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Post by tannis on Apr 25, 2008 13:39:41 GMT
Aleister Crowley... Madame Blavatsky... Madame Maria Nanky... Isis Unveiled... The Hermetic Order of the Golden Dawn... Produced by Golden Dawn Productions...Lots of occult references... Then to find a quote from Kate remembering and referencing the time and place where she found A Book of Dreams... and that place being an historically recognized hub of mystical and spiritual possession...
And 'Aerial' is of cause a Golden Dawn solar production! ... ...We raise our hats to the strange phenomena! The Hermetic Order of the Golden Dawn (or, more commonly, the Golden Dawn) was a magical order of the late 19th and early 20th centuries. It was possibly the single greatest influence on twentieth century western occultism. The Golden Dawn system is based on an initiated hierarchal order similar to that of a Masonic Lodge, however women were admitted on an equal basis with men. Some well known members included William Butler Yeats and Aleister Crowley, etc...
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Post by tannis on Apr 25, 2008 13:43:46 GMT
And A Book of Dreams must be a very interesting read..."This book contains the childhood memoirs of Peter Reich. As the son of psychoanalyst Wilhelm Reich, Peter led a bizarre life. He lived with his parents on the family estate of Orgonon in the backwoods of Maine. Not only did his father develop a unique form of psychotherapy, but he also was a theorist who experimented with unknown forms of energy. As Wilhelm's only child, Peter was one of the first recipients of Reich's therapy methods, which involved special forms of touch, energy channeling, "softening the stomach", and inducing vomiting (in Peter's account). Peter was also made lieutenant in his father's defensive squad that protected the earth from UFO attacks through the use of "accumulator guns"... Upon his father's death, Peter found himself at the tender age of 13 forced to confront his father's legacy of brilliance and madness. Up until the time of his father's death, he had believed everything his father told him, not knowing enough of contemporary scientific theories to understand how different his father's version of reality was from most other people's, nor having established an identity of his own through which he could objectively choose between his father's explanations and standard scientific approaches. In this book, Peter tries to sort out for himself what is real and what is not, what is his, and what is his father's... By the end of the book, the reader will have some inkling of the confusion in Peter's mind, but, like Peter, may not be capable of saying what really happened..."www.amazon.com/book-dreams-Peter-Reich/dp/0060135468
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Post by tannis on May 13, 2008 12:33:06 GMT
Tannis, this is also very similar to some of the ideas of Wilhelm Reich. Which brings us back to Cloudbusting... ...and to what KaTe et al were doing when she "went into Watkins' Occult Bookshop for a look, and there was this book and it said, A Book of Dreams, by Peter Reich..." CEREMONIAL MAGIC: "What kind of language is this?" Episode 27: Sex Magick with Donald Michael Kraig, occult Author, Ceremonial Magician, and Tantric Practioner. Nationally recognized lecturer and presenter on Qabalah, Tarot, Magick, and TantraThis program is intended for mature audiences only.[music] Francesca Gentille: Welcome to Sex: Tantra and Karma Sutra. I’m your host Francesca Gentille. And with me today is Donald Michael Kraig. He’s an author, a lecturer and a tantric practitioner... Could you tell us to start, what is Magick? What do we mean by that? ... Donald Michael Kraig: The idea of Magick. Well the most popular definition is that it’s the art and science of creating change to occur in conformity of will... Part of the concept of Magick is that beside having the knowledge and the desire and the goal; there needs to be energy sent towards that... In Sex Magick we use the energy that is created in sexual or sensual activity to affect the Magick we are working with... Francesca Gentille: Let me clarify here a bit Don. When we are engaged in sexual activity whether it’s manual stimulating or orally stimulating, or telling delicious erotic tales to one another or having intercourse that we’re creating energy just by doing that. Donald Michael Kraig: Absolutely. The problem is people don’t realize that that energy can be used... [Advertisement] Francesca Gentille: Welcome back to Sex: Tantra and Karma Sutra bringing you the soul of sex with Donald Michael Kraig; the author of “Modern Sex Magick” and a contributor to “Ecstasy Tantra” ... Donald Michael Kraig: The basic idea of visualization is being able to see in the mind’s eye. That is use your powers of imagination to see something you want. Here is the catch. Not everybody is able to easily see. What are they seeing anyway? What we like to say is that there is another level of reality or existence for lack of a better term we will just call the astral plane... The astral comes first. Franseca Gentille: Is this because before anything exists in reality it’s an idea? ... Donald Michael Kraig: Absolutely. Edison did that Tesla did that. Wagner, there is a story of how when he was in a coach going through the Black Forest in Germany when he ran out of the coach yelling, “Don’t you hear it? All this beautiful music?” and he wrote down what he heard. That is the interesting thing. Visualization does not mean you have to see. Visualization can be hearing it can be taste; it can be just a sensation or feeling of something. The fact is if you are sure that you have created something on the astral plane; I don’t mean believe or hope or think. But absolutely know, “I have created this on the astral plane.” Whether you see it in your mind’s eye or whether you hear it with your mind’s hearing, whether you hear it with your astral sense of touch is not as important as you just you know it’s there. We also have certain senses known as the astral senses that allow us to see onto the astral plane known as clairvoyance or hear on the astral plane that’s called clairaudience or feel on the astral plane, that’s called clairsentience. With practice we will develop those senses until we will see, hear, and feel easily on the astral plane. The important thing is knowing we created it. So we have it on the astral plane whether we see it or not. And that is the process of visualization... Donald Michael Kraig: Now part of the key to Sex Magick was actually written by a famous Jewish Rabbi named Nahmanides, lived primarily in the 13th century. He wrote a book called the “Igaret Harkodesh” [phonetic], which means, “The Holy Letter” ... But the “Holy Letter” says one of the major ideas of “Sex Magick” is the idea held at orgasm will come to pass. That is whatever you are thinking at orgasm, that wonderful, juicy erotic energy, that point when it is released at orgasm, can be directed toward a purpose and it can it produce Magickal results. But that is part of the problem. There is a very famous psychologist name Wilhelm Reich and he believed in something called the potent orgasm. The idea of the potent orgasm you have to focus all of your attention on the orgasm. That is you can’t be focusing on "is my partner feeling good, is my partner enjoying this? Am I doing this right?" What you have to do is experience this animal like release; this total passionate, juicy, explosive release of energy. So how can you keep a concept in your mind while you are having this explosive orgasm where all your experiencing is the orgasm? And in my book “Modern Sex Magick” I give ways of doing that. The easiest way is to make a symbol you can look at. For example, if you were in need of money you might just put a dollar sign or a pound sign or a lira sign on a piece of paper so you can see it while you are having that orgasmic experience. So you can focus on having the orgasm so every time you can see the symbol it will be encoded in your mind linking the energy with the desire. Those two together can help produce the goal... Francesca Gentille: When we stay focused on the Magick, we mean focused on the visualization, focused on this astral creation we want to bring into existence that will bring more money into our lives, a better job, more happiness, a better house, whatever it is we’re wanting to manifest; bring into the actual reality, the everyday life. We’re putting our energy into it in sexual act... Donald Michael Kraig: So the goal has to be to get that information past our conscious minds and into our subconscious minds and that is one of the ways that Sex Magick can really help because if you are involved in passionate sexuality, whether it is by yourself, with a partner or with multiple partners even, you can become so focused on the sexuality that you can through the use of a symbol as I described earlier, something you just look at, get that info directly into your subconscious, charge it, and charged by that sexual energy that you have been generating; through the wonderful and delicious experience of sexual and sensual excitation. I’d like to share with everyone if I may what a ritual of Sex Magick might be like. Francesca Gentille: That would be great! Donald Michael Kraig: OK, the first step is determining what your goal is. That may be harder than you might think. I would advise once again, I won’t dwell on this; I have full explanations of this in my book “Modern Sex Magick”. Let’s say you picked a goal and your goal was to get $100; that you needed $100.00. To represent that you might take a dollar sign and then scribble all over it. Why? Your conscious mind it makes no sense but to your unconscious mind will know exactly what it looks like, exactly what it means. Then make duplicate copies of them. Place them all over your room... Then it comes down to the lovemaking. Begin your lovemaking. Let it begin slowly and let your passion build. Think of it as winding up electronic generator. The longer it goes the better. And you build it up and build it up and simply continue to build up your lovemaking until you are ready to reach your level of orgasm. All you have to do is open your eyes and look around and no matter which way you are facing you should be able to see that image... THE MAGICIAN When the fantasy bells Of the universe ring You can fly through the sky On a dragonfly's wing There is magic within There is magic without Follow me and you'll learn Just what life's all about Just what life's all about[/center] Kate Bush - Magicianwww.youtube.com/watch?v=wo7CAhlnEmkThe Magician of Lublin: A 1978 film directed by Menahem Golan, and starring Alan Arkin, Valerie Perrine, and Shelley Winters. The plot, based on a story by Isaac Bashevis Singer, tells of a travelling magician in turn of the century Poland whose deceptions and constant womanizing lead him to disgrace. For this film, Kate sang the theme song The Magician.The Magician: The song was composed by Maurice Jarre with lyrics by Paul Webster, the music performed by London Symphony Orchestra. In the film, the song can barely be heard over dialogue, and it is not available on record. gaffa.org/diction/m.html#lublinMagician of Lublin trailer (Cannon Films)www.youtube.com/watch?v=Ipm0AADH88w
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Post by tannis on Nov 15, 2008 15:15:19 GMT
KT: DECOY TACTICSThe sun's coming out. Your son's coming out...In A Book of Dreams, Peter Reich is "coming out" to tell his story. In Cloudbusting, KaTe uses the pagan/Christian play on sun/son. And KaTe returns to this pun on Aerial ~ The Sun: Bertie...Here comes the sunshine Here comes that son of mine...December 25 was once considered the date of the winter solstice, which the Romans called bruma. It was the day the Sun proved itself to be "unconquered" despite the shortening of daylight hours. (When Julius Caesar introduced the Julian Calendar in 45 BC, December 25 was approximately the date of the solstice. In modern times, the solstice falls on December 21 or 22.) The Sol Invictus festival has a "strong claim on the responsibility" for the date of Christmas, according to the Catholic Encyclopedia. Several early Christian writers connected the rebirth of the sun to the birth of Jesus (sun/Son). Indeed, it can be argued that Jesus represents the sun and the 12 disciples are the 12 signs of the zodiac. The sun is reborn every year on Dec 25th when it stops at it's lowest point in the sky and remains there for 3 days under the southern cross (crux) constellation. After 3 days it moves 1 degree north (the resurrection) and at Easter, when the day is longer for the first time than the night, we then celebrate the resurrection of Christ due to the movement of the sun.At the end of Cloudbusting, we hear a steam train effect. This effect wasn't actually a steam train (it was Del and a Fairlight whistle sample) and was included mainly to mask the various instruments petering out inconclusively at the end, and also to symbolize some sort of "arrival":KT: "That did all fall apart over a period of about ten bars. And everything just started falling apart, 'cause it didn't end properly, and, you know, the drummer would stop and then the strings would just sorta start wiggling around and talking. And I felt it needed an ending, and I didn't really know what to do. And then I thought maybe decoy tactics were the way, and we covered the whole thing over with the sound of a steam engine slowing down so that you had the sense of the journey coming to an end. And it worked, it covered up all the falling apart and actually made it sound very complete in a way. And we had terrible trouble getting a sound effect of steam train so we actually made up the sound effect out of various sounds, and Del was the steam. [Laughs] And we got a whistle on the Fairlight for the "poo poop." Radio 1, Classic Albums interview: Hounds Of Lovegaffa.org/reaching/ir85_r1.htmlThe steam train effect evokes arrival and journey's end. The train ending ties into Reich's arriving at the point of departure and new beginning, i.e. his "coming out" to tell his story. This is further suggested by the whistle on the Fairlight...Neither science nor fiction, A Book of Dreams inhabits its own special and highly vulnerable reality... His book took six drafts and endless soul searches. "My father was afraid that his wives and children would write books about him, and they did," he says. "Talk about guilt." Guilty or not, this book is deeply touching. Nearly every line seems balanced fearfully between devotion and the possibility of betrayal. TIME, Monday, May 14, 1973www.time.com/time/magazine/article/0,9171,907256-1,00.html A whistleblower is a person who alleges misconduct. More complex definitions may be used, but the issue is that the whistleblower usually faces reprisal: "Talk about guilt." The misconduct may be classified in many ways; for example, a violation of a law, rule, regulation and/or a direct threat to public interest, such as fraud, health/safety violations, and corruption.
So, is Cloudbusting blowing a whistle?
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Post by tannis on Nov 21, 2008 16:43:23 GMT
CLEDONOMANCY: Just saying it could even make it happen...Katie: Cloudbusting is, again, lyrically very obscure. I think the idea is easy to grasp, but the story behind it is very involved, and in a way the video that accompanies it is equally so, but I've spoken to several people who have felt very moved by the song or the video or both, and they all say they feel this really personal relationship between the child and his father, how real it seems, how sad it is. For me, that is wonderful--the book that originally inspired the song and video moved me so much! It's so sad, and it's also a true story, and somehow even if people don't understand the story, they pick up on the feelings, the emotions--this is a very rewarding experience for me. Kate's KBC article, Issue 21 (Winter 1987), "Cousin Kate" by Zwort Finklegaffa.org/garden/kate23.htmlAt the heart of Cloudbusting is the relationship between father and son, the psychoanalyst Wilhelm Reich and his son, Peter. The father-son relationship is central to the psychoanalytic conception of self, where identity is constructed around Oedipal desires. And at the heart of Sophocles' Oedipus Rex is the relationship between King Laius and his son, Oedipus.OEDIPUS: My father was Polybus, king of Corinth. My mother, a Dorian, Merope. And I was held the prince of the realm among the people there, till something struck me out of nowhere, something strange. . . worth remarking perhaps, hardly worth the anxiety I gave it. Some man at a banquet who had drunk too much shouted out - he was far gone, mind you - that I am not my father's son. Fighting words!And so, unknown to mother and father, Oedipus sets out for Delphi...The power of words is nowhere more evident than in the religious circumstances of making a prayer. In the Oresteia, where there are numerous prayers to the gods as expressions of desire for control over events, numerous invocations for assistance towards particular ends, the correct language of prayer is constantly under question. When Electra is about to make offerings at Agamemnon's tomb, she carefully catechizes the chorus as to the correct vocabulary for such a dubious religious occasion.CHORUS: As you pour, bless those who are your friends. ELECTRA: Of those close to me, whom shall I call friends? [110] CHOR.: First, name yourself—then anyone who hates Aegisthus. EL.: Then I'll make this prayer on my own behalf. Shall I include you too? CHOR.: That's your decision. In this ritual you must let your judgment guide you. EL.: Who else should I then add to join with us? CHOR.: He may be far from home, but don't forget Orestes. EL.: That's good. You give me excellent advice. CHOR.: Remember, too, the guilty murderers. EL.: What do I say? I've never practised this. Teach me what I should say. CHOR.: Let some god or mortal man come down on them. EL.: You mean as judge or as avenger? Which? [120] CHOR.: Pronounce these words—and clearly—"Someone who'll pay back life by taking life." EL.: Is it a righteous thing for me to do, to petition gods like that? CHOR.: Why not? How can it not be a righteous thing to pray to pay back one's enemies for evil? ~ Aeschylus, The Libation Bearers [The Choephoroi], 458 BCOoh, I just know that something good is going to happen. And I don't know when, But just saying it could even make it happen...Cloudbusting recognizes the power of words. In 1947, following a series of critical articles about orgone and his political views in The New Republic and Harper's, the U.S. Food and Drug Administration (FDA) began an investigation into Wilhelm Reich's claims, winning an injunction against the interstate sale of orgone accumulators. Charged with contempt of court for violating the injunction, Reich conducted his own defense, which involved sending the judge all his books to read, and arguing that a court was no place to decide matters of science. Wilhelm Reich was sentenced to two years in prison, and in August 1956, several tons of his publications were burned by the FDA. Reich died of heart failure in jail just over a year later, days before he was due to apply for parole.
So does the "something good is going to happen" concern avenging the wronged parent? ... Just saying it could even make it happen...
At various times people have read the future in the accidental meaningfulness of chance overheard remarks (cledonomancy). Certain utterances can be, and need to be, accepted and recognized as ominous, then framed and interpreted, so as to have consequences. It seems that the ancients believed that the word, sacralized as foretelling the future, can evoke a desired outcome, that one can convert an accident into a favorable omen and thus bring on the deed. Careful speech and prompt response to a heedless word, especially in critical moments, were essential.
In the occult of classical antiquity, cledonism, or cledonomancy, was a kind of divination based on chance events or encounters, such as words occasionally uttered. Cicero observes that the Pythagoreans made observation not only of the words of the gods, but of those of men; and accordingly believed the pronouncing of certain words, e.g. the word incendium (destruction, ruin), at a meal to be very unlucky. Thus, instead of prison, they used the word domicilium (residence, dwelling); and to avoid Erinyes, said Eumenides.
Homer’s heroes debate the value of auspices and ominous sounds and even appropriate the omens of others for their own benefit. Odysseus and his family unintentionally meet with, ask for, and receive kledones in the Odyssey; e.g. Odysseus notes and finds satisfaction in the suitors’ vapid but eventually lethal good-will wish for the future of the strong and amusing beggar. Another example of cledonism occurs in Book XX. Before taking vengeance on the suitors, Odysseus asks for a divine sign, and Zeus answers with a clap of thunder. This is immediately followed by words from a servant-woman, asking Zeus to "let this be the very last day that the suitors dine in the house of Odysseus."
Romans transformed incidental words and acts into divine signs by formal reception. Thus they took precautions at ceremonies so as to hear only words of favorable omen. Great consequences turned on “the right word spoken at the right time” or vice-versa. Some deemed the very name of Rome (the Greek means “Strength”) prophetic of its power. On a different level, Xenophon (Cyn. 7.5) requires owners of hunting dogs to give names to them appropriate to their purpose, such as Bonnie and Clyde...
Such “coincidental” signs may presage an event, a fortuitous consonance, and current preoccupations may then press them into good service, public or private. Indeed, they need to be noticed and accepted, and sometimes even adapted or perverted, before they are deemed able to affect the situation. They certainly need to be acknowledged as kledones in order to be framed as ominous at all, in order to be separated out as more than insignificant chatter or bluster.
Roman religion and popular thought discovered reasons to act or not to act that depended on names and chance utterances. “To accept an omen” by formal announcement gave it almost irrevocable force; thus, the verbal acceptance contributes to produce the desired result. Interpretation is already a type of human interference, but kledon or other accidental omen recognition offers humans more control. “I accept the surprise omen” means “I turn this accident into an omen in my favor.” Such human attempts occur every day, but historians can only read about successful interventions and then only after the event.
Divine-human currents flow both ways (e.g., portents and prayers). Believers might say that the gods admire human ingenuity, that the gods enjoy the human transformation of accidents into omens, making them confirm one’s cause for the omen-caller and his allies. In the examples examined here, from the Odyssey on, quick-witted responses make things happen. The prophet should direct the future, not merely foretell it, Agamemnon complained about Calchas.
see more: Signifying Names and Other Ominous Accidental Utterances in Classical Historiography by Donald Lateiner
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Post by musiclover on Feb 6, 2009 23:56:42 GMT
It's usually a cliche that the slow piano ballads are the tear-jerkers. But while that's true in the case of Kate's, THIS song really makes me choke up inside when it gets to the bridge with that synth line. There is just something utterly profound about it that can't be put into words.
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Post by tannis on Apr 17, 2009 20:27:20 GMT
And Lancelot spoke And answered him at full, as having been With Arthur in the fight which all day long Rang by the white mouth of the violent Glem; And in the four loud battles by the shore Of Duglas; that on Bassa; then the war That thundered in and out the gloomy skirts Of Celidon the forest; and again By castle Gurnion, where the glorious King Had on his cuirass worn our Lady's Head, Carved of one emerald centered in a sun Of silver rays, that lightened as he breathed; And at Caerleon had he helped his lord, When the strong neighings of the wild white Horse * Set every gilded parapet shuddering...
~ Lancelot and Elaine, Alfred Lord Tennyson
* the strong neighings, etc., i.e. the violent inroad of the Saxon forces. The emblem of the Saxons was a White Horse (as that of the Britons was a Dragon), a figure of which was borne on their banner. Cf. Guinevere, 15, 16 : — "the Lords of the White Horse, Heathen, the brood by Hengist left;" and The Holy Grail, 311, 312 :— "Knights that in twelve great battles splash'd and dyed The strong White Horse in his own heathen blood". I: Great. Who directed the video and where was it shot? I think the setting of its really beautiful. K: It is a beautiful place. It's the Vale of The White Horse, in England. And the director was Julien Doyle. MTV, Unedited, November 1985www.gaffaweb.org/reaching/iv85_m1.htmlRUNNING UP THAT HILL Kate Bush is 'running up that hill' in the Cloudbusting video, having exchanged the experience with Peter Reich. In the video, Kate also slides down White Horse Hill, steeped in English tradition going back to the Bronze Age.
The Vale of White Horse is a local government district of Oxfordshire in England. It is a geographically distinct region, lying between the Berkshire Downs and the River Thames, named after the prehistoric Uffington White Horse. The Uffington White Horse is so-called because it has been dug, most probably during the late Bronze Age, so the chalk bedrock contrasts against the grass of the hill. The design, facing to the right and very stylistic (resembling early Celtic art), is roughly 374 feet in length and 110 feet in height.
Traditionally the horse is attributed to a number of famous figures, one of these is King Alfred, who is said to have had it constructed to commemorate his victory over the Danes in 871. The horse is also said to have been cut by Hengist, the leader of the Anglo Saxon horde in the 5th century AD. [Hengist: a semi-legendary Saxon chieftan credited in the Anglo-Saxon Chronicle with the impetus for the Saxon conquest of Britain. He has an important role in the Arthurian chronicles.] Another piece of folklore suggests that the figure is actually a representation of the dragon killed by St George, an event thought to have taken place on nearby Dragon Hill.
Dragon Hill is a low flat-topped mound situated in the valley below the White Horse. In legend it is the place where St George slew the dragon, its blood spilling on the hilltop and leaving forever a bare white patch where no grass can grow. Some suggest that the horse is a representation of St George's steed or even of the slain dragon itself. [The Cloudbusting video was also shot on location at Dragon Hill.]
The horse is thought to represent a tribal symbol perhaps connected with the builders of Uffington Castle. Due to the angle of the slope it is carved on, only a small part of the horse can be seen at a time by an observer standing on the ground, which indicates a religious or magical significance to the figure.
Resembling a horse at full gallop, it is now believed to be either a depiction of the horse/sun god Belinus, associated with agriculture and the festival of Beltane - or the horse goddess Epona, who represented fertility, healing and death and later enjoyed renewed success as the protective goddess of horses by the Roman cavalry.
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Post by tannis on Aug 1, 2009 16:27:08 GMT
The Kate Bush Mysteries: "Witch Bush" or "Mistress of Arcane Knowledge"It's you and me, daddy...“Cloudbusting” (1985) (HOL, TWS), however, must rank as the most significant of her “New Age” themed songs. This alludes to the proposal by Wilhelm Reich (1897–1957) of the existence of a mysterious life-energy termed Orgone he felt had various practical applications - most notably when utilised by a weather control device termed a “Cloudbuster” (31). Bush encountered these ideas indirectly through a work entitled “The Book of Dreams” (32) authored by his son, Peter Reich; a work she discovered during one of her visits to “Watkins” occult bookshop in 1976 (33). As a consequence the song emphasises Peter’s relationship with his father rather than any underlying “New Age” subtext. It is notable the song mentions Orgonon - the farm Wilhelm Reich bought to carry out his experiments – but not “Orgone” and that Bush had little idea what a “cloudbuster” actually looked like while producing the song’s associated video – making a more cinematically impressive version for the purpose (designed by the surrealist H R Giger [?]) (34). [More likely, the video cloudbuster is an exaggeration on the real model. See below.]
But all this must be put into context. While Kate Bush has been singled out by some writers as an artist who “writes songs about the unexplained” (41), a closer look indicates that - while true to an extent - such topics are not the main focus of Bush’s creative output. Identifying dominant motifs in her work is difficult, given a single composition may cover several distinctive themes (hence the overlapping percentage quotients cited below!) But from a selection of 50 songs composed from 1976 upto 1989, the writer found only 14 (28%) deal with “the paranormal”; with 26 (52%) relating to third person characters, 21 (42%) having pronounced themes relating to love and sexuality, while 30 (60%) recount mundane life experiences – some possibly relating to Bush herself. Hence, most of Bush’s output is actually concerned with human sensuality and relationships – with paranormal themes only mentioned when they intrude upon the human life-experience. The forms of paranormal phenomena featured in Bush’s lyrics include auras, ghosts, Out-Of-Body Experiences (OOBEs), Spiritualism, past lives, reincarnation and karma. No song, however, overtly references UFOs (other than in one possible instance discussed later [Hello Earth]); although three songs relate to issues popular with conspiracy theorists; alternative/free energy (“Cloudbusting”), sonic weapons (“Experiment IV”) (TWS) and Elvis survival claims (“King of the Mountain” (AER). Furthermore, popular misconception aside, no songs deal with Tolkien-style themes, only motifs inspired by fairly tales and childhood fantasies; namely “Peter Pan” (in 2 compositions), “Babooshka” (NFE) and “The Red Shoes (TRS)”. It is also notable that most “mystical” references within her songs have a Christian basis. This may be in keeping with her convent grammar school background – although Bush has stated that Catholicism “never touched my heart”, an attitude possibly reflected by her 1976 demo song “Disbelieving Angel” (35). Her lyrics references God, Jesus, angels, Heaven, The Pearly Gates, various Christian saints (Joan of Arc in two songs, St. Catherine and St. Margaret in another), Beelzebub and the Devil - even Noah and his Ark! Thus, in regard to religious imagery, Kate Bush has seemingly more in common with Elvis than Tori Amos! In this context, it is notable Bush stated in one 1985 interview that while she didn’t consider herself “religious” or belonging to a specific faith she nonetheless recognised (and utilised) the emotional power of religious imagery (36).
Kate Bush’s willingness to discuss her views on “New Age” issues and “the unexplained” seemingly wavered throughout the 1980’s. The first sign of her reluctance to talk publicly on such topics is possibly reflected in her 1982 song “Leave It Open” (DRE). While Bush confirmed in a 1992 “Q” magazine interview that she retained an interest in “the paranormal”, she politely declined to discuss this any further (37). By the time Aerial was released in 2005 she had acquired a relatively conventional public image- at least in relation to other contemporary musicians. This aside, none of this should be taken to infer Kate Bush was exceptional in having an interest in such topics during the 1970’s. These ideas were initially thrust into the public consciousness by popular musicians during the 1960’s, most notably The Beatles. Their promotion of ideas taken from eastern religions such as Buddhism heightened the profile of concepts such as auras, astrology, elemental forces, reincarnation, spiritual healing, ecology and vegetarianism. This period was also associated with increased interest in “the unknown” - a term encompassing a diversity of concepts from leys, ghosts to UFO’s.
Taking this into account, it appears Kate Bush’s attitude to such subjects was commonplace among musicians during the late 1970’s and early 1980’s, and hence only reflects issues of contemporary interest within her “peer” group. However, of all the “New Age” ideals she held, her vocal advocacy of vegetarianism during the 1970’s and 1980’s probably had the greatest social significance, pioneering a lifestyle attracting an increasing number of people in later years (38). In 1984 only 2.2% of the British population followed a vegetarian lifestyle – rising to around 8%-11% by 2009(38). In light of the above, it is ironic to note that Bush has never had - or at least publicly admitted to having - any overt paranormal experiences; other than (while a child) being a peripheral witness to a family medical crisis associated with an Out Of the Body Experience (39).see more: Confess to me, girl... katebush.proboards.com/index.cgi?action=display&board=leaveitopen&thread=1998&page=6 The Delta Project ~ "THE KATE BUSH MYSTERIES: FACT OR FICTION?"www.deltapro.co.uk/katebushm.pdf
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Post by tannis on Aug 5, 2009 2:27:24 GMT
Freud would say Kate Bush portrays her Oedipus complex in this video: she is the ‘son’ of Wilhelm Reich, and she makes rain, which is a metaphor for sexually aroused lubrication, ONLY when the father is gone… … And The rain making machine was created by the swiss surrealistic artist, H. R. Giger www.ciaranwalsh.com/orgone1.html
Counting on my fingers, I could barely tabulate the number of artists, record companies, production companies and other entities that have been involved to one degree of another in the various songs/videos Kate has released since the "Red Dress" version of "Wuthering Heights" in 1978. We're talking about everyone from Elton John to Peter Gabriel to Prince to David Gilmour to the Trio Bulgarka to a group of monks in that collection. Then add the old Hammer Studios, Donald Sutherland, H.R. Giger (he designed the costume with the hoses Kate wore in the video for "The Dreaming") and even the Disney Corporation if you threw in the better fan videos (the one for "Aerial" is good). Herzog's remake of Nosferatu is referenced in "Hello Earth." This list is not exhaustive, either. www.rushmessageboard.com/cpmb/index.php?s=824d7187e8c26f7f6d6f53959097c2a9&showtopic=19036&st=300&p=1403006entry1403006KB: Cloudbusting is one of the few videos we've made that has the right visual content within the subject matter. It is a story, and could easily be treated as such. One of the things that needed a lot of work was the Cloudbuster machine. It came out of our heads, based on vague information from the book. It had to look larger than life--elegant, strange, aimed at the sky. And when I went to see it in its early stages I really wondered: four cardboard tubes on wheels--eek!! But by the last stages it looked great, and on screen it looked superb. Kate's KBC article, Issue 19 (Spring 1987)www.gaffaweb.org/garden/kate21.htmlWas the "four cardboard tubes on wheels" rain making machine used in Kate Bush's 'Cloudbusting' video designed by H.R. Giger? And did the Swiss surrealist really design Kate's costume for 'The Dreaming'? Or are these rumours just further pieces to the Kate Bush mythology? ... September 20, 1985: The Cloudbusting video is made partly on location in the Vale of the White Horse in Oxfordshire. It features Donald Sutherland as Wilhelm Reich, with the design of the cloudbusting machine itself undertaken by the artist H. R. Giger [constructed by Ken Hill]. gaffa.org/garden/chrono.html
Just a couple of quick (what, me quick? Hah!) things. IED writes: > Eric: Despite what you may have heard, there has _never_ been > any evidence that the cloudbuster was actually designed by H. R. Giger. > On the contrary, the official credit (on the back of the single) goes > to a Ken Hill. Certainly the KT cloudbuster is in the _style_ of Giger, > but there have been many such Gigeresque creations. Ah ha! Kate *herself* said that it was designed by Geiger in the unedited version of the 1985 MTV interview. gaffa.org/archives/1990-13/msg00097.html
IED completely forgot about that interview. It's not like Kate to have failed to credit Giger (note correct spelling) for his part in the design, though--especially since we know how much she liked his work on _Alien_. Any explanation? gaffa.mit.edu/gaffa.org/archives/1990-14/msg00018.htmlI: How did you make that machine? K: Well the book gave very little details of what the actual machine looked like. But from what I could gather, em, the reality of the machine wouldn't look right. On screen it's got to be exaggerated. So it was trying to design something that would look powerful and possible of doing it but that wouldn't be comical, because, em, we didn't want people to laugh at it, we wanted people to be astounded by the machine. So it was really designing something that was a cross between an AKAK gun and a pipe organ. I just felt that it had to have these huge funnels that would reach to the sky and could be moved around. And the whole thing should be rotatable. And so we worked with, er, some designers who'd worked on the Alien and, erm, I think it looked pretty good. MTV, Unedited, November 1985 www.youtube.com/watch?v=qgBTWch2kTc&feature=related 1:58...Allegedly, the video cloudbuster was designed by ultra-surreal artist and Alien-designer H. R. Giger especially for KaTe and this video. Another damn fine job (from the man who invented chest-bursting aliens . Anyone know what the eventual disposition of KaTe's cloudbuster was? Seems like it should go in a music museum somewhere (but not the R'n'R HoF). Some rich Love-Hound buy it up for his collection?gaffa.org/archives/1990-13/msg00057.htmlI: The machine that features in the video--what's become of that now? K: Well, it's at the moment resting in a garage not far from here. (laughs) 1985 Picture Disk Interview 2 CBAK 4011www.gaffaweb.org/reaching/im85_pd1.htmlWhen Kate says "we worked with some designers that worked on the Alien", this does not mean that her team worked with Giger himself, or that the "some designers" worked on the Alien character itself. She does not mention Giger, just the 1979 film; and surely, had Giger been involved in the design of the Cloudbuster, then KaTe would have name-dropped him over the film title? So maybe those designers worked elsewhere on the Alien film set. KaTe also says that the Cloudbuster machine "came out of our heads, based on vague information from the book". So it seems that the Giger-Cloudbuster connection is a fan-perpetuated myth. The last known whereabouts of KaTe's Cloudbuster was in someone's garage, perhaps at her parent's farmhouse. Kate described it as "four cardboard tubes on wheels", suggesting that, like most props, it was not built to last. And what of Kate's Giger-esque costume for 'The Dreaming' video? Was that designed by him or merely inspired by his designs or the Alien movie? ... Cloudbuster built by Ken Hill Hmph. An HR Giger original qualifies as sculpture (IMHO) and deserves better than a garage. (Although she may not have a door big enough to admit something like that . The ultimate pop-art conversation piece! gaffa.org/archives/1990-13/msg00073.htmlsee more: Tribute to H.R. Gigerwww.youtube.com/watch?v=CSm3ZZqUqk8&feature=relatedTHE ALIEN JIGSAW: Experiment IV and Necronom IV katebush.proboards.com/index.cgi?action=display&board=tww2&thread=1819&page=3 H. R. Giger Gallery www.system75.com/giger_gallery.htm GIGER: "My paintings seem to make the strongest impression on people who are, well, who are crazy. A good many people think as I do. If they like my work they are creative... or they are crazy." STARLOG/September 1979
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Post by tannis on Aug 5, 2009 14:27:25 GMT
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Post by tannis on Aug 6, 2009 17:27:24 GMT
H.R. GIGER: Work for recording artists Brain Salad Surgery is the fourth studio album by progressive rock band Emerson, Lake & Palmer, released in 1973 and the first under their Manticore Records imprint. It features cover art by surreal artist H. R. Giger.
Island: album cover for Pictures (1977). Cover illustration: H. R. Giger.
Attahk is the eighth studio album by Magma. It was released in 1978. Cover Illustration: H. R. Giger.
Koo Koo is the title of the debut solo album by Debbie Harry, released in August 1981 while Harry was still a member of the group Blondie. For the promotion of Koo Koo there were plans by Harry's record company, Chrysalis Records, to display large posters of the album cover created by Swiss artist H.R. Giger in various stations of the London Underground, but officials deemed the image of Harry's face with metal skewers going through her head too disturbing. H. R. Giger - cover concept and painting
To Mega Therion (meaning the great beast in Greek) is the second album by the Swiss extreme metal band, Celtic Frost, released in October 1985. The cover artwork is a painting by H.R. Giger entitled Satan I.
Frankenchrist is the third album released by the Dead Kennedys in 1985 on Alternative Tentacles. The album was a subject of great controversy because of a poster inserted in the original record sleeve. The poster, H. R. Giger's Landscape #XX, or Penis Landscape, was a painting depicting rows of penises and vulvas created in 1973. The band was brought to trial for distributing harmful matter to minors, and though the case did not result in a conviction, Jello Biafra's Alternative Tentacles was driven almost to bankruptcy.
Atomic Playboys is the first album released on August 8, 1989 by guitarist and songwriter Steve Stevens, best known for playing for Billy Idol for several years. The album cover art is by Swiss surrealist artist H.R. Giger (who designed the Xenomorph in the Alien film series).
Hallucinations is the debut album by the German death metal band Atrocity. It was released in 1990 by Roadrunner Records. H.R. Giger - Cover illustration: Work Nº 93, “Hommage an S. Beckett I”
Danzig III: How the Gods Kill is the third album by Glenn Danzig's band Danzig, and the highest to chart at the time of its release in 1992 on Def American Recordings. The album's cover is a 1976 painting called Meister und Margeritha (Master and Margarita) by famous Swiss artist H.R. Giger. For the album cover, Giger modified the original painting slightly, covering "the Master's" erect penis with a dagger bearing his interpretation of the Danzig skull mascot.
Heartwork is an album by Carcass, released through Earache Records in 1993. The sculpture depicted in the cover art, "Life Support 1993", was designed by H.R. Giger, and is in fact an update of a sculpture he created in the late 1960s. The video for the song "Heartwork" features a real-life interpretation of the sculpture, including a human welded as a part of it.
Hide Your Face is the first solo album by Hide and was released on February 23, 1994. The cover art features a mask designed by H. R. Giger.
Black Sun Productions is the project of sound, visual and performance artists & activists Massimo & Pierce, also known as the Anarcocks. In 2005 Massimo and Pierce issued a new release. OperettAmorale is a tribute to Bertolt Brecht and includes covers of his songs with such guest musicians as Coil, doing a version of "A List Of Wishes", recorded with John Balance before he died; "The Ballad Of Sexual Dependency" with Lydia Lunch providing vocals; and H.R. Giger performing "Seeräuber-Jenny" and providing cover images.
Korn's Jonathan Davis commissioned Giger to design and sculpt a microphone stand. The contract allowed for five microphone stands to be made, but Davis purchased only two of the three he was entitled to. The design of the microphone stand was later adapted to Giger's "Nubian Queen" transforming it into a fine art sculpture. Blondie's Chris Stein commissioned Lieber Guitars to create Stein's unique "Gigerstein" guitar based roughly on Giger's artwork, but without Giger's direct involvement.
The Guitar: An incredible guitar based upon the art works of H.R. Giger - commissioned by Chris Stein of Blondie. The asymmetrical bio-mechanical body is hand carved in wood. It is adorned with carbon graphite, assorted biological materials and bronze castings. The neck and six-fingered “peg-hand” comprise unidirectional carbon graphite fiber. A unique construction feature is the integral molding of the neck and fingerboard.
The Story: Chris Stein of Blondie, a longtime client of Lieber Instruments, commissioned Tom Lieber to create an instrument based upon the artwork of Chris’ friend, H.R. GIGER, who is well known for his spine-tingling, bio-mechanoid creatures and set designs as seen in the movie, “ALIEN.” After Lieber’s careful study of Giger’s artworks, the concept of using an Alien’s hand for the peg-head was realized and several body depictions were rendered. In an artistic meeting, Giger, Chris and Lieber hammered out the final modifications and details and the result is truly a work of art. Much of the guitar’s components and ornamental design hold true to Giger’s signature style of mixing the organic with the synthetic. Photography by John Carder Bush Solarization by Vivienne Morgan Chandler Cloudbuster built by Ken Hill Looking at Giger's official work for recording artists, it seems most unlikely that he was ever involved in the design process of Kate Bush's Cloudbuster. There is no mention of Kate Bush and Cloudbusting on giger-art.com, hrgiger.com or on H.R. Giger's official US website, and the Cloudbusting machine would seem an out-of-place artifact in the H.R. Giger Museum! Had Giger designed the Cloudbuster for the video, then I guess it would have looked far more phallic, obscene and disturbing, and ended up garaged in KaTe's Private Case... see more: Debbie Harry - Now I Know You Know www.youtube.com/watch?v=LHDQWJvftk4 Debbie Harry - Backfired www.youtube.com/watch?v=8AE_LgTIwMg Carcass - Heartwork www.youtube.com/watch?v=B7lP30tSZF0 H.R. Giger: The Sound of Surreality www.giger-art.com/giger-music-art.html H.R. Giger's Official US Website giger.com/gigerframeset.php H. R. Gigeren.wikipedia.org/wiki/H._R._Giger
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Post by tannis on Aug 8, 2009 21:27:14 GMT
I still dream of Organon......an AKAK gun and a pipe organ KB: Cloudbusting is one of the few videos we've made that has the right visual content within the subject matter. It is a story, and could easily be treated as such. One of the things that needed a lot of work was the Cloudbuster machine. It came out of our heads, based on vague information from the book. It had to look larger than life--elegant, strange, aimed at the sky. And when I went to see it in its early stages I really wondered: four cardboard tubes on wheels--eek!! But by the last stages it looked great, and on screen it looked superb. Kate's KBC article, Issue 19 (Spring 1987) www.gaffaweb.org/garden/kate21.html
I: How did you make that machine? KB: Well the book gave very little details of what the actual machine looked like. But from what I could gather, em, the reality of the machine wouldn't look right. On screen it's got to be exaggerated. So it was trying to design something that would look powerful and possible of doing it but that wouldn't be comical, because, em, we didn't want people to laugh at it, we wanted people to be astounded by the machine. So it was really designing something that was a cross between an AKAK gun and a pipe organ. I just felt that it had to have these huge funnels that would reach to the sky and could be moved around. And the whole thing should be rotatable. And so we worked with, er, some designers who'd worked on the Alien and, erm, I think it looked pretty good. MTV, Unedited, November 1985 www.youtube.com/watch?v=qgBTWch2kTc&feature=related 1:58...An old foot bellows organ which wheezed and squeaked dusty puffs of prayer books and cold, Methodist chapels. Mice lived inside it and when they were away it could be persuaded to make a sound. Out of tune and rotting it was, but the red velvet washers on the stops were still bright and attractive and it drew Cathy into the rockpools of her music. It's sad that we have not learned to use tape recorders like cameras. (JCB, "Cathy", 1986)home.att.net/~james51453/cathy26.htm KB: "We lived in a farmhouse. I used to play hymns on an old organ in the farm until it was eaten out by mice." Sunday Times, "How To Write Songs And Influence People", October 5, 1980gaffa.org/reaching/i80_st.htmlThere appear to be two major steps that influenced you as a singer: that your family's interest in music inspired you to teach yourself the piano, and that after securing your first recording contract you started mime and dance lessons. KB: "Yes, that's right. My father played the piano, and we also had an old harmonium in a barn next to our house, where I'd spend a lot of time just pedalling away hymns. I really loved their melodies and harmonies and worked out for myself that a chord was made from a minimum of three notes, and that by changing one of these notes you could get completely different chords to work with the new note. In a way, that started my interest in the way things could sound and feel very different just by putting different chords to a tune. As the harmonium got eaten up by mice, less and less of the stops that selected the sounds worked, so naturally I turned my attention to playing the piano." Electronics & Music Maker, 1982gaffa.org/reaching/i82_emm.htmlWhen she was 10 her father showed her middle C on a decaying harmonium and, with nobody around who would dream of mocking her efforts, she thumped and pedalled away at it. When the mice had finished eating most of the moving parts, she moved to an upright piano and drifted naturally into writing her own songs -- 200 of them by the time she was 16. Q, "Iron Maiden", November 1989gaffa.org/reaching/i89_q3.htmlShe also liked hymns and took violin lessons at school. There was an old organ in the barn on which she used to tinker until one day her father showed her middle C on the piano in the living room. And then, in her own words, "Wow!" Sunday Telegraph, "The Explosive Kate Bush", July 6, 1980 www.gaffaweb.org/reaching/i80_st2.htmlFREE ASSOCIATION: An AKAK gun and a pipe organ
In Freud's dreamwork, the phallus is symbolically substituted with all things that are similar to it by their form, namely long things that jut out: mountains, rocks, sticks... also weapons and objects of penetration: knives, daggers, guns, revolvers, cannons... Obviously, the phallus is also substituted with objects from which water runs: pipes, watering-pots, fountains... and with objects that can be lengthened: hanging lights, extensible pens, aerials... Balloons, airplanes, helicopters, rockets, etc. are symbols of erection... A train and its whistle... But every time it rains, You're here in my head...On the design of the Cloudbuster, Kate says "It came out of our heads, based on vague information from the book". Kate is also very clear on the design brief: "It had to look larger than life" and "On screen it's got to be exaggerated. So it was trying to design something that would look powerful and possible of doing it but that wouldn't be comical, because, em, we didn't want people to laugh at it, we wanted people to be astounded by the machine. So it was really designing something that was a cross between an AKAK gun and a pipe organ". She also makes clear that she "just felt that it had to have these huge funnels that would reach to the sky".
The money shot... ;D So it seems that KaTe's brainstorming input into the design was quite significant. Indeed, Kate says "we worked with, er, some designers who'd worked on the Alien", suggesting that her conceptual involvement was continuous, collective and/or directorial.
Oh, God, Daddy-- I won't forget...
Kate's reference to the pipe organ may hark back to the old organ in the barn on which she used to tinker. Indeed, the photograph of KaTe sitting in the chair on the AKAK-Cloudbuster serves as a visual reference to the young Cathy playing the organon! This association might suggest that the misspelling of orgonon as 'organon' was an intentional (or unconscious) self-reference to her childhood organ. And what of the Cloudbuster? Perhaps it too ended up in the barn next to her parents' farmhouse and has since got eaten up by mice! Who knows, maybe the Cloudbuster (built by Ken Hill) even used components from the old pipe organ in KaTe's barn? ... Wide eyes would clean and dust Things that decay, things that rust. (But now I've started learning how,) I keep 'em shut. I keep 'em shut... And does Leave It Open reference Kate's childhood barn, the place of the old broken-down organ which was the home of countless mice? "Cathy's plimsoles say it is a hot Summer, and looking into the photo I can see the dust on the boards and the whitewash that has dripped onto the skirting board. The room is a corn store with a circular window where the grain was hoisted up into the safe dryness. A magical, private place like a mouse's nest."
"The oversize boots are cavalry and I wore them, with spurs, in the hope they would make my motorbike go faster. The sword belonged to our English grandfather and it used to lean up against the wall of his shed, along with two unexploded incendiary bombs he had picked up during the war. It was a difficult pose for her to keep; if she tried to walk she would have fallen over." (JCB, "Cathy", 1986)home.att.net/~james51453/index.htm Kate Bush Cloudbustingwww.youtube.com/watch?v=IRHA9W-zExQ...We're cloudbusting, daddy!
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Post by tannis on Aug 9, 2009 19:27:14 GMT
Julian Doyle, Kate Bush, and Ken Hill KaTe Bush on Cloudbusting: I worked with Julian Doyle as director. He was suggested to me by Terry Gilliam. Terry is one of my favourite film-makers, and I was so honoured that he got involved; and we worked very hard for about five-six weeks. It seemed to make sense to treat it like a film and cast actors, and I had this initial crazy idea of using a very tall actor who would play the father, and myself to appear as the small boy. It continually astounds me that I have the nerve to publicly announce these crazes, and I'm even more surprised when they work. It seems to be connected to a kind of faith? The first move was to check that I'd be able to look boy-like or tom-boyish, so we pulled "The Team" together. This consists of Tina Earnshaw on make-up--she set about with foundation and stick-on freckles; Anthony Yacomine, who designed and cut a short wig which my hair was bundled up inside of; and Pamela Keats, who had brought a variety of dungarees, cardigans and wellies [rubber rainboots] that completed the character; and Del gave options. I looked a bit like Coco the clown, and someone mentioned Harpo, but we all felt with fine adjustments we could get away with it, especially when we took a polaroid with Anthony standing on the chair to look tall next to me. Kate's KBC article, Issue 19 (Spring 1987), Even More Hounds Of Lovewww.gaffaweb.org/garden/kate21.htmln.b. Nowhere in the KBC article does KaTe refer to designers who'd worked on the Alien, as she does during the US MTV interview.Julian Doyle is a British film maker who is best known for editing Monty Python's Life of Brian and shooting the special effects for Terry Gilliam's Brazil [Gilliam provided assistance with the video for the song Cloudbusting, and put Kate in touch with his film editor Julian Doyle, who directed the video]. Doyle has directed the films Love Potion (1987; aka Shock Treatment), about a drug rehabilitation centre, and Chemical Wedding (2008), an occult thriller starring Simon Callow which he wrote with Iron Maiden singer Bruce Dickinson. He has also written Twilight of the Gods, a play about the relationship between Wagner and Nietzsche which was performed at the Edinburgh Festival. He has also directed music videos, including those for Kate Bush's "Cloudbusting" and Iron Maiden's hit "Can I Play with Madness". Doyle teaches at the London Film Academy.Julian Doyle directed Kate Bush's Cloudbusting video (1985) and the Cloudbusting machine was built by Ken Hill. Doyle would later direct Love Potion (1987), and the Art Direction for Love Potion (1987) would be by Ken Hill. So maybe Julian Doyle put Kate Bush in touch with Ken Hill. [n.b. According to IMDb, no Ken Hill was involved on the Alien (1979).]Love Potion (Julian Doyle, 1987; Art Direction by Ken Hill): After her brother's death by overdose, Delaware delves into the world of drugs. Two years later she agrees with her father to submit herself to a drugs rehabilitation program in a special clinic in England. When she arrives for the treatment, with a small group of other drug addicts, she gets in touch with the doctors' unorthodox methods and soon realizes she's stuck in a place where morbid and strange experiences with drugs take place.
Iron Maiden - Can I Play With Madness Music Videowww.youtube.com/watch?v=mVzHjmLePLg
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Post by tannis on Aug 10, 2009 19:27:23 GMT
What about the rain machine? Was it your idea, the way the video actually turned out? KB: "It was very much my idea, but a lot of ideas came from Terry Gilliam, who--really together we wrote the story board, and the director Julian Doyle put an awful lot of work into it, and it was fantastic to work with them." The Tony Myatt interview, Nov. 1985www.gaffaweb.org/reaching/im85_tm.htmlQUESTION: Who designed the Cloudbusting machine used in the Kate Bush video? This answer from the Daily Mail credits Kate herself with the design of the Cloud Buster, though HR Giger is name-dropped.The storyboard for the video was created by Terry Gilliam and the video's director Julian Doyle. The machine was based on a description in Peter Reich's book and Kate Bush herself is credited with the design. She was aided in the design and construction by Ken Hill, a member of the design team from the film Alien. The creatures in Alien were based on designs by the Swiss artist HR Giger, whose influence on the Cloudbuster is quite evident. Julia Peabody, Windsor, Berks. [Daily Mail, May 08, 2007]LIKE FATHER, LIKE SONCloudbusting emphasises Peter’s relationship with his father, Wilhelm Reich. And for the video, Ken Hill made the Cloudbuster and his son Bruce Hill built the laboratory scene!Letter from Kate to the father and son Cloudbusting team congratulating them on "the finished thing"! BRUCE HILL: I did three of hers. By far the best was "Cloud Buster" directed by Julian Doyle (editor, Time Bandits), which was based on a true story and involved me creating a 50's laboratory for Donald Sutherland. The Cloud buster was last seen going to Kate's house. My father Ken originally made this, whilst I was building the laboratory scene. Bruce Hillwww.createascene.co.uk/past_promosMARC HILL: BBRK was created in the early 70s by David Bill, David Butt, Peter Richardson and Geoffery Kirkland. They rented three sound stages within Shepperton studios and created thousands of sets over the course of 20 years. Alan Parker, Ridley and Tony Scott Hugh Hudson, David Bailly, Lester Bookbinder were a few of their many clients. I was fortunate to join them in 1976. The experience provided the foundations of my career. Marc Hillwww.slideshare.net/hillmarc/bbrk
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Post by tannis on Aug 11, 2009 2:27:32 GMT
"CHESTBURSTING" When Kate says "we worked with some designers that worked on the Alien", this does not mean that her team worked with Giger himself, or that the "some designers" worked on the Alien character itself. She does not mention Giger, just the 1979 film; and surely, had Giger been involved in the design of the Cloudbuster, then KaTe would have name-dropped him over the film title? So maybe those designers worked elsewhere on the Alien film set. Alien was filmed July 5 to October 21, 1978. Principal photography took place at Shepperton Studios in London, while model and miniature filming was done at Bray Studios in Water Oakley. A crew of over 200 workmen and technicians constructed the three principal sets.
H.R. Giger designed and worked on all of the alien aspects of the film. The design of the "chestburster" was inspired by Francis Bacon's 1944 painting Three Studies for Figures at the Base of a Crucifixion. Giger's original design resembled a plucked chicken, which was redesigned and refined into the final version seen onscreen. Giger made several conceptual paintings of the adult Alien before crafting the final version. He sculpted the creature's body using plasticene, incorporating pieces such as vertebrae from snakes and cooling tubes from a Rolls-Royce. The creature's head was manufactured separately by Carlo Rambaldi, who had worked on the aliens in Close Encounters of the Third Kind. Rambaldi followed Giger's designs closely, making some modifications in order to incorporate the moving parts which would animate the jaw and inner mouth.
Three Studies for Figures at the Base of a Crucifixion, Francis Bacon, 1944 The spaceships and planets for the film were shot using models and miniatures. Visual Effects Supervisor Brian Johnson, supervising modelmaker Martin Bower, and their team worked at Bray Studios, roughly thirty miles from Shepperton Studios where principal filming was taking place. The designs of the Nostromo and its attachments were based on combinations of Ridley Scott's storyboards and Ron Cobb's conceptual drawings. Scott insisted on numerous changes to the models even as filming was taking place, leading to conflicts with the modeling and filming teams. He also took a hammer and chisel to sections of the refinery, knocking off many of its spires which Bower had spent weeks creating. For the scene in which the Nostromo detaches from the refinery, a thirty-foot docking arm was created using pieces from model railway kits.see more: Alien (film)en.wikipedia.org/wiki/Alien_(film)Alien - Extended Chestbursterwww.youtube.com/watch?v=JehjqlzXwIQ
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