“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.
…”Lock up the streets and houses
Because there’s something in the air
We’ve got to get together sooner or later…”
Something in the Air
In 1969, Pete Townshend, The Who‘s guitarist, was the catalyst behind the formation of Thunderclap Newman. The concept was to create a band to perform songs written by chauffeur, drummer and singer Speedy Keen, who had written Armenia City in the Sky, the first track on The Who Sell Out. Townshend recruited jazz pianist Andy ‘Thunderclap’ Newman (a friend from art college), and 15-year-old Glaswegian guitarist Jimmy McCulloch, who subsequently played lead guitar in Paul McCartney‘s Wings from 1974 to 1977 and died of a heroin overdose in 1979 aged just 26. Keen played the drums and sang the lead. Something in the Air was Thunderclap Newman’s one-hit wonder.
“The problem for me, still today, is that I write purely with one dramatic structure and that is the rite of passage. I’m not really skilled in any other. Rock and roll itself can be described as music to accompany the rite of passage…
…I’m only interested in rites of passage stories.”
A rite of passage is a ritual event that marks a person’s transition from one status to another. The concept of rites of passage as a general theory of socialization was first formally articulated by Arnold van Gennep in his book The Rites of Passage to denote rituals marking the transitional phase between childhood and full inclusion into a tribe or social group. The concept of the rite of passage is also used to explore and describe various other milestones in an individual’s life, for any marked transitional stage, when one’s social status is altered. Gennep’s work exercised a deep impact on anthropological thought. Milestones include transitions from puberty, year 7 to high school, coming of age, marriage and death. Initiation ceremonies such as baptism, akika, confirmation and Bar or Bat Mitzvah are considered important rites of passage for people of their respective religions. Rites of passage show anthropologists what social hierarchies, values and beliefs are important in specific cultures.
Dum vivimus vivamus is a Latin phrase that means “While we live, let us live”. It is often taken to be an epicurean declaration.
Emily Dickinson once used it in a letter written to William Howland:
“Sic transit gloria mundi*
How doth the busy bee,
Dum vivimus vivamus,
I stay my enemy!”
*Sic transit gloria mundi is a Latin phrase that means “Thus passes the glory of the world.” It has been interpreted as “Worldly things are fleeting.” It is possibly an adaptation of a phrase in Thomas à Kempis‘s 1418 work The Imitation of Christ: “O quam cito transit gloria mundi” (“How quickly the glory of the world passes away”).
Hugh Syme is notably responsible for all of Rush’s album cover art since 1975’s Caress of Steel. He is also a musician and has appeared in some Rush songs as a keyboard player and he has contributed as a musician with Ian Thomas Band and Tiles.
The album cover for Caress of Steel was intended to be printed in a silver colour to give it a “steel” appearance. A printing error resulted in giving the album cover a copper colour. The error was not corrected on subsequent printings of the album.
The Starman emblem (also known as the ‘Man in the Star’ logo) was adopted by Rush fans as a logo since its first appearance on the back cover of 2112. Peart described the Starman in an interview with Creem magazine:
“All (the naked man) means is the abstract man against the masses. The red star symbolizes any collectivist mentality.”
In 1983 Hugh Syme told Jeffrey Morgan that he never imagined the band would use the Starman as their main logo.
The title of this album alludes to William Shakespeare‘s play As You Like It.
The cover art sparked some controversy because of the appearance of the “Dewey Defeats Truman” headline on the newspaper. Because of pressure from the Chicago Tribune, cover designer Hugh Syme changed the text to “Dewei Defeats Truman”. The billboards in the distance were changed from Coca-Cola (who objected to the use of their logo) to include each band member’s name in similar type style.
The background scene comes from a photo, taken by Flip Schulke, of the Galveston Seawall in Texas during Hurricane Carla on September 11, 1961. The woman pictured in the foreground is model Paula Turnbull. The waving man in the background is Hugh Syme.
The title is from the signature catchphrase “Exit, stage left!” of the Hanna-Barbera pink mountain lion cartoon character Snagglepuss (coincidentally, Time Warner, former owners of Rush’s later label Atlantic Records, owns the H-B properties today). The term “stage left” is a stage direction used in blocking to identify the left side of a theater from the point of view of the performer, as opposed to the point of view of the audience.
An item from each of Rush’s previous eight studio album covers can be seen on the front and back cover of this live album, though each has been modified in some way. The owl from Fly by Night flies above Apollo, the man in the suit from Hemispheres, who stands next to the woman from Permanent Waves. The puppet king from A Farewell to Kings sits atop a box stenciled with the “Rush” logo from Rush. Next to him is a painting of the Caress of Steel album cover, held by one of the movers from Moving Pictures, with another mover standing behind. Next to this is Dionysus, the nude man from Hemispheres. Behind this scene, the starman from 2112 hangs in the background, next to an “EXIT” sign. This entire foreground scene, shot in Toronto’s then-abandoned Winter Garden Theatre, is on the left side of the stage (from the point of view of the artist), thus “Exit…Stage Left”.
“…The essence of these songs is: if there’s a chance, you might as well take it. So what if some parts of life are a crap shoot? Get out there and shoot the crap. A random universe doesn’t have to be futile; we can change the odds, load the dice, and roll again…. For anyone who hasn’t seen Groucho Marx’s game show You Bet Your Life, I mean that no one but Groucho knows the secret word, and one guess is as good as another… Anything can happen. That is called fate.
The album features eight covers of songs that were influential for the band members during the 1960s.
According to drummer and lyricist Neil Peart, inspiration for the title of the album was conceived after considerable research from several sources; the 2000-year-old Buddhist game called Leela, the Game of Self Knowledge, the related children’s game Snakes and Ladders (also known as Chutes and Ladders), and Hamlet‘s quote “slings and arrows.” This information helped convince bassist Geddy Lee and guitarist Alex Lifeson to adopt the original painting of the age old game board as the cover for the new album.
The album’s cover depicts a clock marked with alchemical symbols instead of numbers. It displays the time as 9:12 (21:12 in 24-hour time), in reference to the band’s 2112 album and its title suite. Other symbols are incorporated into the band name and album title.
Paul Mc Cartney, Linda Eastman and their daughters
George and Dhani Harrison by Terry O’Neill, 1987
“I’ve always considered myself an illustrator, a literate photographer interested in producing images that reflect the essence of an idea…I wanted to interpret the human scene rather than simply record it.”
“They were great. They made me think of Dickens’ Oliver Twist, Fagin’s gang. Irreverant, lovable. The first to wear clothes made from the British flag. I had the flag made from 2 Union Jacks. I was influenced by a Cartier-Bresson photograph of a vagrant asleep under a statue in Trafalgar Square.”
The Kids Are Alright is a soundtrack album by British rock band The Who, as a companion to the band’s rockumentary film of the same name directed by Jeff Stein. It was originally released as a double album in June 1979 on Polydor Records in the UK and MCA Records in the US.
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