Many great artists are not recognized or remunerated in their own lifetime. This is not to say that the band didn’t love their music, but that they realized the first word in the phrase show business is … well, you get the picture.
We pored over colorful leather swatches and dozens of metal stud samples. Later, when designing guitars for their Fuel for Life tour, I met with the band along with their set and costume designers to coordinate the group’s stage look. As if in a parallel universe, these monsters of rock asked politely if I could secure a tee time for them at a local golf club. Downing and Glenn Tipton attired in full costume-golf shirts and pastel trousers. Imagine my surprise when I was greeted by guitarists K.K.
Despite more than a decade of playing music professionally and dealing with touring bands of all stripes, I approached my first meeting with them with some trepidation. I first began working with the members of Judas Priest in the early 1980s. Downing and Glenn Tipton attired in full costume-golf shirts and pastel trousers.Īn illustration of this is the mythology of the heavy metal life. But there are those who live “the life” and those who also see art as a profession-and know the difference. Artists often say that they are driven to create, and of this I have no doubt. This sort of idealized debauchery was a template for artists centuries before Charlie Parker or Hank Williams. The poet Arthur Rimbaud, admired by the likes of Jim Morrison and Bob Dylan, famously spoke of making himself a seer by breaking moral rules and societal norms, fostering a mental state in which he could create work that inspired his audience. So how did the perception of an artist’s life go from certain squalor to being a career path? My guess is that as the visibility and economics of artistry blossomed, artists took their careers more seriously, and the public’s perception of them shifted in kind.
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