I believe that there is a vary of alternative earnings in Team Rocket - not only illegal. In the anime we can see Pokemon land, in the game series there is a casino... Giovanni is in a good shape, so why doesn't he make a shaping exercises DVD for lonely housewives?.. 🤔
10 minutes of Giovanni and his body-art-fat-burning-fitness-program to 15 old songs played by three Ludicolo.
P.S.: First I made a 30+ minutes video with 50 songs, but after that I found out that there is a video duration limit... : >
P.P.S.: See below the names of the songs
1. Shaft - Mambo italiano
2. Aqua - Barbie girl
3. Alex C. feat. Y-ass - Du hast den schönsten arsch der welt
Simbólica imagem inspirada nas lavadeiras e ganhadeiras de Itapuã. Fortes mulheres que, passam boa parte da vida lavando roupas e cantando na beira do rio, brejo e lagoas.
Sim, é uma profissão ancestral, com muitas histórias, inclusive antes da invenção do sabão para limpar o tecidos, era preciso, usar a força braçal para batê-lo sobre pedras na beira da água para tirar a sujeira da roupa, inclusive, substâncias gordurosas.
Muitas memórias afetivas das lavadeiras recheadas de sentimentos, emoções e sem romantismo.
Nike Announces Major Reorganization Focused on Consumers, Key Cities and Speed | Shop-Eat-Surf
Hola Leonor, Princess of Asturias Rafa Nadal Akon,
NIKE, Inc. (NKE) today introduced the Consumer Direct Offense, a new company alignment that allows Nike to better serve the consumer personally, at scale. Leveraging the power of digital, Nike will drive growth—by accelerating innovation and product creation, moving even closer to the consumer through Key Cities, and deepening one-to-one connections.
In the new alignment, the company will drive growth by deeply serving consumers in 12 key cities, across 10 key countries: New York, London, Shanghai, Beijing, Los Angeles, Tokyo, Paris, Berlin, Mexico City, Barcelona, Seoul, and Milan. These key cities and countries are expected to represent over 80 percent of Nike’s projected growth through 2020.
Business, Fragrance, Environmental Capitals are in my Network with Cooking Show for Networking in Decentralized Markets.
I can build Art Schools for Art Financing et Real Estate Investment Banking.
If you look at the Euro and it's major consumer markets UEFA is so fucking stupid from a LEGAL STANDPOINT!
Clay Season can bring Cologne Modelling/Fragrance Festivals for Synth Pop Artist.
Buenos Aires and Santíago are way more IMPORTANT then Rio; Chile is RICH and has Salmon; and Buenos Aires is a Port City.
Leonor, I want to get into Olfactory and Culinary Arts.
En los tres cortometrajes que se presentan en esta sesión se producen encuentros entre mujeres, una científica que vive en condiciones extremas con su psicóloga, una joven con su abuela y dos cineastas en torno a la figura de Wendy Carlos, en los que se vislumbran otras posibilidades de vida y de entender el mundo.
The Antartic Gardener, de Elisa Strinna. Países Bajos / Italia. 2022. 24 minutos. VOSE – Estreno Internacional -
Una ficción especulativa sobre la generación de ecosistemas artificiales que serán necesarios para sobrevivir en un futuro próximo, contada a través de un historia de confinamiento y supervivencia humana y vegetal en el entorno extremo de la Antártida.
La jardinera de la Antártida es una científica que trabaja en un invernadero en el Polo Sur, haciendo crecer vida donde no debería haber. La serenidad que se respira en el interior de los contenedores que habita y cultiva, contrasta con las furiosas fuerzas naturales que se desatan en el exterior. La obra se presenta también como un retrato sobre el aislamiento y sus efectos tanto físicos, como mentales y psicológicos en el ser humano. A su vez la película estudia las relaciones, las consecuencias y los límites de las relaciones entre naturaleza y tecnología.
La película tuvo su premiere mundial en el Festival de Rotterdam 2023.
Elisa Strinna (Italia, 1982) artista multimedia italiana que trabaja fundamentalmente en los campos de la escultura, el sonido y el vídeo. Se graduó en Artes Visuales en IUAV (Universidad de Venecia), completando sus estudios con un posgrado en Documentos y Arte Contemporáneo en ÉESI (L'École Européenne Supérieure de l'image) en Francia. Comenzó su carrera cinematográfica en 2011 con los cortometrajes Dust y The Appel Girl, The Antartic Gardener es su última película hasta la fecha. Su trabajo ha sido exhibido entre otros museos y centros de arte en: Culturgest Lisboa y Oporto (Portugal), Bienal de Taipei (China), Museo MACRO y Museo MART (Italia) o Espai d’art contemporani de Castelló (España)
Mis amigos son los pájaros…, de Vitória Monteiro. Austria / Brasil. 2023. 15 minutos. VOSE – Estreno Internacional -
Partiendo de Feminismo Glitch (Un manifiesto) de Legacy Russel, el encuentro de la cineasta con su abuela sirve de punto de partida para reflexionar sobre la importancia de encontrar comunidad desde la propia familia, hasta colectivos sociales y redes online, para compartir vida y experiencias y afrontar luchas comunes sin temer ser utópicas. Varias reuniones de Vitória Monteiro con Ethel Indarte, su abuela uruguaya de 88 años, sacan a la luz las memorias de ésta, que escribiera 15 años atrás, una mujer que sufrió una gran soledad y que logró su independencia realizando arreglos florales, verbalizar esta historia por primera vez se convierte en un elemento catártico para la emancipación.
La película tuvo su estreno en Graz – Diagonale Film Festival (Austria)
Vitória Monteiro (Brasil, 1994) Cineasta, artista visual y cantante, trabaja de forma multidisciplinar en vídeo, escultura y collage. Formada en teatro en la Universidad Federal do Rio Grande do Sul, en 2016 se mudó a Austria para estudiar en la Academia de Bellas Artes de Viena especializándose en Imagen en movimiento y arte digital. Actualmente actúa en diferentes circuitos artísticos y políticos y su práctica tiene como fundamento una mirada política y queer-feminista. Ha mostrado su trabajo en la Bienal de Venecia (Pabellón Austria 2019), Wiener Filmmuseum (Austria) o Improper Walls Gallery.
Wendy (exhibition version), de Frances Scott y Chu-Li Shewring. Reino Unido. 2023. 35 minutos. VOSE - Estreno Internacional -
Wendy es una carta cinéfila en respuesta al trabajo de la pionera compositora de música electrónica Wendy Carlos, planteada como un dúo a cuatro manos y un piano, entre las dos cineastas, quienes juntas aprenden a tocar Timesteps, una transcripción de la partitura original que compuso para A Clockwork Orange (Stanley Kubrick, 1971). La partitura inicialmente compuesta para ser interpretada con sintetizadores, aquí es interpretada al piano propiciando ciertas disonancias y arritmias que dan una nueva lectura al tema original, propiciando una forma íntima y compleja de habitar la partitura.
La película transita a través de vocoders, archivos, relecturas, eclipses solares, retornos cíclicos y aprendizaje colaborativo en busca de una síntesis sonora como forma de ser. El material visual del que se nutre combina un amplio espectro de texturas que van desde película en 16 mm procesada de forma artesanal hasta imágenes realizadas con tecnología digital en 3D, en busca de, parafraseando a Donna Harawey: “un mundo sin género, que quizás sea un mundo sin génesis, pero tal vez también un mundo sin fin”.
Wendy se presentó este verano en formato expositivo en el Centro de Arte Contemporáneo TACO! de Londres.
Frances Scott (Reino Unido, 1981) Artista visual que trabaja en la periferia de la producción cinematográfica. Sus películas se basan en procesos colaborativos con especialistas de otras disciplinas, guiados por extensas investigaciones. Sus proyectos se materializan tanto en películas, como en instalaciones, publicaciones o piezas sonoras. Sus trabajos audiovisuales se han presentado en festivales y centros de arte como el de NIFF de Nueva York, Oberhausen, BFI Londres, CTM Berlin, Anthology Film Archives (Nueva York) o Whitechapel Gallery (Londres)
Chu-Li Shewring (Reino Unido, 1977) Cineasta y diseñadora de sonido. Licenciada en el London College of Communication, master en Diseño sonoro en la National Film and Television School.
En el campo sonoro ha trabajado con cineastas y artistas como Jeremy Deller, Beatrice Gibson, Steve McQueen, Ben Rivers o Aura Satz. Como cineasta sus películas combinan entrevistas, material de archivo y documental, con paisajes sonoros delicadamente elaborados para crear realidades que se ubican en algún lugar entre la realidad y la ficción. Sus películas han participado en festivales como Róterdam, Sheffield DocFest, The London Film Festival, Festival de cine de Edimburgo, Uppsala ISFF, Camerimage, Festival Punto de Vista de Navarra o el Festival de Toronto.
Located at the corner of Whittier and Ditman in Commerce CA, this modestly-sized park is home to a number of community amenities and features. It’s a great place to unwind and let the kids burn off some steam.
Most noteworthy:
This is the site of the newest addition to Commerce’s award-winning park system, a 1.2-acre children’s playspace that was completed in July. This space is a welcome addition to the community and will be enjoyed by generations of young and old.
What’s more, it’s the first of its kind in the city and a true test of the community’s ability to provide for the needs of the city’s youth.
The most impressive thing about this space is that it’s accessible to all, not just the elite few.
In short, it’s the best community space in the City of Commerce.
The award-winning park was a collaboration between First 5 LA and seven other organizations, including Amigos de los Rios, Los Angeles Conservation Corps, the Los Angeles Neighborhood Initiative, Los Angeles Parks Foundation, North East Trees and Shane’s Inspiration.
For more information on the space and all of its other wonders, please visit the park’s website.
The site is also home to an impressively-designed public art installation, a nifty-looking fountain and the most recent addition to the City’s acclaimed library.
What’s more, it’s all made possible by the latest in digital technology and smart transportation design.
The best way to get to Salazar Park is by using Moovit, the smart transit app that connects you with real-time bus and rail information. The app is free to download and uses GPS technology to get you where you need to go.
AGFA announces theatrical screenings of the 4K restoration of John Carpenter’s ASSAULT ON PRECINCT 13
The American Genre Film Archive, the largest non-profit genre film archive and distributor in the world, is thrilled to announce theatrical screenings of John Carpenter's ASSAULT ON PRECINCT 13—newly restored in 4K.
Written, directed, scored, and edited by Carpenter two years prior to HALLOWEEN, ASSAULT ON PRECINCT 13 combines the template of NIGHT OF THE LIVING DEAD with the spirit of RIO BRAVO to forge a movie like no other. The story follows a group of police offers (including the mighty Austin Stoker) and convicts as they join forces inside a soon-to-be-closed L.A. police station. The reason? They must defend themselves against Street Thunder, a vicious gang who have taken a blood oath to kill someone trapped inside the precinct. Combining gritty action with arthouse style, ASSAULT ON PRECINCT 13 features powerful Cinemascope compositions, a pulsing synth score, and an immersive mood that only Carpenter can deliver.
“It’s an honor to represent Carpenter’s legacy, given how much personal joy his work has created for us,” said AGFA Theatrical Director Bret Berg. “When it’s something as iconic as PRECINCT 13—akin to the heartstopping majesty of HALLOWEEN—we’re driven to get this taut masterwork in front of as many audiences as we can. Big thanks to the CKK Corporation for sheparding this new restoration.”
Newly restored in 4K, ASSAULT ON PRECINCT 13 is back on the big screen—loud, beautiful, and inescapable, as it was always meant to be seen.
The full list of screenings:
1/11 - 1/13 - Globe Cinema / Calgary, Canada
week of 1/20 - Gateway Film Center / Columbus, OH
week of 1/20 - Screenland Armour / Kansas City, MO
week of 1/20 - Majestic Theaters Tempe / Phoenix, AZ
week of 1/20 - Music Box / Chicago, IL
week of 1/27 - The Beacon / Seattle, WA
week of 1/27 - Somerville Theater / Somerville, MA
week of 1/27 - Plaza Theater / Atlanta, GA
week of 1/27 - Charlotte Film Society / Charlotte, NC
1/22 - Digital Gym / San Diego, CA
1/26 - Crosstown Arts / Memphis, TN
starting 1/26 - Rio Theatre / Vancouver, BC
1/27 - 1/30 - Frida Cinema / Santa Ana, CA
1/29 - 2/1 - Metro Cinema / Edmonton, Canada
throughout Feb 2023 - Winnipeg Film Society / Winnipeg, Canada
2/3 - Charles Theater / Baltimore, MD
week of 2/3 - Alamo Drafthouse DTLA / Los Angeles, CA
week of 2/3 - Alamo Drafthouse Lower Manhattan / NYC
week of 2/3 - Alamo Drafthouse New Mission / San Francisco, CA
week of 2/3 - Alamo Drafthouse Park North / San Antonio, TX
week of 2/3 - Alamo Drafthouse Raleigh / Raleigh, NC
week of 2/3 - Alamo Drafthouse Sloans Lake / Denver, CO
week of 2/3 - Alamo Drafthouse South Lamar / Austin, TX
week of 2/3 - Alamo Drafthouse Staten Island / NYC
week of 2/3 - Alamo Drafthouse Yonkers / Yonkers, NY
week of 2/3 - Mayfair Theater / Ottawa, ON
week of 2/3 - Hollywood Theater / Portland, OR
week of 2/3 - Cinema Arts Centre / Huntington, NY
2/6 - Nitehawk Prospect Park / NYC
2/17 - 2/18 - Late Nite Grindhouse / St. Louis, MO
2/25 - University of Wisconsin Cinematheque / Madison, WI
week of 3/10 - Ragtag Cinema / Columbia, MO
3/17 - 3/19 - Trylon Cinema / Minneapolis, MN
youtube
About AGFA
Formed in 2009, the American Genre Film Archive (AGFA) is a 501(c)(3) non-profit located in Austin, Texas. AGFA exists to preserve the legacy of genre movies through collection, conservation, and distribution. Housing theatrical and home video distribution arms, a 4K film scanner, and over six thousand film prints, AGFA will never rest until genre movies rule the world.
Here are a load of kitten lines! From top to bottom, their intentions:
1) just a plain kitten
2) kitten lines
3) slim kitten lines with no transparency. If I missed any sections and failed to remove the transparency on them, please message me if you want to use these so I can correct that for you and update this with a corrected version.
4) chunky kitten lines with no transparency. If I missed any sections and failed to remove the transparency on them, please message me if you want to use these so I can correct that for you and update this with a corrected version.
5) a version with a layer of cell shading that can be used if you don’t want to have to shade for yourself I guess
6) a mask for a colourpoint kitten, complete with bright blue eyes (all colourpoints have blue eyes). It’s not perfect, but every colourpoint is different, and this, I think, is acceptable as an example for people to practice against.
7) a version of the kitten with the eyes and nose in different colours for easier-ness if you’re feeling lazy
do not use these unless
1) You are a member of the specific group who I am alerting I have now made this for now
2) I give you specific permission later OR
3) You can prove to me that you’re going to appreciate being able to use these and that you’re willing to put in effort with these rather than using them as a way to circumvent putting in any effort at all; please ask me about this if you’re interested, I don’t bite, I just want to know that you’re going to actually make the most of any lines I want to be accessible.
In the case of 2) and 3) you must give me credit somewhere alongside wherever you post them. It’s perfectly fine to do this by doing a reblog from this post with your designs, or by putting a new post with a link to this one, but it must be in a form where someone can find me easily, and clearly with me as the creator. I would appreciate this from 1) as well, but I shan’t demand it.
lo loco de los Biopunks es que no son punks, bueno si lo son pero al mismo tiempo no pero sí
a ver explico
En el setting, el biopunk surge como un movimiento social y cultural en la década de los 2060 en adelante, en un mundo azotado por el cambio climático, la desigualdad social, y las crisis económicas; los biopunks originales toman las herramientas biotecnólogicas y tratan de crear un nuevo mundo, donde todos pueden producir sus propios alimentos, expresar su cuerpo y su identidad* como deseen, reastaurar (o en los grupos más extremos, mejorar) el medio ambiente devastado, explorar nuevas formas de inteligencia y arte... Entre estas corrientes hay mucho conflicto, y a veces muy violento, porque son punks después de todo, y no del todo progresista, porque por cada biopunk que celebra la diversidad de la vida y quiere liberar los genes de las megacorporaciones, hay otro que quiere hacerse millonario vendiendo el ideal racista del cuerpo perfecto...
Es un ambiente muy parecido a las primeras subculturas hackers de los años 1980-90, pero con herramientas muchísimo más poderosas; la biotecnología no es como la programación, es una tecnología que puede cambiar la vida misma como la conocemos. Hubo muchísimos conflictos sociales y bioéticos en esta época. Las naciones tenían que decidir si prohibir toda la biotecnología y caer en la ruina, dejar que sea totalmente libre y arriesgarse a una crisis ecológica y social, o... la tercera opción. Los bioclubs. Los bioclubs dejan que los biopunks se expresen, sí, pero bajo las regulaciones del estado y de una forma "productiva" a la sociedad. Esto es algo que nunca ocurrió en la revolución digital de nuestra época, pero sí en esta, por el peligro inherente de la biotecnología en manos de cualquiera.
Los bioclubs entonces pasan a agrupar a los jóvenes interesados en la biotecnología como medio de autoexpresión y revolución a algo más "manejable" por el establishment. Que no significa que tuvo sus frutos, frutos muy hermosos sin duda. La Tierra fue sanando de los crímenes de los siglos pasados, nuevas corrientes artísticas surgieron, nuevas tecnologías curaron enfermedades y alimentaron a los pueblos... pero la llama revolucionaria del biopunk fue apagada. Para el año 2100 Brasil ya había tenido DOS presidentes que eran ex-biopunks. Cualquier pibe/a de 16 podía conseguir implantes de piel de camaleón en la esquina. Todos los inventos de aquella era revolucionaria ya eran producidos a gran escala, y los animales inteligentes e inteligencias artificiales estaban en destino a la igualdad política, sino social. Crecer flores en el pelo y tener dragones de mascotas no era más rebeldía sino una expresión de moda.
Los biopunks protestaron. Esos eran unos vendidos que se unían a esos clubs para conseguir un par de subsidios para hacer plantitas bioluminiscentes. Pero uno a uno, fueron adaptandosé al nuevo mundo que ellos, sin querer habían creado, o desvaneciendosé de la escena.
El biopunk dejó de ser la contracultura para convertirse en LA cultura.
("Mientras miro las nuevas olas, yo ya soy parte del mar...")
Y entonces llega el Ecocidio.
Y uno puede pensar como son las cosas en la época que escribo que el mundo ya vio pandemias y destrucción ambiental así que una más que hace. Pero el Ecocidio es diferente. Miles de millones de muertos, la bioesfera totalmente devastada, absolutamente toda la sociedad mundial cambiada hasta los cimientos (nada de "nueva normalidad"), el mundo en un literal pie de guerra contra la misma extinción. Es, sin ninguna clase de duda, el peor desastre de la historia humana. **
Para cuando "termina" el Ecocidio, el mundo está, en el sentido más literal de la palabra, traumado. Lo único que importa es que nunca más vuelva a ocurrir y la reconstrucción del planeta. Todos los "excesos" de la era del biopunk son considerados locuras de otra época, y en parte lo que llevó a ese desastre. No hay tiempo para andar jodiendo con escamas que cambian de color o plantas que cantan. Hay que poner el hombro y Reconstruir.
Y acá llegamos a nuestros queridos héroes. Los Biopunks (con mayúsculas). Ellos son herederos de todo esto que acabo de contar. Ellos nacieron, en muchos casos, en la era del Ecocidio, y sufrieron sus consecuencias, algunos en carne propia, un dolor que todavía no pueden dejar de lado. Pero ellos también fueron los que festejaron de chicos cuando volvió la paz y terminaron las restricciones, aunque no sabían que eran.
El mundo que conocen es un mundo que, de chicos era muy muy triste, pero ahora está sanando, con araucarias creciendo de vuelta y yaguaretés en las selvas del Paraná, y no entienden por qué tanta amargura. Cuando crecieron, escucharon a los cantantes de aquellos años locos del biopunk (los temas post-ecocidio son más... apagados...) y se fascinan con aquellas historias de loquitos de pelo largo que querían crear un mundo mejor, que inventaron todas las maravillas tecnológicas que ellos tomaban por sentados. Ellos leen asombrados sobre como antes había astronautas argentinos en Marte y crecían árboles gigantes en Rio de Janeiro y se preguntan que pasó.
Ellos ven un montón de injusticia y opresión y no se conforman con "así son las cosas, después de Lo Que Pasó no da para Andar Jodiendo", sino que quieren cambiar el mundo.
Como lo hacen? Uniendosé al bioclub, por supuesto. Como antes hacían "los vendidos", los que se vendían al establishment por un par de subsidios de bioarte. Los Biopunks no son los revolucionarios que antes eran perseguidos por las autoridades y hacían sus obras a escondidas, o al contrario, gritaban a viva voz en las marchas infinitas del siglo pasado. Elos son unos pibes que van cada fin de semana a un laboratorio subsidiado por el estado para, teorícamente, hacer cosas que dén beneficio a la comunidad.
Pero en esta época es diferente. En esta época, incluso hacer eso es rebeldía; creer que hay un mundo donde uno se pueda expresar libremente y volver a soñar en grande es tabú. Tomar las herramientas biológicas no para mantener el establishment o la seguridad global, sino para cambiar las condiciones actuales y mejorar el mundo es revolución. Tratar de volver a reír, a llorar, a tener bronca, a tener amor, en un mundo cuyas luces fueron apagadas por el Ecocidio es contracultural. Y querer hacer todo eso desde el fondo del alma, con una pasión ardiente, sin importar que se ponga en el camino, incluso si hay que quebrar las reglas, es punk.
Y por eso, ellos se hacen llamar justamente Los Biopunks.
*esto sin duda implicó una exploración del género y la sexualidad. Como yo soy cis y (hasta donde sé) heterosexual, relatar esto es dificíl, pero demás está decir que fue uno de los mayores componentes de los movimientos de la época pasada y actual
**Cuando empecé a escribir la historia, una cosa en la que me basé fue el mundo post-apocalíptico de Neon Genesis Evangelion. Entre todos los robots gigantes y los traumas psicológicos, casi no te cuentan que la mitad del planeta murió en el Segundo Impacto, y que Japón (que si prestan atención es bastante distópico) es uno de los países que mejor salieron parados. Y aún así, la vida sigue como se puede. Algo así es vivir en el mundo post-Ecocidio.
Novedosa iniciativa de fomento lector y escritura creativa inspira a estudiantes de Valdivia y Paillaco
Novedosa iniciativa de fomento lector y escritura creativa inspira a estudiantes de Valdivia y Paillaco
Proyecto “Qué Lindo Leer” sigue en marcha invitando a los estudiantes a escribir sus propias obras literarias, las que son publicadas en una platafora web única a nivel nacional. Iniciativa es financiada por el Fondo del Libro y está orientada a niños y jóvenes de Los Ríos.
Descubrir los “Países del sur” a través de sus alimentos y escribir sobre sus texturas, olores y sensaciones; y recordar…
Louis Tomlinson dropped his newest single, “We Made It” viaSyco/Arista Records today. Get it here! Louis premiered the single with a performance at a SiriusXM fan event this morning. This is the third track off his highly anticipated debut solo album, WALLS, which was announced yesterday with a personal video from Louis on his socials. WALLS will be available on January 31st, 2020 but is available for pre-order now.
Louis will also be embarking on his first ever solo world tour in 2020. Louis’ 43-date tour kicks off on March 9th in Barcelona, Spain and hits cities all across the world including Paris, Berlin, Amsterdam, London, Dubai, Jakarta, Sydney, Tokyo and Rio De Janeiro, among others before hitting North America. The North American leg of the tour, presented by Live Nation, begins on June 9th in Minneapolis and will hit cities like Chicago, Toronto, Nashville, New York, and Los Angeles.
Tickets are available to the general public starting November 1st at 10am local time. To purchase tickets and for more information about the tour, please visit https://www.louis-tomlinson.com/.
Today, Louis also debuted the music video for “We Made It” in conjunction with the single. The video, which was directed by Charlie Lightening (Paul McCartney and Liam Gallagher), is a continuation from his “Kill My Mind” video released in September. The week leading up to “We Made It,” Louis began teasing the new music on his socials. On Sunday, he teased the single’s audio, followed by a teaser trailer of the “We Made It” music video on Tuesday. To heighten the anticipation, Louis also shared a digital scavenger hunt yesterday morning for fans to reveal the album art.
About Louis Tomlinson
UK born singer/songwriter, Louis Tomlinson burst on the scene with One Direction when they propelled to international success after finishing in third place on The X Factor UK. Louis released the first single off his debut solo album in March 2019 titled “Two Of Us.” The deeply personal pop ballad is his response to the passing of his mother but is the perfect track to spearhead his return to music as a solo artist. In September, he released “Kill My Mind” to both critical and fan praise. Louis has already released two hit solo collaborations; the club-ready Steve Aoki collaboration “Just Hold On,” released in 2016, and brooding Bebe Rexha duet, “Back to You,” released the following year. These two singles have garnered over 1 billion streams alone. In 2017, Louis won an EMA Award for ‘Best UK & Ireland Act.’ The following year he returned to The X Factor UK as a judge on their 2018 season. Louis’ unaffected and constructive judging style stood out during his first year as a judge, seeing him win the series. That same year, Louis won an iHeart Award for ‘Best Solo Breakout,’ and was ranked No.5 on Billboard’s emerging artists of 2018. Louis also won the 2019 Teen Choice Award for “Choice Single: Male Artist” for “Two Of Us.” He has over 60 million combined followers on social media and as a member of One Direction, Louis has sold over 100 million records. Louis honed his songwriting skills during his six years in One Direction, the most successful pop group of their generation, with record sales exceeding 50 million. One Direction were known for their incredibly infectious live shows and Louis says he’s eager to hit the road again as a solo artist. Louis released “We Made It,” which is the third track off of his highly anticipated debut solo album, out next year.
Del director de "intenté dibujar un tiburon" y "Arte, Arte y mengano fueron al rio" 🎨 Les presento el nuevo retrato de color digital y perfil. Sigo explorandolos con mi retrato digital número 13. 🔸️ Si quieren que mañana llueva dejen un comentario que diga "lluvia, lluvia, ven, ven"....(en realidad queria citar a los les Luthier) 🔸️🔸️ No suelo usar la letra zeta tan seguido así que me doy el gusto... Zorro, zariguella ,ozono, zorro (pero el otro) . . . . #dibujo #drawing #draw #dibujante #arteargentino #dibujantesargentinos #digitalart #digitalportrait #digitalprofile #portrait #profileportrait #faceart #artistic #czyrkart #sketch #drawingoftheday #100headchallenge (en Palermo, Distrito Federal, Argentina) https://www.instagram.com/p/CFkoq9IBFov/?igshid=1r7axoay4e40u
March 25, 2018, 3-5:30pm, ICP Museum, 250 Bowery, New York, NY 10012
Artist Christopher Clary hosts a show-and-tell workshop for the ICP Library series Queering the Collection. Ten artists and collectives will present works that range from a zine project that documents the death of nine men at a 1970s gay bathhouse to a journal that promotes critical engagement with contemporary art and politics from artists, writers, and thinkers who work outside of mainstream discourses. Join the conversation to define and complicate the very notion of what it means to queer through insights from the ICP Library’s collection.
Queering the Collection is a series of exhibitions and events originally conceived by Emily Dunne of the ICP Library and Brett Erich Suemnicht of GenderFail as an intervention in the library. GenderFail is a publishing and programming initiative featuring the perspectives of queer and trans people and people of color. The project looks to build up, reinforce, and open opportunities for creative projects. The hope at ICP Library is to present work of and outside the collection as a way to excavate and acquire new material as well as to expand the voices of artists in the collection.
Participants:
Practice began as an independent, not-for-profit gallery run by Philip Tomaru in the Lower East Side of New York City. The limits and contextualization of self-publishing within contemporary artistic practices was a particular emphasis area, as seen through several projects realized in the space including Visible Scene, Conversations in Print, and Poster, a collaborative experimental publishing project involving over a dozen artists. After a year of programming, the gallery is now nomadic without a public space and renamed Private Practice. Most recently, Shelves, Cabinets, Closets was exhibited in a small Paris residential apartment for one evening that coincided with the Paris Ass Book Fair at the Palais de Tokyo.
Aaron Krach is an artist and writer based in New York City. He works with people, books, rocks, text, vodka, and frogs to make books, sculptures, prints, and installations. He exhibits in galleries, book fairs, and public spaces in cities large (Sao Paulo and New York City) and small (Lake Ohrid, Macedonia). He once hired a hustler to make paintings with a frog. Krach has also collaborated with American soldiers in Afghanistan to ship useless stones from Kabul to New York City. Often his work is distributed through newspapers, email, t-shirts, and bookstores. Recent books include, Almost Everything (Dark Pools), about the dark side of Mies Van der Rohe, and Richard Prince Cowboy, Chris, and Jennifer, which underline and undermine the star system. Recently he reconstructed a 25,000-image archive into a set of 10 encyclopedic image books. Aaron is a two-time recipient of a Lower Manhattan Cultural Grant for Public Art. His first novel, Half-Life, was published by Alyson Books.
Alice O’Malley is a New York photographer whose portraits comprise an archive of downtown’s most notorious artists, performers, and muses. Her work has been exhibited in museums and galleries internationally, including PS1/MOMA, the Art Gallery of Ontario, the ICP Museum, agnes b. galerie du jour, and Participant, Inc. She has contributed editorial work for numerous publications, including the New York Times, Vogue, and the New Yorker. O’Malley teaches in the Documentary Practice and Visual Journalism program at the International Center of Photography.
Anthony Malone is an artist based in New York City (Lower East Side). Hailing originally from Winesburg, Ohio, Malone moved to the east coast to attend Yale University. He then went abroad to the University of Stockholm for graduate work in shipping and banking law. He currently feels a strong repulsion and disconnect with his academic career, so he focuses instead on what makes him happy, his art practice. In 2013, Malone started working on a multi-disciplinary project inspired by the 1977 fire at the Everard Baths. He has published a series of zines (For Everard) and artist books and has exhibited his publications internationally at art book fairs, small galleries, and private spaces. In 2017, on the 40th anniversary of the fire at the Everard Baths, Malone conceived and executed a performance to honor the memory of the nine victims of the Everard tragedy.
Linda LaBeija is a multidisciplinary artist, organizer, and curator from Bronx, New York. Her work explores the complexities of living as a transgender woman of color in today’s America. With origins in both Black America and the English/Spanish-speaking Caribbean, Linda’s transnational experience of living at the intersection of embodied, social, and national borders hones in on the critiques of hegemonic power. Born out of the Iconic House of LaBeija in the underground New York City Vogue Ballroom scene, Linda’s pursuit of spoken word infused music sound has been featured in articles in both Afropunk and The Fader. She has performed in various theaters and venues including the Cherrylane Theater, the National Black Theater of Harlem, and El Teatro of Museo Del Barrio. She has performed with wonderful voices and writers such as StaceyAnn Chin and Me’shell Ndegeoecello. She can also be seen in the feature film Pariah directed by Dee Rees.
Christopher Clary is an artist, author, and curator exploring queer communication through poor media. He was a 2017 Eyebeam Resident finalist for his research of safe space in networked culture that was realized as an online platform for The Wrong digital art biennial. His porn, novella commission for Rhizome at the New Museum was honored by Hyperallergic and acquired by the libraries at ICP, MoMA, the Whitney, and the Walker. His photography was exhibited for the Discovery Award at the Rencontres d’Arles in France. In March 2018, he exhibited and performed for the Paris Ass Book Fair at the Palais de Tokyo.
Molly Soda (b. 1989) is a visual artist based in Brooklyn. She works across a variety of digital platforms, producing videos, GIFs, zines, and web-based performance art, which can be found both online and in physical installations. Her recent solo shows includeI’m Just Happy to Be Here at 315 Gallery, Brooklyn, NY, 2017; Thanks For the Add! at Leiminspace, Los Angeles, CA, 2017; and Comfort Zone at Annka Kultys Gallery, London, UK, 2016.
Patricia Silva is a Lisbon-born, New York–based photo and video artist. Silva’s films have been screened in film festivals and screening series at MIT List Visual Arts Center, USA (2017); Contemporary Center of Art Glasgow, UK (2017); IFC Theater, USA (2016); MoMA PS1 Theater, USA (2016); British Film Institute, UK (2016); and Colorado Photographic Arts Center, USA (2016). Her photo books have been exhibited in group shows at the Benaki Museum, Greece (2017); Phoenix Museum of Art, USA (2016-17); Ateliê da Imagem, Rio de Janeiro, Brazil (2015–16). Her photographs have been exhibited in group shows at Flux Factory, USA, (2017); the International Center of Photography, New York, USA (2013); Berlin Biennale, Berlin, Germany (2012); and were recently published in Der Grief, Number 10, the 10th Anniversary Issue, and are currently on their way to an exhibition in South America.
Shiv Kotecha is a writer, artist, and scholar living in Brooklyn. He is most recently the author of a chapbook, Unlovable (Troll Thread, 2016), and Extrigue (Make Now, 2015), a shot-by-shot poetic rendering of Billy Wilder’s Double Indemnity. His first solo-show, a multimedia installation, Looking for Richard, was displayed at Ginerva Gambino (Cologne, Germany) in 2015. Other work can be found online on GaussPDF, Jacket2, Social Text, and elsewhere. He is also a PhD candidate at New York Univeristy, finishing a dissertation titled The Bait and the Switch: Durational Writing from E. A. Poe to AIDS.
unbag is a semi-annual magazine that promotes critical engagement with contemporary art and politics. Commissioning artists, writers, and thinkers who work outside of mainstream discourses, unbag functions as a space to explore ideas through discussion and exchange. Andy Wentz handles operations and productions for unbag. Mylo Mendez is an unbag editor and also works with the zine distro We’re Hir We’re Queer.
Photos: installation views of Visible Scene and Conversations in Print.
Curso de Cavaquinho Dudu Nobre Já pensou em aprender Com o Curso de Cavaquinho dudu Nobre?
curso de cavaquinho dudu nobre.Junte-se aos mais de 2 mil alunos desse curso exclusivo e aprenda tudo com curso de cavaquinho dudu nobre!
Clique Aqui e Inscreva-se Agora!
Quem é Dudu Nobre?
Muito prazer, meu nome é João Eduardo de Salles Nobre, mas todos me conhecem como Dudu Nobre. Sou filho de João e Anita Nobre. Aos seis anos de idade, comecei a estudar piano clássico, e aos nove ganhei o instrumento que se tornaria inseparável para mim, o cavaquinho.
Nasci no Rio de Janeiro , berço do samba e onde, de cada dez rodas de samba fixas na cidade, três delas eram da minha mãe. Desde garoto, minha casa sempre foi frequentada por muita gente do samba.
Nomes que já eram consagrados, como Beth Carvalho e Alcione, e os que depois se tornaram grandes artistas do samba e da música popular brasileira como Zeca Pagodinho e Jorge Aragão.
Minha vida toda foi dedicada ao samba e depois de muitos anos (e muitas rodas de samba, é claro!) eu consegui desenvolver um método simples e acessível a todos que querem aprender e se aprimorar na arte de tocar cavaquinho.
Neste curso de cavaquinho dudu nobre você terá acesso a:
• Mais de 60 vídeo-aulas com o Mestre
Dudu Nobre
• Ebook com mais de 300 páginas com exercícios,
músicas e todo conteúdo por escrito do curso de cavaquinho dudu nobre.
• Entrevistas com cavaquinistas renomados
Porque esse curso é para você...
• Se você quer aprender a dominar o cavaquinho;
• Se você tem um cavaquinho em casa, mas sempre o
deixa meio de lado;
• Se você já toca o instrumento, mas quer se aperfeiçoar;
• Se você quer se destacar e começar uma carreira na
Música Popular Brasileira;
Clique Aqui e Inscreva-se Agora! no curso de cavaquinho dudu nobre
PREÇO PROMOCIONAL PELO LINK ABAIXO
CLIQUE AQUI PARA ACESSAR O SITE OFICIAL
Você já sabe que Dudu Nobre é um dos maiores cavaquinistas do Brasil e se você chegou até
aqui é porque quer aprender com o melhor! e sabe que o curso de cavaquinho dudu nobre é bom
VOCÊ NÃO PODE PERDER ESSA OPORTUNIDADE! AS VAGAS SÃO LIMITADAS! para o curso de cavaquinho dudu nobre.
Faça como os outros 2 mil alunos e chegue mais perto do seu sonho de dominar esse instrumento tão importante para a música brasileira.
Vídeos depoimentos do curso de cavaquinho dudu nobre.
Satisfação garantida!
Devolveremos o seu investimento,
caso você não se adapte ao método após 7 dias de curso.
Clique Aqui e Inscreva-se Agora! no curso de cavaquinho dudu nobre.
INSCREVA-SE AGORA E APROVEITE O
SUPER DESCONTO POR TEMPO LIMITADO
De R$197,00 Por Apenas R$97,00
O maior cavaquinista do Brasil vai
ensinar você a dominar o instrumeto
com um método simples e eficaz e
certificado por ele!
Aperte o play e ouça o que Dudu tem a dizer para você!
youtube
Junte-se aos mais de 2 mil alunos desse curso exclusivo e aprenda tudo com Dudu Nobre!
CLIQUE AQUI PARA ACESSAR O CURSO de cavaquinho dudu nobre
Curso de cavaquinho do Dudu Nobre é bom? Vale a pena?
Dudu Nobre Curso de Cavaquinho
João Eduardo Salles Nobre, o Dudu Nobre, e seu cavaquinho já estão na mente da população brasileira há anos, consagrado como um grande artista em nossa população, hoje oferece aulas online de como tocar o instrumento que o acompanhou sua vida inteira.
Neste curso de cavaquinho do dudu nobre ele pretende oferecer aulas sobre os acordes, tipos de palheta, escalas cromáticas, músicas para aprender, exercícios e até algumas participações especiais! Dentro de alguns benefícios também temos aulas em PDF, aulas ao vivo e grupo no Facebook.
O curso de cavaquinho dudu nobre também conta com uma separação por módulos que buscam explicar do básico ao avançado não apenas sobre o instrumento, mas também da música em si, englobando aulas teóricas e práticas para uma boa aula para voce tocar seu cavaquinho em casa.
Curso de cavaquinho do Dudu Nobre Vale a Pena?
O curso de cavaquinho online e não fica apenas naquele tipo de aula online que você faz e parece que não aprendeu nada depois, é um curso voltado para aquele que quer aprender do zero e seguem um padrão específico voltado apenas para o ensino, levando o aluno a apreender gradualmente tudo o que ele precisa para tocar seu cavaquinho em casa.
Por ser um programa online, você pode acessá-lo por qualquer tipo de plataforma, computador, celular, tablet ou até a sua televisão, caso essa for daquelas TVs inteligentes, basta ter acesso a internet. Com seu cadastro e senha você pode abrir a aula quando e onde quiser.
Se eu não gostar do curso, posso ter meu dinheiro de volta?
Sim. Esta é uma notícia boa sobre este curso, se você não ficar satisfeito com suas aulas dentro de 30 (trinta) dias, você tem a opção de pedir reembolso,.
SE EU COMPRAR AGORA, QUANDO RECEBO O CURSO?
Comprando pelo cartão de crédito você recebe na hora todo o material, já que trata-se de um
produto digital.
Caso escolha o boleto como forma de pagamento, você receberá o acesso ao curso em até três
dias úteis após a confirmação do pagamento.
VOU TER ALGUM CUSTO ALÉM DO QUE ESTOU PAGANDO HOJE?
Não! O curso Cavaquinho com Dudu Nobre não possui taxa de matrícula, mensalidade ou
anuidade. Você paga apenas o valor completo e tem direto automático a todo o conteúdo do
curso.
COMO TEREI ACESSO AO CURSO?
Após a compra, enviaremos seus dados de acesso a área de membros para poder acessar o
conteúdo do curso de onde estiver.
VOU RECEBER O LIVRO IMPRESSO DO CURSO DE CAVAQUINHO?
Não. Nós não enviaremos o conteúdo impresso ou qualquer material físico do curso. Mas se
quiser você poderá imprimir as apostilas por conta própria.
SAIBA TUDO SOBRE O CURSO DE CAVAQUINHO DUDU NOBRE CLICANDO AQUI
Faça como os outros 2 mil alunos e chegue mais perto do seu sonho de dominar esse instrumento tão importante para a música brasileira.
Vídeos depoimentos
youtube
youtube
youtube
youtube
Satisfação garantida!
Devolveremos o seu investimento,
caso você não se adapte ao método após 7 dias de curso.