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10355Re: QUESTIONS...

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  • Gerry
    Nov 21, 2004
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      --- In gnosticism2@yahoogroups.com, Mike Leavitt <ac998@l...> wrote:
      >
      >
      > The meat loaf site locked up my first browser, and just gave me his
      > picture and large black areas on the other two, so while you were
      > right about meathead, I still don't know who meatloaf was. I sent
      > the link to work to look at it in IE, and I guess that will make the
      > site work so I will then know who he was. He looks like Jeb
      > Clampet's son in The Beverly Hillbillies, but....
      >
      > Regards
      > --
      > Mike Leavitt




      Geeez, Mike, you must have been pretty busy since the 70's . . . ,
      but if "Two Out of Three Ain't Bad" and the _Rocky Horror Picture
      Show_ don't ring any bells for you, then Cari's link may not help you
      anyway.

      Going back to the beginning, here's a very brief plot outline for the
      movie I mentioned earlier:

      "A transexual punk rock girl from East Berlin tours the US with her
      rock band as she tells her life story and follows [i.e. "stalks"] the
      ex-boyfriend/bandmate who stole her songs."
      http://www.imdb.com/title/tt0248845/

      The "ex-boyfriend" there is a reference to the character of Tommy
      Gnosis, whom I described previously as stealing and bastardizing
      Hedwig's music. There is a point in the film where the protagonist
      realizes not only that Tommy has abandoned her in pursuit of his own
      stardom, but that he isn't fully aware of the meaning of the lyrics,
      for example, changing the name of the god "Osiris" to "Cyrus" in the
      song "Origin of Love." This is what I was alluding to with regards
      to popular understanding of "Gnosticism." Tommy managed to make his
      stage name (Gnosis) a pop icon, even though he was still somewhat
      ignorant of the actual meaning of the lyrics which Hedwig had
      provided him. As a proponent of the importance of meaning, I suppose
      that part of the film really stuck in my craw.

      Anyway, it was interesting to see PMCV's mention of Meat Loaf. I'm
      sure he'll clarify if I read him incorrectly, but the reference might
      have come from the fact that this film, like the Rocky Horror Picture
      Show (in which Meat Loaf appeared), was also a campy production. He
      might have also found a similarity in musical styles. In fact, Meat
      Loaf had considered performing a couple songs from the "Hedwig"
      soundtrack on an album he was working on at the time, but ended up
      not having enough room, if I recall correctly.

      For the record, "campy" is not to be taken as a disparaging comment
      above. On the contrary, I think it lends to the endearing humor of
      the film, which also conveys the profound story of an individual's
      quest for "wholeness." As I said earlier, the movie was both funny
      and moving——or——as PMCV described the music, it was
      simultaneously "cheesy" and "skilled." Absolutely, and the genius
      that was responsible for that lay in the talent of John Cameron
      Mitchell and Stephen Trask, the latter supplying not only the musical
      score for the production, but the vocals for Tommy Gnosis as well.

      Honestly, even if I hadn't appreciated the movie for its
      philosophical merit, I'd probably still recommend it to friends just
      for the dialogue and visuals . . . especially in the Gummi-Bärchen
      scene . . . or perhaps for any of the references to young Hedwig
      (Hansel) having to play in the oven! ;-)

      Gerry
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