From: owner-precious-things-digest@smoe.org (precious-things-digest) To: precious-things-digest@smoe.org Subject: precious-things-digest V12 #87 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, October 16 2007 Volume 12 : Number 087 Today's Subjects: ----------------- Re: [pt] Tori live [handal@r2d2.reverse.net (Richard Handal)] Re: [pt] Questions, because you're interesting people [Amanda Bradley ] ---------------------------------------------------------------------- Date: Mon, 15 Oct 2007 01:35:50 -0500 (CDT) From: handal@r2d2.reverse.net (Richard Handal) Subject: Re: [pt] Tori live Karen told us: > Entirely due to living in New Zealand, dude, not due to disinterest :) Glad to know the explanation, but the effect is about the same, and I'm reaching for the Dramamine to combat the ensuing dizziness from thinking about it! But you weren't entirely blind-sided at least, since you had the audience recordings for some concerts on the tours you missed, so at least you probably didn't experience whiplash at these first concerts since 1992! > As much as I love the albums, those live recordings give such richness > to her body of work, they're what keeps me immersed in her world. Some people make fun of her talking about the songs as entities that live their own lives, but they absolutely do. They have early years and more mature years--sometimes within just one tour. It's almost a shame that the studio albums aren't done a second time after each tour is over, because then one would have the mature versions. > Yes - the tickets said 8pm, which I guess meant 'curtain'. She came > on at 8.45. Aha. Much thanks to you for explaining. I had suspected this due to something she said in an interview over the past couple months or so, in which she made a comment about these concerts being longer. A lot of places have 11pm stagehand union deadlines, past which overtime out the proverbial wazoo must be paid to them. So the extra time seemed likely to come out of the anticipation-building time after the opener. I really appreciate the heads-up on this. > When a ticket says 8pm I assume that's the door - 8.30 opener, 9.30 > main act. Is it like that in Kiwiland? If the showtime here is 8, doors are likely 7 in most non-club venues, I think. Her openers generally begin no later than X:05, and often by X:01. They've simply cut out the interminable waiting after the opener. And it seems they're putting it to good use, too. 30 minutes more songs! > I have to avoid looking at set-lists now, or I'll get set-list envy. > Anyone else get that? I must admit that my general view is "screw the setlists." If she pulls something out of her ass that she hasn't played since her club days, or that she hasn't played in many years at a concert, that's of interest to me. Otherwise, I find that the focus on specific songs tends to overshadow the experience of a given concert as a whole piece, and that's more where my interest lies. A lot of people tend to have a certain song or songs that they have a special relationship with, and if they crave to hear it, that makes sense to me, but I rarely have this. As a friend said to her once in '96 when prompted to submit a song request: whatever comes is great. And even if one really wants a song because it holds a lot of meaning, to sit around thinking about whether or not she'll play that song can take one out of the experience with which one *is* being presented, so that can easily become a distraction. Now, when she did Like a Prayer in D.C. in 2005 minutes after the two girls on my right had been talking about Madonna before the lights went down--that was pure magic, and I felt that wash over everyone as they came to recognize it or told their neighbor. Sheer electricity. I will never forget that in my life. I had it after four words, and listening to the remainder of the first 45 seconds of the intro as people lit up with recognition was IN-SANE. I was completely laughing my ass off with disbelief. If she can pull off something anywhere CLOSE to that again, THEN the setlist interests me. > The pang of "if only I had been at that show instead", which is both > true and nonsense since we have so much fun with what we get, but yes, > would have loved to have heard x and y and z and a 100 others. The recordings of concerts come in handy for this kind of thing. I hope the ones *they* make don't suck due to sterility. Guess we'll find out real soon. Be seeing you, Richard Handal, H.G. ------------------------------ Date: Mon, 15 Oct 2007 07:22:39 -0700 (PDT) From: Amanda Bradley Subject: Re: [pt] Questions, because you're interesting people Songs Tori has changed the most when playing live: Horses (1998) Sugar Icicle (2001) Take To The Sky (2002-2003) The Waitress If Tori were to perform an entire album live I would ask her to play From The Choirgirl Hotel (with the band) and Under The Pink (solo, but with a full orchestra behind her). Tori's audience: As far as I can tell, they're generally well-mannered. I've been to only one Tori concert where I was next to people who decided to hold a conversation during the show. When I listen to boots from her European shows vs. her American shows, the Americans are noticeably more rowdy than say folks from England. Karen Hester wrote: *What do you think are the songs that Tori's changed the most when playing live? *Are there any you feel have been altered enough to become new songs? (methinks Horses) *Are there any that you think have become substantially better or worse? (I much prefer the rocking live Sugar) Lucinda Williams just did a NY residency playing all her albums in their entirety. If Tori were to perform an entire album live, which would you pick? (solo, band?) *What do you think of Tori's audience? (I didn't find them much different from other 'mainstream' concert audiences - screams, flashing cameras, txting, talking. Perhaps the difference is sometimes she's quiet, whereas yer average rock band doesn't do many piano solos. I'd prefer it if she had the quiet listeners of the Cowboy Junkies or similar - it's not like she's big among teenagers. But, oh well.) K. Peace Out, Amanda "You and me will all go down in History. With a sad statue of Liberty and a Generation that didn't agree." - --------------------------------- Need a vacation? Get great deals to amazing places on Yahoo! Travel. ------------------------------ Date: Mon, 15 Oct 2007 08:02:43 -0700 (PDT) From: Amanda Bradley Subject: Re: [pt] Tori live I avoid looking at setlists once a tour commences. I want to be completely surprised at my shows when a song appears. But I know what you mean. After the tour is over or atleast after my shows are over, I'll look at the setlists and the green horns of Envy usually sprout. Karen Hester wrote: I have to avoid looking at set-lists now, or I'll get set-list envy. Anyone else get that? The pang of "if only I had been at that show instead", which is both true and nonsense since we have so much fun with what we get, but yes, would have loved to have heard x and y and z and a 100 others. K. Peace Out, Amanda "You and me will all go down in History. With a sad statue of Liberty and a Generation that didn't agree." - --------------------------------- Check out the hottest 2008 models today at Yahoo! Autos. ------------------------------ End of precious-things-digest V12 #87 *************************************