Vote for me for the Rockstar Energy 13th Artist Design A Can contest

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I am entered in the Rockstar Energy, Sullen Art Collective and Inked Magazine 13th Artist Design A can contest. If you could please Vote for both of my designs, you can vote once A day per email so please do so I really appreciate the love and support. I consider myself more of an aspiring artist then I do an artist. I have A deep love and passion for Art in all of it’s many forms. This is the first time I have ever entered in anything like this. I actually made this design using my Samsung Galaxy S3. Winning this contest will be an opportunity of A lifetime for me. I consider myself the underdog in the contest cause all the other artist have extensive backgrounds with their Art to where im just A simple Aspiring Artist and Tattoo Artist. I hope I can get your Votes I highly appreciate them.
http://www.inkedupworldtour.com

https://m.facebook.com/?_rdr#!/sullenfamily/photos/pb.42303941828.-2207520000.1400700688./10152018418866829/?type=1&source=42

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The Comeback of the Century: Please Help Donate

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One nearly died, the other is fighting Lupus. Timothy Rhyme and Nay The Producer (First Dirt) are trying to make the Comeback Of The Century, literally.

Timothy Rhyme nearly lost his life on July 18, 2011.  He bled out internally and almost met the man upstairs.  Since that traumatic day, he has bounced back like James Blake.  Shortly after his recovery, he moved to LA to be closer to his daughter, got into CSUN, has made some significant strides in his music career, and kept his focus on helping people.

Nay The Producer was diagnosed with Lupus August 2012.  She spent the entire month  of October 2012 in the hospital. This flare up was so severe it caused fluid in her lungs, fluid around her heart and two blood transfusions. To go from a self reliant, hard working woman, to needing the assistance of a walker and cane to do menial things has put her in a hard spot.  Regardless, she keeps fighting and hasn’t let this unrelenting disease stop her from moving forward.

  Both have seen their lives be flipped upside down and completely altered forever.  This campaign is an attempt to raise funds to put together an amazing album but it subconsciously is touching the warrior spirit that we all have.  Some people would have let their circumstances get the best of them but Timothy Rhyme and Nay The Producer would not let defeat be a word that described them in this story. 

 This campaign is important for several reasons.  Not only will it allow Tim and Nay to tell their story.  But it will allow them to inspire others and show other people in similar predicaments that there is some hope and that they aren’t alone.  Music is one of the most powerful tools in lifting a persons spirit and this is one of the main objectives of this album.  In a world where most of the messages in music are about “cool” stuff and a glamorous life, Tim and Nay attempt to show that you can still make good music with a good message.  

If you have ever faced a challenging time in your life and just wished you had that little nudge to get you to the next step, this is your chance to be that to someone else.  This is your chance to be apart of the Comeback Of The Century!

What Your Generosity Will Fund

Through experience, Tim and Nay have figured out how to release a successful album.  They each have years and years of experience in this industry and have seen the formula first hand.  The main components are:

1.Mixing / Mastering

2.Album Cover Design 

3.Music Video

4.Distribution

5.Promotion

6.Merchandise

We budgeted every penny and used fair estimates of making sure we didn’t sacrifice quality.  If we are going to ask people to invest in us we want to make sure that their money is used to create the best product possible.

If for some reason we are unable to reach our goal.  Your investment will still be used for this album.  We might have to cut some corners and go the cheap route on some of the extra costs but either way it will go into the final album.

The Impact

Tim and Nay are really hoping to set a tone in the hip hop world.  They are consistently breaking down barriers when it comes to music arrangement and content within the hip hop community.  To be able to release this album in the manner they would like to would mean that the younger generations will have a new message to relate to.  In a world where negativity and self destructive tendencies reign supreme, this is a breath of fresh air to those that are looking for more honest depictions of the world they live in.

In the end, Tim and Nay hope to inspire future artists, students, and people in general to not be afraid to be themselves. They want to show that you can be yourself and still be successful. That you don’t always have to conform to what you see on TV to gain some notoriety.  

The impact will hopefully be felt for generations to come.  And when the next generation feels like they’re down and out they can be reminded that Tim and Nay made the Comeback Of The Century and so can they.

Other Ways You Can Help

We understand that times are hard and that you might not feel comfortable giving some strangers your hard earned money.  Rest assured that you even reading this has helped our cause and for that we are grateful. If you believe in this campaign and want to help in some other ways you can:

Get the word out to your friends and family and make some noise about our campaign.

Show someone that you might think would be inspired by this story.

Help us go viral.

Tell people in power.

Tell school officials about our empowering goals.

Go to www.firstdirt.com and purchase other music.

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http://www.indiegogo.com/projects/comeback-of-the-century

BANSKY

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Like a bird of paradise, 5 Pointz presides over a bleak stretch of Queens, next to a railyard and between roads that lead deeper into ever bleaker Long Island. But the unexceptional surroundings only make this “Mecca of Graffiti” all the more astounding: five stories of mustard-colored walls entirely covered with what is tactfully known as “aerosol art.

”It’s a modern-day Guernica in Long Island City, as the neighborhood is called, except this art was made not in response to war but to the terror and promise of modern urban life. A black man in a hoodie looms at eye level, rendered in Seurat’s pointillism. You may see a likeness of Biggie Smalls or Van Gogh, samurai and buxom women, all painted by different taggers, all somehow coexisting in this fruitful chaos.

This plein air exhibit of street art is soon coming to an end, though; the building is to be demolished to make way for condominiums. When news of the City Council’s approval of the move came last week, NY’s Gothamistlamented, “Somewhere an empty can of spray paint has rolled into a gutter, dented and rattling no more.

”And somewhere else, maybe right down the block, Banksy is at it. By pure coincidence, the British street artist has chosen October for a month-long residency in New York, putting up one of his graffito (or, occasionally, a performative piece like a truck full of stuffed farm animals driven around the city) somewhere in the city each day. The confluence of the two events — the imminent destruction of 5Pointz and Banksy’s residency — have made graffiti the talk of New York again.

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Graffiti is one of those intractable issues, like Middle Eastern politics: Everyone has an opinion, and everyone is right. The debate, which probably began when some Roman scrawled a filthy quip on a Coliseum wall,  still matters in the glass-and-steel New York of 2013, in which there are an estimated 6,000 “public-sector surveillance cameras” that may help in the identification and capture of illegal taggers (and perhaps a few terrorists).

Modern graffiti may have started as a response to urban blight, the emptying of cities in the postwar era and the absence of authority (all that empty wall space, all that free time). In its latest iteration, the form has been mastered by Banksy, a British artist whose real name is not known outside a small circle of associates. He has made a popular film, Exit Through the Gift Shop and his work has sold for hundreds of thousands of dollars, much to his chagrin, for Banksy prefers notoriety to fame. “Commercial success is a mark of failure for a graffiti artist,” he told the Village Voice.

And now he has come to New York for a project he calls “Better Out Than In.” Not everyone is pleased, least of all those who remember neighborhoods like the Lower East Side before the Olsen twins started hanging out at Sons of Essex, when unruly beards belonged not to hipsters but to Bowery bums. The Daily News  (where I was once an opinions editor ) welcomed Banksy to New  York by calling him “criminal” and  noting that the city spends some $2 million on graffiti clean-up each year.

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But it is hard to argue that Banksy’s stenciled works are purely a nuisance. His first work here,  in Manhattan’s Chinatown, depicted a newsboy standing on the shoulders of another as he grasped for a spray paint can inside a sign that reads “Graffiti Is a Crime.” Later, a delivery truck became a “mobile garden,” in the words of Banksy’s website. That website prominently displays a quote from Cezanne: “All pictures painted inside, in the studio, will never be as good as those done outside.” Paul may have been talking about lily ponds and haystacks but, well, point taken

.And while some grouse at graffiti’s recrudescence, many have embraced Banksy’s maverick intention to turn whatever wall he wishes into an exhibit. A Banksy beaver appeared in East New York, a tough stretch of Brooklyn. Hipsters flocked to see the work, and some enterprising locals began charging people to look at it, hiding the beaver behind a cardboard box. That was a brilliant comment on the nature of art, its commodification, its ability to reach the masses. If Banksy didn’t put these guys up to the task, then he’d at least have a good laugh at the expense of the Gagosians of this world. Equally clever was the stall he set up in Central Park “selling 100% authentic original signed Banksy canvases. For $60 each.” The stall was watched over by an old man in a baseball cap, and the first customer bargained him down 50%. Take that, Mary Boone.

But while Banksy is being celebrated, 5Pointz is headed for demolition. The building’s owner, Jerry Wolkoff, has long allowed the graffiti elder statesman Jonathan Cohen — a native of the South Bronx who goes by Meres — to curate a sort of open-air exhibit of graffiti on 5Pointz’s outer walls (the name refers to the city’s five boroughs, as well as to the historic lower Manhattan neighborhood popularized by Gangs of New York). But you can’t just show up with a spray can and a dream; Cohen screens all applicants, making 5Pointz a gorgeously unruly group show. It stands only a couple hundred yards from PS 1, the Museum of Modern Art branch whose generally avant-garde works looks tame in comparison.

5 Pointz is being razed to make way for two buildings containing 1000 units. Wolkoff assures the city that there will be outdoor space for “aerosol art,” and there is no reason not to take him at his word. But graffiti is supposed to be transgressive, its illegality intrinsic to its artistry. Even 5 Pointz was a sort of compromise with authority. To paint graffiti in the shadows of condominium towers will only be more so.

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As some struggling cities are being given over to the creative classes (Detroit welcomes hipster farmers and Baltimore dreams of being the next Portland) the artform that defined and was inspired by urban blight is becoming predictably tamed. Across the East River, at the Red Bull Gallery — yes, that Red Bull — in Chelsea, a show called “Write of Passage” opens this month. It is, according to organizer Mass Appeal, “a six-week educational program exploring the impact of American graffiti art on global culture.”  It will likely involve sitting in chairs and viewing slides, not vaulting over fences at Bronx rail yards to cover slumbering trains in tags.

The program is headed by Sacha Jenkins, a graffiti artist from Queens who recently told the New York Postthat Banksy’s tear across the city had not left him impressed: “I think with your blue-collar [graffiti artist], there’s not much respect for Banksy, because it’s not akin to what real graffiti is. And I’m sure there’s a bit of jealousy about the financial success he’s had.

”Are there still blue-collar taggers out there? Doubtlessly there are, scrawling whatever “real graffiti” may be. But their space is being threatened, while their work, if it is any good, is being commodified. While we may not all love graffiti, we know a marketing opportunity when we see one.

GG Allin – My Prison Walls – Limited Edition Hardcover – Buy it!!

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2013 marks the 20th anniversary of the death of GG Allin, the most notorious Rock N Roll artist of all time. For the first time ever, Allin’s prison-era memoirs have been compiled in “My Prison Walls”, a 208 page hardcover numbered limited edition collector’s book that contains letters, illustrations, prose, and Allin’s own personal accounts of his time spent in prison. It is limited to 2500 numbered copies.The book begins with Allin’s “30 Days In The Hole” his journal, in his own handwriting, detailing his first days in lock up. This comprises the first 50 pages of the book and gives the reader a first-hand account of Allin’s mindset at the time. In addition, there are over 40 pieces of art and prose by Allin, plus correspondence with his family members, convicted serial killer John Wayne Gacy, Jeff Clayton of ANTiSEEN, and many others.This book cover is wrapped in black saifu cloth and decorated / titled in red foil blood stamping. Each book is individually numbered and shrink-wrapped for protection and preservation. After the 2500 copies have been sold, the book will not be re-printed. In this sense, it is a true collector’s item for any fan of GG Allin or the history of Rock N Roll music.

http://aggronautix.com/products.cfm?productid=82