Miranda: "Look! Not down at the ground, Edith. Way up there in the sky..." ~ Picnic at Hanging Rock (1975). "A group of school girls go on a picnic and three of the girls and a teacher go missing..."
"'The Big Sky' takes us back into the childhood reveries of the artist (although, as so often, the title is also that of a film, in this case a Hollywood western)..." (Moy, 2007).
KB: "The next song is called The Big Sky. Someone sitting looking at the sky, watching the clouds change. I used to do this a lot as a child, just watching the clouds go into different shapes. I think we forget these pleasures as adults. We don't get as much time to enjoy those kinds of things, or think about them; we feel silly about what we used to do naturally. The song is also suggesting the coming of the next flood--how perhaps the "fools on the hills" will be the wise ones." Kate's KBC article, Issue 18, Hounds Of Love songs gaffa.org/garden/kate20.html
The Big Sky is a 1952 Western film directed by Howard Hawks, based on the novel of the same name. The cast includes Kirk Douglas, Arthur Hunnicutt, Dewey Martin and Elizabeth Threatt: Jim Deakins is a frontiersman and Indian trader who is making a perilous journey with a group of other men up the Missouri River to get a large haul of furs from friendly Blackfoot Indians. The problem is that they have to get through hostile Indian territory first and they find that they have seriously underestimated the difficulties they will undergo. The large body of men who started the journey are gradually whittled down until only a hardy few, like Deakins, are left.
"But I never go in now..."
Could this imply avoiding a room in her mind? Leaving something alone? etc.
That cloud, that cloud-- Looks like Ireland...
HAMLET: Do you see yonder cloud that's almost in shape of a camel? ... Methinks it is like a weasel... Or like a whale? ... They fool me to the top of my bent. ~ The Tragedy of Hamlet, Prince of Denmark, Act 3, Scene 2
Is The Big Sky a psychotherapeutic intermission? A primal music, dance, scream? A free-associative projection on to the Big Screen? ... A Reply/Question and Rorschach inkblot test?
We pause for the jet... We're looking at the big sky Honey! You want my reply What was the question Mm, Yeah! I was looking at the big sky...
Maybe 'The Big Sky' is a pause for the noise of trauma? ... The Big Sky sounds like a need for constant distraction, constant focus on an ever-changing bigger picture... Like watching the fish at the dentists' ... Obsessive-compulsive cleaning of the cobwebs of the mind? ... The desperate need for fresh air? ...Cloud-busting! Maybe TBS is psychoanalytical, with slip-references to 'not being understood' while pointing elsewhere?
"That Cloud" & The Rorschach inkblot test - 'It has been employed in diagnosing underlying thought disorder and differentiating psychotic from nonpsychotic thinking in cases where the patient is reluctant to openly admit to psychotic thinking.' (wiki). Cloud - Ireland - Dislocation? ... Mother [Ireland] Stands For Comfort? Cloud - Noah - drowning? ... The Ninth Wave?
KB: "[The Big Sky] is also suggesting the coming of the next flood--how perhaps the "fools on the hills" will be the wise ones." Kate's KBC article, Issue 18, Hounds Of Love songs gaffa.org/garden/kate20.html
March 19, 1986: For the making of the video for The Big Sky Kate assembles over one hundred fans on the sound stage of Elstree Studios. A Chronology of Kate Bush's Career gaffa.org/garden/chrono.html
For The Big Sky video, Kate put on a silver cloud suit and size 5 lightning boots, too...
I put on my cloudiest suit Size 5 lightning boots, too...
KB: "On both Hounds of Love and The Big Sky shoots there was a relaxed air--both shoots involved crowd scenes, and The Big Sky was especially satisfying. Besides a large number of performers to fill a stage and give the effect of a live concert, we needed an avenue of people, from the Wright brothers to two astronauts, to simulate aviation history. The Wright brothers looked remarkably like Dave Cross and Peter FitzGerald-Morris, and one of the astronauts looked so like Jay...We also needed a large, enthusiastic crowd, so we asked Dave Cross to organise some members of the Club, and two hundred beautifully behaved people arrived on the day of the shoot. It was very moving, they filled us all up with energy-- It made it feel like a real concert. "All the film crew remarked on how incredible everyone was. They had been terrified with past experiences of invited audiences, but I told them they hadn't met the right ones. Everyone left just as beautifully--nearly everyone with a burnt thumb from being a star in the sky holding up lighters and waving. I'd never been in the same room with so many stars before." Oh, the little angels, how lovely! Did it take long to edit those clips? KB: "No, I worked with John Mister as film editor. On both those shoots we worked to very detailed storyboards, and in both cases could give John a photostat of the script beforehand so he'd know the gist of what we were working on. Then he'd do a rough cut by himself, following the storyboard. Then we'd work together until we were happy. He was great to work with, and both edits were very quick: just taking them into the video suite for bits and pieces. But it would have to be transferred to video for T.V. showings, anyway, so all ads, etc., end up on video. The Big Sky was a little more complicated. The beginning part on the rooftops involves chromakey, where all the live action goes on in front of a blue screen and then the various weather effects were put in at the edit. The pieces of film with the weather were chosen beforehand and transferred to video; they then replaced the blue screen." Kate's KBC article, Issue 20, "An Interview With Auntie Hetty" gaffa.org/garden/kate22.html
"I think that someone pointed out to Kate that Empty-V seems to have a strong dislike for her style of video, and so she sat down and watched nothing but Empty-V for a week. And then thought to herself, "Pphah! I can do that *much* better!" She then proceeded to make the silliest Empty-V-like video possible, throwing in every single Empty-V cliche that ever existed or ever will exist and lots of other stuff just for good measure, all the while having a fun time. It worked too! This is the first video of Kate's ever to be in rotation on Empty-V (it's only in light rotation, however)." Hounds of Love: The Videos (1986) gaffa.org/dreaming/hol_vid.html
They look down at the ground...
The Big Sky video simulates a live concert themed around aviation history. There are fighter pilots, the Wright brothers, astronauts, and, of course, Superman. The video seems terribly nationalistic and militaristic, (especially from 1:30)... and there are considerable references to flags and uniforms "hot down to the floor" - RAF, WWI, NASA, kamikaze headbands, etc. Some say that the video is a commentary about the Cold War and the "ownership" of the skies by military and corporate interests? ...
Hannah Bush appears in the video at 2:01-2:04 (dressed in aviator cap)... The jet at 2:06 suggests a WWII bomber jet... 2:22 "Looks just like your face on the moon, to me"... And the camp KT Banner flag planting at 2:27-37 parodies Rosenthal's iconic World War II photograph, Raising the Flag on Iwo Jima, and the US Marine Corps War Memorial (the picture having been used to sculpt the memorial)...
Kamikaze (literally: "God-wind", "spirit-wind" or "divinity-wind"; common translation: "divine wind") is a word of Japanese origin, which in English usually refers to the suicide attacks by military aviators from the Empire of Japan, against Allied shipping, in the closing stages of the Pacific campaigns of World War II. Ceremonies were carried out before kamikaze pilots departed on their final mission. They were given the flag of Japan or the rising sun flag (Japanese naval ensign), inscribed with inspirational and spiritual words, Nambu pistol or katana and drank sake before they took off generally. They put on a headband with the rising sun, and a senninbari, a "belt of a thousand stitches" sown by a thousand women who made one stitch each. They also composed and read a death poem, a tradition stemming from the samurai, who did it before committing seppuku.
The Big Sky was released on 28 April 1986.The Big Sky video features a solar eclipse at 1:15-1:26. A solar eclipse features in the video for Don't Give Up (the duet recorded in February 1986 and released October 1986). The Big Sky video also features two giraffes at the end...
To Dream Giraffes To see a giraffe in your dream, suggests that you need to consider the overall picture. Take a broader view on your life and where it is headed. A long necked giraffe is a warning to all who will hear it that it is better not to reach out and interfere with other peoples business unless you are asked. It could also be a warning that you are stretching the truth a pretty long way.
"Yer 'avin' a giraffe, pal!" ... Giraffe is also cockney rhyming slang for Laugh! ;D
Now, the only crucial question is whether one of the pairs of goggles is the same as that worn by Kate during her performance of "Lionheart" in the Hammersmith video. (You will remember that one of that pair's lenses was cracked...) Doug has already noted a reference to the Lionheart LP in the film, and I see an allusion to the "Dreaming" film in the falcon sequence from "The Big Sky".The astronauts, of course, can be seen as an echo of "Hello Earth." Perhaps there are more references to be found. Does anyone know of any previous reference in Kate's work to either Superman or Napoleon? I assume they are merely references to flight --Napoleon's symbol being the eagle -- and thus to the sky. Hounds of Love: The Videos (1986) gaffa.org/dreaming/hol_vid.html
KATE and SUPERMAN
"Kate, why didn't you tell us? Superman!!", ran Record Mirror in their review of the Kate Bush Liverpool Empire Tour, April 7, 1979. Then in 1985, KaTe told Peter Swales that she loved Laurie Anderson's "O Superman".
But does Superman appear in The Big Sky video as a nod to Nietzsche's Übermensch? The comic-book hero Superman, when Jerome "Jerry" Siegel first created him, was originally a villain modeled on Nietzsche's idea (see "The Reign Of The Super-Man"). He was re-invented as a hero after Joseph "Joe" Shuster re-designed him, and he then bore little resemblance to the previous character, though he still had a dubious morality. Only as the series progressed did Superman become the wholesome, morally upright figure of modern times (wiki).
SUPERMAN and NAPOLEON and KATE
Fyodor Dostoevsky, in his 1866 novel Crime and Punishment, anticipated the Übermensch concept: the book's main character, Raskolnikov, justifies an act of murder he commits by deciding that he, as a superior being, is not bound by the normal rules of morality. Raskolnikov identifies Napoleon as having been an Übermensch and seeks to emulate him.
Raskolnikov wrote a paper on the theory of an übermensch while he was still a student. In the document Raskolnikov gives the ordinary man the right to overstep boundaries in the attempt to become an extraordinary man. He also states that the extraordinary man has the right to take advantage of the ordinary man. Raskolnikov wanted to become the übermensch by stepping over boundaries, via assassinating the pawnbroker. In Raskolnikov's mind Napoleon was the ultimate superman, or übermensch. Raskolnikov idolizes this French ruler and compares his murder and the resulting guilt to what Napoleon would have accomplished and experienced. "It was like this: I asked myself one day this question- what if Napoleon, for instance, had happened to be in my place, and if he had not had Toulon nor Egypt nor the passage of Mont Blanc to begin his career with, but instead of all those picturesque and monumental things, there had simply been some ridiculous old hag, a pawnbroker, who had to be murdered too to get money from her trunk (for his career, you understand)… Wouldn't he have felt a pang at its being so far from monumental and… and sinful, too?…It would not have given him the least pang, that it would not even have struck him that it was not monumental…He would have strangled her in a minute without thinking about it!" (384)
Raskolnikov worships Napoleon as the ultimate being, free of guilt, and able to accomplish a goal to further himself and benefit others. Napoleon had to begin somewhere, so Raskolnikov felt that he would establish the superman within by working with what was given to him and killing the pawnbroker. Raskolnikov wanted to be the extraordinary man. However, he realizes that he cannot help but to be ordinary. "And you mustn't suppose that I didn't know, for instance, that if I began to question myself whether I had the right to gain power-I certainly hadn't the right- or that if I asked myself whether a human being is a louse it proved that it wasn't so for me, though it might be for a man who would go straight for his goal without asking questions… If I worried myself all those days, wondering whether Napoleon would have done it or not, I felt clearly of course that I wasn't Napoleon… I am just a louse like all the rest." (387-388)
They're Coming To Take Me Away, Hah Hah... I: So you liked the singles. Were there like any that you can remember that you still have now? KB: Well one of the first records I ever bought was called They're Coming To Take Me Away, Hah Hah by Napoleon the 14th. I thought that was great! I thought it was really interesting. I suppose it was one of the first rap records really. [Laughs] MTV, Unedited, November 1985 gaffa.org/reaching/iv85_m1.html
Napoleon XIV: 'They're coming to take me away' www.youtube.com/watch?v=hnzHtm1jhL4 Jerry Samuels (Nap's real name) had been in a mental hospital himself for treatment nine years before the song was written.
4. Name at least thirteen images of flight associated with Kate. 4) (birdsong in Deeper Understanding and And Dream of Sheep..., Ne T'enfuis pas ; Night of the Swallow ; Kite ; Harry the Dragonfly; Kate's dove earrings; Kate as bat (back of Never For Ever ); Kate as swan ( Delius video); references to "rolling over on the great big cloud" and to Superman, the Wright brothers, and astronauts in The Big Sky (song and video); space travel in Hello Earth and Keeping Me Waiting ; rocket-flight in Rocket's Tail and Rocket Man ; etc.) WSI-quiz (Wickham Street Iregulars) (1992) gaffa.org/dreaming/E4_quiz.html
The Big Sky was the fourth and final release from Hounds of Love. The B-Side is a song called Not This Time (1986) "about a woman who declares her independence from her possessive, domineering, abusive lover" (wiki). Elsewhere, I have suggested that Running Up That Hill (1985) deals with messy co-dependency, trauma and/or abuse.
I really like this song, much to the chagrin of my poor mother who dislikes it.
I think one of the most powerful elements of this song is the white noise that I have always connected to chaos theory - a butterfly flapping its wings at the north pole can melt all the ice at the south pole. Which, of course, is facilitated by none other than the big sky, where it all happens...
This song has an interesting relationship to The Red Shoes, too.
Oh it's gonna be the way you always thought it would be But it's gonna be no illusion Oh it's gonna be the way you always dreamt about it But it's gonna be really happening to ya
The main connection I've found with the two is chaos theory - how could the red shoes be explained without chaos theory? The arrival of the woman? And so on..
Nuanced dreams Salubrious screams Steps still limit truth Here ends silly youth
The Hounds of Love single was released on February 24, 1986. The Big Sky was released on 28 April 1986. For The Big Sky video, Kate assembled over one hundred fans on the sound stage of Elstree Studios on March 19, 1986. In The Big Sky video there are fighter pilots, the Wright brothers, astronauts, and kamikaze. Kate appears dressed as Napoleon at 1:11-1:15; and there's Superman at 3:11.
On a lot of English first pressings of vinyl records you can find run-out-groove "secret" messages inscribed onto the disc. Kate not only knows about the inscriptions, she even writes them, so most of them are of some significance. Here's the inscription on the first release vinyl single:
Hounds Of Love/A Handsome Cabin Boy: Side A:"Cooperman" and "Woof!"
The Hounds Of Love album cover sends "A big woof to Bonnie & Clyde". According to Gaffa, Bonnie and Clyde were the two dogs KT and John Carder Bush used for the album photography. So the "Woof!" on the run-out-groove could be a "secret" message to the two Weimaraner Hounds. gaffa.org/diction/index.html
However, there seems to be no record of KaTe calling the dogs Bonnie and Clyde. And while he states that the dogs were friends of theirs, nor does JCB, in his KBC Newsletter on the HOL photoshoot, refer to the hounds by name:
"Luckily, the dogs we wanted to use are friends of ours, so there was a good chance that they might put up with posing, keeping quiet and leaving each other alone... The dogs, meanwhile, had been waiting in the wings, supposedly exhausted and dying for somewhere to put their heads down. Anthony and Clayton withdrew in a cloud of hairspray and eye-glitter, so that the dogs wouldn't be distracted by strangers, and the word was given to let them in..." John Carder Bush's KBC Newsletter contributions 3: Some of the Photographs gaffa.org/garden/jcb3.html
Bonnie and Clyde could be the hounds' real names, or they could be the names KT chose to call them, or they could refer to two entirely different bodies...
And what about the mysterious "Cooperman"?
Russ Abbot is an English musician, comedian, and actor. Tall, twinkly-eyed, Chester-born comedian and impressionist who entered showbiz as a member of the Black Abbots cabaret group. His TV breaks came from appearances in who do you do?, The Comedians and Bruce Forsytes Big Night and led to a series he shared with its named star, Freddie Starr's Variety Madhouse. With Starr's departure, the show became Russ Abbot's Madhouse in 1980 (sometimes Saturday Madhouse) and allowed Abbot to begin introducing the farcical creations for which he became famous, such as inept superhero Cooperman (an exaggerated impersonation of Tommy Cooper), detective Barratt Holmes, air ace Boggles, Irish crooner Val Hooligan, rock'n'roller Vince Prince, secret agent Basildon Bond, and C. U. Jimmy, the indecipherable, kilted Scotsman.
So KT's "Cooperman" could reference Abbot's 'Cooperman', an incompetent would-be superhero that was a cross between Tommy Cooper and Superman. And just as Bonnie and Clyde might reference those "outside the law", Cooperman might be an oblique reference to those "beyond good and evil"...
Friedrich Nietzsche and his philosophy of the Superman
In the same year that Hitler's forces invaded Poland, a colorful comic book character entered the public imagination, and ever since, the name "Superman" has either connoted the fearful threat of a superior race or a fantastic hero from another planet. However, the origins of the term go back to the latter half of the 19th century when men of science and philosophy reveled in humanity's newly won freedom and looked forward to a brighter future. Not all who observed these events, however, found reason to rejoice. To those who boasted that man had reached the pinnacle of evolution, Nietzsche protested, "Overproud Europeans of the 19th century, you are raving mad!" (Hollingdale). Nietzsche abandoned his search for the new man in the present, turning to the future to his vision of the superman. Supermen are those who have overcome man - i.e. the individual self - and subliminated the will to power into a momentous creativity. Although he explicitly denied that any Supermen had yet arisen, he mentions several individuals who could serve as models. Among these models he lists Socrates, Jesus, Julius Caesar, Leonardo da Vinci, Michelangelo, Shakespeare, Goethe, and Napoleon.
Nietzsche saw the dark side of Darwin's removal of the metaphysical dimension from the universe. The idea of God had given meaning and purpose to human existence. Without God man was no longer made in His image, no divine spark dwelt in him, and his life had no higher significance than that of the animals. Nietzsche did not argue with the scientific truth of this thesis, but he dreaded the consequences if human beings did not take it on themselves to make their lives significant and meaningful.
Nietzsche's philosophy stands on three main pillars: the superman, the will-to-power, and eternal recurrence. These beliefs replace the Christian doctrines of God, divine salvation, and eternal life (Hollingdale). As substitutes for religious concepts, all three ideas defy definition, remaining in the realm of the poetic, the emotive, and the mysterious. As Bentley says, "Without mystery the superman would evaporate". Nietzsche's spokesman Zarathustra usually describes the superman in contrasting images: man is only a rope stretched over an abyss between beast and superman: as man is to ape, so superman will be to man: man is a lake rising higher and higher now that he does not drain away into a God. In a more comprehensive metaphor Zarathustra explains that man is a polluted stream. The Christian solution has been to remove the pollution, but when this is done, very little remains. The superman, however, will be so large a sea that he can accommodate the pollution without harm. Christianity has told men to abstain from evil, for one who touches pitch becomes defiled. The superman knows that there is no defilement in pitch, no such thing as evil, for all that exists is necessary.
Nietzsche had no conception of a super-race; he spoke only of the individual. Hitler's idea of a pure race would have been absurd to Nietzsche, for only through conflict between the races does advancement occur. For Nietzsche the "lesson of existence" is that only great individuals matter, those who raise themselves above their animal nature, their baser instincts for mere pleasure: “Mankind must work continually to produce great individuals – this and nothing else is its task” (Hollingdale).
The human being separates himself from the animal kingdom through the exercise of the will-to-power. This concept means more than the natural desire for self-preservation. Nietzsche believed that human beings have a psychological need for power, a need to vent their strength, to assert themselves, to dominate. Such a view would seem an excuse for tyranny and sadism except that Nietzsche posits self-mastery, power over self, as the ultimate goal of the will-to-power. The superman is the one strong enough to overcome himself. This feat restores the distinction between man and animal that Darwin had eliminated, without the help of metaphysics.
It is true, however, that Nietzsche desired men to encourage the passions that lead to evil, for they are also the source of strength needed to achieve the most difficult of tasks, the mastery of self. He felt great wickedness was preferable to weakness, for it gives ground for hope: "Where there is great crime there is also great energy, great will-to-power, consequently the possibility of self-overcoming" (Hollingdale). The will can be controlled. but it takes the strength of a superman to do it.
Once he reaches this level, the superman can accept himself as he is and all that brought him to this point, saying Yes to his pain and suffering as well as his joys and triumphs. He attains to the supreme moment of existence when he would be content to relive his entire life with its good and its evil; this is the idea of eternal recurrence. Nietzsche speculated that if space and energy are limited but time infinite, then a point would eventually be reached when all possible combinations of events would exhaust themselves and the process would begin again. Whether or not the theory is true, Nietzsche felt men had an ethical imperative to live as if it were true, to live in such a way that they would will to live the same life again and again for eternity (in contrast to Schopenhauer’s Buddhist desire for redemption from rebirth). For the superman this affirmation of life is the highest achievement of the will-to-power.
Nietzsche is often accused of being a pessimist, an anarchist, and a nihilist. He was pessimistic about the man of the 19th century but not about life itself. He did exalt the individual who lives beyond good and evil but only after he has achieved mastery of himself. He recognized the loss of all values and meaning but only as a presupposition, the beginning not the end of his philosophy. In place of God he put the superman, a superior being but still one of us, who says Yes to life and the possibility of human greatness.
They open doorways that I thought were shut for good They read me Gurdjieff and Jesu They build up my body, break me emotionally It's nearly killing me, but what a lovely feeling!
Individuation as propounded philosophically by Nietzche relies on ideals recognizable within the traditional Gurdjieffian paradigm, namely ruthless self-cognizance, integrity, will and stoicism. Gurdjieff himself was entirely unimplicated in the Nietzschean movement, and his robust life contrasts with Nietzsche’s narcissism and invalidism. Nevertheless, a prior grounding in Nietzsche demonstrably predicated an approach to Gurdjieff. His chief theoretician Ouspensky alludes to Nietzsche both in his ‘Superman’ (1911-1929) and ‘Eternal Recurrence and the Laws of Manu’ (1912-1934).
Ouspensky:"European thought so thoroughly forgot the idea of Superman that when Nietzsche threw out this idea to the West, it appeared new, original and unexpected."
Peter D. Ouspensky was a Russian philosopher with an analytic and mystical bent who combined geometry and psychology in his discussion of higher dimensions of existence. In 1916, he was introduced to Gurdjieff and spent the next few years studying with him. After the Bolshevik Revolution he broke off from Gurdjieff and formed his own independent groups which also focused on the Fourth Way. Today, Ouspensky is one of the best known Gurdjieff's pupils. In A New Model of the Universe (1931), Ouspensky discusses Nietzsche and man's connection to the idea of the Superman.
Ouspensky:"The evolution of consciousness, the inner growth of man is the "ascent towards superman"... Superman must necessarily be connected with something mysterious, something of magic and sorcery... Consequently an interest developed towards the "mysterious" and the "inexplicable", a gravitation toward the "occult", are inevitably connected with evolution in the direction of superman... [The superman] must inevitably be either a magician or a saint."
Aeromancy (from Greek aero, "air", and manteia, "divination") is divination conducted by interpreting atmospheric conditions. There are several types of divination that can be categorized under the term "aeromancy". Nephomancy is divination by the interpretation of the movement of clouds.
That cloud, that cloud-- It looks like Ireland. C'mon and blow it a kiss now...
Some forms of modern aeromancy have taken a more introspective turn than their historical counterparts. For instance, modern nephomancy is a receptive, almost meditative process, by which a person is said to be able to examine their unconscious. The nephomancer studies the clouds, whose formations are random and constantly changing. The images and symbols the diviner picks out from the chaos are believed to have some sort of significance to the diviner, so long as he applies his own personal interpretations to the symbols, rather than those written or spoken about by another.
This cloud, this cloud-- Says "Noah, C'mon and build me an Ark."
Flood Dream Meaning Psychological Meaning: Water symbolises the emotional side of the unconscious. To dream of a flood or being swept away by water, indicates that you feel emotionally overwhelmed. These dreams also hint at baptism and rebirth. The fertile, nourishing effect of floodwater may be implied. This dream could therefore represent the start of a new phase of life and renewed personal growth. Mystical Meaning: The story of Noah, the Epic of Gilgamesh and other myths about floods represent a purging that prepares the way for something better. Everything in your life has been swept away so that you may start anew. www.dreamsleep.net/meaning-of-flood-dream.html
Noah's Ark To see Noah's ark in your dream signifies the preservation and protection of something valuable. It is symbolic of wholeness.
Kate Bush: "I think that as a very young child, perhaps I aspired to becoming something like a great actress." The Tony Myatt interview (1985)
That cloud, that cloud-- Looks like Ireland. C'mon and blow it a kiss now, But quick, 'Cause it's changing in the Big Sky...
In this striking picture, a formation can clearly be seen in the shape of what looks like Britain and Ireland drifting over the English countryside... The striking image was captured by a 16-year-old schoolgirl on a sunny afternoon as she tested out a new camera. Jessica Wild was walking home with her school friends last Thursday when she was spotted the likeness in the skies above Droitwich around 5pm. Hovering for little more than a minute before the union of the British isles broke up, she only had time to take a couple of shots. She said: 'I had to do a double take when I saw it, I thought that looks amazing. 'It was just like a little map of Britain in the sky, with England, Scotland, Wales and even a bit at the side which looked like Ireland. 'I couldn't believe it and my friends really love the picture, I guess you could say I was on cloud nine when I got it.' Britannia rules the skies www.dailymail.co.uk/news/article-1186008/Britannia-rules-skies-Amazing-picture-cloud-shaped-like-British-Isles.html
Kate Bush: "I think that as a very young child, perhaps I aspired to becoming something like a great actress." The Tony Myatt interview (1985)
I'm looking at the Big Sky. I'm looking at the Big Sky now. I'm looking at the Big Sky...
HOW TO KNOW NO
There was a giant No. That No rained. That No created a tremendous blizzard. That No made a dent on the coffee table. That No was the greatest No of No's in the universe. That No showered and hailed. That No created sunshine, and simultaneous eclipse of the sun and moon. That No was a lady's legs with nicely heeled shoes. That No is the best No of all. When a gentleman smiles, a good man. That No is the best of the hips. When you watch the gait of youths as they walk with alternating cheek rhythm, When you watch their behinds, That No is fantastic thighs, not fat or thin but taut in their strength, Loveable or leaveable. That No is shoulders that turn in or expand the chest, sad or happy, Without giving in to a deep sigh. That No is No of all No's. Relaxation or restraint is in question. Nobody knows that Big No, But we alone know that No. This No is in the big sky, painted with sumi ink eternally. This Big No is tattooed on our genitals. This Big No is not purely freckles or birthmark, But this Big No is real Big No. Sky is blue, Roses are red, Violets are blue, And therefore this Big No is No. Let us celebrate having that monumental No. The monolithic No stands up and pierces heaven; Therefore, monolithic No also spreads vast as the ocean. Let us have great sunshine with this No No. Let us have full moon with this No No. Let us have cosmic No. The cockroaches carry little No No's, As well as giant elephants in African jungles— Copulating No No and waltzing No No, Guinea pig No No, We find all the information and instructions when a mosquito buzzes. We find some kind of No No. Let our No No be the greatest motto: No No for the king; No No for the prime minister; No No for the worms of our subjects. Let us celebrate No No so that Presbyterian preachers can have speech impediments in proclaiming No No. Let our horses neigh No No. Let the vajra sangha fart No No— Giant No No that made a great imprint on the coffee table.
- Chogyam Trungpa, January 1979
The third track, "The Big Sky," finds Kate Bush in an even more childlike state than the previous song. Bush lies on the ground and stares at the clouds, imagining them to be Ireland and Noah's Ark. Appropriately, Bush uses a girlish voice to describe her activity. Though she begins the song in an earthbound state, she is soon "leaving with the Big Sky" where "we pause for the jet." "The Big Sky" is not the only song on Hounds in which Bush explores the atmosphere's upper reaches. On side 2, "Hello Earth" places her spirit in suspension above the world. Yet while Bush's astral projection on side 2 is intensely personal, here it affects others, for "The Big Sky" is directed at someone about whom Bush petulantly complains, "You never understood me / You never really tried." For her part, Bush finds watching clouds more interesting than working on a relationship: "You want my reply? / What was the question?" The communication failure seems intrinsically linked to the problems articulated in "Running Up That Hill" and "Hounds of Love," but even more than in those songs Bush's interpersonal difficulties are linked to nature and childish emotions. Once again, the implication is that the dilemma's origins are in the early stages of Bush's development. On Record, Simon Frith and Andrew Goodwin (1990, p.459).
This cloud, this cloud-- Says "Noah, C'mon and build me an Ark." And if you're coming, jump, 'Cause...
Genesis 6: 1 And it came to pass, when men began to multiply on the face of the earth, and daughters were born unto them, 2 That the sons of God saw the daughters of men that they were fair; and they took them wives of all which they chose. 3 And the LORD said, My spirit shall not always strive with man, for that he also is flesh: yet his days shall be an hundred and twenty years. 4 There were giants in the earth in those days; and also after that, when the sons of God came in unto the daughters of men, and they bare children to them, the same became mighty men which were of old, men of renown. 5 And God saw that the wickedness of man was great in the earth, and that every imagination of the thoughts of his heart was only evil continually. 6 And it repented the LORD that he had made man on the earth, and it grieved him at his heart. 7 And the LORD said, I will destroy man whom I have created from the face of the earth; both man, and beast, and the creeping thing, and the fowls of the air; for it repenteth me that I have made them. 8 But Noah found grace in the eyes of the LORD. 9 These are the generations of Noah: Noah was a just man and perfect in his generations, and Noah walked with God. 10 And Noah begat three sons, Shem, Ham, and Japheth. 11 The earth also was corrupt before God, and the earth was filled with violence. 12 And God looked upon the earth, and, behold, it was corrupt; for all flesh had corrupted his way upon the earth. 13 And God said unto Noah, The end of all flesh is come before me; for the earth is filled with violence through them; and, behold, I will destroy them with the earth. 14 Make thee an ark of gopher wood; rooms shalt thou make in the ark, and shalt pitch it within and without with pitch. 15 And this is the fashion which thou shalt make it of: The length of the ark shall be three hundred cubits, the breadth of it fifty cubits, and the height of it thirty cubits. 16 A window shalt thou make to the ark, and in a cubit shalt thou finish it above; and the door of the ark shalt thou set in the side thereof; with lower, second, and third stories shalt thou make it. 17 And, behold, I, even I, do bring a flood of waters upon the earth, to destroy all flesh, wherein is the breath of life, from under heaven; and every thing that is in the earth shall die. 18 But with thee will I establish my covenant; and thou shalt come into the ark, thou, and thy sons, and thy wife, and thy sons' wives with thee. 19 And of every living thing of all flesh, two of every sort shalt thou bring into the ark, to keep them alive with thee; they shall be male and female. 20 Of fowls after their kind, and of cattle after their kind, of every creeping thing of the earth after his kind, two of every sort shall come unto thee, to keep them alive. 21 And take thou unto thee of all food that is eaten, and thou shalt gather it to thee; and it shall be for food for thee, and for them. 22 Thus did Noah; according to all that God commanded him, so did he.
FLOOD (GENESIS). The concise and somewhat cryptic account of the Flood in the days of Noah (Gen. 6-9) would fill little more than 225 lines of a modern newspaper. Yet it has given rise to whole shelves of books, which seek to clarify and debate aspects of the Flood. Any attempt to interpret the biblical account introduces uncertainly, and all the efforts of modern scholarship have settled little. In faith the Genesis account is accepted as historical, but numerous unanswered questions remain. 1. Biblical Account of the Flood. - A. Reason.[/i] God determined to destroy all living creatures with a flood because "the wickedness of man was great," "every imagination of the thoughts of his heart was only evil," and "all flesh had corrupted their way upon the earth" (Gen. 6:5, 12). Evidently the corruption of humanity was so great that God could find only one, Noah, who was "righteous," right with God, and of unimpeachable character. God commissioned him to be a "herald of righteousness" (2 Pet. 2:5) while he constructed an ark for the safety of himself, his wife, his three sons and their wives, and numerous animals (1 Pet. 3:20). The usual interpretation is that 120 years elapsed between God's announcement of the Flood and the occurrence of the catastrophe (Gen. 6:3). If this was the case, Noah was 480 when God ordered him to build the ark and 600 when the Flood came (Gen. 7:6). Whether he did much preaching during that extended period of time or whether construction of the ark itself was viewed as an act of warning (He. 11:7) must be left undecided. It is also uncertain whether Noah hired a work force to help him, how he financed the project, how much ridicule he received, and whether he suffered sabotage or hate attacks that slowed construction. B. Size and Nature of the Ark. According to Gen 6:14-16 God commanded Noah to build an ark of gopher wood 300 cubits long, 50 cubits broad, and 30 cubits high. It was to have three stories divided into compartments, was to be covered with pitch on the inside and outside, and was to have a door and a window. GOPHER WOOD has not been identified. Some believe that it was a cypress or cedar and others oak, but there is no certainty on this point today. International Standard Bible Encyclopedia: E-J, Geoffrey W. Bromiley (1982, p.316)[/color]
You know, when I was on iTunes to buy 50 Words for Snow (I really wanted to hear it as soon as possible, don't worry I got the physical too), I was looking at all the old albums, and I noticed that the Hounds Of Love iTunes version had the single mix of The Big Sky. My only question is, why would they not release both?! I love both versions, I feel sad that newer Kate fans won't here the marvelous album version.