BAD MUTHA GOOSE Kozik 1989 gig POSTER Austin Texas Cannibal Club RARE punk funk

Bad Mutha GooseD-DAY11" x 17"CONCERT POSTERCANNIBAL CLUBAUSTIN TEXAS1989POSTER ARTIST: FRANK KOZIKCONDITION: EXCELLENT -8 OF 10 or betterTOP CONDITIONFIRST ONLY ORIGINALRARE!BAD MUTHA GOOSE & the BROTHERS GRIMMAfter Poison 13 parted ways, Tim developed a bit more of his funk vein. This band broke new ground (even though it was the late 1980s), by combining African Americans and Anglo-Americans on stage together performing socially conscious songs, in the vein of Sly and the Family Stone. The frantic delivery of the band’s singers (Deñia Ridley, Alvin Dedeaux and Billy Pringle – who had sung in many other of Austin’s early punk bands) spurred the giant crowds they got almost from the first, into a wild, sweaty pitch of uninhibited dancing. Bad Mutha Goose released 2 EPs on Fable Records and 1 EP and 1 LP on Alpha Music (the old Philly Sounds label), which are currently very hard to find. This band recorded with the likes of Joe “Da Butcher” Nicolo, (Schooly D, DJ Jazzy Jeff and the Fresh Prince) and with Muggs from Cypress Hill. - timkerr.net1989 will go down in history as the year racism came into vogue in pop music. Guns n' Roses, Public Enemy and an ugly rash of skinhead bands have taken command of the public ear and commenced to babble on about the superiority of their own races. As these groups reach millions of ears worldwide, there seems no end in sight to all this bigotry.But 1990 will be remembered as the year racial harmony got stylish if Bad Mutha Goose and the Brothers Grimm have their way. This racially harmonious, two-tone tune machine from Austin believes in the need to lead by the deed. And it does so with a seven-member funk team that stands for equality and unity.BMG and the BG even cover the Impressions' "Mighty, Mighty," a tune written in the late Sixties at the height of the civil rights struggle about "spade and whitey" creating a new and better world. And the Mutha offers up a healthy dose of anti-apartheid commentary on their own "One Man, One Vote.""Living is living by example," says bassist Michael "Freaky" Fogle after the group's show at the Sun Club last Thursday. "We're all up there together, and it just shows that yeah, we can do this and be together and have fun."But the group doesn't just see in black and white, says vocalist Denia Ridley. She insists the band is reaching out to everybody. "Black and white power also means red power, yellow power, et cetera," she says.The band has parlayed its message into a large and faithful following--at least in its hometown. Besides winning the Austin Chronicle's Best Funk Band and Best EP awards for 1988-89, Bad Mutha's music and audience have sparked the interest of at least three major-league record labels: CBS, Warner Bros., and Geffen, according to the band. In a special joint agreement, each of these labels has shown more than a passing interest in the band's latest studio demo by putting up $1,000 apiece to ensure the tape wouldn't fall into the hands of outside record companies, says guitarist Tim Kerr.But Fogle says that the group's proclamations on such "radical" ideas as racial equality and changing the powers that be can make the majors skittish. The record companies, he claims, "are real happy with the status quo. A bunch of white folks and black brotherhood and being together and fighting the power and getting rid of the status quo makes them nervous. They're scared to take a step into something that isn't proven."But Bad Mutha manager Jan Mirkin says the band is probably just growing restless because the labels haven't responded immediately. She downplays the link between the group's outspokenness and its unsigned status. "Some labels probably feel like the songs aren't commercial enough for Top 40 radio," she says by phone from Austin. "I'm sure other people are intimidated because they take such strong, controversial stances. I don't believe that's the only reason Bad Mutha Goose hasn't been asked to sign a major-label record deal."But Bad Mutha Goose's reputation as an uninhibited, unpredictable and potentially uncontrollable entity that caters to a new and diverse crossover audience still has to look attractive to majors. A core listenership is there, says the band, and it's growing. So while the industry doesn't seem quite ready--at least for right now--to take the next logical step forward, Bad Mutha Goose believes the time is right for their brand of two-tone funk to take a stand. But unlike the flower children of the 1960s, they're not envisioning a movement based on some utopian pipe dream. They're talking day-to-day, slice-of-life reality."We're not saying that bullsh*t hippie stuff of `everybody assimilate, and we're all one under the sun,'" opines Kerr. "We're saying everyone has to [stick together], but keep your integrity, keep your history, and keep your pride."For this band, the best way to spread its message is with the funk. "It doesn't actually sink into them unless they can see it or feel it happen," says Fogle. That explains why Bad Mutha took a few extra minutes during their Sun Club show to gather everybody onto the dance floor before even cranking out the first note. It gave the crowd a chance to get closer to the groove-making and pick up on some of the band's lyrics, such as "Free your mind/To free yourself," the chorus to a tune on their recently recorded studio work.As Bad Mutha Goose spreads the gospel of groove and unity, it's clear the band is as peculiar musically as it is lyrically. With three singers, a guitarist that doesn't play leads, a bassist, a keyboard player, a percussionist and a drum machine, the group is different from most any funk band on the scene today... - phoenixnewtimes.comFrank Kozik was born in Spain and by 1981 he had found his way to Austin. Much of his earliest work was done with the Art Maggots. In 1987 Kozik began designing posters for the Cave Club, which was eventually relocated by owner Brad First to 6th Street as Club Cairo, which begat in turn the Cannibal Club. Kozik's raw early style, often calculatedly offensive, became popular with bands such as Austin's Butthole Surfers. A Poison 13 concert was cancelled by University of Texas officials, reportedly in response to Christian students complaints about the poster Kozik had designed for the show - an unflattering rendering of Baby Jesus roasting on a "Char-Boy" barbeque grill. Though Kozik was very active locally during the late Eighties, he has been working primarily on West Coast projects lately, often in conjunction with California's L'Imagerie. Under its auspices he now has his own shop for screen printing, a process he was exposed to while working at Bee-Bop Printing in 1987. - jagmo.comBiographyby Jason Ankeny Much as the poster art of Stanley Mouse, Rick Griffin and Wes Wilson remains synonymous with the psychedelic culture of the 1960s, so too do the designs of Frank Kozik embody the look and attitude of the grunge era; defiantly garish and proudly unsettling, his work springs forth from the collective unconscious of a generation, his subversive appropriation of universal icons and images translating into often brilliant graphics mirroring the power and visceral intensity of the music they promote. Born in 1962 and raised primarily in Spain, Kozik settled in the U.S. in 1976, and after toiling in a series of dead-end jobs along the west coast he relocated to Austin, Texas in 1981. There he began teaching himself graphic design, influenced largely by the bold imagery of Russian military poster art as well as classic cheesecake pin-ups. A fixture at area club dates, Kozik eventually began assembling posters promoting live appearances by a friend's band; when local promoters realized shows promoted by Kozik designs were better-attended than those without, he was off and running. From 1986 onward, he produced about a poster a week, with early commissions for Austin bands like the Butthole Surfers and Scratch Acid winning underground acclaim; the turning point, however, was a piece for the industrial duo Chris and Cosey -- prominently featuring a photograph of a World War II victim, the poster crystallized both Kozik's irreverent attitude and his fondness for appropriating key cultural touchstones, the cumulative effect launching him among the most distinctive practitioners of an artform ripe for resurrection. As Kozik's eye-popping day-glo posters continued to grow in fame during the late 1980s, so did the notoriety of his take-no-prisoners approach -- his work became infamous for both embracing and destroying pop culture icons, with notable images including Fred Flinstone in the junkie regalia of Sid Vicious, a dying Lee Harvey Oswald recast as a punk shouter, and the Archies on a bender. Nuns, Hitler, Charles Manson -- none were too provocative for his pen, with recurring motifs including crucifixions, bondage and the ultimate Kozik image, the Devil Girl, the embodiment of his attraction to and fear of women. With the rise of grunge during the early 1990s, his designs were seemingly everywhere, and as bands like the Melvins, Mudhoney and Nirvana emerged from Seattle, Kozik posters heralded their live appearances across the country. As the revival of rock concert art made its way into the mainstream media, Kozik was widely hailed as the leader of a new generation of craftsmen, with features on his life and work published in outlets including Newsweek, Rolling Stone and Details. In 1992, he was honored with his first solo exhibit at La Luz de Jesus Gallery in Los Angeles, with shows following in New York City, Chicago and San Francisco (his home from mid-1994 onward) as well as Sydney, Australia, Zurich, Switzerland and Tokyo, Japan. A collection of Kozik's work was additionally prepared for exhibition at the opening of the Rock and Roll Hall of Fame in Cleveland, and a Nine Inch Nails design was included in the Smithsonian Art book Posters American Style. In 1995, Last Gasp Publications also i