Arts & Entertainment

Girl reappearing

Tori Amos celebrates 20th anniversary by revisiting her catalogue

Published

13 years ago

September 27, 2012

Joey DiGuglielmo

Tori Amos (photo by Danielle Levitt)

Tori Amos is straight but has a strong LGBT fan base. The Blade’s Joey DiGuglielmo is a long-time fan, having worn out a copy of “Boys for Pele” in the throes of closeted college-era angst. He talked to her by phone two weeks ago to talk about her new album “Gold Dust,” which features orchestral re-workings of 14 of her songs. It’s slated to drop Tuesday in the U.S.

Blade: Hi Tori

Tori Amos: Hi, how are you?

Blade: I’m good. I’m gonna try to cover a lot of ground really quickly so I’m just gonna jump right in. Tell me a little about the relationship you have going with Deutsche Grammophon. This is your second project with them. Are you under contract or are you just doing things on kind of an album-by-album basis?

Amos: Kind of album by album. … They came up with the idea of the variations on the masters (last year’s “Night of Hunters” album) but when I’d been working with the Metropole Orchestra the year before and they basically said, “We need recordings of this. This is the 20th anniversary of your work and this is how you do it with an orchestra.” I didn’t know, at first, if that made sense, but it seemed to make sense in their German minds. So it’s been very organic.

Blade: I’m just wondering how some of these arrangements came about and thinking back to some of those great remixes you had of your stuff back in the late ‘90s. Obviously I know remixing is a whole different thing altogether, but in terms of crafting symphonic arrangements or reworkings of your songs — where these songs are very much living in an alternate space from their original studio versions — I’m wondering if any of the same artistic considerations or principles apply as would if you’re crafting an alternate version in the form of a remix.

Amos: Wow, that’s a great question. I guess the thing about a remix is you don’t have to retain the narrative or even the spirit of the original work in the same way. So the “Professional Widow” remix, for example, became a very different expression of the song from the original. Some of that narrative was there but not the way it was on the (album version). And yet the remix still clearly did its job. But in doing something like this, you don’t want to lose the song’s story or her narrative in any way, so it was important to really, and sometimes very subtly, make changes. Some of the songs didn’t want a makeover. Some of them said, “Only strings,” or others said, “We’re open to a full orchestra but we don’t want to become completely overtaken.” It was almost like you were changing their outfit, but you were not changing their soul. Some were open to a more radical flavor. Like with “Flavor,” for instance, which was originally recorded with loops, it really stepped forward and said, “I want a completely different approach.” Or with “Precious Things.” It kind of said it thought its narrative could work with a more Prokofiev-inspired approach.

Blade: What was the time frame for this album?

Amos: I was rehearsing (with the Metropole Orhestra) for shows in October, 2010 and then we got back together in early 2011 and began recording some, but then we put it away because we went and did “Night of Hunters” with the octet. So that project came first, even though this was the first idea. Then we put the (“Gold Dust”) reels back on, I’d say maybe January 2012 and … began editing them together. Overdubs and mixing were finished in July.

Blade: Classical musicians can be notoriously snobby. Did you get any vibe from the Metropole players, even if they never said anything, that they were thinking, “Why are we doing this — can’t somebody bring us some Beethoven or something?” You do all kinds of stuff, obviously, but the grand scheme of things, your songs would be considered in more of the pop idiom than classical.

Amos: It was really a collaboration with them and I think the reason Alex (Burh, the Deutsche Grammophon exec who suggested “Night of Hunters”) suggested it is because he could tell there was a real conversation happening during the rehearsals (for the 2010 concert). There was definitely an affinity and a back-and-forth-type thing that was going on and I think that was why the decision was made to document and record it. There was a chemistry.

Blade: You’ve done a few theme projects now — a holiday album, some concept albums, a classical album, now orchestral reworkings of your songs. Do you have a private bucket list of stuff you want to eventually do? I’m not even necessarily asking what all those projects might be, but do you think, “Well, before I hang up my hat, I definitely want to do — blank.” Does your artistic mind work that way?

Amos: Yes, it thinks that way. I think right now I’m really focused on the musical, “The Light Princess.” Nick Hytner is very much a powerful force at the National Theatre in Great Britain and so hopefully the plan or the idea is that the piece will be ready to get put on its feet within, oh I don’t know, a year, maybe a little over a year. That’s what I have on my brain right now. But yeah, I approach things as a conceptualist and there are all kinds of thoughts that have come into my mind. I would love to someday do something where I just stay someplace and perform. I don’t know if you’d call it an evening in Las Vegas or what, but with a story and dancers. I would love to do something at Caesar’s Palace someday. And not just campy, you know, but maybe a bit of camp, but I love the idea of having dancers — not me dancing, I would be playing and singing — but have some dancers onstage and just make it an incredibly entertaining evening. Very much an old-school variety show with great costumes and an old Hollywood feel. Something like from the ‘30s or ‘40s where you get dressed up and come to a show and have dinner and walk away feeling like you’ve had a really glamorous evening.

Blade: Well, I would definitely come see it, that sounds fun. One thing I’ve always really admired about you is that you don’t always make things easy on the fans or present the material in such a way that it’s easy or accessible for the most casual fan, to say nothing of the material itself. I’m talking about things like those Icon or Playlist anthology CDs where they throw them together for all kinds of artists and make them something that’s meant to be a $7.99 impulse purchase in the checkout lane at Target. You never do things like that. And I’m not even saying it’s necessarily a bad thing ….

Amos: (interjects) … It is bad.

Blade: OK, why? Couldn’t you argue that it might pique someone’s curiosity and inspire them to then go dig deeper?

Amos: I’m telling you, it’s sinning against your art. That’s what you’re doing. It’s lazy.

Blade: Do you have business people approach you with these kinds of ideas?

Amos: Well, you know. There are all kinds of ideas that get spun about. But you have to have it in your head whether it’s a good idea or not. How are you going to feel about it in three months, in six months? What kind of statement does it make about you as an artist? And hey, sometimes I understand why they release these anthologies because something like (“Gold Dust”), I mean this takes a LOT of time to do. We started October 2010 so we’re talking two years from inception to this. It started with them inviting me to come play a show but it didn’t matter if it was one show or 200 shows or if we recorded the arrangements or not, the work still had to be done. The arrangements still had to be made for, like, 20 songs. (Arranger) John Philip Shenale and I were in touch everyday about this for one show, which is all I initially thought it was going to be. Not for one second did I think this would end up being a studio album. They invited me for this before the Alex, the German musicologist, invited me to come start messing with the masters. So that was the genesis and the time frame and doing a project like this with an orchestra is really tricky because people have attachments to the original versions. You really want to retain the soul of the song girl and like I said, some didn’t want extreme makeovers. That wasn’t really the challenge. It’s not about trying to shock people or try to decide how different you can make it. That’s almost too easy. It’s easy to shock people that way, to turn something totally on its head. I think what’s much trickier to do is to subtle because subtle changes can also become real banal and lifeless if you’re not careful.

Blade: I interviewed Sophie B. Hawkins a few weeks ago, who has a fabulous new album out by the way. I highly recommend it. I’m wondering if you feel any sense of sisterhood or artistic kinship with other women who came along in the ‘90s about the same time you did. You’ve managed to continue to forge ahead against the odds, while so many artists from that time have seen their audience dry up or move on. What advice would you give to other women who are highly talented musicians and still feel they have something great to offer?

Amos: It is really tough out there and it’s culturally tough because the masses seem to be gravitating to the next people and artists are seen as very disposable. They want to move on to whomever is next instead of growing with them. I have always wanted to grow with the artists and jump on the train with them. I wanted to know what they were experiencing and wanted to be seen as their patron. That’s how I think of my audience — I very much see them as my patrons, the people who come to my shows. Because without them, I couldn’t keep going. Also, philosophically, people seem to be of the mindset often, that it’s OK to just take something. I would never go to a wine show and slip a bottle of wine in my bag when the vendor wasn’t looking but people have talked themselves into thinking that that’s OK. Meanwhile orchestras are shutting down and you have … very accomplished musicians thinking about how they’re going to make a living doing their art. This is what I’m hearing from a lot of musicians. Do I have an answer? No, I don’t. I think it’s a cultural crisis.

Blade: Isn’t it partly short attention spans too?

Amos: Well yes, that and not wanting to grow. I would like to say that eventually people will realize how sad it is and that it will turn itself around but one of the reasons for the short attention spans is these shows where the next crop is waiting in the wings for its 15 minutes. These shows are making a lot of money but they don’t care about these singers. All they care about is the next show. Nobody is nurturing these artists.

Blade: A lot of people tape your shows and trade them around. Are you OK with that as long as they’re not trying to profit off them? Say they couldn’t make it to the show in Denver and you did this new song — which has always been one of the cool things about you, that your set list changes all the time.

Amos: I don’t have a problem with that but please, use good mics! Now obviously, if you’re trying to sell it, then I have a problem. I think my community knows how it goes. They know where I stand on stuff like that. I’ve even had people tell me they knew somebody who fell on hard times and couldn’t go to one of the shows. OK, but one day when you can, give back. I support the arts. Like visual artists — I go to galleries and support artists all the time.

Blade: I have a somewhat self-indulgent question I’m gonna squeeze in here but maybe it will apply to some other fans too. I play in a church so the challenge really becomes digesting so much new music all the time. What advice would you give to a church pianist or organist where there’s never time to polish anything or let it settle into the brain or fingers before you’re onto the stuff for next Sunday?

Amos: I think you should all be revisiting things on some kind of a rotating schedule. So maybe you revisit something, say, three months later and it becomes part of your repertoire and that way you develop a repertoire. I don’t think things just have to be performed one time. People will say, “Oh, I recognize that, I like that piece.”

Blade: I guess the cynic in me thinks they’ll think, “Oh, that again — he must have had a busy week.”

Amos: Well, OK, I guess some might think that but you can’t lie to yourself. The only other thing you can do is carve out more rehearsal time for yourself, but yeah, I can imagine it is tough.

Blade: Are you a keeper by nature? Do you have clothes from old video shoots and, like, all the “Doll Posse” wigs and stuff like that?

Amos: Yes, I have all that. And yes, (daughter) Tash dresses up in them all the time.

Blade: How many pianos do you own?

Amos: Well that’s tough to say because I have a deal with Bosendorfer so I can trade them out.

Blade: I can’t imagine what your tuning bill must be.

Amos: Well, we have different tuners in different countries. The Bosendorfer at the beach house in Florida, we have this lovely lady who has this twinkle in her eye. And then there’s the one where we record in Cornwall. But Ann has gotten the Florida one where it doesn’t need as much because it’s not being recorded. She’s really got it stable right now and it’s not being moved, so it tends to hold its tuning pretty well. When we’re recording, we tune once a week.

Blade: I love the new album, thanks so much for your time.

Amos: You take care honey, thanks.

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Theater

Magic is happening for Round House’s out stage manager

Carrie Edick talks long hours, intricacies of ‘Nothing Up My Sleeve’

Published

1 day ago

February 14, 2026

Patrick Folliard

Carrie Edick (facing camera) with spouse Olivia Luzquinos. (Photo by Anugraha Iyer)

‘Nothing Up My Sleeve’
Through March 15
Round House Theatre
4545 East-West Highway
Bethesda, Md. 20814
Tickets start at $50
Roundhousetheatre.org

Magic is happening for out stage manager Carrie Edick.

Working on Round House Theatre’s production of “Nothing Up My Sleeve,” Edick quickly learned the ways of magicians, their tricks, and all about the code of honor among those who are privy to their secrets.

The trick-filled, one-man show starring master illusionist Dendy and staged by celebrated director Aaron Posner, is part exciting magic act and part deeply personal journey. The new work promises “captivating storytelling, audience interaction, jaw-dropping tricks, and mind-bending surprises.”

Early in rehearsals, there was talk of signing a non-disclosure agreement (NDA) for production assistants. It didn’t happen, and it wasn’t necessary, explains Edick, 26. “By not having an NDA, Dendy shows a lot of trust in us, and that makes me want to keep the secrets even more.

“Magic is Dendy’s livelihood. He’s sharing a lot and trusting a lot; in return we do the best we can to support him and a large part of that includes keeping his secrets.”

As a production assistant (think assistant stage manager), Edick strives to make things move as smoothly as possible. While she acknowledges perfection is impossible and theater is about storytelling, her pursuit of exactness involves countless checklists and triple checks, again and again. Six day weeks and long hours are common. Stage managers are the first to arrive and last to leave.

This season has been a lot about learning, adds Edick. With “The Inheritance” at Round House (a 22-week long contract), she learned how to do a show in rep which meant changing from Part One to Part Two very quickly; “In Clay” at Signature Theatre introduced her to pottery; and now with “Nothing Up My Sleeve,” she’s undergoing a crash course in magic.

She compares her career to a never-ending education: “Stage managers possess a broad skillset and that makes us that much more malleable and ready to attack the next project. With some productions it hurts my heart a little bit to let it go, but usually I’m ready for something new.”

For Edick, theater is community. (Growing up in Maryland, she was a shy kid whose parents signed her up for theater classes.) Now that community is the DMV theater scene and she considers Round House her artistic home. It’s where she works in different capacities, and it’s the venue in which she and actor/playwright Olivia Luzquinos chose to be married in 2024.

Edick came out in middle school around the time of her bat mitzvah. It’s also around the same time she began stage managing. Throughout high school she was the resident stage manager for student productions, and also successfully participated in county and statewide stage management competitions which led to a scholarship at the University of Maryland, Baltimore County (UMBC) where she focused on technical theater studies.

Edick has always been clear about what she wants. At an early age she mapped out a theater trajectory. Her first professional gig was “Tuesdays with Morrie” at Theatre J in 2021. She’s worked consistently ever since.

Stage managing pays the bills but her resume also includes directing and intimacy choreography (a creative and technical process for creating physical and emotional intimacy on stage). She names Pulitzer Prize winning lesbian playwright Paula Vogel among her favorite artists, and places intimacy choreographing Vogel’s “How I learned to Drive” high on the artistic bucket list.

“To me that play is heightened art that has to do with a lot of triggering content that can be made very beautiful while being built to make you feel uncomfortable; it’s what I love about theater.”

For now, “Nothing Up My Sleeve” keeps Edick more than busy: “For one magic trick, we have to set up 100 needles.”

Ultimately, she says “For stage managers, the show should stay the same each night. What changes are audiences and the energy they bring.”

Calendar

Calendar: February 13-19

LGBTQ events in the days to come

Published

3 days ago

February 13, 2026

Tinashe Chingarande

Friday, February 13

Center Aging Monthly Luncheon With Yoga will be at noon at the DC Center for the LGBT Community. Email Mac at [email protected] if you require ASL interpreter assistance, have any dietary restrictions, or questions about this event.

Go Gay DC will host “LGBTQ+ Community Happy Hour Meetup” at 7 p.m. at Freddie’s Beach Bar and Restaurant. This is a chance to relax, make new friends, and enjoy happy hour specials at this classic retro venue. Attendance is free and more details are available on Eventbrite.

Women in their Twenties and Thirties will be at 7 p.m. on Zoom. This is a social discussion group for queer women in the D.C. area. For more details, visit the group on Facebook.

Saturday, February 14

Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ community, including allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.

The DC Center for the LGBT Community will host a screening of “Love and Pride” at 1:30 p.m. This event is a joy-filled global streaming celebration honoring queer courage, Pride, and the power of love. It’s a bold celebration of courage and community — a fearless reminder of what we’ve overcome, how love is what makes us unstoppable, and how we have always turned fear into fierce. For more details, visit the Center’s website.

Sunday, February 15

LGBTQ+ Community Coffee and Conversation will be at 12 p.m. at As You Are. This event is for people looking to make more friends and meaningful connections in the LGBTQ community. Attendance is free and more details are available on Eventbrite.

Monday, February 16

Queer Book Club will be at 7:00p.m. on Zoom. This month’s read is “Faebound” by Saara El-Arifi. For more details, visit the DC Center’s website.

“Center Aging: Monday Coffee Klatch” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more information, contact Adam ([email protected]).

Tuesday, February 17

Center Bi+ Roundtable will be at 7 p.m. on Zoom. This is an opportunity for people to gather in order to discuss issues related to bisexuality or as Bi individuals in a private setting.Visit Facebook or Meetup for more information.

Wednesday, February 18

Job Club will be at 6 p.m. on Zoom upon request. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.

Thursday, February 19

The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. To be fair with who is receiving boxes, the program is moving to a lottery system. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.

Virtual Yoga Class will be at 7 p.m. on Zoom. This free weekly class is a combination of yoga, breath work and meditation that allows LGBTQ+ community members to continue their healing journey with somatic and mindfulness practices. For more details, visit the DC Center’s website.

Movies

As Oscars approach, it’s time to embrace ‘KPop Demon Hunters’

If you’ve resisted it, now’s the time to give in

Published

4 days ago

February 12, 2026

John Paul King

The KPop Demon Hunters get ready for action. (Image courtesy of Netflix)

If you’re one of the 500 million people who made “KPop Demon Hunters” into the most-watched original Netflix title in the streaming platform’s history, this article isn’t for you.

If, however, you’re one of the millions who skipped the party when the Maggie Kang-created animated musical fantasy debuted last summer, you might be wondering why this particular piece of pop youth culture is riding high in an awards season that seems all but certain to end with it winning an Oscar or two; and if that’s the case, by all means, keep reading.

We get it. If you’re not a young teen (or you don’t have one), it might have escaped your radar. If you don’t like KPop, or the fantasy genre just isn’t your thing, there would be no reason for that title to pique your interest – on the contrary, you would assume it’s just a movie that wasn’t made for you and leave it at that.

It’s now more than half a year later, though, and “KPop Demon Hunters” has yet to fade into pop culture memory, in spite of the “new, now, next” pace with which our social media world keeps scrolling by. It might feel like there’s been a resurgence of interest since the film’s ongoing sweep of major awards in the Best Animated Film and Best Song categories has led it close to Oscar gold, but in reality, the interest never really flagged. Millions of fans were still streaming the soundtrack album on a loop, all along.

It wasn’t just the music that they embraced, though that was definitely a big factor – after all, the film’s signature song, “Golden,” has now landed a Grammy to display alongside all of its film industry accolades. But Kang’s anime-influenced urban fantasy taps into something more substantial than the catchiness of its songs; through the filter of her experience as a South Korean immigrant growing up in Canada, she draws on the traditions and mythology of her native culture while blending them seamlessly into an infectiously contemporary and decidedly Western-flavored “girl power” adventure about an internationally popular KPop girl band – Huntrix, made up of lead singer Rumi (Arden Cho), lead dancer Mira (May Hong), and rapper/lyricist Zoey (Ji-young Yoo) – who also happen to be warriors, charged with protecting humankind from the influence of Gwi-Ma (Lee Byung-hun), king of the demon world, which is kept from infiltrating our own by the power of their music and their voices. Oh, and also by their ability to kick demon ass.

In an effort to defeat the girls at their own game, Gwi-Ma sends a demonic boy band led by handsome human-turned-demon Jinu (Ahn Hyo-seop) to steal their fans, creating a rivalry that (naturally) becomes complicated by the spark that ignites between Rumi and Jinu, and that forces Rumi to confront the half-demon heritage she has managed to keep secret – even from her bandmates – but now threatens to destroy Huntrix from within, just when their powers are needed most.

It’s a bubble-gum flavored fever-dream of an experience, for the most part, which never takes itself too seriously. Loaded with outrageous kid-friendly humor and pop culture parody, it might almost feel as if it were making fun of itself if not for the obvious sincerity it brings to its celebration of all things K-Pop, and the tangible weight it brings along for the ride through its central conflict – which is ultimately not between the human and demon worlds but between the long-held prejudices of the past and the promise of a future without them.

That’s the hook that has given “KPop Demon Hunters” such a wide-ranging and diverse collection of fans, and that makes it feel like a well-timed message to the real world of the here and now. In her struggle to come to terms with her part-demon nature – or rather, the shame and stigma she feels because of it – Rumi becomes a point of connection for any viewer who has known what it’s like to hide their full selves or risk judgment (or worse) from a world that has been taught to hate them for their differences, and maybe what it’s like to be taught to hate themselves for their differences, too.

For obvious reasons, that focus adds a strong layer of personal relevance for queer audiences; indeed, Kane has said she wanted the film to mirror a “coming out” story, drawing on parallels not just with the LGBTQ community, but with people marginalized through race, gender, trauma, neurodivergence – anything that can lead people to feel like an “other” through cultural prejudices and force them to deal with the pressure of hiding an essential part of their identity in order to blend in with the “normal” community. It plays like a direct message to all who have felt “demonized” for something that’s part of their nature, something over which they have no choice and no control, and it positions that deeply personal struggle as the key to saving the world.

Of course, “KPop Demon Hunters” doesn’t lean so hard into its pro-diversity messaging that it skimps on the action, fun, and fantasy that is always going to be the real reason for experiencing a genre film where action, fun, and fantasy are the whole point in the first place. You don’t have to feel like an “other” to enjoy the ride, or even to get the message – indeed, while it’s nice to feel “seen,” it’s arguably much more satisfying to know that the rest of the world might be learning how to “see” you, too. By the time it reaches its fittingly epic finale, Kane’s movie (which she co-directed with Chris Appelhans, and co-wrote with Appelhans, Danya Jimenez, and Hannah McMechan) has firmly made its point that, in a community threatened by hatred over perceived differences, the real enemy is our hate – NOT our differences.

Sure, there are plenty of other reasons to enjoy it. Visually, it’s an imaginative treat, building an immersive world that overlays an ancient mythic cosmology onto a recognizably contemporary setting to create a kind of whimsical “metaverse” that feels almost more real than reality (the hallmark of great mythmaking, really); yet it still allows for “Looney Toons” style cartoon slapstick, intricately choreographed dance and battle sequences that defy the laws of physics, slick satirical commentary on the juggernaut of pop music and the publicity machine that drives it, not to mention plenty of glittery K-Pop earworms that will take you back to the thrill of being a hormonal 13-year-old on a sugar high; but what makes it stand out above so many similar generic offerings is its unapologetic celebration of the idea that our strength is in our differences, and its open invitation to shed the shame and bring your differences into the light.

So, yes, you might think “KPop Demon Hunters” would be a movie that’s exactly what it sounds like it will be – and you’d be right – but it’s also much, much more. If you’ve resisted it, now’s the time to give in.

At the very least, it will give you something else to root for on Oscar night.