Leo,
in my last message to you I told you about my Ducks Deluxe reunion trip
to
London last week. I also told you about one on the other shows I went to,
JD
Souther at Dingwalls: Did I say I liked it a lot? Did I tell you about me
taking part in the New Kid In Town sing-a-long?
Since I'm looking forward to Oct -09, I beg you please not to tell anyone
on
the list about my lapse. Hope you can keep it for yourself.
I raise the MM cover: "Now I realize I made a mistake. What I did was
wrong
and promise not to do such a thing again."
/Per
----- Original Message -----
From: "Leo Casey" <LeoCasey@comcast.net>
To: <tv@obbard.com>
Sent: Friday, October 19, 2007 9:24 PM
Subject: (TV) I'll See You, & Raise You a Non-Eagles Album Cover / RE:
Open
Invitation for Oct. 2009 in NYC / RE: (TV) Modest Proposal
> Keith wrote:
>> And a further suggestion, of interest to all TV fans who are,
>> naturally,
>> also scholars of The Eagles and their profound insights, another
>> topic
>> for discussion:
>> http://www.fstdt.com/fundies/comments.aspx?id=30087
>
> I'll see you and raise you a non-Eagles album cover:
>
> Robert Mapplethorpe had taken several shots of the band at a photo
> session
> in his studio and Verlaine and Lloyd chose one for the album cover.
> What
> Verlaine wanted, though, was something less professional than a
> straightforward print--he wanted to use a colour Xerox. Mapplethorpe
> was
> surprised--colour Xerox printing had not been used for album cover
> artwork
> before--but he liked the idea and agreed to try it. The innovatory
> approach
> brought striking results--an image that once more mythologized the
> band,
> as
> Richard Hell had once done. Now, though, they were presented, not as
> literate street punks, but as creatures of the New York underworld,
> with
> veins bulging from their skin, caught by bright lights in the night.
>
> The 'nocturnal' cover of 'Marquee Moon' reinforces the presence of the
> night
> on the album itself (five of its eight songs are at least partly set
> during
> the hours of darkness). Verlaine thought of himself as "...basically a
> night person" and, although this was partly a matter of his natural
> sensibility, it sprang also from necessity: "Living in New York you
> become
> very night-oriented. Especially in the summers, when it gets so hot
> and
> the
> streets get so dirty."
>
> The inspiration that Verlaine took from New York was very much tied up
> with
> its nature as the 'city that never sleeps', a place where nocturnal
> life
> often outdid its daytime equivalent in energy, excitement and beauty.
>
> Verlaine and Fred Smith appear in this cover image dressed in black and
> somber blues, against the electric blue of the background, while Lloyd
> and
> Ficca stand together, almost at attention, in red. Smith holds his
> arms
> against his body, but Verlaine's huge hands seem caught in an almost
> messianic gesture. While the rest of the band stare at the camera,
> Verlaine's eyes aim higher, and are focused on a point above it. (On
> the
> sleeve of the reissued album of 2003, there is a round circle of light
> above
> Smith's head, a tiny, ghostly 'marquee moon', not visible on the
> original
> cover.)
>
> It is a cover that creates an immediate, vivid impression of the band
> and
> their music, an impression that is developed on the inner sleeve. Here
> the
> band are pictured playing in near darkness against a brick wall with
> covered
> windows, as if buried deep in the city (the shot was actually taken in
> Terry
> Ork's loft). Their equipment is simple and unostentatious and the
> emphasis
> is on the guitars and on Verlaine and Lloyd, who are seated rather than
> standing. The impression is of people not just playing rock and roll,
> but
> creating art, too. Lloyd looks straight at Verlaine here (as does Fred
> Smith) but Verlaine, who seems at first glance to be looking back at
> Lloyd,
> could be staring just above his head.
>
> For the back of the album's sleeve, Verlaine had told the art director
> that
> he wanted "...some corny, weird spirally shape" like an advertisement
> he
> had seen in sixth grade for a toy called the "hypno-eye". With this
> toy,
> he
> said, "...when you pressed a button... [it] looked like an eye was
> swirling". A week later, he recounted, "...all this demo artwork
> showed
> up
> in the mail from these different L.A. artists who had done spirals--the
> one
> we used was the nicest looking one".
>
> With Permission of Tim Mitchell. Taken from his book,
> "Sonic Transmission--Television, Tom Verlaine, Richard Hell--An
> Illustrated
> History", published by The Glitterbooks of London, 2006, all rights
> reserved.
> --------------
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