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Post by tannis on Feb 4, 2008 5:18:37 GMT
"With my key I..." The key is very interesting, as it also appears in Houdini. Good connection... As a dream symbol, the 'key' can mean: Keys open doors (opportunities) of all kinds, unlocking your inner magic (or locking it up); the means to achieving your desired goal; finding a key may indicate a need to decode or decipher information or guidance; being excited, nervous, or 'keyed up'; A lost key may indicate not being ready for a planned project; Holding keys may represent needing to make an important choice; Handing a key to someone else may denote handing your responsibilities over to others; A solution, a turning point, the key to the problem at hand... Yes, and as you go on to say, their conflict is made more riddling by the undeniable presence of a connection between them. This line also suggests Pheme or Ossa, the Greek goddess or spirit (daimon) of rumour, report and gossip. She was also, by extension, the dual spirit of fame and good repute in a positive sense, and infamy and scandal in the bad. By turning into a bird, is X hoping to fly faster than the speeding hotfoot of Ossa? Beyond Rumour?At the City Dionysia festival, the Greek Dramatists generally presented a tetralogy (a group of four plays), three tragedies and a satyr play. In the first half of the fifth century the three tragedies often formed a connected trilogy, which told a continuous story. However, only one connected trilogy survives, the Oresteia of Aeschylus... So maybe we could look at GOoMH as a song-trilogy of which two 'plays' have been lost... In GOoMH, her fury has, as in a Greek Myth, turned her into a mule, a beast of terrible burden. One version of Greek Mythology is that the gods turned Hecuba into a dog so that she might escape Odysseus. Another version is that Hecuba was driven mad by sorrow and began barking like a dog… So I guess the tragic song-tetralogy could be SIG-LIO-GOoMH & TWL ... ?
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Post by rosabelbelieve on Feb 5, 2008 2:14:50 GMT
Good connection... As a dream symbol, the 'key' can mean: Keys open doors (opportunities) of all kinds, unlocking your inner magic (or locking it up); the means to achieving your desired goal; finding a key may indicate a need to decode or decipher information or guidance; being excited, nervous, or 'keyed up'; A lost key may indicate not being ready for a planned project; Holding keys may represent needing to make an important choice; Handing a key to someone else may denote handing your responsibilities over to others; A solution, a turning point, the key to the problem at hand... I never knew keys had such interesting symbolism. It makes me realise how incredibly perfect the cover picture is for the whole album. I see a lot of these fitting very well into the whole concept of The Dreaming and GOoMH, especially "the means to achieving your desired goal." Yes, and as you go on to say, their conflict is made more riddling by the undeniable presence of a connection between them. This line also suggests Pheme or Ossa, the Greek goddess or spirit (daimon) of rumour, report and gossip. She was also, by extension, the dual spirit of fame and good repute in a positive sense, and infamy and scandal in the bad. By turning into a bird, is X hoping to fly faster than the speeding hotfoot of Ossa? Beyond Rumour?I had never heard of Ossa, that's an interesting idea. I could see that maybe tying into Kate's personal situation at the time- feeling intruded upon by the public eye? At the City Dionysia festival, the Greek Dramatists generally presented a tetralogy (a group of four plays), three tragedies and a satyr play. In the first half of the fifth century the three tragedies often formed a connected trilogy, which told a continuous story. However, only one connected trilogy survives, the Oresteia of Aeschylus... So maybe we could look at GOoMH as a song-trilogy of which two 'plays' have been lost... That makes me wonder about songs that were never sent out into the world from TD-era, if there were any. Maybe X has some adventures that we don't even know about.
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Post by Kevin2 on Feb 5, 2008 21:38:15 GMT
"With my key I..." The key is very interesting, as it also appears in Houdini. Good connection... As a dream symbol, the 'key' can mean: Keys open doors (opportunities) of all kinds, unlocking your inner magic (or locking it up); the means to achieving your desired goal; finding a key may indicate a need to decode or decipher information or guidance; being excited, nervous, or 'keyed up'; A lost key may indicate not being ready for a planned project; Holding keys may represent needing to make an important choice; Handing a key to someone else may denote handing your responsibilities over to others; A solution, a turning point, the key to the problem at hand... A key can also be a kilogram of some illegal substance; more commonly, it denotes marijuana itself. I think Kate was high.
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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 11, 2008 11:28:50 GMT
I see a bit of marching-troupe/Sheila Chandra-esque sound effect at the end of the song... very pleasing to the Adena-ear.
This is truly a beautiful, insightful song about protection. When compared to something like Leave It Open, leaving yourself (wrists and all) clean and uncovered, but also open to new ideas, this, the closing up, and hence not being open to new ideas and 'the weirdness'.
'Time to run, Adena... Maddy's gatecrashed again.'
Thank you, Jayme, but I prefer to leave myself clear for her. You know the last time?
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Post by rosabelbelieve on Jun 11, 2008 16:43:30 GMT
This is truly a beautiful, insightful song about protection. When compared to something like Leave It Open, leaving yourself (wrists and all) clean and uncovered, but also open to new ideas, this, the closing up, and hence not being open to new ideas and 'the weirdness'. Yes, I agree - GOoMH is kind of like the antithesis or other side of Leave It Open. The theme of protection, and intimacy and violation, I think is right at the heart of The Dreaming. It expresses itself in the tension between wanderlust and safety, the tension between desire to let the weirdness in and the desire to keep the weirdness out in the cold...
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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 12, 2008 10:52:43 GMT
...between being whole in oneself and urgently locking, between forced loneliness and knowledge of everything.
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Post by tannis on Jul 17, 2008 13:27:15 GMT
THE HOUSE OF FICTION In "Get Out of My House" the listener/reader finds "pictures of imprisonment and escape." Here we meet the Woman's ambiguous attempt to lock herself in her own house and at the same time trying to lock the Man, the male, outside. The Man is drawn to, and controls, the outside world... The Woman has acquired this metaphorical house and key. She is full of "anxiety" over this crime to the patriarchal tradition. She locks the door. However, she has to pay dearly for this victory. She has stepped into her own trap. She has her own house, but she has lost the world: "I'm barred and bolted.. and I Won't letcha in" Has the woman in "Get Out of My House" really conquered her own Woolfian house, from which she can develop her distinctly feminine universe? No, the scenario is a bit more complicated than that... This house, that becomes a picture of the woman herself, is "(This house is) full of m-m-m-my mess" ... Against this monstrous binding the Woman has to oppose by dressing up in the masculine metaphor of aggression: "This house is full of, full of, full of, full of fight". A fight both inside the Woman's house and with the Man from the outside, who acts as the seductive Devil's Advocate of the tradition, and who tries to force his way in into her fictive house with promises and threats: "Woman let me in..." The attempts to acquire the Woman's fictitious house seems to fail: "I will not let you in..." But don't be fooled. The Woman's attempt to escape as a bird is just going to bring her out into a world controlled by men. And this romantic metaphor, the bird, does not have sufficient force. It's song does not have the force to resist the Man. The Tempter suggests this when he in the shape of air tries to bind the bird/the Woman with a (cold) kiss, the binding touch of love. Yet the Woman resists in an ironic manner. She decides to enter a strange compromise: "I will not let you in I face toward the wind I change into the mule..." Into a mule. Both the Man and the Woman has in fact been transformed into this mixture of different elements. This would suggest that no-one has won... from: Vagant, "This House Is Full Of M-M-MADNESS", Johann Grip (1989)gaffa.org/reaching/i89_vag.html
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Post by tannis on Jul 17, 2008 13:27:39 GMT
This house is full of m-m-my mess. (Slamming.) This house is full of m-m-mistakes. (Slamming.) This house is full of m-m-madness. (Slamming.) This house is full of, full of, full of fight! (Slam it.) In the title track of The Dreaming, it is virtually impossible to be aware of all the sounds and voices at the same time. This seems to hold true for much of the album. KB: "I think, especially with that track and Get Out of My House, that was--well, hopefully--what we wanted to happen. It was very much working in layers. The idea was that the third or fourth time a person listened to the record, they would start hearing things they hadn't heard before. I think that's really my favourite kind of music. The best examples are some of the Beatles records. I still listen to them, and am still amazed at the quality of the songwriting. It still stands up today. I mean, Sgt. Pepper's Lonely Hearts Club Band and Magical Mystery Tour -- there just isn't a bad track on them, every one is brilliant, and there are so many ideas in each song. Maybe each time you listen you pick up on a different area of what is going on. And I really wanted to create something a bit like that, so that, as people listened to it more, it would somehow grow." Voc'l, John Reimers (1983)gaffa.org/reaching/i83_vocl.htmlOn the subject of the text saying one thing but the listener hearing something else, I am sure that KaTe is singing "This house is full of, full of, full of faith" ...
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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 Jul 17, 2008 16:11:28 GMT
On the subject of the text saying one thing but the listener hearing something else, I am sure that KaTe is singing "This house is full of, full of, full of faith" ... It's interesting to think about what it would mean if the house was full of faith. Faith in her? Faith in itself? Or faith in the opposition?
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Post by tannis on Jul 17, 2008 23:18:00 GMT
Overlook: "GET OUT OF MY HOUSE!" ... Fight the good fight with all thy might...This house is full of m-m-my mess. This house is full of m-m-mistakes. This house is full of m-m-madness. This house is full of, full of, full of fight... faith..."This house is full of my mess... mistakes... madness... fight... faith..." So, is the fight/faith part of the problem (i.e. adding to the mess, mistakes, and madness)? Or is the fight/faith the solution?The lyric book says fight, but the song says faith. This sounds like wise counsel! So, is Get Out Of My House about fighting Temptation with spiritual faith? Maybe the protagonist has fallen into Satan's temptation; the Tempter has left; and now the protagonist is struggling to restore order and strengthen spiritual and psychic defense?This house is full of, full of, full of faith...Fighting temptation is combat, won or lost at the spiritual level. God desires that we endure when we are tempted and promises that there is a way out. His desire is that we don't fall into temptation, but that we proceed through it and master it, rather than it mastering us:James 1 : 12 Blessed is the man that endureth temptation: for when he is tried, he shall receive the crown of life, which the Lord hath promised to them that love him. 13 Let no man say when he is tempted, I am tempted by God: for God cannot be tempted with evil, neither tempteth he any man: 14 But every man is tempted, when he is drawn away by his own lust, and enticed. 15 Then when lust hath conceived, it bringeth forth sin: and sin, when it is finished, bringeth forth death. 16 Do not err, my beloved brethren.Temptation is as old as mankind, beginning in the Garden of Eden. When Satan tempted Eve to do what God had forbidden, he appealed to her reasoning. "Did God really say…," the enemy hissed. Then he appealed to her desires, "You can be like gods!" Finally, he slithered aside and let her passions take over. She looked at the fruit on the forbidden tree - and she wanted it (Genesis 3). Throughout the book of Psalms, we find David recording his distress after falling into temptation. His soul was grieved and felt as if it were torn in two.1 Peter 5 : 8 Be sober, be vigilant; because your adversary the devil, as a roaring lion, walketh about, seeking whom he may devour.I am the concierge chez-moi, honey Won't letcha in for love, nor money...1 Timothy: Chapter 6 10 For the love of money is the root of all evil: which while some coveted after, they have erred from the faith, and pierced themselves through with many sorrows. 11 But thou, O man of God, flee these things; and follow after righteousness, godliness, faith, love, patience, meekness. 12 Fight the good fight of faith, lay hold on eternal life, whereunto thou art also called, and hast professed a good profession before many witnesses.I clean the stains... Psalm 32 1 Blessed is he whose transgression is forgiven, whose sin is covered. 2 Blessed is the man unto whom the LORD imputeth not iniquity, and in whose spirit there is no guile. 3 When I kept silence, my bones waxed old through my roaring all the day long. 4 For day and night thy hand was heavy upon me: my moisture is turned into the drought of summer. Selah. 5 I acknowledge my sin unto thee, and mine iniquity have I not hid. I said, I will confess my transgressions unto the LORD; and thou forgavest the iniquity of my sin. Selah. 6 For this shall every one that is godly pray unto thee in a time when thou mayest be found: surely in the floods of great waters they shall not come nigh unto him. 7 Thou art my hiding place; thou shalt preserve me from trouble; thou shalt compass me about with songs of deliverance. Selah. 8 I will instruct thee and teach thee in the way which thou shalt go: I will guide thee with mine eye. 9 Be ye not as the horse, or as the mule, which have no understanding: whose mouth must be held in with bit and bridle, lest they come near unto thee. 10 Many sorrows shall be to the wicked: but he that trusteth in the LORD, mercy shall compass him about. 11 Be glad in the LORD, and rejoice, ye righteous: and shout for joy, all ye that are upright in heart.Verses 1 - 2: We must ask God to forgive us, to cover our sin and not hold it against us. Verses 3 - 5: At first, David did not ask God to forgive him. He knew that he had disobeyed God. This made David very sad. But then he did ask God to forgive him and God did. God will always forgive us if we ask him. It does not matter what we have done. Remember, Psalm 32:1-2 includes ALL the ways that we do not obey God. Verses 6 - 7: Now it is different. David did not feel God’s hand "heavy on" him. (verse 4) ("heavy on me" means that David thought that God was "angry with him".) David now felt free. So he tells everybody that loves God, "Pray to God". He means "if you sin ask God to forgive you; do not wait until you are very sad". David feels that God is his hiding place. The "great flood of water" are the "bad times". They will come, but will not hurt us. God will hide us and make us safe. Verses 8 - 9: These words are not David speaking to us. They are God speaking to us. It is a special promise of God. God will always show us what to do if we ask him. We must not be like animals, like the horse and the mule. We must be like people that God can talk to.Verses 10 - 11: Though bad people will be sad, people that trust God will not be sad. The only way to be really happy is to ask God to forgive your sin. Then you will have a clean heart. Here, "the heart" means the "real you" inside you. "clean" means God sees you as "if you had never disobeyed him". I change into the Mule...But, by the end of Get Out Of My House, does our protagonist lack the power to function? Has her Fury, like in a Greek Myth, turned her into a mule, a beast of terrible burden? Something that God cannot talk to?If you can't tell your sister If you can't tell a priest 'Cause it's so deep you don't think that you can speak about it To anyone, Can you tell it to your heart?
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Post by rosabelbelieve on Jul 18, 2008 1:21:57 GMT
If the word is actually 'faith' instead of 'fight', that gives a whole new perspective on the song for me. The house is full of terror and violence and sins and nightmares... but it has faith, which can cleanse it of this, and give it the strength to endure the voice that wants to be let in. Faith to ward off evil, faith to wash away the stains. And speaking of lyrics that you hear differently than the lyric booklet says - I always hear at the end of this song "I'd rather let you in..." before the protagonist transforms into a mule. So maybe she does let the voice in, and Hermes and Hestia are finally reconciled. And thank you for the connections with temptation and faith, Tannis - that is really fascinating.
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Post by tannis on Jul 18, 2008 10:15:24 GMT
^ Thanks. Yes, 'faith' instead of 'fight' does introduce new perspectives on the song, including biblical allusions. I hear "I'd rather let you in..." too! So maybe the two mules are finally reconciled!Overlook: "GET OUT OF MY HOUSE!" ... "The Dreaming was my 'She's gone mad' album, my 'She's not commercial any more' album, " says Kate Bush Q, "Hounds of Love Sleeve Notes" (1985; actually appeared June 1991)gaffa.org/reaching/i85_q1.htmlI: I suppose in terms of general ideas, Kate, maybe we could talk a little about that. Just where you pluck these ideas from, is this something that occurs to you in every day life or do you discipline yourself to sit down and think about things? KB: They're very often ideas that come out of other people's creations. Films and books are very much big inspirations to me. For instance, there's a track on this album that was.. really the whole atmosphere was inspired by The Shining. I read the book and it was such an incredibly strong atmosphere, very creepy, very haunted, and I used it to like set a song using the same atmosphere, but instead of it being a hotel it being like a house, which is also a human being. And just playing with the feelings that I got when I read the book and trying to put that same kind and strangeness into the song. Dreaming Debut, Radio 2, Sept. 13, 1982gaffa.org/reaching/ir82_r2.htmlBut The Dreaming goes out on a nightmare. Get Out of My House sends shivers up the old flagpole. It's inspired by the book of The Shining and the film of Alien. The scares prompted Kate to pen a suitably seat-clutching extravaganza which eventually mutated into the rolling torture of the closing track. Basically the haunted house one, but in Kate's hands anything can happen--and does! She becomes an old black landlady shrieking her throat off at the entity; the wind; a bird; and finally, a venomous donkey when she turns and faces the evil. Voices everywhere, not to mention a sinister clattering backdrop. It took a week just to mix. I tell Kate that the space between my ears felt like pale jelly after first exposure to this one on the Walkman. She is pleased! KB: "Oh, good! It's meant to be a bit scary. It's just the idea of someone being in this place and there's something else there... You don't know what it is... The track kept changing in the studio. This is something that's never happened before on an album. That one was maybe half the length it is now. The guitarist got this really nice riff going, and I got this idea of two voices--a person in the house, trying to get away from this thing, but it's still there. So in order to get away, they change their form--first into a bird trying to fly away from it. The thing can change as well, so that changes into this wind, and starts blowing all icy. The idea is to turn around and face it. You've got this image of something turning round and going "Aah!" just to try and scare it away." ZigZag, "Dream Time in the Bush" (1982)gaffa.org/reaching/i82_zz.htmlI: Although you've often written romantic songs - Babooshka, Wuthering Heights, The Wedding List - they've never been happy boy-meets-girl-and-lives-happily-ever-after affairs. Is that because of some private perversity? KB: "For me that's how real situations are? Whenever I've experienced a relationship, or the people around me have, it's always ended up being incredibly complicated because that's the way human beings are. Nothing is simple, it always ends up being something else or dying and that's what I find so interesting - the drive behind human beings and the way they get screwed up." I: Like Get Out Of My House? KB: "The idea with that song is that the house is actually a human being who's been hurt and he's just locking all the doors and not letting anyone in. The person is so determined not to let anyone in that one of his personalities is a concierge who sits in the door, and says 'you're not coming in here' - like real mamma." Melody Maker, "Deamtime Is Over", (1982) gaffa.org/reaching/i82_mm.htmlOne new song on her next album has Kate talking about herself and her new awareness of life, its goals and inevitable pressures. "The song is called Get Out of My House," she says, "and it's all about the human as a house. The idea is that as more experiences actually get to you, you start learning how to defend yourself from them. The human can be seen as a house where you start putting up shutters at the windows and locking the doors--not letting in certain things. I think a lot of people are like this--they don't hear what they don't want to hear, don't see what they don't want to see. It is like a house, where the windows are the eyes and the ears, and you don't let people in. That's sad because as they grow older people should open up more. But they do the opposite because, I suppose, they do get bruised and cluttered. Which brings me back to myself; yes, I have had to decide what I will let in and what I'll have to exclude." Company, "The Discreet Charm of Kate Bush", (1982)gaffa.org/reaching/i82_co.htmlWith 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 shut
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Post by tannis on Jul 18, 2008 11:40:15 GMT
Overlook: "GET OUT OF MY HOUSE!" ... KB: The setting for this song continues the theme--the house which is really a human being, has been shut up--locked and bolted, to stop any outside forces from entering. The person has been hurt and has decided to keep everybody out. They plant a "concierge" at the front door to stop any determined callers from passing, but the thing has got into the house upstairs. ["I hear the lift descending. (slamming!) I hear it hit the landing..."] It's descending in the lift, and now it approaches the door of the room that you're hiding in. [("Let me in!") ("It's cold out here!") Woman let me in!] You're cornered, there's no way out, so you turn into a bird and fly away, but the thing changes shape, too. You change, it changes; you can't escape, so you turn around and face it, scare it away. Kate's KBC article, Issue 12 (Oct 1982), About The Dreaminggaffa.org/garden/kate14.htmlWhen you left, the door was... I watched the world pull you away... "The person has been hurt and has decided to keep everybody out", says KaTe. So the "you" who leaves in the opening verse could refer to the one who did the hurting. But is this "you" trying to re-enter the House? Or does the protagonist now face anOther (psychic) intruder? ...I hear the lift descending (slamming!) I hear it hit the landing (slamming!) ...KaTe states that "the house... is really a human being" and that "the thing has got into the house upstairs".
UPSTAIRS: When one says that an individual has nothing upstairs, what one means is that he/she is not very intelligent. He/she doesn't have any brains. In other words, the person is very stupid. Here's an example: "You can't expect too much from George Bush. He has nothing upstairs."
This house is as old as I am (Slamming) This house knows all I have done (Slamming) ...
Human brains are divided, like country houses, into upstairs and downstairs. Upstairs is the cortex where the glamour is - self, freewill, consciousness, even the 'God module', are all alleged to live somewhere in this realm. So, GOoMH begins with "the thing has got into the house upstairs" and ends in a brainless confrontation between two wild, stupid and mad creatures...I am the concierge chez-moi, honey...Interestingly, in Melody Maker: "Deamtime Is Over" (1982) Kate describes the "concierge" as "one of his personalities". The "his" may imply that the male/female angle of the song is not as important to Kate as the overall moral theme, but the protagonist is definitely described as a woman later in the song. Another interesting aspect about the description "one of his personalities" is that it implies that the other "voices" (male and female) Kate uses in the song may indeed be "multiple personalities" of the protagonist; suggesting that GOoMY expresses breakdown, splitting, schizophrenia, personality disorder, or dissociative identity disorder.Would you make a good therapist? KB: "I really don't know. When I was little, I really wanted to be a psychiatrist. That's what I always said at school. I had this idea of helping people, I suppose, but I found the idea of people's inner psychology fascinating, particularly in my teens. Mind you, it's probably just as well I didn't become one. I would have driven all these people to madness..." KB: "I think some of my lyrics were just, well, mad, really. And why not!" Q, "Booze, Fags, Blokes And Me" (1993)gaffa.org/reaching/i93_q.htmlWon't letcha in for love, nor money...KaTe references love and money. Maybe a biblical reference. Maybe, as Al speculates, a reference to the seven deadly sins. Or maybe the line betrays the protagonist's true feelings towards the Other.And speaking of lyrics that you hear differently than the lyric booklet says - I always hear at the end of this song "I'd rather let you in..." before the protagonist transforms into a mule. Yes, I hear this too. But it seems the contradiction between her action (lock) and her passion (love) result in a stalemate; and she transforms herself into a "wild, stupid, mad creature" (KT, 1985).KB: "I'd rather hang on to madness than normality..." Record Mirror, "The Shock of the New" (1981)gaffa.org/reaching/i81_rm.htmlWith my keeper I (clean up). With my keeper I (clean it all up). With my keeper I (clean up). With my keeper I (clean it all up). Note that "key" transforms into "keeper". A keeper can refer to an attendant or a warden. So the "keeper" could simply refer to the "concierge chez-moi". However, "keeper" can also imply someone in charge of or someone over another. The constant screaming "Get Out Of My House" keeps the presence of The Other within the house (à la Alien, 1979). In The Shining, both Wendy and Danny must escape from Jack and Overlook Hotel. So are there others in KaTe's House: the protagonist, the keeper, the charge, and their pursuer? Does the use of "keeper" in GOoMH indicate another "voice"? Genesis brings out the darkside of the word 'keeper':Genesis: Chapter 4: 2 ...And Abel was a keeper of sheep, but Cain was a tiller of the ground... 8 And Cain talked with Abel his brother: and it came to pass, when they were in the field, that Cain rose up against Abel his brother, and slew him. 9 And the LORD said unto Cain, Where is Abel thy brother? And he said, I know not: Am I my brother's keeper?("It's cold out here!") GOoMH (2:09): "The voice on 'It's cold out here!' sounds like Paddy doing one of his Irish-y voices" (Gaffaweb).I will not let you in. I face towards the wind. I change into the Mule. "I change into the Mule." Hee-haw! Hee-haw! Hee-haw-hee-haw-hee-haw... KATE: "I mean, a mule -- in our country -- all it represents is a stupid animal. They are considered stupid. And that's the allusion that was being used in that case. And it's very much a play on a traditional song called "The Two Magicians" about someone who's trying to escape someone, and they keep changing their form in order to escape them. But the other thing keeps changing its form. And that's actually what the whole song is about -- someone who is running away from something they don't want to face, but wherever they go, the thing will follow them. Basically, you can't run away from things -- you've got to confront things. And it's using the person as the imagery of a house, where they won't let anyone in, they lock all the doors and windows, and put a guard on the front door. But I think the essence of the song is about someone trying to run away from things they don't like and not being able to escape -- because you can't... I think the mule is that kind of... the stupid confrontation... I mean, there's not really that much to read into it. It was the idea of playing around with changing shape, and the mule imagery was something I liked ordurely. The whole thing of this wild, stupid, mad creature just turning around and going, you know, eeyore, eeyore... I don't know if you saw Pinoccio, but there's an incredibly heavy scene in there, where one of the little boys turns into a donkey -- a mule. And it's very heavy stuff... It's a good film." Love-Hounds: |>oug's famous Kate Interview, 1985gaffa.org/dreaming/doug_int.htmlScariest Scene In Film History EVER!!www.youtube.com/watch?v=Mypa-rmn5GEDisney's Pinocchio - "Donkey Transformation"So, from the horse's mouth, the mule represents a "wild, stupid, mad creature". And the moral of the song: "Basically, you can't run away from things -- you've got to confront things." This theme is common to KaTe's work; e.g. Love and Anger and Constellation of the Heart:You'd better do something 'bout it What am I supposed to do about it? We don't know, but you can't run away from it Maybe you'd better face it I can't do that C'mon face it! I can't do that C'mon, c'mon face it What am I gonna do? ...'Transformations' and alter egos are also common themes in KaTe's work: e.g. Babooshka, RUTH, WSILY (demo), Aerial. Although Kate has never specifically mentioned the male in GOoMH turning into a mule, there appears to be two separate "mules" at the end, which indicates that he does, especially since the second mule has a male "voice", credited to Paul Hardiman. Thus, the song ends in a confrontation between two wild, stupid and mad creatures...
Thus, both Babooshka and Get Out Of My House end in an unresolved, screaming or hee-hawing confrontation..."I think you're all completely mad, and thank you very much." - Kate Bush to her fans.Dha Dhin Dha Dha Dha/Dha Dha Dha Dhin Dha Dha/Dha Dkin Dha Dha... This is credited as "drum talk" to Esmail Sheikh, from East Indian Classical music and is called bol. A bol, is a mnemonic syllable. It is used in Indian music to define the tala, or rhythmic pattern, and is one of the most important parts of Indian rhythm. Aerial Tal also suggests Indian influence.
Bol is derived from the Hindi word bolna, which means "to speak." So maybe GOoMH does indeed end happy ever after... with the two "mules" finally communicating on their essential or primordial level...Two strings speak in sympathy...Kate Bush - Love And Angerwww.youtube.com/watch?v=RWNVlZ74I3sConstellation of the Heart--Kate Bush, Junko Mizunowww.youtube.com/watch?v=697dCz69lXcsee more: The Dreaming: "Get Out Of My House"gaffa.org/dreaming/td_goomh.html
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Post by rosabelbelieve on Jul 18, 2008 17:33:38 GMT
I am the concierge chez-moi, honey Won't letcha in for love, nor money...KaTe references love and money. Maybe a biblical reference. Maybe, as Al speculates, a reference to the seven deadly sins. Or maybe the line betrays the protagonist's true feelings towards the Other. Yes. I really think the 'Other' is someone whom the protagonist has strong feelings of love and longing for, as well as terror and hatred. That's what makes the song so powerful for me... maybe Hermes has stolen Hestia's feeling of wholeness and balance when she finds herself needing and wanting him. This terrifies her, and makes her lock everything up in an attempt to regain her own 'keeping.' But he is already within her house... her passion and his presence are inescapable. I'm glad someone else does. Maybe. That seems like an interesting ending... a confrontation, and the forging of communication on a very strong and primordial level. And the chaos does seem to give way to ordered rhythm.
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Post by tannis on Jul 19, 2008 8:14:07 GMT
I really think the 'Other' is someone whom the protagonist has strong feelings of love and longing for, as well as terror and hatred. That's what makes the song so powerful for me... Yes, the 'Other' does seem to be someone whom the protagonist has strong feelings of love and longing for. But is the terror and hatred felt towards the 'Other'? Or is the terror and hatred felt towards the feelings of love and longing that the 'Other' inspires? A kind of Freudian loving projection, à la Wuthering Heights? Indeed, maybe Cathy's Ghost has got into the house upstairs! ... Wuthering Heights (1992) (Kate Bush-Wuthering Heights)www.youtube.com/watch?v=UI5qEQAvOcY
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