Rising to meet the New Year.:. There is only doing the right thing and expressing the truth as it is. I have only friendship and love to gain, everything else is merit dedicated to the earth and service to humanity:.:.:.:.:
Our mind is integrating new sets of information constantly, transforming rapidly and becoming pure limitless light free of all wrongly apprehended ideas and ignorance of subtle truth… May we fully embody the truths we have discovered. There was never any more youth or age than there is now… I understand that there are things which seem to be imperfect, but truly that is where the perfection lies. May all beings be unified and a happy New Year to you all ✨✨✨ Love .:.
On the first episode of “The Art of Punk” we dissect the art of the legendary Black Flag. From the iconic four bars symbols, to the many coveted and collected gig flyers, singles, and band t-shirts, all depicting the distinctive Indian ink drawn image and text by artist Raymond Pettibon. We start off in Los Angeles talking to two founding members singer Keith Morris, and bass player Chuck Dukowski, about what the scene was like in 1976 - setting the stage for the band’s formation, as well as the bands name, and the creation of the iconic four bars symbol. Raymond Pettibon talks with us from his New York art studio. Back in LA, we meet with Flea, from the Red Hot Chili Peppers, about how the art, the music, and that early LA scene impacted his own life and career. To wrap it all up we sit and talk at length, with Henry Rollins, at MOCA Grand Ave in Los Angeles, about all of the above and more.
Created, directed, and Executive Produced by writer/author of ‘Fucked Up + Photocopied’, Bryan Ray Turcotte (Kill Your Idols), and Bo Bushnell (The Western Empire), The Art Of Punk traces the roots of the punk movement and the artists behind the iconic logos of punk bands such as: Black Flag (Raymond Pettibon), The Dead Kennedys (Winston Smith), and Crass (Dave King).
Through your words, I had learned lucidity about “Everything you ever told me could have been a lie, we may never have been in Love.” It is your truly expectations of escaping. Lead me to let it happen because when the mind mischief came over, it feels like we only go backwards. Keep on lying until sun’s coming up, oh my dear Elephant… I don’t really mind :D It is not meant to be part of my Alter ego, perhaps someone were gossip in the past life with new person, same old mistake, don’t they? Eventually that is why you asked me whether love/paranoia.
Throw away the bold arrow of time in your reality in motion. Stop, I beg you. Nothing that has happened so far has been anything we could control inside Apocalypse dreams while desire be, desire go. Be above it as good as runway, houses, city, clouds and music to walk home by bunch of disciples. Inhale, exhale. Open up your eyes, feel the balance. “Solitude is bliss”, so why won’t you make up your mind?
In the moment of right, even the less I know the better now I will say Yes I’m changing and I would love to toast with half glass full of wine after quarrels. GOD is GOOD.
This is my original credit combined with 3 albums of Tame Impala + 1 single (2009-2015). I am please to share this with you guys!!
On this episode of The Art of Punk, we hit head on with the art behind the legendary Dead Kennedys. From the chaotic, surreal, madness, of collage mixed with political folly that blazed their LP’s and gig flyers; to the razor edge ultra simplistic four simple line DK symbol.
In San Francisco we corner founding Dead Kennedys member Jello Biafra, and discuss his own warped inspiration for the many sleeves and posters created in the early days of the band. Back in Los Angeles we talk with pop surrealist artist Tim Biskup about how the DK’s affected and twisted his own young mind, and Steve Olson graces us with a few words of wisdom. Finally we meet up with master collage artist, and designer of the DK’s symbol, Winston Smith in his North Beach art studio, and talk about how he was drawn into the early Bay Area punk scene - and his long and creative artist relationship with the Dead Kennedy’s and Jello Biafra.
Le1f’s mesmerizing, glitchy beats and his provocative, richly referential lyrics are infiltrating hip hop with avant-garde and colluding avant with pop. His catchy collage of high and low culture, welcome at the Whitney and Irving Plaza, P.S. 1 and Los Globos, makes a perfect match for director Alex Da Corte, who consumes, metabolizes, and secretes mass culture into anally precise painting and sculpture. For the brooding, glamorous “Hush Bb,” Le1f and a female model take turns writhing on velvet sheets and smoking out of Da Corte’s signature plastic tubing, the video slowed like Le1f’s syrupy vocals. Here, Le1f (and culture itself) is the MC Escher triangle from his breakout video “Wut”: a snake eating its own tail.
Flea from the Red Hot Chili Peppers tells the story of how he discovered music and the challenge under privileged kids have in learning and having access to the Arts. The Silverlake Conservatory of Music currently has 700 students, 200 of which are on a full scholarship, learning music for free.