Τι ωραιο ΕΞΩΦΥΛΛΟ.....

[ika]

NIRVANA - Nevermind

 

[ΜΙΧΑ ΓΙΩΡΓΟΣ]

1970

 

[ΜΙΧΑ ΓΙΩΡΓΟΣ]

1967

 

[ika]

WHO - Who's next

 

[ΜΙΧΑ ΓΙΩΡΓΟΣ]

BARCLAY JAMES HARVEST 1972

 

[ΜΙΧΑ ΓΙΩΡΓΟΣ]

THIN LIZZY - SHADES OF A BLUE ORPHANAGE 1972

 

[pantel78]

THE JIMI HENDRIX EXPERIENCE-AXIS: BOLD AS LOVE

 

[ika]

Bob Dylan - Freeweelin'

 

[darkman46]

 

[darkman46]

 

[ΜΙΧΑ ΓΙΩΡΓΟΣ]

 

[darkman46]

 

[ΜΙΧΑ ΓΙΩΡΓΟΣ]

1970

 

[ΜΙΧΑ ΓΙΩΡΓΟΣ]

SCORPIONS - IN TRANCE 1975

 

[Nick Arvanitakis]

STEREOLAB-Transient Random-Noise Bursts With Announcements

 

[Ν.Κ.]

Many people died and still dying by famine in Uganda.
Taken in Karamoja district, Uganda in April 1980, by the photographer Mike Wells, the picture above shows the contrasting hands of a starving boy and a missionary spoke louder than any world leader and any news story about the famine in Uganda. Karamoja region has the driest climate in Uganda and was prone to droughts. The 1980 famine in there where 21% of the population (and 60% of the infants) died was one of the worst in history. The worst recorded famine was the great Finn famine (1696), which killed a third of the population.

The photographer, who would later win the World Press Photo Award for this photo, admitted that he was ashamed to take the photo. The same publication that sat on his picture for five months without publishing it entered it into a competition. He was embarrassed to win as he never entered the competition himself, and was against winning prizes with pictures of people starving to death.

Famine, drought and ethnic violence go on until nowdays in Karamoja. The Karamojong are a nomadic people, but since Idi Amin years in the 1970s, their nomadic patterns were curtailed due to the increase of cross border security, internal raids, and influx of weapons which enabled them to lead raids.


In 1982, Dead Kennedys used this photo as a front cover of their "Plastic Surgery Disasters" album.

 

[Ν.Κ.]

During the Bangladesh atrocities from 1971.The photo above was taken by Don McCullin during Bangladesh atrocitiesthat started with Operation Searchlight on 25 March 1971 and continuing throughout the Bangladesh Liberation War. There were widespread violations of human rights in East Pakistan (now Bangladesh) perpetrated by the West Pakistan Army with support from local political and religious militias. "Time" magazine reported a high U.S. official as saying "It is the most incredible, calculated thing since the days of the Nazis in Poland."

Bangladeshi authorities claim that 3 million people were killed. The international media and reference books in English have also published figures which vary greatly from 200,000 to 3,000,000 for Bangladesh as a whole. A further eight to ten million people fled the country to seek safety in India.

There are many mass graves in Bangladesh, and more are continually being discovered. The first night of war on Bengalis, which is documented in telegrams from the American Consulate in Dhaka to the United States State Department, saw indiscriminate killings of students of Dhaka University and other civilians.

Numerous women were raped, tortured and killed during the war. The exact numbers are not known and are a subject of debate with some sources quoting figures as high as 400,000. One of the more horrible revelations concerns 563 young Bengali women, some only 18, who were held captive inside Dhaka's dingy military cantonment since the first days of the fighting. They were seized from Dhaka University and private homes and forced into military brothels, with some of the women carrying war babies being released.


Don McCullin's photo used by Crucifix for the front cover of the "Dehumanization" LP from 1983.

crucifix = hardcore punk band early 80s

 

[Ν.Κ.]

Child with Toy Hand Grenade in Central Park, New York City, U.S.A (1962)
The picture above was taken by the famous photographer Diane Arbus. It shows a boy*, with the left strap of his jumper awkwardly hanging off his shoulder, tensely holding his long, thin arms by his side. Clenched in his right hand is a toy grenade, and his left hand is held in a claw-like gesture; his facial expression is maniacal. Arbus captured this photograph by having the boy stand while moving around him, claiming she was trying to find the right angle. The boy became impatient and told her to "Take the picture already!" His expression conveys his exasperation and impatience with the whole endeavor, as the contact sheet for the shoot reveals. In other pictures, he is seen as a happy child.


The photograph was used, without permission, on the first version of the cover of the debut LP ".. And No One Else Wanted To Play" by Canadian punk band S.N.F.U. in 1984, and had to be replaced with drawing in subsequent editions because of copyright infringement.


The image is also used on the cover of American indie rock band Cloud Cult's debut album "Who Killed Puck?" and on the cover of the sametitled EP from 1984 of the hardcore/punk band from Netherlands called No Pigs.

An original print of the photograph sold for $408,000 in April 2005.

* The boy in the photograph is Colin Wood, son of tennis player Sidney Wood. An interview with Colin, with his recollections about Arbus taking this photograph, is presented in the BBC documentary "The Genius of Photography".

 

[Ν.Κ.]

Linder Sterling – Collage



1977 Buzzcocks single “Orgasm Addict.”



‘One of Linder’s most recognizable works of art first appeared on the sleeve of the 1977 Buzzcocks single “Orgasm Addict.” On the cover, Linder utilized what would become her signature mass-media collage strategy to adorn or violate—or, really, both—a classical nude female torso with mouths at the nipples and a household iron in place of the head. By the time the single was released, Linder Sterling, born in 1954 in Liverpool, had already become a fixture in the Manchester punk and post-punk scene out of which bands like The Fall, Joy Division, the Buzzcocks, Magazine, and The Smiths emerged. In many ways, her collage works from the period have much in common with the subversive practices of punk: Ripping things apart and reassembling them was a way of showing the counterfeit quality and construction of any social image. But Linder’s art went even beyond the rebellion of her underground musical counterparts. Much like Hannah Höch in the Weimar era, Linder fused capitalism, sexuality, violence, feminism, desire, morbidity, and hope in her collages. Those fantastic and yet quotidian works have gained perhaps even more biting currency in today’s culture. Lipsticks, television sets, mouths, household appliances, nude bodies—nothing and everything are sacred in her realm.’ (Interview Magazine) http://www.interviewmagazine.com/art/linder/#_



Linder Sterling’s work is very abstract and somewhat displeasing to look at, She has placed the object in the perfect place to create and creepy and interesting collage. All images taken from porn magazines which for a women it is hard to look at which Sterling has made these horrible images into something very interesting.

 

[ΜΙΧΑ ΓΙΩΡΓΟΣ]

1970