From: owner-precious-things-digest@smoe.org (precious-things-digest) To: precious-things-digest@smoe.org Subject: precious-things-digest V10 #153 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 Tuesday, August 16 2005 Volume 10 : Number 153 Today's Subjects: ----------------- Re: official tori boots [handal@r2d2.reverse.net (Richard Handal)] Tickets for sale - Homdel, NJ and Camden, NJ [Cindy2Love@aol.com] Houston tickets for sale ["Karen L. Schulze" ] ---------------------------------------------------------------------- Date: Mon, 15 Aug 2005 05:39:15 -0400 (EDT) From: handal@r2d2.reverse.net (Richard Handal) Subject: Re: official tori boots Karen asked us: > I wish she'd go back and do this for each tour! (which tour would you > like an official boot of most?) I think that almost anyone who cares a great deal about the live recordings has piles of them already from all the tours, if probably fewest from 1992. So I guess what *I'd* like to see come out are some of the couple handfuls of shows which I attended and know are amazing which either haven't come out to be traded around (or shows about which I have some sense that special things happened due to having read reports), and also some of the amazing shows I *didn't* attend, or some shows which for other specific reasons of high interest would be wonderful to be able to experience. Some examples: THE THIRD of the New York concerts in the Theatre at Madison Square Garden in May, 1996. That's 15 May 1996. Where is it? This is the third of three concerts in NYC, 6,000 seats per night. No one recorded it? I attended only this third night. Tori had Marcel come out and take a bow: he was dressed in a full-on, Disney-style Snow White costume. This pertained to the great dwarf ransom scenario in which Tori had given rubber Seven Dwarfs dolls to both the sound and light crews and told them to do something interesting with them. WILKES BARRE on 19 May 1996. The first third of this concert was astonishing and then it suddenly wasn't anymore. What happened? I want to try to figure that out. FIRST SEATTLE of '96, the concert the night of 16 Jul 1996. There were two concerts the next night, so of course the most interesting one of the three is the only one not circulating. EARLY concert in Portland, Ore., 21 Jul 1996. Marianne was INTENSE and both concerts that night were definitely treated by her as one event. Caton's guitar pedal was messed up during the first concert so they couldn't play certain songs until it had been repaired by the time of the second one, and the projector was out all night as were some of the lights. She often plays better shows if there are technical problems, and this one was awesome. The only songs she repeated at the second show that she'd played during the first were BQ/Horses and Precious, and the Precious in the second show was the craziest version I ever heard or saw. I'd like to be able to compare it to the first and to play both concerts one after the other. I also would like to relive the "more pirate, less pen" incident. Very funny. Having only the second concert from that night is stupid. It was all one concert. Both this one and the first Seattle one are listed on Brian's livelists site as existing but unconfirmed. I wrote two or three of the people who supposedly have this Portland concert several months back and got nothing but bouncing email and silence in return. RICHMOND on 17 Aug 1996. She clearly had a major physical malfunction that night, about which I will offer nor further description here. I think hearing this concert next to other concerts around then would be quite revealing. For that matter, how about the Norfolk show two nights later? I'm still kicking myself for not attending that one. The next night (after Norfolk) in Charlotte turned out to be the most astonishing concert on purely a musical basis that *I* attended until several shows into the 2001 tour. Two shows before Charlotte in Richmond and the night before it in Norfolk would add context--and context is everything. Time for a rant. (Not that *all* of this isn't a rant.) This Chicago show from 15 April which is slated to be released has been available for many weeks now, which is wonderful, but why when people edit these shows into tracks do they leave the relevant spoken introduction AT THE END OF THE PRIOR TRACK which doesn't have anything to do with the spoken introduction? HELLO? IT'S AN INTRODUCTION--HELLO? When Tori speaks about her brother before playing Operator and then talks about chorus in junior high and tells us that The Circle Game was Maryanne's favorite song, the piano bar segment is turned into something ASTONISHINGLY meaningful and poignant. People are smart enough to make wonderful audience recordings of a concert that contains something like this but for some reason they aren't able to understand that when they edit out the introduction they're laying down their cards without first raising the stakes? What's *that* about? And while we're on the subject of Maryanne . . . PITTSBURGH 14 Sep 1996. We spoke of Maryanne that afternoon and she told a story about Maryanne AFTER playing the song Marianne this night in Pittsburgh, which began, "Maryanne was a gin girl . . ." Pittsburgh is a big city with electricity and everything. No one had a tape recorder? I've also seen no reports about this Maryanne anecdote anywhere, and have only the flagging memory of my exhausted mind to go on as to what she said that day. The performance of Marianne that night was surely quite tender, too. Someone got this show on their little portable with the microphone it came with just like someone got the Binghamton concert several weeks later capturing lightning in a bottle and they squirreled it away in their dorm room and it's never seen light of day. Some folks would have their lives enriched should they hear this Pittsburgh concert--despite the protests of some which would surely follow about the quality being terrible. Indeed, the sound on the Binghamton concert is terrible in some respects--you can even hear compression pumping from the auto- level microphone--but it's pretty clear for the most part and it's wonderful: just ignore for a minute that the harpsichord sounds like an instrument that hasn't been invented yet, and *shouldn't* be. It was an important concert. We have the document to demonstrate this. So it's slightly tattered? So what? Where's the Pittsburgh concert? And since I'm on a major rant'n' roll here, why stop now? I've never considered myself a collector, and I've never been on any boot-trading lists or forums or what have you. My sense is that folks on such fora talk tech and acquisition details. Does anyone talk about the concerts and some of the astonishing things that happened during them while they discuss how to acquire and trade them? There seems little of that here or anywhere else. Does anyone on the various boot-fora genuinely care about what's ON the recordings of the concerts, or are they discussed merely as if pieces of meat to be wolfed down before moving on to the next piece of meat? I do so hope there's some deep level of appreciation of these concerts. We who live in most of the areas where this list is read have been truly blessed, and whether one has attended but a single concert every second time Tori come by on tour or totally pigged out on the concerts over several tours as I did when I was able to manage it, we do well to keep in mind that there are people in, for example, South America who never saw Tori unless they ate spaghetti for nine months to save enough money to come to the the U.S. or who will *never* manage to attend a concert-- ever. As this summer tour here is getting underway, I think it's important to remember what a great blessing we have in our ability to attend these concerts, as well as in our ability to appreciate what we are being presented with at presumably a deeper level than many more casual concertgoers might. I'm not trying to back-handedly dismiss Kelley's nightmare which she described to us here a couple days ago; I think that was terrible and I feel genuine sadness for her and others who similarly were dealt poor cards that day, all while recognizing that selfish bullies will be selfish bullies. I am saying though, that my sense is the concerts are taken for granted by many people and thus wasted by them. I didn't feel so well the second night of two weekend Dead concerts in June 1995 and I blew it off thinking I'd catch them when they came through again in the fall. I still have the unused ticket. Jerry Garcia died of a heart attack several weeks later and I never saw them again. This may be one reason I made it a priority to see concert after Tori Amos concert when I could manage it. I never spoke publicly about this, I don't believe. Never take the next expected opportunity as a given. It's *not* a given. Warren Zevon spoke with great eloquence before he died of cancer when he was asked if he had any advice for folks who had not come to learn they were about to die when he told us: Enjoy every sandwich. > What do you knowledgeable people reckon - will all the bootlegs be on > sale at the same time, or will the first two, and second two, be sold > out by the time the last are released? I don't have the sense they're planning to sell out limited releases of these official live recordings, Karen, but I'm guessing. An English friend of mine ordered the first two and said it cost $32.98 including shipping for the pair. That seems pretty reasonable to me as a price for four CDs. See above regarding waiting for a more optimal opportunity. Is it time for coffee? Oh yes it is. I fear the light of day is already to be seen, however. One can't have everything. Be seeing you, Richard Handal, H.G. ------------------------------ Date: Mon, 15 Aug 2005 13:50:19 EDT From: Cindy2Love@aol.com Subject: Tickets for sale - Homdel, NJ and Camden, NJ Hi all! I have extra tickets since my friend is unable to go these shows at the last moment. Homdel, NJ - Section 104, ROW M - I believe this would be 12 rows from the stage. Camden, NJ - Section 101, ROW G - I believe this would be 7 rows from the stage. But there's a pitt in front I think so you might want to look at the website to see exactly where this is! But still pretty close I would say. I only have ONE extra ticket for each of these shows. I know it's really last moment. If anyone has any ideas on how I could sell these last moment I'd appreciate it. Even outside the venue. I'm asking 25 bucks a ticket or best offer. I paid alot more, but I just don't want them to go to waste. If anyone decides they need an extra ticket at the last moment let me know! Thanks a bunch! :-) *Cindy* Oh and btw I recently moved from San Diego, California to New York. Can anyone tell me how far it is from the Wantaugh Station to Jones Beach Theatre? I need to take a taxi cab from the station don't I? Also is it very difficult to reach the Camden NJ and Homdel NJ shows via public transportation? I'm so confused but hopefully I will figure it all out by showtime. Thanks for any advice in advance! :-) ------------------------------ Date: Mon, 15 Aug 2005 17:14:35 -0500 From: "Karen L. Schulze" Subject: Houston tickets for sale I've got all my extra tickets for the Houston, TX 9/3 show on ebay now. Please check it out! I really don't want them to go to waste, and I don't think you will find better seats on Ticketmaster at this point. I had extras to begin with and now a couple of friends have bailed on me as well, as they can't afford it right now. Gallery 1st row center -- http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=6553356705 Gallery 1st row center Gallery 1st row center - -- http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=6553357481 Center Orchestra Row P -- http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=6553803839 thanks! Karen ------------------------------ Date: Mon, 15 Aug 2005 19:17:39 -0400 From: julie Subject: Re: official tori boots Richard Handal wrote: >many weeks now, which is wonderful, but why when people edit these shows >into tracks do they leave the relevant spoken introduction AT THE END OF >THE PRIOR TRACK which doesn't have anything to do with the spoken >introduction? HELLO? IT'S AN INTRODUCTION--HELLO? I can answer this, for myself, at least. I prefer the in-between talk to be at the end of a track rather than the beginning because I often *want* to skip it. Under certain circumstances there is no way I can make out what she is saying. If I've already heard it once, and I'm rolling down the road in my car and her talk is just so much barely-audible gibberish, I want to forward to the next track and get back to the music. Been there, heard that, and it's not desirable every time I listen to a show. Having it at the end makes it simple to skip. And if you *are* listening straight through to get the complete pristine experience, then why would it matter at which point the track number on your receiver display changes? Not every one listens in the same way or for the same reasons. I'd add a "HELLO!!!?11!?" for emphasis, but it seems unnecessarily condescending. Julie ------------------------------ End of precious-things-digest V10 #153 **************************************