lifeblood: listlogs: 2002-09b


=========================================================================
date: sun, 8 sep 2002 00:08:07 -0500
reply-to: dweiden@ix.netcom.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: diane weidenkopf <dweiden@ix.netcom.com>
subject: amy & elvis
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hey everyone,
i have an mp3 from an ig show where amy talks about a stray dog named
elvis showing up at her house.
what show is this from?
thanks,
diane
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date: mon, 9 sep 2002 12:27:34 -0400
reply-to: indigofrk@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: sasha friedman <indigofrk@aol.com>
subject: baltimore tickets
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hey everyone (again)
just checking to see if anyone has two extra baltimore tickets for this friday's show. if you do - email me at sfriedman32@hotmail.com
thanks.
sasha
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date: mon, 9 sep 2002 19:28:24 +0100
reply-to: cherry lewis <cherry.lewis@ntlworld.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: cherry lewis <cherry.lewis@ntlworld.com>
subject: nigc emergency delegation to chiapas sept 21-28: your presence is
needed to end paramilitary violence
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this appeared on a quaker email list. thought it might be of interest to
some on this list, given ig connections with the zapatistas.
cherry
----- original message -----
from: "k.skvorak" <k.skvorak@verizon.net>
to: <quaker-p@earlham.edu>
sent: monday, september 09, 2002 5:30 pm
subject: [quaker-p] emergency delegation to chiapas sept 21-28: your
presence is needed to end paramilitary violence

> here is some info on another international nv effort....there are a
> lot of examples these days: chiapas, colombia,palestine, iraq,
> burma, ....to name some. i am wondering if there are any
> foundations set up out there that specifically fund nv civilian peace
> keeping efforts? if there is not, there really ought to be! how
> hard is it to set up a foundation?
>
> kevin
>
> ************************
>
>
>
> mexico solidarity network <http://www.mexicosolidarity.org/>
> <mailto:msn@mexicosolidarity.org>
> subject: msn emergency delegation to chiapas: your presence is needed
> to end paramilitary violence
> date: fri, 06 sep 2002
>
> emergency delegation to chiapas
> september 21-28, 2002
> sponsored by mexico solidarity network
> information: 773-583-7728 fax: 773-583-7728
>
> zapatista communities in chiapas are suffering a wave of paramilitary
> violence, unprecedented since the 1997 acteal massacre. the
> communities are calling on the international community to send
> emergency human rights delegations to chiapas. in response the mexico
> solidarity network is organizing a delegation from september 21-28.
> delegates will visit communities under threat, providing an
> international presence that will offer a level of security and
> heightened visibility. at least one us congressional office will
> likely accompany the delegation.
> scholarships are available, especially for representatives of local
> solidarity committees and youth of color. please contact the mexico
> solidarity network for more information.
>
> schedule:
> september 21: travel to san cristobal de las casas, chiapas and
> general orientation.
> september 22: meetings with human rights organizations and background
> orientation on the current situation in chiapas.
> september 23-26: travel to threatened autonomous zapatista communities.
> september 27: return to san cristobal and participate in press work,
> strategy discussions and debriefing.
> september 28: return to u.s.
> the cost of the delegation is $250, covering ground transportation,
> meals in the communities, hotels, translation, background materials,
> and program. delegates are responsible for their own flight
> arrangements. we encourage you to use our travel agent, scott,
> 800.328.1332
> travel stipends are available for representatives of local solidarity
> groups and youth of color under age 30. click to
> <http://www.mexicosolidarity.org/delegationform.html> to sign up.
>
> below is an overview of the current situation in chiapas.
> -------------------------------------------
> a strategic, well-coordinated campaign of paramilitary attacks has
> reached alarming levels in chiapas, mexico. since mid-august 2002,
> new paramilitary attacks have taken the lives of four zapatista
> leaders, wounded 20 supporters and displaced hundreds of indigenous
> community members. president fox claims peace in chiapas, but the
> paramilitary campaign--in close coordination with local police and
> the mexican army - represents a new initiative directed against
> autonomous indigenous (zapatista) communities. anyone holding
> authority in a zapatista community stands in the cross hairs.
> zapatista communities have called on the international
> community--once again--to stand with them and resist the violence.
>
> antonio mejia, a zapatista leader from the community of k'an akil,
> was the most recent victim. as antonio's wife escaped from the scene
> under fire, she was able to identify the killers as paramilitaries
> from with the pri-affiliated “los aguilares." so far, none of
> the memebers of this group have been arrested. unfortunately, this
> kind of impunity is all to common in chiapas, where pri-affiliated
> paramilitaries often coordinate with local police and the army.
>
> the current conflict centers around control of land. much of the land
> in areas of zapatista influence is communally held and governed by
> autonomous authorities. tensions increased in recent months as the
> state government offered financial assistance to individuals with
> land titles. in response, paramilitary groups are trying to claim the
> land for private use. chiapas governor pablo salazar was elected in
> 2000 on a platform of peace and negotiation, though zapatista
> communities largely refused to participate in the election. salazar
> appears to have abandoned his commitment to reconciliation in favor
> of bowing to his new constituency. salazar was elected under a
> multi-party banner led by the pan, but he was a pri official for most
> of his political career.
>
> the federal government also has a hand in increasing tensions.
> autonomous communities report increases in troop movements in recent
> weeks and there appears to be support, if not outright cooperation,
> between the military and paramilitary groups. zapatista supporters
> report paramilitary groups are often armed with ar-15s, a military
> weapon whose use is strictly limited to the army.
> the recent attacks betray campaign promises by president fox to
> comply with the three zapatista demands that would re-start peace
> talks: release of zapatista political prisoners, de-militarization of
> seven zapatista-held areas, and passage of an indigenous rights bill
> based on the san andres accords. fox initially paid lip service to a
> lasting and dignified peace in chiapas. now he shows his true colors
> by sending in more troops and turning a blind eye to paramilitary
> violence. the current paramilitary attacks also reveal the failures
> of fox's so-called federal indigenous law to resolve the root causes
> of the conflict in chiapas. indigenous communities and organizations
> rejected the law because it gutted the provisions of the previously
> signed san andres accords.
>
> the united states also shares responsibility through the training of
> mexican military personnel, and the supplying of arms and military
> equipment. in the four years between 1996-2000, the us government
> provided more than $141 million in grants.
> (http://www.ciponline.org/facts/mx.htm#overview <http://www.ciponline.org/facts/mx.htm>)
> the zapatistas captured the attention of the world in 1994, and have
> been successful in developing autonomous governing structures, in
> large part because of globalized grassroots solidarity. however,
> international attention has waned somewhat over the past two years,
> though the zapatistas maintain a high level of moral authority among
> international activists. the current situation in chiapas is the most
> dangerous since 1997 when paramilitaries murdered 44 members of las
> abejas. international attention
> focused on chiapas after the killings – too late to prevent one
> of the worst massacres in mexico’s history.
> in an effort that demonstrates both foresight and political clarity,
> a coalition of chiapas-based communities and ngos have joined
> together to call for international delegations and human rights
> observers.
>
> in this time of crisis, the international community can play an
> important role. mexico solidarity network staff members know from
> previous experience the kind of impact that well-organized and
> coordinated delegations can have in this context. in february of
> 1995, our director, tom hansen, organized a delegation to chiapas at
> the beginning of the military invasion of the state. in a matter of
> three days, nearly 50,000 troops occupied the furthest reaches of the
> chiapas jungle. the army initially prevented the delegation from
> entering the jungle. delegates regrouped, organized a massive
> delegation of over 50 journalists, europeans and mexicans in addition
> to our own delegation of 15, and entered the area of highest troop
> concentration the following day – the first delegation of any
> kind to enter the region. the presence likely prevented military
> abuses and our press work over the following weeks helped tell the
> story to the world.
>
> the mexico solidarity network proposes an emergency delegation of 15
> to 20 people to travel to chiapas from september 21-28. the
> delegation will include activists and recognizable personalities. we
> will also work to include several congressional offices as a means of
> protection against possible expulsion and to lift the visibility of
> the delegation. the delegation will:
>
> - provide an international presence in communities that are under
> threat of attack by paramilitary groups. the protection offered by
> international delegations extends well beyond the actual presence in
> the communities by
> putting paramilitary groups on notice that the communities can count
> on international support.
> - meet with state and federal officials. the delegation will
> encourage officials to end impunity for paramilitary groups,
> demilitarize autonomous communities, and pass a genuine indigenous
> rights law consistent with the
> san andres peace accords.
> - interact with the national and international press. the delegation
> will help to raise consciousness around the world through extensive
> press work.
> - develop strategies for continual solidarity work in the us.
> delegates will use first hand experiences and direct contact with
> sister organizations in chiapas to develop short and long term
> strategies for confronting low
> intensity warfare and paramilitary violence upon return to the us.
>
>
> #############################################################
> mexico solidarity network <http://www.mexicosolidarity.org/>
>
> _______________________________________________
> quaker-p mailing list
> quaker-p@earlham.edu
> <http://www.earlham.edu/mailman/listinfo/quaker-p>
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=========================================================================
date: mon, 9 sep 2002 12:14:07 -0700
reply-to: andrea stefanik <struttysbuddy@yahoo.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: andrea stefanik <struttysbuddy@yahoo.com>
subject: burlington vt o9/18/02 4th row tickets
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if interested in these tickets at cost or
trade
email
struttysbuddy@yahoo.com
__________________________________________________
do you yahoo!?
yahoo! finance - get real-time stock quotes
<http://finance.yahoo.com/>
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date: mon, 9 sep 2002 15:58:03 -0400
reply-to: catherineann@mindspring.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: catherine ann <catherineann@mindspring.com>
subject: re: amy & elvis
diane weidenkopf wrote:
i have an mp3 from an ig show where amy talks about a stray dog named elvis
showing up at her house. what show is this from?
-----------------------------------------------------
it's from a show last summer at the botannic gardens in denver, co. i can't
remember the exact date.
catherine
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=========================================================================
date: mon, 9 sep 2002 22:33:17 +0200
reply-to: kathrin siegmund <kathrin_siegmund@gmx.de>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: kathrin siegmund <kathrin_siegmund@gmx.de>
subject: re: amy & elvis
in-reply-to: <springmail.0994.1031601483.0.29935000@webmail.atl.earthlink.net>
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on 9 sep 2002 at 15:58, catherine ann wrote:
> diane weidenkopf wrote:
>
> i have an mp3 from an ig show where amy talks about a stray dog named
> elvis showing up at her house. what show is this from?
> -----------------------------------------------------
>
> it's from a show last summer at the botannic gardens in denver, co. i
> can't remember the exact date.
in 2001 they were there on july 13th...
kathrin
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=========================================================================
date: mon, 9 sep 2002 14:47:53 -0600
reply-to: garian <vigil@ucsu.colorado.edu>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: garian <vigil@ucsu.colorado.edu>
subject: author urgently seeking native american women to interview (fwd)
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anderson-minshall <diane@anderson-minshall.com>
>subject: urgent, seeking interviewees
>
>hi everyone, sorry for the bulk email but i'm trying
>to reach as many people as possible quickly. please
>forward this or post it if you can. i need help.
>
>i'm the recipient of the george washington
>williams fellowship for writers of color. i'm
>researching an article on native american lesbian,
>queer, or two-spirit women. i'm looking for women
>willing to answer a few questions via
>email asap. it's fine to remain anonymous. i've
>attached questions below in case you know of anyone.
>
>i should note, for the purpose of my interviews, that
>i'm including in the term "native american" both
>indigenous women of canada and mexico, as well as
>women who identify as mixed race, american indian,
>mestizo, pueblo, etc. i should also mention, i myself
>identify as a mixed blood native american
>(cherokee/choctaw).
>
>i'd appreciate any help!! the article will appear in
>curve magazine (www.curvemag.com <http://www.curvemag.com/>) and you can check
>out my credentials at www.anderson-minshall.com <http://www.anderson-minshall.com/>.
>
>thanks!
>diane anderson-minshall
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date: mon, 9 sep 2002 20:08:16 -0400
reply-to: michael reynolds <mike@uppity-disability.net>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: michael reynolds <mike@uppity-disability.net>
subject: sigc: happy 9-9
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...conversation fear, conversation, fear, conversation.....
(kudos to anyone who gets the ig-related band reference)
wishing i went to uga...
mike r.
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=========================================================================
date: mon, 9 sep 2002 20:08:19 -0500
reply-to: dweiden@ix.netcom.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: diane weidenkopf <dweiden@ix.netcom.com>
subject: re: amy & elvis
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thanks to everyone who answered my question.
diane
kathrin siegmund wrote:
> on 9 sep 2002 at 15:58, catherine ann wrote:
>
> > diane weidenkopf wrote:
> >
> > i have an mp3 from an ig show where amy talks about a stray dog named
> > elvis showing up at her house. what show is this from?
> > -----------------------------------------------------
> >
> > it's from a show last summer at the botannic gardens in denver, co. i
> > can't remember the exact date.
> in 2001 they were there on july 13th...
>
> kathrin
>
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date: tue, 10 sep 2002 01:34:35 -0400
reply-to: tisara@webworqs.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: "i am 32 flavors and then some..." <tisara@webworqs.com>
subject: birthdays (september 9th - september 15th, 2002)
happy hoppy birthdays to the following listees!
september 10
havanamoon <missing_lynx@email.msn.com> (tim baldwin)
missing_lynx@msn.com
"your actions will follow you, full circle round...."
sept 10 ('79)
torrie <broadway_babe_42@yahoo.com>
"is it the boy that you see in me or the girl that you
could be?"- measure of me, amy ray
september 12 ('77)
cmdst30+@pitt.edu (christy diefenderfer)
september 12 ('69)
ccigfan@aol.com (cheri)
"say goodbye to a world where you cannot breathe
to hiding behind unfamiliar skin
to singing songs never knowing what they mean
now this is the way it was meant to be
be still and listen to the rising and falling
knowledge is power and i never knew me till now." --michelle malone
september 15
creechal@spamcop.net (anna creech)
"there's no need for pretending. just be the one you are." --wishing
chair
may you all have a wonderous and safe time celebrating!
love and devotion,
audra
bge

"when i say 'i will be true to you' i am drawing a quiet space
beyond the reach of other desires. no-one can legislate love;
it cannot be given orders or cajoled into service. love belongs
to itself, deaf to pleading and unmoved by violence. love is
not something you can negotiate. love is the one thing stronger
than desire and the only proper reason to resist temptation."
-- jeanette winterson, _written on the body_ (p. 77-78)
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date: tue, 10 sep 2002 17:32:16 -0400
reply-to: susan marine <susmarine@hotmail.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: susan marine <susmarine@hotmail.com>
subject: dontcha wanna go to the noho show?
x-to: baigls@world.std.com
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hiya, i have three tickets for the northampton ig show on 9/17 that need a good home. i was trying to get the face value for them (44.50 each) but will give them away for the low low price of 30 bucks each if you contact me within the next three days. i'll even throw in a set of ginsu knives :) if $30 doesn't float your boat, make me an offer people! no reasonable offer refused. thanks for playing.
susan (susmarine@hotmail.com)

msn photos is the easiest way to share and print your photos: click here <http://g.msn.com/1hm1enus/c156??pi=44364>

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date: tue, 10 sep 2002 14:37:55 -0700
reply-to: chee hill <pinechee@yahoo.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: chee hill <pinechee@yahoo.com>
subject: secret shame
in-reply-to: <71.251c18cb.2aaa38f3@aol.com>
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i really like (love) top 40 hip-hop.
>
> >yes, shut up - wrestling
> >
> >is my secret shame. what's yours?
>

=====
"...eventually all things merge into one, and a river runs through it"
><((((>'..'..'...><((((>.'.. , . .'..
> ><((((>'..'..'...><((((>

__________________________________________________
yahoo! - we remember
9-11: a tribute to the more than 3,000 lives lost
<http://dir.remember.yahoo.com/tribute>
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date: tue, 10 sep 2002 21:07:53 edt
reply-to: ndgogrls@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: ndgogrls@aol.com
subject: nigc- jude???
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will you email me? i don't remember your new email..i just had your aol
one....thanks and so sorry for the bandwith....
carla ;o)
"the lessons i've learned won't do you any good, you've got to get burned.
well the curse and the blessing they're one in the same" -amy ray
"no one gets to miss the storm of what will be" -emily sailers
"the heart of a skeptic and the mind of a child" - emily sailers


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will you email me? i don't remember your new email..i just had your aol one....thanks and so sorry for the bandwith....

carla ;o)

"the lessons i've learned won't do you any good, you've got to get burned. well the curse and the blessing they're one in the same" -amy ray

"no one gets to miss the storm of what will be" -emily sailers

"the heart of a skeptic and the mind of a child" - emily sailers


--part1_59.213b7c89.2aaff169_boundary--
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date: mon, 2 sep 2002 19:37:08 -0500
reply-to: diane hartley <hartleyd@swbell.net>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: diane hartley <hartleyd@swbell.net>
subject: asheville show
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well, since no one has posted yet, i thought i'd give my opinion on the show...
i have to say, this was one of the best i've ever seen. i didn't write the set list, but they'll post it. no real surprises as far as the set list, but the crowd was really into it, and they were shocked at that (as usual...) but it sounds like the show the prior night was a bit of a sleeper....
if you look at the schedule it was interesting they chose to do the nc shows at all. they fell right in the middle of a "rest" period for them. i guess the biltmore was too attractive to pass up. beautiful venue and i mean beautiful. amy seemed extremely happy - wearing the kilt and the black tank shirt. when she came onstage, there was literally a gasp from the crowd (or maybe that was just me really loud....)
one big surprise was that amy played a new song - she said she had a lot of time on her hands so she was writing alot....i really don't remember the song, but it had a great hook and when emily came back on the stage, she whispered something to amy, then amy laughed and told the crowd that sometimes they talked to each other onstage and that emily told amy that she really likes the new song.
just a really great show....anyone else???
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well, since no one has posted yet, i thought i'd give my opinion on the show...
i have to say, this was one of the best i've ever seen. i didn't write the set list, but they'll post it. no real surprises as far as the set list, but the crowd was really into it, and they were shocked at that (as usual...) but it sounds like the show the prior night was a bit of a sleeper....
if you look at the schedule it was interesting they chose to do the nc shows at all. they fell right in the middle of a "rest" period for them. i guess the biltmore was too attractive to pass up. beautiful venue and i mean beautiful. amy seemed extremely happy - wearing the kilt and the black tank shirt. when she came onstage, there was literally a gasp from the crowd (or maybe that was just me really loud....)
one big surprise was that amy played a new song - she said she had a lot of time on her hands so she was writing alot....i really don't remember the song, but it had a great hook and when emily came back on the stage, she whispered something to amy, then amy laughed and told the crowd that sometimes they talked to each other onstage and that emily told amy that she really likes the new song.
just a really great show....anyone else???
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date: wed, 11 sep 2002 10:38:07 edt
reply-to: stocktn@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: stocktn@aol.com
subject: selling 2 front row seats to pnc show
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hi,
i have an extra set of tickets to the pnc show in nj on 9/15. they are
section 104 (amy's side), row a, seats 1 & 3 -- here's a seating chart...<a href="<http://www.brokertix.com/chart.cfm?chart=pncbankartscenter_concert.gif&venue=pnc%20bank%20arts>">pnc
bank arts</a>. i'm only looking to get what i paid which was $95 through tm.
please email me privately if interested.
thanks, carlisle
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hi,

i have an extra set of tickets to the pnc show in nj on 9/15. they are section 104 (amy's side), row a, seats 1 & 3 -- here's a seating chart...pnc bank arts <http://www.brokertix.com/chart.cfm?chart=pncbankartscenter_concert.gif&venue=pnc%20bank%20arts>. i'm only looking to get what i paid which was $95 through tm.

please email me privately if interested.

thanks, carlisle
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date: thu, 12 sep 2002 11:57:43 edt
reply-to: memememi@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: memememi@aol.com
subject: new spitfire tour info!
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amy & emily will be participating in the new spitfire tour, according to the=
=20
website (www.spitfiretour.org <http://www.spitfiretour.org/>). the info was just added, so there are no=20
other details available, according to the organizer. =20
**november 11 =e2=80=93 university of mississippi**
location: univ of mississippi
time: 7:30pm
tickets: $3 with student id, $10 without - get at student union
venue: fulton chapel
speakers: amy ray & emily sailers (indigo girls), jello biafra, howard lyman
=3d)
lisa
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amy & emily will be participatin= g in the new spitfire tour, according to the website (www.spitfiretour.org).= the info was just added, so there are no other details available, acc= ording to the organizer.

**november 11 =e2=80=93 university of mississippi**
location: univ of mississippi
time: 7:30pm
tickets: $3 with student id, $10 without - get at student union
venue: fulton chapel
speakers: amy ray & emily sailers (indigo girls), jello biafra, howard l= yman

=3d)
lisa
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date: thu, 12 sep 2002 09:54:41 -0700
reply-to: dan rydell <dan_rydell0@yahoo.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: dan rydell <dan_rydell0@yahoo.com>
subject: great tickets to see the ig in nj this sunday
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i apologize for mailing the whole list with this, but my friends and i can't go, and i have really good tickets (row d and row f, section 103...which i think is 4th/6th row near center) that i need to sell for the indigo girls concert at the pnc center in new jersey on sep 15th.
face value is $50 per ticket and i have 2 pairs of 2 together.
i'm not looking to make a profit on these, i just don't want them to go to waste (and i'd rather not lose the $200 total i spent on them).
please email dan_rydell0@yahoo.com if you are interested. i will sell them to the best offer i get probably by midday friday (with preference given to anyone who can pick them up in nyc, or who'll get me a t-shirt or a boot or something for selling them great seats at face-value).
sorry to bother y'all, but time was running out and i hadn't found anyone who could go any other way...


---------------------------------
do you yahoo!?
yahoo! news - today's headlines
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<p> </p>
<p>i apologize for mailing the whole list with this, but my friends and i can't go, and i have really good tickets (row d and row f, section 103...which i think is 4th/6th row near center) that i need to sell for the indigo girls concert at the pnc center in new jersey on sep 15th.</p>
<p>face value is $50 per ticket and i have 2 pairs of 2 together.</p>
<p>i'm not looking to make a profit on these, i just don't want them to go to waste (and i'd rather not lose the $200 total i spent on them).</p>
<p>please email <a href="<mailto:dan_rydell0@yahoo.com>">dan_rydell0@yahoo.com</a> if you are interested.  i will sell them to the best offer i get probably by midday friday (with preference given to anyone who can pick them up in nyc, or who'll get me a t-shirt or a boot or something for selling them great seats at face-value).</p>
<p>sorry to bother y'all, but time was running out and i hadn't found anyone who could go any other way...</p>
<p> </p><p><br><hr size=1>do you yahoo!?<br>
<b><a href="<http://news.yahoo.com/>">yahoo! news</a></b> - today's headlines
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date: thu, 12 sep 2002 12:58:17 -0400
reply-to: anna creech <creechal@spamcop.net>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: anna creech <creechal@spamcop.net>
subject: selling some ig promo stuff on ebay
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hey list!
i'm trying to liquidate some stuff in my promo collection (need extra cash more
than stuff i'll have to box up and move), so i'm selling a few things on ebay.
i thought i'd let y'all know, since you've been so good to me in the past.
here's a listing of what i've got:
<http://members.ebay.com/aboutme/creechal/>
anna
"i kiss the hems of librarians in gratitude for their never-failing
assistance..." --sally a. chappell
<http://chkngrrl.blogspot.com/> | good music found here: mp3.com/wishingchair
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date: thu, 12 sep 2002 13:01:05 -0400
reply-to: victoria.heckler@ppfa.org
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: "<victoria heckler>" <victoria.heckler@ppfa.org>
subject: re: great tickets to see the ig in nj this sunday
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"who'll get me a t-shirt or a boot or something for selling them great seats
at face-value"
you know, it has never even occurred to me to sell extra ig tickets i've had
for a profit. am i just incredibly naive? heck, i even gave away two orch
tickets to the 6/5 radio city show because they were given to me for the ig
volunteer deal and i already had great seats.
i was just wondering if others felt that it was their "goddess given duty"
to pass along the ig love without trying to make some extra money???
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"who'll get me a t-shirt or a boot or something for selling them great seats at face-value"
you know, it has never even occurred to me to sell extra ig tickets i've had for a profit. am i just incredibly naive? heck, i even gave away two orch tickets to the 6/5 radio city show because they were given to me for the ig volunteer deal and i already had great seats.
i was just wondering if others felt that it was their "goddess given duty" to pass along the ig love without trying to make some extra money???
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date: thu, 12 sep 2002 14:05:52 -0700
reply-to: "janice l. monforton" <jmonfort@csci.clark.edu>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: "janice l. monforton" <jmonfort@csci.clark.edu>
subject: re: great tickets to see the ig in nj this sunday
in-reply-to: <c7aa89f15d40d31194f900a0c9694c21054b5323@ppfanyex01.ppfa.org>
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you forgot to condemn all the people selling their ig goods on ebay.
wouldn't want to leave anyone out.
-sam (being sarcastic, for those of you who couldn't tell)
> "who'll get me a t-shirt or a boot or something for selling them great seats
> at face-value"
>
> you know, it has never even occurred to me to sell extra ig tickets i've had
> for a profit. am i just incredibly naive? heck, i even gave away two orch
> tickets to the 6/5 radio city show because they were given to me for the ig
> volunteer deal and i already had great seats.
>
> i was just wondering if others felt that it was their "goddess given duty"
> to pass along the ig love without trying to make some extra money???
>
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date: thu, 12 sep 2002 21:30:23 -0400
reply-to: joey krimple <shorje1973@insightbb.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: joey krimple <shorje1973@insightbb.com>
subject: nytimes article "queer as folk"
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queer as folk
by david hajdu

at some point in most of her concerts, christine lavin goes looking for a
man. a singer-songwriter prominent in the folk-music circuit for more than a
decade, lavin is a drolly impish performer with a flair for the theatrical.
she affixes a miner's light on her head, steps offstage and roams around the
audience in search of the best-looking man in the house. ''the interesting
thing to me,'' she says, ''is that i'll be looking for a man, and i'll have
the light on, and i'll see 20 women, and i'll see one man in the whole
section.'' the audience for artists like lavin, like that of folk music in
general, is predominantly female and increasingly gay.
lavin is not homosexual, but she welcomes all listeners. ''there's no reason
that gay women wouldn't relate to the stuff that i'm writing, because
relationships are relationships,'' she says. but lavin, whose latest record
is ''i was in love with a difficult man,'' has been distressed to see some
of her cd's categorized in stores as ''women's music'' -- the code phrase
for feminist and lesbian music, a great deal of it in the acoustic-folk
vein. ''once you're labeled that way,'' she says, ''men totally won't set
foot in the door, because they think it's not for them.''
folk music has become the sound of lesbian culture. it is to gay women what
cabaret and disco have been to gay men or what jazz has been to
african-americans -- in the phrase duke ellington coined, a ''tone
parallel'' to a world underexplored in other musics. resolutely political,
intimately personal, unadorned, steeped in tradition and connected to the
earth, folk music carries deep-rooted associations with what it means to be
a gay woman. ''we're seeing the coming together of a way of life and a form
of expression that's kind of primary,'' says lisa merrill, a professor of
performance history at hofstra university. ''this doesn't happen often.''
the rise of gay women in folk music is difficult to quantify; all those
female faces at concerts by women folksingers is no more proof of a lesbian
phenomenon than arenas full of boys at metallica shows means that all
heavy-metal fans are gay. however, the number of female performers in folk
who are openly lesbian, bisexual or actively pro-gay has been rising in
recent years and seemingly at a higher rate than in other styles of music.
the music festivals, concert halls and clubs have rosters full of artists
who are lesbian or widely recognized as gay-friendly: melissa etheridge, ani
difranco, k.d. lang, the indigo girls, nanci griffith, holly near, janis
ian, tret fure, melissa ferrick, toshi reagon, jill sobule, cheryl wheeler,
patty larkin and dozens more. according to ellen friedman, who runs a
boston-area booking agency with her lesbian partner, the proportion of gay
women in folk is ''much, much greater'' than in other musical genres ''and
expanding constantly.''
lesbians have had such success in acoustic music that more than one female
performer has been charged with posing as a lesbian to exploit the market --
and some men in the field have begun to talk of feeling alienated. others in
folk circles, while acknowledging the right of gay women to play any music
they like, express concern that folk, by definition the most inclusive of
musics, might be becoming too insular, if not restrictive, and it has all
happened with so little public notice that some of those at the heart of the
matter are struggling to come to terms with it. ''i think of the number of
gay folk musicians i know, and it's amazing,'' says amy ray of the indigo
girls. ''and i think of people like dar williams and ani difranco -- they're
not gay, but they have a big gay following. what is it about folk music that
appeals to gay women? i'd like to know.''
pamela means, a young biracial woman living in boston, writes stark, defiant
songs about race and lesbianism. on a saturday evening in july, means was
scheduled to perform in the 9 to 10 o'clock slot at the living room, a
publike folk venue on the lower east side of manhattan. the room was full.
''she has a good following here,'' the bartender said, beaming. by 9:20,
means had not yet arrived, and the fellow scheduled to play at 10, carl
mullen, was asked to take the microphone. he sang and played the guitar
well, though the house began to thin. around 9:45, the manager announced
that means had fallen ill and would not be arriving, and nearly a third of
the audience, all women, left. mullen shifted to rock 'n' roll songs in
panic. ''i don't know what we'd do without the lesbians,'' the bartender
said, watching the exodus. ''without them, i don't know what we'd do.''
a few decades ago, things were different. ''the folk clubs were nothing like
they are today,'' amy ray recalls. ''lesbians were no more welcome in folk
than we were anywhere else. other musicians didn't want us there, and the
audience didn't make us feel very welcome.''
the intertwining of folk music and lesbian culture was a slow, complex
process, the first links subterranean. as early as the 50's and 60's, some
of the most popular folk performers were gay or bisexual women. but emerging
in less inclusive times, these singers only suggested alternatives to
heterosexual norms without being explicitly ''out.'' in the 50's, ronnie
gilbert, the strong-voiced woman in the weavers, helped take folk onto the
pop charts with hits like ''goodnight, irene''; although she embodied a
deglamorized feminine vigor, gilbert was not an out lesbian until her later
years. her 60's successor, joan baez, the queen of the baby boomers' folk
revival, exuded an imperious sexual neutrality that was a key part of her
attraction (to men and women); even so, she kept her bisexuality private
until 1973.
after its triumph as a full-blown international craze in the 60's, folk
music began receding in popular favor. at the same time folk music lost much
of its mainstream audience, however, it picked up new fans inside the
lesbian community. with the feminist and gay-rights movements in the 1970's
and 80's, lesbian culture evolved at an accelerated pace, and it developed
new social structures. weekend music festivals for women -- women's music
festivals'' -- attracted lesbians and others by the tens of thousands and,
with a shift in the weight of the words, spawned a new genre as festivals of
''women's music.'' men, homosexual or heterosexual, were often banned; one
annual event in michigan even restricted transsexuals. by the end of the
80's, the singer-songwriter cris williamson was performing at some 30
festivals per year, and missing at least as many. record labels specializing
in women's music, most notably olivia records, were releasing albums by
dozens of artists, helping to make a few of them -- williamson, alix dobkin,
meg christian, holly near -- celebrities within their sphere. ''the
wonderful thing about women's music is that it was the strongest, most
powerful organizing force for lesbians in the united states next to
softball,'' says alix dobkin, a greenwich village folkie of the 60's who
pioneered lesbian music with uncompromising, intimate songs about her
relationships. ''the festivals brought lesbians together, and the music was
at the heart of that experience.''
stylistically, the festivals strove to be catholic, including women playing
jazz, rock, pop -- any chords, as long as the words rang true to the spirit
of the lesbian and feminist movements. yet the festivals seemed most
successful with folk-style singer-songwriters, solo voices telling personal
stories to the accompaniment of acoustic guitars. ''i started out playing
harder music, rock 'n' roll,'' tret fure recalls. ''i found that that just
didn't work very well with the women's music audience, and i softened my
presentation to more of a folk-rock kind of thing. there's something about
the folk format, maybe the intimacy, that makes it a very effective way for
women to connect with other women.''

for fure, melissa etheridge and other gay women of their generation who felt
unwelcome in the rock world during their youth, women's music provided
career-sustaining nourishment. ''that movement was very important to my
development,'' recalls etheridge, who became famous as a rock 'n' roll
singer in the mid-90's but first cut her musical teeth playing folk at
women's music festivals. ''i would listen to meg christian and alix dobkin,
and i would see these women standing up, saying, 'yeah, i'm queer, and i'm
singing, and everyone's lovin' it.' i was inspired. the first women's music
festivals i played were the first large audiences i ever played for. they
were very warm and receptive. since then, i've reached the mainstream, but
at that point, the mainstream was not available to women like me.''
as lesbians made more political and social inroads in the 90's, the
women's-music movement faded -- but its musical legacy was firmly
established. the festivals had served as a training ground for hundreds of
musicians, including a wave of younger women like ani difranco and melissa
etheridge, and it had helped countless gay women develop an affection for
the sound of women singing with acoustic guitars. like ''jump blues'' of the
1940's, a genre music that infiltrated the culture at large in the
transmuted form of rock 'n' roll, women's music prevailed through its
transformation of the larger folk-music scene.
at this summer's ithaca women's music festival, several hundred women, along
with some children and men, gathered in a field behind a gay center near
cornell. vendors sold books and cd's, beads, t-shirts (''i like girls''),
burgers and vegan snacks. the main attraction was the singer janis ian, who
is gay. she lounged on a folding steel chair, chain-smoking during the
afternoon. about every five minutes, a fan would inch up to her to chat or
ask for an autograph. one had a teenage girl in tow. ''this is my daughter,
becky,'' the fan announced.
''you like music?'' ian asked the girl.
''yeah, a lot,'' she answered.
''what do you listen to?''
''well, i really like ani difranco.''
ian grinned approvingly, and the mother looked at her and joked, ''ani
difranco -- she's your daughter!''
for today's generation of lesbian musicians -- young artists like pamela
means, toshi reagon and lynette schultz -- gay women simply belong in
acoustic music. to be gay and out and to play the guitar seem like common
birthrights. as means says cheerily, ''if you're a girl with a guitar, it's
definitely a good time to be queer.''
among kindred spirits in folk, young lesbian artists say they feel a sense
of community, acceptance and insulation from the demands of the
high-pressure pop-music business. ''i really feel at home in the folk
world,'' means says. ''my kind of message isn't really going to be embraced
by the masses.'' means found this feeling confirmed when she performed at
south by southwest, an annual music-industry convention. ''i met this
hotshot from l.a., and he was like: 'oh, yeah, i'm going to get you signed.
do you have a boyfriend?' i said, 'no.' he said, 'oh, a girlfriend?' i said,
'yeah.' he said: 'o.k., no problem -- just don't tell anybody. every guy in
the audience has to think he has a chance with you.' '' means passed on the
offer. as she puts it, ''i'm embraced where i am, in the folk world.''
another reason folk appeals to lesbian artists is that, in its service to
rural, earthy projections of authenticity, it does not seem to objectify
women (at least not in the same way) as other kinds of music, especially
pop. jamie anderson, a north carolinian who writes buoyant, comic snapshots
of gay life, finds this liberating. ''the thing i like about the folk
scene,'' she says, ''is that it's something that doesn't have a whole lot of
glitter and you-gotta-look-like-name-the-diva-of-the-day kind of feeling to
it, and i think that's what attracts a lot of lesbians to folk music.''
at the same time, the alliance of folk music and lesbianism has created a
tricky situation for male artists -- and some women, including several of
the most prominent names in the field. although young male artists like
rufus wainwright and jeffrey lewis are carving out respectable careers in
folk, others waiting in the wings have come to see their prospects as
limited and accept their place in the folk scene as marginal. ''i'm working
in a lesbian art form,'' says one male singer-songwriter. ''but i honestly
don't have any problem with that. i can still do it, and nobody's telling me
not to. i'm just sort of like a white guy who can play jazz. it's what i do,
and i love it -- it's just not the art form of my people.''
across the lines of gender and sexual orientation, moreover, there are
concerns that the folk scene, in its tightening links to lesbian culture, is
becoming exclusionary, limiting its audience and freezing the music in
orthodoxy. ''the problem is that the gay community -- unfortunately,
especially the lesbian community -- can be, in my opinion, extraordinarily
phobic itself,'' says the country-influenced traditional singer melissa
ferrick, who is openly gay. ''there's a real sense of not letting anybody
else in.'' through its insularity, some charge, the scene is already
suffering an erosion of artistic standards. ellen friedman, the folk-music
promoter, says, ''there are women, and i'd rather not name names, but they
all come to me -- there are women who have nothing going for them except
that they're a lesbian.'' she pauses. ''if they weren't lesbian, they'd have
no careers.''
according to the gay folk veteran nancy carlen, who served as road manager
for joan baez: ''it's disgraceful. a lot of what i hear out there is just
juvenile. it would never cut it if it didn't have a guaranteed audience.''
for those women whose sexual identities defy categorization, the strength of
the lesbian audience has proved to be a treacherous asset. ''i have seen in
the business that the lesbian following is a hugely loyal fan base and one
that is envied,'' melissa etheridge points out. ''it seems like everybody's
trying for the lesbian audience, because they're so loyal.'' in fact, at
least a couple of female performers have been accused of ''passing'' as gay.
jill sobule, a quirkily original singer, guitarist and songwriter, is nearly
impossible to classify, musically or personally. after her folky pop tune
about sexual experimentation, ''i kissed a girl,'' became a hit in 1995,
''all anyone wanted to know was, what was i?'' sobule says. ''it was a weird
thing, because there was a part of me that wanted to say i'm bisexual, but i
just didn't want to get into that. there was a big debate about me, and
people were saying, 'oh, she's such a closet case -- she won't come out and
say she's a lesbian.' and other people were saying, 'oh, she's a
heterosexual woman trying to catch a lesbian trend.' you couldn't win.''
dar williams, one of the most acclaimed and best established
singer-songwriters of the current generation, has always considered herself
heterosexual but was vague about her sexual orientation to her sizable gay
following -- until her marriage to a man this spring necessitated that she
''come out and say: 'o.k. i'm straight.' '' she found it difficult. ''it was
hard to do, because i have so many gay fans,'' she says. ''i had made a
point about talking about lesbians at every concert i did, and i was
ambiguous about myself. i kept it ambiguous as a way of saying it doesn't
matter. now i hear that people think i was allowing myself to be identified
as a lesbian for as long as it took to get a certain following. i never said
i was a lesbian, but i was aware that there was a marketing angle -- there
was an angle that i had that i wouldn't have had if i were just identified
as straight.''
ani difranco and holly near have both followed mercurial paths in private
life, to the detriment of their images as role models in the lesbian
community. difranco is a highly charismatic and virtuosic musician who wrote
with uncommon eloquence about her bisexuality in songs like ''in or out'':
''to me what's more important/is the person that i bring/not just getting to
the same restaurant/and eating the same thing.'' in 1998, she found herself
barraged with charges of betrayal and duplicity when she married a man. ''i
had to have a lot of really asinine discussions about my big betrayal of the
queer community by getting married, and it sucked all my energy for a
while,'' difranco says. ''i was forced into the position of martyr,
representative, mouthpiece for personal empowerment. it's funny -- when
people are searching for something in their lives, and you come to represent
something to them that turns you into a symbol, not a person, not a
changeable, flawed homo sapiens, you have to become this shiny symbol of
something for this individual, and when they realize you aren't that, that
kind of adulation can turn very quickly to . . . whatever. and that can be a
little intense, a little claustrophobic.
''i have the right to be myself and not be ashamed of my experiences or my
inner life. if other people are dying to cry out 'hypocrisy,' as long as i
look in the mirror and know that that is not true, i can sleep. the minute
you begin to do anything for whatever people think, you're down the wrong
road.''
holly near has found herself approaching that road, struggling to maintain
her bearings. a vocal early champion of the lesbian movement, near takes
pride in being one of the first musicians to come out as gay in people
magazine, 21 years ago. since 1986, she has been dating men, a fact that she
avoided making public for some time and still prefers to keep a private
matter. her following among gay women has diminished: ''holly's lost a lot
of her audience, because she was a kind of icon to gay women,'' ellen
friedman says. ''when the word got out that she's with a man, a lot of
people got angry with her. it's too bad.'' paradoxically, near says that she
has played down her current heterosexual relationship out of loyalty to her
gay following and a sense of responsibility to her role as a lesbian
spokesperson.
''i came 'out' to cheering crowds,'' near says. ''so i went through an
incredible transition that was very, very difficult, after i had been out
all over the world. having been out that much, when i ended up being in a
relationship with a man, i kept that quiet for a while -- not because i was
ashamed of it but because it wasn't time yet for the lesbian community to
lose a representative. there had been so many women who had been outed as
gay and then immediately got married and went on ''the tonight show'' to
prove that they were straight that the lesbian movement had become very,
very defensive about someone ending up back in a relationship with a man and
saying, 'well, it was a phase.' so i kind of kept my relationship with a man
in the background. and then i had to go through a process with the lesbian
community, because they thought i was disappearing, which is what women
always do. but i continue to sing lesbian songs; i continue to sing at their
events; i continue to be a part of lesbian culture. i just don't publicize
our private life.'' in the folk world today, hers is the love that dare not
speak its name.
''your personal choices are not really what it's about,'' near stresses.
''to be a folk artist is about being part of the social-change movement, no
matter what your private life is like.''
indeed, just as near says she feels that change is good for society, change
is good for music. in the case of folk, lesbian artists have taken the genre
in fresh directions; in order for the form to remain vital, however, new
voices must continue to be heard. musicologists like to talk of the ''folk
process'': the way music takes on new shapes and colors as it passes from
singer to singer, group to group, generation to generation. that is, after
all, part of what makes it folk music, whomever the folks may be.
david hajdu is the author, most recently, of ''positively 4th street: the
lives and times of joan baez, bob dylan, mimi baez farina and richard
farina.''
--ms_mac_oe_3114711024_220998_mime_part
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content-transfer-encoding: quoted-printable

queer as folk

by david hajdu


at some point in most of h= er concerts, christine lavin goes looking for a man. a singer-songwriter pro= minent in the folk-music circuit for more than a decade, lavin is a drolly i= mpish performer with a flair for the theatrical. she affixes a miner's light= on her head, steps offstage and roams around the audience in search of the = best-looking man in the house. ''the interesting thing to me,'' she says, ''= is that i'll be looking for a man, and i'll have the light on, and i'll see = 20 women, and i'll see one man in the whole section.'' the audience for arti= sts like lavin, like that of folk music in general, is predominantly female = and increasingly gay.

lavin is not homosexual, bu= t she welcomes all listeners. ''there's no reason that gay women wouldn't re= late to the stuff that i'm writing, because relationships are relationships,= '' she says. but lavin, whose latest record is ''i was in love with a diffic= ult man,'' has been distressed to see some of her cd's categorized in stores= as ''women's music'' -- the code phrase for feminist and lesbian music, a g= reat deal of it in the acoustic-folk vein. ''once you're labeled that way,''= she says, ''men totally won't set foot in the door, because they think it's= not for them.''
folk music has become the sound of lesbian culture. it is to gay women what= cabaret and disco have been to gay men or what jazz has been to african-ame= ricans -- in the phrase duke ellington coined, a ''tone parallel'' to a worl= d underexplored in other musics. resolutely political, intimately personal, = unadorned, steeped in tradition and connected to the earth, folk music carri= es deep-rooted associations with what it means to be a gay woman. ''we're se= eing the coming together of a way of life and a form of expression that's ki= nd of primary,'' says lisa merrill, a professor of performance history at ho= fstra university. ''this doesn't happen often.''
the rise of gay women in folk music is difficult to quantify; all those fem= ale faces at concerts by women folksingers is no more proof of a lesbian phe= nomenon than arenas full of boys at metallica shows means that all heavy-met= al fans are gay. however, the number of female performers in folk who are op= enly lesbian, bisexual or actively pro-gay has been rising in recent years a= nd seemingly at a higher rate than in other styles of music. the music festi= vals, concert halls and clubs have rosters full of artists who are lesbian o= r widely recognized as gay-friendly: melissa etheridge, ani difranco, k.d. l= ang, the indigo girls, nanci griffith, holly near, janis ian, tret fure, mel= issa ferrick, toshi reagon, jill sobule, cheryl wheeler, patty larkin and do= zens more. according to ellen friedman, who runs a boston-area booking agenc= y with her lesbian partner, the proportion of gay women in folk is ''much, m= uch greater'' than in other musical genres ''and expanding constantly.'' <br=lesbians have had such success in acoustic music that more than one female = performer has been charged with posing as a lesbian to exploit the market --= and some men in the field have begun to talk of feeling alienated. others i= n folk circles, while acknowledging the right of gay women to play any music= they like, express concern that folk, by definition the most inclusive of m= usics, might be becoming too insular, if not restrictive, and it has all hap= pened with so little public notice that some of those at the heart of the ma= tter are struggling to come to terms with it. ''i think of the number of gay= folk musicians i know, and it's amazing,'' says amy ray of the indigo girls= . ''and i think of people like dar williams and ani difranco -- they're not = gay, but they have a big gay following. what is it about folk music that app= eals to gay women? i'd like to know.''

pamela means, a young biracial woman living in boston, writes stark, defian= t songs about race and lesbianism. on a saturday evening in july, means was = scheduled to perform in the 9 to 10 o'clock slot at the living room, a publi= ke folk venue on the lower east side of manhattan. the room was full. ''she = has a good following here,'' the bartender said, beaming. by 9:20, means had= not yet arrived, and the fellow scheduled to play at 10, carl mullen, was a= sked to take the microphone. he sang and played the guitar well, though the = house began to thin. around 9:45, the manager announced that means had falle= n ill and would not be arriving, and nearly a third of the audience, all wom= en, left. mullen shifted to rock 'n' roll songs in panic. ''i don't know wha= t we'd do without the lesbians,'' the bartender said, watching the exodus. '= 'without them, i don't know what we'd do.''
a few decades ago, things were different. ''the folk clubs were nothing lik= e they are today,'' amy ray recalls. ''lesbians were no more welcome in folk= than we were anywhere else. other musicians didn't want us there, and the a= udience didn't make us feel very welcome.''
the intertwining of folk music and lesbian culture was a slow, complex proc= ess, the first links subterranean. as early as the 50's and 60's, some of th= e most popular folk performers were gay or bisexual women. but emerging in l= ess inclusive times, these singers only suggested alternatives to heterosexu= al norms without being explicitly ''out.'' in the 50's, ronnie gilbert, the = strong-voiced woman in the weavers, helped take folk onto the pop charts wit= h hits like ''goodnight, irene''; although she embodied a deglamorized femin= ine vigor, gilbert was not an out lesbian until her later years. her 60's su= ccessor, joan baez, the queen of the baby boomers' folk revival, exuded an i= mperious sexual neutrality that was a key part of her attraction (to men and= women); even so, she kept her bisexuality private until 1973.
after its triumph as a full-blown international craze in the 60's, folk mus= ic began receding in popular favor. at the same time folk music lost much of= its mainstream audience, however, it picked up new fans inside the lesbian = community. with the feminist and gay-rights movements in the 1970's and 80's= , lesbian culture evolved at an accelerated pace, and it developed new socia= l structures. weekend music festivals for women -- women's music festivals''= -- attracted lesbians and others by the tens of thousands and, with a shift= in the weight of the words, spawned a new genre as festivals of ''women's m= usic.'' men, homosexual or heterosexual, were often banned; one annual event= in michigan even restricted transsexuals. by the end of the 80's, the singe= r-songwriter cris williamson was performing at some 30 festivals per year, a= nd missing at least as many. record labels specializing in women's music, mo= st notably olivia records, were releasing albums by dozens of artists, helpi= ng to make a few of them -- williamson, alix dobkin, meg christian, holly ne= ar -- celebrities within their sphere. ''the wonderful thing about women's m= usic is that it was the strongest, most powerful organizing force for lesbia= ns in the united states next to softball,'' says alix dobkin, a greenwich vi= llage folkie of the 60's who pioneered lesbian music with uncompromising, in= timate songs about her relationships. ''the festivals brought lesbians toget= her, and the music was at the heart of that experience.''

stylistically, the festivals strove to be catholic, i= ncluding women playing jazz, rock, pop -- any chords, as long as the words r= ang true to the spirit of the lesbian and feminist movements. yet the festiv= als seemed most successful with folk-style singer-songwriters, solo voices t= elling personal stories to the accompaniment of acoustic guitars. ''i starte= d out playing harder music, rock 'n' roll,'' tret fure recalls. ''i found th= at that just didn't work very well with the women's music audience, and i so= ftened my presentation to more of a folk-rock kind of thing. there's somethi= ng about the folk format, maybe the intimacy, that makes it a very effective= way for women to connect with other women.''


for fure, melissa etheridge= and other gay women of their generation who felt unwelcome in the rock worl= d during their youth, women's music provided career-sustaining nourishment. = ''that movement was very important to my development,'' recalls etheridge, w= ho became famous as a rock 'n' roll singer in the mid-90's but first cut her= musical teeth playing folk at women's music festivals. ''i would listen to = meg christian and alix dobkin, and i would see these women standing up, sayi= ng, 'yeah, i'm queer, and i'm singing, and everyone's lovin' it.' i was insp= ired. the first women's music festivals i played were the first large audien= ces i ever played for. they were very warm and receptive. since then, i've r= eached the mainstream, but at that point, the mainstream was not available t= o women like me.''
as lesbians made more political and social inroads in the 90's, the women's= -music movement faded -- but its musical legacy was firmly established. the = festivals had served as a training ground for hundreds of musicians, includi= ng a wave of younger women like ani difranco and melissa etheridge, and it h= ad helped countless gay women develop an affection for the sound of women si= nging with acoustic guitars. like ''jump blues'' of the 1940's, a genre musi= c that infiltrated the culture at large in the transmuted form of rock 'n' r= oll, women's music prevailed through its transformation of the larger folk-m= usic scene.
at this summer's ithaca women's music festival, several hundred women, alon= g with some children and men, gathered in a field behind a gay center near c= ornell. vendors sold books and cd's, beads, t-shirts (''i like girls''), bur= gers and vegan snacks. the main attraction was the singer janis ian, who is = gay. she lounged on a folding steel chair, chain-smoking during the afternoo= n. about every five minutes, a fan would inch up to her to chat or ask for a= n autograph. one had a teenage girl in tow. ''this is my daughter, becky,'' = the fan announced.
''you like music?'' ian asked the girl.
''yeah, a lot,'' she answered.
''what do you listen to?''
''well, i really like ani difranco.''
ian grinned approvingly, and the mother looked at her and joked, ''ani difr= anco -- she's your daughter!''

for today's generation of lesbian musicians -- young artists like pamela me= ans, toshi reagon and lynette schultz -- gay women simply belong in acoustic= music. to be gay and out and to play the guitar seem like common birthright= s. as means says cheerily, ''if you're a girl with a guitar, it's definitely= a good time to be queer.''
among kindred spirits in folk, young lesbian artists say they feel a sense = of community, acceptance and insulation from the demands of the high-pressur= e pop-music business. ''i really feel at home in the folk world,'' means say= s. ''my kind of message isn't really going to be embraced by the masses.'' m= eans found this feeling confirmed when she performed at south by southwest, = an annual music-industry convention. ''i met this hotshot from l.a., and he = was like: 'oh, yeah, i'm going to get you signed. do you have a boyfriend?' = i said, 'no.' he said, 'oh, a girlfriend?' i said, 'yeah.' he said: 'o.k., n= o problem -- just don't tell anybody. every guy in the audience has to think= he has a chance with you.' '' means passed on the offer. as she puts it, ''= i'm embraced where i am, in the folk world.''
another reason folk appeals to lesbian artists is that, in its service to r= ural, earthy projections of authenticity, it does not seem to objectify wome= n (at least not in the same way) as other kinds of music, especially pop. ja= mie anderson, a north carolinian who writes buoyant, comic snapshots of gay = life, finds this liberating. ''the thing i like about the folk scene,'' she = says, ''is that it's something that doesn't have a whole lot of glitter and = you-gotta-look-like-name-the-diva-of-the-day kind of feeling to it, and i th= ink that's what attracts a lot of lesbians to folk music.''
at the same time, the alliance of folk music and lesbianism has created a t= ricky situation for male artists -- and some women, including several of the= most prominent names in the field. although young male artists like rufus w= ainwright and jeffrey lewis are carving out respectable careers in folk, oth= ers waiting in the wings have come to see their prospects as limited and acc= ept their place in the folk scene as marginal. ''i'm working in a lesbian ar= t form,'' says one male singer-songwriter. ''but i honestly don't have any p= roblem with that. i can still do it, and nobody's telling me not to. i'm jus= t sort of like a white guy who can play jazz. it's what i do, and i love it = -- it's just not the art form of my people.''
across the lines of gender and sexual orientation, moreover, there are conc= erns that the folk scene, in its tightening links to lesbian culture, is bec= oming exclusionary, limiting its audience and freezing the music in orthodox= y. ''the problem is that the gay community -- unfortunately, especially the = lesbian community -- can be, in my opinion, extraordinarily phobic itself,''= says the country-influenced traditional singer melissa ferrick, who is open= ly gay. ''there's a real sense of not letting anybody else in.'' through its= insularity, some charge, the scene is already suffering an erosion of artis= tic standards. ellen friedman, the folk-music promoter, says, ''there are wo= men, and i'd rather not name names, but they all come to me -- there are wom= en who have nothing going for them except that they're a lesbian.'' she paus= es. ''if they weren't lesbian, they'd have no careers.''
according to the gay folk veteran nancy carlen, who served as road manager = for joan baez: ''it's disgraceful. a lot of what i hear out there is just ju= venile. it would never cut it if it didn't have a guaranteed audience.'' <br=for those women whose sexual identities defy categorization, the strength o= f the lesbian audience has proved to be a treacherous asset. ''i have seen i= n the business that the lesbian following is a hugely loyal fan base and one= that is envied,'' melissa etheridge points out. ''it seems like everybody's= trying for the lesbian audience, because they're so loyal.'' in fact, at le= ast a couple of female performers have been accused of ''passing'' as gay. <= br>
jill sobule, a quirkily ori= ginal singer, guitarist and songwriter, is nearly impossible to classify, mu= sically or personally. after her folky pop tune about sexual experimentation= , ''i kissed a girl,'' became a hit in 1995, ''all anyone wanted to know was= , what was i?'' sobule says. ''it was a weird thing, because there was a par= t of me that wanted to say i'm bisexual, but i just didn't want to get into = that. there was a big debate about me, and people were saying, 'oh, she's su= ch a closet case -- she won't come out and say she's a lesbian.' and other p= eople were saying, 'oh, she's a heterosexual woman trying to catch a lesbian= trend.' you couldn't win.''
dar williams, one of the most acclaimed and best established singer-songwri= ters of the current generation, has always considered herself heterosexual b= ut was vague about her sexual orientation to her sizable gay following -- un= til her marriage to a man this spring necessitated that she ''come out and s= ay: 'o.k. i'm straight.' '' she found it difficult. ''it was hard to do, bec= ause i have so many gay fans,'' she says. ''i had made a point about talking= about lesbians at every concert i did, and i was ambiguous about myself. i = kept it ambiguous as a way of saying it doesn't matter. now i hear that peop= le think i was allowing myself to be identified as a lesbian for as long as = it took to get a certain following. i never said i was a lesbian, but i was = aware that there was a marketing angle -- there was an angle that i had that= i wouldn't have had if i were just identified as straight.''
ani difranco and holly near have both followed mercurial paths in private l= ife, to the detriment of their images as role models in the lesbian communit= y. difranco is a highly charismatic and virtuosic musician who wrote with un= common eloquence about her bisexuality in songs like ''in or out'': ''to me = what's more important/is the person that i bring/not just getting to the sam= e restaurant/and eating the same thing.'' in 1998, she found herself barrage= d with charges of betrayal and duplicity when she married a man. ''i had to = have a lot of really asinine discussions about my big betrayal of the queer = community by getting married, and it sucked all my energy for a while,'' dif= ranco says. ''i was forced into the position of martyr, representative, mout= hpiece for personal empowerment. it's funny -- when people are searching for= something in their lives, and you come to represent something to them that = turns you into a symbol, not a person, not a changeable, flawed homo sapiens= , you have to become this shiny symbol of something for this individual, and= when they realize you aren't that, that kind of adulation can turn very qui= ckly to . . . whatever. and that can be a little intense, a little claustrop= hobic.
''i have the right to be myself and not be ashamed of my experiences or my = inner life. if other people are dying to cry out 'hypocrisy,' as long as i l= ook in the mirror and know that that is not true, i can sleep. the minute yo= u begin to do anything for whatever people think, you're down the wrong road= .''
holly near has found herself approaching that road, struggling to maintain = her bearings. a vocal early champion of the lesbian movement, near takes pri= de in being one of the first musicians to come out as gay in people magazine= , 21 years ago. since 1986, she has been dating men, a fact that she avoided= making public for some time and still prefers to keep a private matter. her= following among gay women has diminished: ''holly's lost a lot of her audie= nce, because she was a kind of icon to gay women,'' ellen friedman says. ''w= hen the word got out that she's with a man, a lot of people got angry with h= er. it's too bad.'' paradoxically, near says that she has played down her cu= rrent heterosexual relationship out of loyalty to her gay following and a se= nse of responsibility to her role as a lesbian spokesperson.
''i came 'out' to cheering crowds,'' near says. ''so i went through an incr= edible transition that was very, very difficult, after i had been out all ov= er the world. having been out that much, when i ended up being in a relation= ship with a man, i kept that quiet for a while -- not because i was ashamed = of it but because it wasn't time yet for the lesbian community to lose a rep= resentative. there had been so many women who had been outed as gay and then= immediately got married and went on ''the tonight show'' to prove that they= were straight that the lesbian movement had become very, very defensive abo= ut someone ending up back in a relationship with a man and saying, 'well, it= was a phase.' so i kind of kept my relationship with a man in the backgroun= d. and then i had to go through a process with the lesbian community, becaus= e they thought i was disappearing, which is what women always do. but i cont= inue to sing lesbian songs; i continue to sing at their events; i continue t= o be a part of lesbian culture. i just don't publicize our private life.'' i= n the folk world today, hers is the love that dare not speak its name.
''your personal choices are not really what it's about,'' near stresses. ''= to be a folk artist is about being part of the social-change movement, no ma= tter what your private life is like.''
indeed, just as near says she feels that change is good for society, change= is good for music. in the case of folk, lesbian artists have taken the genr= e in fresh directions; in order for the form to remain vital, however, new v= oices must continue to be heard. musicologists like to talk of the ''folk pr= ocess'': the way music takes on new shapes and colors as it passes from sing= er to singer, group to group, generation to generation. that is, after all, = part of what makes it folk music, whomever the folks may be.

david hajdu is the author, most recently, of ''positively 4th street: th= e lives and times of joan baez, bob dylan, mimi baez farina and richard fari= na.''
--ms_mac_oe_3114711024_220998_mime_part--
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date: thu, 12 sep 2002 21:31:13 -0400
reply-to: joey krimple <shorje1973@insightbb.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: joey krimple <shorje1973@insightbb.com>
subject: amy ray "queer and fucked"
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from the official site:
on august 18th, 2002 the new york times magazine ran an article written by
david hadju entitled, =b3queer as folk.=b2 this is my response to the article,
with contributed comments from emily saliers, dana powell, russell carter,
and susan faludi.
queer and fucked
women always have to ruin everything. now we are strangling the life and
diversity out of folk music. as if men are not allowed to participate. you
would think lesbian folk musicians are sailing up the radio charts and
selling millions of records, instead we=b9re fighting the same battles we=b9ve
fought for years. in fact, the world of singer/songwriters is still
dominated by men. comparisons of record sales and radio play between male
and female singers/songwriters clearly demonstrates this. shawn mullins,
david gray, or john mayer-these guys had more radio play and more record
sales in the last few years then any lesbian i know. sure there is a queer
folk scene out there and luckily, it=b9s thriving, but only in the most
marginal way. it=b9s never really a good time in the mainstream music industr=
y
to be a queer girl with a guitar. i can look at the trajectory of my own
career and see that the more political the indigo girls have become, the
less radio play and press we have received. if anything is going to limit
the folk music scene, it=b9s under-reported articles like the one written by
david hadju for the new york times magazine.
when approached by hadju to do an interview, i was excited and flattered. w=
e
were told that he was writing about the importance of women in folk music.
when he showed up for the interview, he presented his profound discovery
that folk music is the voice of the lesbian community and he wanted us to
tell him why. hadju=b9s musings were so flawed that we spent most of the
interview refuting all of his theories and trying to steer him towards a
more intelligent, politicized, and nuanced perspective. most of the women
that hadju brought up during the interview were not actually gay, which
seems to be par for the course in a society that assumes that any strong
woman must be a lesbian. still, he seems to think that what it means to
identify as a gay woman is a singular and homogenous experience. he claims,
=b3folk music carries deep-rooted associations with what it means to be gay.=b2
in fact, the whole article rests on this ridiculous assumption. why not
interview lesbian punk, jazz, hip-hop, rock, or bluegrass musicians? there
are plenty of them. as i pointed out to hadju during our interview, i know
more gay women punkers then folkies. the riot girrl punk movement did more
to change and propel the women=b9s music scene then anything in recent
history; it inspired a whole host of young artists in every tradition. youn=
g
lesbians know the butchies, not cris williamson.
hadju completely missed the opportunity to situate the discussion of women=b9=
s
music in a larger social context which would recognize the oppression of
lesbian/gay/bi/trans sexuality. being a woman, being a gay woman is sociall=
y
very different from being a straight man. there has been a need for people
of second or third class social statuses to create separate spaces for
community and expression. hence women=b9s music festivals, the riot girrl
movement, and now nationwide ladyfest events. the failure to point out the
social context of why some women would be drawn to others with similar
experiences or to explore why such a so-called genre of =b2women=b9s music=b2
exists in the first place, is a failure to illustrate the bigger picture.
according to hadju=b9s article, in addition to lesbians limiting the growth o=
f
folk music, they are also damning it with mediocrity. what if a few
mediocre, straight, male rock bands were used to epitomize a whole scene?
would we blame pearl jam for creating a limited genre and encouraging bad
musicianship in others? all one has to do is flip through commercial radio
channels to see that mediocrity in every form but gay is being sliced,
diced, and marketed to us all in the name of advertising dollars. this
rampant mediocrity is a symptom of a corporate music empire that encourages
segregation of audiences for reasons of profit rather than community.
corporate radio with its big advertising dollars selling nickleback and
budweiser to the boys, and britney spears and clearasil to the girls. we al=
l
have to fit nicely into a demographic and it better be one that sells
something besides music. profit driven segregation is not the same as a
marginalized woman=b9s music scene discovering that it has to come up with it=
s
own infrastructure because there is not one already available. all gay wome=
n
do not choose to have a separate space, many of us are driven to it.
but just as all lesbians don=b9t like folk music, all straight, white males
don=b9t listen to metal. sure you can go to a korn show and see lots of boys-
because what we listen to and who we feel comfortable going to see live can
be two different things. boys may feel more comfortable than girls at a kor=
n
show; everything in the way the band is marketed screams maleness. i recall
going to one of the last performances of rage against the machine and
spending most of the time fighting off punches in the mosh pit. i know many
lesbians that count rage as a major influence in their lives, but i didn=b9t
see them at the show. this alienation is another result of the
demographically driven marketing of music. but while gay and straight bands
can be marketed in equally alienating ways and niche creating ways, there i=
s
a vast difference between the two. the marketing dollars for a band like
korn are spent by major labels with the bands blessing in a positive,
aggressive way at mainstream radio and rock press, and this equals record
sales and huge audiences. and while korn may suffer in some ways from
becoming more about their image than their music, gay musicians suffer more=
,
because as far as the mainstream rock media is concerned, our image is our
handicap. gay musicians aren=b9t marketed to the mainstream as, =b3hurray!
here=b9s a new lesbian band, aren=b9t they cool?=b2 instead, we are the subject o=
f
painstaking scrutiny and strategizing to figure out how to overcome our
image. being gay is not considered an asset at most record labels, indie or
major. when the record label finally takes advantage of the gay press, its
because the mainstream press won=b9t touch the band. gay press coverage is th=
e
last resort for most publicist. in the indigo girls=b9 case, when we were
ready to confront and support our sexuality in the press, it took epic
records years to catch up. epic simply preferred not to respect or cater to
the gay press, but when the mainstream media stopped paying attention to us=
,
epic started returning the gay media=b9s phone calls. and while we may
appreciate it and see it as an accomplishment to be on the cover of out
magazine, the label doesn=b9t; it would never rate the same as a feature in
jane.
when studied and written about by hadju, the =b3lesbian market=b2 becomes
anthropology. we become a selection of quotes taken out of context to fit
nicely into a theory, as if we aren=b9t present or vocal enough to write abou=
t
ourselves. hadju treats the audience for music by women just like
advertisers do: suddenly it becomes a =b3market=b2 with no heed to the diversit=
y
among women and the men who participate. while the gay demographic may be
shamelessly exploited as a new market by some corporations, it=b9s not fair t=
o
imply that we are exploiting each other. when gay musician=b9s garner a gay
audience or are mentioned by the gay media, we are not gloating in the
dressing room about what a bunch of suckers gay people are; we appreciate
their presence and attention and we realize that they are there, not just
because they feel comfortable in an otherwise homophobic and sexist world,
but also because the music is valid.
a little success goes a long way towards a backlash. hadju and the
mainstream media=b9s response to the growing women=b9s folk scene is reflective
of society=b9s anxiety that women-who-don=b9t-need men are taking over and
leaving men behind. i am tired of reading articles about the new gay and
female infusion into pop culture and how good we have it. as if corporate
sponsors didn=b9t pull their dollars from the =b3ellen show=b2 or as if almost
every morning radio show doesn=b9t use gays and women as the subjects of thei=
r
stupid jokes. maybe the movement for acceptance is making some progress on
the street level, but it=b9s not being reflected by the media. we are still
distilled down to the demographic of our audience and the particulars of ou=
r
sex lives. our music is not written about positively or for the inherent
worth of the music, our progress as songwriters is never noted, and we just
aren=b9t taken seriously as artists.
amy ray
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=========================================================================
date: fri, 13 sep 2002 06:12:44 edt
reply-to: mgsb@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: mgsb@aol.com
subject: 2 baltimore row d 4th row center tix for sale!!!!
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hi everyone!
due to some people backing out on me at the last minute, i now have 2 tickets
for sale. they are row d center seats 109-110. asking what i paid for the
tickets which is $89. i can meet you at the show with the tickets. i will
be at work today until 1:00pm and will try to check my aol mail often. you
can also email me at sboughan@medchiagency.com up until 12 noon i would say.
just to be safe that i don't miss it.
thanks
sandy
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hi everyone!

due to some people backing out on me at the last minute, i now have 2 tickets for sale. they are row d center seats 109-110. asking what i paid for the tickets which is $89. i can meet you at the show with the tickets. i will be at work today until 1:00pm and will try to check my aol mail often. you can also email me at sboughan@medchiagency.com up until 12 noon i would say. just to be safe that i don't miss it.

thanks
sandy
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=========================================================================
date: fri, 13 sep 2002 10:54:11 -0400
reply-to: sprdinosur@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: joe agueci <sprdinosur@aol.com>
subject: nigc: mary from buffalo
content-type: text/plain; charset=iso-8859-1
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hey...
get in touch with me via email, i don't have your personal email addresss so i'm trying to get you this way.
i'm going to be in town tonight, or maybe saturday, let's set something up!
joe
manhattan
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date: fri, 13 sep 2002 15:46:34 edt
reply-to: mgsb@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: mgsb@aol.com
subject: still have 2 baltimore tickets for sale row d center
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hi everyone
i still have those 2 tickets for sale. i'm asking $89.00 for both. i won't
be reading my email anymore today so if you are interested. i can meet you
at pier 6 just give me a call on my cell phone 410-218-9600.
thanks
sandy
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hi everyone

i still have those 2 tickets for sale. i'm asking $89.00 for both. i won't be reading my email anymore today so if you are interested. i can meet you at pier 6 just give me a call on my cell phone 410-218-9600.

thanks
sandy
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=========================================================================
date: fri, 13 sep 2002 15:58:39 -0400
reply-to: tami waters <tami.waters@sympatico.ca>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: tami waters <tami.waters@sympatico.ca>
subject: meadowbrook farm tix for sale
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hi everyone -=20
just wanted to put this out there - i have two tix for the gilford, new =
hampshire show - row six - section c - seats 14 & 15. please let me know =
if anyone is interested.
thanks,
tami
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hi everyone -
just wanted to put this out there - i = have two tix=20 for the gilford, new hampshire show - row six - section c - seats 14 = & 15.=20 please let me know if anyone is interested.
thanks,
tami
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=========================================================================
date: fri, 13 sep 2002 20:20:37 -0500
reply-to: adp1 <adp1@mc.net>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: adp1 <adp1@mc.net>
subject: nigc: ani in chicago
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does anyone have any tix or know of any tix for the show at the chicago
theater for less that $150 a piece?
as much as i want to see her, the budget can't afford $300 for a date.
( or, if you're going , are you going to boot it?)
contact me off list please
pooh
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=========================================================================
date: sat, 14 sep 2002 12:59:25 +1000
reply-to: sherlyn koo <sherlyn@pixelopolis.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: sherlyn koo <sherlyn@pixelopolis.com>
subject: total nigc: calling atlanta-area farscape fans
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hey folks,
this might be the most off-topic thing i ever post anywhere,=
but... if any of
you are fans of the recently-cancelled tv show farscape and live=
in atlanta,
there will be a rally tomorrow in centennial olympic park. i=
would be there if
i could. i believe there are also rallies planned over the=
coming week in ny
and la.
there has been a huge movement to try to save the show since the=
cancellation
news was leaked a week ago. online petitions, email and snail=
mail campaigns,
and rallies as well. even if i weren't a huge farscape fan, i=
would still find
the campaign mindblowing as a demonstration of how the internet=
can mobilize a
worldwide community. but for me, it's more than just a tv show -=
basically
(and totally cheesily), farscape is to my imagination what ig is=
to my heart.
and now i've revealed myself as a total geek, there's nothing=
more to say. :)
farscape fans, check out the url in my sig for information on the=
campaign to
save the show, including the rallies and online petitions...
happy happy,
sherlyn
--
sherlyn koo | sherlyn@pixelopolis.com | sydney, australia
"...claims to be a human, from a planet called erp..."
save farscape - <http://farscape.wdsection.com/>
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=========================================================================
date: sat, 14 sep 2002 00:47:39 edt
reply-to: emliz92@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: emliz92@aol.com
subject: our rights....(nigc)
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hi all,
i was wondering if anyone could help me out w/ something. i came home to a
message on our voicemail, from a candidate for lt.governor in massachusetts,
jim rappaport, saying that he is the only candidate that doesn't support same
sex marriages, and that he will see to it that gay weddings never happen in
massachusetts, and a few other totally offense remarks. now my question is
can i do anything about this? my partner and i have been together for two and
a half years we are still madly in love, we live as a couple, and we have to
deal w/ that prejudice in so many other areas of our life, why should we have
to deal with them in our own home, on the "gay phone" we have to pay for. i
will try to tell everyone who will listen about this, and perhaps stop any
one who was considering giving him a vote not to, but i would like to try to
make it so that no one else has to put up w/ that b.s. in their own home.
sorry for the nigc!!
thanks,
janet
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=========================================================================
date: fri, 13 sep 2002 22:38:24 -0700
reply-to: diana daly <diana128@yahoo.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: diana daly <diana128@yahoo.com>
subject: nigc - k's choice
in-reply-to: <124.169741e3.2ab4196b@aol.com>
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i just came back from the show in baltimore. i thought it was great and i am way to tired to post a review, but i did have a question. i was wondering if anyone knows the name of the song played by k's choice that she said she wrote for her best friends wedding. i loved it. also, what, if any, album is it on? thanks so much!
~di


---------------------------------
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<p>i just came back from the show in baltimore.  i thought it was great and i am way to tired to post a review, but i did have a question.  i was wondering if anyone knows the name of the song played by k's choice that she said she wrote for her best friends wedding.  i loved it.  also, what, if any, album is it on?  thanks so much!</p>
<p>~di</p><p><br><hr size=1><b>do you yahoo!?</b><br>
<a href="<http://rd.yahoo.com/finance/mailsig/new/*http://finance.yahoo.com>">yahoo! finance</a> - get real-time stock quotes
--0-239412685-1031981904=:35945--
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=========================================================================
date: sat, 14 sep 2002 02:26:43 -0400
reply-to: havanamoon@juno.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: havanamoon@juno.com
subject: re: our rights....(nigc)
x-to: emliz92@aol.com
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if possible, i would make a recording of the voice mail message, digital
or otherwise, and forward it to any sympathetic political group or
alternate press that might make use of it...
best of luck,
tim

on sat, 14 sep 2002 00:47:39 edt emliz92@aol.com writes:
> hi all,
> i was wondering if anyone could help me out w/ something. i came
> home to a
> message on our voicemail, from a candidate for lt.governor in
> massachusetts,
> jim rappaport, saying that he is the only candidate that doesn't
> support same
> sex marriages, and that he will see to it that gay weddings never
> happen in
> massachusetts, and a few other totally offense remarks. now my
> question is
> can i do anything about this? my partner and i have been together
> for two and
> a half years we are still madly in love, we live as a couple, and we
> have to
> deal w/ that prejudice in so many other areas of our life, why
> should we have
> to deal with them in our own home, on the "gay phone" we have to pay
> for. i
> will try to tell everyone who will listen about this, and perhaps
> stop any
> one who was considering giving him a vote not to, but i would like
> to try to
> make it so that no one else has to put up w/ that b.s. in their own
> home.
> sorry for the nigc!!
>
> thanks,
>
> janet
>
> --
> all listserv commands should be sent to
> listserv@lists.netspace.org.
> to unsubscribe issue the command: signoff indigo-girls
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> <http://www.fl.net.au/~sherlyn/ig>
>
>
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=========================================================================
date: sat, 14 sep 2002 09:34:46 +0200
reply-to: ines <ines@schneebergerbaeck.at>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: ines <ines@schneebergerbaeck.at>
subject: re: nigc - k's choice
x-to: diana daly <diana128@yahoo.com>
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----- original message -----
from: diana daly <diana128@yahoo.com>
> i just came back from the show in baltimore. i thought it was great and i
am way to tired to post a review, but i did have a question. i was
wondering if anyone knows the name of the song played by k's choice that she
said she wrote for her best friends wedding. i loved it. also, what, if
any, album is it on? thanks so much!
probably "my favorite adventure (the wedding song)"? if so, you can find it
on their latest release "almost happy" - great cd. btw any chance you taped
the show?
ines
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date: sat, 14 sep 2002 21:06:47 +1000
reply-to: sherlyn koo <sherlyn@pixelopolis.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: sherlyn koo <sherlyn@pixelopolis.com>
subject: fwd: baltimore maryland
in-reply-to: <200209141059.g8eaxn77013142@smoe.org>
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hey folks,
forwarded from the news list...
-sherlyn
--- original message ---
from: lagriega@aol.com
date: sat, 14 sep 2002 04:10:26 edt
subject: [ig-news] baltimore maryland
omg what an amazing show....amy and emily were in top top=
form...and the
crowd was energized and alive...and it was a mutual=
appreciation....
i didnt make a set list but the only song i didnt get to hear was=
ghost...
they closed with chickenman/ bitterroot and our deliverance...if=
i rememebr
correctly
they sang lets see:
get out the map
kid fears
closer to fine
shame on you
philosophy of loss
amy's new song
johnny rotten
galileo
least complicated
collecting you
decconstruction
become you
yield
starkville
ozilline
power of two
<<i keep adding as i remember>>
hmmm and this is not in order by any means its just what i=
remember...was
there anything else i am thinking its 4 am...just drove back from=
maryland to
ny...
if i am wrong or missed anything please feel free to correct
the energy tonite was amazing...amazingly unreal
the band not present someone had a family problem but carol=
issacs was there
so it was similar to the pre release of become you when amy and=
emily were
touring alone...they had some added punch with carol issacs...
i am still reeling from this nite..and today i go to poughkeepsie=
and
tomorrow to nj...this is a helluva weekend...and one i wont=
forget for
awhile...
oh yeah someone threw a beach ball during galileo and it was=
flying all over
and you could amy & emily smiling...i think the 2 weeks they had=
off
recharged their batteries as they have been leading a very=
hectic
schedule....
emily also comment that singing felt good after the recent=
sadness of course
referring to 9/11 and she is right...the singing elevated=
everyones soul
tonite...
g'nite y'all
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date: sat, 14 sep 2002 09:55:01 -0400
reply-to: jen cattin <jencattin@attbi.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: jen cattin <jencattin@attbi.com>
subject: baltimore
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sherlyn,
what is amy's new song? i hadn't heard that she was playing a new one. =
is it new since june (boston shows) when she played johnny rotten and =
laramie?
jen
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sherlyn,
what is amy's = new song? =20 i hadn't heard that she was playing a new one. is it new since = june=20 (boston shows) when she played johnny rotten and = laramie?
jen
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date: sat, 14 sep 2002 13:25:06 -0700
reply-to: sue steinike <suesteiny_home@yahoo.com>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: sue steinike <suesteiny_home@yahoo.com>
subject: re: fwd: baltimore maryland
in-reply-to: <20020914110422.f3f5c1fda8@lists.netspace.org>
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hello everyone,
some things to add to lagriega@aol.com's baltimore
report:
> crowd was energized and alive...and it was a mutual
> appreciation....
yes, except for the people who were yakking throughout
the whole concert back where i was sitting (row ll).
there was a constant buzz of conversation the whole
time and it was very distracting.
> the band not present
apparently carol flew in at the last minute - amy said
she just got there 15 minutes ago! i personally
prefer to hear them without the band, but i hope
whoever's family was affected is doing ok.
amy and emily seemed really thrilled with the crowd
participation and when they introduced carol as the
band, they also thanked the audience for being the
band.
as i was passing by the back of the venue about an
hour after the show, there was a bunch of people
hanging around hoping for a meet and greet, but the
security people kept saying "they aren't coming out".
sarah talked for a few minutes with everyone who came
up to her and she was very nice. people hung around
for awhile, and as i was leaving someone came to hand
out setlists. here is the lineup:
get out the map
become you
power of two
ozilline
deconstruction
three hits
watershed
yield
collecting you
shame on you
virginia woolf
johnny rottentail
closer to fine (with sarah from k's choice)
starkville
least complicated
philosophy of loss
kid fears (with ghert from k's choice)
galileo
encore:
deliverance
chickenman/bitterroot (with an extended jam from
emily)
somewhere in the middle of the show amy played a new
song on the mandolin. i didn't catch the title (if
she even said it) but she said it was so new that
emily hadn't heard it yet, and that we should imagine
how the harmony will go. the refrain was something to
the extent of "take it in stride..."
> emily also comment that singing felt good after the
> recent sadness
yes, and a huge cheer went up after the line, "lay
down your weapons and love your neighbor as yourself"
during "deliverance".
it was a great show, and of course i wish i was closer
to the stage, but oh well. i'll try to get to the
roanoke show since it's also close by - great to see
them so many times this summer!
sue
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<http://news.yahoo.com/>
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date: sat, 14 sep 2002 16:25:24 -0400
reply-to: indigofrk@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: sasha friedman <indigofrk@aol.com>
subject: noho show
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ok, so after last nights incredible show in baltimore, i am thinking i might have to go to northampton too...it will just suck cause i dont even get off work till 5 then the 1.5 hour drive...sad... anyways - does anyone have one or two extra tickets for this show ??? if you do please email me at sfriedman32@hotmail.com. thanks
sasha
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date: sat, 14 sep 2002 18:05:34 edt
reply-to: ndgogrls@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: ndgogrls@aol.com
subject: re: nigc - k's choice
x-to: ines@schneebergerbaeck.at
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nope that's not it. it's another wedding song....for another friend..i think
it is like so new that it isn't released yet....
"the lessons i've learned won't do you any good, you've got to get burned.
well the curse and the blessing they're one in the same" -amy ray
"no one gets to miss the storm of what will be" -emily sailers
"the heart of a skeptic and the mind of a child" - emily sailers


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nope that's not it. it's another wedding song....for another friend..i think it is like so new that it isn't released yet....

"the lessons i've learned won't do you any good, you've got to get burned. well the curse and the blessing they're one in the same" -amy ray

"no one gets to miss the storm of what will be" -emily sailers

"the heart of a skeptic and the mind of a child" - emily sailers


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date: sat, 14 sep 2002 18:08:11 edt
reply-to: ndgogrls@aol.com
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: ndgogrls@aol.com
subject: re: baltimore
x-to: jencattin@attbi.com
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the new amy song is being called "take it in stride"...for the time
being. it is amazing. i personally love it. right now it is consisting of
amy solo on mandolin. but she mentioned that emily's parts just weren't
worked out yet. you can get the song on www.indigofans.com <http://www.indigofans.com/>. he has an mp3
of it up from a show in london. it has a devotion/ yeild feel to it....if
you're liking amy's new mandolin kick, you'll love this song...
"the lessons i've learned won't do you any good, you've got to get burned.
well the curse and the blessing they're one in the same" -amy ray
"no one gets to miss the storm of what will be" -emily sailers
"the heart of a skeptic and the mind of a child" - emily sailers


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the new amy song is being called "take it in stride"...for the time being. it is amazing. i personally love it. right now it is consisting of amy solo on mandolin. but she mentioned that emily's parts just weren't worked out yet. you can get the song on www.indigofans.com. he has an mp3 of it up from a show in london. it has a devotion/ yeild feel to it....if you're liking amy's new mandolin kick, you'll love this song...

"the lessons i've learned won't do you any good, you've got to get burned. well the curse and the blessing they're one in the same" -amy ray

"no one gets to miss the storm of what will be" -emily sailers

"the heart of a skeptic and the mind of a child" - emily sailers


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=========================================================================
date: sun, 15 sep 2002 05:03:34 +0200
reply-to: kathrin siegmund <kathrin_siegmund@gmx.de>
sender: indigo girls mailing list <indigo-girls@lists.netspace.org>
from: kathrin siegmund <kathrin_siegmund@gmx.de>
subject: another new amy song, mp3 up at indigogirls.de
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hey all,
there's another new amy song around. haven't seen it mentioned
before, i don't think.
i'll call it "take a ride with me" for now. it's amy solo with mandolin.
i just uploaded an mp3 of it onto my site.
it's taken from a recording of the show in sheffield (england) at the
foundry from may 12th this year. amy played it right before johnny
rottentail. no pause in between.
the recording is courtesy of claudine lapsky.
here are the lyrics:
take a ride with me
by amy ray
"my dog, it don't bite
my dog, it don't even bite
but it barks all night
my heart it don't break
my heart, it don't even break
oh, but it sure does ache
come on, take a ride with me
and you will see
this life, it ain't long
this life, it ain't even long
oh, but it sure is strong
come on, take a ride with me
and you will see
come on, take a ride with me
oh, and you will see"
you can download it here:
www.indigogirls.de/downloads.html <http://www.indigogirls.de/downloads.html>
be well,
kathrin
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