you were a hellcow, huh? i liked yer record, but i never read the personnel. also, never saw you live. didn't larry reid manage you guys for awhile? do remember ed's singing performance in the thrown ups? did he wear the zit suit?
rockologist - when i was younger, i used to see people take my little experiments and ape them for all they were worth. so, i'd keep coming up with new ideas - again, the copycats. (funny, those folks just made me better at coming up with new ideas just to stay ahead. unfortunately, they got the money. what's that line about you can tell the trailblazer by the arrows in his back?)
but then, if i ever accused anybody of copycatting, most of them (except the insidious few who truly copycatted) didn't know what i was talking about. they were doing "cool" shit. that's all. what the hell was i talking about? they didn't know who i was, know what i did, or know my work in any way, yet there it was plain as day in their stuff. it was then that i began to see what was actually going on. i had tapped into the great truth behind graphic design - it was a subversive pop language form. in essence, i had coined 'words'. those words became popular vernacular, or slang. as i progessed, i began to very self-conciously watch how "words' i had 'coined' quickly drifted into the cultural dialog. with the help of a few friends, we began to track and trace how it traveled. after awhile, we began to do it on purpose, just to watch it go. it was particularly powerful during the "seattle scene" days. you could literally fart and the whole word would fart in unison response.
so, it's not copycatting or "ripoff". i's hitting the mark dead on, if you know what i mean. it's what i strive to do with my work now. have for years. throw it out there and watch it go off and become a new entity. spooky, but fun.
ed was a clasically trained painter (he studied under jacob lawrence, among others) and was represented by the 'best' gallery in seattle. didn't sell shit. he was working on the loading dock at the uw bookstore and living with mudhoney and charles peterson. he also "sang" in a band called the thrown ups. when mudhoney approached me to work on their record 'piece of cake'. they wanted to know if their buddy ed could work on it, too (he's already done many of their covers). i'd already worked with him many times through the rocket and sub pop, so, i said sure. as the project progressed, the band kept pointing out the work of early warhol and david stone martin and ben shahn (a blotted line style that was ubiquitous in the 1950's but had completely vanished). after the initial meetings he came back with like 30 drawings done in a hard-edge lino-cut style that was all wrong. we pointed out david stone martin again and said "like this!" the next morning he came back with like 30 MORE drawings (he stayed up all night teaching himself how to do it) and they were brilliant and in that blotted line look. we then hooked him up with my buddy natahn gluck (who worked with warhol back in the 50's when he was still a graphic designer), and he showed ed just how it was done. nathan did some of the lettering on that piece, and i did the rest. the drawings were b&w, so i designed them up and did the color, too. ed's career exploded, and within two years was actually pulling dsown 350 g's annually. amazing dude. brilliant.
i was just looking at this remember ing the old days and i just suddenly remembered that i did a poster for this show, but the promoter rejected it because he decided 'new wave' was the future and 'punk' was passe. so, he had his buddy franko crank this one out and that was pretty much the last of franko's poster career. me, i was a young husdtler and dismissed as crap by the promoter. whatever happened to roger husbands, anyway?
if i can find my version (i saw it around here recently) i'll post it. it's pretty funny, now. it sucked.