lifeblood: listlogs: 2001v04n163-news


ig-news-digest        tuesday, october 16 2001        volume 04 : number 163

today's subjects:
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  [ig-news] sigc: octaves beyond silence  [ryan blackhawke <ryan@hawke2.com>]
  [ig-news] ajc.com:   seven indigo songs inspire show     [memememi@aol.com]

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date: fri, 12 oct 2001 07:25:29 -0700
from: ryan blackhawke <ryan@hawke2.com>
subject: [ig-news] sigc: octaves beyond silence

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

just found this off rawa.org (a must-see site). octaves beyond silence
project cd features indigo girls, ani difranco, eve ensler, me'shell
ndegeocello and much more.

octaves is a non-profit organization that uses music and the arts as tools
to end violence and discrimination against women and girls throughout the
world. http://www.octavesbeyondsilence.com/about.html

ryan

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date: fri, 12 oct 2001 07:32:50 edt
from: memememi@aol.com
subject: [ig-news] ajc.com:   seven indigo songs inspire show

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


second article from ajc.com site re:  ballet

seven indigo songs inspire show

the atlanta ballet will dance to seven indigo girls songs. here's some
background on the folk-rock tunes:

"least complicated" by emily saliers, from swamp ophelia (1994): saliers
ponders the human tendency to fall into patterns and the lessons we sometimes
miss. the song came about as she was doing just what she sings in the opening
stanza: "i sit two stories above the street/ it's awful quiet here since love
fell asleep/ there's life down below me though/ the kids are walking home
from school." in an interview on public radio international/wxpn's "world
cafe," saliers says she was "thinking about my little sixth-grade boyfriend,
which seems insignificant now, but it was just like the beginning of
patterns."

"touch me fall" by amy ray, from "swamp ophelia" (1994): ray has said more
than once that this is an abstract song and that it was composed at two
contrasting times in her life. "it is sort of about decomposition in
general," she says in an interview posted on the lifeblood web site
(www.lifeblood.net) and credited only as coming from the university of new
hampshire in 1994. "decomposition of love, life and fame -- everything. it is
the beauty of decomposition, and i am tying it into the fall, meaning the
season." this song also is the origin of the album's title: "swamp ophelia/
i'm torn down /let your waters/ let me drown."

"shed your skin" by amy ray, from "shaming of the sun" (1997): this has
always seemed one of ray's most personal songs. "i wrote [it] after my
breakup with my ex about how important it is to go do your thing and
celebrate it and celebrate yourself," she told curve magazine.

"caramia" by emily saliers, from "shaming of the sun" (1997): saliers said
this was the first song she wrote on electric guitar. "it's two sections --
one is about the relationship that's totally screwed up, the other is from a
dream that actually our [then] bass player, sara lee, had," she said, before
concluding that the song is more obscure than most of her compositions. it's
hard to argue with that.

"scooter boys" by amy ray, from "shaming of the sun" (1997): this is ray in
political mode. specifically, it's an anti-colonialism song: "hey blueblood
you're nothing new/ you see i come from privilege too/ a chapter in the book
on the americas/ you're just another colonial terrorist." ray said the song
was partly inspired by a conversation in new orleans with another socially
and politically aware musician, midnight oil vocalist peter garrett.

"ghost" by emily saliers, from "rites of passage" (1992): "i think that a lot
of people can relate to what this song says about the way a person can
romanticize the 'ghost' of a love," saliers has said. the opening lines focus
on the perfect keepsake of lost love: "there's a letter on the desktop that i
dug out of a drawer/ the last truce we ever came to from our adolescent war."

"everything in its own time" by emily saliers, from "shaming of the sun"
(1997): "the writing reminds me of old emily, when we first met," ray said of
her bandmate's song. "it's a certain kind of ballad -- melodramatic, with
hispanic-sounding chord changes. one of the song's most powerful lines seems
even weightier these days: "all around the table the white-haired men have
gathered/ spilling their sons' blood like table wine."

atlanta journal-constitution

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end of ig-news-digest v4 #163
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