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Post by tannis on Dec 29, 2007 17:11:36 GMT
3/3 THE INNOCENTS (1961)"They must be made to admit what is happening..."Miss Giddens thinks Flora is possessed of Miss Jessel - 'She's not alone! And at such time she's not a child - she's an old, old woman!' ... Flora becomes terrified of Miss G. She suffers a breakdown and begins screaming unrepressed, traumatised obscenities... Miss Grose: 'To hear such filth from a child's mouth! I don't know where she could have learned such language!' ... Miss Giddens: 'You saw who taught her... Miss Jessel!' ... Miss Grose: 'All I know is: Miss Flora was a sweet innocent child, a happy child until you made her face that... that bad memory!' ... Miss Giddens: 'We were together this afternoon, sitting in front of the fire. He [Miles] didn't say anything, but he wanted to. It was like a pendulum, and I could feel it swinging my way, slowly, slowly. Oh yes! He wanted to reveal himself and ask for my help, and we must give him that chance! Don't you understand that?' Miss Grose: '...waking a child can sometimes be worse than any bad dream... It's the shock...' "Stop the swing of the pendulum! Let us through!"All except Miss Giddens and Miles get out of the house... Miss Giddens now begins her 'exorcism' of Miles..."Where? ... Where, you devil! ... Where? ... "The best ghost story in fiction has been turned into the best ghost story on film... And KB has turned the scew into the best ghost story in song! **** KB's explanation of TIK is interesting: "I was imagining that moment of the nanny giving him a little peck goodnight and he gives her a great big adult kiss back. The emotional tearing inside her. There's a psychotic man inside this innocent child, a demon, and that's who this straight woman is feeling attracted to. It's such a horrific, distorted idea it's really quite beautiful." from Sounds, "Labushka" by Phil Sutcliffe August 30, 1980 gaffa.org/reaching/i80_so.html
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Post by tannis on Aug 28, 2008 0:00:01 GMT
THE INNOCENTS...Miles: What shall I sing to my lord from my window? What shall I sing for my lord will not stay? What shall I sing for my lord will not listen? Where shall I go when my lord is away? Whom shall I love when the moon is arisen? Gone is my lord and the grave is his prison. What shall I say when my lord comes a calling? What shall I say when he knocks on my door? What shall I say when his feet enter softly? Leaving the marks of his grave on my floor. Enter my lord. Come from your prison. Come from your grave, for the moon is a risen. Welcome, my lord.I'll do it for you I'll be Isolde or Marion for you I'll do it for you Ooh I'll come in a hurricane for you I'll do it for you A wop bam boom... ~ The Song Of Solomon (1993 Kate Bush) "Tristan and Isolde are deeply woven into modern love tragedy. The funeral song for Tristan, Mild und Leise, is the song of the love that challenges the power of death itself. Before Rock and Roll there were only Opera to work the emotions on the grand scale that only music can, and here Isolde has taken the drink that will bind her for ever to Tristan, and Romeo to Juliet, and Cathy to Heathcliff, and Quint to...." ("Cathy", 1986)home.att.net/~james51453/cathy18.htmKnock, knock. Who's there in this baby? You know how to work me. All my barriers are going. It's starting to show. Let go. Let go. Let go... ~ The Infant Kiss (1980 Kate Bush) Eerie clips and other moments from The Innocents (1961)www.youtube.com/watch?v=YhqQEnASvJ0Miles: "A poem!" ~ 5:33-7:05... Miles: "Kiss me goodnight, Miss Giddens!" ~ 7:05-7:55...
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Post by tannis on Aug 28, 2008 15:27:35 GMT
NEGATIVE SUGGESTION ~ Neither Gossip Nor Scandal...What is this? An infant kiss That sends my body tingling?The Infant Kiss: The Child With The Man In His EyesKT: "The thing that worries me is the way people have started interpreting that song. They love the long word--paedophilia. It's not about that at all. It's not the woman actually fancying the young kid. It's the woman being attracted by a man inside the child. It just worries me that there were some people catching on to the idea of there being paedophilia, rather than just a distortion of a situation where there's a perfectly normal, innocent boy with the spirit of a man inside, who's extremely experienced and lusty. The woman can't cope with the distortion. She can see that there's some energy in the child that is not normal, but she can't place it. Yet she has a very pure maternal love for the child, and it's onlyy little things like when she goes to give him a kiss at night, that she realizes there is a distortion, and it's really freaking her out. She doesn't fancy little boys, she's got a normal, straight sexual life, yet this thing is happening to her. I really like the distortedness of the situation." ZigZag, "Fire in the Bush" by Kris Needs, 1980(?)gaffa.org/reaching/i80_zz.htmlAll my barriers are going. It's starting to show. Let go. Let go. ("Don't let go!") Let go. Let go. Let go...Playing the Amateur Psychiatrist: Intellectualization and RationalizationKT: "Some people might think it's a song about...what's the word when older women fancy little boys?" Paedophilia? [Kate probably knows this word better than she lets on: she made a similar claim of ignorance of the word in the Hot Press interview, also included in this volume.] "Well, it's not actually that, and it would worry me if people mixed it up with that because that's exactly what worries her so much. I find that distortion very fascinating and quite sad. And frightening. The thought of someone old and evil being inside a young and pure shell, it's freaky." Playing at the amateur psychiatrist, I contemplate whether she writes songs from fiction out of fear about exposing too much of herself. KT: "Whenever I base something on a book or a film I don't take a direct copy. I don't steal it. I'll put it through my personal experiences, and in some cases it becomes a very strange mixture of complete fiction and very, very personal fears within me... 'The Infant Kiss' had to be done on a very intimate basis, it be a woman singing about her own fear, because it makes her so much more vulnerable. If it had just been an observation, saying 'She's really frightened; she's worried,' you could never really tell what she was feeling. So I put it as coming through myself... I'm not actually thinking of myself falling in love with the little boy, I was putting myself in her place. Feeling what I do for children--I love children--and then suddenly seeing something in their eyes you don't want to see... It's like when a tiny kid turns round and says to you 'You're a bastard' or 'Fuck off': it's instinctive to feel repulsed by it. that experience into a different situation. Otherwise I'd be writing and singing about situations I've never experienced, and in order to be convincing you have to have a certain amount of knowledge and conviction. It's a strange mixture, I know, but I rarely write purely personal songs from experience... I have done it. On the other albums more than this one. But I often wonder how valid it is to write a song purely about oneself. I worry about being too indulgent, and there is the thing about giving too much away... It doesn't worry me giving it to the public because I think the public understand how personal it is, but when you write a song for an album it's up for everyone to pull apart. Fullhouse was probably quite autobiographical, you know: talking about how hard I find it to cope with all the feelings I get, from paranoia, pressure, anger, that sort of thing... My feelings are in there, but they're probably disguised..." Melody Maker, "Paranoia and Passion of the Kate Inside", October 4, 1980gaffa.org/reaching/i80_mm.htmlWords of caress on their lips That speak of adult love. I want to smack but I hold back. I only want to touch. But I must stay and find a way To stop before it gets too much!Based on the Film: Being a PaediathingyThere are other areas where you have specifically taken a taboo as a theme--for example, 'The Infant Kiss.' KT: "Yes, that was fascinating. It was based on the film, The Innocents. I saw it years ago, when I was very young, and it scared me, and when films scare you as a kid, I think they really hang there. It's a beautiful film, quite extraordinary. This governess is supposed to look after these children, a little boy and a girl, and they are actually possessed by the spirits of the people who were in the house before. And they keep appearing to the children. It's really scary -- as scary on some levels as the idea of The Exorcist, and that terrified me. The idea of this young girl, speaking and behaving like she did was very disturbing, very distorted. But I quite like that song." But there are those who would say it was totally perverse. KT: "I suppose they would. And actually, I don't think I could find a younger man attractive, let alone a boy. But the whole idea of looking at a little innocent boy and that distortion--I mean, it's absolutely terrifying, isn't it? I thought it was ingenious, great, so weird and unnatural." But the thing is, looking at it objectively, that's a song about paedophilia. The strange thing is that, written by a woman, that seems acceptable. KT: "It's very different from a woman's point of view, and I think that's also what's so interesting about it." But did it occur to you that if that song had been written and sung by a man, there might have been a really huge outcry? KT: "That's something I never thought about, but I suppose you're right. But a man didn't write it. I don't know, it's a bit hard to understand, but it was the fascination of a very soft, gentle woman who wouldn't consider herself perverse at all--in fact, she wasn't, that's the thing. She thought she was being a paediathingy --but in fact she wasn't, she was truly picking up a real man's energy and not a kid's, because the child was possessed. It's very different if it involves a man and a little girl--the man is so powerful to start with." I was thinking of it on a political level [Surprise, surprise.] Say how would feminists react, if I wrote that song? KT: "Yes, if you wrote that song, automatically it would have some weird and dangerous connotations. Because you don't normally think--and this is very heavy, this--When there are attractions to children from adults, you normally do think of it as men to girls. It's just more spoken of. And I think you're into very negative, dangerous areas that would make it something very unpleasant..." Hot Press, "The Private Kate Bush", November 1985gaffa.org/reaching/i85_hp.htmlAll my barriers are going. It's starting to show. Let go. Let go. ("Don't Let Go!") Let go. Let go. Let go...JCB: An extraordinary number of different musicians were used on this album [Never For Ever] on this album because the songs were so different, not only in mood but in treatment, that it seemed that, for Kate to get the results she wanted, she had to do it this way. The contrasts that existed were very beautiful and often amusing: the Sceapings, whose knowledge of and ability to play early instruments was so exciting--they were so in sympathy with the mood of The Infant Kiss-- at one end of the scale; and John Walters and Richard Burgess, who introduced Kate to the heady realms of the most up-to-date computer synthesisers, at the other end. John Carder Bush's, KBC Newsletter contributions, 2. Album Images gaffa.org/garden/jcb2.htmlJo Sceaping: An early music expert who played lironi and arranged strings (with Adam Sceaping) on the song The Infant Kiss. Lironi: A Rennaissance-era string instrument from Italy with nine to fourteen stopped strings and two drone strings. It is also called Lira da gamba, or leg lira, because of its position on the floor, resting against the player's leg.
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Post by tannis on Sept 5, 2008 14:03:04 GMT
Kate Bush - Ne T'Enfuis Pas / Un Baiser D'Enfant (1983)gaffa.org/sensual/p_ntfp2.jpgNe T'en Fui Pas: Kate's sole original French language recording, as opposed to a translation of an existing song, released as a single in France and Canada, and as the b-side of There Goes A Tenner in England. Some releases credit authorship of this song to Kate alone, others bear the credit line "K. Bush/V. Chandler/P. Jeaneau". The latter pair are friends of Kate who assisted with the final version of the French lyrics. They also penned the translation of The Infant Kiss as Un Baiser D'Enfant. Kate Bush - The Infant Kiss (fan-made video) - en françaiswww.youtube.com/watch?v=VWSevsMRmJI&feature=related"Un Baiser d'enfant"Je dis bonne nuit-nuit. Je le borde dans le lit. Mais ca ne va pas. Qu'est-ce que c'est? Un baiser. Ca me fait fremir. Je n'ai jamais avant Aimee un enfant Sans controle. Il n'est qu'un jeune, et a l'ecole. Chez nous ils n'aimeront pas. Sa petite main joue dans mon coeur, Juste la ou ca fait mal. Toc-toc. Qui est dans ce bebe? Tu sais bien y faire. Toutes les barrieres tombent. Ca va se voir. Ca se voit. Ca se voit. Ce se voit. Je ne peux laisser faire Je le regretterais. Ouh, il m'effraie!. Il y a un homme la dans les yeux. Je le vois en me penchant. Ouh, il me fait peur Quand ils chuchotent entre eux. Le vent souffle. Sur leurs levres des caresses Qui parlent de l'amour. Je veux frapper, je me retiens. Je veux juste toucher. Je dois rester et arreter Tout ca avant qu'il soit trop tard! Toutes les barrieres tombent. Ca va ce voir. Ca se voit. Ca se voit. Ca se voit, L'amour.** [**--"L"amour.": This last word ("love") is found only in the French version.]
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