suzanne's net posts, letters to the editor, etc.

Suzanne's Letter to SPIN, May 1989 GET THE FACTS I was never a fucking waitress, you guys [Flash, March]. You should check before you make a headline out of it. Suzanne Vega New York, N.Y. P.S. I was a receptionist Suzanne's Letter to NEWSWEEK, April 1994 DONT ROLL ME OVER First I looked with interest at the pictures of women musicians I admire in your March 28 PERISCOPE piece on female pop singers. Then I looked at the headline: ROLL OVER, SUZANNE VEGA. Excuse me? I am supposed to "roll over" and "forget acoustic guitars, peasant blouses, angst and other traditional trappings of female pop stars"? I have never worn a peasant blouse in my life, NEWSWEEK, and I don't like being pitted against a generation of women I respect. As you said, "Women are the new, brawny force in pop, leading the groups making the toughest, most innovative sounds." And I am for them, not against them. I won't be pigeonholed into a caricature. You'll have to find someone else to do your rolling over. Suzanne Vega New York, N.Y. Suzanne's Posts to the Folk Music Mailing List Date: Thu, 21 Apr 1994 01:11:14 -0500 From: Suzanne Vega To: folk_music@nysernet.ORG Subject: Re: joan baez's vibrato For the people discussing Joan Baez's vibrato and whether it is "natural" or not; here is a paragraph from her biography "And a Voice To Sing With" where she reveals that it was not: "Mine was a plain, little girl's voice, sweet and true, but stringy as cheap cotton thread, and as thin and straight as the blue line on a piece of binder paper.... I tried out for the girls glee club, and when I wasn't accepted, figured it was because (1) I was not a member of the in crowd and (2) I had no vibrato so my voice wasn't mature. Powerless to change my social standing, I decided to change my voice. I dropped tightrope walking to work full time on a vibrato. "First I tried, while standing in the shower, to stay on one note and force my voice up and down slowly. It was tedious and unrewarding work. My natural voice came out as straight as an arrow. Then, I tried bobbling my finger up and down on my Adam's apple, and, to my delight, found I could create the sound I wanted. For a few brief seconds, I would imitate the sound without using my hand, achieving a few "mature"-sounding notes. This was terrific! This is how I would train! "The time it took to form a shaky but honest vibrato was surprisingly short. By the end of the summer I was a singer." The following is a note to which Suzanne later replies: Date: Wed, 27 Apr 1994 19:06:01 -0500 From: JahUbik To: folk_music@nysernet.ORG Subject: "Folk Renegades" (sic) Sender: JahUbik Subject: "Folk Renegades" (sic) If you're interested in the "new wave" of "folkies" [quote marks mostly suppressed hereon in], check out the latest bimonthly "Option" magazine, a cultural oddity that I'd bet a dollar or two most F_M people don't see. "Option" is the true music mag, and covers stuff that's _very_ unlike the faded heavy metal sludge and/or open G strumming that the major companies sell as "alternative" music. This month's issue has a cover story on Beck, whose (they say) "hip hop folk" album "Mellow Gold" and single "Loser" are a big smash at the moment. ["Loser" is a dry mix of sloppy bottleneck guitar, slacker vocals, and dubbed noises, a la rap, and is not totally repulsive. But folk? I doubt if many here would take the bait.] To several, including the New York Times, this new formula made this guy (guess what, cliche spotters?!) the _New Bob Dylan_. [Kiss of death, right?] Anyway, it's essential listening/baloney (delete whichever applies to you). The cover story sports the line "Beck and the New Folk Renegades." Well, you have to read it to really appreciate it where folk music might going, in the opinion of the Californian publishers... In an adjoining piece, with the unfresh headline idea "why does every new generation reinvent the acoustic guitar?" [possible reply: what's new about them, or it?] there's coverage of Ani DiFranco (big on the F_M list recently), plus others yet unfamiliar to me: Tattle Tale, Lois Maffeo, Cobalt and Smog. You don't learn all that much about the music, really, but you can check out the haircuts (excellent!) and pouts (industrial strength). And the attitudes are quite neat, if you haven't heard sixties cliches recycled recently. Escaping the "folk ghetto", how they don't want to be confused with poor old Suzanne Vega...etc. Well, product differentiation is the name of the game, after all. The chances are, none of 'em is dull to see. Musical? Profound? You'll have to tell me. Anyway, whip out $3.50 and treat yourselves so I don't get rash with overquoting and break the scary laws of copyright. You'll love it all (or not, depending on how you feel about life in general). BTW, the "twang" of these performers is not discussed or compared. --JahUbik Date: Tue, 3 May 1994 04:30:18 -0400 (EDT) From: Suzanne Vega To: folk_music@nysernet.ORG Subject: Re: "Folk Renegades" (sic) Dear JahUbik: I, for one, am interested in the "Folk Renegades" (sic), as you put it. Your posting was so "witty" that I'm afraid some of the essential information was lost. Where does one find it? How does one subscribe? It is on newsstands? For those readers who may be interested, Beck at one time was hanging loosely with those people known as the "anti-folk", based on the Lower East Side of New York, which included Roger Manning, Cindy Lee Berryhill, Lach, and others. They played (and still play, I assume) acoustic music with an attitude. What kind of attitude? That would take too much space to discuss here, and I am afraid Alan would become impatient. Anyone interested in that group? I love folk music, all kinds; new, old, and anti -- that's why I subscribe to this digest. Yours truly, (neither poor nor old!), Suzanne Vega Suzanne's posts on America On-Line Subj: out of hiding Date: 94-05-30 20:33:50 EST From: Suzanne Vega ok, gang. I can no longer pretend that I am not Online and reading this message folder from time to time! I am tickled to find it way down here in World Beat and thank you WaterBro for opening it in such a sweet way. I am amused that none of the readers of this folder reads People Magazine! Anyhow -- I had no idea the Gap was playing "Saltwater". I will give more details on what that is in a later message. I figure if I don't post from time to time Online will sweep in and throw the folder away as it has done to many others. Then I would never "see" you guys again! with affection, Suzanne Vega Subj: random notes Date: 94-06-02 21:22:53 EST From: Suzanne Vega Hi, gang. I thought I'd check in. Dear SNORM: I appreciate your cynicism, and if someone signs on "SuzyB" they are definitely an imposter, since mine is SuzyV. It's true though -- how can you know for sure? One person asked me what my brother's name was, since he had been to one of his parties. As if I didn't know my own brother's name -- To Miba -- thanks for your comments -- the knife is neither ancient nor buddhist but a gift from someone a few years ago. It's like a good luck token. To PATNPETE -- if it was both Carnegie Hall and Radio City, it must have been 1987! New music? There is another Leonard Cohen Tribute album coming out on A&M records, and I sing a version of "Story of Isaac". I think it's coming out in the fall, but I don't have the official release date on that. Otherwise, I plan to start recording next year, and probably won't tour for a little while after the baby's born in July. As for "Salt water" -- it was a song I wrote with DNA for their album called "Taste This" on EMI. The album came out in the UK in1992, and disappeared. I like the lyrics and I want to include it in a "retrospective" of some kind, in about a year or so, with "Left of Center", and the singles from each of the albums. Any comments? thanks, you guys. most affectionately, Suzanne Vega Subj: some answers Date: 94-06-19 21:35:59 EDT From: Suzanne Vega Hi. Thought I would check in! Regarding David's questions about Fast Folk Magazine -- I've been on several, so many I can't remember exactly how many. About eight, I think, including some recently. I ran the Subscription Department of the Fast Folk in 1982, when it began. "Cracking" was on the very first issue. (I was friends with Jack Hardy and Brian Rose, the Founding Fathers -- I don't know if that makes me a Founding Mother). I had a song called "The Marching Dream" on one issue, which has not been on any album. The last song to appear was "Blood Sings", recorded live at the Bottom Line. Yes, Ed Vega is my father -- my stepfather, actually -- and he did the Spanish translation of Luka. He is Puerto Rican and a novelist in his own right (in English), and the translation is very good. Who asked if Men in a war was like the Velvet Underground on purpose? yes, I felt it was the best way to handle those opening lines which are hard to sing. I like doing it live better than the record. As to all the discussion regarding the videos -- there was a compilation made in 1990 of all the videos made till then, but only available in Japan. We did four after that for 99.9 -- "In Liverpool", where I'm dancing with curly hair as the gypsy from the Hunchback of Notre Dame (it was fun but not seen by very many) -- "Blood Makes Noise", "99.9" and "When Heroes Go Down". So far, not much more than that is available in America (must speak to the record company about that. Maybe when I release the "retrospective" they could do a new compilation. I don't think "Live at the Albert Hall" is worth a hundred bucks -- bagels are more important to your daily life! It was made in 1986. I hope I'm a better performer these days. The tape you saw, David, was a benefit for Folk City (w Joan Baez and Eric Anderson, among others), taped in 1985 or so, and offered for sale recently. So there are some answers -- Copdoc, your question is really good. But if I revealed who I was writing about about all the time, everyone I care about would never speak to me again. All of the songs are from my life. That's for certain. Till next time -- affectionately yours, Suzanne Vega Subj: p.s. Date: 94-06-19 21:41:34 EDT From: Suzanne Vega p.s. One day I will write an autobiography, Copdoc, I promise. Subj: Re:Two more questions Date: 94-07-01 14:25:32 EST From: Suzanne Vega Hi there -- just checking in. The World Beat folder seems to be becoming more and more esoteric as it gets shoved out even farther beyond the mainstream folders. Soon we will be floating in our own little island in cyberspace. Anyhow! in regards to your 2 questions - no I wasn't asked to sing on the Carpenters tribute album (can't say I'm regretful, there), and 2. the due date is currently July 15. Subj: re Mysterious Woman Date: 94-07-01 14:32:20 EST From: Suzanne Vega oh by the way regarding the Christine Lavin song "Mysterious Woman" -- I think it's one of her best! (she said when she wrote it that she meant it as a form of flattery and I accepted that) thanks you guys. Suzanne Subj: thanks Date: 94-08-19 13:09:42 EST From: Suzanne Vega Hello gang. Thank you for the congratulations. Ruby is six weeks old today, and she is fine and I am fine, though it took a while to emerge again. I had no idea it would be like that. I hope to be dropping in more often these days - Thanks again- From: Suzanne (Vega) Subj: hi gang Date: 94-10-31 13:18:09 EST hi gang -- sorry it has been a while since I dropped in. I find that since Ruby is born I have only enough time to do the "flashSessions", and very often I can't get to the Message Board at all. The Undertow newsletter gets "delivered" through the mail, so sometimes I answer any questions that may be lurking in that forum. To get onto that mailing list you write to "undertow-request@vader.cc.emory.edu" (without the quotes), and you post the word "subscribe". There's a little more action on that front, but there probably won't be much until next year when another album comes out. By the way, The "Ruby Vroom" album, by Soul Coughing, was produced by Tchad Blake, who is Mitchell Froom's partner and engineer -- they asked to use Ruby's name for their album, and I said they could if they changed it. In case you were wondering! Otherwise -- I did a half hour benefit on Saturday afternoon for the Fast Folk Cafe on N. Moore street in Manhattan. And I participated in the J. Morgan Puett fashion show, carrying Ruby. (she's the designer who made the big baggy pants from the last album and tour.) Otherwise, let's see -- breastfeeding mania has subsided somewhat, but I'd rather not go into the gory details, if you know what I mean. Thanks for hanging in there -- Suzanne's posts on Undertow From: Stuart Myerburg Submitted: 6-JUL-1994 10:34:46.00 Subj: A Short Update I just subscribed Suzanne to the list and got a very nice note from her. I thought I would forward the pertinent info. to you all... Stuart Begin forwarded message: The big news for me right now ( and you can post this if you like) is that I am expecting a baby -- due this week or next. It was announced in People Magazine a short while back -- very small mention, but since they know, you can certainly know too. It is a girl, they tell me, and her name will be Ruby Froom, so you can figure out who the father is from that, I am sure. From: Stuart Myerburg Submitted: 24-AUG-1994 23:24:31.00 Subj: Message from Suzanne I just got this from Suzanne. She tried to send it to undertow, but had some problems. So, here it is... Hi -- Ruby Maria Froom was born July 8, 1994 -- she was 6lbs, 9 oz. It was a long and difficult labor, ending in a C-section but I am well and just about recovered. I have been reading your comments with interest -- I am especially intrigued with all the questions and comments about "Wooden Horse" , the song about Caspar Hauser, and am working on a reply about that song. Forgive me if I don't write in all the time. I tend to be reclusive, but I am so very happy to know that there is a group of you out there who want to discuss the songs. Your questions and comments stay with me for days. I only found out about this list a few days before I went into the hospital. So while I have been reading the list, I haven't responded so far. I'll write in from time to time. Thanks a lot for listening. Suzanne Vega From: Suzanne Vega To: labspm@unix.cc.emory.edu Date: Wed, 05 Oct 94 17:25:20 EDT Subject: Re: Lost Message I have not forgotten about the list -- I really want to answer some of the questions, especially the long one about "Wooden Horse". Also, the Leonard Cohen Tribute album is postponed till early next year (the one with "Story of Isaac", sung by myself). Also, there is an article in the August 1994 issue of "Current Biography" that has the most up-to-date biography of myself I've ever seen. It has everything but Ruby in it. I was surprised to see it. I think it is very well done. Anyhow, I'll be in touch! Date: Mon, 24 Oct 1994 16:04:31 -0400 From: Suzanne Vega To: undertow@vader.cc.emory.edu Subject: re:today's trivia question dear members of this list -- I thought I would quickly explain why "Soul Coughing" named their album what they did -- they wanted to call it "Ruby Froom", but I said no, so they changed it to "Ruby Vroom", which I found acceptable. The album was produced by Tchad Blake, who is Mitchell Froom's partner and engineer. Basically they thought it was a pretty name. I said no because -- what if she wants to make her own album when she gets older? I'll write again-- Suzanne Date: Fri, 28 Oct 1994 18:13:21 -0400 From: Suzanne Vega To: undertow@vader.cc.emory.edu Subject: fast folk benefit oct 28 dear members of this list -- just so you know, I am doing a benefit for The Fast Folk Cafe on October 28, singing for a half hour at 2:00 in the afternoon. The Fast Folk Cafe seats about 74 people and is run by Jack Hardy; it's at 41 N. Moore Street in Manhattan. I'd like to ask you guys not to write to me directly, because I'll never have time to answer directly; and it's not really the spirit of this -- what is this? this newsletter? It's better, I think, to address the list as a whole. That way I'll answer when I can, and everybody's in on it. yours truly and affectionately, Suzanne Vega Date: Fri, 4 Nov 1994 18:47:50 -0500 From: Suzanne Vega To: undertow@vader.cc.emory.edu Subject: Re: Concert Venues hi Tim-- re: concert venues: many times I will get to a city and find out that the venue is "21 and over", even though we are slated to play that city because it is a college town. weird, huh? a few people brought that to my attention on the last tour. it is a glitch in the agent's way of thinking. there were a number of problems like that on the last two tours I did. as much as I try to control what happens on a tour beforehand, once I'm out there it is nearly impossible to keep track of each gig at each venue at each city -- that's why you hope your agent is a good one, with some contact with reality. by making the gigs "21 and over" I cut out a large portion of the audience who are obviously teenagers -- it is a stupid rule and someone should remind of this issue when I make plans for the next time out. till next time -- Suzanne Vega Date: Fri, 4 Nov 1994 18:48:00 -0500 From: Suzanne Vega To: undertow@vader.cc.emory.edu Subject: Re: Concert Venues dear tim-- one more thing -- do I have control over where I play? only if I make specific requests or if the gigs are slanted one way or another. obviously I can't ask for each venue in each city by name. ironically, on the last tour, most of the promotion was slanted toward the "alternative" market, which is a younger crowd, so many of the venues reflected that, or I thought they did. and yet you have problems like the one you brought up. I myself don't see why you can't have the records slanted towards both "alternative" and "folk"-- it's hard for someone like myself who doesn't fit any specific category. how do you target an audience? I never think of those things-- I assume whoever likes the record will buy it. this is a problem only in America -- in Europe there is no "alternative" or any of these subdivisions Americans are so fond of. thanks for writing -- Suzanne Vega Date: Tue, 15 Nov 1994 12:33:52 -0500 From: Suzanne Vega To: undertow@vader.cc.emory.edu Subject: Re: Lloyd Cole Regarding L. Cole -- he and his wife had a baby recently (about a year ago? maybe more) and one can find him many afternoons in a playground in Greenwich Village. He's working on a new album, which he wanted to sound like Sade -- Just thought I'd add some gossip to this file -- S. V. Date: Thu, 17 Nov 1994 17:50:47 -0500 From: Suzanne Vega To: undertow@vader.cc.emory.edu Subject: kinds of retrospectives, etc. Dear Hugo, et al;- I will probably put out a retrospective at some point, but not next year -- next year I will be working on the fifth album, tentatively titled "Love Hotel". After that I want to put out two things -- one collection called "Thirteen Early Songs" w songs like "Marching Dream", "Silver Lady", "Daniella", "Black Widow Station", and some others that aren't known, like "Feather and Bone" and "Not Me" which I used to think were too intense to sing in public. I also want to put out a "Best of", but the kind I like is the kind you hate -- I love records that collect an artist's singles throughout a period, with no odds and ends, no filler, no experiments, just the tried and true. Sometimes I'll buy that instead of someone's entire collection (like the Pretenders, for example.) I am always assuming people don't have the money or patience to buy tapes of someone fooling around, because I never did. But I will consider it -- PJ Harvey's demos are supposed to be even better than her second record, for example. As for bootlegs -- I assume that if someone goes to all the trouble of getting something illegally, they probably have the legit stuff already. Live is another thing -- my voice isn't that strong sometimes, so I don't like the thought that there are lousy shows floating around somewhere. That doesn't mean I encourage bootlegs, but I figure what the hell. Keep writing ( and I'll do the same ) -- Suzanne Vega Date: Thu, 17 Nov 1994 17:50:54 -0500 From: Suzanne Vega To: undertow@vader.cc.emory.edu Subject: "Anthony's roof" Gang -- Uh, I meant "Anton's" roof -- Anton was the keyboard player in my band and the co-producer of "Days of Open Hand", and my boyfriend at the time. How funny to read that interview now -- I guess it was eight years ago. Most of it still holds true. S. V. Subject: pilgrimage and other topics Date: 95-04-19 17:57:00 EDT From: Suzanne Vega To: undertow@law.lawlib.emory.edu Dear gang: It has been a while since I posted a note, but I have been reading the comments, as usual, with great interest -- I wanted to thank Eric S. for setting up the WWW page, along with Hugo and Jeremy from AGF (am I leaving someone out?) -- I hear it's great. I haven't seen it yet, as I don't have the software to get there (Mosaic, perhaps?). Thanks for the messages of congratulations regarding my wedding! For the record, Mitchell is 41 and not 31, as they reported in the newspapers. Not that it matters, really ! Lately I have been working on a piece called "Fighting With Boys" which is due to come out in Details magazine this spring. I am not sure which issue. Regarding "Pilgrimage" -- yes, it was about the incense bowl, as it said the quoted interview, but it was also about the journey to find my father, who I met in 1988. He lives in California, and I lived in New York, so I took a plane trip across the country to see him for the first time since I was 18 months old. So "years of an inch and a step toward a source" means my source -- my father. It's a song with at least two meanings. Thanks for your questions and your comments -- I appreciate them with my whole heart. Suzanne Vega Subj: Re: The Brian Rose Q/A Date: 95-06-26 19:43:11 EDT From: Suzanne Vega The following are Suzanne's comments on the Brian Rose Q/A, which were forwarded to the website: ...[Brian Rose] is the "narrator" character of Tom's Diner; (I was pretending to be him that morning), and is one of the characters in the Boulevardiers -- "he loves the city with the bricks and broken bottles and the pretty little flowers as they grow along the wall; he is dark, he is tall, he is the tallest one of all of us." I think he was always annoyed that I didn't say "handsome". His line in Knight Moves is --"she doesn't have a political bone in her body", which he said about me in a catty moment (there were many). The real influence Brian had on me was getting me to listen to the Velvet Underground -- I had just seen Lou Reed the year before I met Brian, and though I coudn't forget it I hadn't really explored the whole thing. We also listened to the Talking Heads and Television and Blondie and I think Patti Smith, although that whole scene was dying out by that time. We had aspirations of being New Wavers. Anyhow -- thanks again. I'll stay in touch. Suzanne Subj: Re: HapPY bIRthDAy Date: 95-07-14 18:50:08 EDT From: Suzanne Vega To: undertow@law.lawlib.emory.edu Hi gang - Thanks to everyone who sent birthday greetings to me and to Ruby -- she seemed to enjoy her birthday, though I'm not sure she knew what it was all about. She's getting her front teeth now and starting to take her first steps. I've been reading the comments as usual, and intend to answer some of them -- then time passes and everyone's on to a new thread, but I wanted you to know that I do read this list. One comment I agreed with recently -- the thread was "Days of Open Hand" and someone was mildy complaining that it didn't seem as " effortless" as some of the others -- I would have to go back and check my files for the exact quote -- but I agree; it wasn't until the year as over and I listened to the whole record that I realized how slow and careful it sounded. Anton Sanko and I worked on it for just about a year, sometimes 20 hours a day, in my apartment, where we had a studio. We never got away from it. So that's why now I forbid throwing around of musical ideas in the house. (Besides, you can put an eye out that way.) Anyhow -- I think of you with affection (the readers of this list). I caught the measles earlier this year and for a moment thought of posting this news to get sympathy, but resisted the urge. ( I am all better and do not need the sympathy now, so don't send it! :) So thanks again and I will try to write soon. Yours ever truly, Suzanne Vega Subj: greatest hits & etc Date: 95-07-29 22:30:27 EDT From: Suzanne Vega To: undertow@law.emory.edu Hi gang -- you all did get my last message thanking you for the birthday greetings, didn't you? I got a copy of it myself, but the Internet sent me a message recently saying they had "killed" the message because it was "undeliverable". Bizarre. Anyway -- regarding the "greatest hits": obviously if it were a true greatest hits package it would have 2 songs on it; Luka and Tom's Diner. So it is really intended to be a "retrospective". I think that to go back and take some songs from each album and place them together in one collection would be interesting because it would change the context of the songs. To me, a song like "Cracking" is not that different in concept from "Blood Makes Noise". One is obviously -- well, noisier. But neither are really "folk songs". To me they are more similar than they are different. And that would change the way people perceive the songs. Most people think of the first album as "more folk" and the last album as "more industrial" when actually all the albums are a mixture of acoustic guitar and synthesizors (how the hell do you spell that?) I'm also thinking of including other projects that were never included on any album -- "Left of Center", "Salt Water", possibly "Ignorant Sky", a song I recently sang for Philip Glass (though I didn't write the lyrics). A retrospective is meant to give perspective. (I want to get the "Squeeze " one myself.) If I could I'd release one every year, whenever I find I'm looking back and trying to make sense of it all. They could all have different slants like; "The Mental Health Collection ." featuring Cracking, Blood Makes Noise, and others; "The Folk Songs of SV." featuring The Queen and The Soldier, Night Vision, Bad Wisdom, Gypsy; "Love Songs." with Night Moves.( that would be a very short retrospective so far, I'm afraid). "SV Rocks Out" with Men In a War, Neighborhood Girls. And so forth. I'm getting silly now, sorry. But I enjoy hearing what you would like and your reasons, though I don't know that I will please everyone. (The DNA version will probably be on it, and it will probably be called something witty like "Retrospective"). I'm still trying to balance the "tried and true" with the "odds and ends". Maybe it will be a 2 CD set -- one with "tried and true" and the other with "odds and ends". But first I have to finish the current one. As to the "Covers" tape, of course, I am tickled that you would want to undertake such a project. I hope you are free and imaginative in your interpretations. I really liked some of the ones on Tom's Album ( though the REM one was probably my least favorite). Talk to you soon. Suzanne Vega Subj: Re: greatest hits & etc Date: 95-08-12 13:04:27 EDT From: Suzanne Vega To: undertow@serv1.law.emory.edu Dear Paolo and everyone -- oops, my mistake! As a former proofreader I can't believe I let it slip by! Knight Moves, not Night Moves! Sorry! Suzanne Vega Subj: Re: Suzanne & Elvis Date: 95-08-12 13:51:33 EDT From: Suzanne Vega To: undertow@serv1.law.emory.edu Hi gang -- regarding the 5 nights at Elvis Costello's show -- MF and I only attended the opening night, and did so without Ruby, so it must have been some other couple where the woman has red hair, and the man wears glasses, with a one year old baby -- Sorry to disappoint-- Suzanne Vega Subj: New editor, "measles" and etc. Date: 95-09-07 19:37:59 EDT From: Suzanne Vega To: undertow@serv1.law.emory.edu Dear Webmates; (are we spiders? ducks perhaps?) -- (or "Gang", as I prefer it): A lot has happened in a month. I hear that we have been acknowledged by AOL as one of their more "attractive" sites -- That's very cool, and Eric S should take a bow for that -- I have to thank him personally for taking the time to set up the page to begin with, and for maintaining it so well. I wanted to say hi to Hugo and to welcome him publicly as the new editor of the page. I have to say that it is ironic to me that the page has received 370,000 "hits" in 6 months, when I am not able to access it yet myself -- I am working on that and hope to be able to see it myself soon from my own equipment. I have only seen it once, and I was not aware that everything I posted to Undertow was being filed in the Correspondence Section. So I was very surprised by what Alex Beam said in his column -- how did he know? Did he subscribe to this list of 300 people? No, he found it on the board. So I asked my management to ask Eric to remove 2 posts that I thought could be harmful if taken the wrong way, including the "Measles" one. It was like thinking you were playing to an intimate club of 300 (this newsgroup called Undertow) and suddenly realizing that every whisper was being broadcast to hundreds of thousands of people (on the WWW page), some of whom may not be interested but who are just cruising through for material (that letter to Spin is at least seven years old.) On reading it again, it really isn't that bad, and it is affectionate, and it was taken out of context, for Christ's sake, so perhaps Hugo or Jeremy at AGF could do me the favor of reinstating that particular one. I am just going to be more careful with what I say, as self-mockery in print is dangerous, especially when inane editors of Melody Maker may be lurking somewhere waiting for more cheap shots. But then why blame the British, when we have our own American Alex Beam! (he is, right?) When I have access to the page myself, I can give more input as to what should or shouldn't be posted (not everything has to be). Yes, Hugo, please post this one!! Quick updates regarding some questions you guys were peltering Eric with: 1. I don't know what happened to the VH1 special regarding the Police. It has been postponed, is what they told me. Maybe they shot it without me, maybe it has been cancelled. 2. "Fighting w Boys" -- unedited version -- I have to see what the legal situation is with that. I have to wait at least 90 days from July before reprinting it anywhere. 3. Amnesty Int'l forward -- I will have that for the page next week when I am back in NY. By the way -- my comments on the Steven Talkhouse gigs are: I thought Thursday's audience was great! It was lively and excited -- Friday's was good, too, but more subdued, more jaded? I was tired also from the night before. I thought I was going to meet you, Wendy -- I thought you were the woman at the soundcheck Friday. But you came Thursday. I should have known. Enough for now. Thanks again, yours truly, Suzanne Vega NOTE: The following note, from Vedran Vucic was sent to VegaNet - Suzanne's reply follows Subj: Suzanne and Leonard Cohen Date: 95-09-23 11:27:57 EDT To: veganet@aol.com From: Vedran Vucic Dear friends, I should be glad if you would forward this message to Suzanne Vega or send comments to me on my E-mail address vvucic@sorosyu.ztn.zer.de Dear Suzanne, I am now currently in warsaw on one seminar on telecommunications and I found your WWW-site. I am amazed that it happened. Though I like yor songs from the very moment I heard them a several years go, I was amazed that I heard your voice in the interview with Leonard Cohen. Actually, I am originally from the town Split on Adriatic coast in the Republic of Croatia (at the time when I heard your songs for the first time it was Yugoslavia). My parents are from Bosnia and herzegovina. (Our family house in Mostar was burned down, some my relatives were killed; I do not want to bother you with the horrible things.) As you know the horrible war destroyed my country whith thousand of killed, enormous massive pain and sorrow are in the eyes of those who refuse to kill anybody. Of course, I am one who refused to kill anybody though police wanted me two times to send in Bosnia to fight. Those arrestments are nasty and traumatic but, nevertheless I am ready to suffer from much bigger pain if the consequence is resistence to any kind of killing. My friend who was living in Split and who worked in Institute of Anatomy (he is currently in Edinburgh as the asylum seeker) recorded the above mentioned interview and sent it to me. He is wonderful guy, we discussed a lot on glandula lacrimalis-tear gland and its importance on human functioning. I am now living in Belgrade and working for the Soros Yugoslavia Foundation. I do a lot of work with the children refugees. Since I heard that interview hundreds of times ( I like Lenny's songs very much., I must tell you that your songs are much closer to my heart. I am sorry f this sounds that I did not like your songs. I liked them and Like them still very much but, from that time, I do not why, maybe beacuse "I lived to long on my knees", you and Lenny are my the most respected musicians. I want you to know that there are still people who despite distances, horrible pain and sadnees still believe in peace and love and who appreciate compassion and empathy found in beautiful songs. I do not like comments that songs as you and Lenny sing are old. Love, empathy, compassion, sorrow and happiness are as old as the humankind is. Those emotions are inherent to us and as we are tring to inhibit them the risk for turning ourselves into something ugly is higher. To be clean and shining despite all tempetations, dangerous situations that's my goal.The music is a nice prysm through which shining souls are showing their beautiful rainbow spectrum. I will always like your and Leonard's songs. I hope that there will be time when you and Lenny will come in my country and sing your sings. I will come and enjoy sincerity and spiritual love in your and his songs. Hold on and continue your career; send my best wishes to Lenny. He is magician. Peace and love, Vedran Vucic Date: Wed, 11 Oct 1995 00:35:29 -0400 From: Suzanne Vega To: undertow@serv1.law.emory.edu Subject: Re: Vedran Vucic Hey gang - Sorry I haven't answered in a while, but I am getting ready to begin recording a new album in November and life is keeping me very busy. I hired Tina as the backup singer because she imitated my voice very well - we were not able to keep her because we ran out of money on that tour, as well as other reasons I shall not go into here. I wanted to thank Mr. Vedran Vucic for his wonderful letter. It is such a deep letter, and he and his country have been through such a lot of suffering that it is difficult to know what words to say in response. "To be clean and shining despite all temptations, dangerous situations, that's my goal," is what he says, and it is my goal too. Thank you for writing to me, and peace and love to you too. I know that these are not just words to you, and they are not just words to me. Thank you so much again for writing. With love, Suzanne Vega Date: Sat, 14 Oct 1995 12:57:12 -0400 From: Suzanne Vega To: Undertow@law.emory.edu Subject: Suzanne Vega And Carson McCullers "Yes, someone taped [the Carson McCullers project] -- I did, in 1988 and MTV did in 1992. It was a version of a one-act play I wrote when I was in college, based on the life and work of Carson McCullers. I did it as my senior thesis project -- dressed up as her, spoke in her Southern accent, smoked like her and later discussed her work with the audience. The original version had songs based on her short stories and was called "Nothing Human", based on a quote she liked -- "Nothing human is alien to me". It was about an hour long. "I submitted it for a CAPS grant in the early 80's and it was rejected, but I have taken it out over the years and dusted it off -- performed it at benefits, readings and stuff like that. I have a couple of the readings on tape, and even some reviews from some of the shows (good ones). The last time I performed as her a few years ago, it was filmed by MTV -- they used a piece of it for something -- but I decided not to perform it any more as I felt the material was becoming too neurotic, or maybe I was becoming too neurotic -- at any rate I felt that I had outgrown it. "For a time in my life she meant a great deal to me. I still like her writing. Funny how this connection isn't common knowledge but is in the air nonetheless." Suzanne Subj: "Woman On The Tier"/"Dead Man Walking" Date: 95-11-05 17:14:59 EST From: EricS10332@aol.com To: undertow@law.emory.edu Hi again - Here's what Suzanne has to say about her new single, "Woman On The Tier" for the Tim Robbins film DEAD MAN WALKING. Suzanne writes: "It's for a movie called "Dead Man Walking", directed by Tim Robbins. The music is very aggressive -- like "Blood Makes Noise" but even harder. It's a from a book written by a nun who becomes a spiritual advisor to a killer on Death Row. "It's supposed to come out December or January. So they say right now, anyway. The other artists are Bruce Springsteen and Eddie Vedder and one other to be determined. It's a very "industrial" track -- like "Blood Makes Noise" but more so. "I am checking w my manager to see whether I can post the words on the internet before they are copywritten. "The song is from the book "Dead Man Walking" written by Sister Helen Prejean. I wrote it from the point of view of the nun (played by Susan Sarandon) who befriends a killer on Death Row (Sean Penn). The song is called "Woman on the Tier" and takes place at the point where she comes to the jail to visit him for the first time. I'm happy with the lyrics." Suzanne Subj: Woman on the Tier - music Date: 95-11-17 12:24:43 EST From: Suzanne Vega To: undertow@serv1.law.emory.edu Hi gang -- Just a quick note to let you know I am still reading everything and enjoying the discussions very much -- sometimes the comments make me laugh out loud. Regarding the music for "Woman on the Tier" -- it is very noisy, metallic, dark, rhythmic -- no melody to speak of. It's a big black noise. In some moods it is practically impossible to listen to. Even Mitchell (Froom, my husband and co-producer of this track), or MF as I call him, was irritated sitting in front of the speakers while we worked on it. (He had the flu that day, also.) I really like it. But I was very happy with the lyrics, which is why I posted them, and all the noise of the track won't make sense unless you know the context, which is provided by the lyrics. I am currently in the studio six days a week, and things are going well, I think. Maybe it would be fun to give you a synopsis of each song as it gets finished. Maybe you'd rather be surprised! The new working title for the album is "Slice of Life", for many reasons which I'll explain later if you want. Thanks for listening, all 262 of you, or is that 261 since the last "unsubscribe"? affectionately yours, Suzanne Vega Subj: videos Date: 95-11-17 23:40:29 EST From: Suzanne Vega To: undertow@serv1.law.emory.edu Hi gang -- I forgot to mention that the song "Woman on the Tier" won't be a single, so it won't have any video with it. I don't mind doing them -- at least I don't dread them the way I once did. I don't like cameras in general. I like the Internet because we get to know each other without having to judge each other's "images" -- I get to know Wendy and Bobking, for example -- many others as well -- through their style of writing, their punctuation (or lack thereof), their choice of words; things that are almost more spiritual in nature. We don't know who's thin, fat, pale or dark, or even man or woman, neccesarily, which I like. I prefer it this way. In cyberspace there are no appearances to be judged by (so far). Thanks again. Suzanne Vega Subj: Re: a poem about the Horse (& other stuff) Date: 96-03-20 17:53:58 EST From: Suzanne Vega To: undertow@law.emory.edu Hi guys -- While I have a minute I will address a couple of things that have come up recently -- One is a question from Huub Ritzema (next time post the question to the group, not just me!) from the Netherlands -- this person would like to know if I was going to do a duet with the singer Fish from the band Marillion -- if so, why? what's the connection? Sometime in the late Eighties I ran into that band in a hotel in Sweden. We all met up in the bar. I was drinking Drambuie, and he (being Scottish) seemed very happy about this, and showed me new and various ways of drinking it, including "depth chargers" where you put a shot-glass filled with Drambuie into a larger glass filled with Guinness, where it plummets to the bottom, and then you drink the whole thing down. Well, it seemed like a great idea at the time, and we drank these things until the bar closed, whereupon we all went back to his room, where he played Pink Floyd music incessantly and began making out with one or two girls who had been partying with us the whole night. At about five-thirty in the morning I went back to my room (I don't think he noticed) , and later that morning he sent the remains of several six-packs and a1/4 bottle of brandy up to my room, with a lovely note. I don't remember much else about a duet, but it's possible we discussed it. No, the song had nothing to do with "Just Friends". To answer Bobking when he noticed my connection to Fast Folk and wondered whether I "embrace the label (of folk singer) as part of my general identification with outsiders" -- I don't embrace the label. But I did embrace the scene. (sometimes literally, since I was involved with a few people from that folk scene in the early eighties). I loved Folk City from 1980 to 1985 -- the Kettle of Fish, the Speakeasy -- all these places were a wonderful and fertile ground for someone like myself who was a loner as a teenager and prone to being shy and introspective. So, yes, I was also surprised to hear Tracy Chapman say there was no folk scene, since I had been happily participating in one for years. I remember the day Jack Hardy said to me that he had an idea of putting out an album a month. I thought it was one of his crazy schemes. But he did it, and I handled "subscriptions" for a while. So I was loyal to the scene (and still am), but I have no loyalty to the label of "folk singer" -- I write whatever songs in whatever styles happen to come out the best way. "Caramel" is a reworking of a song I wrote in my teens called "Daniella", about a girl I used to babysit for -- musically it reflects what i was listening to then, which was all of Antonio Carlos Jobim's records, and of course, Astrud Gilberto, and Joao Gilberto, and the recordings they did with Stan Getz. Regarding your poem -- I can't comment on it now, but have saved it for futher perusal! That's quite enough, I think -- love Suzanne Vega Subj: In-stores and World Before Columbus Date: 96-09-11 23:38:17 EDT From: Suzanne Vega To: undertow@serv4.law.emory.edu Hi gang -- Sorry it has been a while since I posted but as you might imagine, I've been busy. It's been fun meeting some of you on this radio and in-store promo tour I'm doing -- I like connecting faces to the names I see so often! There were a couple of things I wanted to clarify -- someone posted recently complaining about the imagery of World Before Columbus, saying there were other explorers before Columbus who proved the world was round, and that the line "cruel as the world before Columbus" was one that my Puerto-Rican stepfather wouldn't have liked, implying, I guess that I was talking about the cruelty of Native Americans? or indiginous people in general? Normally I let criticisms go, but this one offends me because it is not what I mean, not how I was raised, and not what I believe. To me, the main image of this song is that of the world being flat if this person's love were taken away. Nowhere do I mention Indians. A flat world (surrounded by demons) that one could fall off and never get back to is my idea of a cruel world. Similarly, when I say the world could be as "dark as the world before Columbus" I am NOT talking about Africa, savages or anything like that, implying that Columbus somehow civilized the world and made it bearable. I am only referring to the one belief -- that the world was flat. That's all. As for the other explorers you mentioned -- their names don't sing as well. I guess the choruses are clear enough. Most of the time I don't mind interpretations, but I found this one offensive. I also wanted to answer Charlie's question of a month or two ago -- before he shelled out the money for the new album he wanted my position on gay rights, marriage, adoption, the whole shebang. For the record, I think gay people should have the right to marry, with all the privileges of marriage -- no, I don't think it tears at the moral fiber of society, (as someone suggested); I think quite the opposite. But I don't think you should buy the album because of my political beliefs! I am not running for office. But since you wanted my position -- there it is. I enjoyed the live chat the other night! I'll see you soon! It's been an exciting week. Thanks to everyone -- love, Suzanne Subj: American tour Date: 96-10-20 21:34:52 EDT From: Suzanne Vega Sender: owner-undertow@law.emory.edu Hey gang -- so tonight is the eve of the American tour. so far, some shows are doing really well. New York and Chicago are sold out, but others are doing badly -- Philadelphia, for example. I wonder why? We had a great in-store, but the tickets aren't selling at all. Is the ticket price too high? Is the venue out of town? What is the ticket price? How does it compare with the others? I have really enjoyed meeting you Undertowers on the road -- I met David in Paris before the show, and U212 in NY , and Wendy! in LA -- usually if you let me know you are an "Undertower" I will say hi and chat as long as I am able to. My schedule is going to be even more hectic than it has been, so I won't be able to talk for a long time each time, but I really love putting the faces with the names and thoughts. We played the show in Paris and Germany. It runs about an hour and a half -- so far there isn't a section where I tell stories formally the way there has been in other shows. I will be trying some things out though, seeing what the show needs. So I'll be seeing you! Affectionately yours, Suzanne Subj: European Tour Date: 97-02-26 21:34:52 EDT From: Suzanne Vega Hi Gang! We are all here in Prague (as you probably know.) My computer stopped working when we got to England a month a go (which you probably know as well!) So I am missing all of last months mail - I have no idea what you have been "talking" about. So far we are all in good health (knock wood.) The worst moment of the tour so far was in Poland when we found out that the monitor man's baby had died from SIDS back in the U.S. We dropped 'World Before Columbus' from the set for that reason (temporarily.) He had gone home to be with his family. I saw Hugo in Stockholm - I had not seen him in a while and I was glad he came. It was probably the show with the fewest people - Helsinki had the most and I met some 'Undertowers' in the snow after the gig. I am sorry I have not been able to read what people have been saying about the shows! We picked up a little troll in Norway and I keep him in my pocket to amuse Ruby - We were calling him "Matchee Fram" which was a mis-spelling of MF's name in a Polish paper - See you soon. Affectionately yours, Suzanne