an early morning ramble
Mar. 3rd, 2004 02:26 am![[personal profile]](https://www.dreamwidth.org/img/silk/identity/user.png){kind=small}
iceinyourmusicI'll never get back to anything close to a normal sleep schedule (is that the word? that can not be the word.) like this ever.
I don't know for sure, but I suspect I have inherently bad taste in Tori Amos, or that my inherently bad taste in music in general is well manifested in my taste in Tori Amos, or something, in that I possibly/apparently don't care for any of the Tori albums the aficionados consider the best, and mostly just like the venus album (I've not known what it's really called since I lost the original cd cover somewhere in Hungary) and Strange Little Girls.
The thing, though, about SLG is also this, and I already talked about this in one of my very first blogposts back when, at diaryland. Is this: the spring SLG came out, I was taking the class in Gender and Translation, the one I just will not shut up about? yes, that one. which remains one of the most inspiring, fascinating, challenging courses I've been on, largely because of the teaching methods, but also because I fell absolutely in love with the subject matter, for that period, in any case. And then, before I'd ever listened to SLG, I stumbled across a bunch of reviews on it online, and I'm not so smart that things clicking would be a regular experience for me, so it was special when things just clicked, like this: that I was fresh out of discussing the possibilities of a feminist translation of "offensive" texts, and suddenly in the middle of that very same discussion again.
But everybody's already heard the two big ways of arguing Amos' version of "'97 Bonnie & Clyde" hither and thither so I don't need to recap.
Still, it was the argument, in the reviews I read, over whether you could or couldn't take something back by giving a voice to the woman in the text, that made me believe for about five minutes there that Humanities Made Sense, and that's the fondness I'm stuck with when I listen to SLG now. (It's also the glasses I wear when trying to read any cover version these days, and occasionally, on a theoretical level, fanfiction, so maybe everything in the universe does come back to Tori Amos in the end after all, no matter how many mocking quizzes I try to make.) For the record, I think the SGL version of "'97 Bonnie & Clyde" is one of the best ghost stories out there.
(Make what you will of the original, because I won't, at three o'clock in the morning.)
Saved because it's so *sporfle* precious.
I don't know for sure, but I suspect I have inherently bad taste in Tori Amos, or that my inherently bad taste in music in general is well manifested in my taste in Tori Amos, or something, in that I possibly/apparently don't care for any of the Tori albums the aficionados consider the best, and mostly just like the venus album (I've not known what it's really called since I lost the original cd cover somewhere in Hungary) and Strange Little Girls.
The thing, though, about SLG is also this, and I already talked about this in one of my very first blogposts back when, at diaryland. Is this: the spring SLG came out, I was taking the class in Gender and Translation, the one I just will not shut up about? yes, that one. which remains one of the most inspiring, fascinating, challenging courses I've been on, largely because of the teaching methods, but also because I fell absolutely in love with the subject matter, for that period, in any case. And then, before I'd ever listened to SLG, I stumbled across a bunch of reviews on it online, and I'm not so smart that things clicking would be a regular experience for me, so it was special when things just clicked, like this: that I was fresh out of discussing the possibilities of a feminist translation of "offensive" texts, and suddenly in the middle of that very same discussion again.
But everybody's already heard the two big ways of arguing Amos' version of "'97 Bonnie & Clyde" hither and thither so I don't need to recap.
Still, it was the argument, in the reviews I read, over whether you could or couldn't take something back by giving a voice to the woman in the text, that made me believe for about five minutes there that Humanities Made Sense, and that's the fondness I'm stuck with when I listen to SLG now. (It's also the glasses I wear when trying to read any cover version these days, and occasionally, on a theoretical level, fanfiction, so maybe everything in the universe does come back to Tori Amos in the end after all, no matter how many mocking quizzes I try to make.) For the record, I think the SGL version of "'97 Bonnie & Clyde" is one of the best ghost stories out there.
(Make what you will of the original, because I won't, at three o'clock in the morning.)
Saved because it's so *sporfle* precious.
