THE MOTHER OF HARLOTS & ABOMINATIONS OF EARTH

[harrisonknott]

[beatle-bored]

Swingeing London 67 - poster

Hamilton created Swingeing London 67 – poster in response to a commission by Edition ED912 in Milan, a distributor of art posters. The poster is one of a group of paintings and prints Hamilton made after his art dealer Robert Fraser (1937-86) was arrested and imprisoned for the possession of heroin. On 12 February 1967 the police raided a party at the Sussex farmhouse of Keith Richards, one of the members of the rock group, the Rolling Stones, where they found evidence of the consumption of various drugs. On 27 June 1967, Fraser and Mick Jagger (the band’s lead singer) were found guilty of the possession of illegal drugs. The following day the two men were handcuffed to each other and driven to court in a police van, where they were sentenced to six months and three months respectively. After the defence lawyer’s appeal, Jagger’s sentence was reduced to a fine but Fraser’s appeal was rejected and he spent four months behind bars in Wormwood Scrubs. Hamilton was outraged by the sequence of events and wrote:

I had felt a strong personal indignation at the insanity of legal institutions which could jail anyone for the offence of self-abuse with drugs. The sentence in the case of my friend Robert Fraser was blatantly not intended to help him through a sickness, it was to be a notorious example to others. As the judge declared ‘There are times when a swingeing sentence can act as a deterrent’. There were several moves towards the subject at the time of Robert’s arrest in 1967. Gradually, the sense of outrage subsided into quiet deliberations on the technical requirements of the expression of that anger.

[dozydawn]

The iconic logo of the lady holding the torch that you currently see at the beginning of every Columbia Pictures movie was born in the apartment of Pulitzer Prize-winning New Orleans photographer Kathy Anderson in 1991.

The final version is a painting, but few people know that it was based on a photo of the photographer’s colleague, captured during a portrait shoot in a small space using very simple props.

“During the shoot, Jenny asked if she could sit down for a minute,” says the photographer. “I shot one frame of her seated, which may be my favorite image from the shoot. But after chatting for a minute, she confided that she was pregnant. After congratulating her, we resumed shooting, but I was worried about her standing on the box.”

The Photo Behind the Iconic Columbia Pictures ‘Torch Lady’ Logo

[thedickcavettshow]

Tonight I’m thinking about photographer Jean-Marie Périer, who dated Françoise Hardy until she left him for Jacques Dutronc, whom he then fell madly in love with.

[thedickcavettshow]

Left: Françoise Hardy and Jean-Marie Périer, 1964

Right: Françoise Hardy and Jacques Dutronc photographed by Jean-Marie Périer, 1967

Contender for most tortured man ever

[kristina100000]

[deolah]

[dorothyrhone]

Awestruck at the Cavern

by Max Scheler.

[bobdylan-n-jonimitchell]

Joan Baez, New York, June 18, 1965 © Richard Avedon.

[saintes]

“Their performance, much more than the music hall, evoke the commingled suaveness, tawdriness, and aggressiveness of the bullfight, the sworn yet sumptuous game of Mass, the noises and colors of a tattered ritual, not mere music but a holy performance. The singer spaces out his gestures as a typewriter might his words. Nothing is more beautiful than this wild crowd, this violent whirlwind music—and with that the singer so slow, so mannered, like a priest over Mass, his gestures at a remove from his voice, his gestures and his voice at a remove from everything around them, his gestures and his voice and everything around them at a remove from what is outside.”

Jean-Jacques Schuhl, Dusty Pink, 1972; trans. Jeffrey Zuckerman, 2018

[luismbarbosa]

JEANNE MOREAU POSES IN HER PARISIAN APARTMENT, IN FRONT OF HER NEW FIREPLACE, CREATED BY VALENTINE SCHLEGEL, 1970

[stroebe2]

In David Lynch's movies, I think there's a real lucidity on America, even California. You can always drive to the West Coast but when you get to Los Angeles, the fall off is harsh. When Wim Wenders shot America, even the crappiest hotel, you'd find the beauty of photography from Eggleston, Robert Frank, ... That's the American dream. The same references in Lynch's work, they scare you. They close down like claws. When you're European, you're drugged out by those images of America. David Lynch directs those same images but points out their dangerous, morbid character. [...] The opening credits of Twin Peaks are an emblem of America, a place we'll never see, because it doesn't even really exist, but there's poison inside. There's not even the hope of being saved.

Claire Denis on David Lynch, in Les Cahiers du Cinéma (Hors-série 2, Novembre 2023)

[saintes]

“British bands are, above all, groups. They’re only incidentally musicians. The music served as pretext for making things together, and making things resound together. Things rather than sounds. They are a prelude to armed groups. In their feedback effects and amplifiers and screams (yep, woohoo, yap) and personal effects, in everything surrounding their music is the premonition of a splendid storm, a destruction shrouded in beauty.”

Jean-Jacques Schuhl, Dusty Pink, 1972; trans. Jeffrey Zuckerman, 2018

[saintes]

"Hands rise up, not arms outstretched above the head in an ascension or a solar communion rite or some springtime festivity—as three years later—but hands rising to obscure the face, as others do with smoke. Brian Jones is sitting, cornered, he never dances. Next to him is Anita Pallenberg. They slap each other (they’re opposites of each other). When he comes to Paris (they say that in London he lives in a former church, they say that bags of fan mail pile up there), he spends his nights at the rue Princess club. At seven in the morning he heads to bed, having slathered creams on his face, at the Hôtel George-V—Aubusson tapestries, wainscoting, gold accents, thick carpeting, trees flush with false oranges—in pallid confinement until the evening; then he makes his way once again to Castel with an entourage in a murmur of furs and swirling silks draped upon frail, anemic, furtive, ailing, worn-out bodies with the deathly paleness of nightbirds."

Jean-Jacques Schuhl, Dusty Pink, 1972; trans. Jeffrey Zuckerman, 2018

[allhailthe70shousewife]

[romanticillusion]

NME "Leader of the Pack" Playing Cards, 1992 (x, x)

[distantvoices]

Cho Giseok

[missilecrashedtoearth]

an unknown model in vivenne westwood, outside the worlds end in 1980's london (x)