Replies and such (long)

[well!sommers@cogsci.berkeley.edu (William Sommers)]

A few comments/replies on some of the discussion going on here over
the past month. I would like to point out that (a) I have been off
the net since 7/7/89 (therefore oblivious to and unaffected by all
theories, opinions and news on _TSW_), and (b) I have not so much as
turned on a radio since early August (this partially intentional,
partially out of disgust at Alex Bennett's abrupt removal from KITS'
morning slot). My first listening was therefore a "virgin" one, not
having heard a thing from or about _TSW_. I shall omit most references
to original text... there's something here for just about every Love-
Hound who's posted an opinion in the last month:
 

Re: U.S. Single
 
_Love_and_Anger_ was almost certainly the best choice. It will appeal
to the broadest segment of the U.S. markets of any single cut from
_TSW_. The title cut is just too inaccessible for the majority--the
average listener needs more than brilliant songwriting and passionate
vocals; s/he needs an arrangement, a catchy tune if you will, which
will stick long after the song ends, something they will suddenly
find themselves humming/singing to themselves at unexpected moments.
The building, choral, backing vocals combined with Her powerful leads
and David G.'s guitar seem to me just the ticket for cross-market
penetration. _HWD_, while every bit as great and quite danceable,
would simply meet too much opposition for obvious reasons. It could
(and perhaps will) blow the roof off the modern rock arena, but will
never become a standard at suburban-Midwest high school dances. This
is important to CBS... controversy is not something for which they
strive, mass-market penetration remains the rule.
 
Actually, I don't really expect any single to dominate the charts in
the U.S. (but will be pleasantly surprised should such occur!). The
album will go multi-platinum and singles will chart, but I don't think
popular music fans are ready to support these cuts enough to give them
the chart "staying power" they will find outside of the U.S.
Love-Hounds, I _really_ hope I eat these words.
 
 
Re: _Nice_to_Swallow_
 
Just drop this one altogether. Short of asking KaTe, were she even
to recall the statement, we will never know. Artists of every genre
have pet names for their works, running full gamut cutsie to lewd.
There is nothing self-denegrating about this. Given the degree of
adoration and worship you feel for Her, IED, can you really fail to
accept that She has a sense of humor? 'Nuff said.
 
 
Re: _Rocket's_Tail_
 
No, I do not think this song has anything to do with suicide per se.
Suicidal separation from reality, perhaps, but there is no sense of
intent in this piece whatsoever.
 
I assume you have realized, |>oug, now that you've seen the typeset
lyrics, that it is the KaTe-charaKTer speaking in all but six lines
of the entire work.
 
Keeping in mind that most of this was developed prior to my reading
the NME transcription IED posted here, I submit my musings on _RT_:

KaTe wants to write a piece around The Trio Bulgarka, rather than
vice versa. There is no vision, no sudden inspiration on Her part;
She is actively searching for a theme. <just bear with the imagery>
Late one November evening, sitting with Her knees tucked to Her
chest, Her chin resting on Her crossed forearms, Her mind adrift,
She espies Rocket, who is staring upwards out of a window. With
an almost audible click, things begin to fall in place. Rocket,
a rocket, tail, fire, power, soar--The Trio Bulgarka are certainly
capable of expressing searing emotional imagery.

The lyrics are as straightforward as anything She has ever written.
The lyrics are also pretty much irrelevant, and serve only to form
images <KT appears to confirm this in NME>. What remains unclear is
the transition that is occurring with the line "I put on my pointed
hat". There is a departure from reality here, but how far a depart-
ure? Pure fantasy? A dream?
 
Or has the charaKTer been drawn right into Her own vision and is
physically performing these acts as well, mechanically following
her thoughts as it were? Is there a momentary return to reality
as She, still dressed up in a rocket outfit, falls into the river
below the bridge? <sigh> That's the problem with imagery, these
questions will never be answered satisfactorily since She appears
to choose not to elaborate.
 
In any case, I too was completely blown away by _RT_. I now thank
the Powers that (She) be for the decisions I made which resulted 
in abstaining from any prior knowledge of _TSW_'s contents. In my
opinion it was the auditory orgasm up to which all previous
existing music has been building. I will go so far as to publicly
opine that _RT_ are _two_ of the "best" compositions that KT has
ever penned, and, in combination, should mandate FDA precautionary
labeling at minimum.
 
Have you ever been head-over-heels in love? Can't eat for the
butterflies, can't sleep for the racing heart and can't get a damn
thing done for the life of you head-over-heels in love? Take a
week of that, distill all the emotion down into 1 minute 29
seconds, and you have the first half of _RT_. The second half is
sheer genius--only our KT could paint a powerFloyd-esque frame-
work, _solely_ a framework, around TTB and Herself, and make it
much more than just "work".
 
Umm... I seem to be getting carried away. I like the tune.  ;)
 
 
Re: _Heads_We're_Dancing_
 
Without a second's hesitation, I decided to approach this one
with a literal interpretation: at some point KaTe ran across an
anecdote or whatever that involved a young woman meeting Herr H.,
a flip of a coin and a harsh realization the following morning.
I can confidently say that there is no basis for said theory. I
find no reference to any such tale in a rather thorough search of
most existing tomes on the subject. Of course I have never seen
the forged(?) diaries and I doubt She has either, although I
suppose that possibility does exist.
 
(The only possible lead that remains is a reference to a certain
Sigrid von Lappus, 20, whom Herr H. is supposed to have secretly
seen for some months in 1939. Despite his relationship with Eva
Braun, Herr H. is well known to have consorted with quite a few
young women over the years. Primarily models and actresses, there
was never any doubt as to his identity at the time. As I say, the
only unchecked reference to a liason in 1939 appears in _The_
_Ciano_Diaries,_1939-1943_ by (Count) Galeazzo Ciano (ed. by
Hugh Wilson), NYC: Garden Ciy Publishing Company, 1947. Ciano
was Mussolini's son-in-law and Italy's Foreign Minister at the
time and is known to have spent a good deal of time with the
German leader. I'm still looking for this... please let me know
if anyone runs across a copy!)
 
So much for instinct. I can, however, state one thing with
confidence:
 
There were tens of thousands of _GERMANS_ who had no idea what
Herr H. looked like throughout most of WWII. For 1939, multiply
that number by at least 10. This is not conjecture, this is fact.

Fortunately, others have already mentioned most of the reasons
for this, and I wont rehash them here. Additionally, one needs
a familiarity with various European cultures and the important
roles geography has played in the development of Europe as a
whole. (No condescension intended at all, folks!) As difficult
as it may be to believe, there were areas of Germany completely
unaffected (other than material shortages) in any manner for the
entire duration of the war.
 
Knowing some of your Love-Hound personalities <grin>, I implore
you now not to waste your time or mine by demanding proof or
credentials. I have studied this, you haven't. <nyah-nyah...>


Re: "[KT tune/album] sucks/is pathetic/isn't very good."

Feh! to each and every one of you. There is nothing wrong or
lesser or inferior in any of Her work. _Reaching_Out_ is a
beautiful and touching work. _The_Dreaming_ is an amazing first
exploration into the technical side of recording. _Them_Heavy_
_People_ fits perfectly right where it is (because that's where
She put it!).
 
Do you look at the paintings of the Dutch Masters with apathy
because you like blue and there "just ain't enuf blues, man"?
Or do you perhaps sit in front of them for hours, in awe and 
appreciation for the period? I have done both (blue is just an
example, I'm not quite that superficial). It all depends on time,
place, lighting, _mood_, _expectations_, _personal_taste_, even
climate. There are times I would really rather not hear _Pull_
_Out_The_Pin_ and mornings where I'm singing it in the shower.
 
And just prove myself the hypocrite you're begining to suspect,
I fail to find much redeeming in _This_Woman's_Work_ other than
Her presence. Did the contract fail to specify any use of her
vocal abilities or what?

Good KaTe! What heathens they have all become!!

- Bill -  == UUCP: sommers@well (no .signature yet!) ==