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Post by tannis on Aug 16, 2008 19:02:05 GMT
Hello, Earth. (Hello, Earth.) ...ca. 1964: [The Bush family visit New Zealand and Australia for a few months. Kate is aged six.] A Chronology of Kate Bush's Career gaffa.org/garden/chrono.html There were no crowds, no welcoming fanfares when Kate Bush made her first trip to Australia. The wide-eyed six-year-old was here to visit her godmother. She stayed about four months but, 13 years later, does not remember much about it. TV Week Australia, "The Girl With The Child In Her Eyes... And The Angel In Her Voice", October 14, 1978 gaffa.org/reaching/i78_tvw.htmlTen Pound Pom: "I came out with my parents as a 7yo on the Maiden Voyage of the Fairstar in '64, have great memories of those 6 weeks."Ten Pound Poms aka Ten Pound Tourists is a colloquial term used in Australia to describe British subjects who migrated to Australia after the Second World War under an assisted passage scheme established and operated by the Australian Government. The program attracted over one million British migrants between 1945 and 1972 and represented the last substantial scheme for preferential migration from Britain to Australia. Most British subjects were eligible and, at the time, that included not only those from Great Britain, but also residents of British colonies such as Malta and Cyprus. Citizens of the Republic of Ireland born before 1949 were eligible as they too were British citizens. Assisted migrants were generally obliged to remain in Australia for two years after arrival, or alternatively refund the cost of their assisted passage. If they chose to travel back to Britain, the cost of the journey was at least £120, a large sum in those days and one that most could not afford. Hello, Earth. (Hello, Earth.) ...The seatrip to Australia took around six weeks. Then there was the return voyage. The crossing of the waters may have aroused the young KaTe's "oceanic feeling", which would later manifest in the limitless expanse of The Ninth Wave Suite and Aerial: A Sky Of Honey.KT: "I missed school for about six months because I went to Australia with my parents. I was only five or six. I met a kangaroo, and that was really beautiful. And my brother met an emu. He walked straight into it. The emu freaked out. My strongest memories were of the seatrip to Australia--I was seasick on the way out and had measles on the way back." Flexipop, "Testament of Youth", September 1982gaffa.org/reaching/i82_tofy.htmloceanic feeling: In psychoanalysis, consists in a peculiar feeling, a sensation of "eternity," a feeling as of something limitless, unbounded - as it were "oceanic." A source of religious energy.
We stand in the Atlantic We become panoramic The stars are caught in our hair The stars are on our fingers A veil of diamond dust Just reach up and touch it...
"The oceanic feeling is an emotionally aesthetic event one may rightfully call sublime--so subjective and arcane that it is beyond which words can define. What distinguishes the oceanic feeling from belief is the felt nature of the lived experience: the oceanic feeling is "unbounded" while belief is bound--bound to set ideation belonging to doctrine. Here we may further highlight the ontology of religiosity as feeling phenomenologically realized as unbounded experience... This unbounded experience may be tied to natural phenomena such as an awe inspiring sunset, music so moving that it makes you weep, or the beauty and mutual recognition of falling in love--all leading to an elevation of consciousness that transcends the parameters of self-interest..." The Oceanic Feeling and the Value of the Lived Experience evans-experientialism.freewebspace.com/mills_jon.htm
To protect ourselves from pain, we separate our ego from the world (the opposite of what happens in love). "Our present ego-feeling is, therefore, only a shrunken residue of a much more inclusive feeling..." In the mind, what was primitive exists alongside what is present. (Imagine eternal Rome: the present-day buildings and cars exist alongside the coliseum in its original condition.) Therefore, the oceanic feeling is a primary ego-feeling - a vestige of an earlier, inclusive phase of ego development - remaining within the individual throughout life. Thus:
"In our unconscious, however, remain traces of our original sense of oceanic continuity and connectedness with the universe, which in our development we have dissociated and put behind us. We are ambivalent toward this primary state of unity; we fear becoming immersed again in its limitless chaos yet long to recapture its blissful interconnectedness." Religious and Creative States of Illumination www.lifwynnfoundation.org/woollcott.html
The sky’s above our heads The sea’s around our legs In milky, silky water We swim further and further We dive down We dive down...
We long for just that something more. There is only one way to recapture this blissful interconnectedness, to see the inner light, and to experience the ecstasy of mystic illumination. And that is to love...Look at the light, all the time it’s a changing Look at the light, climbing up the aerial...
The light Begin to bleed, Begin to breathe, Begin to speak. D'you know what? I love you better now...
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Post by Al Truest on Aug 17, 2008 17:05:58 GMT
Columbia now at nine times the speed of sound... Roger... Roger that, Dan, I've got a solid TACAN locked on... pre-planned trajectory... pre-planned trajectory... Roger... Roger... The Prodigy - Hyperspeed (G-Force Part 2) www.youtube.com/watch?v=-J1NESX7R5gThe Prodigy are an electronic music group formed by Liam Howlett in 1990, in Braintree, Essex, England. They were pioneers of the big beat electronic dance genre. Their debut album, Experience, was released on 28 September 1992. On 19 June 2001, an expanded edition of the album was released in the United States, featuring a bonus disc of remixes and b-sides. It was released in the United Kingdom seven years later on 4 August 2008, with a gold cover and two extra tracks. If you are familiar with the music of The Prodigy you should know that Liam uses a lot of samples from other songs and movies when he writes the music. Hyperspeed (G-Force Part 2) samples the CAPCOM introduction to Kate Bush - Hello Earth ( Hounds of Love). I did not know that. Their controversial and ironic 'Smack My Bitch Up' is memorable. Did not Madonna sign them originally?
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Post by tannis on Aug 17, 2008 22:14:15 GMT
No, Al, neither did I. I am not familiar with the music of The Prodigy. The Hyperspeed sample connection was pointed out over on HG. And yes, Madonna did sign them to her label. She heard "Firestarter" and loved the record. HAPPY 50TH BIRTHDAY, MADGE! ...
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Post by tannis on Nov 25, 2008 3:33:54 GMT
Richard Hickox (5 March 1948 – 23 November 2008). English conductor of choral, orchestral and operatic music.Richard Hickox, one of Britain's foremost conductors and the founder and musical director of the City of London Sinfonia, has died of a suspected heart attack.
The Richard Hickox Singers sing the chorus sections on Hello Earth. Michael Berkeley and Richard Hickox were, respectively, the orchestral arranger and chorus master on Kate's "Hello Earth" track. Michael Berkeley: "You're right in thinking that a lot of care went into recording the chorus on Hello Earth and Kate was as exacting in her very precise requirements as any great conductor I have known (and I've known a few). Every nuance and dynamic had to be just right. We began with an original chorus by me in the style of the Nosferatu music but it soon became clear that Kate was wedded to the Nosferatu sound almost note for note so, after exhaustive attempts to ascertain that the music was not in copyright, I notated the music and then adapted it so that it would fit harmonically." Date: Tue, 02 Dec 86 / Subject: greek chorusgaffa.org/dreaming/tnw_song.htmlFACHBLATT: Let's pick out an example, the track "Hello Earth". At first there's a very soft melody, sung by you, while the chorus, sung by a choir, stands in a very strong and abrupt harmonic contrast. That sounds very assembled, as if it was not created in one piece. KATE: Here the "initial ignition" came together with the idea of the contents of the song that determined the structure. I recorded the verse at first and recorded only a pilot track with piano for the refrain. Then the musicians from the Irish band Planxty were added and then the choir. FACHBLATT: Did you always intend real voices to be used or did you use voices from the Fairlight at first? KATE: It was clear from the beginning that a real choir was needed there. Only the choice of singers was very difficult. This chorus is based on a traditional that I picked up at some time. What I imagined was not so much classical choir voices but voices that somehow had to sound eerie and also a bit ceremonial. On the other hand there was the problem not to imply pressure and to let the people sing as natural as possible, since especially with choir singing a posing artificiality arises quickly. Fortunately from a gig I had with the London Symphony Orchestra I knew a man called Richard Hickox who had an incredible experience with choir voices. I let him chose the singers. For me it was an incredibly thrilling experience, because I never before worked with a choir. FACHBLATT: Almost sounds as monks singing sacred songs. KATE: Sounds quite religious, doesn't it? ... With "Hello Earth" for example I knew that this piece would be the dramatical highlight of the story. Therefore the verse had to be very slow and the chorus had to be very heavy. Well, I'll explain what it's all about. We are talking about a storm. There's a person that went overboard in the storm and fights a whole night against the waves, the tiredness and the danger to give up. I wrote all pieces of the second side of the LP about this plot. A concept album, or at least half an album, that was a huge challenge for me and a long-cherished wishful dream. I wanted to do something where I didn't have to be ready with the story after just three minutes. FACHBLATT: Even if it's difficult for you, can you tell me a bit more about the plot? KATE: I wish I could show you a film about it. The pictures would explain much more easily what I had in mind. There's someone going overboard, at night. He gets insanely tired, wants to resign. Then his past, his present and his future travel past him and try to keep him awake and to bring him through this night. These are of course metaphers for a very deep inner experience after which you reenter the light at the other end as a purified human being. Fachblatt Musikmagazin Nr. 11, "Kate Bush Reappeared", Andreas Hub, Nov 1985gaffa.org/reaching/i85_fme.html
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Post by tannis on May 6, 2009 18:27:32 GMT
Más profundo, más profundo, en algún lugar en la profundidad hay una luz
Plus profond, plus profond, quelque part dans la profondeur il y a une lumière
Più profondo, più profondo, in qualche luogo nella profondità c'è una luce
Tiefer, tiefer, irgendwo in der Tiefe es gibt ein Licht"I speak Spanish to God, French to men, Italian to women and German to my horse." ~ Carlos I, Rey de Castilla y de Aragon (1500–58; AKA Karl V, Heiliger Römischer Kaiser, Charles V, Holy Roman Emperor, Ruler of the Spanish and Holy Roman Empires at their height of power) Notice how things take on an entirely different slant when you say them in a foreign language. How French sounds sexy, how Spanish sounds exotic, how native South American languages sound like absolute gibberish, and how anything you shout in German sounds either Badass or evil, sometimes both, depending on your tone of voice...
see more: there is somewhere in the depths, somewhere, the divine lightkatebush.proboards.com/index.cgi?action=display&board=leaveitopen&thread=1998&page=6
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Post by tannis on May 10, 2009 15:27:36 GMT
A JOURNEY TO THE EDGE OF THE MIND: Deeper... Deeper...I: Okay, then, why then all the ninth wave and water and ice. KT: I think it was an idea I probably got a few years ago of someone being in the water for the night, and hadn't really tried it until this album. It's hard to say where it came from. I can only pinpoint certain war films as imagery that would suggest it, things like The Cruel Sea, those kind of old war films, where the people were being cast into the water, having really been through kind of a heavy experience already. And the thing of actually launching from that, so that's the basis of the body in the water, but then the head travels off as the night goes on. 1985 Picture Disk Interview 2, CBAK 4011, (Australian Interviewer)www.gaffaweb.org/reaching/im85_pd1.html"Tiefer, tiefer, ergendwo in der Tiefe gibt es ein licht." If you notice, that line, spoken by Gabi Zangerl, is accompanied by the sounds of a submarine's sonar signal. It is IED's theory that this is meant to evoke images of U-boat activity during WWII, and possibly to create the feeling of claustrophobia that must have existed within the confined spaces of a submarine, which is a big part of the movie "Das Boot". Kate has several times referred to old war movies as a primary inspiration for The Ninth Wave. Hounds of Love: The Ninth Wavegaffa.org/dreaming/tnw_song.htmlKaTe mentions that certain war films inspired The Ninth Wave suite, and that The Cruel Sea was a very influential force. The Ninth Wave suite is bursting with concepts, including the German expression at the end of 'Hello Earth'. So maybe KaTe took sonic inspiration from Das Boot to suggest a journey to the edge of the mind...Tiefer....noch tiefer! ... Die Bolzen! Sie platzen weg! Deeper....even deeper! ... The bolts are bursting!Das Boot (The Boat) is a 1981 feature film directed by Wolfgang Petersen. Production of the film took two years (1979–1981). One of Petersen's goals was to guide the audience through "a journey to the edge of the mind" (the film's German tagline Eine Reise ans Ende des Verstandes), showing "what war is all about." Petersen heightened suspense by very rarely showing any external views of the submarine unless it is running on the surface and relying on sounds to convey action outside the boat, thus showing the audience only the claustrophobic interior the crew would see.
Das Boot has two great strengths – its setting and its pace. Most of the drama takes place within the confined and crowded interior of the U-boat, which gives the film a very claustrophobic feel that adds greatly to the oppressive mood and tension. Filming in such a restricted space must have posed immense problems for the camera team, but the results are stunning and the spectator does get a real sense of the dire conditions under which U-boat crews lived, worked and, in most cases, died.
The film’s pace also gives a feel of the psychological pressure the U-boat crews were under. For most of the time, the men sit in idle anticipation, waiting for something to happen. And when things do start to happen, it is with a suddenness of such ferocity and intensity it is amazing that half the crew didn’t die from coronaries. It is hard to say which is more compelling - the quieter moments where the crew members reflect on their predicament with a mixture of anxiety and hope, or the fast-paced action sequences where every split second can mean the difference between life and death. Both are realised with extraordinary skill and are equally effective at conveying the suffering and anguish endured by the men.
The critical standing of Das Boot has increased over the years to the point that today virtually no self-respecting film enthusiast would describe it as anything less than a masterpiece. The film exists in several versions. The original 1981 theatrical release ran to 150 minutes. In 1985, this was re-cut with unused footage as a mini-series for German television, consisting of three episodes of 100 minutes each. The director’s cut followed in 1997, which ran to 209 minutes. In 2004, the television version was released in an uncut version for DVD, running to 293 minutes. It is these later two versions that have accorded Das Boot its status today as one of finest works in German cinema and one of the greatest war films of all time.Das GWX www.youtube.com/watch?v=e50APQxDDYw&feature=related [Ignore the GWX subtitles.] 1:55... Tiefer....noch tiefer! ... Die Bolzen! Sie platzen weg!
Scene from Das Boot www.youtube.com/watch?v=2P8NjdIy0_M&feature=related Eine Reise ans Ende des Verstandes: a journey to the edge of the mind...
Das Boot (Trailer)www.youtube.com/watch?v=rNMhyl3t0fU
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Post by tannis on Jun 14, 2009 14:27:14 GMT
CHORUS OF THE SPHERES: Like Two Black Holes in the Sky1. tsin-tsqa-ro cha-mo-vi-a-re tsin-tsqa-ro tsin-tsqa-ro bi-cho da cha-mo-vi-a-re 2. tsin shem khvda ka-li la-ma-zi tsin shem-khvda bi-cho da ko-ka-rom e-dga-mkhar-ze-da 3. si-tqva u-tkkhar da i-tsqi-na si-tqva u-tkhar-ri bi-cho da gan-ris-khda da-dga gan-ze-da 4. repeat verse 1.The Hounds Of Love sleeve notes make a point of stating, "Jig of Life: Original music discovered by Paddy Bush". However, the Hounds Of Love sleeve notes do not say, "Hello Earth: Original music discovered by Werner Herzog" ... I: On the track Hello Earth, right? right? There's a choir in there. Now that again was an unusual thing to have...Has it? [sic] KB: "Yes, but it was totally inspired by a movie that I watched, and, um...I'd already been writing the concept--I suppose it had been in my head for a couple of months. And, uh...I watched this film called Nosferatu, directed by, um... Herzog. And it's beautiful! And there was this one piece of music that just haunted me, to the point where I just--I had to use it in the song. It was exactly what I wanted to say at this point in the music. And it was...sort of building the song around that piece. It was a traditional piece that, um...I think, uh...was either Russian or Czechoslovakian...Um...is a Russian piece [laughs] and...uh...It's just so haunting. I mean it's a very holy piece of music, in a very pure sense..." The Tony Myatt interview, Nov. 1985gaffa.org/reaching/im85_tm.htmlKate's version is sung by a British choral group known as the "Richard Hickox Singers". In neither case are the words intelligible to IED, since he knows neither Czech nor Russian. He would be very interested to know what the words mean, or even if the same words are sung in both versions, even though it is admittedly highly unlikely that the lyrics' content bears any relation to Kate's theme in The Ninth Wave, or even that she ever bothered to find out what the words meant. It was clearly the sound that interested her, not the meaning of the words... IED has come to the conclusion that it's highly unlikely that Kate ever found out what the words of the original chorus actually are saying, or even that she ever got more than an approximation of the original phonetics. Hounds of Love: The Ninth Wavegaffa.org/dreaming/tnw_song.htmlKB: "It was clear from the beginning that a real choir was needed there. Only the choice of singers was very difficult. This chorus is based on a traditional that I picked up at some time. What I imagined was not so much classical choir voices but voices that somehow had to sound eerie and also a bit ceremonial. . . ." I: Almost sounds as monks singing sacred songs. KB: "Sounds quite religious, doesn't it?" Fachblatt Musikmagazin Nr. 11, "Kate Bush Reappeared", November 1985gaffa.org/reaching/i85_fme.htmlIn the liner notes to Hounds of Love Kate "thanks" Werner Herzog, not specifying what for. (She also thanks the film's soundtrack supervisor Florian Fricke in the liner notes of Hounds of Love.) Then, in Tony Myatt's Capital Radio interview, which was conducted for the Romford Convention (1985), Kate said that she had got the men's choral section of Hello Earth from Herzog's Nosferatu. She first identified the origin of this music as Russian or Czech, then 'corrected' herself by stating flatly that it was Russian, adding that it's "a very holy piece of music". [The piece is in fact a Georgian love song.]
The Richard Hickox Singers perform the "traditional" chorus sections on Hello Earth. Michael Berkeley and Richard Hickox were, respectively, the orchestral arranger and chorus master on Kate's Hello Earth track. Writing to Gaffaweb, Michael Berkeley described Kate as "wedded to the Nosferatu-sound":Michael Berkeley: "You're right in thinking that a lot of care went into recording the chorus on Hello Earth and Kate was as exacting in her very precise requirements as any great conductor I have known (and I've known a few). Every nuance and dynamic had to be just right. We began with an original chorus by me in the style of the Nosferatu music but it soon became clear that Kate was wedded to the Nosferatu sound almost note for note so, after exhaustive attempts to ascertain that the music was not in copyright, I notated the music and then adapted it so that it would fit harmonically. Like you, I've been unable to pin down exactly where the music originates from, but I came to the conclusion that it was a chant probably of Russian or greek Orthodox ancestry and almost certainly sung by monks or priests. I'm sorry not to be able to be more precise and if you ever find out more yourself I will be fascinated to hear about it." Date: Tue, 02 Dec 86 / Subject: greek chorus gaffa.org/dreaming/tnw_song.html
Also from Michael Berkeley: "Kate Bush, it transpired, was working on her new album, Hounds of Love, and for one track, Hello Earth, she wanted a chorus to recreate the orthodox singing/chanting that made such a contribution to the film Nosferatu. The only problem, Hickox explained, was that there was no sheet music available and that anyway it would need to be notated and completely re-written to fit the Hello Earth track. Slightly bemused, I think - this was a far cry from his more customary Gluck or Vaughan Williams - he asked if he could put Bush in touch with me... Having chatted at length, she sent me a long letter with the words of the song and precise instructions on how it should unfold. Her writing hand was curiously like her voice - quirky and touchingly childish; large, separated letters and with the dots over each "i" individually circled. There was, however, nothing child-like about the seriousness and certainty of its contents. Structure was carefully delineated, verses and choruses written out fully and marked up in colour, and she talked of the sound quality in the most graphic terms. Still not having been able to identify the music of the title sequence of Nosferatu or even the language it was sung in, she suggested that, if necessary, I write something similar but added that while the key of this chorus would need to relate, it could arrive as something foreign, harmonically a surprise, as though from another world. In other words, while it had to fit, Kate wanted it to sound "collaged". This superimposition of foreign sources is a technique pioneered by visionary composers like Ives and Stockhausen. I soon realised that Bush was pretty exacting on the precise fit of the "non-fit". Indeed, she was thrilled when I suggested we create our own new language for this chorus of the spheres..." 'Kate Bush rules, OK?' Guardian Unlimited Arts.www.guardian.co.uk/music/2005/oct/11/popandrockKB: "We had the whole song, it was all there, but these huge, great holes in the choruses. And I knew I wanted to put something in there, and I'd had this idea to put a vocal piece in there, that was like this traditional tune I'd heard used in the film Nosferatu. And really everything I came up with, it with was rubbish really compared to what this piece was saying. So we did some research to find out if it was possible to use it. And it was, so that's what we did, we re-recorded the piece and I kind of made up words that sounded like what I could hear was happening on the original. And suddenly there was these beautiful voices in these chorus that had just been like two black holes." Radio 1, Classic Albums interview: Hounds Of Love, January 26, 1992gaffa.org/reaching/ir85_r1.htmlKB: "I would want to be Bruegel, definitely". Melody Maker, "Fairy Tales & Nursery Rhymes", Ted Nico, August 24, 1985www.gaffaweb.org/reaching/i85_mm2.htmlThe original source of the chorus for Hello Earth was Herzog's Nosferatu, in particular, its Bruegelesque town square scene (and, at the time of 'Hounds of Love', KaTe (1985) references Bruegel as one of her favorite painters). Indeed, Kate says that the chorus was "totally inspired" by Nosferatu, and Berkeley states that Kate was "wedded to the Nosferatu-sound almost note for note".
Berkeley makes clear that Kate had been unable to identify the music of the Nosferatu sequence, or even the language it was sung in. So Berkeley had to notate the Nosferatu-sound and recreate the "traditional" singing/chanting. He then had to adapt it so that it would fit harmonically as the Hello Earth chorus. Moreover, Kate states that she "kind of made up words that sounded like what [she] could hear" on the original. So it is clear that neither Berkeley nor Kate knew that it was a Georgian piece called 'Tsintskaro'. Hence, on Hello Earth, the chorus do not sing Tsintskaro/Zinskaro/Cincyaro. Rather, they are evoking the Nosferatu-sound through 'sacred mumbling'...
Though exhaustive attempts were made to ascertain that the music was not in copyright, there was no sheet music available, and Berkeley considered it to be an orthodox religious piece. So it again seems pretty clear that neither Kate nor Berkeley had ever heard Gruzinskie Narodnye Pesni or Hamlet Gonashvili Katselashvili's Zinskaro/Cincyaro. [Gonashvili (1928-1985) is sometimes referred to as "the voice of Georgia". At the height of his fame, he died in 1985 in a fall from an apple tree. Apparently, a stake went through his chest.]
With this in mind, neither Kate nor Berkeley could have known what the song was about. The song is in fact a love song, or (quite apt given the chorus) a mourning of the missed opportunity of love. Words are simple yet timeless folk, and flow downwards like water.
"Tsintsqaro" can be translated as 'At the Spring' or 'By the Source' or 'At the Well'. It's a boy-meets-girl love song. The singer tells us that he was walking down the small river and met a pretty woman, holding a pitcher on her shoulder. He said something to her and she got mad and moved aside from him. The choral parts of Hello Earth therefore imitate what is actually a traditional, public-domain folk-song as used in Herzog's Nosferatu. A transliteration of the Georgian words (originally from a 1936 transcription of the song): 1. tsin-tsqa-ro cha-mo-vi-a-re tsin-tsqa-ro tsin-tsqa-ro bi-cho da cha-mo-vi-a-re 2. tsin shem khvda ka-li la-ma-zi tsin shem-khvda bi-cho da ko-ka-rom e-dga-mkhar-ze-da 3. si-tqva u-tkkhar da i-tsqi-na si-tqva u-tkhar-ri bi-cho da gan-ris-khda da-dga gan-ze-da 4. repeat verse 1. Hounds of Love: The Ninth Wave gaffa.org/dreaming/tnw_song.html
I walked by the spring; met a beautiful girl; the one holding a jar on her shoulder; I told her a word; she got angry with me and stood aside
or
In front of the spring, I strolled down in front of the spring, In front of the spring I strolled down. In front, walking towards me I met a beautiful woman, A beautiful woman I only said a word but she shied away offended But I only said one word & she shied away offended. In front of the spring, I strolled down in front of the spring In front of the spring I strolled down Zinskaro - Hamlet Gonashviliwww.youtube.com/watch?v=Vu3boYzcBuo&NR=11. tsin-tsqa-ro cha-mo-vi-a-re tsin-tsqa-ro tsin-tsqa-ro bi-cho da cha-mo-vi-a-re 2. tsin shem khvda ka-li la-ma-zi tsin shem-khvda bi-cho da ko-ka-rom e-dga-mkhar-ze-da 3. si-tqva u-tkkhar da i-tsqi-na si-tqva u-tkhar-ri bi-cho da gan-ris-khda da-dga gan-ze-da 4. repeat verse 1.Kate Bush - Hello Earthwww.youtube.com/watch?v=0S0zNFzK_ns'sacred mumbling' ...THE QUIET TIME: Herzog's NosferatuJeff: You never mention painters in your work, at all. Have you any favourite painter...? Kate: "Yes, I--I think, um, paintings are phenomenal. I would love to be able to paint. Particularly in oils. I think, uh, it just must be so fantastic to stand there and--paint a picture. And I think, um, they've been quite influential on my work. Um, when I was very young I was into Millais pictures, and I used to find, um--Do you know 'The Huguenots'? Do you know that? Beautiful painting, I just--In fact, I wrote a song that was kind of inspired by the painting. I got a painting years ago that I couldn't afford to buy at all, but, um, that inspired a lot of my work, as well. (This is a reference to 'The Hogsmill Ophelia'.) And I think one of my favourite painters is Brueghel. I think his work is just so extraordinary. The sense of detail, and, um, and colours, it's so alive. I would love to be able to uh, to do something like that. So uh, vive les painters, eh?" Convention 1990: Kate Bush - The Chatgaffa.org/dreaming/chat_90.htmlPieter Bruegel the Elder. The Fight between Carnival and Lent. 1559. Oil on panel. Kunsthistorisches Museum, Vienna, Austria.
Lucy Harker: "I know the reason for all this evil. I know the reason for all this. Why don't you listen? I know the reason!" Death is not on its way. It has already been abundant here for some time. We see down onto the town square. Even from far above the rectangular geometry of a dozen or so freshly made caskets stands out. Smoke rises from several small fires, and small groups of people dot the square. Some ar talking, while some appear to have linked arms. Dancing? Lucy Harker makes her way slowly past a dark, cloaked figure, kneeling in prayer over one of several caskets around him. The figure appears as an austere exception. Just beyond this solitary vigil, in front of Lucy, groups of revelers have joined in circle dances around a fire. They half entice, half compel her to join them. Lucy breaks free, stumbling past a large, roaming sheep and into the outstretched arms of yet another merry-maker. She whirls free of him and into the presence of a man with a French horn performing animatedly before two children. Paying him cursory attention, though less to his performance than out of confusion, she wanders into the thick of another dance. This one is accompanied by a fiddler, who later appears playing near a man wrestling a goat. Rats by the dozen clamor at the legs of diner eating tentatively at a table, set formally amidst still more caskets and hundreds more rats. An elegantly dressed man rises and offers Lucy a glass: 'Would you like to drink with us? Be our guest. We all have the plague. For the first time, let us enjoy every day remaining to us.'As stunning as is this scene from Werner Herzog's Nosferatu (1979), attributing its emotionally wrenching appeal to any dramatic suspense or foreboding is difficult. By the time this morbidly beautifully tableau appears, the town has already seen dozens of citizens succumb to mysterious causes. The spectator of course knows the death and rats to be associated with the film's title character. But for the inhabitants of the town it has reached the point where their resignation in the face of so much unexplained death can only be expressed through celebration rather than fear and gloom. The screen world has again gone silence. All the energetic physical commotion produces no sound for the spectator. If the scene is reminiscent of a Brueghel painting, it also resonates with Jacques Attali's characterization of that painter's work, Carnival's Quarrel with Lent: 'In this symbolic confrontation between joyous misery and austere power, between misfortune diverted into festival and wealth costumed in penitence, Brueghel not only gives us a vision of the world, he also makes it audible - perhaps for the first time in Western Art. He makes audible a meditation on noise in human conflict, on the danger that festival will be crushed by a triumph of silence.' As with Breughel's crowded images of human bustle, there is a great deal of implied sound - so much that wants to be heard. But Herzog's scene evokes the stillness of canvas. Accompanied only by non-diegetic music, the frenetic noise of people, footsteps, fire, animals, rats, and abundant on-screen music and dance is subsumed and silent under the elegiac male chorus of the Vokal-Ensemble Gordela's permance of 'Zinzkaro'. The technical trick of withholding mundane sound invites immediate comparison to other films. And yet, something from similar scenes also seems missing. There is little tension associated with silence here. It builds toward nothing, preparing no particularly significant event. As urgently as Lucy runs through the square, the silence that accompanies her seems not to 'lean forward' into what may come. The withdrawal of sound in a context already so saturated with death might almost seem like overkill, so to speak. Still, hearing silence's voice so clearly within the milieu of Nosferatu's oddly static commotion encourages yet a further reading of its poetic effect. Relative to many other scenes in silenced worlds, the imagery of music-making and dancing not only characterizes our expectations for Nosferatu's soundscape, but focuses them in a peculiar way. Although emanating from the film world as any other diegetic sound, diegetic music does not behave identically with it, especially relative to our perception of time. While mundane noise reflects time's passage, musical sound thrusts its own time on its situation, inflecting and reconstructing our sense of its movement. The metabolisms of music only rarely coincide with those of the real world. Instead, musical time may contradict, impose upon or displace real time. Meters, rhythms, pulses and tempi are all explicit means of controlling time's flow on music's own terms. Even with only its automatic, soundless image remaining, music has animated and organized movement around its presence. In offering direct evidence of a well ordered time, the images of live music and dance on the town square acutely heighten perception of the visible world's temporality, in part because that temporality itself has been so deeply intensified. But in withholding the sensual experience, silence displaces us not only from real time, but from an implied musical time as we see the world's temporality re-directed, only to be denied access to its replacement. There is indeed, then, a deeper tension in Lucy's trip through the square. But it is neither dramatic, since it doesn't really bear much on plot movement or characters, nor is it merely the perceptual dissatisfaction of aural expectations raised by the eye. The tension derives from an especially tenuous relationship to time. The removal of both real-world noise and musical sound is the dream-like feeling of walking on ice while wearing hard shoes; there is not enough friction to make progress. We are not anchored temporally in what we see, and the hollowed out image of music almost mocks the effort to be there. Beyond Breughel, the existential effect of this scene also recalls Gustav Mahler's description of the whirling Landler Scherzo in his Second Symphony: 'If you watch a dance from a distance through a window, without hearing the music, the gyrations of the couples seem strange and senseless because the key element, the rhythm, is lacking. That is how you have to imagine someone who is destitute and unlucky: To such a person the world appears as in a concave mirror, distorted and mad.' In Nosferatu, the image of commotion bereft of sound is an image of such a crisis: a world bereft of meaning in which we are unable to participate. What remains is the music of 'Zinzkaro', hovering above and imposing its own time on the entirety of the experience. The chorus' deliberate pacing deeply contradicts a visual temporality already magnetized around music, and yet offers its own temporal refuge from silence. Imagining the scene with its actual sound and music restored might feel like rejoining the world, re-entering its timeline. 'Zinzkaro' itself would then become an unwarranted and impossible temporal position to take up. Indeed, this is precisely the effect when speech finally breaks the soundlessness. Suddenly revealed is exactly when we have been: out of time. The silence of the scene both frees and compels us to take up a position outside of narrative temporality. The sound of 'Zinzkaro' paradoxically holds out the means of actively engaging the promise of that silence. We hover. I have found this scene, its music and its silence, utterly hypnotic for close to twenty years, and have sometimes been puzzled by my own habit of interrupting the film and replaying the scene again and again and again. Viewing and reviewing it this way fulfils some demand the scene seems to make. Repetition enacts the movement's displacement from time. Rewinding: it is already over with. The events have been catalogued, recorded, put away. I retrieve them. Returning now to the question of the scene's lack of narrative tension leads us to an oddly vital aspect of its vivid relationship to its abundance of death. Having so thoroughly abandoned narrative temporality, we watch Lucy's silent trip through the town square as though it has already happened. That is, we are looking back. If there is a lack of dramatic tension in the scene, it reflects the inevitability of something that seems already to have occurred. To the extent that silence has the power to transfigure profane space into sacred space, it also manifests sacred time. Although heightened in it, I would not want to say that this silent sense of taking place in an eternal 'past tense' is unique to Nosferatu. Having been quieted but not hidden, however, music makes the temporal hierophony of silence more palpable and complete, in turn revealing explicitly what is perhaps more implicit in other similar scenes. Apparently wanting to converge on the 'still', so many silent images are in slow motion. Or is it that so many slow motion images are silent? Once time is untethered, neither the ear nor the eye can abide there. Though technically contrived, silent death is not merely style at all. It is, rather, the very substance of cinema's automatic inevitability. Like photos in an album, silence becomes an eternal retrospective from which any image of the world becomes an image of its own mortality. ~ Silence, music, silent music, Nicky Losseff, Jenny Doctor (2007; pp.77-80).[/color] Nosferatu: Phantom der Nacht (Hello Earth)www.youtube.com/watch?v=vjK22UFiToE&feature=relatedsee more: WAKING THE WITCH and BLOOD RED ROSES katebush.proboards.com/index.cgi?board=houndsoflove&action=display&thread=1721 THANKING THE CHEF: Jig of Life katebush.proboards.com/index.cgi?action=display&board=houndsoflove&thread=1723&page=3 THANKING THE CHEF: The Sensual Worldkatebush.proboards.com/index.cgi?action=display&board=thesensualworld&thread=1732&page=4
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Post by tannis on Jul 17, 2009 21:27:28 GMT
"The, uh, tracking data, map data and pre-planned trajectory are all one line on the block..." "Show your block decode..." ~ STS-1 (Columbia), April 14, 1981You can hear [part of] the original mission control dialogue from the start of Hello Earth here...STS 1 Landing Coverage BBC 1981www.youtube.com/watch?v=r5fhcsQY_MU2:27...
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Post by stufarq on Jul 21, 2009 22:19:35 GMT
"Tiefer, tiefer, ergendwo in der Tiefe gibt es ein licht." If you notice, that line, spoken by Gabi Zangerl, is accompanied by the sounds of a submarine's sonar signal. It is IED's theory that this is meant to evoke images of U-boat activity during WWII, and possibly to create the feeling of claustrophobia that must have existed within the confined spaces of a submarine "Deeper, deeper, in the depth there is a light." Submarines dive into the depths of the ocean. Pretty straightforward connection, surely?
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Post by tannis on Aug 1, 2009 15:27:54 GMT
The Kate Bush Mysteries: "Witch Bush" or "Mistress of Arcane Knowledge"“Look at it go..?” Kate Bush and UFOs. Given that none of Kate Bush’s songs directly mention UFOs, it is thus surprising she has become associated with several notable claims relating to this topic. Starting from the bottom, there is the wild assertion from a website reporting on supposed channelled alien messages– one of which alleges that Kate Bush is “incarnated from the Sirius system”… (40)! Leaving aside the lunatic fringe, one of the most significant UFO-related claims is reported by Jenny Randles in her 1988 book “Abduction”; wherein she states that “(Kate Bush)… was the president of a West Country UFO group (41).” This rumour is not unique to Randles as the author independently heard a similar claim during the early 1980’s, along with other allegations that she had attended UFO meetings and had even possibly visited Warminster to participate in skywatches. Furthermore, the description acquired by the author of the individual associated with these tales matched Bush’s actual appearance; namely spotty/dimpled, dark-haired and of short stature (42). Faint memories of her supposed involvement/interest in Ufology have persisted into comparatively recent times. During the late 1990’s it is strongly rumoured she was invited to a skywatch in Rendlesham Forest– which Bush personally declined due having “other commitments” (43). In an attempt to resolve this issue, the author consulted Steve Dewey and (indirectly) Kevin Goodman and Peter Paget, given they were active within the late 1970’s Warminster skywatching scene; none however recall any visits to Warminster by Kate Bush (44). Dewey, did, propose a possible solution; the local band he was involved with while in his late teens– which around 1976 went under the name of Whyte August – had a lead female vocalist called Mary Cousland, reported to have had “the voice of an angel, if a little underpowered”. Mary had a passing physical resemblance - and was roughly contemporary in age - to the young Kate Bush, who had just started her career in 1976. Mary even participated in Warminster skywatches with Steve Dewey and other band members on several occasions. She even occasionally performed in a white dress... ! (45) Nonetheless, Bush did make the following comment regarding UFOs in 1980; "I really believe in UFOs, and I don't see why there shouldn't be life on other planets. We haven't got off this planet yet, really, so how can we say if there is or isn't. It seems unlikely that we would be the only ones. There have been so many reported that I'm sure they exist, and I really hope I see one…” (46). While demonstrating some interest in this topic, it appears to be a relatively casual one.
This aside, none of Kate Bush’s surviving (on-line) official fan material for 1978-1982 mentions her becoming the patron or president of a UFO society. A check by the Swedish group AFU of possible “candidate” journals (The Axminster Light Center and 1979-1981 editions of PROBE REPORT) also failed to uncover any references (although vol.1 no 2 (1981) of the PROBE Report is currently missing from their collection). Likewise, there is no mention of Bush having an active interest in Ufology in any relevant books or known contemporary newsstories from 1978 – 1981. However, in one 1979 fan newsletter Bush personally stated that a “UFO Tee-shirt” was thrown on stage during her April-May 1979 “Lionheart” tour – which she subsequently retrieved and “wore for months” afterwards (47). It is unknown, however whether this was a bona fide “UFO” themed tee-shirt or one based on the U.K heavy rock group with the same name active from 1969 upto the present day! Thus (as it stands) the Bush UFO group President/patron claim remains in limbo but looks somewhat dubious; possibly resulting from a false assumption of UFO group affiliation based upon a randomly gifted tee-shirt (or a spurious claim by a now-unknown West Country UFO journal editor). Robert Joravick’s 2005 biography of Kate Bush, however, mentions an even more intriguing link - namely a rumour that she experienced a possible UFO sighting around Loch Ness in 1981(49). In this instance it seemingly alludes to an actual event acknowledged by Bush! It appears that Kate Bush took a short break from composing - travelling up to Scotland by train before getting access to a car to drive around the Loch’s environs to look for “Nessie”. To continue in her words: “….Just as it was getting dark one evening; we pulled up by a sign at the edge of the road. It told of a fort from the fifth century, B.C…. It also mentioned a phantom battle which had supposedly taken place very near to the site. As we were about to drive away, I noticed three lights in the sky, descending in a diagonal line. Then they formed a horizontal line and remained static just below a layer of cloud. There were huge circular orange lights; and we set off in the car in hot pursuit. We thought maybe they were some kind of stadium lights, but they were too near to he clouds; and we had never seen aircraft with such big lights, nor that colour. As we turned a bend we could no longer see them, but kept our eyes pinned on the sky. A few minutes later they came into view again, and this time we could see that they were completely unattached to any form of structure on the ground; and now there were only two lights. They remained stationary until we lost them a little while later, for good… We wondered if instead of finding Nessie on our search, we had found another strange phenomenon… (50).”
So what of this particular “strange phenomenon”? The historical site described by Bush resembles Craig Phadrig; a vitrified hillfort located south of Inverness dating from the 4th century BC (51). Several areas around Loch Ness - although not Craig Phadrig itself – are associated with phantom battles, including Loch Ashie located near the Loch’s north-eastern edge (52). This site is relatively close to Buaile Chòmhnard, a feature once considered a fort but now interpreted as a cattle enclosure (52)! Furthermore, while Bush fails to note the alleged sighting’s date, a published general listing of her activities suggest (if this event occurred at all) it happened between May – November 1981(53). One comment infers leaves were beginning to discolour and fall; indicating a late Summer/early autumn date. Furthermore, Bush’s account concludes by mentioning that a week or so after returning to London she watched a news broadcast which reported that an underwater image of “Nessie” had been taken by an aircraft. Unfortunately, the author has been unable to find a reference to such an event; only finding an apparently dissimilar (and vaguely documented) picture taken in September 1981(54). However, in July 1981 Adrian Shine’s Loch Ness and Morar Project experimented with taking underwater T.V pictures around the wreck of “R For Robert”, a crashed Wellington Bomber left abandoned within the loch (55). It is possible that Bush was referring to this – with the original newscast possibly alluding to the now-infamous Rines underwater images actually taken in 1975 (56). While the MoD received 600 UFO reports in 1981, only those occurring from November through December have been released under the FOIA to date – none having any apparent relevance to Bush’s sighting (57).The admittedly mostly inaccessible (and doubtless incomplete) U.K civilian UFO group sighting record notes the half-hour observation of a static triangle of red lights by a schoolchild on October 17th 1981; although this occurred in Stewardton, Southern Scotland, a considerable distance from Loch Ness (58). Otherwise, the author has yet to locate a Scottish UFO report comparable to Bush’s observation occurring around May-Nov 1981 (59). The now notorious Thai aerial Lantern - or something comparable - represent one possible explanation for Bush’s sighting; the area around Fort William being associated with a manifestation of these luminous mini hot-air balloons in 2009 (60). However, these were virtually unheard of during the 1980’s and are rarely reported to descend or remain stationary for significant periods.
The environs of Loch Ness (and other Scottish lakes) have been associated with unusual light phenomena from at least the mid-19th century (61). In regard to Loch Ness itself, Drumnadrochit was the focus of several waves of reports in 1990 and 2003, while Ted Holiday cited details of a fast, lowlevel light seen near that region in 1971 (62). The area was also associated with a notorious 1971 hoaxed UFO landing case subsequently unmasked by Steuart Campbell (63). In regard to events elsewhere, the 1973 Loch Ryan, Scotland event shares the closest similarity to Bush’s account; the witness observing 3 orange spheres hovering for several minutes before the forms departed suddenly (64). Widely-spaced quadruple light configurations are a common “UFO” stereotype; repeated observations of this stereotypical form observed around the Pennines termed “the pawnbroker” by Jenny Randles (64). It is notable that both the Pennines and the Loch Ness region possess significant geological faulting; the latter region being host to a feature termed the Great Glen Fault. Hence, it is possible Kate Bush’s 1981 reputed “experience” may have involved an observation of earthlight phenomenon (postulated by Devereux, etc.) generated by this particular feature (61).
A major note of caution must be made at this juncture, however. Given Bush’s playful sense of humour, it might be appropriate to note that the version of her song “Kite” featured in the 1978 “Tour of Life” video Kate Bush – live at Hammersmith, concludes with a depiction of a circular configuration of lights over a mesa scene, panned to seemingly resemble a UFO in flight (65). Additionally, included amongst the material Bush personally authored for her fan club are several fictional short stories on supernatural topics (only one of which – a ghost story – is told from her perspective). This may well reflect Bush’s alleged fondness for telling such stories during her teenage years, as reputedly attested to by various childhood friends (15). Could the Loch Ness mystery lights tale be one of these? While the original article appears to be a factual account of a holiday break made during a recording session (with known aspects such as citing the actual names of her two cats, along with other significant actual events and a likely description of Craig Phadrig) there appears to be no Nessie event as described by Bush occurring in 1981. The only way this discrepancy can be accounted for is through the author’s suggestion cited above. To conclude on a musical note, Bush’s song “Hello Earth" (HOL) has a few lines which describing someone – maybe Bush - stepping out of a car at night and seeing “something bright” moving quickly through the sky. While not completely identical, this does seemingly echo some aspects of this supposed 1981 report.see more: Confess to me, girl... katebush.proboards.com/index.cgi?action=display&board=leaveitopen&thread=1998&page=6 The Delta Project ~ "THE KATE BUSH MYSTERIES: FACT OR FICTION?"www.deltapro.co.uk/katebushm.pdf
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Post by tannis on Sept 10, 2009 20:27:31 GMT
Heaven gazing on the earth... the mighty murderer of calm...Hello, Earth. Hello, Earth...The two great Antipodes had met face to face ; — heaven, in its unutterable splendour and serenity—the bright, ever-cherished picture of the mind's eye, the solace to which we cease not to turn in moments of pain and depression — nay, even in our hours of deepest bliss we look upward with a trembling glance, for there happiness is permanent — the far-off land of peace and sunshine glimmering in the distance, beheld through blinding storms and dreary mists,—heaven, the calm, the consolatory, the loadstone of prayer, the support to which fervently clings the shattered mind and sinking frame : there was heaven gazing on the earth — earth, our prison-house, our tread-mill — the insatiable devourer of our energies, the mighty murderer of calm and reflection — the great grinding-mill into which humanity is thrown and crumbled into dust, from which springs up, like the perfume from crushed flowers—the ethereal spark that soars upwards, and on through azure spheres, till it reaches its native mansion, and finds that peace denied by its much-loved although corroding earthy tenement. The New monthly magazine and universal register, 1849, p.196In the early days, did you write the lyrics first? KT: "I usually started off with the tunes, and used library books for a source of lyrics, but I couldn't get on too well with the restriction of always fitting the music to the words. So I started making my own lyrics up alongside the music." Electronics & Music Maker, 1982 www.gaffaweb.org/reaching/i82_emm.html
KT: "All artists are thieves. You eat what you steal, digest it and it becomes a part of you. You never just copy, of course." Sunday Telegraph, "The Explosive Kate Bush", July 6, 1980[/i][/color] gaffa.org/reaching/i80_st2.html
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Kris
Under Ice
Posts: 43
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Post by Kris on Sept 14, 2012 20:06:33 GMT
I've always thought of Hello Earth, as coming extremely close to sleeping. By the end of the song, (in my humble opinion), the protagonist is just about give up, and let go. Fall asleep, however the morning comes and the protagonist is rescued (The Morning Fog). Beautiful song, very haunting.
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Post by grazingdogs on Apr 24, 2019 21:19:22 GMT
With regards the Hello Earth song........I believe/feel Kate' song is in reference to Lucifer,
as In the third verse, Kate mentions getting out of the car and "seeing something bright travelling fast"
could well be a reference to lightning (Lucifer was said to have fallen to Earth in/as a lightning bolt)........
the next verse goes goes on to mention America and Storms over it and the inevitable downfall of said country
(to happen imminently as per prophecied scripture i.e. The Bible).........'wind' also is reference to Lucifer who is
Lord of the four Winds. The next verse talks about the 'world turmoil' to be unleashed on the Earth.
The last verse Lucifer 'reveals himself' for who/what he is i.e. 'There at the beginning of creation' before Almighty
God cast him down to Earth (to wander/roam) out of the cloudburst at the head of the Tempest...........and lastly, revealling his true nature as a murderer, murderer of calm........where did I go? where did I go? (Wander/roam)
the verse in german, "deeper, deeper, somewhere down deep there is a light" could be a reference to (the now) Newly Revived
Satanic Church of Rome, which is at this very moment working hard to usher in the new false religion
of Chrislam, to have at its head The Virgin of Babylon (Our Lady of The Rosary) with its headquarters in Fatima (Portugal).
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