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From: Wieland Willker <email@example.com>
Date: Sun, 28 Jan 1996 14:11:13 -0100
Subject: The Origin of The Sensual World. 'Antice, dzanam, Dusice'?
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The Origin of The Sensual World 'Antice, dzanam, Dusice' ? What follows are four articles taken from the LH-archive. They discuss to some extent the traditional origin of the song The Sensual World. They also show IED in top condition. :-) Maybe some knowledgable person can point us to a commercially available source of this music? *Helpful* comments welcome. The Archive says:"I tell you the truth!" "And what is truth?" Pilate asked. ============================================================================ ============== From: firstname.lastname@example.org (Leo Breebaart) Subject: Dutch Kate Bush review + accusation Date: 30 Oct 89 12:09:05 GMT Anyway, with everybody posting magazine reviews and articles about Kate's new album, I thought that at least for completeness' sake, it might be interesting to let you know what Holland's leading music magazine 'Oor' has to say about it. 'Oor' means 'Ear', and qua contents it is like the Dutch Rolling Stone, and heavily biased towards the more 'alternative' circuit, which over here does not really include Kate. [Now for the second, more interesting piece, which appeared two weeks later in 'Oor' Nr. 21, 21 october 1989:] BUSH FRAUD ? [In Dutch: 'Bush Bedrog?', a nice alliteration] 'The Sensual World' is the name of the new single by Kate Bush. Although, 'new'? I have known the melody which her accompanist Davy Spillane plays in this song on bagpipes for years. In the fall of 1985 I was going to interview Kate Bush in England. Because she then already had shown her love for (Irish) folk music, I had brought a cassette of my folk favourites. The interview first was cancelled, but after a few days La Bush called me after all at home (collect). The interview was never published (too thin), but I did send her the tape afterwards. On that tape was the [?] from Yugoslavian Macedonia originating 'Antice, dzanam, Dusice', performed by the Haagse [i.e. from The Hague] ensemble Calgija, conducted by etnomusicologist Wouter Swets. Originally a song about a poor girl who had to take care of her younger sister, and therefore couldn't get a husband; in Swets' (instrumental) version almost as beautiful as 'Mother Nature's Song' by the Beatles. According to the booklet of the LP and CD 'The Sensual World' the title song was written by La Bush herself: not true. Was this traditional melody suggested to her by the Trio Bulgarka, guests on the album, or did my cassette reach her home address in Kent, after all? [by Jan Libbenga] ============================================================================ ============== Date: Tue, 31 Oct 89 17:44 PST From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu Subject: Dutchman's allegations of Kate Bush "fraud" A recent Love-Hounds posting (IED is greatly indebted to the transcriber, to Vickie Mapes--via Larry Hernandez--for calling IED's attention to it, and to Michael Butler for reading it over the phone to him), taken from an article printed in the Dutch music journal Ur (#21, October 21, 1989), has moved IED to do a little research on his own, and he has a few observations to make now. First, what exactly happened between Mr. Libbenga and Kate? Mr. Libbenga more or less admits that he never actually had any personal contact with Kate. In fact, it seems that whatever telephonic communication he had with her was too "thin" to fill even the brief kind of interview-article now considered adequate among contemporary-music publications. Nevertheless, we are told, Mr. Libbenga "sent Kate" a tape of folk music. It is not clear to what address this tape was sent, but there can be no doubt that Kate and her brothers are recipients of a vast number of such tapes each year, and we cannot assume that Kate ever heard Mr. Libbenga's tape, nor that, if she did hear it, she was aware from whom the tape had come. Paddy Bush, we know, has an enormous collection of tape-recordings of ethnic music, and presumably Kate's exposure to these and other collections is casual, even chaotic, at times. We also have the information that Kate called Mr. Libbenga "collect". And why not? Mr. Libbenga had asked for an interview with Kate Bush, and--almost certainly because he had associated himself with a Dutch music journal--he was granted one. Perhaps his evident pique at being asked to pay for the cost of the interview was a partial cause of the succeeding interview's suspicious "thinness"? We cannot know. What of the question of "fraud", then? There can be no question that the recording heard on Kate's album is completely different from the recording named by Mr. Libbenga. The choice of Uillean pipes, Greek bouzouki and Irish fiddle as the instrumentation of the "air" in question is surely original--particularly if, as Mr. Libbenga claims, the melody is Macedonian. (Macedonia is a part of what is now Yugoslavia.) Whatever similarity does exist between Mr. Libbenga's Dutch tape and Kate's The Sensual World must, therefore, be strictly limited to the melody itself. It would be unwise to take any stranger's word for it that one melody is "the same" as another without hearing the two recordings oneself; in this case it would be triply unwise, for we know already that Mr. Libbenga apparently had some reason for harboring a grudge against Kate (for calling "collect", and for failing to oblige him with a "thick" enough interview to further his career), and we also know that Mr. Libbenga has described his original tape recording as sounding much like The Beatles' recording of Mother Nature's Son --a comparison which, in IED's opinion, puts in the gravest doubt Mr. Libbenga's claims about the likeness of his tape to Kate's recording! Two other points are in order. First, it will be remembered that the author of the interview with Kate which was published recently in New Musical Express twice referred to Kate's instrumental material from The Sensual World as a "Macedonian air". We need not be in any doubt that this knowledge was not the author's own, but was transmitted to him by Kate Bush herself. (There is little likelihood that a staff writer for New Musical Express could distinguish a Macedonian air from a plate of peas.) Therefore, assuming that the origin of the melodic material is Macedonian, Kate has already proven herself perfectly forthcoming on the issue. The second point is that, however Kate became acquainted with the melody, its folk origins place it squarely in the public domain, and therefore any question of "fraud" is moot. Despite this fact, it is significant that Kate has always been perfectly willing to identify elements of her music which are borrowed from traditional sources. In fact, Kate was openly apologetic when, through a label typo by EMI, credit for the composition of The Handsome Cabin Boy was given to her (the song is traditional). Similarly when My Lagan Love was released Kate was very explicit about the traditional origin of the music vs. the John Carder Bush-originated lyrics she used for the song. And again when describing the use of a traditional melody in Hello Earth Kate was admirably forthright in ascribing its origins to the soundtrack of Werner Herzog's film Nosferatu. (She also thanked Herzog and the film's soundtrack supervisor Florian Fricke in the liner notes of Hounds of Love .) And still another time, Kate went out of her way to identify a rhythm she used in Jig of Life as coming from Greek folk sources. Given this proven honesty on Kate's part in the past, IED can see no reason for doubting her when she claims that her recording, The Sensual World, is substantially her own work. IED thinks the most likely explanation is that a minimum of melodic material was adapted--with at least some changes and probably considerable variation and development--by Kate from traditional Macedonian sources, possibly but by no means certainly through exposure to Mr. Libbenga's homemade compilation of public-domain traditional music; and that, following its novel and radical re-instrumentation and arrangement by Kate with the aid of Irish musicians, she rightly felt that such a natural absorption of folk elements in her work did not jeopardize her status as creator of the final recording. And despite this, she has apparently been quite willing to identify the Macedonian roots of a (no doubt small) part of her recording's elaborate counter-melody. All in all, IED can find no justification for Mr. Libbenga's quibble with Kate; indeed, IED sees far more evidence to doubt both the legitimacy of Mr. Libbenga's musical expertise and the honorability of his motivation for making these dubious accusations. -- Andrew Marvick ============================================================================ ============== Date: Fri, 03 Nov 89 11:17 PST From: IED0DXM%OAC.UCLA.EDU@mitvma.mit.edu Subject: MisK. and KT NEWS KT NEWS: The new Kate Bush Club Newsletter has finally arrived. There's an article by Paddy in which (irony of ironies) he thanks an unidentified Dutch person for giving them a tape of Macedonian music which they ended up using (very loosely) for The Sensual World, and asking the Dutchman to get in touch with them so that they can give him credit! Seems this Dutch bastard just couldn't keep his mouth shut long enough, but had to go and accuse Kate of "fraud" the second he heard the song. IED bets he regrets his nasty-mindedness now! And apparently he never made his bloody identity clear to the Bushes anyway! ============================================================================ ============== From: email@example.com (Leo Breebaart) Subject: Kate Bush vs. the Dutch Magazine 'Oor' Date: 19 Dec 89 08:43:11 GMT A month or so ago, I posted a translation of an article in a Dutch music magazine, in which Kate Bush was accused of falsely taking writing credit for the song 'The Sensual World', and ... oh heck, I'll repeat the translation further on in this posting. I didn't get much response from the Love-Hounds, except - of course - for IED, or rather Andrew Maverick, who (at my suggestion) composed a letter, which I subsequently send to the editors of the magazine. I had already forgotten about it when a few days ago I got a reply from the journalist who wrote the original article. Just for completeness' sake, I thought it might be interesting to let this group know the final outcome of this matter. * IED'S REPLY TO THE MAGAZINE * In regard to Mr. Libbenga's accusation that the English recording artist Kate Bush was deceitful in failing to identify the traditional source of a part of her recent record, "The Sensual World": I would like to make several important points. First, Mr. Libbenga seems to have been primarily upset because he had not received any personal credit on Ms. Bush's album, even though he himself apparently did nothing more than make her aware of a piece of traditional Macedonian folk music. Second, Ms. Bush has in fact been more than forthcoming about the traditional elements in the record--in a recent interview in England's music journal "New Musical Express" she expressly identifies the record's counter-melody as a Macedonian folk tune. Third, Ms. Bush's use of this folk music (which is, of course, entirely in the public domain) occupies a minimal role in the overall effect of her recording: only the most basic melodic cell is retained from the Macedonian source, and this is confined to an instrumental countermelody which never assumes dominance over--and in fact is drastically altered to accomodate--Ms. Bush's original vocal melody-line. And as if these substantive changes to the music were not themselves enough to explain the crediting of the recording to Ms. Bush, she re-arranged the Yugoslavian motif for a unique combination of Irish, Greek and electronic instruments. Finally, I would like to point out that, in an article written by Ms. Bush's brother Paddy and published (before Mr. Libbenga's sour-toned, petty article ever went to press) in the most recent issue of the "Kate Bush Club Newsletter", a special appeal was made to the "Dutch person" who had sent Ms. Bush the tape of the original Macedonian melody to let them know his identity, so that they could give him credit for the service he did them. It seems that Mr. Libbenga never properly identified himself to the Bush family in the first place! Taking these facts into account--and considering that Ms. Bush has always been scrupulously honest and generous in crediting any and all musicians and sources for their help in creating her own indisputibly original and masterful music--I think Mr. Libbenga ought to be ashamed of himself for having accused this supremely honourable British musician of deceit. He owes Ms. Bush an apology. -- Andrew Marvick * JAN LIBBENGA'S LETTER TO ME * Dear Leo, Thanks for sending the reactions of Andrew Maverick from Los Angeles. I should answer his letter personally, but I get the impression that he has never read the article in question himself and that you must have translated it (I am assuming that you are corresponding Bush-fans). My article got somewhat of a wry after-taste because an editor put "Fraud?" above it, much against my wishes (I only saw it after the issue had been printed). Read the article without that heading and it gets a lot more friendly. Strictly speaking it should have been mentioned on the album that the melody originated with the group Calgija. The melody in question is *not* in the 'public domain' as your acquaintance suggests, but is an instrumental interpretation of a vocal (!) piece by Wouter Swets from The Hague. Copyright exists just as much for arrangements of folk music. The arrangement has been used un-altered (I only noticed this later). This is not necessarily 'negligence' on the part of Kate Bush; the responsibility belongs in the first place with her record company EMI. Meanwhile, I now know about the Kate Bush Club Newsletter, and there has been contact with the management. Accompanying my cassette was a letter (send via EMI, as requested by Kate Bush) and they lost it. That I did not receive 'credit' on the record is not important, if you had read (and translated) my article well, you would have seen that I leave it open from whom she got the melody. It was not out of spite, but out of pure astonishment that I wrote the article. In short: I was pleasantly surprised, and play 'The Sensual World' with joy. Greetings, Jan Libbenga * SOME FINAL COMMENTS OF MY OWN * - I think this is a *very* reasonable letter. What he says makes perfectly good sense to me, and does not ring false. In fact, it was a nice surprise to actually receive a reply from 'the man himself', because I was expecting nothing more than a form letter. - He only allows himself one sly dig at the end: "If you had read (and translated) the article well...". I can say nothing else than that he is right, and very smart as well: IED indeed did *not* see the original translation. At first he had written a longer and much more vicious letter, purely based on a verbal account someone gave him of the article (we all know how IED gets when Kate is done an injustice!). I pointed out some mistakes to him, and he rewrote the letter accordingly. However, the part about Jan Libbenga wanting credit for himself was indeed still wrong, and it is my mistake that I did not 1) tell IED this, and let him rewrite again; or 2) send him a transcript of the original article, so that he wouldn't have made the mistake in the first place. This was completely my responsibility, and Jan Libbenga correctly does not fault IED for this. - Afterthought. At first I thought it would be nice to return the courtesy to Jan, and write him a personal letter as well, explaining the context in which all of this has taken place (i.e. Usenet & rec.music.gaffa). On second thought, seeing as how the discussion is actually about the unauthorized use of copyrighted material, I think it might be wiser not to tell him that I translated his article, without any kind of permission whatsoever, and distributed it for hundreds if not thousands of people to see... :-) Once again going back into passive Gaffa Watching Mode, Leo Breebaart ============================================================================ ==============