Episode 05: Rat Fink, Screaming Hands and West Coast Street Culture

Two Designers Walk Into A Bar

Episode 05: Rat Fink, Screaming Hands and West Coast Street Culture

Released November 11, 2020
© 2020 Two Designers Media, LLC

Welcome to Two Designers Walk Into a Bar. A place where pop culture, loving creatives, discover design icons that make us tick. And we share a few cocktails in the process.

Today. We're discussing street culture, the need for speed fun in the sun and rebels without a car. We discussed two iconic characters that have influenced several generations of artists, musicians, and tinkerers, all stripes. So grab a nice slab of pavement. Your favorite t-shirt and then let's get started.

So Elliot, yes. Welcome back to the bar, man. All right. Thank you. Today what a great theme we have. We're going to be talking about street culture. And have I got the iconic piece to share with you today? Let me give you a little bit of a hint here so you can start the guessing game. Sure. All right. If I say.

Custom culture. Does that mean anything to you? Yes, it does. Okay. So does it mean hot rods? Maybe? Maybe. Okay. All right. Good, good, good. Does it mean drag racing? Maybe, maybe. Does it mean hairbrush t-shirts should we play the hot and cold game? Cause I might know which drag strip you're racing on today. You go ahead.

Start. Let's see if I were to pick a state. Yeah. Would that state the, Oh, I don't know. Well, that's my, that's the state I live in all the time. Actually, I live in the outskirts of confusion, but I commute there daily. Would it be a state on the West coast? It would be well. Okay. Well, I will say. How about the biggest state just to play the odds, California, California.

Dang. You nailed it. Awesome. Look, I am interested today. We're talking about street culture and I'm going to the way back to the old G street culture. I'm going to talk about rat Fink from big daddy, rah, rah, rah. I did that with the echo voice because we were drag racing. Oh, got it. How about yourself? You know, it's funny you bring up California.

My amazing street culture icon also happens to be from California. No. Yes. Yes. So, uh, great minds think alike yet again. Well, at least we think that we'll see if the listeners agree with us little more North than Santa Barbara. A little more North than Santa Barbara. I know that was your favorite soap opera, but Todd, you've got to let it go.

Yeah. Okay. Okay. Gotta let it go Sacramento. Little to farther inland, but you're getting warmer. Okay. Uh, gosh. Well, I don't know a lot about that. Uh, okay. So something on the coast then, right? Yes. Yeah. The town has, I'll give you a hint. The town has a little lighthouse that also happens to be a surf museum.

Oh, Oh, Santa Cruz. Yes, sir. Okay. So, so obviously Santa Cruz also in street culture, not only is it a town, but it's also a very well-known brand. And today I want to talk about Jim Phillips and the Santa Cruz screaming hand all yeah, the blue one, right? Yes. All right. Very cool. Well, uh, it sounds like we got some interesting stuff to go over today, so let's get into it.

Yeah. Time to dig in and get started.

Elliot, I'm going to talk a little bit about Ratfink. Everybody's familiar with Ratfink. You're familiar with Ratfink, right? Okay, great. But he's green. He's grayish green. He's comically grotesque has these sort of deprive looking bulging bloodshot eyes, these sharp teeth. He is sort of the anti Mickey Mouse.

And he first came to life on airbrushed T-shirts that Roth made. He called these things “Weirdo T-shirts” and he sold them at hot rod car shows in the late 1950s, going way back to the late 1950s. And they became a craze. People really dug this. And if you think about that, that was a real transition time, particularly in California, you were going from sort of.

Post war into what was then going to be like surf culture, right? Like beach boys, that kind of stuff. This was really sort of catching on just the look, the style, um, the philosophy of it and the music. It picked up steam as rat Fink was being advertised in the early sixties and car craft magazine with an ad that, uh, called it.

This is in quotes, the rage in California.

So, you know, it's cool because it was like this. So Cal teenage culture, starting with the original baby boomers, the OGP boomers, the first generation of teens, it really had super buying power. And then of course, what they were doing was they were being teenagers and they were starting to express themselves with customizing their cars and hot rods and things like that.

So that was sort of the birth of rat Fink from ed big daddy Roth. And we still know it today. Tell me a little bit about how Jim Phillips gave birth to the screaming hand. It sounds like it would be a painful birth, doesn't it? It does. Yeah. Yeah. Yeah. Similar sort of idea. Obviously slightly later. So Santa Cruz skateboards flash forwarding really about 20 years.

You mentioned things starting in the 1950s for you the early 1950s, 1970s, uh, 1973, actually the most amazing year on earth as everyone knows, who's listening to ever passed past podcast happened to be, you were born in the yes. Yes. So that's when the world changed for the better that's right. It was my 10th birthday.

Yeah. Okay. All right. Awkward silence. I get the hint. Go ahead. Well, it was also the birthday of Santa Cruz. Santa Cruz was started in 1973. There were three partners. Originally one was this guy named rich Novak. He literally grew up in Santa Cruz. One of the folks he grew up with was guess who Jim Phillips.

I know you never would have guessed that. So they were classmates in high school. Jim Phillips leaves. He goes off after he graduates to Oakland, goes to art school, comes back from California college of arts and crafts in the mid sixties. And he's, you know, kind of an itinerant worker. You know, he took some commercial art classes when he was there, that sort of thing.

So he's doing little assignments. Rich Novak remembered him and remembered in high school that he was a really good artist. And so he, I decided to look them up and originally his first assignment was the road rider wheel. So he said, Hey, you know, we're putting out this new skateboard wheel. Would you be willing to do a graphic for the actual wheel, maybe a t-shirt to accompany it and.

Phillips was like, yeah, like, okay. Yeah, this sounds good. Like we'll, you know, we'll see where this goes. Obviously the collaboration with Santa Cruz has continued to this day, his son is now involved and we can get into that a little while. It was certainly a successful collaboration led to other projects.

So in the mid eighties, one of the things that he started to put out was this blue, as he mentioned earlier hand, a severed hand that was flying through space with a mouth of screaming mouth in the Palm of the hand, because the severed hand wasn't bad enough. It wasn't painful enough. I had to screen of course.

Well, wouldn't you scream if you were in pain? Well, I don't have a mouse on my hand either, but yeah, keep this up. I'm going to put your mouth on my hands and meat. All right. So let's bet. Yeah. Well, no, as good as say, let's, uh, let's jump back in, uh, before we break out into a fist fight here in the studio.

Let's uh, which, which folks, this will be the fifth time that's happened. I'm just putting that out there and who is one every time? Well, I'll let that, uh, mystery be solved by you guys. Maybe we'll post some of our, uh, our bouts on our website at some point. Um, but in all seriousness, um, I would love to know more about rat Fink because I kind of see the screaming hand a little bit as child of rat Fink, you know, same kind of attitude, same kind of, uh, part of the world.

As we mentioned, I would love to know. The parentage or the lineage of the screaming hands. And tell me about ed big daddy Roth and rat Fink, and just kind of how this all came into being. Yeah. I'm going to bring you up to a L a little bit of my introduction, how I learned about rat Fink. But first I talked about rat Fink, as I said, started in the late fifties.

And there were a couple of things that sort of came together to give birth to rat Fink. Obviously the super talented, yes, big daddy, rah, rah, rah. That did that again for you, uh, for your pleasure. Super talented. Getting into custom culture, teenagers were coming into their own with the buying power. What I also learned through research and I thought this was really cool was after, um, the second world war, many military airports were left abandoned, so they were used for drag racing and hot riders would join up and race on those military airports.

Also soldiers returning were learning particular skills. In the service. So they were learning how to work on machines and things like that. They received technical training. So all of these things started converging and just so happened. It was ignited in Southern California then into the sixties, as I mentioned before, add music, right.

Just think about the music of the sixties that was all around hot rod culture from. Oh, gosh, the Rivieras Dick Dale, uh, Ronnie and the Daytona is the beach boys name, Jan and Dean, you name it. And so it really just picked up steam from there. Now for me, I discovered this probably teen years, my dad was a hot rodder.

So you knew that, I think. Yeah. Um, but what I would do is thumb through the magazines that he would get. And they were full of parts and, uh, things that you could buy, uh, accessories for your car gear shifts and all sorts of things, patches, clothing, things like that. And I really gravitated towards rat Fink, um, because in these magazines it really stood out.

It was really something different. Although it was hot rod culture throughout the entire magazine, of course. Um, but this was something that was just accessible. Like a teenager could look at that and go, I think I could draw that, you know, so that's what really attracted me to begin with. And you know what I'm thinking about it, like that was in the seventies.

And that was not a great time to be driving a big gas guzzling hot rod. But you know, like what I realized was that was like my dad and his friends, that was their way of, uh, thumbing their noses, um, at the man, right at establishment at the man telling him what to do. That's right. They were thumbing those, those gas guzzling hot rod Levin ass.

At the establishment and the oil embargo from the mid seventies, take that Carter take that Carter. So it, it obviously continued on into, uh, the late seventies, uh, the advent of punk and then, uh, rockabilly, things like that too. So we still know what rat Fink is today. It's still around today. Yes. Yes. Yeah.

One thing when you were talking about flipping through the magazine as a kid, when I think of Southern California, I think of car culture, I think of contemporary culture with rockabilly and that sort of thing. I think of pinup girls and all these sorts of things like that. So for a younger. Person looking that was because it was a cartoon character, not a sexualized or hypersexualized woman when you, you know, maybe hadn't quite yet blossomed into manhood, the welfare hope Springs eternal.

I think so if you're a kid flipping through a magazine, it's a cartoon character, like you said. So that's something that you're going to develop a natural affinity for versus some of these other things that are more quote, unquote, grownup. So that's what strikes me too. About the screaming hand from Jim Phillips, you know, skate culture, skate culture was like hot rod culture with, uh, probably not as much money put into it at the time, but it's what you would do to, to start getting into hot rods.

You developed your tribe and you developed your language and you developed your visual vocabulary. And it strikes me that that's what. The screaming blue hand was a part of it. It was one of those things that sort of stuff in the products.

I don't remember where I first saw it. It may have been, uh, in an ad somewhere. It might have been in the local skate shop and a t-shirt for sale or a banner hanging up inside of the skate shop. I, you know, skate video for all. I know. I re I really don't remember. However, um, One thing that I am thankful for.

And this is again where the Venn diagram of like these two groups of people and maybe it's fathers and sons, or maybe it's the fact that this was all happening in the state of California, but in the back of Thrasher and Transworld, the magazines I would read in high school then to college, you know, folks, this is pre-internet. 

If you wanted to know what was available, they either had. Printed catalogs he could send away for, or they would shoe horn as many of the t-shirts and trinkets and other things that they were selling into a single magazine page. I learned about so many different bands through the t-shirts that were available.

I learned about so many. Pro riders and other companies through the shirts that were available, that looked really cool. You know, your, these are like, and square. It's probably the size of the icon of the podcast on your phone right now. And think about that finding good if it's a podcast, but what happens if it's a t-shirt and you're like, do I want to spend $20 on this thing that I'm only seeing this microscopic image of?

Is it worth buying so bold graphics start to make sense? Before I go any further. I also need to say that the same t-shirt ads that introduced me probably to the screaming hand also introduced me to rat think that was the first place I saw rat Fink and ed big daddy Roths work. Yeah. You know, and I was just thinking, as you were talking, these things started to intersect late seventies, early to mid eighties in the music scene, particularly the Southern California punk scene.

With bands. Think about it. Elliot, like ex the germs, the weirdos. Fear black flag and the circle jerks. Like if you were a skater, you were probably listening to those. If you were new in the hot rod culture, and weren't my dad, you were probably listening to the same bands as well, but that was like you said before, it's like father and son them together.

The father is rat Fink. The son is the screaming blue hand. They're kind of coming together in this appreciation. Of independence and then archi just rebellion, I think is the word push, just pushing back, pushing the envelope, testing the limits. It's like so many things even today. For me generally, if, if the people or groups, I tend to have contempt for get uneasy about something, I tend to gravitate toward it that much more.

I think old habits die hard. Right?

Wow. All this talk about hot rods and street culture has gotten me thirsty it's time for a break. Great idea, Todd. I know my screaming hand could use another cold beverage. So how about we take five, refresh our drinks and meet back here around the bar. Right on.

You had mentioned the Genesis of rat thinks sort of where he came from from the airbrush shirts. You mentioned he was the anti Mickey mouse. Some of my favorite rat Fink illustrations are not only as he's standing there with his. Tail and his eyes and his overalls, you know, and all these sorts of things.

But he also has like a couple of flies buzzing around his head all the time with his crooked teeth hanging out. So you think like, did he roll in something? Is it halitosis? You know, what's going on here? It's just, I love it. It's like, that's that's again, to me, that's like a mad magazine touch. You know, you could draw the character, but I think of all the illustrations I loved in mad magazine growing up and I would look in the, yeah, always the funniest things, you know, they always like insert a flyer to zipping around in there.

And just for that added a touch about how rat Fink came to be. And tell me, do you know more about how the screaming hand came to. Came mental life. I do. Yeah. As I mentioned, the screaming hand came onto the scene in about the mid eighties. And what Jim Phillips would do is when he wasn't doing work for Santa Cruz or for some of his other commercial clients, he would be, you know, creating personal work like we all do as artists.

And he would draw people surfing a lot. Obviously Santa Cruz. As I mentioned in the beginning, they have a surf museum there. So it's obviously a surf community, the little light house that they turned into the surf music. So he grew up surfing. He would observe people surfing he himself as a surfer. So naturally you draw what, you know, you'd gravitate toward what you're familiar with.

So he would have fun in his free time and he would always draw people wiping out in the waves. Well, Probably after a while that started to get a little redundant, a little bit repetitive. And so he thought about adding a few additional elements. Well, what's another hazard in the ocean. Let's say if you're out in the waves, Todd, what's something you may not want to encounter.

I'll give you, I'm going to give you a hint. Okay. Pretty obvious. Hint, the discovery channel each summer has an entire week devoted to this very subject. Oh shark week. Yes. So sharks, you wouldn't want to encounter a shark that after falling off your board, if that wasn't humiliating enough, you wouldn't want to have your hand bitten off.

Yeah. You, you know, you didn't want your friends to laugh at you. You didn't want to get buried in a wave and then you also didn't want to get eaten. Yeah. Okay. Well, that's, that's sort of the three tenants of life right there, right? It is. Yeah. I think Maslow's pyramid. I think like at the base there it's, don't get rid of killed by your friends.

Don't drown and don't get eaten by a shark. Pretty sure. That's the nuts and bolts basics of survival. I think he just added other shit to fill it out. Well, it had to be a pyramid. He had to make it a pointy. I mean, well, yeah. Yeah. Cause it would have been awfully flat here. Yeah, it would have been. Yeah. 

Yeah. Pancake isn't nearly as sexy as pyramid Maslow's pancake. Yeah. Maybe, maybe there's a restaurant named that we should, if not, we should start it. I'm gonna, I'm gonna get that URL right now. Yeah. Uh, so if anyone else out there is trying to grab it too late, please continue. Sorry. Yes, sir. As an aside, so guys are surfing.

Guys are wiping out in the waves. Oh, shark shows up. What happens? You don't have to be the fastest, just don't be the slowest and what could happen to the slowest guy. You know, it's lunchtime, not only is the hand that in normal times in a normal situation would be. Popping above the surface as the guy has just drawn.

His last breath in is disappearing beneath the ocean waves for the last time. Now, lo and behold, it's only his hand, you know, and the hand of course has cut off at about the mid forearm and it's jagged, it has tendons hanging up bones, hanging out, depending upon the iteration of the hand, the original art, it was this kind of random.

Veins and tendons streaming out later iterations. It actually would spell the word Santa Cruz and script and read script and the tendon highly adaptive, medium, a severed arm with a screaming. Yeah. You know, Hey, it takes all kinds. So that's really where it came from. It was this kind of tongue and cheek or tongue in Palm, as the case may be riff on, you mentioned search music, right.

And I'm not going to. Torture our listeners doing by rendition of wipe out, but we all know that song. And, uh, so it's, it's that same sort of tongue in cheek attitude, I think. And just pushing the envelope as far as you good. All right. So let's talk lasting influence. Yes. So from your point of view, Where some influences that have popped up since Jim Phillips created the screaming blue hand?

Well, I think the biggest one, and we're going to post some links to this, uh, on our website. So folks can take a look when the 30th anniversary of the hand being introduced, rolled around, there was actually a. Gallery show. And it wasn't only his iterations of the hand. It was iterations that artists had created from around the world and had brought together.

And I think he was really impressed and flattered by this. Um, one thing we've talked about before is. As a creative person, as a designer, as an illustrator, you do what feels right? You maybe have an assignment. Yeah. Certain criteria, you need to hit whatever. But when lightning strikes, Hey, take advantage of it.

Um, you know, fly that kite with the key on it. And, um, and you never know. I think the beauty of creative product is you just never know what kind of life it's going to take on. Once you put it out into the world. And I think he was really touched and really. Flattered by this. So I think it was this ripple effect as skateboarding went global even before, or the internet.

I mean, I remember in the late eighties and early nineties being in high school, going into college. You would have these photo shoots where these kids, you know, they're pro skaters, but they were in their mid twenties. They were traveling to Germany. They were traveling to Japan. They were going all around the world.

So this idea of, oh, well, I'm big in Japan, you know, Santa Cruz and the screaming hand was big in Japan. It was big in continental Europe. It was big in South America. These people were rockstars and they were wearing these t-shirts and tossing out these stickers with this screaming hand all over them. So, you know, it just can't help but provide this influence.

So I think that's one of the biggest impact. Jim Phillips, we're going to post some interviews. He seems like such a genuinely kind, man. Um, and I think he loves the work he does. I think he loves the attention it's gotten. And I think he's just very touched by it. Jim Phillips. In fact, uh, his illustration business is truly a family business.

Not only is he continuing to still do work with Santa Cruz, but. His son, Jimbo Phillips followed in his footsteps is also an illustrator of note himself. And he also is doing work with Santa Cruz. Very cool. Keeping it in the family. Absolutely. I hope my child does anything cool. One day it's all order. Um, but tell me about rat Fink and some of the children of rat Fink beyond the screaming hand.

Some of the permutations, I mean, ed big daddy Roth made so many additional characters, mr. Gasser and all these different yeah. People. And you mentioned all the accessories earlier. I mean, he. Customized his own cars. He sold his own, you know, the eight ball shifters, all these things that he would illustrate would later go out into the real world.

Just like the hand. Um, Jim Phillips, again, in these videos, when he's standing in his studio, there, all these different figurines and different products of the hand. Little urethane sculptures, knit gloves that actually have the screaming mouth on this blue Nicolas. Yeah. All these different things. So I would love to hear here.

What ed big daddy Roth begat, I guess from when he got the ball rolling with rat Fink. Sure. Well, as you said, rat Fink was just one of many characters in the big daddy Roth family, because if you think about it, cars were developing personalities too. Around that time, like people would name their cars.

They obviously were. Putting things on them to make them more individualized. Um, the culture was built around your unique presence of your car. So I thought, I don't mean to interrupt you, but I guess I'm doing it anyway. Would you say that the naming of the car and the customization of the car, you mentioned earlier GIS returning from World War II.

And I think of that, how they would always paint the pinups on the side of their airplanes and name their airplanes and the number of bombing runs, they went on under. Bomb drops or whatever, they would paint the bomb icons on the side of their airplanes and all these sorts of things. And did that translate into pin striping and customization?

Like if people were doing these things on super big vehicles, airplanes did that tendency then carry on into civilian life. You mentioned technical knowledge, but I'm wondering if the creative motivation was coupled with that. Absolutely. Absolutely. Think about the painting techniques, um, airbrushing, if you were like me and you grew up, uh, going to the beach or even to stock car races.

Airbrush t-shirts are a huge sell. And the artists that created those, uh, right on site and they, you know, you still find people doing it today, carnivals and all sorts of things. Um, there were gobs of people hanging around, watching them do what they do, because it was magic. Like this, this art was coming out of this thing.

And then certainly add to it, the characters like we've already talked about, but think about. The those guys that had developed those, the skills, whether it be in, um, uh, automotive engine, uh, painting pinstriping like you said, What they had done is they were creating this whole world around a car. Like I was it's just so happens.

I was watching happy days earlier today. Yeah. I know. Just so happens. Yeah. I watch it every day. No, I'm kidding. Um, and you know, what cars were, it was the dating thing. It was like a place to go on a date, car hop culture, the drive in, yes. It's just an extension of that. Like you had said before, it's like they were taking their creative thinking.

And they were, um, putting it into something that represented them. And if you think about that now, you know, we, we don't have that question so much in, in our cars, um, today, but we have that in the clothing that we wear that we choose to wear. Um, we have that in our avatars on social media, like these things are representing who we are and the face that we're putting out there.

That love of independence and rebellion and, and sort of designing your own look, uh, that starts in your teen years, that philosophy kind of carries through and you never lose that. You never, or you shouldn't lose that, I should say. Um, and that's part of what I think is really cool about street culture is there's always going to be.

That fringe element, the music is going to tie us together. It's going to help us identify our tribe. Even now, when you think about Psychobilly bands, like, you know, you and I are fans of the rev. Yes. The Reverend Horton heat and unknown Hinson, who is no longer touring. Spectacular unknown Henson. Um, but then you think about like, like think about squid Billies, right?

Yeah. The cartoons that we're seeing, like these things are still out there, that grittiness

Alright. So Elliot, the thing about. Street culture that ties both of these iconic pieces together, as I see it. And then tell me your thoughts. First of all, it's a way to identify with your tribe, whether you're a skateboarder or a surfer or a hot rodder, um, it's a way for you to say you're my people. It's the, we're speaking a common language here.

This Santa Cruz brand is very much of the city. When I have visited there, I've seen people who very, obviously aren't skaters or surfers, you know, they're elderly couples who probably grew up in Santa Cruz, but they're wearing the Santa Cruz gear. They're wearing the t-shirts and things like that. And I just feel that's so great that this international brand still brings this local pride and people still see it as a local company.

Yeah. They're part of the tribe as well. Absolutely. Yeah, that's right. It's also a way to identify, uh, as I'm an independent thinker, um, I've got this rebellious streak in me. I like things a little on the fringe and, you know, That never goes out of style. Although we talked about when these things were beginning and how they developed and their influences still today, but that attitude will always the in style.

You mentioned earlier, this idea of. Developing your true self and you become a teenager sort of thumbing your nose at authority or pushing the envelope. And I really think it's all about being genuine, being true to yourself, doing things that are creative, doing things that are, and this word gets used a lot today, but I'll use it anyway.

Authentic use, you know, doing things that are authentic to you and who you are, things you're drawn to and kind of your North star. For me personally, I still watch skate videos online. I still have two skateboards, uh, sitting in my office. So, you know, I'm still all in on this culture. Uh, even though I discovered it over 30 years ago and I think about.

At big daddy Roth, are there still models of his cars available? I remember growing up and always seeing the models in magazines or comic books, really things like that are those yeah. The rebel model company. Yes. Yeah. Well, that was a way for guys like me who didn't, who couldn't have a car because I was too young.

Uh, that was a way that I could get in on. Um, that sort of cultural swing too, but I think what you said is really, really important. The lesson that I took from my, uh, research today, and then hearing you talk about how Jim Phillips did his journey was, you know, don't lose that. Don't lose that energy.

Don't lose that spirit because that means we're growing old. If we do that. So you got to keep doing all that fun stuff. We got to keep like, think about how. Both of these guys in their own collective way. They filmed their nose at the mainstream, uh, at that time. And I think even if you're a designer, like we are, that's always something to keep top of mind, to keep pushing yourself, to keep looking for new challenges.

And if you're not a designer, if you're a normal person, you know, look for ways to be your authentic self, as you say, I do. And I would also say support other people, being their authentic selves, whether that is a neighbor, whether that's a child, whether that's a friend, the world is amazing because there's so many different people in it.

Um, and, uh, I think we just need to celebrate that. And I'm hopeful that, uh, when we're working through these podcast episodes and these different topics that we are able to do that for you, the listener. So Elliot, that sounds like a great place to leave it. Thanks Todd.

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