Ktrivia

[IED0DXM%UCLAMVS.BITNET@WISCVM.WISC.EDU]

 KT Mailbag:
 ^^^^^^^^^^^

> If this is an invitation to send you mail Andrew then I'm afraid when
> I have tried to mail you in the past for information I got a message
> saying I was not authorised to use BITNET.

     That's terrible, Neil! Maybe |>oug (incidentally, I'd be spelling
your name correctly every time, |>oug, if I were at this keyboard) has
some suggestion on how you can reach IED? It's very frustrating to
think you've tried to communicate privately and failed. And thanks
again for the latest info. Have you seen the new _Kate Bush Complete_
in stores over there? IED will post a long description of this
remarkable and -- upon closer inspection with marK T. Ganzer the other
evening -- utterly wonderful book soon. It is an absolute must-have
item for any dediKated fan. Peter Fitzgerald-Morris deserves a ton of
fan-mail for it, himself.

> Yough. It may be a logical (and terribly unfortunate) progression. I
> hope you agree that her music has been moving in a more "accessible"
> direction ever since "The Dreaming". I don't know how much more
> accessibility I can take, however :-).

     "Accessible", yes -- in a sense. The sounds are less forbidding,
and perhaps there is this greater "constancy of rhythm" that Kate has
mentioned in several places. But the thing is, the _quality_ of _HoL_
is not related to its "accessibility". To this listener, it's very
clear that what _HoL_ may lack in what you folks like to think of as
"daring" or "innovation" (but which to IED is merely a specific -- and
obvious -- _kind_ of innovation) it more than makes up for in terms of
complexity and richness of meaning, sonic textures and breadth of
structure. It's an advance on _The Dreaming_ in these respects, and as
such is unquestionably a major "innovation" in the history of rock
music.
     About the new vs. the old "Wuthering Heights", isn't it apples
and oranges? Kate says she thought the early one sounded like a "very
young girl", and that the production was dated, very "Seventies".
Both of those assessments are accurate. The "New Vocal" sheds (as much
as was possible without re-recording the instrumental tracks
completely) both those qualities, accomplishing exactly what she
intended. They're really like different songs now, not inferior and
superior versions of the same song. The new version expresses a side
of Cathy that the old one couldn't. Likewise, the old one communicates
a childlike quality in Cathy that Kate deliberately omitted from the
new version. Rating one over the other is like saying Titian's early
Crucifixions are "better" than his last one.  They're equally "good",
but they reflect a different attitude toward life and art, as do the
two "Wuthering Heights"s.
     Goddammit, you guys, can't you realize that KATE BUSH CANNOT BE
FAULTED??
     Kate Bush DOES NOT MAKE ARTISTIC MISTAKES anymore, can't you see that yet?
     At this point it should be quite obvious that if there's
something you don't like about her work, the problem lies with you,
_not_ with the work.
     And yes, IED is aware that this sudden outburst is a result of
his being clinically insane. The other night MarK and he held another
marathon SymKatesium, and afterward IED was forced to come to the
conclusion that the only thing in life worth wasting any thought on at
all is Kate Bush. Everything else is just killing time.

-- Andrew Marvick (staring at the phosphour through the eyes of a
   zealot.)