3 'MARYLINS' BY TOINE van MEGEN, (1960) EYGELSHOVEN, NETHERLANDS:
Toine van Megen (1960) was born in Eygelshoven in the Netherlands . He did artschool for three years, is also a songwriter, performed with band and sometimes on his own. Currently he teaches and helps eldery people to discover their artistic abilities.
The Marilynworks have a background of the Park in Maastricht, and one known valley near the Savelsbos, all in the neighbourhood of the city of Maastricht, Netherlands There are also abstract& and figurative works. There is a lot of variation in his works which are still in progress. The paintings shown here are older works, made in the nineties.
Toine made the 'Marylins' for selling.
Because the major influence of Marylin Monroe on the Rock ' Roll scene, I think it's a must to show his paintings on this site.
Blues guitar great and Oak Cliff, Texasnative Stevie Ray vaughandied 20 years ago today in a helicopter crash in Wisconsin.
Three days later, on Aug. 30, 1990, he was buried near his father's grave at Laurel Land Cemetery in Oak Cliff. "When you and I are gone, Stevie ray will still be there having an impact."
When a man receives presents from another, he may sing this song, remembering that all things come through the power of Tirawa, and asking of the Father, while giving thanks, a renewal of his gifts-long life, good health, and plenty in the fields. The man who receives prays for a blessing on the man who gives. Thus thanks he the giver. Well is it to give to the poor and to the helpless, for they hedded of the Father. Their prayers will be heard, and more surely than those of all others will their blessings be fullfilled upon the giver. Worth more than all the prayers of the prosperous and strong are the thankfull prayers of the feeble. the aged, and the poor.
Kisaka Song of the Thanksgiving
Nawa Atius, Now, O Father, Iri ta-titska, Our thanks be unto thee, Iri asuta hawa, Our thanks! Renew our plenty! Iri rurahe! OUr Thanks! Renew these thy gifts to us!
(c) 1907 THE INDIANS BOOK (SONGS AND LEGENDS OF THE AMERICAN INDIANS Nathalie Curtis (1875-1921) STORYTELLER
JP Stingray began playing the guitar at age 13, inspired by his older brother Ramblin' Wayn, who is also a country/rock recording artist in Holland. Soon, JP discovered the music of his first guitar hero Rory Gallagher, who would become a great influence upon him. Later, he would hear the music of the great Stevie Ray Vaughan, who would ultimately become his greatest influence. Because of Stevie Ray's music, JP would develop a great love for the Texas blues/rock style which remains with him until this day.
After stints with several blues and rock bands, JP would form the band Crossroad, who played covers from ZZ Top, Stevie Ray, Rory, Gary Moore and others. The band would become a very popular band in and around JP's home area.
In 1996, JP recorded his first solo blues CD "Blues Stringer", which contained 15 songs ranging from up tempo Texas shuffles to slow blues ballads. This CD showcased not only JP's diverse lead and bass guitar skills but also his very fine vocals and song writing. He recorded the set at his new home studio in Holland with the aid of ex-Crossroad drummer Charlie DeJong. Naturally, he dedicated his first solo effort to both Rory Gallagher and Stevie Ray and included an original song "Goodbye Hurricane", written and performed in Stevie's memory.
JP's next studio effort was the release of a CD he titled "The Other Side", on which he recorded songs inspired by his non-blues influences, mainly Southside Johnny and the Asbury Jukes, along with Bruce Springsteen, with just a dash of Bon Jovi. Again, this very fine recording was produced and engineered in JP'shome studio.
JP has released the CD "Road To Oblivion" which is another powerful set of blues/rocking JP Stingray originals.
BLESSING, BRO
RAMBLIN' WAYN
VISIT JP STINGRAY'S WEBSITE - look on THE LEFT COLUMN -
JULIA WAS BORN IN 1959 FLINT, MICHIGAN. BORN WITH THE DISEASE PORPHYRIA WHICH MAKES SUNLIGHT RESULT BLISTERS ON THE SKIN. AS THE BLISTERING TURN INTO SCARRING SHE STARTED USING TATTOOS TO COVER UP THE SCARS. 95% OF HER BODY IS TATTOOED
Dennis Hopper, whose portrayals of drug-addled, often deranged misfits in the landmark films Easy Rider, Apocalypse Now and Blue Velvet drew on his early out-of-control experiences as part of a new generation of Hollywood rebel, died Saturday at his home in Venice, Calif. He was 74. The cause was complications from metastasized prostate cancer, according to a statement issued by Alex Hitz, a family friend. DennisHopper, who said he stopped drinking and using drugs in the mid-1980s, followed that change with a tireless phase of his career in which he claimed to have turned down no parts. His credits include no fewer than six films released in 2008 and at least 25 over the past 10 years. He wrangled small parts in big studio films like The Sons of Katie Elder (1965) directed by his former nemesis Henry Hathaway as well as Cool Hand Luke (1967) and Hang Em High (1968).
And he grew close to his wifes childhood friend Peter Fonda, who, with Dennis Hopper and a few others, began mulling over a film whose story line followed traditional western themes but substituted motorcycles for horses.That film, Easy Rider, which Hopper wrote with Peter Fonda and Terry Southern and directed, followed a pair of truth-seeking bikers (Fonda and Hopper) on a cross-country journey to New Orleans. It won the prize for best first film at the 1969 Cannes Film Festival (though it faced only one competitor, as the critic Vincent Canby pointed out in a tepid 1969 review in The New York Times). Dennis Hopper also shared an Oscar nomination for writing the film, while a nomination for best supporting actor went to a little-known Jack Nicholson.
Easy Rider introduced much of its audience, if not Hopper, to cocaine, and the films success accelerated a period of intense drug and alcohol use that Dennis Hopper later said nearly killed him and turned him into a professional pariah.
ALEIJADINHO 'The LIttle Cripple' BRAZILAIN BAROQUE ARTIST -- plus short story by WAYN
Antônio Francisco Lisboa,
the Aleijadinho (the little cripple), prominent Brazilian artist, was born in 1738 to a Portuguese architect father, Manoel Francisco Lisboa, and his Brazilian slave, Isabel. He died in 1814, in his native state of Minas Gerais, Brazil, poor and unknown. A foremost representative of the Brazilian Baroque, Aleijadinho worked under severe constraints, as he suffered grave physical deformities due to illness (possibly leprosy or syphilis), requiring that his working tools be tied to his hand. Taught mostly by his father, Aleijadinho left an impressive body of religious art: architectural designs and sculptures in churches, convents, and monasteries.
Aleijadinho lived and worked in the Brazilian state of Minas Gerais. As the name indicated, this was an extremely wealthy mining region, which, at its peak, remitted about 25,000 kilos of gold to Portugal per year. The combination of wealth, the religiosity of its inhabitants, and geographical isolation (Minas is located inland in Brazil and its colonization occurred around two centuries after the coastal area), contributed to the development of a unique sculptural and architectural style, as seen in Aleijadinhos legacy.
The main body of Aleijadinhos work concentrated in a few important mining towns of his time: Ouro Preto, São João del Rei, Sabará, and Congonhas. Combining elements of the Gothic and Renaissance into the language of the Baroque, Aleijadinho developed a powerful artistic language sculpture and architecture blend masterfully in his work. Famous examples of his sculptural work included the life size rendering of 12 prophets, standing on the stairway of Bom Jesus de Matosinhos Church, in the city of Congonhas do Campo. The Churches of San Francis de Assis, in São João Del Rei and in Ouro Preto, well illustrated his abilities as an architect.
Aleijadinho died at 76, poor and forgotten. It was during the 1920s that his art received closer attention, in the context of the Brazilian Modern Art week. He has since been considered a master in his craft and one of the first to contribute to a genuinely Brazilian artistic language.
Sources: Mirian Andrade Ribeiro de Oliveira, Aleijadinho and Baroque Art in Brazil, in Art and Architecture in Brazil, from Aleijadinho to Niemeyer (Chicago: Illinois Institute of Technology, Department of Architecture, 1984; New York: United Nations Headquarters, 1983); Sunil Bald, In Aleijadinhos Shadow: Writing National Origins in Brazilian Architecture, available at architecture.mit.edu/.../23/bald23/bald23.htm
"I must go on, even once, perhaps my last final work!" His eyes could not longer bear the daylight, the little man's body was trembling, while the old working room was lit up by torches. "Master, your are sick, you can't go on, think of your health, por favor!" said the young student Olimpio. "Bind the tools to my wrist! I have to complete this work, mankind will be a witness, just as Our lady of Immaculate Conception!" The litlle man yelled.
Aleijadinho, 62 now, referred to this job the 12 soapstone prophets, which would shine on pilars in front of the church of "Bom Jesus de Matozinhos", and from there to see over the hills. He walked with diffuculty and his feet were dying, his legs and arms were without any feeling. His face was ravaged, his viscous skin yellow and rotten, his theeth were allready disappeared, mucus ran from his mouth and his eyes were dark, undeniable and wet, just suitable to create his last project. The people saw him as a munster, a bantling. They named the disease 'lepra' whom reveal to him at his 47th year. He was born as son of a Portugese architect and a black slave woman Isabel. Some years earlier he made his 64 wooden figures, which represented the Calvary road and the showpiece was the Savior himself in which you could see the veins in his neck throbbing. A masterpiecee.
Aleijadinho's arms were like two stumps where his tools were tied to. This way he completed his masterpiece, the pinnacle of the Minas Gerais Baroque architecture. Now he worked like a possessed one on his 12 prophets and it seemed that he putted all his anger and feelings in it. It had to be perfect, because one of the images was his own image: Isaiah, his body resemblance, a selfs-portrait, a little man, a slighly curved body and with pain chiseled on his face. At that time his meal was just a bit of rice and beans, the meal of a man who knew that the end was near. The 12 prophets were his ultimate desire, chiseled out of soapstone with the silhouettes of human shape: Jeremias, Daniel, Joel, Amos, Naum, Abdias, Baruc, Ezequiel, after they say the most pure image, and Jesaja, his spirit. And now he worked on his last prophet, Habacuc.
"If God's willing!" he screamed fanatical: "If the good LOrd is willing!" and his arm-stumps moved with craft-full rhythm. Rain was falling in Congonhas, sweat drippng from his face and tears from eyes. He tought of his youth in Ouro Preto, where he was born, his love for the region, the hills of Minas, his love for art. He cried while finishing his last prophet. Antonio Francisco Lisboa, Aleijadinho, died on 18th November 1814, in a shack on the outskirts of Ouro Preto, like a poor hermit. rare portrait of unknown artist
selfportrait 
Our thanks be unto thee,
RW PLAYING HIS GUILD
AND THE BLUES TELLS THE TRUTH
THANKS JULIA
Dennis Hopper, 74, Hollywood Rebel, Dies 
One of his prophets sculptures EZEQUIEL
angel
rare portrait of unknown artist
