"DID YOU KNOW THE WHIPPED CREAM GIRL WAS A UW HUSKY?"
The story below comes from (((plasticpunk))) and I feel is an outstanding history lesson on Herb Alpert and the TJB's "Whipped Cream and Other Delights". Thanks (((plasticpunk))) !!!
Our Dads grew up with this classic cheesecake cover. There's a story behind this cover and here it is: Dolores Erickson is the woman who launched a thousand boyhood dreams via her appearance on the cover of the Herb Alpert & The Tijuana Brass album Whipped Cream & Other Delights. Dolores Erickson is an artist who came to prominence as a model for numerous fashion companies and also appearing on several album covers. The most famous cover was for Whipped Cream & Other Delights by Herb Alpert and the Tijuana Brass. Erickson started her modeling career by going with a friend to a modeling contest for a department store, Frederick & Nelson, which is now out of business. While there with her friend, the fashion coordinator of the store asked Erickson to compete as well. Although her friend would not win the contest, Erickson did. This led her to a part-time job in modeling and a few beauty pageants. Erickson started college at the University of Washington but while on a vacation to San Francisco she applied for a job as a model for Macy's. She decided to leave school and model as a career. Erickson would later become a model with the Ford Modeling Agency doing photo shoots for fashion layouts and cosmetics companies such as Max Factor. She appeared on album covers for artists such as Cy Coleman, Nat King Cole, and The Sandpipers. Erickson had known Herb Alpert for a long period of time before Whipped Cream and had been present in Alpert's garage when The Lonely Bull, Alpert's first album, had been recorded in 1962. Erickson and Alpert were members of a group of friends that included art director Peter Woorf. Alpert and Jerry Moss, his business partner in A&M records, were not incredibly impressed with the sketches of the cover but they agreed to it. The photo shoot was done in one afternoon with Erickson clothed in a strapless bikini and covered with shaving cream with a dollop of actual whipped cream on her head. Rumors at the time said that Erickson was pregnant at the time of the photo shoot which increased her bust size for the picture. In truth, she was only three months pregnant and according to Erickson, her bust had not changed noticeably by the time the pictures were taken. At one point the bikini top that she was wearing had slipped a little. Woorf had taken a couple pictures of this and sent the proofs, along with numerous other shots, to Erickson for her portfolio. When she saw the more risque pictures, she showed them to a girlfriend of hers and then tore them up fearing that her husband might find them and disapprove. Nonetheless, the photos resurfaced.
Led Zeppelin - Houses of the Holy
The album cover was inspired by the ending of Arthur C. Clarke's novel, Childhood's End. It is a collage of several photographs taken at the Giant's Causeway, Northern Ireland, by Aubrey Powell of Hipgnosis. The photoshoot was a miserable affair over the course of every morning for a week. The desired sunrise never appeared due to constant rain and clouds and many of the models were never used. The results of the shoot were less than satisifactory, but some accidental tinting effects in post-production created an unexpectedly magical album cover. It was initially released with a paper sleeve wrapped around the cover, printed with the band and album name, that had to be broken to access the record. This hid the childrens' bottoms from general display, but still the album was either banned or unavailable in Spain and some parts of southern United States. (Source: Wikipedia)
Led Zeppelin - IV
Jimmy Page's is a stylized Capricorn ruled by Saturn. Although looking almost like the word "Zoso", it is not intended to be written or pronounced as such. Page's symbol is remarkably similar to other sigils of hermetist J. Cardan and magician Austin Osman Spare found in: Gettings, Fred (1982) Dictionary of Occult, Hermetic and Alchemical Sigils, ISBN 0-7100-0095-2. Another interpretation of the symbol is that it crudely depicts a guitar (the "oSo") and the guitarist's arm (the "Z"). (Source: Wikipedia)
The Eagles - Hotel California
Hotel California touched on many themes, including innocence (and the loss thereof), the dangers, temptations, and transient nature of fame, shallow relationships, divorce and loss of love, the end results of manifest destiny, and the "American Dream".
Members of Eagles have described the album as a metaphor for the perceived decline of America into materialism and decadence. In an interview with Dutch magazine ZigZag shortly before the album's release, Don Henley said:
"This is a concept album, there's no way to hide it, but it's not set in the old West, the cowboy thing, you know. It's more urban this time (. . . ) It's our bicentennial year, you know, the country is 200 years old, so we figured since we are the Eagles and the Eagle is our national symbol, that we were obliged to make some kind of a little bicentennial statement using California as a microcosm of the whole United States, or the whole world, if you will, and to try to wake people up and say 'We've been okay so far, for 200 years, but we're gonna have to change if we're gonna continue to be around.'"
The cover image is of the Beverly Hills Hotel.
Rumors of a Satanic aspect to the album appeared during the height of paranoia about rock and heavy metal music being a tool of evil. Evidence provided were a supposedly horned figure peering down from a balcony in the album cover and the dark theme and references to a "spirit" and "the beast" in the title song; the band have denied such claims (Source: Wikipedia)
Crosby, Stills, Nash, & Young
Crosby, Stills, and Nash, with and without Young, left a major imprint in terms of both business practices and on the course of the rock and roll during their 1970s heyday. The flexibility and recombitant aspects of their aggregation forced the record companies to accommodate their dictates, rather than the other way around as was still often the norm, shifting the balance of power in the industry a bit more toward the performers, even though that shift did not become permanent. They utilized their visibility as a platform to speak out against injustices, said practice very much a product of their time but still a relatively new phenomenon, far riskier in their day than now. An entire subset of popular music arose in their wake, various topical and personal singer-songwriters embracing the 1960s Haight-Ashbury/Laurel Canyon social and political values the group transmitted into the 1970s. Targets of punk ire and post-punk sarcasm for embodying the hippie hypocrisy of preaching social equality while being shuttled around by jet and limo, as did many of that time CSNY deserved their potshots, although any excess practiced during the reign of the 1970s rock aristocracy has since been dwarfed by the gleeful conspicuous consumption of 21st century hip-hop stars and pop idols. Those who tend to be dismissive of the group, if not the entire singer-songwriter genre, often overlook that the personally exposing nature of the confessional approach makes easy targets of its practitioners; wearing your heart on your sleeve leaves little room to hide one's flaws. If their talents have in truth faded as time progressed, they certainly are neither the first nor will be the last to experience such a decline, and such does not diminish or negate any of their actual achievements. The quality of their work in the seventies, and its success, speaks for itself. (Source: Wikipedia)
Suite: Judy Blue Eyes -
The title refers to Stephen Stills' former girlfriend, singer/songwriter Judy Collins, and the lyrics to most of the suite's sections consist of his thoughts about her and their breakup. Collins is known for her piercing blue eyes, which are referenced in the title.
Collins and Stills had met in 1967 and began a relationship that lasted for two years. In 1969, she was appearing in the New York Shakespeare Festival musical production of Peer Gynt and fell in love with her co-star Stacy Keach. She eventually left Stills for Keach. Stills was devastated by the breakup and wrote the song as a response to his sadness. In a 2000 interview, Collins gave her impressions of when she first heard the song:
"[Stephen] came to where I was singing one night on the West Coast and brought his guitar to the hotel and he sang me “Suite: Judy Blue Eyes,” the whole song. And of course it has lines in it that referred to my therapy. And so he wove that all together in this magnificent creation. So the legacy of our relationship is certainly in that song." (Source: Wikipedia)
The Grateful Dead
Lake Ontario - Looking Juicy!!! www.originsurf.ca
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