Monday, October 17, 2016
Seen On Maui
I'm back from Maui where I spent some time visiting a dear friend who lives in the tiny, picturesque Upcountry village of Makawao, halfway up Haleakala. Makawao was originally a paniolo or cowboy town. But now it is a quaint little gathering of stores and a main street populated by colorful chickens who wander into the shops! You can see my previous post about Komoda Bakery in downtown Makawao here!
Sunday, October 16, 2016
Happy Cherokee New Year 2016!
Happy Cherokee New Year!
The Cherokee people ended their year and started the new year in autumn. It’s interesting—and makes sense—that they chose the harvest to mark the end of the year. The earth had gone through a cycle: the food had grown from spring, through summer, and then was harvested in the fall. The cycle was finished; time to start anew. The New Year was celebrated with a festival that featured purifications, dancing, prayers and offerings, and food such as corn, beans, squash, and meat.Since the Cherokee calendar was and still is extremely tied to the phases of the moon, the timing of the New Year observation is somewhat up for debate. Some sources say that it was observed on the first full moon after the start of autumn, which is today, October 16th, 2016. Other sources report that the New Year was observed ten days after the first full moon, the ten days probably being a period of fasting and preparation for the festival. Still other sources cite the first full moon in the Cherokee month of Nvdadequa or Nvwatitequa—which happens during our month of November—as the true Cherokee New Year.
Whenever it was celebrated, it was surely around this time... when the earth turns, the days grow shorter, the nights grow longer, and the weather turns cold. We prepare for the introspection that comes with winter, when the ground sleeps under the snow. That is the beginning of the year, the beginning of time: from darkness and cold springs life, new growth.
I wish you all "alihelisdi itse udetiyvsadisvi" or Happy New Year!
http://www.cherokee.org/
Friday, October 14, 2016
BEAUTY: Installation--Miguel Chevalier at Nuit Blanche 2016
For this year's Nuit Blanche celebration in Paris on October 1st, 2016, artist Miguel Chevalier created a stunning projection installation in the Saint-Eustache Church.
His website artist statement says:
"For many years, the Saint Eustache Church has shared in such great moments of the artistic life of the city of Paris as Nuit Blanche (All-Nighter), an occasion to offer some 10,000 night visitors the opportunity to discover the city’s historical heritage.
For Nuit Blanche 2016, Father George Nicholson, Priest of Saint-Eustache and Françoise Paviot, curator in charge of contemporary art at the Saint Eustache Church, are proposing Miguel Chevalier’s virtual-reality installation 'Voûtes Célestes.' This new is accompanied by musical improvisations played by Baptiste-Florian Marle-Ouvrard, titular organist for Saint Eustache Church’s great organ and repertoires performed by Les Chanteurs de Saint-Eustache.
'Voûtes Célestes' is a generative and interactive virtual-reality artwork projected onto the Saint Eustache Church’s chancel vaults, its central nave, its transept crossing, and its two transepts. Surprising imaginary sky charts are created in real time. The visitor discovers a variety of colored networks of light that spread out in the form of sinuous webs. These large meshes take form and then lose their shape, changing following the movements of visitors in the central nave, creating ever renewed, diversified universes.
'Voûtes Célestes' highlights the site’s architecture, the volumes of the columns and ribbed vaults come to life before our eyes. Their colorful gridworks create surprising trompe l’oeil effects. These suspended universes accentuate one’s impression of the monument’s loftiness and lightness.
Visitors are invited to stroll around, to sit in the pews, and to lift up their eyes toward the heavens. These digital constellations of pixels immerse visitors in an atmosphere bathed in light while opening unto infinity. The installation releases radiant energy into this space of plenitude. Amplified by Saint Eustache’s organ music, the installation induces a spiritual and contemplative feeling of elevation. Light, color and movement create a poetics of matter and elaborate a new aesthetics of virtuality."
Nuit Blanche is a marvelous arts festival which takes place in Paris on the first Saturday of October. Started in 2002, the free, all-night event combines visual arts of all kinds with music, perfromance, and dance at venues spanning the city. Naturally, artists take advantage of the darkness of night and many works and installations are light-based. Chevalier's "Voûtes Célestes" was presented from 8:30PM to 6AM. The principal organist at Saint-Eustache, Baptiste-Florian Marle-Ouvrard, played improvised music while watching the kaleidoscopic, psychedelic patterns morphing overhead.
http://www.miguel-chevalier.com/en/voutes-celestes
www.saint-eustache.org
His website artist statement says:
"For many years, the Saint Eustache Church has shared in such great moments of the artistic life of the city of Paris as Nuit Blanche (All-Nighter), an occasion to offer some 10,000 night visitors the opportunity to discover the city’s historical heritage.
For Nuit Blanche 2016, Father George Nicholson, Priest of Saint-Eustache and Françoise Paviot, curator in charge of contemporary art at the Saint Eustache Church, are proposing Miguel Chevalier’s virtual-reality installation 'Voûtes Célestes.' This new is accompanied by musical improvisations played by Baptiste-Florian Marle-Ouvrard, titular organist for Saint Eustache Church’s great organ and repertoires performed by Les Chanteurs de Saint-Eustache.
'Voûtes Célestes' is a generative and interactive virtual-reality artwork projected onto the Saint Eustache Church’s chancel vaults, its central nave, its transept crossing, and its two transepts. Surprising imaginary sky charts are created in real time. The visitor discovers a variety of colored networks of light that spread out in the form of sinuous webs. These large meshes take form and then lose their shape, changing following the movements of visitors in the central nave, creating ever renewed, diversified universes.
'Voûtes Célestes' highlights the site’s architecture, the volumes of the columns and ribbed vaults come to life before our eyes. Their colorful gridworks create surprising trompe l’oeil effects. These suspended universes accentuate one’s impression of the monument’s loftiness and lightness.
Visitors are invited to stroll around, to sit in the pews, and to lift up their eyes toward the heavens. These digital constellations of pixels immerse visitors in an atmosphere bathed in light while opening unto infinity. The installation releases radiant energy into this space of plenitude. Amplified by Saint Eustache’s organ music, the installation induces a spiritual and contemplative feeling of elevation. Light, color and movement create a poetics of matter and elaborate a new aesthetics of virtuality."
Nuit Blanche is a marvelous arts festival which takes place in Paris on the first Saturday of October. Started in 2002, the free, all-night event combines visual arts of all kinds with music, perfromance, and dance at venues spanning the city. Naturally, artists take advantage of the darkness of night and many works and installations are light-based. Chevalier's "Voûtes Célestes" was presented from 8:30PM to 6AM. The principal organist at Saint-Eustache, Baptiste-Florian Marle-Ouvrard, played improvised music while watching the kaleidoscopic, psychedelic patterns morphing overhead.
http://www.miguel-chevalier.com/en/voutes-celestes
www.saint-eustache.org
Thursday, October 13, 2016
"An Egypt That Doesn't Exist" by Rumi
An Egypt That Doesn’t Exist
by Rumi
I want to say words that flame
as I say them, but I keep quiet and don’t try
to make both worlds fit in one mouthful.
I keep secret in myself an Egypt
that doesn’t exist.
Is that good or bad? I don’t know.
For years I gave away sexual love
with my eyes. Now I don’t.
I’m not in any one place. I don’t have a name
for what I gave away. Whatever Shams
gave, that you can have from me.
--Translated by Coleman Barks with John Moyne
by Rumi
I want to say words that flame
as I say them, but I keep quiet and don’t try
to make both worlds fit in one mouthful.
I keep secret in myself an Egypt
that doesn’t exist.
Is that good or bad? I don’t know.
For years I gave away sexual love
with my eyes. Now I don’t.
I’m not in any one place. I don’t have a name
for what I gave away. Whatever Shams
gave, that you can have from me.
--Translated by Coleman Barks with John Moyne
Wednesday, October 12, 2016
Harmony by Aaron Fagan
Harmony
by Aaron Fagan
Sisyphus punches in, each morning,
At a mountain he must face all day,
In hell, for eternity, and at night,
Having not reached the summit
Again, he walks down slow, where
The rock rushed by, careful to see,
With new eyes, where it all went
Wrong, again, and then later,
At the bar in town, sits cooling his
Bleeding hands against a whiskey,
On the rocks, and maps new paths,
On a napkin, inside the wet ring
His tumbler made, again and again,
The routes running on to absurd
Lengths, hands shaking, and if it
Wasn’t a map, you might think
It was the history of history
Or parts of a nude in repose,
Patient with death and belonging.
http://aaronfagan.com/
by Aaron Fagan
Sisyphus punches in, each morning,
At a mountain he must face all day,
In hell, for eternity, and at night,
Having not reached the summit
Again, he walks down slow, where
The rock rushed by, careful to see,
With new eyes, where it all went
Wrong, again, and then later,
At the bar in town, sits cooling his
Bleeding hands against a whiskey,
On the rocks, and maps new paths,
On a napkin, inside the wet ring
His tumbler made, again and again,
The routes running on to absurd
Lengths, hands shaking, and if it
Wasn’t a map, you might think
It was the history of history
Or parts of a nude in repose,
Patient with death and belonging.
http://aaronfagan.com/
Tuesday, October 11, 2016
Happy International Coming Out Day 2016
Today is the 28th annual International Coming Out Day. This celebration started in 1988 as a way to raise awareness of the LGBT community and civil rights movement.
If you haven't yet, join us. We need you.
Sculpture by Lazar-G
Monday, October 10, 2016
BEAUTY: Man--Noah Huntley
Gorgeous actor/model Noah Huntley is featured in the October issue of Harrod's Magazine in a feature called "Stand and Deliver" which plays into my love of New Romance and evokes mages of Adam Ant's video for his song "Stand and Deliver." Of course the clothing--ranging from McQueen to Bottega Veneta--are sumptuously New Romantic as well...
http://magazine.harrods.com/#!/issue/126646/article/122049
http://magazine.harrods.com/#!/issue/126646/article/122049
Sunday, October 9, 2016
Just RE-watched...
..."Cloud Atlas." It was a delight to revisit this film and I will post my previous review from 2012 here:
I hardly know where to begin writing about “Cloud Atlas,” the newest film from the Wachowski siblings and director Tom Tykwer. Although I did not read it, the film is based on the supposedly “unfilmable” book CLOUD ATLAS, shortlisted for the 2004 Man Booker Prize, by David Mitchell. The book tells six stories in chronological order that take place in six different time periods between 1849 and a far future that is revealed to be 2321. Author Mitchell says all of the main characters in the book are reincarnations of the same souls, through time, identified by a birthmark. The New Yorker called the book “virtuosic” and I regret a little not reading it before it became a film. The name itself is mystically evocative. If an atlas is a book of maps, how could one ever make a map and record the position of the clouds, which are, by their nature, ever-moving, ever-changing, seemingly alive?
So the Wachowskis and Tykwer had their work cut out for them when they began working on a filmed adaptation of the novel. In fact, they all agreed that their initial meetings would be simply to see if the work could be translated into a screenplay at all. And as it turns out, it can be translated, with some brilliant and logical extra elements. They decided that the way to portray the reincarnated nature of the individuals in these six stories would be to cast the same actors, so we the audience can recognize (or in some cases of excellent make-up, not recognize) the journey and progress—or regression—of each soul. They also made a very wise decision not to tell the stories in chronological order. Right from the start of the film, the characters and events are introduced to us at a steady yet urgent pace. It is this pacing that propels the story forward and sweeps us along with it. We cut back and forth, zig-zagging through time and location, all the while anchored by these people and their interactions with one another. Never once did the narrative lag, never once did I sense the actual nearly-three-hour running time, and never once did I tire of any of the story arcs. Interweaving the timelines makes the film more immediate, more thrilling, and ultimately reinforces the ideas of karma, interconnectedness, and the impact we all have on each other, whether we know it or not (more likely not since we cannot see the “big picture” the way it is presented to us here, or as I personally believe, after we are released from our physical bodies). As one of the characters says, "Our lives are not our own. From womb to tomb, we are bound to others. Past and present. And by each crime and every kindness, we birth our future." It also contributes to the idea that all time is simultaneous, although I am not sure that is what the Wachowskis or Tykwer were going for… but considering my own knowledge of physics, and my beliefs and experiences, that is what I get. Who knows, maybe that idea is what the filmmakers hope will sift down into our minds.
The film stars an impressive ensemble of very capable actors: Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Doona Bae, Ben Whishaw, James D’Arcy, Susan Sarandon, and Hugh Grant. All play multiple roles, with some playing different races and genders. (All were excellent and the only teeny tiny quibble I have is with some of Hanks’ English dialects which seemed a bit unformed, but he sold it with such dedication, it is difficult to complain too much.) The art direction is spectacular with the sets and costumes of each age and place fully realized, in the case of the past or present, or fully visualized, in the case of the future. The odd future-speak patois in 2321 is delightful, hard to understand, and completely logical and believable all at once. And the technology in both future sections is a marvel and reminds me of Arthur C. Clarke’s accurate quote, “Any sufficiently advanced technology is indistinguishable from magic.” The make-up ranges from amazing to sort of rubbery and not-so-good. But again, with all that we are being presented intellectually, emotionally, and visually, it seems a very small thing to point out.
There is a fascinating, subtle dichotomy at play in the feeling of the film. Although it is a German independent film, albeit distributed by Warner, there is something about it that feels sort of accessible and pop-culturish, and I don’t mean that in a good way. But when I try to ferret out exactly what is in the film or about the film that gives me that feeling, I come up blank. Is it simply that the cast is an A-List cast and not your cast of typical independent film actors? Well, Hanks and Berry might be Hollywood citizens, but many in the cast are not at all. There is something facile and slick about the veneer of “Cloud Atlas” that might be giving me this false impression, but looked at closely, the film is indeed virtuosic, spanning places, ages, cultures. It is, miraculously, a macrocosm and a microcosm, full of ideas (and metaphysical concepts) without seeming pedantic or bloated. Variety described it as "an intense three-hour mental workout rewarded with a big emotional payoff. ... One's attention must be engaged at all times as the mosaic triggers an infinite range of potentially profound personal responses." And that is entirely true. With both brains and heart, it dares to reference the big questions of existence by illustrating such ideas instead of pondering them with exposition. And very unlike an accessible, pop-culturish block-buster, there is an inevitable darkness: we as a species can be unfathomably cruel or unexpectedly, unconditionally kind to one another so we are not left with happy endings throughout the film. Some end up happy, some do not. There is satisfaction and there is pain. Just like life. Sometimes things turn out the way no one wants. But even then, the film reminds us, there is a pattern to it all. A beautiful, infinite pattern that includes light and dark, a pattern like moving clouds, living and breathing and vital.
Just like life.
Recommend? Clearly and definitely yes. I have been thinking of and contemplating this amazingly rich film for many days now. Take a look at the extended trailer below.
http://cloudatlas.warnerbros.com/
I hardly know where to begin writing about “Cloud Atlas,” the newest film from the Wachowski siblings and director Tom Tykwer. Although I did not read it, the film is based on the supposedly “unfilmable” book CLOUD ATLAS, shortlisted for the 2004 Man Booker Prize, by David Mitchell. The book tells six stories in chronological order that take place in six different time periods between 1849 and a far future that is revealed to be 2321. Author Mitchell says all of the main characters in the book are reincarnations of the same souls, through time, identified by a birthmark. The New Yorker called the book “virtuosic” and I regret a little not reading it before it became a film. The name itself is mystically evocative. If an atlas is a book of maps, how could one ever make a map and record the position of the clouds, which are, by their nature, ever-moving, ever-changing, seemingly alive?
So the Wachowskis and Tykwer had their work cut out for them when they began working on a filmed adaptation of the novel. In fact, they all agreed that their initial meetings would be simply to see if the work could be translated into a screenplay at all. And as it turns out, it can be translated, with some brilliant and logical extra elements. They decided that the way to portray the reincarnated nature of the individuals in these six stories would be to cast the same actors, so we the audience can recognize (or in some cases of excellent make-up, not recognize) the journey and progress—or regression—of each soul. They also made a very wise decision not to tell the stories in chronological order. Right from the start of the film, the characters and events are introduced to us at a steady yet urgent pace. It is this pacing that propels the story forward and sweeps us along with it. We cut back and forth, zig-zagging through time and location, all the while anchored by these people and their interactions with one another. Never once did the narrative lag, never once did I sense the actual nearly-three-hour running time, and never once did I tire of any of the story arcs. Interweaving the timelines makes the film more immediate, more thrilling, and ultimately reinforces the ideas of karma, interconnectedness, and the impact we all have on each other, whether we know it or not (more likely not since we cannot see the “big picture” the way it is presented to us here, or as I personally believe, after we are released from our physical bodies). As one of the characters says, "Our lives are not our own. From womb to tomb, we are bound to others. Past and present. And by each crime and every kindness, we birth our future." It also contributes to the idea that all time is simultaneous, although I am not sure that is what the Wachowskis or Tykwer were going for… but considering my own knowledge of physics, and my beliefs and experiences, that is what I get. Who knows, maybe that idea is what the filmmakers hope will sift down into our minds.
The film stars an impressive ensemble of very capable actors: Tom Hanks, Halle Berry, Jim Broadbent, Hugo Weaving, Jim Sturgess, Doona Bae, Ben Whishaw, James D’Arcy, Susan Sarandon, and Hugh Grant. All play multiple roles, with some playing different races and genders. (All were excellent and the only teeny tiny quibble I have is with some of Hanks’ English dialects which seemed a bit unformed, but he sold it with such dedication, it is difficult to complain too much.) The art direction is spectacular with the sets and costumes of each age and place fully realized, in the case of the past or present, or fully visualized, in the case of the future. The odd future-speak patois in 2321 is delightful, hard to understand, and completely logical and believable all at once. And the technology in both future sections is a marvel and reminds me of Arthur C. Clarke’s accurate quote, “Any sufficiently advanced technology is indistinguishable from magic.” The make-up ranges from amazing to sort of rubbery and not-so-good. But again, with all that we are being presented intellectually, emotionally, and visually, it seems a very small thing to point out.
There is a fascinating, subtle dichotomy at play in the feeling of the film. Although it is a German independent film, albeit distributed by Warner, there is something about it that feels sort of accessible and pop-culturish, and I don’t mean that in a good way. But when I try to ferret out exactly what is in the film or about the film that gives me that feeling, I come up blank. Is it simply that the cast is an A-List cast and not your cast of typical independent film actors? Well, Hanks and Berry might be Hollywood citizens, but many in the cast are not at all. There is something facile and slick about the veneer of “Cloud Atlas” that might be giving me this false impression, but looked at closely, the film is indeed virtuosic, spanning places, ages, cultures. It is, miraculously, a macrocosm and a microcosm, full of ideas (and metaphysical concepts) without seeming pedantic or bloated. Variety described it as "an intense three-hour mental workout rewarded with a big emotional payoff. ... One's attention must be engaged at all times as the mosaic triggers an infinite range of potentially profound personal responses." And that is entirely true. With both brains and heart, it dares to reference the big questions of existence by illustrating such ideas instead of pondering them with exposition. And very unlike an accessible, pop-culturish block-buster, there is an inevitable darkness: we as a species can be unfathomably cruel or unexpectedly, unconditionally kind to one another so we are not left with happy endings throughout the film. Some end up happy, some do not. There is satisfaction and there is pain. Just like life. Sometimes things turn out the way no one wants. But even then, the film reminds us, there is a pattern to it all. A beautiful, infinite pattern that includes light and dark, a pattern like moving clouds, living and breathing and vital.
Just like life.
Recommend? Clearly and definitely yes. I have been thinking of and contemplating this amazingly rich film for many days now. Take a look at the extended trailer below.
http://cloudatlas.warnerbros.com/
Seen On Maui: Komoda Bakery
I'm currently on Maui in the Hawaiian Islands and I just had to make a pilgrimage to the world famous Komoda Bakery for cream puffs and donuts on a stick. Located in the sleepy little Upcountry village of Makawao, Komoda Bakery was opened in 1916 by Takezo Komoda and his wife Shigeri as a restaurant and sandwich shop. It wasn't until 1947 when Takezo's brother Ikuo returned to Makawao with pastry recipes from a stint at a cooking school in Minneapolis that Komoda's found its footing as a bakery. Soon their cream puffs became famous and the long glazed donuts were placed on wooden skewers--a unique touch to be sure. Popular with locals and tourists (haoles) alike, Komoda's celebrates 100 years in business this November 2016. If you find yourself on Maui, drop by for cream puffs and a donut on a stick--but get there early, the line starts forming outside before they open at 7AM!
Wednesday, October 5, 2016
Tuesday, October 4, 2016
BEAUTY: Painting--Nicholas Bohac
I feel something familiar in the cosmic, psychedelic images made by San Francisco-based artist Nicholas Bohac. He says, "In this recent work, my aim is to question the universe and where, exactly, people fit into it. Specifically, I’m interested in the way we interact with and interpret what’s around us, and how that adds meaning to who we are. My paintings explore space & time, adventure, introspection, repeating patterns & the big picture. Through juxtaposing the abstract and surreal with the human condition, I hope to inspire a sense of wonder.
Through my work, I aim to explore the overall phenomenon of what it means to be human, past, present & future. The recurrent theme remains: Everything comes from nothing, and nothing comes from everything."
His figures make me flash on a quote by Sondra Ray:
“Your body is not solid flesh. Your body is not matter. It is energy. Your flesh is a physical manifestation of the five vibratory elements. Your physical form is made of molecules, molecules are made of atoms, atoms are made of electrons, and electrons are made up of billions of specks of energy. Your body is a mass of scintillating specks of light, held together by your thoughts…”
--Sondra Ray
Top to bottom: Drift; Explorations In The Tall Grass; Going Where Nobody Has Gone Before; More Shoegazers; Portal; Shoegazers; Time Travel Table; Up; Into The Fold
http://www.nicholasbohac.com/
Through my work, I aim to explore the overall phenomenon of what it means to be human, past, present & future. The recurrent theme remains: Everything comes from nothing, and nothing comes from everything."
His figures make me flash on a quote by Sondra Ray:
“Your body is not solid flesh. Your body is not matter. It is energy. Your flesh is a physical manifestation of the five vibratory elements. Your physical form is made of molecules, molecules are made of atoms, atoms are made of electrons, and electrons are made up of billions of specks of energy. Your body is a mass of scintillating specks of light, held together by your thoughts…”
--Sondra Ray
Top to bottom: Drift; Explorations In The Tall Grass; Going Where Nobody Has Gone Before; More Shoegazers; Portal; Shoegazers; Time Travel Table; Up; Into The Fold
http://www.nicholasbohac.com/
Monday, October 3, 2016
The Other Stuff
"It used to be that you had to go through such effort to find out about the things you were interested in that you would accumulate all this other stuff along the way, and it would become part of you in a way that it doesn’t anymore."
— Daniel Clowes
I was just complaining to a friend about this...sometimes the other stuff you tripped over along the way became more interesting! I guess it can still be done, but people just Google or get exactly what they already like fed to them...
http://danielclowes.com/
— Daniel Clowes
I was just complaining to a friend about this...sometimes the other stuff you tripped over along the way became more interesting! I guess it can still be done, but people just Google or get exactly what they already like fed to them...
http://danielclowes.com/
Sunday, October 2, 2016
"Mechanical Marvels: Clockwork Dreams" by Alex Menzies
Composer Alex Menzies wrote a hauntingly beautiful score for the 2013 BBC documentary "Mechanical Marvels: Clockwork Dreams." Here are a few tracks...
If you'd like to purchase the entire album, visit:
https://kathexis.bandcamp.com/album/mechanical-marvels-clockwork-dreams
For more information and more music:
https://alexmenzies.net/
If you'd like to purchase the entire album, visit:
https://kathexis.bandcamp.com/album/mechanical-marvels-clockwork-dreams
For more information and more music:
https://alexmenzies.net/
Saturday, October 1, 2016
"Before The Dawn" Concert Recording!
Well, we've all been waiting for a DVD release of Kate Bush's now-legendary live concert extravaganza "Before The Dawn"--it was filmed over two nights during her 22 night residency at the Eventim (Hammersmith) Apollo in London in 2014. But since there is still no DVD, I'm thrilled to report that on November 25th, 2016, Kate will release the concert recordings on both CD (3 discs with a 24 page booklet) and vinyl (4 LPs with a 24 page booklet which will have a US release on December 5th through Concord Records)! We can only hope it is a prelude to an actual DVD...but in the meantime, we can swoon over the glorious sounds. If you were lucky enough to see the show like I was, we can bask in our memories, and if you didn't get to see the show, you are in for a real treat!
Kate Bush News website reports, "Not only does each set include every song performed each night, it also includes a surprise live version of 'Never Be Mine' which was presumably cut from the actual shows for running time, marking the first appearance of a song from The Sensual World album in a Before the Dawn setting. The track was clearly originally intended to be part of the 'band performance' opening act of the shows. We also now have titles for two of the dramatised elements of the live show. Attendees will remember that actor Kevin Doyle (of Downton Abbey fame!) played the part of the concerned astronomer in the film segment that opens The Ninth Wave, 'Astronomer’s Call'. A comedic scene between Kate’s son Albert McIntosh and actor Bob Harms is now titled 'Watching Them Without Her'. 'Little Light' provides the serene choral lead-in to the powerful live version of 'Jig of Life', and Albert McIntosh takes on lead vocal duties as The Painter on the new song 'Tawny Moon', giving the lunar spectacle a prominent place in this wonderfully expanded production of A Sky of Honey in Act Three."
Here's the complete song list from the new release:
Act One
Lily
Hounds Of Love
Joanni
Top Of The City
Never Be Mine
Running Up That Hill
King Of The Mountain
Act Two – The Ninth Wave
Astronomer’s Call (feat Kevin Doyle spoken monologue)
And Dream Of Sheep
Under Ice
Waking The Witch (feat Jo Servi)
Watching Them Without Her (feat Albert McIntosh and Bob Harms)
Watching You Without Me
Little Light
Jig Of Life (feat John Carder Bush)
Hello Earth
The Morning Fog
Act Three – A Sky of Honey
Prelude
Prologue
An Architect’s Dream
The Painter’s Link (feat Albert McIntosh)
Sunset
Aerial Tal
Somewhere In Between
Tawny Moon (feat Albert McIntosh)
Nocturn
Aerial
Encore
Among Angels
Cloudbusting
You can pre-order at her website, and digital versions will be available through iTunes and Amazon.
http://katebush.com/
Kate Bush News website reports, "Not only does each set include every song performed each night, it also includes a surprise live version of 'Never Be Mine' which was presumably cut from the actual shows for running time, marking the first appearance of a song from The Sensual World album in a Before the Dawn setting. The track was clearly originally intended to be part of the 'band performance' opening act of the shows. We also now have titles for two of the dramatised elements of the live show. Attendees will remember that actor Kevin Doyle (of Downton Abbey fame!) played the part of the concerned astronomer in the film segment that opens The Ninth Wave, 'Astronomer’s Call'. A comedic scene between Kate’s son Albert McIntosh and actor Bob Harms is now titled 'Watching Them Without Her'. 'Little Light' provides the serene choral lead-in to the powerful live version of 'Jig of Life', and Albert McIntosh takes on lead vocal duties as The Painter on the new song 'Tawny Moon', giving the lunar spectacle a prominent place in this wonderfully expanded production of A Sky of Honey in Act Three."
Here's the complete song list from the new release:
Act One
Lily
Hounds Of Love
Joanni
Top Of The City
Never Be Mine
Running Up That Hill
King Of The Mountain
Act Two – The Ninth Wave
Astronomer’s Call (feat Kevin Doyle spoken monologue)
And Dream Of Sheep
Under Ice
Waking The Witch (feat Jo Servi)
Watching Them Without Her (feat Albert McIntosh and Bob Harms)
Watching You Without Me
Little Light
Jig Of Life (feat John Carder Bush)
Hello Earth
The Morning Fog
Act Three – A Sky of Honey
Prelude
Prologue
An Architect’s Dream
The Painter’s Link (feat Albert McIntosh)
Sunset
Aerial Tal
Somewhere In Between
Tawny Moon (feat Albert McIntosh)
Nocturn
Aerial
Encore
Among Angels
Cloudbusting
You can pre-order at her website, and digital versions will be available through iTunes and Amazon.
http://katebush.com/
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