Re: Lovehounders

[jsd@cyborganic.com]

Chris Williams writes:

: Drukman has never grasped one of the central mysteries of Kate.
: Kate, for the majority of her career, has actually been attempting
: to create *pop music*. TKI, LH, NFE, TSW and TRS are mainly pop
: records (in the non-perjoritive UK sense.) _The Dreaming_ and
: _The Ninth Wave_ not principally pop, but Kate was still trying to
: make pop.

Gee, no shit.  Yeah, thanks, I kinda figured that one out already.

: She didn't seem to understand that her idea of pop wasn't
: the same as anyone else's.

And that's why it was so wonderful.  In fact, I'd say most of the
really appetizing musical treats spring from that sort of uneasy
feeling you get when you hear an artist who is (deliberately or
otherwise) producing something that's just a few degrees shifted away
from a defined style.  Kate attempts pop, misses, and creates a
glorious accident - it pushes the boundaries of pop.  When she hits
the bullseye (eg, most of The Red Shoes) it's disappointing - it
sounds too ordinary.

Have you heard Portishead?  They are pretty brilliant, for similar
reasons.

: Bite me, Jon. The film (especially in 35mm) is a wonderfully
: directed, the only part that Kate was really interested in.

Film!?  What film?  Who said anything about a film?  I haven't even
seen the thing yet.. not even any of the videos!  I certainly never
said anything about its relative merits as a piece of art, product or
whatever.  For all I know it's better than Citizen Kane, Brazil and
The Hudsucker Proxy all rolled into one.

You're so eager to lock horns with me that you'll even resort to
inventing a straw man, just so you'll have the pleasure of torching
it.  Burn me in effigy all you like.  It just reveals the extent of
your insecurity.

/jon