REVOLTING COCKS Industrial Lunch POSTER Rare '88 KOZIK

REVOLTING COCKS11" x 17"CONCERT POSTERLIBERTY LUNCHAUSTIN TEXAS1988POSTER ARTIST: FRANK KOZIKCONDITION:EXCELLENT 8OF 10 OR BETTERRARE EARLY KOZIKBiographyby David Jeffries Rumor has it the gents who make up Revolting Cocks came upon the name by their usual debauchery. Ministry frontman Al Jourgensen was out for a hard night of drinking with some friends, so hard that the bartender threw them out, declaring them a bunch of revolting cocks. The name was first applied to one of Jourgensen's many side projects in 1985, when he partnered with Luc Van Acker and Front 242's Richard 23 to bring art and the dancefloor closer together. As recordings progressed, things went in a different direction and the chaotic, snide, and sleazy sounds that were taking over had Richard 23 making an exit over creative differences. He departed in 1986, right as the band's debut, Big Sexy Land, was being released by the seminal industrial label Wax Trax! The album featured the Blade Runner homage and club hit "Attack Ships on Fire," while the artwork introduced "the Three Guys," anonymous faces from an old photograph that would represent the band on album covers for years to come. Ministry associates Paul Barker, Chris Connelly, and Bill Rieflin would join Van Acker and Jourgensen for a tour supporting the album, recordings of which surfaced in 1988 on the live album and video You Goddamned Son of a Bitch.The nihilistic party attitude of the band had now officially taken over any grand artistic aspirations, and if the success of 1989's Stainless Steel Providers didn't prove their audience was right there with them, college radio and clubs being dominated by 1990's "Beers, Steers + Queers" certainly did. Beers, Steers + Queers, the album, followed that same year and included two cover versions of "(Let's Get) Physical," one a simple loop of the word "physical" that goes on for 13 minutes. The band celebrated the album's release by touring the country with the Skatenigs -- whose vocalist, Phil Owen, had contributed to Beers -- and the always-vile Mentors as support. Linger Ficken' Good... from 1993 was a more subdued album, but it was still shocking that the Warner Bros.-associated Sire released the album and helped the band score another club hit with their cover of Rod Stewart's "Da Ya Think I'm Sexy?"Years passed and it seemed the Revco were officially over until 2004, when the track "Prune Tang" appeared on the Internet, announcing the coming of their next album, Purple Head. The Ryko label reissued the band's first two albums that year with bonus tracks, but the new album failed to appear. A year later, a cover version of Bauhaus' "Dark Entries" with Butthole Surfer Gibby Haynes as vocalist appeared on the Saw II soundtrack. Haynes joined Jello Biafra, Cheap Trick's Rick Nielsen and Robin Zander, Davíd Garza, and ZZ Top's Billy Gibbons, along with veterans Jourgensen and Owen (now known as Phildo Owen) for 2006's Cocked and Loaded. The album appeared on Jourgensen's 13th Planet label and was the first Revco release to not feature "the Three Guys" on the cover.Frank 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 issued Man's Ruin: The Posters and Art of Frank Kozik, a collection of his most popular and infamous work. By the mid-1990s, Kozik had also begun expanding into commercial design, with work commissioned by Entertainment Weekly, Nike, BASF and Lincoln Center. Most importantly, in 1995 he formed Man's Ruin, a record label initially begun as a singles-only enterprise. Inaugurated with a ten-inch disc from the Sonic Boom side project Experimental Audio Research, Man's Ruin releases were typically limited-run pressings lavishly packaged in sleeves created in Kozik's trademark style, the company's formation a reflection of the artist's continuing interest in underground music as well as his affection for the enduring vinyl format. In time Man's Ruin also began issuing CD editions of its releases, among them projects from acts including Steel Pole Bathtub, the Dwarves and Kyuss.This is an original single sheetpaper poster advertisement (A.K.A. street art, handbill, flyer or print) for a concert performance gig by professional musicians at a music venue. Guaranteed original and authentic, manufactured prior to, and in conjunction with the promotion of the event. A Sound Deal does not sell poster re-prints, scans or duplications of any kind, so please don't ask. Combine Items to Save $$$!!!©ASoundDealPowered by SixBit's eCommerce Solution