Greetings to all! The major holidays are done. On this second day of the Epiphany feast, I hope to persuade more kind souls to continue to help me tread water until my personal cavalry arrives in late May or June, when I will finally be apportioned a third of my late aunt’s estate. Her house and other property were sold. My portion won’t be great, but it should be enough to pay my bills long enough for me to finish writing my intensely-researched book to be entitled Be the Music : How Tori Amos Does it. I can continue writing here at the house of my friends in West Philly, where most of my research materials were recently brought from my storage unit. I now expect to be here for the duration.
I have been deeply touched and humbled by some generous responses to my recent pleas for help, as well as some of the more expected ones in the form of pre-ordered books. A shockingly kind soul contacted me and said she would take over the payments for my storage unit until I could return to making the payments again. At $214 a month, this promises to end up being at least $1,500. She said she couldn’t bear to lose her things as I had been on the verge of having happen to me, and she also suspected I own some unique and important items pertaining to Tori Amos. (I do.) She reminded me that we met at a concert in 1999 and had a conversation. She also said she heard Tori ask Mikewhy how I was at the fan meet and greet that afternoon. I’m not sure how all that adds up to her helping me out so much, but I am humbled and grateful. Whatever convinced this generous soul to take over the payments for my storage unit, it was about the single greatest thing anyone could have done to help me cope emotionally with this situation of living in the dining room of friends in West Philly while the vast majority of everything I own is in a storage unit in Hagerstown, Maryland.
Some people have donated to me more than once. One longtime friend from Maryland sent me a second $100 donation for Christmas. Someone in California with whom I have never even spoken on the phone, let alone met, has sent several donations and promises more. Someone I never even had an online exchange with sent me more than $100 from South America. Someone I had not heard from in more than 12 years popped up to say she wanted my PayPal email address, so no crowdfunding site would get any of the donation she wanted to send. She said she wanted to repay me—with interest—for a bunch of concert audience recordings that I had sent her on CD many years ago. I expected she might send me $20 to $50 to repay me for the CDs I made for her. We had first met online, then we spoke in NYC on the 2001 tour, then later on the phone once or twice. She SENT ME $500! That was way more than I gave her at 40 cents per blank CD. I was at wit’s end with worry when she did that, and I wept with relief.
I sent in an application via fax to the MS Society for some emergency money on Monday. I had called their MS Navigator just before New Year’s, and gotten an email from them with the forms for the application attached. Their email has other charity information in it such as for Catholic Charities which I have yet to explore fully. I question whether they will accept my application as I sent it, as it lacked a copy of a lease although I asked them for money to pay for back rent, because I don’t have a lease, my friends have just asked me to pay a small amount of money each month. I gave them $250 for each of the first four months I was here, June – September, but I haven’t had any money over and above my other bills and food since then, so I owe them $1,000. [Breaking update at 1 p.m. on 8 Jan 2015: The MS Society called and confirmed that they can’t send me any money for rent or utilities unless my name is on the paperwork, which it is not. They also won’t help me pay my phone bill or car insurance bills. She said she would send me a list of charities to ask for food. She suggested they might help me with rides to doctors, but then when I asked for a ride to Johns Hopkins in Baltimore, she said that was farther than they would normally be able to arrange, but she would look into it.]
I spent all but 12 of the last few dollars I had Sunday on food. People here at the house have been sharing food when they prepare it, but some of the most regular sharers left town Monday for a long trip, and most of the rest will leave on a brief tour Sunday. I’ll need to buy more food this weekend. I saved enough cash to pay my January car insurance before it’s due, but my phone bill will be due on the 20th. Even with all of that, none of this is my greatest concern now, my greatest concern is that the house is behind about a thousand dollars on paying utilities, the same amount I had been expected to pay over the last four months. Should utilities start being cut off that would be a catastrophe.
I believe I have a ride to take me to the nearby Social Security Administration office Friday morning so I can wait around for a walk-in appointment to apply for SSI. My online application of months ago was recently rejected because I had not paid enough money into my Social Security account over my work years. I was under the impression that if my application was rejected on that basis, it would automatically roll over as a claim for SSI, but that turned out not to be the case. I had sent them some medical records by postal mail to bolster my case, but they replied telling me I had never applied for SSI. The first appointment to apply for SSI that they could give me was February 11, so I’m going into the office for a walk-in appointment. I hope the Johns Hopkins neurologist I saw in May was correct when she said that having MS is a fast track to getting on disability, and that they accept my claim Friday so I won’t need to rely on the good graces of kind people anymore after this post asking for more help.
If you know me and my PayPal email address, please help me out there if you can spare anything. Any amount small or large will be a great help. If you want to pre-order a copy of my book to be delivered after I finish writing it or maybe buy one of Karen Sparks’ wonderful four-color art prints of Tori Amos, you can head over to my Authr page and select a premium. If you want to donate to help me out, not get a premium, and we don’t know each other, please head to my Go Fund Me page.
Now that I have most of my books and other research materials here out from storage, I can get back to writing again.
There are a lot of distractions in this house, but I will soldier on nonetheless.
Great thanks again to all, and I hope not to need to write another one of these pleas.
Yesterday, three of my friends from the house in West Philly where they have graciously welcomed me into their lives on a day to day basis since six months ago, traveled with me for over three hours in my car to visit my rented storage unit in Hagerstown, Maryland. We rented a U-Haul truck near there on the way. By the time we arrived at the storage facility, it was freezing, windy, and starting to get dark. My friends went through nearly every bit of my storage unit and put all of the research materials they could find into the U-Haul. It remains to be unloaded here in West Philly today on Tuesday. They put a padlock on the back door for overnight. I am bent, and, at least for the time being, broken. I could only drive as far as Towson before needing to relinquish the wheel of my car, but even just being a passenger takes a lot out of me. After a while at the storage unit, my hands felt as if they might get frostbite, and I sat in my car for a few minutes with the engine running to warm up as the headlights were trained toward the inside of the storage unit.
Much of the first floor and basement of my friend’s rented house here in West Philly were rearranged and opened up over the last few days, even an old upright piano was trashed, in order to receive the six bookshelf units of my research collection, and as many of the relevant sound recordings and papers as they could find while rummaging through the storage unit in the freezing dark. They were on quite a roll for more than 2½ hours, finding most of the items.
It began to snow.
They soon put the various emptied contents of the storage unit which had been placed on the asphalt roadway outside of the unit back into it, and we began our three- and four-hour treks back to West Philly in my car and in the U-Haul truck. I have in the bank, ironically, the sum of $214, the exact cost of a month’s rental of the storage unit which a kind and generous soul began paying on my behalf two months ago. The U-Haul rental was $180-plus with insurance, gas and tolls must also be paid, so I’m already in the hole again just from the trip to get the research materials so they can be made accessible to me and and I can get back to writing. I don’t know how much my state of mind will be holding me back as I worry from day to day where my next meals are coming from or how my bills can get paid in the meantime, but I couldn’t pass up the opportunity to have these research materials brought here after my friends remarkably suggested remaking the main floor of their house to accommodate them, so I can finish writing my book before the MS overtakes me.
I am now entirely invested into this house in West Philly to, somehow, even with its many distractions, finish writing my book. I am to go back to Johns Hopkins Hospital on Monday for a second MRI on my brain and another neurology appointment, to follow-up on the ones I had there in June, when I was officially diagnosed with the Secondary Progressive form of Multiple Sclerosis. The idea is to see how quickly the disease is causing damage. I am, in fact, getting around better than I was when I moved here in June, seemingly because of the medicine I was put on. I don’t know where the gasoline, tolls, and stamina are going to come from to be able to do this, but I can keep pulling over to recuperate if no one who drives can go with me, at least, I can, if I have enough money for gas and tolls. I already have about half the gas I need in the car.
I still believe the Social Security Administration will approve my application to begin receiving monthly payments under their disability program, but there is nothing to hang onto specifically to believe this is about to happen any day. I will contact the MS Society again, this time for some emergency funds, and hope they can get a couple hundred bucks sent my way, but the red tape involved with doing that will surely be one more thing to distract me and sap the little energy I have day to day. But this is the only way forward that I can figure now as I await the meager inheritance from my aunt’s estate next summer. A recent exchange with my cousin who is the estate’s executor reinforced the idea that this inheritance will be meager, indeed.
Please, if you are able and so inclined, donate anything you can spare to me on Go Fund Me, or with PayPal via my Gmail address if you know it, where I will get every penny. (Go Fund Me takes a small cut.) If you want to donate on expectation of a premium such as a printed book or eBook down the road after I manage to finish writing it, you can go to my Authr page and donate there with PayPal after choosing a premium. More bio and other details can be found at the links to my blog pages which are given on that Authr page, but the current situation in which I find myself as described there changed at the end up May when I had my stuff put into storage and came to this dining room in West Philly. I realize this all sounds preposterous, but this is genuinely some of what I’ve been going through. Thank goodness my longtime friend was able to convince his household to allow him to fulfill his long-time promise to keep me from living on the street.
This friend brought along a framed poster from the storage unit yesterday, putting it into the U-Haul truck as soon as he came across it. He brought it into the house and hung it up on a nail sticking out from the top of a window in this dining room where I live, even as nearly all the other items remain to be brought in from the truck later today. It’s a poster from the 2 December 1999 Jingle Bell Jam, a Christmas festival concert at the Oakdale Theater in Wallingford Connecticut, one of the so-called Blackmail Tour concerts Tori was pressed to perform and did perform despite a miscarriage days before, lest any of the sponsoring radio stations play her music even less than they did already. This concert was the day I posted the message on the Precious Things mailing list and elsewhere which inspired a kind gentleman with outsized faith in me and my abilities to ask me to write a book on this music, which has compelled some of us to travel far and wide to experience as much of it as we possibly could. I think of this poster as a personal manifesto:
I will focus on the crisis at hand. I have just over a hundred dollars in the bank and 21 in my pocket. Even though I can’t stand up long enough to cook, I have enough money to eat for nearly another couple of weeks if I spend every cent. I paid my phone bill for the month, but paid no October rent yet. I’ve been paying $250 a month to stay in my chair in this dining room in West Philly. The Johns Hopkins neurologist in Baltimore who diagnosed me with the secondary progressive form of Multiple Sclerosis in June said to take 2,000 IU of vitamin D per day, which is twice the suggested daily minimum. I take a whole-food style complex made from calcium instead of limestone that enriches bones rather than lining one’s arteries, is absorbed easily, and costs around $60 a month. I like to take additional supplements for my blood sugar, heart health, and a multi-vitamin-mineral pill, and even having cut back some, the dietary supplements still add up to around $200 a month. My auto insurance is paid-up till Jan 20.
I hope to retain my Maryland citizenship status and insurance, as I still consider myself just a visitor here in Philly. I recently sent in the form for a Maryland absentee ballot. I hope to avoid becoming entangled with local Pennsylvania governments from which I would need to disengage before moving back to Maryland. (Food stamps, license plates, etc. I just renewed my Md. driver’s license in August. The Johns Hopkins Hospital system is in my state-based Medicaid health insurance plan, even though I have to drive a good two hours-plus to get to it in Baltimore.)
Eight people live in this house now and there are frequent visitors, but the Internet usually holds out, and it’s good, considering how bizarre it all is. When I came up here from Maryland, I was told I needed to bring very little because there isn’t much space, and that is absolutely the case. I brought few clothes in a weekend bag, have my recliner chair with a motorized lift that I sit in all day and sleep in, have a narrow table in front of me with my laptop that swings away off to the side, and I have a tiny table to my right with three drawers in it. I have a few medical type things such as tape and iodine-based skin anti-bacterial in a bag in the closet, and I also have my coffee grinder, French press device, and that’s pretty much it. My 10 x 30-foot storage unit in Maryland costs $214 per month. If I get behind in the rent for my storage unit which is nearly five hours west of here, I’ll lose everything else I own, and all the Tori Amos items I carefully amassed since 1993 will evaporate as cleanly as the morning dew.
I’ll lose my large, meticulously-collected library of books and their bookshelves, hundreds of original mylar-sheathed magazines and newspaper clippings with Tori Amos interviews, seven boxes of file folders with specialized articles on many related subjects, document boxes with Tori Amos family history and genealogy documents (seriously, you have no idea), and many hundreds of sound recordings that I would need so as to be able to finish writing the book I researched full-time for over 10 years—I read more than 200 books for this project. In addition, I would lose my stereo, televisions, all of my other clothes, furniture, kitchen items, appliances, tools, at least many hundreds of CDs, LPs, various audio and video recordings not related to my book project; I’d lose every one of my historical family papers, and as many as 15 photo albums of family photos. Did I mention my stereo? My speakers may be from 1981, but they’re wonderful.
I will receive a modest inheritance from my aunt’s estate near the end of May once it’s been a year since she passed away. I won’t know its exact amount for another month or so when the estate sale has been carried out and the house has sold, but it should be enough to keep me living someplace—back in Maryland, I hope—where I can bring my research materials out of storage and available to me long enough to finish writing my book, which teaches how to have a deeper experience of music as a listener, composer, or performer, using the life, work, and family history of Tori Amos as examples. My multi-disciplinary approach uses Jungian analytical techniques alongside Stanislavskian acting skills in a manner which has never been proposed for use in the teaching of music on a mass scale. A few singer-teachers such as Liza Minnelli live this and teach something similar, but only to a small subset of performers. My book will also present much new Tori Amos biographical material and never-published family history, some of which I’m confident neither she nor anyone else in her family knows, so Tori people will want to read this book, which I see as my life’s work.
The original investor who asked me to write a book in the first place said he will take care of all publishing-related expenses once the book is written. It’s entirely possible that any day now thousands of dollars of missed pay will show up in my bank account from the Social Security Administration and I will begin receiving monthly payments from them after they approve me to receive disability, but I have no reason to believe this is on the verge of happening. Many report it can take three years or more before being approved, but one Hopkins neurologist told me having MS is a fast track to getting on disability, and I truthfully told the SSA “yes” when asked whether my disability will likely lead to my death, so I expect to be approved without needing to go through an appeal after an initial denial that 70% of applicants receive. Maybe I’m just stupid, but that’s what I believe.
If my research materials and other possessions are lost due to lack of payment for the storage unit before my aunt’s inheritance comes in I’ll be unable to finish writing my book, and the remainder of my life will probably consist of little more than waiting for the MS to overtake me. I have appointments for another brain MRI back at Hopkins in Baltimore on December 15 and a neurology appointment that afternoon in the same building, all of which is designed to be compared with the examinations and MRI from June when I was first diagnosed with MS. I have to say, any ongoing nerve deterioration seems slow, and the insanely expensive drug the neurologist put me on which my insurance pays all but $3 for seems to allow me to get around with much better speed, so in that sense I’ve actually improved since June, and I would reasonably expect to be able to finish writing my book if given the proper circumstances.
I know a few people will help me out this time as they have told me so. I’ll post more later as time moves me to the next crisis. If you are able and so inclined, please donate on Go Fund Me, or with PayPal via my Gmail address if you know it, where I will get every penny. (Go Fund Me takes a small cut.) It takes 3 – 5 days for PayPal to send money to my bank, and I need cash available soon to pay my storage fee on time before November 1st. If you want to donate on expectation of a premium such as a printed book or eBook down the road after I manage to finish writing it, you can go to my Authr page and donate there with PayPal after choosing a premium. More bio and other details can be found at the links to my blog pages which are given on that Authr page, but the current situation in which I find myself as described there changed at the end up May when I had my stuff put into storage and came to this dining room in West Philly. I realize this all sounds preposterous, but this is genuinely some of what I’ve been going through. Thank goodness my longtime friend was able to convince his household to allow him to fulfill his long-time promise to keep me from living on the street.
I remain humbled and grateful for the help I’ve received so far. Anyone wanting to lend me some cash toward getting me to June should contact me so we can discuss it. It takes about $800 a month to continue living here as I am in this chair, although winter heat bills have not been factored into that.
THANK YOU! And feel free to help spread this around!
NOW I get all the hubbub for Kate Bush.
Mind you, I’m not instantly transformed into a far greater fan of her music than I have been. I have no intention to start swimming in her music. But having seen the new BBC doc on her, I can understand why some people are moved to.
Although I soon morphed into a huge collector, early on, Elvis Costello’s songs struck me in some similar ways. The lyrics were heavy on the obtuse, were rife with Britishisms, and I didn’t consider it worth the effort to understand many of them. The difference being that I was extremely drawn in by the music of the Elvis songs, and with the Kate music prior to Hounds of Love, not only was I not drawn into it, some aspects of it majorly put me off. The high-pitched vocals can be wince-ably painful to me, and I prefer melodies which I can apprehend at once and engage with, and Kate’s earlier melodies tend to stray. If she’s going to compose songs that are written “straight through” they need to grab me, such as Billy Strayhorn’s “Lush Life” does, written, notably, when he was 16.
I found Tori Amos’s comments in this Kate doc reinforced some points I made back in March in a blog post pertaining to Kate’s music, and why I am convinced Tori was never copying Kate as many are convinced. Tori said the radio had not been playing much Kate early in Kate’s career, then Tori described when she was in her car when she first heard “Running Up The Hill” and was so struck by it she had to pull over and listen to it. Wikipedia says the RUTH came out in November 1985 when Tori was 22, so there’s some further evidence that Tori never and in no way ever constructed her style in the mold of Kate.
Why some people had become as taken by the music of Kate Bush has long been a mystery to me. I won’t be joining them anytime soon, but I get it now.
I put the unique ceramic Storyteller Doll named Talula that Karen Sparks made for the cover of “Be the Music : How Tori Amos Does it,” up on my Authr crowdfunding site as a premium.
I have loved Storyteller Dolls since I first saw one. I bought one to display where I write to remind me that what I need to stay focused on is telling the story. Storyteller Dolls were invented in New Mexico in 1964 by Helen Cordero of the Cochiti Pueblos. The idea of an elder passing the ancestor stories down to the next generation instantly made sense when I saw a doll, and it is important to me.
My long-time friend Karen Sparks is a wonderfully creative artist who is talented in many media. I first saw Karen’s work in person in 1999 after meeting her online the year before, so I knew how amazing her work is. Long ago she said she wanted to do the cover and maybe other needed art for this book, and I was happy that she said she still wanted to do it when I asked her. One day as I was brainstorming to come up with a cover design for “Be the Music,” I glanced over to the shelf by my turntable, and flashed on what I wanted the main design element to be.
I asked Karen if she was up for making a ceramic Storyteller Doll. Lucky for me she agreed. I suggested maybe the hair might be an orange, corn needed to be in the design, and maybe some pianos would be involved; Tori Amos and many little girls who play piano tell them their stories, so it makes sense that pianos are among the doll’s listeners. With Tori’s 1994 b-side “Frog On My Toe” in mind, in which her late, beloved grandfather she called Poppa has a conversation with her and shares some of his Cherokee wisdom, I’m sure Karen found putting a frog on the doll’s toe irresistible. We went back and forth in email and sharing photos for weeks, but all the wonderful elements and detail of execution are Karen’s.
Once we had Talula, we needed to figure out an overall book cover design. Again Karen wanted to do the art, and I had the kernel of an idea: let’s put Talula in front of a backdrop of mountains near Taos where Under the Pink was recorded in 1993. I found a photographer who makes such photos and sells them online, and she is a librarian, to boot. Lisa made some new images of mountains near Taos for us and we chose one. Then I extracted Talula from the background of the professional photographs Karen had gotten made of her, presented Karen with a mock-up design, then let Karen be Karen to choose fonts and do a final design. It turned out Karen is as talented with Photoshop as she is with other tools. I hope you are as pleased with what Karen created as she and I are, and that you will be inspired to learn more about my book project and support its completion.
Now that Talula has given her all for the book cover, it is time to let her go. I created a premium so you can donate to be able to own her on my Authr crowdfunding site. Talula is approximately 6½ inches tall, 7½ inches wide, 9 inches deep from the bottom of her feet to the rear hem of her dress, and she weighs 1,229 grams [2 pounds, 11.4 ounces]. As a fine work of art, she isn’t cheap, she’s $5,000, but there are premiums going for as little as $2 on the site.
My talented friend Karen Sparks is allowing me to offer up to 12 signed and numbered copies of a four-color art print she made of Tori Amos back in 1998 to help me raise money so I can continue to write “Be the Music.” This is how Karen describes these prints:
On July 28, 1998, Tori Amos performed during the Plugged ’98 tour at New York City’s Madison Square Garden. I took photos from first row, center, and created a silkscreen print with cyan, magenta, yellow, and black. I edited the print to include a censorship bar over her crotch. I made approximately 25 of these. Tori Amos has one.
These are printed on expensive heavyweight paper, the size is 22″ x 30″ and the print area dimensions are 15 ¾” x 26″.
Karen tells me the prints she is allowing me to offer are numbered 4 through 15. These have the typical minor variations from one to the other which exist due to the handmade printing process. Each of these will ship within days of your making a $50 donation to help me write “Be the Music” via my Authr fundraising site.
And remember to see my offer for $2 digital photo downloads of Karen’s ceramic Storyteller Doll sculpture named Talula here: http://wp.me/s48QmJ-dolls
I was introduced to the world of professional grade sound recording right before Christmas in 1971. A college friend of my father’s, Paul, took me with him to record a local community group’s performance of The Messiah at Montgomery Blair High School, in Silver Spring, Maryland. Paul brought me along with Jack Towers, several pricey Neumann microphones, and some portable Ampeg reel-to-reel recording decks. Portable in this instance meant each man had a foot-locker sized deck, along with a similar size pre-amp that had handles on the sides. Each piece required two people to carry it.
Paul could be described safely as an audio nut. In his Takoma Park basement, his hand-built home stereo included horns that had been used for early demonstrations of stereo in DAR Constitution Hall in the 1950s.
The horns provided part of his mid-range.
Paul was the official recordist of the world-renown D.C. Youth Orchestra. Soon I would accompany him regularly to the home of the DCYOP, Coolidge High School in D.C., quite often to the Kennedy Center which had opened recently, and to other events to record regional orchestral, chamber groups, choirs, and jazz. Again with Jack Towers, we recorded jazz violinist Joe Venuti at Georgetown’s Blues Alley on his final D.C. visit before a return to Italy, where he died two years later.
I already had a taste for many different types of music. I enjoyed Top 40 radio that was heavy on Motown, and was collecting Aretha Franklin albums. I would listen repeatedly to any song that provided multiple full-body orgasms, wondering how that happened. I convinced my mother to take me to Constitution Hall to see Leonard Bernstein and the N.Y. Philharmonic in August 1967 on Bernstein’s last trip through the area as the NY Phil’s conductor, and Paul took me to Constitution Hall to attend a performance by the great Russian pianist Emil Gilels. Paul was an enthusiastic opera fan and season-ticket-holder for Constitution Hall concerts, and after each piece he would place his open hand next to his mouth and shout “Bravo!” at the stage many times. I was not used to such unashamed enthusiasm.
The only pop concert I attended early on was Peter, Paul & Mary at the Carter Barron for my 13th or 14th birthday, but I only wanted to go because John Denver was opening for them. (It had been sparsely attended while afflicted with light showers.) During my mid-teens, I regularly listened to a jazz anthology series on Public Radio which had 180 half-hour episodes; they were played late nights and early mornings, and my nocturnal orientation often allowed me to hear two episodes a day. I heard most of them at least three times before it wasn’t on the schedule any longer. It was like attending my own secret jazz school. The episodes were written with emphasis on each artist’s personal story as related to their music career, and, while often tragic, many of these stories left me with a deep longing for stories of current-day musicians that felt as important and influential.
24 March 1973 found me at my first rock concert. I rode sliding, seated on the wooden floor in the back of a rented yellow Ryder truck with a bunch of hippies from school, to the Spectrum in Philly, to see The Grateful Dead. I had only heard their album American Beauty on a friend’s pitiful portable, so to suddenly experience an eight-minute Tennessee Jed and perfect 19-minute Playing In the Band through their clear-sounding JBL and McIntosh-based sound system, was rich nutriment to my hungry ears. It changed my life. When the Dead came to RFK Stadium that June 9 and 10 for a co-headlining weekend with the Allman Brothers, I had to attend both shows. I slept on the lawn at RFK with my face planted on my bandana after the first day’s show, too.
Music that was this accessible as it took one through glorious 20-minute dancing tapestries of buoyant harmonic changes, with instrumental solos and multi-layered vocals, to deliver one in a tidy package to a different place quickly seemed the obvious norm. This was what rock music could provide and did provide. Imagine my surprise when I attended a rock concert where a band played its songs more or less like their studio recordings, then were done. I felt ripped off!
For years I played drums with many guitarists and bass players in various band attempts. We rarely got out of the basement, but I took an interest in learning the sound reinforcement gear. Thanks to my grandmother, I attended Omega Recording Studios in Kensington, for basic and advanced recording engineering courses. With my longtime enthusiasm as musical omnivore and in the preservation of sound recordings, when I applied in 1990 to work as a playback technician in the stacks of the largest recorded sound collection in the world at the Library of Congress [LC], I was a natural fit. I’m confident that when my supervisor-to-be asked each candidate what we knew about the preservation of sound recordings, few others provided a 25-minute answer, and none continued for 35 meticulous minutes visiting several continents, when asked what kinds of music they were familiar with.
I had my first serious encounter with the music of Tori Amos at LC. I was becoming good friends with a 120-day temp worker. One day over lunch I asked what she seemed to be listening to all the time on her yellow sports model Walkman as she stood at the great wall of surplus sorting LPs. Upon returning from lunch, I walked several feet over to the Atlantic CD shelves and put up a copy of Little Earthquakes on the UREI main monitors, listening as I sorted baskets of incoming LPs while seated just inside the entrance to the stacks. I didn’t get a clear audition of all of it, so I put it up again the next day. That was it. I bought my own copy. Around this time, awareness of and access to the pre-web, text-based Internet were spreading around LC. I subbed to a command line UNIX shell account for personal Internet access, and managed to join the Really Deep Thoughts discussion mailing list.
Under the Pink finally came out. By this time I was relishing the ability the Internet afforded to communicate with others swept up in this music, then, weeks later, a concert at Lisner. By the time I reached the counter at the Hecht Company’s ticket department in Wheaton Plaza, they only had single tickets left. I had come for six together and bought the last six. Having read so many concert reports from others and knowing how much the music affected me, I was fearful of being too close to the stage, so I kept the ticket farthest from the front for myself, five rows from the back wall. I managed only one more concert that year when she came back in July, but before the 1996 tour began, I knew I wanted to attend as many concerts as I could. I traveled around the East Coast, then helped a friend move to Seattle that July by car, with the agreement to borrow her car when we were on the West Coast to attend more concerts. Then I flew home from SeaTac after attending my concerts numbered 9 – 18 of the tour.
I saved up enough vacation time to be able to travel to the U.K. in May 1998 for the start of the main tour, Tori’s first with a full band. The last song on Boys for Pele, “Twinkle,” had given rise to a curiosity about the Island of Iona and its Abbey, which were mentioned in the lyrics. I took the opportunity of going to the U.K. on a cheaper flight a few days earlier than I needed to for the concerts, and spent four days at Mrs. Black’s B&B at Clachan Corrach on the Isle of Iona. The six concerts I attended in the U.K. helped me set a baseline for the early band shows. This allowed me to apprehend the progress made later in the summer when they developed a serious group-think proficiency. Finer points of this band became real to me by the end of the tour, when I attended 19 of the last 20 concerts. Such satisfying music—each musician and crew member was top-notch, knew why they were there, and all of them did their jobs with personal flair, even the riggers. I felt privileged to be able to experience the full scope of that tour, and to meet many others with so much dedication to the music. A year plus tens of thousands of miles later, all of it in my faded red 1987 Chevy Nova, I wrote something and posted it to the Precious Things mailing list that inspired a friend to ask if I ever considered writing a book on the music.
I think he expected I would mainly write a book for fans to buy, but he never said, and in the contract we would sign nearly a year later, I have full control over editorial content. I wanted to write something more meaningful and with broader appeal than that. I kept thinking of something one of my favorite bosses at LC used to tell me was the main thing to convey when writing a book on an artist: “What does it mean?” He always told me to not simply catalog and describe the work. I wanted to know why I’d extended myself so much to attend as many concerts as I had, stretching limits of body, car, wallet, and the comprehension of my non-Tori friends and family. What in the music does this? Is it something in “the music itself” that does it? Is it a combination of the ecological ingredients involved in attending concerts including the travel, venues, conversations, Internet? Is it the knowing looks shared from the stage? While all those things figure into the answer to the question “Why?” the music is clearly the dominant factor. What in the music causes such strong personal emotional responses? How does that work, and what can anyone interested in creating, performing, or experiencing great art of any kind do to foster deep, even primal resonances in themselves?
Tori Amos music is singular, but the aural and psychological landscapes of how her music works aren’t. I intuitively knew that brain science and the nervous system would explain some of this stuff, but not all. I knew the lessons of Carl Jung were important to Tori, and that they must have helped steer her approach to songwriting and performance, so I needed to learn some Jungian theory. I read some canonical books on music and medicine and the brain, then read some which were recently published. I sought guidance on learning Jungian thought from the librarian at the Jung Society of Washington. I still attend lectures and classes they put on, at least I have as recently as 18 months ago. Two years ago I attended an eight-week course at the Jung Society entitled Dreams and Active Imagination. The analyst who taught the course granted me an exemption from bringing a dream into class on which to perform Active Imagination, allowing me to share a song instead. I presented the most mystical Tori Amos song: “Sister Janet.”
Over the years I always let my nose and ears tell me what area or discipline to study next. I felt as if I were in a graduate degree program without any advisors. I had to figure out everything by myself from scratch. I went down a few worthless hallways, but only a couple minor ones. A person here and there could advise me in general ways in their area of expertise, but really, I was almost always entirely on my own. I read more than 200 books for this project. I did genealogy research off and on for many years, including trips to eastern Tennessee where Tori’s beloved grandfather came from, and where her storied ancestor Margaret Little lived and died. I took a music course at Montgomery College, and attended lectures sponsored by the Smithsonian on many topics. I studied music theory, mythology, Joseph Campbell, fairy tales, mermaids, neurology, brain science, memory, charisma, literature, writing, acting methods, the means by which a variety of keyboard instruments operate, slavery in the ivory trade in Africa and New England and how the piano industries were reliant upon it—a literal bloodline of the piano, a great deal on the Cherokee and other First Nations peoples, including trips to the Carolinas, and to the American Philosophical Society Library in Philly where they have major collections on tribal peoples, including many historical sound recordings of the spoken Cherokee language.
My mother developed serious trouble walking and standing in April 2001. Soon she was sleeping in a hospital bed in her living room, and along with home health workers who stopped by several times per week, I was taking care of her. I got her some outpatient appointments at Johns Hopkins in Baltimore, but they weren’t sure what was wrong with her. After six months under this arrangement, the home health nurse said if a woman wasn’t going to take care of my mother day to day, she would have her sent to a nursing home. My mother’s remaining sibling, her older sister, agreed to take charge of my mother. A new tour was about to begin in Florida. 9/11 happened. As agreed, in late September 2001, I took my mother to southwestern Virginia and stayed with her a couple days at my aunt’s, then I picked up a friend near Charlotte and continued to the first tour stop in Florida.
We managed nearly three weeks on the tour and picked up an old tour companion in New York City, but I eventually needed to return home due to circumstances of others. My father had died in a Texas hospital that summer, and although we hadn’t spoken in a few years, I received a posthumous gift from him some weeks later. Having begun the tour and savored its glory, I was spurred to head west to finish the U.S. leg of the tour. An old friend in Philly agreed to come with me. I picked him up and we headed to Oakland. My mother’s health continued to decline slowly at her sister’s, and she was completely bedridden for many years. I came to spend increasing amounts of time there. Coincidences of geography allowed me to continue research from time to time, but I was nearly done with anything I set out to research, and was waiting to be able to get my living environment set up with my research materials where I could easily access them, in my own increasingly mobility-challenged condition.
Days after my mother died nearly three years ago, I went to a long-standing appointment in Baltimore with Johns Hopkins’ Neurology Department. Several Hopkins visits led to my diagnosis of multi-level disk degeneration. I don’t have much control over the muscles in my lower legs. I can only walk short distances even using two canes or a rollator. I began looking for trustable people to help me clean out my mother’s house, move me to a larger house with fewer stairs, and help get my research materials and personal effects organized so I could set about writing my book in earnest. Most of my helper friends could not come to my new house as often as I wanted and the organizing process was lengthy, and now I find myself out of cash.
In addition to having so much experience of the music, I did a ton of research on this book project across many disciplines, and have things to report that are my own. I am a strong Mercury/Hermes Archetype personality, which I came to realize only after Tori told me I was Mercury in Manchester in May of 1998. Perceiving how things are connected when others don’t and changing people’s thinking are major aspects of my personality. I want to affect the way music is taught with this book, and am planning to market it heavily to music teachers in addition to Tori Amos people. Examples I have gleaned from studying the life and music of Tori Amos have taught me techniques and methods anyone can learn to increase their ability to compose, perform, and listen to music at a soul level. These things embrace the fact that we can simultaneously experience ourselves, and feel more invested in the human community.
I estimate I will need a good six months more to finish the writing-editing process and go to print. My friend and initial investor who suggested a book will cover the various costs of printing when that time comes. I need to raise money for all my living expenses until I finish writing the book. If I am unable to continue living in this house which is set up for me to write even though I have mobility problems, it may be that years of research I’ve done will go to waste. I want to share what I’ve learned, and I’m confident many people want to read it. All I know to do is to throw this project and myself to the tender mercies of the music and Tori Amos communities. I’ve continuously demonstrated my refusal to give up on this project, but my current investors can only support me to a point, as they have their own families and other responsibilities to tend. In 20 active years online, I’ve taken great pains to avoid sharing much of my personal life publicly. This is nothing I would choose to do were it not my only hope for getting this book finished. I’m asking for your support and assistance in promoting this crowdfunding campaign.
I’ve gone live with my book project’s crowdfunding campaign on Authr.com. My book will be entitled “BE THE MUSIC : How Tori Amos Does It.” In addition to being able to pre-order eBooks, posters which have a photo of the wonderful Storyteller Doll sculpture Karen Sparks made for the book cover, and published thank yous by name are available as premiums on my Authr page. I need money to continue living where I am for an estimated six more months to finish writing my book, at which point, my investor from long ago will pay the costs of publication.
I’ve done huge amounts of research in many areas since 2000. I believe I have formed an understanding of how art works, and have devised methods to use to teach composers, performers, and listeners to have more fulfilling experiences with music, through using a careful study of Tori Amos, her family history, and her music.
I’ve become extremely mobility impaired over the last five years, and now I can only walk short distances with great difficulty using two canes. This rented house is set up so I can access most of my research materials despite my mobility problems. Should I need to move elsewhere soon, my materials would surely be more difficult to access. With as much work as I’ve done for this book, if I can’t get to my research books and other materials with ease, all my years of work could end up for naught. I’ve overcome a variety of obstacles over the years, including the slow, traumatic decline of my mother’s health, leading up to her death three years ago. Then I needed to hire a lot of people to clean out her cluttered house, and to help me set up this rented house with the research materials I had accumulated. All of this has been hugely complicated by my increasing lack of mobility, and was also expensive.
Please encourage your friends to check out my publisher’s crowdfunding site at: <http://authr.com/title/2677/be-the-music_.html>. I wrote a much longer biographical story which is on my blog. I hope those with time to read it and to check out the links will find it entertaining as well as informative. 🙂 The biographical piece is greatly tailored toward Tori Amos folk. Please find the address at the end of some of my pages on Authr. After an expected initial rush of interest by Tori Amos people, the intention is to continue marketing “BE THE MUSIC” mainly to music teachers so as to alter the way music is taught. A simple goal, is it not?
I hope many people will see the importance of this work, and will agree to support it at Authr.
Great thanks to anyone who helps publicize this. It’s going to be a great challenge. Each of you is my only hope.
Amos pushed the envelope for musical innovation and confessional lyrics. Why didn’t we notice?
posted on March 12, 2014 at 3:56pm EDT
Sady Doyle, BuzzFeed Contributor
A long overdue encomium. Much thanks to Ms. Doyle. There’s just one bone I want to pick.
I have no idea why people ever believed Tori was copying Kate Bush. She has strongly denied it.
When I was seventeen years old — which was, I’m 30 now — um, people started coming up to me while I was playing in the clubs and saying to me, “God, you sound like Kate Bush.” And I would say, “Well, who’s Kate Bush?” So this happened for about, I don’t know, a few months. And I finally heard her work, and I didn’t think I sounded exactly like her. I felt like there were moments, but stylistically and the writing-wise things were very different. Um, I think she’s incredible and she gave a lot to music. She was quite a front-runner. But I try not to study her work too much, just because I was already getting compared to her um, thirteen years ago.