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Copeland's birth date is unknown, although Paul Oliver in his record sleeve notes to The Story of The Blues, Vol. 2, commented that she was in her forties when Victoria Spivey (born 1906) was in her teens.
During his studies he discovered a passion for photography, which brought him into contact with the music business: through a family friend he had a chance to make record sleeves for artists like Alice Dona, Hervé Vilard and Gilbert Bécaud.
During this time, they created a distinct visual identity for the British independent music label 4AD through their record sleeve designs for bands such as Cocteau Twins, Dead Can Dance, and This Mortal Coil.
They also had the first commercial application of a British method of mass producing holograms with the limited edition version of UB44 having a hologram covering the record sleeve.
Peter Blake, the artist who designed The Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover, said that he and Paul McCartney got the idea for the record sleeve while they were walking together past the shop.
A former record sleeve designer, whose credits include sleeve designs for Joy Division, Slaughter & The Dogs, Jilted John and John Cooper Clarke, he has been based in California since 1989.
The record sleeve by Wayne Shellabarger delivers a mighty Tom of Finland inspired revision of the Rolling Stones Sticky Fingers album from 1971 – featuring a safety-pinned glans peeping out from the waistline and sperm dripping down from the denim pants (these rather explicit details can be discovered on the back-folded parts of the sleeve).
Formed by creative director Rob O'Connor in 1981, it is notable for creating record sleeve designs for bands such as Blur, Siouxsie & the Banshees, Stereophonics, Killing Joke, Sandie Shaw, Adam Ant, Catatonia, Jesus Jones, Squeeze, Crowded House, Dr John, Simple Minds, Sarah Brightman and Menswear.
The cover photo for the album was the first record sleeve by music photographer Andrew Catlin, who worked with 23 Skidoo over several years.