Page 130 of 134 FirstFirst ... 3080120128129130131132 ... LastLast
Results 1,936 to 1,950 of 1997

Thread: Boys for Pele 2-Disc Deluxe Remaster/Re-issue

  1. #1936
    Quote Originally Posted by Kari View Post
    Yeah I always read it that way, too.

    "Cross that bridge all on your own" = I can't come with you, but don't worry, there are some good folks on the other side and you'll be fine.
    I agree with all of what's been said about Playboy Mommy. It makes me incredibly sad, the song is such a raw beauty.

    I always wondered about this part:

    I'll say it loud here by your grave
    Those angels can't
    Ever take my place
    Somewhere where the orchids grow
    I can't find those church bells
    That played when you died
    Played Gloria
    Talkin bout
    Did the little girl die and that's why the woman is asking to not be judged to harshly/be forgiven?

  2. #1937
    Threat level: Bitch in a wheelchair andy's Avatar
    Join Date
    Jun 2010
    Tori had some quotes at the time about "Fine, you don't want me to be your mother, I hope you find another woman to give you life and I hope she's tone deaf." I think it's just a poetic take on her moment of anger and bitterness towards her child, followed by a moment of remorse, like "You decided not to have me as your mother, but you made the wrong decision, but actually now all the music of the church, all the songs of God feel empty to me without you."

  3. #1938
    Senior Member Jezebelle's Avatar
    Join Date
    Jun 2010
    I think she's asking not to be judged because she's also a rock star. I think Tori toured while pregnant for some of those miscarriages and may have felt like her decision to continue to tour was what caused her pregnancy to fail (her Cornflake Girl dances indicated pregnancy, then miscarriage. And that Miami show on the DDI tour...). While that is likely not true, guilt and sadness can be a real bitch.
    chillin in kyoto grand with my man Skrill

  4. #1939
    it's a long long climb Kari's Avatar
    Join Date
    Jun 2010
    Yeah, she just wrote a fictionalized version of herself for the song. Playboy = someone who gets around. "good friend to American soldiers" = could be read as being a prostitute or something like that. Tori always talked about how she struggled to be sexual so she'd pretend to be a prostitute or could only be sexual on stage. I think she's combined those two ideas. It's heartbreaking.

  5. #1940
    generally largely right Dan's Avatar
    Join Date
    Jun 2010
    I think the "cross that bridge all on your own" line refers to an actual bridge in a war zone, which is guarded by the soldiers that Playboy Tori has blown to secure favors. Of course it's all an extended metaphor (allegory?), though.

  6. #1941
    Molecular Machine John's Face's Avatar
    Join Date
    Jul 2010
    Portland, OR
    I'm trying to find a SOTW: Talula and can't find one (please direct me it's here somewhere), so forgive me if this info is readily available.... but what the hell is Talula even about? It's the only song on the album that means absolutely nothing to me and definitely the most skipped track on the album for me.

    EDIT: I found the SOTW
    Last edited by John's Face; 03-07-2017 at 07:30 PM. Reason: Found it.
    All I want to be is the very best machine I can be.

  7. #1942
    ForumBound EnjoyJoy's Avatar
    Join Date
    Jun 2010
    Madrid, España.
    In "Talula," I'm begging this concept of ideal woman to come alive in myself, feeling afraid of losing someone. If it matters, it must be something worth losing. Each song began to be a piece of claiming myself. [Making Music - Jan 1996]

    "Talula" is the track on the record that holds the space for permission to dance. And as the record moves on with the story, once we get to "Talula," where she's placed, there's been so much grieving, there's been so much acknowledgment, finally after "Jupiter," when she knows it's over, whatever "it" is, but she knows that she can't go back and things just aren't gonna... you can't pretend that certain events haven't happened once they've happened in a relationship. And we travel further into "Little Amsterdam," we go down South, which is really symbolic for the primal, the primitive, and the lies and the... really the domination. "Little Amsterdam" is so essential to release that place before we can finally say... we went back to the childhood, we went back South, to the bloodline, where there is so much hierarchy… and now it's time to just let her dance.” [World Cafe - March 1, 1996]

    "Talula"... when I wrote this, my mother was sitting in a chair, and I'd been playing for a few hours. She was fading in and out of sleep. I'd been going through some of my blood, guts and widow's tunes. And all of a sudden I needed to breathe. I started playing "Talula," and it became like a breath, 'cause I needed freedom from all these songs that where showing me my monsters. "Talula" started to show me how to dance. And my mother began to wake up.

    The song is really a riddle. "Talula" just came to me, telling me her name. A lot of the times I'm just trying to interpret what I'm seeing on the other side. A name holds an energy, like anything else. Look at "Ruby Tuesday." I think "Talula" became about rhythm and tone an sensuality. It ain't fuckin' "Catherine." There's something in there about West Indian dance. And yet it's a very classic name, too. "Talula" really just started to represent all women to me -- women that let themselves dance - for themselves.


    [A reference to Marie Antoinette, wife of Louis XVI of France. When she was told that her country's peasants were starving for lack of bread, she replied: "Qu'ils mangent la brioche" ("Let them eat cake"). She was deposed, together with her husband in the Revolution, and guillotined in Paris in 1793.]


    That's my little moment of Ziggy Stardust, my Gary Glitter moment. An homage. It's one thing to be a glitter girl, but it's another thing to be all woman. And that's what Marie Antoinette desperately wanted.


    This person walking out the door, this affects me-at least I'm not so numb. And if you're numb, you can't dance. So it became this thing about celebrating loss. Because I value it and it's touched my heart and I'm hurting that it's going. At least it meant something to me. When Trent Reznor wrote "Hurt" -- "I hurt myself today, to see if I could feel" -- I thought, "Hey, this girl feels, man."


    [Native American word (from the Algonquin tribe) for baby. Also used to describe an infant's sling.]
    It's the Indian reference. It's the whole idea of the cycle, the rebirth. There's something being born within, which is the ability to let go. When a man you love walks out of your life, and you have that ache, you feel not only can you love again, but can love a son. The son or the daughter is the rebirth of the soul.


    "Fig Newton" is a term of endearment. It's not the Oreo Cookie. It's certainly not the politically correct cookie. It's not a commercial cookie. It's the one with the jelly in the middle.


    [Married Henry VIII in 1533, aged 20. Henry changed religion and divorced his previous wife, Catherine, because she couldn't provide him with a male heir. When Anne gave birth to female (the future Queen Elizabeth), Henry had her beheaded, supposedly for adultery, in 1536.]
    As I went back into the bloodline of western women, I began to see the fragmentation. For example, with Anne's daughter Elizabeth -- "The Virgin Queen" -- if you had respect and a certain power, you didn't have your sensuality and sexuality as well. There has been this division in Christian women. I went after those archetypes that have been so misunderstood. With Anne Boleyn's relationship with Henry VIII, he'd manipulate the truth. That's why he says one plus one is three. Whatever the patriarchy says goes, and you'll burn for it.


    [The executor who chopped off Anne's head.]
    I heard stories that they brought in this henchman from France, and I really aligned with him. He had Anne move her hair over [before the execution] and he made her look away. He did it when she didn't know. Even though his job was a bit brutal, he had more compassion than the king. The riddle in Talula is things are not what they seem.


    A lot of writing on this album is about association. Jamaica, to me, represents the mysteries. If you go back to that culture, they had belief in the spirit world. Some call it voodoo. Voodoo became something different once the Christians came in. Before then, there was an understanding of other worlds we have chosen to disrespect. When I say "Do you know what I have done," I haven't honored that world.

    MARY M:

    [According to the bible, Mary Magdalene was a prostitute who washed Jesus' feet and dried them with her hair.]
    A lot of scholars believe that she was, in her own right, a High Priestess. People believe that Mary Magdalene became the High Priestess when Jesus was being crowned "King" of the Jews. The weave of Magdalene represented woman. Not virgin, not mother, but WOMAN - which wasn't passed down. Certain fragments have been lost, theologically. There are secrets in the blood that get passed down.


    The men in power, patriarchy. It's about domination, yet that's not where real power is. It's in the blood, the feminine. The old programming of domination is never just about "Go, dance, and let me dance, and I'll let YOU."


    [Feathered creature in Sesame Street.]
    Big Bird is a play on what he represents. Whether it's a Big Cheese, or whether it's Jesus or whether it is Big Bird. It's just the big guy. At this point in the song it's going after that patriarchy domination thing.


    [Jesus sought some of his disciples from fishing boats. He promised he would make them "fishers of men" -- ie, hookers.]


    That's about a reference to Jesus and Magdalene, the theory that they were married.


    It's really about covert operations. About secrets. It's a riddle.


    Even at a certain point, if you've been "dominated" by the patriarchy, you become a slave to it by buying into the victim side. [Vox - April 1996]

    It keeps moving into the dance of "Talula," and her desperately trying to dance, desperately trying to figure out the whole idea of loss: it must be worth losing if it's worth something. So if I feel like I am losing something, at lease I valued something enough to lose it in the first place... it's going back into that train of thought. "Talula" is very much a riddle. The sense of loss is such a tricky one, because we always feel like our worth can grow with things we are willing to lose. So there's a real letting go. "Talula" is about letting go and getting the dance. I do not want to lose him... The loss of Eric in my life was... it felt like half of me walked out the door. And Talula came as a nursery rhyme, my little dance that I would do when things were so sad. Because I started thinking, "But God, I have these feelings, which means..." We shared so many moments that I value, I really valued that, so what a gift that I can feel this loss, that I am not so numb, that I haven't cut myself off so much, and once I could feel the loss then I started to feel free. I want to dance and go, "Yeah, I want to be with Talula." I want to be able to dance through the people that come in and go out of your life. I want to learn how to dance with the gifts when they come and the gifts when they need to take a different route. [B-Side - May/June 1996]

    Pele is a really pure work, like it or hate it. There are no trying-to-be's on this record. No one is trying to be anyone. They are all stretching forms, particularly with "Talula," where it starts and stops again, and then she finally dances. So everything was a reflection of what was really going on with the characters. I tried to make that happen with the music... [B-Side - May/June 1996]

    "Talula" the song has 2 major themes: Power and Value. Those in power can demand that we see and agree with them by threatening us with a loss of some kind. Here in "Talula" my character is separated from her primal voice, her bloodline, which is represented by the harpsichord. If you don't agree or follow those in power, I do believe there will be rejoicing by your own inner child. Loss is a scary thing but what I found to be more scary would be to feel nothing after a loss. Similar to that sentiment, I would rather have loved and loss than to have never loved at all. [Tori Stories book - 1998]
    Some interesting quotes about the song...
    "A universe that needed someone to observe it in order to collapse it into existence would be a pretty sorry universe indeed."

  8. #1943
    gone Andromeda grapefruit_is_winning's Avatar
    Join Date
    Apr 2014
    I like the idea that Talula is sort of an elaboration on the abstract concept of experiencing loss, versus just having loss but not experiencing it emotionally. Like the narrator has for the moment stepped outside of the immediate tragedy and is now looking at what's really going on... making associations... exhaling.... Starting at the Big Bird point, the whole rest of that run up through "don't know who the father is" is just one big exhale.

  9. #1944
    Senior Member
    Join Date
    Aug 2010
    I keep feeling like Tori could have had a minor hit with Playboy Mommy, although using such a personal song as a single also feels a bit strange (to me)

  10. #1945
    Robbing the muse... Beelust's Avatar
    Join Date
    Jun 2010
    Toronto, Ontario, Canada
    ^ Playboy Mommy is not on Boys for Pele
    Robbing the muse...

  11. #1946
    Alt Universe CliqueMember Spikey's Avatar
    Join Date
    Jul 2010
    Quote Originally Posted by seso View Post
    I keep feeling like Tori could have had a minor hit with Playboy Mommy, although using such a personal song as a single also feels a bit strange (to me)
    Reminds me... I weirdly once heard this song in an irish pub in Amsterdam. It actually worked too.
    "Replies are a combination of nonsense, unrelated comments and inside jokes"‎

  12. #1947
    Member Encre's Avatar
    Join Date
    Aug 2010
    I've added "graveyard" between "Marianne" and "caught a lite sneeze", it fits well, and "Voodoo (rookery ending)", as a coda, between "putting the damage on" and "twinkle", and it sounds perfect, especially for the end of the album. Pure sadeness with the "and right there, for a minute.." coming back, in this very naked and vulnerable version of it, just before the final lullaby. You should try it.
    If you gaze long into an abyss, the abyss will gaze back into you. Friedrich Nietzsche

  13. #1948
    Quick Q: despite being a Tori collector all the way back to Me and a Gun, I haven't bought any of these remasters, just Spotify'd them. Reason is the packaging - just not built to last or in any way 'deluxe'. Does anyone know if these are in jewel cases in any territories? Thanks.

  14. #1949
    Senior Member
    Join Date
    Oct 2012
    A quick look on discogs shows all three remasters in only the paper gatefold packaging. The only other market listed is Europe/UK. There may be others out there somewhere, but it would seem doubtful.

  15. #1950
    gone Andromeda grapefruit_is_winning's Avatar
    Join Date
    Apr 2014
    Still love Rookery so much, and I don't remember who suggested it here, but putting it right after Damage, before Twinkle, is really great. For me it is officially part of Pele like that.

Tags for this Thread

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts