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In English writing, quotation marks or inverted commas (informally referred to as quotes or speech marks)^[1] are punctuation marks surrounding a quotation, direct speech, or a literal title or name. Quotation marks can also be used to indicate a different meaning of a word or phrase than the one typically associated with it and are often used to express irony. Quotation marks are sometimes used to provide emphasis, although this is usually considered incorrect.^[2][3]

Quotation marks are written as a pair of opening and closing marks in either of two styles: single (‘…’) or double (“…”). Opening and closing quotation marks may be identical in form (called neutral, vertical, straight, typewriter or "dumb" quotation marks), or may be distinctly left-handed and right-handed (typographic or, colloquially, curly quotation marks); see quotation mark glyphs for details. Typographic quotation marks are usually used in manuscript and typeset text. Because typewriter and computer keyboards lack keys to directly enter typographic quotation marks, much typed writing has neutral quotation marks. The “smart quotes” feature in some computer software can convert neutral quotation marks to typographic ones, but sometimes imperfectly.

The closing single quotation mark is identical or similar in form to the apostrophe and similar to the prime symbol. However, these three characters have quite different purposes. The double quotation mark is similar to, and often used to represent, the ditto mark.

History[link]

In the first centuries of typesetting, quotations were distinguished merely by indicating the speaker, and this can still be seen in some editions of the Bible. During the Renaissance, quotations were distinguished by setting in a typeface contrasting with the main body text (often Italic type with roman, or the other way around). Long quotations were also set this way, at full size and full measure.^[4]

Quotation marks were first cut in metal type during the middle of the sixteenth century, and were used copiously by some printers by the seventeenth. In some Baroque and Romantic-period books, they would be repeated at the beginning of every line of a long quotation. When this practice was abandoned, the empty margin remained, leaving the modern form of indented block quotation.^[4]

In Early Modern English, quotation marks were used only to denote pithy comments. They first began to quote direct speech in 1714. By 1749, single quotation marks, or inverted commas, were commonly used to denote direct speech.^[5]

Usage[link]

Quotations and speech[link]

Single or double quotation marks denote either speech or a quotation. Double quotes are preferred in the United States, and also tend to be preferred in Canada, Australia and New Zealand. Single quotes are more usual in the United Kingdom and South Africa, though double quotes are also common there.^[6] A publisher's or author's style may take precedence over regional general preferences. The important idea is that the style of opening and closing quotation marks must be matched:

'Good morning, Frank,' said Hal.

"Good morning, Frank," said Hal.

For speech within speech, the other style is used as inner quotation marks:

'Hal said, "Good morning, Dave,"' recalled Frank.

"Hal said, 'Good morning, Dave,'" recalled Frank.

Sometimes quotations are nested in more levels than inner and outer quotation. Nesting levels up to five can be found in the Christian Bible.^[7] In these cases, questions arise about the form (and names) of the quotation marks to be used. The most common way is to simply alternate between the two forms,^[8] thus:

"...'..."...' ... '..."...'..."

If such a passage is further quoted in another publication, then all of their forms have to be shifted up by one level.

In most cases, quotations that span multiple paragraphs should be set as block quotations, and thus do not require quotation marks. Quotation marks are used for multiple-paragraph quotations in some cases, especially in narratives. The convention in English is to give opening quotation marks to the first and each subsequent paragraph, using closing quotation marks only for the final paragraph of the quotation, as in the following example from Pride and Prejudice:

The letter was to this effect:

"My dear Lizzy,

"I wish you joy. If you love Mr. Darcy half as well as I do my dear Wickham, you must be very happy. It is a great comfort to have you so rich, and when you have nothing else to do, I hope you will think of us. I am sure Wickham would like a place at court very much, and I do not think we shall have quite money enough to live upon without some help. Any place would do, of about three or four hundred a year; but however, do not speak to Mr. Darcy about it, if you had rather not.

"Yours, etc."

As noted above, in some older texts, the quotation mark is repeated every line, rather than every paragraph. The Spanish convention uses closing quotation marks at the beginning of all subsequent paragraphs beyond the first.

When quoted text is interrupted, such as with the phrase he said, a closing quotation mark is used before the interruption, and an opening quotation mark after. Commas are also often used before and after the interruption, more often for quotations of speech than for quotations of text:

"Hal," noted Frank, "said that everything was going extremely well."

Quotation marks are not used for paraphrased speech. This is because a paraphrase is not a direct quote, and in the course of any composition, it is important to document when one is using a quotation versus when one is using a paraphrased idea, which could be open to interpretation.

If Hal says: "All systems are functional," then:

Incorrect: Hal said "everything was going extremely well."

Correct: Hal said that everything was going extremely well.

Irony[link]

Another common use of quotation marks is to indicate or call attention to ironic or apologetic words:

He shared his "wisdom" with me.

The lunch lady plopped a glob of "food" onto my tray.

Quotes indicating verbal irony, or other special use, are sometimes called scare, sneer, shock, distance, or horror quotes. They are sometimes gestured in oral speech using air quotes, or indicated in speech with a tone change or by replacement with supposed[ly] or so-called.

Signaling unusual usage[link]

Quotation marks are also used to indicate that the writer realizes that a word is not being used in its current commonly accepted sense:

Crystals somehow "know" which shape to grow into.

In addition to conveying a neutral attitude and to call attention to a neologism, or slang, or special terminology (also known as jargon), quoting can also indicate words or phrases that are descriptive but unusual, colloquial, folksy, startling, humorous, metaphoric, or contain a pun: Dawkins's concept of a meme could be described as an "evolving idea".

People also use quotation marks in this way to distance the writer from the terminology in question so as not to be associated with it, for example to indicate that a quoted word is not official terminology, or that a quoted phrase presupposes things that the author does not necessarily agree with; or to indicate special terminology that should be identified for accuracy's sake as someone else's terminology, as when a term (particularly a controversial term) pre-dates the writer or represents the views of someone else, perhaps without judgement (contrast this neutrally-distancing quoting to the negative use of scare quotes).

The Chicago Manual of Style, 15th edition,^[9] acknowledges this type of use but, in section 7.58, cautions against its overuse: "Quotation marks are often used to alert readers that a term is used in a nonstandard, ironic, or other special sense... [T]hey imply ‘This is not my term,’ or ‘This is not how the term is usually applied.’ Like any such device, scare quotes lose their force and irritate readers if overused."

Use–mention distinction[link]

Either quotation marks or italic type can emphasize that an instance of a word refers to the word itself rather than its associated concept.

Cheese is derived from milk.

"Cheese" is derived from a word in Old English.

Cheese has calcium, protein, and phosphorus.

Cheese has three e's.

A three-way distinction is occasionally made between normal use of a word (no quotation marks), referring to the concept behind the word (single quotation marks), and the word itself (double quotation marks):

When discussing 'use', use "use".

The logic for this derives from the need to distinguish use forms, coupled with the mandate to retain consistent notation for like use forms.^[10] The switching between double and single quotes in nested citation quotes reveals the same literary device for reducing ambiguity.

Writing about language often uses italics for the word itself and single quotation marks for a gloss, with the two not separated by a comma or other punctuation, and with strictly logical quotation around the gloss – extraneous terminal punctuation outside the quotation marks – even in North American publications, which might otherwise prefer them inside:^[11]

Latin ovis 'sheep', canis 'dog', and equus 'horse' are nouns.^[11]

Titles of artistic works[link]

Quotation marks, rather than italics, are generally used for the titles of shorter works. Whether these are single or double depends on the context; however, many styles, especially for poetry, prefer the use of single quotation marks.

• Short fiction, poetry, etc.: Arthur C. Clarke's "The Sentinel"
• Book chapters: The first chapter of 3001: The Final Odyssey is "Comet Cowboy"
• Articles in books, magazines, journals, etc.: "Extra-Terrestrial Relays", Wireless World, October 1945
• Album tracks, singles, etc.: David Bowie's "Space Oddity"

As a rule, a whole publication would be italicised, whereas the titles of minor works within or a subset of the larger publication (such as poems, short stories, named chapters, journal papers, newspaper articles, TV show episodes, editorial sections of websites, etc.) would be written with quotation marks.

• Shakespeare's Romeo and Juliet
• Dahl's "Taste" in Completely Unexpected Tales

Nicknames and false titles[link]

Quotation marks can also offset a nickname embedded in an actual name, or a false or ironic title embedded in an actual title; for example, Nat "King" Cole, Miles "Tails" Prower, or John "Hannibal" Smith.

Nonstandard usage[link]

Quotes are sometimes used for emphasis in lieu of underlining or italics, most commonly on signs or placards. This usage can be confused with ironic or altered-usage quotation, sometimes with unintended humor. For example, For sale: "fresh" fish, "fresh" oysters, could be construed to imply that fresh is not used with its everyday meaning, or indeed to indicate that the fish or oysters are anything but fresh. As another example, Cashiers' desks open until noon for your "convenience" could be interpreted to mean that the convenience was for the bank employees, not the customers.^[2][3]

Typographical considerations[link]

Punctuation[link]

With regard to quotation marks adjacent to periods and commas, there are two styles of punctuation in widespread use. While these two styles are most commonly referred to as "American" and "British" and some style sheets provide no other names, some American writers and organizations use the "British" style and vice versa. Both systems have the same rules regarding question marks, exclamation points, colons and semicolons. They differ on the treatment of periods and commas.

In all major forms of English, question marks and exclamation marks are placed inside or outside quoted material depending on whether they apply to the whole sentence or just the quoted portion, but colons and semicolons are always placed outside.^[12]

• Did he say, "Good morning, Dave"?
• No, he said, "Where are you, Dave?"
• There are three major definitions of the word "gender": vernacular, sociological, and linguistic.

The prevailing style in the United Kingdom—called British style,^[13] logical quotation^[14][15]—is to include within quotation marks only those punctuation marks that appeared in the quoted material but otherwise to place punctuation outside the closing quotation marks.^[15] Fowler's A Dictionary of Modern English Usage provides an early example of the rule: "All signs of punctuation used with words in quotation marks must be placed according to the sense."^[16] When dealing with words-as-words, short-form works and sentence fragments, this style places periods and commas outside the quotation marks:

• "Carefree", in general, means "free from care or anxiety".
• The name of the song was "Gloria", which many already knew.
• She said she felt "free from care and anxiety".

When dealing with direct speech, British placement depends on whether or not the quoted statement is complete or a fragment. According to the British style guide Butcher's Copy-editing, American style should be used when writing fiction.^[17] In non-fiction, some British publishers may permit placing punctuation that is not part of the person's speech inside the quotation marks but prefer that it be placed outside.^[17] Periods and commas that are part of the person's speech are permitted inside the quotation marks regardless of whether the material is fiction.^[17]

• "Today," said Cinderella, "I feel free from care and anxiety." (fiction)
• "Today", said the Prime Minister, "I feel free from care and anxiety." (preferred in non-fiction)
• "Today I feel happy," said the woman, "carefree, and well." (regardless)

In the U.S., the prevailing style is called American style,^[13] whereby commas and periods are almost always placed inside closing quotation marks.^[18] This style of punctuation is common in the U.S. and Canada, and is the style usually recommended by The Chicago Manual of Style and most other American style guides. However, many American style guides specific to certain specialties, such as legal writing and linguistics, prefer British style.^[19][20]

When dealing with words-as-words, short-form works and sentence fragments, this style places periods and commas inside the quotation marks:

• "Carefree," in general, means "free from care or anxiety."
• The name of the song was "Gloria," which many already knew.
• She said she felt "free from care and anxiety."

This style also places periods and commas inside the quotation marks when dealing with direct speech, regardless of whether the work is fiction or non-fiction:

• "Today," said Cinderella, "I feel free from care and anxiety." (fiction)
• "Today," said the Prime Minister, "I feel free from care and anxiety." (non-fiction)

Many American style guides explicitly permit periods and commas outside the quotation marks when the presence of the punctuation mark inside the quotation marks will lead to ambiguity, such as when describing keyboard input:

• To use a long dash on Wikipedia, type in "—".
• It should look like this: —

In both major styles, regardless of placement, only one end mark (?, !, or .) can end a sentence. Only the period, however, may not end a quoted sentence when it does not also end the enclosing sentence, except for literal text:^[21]

• "Hello, world," she said. (American style)
• "Hello, world", she said. (British non-fiction)
• She said, "Hello, world." (both styles)
• "Hello, world!" she exclaimed. (both styles)
• "Is there anybody out there?" she asked into the void. (both styles)

Spacing[link]

In English, when a quotation follows other writing on a line of text, a space precedes the opening quotation mark unless the preceding symbol, such as an em dash, requires that there be no space. When a quotation is followed by other writing on a line of text, a space follows the closing quotation mark unless it is immediately followed by other punctuation within the sentence, such as a colon or closing punctuation. (These exceptions are ignored by some Asian computer systems that systematically display quotation marks with the included spacing, as this spacing is part of the fixed-width characters.)

There is generally no space between an opening quotation mark and the following word, or a closing quotation mark and the preceding word. When a double quotation mark or a single quotation mark immediately follows the other, proper spacing for legibility may suggest that a non-breaking space ( ) or thin space ( ) be inserted.

So Dave actually said, "He said, 'Good morning' "?

Yes, he did say, "He said, 'Good morning.' "

This is not common practice in mainstream publishing, which will generally use more precise kerning. It is common in online writing, though using CSS to create the spacing by kerning is more semantically appropriate in Web typography than inserting extraneous spacing characters.

Non-language related usage[link]

Straight quotation marks (or italicized straight quotation marks) are often used to approximate the prime and double prime, e. g., when signifying feet and inches, arcminutes and arcseconds or minutes and seconds, where the quotation mark symbolises the latter part of the pair. For instance, 5 feet and 6 inches is often written 5' 6"; and 40 degrees, 20 arcminutes, and 50 arcseconds is written 40° 20' 50". When available, however, the prime should be used instead (e. g., 5′ 6″, and 40° 20′ 50″). Prime and double prime are not present in most code pages, including ASCII and Latin-1, but are present in Unicode, as characters U+2032 ′ prime and U+2033 ″ double prime.

Double quotation marks, or pairs of single ones, are also often used to represent the ditto mark.

Straight single and double quotation marks are used in most programming languages to delimit strings or literal characters, collectively known as string literals. In some languages (e.g. Pascal) only one type is allowed, in some (e.g. C and its derivatives) both are used with different meanings and in others (e.g. Python) both are used interchangeably. In some languages, if it is desired to include the same quotation marks used to delimit a string inside the string, the quotation marks are doubled. For example, to represent the string eat 'hot' dogs in Pascal one uses 'eat ''hot'' dogs'. Other languages use an escape character, often the backslash, as in 'eat \'hot\' dogs'.

Typing quotation marks on a computer keyboard[link]

Standard English computer keyboard layouts inherited the single and double straight quotation marks from the typewriter (the single quotation mark also doubling as an apostrophe), and they do not include individual keys for left-handed and right-handed typographic quotation marks. However, most computer text-editing programs provide a "smart quotes" feature (see below) to automatically convert straight quotation marks into typographic punctuation. Generally, this smart quote feature is enabled by default. Some websites do not allow typographic quotation marks or apostrophes in posts (one such example being YouTube). One can skirt these limitations, however, by using the HTML character codes or entities (though not on YouTube).^[22]

Smart quotes[link]

To make typographic quotation marks easier to enter, publishing software often automatically converts typewriter quotation marks (and apostrophes) to typographic form during text entry (with or without the users being aware of it). These are known as smart quotes (“ ”). Straight quotation marks are also known as dumb quotes (" ").^[25] Some word processing programs incorrectly produce an opening single quotation mark in places where an apostrophe is required, for example, in abbreviated years like ‘08 for 2008, or ‘tis for It is.

See also[link]

• ʻOkina
• Western Latin character sets (computing)
• Non-English usage of quotation marks
• Typewriter conventions
• U+02EE ˮ modifier letter double apostrophe

Notes[link]

References[link]

• Barber, Katherine, ed., The Canadian Oxford Dictionary (second ed.). Oxford University Press. 2004. ISBN 0-19-541816-6. 
• Bringhurst, Robert (2002). The Elements of Typographic Style, version 2.5. Vancouver, Hartley & Marks. ISBN 0-88179-133-4.
• Butcher, Judith (1992). Copy-editing: The Cambridge Handbook for Editors, Authors and Publishers, third edition. pp 264–266. Cambridge University Press. ISBN 0-521-40074-0.
• English Department (1999-07-26). "3.8 - Quotation Marks". University of Calgary. http://www.ucalgary.ca/UofC/eduweb/grammar/course/punctuation/3_8.htm. Retrieved 2010-12-19. 

External links[link]

Wikimedia Commons has media related to: Quotation mark

• Curling Quotes in HTML, SGML, and XML
• Quotation marks in the Unicode Common Locale Data Repository
• ASCII and Unicode quotation marks – detailed discussion of the ASCII `backquote' problem
• Commonly confused characters
• Smart Quotes
• Smart Quotes vs. Dumb Quotes
• Quotation mark
• Blog of unnecessary quotation marks on notices

This article is based on material taken from the Free On-line Dictionary of Computing prior to 1 November 2008 and incorporated under the "relicensing" terms of the GFDL, version 1.3 or later.

v t e Typography terminology Page Column Canons of page construction Margin Page numbering Pagination Pull quote Recto and verso Paragraph Alignment Justification Leading River Sentence spacing Widows and orphans Character Typeface anatomy Counter Diacritics Dingbat Glyph Initial Kerning Letter-spacing Ligature Subscript and superscript Swash Text figures Capitalization Letter case Small caps CamelCase Petite caps All caps Vertical aspects Ascender Descender Baseline Cap height Median Overshoot x-height Classifications Roman type Antiqua (Old Style) Transitional Didone (Modern) Serif Slab serif Sans-serif Script Blackletter type Textualis Rotunda Schwabacher Fraktur Gaelic type Angular Uncial Punctuation Dashes Hanging punctuation Hyphenation Quotation mark Prime mark Typesetting Calligraphy ETAOIN SHRDLU Font Computer font Font catalog Letterpress Lorem ipsum Movable type Pangram Phototypesetting Punchcutting Type design Typeface Type foundry Microtypography Typographic units Point Pica Cicero Em En Figure space Thin space Paren space Agate Measure Digital typography Font formats Typesetting software Character encoding Rasterization Hinting

Elvis Costello
Costello at the 2009 International Film Festival, Toronto, Canada.
Background information
Birth name	Declan Patrick MacManus
Also known as	D.P. Costello The Imposter Little Hands of Concrete Napoleon Dynamite D.P.A. MacManus Declan Patrick Aloysius MacManus The Right Reverend Jimmy Quickly
Born	(1954-08-25) 25 August 1954 (age 57) Paddington, London, England
Genres	Punk rock Pub rock New Wave
Occupations	Musician, singer-songwriter, record producer
Instruments	Vocals, guitar, keyboards, bass, drums
Years active	1970–present
Labels	Stiff, Radar, F-Beat, Demon, Columbia, Warner Bros., Mercury, Island, Deutsche Grammophon, Lost Highway, Verve, HearMusic, Rykodisc, Rhino, Hip-O
Associated acts	The Attractions, The Imposters, Diana Krall, Burt Bacharach, Brodsky Quartet, Nick Lowe, Madness, The Strokes,The Specials,Squeeze,
Website	Elvis Costello.com
Notable instruments
Fender Jazzmaster Fender Telecaster

Elvis Costello (born Declan Patrick MacManus, 25 August 1954) is an English singer-songwriter.^[1] He came to prominence as an early participant in London's pub rock scene in the mid-1970s and later became associated with the punk/New Wave genre.^[2][3] Steeped in word play, the vocabulary of Costello's lyrics is broader than that of most popular songs. His music has drawn on many diverse genres; one critic described him as a "pop encyclopaedia", able to "reinvent the past in his own image".^[4]

Costello has won multiple awards in his career, including a Grammy Award, and has twice been nominated for the Brit Award for Best British Male.^[5] In 2003, Elvis Costello & the Attractions were inducted into the Rock and Roll Hall of Fame.^[6] In 2004, Rolling Stone ranked Costello number 80 on their list of the 100 Greatest Artists of All Time.^[7]

Early life[link]

Costello was born Declan Patrick MacManus^[8] in St Mary's Hospital, London, the son of Lilian Alda (née Ablett, b. 1927, Liverpool)^[9] and Ross MacManus (1927–2011), a musician and bandleader.^[10] He is of Irish heritage.^[11] Costello lived in Twickenham, attending Hounslow Secondary Modern School, which is now St Mark's Catholic Secondary School, in neighbouring Hounslow.^[12][13] With a musically inclined father (who was a jazz trumpeter and sang with The Joe Loss Orchestra),^[14] Costello's first broadcast recording was alongside his dad in a television commercial for R. White's Lemonade (I'm a Secret Lemonade Drinker). His father wrote and sang the song; Costello provided backing vocals. The advertisement won a silver award at the 1974 International Advertising Festival.

Costello moved with his Liverpool-born mother to Birkenhead in 1971. There, he formed his first band, a folk duo called Rusty, with Allan Mayes. After completing secondary school at St. Francis Xavier's College, he moved back to London where he next formed a band called Flip City,^[15] which had a style in the pub rock vein. They were active from 1974 through to early 1976. Around this time, Costello adopted the stage name D.P. Costello. His father had performed under the name Day Costello, and Elvis has said in interviews that he took this name as a tribute to his father.

To support himself, he worked at a number of office jobs, most famously at Elizabeth Arden – immortalised in the lyrics of "I'm Not Angry" as the "vanity factory" – where he worked as a data entry clerk. He worked for a short period as a computer operator at the Midland Bank computer centre in Bootle. He continued to write songs, and began actively looking for a solo recording contract. On the basis of a demo tape, he was signed to independent label Stiff Records. His manager at Stiff, Jake Riviera, suggested a name change, combining Elvis Presley's first name and Costello, his father's stage name.^[16]

Career[link]

1970s[link]

Costello's first single for Stiff was "Less Than Zero", released on 25 March 1977. Two months later, his debut album, My Aim Is True (1977), was released to moderate commercial success (No. 14 in the UK and, later, Top 40 in the US) with Costello appearing on the cover in what became his trademark oversize glasses, bearing some resemblance to Buddy Holly. Stiff's records were initially distributed only in the UK, which meant that Costello's first album and singles were initially available in the US as imports only. In an attempt to change this, Costello was arrested for busking outside a London convention of CBS Records executives, protesting that no US record company had yet seen fit to release his records in the United States.^[17] Costello signed to CBS's Columbia Records label in the US a few months later.

The backing for Costello's debut album was provided by American West Coast band Clover, a country outfit living in England whose members would later go on to join Huey Lewis and the News and The Doobie Brothers. Later in 1977, Costello formed his own permanent backing band, The Attractions, consisting of Steve Nieve (born Steve Nason; piano), Bruce Thomas (bass guitar), and Pete Thomas (drums; unrelated to Bruce Thomas). Growing antipathy between Costello and Bruce Thomas contributed to the Attractions' first split in 1986, and the rift was exacerbated by what Costello felt was his unflattering portrayal in Thomas' 1990 roman à clef The Big Wheel. Despite this, the original group reunited for the 1994 album Brutal Youth and toured together over the next two years, but split for good in 1996, although Nieve and Pete Thomas continued to back Costello through various touring and recording line-ups and as of 2011 are still members of his current backing group The Imposters. The split between Costello and Bruce Thomas appears permanent, however; Bruce made a brief appearance with his former bandmates when the group was inducted into the Rock & Roll Hall of Fame in 2003, but when Costello was asked why Bruce did not play with them at the event, he reportedly replied, "I only work with professional musicians."

Costello released his first major hit single, "Watching the Detectives", which was recorded with Nieve and the pair of Steve Goulding (drums) and Andrew Bodnar (bass), both members of Graham Parker's backing band The Rumour (whom he had used to audition for The Attractions).

Elvis Costello, in Massey Hall, Toronto, April 1979

On 17 December 1977, Costello and The Attractions appeared as the musical guest act on the episode of Saturday Night Live as a last minute fill-in for the Sex Pistols. Scheduled to play "Less Than Zero", he surprised the SNL crew by abruptly stopping the song mid-intro, and launching into "Radio Radio." Following a whirlwind tour with other Stiff artists – captured on the Live Stiffs album, notable for Costello's recording of the Burt Bacharach/Hal David standard "I Just Don't Know What to Do With Myself" – the band recorded This Year's Model (1978). Some of the more popular tracks include the British hit "(I Don't Want to Go To) Chelsea" and "Pump It Up." His U.S. record company saw Costello as such a priority that his last name replaced the word Columbia on the label of the disc's original pressing. The Attractions' first tour of Australia in December 1978 was notable for controversial performance at Sydney's Regent Theatre when, angered by the group's failure to perform an encore after their brief 35-minute set, audience members destroyed some of the seating.^[18]

A tour of the U.S. and Canada also saw the release of the much-bootlegged Canadian promo-only Live at the El Mocambo, recorded at a Toronto rock club, which finally saw an official release as part of the 2½ Years box set in 1993. It was during the ensuing United States tour that Costello met and developed a relationship with former Playboy model Bebe Buell. Their on-again-off-again courtship would last until 1984 and would allegedly become a deep well of inspiration for Costello's songwriting.

In 1979, he released his third LP Armed Forces (originally to have been titled Emotional Fascism, a phrase that appeared on the LP's inner sleeve). Both the album and the single "Oliver's Army" went to No. 2 in the UK, and the opening track "Accidents Will Happen" gained wide television exposure thanks to its innovative animated music video, directed by Annabel Jankel and Rocky Morton. Costello also found time in 1979 to produce the debut album for the 2 Tone ska revival band The Specials.

Costello's standing in the U.S. was bruised for a time when in March 1979, during a drunken argument with Stephen Stills and Bonnie Bramlett in a Columbus, Ohio Holiday Inn bar, the singer referred to James Brown as a "jive-ass nigger", then upped the ante by pronouncing Ray Charles a "blind, ignorant, nigger".^[19][20] Costello apologised at a New York City press conference a few days later, claiming that he had been drunk and had been attempting to be obnoxious in order to bring the conversation to a swift conclusion, not anticipating that Bramlett would bring his comments to the press. According to Costello, "it became necessary for me to outrage these people with about the most obnoxious and offensive remarks that I could muster." In his liner notes for the expanded version of Get Happy!!, Costello writes that some time after the incident he had declined an offer to meet Charles out of guilt and embarrassment, though Charles himself had forgiven Costello saying "Drunken talk isn't meant to be printed in the paper." Costello worked extensively in Britain's Rock Against Racism campaign both before and after the incident. The incident inspired his Get Happy!! song "Riot Act."^[21]

Costello is also an avid country music fan and has cited George Jones as his favourite country singer. In 1977, he appeared in Jones' duet album My Very Special Guests, contributing "Stranger in the House", which they later performed together on an HBO special dedicated to Jones.

1980s[link]

The soul-infused Get Happy!! would be the first, and—along with King of America–possibly most successful, of Costello's many experiments with genres beyond those he is normally associated with. The single, "I Can't Stand Up for Falling Down" was an old Sam and Dave song (though Costello increased the tempo considerably). Lyrically, the songs are full of Costello's signature word play, to the point that he later felt he had become something of a self-parody and toned it down on later releases; he has mockingly described himself in interviews as "rock and roll's Scrabble champion." His only 1980 appearance in North America was at the Heatwave festival in August near Toronto.

In 1981, the band released Trust amidst growing tensions within the band, particularly between Bruce and Pete Thomas. In the U.S., the single "Watch Your Step" was released and played live on Tom Snyder's Tomorrow show, and received airplay on FM rock radio. In the UK, the single "Clubland" scraped the lower reaches of the charts; follow-up single "From a Whisper to a Scream" (a duet with Glenn Tilbrook of Squeeze) became the first Costello single in over four years to completely miss the charts. Costello also co-produced Squeeze's popular 1981 album East Side Story (with Roger Bechirian) and also performed backing vocals on the group's hit single "Tempted".

Following Trust, Costello released Almost Blue, an album of country music cover songs written by the likes of Hank Williams ("Why Don't You Love Me (Like You Used to Do?)"), Merle Haggard ("Tonight the Bottle Let Me Down") and Gram Parsons ("How Much I Lied"). The album was a tribute to the country music he had grown up listening to, especially George Jones. It received mixed reviews. The first pressings of the record in the UK bore a sticker with the message: "WARNING: This album contains country & western music and may cause a radical reaction in narrow minded listeners." Almost Blue did spawn a surprise UK hit single in a version of George Jones' "Good Year for the Roses" (written by Jerry Chesnut), which reached #6.

Imperial Bedroom (1982) marked a much darker sound, due in part to the production of Geoff Emerick, famed for engineering several Beatles records. Imperial Bedroom remains one of his most critically acclaimed records, but again failed to produce any hit singles. Costello has said he disliked the marketing pitch for the album. The album also featured Costello's song "Almost Blue"; jazz singer and trumpeter Chet Baker would later perform and record a version of this song.

In 1983, he released Punch the Clock, featuring female backing vocal duo (Afrodiziak) and a four-piece horn section (The TKO Horns), alongside The Attractions. Clive Langer (who co-produced with Alan Winstanley), provided Costello with a melody which eventually became "Shipbuilding", which featured a trumpet solo by Chet Baker. Prior to the release of Costello's own version, a version of the song was a minor UK hit for former Soft Machine drummer Robert Wyatt.

Under the pseudonym The Imposter, Costello released "Pills and Soap", an attack on the changes in British society brought on by Thatcherism, released to coincide with the run-up to the 1983 UK general election. Punch the Clock also generated an international hit in the single "Everyday I Write the Book", aided by a music video featuring lookalikes of the Prince and Princess of Wales undergoing domestic strife in a suburban home. The song became Costello's first Top 40 hit single in the U.S. Also in the same year, Costello provided vocals on a version of the Madness song "Tomorrow's Just Another Day" released as a B-side on the single of the same name.

Tensions within the band—notably between Costello and bassist Bruce Thomas—were beginning to tell, and Costello announced his retirement and the break-up of the group shortly before they were to record Goodbye Cruel World (1984). Costello would later say of this record that they had "got it as wrong as you can in terms of the execution". The record was poorly received upon its initial release; the liner notes to the 1995 Rykodisc re-release, penned by Costello, begin with the words "Congratulations!, you've just purchased our worst album". Costello's retirement, although short-lived, was accompanied by two compilations, Elvis Costello: The Man in the UK, Europe and Australia, and The Best of Elvis Costello & The Attractions in the U.S.

In 1985, he appeared in the Live Aid benefit concert in England, singing the Beatles' "All You Need Is Love" as a solo artist. (The event was overrunning and Costello was asked to "ditch the band".) Costello introduced the song as an "old northern English folk song", and the audience was invited to sing the chorus. In the same year Costello teamed up with friend T-Bone Burnett for the single "The People's Limousine" under the moniker of The Coward Brothers. That year, Costello also produced Rum Sodomy & the Lash for the Irish punk/folk band The Pogues.

By 1986, Costello was preparing to make a comeback. Working in the U.S. with Burnett, a band containing a number of Elvis Presley's sidemen (including James Burton and Jerry Scheff), and minor input from the Attractions, he produced King of America, an acoustic guitar-driven album with a country sound. It was billed as by "The Costello Show featuring the Attractions and Confederates" in the UK and Europe and "The Costello Show featuring Elvis Costello" in North America. Around this time he legally changed his name back to Declan MacManus, adding Aloysius as an extra middle name. Costello retooled his upcoming tour to allow for multiple nights in each city, playing one night with The Confederates (James Burton et al.), one night with The Attractions, and one night solo acoustic. In May 1986, Costello performed at Self Aid, a benefit concert held in Dublin that focused on the chronic unemployment which was widespread in Ireland at that time.

Later that year, Costello returned to the studio with the Attractions and recorded Blood and Chocolate, which was lauded for a post-punk fervour not heard since 1978's This Year's Model. It also marked the return of producer Nick Lowe, who had produced Costello's first five albums. While Blood and Chocolate failed to chart a hit single of any significance, it did produce what has since become one of Costello's signature concert songs, "I Want You." On this album, Costello adopted the alias Napoleon Dynamite, the name he later attributed to the character of the emcee that he played during the vaudeville-style tour to support Blood and Chocolate. (The pseudonym had previously been used in 1982, when the B-side single "Imperial Bedroom" was credited to Napoleon Dynamite & The Royal Guard, and was later appropriated by the 2004 film Napoleon Dynamite). In 1989, Costello, with a new contract with Warner Bros., released Spike, which spawned his biggest single in America, the Top 20 hit "Veronica", one of several songs Costello co-wrote with Paul McCartney in that period (see Collaborations).

1990s[link]

In 1991, having grown a long beard, Costello released Mighty Like a Rose, which featured the single "The Other Side of Summer." He also found time to co-compose and co-produce, with Richard Harvey, the title and incidental music for the mini-series G.B.H. by Alan Bleasdale. This entirely instrumental, and largely orchestral, soundtrack garnered a BAFTA, for Best Music for a TV Series for the pair.

In 1993, Costello experimented with classical music with a critically acclaimed collaboration with the Brodsky Quartet^[22][23] on The Juliet Letters. During this period, Costello wrote a full album's worth of material for Wendy James, and these songs became the tracks on her 1993 solo album Now Ain't the Time for Your Tears. Costello returned to rock and roll the following year with a project that reunited him with The Attractions, Brutal Youth. In 1995, Costello released Kojak Variety, an album of cover songs recorded five years earlier, and followed in 1996 with an album of songs originally written for other artists, All This Useless Beauty. This was the final album of original material that he issued under his Warner Bros. contract. In the spring of 1996, Costello played a series of intimate club dates, backed only by Nieve on the piano, in support of All This Useless Beauty. An ensuing summer and fall tour with the Attractions proved to be the death knell for the band. With relations between Costello and bassist Bruce Thomas at a breaking point, Costello announced that the current tour would be the Attractions' last. The quartet performed their final U.S. show in Seattle, Washington on 1 September 1996, before wrapping up their tour in Japan. To fulfill his contractual obligations to Warner Bros., Costello released a greatest hits album titled Extreme Honey (1997). It contained an original track titled "The Bridge I Burned", featuring Costello's son, Matt, on bass. In the intervening period, Costello had served as artistic chair for the 1995 Meltdown Festival, which gave him the opportunity to explore his increasingly eclectic musical interests. His involvement in the festival yielded a one-off live EP with jazz guitarist Bill Frisell, which featured both cover material and a few of his own songs.

In 1998, Costello signed a multi-label contract with Polygram Records, sold by its parent company the same year to become part of the Universal Music Group. Costello released his new work on what he deemed the suitable imprimatur within the family of labels. His first new release as part of this contract involved a collaboration with Burt Bacharach. Their work had commenced earlier, in 1996, on a song called "God Give Me Strength" for the movie Grace of My Heart. This led the pair to write and record the critically acclaimed album Painted From Memory, released under his new contract in 1998, on the Mercury Records label, featuring songs that were largely inspired by the dissolution of his marriage to Cait O'Riordan. Costello and Bacharach performed several concerts with a full orchestral backing, and also recorded an updated version of Bacharach's "I'll Never Fall in Love Again" for the soundtrack to Austin Powers: The Spy Who Shagged Me, with both appearing in the film to perform the song. He also wrote "I Throw My Toys Around" for The Rugrats Movie and performed it with No Doubt. The same year, he collaborated with Paddy Moloney of The Chieftains on "The Long Journey Home" on the soundtrack of the PBS/Disney mini-series of the same name. The soundtrack won a Grammy that year.

In 1999, Costello contributed a version of "She", released in 1974 by Charles Aznavour and Herbert Kretzmer, for the soundtrack of the film Notting Hill, with Trevor Jones producing. For the 25th anniversary of Saturday Night Live, Costello was invited to the program, where he re-enacted his abrupt song-switch: This time, however, he interrupted the Beastie Boys' "Sabotage", and they acted as his backing group for "Radio Radio".

2000 to present[link]

Costello performing at Glastonbury, 2005

In 2000, Costello appeared at the Town Hall Theatre, New York, in Steve Nieve's opera Welcome to the Voice, alongside Ron Sexsmith and John Flansburgh of They Might Be Giants. In 2001, Costello was artist-in-residence at UCLA and wrote the music for a new ballet. He produced and appeared on an album of pop songs for the classical singer Anne Sofie von Otter. He released the album When I Was Cruel in 2002 on Island Records, and toured with a new band, the Imposters (essentially the Attractions but with a different bass player, Davey Faragher, formerly of Cracker). He appeared as himself in the "How I Spent My Strummer Vacation" episode of The Simpsons. On 23 February 2003, Costello, along with Bruce Springsteen, Steve Van Zandt, and Dave Grohl, performed a version of The Clash's "London Calling" at the 45th Grammy Awards ceremony, in honour of Clash frontman Joe Strummer, who had died the previous December. In March, Elvis Costello & the Attractions were inducted into the Rock and Roll Hall of Fame. He announced his engagement in May to Canadian jazz singer and pianist Diana Krall, whom he had seen in concert and then met backstage at the Sydney Opera House in Australia. That September, he released North, an album of piano-based ballads concerning the breakdown of his former marriage, and his falling in love with Krall. Also that year, Costello made an appearance in the television series Frasier as a folk singer in the Cafe Nervosa, sending Frasier and Niles on a search for a new coffee bar.^[24][25]

The song "Scarlet Tide" (co-written by Costello and T-Bone Burnett and used in the film Cold Mountain) was nominated for a 2004 Academy Award; he performed it at the awards ceremony with Alison Krauss, who sang the song on the official soundtrack. Costello co-wrote many songs on Krall's 2004 CD, The Girl in the Other Room, the first of hers to feature several original compositions. In July 2004, Costello's first full-scale orchestral work, Il Sogno, was performed in New York. The work, a ballet after Shakespeare's A Midsummer Night's Dream, was commissioned by Italian dance troupe Aterballeto, and received critical acclaim from the classical music critics. Performed by the London Symphony Orchestra, conducted by Michael Tilson Thomas, the recording was released on CD in September by Deutsche Grammophon. Costello released the album The Delivery Man, recorded in Oxford, Mississippi, and released on Lost Highway Records, in September of the same year, and it was hailed as one of his best albums.

Costello's hand prints on the European Walk of Fame, Rotterdam.

A CD recording of a collaboration with Marian McPartland on her show Piano Jazz was released in 2005. It featured Costello singing six jazz standards and two of his own songs, accompanied by McPartland on piano. In November, Costello started recording a new album with Allen Toussaint and producer Joe Henry. The River in Reverse was released in the UK on the Verve label the following year in May.

A 2005 tour included a gig at Glastonbury that Costello considered to be so dreadful that he said "I don't care if I ever play England again. That gig made up my mind I wouldn't come back. I don't get along with it. We lost touch. It's 25 years since I lived there. I don't dig it, they don't dig me....British music fans don't have the same attitude to age as they do in America, where young people come to check out, say Willie Nelson. They feel some connection with him and find a role for that music in their lives."^[26]

In a studio recording of Nieve's opera Welcome to the Voice (2006, Deutsche Grammophon), Costello interpreted the character of Chief of Police, with Barbara Bonney, Robert Wyatt, Sting and Amanda Roocroft, and the album reached No. 2 in the Billboard classical charts. Costello later reprised the piece on the stage of the Théâtre du Châtelet in Paris in 2008, with Sting, Joe Sumner of Fiction Plane (Sting's son) and Sylvia Schwartz. Also released in 2006 was a live recording of a concert with the Metropole Orkest at the North Sea Jazz Festival, entitled My Flame Burns Blue. The soundtrack for House M.D. featured Costello's interpretation of "Beautiful" by Christina Aguilera, with the song appearing in the second episode of Series 2.

Costello was commissioned to write a chamber opera by the Danish Royal Opera, Copenhagen, on the subject of Hans Christian Andersen's infatuation with Swedish soprano Jenny Lind. Called The Secret Songs it was unfinished.^[27] In a performance in 2007 directed by Kasper Bech Holten at the Opera's studio theatre (Takelloftet), finished songs were interspersed with pieces from Costello's 1993 collaborative classical album The Juliet Letters, featuring Danish soprano Sine Bundgaard as Lind. The 2009 album Secret, Profane & Sugarcane includes material from Secret Songs.

On 22 April 2008, Momofuku was released on Lost Highway Records, the same imprint that released The Delivery Man, his previous studio album. The album was, at least initially, released exclusively on vinyl (with a code to download a digital copy). That summer, in support of the album, Costello toured with The Police on the final leg of their 2007/2008 Reunion Tour. Costello played a homecoming gig at the Liverpool Philharmonic Hall on 25 June 2006.^[28] and, that month, gave his first performance in Poland, appearing with The Imposters for the closing gig of the Malta theatre festival in Poznań.

In July 2008, Costello (as Declan McManus) was awarded an honorary degree of Doctor of Music from the University of Liverpool.

From late 2008 into 2010, Costello hosted Channel 4/CTV's series Spectacle in which Costello talked and performed with stars in various fields, styled similarly to Inside the Actors Studio. Between its two seasons, the show compiled 20 episodes, including one where Costello was interviewed by actress Mary-Louise Parker.^[29]

Costello was featured on Fall Out Boy's 2008 album Folie à Deux, providing vocals on the track "What a Catch, Donnie", along with other artists who are friends with the band.

Costello appeared in Stephen Colbert's television special A Colbert Christmas: The Greatest Gift of All. In the program, he was eaten by a bear, but later saved by Santa Claus; he also sang a duet with Colbert. The special was first aired on 23 November 2008.^[30] Costello released Secret, Profane & Sugarcane, a collaboration with T-Bone Burnett, on 9 June 2009. Burnett previously worked with Costello on King of America and Spike.^[31] It was his first on the Starbucks Hear Music label and a return to country music in the manner of Good Year for the Roses.

Costello performing in tribute to music legends Chuck Berry and Leonard Cohen who were the recipients of the first annual PEN Awards for songwriting excellence, at the JFK Presidential Library, in Boston, Massachusetts on 26 February 2012.

Costello appeared as himself in the finale of the third season of 30 Rock and sang in the episode's celebrity telethon, Kidney Now!.^[32] The episode references Costello's given name when Jack Donaghy accuses him of concealing his true identity: "Declan McManus, international art thief."

In May 2009, Costello made a surprise cameo appearance on-stage at the Beacon Theater in New York as part of Spinal Tap's Unwigged and Unplugged show, singing their fictional 1965 hit "Gimme Some Money" with the band backing him up.

On 15 May 2010, Costello announced he would withdraw from a concert performed in Israel in opposition to Israel's treatment of Palestinians. In a statement on his website, Costello wrote, "It has been necessary to dial out the falsehoods of propaganda, the double game and hysterical language of politics, the vanity and self-righteousness of public communiqués from cranks in order to eventually sift through my own conflicted thoughts."^[33]

Also in 2010, Elvis Costello appeared as himself in David Simon's television series, Treme.^[34] Costello released the album National Ransom in autumn of 2010.

In 2011, Elvis Costello appeared as himself once again, this time on Sesame Street to perform a song with Elmo and Cookie Monster, titled "Monster Went and Ate My Red 2", a play on (The Angels Wanna Wear My) Red Shoes. The same year, Costello performed "Taken for a Fool", live from Madison Square Garden with The Strokes.

On 26 February 2012, Costello paid tribute to music legends Chuck Berry and Leonard Cohen who were the recipients of the first annual PEN Awards for songwriting excellence, at the JFK Presidential Library, in Boston, Massachusetts on 26 February 2012.^[35]

Personal life[link]

Costello has been married three times, the first time to Mary Burgoyne in 1974, with whom he had a son.^[26]

In 1985, Costello became involved with Cait O'Riordan, former bassist for the English/Irish group The Pogues, while he was producing The Pogues' album Rum Sodomy and the Lash.^{[citation needed]} They married in 1986 and split up by the end of 2002.^[26]

Costello became engaged to pianist Diana Krall in May 2003,^[26] and married her at the home of Elton John on 6 December that year.^[36] Krall gave birth to twin sons, Dexter Henry Lorcan and Frank Harlan James, on 6 December 2006 in New York City.^[37]

A vegetarian since the early 1980s, Costello says he was moved to reject meat after seeing the documentary The Animals Film (1982), which also helped inspire his song "Pills and Soap" (from Punch the Clock, 1983).^[14]

Humanitarian causes[link]

Costello sits on the Advisory Board of the Board of Directors of the Jazz Foundation of America.^[38][39] Costello began working with the Jazz Foundation in 2001, and has been a featured performer in their annual benefit A Great Night in Harlem^[40] since 2006. Costello has donated his time working with the Jazz Foundation of America^[41] to save the homes and the lives of America's elderly jazz and blues musicians, including musicians who survived Hurricane Katrina.

Collaborations[link]

In addition to his major recorded collaborations with Bacharach, the Brodsky Quartet, and von Otter, Costello has frequently been involved in other collaborations.

In 1987, Costello began a long-running songwriting collaboration with Paul McCartney. They wrote a number of songs together, including:

• "Back On My Feet", the B-side of McCartney's 1987 single "Once Upon a Long Ago", later added as a bonus track on the 1993 re-issue of McCartney's Flowers in the Dirt
• Costello's "Veronica" and "Pads, Paws and Claws" from Spike (1989) (Also, McCartney plays Hofner bass but does not have a writing credit for "This Town" – the opening song for the album.)
• "So Like Candy" and "Playboy to a Man" from Mighty Like a Rose (1991)
• McCartney's "My Brave Face", "Don't Be Careless Love", "That Day Is Done" and "You Want Her Too" from Flowers in the Dirt (1989)
• "The Lovers That Never Were" and "Mistress and Maid" from Off the Ground (1993).
• "Shallow Grave" from All This Useless Beauty (1996).

Costello talked about their collaboration:

When we sat down together he wouldn't have any sloppy bits in there. That was interesting. The ironic part is, if it sounds like he wrote it, I probably did and vice versa. He wanted to do all the ones with lots of words and all on one note, and I'm the one trying to work in the "Please Please Me" harmony all over the place.^{[citation needed]}

• In 1987, he appeared on the HBO special Roy Orbison and Friends, A Black and White Night, which featured his long-time idol Roy Orbison, and was invited back to Saturday Night Live for the first time since 1977.

• In 1988, Costello co-wrote "At the Other End (of the Telescope)" with Aimee Mann; this song appears on the Til Tuesday album Everything's Different Now.

• In 2000, Costello wrote lyrics to "Green Song", a solo cello piece by Svante Henryson; this song appears on the Anne Sofie von Otter album For the Stars.

• In 2005, Costello performed with Green Day frontman Billie Joe Armstrong. They played both Costello and Green Day songs together, including "Alison", "No Action", "Basket Case" and "Good Riddance (Time of Your Life)".

• In 2007, Costello collaborated with the Argentinean/Uruguay an electro-tango band Bajofondo on the song "Fairly Right" from the album Mar Dulce.

• In 2008, Costello collaborated with Fall Out Boy on the track "What a Catch, Donnie" from their album Folie a Deux.

• In Jenny Lewis' 2008 release, Acid Tongue, Costello provided vocals for the song "Carpetbaggers".

• In November 2009, Costello appeared live with Bruce Springsteen and the E Street Band at Madison Square Garden and performed the Jackie Wilson song, Higher and Higher.^[42]

• In December 2009, it was announced that Costello would be portraying The Shape in the upcoming album Ghost Brothers of Darkland County, a collaboration between rock singer John Mellencamp and novelist Stephen King.^[43]

• In February 2010, Costello appeared in the live cinecast of Garrison Keillor's Prairie Home Companion, singing some of his own songs, and participating in many of the show's other musical and acting performances.

• In April 2011, played the song "Taken For a Fool" with The Strokes in Madison Square Garden.

• On 30 April 2011, played the song "Pump it Up" with The Odds before the start of a Vancouver Canucks playoff game at Rogers Arena in Vancouver BC.^[44]

Artistic significance[link]

Costello has worked with Paul McCartney, Tony Bennett, Lucinda Williams, Kid Rock, Lee Konitz, Brian Eno, and Rubén Blades.

Costello is also a music fan, and often champions the works of others in print. He has written several pieces for the magazine Vanity Fair, including the summary of what a perfect weekend of music would be. He has contributed to two Grateful Dead tribute albums and covered Jerry Garcia/Robert Hunter tunes such as "Ship of Fools", "Friend of the Devil", "It Must Have Been the Roses", "Ripple" and "Tennessee Jed" in concert. His collaboration with Bacharach honoured Bacharach's place in pop music history. Costello also appeared in documentaries about singers Dusty Springfield, Brian Wilson, Wanda Jackson, Ron Sexsmith and Memphis, Tennessee-based Stax Records. He has also interviewed one of his own influences, Joni Mitchell. He was instrumental in bringing Sexsmith to a wider audience in 1995 by championing his debut album in Mojo magazine, even appearing on the cover with the album.^[45]

In 2004, Rolling Stone Magazine ranked him No. 80 on their list of the 100 Greatest Artists of All Time.^[46][47]

Discography[link]

Costello has released over 30 studio albums on his own and with the Attractions, the Imposters, or others. He has also released five live albums: Live at the El Mocambo, Deep Dead Blue, Costello & Nieve, My Flame Burns Blue, Live at Hollywood High, and The Return Of The Spectacular Spinning Songbook. There have also been numerous compilations, box sets, and reissues by labels such as Rykodisc, Demon, Rhino, and Universal Music Enterprises.

Filmography[link]

Actor[link]

• 1979 film debut as "The Earl of Manchester" in Americathon
• 1984 as "Henry Scully" in the UK TV series, Scully
• 1984 as "Stone Deaf A&R Man" in "The Bullshitters", a Comic Strip film first aired on Channel 4.
• 1985 as inept magician "Rosco de Ville" in the Alan Bleasdale film, No Surrender
• 1987 as "Hives the Butler" in the Alex Cox film, Straight to Hell, starring Joe Strummer and Courtney Love
• 1994 as himself on The Larry Sanders Show in the episode "People's Choice"
• 1997 as a barman in Spice World.
• 1999 as himself performing "I'll Never Fall In Love Again" with Burt Bacharach in Austin Powers: The Spy Who Shagged Me
• 1999 as a younger version of himself in 200 Cigarettes
• 2001 as himself performing "Fly Me to the Moon" on the series finale of 3rd Rock from the Sun
• 2002 as himself on the episode "How I Spent My Strummer Vacation" of The Simpsons
• 2003 as Ben on Frasier, one episode
• 2004 as himself in the UK TV Dead Ringers New Year Special, apparently and reportedly having serendipitously entered a filming venue^[48]
• 2004 as himself in Two and a Half Men – Season 2, Episode 1^[49]
• 2006 as himself in Delirious
• 2006 as himself in Talladega Nights: The Ballad of Ricky Bobby
• 2008 as himself in "A Colbert Christmas: The Greatest Gift of All!"
• 2009 as himself on the episode of 30 Rock, "Kidney Now!"^[50]
• 2010 as himself on Treme

Soundtrack[link]

• 2003 Academy Award nomination for best original song, "The Scarlet Tide", in Cold Mountain

Bibliography[link]

• Costello, Elvis. A Singing Dictionary. London: Plangent Visions Music; New York, N.Y.: Exclusive selling agent for the United States and Canada, Warner Bros. Publications, 1980. ISBN 0-7692-1505-X. Sheet music, chords, and lyrics for works 1977–1980.

References[link]