Wampum are traditional sacred shell beads of the Eastern Woodlands tribes of the indigenous people of North America. Wampum include the white shell beads fashioned from the North Atlantic channeled whelk shell; and the white and purple beads made from the quahog, or Western North Atlantic hard-shelled clam. Woven belts of wampum have been created to commemorate treaties or historical events, and for exchange in personal social transactions, such as marriages. In colonial North America, European colonists often used wampum as currency for trading with Native Americans.

Quahog and whelk wampum made by Elizabeth James Perry (Aquinnah Wampanoag/Eastern Band Cherokee), c. 2009

Description and manufacture[link]

The term initially referred to only the white beads, which are made of the inner spiral, or columella, of the Channeled whelk shell, Busycotypus canaliculatus or Busycotypus carica.^[1] Sewant or suckauhock beads are the black or purple shell beads made from the quahog or poquahock clamshell, Mercenaria mercenaria. Common terms for the dark and white beads, often confused, are wampi (white) and saki (dark).^[2]

The white beads are made from the inner spiral of the channeled whelk shell.

In the area of present New York Bay, the clams and whelks used for making wampum are found only along Long Island Sound and Narragansett Bay. The Lenape name for Long Island is Sewanacky, reflecting its connection to the dark wampum.

Typically wampum beads are tubular in shape, often a quarter of an inch long and an eighth inch wide. One 17th-century Seneca wampum belt featured beads almost 2.5 inches (65 mm) long.^[1] Women artisans traditionally made wampum beads by rounding small pieces of the shells of whelks, then piercing them with a hole before stringing them.

Wooden pump drills with quartz drill bits and steatite weights were used to drill the shells. The unfinished beads would be strung together and rolled on a grinding stone with water and sand, until they were smooth. The beads would be strung or woven on deer hide thongs, sinew, milkweed bast, or basswood fibers.^[3]

Origin[link]

The term "wampum" is a shortening of the earlier word "wampumpeag", which is derived from the Massachusett or Narragansett word meaning "white strings [of shell beads]".^[3][4] The Proto-Algonquian reconstructed form is *wa·p-a·py-aki, "white-string-plural."^[5]

In New York, wampum beads have been discovered that date from before 1510.^[1] The Haudenosaunee Great Law of Peace, the founding constitution of the Iroquois Confederacy, was codified in a series of wampum belts, now held by the Onondaga Nation. The oral history of the Haudenosaunee says that Ayenwatha, a cannibal who was reformed by the Great Peacemaker, invented wampum to comfort himself. The Peacemaker uses wampum to record and relay messages.^[6] The League of the Iroquois was founded, according to some estimates, in 1142.^[7] Others place its origin as likely in the 15th or 16th centuries.

The introduction of European metal tools revolutionized the production of wampum; by the mid-seventeenth century production numbered in the tens of millions of beads. ^[8] Upon discovering the importance of wampum as a unit of exchange among tribes, Dutch colonists mass-produced wampum in workshops. John Campbell established such a factory in Passaic, New Jersey, which manufactured wampum into the early 20th century.^[1]

Uses[link]

Wampum is used to mark exchanges for engagement, marriage, and betrothal agreements, as well as for ceremony and condolence ceremonies. In earlier centuries, Lenape girls would wear wampum to show their eligibility for marriage. After marriage had been arranged, a Lenape suitor would give his fiancé and her family gifts of wampum.^[1]

Perhaps because of its origin as a memory aid, loose beads were not considered to be high in value. Rather it is the belts in total that are wampum. Belts of wampum were not produced until after European contact.^{[citation needed]} A typically large belt of six feet (2 m) in length might contain 6000 beads or more. More importantly, such a belt would be very sacred, as it contained so many memories. Wampum belts were used as a memory aid in Oral tradition, where the wampum was a token representing a memory. Belts were also sometimes used as badges of office or as ceremonial devices of indigenous culture, such as the Iroquois. They were traded widely to tribes in Canada, the Great Lakes region, and the mid-Atlantic.

Currency[link]

When Europeans came to the Americas, they realized the importance of wampum to Native people. While the Native people did not use it as money, the New England colonies used it as a medium of exchange. Soon, they were trading with the native peoples of New England and New York using wampum. The New England colonies demonetized wampum in 1663.^[9] Meanwhile it continued as currency in New York at the rate of eight white or four black wampum equalling one stuiver until 1673. The colonial government issued a proclamation setting the rate at six white or three black to one penny. This proclamation also applied in New Jersey and Delaware.^[10] The black shells were considered worth more than the white shells, which led people to dye the latter, and diluted the value of the shells. The ultimate basis for their value was their redeemability for pelts from the Native Americans. As Native Americans became reluctant to exchange pelts for the shells, the shells lost value.^[11]

Their use as common currency was phased out in New York by the early 18th century. Shinnecock oral history ascribed the wampum market demise to a deadly red tide that decimated the whelk and quahog populations.

With stone tools, the process to make wampum was labor intensive. Only the coastal nations had sufficient access to the basic shells to make wampum. These factors increased its scarcity and consequent value among the European traders. Dutch colonists began to manufacture wampum and eventually the primary source of wampum was that manufactured by colonists, a market the Dutch glutted.

Writing about tribes in Virginia in 1705, Robert Beverley, Jr. of Virginia Colony describes peak as referring to the white shell bead, valued at 9 pence a yard, and wampom peak as denoting specifically the more expensive dark purple shell bead, at the rate of 18 pence per yard. He says that these polished shells with drilled holes are made from the cunk (conch), while another currency of lesser value, called roenoke was fashioned from the cockleshell.^[12]

Transcription[link]

Wampum belt given to William Penn at the "Great Treaty" in 1682

The American William James Sidis wrote in his 1935 history;

"The weaving of wampum belts is a sort of writing by means of belts of colored beads, in which the various designs of beads denoted different ideas according to a definitely accepted system, which could be read by anyone acquainted with wampum language, irrespective of what the spoken language is. Records and treaties are kept in this manner, and individuals could write letters to one another in this way."^[13]

Wampum is also used for storytelling. The symbols used told a story in the oral tradition or spoken word. Since there was no written language, wampum was a very important means of keeping records and passing down stories to the next generation. Wampum was durable and so could be carried over a long distance.

Recent developments[link]

The National Museum of the American Indian repatriated eleven wampum belts to Haudenosaunee chiefs at the Onondaga Longhouse Six Nations Reserve in New York. Sacred to the Longhouse religion, these belts dated to the late 18th century. They had been away from their tribes for over a century.^[1]

Cayuga, Shinnecock, Wampanoag, and other Northeastern Woodland tribes still use wampum today. The Seneca Nation commissioned replicas of five historic wampum belts completed in 2008. Artists continue to weave belts of a historical nature as well as designing original belts based on contemporary concepts.^[3]

Symbolic use[link]

Flag of the Iroquois Confederacy

The flag of the Iroquois Confederacy is a wampum-belt design. Wampum is also part of the Coat of arms of New Brunswick.

See also[link]

• Great Law of Peace
• Economy of the Iroquois
• Shell money
• Quipu, Quechua recording devices made of knotting and dyed strings

References[link]

External links[link]

Wikimedia Commons has media related to: Wampum

Wikisource has the text of the 1911 Encyclopædia Britannica article Wampum.

• Wampum article, Iroquois Indian Museum
• Wampum History and Background
• "The Tribes And The States: 100,000-Year History of North America"
• X-ray showing inner spiral and entire shell of the Busycotypus Canaliculatus - Channeled Whelk Shell, Europa
• "Money Substitutes in New Netherland and Early New York", Coins, University of North Dakota

v t e Beadwork Beads Aggry beads Bead Chevron bead Glass beadmaking Faturan Hair pipe Heishe Kiffa beads Love beads Millefiori Murano beads Peranakan cut beads Powder glass beads Seed bead Sequin Trade beads Wampum Tools and techniques Bead crochet Bead embroidery Bead stringing Bead weaving Brick stitch Peyote stitch Square stitch Bead artists Richard Aitson Marcus Amerman Martha Berry Chipeta Juanita Growing Thunder Fogarty Teri Greeves Maude Kegg Related The Bead Museum Dentalium shell Quillwork Peranakan beaded slippers Bead Game

Oren R. Lyons, Jr. (b.1930) is a Native American Faithkeeper of the Turtle Clan of the Onondaga and Seneca Nations of the Iroquois Confederacy.^[1] Once a college lacrosse player, Lyons is now a recognized advocate of indigenous rights.^[2]

Background, education, and athletic career[link]

Oren Lyons, Jr. was born in 1930 and raised in the culture and practices of the Iroquois on the Seneca and Onondaga reservations in Upstate New York.^[2]

Lyons served in the United States Army. He received an athletic scholarships to Syracuse University, where he was awarded the Orange Key for his academic and athletic accomplishments.^[3] He graduated from the College of Fine Arts in 1958. A lifelong lacrosse player,^[4] Oren was an All-American at Syracuse, where the Syracuse Orange men's lacrosse went undefeated during his graduating year.^[2] After graduation, Lyons played for several teams, including the New York Lacrosse Club (1959–1965), the New Jersey Lacrosse Club (1966–1970), and the Onondaga Athletic Club (1970–1972).^[2]

Upon leaving Syracuse, Lyons pursued a career in commercial art in New York City, becoming the art and planning director of Norcross Greeting Cards.^[5] Outside of work, Lyons exhibited his own paintings during this time^{[citation needed]}. In 1970, Lyons returned to Onondaga to be closer to his cultural heritage^{[original research?]}. In recognition of his contributions over many years as a teacher of undergraduate and graduate students in the University at Buffalo, Dr. Lyons is listed as SUNY Distinguished Service Professor and Professor Emeritus of American Studies in the UB College of Arts and Sciences.^[1]

Activism[link]

In the 1960s, Lyons joined the Red Power movement and joined the Unity Caravan, which traveled through Indian Country to foster dialogue about traditional tribal values. In 1972, he was a leader in the Trail of Broken Treaties, a caravan to Washington DC to convince the Bureau of Indian Affairs to honor its treaties with Native American tribes.^[5]

In 1977, Lyons helped create the Traditional Circle of Indian Elders and Youth at a meeting in Montana. Since then, the Circle has gathered annually at a different site in Indian country.^[6] In 1977, he also was part of the Haudenosaunee delegation to the first World Conference on Racism.^[5]

"At first, I wanted to defend the Iroquois. Then my sights broadened to embrace other Indians. Then I saw this had to include defending indigenous peoples all over the world," Lyons said.^[5]

In 1981, he traveled with Stephen Gaskin and Ina May Gaskin to New Zealand to attend festival at Nambassa, where he delivered a number of lectures and workshops. At Nambassa he coordinated with Indigenous Maori land rights activists on questions of indigenous people sharing his Native American experiences ^[7]

For over fourteen years he has taken part in the meetings in Geneva of Indigenous Peoples of the Human Rights Commission of the United Nations, and helped to establish the Working Group on Indigenous Populations in 1982^{[citation needed]}. He serves on the Executive Committee of the Global Forum of Spiritual and Parliamentary Leaders on Human Survival, and is a principal figure in the Traditional Circle of Indian Elders. He was a negotiator between the governments of Canada, Quebec, New York State and the Mohawk Indians in the Oka crisis during the summer of 1990.^{[citation needed]}

Lyons appeared on a one-hour documentary Faithkeeper. produced and hosted by Bill Moyers^[8] and broadcast on PBS, July 3, 1991.

In 1992 he addressed the General Assembly of the United Nations where he opened the International Year of the World's Indigenous People ^[9][10]

Recognition[link]

Lyons has been awarded an honorary Doctor of Laws degree from Syracuse University^{[citation needed]}.

He has been the recipient of the Ellis Island Congressional Medal of Honor, the National Audubon Award, the Earth Day International Award of the United Nations, and the Elder and Wiser Award of the Rosa Parks Institute for Human Rights.^[1] Lyons serves on the board of the Harvard Project on American Indian Economic Development and is board chairman of Honoring Contributions in the Governance of American Indian Nations.^[1]

Lyons is also remembered for his time as a lacrosse player. He is Honorary Chairman of the Iroquois Nationals.^[2] In 1989 he was named Man of the Year in Lacrosse by the NCAA.^[2]

His legendary performance as goalkeeper for Syracuse University, with Jim Brown on the undefeated 1957 national champion team, led to the induction of Oren R. Lyons, Jr. into the National Lacrosse Hall of Fame.^[11]

Published works[link]

Lyons has authored numerous books. He has also illustrated children's books in collaboration with Virginia Driving Hawk Sneve (Brulé Lakota). He is the published of Daybreak Magazine.^[1]

• Gluckstein, Dana, author; Amnesty International, epilogue; Oren Lyons, introduction; Archbishop Desmond Tutu, foreword. Dignity: In Honor of the Rights of Indigenous Peoples. powerHouse Books, 2010. ISBN 978-1-57687-562-9
• Jorgensen, William, ed.; Oren Lyons, foreword. Rebuilding Native Nations: Strategies for Governance and Development. University of Arizona Press, 2007. ISBN 978-0-8165-2423-5.
• Lyons, Oren, Donald Grinde, Robert Venables, John Mohawk, Howard Berman, Vine Deloria, Jr., Laurence Hauptman, and Curtis Berkey. Exiled in the Land of the Free: Democracy, Indian Nations and the U.S. Constitution. Santa Fe: Clear Light Publications, 1998. ISBN 978-0-940666-50-4.
• Sneve, Virginia Driving Hawk, author, and Oren Lyons, illustrator. High Elk's Treasure. Holiday House, 1995. ISBN 978-0-8234-0212-0.
• Sneve, Virginia Driving Hawk, author, and Oren Lyons, illustrator. When Thunders Spoke. Bison Books, 1993. ISBN 978-0-8032-9220-8.
• Ewen, Alexander, ed. Oren Lyons, author. Voice of Indigenous Peoples: Native People Address the United Nations. Santa Fe: Clear Light Publications, 1993. ISBN 978-0-940666-31-3.
• Lyons, Oren, John Mohawk, Vine Deloria, Jr., et al. Exiled in the Land of the Free: Democracy, Indian Nations, and the US Constitution. Santa Fe: Clear Light Publications, 1992. ASIN B002J47CW4.
• Lyons, Oren. Wilderness in Native American culture. Boise: University of Idaho Wilderness Research Center, 1989. ASIN B00072A6JG.
• Lyons, Oren, author and illustrator. Dog Story. Holiday House, 1973. ASIN B003BGS43K.
• Sneve, Virginia Driving Hawk, author, and Oren Lyons, illustrator. Jimmy Yellow Hawk. Holiday House, 1972. ASIN B001KRU62Y.^[12]

See also[link]

• List of indigenous artists of the Americas

Notes[link]

References[link]

• Hope, Marjorie and James Young. "Oren Lyons: Wisdom Keeper." Whitefield, Freddie, ed. Visionaries: The 20th Century's 100 Most Important Inspirational Leaders. White River Junction, VT: Chelsea Green Publishing Co., 2007. ISBN 978-1-933392-53-0.

External links[link]

• "Onondaga faithkeeper Oren Lyons speaks out on the environment: 'Business as usual is over'"
• "Oren Lyons - The Faithkeeper, Interview with Bill Moyers, 3 July 1991 Public Affairs Television", URL accessed 05/28/06
• Oren Lyons speech at the United Nations General Assembly Auditorium in New York

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

Buddy Whittington
Performing with John Mayall's Bluesbreakers in Pistoia, Italy Photo: Federico Maria Giammusso
Background information
Born	(1956-12-28) 28 December 1956 (age 55) Fort Worth, Texas United States
Genres	Blues, southern rock, blue-eyed soul
Occupations	Musician, songwriter
Instruments	Guitar, vocals,
Associated acts	John Mayall
Website	Buddy Whittington.com
Notable instruments
1963 Stratocaster Fender Telecaster

Buddy Whittington is an American guitarist. He began playing the guitar inspired by his sister's records of The Beatles, Rolling Stones and, in particular, John Mayall's Bluesbreakers with Eric Clapton. At the age of 14 he was already a part of the Dallas/Fort Worth music scene and playing regularly in the clubs along Jacksboro Highway. While attending high school, Buddy played in a band called "Short Change" which opened for Point Blank, a band that he would later join, replacing rhythm guitar player Kim Davis. During the early 1980s, he formed and sang with his own band "The Sidemen".^[1] In 1991 they opened for John Mayall and when Coco Montoya left the Bluesbreakers in 1993, Mayall called him to take his place in the band. In Mayall's band Whittington also sings occasionally and contributes to songwriting. 2008 saw the release of his first solo album and touring in Europe with his UK based band which includes Roger Cotton on organ, Pete Stroud on Bass and Darby Todd on drums. He lives in Hurst, Texas with his family.

Buddy Whittington usually plays a 1963 Stratocaster plugged into a Dr. Z amplifier. He also plays a Lentz guitar modeled partially after the Fender Telecaster.

References[link]

External links[link]

• Buddy Whittington on Myspace
• Official Buddy Whittington Website

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