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Tori Amos has been looking at a lot of artwork and she turns the visual into the musical on her new CD.
（Soundbite of Song， “16 Shades of Blue”）
Rachel： That’s the song “16 Shades of Blue，” which refers to the artist Paul Cézanne， who is said to have had at least 16 shades of blue on his palette. It’s a tune about aging from an artist who hit a significant milestone last year. Tori Amos turned 50， by the way. She’s explored a number of musical styles recently， from classical， where she began as a child， to a staged musical.
“The Black Clock” by Cézanne was very much what spurred on the song “16 Shades of Blue.”I really didn’t get Cézanne until I turned 50. He didn’t make any sense to me. Then I turned 50 and I was looking at “The Black Clock” and I started hearing the rhythm and the piano of this song. I read that Rilke wrote that Cézanne would paint with over 16 shades of blue on his palette at one time， and I had just turned 50， and I thought about how you learn from women about the different pressures of different ages， whether you’re 15， 18 or in your 20s. I realized it was important to talk about the clock ticking， bringing different types of pressure to different types of women. —Time Magazine Interview
（Soundbite of Song， “Trouble’s Lament”）
Rachel： Often when you think about good and evil themes in country music， which comes up a lot， artists tend to use the word “devil.” You use the word “Satan，”which has a different kind of religious reference to it， a religious weight. Your dad was a preacher， a minister， right？
Tori： Methodist ministry， yes.
Rachel： Does that language find its way into your songwriting？
Tori： Well， he said to me so many times， “Oh， just be grateful you’re a minister’s daughter， what…what would you write about if I had been a dentist？”
I attended the Peabody Conservatory for classical music when I was five， but later fell out with its conservative philosophy. My dad said if I wanted a career in contemporary music I needed training. One day， when I was 13， he told me to dress to look older， so I put on trousers and heels and we went out and knocked on the doors of bars in Georgetown， Washington. Mr Henry’s， a gay bar， gave me my first opportunity. My dad got flak from some parishioners， but he told them： “I can’t think of a safer place for a 13-year-old girl than a gay bar.” —Mail Online Interview
Rachel： I gather there is another big influence on this recording—your young teenage daughter Natashya？ You’ve said the song “Rose Dover” is about how to grow up with your imagination intact， which is an interesting kind of idea. Is that…that’s clearly something that you wish for her.
（Soundbite of Song， “16 Shades of Blue”）
Rachel： That’s the song “16 Shades of Blue，” which refers to the artist Paul Cézanne， who is said to have had at least 16 shades of blue on his palette. It’s a tune about aging from an artist who hit a significant milestone last year. Tori Amos turned 50， by the way. She’s explored a number of musical styles recently， from classical， where she began as a child， to a staged musical.
“The Black Clock” by Cézanne was very much what spurred on the song “16 Shades of Blue.”I really didn’t get Cézanne until I turned 50. He didn’t make any sense to me. Then I turned 50 and I was looking at “The Black Clock” and I started hearing the rhythm and the piano of this song. I read that Rilke wrote that Cézanne would paint with over 16 shades of blue on his palette at one time， and I had just turned 50， and I thought about how you learn from women about the different pressures of different ages， whether you’re 15， 18 or in your 20s. I realized it was important to talk about the clock ticking， bringing different types of pressure to different types of women. —Time Magazine Interview
（Soundbite of Song， “Trouble’s Lament”）
Rachel： Often when you think about good and evil themes in country music， which comes up a lot， artists tend to use the word “devil.” You use the word “Satan，”which has a different kind of religious reference to it， a religious weight. Your dad was a preacher， a minister， right？
Tori： Methodist ministry， yes.
Rachel： Does that language find its way into your songwriting？
Tori： Well， he said to me so many times， “Oh， just be grateful you’re a minister’s daughter， what…what would you write about if I had been a dentist？”
I attended the Peabody Conservatory for classical music when I was five， but later fell out with its conservative philosophy. My dad said if I wanted a career in contemporary music I needed training. One day， when I was 13， he told me to dress to look older， so I put on trousers and heels and we went out and knocked on the doors of bars in Georgetown， Washington. Mr Henry’s， a gay bar， gave me my first opportunity. My dad got flak from some parishioners， but he told them： “I can’t think of a safer place for a 13-year-old girl than a gay bar.” —Mail Online Interview
Rachel： I gather there is another big influence on this recording—your young teenage daughter Natashya？ You’ve said the song “Rose Dover” is about how to grow up with your imagination intact， which is an interesting kind of idea. Is that…that’s clearly something that you wish for her.