To be in a band, you must be able to take good photographs.
It's no secret that at this point in time, you need to have a visual aspect to your music. Be it big boobs (check), eye-catching hairstyles (and how), or a steel spike installed in your forehead that rams in and out forty-five times per second (installed but not near forehead); you need some eye-smash that's going to “hook” the “punters” in, in the words of the “industry”.
This has been the case since many years ago some clever-head realised that Elvis, though he had good songs, didn't need good songs. Instead, he could get away with miming along to the sound of a stick disturbing a tray of bones so long as he'd continue to wiggle his hips like a bee.
If Elvis wiggled, kids would jump and scream. It didn't matter what they heard. So true was this that coins would often spill out of the kid's pockets and fall up into their mouths, whereupon they would choke and vomit out their hamburgers and Coca-Cola. This meant that a large number of the crowd at any given concert would slip over and break their backs. Soon, outside in the cold distance, appeared Presley Ambulance Services Inc. vans. These vans would take the crooked kids from the venue, operate on their spines, and then charge extortionate medical bills. The “Elvispitals” sole staff were Elvis androids, which meant the children would be happy to receive diagnoses of false chronic conditions leading to repeat visits, and more bills. Elvis would also personally scrape the vomit-coins from the concert floor after each performance, skating around on his blue suede shoes and singing under his breath:
“Elvis Presley, gonna git yo' sick-coins.”
Many sheeple don't know that the living Elvis now owns the moon, and that the phases of the moon are in fact Elvis attempting to cover the moon in its Vegas suit, which blows away and then he has to start again, frustrated and alone.
You can only achieve this level of ownership if you have a good image.
While it made sense in the earliest days of recorded music, over time "image" became less a means of representation, and more a means of enhancing and/or dictating the impression an artist might have on their audience. At one point, the artists smiled and wore suits, because that's what was respectable. Then people (read: the rebellious youth) started to spend money on what was not respectable, so someone had to figure out what was going on and dress artists so the growing rebellious youth didn't miss out on having something to buy. You could even trick an audience into thinking someone was not respectable when in fact they were, using their appearance.
Then it fanned out into a million different ways of doing it. Today, we're sold cartoon characters to believe in, with surrounding endorsements and cod-inspirational sentiments, rather than things to listen to and engage with on any level other than “Yes”.
It's not the rule, but it appears to be the norm.
We had a photoshoot the other evening.
It can be fun to put this stuff together; figure out what a photograph might say. Be a bit cheeky with our representation. Figure out where the line between “different” and “unmarketable” sits and then gleefully kick it away because it doesn't matter anyway, and you're making this all up just to have something to moan about. These patterns are pure invention and the result of the unhealthy influence of the Frankfurt school on your dainty little mind so many years ago.
It's a camera.