Jump to navigation
2019 Indigo Girls
001-2019-017
40:27 Master Camera files on Hard Drive, Mp4
Sun Apr 28 2019
Interviewer - Alison Fensterstock
01:24 Emily Saliers explains how she and Amy Ray got together, beginning to bond over and play music together in high school; Ray describes how excited she was by realizing Saliers excelled at harmony when they first got together, and reflects on the importance of having something that feels special and allows for self-expression in high school 03:26 Saliers reflects on the scene in Georgia in the ’80’s, a fertile, vibrant and supportive period, including at the bar where they came up; Ray explains how the radio landscape has changed, and the difficulties of genre and pigeonholing 08:06 Saliers praises the merits of great college radio stations, like WTUL, and laments the decline of regional radio 10:35 Saliers introduces her song “Elizabeth”; Demonstration, “Elizabeth” 17:24 Saliers describes the surreal experience of getting signed by a major label and having a tremendously successful debut, revealing that touring strained her and Ray’s relationship, leading them to cut back. Ray reflects on her ability to forget even major moments, such as playing Madison Square Garden and singing with Emmylou Harris. After mutually reassuring each other they have not yet played with Joni Mitchell, Ray tells her story of meeting her. 22:57 Ray explains how she conscious she was of the state of female musicians and feminism during the moment when the Indigo Girls got signed 24:19 Saliers ruminates on the limits of genre and type, and emphasizes Ray’s reflections on the backlash common against women gaining power, using Lilith Fair as an example. Ray explains the differences between highlighting female lead singers versus trying to gain parity across the board, using Michigan Womyn’s Fest as an example 26:42 Ray describes some of the backlash against Lilith Fair, citing how radio stations would refuse to play Lilith Fair bands; Saliers follows up with the example of country music stations believing and perpetrating the myth that country fans are not interested in female musicians, with very few famous contemporary exceptions. Ray argues against the popular thinking that it must be one or the other, advocating the notion that there’s room for everyone and everything 28:40 Saliers explains how compatible music is with social activism, and describes benefit concerts as her favorites, explaining the work of El Refugio, subject of an upcoming benefit. She attributes her and Ray’s family values to their interest in activism 31:05 Ray describes getting a letter from Herman Wallace, a victim of solitary confinement, which inspired her to write a song 32:57 Demonstration, “The Rise of the Black Messiah” 38:24 Ray thanks an audience member expressing gratitude, explaining that participating in strangers’ lives is a privilege, and that the band considers their loyal fans a community; Saliers and Ray describe their songwriting processes 40:27 Interview ends
video recording
Public Access is available in the Archive due to copyright restrictions. Copyrights are retained by the participants. The video is available for viewing at the archive.
New Orleans Jazz & Heritage Foundation Archive