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"It's hard to think of a solo female recording artist who has been as revered or as reviled over the course of her career as Tori Amos. Amy Gentry argues that these violent aesthetic responses to Amos's performance, both positive and negative, are organized around disgust - the disgust that women are taught to feel, not only for their own bodies, but for their taste in music. Released in 1996, Amos's third album, Boys for Pele, represents the height of Amos's willingness to explore the ugly qualities that make all of her music, even her more conventionally beautiful albums, so uncomfortably, and so wonderfully, strange. Using a blend of memoir, criticism, and aesthetic theory, Gentry argues that the aesthetics of disgust are useful for thinking in a broader way about women's experience of all art forms."--Bloomsbury Publishing.

Rock music --- History and criticism. --- Amos, Tori --- Criticism and interpretation.

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Sing Us a Song, Piano Woman: Female Fans and the Music of Tori Amos explores the many-layered relationships female fans build with feminist musicians in general and with Tori Amos, in particular. Using original interview research with more than forty fans of Tori Amos, multiple observer-participant experiences at Amos's concerts, and critical content analysis of Amos's lyrics and larger body of work, Adrienne Trier-Bieniek utilizes a combination of gender, emotions, music, and activism to unravel the typecasts plaguing female fans. Trier-Bi

Feminism and music. --- Popular music fans. --- Popular music --- Music fans --- Music and feminism --- Music --- Fans --- Amos, Tori --- Amos, Myra Ellen --- Amos, Ellen --- Tori, --- Appreciation.

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Music --- Pop music --- Book --- Gordon, Kim --- Faithfull, Marianne --- Hersh, Kristin --- Amos, Tori --- Donelly, Tanya --- Madan, Sonya Aurora --- Berenyi, Miki Eleonora --- Bjelland, Kat --- Anderson, Emma --- Fahey, Siobhan --- Halliday, Toni --- O'Riordan, Dolores --- Rankine, Lesley --- Björk