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This is a book on Tori Amos's 1996 album Boys for Pele. Her third solo album, the one where she's suckling a pig and holding a shotgun on the cover. The one that enticed her to go off to the Amazon rainforest, take the hallucinogen ayahuasca with some shamans, and come back to us with the crucial information that the devil is really a woman in a white Chanel suit driving an ice cream truck: a bit of insight which ultimately gave root to the song "Father Lucifer." Boys for Pele is rich in mythology and texture. It is also her fans' favorite. (The fans have scientifically proven this on the internet. They love the polls.) On Boys for Pele, Amos bangs the hell out of a harpsichord and paints a sonic landscape that every woman knows but had honestly (I know this sounds weird now, but it was true then) barely heard spoken before. Is she really saying that? She gets the texture down of your most self-hating one-night-stands and obsessions-without being obvious, and by tying it in to much bigger-mythological-stories. These stories, these nooks and crannies of women's hearts, find a shape that makes them matter, makes them mythological, sexual (not just sexy), smart, angry, broken, vulnerable, complex, powerful in a way that is not some kind of cheesy go-girl catchphrase or shoulder-pad business suit. Before Boys for Pele, in the culture at large, going near any of this stuff as content seemed more like a trite Cosmo article on the dangers of cutting or of anorexia, a cheap warning against being too Sylvia Plath. (The album's biggest predecessor, somehow, is Joni Mitchell's Blue.) This is the landscape that Alanis and Fiona Apple try to get to, but Boys for Pele does it with adequate depth and drawing on such rich mythology that the album becomes a transformative work, a key to its listeners' inner worlds, in many cases. Amos has often mentioned Persephone's journey to the underworld in context of this album, and it does in fact take you down through the unconscious realms-and back up again-that are hard to get to otherwise.
It's hard to think of a solo female recording artist who has been as revered or as reviled over the course of her career as Tori Amos. Amy Gentry argues that these violent aesthetic responses to Amos's performance, both positive and negative, are organized around disgust-the disgust that women are taught to feel, not only for their own bodies, but for their taste in music. Released in 1996, Amos's third album, Boys for Pele, represents the height of Amos's willingness to explore the ugly qualities that make all of her music, even her more conventionally beautiful albums, so uncomfortably, and so wonderfully, strange. Using a blend of memoir, criticism, and aesthetic theory, Gentry argues that the aesthetics of disgust are useful for thinking in a broader way about women's experience of all art forms.
A book of lyrics and music by Tori Amos.
A portrait of the talented singer/songwriter traces the evolution of a musical prodigy, from her early years to become one of the most important female musical voices of contemporary music, revealing how she has combined her talent on the piano with inspiration from some of the most tragic incidents of her life to create musical art. Original.
From the concert stage to the dressing room, from the recording studio to the digital realm, SPIN surveys the modern musical landscape and the culture around it with authoritative reporting, provocative interviews, and a discerning critical ear. With dynamic photography, bold graphic design, and informed irreverence, the pages of SPIN pulsate with the energy of today's most innovative sounds. Whether covering what's new or what's next, SPIN is your monthly VIP pass to all that rocks.
Part intimate profile, part detailed discography, this music compilation explores the life and work of Tori Amos, one of the most prolific alternative rock artists of the past few decades. Known for her piano-driven music and emotional, intense lyrics that delve into such topics as sexuality, religion, and personal tragedy, Amos has sold more than 12 million albums worldwide. The artistic process behind the creation of these albums is revealed through exclusive interviews with people who worked alongside her in the studioone of her producers, sound engineers, and backing band membersand included is an analysis of her choice to break away from the traditional rules of the recording industry and forge her own path and musical identity. From her days as a young piano prodigy and her first band to her many years as a solo artist and her extensive touring and recording, the in-depth research into the personal influence behind Amoss music complements the chronicle of her professional career.

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