Secrets of The Shining: Or How Faking the Moon Landings Nearly Cost Stanley Kubrick his Marriage and his Life. By Jay Weidner AND DAVID BOWIE MAJOR

FULL DISCLOSURE OF HOW ALL THREE SONGS FIT INTO THE STANLEY KUBRISK APPOLLO 11 FAKERY CAN BE UNDERSTOOD HERE

[link to www.jayweidner.com]

THE HOUSE IS STANLEY KUBIRCKS VERSION OF THE SHINING THE OVERLOOK
SYMBOLISED AMERICA


JACK TOORENCE SYMBOLIZED THE KEEPER OF THE HOUSES SECRETS DURING THE "COLD WAR"

With 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).

I am the concierge chez-moi, honey.
Won't letcha in for love, nor money.

("It's cold out here!")

MAJOR TOM AKA UNCLE SAM

IS ALSO "THE ACTION MAN" THE DIRECTOR
ACTION!!

HE WANTS AN AXE TO BREAK THE ICE!
(COLD WAR ICE)
HE NEVR DID ANYTHING BAD
HE NEVER DID ANYTHING OUT OF THE BLUE
TH E BLUE IS THE EARTH IN THE FIRST SONG BOWIE WORTE BACK IN 1969 THAT FEATURED MAJOR TOM AKAK UNCLUE SAM WHO WENT TO THE MOON IN A TIN CAN
BUT NEVER REALLY LEFT THE EARTH-
PLANT EARTH IS "BLUE"
AND THERES NOTHING I CAN DO.

THIS IS KEY


They open doorways that I thought were shut for good.
They read me Gurdjieff and Jesu.
They build up my body, break me emotionally.
It's nearly killing me, but what a lovely feeling!

I love the whirling of the dervishes.
I love the beauty of rare innocence.
You don't need no crystal ball,
Don't fall for a magic wand.
We humans got it all, we perform the miracles.

Them heavy people hit me in a soft spot.
Them heavy people help me.
Them heavy people hit me in a soft spot.
Rolling the ball, rolling the ball, rolling the ball to me.

AND THIS MOST OF ALL

we perform the miracles.

ROLLING THE BALL TO DANNY
THE MIRACLE WAS PUTTING MAN ON THE MOON

MAJOR TOM AKA UNCLE SAM

IS ALSO "THE ACTION MAN" THE DIRECTOR
ACTION!!

They got a message from the Action Man
"I'm happy, hope you're happy too
I've loved all I've needed to love
Sordid details following"
The shrieking of nothing is killing
Just pictures of Jap girls in synthesis and I
Ain't got no money and I ain't got no hair

STANLEY KUBLRICKS APPEARENCE DETERIORATED DRING HIS WORK ON APPLO 11
THE SAME ACTION MAN


WANTS AN AXE TO BREAK THE ICE!
(COLD WAR ICE)
"I'm happy, hope you're happy too"
One flash of light but no smoking pistol
I never done good things
I never done bad things
I never did anything out of the blue, woh-o-oh
Want an axe to break the ice


HE NEVR DID ANYTHING BAD
HE NEVER DID ANYTHING OUT OF THE BLUE
"Here am I floating round my tin can
Far above the Moon
Planet Earth is blue
And there's nothing I can do."

HE IS SAYING THE "action man" "the director" Stanley kubrik never did anything out of the earth "the blue"

THE BLUE IS THE EARTH IN THE FIRST SONG BOWIE WROTE BACK IN 1969 THAT FEATURED MAJOR TOM AKAK UNCLUE SAM WHO WENT TO THE MOON IN A TIN CAN

BUT NEVER REALLY LEFT THE EARTH-
PLANT EARTH IS "BLUE"
AND THERES NOTHING I CAN DO

This is an interesting and insightful take on this movie, that I too thought was strange and boring. Is there more? A link would be good for lazy me or I will be googleing it.

an indepth look into jay Weidners essay by Gordon Comstock
MP3 RIGHT CLICK AND SAVE

[link to gordoncomstock.com]

[link to www.gordoncomstock.com]
ALSO LOUIS PASTURE WAS A CONMAN LIKE AL GORE

[link to gordoncomstock.com]


AND ALSO VERY IMPORTANT MESSAGE ABUT THE ROMAN CATHOLIC CHURCH

[link to gordoncomstock.com]


The Ministry begins an investigation into a new book. Oh, Nellie, is this ever a rare find. Nowadays, nobody even knows this thing ever existed. Yet, Christians across America used to know about this stuff, and about books like this. This history has been "Memory Holed." The book is called as America or Rome, Christ or the Pope by John L. Brandt. It was published in 1895. The Ministry would like to thank longtime listener (and beer drinking buddy) Duff Jessup for finding this one. This is PART ONE

PART TWO OF THIS AND LOIS PASTER ARE HERE

[link to www.gordoncomstock.com]

AS YOU CAN SEE ABOVE THERE IS AN INDEPTH MP3 ON THIS BY GORDON COMSTOCK AND THE LINK TO THE ORGINAL ATRICLE WITH PICTURES IS HERE
[link to www.jayweidner.com]

Yeahhh...I mean, it's cool and everything to watch film, and get something out of it, and attach meaning to it. That's great.

As a filmmaker, I do it myself. As a young(er) man (I'm still a "young man", but...) finding meaning in films was one of the reasons I fell in love with the craft/artistry OF filmmaking.

It matters, yes. And I have my own wacked-out ideas about certain films that are personal/specific to me.

But I don't go applying my OWN interpertations to the actual asthetic reasons a filmmaker has included...anything in his-or-her flim.

I'm actually (I don't know why, but...) going to click that link and see what this guy Jay has to say. Although it's going to be for the exact same reason I sneek a peak whenever I stroll by an accident-scene more than anything else...

I read what was cut-and-pasted. It's not impressive (and, no offense but I pay no mind to the songs; totally different medium produced by totally different artists in a totally different time and place- that's it). It's a lot of...self-interpertation. For instance, it's...preposterous to assume that Kubrick had the prop guy put an Eagle behind the manager's head to symbolize America OR the Moon Landings. I mean, if that's the meaning AN INDIVIDUAL wants to attach to it. Fine.

But to say that was THE REASON Kubrick put it there...is far-fetched to the point of pompousity. Kubrick could get playful with his props (the "2001"-record in the record store during "A Clockwork Orange") but for the most part it was just that...playful. Kubrick at his heart was a subversive. I can't think of a single instance of Kubrick using props as his "singular voice" via which to thow out visual clues to....who exactly???

He was much more sophisticated an image-maker than that. It actually degrades his quality of a visual stylist to infer he'd resort to anything so...well, obvious.

If Kubrick was going to come up with a "symbol" for America it would be something MUCH MORE deep and cynical. I think Slim Pickens riding a nuclear bomb like a rodeo star is a far better example of his mettle as an image-maker.

An Eagle behind a guy's head is film-school.

Also, the remnant posted above fails to take into account that Kubrick had a co-writer on the script for "The Shining" (Diane Johnson) as well as, like every other movie, a costume designer, who's name I don't know off the top of my head.

But whatever the characters are wearing in "The Shining" I'm sure it's much more that individual's decision than his.

And I also disagree, I think the first hour of The Shining is actually some of it's most interesting. The middle-part, personally, I've always had a hard time with.

Anyway, I'm gonna live my life then check out this fancy link later tonight and bear witness a little more to how Kubrick (a man, to my knowledged, who's life with his wife Christianne is an example of one of the rare instances of a happy, stable, Hollywood marriage) and his legacy are being further trampled on, via the Glorious Interweb.

[link to www.jayweidner.com]
ALL WORK AND NO PLAY MAKES JACK A DULL BOY

THIS LINKS TO BOWIES LAST WORDS ON THE SUBJECT OF MAJOR TOM WHO IS A CONTEST REALLY UNCLE SAM

REPEAT
" My mother said to get things done
You'd better not mess with Major Tom"
YOUD BETTER NOT MESS WITH UNCLE SAM

The audience is the one making all the events in the movie happen.

tried that one yet ?

+100 exactly

so dumb.

get yourself to a telescope and see the evidence with your own eyes.

besides, major tom is about a heroin junkie. ashes to ashes

In his 2003 interview with Performing Songwriter magazine, Bowie explains that the song "Inchworm," which was sung by Danny Kaye in the 1952 movie Hans Christian Andersen, was a big influence on "Ashes To Ashes."

Said Bowie:
"I loved it as a kid and it's stayed with me forever. I keep going back to it. You wouldn't believe the amount of my songs that have sort of spun off that one song. Not that you'd really recognize it. Something like 'Ashes to Ashes' wouldn't have happened if it hadn't have been for 'Inchworm.' There's a child's nursery rhyme element in it, and there's something so sad and mournful and poignant about it. It kept bringing me back to the feelings of those pure thoughts of sadness that you have as a child, and how they're so identifiable even when you're an adult. There's a connection that can be made between being a somewhat lost five-year old and feeling a little abandoned and having the same feeling when you're in your twenties. And it was that song that did that for me."

.. then there's the film bowie did, The Man Who Fell to Earth.

Before I go I just wanted to comment on this right here (which I spotted after I scrolled up a second):

"STANLEY KUBLRICKS APPEARENCE DETERIORATED DRING HIS WORK ON APPLO 11"

It might be true that Kubrick's hair got longer and he grew a beard he'd retain...for the rest of his life, but he was ALWAYS kind of a...dirty guy.

It really shouldn't be hard to find if you look in any books about him (of which I've read 2). From his early days as a young filmmaker trying to finance (with his partner James B. Harris) "Fear and Desire", "Killer's Kiss", and "The Killing" he's described as many people who knew him as an individual who...didn't really have a high regard for how he looked. I recall a specific quote where a technician described a young Kubrick as someone who "didn't look like he bathed much".

I remember that line specifically as this was my hero he was speaking about. I know it's from the Vincent LoBrutto bio that came out in '98 or '99... That was the first one I read, as a kid. I devoured it in about 2 days (pre-"Eyes Wide Shut" Kubrick wasn't really someone you could go into a book store and find a lot...or anything...about. When I saw that book on the shelf my little teenage head exploded).

Anyway, point is, my eye caught that randome quote and...well, yeah- Kubrick never really had much regard for hygiene. You'll find a lot of early pics of a young Kubrick with ties and suitcoats...but their old and smelly. Read about him. It's all out there.

It was just during "2001" when he stopped shaving, ect... And, really, a guy growing out his hair/beard during the mid-late-60's? Not that unusual.

DISCOVERY COVERS WEIDNER ON KUBRICK

Faked Moon Landings and Kubrick's 'The Shining'

[link to news.discovery.com]

What part of looking in a telescope to see the evidence for yourself did you not believe?

ASHES TO ASHES IS ABOUT
"THE ACTION MAN"
MAJOR TOM AKA KUBRICK UNCLE SAM
GOING TO THE MOON
BOWIE WROTE ABOUT APPOLO 11 BACK IN 1969
HIS SONG A SPACE ODDITY WAS IN THE ENGLSIH MUSIC CHARTS SAME TIME AS THE MOON LANDING HOAX WAS PERPETRATED BY MAJOR TOM AKA UNCLE SAME AKA KUBRICK.

THIS KUBRICK STUFF IS NOT EVDENCE THAT NO MAN WENT TO THE MOON
ITS ONLY EVIDECNE KUBRICK FAKED IT FOR TV

I ALREADY KNOW WE DIDNT GO TO THE MOON
IT IS SCIENTIFICALLY IMPOSSIBLE.

BUT THEY ARE FALSE MIRACLES!

The opremise of Jay Wiedners pice on kubrick working on fakery of appollo 11 and the shining clues is that doing this on behalf of UNCLE SAM nearly destroyed Kubrick

ITS WORTH NOTING THAT BOWIE IN HIS VIDEO FOR ASHES TO ASHES
WHEN SINGING ACTION MAN
SHOWS A FLIM CLIP BOARD
AS
IN
WHAT A DIRECOTR SAYS
QUIET AND ..TAKE 1 .....AND ACTION!
THE IS WHAT THE ACTION MAN IS
A DIRECTOR.
IT REFERS OFCOURSE TO STANLEY KUBRICK

THATS NOT RIGHT ACTUALLY I GOT MIXED UP
he does hold up photographs to go from one scene to another though
and is sat in waht looks likea dentitists chair wih a giant movie camera on it back
just before he signs in never did good thing
i never did bad things
i never did anything OUT OF THE BLUE
which he said in the previous major tom song was THE EARTH.

ASHES TO ASHES VIDEO
[link to www.youtube.com]

ORGINAL SPACE ODDITY VIDEO 1969
[link to www.youtube.com]

SPACE ODDITY footage from Stanley Kubrick's 2001: A Space Odyssey
[link to www.youtube.com]

David Bowie - Scream Like A Baby
[link to www.youtube.com]

Kubrick's "A Clockwork Orange" meets "Suffragette City" by David Bowie
[link to www.youtube.com]

Kate Bush - Get Out Of My House
[link to www.youtube.com]

Kate Bush - Get Out Of My House vs The Shining
[link to www.youtube.com]

doppler effect (theme dedicated to kubrick and 2001 space odissey)

doppler effect because the main character is a space traveller lost in space. His oxygen is finishing, and he's dying with terrible pain.

[link to www.youtube.com]

Trailer de MOON, de Duncan Jones DAVIND BOWIES SON




[link to www.youtube.com]

IF THIS DOES NOT CONVINCE YOU THAT STANLEY KUBRICK WENT TO THE MOON NOTHING WILL


SPACE ODDITY footage from Stanley Kubrick's 2001: A Space Odyssey YOU TUBE VIDEO
SUPERB ISNT IT.
[link to www.youtube.com]

for association

thanx 4 the take

i dont believe any kubric movies could be fully understood at the time of release

but in retrospect one can certainly draw many parallels

your viewpoint is compelling, thnx 4 sharing

Kate Bush - Get Out Of My House vs The Shining

[link to www.youtube.com]
"This house knows all I have done."
"they come with their weather hanging around them"




KATE: The song is called "Get Out of My House," 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. (1982, Company)

KATE: The Shining is the only book I've read that has frightened me. While reading it I swamped[???] around in its snowy imagery and avoided visiting certain floors of the big, cold hotel, empty for the winter. As in Alien, the central characters are isolated, miles (or light years) away from anyone or anything, but there is something in the place with them. They're not sure what, but it isn't very nice.

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. (1982, KBC 12)

("Hee-haw! Hee-haw! Hee-haw!")
When you left, the door was
(slamming!)
You paused in the doorway
(slamming!)
As though a thought stole you away.
(slamming!)
I watched the world pull you away.
(Lock it!)

In this first section the only section where the other character is show as leaving as apposed to persuing, so this first section could be describing the actual breakup of the relationship that caused the character to "lock her house."

KATE: The person has been hurt and has decided to keep everybody out. (1982, KBC 12)

So I run into the hall,
(Lock it!)
Into the corridor.
(Lock it!)
There's a door in the house
(slamming).
I hear the lift descending.
(slamming!)
I hear it hit the landing,
(slamming!)
See the hackles on the cat
(standing).

KATE: ...but the thing has got into the house upstairs. It's descending in the lift, and now it approaches the door of the room that you're hiding in. (1982, KBC 12)

With my key I
(lock it).
With my key I
(lock it up).
With my key I
(lock it).
With my key I
(lock it up).

I am the concierge chez-moi, honey.
Won't letcha in for love, nor money.
("Let me in!")
My home, my joy.
I'm barred and bolted and I
(Won't let you in).
(Get out of my house!)

KATE: They plant a "concierge" at the front door to stop any determined callers from passing... (1982, KBC 12)

KATE: 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. (1982, Melody Maker)

Concierge is the French title of a live-in building-attendant or manager--an ancient profession in Europe, usually associated with correspondingly ancient old women (though men can also be called "concierges"). "Chez-moi" means "at my house", or "at my place." So the line in implies that the house's spirit (this is really that of the house itself--as Kate once explained--which has developed a kind of human consciousness over the years) is fiercely protecting its solitude from the invading force (the male personality cooing "Let me in!"): "I'm the manager in my own house, honey."

Interestingly, Kate describe 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 theme. Note that the protagonist is definately described as a woman later in the song.

Another interesting thing about the description "one of his personalities" is that it implies that the other "voices" Kate uses in the song may be other "personalities" of the woman. Kate is known to have been influenced early on by the philospher Gurdjieff, who held each man had numerous "personalities", and this song may reflect that influence.

KATE: I am absolutely fascinated by the states that people throw and put on. And, you know, I think that that is the most fascinating thing there is to write about really, the way that people just distort things and the things they think and the things they do. And it's really fun for me if I can find an area of the personality that is slightly exaggerated or distorted and, if I feel I can identify with it enough, then try to cast a person as perfectly as I can in terms of that particular character trait, especially if I don't really show those kinds of things myself. Take anger for instance: it's really fun to write from the point of view of someone who's really angry, like in "Get Out of My House" on the last album. Because I very rarely show anger, although obviously I do sometimes feel it. (1985, Musician)

No stranger's feet
Will enter me.
(Get out of my house!)
I wash the panes,
(Get out of my house!)
I clean the stains away.
(Get out of my house!)

"No stranger's feet" on the level of the metaphor for the house, presumably means the person other walking into the house. On a more literal level, a" foot" is a measurement in poetry, and this could be saying that "your words will not enter me". Others have read "feet" as meaning "sexual organs", as in "you will not have intercourse with me."

"Wash the panes" has been read by some to mean crying.

This house is as old as I am.
(Slamming.)
This house knows all I have done.
(Slamming.)
They come with their weather hanging 'round them,
(Slamming.)
But can't knock my door down!
(Slamming.)

With my key I
(lock it).
With my key I
(lock it).

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.)

With 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).

It's interesting how "key" has now become "keeper", perhaps implying that the energy that had one protected the protagonist, is now "keeping" her.

I am the concierge chez-moi, honey.
Won't letcha in for love, nor money.
("It's cold out here!")

The voice on "It's cold out here!" sounds like Paddy doing one of his Irish-y voices.

My home, my joy. I'm barred and bolted and I (Get out of my house!) (Won't let you in).

(Get out of my house!)
No stranger's feet
(Get out of my house!)
Will enter me.
(Get out of my house!)
I wash the panes.
(Get out of my house!)
I clean the stains.
(Get out of my house!)
(Get out of my house!)
(Get out of my house!)
(Get out of my house!)
Won't enter me.
(Get out of my house!)
(Get out of my house!)
(Get out of my house!)
(Get out of my house!)
Yeah! Won't let you in!
(Get out of my house!)
(Get out of my house!)
"Let me in!

KATE: ...and now it approaches the door of the room that you're hiding in. (1982, KBC 12)

"Woman let me in!
Let me bring in the memories!
Woman let me in!
Let me bring in the Devil Dreams!"

KATE: 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. (1982, ZigZag)

I will not let you in!
Don't you bring back the reveries.
I turn into a bird,
Carry further than the word is heard.

KATE: So in order to get away, they change their form first into a bird trying to fly away from it. (1982, ZigZag)

"Woman let me in!
I turn into the wind.
I blow you a cold kiss,
Stronger than the song's hit."

KATE: The thing can change as well, so that changes into this wind, and starts blowing all icy. (1982, ZigZag)

Possibly the "song hit" is the bird's "song" so this line would be saying "my wind is stronger then your song.", although there is no other evidence that the "bird" sings any song in the song.

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-hee-haw...
"Hee-haw! Hee-haw! Hee-haw!"

KATE: 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. (1982, ZigZag)

KATE: 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.

"Hee Haw"
"Hee Haw"
"Hee Haw" (1982, KBC 12)

KATE: 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 inordinately. The whole thing of this wild, stupid, mad creature just turning around and going, you know, "Eeyore! Eeyore!" [KATE MAKES CONVINCING EEYORE SOUNDS.] I don't know if you saw Pinocchio, 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.

I HAVEN'T SEEN THAT SINCE ABOUT SIX, BUT I THINK I REMEMBER THAT...IT'S A STRONG IMAGE.

Well, maybe you should see it again. It's a good film. (1985, Love-Hounds)

Although Kate has never specifically mentioned the male in the song also turning into a mule, there appears to be two seperate "mules" at the end, which would indicate that he did so, especially since the second mule has a male "voice", credited to Paul Hardiman.

The reason that Kate made the choice of the mule, may be explained by her description of it above as a "stupid" animal . Its actions, in other words, are "thought-less": prompted by the crudest form of emotional stimuli or instincts. Kate has more than once insisted that music (art) is "pure emotion"--especially in the Russell Harty interview. When Harty patronizingly says "We've been to Bronte-land...Where will the arrow of your powerful intellect fall next?" Kate's immediate and strong reply is: "Well, I think the answer to that is that art is emotion . Art is pure emotion..." Her reply has always seemed to IED to represent an implied preference for the value of emotion over the intellect. If so, the choice of the "stupid" mule as the guise in which the heroine of GOoMH finally faces her "problem" makes excellent sense.

Also, of course, Kate may have been thinking of the expression "stubborn as a mule", which describes the character she was singing about perfectly.

Dha Dhin Dha Dha Dha/Dha Dha Dha Dhin Dha Dha/Dha Dkin Dha Dha [Repeats to fade out]

This is credited as "drum talk" to Esmail Sheikh. (Whether or not the above transcription is entirely correct is unclear). This is from East Indian Classical music and is called bol. The process of studying drumming in this form of music involves both learning to speak drumming patterns in bols and learning to play the patterns. Whether or not this symbolizes anything that may have a direct relationship to the theme of Kate's song is unclear.

CONCLUSIONS

KATE: 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. (1985, Love-Hounds)

The quote from Kate describes the "point" or "moral" of the song (note how this seems to lead right into Running Up That Hill, the first song on the next album). But does the song have a positive or negative ending? There are several points of view.

1) The "happy" ending. That the man and woman seemed to have found something in common in their muleness and sang to each other. The "drum talk" at the end could represent some kind of morse-code, meaning that they have found another way to communicate now that the primary channels have broken down.

However, many people find the whole song, including the ending, to be too jarring to be describing something "happy".

2) The "unhappy" ending. In this interpetation, the characters in this song don't end up communicating. This would be reflected in the song by the extented "mumbling-like" sounds at the end of the song, representing the total breakdown of communications between the two.

This would mean that the ending of the song was intended as a kind of negative warning about what could happen when you "lock" yourself up so tightly.

2) The "hopeful" ending. In this interpetation, the ending does indeed contain the "some sort of hope in there" that Kate said (of The Ninth Wave ) she feels should be part of all works of art. In the above quote, Kate was says that the theme of the song was the error people can make of running away from their problems, and that the only way to solve problems is to confront them. She also explains that when the female character in Get Out of My House changes into a mule (whether a stubborn one or a stupid one), she does finally turn and confront the male character (who has changed into a mule as well). This is the quintessential Kate Bush "ending"--sad but hopeful, very much like the ending of The Ninth Wave . In both, the protagonist has come to a new realization of the "right way" to proceed/feel/think, and is therefore able better to resign herself to whatever fate might befall her, whether that fate be "happy" or not. And this, of course, is an essential element of Kate's own avowed philosophy, described by her in numerous interviews.

So we do not learn what actually happens when the two mules confront each other in GOoMH ; nor is it important. What is important is that the protagonist has finally been able to confront the force which threatens her--she is no longer running from it. In a similar way the heroine of The Ninth Wave , in the final bars of The Morning Fog , has found reasons for living: whether she will actually survive the physical ordeal or not, she has at least gained a new appreciation of the important aspects of her life (love of family; and faith in the human spirit, so to speak, as represented by her "future self" in Jig of Life ). It's therefore extremely important, IED believes, that both The Dreaming and Hounds of Love , as albums, conclude with the same basic situation. In both, the ultimate "fate" of the protagonist is not resolved, because that is not the artist's concern. Rather, it is the insight that those protagonists gain along the way that matters.

OTHER QUOTES

It should be noted that the above quotes have been re-arranged in such a way that there meaning may have been somewhat distorted. In other words, the quotes may not actually relate to the lryics they are put next to.

Following is the remaining quotes relating to the song.

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!

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. (1982, ZigZag)

* 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?

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. (1982, Dreaming debut)

I FIND THE USE OF STRONG SYMBOLISM AND METAPHOR AND ALLUSIONS IN YOUR LYRICS TO BE EXTREMELY INTERESTING. FOR EXAMPLE, IN "GET OUT OF MY HOUSE," THE WOMAN WHO IS SINGING THE SONG HAS BEEN LEFT BY HER LOVER AND FEELS HURT, AND IDENTIFIES HERSELF WITH A HOUSE. THIS IS A BIBLICAL ALLUSION. WHEN SHE SAYS "I WASH THE PANES", IT IS A TRIPLE ENTENDRE, BECAUSE SHE'S SAYING SHE'S WASHING THE WINDOWS OF HER BODY, WHICH ARE THE EYES. THIS MEANS SHE'S CRYING, AND BY DOING SO, SHE'S WASHING THE HURT AND PAIN AWAY. THEN SHE SAYS "NO STRANGER'S FEET WILL ENTER ME" SAYING THAT SHE WON'T LET ANYONE INTO HER HOUSE, WHICH IS SAYING SHE WON'T LET ANYONE INTO HER BODY, WHICH IS ALSO REINFORCED BY THE BIBLICAL USE OF "FEET" AS A EUPHEMISM FOR "PRIVATE PARTS". THE LAYERS OF MEANING HERE, ARE PRETTY INCREDIBLE.

THEN A MAN TRIES TO ENTER HER LIFE AGAIN, BUT SHE'S TOO SCARED, AND SHE TRIES TO ESCAPE BY FLYING AWAY, BUT HE TURNS INTO THE WIND. SHE THEN TURNS INTO A MULE, PERHAPS FOR ITS STUBBORN ABILITY TO WITHSTAND THE WIND. AND THEN HE ALSO TURNS INTO A MULE. NOW IT SEEMS THAT THEY HAVE A GROUND FOR COMMUNICATION. BECAUSE MULES ARE NEUTER, AND THEY CAN COMMUNICATE ON A PLATONIC LEVEL RATHER THAN A SEXUAL LEVEL.

NOW A FRIEND OF MINE BELIEVES THAT THIS LAST PART IS A FLAW IN THE SONG, BECAUSE MULES ARE NOT REALLY NEUTER AFTER ALL. THEY ARE ONLY STERILE. PERSONALLY, I THINK IT ISN'T A FLAW BECAUSE THE IDEA COMES ACROSS LOUD AND CLEAR TO ME, AND SOMEHOW IT SEEMS THAT "I CHANGE INTO THE AMOEBA: OOZE! OOZE!" JUST WOULDN'T WORK SO WELL. SO THE QUESTION IS, WHAT DO YOU THINK OF THIS INTERPRETATION? AND COULD YOU RESPOND TO MY FRIEND'S SLIGHT CRITICISM?

And what was your friend's criticism?

HE SAID THAT THE ENDING IS A FLAW BECAUSE MULES ARE NOT REALLY NEUTER, THEY ARE ONLY STERILE.

What does he mean?

WELL, IT SEEMS TO ME AND TO HIM THAT THE END OF THE SONG IS SORT OF A POSITIVE NOTE BECAUSE THEY'VE FOUND A GROUNDS FOR COMMUNICATION. AND SORT OF ON A PLATONIC LEVEL, BECAUSE MULES MIGHT BE SEEN AS BEING PLATONIC, BECAUSE...

Why?

OH... WELL... MULES ARE STERILE... UH... A DONKEY AND A HORSE... YOU KNOW... HAVE A SEXUAL RELATIONSHIP, AND THEN THEY HAVE MULES, AND MULES DON'T HAVE CHILDREN, BUT THEY REALLY CAN HAVE SEX. THEY JUST CAN'T HAVE CHILDREN, BUT A LOT OF PEOPLE ACTUALLY THINK THAT THEY JUST DON'T HAVE SEX. WHICH ISN'T REALLY TRUE.

Right! Well, um... I think you... It's kind of weird the level of interpretation that you are reading into things, because... 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.

BUT IF THE SYMBOL OF MULES IS JUST STUPIDITY, AT THE END, THEN IT WOULD SEEM LIKE IT WOULD BE A NEGATIVE ENDING, AND IT JUST SORT OF SEEMS TO ME, MOST OF YOUR SONGS...A LOT OF THEM...END ON UP NOTES. AND IT SORT OF SEEMED LIKE IT WAS A POSITIVE NOTE AT THE END.

Yes, 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 inordinately. The whole thing of this wild, stupid, mad creature just turning around and going, you know, "Eeyore! Eeyore!" [KATE MAKES CONVINCING EEYORE SOUNDS.] I don't know if you saw Pinocchio, 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.

I HAVEN'T SEEN THAT SINCE ABOUT SIX, BUT I THINK I REMEMBER THAT...IT'S A STRONG IMAGE.

Well, maybe you should see it again. It's a good film. (1985, Love-Hounds)

* DO YOU HAVE A FAVORITE KATE BUSH SONG?

PADDY: For me. Yes, yes...it's "Get Out Of My House", really, was my favorite track. I think if Alfred Hitchcock ever made hit singles [LAUGHTER FROM AUDIENCE]... And I love it, I love the energy that it deals with. It's fantastic. And Paul Hardiman's vocals on the very beginning of it I think are, to me, one of the most fantastic things thats ever been recorded. I used to go into fits of extascy when we listened to the multi-track tapes of that and those opening "Eoyores"... I love that track. (1985, Kate Bush Con. Paddy and Jay Interview)

THE TWA MAGICIANS

KATE: "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."

The Twa (read Two) Magicians is an old English (and Irish and Scottish and just about every country in Europe, too) ballad in which a young maiden is wooed by a young man. In the original the girl threatens to change form (in some versions the boy does all the hypothesizing), from human to animal or vegetable. The boy always responds by promising to takethe form of a compatible or superior animal or vegetable.

Kate merely borrowed the general idea. Her specific images of bird-to-wind, the "song's hit," and the mules are all unprecedented, however, at least to judge from the dozen or more versions of the original that IED has come across recently. Musically, there's no connection, either, as far as this listener can tell.

Following is a transcription of the lyrics to an old Irish version of The Twa Magicians. Actually, with all the variants all over Europe, its English and Irish versions are not the earliest. The following version is the one that Kate probably learned as a child, since it is the work of A. L. "Burt" Lloyd, one of the fathers of the English and Irish folkmusic revival of our century, and a great favourite of Kate's. IED transcribed as well as he could from the recording of the song by Martin Carthy (the album, which also includes an a cappella rendition of "The Handsome Cabin Boy", is called Martin Carthy with Dave Swarbrick , on Topic, 12 TS 340 -- 1977).

The Twa Magicians

A lady sits in her own front door
As straight as a willow wand,
And by there come a lusty smith
With a hammer in his hand, and he said

Bide, lady, bide,
There's nowhere you can hide,
For the lusty smith will be your love
And he will lay your pride.

"Well may stand you, lady fair
All in your robe of red,
But come tomorrow at this same time
I'll have you in me bed," and he said

Bide, lady, bide,
There's nowhere you can hide,
For the lusty smith will be your love
And he will lay your pride.

"Away, away, you coal-blacksmith,
Would you do me this wrong?
To think to have me maidenhead
That I have kept so long!

"I'd rather I was dead and cold
And my body laid in my grave,
Than a husky, dusky coal-blacksmith
Me maidenhead should have!"

So the lady she held up her hand,
And she swore upon her soul,
That she'd not be the blacksmith's love
For all of a box of gold.

But the blacksmith he held up his hand
And he swore upon the Mass,
Saying "I'll have you in me bed, young girl,
For the half of ------------- (unintelligible).

Bide, lady, bide,
There's nowhere you can hide,
For the lusty smith will be your love
And he will lay your pride.

INSTRUMENTAL BRIDGE

So the lady she turned into a dove
And she flew up in the air,
But he became an old cock-pigeon
And they flew pair and pair, crying

Bide, lady, bide,
There's nowhere you can hide,
For the lusty smith will be your love
And he will lay your pride.

So the lady she turned into a hare
And she ran across the plain,
But he became a greyhound dog
And he ran her down again, crying

Bide, lady, bide,
There's nowhere you can hide,
For the lusty smith will be your love
And he will lay your pride.

So she became a little mare
As dark as the night was black,
But he became a golden saddle
And he clung on to her back, crying

Bide, lady, bide,
There's nowhere you can hide,
For the lusty smith will be your love
And he will lay your pride.

So she became a hot griddle
And he became a cake,
And every move that poor girl made
The blacksmith was her make.

So she became a full-dress (?) ship
And sailed upon the sea,
But he became a bold captain
And aboard of her went he, crying

Bide, lady, bide,
There's nowhere you can hide,
For the lusty smith will be your love
And he will lay your pride.

So the lady she went into the bedroom
And she changed into a bed,
But he became a green coverlet
And he gained her maidenhead.

And watch ye how (?) he held her soul,
And still he bad her bide,
And the lusty smith became her love
For all her mighty pride.

Above taken from
[link to gaffa.org]

thanks
not all my stuff at all i am adding only the musical links