Post by Julie on Apr 2, 2005 14:08:30 GMT -5
Talula
he's chasing tornados
I'm just waiting calmly
chasing her
Talula
Taula
you don't want to lose her
she must be worth losing
if it is worth something
Talula
Talula
she's brand new to you
wrapped in your papoose
your little Fig Newton
say goodbye to the old world
ran into the Henchman who severed
Anne Boleyn
he did it right quickly a merciful man
she said 1 + 1 is 2
but Henry said it was 3
so it was
here I am
Talula
Talula
I don't want to lose it
it must be worth losing
if it is worth something
Talula
Talula
she's brand new to you
wrapped in your papoose
your little Fig Newton
and Jamaica
do you know what I have done
Mary M weaving on said
what you want is the blood Senators
I got Big Bird on the fishing line
with a bit of a shout a bit of a shout
a bit of an angry snout
he's my favourite hooker of the whole bunch
and I know about this only Bride
and how the Russians die on the ice
I got my rape hat on
honey but I always could accessorise
and I never cared too much for the money
but I know right now
that it's in God's hands
but I don't know who the Father is
Talula
Talula
I don't want to lose him
he must be worth losing
if it is worth something
Talula
Talula
he's brand new now to you
wrapped in your papoose
your little Fig Newton
I think this song is about acknoweldging separation. Saying, yes, this is gone, but I'm glad that I had those times with this being, whether you feel like sometimes you would regret them, they are a part of you and without them your life would not be to it's fullest, no matter how empty it feels.
Here's Tori's description of it:
"And it keeps moving into the dance of Talula, and her desperately trying to dance, desperately trying to figure out the whole idea of loss: it must be worth loosing if it's worth something. So if I feel like I am losing something, at lease I valued something enough to lose it in the first place... it's going back into that train of thought. Talula is very much a riddle. The loss of Eric in my life was... it felt like half of me walked out the door. And Talula came as a nursery rhyme, my little dance that I would do when things were so sad. Because I started thinking 'but God, I have these feelings, which means...' we shared so many moments that I value, I really valued that, so what a gift that I can feel this loss, that I am not so numb, that I haven't cut myself off so much, and once I could feel the loss then I started to feel free. I want to dance and go 'yeah, I want to be with Talula. I want to be able to dance through the people that come in and go out of your life. I want to learn how to dance with the gifts when they come and the gifts when they need to take a different route.'"
-- Tori; B Side, 05/96
“Talula ... when I wrote this, my mother was sitting in a chair, and I’d been playing for a few hours. She was fading in and out of sleep. I’d been going through some of my blood, guts and widow’s tunes. And all of a sudden I needed to breathe. I started playing Talula, and it became like a breath, ‘cause I needed freedom from all these songs that where showing me my monsters. Talula started to show me how to dance. And my mother began to wake up. The song is really a riddle. Talula just came to me, telling me her name. A lot of the times I’m just trying to interpret what I’m seeing on the other side. A name holds an energy, like anything else. Look at Ruby Tuesday. I think Talula became about rhythm and tone an sensuality. It ain’t fuckin’ Catherine. There’s something in there about West Indian dance. And yet it’s a very classic name, too. Talula really just started to represent all women to me - women that let themselves dance - for themselves.”
-- Tori; Vox magazine, Apr 1996
"I had to write for my freedom. I was shattered. I had to begin to look at myself. I tried to get energy from different men in my life. I got my vampires license. In Talula I’m begging this concept of ideal woman to come alive in myself, feeling afraid of losing someone. If it matters, it must be something worth losing. Each song began to be a piece of claiming myself.”<br>-- Tori; Making Music, Jan 1996
“Talula the song has 2 major themes, Power and Value. Those in power can demand that we see and agree with them by threatening us with a loss of some kind. Here in Talula my character is separated from her primal voice, her Bloodline, which is represented by the harpsichord. If you don't agree or follow those in power, I do believe there will be rejoicing by your own inner child. Loss is a scary thing but what I found to be more scary would be to feel nothing after a loss. Similar to that sentiment, I would rather have loved and loss than to have never loved at all.” [Tori Stories book - 1998]
“Talula is the track on the record that holds the space for permission to dance. And as the record moves on with the story, once we get to Talula, where she’s placed, there’s been so much grieving, there’s been so much acknowledgment, finally after Jupiter, when she knows it’s over, whatever ‘it’ is, but she knows that she can’t go back and things just aren’t gonna... you can’t pretend that certain events haven’t happened once they’ve happened in a relationship. And we travel further into Little Amsterdam, we go down South, which is really symbolic for the primal, the primitive, and the lies and the... really the domination. Little Amsterdam is so essential to release that place before we can finally say... we went back to the childhood, we went back South, to the bloodline, where there is so much hierarchy… and now it’s time to just let her dance.” [World Café (radio) – March 1, 1996]
: Chemo Limo - Regina Spektor
he's chasing tornados
I'm just waiting calmly
chasing her
Talula
Taula
you don't want to lose her
she must be worth losing
if it is worth something
Talula
Talula
she's brand new to you
wrapped in your papoose
your little Fig Newton
say goodbye to the old world
ran into the Henchman who severed
Anne Boleyn
he did it right quickly a merciful man
she said 1 + 1 is 2
but Henry said it was 3
so it was
here I am
Talula
Talula
I don't want to lose it
it must be worth losing
if it is worth something
Talula
Talula
she's brand new to you
wrapped in your papoose
your little Fig Newton
and Jamaica
do you know what I have done
Mary M weaving on said
what you want is the blood Senators
I got Big Bird on the fishing line
with a bit of a shout a bit of a shout
a bit of an angry snout
he's my favourite hooker of the whole bunch
and I know about this only Bride
and how the Russians die on the ice
I got my rape hat on
honey but I always could accessorise
and I never cared too much for the money
but I know right now
that it's in God's hands
but I don't know who the Father is
Talula
Talula
I don't want to lose him
he must be worth losing
if it is worth something
Talula
Talula
he's brand new now to you
wrapped in your papoose
your little Fig Newton
I think this song is about acknoweldging separation. Saying, yes, this is gone, but I'm glad that I had those times with this being, whether you feel like sometimes you would regret them, they are a part of you and without them your life would not be to it's fullest, no matter how empty it feels.
Here's Tori's description of it:
"And it keeps moving into the dance of Talula, and her desperately trying to dance, desperately trying to figure out the whole idea of loss: it must be worth loosing if it's worth something. So if I feel like I am losing something, at lease I valued something enough to lose it in the first place... it's going back into that train of thought. Talula is very much a riddle. The loss of Eric in my life was... it felt like half of me walked out the door. And Talula came as a nursery rhyme, my little dance that I would do when things were so sad. Because I started thinking 'but God, I have these feelings, which means...' we shared so many moments that I value, I really valued that, so what a gift that I can feel this loss, that I am not so numb, that I haven't cut myself off so much, and once I could feel the loss then I started to feel free. I want to dance and go 'yeah, I want to be with Talula. I want to be able to dance through the people that come in and go out of your life. I want to learn how to dance with the gifts when they come and the gifts when they need to take a different route.'"
-- Tori; B Side, 05/96
“Talula ... when I wrote this, my mother was sitting in a chair, and I’d been playing for a few hours. She was fading in and out of sleep. I’d been going through some of my blood, guts and widow’s tunes. And all of a sudden I needed to breathe. I started playing Talula, and it became like a breath, ‘cause I needed freedom from all these songs that where showing me my monsters. Talula started to show me how to dance. And my mother began to wake up. The song is really a riddle. Talula just came to me, telling me her name. A lot of the times I’m just trying to interpret what I’m seeing on the other side. A name holds an energy, like anything else. Look at Ruby Tuesday. I think Talula became about rhythm and tone an sensuality. It ain’t fuckin’ Catherine. There’s something in there about West Indian dance. And yet it’s a very classic name, too. Talula really just started to represent all women to me - women that let themselves dance - for themselves.”
-- Tori; Vox magazine, Apr 1996
"I had to write for my freedom. I was shattered. I had to begin to look at myself. I tried to get energy from different men in my life. I got my vampires license. In Talula I’m begging this concept of ideal woman to come alive in myself, feeling afraid of losing someone. If it matters, it must be something worth losing. Each song began to be a piece of claiming myself.”<br>-- Tori; Making Music, Jan 1996
“Talula the song has 2 major themes, Power and Value. Those in power can demand that we see and agree with them by threatening us with a loss of some kind. Here in Talula my character is separated from her primal voice, her Bloodline, which is represented by the harpsichord. If you don't agree or follow those in power, I do believe there will be rejoicing by your own inner child. Loss is a scary thing but what I found to be more scary would be to feel nothing after a loss. Similar to that sentiment, I would rather have loved and loss than to have never loved at all.” [Tori Stories book - 1998]
“Talula is the track on the record that holds the space for permission to dance. And as the record moves on with the story, once we get to Talula, where she’s placed, there’s been so much grieving, there’s been so much acknowledgment, finally after Jupiter, when she knows it’s over, whatever ‘it’ is, but she knows that she can’t go back and things just aren’t gonna... you can’t pretend that certain events haven’t happened once they’ve happened in a relationship. And we travel further into Little Amsterdam, we go down South, which is really symbolic for the primal, the primitive, and the lies and the... really the domination. Little Amsterdam is so essential to release that place before we can finally say... we went back to the childhood, we went back South, to the bloodline, where there is so much hierarchy… and now it’s time to just let her dance.” [World Café (radio) – March 1, 1996]
: Chemo Limo - Regina Spektor
