anonymous asked:

are you actually astroturfing for sony? I ask because your 'strategy' if it takes off is exactly what they want us to do. turn away when @Louis does something we dont like. stop supporting his sm, because once we start 'boycotting' him they wont put out things 'we like'. Just things we'll ignore. As if Louis doesnt already look like the one who failed. Instead of taking them on, stop supporting louis. Youre not subtle. or maybe you are, looking at how many people blindly agree with what you say.

My argument is that there are PLENTY of things to like. How many shots do we have of Louis in Polari shirts? Or SID magazine? Or Observer pics? Or the Just Like You video? Or the Back to You video? Do you know how many physical copies of Back to You I bought even though I have NO MECHANISM TO PLAY THEM?

There’s plenty of content to like and interact with. You don’t have to interact with stunt stuff if you don’t want to. I’ll never stop supporting Louis. But I don’t think yelling at them on Twitter has accomplished anything. If you think otherwise, please feel free to bring me your data. 

Some records are all tracked – drums, piano, vocal – and kept. The Beekeeper was very much like that. It’s very much ‘no make-up, no airbrush, no nothing’. And it’s not one of my favourite records because of that.

Because I really do like a good airbrush. I’ve learned that about myself.

The Beekeeper is really more like a whole b-sides experiment, because the arrangements weren’t hammered out. That’s why I think my reaction to that with American Doll Posse became ‘alright, now, let’s do a band record’. And it was a very different kind of approach. It was micromanaged, but it was very much about becoming a band mentally, not a singer–songwriter. It was about leaving all that behind. And now, with the new record, it is about embracing the writer and the singer again along with the musicians and arrangements.

—  Tori Amos, Polari Magazine - May 9, 2009
When you’re first making records, you haven’t tasted the tip of the devil’s wand. But on your tenth album you’ve done more than taste it. You’ve enjoyed it, and you’ve gotten ill from it. And I think the song ‘Curtain Call’ covers that. Sometimes you don’t realise that you’re being totally and completely absorbed. So you stop your message, and your questioning of control. Sometimes you think that you’re in a place of power, and yet you don’t realise you’ve signed up to something that is going to make sure your message is either broken or not put out.
—  Tori Amos, Polari Magazine - 2009