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Body in the Lyrics of Tori Amos
California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of aduateGr Studies 3-2014 "Purple People": "Sexed" Linguistics, Pleasure, and the "Feminine" Body in the Lyrics of Tori Amos Megim A. Parks California State University - San Bernardino Follow this and additional works at: https://scholarworks.lib.csusb.edu/etd Part of the Lesbian, Gay, Bisexual, and Transgender Studies Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Women's Studies Commons Recommended Citation Parks, Megim A., ""Purple People": "Sexed" Linguistics, Pleasure, and the "Feminine" Body in the Lyrics of Tori Amos" (2014). Electronic Theses, Projects, and Dissertations. 5. https://scholarworks.lib.csusb.edu/etd/5 This Thesis is brought to you for free and open access by the Office of aduateGr Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. “PURPLE PEOPLE”: “SEXED” LINGUISTICS, PLEASURE, AND THE “FEMININE” BODY IN THE LYRICS OF TORI AMOS ______________________ A Thesis Presented to the Faculty of California State University, San Bernardino ______________________ In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition ______________________ by Megim Alexi Parks March 2014 “PURPLE PEOPLE”: “SEXED” LINGUISTICS, PLEASURE, AND THE “FEMININE” BODY IN THE LYRICS OF TORI AMOS ______________________ A Thesis Presented to the Faculty of California State University, San Bernardino ______________________ by Megim Alexi Parks March 2014 ______________________ Approved by: Dr. Jacqueline Rhodes, Committee Chair, English Dr. Caroline Vickers, Committee Member Dr. Mary Boland, Graduate Coordinator © 2014 Megim Alexi Parks ABSTRACT The notion of a “feminine” style has been staunchly resisted by third-wave feminists who argue that to posit a “feminine” style is essentialist. -
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.Two long-awaitetj albums from Lilith f aves MATTHEW CARDINALE contributing writer The latest from Tori Amos and Paula Cole are journeys: Tori's journey deep- er into planet electronica and Paula's al growth in "Pearl," kindness in affirmation of love and divinity. "Amen" and love in "God is Watch- Together, they're just perfect to take ing Us." us into the new millennium. Paula's music has become fuller, more I'm not sure if To Venus and Back When consistent and more complete. Sure, can You're is the correct title for Tori's new desig a rock she's not doing the verse/ chorus repeat n Your o,,, star like li . P1tli "fl double-disc album, because I don't vvn Ug/ on Arn Oro thing anymore, but who is these days think she's really come back at ry Shirts os, You besides Ricky Martin. "I Wanna be Some- 0 . too. all. Disc one is a forest of brand l'v7. n her third body" features T-Boz from TLC, just new material, while disc two is Sh:rylanc1, p 。 オ セ 。 ケ lost in th Flt gets pretty, one example of Paula's objective to inte- Tori live in concert during her Lilith セ 。 ウ later rea Cofe sto'P e Woods Of liI>lforo the rhymes are work- grate Lilith Fair pop with R&B. She . th air st. I scued b 'Ped t d e hetic a Warts .S: a er. 0 take a ing and it's lovely. The last track, sounds a bit like Mary Blige as she , recent Plugge tour: our own pn- 0 ry J. -
The Formal and Contextual Relation of Typographic and Visual Elements of Pj Harvey Album Covers
THE FORMAL AND CONTEXTUAL RELATION OF TYPOGRAPHIC AND VISUAL ELEMENTS OF PJ HARVEY ALBUM COVERS Cinla Seker The aim of this research is to determine 21st century’s formal and contextual design solutions with the guidance of graphic design principles by analyzing design products. Twenty-nine times nominated and six times winner for the international worldwide music awards Pj Harvey’s eight alternative rock studio album covers have chosen; Dry (1992), Rid of Me (1993), To Bring You My Love (1995), Is this Desire?(1998), Stories from the City, Stories from the Sea (2000), Uh Huh Her (2004), White Chalk (2007), Let England Shake (2011).Graphic design as a design discipline in special means determining the formals of a 2d before production process according to the context. Album covers are one of the many graphic design products of 21st century. With the help of an album cover the artist reflects an audial expression visually. For a successful visualization some graphic design principles should have been considered by the designers. Design principles are the guides of organizing elements like visuals, typography and color. In this research five design principles are looked for; unity/harmony, balance, hierarchy, scale/proportion, dominance/emphasis and, similarity and contrast. On Pj Harvey’s album covers it is determined that every five of these principles were considered by the graphic designer during the design process as outlined. INTRODUCTION ............................................................................................ 750 I. ALBUM COVERS AS A GRAPHIC DESIGN PRODUCT................................... 751 A. Analysis of Pj Harvey Album Covers........................................ 752 CONCLUSION ............................................................................................... 757 INTRODUCTION Formal and functional features determination process called the design. -
Mediated Music Makers. Constructing Author Images in Popular Music
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Helsingin yliopiston digitaalinen arkisto Laura Ahonen Mediated music makers Constructing author images in popular music Academic dissertation to be publicly discussed, by due permission of the Faculty of Arts at the University of Helsinki in auditorium XII, on the 10th of November, 2007 at 10 o’clock. Laura Ahonen Mediated music makers Constructing author images in popular music Finnish Society for Ethnomusicology Publ. 16. © Laura Ahonen Layout: Tiina Kaarela, Federation of Finnish Learned Societies ISBN 978-952-99945-0-2 (paperback) ISBN 978-952-10-4117-4 (PDF) Finnish Society for Ethnomusicology Publ. 16. ISSN 0785-2746. Contents Acknowledgements. 9 INTRODUCTION – UNRAVELLING MUSICAL AUTHORSHIP. 11 Background – On authorship in popular music. 13 Underlying themes and leading ideas – The author and the work. 15 Theoretical framework – Constructing the image. 17 Specifying the image types – Presented, mediated, compiled. 18 Research material – Media texts and online sources . 22 Methodology – Social constructions and discursive readings. 24 Context and focus – Defining the object of study. 26 Research questions, aims and execution – On the work at hand. 28 I STARRING THE AUTHOR – IN THE SPOTLIGHT AND UNDERGROUND . 31 1. The author effect – Tracking down the source. .32 The author as the point of origin. 32 Authoring identities and celebrity signs. 33 Tracing back the Romantic impact . 35 Leading the way – The case of Björk . 37 Media texts and present-day myths. .39 Pieces of stardom. .40 Single authors with distinct features . 42 Between nature and technology . 45 The taskmaster and her crew. -
City, University of London Institutional Repository
City Research Online City, University of London Institutional Repository Citation: Berköz, Levent Donat (2012). A gendered musicological study of the work of four leading female singer-songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos. (Unpublished Doctoral thesis, City University London) This is the unspecified version of the paper. This version of the publication may differ from the final published version. Permanent repository link: https://openaccess.city.ac.uk/id/eprint/1235/ Link to published version: Copyright: City Research Online aims to make research outputs of City, University of London available to a wider audience. Copyright and Moral Rights remain with the author(s) and/or copyright holders. URLs from City Research Online may be freely distributed and linked to. Reuse: Copies of full items can be used for personal research or study, educational, or not-for-profit purposes without prior permission or charge. Provided that the authors, title and full bibliographic details are credited, a hyperlink and/or URL is given for the original metadata page and the content is not changed in any way. City Research Online: http://openaccess.city.ac.uk/ [email protected] A Gendered Musicological Study of the Work of Four Leading Female Singer-Songwriters: Laura Nyro, Joni Mitchell, Kate Bush, and Tori Amos Levent Donat Berköz Thesis Submitted in Fulfilment of the Requirements for the Degree of Doctor of Philosophy City University London Centre for Music Studies June 2012 1 TABLE OF CONTENTS TABLE OF CONTENTS ………………………………………………………… 2 LIST OF FIGURES ……………………………………………………………… 5 ACKNOWLEDGEMENTS ……………………………………………………… 7 DECLARATION ………………………………………………………………… 9 ABSTRACT ……………………………………………………………………… 10 INTRODUCTION ……………………………………………………………….. 11 Aim of the thesis…………………………………………………………………. -
Esben and the Witch Biography
Esben and the Witch Biography Daniel Copeman – guitar, electronics Rachel Davies – vocals, bass Thomas Fisher – guitar, keys Since forming in Brighton in 2008, Esben and the Witch have forged a sound that springs forth from minds soaked in influences far and beyond any standard set of musical touchstones. Nature and literature, art and science, history and the unknown – the trio eschews the everyday for inspiration drawn from sources weird and wonderful, as well as the occasional Scott Walker and PJ Harvey record. Announcing their arrival with the demo-cum-EP, 33, which they sold at gigs and distributed online, led to an avalanche of coverage from British broadsheets to US blogs. They followed this unexpected success with a split release on the Dance to the Radio label, contributing the track ‘Skeleton Swoon’ to a 12” in the autumn of 2009, and their first official single, Lucia, at the Precipice, saw light of day as a 7” through the Too Pure Singles Club in February 2010. Whilst their music was finding its way out there so were they. Sharing stages, both home and abroad, with a wealth of critically acclaimed artists including The xx, Wild Beasts, Efterklang, The Big Pink, Deerhunter and Sian Alice Group helped them find their feet as a live proposition. It was with the release of their debut 7” that they ventured out on their first headline UK tour and in the summer of 2010, they took their ever-evolving live set to numerous European festivals including Latitude, Field Day, Dockville (Hamburg) and London Calling (Amsterdam). The second half of 2010 also saw Esben and the Witch find a permanent home with a worldwide deal with legendary indie, Matador Records, to become the label’s only UK signing and placing them alongside Sonic Youth and Cat Power on their impressive roster. -
Album Top 1000 2021
2021 2020 ARTIEST ALBUM JAAR ? 9 Arc%c Monkeys Whatever People Say I Am, That's What I'm Not 2006 ? 12 Editors An end has a start 2007 ? 5 Metallica Metallica (The Black Album) 1991 ? 4 Muse Origin of Symmetry 2001 ? 2 Nirvana Nevermind 1992 ? 7 Oasis (What's the Story) Morning Glory? 1995 ? 1 Pearl Jam Ten 1992 ? 6 Queens Of The Stone Age Songs for the Deaf 2002 ? 3 Radiohead OK Computer 1997 ? 8 Rage Against The Machine Rage Against The Machine 1993 11 10 Green Day Dookie 1995 12 17 R.E.M. Automa%c for the People 1992 13 13 Linkin' Park Hybrid Theory 2001 14 19 Pink floyd Dark side of the moon 1973 15 11 System of a Down Toxicity 2001 16 15 Red Hot Chili Peppers Californica%on 2000 17 18 Smashing Pumpkins Mellon Collie and the Infinite Sadness 1995 18 28 U2 The Joshua Tree 1987 19 23 Rammstein Muaer 2001 20 22 Live Throwing Copper 1995 21 27 The Black Keys El Camino 2012 22 25 Soundgarden Superunknown 1994 23 26 Guns N' Roses Appe%te for Destruc%on 1989 24 20 Muse Black Holes and Revela%ons 2006 25 46 Alanis Morisseae Jagged Liale Pill 1996 26 21 Metallica Master of Puppets 1986 27 34 The Killers Hot Fuss 2004 28 16 Foo Fighters The Colour and the Shape 1997 29 14 Alice in Chains Dirt 1992 30 42 Arc%c Monkeys AM 2014 31 29 Tool Aenima 1996 32 32 Nirvana MTV Unplugged in New York 1994 33 31 Johan Pergola 2001 34 37 Joy Division Unknown Pleasures 1979 35 36 Green Day American idiot 2005 36 58 Arcade Fire Funeral 2005 37 43 Jeff Buckley Grace 1994 38 41 Eddie Vedder Into the Wild 2007 39 54 Audioslave Audioslave 2002 40 35 The Beatles Sgt. -
MTO 10.2: Burns, Authenticity, Appropriation, Signification
Volume 10, Number 2, June 2004 Copyright © 2004 Society for Music Theory * Lori Burns and Alyssa Woods KEYWORDS: popular music analysis, voice, gender, race, violence, authenticity ABSTRACT: This paper studies alternative artist Tori Amos’s cover versions of two original performances by Billie Holiday and Eminem. The narrative perspectives and musical structures of the original songs offer great potential to explore questions of authenticity, appropriation, and intertextuality, and Amos’s distinctive revisions of the songs encourage reflection on her Signifyin(g) practices. The song “Strange Fruit” marked a shift in Billie Holiday’s musical style and social consciousness. Her recording (1939) of this emotionally powerful song about the lynching of a black man is upheld as the benchmark (“authentic”) version of that song. Over five decades later (1994), Tori Amos expresses a powerful commitment to the style and social message of Holiday’s original, yet her musical presentation is not merely historical tribute; rather, Amos Signifies on the older text to offer a contemporary statement on race and violence. Eminem’s song, “‘97 Bonnie and Clyde” (1999) exposes the problematic theme of violence against women. In her version (2001), Tori Amos appropriates Eminem’s lyrics, but casts a new perspective over the narrative by assuming the voice of the murdered woman. This paper analyzes the originals and covers using an interpretive framework that focuses on the voice as the site and vehicle of an artist’s Signifyin(g) expression. Received March 2004 [1] Recent studies in popular music explore the problematic attribution of “authenticity” to an artist’s musical work.(1) Such an attribution might be an evaluation of the sincerity of the artist, or a judgment concerning purity of musical style. -
U2 360° Tour Statistics
U2 360° Tour Production, Statistics, Biographies 1. Notes on U2 360° Tour 2. Story of 360° Design by Willie Williams 3. Biographies U2 Paul McGuinness Willie Williams Jake Berry Joe O’Herlihy For complete tour and ticket information, fan club memberships, merchandise and more, visit: www.U2.com Press materials available at: www.u2.com/rmpphoto NOTES ON U2360º TOUR • U2360º is designer Willie Williams 10th production for U2. • Mark Fisher serves as the architect on his 6th production for U2. • The stage design includes a cylindrical video screen • The band and Williams had discussed ideas for 360-degree stadium set for a number of years. Sketches of a four-legged set were first drawn after a model was built with forks over dinner during the Vertigo Tour 2006. • The stage is Built By the Belgian company, Stageco. The construction of each requires the use of high-pressure and innovative hydraulic systems. • The steel structure is 90 feet tall with the center pylon reaching 150 feet tall. • The design can support up to 180 tonnes. • The steel structure is clad in a fabric originally developed for Formula 1 motor racing. Green in daylight, at night it reflects whatever colour is shone on it. • The cylindrical video screen is 54 tonnes. When closed the screen is 4,300 square feet, opening to a size of 14,000 square feet. • The video screen is made up of 1 million pieces (500,000 pixels, 320 000 fasteners, 30,000 caBles, 150,000 machined pieces). • The video screen is Broken into segments mounted on a multiple pantograph system, which enables the screen to "open up" or spread apart vertically as an effect during different stages of the concerts. -
Media Pack Final December E
Music Coverage At a Glance The Skinny has a wide ranging music policy, Our Readers always on the look out for the newest emerg- listen to music every day The Lovely Bones 98% cHVRcHES are a bona fide Scottish synth-pop phenomenon – as they ing stars alongside supporting the acts that prepare to release debut album The Bones Of What You Believe, we Interview: Bram E. Gieben talk gear-packing Tetris, growing up in public, and expelling half-truths Photography: Eoin Carey o call CHVRCHES’ rise to fame meteoric is to presence – it is a process that is still ongoing. have a special place in our hearts. Tunderestimate – in an age of instant one-hit “This is the first band where the vocals have been rate Music as the most-read wonders, it might have seemed tempting to dis- my sole thing,” she explains. “It was a learning 91% miss them on the basis of the hype that followed curve, figuring out what the possibilities were the internet-only release of Lies back in May last with the live set, and becoming comfortable with year. Now, as the band prepare to release their not really giving a shit what other people think first album The Bones of What You Believe, coming about your performance. Because a lot of people section off the back of an extensive bout of touring which have a lot of opinions. I’m just trying to figure it saw them hone their sound and performance out, and I guess there was that aspect of ‘growing with gigs across Europe, the US and Asia, the up in public’ to an extent.” world is finally going to be in a position to judge “That’s something that we’ve all gone them on their merits. -
The Not-So-Light Princess: Tori Amos and Samuel Adamson╎s
North Wind: A Journal of George MacDonald Studies Volume 34 Article 5 1-1-2015 The otN -So-Light Princess: Tori Amos and Samuel Adamson’s Reimagining of George MacDonald’s Classic Fairy Tale John Pennington Follow this and additional works at: http://digitalcommons.snc.edu/northwind Recommended Citation Pennington, John (2015) "The otN -So-Light Princess: Tori Amos and Samuel Adamson’s Reimagining of George MacDonald’s Classic Fairy Tale," North Wind: A Journal of George MacDonald Studies: Vol. 34 , Article 5. Available at: http://digitalcommons.snc.edu/northwind/vol34/iss1/5 This Article is brought to you for free and open access by the English at Digital Commons @ St. Norbert College. It has been accepted for inclusion in North Wind: A Journal of George MacDonald Studies by an authorized editor of Digital Commons @ St. Norbert College. For more information, please contact [email protected]. The Not-So-Light Princess: Tori Amos and Samuel Adamson’s Reimagining of George MacDonald’s Classic Fairy Tale John Pennington eorge MacDonald’s “The Light Princess” appeared in his 1864 novelG Adela Cathcart, where Mr. John Smith, to cheer up Adela (who is suffering from ennui), tells three fairy tales—“The Shadows,” “The Giant’s Heart,” and “The Light Princess.” That latter tale was eventually published in various collections of MacDonald’s fairy tales throughout his career. He included his famous essay on fantasy and fairy tales, “The Fantastic Imagination,” as a preface to an American edition of the fairy tale in 1893; that essay also appeared in an updated A Dish of Orts: Chiefly Papers on the Imagination and on Shakespeare (1893). -
Marianne Faithfull and Courtney Love Talk Poetry, Survival - Los Angeles Times
4/29/2021 Marianne Faithfull and Courtney Love talk poetry, survival - Los Angeles Times LOG IN ADVERTISEMENT MUSIC Marianne Faithfull and Courtney Love talk romantic poetry, cheating death and the joys of sober sex Courtney Love, left, and Marianne Faithfull. (Matthew Lloyd / For The Times) By DORIAN LYNSKEY APRIL 27, 2021 1:40 PM PT https://www.latimes.com/entertainment-arts/music/story/2021-04-27/marianne-faithfull-courtney-love-poetry-cheating-death-sober-sex 1/13 4/29/2021 Marianne Faithfull and Courtney Love talk poetry, survival - Los Angeles Times Marianne Faithfull and Courtney Love are two of rock music’s great survivors. Both have weathered addiction, rough handling from the media and the music industry and the challenge of establishing their own artistry in the shadow of famous partners: Mick Jagger and Kurt Cobain, respectively. Yet their origins could hardly be more different. Faithfull, 74, has the regal air of a daughter of English privilege, while Love, 56, has a scrappy, mile-a-minute energy that reflects her chaotic, hardscrabble upbringing and punk-rock adolescence. Friends since the 1990s, they seem both fond and protective of one another when they meet in Faithfull’s west London apartment one April afternoon, surrounded by antique furniture, oil paintings, memorabilia and piles of books. Faithfull first attained celebrity as a member of the Rolling Stones’ inner circle at the height of their 1960s notoriety — in her hallway hangs a collage of newspaper cuttings from the infamous 1967 Redlands drugs bust of Jagger and Keith Richards, a gift from pop artist Richard Hamilton — but wasn’t taken seriously as a musician in her own right until her 1979 album “Broken English” set her on the path to cult status.