Uncut, June 2011: Difference between revisions
(start page) |
(formatting / standardize apostrophes / update browser / +emphasis) |
||
(4 intermediate revisions by 2 users not shown) | |||
Line 2: | Line 2: | ||
{{:Bibliography index}} | {{:Bibliography index}} | ||
{{:Uncut index}} | {{:Uncut index}} | ||
{{: | {{:UK & Ireland magazines index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> Elvis Costello </h3></center> | <center><h3> Elvis Costello </h3></center> | ||
Line 22: | Line 22: | ||
It's not long before the games begin. There's an American journalist here, a decent enough fellow in my opinion, from a New York magazine I enjoy mostly because of his writing. He's a big fan of Elvis and Nick Lowe and his magazine has been very supportive of both. He was in London for other reasons when he was invited on the junket that's brought him fatefully here. Jake now gets hostile in a hurry, letting the room know what he thinks about America and Americans and their many and varied deficiencies, with particular and provocative regard to American music papers and the people who write for them, for whom it would appear he feels nothing but unhindered scorn, a searing contempt. These sentiments Jake now communicates to our American friend in colourfully uncompromising terms. | It's not long before the games begin. There's an American journalist here, a decent enough fellow in my opinion, from a New York magazine I enjoy mostly because of his writing. He's a big fan of Elvis and Nick Lowe and his magazine has been very supportive of both. He was in London for other reasons when he was invited on the junket that's brought him fatefully here. Jake now gets hostile in a hurry, letting the room know what he thinks about America and Americans and their many and varied deficiencies, with particular and provocative regard to American music papers and the people who write for them, for whom it would appear he feels nothing but unhindered scorn, a searing contempt. These sentiments Jake now communicates to our American friend in colourfully uncompromising terms. | ||
"Ouch," whispers Pete Thomas, a veteran witness of many such humiliations, adding that if he's not mistaken, and he's not, that Elvis will have a pop next. He does, too, and it's like watching him audition for the principal role in a remake of '' | "Ouch," whispers Pete Thomas, a veteran witness of many such humiliations, adding that if he's not mistaken, and he's not, that Elvis will have a pop next. He does, too, and it's like watching him audition for the principal role in a remake of ''Don't Look Back'', Jake a bellicose Bobby Neuwirth to Costello's scowling Dylan, a toxic mix of cruelty and cool. I can't hear what he says now to the hapless American in our midst, but it provokes an indignant response on the American's part. | ||
"Hey man," he says, on the point of spluttering. "I gave your record a good review." | "Hey man," he says, on the point of spluttering. "I gave your record a good review." | ||
Line 32: | Line 32: | ||
"Just because someone gives me a good review doesn't mean that I'm going to fall at their feet," Elvis announces then, although no-one to my knowledge has suggested this particular course of action, even as a joke. | "Just because someone gives me a good review doesn't mean that I'm going to fall at their feet," Elvis announces then, although no-one to my knowledge has suggested this particular course of action, even as a joke. | ||
`I don't need you or you or you, or him, or anyone," he says, accounting with a single sweeping glare for the people in the room who aren't on his payroll, "to tell me that I'm good. I know how good I am, thanks. I didn't need anyone to tell me that ''This Year's Model'' is a great album. It's my fucking record, I made the fucking thing, wrote the fucking songs and | `I don't need you or you or you, or him, or anyone," he says, accounting with a single sweeping glare for the people in the room who aren't on his payroll, "to tell me that I'm good. I know how good I am, thanks. I didn't need anyone to tell me that ''This Year's Model'' is a great album. It's my fucking record, I made the fucking thing, wrote the fucking songs and ''you're'' telling ''me'' how good it is? What's the matter with you people? I know exactly how good it is. Show some fucking imagination when you write about me or don't bother writing about me at all. Do you even understand what I'm saying?" | ||
No-one answers, probably assuming that if they do they'll be throwing themselves in as bait, and quickly chewed up. An uneasy silence prevails. Then a fellow from the ''London Evening Standard'', their pop writer, an affable toff with the languid air of the bass player in a band with connections to the Canterbury Scene, asks Costello if he's flattered when people compare him to Bob Dylan. | No-one answers, probably assuming that if they do they'll be throwing themselves in as bait, and quickly chewed up. An uneasy silence prevails. Then a fellow from the ''London Evening Standard'', their pop writer, an affable toff with the languid air of the bass player in a band with connections to the Canterbury Scene, asks Costello if he's flattered when people compare him to Bob Dylan. | ||
Line 44: | Line 44: | ||
{{Bibliography notes}} | {{Bibliography notes}} | ||
{{Bibliography next | {{Bibliography next | ||
|prev = Uncut, | |prev = Uncut, November 2010 | ||
|next = Uncut, | |next = Uncut, January 2012 | ||
}} | }} | ||
'''Uncut, No. 169, June 2011 | '''Uncut, No. 169, June 2011 | ||
Line 53: | Line 53: | ||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:2011-06-00 Uncut | [[image:2011-06-00 Uncut page 130.jpg|380px]] | ||
<br><small>Cover.</small> | <br><small>Page scan.</small> | ||
<small>Photo BY [[Rob Hall]]</small><br> | |||
[[image:2011-06-00 Uncut photo 01 rh.jpg|380px]] | |||
<small>Cover.</small><br> | |||
[[image:2011-06-00 Uncut cover.jpg|x120px]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 01:54, 19 August 2021
|