Jaco Pastorius

Choosing Jaco Pastorius was an easy call. As a player, he occupies a fascinating place in the world of electric bass. He is, in a word, undeniable. And yet, as a survey of Rolling Stone readers in 2011 noted, he’s not a “household name.” He was just number seven on the magazine’s list of all time greats. John Entwhistle of The Who and Flea from the Red Hot Chili Peppers come in at one and two. But just as there’s no Entwhistle without James Jamerson (Funk Brothers bass icon who, most agree, first defined what an electric bass could and should do), there’s no Flea without Jaco.

How Empty Was the Tomb?

Although the term ‘empty tomb’ is endemic in contemporary literature, it is never used in the earliest Christian materials. The term makes little sense in the light of first-century Jerusalem tombs, which always housed multiple people. One absent body would not leave the tomb empty. The gospel narratives presuppose a large, elite tomb, with multiple loculi, and a heavy rolling stone to allow repeated access for multiple burials. The gospels therefore give precise directions about where Jesus’ body lay in this large tomb. Apologetic anxiety leads to the characterization of the tomb as ‘new’ (Matthew and John), ‘in which no one had been laid’ (Luke and John), but it is possible that the appearance of Mark’s young man ‘on the right’ is significant. The anachronistic question ‘Was the tomb empty?’ should be replaced by the accurate question, ‘How empty was the tomb?’

Between life and the underground : a study of photography found in Rolling Stone magazine from 1967 to 1972.

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

Between life and the underground : a study of photography found in Rolling Stone magazine from 1967 to 1972.

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

Between Life and the Underground: A Study of Photography Found in Rolling Stone Magazine from 1967 to 1972

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

Between Life and the Underground: A Study of Photography Found in Rolling Stone Magazine from 1967 to 1972

In order to consider what the photography used within Rolling Stone magazine contributes to the history of photojournalism, Between Life and the Underground analyzes the aesthetic of the photography and conceptual layouts produced within the magazine. This study looks specifically at the period of 1967 to 1972, a time when mainstream publications like Life magazine ceased production and when over 500 underground publications were piloted. A comparative analysis of the design, economics, and production of both Rolling Stone and the underground publication the Berkeley Barb traces the influence that the underground had on the aesthetic of Rolling Stone’s photography and layout. The role that cover photography played in perpetuating the identity that Rolling Stone wanted to embody is also investigated. The influence that New Journalism had on the production of photojournalism at Life and Rolling Stone is also considered—framed around a comparison of the photographic coverage of the Woodstock Festival of 1969 and the police riots at the Democratic National Convention of 1968. This study concludes that the underground press cultivated a new photographic aesthetic and conceptual technique for laying out photographs which adhered to the ideals of the 1960s—namely informality, which Rolling Stone then adapted to create a profitable magazine.

Heavy metal justice?: Calibrating the economic and aesthetic accreditation of the heavy metal genre in the pages of Rolling Stone, 1980–91: Part two 1986–911

Drawing on a comprehensive sample, composed of album reviews, lead or feature articles and interviews, drawn from the RS archive, my research, in Part Two of this article, shows how heavy metal in the period 1986–91 acquires a notable level of critical or aesthetic legitimation, which it was largely denied in the preceding period, 1980–85. However, this aesthetic as opposed to economic accreditation is conferred on particular bands and album releases rather than the genre as a whole, particularly those emerging from the thrash underground, such as Metallica and Megadeth, with the former receiving their first lead feature in Rolling Stone in January 1989, entitled ‘Heavy metal justice’. It is therefore somewhat ironic that this aesthetic approbation reaches a symbolic plateau with Robert Palmer’s **** review of Metallica’s ‘black album’, an album that in retrospect can be seen to announce a ‘crossover’ strategy that allowed the band to find a wider audience beyond the thrash underground.