MASCARA DE CERA

There are people who are born to make music, others are born to hearing.
Whenever was part of this second group.
I'm just an addict... addicted to music.
Maybe it's a habit, I gotta use, even if it's, rock, jazz or the quiet storm.
Gosto mais de música que de lasanha.

THE RESIDENTS is my Biggest Addiction.
Other musical priorities are:
OLD TIME RELIJUN-ARRINGTON de DIONYSO, R. STEVIE MOORE, THE RED KRAYOLA,SHRIMP BOAT, SMEGMA,THE FIBONACCIS, THE SUN CITY GIRLS, LEGENDARY PINK DOTS, ESKIMO, SLINT, FRANK ZAPPA, CAPTAIN BEEFHEART, THE VELVET UNDERGROUND, HENRY FLYNT, PATTI SMITH, THE FEELIES, PERE UBU, THE CLASH, JOY DIVISION, SNAKEFINGER, MILES DAVIS, SUN RA, KRAFTWERK, ANAL MAGIC & REV. DWIGHT FRIZZELL, MOONDOG, THE WORK, RAYMOND SCOTT, SLAPPY, HAPPY, ART BEARS, NAKED CITY, HENRY COW, BONGWATER, SHELLAC, BLURT, GLAXO BABIES, WEEN, THIS HEAT, THE SEA AND CAKE, SAVAGE REPUBLIC, TUXEDO MOON, XTC, CAN, FAUST, THINKING FELLERS UNION LOCAL 282,THE EX, DANIEL SMITH- DANIELSON FAMILE,TOMAHWAK, FANTOMAS, MR. BUNGLE, MIKE PATTON, SUICIDE, THE GO-BETWEENS, STEREOLAB, SPACEMEN 3, CHROME, PRIMUS -LES CLAYPOOL, PRAM, BEACH HOUSE, THE OLIVIA TREMOR CONTROL, SWELL MAPS, SILVER APPES, MORPHINE, TELEVISION, DEVO, FLYING LIZARDS, THE POP GROUP, MINUTEMEN, MISSION OF BURMA, FUGAZI, WOVEN HAND- 16 HORSEPOWER- DAVID EUGENE EDWARDS, CHAD VANGAALEN, CRIME CITY SOLUTION, DAMIEN JURADO, DAVID DONDERO, CHELSEA WOLFE,THE BOOK OF KNOTS, FUGS, PEARLS BEFORE SWINE-TOM RAP, UNITED STATES OF AMERICA-JOSEPH BYRD, FAMILY, GODZ, BONZO DOG DOO DAH BAND,PENTANGLE,SLOVENLY, CHEER-ACCIDENT, SHOCKABILLY, EUGENE CHADBOURNE, BUTHOLE SURFERS, VAMPIRE RODENTS,TARWATER, COIL, THROBBING GRISTLE, SWELL, KEVIN COYNE, DAEVID ALLEN, ZOOGZ RIFT, SLEEPYTIME GORILLA MUSEUM, MX-80 SOUND, PAPA M, STUMP, RENALDO AND LOAF, THE BOOKS, NEW THRILL PARADE, NEW WET KOJAK, DAVID KILGOUR, LOW, VIC CHESNUTT, JOE HENRY, ALEJANDRO ESCOVEDO, JON WAYNE,THE TAPE BEATLES, THE GUN CLUB, MAKE-UP,THE DENGUE FEVER, THE PAPER CHASE, RED RED MEAT, KARL BLACK- SOCK HEADDED PETERS- LEMON KITTENS, THE MUSIC TAPES, 17 PYGMIES, THE SHAGGS, BOBB TRIMBLE, ALTERNATIVE TV, FISH AND ROSES, DIABLO SWING ORCHESTRA, POP D`ELL ARTE, MLER IF DADA,TOM ZÉ, WALTER FRANCO, OS MUTANTES, CAETANO VELOSO, MILTON NASCIMENTO, ARNALDO ANTUNES, VINICIUS CANTUARIA, CAZUZA, CEREBRO ELECTRONICO, CORDEL DE FOGO ENCANTADO, ROGERIO SKYLAB, MUNDO LIVRE SA, NAÇÃO ZUMBI, ALÇEU VALENÇA, ANT- BEE, JOHN WILKES BOOZE, BILL FAY, WOVEN HAND, EL GUAPO, DAVID GRUBS, TORTOISE, SAM PREKOP, LUNGFISH, MAN MAN, LYDIA LUNCH, MARK KRAMER,THE FIERY FURNACES, HENRY KAISER, HOME & GARDEN, LOUNGE LIZARDS, JOHN LURIE, ANTON FIER- GOLDEN PALOMINOS, BOB DRAKE, MY DEAD IS DEAD, MICHAEL YONKERS, MINIMAL COMPACT, AKRON FAMILY, SWANS, THESE IMMORTAL SOULS, UNREST WORK & PLAY, THE TAPE BEATLES, SWOLLEN MONKEYS (Ralph Carney), SHELLEY HIRSCH, NEW YORK GONG, GONG, WALL OF VOODOO, LIARS, TIM HUEY, TOM WAITS, TRACHTENBURG FAMILY, THE TRIFFIDS, THE CRUEL SEA, THE MEKONS, THE METOD ACTORS, THE MISTAKES, THE MOUNTAIN GOATS, THE NEW CREATION, THE PIN GROUP, THE RENDERS, BRUCE HAACK, LOREN MAZZACANE CONNORS, GLEN BRANCA, ALBERT MARCOEUR, LOS ANGELES FREE MUSIC SOCIETY, THE POLYPHONIC SPREE, MICROPHONES, GARY WAR, RAILROAD JERK, MODERN LOVERS, LOVE, HAWKWIND, RAIN PARADE, RALPH CARNEY, ROBERT WYATT, LUCIA PAMELA, RON SEXSMITH, ROWLAND S. HOWARD, SAFETY SCISSORS, RICHARD HELL & VOIDOIDS, SACCHARINE TRUST,THE NOTWIST,QUICKSPACE, ROY MONTGOMERY, THE CLEAN, THE BATS, RUN ON, LOVELY LITTLE GIRLS, LONG FIN KILLIE, SAFETY SCISSORS, BRIDE OF NO NO, TONE DOGS, TREAT HER RIGHT, TRIPOD JIMMIE, LIFTER PULLER, THEY MIGHT BY GIANTS, GANG OF FOUR, SOUL COUGHING- MIKE DOUGHTY, MAZARIN, KARATE- GEOFF FARINA, SECRET STARS, THE CHURCH, BLANK DOGS, FROG EYES, JOAN OF ARC, BLACKOUT BEACH, DIRTY BEACHES, PURE X, MAGIC TRICK-TIN COHEN, CHRIS COHEN, DAVID BAZAN, YUNG WU, WAKE OOLOO, DRIVE BY TRUCKERS, CAMPER VAN BEETHOVEN, U.S, MAPLE, MARTIN NEWELL, ERLAND and The CARNIVAL, CRIPPLED BLACK PHOENIX, CALIFONE, THE BLACK HEART PROCESSION, CLOUD CULT, EZRA FURMAN and THE HARPOONS, EFF BARZELAY, BORN RUFIANS, FERGUS & GERONIMO, CHAIN AND THE GANG - Ian Svenonius- WEIRD WAR,- THE MAKE UP, MOONFACE, THREE MILE PILOT, LIFE WITHOUT BUILDINGS, PINBACK, MAGIC HOUR, MAJOR STARS, MAPS & ATLASES, MEGAFAUN, MENOMENA, TAME IMPALA, AMPS FOR CHRIST, ARBOURETUM, TRUE WIDOW, NANA GRIZOL,TIMBER TIMBRE,THE IMPOSSIBLE SHAPES, THE LOVE EVERYTHING,THE MAE SHI, DEAD SKELETONS, THE SHIPPING NEWS, LES SAVY FAV, SILKWORM, DIANOGAH, THE COMSAT ANGELS, GASTR DEL SOL, 31 KNOTS, 90 DAY MEN, ORANGE JUICE,
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post-punker: Dave Vanian photographed by Alain Bali

(via photomusik)

obra prima

obra prima

As the founder of two idiosyncratic, do-it-yourself art spaces and as an early member of the artist group Collaborative Project, Inc. (COLAB), Stefan Eins played a central role in shaking up the insular, overly-intellectualized art world of the 1970s in favor of a more socially-engaged, multi-cultural art with broader public appeal.  Eins’ storefront at 3 Mercer Street (1972-79) pointedly called itself a store not a gallery, and encouraged artists to show low-priced art.  Fashion Moda (1978-93) was more radical.  Located in a dilapidated section of the South Bronx far removed from the traditional venues of fine art, this unlikely art space virtually forced downtown artists to move in populist directions and provided an opening for graffiti artists and others outside the mainstream to become part of the mix.  As an art impresario, Eins has a secure place in the story of art in the 1970s and 1980s.  Much less known, however is Eins’ own art.  This online exhibition looks at the work he made in the 1970s and shows its connection to the art spaces he was then creating.
Arriving in New York from Vienna in 1967, Eins joined a dynamic downtown art scene alive with change. In Austria Eins studied sculpture; in New York he worked freely in all media continually expanding his ideas in conformity with his belief that art was a universal impulse rooted in the souls of all people. The logo he designed for Fashion Moda expressed that philosophy incorporating four major languages — English, Spanish, Chinese and Russian.  Eins wants his art to embrace the mysteries in life and sees art as indistinguishable from magic, religion and science.   His creative strategies include appropriation and encourage viewer interaction.  Typical is his show of pulleys and crowbars where visitors at 3 Mercer Street were encouraged to handle everyday tools that demonstrate the simple mechanical wonder of lifting heavy objects with minimum effort.
Because he was always occupied running art spaces during the 1970s, much of Eins’ creativity was directed to graphic design for posters and signage.  He favored a simplicity of means: appropriated images, a typewriter or press type for text, and explored the possibilities of enlargement and the positive/negative reversals inherent to photostats and Xerox.  In Eins’ graphics there is room for chance and continual variation.
EXHIBITION HIGHLIGHTS:  1. Examples of Eins’ graphic works done at 3 Mercer Street include posters and one-of-a-kind design samples.  2.  A selection of “art products” by Eins, design sketches, prototypes, and documentary photographs including The Crowbar, The Cyclops, Rotating Disks, and UFO Posters.  3. Eins’ appropriation of death-row inmate Gary Gilmore’s drawing of girlfriend Nicole seen in two variations:  a Xeroxed Fashion Moda flyer, and a signed, enlarged Xerox from the same group of photocopies that Eins included in the Times Square Show (1980).

As the founder of two idiosyncratic, do-it-yourself art spaces and as an early member of the artist group Collaborative Project, Inc. (COLAB), Stefan Eins played a central role in shaking up the insular, overly-intellectualized art world of the 1970s in favor of a more socially-engaged, multi-cultural art with broader public appeal.  Eins’ storefront at 3 Mercer Street (1972-79) pointedly called itself a store not a gallery, and encouraged artists to show low-priced art.  Fashion Moda (1978-93) was more radical.  Located in a dilapidated section of the South Bronx far removed from the traditional venues of fine art, this unlikely art space virtually forced downtown artists to move in populist directions and provided an opening for graffiti artists and others outside the mainstream to become part of the mix.  As an art impresario, Eins has a secure place in the story of art in the 1970s and 1980s.  Much less known, however is Eins’ own art.  This online exhibition looks at the work he made in the 1970s and shows its connection to the art spaces he was then creating.

Arriving in New York from Vienna in 1967, Eins joined a dynamic downtown art scene alive with change. In Austria Eins studied sculpture; in New York he worked freely in all media continually expanding his ideas in conformity with his belief that art was a universal impulse rooted in the souls of all people. The logo he designed for Fashion Moda expressed that philosophy incorporating four major languages — English, Spanish, Chinese and Russian.  Eins wants his art to embrace the mysteries in life and sees art as indistinguishable from magic, religion and science.   His creative strategies include appropriation and encourage viewer interaction.  Typical is his show of pulleys and crowbars where visitors at 3 Mercer Street were encouraged to handle everyday tools that demonstrate the simple mechanical wonder of lifting heavy objects with minimum effort.

Because he was always occupied running art spaces during the 1970s, much of Eins’ creativity was directed to graphic design for posters and signage.  He favored a simplicity of means: appropriated images, a typewriter or press type for text, and explored the possibilities of enlargement and the positive/negative reversals inherent to photostats and Xerox.  In Eins’ graphics there is room for chance and continual variation.

EXHIBITION HIGHLIGHTS:  1. Examples of Eins’ graphic works done at 3 Mercer Street include posters and one-of-a-kind design samples.  2.  A selection of “art products” by Eins, design sketches, prototypes, and documentary photographs including The Crowbar, The Cyclops, Rotating Disks, and UFO Posters.  3. Eins’ appropriation of death-row inmate Gary Gilmore’s drawing of girlfriend Nicole seen in two variations:  a Xeroxed Fashion Moda flyer, and a signed, enlarged Xerox from the same group of photocopies that Eins included in the Times Square Show (1980).

 2 photos- Alex Solis is back with another creative project. Previously, we shared his illustrations with everyday objects and sign language doodles with you. Now it is time for his latest humorous drawings called “Famous Chunkies”. Chunky Papa Smurf, Power Ranger, Captain America…All of them get fat for the project and pose with a cupcake, ice-cream, hamburger in their hands. Although the illustrations seem to be just for fun, they can also be great visuals to raise awareness about childhood obesity, don’t you agree?

3 photos- As origens da associação entre os ovos e a celebração da Páscoa não são certas: um conto religioso afirma que Maria Madalena levada ovos ao túmulo de Jesus para compartilhar com as outras mulheres presentes na sua vigília e os viu virar vermelho brilhante durante sua ressurreição. Outra teoria é que as primeiras comunidades cristãs usado para tingir ovos com cor vermelha como um lembrete da morte de Jesus. Seja qual for a origem, pintura e troca de ovos de Páscoa é uma tradição particularmente desenvolvido na Europa Oriental, da Escandinávia e Grã-Bretanha, no norte de Itália e da Grécia, no sul, a partir dos países eslavos para a Alemanha, Roménia e Hungria. 

Ovos na Páscoa são tingidos em várias cores, decorado com intrincados desenhos, pendurado em galhos de árvores, amarrados nos fios, enterrados no solo, caracterizado nos jogos, trocadas entre amigos, cozido em pães e levado à igreja para ser abençoado na manhã de Páscoa .

Pépé Smith

CHEGOU A ÉPOCA DAS JOANINHAS. todos os dias apanho uma.

As joaninhas põem os ovos sob as folhas das plantas que os pulgões estejam comendo.

Quando as larvas da joaninha saem do ovo, encontram uma refeição pronta.

As joaninhas são insetos pequenos e coloridos, muito admirados por sua beleza e, em muitas culturas, símbolos de boa sorte e fartura.

Joaninha é o nome popular dos insetos coleópteros da família Coccinellidae.Há cerca de 4500 espécies de joaninhas, diferentes entre si nos padrões de cores e pintas da carapaça.

Os cocinelídeos possuem corpo arredondado, cabeça pequena, patas muito curtas e asas membranosas muito desenvolvidas, protegidas por uma carapaça dura geralmente de cores vivas.

Podem medir de 1 até 10 milímetros, e viver até 180 dias.Como todos os coleópteros, as joaninhas passam por uma metamorfose completa durante seu desenvolvimento. 

Embora seu colorido se destaque no verde das folhas, não são muito apreciadas pelos pássaros, pois exalam um cheiro ruim.

As joaninhas (no Brasil) são conhecidas como ladybug (senhora-besouro) em inglês, Marienkäfer (besouro de Maria) em alemão, e Mariquita em espanhol.

As joaninhas são predadoras de pulgões, alimentando-se tanto da forma adulta quanto da larva.

Uma única joaninha pode comer mais de 200 pulgões por dia.

Por esse motivo, as joaninhas são freqüentemente utilizadas para realizar o controle biológico desta praga em áreas de cultivo agrícola.

Alguns agricultores chegam a comprar centenas de joaninhas para por na plantação para que, ao se alimentarem dos pulgões, livrem as plantas desse parasita. Mas isso, na verdade, acaba causando outro desequilíbrio ecológico

Os pulgões são insetos sugadores chegam ao tamanho máximo de 5 mm de comprimento.

Os pulgões que vivem em climas tropicais se reproduzem por partenogênese, e geram somente fêmeas.

Nos meses de verão, sem a vantagem do acasalamento, as fêmeas dos pulgões produzem grande número de ovos não fecundados.

Eles se desenvolvem dentro da mãe, que diariamente dá à luz vinte réplicas iguais a ela, e cada uma dessas réplicas será mãe de outras gerações de fêmeas.

os pulgões crescemmuito rapidamente, não há machos com quem dividir comida e espaço, e as fêmeas não têm de gastar tempo acasalando.

Todos os pulgões se reproduzem, sendo detidos somente pelo inverno frio, por um predador como a joaninha, por escassez de comida, ou por um inseticida. Em poucos dias, os descendentes de um único pulgão são capazes de acabar com um arbusto de rosas.

As vezes as joaninhas tem que disputar os pulgões com as formigas, pois algumas espécies de formigas criam pulgões (como se fossem mini-vaquinhas) para ordenhá-los, e as formigas protegem os pulgões das joaninhas.

As joaninhas são um dos maiores predadores no mundo dos insetos e alimentam-se de afídeos, moscas da fruta, pulgões, piolhos da folha e outros tipos de insetos, a maioria deles nocivos para as plantas.

Uma vez que a maioria das suas presas causa estragos às colheitas e ás plantações, a gente aprende desde cedo a gostar das joaninhas (além de serem bonitas).

Existem outras cores de joaninhas, como esta joaninha amarela da foto.

3 photos- Criada pelo artista húngaro Gabor Fulop, a Lady Bug é uma escultura de uma figura humana composta por inúmeras joaninhas artificiais que só podem ser vistas de perto. A escultura é muito interessante e ao mesmo tempo bizarra. É tão diferente que lembra um Super-Herói. Se existe um Homem-Aranha, um Homem-Morcego e uma Mulher-Gato, por que não uma Mulher-Joaninha? Enfim, veja a seguir mais imagens da escultura inusitada.

Edward BURNE-JONESThe Wheel of Fortune (1871-1885) 
Art as Therapy – whether you succeed or fail is entirely in your own hands
Philosophers Alain de Botton and John Armstrong of The School of Life have created the Art as Therapy Tour at the NGV. The self-guided tour of selected works from the NGV Collection includes special captions that challenge our assumptions about ourselves, society and how we view art in galleries. Here, they look at Edward Burne-Jones’The Wheel of Fortune (1871-1885)  and propose that whether you succeed or fail is entirely in your own hands.

Whether you succeed or fail is entirely in your own hands.

This picture is a corrective to our obsession with control, responsibility and self-determination. It’s not that these are useless obsessions, far from it. Precisely because they are so important they run the risk of being overstated, and hence of being oppressive and false. Edward Burne- Jones invokes the idea of the wheel of fortune to remind us that we have less control over our lives than we like to imagine.
We do not get to choose our parents or where we are born, and we don’t control the wider currents of our society, which may suddenly have little interest in our skills or become unsympathetic to things we hold dear. Successes that we suppose are entirely due to our own efforts might in fact have quite a bit to do with luck. Failure, conversely, might not always be entirely due to our own mistakes.

Edward BURNE-JONES
The Wheel of Fortune (1871-1885) 

Art as Therapy – whether you succeed or fail is entirely in your own hands

Philosophers Alain de Botton and John Armstrong of The School of Life have created the Art as Therapy Tour at the NGV. The self-guided tour of selected works from the NGV Collection includes special captions that challenge our assumptions about ourselves, society and how we view art in galleries. Here, they look at Edward Burne-Jones’
The Wheel of Fortune (1871-1885)  and propose that whether you succeed or fail is entirely in your own hands.

Whether you succeed or fail is entirely in your own hands.

This picture is a corrective to our obsession with control, responsibility and self-determination. It’s not that these are useless obsessions, far from it. Precisely because they are so important they run the risk of being overstated, and hence of being oppressive and false. Edward Burne- Jones invokes the idea of the wheel of fortune to remind us that we have less control over our lives than we like to imagine.

We do not get to choose our parents or where we are born, and we don’t control the wider currents of our society, which may suddenly have little interest in our skills or become unsympathetic to things we hold dear. Successes that we suppose are entirely due to our own efforts might in fact have quite a bit to do with luck. Failure, conversely, might not always be entirely due to our own mistakes.

4 photos  interesting images from the bookCannabis Under The Microscope: A Visual Exploration of Medicinal Sativa and C. Indica by Ford McCann. The ebook is available for all Kindle devices and applications from Amazon


You’ve seen plenty of pictures of marijuana buds, plants, and crops on the web. Ford McCann wanted a closer look, down to the microscopic level. Images at that level are amazingly otherworldly, definitely artistic, and well worth sharing. The 170 images in the book were taken over the course of a year with both optical microscopes and electron scanning microscopes.

Fernando Botero ( 19 de abril de 1932,  Antioquia, Colômbia ) pintor e escultor colombiano.
Universal arte ícone, um extenso trabalho é reconhecido por crianças e adultos em todos os lugares. É considerado o artista vivo originalmente a partir de hoje mais reconhecido e citado no mundo da América Latina.
Suas obras destacam-se sobretudo por figuras rotundas, o que pode sugerir a estaticidade da humanidade. Percebe-se a sua escultura como uma crítica social, especialmente no que diz respeito à ganância do ser humano.
Não, eu não pinto pessoas gordas” Esta era a resposta recorrente de Botero à pergunta: porque pinta Botero pessoas gordas? 
As figuras anafadas, gordas, desajeitadas, num estilo propositadamente naif, são a marca indelével da arte de Botero: uma mistura da cultura contemporânea da Colômbia e a inspiração nas tradições artísticas ocidentais, através de obras de mestres clássicos como Francisco Gota, Diego Velásquez e Piro delia Francesca.

Fernando Botero ( 19 de abril de 1932,  Antioquia, Colômbia ) pintor e escultor colombiano.

Universal arte ícone, um extenso trabalho é reconhecido por crianças e adultos em todos os lugares. É considerado o artista vivo originalmente a partir de hoje mais reconhecido e citado no mundo da América Latina.

Suas obras destacam-se sobretudo por figuras rotundas, o que pode sugerir a estaticidade da humanidade. Percebe-se a sua escultura como uma crítica social, especialmente no que diz respeito à ganância do ser humano.

Não, eu não pinto pessoas gordas” Esta era a resposta recorrente de Botero à pergunta: porque pinta Botero pessoas gordas? 

As figuras anafadas, gordas, desajeitadas, num estilo propositadamente naif, são a marca indelével da arte de Botero: uma mistura da cultura contemporânea da Colômbia e a inspiração nas tradições artísticas ocidentais, através de obras de mestres clássicos como Francisco Gota, Diego Velásquez e Piro delia Francesca.




Fernando Botero Angulo é um artista figurativista colombiano, chamado por alguns de “Boterismo”, o que lhes dá uma identidade inconfundível.
As suas obras destacam-se sobretudo por figuras rotundas, o que pode sugerir a estaticidade da humanidade, e como uma crítica social, especialmente no que diz respeito à ganância do ser humano.







Nascimento: 19 de abril de 1932 (82 anos),
  • Fernando Botero Angulo é um artista figurativista colombiano, chamado por alguns de “Boterismo”, o que lhes dá uma identidade inconfundível.
    As suas obras destacam-se sobretudo por figuras rotundas, o que pode sugerir a estaticidade da humanidade, e como uma crítica social, especialmente no que diz respeito à ganância do ser humano.
c-hlorophyll: Happy Bicycle Day!
On this day in 1943 Albert Hoffman experienced the first LSD trip.

c-hlorophyll: Happy Bicycle Day!

On this day in 1943 Albert Hoffman experienced the first LSD trip.

(via naked--lunch)