From: owner-support-system-digest@smoe.org (support-system-digest) To: support-system-digest@smoe.org Subject: support-system-digest V8 #125 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 Tuesday, October 4 2005 Volume 08 : Number 125 Today's Subjects: ----------------- [support-system] Somebody's Miracle reviews (NY Post / LA Times) [Kenneth] [support-system] Somebody's Miracle reviews (Chicago Tribune / Sun-Times) [Kenneth Lee ] [support-system] Double-takes. [Tyler Coates ] [support-system] Another Liz TV appearance [Jase ] [support-system] Somebody's Miracle reviews (USA Today) [Kenneth Lee Subject: [support-system] Somebody's Miracle reviews (NY Post / LA Times) Hi folks, Here is the second batch of "Somebody's Miracle" reviews: From The New York Post: (http://www.nypost.com/entertainment/54559.htm) Liz Phair "SOMEBODY'S MIRACLE" 3 1/2 STARS Capitol Records The girls of Guyville will probably be disappointed that on Liz Phair's latest album, "Somebody's Miracle", the singer/songwriter is no longer expressing hard feelings toward men unable to express emotions. Instead, she's actually kind of happy. Can you blame her? Her songwriting is sharp and this is her strongest record in years, reflecting a maturity that still has a cutting edge. She wrote all of the songs here, so expect a very personal disc that's able to recount the recent highs and lows in her life. After listening to the entire 14-song disc, you realize Phair is having a winning season against the blues. ***** From The Los Angeles Times: (http://www.calendarlive.com/music/hilburn/cl-ca-rack2.2oct02,0,7356056.htmlstory) RECORD RACK Her music's IQ is on the rise again Liz Phair's new album isn't a miracle, but the highlights show signs of an artist trying to reset her creative compass. Liz Phair "Somebody's Miracle" (Capitol) 2-1/2 stars Phair claims her last album, 2003's "Liz Phair", was just as vital to her as her biting, revolutionary "Exile in Guyville", the 1993 collection that was a response to the macho swagger of the Rolling Stones' "Exile on Main Street". But that 2003 CD was mostly a light, unchallenging album aimed strictly at pop radio. Her new one, in stores Tuesday, isn't a miracle by a long shot, but the highlights show signs of a once-valuable artist trying to reset her creative compass. Phair is still addressing the basic themes of the last album, looking at sex and relationships long after the youthful fireworks of "Exile", but this time she sometimes brings intelligence and insight to the tunes, not just seductive melodies and cute vocals. Phair planned this new, mostly pop CD as a response to Stevie Wonder's "Songs in the Key of Life" but wisely settled for simply a collection of songs about love and life. Without the boundless musical imagination of Wonder, Phair is at her best here when she is at her most personal, as on the wistful reflection of the title tune and the sober self-inventory of the delicate "Table for One". There just aren't enough of those convincing, heartfelt moments. - -- Robert Hilburn - -Ken kenmlee@ix.netcom.com MeSmErIzInG - AnOtHeR LiZ PhAiR WeBsItE http://www.geocities.com/SunsetStrip/Club/2471/ ------------------------------ Date: Mon, 03 Oct 2005 00:23:10 -0700 From: Kenneth Lee Subject: [support-system] Somebody's Miracle reviews (Chicago Tribune / Sun-Times) Okay, here's the third batch of "Somebody's Miracle" reviews, both from the Chicago newspapers. From The Chicago Tribune: (http://www.chicagotribune.com/features/arts/chi-0510020365oct02,1,170001.story) Miracle isn't heavenly By Greg Kot Tribune music critic A more reflective Liz Phair surfaces on her fifth album, "Somebody's Miracle" (Capitol), which arrives in stores Tuesday. For longtime Phair fans, that will come as good news. But it will have to be tempered by the knowledge that the longtime Chicago indie-rocker, now a Los Angeles resident, is once again settling for a bland pop-rock production that casts her in the role of an older, wiser but less adventurous version of proteges such as Avril Lavigne or Ashlee Simpson. First the good news: There's an emotional complexity in the best of these songs that wasn't there on Phair's previous album, a 2003 self-titled release in which she enjoyed a "Desperate Housewives"-like sexual renaissance. The new album isn't quite as bold -- or embarrassing. She dispenses big sisterly advice to an ambitious young ingenue, who may or may not resemble the younger, sassier Phair, on "Stars and Planets." She embodies a prostitute on "Can't Get Out of What I'm Into" and an alcoholic on "Table for One." She yearns for the innocence of a first love on "Somebody's Miracle" and regrets a lost one in "Leap of Innocence." These are workmanlike songs, and they boast few moments that evoke the bravado, the taboo-shattering insight of the Phair who turned her 1993 debut, "Exile in Guyville", into something of a feminist manifesto. She can't have that innocence back, nor should she be expected to, though one song -- a chiming U2-like ballad called "Lazy Dreamer" -- echoes the slacker portraits she etched so persuasively back then. With her personal story as a 39-year-old single mother as a backdrop, these songs at least ring true to who she is now. There's a moment in the horribly titled "Wind and the Mountain" when Phair frames a midlife struggle in terms that are almost biblical. "There are days when I'm just too tired," she sings, and she asks "the lord" to "put all my fears to bed." But the production, by John Alagia (Dave Matthews Band, John Mayer) and John Shanks (Sheryl Crow, Melissa Etheridge), isn't nearly so ambitious. It presents Phair as something of a factory-assembled female pop-rocker, the kind of performer who fits into a niche rather than making one of her own. There are hints that a kicking rock band is in the room with her, but all the listener hears are defanged guitars and drums, the same muted sonic wallpaper that decorates so much "adult contemporary" pop. "Everything to Me" is a big ballad that builds with Meatloaf-like inevitability until the singer demands, "Do you really know me at all?" Equally unimaginative is "Count on My Love," ostensibly a rock song that sounds like a vocalist multitracked into infinity over a pallid backing track. Phair tries to get away with singing the following lines: "Blue eyes, bluer than the blue sky/Smiling down like sunshine . . . " Such banal writing crops up so often throughout the album it's enough to raise suspicions that Phair -- once one of the best lyric writers of her generation -- is intentionally dumbing down her songs. Why? "Got My Own Thing" offers a clue: "I don't have to say what I'm thinking cause/Everyone's radio is on and they've heard my latest song." Let the radio have her. Meanwhile, fans who know this songwriter's capabilities will once again have to settle for less than her best. ***** From The Chicago Sun-Times: * SHERYL CROW, WILDFLOWER (A&M) 1/2 * LIZ PHAIR, SOMEBODY'S MIRACLE (CAPITOL) Sheryl Crow has always been a guilty pleasure, crafting lighter-than-cotton-candy pop confections while posing as a laughably transparent rock 'n' roll bad girl. Ultimately insubstantial, her songs nevertheless hooked you in and prompted you to sing along as they wafted from the car radio. But after a two-year break during which the 43-year-old singer-songwriter found true love with superstar cyclist Lance Armstrong, she has returned with a mellow, introspective effort that eschews soaking up the sun and just wanting to have some fun in an attempt to craft big-A "Art." And that's the kiss of death. Melodramatic strings saw away, choruses of backing vocalists attempt to sweeten nonexistent melodies, tempos lazily plod to the point where it may be dangerous to operate heavy machinery while listening and Crow pours her insincere heart out by bellowing one maudlin romantic cliche after another in her reed-thin voice. Dedicated "to Lance with deep love and appreciation" and bearing a note of "thanks to Elton John for his great inspiration," these 11 tracks find the artist bragging of burning like a cigarette, asking an errant love if the rolling thunder ever makes him wonder, sputtering some gibberish about her karma being out of whack and, most embarrassingly, telling us that "Butterflies are free to fly" before ponderously asking, "Why do they fly away?" Gee, Sheryl, maybe they're trying to escape the stench of this fetid "Wildflower". In contrast to Crow, the mentor she adopted once she left Wicker Park's "Guyville" and moved to L.A., Winnetka native Liz Phair was once a pure pop pleasure that carried no guilt whatsoever. Sure, in retrospect, her rock 'n' roll bad girl routine was every bit as fake as Crow's, but at least Phair was a better actress, and from her much-hyped debut, "Exile in Guyville" (1993), through "Whitechocolatespaceegg" (1998), she was also an artist of considerable substance. That changed when Phair reinvented herself as Sheryl Crow Lite, an oxymoron if ever there was one, circa self-titled "Liz Phair" (2003), an over-produced, undercooked, sappy, saccharine and thoroughly disposable piece of prefab pop product. And, though it pains me to say it, her new fifth album, "Somebody's Miracle", is even worse, amplifying all of the problems of its predecessor, which you wouldn't have even thought possible. "Do you really know me at all?" Phair asks on "Everything to Me," which is typical of the bombastically produced, Hallmark Card-banal, Adult Contemporary radio pap that fills this disc. We thought we did, Liz, when we fell in love with the fiery post-feminist anthems and exquisite story songs that marked your first three albums. But those now sound like the work of a completely different artist, one who has nothing in common with the pandering, airbrushed airhead of "Somebody's Miracle". Jim DeRogatis - -Ken kenmlee@ix.netcom.com MeSmErIzInG - AnOtHeR LiZ PhAiR WeBsItE http://www.geocities.com/SunsetStrip/Club/2471/ ------------------------------ Date: Mon, 03 Oct 2005 00:26:48 -0700 From: Kenneth Lee Subject: [support-system] Somebody's Miracle reviews (SFBG / EW) Hi folks, Here is the first batch of reviews of "Somebody's Miracle": From the San Francisco Bay Guardian: (http://www.sfbg.com/39/52/x_grooves.html) Liz Phair "Somebody's Miracle" (Capitol) Liz Phair likes to blame the backlash surrounding her fourth album, 2003's radio-oriented "Liz Phair" (Capitol), on the indie world's phobia of mainstream pop music. But while that was certainly the reason some listeners turned away, it's not the entire story. What she doesn't acknowledge is that plenty of her less DIY-driven fans  you know, those of us who can recite every word to both her 1993 debut, "Exile in Guyville" (Matador/Capitol), and, say, Hilary Duff's Metamorphosis (Buena Vista)  rejected the disc not because it was slickly produced but because it was slickly produced crap. Bring in all the top-notch producers you like, but you can't polish turds like "Rock Me." If Phair wanted support in her attempt to infiltrate the Top 40, she should've recorded songs that didn't sound like Avril Lavigne's sloppy seconds. Fortunately, "Somebody's Miracle" is a step in the right direction. Working with high-profile producers like John Shanks (Duff), Phair has crafted a set of adult contemporary ballads and lite rockers that show surprising signs of life. Sure, she's still responsible for some truly asinine lyrics like "We all shine, shine, shine," but more often she reveals a sharp wit and insight that's distinctly her own. "Leap of Innocence" features her most solid storytelling since the '90s, while "Got My Own Thing" finds her hilariously mocking a clueless dude, trilling, "I'd love to help give you enough rope to hang yourself." It's a sentiment disgruntled fans probably felt about her upon hearing Liz Phair, but with "Somebody's Miracle", Phair proves too smart to commit career suicide. (Jimmy Draper) ***** From "Entertainment Weekly", October 7, 2005: LIZ PHAIR "Somebody's Miracle" (Capitol) Perhaps still smarting from the controversial, crossover-crazed "Liz Phair", everyone's favorite saucy divorcie now wants to be all things to all fans. "Somebody's Miracle" lurches from rootsy balladry to greasy-spoon boogie to rehashed alt-rock. But Phair sounds mostly bored, coming alive only on fizzy numbers like the rueful title song, the proudly hackneyed "Count on My Love," and the wistful "Leap of Innocence," with its very Phair-ian lyric twist. B- -- David Browne - -Ken kenmlee@ix.netcom.com MeSmErIzInG - AnOtHeR LiZ PhAiR WeBsItE http://www.geocities.com/SunsetStrip/Club/2471/ ------------------------------ Date: Mon, 03 Oct 2005 12:38:37 -0400 From: Jase Subject: [support-system] Liz's TV appearances this week Hey everyone, Just a reminder that Liz will be performing on the Tonight Show this evening. She will also be appearing on the Ellen DeGeneres Show on Wednesday. Jase ------------------------------ Date: Mon, 3 Oct 2005 18:34:11 -0500 From: Tyler Coates Subject: [support-system] Pitchfork Review Article link: http://www.pitchforkmedia.com/record-reviews/p/phair_liz/somebodys-miracle.shtml Liz Phair Somebody's Miracle [Capitol; 2005] Rating: 2.0 Now this is a terrible Liz Phair record. Somebody's Miracle is mostly generic pap that any number of next-big-has-beens could have cranked out, a useless piece of plastic poking a pointy heel in the eye of the carcass of the artist Liz once was. Sound familiar? I know I may be in the minority 'round these parts, but I actually like Liz's 2003 self-titled trainwreck. Yes, it's desperate and confused and comes on to you like the mom in American Pie. For all of those reasons, I find it quite fascinating and entertaining, not to mention provocative. I mean, we're still talking about it, aren't we? When was the last time you got into an argument over Stephan Mathieu & Ekkehard Ehlers' Heroin, which Pitchfork reviewed the same day as Liz Phair, and gave an 8.6? Isn't that why we fell in love with Liz in the first place, because she made us angry and uncomfortable? In hindsight, the 0.0 bomb was wasted on that album, because it's much better than Somebody's Miracle. The chief complaint about Liz Phair seemed to be that its rockers were sticky-sweet Matrix-pop at its best-- cheesy, tacky, glamorous, and yes, radio- and MTV-friendly. People complain that "Extraordinary" and "Why Can't I" are Avril rip-offs, but now that we all agree "Since U Been Gone" is a masterpiece, maybe a few more people should rip off Avril. Rather than weather the storm and stick to her guns, Phair eschews her pop fix completely for Somebody's Miracle, an album that is "adult" in the worst sense of the word-- the sense that gets "-alternative" or "-contemporary" tacked onto it by radio programmers. It's not so much "mature" as is it safe, nice, settled down. These songs are perfectly content to get up every morning, go to work, come home, eat dinner, watch the news, have 10-minute missionary-position sex, and then fall asleep. Opener "Leap of Innocence" swaddles the chorus melody of Liz's own "Polyester Bride" (from her underrated 1998 album whitechocolatespaceegg) in wide, bright heartland-rock chords, as Liz moons over The One That Got Away. Blah, whatever! And why does it sound so weird? The disconnect between her flat voice (the pitch corrector has clearly been set aside-- she's completely off-key) and the shiny production gives the song the feel of an unfinished overdub, something to be scrapped or cleaned up later. Although, at least it's not boring, which is more than can be said for most of the 13 songs that follow. The title track, "Count on My Love", and lead single "Everything to Me" soak up Sheryl Crow's sun, get lost in John Mayer's wonderland, and oh, how they remind me of Nickelback. In fact, so do most of the tracks stinking up the back end of this tedious, over-long calamity. Of course, not everything on Somebody's Miracle sucks like Maroon 5; a few songs suck in other ways. "Wind and the Mountain" starts out promising, with appealingly vulnerable verses about, appropriately, not living up to expectations, but by the chorus it's a self-help serenade, all we're-gonna-get-you-through-this Dr. Phil crap. "Stars and Planets" seems to be making some sort of statement about the Big, Bad Music Industry, but the Teletubbies-happy chorus ("We all shine! Shine! Shine! We all shine! Shine! Shine!") and overzealous bounciness of the rhythm make it the kind of earworm that sends people screaming to Wolf Eyes. "Table for One" is a trite, oversimplified acoustic lament from the perspective of a doomed alcoholic. Only someone armed with the pipes of Trisha Yearwood and an artillery of Nashville session musicians could save it. There are two decent songs on Somebody's Miracle, and that's why you aren't staring at double zeros once again. On "Got My Own Thing", Liz purrs in her best tomboy about how she don't need no stinking true love, since the guy she's got is doing just fine for now. "Why I Lie", meanwhile, reaches back to Phair's old slippery sense of melody and penchant for self-deprecation. "And if you ask me why I hurt you/ I don't understand it/ I can't help myself/ It's a special combination/ Of predatory instinct/ And simple ill will," she sings over a clip-clopping beat and Stones riff, sounding not the least bit apologetic but, frankly, kinda bored. Ahh, there's the Liz we know and love. Just as naysayers were quick to blame the Matrix for Liz Phair, it would be all too easy to point fingers at Phair's collaborators on Somebody's Miracle-- namely producers John Alagia and John Shanks. Between them, they've twiddled knobs for the Dave Matthews Band, Sheryl Crow, John Mayer, Michelle Branch, and Celine Dion, which explains pretty much everything. On the other hand, Shanks has worked with Hilary Duff, Pink, Ashlee Simpson, and Kelly Clarkson, and co-wrote "Come Clean", "Pieces of Me", and "La La", so Phair could certainly have chosen to continue experimenting with teen-pop. Either way, she took the helm, and as such, the successes and failures of Somebody's Miracle fall squarely on her shoulders. Would she really want it any other way? - -Amy Phillips, October 3, 2005 - -- John Tyler Coates coatesjt@gmail.com ------------------------------ Date: Mon, 3 Oct 2005 19:04:16 -0500 From: Tyler Coates Subject: [support-system] Double-takes. Hey all, I wrote about the new album a few weeks ago when I was finally able to download it. I kind of liked it, saying that it was better than the self-titled, but that I'd let it sink in for a week or two. Well, I finally listened to it several more times and took notes on each track. (This is what happens you when you move to a big city, have no friends, and are still unemployed after two months. I need something to DO.) I'm more disappointed with it than I was, just because it's so...BLAH. I don't know. I agree with the Pitchfork review: I don't hate the last album (only "Rock Me", which is the worst Liz Phair song ever). "Why Can't I" was good. I listen to it a lot, I admit it! Plus, I always stuck by Liz and her "new direction;" I continued to praise her songwriting (on stuff like "Firewalker," "Red Light Fever," "Little Digger;" it wasn't sappy, blase crap like other poppy stuff) and hate the production, which I blamed on the record label. And seeing her this summer in DC made me appreciate her even more because I felt that she was really giving back to her old fans who were patient and supportive of her recent career decisions. Well, maybe she was just preparing us for the worse. What follows are my thoughts on the new stuff. 1. "Leap Of Innocence" This song really surprised me because her voice isn't as produced as it was on the last record. It's a nice reminder of Liz at a live show and her older stuff. But it's SUCH a weird song. You just can't combine Liz's lovable off-key voice with a tight, perfect production filled with big guitar, bass, and drums. It just doesn't work. I do like this song, however, because it's atypical of the rest of the album's lyrical content. 2. "Wind in the Mountain" The lyrics are trite and predictable. There's are those stupid guitar riffs in the background that make me think of Sheryl Crow or classic rock. But then there's Liz's voice, going all over the place, and still off-key. I like listening to her sing these lyrics, because I like it when she tries to ambitiously hit those flawed high notes - it reminds me of "Go West." 3. "Stars & Planets" This is kind of an introduction into the poppier half of the album. It's catchy and polished, and it sounds like something from the self-titled. But come on, Liz. "We all shine, shine, shine?" And I also wrote, "Ew...it fades down at the end..." 4. "Somebody's Miracle" Again, there's the annoying guitar in the background of the first verse. The lyrics are mostly dumb (how many times does she have to say "baby?"). They also don't really make sense, like the thing about "the queen sitting on her throne / watch a couple stay close / it's like a bloom on a rose." What? I think I really like this, however, because a) it's catchy as hell, and b) I heard Liz play it over the summer and thought that the occasional good lyrics were so beautiful and sad (especially the line at the end, "I woke up one day and I found that my life had left me for someone else."). This is far from a happy, pop record, although the production makes one think otherwise. 5. "Got My Own Thing" The lyrics aren't too bad, very Liz-like and playful. But why is the chorus sound so much like "Mr. Lover" by Shaggy?! "Oooh, boy, I love you so, I never never never wanna let you go!" Is this supposed to be a joke, or am I supposed to take it seriously? Also, why the hell is Liz talking toward the end? 6. "Count On My Love" Hands down the worst song on the album, right up there with "Rock Me." My heart breaks when I hear her sing, "Blue eyes, bluer than the blue skies, shining down like sunshine." WHAT? And this also sounds a lot like "Such Great Heights" by the Postal Service. 7. "Lazy Dreamer" This is kind of representative of the album as a whole. Not terrible, kind of catchy, but just rather boring and disappointing when you realize that you're listening to Liz Phair, not Michelle Branch. 8. "Everything To Me" This is the "Why Can't I" of the new record. It's sappy and stupid, but unbelievably catchy. It's also weird to hear strings in a Liz Phair song. I like the line, "I bet it makes you laugh watching me work so hard to reach you." Again, sounds like a happy song, but the lyrics are rather sad. 9. "Can't Get Out of What I'm Into" A classic, even if it's poorly placed in between "Everything To Me" and "Table For One," too much rock 'n' roll, and really faced pace. It's also hard for me to believe that she made the decision to change the "queers" lyric to "school," since she does say "fuck" many times in the song. 10. "Table For One" Here's the "Little Digger" of the album, and it's the best song here. Still, a bit too over-produced. This is the last song on the album that really stands out to me. (For the sake of space, I'll clumping the rest of the songs together.) The last four are just kind of blah; they're kinda catchy, have dumb lyrics, and all have the same rock-y production that are reminiscent of Sheryl Crow. If anyone has responses, I'd love to hear them. I've been going crazy not having people to talk with whom I can talk about this album. Also, anyone know if the Chicago show on the 25th is sold out? I'm debating if I should go...it's pricey but I can rationalize paying $30 because I actually like Matt Pond PA a lot and wouldn't mind seeing them again. Any thoughts on them as an opener for Liz? Tyler. - -- John Tyler Coates coatesjt@gmail.com ------------------------------ Date: Tue, 04 Oct 2005 00:24:25 -0400 From: Jase Subject: [support-system] Another Liz TV appearance Liz will be performing on Last Call with Carson Daly tomorrow night (Tuesday, October 4). Jase ------------------------------ Date: Mon, 03 Oct 2005 21:30:04 -0700 From: Kenneth Lee Subject: [support-system] Somebody's Miracle reviews (USA Today) Here are some more reviews of "Somebody's Miracle": From USA Today: (http://www.usatoday.com/life/music/reviews/2005-10-03-listen-up_x.htm) Liz Phair, "Somebody's Miracle" (* * =) When she broke through with edgy ear-opener "Exile in Guyville", Phair was alt-rock's cynical sweetheart, and her snide tendencies still surface in such incisive cuts as "Why I Lie" and "Got My Own Thing". For better and worse, she has reined in her rage elsewhere, resulting in some downright chipper tunes and a few dangerously silly ones. The lighter touch pays off in "Count on My Love" and "Leap of Innocence", but "Stars and Planets" drifts flimsily into Liz Fairyland. Wisely resuming the pop direction explored on 2003's self-titled disc, Phair whips up kicky melodies and arrangements that often pick up the slack when her attitude lapses into slacker ennui. - -Edna Gundersen ***** From Rolling Stone: (http://www.rollingstone.com/news/story/_/id/7683670/?pageid=rs.Home&pageregi on=single1&rnd=1128399994120&has-player=true&version=6.0.12.1040) Liz Phair "Somebody's Miracle" (Capitol) Liz Phair's voice is thin and dry, perfectly suited to the conversational tone of her 1993 indie-rock masterpiece, "Exile in Guyville", but nowhere near muscular enough for the belters she's trying to write these days. It's weird to hear such a brilliant mumbler turn into such a mediocre singer -- and work so hard at it. On "Somebody's Miracle", she goes for a folksy, acoustic style, but she still oversings, holding notes too long and tackling pop choruses she doesn't have half the voice for. As on her last couple of albums, the lyrics are sitcom-ready romantic scenarios ("Leap of Innocence", "Table for One") burdened by plain and forgettable music: a classic case of inspired amateur become bored pro. Maybe Phair will loosen up and make another album as fluent as "Exile" or "Whip-Smart"; more likely she'll move on to screenplays. (ROB SHEFFIELD) - -Ken kenmlee@ix.netcom.com MeSmErIzInG - AnOtHeR LiZ PhAiR WeBsItE http://www.geocities.com/SunsetStrip/Club/2471/ ------------------------------ Date: Mon, 03 Oct 2005 21:39:27 -0700 From: Kenneth Lee Subject: Re: [support-system] Liz's TV appearances this week Also, don't forget Liz appearing on Last Call with Carson Daly, on Wednesday, October 5th at 1:35am ET on NBC (check your local listings for showtime in your area). - -Ken kenmlee@ix.netcom.com MeSmErIzInG - AnOtHeR LiZ PhAiR WeBsItE http://www.geocities.com/SunsetStrip/Club/2471/ At 09:38 AM 10/3/2005, you wrote: >Hey everyone, > >Just a reminder that Liz will be performing on the Tonight Show this evening. > >She will also be appearing on the Ellen DeGeneres Show on Wednesday. > >Jase ------------------------------ End of support-system-digest V8 #125 ************************************