EL TARTAMUDO by RUBEN BLADES pre-release (Cantares Del Subdesarrollo)

http://rubenblades.com

Listen and Buy (Link)

BUY “CANTARES DEL SUBDESARROLLO” here

LATIN AMERICA 70-80’s MUSIC (reminessing)

BOSSA 70 / OTTO DE ROJAS “Berimbao” (spanish / portuñol version / Peru)

PEDRO MIGUEL Y SUS MARACAIBOS “Si Tu Valieras Algo” (Peru)

JANETTE “Por Que Te Vas” (Spain)

JANETTE “Soy Rebelde” (Spain)

RUBEN BLADES in Mexico; black and white backstage. (photos from Todos Vuelven tour)

http://rubenblades.com

MALECO COLLECTIVE

BOMBA ESTERO: “Fuego” & “Huepaje”, Colombia

SHIFT OF THE AGES. doc. about 2012

The Shift of the Ages film shares the Mayan Cosmo-Vision and Prophecy through the wisdom and teachings of Grandfather Cirilo Perez Oxlaj, also known as Wandering Wolf, Grand Elder of the living Maya. The film will be released in early 2010, first at film festivals, then theaters, then via DVD and digital media.

The National Counsel of Elders Mayas, Xinca and Garifuna of Guatemala has an important message for the world. Their leader, Grandfather Cirilo, the protagonist of the Shift of the Ages film, discloses previously unavailable visions, concepts and ancient prophecies.

Many people know that a grand cycle of the famous Mayan Long Count Calendar ends in the 2011-2012 timeframe, but they may be misinformed about its meaning. According to Mayan prophecy, we have entered a unique period of time during which it is both safe and necessary to share this information to the public.

The Shift of the Ages film is the first official Maya discourse to the world.

The ominous date, December 21, 2012, may not be relevant to the Mayan Calendar; this is a Gregorian Calendar date. The crucial period of their prophecy is Año Cero or Year Zero in the Sacred Mayan Calendar. The Shift of the Ages film is about the special time in which we are living and the unique transition or “shift” between epochs of creation, what they call “Suns.”

1. Why is there so much fear about December 21, 2012?
2. What are the keepers of Mayan Prophecy saying now about this epoch “shift”?
3. Why has the film crew shot over 300 hours of footage and 13,000 still photographs on five continents in remote areas rarely visited by Westerners to capture the essence of the Shift of the Ages?

Be the first to learn the answers to these and many other questions by becoming a Shift of the Ages Ambassador, and be instrumental in this monumental, evolutionary epoch of human history.

 

Lima, Peru: at night. photos by Kaj Bjurman

http://www.flickr.com/photos/bjurman/sets/72157604196783756/

THE SMITHS: (video) “I don’t owe you anything” Live. Live at the Hacienda, Manchester, 6 July 1983.

Live at the Hacienda, Manchester, 6 July 1983.

LA KABALA: PERU Psych “El Cumbanchero”, “El Caminante Solitario”, “Miami Beach”.

Link to “El Cumbanchero” rare tracks

http://prognotfrog.blogspot.com/2007/07/la-kabala-la-kabala-peru-1970.html

EMORY DOUGLAS: HIS ART. brief review (bio and links by Wikipedia)

 

AMAZON: EMORY DOUGLAS Art Book Link

http://www.moca-la.org/emorydouglas/bp_about.php

Emory Douglas worked as the Minister of Culture for the Black Panther Party from 1967 until the Party disbanded in the 1980s. His graphic art was featured in most issues of the newspaper The Black Panther (which had a peak circulation of 139,000 per week in 1970)^[1] and has become an iconic representation of the struggles of the Party during the 1960s and 70s. The San Francisco Chronicle reported that Douglas “branded the militant-chic Panther image decades before the concept became commonplace. He used the newspaper’s popularity to incite the disenfranchised to action, portraying the poor with genuine empathy, not as victims but as outraged, unapologetic and ready for a fight.”^[2]

As a teenager, Douglas was incarcerated at the Youth Training School in Ontario, California; during his time there he worked in the prison’s printing shop. He later studied commercial art at San Francisco City College.

Colette Gaiter writes:

“

Douglas was the most prolific and persistent graphic agitator in the American Black Power movements. Douglas profoundly understood the power of images in communicating ideas…. Inexpensive printing technologies—including photostats and presstype, textures and patterns—made publishing a two-color heavily illustrated, weekly tabloid newspaper possible. Graphic production values associated with seductive advertising and waste in a decadent society became weapons of the revolution. Technically, Douglas collaged and re-collaged drawings and photographs, performing graphic tricks with little budget and even less time. His distinctive illustration style featured thick black outlines (easier to trap) and resourceful tint and texture combinations. Conceptually, Douglas’s images served two purposes: first, illustrating conditions that made revolution seem necessary; and second, constructing a visual mythology of power for people who felt powerless and victimized. Most popular media represents middle to upper class people as “normal.” Douglas was the Norman Rockwell of the ghetto, concentrating on the poor and oppressed. Departing from the WPA/social realist style of portraying poor people, which can be perceived as voyeuristic and patronizing, Douglas’s energetic drawings showed respect and affection. He maintained poor people’s dignity while graphically illustrating harsh situations.