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Pescoran Art Book + Art Print: ELECTRICITYSCAPE

PESCORANArt — Tue, 12 Jun 2012 10:13:00 MDT

Pescoran Art Book + Art Print: ELECTRICITYSCAPE - SurrealPopArtBookDeluxeeditionandArtPrintsPESCORAN.jpg

John Pescoran Surreal Pop Art Book and Art Print

David Bowie quotChanges Onequot Vinyl LP

foxmusic — Mon, 11 May 2009 01:21:00 MDT

David Bowie quotChanges Onequot Vinyl LP - ROCK-LP-DavidBowieChangesOne.jpg

The clich about David Bowie says he's a musical chameleon adapting himself according to fashion and trends While such a criticism is too glib there's no denying that Bowie demonstrated remarkable skill for perceiving musical trends at his peak in the '70s After spending several years in the late '60s as a mod and as an all-around music-hall entertainer Bowie reinvented himself as a hippie singersongwriter Prior to his breakthrough in 1972 he recorded a proto-metal record and a poprock album eventually redefining glam rock with his ambiguously sexy Ziggy Stardust persona Ziggy made Bowie an international star yet he wasn't content to continue to churn out glitter rock By the mid-'70s he developed an effete sophisticated version of Philly soul that he dubbed plastic soul which eventually morphed into the eerie avant-pop of 1976's Station to Station Shortly afterward he relocated to Berlin where he recorded three experimental electronic albums with Brian Eno At the dawn of the '80s Bowie was still at the height of his powers yet following his blockbuster dance-pop album Let's Dance in 1983 he slowly sank into mediocrity before salvaging his career in the early '90s Even when he was out of fashion in the '80s and '90s it was clear that Bowie was one of the most influential musicians in rock for better and for worse Each one of his phases in the '70s sparked a number of subgenres including punk new wave goth rock the new romantics and electronica Few rockers ever had such lasting impactnnDavid Jones began performing music when he was 13 years old learning the saxophone while he was at Bromley Technical High School another pivotal event happened at the school when his left pupil became permanently dilated in a schoolyard fight Following his graduation at 16 he worked as a commercial artist while playing saxophone in a number of mod bands including the King Bees the Manish Boys (which also featured Jimmy Page as a session man) and Davey Jones the Lower Third All three of those bands released singles which were generally ignored yet he continued performing changing his name to David Bowie in 1966 after the Monkees' Davy Jones became an international star Over the course of 1966 he released three mod singles on Pye Records which were all ignored The following year he signed with Deram releasing the music hall Anthony Newley-styled David Bowie that year Upon completing the record he spent several weeks in a Scottish Buddhist monastery Once he left the monastery he studied with Lindsay Kemp's mime troupe forming his own mime company the Feathers in 1969 The Feathers were short-lived and he formed the experimental art group Beckenham Arts Lab in 1969nnBowie needed to finance the Arts Lab so he signed with Mercury Records that year and released Man of Words Man of Music a trippy singersongwriter album featuring Space Oddity The song was released as a single and became a major hit in the UK convincing Bowie to concentrate on music Hooking up with his old friend Marc Bolan he began miming at some of Bolan's T Rex concerts eventually touring with Bolan bassistproducer Tony Visconti guitarist Mick Ronson and drummer Cambridge as Hype The band quickly fell apart yet Bowie and Ronson remained close working on the material that formed Bowie's next album The Man Who Sold the World as well as recruiting Michael Woody Woodmansey as their drummer Produced by Tony Visconti who also played bass The Man Who Sold the World was a heavy guitar rock album that failed to gain much attention Bowie followed the album in late 1971 with the poprock Hunky Dory an album that featured Ronson and keyboardist Rick WakemannnFollowing the release of Hunky Dory Bowie began to develop his most famous incarnation Ziggy Stardust: an androgynous bisexual rock star from another planet Before he unveiled Ziggy Bowie claimed in a January 1972 interview with the Melody Maker that he was gay helping to stir interest in his forthcoming album Taking cues from Bolan's stylish glam rock Bowie dyed his hair orange and began wearing women's clothing He began calling himself Ziggy Stardust and his backing band -- Ronson Woodmansey and bassist Trevor Bolder -- were the Spiders from Mars The Rise Fall of Ziggy Stardust and the Spiders from Mars was released with much fanfare in England in late 1972 The album and its lavish theatrical concerts became a sensation throughout England and it helped him become the only glam rocker to carve out a niche in America Ziggy Stardust became a word-of-mouth hit in the US and the re-released Space Oddity -- which was now also the title of the re-released Man of Words Man of Music -- reached the American Top 20 Bowie quickly followed Ziggy with Aladdin Sane later in 1973 Not only did he record a new album that year but he also produced Lou Reed's Transformer the Stooges' Raw Power and Mott the Hoople's comeback All the Young Dudes for which he also wrote the title tracknnGiven the amount of work Bowie packed into 1972 and 1973 it wasn't surprising that his relentless schedule began to catch up with him After recording the all-covers Pin-Ups with the Spiders from Mars he unexpectedly announced the band's breakup as well as his retirement from live performances during the group's final show that year He retreated from the spotlight to work on a musical adaptation of George Orwell's 1984 but once he was denied the rights to the novel he transformed the work into Diamond Dogs The album was released to generally poor reviews in 1974 yet it generated the hit single Rebel Rebel and he supported the album with an elaborate and expensive American tour As the tour progressed Bowie became fascinated with soul music eventually redesigning the entire show to reflect his new plastic soul Hiring guitarist Carlos Alomar as the band's leader Bowie refashioned his group into a Philly soul band and recostumed himself in sophisticated stylish fashions The change took fans by surprise as did the double-album David Live which featured material recorded on the 1974 tournnYoung Americans released in 1975 was the culmination of Bowie's soul obsession and it became his first major crossover hit peaking in the American Top Ten and generating his first US number one hit in Fame a song he co-wrote with John Lennon and Alomar Bowie relocated to Los Angeles where he earned his first movie role in Nicolas Roeg's The Man Who Fell to Earth (1976) While in LA he recorded Station to Station which took the plastic soul of Young Americans into darker avant-garde-tinged directions yet was also a huge hit generating the Top Ten single Golden Years The album inaugurated Bowie's persona of the elegant Thin White Duke and it reflected Bowie's growing cocaine-fueled paranoia Soon he decided Los Angeles was too boring and returned to England shortly after arriving back in London he gave the awaiting crowd a Nazi salute a signal of his growing drug-addled detachment from reality The incident caused enormous controversy and Bowie left the country to settle in Berlin where he lived and worked with Brian EnonnOnce in Berlin Bowie sobered up and began painting as well as studying art He also developed a fascination with German electronic music which Eno helped him fulfill on their first album together Low Released early in 1977 Low was a startling mixture of electronics pop and avant-garde technique While it was greeted with mixed reviews at the time it proved to be one of the most influential albums of the late '70s as did its follow-up Heroes which followed that year Not only did Bowie record two solo albums in 1977 but he also helmed Iggy Pop's comeback records The Idiot and Lust for Life and toured anonymously as Pop's keyboardist He resumed his acting career in 1977 appearing in Just A Gigolo with Marlene Dietrich and Kim Novak as well as narrating Eugene Ormandy's version of Peter and the Wolf Bowie returned to the stage in 1978 launching an international tour that was captured on the double-album Stage During 1979 Bowie and Eno recorded Lodger in New York Switzerland and Berlin releasing the album at the end of the year Lodger was supported with several innovative videos as was 1980's Scary Monsters and these videos -- DJ Fashion Ashes to Ashes -- became staples on early MTVnnScary Monsters was Bowie's last album for RCA and it wrapped up his most innovative productive period Later in 1980 he performed the title role in stage production of The Elephant Man including several shows on Broadway Over the next two years he took an extended break from recording appearing in Christine F (1982) and the vampire movie The Hunger (1982) returning to the studio only for his 1981 collaboration with Queen Under Pressure and the theme for Paul Schrader's remake of Cat People In 1983 he signed an expensive contract with EMI Records and released Let's Dance Bowie had recruited Chic guitarist Nile Rodgers to produce the album giving the record a sleek funky foundation and hired the unknown Stevie Ray Vaughan as lead guitarist Let's Dance became his most successful record thanks to stylish innovative videos for Let's Dance and China Girl which turned both songs into Top Ten hits Bowie supported the record with the sold-out arena tour Serious MoonlightnnGreeted with massive success for the first time Bowie wasn't quite sure how to react and he eventually decided to replicate Let's Dance with 1984's Tonight While the album sold well producing the Top Ten hit Blue Jean it received poor reviews and ultimately was a commercial disappointment He stalled in 1985 recording a duet of Martha the Vandellas' Dancing in the Street with Mick Jagger for Live Aid He also spent more time jet-setting appearing at celebrity events across the globe and appeared in several movies -- Into the Night (1985) Absolute Beginners (1986) Labyrinth (1986) -- that turned out to be bombs Bowie returned to recording in 1987 with the widely panned Never Let Me Down supporting the album with the Glass Spider tour which also received poor reviews In 1989 he remastered his RCA catalog with Rykodisc for CD release kicking off the series with the three-disc box Sound + Vision Bowie supported the discs with an accompanying tour of the same name claming that he was retiring all of his older characters from performance following the tour Sound + Vision was successful and Ziggy Stardust re-charted amidst the hooplannSound + Vision may have been a success but Bowie's next project was perhaps his most unsuccessful Picking up on the abrasive dissonant rock of Sonic Youth and the Pixies Bowie formed his own guitar rock combo Tin Machine with guitarist Reeves Gabrels bassist Hunt Sales and his drummer brother Tony who had previously worked on Iggy Pop's Lust for Life with Bowie Tin Machine released an eponymous album to poor reviews that summer and supported it with a club tour which was only moderately successful Despite the poor reviews Tin Machine released a second album the appropriately titled Tin Machine II in 1991 and it was completely ignorednnBowie returned to a solo career in 1993 with the sophisticated soulful Black Tie White Noise recording the album with Nile Rodgers and his now-permanent collaborator Reeves Gabrels The album was released on Savage a subsidiary of RCA and received positive reviews but his new label went bankrupt shortly after its release and the album disappeared Black Tie White Noise was the first indication that Bowie was trying hard to resuscitate his career as was the largely instrumental 1994 soundtrack The Buddha of Suburbia In 1995 he reunited with Brian Eno for the wildly hyped industrial rock-tinged Outside Several critics hailed the album as a comeback and Bowie supported it with a co-headlining tour with Nine Inch Nails in order to snag a younger alternative audience but his gambit failed audiences left before Bowie's performance and Outside disappeared He quickly returned to the studio in 1996 recording Earthling an album heavily influenced by techno and drum'n'bass Upon its early 1997 release Earthling received generally positive reviews yet the album failed to gain an audience and many techno purists criticized Bowie for allegedly exploiting their subculture hours followed in 1999 For 2002 Bowie reunited with producer Toni Visconti and released Heathen to very positive reviews He continued on with Visconti for Reality in 2003

Pop

ashleyjordanbrown2 — Fri, 15 Jun 2012 17:01:00 MDT

Pop - RKpopcopy.jpg

POP ART CON PROMOS

hippiekmt — Sun, 10 Jun 2012 18:11:00 MDT

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Pop art - Raw Beauty

tracitrace1 — Tue, 12 Jun 2012 01:15:00 MDT

Pop art - Raw Beauty - 12469_1164305586345_7916140_n.jpg

Avant Garde - Pop art

tracitrace1 — Tue, 12 Jun 2012 01:14:00 MDT

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vsmall audrey pop art

bettybuwie — Mon, 18 Jun 2012 13:38:00 MDT

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kuraj

GO90sGO — Fri, 10 May 2013 14:29:00 MDT

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The Beatles - Help

erikesemo — Tue, 8 Mar 2011 11:40:00 MST

The Beatles - Help - Beatles-HelpStencil.gif

The Beatles - Help

Miles Davis quotKind of Bluequot Six Eye Columbia Records - White Lettering on Black Background - Vinyl LP

foxmusic — Mon, 11 May 2009 01:21:00 MDT

Miles Davis quotKind of Bluequot Six Eye Columbia Records - White Lettering on Black Background - Vinyl LP - JAZZ-LpMilesDavisKindOfBlue.jpg

Kind of Blue isn't merely an artistic highlight for Miles Davis it's an album that towers above its peers a record generally considered as the definitive jazz album a universally acknowledged standard of excellence Why does Kind of Blue posses such a mystique Perhaps because this music never flaunts its genius It lures listeners in with the slow luxurious bassline and gentle piano chords of So What From that moment on the record never really changes pace -- each tune has a similar relaxed feel as the music flows easily Yet Kind of Blue is more than easy listening It's the pinnacle of modal jazz -- tonality and solos build from the overall key not chord changes giving the music a subtly shifting quality All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance They return because this is an exceptional band -- Miles Coltrane Bill Evans Cannonball Adderley Paul Chambers Jimmy Cobb -- one of the greatest in history playing at the peak of its power As Evans said in the original liner notes for the record the band did not play through any of these pieces prior to recording Davis laid out the themes before the tape rolled and then the band improvised The end results were wondrous and still crackle with vitality Kind of Blue works on many different levels It can be played as background music yet it amply rewards close listening It is advanced music that is extraordinarily enjoyable It may be a stretch to say that if you don't like Kind of Blue you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collectionnThroughout a professional career lasting 50 years Miles Davis played the trumpet in a lyrical introspective and melodic style often employing a stemless Harmon mute to make his sound more personal and intimate But if his approach to his instrument was constant his approach to jazz was dazzlingly protean To examine his career is to examine the history of jazz from the mid-'40s to the early '90s since he was in the thick of almost every important innovation and stylistic development in the music during that period and he often led the way in those changes both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions It can even be argued that jazz stopped evolving when Davis wasn't there to push it forwardnnDavis was the son of a dental surgeon Dr Miles Dewey Davis Jr and a music teacher Cleota Mae (Henry) Davis and thus grew up in the black middle class of east St Louis after the family moved there shortly after his birth He became interested in music during his childhood and by the age of 12 began taking trumpet lessons While still in high school he started to get jobs playing in local bars and at 16 was playing gigs out of town on weekends At 17 he joined Eddie Randle's Blue Devils a territory band based in St Louis He enjoyed a personal apotheosis in 1944 just after graduating from high school when he saw and was allowed to sit in with Billy Eckstine's big band who was playing in St Louis The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker the architects of the emerging bebop style of jazz which was characterized by fast inventive soloing and dynamic rhythm variations It is striking that Davis fell so completely under Gillespie and Parker's spell since his own slower and less flashy style never really compared to theirs But bebop was the new sound of the day and the young trumpeter was bound to follow it He did so by leaving the Midwest to attend the Institute of Musical Art in New York City (renamed Juilliard) in September 1944 Shortly after his arrival in Manhattan he was playing in clubs with Parker and by 1945 he had abandoned his academic studies for a full-time career as a jazz musician initially joining Benny Carter's band and making his first recordings as a sideman He played with Eckstine in 1946-1947 and was a member of Parker's group in 1947-1948 making his recording debut as a leader on a 1947 session that featured Parker pianist John Lewis bassist Nelson Boyd and drummer Max Roach This was an isolated date however and Davis spent most of his time playing and recording behind Parker But in the summer of 1948 he organized a nine-piece band with an unusual horn section In addition to himself it featured an alto saxophone a baritone saxophone a trombone a French horn and a tuba This nonet employing arrangements by Gil Evans and others played for two weeks at the Royal Roost in New York in September Earning a contract with Capitol Records the band went into the studio in January 1949 for the first of three sessions which produced 12 tracks that attracted little attention at first The band's relaxed sound however affected the musicians who played it among them Kai Winding Lee Konitz Gerry Mulligan John Lewis JJ Johnson and Kenny Clarke and it had a profound influence on the development of the cool jazz style on the West Coast In February 1957 Capitol finally issued the tracks together on an LP called Birth of the Cool Davis meanwhile had moved on to co-leading a band with pianist Tadd Dameron in 1949 and the group took him out of the country for an appearance at the Paris Jazz Festival in May But the trumpeter's progress was impeded by an addiction to heroin that plagued him in the early '50s His performances and recordings became more haphazard but in January 1951 he began a long series of recordings for the Prestige label that became his main recording outlet for the next several years He managed to kick his habit by the middle of the decade and he made a strong impression playing 'Round Midnight at the Newport Jazz Festival in July 1955 a performance that led the major label Columbia Records to sign him The prestigious contract allowed him to put together a permanent band and he organized a quintet featuring saxophonist John Coltrane pianist Red Garland bassist Paul Chambers and drummer Philly Joe Jones who began recording his Columbia debut 'Round About Midnight in October As it happened however he had a remaining five albums on his Prestige contract and over the next year he was forced to alternate his Columbia sessions with sessions for Prestige to fulfill this previous commitment The latter resulted in the Prestige albums The New Miles Davis Quintet Cookin' Workin' Relaxin' and Steamin' making Davis' first quintet one of his better-documented outfits In May 1957 just three months after Capitol released the Birth of the Cool LP Davis again teamed with arranger Gil Evans for his second Columbia LP Miles Ahead Playing flgelhorn Davis fronted a big band on music that extended the Birth of the Cool concept and even had classical overtones Released in 1958 the album was later inducted into the Grammy Hall of Fame intended to honor recordings made before the Grammy Awards were instituted in 1959 In December 1957 Davis returned to Paris where he improvised the background music for the film L'Ascenseur pour l'Echafaud (Escalator to the Gallows) Jazz Track an album containing this music earned him a 1960 Grammy nomination for Best Jazz Performance Solo or Small Group He added saxophonist Cannonball Adderley to his group creating the Miles Davis Sextet who recorded the album Milestones in April 1958 Shortly after this recording Red Garland was replaced on piano by Bill Evans and Jimmy Cobb took over for Philly Joe Jones on drums In July Davis again collaborated with Gil Evans and an orchestra on an album of music from Porgy and Bess Back in the sextet Davis began to experiment with modal playing basing his improvisations on scales rather than chord changes This led to his next band recording Kind of Blue in March and April 1959 an album that became a landmark in modern jazz and the most popular disc of Davis' career eventually selling over two million copies a phenomenal success for a jazz record In sessions held in November 1959 and March 1960 Davis again followed his pattern of alternating band releases and collaborations with Gil Evans recording Sketches of Spain containing traditional Spanish music and original compositions in that style The album earned Davis and Evans Grammy nominations in 1960 for Best Jazz Performance Large Group and Best Jazz Composition More Than 5 minutes they won in the latter categorynnBy the time Davis returned to the studio to make his next band album in March 1961 Adderley had departed Wynton Kelly had replaced Bill Evans at the piano and John Coltrane had left to begin his successful solo career being replaced by saxophonist Hank Mobley (following the brief tenure of Sonny Stitt) Nevertheless Coltrane guested on a couple of tracks of the album called Someday My Prince Will Come The record made the pop charts in March 1962 but it was preceded into the bestseller lists by the Davis quintet's next recording the two-LP set Miles Davis in Person (Friday Saturday Nights at the Blackhawk San Francisco) recorded in April The following month Davis recorded another live show as he and his band were joined by an orchestra led by Gil Evans at Carnegie Hall in May The resulting Miles Davis at Carnegie Hall was his third LP to reach the pop charts and it earned Davis and Evans a 1962 Grammy nomination for Best Jazz Performance by a Large Group Instrumental Davis and Evans teamed up again in 1962 for what became their final collaboration Quiet Nights The album was not issued until 1964 when it reached the charts and earned a Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group In 1996 Columbia Records released a six-CD box set Miles Davis Gil Evans: The Complete Columbia Studio Recordings that won the Grammy for Best Historical Album Quiet Nights was preceded into the marketplace by Davis' next band effort Seven Steps to Heaven recorded in the spring of 1963 with an entirely new lineup consisting of saxophonist George Coleman pianist Victor Feldman bassist Ron Carter and drummer Frank Butler During the sessions Feldman was replaced by Herbie Hancock and Butler by Tony Williams The album found Davis making a transition to his next great group of which Carter Hancock and Williams would be members It was another pop chart entry that earned 1963 Grammy nominations for both Best Instrumental Jazz Performance by a Soloist or Small Group and Best Instrumental Jazz Performance by a Large Group The quintet followed with two live albums Miles Davis in Europe recorded in July 1963 which made the pop charts and earned a 1964 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group and My Funny Valentine recorded in February 1964 and released in 1965 when it reached the pop charts By September 1964 the final member of the classic Miles Davis Quintet of the 1960s was in place with the addition of saxophonist Wayne Shorter to the team of Davis Carter Hancock and Williams While continuing to play standards in concert this unit embarked on a series of albums of original compositions contributed by the band members starting in January 1965 with ESP followed by Miles Smiles (1967 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group 7 or Fewer) Sorcerer Nefertiti Miles in the Sky (1968 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group) and Filles de Kilimanjaro By the time of Miles in the Sky the group had begun to turn to electric instruments presaging Davis' next stylistic turn By the final sessions for Filles de Kilimanjaro in September 1968 Hancock had been replaced by Chick Corea and Carter by Dave Holland But Hancock along with pianist Joe Zawinul and guitarist John McLaughlin participated on Davis' next album In a Silent Way (1969) which returned the trumpeter to the pop charts for the first time in four years and earned him another small-group jazz performance Grammy nomination With his next album Bitches Brew Davis turned more overtly to a jazz-rock style Though certainly not conventional rock music Davis' electrified sound attracted a young non-jazz audience while putting off traditional jazz fans Bitches Brew released in March 1970 reached the pop Top 40 and became Davis' first album to be certified gold It also earned a Grammy nomination for Best Instrumental Arrangement and won the Grammy for large-group jazz performance He followed it with such similar efforts as Miles Davis at Fillmore East (1971 Grammy nomination for Best Jazz Performance by a Group) A Tribute to Jack Johnson Live-Evil On the Corner and In Concert all of which reached the pop charts Meanwhile Davis' former sidemen became his disciples in a series of fusion groups: Corea formed Return to Forever Shorter and Zawinul led Weather Report and McLaughlin and former Davis drummer Billy Cobham organized the Mahavishnu Orchestra Starting in October 1972 when he broke his ankles in a car accident Davis became less active in the early '70s and in 1975 he gave up recording entirely due to illness undergoing surgery for hip replacement later in the year Five years passed before he returned to action by recording The Man With the Horn in 1980 and going back to touring in 1981 By now he was an elder statesman of jazz and his innovations had been incorporated into the music at least by those who supported his eclectic approach He was also a celebrity whose appeal extended far beyond the basic jazz audience He performed on the worldwide jazz festival circuit and recorded a series of albums that made the pop charts including We Want Miles (1982 Grammy Award for Best Jazz Instrumental Performance by a Soloist) Star People Decoy and You're Under Arrest In 1986 after 30 years with Columbia he switched to Warner Bros Records and released Tutu which won him his fourth Grammy for Best Jazz Instrumental Performance Aura an album he had recorded in 1984 was released by Columbia in 1989 and brought him his fifth Grammy for Best Jazz Instrumental Performance by a Soloist (on a Jazz Recording) Davis surprised jazz fans when on July 8 1991 he joined an orchestra led by Quincy Jones at the Montreux Jazz Festival to perform some of the arrangements written for him in the late '50s by Gil Evans he had never previously looked back at an aspect of his career He died of pneumonia respiratory failure and a stroke within months Doo-Bop his last studio album appeared in 1992 It was a collaboration with rapper Easy Mo Bee and it won a Grammy for Best Rhythm Blues Instrumental Performance with the track Fantasy nominated for Best Jazz Instrumental Solo Released in 1993 Miles Quincy Live at Montreux won Davis his seventh Grammy for Best Large Jazz Ensemble PerformancennMiles Davis took an all-inclusive constantly restless approach to jazz that had begun to fall out of favor by the time of his death even as it earned him controversy during his lifetime It was hard to recognize the bebop acolyte of Charlie Parker in the flamboyantly dressed leader with the hair extensions who seemed to keep one foot on a wah-wah pedal and one hand on an electric keyboard in his later years But he did much to popularize jazz reversing the trend away from commercial appeal that bebop began And whatever the fripperies and explorations he retained an ability to play moving solos that endeared him to audiences and demonstrated his affinity with tradition At a time when jazz is inclining toward academia and repertory orchestras rather than moving forward he is a reminder of the music's essential quality of boundless invention using all available means

pop art wallpaper

dano_hano — Mon, 7 Dec 2009 04:46:00 MST

pop art wallpaper - Pop-Art-.gif

my pop art brings all da bois to da yard

meganislovelyx3 — Mon, 20 Aug 2012 11:27:00 MDT

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Andy Warhol's Interview - Seven Volume Hardcover Set

foxmusic — Mon, 11 May 2009 01:23:00 MDT

Andy Warhol's Interview - Seven Volume Hardcover Set - AndyWarholInterviews.jpg

Andy Warhol's InterviewnnAndy Warhol's Interview - Hardcover 7 Volume Setnby Bruce Weber (Author) Elton John (Author) Jeff Koons (Author) Andy Warhol(Author) Sandy Brant (Editor) Ingrid Sischy (Editor)nnFrom Publishers WeeklynStarred Review Andy Warhol's Interview magazine celebrates its 35th anniversary with this spectacular seven-volume retrospective of its first decade It's a massive definitive reference that cuts a wide swath through '70s pop culture with vibrant and energetic interviews and photos It also has the visceral impact of an objet d'art the books are housed in a Karl Lagerfeld designed crate with wheels and a retractable handle The selected interviews and photos from the first decade have not been reset or resized each 1215 volume offers exact reprints of the magazine's original pages including spelling errors and original ads Each volume is a treasure trove of sparkling uninhibited and entertaining chats with icons on the rise Bette Midler Jack Nicholson Lily Tomlin underground favorites John Waters Holly Woodlawn Mary Woronov living legends Bette Davis Butterfly McQueen Gloria Swanson and those who defined the '70s Rona Barrett Halston Calvin Klein The Covers which runs 160 pages reproduces every cover from Interview's first decade in full color The Pictures (276 pages) features photo shoots by Robert Mapplethorpe Herb Ritts Bruce Weber Francesco Scavullo and others The Interviews (348 pages) offers 123 profiles including ones of Muhammad Ali the Andrews Sisters Gore Vidal the Talking Heads and Tennessee Williams The Andy Warhol Interviews (320 pages) are 77 interviews conducted by Warhol with such personalities as John Lennon and Yoko Ono Sophia Loren and Michael Jackson The Fashion (172 pages) chats with designers like Versace Edith Head and Yves Saint Laurent The Directors (148 pages) includes portraits of 45 directors ranging from Cukor Hitchcock and Capra to the younger generation of Wertmuller Spielberg and Altman The final volume is The Back of the Book a slim (64 pages) collection of Fran Lebowitz's I Cover the Waterfront columns What makes Interview's conversations unique is their free-for-all spirit Warhol brought friends to interviews and taped the marathon session Transcripts include interruptions for ordering food and drop-by celebrity appearances Sometimes even the interviewers shine: a star-struck Angelica Huston interviews Mae West 12-year-old Tatum O'Neal visits Seventh Avenue designers and Anthony Perkins meets his future wife Berry Berenson when she interviews him The vastness of this undertaking is matched by the pleasures found on every pagenCopyright Reed Business Information a division of Reed Elsevier Inc All rights reservednnBook DescriptionnThe October 2004 edition of Interview magazine will mark 35 years of the award winning journal founded by pop art pioneer Andy Warhol In that time it has developed from the newsletter of the Studio 54 set into the definitive guide to the most significant stars of today and tomorrow Adopting an original format the magazine uses recordings of questions and answer sessions to reveal information about celebrities politicians filmmakers musicians and literary figures The questions are often put by another celebrity and the answers are revealing intimate and candid Alongside the interviews are photographs by the crAme de la crAme of celebrity and fashion photography - Robert Mapplethorpe Francesco Scavullo Herb Ritts Ara Gallant Peter Beard Bruce Weber Perry Berenson and others - who are given the opportunity to make some of their most challenging and original work For 35 years Interview has offered an original perspective on the sexy fascinating and funny people who are shaping popular culture This collection of 7 books presents the first catalogue of the first decade of that extraordinary history and like the rare early issues of the magazine is bound to become a valuable collector's item

The Mighty DEath Pop amp Bang Pow Boom by Jacob Gamber

Pyroxide — Sun, 7 Nov 2010 09:33:00 MST

The Mighty DEath Pop amp Bang Pow Boom by Jacob Gamber - death_pop_and_bang_pow_boom_by_pyroxide-d3222ny.jpg

Since the new joker card was revealed i drew up real versions of the new one THE MIGHTY DEATH POP then figured id add the 1st jokers card of the 2nd deck Bang Pow Boom alot of people like this for sum reason but check out the rest of my art at deviantartcompyroxide MCL

Pop art COOL

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Pop art COOL

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John Pescoran: Surreal Pop Art Alive - One Day Forever

PESCORANArt — Sat, 21 Jul 2012 10:56:00 MDT

John Pescoran: Surreal Pop Art Alive - One Day Forever - Zzz-NEXUS-PESCORAN-SurrealPopInMotion-LoveCityHope.gif

http:TheArtofJohnPESCORANblogspotCOM

Love

valnjosh12 — Tue, 26 Jun 2012 09:01:00 MDT

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TIM SHAY WALKING DEAD POP ART SET

hippiekmt — Sun, 10 Jun 2012 18:09:00 MDT

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Pop Art Chaplin

Jeeycress_2009 — Tue, 15 Sep 2009 13:57:00 MDT

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Miles Davis quotCollectors' Itemsquot Prestige Records LP 7044 - Jazz Vinyl Record Album - Deep Groove

foxmusic — Mon, 11 May 2009 01:21:00 MDT

Miles Davis quotCollectors' Itemsquot Prestige Records LP 7044 - Jazz Vinyl Record Album - Deep Groove - JAZZ-LpMilesDavisCollectorsItem-1.jpg

This set lives up to its title by including such interesting sessions as the 1953 date on which Miles Davis welcomed the two tenors of Sonny Rollins and Charlie Parker other meetings with Rollins in 1951 and 1956 and a moody 1955 date with bassist Charles Mingus trombone vibes and drums (a young Elvin Jones) Highlights include No Line Vierd Blues In Your Own Sweet Way Nature Boy and There's No You It's classic if often overlooked music from a variety of immortal jazzmen nnThroughout a professional career lasting 50 years Miles Davis played the trumpet in a lyrical introspective and melodic style often employing a stemless Harmon mute to make his sound more personal and intimate But if his approach to his instrument was constant his approach to jazz was dazzlingly protean To examine his career is to examine the history of jazz from the mid-'40s to the early '90s since he was in the thick of almost every important innovation and stylistic development in the music during that period and he often led the way in those changes both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions It can even be argued that jazz stopped evolving when Davis wasn't there to push it forwardnnDavis was the son of a dental surgeon Dr Miles Dewey Davis Jr and a music teacher Cleota Mae (Henry) Davis and thus grew up in the black middle class of east St Louis after the family moved there shortly after his birth He became interested in music during his childhood and by the age of 12 began taking trumpet lessons While still in high school he started to get jobs playing in local bars and at 16 was playing gigs out of town on weekends At 17 he joined Eddie Randle's Blue Devils a territory band based in St Louis He enjoyed a personal apotheosis in 1944 just after graduating from high school when he saw and was allowed to sit in with Billy Eckstine's big band who was playing in St Louis The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker the architects of the emerging bebop style of jazz which was characterized by fast inventive soloing and dynamic rhythm variations It is striking that Davis fell so completely under Gillespie and Parker's spell since his own slower and less flashy style never really compared to theirs But bebop was the new sound of the day and the young trumpeter was bound to follow it He did so by leaving the Midwest to attend the Institute of Musical Art in New York City (renamed Juilliard) in September 1944 Shortly after his arrival in Manhattan he was playing in clubs with Parker and by 1945 he had abandoned his academic studies for a full-time career as a jazz musician initially joining Benny Carter's band and making his first recordings as a sideman He played with Eckstine in 1946-1947 and was a member of Parker's group in 1947-1948 making his recording debut as a leader on a 1947 session that featured Parker pianist John Lewis bassist Nelson Boyd and drummer Max Roach This was an isolated date however and Davis spent most of his time playing and recording behind Parker But in the summer of 1948 he organized a nine-piece band with an unusual horn section In addition to himself it featured an alto saxophone a baritone saxophone a trombone a French horn and a tuba This nonet employing arrangements by Gil Evans and others played for two weeks at the Royal Roost in New York in September Earning a contract with Capitol Records the band went into the studio in January 1949 for the first of three sessions which produced 12 tracks that attracted little attention at first The band's relaxed sound however affected the musicians who played it among them Kai Winding Lee Konitz Gerry Mulligan John Lewis JJ Johnson and Kenny Clarke and it had a profound influence on the development of the cool jazz style on the West Coast In February 1957 Capitol finally issued the tracks together on an LP called Birth of the Cool Davis meanwhile had moved on to co-leading a band with pianist Tadd Dameron in 1949 and the group took him out of the country for an appearance at the Paris Jazz Festival in May But the trumpeter's progress was impeded by an addiction to heroin that plagued him in the early '50s His performances and recordings became more haphazard but in January 1951 he began a long series of recordings for the Prestige label that became his main recording outlet for the next several years He managed to kick his habit by the middle of the decade and he made a strong impression playing 'Round Midnight at the Newport Jazz Festival in July 1955 a performance that led the major label Columbia Records to sign him The prestigious contract allowed him to put together a permanent band and he organized a quintet featuring saxophonist John Coltrane pianist Red Garland bassist Paul Chambers and drummer Philly Joe Jones who began recording his Columbia debut 'Round About Midnight in October As it happened however he had a remaining five albums on his Prestige contract and over the next year he was forced to alternate his Columbia sessions with sessions for Prestige to fulfill this previous commitment The latter resulted in the Prestige albums The New Miles Davis Quintet Cookin' Workin' Relaxin' and Steamin' making Davis' first quintet one of his better-documented outfits In May 1957 just three months after Capitol released the Birth of the Cool LP Davis again teamed with arranger Gil Evans for his second Columbia LP Miles Ahead Playing flgelhorn Davis fronted a big band on music that extended the Birth of the Cool concept and even had classical overtones Released in 1958 the album was later inducted into the Grammy Hall of Fame intended to honor recordings made before the Grammy Awards were instituted in 1959 In December 1957 Davis returned to Paris where he improvised the background music for the film L'Ascenseur pour l'Echafaud (Escalator to the Gallows) Jazz Track an album containing this music earned him a 1960 Grammy nomination for Best Jazz Performance Solo or Small Group He added saxophonist Cannonball Adderley to his group creating the Miles Davis Sextet who recorded the album Milestones in April 1958 Shortly after this recording Red Garland was replaced on piano by Bill Evans and Jimmy Cobb took over for Philly Joe Jones on drums In July Davis again collaborated with Gil Evans and an orchestra on an album of music from Porgy and Bess Back in the sextet Davis began to experiment with modal playing basing his improvisations on scales rather than chord changes This led to his next band recording Kind of Blue in March and April 1959 an album that became a landmark in modern jazz and the most popular disc of Davis' career eventually selling over two million copies a phenomenal success for a jazz record In sessions held in November 1959 and March 1960 Davis again followed his pattern of alternating band releases and collaborations with Gil Evans recording Sketches of Spain containing traditional Spanish music and original compositions in that style The album earned Davis and Evans Grammy nominations in 1960 for Best Jazz Performance Large Group and Best Jazz Composition More Than 5 minutes they won in the latter categorynnBy the time Davis returned to the studio to make his next band album in March 1961 Adderley had departed Wynton Kelly had replaced Bill Evans at the piano and John Coltrane had left to begin his successful solo career being replaced by saxophonist Hank Mobley (following the brief tenure of Sonny Stitt) Nevertheless Coltrane guested on a couple of tracks of the album called Someday My Prince Will Come The record made the pop charts in March 1962 but it was preceded into the bestseller lists by the Davis quintet's next recording the two-LP set Miles Davis in Person (Friday amp Saturday Nights at the Blackhawk San Francisco) recorded in April The following month Davis recorded another live show as he and his band were joined by an orchestra led by Gil Evans at Carnegie Hall in May The resulting Miles Davis at Carnegie Hall was his third LP to reach the pop charts and it earned Davis and Evans a 1962 Grammy nomination for Best Jazz Performance by a Large Group Instrumental Davis and Evans teamed up again in 1962 for what became their final collaboration Quiet Nights The album was not issued until 1964 when it reached the charts and earned a Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group In 1996 Columbia Records released a six-CD box set Miles Davis amp Gil Evans: The Complete Columbia Studio Recordings that won the Grammy for Best Historical Album Quiet Nights was preceded into the marketplace by Davis' next band effort Seven Steps to Heaven recorded in the spring of 1963 with an entirely new lineup consisting of saxophonist George Coleman pianist Victor Feldman bassist Ron Carter and drummer Frank Butler During the sessions Feldman was replaced by Herbie Hancock and Butler by Tony Williams The album found Davis making a transition to his next great group of which Carter Hancock and Williams would be members It was another pop chart entry that earned 1963 Grammy nominations for both Best Instrumental Jazz Performance by a Soloist or Small Group and Best Instrumental Jazz Performance by a Large Group The quintet followed with two live albums Miles Davis in Europe recorded in July 1963 which made the pop charts and earned a 1964 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group and My Funny Valentine recorded in February 1964 and released in 1965 when it reached the pop charts By September 1964 the final member of the classic Miles Davis Quintet of the 1960s was in place with the addition of saxophonist Wayne Shorter to the team of Davis Carter Hancock and Williams While continuing to play standards in concert this unit embarked on a series of albums of original compositions contributed by the band members starting in January 1965 with ESP followed by Miles Smiles (1967 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group 7 or Fewer) Sorcerer Nefertiti Miles in the Sky (1968 Grammy nomination for Best Instrumental Jazz Performance by a Small Group or Soloist with Small Group) and Filles de Kilimanjaro By the time of Miles in the Sky the group had begun to turn to electric instruments presaging Davis' next stylistic turn By the final sessions for Filles de Kilimanjaro in September 1968 Hancock had been replaced by Chick Corea and Carter by Dave Holland But Hancock along with pianist Joe Zawinul and guitarist John McLaughlin participated on Davis' next album In a Silent Way (1969) which returned the trumpeter to the pop charts for the first time in four years and earned him another small-group jazz performance Grammy nomination With his next album Bitches Brew Davis turned more overtly to a jazz-rock style Though certainly not conventional rock music Davis' electrified sound attracted a young non-jazz audience while putting off traditional jazz fans Bitches Brew released in March 1970 reached the pop Top 40 and became Davis' first album to be certified gold It also earned a Grammy nomination for Best Instrumental Arrangement and won the Grammy for large-group jazz performance He followed it with such similar efforts as Miles Davis at Fillmore East (1971 Grammy nomination for Best Jazz Performance by a Group) A Tribute to Jack Johnson Live-Evil On the Corner and In Concert all of which reached the pop charts Meanwhile Davis' former sidemen became his disciples in a series of fusion groups: Corea formed Return to Forever Shorter and Zawinul led Weather Report and McLaughlin and former Davis drummer Billy Cobham organized the Mahavishnu Orchestra Starting in October 1972 when he broke his ankles in a car accident Davis became less active in the early '70s and in 1975 he gave up recording entirely due to illness undergoing surgery for hip replacement later in the year Five years passed before he returned to action by recording The Man With the Horn in 1980 and going back to touring in 1981 By now he was an elder statesman of jazz and his innovations had been incorporated into the music at least by those who supported his eclectic approach He was also a celebrity whose appeal extended far beyond the basic jazz audience He performed on the worldwide jazz festival circuit and recorded a series of albums that made the pop charts including We Want Miles (1982 Grammy Award for Best Jazz Instrumental Performance by a Soloist) Star People Decoy and You're Under Arrest In 1986 after 30 years with Columbia he switched to Warner Bros Records and released Tutu which won him his fourth Grammy for Best Jazz Instrumental Performance Aura an album he had recorded in 1984 was released by Columbia in 1989 and brought him his fifth Grammy for Best Jazz Instrumental Performance by a Soloist (on a Jazz Recording) Davis surprised jazz fans when on July 8 1991 he joined an orchestra led by Quincy Jones at the Montreux Jazz Festival to perform some of the arrangements written for him in the late '50s by Gil Evans he had never previously looked back at an aspect of his career He died of pneumonia respiratory failure and a stroke within months Doo-Bop his last studio album appeared in 1992 It was a collaboration with rapper Easy Mo Bee and it won a Grammy for Best Rhythm amp Blues Instrumental Performance with the track Fantasy nominated for Best Jazz Instrumental Solo Released in 1993 Miles amp Quincy Live at Montreux won Davis his seventh Grammy for Best Large Jazz Ensemble PerformancennMiles Davis took an all-inclusive constantly restless approach to jazz that had begun to fall out of favor by the time of his death even as it earned him controversy during his lifetime It was hard to recognize the bebop acolyte of Charlie Parker in the flamboyantly dressed leader with the hair extensions who seemed to keep one foot on a wah-wah pedal and one hand on an electric keyboard in his later years But he did much to popularize jazz reversing the trend away from commercial appeal that bebop began And whatever the fripperies and explorations he retained an ability to play moving solos that endeared him to audiences and demonstrated his affinity with tradition At a time when jazz is inclining toward academia and repertory orchestras rather than moving forward he is a reminder of the music's essential quality of boundless invention using all available means

Tattoo Pop Art

atorrero — Sun, 25 Jul 2010 10:51:00 MDT

Tattoo Pop Art - Angel-Wings-Tattoos.jpg

Andy Warhol - Blow Job RECON

dickwhyte — Mon, 7 Nov 2011 06:13:00 MST

Andy Warhol - Blow Job RECON - AndyWarhol-Blowjob.gif

Reconstructing the history of experimental film using frames sourced from internet image search engines: http:reconstumblrcom

Bom

ZombiesAreCool — Fri, 15 Jun 2012 11:26:00 MDT

Bom - 2ne1_fan-art_i-am-the-best_03.jpg

Pink Floyd quotDark Side of the Moonquot Harvest Records 11163 - 1973 Vinyl LP w Poster and Post Cards

foxmusic — Mon, 11 May 2009 01:21:00 MDT

Pink Floyd quotDark Side of the Moonquot Harvest Records 11163 - 1973 Vinyl LP w Poster and Post Cards - PROG-PinkFloydLPDarkSideOfTheMoon.jpg

By condensing the sonic explorations of Meddle to actual songs and adding a lush immaculate production to their trippiest instrumental sections Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon The primary revelation of Dark Side of the Moon is what a little focus does for the band Roger Waters wrote a series of songs about mundane everyday details which aren't that impressive by themselves but when given the sonic backdrop of Floyd's slow atmospheric soundscapes and carefully placed sound effects they achieve an emotional resonance But what gives the album true power is the subtly textured music which evolves from ponderous neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia It's dense with detail but leisurely paced creating its own dark haunting world Pink Floyd may have better albums than Dark Side of the Moon but no other record defines them quite as well as this onenPink Floyd is the premier space rock band Since the mid-'60s their music relentlessly tinkered with electronics and all manner of special effects to push pop formats to their outer limits At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on almost classical operatic quality in both sound and words Despite their astral image the group was brought down to earth in the 1980s by decidedly mundane power struggles over leadership and ultimately ownership of the band's very name After that time they were little more than a dinosaur act capable of filling stadiums and topping the charts but offering little more than a spectacular recreation of their most successful formulas Their latter-day staleness cannot disguise the fact that for the first decade or so of their existence they were one of the most innovative groups around in concert and (especially) in the studionnWhile Pink Floyd are mostly known for their grandiose concept albums of the 1970s they started as a very different sort of psychedelic band Soon after they first began playing together in the mid-'60s they fell firmly under the leadership of lead guitarist Syd Barrett the gifted genius who would write and sing most of their early material The Cambridge native shared the stage with Roger Waters (bass) Rick Wright (keyboards) and Nick Mason (drums) The name Pink Floyd seemingly so far-out was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council) And at first Pink Floyd were much more conventional than the act into which they would evolve concentrating on the rock and RampB material that were so common to the repertoires of mid-'60s British bandsnnPink Floyd quickly began to experiment however stretching out songs with wild instrumental freak-out passages incorporating feedback electronic screeches and unusual eerie sounds created by loud amplification reverb and such tricks as sliding ball bearings up and down guitar strings In 1966 they began to pick up a following in the London underground on-stage they began to incorporate light shows to add to the psychedelic effect Most importantly Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic childlike wondernnThe group landed a recording contract with EMI in early 1967 and made the Top 20 with a brilliant debut single Arnold Layne a sympathetic comic vignette about a transvestite The follow-up the kaleidoscopic See Emily Play made the Top Ten The debut album The Piper at the Gates of Dawn also released in 1967 may have been the greatest British psychedelic album other than Sgt Pepper's Dominated almost wholly by Barrett's songs the album was a charming fun house of driving mysterious rockers (Lucifer Sam) odd character sketches (The Gnome) childhood flashbacks (Bike Matilda Mother) and freakier pieces with lengthy instrumental passages (Astronomy Domine Interstellar Overdrive Pow R Toch) that mapped out their fascination with space travel The record was not only like no other at the time it was like no other that Pink Floyd would make colored as it was by a vision that was far more humorous pop-friendly and lighthearted than those of their subsequent epicsnnThe reason Pink Floyd never made a similar album was that Piper was the only one to be recorded under Barrett's leadership Around mid-1967 the prodigy began showing increasingly alarming signs of mental instability Barrett would go catatonic on-stage playing music that had little to do with the material or not playing at all An American tour had to be cut short when he was barely able to function at all let alone play the pop star game Dependent upon Barrett for most of their vision and material the rest of the group was nevertheless finding him impossible to work with live or in the studionnAround the beginning of 1968 guitarist Dave Gilmour a friend of the band who was also from Cambridge was brought in as a fifth member The idea was that Gilmour would enable the Floyd to continue as a live outfit Barrett would still be able to write and contribute to the records That couldn't work either and within a few months Barrett was out of the group Pink Floyd's management looking at the wreckage of a band that was now without its lead guitarist lead singer and primary songwriter decided to abandon the group and manage Barrett as a solo actnnSuch calamities would have proven insurmountable for 99 out of 100 bands in similar predicaments Incredibly Pink Floyd would regroup and not only maintain their popularity but eventually become even more successful It was early in the game yet after all the first album had made the British Top Ten but the group was still virtually unknown in America where the loss of Syd Barrett meant nothing to the media Gilmour was an excellent guitarist and the band proved capable of writing enough original material to generate further ambitious albums Waters eventually emerging as the dominant composer The 1968 follow-up to Piper at the Gates of Dawn A Saucerful of Secrets made the British Top Ten using Barrett's vision as an obvious blueprint but taking a more formal somber and quasi-classical tone especially in the long instrumental parts Barrett for his part would go on to make a couple of interesting solo records before his mental problems instigated a retreat into oblivionnnOver the next four years Pink Floyd would continue to polish their brand of experimental rock which married psychedelia with ever-grander arrangements on a Wagnerian operatic scale Hidden underneath the pulsing reverberant organs and guitars and insistently restated themes were subtle blues and pop influences that kept the material accessible to a wide audience Abandoning the singles market they concentrated on album-length works and built a huge following in the progressive rock underground with constant touring in both Europe and North America While LPs like Ummagumma (divided into live recordings and experimental outings by each member of the band) Atom Heart Mother (a collaboration with composer Ron Geesin) and More (a film soundtrack) were erratic each contained some extremely effective musicnnBy the early '70s Syd Barrett was a fading or nonexistent memory for most of Pink Floyd's fans although the group one could argue never did match the brilliance of that somewhat anomalous 1967 debut Meddle (1971) sharpened the band's sprawling epics into something more accessible and polished the science fiction ambience that the group had been exploring ever since 1968 Nothing however prepared Pink Floyd or their audience for the massive mainstream success of their 1973 album Dark Side of the Moon which made their brand of cosmic rock even more approachable with state-of-the-art production more focused songwriting an army of well-time stereophonic sound effects and touches of saxophone and soulful female backup vocalsnnDark Side of the Moon finally broke Pink Floyd as superstars in the United States where it made number one More astonishingly it made them one of the biggest-selling acts of all time Dark Side of the Moon spent an incomprehensible 741 weeks on the Billboard album chart Additionally the primarily instrumental textures of the songs helped make Dark Side of the Moon easily translatable on an international level and the record became (and still is) one of the most popular rock albums worldwidennIt was also an extremely hard act to follow although the follow-up Wish You Were Here (1975) also made number one highlighted by a tribute of sorts to the long-departed Barrett Shine On You Crazy Diamond Dark Side of the Moon had been dominated by lyrical themes of insecurity fear and the cold sterility of modern life Wish You Were Here and Animals (1977) developed these morose themes even more explicitly By this time Waters was taking a firm hand over Pink Floyd's lyrical and musical vision which was consolidated by The Wall (1979)nnThe bleak overambitious double concept album concerned itself with the material and emotional walls modern humans build around themselves for survival The Wall was a huge success (even by Pink Floyd's standards) in part because the music was losing some of its heavy-duty electronic textures in favor of more approachable pop elements Although Pink Floyd had rarely even released singles since the late '60s one of the tracks Another Brick in the Wall became a transatlantic number one The band had been launching increasingly elaborate stage shows throughout the '70s but the touring production of The Wall featuring a construction of an actual wall during the band's performance was the most excessive yetnnIn the 1980s the group began to unravel Each of the four had done some side and solo projects in the past more troublingly Waters was asserting control of the band's musical and lyrical identity That wouldn't have been such a problem had The Final Cut (1983) been such an unimpressive effort with little of the electronic innovation so typical of their previous work Shortly afterward the band split up -- for a while In 1986 Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had lost full membership status entirely) Waters lost leaving a Roger-less Pink Floyd to get a Top Five album with Momentary Lapse of Reason in 1987 In an irony that was nothing less than cosmic about 20 years after Pink Floyd shed their original leader to resume their career with great commercial success they would do the same again to his successor Waters released ambitious solo albums to nothing more than moderate sales and attention while he watched his former colleagues (with Wright back in tow) rescale the chartsnnPink Floyd still had a huge fan base but there's little that's noteworthy about their post-Waters output They knew their formula could execute it on a grand scale and could count on millions of customers -- many of them unborn when Dark Side of the Moon came out and unaware that Syd Barrett was ever a member -- to buy their records and see their sporadic tours The Division Bell their first studio album in seven years topped the charts in 1994 without making any impact on the current rock scene except in a marketing sense Ditto for the live Pulse album recorded during a typically elaborately staged 1994 tour which included a concert version of The Dark Side of the Moon in its entirety Waters' solo career sputtered along highlighted by a solo recreation of The Wall performed at the site of the former Berlin Wall in 1990 and released as an album Syd Barrett continued to be completely removed from the public eye except as a sort of archetype for the fallen genius

She-Ra Princess of Power

cosmicfalcon — Wed, 22 Jul 2009 04:20:00 MDT

She-Ra Princess of Power - She-Rasitting.jpg

This image is from one of the PoP coloring bookactivity books

Charles Bronson Pop Art on Plexi - 50

littlegen1 — Fri, 24 Aug 2012 06:49:00 MDT

Charles Bronson Pop Art on Plexi - 50 - Bronson_plexi.jpg

pop art mod nn

valerock666 — Mon, 11 May 2009 11:22:00 MDT

pop art mod nn - poptastic_glasgow_pop_art.jpg

Colors of Life Reflect on Art Collage

danisalerno — Tue, 14 Jul 2009 17:12:00 MDT

Colors of Life Reflect on Art Collage - P1130454copia-1.jpg

Pink Floyd quotA Saucer Full of Secretsquot Tower Records 5131 - Striped Label - 1968 Progressive Rock Vinyl LP

foxmusic — Mon, 11 May 2009 01:21:00 MDT

Pink Floyd quotA Saucer Full of Secretsquot Tower Records 5131 - Striped Label - 1968 Progressive Rock Vinyl LP - PROG-PinkFloydLPSaucerFullofSecrets.jpg

A transitional album on which the band moved from Syd Barrett's relatively concise and vivid songs to spacy ethereal material with lengthy instrumental passages Barrett's influence is still felt (he actually did manage to contribute one track the jovial Jugband Blues) and much of the material retains a gentle fairy-tale ambience Remember a Day and See Saw are highlights on Set the Controls for the Heart of the Sun Let There Be More Light and the lengthy instrumental title track the band begin to map out the dark and repetitive pulses that would characterize their next few recordsnnPink Floyd is the premier space rock band Since the mid-'60s their music relentlessly tinkered with electronics and all manner of special effects to push pop formats to their outer limits At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on almost classical operatic quality in both sound and words Despite their astral image the group was brought down to earth in the 1980s by decidedly mundane power struggles over leadership and ultimately ownership of the band's very name After that time they were little more than a dinosaur act capable of filling stadiums and topping the charts but offering little more than a spectacular recreation of their most successful formulas Their latter-day staleness cannot disguise the fact that for the first decade or so of their existence they were one of the most innovative groups around in concert and (especially) in the studionnWhile Pink Floyd are mostly known for their grandiose concept albums of the 1970s they started as a very different sort of psychedelic band Soon after they first began playing together in the mid-'60s they fell firmly under the leadership of lead guitarist Syd Barrett the gifted genius who would write and sing most of their early material The Cambridge native shared the stage with Roger Waters (bass) Rick Wright (keyboards) and Nick Mason (drums) The name Pink Floyd seemingly so far-out was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council) And at first Pink Floyd were much more conventional than the act into which they would evolve concentrating on the rock and RampB material that were so common to the repertoires of mid-'60s British bandsnnPink Floyd quickly began to experiment however stretching out songs with wild instrumental freak-out passages incorporating feedback electronic screeches and unusual eerie sounds created by loud amplification reverb and such tricks as sliding ball bearings up and down guitar strings In 1966 they began to pick up a following in the London underground on-stage they began to incorporate light shows to add to the psychedelic effect Most importantly Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic childlike wondernnThe group landed a recording contract with EMI in early 1967 and made the Top 20 with a brilliant debut single Arnold Layne a sympathetic comic vignette about a transvestite The follow-up the kaleidoscopic See Emily Play made the Top Ten The debut album The Piper at the Gates of Dawn also released in 1967 may have been the greatest British psychedelic album other than Sgt Pepper's Dominated almost wholly by Barrett's songs the album was a charming fun house of driving mysterious rockers (Lucifer Sam) odd character sketches (The Gnome) childhood flashbacks (Bike Matilda Mother) and freakier pieces with lengthy instrumental passages (Astronomy Domine Interstellar Overdrive Pow R Toch) that mapped out their fascination with space travel The record was not only like no other at the time it was like no other that Pink Floyd would make colored as it was by a vision that was far more humorous pop-friendly and lighthearted than those of their subsequent epicsnnThe reason Pink Floyd never made a similar album was that Piper was the only one to be recorded under Barrett's leadership Around mid-1967 the prodigy began showing increasingly alarming signs of mental instability Barrett would go catatonic on-stage playing music that had little to do with the material or not playing at all An American tour had to be cut short when he was barely able to function at all let alone play the pop star game Dependent upon Barrett for most of their vision and material the rest of the group was nevertheless finding him impossible to work with live or in the studionnAround the beginning of 1968 guitarist Dave Gilmour a friend of the band who was also from Cambridge was brought in as a fifth member The idea was that Gilmour would enable the Floyd to continue as a live outfit Barrett would still be able to write and contribute to the records That couldn't work either and within a few months Barrett was out of the group Pink Floyd's management looking at the wreckage of a band that was now without its lead guitarist lead singer and primary songwriter decided to abandon the group and manage Barrett as a solo actnnSuch calamities would have proven insurmountable for 99 out of 100 bands in similar predicaments Incredibly Pink Floyd would regroup and not only maintain their popularity but eventually become even more successful It was early in the game yet after all the first album had made the British Top Ten but the group was still virtually unknown in America where the loss of Syd Barrett meant nothing to the media Gilmour was an excellent guitarist and the band proved capable of writing enough original material to generate further ambitious albums Waters eventually emerging as the dominant composer The 1968 follow-up to Piper at the Gates of Dawn A Saucerful of Secrets made the British Top Ten using Barrett's vision as an obvious blueprint but taking a more formal somber and quasi-classical tone especially in the long instrumental parts Barrett for his part would go on to make a couple of interesting solo records before his mental problems instigated a retreat into oblivionnnOver the next four years Pink Floyd would continue to polish their brand of experimental rock which married psychedelia with ever-grander arrangements on a Wagnerian operatic scale Hidden underneath the pulsing reverberant organs and guitars and insistently restated themes were subtle blues and pop influences that kept the material accessible to a wide audience Abandoning the singles market they concentrated on album-length works and built a huge following in the progressive rock underground with constant touring in both Europe and North America While LPs like Ummagumma (divided into live recordings and experimental outings by each member of the band) Atom Heart Mother (a collaboration with composer Ron Geesin) and More (a film soundtrack) were erratic each contained some extremely effective musicnnBy the early '70s Syd Barrett was a fading or nonexistent memory for most of Pink Floyd's fans although the group one could argue never did match the brilliance of that somewhat anomalous 1967 debut Meddle (1971) sharpened the band's sprawling epics into something more accessible and polished the science fiction ambience that the group had been exploring ever since 1968 Nothing however prepared Pink Floyd or their audience for the massive mainstream success of their 1973 album Dark Side of the Moon which made their brand of cosmic rock even more approachable with state-of-the-art production more focused songwriting an army of well-time stereophonic sound effects and touches of saxophone and soulful female backup vocalsnnDark Side of the Moon finally broke Pink Floyd as superstars in the United States where it made number one More astonishingly it made them one of the biggest-selling acts of all time Dark Side of the Moon spent an incomprehensible 741 weeks on the Billboard album chart Additionally the primarily instrumental textures of the songs helped make Dark Side of the Moon easily translatable on an international level and the record became (and still is) one of the most popular rock albums worldwidennIt was also an extremely hard act to follow although the follow-up Wish You Were Here (1975) also made number one highlighted by a tribute of sorts to the long-departed Barrett Shine On You Crazy Diamond Dark Side of the Moon had been dominated by lyrical themes of insecurity fear and the cold sterility of modern life Wish You Were Here and Animals (1977) developed these morose themes even more explicitly By this time Waters was taking a firm hand over Pink Floyd's lyrical and musical vision which was consolidated by The Wall (1979)nnThe bleak overambitious double concept album concerned itself with the material and emotional walls modern humans build around themselves for survival The Wall was a huge success (even by Pink Floyd's standards) in part because the music was losing some of its heavy-duty electronic textures in favor of more approachable pop elements Although Pink Floyd had rarely even released singles since the late '60s one of the tracks Another Brick in the Wall became a transatlantic number one The band had been launching increasingly elaborate stage shows throughout the '70s but the touring production of The Wall featuring a construction of an actual wall during the band's performance was the most excessive yetnnIn the 1980s the group began to unravel Each of the four had done some side and solo projects in the past more troublingly Waters was asserting control of the band's musical and lyrical identity That wouldn't have been such a problem had The Final Cut (1983) been such an unimpressive effort with little of the electronic innovation so typical of their previous work Shortly afterward the band split up -- for a while In 1986 Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had lost full membership status entirely) Waters lost leaving a Roger-less Pink Floyd to get a Top Five album with Momentary Lapse of Reason in 1987 In an irony that was nothing less than cosmic about 20 years after Pink Floyd shed their original leader to resume their career with great commercial success they would do the same again to his successor Waters released ambitious solo albums to nothing more than moderate sales and attention while he watched his former colleagues (with Wright back in tow) rescale the chartsnnPink Floyd still had a huge fan base but there's little that's noteworthy about their post-Waters output They knew their formula could execute it on a grand scale and could count on millions of customers -- many of them unborn when Dark Side of the Moon came out and unaware that Syd Barrett was ever a member -- to buy their records and see their sporadic tours The Division Bell their first studio album in seven years topped the charts in 1994 without making any impact on the current rock scene except in a marketing sense Ditto for the live Pulse album recorded during a typically elaborately staged 1994 tour which included a concert version of The Dark Side of the Moon in its entirety Waters' solo career sputtered along highlighted by a solo recreation of The Wall performed at the site of the former Berlin Wall in 1990 and released as an album Syd Barrett continued to be completely removed from the public eye except as a sort of archetype for the fallen genius

Playing with the Pop Art effect on Webcam Toy

haf6 — Fri, 8 Jun 2012 09:56:00 MDT

Playing with the Pop Art effect on Webcam Toy - 541277_383365865049046_1259965737_n.jpg

CL

ZombiesAreCool — Fri, 15 Jun 2012 11:26:00 MDT

CL - 2ne1_fan-art_i-am-the-best_04.jpg

Ring Tower

junormaneureka — Thu, 31 May 2012 18:18:00 MDT

Ring Tower - DSCN1637.jpg

julie pop art

marielajane — Sun, 10 Jun 2012 10:16:00 MDT

julie pop art - juliepopart.jpg

tat angel

brandtfamily2007 — Mon, 28 Dec 2009 20:15:00 MST

tat angel - angel-tattoo-6.jpg

Renata-pop art

marcabval — Sun, 10 Jun 2012 01:35:00 MDT

Renata-pop art - Renata-popart.jpg

Playing with the Pop Art effect on Webcam Toy

haf6 — Fri, 8 Jun 2012 10:00:00 MDT

Playing with the Pop Art effect on Webcam Toy - 419182_312040855514881_1777111591_n.jpg

pop art

iamlook — Mon, 11 May 2009 10:47:00 MDT

pop art - pop-art.jpg

Minzy

ZombiesAreCool — Thu, 14 Jun 2012 23:00:00 MDT

Minzy - 2ne1_fan-art_i-am-the-best_06.jpg

Andy Warhol quotFlowersquot Screenprint -- Pop Art

foxmusic — Mon, 11 May 2009 01:23:00 MDT

Andy Warhol quotFlowersquot Screenprint -- Pop Art - WarholBookAndyWarhol.jpg

Andy Warholnnby Andy Warhol (editor) Pontus Hulten (editor) Kasper Konig (editor) Olle Granath (editor)nnFamed and prized among Andy Warhol aficionados the Swedish Moderna Museet's massive catalogue for the artist's 1968 solo exhibition was one of the great accomplishments of art publishing In The Photobook: A History Vol II Martin Parr and Gerry Badger describe it as a quintessential photobook cornucopias of photographic imagery in which found photographs snapshots photographs by Warhol's associates photographic reproductions of his 'paintings' (themselves silk-screened photographs) and other kinds of imagery are collaged to talk about one basic subject--the gargantuan ego and artistic talent of Andy Warhol It is an exhibition catalogue that transcends any limitations that might be suggested by this genre The text for the Moderna Museet catalogue is also significant: instead of essays the editors let the artist speak for himself in a series of quotations published in English and Swedish Here Warhol's most famous aphorism first saw print: In the future everybody will be world famous for fifteen minutes Most of the images in this book derive from a photo album donated by Warhol to the Moderna Museet that contains several hundred black-and-white photos from his life in the second half of the 1960s Many were taken by the photographers Billy Name and Stephen Shore who both got their first assignments through their photographs of artists rock stars models actors and others in the circles around Warhol at the Factory Other featured photographers in the book include Rudy Burckhardt Eric Pollitzer and John D Schiff For Moderna Museet's fiftieth anniversary in 2008 and its exhibition Andy Warhol: Other Voices Other Rooms (created in collaboration with the Stedelijk Museum in Amsterdam) Steidl adds to the celebrations by reprinting a new edition of this classic book

Andy Warhol amp Pop art

newsless — Tue, 24 Nov 2009 06:15:00 MST

Andy Warhol amp Pop art - andy2.jpg

Dara

ZombiesAreCool — Thu, 14 Jun 2012 22:59:00 MDT

Dara - 2ne1_fan-art_i-am-the-best_05.jpg

Sign Post

junormaneureka — Thu, 31 May 2012 18:18:00 MDT

Sign Post - DSCN1635.jpg

studded pop art 4

bettybuwie — Sun, 17 Jun 2012 19:24:00 MDT

studded pop art 4 - studdedpopart4.jpg

Robert Pattinson US Magizine Pop Art

Lil_C_Rocker — Thu, 23 Jul 2009 09:10:00 MDT

Robert Pattinson US Magizine Pop Art - 00000.jpg

Cool

pop-art-cow

cows33 — Fri, 1 Jun 2012 11:21:00 MDT

pop-art-cow - pop-art-cow.jpg

Banammas

junormaneureka — Thu, 31 May 2012 18:18:00 MDT

Banammas - DSCN1692.jpg

Linkin Park - Hybrid Theroy Logo

lnkn_prk13 — Fri, 21 May 2010 04:55:00 MDT

Linkin Park - Hybrid Theroy Logo - logo-ht-3-1.png

Just Popped Art'ed It

pop tab art purse 130

gbausano — Sat, 18 Aug 2012 00:09:00 MDT

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She-Ra Princess of Power

cosmicfalcon — Wed, 15 Aug 2012 10:03:00 MDT

She-Ra Princess of Power - 211.jpg

Screen cap taken from the episode The Laughing Dragon showing Castaspella her horse Name sex of the horse was never mentioned in the cartoon but I'm sure it's specified in the series bible although I've never read that

Birthstone Hearts

junormaneureka — Thu, 31 May 2012 18:18:00 MDT

Birthstone Hearts - DSCN1641.jpg

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:33:00 MST

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Boys and Frogs Fractal Art Space II - w Courtney Marie Andrews Whisperlights Owl and Penny Kenny Bump

boysandfrogs — Sat, 21 May 2011 10:57:00 MDT

Boys and Frogs Fractal Art Space II - w Courtney Marie Andrews Whisperlights Owl and Penny Kenny Bump - Fractal012210.jpg

Boys and Frogs FREE live performance at the Grand Opening of the Fractal ArtSpace January 22nd 2010 at 7 PM with Whisperlights Courtney Marie Andrews Owl Penny and Kenny Bump

Jugando con el efecto Pop Art en Webcam Toy

krichy123456 — Thu, 7 Jun 2012 20:41:00 MDT

Jugando con el efecto Pop Art en Webcam Toy - 579554_310035252408858_578095558_n.jpg

Bobble Lampshade

junormaneureka — Thu, 31 May 2012 18:18:00 MDT

Bobble Lampshade - DSCN1683.jpg

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:33:00 MST

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:33:00 MST

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POP ART Johnny Depp

A_SMALL_COLLECTION_OF_MY_ARTWORK — Mon, 11 May 2009 08:57:00 MDT

POP ART Johnny Depp - JONNYDEPP.jpg

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:33:00 MST

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A1ECA05F.jpg

marisatomaiuolo — Fri, 10 May 2013 14:39:00 MDT

A1ECA05F.jpg

Uploaded with Snapbucket

Surreal Pop Alive - JULIAN CASABLANCAS - PESCORAN Art

PESCORANArt — Mon, 1 Oct 2012 17:49:00 MDT

Surreal Pop Alive - JULIAN CASABLANCAS - PESCORAN Art - Animated-SURREAL-POP---2-JULES-Super-FWD.gif

http:TheArtofJohnPescoranblogspotcom JULIAN CASABLANCAS by John PESCORAN

Rock

tnck — Mon, 28 Jan 2013 06:09:00 MST

Rock - dh009_rock_out_zps332362e5.jpg

Megalith Issue 2 page 3

Nightray2002 — Mon, 2 Apr 2012 13:55:00 MDT

Megalith Issue 2 page 3 - MEG2p03.jpg

Here's another page I did background pencils and inks on This time for Megalith issue 2 page three I'd just started working for Neal Adams Continuity Associates in NYC and was learning the trade with this page I was given the page before this one and then more ink work on this one I inked the board being broken in panel 1 and inked everything behind the central figure holding the phone in panel 3 Interestingly enough panel 4 had the slimmest of backgrounds lightly laid out and I was asked to pencil more destruction and carnage into it I penciled it in trying to give it a really devastated 'look' and pop culture historian Arlen Schumer an awesome artist in his own right did the inking chores on that panel Studio head Neal Adams did everything else As was usual with me (when I remembered to) is my name placement or symbol done in a panel or on a page or two here and there (See the red circles) Story and character Neal Adams Continuity Comics

pop art

evan_is_a_rockstar — Sun, 10 May 2009 16:43:00 MDT

pop art - retro.png

Sunshine Flower

junormaneureka — Thu, 31 May 2012 18:18:00 MDT

Sunshine Flower - DSCN1693.jpg

Mushroom pop art

13thvanguard — Fri, 27 Aug 2010 10:21:00 MDT

Mushroom pop art - Mario-1-1.jpg

Super Mario pop art

090_90.jpg

SignsoftheTimesCollection — Mon, 10 Jan 2011 11:40:00 MST

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:33:00 MST

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:40:00 MST

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:33:00 MST

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Playing with the Pop Art effect on Webcam Toy

Monique_Landrum — Thu, 7 Jun 2012 08:46:00 MDT

Playing with the Pop Art effect on Webcam Toy - 405830_197292093705936_100002754415180_253090_368648684_n.jpg

Playing with the Pop Art effect on Webcam Toy

nicim09 — Fri, 8 Jun 2012 15:35:00 MDT

Playing with the Pop Art effect on Webcam Toy - 310830_304327186252589_1726849627_n.jpg

MMMMStuffed Buffalo

getstoic — Sun, 10 Jun 2012 10:25:00 MDT

MMMMStuffed Buffalo - MmmStuffedBuffalo.jpg

2012 40 x 40 Acrylic on Canvas

Surreal Pop Alive - REGGIE WATTS - PESCORAN Art

PESCORANArt — Mon, 1 Oct 2012 17:49:00 MDT

Surreal Pop Alive - REGGIE WATTS - PESCORAN Art - Animated-SURREAL-POP---1-REGGIE-Super-FWD.gif

http:TheArtofJohnPescoranblogspotcom REGGIE WATTS by John PESCORAN

Hungry

tnck — Mon, 28 Jan 2013 06:09:00 MST

Hungry - dh008_hungry_zpsd975cc62.jpg

PESCORRAN - Wallpaper - Surreal Pop Puzzle

PESCORANArt — Mon, 7 Jan 2013 00:05:00 MST

PESCORRAN - Wallpaper - Surreal Pop Puzzle - PESCORAN-Wallpaper-SurrealPopStreet-ArtPuzzle_zps0381e816.jpg

allison waite

kingdennis63 — Wed, 14 Apr 2010 07:25:00 MDT

allison waite - alison-waite-2.jpg

Playing with the Pop Art effect on Webcam Toy

Jean_Llanita — Tue, 5 Jun 2012 01:28:00 MDT

Playing with the Pop Art effect on Webcam Toy - 179562_413865418646687_1674855645_n.jpg

Playing with the Pop Art effect on Webcam Toy

Jean_Llanita — Tue, 5 Jun 2012 01:27:00 MDT

Playing with the Pop Art effect on Webcam Toy - 578188_415040151862547_1374162302_n.jpg

JACKSON WARHOL ESSEX

MikeEssexc — Mon, 7 Sep 2009 00:32:00 MDT

JACKSON WARHOL ESSEX - JacksonWarholeEssex100copy.jpg

happy Michael in a Warhol style

joycease -

joycease — Thu, 14 Jun 2012 00:22:00 MDT

joycease - - newjoy.jpg

Pop It cover art

tnos2k3 — Sun, 3 Jun 2012 09:53:00 MDT

Pop It cover art - PopItcoverart.jpg

pOp ArT Ballet

shortblonde5 — Tue, 12 May 2009 17:23:00 MDT

pOp ArT Ballet - color-pointe-shoes-collection-70423.png

I luv to dance I have danced since I was 2

Toadstools

junormaneureka — Thu, 31 May 2012 18:18:00 MDT

Toadstools - DSCN1687.jpg

Space Dish

junormaneureka — Thu, 31 May 2012 18:18:00 MDT

Space Dish - DSCN1666.jpg

085_85.jpg

SignsoftheTimesCollection — Mon, 10 Jan 2011 11:40:00 MST

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:40:00 MST

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:33:00 MST

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:40:00 MST

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SignsoftheTimesCollection — Mon, 10 Jan 2011 11:40:00 MST

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