From: owner-precious-things-digest To: precious-things-digest@smoe.org Subject: precious-things-digest V1 #216 Reply-To: precious-things@smoe.org Errors-To: owner-precious-things-digest Precedence: bulk X-To-Unsubscribe: Send mail to "precious-things-digest-request@smoe.org" X-To-Unsubscribe: with "unsubscribe" as the body. precious-things-digest Friday, 1 November 1996 Volume 01 : Number 216 Today's Subjects: ----------------- new bootleg cd! Re: Willy Porter Transcript from interview 10/30 ---------------------------------------------------------------------- From: agentorange2@juno.com (Rusty M Shelby) Date: Thu, 31 Oct 1996 01:48:30 EST Subject: new bootleg cd! hi. i was flipping through the new KTS suppliment in Alternative Press magazine... they have released their 4th tori bootleg... not that am promoting them, but, if you're in the round of looking for a bootleg to buy, i would reccomend KTS... i have several of their cd's and all are excellent! (so, if you MUST buy one, buy from KTS) claims to be a soundboard KTS # 599 "Broken Stone", 1CD taken from: Berlin, Germany 3/25/96 New York 4/9/96 Modern Rock Live 2/4/96 track listing: 1. Beauty Queen 2. Horses 3. Leather 4. American Pie 5. Smells Like Teen Spirit 6. Caught A Lite Sneeze 7. Little Amsterdam 8. Cornflake Girl 9. Bells For Her 10. Precious Things 11. In The Springtime Of His VooDoo 12. Father Lucifer / Tubular Bells / Small Town Boy 13. Thank You 14. Space Dog 15. Sweet (?... what the hell is this?) 16. Putting The Damage On 17. Losing My Religion later, - -rusty - ------------------------------------------------------------------------- POE has a mailing list now! for info: angry-psychos-request@smoe.org JOAN OSBORNE "The Early Recordings" US/UK release date THIS TUESDAY! (11/5) SHERYL CROW Roling Stone cover on stands now!; Leno 12/3; US tour starts 1/96! PATTI ROTHBERG on US tour now! "Between The 1 & the 9" available everywhere! ------------------------------ From: cindye@lincnet.com (Cindy Elder) Date: Thu, 31 Oct 1996 09:39:40 -0600 Subject: Re: Willy Porter Thanks for the info on Willy! I really enjoyed his performance when I saw Tori in Cedar Rapids, and I just bought his first cd a couple weeks ago... Cindy >From: agentorange2@juno.com (Rusty M Shelby) >Date: Wed, 30 Oct 1996 01:14:20 EST >Subject: Willy Porter > >for those of you tori fans that like willy porter, here is some new info! > >Willy Porter >"The Trees Have Soul" > >US release date: November 5, 1996 >on Don't Records > >track list: >1. cool water >2. draw the time >3. zak's tale part i: zak at home >4. moonbeam >5. lines of age >6. fullerton express >7. undertow >8. the trees have soul >9. reach * >10. zak's tale part ii: zak at the bar >11. south wind > >* = previously unreleased > >later, >- -rusty ------------------------------ From: Zoe C Woodworth Date: Thu, 31 Oct 1996 10:36:21 -0500 (EST) Subject: Transcript from interview 10/30 Hey all, A friend of mine works for the Daily Iowan, and yesterday at 3 pm she had a phone interview with the one and only Tori Amos!! She found out she was doing that morning, and was reportedly shitting bricks, but apparently the interview went really well and Tori even said that she liked the questions! So, for all those curious, here's the transcript. Enjoy. Excerpts from mail: 30-Oct-96 The Tori Transcripts by "K. Horowitz"@blue.weeg. > 1) How and when did you begin playing the piano and singing, and how did > you get to be so phenomenal at both? > I was two and a half when I began playing the piano and I don't remember > > a time when I didn't play. I always remember playing, I never remember > not playing. It was inate. > My voice came with age. I was no Shirley Temple. It took years and years > > to develop. Like you know how some little kids have great voices at first > but get worse later? Well I was the opposite. I vocally developed much later. > > 2) I know that your rape inspired much of the Little Earthquakes album. > So what inspires the ideas for your other songs and albums, because many of them > > often seem abstract and open to personal interpretation. > It's whatever I learn about at the time. I'm always looking for > the beast--those things that are hidden. Those parts of yourself that escape > consciousness but are still there. Because we all are fragments of beings. There > > are parts of our souls that we have and all of them are good, but we are > always trying to pull in more fragments of our being. We're never satisfied > with what we are. But there is not one driven thought that makes us believe we > are much less than what we are. > I am very interested in what is strong and what is weak in a > person. Interested in my vision of self--how people see me instead of how I see > > myself. I'll pull out each part of this being that is judged harshly, and some > of these parts are extreme. For instance, "Professional Widow" is an extreme > part. It can get hard because I want to be king. All of us women want to > be king but we have to be queens. You know, it's like Lady Macbeth or something. > > You can't be king until all the rest of the men have been killed off. And it's > hard. > I can sometimes surprise myself on my opinions. We are often > taught what to think, not how to think. And you need to train yourself to > be open to different ways of feeling--how do I form my own opinions? You have > to train yourself how to think. > > 3) Is it ever difficult to crank out these ideas? Either to get > the ideas or to get them put onto paper? > Some of them take some coaxing, yes. A lot of the time, to get an > idea, I have to have an experience, which helps me to understand what I need to > > write. Or I'll get a fragment of an idea, and it'll take a lot of > patience to get it out correctly. Because that's what writing and expressing > yourself is about. If I wrote like I was on deadline for a show or a story-- > just to get it done--that would be the wrong reason to write. If you write just > to finish it, why are you writing? It's pointless. You have to be willing to > let the story or the idea develop over time to make it good. > > 4) You are considred a very strong female artist in the music industry, > and it's apparent that more and more women are getting their voices heard > and messages out in the music business. So what do you feel is the reason for > their success and what problems still lie ahead? > Well, women and music have been around for a couple hundred years now, > but men have mainly dominated it. You'll have a few women popping out in art or > > literature, but being a female musician is tough. > But there's a different consciousness now that's happening. It's that > people want to hear what women have to say. I just hope that they want to > hear the ideas, not the sex. > We need to be open to the artistry not being male dominated or female > dominated but being about what your context is and that you're moving hearts > with it. That's what I find exciting about the business. > The dam has been hard to break but I think we've broken it. > > 5) You seem to draw an eclectic type of crowd made up of young and old, male and > > female, and a lot of these fans have a sort of religious devotion to you. > What do you think of this, and have you deliberately catered to this vast > array of people or does it just happen? > I like music that inspires me. I'm interested in freedom. Just > imagine a world where people become whole. Where human civilizations are > tribal and where there is no sense of hierarchy. Where you have a gift unique > to you, the freedom to be creative and you are busy creating. And there's > no jealousy based on these unique gifts. I have mine and you have yours > and it's all good. > > 6) Is there any particular message you try to or would like to > give to your masses? And at the same time, what message or gift do you give > yourself through your music? > That I'm enough. And that you're enough. That there is nothing > more you need that makes you more than that. > > 7) So what's it like onstage? Is it a different experience for > you every time because it's been different every time I've seen you. Have > you ever messed up? > I mess up every night. There's always something that gets screwed up. > And that's what's hard about the concept of perfection. There are nights when I > > play perfectly but the atmosphere doesn't feel right. There's no magic. And > there are nights when it's full of little errors, but I still feel really good > about what I presented to the audience. > What is perfection? In sports, it's about winning. But when music is > about winning, that's when we're in trouble. You'll have your critics being > subjective and all that, and it's hard. You know? I mean it's like what might > save one person, another's dog takes a crap on. And I watch these gymnasts in > the Olympics getting judged and what I saw was just beautiful. But the next > thing I know they're being given a 5.3 by some Czechoslovakian judge in the > corner. And you're like Whatever. > So it's about what was my intention? Can I release myself and still get > > to people? I have to surrender. And if I made a faux pas on stage, then that's > my freedom because I let go of my perfection. I'm down to earth, and I reached > people. > ------------------------------ End of precious-things-digest V1 #216 *************************************