Wrestling with The Angel

The Falling Angel, Duane Michals, 1968

 
 

LE COMBAT AVEC L’ANGE

N’y va pas
tout est combiné d’avance
le match est truqué
et quand il apparaîtra sur le ring
environné d’éclairs de magnésium
ils entonneront à tue-tête le Te Deum
et avant même que tu te sois levé de ta chaise
ils te sonneront les cloches à toute volée
ils te jetteront à la figure l’éponge sacrée
et tu n’auras pas le temps de lui voler dans les plumes
ils se jetteront sur toi
et il te frappera au-dessous de la ceinture
et tu t’écrouleras
les bras stupidement en croix
dans la sciure
et jamais plus tu ne pourras faire l’amour.

Jacques Prévert

 
 

____________________________________________

 
 

“Don’t bother
The fight’s fixed
The match is rigged
and when he or she or it appears aloft above the ring
surrounded by spotlights
they’ll all start singing Te Deum
and even before you have the chance to get up from your little
chair in the corner
their gong will sound
they’ll throw their sacred sponge in your eyes
And you won’t even get in a quick jab to the feathers
before they all grab you
and he or she or it will hit you below the belt
and you’ll fall flat
arms stuck out stiff in an idiotic cross
outstretched in the sawdust
and you may never again be able to make love.”

Near the Stairways

When celebrity photographer Mark Seliger acquired the old brick building at the corner of Charles Street and the West Side Highway (New York City) in 1997, his friends couldn’t understand why he wanted a place in such an unfashionable area, across the street from rotting piers on the Hudson River and not far from the infamous meat-packing district. The building had been built as a factory in 1852, and Seliger had it gutted and rebuilt (an immensely expensive job) but a little over a year after buying it he had it operating as a state-of-the-art studio. Today the meat-packing district is filled with fashion boutiques, chic restaurants, and upscale hotels. Across the street from the studio, a luxury apartment development designed by Richard Meier is going up. “I went from being the stupidest person on earth to being the smartest,” shrugs Seliger.

During the remodeling, an old elevator was disassembled and taken out, leaving an empty shaft that, to the photographer’s delight, was topped with a 20×30-foot skylight. Seliger had a wooden platform built into the shaft, creating a private space upstairs from the main studio — a small, quiet place defined by the texture of its brick walls and flooded with creamy light. Inevitably, he began taking his celebrity subjects into the rebuilt space, now part of a stairwell, to photograph them.

“Every time I had a session where there was time to shoot someone in there, I’d do it,” says Seliger. “It became another option — when I would run out of ideas for what I was going to do with someone in the studio, I would take them upstairs.”

 

Manon

 

Julia Roberts

 

Heidi Klum

 

Iman

 

David Bowie

 

Mick Jagger

 

Lou Reed

 

Chris Martin

 

Paul McCartney

 

Luciano Pavarotti

 

Mihail Baryshnikov

 

Muhammad Ali and Michael J. Fox

 

Mel Brooks using a comb to make a Hitler moustache

 

Adrien Brody

 

Liam Neeson

 

Lenny Kravitz

 

To watch more pictures taken by Mark Seliger (and Lenny Kravitz’s I Belong to You music video, also directed by Seliger), please take a gander at The Genealogy of Style‘s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl

Insatiable Photojournalist

Salvador Dalí

 
 

Tippi Hedren and Alfred Hitchcock

 
 

Paul Newman

 
 

Marlon Brando

 
 

Spanish bullfighter Luis Miguel Dominguín and Pablo Picasso

 
 

Bob Dylan, Joan Baez and Peter Seeger

 
 

Charles Aznavour

 
 

João Gilberto

 
 

Dalida

 
 

Ruwenzori Mountains

 
 

<Muhammad Ali

 
 

Martin Luther King

 
 

John Fitzgerald Kennedy

 
 

Washington March

 
 

Enrique Meneses (1929 – 2013) was born journalist because of his father. He grew up and studied in France, Portugal and Spain because of the Spanish Civil world. He devour life, looking for being wherever something that could be tell happened, becoming along 30 years the most international Spanish reporter. He worked for agencies such as Fotopress or Delta Press, and media like Paris Match, Time, Life or ABC.

He is the author of iconic photographs of the XXth century that illustrate a time, with portraits of historic characters such as Ché Guevara, Fidel Castro and company when they where trying to defeat that dictator Batista, Salvador Dalí, Marlon Brando, Mel Ferrer, Paul Newman, Cassius Clay (Muhammad Ali), Melina Mercouri, Charles Aznavour, João Gilberto o Henry Fonda. As many other historic moments like the fight for civil rights in the USA, the Washington March with Martin Luther King, the tension with the Soviet Union or the Ku Klux Klan.

The Butterfly and the Bee Vs. The Bear

 
 

By late 1963, Cassius Clay (he haven’t changed his name to Muhammad Ali yet*) had become the top contender for Sonny Liston‘s title. The fight was set for February 25, 1964, in Miami. Liston was an intimidating personality, a dominating fighter with a criminal past and ties to the mob. Based on Clay’s uninspired performance against Jones and Cooper in his previous two fights, and Liston’s destruction of former heavyweight champion Floyd Patterson in two first-round knock outs, Clay was a 7–1 underdog. Despite this, Clay taunted Liston during the pre-fight buildup, dubbing him “the big ugly bear.”

Clay began taunting and provoking Liston almost immediately after the two agreed to fight. He purchased a bus and had it emblazoned with the words “Liston Must Go In Eight.” On the day of the contract signing, he drove it to Liston’s home in Denver, waking the champion (with the press in tow) at 3:00 a.m. shouting, “Come on out of there. I’m gonna whip you now.” Liston had just moved into a white neighborhood and was furious at the attention this caused. Clay took to driving his entourage in the bus to the site in Surfside, Florida where Liston (nicknamed the “Big Bear”) was training, and repeatedly called Liston the “big, ugly bear”. Liston grew increasingly irritated as the motor-mouthed Clay continued hurling insults (“After the fight, I’m gonna build myself a pretty home and use him as a bearskin rug. Liston even smells like a bear. I’m gonna give him to the local zoo after I whup him… if Sonny Liston whups me, I’ll kiss his feet in the ring, crawl out of the ring on my knees, tell him he’s the greatest, and catch the next jet out of the country.”). He declared that he would “float like a butterfly and sting like a bee,” and, summarizing his strategy for avoiding Liston’s assaults, said, “Your hands can’t hit what your eyes can’t see.” Clay insisted to a skeptical press that he would knock out Liston in eight rounds (Former Light Heavyweight Champion José Torres, in his 1971 biography of Ali, Sting Like a Bee, said that as of 1963, Ali’s prophetic poems had correctly predicted the exact round he would stop an opponent 12 times).

When Clay won, he became the youngest boxer (22 years old) to take the title from a reigning heavyweight champion, though Floyd Patterson was the youngest to win the heavyweight championship at 21, during an elimination bout following Rocky Marciano‘s retirement. Mike Tyson broke both records in 1986 when he defeated Trevor Berbick to win the heavyweight title at age 20.

 

*On March 6, 1964, Islam leader Elijah Muhammad announced in a recorded statement played over the radio that Clay would be renamed Muhammad Ali. Muhammad means “worthy of all praises,” while Ali means “most high.”

 
 

The Soul of a Butterfly is the autobiography of Muhammad Ali. It is written in collaboration with his daughter, Hana Yasmeen Ali.It is not a comprehensive autobiography but a breakdown of the important events and experiences in his life; this is suggested in the book’s subtitle, Reflections on life’s journey. The book includes some of his and his daughter’s poetry, and snippets of Sufi thought.

The Concept of Travel in an Emotional Sense

“The Journey of a star, captured in a flash”. Annie Leibovitz and Mikhail Baryshnikov. Annie’s studio, New York

 
 

“Is there any greater journey than love?” Steffi Graf and Andre Agassi. New York

 
 

“There are journeys that turn into legends”. Sean Connery, Bahamas Islands

 
 

“Every journey began in Africa”- Ali and Bono. Uganda

 
 

“A journey bring us face to face with ourselves”. Mikhail Gorbachev, Berlin, Germany

 
 

“Some stars show you the way”. Muhammad Ali and a rising star. Phoenix, Arizona

 
 

“Three exceptional journeys. One historic game”. Pelé, Diego Armando Maradona and Zinadine Zidane. Madrid, Spain

 
 

“Some journeys change mankind forever”. Sally Ride, Buzz Aldrin and Jim Lowell. California

 
 

“A single journey can change the course of a life”. Angelina Jolie. Cambodia

 
 

“Inside every story, there is a beautiful journey”. Sofia Coppola and Francis Ford Coppola. Buenos Aires, Argentina

 
 

Louis Vuitton Core Values campaigns revisit the brand’s heritage with a completely fresh interpretation of the concept of travel in an emotional sense, viewed as a personal journey, a process of self-discovery. The campaign debuted in September 2007 in major international titles featuring no other but the former Soviet statesman Mikhail Gorbachev, the French movie siren Catherine Deneuve, the founding member of The Rolling Stones Keith Richards and the tennis power couple Andre Agassi and Steffi Graf, among many other influential and famous people.

Pietro Beccari, Senior VP of Communication explains this shot: “Not only does it capture the unique quality of a father-daughter relationship, in which both are enriched by a shared experience, but it also evokes the heritage of Louis Vuitton with its suggestion of know-how being passed from one generation to the next.”

Celebrating the 40th anniversary of Apollo 11’s first steps on the Moon, the ad features legendary astronauts Sally Ride (first American woman in space), Buzz Aldrin (Apollo 11, first steps on the Moon, 1969) and Jim Lovell (Apollo 13) looking up in the Californian desert night sky.

In 2010 Brazil’s Pelé, Argentina’s Diego Maradona and France’s Zinedine Zidane all won football’s ultimate prize, and all wore the emblematic N°10 shirt. They met up in the Café Maravillas, a typical bar in Madrid, and were tempted into a game of table football. The image leaves the suspense intact, but clearly captures the atmosphere of fun and friendly rivalry.

Given the photographer of all Core Value campaigns personal and financial troubles in 2010, Louis Vuitton wished to offer support in the most positive way and suggested that Annie Leibovitz become the next campaign’s hero. She accepted on the condition that she appears alongside for friend and one of the foremost dancers of the 20th century, Mikhail Baryshnikov.

This is the first time U2 frontman Bono has appeared in an ad sans his bandmates, but instead with his wife Ali Hewson. It’s also the first time that a label other than Louis Vuitton is getting a fashion credit – the pair are wearing their own clothing line Edun, a line of ethical fashion. Proceeds from the sales will go to TechnoServe, which supports sustainable farming in Africa.

As the pioneer of the art du voyage, Louis Vuitton is always on the look out for the exceptional people with extraordinary journeys. The question is who will be next?

Mr. Time

Portrait of Feodor Chaliapin with his son Boris, 1912

 
 

Boris Chaliapin (1904–1979) was the son of Russian opera singer Feodor Chaliapin and brother of The Name of the Rose (Jean-Jacques Annaud, 1986) actor Feodor Chaliapin, Jr.

Chaliapan trained as an artist there before journeying to Paris, France to continue his education. Eventually making his way to the United States, he found work with TIME magazine and in 1942 produced his first cover for them of a WWII general. Chaliapan often worked from photographs to create his covers, made with watercolors, tempera, pencil and other materials. Other than his speed and technical skill, Chaliapan was known for his portraits of beguiling starlets like Marilyn Monroe and Grace Kelly.

He was the portrait artist TIME magazine’s editors turned to first when they needed a cover in a hurry. As TIME’s most prolific artist, he created 413 covers for the publication during his 28-year career, between 1942 and 1970. He could execute excellent likenesses in as little as 12 hours. Week after week, millions of faithful readers recognized Chaliapin’s familiar signature on the cover, and his co-workers nicknamed him “Mr. Time.”

“Chaliapan,” explains National Portrait Gallery curator Jim Barber, “tried to capture the essence of a person and their personality.” Though the magazine had contracts with a dozen or so other cover artists, Chaliapan was part of the prominent threesome dubbed the “ABC’s” with artists Boris Artzybasheff and Ernest Hamlin Baker. Known for his spot-on likenesses, Chaliapan could also be counted on for a quick turnaround. “Unlike the other cover artists that needed a week or two, Chaliapan… if pressed, he could crank out covers in two or three days,” says Barber.

By the end of that career, painted portraits were on their way out for magazine covers. Photographs and more thematic illustrations were being used more frequently. Chaliapan’s covers capture a snapshot of the news from days gone by, but also of the news industry itself. His final cover was of President Richard Nixon in 1970.

On May 17, 1963, TIME magazine put James Baldwin on the cover with the story “Birmingham and Beyond: The Negro’s Push for Equality.” And to create his portrait, the weekly called on artist Boris Chaliapan. Baldwin’s intense eyes and pensive expression stared out from newsstands across the country.

 
 

Walt Disney

 
 

Alfred Caplin

 
 

Marilyn Monroe

 
 

Jacqueline Kennedy Onassis

 
 

Elizabeth Taylor

 
 

Marlon Brando as Napoleon Bonaparte

 
 

Katharine Hepburn

 
 

Grace Kelly

 
 

Sophie Gimbel

 
 

Audrey Hepburn

 
 

Althea Gibson

 
 

Muhammad Ali

 
 

Thelonious Monk

 
 

Martin Luther King

Muhammad Ali as The Patron Saint of Sports

“The April 1968 Esquire cover of Muhammad Ali posing as the martyr St. Sebastian was one of the most iconic images of the decade, tying together the incendiary issues of the Vietnam War, race and religion. The image is so powerful that some people of a certain age remember where they were when they saw it for the first time. “

Associated Press

 

 
 

Muhammad Ali posing as Saint Sebastian, the patron saint of sports

 
 

SOURCE OF INSPIRATION

 
 

Saint Sebastian,  Francesco di Giovanni Botticini, ca. 1446–1497

 
 

 
 

“In 1967, Muhammad Ali, the world’s heavyweight champion, refused induction into the Army. He had converted to Islam, and under the tutelage of Eliah Muhammad he became a Black Muslim minister. When Cassius Clay became a Muslim, he had also become a martyr. In 1968, while he was waiting for his appeal to reach the Supreme Court, I wanted to pose as St. Sebastian, modeled after the 15^th-century painting by Botticini that hangs in the Metropolitan. I contacted Ali and explained this idea and he agreed to fly to New York to pose. At the studio, I showed him a postcard of the painting to illustrate the stance. He studied it with enormous concentration. Suddenly he blurted out, “Hey George, this cat’s a Christian!” I blurted back, “Holy Moses, you’re right Champ!” I explained to Ali that St. Sebastian was a Roman soldier who survived execution by arrows for converting to Christianity. He was then clubbed to death, and has gone down in history as the definitive martyr. Before we could affix any arrows to Ali, he got on the phone with his religious leader, Eliah Muhammad. Ali explained the painting in excruciating detail. He was concerned about the propriety of using a Christian source for the portrayal of his martyrdom. He finally put me, a non-practicing Greek Orthodox, on the phone. After a lengthy theological discussion Eliah gave me his okay. I exhaled and we shot this portrait of a deified man against the authorities. When I saw the first transparency, I believe my exact words to photographer Carl Fischer were “Jesus Christ, it is a masterpiece” Esquire had a sensational cover, and it was reproduced and sold as protest poster. Three years later the Supreme Court unanimously threw out Ali’s conviction. Allah be praised!”

George Lois

 
 

Around that time, Esquire had been featuring controversial covers dreamt up by George Lois, a former ad man. Lois has been widely credited for shaping a generational shift that reflected a turbulent era’s need for change, but he didn’t act alone. For fourteen years, starting in 1963, Carl Fischer consistently photographed the Esquire covers capturing the decade’s revolutionary changes during a time of an unwanted war, a sexual revolution, and a demand for civil rights.

 
 

 
 

We worked over the telephone. Lois never made layouts, never made drawings for the covers. He just had the idea of what the cover should be and he would call up and say, “We have a story about Ali and the fact that he lost his title. Why don’t we do something with him as Saint Sebastian?” And that’s the way it worked on all the covers. I would work out the problems of how to do it and Lois would sometimes show up at the shoots if they were in New York, which was the case here.

I had the arrows made by a model-maker in New York. I assumed we’d paste them on and that would be the end of it. Unfortunately, when you pasted the arrows on, they hung down. They didn’t stay horizontally as they should. So we made an elaborate device; we put a pole above Ali and hung monofilament lines, little fishing lines, from each arrow up to the pole. You could see the lines, slightly, on the final print, and they were retouched out. But they were hard to see because they were thin and transparent.

 
 

 
 

Nowadays, we wouldn’t have had that problem; we would’ve put the arrows in [digitally]. But at the time, they had to be pasted on him physically. It was a long, boring process. Ali had to hold the position for an hour.

Carl Fischer

 
 

SUCCESORS

 
 

Tom Cruise. Radar magazine, September/October 2006

 
 

“Sebastien Moura is St Sebastian” in Refresh.  June/July 2007. Photo by Aleksandar Tomovic

 
 

John Galliano. Esquire magazine 75th anniversary (2009)

 
 

Stephen Colbert. August 2009 issue

 
 

October 2009 issue. Ricky Gervais chose to restage a 1968 cover shot of Ali cover which showed boxer with six arrows piercing in his body

 
 

Esquire UK, 20th anniversary (2011)

Christmas Spirit on Magazines Covers

Harper’s Bazaar 

 
 

Vogue

 
 

Seventeen

 
 

Batman by DC Comics

 
 

Vanity Fair

 
 

Esquire

 
 

Gentlemen’s Quarterly (GQ)

 
 

Jet 

 
 

Rolling Stone

Photo-Songs

“I realized that photography isn’t merely an act of selection, but is equally an act of rejection, deciding what you won’t allow in.”

Art Kane

 
 

Lady Madonna (The Beatles, 1968)

 
 

“…Lady Madonna, children at your feet.
Wonder how you manage to make ends meet…”

 
 

Eleanor Rigby (The Beatles, 1966)

 
 

“…Waits at the window, wearing the face that she keeps in a jar by the door
Who is it for?…”

 
 

When I’m Sixty-Four (The Beatles, 1967)

 
 

“When I get older losing my hair,
Many years from now,
Will you still be sending me a Valentine
Birthday greetings bottle of wine?…”

 
 

“Life magazine did a big issue on the Beatles. I was illustrating lyrics. I think it’s a complete failure as an illustration, but I’m glad I took the picture, he’s a beautiful guy, a Chelsea Pensioner, with pride and self esteem.”

 
 

With God on Our Side (Bob Dylan, 1963)

 
 

“Oh my name it is nothin’
My age it means less
The country I come from
Is called the Midwest
I’s taught and brought up there
The laws to abide
And that land that I live in
Has God on its side…”

 
 

Desolation Row (Bob Dylan, 1965)

 
 

“…Cinderella, she seems so easy

It takes one to know one, she smiles

And puts her hands into her back pockets

Bette Davis style…”

 
 

Who Killed Davey Moore (Bob Dylan, 1963)

 
 

“Who killed Davey Moore,
Why an’ what’s the reason for?…”

 
 

We Shall Overcome (Pete Seeger, 1963)

 
 

“Hey we shall overcome, we shall overcome
We shall overcome someday
Darlin’ here in my heart, yeah I do believe
We shall overcome someday.Well we’ll walk hand in hand, we’ll walk hand in hand…”

McQueen and the Dancer

Flights of Fancy. Caroline Trentini wearing Alexander McQueen outfits from 2008 Fall/Winter collection. Photo: Arthur Elgort

 
 

 
 

Billy Elliot‘s (Stephen Daldry, 2000) original title was Dancer, but when they took the film to the Cannes Film Festival, there was another film called Dancer in the Dark (Lars von Trier, 2000), which won the Palmes D’Or, prompting confusion; indeed, Universal Studios called the directors, producers and writer up and congratulated them. They then realized they had to change the name and settled (‘rather lamely’, joked the writer) on ‘Billy Elliot‘.

 

“Younger Billy (Jamie Bell) and Mrs. Wilkinson (Julie Walters) are crossing a river. Billy plays a tape and they listen to the finale of Tchaikovski’s Swan Lake. This music has a yearning quality that suits Billy’s quest to move into the world. A policeman sits behind them as Mrs. Wilkinson tells the story of Swan Lake. The policeman is a reminder that the wide-spread concern of Billy’s community is still in the background and has yet to actively impact his move into a new world. The story of Swan Lake is a tale of the less powerful person being subject to stronger forces. The “heroes” of Swan Lake do manage to escape the forces that strive to overpower them, which suggests that Billy will do the same. The music reaches a crescendo as Billy looks up to the powerful frame overhead.”

 

The final scene of the film Billy Elliot shows the lead character, Billy, played by Adam Cooper, as an adult about to perform in Matthew Bourne’s Swan Lake as the lead Swan.

 
 

Matthew Bourne’s Swan Ballet (1995). The plot of the ballet revolves around a young crown prince, his distant mother, and his desire for freedom, characterized by a beautiful swan. This scenario is an unofficial interpretation as Matthew Bourne does not believe in scenarios for his productions and prefers the audience to interpret the story for themselves.The ballet is based loosely on the Russian romantic ballet Swan Lake, from which it takes the music by Pyotr Ilyich Tchaikovsky is taken along with the broad outline of the plot. Stylistic inspiration also came from the Alfred Hitchcock film The Birds. The ballet is particularly known for having the parts of the swans danced by men rather than women. According to Bourne, “The idea of a male swan makes complete sense to me. The strength, the beauty, the enormous wingspan of these creatures suggests to the musculature of a male dancer more readily than a ballerina in her white tutu.”

Anything but Boring

Thanks to The Perfumed Dandy for inciting my curiosity about this theme:
 

Zelda Sayre Fitzgerald, who was considered the female embodiment of the Jazz Age.

 
 

“The only horrible thing in the world is ennui, Dorian. That is the one sin for which there is no forgiveness”, advised Lord Henry Wotton, Oscar Wilde’s alter ego from The Portrait of Dorian Gray. “Intelligent people never get bored,” said a character from Ifigenia, the novel by the French-Venezuelan writer Teresa de la Parra. Diana Vreeland suggested “Never fear being vulgar, just boring.” For Sir Cecil Beaton boredom was the world’s second worst crime (the first is being a bore). On the other hand, Leo Tolstoy affirmed that boredom was the desire for desires. And everyone would agree the cure for boredom is curiosity. There is no cure for curiosity. But we all are constantly escaping from ennui and feelings like that.
 
Being Boring is a song composed by Neil Tennant and Chris Lowe; the Pet Shop Boys. It is the opening track and second single from Behaviour (1990), an album influenced by Depeche Mode’s Violator, which was released the same year.
 
It’s been said that the title apparently materialized after someone in Japan accused the duo of being boring. The title is also derived from a Zelda Fitzgerald quotation, “she refused to be bored, chiefly because she wasn’t boring”. The song is concerned with the idea of growing up and how people’s perceptions and values change as they grow older.
 
Due to various factors (for example, it being hard to sing), it wasn’t initially performed on 1991’s Performance Tour, leading many fans, Axl Rose among them, to complain about its omission. It is considered among the greatest, most beautiful Pet Shop Boys’ songs, despite the track’s moderate commercial success.
 
The Pet Shop Boys first asked photographer and film maker Bruce Weber if he would make a video with them when Domino Dancing was corning out. They met him in New York whilst recording demos with Liza Minnelli. At the time he was keen, but too busy; he was working on his second documentary film, Let’s Get Lost, (a Film about the late jazz trumpeter Chet Baker. His first film was about boxing, Broken Noses).
 
Weber hadn’t done a video before because of “time and circumstance, and I also fell that I really wanted to fall in love with a song. Because I knew I was going to have to listen to it about a million times (laughs). I got the tape and I loved it; I had an immediate reaction to it. I thought it had a lot of musicality and a lot to say, I loved the lyrics and really felt that it was something I wanted to be part of.” he said to Neil and Lowe.
 
The video is shot in black and white. In what is either a coincidence or conscious decision, two previous videos, 1989’s It’s Alright and 1990’s So Hard also lacked color. Apart from these, only 2000’s You Only Tell Me You Love Me When You’re Drunk and partially 1987’s Rent were also recorded in black and white.
 
The video was filmed entirely in one day at the beginning of October 1990 in a house of Long Island. Bruce Weber chose that particular setting, outside New York City, because of its association with Zelda and Francis Scott Fitzgerald. Bruce Weber explained his idea of a wonderful party. He wanted to keep away from the streets after looking at MTV a lot of video clips filmed on roads. He thought it was a corny trend.
 
Weber cast people he was friends with or knew the girlfriends or boyfriends of or had photographed before, including Neneh Cherry’s half-brother, musician Eagle Eye and Drena, Robert de Niro‘s daughter.
 
Weber incorporated a dog because “in certain French films of Renoir there was always a country animal brought as a pet. Like the Bertolucci film where Dominique Sandra comes into the house on a horse.”
 
Originally, the video begun with everyone on the stairs, eyes closed and Neil speaking the Zelda Fitzgerald quote to the camera. This concept turned out to be a bit too complicated so the video eventually began with a handwritten message (written by one of Bruce Weber’s friends) based on Neil’s instructions.
 
In a way, the video is a literal projection of the first video of the song. The video begins with with a nude swimmer and a message: “I came from Newcastle in the North of England. We used to have lots of parties where everyone got dressed up and on one party invitation was the quote ‘she was never bored because she was never boring’. The song is about growing up – the ideals that you have when you’re young and how they turn out”.

 
 

Photogenesis of an Auteur

Catalogue of Stanley Kubrick’s exposition presented in Milan (Italy)

 
 

“Ever the dim beginning,
Ever the growth, the rounding of the circle,
Ever the summit and the merge at last, (to surely start again,)
Eidolons! eidolons!…”

 
 

 
 

“…The whole or large or small summ’d, added up,
In its eidolon…”

 
 

 
 

“…Battles, the horrors of fratricidal war, the fever of doubtful news, the fitful events; These come to me days and nights and go from me again, But they are not the Me myself…”

 
 

 
 

“To a certain cantantrice: ..I see that what I was reserving belongs to you just as much as to any”

 
 

 
 

“Beginning my studies the first step pleas’d me so much,
The mere fact consciousness, these forms, the power of motion…”

 
 

 
 

“Sometimes with one I love I fill myself with rage for fear I effuse
unreturn’d love,
But now I think there is no unreturn’d love, the pay is certain one
way or another,
(I loved a certain person ardently and my love was not return’d,
Yet out of that I have written these songs.) …”

 
 

 
 

“O YOU whom I often and silently come where you are, that I may be with you;
As I walk by your side, or sit near, or remain in the same room with you,
Little you know the subtle electric fire that for your sake is playing within me…”

 
 

 
 

“…I think I could turn and live with the animals, they are so placid and self contained. I stand and look at them long and long…”

 
 

 
 

“I am the man, I suffered, I was there.”

Quoted on Taxi Driver (Martin Scorsese, 1976) and in the epigraph of Giovanni’s Room, the novel written by James Baldwin

 
 

Series of Rocky Graziano’s portraits. Day of the Fight (1951), the first short documentary directed by Stanley Kubrick, is about the life of the boxer Walter Cartier.

 
 

“Battles are lost in the same spirit in which they are won.”

 
 

Photographs by Stanley Kubrick
Excerpt of poems from Walt Withman’s Leaves of Grass