In JUST TO KEEP THE RECORD STRAIGHT.

When I designed The Stones Tongue Logo at the very begining Of 1971 I Was NOT An Employee Of Craig Braun Companies I Was A Freelancer That Became An Empoyee A Month Later. I Own My Version Because I Was Not "Work For Hire! - Ernie



Edited 1 time(s). Last edit at 2017-08-08 01:33 by edog.

In JUST TRYING TO KEEP THE RECORD STRAIGHT.

Marshal Chess saw my version of The Stones Tongue at Andy Warhol's factory studio in lower Manhattan with in an hour of my doing a sketch in Craigs art department and bought it on the spot. Craig's exact words were "OK you just designed The Rolling Stones new logo and I also got $200.00 and a week later a jod as his Creative Directod of all 3 of his companies. - Ernie

In Just Trying To Keep The Record Straight.

I didn't know Marshal Chess before doing my tongue sketch but rather met hin a couple days later in Craig's office where he told me how much he loved the logo I had created and congratulated me on working with Craig. After that we saw each other several times in New York and when he and Diane moved to LA's Pacific Palisades toward the end of 1971 my partner Tony (Craig's former Vice President) and I hung out with them often. - Ernie



Edited 1 time(s). Last edit at 2017-08-08 01:40 by edog.

In Just Trying To Keepp Thje Record Straight.

I have been reading some of the past thread comments about me and most are pretty harshby people who don;t really know me! I had no idea that I was so disliked by so few. Some even sayed that I was a "one trick poney" well nothing could be further from the truth.

I challange anyone to top my accomplishments and track record both in and out of the music business. Here is who I am and what I have done with my time and tallent for the last 72 1/2 years on this planet!

ERNIE CEFALU, Point Of Connection Expert
Biography
ernie@hornbookink.com

Ernie Cefalu is the owner, and Senior Creative Director

Ernie started his career on Madison Avenue in the late 1960’s. He was hired at Norman Levitt Advertising to help prevent losing a major account, Decca Records. Ernie’s award-winning work in designing the Jesus Christ Superstar album not only won the account over, it changed his life forever. His creative genius was now known and creating demand.

Ernie’s drive and passion for excellence led him to a new chapter in 1970. He joined forces with Craig Braun, Inc. in New York. Knowing the importance of first impressions, he wanted to make a mark on his first assignment. The result has become an icon of the ages- the rule breaking tongue logo for The Rolling Stones and the rule-breaking Sticky Finger album.

Three months later Ernie was asked to open a satellite office in California where he would be the head art director. The hits kept coming for Ernie.. Alice Cooper’s “School’s Out," Cheech & Chong’s "Big Bamboo," and Captain Beyond among others. Ernie was at the top of his game and knew it was time to leave and start his own agency.

In 1972 he opened the legendary “Pacific Eye and Ear”. Over the next 14 years, he created another 183 album covers for rock legends like: The Doors, Aerosmith, The Bee Gees, The Guess Who, Black Sabbath, Jefferson Airplane, Grand Funk Railroad, Iron Butterfly, and with the 2009 release of Burton Cummings new album makes 209 total albums designed to date.

He has received three Grammy nominations for his work, 10 Music Hall Of Fame awards, 4 awards of excellence from the Los Angeles Art Directors Club, and has been presented with 25 gold albums and a triple platinum album by some of the bands whose album covers he had designed.
Pacific Eye and Ear was now on the map forever - easily recognized as one of the top three album design companies in the country.

In the late 80’s, Ernie felt different businesses require different solutions…but they all need a attitude, a heart and a soul. Ernie could provide that connection.

In 1989, Ernie added an unlikely account to his client roster, Nestlé USA. Over the next two decades, his work helped over 20 brands in Nestlé’s five divisions post double-digit sales growth.

Naturally, word of mouth grew. He added to his client base Sara Lee, Wolfgang Puck, Sizzler, La Brea Bakery, Jerbeau Chocolates, Honeywell, Rockwell, Adams and Brooks, Santa Monica Seafood… and many more food companies.

He cut across industries and added Kraft, K-Mart, Disney, Universal, Panavision Cameras, Game Works, Valvoline, Nature Made, The National Hot Rod Association, Mopar, Baskin Robbins Ice Cream and Matell/NASCAR among others. At InBev USA he worked on all the national promotions for Beck’s, Bass, Stella Artios, Labatt's, Rolling Rock and Koknee Beer Brands.

Today, Ernie has completed covers 226 and 227 for Alice Cooper, 228 and 229 for Burton Cummings newest masterpiece release the "Massey Hall" live album and 230 for Heavy Metal comedian Glenn Wool and he just completed cover 231 for “Death Metal Band” Deranged Insane. Cover 232 is for an Australian band The Bennies cover 233 for The Trailer Park Boys and cover 234 for The Little River Band.

Ernie is also the owner of “The Largest, Privately Owned, Original Album Cover Art Collection In The World” (www.originalalbumcoverart.com) boasting over 350 signed originals and 3,000 photographs.

He is also retained by three Fortune Fifty companies as their in-house creative director, with Cott Beverage (the number one non-name brand beverage company in the World), Avery/Dennison, HSBC Financial (the Worlds third largest lender), Chang Beer (Southeast Asia’s #1 Beer.

Clients on the softer side are, Coca Cola, PENSAR Science, Patient 2 Patient Care, Joseph Gallo Farms, Vallejo Patient Care, The King Klone Brand, Mars Beverage, ROCKMANIALIVE, Green Science Medical and Seattle’s “HEMPFEST” being the most recent additions to Ernie’s client roster.

At the end of 2015 Ernie was inducted into The Album Cover Hall Of fame and starting July 1st 2016 his original album cover art collection is being featured in The Smithsonian’s “Rock N’ Soul Museum in Memphis.

He is a dynamic speaker that captivates and electrifies audiences as he travels the country. If you ask him to reflect on his illustrious career his response is always the same…”Career? What do you mean, I’m just warming up. Wait till you see what’s next!”



Edited 1 time(s). Last edit at 2017-08-08 01:50 by edog.

Mr. Cefalo when you said you liked Mr.Pasche's version better are you speaking of both the inner sleeve AND the smaller tongue on the back cover of Sticky Fingers?

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georgie48
And to Gaslightstreet I like to say, take it easy ... please. There have been discussions on an Aussi site involving Ernie (and his friends) against Braun, that really turned (escalated) ugly. I made me sick in the stomach. We don't want to do this as true Rolling Stones fans. Your input, even from quite some time ago was very helpful to complete my "work" already in late 2015 and trust me, it is pretty hard for me not to speak out to the full as yet.

Ernie Cefalu had a falling out with Craig Braun because of Braun taking credit for Alice Cooper's album art that Cefalu did so Cefalu went off on his own because of that? Is that correct? Or was there more to it? And to this day it's still a broken bone of contention for Braun? That's astounding. Ernie went on to make a lot of album covers. I have no idea what Braun has done.


Upon reading a few things over and over it appears that Cefalu either:

1. designed ie invented the Tongue & Lips logo and John Pasche used it as a base for his version, regardless of how it appears with the letter from the Stones, the timeline, what Pasche says, where Pasche and Cefalu were, Pasche's original design in the museum - which looks finished, really, since it was used for the international edition of STICKY FINGERS (and hung on the wall in France), not sure how that isn't "finished" via Craig Braun saying it wasn't finished when it looks like it was finished and used on the sleeve and used later on for the bottom corner logo on releases (original EMOTIONAL RESCUE, Undercover Of The Night)

2. designed his logo based off Pasche's logo that Pasche designed ie invented

3. someone else or a few others designed ie invented the logo/logos and Pasche and Cefalu did spin offs based on that or those


It's gotten very confusing. The Pasche story seems to fit the picture of what happened and Cefalu did his logo (Ernie - did you do the mouth logo for the 45s that were used for some time in the 1970s? I thought I read that somewhere) for something else ie not albums.

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edog
In JUST TO KEEP THE RECORD STRAIGHT.

When I designed The Stones Tongue Logo at the very begining Of 1971 I Was NOT An Employee Of Craig Braun Companies I Was A Freelancer That Became An Empoyee A Month Later. I Own My Version Because I Was Not "Work For Hire! - Ernie

Why did you start talking lately about "the very beginning of 1971"? Why did February 5, 1971 disappear from your stories? And what do you mean with "I own my own version"? Which version?
The "not so world famous", but reasonably known version that pops up every time is not owned by you nor Braun's company of that time (he only had an licence arrangement with Musidor for only 3 years). It is owned, right from the beginning, by the Rolling Stones.
Can you show any contract deal that you have or had with the Stones? No you can't, BECAUSE THERE ISN'T ANY.
And again, people (including myself) interested in designers/illustrators who have run into your work don't have any doubts about your qualities, but all those extensive overviews you have put out so often in interviews and lately also here (you are good in marketing yourself!), only work (function?) as smoke curtains to take away the attention from what it's all about here for us Rolling Stones fans: the facts about the birth of the all famous Rolling Stones Tongue & Lips logo. It was born the minute Mick jagger showed the Kali image to John Pasche ... well BEFORE the start of the 1971 European tour of the Rolling Stones. And if you or anybody puts the April 1971 letter signed by Jo Bergman (officially administrated!) on behalve of the Rolling Stones IN DOUBT ..., well, maybe it's better to take a fishing rod and go fishing real fish.

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GasLightStreet

It's gotten very confusing.

In the Interview (19-Jul-2016) with Memphis' NewsChannel3, Ernie Cefalu says he designed the RS-Logo in 1970 - but they show John Pasche's version .... only a mistake by NewsChannel3 ?


[WREG.com]

Ernie Cefalu's Logo in the [www.MemphisRocknSoul.org] Museum -- [Imgur.com] (29-Oct-2016):


[www.Facebook.com]


12/70 = December 1970 ?

Large version of this picture: [i.Imgur.com]



Large version of this picture: [i.Imgur.com]



Large version of this picture: [i.Imgur.com]



Large version of this picture: [i.Imgur.com]

I'm no expert on this, but check out these Pasche-interviews that might bring some clarity into this (tip from a brilliant iorr poster who unfortunately isn't posting here anymore).





[www.youtube.com]





[www.youtube.com]

[illustrationadventures.com]

AND: don't forget his beautiful poster designs for some RS-tours and the inner sleeve goat head design for GHS.

Also see his websites where he sells (with RS permission) signed tour posters:

[www.rollingstonesposters.co.uk]

Quote
georgie48

Quote
edog
In JUST TO KEEP THE RECORD STRAIGHT.

When I designed The Stones Tongue Logo at the very begining Of 1971 I Was NOT An Employee Of Craig Braun Companies I Was A Freelancer That Became An Empoyee A Month Later. I Own My Version Because I Was Not "Work For Hire! - Ernie

Why did you start talking lately about "the very beginning of 1971"? Why did February 5, 1971 disappear from your stories? And what do you mean with "I own my own version"? Which version?
The "not so world famous", but reasonably known version that pops up every time is not owned by you nor Braun's company of that time (he only had an licence arrangement with Musidor for only 3 years). It is owned, right from the beginning, by the Rolling Stones.
Can you show any contract deal that you have or had with the Stones? No you can't, BECAUSE THERE ISN'T ANY.
And again, people (including myself) interested in designers/illustrators who have run into your work don't have any doubts about your qualities, but all those extensive overviews you have put out so often in interviews and lately also here (you are good in marketing yourself!), only work (function?) as smoke curtains to take away the attention from what it's all about here for us Rolling Stones fans: the facts about the birth of the all famous Rolling Stones Tongue & Lips logo. It was born the minute Mick jagger showed the Kali image to John Pasche ... well BEFORE the start of the 1971 European tour of the Rolling Stones. And if you or anybody puts the April 1971 letter signed by Jo Bergman (officially administrated!) on behalve of the Rolling Stones IN DOUBT ..., well, maybe it's better to take a fishing rod and go fishing real fish.

Aaaaggghhh,
now I have created an option for incorrect quotation that may bring even more confusion to some. Off course I meant the April 1970 "Jo Bergman" letter, NOT 1971 off course. Sorry about that!

Hi Irix,

you put a question mark on the possible meaning of 12/70 on that collection of tongue/lips drawings, maybe being December 1970, or just print 12 out of 70.
What I can add to that is, that Ernie frequently mentions "very beginning of 1971", whereas December 1970 to me would be "very end of 1970".
Besides, it would be very interesting to hear from Ernie what caused him making that so-called logo design at that "very beginning" of 1971 stage while, as he says, he didn't work for Braun yet, and as he said, that he joined on February 5th, 1971, and "soon after that met/was spoken to by Marshall Chess at Braun's office".
Simply, he didn't know Marshall Chess before February 5(+), 1971, and ... there was no way that he could have known about the existance of Pasche's 1970 results or about the Rolling Stones having decided in 1970 for their logo choice, because that was highly confidencial (remember, the band was still under contract with DECCA Records).
I could think of an interesting scenario, but I leave the honour to Ernie.

It's the same logo small on the back cover and a big screened version on the sleeve. - Ernie

Quote
edog
It's the same logo small on the back cover and a big screened version on the sleeve. - Ernie

Well it's different but let me ask this way, Did you see and like both the UK and US inner sleeve tongues or just the UK? Do you think the US inner sleeve version is closer to your design than the UK version?

Both the logos you are describing are exactly the same and much different than mine that was used at the same time but for all the merchandising. - Ernie

After reading all the comments about me and what everyone feels and has to say Its always nice to find a comment like this one:

When we reflect upon the iconic, historic and highly memorable album cover artworks, famed and award winning, of many of the top music artists and bands of the 1970's, 1980's and beyond, right up to current day, Ernie Cafalu's name is synonymous with exquisite hand-drawn and painted original album covers of many of the greatest performing artists of that era and in many cases of all time.
Ernie Cefalu continues to be 'in demand' to this day in 2016, his craft spellbinding and refined with the most astounding emotionally responsive connection for the consumer that pours over their treasured album cover collection, many of which they have acquired decades ago. There is a powerful personal association to the music and the album cover in kind with instant recall to a time in one's life when the music began to transcend tremendous influence on our thoughts and perceptions of the music greats and life in general.
Ernie Cefalu had a tremendously talented team of graphic and illustrative artists in their days together at Pacific Eye & Ear. Their product was current, edgy and intuitively abridging the music to the heart and soul of the consumer who would go on to treasure those album covers for a lifetime.
Now fast foward to current day and Ernie Cefalu's original album cover art is being featured in high profile museums and exhibits on a tour in the US and Canada which has taken on a life of its own with the excitement and build-up of momentum as the tremendous significance of these treasured artworks is celebrated by generations.
Cover art is not done in the same way anymore with commercial designers favoring digital design. One need only view the album covers featured at Original Album Cover Art (.com) to discover the featured artistic mastery of Ernie Cefalu and his renowned team, many of whom are acclaimed for their contributions and take their rightful place in history as industry leaders whose artworks were richly inspired through Point of Connection expert Ernie Cefalu.
Still in the media spotlight and the hearts of millions who have purchased these famed album covers, Ernie Cefalu will always be revered in his industry as one of the greats who mastered the essence from brilliant sketches to finished cover design product...such an amazing story!

Life is to short and I hope to feel this good for the rest of mine. In my lifetime I have made and will leave my mark, so how blessed am I. - Ernie

No need to toot your own horn Ernie - many here appreciate your life's work!!!

_____________________________________________________________
Rip this joint, gonna save your soul, round and round and round we go......

Quote
edog
Both the logos you are describing are exactly the same and much different than mine that was used at the same time but for all the merchandising. - Ernie

No offence Ernie, but Nick means with UK version the Pasche original 1970 design, which was added on an inlay (plus songs info and a photo of the band on the other side). The inner sleeve was "blanc".
Besides, when you "joined" Braun's company in February 1971 you were asked to use your label example with ONLY lips and you were given pen sketches as examples with lips and tongues sticking out and hanging over and asked to deliver a result in an hour ...

Not tooting at all "hairball" just replying to those doubters and nay sayers the best way I know how. I've done the work, paid the dues and am proud of what I have accompluished in and out of the music arena. In hopes that those who doubt will look beyond what the have heard or read from others - Ernie



Edited 1 time(s). Last edit at 2017-08-11 03:45 by edog.

Here in the states the inner sleeve had a blow up of John's logo screened back with text overlaid and the pen sketch was done by Craig in his office and in fronnt of me and two others using my lips and added a tongue to them. There was no time limit of an hour set at all! Again, taking my words and adding your own until others believe it to be true. That's real B.S,and the major issues I have with all here who think they know best, but in reality I was alone in that 3rd floor carrage house art department... neither you or anyone else in this conversation was there with me. I went up to Craigs art department where "I alone" in about 15 to 20 minutes created my version of the tongue logo that then was presented to marshal chess at Andy's factory in Manhatten. The whole thing was created, presented and bought in a few hours, all in the same day! - Ernie



Edited 1 time(s). Last edit at 2017-08-11 03:44 by edog.

Quote
edog
Here in the states the inner sleeve had a blow up of John's logo screened back with text overlaid and the pen sketch was done by Craig in his office and in fronnt of me and two others using my lips and added a tongue to them. There was no time limit of an hour set at all! Again, taking my words and adding your own until others believe it to be true. That's real B.S,and the major issues I have with all here who think they know best, but in reality I was alone in that 3rd floor carrage house art department... neither you or anyone else in this conversation was there with me. I went up to Craigs art department where "I alone" in about 15 to 20 minutes created my version of the tongue logo that then was presented to marshal chess at Andy's factory in Manhatten. The whole thing was created, presented and bought in a few hours, all in the same day! - Ernie

Ernie, I am getting a better feeling on the situation of those February 1971 days. Basically you confirm what I already knew some two years. A discussion about "within an hour" is not important. In fact, as you said, you did it well within an hour
What I am hoping for is that you understand why this totally unnecesary "war" involving Craig and you came into being. As you said, you received those scetches from Craig and then made your illustration. Craig functioned as art Director and you followed his instructions and came up with your product. Well before you joined there was another "situation" in the company where Craig had John Pasche's version (first a stamp, later a fax from the UK!, but all still in 1970) and asked one of his people to make modifications, which eventually resulted in the now famous version. Together with a team the final result was obtained. Non of the people involved ever claimed that famous version to be his or hers! Braun, as creative director, is the only one who was allowed to make a claim on behalf of his company. And it was fully rightful that his company got the three year deal with Musidor BV.
Whatever happened between you and Craig, it should never have lead to this "war".
Be honest, if you hadn't joined the company, you would never have come with anything close to what you, in the end, made. You also would never have met Marshall and others.
You had (and have) enough talent (that's a big understatement) to have done with all that turmoil. I am sure you can, in all peace, think all this over some time

Whatever happened with all of this? I know it's dead horse abuse, but after all of the back and forth, not one of the main posters or players involved has addressed what is an obviously gigantic elephant in the drawing room. The lips and tongue design is 100% Alan Aldridge. The who, what, where, blah, blah may be intriguing in a Raymond Chandler kind of way, but it is infinitely more astounding how any of this discussion happens without acknowledging the reality of Aldridge's work.
Some profound psychology going on here. Something like that famous case of the Kitty Genoves murder in NYC where nobody saw anything. I sure the true story is amazing, but I think everyone's detective work on this case is way off the mark. The mystery here is why did Aldridge never speak up, and how did no journalist ever pursue the story? Astonishing.

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shawnriffhard1

Whatever happened with all of this?

The story went on here: [iorr.org] .

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shawnriffhard1

The mystery here is why did Aldridge never speak up, and how did no journalist ever pursue the story?

Alan Aldridge can unfortunately not speak anymore since 17-Feb-2017 - [en.Wikipedia.org] .

The Day-Tripper-Illustration vs. Stones-Tongue has been discussed here since 26-Nov-2014 - [iorr.org] . Someone caught up this story again on 24-Feb-2020 - [www.RushOrderTees.com] .



Edited 1 time(s). Last edit at 2020-07-22 11:55 by Irix.

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Irix

Quote
shawnriffhard1

Whatever happened with all of this?

The story went on here: [iorr.org] .

Thank ya very kindly.

Quote
shawnriffhard1
Whatever happened with all of this? I know it's dead horse abuse, but after all of the back and forth, not one of the main posters or players involved has addressed what is an obviously gigantic elephant in the drawing room. The lips and tongue design is 100% Alan Aldridge. The who, what, where, blah, blah may be intriguing in a Raymond Chandler kind of way, but it is infinitely more astounding how any of this discussion happens without acknowledging the reality of Aldridge's work.
Some profound psychology going on here. The mystery here is why did Aldridge never speak up, and how did no journalist ever pursue the story? Astonishing.

Just to add to what Irix posted, I've lost count of the number of times I've tossed the Alan Aldridge drawing into the discussion over the years.

(And I'm even quoted, from iorr, in the link Irix supplied to rushordertees! I'd not seen that before.)

--
Captain Corella
60 Years a Fan



Edited 1 time(s). Last edit at 2020-07-22 13:34 by CaptainCorella.

Who was the first person to ever play I-IV-V Twelve Bar Blues pattern?

Ask Apple Computer or The Beatles: Who was the first one to depict an apple?



Edited 1 time(s). Last edit at 2020-07-22 17:50 by schillid.

It was this guy ------->

Quote
schillid
Who was the first person to ever play I-IV-V Twelve Bar Blues pattern?

Ask Apple Computer or The Beatles: Who was the first one to depict an apple?

I wouldn't know, but for sure ... it wasn't me.
By the way, who doesn't like apples?

Quote
schillid

Who was the first person to ever play I-IV-V Twelve Bar Blues pattern?

Dunno, but it could be some centuries ago - like the stick-out tongue of Hindu-goddess Kali ....

Quote
schillid

Ask Apple Computer or The Beatles: Who was the first one to depict an apple?

Apart from Mother Nature: clearly the Beatles - on the 'Hey Jude' Single, 26-Aug-1968. Apple Computer was founded on 1-Apr-1976. Steve Jobs was a huge Beatles-fan, but Apple Computer's Apple came from Isaac Newton.



Edited 1 time(s). Last edit at 2020-07-22 21:20 by Irix.

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Irix

Quote
schillid

Who was the first person to ever play I-IV-V Twelve Bar Blues pattern?

Dunno, but it could be some centuries ago - like the stick-out tongue of Hindu-goddess Kali ....

Quote
schillid

Ask Apple Computer or The Beatles: Who was the first one to depict an apple?

Apart from Mother Nature: clearly the Beatles - on the 'Hey Jude' Single, 26-Aug-1968. Apple Computer was founded on 1-Apr-1976. Steve Jobs was a huge Beatles-fan, but Apple Computer's Apple came from Isaac Newton.

The idea to use an Apple as the design/name for The Beatles label came from Paul McCartney. He has/had a surrealistic painting by Magritte. See [www.forbes.com] for a reasonable account of this.

--
Captain Corella
60 Years a Fan