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BRUCE THOMAS PUMPS IT up with ELVIS COSTELLO by Dan Forte Guitar Player March 1987
BRUCE THOMAS PUMPS IT UP WITH ELVIS COSTELLO by Dan Forte Guitar Player March 1987 EVERYTHING ABOUT ELVIS Costello -his intelligent and prolific songwriting, impassioned singing, horn-rimmed visual image, ever-changing stylistic jaunts,even his anti-hero guitar playing -is so all-pervasive that his trio of sidemen, the Attractions, seems all but anonymous. (A magazine that just named Costello artist.of the year for 1986 only three years earlier misidentified the members of the Attractions in a photo caption.) But if Elvis is to be commended for his stylistic daring, the Attractions deserve equal praise for their ability to follow him down every idiomatic path, with their original fire and indelible individualism intact. Of all of Costello's talents, perhaps his strongest suit is as bandleader - not only for keeping a group together for a decade, but for choosing the musicians he did to make up his backing band. The Attractions have been together since 1977, in which time they've recorded 11 albums (plus a Best Of collection) since Elvis' debut, My Aim Is True. And night after night they have proved that at least one band (coincidentally virtually the only surviving band) from England’s punk era can play and always could. After recording his auspicious debut with uncredited backing from the American band Clover (including guitarist John McFee, currently with Southern Pacific), Declan "Elvis Costello" MacManus settled on piamst Steve Nieve, drummer Pete Thomas, and (no relation) bassist Bruce Thomas, after aluditioning, in the bassist's, words "hundreds of guys who couldn't tune up or put the guitar on right." The group's first effort, This Year's Model, not only squelched any fears of a,sophomore jinx; it kicked in with more muscle than Aim and signaled the arrival of a distinct new collective musical personality. -
Elvis Costello Began Writing Songs at the Age of Thirteen. 2017 Marked the 40Th Anniversary of the Release of His First Record Album, My Aim Is True
Elvis Costello began writing songs at the age of thirteen. 2017 marked the 40th anniversary of the release of his first record album, My Aim Is True. He is perhaps best known for the songs, “Alison”, “Pump It Up”, “Everyday I Write The Book” and his rendition of the Nick Lowe song, “(What’s So Funny ‘Bout) Peace Love and Understanding”. His record catalogue of more than thirty albums includes the contrasting pop and rock & roll albums: This Year’s Model, Armed Forces, Imperial Bedroom, Blood and Chocolate and King Of America along with an album of country covers, Almost Blue and two collections of orchestrally accompanied piano ballads, Painted From Memory - with Burt Bacharach and North. He has performed worldwide with his bands, The Attractions, His Confederates - which featured two members of Elvis Presley’s “T.C.B” band - and his current group, The Imposters – Steve Nieve, Pete Thomas and Davey Faragher - as well as solo concerts, most recently his acclaimed solo show, “Detour”. Costello has entered into songwriting collaborations with Paul McCartney, Burt Bacharach, the Brodsky Quartet and with Allen Toussaint for the album The River In Reverse, the first major label recording project to visit New Orleans after Hurricane Katrina and completed there while the city was still under curfew. In 2003, Costello acted as lyrical editor of six songs written with his wife, the jazz pianist and singer Diana Krall for her album, The Girl In The Other Room. He has written lyrics for compositions by Charles Mingus, Billy Strayhorn and Oscar Peterson and musical settings for words by W.B. -
Arctic Monkeys the English Indie Rockers Dive Into an R&B Groove on Their New Set
ISSUE #29 MMUSICMAG.COM Q&A S ebastian Kim Nick O'Malley, Jamie Cook, Matt Helders, Alex Turner ARCTIC MONKEYS The English indie rockers dive into an R&B groove on their new set FOUR ALBUMs—anD SEVEN YEARs— to navigate the flying saucer. We finish that song. We wanted to make a record that after releasing their debut, Whatever People each other’s sentences at this point. This surrounded that. So the R&B thing was there Say I Am, That’s What I’m Not, the Arctic record is a lot more of a studio record. The from the beginning. Monkeys’ latest record, AM, finds the band records we made up to now sound like a tapping into R&B melodies to shake up band playing, and I think this one is less How did Bill Ryder-Jones end up on their guitar-driven sound. “We started with, so. We were following elements of different the record? ‘What if you go with Aaliyah melodies and corners of the musical universe, putting Bill’s a good friend and a really terrific guitar riffs from Black Sabbath?’” says frontman together some chemicals that don’t usually player and a great songwriter. He put out Alex Turner. “Some of the grooves in that mix. There’s delicate balance in that. To do his own album, which we all love. “Fireside,” world matched up perfectly with those that I thought it would be best to have a the song he’s featured on, is probably the melodies. That was the initial idea, but producer we understand but who also most melancholic moment on the record, then we began to experiment.” Lending a understands us. -
SWR2 Tandem Das Chamäleon Elvis Costello Von Christiane Rebmann Sprecher: Peter Binder, Pia Fruth
SWR2 MANUSKRIPT ESSAYS FEATURES KOMMENTARE VORTRÄGE SWR2 Tandem Das Chamäleon Elvis Costello Von Christiane Rebmann Sprecher: Peter Binder, Pia Fruth Sendung: 04.08.2016 um 19.20 Uhr Wiederholung vom: 22.08.2014 Redaktion: Bettina Stender Produktion: SWR 2014 Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Service: SWR2 Tandem können Sie auch als Live-Stream hören im SWR2 Webradio unter www.swr2.de oder als Podcast nachhören: http://www1.swr.de/podcast/xml/swr2/tandem.xml Mitschnitte aller Sendungen der Redaktion SWR2 Tandem sind auf CD erhältlich beim SWR Mitschnittdienst in Baden-Baden zum Preis von 12,50 Euro. Bestellungen über Telefon: 07221/929-26030 Bestellungen per E-Mail: [email protected] Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2-Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de DAS CHAMÄLEON Wenn ein neues Album von Elvis Costello erscheint, weiß man nie, was man zu erwarten hat. Wird es ein typisches Popalbum? Widmet er sich seiner großen Liebe, dem Jazz? Oder experimentiert er mit Kollegen aus dem Klassikbereich? Costello, der am 25. August 1954 in London zur Welt kam, gilt als einer der vielseitigsten Musiker der Welt. Das Chamäleon – Der britische Musiker Elvis Costello. Eine Sendung von und mit Christiane Rebmann. 1. -
And Acquaintances Recall Their Dealings with The
REASONS TO BE CHEERFUL: THE LIFE AND WORK OF BARNEY BUBBLES by paul gorman Book reviewed by Andy Martin 2 4 1 In 1974, forsaking the wisdom with finesse and melon twisting and acquaintances recall their early ‘impersonators’ (some of of my art college tutors in favour packaging concepts. And for me, dealings with the man, sometimes whom ‘fess up’ in the book) went of long afternoons in the library, there lies Barney Bubbles’ secret, with great poignancy, such as ex- on to define the subsequent I stumbled upon the works of namely his ability to look Stiff Records’ staffer Susan Spiro cultural period, and all of them Eduardo Paolozzi, Constructivism, backwards and forwards at the recalling Bubbles’ ability (me included) owe this man a Krazy Kat, and a strange volume same time, whilst always to see the beauty in everyday huge debt. by Charles Jenks, Adhocism – managing to arrive at The Very objects. There is ample evidence This book is a treasure trove The Case for Improvisation. Point of Now-ness. also that alongside his own for image-makers across all Within a couple of years I noticed As it progresses, the book image-making he was no slouch media, and a reminder that the a similar admix of ideas gives us epoch-defining glimpses when it came to art direction, graphic bombs Barney Bubbles appearing in the work of one of a shuddering cultural drawing on the talents of some dropped are still reverberating. man, but due to his reluctance landscape, clouds of patchouli of the most forward thinking In the words of the late great to credit his artworks, time would oil fade and a new world forms, photographers of the era, Brian Ian Dury: there ain’t half been have to pass before the author’s accompanied by the distinct whiff Griffin and Chris Gabrin amongst some clever bastards. -
Elvis Costello and the Attractions by As F Fey Kahn I
PERFORMERS Elvis Costello and the Attractions By Asf fey Kahn I— £ i£ — I 1 And it came to pass that many tribes were spread across the land, divided bp the music they made and the clothes they wore. One danced in tight skins of many colors, one sang of peace and allowed no razor to touch their heads, and one sang o f wrath and shaved their heads and rent their garments. 2 From the East a singer came, whose words were plenty and whose songsfoundfavor from all tribes. But the singer was strange, for his hair was neither long nor shaved and he called himself with a kingly name and he sang of wrath and yet said he was not wrathful N SOME WAYS, 1977 IS ALM OST ANCIENT HISTORY and lush Hollywood soundtracks. His songwriting now, back when a skinny-tied, gap-toothed, revealed a depth and wit and prolificacy unmatched Fender-banging Buddy Holly look-alike from by most popular tunesmiths, let alone his punk- England formed a band, called it the Attrac driven peers; Dylan comparisons were inevitable and tionsI and dared to name himself after the King of earned. Each album defied expectation and defined an Rock & Roll. At first, Elvis Costello ever-widening musical embrace. seemed a part of punk’s spit and Costello was less a product of his audacity, his music spinning time, it turned out, than of his par aggression into slashing riffs with ents’ expansive record collection. lyrics that became slogans of the “My mother says I could work the season. -
Sympathy for the Devil: Volatile Masculinities in Recent German and American Literatures
Sympathy for the Devil: Volatile Masculinities in Recent German and American Literatures by Mary L. Knight Department of German Duke University Date:_____March 1, 2011______ Approved: ___________________________ William Collins Donahue, Supervisor ___________________________ Matthew Cohen ___________________________ Jochen Vogt ___________________________ Jakob Norberg Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of German in the Graduate School of Duke University 2011 ABSTRACT Sympathy for the Devil: Volatile Masculinities in Recent German and American Literatures by Mary L. Knight Department of German Duke University Date:_____March 1, 2011_______ Approved: ___________________________ William Collins Donahue, Supervisor ___________________________ Matthew Cohen ___________________________ Jochen Vogt ___________________________ Jakob Norberg An abstract of a dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of German in the Graduate School of Duke University 2011 Copyright by Mary L. Knight 2011 Abstract This study investigates how an ambivalence surrounding men and masculinity has been expressed and exploited in Pop literature since the late 1980s, focusing on works by German-speaking authors Christian Kracht and Benjamin Lebert and American author Bret Easton Ellis. I compare works from the United States with German and Swiss novels in an attempt to reveal the scope – as well as the national particularities – of these troubled gender identities and what it means in the context of recent debates about a “crisis” in masculinity in Western societies. My comparative work will also highlight the ways in which these particular literatures and cultures intersect, invade, and influence each other. In this examination, I demonstrate the complexity and success of the critical projects subsumed in the works of three authors too often underestimated by intellectual communities. -
The Afterlife of Raymond Carver: Authenticity, Neoliberalism and Influence
The Afterlife of Raymond Carver: Authenticity, Neoliberalism and Influence A thesis submitted to The University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2017 Jonathan N P Pountney School of Arts, Languages and Cultures 2 Table of Contents Abstract 4 Declaration 5 Copyright Statement 6 Acknowledgements 7 Introduction 8 i. The Emergence of Neoliberalism 9 ii. Carver, Neoliberal Hegemony and Craftsmanship 13 iii. Theoretical Approaches to Carver’s Influence 25 iv. Gordon Lish and Tess Gallagher 31 Three Case Studies 36 i. The Transatlantic Political Convergence and Stuart Evers 36 ii. Diminished Class-Consciousness and Denis Johnson 43 iii. Transnational Adaptations and Ray Lawrence’s Jindabyne 47 iv. Raymond Carver’s Afterlife 49 Chapter One – ‘Carveresque Realism’: Raymond Carver and Jay McInerney 53 i. Early Years and Correspondence 53 ii. Vintage Contemporaries 1984 60 iii. Carver’s Realism, Minimalism and Literary Accuracy 68 iv. Carver and John Gardner 73 v. McInerney’s Early Fiction 79 vi. The Calloways: An Example of Carveresque Realism? 86 Chapter Two – ‘The Transpacific Partnership’: Raymond Carver and Haruki Murakami 101 i. Carver’s American Postwar Context 106 ii. Humiliation, Consumption and Idleness in Will You Please Be Quiet, Please? 108 iii. Murakami’s Japanese Postwar Context 115 iv. Humiliation, Consumption and Conformity in The Elephant Vanishes 120 v. Turning Points: The Impact of Life-Altering Events on Carver and Murakami 127 vi. Residual Spirituality in ‘All God’s Children Can Dance’ 135 vii. Residual Craft in ‘Kindling’ 138 3 viii. Epilogue: ‘The Projectile’ 142 Chapter Three – ‘Why Raymond Carver?’: The Equivocal Carver in Alejandro González Iñárritu’s Birdman 144 i. -
Here Are Things I Needed to Say.” the Album Was Released in the U.S
BURT BACHARACH Biography Six decades into one of songwriting’s most successful and honored careers – marked by 48 Top 10 hits, nine #1 songs, more than 500 compositions and a landmark 49-year run on the charts, Burt Bacharach’s music continues to set industry records and creative standards. “At This Time,” his 2005 album, which won the Grammy for Best Pop Instrumental Album, breaks new ground with Bacharach’s first-ever lyrical collaborations, supplementing the melodies which reflect the pioneering Bacharach sound. He says it is the “most-passionate album” of his career as “At This Time” marks the first time Bacharach takes on social and political issues in his music. Bacharach’s global audiences span several generations, and he is viewed as the unique combination of one of the greatest composers of all time and the ultra-cool cult hero of the contemporary music set who often has several songs on various music charts in many countries simultaneously. His many concerts are SRO, as he tours the United States and the world conducting orchestras and with his own musicians and singers performing his music. Along with Bob Dylan, John Lennon and Paul McCartney and Paul Simon, Bacharach is a legend of popular music. A recipient of three Academy Awards and seven Grammy Awards (including the 1997 Trustees Award with collaborator Hal David), he revolutionized the music of the 1950s and 60s and is regularly bracketed with legendary names, ranging from Cole Porter, to Sir George Martin, as one of a handful of visionaries who pioneered new forms of music from the second half of the 20th Century and into the 21st Century. -
Show #1290 --- Week of 9/30/19-10/6/19
Show #1290 --- Week of 9/30/19-10/6/19 HOUR ONE--SEGMENTS 1-3 SONG ARTIST LENGTH ALBUM LABEL________________ SEGMENT ONE: "Million Dollar Intro" - Ani DiFranco :55 in-studio n/a "Little Palaces"-Elvis Costello 3:45 King Of America Rykodisc "November"-Shannon Lay 2:20 August Sub Pop "You’re Me And I’m You"-Black Belt Eagle Scout 4:35 At The Party With My Brown Friends Saddle Creek "Cow"-(Sandy) Alex G 2:45 House Of Sugar Domino "Gonna Miss You When You’re Gone"-Patty Griffin (in-studio) 3:25 in-studio n/a ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** St. Cecilia Music Center/"2019-2020 Schedule" (:30) Outcue: " SCMC-ONLINE.org." TOTAL TRACK TIME: 20:30 ***PLAY CUSTOMIZED STATION ID INTO: SEGMENT TWO: "Sweetness And Light"-Bruce Cockburn 3:30 Crowing Ignites True North ***INTERVIEW & MUSIC: ANDREW BIRD (@Americanafest) ("Sisyphus," "Manifest") in-studio interview/performance n/a ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** Leon Speakers/"The Leon Loft" (:30) Outcue: " at LeonSpeakers.com." International Acoustic Music Awards (IAMA) – "Call For Entries, 2019" Outcue: " InAcoustic.com." TOTAL TRACK TIME: 21:02 SEGMENT THREE: "Someone To Someone"-Byron Isaacs (SongWriter podcast) 4:00 single only self-released "Left For Denver"-The Lumineers 3:15 III Dualtone "Riverside"-Ollabelle (in-studio) 4:35 in-studio n/a ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** The Ark/"Monthly Schedule" (:30) Outcue: " TheArk.org." TOTAL TRACK TIME: 13:25 TOTAL TIME FOR HOUR ONE-54:57 acoustic café · p.o. box 7730 · ann arbor, mi 48107-7730 · 734/761-2043 · fax 734/761-4412 [email protected] ACOUSTIC CAFE, CONTINUED Page 2 Show #1290 --- Week of 9/30/19-10/6/19 HOUR TWO--SEGMENTS 4-6: SONG ARTIST LENGTH ALBUM LABEL________________ SEGMENT FOUR: "The Flood In Color"-Joe Pug 2:35 The Flood In Color Nation Of Heat "Fearless"-SonReal 3:30 The Aaron LP Black Box "With You With Me"-Milkwood 3:15 How’s The Weather Paramount "Just What I Needed"-Ric Ocasek 3:15 In Their Own Words Razor & Tie ***MUSIC OUT AND INTO: ***NATIONAL SPONSOR BREAK*** St. -
The Criminalization of Bootlegging: Unnecessary and Unwise
Buffalo Intellectual Property Law Journal Volume 1 Number 2 Article 1 10-1-2002 The Criminalization of Bootlegging: Unnecessary and Unwise Lee H. Rousso Follow this and additional works at: https://digitalcommons.law.buffalo.edu/buffaloipjournal Part of the Intellectual Property Law Commons Recommended Citation Lee H. Rousso, The Criminalization of Bootlegging: Unnecessary and Unwise, 1 Buff. Intell. Prop. L.J. 169 (2002). Available at: https://digitalcommons.law.buffalo.edu/buffaloipjournal/vol1/iss2/1 This Article is brought to you for free and open access by the Law Journals at Digital Commons @ University at Buffalo School of Law. It has been accepted for inclusion in Buffalo Intellectual Property Law Journal by an authorized editor of Digital Commons @ University at Buffalo School of Law. For more information, please contact [email protected]. BUFFALO INTELLECTUAL PROPERTY LAW JOURNAL VOLUME 1 FALL 2002 NUMBER 2 ARTICLES THE CRIMINALIZATION OF BOOTLEGGING: UNNECESSARY AND UNWISE LEE H. Roussot Abstract: In 1994 the United States extended copyright-like protection to live musi- cal performances by adopting17 U.S. C. §1101, which authorizes civil remedies that are the same as those for copyright infringement, and 18 U.S.C. §2319A, which subjects violators to fines and prison terms. These new statutes, referred to jointly as the "anti-bootleggingstatute," led to raidsof record stores and "sting" operations aimed at persons involved in the manufacture and distribution of live concert re- cordings. This Comment argues that the benefit to society of having these live re- cordings in circulation outweighs the minimal economic damage incurred by the music industry. Furthermore,the music industry has always had the ability to ad- dress this perceived problem through non-legal measures, that is by releasing live concert recordings and thereby eliminating the incentives for unauthorized record- ing and distribution. -
AMERICAN LITERARY MINIMALISM by ROBERT CHARLES
AMERICAN LITERARY MINIMALISM by ROBERT CHARLES CLARK (Under the Direction of James Nagel) ABSTRACT American Literary Minimalism stands as an important yet misunderstood stylistic movement. It is an extension of aesthetics established by a diverse group of authors active in the late-nineteenth and early twentieth centuries that includes Amy Lowell, William Carlos Williams, and Ezra Pound. Works within the tradition reflect several qualities: the prose is “spare” and “clean”; important plot details are often omitted or left out; practitioners tend to excise material during the editing process; and stories tend to be about “common people” as opposed to the powerful and aristocratic. While these descriptors and the many others that have been posited over the years are in some ways helpful, the mode remains poorly defined. The core idea that differentiates American Minimalism from other movements is that prose and poetry should be extremely efficient, allusive, and implicative. The language in this type of fiction tends to be simple and direct. Narrators do not often use ornate adjectives and rarely offer effusive descriptions of scenery or extensive detail about characters’ backgrounds. Because authors tend to use few words, each is invested with a heightened sense of interpretive significance. Allusion and implication by omission are often employed as a means to compensate for limited exposition, to add depth to stories that on the surface may seem superficial or incomplete. Despite being scattered among eleven decades, American Minimalists share a common aesthetic. They were not so much enamored with the idea that “less is more” but that it is possible to write compact prose that still achieves depth of setting, characterization, and plot without including long passages of exposition.