4D
Thursday, September 6, 2007
THE TENNESSEAN
www.tennessean.com
LIVING
Study confirms rock stars more likely to die young By TARIQ PANJA Associated Press
LONDON — Living fast and dying young has long been part of rock ’n’ roll lore. And now there are statistics that affirm the image, according to a study released Tuesday.
Researchers at Liverpool John Moores University, whose report appeared in the Journal of Epidemiology and Community Health, studied a sample of North American and British rock and pop stars and concluded they are more than twice as likely to die a prema-
ture death as ordinary citizens of the same age. The team studied 1,064 stars from the rock, punk, rap, R&B, electronic and new age genres in the “All Time Top 1,000” albums published in 2000. They compared each artist’s age at death with that of Euro-
pean and U.S. citizens of similar backgrounds, sex and ethnicity. Mark Bellis, leader of the study, said his research showed the stereotype of rock stars was true — recreational drugs and alcohol-fueled parties take a toll.
The report found that, between two and 25 years after the onset of fame, the risk of death was two to three times higher for music stars than for members of the general population matched for age, sex, nationality and ethnic background.
In all, 100 of the stars studied had died — 7.3 percent of women and 9.6 percent of men. They included Elvis Presley, Jim Morrison, Kurt Cobain, Janis Joplin and Jimi Hendrix. The average age of death was 42 for North American stars and 35 for European stars.
COVER STORIES
Costello: Rock and Roll Hall of Famer craves musical diversity FROM PAGE 1D Nashville Symphony. In advance of that show, the Rock and Roll Hall of Famer shared the wisdom behind some of those wide-stretching impulses. Don’t look down. “I only ever had one piece of advice from my grandfather; he died when I was very young. But he used to say, ‘You can’t fall, there’s nothing to stop you.’ Which is one of those pieces of like Irish nonsensical wisdom, you know?
IMAX: HARRY POTTER & THE ORDER OF THE PHOENIX (PG-13) 1200 330 700 1000 DEATH SENTENCE (R) - ID REQ'D (1150 225) 455 745 1020 HALLOWEEN (R) - ID REQ'D (1100 1200 200) 320 445 700 730 930 1005 BALLS OF FURY (PG-13) (1115 230) 440 720 935 WAR (R) - ID REQ'D (1205) 345 710 935 WAR - DIGITAL PROJECTION (R) - ID REQ'D (1105 235) 500 740 1005 RESURRECTING THE CHAMP (PG-13) 1010 PM ILLEGAL TENDER (R) - ID REQ'D (1135) 425 725 1000 OC & DA: MR. BEAN'S HOLIDAY (G) (210) 925 MR. BEAN'S HOLIDAY (G) (1140) 420 710 THE NANNY DIARIES (PG-13) (1145) 405 715 945 BECOMING JANE (PG) (1145) 355 735 THE INVASION (PG-13) (1130) 315 700 925 SUPERBAD (R) - ID REQ'D (1210) 340 705 730 945 1015 RUSH HOUR 3 (PG-13) (1155 215) 400 430 740 915 950 STARDUST (PG-13) (1215) 335 725 1015 UNDERDOG (PG) (1125 205) 415 THE BOURNE ULTIMATUM (PG-13) (1130 1220) 350 640 735 1025 THE SIMPSONS MOVIE (PG-13) (1115 220) 435 705 920 I NOW PRONOUNCE YOU CHUCK & LARRY (PG-13) (1110) 325 715 955 TRANSFORMERS (PG-13) 650 955 RATATOUILLE (G) (1120) 330
DEATH SENTENCE (R) - ID REQ'D (130) 430 730 1000 RESURRECTING THE CHAMP (PG-13) 440 1020 MR. BEAN'S HOLIDAY (G) (120) 420 720 940 THE NANNY DIARIES (PG-13) (100) 400 700 930 THE INVASION (PG-13) (150) 450 750 1030 EL CANTANTE (R) - ID REQ'D (140) 740 BECOMING JANE (PG) (150) 450 750 1030 HAIRSPRAY (PG) (120) 420 720 950 I NOW PRONOUNCE YOU CHUCK & LARRY (PG-13) (140) 740 HARRY POTTER & THE ORDER OF THE PHOENIX (PG-13) (100) 400 700 1000 TRANSFORMERS (PG-13) (110) 410 710 1010 RATATOUILLE (G) (130) 430 730 1010 EVAN ALMIGHTY (PG) (110) 410 710 930 KNOCKED UP (R) - ID REQ'D 440 1020
HALLOWEEN (R) - ID REQ'D (125) 425 725 1000 BALLS OF FURY (PG-13) (115) 405 730 945 SUPERBAD (R) - ID REQ'D (130) 420 710 955 THE BOURNE ULTIMATUM (PG-13) (120) 415 715 955 RUSH HOUR 3 (PG-13) (135) 430 735 950 BECOMING JANE (PG) (105) 355 705 940 WAR (R) - ID REQ'D (110) 410 710 935 THE NANNY DIARIES (PG-13) (100) 350 700 930 THE SIMPSONS MOVIE (PG-13) (140) 720 THE INVASION (PG-13) 435 950 UNDERDOG (PG) (145) 400 715 RESURRECTING THE CHAMP (PG-13) 925 PM Times For 9/6/07
I’ve held to it pretty much my whole life. Because I think if you start convincing yourself that something is not right or you might be wrong in doing something, you’ll never do anything.” Don’t grow up, either. “I’m pretty much of the conviction that everybody has a song or story of some kind. It sounds a little fanciful, but we can all draw when we’re kids, we can all make up stories when we’re kids, and somewhere we get it knocked, beaten, frightened, embar-
OC & DA: MR. BEAN'S HOLIDAY (G) 305 1015 DEATH SENTENCE (R) - ID REQ'D (1245) 325 720 1010 HALLOWEEN (R) - ID REQ'D (1200 1250 240) 330 510 730 800 1000 1030 BALLS OF FURY (PG-13) (1140 210) 440 755 1045 RESURRECTING THE CHAMP (PG-13) (1220) 635 WAR (R) - ID REQ'D (1145 1235 230) 310 500 530 725 815 955 ILLEGAL TENDER (R) - ID REQ'D (100) 350 625 945 MR. BEAN'S HOLIDAY (G) (1240) 520 805 THE NANNY DIARIES (PG-13) (1230) 320 610 910 THE INVASION (PG-13) (1155 235) 455 735 1040 SUPERBAD (R) - ID REQ'D (1135 1235 225) 335 505 710 750 1025 STARDUST (PG-13) (135) 445 740 1035 RUSH HOUR 3 (PG-13) (1225 120 245) 355 515 615 745 850 1050 DADDY DAY CAMP (PG) (1205 220) 430 BECOMING JANE (PG) (115 400) 655 1005 UNDERDOG (PG) (1130 205) 425 650 900 THE BOURNE ULTIMATUM (PG-13) (1210 130 250) 415 525 700 810 935 NO RESERVATIONS (PG) (125) 405 650 925 THE SIMPSONS MOVIE (PG-13) (1150 215) 435 705 1010 HAIRSPRAY (PG) 640 920 I NOW PRONOUNCE YOU CHUCK & LARRY (PG-13) 645 940 HARRY POTTER & THE ORDER OF THE PHOENIX (PG-13) (1215) 315 630 930 TRANSFORMERS (PG-13) (105) 410 715 1020 RATATOUILLE (G) (1255) 345 620 855 LIVE FREE OR DIE HARD (PG-13) 300 915 EVAN ALMIGHTY (PG) (110) 340
BALLS OF FURY (PG-13) (1210 235) 450 730 955 BECOMING JANE (PG) (120) 430 735 1035 THE BOURNE ULTIMATUM (PG-13) (110) 410 710 950 DEATH AT A FUNERAL (R) - ID REQ'D (1205 230) 445 745 1020 GOYA'S GHOSTS (R) - ID REQ'D 355 940 HAIRSPRAY (PG) (100) 700 HALLOWEEN (R) - ID REQ'D (130) 435 720 1005 THE INVASION (PG-13) 345 935 MR. BEAN'S HOLIDAY (G) (140) 425 700 930 THE NANNY DIARIES (PG-13) (135) 440 725 1010 NO END IN SIGHT (NR) (1200 225) 455 740 1030 NO RESERVATIONS (PG) (1230) 635 RATATOUILLE (G) (1220) 340 RESURRECTING THE CHAMP (PG-13) 405 945 RUSH HOUR 3 (PG-13) (125) 415 645 920 STARDUST (PG-13) (1215) 350 705 1015 SUPERBAD (R) - ID REQ'D (115) 420 640 715 925 1000 TALK TO ME (R) - ID REQ'D (1225) 655 WAR (R) - ID REQ'D (105) 400 650 1025 ©2007
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HALLOWEEN
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rassed out of ourselves. And those of us that run around on a stage in one way or another doing stuff haven’t really lost that part of it. However serious it might seem and however grave or solemn or sad or tragic, even, some songs might be, there’s an element of play — dressing up, because you wear different clothes to go on stage usually than you would wear in the street, and adopting guises at different times. And of course in my case, working in different areas in music with different collaborators.” Classical, pop, rock or otherwise, you need lead and supporting roles just the same. “That’s the hierarchical nature of music . . . in a rock ’n’ roll band, there’s a singer and a rhythm section. If the rhythm section are drawing attention to themselves in every moment away from the singer, the song’s not gonna get sung, it’s not gonna get told, the story’s not gonna get over. (Classical work) really isn’t that different, it’s just the way we go about communicating is the main difference. The degree of formal training is obviously very different. But ultimately it’s with the objective of telling a story, setting a mood, representing some emotional/spiritual longing that’s in a song or in a piece of music. That’s all.” Sometimes the song tells what it wants to say. “Feeling is conveyed in music even when there aren’t words, and sometimes words are the confirmation of those.
If the composition is a really good one, the song is a good one, if you were to play it instrumentally you would get something of the sense that’s intended. I think that’s really true of the songs that I wrote with (Burt) Bacharach — I found myself looking for confirmation of what I took from the parts of the songs that he composed. . . . The music is proposing a lot of things to you, suggesting a lot of things even before you put words into it.” Success doesn’t make creating any easier. “It doesn’t seem easy to me. I think because I’ve written a lot it maybe makes it seem like it must be effortless or I have millions of songs laying around or that I write all the time, none of which would be true. I don’t think I’ve written any songs much for a couple of years, you know? I just didn’t have any occasion to write them. . . . I’m not a compulsive writer, and I don’t feel the need to write all the time. I only write when I’m moved to write.” Sometimes a breather and some fresh blood can cure a rut. “I like to make a break sometimes, and I find that I get disenchanted with the verses, the lines falling on the page in the same way all the time. If I write constantly, I stay in the same flow too much. That was one of the great advantages of working with Burt Bacharach — the different structure of the music forced me out of my convenient patterns.”
Follow your muse and don’t worry about who’s coming with you. “Well, I think I kind of got over that one the first time I came to Nashville (to make 1981 country covers album Almost Blue). I mean, if I’d worried about that then. . . . I didn’t particularly worry about it then, I just did what I felt and I’ve been doing it ever since. . . . The people that want to talk down, say what I’m doing working with orchestras, ‘Will he just come to his senses and make another Armed Forces,’ ignore the fact that you can’t go back and make the same record again — people would rightly ridicule you for trying to do that. There is an audience for all these different adventures. They sometimes are a different shape, a different constituency, and that’s the way I want it to be. I’m not trying to please all the people all the time. I’m not a megalomaniac. I’m not trying to make the biggest audience possible. I’m quite happy for there to be discreet or overlapping audiences for all these different adventures.” Times, they’re always achangin’, but some things stay true. “There’s less and less records made, records of consequence made anyway. And I’m less and less interested in recording myself — I’m much more interested in performing than I am recording right now. I don’t have any plans to record, because it doesn’t seem to be a viable business in recording anymore. The format is changing, and it may
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FROM PAGE 1D director, said the trend forecasts have to make sense to the designers, or they wouldn’t rely on them. “They don’t have to do what we suggest unless it makes sense to them,” Chow said. “And we’re not sitting in our offices tossing at dart boards” to make our predictions. On a recent window shopping trip in Tysons Corner, consumer Celia Coughlin of Fairfax, Va., said you can’t help but notice the color trends as they come and go from the marketplace, but she is generally not swayed. “I look at what would fit with what’s already in my home” rather than hopping on the latest color trend, she said. Still, she said she can use the cycles to her advantage — particularly in fashion, where col-
ors change more frequently. “I know I can get what I want a few months down the road” in clearance and overstock sales once retailers swap out one color for another, she said.
Blueswilldominate Interestingly, the two groups tend to forecast similar trends, even though their methodologies are very different. The Color Marketing Group holds semiannual conferences with hundreds of members who meet in secret and develop a consensus on long-range trends. The Color Association relies on small, hand-picked committees of eight to 12 experts. But both groups predict a continued dominance of blues in the next year or so, with a surge in metallic colors like sil-
ver and gold displacing some of the browns. Jamie Stephens, director of the Color Marketing Group, said societal and economic trends influence color trends. Several years ago, Stephens said the group predicted that increased awareness of environmental interest would spark a resurgence in greens — a trend that continues to play out. Bredenfoerder said the Beijing Olympics next year could spark a trend in reds and yellows, traditional Chinese colors. Globalization and the increasing influence of countries like China and India also play a role. Bredenfoerder said the traditional spice colors associated with India have been in vogue, and with that has come a revival of teal, a blue shade that complements them. Even politics can play a role. Bredenfoerder said he expects
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1:00 3:10 5:20 7:30 9:40 4:15 7:05 9:40 LAST LEGION PG13•DLP • 9:50 1:00 3:05 5:10 7:15 9:30 RUSH HOUR 3 PG13•DLP SUPERBAD R•DLP STARDUST PG13•DLP 1:10 4:00 7:00 9:45 1:20 4:15 7:05 9:40 5:10 7:15 9:30 UNDERDOG PG•DLP RUSH HOUR 3 PG13•DLP STARDUST PG13•DLP 1:00 3:10 5:15 (NO 7:25 9:35 THURS) 1:00 1:30 3:05 3:35 5:10 5:40 7:15 7:45 9:30 10:00 4:00 7:00 9:45 THE SIMPSONS PG13•DLP STARDUST PG13•DLP • 1:10 3:55 7:00 BOURNE ULTIMATUM PG13•DLP 1:00 3:15 5:30 7:45 10:00 4:10 7:00 9:45 NO RESERVATIONS PG•DLP UNDERDOG PG•DLP 1:15 4:10 7:00 9:45 1:05 3:05 5:05 (NO 7:05 9:05 THURS) UNDERDOG PG•DLP RATATOUILLE G•DLP 5:15 (NO 7:25 9:35 THURS) THE SIMPSONS PG13•DLP 1:20 4:05 1:00 3:15 5:30 7:45 10:00 LAUGH FACTORY R•DLP TRANSFORMERS PG13•DLP TRANSFORMERS PG13•DLP 7:00 9:45 7:45 9:45 THURSDAY 1:10 4:05 7:00 9:45 LAUGH FACTORY R•DLP 7:45 9:45 THURSDAY LAUGH FACTORY R•DLP 7:45 9:45 THURSDAY
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Even serious musicians need a little silliness. “I recorded some new melodies for some of my older songs, and for a gag I recorded them on just a cassette player. And I didn’t have a microphone so I plugged in headphones into the tape recorder, because you switch them backwards, they work as a microphone. I didn’t want to be like a Luddite, so I put them on a CDR, and I put 10 of the CDRs in 10 copies of the best of record that we released in April, and hid ’em in the shops in America, just to see whether anybody bought records anymore. And as nobody’s found ’em yet and it’s now September, I guess nobody buys records anymore. But somewhere somebody’s gonna get a little surprise one of these days . . . They’re gonna be in Wal-Mart or somewhere, and they’re gonna buy one of these records and they’re gonna discover a little free gift from me. . . . There’s not enough fun with the business of music. It’s all very serious. The record thing for as long as it’s gonna last, it needs a little mischief put back into it.”
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take a couple of years to settle down. I don’t subscribe to the idea that the Internet is everything. It’s just something. But I do think that the event of playing music in a concert and one thing being different to the next thing is very exciting still, as it has been for hundreds and hundreds of years. And recorded music has been a brief interlude in that . . . I’d rather play concerts, myself. That’s just the way I feel.”
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in 2009 that the inauguration of a new president to replace George Bush will lead to a more optimistic outlook, and will help push colors to brighter hues. Chow offered a slightly different take: The nation’s resurgent interest in politics will reinforce trends toward reds and blues, serious colors that are naturally associated with politics. At General Motors, Webb said the company used to copy the color trends in the fashion world but now takes a more sophisticated approach that allows it to get ahead of trends — particularly important for a production schedule that requires decisions to be made years in advance. It also takes a more conservative approach, looking at families of colors. If purple, for instance, is increasing in popularity, Webb looks at shades of red and blue that might capitalize on the trend in a more accessible way. “People are inevitably a bit more conservative” when selecting a car color, Webb said. “The size and proportion of a car or truck changes people’s perceptions of a particular color.”
Sagebetterthanavocado At Benjamin Moore, Horn said the company spends a lot of time tracking colors in the fashion world. “What you wear often ends up on your wall,” she said. “The colors in your closet or in your makeup box invariably will be colors chosen to end up in your home.” Certain colors invariably make comebacks in different incarnations. A new name and a slight change of shade, or pairing a color with different combinations can make a big difference. “If you call it ‘avocado,’ you can’t sell it,” Horn said, referring to the ubiquitous green appliance shade of the ’60s and ’70s. “If you call it ‘sage,’ it might sell.”