Boston Globe, March 31, 1989: Difference between revisions
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<center> Jim Sullivan </center> | <center> Jim Sullivan </center> | ||
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'''Memories of an Elvis Costello interview past, 1983. After six years in the public eye — but six years of antipathy toward the media — Costello had begun talking. He was in a good mood, chatting freely. After a few moments, I pulled out a notebook and he shot me a nasty glance. "I thought this was the new, friendly Elvis," I said. "You never know when we might change our minds," he answered sharply, with a taut smile. Interview aborted. | |||
{{Bibliography text}} | {{Bibliography text}} | ||
Winchester — This year's Elvis, though sporting long sideburns, looks much the same as ever, sitting in an office at the local branch of his record company, Warner Bros., with his wife, Caitlin O'Riordan, at his side. He is, though, loquacious and charming, generous with wit and anecdotes. This is not to say the British singer-songwriter has relinquished his much-vaunted edge. Hardly. The edge is just more selectively applied, reserved mostly for those who he feels over-analyze his work — or, conversely, judge it simplistically — or those who misinterpret his motives. But this is a mature artist who can co-write songs with Paul McCartney, the sort of fellow who can put the phrase "The Beloved Entertainer" on the cover of his latest album, ''Spike,'' and have it seem only half-ironic. | Winchester — This year's Elvis, though sporting long sideburns, looks much the same as ever, sitting in an office at the local branch of his record company, Warner Bros., with his wife, Caitlin O'Riordan, at his side. He is, though, loquacious and charming, generous with wit and anecdotes. This is not to say the British singer-songwriter has relinquished his much-vaunted edge. Hardly. The edge is just more selectively applied, reserved mostly for those who he feels over-analyze his work — or, conversely, judge it simplistically — or those who misinterpret his motives. But this is a mature artist who can co-write songs with Paul McCartney, the sort of fellow who can put the phrase "The Beloved Entertainer" on the cover of his latest album, ''Spike,'' and have it seem only half-ironic. | ||
The beloved entertainer kicks off a low-profile college | The beloved entertainer kicks off a low-profile college tour tonight at Boston College's Conte Forum. The show is sold out. | ||
The early Elvis — the angry young man of 1977's ''My Aim Is True'' and 1978's ''This Year's Model'' — was well known for his | The early Elvis — the angry young man of 1977's ''My Aim Is True'' and 1978's ''This Year's Model'' — was well known for his literate, terse, punchy rock 'n' roll, and for his acerbic attitude and explosive temper. For instance, in '78, he treated an adoring Orpheum audience to high-volume feedback after closing his terrific, but short, set. The clear message: You've spent your money, enjoyed your catharsis — now, go. In those days, in a rare interview, he said his music was inspired by "revenge and guilt." There were other incidents here and elsewhere — fisticuffs, camera smashings, general bad blood. There was the notorious drunken incident in a bar with Bonnie Bramlett when he cast a racial slur Ray Charles' way. | ||
literate, terse, punchy rock 'n' roll, and for his acerbic attitude and explosive temper. For instance, in | |||
Nasty stuff. | Nasty stuff. | ||
"What I did when I first started out," Costello says now, "was do a few interviews and, with a couple of exceptions, they were mostly unsatisfactory." So, right away, he stopped talking. "It made better copy than anything I might have said. Then, I said, 'I'll show you — you want punk, this is expletive punk.' " Costello sweeps the air with his right hand, an air punch. | "What I did when I first started out," Costello says now, "was do a few interviews and, with a couple of exceptions, they were mostly unsatisfactory." So, right away, he stopped talking. "It made better copy than anything I might have said. Then, I said, 'I'll show you — you want punk, this is [expletive] punk.'{{nb}}" Costello sweeps the air with his right hand, an air punch. | ||
"You start playing up to it; it's good fun," he says. With a laugh: "I think Sean Penn learned everything he did from me." | "You start playing up to it; it's good fun," he says. With a laugh: "I think Sean Penn learned everything he did from me." | ||
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However, he adds, "you overlook the fact that it's only writers that sit at home and go, 'What did he mean by all that stuff?' and we're going, 'Ha, they bought that one again! Let's kick down another door!' After about five years, you start to realize it's a bit childish. And there were some unworthy targets, people who get it in the neck if they just happen to be in your way, people who might be good people but you don't give them the chance to explain themselves." | However, he adds, "you overlook the fact that it's only writers that sit at home and go, 'What did he mean by all that stuff?' and we're going, 'Ha, they bought that one again! Let's kick down another door!' After about five years, you start to realize it's a bit childish. And there were some unworthy targets, people who get it in the neck if they just happen to be in your way, people who might be good people but you don't give them the chance to explain themselves." | ||
Costello's present munificence is not a complete surprise. This Elvis has been ascendant since 1983, after an ugly — possibly overblown — drunken incident in which Costello cast a few untoward racial slurs and punches. (The subsequent '' | Costello's present munificence is not a complete surprise. This Elvis has been ascendant since 1983, after an ugly — possibly overblown — drunken incident in which Costello cast a few untoward racial slurs and punches. (The subsequent ''Rolling Stone'' cover was titled "Elvis Costello Repents"; on the afternoon of our interview, at an autograph session, Costello signed a mockup poster of that cover and annotated it by crossing the "s" off "repents" and adding "still doesn't.") | ||
Costello's change of heart was especially clear in late 1986 during a carnival-like tour in which he used a "spectacular spinning songbook" — a giant wheel with song selections marked out, and spun by members of the audience, with the choices played by Costello and his band the Attractions. And his spirit was very much in evidence earlier this month on '' | Costello's change of heart was especially clear in late 1986 during a carnival-like tour in which he used a "spectacular spinning songbook" — a giant wheel with song selections marked out, and spun by members of the audience, with the choices played by Costello and his band the Attractions. And his spirit was very much in evidence earlier this month on ''Late Night With David Letterman,'' where Costello did some deft verbal boxing and spun an amusing tall tale about his vision of God and the root of his song "God's Comic." | ||
During this interview, Costello drinks coffee (with a side of water) as O'Riordan immerses herself in a book, speaking only when Costello gets stuck on the word "honorary." She helps him out, and he laughs at himself — "up too early this morning, must have left my brain in bed." | During this interview, Costello drinks coffee (with a side of water) as O'Riordan immerses herself in a book, speaking only when Costello gets stuck on the word "honorary." She helps him out, and he laughs at himself — "up too early this morning, must have left my brain in bed." | ||
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"Everybody does eventually." | "Everybody does eventually." | ||
Early indications are that, with ''Spike,'' Costello might have a hit on his hands. It's currently at No. 33 on ''Billboard'''s chart, and "Veronica," one of the songs co-written with McCartney, is all over the FM rock airwaves. Costello and his diverse crew of musicians — McCartney, Roger McGuinn, T | Early indications are that, with ''Spike,'' Costello might have a hit on his hands. It's currently at No. 33 on ''Billboard'''s chart, and "Veronica," one of the songs co-written with McCartney, is all over the FM rock airwaves. Costello and his diverse crew of musicians — McCartney, Roger McGuinn, T{{nb}}Bone Burnett, Frankie Gavin, Benmont Tench, Steve Wickham, Christy Moore, Chrissie Hynde and more — play in a number of fields. Those include: soaring pop-rock, Irish-tinged balladry, odd-metered progressive rock, and even a jazz-tinged instrumental. Moods and themes constantly crisscross — grim, comic, tragic, tragicomic, angry, escapist, cautionary. The album, as are most of his, has been highly acclaimed. Still, Costello bristles at two frequent descriptions of this work: eclectic and political. | ||
"Bland praise on eclecticism," he scoffs. "That's not thinking through why those very wide-ranging elements are there. To say it's eclectic — a chimpanzee could notice that. Pardon me: If six months' work is neatly pigeonholed under the word 'eclectic,' then I slightly resent it." | "Bland praise on eclecticism," he scoffs. "That's not thinking through ''why'' those very wide-ranging elements are there. To say it's eclectic — a chimpanzee could notice that. Pardon me: If six months' work is neatly pigeonholed under the word 'eclectic,' then I slightly resent it." | ||
As for political, Costello doesn't deny the thrust of anti-Thatcher songs such as "Tramp the Dirt Down" and "Any King's Shilling," but he doesn't want to be viewed as someone on a soapbox. "It's a limiting definition," he argues. "Politics are things that are done to us that we can't control. 'Tramp the Dirt Down' is a reaction against those kind of things." | As for political, Costello doesn't deny the thrust of anti-Thatcher songs such as "Tramp the Dirt Down" and "Any King's Shilling," but he doesn't want to be viewed as someone on a soapbox. "It's a limiting definition," he argues. "Politics are things that are done to us that we can't control. 'Tramp the Dirt Down' is a reaction against those kind of things." | ||
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"I don't like the word 'theatrical' because it conjures up a contrived, distanced work, which I don't think is what I do. But it is a theatrical presentation, whether you like it or not; music has a dramatic element." | "I don't like the word 'theatrical' because it conjures up a contrived, distanced work, which I don't think is what I do. But it is a theatrical presentation, whether you like it or not; music has a dramatic element." | ||
A couple of years ago, Costello changed his legal name back to its original form — Declan | A couple of years ago, Costello changed his legal name back to its original form — Declan MacManus — for passport and songwriting credit purposes. He says too many music critics/ amateur psychologists saw that as a shedding of skin, as reverting to his "real" self. "My real self has been there all along," he insists. "I won't always say he was a sane, sensible person, but I was always ''there'' one way or another, and if I wasn't there it wasn't because I was somebody else; it was because I was drunk or something — things that normal people are." Cheerfully, he says he looks at Elvis Costello as a brand name. | ||
Costello and his wife have relocated from London to Dublin, prompting some folks to view the move as a return to his spiritual homeland. No, says Costello, the setting just works right now. His great-grandfather was Irish, though Costello has no idea what county he came from. Costello is English, though he bears no particular allegiance to either England or Ireland. "Ireland," he says succinctly, "is not without its faults." He had no desire to spend St. Patrick's Day in Boston and calls it "smothering sentimentality for something Irish-Americans don't understand." | Costello and his wife have relocated from London to Dublin, prompting some folks to view the move as a return to his spiritual homeland. No, says Costello, the setting just works right now. His great-grandfather was Irish, though Costello has no idea what county he came from. Costello is English, though he bears no particular allegiance to either England or Ireland. "Ireland," he says succinctly, "is not without its faults." He had no desire to spend St. Patrick's Day in Boston and calls it "smothering sentimentality for something [Irish-Americans] don't understand." | ||
Following tonight's concert, Costello plays | Following tonight's concert, Costello plays tomorrow at the University of Rhode Island in Kingston; April 8 at Colby College in Waterville, Maine; April 13 at Brandeis University in Waltham; April 14 at the University of Vermont in Burlington and April 15 at the University of New Hampshire in Durham. | ||
To add to the on-stage spontaneity, Costello is planning to use a large satin heart, partitioned into 13½ (yes, 13½) deadly sins. Lucky audience members will get to play a version of "Pin the Tail on the Donkey," by planting a spike (get it?) through one of the sections. Then, he or she can choose to act out the "sin," or request a Costello song that pertains to it. "It's a little bit malevolent," says Costello. "All those deadly sins bring a bit more melodrama." | To add to the on-stage spontaneity, Costello is planning to use a large satin heart, partitioned into 13½ (yes, 13½) deadly sins. Lucky audience members will get to play a version of "Pin the Tail on the Donkey," by planting a spike (get it?) through one of the sections. Then, he or she can choose to act out the "sin," or request a Costello song that pertains to it. "It's a little bit malevolent," says Costello. "All those deadly sins bring a bit more melodrama." | ||
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Costello is booked through June — a UK tour follows the brief US college tour — and he may be back this way for more "proper" dates this summer. "That's not confirmed," Costello says. "It's still up in the air, really. I don't really tend to look that far ahead." | Costello is booked through June — a UK tour follows the brief US college tour — and he may be back this way for more "proper" dates this summer. "That's not confirmed," Costello says. "It's still up in the air, really. I don't really tend to look that far ahead." | ||
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{{tags}}[[Concert 1989-03-31 Boston|Conte Forum]] {{-}} [[Boston College]] {{-}} [[Boston]] {{-}} [[MA|Massachusetts]] {{-}} [[Spike]] {{-}} [[The Beloved Entertainer]] {{-}} [[:Category:1989 US Solo Tour|1989 US Solo Tour]] {{-}} [[Paul McCartney]] {{-}} [[Warner Bros.]] {{-}} [[Cait O'Riordan]] {{-}} [[My Aim Is True]] {{-}} [[This Year's Model]] {{-}} [[Concert 1978-05-04 Boston|Orpheum 1978]] {{-}} [[Bonnie Bramlett]] {{-}} [[Ray Charles]] {{-}} [[Rolling Stone, September 2, 1982|Rolling Stone]] {{-}} [[Revenge and guilt]] {{-}} [[:Category:Costello Sings Again Tour|Costello Sings Again Tour]] {{-}} [[Spectacular Spinning Songbook]] {{-}} [[TV 1989-03-03 David Letterman|Late Night With David Letterman]] {{-}} [[The Attractions]] {{-}} [[God's Comic]] {{-}} [[Veronica]] {{-}} [[Roger McGuinn]] {{-}} [[T{{nb}}Bone Burnett]] {{-}} [[Frankie Gavin]] {{-}} [[Benmont Tench]] {{-}} [[Steve Wickham]] {{-}} [[Christy Moore]] {{-}} [[Chrissie Hynde]] {{-}} [[Tramp The Dirt Down]] {{-}} [[Margaret Thatcher]] {{-}} [[Any King's Shilling]] {{-}} [[Pads, Paws And Claws]] {{-}} [[Get Happy!!]] {{-}} [[Stax]] {{-}} [[John Lennon]] {{-}} [[Almost Blue]] {{-}} [[Declan MacManus]] {{-}} [[Concert 1989-04-01 Kingston|University of Rhode Island, Kingston]] {{-}} [[Concert 1989-04-08 Waterville|Colby College, Waterville]] {{-}} [[Concert 1989-04-13 Waltham|Brandeis University, Waltham]] {{-}} [[Concert 1989-04-14 Burlington|University of Vermont, Burlington]] {{-}} [[Concert 1989-04-15 Durham|University of New Hampshire, Durham]] {{-}} [[13½ Deadly Sins]] | |||
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[[Jim Sullivan]] interviews Elvis Costello ahead of his solo concert, Friday, [[Concert 1989-03-31 Boston|March 31, 1989]], Conte Forum , Boston College, Boston, Massachusetts. | [[Jim Sullivan]] interviews Elvis Costello ahead of his solo concert, Friday, [[Concert 1989-03-31 Boston|March 31, 1989]], Conte Forum , Boston College, Boston, Massachusetts. | ||
{{Bibliography | {{Bibliography images}} | ||
[[image:1989-03-31 Boston Globe page 29 clipping 01.jpg|380px]] | |||
<br><small>Clippings.</small> | |||
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<small>Photo by [[Janet Knott]].</small><br> | |||
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<small>Page scans.</small><br> | |||
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[[image:1989-03-31 Boston Globe page 31.jpg|x120px]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 09:42, 5 July 2023
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