When I started on this, there was an album called Our Man in Nirvana that Frank was working on. And this was an outgrowth or an evolution of that to some extent—now, to what extent, I can't say. [...] At some point, that project ended and this began, but there was material that he was working on that evolved into this. Where one ends and the other begins, I don't know. But there is certainly a point where there's some mix of the two ideas . . .
[...] I think it was still spring—because I remember—it was right after I met Frank, right after Absolutely Free came out, I was living in Philadelphia and commuting to NY, I was still going to school, and I remember when it came out and everywhere you went—that's all you heard, constantly, was Sgt. Pepper. So it was like just this incredible phenomenon, and Frank immediately grasped that and wanted to do something with it, you know, so, that's really I think what's . . . and he was listening to it too.
[...] I was working for him. And the assignment was, okay, this is what we're going to do now. But I had started working on Our Man in Nirvana, and like I say, I don't remember where that ended and this began exactly . . . the first point that I remember this actually being a project—was a drawing where Frank took Sgt. Pepper and put tissue paper over it and drew on top of it what he wanted as satirizing this element, that element. There were some that made it, some that didn't, obviously . . .
Photo shot in June 1967, (graphic production summer thru fall '67). Jerry Schatzberg did the photography for the cover, I did the collage of additional people at the top which was stripped in after. I helped set up the shot, but most of the direction was Frank's, I made the "wax figures" and did the production etc. This was the first cover that I worked on. I had just started working for FZ in spring '67, doing ads for "Absolutely Free", group photos, drum heads, light show -various paraphernalia for "Pigs & Repugnant", the Garrick Theater extended gig) I had a lot of help on the technicalities from Dick Roth at Queens Litho, who happened to also be printing Sgt. Pepper. This helped a lot. In fact, the "Only Money" cutout insert was printed with "Sgt. Pepper's" insert reprints on the same press sheet.
We're Only In It For The Money—I think that was done at Apostolic Studios in New York, and one of the interesting things I remember about that is doing the album cover. We all had to wear dresses; my dress was I think $200 which at the time was quite a large amount of money for a dress. They were all like that, and the set itself was quite incredible, all these mannequins and vegetables that you can see on the sleeve—it was really amazing. I don't remember much about the recording of that album, but . . . it came out and sounded pretty good.
6-67 thru fall 67—NY. Photo, photo-collage. This was the first cover that I worked on. I had just started working for FZ in spring (67), doing ads for "Absolutely Free", group photos, drum heads, light show—various paraphernalia for "Pigs & Repugnant" (Garrick Theater extended gig). Frank very carefully directed this package, I did the plaster models, collage in background & supplied whatever else was needed—with the help of Dick Roth at Queens Litho (they also printed "Sgt Pepper"). Incidentally—the "Only Money" cutout insert was actually printed with "Sgt. Pepper's" inserts on the same press sheet.
95 Ryko release restores the original cover, back cover, liner and cutout sheet with some subtle changes. The inlay pictures are neverseenbefore out-takes from the original Jerry Schatzberg photo session for the BC (which is actually the inside-out left panel on the original, but the BC on the earlier reissue . . . well, you know what I mean).
Frank came up with the concept for "We're Only In The Money For It" early that summer, and we rushed around trying to find props and get it in the works as soon as possible. I went out and bought a bunch of old manakins to convert into "wax figures" of the Mothers. This was accomplished in an old loft, high over the Garrick Theater/Café a Go Go complex. Many hours and pounds of plaster served in the task. The photography was done by Jerry Shatsberg a real photographer, in a real New York photography studio. This was my first actual album cover and I was impressed. Other than the wax dummies and the collage in the background of the Front cover, I mostly just got to art-direct the thing. Dick Roth at Queens Litho, helped a lot with the production, supplying all of the type to the right specifications, and tying it all together. (Queens had printed "Sgt. Pepper," and in fact when they ran the insert for "Only Money" it was ganged on a sheet of Beatles insert reprints.
Frank & Cal adjust the wax figures
Where was the inside cover shot done for the "Money" album. Jimi Hendrix joined you for the album picture. Do you remember how he felt, or what his attitude was toward the Mothers in dresses, and the photo experience?
Some place on Fifth Ave. in New York City. I think the photographer was Faye Dunaway's husband at the time. I don't know how Jimi felt about the whole thing. I think it was good publicity for him. I know I didn't like that dress 'cause it didn't fit but I thought it was a great picture. We weren't the first band to do a picture in drag; The Rolling Stones were. If it was good enough for them then it had to be good enough for us.
In June, Cal was working on the cover design for We're Only In It For The Money. He had a little workshop above the theater where he was putting all the mannequins and things together for the cover. When he had finished them all, we went to Jerry Schatzberg who was a famous photographer on Park Avenue and that's were we shot the actual pictures.
Jimi Hendrix was in the Village that week we did the album cover. He was back in America for the first time since he'd make it big in England. He'd come back to headline at The Monterey Pop Festival. He's not a cardboard prop on the album cover because he was actually with at the shoot. For the record, the other black guy on there is Tom Wilson, the guy with my high school letterman sweater on.
This was the first of many parodies of Sgt Pepper and very much in the Mothers' irreverent style. Cal Schenkel: "It was Frank's concept, and it was just a question of parodying what existed. First Frank did a little sketch of the cover and said, I want to find all these people and get them and put them in the picture. And there were like 100 people. We started to try and get people and it was just impossible. Jimi Hendrix was the only live person there other than the Mothers and the corporate members and Herbie Cohen, Tom Wilson and a few other people like Gail. The rest were either just found images: some of them came out of Frank's High School Year Book and there were some old pictures I had.
"We put the cover together in three pieces, foreground, the Mothers and the foreground people, then the rest was all collaged and stripped in. The photography was done by Jerry Schatzberg who was a pretty famous fashion photographer. We went to his studio, a really upscale New York fashion studio, and there were like ten assistants. It was great!"
"Frank approached me," remembers Jerrold Schatzberg, "because he'd seen the sleeve that I did on the Stones' Can You See Your Mother, Baby, Standing In The Shadows? when they were in drag, and he had an idea that he wanted to do a combination of that and Sgt. Pepper. And instead of flowers and wonderful dreams, he wanted garbage and old food and what you see around on the floor. We both knew Jimi Hendrix so we asked Jimi to come in, so Jimi sat in there as one of the faces. Frank knew exactly what he wanted, and we discussed it, and stuff just started coming in and we started setting it up and preparing it. It took us, I think, the better part of a day and a half to actually shoot it and I remeber finishing quite late at night, but the studio was an absolute mess afterwards, all those vegetables rotting.
Cal Schenkel: "This was the first job I did. It was a very complicated piece and I had no idea what I was doing, but the printers for MGM were acutally printing the Sgt Pepper job so they were able to help me match the look really well, in fact we printed the insert sheets with the Sgt Pepper sheets on the same press run.
"There were a lot of things we had to do legally, but they mostly came from MGM's paranoia: putting bars over the faces of anybody who was alive. Turning it inside out. They just wouldn't take the chance."
I had shot a photograph for the Rolling Stones in drag for the U.K. release of their single "Have You Seen Your Mother, Baby, Standing in the Shadow?". Zappa had seen that and after seeing the cover of Sgt. Peppers, he had the idea the he wanted to do a spoof of that image, with the principals in drag. I had met Zappa a couple of times before that, but we'd never worked together, so I was intrigued when I was told that this was going to be the cover of his next record.
We had a couple of weeks to produce this, and keeping the Sgt. Pepper's cover in mind—with its elaborate costumes, flower-filled foreground, and its amazing cast of celebrity guests who were featured on the cover, both of our staffs set out to find the clothes, the props and some "celebrities" who would be part of the final composition.
We all agreed that it'd be very funny if we'd use fruit and vegetables and other junk in the foreground (instead of flowers), and since both of us knew Jimi Hendrix, we asked him to take part (you'll find a real-live Jimi Hendrix on the far right-hand side of the shot, the second person to the right of Zappa, who's posed in a mini-skirt). Zappa and his record company then decided on the rest of the background imagery and then a series of photos were taken. I submitted all of my tests over the two weeks and then the final one was selected. No special effects or lenses were used—the final photograph contains just the props and the people you see. Everyone was very happy with the results.
There used to be a genuinely charming poster of the Mothers that leered down at the hapless motorists from atop the Sunset Strip. If you haven't seen it, it showed the Mothers dressed up in drag, similar to the Rolling Stones on the cover of their Can You See Your Mother, Baby, Standing in the Shadows? LP; and the name of the group was tastefully spelled out in garbage, satirizing the cover of Sgt. Pepper's Lonely Hearts Club Band, which had "Beatles" spelled in flowers.
That picture, as you may have heard, was also to serve as the cover for the third Mothers' LP, We're Only In It For the Money. "Everybody we showed it to dug it," Frank Zappa explains, "except for Capitol." The upshot was that Capitol was so miffed at this insult to "their product," the Beatles, that attorneys for the firm sought and obtained an injunction preventing sales of the Mothers album with that cover. Consequently, a new cover had to be shot, printed, and glued to the albums, all of which has caused a postponement of its release.
The Schatzberg shoot was done in New York's Village on July 18, 1967.
New York City, "Warwick Hotel"—Interviews.
New York City, "Mayfair Recording Studio Inc."—Studio recordings for "The Stars That Play With Laughing Sam's Dice."
Frank Zappa attended one of the "Mayfair" recording days. Neville Chesters: "Quite a few people dropped in on that session. It was a really shitty studio, it was about six or eight floors up . . . midtown New York, a pretty dreadful place. It was just like offices and they converted it into a studio, most odd . . . I remember a photo session [with Frank Zappa for the LP We're Only In It For The Money] came out of that. It was the same day or later in the day of that session."
Frank Zappa himself attended the Jimi Hendrix Experience recording session at the Mayfair Recording Studio on 701 Seventh Avenue, New York, on 18 July 1967. Although his presence is unconfirmed, Zappa may very well be one of the many people who made up "the Milky Way Express" for "The Stars That Play With Laughing Sam's Dice" [S020], contributing an assortment of voices, whistles, cheers, et cetera.
JHE roadie Neville Chesters remembered the day well . . . "Quite a few people dropped in on that session. It was a really shitty studio, it was about six or eight floors up . . . . Midtown New York, a pretty dreadful place. It was just like offices and they converted it into a studio, most odd. I remember a photo session came out of that. It was the same day or later in the day of that session" (UniVibes #18, May 1995, p. 18).
Neville Chesters was referring to the photo session on 18 July that yielded the inside cover of We're Only In It For The Money—the Sergeant Pepper parody. Fortunately, this happening was also captured on 8mm film—a glimpse of Jimi during the photo call by Jerry Schatzberg can be seen in the TV documentary on Frank Zappa, entitled Biography (released in 1994—for more details refer to Michael Fairchild's feature 'Live Boa & Pigtails,' published in UniVibes #18, May 1995, p. 32).
Here's Frank's original sketch for the cover shoot:
5—JIMI HENDRIX (LIVE) KNEELING
OR HOWDY DOODY
10—CAL WITH EGGS
11—TWO SIX PACKS OF BEER WITH AN [ARIAL]
18—KEN & BARBY DOLLS TOGETHER
21—JAR OF PEANUT BUTTER
22—GLORIA STAVERS (LIVE)
23—ERIC CLAPTON LIVE
I did this diagram and list earlier this year in answer to a request from Rolling Stone Magazine for the names of the participants in this crazyness. I picked my brain for a while, and then decided it was a good opportunity to immortalize my friends in print. (In other words I don't even know who half these people are. A lot of them are from Franks high school yearbook.) The cover is actually comprised of three pieces—the heavy line separates the two elements of the group (yes, Jimi really was there). The sky is the third piece, and came from a stock photo house.
- Tom Wilson
- Don Preston, plaster
- Billy Mundi, plaster
- J. C. Black, plaster
- Ian Underwood, plas.
- Frank Zappa, plaster
- Roy Estrada, Mother
- Billy Mundi, Mother
- Bunk Gardner, Mother
- J. C. Black, Mother
- Don Preston, Mother
- Ian Underwood, Moth.
- Frank Zappa
- Gail Zappa
- Moon Unit Zappa
- Cal Schenkel
- Lisa Cohen (Herb's)
- Jimi Hendrix
- ? [*]
- Gabriel (painting)
- Big Mama Thornton
- Chester Field [*]
- Phantom of the Op.
- Frank Zappa, Sr.
- Billy Porter [*]
- Joe Casey [*]
- Nancy Sinatra
- Bob Norton [*]
- Dial Soapman
- H. Bosch (painting)
- Coach Ware
- David St. John
- Sandy Hurvitz
- Lyndon Johnson
- Mary Martin
- Sue Cole
- Bunk Gardner, plas.
- Medalo Bops
- Statue of Liberty
- Dallas cop
- Rick March
- John Zacherly
- Norbert Obermanns
- Pope Pius IV
- Elroy Pie
- Herb Cohen
- Itallo Paollozi
- Kansas J. Cansus
- Elvis Presley
- George Liberace
- Eddie Haskel
- Ed Wynn
- Lloyd Price
- Rod Serling
57a. Rick Blaufeld
- Eric Burdon
- Pauline Butcher [*]
- Sunbeam shaver
- Don Vliet (Capt. Beefheart)
- Albert Einstien
- Sue Gross [*]
- Tommy Marlowe [*]
- Harry R. Truman
- Admiral Byrd
- Lynn Lascaro [*]
- Sgt. Fury
- Cal Schenkel
- Katy Thurston
- David Crosby
- L. B. J.
- Theda Bara
- John Sloatman, Sr.
- Jacqueline Beer
- Jeff Sklarow [*]
- Lee Harvey Oswald
- Gracie Allen
- Dottie Dribble
- Ian's (plaster) hand
- Barbie & Ken
- Ludwig Von
- Luk Bosman
Cal Schenkel with Accordion, c. 1961
Jennifer Taylor (ex girlfriend) [*]
Eddie Haskel [*]
Admiral Byrd (discovered S. Pole)
Pamela Zarubica (Suzy Creamcheese) [*]
Lynn Lascaro (art asst. on "Sofa") [*]
Billy Porter, a.k.a. "Kansas" (Mothers roadie) [*]
George, Liberace's brother
Jerry Fialka (record exec.) [*]
Tommy Marlowe (from F.Z. yearbook) [*]
Harry S. Truman
Lon Chaney, Jr. Phantom of the Op.
Sue Gross (an old flame) [*]
Herb Cohen—infamous F.Z. manager & gun runner
Cindy, groupie (her face mysteriously disappeared when printed)
Big Mama Thornton (blues singer)
Frank Zappa, Sr
Ginevra de Benci (Leonardo)
Don Preston (plaster)
David St. John (Bizarre art asst.) [*]
Coach Ware (from F.Z. high school Antelope Valley H.S. Lancaster Calif.)
Leo Limon (helped with "Billy The Mountain") [*]
Tom Wilson (record producer)
Billy Mundi (plaster)
Jim Black (plaster)
Lloyd Price ?
Mary Martin "Peter Pan"
Rod Serling (Twilight Zone)
Medalo Bops (clipped from a 60's teenzine)
Jimmy Carl Black (the "Injun" of the group)
Our dear Miss Liberty
John Sloatman, Sr. (Gail's father)
Pauline Butcher (F.Z. secretary)
Jeff Sklarow Twins (log cabin asst. & high school buddy)
Lee Harvey Oswald
Capt. Beefheart (Don Van Vliet)
Gracie Allen (wife of George Burns)
Pope X (Titian)
John Zacherly (Roland) (1950's Philadelphia monster movie host)
Jimi Hendrix in the flesh
Lisa Cohen (daughter of Herb)
(Frank wanted a bust of Edgard Varèse but we couldn't find one)
*obscure personal friends of little trivial note (thrilled to see their name in print.)
LS: Somewhere on the net, I think I saw it on the net, there's a guide to who all these people are . . . do you remember that?
CS: Yeah, well, I've done several versions of them, and the last one I did was in MOJO, which is the one—there was a guy that had something on the net, that he took from that, but he re-did it. They published . . . you know, I probably have it with me, I could show it to you, but one of the things in there was the big spread where I drew a little drawing of who everybody was . . . but half of it's fake . . . half of it's fake! I mean, who's who . . . I goofed on the whole thing, because there's no way to know who half of those people are!
[...] This is Frank's father here . . . this is Gail's father—the football player. There's a lot of people that are from Frank's yearbook—he just gave me his yearbook to cut up for it—like this guy with the snake—and a bunch of other people—and the list I just made up—I even made up some names or I put in names of fans.
Most of them are correct. Except for the ones that nobody knows who they are.
A bunch of the unidentifiables are from Frank's high school yearbook.
The following are surrogates:
Leo Limon (also immortalized on OSFA BC), Coach Ware, David St. John, Elroy Pie, Sue Gross, Peter Reet, Tommy Marlowe, Jerry Fialka, Werner, Billy Porter (Kansas), Lynn Lascaro, Zarubica, Eddie Haskel, Jennifer Taylor, Hiroshi Kataoka, Pauline Butcher (FZ secretary), Jeff Sklarow twins, Norbert Obermanns.
(And Rodan subbing for Christmas X Tree.)
Now you know.
(Also I think it should be Lon Chaney, SR.)
[Tom Wilson, Don Preston (plaster), Billy Mundi (plaster), Dottie Dribble (doll), JCB (plaster), Ian Underwood (plaster), FZ (plaster), David St. John (Bizarre art asst.), Roy Estrada, Billy Mundi, Bunk Gardner (plaster), JCB, Bunk Gardner, Don Preston, Ian Underwood, FZ, Ludvig Van Beethoven (bust), GZ (with Moon), Rodan (Christmas tree), Jimi Hendrix, Cal Schenkel, Paul Caruso (out of frame)]
On the far right holding a trophy of some description. Is that Clapton? The hair doesn't seem ridiculously permed enough to be Noel Redding . . .
The "mystery figure" seems to be Paul Caruso (as suggested at the Steve Hoffman forum by user janschfan).
Jimi Hendrix was there for the photo, he had been hanging out with Frank after seeing the Mothers at the Garrick, and Frank invited him to come along to be in the cover. The guy at the right who doesn't appear on the cover is Paul Caruso, he came to the photo session with Hendrix. I think he was involved musically somehow with Jimi at the time, Frank cut him out of the cover because he wasn't part of the original concept.
Cal's identifications: Cal Schenkel Magazine / Mojo
LS: I don't want to quote Watson without the book—it's right here, I could dig it up [this is it: p. 120: "Jimi Hendrix holds a cut-out of a small girl (Herb Cohen's daughter Lisa), satirizing racist paranoia about black sexuality threatening family values."]
CS: The thing that I think about when I look at that is how badly she's stripped in!
LS: How badly what?
CS: How badly her image is stripped in here—they fucked it up . . .
LS: Oh, you mean on this? [the original LP cover]
CS: Yeah. It's really poorly done. [...] I mean, on the original it's poorly done. The strip job, that was done at the last minute actually—where she was—I think Herb said, "let's put Lisa in there . . . " [...] . . . just put her picture in there—it was like at the very last minute, so they just "ckkk"—cut it in . . . and it's like . . .
Could it be Franz Kafka?
Ginevra de' Benci (Leonardo da Vinci, c. 1474-8)
This is the original photo of Big Mama Thornton
This one is the photo used for Lon Chaney
The Hieronymus Bosch figures appear to be taken from "The Garden of Earthly Delights". It's difficult to see, but the character above appears to be behind the man with a piece of fruit on his head (the man who is surrounded by people who look at him)
The character below appears to be Eve, from the same painting
Coach Jack Kaiser
[Lyndon B. Johnson, Sue Cole, Albert Einstein, H. G. Wells, David Lloyd George.]
In the LBJ photo [in Uncle Meat], it looks like Secretary of State Dean Rusk behind him. That was the clue I needed. I didn't find the exact source photo, but I can identify the location and the approximate date. [...]
All of these photos come from a summit in Punta del Este, Uruguay, April 11-14, 1967. That explains the headphones: they're listening to simultaneous translation of speeches in Spanish.
[Lyndon B. Johnson, Sue Cole, Albert Einstein, H. G. Wells, David Lloyd George.]
Informant: Kjell Knudde
Even Dr. Knapp, the superintendant of schools, got involved in Frank's movie. His face appears on the Money cover, a Sgt. Pepper parody.
Roy A. Knapp
Portrait of Pope Paul III (Titian, 1548)
A group of curious onlookers gather around [Carl Scobie].
This appears to be the image of Lloyd Price, only when cutting the picture from a magazine it appears that a piece of his haircut was cut off, I suppose.
This seems to be the Rod Serling picture they used
This is one of the images used for Max Schreck
Informant: Kjell Knudde
[Lyndon B. Johnson, Sue Cole, Albert Einstein, H. G. Wells, David Lloyd George.]
Charles Ulrich, April 5, 2018
[I think this is] the same photo of Albert Einstein that was used on We're Only In It For The Money.
It was taken at Marconi Wireless Station in Somerset, New Jersey, in 1921. The man in the light-colored suit is Charles Steinmetz.
Mr. Nelson Frost—District Building and Grounds Superintendent.
9th grade (I wanted to play the guitar)
The image for Bufferin Man can be found here
Theda Bara in the film "Salomé" (1926). It's a bit distorted and colorized, but if you mirror it you immediately notice it's the same image. Theda Bara's image was also used as the logo of the 1960s British magazine "International Times", by the way. So it appears this 1910s film actress was back in vogue during the sixties.
Special thanks to Charles Ulrich, Javier Marcote & Kjell Knudde..Research, compilation and maintenance by Román García Albertos