Intro for November 25, 2016
How do you feel about Kate Bush? The only acceptable answer here is OMG I LOVE HER SO MUCH. You know what I forgot though? I forgot about how theatrical she is. How she was doing over the top feels well before those who’ve come after.
The Fader and The New York Times published new and rare interviews with Kate Bush this week to mark the release of her live album Before The Dawn. In the NYT piece, the writer mentions that Kate is best known in the US for Running Up That Hill and Don’t Give Up with Peter Gabriel. This surprised me. Because I totally thought it would be This Woman’s Work. How could it not be This Woman’s Work?
I think I bring up This Woman’s Work once a year. You know what I love about This Woman’s Work? I mean, obviously, in my mind, it’s one of the best songs of all time. But it also hits you high and low. The way I’ve always heard it, on the high side, although it was introduced to us during and for a scene about childbirth, this was, over 25 years ago, Kate Bush’s tribute to women, the undervalued and unseen capacity of women, the work that women are capable of – both with their bodies and their minds. On the low side, it’s a fantasy, one of the best fantasies, the song you play when you daydream the scene that you’ll never be able to see, the scene that indulges your vanity: how much does someone love you measured by how much they worry about you? This song allows you to visualise that love, that worry. Because in real life, you don’t ever really SEE it. You can’t. If someone’s worrying about you, it’s because you’re not with them to see it. And in that sense, in that This Woman’s Work satisfies you on the high and low sides, you could also argue that it could be a musical manifestation of woman: we can be both substantive and silly. Seriously though, This Woman’s Work, how about that title?
In both interviews, Kate Bush discusses her work and inspiration, the process behind her performances and what’s behind the expression in how she delivers her art. Kate’s always been as visual as she’s been musical and to know part of the work that goes into merging those elements is fascinating. Click here to read her interview with The Fader and here for the article in The New York Times.
Have a great weekend!
Yours in gossip,