The Word, April 2003: Difference between revisions
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<center><h3> Nobody talks like Elvis Costello </h3></center> | <center><h3> Nobody talks like Elvis Costello </h3></center> | ||
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"The only thing I'd say is that it doesn't accumulate. The dark things that are in their songs I don't think they really inhabit as they once did." | "The only thing I'd say is that it doesn't accumulate. The dark things that are in their songs I don't think they really inhabit as they once did." | ||
"It's a theatrical performance. Whereas when you watch | "It's a theatrical performance. Whereas when you watch U2 on a similar-sized stage they build something much bigger than themselves. All U2's songs are about love in one way or another. That's a very courageous thing to do. They let go of themselves and when they do a song like One the feeling is unbelievable. I saw seven U2 shows last year and I could not see them enough. Their shows were the only shows I've ever seen that work in an arena. Everything else is bullshit or a trip to the circus." | ||
"The Stones is this fantastic circus of music and spectacle but emotionally it doesn't accumulate. Personally I could have used one or two of their really beautiful melodies that they've written. If I'd written 'She Smiled Sweetly' I'd play it every night. I love that kind of music where they just discovered the decadent life before they started to become The Devil. Totally sexy things like 'Play With Fire' and 'Off The Hook,' which they wrote as soon as they got posh girlfriends. When they became desirable and they knew they were it wasn't the same." | "The Stones is this fantastic circus of music and spectacle but emotionally it doesn't accumulate. Personally I could have used one or two of their really beautiful melodies that they've written. If I'd written 'She Smiled Sweetly' I'd play it every night. I love that kind of music where they just discovered the decadent life before they started to become The Devil. Totally sexy things like 'Play With Fire' and 'Off The Hook,' which they wrote as soon as they got posh girlfriends. When they became desirable and they knew they were it wasn't the same." | ||
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I include that anecdote for no other reason than I thought you might enjoy it and there is something in the way it embodies the young fan's enthusiasm, the fellow pro's technical analysis, the critic's aesthetic expectations, the purist's preference for the B side and the puritan's disappointment with popular taste that is quintessentially Elvis Costello. | I include that anecdote for no other reason than I thought you might enjoy it and there is something in the way it embodies the young fan's enthusiasm, the fellow pro's technical analysis, the critic's aesthetic expectations, the purist's preference for the B side and the puritan's disappointment with popular taste that is quintessentially Elvis Costello. | ||
I first met him in the summer of 1977. His first album ''My Aim Is True'' had just been released by stiff and l was briefly charged with delivering him to radio interviews. One early morning I arrived at the Alexander Street offices of Stiff to find him already waiting outside. Had he been waiting long? It's OK, he said. He had a song to finish. We drove to Capital Radio where he plugged in and performed the newly-composed " | I first met him in the summer of 1977. His first album ''My Aim Is True'' had just been released by stiff and l was briefly charged with delivering him to radio interviews. One early morning I arrived at the Alexander Street offices of Stiff to find him already waiting outside. Had he been waiting long? It's OK, he said. He had a song to finish. We drove to Capital Radio where he plugged in and performed the newly-composed "You Belong To Me" and "Radio, Radio" (with the line that goes ''"radio is in the hands of such a lot of fools trying to anaesthetise the way that you feel"'') for an audience of me and the programme director. | ||
Twenty-five years later Elvis Costello clearly still has a career but what kind of career? In some senses it is the career he begun with ''My Aim Is True'', the first of 19 albums of occasionally inspired, sometimes overwrought, always grown-up pop. New Elvis albums are scrutinised for signs and portents when they might better be allowed to trickle into the public consciousness. "Nobody knows what I'm doing over here," he says. "If I went under a bus today they'd still play ' | Twenty-five years later Elvis Costello clearly still has a career but what kind of career? In some senses it is the career he begun with ''My Aim Is True'', the first of 19 albums of occasionally inspired, sometimes overwrought, always grown-up pop. New Elvis albums are scrutinised for signs and portents when they might better be allowed to trickle into the public consciousness. "Nobody knows what I'm doing over here," he says. "If I went under a bus today they'd still play 'Oliver's Army' on the radio." | ||
In 2003 he and his band are due to be inducted into the Rock And Roll Hall Of Fame alongside fellow "punks" | In 2003 he and his band are due to be inducted into the Rock And Roll Hall Of Fame alongside fellow "punks" The Police and The Clash. This sort of recognition further mixes the already mixed feelings of the middle-aged men who were the cover stars of ''NME'' and ''Sounds'' during the heyday of the new wave. Musicians often find it hard to face the fact that they will never equal the impact they made in their mid-20s. In pop you start off with that most precious commodity – mystique. The only way to hang on to it is to become either reclusive by choice (in the way of a Bob Dylan) or so massively successful that sheer scale furnishes you with whole new layers of charisma (as U2 have done). Elvis is neither. | ||
On leaving Warner Bros in 1997 he released a compilation called ''[[Extreme Honey: The Very Best Of The Warner Bros. Years|Extreme Honey]] '' which is a good reflection of the breadth of his personal mainstream: politically-inspired polemics like " | On leaving Warner Bros in 1997 he released a compilation called ''[[Extreme Honey: The Very Best Of The Warner Bros. Years|Extreme Honey]] '' which is a good reflection of the breadth of his personal mainstream: politically-inspired polemics like "Tramp The Dirt Down" (dedicated to Margaret Thatcher), ventures into percussive impressionism like "[[Hurry Down Doomsday (The Bugs Are Taking Over)|Hurry Down Doomsday]]", collaborations with masters like Allen Toussaint ("Deep Dark Truthful Mirror") and Paul McCartney ("Veronica") and plenty of the kind of pungent, exhilarating pop which could tempt you to drive round the M25 just for the experience ("The Other Side Of Summer"), ''Extreme Honey'' also illustrates the problems his marketing men face: Elvis is too abrasive for Adult Contemporary, Americana, Country or Classic formats; too white for urban, too old for pop, too sensibly-dressed for alternative, too pop for classical and not ingratiating enough for a music business that has been taken over by TV. | ||
"By some corporate somersault I ended up on a hip-hop label," he says of his deal with Def Jam/Island and the making of his last album '' | "By some corporate somersault I ended up on a hip-hop label," he says of his deal with Def Jam/Island and the making of his last album ''When I Was Cruel''. "The money and all the decision-making is done in New York and the sensibility of the company is largely hip hop. That's where the money is made." | ||
"I just thought, I'll make a rock and roll record in a sonic language that these guys can understand, with a ferocious amount of bottom end on it. It'll still be my songs and it'll still be rock and roll but on a superficial level it'll sound like hip hop." | "I just thought, I'll make a rock and roll record in a sonic language that these guys can understand, with a ferocious amount of bottom end on it. It'll still be my songs and it'll still be rock and roll but on a superficial level it'll sound like hip hop." | ||
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"But it was other people's reaction, their being thrilled for us, made me think I would be ungracious if I didn't do it," he said. Then he added "I'm not going to get into any phoney reunions or insincere forgiveness. I only play with professional musicians. I play with the guys who are in my band now and that's it." | "But it was other people's reaction, their being thrilled for us, made me think I would be ungracious if I didn't do it," he said. Then he added "I'm not going to get into any phoney reunions or insincere forgiveness. I only play with professional musicians. I play with the guys who are in my band now and that's it." | ||
I realised he was talking about the former Attractions bass player who is persona non grata. "I have absolute respect for the contribution of the original line up of the Attractions to what I've done. I always speak with respect of | I realised he was talking about the former Attractions bass player who is persona non grata. "I have absolute respect for the contribution of the original line up of the Attractions to what I've done. I always speak with respect of Bruce Thomas and his playing but he's a fairly unbearable human being and I don't want to spend any more time with him." | ||
You will spend a lot of time interviewing people in show business before you will hear the words "fairly unbearable human being" while the tape is running. But just as his early albums, currently being reissued with illuminating, self-critical sleeve notes by the artist, have been supplemented by an extraordinary number of extra live reworkings, promotion-only specials and cover versions as if he was never entirely happy to leave well alone, so Elvis's conversation is inclined to run on where more cautious souls might stop short. He is an entertaining conversationalist and occasional bitchiness is part of that entertainment. | You will spend a lot of time interviewing people in show business before you will hear the words "fairly unbearable human being" while the tape is running. But just as his early albums, currently being reissued with illuminating, self-critical sleeve notes by the artist, have been supplemented by an extraordinary number of extra live reworkings, promotion-only specials and cover versions as if he was never entirely happy to leave well alone, so Elvis's conversation is inclined to run on where more cautious souls might stop short. He is an entertaining conversationalist and occasional bitchiness is part of that entertainment. | ||
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His attitude to many young performers reflects David Hockney's argument with the art schools – where are the basic technical skills? Elvis is quite clear about the problem: "They just can't sing. I blame headphones. It's made everyone go deaf to pitch. Everybody sings like a karaoke singer. All that TV ritual humiliation music like Pop Idols, all the singers sing exactly the same way. Technically speaking they have the ability to create sound but they have no pitch. The few times I've had the misfortune to catch those programmes and those people are called upon to sing acapella they can't stay in the home key for half a verse. They're not meaning to modulate, they just drift, they have no sense of pitch at all because none of them play instruments. They're used to singing along with records. You take the record away and they can't sing. | His attitude to many young performers reflects David Hockney's argument with the art schools – where are the basic technical skills? Elvis is quite clear about the problem: "They just can't sing. I blame headphones. It's made everyone go deaf to pitch. Everybody sings like a karaoke singer. All that TV ritual humiliation music like Pop Idols, all the singers sing exactly the same way. Technically speaking they have the ability to create sound but they have no pitch. The few times I've had the misfortune to catch those programmes and those people are called upon to sing acapella they can't stay in the home key for half a verse. They're not meaning to modulate, they just drift, they have no sense of pitch at all because none of them play instruments. They're used to singing along with records. You take the record away and they can't sing. | ||
"Nobody today can sing with anything like the confidentiality of those vocal jazz records of the '50s – Bing Crosby, Peggy Lee, Sarah Vaughan. People today haven't heard those records – they've heard Mariah Carey, who in some ways has an amazing voice but absolutely no taste. That's 90 per cent of singers today – no taste. Just sing the bloody melody, what's the matter with you? If you want to get into a trilling, melismatic competition just ring up | "Nobody today can sing with anything like the confidentiality of those vocal jazz records of the '50s – Bing Crosby, Peggy Lee, Sarah Vaughan. People today haven't heard those records – they've heard Mariah Carey, who in some ways has an amazing voice but absolutely no taste. That's 90 per cent of singers today – no taste. Just sing the bloody melody, what's the matter with you? If you want to get into a trilling, melismatic competition just ring up Stevie Wonder because he will kick your arse every time! Nobody's going to sing that kind of phrasing better than Stevie Wonder so why bother? What's it proving? It's proving that you can't hold a bloody note, that's what. It denotes some kind of nervous energy that's supposed to be sexy or something. | ||
"This whole divas thing is complete bullshit. If you want to hear that done properly buy ''Aretha In Paris'', then you'll hear the real thing. Hear 'Never Loved A Man' at half the speed of the studio recording. Amazing." | "This whole divas thing is complete bullshit. If you want to hear that done properly buy ''Aretha In Paris'', then you'll hear the real thing. Hear 'Never Loved A Man' at half the speed of the studio recording. Amazing." | ||
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"Don't come on this programme. There's a peculiarly English delight in other people's embarrassment and humiliation. It's so tedious and small-minded. It promotes the people it deserves – these people whose sole claim to fame is the sheer volume of pap they've foisted on a gullible public. They're in the industry of music but not the art of music." | "Don't come on this programme. There's a peculiarly English delight in other people's embarrassment and humiliation. It's so tedious and small-minded. It promotes the people it deserves – these people whose sole claim to fame is the sheer volume of pap they've foisted on a gullible public. They're in the industry of music but not the art of music." | ||
This distinction between the art of music and the industry of music is a favourite theme. Elvis comes from a family of musicians. His grandfather was a bandsman, his own father | This distinction between the art of music and the industry of music is a favourite theme. Elvis comes from a family of musicians. His grandfather was a bandsman, his own father Ross MacManus was a singer with Joe Loss and still performs occasionally and his own son has played with Elvis "though each of us got into it differently. It's not like we handed each other the keys to the organ loft." | ||
"I'm a working musician. This is what I do. I say this without any embarrassment at all. I am an artist. I am vocationally an artist who happens to be a musician and I happen to make my livelihood at it. I create works of imagination. I had to come to terms with the fact that it doesn't fit in. Being gifted with words in rock and roll is not exactly difficult. It's not over-populated with geniuses. Put me in among a bunch of philosophers or serious literary people and I wouldn't seem so smart. I have a one trick talent which is to write songs. I've understood it instinctively since I was tiny." | "I'm a working musician. This is what I do. I say this without any embarrassment at all. I am an artist. I am vocationally an artist who happens to be a musician and I happen to make my livelihood at it. I create works of imagination. I had to come to terms with the fact that it doesn't fit in. Being gifted with words in rock and roll is not exactly difficult. It's not over-populated with geniuses. Put me in among a bunch of philosophers or serious literary people and I wouldn't seem so smart. I have a one trick talent which is to write songs. I've understood it instinctively since I was tiny." | ||
Before we met Elvis had announced the end of his 15 year marriage to | Before we met Elvis had announced the end of his 15 year marriage to Cait O'Riordan. The news passed without much newspaper interest. ("They think I retired long ago.") He has since been seen around town with the Canadian singer Diana Krall. | ||
Two days before our meeting he had been to the George Harrison tribute show at the Albert Hall: "It was a lot of music to listen to. The second half was just George's songs back to back – really great but hard to listen to that many songs in a minor key Very, very dark disposition in harmony. What was just really thrilling was the amount of deep love that was expressed. Even Clapton – a musician that I find very frustrating because he's very reticent when he plays, as brilliant as he is technically – he played 'While My Guitar' and he was away, he was off through the roof. It's so great to see players like that confound your expectations. Joe Brown stole the show, came out at the very end after 'Wah Wah' and 'My Sweet Lord' and Paul doing a great version of 'All Things Must Pass' and sang 'Dream A Little Dream of You' on the ukelele almost to himself. It was a very nice way to end, very personal. Then they let these petals down from the roof and there wasn't a dry eye in the house. It was really well done, really decent." | Two days before our meeting he had been to the George Harrison tribute show at the Albert Hall: "It was a lot of music to listen to. The second half was just George's songs back to back – really great but hard to listen to that many songs in a minor key Very, very dark disposition in harmony. What was just really thrilling was the amount of deep love that was expressed. Even Clapton – a musician that I find very frustrating because he's very reticent when he plays, as brilliant as he is technically – he played 'While My Guitar' and he was away, he was off through the roof. It's so great to see players like that confound your expectations. Joe Brown stole the show, came out at the very end after 'Wah Wah' and 'My Sweet Lord' and Paul doing a great version of 'All Things Must Pass' and sang 'Dream A Little Dream of You' on the ukelele almost to himself. It was a very nice way to end, very personal. Then they let these petals down from the roof and there wasn't a dry eye in the house. It was really well done, really decent." | ||
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This music has already been recorded under the terms of his contract with Deutsche Grammophon with [[Michael Tilson Thomas]] conducting: "He gave me a really intelligent, sensitive and compassionate critique of it. I made huge cuts and rewrote some of the transitions and then in April we went into the studio and I sat there agog while he conducted the London Symphony Orchestra performing my music which then sounded unbelievable. Michael is a lovely man with huge experience. This is the man who played James Brown records to Stravinsky so there's nothing going to scare him. He's a pianist, a conductor, a premier interpreter of Mahler so there's nothing I'm going to throw at him that's going to phase him. He was very generous and encouraging. He knows that if nothing is added this kind of music will just die out." | This music has already been recorded under the terms of his contract with Deutsche Grammophon with [[Michael Tilson Thomas]] conducting: "He gave me a really intelligent, sensitive and compassionate critique of it. I made huge cuts and rewrote some of the transitions and then in April we went into the studio and I sat there agog while he conducted the London Symphony Orchestra performing my music which then sounded unbelievable. Michael is a lovely man with huge experience. This is the man who played James Brown records to Stravinsky so there's nothing going to scare him. He's a pianist, a conductor, a premier interpreter of Mahler so there's nothing I'm going to throw at him that's going to phase him. He was very generous and encouraging. He knows that if nothing is added this kind of music will just die out." | ||
There is every chance that Costello's "legitimate" career, which meanders according to taste, serendipitous invitations and the power of his strange name to open doors, could yet prove more commercial than his straight pop output. Elvis has released scores of singles from his mainstream albums since " | There is every chance that Costello's "legitimate" career, which meanders according to taste, serendipitous invitations and the power of his strange name to open doors, could yet prove more commercial than his straight pop output. Elvis has released scores of singles from his mainstream albums since "I Can't Stand Up For Falling Down" went to number four in 1980. Few of them have done much more than flagged up the release of an album. Like his collaborator Paul McCartney he has found that there's a strain of artful, narrative pop which has no home in today's chart. However he is regularly called upon by people looking to cast a singer for a particular job and these can have undreamed-of outcomes. | ||
In Japan he was asked to record the Charlie Chaplin song " | In Japan he was asked to record the Charlie Chaplin song "Smile" for the soundtrack of a TV detective show. The discipline of working to a commission clearly suits the new, musically literate Costello. "I had eight days to sort out the arrangement and I recorded it in New York with an eight-piece string section and a band of downtown guys playing live, did it like last house at the Folies Bergere showbiz arrangement, and then they wanted a slower version so Steve Nieve got some musicians together in Paris and did another track which I then sung over in Dublin and we had an A and a B side and suddenly we had a hit. That's my second international crooner hit after 'She'." | ||
There was a similar approach from ''[[Notting Hill: Music From The Motion Picture|Notting Hill]]'' writer Richard Curtis. "He rang me up and said, I'm going to ruin your reputation – I want you to sing She. It's like a character actor like Walter Pidgeon suddenly getting to be Cary Grant. I'm getting to play the romantic lead for the one time in my career. So I just sang it like I really meant it – and I do when I'm singing it. I'm singing it live with the London Symphony Orchestra and looking at Julia Roberts that high on the screen while we're doing it. How often do you get to do that?" | There was a similar approach from ''[[Notting Hill: Music From The Motion Picture|Notting Hill]]'' writer Richard Curtis. "He rang me up and said, I'm going to ruin your reputation – I want you to sing She. It's like a character actor like Walter Pidgeon suddenly getting to be Cary Grant. I'm getting to play the romantic lead for the one time in my career. So I just sang it like I really meant it – and I do when I'm singing it. I'm singing it live with the London Symphony Orchestra and looking at Julia Roberts that high on the screen while we're doing it. How often do you get to do that?" | ||
There are love songs on every Costello album from ''My Aim Is True'' to ''When I Was Cruel'' but they are often so booby-trapped with irony that we feel uncomfortable borrowing them for our own devices in the way that we need to. There's an irony in the fact that since 1980 Britains most vital singer-songwriter has enjoyed more hits with other people's songs – 'I Can't Stand Up For Falling Down', ' | There are love songs on every Costello album from ''My Aim Is True'' to ''When I Was Cruel'' but they are often so booby-trapped with irony that we feel uncomfortable borrowing them for our own devices in the way that we need to. There's an irony in the fact that since 1980 Britains most vital singer-songwriter has enjoyed more hits with other people's songs – 'I Can't Stand Up For Falling Down', 'Good Year For The Roses', 'She' and 'Smile' – than he has with his own personality vehicles. She probably connected with more people than any Elvis song since 'Oliver's Army' and also showcased a more tender and unambiguous vocal performance than he has usually been associated with. | ||
"A few years ago I would have thought that would make me look too vulnerable because I could write a truer reflection of my own feelings than that. There's always got to be an escape clause in the last verse of a love song for me. I'm getting over that now as I get older, just writing straight out what I feel. I thought, that's not what people want from me. | "A few years ago I would have thought that would make me look too vulnerable because I could write a truer reflection of my own feelings than that. There's always got to be an escape clause in the last verse of a love song for me. I'm getting over that now as I get older, just writing straight out what I feel. I thought, that's not what people want from me. Smokey Robinson can do that open-hearted thing better than me. I write the twisted version because I understand it and somebody needs that." | ||
But there are also people who want the simple idea which resonates, who aren't bothered about what the artist was trying to put over so much as taking something they can use. During his week in London Elvis went to see Elton John play a benefit for the Royal College Of Music: "He was fantastic. I'd never seen him before. He's one of those people you lose sight of as a musician because of the whole celeb aspect. It's strange. A song would begin and I'd go, bloody hell, I know all the words of this! I remember coming up around here somewhere and buying his second record and getting halfway home and passing a music shop somewhere and seeing a Joni Mitchell songbook which I hadn't seen anywhere else and I'd spent the last of my money on that. I thought, I'll never see that again! I'd just come from Twickenham but then had to walk home. | But there are also people who want the simple idea which resonates, who aren't bothered about what the artist was trying to put over so much as taking something they can use. During his week in London Elvis went to see Elton John play a benefit for the Royal College Of Music: "He was fantastic. I'd never seen him before. He's one of those people you lose sight of as a musician because of the whole celeb aspect. It's strange. A song would begin and I'd go, bloody hell, I know all the words of this! I remember coming up around here somewhere and buying his second record and getting halfway home and passing a music shop somewhere and seeing a Joni Mitchell songbook which I hadn't seen anywhere else and I'd spent the last of my money on that. I thought, I'll never see that again! I'd just come from Twickenham but then had to walk home. | ||
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Elvis agreed to do this interview, at a time when he has no new product to plug, because he was interested in the idea of WORD, because he likes to talk about music and also because he's, if anything, overexcited about his immediate plans: "I just wrote forty of the best songs l ever wrote in the last eight weeks. Most of them I wrote in a two week period. I can work at work but right now it feels like something quite different. It feels like I've been struck by lightning." | Elvis agreed to do this interview, at a time when he has no new product to plug, because he was interested in the idea of WORD, because he likes to talk about music and also because he's, if anything, overexcited about his immediate plans: "I just wrote forty of the best songs l ever wrote in the last eight weeks. Most of them I wrote in a two week period. I can work at work but right now it feels like something quite different. It feels like I've been struck by lightning." | ||
The recording of the ballet music was being kept in the can for a year and was to be prefaced by two other Costello projects to take advantage of this lightning strike. One was to be an album with his band The Imposters ( | The recording of the ballet music was being kept in the can for a year and was to be prefaced by two other Costello projects to take advantage of this lightning strike. One was to be an album with his band The Imposters (Pete Thomas, Steve Nieve and Davey Faragher) recorded on the road in the Southern states of the USA. The idea was to book a tour of towns like Mobile and Memphis, play small theatres and then go into local studios to capture some of that flavour. Then they were going to make what Elvis calls his uptown record, "a record with some of the orchestral colours in it. We'll go and record songs that will range from art songs to some of the Mingus tunes, but mainly my own." | ||
A few days later he called to say that he had changed his mind about the Southern adventure. (You will interview a lot of rock stars before getting the "I changed my mind" call.) "When I sat down with everybody I realised I was being more than a little idealistic," he said. "It would have meant something like ten albums in twelve months, including all the reissues and a soundtrack project. I still intend to do that Southern thing. I just don't want to cram it all into one year. | A few days later he called to say that he had changed his mind about the Southern adventure. (You will interview a lot of rock stars before getting the "I changed my mind" call.) "When I sat down with everybody I realised I was being more than a little idealistic," he said. "It would have meant something like ten albums in twelve months, including all the reissues and a soundtrack project. I still intend to do that Southern thing. I just don't want to cram it all into one year. | ||
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<br><small>Cover.</small> | <br><small>Cover.</small> | ||
<small>Photos by [[Jason Bell]].</small><br> | |||
[[image:2003-04-00 The Word page 64.jpg|x250px]][[image:2003-04-00 The Word page 65.jpg|x250px]] | [[image:2003-04-00 The Word page 64.jpg|x250px]][[image:2003-04-00 The Word page 65.jpg|x250px]] | ||
<br><small> | <br><small>Page scans.</small> | ||
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==External links== | ==External links== | ||
*[http://en.wikipedia.org/wiki/The_Word_(magazine) Wikipedia: The Word] | *[http://en.wikipedia.org/wiki/The_Word_(magazine) Wikipedia: The Word] | ||
*[http://www.elviscostello.info/articles/t-z/word.030401.php elviscostello.info] | *[http://www.elviscostello.info/articles/t-z/word.030401.php elviscostello.info] |
Latest revision as of 22:49, 1 January 2024
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