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Post by stufarq on Sept 15, 2009 21:42:13 GMT
KT seems to be claiming the idea of 'Never For Ever' as her own. Has she been caught plagiarizing? After all, she has in the past admitted to artistic theft. Apparently, there is an unreleased, unheard Never For Ever song which was left off the album. So maybe KT met with copyright problems à la The Sensual World? ... No copyright problems with an author who died in 1919.
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Post by tannis on Sept 16, 2009 0:27:12 GMT
KT seems to be claiming the idea of 'Never For Ever' as her own. Has she been caught plagiarizing? After all, she has in the past admitted to artistic theft. Apparently, there is an unreleased, unheard Never For Ever song which was left off the album. So maybe KT met with copyright problems à la The Sensual World? ... No copyright problems with an author who died in 1919. So maybe KT met with ethical problems? ...
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Post by tannis on Sept 17, 2009 23:27:03 GMT
NEVER FOR EVER: Kate Bush & Arthur RackhamUNDINE by Friedrich de la Motte Fouque
TO UNDINE
Undine! thou fair and lovely sprite, Since first from out an ancient lay I saw gleam forth thy fitful light, How hast thou sung my cares away!
How hast thou nestled next my heart, And gently offered to impart Thy sorrows to my listening ear, Like a half-shy, half-trusting child, The while my lute, in wood-notes wild, Thine accents echoed far and near!
Then many a youth I won to muse With love on thy mysterious ways, With many a fair one to peruse The legend of thy wondrous days.
And now both dame and youth would fain List to my tale yet once again; Nay, sweet Undine, be not afraid! Enter their halls with footsteps light, Greet courteously each noble knight, But fondly every German maid.
And should they ask concerning me, Oh, say, "He is a cavalier, Who truly serves and valiantly, In tourney and festivity, With lute and sword, each lady fair!" Subject: Kate recommends books to read, ca. 1979 <Reproduced from the fourth issue of the Kate Bush Club Newsletter, which came out in late 1979. It's important to bear in mind that at this stage the Club was directed mainly toward very young fans--it took a while before Kate and her group realized how many older fans there were, apparently. Nevertheless, these books, which are all children's books, must be at least somewhat representative of the kind of books Kate herself enjoyed at that time.> Books to Read I thought it would be a good idea to recommend some of the books I've enjoyed recently. They would be nice to give and to receive as Christmas presents. The Snowman, but Raymond Briggs (Hamish Hamilton). A lovely story, told entirely in pictures, of a boy's adventures with a snowman who comes to life one night. Beautifully drawn, funny and moving. A real delight. Masquerade, by Kit Williams (Cape). The riddle book to end all riddle books. If you can unravel the clues they will lead you to a golden hare that is buried somewhere in Britain. Super illustrations. The Stone Book, Tom Fobble's Day, The Aimer Gate and Granny Reardun, all by Alan Garner (Collins). A linked quartet by one of the finest living prose writers, though each book is an entity in itself, covering eighty years, from 1860 to 1940, in the life of a Cheshire family. Each book is only eighty pages long, and a fuller, richer, more exhilarating eighty pages would be hard to find. Each story is filled with the mysteries and magic of working with stone, wood and metal, and each has a stunning set-piece that left me literally breathless--a girl's whilrling ride on a church weathercock, a boy's climb to the inner tip of a steeple, the thrill of sledging in new snow in an air-raid. They are also well made books, with fine etchings by Michael Foreman--a delight to hold as well as to read. The Haunted House by Jan Pienkowski (Heinemann). Open every page and horrific things jump out at you, and there are lots of tabs to pull and push and turn to make it more ghoulish. Really good fun. The Wind in the Willows, by Kenneth Grahame, illustrated by Arthur Rackham (Methuen). Everyone will know about this classic, but I would like to recommend this edition, because it's a good size--it feels like a book--and has the superb Rackham illustrations. It's worth having for those alone. Moshi the Jackal, by Tas Gibson (Rex Collings). The life of the Jackal, told through the story of Moshi, brilliantly illustrated by one of the leading wildlife illustrators. Tas also had a hand in the design of our Lionheart logo. The Mouse and His Child, by Russell Hoban (Faber). A brilliant, funny and profound novel following the attempts of a father-and-son clockwork toy to achieve self-winding, in the face of attacks by Manny Rat, one of the great villains. -- Kate Bushgaffa.org/dreaming/e2_newsl.html The Man With The Child In His Eyes
I hear him, before I go to sleep And focus on the day that's been. I realise he's there, When I turn the light off and turn over... This is a creature from the lands of Dulac, Poganny [sic] and Rockham [sic] where trees speak and children become warriors holding the reins of their own destinies. Of course, the boots are too big; they were from a Shakespearean Costumers and along with the deciduous deerskin and the dagger are clues to placing her in time. It is summer, about four in the afternoon and she is tired from school. ~ "Cathy", JCB, 1986.home.att.net/~james51453/cathy13.htm[Rip Van Winkle] was Rackham's first major book. . . The publisher, William Heinemann, knew it had a sure best seller. Rackham painted 51 color plates, tipped-in and gathered together at the rear of the book. They featured all of the traits that were soon to be as famous as his signature. . . Most obvious, in retrospective, is the calm and good humor of the drawings. They seem imbued with a gentle joy that must have been reassuring to both the children and their parents. Rackham had found his niche. His drawings would convey a non-threatening yet fearful thrill and a beauty that was in no way overtly sexy or lewd. It was a perfect Victorian solution and he seems to have taken to it with an impish delight. To touch on just few of the literally dozens of highlights of a long and successful career, Rip was followed in 1906 by one of his two masterpieces, Peter Pan in Kensington Gardens, another 50-plate extravaganza. . . 1907 saw an edition of Alice's Adventures in Wonderland from Heinemann. J.M. Dent reissued Ingoldsby and Constable & Co. Grimm, both in revised, updated editions. "Rackham" was a marketable commodity and everybody wanted one of the golden eggs. It appears that Heinemann won the goose, though. In rapid succession, amid a wealth of other books (some minor, some important), they published four books intended for adults: in 1908 - A Midsummer-Night's Dream (which I classify as his second masterpiece); in 1909 - Undine; in 1910 and 1911 The Rhinegold and the Valkyrie and Siegfried and The Twilight of the Gods. These four books contained 115 color plates from Rackham's paintings and all of my favorite Rackham images are contained within them. www.bpib.com/illustrat/rackham.htm
Arthur Rackham: Undine in the Wind Undine is a novel by Friedrich de la Motte Fouqué concerning Undine, a water spirit who marries a Knight named Huldebrand in order to gain a soul. It is an early German romance, which has been translated into English and other languages. During the nineteenth century the book was very popular and was, according to The Times in 1843, "a book which, of all others, if you ask for it at a foreign library, you are sure to find engaged". The story, which has resemblances to The Little Mermaid by Andersen, is descended from Melusine, the French folk-tale of a water-sprite who marries a knight on condition that he shall never see her on Saturdays, when she resumes her mermaid shape. It was also inspired by a text of Paracelsus.
Kate Bush: Undine, The Little Mermaid, and A(e)rial An unabridged English edition of the story published in 1909 was illustrated by Arthur Rackham. George Macdonald thought Undine "the most beautiful" of all fairy stories, and the references to it in such works as Charlotte Yonge's The Daisy Chain and Louisa Alcott's Little Women show that it was one of the best loved of all books for many 19th-century children.see more: Image Association XXIV - Celebrity Look Alikes VIIgatochy.blogspot.com/2005/01/image-association-xxiv-celebrity-look.htmlThe Woman With The Child In Her Eyes (Kate Bush cover) - Peter Gabrielwww.youtube.com/watch?v=nhiBd2pLM6c
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Post by stufarq on Sept 22, 2009 22:30:41 GMT
No copyright problems with an author who died in 1919. So maybe KT met with ethical problems? ... Or just wasn't happy with the song. Reading far too much itro this I think.
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Post by tannis on Sept 22, 2009 23:27:32 GMT
From that chamber, clothed in white, The bride came forth on her wedding night; There, in that silent room below, The dead lay in his shroud of snow; And in the hush that followed the prayer, Was heard the old clock on the stair,-- "Forever--never! Never--forever!" ~ The Old Clock on the Stairs, Henry Wadsworth Longfellow (November 1845)Yes, Stu, you could be right, maybe KaTe just wasn't happy with the song. But Andrew Powell seems very much to have liked the "Never For Ever" song left off the (Lionheart and) Never For Ever album(s). And, incidentally, Never For Ever remains the only KT album not to have on it a title track."The man with the music in his life" AP: "...I still remember my first meeting with Kate and David Gilmour in the Pink Floyd's studio. She was really quiet, but intense: I had listened to a bunch of her songs already and I was overwhelmed. There was a huge gap between our first recording session - the three tracks we did with Geoff Emerick as sound engineer, including "The man with the child in his eyes" and "Berlin" ["The Saxophone Song"] - and the rest of the album with Jon Kelly: almost a couple of years. I know that Gilmour is reported as producer of those first recording sessions, but as far as I can remember, he was deeply involved with the Floyd's American Tour at the time. He surely wasn't near the studio! He put up money, helped in choosing the songs to be included in the album and never asked about the cost of it. He's always been truly interested in Kate's career. Perhaps some producers may find interesting to know that even those at EMI didn't sound concerned about costs. There was no fixed budget, as far as I know. I remember Bob Mercer, A&R manager at the time, only came to the studio once, and not because he wasn't interested, he simply didn't want to be in the way. Sessions were just deliciously beautiful. David Paton and Ian Bairnson of Pilot, with Stuart Elliott and Duncan Mackay of Cockney Rebel, were the rhythmic section - and they weren't just session men! They had never worked together before, but it worked so well that they did that again later. On the first day of recording, we did four tracks. It took six weeks for the whole album, including mixing. The most difficult decision was to choose among those songs: "Wow" - one of the best tracks from the second album - was competing with "The kick inside". There were other incredibly beautiful tracks that were originally recorded for Lionheart that were left out. One of them was "Never for ever", a wonderful track that includes the most hauntingly moving vocal performance by Kate." Q: "Could you highlight your most intense and stimulating experiences as a producer?" AP: "Very difficult to say, but I would say there are things I still consider as landmarks: "The man with the child in his eyes" and the unreleased "Never for ever" by Kate Bush." "Raro!" Music Magazine thehomegroundandkatebushnewsandinfoforum.yuku.com/topic/16530/t/interview--Andrew-Powell---little-revelation-update.html?page=1So, according to Mr. Powell's memories, there is a wonderful unreleased track, originally recorded for Lionheart, called "Never For Ever" that includes the most hauntingly moving vocal performance by Kate. It's interesting to read that "Wow" could have been on The Kick Inside and that Kate's haunting vocals of "Never For Ever" could have been on Lionheart! Presumably Kate had a second go at the NFE song for the Never For Ever album, or was she intending to use the Lionheart version? If the latter, then maybe late in the day, Kate decided she didn't want the recording credits complicated by having to have Andrew Powell's name added to the production credits? After all, Powell highlights one of his most intense and stimulating experiences as a producer as the unreleased "Never for ever" by Kate Bush. So maybe KaTe met with legal/production problems? ...
Apparently, there is also a poster for the aborted EMI-America release of Never For Ever which has a tag line that says "Featuring the hit single 'Never For Ever'." So maybe KaTe kept the NFE track back from Lionheart to use on the NFE album, but then changed her mind about using the track vis a vis Andrew Powell's production involvement? Or maybe we have heard the "Never For Ever" track already, i.e. that NFE was only a working title for one of the songs that featured on that album - perhaps "Blow Away" or "Night Scented Stock".
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Post by stufarq on Sept 29, 2009 23:16:17 GMT
Presumably Kate had a second go at the NFE song for the Never For Ever album, or was she intending to use the Lionheart version? If the latter, then maybe late in the day, Kate decided she didn't want the recording credits complicated by having to have Andrew Powell's name added to the production credits? After all, Powell highlights one of his most intense and stimulating experiences as a producer as the unreleased "Never for ever" by Kate Bush. So maybe KaTe met with legal/production problems? ...
Or maybe we have heard the "Never For Ever" track already, i.e. that NFE was only a working title for one of the songs that featured on that album - perhaps "Blow Away" or "Night Scented Stock". Your suggestion of legal problems started because someone had used the phrase before but now you're transferring it (without foundation) to production credits. It's unlikely that Kate would have wanted to use the Lionheart version. She doesn't like the album because she had no control over the rushed recording sessions and the NFE album was her first as producer and introduced a very different style. If she had planned to use the song there's little doubt that she would have rerecorded it. Are you suggesting that it may have evolved into Blow Away because of the subject matter? Unlikely as Bill Duffield's death was long after the Lionheart sessions. But you're right about it being the only album without a title track so that does imply that it was considered for inclusion. On the other hand, if Powell liked it so much why was it left off Lionheart? Presumably at Kate's insistence, suggesting that she didn't like it even then. And Kate has given an explanaton for the album title so perhaps she just liked the phrase and used it without any intention of resurrecting the song.
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Post by tannis on Oct 1, 2009 6:27:17 GMT
And Kate has given an explanaton for the album title so perhaps she just liked the phrase and used it without any intention of resurrecting the song. ...or the poem!
The "Hounds Of Love" album references Tennyson as the source of "The Ninth Wave" title. KT may have taken "The Sensual World" title from the poet Thomas Osbert Mordaunt (1730-1809): 'SOUND, sound the clarion, fill the fife! Throughout the sensual world proclaim, One crowded hour of glorious life Is worth an age without a name'; and KT may have taken the "Never For Ever" title from the poet Henry Wadsworth Longfellow (1807–1882): 'An ancient timepiece says to all,—"Forever—never! Never—forever!"' But these sources are not referenced on the album sleeves."Kate Bush is an English singer/songwriter who will sometimes betray the fact that she looks out of the world through the eyes of a nineteen-year-old. She sees the obvious as if it were revealed only through her own special vision and treats the timeless as if it were her own recent discovery. At other times, though, her lyrics can be subtly moving and sophisticated, and at all times on her album The Kick Inside (EMI SW17003) she sings with a voice like a Popsicle, at once icy and sweet." ~ New York Magazine, 23 Jul 1979Are you suggesting that it may have evolved into Blow Away because of the subject matter? Unlikely as Bill Duffield's death was long after the Lionheart sessions. KT: "The song was really written after someone very special died. Although the song had been formulating before and had to be written as a comfort to those people who are afraid of dying..." ZigZag, "Fire in the Bush", 1980(?)gaffa.org/reaching/i80_zz.htmlKaTe says that 'Blow Away' "was really written after someone very special died..." Bill Duffield? William Shakespeare? [Writing 'Blow Away (for Bill)', KaTe "stole" a lot from Billy the Shake!] ... KaTe adds that the song had been formulating before, and was written to comfort those who are afraid of dying, like KaTe herself: "My terrible fear of dying / No longer plays with me". So the "Never For Ever" song might have evolved into "Blow Away". After all, the subject of BA is not Bill Duffield's death; the song is only 'dedicated' to him. And the "Never For Ever" song may have been left off of "Lionheart" because KaTe may have judged it too morbid for an already morbidly driven album.see more: SHREWD KATE: Blow Away (for William 'Bill' Shakespeare)katebush.proboards.com/index.cgi?board=neverforever&action=display&thread=1693&page=2
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Post by tannis on Oct 19, 2009 8:27:15 GMT
"Never for Ever" The Old Clock on the Stairs, Edward Lamson Henry, 1868The Old Clock on the Stairs by Henry Wadsworth Longfellow (November 1845)
Somewhat back from the village street Stands the old-fashioned country-seat. Across its antique portico Tall poplar-trees their shadows throw; And from its station in the hall An ancient timepiece says to all,-- "Forever--never! Never--forever!"
To Fanny Brawne, 11 October 1819[/center] Recipient: Fanny Brawne (1800-1865) was first Keats's neighbor and later his fiancée. The eldest child of a widowed mother, she at first perplexed and exasperated the poet. They fell in love, though Keats's friends were against the match.
Introduction: Keats's letters to Fanny Brawne are among the most famous love letters ever written. As next door neighbors, they exchanged numerous short notes, and occasionally more passionate ones. None of Fanny's letters to Keats survive. From his, however, it seems he was often unsettled by her behavior and uncertain of her affection. His illness brought them closer; when he left for Rome, they were engaged and deeply in love.College Street - My sweet Girl, I am living to day in yesterday: I was in a complete facination all day. I feel myself at your mercy. Write me ever so few lines and tell you [for me] you will never for ever be less kind to me than yesterday - You dazzled me - There is nothing in the world so bright and delicate - When Brown came out with that seemingly true story again[ s]t me last night, I felt it would be death to me if you had ever believed it - though against anyone else I could muster up my obstinacy - Before I knew Brown could disprove it I was for the moment miserable. When shall we pass a day alone? I have had a thousand kisses, for which with my whole soul I thank love - but if you should deny me the thousand and first - 't would put me to the proof how great a misery I could live through. If you should ever carry your threat yesterday into execution - believe me 't is not my pride, my vanity or any petty passion would torment me - really 't would hurt my - heart - I could not bear it - I have seen Mrs Dilke this morning - she says she will come with me any fine day- Ever yours John Keats Ah hertè mine!Notes: Keats wrote this letter from College Street in Westminster. Ah hertè mine! is taken from Chaucer's Troilus and Cressida.
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