I knew this day would come.
I knew this day would come.
Catherine Woodiwiss, “A New Normal: Ten Things I’ve Learned About Trauma”
This is important
a piece i wrote for an english assignment about my personal experiences with rape culture, in particular with the saying “not all men” which i know has been makin a lot of controversy on the internet recently! idk just wanted to share (via trueho)
I am almost in tears because this hit me so hard
“The song recounts a specific sexual assault (“One of the most shattering experiences of my life,” Grimes, who was born in Vancouver as Claire Boucher, told SPIN in 2012) by describing the psychic fallout: “And never walk about after dark/ It’s my point of view/ Because someone could break your neck/ Coming up behind you always coming and you’d never have a clue,” she lisps in her high, pinched voice. It’s a dazzling, paralyzing performance, in part because Boucher sounds almost playful, and in part because the skronking behind her—the song’s springy, propulsive synth line was one of 2012’s most unforgettable—indicates something other than victimization. “See you on a dark night,” Boucher repeats. […] But what “Oblivion” ultimately offers is victory. It’s the sound of one woman turning personal devastation into not just a career-making single, but a lasting anthem of transformation.”
I want to be your color palette.
I really like how Tori Amos covers songs written from a dude’s perspective and, in her version, turns them into something striking, dark and mildly terrifying. Really gives one pause, and an opportunity to reflect on what is being said, and how, and the things we tend to subconsciously accept as a culture. Very clever, Tori.
The Making of “Boys for Pele” by Tori Amos
Recorded from January 1995 until May 1995 in Delgany Church in County Wicklow, Ireland.
Released January 22, 1996
During the recording of her previous album, Under the Pink (1994), Amos’s longtime professional and romantic relationship with Eric Rosse, who co-produced a considerable amount of her pre-Pele work, disintegrated. That loss, combined with a few subsequent encounters with men during the Under the Pink promotional tour, forced Amos to re-evaluate her relationship with men and masculinity. Amos explained, “In my relationships with men, I was always musician enough, but not woman enough, I always met men in my life as a musician, and there would be magic, adoration. But then it would wear off. All of us want to be adored, even for five minutes a day, and nothing these men gave me was ever enough.”
Songs began appearing in fragments, often while on stage during the Under the Pink tour. After a trip to Hawaii and learning about legendary volcano goddess Pele, the album began taking shape and the songs represented stealing fire from the men in her life as well as a journey to finding her own fire as a woman. From there, Amos explained, the songs just came. “Sometimes the fury of it would make me step back, I began to live these songs as we separated. The vampire in me came out. You’re an emotional vampire, with blood in the corner of your mouth, and you put on matching lipstick so no one knows.”
Along this journey, Amos, who has openly discussed her experiences with psychedelic drugs, particularly in relation to Boys for Pele, did ayahuasca ceremonies with a South American shaman and experienced meeting the devil, leading her to write the track “Father Lucifer.”
The album would ultimately consist of 15 full-length songs and four short “interludes”. As Amos was finding “parts and pieces of myself that I had never claimed” on this journey, the 14 primary songs represent the number of body parts of the Egyptian god Osiris that his wife, the goddess Isis, had to find to put his body back together in Egyptian mythology. The arrangement of the songs on the album reflects the progression Amos intended to achieve on the double vinyl LP of the album; each of the four sides of the album on vinyl would open with an interlude track that leads into the rest of the three or four songs on each side. The vinyl release is the only occurrence when the interludes (“Beauty Queen,” “Mr. Zebra,” “Way Down,” and “Agent Orange”) are not numbered and when “Beauty Queen” and “Horses” are not combined into one track.
Of her first self-produced album, Amos said, “I was at the point I could not answer to anybody. I’d been answering my whole life to some patriarchal figure.”