The nation’s capital is teeming with ways to reconnect with art, music — and each other.

Ringo Starr remembered his "good friend" Tom Petty in a new interview following the rock icon's death at the age of 66.

Tom Petty song "Gainesville" was recorded during Echo sessions in 1998, but was cut since it didn't fit with the dark vibe of the album

space adventures thanks to scifi_art Painting by Bob Layzell from the book Spacecraft 2000 to 2100AD 1978 #spaceart #boblayzell #spaceship #scifiart

Looking for some graphic design inspiration? Here you will find inspirational galleries and articles, covering all aspects of graphic design.

Nigeria is a country located on the western coast of Africa that has a diverse geography, with climates ranging from arid to humid equatorial. Hundreds of languages are spoken in Nigeria, including Yoruba, Igbo, Fula, Hausa, Edo, Ibibio, Tiv, and English. Nigeria’s capital is Abuja.

rows of teeth thanks to discoversharks Follow @EarthFocus for more mind blowing travel & wildlife images. Photography by @Simonjpierce

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Art.IWM PST 7227. whole: the image occupies the whole. The title is integrated and positioned in the lower fifth in black gothic script. image: a bust-length depiction of a German infantryman in profile throwing a stick grenade from his right hand

The Clash, Studio 1980 by famed American photographer, Allan Tannenbaum. Archival pigment print, 2017. 10 x 15 inch photo on 17 x 22 inch on the finest satin photo paper, Ed. of 50. In this photograph, the members of The Clash pose in the studio for Allan Tannenbaum on June 1981. From left to right the members featured are Topper Headon, Paul Simonon, Mick Jones and Joe Strummer. This color photograph was taken by Tannenbaum during his tenure at The SoHo Weekly News in New York City from 1973 to 1982 where he served as Chief Photographer and Photo Editor. It is included in the artists' 4th hardcover book 'Grit and Glamour: The Street Style, High Fashion, and Legendary Music of the 1970s' published in 2016. Allan Tannenbaum's career in photography spans more than four decades. Born in Passaic, New Jersey, in 1945, he received a B.A. in Art from Rutgers University in 1967, where he photographed for The Targum – the campus newspaper – and made films for his art courses. Gravitating to the nascent art scene in the SoHo district of Manhattan in 1972, Tannenbaum worked as a taxi driver and bartender while looking for work as a photographer. In 1973, when the SoHo Weekly News commenced publication, Tannenbaum became the Photo Editor and Chief Photographer. The newspaper started out as an eight-page free paper, but soon became a popular newsstand seller that rivaled the established Village Voice. Tannenbaum relentlessly covered the art world, music scene, politics, show business, and nightlife until 1982 when the SoHo News folded. Tannenbaum has also done documentary and feature photography in places like Thailand, Indonesia, Palau, Jordan, Bahrain, Mozambique, Zimbabwe, Namibia, Brazil, Israel, Iceland, and Mexico. He has covered numerous political campaigns, nominating conventions and news stories in the U.S. such as the Oklahoma City bombing and the Columbine massacre. His work has appeared in many photo books and exhibitions, as well as appearing regularly in NEWSWEEK, TIME, LIFE, ROLLING STONE, PARIS MATCH, and STERN. His photographs have graced the covers of TIME three times, and NEWSWEEK five times. He now works as an international photojournalist contributing to various noted publications including Time, Life, and Newsweek. He is the author of three other books of his photography, including New York in the 70s (Feierabend, 2003), New York (Feierabend, 2004), and John and Yoko: A New York Love Story (Insight Editions, 2007).

In 1994 in his hometown of Portland, Oregon, Thomas Lauderdale was working in politics, with the intention of eventually running for office. Like other eager politicians-in-training, he went to every political fundraiser under the sun… but was dismayed to find the music at these events underwhelming, lackluster, loud and un-neighborly. Drawing inspiration from music from [...]

Walter Schnackenberg’s style changed several times during his long and successful career. Having studied in Munich, the artist traveled often to Paris where he fell under the spell of the Henri de Toulouse-Lautrec’s colorful and sensuous posters depicting theatrical and decadent subjects. Schnackenberg became a regular contributor of similar compositions to the German magazines Jugend and Simplicissimus before devoting himself to the design of stage scenery and costumes. In the artist’s theatrical work, his mastery of form, ornamentation, and Orientalism became increasingly evident. He excelled at combining fluid Art Nouveau outlines, with spiky Expressionist passages, and the postures and patterns of the mysterious East. In his later years, Schnackenberg explored the unconscious, using surreal subject matter and paler colors that plainly portrayed dreams and visions, some imbued with political connotations. His drawings, illustrations, folio prints, and posters are highly sought today for their exceedingly imaginative qualities, enchanting subject matter, and arresting use of color. SCHNACKENBERG: KOSTUME, PLAKATE UND DEKORATIONEN, a cardboard bound art book consisting of 43 prints of work by Walter Schnackenberg, 30 of which are color lithographs that are signed and some are titled and dated in the plate, as well as black and white prints and photographs with accompanying text by Oskar Bie; lithographs printed at Kunstanstalt Oskar Consee in Munich, other images printed by Gesellschaft Pick & Co. in Munich, the text and cover with color images by Schnackenberg front and verso printed by R. Oldenbourg in Munich; published by Musarion Verlag, Munich, 1920. The majority of Walter Schnackenberg’s artistic output was destroyed by bomb attacks in Munich in 1944. The highly publicized 2013 auction in New York of the recovered pre-war poster collection once belonging to German poster aficionado, Hans Sachs has reintroduced the world to Walter Schnackenberg’s graphic genius and priceless ephemeral art from a lost era. Besides the museum world, designer Karl Lagerfeld is one of the most prodigious collectors of Schnackenberg. Flipping through the pages of Kostume, Plakate und Dekorationen, it becomes quite clear that Schnackenberg’s collection is ground zero at the crossroads of early modern fashion where the cult of celebrity meets up with dance, music, theater and cabaret, film and the graphic medium. Berlin and Munich under Germany’s Weimar Republic in the first quarter of the 20th century produced just the atmosphere to feed this burgeoning industry. Rising inflation sparked a recklessness to live large for the moment and heightened a desire for escapism. An influx of Indian and East Asian dancers and musicians added to the artsy bohemian cultural mix. A new decadence and tolerance resulted. Film boldly featured provocative subject matter. Cabarets became popular venues giving rise to the demi-monde in which people from all social stations mixed more freely in a thriving underground economy and culture where there was a blurring of boundaries and of social codes. Noted art historian and cultural doyen, Oskar Bie astutely observes in his introduction to Schnackenberg’s publication that what unites the images is fantasy and advertisement. Schnackenberg uses the eye as an instrument to brilliantly construct and convey this double message. His personages never directly confront the viewer. Their eyes gaze off in the distance like those of the screenplayer and film star Hedamaria Scholz in Schnackenberg’s “Die Rodelhexe” movie poster. Their eyes follow the path of a dance composition or become a transfixed and ogling male gaze such as the iconic 1911 Odeon Casino poster. Most of all, their eyes are heavily-lidded and closed unto themselves, to an inner state, a dream, an escape, a fantasy. Whether it is to pass an hour in a cinema, an evening at a cabaret, to attend a modern dance performance or patronize a glitzy club, fantasy is what really is being sold. It is interesting to consider that all of this is sandwiched in between two commercial subjects which is essentially the bread and butter of Schnackenberg’s art book. On the first page, Schnackenberg, the artist, advertises himself. While the female face which he is shown creating takes on a double image with its shadow, suggesting the replicative nature of graphic art, there is only one Schnackenberg. The final color lithograph is a poster Schnackenberg created for Consee, the printer of Kostume, Plakate und Decorationen, who also specialized in printing business materials. In the modern age, the art of business had indeed become the business of art.

This international tour that Cantaloupe Caillou is on will not stop providing moments of memes. It will not stop reminding us that we (well, yall. I know