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Post by tannis on Aug 25, 2008 20:49:06 GMT
Tripping On The Water Like A Laughing Girl... And here I am again, my girl, Wondering what on Earth I'm doing here...
Maybe he doesn't love me. I just took a trip on my love for him...
In the third week of the relationship She was tripping on organic acid...If Kate Bush were like her records, she'd be invigorating, interesting, bold, brave, and eternally hummable. She is, in fact, nice. Not nice as in hippy-dippy or insipid or stupid, but the kind of nice which means she laughs a lot (even at your own unfunny jokes), chats a lot and looks for the good in everything. The woman with the child in her eyes. KB: "You can either lay an angry trip or you can lay a very intimate trip on people. There are so many emotional needs and if you can use music to bring comfort that's the ultimate thing you can do to someone. It's just that idea of making people feel happy or encouraged. Music should leave people with something positive," she trills in a squeaky voice that's almost huggable. Tracks, "Love, Trust and Hitler", November 1989gaffa.org/reaching/i89_tr.htmlAcquaintances have observed, "She lives in a world of her own." But it's a world that lives within all of us, and her songs shine light into neglected areas of our minds. Using imagery nostalgically familiar to fellow Englanders, her subjects come tripping from library shelves, television and cinema screens and musty books of fairy tales, the stuff that dreams are made of. She spins tunes that haunt, twist and turn the mind, triggering long forgotten moods. Listening intently to her albums is an experience akin to having a lucid and feverish dream. Jungian symbols of youth, innocence, spiritual escape and the dark, feminine realm abound. Ghosts haunt the black vinyl grooves. Uncanny intimations disturb the sensitive. The spirit of Peter Pan hovers over her work, sometimes overtly, as in "In Search of Peter Pan," but also covertly, as a yearning for the human closeness and heightened awareness of youth... Hi-Fi & Record Review, "The Unique Poetry Of Kate Bush", December 1985gaffa.org/reaching/i85_hifi.htmlSide two, subtitled "The Ninth Wave," utilizes a lot of aural patterns and tones of The Dreaming, but to a much different effect. Where that album was simply a season in hell, what we've got here is a descent into, and subsequent ascent out of, those particular spaces in our consciousness that seem determined to control us and make life as ugly as possible. And where the experience of The Dreaming seemed merely something any sane individual would want to avoid, the effect of "The Ninth Wave" is an understanding of the importance of utilizing all experience, pleasant and unpleasant alike, as opportunities for self-knowledge (is there any other kind?). It is a bit harrowing at times, but any trip for knowledge holds out that possibility. "Do you know what?" she asks in "The Morning Fog", "I love you better now." And then she's wrapping it up. "I'll tell my mother/I'll tell my father/... I'll tell my brothers/How much I love them." And who but the most disaffected wouldn't want to be able to do that?KATE BUSH'S PSYCHEDELIC PRAYERS, Charles Faris Jan 1987?gaffa.org/reaching/rev_hol.html"It's not important to me that people understand me," Bush said in an interview after the film's release. And thank God for that. Bush may have lost us with "The Red Shoes" and "The Line, the Cross and the Curve," but it wasn't the first time she'd taken the chance. She took us to the apocalypse, after all, and if she'd been too concerned with what we'd think of her for that, she never would have made the trip. Brilliant careers: Kate Bush, Salon.com, Amy Standen, March 20, 2001gaffa.org/reaching/revaeweb1.html
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Post by tannis on Sept 1, 2008 11:27:18 GMT
Cathy, "The Man With The Child In His Eyes" (Summer 1979)Making a Video "To start with I sit and listen to the song, and think of the personality who is in it. The easiest was The Man With the Child in His Eyes. I was sitting listening, trying to figure out who was singing it, and my brother John suggested I do it like that, sitting down. Then all I had to do was think about floor exercises I had done in previous lessons. I had the idea of someone sitting down and telling someone something rather secret, and put in human, rather nervous habits, like pulling hair, rubbing the nose, looking up to heaven, and that sort of thing; trying to characterize it that way..." Kate's KBC article, Issue 2 (Summer 1979), "Hello Everybody"gaffa.org/garden/kate2.html
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Post by tannis on Sept 5, 2008 13:17:24 GMT
Apparently, Universal has confirmed the 7-disc release of Saturday Night Live - The Complete 4th Season on DVD.Saturday Night Live, Season 4, Episode 74: December 9, 1978: Kate Bush
Saturday Night Live aired its fourth season during the 1978 - 1979 television season on NBC. During this season, Saturday Night live took on some controversial issues such as child molestation, people with large butts, nuclear meltdowns, and Superman being portrayed as a Nazi. Longtime SNL writer Don Novello made his debut on the show. He had many alter egos including his most famous role, Father Guido Sarducci. The fourth season started on October 7, 1978 and ended on May 26, 1979. www.nationmaster.com/encyclopedia/Saturday-Night-Live-season-4
"Saturday Night Live": "Child" and "Them Heavy People" This, the only performance Kate has ever given of her music for American television, is still a vivid memory in many U.S. fans' minds. After a very sincere introduction by Eric Idle, Kate appeared in a shimmering gold body-stocking and perfectly crimped and plaited hair, sitting cross-legged atop a grand piano. The accompanist was Paul Shaffer (now a nationally famous musician in his role as leader of a late-night talk-show's rock band), and additional off-screen backing was heard as well. This performance is also the only unexpurgated version on film, so far as I know. Kate's choreography is brilliant throughout, and adds considerable nuance to the lyrics' meaning. Later in the programme she re-appeared to perform Them Heavy People. For this song she was dressed in a heavy trench-coat and wore a large Borsalino hat--much as in the version performed for the Tour of Life, but without her accompanying dancers. The backing sounded live, and included female and male backing vocals. Her performance of both songs was absolutely flawless, and her enigmatic expression at the conclusion of each--like the whole presentation--was quite unprecedented on American television. Finally, Kate appeared on-stage during the end-credits, along with all the other guests and cast-members. gaffa.org/passing/v78_dec.html
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Post by tannis on Sept 9, 2008 19:15:31 GMT
Cathy: The girl with the woman in her eyes....KT: "I think people tend to presume that when you are female you write from a female point of view, but I'm not sure I always have, really. A lot of my songs have been written from a man's point of view, or a child's point of view - I've never necessarily felt like a female writer. In fact, I think in the past I've very much enjoyed not writing as a female. It's kind of like writing stories - you don't really want to be yourself; you want to put yourself into other situations that are much more interesting." Music Express, "Woman's Work", Jan. 1990gaffa.org/reaching/i90_me.htmlProfessor Whiteley’s analysis begins with child stars like Michael Jackson. Part 1, Nursery Crymes, explores the problems surrounding the eroticising of the child star. Whiteley then moves on to consider three creative female songwriters: Kate Bush, Tori Amos and Bjork. The analysis demonstrates that all three artists possess quite remarkable vocal ranges, of which the 'childlike' is but one:"While my discussion so far has highlighted some of the ways in which 'girl' is inscribed within the discourse of popular music, I want now to explore in more detail the ways in which the childlike femininity associated with Kate Bush, Tori Amos and Bjork opens out the debates surrounding the 'little girl', through linking them to mythology, fairytale, childhood and landscape. "As discussed in 'Nursery Crymes' the representation of the little girl within popular culture and popular music plays on the duel concepts of innocence and threat, 'little virgins that might be whores, to be protected yet constantly alluring' (Walkerdine, 1997, 48). The good girl is sugar and spice, she abides by the rules and prefigures the nurturant mother figure. The bad girl is corrupted by adult sexuality and is the unsanitised whore to the good girl's virgin. Or is it that simple?" ~ Too Much Too Young: Popular Music, Age, and Gender (Whiteley, 2005; p 70).[/b][/color] Too Much Too Young does more than catalogue cautionary tales or re-inhabit histories plotted by previous writers. By charting the working lives of aging and unhip stars it reminds us that, although selling records and peddling myths can and frequently do work together, they are not necessarily the same thing. The book’s achievement is to portray the unjust contradictions of a schizophrenic commercial culture that lets once loved stars outstay their youth only if they promise to recycle it, all Sticky & Sweet like honey...see more: Whiteley on Wuthering Heightskatebush.proboards6.com/index.cgi?board=kickinside&action=display&thread=1671&page=2Whiteley on The Red Shoeskatebush.proboards6.com/index.cgi?board=theredshoes&action=display&thread=1757
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Post by tannis on Sept 10, 2008 0:46:15 GMT
ROLEPLAYING GAMESKT: "I think people tend to presume that when you are female you write from a female point of view, but I'm not sure I always have, really. A lot of my songs have been written from a man's point of view, or a child's point of view - I've never necessarily felt like a female writer." Music Express, "Woman's Work", Jan. 1990gaffa.org/reaching/i90_me.html"Not for the first time has Kate chosen to write from or for the man's point of view. So "BKTMM", "Cloudbusting", "In the Warm Room" (which she has said was written for men), "Pull Out the Pin", "Ran Tan Waltz", "In Search of Peter Pan" [boy child], parts of "RUTH", "Waking the Witch", "Night of the Swallow" and "Delius" [and "Babooshka"] all include attempts by Kate to see life from the other side of the chromosomes, so to speak. Other songs which represent the same kind of fascination with (and, it should be added, sympathy for) male gender roles and male psychology in general, although possibly told from a neutral or female point of view, include "The Handsome Cabin Boy"; "Kashka From Baghdad" and "Wow" (both about male homosexuality); "James and the Cold Gun"; and "The Empty Bullring". Has any other female artist ever made quite so far-ranging an exploration of gender projection?" "Be Kind To My Mistakes" (Castaway)gaffa.org/dreaming/bekind.htmlThen there's: "The Man With The Child In His Eyes" (girl child's point of view); "Oh England My Lionheart" (male fighter-pilot?); "Coffee Homeground" (paranoid taxi man); "Hammer Horror" (male replacement); "Breathing" (spirit embryo); "There Goes A Tenner" (male crook?); and "Mother Stands For Comfort" (madman). And in songs such as "Organic Acid" (JCB) and "The Fog" (Dr Bush), KT incorporates a male other.
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Post by tannis on Apr 18, 2009 19:27:42 GMT
TMWTCIHE: CAPTAIN DANIEL GREGG This latter piece, about the relationship developed between a young girl and an older man, is a showcase for the singer's subtle and sensitive imagery. "She sees this man as an all-consuming figure," explains Kate. "He's wise, yet he retains a certain innocent quality. The song tells how his eyes give away his 'inner light'. He's a very real character to the girl, but nobody else knows whether he really exists." The Music Journal, "She'll Crush The Lily In Your Soul", Robert Henschen, Dec. 1978 www.gaffaweb.org/reaching/i78_mj.html"The inspiration for 'The man with the child in his eyes' was really just a particular thing that happened when I went to the piano. The piano just started speaking to me. It was a theory that I had had for a while that I just observed in most of the men that I know: the fact that they just are little boys inside and how wonderful it is that they manage to retain this magic. "I, myself, am attracted to older men, I guess, but I think that's the same with every female. I think it's a very natural, basic instinct that you look continually for your father for the rest of your life, as do men continually look for their mother in the women that they meet. I don't think we're all aware of it, but I think it is basically true. You look for that security that the opposite sex in your parenthood gave you as a child." "Self Portrait", The Kick Inside, promo LP/cassette Interviewwww.gaffaweb.org/reaching/im78_tki.html"I wrote that when I was 16. I've got two older brothers and have always been in the company of older men. They seem to have so much fun and are able to laugh at themselves. I love that. It's a song expressing that most men are really children at heart." 1979, Liverpool Echowww.gaffaweb.org/cloud/music/the_man_with_the_child_in_his_eyes.htmlLucy Muir: "Haunted! How perfectly fascinating!" Capt. Daniel Gregg: "The unvarnished story of a seaman's life!" Lucy Muir: "Still, it's honest, the sea. It makes you face things honestly, doesn't it? ... Now, when I try to think about the future, it's--it's all dark and confused, like--like trying to see into the fog." Miles Fairley: "Is it a cookbook? I hope not another life of Byron. Or is it a book of dreams? You're trying to give me a hint. Has it something to do with ice?"KaTe has often displayed a marked interest in ghosts and the afterlife: Wuthering Heights; Hammer Horror; Blow Away; The Infant Kiss; Houdini; Running Up That Hill; Watching You Without Me; King Of The Mountain; and Joannie. KaTe has also cited The Shining (1980), The Innocents (1961), and Don't Look Now (1973) as films inspiring her songs.
KaTe's first hit single told the ghostly story of Catherine Earnshaw. And maybe she used the same formula for her second hit single, The Man With The Child In His Eyes, to tell the ghostly story of Lucy (or Anna) Muir...Nobody knows about my man. They think he's lost on some horizon. And suddenly I find myself Listening to a man I've never known before, Telling me about the sea, All his love, 'til eternityIt has been suggested that The Man With The Child In His Eyes was inspired by The Ghost and Mrs. Muir (Mankiewicz, 1947). The 7" single rear cover photo (old Kate by Gered Mankowitz) certainly seems inspired by classic Hollywood publicity shots of, say, Veronica Lake or Gene Tierney. [The front cover photo (young Kate) is by John Carder Bush.]The Ghost and Mrs. Muir (1947) is a romantic fantasy film starring Gene Tierney and Rex Harrison. It is based on a 1945 novel written by Josephine Leslie under the pseudonym of R. A. Dick."It's a wonderful conceit - though no one seems to have noticed it - to have a bona fide ghost dictate a book to a bona fide mortal who then publishes it under her own name and cleans up, giving at once a new meaning to and putting spin on the term ghost-writer..."www.imdb.com/title/tt0039420/usercomments?start=70Plot summary: In early 1900s England, Lucy Muir (Gene Tierney), a young widow, moves to the Cornish seaside and into Gull Cottage with her daughter Anna and her maid Martha. She rents the house despite rumours that it is haunted by its former owner, a salty sea captain who is rumoured to have committed suicide. She is visited by the ghostly apparition, Daniel Gregg (Rex Harrison), who promises to make himself known only to her. The captain is a little boy inside who retains his magic. When Lucy's source of investment income dries up, he dictates to her his memoirs, entitled Blood and Swash. His racy recollections make the book a bestseller, allowing Lucy, his "ghostwriter", to stay in the house. During the course of writing the book, they fall in love, but as both realise it is a hopeless situation, Daniel tells her she should find a real (live) man. When she visits the publisher, she becomes attracted to suave Miles Fairley (George Sanders), a writer of children's stories known as "Uncle Neddy" who helps her obtain an interview. Captain Gregg, initially jealous of their relationship, decides finally to disappear and cease being an obstacle to her happiness. He ends their friendship and convinces her that he was all a dream whilst she sleeps. Shortly thereafter, Lucy discovers that Miles is already married and she leaves him, heartbroken. About ten years later, Anna (Vanessa Brown) returns to the cottage with a boyfriend and tells her mother that she too spoke with Captain Gregg, rekindling faint memories in her mother. After a long life spent at the cottage, Lucy dies. Captain Gregg appears before her at the moment of her death – reaching out, he lifts her young spirit free of her dead body. The two walk out of the front door arm in arm, into the mist. She is finally reunited with her captain.He's very understanding, And he's so aware of all my situations. And when I stay up late, He's always waiting, but I feel him hesitate. Capt. Daniel Gregg: "I thought you were one woman with sense... but you're like all the rest of them. Fall for any man who'll promise you the moon and end by taking everything you have to give. Oh, don't trouble yourself, my dear. It's not your fault. I should have known it was on the chart. You've made your choice... the only choice you could make. You've chosen life... and that's as it should be... whatever the reckoning. And that's why I'm going away, my dear. Oh, I...I can't help you now. I can only confuse you more and destroy whatever chance you have left of happiness. You must make your own life amongst the living. And whether you'll meet fair winds or foul... find your own way to harbor in the end. Lucia, listen to me. Listen, my dear. You've been dreaming... dreaming of a sea captain that haunted this house... of talks you had with him... even a book you both wrote together... but, Lucia, you wrote the book... you and no one else-- The book you imagined from his house... from his picture on the wall... from his gear lying around in every room. It's been a dream, Lucia. And in the morning and the years after... you'll only remember it as a dream... and it'll die... as all dreams must die at waking. How you'd have loved the North Cape and the fjords and the midnight sun... to sail across the reef at Barbados... where the blue water turns to green... to the Falklands where a southerly gale rips the whole sea white! What we've missed, Lucia! What we've both missed. Goodbye, my darling." The Ghost and Mrs Muir 1947 pt9 www.youtube.com/watch?v=ie-5wRTK_P4&feature=related 1:35-4:45...Oh, I'm so worried about my love. They say, "No, no, it won't last forever." And here I am again, my girl, Wondering what on Earth I'm doing here. Maybe he doesn't love me. I just took a trip on my love for him.Anna Muir as an Adult: "Oh, I knew the captain very well. When I was a little girl... the first year we lived here... we used to have the most wonderful talks... It was all a game I made up, of course... sort of a dream game... but it was a very real while it lasted... and he stopped coming suddenly. I suppose I was growing too old and sophisticated for him... but I grieved and grieved. I was hopelessly in love with him. Heavens. You look as if you've seen a... Don't tell me you saw him, too... Then you did. Oh, Mummy, you don't suppose he really haunted us... Do you know what I think? I think you fell in love with him, too... Oh, perhaps he did exist, the captain. Perhaps he did come back and talk to us. Wouldn't it be wonderful if he had? Then you'd have something-- you know what I mean-- to look back on with happiness..." The Ghost and Mrs Muir 1947 pt11 www.youtube.com/watch?v=rz2HT5SOZx4&feature=related 0:22-2:51...So the 7" single cover photos might suggest the mother Lucy Muir (old Kate by Gered Mankowitz) and the daughter Anna Muir (young Kate by John Carder Bush) both falling in love with the man with the child in his eyes, Captain Daniel Gregg... In this letter from KaTe to a fan, KaTe addresses the father as 'the man with the child in his eyes' ("Isn't your father a romantic!"). So maybe KaTe's song is also an address to her father...You and me on the bobbing knee
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Post by tannis on Aug 9, 2009 22:27:17 GMT
The Alien Jigsaw I have often wondered over the years if certain musical artists have experienced interaction with alien Beings because of the lyrics they have written for their music. The second part of this article focuses on other musicians who "may" be abductees or are very close to someone who is... One song that drew my attention early on is by Kate Bush and is titled The Man With The Child In His Eyes. When I first heard this song in the late 1980s, my first impression was that she was either singing about a Blonde/Nordic or a Hybrid Being. The music has a haunting feel to it and the lyrics to the song begin with, "He’s here! He’s here!" and follow with, "I hear him, before I go to sleep…I realize he’s there when I turn the light off and turn over." "Nobody knows about my man…and suddenly I find myself listening to a man I’ve never known before." And, "He’s very understanding, and he’s so aware of all my situations. And when I stay up late, he’s always waiting, but I feel him hesitate." These lyrics describe a man she knows and is familiar with, but at the same time she doesn’t understand how she knows him, and yet, he is always waiting for her late at night. The next verse is: "Ooh, he’s here again…the man with the child in his eyes…" Here, it is as if he was there, then he disappeared and then reappeared in her room. This is suggestive of a partial mental block being used, as is often the case with abductees in order to calm or not to impose their (the aliens’) presence on the abductee too suddenly or intensely. This song is beautiful and complicated at the same time, and I believe it could have been influenced by Kate Bush’s possible interaction with alien Beings...
My life-story as it relates to this phenomenon does not only involve alien Beings and Hybrids; it also involves experiences that are called MILABS, which is an acronym for military abductions. Dr. Helmut Lammer coined the term in his articles of the same name and in his book titled MILABS: Military Mind Control and Alien Abductions... When I heard the lyrics to two of Kate Bush’s songs, they reminded me of the MIB phenomenon or "men in black," and the possibility of MILABS. I again wondered what her involvement in this phenomenon might be. One of her songs is titled Cloudbursting and it begins with her having a dream of "Organon" (or as I hear it, an "old gnome") and waking up crying. She then uses her toy yo-yo as a euphemism or metaphor. "You’re like my yo-yo that glowed in the dark. What made it special, made it dangerous. So, I bury it, and forget." The yo-yo glowed and that is why it was special, but this glowing also made it dangerous, so dangerous that she had to bury it. Is she referencing a toy or does the yo-yo refer to a UFO, or a memory - something she has seen that she has to "bury" or forget about? In the fourth and fifth verse she writes about her father: "On top of the world, looking over the edge. You could see them coming. You looked too small, in their big black car. To be a threat to the men in power." "I hid my yo-yo, in the garden. I can’t hide you, from the government. Oh, God Daddy – I won’t forget." The "men in black" are represented in this verse and it makes me wonder if her father worked for the government on black or secret projects and that perhaps a conflict ensued that she could not save him from.
Another song Kate Bush wrote that grabbed my attention is titled Experiment IV. It is a song about using sound to kill from a distance. It reminded me of certain mind control technology, HAARP or High-frequency Active Auroral Research Program and other similar projects. Some of the lyrics from Experiment IV are: "We were working secretly, for the military. Our experiment in sound is nearly ready to begin…we only know in theory what we are doing: Music made for pleasure, music made to thrill. It was music we were making here until…" "What they told us, all they wanted, was a sound that could kill someone, from a distance. So we go ahead, and the meters are over in the red. It’s a mistake, in the making." Another verse says, "From the painful cry of mothers, to the terrifying screams, We recorded it and put it into our machine." The lyrics are indeed chilling and today it is common knowledge that we know how to kill using sound waves and microwaves. Still, for an artist to sing about this in 1986 or earlier seems unusual. I really do wonder what her or her father’s involvement might be involving this aspect of the phenomenon.
True Experiences of Alien Abductionwww.alienjigsaw.com/Articles/AliensMusicAndMe.htmlSo maybe, beneath her mask, KaTe has repressed memories of alien abduction?
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Post by stufarq on Aug 12, 2009 0:14:15 GMT
Someone's been watching too many X-Files...
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Post by tannis on Aug 12, 2009 0:27:25 GMT
Someone's been watching too many X-Files... ;D And I'll bet Kate watches The X Files, Dr Who, Spooks, Bonekickers, The Kate Bush Mysteries, etc...
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Post by stufarq on Aug 12, 2009 21:44:53 GMT
Someone's been watching too many X-Files... ;D And I'll bet Kate watches The X Files, Dr Who, Spooks, Bonekickers, The Kate Bush Mysteries, etc... Oh God, please tell me she doesn't watch Bonekickers. She must have better taste than that.
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Post by tannis on Aug 13, 2009 1:27:18 GMT
^
I didn't see 'Bonekickers', which was pulled after the first series, but the dovecote at Garway Church featured in the "Army Of God" episode, where the team discovered a cave hidden below the floor of the dovecote and found that it contained the original cross on which Christ was crucified! Anyway, Garway Church is most probably the site of the original 'KT' Bush sign, a fact the Bonekicker team completely overlooked! ... ;D see more: KT: Garway Church and The Knights Templarkatebush.proboards.com/index.cgi?board=general&action=display&thread=2557&page=1
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Post by stufarq on Aug 18, 2009 21:16:29 GMT
^
I didn't see 'Bonekickers', which was pulled after the first series, but the dovecote at Garway Church featured in the "Army Of God" episode, where the team discovered a cave hidden below the floor of the dovecote and found that it contained the original cross on which Christ was crucified! That's pretty much all you need to know.
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Post by madisonm on Jul 18, 2011 5:31:00 GMT
This song has always resonated with me as a true love song, nothing to do with father figures. The romantic notion of the woman waiting for her sailor to return, dreaming, fantasizing. When he is gone she still feels his presence when she rolls over at night. The strongest part for me is the chorus. Two thoughts come to mind: firstly, that some men do have a wonderful boyish quality that shines through their eyes; and secondly, I always thought the 'child' reference was to her unborn child, the one he would give her.
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Post by blackstratmojo on Aug 13, 2012 11:56:07 GMT
The beauty of this song is it can be interpreted in many different ways which is what great songs do..
It could be about her Father, David Gilmore or a perhaps a fantasy figure.
When I listen to this song I feel that she is describing her early relationship with her music .."The man with the child in his eyes" being music itself.
"I hear him before I go to sleep..." & "I realise he's there when I turn the light off.. " Meaning that musical inspiration comes to her late at night.
"Nobody knows about my man..." Meaning that her music is very personal to her and she keeps it a secret from others..
"He's very understanding and he's so aware of all my situations.." Meaning that she can take solace in her music and can pour out all her problems and emotions into it.
"And when I stay up late he's always waiting, but I feel him hesitate.." Meaning that the music comes to her late at night and is always there for her although at times when it doesn't come immediately it troubles her.. which leads to the next section of the song.
"Suddenly I find myself listening to a man I've never known before..." Meaning that eventually the music comes to her and she is able to come up with music she's never heard before.
"I'm so worried about my love" & "They say no no it won't last forever.." Could mean that she is concerned that music won't always come through to her and that others warn her about this (her parents?)
" and here I am again, my girl wondering what on earth I'm doing here.." Meaning she's again alone sitting at her piano until late into the night trying to write songs, waiting for inspiration to come and questioning whether it's all worth it.
"Maybe he doesn't love me.." Meaning that perhaps the musical inspiration has abandoned her and she might not be able to come up with anything new...
"I just took a trip on my love for him.." Meaning that she has decided to commit herself to her music at the expense of everything else.
".. Ooh, he's here again, the man with the child in his eyes." Meaning that before long that music again comes to her.
Whether or not Kate was channeling something (or someone) while writing her music who knows?...Just a theory...
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Post by gentlemangaga on Aug 15, 2012 9:29:27 GMT
Hello blackstratmojo. I'm not sure I have anything to say about this except to mention I enjoyed reading your post. I have the impression it's regarding the ideal of romance but regardless, what a wonderful song.
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