<<My earliest memory of my dad is probably of him somewhere in a garden covered in dirt, somewhere hot, a tropical garden, in jeans, khakis covered in dirt just continuously planting trees. I think that’s what I thought he did for the first seven years of my life. I was completely unaware that he had anything to do with music. I came home one day from school after being chased by kids singing Yellow Submarine, and I didn’t understand why. It just seemed surreal: why are they singing that song to me? I came home and I freaked out on my dad: “Why didn’t you tell me you were in The Beatles?” And he said, “Oh, sorry. Probably should have told you that.”>>
ALL THINGS PASS
(Homage to Lao Tzu)
“All things pass
A sunrise does not last all morning
All things pass
A cloudburst does not last all day
All things pass
Nor a sunset all night
But Earth… sky… thunder…
wind… fire… lake…
These always change
And if these do not last
Do man’s visions last?
Do man’s illusions ?
Take things as they come
All things pass”
All Things Must Pass is a song by English musician George Harrison, issued in November 1970 as the title track to his triple album of the same name. Billy Preston released the song originally – as All Things (Must) Pass – on his Apple Records album Encouraging Words (1970), after the Beatles had rejected it for inclusion on their Let It Be album in January 1969. The composition reflects the influence of the Band’s sound and communal music-making on Harrison, after he had spent time with the group in Woodstock, New York, in late 1968, while Timothy Leary‘s poem All Things Pass, a psychedelic adaptation of the Tao Te Ching, provided inspiration for his song lyrics.
While discussing All Things Must Pass with music journalist Timothy White in 1987, Harrison recalled that his “starting point” for the composition was Robertson’s The Weight – a song that had “a religious and a country feeling to it”.
In his 1980 autobiography, I Me Mine, Harrison refers to the idea for the song originating from “all kinds of mystics and ex-mystics”, including Leary. Like later Harrison compositions such as Here Comes the Sun, So Sad and Blow Away, the lyrical and emotional content is based around metaphors involving the weather and the cycle of nature.
Although All Things Must Pass avoids religiosity, Allison writes that its statement on the “all-inclusive” transience of things in the material world explains why so much of its 1970 parent album, All Things Must Pass, “finds hope and meaning only in God, who does not pass away”.
The subject matter deals with the transient nature of human existence, and in Harrison’s All Things Must Pass reading, words and music combine to reflect impressions of optimism against fatalism. On release, together with Barry Feinstein‘s album cover image, commentators viewed the song as a statement on the Beatles’ break-up. Widely regarded as one of Harrison’s finest compositions, its rejection by his former band has provoked comment from biographers and reviewers. Music critic Ian MacDonald described “All Things Must Pass” as “the wisest song never recorded by The Beatles”, while author Simon Leng considers it “perhaps the greatest solo Beatle composition”. The recording was co-produced by Phil Spector in London; it features an orchestral arrangement by John Barham and contributions from musicians such as Ringo Starr, Pete Drake, Bobby Whitlock, Eric Clapton and Klaus Voormann.
To watch the official music video, please take a gander at The Genealogy of Style‘s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl
The song’s title and message provided inspiration for Barry Feinstein’s cover photo for All Things Must Pass (1970). In a 2001 interview, Feinstein admitted that the words “All Things Must Pass” had helped inspire his set-up for the photo, saying: “What else could it be? … [It] was over with The Beatles, right? And that title … Very symbolic.”
George Harrison commissioned Tom Wilkes to design an “elaborate hinged cardboard box” in which to house the three vinyl discs, rather than have them packaged in a triple gatefold cover. Apple insider Tony Bramwell later recalled: “It was a bloody big thing … You needed arms like an orang-utan to carry half a dozen.” The packaging caused some confusion among retailers, who associated boxed albums with opera or classical works.
The stark black-and-white cover photo was taken on the main lawn at Friar Park by Wilkes’ Camouflage Productions partner, Barry Feinstein. Commentators interpret the photograph – showing Harrison seated in the centre of, and towering over, four comical-looking garden gnomes – as representing his removal from The Beatles‘ collective identity. The gnomes had recently been delivered to Friar Park and placed on the lawn; seeing the four figures there, and mindful of the message in the album’s title, Feinstein immediately drew parallels with Harrison’s former band. Author and music journalist Mikal Gilmore has written that John Lennon‘s initial negativity regarding All Things Must Pass was possibly because he was “irritated” by this cover photo; Harrison biographer Elliot Huntley attributes this negativity to Lennon’s “jealousy” during a time when “everything [Harrison] touched turned to gold”.
Apple included a poster with the album, showing Harrison in a darkened corridor of his home, standing in front of an iron-framed window. Wilkes had designed a more adventurous poster, but according to Beatles author Bruce Spizer, Harrison was uncomfortable with the imagery. Some of the Feinstein photographs that Wilkes had incorporated into this original poster design appeared instead on the picture sleeves for the My Sweet Lord single and its follow-up, What Is Life.
To mark the 30th anniversary of the album’s release, Harrison supervised a remastered edition of All Things Must Pass, which was issued in January 2001. Harrison oversaw revisions to Wilkes and Feinstein’s album artwork, which included a colorized “George & the Gnomes” front cover and, on the two CD sleeves and the album booklet, further examples of this cover image showing an imaginary, gradual encroachment of urbanization on the Friar Park landscape.
Among George Harrison‘s biographers, Simon Leng views All Things Must Pass as a “paradox of an album”: as eager as Harrison was to break free from his identity as a Beatle, Leng suggests, many of the songs document the “Kafkaesque chain of events” of life within the band and so added to the “mythologized history” he was looking to escape. Ian Inglis notes 1970’s place in an era marking “the new supremacy of the singer-songwriter”, through such memorable albums as Simon & Garfunkel‘s Bridge Over Troubled Water, Neil Young‘s After the Gold Rush, Van Morrison‘s Moondance and Joni Mitchell‘s Ladies of the Canyon, but that none of these “possessed the startling impact” of All Things Must Pass. Harrison’s triple album, Inglis writes, “[would] elevate ‘the third Beatle’ into a position that, for a time at least, comfortably eclipsed that of his former bandmates”.
While the term “dark horse” had long been applied to George Harrison due to his success as a solo artist following The Beatles‘ break-up in 1970, commentators recognise the song as Harrison’s rebuttal to a number of possible detractors: those reviewers who criticized the spiritual content of his 1973 album Living in the Material World; his first wife, Pattie Boyd; and his former band-mates John Lennon and Paul McCartney. Harrison also used the title for that of his record label, and his 1974 North American tour with Ravi Shankar would come to be known as the Dark Horse Tour.
The Tom Wilkes-designed front cover of Dark Horse features a 1956 Liverpool Institute high-school photograph presented inside a lotus flower, behind which a dream-like Himalayan landscape extends to the horizon, where the “deathless Yogi of the Ancient of Days”, Shiv-Goraksha Babaji, sits. While some observers have seen pointed similarities with the Beatles’ iconic Sgt. Pepper’s Lonely Hearts Club Band cover image, Harrison’s choice of artwork reflected his enduring admiration for Terry Gilliam‘s animation on Monty Python’s Flying Circus. In the photo, a thirteen-year-old Harrison is pictured in the centre of the top row, his face tinted blue; school teachers appear dressed in long-sleeve tops bearing a superimposed record-company logo or Om symbol. Wilkes and Harrison disagreed over the size of the Babaji image, which the designer apparently disliked and wanted to reduce in size.
Inside the gatefold cover, around the edges of a tinted photo of Harrison and comedian Peter Sellers walking beside a Friar Park lake, text asks the “Wanderer through this Garden’s ways” to “Be kindly” and refrain from casting “Revengeful stones” if “perchance an Imperfection thou hast found”, the reason being: “The Gardener toiled to make his Garden fair, Most for thy Pleasure.” A speech balloon over the photograph contains the words “Well, Leo! What say we promenade through the park?” This line was taken from the Mel Brooks movie The Producers, a favourite of Sellers and Harrison.
On the back cover, Harrison is pictured sitting on a garden bench, the back timbers of which are apparently carved with his name and that of the album. Similar to Harrison’s attire in the outdoor scenes of the Ding Dong, Ding Dong video clip, Leng refers to his appearance here as resembling the Jethro Tull character Aqualung. Terry Doran‘s photo, given the same orange hue as the one inside the gatefold, was also used on some European picture sleeves for the Ding Dong and Dark Horse singles around this time.
Dark Horse ’s inner sleeve notes were all the work of Harrison himself, written on a plane early in the tour. Along with the first Harrison-album credit for FPSHOT, and the now-familiar “All glories to Sri Krsna” dedication, his purple pen records various in-jokes while listing the many contributing musicians. As well as the confusing inclusion of Boyd and Eric Clapton‘s names (leading to the assumption that they had actually contributed to the track), the song title Bye Bye, Love is juxtaposed with the words Hello Los Angeles, while “OHLIVERE” would appear to be a reference to Harrison’s new lover and future wife, Dark Horse Records secretary Olivia Arias. The latter is also included among the title track’s musician credits – her contribution being “Trinidad Blissed Out”. Under Ding Dong, aside from the appearance of “Ron Would If You Let Him” on guitar, Friar Park’s original owner, Sir Frank Crisp, is credited for providing “Spirit”. Arias’s face, in a photo taken by tour photographer Henry Grossman, appeared on the record’s side-two face label, while a corresponding picture of Harrison appeared on side one.
George Harrison. Photo by Mark Seliger, Los Angeles, 1992
“Here comes the sun (du du du du)
Here comes the sun
And i say
It’s been a long cold lonely winter
It feels like years since it’s been here
Here comes the sun (du du du du)
Here comes the sun
And i say
The smiles returning to the faces
It seems like years since it’s been here
Here comes the sun
Here comes the sun
And i say
Sun, sun, sun, here it comes (five times)
I feel that ice is slowly melting
It seems like years since it’s been clear
Here comes the sun
Here comes the sun
And i say
Here comes the sun (du du du du)
Here comes the sun
Here Comes the Sun is a song written by George Harrison from The Beatles‘ 1969 album Abbey Road.
This is one of Harrison’s best-known Beatles contributions alongside Something and While My Guitar Gently Weeps. The year 1969 was difficult for Harrison: he had quit the band temporarily, he was arrested for marijuana possession, and he had his tonsils removed.
Harrison stated in his autobiography, I, Me, Mine:
“Here Comes the Sun was written at the time when Apple was getting like school, where we had to go and be businessmen: ‘Sign this’ and ‘sign that.’ Anyway, it seems as if winter in England goes on forever, by the time spring comes you really deserve it. So one day I decided I was going to sag off Apple and I went over to Eric Clapton‘s house. The relief of not having to go see all those dopey accountants was wonderful, and I walked around the garden with one of Eric’s acoustic guitars and wrote Here Comes the Sun.”
As Clapton states in his autobiography, the house in question is known as “Hurtwood.” When interviewed in the Martin Scorsese documentary George Harrison: Living in the Material World, Clapton said he believed the month was April. Data from two meteorological stations in the London area show that April 1969 set a record for sunlight hours for the 1960s. The Greenwich station recorded 189 hours for April, a high that was not beaten until 1984. The Greenwich data also show that February and March were much colder than the norm for the 1960s, which would account for Harrison’s reference to a “long, cold, lonely winter.”
The song was covered by Peter Tosh in 1970 and released as a single, though was not widely available until its inclusion on Can’t Blame the Youth in 2004. In 1971, Harrison performed the song during The Concert for Bangladesh. Also in 1971, Nina Simone recorded Here Comes the Sun as the title track to her cover album released that year. American folk singer Richie Havens saw his 1971 version reach No. 16 in the U.S. The most successful UK cover was by Steve Harley, who reached number 10 with the song in 1976. Naya Rivera and Demi Lovato performed the song, as Santana Lopez and Dani respectively, in Glee ’s fifth season episode Tina in the Sky with Diamonds. Their duet version appears on the album Glee Sings the Beatles.
To listen to this song, please take a gander at The Genealogy of Style‘s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl
Intimate, personal, and without pretense is probably the best way to describe Linda McCartney’s style of photography. Having been a photographic enthusiast for years before that fateful Beatles album launch in 1967, she used her talent to capture images others could only dream of. An all-access pass to the world of rock ‘n’ roll over three decades allowed her to shoot the likes of Jim Morrison onstage, Allen Ginsberg over a drink and conversation, pre-Thriller Michael Jackson on a farm and Johnny Depp with Kate Moss hanging out on a porch in the midst of young love.
Glass onions were large hand blown glass bottles used aboard sailing ships to hold wine or brandy. For increased stability on rough seas, the bottles were fashioned with a wide-bottom shape to prevent toppling, thus making the bottles look somewhat onion-shaped.
I told you ’bout strawberry fields
You know the place where nothing is real
Well, here’s another place you can go
Where everything flows
Looking through the bent backed tulips
To see how the other half live
Looking through a glass onion
I told you ’bout the walrus and me, man
You know that we’re as close as can be, man
Well, here’s another clue for you all
The walrus was Paul
Standing on the cast iron shore, yeah
Lady Madonna trying to make ends meet, yeah
Looking through a glass onion
Oh yeah, oh yeah, oh yeah
Looking through a glass onion
I told you ’bout the fool on the hill
I tell you man he living there still
Well, here’s another place you can be
Listen to me
Fixing a hole in the ocean
Trying to make a dovetail joint, yeah
Looking through a glass onion
Glass Onion is a song by The Beatles from their 1968 double-album The Beatles primarily written by John Lennon and credited to Lennon–McCartney. This is the first track on the album to feature Ringo Starr on drums. Starr briefly left the group during recording sessions for the album and was replaced on drums by Paul McCartney on both Back in the U.S.S.R. and Dear Prudence.
The song refers to several earlier Beatles songs. It also refers to the “Cast Iron Shore,” a coastal area of south Liverpool known to local people as “The Cazzy”.
The song’s “the Walrus was Paul” lyric is both a reference to I Am the Walrus and Lennon saying “something nice to Paul” in response to changes in their relationship at that time.
Lennon himself dismissed any deep meaning to the mysterious lyrics:
“ I threw the line in—’the Walrus was Paul’—just to confuse everybody a bit more. It could have been ‘The fox terrier is Paul.’ I mean, it’s just a bit of poetry. I was having a laugh because there’d been so much gobbledygook about Pepper—play it backwards and you stand on your head and all that.
To listen to this song, please take a look at The Genealogy of Style‘s Facebook page: https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=aymt_homepage_panel
The band that would become Travis was formed by brothers Chris and Geoff Martyn. Andy Dunlop, a school friend at Lenzie Academy, was drafted in on guitar, along with Andy Dunlop on drums, although the latter was replaced soon after by Neil Primrose. The line-up was completed by a female vocalist, Catherine Maxwell, and the band’s name became Glass Onion, after The Beatles song of the same name. Parting company with their singer in the spring of 1991, they auditioned for a new vocalist. Having met each other through Primrose pouring him a pint, an untrained art student, Fran Healy, then joined after being invited to audition by Primrose. Healy joined the band on the day he enrolled at The Glasgow School of Art, in the autumn of 1991. Two years later, with the option of music holding more appeal, Healy dropped out of art school, and inspired by song writers such as Joni Mitchell, assumed songwriting responsibilities. With brothers Chris and Geoff Martyn on bass and keyboards, in 1993, the fivesome released a privately made CD, The Glass Onion EP, featuring the tracks Dream On, The Day Before, Free Soul and Whenever She Comes Round. 500 copies of the EP were made and were recently valued at £1000 each. Other songs they recorded but were left off are She’s So Strange and Not About to Change.
The band named themselves after the Harry Dean Stanton character Travis Henderson from the film Paris, Texas (Wim Wenders, 1984).
Travis have twice been awarded best band at the BRIT Awards, and are often credited for having paved the way for bands such as Coldplay and Keane (Coldplay’s Chris Martin has called himself “a poor man’s Fran Healy”, while saying that Travis “invented” Coldplay “and lots of others”).
The band won a talent contest organised by the Music in Scotland Trust, who promised £2,000 so that Travis could deal-hunt at a new music seminar in New York. Two weeks before they were due to leave, however, the prize was instead given to the Music in Scotland Trust Directory. When sent a copy of the directory, the band noticed that it seemed to feature every single band in Scotland—except for them.
The band showed promise but had yet to evolve into a decent line-up capable of fulfilling it and spent several years treading water. According to their publisher Charlie Pinder: “They were a band that everyone in the A&R community knew about and would go and see every now and then. But they weren’t very good. They had quite good songs; Fran always did write good songs.” While on a visit to Scotland, American engineer and producer Niko Bolas, a long-time Neil Young and Rolling Stones associate, tuned into a Travis session on Radio Scotland, and heard something in the band’s music which instantly made him travel to Perth to see them. Healy: “He told us we were shit, took us in the studio for four days, and taught us how to play properly, like a band. He was ballsy, rude, and New York pushy. He didn’t believe my lyrics and told me to write what I believed in and not tell lies. He was Mary Poppins, he sorted us out.” The band recorded a five-song demo, which included the song All I Want to Do Is Rock.
With the sudden death of his grandfather, a grief-stricken Healy shut himself away, refusing to talk to anyone. Emerging a week later, and with a clear vision of where he now wanted Travis and their music to go, Healy dispensed with the band’s management and publicity agent. Having been repeatedly knocked back by the British record industry, the band couldn’t afford to stay around the country for another few years and so decided to move to New York, feeling that the U.S. might be more suited to their style of music. However, before leaving Healy told the band that they should send the demo to Charlie Pinder of Sony Music Publishing, who they had known for a few years and regularly sent songs to, saying: “If he’s not into it, then we’ll go.” Pinder was immediately impressed by the song All I Want to Do is Rock, which he felt was a dramatic change for the band: “It was harder, more exciting, sexy; all things that they never really were. They turned a corner.” After performing a secret gig for Pinder and his boss at Sony, Blair McDonald, they were signed to Sony Music Publishing. The immediate impact of what was a very secret deal was that the line-up was changed – keyboard player Geoff Martyn was removed, and the bassist, Geoff’s brother Chris, was replaced with Healy’s best friend Dougie Payne – and the band was moved to London, where they were given a rehearsal room and a house
Produced by Steve Lillywhite of U2 fame, Travis’ first studio album, 1997’s Good Feeling, is a rockier, more upbeat record than the band’s others to date. Recorded at the legendary Bearsville Studios in Woodstock, New York, the place where Travis favourite The Band recorded, the album contained singles such as All I Want to Do Is Rock, U16 Girls, the Beatle’esque Tied to the 90s, Happy and More Than Us.
“I love all the musicians – they’re like family. Looking back I realize I was there at the beginning of something special, I’m like a historian. There’s an honesty about this work that I’m proud of. It feels good to think, my God, I really captured something amazing.”
Jim Marshall (1936-2010) was born in Chicago and moved to San Francisco with his family when he was only two years old. There in the City by the Bay he remained during his lifetime. A Brownie camera was one of his first toys. Later he bought a Leica when he was in high school. After coming back from the serving in the Air Force, Marshall met John Coltrane. One day, while he was photographing backstage at the Jazz Workshop in San Francisco in 1960, Coltrane asked him for directions to Berkeley. “He asked me for directions to a club,” Marshall said later. “I told him I’d pick him up and take him there if he’d let me take his picture.” This way the visual linkage between Marshall and the best jazz and rock performers was strengthened.
Can’t Buy Me Love was recorded on 29 January 1964 at EMI’s Pathe Marconi Studios in Paris, France, where The Beatles were performing 18 days of concerts at the Olympia Theatre. At this time, EMI’s West Germany branch, Odeon, insisted that the Beatles would not sell records in any significant numbers in Germany unless they were actually sung in the German language and the Beatles reluctantly agreed to re-record the vocals to She Loves You and I Want to Hold Your Hand prior to them being released in Germany.
While in Paris, The Beatles stayed at the five star George V hotel and had an upright piano moved into one of their suites so that song writing could continue. It was here that McCartney wrote Can’t Buy Me Love. The song was written under the pressure of the success achieved by “I Want to Hold Your Hand” which had just reached number one in America. When producer George Martin first heard Can’t Buy Me Love he felt the song needed changing: “I thought that we really needed a tag for the song’s ending, and a tag for the beginning; a kind of intro. So I took the first two lines of the chorus and changed the ending, and said ‘Let’s just have these lines, and by altering the second phrase we can get back into the verse pretty quickly.'” And they said, “That’s not a bad idea, we’ll do it that way”.
The song’s verse is a twelve bar blues in structure, a formula that the Beatles seldom applied to their own material.
When pressed by American journalists in 1966 to reveal the song’s “true” meaning, Paul McCartney stated that “I think you can put any interpretation you want on anything, but when someone suggests that Can’t Buy Me Love is about a prostitute, I draw the line.” He went on to say: “The idea behind it was that all these material possessions are all very well, but they won’t buy me what I really want.” However, he was to comment later: “It should have been Can Buy Me Love ” when reflecting on the perks that money and fame had brought him.
To watch Can’t Buy Me Love‘s music video, please take a gander at The Genealogy of Style‘s Facebook page:https://www.facebook.com/pages/The-Genealogy-of-Style/597542157001228?ref=hl
When the matter came up of the album cover for the first album of the Beatles, their producer George Martin proposed to call the album Off The Beatle Track. Martin was an honorary fellow of the Zoological Society of London, which owns the London Zoo. Martin thought that it might be good publicity for the zoo to have the Beatles pose outside the insect house for the cover photography of the album. Paul McCartney doodled a few sketches for a design with that title. George Martin advised the use of the theatrical photographer Angus McBean, a man he worked with in the past.
However the direction of the zoo turned down Martin’s offer, and instead, Angus McBean was asked to take the distinctive colour photograph of the group looking down over the stairwell inside EMI’s London headquarters in Manchester Square. George Martin clearly liked the title Off The Beatle Track., and when it wasn’t used for the album, he used it for his own LP with Beatles’ covers in 1964.
Martin was to write later: “We rang up the legendary theatre photographer Angus McBean, and bingo, he came round and did it there and then. It was done in an almighty rush, like the music. Thereafter, though, the Beatles’ own creativity came bursting to the fore.”
Around the third week of January 1963 a first session took place, at the studio of Angus McBean, in his London house. The Beatles wore their new, mole-colored velveteen performing suits. One of these pictures was used in September 1963 for the cover of the EP The Beatles’ Hits and later, in America, for the Vee Jay album Introducing The Beatles. For this album, however, Vee Jay mirrored the image.
This first photo session was not satisfactory and a second was arranged. McBean agreed to meet them at the EMI house in Manchester Square, London around mid-February 1963. The photographer recalled later: “As I went into the door I was in the staircase well. Someone looked over the banister – I asked if the boys were in the building, and the answer was yes. “Well”, I said, “get them to look over, and I will take them from here.”
I only had my ordinary portrait lens, so to get the picture, I had to lie flat on my back in the entrance. I took some shots and I said, “That’ll do.”
But not everybody was convinced about Angus Mc Bean photo session. On March 5th, EMI staff photographer John Dove took publicity pictures of the Beatles in and round the EMI-house. On some of these also Dick James, George Martin and Brian Epstein can be spotted. Afterward he tried to make a suitable picture for the album-cover, with the Beatles fooling around with a parking meter at the nearby Montague Place and jumping of the steps of the EMI studio (later renamed Abbey Road Studios).
At last it was decided that the Angus McBean picture in the staircase was the best option. The cover made the staircase so famous that when, at the end of the ‘90s EMI vacated the premises at Manchester Square and moved to alternative office accommodation, the staircase was dissembled and painstakingly rebuild on the new premises.
In 1969, the Beatles asked McBean to recreate this shot. Although the 1969 photograph was originally intended for the then-planned Get Back album, it was not used when that project saw eventual release in 1970 as Let It Be. Instead, the 1969 photograph, along with an unused photograph from the 1963 photo shoot, was used in 1973 for the Beatles’ retrospective albums 1962–1966 and 1967–1970. Another unused photograph from the 1963 photo shoot was used for The Beatles (No. 1) (also released in 1963) and the bootleg Come Together (The Beatles In The ‘90s).
Haruki Murakami makes numerous literary, musical and film references throughout the novel Kakfa on the Shore, particularly to (who else?) Franz Kafka. Several of the characters in the book have a relationship with Kafka or “Kafkaesque” themes, the most obvious being the name the protagonist gives to himself, Kafka Tamura. While the reader never finds out his real name, he explains why he chooses the name Kafka to represent his identity. But why Kafka? It is possible that Murakami used Franz Kafka to emphasize themes of isolation and alienation, as well as to critique forms of Japanese bureaucracy and the police force investigating his father’s murder in particular.
“Nobody’s going to help me. At least no one has up till now. So I have to make it on my own. I have to get stronger–like a stray crow. That’s why I gave myself the name Kafka. That’s what Kafka means in Czech, you know–crow.”
Franz Kafka is also a figure that draws many of the characters together. Kafka Tamura is only allowed to stay in the library after revealing his name, which has an profound effect on the library staff. The tragedy of the death of Miss Saeki’s lover is shown in a song she writes for him, named Kafka on the Shore, which also becomes the title of the book. There is a consistently a switching of identities concerning the protagonist which all seem linked in some way or another to Franz Kafka. He switches from 15 year-old runaway, to “Crow”, his alter-ego, to Miss Saeki’s 15-year old boyfriend (who is also named Kafka by Miss Saeki) when he enters his old quarters. In this way, Murakami ties together some of the surreal events in the book by using Franz Kafka as a continuous reference.
With the majority of the novel being set in a library, it is abundant with literary and musical references. Much like the Franz Kafka reference, Murakami uses these references a moments in the plot that draw characters together. In their isolation, the main characters are absorbed in literature, music, and art, providing a starting point for much of their conversations and relationships. In addition to the obvious Oedipial reference throughout the novel, as Kafka searches desperately for his mother and sister, however at the same time, Murakami brings references from popular culture to life, adding a surreal and oddly comical overlay to the events in the novel. In a parallel storyline, Kafka Tamura’s father, brilliant sculptor and crazed cat murderer, takes on the pseudonym of Johnnie Walker. Colonel Sanders, the KFC icon, becomes a character in the novel, a pimp that guides Nakata and Hoshino to Takamatsu and the library, merging both storylines. Truck driver Hoshino, throws away his job and uproots himself after listening to Beethoven’s Archduke Trio, while Kafka Tamura calms himself in an isolated cabin, listening to Prince on his walkman. Murakami cultivates these references similarly to the way he develops architecture in the novel; both historical and contemporary, they blur the passing of time and are devices for the character’s self exploration and identity.
• The Book of Thousand Nights and a Night, Translated by Sir Richard Francis Burton
• The Banquet, by Plato
• The Castle, by Franz Kafka
• The Trial, by Franz Kafka
• The Metamorphosis, by Franz Kafka
• In The Penal Colony, by Franz Kafka
• Complete Works of Natsume Sōseki
• The Tale Of Genji, by Lady Murasaki Shikibu, translated by Jun’ichirō Tanizaki
• Trial of Adolf Eichmann, (Unknown)
• Macbeth, by William Shakespeare
• Hamlet, by William Shakespeare
• Romeo and Juliet, by William Shakespeare
• Agamemnon, by Aeschylus
• The Trojan Women, by Euripides
• Rhetoric, by Aristotle
• Poetics, by Aristotle
• Electra, by Sophocles
• Oedipus Rex, by Sophocles
• The Hollow Men (poem), by T. S. Eliot
• Tales of Moonlight and Rain, by Ueda Akinari
• Matter and Memory, by Henri Bergson
• Georg Wilhelm Friedrich Hegel
• Aladdin, Added by Antoine Galland to French translation of The Book of Thousand Nights and a Night
• The Frog Prince, The Brothers Grimm
• Hansel and Gretel, by The Brothers Grimm
• Uncle Vanya, by Anton Chekhov
• A Discourse on the Origin of Inequality, by Jean Jacques Rousseau
• Leo Tolstoy
• Federico García Lorca
• Ernest Hemingway
• Charles Dickens
• Sergeant Pepper’s Lonely Hearts Club Band, by The Beatles
• The White Album, by The Beatles
• As Time Goes By, from the movie Casablanca (Michael Curtiz, 1942)
• Blonde on Blonde, by Bob Dylan
• Mi chiamano Mimi, from La Bohème, by Giacomo Puccini
• Sonata in D Major (known as the Gasteiner), by Franz Schubert
• Crossroads, by Cream
• Little Red Corvette, by Prince
• Greatest Hits, by Prince
• Sittin’ On The Dock of the Bay, by Otis Redding
• Archduke Trio, (by Rubinstein, Heifetz and Feuermann) by Ludwig van Beethoven
• First cello concerto, (solo by Pierre Fournier) by Franz Joseph Haydn
• Posthorn Serenade, by Wolfgang Amadeus Mozart
• Kid A, by Radiohead
• My Favourite Things, by John Coltrane
• Getz/Gilberto, by Stan Getz
• Duke Ellington
• Led Zeppelin
• Alfred Brendel
• Rolling Stones
• Beach Boys
• Simon & Garfunkel
• Stevie Wonder
• Johann Sebastian Bach
• Hector Berlioz
• Richard Wagner
• Franz Liszt
When The Rolling Stones were recording material for their ninth studio album in the early days of the 1970s, the anticipation and expectations must have been daunting. The 60s had come to a definitive close for the band at the December 1969 Altamont Free Concert, where a member of the Hell’s Angels (hired by the Stones as security) knifed a fan to death as the band played on. Five months prior, guitarist Brian Jones had overdosed and was found dead in his swimming pool at the age of 27.
Sticky Fingers was to be their first record of the new decade, their first without Jones, and the first for their newly formed label, Rolling Stones Records. The Beatles had just disbanded, leaving the group no serious rival. The band was presumably eager to maintain their bad-boy status, but at the same time distance themselves from the darker side of their image and move towards a more commercially viable controversy: sex.
Knowing that the design of the album had to reflect this, and finally in control of their own marketing after leaving Decca records, Mick Jagger visited the Royal College of Art in London to find a design student to hire. He attended the degree show of John Pasche, and hired him to create a new logo for the group. The resulting lips and tongue logo, based on Jagger’s large pout, was intended as “a protest symbol and [to] have an anti-authority feel to it really, so that it would work well with them being the bad boys of rock and roll,” Pasche recently told MTV. This being the early days of rock band branding, the iconic logo never appeared on the cover of an album. It did, however, appear on t-shirts, mugs, key chains, buttons, belts and countless other promotional items, including recent urinals at the Rolling Stones Fan Museum in Germany.
The title “Sticky Fingers” was originally a working title for the second Mott the Hoople record. When the band decided on Mad Shadows instead, the Stones took the title, with the blessing of record producer Guy Stephens.
The cover graphic went through a number of possibilities, including having the band dressed in Victorian boating attire. Designer Craig Braun suggested releasing the album in a clear plastic jacket with heat-sensitive liquid crystals inside — “so you could make your own little Joshua Light Show”. Another rejected idea was a mammoth foldout cover of Jagger’s castle in the south of France (where the band had relocated to avoid paying taxes).
Then Jagger recalled that Andy Warhol had remarked to him at a party in 1969 that he thought it would be amusing to have an album cover feature a real zipper. There are differing accounts regarding the initial idea. Some credit songwriter Bob Goldstein, claiming that he proposed the idea for the cover of the soundtrack to Warhol’s 1968 film Lonesome Cowboys. Goldstein wrote the title track, which is sometimes credited as being the very first ‘disco’ arrangement, and an entire LP was conceived, but never completed. Singer and Factory Superstar Ultra Violet has suggested that the idea was Warhol’s and was intended for the film’s promotional poster.
The Stones agreed that the image of a pair of jeans and zipper would allow the band to retain their ‘outrageous’ aura, but shift things away from the violent and “satanic” imagery, or what Braun called “the evil thing”.
Warhol is credited with cover concept and photography, though some suggest Billy Name might’ve been behind the camera. Many assumed the cover model was Jagger, which he later denied:
Rolling Stone Magazine: There’s underwear on the back. Is that you?
Mick Jagger: No. It’s one of Andy’s… protégés is the polite word we used to use, I think.
Among the possible candidates, Jed Johnson, Warhol’s lover at the time, denied it was his likeness, although his twin brother Jay was considered a possibility. But according to Warholstars site user, Stylissmo:
“Jay Johnson famously has only one testicle, Jed wasn’t built like that… Corey Tippin was well known for his endowment… and was also known – along with his friend, the illustrator Antonio Lopez, for ‘showing basket’ – a real 70’s kind of gay display that involved bulging crotches in tight jeans. Attendees at the Sticky Fingers release party mention that of the aforementioned possible models for the cover – only Corey Tippin was at the party. At any rate all this has been told to me in various pieces by Jay Johnson, Corey Tippin, Jane Forth, Paul Caranicas (director of Antonio’s estate) and other characters who are still friends and living in and around New York.” Also known as Corey Grant, Tippin was the make-up artist for Andy Warhol’s L’Amour (1973) and Jay Johnson’s best friend.
Factory Superstar Ultra Violet believes that dancer Eric Emerson “who used to walk around the Factory half-naked” is the cover model.
Art writer and early editor of Warhol’s Interview magazine, Glenn O’Brien’s has also been named as possible model. He recalls:
“I remember Andy shooting me in my underwear at the Interview office for the Sticky Fingers cover. He paid me a hundred bucks. Fred Hughes kept saying, “Can’t you make it any bigger.”” In an introduction to an interview O’Brien conducted with Joe Dallesandro for the magazine a few years ago he wrote:
“I always felt a connection to Joe. We were two Warhol scenesters who liked girls. Also, he filled the jeans on the outside of The Rolling Stones’ Sticky Fingers album, while I filled the briefs inside—our secret connection.”
Without a definitive account of who the front cover model was, Joe Dallesandro seems the most likely. Dallesandro met Andy Warhol and director Paul Morrissey in 1967 while they were shooting Four Stars, and they cast him in the film on the spot. Dallesandro also appeared in Flesh (1968), Lonesome Cowboys (1968), Trash (1970), Heat (1972), Andy Warhol’s Frankenstein and Andy Warhol’s Dracula (both 1974) also directed by Morrissey. Flesh achieved some mainstream crossover success and Dallesandro became one of the most popular of the Warhol stars.
He explained to biographer Michael Ferguson, “It was just out of a collection of junk photos that Andy pulled from. He didn’t pull t out for the design or anything, it was just the first one he got that he felt was the right shape to fit what he wanted to use for the fly.”
The inner underwear photograph was a matter of necessity; designer Craig Braun realized there had to be an extra layer of cardboard to protect the record from the scratching of the zipper. Regardless of this, during shipment the zipper ended up pressing into the album stacked on top of it, invariably damaging the song Sister Morphine. Atlantic Records, whose subsidiary Atco Records were distributing the disk in the US, threatened to sue Braun for all the damage. After getting “very depressed and very high,” he came up with the solution to pull the zipper down before the record was shipped. This way it would only damage the inner label, and not cause any song to skip.
The solution saved Sister Morphine, but not in Spain, where Francisco Franco’s government deemed the song offensive and insisted it be removed from the disk. A Chuck Berry song Let it Rock, originally a b-side from the Brown Sugar single, replaced it. The drug references in the song were not the only concern for the Spanish censors, they also found the cover “too sexually explicit” so it was replaced with the “can of fingers” graphic, severed body parts being more socially acceptable than a man in pants. Many American department stores also found the cover inappropriate and initially refused to stock the disk.
For others, the problem with the packaging was not enough package: Wolfgang Fritz Haug, a now-retired professor of philosophy, took issue with the lack of payoff. In his book 1986 book Commodity Aesthetics (Chapter 3: “THE PENIS ENTERS THE COMMODITY ARENA”) he writes:
“whoever buys the record, purchases with it a copy of a young man’s fly, the package identified by the graphic trick which stresses the penis and stylizes the promised content. It is a reversal of the tale of the Emperor’s new clothes: the tale of the buyer’s new bodies. They buy only packages which seem more than they are…..the buyer acquires the possibility of opening the package, and the zip and finds… nothing.”
These criticisms notwithstanding, the graphic is now considered one of the best album covers of all time. A Rolling Stone Magazine readers poll in 2011 voted it the 6th best album cover of all time. Warhol appeared twice in the top ten, the other being the tenth pic for his Velvet Underground and Nico cover. The recording itself made the #63 slot of another Rolling Stones Greatest Albums of All Time list and in 2003 the design was named by VH-1 as the best album cover of all time.
Jagger called the cover “the most original, sexy and amusing package that I have ever been involved with”
Andy Warhol was paid 15 000 pounds remuneration, which (using a crude conversion of currency and inflation) would amount to approximately $126,000 CDN today. The figure seems on the high side for album cover design, but he was apparently dissatisfied. Warhol biographer David Bourdon writes “In April the album sold a half-million copies, and Warhol liked to think that his cover contributed greatly to the success. ‘You know’, he later complained, ‘that became a number one album and I only got a little money for that’.” With the Stones being one of the biggest bands in the world at the time, and the record including the hit songs Wild Horses and Brown Sugar, it is doubtful that Warhol’s cover disproportionately contributed to the financial success of the record. His equally acclaimed peelable banana cover for The Velvet Underground and Nico did not propel that record to any financial success – it spent only a few weeks on the Billboard charts, peaking at #171. It’s influence would not be felt for years to come, leading Brian Eno to quip “The Velvet Underground‘s first album only sold a few thousand copies, but everyone who bought one formed a band.” Warhol also complained about not receiving compensation for his production and cover graphic for that disk (“I never got a penny for that first Velvet’s album”).
The promotional photograph may have inadvertently invented what would later become the Sleeveface internet meme, with fans posing with album covers obscuring parts of their body.
by jade reason
La vía del estilo
Art still has truth. Take refuge there.
Tales from Tinseltown...recording them now...I'll let you know when it's story time.
My Work My Art My Show - new school Sex and the City
All my words that are fit to print (and other's too!)
Making Life more Beautiful
Life, Leisure, Luxury
MYTHS AND HISTORIES OF A RELUCTANT BLOGGER
All my aimless thoughts, ideas, and ramblings, all packed into one site!
Meaning in Being. You be you.
Poetry, musings and sightings from where the country changes
Cooking -- and photography -- are personalization
Creativity is within us all