A Slender Thread
A Slender Thread
A gripping novel of two sisters who must reimagine the future-before they’re ready to let go of the past. As a girl, Margot Winkler knew her big sister Lacey would keep her safe. Decades later, Lacey’s home is often Margot’s refuge. Lacey’s life has seemed close to perfect-a loving husband, twin daughters on the brink of womanhood, and a home filled with her beautiful hand-woven textiles. But everything changes when Lacey reveals some devastating news. A rare disease is slowly stealing her ability to use language. Now Margot must imagine the future and find the courage to help her sister discover a new voice, keenly aware of the slender threads that bind them to this life, and to each other.
Price: $ 0.01
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Woven Hand Dirty Blue
A music video for Woven Hand’s song “Dirty Blue”. The video clip is from an animated short film entitled “The Hangman” from 1964, which was based on a poem by Maurice Ogden. You can watch the original (which I highly reccomend) here: www.archive.org . For some reason it made me think of this song. So, I tried to put the two together. Lyrics: This fear is only the beginning All for the loving hand Yes I smile and I agree It is a good night to shiver A good tounge might make it right All Ive said above a whisper There is a sorrow to be desired To be sorrows desire What they say is true It is a dirty blue This color around you Your curled up warm In your own little corner of Sodom Did you agree to believe This fall has no bottom There is a sorrow to be desired To be sorrows desire All we move by the book of numbers Im held together by string Ii hear not the voices of others The bells of Leuven ring Fear not the faces of brothers Ive come apart it seems I see not the faces are covered Im in your amber ring Your amber ring If you like this song, check out Woven Hand at www.wovenhand.com and buy some albums.
Video Rating: 4 / 5
KEXP 90.3 FM Seattle presents Wovenhand performing “As I Went Out One Morning” live in studio. www.kexp.org
Video Rating: 4 / 5
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Question by Rosie: How do I stop a hand woven cotton shawl from shedding?
My niece gave me a beautiful cotton hand woven shawl for Christmas. The first time I wore it, my black skirt looked like a blizzard had hit it. I have washed it and dried it twice, its better but I still have tons of lint on my clothes. Any ideas?
Best answer:
Answer by hallow s
you can’t stop it short of spraying varnish or laquer sealing the thing. bad quality linen does that – a lot!
What do you think? Answer below!
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Indigo Girls
Indigo Girls
Event on 2012-06-12 20:00:00
tuesday June 12
7 PM doors / 8 PM showtime
Indigo Girls (Folk/Rock)
with The Shadowboxers
all ages
Indigo Girls Recording Career includes fourteen studio records, three live records and three greatest hits compilations:
- seven gold records
- four reaching platinum
- one reaching double platinum
-cumulative sales in excess of 12 million records
- seven Grammy nominations, one win
Tour History Spanning 25 Years:
- from Little 5 Points Pub to multiple nights at Chastain Park in Atlanta
- Knitting Factory to Central Park to Madison Square Garden in New York City
- Slims to Shoreline Ampitheatre in San Francisco
- Borderline to Royal Albert Hall in London
- Boulder Theatre to Red Rocks in Denver
- Double Door to Ravinia in Chicago
- Austin City Limits, Newport Folk Festival, New Orleans Jazz Fest, Bumbershoot, Glastonbury Festival, Bridge School Benefits with Neil Young
On their fourteenth studio album, Grammy-winning folk-rock duo Indigo Girls deliver a beautifully crafted batch of songs that revel in spirited simplicity. Alternating richly textured storytelling with moody ruminations on modern-world worries, Beauty Queen Sister (due out October 4, 2011 on IG Recordings) reveals a fierce longing for a more idyllic existence while still celebrating the extraordinary in everyday living. Thanks to its graceful mix of openhearted songwriting and lush, intricate arrangements—not to mention powerful performances by the band and their brigade of guest musicians—Beauty Queen Sister ultimately allows the listener to slip into the sort of dreamy serenity that Amy Ray and Emily Saliers sing of striving for throughout the record.
Beauty Queen Sister is the fourth Indigo Girls album released on IG Recordings, the independent label that Ray and Saliers launched after putting out nine albums on Epic Records and one (2006’s widely acclaimed Despite Our Differences) on Hollywood Records. While the loss of major-label spending power might cripple less accomplished artists, both Ray and Saliers find that their tightened budget actually feeds the album-making process. “Nowadays we need to record much more quickly, so there’s not time to belabor every little decision like we did in our earlier years,” says Ray. “We just put our heads down and throw all our emotion into it and it’s magical—the heart rules our performance more than the head.”
That heart-over-head approach is no doubt suited to the material on Beauty Queen Sister, a stunning 13-song selection that touches on topics as disparate as the 2011 Egyptian revolution (in Ray’s plaintive “War Rugs,” featuring guest vocals by singer-songwriter Lucy Wainwright Roche), the ins and outs of the music industry (“Making Promises,” a defiant, guitar-driven banger also authored by Ray), and the recent massive deaths of Arkansas red-winged blackbirds (“Able to Sing,” in which Saliers cleverly swipes a lyric from the English nursery rhyme “Sing a Song of Sixpence” to lend the track a slightly whimsical feel). Tackling such weighty matters as tenderly as each intimate love song, Beauty Queen Sister grips from the get-go and crests at the epic “Yoke.” With its centerpiece of hauntingly urgent strings (supplied by violinist Luke Bulla) and a gorgeously mournful vocal performance by Ray, this spellbinding slow-burner makes for a masterful closing track.
As for the love songs, Beauty Queen Sister never shies away from lavish expressions of sweet infatuation. On “We Get To Feel It All,” for instance, Saliers deftly captures what she calls “our tendency to dramatize the bigness of love.” Featuring honey-tinged backup vocals by the Shadowboxers (an Atlanta-based all-male trio), the breezy midtempo treasure is packed with lovelorn poetry (“You’re open like a book or shut like shell/But if I hold you to my ear I can hear the whole world”). Another Saliers homage to the sublimity of love, “Birthday Song” begins with soulfully hummed harmonies and expands into a humble meditation elegantly accented by Carol Issacs’s delicate piano. And on the album’s opener, Ray offers an “aching, lonely, dark-gravel-road kind of song.” Subdued yet sultry, “Share The Moon” complements heartsick lyrics like “I’m gonna love you till it works” with gently rumbling drums provided by Brady Blade.
Woven throughout Beauty Queen Sister is a collection of songs that self-consciously romanticize the simplicity of days gone by. Saliers’s lilting, mandolin-kissed “Feed And Water The Horses” laments the technology-fueled loss of pleasures once taken for granted (“the smell of ink on paper and its morning pull”), while the joyful “John”
pays loving tribute to a neighbor who embodies the pastoral life and “brings the country to me/The girl from the city.” Perhaps the album’s most raucous moment, the title track struts and swaggers as Ray depicts a wilder world inspired in part by the doomed innocence of the central characters in S.E. Hinton’s The Outsiders (“And those street kids and beauty queens—they don’t stand a chance/So hang on tight”).
Rounding out the record are “Gone” (a sweeping, cinematic song that Saliers says was influenced by Elton John’s production), “Mariner Moonlighting” (wistfully inspired by Ray’s visit to a centuries-old seaside music hall in New England), and “Damo” (another Ray contribution, which owes its sprightly Celtic sound to Eamonn de Barra’s whistles and flute and to the full-throated backing vocals of Irish singer-songwriter Damien Dempsey).
The record’s stellar guest musicians are essential to shaping the sound throughout Beauty Queen Sister, according to Ray and Saliers. “Many of our players are top-notch Nashville talent—you just don’t get any better than that,” Saliers says. Noting the dynamic drumming style of Brady Blade and the smooth bass grooves of Frank Swart and Viktor Krauss, Saliers adds that the high-energy ensemble of featured artists played a key role in carrying out the “organic approach we wanted to take on this album.” Equally invaluable was producer Peter Collins, with whom the Indigo Girls worked on 1992’s Rites of Passage and 1994’s Swamp Ophelia. “When we were younger we held so fast to our own ideas, but working with Peter this time around we were much more relaxed about having it be a true collaborative effort,” says Saliers, noting that Collins excels at “hearing where there needs to be space within the song.” For further help in fine-turning Beauty Queen Sister, the Indigo Girls turned to Trina Shoemaker (a mixer and sound engineer who’s previously recorded Queens of the Stone Age, Emmylou Harris, and Sheryl Crow). “Trina’s a little bit of a wizard,” says Ray. “When she mixes songs, she gives them a fullness that makes them epic—even when it’s something very simple.”
Decades into their career, the Indigo Girls still amaze conventional pundits with their ability to grow and thrive no matter what the state of the music industry is at any given point. Saliers and Ray began performing together in high school, transferred their honest, urgent performing style onto the stages of countless small clubs, then saw their public profile take off with the 1989 release of their self-titled breakthrough (an album that included the first hit, “Closer To Fine,” and went on to win Best Contemporary Folk Recording at the 1990 Grammys).
The duo’s constant touring, as well as staunch dedication to a number of social and environmental causes, has earned them a fervidly devoted following over the years. So many artists who launched their careers in the late 1980s have slipped from our collective memory. In contrast, the Indigo Girls stand tall, having earned the lasting respect and devotion of a multi-generational audience which continues to experience their creative evolution in the studio and on stage.
For Ray and Saliers, Beauty Queen Sister—like each new musical endeavor they embark on—offers a fresh opportunity for exploration and discovery. “We really work hard to not lean on any tried-and-true path in making our albums,” says Ray. “So when it comes to writing new songs and working with different musicians, every record feels like a completely different adventure for us.”
For the Indigo Girls, that adventure may take the form of an adrenaline-fueled live CD or a warm, reflective holiday album or a collection of songs that can veer from raucous to intimate in the blink of an eye. No matter where their creative journey takes them, they hold out a hand to their listeners and we get to feel it all.
The Rialto Theatre Presents
general admission advance
general admission day of show
, 38 DOS reserve seated balcony
* prices may be subject to service fees
at Rialto Theatre
318 East Congress Street
Tucson, United States
Indigo Girls with full band- The Shadowboxers
Event on 2012-06-21 20:00:00
Doors: June 21, 2012 7:00 pm
Cost:
Age: 12 & over (under 16 must be w/adult)
Official Website
The Indigo Girls, Beauty Queen Sister
Indigo Girls Recording Career includes fourteen studio records, three live records and three greatest hits compilations:
- seven gold records
- four reaching platinum
- one reaching double platinum
-cumulative sales in excess of 12 million records
- seven Grammy nominations, one win
Tour History Spanning 25 Years:
- from Little 5 Points Pub to multiple nights at Chastain Park in Atlanta
- Knitting Factory to Central Park to Madison Square Garden in New York City
- Slims to Shoreline Ampitheatre in San Francisco
- Borderline to Royal Albert Hall in London
- Boulder Theatre to Red Rocks in Denver
- Double Door to Ravinia in Chicago
- Austin City Limits, Newport Folk Festival, New Orleans Jazz Fest, Bumbershoot, Glastonbury Festival, Bridge School Benefits with Neil Young
On their fourteenth studio album, Grammy-winning folk-rock duo Indigo Girls deliver a beautifully crafted batch of songs that revel in spirited simplicity. Alternating richly textured storytelling with moody ruminations on modern-world worries, Beauty Queen Sister (due out October 4, 2011 on IG Recordings) reveals a fierce longing for a more idyllic existence while still celebrating the extraordinary in everyday living. Thanks to its graceful mix of openhearted songwriting and lush, intricate arrangements—not to mention powerful performances by the band and their brigade of guest musicians—Beauty Queen Sister ultimately allows the listener to slip into the sort of dreamy serenity that Amy Ray and Emily Saliers sing of striving for throughout the record.
Beauty Queen Sister is the fourth Indigo Girls album released on IG Recordings, the independent label that Ray and Saliers launched after putting out nine albums on Epic Records and one (2006’s widely acclaimed Despite Our Differences) on Hollywood Records. While the loss of major-label spending power might cripple less accomplished artists, both Ray and Saliers find that their tightened budget actually feeds the album-making process. “Nowadays we need to record much more quickly, so there’s not time to belabor every little decision like we did in our earlier years,” says Ray. “We just put our heads down and throw all our emotion into it and it’s magical—the heart rules our performance more than the head.”
That heart-over-head approach is no doubt suited to the material on Beauty Queen Sister, a stunning 13-song selection that touches on topics as disparate as the 2011 Egyptian revolution (in Ray’s plaintive “War Rugs,” featuring guest vocals by singer-songwriter Lucy Wainwright Roche), the ins and outs of the music industry (“Making Promises,” a defiant, guitar-driven banger also authored by Ray), and the recent massive deaths of Arkansas red-winged blackbirds (“Able to Sing,” in which Saliers cleverly swipes a lyric from the English nursery rhyme “Sing a Song of Sixpence” to lend the track a slightly whimsical feel). Tackling such weighty matters as tenderly as each intimate love song, Beauty Queen Sister grips from the get-go and crests at the epic “Yoke.” With its centerpiece of hauntingly urgent strings (supplied by violinist Luke Bulla) and a gorgeously mournful vocal performance by Ray, this spellbinding slow-burner makes for a masterful closing track.
As for the love songs, Beauty Queen Sister never shies away from lavish expressions of sweet infatuation. On “We Get To Feel It All,” for instance, Saliers deftly captures what she calls “our tendency to dramatize the bigness of love.” Featuring honey-tinged backup vocals by the Shadowboxers (an Atlanta-based all-male trio), the breezy midtempo treasure is packed with lovelorn poetry (“You’re open like a book or shut like shell/But if I hold you to my ear I can hear the whole world”). Another Saliers homage to the sublimity of love, “Birthday Song” begins with soulfully hummed harmonies and expands into a humble meditation elegantly accented by Carol Issacs’s delicate piano. And on the album’s opener, Ray offers an “aching, lonely, dark-gravel-road kind of song.” Subdued yet sultry, “Share The Moon” complements heartsick lyrics like “I’m gonna love you till it works” with gently rumbling drums provided by Brady Blade.
Woven throughout Beauty Queen Sister is a collection of songs that self-consciously romanticize the simplicity of days gone by. Saliers’s lilting, mandolin-kissed “Feed And Water The Horses” laments the technology-fueled loss of pleasures once taken for granted (“the smell of ink on paper and its morning pull”), while the joyful “John”
pays loving tribute to a neighbor who embodies the pastoral life and “brings the country to me/The girl from the city.” Perhaps the album’s most raucous moment, the title track struts and swaggers as Ray depicts a wilder world inspired in part by the doomed innocence of the central characters in S.E. Hinton’s The Outsiders (“And those street kids and beauty queens—they don’t stand a chance/So hang on tight”).
Rounding out the record are “Gone” (a sweeping, cinematic song that Saliers says was influenced by Elton John’s production), “Mariner Moonlighting” (wistfully inspired by Ray’s visit to a centuries-old seaside music hall in New England), and “Damo” (another Ray contribution, which owes its sprightly Celtic sound to Eamonn de Barra’s whistles and flute and to the full-throated backing vocals of Irish singer-songwriter Damien Dempsey).
The record’s stellar guest musicians are essential to shaping the sound throughout Beauty Queen Sister, according to Ray and Saliers. “Many of our players are top-notch Nashville talent—you just don’t get any better than that,” Saliers says. Noting the dynamic drumming style of Brady Blade and the smooth bass grooves of Frank Swart and Viktor Krauss, Saliers adds that the high-energy ensemble of featured artists played a key role in carrying out the “organic approach we wanted to take on this album.” Equally invaluable was producer Peter Collins, with whom the Indigo Girls worked on 1992’s Rites of Passage and 1994’s Swamp Ophelia. “When we were younger we held so fast to our own ideas, but working with Peter this time around we were much more relaxed about having it be a true collaborative effort,” says Saliers, noting that Collins excels at “hearing where there needs to be space within the song.” For further help in fine-turning Beauty Queen Sister, the Indigo Girls turned to Trina Shoemaker (a mixer and sound engineer who’s previously recorded Queens of the Stone Age, Emmylou Harris, and Sheryl Crow). “Trina’s a little bit of a wizard,” says Ray. “When she mixes songs, she gives them a fullness that makes them epic—even when it’s something very simple.”
Decades into their career, the Indigo Girls still amaze conventional pundits with their ability to grow and thrive no matter what the state of the music industry is at any given point. Saliers and Ray began performing together in high school, transferred their honest, urgent performing style onto the stages of countless small clubs, then saw their public profile take off with the 1989 release of their self-titled breakthrough (an album that included the first hit, “Closer To Fine,” and went on to win Best Contemporary Folk Recording at the 1990 Grammys).
The duo’s constant touring, as well as staunch dedication to a number of social and environmental causes, has earned them a fervidly devoted following over the years. So many artists who launched their careers in the late 1980s have slipped from our collective memory. In contrast, the Indigo Girls stand tall, having earned the lasting respect and devotion of a multi-generational audience which continues to experience their creative evolution in the studio and on stage.
For Ray and Saliers, Beauty Queen Sister—like each new musical endeavor they embark on—offers a fresh opportunity for exploration and discovery. “We really work hard to not lean on any tried-and-true path in making our albums,” says Ray. “So when it comes to writing new songs and working with different musicians, every record feels like a completely different adventure for us.”
For the Indigo Girls, that adventure may take the form of an adrenaline-fueled live CD or a warm, reflective holiday album or a collection of songs that can veer from raucous to intimate in the blink of an eye. No matter where their creative journey takes them, they hold out a hand to their listeners and we get to feel it all.
The Shadowboxers
The Atlanta-based Shadowboxers have a passion for captivating lyrics, tight harmonies, and soulful vocals. Founding members Scott Schwartz, Matt Lipkins, and Adam Hoffman (who met as freshman at their alma mater, Emory University) experienced an almost-instantaneous musical compatibility when they first started jamming. Together with drummer Jaron Pearlman and bassist Ben Williams, they’ve forged a cohesive sound based on a shared reverence for the strong, taut harmonies of Simon & Garfunkel, D’Angelo, and The Beatles.
This young band’s unified sound has an R&B-soaked, smart perspective replete with an abundance of vocal talent and songwriting skill. In the short time the quintet has been playing together, The Shadowboxers have found a collective voice that is intelligent, soulful, and catchy. The band has performed at many school concerts at Emory, sold out Atlanta area clubs and at venues and festivals throughout the southeast, including the 30A Songwriter’s Festival. The band released an eponymous EP in 2011, produced by Shawn Grove (Sevendust, Collective Soul), Dan Hannon (Manchester Orchestra) and the band, which is available now. This spring the band is headlining club dates on their own and on a co-bill with Larkin Poe and are supporting Amy Ray on her solo tour in May. This summer, they will open for the Indigo Girls and be their backing band on a comprehensive tour across the country.
The band travels to Shreveport, LA in March to record their first full-length album at Blade Studios. The album is produced by Brady Blade (drummer extraordinaire who has toured with Emmylou Harris, Dave Matthews and Buddy Miller and produced Annabel Fey, Brigitte DeMeyer, Freddie Stevenson, Solomon Burke) and engineered by Chris Bell (U2, Erykah Badu, Destiny’s Child and Earth, Wind & Fire).
at The Uptown Theatre
1350 Third Street
Napa, United States
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How Do I Stop A
Question by Rosie: How do I stop a hand woven cotton shawl from shedding?
My niece gave me a beautiful cotton hand woven shawl for Christmas. The first time I wore it, my black skirt looked like a blizzard had hit it. I have washed it and dried it twice, its better but I still have tons of lint on my clothes. Any ideas?
Best answer:
Answer by hallow s
you can’t stop it short of spraying varnish or laquer sealing the thing. bad quality linen does that – a lot!
Give your answer to this question below!
Vintage Crochet Pattern Collection!
317 One-of-a-kind Vintage Crochet Patterns That Are Over 100 Years Old!
Vintage Crochet Pattern Collection!
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Indigo Girls
Indigo Girls
Event on 2012-06-12 20:00:00
tuesday June 12
7 PM doors / 8 PM showtime
Indigo Girls (Folk/Rock)
with The Shadowboxers
all ages
Indigo Girls Recording Career includes fourteen studio records, three live records and three greatest hits compilations:
- seven gold records
- four reaching platinum
- one reaching double platinum
-cumulative sales in excess of 12 million records
- seven Grammy nominations, one win
Tour History Spanning 25 Years:
- from Little 5 Points Pub to multiple nights at Chastain Park in Atlanta
- Knitting Factory to Central Park to Madison Square Garden in New York City
- Slims to Shoreline Ampitheatre in San Francisco
- Borderline to Royal Albert Hall in London
- Boulder Theatre to Red Rocks in Denver
- Double Door to Ravinia in Chicago
- Austin City Limits, Newport Folk Festival, New Orleans Jazz Fest, Bumbershoot, Glastonbury Festival, Bridge School Benefits with Neil Young
On their fourteenth studio album, Grammy-winning folk-rock duo Indigo Girls deliver a beautifully crafted batch of songs that revel in spirited simplicity. Alternating richly textured storytelling with moody ruminations on modern-world worries, Beauty Queen Sister (due out October 4, 2011 on IG Recordings) reveals a fierce longing for a more idyllic existence while still celebrating the extraordinary in everyday living. Thanks to its graceful mix of openhearted songwriting and lush, intricate arrangements—not to mention powerful performances by the band and their brigade of guest musicians—Beauty Queen Sister ultimately allows the listener to slip into the sort of dreamy serenity that Amy Ray and Emily Saliers sing of striving for throughout the record.
Beauty Queen Sister is the fourth Indigo Girls album released on IG Recordings, the independent label that Ray and Saliers launched after putting out nine albums on Epic Records and one (2006’s widely acclaimed Despite Our Differences) on Hollywood Records. While the loss of major-label spending power might cripple less accomplished artists, both Ray and Saliers find that their tightened budget actually feeds the album-making process. “Nowadays we need to record much more quickly, so there’s not time to belabor every little decision like we did in our earlier years,” says Ray. “We just put our heads down and throw all our emotion into it and it’s magical—the heart rules our performance more than the head.”
That heart-over-head approach is no doubt suited to the material on Beauty Queen Sister, a stunning 13-song selection that touches on topics as disparate as the 2011 Egyptian revolution (in Ray’s plaintive “War Rugs,” featuring guest vocals by singer-songwriter Lucy Wainwright Roche), the ins and outs of the music industry (“Making Promises,” a defiant, guitar-driven banger also authored by Ray), and the recent massive deaths of Arkansas red-winged blackbirds (“Able to Sing,” in which Saliers cleverly swipes a lyric from the English nursery rhyme “Sing a Song of Sixpence” to lend the track a slightly whimsical feel). Tackling such weighty matters as tenderly as each intimate love song, Beauty Queen Sister grips from the get-go and crests at the epic “Yoke.” With its centerpiece of hauntingly urgent strings (supplied by violinist Luke Bulla) and a gorgeously mournful vocal performance by Ray, this spellbinding slow-burner makes for a masterful closing track.
As for the love songs, Beauty Queen Sister never shies away from lavish expressions of sweet infatuation. On “We Get To Feel It All,” for instance, Saliers deftly captures what she calls “our tendency to dramatize the bigness of love.” Featuring honey-tinged backup vocals by the Shadowboxers (an Atlanta-based all-male trio), the breezy midtempo treasure is packed with lovelorn poetry (“You’re open like a book or shut like shell/But if I hold you to my ear I can hear the whole world”). Another Saliers homage to the sublimity of love, “Birthday Song” begins with soulfully hummed harmonies and expands into a humble meditation elegantly accented by Carol Issacs’s delicate piano. And on the album’s opener, Ray offers an “aching, lonely, dark-gravel-road kind of song.” Subdued yet sultry, “Share The Moon” complements heartsick lyrics like “I’m gonna love you till it works” with gently rumbling drums provided by Brady Blade.
Woven throughout Beauty Queen Sister is a collection of songs that self-consciously romanticize the simplicity of days gone by. Saliers’s lilting, mandolin-kissed “Feed And Water The Horses” laments the technology-fueled loss of pleasures once taken for granted (“the smell of ink on paper and its morning pull”), while the joyful “John”
pays loving tribute to a neighbor who embodies the pastoral life and “brings the country to me/The girl from the city.” Perhaps the album’s most raucous moment, the title track struts and swaggers as Ray depicts a wilder world inspired in part by the doomed innocence of the central characters in S.E. Hinton’s The Outsiders (“And those street kids and beauty queens—they don’t stand a chance/So hang on tight”).
Rounding out the record are “Gone” (a sweeping, cinematic song that Saliers says was influenced by Elton John’s production), “Mariner Moonlighting” (wistfully inspired by Ray’s visit to a centuries-old seaside music hall in New England), and “Damo” (another Ray contribution, which owes its sprightly Celtic sound to Eamonn de Barra’s whistles and flute and to the full-throated backing vocals of Irish singer-songwriter Damien Dempsey).
The record’s stellar guest musicians are essential to shaping the sound throughout Beauty Queen Sister, according to Ray and Saliers. “Many of our players are top-notch Nashville talent—you just don’t get any better than that,” Saliers says. Noting the dynamic drumming style of Brady Blade and the smooth bass grooves of Frank Swart and Viktor Krauss, Saliers adds that the high-energy ensemble of featured artists played a key role in carrying out the “organic approach we wanted to take on this album.” Equally invaluable was producer Peter Collins, with whom the Indigo Girls worked on 1992’s Rites of Passage and 1994’s Swamp Ophelia. “When we were younger we held so fast to our own ideas, but working with Peter this time around we were much more relaxed about having it be a true collaborative effort,” says Saliers, noting that Collins excels at “hearing where there needs to be space within the song.” For further help in fine-turning Beauty Queen Sister, the Indigo Girls turned to Trina Shoemaker (a mixer and sound engineer who’s previously recorded Queens of the Stone Age, Emmylou Harris, and Sheryl Crow). “Trina’s a little bit of a wizard,” says Ray. “When she mixes songs, she gives them a fullness that makes them epic—even when it’s something very simple.”
Decades into their career, the Indigo Girls still amaze conventional pundits with their ability to grow and thrive no matter what the state of the music industry is at any given point. Saliers and Ray began performing together in high school, transferred their honest, urgent performing style onto the stages of countless small clubs, then saw their public profile take off with the 1989 release of their self-titled breakthrough (an album that included the first hit, “Closer To Fine,” and went on to win Best Contemporary Folk Recording at the 1990 Grammys).
The duo’s constant touring, as well as staunch dedication to a number of social and environmental causes, has earned them a fervidly devoted following over the years. So many artists who launched their careers in the late 1980s have slipped from our collective memory. In contrast, the Indigo Girls stand tall, having earned the lasting respect and devotion of a multi-generational audience which continues to experience their creative evolution in the studio and on stage.
For Ray and Saliers, Beauty Queen Sister—like each new musical endeavor they embark on—offers a fresh opportunity for exploration and discovery. “We really work hard to not lean on any tried-and-true path in making our albums,” says Ray. “So when it comes to writing new songs and working with different musicians, every record feels like a completely different adventure for us.”
For the Indigo Girls, that adventure may take the form of an adrenaline-fueled live CD or a warm, reflective holiday album or a collection of songs that can veer from raucous to intimate in the blink of an eye. No matter where their creative journey takes them, they hold out a hand to their listeners and we get to feel it all.
The Rialto Theatre Presents
general admission advance
general admission day of show
, 38 DOS reserve seated balcony
* prices may be subject to service fees
at Rialto Theatre
318 East Congress Street
Tucson, United States
Indigo Girls with full band- The Shadowboxers
Event on 2012-06-21 20:00:00
Doors: June 21, 2012 7:00 pm
Cost:
Age: 12 & over (under 16 must be w/adult)
Official Website
The Indigo Girls, Beauty Queen Sister
Indigo Girls Recording Career includes fourteen studio records, three live records and three greatest hits compilations:
- seven gold records
- four reaching platinum
- one reaching double platinum
-cumulative sales in excess of 12 million records
- seven Grammy nominations, one win
Tour History Spanning 25 Years:
- from Little 5 Points Pub to multiple nights at Chastain Park in Atlanta
- Knitting Factory to Central Park to Madison Square Garden in New York City
- Slims to Shoreline Ampitheatre in San Francisco
- Borderline to Royal Albert Hall in London
- Boulder Theatre to Red Rocks in Denver
- Double Door to Ravinia in Chicago
- Austin City Limits, Newport Folk Festival, New Orleans Jazz Fest, Bumbershoot, Glastonbury Festival, Bridge School Benefits with Neil Young
On their fourteenth studio album, Grammy-winning folk-rock duo Indigo Girls deliver a beautifully crafted batch of songs that revel in spirited simplicity. Alternating richly textured storytelling with moody ruminations on modern-world worries, Beauty Queen Sister (due out October 4, 2011 on IG Recordings) reveals a fierce longing for a more idyllic existence while still celebrating the extraordinary in everyday living. Thanks to its graceful mix of openhearted songwriting and lush, intricate arrangements—not to mention powerful performances by the band and their brigade of guest musicians—Beauty Queen Sister ultimately allows the listener to slip into the sort of dreamy serenity that Amy Ray and Emily Saliers sing of striving for throughout the record.
Beauty Queen Sister is the fourth Indigo Girls album released on IG Recordings, the independent label that Ray and Saliers launched after putting out nine albums on Epic Records and one (2006’s widely acclaimed Despite Our Differences) on Hollywood Records. While the loss of major-label spending power might cripple less accomplished artists, both Ray and Saliers find that their tightened budget actually feeds the album-making process. “Nowadays we need to record much more quickly, so there’s not time to belabor every little decision like we did in our earlier years,” says Ray. “We just put our heads down and throw all our emotion into it and it’s magical—the heart rules our performance more than the head.”
That heart-over-head approach is no doubt suited to the material on Beauty Queen Sister, a stunning 13-song selection that touches on topics as disparate as the 2011 Egyptian revolution (in Ray’s plaintive “War Rugs,” featuring guest vocals by singer-songwriter Lucy Wainwright Roche), the ins and outs of the music industry (“Making Promises,” a defiant, guitar-driven banger also authored by Ray), and the recent massive deaths of Arkansas red-winged blackbirds (“Able to Sing,” in which Saliers cleverly swipes a lyric from the English nursery rhyme “Sing a Song of Sixpence” to lend the track a slightly whimsical feel). Tackling such weighty matters as tenderly as each intimate love song, Beauty Queen Sister grips from the get-go and crests at the epic “Yoke.” With its centerpiece of hauntingly urgent strings (supplied by violinist Luke Bulla) and a gorgeously mournful vocal performance by Ray, this spellbinding slow-burner makes for a masterful closing track.
As for the love songs, Beauty Queen Sister never shies away from lavish expressions of sweet infatuation. On “We Get To Feel It All,” for instance, Saliers deftly captures what she calls “our tendency to dramatize the bigness of love.” Featuring honey-tinged backup vocals by the Shadowboxers (an Atlanta-based all-male trio), the breezy midtempo treasure is packed with lovelorn poetry (“You’re open like a book or shut like shell/But if I hold you to my ear I can hear the whole world”). Another Saliers homage to the sublimity of love, “Birthday Song” begins with soulfully hummed harmonies and expands into a humble meditation elegantly accented by Carol Issacs’s delicate piano. And on the album’s opener, Ray offers an “aching, lonely, dark-gravel-road kind of song.” Subdued yet sultry, “Share The Moon” complements heartsick lyrics like “I’m gonna love you till it works” with gently rumbling drums provided by Brady Blade.
Woven throughout Beauty Queen Sister is a collection of songs that self-consciously romanticize the simplicity of days gone by. Saliers’s lilting, mandolin-kissed “Feed And Water The Horses” laments the technology-fueled loss of pleasures once taken for granted (“the smell of ink on paper and its morning pull”), while the joyful “John”
pays loving tribute to a neighbor who embodies the pastoral life and “brings the country to me/The girl from the city.” Perhaps the album’s most raucous moment, the title track struts and swaggers as Ray depicts a wilder world inspired in part by the doomed innocence of the central characters in S.E. Hinton’s The Outsiders (“And those street kids and beauty queens—they don’t stand a chance/So hang on tight”).
Rounding out the record are “Gone” (a sweeping, cinematic song that Saliers says was influenced by Elton John’s production), “Mariner Moonlighting” (wistfully inspired by Ray’s visit to a centuries-old seaside music hall in New England), and “Damo” (another Ray contribution, which owes its sprightly Celtic sound to Eamonn de Barra’s whistles and flute and to the full-throated backing vocals of Irish singer-songwriter Damien Dempsey).
The record’s stellar guest musicians are essential to shaping the sound throughout Beauty Queen Sister, according to Ray and Saliers. “Many of our players are top-notch Nashville talent—you just don’t get any better than that,” Saliers says. Noting the dynamic drumming style of Brady Blade and the smooth bass grooves of Frank Swart and Viktor Krauss, Saliers adds that the high-energy ensemble of featured artists played a key role in carrying out the “organic approach we wanted to take on this album.” Equally invaluable was producer Peter Collins, with whom the Indigo Girls worked on 1992’s Rites of Passage and 1994’s Swamp Ophelia. “When we were younger we held so fast to our own ideas, but working with Peter this time around we were much more relaxed about having it be a true collaborative effort,” says Saliers, noting that Collins excels at “hearing where there needs to be space within the song.” For further help in fine-turning Beauty Queen Sister, the Indigo Girls turned to Trina Shoemaker (a mixer and sound engineer who’s previously recorded Queens of the Stone Age, Emmylou Harris, and Sheryl Crow). “Trina’s a little bit of a wizard,” says Ray. “When she mixes songs, she gives them a fullness that makes them epic—even when it’s something very simple.”
Decades into their career, the Indigo Girls still amaze conventional pundits with their ability to grow and thrive no matter what the state of the music industry is at any given point. Saliers and Ray began performing together in high school, transferred their honest, urgent performing style onto the stages of countless small clubs, then saw their public profile take off with the 1989 release of their self-titled breakthrough (an album that included the first hit, “Closer To Fine,” and went on to win Best Contemporary Folk Recording at the 1990 Grammys).
The duo’s constant touring, as well as staunch dedication to a number of social and environmental causes, has earned them a fervidly devoted following over the years. So many artists who launched their careers in the late 1980s have slipped from our collective memory. In contrast, the Indigo Girls stand tall, having earned the lasting respect and devotion of a multi-generational audience which continues to experience their creative evolution in the studio and on stage.
For Ray and Saliers, Beauty Queen Sister—like each new musical endeavor they embark on—offers a fresh opportunity for exploration and discovery. “We really work hard to not lean on any tried-and-true path in making our albums,” says Ray. “So when it comes to writing new songs and working with different musicians, every record feels like a completely different adventure for us.”
For the Indigo Girls, that adventure may take the form of an adrenaline-fueled live CD or a warm, reflective holiday album or a collection of songs that can veer from raucous to intimate in the blink of an eye. No matter where their creative journey takes them, they hold out a hand to their listeners and we get to feel it all.
The Shadowboxers
The Atlanta-based Shadowboxers have a passion for captivating lyrics, tight harmonies, and soulful vocals. Founding members Scott Schwartz, Matt Lipkins, and Adam Hoffman (who met as freshman at their alma mater, Emory University) experienced an almost-instantaneous musical compatibility when they first started jamming. Together with drummer Jaron Pearlman and bassist Ben Williams, they’ve forged a cohesive sound based on a shared reverence for the strong, taut harmonies of Simon & Garfunkel, D’Angelo, and The Beatles.
This young band’s unified sound has an R&B-soaked, smart perspective replete with an abundance of vocal talent and songwriting skill. In the short time the quintet has been playing together, The Shadowboxers have found a collective voice that is intelligent, soulful, and catchy. The band has performed at many school concerts at Emory, sold out Atlanta area clubs and at venues and festivals throughout the southeast, including the 30A Songwriter’s Festival. The band released an eponymous EP in 2011, produced by Shawn Grove (Sevendust, Collective Soul), Dan Hannon (Manchester Orchestra) and the band, which is available now. This spring the band is headlining club dates on their own and on a co-bill with Larkin Poe and are supporting Amy Ray on her solo tour in May. This summer, they will open for the Indigo Girls and be their backing band on a comprehensive tour across the country.
The band travels to Shreveport, LA in March to record their first full-length album at Blade Studios. The album is produced by Brady Blade (drummer extraordinaire who has toured with Emmylou Harris, Dave Matthews and Buddy Miller and produced Annabel Fey, Brigitte DeMeyer, Freddie Stevenson, Solomon Burke) and engineered by Chris Bell (U2, Erykah Badu, Destiny’s Child and Earth, Wind & Fire).
at The Uptown Theatre
1350 Third Street
Napa, United States
Vintage Crochet Pattern Collection!
317 One-of-a-kind Vintage Crochet Patterns That Are Over 100 Years Old!
Vintage Crochet Pattern Collection!
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Xxl Hand Woven Mayan Hammock
XXL Hand Woven Mayan Hammock MaterialType-ColorName – Cotton
- Choose from handwoven cotton or nylon
- Authentic, expert workmanship
- Diamond weave for remarkable strength
- Room for 3 or more; 600-lb. weight capacity
- Bed dimensions: 7 ft. 6 in. L x 11 ft. W
Choose from handwoven cotton or nylon . Authentic, expert workmanship. Diamond weave for remarkable strength. Room for 3 or more; 600-lb. weight capacity. Bed dimensions: 7 ft. 6 in. L x 11 ft. W. Overall length: 14 ft. 8 in.. Several color options available. Hanging hardware not included.
List Price: $ 129.99
Price: $ 89.99
“Infinity” Wool Natural Fiber Rug 5′ x 8′ – White Swan/Light Beige, Hand Woven, Cotton Backing, Durable
- Free Shipping for any order of and up; Ships out in 1-3 business days; Rug Pad Recommended (Sold Separately)
- Made of 100% Durable Wool, Cotton Backing; Feels Soft on Bare Feet, Durable, Naturally Resilient, Hypo-Allergenic & Earth Friendly
- Made from Nature’s Finest Materials; Hand Woven of Pure Yarn-Dyed Wool by Artisan Rug Maker, Imported
- Stylish and Contemporary Look, Perfect Addition to Any Decor; Variations are part of the Natural Beauty of Natural Fiber Rugs
- Professional cleaning is recommended; Due to the nature of hand woven rugs, shedding may occur for first use but diminish over time
Made of 100% Durable Wool with Cotton Backing. These high quality hand woven wool rugs add the perfect touch of elegance to any room in your home. Each rug has been hand woven with the finest wool under strict regulations to ensure you get the most exquisite wool rug for your home. Hand woven wool rugs make for a great family tradition. They can be handed down for centuries to come when taken care of properly. Take a moment to look through the variations of these wool rugs. If you’re looking for
List Price: $ 188.00
Price: $ 188.00
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Cool Hand Woven Images
Check out these Hand Woven images:
A CELEBRATION of the FEMININE — hand woven wall basket with MAIDEN HAIR design detail
Image by EraPhernalia Vintage . . . (playin’ hook-y ;o)
In celebration of the feminine, here’s a large wall basket I made several years ago from natural self-gathered materials harvested when I lived on the Florida Suncoast.
The body of the basket is woven primarily from the inflorescence stems of the Queen Palm (cocos plumosa), with accents of natural un-dyed round reed. I allowed the fine, tapered ends of the inflorescence stems to extend upward at the center of the basket and fan out in a "V" shape at the front for a design treatment suggestive of "maiden hair."
The coiled handle is wild grapevine attached at each side with a God’s Eye woven of flat reed dyed a beautiful cocoa brown color.
This basket has never been used. It has only been displayed. (The lighter areas that you’re seeing are a result of the sun shining on the reed and is NOT color loss.) Basket measures 14" wide x 16" high x 6" deep.
(Sold recently on Etsy.)
hand woven baskets
Image by Night Heron
Pentax SP500 Super Takumar 1:2/55
Hand Woven Hat
Image by RobMan170
Woven right on the beach. It will never look this good again.
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