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Post by Lori on Jul 30, 2003 23:20:35 GMT
Outside Gets inside Through her skin. I've been out before But this time it's much safer in.
Last night in the sky, Such a bright light. My radar send me danger But my instincts tell me to keep
Breathing, ("Out, in, out, in, out, in...") Breathing, Breathing my mother in, Breathing my beloved in, Breathing, Breathing her nicotine, Breathing, Breathing the fall-out in, Out in, out in, out in, out in.
We've lost our chance. We're the first and the last, ooh, After the blast. Chips of Plutonium Are twinkling in every lung.
I love my Beloved, ooh, All and everywhere, Only the fools blew it. You and me Knew life itself is
Breathing, ("Out, in, out, in, out...") Breathing, Breathing my mother in, Breathing my beloved in, Breathing, Breathing her nicotine, Breathing, Breathing the fall-out in, Out in, out in, out in, out in, Out in, out in, out in, out... ("Out!")
"In point of fact it is possible to tell the ("Out!") difference between a small nuclear explosion and a large one by a very simple method. The calling card of a nuclear bomb is the blinding flash that is far more dazzling than any light on earth--brighter even than the sun itself--and it is by the duration of this flash that we are able to determine the size ("What are we going to do without?") of the weapon. After the flash a fireball can be seen to rise, sucking up under it the debris, dust and living things around the area of the explosion, and as this ascends, it soon becomes recognisable as the familiar "mushroom cloud". As a demonstration of the flash duration test let's try and count the number of seconds for the flash emitted by a very small bomb; then a more substantial, medium-sized bomb; and finally, one of our very powerful, "high-yield" bombs
"What are we going to do without?" Ooh please! "What are we going to do without?" Let me breathe! "What are we going to do without?" Ooh, Quick! "We are all going to die without!" Breathe in deep! "What are we going to die without?" Leave me something to breathe! "We are all going to die without!" Oh, leave me something to breathe! "What are we going to do without?" Oh, God, please leave us something to breathe!" "We are all going to die without Oh, life is--Breathing
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Post by madscientist on Feb 9, 2004 21:58:45 GMT
As someof you may know, I work at a nuclear power station. the other day I was clearing out an old laboratory and found a 1970s civil defence handbook for radiological protection in the case of a nuclear attack. It contained details of how to estimate the "size if the explosion" by timing flashes and measuring the size of the mushroom cloud. It says what a lethal dose of radiation is,symptoms and how long one may expect to live. All pretty scarey stuff, especially if you consider that it was written for the average joe in the street and not for the military, the same joe who may have just seen his house vapourised!! MM
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Sven Golly
Moving
"In the night you hide from the madman you're longing to be"
Posts: 800
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Post by Sven Golly on Feb 9, 2004 23:25:50 GMT
The saying I always remember is: 1. Get to a low-lying area or ditch. 2. Roll up into a tight ball. 3. Tuck your head between yor legs 4. Kiss your ass goodbye.
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Post by brisbanekatefan on Jul 9, 2005 15:18:58 GMT
I love this song to death however I feel the magic of Kate's voice is really shown better in the live version from Comic Relief in '86. Stripped down with only a piano - beautiful!
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Post by Adey on Jul 11, 2005 0:57:15 GMT
It's excellent - never would have thought that this production number could come across so well on a solo piano. Still prefer the bombast and drama of the original however.
Actually I'm leaving this album alone for a few months - been overdosing on it just lately..
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stev0
Moving
He's an utter creep and he drives me 'round the bend
Posts: 517
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Post by stev0 on Jul 17, 2005 13:38:52 GMT
During the 90s, I felt this song lost some of its power because I thought is was no longer relevant. Unfortunately, in today's political climate, it's as relevant today as it was in 1980.
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Adena
Moving
This time around we dance - we're chosen ones
Posts: 611
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Post by Adena on Apr 14, 2008 13:49:20 GMT
The music in this song is really good, but as with Experiment IV, I feel I'm missing something in the lyrics. Can someone please tell me what the circumstances around this song are?
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Post by rosabelbelieve on Apr 14, 2008 16:19:27 GMT
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Adena
Moving
This time around we dance - we're chosen ones
Posts: 611
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Post by Adena on Apr 15, 2008 0:42:33 GMT
That does explain quite a bit. The idea of this song being written from the point of view of a child yet unborn, who is worried about the effects of this, is somewhat mind-blowing. A little baby fearing for itself after an attack is still a very relevant topic, and I feel, based on the charts, that maybe in the 1980s, this song didn't get its message across as much as it might have. Still, excellent song, good point, and it does show that our Kate has a social conscience. I'm impressed!
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Post by rosabelbelieve on Apr 15, 2008 0:49:57 GMT
It is an extremely impressive song, isn't it. And definitely still relevent today. I'm glad the link was helpful.
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Adena
Moving
This time around we dance - we're chosen ones
Posts: 611
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Post by Adena on Apr 16, 2008 8:17:12 GMT
I know that as one of my friends sat with her hand on the stomach of a pregnant woman, upset and confused about the irony of her birth, she thought about the child within the pregnant woman breathing. She made this comment to me yesterday, and I played her this song, which amazed her. She said she hadn't thought of a baby unborn struggling for breath in the midst of an accident like this, and fearing for its future and the future of the world. I think Kate's touched another heart.
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Post by Adey on Apr 16, 2008 12:59:48 GMT
I think Kate's touched another heart. As she touches so many.. The great glory of Kate's work is in it's essential humanity. She speaks of the human condition in all of it's aspects - loss, love, wonder. joy, disappointment.. it's all there. As much as we sometimes raise her up onto an uncomfortable pedestal, we should be relieved that basically she is just like any of us. She maybe more inciteful perhaps, and certainly has incredible powers of self expression, but she is exploring her world and therefore ours. It is no wonder that she can move us as she does. I like your avatar quote Adena. A Coral Room illustrates perfectly how profoundly emotional and moving her work actually is.
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Post by rosabelbelieve on Apr 16, 2008 16:34:13 GMT
I think Kate's touched another heart. As she touches so many.. The great glory of Kate's work is in it's essential humanity. She speaks of the human condition in all of it's aspects - loss, love, wonder. joy, disappointment.. it's all there. As much as we sometimes raise her up onto an uncomfortable pedestal, we should be relieved that basically she is just like any of us. She maybe more inciteful perhaps, and certainly has incredible powers of self expression, but she is exploring her world and therefore ours. It is no wonder that she can move us as she does. I like your avatar quote Adena. A Coral Room illustrates perfectly how profoundly emotional and moving her work actually is. Well said, Adey. Kate truly does deal with the whole emotional spectrum, and it gives her work an intensity and resonance that is quite rare to find, IMO. I'm glad your friend was touched by this song, Adena. Sometimes it's amazing the insights, and the connections that can be made simply by listening to song like this.
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Adena
Moving
This time around we dance - we're chosen ones
Posts: 611
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Post by Adena on Apr 16, 2008 17:31:12 GMT
As she touches so many.. The great glory of Kate's work is in it's essential humanity. She speaks of the human condition in all of it's aspects - loss, love, wonder. joy, disappointment.. it's all there. As much as we sometimes raise her up onto an uncomfortable pedestal, we should be relieved that basically she is just like any of us. She maybe more inciteful perhaps, and certainly has incredible powers of self expression, but she is exploring her world and therefore ours. It is no wonder that she can move us as she does. I like your avatar quote Adena. A Coral Room illustrates perfectly how profoundly emotional and moving her work actually is. Well said, Adey. Kate truly does deal with the whole emotional spectrum, and it gives her work an intensity and resonance that is quite rare to find, IMO. I'm glad your friend was touched by this song, Adena. Sometimes it's amazing the insights, and the connections that can be made simply by listening to song like this. This song for me is demonstrative of how we struggle from the minute of conception to get out into the world. I won't talk fully about my friend's circumstance, but she has struggled to live from before she was born, so, as she said, this song was incredibly moving for her. A Coral Room is moving for me in the same way, due to my own life circumstances, but I won't go into that. Let's just be thankful that we have someone as insightful and creative as Kate to bring these things out for us in the form of song.
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Post by tannis on May 20, 2008 11:47:18 GMT
Questions And Answers On BuddhismQ: How does one practise sitting meditation? A: Sitting meditation is the shutting down of all sense stimuli in order to realise that awareness is not a function of the senses or of the thinking process. It is practised by sitting quite still with the eyes closed (or not focusing on anything), by letting life be, by breathing in and out (not changing the breath, not trying to breath deeply), by just breathing the way one always breathes, and by noticing the subtle changes in the mind and in the body. It is not difficult or complicated.zencomp.com/greatwisdom/ebud/ebdha001.htm"Breathing"KB: "When I wrote the song, it was from such a personal viewpoint. It was just through having heard a thing for years without it ever having got through to me. 'Til the moment it hit me, I hadn't really been moved. Then I suddenly realised the whole devastation and disgusting arrogance of it all. Trying to destroy something that we've not created--the earth. The only thing we are is a breathing mechanism: everything is breathing. Without it we're just nothing. All we've got is our lives, and I was worried that when people heard it they were going to think, 'She's exploiting commercially this terribly real thing.' I was very worried that people weren't going to take me from my emotional standpoint rather than the commercial one. But they did, which is great. I was worried that people wouldn't want to worry about it because it's so real. I was also worried that it was too negative, but I do feel that there is hope in the whole thing, just for the fact that it's a message from the future. It's not from now, it's from a spirit that may exist in the future, a non-existent spiritual embryo who sees all and who's been round time and time again so they know what the world's all about. This time they don't want to come out, because they know they're not going to live. It's almost like the mother's stomach is a big window that's like a cinema screen, and they're seeing all this terrible chaos." "Fire in the Bush" (1980?)gaffa.org/reaching/i80_zz.htmlKB: "I wanted to write a song, and I came up with some chords which sounded to me very dramatic. Then up popped the line, "Outside get inside," as I was trying to piece the song together, and I thought it would be good to write a song about a baby inside the womb. Then I came to a chorus piece, and decided that the obvious word to go there was "breathing", and I thought automatically that it had been done before. But asking around, I couldn't understand why it hadn't, because it's such a good word. Then "breathing" and the baby turned into the concept of life, and the last form of life that would be around--that would be a baby that was about to be born after the blast. It was a very personal song. I thought at the time that it was self-indulgent, and it was something I just did for myself, really. For me it's a statement that I hope won't happen." Kate's KBC article Issue 6 (July 1980)gaffa.org/garden/kate7.htmlKB: "I actually think Breathing was a very violent song too, just because it was so negative. I mean, they're a lot of just awful imagery. I mean it's really terrible, it's so negative, without hope at all. And yet hope people seem to treat it on quite a normal level." How is Breathing negative? I can't...um... KB: "I think some of the imagery in it is. It's more or less saying that this baby that's being born, that is a baby that's perhaps has had several lives before, is about to be destroyed inside it's mother, because it's living off it's mother, and it's mother will die, and it will die even before it's sees the day of light. And I think that's really negative!" 1982, Picture Disk, The Dreaming Interview gaffa.org/reaching/im82_pd.htmlDo you actually read up and research for your songs, or is it information already in your head--especially Breathing? KB: "This really depends on the subject matter of the individual song; but in the case of Breathing, most of the information came from a documentary about a man who had been following up the negative results of nuclear products." Kate's KBC article Issue 14 (written in the fall of '83)gaffa.org/garden/kate16.html
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