Is kate bush gay
A couple weeks ago, Kate Bush was a guest on BBC Radio 4’s The Today Podcast promoting her new short production, Little Shrew, set to her 2011 song “Snowflake” and featuring a shrew refugee trying to acquire out of a demolished city. On the episode, the hosts asked Bush if she was active on new music right now to which she replied, “Not at the moment, but I’ve been caught up doing a lot of archive serve over the last limited years, redesigning our website, putting a lyric guide together […] I’m very keen to start productive on a new album when I’ve got this finished. I’ve got lots of ideas, and I’m really looking forward to getting back into that creative space. It’s been a long time.”
Naturally, when the episode dropped, coverage of her response began popping up all over, and I sent these partially factually incorrect but nonetheless real messages to everyone I knew who would be interested:
I started listening to Bush’s harmony in 2008. I was on a short thoroughfare trip to Orlando to see the Silver Jews play on their terminal tour with my cousin, one of the only family members I truly connect with on an artistic and spiritual level. We were taking turns back and forth plugging our iPods into
How 2024 Became The Year Of Queer Pop
There’s no question that pop melody historically belongs to the gays. The genre is dominated by women who go down as rainbow icons, from Cher and Dolly Parton to Christina Aguilera and Beyonce. But there have been very few openly queer women at the top… Until now. 2024 has seen a total takeover from the gay pop girlies, so it’s time to check out these uppermost artists to listen to now!
Chappell Roan
Releasing her debut album The Rise and Fall of a Midwest Princess late last year, Chappell Roan’s recent jog of the festival circuit alongside opening for Olivia Rodrigo has seen her grow exponentially beyond her wildest dreams.
Roan’s single ‘Good Luck, Babe!’ explores the perils of compulsive heterosexuality, through its sweeping Kate Bush-esque chorus and haunting lyricism. Cuts from her debut album like ‘Femininomenom’ and ‘Super Graphic Ultra Modern Girl’ cover Chappell’s gay awakening in complete technicolor, whilst other tracks like ‘Pink Pony Club’ and ‘Hot To Go’ celebrate the magic of finding a community of likeminded people.
With her bold, honest storytelling, campy visuals and larger-than-life drag persona, Chappell Roan is switching th
How Kate Bush Became a Unique and Enduring Icon
Design & LivingInvestigation
As a reissue of her entire 10-album back catalogue is released, Nick Levine investigates the root of and reason for the Wuthering Heights singer’s iconic status
TextNick Levine
Kate Bush is often portrayed as otherworldly and ethereal, perhaps because we’ll always picture her twirling on those wiley, windy moors of 1978’s Wuthering Heights video. That iconic image – coupled with her infrequent musical output, a 36-year hiatus between headline live shows, and a healthy disdain for playing the famous person game – has created a legend both idealistic and reductive. She’s a “vanishing siren” with an “eccentric and intense” way of life who epitomises the “reclusive genius”. But as today’s reissue of her entire, 10-album advocate catalogue makes clear, Kate Bush’s incredible music remains impossible to pigeonhole in this way.
Bush cemented her reputation as a musical heavyweight with 1986’s masterful Hounds of Love album, home to alt-pop gems including Running Up That Hill and Cloudbusting. By this stage, she’d already established that her own innovative autonomy was beyond negotiation. She
Passion Always Wins: Kate Bush In 1978
Detail from the ‘Hammer Horror’ 7" sleeve
She’d seen it on TV, way back in 1967, when she was nine. A hand coming through the window. A child-like spectre whispering. A scene from the BBC’s adaptation of Wuthering Heights. She’d always been into "that sort of thing”.
Ten years later in the top floor flat of a Victorian house, located at 44 Wickham Highway, Brockley, random childhood viewing is spun into musical gold. It’s a Rally evening. The curtains are wide open and Kate Bush keeps gazing at the full moon, sat at an upright piano, a £200 second hand purchase from Woolwich. Soon she’s lost inside a new song with a circular chorus, becoming the ghost of Catherine Earnshaw. To get the details right she reads Emily Brontë’s 1847 novel, and some are already there (“so cold… let me in your window”). Other strange coincidences and synchronicities draw her deeper in. She shares the author’s birthday, like the novel’s headstrong heroine, everyone used to call her Cathy too, Cathy with her “queer dreams that transform the colour of her mind”.
During that summer of 1977, it is recorded at AIR studios, four storeys above Pete
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