THE LEGACY
3
All the record covers and posters discussed in the previous chapter reflect a keen attention to the vernacular of garage rock design. They are all different, but at the same time they are unified in their basic message. The essential elements they share include exuberant youthfulness, aggressive energy, heightened volumes, playful experimentation, and a do-it-yourself spontaneity. Designers within all fields could benefit from studying the work found within the garage rock scene as the designers achieved something very difficult. They broke rules, had fun, embraced post-modernism, re-appropriated past cultural movements, and still managed to remain fresh and timeless. They combined the kitsch of the ‘50s, the cultural diversity of the ‘60s, and the tear-it-down, punk rock attitude of the ‘70s into something cohesive and contemporary.
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s, and then proceed s, one must learn the rule To achieve a similar succes ster the clast Van Gogh, one must ma to unlearn them. Like Vincen reassemble them. t them. Rip them apart and sics, and then deconstruc s on creating eleon an education that focuse ney mo d goo pay s ner Desig space and breathWe learn the value of white gant, well-composed work. line of The Bauhaus appreciation for the discip ing room. We gain a deep worship at the altar ibility of Swiss Design. We and the simplicity and leg tten about were re. The designers I have wri mo is re the But . lism ima of Min methods such as generally unpopular design fearless. They embraced
horror vacui, or “fear of empty spa
the page! Make it scream! Create
on the eyes! Historically, this met seen in a diverse range of works
ce.” Fill
an assault
hod can be
from the Book of Kells to Robert Rauschenbe rg. Many of the designers within this moveme nt were far from professionals. They wer e musicians with a vision, and they executed it with better results than a high-paid designe r could have. These “designers” shared creative DNA with past artists like the members of Art Brut (French for raw or rough art) and Jean Debuffet who said, “Personally, I believe very much in values of savagery; I mean: inst inct, passion, mood, violence, madness” (Debuffet).
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While the movement went undocumented, its legacy lives on, both musically and in the design world. Contemporary underground acts such as The Black Lips, Ty Segall, and the late Jay Reatard have seen more success than any of the ‘90s garage bands ever did. The Dirtbombs are still active and members of The Spaceshits went on to form King Kahn and His Shrines / The King Kahn & BBQ Show. In many of the design pieces for these bands and others, we see the influence of the ‘90s.
8
e able. Toward th eage is undeni lin e th t bu d, s evolve e tired of ers had becom The aesthetic ha gn si de e th of t mos garage boom, clude such over end of the ‘90s iched. These in cl e m co be d ha e elements that e don’t see thes incorporating t rods. While w ho d an s el od ot a as pin-up m fairly easy to sp used subjects h anymore, it is uc m s pe ty eo e Black Lips worn ster now tired and garage. For Th 0s ‘9 to bt de a es poster that ow an) Bradford record cover or rhunter frontm ee D nd (a er gn d release, desi typography, an 2003 self-titled swirls, crooked lic de he yc ps which k and red ery for a design Cox used blac ographic imag ot ph te hi w d black an & BBQ Show’s high contrast . The King Kahn ry nt ha C t Ar awn an homage to ith its hand dr could easily be t of that era w ou ht ig ra st s ner? also look What’s For Din ged imagery. type and colla
9
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One band, The White Stripes, was lucky enough to make it out of the scene and into the mainstream. The Hives, a Swedish garage punk band that had been around since 1993, also reached international success and regular radio play in 2000 with the release of Veni Vidi Vicious. The accompanying design for The White Stripes’ and The Hives’ releases have some minor kinship with the ‘90s garage aesthetic, but don’t quite match. They are much cleaner, less spontaneous, and more refined.
11
The White Stripes took branding very seriously, adopting a stark red, white, and black color scheme with clean display type. Their design concept was very specific to them and didn’t adhere to any particular scene’s aesthetic. For their second album, they took their design concept to another level, adopting the neoplasticism of Theo Van Doesburg and Piet Mondrian’s De Stijl movement, even taking De Stijl as the album’s name.
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r ge aesthetic, particularly with thei The Hives stayed closer to the gara of Legal had many of the benchmarks first album, Barely Legal. Barely band a black and white image of the the ‘90s garage aesthetic such as photo the pristine nature of the type and and retro-typography. However, ous Their record cover for Veni Vidi Vici gave it a copycat, knockoff look. ics have been a tribute to an early Son has the band posed in what may with The Sonics, the design is updated photograph. Despite the nod to was that ieving a modern “rock star ” look large, clean, centered type, ach garage look. not present with the classic ‘90s
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CODA
ppened in Something magical ha scene. Design the ‘90s garage rock a singular and music united into . In the quescultural phenomenon t, the music tion of which came firs er is difficult or the design, the answ s, both visual to produce. The artist d spirits, and aural, were kindre operation working together in co movement. to achieve a cohesive pressive This is particularly im etic influence considering the aesth the United was seen not only in ay as Japan, States, but as far aw d beyond. the UK, Germany, an of branding The traditional world which is begins with a product, designer. then handed off to a
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The designer does ext
ensive research and att empts to capture the pro duct’s essence using typ ography, color, and im agery. But in rare instan ces, when the stars align, the designer and clie nt are one and the sa me. They are in each other’s he ads. They come from the same universe. It is a perfect marriage, one that can only be achie ved when both partie s come from the same backg round and share the sa me obsessive passion s. If you were to separate the musicians and de signers of this era an d ask them to list their influe nces, both musical an d other, the overlap wo uld be remarkable. Old rock and roll! Monster movie s! Hot rods! Leather jac kets! Switchblades! Surf cu lture! Pin-up girls! ‘70 s punk! Russ Meyer! Th e list goes on. And these are things they had in com mon before they forme d their perfectly symbio tic, working relationshi p.
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While today’s designers cannot hope to achieve this kind of harmony with each and every client they take on, there is an important lesson to be learned here. The importance of studying the vernacular of past and present cultures and subcultures cannot be emphasized enough. What do Goth kids listen to? What does an ‘80s hip hop poster look like? What television shows were popular in the ‘60s? Amassing a wealth of seemingly useless knowledge on pop and underground culture can and will improve you as a designer. In turn, resigning yourself to your own limited range of tastes, references, and influences can harm you as a designer. This is not to say that a designer should not seek out his/her own voice, only that he/she should be aware of the big wide world around him/her.
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To put things more simply, get out of your comfort zone. Hand draw some type. Collage some ripped up images together. Make some colors vibrate. Leave that coffee stain on your final design. Look for influences where you would least expect them. Tap into your inner amateur and try something you haven’t been taught. This is what I love about ‘90s garage rock and garage rock design. The savagery. The spontaneity. The spirit and vitality. Thanks again, Vince, for unabashedly blasting the new Makers album in a Midwest liberal arts college dorm room in 1995. You changed my life.
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INTERVIEW
23
Alex Fine is a freelance illustrator working out of Baltimore, Maryland. His clients have included The Washington Post, New York Magazine, Wired, Parade, Newsweek, and many more. Aside from a career in illustration, he plays guitar in numerous bands including Thee Lexington Arrows and Pure Junk. David: I grew up in Washington D.C. where garage and rock and roll in general was hard to come by. Art Chantry talks about how the scene was largely ignored by major hubs like NYC and LA. Was geographical location important to the evolution of your design and illustration work? If so, how? Alex: Growing up in the DC area in the late 80’s/early 90’s, I was exposed to music that was very specific to that region. When I was 14 and started going to punk shows, it seemed like there were always hand drawn
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tever walls at wha flyers on the eryone . Of course ev venue I was at sters the style of po was copying ts like decade. Artis from the past rri, bon, Shawn Ke Raymond Petti g part of etc. were a bi Frank Kozik, ers so rdcore punk fly what made ha da er or poster ha great. Every fly into the somehow tied narrative that ere playing. bands that w ough to come I was lucky en DC ok Banned in across the bo d that an high school when I was in g 100 sted in creatin got me intere s for drawn poster percent hand the book examples in shows. Some copy style -paste xerox were cut-and lettered drawn, hand but the hand to me. I ally what got posters are re I was 15 n band when started my ow sters that re we had po and made su t that I’d e feel of the ar lived up to th wasn’t rlier bands. I seen from ea illy/New Baltimore/Ph familiar with tting t, but I was ge York artists ye hing DC. ced by everyt heavily influen
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Hand drawn poste rs from DC in the 80 ’s were very stark bla ck and white with strong outlines and hand lettering. All co mponents that appe aled to me. I also looked to so uthern California po sters for inspiration got older. Early Bla as well as I ck Flag and Circle Jerks posters had a narrative feel that I’m still really into today. Later du ring my senior year of high school I bought a book of Fra nk Kozik art and he became a huge infl as well as Coop an uence on me d Alan Forbes. They were all using color tedly, without yet tak and admiting a color theory class, I used their posters as a way to figure out consist ent and attractive color palettes. I jus t didn’t know at the time why they wo rked, I just knew the y did.
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D: Can you describe your working process when you are hired to do a poster or cover for a new band or record label? A: The first thing I do when I get a poster or album cover assignment is listen to as many songs by the artist as possible. Assuming they give me creative freedom, I try to find a lyric or a theme in their songs that will give me a visual to latch onto. I then start sketching 10-20 small thumbnail sketches until I find 3 ideas that I’m most drawn to. If it’s for an album cover, I’ll take those 3 ideas and create more refined sketches to send to the band for approval. If it’s for a poster, I’ll just start working on my favorite idea. Usually posters come with more creative freedom because they’re so temporary and the bands generally trust me to create something in my own vision. Album art is usually more of a collaborative process. I rarely meet with the bands because I rarely get out of my work space haha! If they are local, I might meet up with one or two members to get a drink and brainstorm ideas. Usually I just communicate via email. If I’m already a fan of the band, it makes the process so much smoother.
27
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I already know the songs and can flesh out concepts more naturally. I was just asked to illustrate a poster for The Buzzcocks and since I’m already a fan, I know exactly what direction I’ll be going in. D: Aside from being an illustrator, you play in a couple cool rock n’ roll/rockabilly/garage rock bands. What connections do you see between expressing yourself through music and expressing yourself through illustration. A: Being a musician and an illustrator, I notice a lot of similarities between the two endeavors. From a creative perspective, I feel like both my music and art improve by taking risks and trying new things. In art I might try a new medium, new technique to learn through practice. In music, I’ll try to write songs that are progressively more challenging. In both cases I might crash and burn and wind up with absolute garbage but it leads to new directions in future illustrations and songs that wouldn’t have happened
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without breaking old habits. From a promotional side, both music and art for me are about a constant hustle. I want both to be in as many places as possible. It’s not just about making a living in a creative field, it’s about creating something that reaches larger and larger audiences. So far I’ve been better at marketing my art than my music, but I’m completely satisfied with both at the moment. D: Garage design was known for a handmade DIY aesthetic; screen printing, photocopying, illustrating, hand lettering, etc. How has technology changed this aesthetic in the past 20 years?
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pens on using ball point g posters, I was in ak m d rte sta I signing A: When since I started de en over 20 years be s It’ r. pe oach pa r te prin anges to my appr made a lot of ch e I’v d an rs ste nsithose early po Around 2000 I tra tter technology. be d an s ill sk w ings to based on ne d white line draw ing my black an py co o ot ph m fro tioned d ink drawings. hter, more resolve tig r lo co to rs ke ar t still using Pantone m rs I had seen bu en printed poste re sc e th e at ul lored I wanted to em would take my co intmaking. So I pr nd ta rs de un prints. didn’t fully e higher quality d have them mak an os nk tKi to t ar poster ok a screen prin more in 2002, I to lti Ba in A IC M at nted When I enrolled I had always wa posters the way d te ea cr ly al fin stock ing class and ous, and the card isper, more lumin cr e m ca be g in . I still have a to. Everyth them longer lives ve ga d an r ie rd stu made the posters sters. bunch of those po
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Now that it’s be
en over a deca de since then, I do most of my digitally and ha coloring ve my posters pr inted at various I’d love to get m print shops. As much as y hands dirty in a screen printin g studio, my fre career doesn’t leave much fre elance e time these da ys. Photoshop ha possible though s made it for me to be mor e productive an shorter amount d produce mor e work in s of time.
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D: What is the lasting aesthetic that garage rock design has contributed to the discipline? A: Without the Garage Rock design aesthetic that I grew up with, I’m not sure what my style would be today. It’s very hard to let go of, even when the current trends are shifting. I’ll always consider the fonts, colors, and themes of my favorite poster artists when working on very unrelated jobs. There’s also a timeless feel to the style. I’m not sure if it will always be relevant to the art world but it’s lasted the test of time in my opinion and artists like Art Chantry and Frank Kozik are still influential to this day. None of their work would be dated or out of place on the walls of a venue or on the pages of the New York Times.
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Armstrong, Helen. Graphic Design Theory: Readings From the Field. New York: Princeton Architectural, 2009. Print. Bevan, David. “Roll Away the Stone: The Oral History of King Tuffs ‘Was Dead’” SPIN. N.p., 20 June 2013. Web. 09 Sept. 2014. Chantry, Art. “DIY Energy.” Madame Pickwick Art Blog. n.p., 25 Dec. 2011. Web. 24 Jan. 2015. Chantry, Art. “ok, it’s (once again) brought to my attention that i am a pig for designing this record cover” Facebook. Posted October 31, 2014. Accessed October 31, 2014. Chicago Historical Society. “History Files - Chicago Fire.” History Files - Chicago Fire. Chicago History Museum, n.d. Web. 28 Oct. 2014. Debuffet, Jean. “JEAN DUBUFFET SYNOPSIS.” Theartstory.org. n.p., n.d. Web. 24 Jan. 2015. Deming, Mark. “Nuggets: Original Artyfacts from the First Psychedelic Era 1965-1968 - Various Artists | Songs, Reviews, Credits, Awards | AllMusic.” AllMusic. AllMusic, n.d. Web. 04 Nov. 2014. Emery, J. Tayloe. “Estrus Records Owner Fights Fire With Fire.” MTV News. MTV, 10 Oct. 1997. Web. 27 Oct. 2014. Gelt, Jason. “Rip Off Records: A Look Back at an Iconic ‘90s Garage Punk Label.” Examiner.com. N.p., 1 Apr. 2009. Web. 11 Nov. 2014.
Kaufman, Gil. “Estrus Records Destroyed in Fire.” MTV News. MTV, 22 Jan. 1997. Web. 27 Oct. 2014. Lasky, Julie, and Art Chantry. Some People Can’t Surf: The Graphic Design of Art Chantry. San Francisco: Chronicle, 2001. Print. Linkwray.com “The Rock Hall’s Most Glaring Omission | LINK WRAY.” n.d. Web. 04 Nov. 2014. Maki. “Coop.” Bizarre Magazine. N.p., May 2008. Web. 03 Dec. 2014. Mcgovern, Kevin. “Interview: Long Gone John of Sympathy For The Record Industry | Long Beach Independent - Covering the Long Beach Live Music Scene | REVIEWS + MP3’s + VENUES + EVENTS + NEWS + BANDS + VIDEOS + PICS.” Long Beach Independent. N.p., 22 Nov. 2013. Web. 11 Nov. 2014. Smith, Rod. “Amy Jo Hendrickson.” Minneapolis News and Events. Minneapolis City Pages, 12 Sept. 2007. Web. 28 Nov. 2014. Tobias, Scott. “Frank Kozik.” The A.V. Club. n.p., 26 Jan. 2000. Web. 22 Dec. 2014. Wald, Alex. “Chicago Fireshock Question.” Email to David Hodgson. 28 Oct. 2014
Page 2: Godzilla Vs. The Smog Monster. Dir. Yoshimitsu Banno. Toho Company, 1971. Film.
Page 3/4: The Makers. All Night Riot. Des. Art Chantry. Estrus Records, 1995
Page 5: The Makers All Night Riot. Des. Art Chantry. Estrus Records, 1995
Page 7: Art Chantry. Photographer unknown
Page 8: The Dirtbombs. Photo by JiF.
Page 10: Link Wray. Photographer Unknown.
Page 11: The Cynics. “No Place To Hide / Hard Times” Des. Paul Bucciarelli. Dionysus Records, 1985.
Page 13: Link Wray. Vendetta. Des. Unknown. Norton Records, 1989
Page 13: Link Wray. Early Recordings. Des. Unknown. Chiswick Records, 1978
Page 13: Link Wray. Link Wray & The Wraymen. Des. Unknown. Epic Records, 1959
Page 13: Link Wray & The Wraymen. Slinky! The Epic Sessions ‘58 - ‘61. Des. Jeff Smith. Sundazed Music, 2002
Page 15/16: The Sonics. Photographer unknown.
Page 15: The Seeds. The Seeds. Des. Unknown. GNP Crescendo, 1966
Page 15: Count Five. Psychotic Reaction. Des. Bernard Yeszin. Double Shot Records, 1966
Page 17: The Fabulous Wailers. Original Golden Crest Masters. Des. Unknown. Ace Records, 1998
Page 17: The Sonics. Boom. Des. Unknown. Etiquette Records, 1966 Page 17: The Music Machine. “Talk Talk / The People In Me / Come On In / Wrong” Des. Unknown. Disques Vogue, 1966
Page 18: Nuggets: Original Artyfacts From The First Psychedelic Era 1965 - 1968. Des. Abe Gurvin. Elektra Records, 1972
Page 20: Poster. Chambers Brothers Matrix. Des. Victor Moscoso, 1967
Page 21: Fanzine. Anarchy In The U.K. Des. Jamie Reid. 1976
Page 22: Fanzine. Sniffin’ Glue. Des. Unknown. 1977
Page 22: Fanzine. Sniffin’ Glue. Des. Unknown. 1976
Page 22: Fanzine. Sniffin’ Glue. Des. Unknown. 1977
Page 22: Fanzine. Sniffin’ Glue. Des. Unknown. 1977
Page 23: Poster. The Buzzcocks - Orgasm Addict. Des. Linder Sterling. 1977
Page 25: The Gories. Photographer Unknown.
Page 25: The Chesterfield Kings. Here Are The Chesterfield Kings. Photo by Mary Ellen Gardiner, S.L. Wendell. Mirror Records, 1982
Page 25: The Fleshtones. Blast Off! Des. Unknown. Get Hip Records, 2002 (Reissue)
Page 26: Billy Childish. Photographer Unknown.
Page 28: The Mummies. “Uncontrollable Urge / Girl You Want” Des. Jane Higgins. Sub Pop, 1993
Page 29: Estrus Records Logo. 2005.
Page 31: Poster. Garage Shock 94. Des. Coop. 1994.
Page 31: Poster. Garage Shock 95. Des. Art Chantry. 1995.
Page 31: Poster. Garage Shock 2001. Des. Art Chantry. 2001
Page 33: The Statics. “Sold My Soul” Des. Unknown. Photo by Chantel. Dead Beat Records, 1998
Page 33: The Rip Offs. Got A Record. Des. Unknown. Photo by Jennifer Simpson. Rip Off Records, 1994
Page 34: Supercharger. The Singles Party (Singles Compilation 1992-1993). Des. Poison Bambee. Rip Off Records, 2002
Page 34: Bomp! Magazine. Des. Unknown. January, 1978.
Page 35: Various. Back From The Grave Volume 10. Art by Olaf Jens. Des. Fake Booij. Crypt Records, 2014
Page 36: The Devil Dogs. Big Beef Bonanza! Illustration by Cliff Mott. Crypt Records, 1990
Page 36: The New Bomb Turks. DestroyOh-Boy!! Cover Art by Arturo Deleon. Crypt Records, 1993.
Page 36: The Jon Spencer Blues Explosion. Crypt Style! Des. Unknown. Crypt Records. 1992.
Page 37: Fanzine. Kicks #3. 1984
Page 37: The Hentchmen. FormFollowsFunction. Des. Heather Jarosz. Times Beach Records, 2004.
Page 38: Hasil Adkins. Peanut Butter Rock And Roll. Des. Pete Ciccone. Norton Records, 1990.
Page 38: Various. Rock N’ Roll Murder Volume 2. Des. Unknown. JD, 1996
Page 38: Hasil Adkins. “Sally Wally Woody Waddy Weedy Wally / Miami Kiss” Des. Unknown. Norton Records, 1990.
Page 38: Flat Duo Jets. Wild Blue Yonder. Des. Unknown. Norton Records, 1998.
Page 39: Fatal Flying Guilloteens. Ask Marie Antoinette. Des. Art Chantry. Estrus Records, 1999
Page 42: Advertisement. Howse Of Estrus. Des. Art Chantry
Page 42: The DTs. Nice N’ Ruff. Des. Art Chantry. GP Records, 2005.
Page 42: Mono Men. “Just A Girl.” Des. Art Chantry. Lance Rock Records, 1992
Page 43: Poster. Holly Golightly With The Woggles. Des. Amy Jo Hendrickson. Year Unknown.
Page 43: Poster. Estrus Triple Feature. Des. Amy Jo Hendrickson. Year Unknown.
Page 43: Poster. The Trashmen. Des. Amy Jo Hendrickson. Year Unknown.
Page 44: Poster. The Dirtbombs With The Ponys. Des. Amy Jo Hendrickson. Year Unknown.
Page 44: Poster. Thee Shams With Midnight Evils. Des. Amy Jo Hendrickson. Year Unknown.
Page 45: The Supersuckers. The Smoke Of Hell. Des. Daniel Clowes. Sub Pop, 1992
Page 45: The Gloryholes. Want A Divorce. Des. Peter Bagge. Dirtnap Records, 2002
Page 45: The Coyote Men. Call Of The Coyote Man! Des. Jamie Hernandez. Estrus Records, 1998.
Page 47: Poster. The Mono Men Shut The Fuck Up!! Tour 93-94. Des. Coop. 1993
Page 47: Illustration by Coop. Year unknown.
Page 48: Various. Estrus Gearbox. Des. Coop. Estrus, 1992.
Page 48: Poster. Phantom Surfers / Hi-Fives / The Go-Nuts. Des. Coop. Year unknown.
Page 49: Poster. The Nomads. Des. Frank Kozik. 1996.
Page 49: Frank Kozik. Photographer unknown. Year unknown.
Page 50: Poster. New Bomb Turks / Teengenerate. Des. Frank Kozik. Year Unknown.
Page 50: Poster. Estrus Invitational. Des. Frank Kozik. Year Unknown.
Page 51: Poster. The Sore Losers. Des. Mike Mccarthy. Year unknown.
Page 52: Poster. Damselvis. Des. Mike Mccarthy. Year unknown.
Page 53: The Chronics. “First Time, Best Time.” Photo by Lucky Mascella. Rip Off Records, 1999.
Page 53: Impala. Cozy Corner. Des. Art Chantry. Estrus Records, 1996.
Page 53: Oblivians. Soul Food. Photo by Cracklin’ Ferris. Crypt Records, 1995.
Page 53: The Mono Men. Wrecker! Des. Art Chantry. Estrus Records, 1992.
Page 53: Supercharger. Goes Way Out! Des. Unknown. Estrus Records, 1993.
Page 53: The Lust-O-Rama. The In Crowd E.P. Des. Arne Thelin, Sjur Fladager. Screaming Apple Records, 1990.
Page 54: The Apemen. “Percolator Stomp.” Des. Alex Wald. Estrus Records, 1994.
Page 54: Thee Headcoats. Heavens To Murgatroyd, Even! It’s Thee Headcoats! (Already). Des. Daniel Clowes. Sub Pop Records, 1990.
Page 54: Fatal Flying Guilloteens. Ask Marie Antoinette. Des. Art Chantry. Estrus Records, 1999
Page 54: Various. Excellent 26 Estrus Sizzlers Sampler. Des. Art Chantry. Estrus Records, 1999.
Page 54: Oblivians. Sympathy Sessions. Photo by Daniel Ball. Sympathy For The Record Industry, 1996.
Page 2: Teengenerate. Photo by Mark Murrmann. 2005.
Page 3: The Makers. Self-Titled. Des. Art Chantry. Estrus Records, 1995.
Page 5: The Makers. Photographer unknown. Year unknown.
Page 6: The Makers. Howl. Des. Art Chantry. Estrus Records, 1993
Page 6: The Makers. Shout On!! Des. Unknown. Sympathy For The Record Industry, 1995.
Page 6: The Makers. Hunger. Des. Art Chantry. Estrus Records, 1997.
Page 6: The Makers. Rock Star God. Des. Unknown. Sub Pop Records, 2000.
Page 8: Logo. The Makers. Des. Art Chantry. Year unknown.
Page 8: Logo. The Makers. Des. Art Chantry. Year unknown.
Page 7/8: Art Chantry posters at Fulcrum Gallery. Tacoma, Wa. 2011. Photographer unknown.
Page 7: Poster. Pearl Harbor Day. Des. Art Chantry. 1995.
Page 7: Poster. The Fabulous Mono Men. Des. Art Chantry. 1996.
Page 8: Poster. Halloween Spook N’ Bowl. Des. Art Chantry. 1994.
Page 8: Poster. A Psychedlic Trip Into The 5th Dimentia! Des. Art Chantry. 1997.
Page 9: Pussy Galore. Live: In The Red. Des. Art Chantry. In The Red Recordings, 1998.
Page 9: Thee Headcoats. Conundrum. Des. Art Chantry. Super Electro Sound Recordings, 1994
Page 10: Poster. I Always Wake Up To The Insomniacs. Des. Art Chantry. 1995.
Page 10: Poster. Crockshock! Des. Art Chantry. 1995
Page 11: Mad Magazine. No. 166. April, 1974
Page 11: The Makers. Self-Titled. Des. Art Chantry. Estrus Records, 1995.
Page 12: Alfred E. Neuman. Created and illustrated by Harvey Kurtzman.
Page 13/14: The Makers. Photographer unknown. Year unknown.
Page 15: Teengenerate. “Out of Sight / Pushin’ Me Around.” Des. Masao Nakagami. Rip Off Records, 1995.
Page 15/16: Teengenerate. “Out of Sight / Pushin’ Me Around.” Des. Masao Nakagami. Rip Off Records, 1995.
Page 17: Promo type from the documentary Get Action!! Des. Rockin’ Jellybean. 2014
Page 18: Teengenerate. “Sex Cow / Bad Boy.” Des. Coop. Estrus Records, 1994.
Page 18: Teengenerate. “Sex Cow / Bad Boy.” (Back)
Page 19: Poster. Teengenerate Final Tour. Des. Ol’ Scratch FX. 1995
Page 20: Teengenerate. Smash Hits! Des. Art Chantry. Estrus Records, 1995.
Page 21: Teengenerate. Car-Crazy!... Speed-Crazy!...Japaneze!! Des. Art Chantry. Lucky Records, 1994.
Page 21: Teengenerate. “Flying Over You.” Des. Unknown. Bag of Hammers Records, 1996.
Page 21: Poster. Get Action!! Des. Rockin’ Jellybean. 2014.
Page 22: Teengenerate. “I Don’t Mind.” Des. Unknown. Dionysus Records, 1994.
Page 22: Teengenerate. “Get Me Back.” Des. Hiroshi Sekiguchi. Wallabies Records, 1993.
Page 23/24: Teengenerate. Photographer unknown. Year unknown.
Page 25: Poster. The Great Chicago Fireshock. Des. Alex Wald. 1997.
Page 27: Detail from the cover of Brad Warner’s Sex, Sin, and Zen. Illustration by Alex Wald. 2010.
Page 28: Sugar Shack. “You Don’t Mean Shit To Me.” Des. Alex Wald. Estrus Records, 1995.
Page 28: Galaxy Trio. “Cocktails With Gravity Girl.” Des. Alex Wald. Estrus Records, 1996.
Page 28: The Volcanos. Musica Pro Proximum Millenium. Des. Alex Wald. Estrus Records, 1997.
Page 29: Magazine. Estrus Quarterly. No. 27. Des. Alex Wald. Year Unknown.
Page 29: Godzilla. Film unknown.
Page 31: The Flaming Sideburns. “Jaguar Girls.” Des. Alex Wald. Estrus Records, 1999.
Page 31: Image from The Great Chicago Fire and the Myth of Mrs. O’Leary’s Cow. by Richard F. Bales. McFarland & Co. 2002
Page 32: Supersnazz. “I Gotta Go Now / I Am A Cliche.” Des. Alex Wald. Estrus Records, 1996.
Page 33: Supersnazz. “I Gotta Go Now / I Am A Cliche.” (Inside Detail) Des. Alex Wald. Estrus Records, 1996.
Page 34: The Great Chicago Fire of 1871. Source Unknown.
Page 35: “Lil Abner” comic strip featuring Moonbeam McSwine by Al Capp. 1976.
Page 37: King Tuff. Was Dead. Des. Luke Thomas. Burger Records, 2013. (Re-release)
Page 39: King Tuff. Was Dead. Des. Luke Thomas. Burger Records, 2013. (Re-release)
Page 39: King Tuff. Was Dead. Des. Luke Thomas. Burger Records, 2013. (Re-release)
Page 39: Poster. King Tuff At Iron Bear. Des. Unknown. 2012.
Page 40: King Tuff. Source unknown.
Page 41: King Tuff. King Tuff. Des. Kyle Thomas, Luke Thomas. Sub Pop, 2012.
Page 41: King Tuff. Black Moon Spell. Des. Kyle Thomas, Luke Thomas. Sub Pop, 2014.
Page 42: Poster. King Tuff Black Moon Spell Tour 2014. Des. Unknown. 2014.
Page 44: King Tuff. Photographer unknown. 2014.
Page 44: Poster. King Tuff At Golden West. Des. Unknown. 2011.
Page 45: King Tuff. “Screaming Skull.” Des. Luke Thomas. Sub Pop Records, 2012.
Page 45: King Tuff. “Wild Desire.” Des. Unknown. Suicide Squeeze Records, 2012.
Page 45: Poster. King Tuff With Bad Weed. Des. Burn Bjoern. 2014.
Page 46: King Tuff. Photo by Colette Pomerleau. 2013.
Page 47/48: King Tuff. Photo by Trevor Donovan Ricioli. 2014.
Page 2: Ty Segall. Photographer unknown. Year unknown.
Page 3/4: Poster. WWDIS Summer Fest. Des. Anton Sebbfolk. 2012.
Page 3: Poster. Nobunny At Black Cat. Des. Alex Fine. 2011.
Page 5: Poster. Ty Segall At The Empty Bottle. Des. Unknown. 2011.
Page 5: Poster. Ty Segall + Ex Cult. Des. Napkin Art Studios. 2013.
Page 6: Reatards. Teenage Hate. Des. Unknown. Photo by Jim Cole. Goner Records. 1998.
Page 6: Poster. Nobunny With Bad Sports. Des. Perry Shall. Year Unknown.
Page 7: The Black Lips. Photographer unknown. Year unknown.
Page 7: Poster. The King Kahn & BBQ Show At The Stork Club. Des. Sharky. Year unknown.
Page 8: Poster. Ty Segall With Thee Oh Sees. Des. Unknown. 2012.
Page 9: Black Lips. Good Bad Not Evil. Des. Chris Taylor, Christopher Roberts. Vice Records, 2007.
Page 9: Black Lips. The Black Lips. Des. Bradford Cox. Bomp! Records, 2002.
Page 9: The King Kahn & BBQ Show. What’s For Dinner? Des. King Kahn, Lil Mama. In The Red Recordings, 2006.
Page 10: Poster. Black Lips With The King Kahn & BBQ Show. Des. Unknown. 2014.
Page 11: The White Stripes. De Stijl. Des. The White Stripes. Sympathy For The Record Industry, 2000.
Page 12: The White Stripes. The White Stripes. Des. Ballistic. Sympathy For The Record Industry, 1999.
Page 11/12: The White Stripes. Photographer unknown. Year unknown.
Page 13: The Hives. Tyrannosaurus Hives. Des. The Hives, The Walse Custom Design. Interscope Records, 2004.
Page 14: The Hives. Veni Vidi Vicious. Des. Unknown. Photography by Johanna, Nichalaus Arson. Burning Heart Records, 2000.
Page 14: The Hives. Barely Legal. Des. Unknown. Burning Heart Records, 1997.
Page 16: Liam Keogh in a screen printing at Black Church Print Studio. Photographer unknown. 2013.
Page 17: Poster. Electric Frankenstein At Sabalas Mt. Tabor. Des. Greg Reinel (Stainboy) 2007.
Page 17: Poster. Surf Fever. Des. John Severson. 1960.
Page 17: Stare Magazine. Des. Unknown. 1972
Page 18: Poster. Faster, Pussycat! Kill! Kill! Des. Unknown. 1965.
Page 18 Poster. Hot Rod Gang. Des. Unknown. 1958.
Page 20: Vince Whitacre. Photographer unknown. Year unknown.
Page 22: Alex Fine. Photo by Brendan Fieldhouse. 2014.
Page 23: Futoshi Abe of Thee Michelle Gun Elephant. Des. Alex Fine. 2012.
Page 25: Ron Asheton And Iggy Pop. Illustration by Alex Fine. Year Unknown.
Page 26: Poster. Thee Oh Sees With Total Control. Des. Alex Fine. 2011.
Page 27: Crazy Man Crazy. Turtle On The Tracks. Des. Alex Fine. 2009
Page 27: Alphabet Bombers. Wreckless. Des. Alex Fine. Spindrift Records, 2002
Page 28: Poster. JC Brooks And The Uptown Sound. Des. Alex Fine. 2012.
Page 30: Poster. Maybe, Baby. Des. Alex Fine. 2010.
Page 30: Poster. Pain Of Being Dead: II. Des. Alex Fine. 2008.
Page 30: Poster. J. Roddy Walston And The Business. Des. Alex Fine. 2010.
Page 31: Poster. Summer Girlfriends With The Degenerettes. Des. Alex Fine. 2012.
Page 32: Poster. Zazen Boys At Talking Head. Des. Alex Fine. 2008.
Page 34: Poster. Big Crunch Amp And Guitar Repair. Des. Alex Fine. 2010.
2015 David Hodgson GW Corcoran School of the Arts and Design Thanks to Antonio Alcalรก, Alice Powers, Alex Fine, Alex Wald, Art Chantry, Amy Jo Hendrickson, Sara Sklaroff, Bethany Jennings, Carla Bellido, Shane Sullivan, Nora Mosley, Kim Hodgson, Judy Hodgson, and all the designers, labels, and bands I mention in these pages.