From: owner-support-system-digest@smoe.org (support-system-digest) To: support-system-digest@smoe.org Subject: support-system-digest V5 #178 Reply-To: support-system@smoe.org Sender: owner-support-system-digest@smoe.org Errors-To: owner-support-system-digest@smoe.org Precedence: bulk support-system-digest Friday, September 13 2002 Volume 05 : Number 178 Today's Subjects: ----------------- Pete, Liz, GVSB, Taryn, blah blah blah [Dermich@aol.com] vintage Liz concludes [Kenneth Lee ] ---------------------------------------------------------------------- Date: Thu, 12 Sep 2002 01:49:18 EDT From: Dermich@aol.com Subject: Pete, Liz, GVSB, Taryn, blah blah blah Andy wrote: >If this is what inspires Liz Phair these days, and if Pete Yorn worked with Liz on her >new recordings, I am plenty worried Bingo. I couldn't agree more. That Pete Yorn record is fucking warmed-over Coldplay crossed with the Eagles and Sheryl Crow with a testosterone patch. It couldn't be more mainstream, AOR and boring. On a more positive note, I saw the second-best Girls Against Boys show I've ever seen Monday night (I think this was my 17th GVSB concert). If you guys get a chance, go see them on this tour. Their new disc _You Can't Fight What You Can't See_ on Jade Tree is truly their finest hour. And by the way, I want to know how they look fucking YOUNGER every day. They must have one ugly damned oil painting in an attic somewhere. Taryn, welcome back! Derek ------------------------------ Date: Thu, 12 Sep 2002 00:35:39 -0700 From: Kenneth Lee Subject: vintage Liz concludes Here is the conclusion of the 1995 Liz Phair interview: ***** WR: Where did you do that video (Never Said)? Liz: The Garfield Conservatory in Humboldt Park. It's in the middle of this trashed area of town, and it's just beautiful. Instead of being really particular about what species they put together and what "zone" they're trying to portray, Garfield's like, "This grew really fucking well right here and this looks really good right there." So, it's just this beautiful profusion. WR: It seemed like it was meant to be a spoof of itself, with all the costume changes etc. Liz: It was. It was supposed to be a total parody. It didn't come out as funny as it was meant to be. We both ended up compromising, so neither of us got out vision done. What ended up was a halfway point between the two instead of one or the other. Plus, I thought I was totally acting, but everyone thought that's just how I am! Do you want to see a splinter that's lodged underneath my nailtip there? Isn't that gross? No, I won't show you that. That's a really dumb thing. "Do you wanna see my spwintuh?" WR: We interviewed Liz Phair and all we got to see was her stupid splinter! What's the strangest thing that's happened to you on tour so far? Liz: The most shocking thing was walking into that in-store, and we were an hour and a half late, and we didn't really think much of it because we'd gotten bad directions. We'd been joking on the road, not even thinking, and it was just like back in high school, when you came home two hours late and your parents would just glare at you. It was dead quiet. You could hear every little sound. I whispered to Casey, "They're really pissed" and it echoed throughout the whole place. It was so fucking awkward. WR: 'Where have you been, Missy?!' Liz: And then you have to play for them! You can't just stand there and talk to them. And there was this psycho Vietnam Vet who wouldn't shut up. He was standing right in front of me, didn't have any idea who I was. He was hassling me, saying, "C-c-an you play the blues? I think you could. You could probably play the blues," and everyone was staring at him. I was like, "Oh, I wanna go home now!" Nightmare, nightmare. It was like going to school without your shirt on in your dreams or something. WR: And then these people expect you to stand there, without your shirt, and play for them! [Matador person arrives to say that the band is here.] Liz: I don't want to go down right away. I hate carrying heavy shit. That's another thing that sucks about the road. WR: But don't they carry stuff? Liz: Yeah, but as Casey puts it, "Liz, I don't fucking care if you don't carry anything, I just want you to stand around!!" He just wants me there so he doesn't feel like he's working like a peon. I just have to stand there and go, "Whooo... that looks heavy!" WR: Do you write together as a band? Liz: I write the whole song and then they come up with their parts around it. You need other people's input; you need their feel to it. But if we work it out in a band rehearsal situation, we'll go with something that probably isn't so great because we're not thinking orchestrally. We're just thinking, "Good jam. Everyone likes to play at the same time." So everyone's going to be playing at the same time. I don't write their parts for them, but if I don't like something, it's gone. I have ultimate veto power. WR: You dictator! Liz: Totally. It's my song. I don't want to be told what to do. I want to make the bad song and edit it myself and learn. They're my songs and I have lived with them personally for years and years. Taking them out in public was a decision that I made tentatively. And it isn't worth having the only thing that really matters to me, which is the song, fucked up. Anything that touches that, or makes it a song that I don't want to listen to is not going to happen. I'm doing it for me. ***** That's all folks! - -Ken kenmlee@ix.netcom.com MeSmErIzInG - AnOtHeR LiZ PhAiR WeBsItE http://www.geocities.com/SunsetStrip/Club/2471/ ------------------------------ End of support-system-digest V5 #178 ************************************