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Throwback story #04 / Mickey Mouse telephone and t

Throwback story #04 / Mickey Mouse telephone and the burned guitar // … I got into Design through Album Covers. Back in the days i had a big emotional reponse seeing pictures of my then heroes with guitars in the imagery. I just thought: Wow, these objects are so cool. So, post rationalizing it, I think I started to play guitar because it aesthetically looked so impressive.
Pretty quickly I went from the three chord Level to more advanced stuff that required an electric guitar. So I had to work three months in my dad’s ice cold workshop drilling tubes to get the cash together to buy my first electric guitar plus amplification. Stupid little me, 15 years old, went directly to the local music store which was run by a pimp style owner with a Micky Mouse Telefon on his desk. His assistant was a long haired local legend who once played in a well known band. That guy was always in the Hard Rock Corner of the shop emulating Eddie Van Halens tapping licks with a cranked up Marshall Amp. That was intimidating. Who would test out a Guitar next to that guy? Nobody! So I followed Micky Mouse telephone´s advice to buy a Japanese Semi Acoustic „Jazz“ Guitar plus a used amp WITHOUT playing it. Cash was gone.
It turned out that this amp was a BASS Amp and that the guitar had several dead spots on the fretboard. It just never sounded right. Plus on my first day in my band´s rehearsal room I placed that thing in front of a table without knowing that there was a gas heater underneath. So half of the guitar´s plastic binding turned into big bubbles and I turned into „the guy with the burned guitar „(nickname). But I played and played that thing til I replaced it with another guitar AND THEN I sold it to a Gypsy type of guy for nearly nothing. Why - the - hell - have - I - done - this? I sold the biggest symbol of my teenage band years. Unbelievable. But back then it was just an old burned guitar. Shame. Where is it now? Thanks for Images to @thekirill_k

Helmut Newton #2/ My starting point to become an A

Helmut Newton #2/ My starting point to become an Art Director was a girlfriend at age 19, who studied Fashion Design and had a stack of thick italian Vogues on her Coffeetable. The Vogues lured me into a world of beautiful woman, - mysterious and decadent.

I thought: Wow, I want that for my live. So I decided that there must be a way to become part of this world. Next thing I’ve discovered: there is a job called Art Director. Bingo. And because half of these Vogues were well executed Ads the next idea appeared: I wanne do Fashion Ad campaigns.

Fast forward … Ten years, a client, crazy or rich enough to book models from Elite models A-list (!) together with top photographers materializes to commission regular campaigns in Vogue and Elle. Really? Exciteing – Finally! // First Campaign: A Helmut Newton shooting in Monte Carlo with Marcus Schenkenberg and Georgina Grenville (both Supermodels back then). The conditions: 50 k for Helmut in a suitcase for a shooting on the other side of the road of his apartment, some rough rocks landscape (later saw that most of his late work was shooted there). BUT this time the alternative option is chosen: The entrance gate to the apartments buildings garage!! Concept: Schenkenberg helps Georgina over the fence. Helmut is all excited, the client hates it but is too insecure to admit. Two hours pass. Client gets nervous. Ok lets move over to the rocks. Client interferes again. Helmut, all pro, just hands him the camera: „What about you take the pictures. Click. Click Click. And we just write Helmut Newton under it“ Client gets the irony and keeps quiet. Last question: When do we get the contact sheets to select. Contact sheeets? Helmut replies: My dearest, I do the selection and you get 6 selects in a box. Everybody knows that a Helmut Newton print is worth 6000 $ on the market? Big smile. Helmut leaves. A months later 6 prints arrive. All crap. The burglar story too weird to print it. Big frustration. Pragmatic solution: A quick white wall studio reshoot with another photographer of the two supermodels. Client is excited. My dream of a Fashion AD campaign becomes reality. Not exactly as planned but - come on!

My starting point to become an Art Director was a

My starting point to become an Art Director was a girlfriend at age 19, who studied Fashion Design and had a stack of thick italian Vogues on her Coffeetable. The Vogues lured me into a world of beautiful woman, - mysterious and decadent.

I thought: Wow, I want that for my live. So I decided that there must be a way to become part of this world. Next thing I’ve discovered: there is a job called Art Director. Bingo. And because half of these Vogues were well executed Ads the next idea appeared: I wanne do Fashion Ad campaigns.

Fast forward … Ten years, a client, crazy or rich enough to book models from Elite models A-list (!) together with top photographers materializes to commission regular campaigns in Vogue and Elle. Really? Exciteing – Finally! // First Campaign: A Helmut Newton shooting in Monte Carlo with Marcus Schenkenberg and Georgina Grenville (both Supermodels back then). The conditions: 50 k for Helmut in a suitcase for a shooting on the other side of the road of his apartment, some rough rocks landscape (later saw that most of his late work was shooted there). BUT this time the alternative option is chosen: The entrance gate to the apartments buildings garage!! Concept: Schenkenberg helps Georgina over the fence. Helmut is all excited, the client hates it but is too insecure to admit. Two hours pass. Client gets nervous. Ok lets move over to the rocks. Client interferes again. Helmut, all pro, just hands him the camera: „What about you take the pictures. Click. Click Click. And we just write Helmut Newton under it“ Client gets the irony and keeps quiet. Last question: When do we get the contact sheets to select. Contact sheeets? Helmut replies: My dearest, I do the selection and you get 6 selects in a box. Everybody knows that a Helmut Newton print is worth 6000 $ on the market? Big smile. Helmut leaves. A months later 6 prints arrive. All crap. The burglar story too weird to print it. Big frustration. Pragmatic solution: A quick white wall studio reshoot with another photographer of the two supermodels. Client is excited. My dream of a Fashion AD campaign becomes reality. Not exactly as planned but - come on!

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