Piece by Piece

Piece by Piece

I was born a feminist.

And then at age five, when my strict Christian grandmother punished me, I realized, Im not penetrating here.

So I had to find another way to penetrate.

That word now is really about an opening, an entering into a separate space.

And after the first phase of my life, I realized that it was okay to enter that space without having to be invaded .

I like the idea of just being able to be inside.

Not using penetration as a violent word.

The idea of being able to find keys .

music, using keys to get into a space that we couldnt before .

Well, its true everyone expects us to be enemies.

We are both women born feminists in the 1960s.

Traditionally we are enemies.

But for this project to be effective, I had to allow Ann to expose Tori Amos.

from the IntroductionBUY TORI AMOSS LATEST RECORDING, THE BEEKEEPER, ON EPIC RECORDSAn intimate, eye-opening look inside the life of one of the most unique and adored performers of contemporary rock musicFrom her critically acclaimed 1992 debut, Little Earthquakes, to the recent hit, Scarlets Walk, Tori Amos has been a formidable force in contemporary music, with one of the most dedicated fan bases in the industry.

In Tori Amos: Piece by Piece, the singer herself takes readers beyond the mere facts, explaining the specifics of her creative processhow her songs go from ideas and melodies to recordings and passionately performed concert pieces.

Written with acclaimed music journalist Ann Powers, Tori Amos: Piece by Piece is a firsthand account of the most intricate and intimate details of Amoss life as both a private individual and a very public performing musician.

In passionate and informative prose, Amos explains how her songs come to her and how she records and then performs them for audiences everywhere, all the while connecting with listeners across the world and maintaining her own family life (which includes raising a young daughter).

Reviews of the Piece by Piece

Unfortunately, I feel like I need to talk about my Tori feelings first. I even like obscure myths and stuff, but it's just distraction here. This book is not good, and it begins with this narcissistic problem. The problem really is the book itself -- Tori's annoying sometimes, but at least I still respect her a lot at the end of all this, and instead I find Ann Powers the lamest hack ever. But see, that basically good chapter of a book is titled, "Sane Satyrs and Balanced Bacchantes: The Touring Life's Gypsy Caravan". I think Powers's main crime, though, is not questioning one single thing Amos has to say. Her authorial method seems to be: 1) bring up thing, 2) copy down what Tori says, 3) publish book. This makes for such indulgent content, plus it looks like total whitewashing over the slightly controversial pieces of Tori's history. Too bad none of the people on this project with her could tell it.

The only reason I even gave it ANY stars is because Tori Amos co-wrote it, and I think maybe it wasn't her but her co-writer who can't put a sentence together worth reading.

I love Tori's music. Generally speaking, I love her mind. So I had to find another way to penetrate. The figure of Mary Magdalene stands for the earth: a seed can be planted within her, whereas seeds can't be planted within men physically." And I get what she's saying. Then chapter one is all about the corn mother and I just felt so alienated and really struggled to relate it back to Tori, or anything other than a folk tale from somebody who was writing in an almost pretentious style. Tori's songwriting methods are inspiring; her education, the way she sees her projects and her music and her live shows.

She's an amazing mentor in her own faerie-experienced Tori way: "There can be room for a win-win among women, too. Aphrodite can't be Athena and vice versa.

But only a *painter* sees the world as fodder for a giant canvas and uses the eye as a camera to filter the beauty of the world through a paintbrush; only a *dancer* moves through life in a perpetual state of grace in balance and comfortable in the fluid precarious; only a *musician* lives and breathes notes until they are no longer individual tones but chords that weave into progressions that weave into harmony and melody that weave into songs and symphonies and sonic art. How the songs truly have their own lives that are expressed through Tori's voice, fingers, and artistic mind. How she truly IS her songs and what living in perpetual creation must be like. Snippets called "Song Canvases" pepper the book's chapters, highlighting particular Tori songs and giving the reader some discussion about their creation, meaning, and expression. Personal stories about growing up, finding herself, understanding her sexuality, reconciling "the two Marys," becoming a wife, and becoming a mother help readers get to know Tori-the-person as well as understand her music better, though there are very few bits of the book that beat the reader over the head with "the truth EXPOSED!" or "the INSIDE SCOOP!" type revelations about her. I would have to say that my only reservation about this book's presentation is that one very likely has to be a Tori fan already to appreciate it.

I'm glad I did because I actually found the last two chapters (on public vs private self and then the music industry in general) to be the most interesting.

As a social commentator and sometimes activist, some of the topics she has been most vocal about include feminism, religion, and sexuality.

  • Music

  • Rating: 3.88
  • Pages: 368
  • Publish Date: December 10th 2008 by Broadway
  • Isbn10: 0767916778
  • Isbn13: 9780767916776