CLEOPATRA JONES Ed Hall Texas '89 Gig POSTER nude KOZIK

CLEOPATRA JONES AND THE TEMPLE OF BOOMSKATENIGSED HALL11" x 17"CONCERT POSTERCANNIBAL CLUBAUSTIN TEXAS1989POSTER ARTIST: FRANK KOZIKCONDITION:EXCELLENT 8OF 10 OR BETTERHARDTO FINDThis is an original single sheet printed paper 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, printed 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. Add me to your favorites for red hot sales bulletins and sneak previews of upcoming products. Combine Items to Save $$$!!!Click here to check the store for more!Biography by Bradley TorreanoThe Skatenigs began their career as associates of Ministry and its stable of guest musicians during the late '80s. Singer Phil Owens appeared on the Revolting Cocks' Beers, Steers and Queers album, and managed to get the Skatenigs a spot on the Revolting Cocks/Mentors tour. After the drug-fueled decadence of that experience, the band recorded the Chemical Imbalance EP and shopped for a label. Megaforce Records came knocking, so the band signed on to release their debut, Stupid People Shouldn't Breed. Ministry mastermind Al Jourgensen produced the album, but refused to take credit for it, beginning a rift between himself and Owens. The music was a catchy mix of punk, metal, and industrial, but it never really caught on and soon they found themselves off of Megaforce. By 1994, tensions were quite high between Owens and Jourgensen, but the band managed to release What a Mangled Web We Leave on Red Force and toured behind it. The band remained rather inactive during the second half of the decade, reappearing in 2000 with a different lineup. Ministry wrote a song about all the bad blood between the group of musicians who used to gravitate around Jourgensen, and many believe that Owens was one of the song's major targets. Owens denied this claim, instead trying to focus any attention he received on the new Skatenigs album, which still has not arrivedEd Hall is an alternative rock band formed in Austin, Texas, USA in 1985.- Members * Gary Chester - guitar, vocals * Larry Strub - bass guitar, vocals * Lyman Hardy - drums, vocals- HistoryInheriting Austin, Texas' noise-rock mantle from fellow scuzzy, gleeful psychotics the Butthole Surfers, Ed Hall was a trio not containing any member of that name; Gary Chester handled guitar duties, with Larry Strub on bass. Drumming was originally by John Buron, who was replaced by Kevin Whitley. The provenance of their namesake was never revealed, although multiple explanations were proferred by band members, media, and fans. The track "Who's Ed" on debut album "Albert" does little to dispel the mystery.Ed Hall foraged for a hypnotic groove underneath a sh*t-rain of freestyle guitar insanity - a joyous noise, made all the more exciting by the band's stage theatrics. The trio covered themselves in flour for a while, until they realized the flour dust could ignite and go up like a miniature grain elevator. Eventually, they switched to fluorescent body paint, bathed the stage in black light, and played against a backdrop of bizarro film loops by Luke Savisky, or movable, larger-than-life marionettes of the band.The band emerged from the music scene based in and around the Dong Huong, a Vietnamese restaurant-turned-punk club whose proprietor Phong encouraged and hosted loud, obnoxious bands too raw and/or unknown for established clubs. The Dong scene was documented on a cassette compilation called The Polyp Explodes, which ultimately brought Ed Hall to the attention of Boner Records owner Tom Flynn and to the unwanted attention of Jim Adler (The Texas Hammer) when a class action lawsuit was filed for loss of hearing and mental anguish of many of the band's fans.- AlbumsAfter releasing six songs on the Mind Drum Records compilation "Charlie Manson Street," debut album "Albert" was released on the Boner label in 1988. Standout track "Candy House" was a taste of things to come on 1990's similarly bizarre and humorous "Love Poke Here." The band was subsequently featured in Richard Linklater's 1991 indie film masterpiece Slacker, and signed a contract with Butthole Surfer King Coffey's Trance Syndicate label and toured North America as the Butthole Surfers' support act.With each song named after an individual that may or may not have ever existed, 1992's Trance Syndicate debut "Gloryhole" marked a leap forward in the band's sound, whilst retaining much in the tradition of its two predecessors: open, loose backbeats overlaid with pop song structures, and plenty of Butthole Surfers-esque acid-damage. Production benefited gretly from the move to Butch Vig's Smart Studios, and highlights included "Buster Enamel" and the jakob-like instrumental "Bernie Sticky," along with a cello-driven cover of Kiss's "Beth" (also released as a 7-inch single on Trance Syndicate)1993's Motherscratcher has been described as the most focused, least whimsical Ed Hall album issued during the trio's career. The opening "White House Girls," with its exaggerated backbeat and laughing chorus, is a near-perfect example of the prickly riffs and trebly, note-driven leads of Gary Chester's guitar-playing, and the solid foundation provided by the developing partnership between bass player Larry Strub and new drummer Lyman Hardy, who replaced Kevin Whitley prior to the Gloryhole tour. Texturally, Ed Hall, with this album, was beginning to resemble a more cryptic and nuanced, less abrasive version of Flipper, one of the trio's most salient influences, and with whom they toured in 1994. Instrumental "Satori in Manhattan, Kansas" has been described as "strikingly beautiful" and "eclipsed by very little in rock music."Ed Hall's final album, 1995's La La Land was an extension of the ground covered on Motherscratcher - raunchy overdriven guitar scrapings underpinned by snaking bass lines and long-armed drumming, topped with vocals that testify and holler.Ed Hall split in 1996. Rumors of an eventual appearance of their unreleased sixth album have not been fulfilled. Bassist Strub moved to Thailand and taught English for some years. Gary Chester spent time in Moist Fist and Gold (which was just Pong), and Lyman Hardy played in a number of bands, including the Goin Along Feelin Just Fines. All three now play in retro-futuristic cosmic dance-rock combo Pong. A reunion show in Austin, TX in 2003 featured Chester, Strubb, Hardy, and Whitley, with Whitley and Hardy sharing drum duties.- Discography- Albums * Albert (1988, Boner) * Love Poke Here (1990, Boner) * Gloryhole (1992, Trance Syndicate) * Motherscratcher (1993, Trance Syndicate) * La La Land (1995, Trance Syndicate)- Singles * Deth (1991, Trance Syndicate). 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