Cowboy decorating ideas - Staff decoration.
Cowboy Decorating Ideas
- Make (something) look more attractive by adding ornament to it
- Provide (a room or building) with a color scheme, paint, wallpaper, etc
- Confer an award or medal on (a member of the armed forces)
- (decorate) make more attractive by adding ornament, colour, etc.; "Decorate the room for the party"; "beautify yourself for the special day"
- (decorate) deck: be beautiful to look at; "Flowers adorned the tables everywhere"
- (decorate) award a mark of honor, such as a medal, to; "He was decorated for his services in the military"
- a hired hand who tends cattle and performs other duties on horseback
- A man, typically one on horseback, who herds and tends cattle, esp. in the western US and as represented in westerns and novels
- a performer who gives exhibitions of riding and roping and bulldogging
- A person who is reckless or careless, esp. when driving an automobile
- someone who is reckless or irresponsible (especially in driving vehicles)
- (idea) the content of cognition; the main thing you are thinking about; "it was not a good idea"; "the thought never entered my mind"
- (idea) a personal view; "he has an idea that we don't like him"
- A concept or mental impression
- An opinion or belief
- (idea) mind: your intention; what you intend to do; "he had in mind to see his old teacher"; "the idea of the game is to capture all the pieces"
- A thought or suggestion as to a possible course of action
cowboy decorating ideas - Christmas Wall
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the friction of fiction: chpt. XXI
Warning: Mature Content XXI THE PROPOSITION For the life of him he could not put his figure on it, but it was most assuredly there. Damn it, he knew it, and he was dead set on figuring it out. Something in the way the mucker’s upper jowl seemed to protrude out further then the lower part of his face, drawing his top lip out into a curious over bite of a V, sagging like a lethargic tit that had seen the lips of far to many hungry emergent’s. The way his eyes did not line up strait, and really did not quite seem to belong to the shape of the rest of his face at all. They were smaller then many of his other over exaggerated facial features, and the left eye was clearly a good five or six millimeters lower then the right, but there was more to Turk’s facial character that simply reeked of circus side show freak then one could really put a finger on. He really wasn’t sure, but Fontaine knew it was there. There was something about Turk Nero, that just didn’t sit right with him. Taking care to be as discreet as possible, Fontaine, dragged his brow, squinted his eyes, and tilted his head slightly to the left, soaking in Turk’s features at a slightly different angle in the dull smoky light of Chaff‘s embarrassingly small claim stack. While smudged with blood from the gapping wound the one Chaff had referred to as Tri Pod, had awarded him in the initial pummeling, obscured a number of details, it was clear something wasn‘t right. The wound itself that now intersected the bridge of his crooked nose and continued on fallowing his left eyebrow to about mid way, while confusing seemed to fit properly. It was the singularly unified eye brow that crowned the whole of his face near ear to ear that had a sort of outlandish complement to it. This is what Fontaine had been thinking to himself at least. Perhaps that was it, he had continued to internally monologue. Sort of looks like the missing link between Cro-Magnon man, and a wasted farmer Brown after he’d first discovering crystal meth. Sitting comfortably behind his desk not but two feet away, Chaff leaned back in his seat, and heaved his lumbering leather construction boot bragging heels up onto the desk top before him, expressing an equally and far less abstruse inquisitive raised eyebrow of his own. Rubbing pretentiously at his chin stubble, Chaff also took in as much of Turk as he could, eyeing the anatomically incorrect contractor up and down a good time or two without a word. In a matter of seconds what had been a rather robust exchange of slurred, nearly illegible nasalization’s, matched with equally random skull scratching cronies had suddenly fallen into obscurity, finding it’s self replaced by a very uncomfortable motionless silence. To be perfectly honest the pause had been completely intentional, and now Chaff wasn’t sure if Turk was catching the hint or not. Granted, in the back of his mind he had to equally figure that at the end of the day, regardless of how this played out, he probably wouldn’t really give a fuck either. Allowing his squinty eye’s to work their way away from Chaff, seated comfortably behind his curiously decorated desk of amber entombed insects and mummified rodents, Turk’s eye’s clumsily scoured the cramped confines of the dim office, and the four other bruisers that for lack of better explanation had completely encompassed him in between the time he’d first entered the circumscribed berth and the point not a moment ago, when he’d first been savagely pummeled by an ox of a man, after walking in unannounced, and then awarded the opportunity to offer forth his bounty of information, in hopes of collecting a payoff. It had been the words “I’me know’n who’s got yaw magic box.” that had finally drawn Chaff’s attention. Somehow Turk had managed to wheeze out the entire sentence in between the body blows, and Chaff had ended the beating a moment later by simply raising his hand. He’d been allowed thirty seconds to spill as much information as he could, and spill he had, very, very quickly. Now there was nothing but silence. First Turk’s eye’s wondered to Fontaine, leaning casually against the shadowed back wall just behind Chaff’s desk, with his hands jammed deep into the front pockets of his poorly tailored trousers. Noticing himself, Fontaine immediately wrinkled his brow, and narrowed his eye’s, suggesting to Turk, that is was time to look else where. And look on he did. Next he looked back to Chaff, who motionless, expressed nothing even slightly distinguishable to the clutter minded clod hopper, and in return he looked else where again. This time, just to his immediate left, Turk actually had to cock his head a little to collect a quick glance at the leather clad loveseat, and the offish brut of a man making use of it. The very one that had put tooth to nail when he’d first entered unannounced, working him over like soiled linen on a wash board, before Chaff had finally called him off. The one Chaff had called,
Elvis Has Left the Building
"WHAT THEY WANTED TO DO was pretty straight forward and honest... They said that when people leave the Magic Kingdom at 4 o’clock in the afternoon and head for the hotels or the train, they wanted something that would light up and attract them so they could get their last half-a-buck out of them... That's when I did the colonnade with the stainless steel and the light. The only piece I took from theming was when we started the project, when somebody talked about the railroad and whether Festival Disney could have something to do with the history of the area and relate to the railroad... I decided to make the colonnade of Festival Disney perpendicular to the station, to the tracks [Frank is referring to the train line which connects from Paris/Eurostar etc into the heart of the resort]. It’s almost as though my row of columns was the residue of some old power station that related to the railroad. That's how I hooked into it. " This quote by Festival Disney architect Frank Gehry explains the initial concept in the approach of creating a very unique entertainment complex. This interview - in Designing Disney’s Theme Parks /The Architecture of Reassurance is one of the few materials that talk about the project. One assessment made in the interview is that Festival Disney was like a second Main Street USA. This idea suggests that when you leave the main transport access into the resort you turn right and head into the idealized early part of the twentieth century in the traditional Main Street USA or you can turn left and head down (my interpretation) the America that followed. One aspect however that I am not fully sure of is how much Gehry played a part in the dressing of the buildings once the main structures and columns were built. The interview talks only of his non-involvement in the interiors. The street was filled with large neons such as the Sports Bar with a American Football player reaching out into the walkway or the showy "arrow" billboards advertising the deli. Mickey Mouse sat high on a rocket ship that had just launched and was used to highlight The Disney Store and the exterior signage for the Key West Seafood restaurant had a large shark dangling as though “catch of the day". The three photos above feature the area around "Rock n Roll America". I am pretty sure that the Elvis figure originally stood inside the building - other photographs I have researched from 1992 don’t include either Elvis or the Jukebox doorway (these photographs are from 2001 but I do have the Elvis in place in 1999 - the alterations most likely occurred when Rock n Roll America took over the adjacent Streets of America store). The key though to these images however is the column which features the "Cowboy". The original columns that ran down the centre of the street were clad from top to base in the alternating metal pattern. These columns caused flow issues and congestion problems. Taking off the lower sections of the metal cladding exposed the main frames and eased sight lines (though not congestion) - these were decorated with the Cowboy (for the Billy Bob’s Country Western Saloon) Rock n Roll Dancers (for both Annette’s Diner and "Rock n Roll America") and Goofy on a horse for Buffalo Bill’s Wild West Show. Although the inclusion of these figures were both for advertising and "character" they did little to hide how odd the half clad columns looked or how the aesthetic of environment was deteriorating as it moved further from the original design. Elvis would soon leave the building as Rock n Roll America was removed - and replaced in 2003 with King Ludwig’s Castle, specializing in German cuisine. In 2005 the central columns (and figures) were also removed - along with the "starry" sky lights. Coloured balloon lights were attached on the sides of the remaining columns. Shot December 2001 on a Nikon F70. Disney Village (Festival Disney) Disneyland Paris (Euro-Disney Resort)
cowboy decorating ideas
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