(quotation found in Paul Arden’s book It’s Not How Good You Are, It’s How Good You Want To Be (2003 Phaidon Press)
Past places of dread, we walk in the center of the road, looking up at the torn wallpapers of browny blacks and purples as the mournful remains of derelict shoulder-to-shoulder houses, their safety now replace by trepidation. Local kids ransack empty houses, and small and wide-eyed, I join them, balancing across exposed beams and racing into wet black cellars; underground cavities where murder and sex and self-destruction seep from cracks of local stone and shifting brickwork where aborted babies found deathly peace instead of unforgiving life.
Morrissey, the only living author to be published under the Penguin Classics imprint. As Wikipedia noted:
The book is not divided into chapters and its opening paragraph lasts four-and-a-half pages.
I found this image while reading a book on Italian graphic design:
This image is similar to the cover of Joy Division’s 1978 album Unknown Pleasures:
On the album cover design, Wikipedia has the following:
Peter Saville, who had previously designed posters for Manchester’s Factory club in 1978, designed the cover of the album. Morris chose the image used on the cover, which is based on an image of radio waves from pulsar CP 1919, from The Cambridge Encyclopaedia of Astronomy. Saville reversed the image from black-on-white to white-on-black and printed it on textured card for the original version of the album.
This image became well-known, featuring on t-shirts (even parodied by a quickly-withdrawn Disney shirt). When reviewing the 2007 remastered version of Unknown Pleasures, Pitchfork Media critic Joshua Klein described the cover art as “iconic”. Susie Goldring, reviewing the album for BBC Online said, “The duochrome Peter Saville cover of this first Joy Division album speaks volumes. Its white on black lines reflect a pulse of power, a surge of bass, and raw angst. If the cover doesn’t draw you in, the music will.”
The inner sleeve features a black-and-white photograph of a door with a hand near the handle. It was some years later before Saville discovered that the photograph was Hand Through a Doorway, a well-known picture by Ralph Gibson.
Could it be that the album cover was inspired by Pino Tovaglia’s piece? Chi lo sa’.
Here are some links to websites on Pino Tovaglia (in Italiano):
Excerpt from Radiohead: Hysterical and Useless by Martin Clarke:
Radiohead dedicated the album to the late Bill Hicks, a comedian from Austin, Texas who had recently died from cancer of the pancreas. His career was brief and cruelly under-recognised, possibly because some of his material deemed just too offensive to some people. Hicks had lived recklessly and died young, aged only 32. The album title itself is was the name of a condition that affects divers who surface too quickly, the rapid change increasing the level of nitrogen in the bloodstream, leaving them paralyzed, and which can often be fatal.The medical focus which gave the album its title was prevalent throughout, with Thom’s highly idiosyncratic lyrics thinly detailing his own history of physical complications. Having said that, Jonny [Greenwood] was keen in public to steer people away from giving such a narrow interpretation to the record’s themes.
Clarke, Martin. “I Don’t Want To Be Krippled.” Radiohead: hysterical & useless. London: Plexus, 2000. 70-71. Print.
^the cover to Clarke’s book
Produced by studio guru Jon Brion (Fiona Apple, Rufus Wainwright, Kanye West), The Only Place glows with incandescent guitars and Cosentino’s bracing vocals, which are no longer buried in reverb. Sunshine melodies, however, belie a tougher core. “With this record I wanted two things: to emotionally vomit on the listener and to express myself with my voice in a way I never have,” Cosentino explains. “I needed to be honest with people.” That’s clear on defiant tracks like “How They Want Me To Be,” a song about decidedly 21st-century communication blues. “It’s about bands and critics telling me on the Internet how I should be,” Cosentino notes. “Yesterday, I admitted to liking Skrillex, and it became this whole thing on Twitter. It’s ridiculous. I have to remember I can’t go out with my friends like nothing has changed, because then you’ll see a picture of me drunk on the sidewalk everywhere. So the song is my reaction to how everything in the world is accessible to everyone.”
Sune Rose Wagner on the album’s title Pe’ahi:
DiS: The album’s called Pe’ahi. Where does the title originate from?
Sune Rose Wagner: The title is actually a Hawaiian word. It’s a big, famous surf break off the shore of Maui. It only comes to life during the winter months. It’s a scary place even for professional big wave surfers. We used that as the title because the album has a lot of references to surf culture. Musically there’s a lot of surf guitar sounds in there. But used in very different ways to the traditional surf record sound. There’s also a lot of references to surf language and beaches in the lyrics but again used in a very different context. It was a challenge to try and channel some of the inspiration I found - especially the surf history of Southern California - but not in an obvious way. A guy once referred to our band very early on in our career as being what it would sound like if you went surfing in the rain. It’s a pretty good analogy which I always thought made a lot of sense. So in essence I guess that’s what we sound like which is why we used a lot of the references, and Pe’ahi is also a dangerous place. And not just for surfers either. It’s also become a hangout for the disenchanted. I went to Maui recently and people there advised me not to go down to Pe’ahi, even in summertime. Some pregnant girl was murdered there not long ago so it all kind of makes sense with the title because I always want that to have a certain theme to it. Which is why we put the knife on the cover of the record.