Illinois Wesleyan University Argus, March 6, 1981: Difference between revisions
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<center><h3> Costello condemns fascism </h3></center> | <center><h3> Costello condemns fascism </h3></center> | ||
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<center> Drew Bendelow | <center> Drew Bendelow </center> | ||
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{{Bibliography text}} | {{Bibliography text}} | ||
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After the songs have begun to sink in though, it becomes very apparent that Elvis isn't "getting happy" this time out. The picture is clear that what he's presenting is the world gone war-monger mad; a world in which the prevailing militarism has infected all aspects of life, and where love itself is regimented, destroying whatever peace and understanding remain. | After the songs have begun to sink in though, it becomes very apparent that Elvis isn't "getting happy" this time out. The picture is clear that what he's presenting is the world gone war-monger mad; a world in which the prevailing militarism has infected all aspects of life, and where love itself is regimented, destroying whatever peace and understanding remain. | ||
It is a depressing album overall. The manic hope that characterized ''Get Happy'', ''This Year's Model'' | It is a depressing album overall. The manic hope that characterized ''Get Happy'', ''This Year's Model'' and ''My Aim Is True'' is nowhere found on ''Trust''. If it resembles any other Costello disc, it would be ''Armed Forces'' where he effectively decried and defied the forces of emotional fascism. | ||
But there too, one had the impression that all was not lost; and the music, for the most part a pop-wave of sound, carried hopes beyond Nick Lowe's "What's so funny..." On ''Trust'', the emphasis is direct and even frantic. The music changes gears on almost every song, from the "Secondary Modernesque" resignation on "Watch Your Step," to the biting rave of " | But there too, one had the impression that all was not lost; and the music, for the most part a pop-wave of sound, carried hopes beyond Nick Lowe's "What's so funny..." On ''Trust'', the emphasis is direct and even frantic. The music changes gears on almost every song, from the "Secondary Modernesque" resignation on "Watch Your Step," to the biting rave of "Luxembourg." | ||
On "Pretty Words" Costello graphically sets up the place of communication in our nuclear age. All the subtleties are stripped away in the face of imminent destruction, and the | On "Pretty Words" Costello graphically sets up the place of communication in our nuclear age. All the subtleties are stripped away in the face of imminent destruction, and the gist of everything is misconstrued. As he says in the chorus: ''"All I see are snapshots, pin shots, dead spots, mug shows, machine slots / You don't know what's what, you don't know what you got."'' With none of the trappings of civilization left, he concludes ''"There's not much joy / between a cruel mouth and a jealous voice"'' — the very antithesis of ''Get Happy!!!'' | ||
From the boudoir, where Elvis' reveries left him (usually alone) before, his scenarios on ''Trust'' take him to the boot camps, which to his mind are everywhere. In a world of widespread economic collapse, everyone lives and breathes under "Strict Time." | From the boudoir, where Elvis' reveries left him (usually alone) before, his scenarios on ''Trust'' take him to the boot camps, which to his mind are everywhere. In a world of widespread economic collapse, everyone lives and breathes under "Strict Time." | ||
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The album grows steadily more depressing by the end of side two, but in the midst of despair, Elvis stands his ground; a vulnerable, yet honest commentator on the rise of all forms of fascism in Western society. He doesn't want our pity, but he demands our trust. Heed him. | The album grows steadily more depressing by the end of side two, but in the midst of despair, Elvis stands his ground; a vulnerable, yet honest commentator on the rise of all forms of fascism in Western society. He doesn't want our pity, but he demands our trust. Heed him. | ||
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{{tags}}[[Trust]] {{-}} [[Get Happy!!]] {{-}} [[This Year's Model]] {{-}} [[My Aim Is True]] {{-}} [[Armed Forces]] {{-}} [[Emotional Fascism]] {{-}} [[Nick Lowe]] {{-}} [[(What's So Funny 'Bout) Peace, Love And Understanding?]] {{-}} [[Secondary Modern]] {{-}} [[Luxembourg]] {{-}} [[Watch Your Step]] {{-}} [[Pretty Words]] {{-}} [[Strict Time]] {{-}} [[New Lace Sleeves]] {{-}} [[From A Whisper To A Scream]] {{-}} [[Big Sister's Clothes]] {{-}} [[White Knuckles]] {{-}} [[Shot With His Own Gun]] | |||
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{{Bibliography images}} | {{Bibliography images}} | ||
[[image:1981-03-06 Illinois Wesleyan University Argus page 05 clipping 01.jpg| | [[image:1981-03-06 Illinois Wesleyan University Argus page 05 clipping 01.jpg|380px]] | ||
<br><small>Clipping.</small> | <br><small>Clipping.</small> | ||
[[image:1981-03-06 Illinois Wesleyan University Argus page 05.jpg|x120px | <small>Page scan.</small><br> | ||
[[image:1981-03-06 Illinois Wesleyan University Argus page 05.jpg|x120px]] | |||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 06:53, 30 March 2021
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