pop music. The Globe's Steve Morse called her "Edith Piaf on acid." If she didn't sound so much like herself, you could mistake her at times for anyone from Bonnie Raitt to Barbara Streisand. Amos's "Somewhere over the Rainbow," on her latest extended-play CD, Hey Jupiter, wouldn't have been possible without Streisand's famously slow "Happy Days Are Here Again." In "Little Amsterdam," a sultry number about murder and miscegenation, she reminds me of Billie Holiday singing "Strange Fruit." She's got a scratchy sexual rasp that she "plays" the way a flute player plays Berio's flutter-tonguing, and an erotic little-girl breathiness that makes me think of Marilyn Monroe. In "Sugar," she actually sang away from the mike, her voice eerily disembodied. But she also has a firm classical soprano that has more body than Linda Ronstadt's. Amos must also be one of the most dextrous and inventive keyboard players in the business. At Harborlights, she straddled one or another corner of a square piano bench, which allowed her to turn to the huge amplified Bosendorfer on her left or to the facing harpsichord on her right, which she played with either mock-Baroque delicacy or pounding percussiveness. She actually seemed to be riding the "Horses" that would take her to a place where her demons can't go. In "Caught a Lite Sneeze," she switched back and forth between both instruments, rhythmically slapping the side of the amplified piano and even her amplified self. Part of the terror of "Little Amsterdam" was her left-hand boogie-woogie piano. "Horses" was something of a surprise on another front. On Boys for Pele, it's a haunting, even teasing folk song with a simple but exquisite tune -- a poignant, dreamlike escape from personal nightmare and search for a sexual Eden ("You showed me the meadow/And Milkwood/And Silkwood/And you would if I would/But you never would"). The live version was different. The amplified piano sound was overwhelming, and Amos's improvisations -- more like jazz than rock, especially the keyboard work -- gave the song quite a different spin. It was bigger, harsher, as if coming from within the nightmare itself. People familiar with the songs were getting not mere live re-creations or imitations of what's on the albums but entirely new versions (you can hear similar live concert material on her EPs), some with radical rhythmic syncopations and changes of tempo and texture. These changes underlined how powerfully this concert -- like the albums -- was put together to show off Amos's range as singer, player, and songwriter. A very uptempo "Talula" (with Steve Caton's powerful guitar and the colored lights swooping and weaving -- you might recognize the song from the soundtrack of Twister) was followed by "Me and a Gun," Amos's autobiographical ballad about a rape from Little Earthquakes, which she sang quietly, without any instrumental accompaniment, and sitting on the edge of her piano bench, leaning in toward the audience with her legs tightly crossed. This live version was even more up-close and intensely personal than the recording, and all the more dramatic coming after the driving "Talula." She followed it with the children's song "This Old Man" ("He plays two, he plays nick-nack on my shoe"). I never thought that song had any suggestive content before, but I sure do now. Many of Amos's fans -- and I count myself among them -- have trouble with the obscurity and private references in her lyrics. Only after I read several articles did I learn that the "Neil" she mentions in "Horses" ("But will you find me if Neil/Makes me a tree an afro a pharaoh?/I can't go/You said so") is the cartoonist Neil Gaiman, who based his character Delirium on her. I'm daunted by some of the disjointed surrealism. Is Talula a "her," "him," or "it"? What's the execution of Anne Boleyn doing in that song? Some of the words seem chosen more for sound than for meaning. Since these are songs, not poems, the music mainly transcends the knottiest lyrics. But many of the lyrics have real literary merit. Amos is a ventriloquist, often speaking in more than one voice in a single song. In "Mother," she's both the nurturing life force ("Go go go go now out of the nest") and the tentative young bird flying off ("Mother the car is here, somebody leave the light on"). Even when I can't follow the narrative, there are at least such evocative lines as "These little earthquakes -- doesn't take much to rip us into pieces" or "So you can make me cum that doesn't make you Jesus" ("Precious Things"). And there are trenchant psychological insights. "Boy you still look pretty/When you're putting the damage on," she sings ("Putting the Damage On") in one of the best it's-over-but-you-still-turn-me-on songs I know. In "Me and a Gun" what goes through the rape victim's head is: "I haven't seen Barbados so I must get out of this." The production itself, full of geometrical, Kandinsky-like light patterns, was slickly, even elegantly atmospheric. Amos herself seemed to change color with the gels. She flung her head back; she danced; then she reached a sudden stillness. At the end of this generous two-hour set, a harmonium was wheeled out to replace the harpsichord. She launched into her final encore, a positively apocalyptic version of Prince's "Purple Rain": "I don't do this very often," she said. And she seemed on intimate terms with her 5000 fans in the audience. When a woman yelled out, "I saw Trainspotting in Hebrew," Amos responded, "I've done all sorts of things in Hebrew. Hey, I'm a minister's daughter, I'll try almost anything." Copyright (c) 1996 The Phoenix Media/Communications Group. All rights reserved. ------------------------------ Date: Mon, 03 Nov 1997 01:25:01 -0300 From: Laura Subject: Re: icing (baker baker in UtP) Hola Alicia!! >I just bought UtP (I love it!!) and there is a part in Baker Baker in which >she says: "Baker Baker can you explain if truly his heart was made of icing >and I wonder how mine could taste maybe we could change his mind", and I >don't really know what icing means. I know it's a mixture you use to cover >cakes, I use it to cover my cakes, but I don't understand its meaning in >this song. When she says "made of icing" does she mean good or bad? para mi ella est=E1 dudando que el realmente fuera una buena persona, pero tambien se pregunta si *ella* es una buena persona (en termino de la relacion que tenian) espero haya sido de alguna ayuda.. cuando quieras discutir sobre letras.. no dudes en mandar mails hacia mi lado :) Las letras de Tori son un desaf=EDo para los qu entienden ingles perfectamente... para nosotras que es nuestra segunda lenugua es doblemente dificil... un consejo.. no tomes cada palabra por lo que significa.. especialmente en BfP. Utp tiene tambien unas letras muy "locas" Space Dog.. es una locura. cambia de tema cada dos segundos.. amo la cancion, pero todav=EDa la letra da vueltas en mi cabeza. Hora tenes los 3 discos no? que suerte que hayas conseguido UTP, yo me acuerdo cuando me lo encontr=E9 por casualidad en una disquer=EDa de CD= usados. Yo no ten=EDa los 23 dolares que costaba en una disquer=EDa normal... y= cuando entre ahi y lo vi... ahhhhh!!! le pregunte al chico que trabajaba ahi cuanto costaba.. salia 15 dolares y yo ten=EDa solo 7 en mi bolsillo. pero... ten=EDa un CD= de Metallica en mi discman en ese momento y le pregunte cuanto me saldria si le cambiaba metallica por Tori... 7 dolares!!!! fin de la historia, chau Metallica, bienvenida Tori. Al principio me cost=F3 acostumbrarme a las canciones m=E1s tranquilas..= tipo Icicle. Cuando escuch=E9 Yes, Anastasia, pense esta es la canci=F3n de Tori= que *menos* me gusta y no creo que me llegue a gustar.. Debo decir cuanto me gusta ahora?? la amo!! Todo el disco est=E1 *muy* bueno. si alguna vez tuviera que elegir 40= segundos de musica de Tori eso ser=EDa "What's it gonna taaaaaake till my babe's alright" y "those christian boys with their none inch nails and little fasciest panties tucked inside the heart of every nice girl" ahhh muero por esos dos momentos... tambien "give me love give me pain give me myself again " en LE y "we'll see how nrave you are, we'll seeeeeeee-eeeeee-eeee" hehe mmm mejor la corto porque podr=EDa poner algo de cada cancion.. y me tengo que poner a estudiar.. besos laura ------------------------------ End of precious-things-digest V2 #309 *************************************