Re: Hammersmith notes

[nrc@cbema.att.com (Neal R Caldwell, Ii)]

In article <C641E80B0060BDA5@ccmail.sunysb.edu>, by PMANCHESTER@CCMAIL.SUNYSB.EDU (Peter Byrne Manchester) talks about _James and the Cold Gun_:
> 
> In this company we need not belabor the woman's phallic fixation. denial, and 
> anger, established so affectingly during the song.  Just note that in the 
> finale' the first gunslinger appears stage right.  It takes the woman quite a 
> lot of effort to get him down, finish him off.  She reacts with complicated 
> emotion, finally lament.  The second enters stage left.  Now she knows what 
> she is about; she gets him off more quickly, and then exults.  BUT!  then one 
> appears OUT OF HER OWN ORIFICE!  Down HER ramp!  Now it's cosmic, and the end 
> is apocalyptic.  She shoots him down, the band, the audience, the universe!  

Um.  I guess that's one way to look at it.  Personally, I'd never read
quite that much into it.  I tend to think that the character in the 
choreography is male just as in the song itself.  

>        During 1985 and 1986, the late lamented USA Network "Nightflight" 
> played LaH so often they virtually put it in the public domain--except for 

I've heard that Nightflight is now back in syndication, although not
on U.S.A.

>        What drove me most crazy for many months after I had obtained my own 
> copy of LaH was that I couldn't tell what Kate Bush LOOKED like!  Her 
> investment as performer in the persona singing each song was so complete and 
> so accomplished that she would look altogether different to me from song to 
> song.  How could the neurotically tense singer of "Violin" be the same being 
> as the liquid lady of "Moving"?   The street-strut rocker of "Heartbrake" the 
> same singer as the guileless schoolgirl of "Feel It"?

Kate seems gifted with a tremendously flexible face and early in her 
career she had no fear whatsoever of using it to pull some pretty
amazing mugs.  



"Don't drive too slowly."                 Richard Caldwell
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