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Topic: Interpretation of an Amarok section, Just what is the Caveman doing?< Next Oldest | Next Newest >
0+1(I1) Offline




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Posted: Aug. 27 2011, 14:02

Internet/power cut caused duplicate post! few for a MOment I thought I had to retype the whole thing. SORRY!!!
PLEASE SEE POST BACK ON PAGE 2!!.

I will make use of what would otherwise be a wasted hole in this thread by resurrecting some of the key points that Ugo made in this topic which sadly got a bit buried on the previous pages that seemed to go unrecognised or unanswered.
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We,, of course I may be reading too much into it - this is what you may expect from an Amarok addict.  But I always felt that there are very strong relations between the music and the story (which, IIRC, was written after the music), so I think that there is very little in Amarok which was done just for the hell of it, as Nightspore says, or as pure fun. Even the Mandolin bit, which sounds just like pure fun the first time it comes around, gets meticulously de-constructed (and re-constructed) in the section I mentioned above, so it's clear that the actual music, some of which was born out of pure fun, is really treated very seriously by Mike all the way through Amarok. Maybe the only thing that's done for fun and nothing else in the whole work is the "'appy?" sample - as someone said in another thread, samplers were a new toy at the time and Mike just had some fun with it. But I think all the rest is absolutely not haphazard - it's cleverly constructed to look like chaos. And it's not true, I think, that there are no rules and there is no structure within Amarok - the very fact that some sections are repeated (and some of them aren't simply repeated, but they're repeated with variations!;) to me is an indication that Mike had a clear construction of the whole thing in his mind from the outset, and he built it like a jigsaw puzzle, i.e. one piece here, one piece there, and at the end you get a full picture including various pieces that look similar to one another, yet they are different, and like in a real jigsaw puzzle every piece fits exactly where it is supposed to fit, and it can't fit anywhere else. Also, Amarok is not intellectual - I didn't say it is. But I don't think you can argue that there is total absence of construction and structure and planning and thinking in it, because all of those things are definitely there. As Shakespeare would have said, there is method in that madness.

@ Milamber: it's not the bashing itself that I find enigmatic, but the fact that it comes a very spooky atonal section. It sounds like the protagonist (whoever it is) is trapped somewhere and he can't find a way out, so he bashes his way out and he finally manages to escape that realm of atonality into the very tuneful "Boat" section. At least this is the way I interpret that bit. By the way, I received 5 replies and no one attempted to reply to my original question. Am I the only one, in the whole board, who cares?

@ nightspore: that's not supposed to be a cat's meow. That's supposed to be a starting signal, something like "let's get ready, now go!". Even if it's a descending tone (some have hypotized it's the guitar tuner) I have always perceived it that way.

@ wiga: if Mike was actually on a roll, as you say, he wouldn't have included within Amarok some pieces of music he originally recorded back in 1968, during the Sallyangie sessions, and which are reproduced almost verbatim. When you are on a roll, maybe you can remember a tune you wrote yesterday, but you definitely don't stop to think about a piece of music you composed and recorded 22 years ago, and, mostly, you don't take the trouble to re-play it almost exactly as you played it 22 years ago. Doing this is something that, at least IMHO, has to be planned. You cannot do it spontaneously.

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Ugo C. - a devoted Amarokian
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And in reply I1 would like to say "YES their are others that find this of great interest & we care & thank you for your efforts to bring this to the attention of others!!!.

Your overall analysis makes very nearly perfect sense to me & flows in its logic to a highly rational conclusion.

Ugo I do hope that you will not consider or others will not think of this in a cynical manner although I expect one or two will, my agreement with most of what you write here is genuine! and any disagreements we have on topics where our ideas do not find common ground, for me and others should not get in the way of finding truth or understanding in any other area! I hope all will agree with this.

I should also like to suggest that anyone who finds this plausible should also see the posts on other topics dealing with the the interpretation of Ommadawn/Amarok in meanings to words & lyrics, especially the possible translational meaning of a IDIOT SAVANT on the post by Ugo here http://tubular.net/forums....;t=4446 and the meanings here http://www.merriam-webster.com/dictionary/savant

Also to read what Ugo has written here http://tubular.net/forums....;t=4377
REGARDING info he was given by Korgscrew, the only area where we differ slightly in opinion regarding Ugos second reply is that I would say the sound is one of exasperated frustration as if to say why can I not hear this! it must be broken! maybe?.
idiot savant = http://www.merriam-webster.com/diction....1863902


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Posted: Aug. 28 2011, 11:26

http://www.youtube.com/watch?v=vJjGTxoXtSI&feature=player_embedded

* THIS IS THE STORY THAT SHOULD COME WITH THE ALBUM*
               ☞ DO  THEY FÏT T◎GETHER? ☜
A long time ago, in a place which may have been Ireland (but could just as easily have been Africa or Madagascar) there occurred a very unusual series of events.

Two men - good friends - heard of a great golden statue found standing in a great hole in the Earth, quite close to their village. Now, these were simple people and rumours spread like contagion. Some said it was not a statue, but not a man either. One thing was certain: it never moved. But it was also said that it produced a noise, a sound, or several sounds from time to time. Now and then, people had said, it made all of its noises at the same time. The men made a plan to visit it. They left early one morning.

They progressed slowly.
"Do you feel exhausted as I do?" said the first man.
"I've felt better," said the other "but we much achieve our aim."

After many hours the first man stopped in his tracks, staring into the distance.
"I see it," he said quietly.
"What do you see?"
"A gleaming of beautiful gold, a great haze of light..."

Despite their tiredness, they began to walk faster. But however briskly they walked, the distance between them and what the tales referred to as "the gleaming golden light" remained the same. After a while they stopped. They were very frustrated.

The quieter of the two men said, "We'll never get there."
"If we walk back, we will get there," said his friend.
The other surveyed him.
"Why do you think so?"
Without replying the first man rose, turned around and began walking back the way they had come.
To the amazement of the other, after a while the light became visible to him too and as they walked it drew closer. Soon the countryside around them began to look as if there had been a great fire. Blackened trees lay cracked on the ground and the Earth was scorched and barren. They felt uneasy. But they carried on.
Sure enough, they came to a massive charred hole. It was as if a great rock had been hurled from the heavens.
"What a mess," said the first man, "let's go and look."
"You go," said his more cautious companion, "tell me what you see."

His friend crawled to the edge of the great hole. Hanging onto a blasted but well rooted tree, he peered over. In the great pit gouged from the Earth was the tallest figure he had ever seen. It was of a beautiful golden finish, entirely smooth. It was not a statue, but it was not a man. He had never seen anything like it, and he couldn't look away.
"We have come so far," he said to himself. "I hear it has voices to speak of things we cannot speak of." He looked around and there was his friend next to him and he was staring into the crater.
He said "I am told that when a man hears its voice, it stays in their ears, they cannot be rid of it. It has many different voices: some happy but others sad. It roars like a baboon, murmurs like a child, rustles like water in a glass, sings like a lover and laments like a priest."
"I have heard it only says one word," said the other.
His friend looked at him, "I was told it depends on how you listen."
"What can you mean?"
"Imagine a creature with a melody for a voice. You either hear it or you don't."
"I do not understand," said his friend.
"He describes himself but he cannot see it; when he sees it, he cannot describe it. But there is always the sound, he will always make the sound."

They fell quiet. a long time passed. The second man turned to the first man.
"Doesn't look like we're going to hear it, does it?"
"I have heard it."
His friend looked at him sharply. "But there was no sound. None. What are you talking about?"
"Cheer up cloth ears," he said, "it's only a fairytale, innit?"

By William Murray

I would be inclined to think seeing as Mike included this story with the album, and it is my belief that he "MAY" of known of an unwritten story of this type before William put pen to paper (wrote it down).  I would therefore feel you are right Ugo in assuming the two are joined in more ways than one! in fact I would go as far as to say it is illogical to think otherwise IMHO.


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Ugo Offline




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Posted: Aug. 28 2011, 18:39

The story and the album are definitely connected. IIRC William Murray wrote it either while the album was being developed or after it was finished. In either case I don't think he wrote the story without hearing any of the music from the album - see below.

I posted my interpretation of the story elsewhere, I'll sum it up here, you're free to agree or disagree with me.

1) The optimist man (i.e. the one who says at the end "Cheer up, cloth-ears. It's only a fairytale, innit?") is Mike.
2) The pessimist man is William Murray. The two of them had long walks together.
3) The statue is either music in general, or, more specifically, the music on the album. This is highlighted by the "Mike" character saying "Imagine a creature with a melody for a voice." He also says: "It has many different voices: some happy but others sad. It roars like a baboon, murmurs like a child, rustles like water in a glass, sings like a lover and laments like a priest." All of these are, or can be seen as, metaphors of things which actually happen in the album. I'll take them in order:

- "It has many different voices: some happy but others sad." The word "Happy?" is featured prominently within the album, which also features many different voices. The African choir is definitely happy, while the voice which sings "Torn, torn" at 33:14 certainly has a sad tone.
- "It roars like a baboon": the roaring Caveman appears on the album - for example at 46:42.
- "murmurs like a child": at 39:17 there's a relaxing, lullaby-like tune.
-"sings like a lover": there are many "singing" melodies on the album which are poured out with a passionate tone. One is at 43:50.
-"and laments like a priest": listen to the solemn "Rachmaninov" theme, first appearing at 7:21. Also, the whispered voices at 26:07 sound vaguely like a priest praying.
Could William Murray have written all of the above without listening to any of the music? I honestly don't think so. :D

4) In the end "Mike" says he heard the sound, while "William" says he hasn't. This may be viewed as a metaphor for Mike, who is the creator of the music and actually "hears" it much more, and much deeply, than all of his listeners, including William.


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Posted: Aug. 28 2011, 19:12

Ugo I was agreeing with you I said so over and over again so I am very surprised you are responding in this way, did you really read anything I wrote? the only thing I question is who the the friends are.

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Posted: Aug. 28 2011, 21:23

"But however briskly they walked, the distance between them and what the tales referred to as "the gleaming golden light" remained the same."

This is very like the experience in TL, when one is trying to reach (for example) the green mountain or venture out beyond the volcano.
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Posted: Aug. 29 2011, 00:37

Quote (Ugo @ Aug. 31 2010, 16:11)
Quote (camarok @ Aug. 31 2010, 10:52)
Has anyone considered that we (the listener) are the statue.

I disagree completely. According to my own interpretation of the story, the statue represents both music in general and, more specifically, the music on the album Amarok, and maybe even the album itself. There are lots of reasons for me to view it like this, and if you wish, I'll list them here, even if I already listed them somewhere else. ;)

@ Wiga: that is a perfect summation of the journey that the two men in the story (who, to me, are Mike and William Murray) undertake to find the statue.

@ Milamber: Amarok (the piece of music rather than the album) does have some rules. They're not clearly visible, OK, but they're there. The clearest of those rules is the fact that it has at least 3 or 4 musical themes running all the way through it. Having a theme, just one, is by itself a rule, i.e. "play a piece of music once, then repeat it, then repeat it with some changes" - that's a rule. :) Another one is to have the most powerful climax at the very end of the work. If Mike wanted to have a "to-hell-with-rules" feel on Amarok, he wouldn't have respected what is one of the most common rules of musical composition, e.g. by having the most powerful climax halfway through the work (say, at 35 minutes) and not at the end.

I also have found reason to AGREE WITH YOU HERE UGO!.

I also can not see any reason to think anyone could consider themselves to be the statue/golden idol, as we in every case are the listeners & we either hear it or we do not, yes it is possible to think of MO being the sound that can be heard emanating from the idol (It was of a beautiful golden finish, entirely smooth. It was not a statue, but it was not a man).
However MO actually is on record as saying he feels he is only a conduit for the music he brings into being he seems to believe he is a channel for music so could it be that he is the one who hears the sound?.

Now I feel that anyone should recognise in Amarok as Ugo & I do at least these sounds from the story in the music:-
[He said  It has many different voices: some happy but others sad. It roars like a baboon, murmurs like a child, rustles like water in a glass, sings like a lover and laments like a priest."]

Thus it would (IMHO) be odd to think that Mike is not taking us on the journey with him and playing back to us what he heard but what I would also be inclined to think is that the whole journey did not end or start here.

I would like to hint at it not beginning with Amarok but as in the story, a long time ago! (maybe many many dawns back when man became sentient and first wondered uttering the sound of conscious thought, OM I wonder, & later who made us & is there a GOD/reason for being?) perhaps for Mike starting at the first ringing of the bell or after his time in the wilderness on Hergest Ridge in the making of this album HR & Ommadawn it all dawned on him in that MOment of what would end in time called Amarok being the second album.

Maybe the journey continues to this day if he still feels as he says he does that he is purely the channel, voice or the mic that picks up and relays the sound to us as music.   If so then Music of the Spheres, if one knows its history going back thousands of years is a perfect example of this as it is said that only those who are pure & innocent can hear the sounds of the COSMOS/Uni(1)VERSE or the sound/song of GOD so the really BIG Question is does MO think this is what he hears?.

One last issue I would like to touch on is when might the ◎MεGA MↂmenŤ 4 the bεll be? ◎R may it be when the T◎rUS is sealed shut? or will it be when Micheal Gordon ◎ldfield who is of the STAR SIGN TAURUS (in case anyone did not know) leaves to travel up his mountain? leaving his TↂR 4 us to see it as it is on LIGHT♱SHADE a torus in 2 parts? or will it be closed, C◎MPLETED shut t⊕ (-O+X4[ ☸ ]= 3 in 1) us all.

(Please note I will go into this in far greater detail at some point soon in the mean time HAPPY OM-ing every☺ne).

CIA☯ & thank you for reading our posts.
I1 +...


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Posted: Aug. 29 2011, 17:58

Yet a further time Ugo & I are in AGREEMENT!

Ugo you have raised an interesting point here above in your last post where you write 3) The statue is either music in general, or, more specifically, the music on the album.

I have always wondered if Mike is insinuating that all music maybe even all artwork is from the realm of the muses or a higher place and this is what he hears apart of & relays it to us in his works.

You also in this post go on to write: [ Could William Murray have written all of the above without listening to any of the music? I honestly don't think so.
4) In the end "Mike" says he heard the sound, while "William" says he hasn't. This may be viewed as a metaphor for Mike, who is the creator of the music and actually "hears" it much more, and much deeply, than all of his listeners, including William
].
On this we differ in opinion a bit as I think Mike had this story in mind from right back in the days when he recorded Amarok part A named Ommadawn.
As previously stated I think this may of been a story he had heard recited by one or his family friends or relatives as he seems to  of been surrounded from birth by music & works of the muse/amusing kind/type of people and stories of this nature are rife amongst the Irish people's & folk music crowd.

Thus I believe it is not far fetched to imagine that mike would/could of recited the basic story to William who merely embellished it & wrote it down, if MO already had the story in his mind from a point prior to embarking on the albums creation it would of been far easier than backwardly engineering the music to fit the story or creating a story out of thin air to fit the music that is so structured.

It is also my belief that Mike only decided to include the story after listening to it when finished or nearly finished, when he realised the work maybe needed a bit of explaining.

Now over to you, I1 over & out...


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Posted: Aug. 29 2011, 18:20

Quote (0+1(I1) @ Aug. 29 2011, 17:58)
Amarok part A named Ommadawn.

??? The only similarity is the cover.
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Ugo Offline




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Posted: Aug. 29 2011, 18:48

I don't think the story was written as an explanation to the album. It was rather written as a companion piece to the album, just like the Wind Chimes video is a companion piece to "The Wind Chimes" (the piece) - some part of TWC (the music) work without the video, but some don't, and the parts of the music which don't really work on their own are nearly perfect when they're completed by the video. The Amarok story, on the other hand, has two merits: it works very well on its own, and it words very well when you read it while listening to the album. I don't think Mike is the "mastermind" behind the story, although of course I agree that its foundations are deeply rooted in Irish folklore (although the place where the story is set is presented only as somewhere that might have been Ireland!! :D) My opinion is that the story was stimulated in William Murray's mind by listening to the album, and then it got mixed with some of the Irish folklore that both men were intimately familiar with. Maybe Mike contributed something, I don't know. But I honestly don't think that we can "point our finger" (in a well-meaning sense) at Mike as being the real conceiver of the story. He is not. He's a musician, not a writer. :)

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wiga Offline




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Posted: Aug. 30 2011, 04:37

Quote
When you are on a roll, maybe you can remember a tune you wrote yesterday, but you definitely don't stop to think about a piece of music you composed and recorded 22 years ago, and, mostly, you don't take the trouble to re-play it almost exactly as you played it 22 years ago.


Don't you?.... Ugo :zzz:  :D

Well maybe that was the framework he needed to get started. THEN he got on a spontaeneous roll - ducking and a diving - a toothbrush here and a boing there...and an "udder" here....


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Posted: Aug. 30 2011, 06:41

Dear Wiga
Thank you for correcting your last post to read UGO & NOT I1.


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Posted: Aug. 30 2011, 06:49

Quote (Ugo @ Aug. 31 2010, 01:02)
@ wiga: if Mike was actually on a roll, as you say, he wouldn't have included within Amarok some pieces of music he originally recorded back in 1968, during the Sallyangie sessions, and which are reproduced almost verbatim. When you are on a roll, maybe you can remember a tune you wrote yesterday, but you definitely don't stop to think about a piece of music you composed and recorded 22 years ago, and, mostly, you don't take the trouble to re-play it almost exactly as you played it 22 years ago. Doing this is something that, at least IMHO, has to be planned. You cannot do it spontaneously.

FOR READER CLARITY THE WORDS
are from Ugo's post on the first page of this topic as above and were copied along with the rest of his post into the post I made above.

In pasting what he wrote I state that I am IN AGREEMENT WITH MOST OF WHAT HE WRITES in this post.

Regarding these particular words I do agree in so much as Mike seems to have an amazing ability to remember music, he is like a microphone attached to a recording device, he is on record as saying he dreams music and all the time he hears it.

Well I am no musician but when I do dream music when I wake its there for a MOment, then by the time I get my studio fired up its gone/lost to me, yet Mike has the ability to hold music in his mind as if they are words one would need to use to speak.

So I would agree with Ugo that I do not see it as strange that when Mike tells his story in musical form that he would  return to his musical vocabulary to find the musical equivalent of what he wanted to play!/say!.

He has often said that he has had ideas in his mind for years even many decades, maybe its because he has those 3, three letter words in his name, but that's OLD/old/old news now innit!.


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wiga Offline




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Posted: Aug. 30 2011, 09:18

O+I (I1) - done it.  :)

Must admit I'm gettintg confused who's saying what. :zzz:

These are lenghy posts - there's a lot to wade through! :D


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Posted: Aug. 30 2011, 14:27

Quote (0+1(I1) @ Aug. 30 2011, 11:41)
Wiga once you rectify this I will edit this statement from the thread, as it is somewhat distracting people from the point.

OK - it's rectified - and I hope I haven't distracted too much from THE POINT! :D


Your turn to edit.  ;)


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Posted: Aug. 30 2011, 23:16

Quote (wiga @ Aug. 30 2011, 14:27)
[quote=0,1(I1)+Aug. 30 2011, 11:41] THE POINT! :D

I see the moon, the moon sees me...
Or should that be Elenin?  :O  :laugh:
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Posted: Aug. 31 2011, 13:34

Quote (Ugo @ Aug. 30 2011, 01:48)
I don't think the story was written as an explanation to the album. It was rather written as a companion piece to the album, just like the Wind Chimes video is a companion piece to "The Wind Chimes" (the piece) - some part of TWC (the music) work without the video, but some don't, and the parts of the music which don't really work on their own are nearly perfect when they're completed by the video. The Amarok story, on the other hand, has two merits: it works very well on its own, and it words very well when you read it while listening to the album. I don't think Mike is the "mastermind" behind the story, although of course I agree that its foundations are deeply rooted in Irish folklore (although the place where the story is set is presented only as somewhere that might have been Ireland!! :D) My opinion is that the story was stimulated in William Murray's mind by listening to the album, and then it got mixed with some of the Irish folklore that both men were intimately familiar with. Maybe Mike contributed something, I don't know. But I honestly don't think that we can "point our finger" (in a well-meaning sense) at Mike as being the real conceiver of the story. He is not. He's a musician, not a writer. :)

In reply Ugo to what you have written:-

UGO wrote [I don't think the story was written as an explanation to the album.]
As I said I do not think this also, what I was saying was that Mike may of decided that the story he had in his mind, should need to put down in writing that all could read! not invented or created! merely written down in words/story form.

Regarding the wind chimes Ugo how much do you see in this imagery? I find myself having to ask if you would be kind enough to PM to me your answer, as it would be a shame if this thread lost its tracks & the topic got derailed.  

You (UGO) also wrote: [The Amarok story, on the other hand, has two merits: it works very well on its own, and it words very well when you read it while listening to the album.]
In reply to this I will say yes if you can, as many can not get past it's oddities, it works as a piece of music in its own right for those that learn to appreciate it's parts of beauty etc.  However in my experience, if when they look disturbed/confused! you then show people the story & replay the music they say, AHA I SEE!.  Hence I feel this piece of music in order to have a definite or more complete interpretation of its true meaning had to have the story in written form accompanying it in order for it to make sense to the ears of the listener.

UGO went on to write: [ I don't think Mike is the "mastermind" behind the story, although of course I agree that its foundations are deeply rooted in Irish folklore (although the place where the story is set is presented only as somewhere that might have been Ireland!! :D) My opinion is that the story was stimulated in William Murray's mind by listening to the album, and then it got mixed with some of the Irish folklore that both men were intimately familiar with. Maybe Mike contributed something, I don't know. But I honestly don't think that we can "point our finger" (in a well-meaning sense) at Mike as being the real conceiver of the story. He is not. He's a musician, not a writer. :) ]

To this Ugo I can only say I am amazed that you can have such faith in your own conviction unless you have knowledge you are not sharing with us?.
First I would like to point out that the words in their written form to me are hardly a masterpiece (it is not much more than a fairytale & not a Shakespearean play! innit or is it not? fair to say that the genius comes to this story in its meaning not in its words? or writing? & regarding the mastermind behind this I would therefore say it is not in its writing that the genius/mastermind can be found it is in it's creation in mind & this I am inclined to think was Mike's or was from a tale he had heard of before, maybe well before he recorded the album.

Ugo as you say in your words I would sum up by saying it to me does honestly not make sense that (YOU WROTE WE! I say you) you can use your finger to point at anyone other than MO as its creator as we know it! purely based upon Mike not being a writer of many words for he writes in words & tongues few do know the meaning of he writes in music in pictures & videos so many stories of sound & sight, so for you not to be able to imagine that he would be capable of playing the part of creator or reciter of this story is to me very strange.

I will finish by STATING I HAVE NO DISAGEEMENT TO THE NAME ON THIS STORY BEING ITS WRITER, yet the true author & creator of the myth will probably remain unknown maybe even to MO, it is only perhaps for God to know from whence it came.

THE QUESTION IS DO WE REALLY HEAR IT?... stay HAPPY I1...


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Ugo Offline




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Posted: Aug. 31 2011, 16:36

Quote (0+1(I1) @ Aug. 31 2011, 19:34)
Regarding the wind chimes Ugo how much do you see in this imagery?

I'll reply here in a quick way so the topic has no further chance of getting derailed, as it already is. :) I don't see anything in the imagery of TWC. I only said that some of it works much better when it's seen while hearing the music, some doesn't. I'll give one example for all: at 18:37, you hear the start of the powerful theme from "When the Night's on Fire" and, immediately after it, you hear a noise of roaring planes. This, I think, works much better in the video, where you actually see the planes roaring past. (And if you listen to it in 5.1, you actually have the impression that the planes are flying over your head). Some other parts of the video don't work as well to me, they just look like visual ornamentation. This is it. I don't "see" anything else in the video imagery for TWC.

Forgive me if I don't reply to your other points, here and in the "I say, I say, I say" thread, as I see we diverge. You stay firm on your convinctions, I stay firm on mine and everybody's happy. :)


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Ugo C. - a devoted Amarokian
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Posted: Sep. 05 2011, 01:25

Ugo that is sad that you take that attitude, as if you looked in more detail you would see that in many areas here we did agree and over and over again I have said so.

Also you appear to suggest I have derailed this topic & I can not accept that to be so, if you look back it was well and truly derailed when I joined it, in fact I would imagine to the new readers it should appear back on track as we apart from this diversion have again been discussing the topic as started which had faded into oblivion having not been posted to for some 8 months when the topic had wandered somehow onto martial arts.

In the past week since my first post here the topic has risen from the bottom of page three to the top of page one and has had as many viewings as it had in the past year in little over a week so there must be something of interest being written here on that was not here before.


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L◎ST ◎MMADAWN VERSI◎N RIDDLE ANSWER
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ID◎L G◎LD ID◎L (4 ANSWER IN FULL + EXPLANATION, C ALBUM SECTION/☮MMADAWN/i-say-i-say-i-say-i-say-in-answer4XXX4Acr⊕ss
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Posted: Sep. 05 2011, 06:12

Quote (0+1(I1) @ Sep. 05 2011, 07:25)
Ugo that is sad that you take that attitude, as if you looked in more detail you would see that in many areas here we did agree and over and over again I have said so.

[...]

In the past week since my first post here the topic has risen from the bottom of page three to the top of page one and has had as many viewings as it had in the past year in little over a week so there must be something of interest being written here on that was not here before.

Of course there's things on which we agree and I'm glad about that. But then I don't agree about hidden meanings in the TWC imagery and about hidden meanings in the Amarok story. That's just a question of points of view and to me it's not sad at all.

Also, it's no wonder that the topic has many views during this period. Every time someone posts here, the topic shows up in the "New Posts" page, which I imagine every single forum member checks regularily. New posts are always worth looking at. Then, if people are really interested in the content of new posts, well, that's debatable. :)


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