Patti Lupone~Thoughts?
Evita Peron
k.a.r.
> any thoughts on Patti?
I LOVE Patti - I am listening to her Sunset Boulevard recording right
now - her voice is so soothing, so comforting... I LOVE her! :)
k.a.r.
Matthew Murray
Are we talking about Patti LuPone? I would hardly call her voice
soothing and comforting, especially on the Sunset Blvd. recording.
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carl coddington
wm...@acpub.duke.edu
On Sat, 13 Jun 1998, k.a.r. wrote:
> > any thoughts on Patti?
>
> I LOVE Patti - I am listening to her Sunset Boulevard recording right
> now - her voice is so soothing, so comforting... I LOVE her! :)
You need to hear her rip into the Irving Berlin on the Heatwave CD!!
That's not too soothing!
> k.a.r.
>
>
Matthew Murray
On Mon, 15 Jun 1998 wm...@acpub.duke.edu wrote:
> You need to hear her rip into the Irving Berlin on the Heatwave CD!!
> That's not too soothing!
So far, I have yet to hear her sing anything that I would classify
as soothing. Evita was grating, Sunset Blvd. was annoying, and the Life
Goes On theme song was just plain scary.
MsLaDiva
>I have to say I think is more cliche than reality. I think LuPone's diction
>is
>pretty much the same as any other Broadway singer -- sometimes vowels have to
>be modified for certain notes (especially if you are singing stuff that no
>one
>can sing like LuPone does, like the REALLY high parts in EVITA)
>
>I think this all the fault of FORBIDDEN BROADWAY!
Oh puh-leeze. It's the fault of her diction problems...not Forbidden Broadway.
Also...I hate to watch her sing....that woman has so much tension in her jaw!
I feel like her jaw is going to snap at any given moment!!!
MsLaDiva
"I'm tired of all the happy men who rule the world."
MsLaDiva
>Just listen sometime to how beautifully she sang in The Baker's Wife (the
>original "The Meadowlark" , "Where Is the Warmth") and Evita, but after
>that...well voices change.
I agree. Barbra Steisand was so incredible when she was younger....but voices
change and it seems like the older a singer gets, the more they rely on the
tricks that made them famous so that they become a cliche of themselves.
wm...@acpub.duke.edu
Well-said!! And some become very self-conscious about images. I've read
that Streisand said something about being so emotional "how could they
have liked me?" (to that effect). Well I think her first Album remains
her best! The first few are all great. The first one was material she
had worked and re-worked in nightclubs and in fact was recorded live then
scrapped for a studio version. Some of the live tracks are on the For the
Record Box set.
Midler also seems to have matured into a more somber matron -- though not
as somnabulistically <G> as Babs. But "Drinking Again" "Surabaya Johnny"
are far ahead of "From A Distance" but they were never played on top 40
radio and she's got a kid to educate/raise, etc now (little Sophie, who
is about 6-8 now and looks just like Bette!!) She's rarely photographed
but I saw her photo somewhere. She's cute and I hear she's the apple of
Bette's eye.
-----------------------------------------------------------
Matthew Murray
On 23 Jun 1998, EMoore1975 wrote:
> Ok, enough of that. But, it should explain why people like Patti spread vowels
> up there.
I understand all that. But she spreads them all over the place,
NOT just in her upper belt range. And I have always been taught that when
you do that, you do it as little as you need to so that the word can still
be understood. Patti's vowel modification happens from the bottom of her
range to the top and is equally extreme at both ends. I have never heard
>any< voice teacher advocate doing that, and I don't like listening to it.
Matthew Murray
On 23 Jun 1998, MsLaDiva wrote:
> >Also, for the record, I'd like to note that the first song I heard Patti sing
> >was on my Carnegie Hall/Sondheim tribute. She sang Being Alive. I
> >understood
> >every word, but I guess I enjoy singing so much, I pay close attention.
>
> As a singer, I understand that OF COURSE we modify vowels....we do it all the
> time. That's fine. And she sang "Being Alive" very, very well. But did you
> watch her jaw? Nobody should have that much tension in their jaw. It makes me
I saw her at the Colm Wilkinson concert that was on PBS either
last year or the year before, and it was SCARY. Her technique is
frightening--it's amazing she's lasted as long as she has. One would
think that the rehearsal period of Evita alone would kill her. (Then
again, it's possible her technique has worsened with age.)
EMoore1975
Uh, spreading a vowel so it can be announced is done all the time in classical
music. I have an ex-girlfriend who is a supersonic soprano, capable of a high
F# with just a little warming up (for those of you interested in knowing what
an F# sounds like, pick up a recording of the Queen of the Night's aria from
the Magic Flute...the coloratura notes feature F# as the high note). At any
rate, she (and any other soprano, for that matter) is unable to sing anything
but a vowel on that note. For most people, this differes. Hers is a rather
closes aaaa (rhymes with ack!) sound. Patti is a belter, she is not even a
mezzo-soprano, I think. For her to chest all the way into a mezzo range is
impressive, to say the least, and incredible, given that she is still able to
talk today.
Ok, enough of that. But, it should explain why people like Patti spread vowels
up there.
was on my Carnegie Hall/Sondheim tribute. She sang Being Alive. I understood
want bad diction, look no further than today's pop/rock/alternative music.:)
Eric
MsLaDiva
>Also, for the record, I'd like to note that the first song I heard Patti sing
>was on my Carnegie Hall/Sondheim tribute. She sang Being Alive. I
>understood
>every word, but I guess I enjoy singing so much, I pay close attention.
As a singer, I understand that OF COURSE we modify vowels....we do it all the
time. That's fine. And she sang "Being Alive" very, very well. But did you
watch her jaw? Nobody should have that much tension in their jaw. It makes me
worry, to watch her sing. And although that song was pretty good...she does
slur through a lot of other numbers. I have several recordings of her to back
me up.
Twc6
>As a singer, I understand that OF COURSE we modify vowels....we do it all the
>time. That's fine. And she sang "Being Alive" very, very well. But did
>you
>watch her jaw? Nobody should have that much tension in their jaw. It makes
>me
>worry, to watch her sing.
Yeah, at this rate, her singing career will only span about 30 years! ; - )
MsLaDiva
>Yeah, at this rate, her singing career will only span about 30 years! ; - )
I never said she wouldn't last...I'm just saying that as an audience member, I
cringe when I watch her jaw move with that much tension. There are other
singers that I can't stand to WATCH sing...I can LISTEN to them...but I can't
WATCH.
wm...@acpub.duke.edu
I noticed that jaw clenching with a singer whose voice on disc I like a
lot, Dale Kristien, when she performed with Michael Crawford on his PBS
special. I almost wondered how she could get the sound out of her mouth
by keeping it so clenched?
On 23 Jun 1998, MsLaDiva wrote:
Michael Benedetto
>I noticed that jaw clenching with a singer whose voice on disc I like a
>lot, Dale Kristien, when she performed with Michael Crawford on his PBS
>special. I almost wondered how she could get the sound out of her mouth
>by keeping it so clenched?
>
>WMM
My exposure to Dale Kristien has been limited to the STAGE albums and the
Crawford special, so perhaps I'm not hearing the woman at her best... but
I *really* can't stand her singing (if it can be called that). Why do so
many sopranos feel the need to assault people's ears like that?
-Mike
EMoore1975
Not to change the subject (is it about Patti or about spreading vowels? I
dunno), but I have found a male counterpart to the Patti Spread Syndrome. I
was listening to the recording of Kind David and suddenly discovered that the
language Marcus Lovett is singing in is decidely NOT English.
Eric
Carlo20949
I think Patti did a wonderful job as EVITA and Fantine. She has a great voice
and she is a terrific actress. Her other recordings are, if you want to get
them, Pal Joey, Sunset Boulevard, The Baker's Wife.......and you can also get
Patti LuPone Live and Patti LuPone's Heatwave. They are all wonderful.
Braden Mechley
Miss LuPone's vowel modifications are scarcely the problem for me; when I
can catch her using the words, singing with real line, handling rhythm
with any panache and in general not just yelling and crooning in
alternation, I'm happy, but who can enjoy any singer on just a handful of
notes?
But the real jaw-dropper (so to say) of that "special" they were
telecasting on PBS a while back (an all-LuPone recital) was her insistence
on inserting narrative of the most tawdry, vulgar, cheap and self-serving
variety between songs. Yuck!
** Braden Mechley ** ele...@u.washington.edu ** Department of Classics **
Twc6
>Miss LuPone's vowel modifications are scarcely the problem for me; when I
>can catch her using the words, singing with real line, handling rhythm
>with any panache and in general not just yelling and crooning in
>alternation, I'm happy, but who can enjoy any singer on just a handful of
>notes?
I have to disagree -- I think LuPone is one of the few performers left who
really does this, who uses the words, who really plays with the rhthyms for a
purpose -- I have never heard her croon or yell, except when that was the
intent of the song.
>
>But the real jaw-dropper (so to say) of that "special" they were
>telecasting on PBS a while back (an all-LuPone recital) was her insistence
>on inserting narrative of the most tawdry, vulgar, cheap and self-serving
>variety between songs. Yuck!
Dont be such a prude! Her between song patter in her one woman show on Broadway
was very funny and very earthy. I loved it
Braden Mechley
On 29 Jun 1998, Twc6 wrote:
> I have to disagree -- I think LuPone is one of the few performers left who
> really does this, who uses the words, who really plays with the rhthyms
> for a purpose -- I have never heard her croon or yell, except when that
> was the intent of the song.
Guess we'll have to agree to disagree. To me this is a potentially good
instrument which sounds increasingly (to use a friend's wonderful phrase)
"booze-ravaged." Most of her numbers are scaled for isolated "effects" --
slam that note! -- which just feel pasted on from the outside. Among
today's full-time belters, I'll take Betty Buckley every time. She's not
a perfect singer either, but she better inhabits a number from the inside.
To hear a contemporary theater singer who really knows how to combine
technique and musicianship to a staggering degree, check out Judy Kaye.
Recordings allow us to juxtapose her with Miss LuPone in a few parallel
numbers, and the comparison's just never flattering to Our Patti.
>> But the real jaw-dropper (so to say) of that "special" they were
>> telecasting on PBS a while back (an all-LuPone recital) was her
>> insistence on inserting narrative of the most tawdry, vulgar, cheap and
>> self-serving variety between songs. Yuck!
>
> Dont be such a prude! Her between song patter in her one woman show
> on Broadway was very funny and very earthy.
Really? I'll admit I laughed at "Big Dress Descending!," but there are
limits. For instance: does the way she talks about her ghostly return at
the end of LES MISERABLES make you feel she really believes in the
material? If I have to sit through cheap pop opera, I want to do it with
performers who want to put it over in a truly felt way, not self-
proclaimed divas who sit backstage puffing on cigarettes, slamming back
shots of vodka and stealing costumes from the show. Her description of
the last of these practices on a "Rosie O'Donnell" appearance a few months
back was truly repulsive, since she claimed a "sense of history" makes her
want to steal things which belonged to divas past. What vile special
pleading!
> I loved it
Obviously. But I don't think not loving this Long Island manicurist-
turned-Broadway diva makes one a "prude."
Patricia J. Holland
In article
<Pine.OSF.3.96b.98062...@saul6.u.washington.edu>, Braden
Mechley <ele...@u.washington.edu> wrote:
> But the real jaw-dropper (so to say) of that "special" they were
> telecasting on PBS a while back (an all-LuPone recital) was her
> insistence on inserting narrative of the most tawdry, vulgar, cheap and
> self-serving variety between songs. Yuck!
>
I have to admit that I agree with Braden that her little story of how
bored she was as Fantine (and the smoking and almost missing her cue) made
me a little angry and somewhat sad. Personally, I don't want to see the
little man behind the curtain. I go to the theatre for magic and music
and to be transported into a story.
Pat
Kathy Neary
Braden Mechley wrote:
>
> Miss LuPone's vowel modifications are scarcely the problem for me; when I
> can catch her using the words, singing with real line, handling rhythm
> with any panache and in general not just yelling and crooning in
> alternation, I'm happy, but who can enjoy any singer on just a handful of
> notes?
>
> telecasting on PBS a while back (an all-LuPone recital) was her insistence
> on inserting narrative of the most tawdry, vulgar, cheap and self-serving
> variety between songs. Yuck!
>
I'm amazed at all the negative "thoughts" about Patti LuPone. I've
seen her perform many times and feel that she is the greatest star
of the musical theater. Watching "Patti LuPone on Broadway" was like
experiencing each musical. No one else puts such powerful feeling
into a performance. As a singer/actress she has no equal. I've never
had a problem understanding her diction and find her voice to be
vibrant, strong, and melodious.
As for her jokes and banter, it's just humor. Don't take it so
literally!
Kathy
MsLaDiva
> I've
>seen her perform many times and feel that she is the greatest star
>of the musical theater.
>No one else puts such powerful feeling
>into a performance. As a singer/actress she has no equal.
Well, that is certainly your opinion. I think she certainly has presence and
feeling...but there are other musical theatre performers I enjoy much
more...Bernadette Peters for example. Watching her tour was incredible. Her
stillness, for me, is more powerful than Patti's loudness any day. Bernadette
can stand as still as a statue, and her eyes say it all...that's power.
Anyway...just my thoughts.
bip
MsLaDiva wrote:
> Well, that is certainly your opinion. I think she certainly has presence and
> feeling...but there are other musical theatre performers I enjoy much
> more...Bernadette Peters for example. Watching her tour was incredible. Her
> stillness, for me, is more powerful than Patti's loudness any day.
>
That's odd. When I listen to Bernadette Peters, all I hear is vocal damage,
vocal damage, vocal damage. But it's interesting you should choose Bernadette
Peters as a "superior" performer to Patti LuPone...if there's anyone whose diction
irritates me, it's Bernadette Peters. I'd fall over if I ever heard/saw her
actually open her mouth when she sings. How anyone is able to sing with puckered
lips is beyond me.
As for Patti, I have always adored her voice. And I think her reputation for
the past twenty years speaks to the fact that a huge segment of the theatre going
public agree. However, as regards BOTH talents, there is only so long a singer can
maintain a standard of excellence (anyone who doesn't doesn't know exactly what I
mean should listen to Julie Andrews, who should have stopped singing 5 years ago,
and, I suspect, has lived to regret her decision to return to the stage).
I, for one, have not tired of Patti's voice. I do recognize what's not there
anymore, I wince when I hear her struggle to do what once came so easily for her.
I listen to older recordings and miss the young Patti ... but I still love it. Is
she guilty of strange vowel modifications? Absolutely. Made her famous. I wouldn't
change it. As, I'm sure, you wouldn't change the way Bernadette sings through lips
so tightly closed you couldn't squeeze a Tootsie Roll through 'em.
As for their "acts", while my vocal style comes much closer to Peters' than to
LuPone's, my personality is more that "broad-y" style that some people have taken
issue with. And I see no reason why anyone would insist that a level of stodgy
decorum needs to be maintained during what is trying to be a relaxed evening of
entertainment. I'm assuming that the comments about LuPone breaking the illusion
of what it is to be a performer were made by someone who hasn't worked in
professional theatre. About 2 weeks into your first show, you lose that tendency
to look for the magic. The performance is still stirring even though you just ate
dinner with that actor an hour ago. I don't think having a smoke and waiting for
your cue with some amount of boredom has any bearing on your work as an actor. It
is, however, the type of anecdote one usually encounters in a one man (woman)
show. While I've never met either LuPone or Peters, if I saw Patti LuPone with a
demure, retiring personality on stage I'd leave the theatre disappointedly yapping
about what a dull little thing she was. By the same token, considering Bernadette
Peters singing voice, if I saw her doing the "rough broad" bit a la LuPone, I
would consider it incongrous to her vocal style and would find it just as
distasteful. I think some amount of consistency is what's important. When your
singing is Merman-esque, people want you to be a broad. However, whenever I see a
singer on stage trying to consistently (not just a select number or two) engage an
audience using her eyes alone, I feel that she is being exclusive and cold. When I
watch Peters, I can't help wondering who she's performing to. I find her style
very effective for TV, but isolating on stage.
But for all we think is wrong with their techniques or acts, they each have
bank accounts that would probably make us cry. I always try to remind myself in
the midst of critical discussions that, while I have so many "helpful suggestions"
to improve their performances, they're too busy making money hand over fist and
signing autographs for adoring fans to be bothered listening to my suggestions.
They're famous, and I sure ain't. I don't think anyone can define one absolute for
vocal technique. You can teach/study what is commonly accepted as standard,
healthy, what have you. But I think we can agree it's not the standard or average
that hits the big time. It's the exception.
Mila
Although I like both Peters and LuPone, I must admit, of the two, Lupone's
diction is the one I find more irritating. Remember her in Anything Goes?
Could you understand one word she sang? [Not that Peters should be giving
any master's classes in this area.] One of the most amusing pieces in [one
of the] Forbidden Broadway [editions] was a fabulously scathing send up of
Lupone in that show.
Of no particular interest, perhaps [and definitely "off topic"]: I've never
met Peters, but I have met Lupone a few times. Talk about "rough broads"!
She was endearing, but a bit terrifying. I havn't heard her sing for a
while, and am sad [but not suprised] to hear her voice is showing damage. I
will have the occasional cigarette, but she gave [at the time] new meaning
to "smokin".
I do have one bone to pick, though, with you. How could you put that
"Tootsie Roll" image out here? Now I'll never see Peters without thinking
of it!
bip <b...@nac.net> wrote in article <359AFE69...@nac.net>...
jmos...@students.miami.edu
On Thu, 02 Jul 1998 03:24:21 GMT, bip <b...@nac.net> wrote:
>healthy, what have you. But I think we can agree it's not the standard or average
>that hits the big time. It's the exception.
This is quite off topic, but this sentence is exactly what I have
questions about. I'm very sorry taht this has nothing to do with
either LuPone (ya LuPone!) or Peters, but more about vocal technique.
I am a tenor and am studying musical theatre at the University of
Miami in Florida. I have been told that my voice is very unique. A
prof of mine told me that he's worried I won't finish school because
I'll be offered work since my voice is so unique and bright. I was
jamming with a friend who's an opera major the other day and she
stopped playing the piano, turned to me and said, "doesn't it hurt to
have your voice so bright all the time? Are you pushing or
soemthign?" I started thinking about it, beucase it never occured to
me that having such a bright voice might be not-so-healthy. I do not
push it, nor does it hurt. My top notes are just very bright and
belty. Later that day, I ran into a vocal coach from school at the
gym. I told him what she said, and he said that I should learn to
cover more becuase it puts the larynx in a more relaxed position which
will allow me more years of singing healthily.
The whole point of this is, I'm quite scared to start 'covering.' I
like my sound. It's my sound that people have shown interest in, and
if I start covering, my sound will change. You said the "exception"
is what sells, well, should I consciously change my voice to last
longer, or be the exception and sell? I'm afraid that once I start
practicing the 'proper' technique, I won't be able to produce the same
quality or texture. It's a real decision that I have to make, and
frankly it makes me frightened. All I want to do is sing.
Please help me, and I suppose I should have changed the topic, so I
apologize. Reply by email if you could, if not, I'll try to stop by
here and check out the replies (if any).
Thank you.
bip
Mila wrote:
> Although I like both Peters and LuPone, I must admit, of the two, Lupone's
> diction is the one I find more irritating. Remember her in Anything Goes?
> Could you understand one word she sang?
Mila, you've got me laughing like a hyena. When you mentioned her Anything Goes
diction (and I think you're right, but I've developed an ugly habit of singing
the Forbidden B'way version just for giggles. I've forgotten what she actually
sounded like...!), you reminded me of the first time I heard her recording of
Sunset Blvd. I nearly broke the tape taking it around to friends trying to
figure out what the heck "that line" was... It was "I love flannel on a man".
Never would have figured that one out on my own. I still laugh every time I
hear it.
> How could you put that
> "Tootsie Roll" image out here? Now I'll never see Peters without thinking
> of it!
That was a little wacky...forgive me. Although if you pucker lips up really
tightly and sing "Broadway Baby" through your nose at a party you've got a
great Peters impression... ;)
Twc6
> you reminded me of the first time I heard her recording of
>Sunset Blvd. I nearly broke the tape taking it around to friends trying to
>figure out what the heck "that line" was... It was "I love flannel on a man".
>Never would have figured that one out on my own. I still laugh every time I
>hear it.
>
Madeleine
I personally don't like Patti Lupone. There are times when I think,
"If she could make it on Broadway then anyone can." When she sings the part
in Don't Cry For Me Argentina- "All you have to do is look at me...." It's
absolutly horrible! Also when she sings the part from I Dreamed A Dream-
"Now life has killed the dream I dream!" She didn't sing it, she yelled it.
That made me jump and send shivers down my spine. The only songs I like that
she sings are As Long As He Needs Me and her duet with Michael Crawford,
With You I'm Born Again. (At least I think that's her singing with him.)
Well, anyhow, that's my opinion. I'd like to her other people's
thoughts. If you'd like to respond to this, please E-mail me because read
this newsgroup often.
Tah!
Catt.
bip
Madeleine wrote:
> I personally don't like Patti Lupone. There are times when I think,
> "If she could make it on Broadway then anyone can." When she sings the part
> in Don't Cry For Me Argentina- "All you have to do is look at me...." It's
> absolutly horrible! Also when she sings the part from I Dreamed A Dream-
> "Now life has killed the dream I dream!" She didn't sing it, she yelled it.
> That made me jump and send shivers down my spine. The only songs I like that
> she sings are As Long As He Needs Me and ...
>
I strongly suspect you're referring to that much-televised concert from a
couple of years ago, and not her original recordings of those songs. What she
sounds like now is not what she sounded like five or ten or twenty years ago.
How many times have we each stood on stage after going with what seemed like a
good performance idea and ended up saying "well THAT was a mistake". Sometimes
if you "act it" too hard you lose the musicality; if you get too lost in the
music, you lose your control of the acting. I think she pushed the acting too
far on those lines and lost the balance, that's all. What you've mentioned seem
to me to be acting choices, not measures of her musical talent.
If you're basing your opinion of her only on more recent performances, give a
listen to her earlier stuff...I think you might be a little surprised.
Geez... this sounds like I'm applying for a job as Patti's publicist...;)
Alison Franck
jmossman asked for help with his vocal technique....basically asking if
he should sing less brightly by covering the sound...because his friend
who is an opera major thinks it will be better for his voice n the long
run.
Answer:
Listen to your friend, but take the comment with the understanding that
it is a technique you will try. I love a nice bright sound...I prefer
it, however too bright=shrill. I always had a very bright mix,but if I
pushed it too much, I could sometimes cause vocal damage, and if I was
sick: FORGET IT, I lost my voice. Then I started studying with a voice
teacher who taught me to slightly cover my sound...and let me tell you,
I never lost my voice again.
Try what your opera friend suggests, see if it works for you, and if it
doesn't, go back to what you do best.
But you may find that slightly covering your sound will dramatically
change your ability to control your sound, adding texture and color to
your voice, as well as a healthier sound.
Alison
Marcia Rovins
I saw Patti do "Evita" from the front row of the Dorothy Chandler
Pavillion (I think that was the theater) in Los Angeles before the show
ever got to Broadway. I couldn't understand a word she sang even then.
I finally saw a dinner theater production to find out what the show was
about!
Marcia
Madeleine
> I strongly suspect you're referring to that much-televised concert from
a
>couple of years ago, and not her original recordings of those songs. What
she
>sounds like now is not what she sounded like five or ten or twenty years
ago.
>How many times have we each stood on stage after going with what seemed
like a
>good performance idea and ended up saying "well THAT was a mistake".
Sometimes
>if you "act it" too hard you lose the musicality; if you get too lost in
the
>music, you lose your control of the acting. I think she pushed the acting
too
>far on those lines and lost the balance, that's all. What you've mentioned
seem
>to me to be acting choices, not measures of her musical talent.
> If you're basing your opinion of her only on more recent performances,
give a
>listen to her earlier stuff...I think you might be a little surprised.
> Geez... this sounds like I'm applying for a job as Patti's
publicist...;)
Actually I saw Patti in Evita with Mandy Patinkin. It was OK. It wasn't
great, but it was OK. I thought that maybe she was just having a bad day so
I got the CD. I don't want to make anyone angry so lets just say I traded it
in for another CD.
Kind regards.
Catt.
Tyrene Bada
> an F# sounds like, pick up a recording of the Queen of the Night's aria from
> the Magic Flute...the coloratura notes feature F# as the high note
I am a coloratura myself...and it's an F-natural, not an F#...
Hey, every half-step counts when you're singing that high!
===================================
Religion plus finesse...
Countries, classes, creeds as one
In Love of Chess...
www.teleport.com/~tyrene
icq: #3106429
===================================
Tyrene Bada
> That was a little wacky...forgive me. Although if you pucker lips up really
> tightly and sing "Broadway Baby" through your nose at a party you've got a
> great Peters impression... ;)
"Imatation is...the greatest form of flattery"
<LOL> That's great. I have much respect for Ms. Peters, but that's just
great.
Ty
EMoore1975
*Opens his mouth, inserts foot*
yeah, every half-step DOES indeed count. for me, it starts at Bflat.
Eric