A Red Shoes Collection

1.6. - Miscellaneous / History

Back to Moments 1.0.

Date: Fri, 17 Sep 1993 02:48:13 -0400 (EDT)
From: nrc@bsbbs.columbus.oh.us (N. Richard Caldwell)
Subject: The Red Shoes US Promo Plans

The glossy flyers for The Red Shoes that have been mentioned are part of the marketing materials for TRS that were completed before the release date was pushed back. Also included in those materials was a two page flyer describing Columbia's plans for marketing TRS.

Here are some of the more interesting bits...



The building of her own studio and her no-tour policy only helped further enshroud Kate in mystery and privacy. But information on her recordings sped through an amazingly sophisticated network of fan clubs, fanzines and computer on-line networks. The legion of Kate's incredibly loyal and dedicated fans - the "Love Hounds" - will purchase any and all material on her, from books to photographs to overseas releases.

They also celebrate Katemas parties - yearly celebrations that take place on Kate's birthday - to talk about their favorite artist - Kate! ...

Kate is also making another first - a 60-minute film based on The Red Shoes . This film will contain six videos for the following songs: "Eat the Music," "The Red Shoes," "And So Is Love," "Lily," "Moments of Pleasure," and "Rubberband Girl." Again a first - six fully-completed videos for album tracks done prior to the album's release! ...


The Alternative accounts will receive four-color advance flyers complete with in-store date and package art one month prior to the album's release. We will also plan listening parties for alternative accounts in all major markets. ...

Midnight Madness Sale/ Film Screenings

The idea here is simple - create monster anticipation for day one of this release by staging screenings of Kate's film in select markets. These screenings will be tied-in with local alternative radio stations, retail and video outlets. The timing is as follows: Alternative radio for "Eat The Music" on September 7th. The Red Shoes will be in stores on October 5th. Alternative radio will be given the promotion in their market and will announce the film screening at a local theater and a midnight madness sale at a local record store.

Promotional Visit

We are hoping to have Kate in New York for two weeks sometime in September.

Special Packaging

A special, limited-edition digipak of The Red Shoes will be available simultaniously with the regular release. This special digipak will include extra photos, a sticker and four-color disc, as well as added bonus tracks - the extended mixes of both "Eat the Music" and "Rubberband Girl." ...


The first official word on The Red Shoes will be sent out via press release at the end of July. Advance music will be sent out to select, targeted music publications, critical press, and MTV News. Of course, word on this release has already spread and commitments are already in from the likes of Rolling Stone, People, Mondo 2000, Details, Harper's Bazaar, and Elle.

College Press: A press conference with 10-15 major college papers will take place during Kate's promotional visit to New York in September.


The first clip serviced will be "Eat the Music." Detailed video promotions are still under discussion.


Advance four-color CD header card with in-store date. 2 x 3 artist blow-up. Double sided flat.

Sales History

Kate's last release, The Sensual World , has sold over 1.5 million copies worldwide, with domestic sales nearing Gold status.

Selling Points

o Kate is a world-renowned artist - known for her brilliant work and her legions of loyal fans.

o The Red Shoes is her most personal work to date, and features surprise guest artists.

o Since Kate releases a record every three years or so, the anticipation for The Red Shoes has already saturated the alternative world and beyond. The so-called "Kate Network" has been talking about this release all summer.

o The film of this release, plus its six videos, will be a major tool in marketing this record.

o The special digipak will bring added attention at the retail level. The quantities won't last!

o Expect immediate action on all alternative fronts.


From: P D Fitzgerald-Morris <s0pdfm@exnet.co.uk>
Date: Fri, 17 Sep 1993 16:48:14 GMT




Following hurried consultations between Columbia in the US and EMI in the UK the release date of the album THE RED SHOES has been put back to 1st November in the UK and the same week in the USA.


Date: Sat, 18 Sep 93 11:26:38 EDT
From: Andrew B Marvick <abm4@columbia.EDU>
Subject: Release Date

Thanks, Richard Caldwell, for posting the press-kit text (or excerpts). Very interesting. For what it's worth, IED has been told by employees at no fewer than three stores in Manhattan that the album is being delayed until January not only by Sony but by EMI (UK) as well. One person claimed to have a friend who works in Sony's Alternative department (do they have such a department?) who reported that the reason for the delay was a last-minute decision to coordinate the album's release with the forthcoming movie, and to include Kate's track "The Red Shoes" in the movie itself. Of course, this is all probably mere speculation, but if true, it might mean not only a delay in the album's release but some re-packaging of the product, as well as significantly altered (and increased?) though delayed publicity in the U.S.


From: estephen@netcom.com (E. Stephen Mack)
Date: Sat, 25 Sep 1993 05:14:18 GMT

Mark A. Semich wrote:

> Following hurried consultations between Columbia in the US and EMI in the UK the release date of the album THE RED SHOES has been put back to 1st November in the UK and the same week in the USA.

So does this mean that EMI is postponing their release because Columbia is postoning it and wants EMI to do the same?!?!?!?

I now know what apoplexy feels like. And part of me is relieved that I don't have a bazooka, as I don't want to get in trouble for blowing up all of Columbia's executive slime.

You don't have a bazooka?

Your story reminds me of that track from Kate's album Waiting For Ever :


He wanted to buy her record.
He knew exactly where to go.
A record store to spend more.
He couldn't have made a worse move.
He waited for the Red Shoes
And he waited even more and more.
Just like before,
when he was waiting for TSW
and when he waited for HOL too,
And he knew he waited because of Columbia.
They delayed the record: -
Oh yes, bazooka, bazooka, bazooka -- kaboom
and so on...


Date: Tue, 28 Sep 93 14:34:40 EDT
From: Andrew B Marvick <abm4@columbia.EDU>
Subject: Release Dates ?

Just to mention that according to (he thinks) New Musical Express (unless it was Melody Maker), Rubberband Girl was listed at no. 7 on their UK charts. IED did not understand whether this represented a rise from the previous week, or whether their rating system was very different from the UK polls cited in Love-Hounds heretofore; but in any case, no. 7 is not bad, is it?

What IS bad is all this uncertainty about the album's release date! Whatever the date is, you'd expect all offices of both record companies would know what it is, wouldn't you? He means, what if you were told that God was going to be descending from on high and had chosen your place to stop for a bite, wouldn't you want to get the date straight? Last summer the local McDonald's in Des Moines wanted to know exactly what the President's schedule was, so they could be ready with fresh fries and so forth. So here EMI and Sony have been entrusted with the release and promotion of a new album by THE GREATEST LIVING ARTIST, and they're like,

"Uh, wut? Kate who? Oh, yeah, somebody tol' me about her once...She's, like, English. When? Uh, I rully dunno, y'know? I think it's, like, delayed, y'know? Somebody told me it sounded cool, though...I like music that's cool...heh..."

-- Andrew Marvick (IED)


Date: Wed, 29 Sep 93 13:40:52 EDT
From: Andrew B Marvick <abm4@columbia.EDU>
Subject: MisK.

Stefan complained that Kate's chart position is of no importance. IED disagrees. News that the first single release from the first KT album in four years has sunk to number 36 in three weeks -- this is bad news, but news worth knowing. Not only might her chart positions have potential influence on her own decision whether to tour or not (although that would appear to be a settled issue now anyway), it could also affect her EMI's promotional plans, the media's plans to cover the album's release, as well as Kate's own plans to make herself available to the media. A serious commercial flop in England could even affect Columbia/Sony's plans for the U.S. release -- for example,

It's already less likely that Sony will choose to release Rubberband Girl as the album's second single in the U.S. In fact, Sony might soon review all follow-up plans (assuming anyone in that company is at all aware of what they're doing). Might they opt instead for "And So Is Love", which (in IED's opinion) fits much more comfortably into U.S. AOR formats than Rubberband Girl? Or might they decide not to release a second single at all, and cut back severely on all their plans for a big marketing blitz here in November/December? As of the October 2nd edition of Billboard Magazine, btw, there was still no sign of ETM in the top 100 US singles chart.

-- Andrew Marvick (IED)

life is sad...


Date: Tue, 5 Oct 93 10:22:44 EDT
From: Andrew B Marvick <abm4@columbia.EDU>
Subject: MisK.

Did anyone mention that a photo accompanying the Q Magazine review of TRS is new? It shows Kate sitting in a long pale-colored dress (b&w photo), on which is a print (possibly hand-painted?) of the kind of fruits (sliced-open pomegranates and mangos, etc.) mentioned in ETM and photographed on the ETM single cover. For the record, Andy Gill's review is typically patronizing and ignorant, despite being more or less positive.

P.P.S.: IED saw (but was not allowed to keep, alas!) an updated version of the retailers' info-sheet about TRS. It was a tinted paper pamphlet which repeated virtually the entire original text verbatim, including the list of magazines with "commitments" to cover the album. The most significant changes were: on the front, the new release date is listed as "Nov. 2/9, 1993"; and inside, there is no longer any mention of Kate's visiting the U.S. for promotional purposes (let alone her visiting in September!).

P.P.P.S.: The advertisement for the album in Q has a much sharper print of the album cover than has been seen heretofore. As Karen Newcombe suggested to IED earlier, it looks as though the KT sign appears twice on the cover...

P.P.P.P.S.: She is.


Date: Mon, 25 Oct 93 14:56:05 EDT
From: Andrew B Marvick <abm4@columbia.EDU>
Subject: MisK.

"Pete Hartman", who feels that Kate Bush's new work is "boring", then protests that "to imply that we are simply uncultured barbarians incapable of understanding her divine subtlety is...ridiculous at best."

There appears to be a dearth of evidence to support this claim. Why is it ridiculous? IED doesn't remember off-hand who made the implication to which Pete refers, but for convenience's sake, IED will state outright that anyone who can dismiss "Eat the Music"'s new video as merely "boring" is, without any question, missing out on quite a lot. Another polite way of putting it: Mr. Hartman's argument fails to convince...

-- Andrew Marvick (IED), who is reminded of the great, all-consuming question: "What do you mean, 'That's it'?!" Well, perhaps "reminded" isn't the word for it -- more accurately, a giant shouting chorus in his brain keeps telling him, "THAT'S IT!" and he keeps answering, "What do you mean, 'That's it'?!" and then his brain skips back again a moment later, shouting "THAT'S IT!" and he answers, "What do you mean, 'That's it?!" and then...No sleep in two days now...

Subject: thanKs peTer Monch..Manchester

This is a note of thanks to a wonderful, Kately person who has given IED two of the pleasantest weekends in recent memory: Peter Manchester.

IED and he have now twice convened the East Setauket chapter of the Kate Bush Logos (for want of a better term), and IED's consciousness and soul have both been expanded thereby.

-- Andrew Marvick (IED), suspended by angels


Date: Sat, 30 Oct 93 16:23:17 EDT
From: Andrew B Marvick <abm4@columbia.EDU>
Subject: TRS available in the US

By the way, the U.S. CD is available at Rebel Records in Manhattan as of this morning, and probably at Record Runner, as well. Both shops are in Greenwich Village. They were also making posters and badges available, and Record Runner was handing out extra CD-booklets (or posters, whatever). Both shops were recruited (as, apparently, were a great many shops throughout the U.S.) by Columbia to have a special Kate Bush Day, and were playing the album from noon to 5 p.m., and were giving away the signed lithograph as a door-prize. No sign of the video-single here, however; nor any word on when the long-form video would become available, or the U.S. special-edition of the CD.


Date: Wed, 3 Nov 93 21:15 MET
From: uli@zoodle.robin.de (Ulrich Grepel)
Subject: Mail from the Kate Bush Club


Today I've got a letter from the Kate Bush Club. Basic info, nothing new:

- Release date of TRS Nov. 1st everywhere except US where it's Nov. 2nd. Well, I got it on Oct. 28...

- The Line, The Cross & The Curve will be shown on November 13 at the London Film Festival. Lisa says it might be difficult to get tickets since it's for members of the British Film Institute at first and only if tickets are left they'll go on sale. Anyone got one?

- They hope that the video may be released before Christmas though this isn't definite yet.

- Next single MoP, should be released during second half of Nov.

- This letter is going out in SAE's (I was lucky, see below), Replacement SAE's should be marked SAE3 to avoid getting the same info again. Do only send one SAE each time if you don't want to get the same info twice.

- Kate has done interviews for the November issues of Q and Rolling Stone. Anyone found the Rolling Stone one?

Together with this letter I also got the money back I did send in to join the club :-(. Lisa says they are in the process of changing their membership structure. She says I will be informed when the album magazine is out.

Both were simple photocopies with the money tacked onto the second note...

Bye, Uli


Date: 15 Nov 93 15:13:35 EST
From: Marcel Rijs <100276.2176@CompuServe.COM>
Subject: Kates voice

Hey there...

About Kates voice: she once said in an interview back in 1985 on TV, I guess it was a Dutch programme else someone would have known it on this list, that her voice was lowering - then already! She said she was rather intruiged by the idea that her voice would be like some other female artist (I don't know off-hand, it could be Joni Mitchell or Janis Joplin, I'd have to watch the recording if I have time), lowering with each new album. So Kate is not really bothered with her voice - why are you all?

Finally, this discussion about the supposed original track order is, as others have already pointed out, rather stupid. The order of the song lyrics on the lyric sheet is "jumbled" simply because of lay-out problems. Try to do this at home: fit 'The red shoes' under 'Rubberband girl' and you'll see it cannot be done. 'Top of the city' would fit under 'And so is love', but then 'Why should I love you' couldn't have fit anywhere. It's really simple! Why else would the A-side be in the 'normal' order? I mean really, this is getting very ridiculous.


Date: Thu, 2 Dec 93 01:20 CST
From: chrisw@fciad2.bsd.uchicago.edu (chris williams)
Subject: Re: Kate in person on Z-100 (NYC)

David Silver writes:

>Steven Zwanger wrote:

>>I called the radio station Z-100 today. They said Kate is going to be there Wednesday, Dec. 8, at 7pm, on the air. They're 100.3 FM.

>This date is the anniversary of John Lennon's murder - indelibly etched into my memory. I wonder if it will be acknowledged.

Very likely. Quite a long time ago, Kate was the high bidder at a Beatles memorbilia auction. One of the things she bought was a John & Yoko "Two Virgins" statue.

BTW, Kate did cover "She's Leaving Home" and "The Long and Winding Road" while in Japan. It has appeared on a number of bootlegs, including a red flexi-disc.


From: P D Fitzgerald-Morris <s0pdfm@assam.exnet.com>
Date: Thu, 2 Dec 1993 23:19:56 GMT
Subject: No promotion?

***SEMPSY*** writes:

> It is currently 32 in the official charts and 19 inthe Network charts. It is certainly TWW all over again, and EMI are certainly to blame for this.

EMI are not to blame. Kate is the one to blame. She will not promote. In the absence of her participation in the usual promotional activities EMI have done their best.


From: aj796@FreeNet.Carleton.CA (Tippi Chai)
Date: Tue, 14 Dec 1993 05:50:22 GMT
Subject: Kate in Toronto


Then we went back to the CFNY studio, about 20 minutes of walking away. They said on the radio that fans can go down to look through the glass front of the studio, but as we got there we saw that brown paper completely plastered the glass! We heard that EMI didn't like the idea of people peeking in and requested that. Les & I had cards for KaTe and I even had some hand-made (*my* hands) earrings for her. So I asked the bullies who were guarding the door if they could take it inside for us. One said no, but the other said yes and took them. Hopefully they're in KaTe's hands now....

I called MuchMusic to ask when the interview would be. They say Tuesday but not at their downtown studio, and the broadcast time is still to be decided. I'll post when I find out more.

"It's really happening to ya!"


Date: Tue, 14 Dec 93 01:02:15 EST
From: vickie@pilot.njin.net (Vickie Mapes)
Subject: Kate on the Radio

At least we were able to hear Kate on the radio tonight. All the callers were articulate and rational, which was extraordinarily admirable, considering that they were lucky enough to get through (we had an auto-dialer going the whole time) and were able to speak to Kate directly.

The very last caller asked about rec.music.gaffa and if the song "Deeper Understanding" had been based on the group. Kate asked if it were known under another name, but the fella never said "Love-Hounds" so I don't *think* she put the two together. Anyway, she said that DU wasn't based on this group.

She's so wonderful, so beautiful, so nice, and so...."vague" (IED said it first, so I don't feel bad saying it too :-) ) but hey, she *is* a Goddess (to me) and I love her.


From: mann@vis.toronto.edu (Richard Mann)
Date: Tue, 14 Dec 1993 12:34:39 -0500
Subject: Kate at CFNY. Toronto

As others said, the windows were covered up last night at the CFNY studio in downtown Toronto. According to the people there this was a condition imposed by the record company.

I'm not sure whether it was the petition we signed outside, or a clever trick by CFNY to get around the record company rules, but Kate ripped down the papers herself near the end of the interview.

Then we all went a little bit crazy.



Date: Thu, 16 Dec 93 11:59:01 EST
From: Andrew B Marvick <abm4@columbia.EDU>
Subject: Paranormal

IED must agree with Rob Henderson, who asks for general tolerance (at the least) from skeptical Love-Hounds when the subjects of paganism and magic(K) arise. Whether sensible and level-headed or not, it is unquestionably relevant to any discussion of the new album, and IED for one would be grateful to learn more about it (he awaits Jason Pascucci's essay with great interest). Also, Rob, you needn't feel that Kate's position on the subject of the paranormal is still politely neutral -- in one of the most recent interviews she was asked point-blank whether she believed in it, and her one-word answer (obviously designed to protect herself from ridicule by her interviewer) was "Yes." It is therefore IED's great pleasure to be able to state categorically that the paranormal does indeed exist. QED. IED, too.

-- Andrew Marvick (IED)

P.S.: Would someone PLEASE reassure IED (and other Love-Hounds, too, no doubt) that SOMEONE managed to record Kate's appearance on Canadian television?? Also, could someone be helpful enough to transcribe and post both the Canadian radio interview and the television interview, so that those of us to whom Kate's opinions MATTER MORE THAN LIFE ITSELF can have the chance to read them? Thanks, folks.


From: chrisw@fciad2.bsd.uchicago.edu (chris williams)
Date: Tue, 28 Dec 1993 05:58:43 -0500
Subject: Re: Kate and Joseph Campbell

In article <9312280211.tn33827@aol.com> you write:

>Does anyone know about the relationship between Kate and Joseph Campbell? Is she talking about the real J.C. on the notes of TRS? Does Kate know J.C.? Can anyone enlighten me on this subject? Thank you.

Joseph Campbell has been dead for a while, so I kind of doubt if they have a close relationship. Kate could have been reading JC's works and may have been impressed enough to credit him (posthumously) on the album. Or this could be another person named Joseph Campbell.


From: buck@satyr.sylvan.com (Michael Butler)
Date: Tue, 28 Dec 1993 13:05:28 GMT
Subject: Re: Kate and Joseph Campbell

"The real?" Begs the question, dunnit?

Well, I know *I* sent her some of Joseph Campbell's books a while back (might have been '87)--I would be surprised if I were the only person who ever thought she might be interested.


Date: Mon, 24 Jan 94 12:48:24 PST
From: steve.b@TQS.COM (Steve Berlin)
Subject: Mother stands for comfort

Hi there!

Well, this weekend I had a heart-warming Kate Experience that I swear is true...

I was checking out a new record store in the area (contrary to popular belief, I do NOT live in record stores! I live in bookstores, but take frequent holidays into record stores). I was in one corner of the store, when I saw two girls, about ages 5 and 7, shuffling down the corrider chanting "KateBushKateBushKateBush" like a mantra being chanted on a sugar rush. A few minutes later, I saw the elder one holding up a copy of TRS, waving it at her Mom in that universal kid way of saying "If you don't get this for me, my life will have no meaning!", whining in that irritating way that only little kids and Morrisey can do, saying "Buy this, Mommy! Buy this, Mommy! Buy this, Mommy!" Then the Mom sighed in that universal Mom way, saying, "OK...."

- Stev0, the Man with the Child in his Eyes


Date: Wed, 8 Jun 94 07:23:38 CDT
From: Mike.Gallaher@msfc.nasa.gov (Mike Gallaher)
Subject: D'Olivera & Giblin

Armin Michel wrote:

> Where did you get the name of John GIDMAN? I own the German edition of TRS (Printed in UK) and the name of the bass player credited is John GIBLIN. This John Giblin also plays bass on...

Gidman was the name in an article recently posted to rec.music.gaffa, and is presumably a transcription error. To quote: [SOS-article]

> One of the distinguishing aspects of tracks such as `Rubberband Girl' and `Big Stripey Lie' is the pumping five-string bass sound, courtesy of John Gidman playing in the recording area <??Disparity Alert>. His G&K amp was placed in the studio kitchen (for separation from the drums) and miked with an Electrovoice RE20. "I just wound it up so it was really distorted," says Palmer, "and used tons and tons of compression so that is was really pumping. Then again, the way he plays sounds really good no matter what you do to it."

Evidently there are differences in the credits between the US and German/UK versions of TRS. In the US, D'Olivera is credited with bass on "The Red Shoes" and drums on "Big Stripey Lie." The aforementioned interview with Del implies that John Gidman [Giblin] played *bass* on "Big Stripey Lie." The US CD credits Kate (I believe) with bass as well as guitar on "Big Stripey Lie." I don't recall Giblin's name being listed *anywhere* on the US CD liners, but you are implying that he is credited on the German/UK version. Which song[s] is he credited for? "The Red Shoes?" Unless everyone is completely sick of this thread, perhaps a comparison of liner credits (if there really are any discrepancies) between UK, German/UK, and US versions could be posted.

In any case, D'Olivera remains a mystery man, so far as I know, and still a reasonable candidate for pseudonymity. May be Prince, may not be, may be a catch-all name for anybody who, for whatever reason, is not to be credited. I listened to "Big Stripey Lie" quite carefully last night, and as far as I can tell, "D'Olivera's" drums are a loop of no more than 4, and maybe as few as 2 measures. Sound familiar to anyone? To quote the article again, re: "Why Should I Love You?":

> "He'd looped a four-bar section from the chorus of the song that Kate had written and just smothered 48 tracks with everything you could possible imagine: Guitars, keyboards, drums, voices. I sat there and thought, `Well, this is great, but what are we going to do with it?' [...] Basically, then, a case of pick `n' mix; "Here it is, take what you want"? "That's exactly what it was. Because she'd said to him `I want you to sing this bit here and I want you to sing that bit there', and he'd sung it, but he'd done it over the loop that he made up. So, we had this piece of vocal that she wanted but it was everywhere, all the way through it, so we had to take the bit that we needed and put it in where we wanted it...

Plausible scenario: album is "finished," Kate is fooling around with guitar, hits on inspiration for BSL (reportedly, it was recorded as a last-minute "stocking-stuffer", and was recorded relatively quickly). Del sets up a loop of Prince's drum part from "Why Should I Love You" (as also reported in the above-mentioned article, Prince's drums were eventually eliminated from the mix of WSILY), Kate jams, and voila! A new song is created!

--Mike Gallaher


From: Scott Telford <s.telford@ed.ac.uk>
Date: Wed, 6 Jul 1994 16:52:21 GMT
Subject: The Red Shoes music book

Don't know if anybody's mentioned this, but EMI (or rather IMP, or whatever their publishing firm is called) have released (in the UK at least) a score book for TRS. No nice colour photos like the TSW one, just one mono photo, a page of Kately facts and arrangements of all the album tracks for voice, piano and guitar.


Date: Sun, 30 Oct 94 12:00:24 PST
From: steve.b@TQS.COM (Steve Berlin)
Subject: Karen's party

Last night was Karen's wonderful party screening The Line, The Cross, & The Curve.

It was a very small gathering - besides Karen & myself, there was the one and only IED, as well as Lightning1 and Larry Hernandez (it struck me as ironic that everyone who was there were all also Bay Area Katefans on AOL. Maybe I should post it there, but I haven't got my new modem working (yet); I've been having too much fun with my new CD ROM drive. But I digress).

Anyway, as a stunning coincidence, that very morning I found a place having a sale on Fruitopia(!), so I bought two of everything. (Everyone generally agreed that it's STILL sugar water. But actually the Raspberry Lemonade is pretty good, IMHO).

While waiting for pizza, we sat around chatting about various Kate-related (and non-Kate related) things, and everyone was making fun of Chris'n'Vickie (but I wasn't supposed to tell you, so you didn't hear that from me, OK?)

One disspointment - I was going to take IED's photo to model the Lovehounds shirt, but he wore an elegent black Halloween Party shirt, so they took my picture instead. I'll post here after I've developed and scanned them (should be later this week), if anyone wants to post them somewhere so folks can download and/or ftp 'em.

We then watched IED's copies of 8 of the Fruitopia ads. If you took out the goddamn type, they would actually be quite beautiful. However, on most of them, if I didn't know, I would never have guessed it was Kate doing the music. Karen then showed 5 of the ads (two which IED didn't have, including the one they did for movie theatres, which, not surprisingly was the best one).

Then, our feature presentation - TLTC&TC. This is my third time seeing it, and I caught many things I didn't see the first two times - including an actual, coherent plot. (I think IED will post later, and will probably do a better job at it than I could).

Finally, we ended the night watching "Curse of the Demon" (AKA "Night of the Demon"), the film where Kate got the sample "It's in the trees! It's coming!" as well as several visual images for the Hounds of Love video, as well as a couple she used for TLTC&TC. Also, there was a scene in there which was Stanley Kubrick "borrowed" for "The Shining" (which, in turn, Kate used as partial inspiration for "Get Out of My House"). Also, I finally now understand the line in the opening song of The Rocky Horror Picture Show, "Dana Andrews as runes gave him the prunes/and passing them used lots of skill." Even the Kate Konnection aside, this is is a great film. (Then how come I never saw it before?) Stev0 sez: See it!

Actually, driving home was the highlight of the evening for me, 'cause NPR was playing a re-make of Orson Welle's "War of the Worlds", starring Gates McFaddin, Brent Spiner, Wil Wheaton(?), and Leonard Limoy(!).

- Stev0 the Model Gaffan

"Life sucks. Drink Fruitopia." - What the Coca Cola company should have done to REALLY appeal to the Gen X crowd.


From: IEDSRI@aol.com
Date: Tue, 3 Jan 1995 14:33:12 -0500
Subject: HG 54

IED cannot praise highly enough the latest issue of Homeground (No. 54, Winter '94). Congratulations to Peter FitzGerald-Morris, and to Krys and Dave, for giving us a new level of excellence to appreciate and aspire to. Not only does this issue contain several Kate Bush news bits that have not appeared in Love-Hounds (no mean feat that, in itself!), but there is an always interesting (though by no means infallible!) review of The Red Shoes album by rec.music.gaffa's founder |>oug /\lan, and an absolutely fascinating and beautifully written article from our own KLN (Karen Newcombe) which offers inspired insight into symbolism in "Under the Ivy". As if that weren't enough, there are also several photographs of Kate Bush that have never (to IED's knowledge) appeared anywhere before.

Thanks, Peter, for your continuing, invaluable contribution.

-- Andrew Marvick (IED)


Date: Thu, 5 Jan 1995 09:47:54 -0800 (PST)
From: "Karen L. Newcombe" <kln@crl.com>
Subject: Happy new Year!

Belated Happy New Year, Love Puppies. Highlight of my trip to Florida was seeing my 2-yr-old niece twirling around the room and bouncing up and down to "Rubberband Girl" -- what an astute child!


From: 100427.2530@compuserve.com (Peter Chow)
Date: Mon, 06 Nov 1995 03:23:57 GMT
Subject: Why the Abbey Road Studios?

Pertti Tapola wrote:


< Why was Red Shoes recorded in Abbey Road studios, and not in her own? She stated in interviews that her own studio was one of the best decisions she's ever made - although one of the most expensive as well.

I think that only the orchestra sessions were done at AR because the recording room at her place is too small for big recordings.

In the past she has also used AR for the mastering stage (after mixing). She doesn't have the equipment for doing production mastering, especially the PQ coding for CD masters. The stuff she does have - DAT and CD-R recorders - are only for personal masters that she can listen to outside of her studio on a regular hi-fi.

Peter Chow from London (UK)


Date: 22 Nov 95 14:39:04 EST
From: Ronald.Girardin@Dartmouth.EDU (Ronald Girardin)
Subject: TRS: what a sequence!

I'm listening to THE RED SHOES right now.

...it doesn't get much better than that. :-)

LILY is my favorite to CRANK IT UP!!!!!! YEAH!!!!!!!!!!




From: nplains@passport.ca (Steve Sauder)
Date: Sat, 16 Dec 1995 18:11:37 -0500
Subject: Kate on MuchMusic

Hi all!

Kate herself was there, got briefly up in front of the crowd (I was in the second row - even on stage she looked so tiny!) and thanked us all, then retreated to the back of the theatre as the film was shown.

It had been put about quietly that she would be giving an interview (the one mentioned above) at CFNY after the show, so en masse we went to their Bloor & Bathurst St. studios (it's quite an affair, for those who aren't Torontonians, a street-level glassed in studio where they have quite a lot of celebrity interviews and the like...).

I can't tell you how disappointed we all were (there were about 150 of us gathered outside the studio) to arrive and find the windows had been *papered over* at the request of EMI Canada!!! And - guards had been stationed at the door!!! Can you believe it?

Despite this (you can bet if Nirvana or somebody like that was inside that papered-up studio there would have been a riot - but KB fans are so much better mannered...), we all remained calm, and took turns peering through a tiny rip in the paper (if you can believe it!) to get a glimpse of Kate, doing the interview (which was being piped out onto the street so we could hear her even if we couldn't see her...) - and smoking BTW...

After about 15 minutes of the interview, we managed to get a hurried petition signed by all the people present, and slipped it in to Kate via one of the door guards who also thought the paper was a bit stupid - and, at the next commercial break, KATE HERSELF CAME OVER AND RIPPED THE PAPER DOWN OFF THE WINDOWS!

Well, I can tell you, we all went quite mad with cheering and waving and all that, and she smiled quite beautifully at us, waved and then went back to the interview. She spent the rest of the time talking on the radio, smoking and waving at us making fools of ourselves outside the window. A friend of mine had a video camera and caught some great moments on tape.

In any case, it was a truly wonderful experience for me. This was my first chance to see the lady in person. She seemed quite down-to-earth, as she was dressed in jeans and sneakers and a black leather jacket. And that smile!!! I've been a fan since 1982, and I've always thought that Kate had a warm smile in the photos I've collected, but to actually be in the way of one of those grins is a totally different thing, indeed.

Anyhow, just thought I'd put in my two cents about the interview. Despite the fact that the over-paid executives at EMI Canada made total idiots out of themselves (and I did hear quite a bit of flak on CFNY about the papered-up window lunacy over the next week), it was a truly memorable experience.

Best Regards, Steve.

On to Moments 2.0. - The Music

Written by Love-Hounds
compiled and edited
Wieland Willker
August 1995