The Museum of Old and New Art: Festival Of Music and Art, often further shortened to simply MOFO, is an annual festival based in Hobart, Tasmania curated by Brian Ritchie, bass player from the rock band Violent Femmes. It is billed as Tasmania’s largest contemporary music festival and showcases the work of artists in a broad range of art forms, including sound, noise, dance, theatre, visual art, performance and new media.
As one of my university briefs, for the 2015 design I decided to reimagine the festival and create a clean, simple brand that is easily expandable across multiple formats and/or event collateral. The concept behind the brand mark was that each of the vertical or diagonal strokes represents element of the festival, whether that be dance, theatre or visual art, etc. Only when brought together as a group, it forms the letter ‘M’; only when brought together, it becomes the MOFO festival.
geez, gifs are fun
U.S. Marines on Guam salute the U.S. Coast Guard on Coast Guard Day
The U.S. Marines salute the U.S. Coast Guard after the fury of battle had subsided and the Japanese on Guam had been defeated. “They (the Coast Guard) Put Us Here and We Intend to Stay” is the way the Marines felt about it., ca. 08/1944
The precursor to the Coast Guard, the United States Revenue Cutter Service, was established under the Department of Treasury by Alexander Hamilton on August 4, 1790, now commemorated as Coast Guard Day.
Jerry Butler “I Stand Accused” (Vee Jay 598, Pop #61, 1964)
If there’s a Sixties Soul Man that has me flinging my boxer briefs at speakers most consistently, it’s a war between Chuck Jackson and Jerry Butler. These dueling princes of early 60’s Uptown Soul represented the evolution of smooth singing in two metropolitan areas; New York for Jackson, Chicago for Butler. Although their earliest efforts weren’t always the best selling material, it was decidedly trend setting material that pointed in the direction that many Black Male Crooner went throughout the decade.
Butler spent most of 1964 sailing through wispy ballads strung on lush beads of Chicago Symphony Orchestra strings when he was away from new duet partner Betty Everett. It was enough to glide him to the middle of the Pop Charts in Spring and Summer, and proved a direction that would push him to the shores of Mercury Records in a few years. Although his ballads would get a bit more beef and beat in the immediate Mercury years, the lushness of his ‘64 singles, like this court of love testament proved a glimpse of where he would be going.