From: owner-luckytown-digest@luckytown.org (LuckyTown Digest) To: luckytown-digest@luckytown.org Subject: LuckyTown Digest V9 #73 Reply-To: luckytown@luckytown.org Sender: owner-luckytown-digest@luckytown.org Errors-To: owner-luckytown-digest@luckytown.org Precedence: bulk LuckyTown Digest Wednesday, August 21 2002 Volume 09 : Number 073 NOTE: Sale/trade posts should be emailed to luckytown-ads, *NOT* to luckytown. That includes tix wanted/tix grovels, post them to luckytown-ads, please. Contents: 8/15/02 - Up close in Motor City ["Magnus Lauglo" ] Review: Springsteen Concert Showcases 'The Rising' (The Las Vegas Sun) [] no sax???? [KAYZEKE@aol.com] What's Happening?!?! [jsavage@concentric.net (Johnny Saulovich)] X-Mailer: Juno Webmail Version 1.0 [seebo47@juno.com] MIB in Cleveland [Rick Woodruff ] European show / Paris on-sale soon ["CS" ] Birmingham 11/19 [Vikehusket@aol.com] 'Pop Painkiller' -- Review Of 'The Rising' (David Segal, The Washington Post)) [Barry Kaplovitz Subject: 8/15/02 - Up close in Motor City Hi all, Detroit was the last of the US shows this year I will be seeing, and I couldn't have ended my Bruce summer any better than I did. It was my 23rd show, and while I had seen the ESB 19 times before, I had never been very close to the stage. But my tour buddy Andy was able to trade his way to a pair of GAs for Detroit, and we were determined to make the most of the tickets and try to get as close to the stage, within the coveted "first 300". We arrived at the arena around noon with another friend, where we found the dropline and were able to sign on as numbers 51 to 53. Others have commented in more detail on some of the problems dealing with arena staff before the show. Clearly some arenas have no experience with handling even small groups of fans before the afternoon of an event, and the staff at the Palace were both incompetant and unpleastant to deal with. They contiunuously changed their "policy", and asked for bribes to allow us into their empty parking lot before 4pm, while we were gathered by the side of a highway outside the arena. Before being wristbanded, we had to sign some kind of waiver form (which no one was given time to read time to read), that probably said something about us taking responsibility for any injury which might incurr in what they called the "mosh pit". Once we got into the arena at around 6pm, the staff were more helpful, and did their best to honour our drop list, but they weren't great at showing us just how to get to the floor, which resulted in a mad dash around an unfamilar arena. Big thank yous go out to Ted and Todd for running the dropline so effectively and fairly. We were able to move in and out of the dropline pretty freely, and tailgate with other fans. Everyone seemed to be trying to sell extra tickets for under face, generally unsuccessfully. I didn't even see any scalpers outside the arena at all. Finally we got to the floor, and after seeing so many shows from nosebleed seats, I couldn't quite believe that I was so close to the stage. We ended up 2nd row between Patti and Steve, and I just knew the show was going to be a new kind of experience. After experiencing the disappointing Cleveland crowd from upper tier seats, I was glad to be close to the stage, where I figured the fans would be rocking all night. Before the show, people were sitting down on the floor, and had time to go for bathroom breaks and such, without too many problems. I can't quite seewhy somany peopel are pisse off with the GA system. No longer do you need to luck through with TM or be pretty and get MIBed toget up close. It just a matter or early bird get's the f**king worm. We were among the first to get to the show, and among the closest fans to the stage. There really wasn't much of a crush in front of the stage, except when Bruce came along the very edge of the stage a few times, and everyone surged forward to touch him. There weren't really any bad episodes to speak of at the front, except one over-excited man who shouted loud out to Patti right after Bruce had asked for quiet. He was shushed promptly by fans around him, but later got a smile from Patti (and a joking admonission from Bruce) with a better time shout of; "Patti we love you!" One man next to me seemed very intent on keeping a larger than necesary area clear around his girlfriend or wife, who was in the front row. It is great to be so close to the stage, but people, this is a rock "n" roll show. If you can't stand to wait outside in line for a whole day, and then be kind of pressed up against other sweaty fans for a couple of hours, maybe you should go for reserved seat intead. I know I wouldn't have taken a young child to the very front myself. Not because anyone really wanted to push forward at other people's expense, but it did get just a little bit stiffling at times. Just like a rock show should be. Seeing a show from the "front lines" is such a different experience, and I really can't recommend it enough to anyone who hasn't tried it yet. Aside from the obvious fact that you are right at the feet of the band, the sound quality is stellar. It was pretty much like listening to a Crystal Cat bootleg, although that might conceiveably change if you are far out on one of the wings. The only sound problem I remember was that I still couldn't hear Steve's mandolin during Glory Days, and I still couldn't really hear the playful exchange between him and Bruce towards the end of that song (it was actually only at the NJ show on 8/7 that I could make out what they were saying). I can't comment on the sound quality or "audience quality" in the rest of the arena, but I heard that the audience was compareable to the one in Cleveland; around 85% capacity, and not quite as into the show as the east coast crowds were. But in front of the stage for 2 and a half hours, that mattered little to me. If you are able to get in among the first 300 or so, you get close enough to the band to see little details that get lost or overlooked on the video screens. Their facial expressions, the little interactions bandmembers have with one other. You notice what they are doing when the spotlight isn't on them. I never realised that Garry and Patti were so animated. Patti especially seemed to be having a great time playing, and she is being utilised so much better on this tour than the last one. Bruce seemed to be in great spirits, and looked like he was having a terrific time playing. I could see how he fed off the energy of the front rows just from watching his eyes sparkle with excitement as he belted played the harmonica solo to Promised Land. There's one more thing you can't quite appreciate without seeing it up front: Bruce sweats bucketloads. That headband he used to wear in the 80s wasn't just for show. By the time he was ripping into Prove it, his shirt was darkening, and his arms were already glistening. By the time he played Worlds Apart, he was as soaked as if he had just jumped into a pool, and the sweat was dripping off him and his guitar constantly. Towards the end of the song, when he began clapping his hands above his head in time with Max's drumming, you could see cloud of perspiration every time he brought his hands together. I knew that Bruce put 110% of his energy into his performances, but I had never really witnessed it up close like this, and just seeing him work so hard gave me a whole new appreciation for just how much of himself he puts into entertaining 20 000 fans each night. Experiencing a show so close up was a very physical experience, both because I was really getting into the show myself, and because I was watching Bruce working himself up 10 times harder than anyone in the audience. I've been in the army, I've worked in moving companies, working through hot Virginia summers, and I've seen Clarence Clemmons play at the Stone Pony, but I have never seen anyone sweat as much, or work so hard as Bruce did right there in front of me. The performance seemed electrifying to me, and while it is impossible to objectively compare this show to the others I saw from nosebleeds, I was able to identify a couple of highlights of the show. Worlds Apart is a powerhouse performance and just gets better every night; and Bruce's guitaring at the end is up there with the guitar solo that ends Prove it (or Because the Night back in '78). Mary's Place was really loose and fun, and opened with a few choice lines from Dancing in the Street; the reference to the Motor City getting roars of excitement from the Detroit audience. It was a great moment, the kind of little detail that the show needs more of. Whether planned or not, it was a nice touch which injected some freshness into an otherwise preictable setlist. It also left me hungering for a certain medley in the encores, which I suppose Bruce decided not to play for his own reasons. By the time the show ended, with a typically high energy encore set, I was drained. I hadn't been so tired after a show, since after my first ever ESB show from the last tour. Just looking at the faces around me as the arena emptied out was a thrill in and of itself. Seeing Bruce put on a show from that close up is something special, and every true fan deserves the chance to experience it for themselves. Thanks Bruce Magnus "You don't go out there to deliver $47.50 worth of music. My whole thing is to go out an deliver what they could not possibly buy" - Bruce Springsteen 1978 _________________________________________________________________ Join the world's largest e-mail service with MSN Hotmail. http://www.hotmail.com ------------------------------ Date: Mon, 19 Aug 2002 22:57:35 -0400 From: "bossfan" Subject: The setlists they'll be a-changing Some little feeling deep inside says that months from now, after "The Rising" has been promoted and played to death and thousands of fans around the world have heard the new material live, Bruce will say OK, I've played the same setlist for 9 months, let's mix it up and make us and the longtime fans happy. The nuggets will return. And then someone will moan "What happened to 'Countin on a Miracle?'" Ugh! Eric Eisenstein Albany, NY [text/html attachment deleted] ------------------------------ Date: Mon, 19 Aug 2002 20:21:21 -0500 From: Barry Kaplovitz Subject: Review: Springsteen Concert Showcases 'The Rising' (The Las Vegas Sun) Las Vegas SUN August 19, 2002 at 9:28:25 PDT Springsteen Concert Showcases 'The Rising' Material springs from work after 9/11 attacks By Spencer Patterson LAS VEGAS SUN On his 1999-2000 U.S. concert tour Bruce Springsteen gave his fans exactly what they wanted: a lovefest. Backed by a reunited E Street Band, the Boss spent much of that tour revisiting his back catalog, performing classics spanning his 30-year career as America's premier rocker. Sunday night at the Thomas & Mack Center, it wasn't nearly that simple. This time Springsteen challenged his Las Vegas audience. Gone were most of the greatest hits; in their place new material, much of it thematically centered on Sept. 11 and the country's mood since the attacks. Yet while such a risky undertaking might have proven disastrous for most musicians, Springsteen and the E Street Band pulled it off with overwhelmingly positive results. Over the course of the 2 1/2-hour set, complete with two encores, a mostly full house reacted enthusiastically as Springsteen performed 11 of the 15 tracks from his new album, "The Rising," along with a pair of songs he debuted on his 2001 release, "Live in New York City." Even when dipping into the more distant past, Springsteen chose songs that fit in with the evening's mood, from an emotionally charged "Darkness on the Edge of Town" to the up-tempo, yet haunting, "Badlands." Fans who came principally to hear the oldies didn't leave unhappy, particularly after a first encore that featured the holy trinity of "Thunder Road," "Glory Days" and "Born to Run" (with "Viva Las Vegas" thrown in). But when the second encore rolled around, Springsteen returned to what he clearly felt was most important, ending the show with the emotionally gripping "My City of Ruins," "Born in the U.S.A." and "Land of Hope and Dreams." With his 53rd birthday approaching (Sept. 23), Springsteen's grizzled voice sounded strong as ever. Bearing his trademark facial stubble and baring a portion of his chest (though not quite as much as in the old days), the Boss's dynamic stage presence helped keep the audience in step throughout the concert. The E Street Band was also in fine form, again confirming that Springsteen's decision to disband the unit in the late 1980s was one of the few significant miscues of his musical career. As they have for much of the past quarter-century, drummer Max Weinberg and bassist Garry Tallent gave the group its rhythmic backbone, while "Professor" Roy Bittan and Danny Federici lent their magic fingers from their seats at the piano and organ, respectively. Anyone wondering about the need for four guitars onstage needed only listen to the vocal harmonies from Springsteen, Patti Scialfa, Nils Lofgren and Steve Van Zandt on such numbers as "American Skin (41 Shots)" to appreciate their presence. Violinist Soozie Tyrell, a new member of the touring band, added an extra wrinkle, as her strings helped provide much of the new material with its highly emotive quality. And then, of course, there's Clarence. The unquestioned crowd favorite on this night (and many others), saxophonist Clarence Clemons filled the roomy Thomas & Mack with his booming, soulful sound. After laying low on the opening twosome "The Rising" and "Lonesome Day," Clemons announced his presence with his familiar solo in "Prove It All Night," and was a presence thereafter. The show experienced early technical problems that plagued Springsteen's vocals and guitar work, though the sound improved noticeably as the night wore on. The performance also lost critical momentum at times, most notably midway through the main set, when an unspectacular version of "Worlds Apart" forced most fans to their seats moments after "Waitin' on a Sunny Day" and "The Promised Land" had them dancing in the aisles. On the whole, however, the evening lived up to Springsteen's vision, apparent early as the crowd went silent to listen to his lyrics from the Sept. 11-inspired "You're Missing." Parents pulled kids a bit closer, and couples held each other a little bit tighter, as Springsteen sang: "Shirts in the closet/shoes in the hall/Mama's in the kitchen/baby and all/But you're missing." This time around, the man who made his name writing songs about girls and cars is still proving that rock 'n' roll has a soul after all. All contents copyright 2002 Las Vegas SUN, Inc. ------------------------------ Date: Fri, 16 Aug 2002 14:03:11 -0400 From: KAYZEKE@aol.com Subject: no sax???? I just don't get the people who say "where is Clarence?" This "disc" has more sax on it than anything since at least the River and maybe a higher percentage than that. He seemed to play more on these shows than he did on the reunion tour as well. ZEKE ------------------------------ Date: Mon, 19 Aug 2002 23:55:39 -0700 From: jsavage@concentric.net (Johnny Saulovich) Subject: What's Happening?!?! A recent poster offered some intriguing thoughts that demand comment. >Date: Mon, 19 Aug 2002 10:04:00 EDT >From: MJQuarry@aol.com >Subject: D.C. was a C+ [ snip ] >7. I absolutely love Danny's organ. I'm certain Danny is either married or has a steady. >8. What is this "civil liberties" thing? Bruce began his talk by saying >"civil liberties" and then said "civil rights" toward the end. Slightly >different topics. > >Not sure exactly what he's referring to, but this is what I don't want. In >the past, Bruce has made many comments on stage regarding various issues. >And, in the past, when he was younger and his audience was younger, maybe >there was more room for him to do that. But, now, we're much older and he's >much older. I don't need to hear a 52 year old rock musician telling me how >or what to think. It's okay if that's his opinion, but I've also got my >opinion. And, who's to say if I'm right or he's right? How you can follow Springsteen and his music through the years and be resistant, then or now, to any of the ideas he presents is beyond me. Since you admit ignorance on the tricky subject of "civil liberties," please check out the following link to "Counterpunch." In their October 5, 2001 newsletter is a concise, revelatory column by Ronnie Gilbert, founding member of the legendary folk group the Weavers, on her experiences with both J. Edgar Hoover and John Ashcroft's FBI: http://www.counterpunch.org/gilbert1.html Also -- "civil liberties" and "civil rights" are not mutually exclusive terms. >9. Shorter band intro in Mary's Place and No Rumble Doll! > >The whole sermon thing during 10th went on way too long last tour and >nothing, absolutely nothing, brought the concert to a screeching halt like >Rumble Doll and that "plaintiff wail" did last tour. Sorry, IMO. That "way too long" sermon brought down the house three straight times in Oakland. Patti's "Rumble Doll" spot on Tour 99/00 was always a distinct pleasure, with her singing the verse like a cross between Ronnie Spector and Dusty Springfield. Despite what you read on LTD, her 1993 debut CD, which opens with "Rumble Doll," is quite good. Johnny Albany, CA ------------------------------ Date: Mon, 19 Aug 2002 14:50:39 GMT From: seebo47@juno.com Subject: X-Mailer: Juno Webmail Version 1.0 Thoughts from a lurker, but longtime reader and Springsteen fan: I agree whole-heartedly with Jim McCullough about Bruce doing two sets again. I've been telling this to my Bruce friends since before the tour started. Yeah, I want to hear the new stuff most of all, and I don't really mind hearing the same old songs again, either. My problem is that they just don't seem to mesh with each other, and they often lead to some rather jarring transitions. During the Darkness tour, Bruce used to say the first set was "taking care of business," meaning, I think, getting the new songs out there first. The second set was a party, and that part of the show was often full of surprises. Wouldn't the new shows work better this way too? As it is now, the back and forth between "Rising" songs and "Darkness" songs just doesn't "feel" right. The cumulative power that builds during a typical Bruce show gets lost. In the two shows I've been to, people are sitting down for "Counting on a Miracle." That blew me away! Thoughts on tickets - My friends and I have pooled together for tickets for five shows now (three to four friends trying on-line for NYC, DC, Philly, Albany and Columbus), and so far none of us has pulled a ticket in a lower level of any arena. What's going on here? I believe in bad luck, but something's fishy with TM on-line. Would it be better to get back in line at a TM outlet? Are better tickets coming out there? Thanks for reading...Chris ________________________________________________________________ GET INTERNET ACCESS FROM JUNO! Juno offers FREE or PREMIUM Internet access for less! Join Juno today! For your FREE software, visit: http://dl.www.juno.com/get/web/. ------------------------------ Date: Mon, 19 Aug 2002 11:18:19 -0400 From: Rick Woodruff Subject: MIB in Cleveland Jim McCullough asked: > > Has the "man in black" ever been to Cleveland? I've never seen him. If > he has, what does it take to get his attention... a Jenna Jameson > lookalike as your date? > You bet he's been to Cleveland. I was upgraded from the next-to-last row to the second row in Cleveland Music Hall during the Tom Joad tour. It was awesome! I saw him roaming the upper aisles and upgrading some lucky people in Gund Arena during the last tour. I got there too late to see whether he was lurking about this time around. (I don't think I had lousy-enough seats, anyhow.) Any overt attempt to get his attention will just cause him to ignore you. Although I had my stunningly beautiful wife with me (see that, honey, I called you _stunningly beautiful_) when I was upgraded, based on my observations and the face that appears in my mirror every morning, looks don't matter. I would suggest that you simply arrive early, have crappy seats and look genuinely happy to be in them. - -- Rick Woodruff Columbus, Ohio ------------------------------ Date: Mon, 19 Aug 2002 21:14:53 +0200 From: "CS" Subject: European show / Paris on-sale soon Hi, Paris is supposed to go on-sale this Staurday: Aug. 24th Check www.fnac.fr and www.ticketnet.fr ! Barcelona & Berlin interest me: anyone out here to help me ;-) ? Rave on, Clement [text/html attachment deleted] ------------------------------ Date: Sun, 18 Aug 2002 12:21:20 EDT From: Vikehusket@aol.com Subject: Birmingham 11/19 Hello All, Haven't posted in quite awhile but, I was wondering if any fanatics have any get togethers planned for the Birmingham Concert. It was the best ticket I could get (on the floor) so I had to go for it..It's an 8 hour drive from my place so I don't know where the hot spots are..So any info would be greatly appreciated....I can be contacted at Vikehusket@aol.com . Thank and have a sunny day. Donna ------------------------------ Date: Sat, 10 Aug 2002 21:12:09 -0500 From: Barry Kaplovitz Subject: 'Pop Painkiller' -- Review Of 'The Rising' (David Segal, The Washington Post)) From The Washington Post July 29, 2002 Pop Painkiller By David Segal How do you make pop music about an atrocity? It's a tough question, and merely posing it hints at the perils awaiting anyone who dares an answer. To capture the essence of a calamity in five chords and a drumbeat is asking a lot -- more, perhaps, than can be expected from a genre created for news flashes like "I wanna hold your hand." Rock, bless its heart, can lend urgency to the trivial, but it also has the power to make the solemn seem ridiculous. That's why the terrorism of Sept. 11 is a creative bramble that only the brave, foolish or inspired would go near. Bruce Springsteen seems, at various moments, to be all three on his new album, "The Rising," a mournful, elegiac, sometimes hopeful look at the anguish and aftermath of the day that more than 3,000 people were killed. It's his first studio recording with the E Street Band since 1984. If albums were judged purely by their intentions, this one would go straight into the pantheon. Springsteen is attempting nothing less than an act of national consolation. He describes our pain, details our horror and inventories our loss. He offers the sort of reassurances that would seem unconvincing or cliched coming from someone else. When he sings "This, too, shall pass," on the opening track, "Lonesome Day," it's actually comforting. He has so much authority in his voice and so much accumulated gravity from his three-decade career that you think, "Well, he must be right." It seems ungrateful to find fault with a hug and a pep talk -- a bit like criticizing the buffet at a wake. But "The Rising" suggests that rock would be well advised to leave 9/11 alone. Springsteen has given us a balm for a wound; when he plays these songs on his upcoming summer tour, he's going to do a lot of healing. But as that wound matures into a scar, "The Rising" is doomed to seem dated. Beyond the pathos of a singular moment that it evokes, there isn't enough here for the album to stand among the artist's finest recordings. Wisely, Springsteen works in miniatures here. Instead of grand, overarching statements, he offers personal narratives sung, ostensibly, by characters directly affected by the fire and bloodshed at the World Trade Center and the Pentagon (although he never mentions those names). Nearly everyone is struggling with a void. The singer of "Nothing Man," a rescue worker who survived, copes with a return to routine life that he is too shattered to handle ("Around here, everybody acts like nothing's changed"). A husband dreams of reuniting with his deceased wife on "Countin' on a Miracle." In "Empty Sky," there are vows of revenge by a narrator left only with memories and "an empty impression in the bed where you used to be." The singer of "You're Missing" finds comfort in the quotidian -- "coffee cups on the counter, jackets on the chair" -- but something is permanently awry: "You're missing when I shut out the lights / You're missing when I close my eyes." Springsteen has been singing in the voice of the haunted since the mid-'70s. No one in rock has more touchingly or convincingly captured interior turmoil -- the young men itching to bolt from adolescence on 1975's "Born to Run," the hollowed souls who drag-race in shadows on 1978's "Darkness on the Edge of Town," the husbands struggling to remain faithful on 1987's "Tunnel of Love." But usually Springsteen calibrates his music to his lyrics. On "The Rising," the lyrics and the music often seem to ignore each other. For some reason, Springsteen sings with a mild Southern accent, which seems an odd choice for songs about a New York and Washington disaster. And the production is sometimes as fussy and bright as the words are dire. The sound, produced and mixed by Brendan O'Brien, who has worked with Pearl Jam and Rage Against the Machine, has the wet finish of a pop-country album. On a handful of upbeat songs, O'Brien's sonic cheer suits the material, as on tracks like "Let's Be Friends (Skin to Skin)," a bit of rapprochement rock with a beat that pads and bounces with optimism. Many of the sadder numbers, though, would have packed double the punch with half the windup. Springsteen and Co. clearly wanted to make arena rock, filled with singalong choruses and clap-along drums -- but the subject matter doesn't call for grandiosity. The recurring image of the album is a man yearning for a kiss from a lover he'll never meet again. It's the sort of quiet, searing wish that has more power whispered than shouted, but there isn't much whispering here. The simple and loud trumps the complex and quiet. Worse, the lyrics often fall short of the standards that Springsteen established long ago. "Hot damn, what a passel o' verbiage," the critic Lester Bangs wrote admiringly in Rolling Stone about 1973's "Greetings From Asbury Park, N.J." the Boss's debut album. It's unlikely anyone will exult like that about "Rising" songs such as "Waitin' on a Sunny Day," whose chorus is: "Waitin' on a sunny day / Gonna chase the clouds away / Waitin' on a sunny day." The seduction of "The Fuse" culminates with this clunker of a come-on: "The fuse is burning / Shut out the lights / The fuse is burning / Come on, let me do you right." There are exceptions, most notably "Paradise," the album's most shattering, challenging moment. The first half is sung by a suicide bomber, on the verge of killing himself and others and heading, he thinks, to Heaven. The second half belongs to a man eager to join the wife he lost at the Pentagon; he tries to drown himself in a river, but chooses life when he "sees" his love in the afterlife and realizes, from the emptiness in her eyes, that paradise has troubles, too. Two men from different worlds, one a victim, another a killer. Springsteen doesn't equate the pair. He merely sketches quick portraits of each that illustrate how desperate people can, at least momentarily, confuse death with salvation. No one but Springsteen could have written "Paradise." He has always trafficked in shades of the truth that are far more interesting than black and white, and over the years he has sung, with compelling sympathy, about car thiefs, serial killers and a variety of miscreants. He reflexively finds a core of humanity in every psyche. But how do you find the core of humanity in the criminals of Sept. 11? The novelist in Springsteen must have been sorely tempted by these characters; he is drawn, after all, to the hopeless. On some level, though, the killings of September are too unambiguous a catastrophe for Springsteen. He's not a Good and Evil kind of guy. Loss, of course, is a worthy theme, but by penning songs about a particular loss from a particular day, Springsteen has created something that is both intensely rousing and stamped with a "sell by" date. That's the trouble with writing about real-life events -- even the big ones fade into memory, and the emotions they tap fade, too. Yes, we owe this guy and the band he reunited for "The Rising." But once we're healed, there are a lot of other albums we'll listen to first. To view the entire article, go to http://www.washingtonpost.com/wp-dyn/articles/A19022-2002Jul29.html 2002 The Washington Post Company ================================ ------------------------------ End of LuckyTown Digest V9 #73 ****************************** ********************************************************************* ** LuckyTown WWW URL ** The LuckyTown FAQ, back issues, web-based subscription/unsubscription, and many other things can be found on the LuckyTown WWW Page: http://www.luckytown.org ** LuckyTown mailing list addresses ** You can send email to go into the next LuckyTown Digest to: luckytown@luckytown.org You can send email to go into the next LuckyTown-Ads Digest to: luckytown-ads@luckytown.org Any questions for the list admin should be emailed to: owner-luckytown@luckytown.org To unsubscribe, send email to majordomo@luckytown.org with message body: unsubscribe luckytown-digest To get further information on how to subscribe/unsubscribe/change your subscription address, as well as the other available commands, send email to majordomo@luckytown.org with message body: help ********************************************************************* The contents of this digest are not necessarily approved by the list admin.