Kate Bush Poster


Jump to: Overview (4)  | Mini Bio (1)  | Trade Mark (1)  | Trivia (12)  | Personal Quotes (20)

Overview (4)

Born in Erith, Kent, England, UK
Birth NameCatherine Bush
Nickname Cathy - her childhood nickname
Height 5' 3½" (1.61 m)

Mini Bio (1)

Kate Bush began playing piano at a young age and, by her mid-teens, had composed over 200 songs. Her talent caught the notice of David Gilmour (of Pink Floyd) who assisted in arranging her contract with EMI. The first song she released, "Wuthering Heights", soared to #1 in England in 1978. Since then, Kate has achieved a notable career as a singer and musician. Kate began producing her own albums and videos early on. Her growing interest in film was highly evident in the 1985 video for her song, "Cloudbusting", which starred Donald Sutherland, which is a mini-film in itself. Another 1985 video, "Hounds of Love", is a tribute to Alfred Hitchcock. Following the release of her 1993 album, "The Red Shoes", influenced by filmmaker Michael Powell, Kate produced the short film, The Line, the Cross & the Curve (1993), using five songs from the album as a basis for the film in a mysterious, mythical retelling of the tale of "The Red Shoes".

- IMDb Mini Biography By: Karen Newcombe <kln@sirius.com>

Trade Mark (1)

4 octave soprano voice

Trivia (12)

December 1978: Appeared on Saturday Night Live (1975) (episode: "Saturday Night Live: Eric Idle/Kate Bush (1978)"). Performed "The Man With the Child in His Eyes", seated on a piano, to the accompaniment of veteran rock keyboardist Paul Shaffer; and "Them Heavy People", in a raincoat and Fedora hat. Kate was invited by Eric Idle, who is host of that edition; and is visited by Mick Jagger. Paul Simon also dropped in to watch the performance.
May 1979: Declined the offer to sing the theme song to the James Bond film Moonraker (1979), saying that although it was a good song, it wasn't right for her. It went on to be recorded by Shirley Bassey instead - her third and final Bond song.
1984: Composer Michael Kamen, who scored the Terry Gilliam film Brazil (1985), originally recorded "Brazil" with vocals by Kate. This recording was not included in the actual film or the original soundtrack release; however, it has been subsequently released as "Sam Lowry's 1st Dream/Brazil" on re-pressings of the soundtrack.
1984-1985: Due to the fact MTV showed little interest in the airing the video, the clip for Kate's 1985 single "Cloudbusting" was aired in cinemas before the main attraction, 'Back to the Future (1985)'.
February 1987: Recorded "Be My Kind to My Mistakes", a song originally for the soundtrack to the movie 'Castaway (1986)' and released on the soundtrack album. Director Nicolas Roeg attempted to cast Kate as the female lead in the film.
March 1987: Recorded "This Woman's Work", originally released on the soundtrack to of the movie She's Having a Baby (1988). A year later, the song was included in Kate's sixth studio album, 'The Sensual World' (1989).
March 1990: Recorded three of six pieces of music as a soundtrack for an episode of the British comedy series The Comic Strip. (The episode is called The Comic Strip Presents...: GLC: The Carnage Continues... (1990)). Also, in February/March, Kate appeared in an acting role on a different edition of the same series. (That episode is called The Comic Strip Presents...: Les Dogs (1990).).
1993: Declined singing "(Everything I Do) I Do It for You", the theme song to 'Robin Hood: Prince of Thieves (1991)'. Annie Lennox and Lisa Stansfield also turned it down before it went to Bryan Adams.
1999: Wrote the song "Out of the Storm" for the Disney film 'Dinosaur (2000)'. The track was ultimately not included on the soundtrack. According to the winter 1999 issue of the Kate Bush fanzine 'HomeGround', it was scrapped when Disney asked Kate to rewrite the song and Kate refused. However, according to Disney, the song was cut from the film when preview audiences did not respond well to the track. Kate eventually reworked the song to become "Lyra" for the film 'The Golden Compass (2007)'. The song was nominated for the International Press Academy's Satellite Award for 'Original Song in a Motion Picture' (2007).
February 1987: Award: 'Brit Awards'. Category: 'Best British Female'.
Movies-specifically of the Gothic horror genre have had a significant influence on Kate's back catalogue. The French revenge film The Bride Wore Black (1968), in which a widowed woman hunts the five men who killed her husband on her wedding day, provided Kate the inspiration to pen "The Wedding List", from her third album, 'Never for Ever' (1980). Other films that inspired Kate's music include, Wuthering Heights (1939) ("Wuthering Heights"), The Hunchback of Notre Dame (1939) ("Hammer Horror"), The Innocents (1961) ("The Infant Kiss"), The Shining (1980) ("Get Out of My House"), Night of the Demons (1988) ("Hounds of Love"), Witchfinder General (1968) (Waking the Witch"), Nosferatu the Vampyre (1979) ("Hello Earth"), The Red Shoes (1948) ("The Red Shoes"),.
December 1978: Appeared on 'Saturday Night Live (1975)' (episode: "Saturday Night Live: Eric Idle/Kate Bush (1978)"). Her first and only live appearance in the US.

Personal Quotes (20)

I am a private person, but I don't think I'm obsessively so. It's more that I choose to try and have as normal a life as possible. I don't like to live in the glare of publicity. [As quoted in "Album nearly killed me, says Bush" (1 November 2005)]
[Speaking in 1993] It's interesting how many young people are getting into old records, because there's a buzz they just can't get from contemporary music. Look how many old songs are hits again.
[on the songs of The Beatles] They were just so beautifully, beautifully written, and they still stand up, and for pop music it's so well crafted. On every level: not just the songs but the arrangements and the vocal performances.
I don't think of myself as a musician. I only ever play the piano to accompany myself singing. I could never sit and read a piece of music. At best, I'm an accompanist.
I like classical music, but I wish I was more eloquent with it. I hear things and think, 'That's beautiful,' but don't know what it is. As you get older, you do get more into instrumental music, don't you? It's as if as you get older you don't want people telling you what they think or what you've got to think or do. Also, those great composers really knew what they were doing. A lot of contemporary art is made by people who haven't got any talent. Art made by talentless people can sometimes really work, but it's not the same as real craft.
There's a lot of other stuff that I like to do. But I find making records really exciting. It's making something out of nothing and you can involve other people. It's brilliant.
[Regarding Elton John]: At one point I had this, well, I don't know if you'd call it a crush, a bit of one on Elton John. I thought he was fantastic. I thought he was so clever. It was before he got really famous...around 'Madman Across the Water'. I thought he was so wonderful. I'd play the records and dream of being able to play like him, those fantastic hands. But a crush like that is quite sweet, isn't it? I had David Bowie on my wall, as well.
[Björk about Bush] To me, Kate Bush will always represent the age of exploring your sexuality, when you change from a girl to a woman. I guess that's what I found fascinating about Kate, she totally stuck out. She created her own look and sound. There's a timelessness to her music.
[Kate about [David Bowie]: David Bowie had everything. He was intelligent, imaginative, brave, charismatic, cool, sexy and truly inspirational both visually and musically. He created such staggeringly brilliant work, yes, but so much of it and it was so good. There are great people who make great work but who else has left a mark like his? No one like him. I'm struck by how the whole country has been flung into mourning and shock. Shock, because someone who had already transcended into immortality could actually die. He was ours. Wonderfully eccentric in a way that only an Englishman could be. Whatever journey his beautiful soul is now on, I hope he can somehow feel how much we all miss him.
I didn't realize how commercially successful she might be. I thought of her more really, I suppose, in the terms of someone like Joni Mitchell - the level of a lady who's very talented, but would appeal to a more esoteric audience. But she had different ideas. [David Gilmour of Pink Floyd who discovered Bush].
[Boy George about Bush] Kate Bush has always been a typewriter in a renaissance. She appeared out of nowhere at the tail end of punk and sort of embodied the punk spirit by just being completely herself. I know Johnny Rotten loved her. She blew things apart with things like Running Up That Hill because it defied the classic logic of pop. Kate is unique and a bit of a Greta Garbo, which makes her even more interesting. Most importantly, she's from south-east London, like me.
One of the main things that brings people to the Brontë Museum from all over the world is Kate Bush. We have copies of her No 1 hit single "Wuthering Heights" in our collection of Brontë-related items. People often arrive at the Brontë novels through that song. [Alan Bentley, director of the Parsonage Museum]
"She is the older sister that every gay man wants. She connects so well with a gay audience because she is so removed from the real world. She is one of the only artists who makes it appear better to be on the outside than on the inside." As quoted in "Rufus picks his gay icons" by Rufus Wainwright in 'The Guardian' (10 November 2006)
Some taboo subjects definitely attract me...I don't think I do like particularly gory things. With Don't Look Now (1973) and Psycho (1960), it's not the gore so much as the emotional effect - the distortion. I don't think I'd ever go and see The Texas Chain Saw Massacre (1974) and Friday the 13th (1980), things like that. I think it's sick: you know everybody is going to die disgustingly. I prefer films that work around the subject, build you up... [(1982, NME)]
[John Lydon of Sex Pistols about Bush] Kate Bush is a true original. It's not nice that she's been imitated -Torrid Aimless, sorry Tori Amos. But Kate Bush is a genuine talent. She went through the same shit I did when she started: "Oh, that's not singing". Who the fuck wrote the rules about music? Why follow this slavish idiocy? (As quoted at the Q Awards 2001: 'Inspiration Award'. John Lydon: The dirty rotten scoundrel! in Q Magazine, 2001)
[Regarding Donovan] Donovan has got the most beautiful voice -- that very slow vibrato that people like Cliff Richard can put on, but [Donovan] has it very naturally. I mean he sings like this all the time. And again, he's an incredible song writer, lyric writer. He can play the guitar and he has that fantastic voice. And it seemed that he'd really got caught up in the copying of Dylan when he first signed up and was singing. And he was wearing the hats and he was carrying the guitar and everyone thought he was just a Dylan copy, when in fact he wasn't at all. And it seems that he's just been forgotten, he's gone under. It's ridiculous. I can't stand to see that happen to people, especially someone like him. (Paul Gambaccini, BBC Radio 2, 1980)
[Donald Sutherland about Bush] Barry Richardson, who was the hairdresser on Nicolas Roeg's 'Don't Look Now (1973)', asked me if I'd do a music video with Kate Bush. I told him no and we went on to other conversations. A couple of days later there was a knock on my door. I lived in the Savoy Hotel (in London). On the river. Suite 312. I loved it there. So cosseted. So private. Only the floor butler rang the door. I opened it. There was no one there. I heard a voice saying hello and I looked down. Standing down there was a very small Kate Bush. Barry had told her where I lived. What can you do? She wanted to explain what her video was about. I let her in. She sat down, said some stuff. All I heard was 'Wilhelm Reich'. I'd taken an underground copy of his 'The Mass Psychology of Fascism' with me when I went to film (Bernardo) Bertolucci's 'Novecento' in Parma. Reich's work informed the psychological foundations of Attila Mellanchini, the character Bernardo had cast me to play. Everything about Reich echoed through me. He was there then and now he was here. Sitting across from me in the person of the very eloquent Kate Bush. Synchronicity. Perfect. She talked some more. I said OK and we made "Cloudbusting". She's wonderful, Kate Bush. Wonderful. I love that I did it. (What do I remember) about doing it? I remember being in the car and the hill and them taking me, taking Reich, away and looking back through the back window of the car and seeing her, seeing Reich's son Peter, standing there. And I remember the first morning on set seeing her coming out of her trailer smoking a joint and I cautioned her, saying she shouldn't smoke that, it'd affect her work, and she looked at me for a second and said she hadn't been straight for nine years and I loved her. [As quoted in "The story behind Kate Bush's "Cloudbusting" video" by Alex Denney in 'Dazed', 30 October 2015]
"I'll never forget the first time I heard about Kate. I was playing in a club, I was 18 or 19 and somebody came up to me, pointed their finger and said, Kate Bush. I went, Who's that? I wasn't really familiar because Kate didn't really happen in the States until 'Hounds of Love'. I was shocked because the last thing you want to hear is that you sound like someone else. Then people kept mentioning her name when they heard me sing, to the point where I finally went and got her records. When I first heard her, I went, Wow, she does things that I've never heard anybody do, much less me. But I could hear a resonance in the voice where you'd think we were distantly related or something." [As quoted by Tori Amos in Q Magazine (1998)]
[Elton John about Bush] I did a duet with Kate Bush on this track for her last album. That session with her was hard, because she doesn't write easy songs. She's a complex songwriter and this is a weird song, but I love it so much. I'm so proud to be on a Kate Bush record; she's always marched to the beat of her own drum. She was groundbreaking - a bit like a female equivalent of Freddie Mercury. She does come out socially sometimes and she came to my civil partnership occasion with her husband. There were so many stars in the room, but all the musicians there were only interested in saying, "You've got to introduce me to Kate Bush." I remember /nm0004954] saying, "Oh my God, is that Kate Bush?" I said, "Yeah!" [As quoted in "Elton John: soundtrack of my life" by Leah Harper in 'The Guardian' (1 September 2013)]
Artists shouldn't be made famous. You know... they're just ... as important as... um doctors, and priests ... or maybe not as important sometimes, and yet they have this huge aura of almost god-like quality about them, just because their craft makes a lot of money. And at the same time it is a forced importance - you know, football stars and theatre stars - It is man-made so the press can feed off it. [As quoted in 'Profiles in Rock' interview (December 1980)]

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