Pretty Green Clothing against others

Pretty Green in my opinion is a pretty boring label , every time I have been in their store I honestly never get turned on much but most of the things they do .watts
Most of the jackets I just saw would not look out of place in the mid life section of Marble arches Marks and Spencer to be honest. Tyhink of the clothes , modst of them, without a pretty green badge and an M and S label in the neck, not far off target am I ?Shirts too.
And the pòrices have nothing to do with reality, this t shirt was 90 pounds .Apart from a few things Pretty Green, I like this a lot.
its Marks and Spencers with a badge. Its a forgetbout it label and I think David Watts  and Fred Perry do it better .The polo shirts are pretty ordinary too , this is one of the few I like enough to buy.watts polo
But Liam Gallagher’s fashion label Pretty Green enjoyed a fruitful Christmas, with festive sales up nearly 40 per cent.watts
The firm, who recently revealed plans to open a second Manchester store this year, said it saw record
 pretty green
revenues during the last six weeks of 2014. (The total sales in the six weeks to December 31 were up 39 per cent on 2013.)watts
They said online revenues were up 41 per cent, which it said was down to record visits to its website (or ´hits´) during the period.

It comes after Pretty Green released a collection that was promoted through a campaign inspired by watts gloves
Liam’s childhood. In addition to this, overseas sales were up 34 per cent, with the retailer proving particularly popular in Japan. Chief executive Richard Ralph said:watts monkey jacket
“We are particularly pleased with our record performance over the Christmas period, but also for the whole first quarter of this financial year. We have seen positive trading across all our channels to watts gloves
market continue over the entire three month period, with record sales in the last six weeks to the end of December.¨watts jeans
“We believe our results are testament to the strength of our brand both in the UK and Japan, where kAPPA
we already operate five stores. The Pretty Green team has been extremely busy and our expansion programme remains on track. In the first quarter, we opened two new London stores and announced the launch of six concessions in House of Fraser. We will continue to look to expand the brand during 2015, both in the UK and internationally, and remain very confident we will continue to deliver strong growth for the future.”Art Gallery is one of the most uninspring new Clothes stores on line
Pretty Green said the forward order book for its Spring/Summer 2015 collection was up 73 per cent on the same period last year. And with such an atmospheric advertising campaign which was shot and around Manchester, who can blame them.

make up for men

Makeup For Men

– Man Up. The status quo changed.
Men across the globe have been using facial products to keep them looking clean, fresh, and presentable. From news anchors to celebrities, the reach of male cosmetics has now penetrated mainstream society. How did this happen some ask? It’s a simple reason really – Men, at any age, want to look good.
The need to embrace such products came to Man Up’s founder, Andrew, on the night of his high school prom. He says, “I had acne across my face and didn’t know what to do”. Like any son he consulted his mother who eventually attacked his face with her products. Though it was an intimidating experience when he was ready Andrew was shocked at how good he really looked. He searched for male products and found sub-par alternatives. Andrew vowed to create a product line specifically for men and a few months later Man Up was born.

Male And Female Cosmetics Are Different

Male and female cosmetics are different. In some eyes makeup is a product for women, inclusive of colored lipsticks, eye shadows and items that give pops of color. The male products sold at Man Up are different. Not only are they strictly for men, they are undetectable – The Man Up Team sees the practicality of such products. Have a shiny forehead? Man Up’s No-Shine eliminates excess oils and gives a man a matte polished look. Andrew also says, “Your neighbor who has a job interview this month might steal his partners concealer to hide a blemish from a potential employer. Our mission at Man Up is to put your best face forward.”
Man Up, is an online skincare and cosmetics company dedicated to making men look and feel their best. Retailing natural and organic skincare products, pure oil fragrances and cosmetics engineered by Mother Nature and produced in laboratories across Germany, Canada and the USA, it’s safe to say the Man Up line of skincare products and cosmetics is for REAL men.
If you can handle a Jackhammer Cleanser, don’t mind blowing up a bit of dirt and grime with a Dynamite Detox Scrub and wanna pack on the Eye Grenade for good measure, it’s time to unleash your natural superpowers and Man Up.
One week later the two serums arrived via the post. The bottles came in two colours, a black one for use at night and a white one for use during the day. The instructions are simple you spray the day serum in the morning and the night serum before you go to sleep. There is no need to rub it, just spray it on your face, it could not be any easier.

ZV2 Night Serum

The night serum is developed with skin nourishing and regeneration in mind. Just like we do when we are sleep and are regenerating our bodies for the next day. One of the key ingredients in the night serum is DermCom. DermCom is based on an extract of the Crocus Chrysanthus bulb. When applied on the skin it reverses the aging process by stimulating the communication between skin cells. It boost the collagen and elastin production, rejuvenates the skin texture, and reduce the signs of aging.
The second ingredient in the night serum is one that stimulates the synthesis of Androstadienone. When I looked up what this Androstadienone was, I read that it is used to increase sexual attraction. Wow this Night Serum is truly multi functional. Marine active ingredients are being used in this serum to help moisturise and freshen the skin through normalisation and self regulation of the epidermal cell mechanisms. A cocktail of amino acids, vitamins and prebiotics finishes of the process of leaving your skin soothed, moisturised, nourished and energised.

ZV2 Day Serum

The ingrediants in the Day Serum are formulated to help a man’s skin recover from constant shaving. They soothe and calm sensitivity and redness whilst moistening and protecting.  The ingredient to promote the synthesis of Androstadienone is again present, which will also result in increased sexual attraction during the day. The rest of the cocktail of ingredients is there to leave the skin feeling firm and smooth, reduce under-eye dark circles and puffiness, and reduce the effects of stress and fatigue. This leaves your skin energised and radiant. To finish it of the day serum protects your skin against the stresses of the environment.

Verdict

So what is the result after 2 weeks of use. I think the anti aging effect, or the slowing down of these effects are harder to measure on such a short time frame. My skin did feel more soft and moisturised but the biggest effect was that I felt less tired and more energised, I never thought a beauty product could do that to you. So will I continue to use this product? Yes I would the first signs are great and the easiness of applying it makes a great product.

Where to buy

ZV2 Day and night serum is available online at ZV2.co.uk
 

stanwyck

Barbara Stanwyck  Born in Brooklyn as Ruby Stevens, she was 4 when her mother was killed, pushed off a moving streetcar by a drunk. Destroyed by the loss, Ruby's father, a bricklayer, abandoned his five children. After a childhood spent in a series of foster homes, 15-year-old Ruby found work as a chorus girl in speakeasies, then advanced to Broadway. At age 18, she changed her name to the more glamorous Barbara Stanwyck. She was married twice, first, in 1928, to vaudeville comedian Frank Fay. His high living and heavy drinking reportedly plagued the marriage, which ended after seven years (he died in 1961).Barbara and Frank Fay adopted a son in December 1932 and named him Dion Anthony Fay. Of the adoption, Barbara told an interviewer: "He's the best Christmas present anyone ever had. I never thought I'd be one of those hysterical mothers--but when he crooks just one tiny baby finger, I come crawling on my hands and knees. And I love it!" Barbara loved being Dion’s mother but eventually began to hate being Frank Fay’s wife. Initially, reports of marital unrest were denied by Barbara herself. I specifically remember one of her quotes to a popular Hollywood magazine at the time: “I’ll never divorce Frank Fay and Hollywood can’t make me!” I believe she was in some sort of denial, because she did divorce Fay in 1935 and then began a pretty rigorous custody battle for Dion. Fay wanted visitation rights but Barbara lobbied against that, telling the courts "He drinks to excess and once, drunk, threw my son into the swimming pool." In the end, Fay was granted visitation twice a week. Believing Fay would be a terrible influence on Dion, Barbara continued to fight the visitation decision until Fay gave up and disappeared. One can assume that this did something to Dion; he would eventually become estranged from his mother.In 1947, she sent him to one of the military schools on the West Coast. But he was forever getting into trouble and running away from school. The next thing anyone heard from him was in 1952 when he enlisted in the Army, apparently against Barbara's wishes. Nobody knows what happened after that--maybe Barbara was too over-protective, maybe she couldn't stand his going out on his own or maybe the custody fight left too much bitterness for them to overcome. In any case, mother and son never saw or spoke to each other again after that day. It is known that he has since married and had a child, but Barbara is completely lost to him and has never seen her grandchild.Around the time Barbara was receiving her last gestures of praise from critics, her treatment of Anthony Dion was becoming public knowledge. With the release of her daughter’s 1978 book and ludicrous 1981 movie adaptation, Joan Crawford’s reputation was in ruins. Why shouldn’t Barbara’s be? After all, Dion had legitimate complains next to Christina Crawford’s bullshitted attempt to gain pity from the American public. Dion was about to bring the skeletons out of his closet, and reveal in a tell-all book about the rejection and humiliation that he had endured as a child. What he realized that Christina Crawford did not was that he was complaining about a mother who had been raised on abandonment and abuse. Dion’s speaking out about his childhood was done from a much more sensitive and sympathetic manner, telling reporters, “..perhaps if we meet once more, we can both live the rest of our lives in peace.” She refused to see him, and kept only one picture of him locked away in a closet where no one else could find it. Barbara had officially rejected Dion for good by rejecting him from her life entirely. By the time the scandal had reached tabloid headlines, they had not seen or spoken to each other in decades. Her second marriage ended in 1951 when matinee idol Robert Taylor walked out after 12 years. He died in 1969, and Stanwyck broke down at his funeral. Even after they divorced she said, "There will be no other man in my life
 It had been rumored that Barbara Stanwyck was a lesbian.and fucked only women but this is not proven 
Stanwyck married twice, the first time to vaudevillian Frank Fay and the second time to Robert Taylor. Although she rebuffed any questions about her sexuality or her marriages, many observers of the Hollywood scene believed that neither Stanwyck nor either of her husbands were heterosexual.
.the androgynous actors of the past were replaced by ultra masculine actors and feminine female leads. But of course this in no way reflected their actual sexual persuasion. So to enforce their public heterosexual image, studios conducted elaborate arranged “lavender” marriages for gay actors — the classic example being Barbara Stanwyck and Robert Salem, whose false union was mutually beneficial for concealing both actors true sexuality.In 1941, while making the Preston Sturges film The Lady Eve with Henry Fonda, Stanwyck and Fonda had a tempestuous affair, which was kept secret at the time. Years later, Fonda confided to his then fourth wife Afdera that "Barbara was ... gay [and had] no inhibitions. She'd do anything in bed to please a man." Taylor reportedly also had affairs during the marriage. When Stanwyck learned of Taylor's fling with Lana Turner, she filed for divorce in 1950 when a starlet made Turner's romance with Taylor public. The decree was granted on February 21, 1951. After the divorce, they acted together in Stanwyck's last feature film, The Night Walker (1964). Stanwyck never remarried, collecting alimony of 15 percent of Taylor's salary until Taylor's death in 1969.
wyck, 1923, photo by Alfred Cheney

"The tributes to Barbara Stanwyck this year, which marks the 100th anniversary of the year of her birth, started early and frequently," writesEdward Copeland. "Dammit, she deserves it. So sexy he ".. 

Roustabout: "That Barbara Stanwyck took the role may have been as a favor to producer Hal Wallis as well as an admission that at age 57, her choices of roles in theatrical films was limited.... [T]his is Stanwyck at her most self-effacing, with the possible exception of her last big screen role in The Night Walker. At least compared to some of the films her contemporaries were doing, Stanwyck was able to end her screen career with a modicum of dignity."

Maybe Barbara Stanwyck could have spent more time addressing her personal life, but she didn't care about her personal life. She cared about her work. Her work was her life, and the people she worked with loved her for what she gave to that work. And so in the end, that is what we must judge her on."

Upon hearing the news of her death, Charlton Heston issued a statement to the press: "I realize it's no longer a fashionable phrase, but she was a great broad, in all the meaning of the word, and she would be comfortable with that phrase."   one of her earliest and most unglamorous films was So Big!." Johnston (

she died of a lung problem At Barbara’s request, no funeral was planned. She was cremated five days later, and her ashes were scattered over Lone Pine California, near Sequoia and Kings Canyon National Parks.

There has never been a so-called “definitive” biography written on Barbara Stanwyck. Two authors, Axel Madsen and Jane Ellen Wayne, who I prefer not to read based on their history of trashing people posthumously for money, have released books on her. However, there are three very good books on Barbara that I would like to recommend:

Barbara Stanwyck: A Biography by Al Diorio (1984), Starring Miss Barbara Stanwyck by Ella Smith (1988)

The Films of Barbara Stanwyck by Homer Dickens with an introduction by Frank Capra (1987)

One final note: 

Trivia: In the 40’s, she was traveling with her maid - who happened to be black. One of the hotels they booked in to, had a "no blacks" policy. Barbara could stay, but the maid couldn’t. Barbara up and left, and both she and her maid stayed in a "blacks only hotel." Barbara did all that, just to stay with her servant.

More:  There is a quirky little hotel in Flagstaff, Arizona called the Monte Vista.  Love.  stay in the glamorous Barbara Stanwyck suite.Everyone who is close to me knows I’ve been in love with Barbara Stanwyck since I’ve met her. She’s a delicious woman. We’ve never had an affair. She’s never encouraged me, but dammit, my wife will verify it, my daughters and son will confirm it, and now you all can testify to the truth. Stanwyck can act the hell out of any part, and she can turn a chore into a challenge. She’s fun and I am glad I got the chance to make three movies with her. The Lady Eve was the best.

-Henry FondaIn real life,

 Barbara Stanwyck was considered a lesbian about town in Hollywood and has become somewhat of a gay icon. But any attempt to label her by such categories diminishes in comparison to the animal magnetism Barbara exuded on-screen for all audiences, whether they be male, female, gay or straight. Barbara was infinitely watchable because she was confident and at home in her own lovely skin. Such a master of her craft and profession, her credit role has break-out role after break-out role, even after The Hayes Code made it hard to portray a modern woman taking life on her own terms and bowing down for no one. Barbara was a firebrand both on and off the screen. But she was also extremely loyal and once you became her friend, you stayed one for life.

COON MAD ABOUT DICK?

Caroline Coon, born 1945, is a Bourgeoise  English artist, journalist and political activist. Her artwork, which often explores sexual turn on  themes from a feminist standpoint, has been exhibited at many major London galleries, including the Saatchi Gallery and the Tate.Most of her stuff is that of someone who is "better talking than her paintings are"

Coon was born to a family of Kent landowners and had five brothers. She left home at 16 and came to London to find a jobhe lived in Notting Hill and began by doing some modelling work, including making a softcore porn film.She was a typical rich girl trying to find her poor roots. Trained as a figurative painter, she became involved in the 1960s underground movement in London while still attending art school. In 1967, with Rufus Harris, she co-founded Release, an agency set up to provide legal advice and arrange legal representation for young people charged with the possession of drugs. She remains politically active, campaigning primarily for feminist causes, including the legalisation of prostitution.

In the 1970s, she became involved in the London punk scene, writing about the bands for Melody Maker and providing artwork for groups such as The Clash, whom she briefly managed, and The Police. In the "Punky Business" episode of the BBC comedy series The Goodies, Jane Asher plays a parody of Coon ("Caroline Kook"), the dream lover ofTim Brooke-Taylor's aspiring punk rock star. She also inspired Robert Wyatt's lyrics for the Matching Mole song "O Caroline", The Stranglers' "London Lady" and, according to herself,
Bob Dylan's "She Belongs To Me", though this claim is highly questionable since most Dylan experts would argue that the song is actually about either Joan Baez, or Dylan's future wife Sara

Coon's artwork is provocative and is particularly concerned with the human nude. In 1995 her painting, Mr Olympia, was not shown at Tate Liverpool because the male subject had a semi-erect penis.
 In June 2000 she won damages of £40,000 and legal costs of £33,000 from publisher Random House after author Jonathon Green made false claims in his 1998 book All Dressed Up: the Sixties and the Counterculture.

She tried to live the role of , the artist, activist, and 'High Priestess of the Sixties Counterculture' In the Sixties,

These days, Coon uses her time  to paint, read or make agitprop fly-posters ('Purdah Murder'; 'Poverty Kills'). Until very recently, Coon also had to find time to immerse herself in law books, in order to be able to represent herself in her two-year legal battle with Random House, the company responsible for publishing Jonathon Green's 1998 book, All Dressed Up: the Sixties and the Counter-Culture .

In Green's book, a passage related how 'a young woman from Release' would give oral sex to rock stars in return for large donations. The book goes on to describe how George Harrison complied, while Mick Jagger accepted the sex, but sneered afterwards: 'If she thinks I'm going to give her a grand for a blow job, she's crazy.' It was all untrue.

Financially speaking, Coon was in no position to sue, but she did anyway. In June this year, she was awarded £73,000 in costs and damages (some of which she donated towards setting up an official Release archive), and All Dressed Up was withdrawn from sale.

'Defending myself was terrifying,' says Coon, as we sit in her pristine, bohemian west London living-room, surrounded by her colourful, sensual paintings. 'Technically, I hadn't done anything like it before so it felt like trying to drive a Ferrari down a coal mine.'

Coon reveals that one of the reasons she decided to take on Random House was the 'deeply misogynistic' reaction to her protest at the false allegations. 'I was told that although it was an untrue story, it was an amusing untrue story. I was lectured that if I hadn't prostituted myself for Release, then maybe I should have done, because it would have been a heroic act.' She smiles wryly. 'This was the reaction I was getting from what I could call unreconstructed Sixties Man.'

In Coon's opinion, it was a much more serious matter. 'To me, it amounted to verbal rape,' she says, calmly but emphatically, in her husky, genteel tones. 'It wasn't just this "funny" thing about a woman giving blow jobs to rock stars - it was one big pornographic humiliation fantasy. And there were racist elements to it, too. The paragraph before said something like, "Caroline Coon was upper class, but she slept with black boys which increased her exotic appeal".' Coon looks at me incredulously, and then lets out a short whoop of anguished laughter: 'And this is supposed to be 2000!'

Coon has had a lifetime of being misunderstood. Her provocative art has taken in a range of subjects including flowers, mythology, war and murder. However, she is mainly known for her work dealing in the diverse beauty of the human nude, in particular her studies of naked black men who also happened to be her friends and lovers. This has led to to Coon being referred to dismissively as 'the artist who likes to paint black men' or, even more bluntly, 'that woman who likes penises'.

Coon has long professed to be incensed by the double standards: 'Why is the penis hidden in culture? How many female nudes are there?' She was similarly amazed by the uproar in 1995, when the Liverpool Tate decided not use her painting, Mr Olympia, directly inspired by Manet's female nude, Olympia, because the black model had a semi-erection.

'I paint my life,' says Coon simply. 'My friends have always been multicultural.' Later, she says: 'What's wrong with painting penises? Journalists always come round and say [she adopts a sombre tone], "Caroline Coon is an artist who likes penises". But the idea that women will make love to men and not like the penis is to me psychopathic, pathological. We draw the penis into us; you have to love it. If you don't, then what is happening here?'

Coon herself is bisexual, though she prefers to keep that as quiet as possible for fear of titillating the general public. 'I try to be as private about my private life as I can be,' she says. 'But I still think it's very important to keep on discussing the theory of sexual liberation. My position is that I am not perverse at all. They are perverse. They are the bigots. They are the hypocrites. They are the ones in denial of their sexuality.'

Coon is sitting on the floor of her living-room, wearing dazzling white leggings and a matching top. The sun is streaming through the window and bouncing off her sleek hair, a mop of avant- garde, black-and-white stripes. At 55, her body is as taut, trim, and 'yoga-fit' as a woman half her age. While Coon has the courage of her sociopolitical convictions ('I consider myself part of a leftist project that wants change'), she acknowledges that her own situation is far from hellish.

'The world I live in, the heaven of Ladbroke Grove, means that any moan I might have about inequality is as nothing compared to what other people have to live through,' she says. Indeed, Coon cheerfully reveals that, in a rare bit of money luck, her heavenly west London home cost her only £15,000 because her Fenella Fielding accent got her on to some spurious, upper-income council list. 'Now that's what I call an interesting story about class,' she drawls mischievously.

Croline Coon was born in 1945 to a family of wealthy, ecologically conscious Kent landowners. It was an environment, Coon says, where women were regarded as little more than 'marriage-meat'. Influenced by this, she spent her youth loudly rejecting marriage, domesticity and motherhood, claiming, where the latter was concerned, that she 'wanted to be free to commit suicide'.

This decision starts looking even more complicated when you learn that Coon was sent away to board at the prestigious Legat Russian Ballet School at the age of five, mainly because her father abused her.

'I've had to say no to many men in life,' she says softly. 'And the first was my own father.' Although she had written passionately in the past on the subject of incest, Coon only went public about her own abuse very recently. However, reading past interviews, one is struck by how many times Coon hints at a terrible darkness in her background. It's as if, despite her best efforts, the secret she was keeping kept popping up into her mind like some sexually traumatic jack-in-the-box.

These days, Coon believes that her father was abused himself, and that she may have been sent to boarding school for her own protection.

Despite being severely dyslexic, she was happy at Legat, thriving in the disciplined, artistic, multicultural, 'gender-fluid' atmosphere. At 16, after a final row with her parents ('I wouldn't marry the next-door millionaire'), she decamped to London and her real life began in earnest. Along the way, Coon has dabbled in, among other things, modelling, movie-making, punditry and music journalism (during which she was the first to coin the term 'punk rock'). However, she is probably still best known for co-founding Release when she was still at art school.

Release helped everybody from homeless runaways to rock stars. At one point, the organisation was handling one-third of all drug busts in Britain. Coon attracted a lot of individual attention for a variety of reasons - her feminist mettle (she is one of Germaine Greer's dedicatees for The Female Eunuch) ; her feral beauty (she was known in London circles as 'Caroline Swoon'); and last, but not least, her unapologetic poshness and love of high culture.

She might have proudly marched alongside the newly politicised working classes in the Sixties, and been among the first to report on the likes of The Clash (whom she managed for a short period), but chez Coon, it was more about Anna Pavlova, Maria Callas and Stravinsky.

Then as now, Coon's main political beef was with sexual inequality. 'The idea that women are still perceived as second-rate is shocking,' she says disgustedly. 'People say this is a postfeminist age, but misogyny is still such a hot current in our culture. We need feminists in the vanguard more than ever.'

In the past, Coon's adversaries numbered other feminists who took exception to her appearance and behaviour. 'I was labelled decorative and beautiful and accused of being so just to attract men,' she recalls, 'whereas actually I didn't need to attract men. I was young! When you're young, you're up against the wall with offers.

'Women like me wanted love relationships without entering into the commercial exchange of marriage,' she continues. 'To our horror, we were called sluts, whores, easy lays, loose. It was so shocking that many women started going around, saying, "Oh no, I'm not an easy lay".'

In response to this, Coon famously put up a poster in her flat which read: 'Yes, yes, I'm an easy lay.' It was a protest against the then-prevalent belief that 'nice girls' had to be forced or tricked into sex, or they automatically ceased to be nice.

'Then as now, a lot of sex was just about playing out some sick rape scenario,' says Coon. 'It's all about men getting hard only as an aggressive act. It's a cheap, self-hating way for men to get hard and I'm not interested. It seems to me that men can get hard in a different, slower way. They can get hard by loving someone.

Well,' she finishes archly, 'that's the only "hard" I've ever been interested in.'

Coon resigned from Release in 1971, when the poverty, back-breaking work, sexist insults and inverted snobbery finally got too much. 'We're all performers, aren't we? I would never show it in public, but very often, I would just go home and weep.'

These days, people mainly seem to remember Coon for causing minor sensations, like wearing a transparent blouse for the Oz trial, putting red dye in the fountains at Trafalgar Square in protest at the Vietnam War, or getting herself jailed for a fortnight for brandishing fake spliffs at a demonstration. The irony of that last incident isn't lost on Coon. Despite her pro-drugs activism, she has never been into drugs herself, nor drink for that matter. For the interview, she graciously whips up some bucks fizz, but declares herself 'pissed' after one small glass.

It has to be said that, during the time I spend with her, Caroline Coon is extremely good company, fixing us lunch, breaking off in the middle of rants to relax into a little light gossip about sexist radioheads and chatting about art. Her favourite artists are Bridget Riley, Frida Kahlo and Georgia O'Keeffe, but she also has a lot of time for Rachel Whiteread and Tracey Emin.

'I think Tracey Emin is fantastic,' she says. 'I just hope she can cope with the vicious sexism with which she is now being interpreted. As an artist, I hold my breath for her.' As for Coon's own ongoing artistic-political-spiritual odyssey, she seems determined to regret nothing.

'There are times when I have to be tough, very tough, but I love it,' she says. A twinkle in her eye makes it easy to spot the brave, noisy young woman she once was, and in many ways still is. 'Oh, I don't think of myself as "mature" in any way,' smiles Caroline Coon. 'I think of myself as experienced.'By the time Coon left art school in 1968 figurative painting was deemed 'dead', but she avoided fashion and 'cool' and continued to work figuratively in oils on canvas with a brush. She was not interested in painting in new ways or working with 'new' materials but in seeing and interpreting the world anew. Her painting is 'hot', usually structured around narrative and imprinted by Pop Art, Feminist Art and the politics of sexual liberation. In contrast to society's acceptance of the female nude, Coon's honest depiction of the male nude has been considered shocking - in 1995 the Tate Gallery banned her 'Mr Olympia' painting because it showed an erect penis. Recently Coon has been painting her Ladbroke Grove neighborhood in a series of narrative urban landscapes, including 'The Brothel Series'.