Adventures in Kate Bush and Theory

Deborah M. Withers, D-M Withers

• Publisher: HammerOn Press
• Year: 2010
• Print ISBN: 9780956450708
• eBook ISBN: 9780956450777
• Topic: Media & Performing Arts
• Subtopic: Music History & Criticism

Adventures in Kate Bush and Theory presents Kate Bush as you have never seen her before. Encounter the polymorphously perverse Kate, the witchy Kate, the queer Kate; the Kate who moves beyond the mime.

Through in-depth readings of the often critically neglected works of Bush's career (The Kick Inside, Lionheart, The Dreaming, The Red Shoes and her film The Line, the Cross and the Curve), Withers guides the reader through the complexity of Bush's art and how it transformed popular culture. 

Not just another book about Kate Bush.

 

Notes

Adventures in Kate Bush and Theory: Introduction

1	John Lydon, quoted in ‘Queens of British Pop,’ BBC One, April 2009.
2	Bob Mercer, Interviewed on ‘Queens of British Pop,’ BBC One, April 2009. The interview was referring to the sexist marketing policy of EMI, who Kate Bush signed to when she was 16.
3	Mark Radcliffe, ‘The Smouldering Gypsy Lover We Would Never Have,’ in The Word, February 2009, Issue 72, p.95
4	There are a number of different Kate Bush fan communities and forums. These include The Homeground and Kat Bush News and Information Forum (http://thehomegroundandkatebushnewsandinfoforum.yuku.com/); The Kate Bush Forum (http://www.katebushforum.com/forum/) and The Sensual World of Kate Bush (http://katebush.proboards.com/index.cgi). They often provide lively and challenging discussions of Bush’s music.
5	See Krystyna Fitzgerald-Morris, Peter Fitzgerald-Morris and David Cross (eds.), HomeGround: The Kate Bush Magazine (1982 – present). Available online at: http://www.katebushnews.com/homegrou.htm. Last accessed: 18 Oct 2008.
6	See Holly Kruse, ‘In Praise of Kate Bush,’ in Simon Frith and Peter Goodwin (eds.), On Record: Rock, Pop and the Written Word (London: Routledge, 1990), pp.50–465; Nicky Losseff, ‘Cathy’s Homecoming and the Other World: Kate Bush’s “Wuthering Heights”,’ Popular Music 18 (1999), pp.227-240; Laura Vroomen, This Woman’s Work: Kate Bush Fans and Practices of Distinction (Unpublished PhD thesis, Warwick, 2003); Bonnie Gordon, ‘Kate Bush’s Subversive Shoes,’ in Women and Music: A Journal of Gender and Culture 9 (2005), pp.37-50; Emma Mayhew, ‘Positioning the Producer: Gender Divides in Creative Labour and Value,’ in Andrew Bennett, Stan Hawkins and Sheila Whiteley (eds.), Music, Space and Place: Popular Music and Cultural Identity (Aldershot: Ashgate, 2004), pp.147-154; Sheila Whiteley, ‘Kate Bush: The Red Shoes,’ in Too Much, Too Young: Popular Music, Age and Gender (London: Routledge, 2005), pp.70-84 and Ron Moy, Kate Bush and Hounds of Love (Aldershot: Ashgate, 2007).
7	You will find an inspiring introduction to the concept of subjectivity with Lisa Blackman et al., ‘Creating Subjectivities’ in Subjectivity (2008) 22, 1-27.
8	See Vroomen for interesting perspectives about how Kate Bush’s (mainly female) fans use her music to negotiate their lives and identities.
9	Ibid, p.16.
10	Judith Butler, Frames of War: When is Life Grievable? (London: Verso, 2009), p.52.
11	Cavarero, Adriana, For More Than One Voice: Towards a Philosophy of Vocal Expression (Stanford: Stanford University Press, 2005), p.12.
12	See Luce Irigaray, This Sex Which is Not One, trans. Catherin...

Table of contents

• Title
• Copyright
• Contents
• Adventures in Kate Bush and Theory: Introduction
• The Kick Inside: The Beginning of the Journey
• Lionheart and the Queer Life of the BFS
• Never for Ever: the continuity and change of the BFS
• The Dreaming, the Breakdown and Becomings of the BFS
• The Red Shoes and the death of the BFS
• The rebirth of the BFS
• Notes
• Glossary
• Bibliography