DiLello, longest cocktail party feat. Pretty Green

Pretty Green crowned Drapers Brand of the year!

Pretty Green store opening in London, Carnaby Street

Pretty Green beginning

Pretty Green beginning
Milan

interview with Harri Peccinotti

Sunday, April 21, 2013

LONDON - The legendary photographer of Beady Eye's new album. Harri Peccinotti from the old-school Italian: groundbreaking graphic designer, musician, purveyor of the flesh, outlaw photographer, erotic connoisseur, rule-breaker extraordinaire. Every photographer who’s made a career out of taking sensual and erotic photographs of beautiful women owes a big debt to Harri Peccinotti. He was the first person to consistently capture the sexuality of everyday activities on camera: subversively pleasing sights like girls carefully sucking on Popsicles, close-ups of butts on bike seats, and California beach bunnies unknowingly shot with long lenses. The master lensman who, in 1968, after completing an assignment in Vietnam, photographed the now legendary Milano Pirelli pinup calendar, that paired love poems with photographic interpretations of the verses. He was, of course, invited back. This time Harri proceeded to up the erotic factor by featuring the aforementioned California girls in various states of undress—all girls he met while cruising the beaches.

Do you remember the first photo you took just for fun?

I took a lot of pictures in Holland because I was interested in the painter Mondrian. I used to go to Vlissingen when I was about 18 and go to where the trees that Mondrian used to [paint]. There’s the first tree he did. So I used to take photographs around Vlissingen, just people on the street and everything.

While you trained in graphics, you also played in a brass band in London. 

I used to play trombone and tuba and string bass. After two or three years in learning graphics, I changed and spent about two or three years professionally playing music. Then I was disillusioned with it all and I didn’t ever go back. Unfortunately, I haven’t practiced much since which is really stupid. Now I regret it, of course. But there are lots of little things I regret. I wish I had gotten into movies, I wish I had bought a house. I have a lot of what-ifs, but anyway, here I am.

You designed album covers for jazz artists on Esquire Records. Who were some of the biggies?

Miles Davis, Sonny Rollins and the Modern Jazz Quartet. They were all graphic things. They were not photographs at all. I got paid five pounds and you had to do all the overlays. I couldn’t go to America and photograph Miles Davis. And also, record covers at that time were drawings and things. They were not like they are now.

It must have been exciting to work in the 60s as the Sexual Revolution took flight. 

I suppose it was exciting, but maybe it’s an exciting time now. You don’t know until later, really. Even in the 60s you didn’t understand it was as exciting as it looks now. I think I [shot] the first nipple [to appear] in a calendar in 1968. That was the beginning of a sort of freedom, the idea that you didn’t have to get married, you could live with somebody. It was a real break from the 50s in England.

The “nip slip” to which you refer happened on your first Pirelli calendar shoot in Tunisia, right?

Yes, but it came naturally. I mean she didn’t have any clothes on. It’s just that I cropped somewhere where her nipple showed, that’s all. There’s a girl in a white t-shirt [in another photo], who was a friend, and through the t-shirt you see a black triangle, and they retouched it out. So it wasn’t that free even then, not for Pirelli anyway. Then, of course, a little bit later you could do complete nudes. Then it was, ‘If it hasn’t got nipples and crotches, then it’s not worth doing!’ There was no money when I did our Pirelli calendar. We didn’t have a hairdresser or a makeup artist, nothing. In America I didn’t even have models! I just used girls on the beach.

Why did you choose California as the location for the 1969 edition of the calendar?

I had been there two years before working on a film called Chappaqua and there were beautiful girls everywhere. I couldn’t believe it. When we finished the one in Tunisia I said, Oh, why don’t we go to California and just do it on the beach? So I talked them into it. Everything you ever read says the calendar was shot in Big Sur but it wasn’t. I did go to Big Sur to see William Burroughs before the shoot and I think that’s where the rumor got started. Anyway, it was shot around Los Angeles, Venice Beach mainly.

How did you find the girls?

When I was working on Chappaqua there were thousands of girls, but when we went there for the calendar there were none around because it was the school holidays. There were enough girls but quite difficult. And if you look, they’re the same ones. It’s just a little group we got to know. I bet a lot of them don’t even know they’re in the Pirelli calendar. I mean where would they ever see one? They’re just girls on the beach in ’68. You take their pictures and then you go away and they don’t even know if you were genuine or not.

Chappaqua featured a lot of members of the Beat Generation, like William Burroughs, whom you met during production. Were you part of the Beats?

Everyone was in it—Allen Ginsberg and Burroughs, Ravi Shankar, Grateful Dead. I spent six months in Los Angeles at the Beverly Hills Hotel and had nothing to do because the film came from Paris and was stopped at customs in America. It took weeks and weeks before they freed it. I used to go out with everyone and every Thursday I used to have a party in my room because I had expenses to get rid of. I was friends with people from Buddha Records so they would come and then maybe just the girl from the reception. Sometimes there were musicians.

Did you jam with anybody famous?

I played with the Mamas and the Papas. There were lots of groups all just wandering around stoned saying, ‘You’re free. Come play.’ I did recordings with the Lovin’ Spoonful, too.
(band from where the lazy fuck Noel Gallagher copied the lyrics for The Death of You and Me - and music copied from Pino Daniele - heard him in his travels to South Italy)

You even bought photos of a woman giving birth.

They didn’t want to do it. I bought the pictures without authority and you couldn’t buy a copy. It sold out within 10 minutes! In those days it was really quite a shock to see something like that.

You were among the first to use black models in fashion photography. Why was it important to you to help break through that barrier?

If a girl is beautiful, whether she’s black or white or whatever color she may be, I don’t see any difference at all. I was completely anti racial nonsense. Several times I asked to use some model who I liked a lot, who was black, and they’d give me really bad reasons like ‘Advertisers wouldn’t advertise,’ so at Nova I used to overdo it and I got into trouble a bit. They would say, ‘Don’t you ever use white models? What are you
trying to do?’

A lot of the models were your friends, right?

Yeah, I always used friends. At that time, editorially, I would never use a male model just because I don’t like male models. I like female models.


How would you describe your style?

I don’t know that I have a style. I’m probably a bit more closeup, or I used to be. I was always thinking graphically, to fill the screen. I didn’t like loose space hovering around the edge at that time, and then I was called “Mr. Close-up.”

You encouraged women to let their hair grow in one of your photo spreads for Nova.

I took a photograph of a crotch and it’s a double -page spread. I told the editor it was an underarm, and it says ‘Keep your hair on,’ or something like that. I always said I like girls with hair under their arms. I’m from the old-school Italian.

And judging by the length of your beard, the same rules apply for men.

I just grow a beard because I don’t want to shave!

How do you make women feel so comfortable enough to pose nude?

Maybe I’m no threat. Who knows? Now I’m like their grandfather, whereas then there was some rapport between us. I don’t even realize I look 90 years old but obviously to them I could imagine I’m a sort of ogre taking their picture. A lot of the people I’ve taken pictures of I know very well. Now I don’t have a friend who’s a model. Or they’re just too old to take their clothes off!

Some years ago, you released a book, H.P., which offers a look at your work over the last several decades. What are some of your favorite images from your career?

I have a favorite fashion picture, which is not actually a fashion picture: a girl in Africa wandering along who was so elegant and beautiful. I remember taking [photographs of] birds flying. Things like that stick in my mind. I still like the pictures. They’re not great or anything but it’s something that gave me incredible pleasure at the time.

What always shines through in your photos is that you love women.

I don’t necessarily make them look beautiful, which is something else. I’m not very good at that. I can make them look as they are. I don’t have a skill for making them look really beautiful.

Is there anybody you want to shoot that you haven’t?

I think Kate Moss is great but I’ve never taken her picture. There’s something about her that looks natural all the time, which I quite like. I like models that don’t look too much like models. She does, but she doesn’t. And I’m sure it doesn’t matter how you take her picture, she’s going to look great. You don’t need to be a wizard.

What’s next for you?

I think it’s just going to roll on. I have thousands of transparencies I haven’t sorted through that I’ll try to.


Stone Roses film feat. Pretty Green & Liam

Saturday, April 20, 2013

MANCHESTER - Shane Meadows' highly anticipated documentary "The Stone Roses: Made of Stone", about the legendary Manchester band, will open on 5 June across the UK through Picturehouse Entertainment. 
The release will follow a premiere on Thursday 30 May in Manchester at a location to be announced, with the band set to make a rare public appearance alongside director Shane Meadows and producer Mark Herbert.
With unprecedented access to previously unseen archive footage, THE STONE ROSES: MADE OF STONE is a revealing journey through the life of one of the most revered and influential bands in British music history.
Acclaimed filmmaker Shane Meadows brings his unique directorial style, humour and emotional depth to the film, capturing the band at work and in their everyday lives as they rehearsed for their much-anticipated reunion, which culminated in three triumphant homecoming gigs at Manchester's Heaton Park in front of 220,000 adoring fans.
Incorporating never-before-seen material spanning the band's musical history, the personal experiences of many of those touched by the band and their music, and unparalleled access to the record-breaking sell-out concerts which took place in summer 2012, this is the definitive record of the definitive band of the past 25 years.
Also featuring Liam Gallagher and Mani wearing Pretty Green's Lord Paisley shirt.



trailer

Pretty Green in Reading

Friday, April 19, 2013

READING - An alternative to the current ‘college boy’ look and a bit of attitude is coming to The Oracle this weekend.
That is the promise from Pretty Green’s brand director Nigel Grant, who says the store is aiming to offer something a bit more edgy in men’s fashion.
The East Reading-born boss says he is genuinely thrilled to be opening a store in his home town where the company, founded by former Oasis frontman Liam Gallagher, first set up its headquarters and still has its distribution centre.
He said: “It feels good to be in Reading. There was always going to be two phases to our UK store roll-out and Reading was always going to be part of the second phase. I’ve grown up with The Oracle and it’s a great location.”
This will be the 13th Pretty Green UK store and three more are due to open in the next three months, in contrast to other retailers who are closing branches.
Mr Grant said: “I believe there’s two things important to me as brand director.
“Firstly, the high street is still the best place to show the customer what your brand is all about.
“You can get a feel and a vibe, it’s not just about the brand and clothing but what the attitude is about.
“Secondly, I think people want to touch and feel clothing. The high street is having a tough time and it may be in the next five or 10 years there is radical change to the way people actually interact with the brand on the high street and buy online but one thing is for sure, people will always want to feel the garment and try it before they actually buy it.”
The new store is almost opposite the hugely popular Hollister but Mr Grant says Pretty Green will offer something quite different.
The 47-year-old said: “We just try and create a cool vibe and a little bit of attitude and a lot of rock and roll.
“With dark wood panelling and a leopard print wall, it’s the kind of thing you see in a rock star’s house.”
Mr Grant continued: “There’s a lot of brands where I can’t tell them apart, they’ve morphed into one. It’s that college kid look.
“We are one of the few brands that caters for a wide age demographic. If you’ve got attitude and want to look cool and not like everyone else in the street we’re a good option.
“People over 40 or over 50 come in and carry it off. There’s something in our store which will resonate with everyone who has lived through the 90s but we do have an awful lot of teenagers now as well. That’s one thing that has excited us.”
Mr Grant says Liam, who has a home in Henley, prefers to keep a low profile at store openings but is likely to check out the Reading branch soon. He said: “He is very hands on. He has sign-off on pretty much everything we do. He is going to the Manchester City-Reading game so he might shimmy past.”
Mr Grant has been director of Pretty Green since it was formed in 2009 and has seen the business grow to 250 employees in the UK with 50 of them working in the warehouse in East Reading.
He said: “I’m proud to say we are a big employer in the local area and long may it continue.”
Pretty Green is set to open in The Oracle on Saturday with live performances from bands including Chinawhite from Warrington.

Beady Eye new song leaked, Flick of the finger + nude Cara

Saturday, April 06, 2013



LONDON - naked British model Cara Delevingne flick of the fingering, lol. Pretty druggy.
Rock'n'roll promo from the new single (Kill Switch) of the real Oasis. Introduction to the new album, US 70's Motown's vibe, brass section, cinema feel (like Bruce Lee-Tarantino-James Bond-Superman, as some on the first album, Four Letter Word, etc. or something about the space, Kubrick), class vocals by Liam Gallagher, Ringo Starr drums... it's a grower, but an instant classic at the same time. Containing both old and new sound. The wall of sound is back. Will sound great live, maybe with a keyboard for the horns. Listened like 500 times. Cool as fuck. As Liam said: imperial, majestic. 
Noel Gallagher's fans are... rosicando ahaha (gnawing). Puta que pariu que música foda! Chupa Noel seu coxinha! ahahaha
Two years ago, it was "Standing on the edge of the noise" the first song leaking, so one from the album.
The real crescendo is the words, from lyric (personal) become epic (for all the people). The structure of the song is different from the usual, and without a chorus.
more to add soon

first reviews:
"Demonstrating their work with producer Dave Sitek, the new track showcases a heavy, psych-influenced new direction from the band. And it absolutely works, adding thick layers of guitar and horns to the band's anthemic pop rock."

"coming out of KCRW, the National Public Radio station of Southern California’s Santa Monica College, we think it’s some of the best, most confident stuff we’ve heard from Gallagher the younger for quite some time & after the early Beady Eye releases (which were generally considered to be the somewhat lacklustre - by the haters, not magazines and websites, they had good reviews) it reasserts Liam as a serious force to be reckoned with."

Lyrics:
Woke up this morning, I was late, off out on the dark side, 
With the moon and the room on the wrong side. 

I took a needle for myself right back at the seams, 
I saw my universal gleam. 

I see the wonder of life and look for the wall, 
Just taking a walk in the sun. 

In time, in just a second like the ghost of a bad idea, 
I feel myself getting the fear. 

Come on, have we decided if we like being part of the plan.
It sends us shifting and there's nowhere to land
It's on, it doesn't matter if all of these tickets are sold 
And all the old stories are told
I know, you're gonna tell me that you hear every word I say 
But the future gets written today, yeah the future gets written today

Don't be deceived when our revolution has been finally stamped out and pat you eternally on the shoulder and say that there's no inequality worth speaking of and no more reason to fighting because if you believe them they will be completely in charge in their marble homes and granite banks from which they rob the people of the world under the pretense of bringing them culture. Watch out, for as soon as it pleases them they'll send you out to protect their gold in wars whose weapons, rapidly developed by servile scientists, will become more and more deadly until they can with a flick of the finger tear a million of you to pieces.



one of the first good covers (from Italy)
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