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circ star bands design star - Toddler T-Shirt (2T)

circ star bands design star T-Shirt is commercial quality high resolution heat transfers garment. 5.6-ounce, 50-50 cotton-poly; taped shoulder to shoulder, coverseamed ribbed collar, double-needle sleeve and bottom hem. Toddler and infant t-shirts are 4.1-ounce. 100% ring spun combed cotton. Our image transfer produces professional matte finish with Premium Quality and Superior image resolution. Colors do not bleed and the image is sharp and crisp. Available in white, gray, blue and pink. Washing Instructions: 1. Turn Garment inside-out and machine wash in cold water. 2. Do not use Bleach or Fabric Softener. 3. Detergents with bleach additives are not recommended. 4. Tumble Dry on Warm. 5. Do not Iron. Do not Dry clean.

"GIVE ME the moonlight, give me the girl, and leave the rest to me" - the song that became Frankie Vaughan's signature tune and gave him the public nickname of "Mr Moonlight", would hardly have trademarked the young pop singer as perhaps variety's last great all- round entertainer without the devoted coaching in style and the technique of top-hat twirling and patent-leather high-kicking given him by an old lady, still top of the bill in Vaughan's early years, Miss Hetty King.
Hetty, born in 1883, gracing the music halls since 1897, became a male impersonator in 1905. The switch made her a star, and, dressed as a merchant seaman for "All the Nice Girls Love a Sailor", during which she carefully ignited her pipe, or strutting the stage in top hat and tails singing the praises of Piccadilly, "the playground of the gay", she sang her immaculate act almost to her end, which came in 1972 at the age of 89.
Frankie Vaughan met her during a run of New Stars and Old Favourites - he was new, Hetty was, frankly, old - and became utterly captivated by her performance. Certainly without her interest in him and constant coaching in her top- hat-and-tails technique, he would never have become that star so well remembered.
Born Frank Abelson in Liverpool in 1928, the son of an upholsterer, he was clearly a smart lad. He won a scholarship to the Lancaster College of Art and a place at Leeds University. Called up towards the end of the Second World War, he joined the RAMC, where he spent some of his three- and-a-half-year enlistment taking his first steps into the world of entertainment, singing in a number of camp concerts backed by station dance bands.
Demobbed in 1949, he enrolled at Leeds College of Art as a student teacher. Every year the students presented their own revue at the Empire Theatre, and Frankie, remembering how he had enjoyed his odd spot of singing whilst in the Army, volunteered to take part. The theatre manager was much impressed and advised him to seek out Billy Marsh, who handled such newcomers to show business as Norman Wisdom and Joan Regan. Vaughan said thanks but no thanks, preferring the somewhat safer world of commercial art. He left the art college and took a freelance job designing a stand for the Furniture Exhibition at Earls Court. He was paid 30 guineas, a more than fair fee for those days. Unfortunately, further well-paid commissions were not forthcoming.
Remembering the enthusiasm of the Empire manager, Vaughan got him to write a letter of introduction to Billy Marsh. The reply was for him to come to London in one month when auditions would be held. Too impatient to wait, Vaughan took a train to town and marched into Marsh's office singing at the top of his voice. Marsh was less than amused: he was holding a business conference at the time.
However, sensing something in the young man's voice, he advised him to hire a pianist and a rehearsal room and he would come and listen. One hour in a room containing nothing else than a piano and a stool cost Vaughan all of half-a-crown (121/2 pence), but it was well worth it. He sang the Donald Peers hit "Powder Your Face With Sunshine" and Marsh enjoyed it, promptly booking him into the Kingston Empire for a week. Top of the bill was the cockney comedian Jimmy Wheeler ("Aye-aye! That's yer lot!"). The day after his debut, the Tuesday, Vaughan was shifted from opening turn to closing the first half of the bill. Frankie Vaughan had arrived.
By the end of his first year touring the variety halls, Vaughan was earning pounds 150 a week. He had also met Hetty King, whilst appearing as one of the new stars in New Stars and Old Favourites. The encounter would change Vaughan's style for the rest of his career, beginning with the single old-style top-hat-and-tails high- kicking number as a kind of encore and finally virtually taking over his entire act.
It was while singing in Glasgow that he found an old sheet music of "Give Me the Moonlight", a Victorian song sung by the old-time comedian Fred Barnes, who had died in 1938. Vaughan made the song his own, eventually performing it around the world from the London Palladium to New York and Las Vegas.
Vaughan entered the recording side of show business in 1950, singing "The Old Piano Roll Blues" for Decca, a cover version of the hit recording by Hoagy Carmichael, Al Jolson and the Andrews Sisters. Many other hits would follow once he had switched to HMV. First came "Look at That Girl" (1953) with Ken Mackintosh and his orchestra. This was a cover for Guy Mitchell, top man of his time. Later there were "The Cuff of My Shirt" (1954) with the Kordites, "Happy Days and Lonely Nights" (1955), the extraordinary "Green Door" (1956), "The Garden of Eden" (1957) and "Kisses Sweeter Than Wine" (1958) with which he was up against that folksy group, the Weavers.
Vaughan's film career was

For this miniature transient public installation I wanted to silence the disbelievers who say that airborne emissions (known in less enlightened circles as “air pollution”) are not valid media for sculpture.

I’ve long been fascinated by the lessor known artists of the Fluxus movement, in particular those sculptors who defied not only existing paradigms of the school, but showed a flagrant disregard for federal laws regulating interstate transport of medical waste.

Among my favorites have always been Ben Gustaffson’s “This is a Very Bad Snow Cone”, Hazel Trincaro’s “Coloscopy Bag Elvis” and the incredible, but unfinished “I Am the Sum of My Wounds” piece by A.F. Frankenmitter for which he obsessively collected all his of his band-aids, scraps of tissue from shaving cuts, and bloody shirts from bar fights to build a life-size replica of himself (unfortunately, after 17 years of work on the piece Frankenmitter had only managed to sculpt a single leg. Distraught over the slow progress, he attempted to rush the creative process and fatally severed his caratoid artery when surprised by imploring pleas of “No!” from a young student who had come upon him mid-stroke and misinterpreted the gesture as a suicide attempt).

My goal was to sculpt a frieze relief of Ben Franklin using airborne particulant matter. But I didn’t realize that the true challenge would be coming up with the materials. Air pollution is everywhere, but when trying to collect enough to sculpt with, for all intents and purposes, it’s nowhere.

Surprisingly, there wasn’t a single art supply store in the city that carried tubes of air pollution. Amazon? E-bay? Zilch. I then drove around to local industrial facilities hoping that I could procure my materials from the mandatory filters installed on stacks producing effluent discharge. But every environmental manager I spoke to had the same story “we just put them on when the EPA inspectors show up.”

I knew what I’d have to do. I’d have to create my own air pollution machine.

Now those of you who sculpt with air pollution on a regular basis know the biggest challenge I faced. Producing a machine that could pump out dark soot? That’s child’s play. But getting that soot to be the proper consistency for sculpting is another matter entirely. If it’s too fine – you can’t work with it. Too sludgey and you keep having to unclog your stack every 5 minutes, which totally disrupts the artistic process.

But after weeks of experimenting with a combination of coal, wood, and condensed soup as my base fuel and adding various amounts of industrial solvents, gas engine additives, paprika, and other ingredients I finally came up with the right formula.

I headed out to a pristine wall under an overpass ready to begin. It took about 2 hours to apply the base layer. It was exhausting work. The heat combined with my intense exertion had me a little light-headed. Another hour into the piece and I started seeing unicorns. Soon the Four Horsemen of the Apocalypse came around and asked me if I wanted to run some hoops against the 1966 Boston Celtics down at the park. Then Tom Cruise was chasing me through the dark alleys of a 14th century French town trying to retrieve the stolen disk containing the design for a new top secret catapult…

When I came to in the hospital there was only one question I needed to ask?

“Did I at least get it done?”

Apparently the answer was “yes” and “no” – I completed the relief but passed out before I could apply the sealant only to have it removed hours by a group of vandals doing something called “court-ordered community service.”

Lesson learned: Never work with airborne particulants containing paprika without a respirator.

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Pipe and wall, Trader Joe’s, Philadelphia, PA, color dodge added

Netherland Dwarf Rabbit Design T-Shirt is commercial quality high resolution heat transfers garment. 5.6-ounce, 50-50 cotton-poly; taped shoulder to shoulder, coverseamed ribbed collar, double-needle sleeve and bottom hem. Toddler and infant t-shirts are 4.1-ounce. 100% ring spun combed cotton. Our image transfer produces professional matte finish with Premium Quality and Superior image resolution. Colors do not bleed and the image is sharp and crisp. Available in white, gray, blue and pink. Washing Instructions: 1. Turn Garment inside-out and machine wash in cold water. 2. Do not use Bleach or Fabric Softener. 3. Detergents with bleach additives are not recommended. 4. Tumble Dry on Warm. 5. Do not Iron. Do not Dry clean.

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