And if I only could
I’d make a deal with God
And I’d get him to swap our places
Over the last few months, the music of Kate Bush has been in the zeitgeist. Her song, Running Up That Hill (A Deal With God) from her classic album, Hounds Of Love, has had a massive resurgence and been introduced to a whole new generation of fans thanks to the show Stranger Things.
I first discovered Kate in 1985 when she released Hounds Of Love. Being an 80s kid, I was introduced to “Running Up That Hill” the way we were all exposed to new music back then – through a music video. The beautiful interpretive dance video that flashed across my TV screen hooked me from the get-go. The video’s lush imagery and Kate’s visual storytelling of a torrid love affair immediately impacted me and left me wanting more. Thorough exposure to Kate’s music came the following year when I purchased her greatest hits compilation, The Whole Story. Listening to that album for the first time was nothing short of epiphanic to me. Her use of Celtic instruments in “Army Dreamers” was a revelation, and her vocals in “Wuthering Heights” were unlike anything I’d ever heard. Listening to that album was an essential lesson for a young art student; it taught me the importance of individuality. The same search for uniqueness that led me to Kate also led me to other artists doing things outside the norm. During that era, 1981-1985, I also discovered the groundbreaking work of artists Barry Windsor-Smith, Jeffery Jones, Michael William Kaluta, Bernie Wrightson, HR Giger, Moebius, and Phillipe Druillet. Their work planted seeds in my mind that would find their flowering in my mature adulthood.
Kate and her work have been a part of my personal soundtrack since those formative years. Since then, I have gone from being a beginner with nothing but a burning desire to make art and loads of talent to an art student and eventually a professional artist. My college years were a supernova of people, places, culture, and remarkable artistic growth. Throughout those life-changing years, Kate’s albums played in the background of my ever-evolving youth. The Sensual World introduced me to Bulgarian singing and James Joyce, and The Red Shoes further exposed me to Celtic music and the sound of Madagascan music in the utterly joyous “Eat The Music.” This exposure to new and unique sounds and a singular vision inspired me, expanded my worldview, and taught me the value of doing things my way as I refined and perfected my skill during this pivotal time of my life.
Throughout my college years, Kate’s music exposed me to someone who not only wrote her own songs, such as the classic “Wuthering Heights,” but also produced iconic albums such as The Dreaming and Hounds of Love. From the beginning of her career, Kate wisely assumed ownership of her publishing rights. This astute decision has given Kate total control over her work and how it gets used. That lesson has stayed with me and is why I insist that clients sign a contract stipulating my ownership of a picture’s copyright. My copyright is sacred, and Kate’s creative vision taught me that and the value of doing things your way.
My drawing of Kate for this week’s post is a recent sketchbook drawing inspired by her song, “The Big Sky” from Hounds Of Love. I’ve always loved the meteorological-inspired lyrics and her use of weather to paint a particular atmosphere. Clouds and overcast days have always held a special magic for me, and I tried hard to express that in my drawing. I have always loved the son’s title as well; it speaks to my ambition.
I’m looking at the big sky
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