Los Angeles Times, July 18, 1982: Difference between revisions
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Sitting in a hotel room here last week on the eve of a U.S. tour that includes shows [[Concert 1982-07-20 Los Angeles|Tuesday]] and [[Concert 1982-07-21 Los Angeles|Wednesday]] at the Greek Theater in Los Angeles, Costello acknowledged that the controversial image initially helped him attract attention, but he feels it eventually threatened to smother him, emotionally and creatively. | Sitting in a hotel room here last week on the eve of a U.S. tour that includes shows [[Concert 1982-07-20 Los Angeles|Tuesday]] and [[Concert 1982-07-21 Los Angeles|Wednesday]] at the Greek Theater in Los Angeles, Costello acknowledged that the controversial image initially helped him attract attention, but he feels it eventually threatened to smother him, emotionally and creatively. | ||
"I think I was definitely beginning to lose control of things," Costello | "I think I was definitely beginning to lose control of things," Costello, 27, said. "It's too personal to go into all of it, but I will say I made several wrong turns in succession around the time of the ''Armed Forces'' album. I found myself getting farther and farther from what I started out to be and moving toward all the things I hated." | ||
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The most dramatic of the Costello explosions occurred in 1979 when the singer got into a drunken dispute with Bonnie Bramlett and other rock musicians in a Columbus, Ohio, bar. Trying to offend their sensibilities so they'd leave the bar, Costello later said, he made a racial slur against Ray Charles. After the other musicians reported the incident to the press, the tale was widely distributed, causing many rock fans to brand Costello a racist. | The most dramatic of the Costello explosions occurred in 1979 when the singer got into a drunken dispute with Bonnie Bramlett and other rock musicians in a Columbus, Ohio, bar. Trying to offend their sensibilities so they'd leave the bar, Costello later said, he made a racial slur against Ray Charles. After the other musicians reported the incident to the press, the tale was widely distributed, causing many rock fans to brand Costello a racist. | ||
Costello was so shaken by the reaction that he broke his press silence to meet with reporters in New York to give his side of the story and apologize for the misunderstanding. He then resumed the media blackout. | Costello was so shaken by the reaction that he broke his press silence to [[Event 1979-03-30 New York|meet]] with reporters in New York to give his side of the story and apologize for the misunderstanding. He then resumed the media blackout. | ||
Because of Costello's cool relations with the press, I felt like a man trapped behind enemy lines as Costello whisked into the hotel lobby here. | Because of Costello's cool relations with the press, I felt like a man trapped behind enemy lines as Costello whisked into the hotel lobby here. But he posed patiently for the photographer and showed no uneasiness during the subsequent interview. | ||
Asked why he is doing interviews again, he said: | Asked why he is doing interviews again, he said: | ||
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Here are four examples — from different songs — of Costello's lyric approach: | Here are four examples — from different songs — of Costello's lyric approach: | ||
''So in this almost empty gin palace | {{n}}''So in this almost empty gin palace <br> | ||
{{n}}''Through a two-way looking glass <br> | |||
{{n}}''You see your Alice | |||
''There's been a long honeymoon | {{n}}''There's been a long honeymoon <br> | ||
{{n}}''She thought too late and spoke too soon | |||
''Don't get smart or sarcastic | {{n}}''Don't get smart or sarcastic <br> | ||
{{n}}''He snaps back just like elastic | |||
''Almost blue | {{n}}''Almost blue <br> | ||
{{n}}''Almost doing things we used to do <br> | |||
{{n}}''There's a girl here and she's almost you. | |||
The last set of lyrics is from the new album's "Almost Blue," a ballad with the stamp of a standard on it. While most of the other tunes on ''Imperial Bedroom'' are more idiosyncratic, there's an ambitiousness and scope in the LP's bending of pop traditions that is breathtaking at times. | The last set of lyrics is from the new album's "Almost Blue," a ballad with the stamp of a standard on it. While most of the other tunes on ''Imperial Bedroom'' are more idiosyncratic, there's an ambitiousness and scope in the LP's bending of pop traditions that is breathtaking at times. | ||
Coupled with his seven earlier albums, the new collection represents a creative explosion perhaps unmatched for quality and quantity in rock since Dylan's mid' | Coupled with his seven earlier albums, the new collection represents a creative explosion perhaps unmatched for quality and quantity in rock since Dylan's mid-'60s period. | ||
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That album finished second in 1977 in the ''Village Voice'''s annual [[Village Voice, January 23, 1978|poll]] of the nation's rock and pop critics. The follow-up, ''This Year's Model'' in 1978, [[Village Voice, January 22, 1979|topped]] the ''Voice'' poll. | That album finished second in 1977 in the ''Village Voice'''s annual [[Village Voice, January 23, 1978|poll]] of the nation's rock and pop critics. The follow-up, ''This Year's Model'' in 1978, [[Village Voice, January 22, 1979|topped]] the ''Voice'' poll. | ||
Expanding musically and thematically, Costello also finished in the top 10 in the ''Voice'' [[Village Voice, January 28, 1980|survey]] in 1979 with ''Armed Forces'', [[Village Voice, February | Expanding musically and thematically, Costello also finished in the top 10 in the ''Voice'' [[Village Voice, January 28, 1980|survey]] in 1979 with ''Armed Forces'', [[Village Voice, February 4, 1981|in 1980]] with ''Get Happy'' and [[Village Voice, February 1, 1982|in 1981]] with ''Trust.'' | ||
Despite this critical outpouring, Costello seemed uncomfortable when I first interviewed him in 1979. Though extremely articulate, he was testy when certain subjects were raised. By contrast, he was far more relaxed last week, frequently laughing and going into great detail about the development of his songs. Whatever the turmoil of the late '70s, he seems to be a man who has regained perspective and control. | Despite this critical outpouring, Costello seemed uncomfortable when I first interviewed him in 1979. Though extremely articulate, he was testy when certain subjects were raised. By contrast, he was far more relaxed last week, frequently laughing and going into great detail about the development of his songs. Whatever the turmoil of the late '70s, he seems to be a man who has regained perspective and control. | ||
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"I'd like to have hit singles, but you have to realize just how awful AM radio is over here. It makes me sad that someone like Randy Newman would only have a hit with 'Short People,' which is fairly insubstantial next to (Newman's) 'Davy, the Fat Boy,' which is brilliant" | "I'd like to have hit singles, but you have to realize just how awful AM radio is over here. It makes me sad that someone like Randy Newman would only have a hit with 'Short People,' which is fairly insubstantial next to (Newman's) 'Davy, the Fat Boy,' which is brilliant" | ||
''What was your attitude like when you first played the [[Concert 1977-11-18 Los Angeles|Whisky]]? | ''What was your attitude like when you first played the [[Concert 1977-11-18 Los Angeles (early)|Whisky]]? | ||
"I was just pleased to have an album, because I never thought it'd be possible — I had been turned down by everybody even though I had total conviction that the songs were good. It finally happened so fast. In a minute, I went from being this computer technician to a professional musician. By the time we got to this country, people were beginning to say we were a big deal. We had to live up to a lot of expectations." | "I was just pleased to have an album, because I never thought it'd be possible — I had been turned down by everybody even though I had total conviction that the songs were good. It finally happened so fast. In a minute, I went from being this computer technician to a professional musician. By the time we got to this country, people were beginning to say we were a big deal. We had to live up to a lot of expectations." | ||
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''You mean the night you stormed off-stage? I thought it was over equipment problems. | ''You mean the night you stormed off-stage? I thought it was over equipment problems. | ||
"No, it wasn't that I just sort of cracked up on stage. A lot of things were going on that left me confused. I remember having an argument with Dave Edmunds just before we got to L.A. on that tour. I was telling him that the whole tour was a failure and that we had lost the battle over here. We were playing to half-empty halls in a lot of cities and radio was ignoring the record. | "No, it wasn't that. I just sort of cracked up on stage. A lot of things were going on that left me confused. I remember having an argument with Dave Edmunds just before we got to L.A. on that tour. I was telling him that the whole tour was a failure and that we had lost the battle over here. We were playing to half-empty halls in a lot of cities and radio was ignoring the record. | ||
"Then we got to LA and the Civic was full. It all looked too easy. I began to worry that it was all phony — that people had just convinced themselves that we were the thing to see that week. I was questioning if we were really any good. If we couldn't pull a crowd 1,000 miles away, why should we suddenly be God in California." | "Then we got to LA and the Civic was full. It all looked too easy. I began to worry that it was all phony — that people had just convinced themselves that we were the thing to see that week. I was questioning if we were really any good. If we couldn't pull a crowd 1,000 miles away, why should we suddenly be God in California." | ||
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''What about the incident in Columbus? | ''What about the incident in Columbus? | ||
"It's very important to me that people understand what really happened that night, and I keep running into examples of how they don't When we were working on the new album, for instance, (Paul) McCartney was in the studio next door working with Michael Jackson. Bruce (Thomas, who plays bass in Costello's Attractions band) gets along very well with McCartney and he went down to see him. Everything went fine until someone introduced Bruce to Michael as my bass player. Then it got really unpleasant" (became of the stigma of the racial episode). | "It's very important to me that people understand what really happened that night, and I keep running into examples of how they don't. When we were working on the new album, for instance, (Paul) McCartney was in the studio next door working with Michael Jackson. Bruce (Thomas, who plays bass in Costello's Attractions band) gets along very well with McCartney and he went down to see him. Everything went fine until someone introduced Bruce to Michael as my bass player. Then it got really unpleasant" (became of the stigma of the racial episode). | ||
"That really brought it home to me. A few friends in the business said they could see how the situation could arise — how you'd say anything to get rid of some people. But it's still no excuse for what happened, and I apologize again. The whole thing was just further evidence to some people that I'm some kind of bastard." | "That really brought it home to me. A few friends in the business said they could see how the situation could arise — how you'd say anything to get rid of some people. But it's still no excuse for what happened, and I apologize again. The whole thing was just further evidence to some people that I'm some kind of bastard." | ||
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{{Bibliography next | {{Bibliography next | ||
|prev = Los Angeles Times, July 7, 1982 | |prev = Los Angeles Times, July 7, 1982 | ||
|next = Los Angeles Times, | |next = Los Angeles Times, August 7, 1983 | ||
}} | }} | ||
'''Los Angeles Times, July 18, 1982 | '''Los Angeles Times, July 18, 1982 | ||
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[[Robert Hilburn]] interviews Elvis Costello. | [[Robert Hilburn]] interviews Elvis Costello. | ||
{{Robert Hilburn 1982 Los Angeles Times}} | |||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1982-07-18 Los Angeles Times Calendar cover.jpg| | [[image:1982-07-18 Los Angeles Times Calendar cover.jpg|380px]] | ||
<br><small>Calendar section cover.</small> | <br><small>Calendar section cover.</small> | ||
[[image:1982-07-18 Los Angeles Times Calendar page 61.jpg| | <small>Page scans.</small><br> | ||
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{{Bibliography box}} | |||
<center><h3> On the Riviera </h3></center> | |||
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<center> Patrick Goldstein </center> | |||
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{{Bibliography text}} | |||
[[image:1982-07-18 Los Angeles Times Calendar pages 82,83,84 clipping composite.jpg|150px|right]] | |||
Half the fun of keeping track of Elvis Costello, (profiled on Page 1 and who plays the Greek Theater Tuesday night) is hearing new anecdotes about his irrepressible manager, Jake Riviera, whose battles with reporters and record companies are the stuff of legends. | |||
Nick Lowe, who's also managed by Riviera, tells the best tale, which dates back to the time of Costello's first album. Riviera and Lowe were drinking in a pub one night when someone rushed in with the news that Elvis Presley had just died. "I was absolutely inconsolable," Lowe said "Weeping like a baby. Jake, however, was very calm, telling me to pull myself together." | |||
Riviera drove him home, with Lowe still broken up over the news. Finally Riviera turned to him and said, "You know what this means, don't you? We're going to have to change his name from Elvis Costello to Elton..." | |||
Lowe was stunned. "He was perfectly serious. I thought, 'What a chap. He's already planning the next move.'{{nb}}" | |||
{{cx}} | |||
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<br><br> | |||
<small>Photos by [[Gary Friedman]].</small><br> | <small>Photos by [[Gary Friedman]].</small><br> | ||
[[image:1982-07-18 Los Angeles Times photo 02 gf.jpg| | [[image:1982-07-18 Los Angeles Times photo 02 gf.jpg|380px]] | ||
[[image:1982-07-18 Los Angeles Times photo 01 gf.jpg| | [[image:1982-07-18 Los Angeles Times photo 01 gf.jpg|380px]] | ||
<br><br><br><br><br><br> | <br><br><br><br><br><br> | ||
[[image:1982-07-18 Los Angeles Times Calendar advertisement.jpg|360px | [[image:1982-07-18 Los Angeles Times Calendar advertisement.jpg|360px]] | ||
<br><small>Advertisement.</small> | <br><small>Advertisement.</small> | ||
[[image:1982-07-18 Los Angeles Times Calendar page 02.jpg|x120px | |||
[[image:1982-07-18 Los Angeles Times Calendar page 62.jpg|x120px | <small>Table of contents and concert listings page.</small><br> | ||
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{{Bibliography notes footer}} | {{Bibliography notes footer}} | ||
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*[http://articles.latimes.com LATimes.com] | *[http://articles.latimes.com LATimes.com] | ||
*[http://en.wikipedia.org/wiki/Los_Angeles_Times Wikipedia: Los Angeles Times] | *[http://en.wikipedia.org/wiki/Los_Angeles_Times Wikipedia: Los Angeles Times] | ||
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