Michael Quinn's Journal
Sunday, January 23, 2005
Tour Diaries, Part 5
Note. It is Saturday morning now, about 8:30 in the morning, and here in Minneapolis it is snowing. I am very sad. Also I am very poor at the moment, because all of my reserves were used up on the tour. Obviously, I made my choice, yada yada. But I think I may have to temporarily find a part time job... I am recently obsessed with Joanna Newsom. I have only heard one song, "The Sprout and the Bean." If I had extra money, I would go buy the CD "The Milk-Eyed Mender." In fact, I might do so anyway, because I'm in a moment of existential crisis and escaping into another elf-woman's song-world might be just what I need.
My tour diaries are likely colored with my anger and sadness, or at least my anger. I apologize. I am trying to be joyful, but, you know... don't you?
Although I did have a lot of fun yesterday in certain ways. Michael and I watched the second half of "A Christmas Story" together... that's one of my all-time favorite movies, and I've seen it a million times and yet still love it. That voiceover work by Jean Sheperd, the man who wrote the book and who I think is "Ralphie," is priceless. And Peter Billingsly is priceless. And so is Darren McGavin, the father. Seriously? They're all really good.
But now.... on to the Tour Diaries, Part 4.
WHITE EAGLE SALOON
Guests in attendance: Mary Anne Plumb, wonderful girl, and some of her friends.Jo Haemer and her husband Tim.
some sailors
a bunch of other people I don't know.
Mary Anne and I met when I spent a year in Saint Cloud going through treatment for the first time. I was taking some classes at Saint Cloud State University in the meantime, planning to go back to Saint Olaf, or so I was pretending, anyway. I secretly knew I would never go back to that place. No offense, Olies out there in the world. It just wasn't for me. I should have gone to NYU like I wanted to in the first place, and I was extremely stupid to turn down a full ride to one of the greatest film schools in the world. It postponed my film career by about five or ten years, but I cannot do anything about that now. But I did need help. A lot of it. A LOT. It was really great to have my parents help me, and to go through treatment with Judy, my shrink, because she never believed any of my lies, anyway. I don't know what would have happened if I had gone to New York, but I have two thoughts in mind: either I would have risen to the challenge, or I would have drowned in the masses. How dramatic of me. Maybe it would have been a combination of both, which is the human condition, now, isn't it? Didn't Eleanor Roosevelt say, There are only two options. Success, or giving up.
So there I was, at one of the lowest points in my emotional and esoteric life, taking classes I didn't want to take, pretending everything was okay, starting AFED with a girl named Annie in St. Cloud and a bunch of people in Minneapolis... I was taking a creative writing class from the mentor of the first person I ever fell in love with, which was sort of compounding the problems, because I was still in love with him, but now I was also in hate with him. I was also trying desperately to erase all connection to him, romantically, emotionally, and otherwise. And there was Mary Anne! Interesting, funny, friendly, supportive. We became fast friends and despite not having lived near each other for five years now, the connection is still there. She is the biggest sweetheart I know, along with Erin Cronn, of course.
Jo: I met Jo while she was living briefly in Saint Paul. She helped me write "Rains," as a matter of fact- she came up with that really cool G# to em bridge part, really fleshing out the song, one that was most popular (well, to be fair, along with "Dark Place") until Black Butterfly came along. She has these really wonderful tattoos of dragons that circle around her body, and she is a professional guitar player who also does art cars. A great lady, another sweetheart. She and her husband Tim were really cool.
My act, "International Girl," opened the set. Usually I am not nervous, but I was tonight, because I had no idea how people who had mostly come to see a rockabilly/ roots rock show would feel about a weird girl singing cabaret songs in French and Italian, followed by her own weird pop originals- after the jugglers. Oh, well, nothing to do but walk the plank and plunge in!
The stage was set up unfortunately. I had little room to move, to do obscene things with the microphone, to dance... I spilled my glass of wine all over the floor but not (miraculously) on any cables ir gear. Now, the place is famed to be haunted, so I choose to think it was one of the meddlesome ghosts of the Shang Hai/ Brothel era... not my clumsiness or chaotic energy.... tee hee...
We opened with "La Vie En Rose." It's the slowest and the mellowest, but also one the band knew best and one I sing well. It's low and sexy, and by one of my all time heroines, Edith Piaf. Our band on this tour played it too slow, but I could never convince Michael to speed up the tempo. He likes it slow and sexy. That sounds like I'm giving away too much of our personal life, hee hee. Well, he's been a drummer for sixteen years or whatever, so he thinks he knows everything about rhythm. I don't know, maybe he does. Or maybe nobody does. Overall, the first song was a bit uneventful, but that can be okay, too. And that's just my perspective. I have no idea what the audience thought. I did notice that Keith was not in the audience. although Greg and the jugglers were.
My next tune was "Habanera" from Carmen... also known as "L'amour est un oiseau rebelle." Again, the band played it too slow; it should have been a bit more spirited. I don't sing this song in true operatic style, either.... I prefer to muscle it and rock it out a little more, but I do let myself get almost coloratura anytime I sing above D5. Not necessary, since honestly, the highest Habanera goes is High F#, although a few times I brought it higher just to show off, even though the truth is I can go an octave higher than that high F # and so always feel a bit like I'm just being showy wench. Like right now, for example. I do try to always give the moment what it calls for, though, and since Carmen herself is a showy wench, well... it's at least sensical. ;)
People who don't go to opera and some who do always enjoy that piece quite a lot, I think because they've heard it before, it's sexy, and now it's in a context they're more familiar with and therefore more comfortable with. For a lot of people who aren't opera fans, attending a two and a half hour opera might be too much, but seeing bits and pieces of one can be really refreshing. IMO.
My third song was "Bella Ciao." This one is a great segue into my original music because the way I have arranged it, it gets faster and faster until the end is like a weird operatic/folk/flamenco punk song. It's a protest song and I was really feeling the protest that day... in fact, I read somewhere on the internet that people having been singing that song to protest Bush's heinous war in Iraq. I don't want to get any flame emails telling me how terrible Saddam was. I know and I'm glad he's gone. But I am NOT pleased with all the under-reporting of deaths and woundings, especially of the Iraqi people. I am NOT pleased that I have to resort to reading media from Britain and France as well as from the US and Canada to get a more whole picture of what's going on. I am disgusted that people seem to not care about our fellow HUMAN BEINGS, that they are too selfish and hegemonistic and seem to think that their bourgeousie, pedestrian, middle class, consumerist way of life is what everyone else in the should have as well. (I am guilty too. Let me quote the controversial MJ with "I'm starting with the [wo]man in the mirror. I am starting with volunteering at PPMSD two days a month and going 50 % raw, 25 % vegan, and the other 25 % I am dedicating to my tea and chocolate addictions. I am trying, and I do believe a lot of us humans are as well...) I am frustrated with the increasing acceptance of racism, sexism, and jingoism in this nation. I heard Noam Chomsky (say what you will, conservatives, the man is a brilliant and thoughtful scholar) postulate that the sanctions against Iraq did not hurt Saddam, they hurt the people, who had no power to demand that Saddam amend policy, which was the "point" of the Sanctions, supposedly. He suggested that perhaps had they not been impoverished by the sanctions and under terrible financial, health-related, social, emotional, religious and physical stress, they may have been strong enough to rise against Saddam as a people themselves, as has occurred many times in the history of our world. Interesting.
So I put all of that into my song. That might be one of my favorites.
After my first three songs, the jugglers, www.nonamejugglers.com, came out and did their thing. I am telling you, these guys do amazing things. AJ will jump on top of Dan's shoulders and they will juggle separately and then together- while AJ is still on his shoulders. Amazing!
They did about a fifteen minute performance, and the bartender brought the houselights up, since they performed in front of the stage. Michael, Sean, and Erik improvised to their set. That first night the music was really cool. Michael and Sean did this really funky hip hop beat, and then Erik would play some lapsteel, giving it a very cool but eclectic feel. It was nice to hear some hip-hop and funk grooves after being forced to listen to Brooks and Dunn on the journey. (Seriously. Michael and Erik made us listen to this damned tape Erik bought in a gas station like fifteen times. I put my CD player on and listened to a lot of Dandy Warhols instead, especially in honor of being on our way to Portland, but then my headphones broke. Argh!) (Now, I know they are very popular, but by the end of the trip I was so sick of country and western music that I started DISLIKING it VERY MUCH again. I used to say, "I like all kinds of music.... except country." Then, I, like many other silly urbanites, re-discovered Johnny Cash, Dolly Parton, Emmylou Harris. That led me to experiment with Hank Williams, Waylon Jennings, Willie Nelson, and eventually, I even listened to Marina McBride because my Mom really liked her. But after this trip, I'm temporarily back to my hater mode when it comes to pop-country, you know, the radio country, slicked up pop we all love to complain about, etc. In fact, a lot of it is so right-wing, conservative, pseudo-Christian, and it makes me laugh with how silly it can get. I always respect my friend Matt Iserman, who is rather conservative, actually quite so, but I like talking to him because he has a thoughtful opinion and facts and ideas to back up his positions. Most of the world I find to be far too propagandistic. Myself too, maybe? Back to the music, though... I will always respect Dolly, and Emmylou, and others who are really really really good. The first time I ever heard Dolly's version of "Stairway to Heaven," I was driving in my car and had to pull over to the side of the road because I was having a moment of enlightement. I felt like I was at a spiritual revival, and although I am USUALLY not interested when people cover standards and therefore might never be able to really satisfy me- this one is as good as the original, but in a different way.)
After the jugglers, I opened with "Pays Sauvage," a song with lyrics in French by my friend Chris Shillock (www.chrisshillock.com) and music by moi. I felt pleased with the band's interpretation. Thanks to Benjamin Crunk who came up with a really cool drum part which Michael played- the song opens with drummer-boy/ revolutionary military drumming on the snare. Erik played a lot of really cool atmospheric sounds on his guitar. One thing I really love about Erik's playing is how tasty he is. He is NEVER over the top or over-playing to make up for anything, like a lot of people might do. He is more likely to underplay a bit, if he is improvising and hasn't yet worked out exactly what parts he is going to play, which has this effect of making people want more. Very tasty, something I want to incorporate more into my own music. Always leave people craving more, right!?
I love Pays Sauvage. As a finished product, it's nowhere near what I want it to be, but I am in love with the lyrics:
Pays sauvage
Ors tu viens dans mon pays,
petit poète, aux yeux étranges
ors tu viens, ors tu poursuis
ta blonde si belle comme un ange.
Ors tu viens à l’air vainqueur,
a pas léger, gagner mon coeur.
Mais si tu viens me faire la cour
Mets toi en garde! avec l‘amour.
L’amour c’est un marais, une piège.
et n’ pouvons pas nous échapper.
L’amour c’est la bataille, la siège.
et je prends pas de prisonniers.
Pour moi l’amour est sans limites.
Pour moi, l’amour c’est a me nuire
mais si jamais tu te hésites
des autres-y-a qui me désirent,
des autres-y-a pour me détruire,
plein des homes trés volontiers.
Et volontiers te ferrais trahir,
te abaisser devant mes pieds.
L’amour c’est un marais, une piège.
et ne pouvons pas nous échapper.
L’amour c’est la bataille, la siège.
et je prends pas de prisonniers.
Arraches mes robes - tout d’un coup.
Déchires toutes mes fines dentelles.
Mords ma chair à dents de loup.
Soie brut, cynique et fort cruel.
Sache comment me faire jouir
à la douceur de la cruauté
Sache comment me faire ravir:
écrase toute ma volonté.
L’amour c’est un marais, une piege.
et ne pouvons pas nous echapper.
L’amour c’est la bataille, la siege.
et je ne prends pas de prisonniers.
L’amour c’est un marais, une piège.
Nous n’ pouvons pas nous échapper.
L’amour c’est la bataille, la siège.
et je n’ prends pas de prisonniers.
-Christopher Shillock
Chris has really done me a huge favor, writing these lyrics. They're wonderful and the tune I worked out became very gypsy, very passionate, very moody, and it goes to dynamic and emotional extremes. I love that I get to combine coyness with passion, rage with wooing, pleading with snobbery.
It feels very me, for better or worse.Finally, I began singing in English. My penultimate song was always "Black Butterfly."
You can hear the demo at:
http://www.everysecretthing.com/muir.htm
It's a rough demo, but it will give you an idea of where I am going with it.
My last song was "K-15." This one is the most rock and roll of the set, another song full of sex and rage. Most of my songs lately have a lot of sex and a lot of rage. That's why I call myself ennui-pop, or female-angst-pop. To qualify it as female, though, is unfair. We all have a lot of sexual rage, especially in this country, hmmm?
And I do mean sexual rage in any and every instance of interpretation.
That completed my set. Vocally, I felt it was okay. In terms of being in the moment, I felt that BC, PS, and BB were best. Overall, I felt alright about it. Neither great nor disappointed. Well, I am always a little disappointed. I ran upstairs to change into a different outfit while Michael and Greg readjusted for Michael's set, which I will relate in my next edition of the Tour Diaries....
My tour diaries are likely colored with my anger and sadness, or at least my anger. I apologize. I am trying to be joyful, but, you know... don't you?
Although I did have a lot of fun yesterday in certain ways. Michael and I watched the second half of "A Christmas Story" together... that's one of my all-time favorite movies, and I've seen it a million times and yet still love it. That voiceover work by Jean Sheperd, the man who wrote the book and who I think is "Ralphie," is priceless. And Peter Billingsly is priceless. And so is Darren McGavin, the father. Seriously? They're all really good.
But now.... on to the Tour Diaries, Part 4.
WHITE EAGLE SALOON
Guests in attendance: Mary Anne Plumb, wonderful girl, and some of her friends.Jo Haemer and her husband Tim.
some sailors
a bunch of other people I don't know.
Mary Anne and I met when I spent a year in Saint Cloud going through treatment for the first time. I was taking some classes at Saint Cloud State University in the meantime, planning to go back to Saint Olaf, or so I was pretending, anyway. I secretly knew I would never go back to that place. No offense, Olies out there in the world. It just wasn't for me. I should have gone to NYU like I wanted to in the first place, and I was extremely stupid to turn down a full ride to one of the greatest film schools in the world. It postponed my film career by about five or ten years, but I cannot do anything about that now. But I did need help. A lot of it. A LOT. It was really great to have my parents help me, and to go through treatment with Judy, my shrink, because she never believed any of my lies, anyway. I don't know what would have happened if I had gone to New York, but I have two thoughts in mind: either I would have risen to the challenge, or I would have drowned in the masses. How dramatic of me. Maybe it would have been a combination of both, which is the human condition, now, isn't it? Didn't Eleanor Roosevelt say, There are only two options. Success, or giving up.
So there I was, at one of the lowest points in my emotional and esoteric life, taking classes I didn't want to take, pretending everything was okay, starting AFED with a girl named Annie in St. Cloud and a bunch of people in Minneapolis... I was taking a creative writing class from the mentor of the first person I ever fell in love with, which was sort of compounding the problems, because I was still in love with him, but now I was also in hate with him. I was also trying desperately to erase all connection to him, romantically, emotionally, and otherwise. And there was Mary Anne! Interesting, funny, friendly, supportive. We became fast friends and despite not having lived near each other for five years now, the connection is still there. She is the biggest sweetheart I know, along with Erin Cronn, of course.
Jo: I met Jo while she was living briefly in Saint Paul. She helped me write "Rains," as a matter of fact- she came up with that really cool G# to em bridge part, really fleshing out the song, one that was most popular (well, to be fair, along with "Dark Place") until Black Butterfly came along. She has these really wonderful tattoos of dragons that circle around her body, and she is a professional guitar player who also does art cars. A great lady, another sweetheart. She and her husband Tim were really cool.
My act, "International Girl," opened the set. Usually I am not nervous, but I was tonight, because I had no idea how people who had mostly come to see a rockabilly/ roots rock show would feel about a weird girl singing cabaret songs in French and Italian, followed by her own weird pop originals- after the jugglers. Oh, well, nothing to do but walk the plank and plunge in!
The stage was set up unfortunately. I had little room to move, to do obscene things with the microphone, to dance... I spilled my glass of wine all over the floor but not (miraculously) on any cables ir gear. Now, the place is famed to be haunted, so I choose to think it was one of the meddlesome ghosts of the Shang Hai/ Brothel era... not my clumsiness or chaotic energy.... tee hee...
We opened with "La Vie En Rose." It's the slowest and the mellowest, but also one the band knew best and one I sing well. It's low and sexy, and by one of my all time heroines, Edith Piaf. Our band on this tour played it too slow, but I could never convince Michael to speed up the tempo. He likes it slow and sexy. That sounds like I'm giving away too much of our personal life, hee hee. Well, he's been a drummer for sixteen years or whatever, so he thinks he knows everything about rhythm. I don't know, maybe he does. Or maybe nobody does. Overall, the first song was a bit uneventful, but that can be okay, too. And that's just my perspective. I have no idea what the audience thought. I did notice that Keith was not in the audience. although Greg and the jugglers were.
My next tune was "Habanera" from Carmen... also known as "L'amour est un oiseau rebelle." Again, the band played it too slow; it should have been a bit more spirited. I don't sing this song in true operatic style, either.... I prefer to muscle it and rock it out a little more, but I do let myself get almost coloratura anytime I sing above D5. Not necessary, since honestly, the highest Habanera goes is High F#, although a few times I brought it higher just to show off, even though the truth is I can go an octave higher than that high F # and so always feel a bit like I'm just being showy wench. Like right now, for example. I do try to always give the moment what it calls for, though, and since Carmen herself is a showy wench, well... it's at least sensical. ;)
People who don't go to opera and some who do always enjoy that piece quite a lot, I think because they've heard it before, it's sexy, and now it's in a context they're more familiar with and therefore more comfortable with. For a lot of people who aren't opera fans, attending a two and a half hour opera might be too much, but seeing bits and pieces of one can be really refreshing. IMO.
My third song was "Bella Ciao." This one is a great segue into my original music because the way I have arranged it, it gets faster and faster until the end is like a weird operatic/folk/flamenco punk song. It's a protest song and I was really feeling the protest that day... in fact, I read somewhere on the internet that people having been singing that song to protest Bush's heinous war in Iraq. I don't want to get any flame emails telling me how terrible Saddam was. I know and I'm glad he's gone. But I am NOT pleased with all the under-reporting of deaths and woundings, especially of the Iraqi people. I am NOT pleased that I have to resort to reading media from Britain and France as well as from the US and Canada to get a more whole picture of what's going on. I am disgusted that people seem to not care about our fellow HUMAN BEINGS, that they are too selfish and hegemonistic and seem to think that their bourgeousie, pedestrian, middle class, consumerist way of life is what everyone else in the should have as well. (I am guilty too. Let me quote the controversial MJ with "I'm starting with the [wo]man in the mirror. I am starting with volunteering at PPMSD two days a month and going 50 % raw, 25 % vegan, and the other 25 % I am dedicating to my tea and chocolate addictions. I am trying, and I do believe a lot of us humans are as well...) I am frustrated with the increasing acceptance of racism, sexism, and jingoism in this nation. I heard Noam Chomsky (say what you will, conservatives, the man is a brilliant and thoughtful scholar) postulate that the sanctions against Iraq did not hurt Saddam, they hurt the people, who had no power to demand that Saddam amend policy, which was the "point" of the Sanctions, supposedly. He suggested that perhaps had they not been impoverished by the sanctions and under terrible financial, health-related, social, emotional, religious and physical stress, they may have been strong enough to rise against Saddam as a people themselves, as has occurred many times in the history of our world. Interesting.
So I put all of that into my song. That might be one of my favorites.
After my first three songs, the jugglers, www.nonamejugglers.com, came out and did their thing. I am telling you, these guys do amazing things. AJ will jump on top of Dan's shoulders and they will juggle separately and then together- while AJ is still on his shoulders. Amazing!
They did about a fifteen minute performance, and the bartender brought the houselights up, since they performed in front of the stage. Michael, Sean, and Erik improvised to their set. That first night the music was really cool. Michael and Sean did this really funky hip hop beat, and then Erik would play some lapsteel, giving it a very cool but eclectic feel. It was nice to hear some hip-hop and funk grooves after being forced to listen to Brooks and Dunn on the journey. (Seriously. Michael and Erik made us listen to this damned tape Erik bought in a gas station like fifteen times. I put my CD player on and listened to a lot of Dandy Warhols instead, especially in honor of being on our way to Portland, but then my headphones broke. Argh!) (Now, I know they are very popular, but by the end of the trip I was so sick of country and western music that I started DISLIKING it VERY MUCH again. I used to say, "I like all kinds of music.... except country." Then, I, like many other silly urbanites, re-discovered Johnny Cash, Dolly Parton, Emmylou Harris. That led me to experiment with Hank Williams, Waylon Jennings, Willie Nelson, and eventually, I even listened to Marina McBride because my Mom really liked her. But after this trip, I'm temporarily back to my hater mode when it comes to pop-country, you know, the radio country, slicked up pop we all love to complain about, etc. In fact, a lot of it is so right-wing, conservative, pseudo-Christian, and it makes me laugh with how silly it can get. I always respect my friend Matt Iserman, who is rather conservative, actually quite so, but I like talking to him because he has a thoughtful opinion and facts and ideas to back up his positions. Most of the world I find to be far too propagandistic. Myself too, maybe? Back to the music, though... I will always respect Dolly, and Emmylou, and others who are really really really good. The first time I ever heard Dolly's version of "Stairway to Heaven," I was driving in my car and had to pull over to the side of the road because I was having a moment of enlightement. I felt like I was at a spiritual revival, and although I am USUALLY not interested when people cover standards and therefore might never be able to really satisfy me- this one is as good as the original, but in a different way.)
After the jugglers, I opened with "Pays Sauvage," a song with lyrics in French by my friend Chris Shillock (www.chrisshillock.com) and music by moi. I felt pleased with the band's interpretation. Thanks to Benjamin Crunk who came up with a really cool drum part which Michael played- the song opens with drummer-boy/ revolutionary military drumming on the snare. Erik played a lot of really cool atmospheric sounds on his guitar. One thing I really love about Erik's playing is how tasty he is. He is NEVER over the top or over-playing to make up for anything, like a lot of people might do. He is more likely to underplay a bit, if he is improvising and hasn't yet worked out exactly what parts he is going to play, which has this effect of making people want more. Very tasty, something I want to incorporate more into my own music. Always leave people craving more, right!?
I love Pays Sauvage. As a finished product, it's nowhere near what I want it to be, but I am in love with the lyrics:
Pays sauvage
Ors tu viens dans mon pays,
petit poète, aux yeux étranges
ors tu viens, ors tu poursuis
ta blonde si belle comme un ange.
Ors tu viens à l’air vainqueur,
a pas léger, gagner mon coeur.
Mais si tu viens me faire la cour
Mets toi en garde! avec l‘amour.
L’amour c’est un marais, une piège.
et n’ pouvons pas nous échapper.
L’amour c’est la bataille, la siège.
et je prends pas de prisonniers.
Pour moi l’amour est sans limites.
Pour moi, l’amour c’est a me nuire
mais si jamais tu te hésites
des autres-y-a qui me désirent,
des autres-y-a pour me détruire,
plein des homes trés volontiers.
Et volontiers te ferrais trahir,
te abaisser devant mes pieds.
L’amour c’est un marais, une piège.
et ne pouvons pas nous échapper.
L’amour c’est la bataille, la siège.
et je prends pas de prisonniers.
Arraches mes robes - tout d’un coup.
Déchires toutes mes fines dentelles.
Mords ma chair à dents de loup.
Soie brut, cynique et fort cruel.
Sache comment me faire jouir
à la douceur de la cruauté
Sache comment me faire ravir:
écrase toute ma volonté.
L’amour c’est un marais, une piege.
et ne pouvons pas nous echapper.
L’amour c’est la bataille, la siege.
et je ne prends pas de prisonniers.
L’amour c’est un marais, une piège.
Nous n’ pouvons pas nous échapper.
L’amour c’est la bataille, la siège.
et je n’ prends pas de prisonniers.
-Christopher Shillock
Chris has really done me a huge favor, writing these lyrics. They're wonderful and the tune I worked out became very gypsy, very passionate, very moody, and it goes to dynamic and emotional extremes. I love that I get to combine coyness with passion, rage with wooing, pleading with snobbery.
It feels very me, for better or worse.Finally, I began singing in English. My penultimate song was always "Black Butterfly."
You can hear the demo at:
http://www.everysecretthing.com/muir.htm
It's a rough demo, but it will give you an idea of where I am going with it.
My last song was "K-15." This one is the most rock and roll of the set, another song full of sex and rage. Most of my songs lately have a lot of sex and a lot of rage. That's why I call myself ennui-pop, or female-angst-pop. To qualify it as female, though, is unfair. We all have a lot of sexual rage, especially in this country, hmmm?
And I do mean sexual rage in any and every instance of interpretation.
That completed my set. Vocally, I felt it was okay. In terms of being in the moment, I felt that BC, PS, and BB were best. Overall, I felt alright about it. Neither great nor disappointed. Well, I am always a little disappointed. I ran upstairs to change into a different outfit while Michael and Greg readjusted for Michael's set, which I will relate in my next edition of the Tour Diaries....
posted by Michael Quinn # 10:30 AM 
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