In today’s blog I want to highlight one of the earliest of Jim’s multitude of hero shots and the first print he ever gave to me. It is a shot he took very, very early in his career and always said was one of his absolute favorites. A shot he referred to, with the abject simplicity of his that I came to find so endearing, as “Clown”.
All Jim Marshall and Rolling Stones fans lucky enough to be in London sometime over the next three months need to check out the new exhibition – Rip This Joint! The Rolling Stones 1972 – that opened a few days ago (the opening party is tonight) at The O2 in London. The exhibit coincides nicely with the Stones live shows at the O2 slated for Nov. 25 and 29 that reportedly sold out in 7 minutes(!) in celebration of the band’s 50th year.
There is much news brewing in the world of Jim Marshall Photography for the rest of 2012 including most notably the upcoming “Rolling Stones 1972” exhibition at The O2’s British Music Experience, Britain’s groovy interactive museum of popular music housed in the O2 Bubble in Greenwich, London.
The show, curated by Team Marshall’s own Dave Brolan, is being installed today and will run from November 12, 2012 to February 3, 2013. This powerful show is devoted to images entirely from Jim Marshall’s posthumous book, “The Rolling Stones 1972,” which is now in its second printing. The exhibition opening will be next Thursday, November 15.
As the number of Jim Marshall blogs grows ever higher, I realize some of the most pleasing for me to research and write involve what I call “origin stories,” the story behind how someone first met Jim and the impact he made on them, usually lifelong. These origin stories are often poignant, usually scary or hilarious or both, and they almost always capture a perfect microcosm of mercurial, nutty, indominatable, inspiring Jim, warts and all. And so here is another from Richard Peters, a friend of Jim’s from back in the day, and a talented artist in his own right, who ended up with a Jimi Hendrix album cover to his own credit:
He’s a walkin’ contradiction, partly truth and partly fiction / Takin’ ev’ry wrong direction on his lonely way back home. -- Kris Kristofferson lyric from “The Pilgrim” Sometimes we dive so deep into Jim’s archive to uncover the rare and hardly seen that we miss the redwood amongst the junipers. Which is to say that I was rather shocked to realize the other day that, after producing nearly two years' worth of JMPLLC blogs, we had yet to run one of Jim’s favorite portraits: a moody, sexy shot of Kris Kristofferson in a Los Angeles hotel on a long-forgotten Sunday in 1970.
Ready for the next entry into our never-ending game of “Sixth Degrees of Jim Marshall?” It’s a game of finding connections and serendipitous linkages between Jim’s life and work and (fill in the blank important person or hugely popular happening or historic event) that we at Team Marshall never get tired of playing. Today’s blog explores the connection of Jim to the just-concluded after eight seasons and much-adored Showtime series, “Weeds” … and, no, the connection is not the fact that “Weeds” is about drug dealing (too obvious, guess again).
Congratulations are in order as Jim Marshall’s “The Rolling Stones 1972” book, featuring a foreward by Keith Richards, intro by Joel Selvin and edited by Team Marsall’s talented, Michelle Dunn Marsh, continues to garner critical acclaim, press and sales. In fact, the book has become a fixture on Amazon’s Best Sellers for Portrait Photography list; the first run has sold out, and Chronicle Books is in the midst of a second printing in time for the holidays.
I was reading the New York Times Sunday magazine recently and came across a lovely little piece on Ravi Coltrane, the son of the brilliant musicians, jazz saxophonist John Coltrane and composer/pianist Alice Coltrane; the piece touted Ravi’s new album: “Spirit Fiction,” and right at the beginning of the story by Zachary Woolfe, I was thrilled to read the following: “ ‘Ambition sometimes gets a little out ahead of you,’ Ravi Coltrane said.
This year marks only the third time since 1984 that my phone didn’t ring on August 5 to hear a certain unmistakeable voice rasp out “Happy Birthday, Michie!” And then Jim would remind me that he had never missed a year, remind me what a horrible curse it was that he had this affinity for Leos (his ex-wives were both August-born), recount how many years we had known each other and state emphatically that I was stuck with him, no matter what. In the 25 years that I was lucky enough to call Jim my friend, he NEVER missed a birthday of mine … even when I was officially not speaking to him (not that he ever gave a damn!) And often, he would call August 4th at midnight, cackling maniacally to ensure that he was the first to wish it to me.
As this long, hot summer continues to rock much of the country, the super-cool visual treats from JMPLLC continue to roll as well with the recent launch of the uniquely satisfying “The Rolling Stones 1972, Photographs by Jim Marshall” exhibition at Seattle’s dynamic Experience Music Project Museum. We’ve chosen with this blog to run a few shots of the EMP exhibit to convey how differences in behind-the-scenes decisions, such as printing, framing, and how the show is displayed, can impact the photographer’s original intent and, hence, the viewer’s experience of the image when it’s published and presented in a gallery space.