RDTRN Archive - RDT Right Now #1960

RDT Right Now #1960

From: rdtrn@torithoughts.org
Date: Tue, 6 Sep 2005 10:07:21 -0700
Subject: RDT Right Now #1960
To: rdtrn@torithoughts.org

Do not hit reply to unsubscribe. To unsub, send a message to: <rdtrn-request@torithoughts.org> with "unsubscribe" in the subject and body. o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o Really Deep Thoughts Right Now Volume 05 : Issue #1960 . o - O - O - O - O - O - O - O - o . o o . o o O "Thoughts right now... O o What will become of me, o o Become of her, become of we?" o . o o . O O O - o - o - o - o - o - o - o - O o . o o o Tori Amos, "Thoughts" In this issue: o-o-o-o-o-o-o i don't like mondays (no) [ "John Bragazzi" <utown@worldnet.att ] So I've got an extra ticket to Red R [ Roxanne Rieske <rokzane@comcast.net ] livedaily interview [ wojizzle forizzle <woj@smoe.org> ] toronto sun concert review [ wojizzle forizzle <woj@smoe.org> ] Holy Fuck! I've been upgraded! [ Roxanne Rieske <rokzane@comcast.net ] chicago sun times concert review [ wojizzle forizzle <woj@smoe.org> ] chicago tribune concert review [ wojizzle forizzle <woj@smoe.org> ] Rocky Mountain Bullhorn concert prev [ wojizzle forizzle <woj@smoe.org> ] Missed a digest? Pick up a copy at the RDTRN archives: http://www.torithoughts.org/rdtrn/archives -o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o [top] Date: Wed, 31 Aug 2005 07:39:49 -0400 From: "John Bragazzi" <utown@worldnet.att.net> To: "RDT Right Now" <rdtrn@torithoughts.org> Subject: i don't like mondays (no) Am I the only one who didn't realize the RDT website had a great new look? It was weird to have a digest all to myself. Had I known I had all that space, I would have written more. Then two interesting posts from Bethey in the next one, which I have to respond to when I can (I'm writing this a work, so no access), then another one with mostly spam. So, you never know what's going to be in a digest when you open it up, sort of like a present under the tree. As for me, I never planned to have a blog. I never had any intention of having a blog. I was just testing some blogging software for somebody else (I was just doing it for a friend, really, shut up). So, I downloaded the software (wordpress), started to configure it, and suddenly I had a blog. No wonder everybody has one, it's very easy. So, since I have it, I've decided to use it. I'm going to use it to talk about and promote my writing. Well, I'll probably talk about other things, too. But mostly the writing. One thing I decided to do was post an entry a week about a different character. That might get people interested in reading more. I'll include a little bio (no spoilers, of course), and links to their first appearance(s), and so on. Maybe even deleted scenes, like a DVD. If I do one a week, I'm wondering if there are enough significant characters to last a whole year. Quite possibly. Which is sort of scary, actually. Anyway, the blog is here: http://waldo.u-town.com The first character piece will appear this weekend. Let me know what you think (either here or in a comment or via email). On other topics, I just got the two Tori boots in the mail, and I'm still busy ripping them to my cool little MP3 player, but the songs so far are good. Her intro to "Operator" is priceless. I always forget how funny she can be. I'll write more as I listen more, but I like them so far. My MP3 player seems to prefer the covers to the originals, so I'm not sure what that means. As B/4, John -o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o [top] Date: Wed, 31 Aug 2005 07:59:53 -0600 From: Roxanne Rieske <rokzane@comcast.net> To: rdtrn@torithoughts.org Subject: So I've got an extra ticket to Red Rocks, Sept. 5 If there's anybody out there in the Denver area who doesn't have a ticket and wishes to go. You would have to meet up with me at the venue and suffer through my presence the whole night ;-P. Both tickets are in my name and I have to show my ID with them to get in. I've got decent seats, not the greatest but decent,for the Reserved Section (first half of the venue) for row 24,seats 44 and 45 (and if I get lucky, maybe I'll get an upgrade--but probably not). Contact me ASAP if interested. Roxanne rokzane@comcast.net -o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o [top] Date: Wed, 31 Aug 2005 23:35:10 -0400 From: wojizzle forizzle <woj@smoe.org> To: torinews@smoe.org, fiercest clams <precious-things@smoe.org>, rdtrn@torithoughts.org Subject: livedaily interview http://www.livedaily.com/interviews/liveDaily_Interview_Tori_Amos-8706.html?t=98 liveDaily Interview: Tori Amos August 31, 2005 10:57 AM by <http://www.livedaily.com/mail/staff/18.html>Don Zulaica liveDaily Contributor Tori Amos has a lot on her plate these days. Besides trekking hard on the Summer of Sin Tour to support her eighth studio album, "The Beekeeper," she's also taken a step into the online-distribution arena. On toriamosbootlegs.com, fans can choose from several different soundboard-quality recordings taken from this year's Original Sinsuality Tour. At press time, two shows were available: Auditorium Theater in Chicago (4/15/05), and Royce Hall Auditorium in Los Angeles (4/25/05). Both feature several staple songs and a few covers, including Joni Mitchell's "Circle Game" and Bon Jovi's "Livin' On a Prayer." She also recently penned the memoir "Piece By Piece" with noted New York Times music critic Ann Powers. Amos spoke with liveDaily while preparing for a recent show in Montreal. liveDaily: How has the tour been so far? Tori Amos: Fascinating, in that I'm out here without [drummer] Matt [Chamberlain] and [bassist] Jon [Evans], and when you don't have your rhythm section, it forces you to play your instrument differently. To command a crowd of a few thousand people every night and hold them for two hours as a one-woman show is very ... it's a perspective that you don't know about until you're forced to do it. You think, "Oh yeah, I can sing to people when I'm in the studio," but think about it. That's a few people sitting on a nice leather couch. You're filling a much larger space. Yes. Absolutely. How was the recording experience for "The Beekeeper" different from other albums? I think on "The Beekeeper," that was a moment in time. I'll never forget, it was dusk in Cornwall [England], and we were tracking "Sweet the Sting" with that Afro-Cuban rhythm. [My daughter] Natasha had gone off for a "princess week," so the mommy in me had an opportunity to have a break, and just to be the musician with the guys. When you're with the guys as not just the singer, but the player and composer, something very ... I have to be careful about my words, but you form a marriage with each man. It's not sexual. Therefore, I was able to form a bond with Matt and Jon, a threesome, like ZZ Top without the beards. Although, I was the one that probably had the only real one. [laughs] In all honesty, there is that cheeky side of me that--as a mom, when I'm touring with my child--I cannot bring out until show time. For the tour for "Scarlet's Walk," when I toured with them, I think we formed a language that was captured on "The Beekeeper," because that record is very much about keys and rhythm--the marriage between the bass and drums, and a piano player, in a classic jazz-combo style without the jazz. That's what I wanted. I wanted the joining of the male and the female, and I think--because we played over 150 shows on "Scarlet's Walk" together as a threesome--I was able to go write music around them. I designed these songs for the male as well as the female, not just the girl alone at her piano. Now, the next record will be totally different, and that's why--because of that moment of touring with those guys--I had to compose something of the joining of that relationship. It's funny, because Matt and I are like twins: from the same mother, but from another galaxy. Then Jon and Matt have their relationship, and then Jon and I have our own relationship, because he is so musical. He can tell Matt what I'm doing when I can't. How do you decide what songs to cover live and on record? Of course, some make complete sense piano-wise, like Joe Jackson or Joni Mitchell, and then there's Eminem and Bon Jovi. Is there a moment when you go, "I should get their permission to record ..." You don't have to have permission to do someone else's songs. Anybody can do my songs, unless you're going to change it. That's important for people to know. With [The Beatles'] "Happiness Is a Warm Gun," we had to get permission because I added the Bush father-and-son quote, and Yoko [Ono] gave us permission. It's one of those things, because I didn't change [Eminem's] "Bonnie and Clyde" at all, not one word, I didn't have to get permission. How did you decide to do Bon Jovi's "Livin' On a Prayer?" Amos: When I was in Los Angeles, I had to acknowledge the big-hair days, so Bon Jovi was, of course, a natural choice. I was there in the '80s, so Cyndi Lauper and Bon Jovi, that's just what was happening at the time when I was running around in my tight, fake snakeskin ... ridiculous hip-huggers. [laughs] When I make choices, I open it up. It goes back to playing at the Carlton [hotel in Washington, DC] and the lounges, because that's were I sort of formed myself as a writer, listening to all this music. It's no different than architects looking at all kinds of structures. Just because you might not build those yourself doesn't mean you don't want to walk into them and say, "Ooh." -o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o [top] Date: Thu, 01 Sep 2005 00:23:58 -0400 From: wojizzle forizzle <woj@smoe.org> To: torinews@smoe.org, fiercest clams <precious-things@smoe.org>, rdtrn@torithoughts.org Subject: toronto sun concert review http://jam.canoe.ca/Music/2005/08/28/1192051.html August 29, 2005 Live Review: Tori Amos in Toronto Tori=92s got grit By JANE STEVENSON -- Toronto Sun TORONTO -- Tori Amos has an incredible, otherworldly voice and piano=20 playing skills that are truly astonishing. That said, two hours of her ethereal wailing over songs that sound=20 remarkably similar can test the patience of a casual fan, even if it seemed= =20 about 4,000 Tori-philes couldn=92t get enough of it on Saturday night at the= =20 Molson Amphitheatre. In the past, the singer-pianist has performed both on her own, as she did=20 on Saturday night, or with a small band, and has often broken up her set=20 with lots of animated chatting and funny stories. This time, however, Amos kept the stage banter to a minimum on what was an= =20 awful night of windy, wet and cool weather, and played a rather serious,=20 intense show, despite occasional waves to the audience. Even when some fans shouted =93Happy Birthday Tori!=94 =AD she turned 42 on= Aug.=20 22 =AD she barely smiled. It was also the smallest crowd I=92ve seen yet at the lakeside venue this=20 summer =AD yes, even fewer people than at Clay Aiken=92s show on Thursday= night=20 =AD and perhaps that was disappointment-making. She did laugh when what sounded like a man yelled out his affection. =93I was going to say, fall is coming,=94 Amos said, while regaining her=20 composure. To her credit, Amos did offer up a much-needed detour about mid-way through= =20 the show, when she opened what she called =93Tori=92s Piano Bar: Now Taking= =20 Requests=94 for covers. She certainly seemed to know exactly what she wanted= =20 to play to an audience on this side of the border as she trotted out two=20 Canadian classics: Gordon Lightfoot=92s If You Could Read My Mind and Joni= =20 Mitchell=92s Both Sides Now. =93It=92s so nice to be up there where a lot of us want to relocate,=94 said= Amos=20 with smile and a pause: =93No words necessary.=94 Amos opened the show with Original Sinsuality from her autobiographical=20 album, The Beekeeper, released in February as a companion to the memoir=20 Tori Amos: Piece By Piece. Dressed elegantly in a flowing, pink chiffon dress, complete with high=20 heels and big jewelry, Amos was dwarfed on her large stage by an apple tree= =20 around whose trunk was wrapped a snake, and an octagon-shaped video screen= =20 that projected images ranging from clouds to raging seas. She also made a pit stop to reapply lip gloss and pop a lozenge into her=20 mouth. =93Lubrication girls =AD you need it even up here,=94 she said, playfully. Amos, a very physical and dramatic performer, would often stand with her=20 legs splayed, either to emphasize a vocal or to play both piano and organ=20 at the same time. In total, there were four instruments on stage, a piano,= =20 an electric piano and two organs, and Amos handled all of them masterfully.= =20 The Beekeeper was represented by other new songs Cars And Guitars, General= =20 Joy, Jamaica Inn, as well as the title track. Among material from other=20 collections were Icicle, Blood Roses, Spark and Taxi Ride.=20 -o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o [top] Date: Thu, 01 Sep 2005 22:10:53 -0600 From: Roxanne Rieske <rokzane@comcast.net> To: rdtrn@torithoughts.org Subject: Holy Fuck! I've been upgraded! Unbelievable, My tickets have been upgraded for Red Rocks! Front Row tickets. I've never been so lucky. This is only my 5th Tori Concert in 14 years. Amazing! Now I'm just giddy, Roxanne -o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o [top] Date: Sat, 03 Sep 2005 22:10:46 -0400 From: wojizzle forizzle <woj@smoe.org> To: torinews@smoe.org, fiercest clams <precious-things@smoe.org>, rdtrn@torithoughts.org Subject: chicago sun times concert review http://www.suntimes.com/output/rock/cst-ftr-tori02.html Amos creates musical magic as Pritzker's first rock act September 2, 2005 BY BRIAN ORLOFF Summer in downtown Chicago means listening to the Grant Park Orchestra emanating from Millennium Park's Jay Pritzker Pavilion. On Wednesday night, though, Frank Gehry's steel marvel housed a new sound: piano maven Tori Amos. Amos, the venue's inaugural rock 'n' roll artist, was no less commanding than a full orchestra, even though she accompanied herself only on grand piano and three vintage organs for her captivating 130-minute performance. Trained as a classical pianist from an early age, Amos was an inspired choice for Pritzker's pop debut, easing the venue into the rock 'n' roll world with an attentive, polite crowd and her sophisticated technique. And with its crisp acoustics and awesome city views, promoters can be sure the venue made an auspicious debut. Amos, in superb form -- her piercing soprano has never sounded sharper and her playing never richer, thanks to her onstage marriage of organ and piano -- eschewed chitchat to perform a brooding set drawing on stormy songs invoking mythology and questioning intersections between religion and sexual politics from her penetrating perspective. She began with "Original Sinsuality," examining Eve's role in the Garden of Eden story, ornamenting it with a rolling introduction. Later she moved to her Fender Rhodes organ for a gauzy take on the subversive "God," which she spiced with lines from "Running Up That Hill" by Kate Bush, undoubtedly Amos' ethereal musical sister. Amos stretched out the melody, allowing the tremulous notes -- the organ's affecting reverb -- to buffer her query. She crooned, "God sometimes you just don't come through/Do you need a woman to look after you?," and her interpolations from Bush's song, also decelerated and chanted with hypnotic fervor, only augmented that power. Amos channeled the biblical theme on a cartoonlike backdrop depicting a coiled snake and the Tree of Knowledge -- which was, frankly, distracting and unnecessary. In her mint green and white, flowing chiffon dress, she resembled an enchanted Edenic figure. Seemingly soft and ultra-feminine, Amos rocked just as hard, and with just as much sexual prowess, as rock idol and inspiration Robert Plant. Watch her sidle up to her grand piano, straddling the bench with commanding zeal. On songs like "Sleeps With Butterflies," Amos crouched over the piano, plucking airy, fluttering notes from its high register. Here she was, flirting with and massaging the instrument. But on "Sugar" she pounded the piano, engaging with it and drawing deep, resonant bass notes that felt menacing indeed. It was an intoxicating, complicated relationship in which each song's mood was mirrored by Amos' fine playing. If things felt a bit too morose, a segment called Tori's Piano Bar offered a bit of levity as Amos performed fan-requested covers. Before "The Blower's Daughter," by Damien Rice, she joked, "I've never done this before, so if it's terrible, well, you'll still like me," and then delivered a simmering rendition. Her next choice, unfortunately, was Bette Midler's "The Rose," which, no matter how pitch-perfect, felt as sappy as the original. Amos easily redeemed herself with her own material and, later in the set, she converted "Carbon" into an illicit, cautionary tale, designing a riveting tension between glittering high notes and the anchoring bass line. And "The Beekeeper," the title track from her latest album, bellowed its funereal hum from deep within the organ Amos played. Immediately following the song, dozens of fans rushed the stage, gathering at Amos' feet. It's probably not something the Pritzker has experienced before, but given Wednesday's success, venue officials should brace themselves for such rock 'n' roll theatrics in the future. Brian Orloff is a Chicago free-lance writer. -o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o [top] Date: Sat, 03 Sep 2005 22:20:58 -0400 From: wojizzle forizzle <woj@smoe.org> To: torinews@smoe.org, fiercest clams <precious-things@smoe.org>, rdtrn@torithoughts.org Subject: chicago tribune concert review http://www.chicagotribune.com/features/chi-0509010296sep02,1,1715121.story Church of Tori holds a revival in heart of city By Robert K. Elder Tribune staff reporter Published September 2, 2005 In "Crucify," one of the opening songs of Tori Amos' set in Millennium Park on Wednesday night, she proclaimed, "I've got enough guilt to start my own religion." By the time she hit the stage at 8:30, she had enough fans--near capacity with 10,000--to turn the Jay Pritzker Pavilion into own her personal cathedral. The lights of surrounding office buildings stood in for candles on a clear, calm night. Amos, playing solo, imbued the evening with a sense of intimacy--no easy feat in an outdoor venue--with songs such as "Black Dove (January)" and a stripped-down version of 1994's "God." Wednesday's concert was an experiment for the city, the first ticketed rock event for the Pritzker stage. While WBEZ's quiz show "Wait, Wait Don't Tell Me," the Chicago Symphony Orchestra and others have held free shows in the space, Amos is the first pop star to inaugurate the band shell. Amos recounted playing one of her first solo gigs at Schuba's and added, "It's very special that they asked me to be the first pop performance here [in the pavilion]." With only a few minor bumps, it proved an ideal place to hear music and bid farewell to summer. Under architect Frank Gehry's web-work of overhead speakers, there wasn't a bad seat in the house. Lawn tickets went for $10, while seats near the stage were priced at $50. Food was allowed, but drinks--including water bottles--were not. News of that policy didn't reach everyone and 300-some fans chose to stay outside and drink wine they brought. "We tried to call [to find out details]," said Lisa Ellermann, 28, of Wicker Park. "There was an information line with no information on it. We thought it'd be just like Wednesday nights listening to the symphony." Inside the venue, water and soda were priced at $4. Wine was $8; beer was $6-7 per glass. Others who sat outside, like Susan Winterson, 27, of Edgewater, simply chose to find a spot on the wet lawn and listen with her boyfriend from the fringe. "A wet bum is worth a free seat," she said. Amos opened with "Original Sensuality" from her new album "The Beekeeper." The fiery-haired songstress brought out B-side favorite "Sugar" and turned "Silent All These Years" into a choral-like dirge that bled into "Crucify." A dynamic, powerful singer, Amos can be a captivating performer, especially with a full band. Solo, however, the emotive singer/songwriter tends to slow down each song, stripping away the tempo and unique inflections that define individual tracks. Little distinguished the elastic verses of "Carbon" from a rendition of "Putting the Damage On," save their lyrics. But Amos concerts are designed for the hardcore fans who know every word to every song, regardless of presentation. Like Bob Dylan touring in his sunset years, Amos has become a specialist, a self-indulgent one, making her audience strain to identify re-calibrated songs. The only spots where people didn't sing along were covers, including a version of Damien Rice's "The Blower's Daughter" and Bette Midler's "The Rose." Several hundred fans rushed past security guards to the front of the stage for a four-song encore that included "Tear in Your Hand" and "Amber Waves." "We're impressed; we loved it," said Carly Johnson, 28, who sat outside to finish wine with her boyfriend before finding their spots inside. "The sound is so good. It's like being in the heart of the city." -o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o-o [top] Date: Sat, 03 Sep 2005 22:32:21 -0400 From: wojizzle forizzle <woj@smoe.org> To: torinews@smoe.org, fiercest clams <precious-things@smoe.org>, rdtrn@torithoughts.org Subject: Rocky Mountain Bullhorn concert preview http://www.rockymountainbullhorn.com/main.php?module=3Darticle-detail&articl= eId=3D97 Marying the Marys On ner new album, Tori Amos examines the right-wing=92s harnessing of Jesus. September 01, 2005 Tori Amos is mad about Jesus. The politics of religion have always played a large role in the songwriting= =20 of Tori Amos. Now, it=92s the religion of politics that has sparked the=20 interest of this alt singer/songwriter, who released her ninth album, The=20 Beekeeper, this past winter. As the daughter of a Methodist minister,=20 raised in the Bible Belt of North Carolina, the pianist is well versed in=20 Christianity. And it was only when she looked around at the 21st century=20 that she realized she didn=92t like what she saw. The result was The Beekeeper, a convoluted allegory that details Amos=92=20 discovery of tangled lies, mythology and political manipulation of=20 Christianity. This leads to the beekeeper character=92s creation of six=20 gardens of experience, six being the magic number linking both the shape of= =20 a beehive=92s cells and the half-dozen days it took God to create the world= =20 in Genesis. =93The Beekeeper was responding to not the covert right-wing Christianity=20 that we=92ve known, but the overt right-wing Christianity that some of our= =20 leaders have been harnessing Jesus=92 teachings to support their agendas,=94= =20 says Amos, calling from Florida. =93Therefore, as a minister=92s daughter, I= =20 decided to go back to the source.=94 For Amos, that source for discovery led her to studying =93The Gnostic=20 Gospels,=94 additional teachings of Jesus discovered in Egypt 60 years ago,= =20 in relation to the New Testament. She said this was a =93jumping-off point= =94=20 for the direction of her new album. Already considered a cerebral singer=20 and keen purveyor of melody and song, Amos says once she found her=20 inspiration, the songs began to reveal themselves within a loose narrative. =93The Beekeeper, at its core, is marrying the Marys,=94 Amos says. =93The= mother=20 Mary, who was circumcised of her sexuality, and the Magdalene, who was=20 stripped of her spirituality by the early fathers of the church. Not by=20 Jesus, but by those who claimed his work and re-formed it to support their= =20 ideology.=94 Through this discovery, she felt a parallel between the misguided=20 manipulation of power in the teaching of Christianity and the current=20 political climate, whether it be related to a war or the role of women in=20 society. =93An album is something that needs to be cohesive, even in an abstract=20 strange manner,=94 Amos says. =93It needs to work together, and this was=20 working because, at this time, sacred sexuality is not something that many= =20 women feel that they carry. I=92ve gotten more letters from women over the= =20 past four years about this division within themselves. A lot of them have=20 jobs and are going to college and have careers lined up but they feel that= =20 they either need to choose the sexual self or the spiritual self, and they= =20 don=92t know how to join the two.=94 Whereas Amos=92 2002 album Scarlet=92s Walk was viewed as a return to a more= =20 accessible Amos, which included radio airplay, The Beekeeper has largely=20 remained under the mainstream radar. While Amos says she doesn=92t bother=20 herself with whether radio stations play her songs or not, she does believe= =20 her tackling of the political and religious aspects has resulted in a=20 backlash from media corporations that are interconnected with the powers=20 that be. =93This is not a time of equality but a time where the patriarchy is not=20 truly holding up Jesus=92 teachings,=94 Amos says. =93So if you ask me, did= I=20 realize what I was getting myself into? Not as much as maybe I should have.= =20 I knew that I was playing with the honeybees, and I thought they would=20 bring honey, but also the great thing about having the honeybees on your=20 side is that they will sting those that try and control them.=94 Amos=92 hope is her upcoming September 5 show at Red Rocks Amphitheatre will= =20 open the eyes of her zealous fan base, of which she has been queen bee for= =20 nearly fifteen years. =93You know what, at a certain point, I=92m a mom.=94 Amos says. =93I have a= little=20 girl and she=92s going to look at me in twenty years and say, =91What did= you=20 do? You call yourself a warrior and a fighter for rights and equality for=20 men and women and children. So, where the fuck were you, Mom?=92 So, here I= am.=94 Still a fighter, Amos has changed her songwriting in subtle but equally=20 effective ways throughout her nine albums. Initially exorcising her own=20 personal demons of dysfunction and experience, the red-haired chanteuse=20 appears now to be more focused on the world around her. This brings up the unique subject that all musicians must deal with at some= =20 point in their career=ADhow to relate to material dating from their angry=20 youth when middle-age and perhaps domesticity has set in. For example, does= =20 the fire still burn for Amos when she sings the line =93I=92ve got the=20 antichrist in the kitchen yelling at me again=94 from her classic =93Silent= All=20 These Years.=94 The track appears on her 1992 debut Little Earthquakes. =93Sure, all of the songs [from my past] are alive,=94 Amos says. =93The= songs=20 are timeless. It=92s we who come and visit them that might see different=20 faces when we hear the songs. I do, anyways. Sometimes I see a different=20 person than who I originally saw when I was originally singing it.=94 The =93antichrist=94 reference gets to her, and Amos laughs briefly before= =20 continuing, =93And in some cases, I still see the same faces. So to me, the= =20 songs are timeless. It=92s us that change.=94 As for her future endeavors, Amos writes continuously, beginning with=20 anytime she=92s in the shower. With so much human injustice in the world,=20 Amos believes she has a responsibility to push any boundaries she comes=20 across. =93Of course, because I realize I change shapes with each album and I offer= a=20 different menu each time that the songs come to visit,=94 Amos says. =93The= =20 songs really aren=92t that bothered how people view them, because they know= =20 who they are, and I think that sometimes certain albums aren=92t as= offensive=20 to the masses as others, because of the ideologies. But you can=92t [think= =20 about that]. If you want to be a composer that chronicles time, you have to= =20 be brave.=94 =95 =95 =95 =95 =95 Tori Amos will perform at Red Rocks in Morrison on Monday, September 5, at= =20 7 p.m., with The Ditty Bops and The Like. Tickets range from $39.50 to=20 $48.50 and are available at ticketmaster.com.=20 o-o-o o-o-o o-o-o o-o-o o-o-o o-o-o o-o-o o-o-o o-o-o o-o-o *** Subliminal Day Off digest *** To POST messages to this list: <rdtrn@torithoughts.org> Can't figure out how to SUB, UNSUB, or CHANGE ADDRESSES? Send a message to <rdtrn-request@torithoughts.org> with "help" as the subject. Digest PROBLEMS or QUESTIONS? Contact: <admin@torithoughts.org> Want your BIRTHDAY announced on RDTRN in 2005? Visit the registration form located at http://www.torithoughts.org/RDTRN/birthday.html RDTRN SITE AND ARCHIVES: http://www.torithoughts.org/rdtrn RDTRN'S SUBLIMINAL THOUGHTS (you can't see this): http://www.torithoughts.org/rdtrn/subliminal/ For information on joining the TORITOUR list: Send a blank message to <tour@torithoughts.org> and you'll receive an instruction file. Any self-respecting Toriphile is on The Registry. (That means you!) http://thedent.developium.com/ _ . /\ , _ _ ( _ )_ {Oo\{o\ .=. 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ToriThoughts.Org > RDTRN > Archives > September 2005