User:Toby Decker
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The cover of Nirvana's "Nevermind" is important to the band's success because it visually epitomizes the messages intrinsic of the album's content. The memorable depiction is of a naked, swimming infant, grasping for a single dollar bill in an underwater expanse; of course, the dollar bill appears to be a lure that is attached to a fishhook. Though odd, this representation accounts for the themes that are riddled throughout the album: isolation, beauty, innocence, deception, and disillusionment. For instance, though the album's song, "Territorial Pissings" includes the lines, "Everybody get together / try to love one another right now," the song "Breed" professes repeatedly the lines "I don't care," "I don't mind," and "I'm afraid." Thus, Nirvana explores a range of emotions that are not altogether misanthropic nor naive; the tone succinctly corresponds with the album cover to produce an integral piece of art. | The cover of Nirvana's "Nevermind" is important to the band's success because it visually epitomizes the messages intrinsic of the album's content. The memorable depiction is of a naked, swimming infant, grasping for a single dollar bill in an underwater expanse; of course, the dollar bill appears to be a lure that is attached to a fishhook. Though odd, this representation accounts for the themes that are riddled throughout the album: isolation, beauty, innocence, deception, and disillusionment. For instance, though the album's song, "Territorial Pissings" includes the lines, "Everybody get together / try to love one another right now," the song "Breed" professes repeatedly the lines "I don't care," "I don't mind," and "I'm afraid." Thus, Nirvana explores a range of emotions that are not altogether misanthropic nor naive; the tone succinctly corresponds with the album cover to produce an integral piece of art. | ||
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| − | + | =='''The Original "Waste Land" Cover'''== | |
[[Image:Picture_13.png|right]] | [[Image:Picture_13.png|right]] | ||
When "The Waste Land" first appeared in the November 1922 issue of the American periodical, ''The Dial'', it was preceded by Robert Delaunay's painting entitled, "Saint Severin No. 3." There is no information to suggest whether the juxtaposition of the two works was ever approved of by Eliot, but neither is there information to indicate whether Eliot opposed the placement of Delaunay's painting at the opening of Eliot's masterful poem. The two pieces are interesting in contrast, especially since the works were created nearly ten years apart. Perhaps Delaunay's piece was selected for publication because it demonstrated the painter's divergence from what he had previously produced--just as Eliot's "Waste Land" deviated from foregoing precedent. | When "The Waste Land" first appeared in the November 1922 issue of the American periodical, ''The Dial'', it was preceded by Robert Delaunay's painting entitled, "Saint Severin No. 3." There is no information to suggest whether the juxtaposition of the two works was ever approved of by Eliot, but neither is there information to indicate whether Eliot opposed the placement of Delaunay's painting at the opening of Eliot's masterful poem. The two pieces are interesting in contrast, especially since the works were created nearly ten years apart. Perhaps Delaunay's piece was selected for publication because it demonstrated the painter's divergence from what he had previously produced--just as Eliot's "Waste Land" deviated from foregoing precedent. | ||
