Re: (TV) I'll See You, & Raise You a Non-Eagles Album Cover / RE: Open Invitation for Oct. 2009 in NYC / RE: (TV) Modest Proposal

["andy fekete" <andy.fekete@gmail.com>]

Keith,

Interesting you should quote Mitchell's book "Sonic Transmission" as I
just finished it not two weeks ago.  It's so full of great details
from the CBGB era that it makes me think he was there when it was
happening -- was he?

Terrific book, well worth the price.

-A

On 10/19/07, Per Rosin <per@ronz.org> wrote:
> 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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