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Post by strabley on Feb 19, 2004 21:03:16 GMT
It's amazing to connect this song to The Prisoner! They really do seem to parallel I'm still looking for those DVD's Zan. Maybe I should join netflix? P.O.P.! I used to have a video idea for this song but I forgot most of it. I remember it took place in a giant wood-paneled hallway with wind blowing frantically all around. All the rooms had floor-length red curtains that were blowing. There was a cage, and you don't see what's in the cage until the "we let the weirdness in" part. It's Kate as a beautiful winged demon. Oh where's my old avatar!?
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Post by Adey on Feb 19, 2004 21:43:13 GMT
Sven... that would be telling. (Haven't I done this before ) And yes, Adey, you have noticed that reference. Too bad you weren't here a few months ago, when I tried to coax Al Truest into a discussion about it. Sheila bit, but wants to refresh her memory before getting into anything heavy. Are you game? I am a McGoohan fan, and recently watched the whole series again after becoming a Kate fan. I have noticed many similarities in their intense creativity, unusual and subversive subject matter, compulsive fan appreciation, subjection to harsh criticism, and subsequent seclusion. If you're interested, I'll move this thought to the original thread, Six of One, under Other Topics. Thanks for noticing, Adey. Be seeing you... Oh yes Xan, I'm always up for some Prisoner speculation, I got fairly obsessed about it at one stage. I'm sure we can spare it a bit of Kate time on the basis of comparative wierdness. I'll look up your old thread. We might need to go slow for the first week - until I've had a chance to watch the shows again. Fortunately, I have a boxed DVD set of the series - but really I know the stories pretty well already.
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Post by Adey on Feb 19, 2004 21:58:02 GMT
Thanks Adey, but you have a great theory going as well. I think they are connected, not separate. There are multiple layers of interpretation. What I usually look for are the actual references (to authors, characters, films, etc.) and try to define them for others who may not know of them. I also look for the general philosophical or psychological application to our lives. Kate's intentions are important, but many songwriters enjoy that fact that their songs take on a new life, perhaps one not intended. What I usually lack, is reference to the struggles she had with her label and career at the time, being that I am a younger fan, and little is really available on that, I take in what I can. That's just one of the important factors you bring, Adey, a little more perspective with the time it was written. So I really agree with you, too. But... I love it musically as well. Oh yes Xan, I think the theories are entirley compatible. I didn't mean to imply that they weren't. Clearly KB wrote about the idea of personal truth and expression as you have eloquently laid out. With that framework in mind, I just suggested that there was also a possible specific in her situation with EMI, that she included as part of it. Or maybe the situation with her label and her personal need to develop, was the trigger for the wider thought processes that led her to the song, and the more less specific points that you have made. Yes KB, writes on several levels, I am sure of that. I think collectively, we are definitely in the ball park.
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Post by Adey on Feb 19, 2004 22:10:13 GMT
It also makes sense for her to sing the "We let the weirdness in" backwards, and backwards again, at the end. Just a technical point Sto'. As I'm sure you've realised KB isn't actually singing backwards. Its a bit of studio trickery where artificial reverberation is added to the vocal track. Then it's removed, reversed and added back to the original vocal track. It's a great effect and Kate used it well here. It's a technique called, not suprisingly, reverse reverb. Please tell me when you're bored...
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Nannygoat
Under Ice
Living in the gap between past and future.
Posts: 3
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Post by Nannygoat on Mar 1, 2005 22:27:41 GMT
"With my ego in my gut, My babbling mouth would wash it up. (But now I've started learning how,) I keep it shut My door was never locked, Until one day a trigger come cocking. (But now I've started learning how,) I keep it shut" Wide eyes would clean and dust Things that decay, things that rust. (But now I've started learning how,) I keep 'em shut." "Harm is in us. Harm is in us, but power to arm." "Narrow mind would persecute it, Die a little to get to it. (But now I've started learning how.) I leave it open." I kept it in a cage, Watched it weeping, but I made it stay. (But now I've started learning how.) I leave it open." "Harm is in us. Harm in us, but power to arm. Leave it open We let the weirdness in" She realizes it will be difficult, but she must leave herself open to be alive. Fight the harm growing within us. And each line is a metaphor for the soul or situations she is mentally coping with. Any creative souls want to add how this may have affected their lives? You don't even have to be creative, just believe in your individuality, which is why many of us are here. Wow, Xan, I really enjoyed reading your interpretation of this song. And I totally agree that there are so many layers to this song, as there is with any sublime poetry. Now, I will address the question on how this may have affected my life. I grew up listening to Kate for the last 18 years. I can look back on her songs and find ways that they helped shape my emotional, intellectual and spiritual development. I relate to this song as the process I went through in personal relationships and professional. It's funny. Until now I thought "we let the weirdness in" was "Please, wipe away my sin." It pretty much represents my relationship timeline. When I started dating, my heart was open. But when "a trigger came cocking," (sublime!) or when the person I loved had many painful lessons to share with me, I learned how to keep my heart shut. Things started decaying and rusting, because my heart is in everything I do. My art withered. The part about keeping it in a cage: my soul was caged and along with it the pain that I was holding for so long. Pictures that comes to mind: Mrs. Havisham, Tinkerbell... Through some spiritual guidance, I learned that although we all possess the power to harm, we also have ways to protect ourselves with a shield that lets the love in and keeps the harm out. Leaving myself open, I can let the weirdness in and not be hurt. I can use my energy to love and create now that I'm not wasting it on defense and hiding from the world. Hmm... something our world leaders haven't processed yet. Wow, this is really a fun discussion group!
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Post by Xanadu on Mar 2, 2005 20:45:09 GMT
Wow, Xan, I really enjoyed reading your interpretation of this song. Thanks so much for reading my thoughts, Nan, and welcome. I really appreciate your feedback and am glad you enjoyed it. I love being able to share our emotional experiences and responses to Kate's music. As a matter of fact, I posted that about a year ago and haven't revisited it recently. Sometimes I need to be reminded of my own guidance. Listened again to it this morning and it still resonates, but in new ways, today.
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Post by MALCOLM XERXES™ on Mar 21, 2005 11:33:44 GMT
I find it ironic that my least Favourite Kate Bush track is on my most favourite album. Anyone have any thoughts on Leave It Open? ADEY,
I loved every single track on KATE BUSH: THE DREAMING on first listen, so I have a bit of difficulty grasping a dislike of the song. (My older sisters dislike the album (& all of MS. KATE BUSH'S other albums, for that matter!) because they think she sounds like a ghost.
I'm looking @ lyrics now that say the final stanza is "We let the weirdness in", but I always heard it as "We never let us in".
&&&&&&&&&&&&&&&&&&&&
NANNYGOAT,
Welcome to the domain!
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Post by Al Truest on Mar 22, 2005 4:01:24 GMT
There is still controversy about this line. I have always heard it as ''We let the wierdness in'' But only because I'd looked up the lyrics to try and make out what, at that time, was indistinguishable to me.
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Post by tannis on Nov 26, 2007 17:47:50 GMT
This song comes before GET OUT OF MY HOUSE, when 'My door was never locked'. IMHO, the title, LEAVE IT OPEN, could be an invitation “For Madmen Only”. The song tackles the lessons of experience; how curiosity and exposure define who we become; about self-awareness, corruptibility, etc.; and about how mental stability depends on the vigilance of the 'concierge chez-moi' (à la GOoMH). In the beginning, we are all open. As we grow, we close up, repress things, maybe become too repressed etc. We can close up too much and keep things 'weeping' inside. This affects and defines how we relate to the world. 'Leave It Open' is about channelling emotions into creativity rather than self-harming destructivity... (addictions, psychoses, etc. and see Polanski's 'Repulsion' 1965). 'Narrow mind would persecute it,/(Die a little to get to it.)' is as cunning as the Devil himself! ... Indeed, the song evokes the shameful Biblical 'fall of man' ... We are cursed to 'let the weirdness in' ... "...Up to this point Adam and Eve have not sinned, they did not know what evil was. But when they touch the tree of the knowledge of good and evil their eyes shall be opened and they shall know what evil is. At that point, they have sinned..."Die a little to get to it might even suggest losing brain cells to drugs and The Doors Of Perception... "The man who comes back through the Door in the Wall will never be quite the same as the man who went out," Huxley had written in the last paragraph of Doors. "He will be wiser but less cocksure, happier but less self-satisfied, humbler in acknowledging his ignorance..." The song is daring, tempting and menacing (like Satan in The Garden of Eden). We come to 'realise' that evil is inherent in human nature. To see/hear/speak no evil is to become deluded and dysfunctional. By nature and experience, we each have threatening and harmful tendencies, and must learn to arm our intellect with autonomy, foresight and moderation... To LEAVE IT OPEN, to want to experience everything, can be equally dysfunctional. Hence the intoxicated, addicted and distressed state of the song's close... We can't have it all! "I kept it in a cage, Watched it weeping, but I made it stay..."show the insight and psychological resolution necessary to move on in life... e.g. negotiating maturity/immaturity, reason/passion, virtue/vice, sexuality, etc... 'Keeping it in a cage' is necessary until one is prepared for release... (especially when you're dealing with mythic weirdness...) Letting 'weirdness in' is unavoidable. We learn to navigate the difficult path between the destructive and the constructive, and arm against 'destructive weirdness' to move on as creative, 'self-actualized' individuals (à la Maslow). Experience is both a loss and a gain ('Die a little to get to it'). Choose wisely your teachers! ... The 'satanic' finale of LIO makes this song dangerously tempting, a warning invitation to madness! THE DREAMING is a remarkable album... 'Sat in Your Lap', 'Suspended in Gaffa' and 'Leave It Open' are windows into the machine room of the self-actualizing, self-transcending mind... THE DREAMING is a peak experience! * "Wide eyes would clean and dust Things that decay, things that rust" - is this "a reference to Kate's own childhood barn out 'in the bottom of our garden,' the place of the old broken-down organ which was the home of countless mice?" - the old organ: wood, metal; rust and decay. The Dreaming, The Songs, "Suspended In Gaffa"gaffa.org/dreaming/td_sig.htmlEDIT:On LIO: 'Babbling' means confusion, idle chatter, impulsive disclosure, regression, etc. People babble and wash things up when drunk. Maybe the protagonist needed substances to feel comfortable or creative, but these in turn created more problems (like Amy Winehouse?). Maybe ego-identity is the problem, feeling trapped and encaged within. Maybe, LIO treats acute psychoses, trauma and post-trauma. Whatever, the protagonist becomes closed and incredibly guarded. The chorus suggests fear and reassurance; but the 'Leave it open!' could be a "HERE'S JOHNNY" intruder... "We let the weirdness in..."And who are "we"? The human race after the fall? Or The KT Bush Band? Maybe the "weirdness" has gotten out of hand, as in sorcery, and now she is twisting into an other, weirder self? ... LIO: at 2.17, we start hearing sounds similar to the 'Hee-haw!' of GOoMH, suggesting transformations are already taking place... "What you letting in? Tell me what you're letting in!" ... The mystical, the creative, the religious? ... or "the weirdness"? ... LIO ends with a psychoanalytic breakthrough. The problem is identified: We let the weirdness in! - hence the need to leave it open to let the weirdness out! With the therapy session over, Side One ends...
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Post by rosabelbelieve on Jan 31, 2008 2:58:58 GMT
After the revelation of her path in SIG, LIO brings her to the depths of the wilderness of the unconscious, though this time with a clear and powerful conscious mind that will not let itself be swallowed up. (With my ego in my gut... with her conscious mind immersed in her unconscious... I will keep it shut... I will not allow myself to drown, I will come out of the underworld.) She is testing her power against the depths, becoming almost a lock-keeper of the soul. With the knowledge she has found, she checks the flow of the dreamlike, phantasmagoric, fantastical waters. LIO is her descent the underworld, in a way- to the depths of the ocean, the dangerous forest, the bowels of the earth where the "treasure hardest to attain" dwells as if in some spellbound sleep. "Harm in us but power to arm.." X has both the underworld and hero in her psyche. This is a very archetypal situation- the hero often must descend to Hades to unearth the desired object of his search. X is like the alchemist trying to free the lapis from the bonds of matter, trying to refine the perfect philosopher's stone from the fertile, churning prima materia. In this search she has become Eve or Pandora, a witch, a Circe or Vivien, valuing wisdom and power over love and care. A merciless Fate, a Norn, a spider weaving life and death. As X enters this darkness, she also enters a deep solitude, a retreat from worldly things and people. This isolation is essential to finding her power and knowledge- she must turn inward to find the thing she is searching for. To find the source of things, she must renounce "things that decay, things that rust..." and make the hard journey towards her transcendent, immortal goal. So she is searching for the undying essence of things. She is also entering a realm that is bound by the power of her mind- nothing is beyond the control of her imagination, or at least she seems to think so. She harnesses her powers carefully, becomes the witch, the fate, the enchantress of her own world. Which is in a way a very interesting thing, yet also a very dangerous one. It is the trance of the artist in mystical reverie of the astonishing imagination, and also the trance the madman unable to find reality in the midst of dreams. If people aren't too tired with me referring to alchemy, I'll do it again. LIO reminds me of the concept of the vas- the alchemical vessel where the lapis is refined. LIO is a period of protecting one's creative work from centrifugal forces that would squander it, a period nigredo, of blackess, and solitude. Kate said something about Leave It Open being about how people open and close themselves mentally like cups. The cup and the vas are basically very similar- X at the beginning has turned grimly inward, concentrating on attaining her treasure, her goal, perfecting her craft. A time of dark, controlled imaginatio and meditatio. She has "kept it (her own soul?) in a cage, watched it weeping, but I made it stay.." She has imprisoned herself in the alchemical vessel that develops new life, forced herself into a situation where she must confront the unconscious, mercilessly ploughing through the pain and horror this brings. But by the end of the song, it seems there is an intruder in her mind, something her sorcery cannot control. She, the enchantress, is bewitched. She "lets the weirdness in." Odysseus has come to her island. I am not sure yet whether this is a new person entering her life that awakens certain qualities in X, or whether these ideas storm her unprovoked by any outward influence. But by the end of the song, X is far from in control. She entranced, ensnared, fearful, seduced by the dream overtaking her. I think think this leads to the sort of mystical experience of "The Dreaming." We let the weirdness in... We let the weirdness in...
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Post by tannis on Jun 6, 2008 0:36:07 GMT
I don't know how much Kate was affected by The Beatles prior to *The Dreaming*, but I KNOW she was very strongly influenced by John Lennon. I have a radio show that was done inbetween *Never for Ever* and *The Dreaming* where Kate is sort of the guest DJ. In this show she says that Lennon's "Number Nine Dream" is her favourite song of all time and that she just loves the stuff he did with backwards vocals. Subject: Kate and the Beatles Kate Tidbits/Gossip Pt.1gaffa.org/dreaming/E1_tid.htmlBackmaskingBackmasking is a recording technique in which a sound or message is recorded backward onto a track that is meant to be played forward. The Dreaming and Hounds of Love use backmasking or distressed messaging; and the 'Aerial' track from A Sky of Honey also seems to use distressed messaging. Backmasking has been cited in cases of suicide, murder, and Satanism. Legislation has been sought for records with backmasking to include a warning sticker: "Warning: This record contains backward masking which may be perceptible at a subliminal level when the record is played forward." On Leave It Open there is the masked message "We let the weirdness in". Some believe it to be a two-way masked message, and that played backwards it sings "They said they would [not] let me in" or "They said they were buried here". However, any message found through phonetic reversal may be unintentional. On The Ninth Wave's Watching You Without Me there is the backmasked message "Don't ignore, don't ignore me. Let me in and don't be long."The backwards playing of records was advised as training for magicians by occultist Aleister Crowley, who suggested that an adept "train himself to think backwards by external means", one of which was to "listen to phonograph records, reversed." Aleister Crowley features on the cover to The Beatles' Sgt. Pepper's Lonely Hearts Club Band. You think inside out...Backmasking was popularized by The Beatles, who used backward vocals and instrumentation on their 1966 album Revolver. The "Paul is dead" rumor popularized the idea of backmasking in popular music. For the December 1980 Paul Gambaccini Radio Programme, KaTe selected Number Nine Dream by John Lennon among her "more popular" choice selection. And: Have you ever considered doing a version of Number Nine Dream by John Lennon (which I know is your favourite single)? KB: "I think what would be nice is if they re-released it. It was well ahead of its time, and didn't really get the attention it deserved." Kate's KBC article, Issue 16gaffa.org/garden/kate18.htmlThe Beatles did a lot of backmasking on Revolver and on The White Album, notoriously the mystery tracks on "Revolution #9". Manson was fascinated with the number 9, with Revelation chapter 9, and by perceived revolutionary propaganda from the Beatles songs, especially "Revolution No. 9". There were five songs that Manson believed were messages directed to him. They were: "Blackbird," "Piggies," "Revolution 1," "Revolution 9" and "Helter Skelter". In "Revolution 9," the listener hears whispers, shouts, snatches of dialogue from the BBC, bits of classical music, mortars exploding, babies crying, church hymns, car horns and football yells-which, together with a chant of "Number 9, Number 9, Number 9," build to a climax of machinegun fire and screams. "Help this blackbird!" "She's a witch!" "There's a stone around my leg" "Uh! Damn you, woman!" "Help this blackbird! There's a stone around my leg" "What say you, good people?" "Guilty! Guilty! Guilty!" "Help this blackbird!" In the song, "Blackbird singing in the dead of night / Take these broken wings and learn to fly / All your life / You were only waiting for this moment to arise" Manson interpreted this to mean the beginnings of a race war. Breathing the fall-out in, Out in, out in, out in, out in, Out in, out in, out in, out... ("Out!")The Beatles song "Revolution 1," as given on the jacket insert, reads: "You say you want a revolution / Well you know / We all want to change the world... / But when you talk about destruction / Don't you know that you can count me out." However, when you listen to the record itself, immediately after "OUT" you hear the word "IN" and Manson took this to mean the Beatles once undecided, now favored the Revolution. On 8 December 1980, Lennon was shot in the entrance hallway of the Dakota building by Mark Chapman. Lennon had autographed a copy of Double Fantasy for Chapman earlier that same night. So now when they ring I get my machine to let them in...It has been suggested that Kate Bush had a security system installed because of John Lennon's murder. My door was never locked Until one day a trigger come cocking...Apparently, Kate said that "she was very glad the year [1980] was over because it had been an awful year and that she had been very depressed about John Lennon's murder. Seen in this light, it isn't too hard to see that the line, "Now when they ring, I get my machine to let them in," definitely refers to Kate's own security system, and that the line, "My door was never locked/ Until one day a trigger come -- cocking," almost certainly is an allusion to the effect that John Lennon's murder had on Kate." "Leave It Open"gaffa.org/dreaming/td_lio.htmlIt lay buried here. It lay deep inside me It's so deep I don't think that I can speak about itCould these lines refer to both tangible and emotional Its? Like something or someone is really buried, and that the protagonist is having to bury/suppress their emotional responses?
On Leave It Open there is the masked message "We let the weirdness in". Some believe it to be a two-way masked message, and that played backwards it sings "They said they would [not] let me in" or "They said they were buried here".
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Post by Barry SR Gowing on Jun 6, 2008 11:32:37 GMT
I don't know how much Kate was affected by The Beatles prior to *The Dreaming*, but I KNOW she was very strongly influenced by John Lennon. I have a radio show that was done inbetween *Never for Ever* and *The Dreaming* where Kate is sort of the guest DJ. In this show she says that Lennon's "Number Nine Dream" is her favourite song of all time and that she just loves the stuff he did with backwards vocals. ... On 8 December 1980, Lennon was shot in the entrance hallway of the Dakota building by Mark Chapman. Lennon had autographed a copy of Double Fantasy for Chapman earlier that same night. My door was never locked Until one day a trigger come cocking... Yes, I think it's easy to overlook just how shattering Lennon's murder was back then; not just for Beatles fans but for everyone who loved music. This was the first time anyone had been killed (by one of their own fans) just for being a musician. It still might well be the only case where this has happened - I know a few rappers have been killed since, but those cases are gangster related - not obsessive fans deciding that their favourite artist doesn't live up to their own image. As I recall, the only other attempt to kill a musician by a fan was also directed at a Beatle, George Harrison, in 1998. As far as I can tell, Chapman so identified with Lennon that he may well have thought (in his addled state of mind) that by eliminating Lennon that Chapman himself would be become the "new Lennon". You can imagine the affect this killing had on other artists, particularly those with obsessive fans! David Bowie commented at the time that he loved to walk around the streets of New York because no ever bothered him, but this event had changed his views on that! In this song there seems to be some ambiguity about what it is that we leave closed or open. Is it our minds, our egos, or is it our front doors? Is Kate suggesting that the very reason we close our minds up is the same as the reason why we lock our doors against harm? I can't help but think about Get Out of My House in this context... As for Kate's interest in the Beatles - I think she became interested in them, but not until well into the seventies. She was born in 1958 and I suppose that she might have just been too young to really appreciate what the Beatles did during the sixties. No doubt she would have seen the Beatlemania phenomenon occur, it would have been impossible to miss, but she may well not have though much about the Beatles as artists until she was much older. Today you will sometimes hear people (who weren't around in the sixties) say "Oh, the Beatles. They were just a boy band weren't they?". It's a bit of a shock to realise that no, actually they changed the course of pop music and were also considered to have an impact even on the political level back then. "Revolution" was born from Lennon's interaction with far-left political radicals back in 1968 when the streets of Europe and America were beset with protests and riots due to student activism. Lennon got into a very public brawl because he was all for the "Revolution" but very against "destruction". He got branded a conservative for this stance! In the song "Revolution" he very explicitly includes the line: But when you talk about destruction, don't you know that you can count me out?There are two versions of this song. The laid-back version on the White Album where he playfully murmurs "in" after saying "out", and the high-energy single version of the song, which was recorded a few weeks later, where he settles for "out" only. (This version was released as a "double A-side single" with "Hey Jude" as the other song). Lennon also infuriated the student radicals by including the lines: But if you go carrying pictures of Chairman Mao You aint gonna make it with anyone, anyhowI think time has shown that Lennon was right on that score! The student protests/riots were initially fuelled by the Vietnam War, although the scope soon grew far beyond that to a general protest against capitalism, America, Europe etc. One of the "poster boys" of the purported revolution was Chairman Mao - because of the revolutionaries believed that the Chinese system was somehow better and fairer. --Paul--
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Adena
Moving
This time around we dance - we're chosen ones
Posts: 611
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Post by Adena on Jun 21, 2008 14:28:08 GMT
Following my first Deeper Understanding about Sat In Your Lap, I had a few thoughts about this song.
Leave it Open - Hiding in a Room in my Mind
The person in Leave it Open is learning how to make their life eaier by hiding their weirdness from the outside world but still letting it in - another possible reference to depression. They simply learn what to say to be hidden.
They just blend in and do what the world requires them to do to not be noticed. They're not flamboyant or anything, actually they avoid attention. They cry alone only.
This relates quite well to a little story of my life in the last two months.
I know a girl who goes by the name of Maddy. She and I had bluesy depression in common for quite a while. We got each other out of our shells a bit, and she helped me get my headspace in check. When I did, though, I began to see she really needed help. I tried to get her to go to a counsellor and she wouldn't, so in the end I asked a teacher at our school to get her to go to one.
Result: Her parents got called, she ended up in hospital, and she now hates me with a furious passion.
The result of this is another thing that I can intertwine with this song theory in particular. We left ourselves open for each other. I hit her in a soft spot, but hopefully I helped her. My trigger came cocking at her door, and as a result, her door is shut. She attempts to clean me out of her life by meticulous scrubbing, but she's not going to be able to totally succeed...
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Post by tannis on Jun 21, 2008 15:49:45 GMT
Yes, Adena, there are connections between LEAVE IT OPEN and THEM HEAVY PEOPLE. The protagonist in THP has 'learned' to shut people out and to hide in a room in her mind; and this does indeed suggest bluesy depression. These defense mechanisms are explored further in the first part of LIO ("With my ego in my gut"). In THP, with a little help from her friends, she is freed from dysfunctional defenses and is able to grow stronger, physically, mentally, emotionally, and spiritually. Likewise, in LIO, she learns to 'leave it open' and to sublimate her energies and weirdness into creative expression. And I guess one has to 'let weirdness in' to be able to 'let weirdness out'. Psychoanalysis, abstract art, technology, music, etc. are all kinda weird, but by letting them in, we can find a way to let our weirdness out! ... They arrived at an inconvenient time I was hiding in a room in my mind They made me look at myself. I saw it well I'd shut the people out of my lifeWith my ego in my gut My babbling mouth would wash it up (But now I've started learning how) I keep it shut
My door was never locked Until one day a trigger come cocking (But now I've started learning how) I keep it shut
Wide eyes would clean and dust Things that decay, things that rust (But now I've started learning how) I keep 'em shut I keep 'em shutThey open doorways that I thought were shut for good They read me Gurdjieff and Jesu They build up my body, break me emotionally It's nearly killing me, but what a lovely feeling!(But now I've started learning how) I leave it open I kept it in a cage Watched it weeping, but I made it stay (But now I've started learning how) I leave it open I leave it openThem heavy people hit me in a soft spot Them heavy people help me"We let the weirdness in We let the weirdness in We let the weirdness in We let the weirdness in We let the weirdness in"
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Post by rosabelbelieve on Jun 21, 2008 18:45:00 GMT
I'd never noticed the similarity before, but that's really interesting. I've often felt that not only is Leave It Open about hiding your 'weirdness' from the outside world, but maybe retreating and shutting yourself away from the outside world completely - in order to 'leave it open' to an inner and unconscious realm. But maybe in Them Heavy People she has found friends who accept and respect the 'weirdness' within her. And I guess one has to 'let weirdness in' to be able to 'let weirdness out'. Psychoanalysis, abstract art, technology, music, etc. are all kinda weird, but by letting them in, we can find a way to let our weirdness out! ... [/color] [/quote] I agree.
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