British GQ, October 2009: Difference between revisions
(+UK & Ireland magazines index) |
(formatting) |
||
Line 4: | Line 4: | ||
{{:UK & Ireland magazines index}} | {{:UK & Ireland magazines index}} | ||
{{Bibliography article header}} | {{Bibliography article header}} | ||
<center><h3> | <center><h3> GQ Men Of The Year </h3></center> | ||
<center> | <center>''' Elvis Costello — Outstanding Achievement </center> | ||
---- | ---- | ||
<center> Robert Chalmers </center> | <center> Robert Chalmers </center> | ||
Line 13: | Line 13: | ||
Untroubled by the grandeur of her surroundings — the Royal Concert Hall in Glasgow, where the prevailing atmosphere is one of hushed respect — a middle-aged woman stumbles to the front row of the side balcony, which overlooks the stage. Her face is contorted with rage. Her muscular arms are heavily tattooed. Below her, Elvis Costello and the Brodsky Quartet have just begun their next number. I'm sitting a few rows away from the newcomer and it's clear that this woman's pre-concert refreshments have not been confined to a flute of the vintage champagne dispensed by the waiters in the foyer. | Untroubled by the grandeur of her surroundings — the Royal Concert Hall in Glasgow, where the prevailing atmosphere is one of hushed respect — a middle-aged woman stumbles to the front row of the side balcony, which overlooks the stage. Her face is contorted with rage. Her muscular arms are heavily tattooed. Below her, Elvis Costello and the Brodsky Quartet have just begun their next number. I'm sitting a few rows away from the newcomer and it's clear that this woman's pre-concert refreshments have not been confined to a flute of the vintage champagne dispensed by the waiters in the foyer. | ||
She halts the performance, howling in Doric, the dialect from north Aberdeenshire. It's a diatribe that appears incomprehensible even to her fellow Scots. One or two identifiable phrases surface from the slurred invective. They include "Red Shoes" and "Money back" | She halts the performance, howling in Doric, the dialect from north Aberdeenshire. It's a diatribe that appears incomprehensible even to her fellow Scots. One or two identifiable phrases surface from the slurred invective. They include "Red Shoes" and "Money back." Costello motions to his musicians, who stop playing. | ||
"Excuse me | "Excuse me," he says to the disillusioned fan. "That's Norwegian, isn't it?" This precipitates a fresh tirade, from which I can only distinguish "Pump It Up." "When you saw the words string quartet on those posters outside," Costello asks her, "what did that suggest to you? Death metal?" | ||
"Money back," she bellows. "Come down here," Costello tells her. "Come down here and I'll give you your money back." | "Money back," she bellows. "Come down here," Costello tells her. "Come down here and I'll give you your money back." | ||
Line 24: | Line 24: | ||
Once she'd been reunited with her footwear on the public side of the barrier, I spoke to her as she queued for an autograph. | Once she'd been reunited with her footwear on the public side of the barrier, I spoke to her as she queued for an autograph. | ||
"Look at them," she said, pointing across at the cars heading down Highway 1, southwest, towards Georgia. "I can't believe there are so many people on the road" | |||
"Look at them," she said, pointing across at the cars heading down Highway 1, southwest, towards Georgia. "I can't believe there are so many people on the road." | |||
"Why?" | "Why?" | ||
"Because," she said, "every one of them missed this night" | "Because," she said, "every one of them missed this night." | ||
It would be difficult to overstate the gulf between Elvis Costello's reputation in Britain and America. Walking down the street with him in Nashville, say, he's stopped every few yards. At one point I was reminded of another constantly interrupted walk I once took with George Best in central London. There was a moment at one show, while we were standing in the wings watching Emmylou Harris perform, when Costello showed me a text on his BlackBerry. It was from his wife, Diana | It would be difficult to overstate the gulf between Elvis Costello's reputation in Britain and America. Walking down the street with him in Nashville, say, he's stopped every few yards. At one point I was reminded of another constantly interrupted walk I once took with George Best in central London. There was a moment at one show, while we were standing in the wings watching Emmylou Harris perform, when Costello showed me a text on his BlackBerry. It was from his wife, Diana Krall, who had just emerged from a one-to-one at a Democratic convention. It read: "Just been kissed on both cheeks by the president. He said: 'Hello...How's Elvis?" | ||
In America, Costello's audience has remained open to the ambitious musical range of his recent records, like his magnificent new album, ''Secret, Profane | In America, Costello's audience has remained open to the ambitious musical range of his recent records, like his magnificent new album, ''Secret, Profane & Sugarcane'', on which he's accompanied by the cream of the nation's bluegrass musicians. His face is familiar to Americans of all ages, if only as a result of his appearances in shows such as ''Frasier'', ''30-Rock'' and his frequent contributions to ''Late Show With David Letterman'', which he hosted when Letterman was ill. His own, highly acclaimed programme, ''Spectacle'', produced by Sir Elton John, in which Costello interviewed figures such as Smokey Robinson, Tony Bennett and James Taylor, has been commissioned for a second series. Costello has a role in the pilot for ''Treme'', David Simon's follow-up to ''The Wire'', and both he and regular collaborator Allen Toussaint are likely to be referenced in one of the threads of the narrative of the final project, which is set in Toussaint's home town of New Orleans. For Costello, who was recently described by ''Time'' magazine as the greatest songwriter in the language, that ironic album title ''King Of America'' is becoming less of a joke by the week. | ||
I have to declare an interest at this point. I've known Costello for almost 20 years; he sang at my son's birthday party, has tirelessly encouraged me in my writing, and once connived in organising a surprise birthday party for my girlfriend. He is unusual in many ways; not least in that, when you meet many songwriters — even very good ones — their company tends to be less entertaining than their work. In his wit, enthusiasm and curiosity, Elvis Costello is a force of nature, a genuinely extraordinary human being. | I have to declare an interest at this point. I've known Costello for almost 20 years; he sang at my son's birthday party, has tirelessly encouraged me in my writing, and once connived in organising a surprise birthday party for my girlfriend. He is unusual in many ways; not least in that, when you meet many songwriters — even very good ones — their company tends to be less entertaining than their work. In his wit, enthusiasm and curiosity, Elvis Costello is a force of nature, a genuinely extraordinary human being. | ||
Line 46: | Line 47: | ||
"As a child," I tell him, "I remember constant talk about British performers trying to 'break' America. Why is it now, when you're 55, that something so special is happening for you here?" | "As a child," I tell him, "I remember constant talk about British performers trying to 'break' America. Why is it now, when you're 55, that something so special is happening for you here?" | ||
Costello, who hasn't drunk alcohol since 1996, sips a glass of herbal tea | Costello, who hasn't drunk alcohol since 1996, sips a glass of herbal tea, and toys with a dish of blueberries. The father of two young twins, Dexter Henry Lorcan and Frank Harlan James, whose mother, Diana Krall, married him in an unforgettable evening hosted by Sir Elton John in December 2003, he looks fit and relaxed. He works out every morning, and looks as if he's lost 20 lb since we last met. | ||
"I think various things have gradually converged," he says, "to bring attention to almost anything I do now." | "I think various things have gradually converged," he says, "to bring attention to almost anything I do now." | ||
Line 56: | Line 57: | ||
"And ''Frasier'', ''Third Rock From The Sun''..." "I didn't do those things in a calculating way. I did them for fun. But people do come up and say: 'I liked you in ''The Simpsons'', or ''Austin Powers''. They're different constituencies, but they add up." | "And ''Frasier'', ''Third Rock From The Sun''..." "I didn't do those things in a calculating way. I did them for fun. But people do come up and say: 'I liked you in ''The Simpsons'', or ''Austin Powers''. They're different constituencies, but they add up." | ||
The curiosity of television viewers would mean nothing were it not for his extraordinary achievement, over more than three decades, of making bold and inspirational music in a more diverse range of styles than any performer I can think of. His American audiences are still overwhelmingly drawn in by his talent for rock 'n' roll, but have also responded to the quality of his later writing — from the arch wit and haunting melodies of ''The Juliet Letters'' (1993) to the captivating lyricism of ''Secret, Profane | The curiosity of television viewers would mean nothing were it not for his extraordinary achievement, over more than three decades, of making bold and inspirational music in a more diverse range of styles than any performer I can think of. His American audiences are still overwhelmingly drawn in by his talent for rock 'n' roll, but have also responded to the quality of his later writing — from the arch wit and haunting melodies of ''The Juliet Letters'' (1993) to the captivating lyricism of ''Secret, Profane & Sugarcane''. | ||
A typical American crowd includes kids young enough to be his grandchildren. And yet, in a few days time, at the Ryman Auditorium, just down the road from this hotel, I will see an elderly white man reduced to tears by the final couplet of " | A typical American crowd includes kids young enough to be his grandchildren. And yet, in a few days time, at the Ryman Auditorium, just down the road from this hotel, I will see an elderly white man reduced to tears by the final couplet of "Red Cotton," Costello's stunning new song about the slave trade between West Africa, Liverpool and the Southern states. If this was all he had ever written, he would be remembered forever. (''"There is no man,"'' the song ends, ''"who should own another / When he can't even recognise his sister and his brother."'') | ||
Costello has been a writer from the very beginning, and his lyrics sit more comfortably on the page than those of any popular musician I can think of, Bob Dylan, Randy Newman and John Lennon included. Contrary to some reports, he doesn't spend his days lamenting his modest profile in Britain. In all the time I'm with him, he addresses the subject only once — when I raise it. | Costello has been a writer from the very beginning, and his lyrics sit more comfortably on the page than those of any popular musician I can think of, Bob Dylan, Randy Newman and John Lennon included. Contrary to some reports, he doesn't spend his days lamenting his modest profile in Britain. In all the time I'm with him, he addresses the subject only once — when I raise it. | ||
Line 82: | Line 83: | ||
The following afternoon, we drive down to the Bonnaroo Festival at Manchester, just outside Nashville. Costello's first appearance is as a guest for the gifted singer Jenny Lewis, 22 years his junior. Towards the end of her already explosive set, Costello's arrival, on "Carpetbaggers" from her ''Acid Tongue'' album, precipitates something akin to pandemonium. | The following afternoon, we drive down to the Bonnaroo Festival at Manchester, just outside Nashville. Costello's first appearance is as a guest for the gifted singer Jenny Lewis, 22 years his junior. Towards the end of her already explosive set, Costello's arrival, on "Carpetbaggers" from her ''Acid Tongue'' album, precipitates something akin to pandemonium. | ||
Afterwards in the dressing room, before he takes the stage for his own set, his conversation is typically vigorous and eclectic: the challenge facing Barack Ohama; the relationship between Hans Christian Andersen and soprano Jenny Lind (which inspired several songs on ''Secret, Profane | Afterwards in the dressing room, before he takes the stage for his own set, his conversation is typically vigorous and eclectic: the challenge facing Barack Ohama; the relationship between Hans Christian Andersen and soprano Jenny Lind (which inspired several songs on ''Secret, Profane & Sugarcane''); the brilliance of his friend Roberto Benigni. He's interrupted by a text message. | ||
"Manchester United," reads Costello, who has a Liverpool allegiance and knows of my attachment to Sir Alex Ferguson's side, "to sign no players over 26" | "Manchester United," reads Costello, who has a Liverpool allegiance and knows of my attachment to Sir Alex Ferguson's side, "to sign no players over 26" | ||
Line 117: | Line 118: | ||
Before Bob Geldof's Live 8 event on 2 July 2005, when most black musicians were dispatched to the West Country while Geldof played Hyde Park with his white friends, I wrote to him suggesting he might recruit the great Zimbabwean guitarist Rise Kagona, one of the few surviving members of the Bhundu Boys, then living close to destitution outside Edinburgh. Geldof was too busy to reply. | Before Bob Geldof's Live 8 event on 2 July 2005, when most black musicians were dispatched to the West Country while Geldof played Hyde Park with his white friends, I wrote to him suggesting he might recruit the great Zimbabwean guitarist Rise Kagona, one of the few surviving members of the Bhundu Boys, then living close to destitution outside Edinburgh. Geldof was too busy to reply. | ||
Costello, who was playing the same night at a venue in Hampstead, fetched Kagona down to London; they performed a moving version of Costello's anthem, "The Scarlet Tide" | Costello, who was playing the same night at a venue in Hampstead, fetched Kagona down to London; they performed a moving version of Costello's anthem, "The Scarlet Tide." ("I figured," Elvis announced, "this man should be playing somewhere tonight.") | ||
"When you said that you tried to 'make the most' of your opportunities, how would you define that?" | "When you said that you tried to 'make the most' of your opportunities, how would you define that?" | ||
Line 129: | Line 130: | ||
"It's the music that's driven you, isn't it? Right from the start." | "It's the music that's driven you, isn't it? Right from the start." | ||
"The music and the ideas that can be carried by the music. I do have to say that at a certain age you are conducting experiments on yourself, to generate material. I've had..." Costello pauses, "...an unusual life. A life far removed from most people's experience" | "The music and the ideas that can be carried by the music. I do have to say that at a certain age you are conducting experiments on yourself, to generate material. I've had..." Costello pauses, "...an unusual life. A life far removed from most people's experience." | ||
He was born Declan Patrick MacManus at St Mary's Hospital, Paddington on 25 August 1954, only child of Ross (for many years vocalist with the Joe Loss Band) and Lillian, who worked in the record department at Selfridges on London's Oxford Street. | He was born Declan Patrick MacManus at St Mary's Hospital, Paddington on 25 August 1954, only child of Ross (for many years vocalist with the Joe Loss Band) and Lillian, who worked in the record department at Selfridges on London's Oxford Street. | ||
Line 192: | Line 193: | ||
"My father worked as a musician every day. Nobody ever expected to have music explained. You didn't need an intermediary. That's why I was so intolerant of being interviewed when I started. I thought: 'Why do I need to be explained?" | "My father worked as a musician every day. Nobody ever expected to have music explained. You didn't need an intermediary. That's why I was so intolerant of being interviewed when I started. I thought: 'Why do I need to be explained?" | ||
He might legitimately question the point of grilling a big-band singer about his rendition of "Come Fly With Me" | He might legitimately question the point of grilling a big-band singer about his rendition of "Come Fly With Me." But there's something a bit more intimate going on when you see Costello perform his own compositions such as, say, "I Want You." That tune has the same resonance, for those with memories of being at the sharp end of a romantic triangle, as "The Internationale" does for veterans of the Spanish Civil War. | ||
He may once have been regarded as a blokish songwriter, and yet — mingling with the audience during the outdoor concert in Cary — I can see something unexpected going on, and not only in the mind of the woman in the red ball gown. After he comes off stage to what is becoming a familiar ovation, we board the bus for another overnight trip back to Nashville. | He may once have been regarded as a blokish songwriter, and yet — mingling with the audience during the outdoor concert in Cary — I can see something unexpected going on, and not only in the mind of the woman in the red ball gown. After he comes off stage to what is becoming a familiar ovation, we board the bus for another overnight trip back to Nashville. | ||
Line 218: | Line 219: | ||
"Then, in the late Seventies, you had a much-publicised fling with [LA scene maker] Bebe Buell." | "Then, in the late Seventies, you had a much-publicised fling with [LA scene maker] Bebe Buell." | ||
"That was a relatively brief thing," Costello says. "And of far less importance then people have tried to suggest" | "That was a relatively brief thing," Costello says. "And of far less importance then people have tried to suggest." With his voice lowered, and speaking off the record, he very candidly unpicks the tangle of alliances that precipitated the collapse of his first marriage. | ||
"What I can say for publication is that, at one point, my life was much more complicated even than the inaccurate and sensationalised versions that have been printed. That's the truth of it. But in the case of each of these affairs, two out of the three of us will have to be dead before any of this is printed" He pauses. "Any two will do. | "What I can say for publication is that, at one point, my life was much more complicated even than the inaccurate and sensationalised versions that have been printed. That's the truth of it. But in the case of each of these affairs, two out of the three of us will have to be dead before any of this is printed." He pauses. "Any two will do." | ||
"And yet it's all there, in the songs." | |||
"It is in the songs, except that..." | "It is in the songs, except that..." | ||
Line 232: | Line 233: | ||
"For instance?" | "For instance?" | ||
"One song that people have speculated about is 'Party Girl' [from the 1979 classic, ''Armed Forces'']. I actually wrote that about an art student in Minneapolis I spent a relatively innocent romantic evening with. It got written up in the paper; they libelled this young woman as a typical 'party girl'. I wrote that song about this sad little moment we'd eked out for ourselves. I always thought that the songs that were so true | "One song that people have speculated about is 'Party Girl' [from the 1979 classic, ''Armed Forces'']. I actually wrote that about an art student in Minneapolis I spent a relatively innocent romantic evening with. It got written up in the paper; they libelled this young woman as a typical 'party girl'. I wrote that song about this sad little moment we'd eked out for ourselves. I always thought that the songs that were so true — on ''Blonde On Blonde'', say — were things like 'Most Likely You Go Your Way And I'll Go Mine'. They are about that kind of little tragedy. But most of these songs are not autobiography so much as composites" | ||
"Like writing fiction?" | "Like writing fiction?" | ||
Line 292: | Line 293: | ||
This evening, Costello seems unusually relaxed before he goes on stage. The venue, which holds 2,300, is packed; from the moment he takes the stage, the atmosphere is euphoric. I've watched him many times over the years, but this is one of the greatest concerts I have ever seen Costello — or anybody else — give. There are moments when time seems to stand still. | This evening, Costello seems unusually relaxed before he goes on stage. The venue, which holds 2,300, is packed; from the moment he takes the stage, the atmosphere is euphoric. I've watched him many times over the years, but this is one of the greatest concerts I have ever seen Costello — or anybody else — give. There are moments when time seems to stand still. | ||
The Sugarcanes — an acoustic band, including double bass, dobro guitar, fiddle and mandolin — have adapted songs from his entire repertoire with humour, poignancy, and tremendous energy. You may not know the names of Dennis Crouch, or Jim Lauderdale, but their work leaves you in no doubt that bluegrass musicians, at their best, are virtuosos to compare with specialists in any discipline. A watching producer tells me that he can't think of anyone else who could have put this band together, except for Bob Dylan or T-Bone Burnett, the guitarist and producer Costello refers to as "my brother" | The Sugarcanes — an acoustic band, including double bass, dobro guitar, fiddle and mandolin — have adapted songs from his entire repertoire with humour, poignancy, and tremendous energy. You may not know the names of Dennis Crouch, or Jim Lauderdale, but their work leaves you in no doubt that bluegrass musicians, at their best, are virtuosos to compare with specialists in any discipline. A watching producer tells me that he can't think of anyone else who could have put this band together, except for Bob Dylan or T-Bone Burnett, the guitarist and producer Costello refers to as "my brother." | ||
His musicians have the unmistakable exuberance of artists working with really exceptional new material; the audience is receptive, even to the slow paced eloquence of a song like "She Handed Me A Mirror" | His musicians have the unmistakable exuberance of artists working with really exceptional new material; the audience is receptive, even to the slow paced eloquence of a song like "She Handed Me A Mirror." Costello wrote this about Jenny Lind and the unrequited love of Hans Christian Andersen, who was, by all accounts, no oil painting. "He asked why she couldn't return his love," Costello explains. "She if handed him a looking glass." | ||
The audience, accustomed to performers if of the calibre of George Jones, won't let him off stage. Costello plays 20 minutes past curfew and leaves to a standing ovation. "I almost never," says an employee, standing by the stage door, "saw anything like this." | The audience, accustomed to performers if of the calibre of George Jones, won't let him off stage. Costello plays 20 minutes past curfew and leaves to a standing ovation. "I almost never," says an employee, standing by the stage door, "saw anything like this." | ||
Line 309: | Line 310: | ||
"That was a special night at the Ryman, wasn't it?" | "That was a special night at the Ryman, wasn't it?" | ||
"Very. I've never seen it so vociferous." What was especially satisfying, he | "Very. I've never seen it so vociferous." What was especially satisfying, he says, is that the audience embraced his whole repertoire. | ||
says, is that the audience embraced his whole repertoire. | |||
"I could have just done songs from ''Secret, Profane | "I could have just done songs from ''Secret, Profane & Sugarcane''. But 'The Delivery Man' [from the 2004 album of the same name] was a peak. So was 'American Without Tears'. And 'Red Shoes'. It was so rewarding to take those songs and turn them into something that left that audience visibly thrilled." | ||
"There have been moments when we've been discussing your life and work, when I couldn't help but remember those lines you wrote: 'You may think you're a guest, but you're a stranger at best/Peering into the corners of my dark life." | "There have been moments when we've been discussing your life and work, when I couldn't help but remember those lines you wrote: 'You may think you're a guest, but you're a stranger at best/Peering into the corners of my dark life." | ||
Line 322: | Line 322: | ||
"The key song," Costello interrupts, "when it comes to... my own sensibilities... is not 'My Dark Life'. It's 'When I Was Cruel #1'." | "The key song," Costello interrupts, "when it comes to... my own sensibilities... is not 'My Dark Life'. It's 'When I Was Cruel #1'." | ||
"Why, | "Why," Costello continues, quoting his own lyric, "<i>'did you leave your happy home / So you could travel far abroad / So you could sleep with strangers.'</i>" | ||
("Oh, when I was cruel and I could make you so unhappy," the song continues, "Lonely cowards followed me like ghouls / And you liked me too... when I was cruel...") | (''"Oh, when I was cruel and I could make you so unhappy,"'' the song continues, ''"Lonely cowards followed me like ghouls / And you liked me too... when I was cruel..."'') | ||
"Some people accuse you of having lost your political edge. That said, I remember you doing an interview with Jeremy Vine, in which he invited you to retract 'Tramp The Dirt Down' and you said, 'The difference now is, I wouldn't waste the shoe leather.' (In this song, from the 1989 album ''Spike'', the singer pleads to be allowed to live long enough to stamp on the grave of Margaret Thatcher. Together with Alan Bleasdale's ''Boys From The Blackstuff'', it's the most enduring artistic response to that period of government.) | "Some people accuse you of having lost your political edge. That said, I remember you doing an interview with Jeremy Vine, in which he invited you to retract 'Tramp The Dirt Down' and you said, 'The difference now is, I wouldn't waste the shoe leather.' (In this song, from the 1989 album ''Spike'', the singer pleads to be allowed to live long enough to stamp on the grave of Margaret Thatcher. Together with Alan Bleasdale's ''Boys From The Blackstuff'', it's the most enduring artistic response to that period of government.) | ||
"Tramp The Dirt Down' wasn't a political song. It was an emotional song" | " 'Tramp The Dirt Down' wasn't a political song. It was an emotional song." | ||
"And a moral declaration?" | "And a moral declaration?" | ||
Line 382: | Line 382: | ||
"Someone who wasn't comfortable in those show biz situations. Then there's this curiously compatible relationship to music that Diana and I have. We both grew up in houses full of music that you wouldn't expect us to know, because of our age. I knew the previous generation's music, because of my parents' interest. Diana is ten years younger than me, but the music she grew up with [in her father, Jim's, record collection] is 20 years older than the music I knew; it came from the Twenties and Thirties." | "Someone who wasn't comfortable in those show biz situations. Then there's this curiously compatible relationship to music that Diana and I have. We both grew up in houses full of music that you wouldn't expect us to know, because of our age. I knew the previous generation's music, because of my parents' interest. Diana is ten years younger than me, but the music she grew up with [in her father, Jim's, record collection] is 20 years older than the music I knew; it came from the Twenties and Thirties." | ||
On stage at Telluride, he delivers another bravura performance, to an audience of 10,000 or so. Emmylou Harris, who presented Costello to the crowd as "one of the greatest artists of our time" | On stage at Telluride, he delivers another bravura performance, to an audience of 10,000 or so. Emmylou Harris, who presented Costello to the crowd as "one of the greatest artists of our time," is waiting in the dressing room afterwards. "I forgot something,' she says.”I should also have mentioned you're the hardest-working man in show business" | ||
She says this with no hint of irony. Costello has to be up early the next day to catch a plane to LA, where he'll record a session with T-Bone Burnett; the following day he will give two performances: the first in San Francisco, the second back in LA. | She says this with no hint of irony. Costello has to be up early the next day to catch a plane to LA, where he'll record a session with T-Bone Burnett; the following day he will give two performances: the first in San Francisco, the second back in LA. | ||
Line 401: | Line 401: | ||
{{Bibliography images}} | {{Bibliography images}} | ||
[[image:2009-10-00 GQ page 246.jpg| | [[image:2009-10-00 GQ page 246.jpg|x260px]][[image:2009-10-00 GQ page 247.jpg|x260px]] | ||
<br><small>Photo by [[Terry Richardson]].</small> | <br><small>Photo by [[Terry Richardson]].</small> | ||
[[image:2009-10-00 GQ page 250 clipping.jpg| | <small>Page scans.</small><br> | ||
[[image:2009-10-00 GQ page 252 clipping.jpg| | [[image:2009-10-00 GQ page 248.jpg|x250px|border]] | ||
[[image:2009-10-00 GQ page 254 clipping.jpg| | [[image:2009-10-00 GQ page 249.jpg|x250px|border]] | ||
[[image:2009-10-00 GQ page 256.jpg| | |||
<small>Clippings and page scan.</small><br> | |||
[[image:2009-10-00 GQ page 250 clipping.jpg|x160px|border]] | |||
[[image:2009-10-00 GQ page 252 clipping.jpg|x160px|border]] | |||
[[image:2009-10-00 GQ page 254 clipping.jpg|x160px|border]] | |||
[[image:2009-10-00 GQ page 256.jpg|x160px|border]] | |||
<small>Photo by Terry Richardson.</small><br> | |||
[[image:2009-10-00 GQ page 253.jpg|380px|border]] | |||
<small>Page scan and clippings.</small><br> | |||
[[image:2009-10-00 GQ page 258.jpg|x120px|border]] | [[image:2009-10-00 GQ page 258.jpg|x120px|border]] | ||
[[image:2009-10-00 GQ page 261 clipping.jpg|x120px|border]] | [[image:2009-10-00 GQ page 261 clipping.jpg|x120px|border]] | ||
[[image:2009-10-00 GQ page 262 clipping.jpg|x120px|border]] | [[image:2009-10-00 GQ page 262 clipping.jpg|x120px|border]] | ||
[[image:2009-10-00 GQ page 263 clipping.jpg|x120px|border]] | [[image:2009-10-00 GQ page 263 clipping.jpg|x120px|border]] | ||
{{Bibliography notes footer}} | {{Bibliography notes footer}} |
Latest revision as of 12:21, 1 January 2021
|