From: owner-shindell-list-digest@smoe.org (shindell-list-digest) To: shindell-list-digest@smoe.org Subject: shindell-list-digest V2 #122 Reply-To: shindell-list@smoe.org Sender: owner-shindell-list-digest@smoe.org Errors-To: owner-shindell-list-digest@smoe.org Precedence: bulk shindell-list-digest Wednesday, June 14 2000 Volume 02 : Number 122 Today's Subjects: ----------------- Re: [RS] Who is mary magdelene [Rongrittz@aol.com] Re: [RS] Upcoming Concert [Vanessa Wills ] Re: [RS] Blue Divide Q [Rongrittz@aol.com] [RS] Lucy's Mary ["Norman A. Johnson" ] Re: [RS] Blue Divide Q [ptpower@juno.com] [RS] Lucy's Mary [Karl Young ] [RS] Name That Chord ... [Karl Young ] [RS] Churches and Magdalen(e)s [Karl Young ] ---------------------------------------------------------------------- Date: Wed, 14 Jun 2000 21:30:47 EDT From: Rongrittz@aol.com Subject: Re: [RS] Who is mary magdelene << Lucy's Mary is not only seductive but a bit sarcastic (yeah... you're so perfect and all but you walked out on me) and maybe even a little vindictive. >> Ah, but I think the difference in the legendary SUNY performance of "Mary Magdalene" was that Richard, not Lucy, played the guitar part, adding a breathtaking touch of "gentleness" to the song. Look, I like Lucy a lot, when she peforms it solo, the song unfortunately gets jammed into the standard heavy-handed guitar attack style she uses on "Five in the Morning," "End of the Day," "Somewhere Out There, "Turn the Lights Back On," and so on. The song becomes tougher, angrier . . . somewhat removed from the touching love song it was on that magical night, and that it usually is in Richard's hands. I'm not saying that's bad - that's why it's called "interpretation." But I like the song when it's performed sweeter. RG ------------------------------ Date: Wed, 14 Jun 2000 21:34:16 -0400 From: Vanessa Wills Subject: Re: [RS] Upcoming Concert Quite the early bird, aren't we? ;-) I haven't eaten at Serrano's, but the upshot to it is that is you get a reserved table at the Tin Angel when you eat there, and you can be sure you'll be done eating before the show starts--you just have to tell the waiter that you're going. The Tin Angel seats about 80 people, methinks, and the layout is odd--sort of a long, skinny rectangle with the stage at one end and the bar towards the other. To the right of the stage, against the wall, is a long line of stools. People go for these because some are very close to the stage--however, remember that you will be sitting for two-three hours. That can get uncomfortable. When I went to see Richard (in November, I think?) with my Dad, some guy told us that the straight-backed seats next to the door and behind the dinner tables were the best in the house. "Trust me," he said. We were a tad skeptical--at least until we saw him step into the sound booth. Turns out he was the sound engineer for the show, and the sound was truly amazing from where we were sitting. Plus, we had a decent (if not great) view of Richard from there. There's no reserved seating (except for reservations with dinner at Serrano's), so just get there early and scope out the room. I remember that concert fondly--it's still the best solo show I've ever heard Richard do. The only downside was Rose Polenzani opening, but I won't even go there. It's one of the smallest venues you'll ever see Richard play, outside of a house concert. And the sound guy is really good. Peace, Love, and Mischief, Vanessa, who is so excited that The Tragically Hip are playing the TLA in Philly this July! :-) Any Hip fans on the list? HEYJC01@aol.com wrote: > I just purchased my tickets for the Richard Shindell concert at the Tin Angel > 9/8 in Philly. I cant wait. I've never been there so I have two questions: > Hows the seating. Any recommendations (or should I just ask for someting as > close to the front as possible?); second, has anyone eaten at Sorrentos > before the concert and is it good? > Any info is appreciated! > Thanks > Jeff ------------------------------ Date: Wed, 14 Jun 2000 21:51:34 EDT From: Rongrittz@aol.com Subject: Re: [RS] Blue Divide Q << Weird how things happen, but I'm listening to "Blue Divide" last night and sort of watching Leno. Almost at the same moment Marconi is mentioned in the JayWalking segment. No, he didn't invent pasta. Sheesh, I swear the folks on the street in Burbank have no clue. So anyway, I'm curious why Richard would mention him. >> More stuff from the horse's mouth . . . RG ________________________________ That's another song written from the point of view of someone who is longing after somebody who has disappeared. Or is unavailable, or far away. Specifically, my wife. That was written from the point of view of somebody on one side of an ocean and somebody on the other. Which is the situation we were in. I was in New York and she was in France. Marconi Beach is on Cape Cod. That's a little reference: "And found Marconi with his radio." It was where he broadcast his first transmission to, I guess it was, Ireland. There's a little memorial there. My mother lives on Cape Cod and I was visiting her. I was on Marconi Beach, and there's the ocean, and he sent it from there because that was the shortest distance that was convenient to him. I was standing on the beach, looking out across and imagining all that stuff. I think "Blue Divide" was first thing in the song. I got the title of the song first. Sometimes that happens. Then you sort of deduce everything from that. You're standing there on the side of the ocean and there's this huge expanse separating you from someone or something. I mean, it's pretty logical how you get across. What means are there -- the radio, telescope, balloons, row boats, whatever. It's a pretty simple song, I think. I think there's a lot of rhymes in there that are kind of funny. There's something almost tongue in cheek about the song. It's almost over the top, but in a happy way. It's kind of -- it's utter hyperbole. It's totally excessive, extravagant language. Waving a handkerchief. It's absurd. I would never do that. It's a magnification basically of a certain kind of emotion. ________________________________ ------------------------------ Date: Wed, 14 Jun 2000 22:25:17 -0400 From: "Norman A. Johnson" Subject: [RS] Lucy's Mary RonG replied to me: >>Ah, but I think the difference in the legendary SUNY performance of "Mary Magdalene" was that Richard, not Lucy, played the guitar part, adding a breathtaking touch of "gentleness" to the song. Look, I like Lucy a lot, when she peforms it solo, the song unfortunately gets jammed into the standard heavy-handed guitar attack style she uses on "Five in the Morning," "End of the Day," "Somewhere Out There, "Turn the Lights Back On," and so on. The song becomes tougher, angrier . . . somewhat removed from the touching love song it was on that magical night, and that it usually is in Richard's hands. >> Actually the only time I've heard Lucy perform the song was at the infamous Fez show. Richard accompanied her that time as well. Lucy does have a fair number of angry songs, though. I was thinking about just how unrelentingly angry her "The Thief" is. Even on AYHN, Richard adds a bit of tenderness at the end. Norman ------------------------------ Date: Wed, 14 Jun 2000 22:40:39 -0400 From: ptpower@juno.com Subject: Re: [RS] Blue Divide Q Speaking of "Blue Divide," does anybody else think of Bug Bunny when he sings the word "marooned"? (As in "What a maroon!") Pat ------------------------------ Date: Wed, 14 Jun 2000 20:05:47 -0700 (PDT) From: Karl Young Subject: [RS] Lucy's Mary > > Lucy does have a fair number of angry songs, though. I was thinking about > just how unrelentingly angry her "The Thief" is. Even on AYHN, Richard adds > a bit of tenderness at the end. Tenderness? Inever heard that in AYHN. Do you mean in the dedicated half-verse, or perhaps "I hope that what'sisname treats you well?" Richard certainly makes better use of humor in AYHN than Lucy's heavy handed "anger trilogy.", but I wouldn't call it tender. > > Norman > ________________________________________________________________________________ Things to do today: Inhale Exhale ------------------------------ Date: Wed, 14 Jun 2000 20:11:45 -0700 (PDT) From: Karl Young Subject: [RS] Name That Chord ... So many chords, so little time. I'm partial to suspended 4ths, but the D9, standard tuning barred onthe 5th fret is probably my all-time favorite. > > I forget the name of my own favourite chord. I've never actually > played it in a song. I just discovered it one day. Standard tuning, > you fret the middle two strings at position 5. As far as I recall it's > an E with a whole host of junk after it. Sharp sign ... an 11 ... > stuff like that. Anyway, it's laid back, and kinda bluesy, and > definitely a summer chord, but in an unconventionally attractive way. > And I'd pick Mary Stuart Masterson to play it. > > Dave. > ________________________________________________________________________________ Things to do today: Inhale Exhale ------------------------------ Date: Wed, 14 Jun 2000 20:17:33 -0700 (PDT) From: Karl Young Subject: [RS] Churches and Magdalen(e)s > > >> My friend, who was Episcopalian, always called herself a Junior Varsity > Catholic, and now I know why. I knew the liturgies were similar, but I had > no idea how much else was similar. >> > > I was confirmed Episcopalian sometime back in the dark ages. I've heard it > called "Catholic Light" I'm surprised no one's mentioned the Richard/Episcopalian tie-in. At least two times that I've seen him, he, or Dar, will mention being in seminary and realizing that he was an athiest. Then, in his best dead-pan-with-a-twinkle he adds, "Of course, I was an Episcopalian, so it wasn't that much of an obstacle." And has anyone heard Dar describe her mantra (introducing WDYHITS) "I really suck at Buddhism . . ." -karl ________________________________________________________________________________ Things to do today: Inhale Exhale ------------------------------ End of shindell-list-digest V2 #122 ***********************************