lifeblood: listlogs: 2000v03n009-news


ig-news-digest       thursday, january 20 2000       volume 03 : number 009


today's subjects:
-----------------
  [ig-news] note from emily          [sheryl jones <sjones@library.wisc.edu>]
  [ig-news] new dates                [sheryl jones <sjones@library.wisc.edu>]
  [ig-news] jmu concert info for harrisonburg, va  [vicki toye <one85fan@hot]
  [ig-news] an ig-interview for you!       ["<erin tripp>" <gitroop@aol.com>]
  [ig-news] re: ig at jmu                    [anna creech <creechal@jmu.edu>]
  [ig-news] igc:  and speaking of posters...  ["neil :o)" <neil@andineil.com]


----------------------------------------------------------------------


date: wed, 19 jan 2000 08:31:27 -0500
from: sheryl jones <sjones@library.wisc.edu>
subject: [ig-news] note from emily


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]

a handwritten note from emily has been added to the official ig site.
you and find it here:


<http://www.indigogirls.com/letters/emily_01-10-00/index.html>


- ----------------------------------------
sheryl jones
sjones@library.wisc.edu
url: <http://www.geocities.com/felidae>

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------------------------------


date: wed, 19 jan 2000 08:27:33 -0500
from: sheryl jones <sjones@library.wisc.edu>
subject: [ig-news] new dates


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]


february 12
harrisonburg, va
opening act: the butchies


february 14th
wtte - (venue tbd)
norfolk, va


february 18th
wzne - (venue, tsb)
rochester, ny


february 25th
mix/house of blues
chicago, il

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------------------------------


date: wed, 19 jan 2000 10:06:27 -0500
from: vicki toye <one85fan@hotmail.com>
subject: [ig-news] jmu concert info for harrisonburg, va


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]


here's the scoop for feb 12 in harrisonburg, va:  tickets go on sale at the
warren hall box office thursday night at 9pm-11pm.  if you can't get a hold
of them then, bo hours are m-f 8:30-4:30.  there are 3500 seats in the
theater, and they don't expect it to sell out.  all the seats are assigned,
there are no ga seats.  they expect the floor seats to go fast, though.
students are charged $15, others are charged $20. you can call with a credit
card if you can't be there: 540-568-7960.  or you can go to their local
record stores to get them: town and campus records, plan 9 records, and
rocktown music.
______________________________________________________
get your private, free email at http://www.hotmail.com

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------------------------------


date: wed, 19 jan 2000 12:23:37 -0500
from: "<erin tripp>" <gitroop@aol.com>
subject: [ig-news] an ig-interview for you!


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]


here is a recent interview of emily and amy done by someone who has asked to
remain anonymous.  (i know you all are dying now, right?:)  it is from the
university of louisville show...
:)
trooper
p.s.  any have tabs for emily's "play it again sam?"


this is a transcript from a recent indigo girls interview.


i:  i saw your show in st. louis and you seem to be very happy on stage, is
there something special that keeps you guys fresh?


e:  new songs and a new band, its going really well, they are good people,
they are fun to be around, they have great senses of humor, and good hearts.
they are really great musicians, very professional, if we ask them to learn a
song they learn them quickly and they play them and sing them well…blair
is a
very spirited drummer and that makes a big difference.  the new songs, its
great to have a new record out, that keeps us fresh, and we make a new set
list every night so, we're having fun.


i:  i like the new album a lot, and i like the whole "hidden track thing"
(laughter all around), it leaves a little surprise, its like a little
christmas present.


e:  yeah, exactly


a: yeah, that was cool.


i: i noticed at another show that you guys played new songs like, you started
out with "go" played trouble, and the crowd was just sitting and enjoying the
show, and then you played "land of canaan" and then people got up, do you
notice that a lot, that it takes older songs to really get the crowd going?


a:  sometimes the crowd is up from the first song, like "go" especially
because its up, but the older stuff definitely is so popular, that's always
how it is hopefully you get to a place where its not always the old old
stuff, you know, that it moves up each year, but it does, people request
stuff that's not as old sometimes.


i: i noticed that more on this tour than on the last tour, people were into
"shame on you" and "get out the map," but it was the older songs that they
really sang all the words to, but i noticed on this tour, they are singing
the new songs, from the new album.


a:  yeah, we noticed that, its really cool.  when we first went out, in
august, before the record was out, it didn't take long to we people singing
along it was a good feeling b/c we're really nervous when we put a new record
out, about how its going to be received, i mean we like it but, you never
know.


i: you had a lot of songs to weed through right?  like "winthrop", and
"chiapas bound", how do you weed through what is going to be on the album and
which doesn't?


e:  well, in the case of "winthrop," "leeds" ended up on the album  (the last
album).  leeds was lyrically a stronger song, when ulali came into the
studio, what they did to the song was just magic.  its just a stronger song
in general and personally, more meaningful me.  as time goes by, you sorta
leave songs behind, its easy to do that and its hard to go back and say oh,
its hard for me, i can't imagine wanting to pick that song up again.
i: so, you wouldn't want to put that song on an album?


e: anything is possible, but it's not my inclination.


a:  if we were putting together a record where we remembered something that
might fit in really well, we would probably go back to it.  for me, i have so
many songs that i don't feel a place for or didn't on this record.  songs
that are really personal and i wrote it to write it, and not ever necessarily
or i'm not ready to put it on anything and i don't really know if it's a good
song or not b/c i'm too close to it personally.  so, that happens a lot.


e:  we just discuss which songs are stronger or work well together and we
have left over ones…with philosophy of loss, i didn't want to let that song
go but it didn't fit into the whole.  each of the12 songs, was so strong and
each song is so dense as it is, and you listen to the whole record and you
have space at the end and you get a little treat like you said, better to
have done that than to stick it somewhere in that mix and imbalance it in
someway.  so we made that choice.


i: how do you choose the sequence of your songs on an album?


a:  we right the names of each song on little slips of paper and move them
around.


e: we listen to the beginnings of songs and the ends of songs.


a:  its based on the key the song's in, the instrumentation, not wanting it
to be too jarring but not wanting it to sound alike from one song to the
next.  we have lots of little qualifications that we have to fulfill.  there
are probably just one or two orders that will actually work with all of the
requirements we have.  so, once we have figured that out, it works.  this
order was pretty easy i guess.


e: you can't do it until the very last part of mastering it.  it's the very
final process.


i: how do you pick which old songs you're going to play at night?


e: it depends on how we feel, and how the set is going, and what works with
the other songs.  we get tired of songs, amy gets tired of a song faster than
i do.  we try to change it up a lot, and not play the same songs over and
over.


a:  who's opening for us too, when we have michelle (malone) around, there
are certain songs we'll play with her and that will dictate sometimes some of
the older stuff we'll pull out, that she might play along with.  or, we'll
leave blank spaces in the set list and just feel the audience out and if
there are requests and we know them and we feel like playing them, we'll just
do that.  there is so much old stuff that has fallen out of favor, but it
comes back in for the weirdest reasons, and we'll just wake up one day and
say "man, i feel like playing 'jonas and ezekial' today."  i haven't even
wanted to play that for 6 months, and the other day we played it.  no reason
behind it.


i:  what made you stop playing "closer to fine" as your closing song?


e: just a change, you know we've been doing that for so, so, so long.  we
used to start the set with "galileo" and now we've been ending with it.  we
just like to change things up.


a: it kinda reclaims it, a little bit, it used to be a song where all the
guests would come out and sing it, and i would play mandolin on it and we
just wanted to go back to the way we played it originally, just two guitars
and two voices.


e: now its more of a song in the set, rather than this thing at the end that
we do.


a: but "galileo" has taken a strong place, it's the most requested song, no
one requested "closer to fine" as much, probably because they knew we were
going to play it.  but it is like all night long, every night "galileo,
please play galileo."  we have to announce that at the end of the night that
we're going to play it now.  but it's a great song, we don't get tired of
playing that song.


e: it's weird.


c: what songs do you get tired of?


a: i can't play "land of canaan" every night.  there are some songs that take
a lot of energy, and you don't want to do it with less than what you have, so
you just play it, and rotate them, and some songs just sound so bad if you
don't use all of your energy.  and that's one of them, we only play it when
we're not tired of it so you don't have to worry we're being insincere.


e:  i just get generally tired of playing my songs, in general, except for a
few that i rarely get tired of playing.  i never get tired of playing amy's
songs, never.


a: do you mean the "i'm sick of myself syndrome?"


e: yeah, exactly.


a: we get that.


e:  it doesn't take me long to experience that after the release of a record.
that's why we take breaks.


i: you guys have been touring and going strong for a while?


a:  we had 8 days off at thanksgiving, but a month before that we were on the
road, and then we had 4 days off.  and then 3 weeks before that, and lilith,
and we had to switch drummers in between then, so we had more rehearsals, and
pretty much since february when we recorded or record in england, we've been
working.  its gotten away from us, time just flew.


e: we always do that though, take several months to do a record, tour for a
year, a year and a half.


i: how do you think you have grown as songwriters?


e: i don't know really because for me, i feel like some of my best songs are
really old songs, there's a couple that are as good as anything i've written,
and maybe as good as anything i'll ever write.  other new songs feel strong,
and others don't.  so, i don't really know how to gauge it, i feel like i've
grown, but i don't know how really.  if anything, i'm a little less
melodramatic, emotionally in the way i express emotions in love songs.  early
on, i would just make myself sick when i wrote love songs.  it's the way i
express myself.  its funny because "prince of darkness" we've been playing
that recently some and i really like the movement but some of the lyrics,
(she cringes) ick, god…its funny that i am still interested in playing a
song
when i really don't like some of the lyrics, they're embarrassing.  but the
passion behind the song sounds really good to me still.


i: what songs of all of your songs are you most proud of?


a: i'm proud of "go," "kid fears" those two i'm really proud of because they
were difficult to write and they are similar songs actually but i stuck with
them and they expressed exactly what i was trying to say.  i had a vibe in
the chorus that i was looking for.  this new record, my songwriting i am
finally where i want to be, i've figure out how i want to write, its taken me
a long time to figure it out, i'm a really late bloomer, i really knew i
wasn't really there yet, i was very conscious of not being where i wanted to
be.


i: would you say that has been a battle for you?


a: a big battle, and i had to work on it a lot, but now, for better or worse,
i am where i want to be and i can figure out when i am writing a song, how to
make it better consciously, for me, its not like any other songwriter.  the
more recent stuff for me, i'm more interested in it, i can see my mistakes on
the last few records, and i can see where i mis-stepped.  even when we were
in the midst of recording those songs i could feel something not quite being
right.  so, its funny how that works.


i: does that make you regret at all?


a: no, because you can't do anything about it and its sentimental, and there
are sentimental attachments to songs even though they aren't good and i've
always been a late bloomer about everything creative in my life.  i don't
know, i'm lazy maybe.


e: hardly, hardly lazy.


i:  besides cons, i'm sure that is a baby for you right now, i can tell
really, i can tell, as it well should be.


a&e: (laughter)


i: besides that album what album is your favorite?


e:  besides that, "rites of passage" is mine.  definitely.


a:  i don't know, there's a couple of really strong songs on each of them,
and a few really weak ones for me personally, i wish i could put them all
together into one. i think rop was a good point for us of development, it
marked something for us.  1200 curfews i like a lot, it was fun to put
together, it captured something, we didn't do any overdubs its all really
live, it just has a really good vibe.


i:  would you ever do anything like that again?


e: yeah.  i personally don't like live records.


a: i do of course.


i: but you are so incredible live.


e: yeah, but it never translates to me, not quite.  i think 1200 curfews is a
really good record for a live record, i like that, i don't like get back…er
"back on the bus y'all"


a: no.


e: but we're into the spirit of live music, so we would probably do it again,
but for my listening, its just a personal thing.


i:  how do you feel about people taking your music as a message.  and
becoming role models, that has to be very flattering, but do you worry about
people taking it the wrong way?


e:  i think just on a purely analytical level, if people get different things
out of a piece of work its better, like a poem, different interpretations.
so, i think that's a good thing, i don't think any of our messages could be
misconstrued to the point where we are spreading, except to people who are
homophobic, spreading evil messages or things that are going to harm anyone
or that are negative in nature, i think people who study our music know that
its positive in nature, and its from pure motivation and intent.  i don't
worry about that and i think its very flattering to have someone take your
words or message and look up to it or live by it in some way or if it eases
any pain or trouble.  i know that music has done that for me and it continues
to.  music is a motivator in my life.


i:  you were talking about homophobia, you had those school cancellations in
south carolina, would you ever think about doing something like that again?


e: we're already planning some more.


a: we're gonna do it again, we haven't really gotten it together, we haven't
figured out how to work it.  everything is so expensive and we pay for it
ourselves, we're gonna do it, we're gonna keep trying.  after that happened,
all these schools called us and said, "we would have you here."  it's a few
parents who make trouble that are scared, and i don't know what they are
scared of but they're scared.


i: i think its really important that you guys keep doing it, it sends a
message to a lot of kids, because a lot of people would shy away from that
and say hey "we were gonna play a free show here, your loss."  i think its
gonna show a lot of kids that the struggle is worth something.


a:  we play off their response, in that case the response was so
overwhelmingly in the support of us in the cities where it was canceled.  it
was so easy to organize an all ages show that night.  if there hadn't been a
big response, we probably wouldn't have done that, we might have shied away.
you need that mutual energy of knowing that its something that they are
interested in, its their activism.    they created a whole thing around it.
that gives us the energy to try it again, and know that there are a lot of
really active high school students, and its really promising.


i: its amazing, it makes me feel like i was a slacker.


a: me too.


e: its never too late.


i: you have worked with a lot of artists, people opening for you, lilith
fair, sst,  what have you learned from these musicians, who are your
favorites, and how do they inspire you?


a:  they totally inspire us, you learn everything.  from technical stuff,
what guitar pedals to use, different sounds, lighting rigs, everything, all
of the backstage stuff, and then you learn musically, performance stuff.


e: you get inspired by other people's talent.


a: its just, you have to be really open minded, because lilith especially is
so different from our world.  when we first started that, the musicians who
were on it, the level of their success, and their approach to the business.
we had to learn, or i did, how to stand back and be more open and not judge
people harshly.  suffraggettes, was a whole other world, it was 12 women on a
bus together, it was great.  one musician on that tour stood out for me,
thalia zedek from the band come.  who i had always wanted to work with, i
thought she'd never want to do something like that, but she was totally cool
and she was like "yeah sure!" and it just shows you, you never know, you
can't think that because someone is from a completely other world  that they
don't want to work with you.  that was really neat, and she turned out to be,
an amazing performer.  a real ring leader, confidence builder, really
supportive.


e: loved by all


a: loved by all


i: i saw that show in cincinatti, and you guys looked like you were having so
much fun!


a: it was like a high school pageant. we'll do it again and we learned a lot
from it, because sometimes it wasn't the highest level of musical
accomplishment, but it was better for other reasons.

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------------------------------


date: wed, 19 jan 2000 16:27:29 -0500
from: anna creech <creechal@jmu.edu>
subject: [ig-news] re: ig at jmu


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]

hmm...looks like i got scouped on this news flash.  we've been having campus
wide computer problems, so getting to my email has been iffy this week.


here's what i know about the convo center:


* seating 7,612 for full size - from what i understand, they'll set up and one
end and have the seating in a horse shoe type thing.


* seating chart url <http://www.jmu.edu/athletics/miscellan/c-seat1.gif>


* directions url <http://www.jmu.edu/athletics/miscellan/facility/convo.htm>


that's all i know right now.  i've never been to a concert in the convo, so i
don't know much about the acoustics or visual stuff.


anna
- --
http://raven.jmu.edu/~creechal/index.htm ~ np: patty larkin
if at first you don't succeed, destroy all evidence that you tried.

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please send feedback, questions etc to owner-ig-news@smoe.org.
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------------------------------


date: wed, 19 jan 2000 19:39:27 -0500
from: "neil :o)" <neil@andineil.com>
subject: [ig-news] igc:  and speaking of posters...


[sherlyn's note: this message was originally sent to the indigo
girls mailing list at netspace.org.]


it would appear that www.indigogirlsdirect.com has the signed come on now
social posters available and in stock. i assume the profit from the $50 cost
will be going to honor or some similar charity...


anyone know what size they are, posterwise?


@}--,--'---


http://www.andineil.com
http://www.andineil.com/indigogirls
http://www.andineil.com/edenburning
neil, andi, andineil or thatcoolenglishguy @andineil.com
:o)

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end of ig-news-digest v3 #9
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