Tori Amos - Hereinmyhead.com

baby, your da-da loves you
and i'm always gonna be here for you
no matter what happened
you're all i got in this world
i'd never give you up for nothing
nobody in this world is ever gonna keep you from me
i love you

come on, hey hey, we going to the beach
grab a couple of toys, and let da-da strap you in the car seat
where's mama? she's taking a little nap in the trunk
oh that smell; da-da musta runned over a skunk
now i know what you're thinking; it's kinda late to go swimming
but you know you're mama
she's one of those type of women, that do crazy things
and if she don't get her way, she'll throw a fit
don't play wit da-da's toy knife honey, let go of it
now don't look so upset, why you acting bashful
don't you wanna help da-da build a sand castle
and mama said she wants to show you how far she can float
don't worry about that little boo-boo on her throat
it's just a little scratch, it don't hurt
her was eating dinner while you were sweepin'
spilt ketchup on her shirt
mama's messy isn't she
we'll let her wash off in the water
and me and you can pway by ourselves, can't we

just the two of us, just the two of us
just the two of us
just the two of us

see honey, there's a place called heaven and a place called hell
there's a placed called prison and a place called jail
and da-da's probably on his way to all of 'em, except one
cause mama's got a new husband, and a stepson
and you don't want a brother do ya
maybe when you're old enough to understand a little better
i'll explain it to you
but for now, we'll just say mama was real real bad
she was being mean to dad, and made him real real mad
but i still feel sad that i put her on timeout
sit back in your chair, honey, quit trying to climb out
i told you it's ok, hey hey, you wanna bah-bah
take a night-night
na-na-goo-goo gah-gah
or make coo-coo-cocka
da'll change your di-ey
clean the baby up so i can take a nighty-nighty
your da'll wake her up as soon as we get to the water
97' bonnie & clyde, me and my daughter
me and my daughter

me and my daughter

just the two of us, just the two of us
just the two of us
just the two of us

wake up sweepy head, we're here
before we pway
we gonna take mommy for a wittle walk out on the pier
baby don't cry honey, don't get the wrong idea
mama's too sweepy to hear you screaming in her ear
that's why you can't get her to wake
but don't worry
da-da made a nice bed for mommy at the bottom of the lake
here, you wanna help da-da tie a rope around this rock
we'll tie it to her footsy, then we'll roll her off the dock
ready now, here we go, on the count of phree
1, 2, phree, weeeeeeee
there goes mama, spwashing in the water
no more fighting wit dad
no more restraining order
no more step da-da
no more brother
blow her kisses buh-bye
tell mommy you love her
now we'll go play in the sand, build a sand castle and junk
but first, just help dad with two more things out of the trunk

just. the. two. of. us...

n/a

You know how it is when you love someone?

And the hard part, the bad part, the Jerry Springer show part is that you never stop loving someone. There's always a piece of them in your heart.

Now that she is dead, she tries to remember only the love. She imagines every blow a kiss, the make-up that inexpertly covers the bruises, the cigarette burn on her thigh -- all these things, she decides, were gestures of love.

She wonders what her daughter will do.

She wonders what her daughter will be.

She is holding a cake, in her death. It is the cake she was always going to bake for her little one. Maybe they would have mixed it together.

They would have sat and eaten it and smiled, all three of them, and the apartment would have slowly filled with laughter and with love.

-- written by Neil Gaiman

"When I first heard the song, the scariest thing to me was the realization that people are getting into the music and grooving along to a song about a man who is butchering his wife. So half the world is dancing to this, oblivious, with blood on their sneakers. But when you talk about killing your wife, you don�t get to control whom she becomes friends with after she�s dead. She had to have a voice."
-- Tori; Atlantic Records Website, Jul 2, 2001

"the scariest thing about Bonnie and Clyde is that half of the world is snapping it's fingers and has empathy for this man who is butchering his wife. As she lies bleeding half the world is dancing to this, oblivious, with blood on their sneakers. When you murder your wife, you can't control who befriends her..."
-- Tori; L.A. Times, July 1, 2001

"I've always found it fascinating how men say things and women hear them. In Bonnie and Clyde, that was Eminem -- or one of the many people living inside him -- and he killed his wife. She has to have a voice. What intrigued me in the way he told the story was this rhythmic kind of justification. You have to have empathy for him. I did when I heard it, but I always chase what's on the other side of the camera."
-- Tori; L.A. Times, July 1, 2001

"The view changes depending on where you're standing. I had the opportunity to flip the script."
-- Tori; Elle, Sept 2001

S: Now tell me about this photo--its the mother from '97 Bonnie and Clyde.
T: This is her right before she was killed. She's deeply sad. She absolutely loves her daughter.
S: Was it difficult knowing that, on a certain level, the song is Eminem fantasizing about his actual wife and daughter?
T: No. This is not about the person called Eminem. I'm seeing a woman in a victim situation for whom the last thing she's hearing is the person she had a child with [Amos' eyes well up] weaving in that child as an accomplice to her murder. I'm seeing it as a mother.
S: So you've entered this purely as storytelling?
T: Absolutely. This transends Eminem and his wife, just like Me and a Gun transends Tori.
S: That seems like a valid defense of Eminem's work as powerful storytelling.
T: This is not about storytelling--this is about getting nailed if you're a fucking pig. On this album, I say words are like guns. And if you don't believe that, well, check-fucking-mate, cocksucker.
S: So your basically calling Eminem out?
T: This isn't about just one artist. All of the songs support the theory that the view changes depending on where you're standing. Let's understand the power of our pens. I'm all for people writing what they believe in. But this is about then saying that you don't believe in it--that "it's only words." You cannot separate yourself from your creation. You can't. You have to be responsible for the shit you put out there.
-- Tori; Spin Magazine, Oct 2001

"To me it�s the myth about domestic violence, that a woman dies and a man is telling their little girl all sorts of stuff. The woman, as she�s dying, understands that her daughter will grow up and become a strange little girl and divided forever." To reenact the song's setting, Amos' crew built a small box inside of which she recorded the vocals - a reconstruction of the car�s trunk that casts a new, eerie shadow over the song.
-- Tori; ICE Magazine, Sept 2001

"This song is told from the point of view of the mother who is about to be dumped off a bridge by her husband and baby daughter. "The big thing is, she's hearing that her daughter has been pulled into the crime and it's very very difficuly when you're helpless and can't intercede. She knows that her daughter will carry this forever."
-- Tori; Alternative Press, Oct 2001

Last year's covers album, Strange Little Girls, led to some interesting conversations. "I'm open about some of them. Slayer sent T-shirts; that was fun. But some of the messages and conversations were very personal. Yoko Ono had to approve Happiness Is A Warm Gun, and she was absolutely divine. Neil Young had to hear Heart of Gold, because I changed the lyrics. But I didn't change a word of Eminem's ['97 Bonnie and Clyde]. Eminem and I have the same lawyer, which is handy."
-- Tori; Blender Magazine, Nov 2002