Moonalice 420 Tribal Pow-Wow at Slim’s

On April 16, 2013, in Events, by Dire Wolf
420 Moonalice Poster Set - 2013

420 Moon­al­ice Poster Set — 2013

Rock poster fans in the Bay Area will want to make note that Moon­al­ice is host­ing their annual 420 Tribal Pow-Wow this Sat­ur­day at Slim’s in San Fran­cisco! Moon­al­ice always makes their April 20 shows very spe­cial, and this year is no excep­tion. Every­one who attends will be treated to a free packet of posters, total­ing 15 in all, by artists  Wendy WrightCar­olyn Fer­risDar­rin Bren­nerJohn MavroudisDavid SingerDen­nis LorenDen­nis LarkinsDave HunterLau­ren YurkovichJohn SeaburyStan­ley MouseLee Con­klinRon Dono­vanWes Wil­son& Alexan­dra Fis­cher!

This year’s Moon­al­ice Tribal Pow-Wow also serves as a ben­e­fit for Sweet Relief where all pro­ceeds from the show will go to help Jim King get a surgery he des­per­ately needs. In addi­tion to ticket sales, priced at $4.20, a silent auc­tion is also being held with many cool items includ­ing rock posters! More infor­ma­tion on the items and event at  Moonalice.com & MoonalicePosters.com or Buy Tick­ets now.


Slim’s San Fran­cisco, CA

TRPS Festival of Rock Posters 2012, poster design by Derek Johnson

Our annual Fall Clas­sic, the TRPS Fes­ti­val of Rock Posters is set to go for Sat­ur­day Octo­ber 13th, 2012 at the San Fran­cisco County Fair Build­ing (aka Hall of Flow­ers) in beau­ti­ful Golden Gate Park.

Fea­tur­ing rock poster artists and deal­ers from around the coun­try, this is the biggest rock poster event of its kind any­where! Those of you who have attended this show in the past know that this is the one not to miss. We bring in the best of the best, and you’ll find every­thing from vin­tage psy­che­delic trea­sures to the best of the mod­ern silkscreen move­ment. This year’s ver­sion promises to offer another stel­lar lineup!

The loca­tion is at the cor­ner of Ninth and Lin­coln on the South edge of the Park, not far from the Haight, the DeY­oung Museum, and the Acad­emy of Sci­ences. There are plenty of great restau­rants close by, too. Make it a week­end and bring the fam­ily to enjoy the great weather, an awe­some poster event, and every­thing else San Fran­cisco has to offer!

The TRPS Fes­ti­val of Rock Posters runs from 10:00 am until 6:00 pm. Admis­sion is $10 for the pub­lic, and $5 for TRPS mem­bers with card. Yes, you can join up (or renew) there and take advan­tage of the mem­ber discount.

Artists & Ven­dors Lineup

Wes Wil­son
Stan­ley Mouse
Chuck Sperry
Vic­tor Moscoso
David Singer
Carl Lund­gren
Randy Tuten
Marq Spusta
Jason Wil­son
Lee Con­klin
Dave Hunter
Chris Shaw
Alexan­dra Fis­cher
Reg­gie Williams (Straight The­ater)
Tea Lautrec Litho
John Seabury
Den­nis Loren & Cahoots Graph­ics / Blue Moon Posters
Don Ryder
Ryan Ker­ri­gan
Mike Stor­eim of Classicposters.com
SF Rock­posters
Matt Leu­nig
Tripp’s Prints
Pat Ryan
Den­nis Larkins
Gary Hous­ton
Paul Imag­ine
Jon-Paul Bail
Derek John­son
John Mavroudis
Scotty Roller
Eric King
Josh Bem­pechat
Perry Pfef­fer
Paul Getchell
John’s Col­lectibles
Star Shields (The Ora­cle)
Secret Ser­pents
Ron Dono­van
Cliff Yamasaki
Sal Dicheira
Kris Mikkel­son
Sher­wood Don­ahue
Larry Free­man
Vince Dugar

See you in San Francisco!


(note: Hall of Flow­ers has been renamed the San Fran­cisco County Fair Building.)

Festival of Rock Posters by Lee Conklin

A Quiet Voice in the Noisy World of Rock

On August 14, 2012, in News, by Ben Marks

by Ben Marks for Col­lec­tors Weekly

Feist at the Fillmore poster by John Mavroudis

Feist at the Fill­more, 2007

Over the past decade, a self-effacing artist named John Mavroudis has qui­etly become a player in the noisy world of rock posters. Mavroudis was offi­cially made a mem­ber of the scene in 2004, when he was given his first assign­ment to cre­ate a Yeah Yeah Yeahs poster for San Francisco’s fabled Fill­more Audi­to­rium. That impor­tant rite of pas­sage was fol­lowed in 2011 by his first com­mis­sion from a Bay Area band called Moon­al­ice, which has pro­duced an orig­i­nal poster for each of its 500-plus shows since 2007 (in a unique arrange­ment, the posters are given away for free to fans in atten­dance, then sold later by the band and the artists, who share the copyright).

This week­end, on Sat­ur­day August 18, 2012, Mavroudis joins 20 or so other poster artists from around the United States for an exhi­bi­tion called Rock Art by the Bay, which is being held at The Can­nery in San Fran­cisco and is pre­sented by The Rock Poster Soci­ety (or TRPS, as it’s known). On hand will be local con­tem­po­raries such as Chuck Sperry, Chris Shaw, Alexan­dra Fis­cher, Marq Spusta, and Ryan Ker­ri­gan; icons from the 1960s and ’70s such as Stan­ley Mouse, David Singer, Lee Con­klin, and Randy Tuten; and a hand­ful a guest artists vis­it­ing from around the coun­try, includ­ing Gary Hous­ton from Ore­gon and Jeral Tid­well from Kentucky.

Earlimart at the Indepent, poster by John Mavroudis

A 2007 screen­print for a show by Ear­li­mart and West Indian Girl at the Inde­pen­dent in San Francisco.

That Mavroudis finds him­self in such com­pany is some­thing he’s still get­ting used to. “When I first started attend­ing the TRPS shows,” he recalls, “I was sur­rounded by all these leg­ends. At first, I was too embar­rassed to walk up and talk to them. I just fig­ured I wasn’t in their league. But recently, over the last year, I’ve got­ten to know some peo­ple a bit. Not really well, but I’ve had a chance to sit down and talk with Wes Wil­son, with Stan­ley Mouse. They’ve all been really, really kind, impart­ing some inter­est­ing wis­dom, and I get to hear some good sto­ries, too.”

Born just south of San Fran­cisco, Mavroudis grew up in San Jose, Cal­i­for­nia, and spent many of his free hours get­ting lost in comic books. “I still recall the first comics I ever saw; it must have been in the sec­ond or third grade. We were walk­ing to school behind a 7-Eleven when we noticed a bunch of comic books that had been tossed. We grabbed ’em, and I col­lected from then on.”

A self-described “Mar­vel kid,” Mavroudis was more than just an avid reader. “We used to take our comics and either trace them or put car­bon paper under­neath the pages. Some of those comics would prob­a­bly be pretty valu­able right now.”

Sleater-Kinney at the Fillmore poster by John Mavroudis

Sleater-Kinney at the Fill­more, 2004.

That’s one source of his cur­rent work. Fam­ily is another. “My uncle was an artist when I was grow­ing up. I both­ered him a lot, ask­ing him to draw, and he taught me a few things here and there. He and my dad were also role mod­els in terms of their sense of humor. We used to watch ‘Monty Python’ a lot, so that was another influence.”

Music was the other con­stant. In par­tic­u­lar, Mavroudis was a fan of early Gen­e­sis when Peter Gabriel in the band. “When Gabriel released his third album, that opened up a whole new world for me,” he says. That album fea­tured mem­bers of the band XTC, Kate Bush, and Paul Weller from The Jam, whom Mavroudis saw at Tower Records in Hol­ly­wood when he was liv­ing in Los Ange­les. “I gave them some art­work,” he remem­bers, “which I look back on now as pretty bad. I was a fan.”

Widespread Panic poster by John Mavroudis

Wide­spread Panic, 2008, Irv­ing Plaza, New York.

This was also the period when Mavroudis was “mocked by Bono,” as his web­site bio puts it. “It was 1982. J. Geils Band was really huge, so they were head­lin­ing the Sports Arena in Los Ange­les. U2 was open­ing for them. I didn’t really care about J. Geils; I went to the show to see U2. After they played, a cou­ple of friends and I waited around where they sell T-shirts and stuff while J. Geils was on stage. We rec­og­nized U2′s man­ager, Paul McGuin­ness, who talked to us for a lit­tle bit. Finally he said, ‘You want to meet the guys?’ and of course, we all said, ‘Yeah, sure.’ And then they all came out. So now I’m talk­ing to Bono, and I told him, ‘I paid $40 to see you guys.’ And he looks over at his band mates and says, ‘Hey, this idiot paid $40 to see us!’ He apol­o­gized right away. He said he didn’t mean any­thing by it. He just thought it was funny that any­body would pay that much money to see U2. I still have their sig­na­tures on a record.”

A job in the mid-1980s at a small startup called Liv­ing Video­text lured him back to the Bay Area. “It was one of the first com­pa­nies that shipped Apple soft­ware,” Mavroudis says. “I went there because I wanted to learn to draw on a com­puter, which was new at the time; Apple had pro­grams like Mac­Draw and Mac­Paint. At first, I worked in the ship­ping depart­ment, then I started doing col­lat­eral for them, design work for their man­u­als, things like that.”

The Kooks at the Fillmore poster John Mavroudis

The Kooks at the Fill­more, 2011.

Rock posters were still a ways off. “At the time, I wanted to be a polit­i­cal car­toon­ist. I was a still big music fan, but I hadn’t really put two and two together.”

A string of regional news­pa­per jobs fol­lowed, and slowly the con­nec­tion between his inter­est in art and music began to gel. “I started putting out fly­ers and posters for bands. I’d show up at shows in small places like Bot­tom of the Hill [in San Fran­cisco] and just bring stuff, stuff that now I would be kind of embar­rassed by. It was a good learn­ing expe­ri­ence, though.”

For a bit, Mavroudis also worked as a DJ at a small alter­na­tive col­lege sta­tion called KFJC (“The Wave of the West”). “I did the Sun­day night-Monday morn­ing overnight show,” he says, a trace of resid­ual weari­ness creep­ing into his voice. “That led to more chances to do poster work, fly­ers, and things like that for bands. I remem­ber doing stuff for Soul Asy­lum and Sonic Youth when they came through town. It gave me a greater con­nec­tion to the music. I actu­ally ended up doing a six-hour spe­cial about XTC, one of my favorite bands of all time, and got to inter­view them live.”

The Yeah, Yeah Yeahs at the Fillmore poster by John Mavroudis

The Yeah, Yeah Yeahs at the Fill­more, 2004.

Finally, a pair of friends who made posters for the Fill­more, Isabel Sama­ras and Mar­cos Sorensen, sug­gested he get in con­tact with Arlene Owse­ichik, who was the cre­ative direc­tor for Bill Gra­ham Presents. That led to the poster for the Yeah Yeah Yeahs in 2004. “Since then, I’ve done about three or four posters a year for the Fill­more. Not a whole lot, but just enough to hang in there.”

Some­where along the line, Mavroudis got a full-time job with the Cal­i­for­nia Film Insti­tute, where he’s an art direc­tor. And in his off hours, he man­aged to find the time to sub­mit cover ideas to “The New Yorker” (he’s had a few of his pitches pur­chased by the illus­tri­ous mag­a­zine, but so far, no cover bears his signature).

Most recently, Mavroudis joined the ros­ter of first-, second-, and third-generation rock-poster artists cre­at­ing images for Moon­al­ice. “I’d been going to TRPS shows for a lit­tle bit,” Mavroudis says, “and I kept see­ing Alex Fis­cher and Chris Shaw there rep­re­sent­ing Moon­al­ice. Nat­u­rally, I bugged them a few times about doing a poster. Finally I got an e-mail, and that was that.”

M Ward at the Fillmore poster by John Mavroudis

M Ward at the Fill­more, 2006.

Mavroudis says his accep­tance by the Moon­al­ice tribe has been easy. “There’s such a won­der­ful feel­ing about work­ing with them,” he says of Chris, Alex, and the band’s ring­mas­ter, Roger McNamee, who, coin­ci­den­tally, is part­ners in a venture-capital fund with the same Bono who jok­ingly mocked Mavroudis all those years ago. “I’ve never felt like ‘the new guy’ or that there’s some kind of bar­rier between us. There’s such a nice cama­raderie, it’s almost a tan­gi­ble thing. It just makes you happy to work with peo­ple like that, and they seem to like the posters.”

The Moon­al­ice poster exhi­bi­tion and gig at the Brook­lyn Bowl in April of 2012 helped cement some of the rela­tion­ships he’d been devel­op­ing with his fel­low artists. “Brook­lyn was awe­some,” he says. “I had no idea what to expect. The Moon­al­ice peo­ple just treated us won­der­fully, and it was a fan­tas­tic venue, with a bowl­ing alley, a bar, and a stage. Before the show, Roger met with all the poster artists and gave us all quite a pep talk about how poster art has been under­ap­pre­ci­ated, and how he was going to see what he could do about that. It just made you feel good, like you’re among peo­ple who have the same goals and aspi­ra­tions as you, the same mindset.”

Moonalice at Union Square poster by John Mavroudis

This poster for a 2012 Moon­al­ice show fea­tures repro­duc­tions of the entire Bow­man 1952 set of base­ball cards.

One of his lat­est posters for Moon­al­ice is per­haps indica­tive of the sense of artis­tic free­dom he’s feel­ing. Cre­ated for a free show in San Francisco’s Union Square in May of 2012, the sur­real poster fea­tures a catcher in full squat, mitt in hand, his head replaced by a puffy cloud float­ing in a René Magritte sky. Sur­round­ing this appari­tion are base­ball cards, and not just any base­ball cards but a com­plete set of 1952 Bow­man por­traits of Willie Mays, Mickey Man­tle, and other greats of the game. “The ’52 Topps set is prob­a­bly the gold stan­dard of base­ball cards,” Mavroudis says, “but the ’52 Bow­mans are like lit­tle mas­ter­pieces. They’re so beautiful.”

Base­ball, you see, is another early influ­ence on Mavroudis’ art. “I always wanted to do some­thing with base­ball cards,” he con­firms. “I thought the Bow­mans made a really nice frame for the illus­tra­tion I was work­ing on. I tried to do it in a play­ful way, like group­ing all the pitch­ers with their arms over their head, all the left-handed hit­ters, the right-handed hit­ters, the catch­ers. I put a bunch of Phillies in promi­nent places because Roger is a big Phillies fan, but the show was in Union Square, so of course there were a lot of Giants in there, even if they were still wear­ing New York uni­forms back in 1952.”

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