and yes, i have eaten a whole stick of butter. but that was when i was a kid and we were very poor and it was the only thing we had to eat in the house. it gave me the runs, and i'd probably rather starve now than do it again.
the theater posters happened because that was the only place i could get poster work. i was doing theater poster even before i was doing music posters back in the 70's. the notrhwest is one of those end-of-the-road places where wacked wandering talents of all sorts pile up because they can't go any further and still be in the u.s. as a result a lot of small independant theater groups started up. there were dozens of them in seattle. when i arrived in seattle, there was no theater poster scene. then alongside guys like tim girvin and gary jacobsen and fred andrews, we began approaching small groups and designing posters for them, as it was (like punk) the only kind of advertising available to them. within a few years, seattle was wallpapered with really cool theater posters by dozens of designers.
as money entered the picture, most of the smaller groups closed down (largely because they couldn't compete for the audience from the larger mainstream groups like the seattle repertory theater who catered to suburban taste - i.e. musicals of oklahoma and the like). now there's only a few theaters in seattle and they get freebies from big design studios and ad agencies who are willing to pay for all the expenses to win a few creative design awards.
i loved doing theater posters bcause, unlike rock posters, they had to reflect the creativity and interperetation of the individual production, deal with larger human and literary and historical themes, and challenged the intellect of the designer as well as the social and babysitting skills. yes, i ALWAYS read the play - several times. i would have long deep discussions with the director or the actors involved. it was a buttload of work and a huge challenge to do it well. you really had to THINK it through many times before you ever touched ink to paper.
frankly, it's hard these days to find any groups willing to do challenging creative theater poster work. most of them think they need to slap a photo of the lead actor in makeup on the thing and put REAL BIG HEADLINES on it and and a few critics quotes and that is what works. an editorial interpertation that stands alongside the play as a companion work of art is pretty foreign to most theater groups now. like punk, it seems to be an era whose time has gone - at least for now.
like i pointed out last night, frank. i chose this image BECAUSE it was confusing to the viewer. just like billy tipton, it becomes what the viewer thinks it means. it's three paper clips on a stamp pad. it happens to be black ink. that's all.
you're the one who came roaring in shouting "jigaboo" and "darkie", like it was funny anc cool to use those words i public (or private). YOU'RE the one who started all of the racist mumbo jumbo, and it was reflecting YOUR view, not mine.
bottom line, you stepped in it. not me, fella. it has nothing to do with seattle in 1989. sorry.
frank - this is payback for calling stupid for that racist lingo on this thread last night, right? i've always noticed a pattern with you. when you get one-upped, you wait until the next day and you launch a full bore counter-attack on some other aspect of the person who pissed you off. it's getting a little predictable, dude.