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When I was first introduced to Fiona Apple, I wasn’t old enough to know about most of the world’s evils.
I did know my mother worked two jobs and was never home.
It probably is the song that comes the most close to a “real” love song on the record, but there are still uncanny images (“crowbar”) and skepticism enough to make it a classic doubtful Fiona Apple song.
Elvis Costello has covered this song in return for Fiona’s great cover of his “I Want You”.
The outpouring of fan love spurred the songstress into action and she promptly began re-recording , it might as well have been the only one – the Mark Romanek-directed video is how the world remembers Apple best: all of 19, lithe and lolling around a poorly lit tract house in her underwear.
Controversy ensued – critics assailed the singer for the creepy porn overtones, comic Janeane Garafalo mocked her for being too skinny.
Things escalated, with the singer crying and staring at the V. , but since then, Apple’s albums have been six years apart – a highly unusual span for a multi-Platinum artist.
Every time she returns with a new record is a welcome surprise – making every album release a triumphant comeback.
In an angelic white dress, her brunette hair tumbling down, Apple accepted the MTV Video Music Award for Best New Artist with a scorned, anguished look.
She didn’t leave her home, because she didn’t have to.
Most famous artists have this privilege, but they’re propelled to work constantly, to make even more money, to make sure the world is still paying attention. She makes a project, tours and promotes for a year, and leaves the spotlight, averaging more than six years between albums.
It seems that as long as Fiona Apple has been with us, she's been as infamous as she has been famous: tear-streaked interviews, public confessions, punking an entire awards show in a single acceptance speech.
All her crazy behavior earned her a rep and at the same time, made her an icon.