Logo #319: Distorted Pony

I love following up something like Take That with something like Distorted Pony. David Uskovich, guitarist with the industrial / noise rock band, remembers: "Around '88 or '89, maybe as early as '87, Dora Jahr, bassist, made an abstract "pony" out of clay. She rolled the clay into ropes. I can't remember, but I think the head, body and tail were all one piece, with separate pieces for the legs and the "eye," which is that big circle in the middle of the head. It was
like a 3-D version of a line drawing. She probably still has that thing. One of us, or maybe it was Robert Hammer or Theodore Jackson, had the idea to slap some black paint onto the clay pony and then press it onto a piece of paper. The results were pretty cool, as you have seen, so we decided to have some rubber stamp maker make us a rubber stamp from the original print and Bob's-your-uncle: instant portable logo-maker. That's Dora Jahr's hand in the photo, not mine. I don't remember if we ever used the hand image in a press photo, but we definitely used it for the first single. We were all total industrial dorks, so the fact that the Pony logo resembled the Einsturzende Neubauten logo was not lost on us."

Logo #318: Take That

The one-time teen sensation's logo was designed by T&CP Associates in 1992. If ever there was a logo suffocated by its own cynicism, it's this one.

Logo #317: Hüsker Dü

Hüsker Dü was graced by this particular sigil by band member and designer Grant Hart in 1980. I received this nice note from Grant Hart some time ago, discussing in-depth the other, more identifiable logo. "In 1978-1979, I was enrolled in the Advanced Graphic Arts Program taught by Will Wachtler at South St. Paul High School. We learned to set type by hand and a few of us were taught to operate and maintain Heidelburg automatic offset presses. The details of paper and ink were stressed, as well as inspection and recycling of worn type. I did so much proofreading without running actual proofs that I could read upside-down and backwards nearly as fast as I could a printed page. It was during this time that I became involved with the two others that would form the band Hüsker Dü. Punk rock posters and the photocopier were advancing and there was a tremendous merging and emerging in and of the graphic arts.

An early poster for a performance of the band was printed in dark orange ink. The band name was set in a medium Helvetica type with two colons from a smaller font leaded in to form the umlauts over the "u" in "Hüsker" and the "u" in "Dü." This took place between late March of 1979 and early June of the same year, when I graduated and subsequently lost access to the facilities of the high school Graphic Arts Department. It was not long before the young band had need for another poster. Having no real type to use, and not wanting to use the "ransom note" method of clipping out individual letters, I cut out the band name from the dark orange poster for the next one. To add visual impact, I carefully tore the words horizontally and pasted them together with a gap between the top and bottom portions. I wasn't experienced with the inexpensive photo-offset presses that used a plate made of paper to deliver the ink to the paper to be printed on. These machines have disappeared from the face of the Earth due to the technical advances of photocopies, but I digress. The first attempt at printing the poster failed because elements that were lighter-than-black came out mottled and not too readable. Not having time to re-design the whole thing, I took up a Sharpie felt-tip and colored in the words quickly but carefully. The next attempt at printing was a success and the band immediately recognized the result with approval. It was varied in its use, printed backwards and psychedelicized. It has been spoofed and rearranged to spell out names of nightclubs, record stores and other bands, and I have seen at least eight tattoos of it on people's bodies."

Logo #316: Quiet Riot

From the cover of Quiet Riot's third album, "Metal Health," this enduring metal mascot was designed by Quiet Riot and Jay Vigon in 1983. Makes a fairly synchronistic follow-up to the previous entry about Left Insane, really. The album ultimately sold six million copies - how many of those six million people do you know? "Cum on Feel the Noize" was the big hit that everyone knows; its video came from the same cosmos of dread as Greg Kihn's "Jeopardy" video and the clip for Dio's "Last in Line." Each - Kihn's impending marriage; Peluce's menial delivery job; the kid from the Quiet Riot video waking up early and having that mask hanging over his head - seemed to have their respective menaces spawned from a sense of middle-class responsibility that none of the curly-haired heroes wanted to assume or pursue. And here you thought people thinking about heavy metal only concerned themselves with messages playing backwards. Crushing, middle-class fears factor very heavily in the dull, beige, backwards world out of which heavy metal attempts to pull its listeners. Quiet Riot's late singer Kevin DuBrow (possibly the man behind the mask) dressed up in straitjacket and mask onstage, and while that makes for great theatre, it also represents a rare moment of explicit empathy between elevated performer and downtrodden fan. Guitarist Carlos Cavazo recently discussed the album cover: "It was an idea created by the whole band. It's supposed to be a guy who goes crazy banging his head, and they had to put a straitjacket and an iron mask on him, so that he wouldn't hurt himself. I remember the mask was Rudy's [Sarzo, bass] idea. He got the idea from the movie ‘The Man In The Iron Mask."

Here's "Night of the Living Dead," in glorious black&white. Happy Halloween, folks. All Souls' Day is just around the corner!

Logo #315: Left Insane

South Bay avant punk band Left Insane had their logo designed by drummer Tony Cicero in 1989. A masterpiece of simplicity and perspective, it graced the cover of the band's "Visa Weekend" 7" on No Reality Records, an unheralded record label with a catalog that includes Nip Drivers, Pinhead Gunpowder, and Crimpshrine. Cicero got his start in Carson - a suburb between Los Angeles and Long Beach with a really beautiful old movie theatre nearby in Wilmington - in 1979 with a band called The Meathooks (I'm told there are recordings hidden deep in the heart of Lomita). He left when SST superstars Saccharine Trust needed a new drummer; after Saccharine Trust, he played in Vida with Dez Cadena. One of the most complex, driven and creative of all the drummers working in the Southern California punk world in the '80s, he's criminally underrated and I'm not just saying that because he's on the payroll. Now he's in Black Love - my band - and we are absolutely dipped in chocolate gold to have him with us. Someone asked recently what Black Love sounds like. We sound like Nick Cave and P.J. Harvey watching scrambled porn - but not necessarily the same channel at the same time. Also: disorienting hard rock.

This just in: Black Flag / DOA / Danzig / Run-DMC drummer Chuck Biscuits has died of throat cancer at age 44; BrooklynVegan has the most comprehensive tribute to Chuck, including a video possibly from 1988 in which Chuck shows off his collection of cereals (!) including Fruit Brute, Fruity Yummy Mummy, Count Chocula and his favorite: Quisp (?!)

Also just in: Chuck Biscuit death hoax?!?

Update: Yes, he's alive. Move along, people - nothing to see here.

Logo #314: Psychic TV

Designed by Throbbing Gristle / Psychic TV co-founder Genesis P-Orridge in 1981. Deceptively simple and endlessly reproduced in a variety of materials and locations, it is at least a distant cousin to Raymond Pettibon's Black Flag bars and at best a close brother to Jesus Christ's cross - well, wait, let's not talk about that. That cross around your neck? You think Jesus is going to want to see that when He gets back and comes up to shake your hand? So distasteful. The Temple Ov Psychick Youth file declares, "The Psychick Cross is a symbol of TOPY. That is its main meaning. It can also represent a trinity, a reversal of the Papal Cross (i.e. two long crossbars and one short), and a TV aerial (receiver and transmitter of information). No meaning is imposed upon it by the group." Speaking rather incisively in a recent interview, P-Orridge recalls, "One reason we came up with what we called the Psychic Cross was to have a non-verbal icon, where if you saw someone with that on a jacket, or a tattoo, you would think, "They’re probably relatively close to my way of thinking…they're part of my invisible tribe." It doesn’t have a linguistic definition - it's beyond words.

(William S.) Burroughs was really interested in hieroglyphics. One of the things he pointed out was that he believed that the hieroglyphic so-called 'languages' work on the nervous system rather than the intellect because they're pictograms, which are received in our brains very differently to a linear, alphabetic language. And the subtleties and the nuances in this holographic information - of a hieroglyph - is more far-reaching and less specific than an alphabetized language. Whether alphabets go from right to left or left to right or up and down, they're basically teaching the brain to create habitual pathways that are - supposedly - logical…but actually they erase imagination from language. They erase the individual's subtle interpretations of meaning - and therefore meaning becomes very dogmatic."

With more than three dozen members coming and going since the group's inception in 1981, Psychick TV is a cross (har) between a symphony orchestra and the Justice League of America. Genesis P-Orridge - now Genesis Breyer P-Orridge - welcomes the publication in November on Feral House of the 544-page "Thee Psychick Bible." Finally - something to read this winter.

Logo #313: :zoviet*france:

One of the greatest musical groups of all time - flat-out, hands down, bar none. They make the mystical and transcendent into something intimate, they make some of the best record packaging ever created and if ever there were a need for meditative drones made of sticks and stones, :zoviet*france: fulfills it. Robin Storey, late of zoviet*france:: "The ZF logo developed organically with input from all the artists involved in the early days (including Lisa Hale). I can't remember when that particular configuration (Nb. the star-crescent) was first used, but it must have been around the mid-'80s." The band is fractured and fractious now, for various reasons - which is sad, but their music is immortal and surpasses the paltry emotional firefights in which mere humans tend to delight from time to time. :zoviet*france: came out of a confluence of avant-garde minds working in northeastern England in the late '70s and early '80s - The Hafler Trio, Metgumbnerbone, Alien Brains, The New Blockaders and various variations of the people in those great creative brain-trusts. Here's :zoviet*france: about 20 years ago. Here's their incredible discography, which is fraught with some of the most luminescent titles ever - including "Shouting At the Ground," which comes from a slightly longer quote, "Shouting at the ground won't make it hear you any better." AMEN TO THAT!

By the way, that comment on the Operation Ivy entry just totally made my week. It's not that I'm running out of logos or affection for the form - I'm just overwhelmed in my current state of human limitation. Further bulletins as events warrant - lightning strike or sudden radioactive mutation notwithstanding.