This article has multiple issues. Please help improve it or discuss these issues on the talk page. It needs additional citations for verification. Tagged since June 2009. It may not represent a worldwide view of the subject. Tagged since August 2010. Its neutrality is disputed. Tagged since August 2010.

A widow is a woman whose spouse has died, while a widower is a man whose spouse has died. The state of having lost one's spouse to death is termed widowhood or occasionally viduity. The adjective form is widowed. The treatment of widows around the world varies, but unequal benefits and treatment generally received by widows versus widowers globally has spurred an interest in the issue by human rights activists.^[1]

Economic position[link]

"Valentine of Milan Mourning her Husband, the Duke of Orléans" by Fleury-François Richard.

Statue of a mother at the Yasukuni shrine, dedicated to war widows who raised their children alone.

In societies in which the husband was typically the sole provider, his death could plunge his family into poverty. This problem can be aggravated by the general longer life of women^{[citation needed]}, and that men in many societies traditionally marry women younger than themselves^{[citation needed]}. However, even in some patriarchal societies, widows could maintain economic independence. A widow could carry on her late husband's business and consequently be accorded certain rights, such as the right to enter guilds. More recently, widows of elected officials have been among the first women elected to office in many countries (such as Corazon Aquino).

In 1800s Britain, widows had more opportunity for social mobility than in many other societies throughout history. Also, along with the ability to ascend socio-economically, women who were “presumably celibate” were much more able (and likely) to challenge conventional sexual behavior than married women in their society.^[2]

In some parts of Europe, including Russia, Czechoslovakia, Greece, Italy, and Spain, widows used to wear black for the rest of their lives to signify their mourning. This mourning ritual does not remain in practice today as before. Many immigrants of these cultures to the United States as recently as the 1970s have loosened this strict standard of dress to only two years of black garments^{[citation needed]}. However, Orthodox immigrants may wear life-long black in the U.S. to signify their widow status and devotion to their deceased husband.

In other cultures, however, widowhood is much stricter and unarguably more demeaning to women's rights. Often, women are required to remarry within the family of their late husband after a period of mourning^{[citation needed]}. With the rise of HIV/AIDS levels of infection across the globe, rituals to which women are subjected in order to be “cleansed” or accepted into her new husband's home make her susceptible to the psychological adversities that may be involved as well as impeding health risks^{[citation needed]}.

It is often necessary for women to comply with the social customs of her area because her fiscal stature is dependent on it, but this custom is also often abused by others as a way to keep money within the patriarchal family.^[3] It is also uncommon for widows to challenge their treatment because they are often “unaware of their rights under the modern law…because of their low status, and lack of education or legal representation.” ^[1]

In the U.S., as of 2004, women who are “widowed at younger ages are at greatest risk for economic hardship.” Similarly, married women who are in a financially unstable household are more likely to become widows “because of the strong relationship between mortality [of the male head] and wealth [of the household].”^[3] In underdeveloped and developing areas of the world, conditions for widows are much more severe still. However, the UN Convention on the Elimination of All Forms of Discrimination against Women (“now ratified by 135 countries”), while slow, is working on proposals which will make certain types of discrimination and treatment of widows (such as violence and withholding property rights) illegal in the countries that have joined CEDAW.^[1]

Widows in Indian culture[link]

In India, there is often an elaborate ceremony during the funeral of a widow's husband, including smashing the bangles, removing the bindi as well as any colorful attire, and requiring the woman to wear white clothes, the color of mourning. Earlier it was compulsory to wear all white after the husband was dead, and even a tradition known as sati was practiced, where the newly widowed woman would throw her body onto her husband's burning funeral pyre and immolate herself.

However, in modern-day culture the norms for clothing have gradually given way to colored clothing, and sati practice has been banned in India for more than a century. The ban began under British rule and is much owed to the persistence of social reformer Ram Mohan Roy, who asserted that sati was a means of showing status rather than a universal ritual in India, and that “there are other ways of doing it than by burning wives.” ^[4]

However, certain matrilinear communities, the most notable being the Nairs from Kerala not only allow, but encourage widow remarriage. In these societies, children retain the family name of the mother, and women were permitted to divorce and remarry if they wished.

See also[link]

Wikimedia Commons has media related to: Widows

Look up widow in Wiktionary, the free dictionary.

• Bereavement
• Black widow, is a term for female serial killers who murder a succession of husbands or boyfriends
• Estate planning
• Marriage
• Orphan
• Remarriage
• Single parent

References[link]

External links[link]

• "Nothing to Go Back To: The Fate of the Widows of Vrindavan, India" – Women News Network, November 5, 2007

• Grief's Journey (focuses on spousal loss)
• A story about Indian widows from CNN.com
• theWiddahood.com
• Ill-treatment of Widows in India
• American Widow Project
• Sixteen widows share their stories
• Help and tips for Widows and Widowers
• The International Standard Bible Encyclopedia (ISBE) (online)

As Cities Burn is a progressive rock band from Mandeville, Louisiana that formed in 2002 and broke up in 2009. The band has since "resurrected" according to their Facebook fan page.

History[link]

[edit] Early beginnings and Son, I Loved You at Your Darkest (2002–2006)

As an unsigned act, the group drew the attention of Solid State Records, a subsidiary of Tooth and Nail Records which signed them in 2004.

They released their first full length album, Son, I Loved You at Your Darkest on June 21, 2005, and was featured in Solid State's Young Bloods Tour with The Chariot, Showbread, and He Is Legend. In 2006 they toured with The Bled, Protest The Hero and Sincebyman. They held two CD release shows for this album: June 21 at Covington in Louisiana, LA and June 22 at Vinos in Little Rock, AR.

Son, I Loved You at Your Darkest had mostly a post-hardcore sound. The album contained heavy screaming by front man TJ Bonette, with back-up vocals from his younger brother Cody Bonnette. A dark, dramatic, and emotional sound was consistent throughout the record. "The Widow" (clean vocals by Cody) was a hint of what As Cities Burn would later sound like without the screaming of TJ.

[edit] Hiatus and Come Now Sleep (2006–2008)

On June 10, 2006, the band announced the end of As Cities Burn, but in early July — after an outpouring of support from fans — decided to remain together.^[2] The band's final concert was to be on August 19, 2006 at the House of Blues in New Orleans, LA. However, soon afterwards the band decided they would remain together and record a new album.

In summer 2006, on what was to be their last tour, they parted ways with bassist Pascal Barone, shortly after their announcement that they were staying together. For the remainder of the tour they performed with Robert Chisolm, singer of the band Jonezetta. After the tour they returned home to record a new album, with current guitarist Colin Kimble playing bass.

On December 17 (midnight of December 16)^{[citation needed]}, the band released a demo on MySpace and PureVolume of a new track from their upcoming album, which they recorded in early 2007. It surprised fans due to its complete lack of screaming, which had been the dominant vocal style on their previous releases. The change of vocal styling was a result of TJ Bonnette, As Cities Burn's original vocalist with a screaming style, leaving the band in pursuit of building his relationship with his wife, who lived three hours away.^[2] Guitarist Cody, who had sung the clean vocals previously, took over vocals entirely. TJ played one final show with As Cities Burn at the end of January in 2007 at the Highground venue in Metarie.

As Cities Burn spent February and March 2007 recording their newest album. On April 12, 2007, As Cities Burn released the title of their second album, Come Now Sleep. The album was released August 14, 2007. On June 8 at 12:00 AM, the song "This Is It, This Is It" was posted on their MySpace and PureVolume profile. On July 2, a second song, "Empire", was added onto their PureVolume page. From August 7 to August 9, the album was made available for streaming on the band's MySpace account. On August 14, 2007, Come Now Sleep hit the shelves.

[edit] Hell or High Water (2008–2009)

In spring of 2008, As Cities Burn posted in a bulletin on MySpace that they would be at home writing the new album. They recorded the album in summer of 2008. On September 7, 2008, they posted another bulletin that they were "about three weeks" from completing the new record. It was also said to "expect more of the direction (they) began heading in with Come Now Sleep," and that Cody, and their friend Tyler Orr were recording the record almost entirely by themselves. On January 2, 2009, the band posted a new recording entitled "Gates" on their MySpace page, which was a song the band had played numerous times at the end of live sets. On January 10, at their Texas show, they debuted "'84 Sheepdog". On March 30, "'84 Sheepdog" was posted on their MySpace page. Starting April 2, a new track was posted every Monday up to the release of the album.^[3] The songs posted were "Into the Sea", "Pirate Blues", and "Errand Rum". The Hell or High Water album was released on April 21.

In an interview in HM Magazine, Cody Bonnette stated, "The dream is to never break up, eventually start to suck more and more, and fade away." However, on July 15, 2009, As Cities Burn announced on their MySpace page that they had broken up. They released the following statement:

New projects[link]

Chris Lott went on to play guitar for Twin Killers.^[4] Cody Bonnette and Aaron Lunsford have started a new band called Hawkboy, and are currently touring with Emery in the We Do What We Want Tour. Their sets involve covering As Cities Burn's music, as well a few new originals. Hawkboy has recently recorded a free EP which can be downloaded on iTunes, or accessed through their Facebook page. no MySpace page has been set up, but they do have a Facebook fan page up,^[5] as well as a Twitter account.^[6]

Reunion[link]

On August 30, 2011, As Cities Burn updated their Facebook status saying "Stay tuned for news regarding As Cities Burn." The band made a Twitter account shortly thereafter, through which they tweeted "Reunion show" followed by the hashtag #silyayd, which is an abbreviation for their album "Son, I Loved You at Your Darkest". Fans have assumed that this means a reunion show with the old lineup is in store for the band. They announced that they would be playing "Son, I Loved You at Your Darkest" in its entirety with TJ at Unsilent Night, a festival in Dallas, TX. Barone was not present on stage in Dallas, but instead Kimble remained on bass while Lott took Kimble's place on rhythm guitar. On February 6, 2012, the band announced via their Facebook page that they would also be playing "Son, I Loved You at Your Darkest" in its entirety in Nashville and Baton Rouge in April.

According to the band's Facebook page, the band is "resurrected".

Members[link]

• TJ Bonnette – screamed vocals, programming, piano
• Cody Bonnette – lead vocals, guitar, keyboards, programming
• Colin Kimble – bass, guitar, backing vocals
• Aaron Lunsford – drums, percussion
• Chris Lott – guitar, backing vocals

Former members[link]

• Bryan Dixon – drums
• Pascal Barone – bass

Discography[link]

Studio albums

EPs

• 2002: As Cities Burn EP 2002
• 2003: As Cities Burn EP 2003
• 2007: The EP

Videography[link]

• "Bloodsucker Pt. II"
• "Empire"
• "The Widow" (live)

References[link]

External links[link]

• As Cities Burn on Myspace
• FR*A Interview with As Cities Burn

Tori Amos
Tori Amos at the 2008 Comic-Con
Background information
Birth name	Myra Ellen Amos
Born	(1963-08-22) August 22, 1963 (age 48) Newton, North Carolina, United States
Genres	Piano rock, art pop, alternative rock, electronica
Occupations	Musician, vocalist, songwriter, record producer
Instruments	Piano, harpsichord, clavichord, Hammond organ, harmonium, Fender Rhodes, Wurlitzer, Kurzweil, clavinet, vocals
Years active	1986–present
Labels	Atlantic Epic Universal Republic Deutsche Grammophon
Associated acts	Y Kant Tori Read
Website	toriamos.com everythingtori.com
Notable instruments
Bösendorfer piano[1]

Tori Amos (born Myra Ellen Amos; August 22, 1963) is an American pianist, singer-songwriter and composer. Amos originally served as the lead singer of 1980s synthpop group Y Kant Tori Read, and as a solo artist was at the forefront of a number of female singer-songwriters in the early 1990s. She was also noteworthy early in her solo career as one of the few alternative rock performers to use a piano as her primary instrument. Some of her charting singles include "Crucify", "Silent All These Years", "God", "Cornflake Girl", "Caught a Lite Sneeze", "Professional Widow", "Spark", "1000 Oceans", and "A Sorta Fairytale", her most commercially successful single in the U.S. to date.^[2]

As of 2005, Amos had sold 12 million albums worldwide.^[3] She has been nominated for 8 Grammy Awards. Amos was also named one of People Magazine's 50 Most Beautiful People in 1996.^[4]

Early life[link]

Amos was born in Newton, North Carolina. When she was two, her family moved to Baltimore, Maryland, where she began to play the piano. By age five, she had begun composing instrumental pieces on piano and, while living in Rockville, Maryland, she won a full scholarship to the Preparatory Division of the Peabody Conservatory of Music.^[5] Her scholarship was discontinued at age 11 and she was asked to leave. Amos has asserted that she lost the scholarship because of her interest in rock and popular music, coupled with her dislike for reading from sheet music.^[5] In 1972, The Amos family moved to Silver Spring, Maryland, where her father, Reverend Edison Amos, became pastor of the Good Shepherd United Methodist church. At the age of 13 she began playing at gay bars and piano bars, chaperoned by her father.^[5][6]

Amos first came to local notice by winning a county teen talent contest in 1977, singing a song called "More Than Just a Friend". As a senior at Richard Montgomery High School, she co-wrote "Baltimore" with her brother Mike Amos for a competition involving the Baltimore Orioles. The song won the contest and became her first single, released as a 7" single pressed locally for family and friends during 1980 with another Amos-penned composition as a B-side, "Walking With You". Prior to this period she performed under her middle name, Ellen, but permanently adopted Tori after a friend's boyfriend told her it suited her.^[7] At age 21, Amos moved to Los Angeles to pursue her music career after several years performing on the piano bar circuit of the D.C. area.^[8]

Atlantic years (1986–2001)[link]

Y Kant Tori Read[link]

In 1986, Amos formed a music group, Y Kant Tori Read, the name of which was a reference to her days at the Peabody Conservatory, where she was able to play songs on her piano by ear, but was never successful at sight reading.^[9] In addition to Amos, the group was composed of Steve Caton (who would later play guitars on all her subsequent albums until 1999), drummer Matt Sorum, bass player Brad Cobb and, for a short time, keyboardist Jim Tauber. Following several phases of writing and recording, during which Amos has since asserted that the band lost their musical edge and direction due to interference from record executives, in July 1988, the Y Kant Tori Read's self-titled debut album was released. Although its producer, Joe Chiccarelli, has stated that Amos was very happy with the album at the time,^[10] it is now out of print and Amos has expressed no interest in reissuing it.^[11] Following the album's commercial failure and the group's subsequent disbanding, Amos began working with other artists (including Stan Ridgway, Sandra Bernhard, and Al Stewart) as a backup vocalist. She also recorded a song called "Distant Storm" for the film China O'Brien; in the credits, the song is attributed to a band called Tess Makes Good.^[12] It was the only song recorded by the band, and its only commercial release was in the film.

Solo career[link]

Despite the disappointing reaction to Y Kant Tori Read, Amos still had to comply with her six-record contract with Atlantic Records, who in 1989 wanted a new record by March 1990. The initial recordings were declined by the label, which Amos felt was because the album had not been properly presented.^[13] The album was reworked and expanded under the guidance of Doug Morris and the musical talents of Steve Caton, Eric Rosse, Will MacGregor, Carlo Nuccio, and Dan Nebenzal, resulting in Little Earthquakes, an album recounting her religious upbringing, sexual awakening, struggle to establish her identity, and sexual assault. This album became her commercial and artistic breakthrough.

Amos traveled to New Mexico with personal and professional partner Eric Rosse in 1993 to write and largely record her second solo record, Under the Pink. The album was received with mostly favorable reviews and sold enough copies to chart at #12 on the Billboard 200, a significantly higher position than the preceding album's position at #54 on the same chart.^[14]

Amos performing on her Dew Drop Inn tour in 1996

Her third solo album, Boys for Pele, was released in January 1996. The album was recorded in an Irish church, in Delgany, County Wicklow, with Amos taking advantage of the church recording setting to create an album ripe with baroque influences, lending it a darker sound and style. She added harpsichord, harmonium, and clavichord to her keyboard repertoire, and also included such anomalies as a gospel choir, bagpipes, church bells, and drum programming. The album garnered mixed reviews upon its release, with some critics praising its intensity and uniqueness while others bemoaned its comparative impenetrability. Despite the album's erratic lyrical content and instrumentation, the latter of which kept it away from mainstream audiences, Boys for Pele is Amos's most successful simultaneous transatlantic release, reaching #2 on both the Billboard 200 and the UK Top 40 upon its release at the height of her fame.^[15][16]

Fueled by the desire to have her own recording studio to distance herself from record company executives,^[17] Amos had the barn of her home in Cornwall converted into a state-of-the-art recording studio, Martian Engineering Studios.

From the Choirgirl Hotel and To Venus and Back, released in May 1998 and September 1999, respectively, differ greatly from previous albums as Amos's trademark acoustic piano-based sound is largely replaced with arrangements that include elements of electronica, dance music, vocal washes and sonic landscapes. The underlying themes of both albums deal with womanhood, and Amos's own miscarriages and marriage. Reviews for From the Choirgirl Hotel were mostly favorable and praised Amos's continued artistic originality. While not her highest chart debut, debut sales for From the Choirgirl Hotel are Amos's best to date, selling 153,000 copies in its first week.^[18] To Venus and Back, a two-disc release of original studio material and live material recorded from the previous world tour, received mostly positive reviews and included the first major-label single available for sale as a digital download.^[19]

Motherhood inspired Amos to produce a cover album, recording songs written by men about women and reversing the gender roles to show a woman's perspective.^[20] That idea grew into Strange Little Girls, released in September 2001, one year after giving birth to her daughter. The album is Amos's first concept album, with artwork featuring Amos photographed in character of the women portrayed in each song. Amos would later reveal that a stimulus for the album was to end her contract with Atlantic without giving them new original songs; Amos felt that since 1998, the label had not been properly promoting her and had trapped her in a contract by refusing to sell her to another label.^[21]

Epic Records years (2002–07)[link]

With her Atlantic contract fulfilled after a 15-year stint, Amos signed to Epic in late 2001. In October 2002, Amos released Scarlet's Walk, another concept album. Described as a "sonic novel", the album explores Amos's alter ego, Scarlet, intertwined with her cross-country concert tour following 9/11. Through the songs, Amos explores such topics as the history of America, American people, Native American history, pornography, masochism, homophobia and misogyny. The album had a strong debut,^[22][23] demonstrating that Amos' fan base remained intact through the label change. However, Scarlet's Walk is Amos' last album to date to reach certified gold status.^[24]

Amos in concert in June, 2005

Not long after Amos was ensconced with her new label, she received unsettling news when Polly Anthony resigned as president of Epic Records in 2003. Anthony had been one of the primary reasons Amos signed with the label and as a result of her resignation, Amos formed the Bridge Entertainment Group. Further trouble for Amos occurred the following year when her label, Epic/Sony Music Entertainment, merged with BMG Entertainment as a result of the industry's decline.^[25] Amos would later hint in interviews that during the creation of her next album, those in charge at the label following the aforementioned merger were interested "only in making money", the effects of which on the album have not been disclosed.^{[citation needed]}

Amos released two more albums with the label, The Beekeeper (2005) and American Doll Posse (2007). Both albums received mixed reviews, some of which stated that the albums suffered from being too long.^[26][27] The Beekeeper was conceptually influenced by the ancient art of beekeeping, which she considered a source of female inspiration and empowerment. Through extensive study, Amos also wove in the stories of the Gnostic gospels and the removal of women from a position of power within the Christian church to create an album based largely on religion and politics. The album debuted at #5 on the Billboard 200,^[28] placing her in an elite group of women who have secured five or more US Top 10 album debuts.^[29] American Doll Posse, another concept album, was fashioned around a group of girls (the "posse") who are used as a theme of alter-egos of Amos's. Musically and stylistically, the album saw Amos return to a more confrontational nature.^[30] Like its predecessor, American Doll Posse debuted at #5 on the Billboard 200.^[14]

During her tenure with Epic Records, Amos also released a retrospective collection titled Tales of a Librarian (2003) through her former label, Atlantic Records; a two-disc DVD set Fade to Red (2006) containing most of Amos's solo music videos, released through the Warner Bros. reissue imprint Rhino; a five disc box set titled A Piano: The Collection (2006), celebrating Amos's 15 year solo career through remastered album tracks, remixes, alternate mixes, demos, and a string of unreleased songs from album recording sessions, also released through Rhino; and numerous official bootlegs from two world tours, The Original Bootlegs (2005) and Legs & Boots (2007) through Epic Records.

Universal Music years (2008–present)[link]

Universal Republic (2008–2011)[link]

In May 2008, Amos announced that, due to creative and financial disagreements with Epic Records, she had negotiated an end to her contract with the record label, and would be operating independently of major record labels on future work.^[31][32] In September of the same year, Amos released a live album and DVD, Live at Montreux 1991/1992, through Eagle Rock Entertainment, of two performances she gave at the Montreux Jazz Festival very early on in her career while promoting her debut solo album, Little Earthquakes. By December, after a chance encounter with chairman and CEO of Universal Music Group, Doug Morris, Amos signed a "joint venture" deal with Universal Republic Records.^{[33][34][35][36]}

Abnormally Attracted to Sin, Amos's tenth solo studio-album and her first album released through Universal Republic, was released in May 2009 to mostly positive reviews. The album debuted in the top 10 of the Billboard 200,^[37] making it the Amos' seventh album to do so.^[38] Abnormally Attracted to Sin, admitted Amos, was a "personal album", not a conceptual one.^[39] Continuing her distribution deal with Universal Republic, Amos released Midwinter Graces, her first seasonal album, in November of the same year. The album features reworked versions of traditional carols, as well as original songs written by Amos.^[40]

During her contract with the label, Amos recorded vocals for two songs for David Byrne's collaboration album with Fatboy Slim, entitled Here Lies Love,^[41] which was released in April 2010. In July of the same year, the DVD Tori Amos- Live from the Artists Den was released exclusively through Barnes & Noble.

After a brief tour from June to September 2010, Amos released the highly exclusive live album From Russia With Love in December the same year, recorded live in Moscow on 3 September 2010. The limited edition set included a signature edition Lomography Diana F+ camera, along with 2 lenses, a roll of film and 1 of 5 photographs taken of Tori during her time in Moscow. The set was released exclusively through toriamos.com and only 2000 were produced. It is currently unknown as to whether the album will receive a mass release.

Deutsche Grammophon (2011–present)[link]

In September 2011, Amos released her first classical music album, Night of Hunters, featuring variations on a theme to pay tribute to such renowned composers as Bach, Chopin, Debussy, Granados, Satie and Schubert, through the Deutsche Grammophon label, a division of Universal Music Group. She is currently writing the music for Samuel Adamson's musical adaptation of the George MacDonald story The Light Princess for the Royal National Theatre, which was originally expected to debut in spring 2012^[42] but has now been deferred.^[43] Amos has, however, confirmed the release of an album in 2012 marking the 20th anniversary of her debut album Little Earthquakes.^[44] The album will consist of songs from her back catalogue rearranged and performed by the Metropole Orchestra.

On May 1st, 2012, Amos announced the formation of her own record label Transmission Galactic, which she intends to use to develop new artists.

In print[link]

Released in conjunction with The Beekeeper, Amos co-authored an autobiography with rock music journalist Ann Powers entitled Piece by Piece (2005). The book's subject is Amos's interest in mythology and religion, exploring her songwriting process, rise to fame, and her relationship with Atlantic Records.

Image Comics released Comic Book Tattoo (2008), a collection of comic stories, each based on or inspired by songs recorded by Amos. Editor Rantz Hoseley worked with Amos to gather 80 different artists for the book, including Pia Guerra, David Mack, and Leah Moore.

Additionally, Amos and her music have been the subject of numerous official and unofficial books, as well as academic critique, including Tori Amos: Lyrics (2001) and an earlier biography, Tori Amos: All These Years (1996).^[45][46][47]

"Tori Amos: In the Studio" (2011) by Jake Brown features an in-depth look at Amos's career, discography and recording process.^[48]

In 2011 Adrienne Trier-Bieniek, a sociology graduate student at Western Michigan University, received her PhD for a dissertation entitled “All I Am: Defining Music as an Emotional Catalyst through a Sociological Study of Emotions, Gender and Culture". Trier-Bieniek focused on Amos' female fans and the emotional support they receive from listening to Amos' music. Along with Patricia Leavy, Trier-Bieniek contributed a chapter to the book "The Art of Social Critique"^[49] which addressed Amos' later albums and songwriting skills.

Personal life[link]

Family[link]

Amos in 1993 Alexandra Palace, London

Amos is the third child of Rev. Dr. Edison and Mary Ellen Amos. She was born at the Old Catawba Hospital in Newton, North Carolina, during a trip from their Georgetown home in Washington, D.C. Her maternal grandparents were of mixed European and Eastern Cherokee ancestry; of particular importance to her as a child was her grandfather, Calvin Clinton Copeland, who was a great source of inspiration and guidance to her as a young child, offering a more pantheistic spiritual alternative to her father and paternal grandmother's traditional Christianity.^[50]

Early in her professional career, Amos befriended author Neil Gaiman, who became a fan after she referenced him in the song "Tear in Your Hand" and also in print interviews.^[51] Although created before the two met, the character Delirium from Gaiman's The Sandman series (or even her sister Death) is inspired by Amos; Gaiman has stated that they "steal shamelessly from each other".^[52] She wrote the foreword to his collection Death: The High Cost of Living; he in turn wrote the introduction to Comic Book Tattoo. Gaiman is godfather to her daughter and a poem written for her birth, Blueberry Girl, was published as a children's book of the same name in 2009.^[53]

Amos married English sound engineer Mark Hawley on February 22, 1998. Their only child, a daughter named Natashya "Tash" Lórien Hawley, was born on September 5, 2000, a few weeks after Tori's 37th birthday. The family divides their time between Sewall's Point in Florida, Kinsale^[54] (County Cork) in Ireland, and Cornwall in England.

Activism[link]

In June 1994, Amos co-founded RAINN, The Rape, Abuse and Incest National Network, a toll-free help line in the US connecting callers with their local rape crisis center. Amos, herself a survivor of sexual assault,^[55] was seen as unlocking the silence of her assault through her music; thus "Unlock the Silence" went on to become a year-long campaign for RAINN when Amos became a national spokesperson for the organization. By the summer of 2006, RAINN had received its one millionth caller^[56] and the organization's success has led to it ranking in "America's 100 Best Charities" by Worth, and one of the "Top 10 Best Charities" by Marie Claire.

Discography[link]

As of 2011, Amos has released 12 solo studio albums during her solo career; all but the first two are self-produced.

• Little Earthquakes (1992)
• Under the Pink (1994)
• Boys for Pele (1996)
• From the Choirgirl Hotel (1998)
• To Venus and Back (1999)
• Strange Little Girls (2001)
• Scarlet's Walk (2002)
• The Beekeeper (2005)
• American Doll Posse (2007)
• Abnormally Attracted to Sin (2009)
• Midwinter Graces (2009)
• Night of Hunters (2011)

Amos has also released more than 30 singles and 60 B-sides, and has contributed original material to nine film soundtracks, including Higher Learning (1995), Twister (1996), Great Expectations (1998) and Mission: Impossible II (2000). Her cover of the 1952 hit "You Belong to Me" appears on the soundtrack to 2003's Mona Lisa Smile.

Tours[link]

Amos, who has been performing in bars and clubs from as early as 1976 and under her professional name as early as 1991 has performed more than 1,000 shows since her first world tour in 1992. In 2003, Amos was voted fifth best touring act by the readers of Rolling Stone magazine. Her concerts are notable for their changing set lists from night to night.

Little Earthquakes Tour 

Amos's first world tour began on January 29, 1992 in London and ended on November 30, 1992 in Auckland. She performed solo with a Yamaha CP-70 unless the venue was able to provide a piano.^[57][58] The tour included 142 concerts around the globe.

Under the Pink Tour 

Amos's second world tour began on February 24, 1994 in Newcastle upon Tyne and ended on December 13, 1994 in Perth, Western Australia. Amos performed solo each night on her iconic Bösendorfer^{[citation needed]} piano, and on a prepared piano during "Bells for Her". The tour included 181 concerts.

Dew Drop Inn Tour 

The third world tour began on February 23, 1996 in Ipswich, England, and ended on November 11, 1996 in Boulder. Amos performed each night on piano, harpsichord, and harmonium, with Steve Caton on guitar on some songs. The tour included 187 concerts.

Plugged '98 Tour 

Amos's first band tour. Amos, on piano and Kurzweil keyboard, was joined by Steve Caton on guitar, Matt Chamberlain on drums, and Jon Evans on bass. The tour began on April 18, 1998 in Fort Lauderdale and ended on December 3, 1998 in East Lansing, Michigan, including 137 concerts.

Five and a Half Weeks Tour / To Dallas and Back 

Amos's fifth tour was North America–only. The first part of the tour was co-headlining with Alanis Morissette and featured the same band and equipment line-up as in 1998. Amos and the band continued for eight shows before Amos embarked on a series of solo shows. The tour began on August 18, 1999 in Fort Lauderdale, Florida and ended on December 9, 1999 in Denver, including 46 concerts.

Strange Little Tour 

This tour was Amos's first since becoming a mother in 2000 and her first tour fully solo since 1994 (Steve Caton was present on some songs in 1996). It saw Amos perform on piano, Rhodes piano, and Wurlitzer electric piano, and though the tour was in support of her covers album, the set lists were not strictly covers-oriented. Having brought her one-year-old daughter on the road with her, this tour was also one of Amos's shortest ventures, lasting just three months. It began on August 30, 2001 in London and ended on December 17, 2001 in Milan, including 55 concerts.

On Scarlet's Walk / Lottapianos Tour 

Amos's seventh tour saw her reunited with Matt Chamberlain and Jon Evans, but not Steve Caton. The first part of the tour, which featured Amos on piano, Rhodes, and Wurlitzer, was six months long and Amos went out again in the summer of 2003 for a tour with Ben Folds opening. The tour began on November 7, 2002 in Tampa and ended on September 4, 2003 in West Palm Beach, featuring 124 concerts. The final show of the tour was filmed and released as part of a DVD/CD set titled Welcome to Sunny Florida (the set also included a studio EP titled Scarlet's Hidden Treasures, an extension of the Scarlet's Walk album).

Original Sinsuality Tour / Summer of Sin 

This tour began on April 1, 2005 in Clearwater, Florida, with Amos on piano, two Hammond B-3 organs, and Rhodes. The tour also encompassed Australia for the first time since 1994. Amos announced at a concert on this tour that she would never stop touring but would scale down the tours. Amos returned to the road in August and September for the Summer of Sin North America leg, ending on September 17, 2005 in Los Angeles. The tour featured "Tori's Piano Bar", where fans could nominate cover songs on Amos's website which she would then choose from to play in a special section of each show. One of the songs chosen was the Kylie Minogue hit "Can't Get You Out of My Head", which Amos dedicated to her the day after Minogue's breast cancer was announced to the public. Other songs performed by Amos include The Doors' "People are Strange", Depeche Mode's "Personal Jesus", Joni Mitchell's "The Circle Game", Madonna's "Live to Tell" and "Like a Prayer", Björk's "Hyperballad", Led Zeppelin's "When the Levee Breaks" (which she debuted in Austin, Texas, just after the events of Hurricane Katrina), Kate Bush's "And Dream of Sheep" and Crowded House's "Don't Dream It's Over", dedicating it to drummer Paul Hester who had died a week before. The entire concert tour featured 82 concerts, and six full-length concerts were released as The Original Bootlegs.

American Doll Posse World Tour 

This was Amos's first tour with a full band since her 1999 Five and a Half Weeks Tour, accompanied by long-time band mates Jon Evans and Matt Chamberlain, with guitarist Dan Phelps rounding out Amos's new band.^[59] Amos's equipment included her piano, a Hammond B-3 organ, and two Yamaha S90 ES keyboards. The tour kicked off with its European leg in Rome, Italy on May 28, 2007, which lasted through July, concluding in Israel; the Australian leg took place during September; the North American leg lasted from October to December 16, 2007, when the tour concluded in Los Angeles. Amos opened each show dressed as one of the four non-Tori personae from the album, then Amos would emerge as herself to perform for the remaining two-thirds of the show. The entire concert tour featured 93 concerts, and 27 full-length concerts of the North American tour were released as official bootlegs in the Legs and Boots series.

Sinful Attraction Tour 

For her tenth tour, Amos returned to the trio format of her 2002 and 2003 tours with bassist Jon Evans and drummer Matt Chamberlain while expanding her lineup of keyboards by adding three M-Audio MIDI controllers to her ensemble of her piano, a Hammond B-3 organ, and a Yamaha S90 ES keyboard. The North American and European band tour began on 10 July 2009 in Seattle, Washington and ended in Warsaw on 10 October 2009. A solo leg through Australia began in Melbourne on 12 November 2009 and ended in Brisbane on 24 November 2009. The entire tour featured 63 concerts.

Night of Hunters tour 

Amos' eleventh tour was her first with a string quartet, Apollon Musagète, (Amos' equipment includes her piano and a Yamaha S90 ES keyboard) and her first time touring in South Africa. It kicked off on 28 September 2011 in Finland, Helsinki Ice Hall and ended on 22 December 2011 in Dallas, Texas.^[60]

Award nominations[link]

Grammy Awards

Note: In 2003 the Tori Amos album Scarlet's Walk (deluxe edition) was nominated in the category "Best Boxed or Special Limited Edition Packaging", this nomination went to the art directors Dave Bett and Sherri Lee. Also in 2003, "Timo on Tori (Don't Make Me Come To Vegas) a remix of the Tori Amos song Don't Make Me Come to Vegas was nominated in the category "Best Remixed Recording, Non Classical" this nomination went to the remixers Mark Buttrich and Timo Maas.

Brit Awards

MTV Video Music Awards

References[link]

External links[link]

Wikimedia Commons has media related to: Tori Amos

Wikiquote has a collection of quotations related to: Tori Amos

• Official website
• Tori Amos discography at MusicBrainz
• Tori Amos at the Internet Movie Database
• Synthesis.net April 2007 podcast interview
• Tori Amos on Synthesis.net
• Tori Amos on Virb.com
• Tori Amos on Advocate.com
• Tori Amos on Allmusic.com
• Y Kant Tori Read on Allmusic.com

Dame Elisabeth Schwarzkopf, DBE (9 December 1915 – 3 August 2006) was a German-born Austrian/British soprano opera singer and recitalist. She was among the most renowned opera singers of the 20th century, much admired for her performances of Mozart, Schubert, Strauss, and Wolf.

Early life[link]

Olga Maria Elisabeth Friederike Schwarzkopf was born in Jarotschin in the province of Posen in Prussia to Friedrich Schwarzkopf and his wife, Elisabeth (née Fröhling). Schwarzkopf showed an interest in music from an early age. She performed in her first opera in 1928, as Eurydice in a school production of Gluck's Orfeo ed Euridice in Magdeburg, Germany. In 1934, Schwarzkopf began her musical studies at the Berlin Hochschule für Musik.^{[citation needed]}

However at the suggestion of the baritone Karl Schmitt-Walter, she switched teachers and started working with the coloratura soprano Maria Ivogün as well as with Ivogün's husband, the pianist Michael Raucheisen. Ivogün's advice to her new pupil was, "Be noble, my child!"^{[citation needed]}

Early career[link]

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In 1933, shortly after the Nazis came to power, Elisabeth Schwarzkopf's father, a local school headmaster, was dismissed from his position by the new ruling authorities for having refused to allow a Nazi party meeting at his school. He was also banned from taking any new teaching post. Prior to Friedrich Schwarzkopf's dismissal, the probability was that the 17-year-old Elisabeth would have studied medicine after passing her Abitur, but now, as the daughter of a banned schoolteacher, she was not allowed to enter university and – fortunately for posterity – she commenced music studies at the Berlin Hochschule für Musik. Schwarzkopf made her professional debut at the Deutsche Oper Berlin (then called Deutsches Opernhaus) on 15 April 1938, as the Second Flower Maiden (First Group) in act 2 of Richard Wagner's Parsifal. In 1940 Schwarzkopf was awarded a full contract with the Deutsches Opernhaus, a condition of which was that she had to join the Nazi party.^[1]

Since the theme was brought up in the dissertation of the Austrian historian Oliver Rathkolb in the year 1982, the discussion of the singer's (Schwarzkopf) relationship with National Socialism (i. e. Nazi Party) has been discussed repeatedly in the media and in literature. There was criticism that Schwarzkopf, not only in the years immediately after the war but also in confrontation with revelations made in the 1980s and 1990s made contradictory statements, including in regard to her membership in the NSDAP (Member No. 7,548,960). At first, she denied this and then with varying explanations defended it. In one version, for example, she claimed that she joined the party only at the insistence of her father who, himself, earlier had lost his position as school principal after forbidding a Nazi program in the school. Critics have accused her, however, of typical suppression reactions and ruthless careerism in the Nazi era.

Further publications discussed her musical performances during the war before (Nazi) party conferences and for units of the Waffen-SS (combat SS). Her defenders argue in favor of her claim that she always strictly separated art from politics and that she was a non-political person. "That she tried to cover up these misdeeds, even as the truth of them became known, and didn't admit them voluntarily, has led some to attack her as being a profiteer of the Nazi cultural system".^[2]

In 1942, she was invited to sing with the Vienna State Opera, where her roles included Konstanze in Mozart's Die Entführung aus dem Serail, Musetta and later Mimì in Puccini's La bohème and Violetta in Verdi's La traviata.

Post-war career[link]

In 1945, Schwarzkopf was granted Austrian citizenship to enable her to sing in the Vienna State Opera (Wiener Staatsoper). In 1947 and 1948, Schwarzkopf appeared on tour with the Vienna State Opera at London's Royal Opera House at Covent Garden on 16 September 1947 as Donna Elvira in Mozart's Don Giovanni and at La Scala on 28 December 1948, as the Countess in Mozart's The Marriage of Figaro, which became one of her signature roles.

Schwarzkopf later made her official debut at the Royal Opera House on 16 January 1948, as Pamina in Mozart's The Magic Flute, in performances sung in English, and at La Scala on 29 June 1950 singing Beethoven's Missa Solemnis. Schwarzkopf's association with the Milanese house in the early 1950s gave her the opportunity to sing certain roles on stage for the only time in her career: Mélisande in Debussy's Pelléas et Mélisande, Jole in Handel's Eracle, Marguerite in Gounod's Faust, Elsa in Wagner's Lohengrin, as well as her first Marschallin in Richard Strauss's Der Rosenkavalier and her first Fiordiligi in Mozart's Così fan tutte at the Piccola Scala. On 11 September 1951, she appeared as Anne Trulove in the world premiere of Stravinsky's The Rake's Progress. Schwarzkopf made her American debut with the San Francisco Opera on 20 September 1955 as the Marschallin, and her debut at the Metropolitan Opera on 19 December 1964, also as the Marschallin.

Elisabeth Schwarzkopf at the Lucerne Festival around 1948

In March 1946, Schwarzkopf was invited to audition for Walter Legge, an influential British classical record producer and a founder of the Philharmonia Orchestra. Legge asked her to sing Hugo Wolf's lied Wer rief dich denn? and, impressed, signed her to an exclusive contract with EMI. They began a close partnership and Legge subsequently became Schwarzkopf's manager and companion. They were married on 19 October 1953 in Epsom, Surrey; Schwarzkopf thus acquired British citizenship by marriage. Schwarzkopf would divide her time between lieder recitals and opera performances for the rest of her career. When invited in 1958 to select her eight favourite records on the BBC's Desert Island Discs, Schwarzkopf chose seven of her own recordings,^[3] and an eighth of Karajan conducting the Rosenkavalier prelude, as they evoked fond memories of the people she had worked with.^[4][5][6][7]

In the 1960s, Schwarzkopf concentrated nearly exclusively on five operatic roles: Donna Elvira in Don Giovanni, Countess Almaviva in The Marriage of Figaro, Fiordiligi in Così fan tutte, Countess Madeleine in Strauss's Capriccio, and the Marschallin. She also was well received as Alice Ford in Verdi's Falstaff. However, on the EMI label she made several "champagne operetta" recordings like Franz Lehár's The Merry Widow and Johann Strauss II's The Gypsy Baron.

Schwarzkopf's last operatic performance was as the Marschallin on 31 December 1971, in the theatre of La Monnaie in Brussels. For the next several years, she devoted herself exclusively to lieder recitals. On 17 March 1979, Walter Legge suffered a severe heart attack. He disregarded doctor's orders to rest and attended Schwarzkopf's final recital two days later in Zurich. Three days later, he died.

After retiring, Schwarzkopf taught and gave master classes around the world, notably at the Juilliard School in New York City. After living in Switzerland for many years, she took up residence in Austria. She was made a doctor of music by the University of Cambridge in 1976, and became a Dame Commander of the Order of the British Empire (DBE) in 1992.^[8]

Schwarzkopf died in her sleep during the night of 2–3 August 2006 at her home in Schruns, Vorarlberg, Austria, aged 90. Immediately following her death, an urban myth resurfaced: that she was an aunt of Norman Schwarzkopf. This myth was published in several obituaries.^[9] However, Elisabeth Schwarzkopf was an only child, and thus had no nieces or nephews.

Legacy[link]

She leaves a discography that is considerable both in quality and in quantity and will be mostly remembered for her Mozart and Richard Strauss operatic portrayals, her two commercial recordings of Strauss's Four Last Songs, and her countless recordings of lieder, especially those of Wolf.

The Elisabeth Schwarzkopf/Walter Legge Society, chaired by Dr Daphne Kerslake, continues to keep her name alive.^{[citation needed]}

Awards[link]

• 1950: Lilli Lehmann Medal, Mozarteum International Foundation, Salzburg
• 1959: 1. "Orfeo d'Oro", Mantua (?)
• 1969: Orphée d'or recording award from the Académie du disque lyrique in Paris
• 1961: Edison Award, Amsterdam
• 1961: Awarded the title Deutsche Kammersängerin
• 1964: Honorary member of the Royal Swedish Academy of Music
• 1967: Stockholm television award for best European soprano Stockholmer
• 1971: Hugo-Wolf Medal
• 1974: Grand Cross of the Order of Merit of the Federal Republic of Germany
• 1982: Mozart Medal of the city of Frankfurt am Main
• 1983: Honorary member of the Vienna State Opera and title of Kammersängerin
• 1986: Commandeur de l'Ordre des Arts et des Lettres
• 1991: UNESCO Mozart Medal
• 1992: Dame Commander of the Order of the British Empire for services to music
• 2002: Honorary medal from the city of Vienna
• 2012: Voted into Gramophone Hall of Fame^[10]

Quotations[link]

This section is a candidate to be copied to Wikiquote using the Transwiki process.

• (After being asked about Peter Sellars) "There are names I do not want mentioned in my home. Do not say that name in my presence. I have seen what he has done, and it is criminal. As my husband used to say, so far no one has dared go into the Louvre Museum to spray graffiti on the Mona Lisa, but some opera directors are spraying graffiti over masterpieces." – Newsweek interview, 15 October 1990
• "Many composers today don't know what the human throat is. At Bloomington, Indiana, I was invited to listen to music written in quarter tones for four harps and voices. I had to go out to be sick." – Newsweek interview, 15 October 1990

Further reading[link]

• Jefferson, Alan Elisabeth Schwarzkopf Northeastern University Press (August 1996) ISBN 1-55553-272-1 Chapter One extract
• Sanders, Alan 'The Schwarzkopf Tapes: An artist replies to a hostile biography' (2010) ISBN 978-0-9567361-0-9
• Legge, Walter; postscript by Schwarzkopf, Elisabeth; ed. Sanders, Alan Walter Legge: Words and Music Routledge (1998) ISBN 0-415-92108-2
• Sanders, Alan and Steane, John B Elisabeth Schwarzkopf: A Career on Record Amadeus Pr (January 1996) ISBN 0-931340-99-3
• Schwarzkopf, Elisabeth Les autres soirs Tallandier (August 16, 2004) ISBN 2-84734-068-8
• Schwarzkopf, Elisabeth On and Off the Record: A Memoir of Walter Legge Faber and Faber Ltd (December 31, 1982) ISBN 0-571-11928-X; Scribner (March 1982) ISBN 0-684-17451-0; (paperback) ISBN 0-571-14912-X; University of British Columbia Press (January 1, 2002) ISBN 1-55553-519-4
• Liese, Kirsten, Elisabeth Schwarzkopf. From Flower Maiden To Marschallin. Molden, Vienna 2007. ISBN 978-3-85485-218-6

Recordings[link]

Recordings include the following.

Bach

• St Matthew Passion (Klemperer), Philharmonia Orchestra (EMI 1961)

Brahms

• A German Requiem (Klemperer), Philharmonia Orchestra (EMI 1961)

Humperdinck

• Hänsel und Gretel (Karajan) (1953) Naxos 8.110897-98

Lehár

• Das Land des Lächelns (Ackermann) (1953) and excerpts from Lehar Operettas Naxos 8.111016-17
• Die lustige Witwe (Kunz, Gedda) (1953) Naxos 8.111007

Mozart

• Don Giovanni (Carlo Maria Giulini, Philharmonia Orchestra) (EMI 1959) with Joan Sutherland as Donna Anna.
• Le nozze di Figaro (Carlo Maria Giulini, Philharmonia Orchestra) (EMI 1959)
• Così fan tutte (Otto, Karajan) (1954) Naxos 8.111232-34

Johann Strauss II

• Die Fledermaus (Gedda, Karajan) (1955) Naxos 8.111036-37

Richard Strauss

• Four Last Songs / Arabella (highlights) (Ackermann, Matacic) (1953, 1954) Naxos 8.111145
• Four Last Songs (Szell; 1965; EMI Classics "Great Recordings of the Century"; Cat: 0724356696020)
• Ariadne auf Naxos (Streich, Karajan) (1954) Naxos 8.111033-34
• Capriccio (Christa Ludwig, Dietrich Fischer-Dieskau, Nicolai Gedda, Wolfgang Sawallisch) (1957) EMI CDS 7 49014-8

Verdi

• Messa da Requiem (Di Stefano, De Sabata) (1954) Naxos 8.111049-50

Richard Wagner

• Die Meistersinger von Nürnberg (Karajan) (1951) Naxos 8.110872-75

Notes and references[link]

1. ^ Guilty victim: Austria from the Holocaust to Haider - Page 89 Hella Pick - 2000 "Schwarzkopf who justified Party membership as a passport to performance"
2. ^ Tagliabue, John (17 March 1983). "Germans Explore Ties of Musicians of Nazis". The New York Times. http://www.nytimes.com/1983/03/17/arts/germans-explore-ties-of-musicians-of-nazis.html.  (Subscription required)
3. ^ BBC list of the eight recordings chosen in the 1958 broadcast
4. ^ Elisabeth Schwarzkopf Alan Jefferson - 1996 "In any case, this famous Desert Island Discs broadcast has gone down in legend, immediately identifying Schwarzkopf for many who had never previously heard of her.17 "
5. ^ The gramophone: Volume 83 - 2006 "1958 Appears on Desert Island Discs and raises eyebrows by ..."
6. ^ The gramophone: Volume 83 2005 Letters SCHWARZKOPF'S DESERT ISLAND DISCS Talk has come up again of Elisabeth Schwarzkopf and her Desert Island Discs broadcast in 1958 [and recently repeated on Radio 3] with her unique choice of seven of her ..."
7. ^ Prima donna: a history , Rupert Christiansen - 1995 "It made Schwarzkopf into a uniquely self-conscious interpreter: it was perfectly natural to her that when asked on the BBC radio programme Desert Island Discs to select eight recordings to be shipwrecked with, she should choose only her ..."
8. ^ Notice of damehood in London Gazette
9. ^ This urban myth was included in, for example, William J. Kole Famed Soprano Elisabeth Schwarzkopf Dies, Associated Press obituary via Forbes, 3 August 2006, Soprano Elisabeth Schwarzkopf dead at 90 (MSNBC based on AP wire) and Tom Huizenga, Soprano Schwarzkopf Dies at 90 (link to audio), National Public Radio, 3 August 2006.
10. ^ "Elisabeth Schwarzkopf (soprano)". Gramophone. http://www.gramophone.co.uk/HallofFame/ArtistPage/Schwarzkopf. Retrieved 11 April 2012. 

External links[link]

• Bach Cantatas biography
• BBC Obituary: Elisabeth Schwarzkopf
• The Guardian (Alan Blyth) Obituary: Elisabeth Schwarzkopf
• The Times Dame Elisabeth Schwarzkopf (obituary)
• The Daily Telegraph Dame Elisabeth Schwarzkopf (obituary)
• The Washington Post (Adam Bernstein) Renowned Coloratura Soprano Elisabeth Schwarzkopf, 90 (obituary)
• The New York Times (Anthony Tommasini) Elisabeth Schwarzkopf, Opera Singer, Dies at 90 (obituary) (requires registration)
• Elizabeth Schwarzkopf (Sony biography)
• Gramophone Elisabeth Schwarzkopf dies, aged 90
• The Washington Post (Tim Page) The Plaintive Last Song of Elisabeth Schwarzkopf (appreciation)
• Norman Lebrecht Schwarzkopf's Career Had Somber Side
• BBC Soprano Schwarzkopf dies aged 90
• BBC Diva's 'place in history assured'
• The Guardian (Charlotte Higgins) Elisabeth Schwarzkopf dies at 90
• Elisabeth Schwarzkopf at the Internet Movie Database
• BBC database entry
• Prewar photo of Schwarzkopf as Zerbinetta (scroll down)
• Discography from sopranos.freeservers.com
• Another Discography (Capon's Lists of Opera Recordings)