I Love You Always Forever Deutsch

[Fonda Stacer]

I Love You Always Forever" is the debut single by Welsh singer Donna Lewis from her debut album, Now in a Minute (1996). Written by Lewis and produced by Lewis and Kevin Killen, it was released as the album's lead single in the United States on 16 April 1996[1] and in the United Kingdom on 26 August 1996. The song is inspired by H. E. Bates' novel Love for Lydia, from which the chorus is taken.[2]

The song was a commercial hit, peaking at number five on the UK Singles Chart and reaching the top 10 in more than 15 countries, including Australia, Austria, Canada, France, Ireland, and Norway. In the US, the song rose to number two on the Billboard Hot 100, where it remained for nine weeks, behind Los del Ro's "Macarena". It was certified platinum in Australia and the UK and gold in France, Germany, New Zealand, Norway, and the US. The success of the song saw Lewis nominated for the Brit Award for Best British Female Artist in 1997.[3] In 2023, Billboard ranked "I Love You Always Forever" among the "500 Best Pop Songs of All Time".[4]

Inspired by the novel Love for Lydia by English author H. E. Bates, "I Love You Always Forever" is a pop song in which the singer declares her endless love for her significant other. The song was originally titled "Lydia", but was later changed because there was no mention of anyone with that name in the song. The chorus, "I love you always forever, near and far closer together", is a quote taken directly from the book.[2]

The success of "I Love You Always Forever" earned Lewis a nomination for Best British Female Artist at the 1997 Brit Awards.[3] In the US, Andrea Ganis, executive VP of Lewis' record label, Atlantic, said: "Radio stations across the country keep telling us the same thing over and over", Ganis says. "They play it and, almost overnight, it's their most requested song. Maybe it's because things have been so dark lately in pop and then along comes a record that everybody can sing along to. It's almost like a catharsis for a lot of people."[2] It became a "runaway hit" without any extra marketing boost from high-profile events of the time such as a hit movie or the 1996 Atlanta Olympic Games, and was the first single to achieve over one million airplay detections in the US.[8]

AllMusic editor Tom Demalon called the song "compelling" in his review of Now in a Minute. He noted that Lewis "has a girlish voice that sounds like a less quirky Kate Bush."[9] Larry Flick from Billboard described it as a "quietly percussive pop chugger", complimenting Lewis' voice as a "delicate, girlish voice that gives the song a winsome quality, which adds to its already considerable charm."[10] Tracey Pepper from Entertainment Weekly noted that it is "more sophisticated than a first listen might reveal. "I Love You Always Forever"'s chanted chorus, chugging rhythm, and bright melody make it obvious that the newcomer Donna Lewis, whose girlish voice often sounds like Cyndi Lauper's, knows the value of building tension and mood, even in a pop song."[11] Eamon Joyce from Miscellany News commented that "upon hearing the song, it's embedded in your head for weeks."[12] Bob Waliszewski of Plugged In stated that Lewis "pledges lifelong commitment" on the song.[13]

The song's accompanying music video was directed by Randee St. Nicholas. It is very simple, showing Lewis performing the song dressed in all white in a beige rotating room. Other scenes feature her against a black background, with snow boots on her hands against a wall, and playing a piano.[citation needed]

Lewis has re-recorded the song at least twice. A re-recording with slightly modified instrumentation appears as a bonus track of her 2008 album In the Pink. In 2015, Lewis released the song again on her jazz-influenced covers album, Brand New Day. She was reluctant to include the song at all; but the track that appears on the album has a "completely different arrangement", and Lewis says she now likes it.[88] Matt Collar of AllMusic felt that the new version was a "ruminative reworking" of the original.[89]

Australian pop singer Betty Who released a version of the song on 3 June 2016, with remixes released on 29 July 2016.[91] It was released as the lead single from her second studio album, The Valley.

The song is Who's first to reach the ARIA Charts, peaking at number six while also earning a number one on AirCheck's National Radio Airplay Chart. The song has also had minor success in New Zealand, peaking at number 33. The song was successful on the US Dance Club Songs chart, where it peaked at number one, becoming her third number one on the chart.

Vertiginous, I sympathize with Joyce. Still I wonder, what have the most recent few millennia of human ponderings about the incomprehensible vastness of the eternities produced except a bit more than swooning bewilderment and dizzying headaches?

In order to contest this claim, theologians, string theorists, and cosmologists have performed great acrobatic feats to twist the infinite around the limits of knowledge and the definition of absolute faith. These contortionists miss the plain point. Physics has no beef with infinities that exist nominally and do good work here and now: indeed, much physics relies on minimal infinities under limits. Our universe contests the fiction of an actual physical infinity but it also invites us to welcome the real material work of nominal minimal infinities. No matter how the cosmological-theological tornados may twirl, Toto stands with all four feet firmly planted on Kansas soil.

Neither faith nor reason nor evidence compels me to believe in a god that is so absolutely infinite that, like a monstrous kraken or an absent clockmaker, it fills the horizons so completely I must either believe or disbelieve that god is always everywhere all at once. Easy pass. I see no cause to adopt medieval misreadings or their secular reactions as my own.

Thank God absolute actual infinities do not exist and minimal infinities do. With a bit of formalism (discipline through the strait gates), we rid ourselves of the curse of mistaking medieval omnis for an infinity that cannot be. Not unlike ancient times, the names of infinity and God may now easily drift apart into different classes of meaning: no longer one and the same, nor opposites, they pose neither a unity nor a contradiction. Rather like, say, apples and sound waves, the names of God and infinity are free to interact where and how they will. Readers of this magazine may be tempted to flirt with finitist theodicies while analogizing God and the infinite as this essay proceeds; please feel free to do so while remembering that for two things to be in analogy, they must first be different.

About two hundred years ago, as nineteenth-century Europe and its colonies welcomed the end of the age of political absolutism and, with it, the decline of absolutist philosophy, a marvelous work and a wonder began to roll forth. By the twentieth century, a few folks still considered themselves neo-Hegelians but no one except the obvious baddies were trying to see the world in absolute terms. Somewhere along the way, our sense for the endless, boundless, and inconceivably irrational became more manageable too.

Consider this symbol, this single-character name. The infinity sign. ASCII 236. An eight on its side. A two-dimensional Mobius strip. The lemniscate may come from the last Greek letter omega ω by pulling together the open rings in the last letter in the Greek alphabet. (The lower-case letter, not the upper-case letter, here does not weaken the less-is-more vibe of this essay.) In other words, the symbol for infinity performs a potential minimal infinity by taking the smallest last letter in the alphabet and then looping it. The lemniscate resembles a potential infinity in the making. The end result? Like the idea, the symbol for endlessness is super short. With the loop of a pencil, the endless has been named and contained. Modern calculus notation, in fact, squirrels away the infinity sign (lemniscate) into small subscripts and superscripts. A small symbol for an endless thing. Behold infinity, an afterthought.

The Hilbert Hotel is a famous example of an infinite set. Consider what can and cannot be said about this story, first proposed by the German mathematician David Hilbert almost a century ago in 1924:

Imagine that you are a hotel manager at a hotel that has an infinite, or unending, number of guest rooms numbered from 1, 2, 3, ad infinitum. When you start your shift today, each room is already occupied with a guest (accept that as an axiom, but if you wonder how, just work by potential infinity under a limit: perhaps your colleagues previously teleported each guest to their new room using an infinite teleporter? You are already in an infinite hotel, so why not an infinite teleporter?). Then, to your consternation, a bus pulls up during your shift with an infinite number of new guests, each wanting their own room in your hotel. What do you do? How, if at all, can you accommodate them? Take a moment to think about it before reading on.

Cantor showed how some infinite sets are the same size and other infinite sets are different sizes. For example, he proved that the size of the set of counting numbers (1, 2, 3...) is the same size as the set of all rational numbers (or all those that can be expressed as M/N where M and N are counting integers and N is not zero). This might surprise at first glance since, presumably, there are a lot more fractions (or rationals: 1/2, 3/5, 4/17, 101/1001, etc. just to mention four fractions between 0 and 1) than there are counting integers (1, 2, 3...). Yet Cantor showed that if we had two infinite sets of all the rational (again, M/N fractions) and counting numbers, we can completely map the one set onto the other set, one pair at a time with no overlap or gaps. In other words, he showed that the two infinities of counting and rational numbers are the same countable size: for example, if our Hilbert hotel manager had two lists in each hand, a room list by counting numbers and a guest list by every rational fraction, the two lists correspond one-to-one. Behold a homeomorphic mapping: each (fraction) guest gets a (whole number) room.

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