NAMM – Day 3

The good news…..Luna has had an AMAZING show! The booth has been packed for the past few days and we have gotten some great feedback and lots of orders. The bad news…..we were so busy walking dealers through our new product line that I hardly had time to take any pictures. Here are a few that I managed to snap today.

Day before the show!

The last post was about gearing up for NAMM….here is a photo narrative of setting up the booth the day before.




















STAY TUNED!!!!!!!!

Gearing up for NAMM

What is NAMM???
NAMM, or the National Association of Music Merchants, is the largest and longest-running musical instruments and products trade show in the United States held yearly in Anaheim, California.  For those that have never been, it is a hard experience to describe. Last year there were over 90, 000 registered attendees and 1417 exhibitors showcasing anything and everything to do with music. Most of these exhibitors had instruments. Imagine all of them cranking it up to 11 to be heard above the din! OK….now imagine being there for 4 straight 8 hour days in that soup of sonic sound waves. Hopefully this helps you understand why the word “intense” describes the experience. NAMM…”Not A Mellow Moment”

Developing New Instruments
Luna is in low gear for the event all year by developing new products to showcase. Each new Luna instrument involves :
1. Coming up with an innovative idea. Depending on the instrument, this is done by myself (Yvonne) or by our UK artist in residence, Alex Morgan.
2. Sending artwork and specifications halfway across the planet to our partners in Korea and China
3. Exchanging a ka-zillion emails and photos with our overseas partners until we are satisfied we have a winner. Receiving and opening a box with a new prototype inside is like Christmas morning every time! We have had 28 such boxes arrive at Luna headquarters this year! You can read about the inspiration for two of them, the AMM 100 and AMZ 100.

AMZ 100

AMM100

Catalog
Things shift into high gear around October as we start to get our new catalog together. This year was even more challenging than usual but we managed to throw a Hail Mary pass over the printer’s deadline!
Take a peek here!

Compiling Show Instruments
The next quest is stockpiling one of each Luna instrument for the show. This may seem simple, but because we have been so massively back ordered this year it was quite a feat. Especially during the holidays when customers were calling in to say that the only thing their son, daughter, husband, wife, mother, father, etc. had their heart set on for Christmas was a specific Luna, and the only one in the warehouse was on a NAMM pile. Hard to hang tough when the heart strings are being tugged! Every instrument on every pile then has to be set up by our instrument technicians before being placed in crates and trucked from Florida to California.

One of many NAMM piles

California Bound!!!!

Planning for Booth
Our booth is 20′ x 20′, yet every year we have to figure out how to fit more instruments into the same space. This year we made the decision to bring acoustic instruments only. Instruments tags and booth signage are designed. Our staff flies out 2 days ahead of the show start to set up our booth and place instruments. Here are some pics of this year’s signage and last year’s booth.

2012 NAMM signage

2011 Booth first morning before invasion

Incidentals
The main reason that we fly across the country and go through all of the above steps is to foster relationships with our dealers. It’s a chance to meet with them face to face and gauge their first hand response to our products as well as gain their input. We put together gift baskets for our top dealers as a personal thank you. This year we’re giving them a basket that will hopefully soothe their body as well as their spirits. The traditional offering of wine and quality snacks is being augmented by a NAMM SURVIVAL KIT consisting of ear plugs, Airbourne Immune Support, hand sanitizer, mints, herbal throat lozenges, aspirin and a nice bottle of sea salt bath soak!

Preparing the Gift Baskets

And Finally
Packing!!!!!!! Please stay tuned for updates from this year’s NAMM show.

Inspiration for Luna’s AMZ 100 & AMM 100

AMZ 100
In expanding our Americana Series, we looked to Southwest Pueblo Native cultures. The AMZ 100 has taken its inspiration from the pottery of the Zia pueblo of New Mexico, recognized for their superb achievements in pottery making.

 

Famous for their large storage jars and huge dough bowls, Zia pottery is distinct from its neighboring pueblos because it is made with clay that fires to a rich red tone and comes in a variety of styles including polychrome on a white slip and polychrome on a orange slip. The sunburst finish of the AMZ 100 seeks to replicate the coloring of this pottery.

The maple fret markers of the AMZ 100 set against an ebony fret board depict a rising or setting sun based on the Zia rayed Sun symbol which has four arms – each of which has four parts. ‘Four’ is an auspicious or sacred number for the Zia: the four points of the compass, the four periods of each day, four seasons of the year, four stages of life, and the four sacred obligations for one’s physical, mental, spiritual and social health.

The Zia also believe that in the great brotherhood of all things, man has four sacred obligations: he must develop a strong body, a clear mind, a pure spirit, and a devotion to the welfare of his people. Both the Zia Pueblo flag and the New Mexico State Flag feature the Zia sun symbol.

The sound hole of the AMZ 100 was inspired by a common wave motif found on Zia water jars. Water jars or “Ollas” are defined as “… relatively large vessels used for collecting, carrying and storing water”.

Following are several pieces of pre 1900 Zia pottery that show just a few of the great number of traditional motifs utilized in this stunning historical art form.

After 1900, most Zia potters have simply decorated their jars with the Zia Bird and floral elements.

AMM 100

The mother-of-pearl and rosewood sound hole and the mother-of-pearl fretboard inlay on the AMM 100 is inspired by the remarkable pottery of the Mimbres pueblo.

The Mimbres culture consisted of several hundred small villages in souther New Mexico, each with less than 200 inhabitants, existing between approximately A.D. 100 and A.D. 1150. Their valley supported a rich diversity of wildlife, and the people lead a peaceful existence, relying on gathering, hunting, and some limited farming.

The Mimbreños began making pottery circa A.D. 200. Done primarily in black on a more-or-less white ground, the Mimbres images are noteworthy for their spontaneity and individuality. No other group of Southwestern peoples decorated ceramic vessels in a similar manner. While many Mimbres bowls feature geometric patterns—the common regional mode of embellishment—the figurative and narrative imagery is unique to the peoples of the Mimbres Valley. The bowls have largely been discovered in subfloor burials, customarily only one to a burial, where they were placed over the face of the deceased. Many are pierced, or “killed,” and the significance of such kill-holes is unclear. Explanations for them range from rendering the bowls functionally useless to allowing their spirit, or that of the deceased, to escape.

The soundhole of the AMM 100 faithfully mirrors the lip of the Mimbres bowl below.

In Mimbres culture the moon was considered to be a rabbit which was regularly devoured by an eagle,with the degree of consumption changing according to lunar phase. Rabbits (actually hares) were an integral part of Mimbres life used for food and skins and were frequently celebrated in their pottery. The inspiration for the Marker at the top of the AMM 100 fretboard was inspired by the image on this bowl which pairs the rabbit with a crescent moon.

So much pottery was found in burial pits and the quality of these pieces is so high that many believe it was created solely for mortuary use and that the image on the bowl has some specific ceremonial meaning. Below are some actual pictures and graphic images found on these extraordinary vessels.

Mimbres person

Mimbres Armadillo

Mimbres Fish Men

Mimbres Bat

Mimbres Birth

Mimbres paired Bees

whirlwind

rectangles and curves

Man Crane

Fish Monster

Skeleton with Rat

Shaman

Crane Swallowing Fish

Inspiration for Luna’s AMM 100

In expanding our Americana Series, we looked to Southwest Pueblo Native cultures. The mother-of-pearl and rosewood sound hole and the mother-of-pearl fretboard inlay on the AMM 100 is inspired by the remarkable pottery of the Mimbres pueblo.

The Mimbres culture consisted of several hundred small villages in souther New Mexico, each with less than 200 inhabitants, existing between approximately A.D. 100 and A.D. 1150. Their valley supported a rich diversity of wildlife, and the people lead a peaceful existence, relying on gathering, hunting, and some limited farming.

The Mimbreños began making pottery circa A.D. 200. Done primarily in black on a more-or-less white ground, the Mimbres images are noteworthy for their spontaneity and individuality. No other group of Southwestern peoples decorated ceramic vessels in a similar manner. While many Mimbres bowls feature geometric patterns—the common regional mode of embellishment—the figurative and narrative imagery is unique to the peoples of the Mimbres Valley. The bowls have largely been discovered in subfloor burials, customarily only one to a burial, where they were placed over the face of the deceased. Many are pierced, or “killed,” and the significance of such kill-holes is unclear. Explanations for them range from rendering the bowls functionally useless to allowing their spirit, or that of the deceased, to escape.

The soundhole of the AMM 100 faithfully mirrors the lip of the Mimbres bowl below.

In Mimbres culture the moon was considered to be a rabbit which was regularly devoured by an eagle,with the degree of consumption changing according to lunar phase. Rabbits (actually hares) were an integral part of Mimbres life used for food and skins and were frequently celebrated in their pottery. The inspiration for the Marker at the top of the AMM 100 fretboard was inspired by the image on this bowl which pairs the rabbit with a crescent moon.

So much pottery was found in burial pits and the quality of these pieces is so high that many believe it was created solely for mortuary use and that the image on the bowl has some specific ceremonial meaning. Below are some actual pictures and graphic images found on these extraordinary vessels.

Mimbres person

Mimbres Armadillo

Mimbres Fish Men

Mimbres Bat

Mimbres Birth

Mimbres paired Bees

whirlwind

rectangles and curves

Man Crane

Fish Monster

Skeleton with Rat

Shaman

Crane Swallowing Fish

History of the 6 String Guitar

drawn from How it All Began: The Origin of the Guitar by Derek Cockrum, & Stalking the Oldest 6 String Guitar by Thomas Heck

The guitar actually has a mixed heritage, but the origins of the modern instrument can be traced back to Spain. In fact, the word “guitar” is derived from the Spanish word “guitarra.” Knowing the origins of the guitar, as well as its extensive history, can help players develop a deeper respect for the instrument. In addition, knowing how the guitar has evolved helps players understand the construction of the modern guitar.

It is generally assumed that the string instruments emerged about 4000 BC from the hunting bow and the sound it produces while shooting. Around 2000 BC the Babylonians frequently made such string instruments, not only in a simple harp or lyre form, but even with a solid wooden neck and a primitive sound box of stretched animal skins. Just like the bow, the strings ware made of woven plant fibres or animal materials.

Assyrian/Babylonian musicians playing lyre-type instruments

Sometime around 40 AD, the Romans made their entrance into Spain, or Hispania as it was called. With the Romans came a musical instrument known as a cithara.

4 different types of Cithara used by the Ancient Greeks

The cithara was a type of lyre, but it was typically played by professional musicians. It had a wooden sounding box made of two tables connected by ribs. Above the box was a tuning bar, and the strings were stretched from the tuning bar to a tail piece on the box. Notes were played by strumming strings with one hand, while using the other hand to deaden the unwanted strings.

In the 8th century AD, the Moors entered Hispania from the south. The Moors brought an instrument called an oud.The pear-shaped body of the oud was flat on the front, and bowl-shaped on the back, and it usually had more than one sounding hole. At that time, the most common oud had only four strings, and the neck was not fretted. Tuning was accomplished by turning the keys on the pegboard. Both the oud and the cithara were played with a pick, although the oud could also be played by slide and vibrato.

Oud

Eventually, the cithara and the oud were combined into two instruments: the Moorish guitar and the Latin guitar. The Moorish guitar retained the rounded back, multiple sound holes and wide fingerboard of the oud.

Moorish Guitar

The Latin guitar, on the other hand, had a more narrow neck, a flat back and one sound hole. Despite having only four strings, the Latin guitar of the 11th century is clearly the predecessor of the modern guitar.

Latin Guitar

The earliest six-string guitar is dated 1779, and is commonly believed to have been made by Gaetano Vinaccia, a member of the family of Italian luthiers, or stringed instrument builders, who developed the mandolin.

Vinaccia - 1st 6 string circa 1779

By the mid-1800s, the guitar had taken on its familiar shape, and bracing inside the guitar had been changed to the modern fan style. The guitar’s evolution continued nearly one hundred years later with the invention of the electric guitar. Here are a few examples showing its early evolution.

circa 1800

circa 1806

circa 1820

circa 1830

circa 1845

Knowing the history of the guitar increases a player’s ability to appreciate the details of the instrument. Players have little difficulty identifying the features handed down from both the oud and the cithara, or in appreciating why that particular combination of features was used. A deeper appreciation of the guitar leads to a deeper respect, which shines through when the instrument is played.

Meet Luna Forum Senior Moderator, Ed Sott

Ed Sott - Luna's forum moderator

Luna is very grateful to her advocates and Ed Sott, who volunteers to moderate our Luna forum and keep it running smoothly, has certainly proven his loyalty over the years. Ed has sent us a mini bio of his musical journey….so it is my pleasure to introduce Ed to the rest of our Luna Tribe.

In Ed’s own words:

As a child back in the early 70′s my family spent a good deal of time traveling both in the states and abroad. It was within this time period that I fell in love with music and that my personal musical journey began.

I can remember at the age of 4 going to the local hall in Wantage, Oxfordshire, UK with my dad and spinning records, reel to reel,
8-tracks, and cassettes at a disco which he threw for the locals in the district.  I can remember playing the music, singing and dancing, and seeing how much joy people got from music, as I too shared in that same joy.

I  came to the understanding at an early age that music, and the arts; dance, poetry, painting, acting, writing, drawing, and reading, could take me to realms that I never dreamed possible.

In the 80s I spent time learning all I could about how music developed. Listening to the radio, and singing along with artists of various genres.  This led to my personal decision that I, too, could do this.  I began to teach myself not only the theory behind musical composition, but also how to play keyboard and piano. While this further developed my love of sound, it was in the 80s that I realized that my hearing was failing me.

When I was born I had a perforated eardrum in my left ear.  Back then there was no corrective surgical procedure and over the course of 12 years I totally lost my hearing in that ear.  I also discovered that I was tone deaf in my right ear. This progressive loss of hearing, however, never stymied me.  Instead I learned to develop a deeper appreciation of music by learning to actually “feel the vibrations” and interpret the sound accordingly.

In the 90′s, I continued to sing along with the radio, and now and then played the keyboard.  However, playing music for me diminished and I began to focus more on writing novels, plays, poetry, and lyrics.

It was around 2008 when I bought my first Luna guitar….the Luna Gypsy Muse.  It was love at first sight and thus began my return to music fully. I couldn’t, at this time, play much more than a few simple melodies. Some of my friends taught me some basics after which I went off on my own with a total new determination.  ” I was gonna play guitar if it killed me”.

Three years later I now have a band, own 17 Luna instruments as well as several others, teach people how to appreciate and play music, and my band mate and myself are playing and writing musical compositions. My favorite style of playing is rhythm backed with melody. I love finger-styling and experimenting with new concepts and ideas.

My love for Luna Guitars also brought me close to Luna Guitars Company, and I volunteered to assist in running the Luna Forum Page.  I’ve made many friends in Luna Guitars and feel blessed to be a part of the Luna Tribe.

Please drop by the forum and introduce yourself.

Edward Sott (Senior Moderator Luna Guitars Forum),

Alex Morgan – Luna’s Artist in Residence

by: Yvonne de Villiers

I am pleased to announce that Alex Morgan is Luna’s new “Artist in Residence”. Though she calls the UK her actual home, Luna has been a virtual home for Alex since she was commissioned to create the artwork for our first Henna Guitar, and now we’ve made it official.

Alex with her favorite flowers

A bit of back story….when I conceived the vision of a Henna guitar it was important to me that the design be authentic, so I contacted Catherine Cartwright Jones who was preparing a dissertation on Henna for her Phd. at Kent State. Because she was too busy with her studies to take on a project, she providentially put me in touch with Alex and the rest is guitar history! Alex immediately “got” the idea and the Henna “Paradise” was born, followed by many more designs drawing on Henna and other indigenous ornamentation. It has been a true honor and pleasure to work with her on projects over the past 7 years. Her talents are both amazing and varied as you will see below, and her heart and soul shines through everything she puts her hand to.

Luna sits down for an interview with Alex so the Luna family can get to know her “in her own words”.

1. What ignited your passion for design?

I’ve always made patterns and loved drawing. I cannot remember a time when I didn’t draw, even as a small child I made patterns all the time. I decided I wanted to be an artist when I was four years old so I think it’s always been part of who I am rather than just something that I do.

2. What is your design background? (did I read that you did medical illustrations?)

After graduating in Graphic Design and Photography, I worked as a scientific illustrator at the University of Oxford. It was a job where I got to use both drawing and photography skills in an applied setting. I kept a large green inflatable frog in my studio to entertain scientists while they had their photograph taken; it helped to break the ice a little. I enjoyed the discipline of working in a scientific environment but I found it important to balance that against creative freedom. For me that’s where my love of henna art began.

3. You have at least 6 books out on ethnic ornamentation. How did you become interested in Henna design and other Styles of ornamentation?

My initial contact with henna was via a photograph of a North African woman wearing henna. She had an image of a fish marked on her palm and simple dots and lines on her fingers. I found the idea of marking hands very powerful, I was fascinated and instantly hooked!

My first project was to adapt popular contemporary tattoo styles and a few key animal totems for henna art which is a different medium from tattoo with it’s own conventions, pace and fluidity. After that I began to collect patterns from other cultures or time periods and reconstruct them to suit henna application.

The immediacy of certain types of ethnic ornamentation is what engaged me and prompted me to collect and translate these designs. Patterns can connect directly with the brain at an emotional level and I like that directness and simplicity in the art form. Humans have always been attracted to patterns and mark making, I think this is a fundamental to us all, whatever vocabulary we use, reaching across continents, cultures and time.

Alex's first design - the Henna "Paradise"

4. What was your reaction when first asked by Luna to design a “Henna Guitar” ?

It was a perfect moment, simply wonderful! I totally understood what Luna was hoping to achieve, the intimacy of marrying the artwork to the musical instrument to create something strong and special for the musician. At that time I was working on a collection of Medieval Spanish henna patterns, the historical connection between that place and period and the origins of the guitar itself fell perfectly into place.

5. You’ve done quite a few designs for Luna over the years…..which was the most challenging?

The henna Oasis, was tough. I think I had poured so much into the Paradise design that second one was a real battle. Strangely enough despite my battle with the artwork now Oasis is the guitar I feel most comfortable with and the one I’m learning to play.

6. Do you have a favorite?

The Paz Bass is a beautiful instrument, I enjoy the combination of the smooth shiny surface against the etched wood and Paradise is special to me because it was the first one… but my favorite is always the next one. The design on my desktop is always the instrument I’m most involved with. It’s important for me to let the others go once they leave me. They’ve grown up, left home and they perhaps they take a little piece of me out into the world with them but once they leave me it’s all about the next design moving forward.

Paz Lenchantin Signature Bass

7. If given another lifetime, what profession other than your own would you like to attempt?

I can’t think of anything I’d rather be doing! I’m very lucky. Perhaps more time to continue along the path I’m on, more time more patterns, more guitars!

8. What are some of your other passions?

I enjoy working with natural dyes like henna and also indigo they add an enchantingly random result to your artwork! I also enjoy insanely bright colours, poppies, pebbles and drums but not necessarily in that order.

Here is a visual sampler of some of Alex’s other passions. You can also visit her at http://www.spellstone.com/Enjoy!

Celtic Eye
An 18″ Irish Bodhran frame drum decorated with henna commissioned by The Henna Page™ Calendar 2010. The pattern is a Celtic inspired design. The henna leaves a permanent stain in the drum skin that will continue to darken for a few months even after the henna has been removed.

Celtic Eye
An 18″ Irish Bodhran frame drum decorated with henna by. Commissioned by The Henna Page™ Calendar 2010. The pattern is a Celtic inspired design. The henna leaves a permanent stain in the drum skin that will continue to darken for a few months even after the henna has been removed.

Poppy
A simple photograph from my garden this summer.

Indigo Khamsa
This design created using natural indigo dye; A Khamsa is a protective amuletic design believed to deflect the evil eye bringing good fortune and luck.

Jack Tower
Close up photograph of little Jack Ant from the children’s fabric collection ‘Baby Jack’. http://www.spoonflower.com/profiles/spellstone

Amuletii Jewel
A small glass jewel made using one of a series of indigo resist Khamsa patterns.

Red Cat
Henna on paper, Red Cat is an illustration from my one-man show ‘Earthfolk’ featuring mixed media images made with natural dyes. The blue is coloured pencil but the reds and oranges are all henna.

Tusk tribal Earring
Tusk earring design. Hand carved in dark/black water buffalo horn.
http://www.flickr.com/photos/spellstone/sets/72157624615218581/
http://www.empirekent.com/

2011 Rolling Stone’s Reader’s Poll – Best Album Covers of All Time

In the age of the MP3, the album cover is really a lost art – which probably explains why 90 percent of the albums that readers selected come from the 1960s and the 1970s. Take a peek at the readers choice and at the inspirations behind the images. (Text by Andy Greene) 

Number 1 – The Beatle’s Sgt. Pepper’s Lonely Hearts Club Band

The cover of the Beatles’ 1967 LP Sgt. Pepper’s Lonely Hearts Club Band is, without a doubt, one of the most iconic images in the history of rock & roll. The photo was originally going to show the Beatles (in their Sgt. Pepper’s outfits) playing in a park. That slowly evolved into the final concept, where they stand amidst cardboard cutouts of their heroes. The band originally planned on including Leo Gorcey, Gandhi, Jesus Christ and Adolf Hitler in the photo. Common sense kicked Hitler off the cover (though they did create an image of him), the still-lingering bitterness of Lennon’s “bigger than Jesus” comment kicked Jesus off the cover and Gandhi got the boot over concerns that India wouldn’t print the album.

Actor Gorcey requested $400 for his likeness, a decision he probably lived to regret. Mae West initially refused, asking “What would I be doing in a lonely hearts club band?” The Beatles sent her a letter explaining the concept, causing her to change her mind. The only people still living from the cover are Paul McCartney, Ringo Starr, Dion DiMucci, Shirley Temple and Bob Dylan.
Number 2 – Pink Floyd’s Dark Side of the Moon

Until Dark Side Of The Moon, Pink Floyd album covers hadn’t been very memorable. British design group Hipgnosis hadn’t done very good jobs with Floyd’s previous two albums, Obscured By Clouds and Meddle, but they had a good track record with other acts – and so the group hired them again in 1973 for Dark Side Of The Moon. “Rick Wright suggested we do something clean and graphic,” designer Storm Thorgerson told Floyd biographer Mark Blake. “Not photographic.” Their initial inspiration was a photo of a prism on top of some sheet music. It was black and white, but a color beam was going through it. Using that as a jumping off point, the team at Hipgnosis created the iconic cover.

Some stoner, college-age fans think that the rainbow is a hint that the album is synced to the Wizard of Oz. These people are the birthers of the rock community. No matter how much evidence proves they are wrong, they cling ever tighter to their belief.
Number 3 – Nirvana’s “Nevermind”

Spencer Elden, the naked baby on the cover of Nirvana’s Nevermind, has a great pick-up line with the ladies: “Want to see my penis . . . again.” In 2007 interview with MTV, Elden said he feels weird about his bizarre role in history. “It’s kind of creepy that many people have seen me naked,” he said. “I feel like the world’s biggest porn star.” His parents were paid just $200 for the session, but Elden has been paid more than that a handful of times to recreate the famous photo. He wears a bathing suit for those, though.

Number 4 – The Beatles “Abbey Road”

Beatles nuts who believed that Paul McCartney died around 1967 and had been replaced by a dopplegänger found a lot to examine on the cover of Abbey Road. They saw the picture as a funeral procession: John (covered in white) is the preacher, Ringo (in black) is the mourner, George (in denim) is the gravedigger and Paul (barefoot) is the corpse. A license plate in the background read 281f. McCartney was 27 when the album came out, making people think the message meant he would have been 28 had he not died. None of that was intended. They shot the cover on August 8th, 1969 outside of Abbey Road studios. Tourists flock to the spot in droves, and it’s been parodied countless times – sometimes by members of the Beatles themselves, as Paul did on the cover of his 1993 LP Paul Is Live.
Number 5 – The Clash “London Calling”

Pennie Smith was snapping photos of the Clash at New York’s Palladium in September of 1979 when she captured one of the most iconic images in rock history. Paul Simonon was annoyed by the relatively quiet audience, so he began smashing his bass against the floor. “The Palladium had fixed seating, so the audience was frozen in place,” Simonon has said. “We weren’t getting any response from them, no matter what we did. I’m generally good-natured, but I do bottle things up and then I’m like a light switch, off and on, and it can be quite scary, even for me, when I switch, because it’s very sudden. Onstage that night I just got so frustrated with that crowd and when it got to the breaking point I started to chop the stage up with the guitar.”

Joe Strummer loved the photo, but Smith tried to convince him it was too out of focus for the London Calling cover. She was overruled. The smashed bass now resides at the Rock and Roll Hall of Fame in Cleveland, Ohio.
Number 6 – The Rolling Stones “Sticky Fingers”

The second album on our list designed by Andy Warhol, Sticky Fingers was the Rolling Stones’ first album for Atlantic Records – which gave them the freedom and budget to mass-produce this cover with an actual zipper. When unzipped, it revealed white underwear with the Rolling Stones’ tongue logo on it. Contrary to legend, the man in the underwear is not Mick Jagger. It’s one of Warhol’s associates, though nobody seems to be able to agree on exactly who it is.
Number 7 – The Beatle’s Revolver

German-born artist and musician Klaus Voorman was a longtime friend of the Beatles, and an obvious choice to draw the Revolver cover. The group played him their new track “Tomorrow Never Knows” before he sketched his first draft. “They were being so avant-grarde,” Voorman has said. “I thought the cover has to do the same thing. How far can I go? How surreal and strange can it be?”

He asked the Beatles to give him old photos of themselves, and he pasted some of them onto his own drawings. He had trouble with George Harrison’s face, so he pasted newspaper photos of eyes and lips onto it. For many years Voorman worried that the original was lost – but he claims to have recently tracked it down. “I’m not going to tell you where!” he said. “It’s well kept and looked after and I’m happy about that.”
Number 8 – Bruce Springsteen “Born to Run

The cover of Bruce Springsteen’s Born To Run was shot by Eric Meola during just two and a half hours in June of 1975. “They came in at 10:00 a.m,” Meola recalled in a 2006 interview. “They were exhausted. They looked as if they’d been up all night . . . It was a statement about race as well. I wanted to capture on film what they did in concert. It is very hard to re-create that kind of energy. But to their credit, they did it.” During the final show of Springsteen and the E Street Band’s 2009 tour, Springsteen and Clarence Clemons recreated the classic pose in the middle of “Growin’ Up.” With Clemonscurrently recovering from a stroke, Meola’s photograph has taken on an added poignancy.

Number 9 – Pink Floyd “Wish You Were Here”


Hollywood stuntmen Ronnie Rondell and Danny Rogers worked on nearly 200 movies – including Speed, Titanic, Beverly Hills Cop, Bad Boys and Waterworld. They remain best known for a single photograph taken on the Warner Bros. backlot in 1975. For the cover of Wish You Were Here, Rondell wore a business suit over a flame retardant suit and shook Rogers’ hand while his clothing was on fire. To protect his head, Rondell wore a wig over a hood. Despite all the precautions, at one point during the shoot, the wind blew in the wrong direction and briefly spread the flames to Rondell’s moustache. The Warner Bros. lot where the photo was taken looks remarkably the same today.

Number 10 – The Velvet Underground “The Velvet Underground & Nico”

Andy Warhol got credit for producing the Velvet Underground’s 1967 debut LP, but his exact role in the creation of the album has always been a little murky. The cover, however, was entirely his project. Early versions of his famous banana print cover said “peel slowly and see,” and there was a peel-away banana sticker that revealed a pink banana underneath. With drug songs like “Heroin” and “I’m Waiting For The Man,” some have interpreted the album’s cover as a reference to the old schoolyard rumor that smoking a banana peel will get you high. Whether or not that was Warhol’s intent, the cover remains one of his most famous works.

Vicki Genfan Talks about Songwriting

Songwriting is, more often than not, intensely personal in content. Songs can be born from personal experiences or emotions that you may not even be aware of but that spring from a deep place in yourself.

Songwriting is, always, a personal process. Each player has a unique way of getting from conception to creation of a completed piece, and every song evolves in it’s own way and time.

In the video “Live From Bay 6″, Luna artist Vicki Genfan performs three songs and speaks about her own process.

Vicki has created two classes especially for Luna owners at Luna University
She has also developed two instructional classes with Truefire, Acoustic Rhythm Guitar Survival Guide and 3-D Acoustic Guitar

Prefer to have personalized one-on-one instruction with Vicki? (Yes…it’s really possible!!!!) Check out her classroom on Truefire’s Guitar Sherpa page, your guide to guitar nirvana! Seriously, do yourself a favor and investigate this opportunity to study with one of the finest players on the planet. It’s incredibly affordable and comes with all kinds of perks plus a “Good Karma” guarantee!