July 7, 2025 • 55 mins
Dave Kloc is a prolific artist who designs posters for a wide variety of artists, but when PRIMUS comes calling, he ups his game. Enjoy a peek behind his creative process and unique approach to making these lasting images. This episode is best experienced on video at patreon.com/primustracks
Find Dave at www.davekloc.com and @davekloc on the socials.
Get involved
Instagram
Facebook
Email
Burn your money
Get involved
Instagram
Facebook
Email
Burn your money
Find Dave at www.davekloc.com and @davekloc on the socials.
Get involved
Burn your money
Get involved
Burn your money
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:00):
It's Josh Freaky.
Speaker 2 (00:01):
What a couple of dump shits.
Speaker 1 (00:09):
Hello, Brimeates, you found Primus traction. Congratulations. This week, as
we continue our series of inter album interviews, we chat
with frequent Primus poster artists Dave Clock. Dave is a
longtime fan of the band and describes the dream scenario
of creating prints for them that represent the music, the mood,
the characters, and if you look closely at his prince
you will always find a hidden Primus reference. In this episode,
(00:32):
we take a look at many of his prints, and
it's best experienced with the video over at patreon dot
com forward slash Primus tracks. If I ever get it together,
I may put some relevant video clips on our YouTube channel,
but don't count on it. Patreon's your best bet. Thanks
Todave for taking the time. You can see his extensive
works at daveclock dot com. That's davekloc dot com and
(00:55):
at Dave Clock on the socials. Dave Klock is here today.
This is great, Dave, Thank you so much for joining us.
Speaker 2 (01:07):
Budge.
Speaker 1 (01:08):
You have done, of course, many Primus gig posters, many
of which are quite memorable. Scrolling through your socials, I've
seen posters that you've done for Sleep Hale Iomi, Billy Strings,
Debt and Company, even Dave Matthews band. So you you
run the gamut man you are in the game.
Speaker 2 (01:28):
Yeah, well, I'm really lucky to have done literally any
of those because this is a weird job and it
could stop at any minute, and it did. Yeah. Yeah.
Primus is that one like band where when I tell
my friends from high school this is what I do
for a living, They're like, if you worked with Primus
And I'm like, yeah, because I was the kid who
like just has a different Prima sure for every day
(01:50):
of the week.
Speaker 1 (01:51):
Oh yeah, dude, that's actually so. First of all, those
high school reunions must be really fun, because if I
went to mine, they just say, oh, that's that's the
guy that wore a Prima shirt every day and he's
wearing one again, and then nobody would talk to me.
But let so, you've been in the game for a while,
but you've been a Primis fan for quite some time,
So tell us about that. Yeah, I mean, we're already
(02:15):
kindred spirits, So like, tell us about that. Where'd you
get started with with Primus and wacky music in general?
Speaker 2 (02:23):
My brother is two years older than me. He got
into Primus first. We had a friend who was a
good bass player, so of course he was into Primus. Yeah,
this is like I was twelve, my brother was fourteen.
My brother got me into Primis. I wanted to be
like my brother. Yeah, I got into Primis and it
was like the first time I was into a band.
I think I was. It was like I liked Raffi.
There was like no real music fandom, and then I
(02:45):
heard Primus and I was like, well, this is what
I like.
Speaker 1 (02:47):
There's I'd say, there's a bridge between Banana Phone and
what Less does and Primus does sometimes.
Speaker 2 (02:53):
Yeah, there's definitely a good theme there. Yeah, I could
see Banana Poa being like a B side on rhinoplast.
Speaker 1 (03:00):
What uh Yeah, what years were we talking about when
you get into him?
Speaker 2 (03:02):
I think it was after punch.
Speaker 1 (03:05):
Bowl Okay, mid nineties.
Speaker 2 (03:07):
Sure. So the first concert I ever went to was
President's the United States of America, and then my second
show was Primus. Third show was Primus, fourth show was Primus,
fifth show was Primus Man. So they were the only
band I cared about for a long time, so I
was just seeing them every time. They came kind of
a lot because it was pre Brown album. Okay, but
(03:28):
I think they were touring pretty heavily around then, oh yeah,
and saw a lot of Brown album tour. Got the
Cigars cross shirt signed by Lass yes, and then my
mom washed it. Now it's just the cigar shirt.
Speaker 1 (03:45):
I do have a visual of that. So those are
you watching on video over at patreon dot com Ford
slash Primus tracks. There's the handsome guys, So yeah, yeah,
that was on I didn't go skulking around. That's readily
available on Instagram. But that's this is proof positive that
you've been in the fandom for a while because that
(04:07):
cigar shirt is one of my favorites, and it's a
regret I never scraped together the cash to get it
because I think we're around the same age and I
didn't have a lot of money back then, so I
had to be really choosy.
Speaker 2 (04:18):
I don't know how it happened, but you know, you
get It's not like I think it was probably my
first or second band shirt, so it was like I
held on to it until last thread.
Speaker 1 (04:27):
Oh is it long gone by now?
Speaker 2 (04:29):
Oh yeah? And I'm like four times heavier. I was
probably like one hundred and five pounds right there.
Speaker 1 (04:36):
Now, that's that's the story of a lot of folks,
me included. I wore my Vine logo shirt into oblivion
and my punch bowl shirt long gone.
Speaker 2 (04:47):
And just get retired.
Speaker 1 (04:48):
Yeah, it became a rag.
Speaker 2 (04:51):
Yeah. Yeah. So they played the Fox Theater in Detroy
a lot, and we saw him there a lot. O
rad Man, Yeah, I had a lot of like festivals.
We'd go see them.
Speaker 1 (05:02):
Oh nice. So you have an ingrained fandom and you're
wearing a Prima shirt to school every day, which I
can completely identify with. Yeah, how do you get into
the poster game? And then how do you get hooked
up with the band? Because you've done some really great
stuff with them?
Speaker 2 (05:19):
Thank you that. I mean. I had been doing posters
for probably six seven years by the time I got
to do a Primus poster, okay, and it was literally
the way all of the poster stuff works is you
just either you know someone you know who to communicate
with and you can knock on their door their email
door a million times, or you just keep making work.
(05:41):
Eventually they get shown your work and they put your
name on a list, and then someday your time comes,
and that's what I did. I was just making posters
for other bands and comedians and stuff. Yeah, And eventually
I got the email that was like Primus Tour twenty
I think twenty fifteen. I think it was Jason Gibbs.
(06:03):
Oh GiB guy. Yeah, he might have been given a
list by Zultron. Okay, And that was the first time
I like had to lay down and be like, all right,
I just got this email. This is it. This is it,
this is a career, this is no longer a hobby.
Speaker 1 (06:19):
Oh wow. Yeah, so that really was a formative moment
for you.
Speaker 2 (06:24):
Oh yeah wow, because even I mean to this day,
no shade on any of my clients, but like it's
a job where you're doing a poster for a band
you don't love. Sure, you know, You're like, I've got
a deadline. They need to make X amount of money
off of this. Like I'm gonna draw something that their
fans will like. You know. It's like I want to
get this job again, you know, rather than like, boy,
(06:45):
I hope the band sees this. If the if I
get a picture where they're looking at the poster or
like it's in the same room as them, I'm going
to lose my mind. You know, Primus is the first
one where I was like, I can't believe last might
look at this and be like this is weird, and
I'll be like, oh god, hell.
Speaker 1 (07:00):
Ya that is Uh, that's that's the dream. I wonder. Actually,
I'm curious to rewind a bit. Uh were you in
high school? Were you? Because Primus is such a visual band,
and of course there's the CD ROMs and the album
art and and all that stuff is so visceral. Was
that at all an inspiration to you or did you
(07:21):
find yourself drawing album covers and and.
Speaker 2 (07:24):
Things like that. Yeah? I mean, you know, ten thousand
different labels for pork soda, you know, like a bunch
of stuff floating in cheese. All the stuff from the
music videos. Those music videos you know, were the best.
I was the kid who was always like, you know,
the durasl Dudes came out after the one known as
Breakdown Beaver Dudes. I was like, Primus is the trailblazer here.
Speaker 3 (07:48):
I was like, I wanted to ask you about your
Friestle Fry Anniversary poster of yours, which is really cool
because uh, for starters, you you didn't go with the
with the obvious, which would have been like to just
throw a reference to the album cover, but instead you
have this scene where the frying pants are referencing the
(08:11):
album cover, but not not in an obvious way. So
it's kind of Frizzle fry, but it's also John the Fisherman,
and it's also the whole essence of the album. So
how did you come up with the idea for this
great poster?
Speaker 2 (08:22):
I really appreciate that. Thank you. That premise is also
one of those bands where where I don't just go like,
what are the fans like, I'll just draw what the
fans like. I go, I'm a fan, what would I do?
Speaker 1 (08:35):
Like?
Speaker 2 (08:35):
What would I like? You know, there's something always like
Moby Dick inspired where it's like the Great, the Great
Chase of getting the big One. Yeah, and I thought
I pitched this. I was like, what if there's like
a huge we call it like cresting out of the water,
frying pan, jumping over a fishing boat. And they were like, yeah, dude,
(08:56):
go for it. And by they I do mean like
a mrch company. I'm not dealing directly with the band.
Some people think that like you sit with the band
when you do this stuff.
Speaker 1 (09:09):
No, it's it's you're pretty far removed most of the time,
like the vast majority.
Speaker 3 (09:13):
Right.
Speaker 2 (09:14):
Absolutely. The only band I worked directly with for merchant
is Sleep. Oh nice, Yeah, this was I really wanted
to hide some stuff. You can see the frizzle fry
due to the left of the main frying pan in
the water. I think I've hidden Bob Cox's name every
Primus poster, and I just lose track of where.
Speaker 3 (09:35):
Oh yeah, now, and now I see I see the
face in the mountain. Yeah, that's very well, it's very
well here then yeah, right here, yep, yeah yeah.
Speaker 1 (09:43):
And then of course the ship's the S S Frizzle Fry,
which makes.
Speaker 4 (09:46):
And I see I see to the right on the
on the heel. There's also the back cover exactly. And
the horn of the ship is less is horns.
Speaker 1 (09:58):
Oh you know what, I never noticed that detail, And
I always look for those little things. That one got
by me. That's brilliant.
Speaker 2 (10:05):
And that's the thing that's the you got it if
you know Primus, you know Primus, you know.
Speaker 1 (10:10):
Clearly I don't. I should probably resign my position. No,
that's like I have.
Speaker 2 (10:14):
The ability to put that stuff in there because I
I I, yeah, and what is what is mom X?
That's just the year? Oh okay, and then oh yeah,
I'm pretty bad at drawing like likenesses of people, so
I just put three figures in there, so that there's
three dudes, but you don't know which is which.
Speaker 1 (10:35):
Oh no, that makes perfect sense. It's uh a lot
of the times when people artists are taking on I mean,
portraits are hard anyway, but you know there's a lot
of art out there where it kind of looks like
them but not really.
Speaker 2 (10:50):
So and that takes you out of it. Man, Yeah,
I don't like this anymore.
Speaker 1 (10:55):
Yeah, absolutely, uh, And it's so that's a challenge. So
it's you knew kind of where to draw the line,
so to speak, and not take it too far whereas
you might take someone out of it. Because this is
quite a quite a scene. And this was specifically for
the thirtieth anniversary of Frizzle Fry in twenty twenty, which
(11:15):
is that must that must have been a great email
to receive.
Speaker 2 (11:20):
Yes, So, actually what is kind of nuts is the
guy who does primuses merch, who like organizes their merch
on their website, is a really close friend of mine,
and he's been a friend of mine since before he
worked with Primus, before he did merch anything. I don't
think he was like fifteen, oh wow, and he's on
my hockey team when he got the Primus job. This
(11:42):
was like the first year, first month he got the
Primus like account, he was like, dude, I like, the
first thing we're doing is this frizzle fry release. He's like,
you gotta do a poster for it. He still works
with them, and he's the guy. Have you seen recently
they did the frizzle fry frying pans. Yes, yes, that
was all him.
Speaker 1 (11:59):
Oh well, that was a great idea because it sold
out fast.
Speaker 2 (12:05):
Dude. He was like, I don't know how many we're
gonna make, like maybe fifty people will like this, and
they made so many. It's so well done, and you'd
think they'd be like four hundred bucks and they're ninety
nine dollars.
Speaker 1 (12:19):
Yeah.
Speaker 2 (12:20):
I think that's a great piece of merch mastery.
Speaker 1 (12:23):
Yes, it was pretty creative, and that was great creative
thinking because it was usable and it has utility. Yeah,
right now, I missed out on it. So if anybody
out there listening has buyer's remorse, please hit us up.
It is a really that was a brilliant idea. I
do appreciate though, that you're going on this theme of
(12:45):
it's not who you are, it's who you know. And
that's something that's been repeated to us many times on
this podcast, particularly by the great Tim Sawyer, who just
you can be the greatest in the world, but if
you don't have connections, it's not.
Speaker 2 (12:58):
Going to happen. If you're a jerk.
Speaker 1 (13:00):
You know that too. Of course, that plays into it.
So I would imagine when you got that first as
you intimated, when you got that first contact about doing
a poster for a Primus show, it sounded like you
might have felt a bit more of an expectation of
yourself or pressure for yourself to really rise to the occasion.
Speaker 2 (13:22):
Absolutely, And you know, I always put it in the
emails when they're like, do you want to do this,
because they send out like emails to a bunch of artists. Also,
you have to a thing I've had to do is
still not do it for free. If they're like, how
much would it cost for you to do a poster,
and I'd be like, I'd pay you to do a poster.
I still have bills to pay. I live in an
(13:43):
expensive city. I need to eat, but like that was
one of those bands I would have done it for free.
Speaker 4 (13:48):
Yeah.
Speaker 3 (13:49):
I also wanted to ask you about some of your
some of the trademarks of your style, because sometimes you
see a piece of art and you say, oh, yes,
so I know who made this, right, because it's so distinctive.
So when there's a poster run, if all the names
were blurred out, I would still be able to know
(14:11):
which poster is yours, because your style is incredibly unique
and distinctive. But what was the growth to get there?
Like how many years did it take you to arrive
to a point where you said, okay, this is my style,
particularly the line work, because that's something very distinctive in
your posters.
Speaker 2 (14:30):
I've always had an opinion of what style is, and
it's basically, or at least for me, you take in
all of your influences and all the things you admire
and all the things you want to be, and they
all go into your brain, and then your style is
what those things look like when they come through your hand.
(14:52):
So you can practice and practice and practice to try
to make what you see a pear look like what
you see on the paper. And that's just funneling your
influences and your thoughts and your concepts through your hand.
But in the end, your hand is going to dictate
(15:13):
your style. And like I draw with a pen. It's
kind of unheard of these days, but like I draw
on paper and I use a pen, and I use
pencil and I erase it. Some people use iPad with
a nice glossy tip and they have a setting on
there that just smooths their lines out. You know, if
(15:35):
you zoom in on mine, it's wobbly, there's dots, there's
it's junkie. You know. Some of the lines don't end
where they should. That's my style because that's my hand,
and I want all these things to happen, but sometimes
they don't, but they always come through my hand. So
my style is going to always just be what I
(15:57):
can accomplish. And it's just like I've practiced the things
I've practiced, So that's what my stuff looks like. Like
some people put more focus on some things than others.
You know, I like repetitive, kind of loose, wobbly lines.
That's just what you're gonna get with my stuff.
Speaker 1 (16:18):
People, like it.
Speaker 2 (16:19):
Yeah, I am happy that that. You know, Like I
don't shit on like digital guys, because the more like
clearly like illustrator Adobe illustrator guys there are, the more
unique it looks when you draw by hand. If everyone
was just trying to draw by hand and trying to
(16:40):
do what I think is cool, I'd just be another
you know, sheep in a field. But it's like at
the end of the day, it's like there's just a
lot of dudes using like halftone smoothing and like you know, diffusion,
dither and like all this, like all these not tricks
but like techniques that do make it very impactful visually,
(17:06):
but it's not penanic.
Speaker 1 (17:09):
Yeah, and it you know, you could make an analog
to the art world six hundred years ago because not
everybody was Caravaggio, who was so incredibly detailed, and you know,
there were other people doing other things, and you know,
there's there's wobbly lines in climps, you know, and and
(17:29):
a lot of things that look imperfect, but that's part
of what climp was going for. So I'm just throwing
out names from my rudimentary knowledge, but those are those
are a couple of really memorable names and visual artists. Yeah,
and so actually I'm curious in that vein what are
(17:49):
some of your influences, whether classical or more modern, that
impacted you, you know, as you took into your brain,
as you say, who are some of those people?
Speaker 2 (18:01):
Early on, it was a very specific few things. It
was Bill Watterson from Calvin Hobbs, A lot of magic
card artists.
Speaker 3 (18:11):
Oh do you know Jeff Flewenstein.
Speaker 2 (18:14):
I think so. Yeah, is that one of the names
at the bottom of magic cards?
Speaker 3 (18:17):
Yeah, he made some of my favorite magic the gathering
cards like which cards? Uh crack now, Dotty Horror, Uh,
Sliver Malten, Harpie. Okay, you made a bunch of gobbling
the ones. But he's remarkable.
Speaker 2 (18:33):
Yeah, yeah, so you're speaking it. Yeah, like you know
Ron Spencer his Terror card. Yes, I used to draw
the little guy from the Terror card up in the
corner of my homework A lot probably should have gotten
the therapy, but uh, those guys were huge, and then
like Dolly mc esher, you know, coffee table book guys,
(18:59):
and then that later on like Mobius is big, Jeff Darrow,
who were buddies nice? Those were those were big with
when I started working with Sleep. They were like, they
were like, Darrow this up, Mobius, this this piece up,
start with the clock and then add a lot of mobius.
(19:21):
You got it, guys.
Speaker 1 (19:23):
Yeah.
Speaker 2 (19:23):
I didn't know there was any overlap between Sleep and
Primus fans, but there really are. And it's been really nice.
Speaker 1 (19:30):
Oh. I would say the overlap is much more than
one would expect.
Speaker 2 (19:33):
For sure. It's been really cool.
Speaker 1 (19:35):
I'm one of them.
Speaker 2 (19:36):
Yeah. I thought it was like, if you're a Sleep guy,
that's it. You just wander the desert, you know, like
with a wheelbarrow full of Yeah.
Speaker 1 (19:46):
But you're you're the guy on the cover of Dope Smoker, right, Yeah,
all by yourself going through the desert.
Speaker 2 (19:55):
Uh.
Speaker 1 (19:55):
And you know what that's that? That takes me back
to in high school. I was I Imus was it
for me? That's all I cared about. I mean, I
had all these other albums, I loved all these other bands,
but I only repped Primus and that's all I wanted
to talk about. And so yeah, there. It does seem
like the very hardcore and you could probably apply this
to any fandom, but the hardcore Primus fans really were
(20:16):
this limited circle and it seemed like there was not
much overlap, but it's out there.
Speaker 2 (20:22):
I oddly like I kind of parallel how I got
into Spaceballs before I got into Star Wars. That was
me too, right, But I feel like the direct parallel
to that is that you get into Primus before you
get into Rush.
Speaker 1 (20:38):
Oh sure, yes, absolutely.
Speaker 2 (20:39):
Where it's like they're clearly born of the same thing. Yeah,
it's like a silly technical three piece that is like
undeniable in every way. Yeah, but it's like you either
start with the fun one or the serious one.
Speaker 1 (20:58):
You know, No, I think you're right there, the this that,
this motion you were doing. Yeah, they are parallel lines,
and so you're in one lane and I was in
the Primus lane, and then I looked over here and went, oh,
those guys are going in the same direction and picked
up on Rush for sure. Yeah, And of course there's
generational things that I don't know how many people in
(21:20):
the Rush lane looked over at the Primus lane and
decided it was a good idea, right, But certainly the.
Speaker 2 (21:26):
Star Wars fan being like, oh, finally Spaceballs.
Speaker 1 (21:30):
The parody we've been waiting for.
Speaker 2 (21:32):
Yeah, exactly. Oh yeah, I like Yogurt much more than Yoda.
Speaker 1 (21:40):
That I think that speaks to something because we are
so far removed just chronologically from things like Star Wars
and Rush that we saw. We we've been seeing the
offshoots of that, you know, as I was a kid
in the eighties and nineties, so I saw Spaceballs first,
never I like saw Star Wars the first three movies
(22:01):
after that. Same thing started with Primus discovered Rush, and
then just by delving into the band and watching interviews
and reading interviews with Les, Larry and Tim over the years,
they were more than happy to share their influences Rush residents,
you know, down the line, and that's how I got
into them. So it is a bit of a backwards path,
(22:23):
but I got there.
Speaker 2 (22:25):
It's satisfying, too, very because.
Speaker 1 (22:28):
You can you can find that. We actually have a
sub series called Primus DNA, and so we've explored some
of the acts and bands that they've cited as influences,
like XTC, and we definitely need to do a Rush one.
I don't know why we haven't yet. Maybe it's because
it's so redical that too. Yes, and the minute I
(22:50):
say something about Rush, all the rushheads are going to
tell me I'm wrong, because my knowledge is limited. Yeah,
I wanted to ask you about something in your many
of the posters that you do, and I think this
is a good example the twenty eighteen show. So for
those of you not seeing it on video, purple elephant
(23:11):
and in what looks to me like really cool steampunk gear,
I'll just call it that. What you do in this
poster and some of the other ones that I really
appreciate is you give us a sense of scale. So
there's this one, and then you have another one with
a rhino, and if the elephant and the rhino were
on their own, you wouldn't understand the scale of them.
(23:33):
But then you include these other elements, particularly with this one,
these other characters on the ground, to show the scale
of the figure that's central to the illustration. I really
appreciate that because you can see in the background here.
I've got plenty of Primus gig posters. Not everybody does that,
(23:53):
and so I think that's unique to you in a way,
and I appreciate it because these images then, like this
elephant and the rhino and the other print, they just
feel larger.
Speaker 2 (24:04):
Yeah, it's it's such an easy trick. It's such a
good move. To make something immediately interesting. You know, even
if you have two dogs, if one of them is gigantic,
that's more interesting than two normal sized dogs.
Speaker 1 (24:18):
Yeah. And then do you find yourself consciously doing that
or does it just happen?
Speaker 2 (24:23):
Do you think? Well, I definitely knew I wanted to
do like a Southbound package poster. I always looked that
was my video. Oh and the like those elephants were
the coolest, like taking flight that was so cool with
the animation all of it, And I wanted to do
like a more detailed version of just one of them.
Speaker 3 (24:45):
Is this influenced by Mobby's.
Speaker 2 (24:48):
Yes, yes, so yeah, the kind of like smooth mechanical
stuff like tech if you will.
Speaker 3 (24:55):
Yeah, and of course and of course the nough to
purple peculum exactly which actually, yeah, these became this became
a wine label.
Speaker 2 (25:03):
Yes, this became wine label. And that's been like a
feather in my cap for myself for so long. And
they send me wine whenever they make more of that wine,
they send me bottles of it.
Speaker 1 (25:15):
Oh okay, so they're they're using this image on each
yearly edition of that wine, right, Oh that's excellent. Yeah,
I had seen the label and I thought, oh, that's
pretty cool. I'm sure it's even cooler for you.
Speaker 2 (25:29):
Yes, absolutely. Uh there's I Love Bob Cock on the
whiteboard down there in the bottom right.
Speaker 1 (25:36):
Oh, right down here. Oh, let's zoom in on that.
Speaker 2 (25:39):
And then there's a little frizzle fry frying pan in
the middle. This isn't the primus thing, it's just another
one of my interests. There's, uh, Albert Brooks's character Hank
Scorpio from The Simpsons.
Speaker 1 (25:52):
Oh is it right here? This is a Scorpio. Yeah,
you know, I wouldn't have made that connection, but it
definitely looks like him when you say that, that's incredible.
Speaker 3 (26:05):
That's so that's one. Also, that's a really cool thing
about Dave's posters that you can gaze at him for
a while and just marvel at all the details and
the little things going on, like all these guys working
around the elephant. That's also something you don't get in
other posters.
Speaker 2 (26:24):
Yeah.
Speaker 1 (26:24):
I appreciate that scale that you bring to it. You know,
I don't think I ever noticed the I heard Bobcock
on that board. So that's that's another little hit one.
Like when you hide him, you hide him. That's excellent.
Speaker 2 (26:37):
Yeah, I mean, well he doesn't have a name. You
want like three inches by six inches.
Speaker 1 (26:43):
I gotta look around. I know there's one like the
one over my shoulder with Jason Alexander there. That one's
by Adam Gates, so the name Bob Cock is prominent
in that one. I mean, it's just a wall of
text that posters brilliant. But yeah, there's there's some other
artists that will hide these things in here, but they're
a little more apparent yours. I'm really going to be
looking closely from here on in.
Speaker 2 (27:05):
Can I pull up a poster or yeah, go ahead please,
so you can see this, you can see the I
guess I'll try to articulate what I'm seeing so that
people are listening. This is the pencil pass of the
of that same elephant poster. Beautiful, So this is just pencils.
Need to draw over that with pens. Wow, and then
(27:25):
I have some other ones. I couldn't find my folder
for this poster, but yeah, and then you can see
the band up at the top. Yes, yes, that's about
as far as I got. We're making it like specific people,
but clearly it's just lesson than two figures.
Speaker 1 (27:43):
Yeah, I really enjoy this one too, with that sense
of scale. And of course they're they're fishing.
Speaker 2 (27:49):
Yeah. I did ask a fisherman friend what regional fish
are in Virginia, and these are fish you would find
over there.
Speaker 1 (27:58):
Oh okay, cod Oh gotcha.
Speaker 2 (28:01):
Yeah. So this Primest Tribute to Kings, I don't know
how much I should show because it's audio wise, it's
going to be kind of a bummer.
Speaker 1 (28:10):
But that just encourages people to go to Patreon dot
com Ford slash Primus tracks.
Speaker 2 (28:14):
There you go. This is the Primest Tribute to Kings
poster in Portland. Yes, and this Rush album that they
were covering was the first album that the band played
double necked guitars and basses on. Yes, so I made
every animal a double necked animal.
Speaker 1 (28:33):
That is a great idea.
Speaker 2 (28:35):
I love it. On the left is Deeddy's rickenbacker, and
on the right is Life Sensed Guitar awesome.
Speaker 1 (28:45):
And you snuck that skeeter in above the LIFs and.
Speaker 2 (28:47):
Headstock, which I love, and another purple.
Speaker 1 (28:51):
Oh of course.
Speaker 3 (28:53):
Uh.
Speaker 1 (28:53):
And then and then the figure in the front with
the whip and the torch of certainly uh brings to
mind the figure from the twenty one.
Speaker 2 (29:00):
To twelve record exactly Starman.
Speaker 1 (29:03):
And the Star Yeah. Uh, really cool stuff on this one.
I was bummed not to make it to this show
and I can't remember why I didn't go. I think
I could only make the Bend show as far as
the organ shows that year, but I saw this poster
and then really regretted not going.
Speaker 2 (29:20):
They I through an accident, got to go to that
show because they wanted me to sign the posters and
there was there was just something happened where they were
supposed to get sent to me down in LA. I'd
signed them, send them back up and something went wrong
where they were like, we need you to sign them,
so we're gonna fly you to the show to sign them.
Speaker 1 (29:41):
Oh wow.
Speaker 2 (29:42):
And while I was like, I don't think people care,
I was like, let's do it, so.
Speaker 1 (29:47):
I'll take a free trip.
Speaker 2 (29:48):
Yeah.
Speaker 1 (29:51):
Side notes, that's a well you're uh finding stuff. That's
a really cool uh venue Edgefield, so it has a
great time there.
Speaker 3 (29:59):
This is another great one.
Speaker 2 (30:01):
This was funny enough. My bachelor party before my wedding
overlapped with Primus being in town, which also overlapped with
me doing the poster for that show. Yeah. Yes. I
had a bachelor party where we stayed in like a
(30:22):
big house down near the venue. And I asked the band,
or asked the management if I could have twelve tickets
to the show.
Speaker 1 (30:33):
Oh damn.
Speaker 2 (30:34):
I never asked for tickets to any band I worked with.
I never asked. I want to be professional. Yeah, And
I was like, listen, this is my bachelor party, it's
my poster for that show. Feel free to say no,
but if you say yes, I'll clearly be in your
pocket forever Godfather's style. And I was like, can I
get twelve tickets? And they made it happen.
Speaker 1 (30:54):
Oh damn.
Speaker 2 (30:55):
Nice. So I took my entire bachelor party to this show.
Me and about three other dudes had perfect time, and
everyone else was like, what is going on the groom?
Speaker 1 (31:04):
So we'll hear you right, that's so No, that's that's
a bachelor party, man, That's what I'm talking about.
Speaker 2 (31:12):
So here's Skeeter, you know, uh in kind of a
spooky post apocalyptic this is like a frying pan ship. Yeah,
I'm sure somewhere in there is Bobcock.
Speaker 1 (31:25):
There's another frying pan ship in the far background on
the left side. So yeah, I'm already training my eye
to look for these key key things that you sneak in.
Speaker 3 (31:34):
Yeah, there's somewhere, Dave, can you can you also elaborate
about your Claypool and Delirium new your received poster.
Speaker 2 (31:43):
I don't have that on my computer, but that poster,
that Claypool Lenin Delirium poster was that's actually me with
a bunch of guitar necks wrapped around my face. And uh,
that one took a long time. I wanted to see
if I could make it look like it. Uh, there
was a lot of glowing elements without using ink, but
using the paper color to make it look like it
(32:05):
was glowing. I know that just describing it probably won't
do anyone anything justice, but I used bright yellow paper
so that everywhere that ink wasn't looked like it was glowing.
And there's all these like guitar necks and uh oox
(32:25):
chords flying around and they look like they're glowing.
Speaker 1 (32:30):
Yes, this one is visually arresting and it h it
was also when I first saw it was kind of puzzling,
but I, yeah, I kind of had to do a
bit of a I had to really inspect it and
I and that's the hallmark of an effective piece of art.
You got to really look close to see what's going on.
Speaker 2 (32:50):
Thank you.
Speaker 1 (32:51):
And that yeah, that glowing end of the of the cable.
Speaker 2 (32:55):
Yeah, is really cool.
Speaker 1 (32:56):
So because for a while I thought it was a bottle,
you know, and and then I saw the guitar headstocks,
and then it started to make sense when I first
saw this one.
Speaker 2 (33:05):
A big crutch for me, and my wife always points
this out, is that no one, no matter who I'm drawing,
their hands. Look, their fingers are just kind of like sausagey.
Oh they're They're always just my hands. And I have
very weird thumbs. I have like short thumbs. So everyone
(33:26):
I draw has these like mutant thumbs, and people are
like good drawing, terrible, terrible hands. You did a bad job.
And I'm like, well, the model that showed up for
me that day had those thumbs.
Speaker 1 (33:42):
Yeah, you could just you can just do this, like right,
this is this is my reference point.
Speaker 2 (33:48):
Sorry to me, Yeah, we did the job. They were
We used to call them my like bass thumbs, like.
Speaker 1 (33:55):
Oh yeah, you could certainly thump with those things exactly.
Speaker 2 (34:00):
You Actually, I'd.
Speaker 1 (34:01):
Noticed you kind of hid the thumbs in this one,
with the exception of this one here, the other three
hands you don't really see them.
Speaker 2 (34:09):
Yeah, I get a little thumb self conscious.
Speaker 1 (34:14):
Uh, these are these are all great posters. And you know,
Frankie mentioned that there's certainly elements within them that that
reveal that it's you. And so I'm just zooming way
in on these guitar necks here because you you had
mentioned wobbly lines. If you were being really exacting, for example,
these curves here would be much more uniform, and they're not.
(34:38):
This is what's coming out of your hand. And I
appreciate that because as we get into this age where
we're well into an age of using tablets in digital
art and all these different tools of which I have
no umbrage with, I think it's great because it allows
people to do all kinds of things. And then, of course,
with the dreaded rise of AI, I think that this,
(35:01):
this tiny, little, this little piece right here is just
a great example of imperfection being completely appropriate in art,
if that makes sense.
Speaker 2 (35:16):
Yeah, And it's not, you know, it's not always just
like you don't focus on one of them. It's that
it's consistent, you know, It's not like there's a bunch
of perfection and then there's a wabble. It's literally every
line is imperfect, and that makes the whole piece feel right.
Like I never ever ever use a ruler. I'll do
(35:40):
two dots from where it needs to start and stop,
but every line has to be by hand with no
assistance because it just doesn't Like even if this border
on this Claypool Lenon Delirium poster was like a preset
drag shape it was perfect, it wouldn't read right. Yes,
(36:02):
it's just gotta be a little wobbly. Some parts have
to be thicker than others. It's just rules you make
along the way where you start to go like, oh,
this is something that could have been a weakness and
now it's a strength. Yeah, And it's just like that's
how I've done it for fifteen years. If I stop now,
I would be disappointed at myself.
Speaker 1 (36:23):
Yeah, I think too, with all these curves within the
guitar necks and that sort of thing, having a straight
line border, You're right, it wouldn't fit because there's so
many curves in this that having a quote unquote imperfect
border certainly makes perfect sense to me.
Speaker 2 (36:40):
Yeah, Yeah, this is.
Speaker 1 (36:42):
Reads right, Yeah, And of course you have curved edges
at the top and bottom as opposed to square edges,
which once again reads right into all the curves within,
so it serves its elf. And I think that's really
cool because it's you know, it's easy just to and
(37:05):
it's very satisfying to have those straight lines and geometric patterns.
But curves are a lot of fun.
Speaker 2 (37:12):
Yeah, it's ninety degree angles. Great when there's other angles,
you put curves with curves, you know.
Speaker 3 (37:21):
So Josh Josh mentioned the scale, and I think another
trademark in Dave's posters is a perspective. Sometimes you play
around with perspective in a way that not a lot
of artists do. Like some of your scenes, we're looking
at them from the top, or some characters we're looking
at them from the bottom. And I think that is
(37:42):
really cool, and that also gives the posters a lot
of distinction.
Speaker 2 (37:47):
Thank you. That's also just something where I like to
have fun while i'm working, and it's funny. I've had
this thought where try not to make the horizon line
directly in the middle of something unless it like really
serves the piece, Like can you see my screen still? Yes? Yes, Okay,
(38:11):
So like this letter Kenny Poster, the horizon line being
in the middle works because the focal point is in
the middle of the middle. Yeah, it's this fruit stand
in the middle. But if you can, if you can
help it, moving the horizon line up or down makes
things more interesting, makes it more dramatic, shifts where you're looking,
and it makes the second place you look kind of surprising.
(38:34):
But then there was that movie The Fableman's you know
I'm talking about I'm not. It was the Spielberg movie
that he basically did about his childhood. Oh and there's
literally a speech at the end of the movie that
David Lynch gives where he talks exactly about horizon line.
Oh really Yeah, And I was like my jaw dropped.
(38:57):
I was like, these are the exact thoughts I've had.
Speaker 1 (39:00):
And if David Lynch is saying it, I'm listening.
Speaker 2 (39:03):
David Lynch is saying it in a Spielberg movie. So
it's like it's double stamped. But it just makes things
more interesting and it's more fun. Fifty percent horizon line
is one hundred percent flat. This is kind of in
the weeds. But when you draw with like these lines,
like contour lines are called so like, if you're drawing
(39:24):
a bottle, you're not gonna draw a straight line across.
You're gonna draw a curved line that follows the shape
of the bottle. If you're looking at the bottle straight on,
the lines are flat. But if you go imagine the
bottle is now up above your eyes, those lines are
gonna be curved up, arcing up, and if you bring
(39:46):
the bottle down below your eyes, they'll be curved down.
A line is more interesting when it's curved. So if
you can move everything in one direction, everything up, or
everything down, or everything on an angle, everything becomes more interesting. Yeah,
all the lines involved, not just the outlines, but all
the shading lines become more interesting. Yeah.
Speaker 1 (40:08):
And I'm looking at this sleep print right in the
middle of your screen here, and that's born out in
that just with just with the window in that one. Yeah, exactly, absolutely,
it's it certainly captures the eye more with that change
in perspective.
Speaker 2 (40:25):
Yeah, So like you look out the window first, Yeah,
and then you look down and everything down has fun
lines on it. Yeah.
Speaker 1 (40:35):
Great use of a negative space on this one too.
It's really cool.
Speaker 2 (40:38):
Thank you. Yeah, this was one of the rare posters
where I'm like, I think I actually finished this one.
You don't fit with art, you don't finish it, you
just run out of time, you bet. Yeah, So this
I was like, I think I actually finished this one.
Speaker 1 (40:53):
Yeah. And I've heard a lot of people I've read
and listened to say something similar that it's it's not finished.
I just can't mess with it anymore. And it's been
taken out of my hands by a publisher or whoever,
and and and that's really interesting to hear you say that.
So is with that in mind? I mean, is there
(41:15):
a particular, say Primus print that you felt like you
didn't have enough time with and would do something more
with it?
Speaker 2 (41:23):
You know what, some bands don't get the attention that
others do. With my my calendar, you know, if it
feels like a job, it's just going to be on
the calendar. Got to get it done, got to be
at the printer at this day. With Primus, I'm probably
gonna like, got a couple of days off the other
gig and had a couple more Primus days. So it's like,
(41:45):
I do actually feel like I finished those posters. I
got to do a Sosanta poster. That's a Primus gig
because I don't really know a perfect circle or pritsopher h.
That was another one.
Speaker 1 (41:59):
Yeah, understanding with that one is the the only edict
was some kind of three headed creature.
Speaker 2 (42:05):
Or being right exactly. And there's another and yeah, it's
really fun prompts, you know, like this year's was I
think like horror movie movie, like classic horror movie posters.
Speaker 1 (42:18):
Oh great, that gives you a lot of leeway and
a lot of ideas right off the bat.
Speaker 2 (42:23):
I imagine, right, and it's like a lot of fun.
Speaker 1 (42:26):
So yeah, one more Primus poster I wanted to mention
was the one with the uh the stegosaurus or looking
creature uh from I think it might be one of
your most recent ones. Oh eating the Primus logo.
Speaker 2 (42:40):
There.
Speaker 1 (42:40):
I love that one. It just it just makes me
think of land before time. That's what That's where my
mind goes.
Speaker 3 (42:49):
That's a that's an alligator snapped the snapping turtle.
Speaker 1 (42:52):
Snapping turtle. Thank you. For some reason, my mind goes
to stegosaurus because I was thinking of the h. I
was thinking of little foot in that lee and then
the it so I went way off but yes, that's
This is one of my favorites because I love the
way you're messing with the first of all, the lettering
on Primus.
Speaker 2 (43:08):
Really you notice the R is that's again, that's the Is.
Speaker 1 (43:13):
That the horn again at the bottom hooking there?
Speaker 2 (43:15):
You bet it is awesome.
Speaker 1 (43:16):
Yeah, this, and I just love that it's the snapping
turtles about to eat the Primus logo. I think that's great.
Speaker 2 (43:23):
That was just how I pitched it. I was like,
super detailed, tons of negative space. Primuses were big and bold,
and sometimes they just go that's all we need to
hear and then yeah, uh yeah, this was I Actually
I used to print all my posters and then I
stopped when bands wanted more than fifty. That's about After
(43:46):
about fifty, my arms got tired and the posters starting
to look bad. Oh I see, So I outsourced my printing,
which is what a lot of artists do, but I
want My buddy Mike Tollman lives near me and has
a print shop now, and I was like, I want
to start printing my posters again. So I did this
one four colors which I could handle, uh huh, and
(44:10):
I printed. I printed these.
Speaker 1 (44:12):
Wow, yeah, they look fantastic.
Speaker 2 (44:15):
Yeah, it was. It was fun.
Speaker 1 (44:17):
I don't do this anymore. I started buying prints from
shows I didn't go to, and it's slipper slope that
becomes expensive, so I stopped doing it. But uh, this
was one that I thought, Shit, I kind of need
this one.
Speaker 2 (44:30):
I love it. So yeah, they pop in person too.
Sometimes it's like on the screen it's one thing and
in person it's another. But this one's.
Speaker 1 (44:38):
Yeah, especially those reds. For some reason, the reds in
person are just so saturated and colorful that you they
a screen doesn't do it right.
Speaker 2 (44:50):
Yeah, exactly.
Speaker 1 (44:52):
We have a few minutes left here, and I wanted
to throw you a bit of a curveball. I have
some rapid fire primus questions for you.
Speaker 2 (45:01):
Is it trivia or questions?
Speaker 1 (45:02):
Oh, no, questions for you. It is not trivia.
Speaker 2 (45:06):
Okay.
Speaker 1 (45:07):
I throw the trivia questions of Frankie and he never misses.
First question, what's your top primus record?
Speaker 2 (45:15):
Oh, I'm a season cheese man, season cheese.
Speaker 1 (45:18):
Nice.
Speaker 2 (45:18):
Yeah, you gotta go with what you jumped in on,
you know.
Speaker 1 (45:22):
Yeah, uh, okay, so that was your first first record.
Speaker 2 (45:27):
Yeah, that was the one, and I have a really
fun memory of my first Primus show, my brother saying
I want to take Dave to a Primus show, and
my mom saying, I don't know this band. Bring me
out a CD, and both my parents taking the Seasar
Cheese record and opening up the lyrics, and my mom saying,
(45:50):
play this track and then reading out loud the lyrics too,
is it luck? Oh no, and just being like what
am I listening to? And like I couldn't understand the
lyrics at all. So I was just like, I don't know.
I was like twelve or eleven we got to go,
(46:12):
But I remember being like, that song is it Luck?
Was like the that was the what we call it
Razor's edge or whatever, able to go or not go?
Speaker 1 (46:22):
Yes, that easily could have gone the wrong way for you.
Oh my goodness, I'm so glad my parents never inspected
the lyrics books for these Prima's records.
Speaker 2 (46:32):
Yeah, that was the one time.
Speaker 1 (46:34):
Wow, gosh, in retrospect, I don't know how I got
away with it, because that sounds like something my mom
would do. She actually didn't let me barely let me
get an Anthrax CD for that reason, because she was
reading the back cover and went, what is this.
Speaker 2 (46:51):
Your face.
Speaker 1 (46:51):
Yeah, oh man, and now you've seen them live a
whole bunch in your younger years and adulthood. Is there
is there a tune you haven't caught live yet that
you would love to hear?
Speaker 2 (47:03):
Oh? Wow, I've never heard The Awakening live.
Speaker 1 (47:07):
Ooh all right, I think we have a chance with
that with John Hoffman joining the drama.
Speaker 2 (47:13):
That's cool. Yeah, yeah, I loved Let's claybol Highball with
the Devil. Yeah, the Awakening was always one I told
myself I would learn on bass and didn't get past
one note.
Speaker 1 (47:28):
It's a oh that's a fantastic cover. Absolutely. I really
hope that they bring that back with Hoffer. I think
you can do it and do it just really cool. Uh.
You mentioned Southbound Pachaderm sounds like that's probably your top
Primus video. Yep, what would be second? Do you think?
Speaker 2 (47:47):
I mean? When known as me Brown Beaver is an
unimpeachable perfect music video and the final shot of herb
knocking that bottle off and then do that, Yeah, that's
l is. I think about it all the time, and
the way he says eight pressed eggs for a week
(48:10):
is still something I can't wrap my head around. There's
just not enough syllables in there. I don't think he
actually said it.
Speaker 1 (48:18):
Jury's out. Yeah, I don't think so either.
Speaker 2 (48:22):
Not alone in that.
Speaker 1 (48:24):
Uh, Because so you draw the you draw the horns
from the Carl Thompson basses and sneak those into your posters.
Do you have? Is there a specific bass visually or
tone wise that when Less brings it out, you're ready
to rock?
Speaker 2 (48:41):
I love those Carl Thompson's. I don't know. I can't
think of another bass player that plays such a signature
bassm Like, you know, it's like Al from Sleep plays Rickenbockers.
That's cool, but other people have Rickenbockers, right, you know,
like some people play like that weird Ampeg clear bass.
(49:01):
Other people have that bass. I don't know anyone else
who plays at Carl Tomson. I'm sure other people do,
but that are on my.
Speaker 1 (49:07):
Radar, most notably Stanley Clark. But yeah, Less certainly I
think in the rock world. Yeah, there you go really
popularized him.
Speaker 2 (49:16):
Yeah, Getty Lee plays the Getty Lee bass, but it's
you know, his version of an existing basse. Yeah, da Dave.
Speaker 3 (49:23):
When when an artist drops their their poster online, they
have a tendency to offer kind of a classic print,
but they also have foils, and sometimes they have lava
paper and metallic ones. From what you've observed through through
your store, what is a variety that collectors seek out
(49:49):
the most.
Speaker 2 (49:52):
I'll tell you what sells fastest is it's foils. One
thing we can't tell from our end is who's a
collector and who just wants the poster that day? Who's
a flipper? Right right right exactly, because you know, it's
just a name, and we do have kind of like
(50:13):
an aggregated list a bunch of poster artists of people's
names with their eBay accounts.
Speaker 1 (50:19):
Oh, that's great that you're sharing that info.
Speaker 2 (50:22):
Because you know it'll be like, hey, this one guy,
is he everyone's biggest fan? You know, Hey, he's always
the first to buy everything. Is he just like the
nicest dude in town. No, he's just his job is
to go from your site to eBay without any adoration
of the music or the art. In any case, those
(50:46):
are not the best people in the world. But of
course we got to pay the bills, so like everyone
gets to have a poster if they buy it. Foils
do go fastest, But I rarely think that foils make
the artwork look any better. Sometimes you can clever and
use like the foil to enhance the image, but a
lot of times it's kind of an afterthought. You just see,
(51:09):
here's the art as it was meant to be, and
then here's the art with a mirror behind it. Yeah,
and it's just like those go so fast. So it's
nice when bands ask for him because it does help
the sales. In my opinion, they rarely, they rarely are
are what I think are the superior product.
Speaker 1 (51:26):
There are some simple Yeah, there are some products. Excuse me.
There are some artists whose work, when put on foil,
kind of scatters the image. That's the word that comes
to mind.
Speaker 2 (51:35):
And then it does.
Speaker 1 (51:36):
It's not cohesive anymore.
Speaker 2 (51:38):
Right, It's like writing on a mirror.
Speaker 1 (51:40):
Yeah, it's bizarre.
Speaker 2 (51:41):
You're still going to look at what you're looking at
in the mirror.
Speaker 3 (51:44):
For example, Soultron is aware of who are his biggest collectors.
Speaker 2 (51:50):
In your case, I mean, you said that you.
Speaker 3 (51:52):
Can't tell who's who, But have you been able to
actually identify who are some of your biggest collectors?
Speaker 2 (52:00):
Yeah? I luckily doing it over a long enough period
of time. I've been able to actually like engage with
the people that I know are collectors. There's a guy
named Brian Bumpus who's like the biggest Primus guy I've
ever met. I think he has upwards of nine hundred
Primus posters. He has a themed room. He has theme
not a Primis themed room. He has a Primus themed
(52:22):
house where each room is based off of specific artists, posters. Game.
Speaker 1 (52:29):
That's insane.
Speaker 2 (52:30):
And he's also has really nice so it's like when
I see an order from him, it's like, hell, yeah,
here's Brian Bumpus showing up and he comes out to shows.
Uh but yeah there. You know, you do if you
work with some bands over and over, you do get
to see repeat customers that only come out for that band.
(52:51):
And that's nice to see because no one's just gonna
flip for one band. They flip for you know, if
I'm if I sell a Sleep poster and a Dave
Matthews poster the same guy, he's on my radar.
Speaker 1 (53:04):
That's yes, that's a flag.
Speaker 2 (53:06):
Yeah, there's no way. You know his sandals are also
sitting next to his ten foot pong that yeah.
Speaker 3 (53:13):
Yeah, what is it you meyer about the lead in particular.
Speaker 2 (53:18):
I think when I got into him, it was just
kind of like everything I needed at the time. It
was like this is what you're told is good art.
And then you see this and you're like, oh, I
think this is what you should be telling people good
art is. Everything's interesting immediately, and then the more you
learn about it, you're like, oh, he was really considering everything.
(53:39):
He wasn't just going like this will be bananas to
look at, which is basically the gear I've stopped in.
It's like, hey, look this has long legs. Isn't that fun?
His is like, yeah, this represents you know, like colonialism,
and then like this burning thing in the background is
you know, this kind of tribe and it's like, okay,
this guy gets a lot. And so was just so
(54:02):
out there and he became like a work of a
living work of art himself. He was silly but like
deeply serious at the same time. Like the book he
did of his mustache, Yeah, yeah, like that's just great.
And have you ever seen Jodowski's Dune, Yes, where he
wanted to cast Dolli in his movie and all the
(54:23):
weird asks Dolli like, all the like requirements he wanted
to have to be in the movie. He said, he
wanted to be the highest paid actor in all of Hollywood.
And it's just like what a nut. He had this
like crazy muse with him at all times.
Speaker 1 (54:39):
Yeah, yeah, that kind of that's that's an extra level
of calculation and consideration that you It seems like you
have to have the ultimate freedom and really no timeline
to be able to cram everything in. That's because that's
that just reminds me of the you know, Renaissance artist
and architects that crammed everything they could in because they
(55:03):
had the time to do it.
Speaker 2 (55:04):
Yeah, it was your life, you know, Yes, exactly. Man.
Speaker 1 (55:09):
Well, it seems like you're making the best use of
your your artist's life, and I really appreciate you joining us.
I also appreciate you sharing. Thank you very much, Dave,
your art with with the public but also with us.
Speaker 2 (55:21):
It's been a goddamn joy. Thank you.
It's Josh Freaky.
Speaker 2 (00:01):
What a couple of dump shits.
Speaker 1 (00:09):
Hello, Brimeates, you found Primus traction. Congratulations. This week, as
we continue our series of inter album interviews, we chat
with frequent Primus poster artists Dave Clock. Dave is a
longtime fan of the band and describes the dream scenario
of creating prints for them that represent the music, the mood,
the characters, and if you look closely at his prince
you will always find a hidden Primus reference. In this episode,
(00:32):
we take a look at many of his prints, and
it's best experienced with the video over at patreon dot
com forward slash Primus tracks. If I ever get it together,
I may put some relevant video clips on our YouTube channel,
but don't count on it. Patreon's your best bet. Thanks
Todave for taking the time. You can see his extensive
works at daveclock dot com. That's davekloc dot com and
(00:55):
at Dave Clock on the socials. Dave Klock is here today.
This is great, Dave, Thank you so much for joining us.
Speaker 2 (01:07):
Budge.
Speaker 1 (01:08):
You have done, of course, many Primus gig posters, many
of which are quite memorable. Scrolling through your socials, I've
seen posters that you've done for Sleep Hale Iomi, Billy Strings,
Debt and Company, even Dave Matthews band. So you you
run the gamut man you are in the game.
Speaker 2 (01:28):
Yeah, well, I'm really lucky to have done literally any
of those because this is a weird job and it
could stop at any minute, and it did. Yeah. Yeah.
Primus is that one like band where when I tell
my friends from high school this is what I do
for a living, They're like, if you worked with Primus
And I'm like, yeah, because I was the kid who
like just has a different Prima sure for every day
(01:50):
of the week.
Speaker 1 (01:51):
Oh yeah, dude, that's actually so. First of all, those
high school reunions must be really fun, because if I
went to mine, they just say, oh, that's that's the
guy that wore a Prima shirt every day and he's
wearing one again, and then nobody would talk to me.
But let so, you've been in the game for a while,
but you've been a Primis fan for quite some time,
So tell us about that. Yeah, I mean, we're already
(02:15):
kindred spirits, So like, tell us about that. Where'd you
get started with with Primus and wacky music in general?
Speaker 2 (02:23):
My brother is two years older than me. He got
into Primus first. We had a friend who was a
good bass player, so of course he was into Primus. Yeah,
this is like I was twelve, my brother was fourteen.
My brother got me into Primis. I wanted to be
like my brother. Yeah, I got into Primis and it
was like the first time I was into a band.
I think I was. It was like I liked Raffi.
There was like no real music fandom, and then I
(02:45):
heard Primus and I was like, well, this is what
I like.
Speaker 1 (02:47):
There's I'd say, there's a bridge between Banana Phone and
what Less does and Primus does sometimes.
Speaker 2 (02:53):
Yeah, there's definitely a good theme there. Yeah, I could
see Banana Poa being like a B side on rhinoplast.
Speaker 1 (03:00):
What uh Yeah, what years were we talking about when
you get into him?
Speaker 2 (03:02):
I think it was after punch.
Speaker 1 (03:05):
Bowl Okay, mid nineties.
Speaker 2 (03:07):
Sure. So the first concert I ever went to was
President's the United States of America, and then my second
show was Primus. Third show was Primus, fourth show was Primus,
fifth show was Primus Man. So they were the only
band I cared about for a long time, so I
was just seeing them every time. They came kind of
a lot because it was pre Brown album. Okay, but
(03:28):
I think they were touring pretty heavily around then, oh yeah,
and saw a lot of Brown album tour. Got the
Cigars cross shirt signed by Lass yes, and then my
mom washed it. Now it's just the cigar shirt.
Speaker 1 (03:45):
I do have a visual of that. So those are
you watching on video over at patreon dot com Ford
slash Primus tracks. There's the handsome guys, So yeah, yeah,
that was on I didn't go skulking around. That's readily
available on Instagram. But that's this is proof positive that
you've been in the fandom for a while because that
(04:07):
cigar shirt is one of my favorites, and it's a
regret I never scraped together the cash to get it
because I think we're around the same age and I
didn't have a lot of money back then, so I
had to be really choosy.
Speaker 2 (04:18):
I don't know how it happened, but you know, you
get It's not like I think it was probably my
first or second band shirt, so it was like I
held on to it until last thread.
Speaker 1 (04:27):
Oh is it long gone by now?
Speaker 2 (04:29):
Oh yeah? And I'm like four times heavier. I was
probably like one hundred and five pounds right there.
Speaker 1 (04:36):
Now, that's that's the story of a lot of folks,
me included. I wore my Vine logo shirt into oblivion
and my punch bowl shirt long gone.
Speaker 2 (04:47):
And just get retired.
Speaker 1 (04:48):
Yeah, it became a rag.
Speaker 2 (04:51):
Yeah. Yeah. So they played the Fox Theater in Detroy
a lot, and we saw him there a lot. O
rad Man, Yeah, I had a lot of like festivals.
We'd go see them.
Speaker 1 (05:02):
Oh nice. So you have an ingrained fandom and you're
wearing a Prima shirt to school every day, which I
can completely identify with. Yeah, how do you get into
the poster game? And then how do you get hooked
up with the band? Because you've done some really great
stuff with them?
Speaker 2 (05:19):
Thank you that. I mean. I had been doing posters
for probably six seven years by the time I got
to do a Primus poster, okay, and it was literally
the way all of the poster stuff works is you
just either you know someone you know who to communicate
with and you can knock on their door their email
door a million times, or you just keep making work.
(05:41):
Eventually they get shown your work and they put your
name on a list, and then someday your time comes,
and that's what I did. I was just making posters
for other bands and comedians and stuff. Yeah, And eventually
I got the email that was like Primus Tour twenty
I think twenty fifteen. I think it was Jason Gibbs.
(06:03):
Oh GiB guy. Yeah, he might have been given a
list by Zultron. Okay, And that was the first time
I like had to lay down and be like, all right,
I just got this email. This is it. This is it,
this is a career, this is no longer a hobby.
Speaker 1 (06:19):
Oh wow. Yeah, so that really was a formative moment
for you.
Speaker 2 (06:24):
Oh yeah wow, because even I mean to this day,
no shade on any of my clients, but like it's
a job where you're doing a poster for a band
you don't love. Sure, you know, You're like, I've got
a deadline. They need to make X amount of money
off of this. Like I'm gonna draw something that their
fans will like. You know. It's like I want to
get this job again, you know, rather than like, boy,
(06:45):
I hope the band sees this. If the if I
get a picture where they're looking at the poster or
like it's in the same room as them, I'm going
to lose my mind. You know, Primus is the first
one where I was like, I can't believe last might
look at this and be like this is weird, and
I'll be like, oh god, hell.
Speaker 1 (07:00):
Ya that is Uh, that's that's the dream. I wonder. Actually,
I'm curious to rewind a bit. Uh were you in
high school? Were you? Because Primus is such a visual band,
and of course there's the CD ROMs and the album
art and and all that stuff is so visceral. Was
that at all an inspiration to you or did you
(07:21):
find yourself drawing album covers and and.
Speaker 2 (07:24):
Things like that. Yeah? I mean, you know, ten thousand
different labels for pork soda, you know, like a bunch
of stuff floating in cheese. All the stuff from the
music videos. Those music videos you know, were the best.
I was the kid who was always like, you know,
the durasl Dudes came out after the one known as
Breakdown Beaver Dudes. I was like, Primus is the trailblazer here.
Speaker 3 (07:48):
I was like, I wanted to ask you about your
Friestle Fry Anniversary poster of yours, which is really cool
because uh, for starters, you you didn't go with the
with the obvious, which would have been like to just
throw a reference to the album cover, but instead you
have this scene where the frying pants are referencing the
(08:11):
album cover, but not not in an obvious way. So
it's kind of Frizzle fry, but it's also John the Fisherman,
and it's also the whole essence of the album. So
how did you come up with the idea for this
great poster?
Speaker 2 (08:22):
I really appreciate that. Thank you. That premise is also
one of those bands where where I don't just go like,
what are the fans like, I'll just draw what the
fans like. I go, I'm a fan, what would I do?
Speaker 1 (08:35):
Like?
Speaker 2 (08:35):
What would I like? You know, there's something always like
Moby Dick inspired where it's like the Great, the Great
Chase of getting the big One. Yeah, and I thought
I pitched this. I was like, what if there's like
a huge we call it like cresting out of the water,
frying pan, jumping over a fishing boat. And they were like, yeah, dude,
(08:56):
go for it. And by they I do mean like
a mrch company. I'm not dealing directly with the band.
Some people think that like you sit with the band
when you do this stuff.
Speaker 1 (09:09):
No, it's it's you're pretty far removed most of the time,
like the vast majority.
Speaker 3 (09:13):
Right.
Speaker 2 (09:14):
Absolutely. The only band I worked directly with for merchant
is Sleep. Oh nice, Yeah, this was I really wanted
to hide some stuff. You can see the frizzle fry
due to the left of the main frying pan in
the water. I think I've hidden Bob Cox's name every
Primus poster, and I just lose track of where.
Speaker 3 (09:35):
Oh yeah, now, and now I see I see the
face in the mountain. Yeah, that's very well, it's very
well here then yeah, right here, yep, yeah yeah.
Speaker 1 (09:43):
And then of course the ship's the S S Frizzle Fry,
which makes.
Speaker 4 (09:46):
And I see I see to the right on the
on the heel. There's also the back cover exactly. And
the horn of the ship is less is horns.
Speaker 1 (09:58):
Oh you know what, I never noticed that detail, And
I always look for those little things. That one got
by me. That's brilliant.
Speaker 2 (10:05):
And that's the thing that's the you got it if
you know Primus, you know Primus, you know.
Speaker 1 (10:10):
Clearly I don't. I should probably resign my position. No,
that's like I have.
Speaker 2 (10:14):
The ability to put that stuff in there because I
I I, yeah, and what is what is mom X?
That's just the year? Oh okay, and then oh yeah,
I'm pretty bad at drawing like likenesses of people, so
I just put three figures in there, so that there's
three dudes, but you don't know which is which.
Speaker 1 (10:35):
Oh no, that makes perfect sense. It's uh a lot
of the times when people artists are taking on I mean,
portraits are hard anyway, but you know there's a lot
of art out there where it kind of looks like
them but not really.
Speaker 2 (10:50):
So and that takes you out of it. Man, Yeah,
I don't like this anymore.
Speaker 1 (10:55):
Yeah, absolutely, uh, And it's so that's a challenge. So
it's you knew kind of where to draw the line,
so to speak, and not take it too far whereas
you might take someone out of it. Because this is
quite a quite a scene. And this was specifically for
the thirtieth anniversary of Frizzle Fry in twenty twenty, which
(11:15):
is that must that must have been a great email
to receive.
Speaker 2 (11:20):
Yes, So, actually what is kind of nuts is the
guy who does primuses merch, who like organizes their merch
on their website, is a really close friend of mine,
and he's been a friend of mine since before he
worked with Primus, before he did merch anything. I don't
think he was like fifteen, oh wow, and he's on
my hockey team when he got the Primus job. This
(11:42):
was like the first year, first month he got the
Primus like account, he was like, dude, I like, the
first thing we're doing is this frizzle fry release. He's like,
you gotta do a poster for it. He still works
with them, and he's the guy. Have you seen recently
they did the frizzle fry frying pans. Yes, yes, that
was all him.
Speaker 1 (11:59):
Oh well, that was a great idea because it sold
out fast.
Speaker 2 (12:05):
Dude. He was like, I don't know how many we're
gonna make, like maybe fifty people will like this, and
they made so many. It's so well done, and you'd
think they'd be like four hundred bucks and they're ninety
nine dollars.
Speaker 1 (12:19):
Yeah.
Speaker 2 (12:20):
I think that's a great piece of merch mastery.
Speaker 1 (12:23):
Yes, it was pretty creative, and that was great creative
thinking because it was usable and it has utility. Yeah,
right now, I missed out on it. So if anybody
out there listening has buyer's remorse, please hit us up.
It is a really that was a brilliant idea. I
do appreciate though, that you're going on this theme of
(12:45):
it's not who you are, it's who you know. And
that's something that's been repeated to us many times on
this podcast, particularly by the great Tim Sawyer, who just
you can be the greatest in the world, but if
you don't have connections, it's not.
Speaker 2 (12:58):
Going to happen. If you're a jerk.
Speaker 1 (13:00):
You know that too. Of course, that plays into it.
So I would imagine when you got that first as
you intimated, when you got that first contact about doing
a poster for a Primus show, it sounded like you
might have felt a bit more of an expectation of
yourself or pressure for yourself to really rise to the occasion.
Speaker 2 (13:22):
Absolutely, And you know, I always put it in the
emails when they're like, do you want to do this,
because they send out like emails to a bunch of artists. Also,
you have to a thing I've had to do is
still not do it for free. If they're like, how
much would it cost for you to do a poster,
and I'd be like, I'd pay you to do a poster.
I still have bills to pay. I live in an
(13:43):
expensive city. I need to eat, but like that was
one of those bands I would have done it for free.
Speaker 4 (13:48):
Yeah.
Speaker 3 (13:49):
I also wanted to ask you about some of your
some of the trademarks of your style, because sometimes you
see a piece of art and you say, oh, yes,
so I know who made this, right, because it's so distinctive.
So when there's a poster run, if all the names
were blurred out, I would still be able to know
(14:11):
which poster is yours, because your style is incredibly unique
and distinctive. But what was the growth to get there?
Like how many years did it take you to arrive
to a point where you said, okay, this is my style,
particularly the line work, because that's something very distinctive in
your posters.
Speaker 2 (14:30):
I've always had an opinion of what style is, and
it's basically, or at least for me, you take in
all of your influences and all the things you admire
and all the things you want to be, and they
all go into your brain, and then your style is
what those things look like when they come through your hand.
(14:52):
So you can practice and practice and practice to try
to make what you see a pear look like what
you see on the paper. And that's just funneling your
influences and your thoughts and your concepts through your hand.
But in the end, your hand is going to dictate
(15:13):
your style. And like I draw with a pen. It's
kind of unheard of these days, but like I draw
on paper and I use a pen, and I use
pencil and I erase it. Some people use iPad with
a nice glossy tip and they have a setting on
there that just smooths their lines out. You know, if
(15:35):
you zoom in on mine, it's wobbly, there's dots, there's
it's junkie. You know. Some of the lines don't end
where they should. That's my style because that's my hand,
and I want all these things to happen, but sometimes
they don't, but they always come through my hand. So
my style is going to always just be what I
(15:57):
can accomplish. And it's just like I've practiced the things
I've practiced, So that's what my stuff looks like. Like
some people put more focus on some things than others.
You know, I like repetitive, kind of loose, wobbly lines.
That's just what you're gonna get with my stuff.
Speaker 1 (16:18):
People, like it.
Speaker 2 (16:19):
Yeah, I am happy that that. You know, Like I
don't shit on like digital guys, because the more like
clearly like illustrator Adobe illustrator guys there are, the more
unique it looks when you draw by hand. If everyone
was just trying to draw by hand and trying to
(16:40):
do what I think is cool, I'd just be another
you know, sheep in a field. But it's like at
the end of the day, it's like there's just a
lot of dudes using like halftone smoothing and like you know, diffusion,
dither and like all this, like all these not tricks
but like techniques that do make it very impactful visually,
(17:06):
but it's not penanic.
Speaker 1 (17:09):
Yeah, and it you know, you could make an analog
to the art world six hundred years ago because not
everybody was Caravaggio, who was so incredibly detailed, and you know,
there were other people doing other things, and you know,
there's there's wobbly lines in climps, you know, and and
(17:29):
a lot of things that look imperfect, but that's part
of what climp was going for. So I'm just throwing
out names from my rudimentary knowledge, but those are those
are a couple of really memorable names and visual artists. Yeah,
and so actually I'm curious in that vein what are
(17:49):
some of your influences, whether classical or more modern, that
impacted you, you know, as you took into your brain,
as you say, who are some of those people?
Speaker 2 (18:01):
Early on, it was a very specific few things. It
was Bill Watterson from Calvin Hobbs, A lot of magic
card artists.
Speaker 3 (18:11):
Oh do you know Jeff Flewenstein.
Speaker 2 (18:14):
I think so. Yeah, is that one of the names
at the bottom of magic cards?
Speaker 3 (18:17):
Yeah, he made some of my favorite magic the gathering
cards like which cards? Uh crack now, Dotty Horror, Uh,
Sliver Malten, Harpie. Okay, you made a bunch of gobbling
the ones. But he's remarkable.
Speaker 2 (18:33):
Yeah, yeah, so you're speaking it. Yeah, like you know
Ron Spencer his Terror card. Yes, I used to draw
the little guy from the Terror card up in the
corner of my homework A lot probably should have gotten
the therapy, but uh, those guys were huge, and then
like Dolly mc esher, you know, coffee table book guys,
(18:59):
and then that later on like Mobius is big, Jeff Darrow,
who were buddies nice? Those were those were big with
when I started working with Sleep. They were like, they
were like, Darrow this up, Mobius, this this piece up,
start with the clock and then add a lot of mobius.
(19:21):
You got it, guys.
Speaker 1 (19:23):
Yeah.
Speaker 2 (19:23):
I didn't know there was any overlap between Sleep and
Primus fans, but there really are. And it's been really nice.
Speaker 1 (19:30):
Oh. I would say the overlap is much more than
one would expect.
Speaker 2 (19:33):
For sure. It's been really cool.
Speaker 1 (19:35):
I'm one of them.
Speaker 2 (19:36):
Yeah. I thought it was like, if you're a Sleep guy,
that's it. You just wander the desert, you know, like
with a wheelbarrow full of Yeah.
Speaker 1 (19:46):
But you're you're the guy on the cover of Dope Smoker, right, Yeah,
all by yourself going through the desert.
Speaker 2 (19:55):
Uh.
Speaker 1 (19:55):
And you know what that's that? That takes me back
to in high school. I was I Imus was it
for me? That's all I cared about. I mean, I
had all these other albums, I loved all these other bands,
but I only repped Primus and that's all I wanted
to talk about. And so yeah, there. It does seem
like the very hardcore and you could probably apply this
to any fandom, but the hardcore Primus fans really were
(20:16):
this limited circle and it seemed like there was not
much overlap, but it's out there.
Speaker 2 (20:22):
I oddly like I kind of parallel how I got
into Spaceballs before I got into Star Wars. That was
me too, right, But I feel like the direct parallel
to that is that you get into Primus before you
get into Rush.
Speaker 1 (20:38):
Oh sure, yes, absolutely.
Speaker 2 (20:39):
Where it's like they're clearly born of the same thing. Yeah,
it's like a silly technical three piece that is like
undeniable in every way. Yeah, but it's like you either
start with the fun one or the serious one.
Speaker 1 (20:58):
You know, No, I think you're right there, the this that,
this motion you were doing. Yeah, they are parallel lines,
and so you're in one lane and I was in
the Primus lane, and then I looked over here and went, oh,
those guys are going in the same direction and picked
up on Rush for sure. Yeah, And of course there's
generational things that I don't know how many people in
(21:20):
the Rush lane looked over at the Primus lane and
decided it was a good idea, right, But certainly the.
Speaker 2 (21:26):
Star Wars fan being like, oh, finally Spaceballs.
Speaker 1 (21:30):
The parody we've been waiting for.
Speaker 2 (21:32):
Yeah, exactly. Oh yeah, I like Yogurt much more than Yoda.
Speaker 1 (21:40):
That I think that speaks to something because we are
so far removed just chronologically from things like Star Wars
and Rush that we saw. We we've been seeing the
offshoots of that, you know, as I was a kid
in the eighties and nineties, so I saw Spaceballs first,
never I like saw Star Wars the first three movies
(22:01):
after that. Same thing started with Primus discovered Rush, and
then just by delving into the band and watching interviews
and reading interviews with Les, Larry and Tim over the years,
they were more than happy to share their influences Rush residents,
you know, down the line, and that's how I got
into them. So it is a bit of a backwards path,
(22:23):
but I got there.
Speaker 2 (22:25):
It's satisfying, too, very because.
Speaker 1 (22:28):
You can you can find that. We actually have a
sub series called Primus DNA, and so we've explored some
of the acts and bands that they've cited as influences,
like XTC, and we definitely need to do a Rush one.
I don't know why we haven't yet. Maybe it's because
it's so redical that too. Yes, and the minute I
(22:50):
say something about Rush, all the rushheads are going to
tell me I'm wrong, because my knowledge is limited. Yeah,
I wanted to ask you about something in your many
of the posters that you do, and I think this
is a good example the twenty eighteen show. So for
those of you not seeing it on video, purple elephant
(23:11):
and in what looks to me like really cool steampunk gear,
I'll just call it that. What you do in this
poster and some of the other ones that I really
appreciate is you give us a sense of scale. So
there's this one, and then you have another one with
a rhino, and if the elephant and the rhino were
on their own, you wouldn't understand the scale of them.
(23:33):
But then you include these other elements, particularly with this one,
these other characters on the ground, to show the scale
of the figure that's central to the illustration. I really
appreciate that because you can see in the background here.
I've got plenty of Primus gig posters. Not everybody does that,
(23:53):
and so I think that's unique to you in a way,
and I appreciate it because these images then, like this
elephant and the rhino and the other print, they just
feel larger.
Speaker 2 (24:04):
Yeah, it's it's such an easy trick. It's such a
good move. To make something immediately interesting. You know, even
if you have two dogs, if one of them is gigantic,
that's more interesting than two normal sized dogs.
Speaker 1 (24:18):
Yeah. And then do you find yourself consciously doing that
or does it just happen?
Speaker 2 (24:23):
Do you think? Well, I definitely knew I wanted to
do like a Southbound package poster. I always looked that
was my video. Oh and the like those elephants were
the coolest, like taking flight that was so cool with
the animation all of it, And I wanted to do
like a more detailed version of just one of them.
Speaker 3 (24:45):
Is this influenced by Mobby's.
Speaker 2 (24:48):
Yes, yes, so yeah, the kind of like smooth mechanical
stuff like tech if you will.
Speaker 3 (24:55):
Yeah, and of course and of course the nough to
purple peculum exactly which actually, yeah, these became this became
a wine label.
Speaker 2 (25:03):
Yes, this became wine label. And that's been like a
feather in my cap for myself for so long. And
they send me wine whenever they make more of that wine,
they send me bottles of it.
Speaker 1 (25:15):
Oh okay, so they're they're using this image on each
yearly edition of that wine, right, Oh that's excellent. Yeah,
I had seen the label and I thought, oh, that's
pretty cool. I'm sure it's even cooler for you.
Speaker 2 (25:29):
Yes, absolutely. Uh there's I Love Bob Cock on the
whiteboard down there in the bottom right.
Speaker 1 (25:36):
Oh, right down here. Oh, let's zoom in on that.
Speaker 2 (25:39):
And then there's a little frizzle fry frying pan in
the middle. This isn't the primus thing, it's just another
one of my interests. There's, uh, Albert Brooks's character Hank
Scorpio from The Simpsons.
Speaker 1 (25:52):
Oh is it right here? This is a Scorpio. Yeah,
you know, I wouldn't have made that connection, but it
definitely looks like him when you say that, that's incredible.
Speaker 3 (26:05):
That's so that's one. Also, that's a really cool thing
about Dave's posters that you can gaze at him for
a while and just marvel at all the details and
the little things going on, like all these guys working
around the elephant. That's also something you don't get in
other posters.
Speaker 2 (26:24):
Yeah.
Speaker 1 (26:24):
I appreciate that scale that you bring to it. You know,
I don't think I ever noticed the I heard Bobcock
on that board. So that's that's another little hit one.
Like when you hide him, you hide him. That's excellent.
Speaker 2 (26:37):
Yeah, I mean, well he doesn't have a name. You
want like three inches by six inches.
Speaker 1 (26:43):
I gotta look around. I know there's one like the
one over my shoulder with Jason Alexander there. That one's
by Adam Gates, so the name Bob Cock is prominent
in that one. I mean, it's just a wall of
text that posters brilliant. But yeah, there's there's some other
artists that will hide these things in here, but they're
a little more apparent yours. I'm really going to be
looking closely from here on in.
Speaker 2 (27:05):
Can I pull up a poster or yeah, go ahead please,
so you can see this, you can see the I
guess I'll try to articulate what I'm seeing so that
people are listening. This is the pencil pass of the
of that same elephant poster. Beautiful, So this is just pencils.
Need to draw over that with pens. Wow, and then
(27:25):
I have some other ones. I couldn't find my folder
for this poster, but yeah, and then you can see
the band up at the top. Yes, yes, that's about
as far as I got. We're making it like specific people,
but clearly it's just lesson than two figures.
Speaker 1 (27:43):
Yeah, I really enjoy this one too, with that sense
of scale. And of course they're they're fishing.
Speaker 2 (27:49):
Yeah. I did ask a fisherman friend what regional fish
are in Virginia, and these are fish you would find
over there.
Speaker 1 (27:58):
Oh okay, cod Oh gotcha.
Speaker 2 (28:01):
Yeah. So this Primest Tribute to Kings, I don't know
how much I should show because it's audio wise, it's
going to be kind of a bummer.
Speaker 1 (28:10):
But that just encourages people to go to Patreon dot
com Ford slash Primus tracks.
Speaker 2 (28:14):
There you go. This is the Primest Tribute to Kings
poster in Portland. Yes, and this Rush album that they
were covering was the first album that the band played
double necked guitars and basses on. Yes, so I made
every animal a double necked animal.
Speaker 1 (28:33):
That is a great idea.
Speaker 2 (28:35):
I love it. On the left is Deeddy's rickenbacker, and
on the right is Life Sensed Guitar awesome.
Speaker 1 (28:45):
And you snuck that skeeter in above the LIFs and.
Speaker 2 (28:47):
Headstock, which I love, and another purple.
Speaker 1 (28:51):
Oh of course.
Speaker 3 (28:53):
Uh.
Speaker 1 (28:53):
And then and then the figure in the front with
the whip and the torch of certainly uh brings to
mind the figure from the twenty one.
Speaker 2 (29:00):
To twelve record exactly Starman.
Speaker 1 (29:03):
And the Star Yeah. Uh, really cool stuff on this one.
I was bummed not to make it to this show
and I can't remember why I didn't go. I think
I could only make the Bend show as far as
the organ shows that year, but I saw this poster
and then really regretted not going.
Speaker 2 (29:20):
They I through an accident, got to go to that
show because they wanted me to sign the posters and
there was there was just something happened where they were
supposed to get sent to me down in LA. I'd
signed them, send them back up and something went wrong
where they were like, we need you to sign them,
so we're gonna fly you to the show to sign them.
Speaker 1 (29:41):
Oh wow.
Speaker 2 (29:42):
And while I was like, I don't think people care,
I was like, let's do it, so.
Speaker 1 (29:47):
I'll take a free trip.
Speaker 2 (29:48):
Yeah.
Speaker 1 (29:51):
Side notes, that's a well you're uh finding stuff. That's
a really cool uh venue Edgefield, so it has a
great time there.
Speaker 3 (29:59):
This is another great one.
Speaker 2 (30:01):
This was funny enough. My bachelor party before my wedding
overlapped with Primus being in town, which also overlapped with
me doing the poster for that show. Yeah. Yes. I
had a bachelor party where we stayed in like a
(30:22):
big house down near the venue. And I asked the band,
or asked the management if I could have twelve tickets
to the show.
Speaker 1 (30:33):
Oh damn.
Speaker 2 (30:34):
I never asked for tickets to any band I worked with.
I never asked. I want to be professional. Yeah, And
I was like, listen, this is my bachelor party, it's
my poster for that show. Feel free to say no,
but if you say yes, I'll clearly be in your
pocket forever Godfather's style. And I was like, can I
get twelve tickets? And they made it happen.
Speaker 1 (30:54):
Oh damn.
Speaker 2 (30:55):
Nice. So I took my entire bachelor party to this show.
Me and about three other dudes had perfect time, and
everyone else was like, what is going on the groom?
Speaker 1 (31:04):
So we'll hear you right, that's so No, that's that's
a bachelor party, man, That's what I'm talking about.
Speaker 2 (31:12):
So here's Skeeter, you know, uh in kind of a
spooky post apocalyptic this is like a frying pan ship. Yeah,
I'm sure somewhere in there is Bobcock.
Speaker 1 (31:25):
There's another frying pan ship in the far background on
the left side. So yeah, I'm already training my eye
to look for these key key things that you sneak in.
Speaker 3 (31:34):
Yeah, there's somewhere, Dave, can you can you also elaborate
about your Claypool and Delirium new your received poster.
Speaker 2 (31:43):
I don't have that on my computer, but that poster,
that Claypool Lenin Delirium poster was that's actually me with
a bunch of guitar necks wrapped around my face. And uh,
that one took a long time. I wanted to see
if I could make it look like it. Uh, there
was a lot of glowing elements without using ink, but
using the paper color to make it look like it
(32:05):
was glowing. I know that just describing it probably won't
do anyone anything justice, but I used bright yellow paper
so that everywhere that ink wasn't looked like it was glowing.
And there's all these like guitar necks and uh oox
(32:25):
chords flying around and they look like they're glowing.
Speaker 1 (32:30):
Yes, this one is visually arresting and it h it
was also when I first saw it was kind of puzzling,
but I, yeah, I kind of had to do a
bit of a I had to really inspect it and
I and that's the hallmark of an effective piece of art.
You got to really look close to see what's going on.
Speaker 2 (32:50):
Thank you.
Speaker 1 (32:51):
And that yeah, that glowing end of the of the cable.
Speaker 2 (32:55):
Yeah, is really cool.
Speaker 1 (32:56):
So because for a while I thought it was a bottle,
you know, and and then I saw the guitar headstocks,
and then it started to make sense when I first
saw this one.
Speaker 2 (33:05):
A big crutch for me, and my wife always points
this out, is that no one, no matter who I'm drawing,
their hands. Look, their fingers are just kind of like sausagey.
Oh they're They're always just my hands. And I have
very weird thumbs. I have like short thumbs. So everyone
(33:26):
I draw has these like mutant thumbs, and people are
like good drawing, terrible, terrible hands. You did a bad job.
And I'm like, well, the model that showed up for
me that day had those thumbs.
Speaker 1 (33:42):
Yeah, you could just you can just do this, like right,
this is this is my reference point.
Speaker 2 (33:48):
Sorry to me, Yeah, we did the job. They were
We used to call them my like bass thumbs, like.
Speaker 1 (33:55):
Oh yeah, you could certainly thump with those things exactly.
Speaker 2 (34:00):
You Actually, I'd.
Speaker 1 (34:01):
Noticed you kind of hid the thumbs in this one,
with the exception of this one here, the other three
hands you don't really see them.
Speaker 2 (34:09):
Yeah, I get a little thumb self conscious.
Speaker 1 (34:14):
Uh, these are these are all great posters. And you know,
Frankie mentioned that there's certainly elements within them that that
reveal that it's you. And so I'm just zooming way
in on these guitar necks here because you you had
mentioned wobbly lines. If you were being really exacting, for example,
these curves here would be much more uniform, and they're not.
(34:38):
This is what's coming out of your hand. And I
appreciate that because as we get into this age where
we're well into an age of using tablets in digital
art and all these different tools of which I have
no umbrage with, I think it's great because it allows
people to do all kinds of things. And then, of course,
with the dreaded rise of AI, I think that this,
(35:01):
this tiny, little, this little piece right here is just
a great example of imperfection being completely appropriate in art,
if that makes sense.
Speaker 2 (35:16):
Yeah, And it's not, you know, it's not always just
like you don't focus on one of them. It's that
it's consistent, you know, It's not like there's a bunch
of perfection and then there's a wabble. It's literally every
line is imperfect, and that makes the whole piece feel right.
Like I never ever ever use a ruler. I'll do
(35:40):
two dots from where it needs to start and stop,
but every line has to be by hand with no
assistance because it just doesn't Like even if this border
on this Claypool Lenon Delirium poster was like a preset
drag shape it was perfect, it wouldn't read right. Yes,
(36:02):
it's just gotta be a little wobbly. Some parts have
to be thicker than others. It's just rules you make
along the way where you start to go like, oh,
this is something that could have been a weakness and
now it's a strength. Yeah, And it's just like that's
how I've done it for fifteen years. If I stop now,
I would be disappointed at myself.
Speaker 1 (36:23):
Yeah, I think too, with all these curves within the
guitar necks and that sort of thing, having a straight
line border, You're right, it wouldn't fit because there's so
many curves in this that having a quote unquote imperfect
border certainly makes perfect sense to me.
Speaker 2 (36:40):
Yeah, Yeah, this is.
Speaker 1 (36:42):
Reads right, Yeah, And of course you have curved edges
at the top and bottom as opposed to square edges,
which once again reads right into all the curves within,
so it serves its elf. And I think that's really
cool because it's you know, it's easy just to and
(37:05):
it's very satisfying to have those straight lines and geometric patterns.
But curves are a lot of fun.
Speaker 2 (37:12):
Yeah, it's ninety degree angles. Great when there's other angles,
you put curves with curves, you know.
Speaker 3 (37:21):
So Josh Josh mentioned the scale, and I think another
trademark in Dave's posters is a perspective. Sometimes you play
around with perspective in a way that not a lot
of artists do. Like some of your scenes, we're looking
at them from the top, or some characters we're looking
at them from the bottom. And I think that is
(37:42):
really cool, and that also gives the posters a lot
of distinction.
Speaker 2 (37:47):
Thank you. That's also just something where I like to
have fun while i'm working, and it's funny. I've had
this thought where try not to make the horizon line
directly in the middle of something unless it like really
serves the piece, Like can you see my screen still? Yes? Yes, Okay,
(38:11):
So like this letter Kenny Poster, the horizon line being
in the middle works because the focal point is in
the middle of the middle. Yeah, it's this fruit stand
in the middle. But if you can, if you can
help it, moving the horizon line up or down makes
things more interesting, makes it more dramatic, shifts where you're looking,
and it makes the second place you look kind of surprising.
(38:34):
But then there was that movie The Fableman's you know
I'm talking about I'm not. It was the Spielberg movie
that he basically did about his childhood. Oh and there's
literally a speech at the end of the movie that
David Lynch gives where he talks exactly about horizon line.
Oh really Yeah, And I was like my jaw dropped.
(38:57):
I was like, these are the exact thoughts I've had.
Speaker 1 (39:00):
And if David Lynch is saying it, I'm listening.
Speaker 2 (39:03):
David Lynch is saying it in a Spielberg movie. So
it's like it's double stamped. But it just makes things
more interesting and it's more fun. Fifty percent horizon line
is one hundred percent flat. This is kind of in
the weeds. But when you draw with like these lines,
like contour lines are called so like, if you're drawing
(39:24):
a bottle, you're not gonna draw a straight line across.
You're gonna draw a curved line that follows the shape
of the bottle. If you're looking at the bottle straight on,
the lines are flat. But if you go imagine the
bottle is now up above your eyes, those lines are
gonna be curved up, arcing up, and if you bring
(39:46):
the bottle down below your eyes, they'll be curved down.
A line is more interesting when it's curved. So if
you can move everything in one direction, everything up, or
everything down, or everything on an angle, everything becomes more interesting. Yeah,
all the lines involved, not just the outlines, but all
the shading lines become more interesting. Yeah.
Speaker 1 (40:08):
And I'm looking at this sleep print right in the
middle of your screen here, and that's born out in
that just with just with the window in that one. Yeah, exactly, absolutely,
it's it certainly captures the eye more with that change
in perspective.
Speaker 2 (40:25):
Yeah, So like you look out the window first, Yeah,
and then you look down and everything down has fun
lines on it. Yeah.
Speaker 1 (40:35):
Great use of a negative space on this one too.
It's really cool.
Speaker 2 (40:38):
Thank you. Yeah, this was one of the rare posters
where I'm like, I think I actually finished this one.
You don't fit with art, you don't finish it, you
just run out of time, you bet. Yeah, So this
I was like, I think I actually finished this one.
Speaker 1 (40:53):
Yeah. And I've heard a lot of people I've read
and listened to say something similar that it's it's not finished.
I just can't mess with it anymore. And it's been
taken out of my hands by a publisher or whoever,
and and and that's really interesting to hear you say that.
So is with that in mind? I mean, is there
(41:15):
a particular, say Primus print that you felt like you
didn't have enough time with and would do something more
with it?
Speaker 2 (41:23):
You know what, some bands don't get the attention that
others do. With my my calendar, you know, if it
feels like a job, it's just going to be on
the calendar. Got to get it done, got to be
at the printer at this day. With Primus, I'm probably
gonna like, got a couple of days off the other
gig and had a couple more Primus days. So it's like,
(41:45):
I do actually feel like I finished those posters. I
got to do a Sosanta poster. That's a Primus gig
because I don't really know a perfect circle or pritsopher h.
That was another one.
Speaker 1 (41:59):
Yeah, understanding with that one is the the only edict
was some kind of three headed creature.
Speaker 2 (42:05):
Or being right exactly. And there's another and yeah, it's
really fun prompts, you know, like this year's was I
think like horror movie movie, like classic horror movie posters.
Speaker 1 (42:18):
Oh great, that gives you a lot of leeway and
a lot of ideas right off the bat.
Speaker 2 (42:23):
I imagine, right, and it's like a lot of fun.
Speaker 1 (42:26):
So yeah, one more Primus poster I wanted to mention
was the one with the uh the stegosaurus or looking
creature uh from I think it might be one of
your most recent ones. Oh eating the Primus logo.
Speaker 2 (42:40):
There.
Speaker 1 (42:40):
I love that one. It just it just makes me
think of land before time. That's what That's where my
mind goes.
Speaker 3 (42:49):
That's a that's an alligator snapped the snapping turtle.
Speaker 1 (42:52):
Snapping turtle. Thank you. For some reason, my mind goes
to stegosaurus because I was thinking of the h. I
was thinking of little foot in that lee and then
the it so I went way off but yes, that's
This is one of my favorites because I love the
way you're messing with the first of all, the lettering
on Primus.
Speaker 2 (43:08):
Really you notice the R is that's again, that's the Is.
Speaker 1 (43:13):
That the horn again at the bottom hooking there?
Speaker 2 (43:15):
You bet it is awesome.
Speaker 1 (43:16):
Yeah, this, and I just love that it's the snapping
turtles about to eat the Primus logo. I think that's great.
Speaker 2 (43:23):
That was just how I pitched it. I was like,
super detailed, tons of negative space. Primuses were big and bold,
and sometimes they just go that's all we need to
hear and then yeah, uh yeah, this was I Actually
I used to print all my posters and then I
stopped when bands wanted more than fifty. That's about After
(43:46):
about fifty, my arms got tired and the posters starting
to look bad. Oh I see, So I outsourced my printing,
which is what a lot of artists do, but I
want My buddy Mike Tollman lives near me and has
a print shop now, and I was like, I want
to start printing my posters again. So I did this
one four colors which I could handle, uh huh, and
(44:10):
I printed. I printed these.
Speaker 1 (44:12):
Wow, yeah, they look fantastic.
Speaker 2 (44:15):
Yeah, it was. It was fun.
Speaker 1 (44:17):
I don't do this anymore. I started buying prints from
shows I didn't go to, and it's slipper slope that
becomes expensive, so I stopped doing it. But uh, this
was one that I thought, Shit, I kind of need
this one.
Speaker 2 (44:30):
I love it. So yeah, they pop in person too.
Sometimes it's like on the screen it's one thing and
in person it's another. But this one's.
Speaker 1 (44:38):
Yeah, especially those reds. For some reason, the reds in
person are just so saturated and colorful that you they
a screen doesn't do it right.
Speaker 2 (44:50):
Yeah, exactly.
Speaker 1 (44:52):
We have a few minutes left here, and I wanted
to throw you a bit of a curveball. I have
some rapid fire primus questions for you.
Speaker 2 (45:01):
Is it trivia or questions?
Speaker 1 (45:02):
Oh, no, questions for you. It is not trivia.
Speaker 2 (45:06):
Okay.
Speaker 1 (45:07):
I throw the trivia questions of Frankie and he never misses.
First question, what's your top primus record?
Speaker 2 (45:15):
Oh, I'm a season cheese man, season cheese.
Speaker 1 (45:18):
Nice.
Speaker 2 (45:18):
Yeah, you gotta go with what you jumped in on,
you know.
Speaker 1 (45:22):
Yeah, uh, okay, so that was your first first record.
Speaker 2 (45:27):
Yeah, that was the one, and I have a really
fun memory of my first Primus show, my brother saying
I want to take Dave to a Primus show, and
my mom saying, I don't know this band. Bring me
out a CD, and both my parents taking the Seasar
Cheese record and opening up the lyrics, and my mom saying,
(45:50):
play this track and then reading out loud the lyrics too,
is it luck? Oh no, and just being like what
am I listening to? And like I couldn't understand the
lyrics at all. So I was just like, I don't know.
I was like twelve or eleven we got to go,
(46:12):
But I remember being like, that song is it Luck?
Was like the that was the what we call it
Razor's edge or whatever, able to go or not go?
Speaker 1 (46:22):
Yes, that easily could have gone the wrong way for you.
Oh my goodness, I'm so glad my parents never inspected
the lyrics books for these Prima's records.
Speaker 2 (46:32):
Yeah, that was the one time.
Speaker 1 (46:34):
Wow, gosh, in retrospect, I don't know how I got
away with it, because that sounds like something my mom
would do. She actually didn't let me barely let me
get an Anthrax CD for that reason, because she was
reading the back cover and went, what is this.
Speaker 2 (46:51):
Your face.
Speaker 1 (46:51):
Yeah, oh man, and now you've seen them live a
whole bunch in your younger years and adulthood. Is there
is there a tune you haven't caught live yet that
you would love to hear?
Speaker 2 (47:03):
Oh? Wow, I've never heard The Awakening live.
Speaker 1 (47:07):
Ooh all right, I think we have a chance with
that with John Hoffman joining the drama.
Speaker 2 (47:13):
That's cool. Yeah, yeah, I loved Let's claybol Highball with
the Devil. Yeah, the Awakening was always one I told
myself I would learn on bass and didn't get past
one note.
Speaker 1 (47:28):
It's a oh that's a fantastic cover. Absolutely. I really
hope that they bring that back with Hoffer. I think
you can do it and do it just really cool. Uh.
You mentioned Southbound Pachaderm sounds like that's probably your top
Primus video. Yep, what would be second? Do you think?
Speaker 2 (47:47):
I mean? When known as me Brown Beaver is an
unimpeachable perfect music video and the final shot of herb
knocking that bottle off and then do that, Yeah, that's
l is. I think about it all the time, and
the way he says eight pressed eggs for a week
(48:10):
is still something I can't wrap my head around. There's
just not enough syllables in there. I don't think he
actually said it.
Speaker 1 (48:18):
Jury's out. Yeah, I don't think so either.
Speaker 2 (48:22):
Not alone in that.
Speaker 1 (48:24):
Uh, Because so you draw the you draw the horns
from the Carl Thompson basses and sneak those into your posters.
Do you have? Is there a specific bass visually or
tone wise that when Less brings it out, you're ready
to rock?
Speaker 2 (48:41):
I love those Carl Thompson's. I don't know. I can't
think of another bass player that plays such a signature
bassm Like, you know, it's like Al from Sleep plays Rickenbockers.
That's cool, but other people have Rickenbockers, right, you know,
like some people play like that weird Ampeg clear bass.
(49:01):
Other people have that bass. I don't know anyone else
who plays at Carl Tomson. I'm sure other people do,
but that are on my.
Speaker 1 (49:07):
Radar, most notably Stanley Clark. But yeah, Less certainly I
think in the rock world. Yeah, there you go really
popularized him.
Speaker 2 (49:16):
Yeah, Getty Lee plays the Getty Lee bass, but it's
you know, his version of an existing basse. Yeah, da Dave.
Speaker 3 (49:23):
When when an artist drops their their poster online, they
have a tendency to offer kind of a classic print,
but they also have foils, and sometimes they have lava
paper and metallic ones. From what you've observed through through
your store, what is a variety that collectors seek out
(49:49):
the most.
Speaker 2 (49:52):
I'll tell you what sells fastest is it's foils. One
thing we can't tell from our end is who's a
collector and who just wants the poster that day? Who's
a flipper? Right right right exactly, because you know, it's
just a name, and we do have kind of like
(50:13):
an aggregated list a bunch of poster artists of people's
names with their eBay accounts.
Speaker 1 (50:19):
Oh, that's great that you're sharing that info.
Speaker 2 (50:22):
Because you know it'll be like, hey, this one guy,
is he everyone's biggest fan? You know, Hey, he's always
the first to buy everything. Is he just like the
nicest dude in town. No, he's just his job is
to go from your site to eBay without any adoration
of the music or the art. In any case, those
(50:46):
are not the best people in the world. But of
course we got to pay the bills, so like everyone
gets to have a poster if they buy it. Foils
do go fastest, But I rarely think that foils make
the artwork look any better. Sometimes you can clever and
use like the foil to enhance the image, but a
lot of times it's kind of an afterthought. You just see,
(51:09):
here's the art as it was meant to be, and
then here's the art with a mirror behind it. Yeah,
and it's just like those go so fast. So it's
nice when bands ask for him because it does help
the sales. In my opinion, they rarely, they rarely are
are what I think are the superior product.
Speaker 1 (51:26):
There are some simple Yeah, there are some products. Excuse me.
There are some artists whose work, when put on foil,
kind of scatters the image. That's the word that comes
to mind.
Speaker 2 (51:35):
And then it does.
Speaker 1 (51:36):
It's not cohesive anymore.
Speaker 2 (51:38):
Right, It's like writing on a mirror.
Speaker 1 (51:40):
Yeah, it's bizarre.
Speaker 2 (51:41):
You're still going to look at what you're looking at
in the mirror.
Speaker 3 (51:44):
For example, Soultron is aware of who are his biggest collectors.
Speaker 2 (51:50):
In your case, I mean, you said that you.
Speaker 3 (51:52):
Can't tell who's who, But have you been able to
actually identify who are some of your biggest collectors?
Speaker 2 (52:00):
Yeah? I luckily doing it over a long enough period
of time. I've been able to actually like engage with
the people that I know are collectors. There's a guy
named Brian Bumpus who's like the biggest Primus guy I've
ever met. I think he has upwards of nine hundred
Primus posters. He has a themed room. He has theme
not a Primis themed room. He has a Primus themed
(52:22):
house where each room is based off of specific artists, posters. Game.
Speaker 1 (52:29):
That's insane.
Speaker 2 (52:30):
And he's also has really nice so it's like when
I see an order from him, it's like, hell, yeah,
here's Brian Bumpus showing up and he comes out to shows.
Uh but yeah there. You know, you do if you
work with some bands over and over, you do get
to see repeat customers that only come out for that band.
(52:51):
And that's nice to see because no one's just gonna
flip for one band. They flip for you know, if
I'm if I sell a Sleep poster and a Dave
Matthews poster the same guy, he's on my radar.
Speaker 1 (53:04):
That's yes, that's a flag.
Speaker 2 (53:06):
Yeah, there's no way. You know his sandals are also
sitting next to his ten foot pong that yeah.
Speaker 3 (53:13):
Yeah, what is it you meyer about the lead in particular.
Speaker 2 (53:18):
I think when I got into him, it was just
kind of like everything I needed at the time. It
was like this is what you're told is good art.
And then you see this and you're like, oh, I
think this is what you should be telling people good
art is. Everything's interesting immediately, and then the more you
learn about it, you're like, oh, he was really considering everything.
(53:39):
He wasn't just going like this will be bananas to
look at, which is basically the gear I've stopped in.
It's like, hey, look this has long legs. Isn't that fun?
His is like, yeah, this represents you know, like colonialism,
and then like this burning thing in the background is
you know, this kind of tribe and it's like, okay,
this guy gets a lot. And so was just so
(54:02):
out there and he became like a work of a
living work of art himself. He was silly but like
deeply serious at the same time. Like the book he
did of his mustache, Yeah, yeah, like that's just great.
And have you ever seen Jodowski's Dune, Yes, where he
wanted to cast Dolli in his movie and all the
(54:23):
weird asks Dolli like, all the like requirements he wanted
to have to be in the movie. He said, he
wanted to be the highest paid actor in all of Hollywood.
And it's just like what a nut. He had this
like crazy muse with him at all times.
Speaker 1 (54:39):
Yeah, yeah, that kind of that's that's an extra level
of calculation and consideration that you It seems like you
have to have the ultimate freedom and really no timeline
to be able to cram everything in. That's because that's
that just reminds me of the you know, Renaissance artist
and architects that crammed everything they could in because they
(55:03):
had the time to do it.
Speaker 2 (55:04):
Yeah, it was your life, you know, Yes, exactly. Man.
Speaker 1 (55:09):
Well, it seems like you're making the best use of
your your artist's life, and I really appreciate you joining us.
I also appreciate you sharing. Thank you very much, Dave,
your art with with the public but also with us.
Speaker 2 (55:21):
It's been a goddamn joy. Thank you.
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
New Heights with Jason & Travis Kelce
Football’s funniest family duo — Jason Kelce of the Philadelphia Eagles and Travis Kelce of the Kansas City Chiefs — team up to provide next-level access to life in the league as it unfolds. The two brothers and Super Bowl champions drop weekly insights about the weekly slate of games and share their INSIDE perspectives on trending NFL news and sports headlines. They also endlessly rag on each other as brothers do, chat the latest in pop culture and welcome some very popular and well-known friends to chat with them. Check out new episodes every Wednesday. Follow New Heights on the Wondery App, YouTube or wherever you get your podcasts. You can listen to new episodes early and ad-free, and get exclusive content on Wondery+. Join Wondery+ in the Wondery App, Apple Podcasts or Spotify. And join our new membership for a unique fan experience by going to the New Heights YouTube channel now!
24/7 News: The Latest
The latest news in 4 minutes updated every hour, every day.