bumrush was a pearl jam spin-off band. mcready was in it (i think), and maybe somebody else from that band. it also had people from other 'famous' seattle bands - sort of a 'supergroup'. i think they recorded, but i never heard them. din't much care.
in keeping with the ames/pearl jam aethetic (aka- all over the fucking place) this poster fits right in. it makes about as much sense for bumrush as their posters do for pearl jam.
i LOVE famous monsters. harry chester (the original art director and crazed letter of monster type) is one of my all-time favorite art directors. when i started mining fm for images, nobody in the music world knew shit about it. you could get copies of the early issues for $1 (now they're in the hundreds) and james warren came back from the dead and suing everybody. he doesn't own the rights to most of that stuff, but he sues anyway. luckily, i didn't do any direct lifting. i followed my 'rules of appropriation" and did well. estrus and i introduced the monster aestheic into the label and before you know it, everybody was on board. it looked really cool out there for awhile, but then it got all tired and burned out (like all these little fad things). i still treasure my collection of old monster mags, though. i still look and learn from ol' harry chester.
i'll bet house industries doesn't even know who harry chester is. they sell these 'monster fonts' and yet, they don't even know the source material.
there's another element to consider here. the client was the band RAOUL, who was an all girl band who had changed personell recently. they used to be called 'danger gens' and previously 'maxxi badd'. they were definitely getting into a more psych sound and the image obviously pulled it in that direction. also, TIGER was a female led band that later changed their name to 'faster, tiger' (due to another band using their name. once i had put a russ meyer joke on one of their posters - aka 'faster, tiger' kill, kill". they changed their name to that poster, essentially). and again, their sound was a garage girl/psych sound, like raoul.
i've still never listened to bumrush, and have no idea how the image fit them or not. didn't much care, they were mostly rich anyway. this was for my friends, and i had to do it fast, and everything fell into place. somehow it all worked out.
i can easily argue both sides of this point. it's sorta like the 'art vs not art' thing. it can go on and on and on and i can easily jump sides and argue them effectively. ultimately we have to come down on one side or the other INSIDE OURSELVES when we actually do any work, because otherwise we'll be lost as to direction. there are no atheists in a foxhole, ya know?
so, over time i've definitely come to believe that rock posters are elaborate bullshit. every time i tackle one, i try to rise above the meaningless qualities of them over and over. the funny part is that the ones i blow out and treat as a meaningless ditty end up being the best ones. maybe our subconcious is working better than our concious mind? i dunno. it's just interesting how much freedom there is in a rock poster. you really can do damn near anything you want, and it usually works ok. sometimes the less meaning, the better.
as for the volante poster, i was yanking yer chain. you guys were coasting too hard on your successes and i figgered, what the fuck. if i don't yank you, nobody will, so i pulled hard. if you get too staisfied with your own work, you get lazy and smug and it goes stale fast. i thought that by yanking you, it would make you better.
ok, so it's stupid, but it forced you to double think your intentions...
yeah, i really believe that. if were an advertising poster or a theater poster or an election poster, they have to be extremely literal and have exact meaning in what they say. they have to have editorial integrity. rock posters can mean damn near anything or nothing if they so choose. the great famous psych posters and even kozik's work has almost no editorial integrity, they just have a whole lot of style (oh, oh) and ATTITUDE that reflects the music it advertises. it's a not a LITERAL interperetation. hess's work is TOO literal in it's adherence to the bands' names (to the point of stupidity).
all the great posters in the rock world have almost nothing to do with the bands they advertise, therefore they have no DIRECT meaning. they are in essesnce meaningless. this poster was originally designed to be a cover for the 'zine BAD TRIP. i missed the deadline, so it was sitting a drawer. i needed a poster design fast, so i changed tht type to the concert info, and voila! a cool rock poster. actually it was a cover story about the band LOVE. see how stupid this stuff gets?
yet, the attitude of the poster perfectly fit the bands' personalities, and it was very successful and popular. it had the right ATTITUDE.
fr'instance, just what does a skull holding roses or little travelodge bears have to do with the grateful dead as an editorial and literal idea, anyway? but it sure worked. people WANT to read meaning into this stuff. they will find it no matter what you put in there. if you're real good you can manipulate what they read into it. that's our power. to fuck with their minds.
lure - yeah, most of it was ciut out letter by letter from historical sources and then pasted together then sized to fit on a copier. some of it was hand drawn (the 'fireshock' type was partly drawn, partly taken from historical sources)