Likewise, " Twisting" spent 7 weeks on the same chart, but topped out at #22. It was most successful in Britain, reaching number 6 in the official chart. "Birdhouse" became one of the group's biggest hits in the US, spending 11 weeks on the Billboard Modern Rock Tracks Chart, eventually peaking at #3. The album generated two commercial singles: Birdhouse In Your Soul and Istanbul (Not Constantinople) " Twisting" and " Your Racist Friend" had promotional releases. There weren't any alternate ideas, and I always knew I wanted a duotone color effect (which is to say it wasn't going to be straight black and white)Cooking up the logo was something we had to clear, and then have inked by a graphic artist.so I put together that team." Sales In 2021, Flansburgh elaborated: "utting together the cover from Flood was really about the ability to do the photo research with the Time Life archive, and that was our manager Jamie who knew folks on there. "It seemed like the kind of photo you've seen a million times," Flansburgh added. John went through about 5,000 photos at the Time-Life archives and nothing turned up." That just seemed like it would be an interesting album cover. The band discussed an early idea for the album's cover in a 1992 interview: " were looking for a graphic that was something along the lines of a house, with a mailbox. Elizabeth Van Itallie, Flansburgh's design-inclined friend who took the photo from the back cover of They'll Need A Crane, suggested that the image could in fact be improved with text, so she and Flansburgh created the union seal-style Flood emblem with the help of Barbara Lipp of Frieda. It is of people standing in a bread line in front of a billboard poster of a happy family in a car with the words 'America: Highest Standard of Living.' It is featured in the 'Best of Life' and has become synonymous with the Great Depression, even though the events surrounding the photograph are unrelated to it.įlansburgh says that when he initially found the photo, he wanted Flood's cover art to include only the image, with no text, even though it might pose a commercial risk. Another photograph from that very same shoot has become quite well known. It was in a series of photographs of Kentucky flood victims from around 1930. It existed as only a contact print on a roll of film shot by famous photojournalist Margaret Bourke-White. Was found by Flansburgh in the basement archives of Life magazine.
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