|
Post by Al Truest on Jul 17, 2008 4:12:53 GMT
^ Thank you. I will respond more tomorrow.
|
|
|
Post by tannis on Jul 17, 2008 9:58:18 GMT
Kate Bush's Theater of the Senses "When people listen to your record, that's an audial experience; you don't necessarily want to see things," says Kate Bush. "Like when you write a song: the person singing the song is a character. Although it might be you vocally, it's not yourself you are singing about, but that character. It's someone who is in a situation, so you treat it like a film. That's how I see songs. They are just like a little story: you are in a situation, you are this character. This is what happens. End. That's what human beings want desperately. We all love being read stories. And none of us get it anymore. 'Cause there's a television now instead." Kate Bush creates that elusive theater of the mind, a mood and atmosphere populated by actors from subconscious Central Casting, moving through audio stage settings that could be inspired by Charles Dickens or Werner Herzog. Perhaps that's why her self-produced videos have been so successful. You won't find Bush up there lip-synching her songs in lingerie with jump-cuts and smoke-bombs. Instead, we're treated to intricate morality plays starring Donald Sutherland on Cloudbusting, the sword-wielding temptress of Babooshka, the surreal aboriginal-alien landscapes of The Dreaming, and Bush emerging from a clear plastic womb into the polluted world of Breathing. Musician, "Kate Bush's Theater of the Senses" (1990)gaffa.org/reaching/i90_mu.htmlI: What's your most successful video to date, in your opinion? K: From an artistic point of view, definitely Army Dreamers. [Army Dreamers is played] K: For me that's the closest that I've got to a little bit of film. And it was very pleasing for me to watch the ideas I'd thought of actually working beautifully. Watching it on the screen. It really was a treat, that one. I think that's the first time ever with anything I've done I can actually sit back and say "I liked that". That's the only thing. Everything else I can sit there going "Oh look at that, that's out of place." So I'm very please with that one, artistacly. "Profiles in Rock" (1980)gaffa.org/reaching/iv80_pir.html
|
|
|
Post by tannis on Jul 22, 2008 10:12:15 GMT
I'M LOOKING AT THE BIG SKY...They look down At the ground, Missing...Miranda: "Look! Not down at the ground, Edith. Way up there in the sky..." ~ Picnic at Hanging Rock (1975).Did KaTe 'borrow' the line from Peter Weir's film? Maybe. Maybe not... NOCTURN...Look at the light, all the time it’s a changing Look at the light, climbing up the aerial Bright, white coming alive jumping off of the aerial All the time it’s a changing, like now...HEATHCLIFF: "The clouds are lowering over Gimmerton Head. See how the light is changing? It would be dreadful if Hindley ever found out." ~ Wuthering Heights (1939)Did KaTe 'borrow' the line from the 1939 film? Maybe. Maybe not...
|
|
|
Post by tannis on Aug 3, 2008 15:55:00 GMT
TITANIC KATE: A Night to Remember (1958) and The Line, the Cross & the Curve (1994) Compare and contrast A Night to Remember Trailer and Kate Bush's The Line, the Cross & the Curve, 1:31-1:40...
Titanic - A Night to remember trailer 1958 www.youtube.com/watch?v=okgLvnAh8Gg 3:10-3:14...
Kate Bush - The Line, the Cross and the Curve - 7 of 7 www.youtube.com/watch?v=TTxU8vb96pA 1:31-1:40...KB: "I do have a special fascination for films like Don't Look Now and The Cruel Sea -- watery films. I hope I'm not writing from a morbid point of view. I like positive endings. Humour is just as important as a means for relaxing." "What Kate Did Next", 1985gaffa.org/reaching/i85_what.htmlAnd maybe KaTe took inspiration for The Ninth Wave Suite from A Night to Remember (1958) and the TV movie, S.O.S. Titanic (1979).S.O.S. Titanic (1979) (TV) This is a very underrated film. If you look unbiasedly at it you can see where James Cameron got his inspiration, as some scenes of his Titanic are identical to this version. This is a well crafted film that tries to tightly stick to the point. It is very interesting that David Warner features prominently in this version & in Cameron's. Why??? This film is very atmospheric & authentic, but unlike Cameron's version, it doesn't have the emotive sentimentality & glamour. Overall, this is an intelligent informative family film, for people who appreciate qualities other than special effects.uk.imdb.com/title/tt0079836/S.O.S. Titanic - Part Onewww.youtube.com/watch?v=dqmgzBQsQJw&feature=related
|
|
|
Post by tannis on Aug 23, 2008 0:20:41 GMT
KATE on KAGEMUSHA KB: "Not a lot of people have heard of this one, but it's by the Japanese director Akira Kurosawa. I just happen to think that this is one of his best. It was a toss up between this and his Seven Samurai, which is a tremendously atmospheric picture. However, I think this one wins the day." Popular Video, Kate's Desert Island films, March 1983 gaffa.org/reaching/i83_didf.html
KB: "There are many films that you don't think much of at the time, but weeks afterwards you get flashbacks of images. Sometimes films like Don't Look Now and Kagemusha have really haunted me. You don't necessarily steal images from films, but they are very potent and take you somewhere else - somewhere impossible to get to without that spark." Melody Maker, "Fairy Tales & Nursery Rhymes", August 24, 1985gaffa.org/reaching/i85_mm2.htmlPIP: And then there is Kate Bush and her <cutesy> Sensual World. Her public image has run the <gammoc> from <alfen pixie> to <eterial> floating dancy things to post-modern meets Kurosawa. But whatever <guise> she chooses to appear in, the one constant is that her music is interesting, innovative, and provides the media with endless scope for analysis and speculation. MTV-Europe, "News of the Week", Oct. 1989gaffa.org/reaching/iv89_m1.htmlKurosawa had a distinctive cinematic technique, which he had developed by the 1950s, and which gave his films a unique look. He liked using telephoto lenses for the way they flattened the frame and also because he believed that placing cameras farther away from his actors produced better performances. He also liked using multiple cameras, which allowed him to shoot an action scene from different angles. Another Kurosawa trademark was the use of weather elements to heighten mood: for example the heavy rain in the opening scene of Rashomon, and the final battle in Seven Samurai, the intense heat in Stray Dog, the cold wind in Yojimbo, the snow in Ikiru, and the fog in Throne of Blood. Kurosawa also liked using frame wipes, sometimes cleverly hidden by motion within the frame, as a transition device. Traditionally, when cutting scenes together, the editor has been limited to the choices of the cut, the dissolve and the wipe. In film editing, a wipe is a gradual spatial transition from one image to another. One image is replaced by another with a distinct edge that forms a shape. A simple edge, an expanding circle, or the turning of a page are all examples. It is often acknowledged that using a wipe, rather than a simple cut or dissolve is a stylistic choice that inherently makes the audience more "aware" of the film as a film, rather than a story. For example, George Lucas is famous for the sweeping use of wipes in his Star Wars films, which help evoke a kinship to old pulp sci-fi novels and serials; he was inspired by a similar use of wipes by Akira Kurosawa. So maybe "The case of George the Wipe" refers to someone involved in mixing and editing KaTe's numerous video projects? ... KATE BUSH ~ THE VIDEOSwww.katebush.pl/video.htm
|
|
|
Post by tannis on Aug 26, 2008 22:20:39 GMT
VOGUE: The Big Eyes Of My GodSi les grands yeux de mon Dieu Ne me gardaient pas, Je te volerais...The Sensual World, The Dreaming, The Kick Inside... Frightened Eyes, Swimming Eyes, The Man With The Child In His Eyes... Army Dreamers, Sat In Your Lap, TLTC&TC... She's got Greta Garbo stand-off sighs She's got Bette Davis eyes...GILLIS' VOICE: She sure could say a lot of things with those pale eyes of hers. They'd been her trade mark. They'd made her the Number One Vamp of another era. I remember a rather florid description in an old fan magazine which said: "Her eyes are like two moonlit waterholes, where strange animals come to drink."Silent film actors emphasized body language and facial expression so that the audience could better understand what an actor was feeling and portraying on screen. Much silent film acting is apt to strike modern-day audiences as simplistic or campy. The melodramatic acting style was in some cases a habit actors transferred from their former stage experience. John Griffith Wray required their actors to deliver larger-than-life expressions for emphasis. Some viewers liked the flamboyant acting for its escape value, and some countries were later than the United States in embracing naturalness in their films.
NORMA: They're dead. They're finished. There was a time when this business had the eyes of the whole wide world. But that wasn't good enough. Oh, no! They wanted the ears of the world, too. So they opened their big mouths, and out came talk, talk, talk...
The American Hollywood actress Gloria Swanson was prolific during the silent film era, but her career declined with the advent of "talkies". She is now best known for her performance of Norma Desmond in the film noir classic Sunset Boulevard (1950), in which—mirroring her own life—she portrayed a former silent movie star largely forgotten by audiences of the day. Sunset Boulevard remains the best drama ever made about the movies because it sees through the illusions.
NORMA: I wrote that with my heart. GILLIS: Sure you did. That's what makes it great. What it needs is a little more dialogue. NORMA: What for? I can say anything I want with my eyes.
Compare and contrast the 'Scene 78' Wuthering Heights (3:12-3:18) with the final scene from Sunset Boulevard. There seems to be a marked influence from silent film in KaTe's dance performance. Sunset Boulevard - 1950 - Final Scenewww.youtube.com/watch?v=VhlhE32SoXs1:56...Kate Bush | Wuthering Heights (Live) : on German TV show Scene 78 www.youtube.com/watch?v=NNRQnLKoXeg 3:12-3:18...PATRICK LICHFIELD: The World's Most Beautiful Women ~ KATE BUSH i93.photobucket.com/albums/l44/PuNkEr-16/KateBush.jpg thehomegroundandkatebushnewsandinfoforum.yuku.com/reply/123036/t/Favourite-Kate-Pic.html#reply-123036 "Weird, wonderful and extremely popular singer whose unique style of singing and presentation on stage and screen has carved her a considerable niche in the pop world over the last few years. I thoroughly enjoyed photographing Kate. She came to my studio (with the Indian Headdress) and was completely happy to cooperate in every way with the make up artist and me. She's an entertainer down to her fingertips and has a very strong sense of 'image' which makes a photographic session with her more of a 'production' with everybody having great fun working together to produce the finished shot. She's diminutive and lively, with a fascinating, mobile face and reminds me nothing so much as a bright, beautiful little bird."Norma Desmond: Just us, the cameras, and those wonderful people out there in the dark! ... All right, Mr. DeMille, I'm ready for my close-up..."snatched after school..."home.att.net/~james51453/cathy25.htmgaffa.org/wow/k242.jpggaffa.org/wow/k264.jpggaffa.org/wow/k228.jpggaffa.org/wow/k57.jpg
|
|
|
Post by Barry SR Gowing on Aug 27, 2008 16:52:11 GMT
Compare and contrast the 'Scene 78' Wuthering Heights (3:12-3:18) with the final scene from Sunset Boulevard. There seems to be a marked influence from silent film in KaTe's dance performance. [/color] [/quote] I wonder if Kate's mime training made her more sensitive to this aspect of the silent cinema? Nice comparison to Gloria Swanson, tannis! I wouldn't have thought to draw such a comparison but it's really interesting now that I look at it. Incidentally, anyone who hasn't seen Sunset Boulevard should run, not walk, to their nearest DVD emporium (or find a friend with a copy). No arguments there. However, I don't recall ever seeing that particular pic of Kate before, so thanks tannis! --Paul--
|
|
|
Post by rosabelbelieve on Aug 27, 2008 20:20:03 GMT
PATRICK LICHFIELD: The World's Most Beautiful Women ~ KATE BUSH i93.photobucket.com/albums/l44/PuNkEr-16/KateBush.jpg thehomegroundandkatebushnewsandinfoforum.yuku.com/reply/123036/t/Favourite-Kate-Pic.html#reply-123036 "Weird, wonderful and extremely popular singer whose unique style of singing and presentation on stage and screen has carved her a considerable niche in the pop world over the last few years. I thoroughly enjoyed photographing Kate. She came to my studio (with the Indian Headdress) and was completely happy to cooperate in every way with the make up artist and me. She's an entertainer down to her fingertips and has a very strong sense of 'image' which makes a photographic session with her more of a 'production' with everybody having great fun working together to produce the finished shot. She's diminutive and lively, with a fascinating, mobile face and reminds me nothing so much as a bright, beautiful little bird." I love this picture of Kate... the headdress and make-up are so Eastern looking and exotic. And tannis, the connection with silent film actors is well seen. So many of the videos and performances contain wonderfully exaggerated expressions and dramatic visual emotion.
|
|
|
Post by tannis on Aug 28, 2008 2:50:46 GMT
Jewelry of the Stars...The 'Indian Headdress' photograph is indeed beautiful and exotic. The 'Joseff of Hollywood'-style dangly ball earring really compliments the composition, and the finished product could be a still from a silent movie... Marlene Dietrich 1944. The movie was "Kismet". According to Ginger Moro, author of "European Designer Jewelry", the bangles are by Joseff of Hollywood.www.morninggloryantiques.com/imagesJC/Articles/Ads/MovieStar222.jpgI wonder if Kate's mime training made her more sensitive to this aspect of the silent cinema? Nice comparison to Gloria Swanson, tannis! I wouldn't have thought to draw such a comparison but it's really interesting now that I look at it. Incidentally, anyone who hasn't seen Sunset Boulevard should run, not walk, to their nearest DVD emporium (or find a friend with a copy). Yes, I think the wonderfully exaggerated expressions and dramatic visual emotion do indeed reflect Kemp’s style of performance - a unique and seductive blend of Butoh, Mime, Burlesque, Drag and Music Hall. The comparison to Gloria Swanson came from seeing the 'Scene 78' Wuthering Heights (3:12-3:18) performance. Those six seconds are remarkable! ... The World's Most Beautiful Women ~ BABUSHKAShe wanted to take it further, So she arranged a place to go, To see if he Would fall for her incognito. And when he laid eyes on her, He got the feeling they had met before. Uncanny how she Reminds him of his little lady, Capacity to give him all he needs, Just like his wife before she freezed on him, Just like his wife when she was beautiful. He shouted out, "I'm All yours, Babooshka, Babooshka, Babooshka-ya-ya! All yours, Babooshka, Babooshka, Babooshka-ya-ya! All yours, Babooshka, Babooshka, Babooshka-ya-ya!"Would you Adam and Eve it? In the Lichfield 'Indian Headdress' photograph, Kate Bush is incognito, wearing the BaBushKa headdress costume! And we all fell for her... Lord Lichfield: "I thoroughly enjoyed photographing Kate. She came to my studio (with the Indian Headdress) and was completely happy to cooperate in every way with the make up artist and me. She's an entertainer down to her fingertips and has a very strong sense of 'image' which makes a photographic session with her more of a 'production' with everybody having great fun working together to produce the finished shot."So it seems that KaTe was cheekily determined to get a professional finished shot of Babooshka from the Royal photographer... and to have her alter-ego BaBushKa featured in Lichfield's book of The World's Most Beautiful Women (1981)... What a coup! No wonder the session with her was more of a 'production'! "I have to keep an eye on her, you know," says Kate Bush, glancing over her shoulder. "I mustn't let her get out of hand." She looks down. "Sometimes, it's funny, I feel sort of... inferior to her, you know, and I can feel myself starting to behave like her in real life." She is talking, it turns out, about her stage self. "It's frightening," she adds. Sunday Telegraph, "The Explosive Kate Bush", July 6, 1980 gaffa.org/reaching/i80_st2.htmlCompare the Lichfield photographs with the Babooshka video:LICHFIELD: The World's Most Beautiful Women ~ KATE BUSH/BABUSHKAi93.photobucket.com/albums/l44/PuNkEr-16/KateBush.jpgthehomegroundandkatebushnewsandinfoforum.yuku.com/reply/123036/t/Favourite-Kate-Pic.html#reply-123036Kate Bush - Babooshkawww.youtube.com/watch?v=xz07Hf5htfY0:58-1:11...Interestingly... Merkaba is the divine light vehicle allegedly used by ascended masters to connect with and reach those in tune with the higher realms. "Mer" means Light. "Ka" means Spirit. "Ba" means Body. Mer-Ka-Ba means the spirit/body surrounded by counter-rotating fields of light, which transports spirit/body from one dimension to another. So Ba-Bush-Ka could mean KT's body, 'mind', and spirit!
|
|
|
Post by tannis on Aug 28, 2008 14:27:14 GMT
SNATCHED: Through the Looking-Glass, and What Cathy Found There..."Leaving My Tracks"In the early 1980s, KaTe planned to write a book, provisionally called Leaving My Tracks, and there seems to have been a proof text, dust jackets, but the project was not completed. Then, in Homeground 31 (from 1988), the editors said that a mysterious review of this book has turned up! They said that the following review appears in the book Lives And Works: "In this beautifully illustrated book Kate Bush gives an account of her approach to her work, techniques, inspirations and lifestyle. An interesting, unselfconscious attempt at autobiography, it does not appear to be written with the aid of a ghost writer and is surprisingly fluent." A 'Best of' Love-Hounds Collectiongaffa.org/dreaming/E3_books.htmlWhat about the book you're planning to write, though? Again, she sighs (a marginal sigh) and repeats her line: "There's so many things I want to do, and it's so hard to fit them all in..." But yes, a book is on the cards, hopefully before the end of the year, and she says: "I'd like to write it myself. Without saying anything about the other books, which I don't want to, I feel almost pressured to speak, otherwise there's this huge misrepresented area. "In one way it's ridiculous--I feel it's much too early to write a book, I've hardly done anything yet. But I really want people to be aware of reality--subjective reality, obviously. "It'd be about what it's like being me, my feelings, my friends, the people that I rely on. I need to be represented in a positive way, and I'll have to do it myself." Record Mirror, "The Shock of the New", September 1981 gaffa.org/reaching/i81_rm.htmlApril 1982: Kate's projected book Leaving My Tracks is shelved until early 1983. May 1983: Kate's book Leaving My Tracks is shelved indefinitely. A Chronology of Kate Bush's Career gaffa.org/garden/chrono.htmlJAY: Actually for her to do a book we find it's rather difficult because she doesn't get on the [ planet] that long. And slight attempts were made of it but I think actually seeing your life spread out in one big long effort is very weird sensation. So, no, they haven't have. Whether they will in the future, I don't know. I doubt it somehow. Convention 1985 Romford, Englandgaffa.org/dreaming/con_85.html"CATHY" (1986)Date: Sat, 22 Mar 86 01:32:50 EST Three books of photographs of Kate taken by John Bush are due for publication within the next few months. These are of Kate as a child, a teenager, and as a famous person, and will contain 'biographical' captions.gaffa.org/dreaming/hol_hist.htmlThen, in 1986, John Carder Bush published the limited edition book "Cathy", the first of a planned series of three books featuring photographs of Kate Bush. However, after "Cathy", the series was abandoned. Perhaps KaTe cancelled the remaining project, but no doubt she okayed the "Cathy" photographs and textual commentary. Here is the text of John's advertisement for "Cathy", a book of his photographic portraits of Kate as a child ("The child with the woman in her eyes..."). The advertisement first appeared in issue number 20 of the KBC Newsletter.Kindlight are pleased to announce the first of a planned series of three books featuring photographs of Kate Bush taken by John Carder Bush. John has been photographing Kate since she was a child, and his work in more recent years for her record covers is known worldwide. Cathy, the first book, is now completed. Cathy gives a fascinating glimpse into the childhood of a young person who has grown into the remarkable and famous adult. As she poses for the photographs, often at times snatched after school, an image builds up of what this little girl's world was like. These innocent moments are linked with the thoughts and memories of her photographer-brother as he printed and prepared the pictures for publication. Cathy contains neither gossip nor scandal. It is a gentle, very personal view of childhood, and for those already familiar with Kate as a modern-day artist, it is a treasure-trove of echoes and evocations. Great care and time have been taken in the design and presentation of this book. The result is a fine art Special Edition on hand-folded paper with duotone black-and-white photographs, hardbacked and linen-bound, in its own slipcase. John Carder Bush's KBC Newsletter contributions: Cathy Announcement gaffa.org/garden/jcb5.htmlhome.att.net/~james51453/cathy03.htmThe bright August sun slipping into the Thames is strong in her eyes; the happy sailing boat on her blouse is skipping along to the easy , unending bliss of the Summer holidays. It is an easy seduction to remember childhood as the idyllic and to forget that there is always a counterpart to the sunny side of the past. But photos seldom show it.home.att.net/~james51453/cathy04.htmThe Japanese willow, her body shape, the flower all echo the zig-zag of the cloth's pattern - just a coincidence. The willow branch was rescued from a sapling about to go under a motorway and in the picture it is budding. It now stands in the garden as a tree the height of the house and at evening is ripe with sparrows on its intricate branches.home.att.net/~james51453/cathy05.htmThe 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.home.att.net/~james51453/cathy06.htmWhen I rediscovered this photograph it was a complete surprise to me, a little gift out of the past. I know the car, an old Austin Sheerline with walnut veneer on its dashboard and grey leather seats, and I know the place. But I do not remember the look or the slippers although I can smell the creosote on the black fence.home.att.net/~james51453/cathy07.htmCathy'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.home.att.net/~james51453/cathy10.htmThe window light and the chin pressing down on her hands shape her face differently. The milk looks bright and cold, fresh from the front door - step; that the milk tops have not been pecked by blue tits should show it is summer, but that day there was a cat around. It is winter. There is a tiredness on her face, and a hint of sadness too. Mourning for a pet, or staying up to watch the late night film. home.att.net/~james51453/cathy18.htmTristan and Isolde are deeply woven into modern love tragedy. The funeral song for Tristan, Mild und Leise, is the song of the love that challenges the power of death itself. Before Rock and Roll there were only Opera to work the emotions on the grand scale that only music can, and here Isolde has taken the drink that will bind her for ever to Tristan, and Romeo to Juliet, and Cathy to Heathcliff, and Quint to....home.att.net/~james51453/cathy23.htmWhat pulls me into this photograph is the uncontrived lighting from the Autumn sun and the confident hold on the stick. For me it is a pleasing photograph because I remember that it came out as I had seen it and the observation is held for ever. The touch of tweed and the goat wool make her a Celtic shaman from some lost land beyond the Isle of Man.The photographs were not meant for any purpose, for me they were just a way of realizing the emotional observations that charged around my head at the time. Our lives were filled with the trappings of the Celtic Twilight, its poetry and its music. The Pre-Raphaelites and the turn of the century book illustrators were an obsession for me long before the fashion machine born in the sixties plastered Beardley all over Europe, the Brotherhood into every home. So a lot of the moods in this book are a conscious attempt to find that fascination by way of my camera.home.att.net/~james51453/preface.htm"Cathy": Photo Index - click on picture to go directly to the pagehome.att.net/~james51453/
|
|
|
Post by rosabelbelieve on Aug 28, 2008 17:24:08 GMT
^ The idea of 'Leaving My Tracks' is really intriguing. I would have loved for Kate to publish a book that told her own story and portrayed her inspirations and emotions and work. But I guess it wasn't to be. Maybe someday she'd consider letting the world see something like it, though... The 'Cathy' pictures are really wonderful, as well.
|
|
|
Post by tannis on Aug 29, 2008 0:33:43 GMT
^ Yes, I too would love Kate to publish a book that told her own story, giving an account of her approach to her work, techniques, inspirations and lifestyle. An unselfconscious attempt at autobiography sounds great! Maybe someday she'd consider letting the world see something like it... The 'Cathy' pictures are indeed wonderfully sweet. Though the accompanying textual commentary draws a fine line between innocence and innuendo and The Infant Kiss.... SNATCHED: Cathy's Adventures in Wonderland Cathy contains neither gossip nor scandal... echoes and evocations... hardbacked and linen-bound, in its own slipcase... The bright August sun slipping into... the happy sailing boat on her blouse... It is an easy seduction... But photos seldom show it... her body shape... it is budding... The oversize boots are cavalry and I wore them... make my motorbike go faster. The sword... two unexploded incendiary bombs... if she tried to walk she would have fallen over... Sheerline with walnut veneer... grey leather seats... I know the place... I can smell the creosote on the black fence... the whitewash that has dripped onto the skirting... where the grain was hoisted up... A magical, private place like a mouse's nest... The milk looks bright and cold... blue tits should show it is summer... there was a cat around... staying up to watch the late night film... Tristan and Isolde... modern love... Romeo to Juliet, and Cathy to Heathcliff, and Quint to.... the confident hold on the stick. For me it is a pleasing photograph because I remember that it came.... ("Cathy", 1986)home.att.net/~james51453/The crucial - earliest and most abiding - influence on Kate's development was Jay's writing. Kate was intensely proud of his poetry and, loosely, described a two page poem he published in 1970 [The Creation Edda] to her friends as 'book'. This maybe explains to some extent the inclusion of the poem "Before the Fall" into one of her demo songs, "Organic Acid" (Poetry by John Carder Bush; Music and Lyrics by Kate Bush)..."ORGANIC ACID"/"BEFORE THE FALL"John: "He got her drunk very quickly. Holding hands, they found the broom-cupboard, Where he had control as far as the fall, When his hand covered wet hair. She took over among furniture wax, Dust, the cloying yellow of polishing-cloth. When he was sick, she comforted him." Kate: Hush, my friend, and sleep, And cuddle to the wind. And sleep on through the waves That may wet your lover's dream. We have been far through this night long hour. We will go far, tomorrow, out of sight, ooh... John: "He couldn't do it properly; The disco, the office, the pub, Had left out those details of delight. Satisfied, he would collapse out, Puzzled at why she still squirmed, Held onto him, tears curling into her mouth. This was something their stories always omitted: That her joy would seem like pain, When he focused after his release."Kate: Do sand and shells and stone Peep in through your night? But you should not be hurt For all will pass with time. We have been far through this night long hour. We will go far, tomorrow, out of sight, ooh...John: "In the third week of the relationship She was tripping on organic acid, But would stop to pick up a rained-out leaf, Would give it tenderly into his hand-- Full of dead things before they reached the car. When they drove she sat with mouth open As though photographed on the impact of a stomach punch, Her right fist gripping the skin of his left leg. Hooking the steering-wheel closer to his heart, He feared her, and slapped out sideways into her face. She entered the cut with her tongue, Gurgling gratitude for the strange taste."Kate: Do you fear the dark? Then hush, and realise Though the angels never come, Prayers can soothe your mind. We have been far through this night long hour. We will go far, tomorrow, out of sight, ooh...John: "There was no premonition of the wet Hog's back. The sportscar slumped, snout into a beech, Their corpses giving the vehicle arms, Petrol and blood at last dripping together. But quick flashes of a planned lunch: Cold red beef, white cloth by a cherrywood fire, Game pie, and for him two pints of colder beer, The winter air tucking under their eyelids As they spun on the gravel at Clandon; Their hands steaming from quick moisture, The aromatic finger drawn up to his nostril-- Dazed after mutual masturbation, They zigzagged into a conservative end."Kate: Oh hush, my friend, and sleep...Kate Bush - Organic Acidwww.youtube.com/watch?v=wynz2g7F2CEORGANIC ACID consists of a duet, of sorts, featuring Kate on sung vocals and piano, singing an unfamiliar new (old) song, and her brother John Carder Bush reciting (in between Kate's verses/choruses, and to the accompaniment of her piano bridges) a lengthy and artily pornographic poem in his own characteristic style (characteristic to those who are at all familiar with JCB's poetry). The true title of the song is unknown, but fans accept the title "Organic Acid" for purposes of identification. Although the duet/collaboration could have been recorded as late as 1977, Gaffaweb thinks a more likely date is 1975, possibly even 1972 or 1973.
The song is a slow and sensitive ballad sung by a very young Kate Bush to her own piano accompaniment. The recorded sound is identical to that heard on the other twenty-two demo-tracks which have come to be known as "The Cathy Demos", so it seems likely that it belongs to the same collection. However, "Organic Acid" is radically different from the others in that collection, in that it includes a rather long poem by Kate's brother John Carder Bush, who recites a stanza or two between each verse and chorus of Kate's song (Kate's piano continues between verses as a support to John's recitation).
The song seems to be a kind of lullaby to a troubled lover, and is filled with watery images of the unconscious. John's poem, however, is a far more detailed and explicit descriptive poem which details the progress and violent end of a vaguely perverted love affair. It is possible that the speaker in Kate's song is addressing a character in John's poem, or possibly the narrator of John's poem, himself. The car-crash climax to the poem references "Clandon". Clandon Park is a grand 18th-century Palladian mansion (c.1731) famed for its two-storied Marble Hall, attractive grounds with parterre, grotto and sunken Dutch garden, and is home to the Queens' Royal Surrey Regiment Museum. BEFORE THE FALL formed the basis for John's spoken text on "Organic Acid". We still don't know what Kate's original song was called (after all, it was almost certainly not written for JCB's poem, but was simply combined with it later during performances). However, "Before the Fall" now seems a more legitimate title than "Organic Acid". Here is John Carder Bush's original poem "Before the Fall" exactly as it was originally written. It includes many lines that were omitted from the recorded version, and lacks a word here and there as well:Before the FallHe got her drunk very quickly: holding hands they found the broom cupboard where he had control as far as the fall, the rasping descent of her tights. When his hand covered wet hairs she took over among furniture wax, dust, the cloying yellow of polishing cloth. When he was sick she comforted him. He couldn't do it properly: the club, the office had left out details of delight. Satisfied, he would collapse out, puzzled at why she still squirmed, held on to him, tears curling into her mouth. This was something stories always omitted: that her joy would seem like pain when he focused after release. In the third week of the relationship she was tripping on organic acid, would stop, pick up a rained out leaf, would give it into his hand, full of dead things before they reached the car. When they drove she sat with mouth open as though photographed on the impact of a stomach punch, her right hand gripping the skin of his leg: he feared her, slapped out sideways into her face. She touched the cut with her tongue, gurgling gratitude for the strange taste. He stood looking through uncleaned windows, concentrated on the yellow of his car below. On the uncarpeted floor, with practice, she closed her eyes and drew on the cigarette. Twill jacket and polo-neck made him sweat, his nape skin red from a hair cut. Between two smokers she smiled up at him; as the weed approached he apologised suddenly wanting familiar territories: beer, to put his hand up her skirt. At the bottom of the limbed stairs he booted the cat, a drop kick in their twenty-five as he imagined her sylph laugh gathering chuckles around the room. There was no premonition of the wet Hog's Back, sports car slumped snout into a beach, their corpses giving the vehicle arms, petrol and blood at last dripping together but quick flashes of a planned lunch, cold red beef and a cherry wood fire, game pie and for him two pints of colder beer, the winter air tucking under their eye lids, spinning on the gravel at Clandon: the hand steaming from quick moisture, the aromatic finger drawn back into his nose. Dazed after mutual masturbation they slewed into a conservative end. -- John Carder Bush[/color] gaffa.org/phoenix/demo_lyr.htmlsee more: The Cathy Demosgaffa.org/dreaming/demo_top.html
|
|
|
Post by tannis on Aug 29, 2008 11:00:34 GMT
THE INNOCENTS: Children in MindHe's got a photo Of his hero. He keeps it under his pillow. But I've got a pin-up From a newspaper Of Peter Pan..."Cathy" (1986) captures innocent moments, snatched after school, linked with thoughts and memories of her photographer-brother.John Carder Bush: "The photographs were not meant for any purpose, for me they were just a way of realizing the emotional observations that charged around my head at the time. Our lives were filled with the trappings of the Celtic Twilight, its poetry and its music. The Pre-Raphaelites and the turn of the century book illustrators were an obsession for me long before the fashion machine born in the sixties plastered Beardley all over Europe, the Brotherhood into every home. So a lot of the moods in this book are a conscious attempt to find that fascination by way of my camera."home.att.net/~james51453/preface.htmAubrey Vincent Beardsley (August 21, 1872 – March 16, 1898) was an influential English illustrator, and author, today best known for his erotic illustrations. Beardsley’s drawings also featured in Thomas Malory's Le Morte D'Arthur. Beardsley was the most controversial artist of the Art Nouveau era, renowned for his dark and perverse images and the grotesque erotica, which were the main themes of his later work. Some of his drawings, inspired by Japanese shunga, featured enormous genitalia. His most famous erotic illustrations were on themes of history and mythology, including his illustrations for Aristophanes' Lysistrata and Wilde's Salomé. Speculation about his sexuality include rumors of an incestuous relationship with his elder sister, Mabel, who may have become pregnant by her brother and miscarried.
Aubrey Beardsley: How Sir Tristram drank of the love drinkwww.artpassions.net/cgi-bin/show_image.pl?../galleries/beardsleymd/md8-3_love_drink.jpgLike genre paintings, genre photographs evolved in many directions in the second half of the 19th century, encompassing a vast array of subjects, from domestic scenes and re-creations of theatrical, literary, or fairy-tale subjects to pictures of village and small-town life. Photographers in the 1850s who were concerned to establish the medium's aesthetic credentials were often drawn to the genre mode, doubtless with the aim of emulating successful painters like Sir David Wilkie and William Powell Frith. Not only Fenton but Oscar Rejlander, Julia Margaret Cameron, and Charles Dodgson are among those associated with genre photographs of various kinds. Their work illustrates the breadth of the term c.1850-90. Rejlander went in for heavily moralizing subjects. Cameron recreated celebrated literary scenes. Dodgson captured children's tableaux vivants, and in individual studies evoked the types of child character popular in Victorian fiction.Crimean War photograph, Roger Fenton, 1855 upload.wikimedia.org/wikipedia/commons/1/13/RogerFentonCroats1.jpg "A group of Croat laborers, seated and standing in front of building."Hard Times, Oscar Gustav Rejlander, 1860cache.viewimages.com/xc/2673895.jpg?v=1&c=ViewImages&k=2&d=0A260859576A0997FD4A1C399EC02EA0A55A1E4F32AD3138The Rosebud Garden of Girls, Julia Margaret Cameron, 1868farm3.static.flickr.com/2085/2364635537_d1e0d88d89.jpg?v=0Alice Liddell dressed up as a beggar-maid, Charles Dodgson, 1858upload.wikimedia.org/wikipedia/commons/thumb/0/05/Alice_Liddell_2.jpg/414px-Alice_Liddell_2.jpghome.att.net/~james51453/cathy23.htm"What pulls me into this photograph is the uncontrived lighting from the Autumn sun and the confident hold on the stick. For me it is a pleasing photograph because I remember that it came out as I had seen it and the observation is held for ever. The touch of tweed and the goat wool make her a Celtic shaman from some lost land beyond the Isle of Man" ~ (Cathy, 1986)."Cathy" (1986) continues a photographic tradition that includes Alice Liddell, the Llewelyn Davies boys, and The Cottingley Fairies (Elsie Wright and her 10-year-old cousin Frances Griffiths). Indeed, many of the great fantasies charging around the head of the 19th and 20th centuries were created with particular children in mind: Barrie’s Peter and Wendy (the Llewelyn Davies boys); Carroll’s Alice (Alice Liddell); Grahame’s Wind in the Willows (his son, Alastair); and Potter’s Peter Rabbit (first created in a letter to a friend’s sick child). And KT's classic songstory, Cloudbusting, looks at a special relationship between a particular boy and his father. Peter Reich was known as 'Peeps' to his Dad, which is why the 7 inch single has "For Peeps" engraved into the runoff groove.Charles Lutwidge Dodgson (27 January 1832 – 14 January 1898), better known by the pen name Lewis Carroll, was an English author, mathematician, logician, Anglican and photographer. His most famous writings are Alice's Adventures in Wonderland and its sequel Through the Looking-Glass as well as the poems "The Hunting of the Snark" and "Jabberwocky", all considered to be within the genre of literary nonsense. His facility at word play, logic, and fantasy has delighted audiences ranging from children to the literary elite, and beyond this his work has become embedded deeply in modern culture, directly influencing many artists.
Lewis Carroll was an avid and accomplished amateur photographer, using a very early form of photography called the wet-plate collodion process. Among his many photographic subjects was the real life inspiration for his famous Alice stories, Alice Liddell. Gertrude Chataway (1866–1951) was the most important child friend in the life of the author, after Alice Liddell. It was Gertrude who inspired The Hunting of the Snark, and the book is dedicated to her. Carroll first became friends with Gertrude in 1875, when she was aged nine, while on holiday at the English seaside. The Snark was published a year later. Upon the printing of the book, Carroll sent eighty signed copies to his favorite child friends. In a typical fashion, he signed them with short poems, many of them masterful acrostics of the child's name.
Alice Pleasance Liddell (May 4, 1852 – November 16, 1934) was the inspiration for the children's classic Alice's Adventures in Wonderland by Lewis Carroll. Her surname Liddell rhymes with fiddle.
Dodgson met the Liddell family in 1855. He first befriended Harry, the older brother, and later took both Harry and Ina on several boating trips and picnics to the scenic areas around Oxford. Later, when Harry went to school, Alice and her younger sister Edith joined the party. Dodgson entertained the children by telling them fantastic stories to while away the time. He also used them as subjects for his hobby, photography. It has often been stated that Alice was clearly his favorite subject in these years, but there is very little evidence to suggest that this is so.
The relationship between Alice Liddell and Charles Dodgson has been the source of much controversy. Many biographers have supposed that Dodgson was romantically or sexually attached to the child, though there has never been any direct proof for this and more benign accounts assume merely a platonic fondness. Karoline Leach has claimed this supposition is part of what she terms the "Carroll Myth" and thus wildly distorted. It is certainly true that the evidence pool on which any claims can be based is very small and that many authors writing on the topic have tended to indulge in a great deal of undocumented speculation.Alice In Wonderland - Beyond the Laughing Skywww.youtube.com/watch?v=QdOLFM-hxTISlideshow of photographs by Lewis Carroll. The name of the girls, in order, are: Alice Liddell, as a child; Alice Liddell; Alexandra Kitchin; Charlotte Mary Dodgson, 1862; Flora Rankin, 1863; Florence Bickerstith; Kathleen Tidy, 1858; Lisa Wood; Mary L. Jackson; Mary Lott; and Nelly MacDonald.[/color] ALICE LIDDELL by LEWIS CARROLLwww.sodabob.com/Photos/Photographers/Carroll/?MenuID=62J. M. Barrie, was a Scottish novelist and dramatist. He is best remembered for creating Peter Pan, the boy who refused to grow up, whom he based on his friends, the Llewelyn Davies boys. He is also credited with popularising the name "Wendy", which was uncommon (especially for girls) in both Britain and America before he gave it to the heroine of Peter Pan. John Carder Bush: "I am programmed in my emotional life by the first work of fantasy that got through to my heart. For me it was Barrie's bitter, sad condemnation of adulthood. Peter Pan has soured so many children into seeing growing-up as an end to something much more real. For Cathy, I could guess that it was Oscar Wilde who first led her into that tricky land of tear puddles." (1986, Cathy).home.att.net/~james51453/cathy08.htmThe Arthur Llewelyn Davies family played an important part in Barrie's literary and personal life. It consisted of the parents Arthur (1863–1907) and Sylvia (1866–1910); and their five sons George (1893–1915), John (Jack) (1894-1959), Peter (1897–1960), Michael (1900–1921), and Nicholas (Nico) (1903–1980). Barrie's relationships with the Davies boys continued well beyond their childhood and adolescence. After Sylvia's death, Barrie fought for and succeeded in adopting the boys, aged between six and 17.
Peter Pan steals the kids in Kensington Park...
Barrie's scholars suggest that there was something calculating and controlling about the way he made friends with children. Barrie "invaded" families and played with their children, often neutralizing their real fathers by placing them in the periphery of their offsprings' lives. Various accounts allow that Barrie did it with several families, one of which had a young girl, who served as inspiration for Wendy's character in "Peter Pan."
At present, our politically correct culture stresses the importance of keeping our children "safe." But what exactly does it mean? The current dread of paedophilia has skewed our sense of what relations between adults and children might have been in the past. In other words, where do we draw the line between healthy and normal and deviant and unhealthy love for children? Indeed, how do we react today to Barrie's prose about children? In "The Little White Bird," the narrator (Barrie) describes his friendship with a young boy, and how he persuades him to sleep with him as "an adventure". The statue of Peter Pan in Kensington Gardens was supposed to be modeled upon old photographs of Michael Llewelyn Davies dressed as Peter Pan. However, the sculptor decided to use a different child as a model, leaving Barrie very disappointed with the result. "It doesn't show the devil in Peter", he said. Michael, with whom Barrie corresponded daily, drowned (1921) at a known danger-spot at Oxford, one month short of his 21st birthday. It was speculated that the drowning was a possible suicide pact with his friend and possible lover Rupert Buxton. Barrie wrote a year later that Michael Llewelyn Davies' death 'was in a way the end of me'. Peter Pan & the Boy Castaway www.youtube.com/watch?v=2lhktWxen3c A slide show of J M Barrie's 1901 photographs of George, Jack and Peter Llewelyn Davies boys, taken from the sole surviving copy of "The Boy Castaways" and set to music by KJD. Barrie cited this book as being one of the origins of "Peter Pan".The Llewelyn Davies Boyswww.sirjmbarrie.com/biographie/galerie_photographies_2.htmThe Case of the Cottingley Fairies: In 1917 two innocent-seeming English schoolgirls, 16-year-old Elsie Wright and her 10-year-old cousin Frances Griffiths, launched a deception that somehow managed to fool many people over the following years, including the creator of Sherlock Holmes, Sir Arthur Conan Doyle. While playing in Cottingley Glen, just behind the Wright home, the girls took what they claimed were close-up photographs of winged fairies dancing amid the foliage. The girls then took each other's picture with the wee creatures, and photo experts who were consulted said that the images were not double exposures nor had the negatives been altered. The simple fact is that the girls had just posed with very obvious cut-outs of fairy drawings to make the "authentic" pictures. Some sixty years later, the aging Elsie and Frances confessed to what had begun as a prank but soon got out of hand as the story was publicized.Elsie and Frances and The Cottingley Fairieswww.randi.org/library/cottingley/The Cottingley Fairies: Do you believe in fairies? www.youtube.com/watch?v=u2aXgCYFSyI Based on factual accounts, this is the story of two young girls that, somehow, have the ability to take pictures of winged beings... which certainly causes quite a stir throughout England during the time of the first World War. Everyone, except the girls who think it's quite normal, are excited about this "photographic proof" that fairies exist... even the great Sir Arthur Conan Doyle and Harry Houdini pay the girls a visit.
|
|
|
Post by tannis on Aug 30, 2008 9:00:25 GMT
John Carder Bush: "Our lives were filled with the trappings of the Celtic Twilight, its poetry and its music."home.att.net/~james51453/preface.htm The Celtic Twilight by W. B. Yeats
Time drops in decay Like a candle burnt out. And the mountains and woods Have their day, have their day; But, kindly old rout Of the fire-born moods, You pass not away.The Celtic Twilight (1893), a collection of supernatural writings by W. B. Yeats, based on his own researches and fieldwork in folklore. Most are stories collected in Co. Galway, often with Lady Gregory's help, together with Sligo material from Mary Battle. The second edition of 1902 was enlarged. The final poem, originally named ‘The Celtic Twilight’, gave its name to the volume and to a school of writing produced under Yeats's influence.
Celtic Twilight: William Butler Yeatswww.celtic-twilight.com/ireland/yeats/index.htm
|
|
|
Post by tannis on Aug 30, 2008 13:11:40 GMT
The Woman in the Moon KB: "I wrote in my flat, sitting at the upright piano one night in March at about midnight. There was a full moon and the curtains were open, and every time I looked up for ideas, I looked at the moon..." PHOENIX: EARLY KATE BUSHgaffa.org/phoenix/index.htmlA long way up in light-years, Just a pinpoint in space, In a century of planetary storms, Stranded at the moonbase... Walking down the street, brushing arms, You're moonlight dancing... Soon it will be the phase of the moon When people tune in... Over the lights, under the moon. Over the lights, under the moon. Over the moon, over the moon! ... I'm hanging on the Old Goose Moon. You look like an angel, Sleeping it off at a station. Were you only passing through? ... You and me on the bobbing knee. Didn't we cry at that old mythology he'd read! I will come home again, but not until The sun and the moon meet on yon hill... They never go for walks. Maybe it's because The moon's not bright enough. There's light in love, you see... The night doesn't like it. Looks just like your face on the moon, to me... Oh and here comes the man with the stick He said he'd fish me out of the moon... On this Midsummer night Everyone is sleeping We go driving into the moonlight...John Carder Bush: "I am programmed in my emotional life by the first work of fantasy that got through to my heart. For me it was Barrie's bitter, sad condemnation of adulthood... For Cathy, I could guess that it was Oscar Wilde who first led her into that tricky land of tear puddles." (1986, Cathy).home.att.net/~james51453/cathy08.htmSALOME by Oscar WildeTHE YOUNG SYRIAN How beautiful is the Princess Salome to-night!
THE PAGE OF HERODIAS Look at the moon. How strange the moon seems! She is like a woman rising from a tomb. She is like a dead woman. One might fancy she was looking for dead things.
THE YOUNG SYRIAN She has a strange look. She is like a little princess who wears a yellow veil, and whose feet are of silver. She is like a princess who has little white doves for feet. One might fancy she was dancing.
THE PAGE OF HERODIAS She is like a woman who is dead. She moves very slowly...
THE YOUNG SYRIAN How beautiful is the Princess Salome to-night!
THE PAGE OF HERODIAS You are always looking at her. You look at her too much. It is dangerous to look at people in such fashion. Something terrible may happen.
THE YOUNG SYRIAN She is very beautiful to-night...
THE YOUNG SYRIAN How pale the Princess is! Never have I seen her so pale. She is like the shadow of a white rose in a mirror of silver.
THE PAGE OF HERODIAS You must not look at her. You look too much at her...
THE YOUNG SYRIAN The Princess has hidden her face behind her fan! Her little white hands are fluttering like doves that fly to their dove-cots. They are like white butterflies. They are just like white butterflies.
THE PAGE OF HERODIAS What is that to you? Why do you look at her? You must not look at her . . . . Something terrible may happen...
THE YOUNG SYRIAN The Princess is getting up! She is leaving the table! She looks very troubled. Ah, she is coming this way. Yes, she is coming towards us. How pale she is! Never have I seen her so pale.
THE PAGE OF HERODIAS Do not look at her. I pray you not to look at her...
THE YOUNG SYRIAN She is like a dove that has strayed . . . . She is like a narcissus trembling in the wind . . . . She is like a silver flower. [Enter Salome.]The Woman in the Moon (From Salome), Aubrey Beardsley, 1894victorianweb.org/art/illustration/beardsley/2.htmlAubrey Beardsley's Illustrations for Salome, 1894www.victorianweb.org/art/illustration/beardsley/works.htmlwww.vintageprints.ca/art_nouveau_7.htmThe moon, a recurring leitmotif in the drama, is one of the most important symbolical referents for Wilde, and for the characters themselves. In the opening scene, the Page of Herodias and the Young Syrian discuss its appearance in metaphorical, symbolic language: the Page, in an ominous anticipation of events to come, fears that the moon seems "like a woman rising from a tomb," "like a dead woman ... looking for dead things," while the Young Syrian, ever captivated by Salome, sees the moon instead as "a little princess who wears a yellow veil, and whose feet are of silver." Upon her entrance, Salome is relieved to see the serene night and the moon, which she describes as "cold and chaste," since "she has never defiled herself ... never abandoned herself to men." Then Herod, in yet another premonition of disaster, is distressed by the moon's appearance and claims that "she is like a mad woman .. seeking everywhere for lovers ... she reels through the clouds like a drunken woman." All of these metaphorical descriptions -- the legacy of Symbolist language -- serve to suggest, in images as well as words, the emotional state of each character, but they also reinforce the power of symbolism, its ability to connect and link the varied elements of the drama. The unity is destroyed, however, by the next statement about the moon, uttered by Herodias, the antithesis of symbolic power: exasperated, she insists that "the moon is like the moon, that is all!" Conrad duly notes this difference amongst the characters: For all their differences, there is an aesthetic conspiracy between Herod and Salome, who are united in opposition to Herodias, the dull enemy of imagination for whom the moon is merely the moon, and nothing more, whereas her husband and daughter know it to be a disturbing metaphor.www.nthuleen.com/papers/947paper.htmlThe World's Most Beautiful Women ~ ALLA NAZIMOVAAlla Nazimova in Salome [1923]www.youtube.com/watch?v=Hm161GpE5UsExcerpt from the 1923 production of Oscar Wilde's "Salome" directed by Charles Bryant. Set and costume design by Natacha Rambova, from Aubrey Beardsley's original artwork...[/color] Decadent Daydreams of Alla Nazimova, music WENCH www.youtube.com/watch?v=nqqaqqzY9L4&feature=related Tribute to the silent film actress Alla Nazimova put to the music of Frances Byrne. Nazimova was an amazing performer who validates the great line from Sunset Boulevard: "We didn't need dialogue. We had faces."
Nazimova Montage www.youtube.com/watch?v=PY9revTczUo Photographs of legendary actress Alla Nazimova set to "Summer 78" by Yann Tiersen.AERIAL: "Design by Kate and Peacock"
Peacock (From Malory, Morte d' Arthur), Aubrey Beardsley, 1893-1894 www.victorianweb.org/art/illustration/beardsley/peacock1.gif
The Peacock Skirt (From Salome), Aubrey Beardsley, 1894www.victorianweb.org/art/illustration/beardsley/3.html
|
|