anAmosity persisting

[IED0DXM@aol.com]

>  How it could be claimed her performance style comes from
 > Kate.It's just ludicrous! 
 
 Again IED recommends that anyone who disagrees with him
 watch, in succession, Kate Bush's live performance of Kashka
 from Baghdad from Ask Aspel (1978) with Ms. Amos's live
 performance from the NBC Letterman show appearance.  It's
 clear that the above writer has not yet done this.

  > I don't see how you can accuse someone of dishonesty,
  > and then in the following sentence allow the possibility
  > that they may not be aware of the influence.  If they're 
  > unaware that the influence exists, they're not being
  > *dishonest*, only mistaken, when they say that it 
  > doesn't.  The accusation of dishonesty is  a far more
  > damaging one than an accusation of mistakenness, and
  > one that I think is unjustified by your argument.
  >
  > -- Heath 

 This takes us far afield of the subject of Kate Bush, of 
 course, but since the objection was made, IED will respond
 briefly.

 He is a fierce, though humble, subscriber to the 
 ancient Greeks' broad concept of guilt and personal
 responsibility, by  virtue of which, as G. Lowes 
 Dickinson has put it, "the tragedy is the punishment
 of the guilty, rather than the inward sense of sin." 

 One corollary of this splendid principle is that "conscious"
 acknowledgement of crime by its perpetrator has no
 bearing upon the question of the criminal's guilt; and, 
 guilty, he is rightly the prey of the Furies, who cry, so
 the poet AEschylus tells us, "When to the home/Murder
 hath come,/Making to cease/Innocent peace;/Then at his
 back/Follow we in,/Follow the sin;/And ah! we hold to 
 the end when we begin!"

 The reader might profit from the contemplation of the back
 cover of Kate Bush's album, Never For Ever, while rereading
 these deathless lines; perhaps then we might be permitted
 to draw this distasteful business of Ms. Amos to a close.

 -- Andrew Marvick (IED)