If you’re not familiar with Storm Thorgerson, just know that he earned the right to be named "Storm Thorgerson." The most famous album-cover artist of all time — his most celebrated and longest lasting association was with Pink Floyd, though his work also adorned records by Led Zeppelin, Black Sabbath, Peter Gabriel, Phish, Ween, Anthrax, the Cult, Muse, the Mars Volta, and Audioslave, among many others — Thorgerson supplied the visually striking and often surreal iconography that served as a backdrop in countless college dorms for lobotomized interstellar couch trips. His most iconic concepts — a dark prism refracting white light into a rainbow, a man shaking hands with his inflamed doppelganger, an industrialized hellscape flecked with floating pigs — leapt out of vinyl stacks and onto wood-paneled bedroom walls, forming lasting images in the cloudiest sections of so many people’s memories. (No man did more to make suburban recreational drug use in the late 20th century feel epic.) If it’s possible for an LP cover (or a blacklight poster) to approach art, a lot of that has to do with Thorgerson.

Aaron Freeman, co-founder of the seminally brilliant/annoying Pennsylvania rock duo Ween, announced to Rolling Stone yesterday that he's quitting the band, effectively bringing to a close one of the most improbable quarter-century-long runs in modern rock history. Ween were a joke band, but as joke bands went, they were "The Aristocrats," a joke that seemed like it would go on forever, branching off in strange directions, finding new ways to provoke and confuse and offend.