Light posting will likely continue through the rest of the week, due to the onset of one damned thing after another that seems to constitute life at Totleigh Towers. Which is too bad, really, because at the moment I have about thirty open tabs in the Brave browser, just sitting there waiting for me to unleash my wrathful attention on ’em. This sudden tsunami of truly historical events of late threatens to drown Ye Olde Blogghoste in neglected blog-fodder here, I admit.
After a couple of days to mull it over, I’m thinking the best way to handle our new Daily Donnybrook open thread is to refresh it a couple times a week—putting up a new one, say, every Tuesday and Friday or Saturday. I’m definitely grateful to the folks who recommended doing it, if only for the sudden influx of BBQ recipes and the like in the comments; from that, it’s easy to envision this thing turning into something very damned useful indeed around this place.
Anyways, back when I can, as I can, folks. Oh, and here’s a neat little bit of arcana about that London Calling album cover some of y’all might not have heard about before:
It all began on the 20th September 1979. On that day, in Palladium club in New York took place the concert of a British rock group, The Clash. During the concert, the upset bassist wrecked his guitar on the scene, and the moment was captured on photography by Pennie Smith. Thanks to this photo, one of the most famous album covers in the history of rock came to existence.
The final version of the cover was designed by Ray Lowry. Pennie Smith at first didn’t want to allow the use of her photo, arguing that it’s blurry. Lowry convinced her that the lack of focus was in this case a good thing, as it made it more authentic and spontaneous.
London Calling cover quickly became famous all over the world. It was a pastiche, meaning a conscious reference to another piece. Lowry used composition and lettering similar to Elvis Presley’s earlier (RCA debut) album. It was a bit provocative, as Elvis was acclaimed back then as the king of rock and the less famous band The Clash was only about to begin another revolution in rock music, but in a way more hardcore version.
There’s a pic of the Simenon P-bass aftermath, too. It wound up in about the condition you’d expect, alas.