I love this extract from Vanity Fair’s ‘The First of Elvis’ article – a profile of photographer Al Wertheimer who followed Elvis in 1956:
“He dared to move,” says Wertheimer. “Singers just did not move onstage in those days. You stood there like Frank Sinatra or Perry Como, and you sang from the waist up. Elvis broke all the rules. He moved his hips. He charged the microphone. He was introducing something that was just not acceptable to grown-ups and the more conservative groups. I have the William Morris guys getting him into a corner, and they’re giving him advice: ‘Now, Elvis, look, you get up there, you sing your song, but don’t move too much.’ Elvis dutifully listened. He wouldn’t argue with them. But once he got onstage he did what he wanted. And it created such a sensation. Not because you could hear him sing—there was too much screaming going on. The kids loved it. And the kids were the ones who bought the 45s.”
Nothing quite like ignoring the William Morris guys.
Read the full article here.
I’m fast becoming addicted to photoblogs. Here’s one of my favourites at colourblindeyes from Japan-based Spaniard Alex Vargas. Use the translate button all non-Spanish speakers.
I’ve just finished an enjoyable time working on copy for the new Wireworks site. Very cool stuff for kitchens and bathrooms and inspiring design from Lincoln Rivers. Loved it. Keep an eye out for the new site and follow the link coming soon in Finished Words.
I went dancing last night. When I say dancing, I really mean just moving around to music. When I say moving around, I really mean shuffling. When I say shuffling, I really mean transferring weight from left foot to right foot in an ill-advised attempt to ‘get-down.’ Quite what I thought was going to happen once I’d ‘got-down,’ I don’t know. Discover the inability to ‘get-back-up’ no doubt.
I’m at the age – obviously – when the words ‘get-down’ can still refer to dancing rather than canine instruction. Which also explains my chosen style of strutting – see above. But once the novelty of musical movement had worn off and the pitiful glances tipped into hostile glares, my prancing partner and I amused ourselves by producing a mental Venn diagram of dancing style and age. What we realised is this:
If you’re under 20 you can pretty much do anything you like on the dance floor and get away with it.
If you’re between 20 and 30 and female, you’ll spend most of your floor-time with your arms above your head.
If you’re between 30 and 40 and male, you’ll dance like you did at your school discos. Thirty years ago.
If you’re over 40 and dancing like Beyoncé, you should go home.
If you’re over 40 and dancing like Ashley Banjo from Diversity, you should be ashamed of yourself.
If you’re over 40 and dancing like Fred Astaire, congratulations.
Who’s in the house. Etc.
There are times when only the original works.
I’ve been delighted to rediscover the iconic work of Alex Steinweiss and his brilliant album cover artwork.
Take a look
.
If you haven’t already heard of him, please take a look at Tom Hoops website.
Incredible images, huge talent.
Enjoy.
I’ve been reading a few blogs by fairly well-lit individuals in the business and marketing world. Some appear to conjure up new concepts on a regular basis. Quite aside from how exhausting this must be, it made me think about whether it’s actually possible to come up with more than one Big Idea.
One or two of my subscriptions include the blogs of successful business gurus, considered experts who are watched by a certain sector of Corporate plc for the next big thing – this on the basis that they’ve already delivered one widely adopted Big Idea. But are subsequent pearls of wisdom original new ideas of value and reason for contact, or just the same story set in a different scene?
