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have included 5 new images in the album WALL Euskal Herria (II)

Ttattola Gaztetxea

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have included a new image in the album IRAN WALL جمهوری
اسلامی ایرا
by Ensi & Matthias

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PERSIAN (Sardigna)

have included a new image in the album Sardigna WALL.

http://www.aserramanna.it/2010/03/personaggi-luciano-lixi/

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have included a new image in the album NORTH KOREA WALL 조선 민주주의
인민 공화국
http://www.gadling.com/photos/north-korea-straight-from-the-horses-mouth/ # 3638744

and an image WALL ARGENTINA (i) :

thank from here to Olfer sending images of this fantastic mural:

Mural Process in the Framework of International Festival of Murals in Cosquin. Cordoba















Within the Latin American Meeting and Public Art mural "Bicentennial" organized by the Municipality of Cosquín, the Bureau of Culture, Education, Tourism and Sports HE Huanquero School of Ceramics and the National Movement of Argentina Muralists "Italo Grassi Peru participated represented by Leonardo Olfer muralist, director of the Task Executor Muralist , formed by Cecilia Aguilar (Córdoba), Luciana Muñoz (Córdoba) and the special participation of the muralists Gisel Rosso (Santa Fe), Gustavo Baldovino (Uruguay) and Leonardo Vangoh (Peru) The theme of the Meeting was referring to " Liberation of Latin America and the bicentennial commemoration. Before this the proposed visual developed was the great anti-colonial movement of Tupac Amaru II in 1780. On one wall of 42 square meters in the neighborhood Elias Romero, Salta and Florencio street, square Cosquin collectively worked the scene of the peasant uprising led by José Gabriel Condorcanqui who stands as a leading figure in the mural with his fist haranguing high on a white horse while Micaela Bastidas - the upper right-waves the flag of Cusco. In the bottom right and in the foreground a farmer poncho chullo and comes armed with carbine action around the entire mass is organized and armed, after her rise in the Andes, gray green, which affords the nascent sun flooding a vibrant dawn. This Mural reaffirms the historical truth of the Independence of Peru "was not an isolated event, but rather the conclusion of an entire political process, more than 50 years of bloody, hard and heroic struggle of the people whose triumphant finish were the last 14 years since the American juntas of 1810 to the Battle of Ayacucho in 1824. highlight and art-from-the Tupac Amaru movement - which topped the whole process of the indigenous struggle, mobilized 100 thousand men and called on farmers, Creoles and Mestizos in an anti-mita (essence of a servile from feudal oppression), the mills, the division, the magistrates, the checkpoints, etc., ranging from Cuzco and Puno to Bolivia, seriously jeopardizing the colonial rule, with repercussions in Argentina, Colombia and Mexico and across America, motion defeated but that removed and undermined the viceroyalty thus preparing the conditions for emancipation. take this opportunity to salute and highlight the heroic deeds of the people who struggle every day against oppression, showing that the masses make history in their struggle and forge their own leaders that represent them and manage their struggles. and Tupac Amaru quartered, many leaders today they are persecuted, others become in political prisoners, since it criminalizes protests. Thanking the organizers of the festival, the neighborhood council Elias Romero who were an integral part of Mural, we give the people of Cordova, Peru, and in general, the mural, which will be a space to reflect the process of struggle that developed in colonial Peru, and continue to build from the visual field, our history and identity of the Latin American peoples. Muralist Team Executor Córdoba April 2011.

http://olferleonardo.blogspot.com/

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LEFT WALL EXTENSION EXTENSION EXTENSION WALL RIGHT WALL NOT DEFINED

have included a new image in the album WALL Greece Ελληνική Δημοκρατία (d)

http://www.mikismantakas.info
two
AND WALL SPANISH STATE (d) :

We sent from Madrid Anti-Antifa a couple of murals http://wbmstreetart.blogspot.com/

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has been included new image in the album WALL NOT DEFINED (II)
The image is a peace mural taken from http://peace.maripo.com/p_walls.htm

About 2004 - Peace Wall, Castle Rock, Bisbee, Arizona (USA). "Castle Rock is an Imposing hunk of rock on the side of Tombstone Canyon in Bisbee, Arizona. British-born artist Rose Johnson [1961-2009] WAS commissioned by the city of Bisbee to paint a mural dedicated to world peace on That concrete wall abuts to Castle Rock. "

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a Notice understandable but sad

master muralist, Armando de Magdalena but understandable and thoughtful:

and I think all a central cone the history of t oria ta brigade is ( http://es.wikipedia.org/wiki/Brigada_Jorge_Calvo ) born back in 2006 was the result, as almost always, coincidence, but it is good to say, the matches are not always entirely such. His great responsibility not I, but rather the "mono" Gonzalez that summer afternoon in the neighborhood beyond the League City Santiago de Chile, m and knew how to communicate in the few minutes that paint with him, all his passion and all the i mp ortancia this street art. Today is very fashionable to speak of "Art or Contextual Circumstantial, but I regret to tell the unsuspecting that art, like almost everything in art is older than the m s old to us all. Indeed it seems that the oldest of the arts was the new Art Now Contextual. In that sense art is a senior brigade Chilean example of this (sometimes more sometimes less ) indissoluble bond between art and reality. And Alexander "monkey" Gonzalez one of his i nsignes enablers.

Our brigade was created as part of the planned activities and Paratori 30 anniversary commemoration of the 1976 coup in Argentina. Three Santiago, a Californian and I organized and ran in the week of February 2006, a dozen murals in different parts of the City of Buenos Aires and Greater Buenos Aires. Partici couple or n us dozens of young men (most militant of the communist youth) and once returned, "the monkey" and his companions to Chile to continue painting until today almost without interruption. That campaign ended on March 24 itself with a mural in a l Av enid May a few blocks from the historic plaza.

What is really significant, what surprised us to everyone years, was the impact that that had few dozen murals in our lives but especially in a sector of Argentina's youth. To give just one example walking along the Avenida de Mayo in the last anniversary of the coup, watched the columns of the political and social organizations march towards the square, when I pass a header with a great parade that had both ends of the typical designs of our brigade. How do got the camera to take a picture, one that was holding it by guessing the move greeted me. I'm sure he recognized me, they were young in the province of Santiago del Estero, whom I did not know. Clear on one occasion did a mural in the capital of the province p ro defend the rights of Indigenous Peoples (I think this mural still exists opposite the bank of the province) and has probably been the mural real culprit. The real thing is that you designs are no longer ours, and ceased to be a time of "mono" Gonzalez. These reasons are of both users within the meaning and the context they were created (u genuinely san), is that as an expression ideographic a feeling and desire for freedom that seeks to materialize.

I bring this anecdote that has not been the exception but the rule. Beyond the activity of our brigade, which was actually a school to this brigade concept art , fu eron emerged over these short years endless murals and muralists youth groups that used this concept and the aesthetic to propagandize their struggles making them visible in a beautiful and original. The images themselves were the best school, whether that of the hundreds ural d em scattered across the vast geography of my country, either of the photos collected by the press, Internet increases, passed from hand to hand as sketch of rebellion and action ona ria revolution in art as in life. This gives me great pride and great satisfaction. Beyond all, if I had to do (in an attempt now) a balan ce , I would say that first and foremost: the satisfaction and pride of being a faith trigger such an interesting phenomenon that I hope someone somewhere commensurate day deal.

Today the circumstances of life have made me to share my days between Asturias and my country. While still connected to all the projects that forge a lifetime and I tie the great American people, it is also true that distance makes some things become complicated. I must say a man self-criticism was so prolific in recent years I could never build a group (small whatever) find a person, as the monkey found in me someone who could capture the deeper message behind the art the actual content of one's own intentionality. To put it another way to understand the mural as a company militant but also respect its complexity, its laws, its possibilities ... all that you need to know to sacrifice in pursuit of the involvement of other ... the convicted person, the alien, the very subject of the radical changes that our co nti component and humanity itself need. The mural (art) as a vehicle for individual and social liberation.

In this regard I must thank the monkey (how lucky I was to talk with him as long and hard) and the brigade itself, since I could experience what they always thought ... see the faces of these kids, seeing the joy of the militants, the people, the marginalized ... Brush them with creating their own hands ... in his own voice telling your own story ... That is more than "contextual l Arts", a fashion but in the end, among so many fashions that are intended nihilists. Surely I will continue painting murals circumstantially, but not as BJC ... the brigade must

furniture ra so that the good and bad of that experience can be capitalized on by those who come after. Today in Argentina that art expands into a sphere and a wall so that i Argentine stas always thought not ... is also essential that

that fail the most important ... in instilling a concept and above all a attitude to art and to the reality .. . the murals I did with Alejandro Urra anniversary in Buenos Aires are the last ones for me has effected do this brigade. Continue painting now that she was born and hopefully be as fruitful as all this experience. "Song has been brave, always new song," were beyond rusty paint brushes in a bag in my room Bu I in Aires ... rest that they deserve and when I will paint with new brushes.

Armando

M agdalena

Candamo Santoseso, Asturias

ab ril 13, 2011,

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have included a new image in the album EUSKAL WALL COUNTRY (II)

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Program April 22 - Radio Carcom

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have included a new picture album of WALL PALESTINE فلسطين
Jalaa street near the (Gaza) Fatah Party (2004)
http://www.contraindicaciones.net/2005/08/art-crimes-graffiti-en-la-fran.html

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Se ha incluido una nueva imágen en el álbum de MURALES IRLANDESES EN ZONA CATÓLICA REPUBLICANA Y NACIONALISTA (II)

http://www.seanmccaughey.com/Memorial_s.html

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Se ha incluido una nueva imágen en el álbum de MURALES URUGUAY.

http://www.contraindicaciones.net/2009/04/graffitis-politicos-en-montevi.html

1 en MURALES OKUPACIÓN(varios paises)

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1 enMURALES VENEZUELA
thank Ariel in sending the image:
muralist squad MANUELITA SAENZ IN VENEZUELAN FOOD CORPORATION "CVAL" at its headquarters



1 in WALL ARGENTINA (i) :
thank Demian sending the image that is a mural in Bahia Blanca Buenos Aires.

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have included two new images in the album WALL ARGENTINA (d). Both
are Squadristas (San Martín) :

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Let the bean, Snake Boy

must have been a pimp, a guy thrown "palante" a man of the people in the big city where his dreams came true. He was the first band of Muddy Waters to start modern dress, the hair of African fashion in the photos but almost always appear with little or no hair, a small sunglasses and a visor, demonstrating proud to be black. Someone special with a tremendous voice rural, strong and powerful that allowed imagine him as a possible successor to Muddy. With it was between 1966 and 1970 and always be remembered most other Lut ero, Luther "Guitar Junior" Johnson who joined in 1973. His nicknames were several, "Georgia Boy", "Creepin 'S nake", "Snake Boy", "Georgia-Boy Snake" and "Snake Mouth", introduced the name Luther though truly Brinson called Lucius Johnson.

born and n Davidsboro small village in Georgia on August 30, 1934 . His father played slide and he threw his teeth listening to guitarists when they sang in local gospel groups in the church on Sunday and played blues on Fridays and Saturdays. "Santa Claus, who was my mother left me my first guitar for Christmas. So I stopped picking cotton and heard about Muddy. My amb ition was playing with Muddy and my dreams have finally been fulfilled " would have to be already in Chicago. He learned to play guitar so self-taught. In the 60's came to the c ITY wind sometimes working with Elmore James, Howlin 'Wolf and Junior Wells. Would record Little Luther and some singles that are rare, but today you can find, Checker "Twirl / Eenie Meenie Minie Moe " and Tarx " Doggi n 'Me / Automatic Baby" to end joining e n 1966 to the band of Muddy Waters and becoming the first on bass just as Jimmy Lee Morris left the group to return to work at the factory.


The aspirations of "Snake Boy" were dealing with the guitar, something that was getting when Sammy Lawhorn was too drunk or Pee Wee Madison was angry with the group. His manner on stage were ta n "exciting" to Muddy kept sometimes three guitars at once. Johnson's fame on the danger that enclosed or things that were happening were common. Jimmy Lee Morris once said that "was scalded, his wife had thrown boiling some shit on your ass, bleach or alg or so and it burned up buddy .

seal Spivey, Victoria Spivey he had founded in New York along with Len Kunstadter, would record the group's two albums for Muddy Waters entitled "The Bluesmen of the Muddy Waters Chicago Blues Band" in 1966, "" The Bluesmen of the Muddy Waters Blues Band Chicago Volume 2 "in 1968. The first had two songs on the guitar and voice were soloists Snake Boy, "Creepin 'Snake" and "Born In Georgia", while in the second solo album would show up as "Been Hurt." And in those songs find their way with the guitar that has captivated many of us, notes pre CISAS with two or three raises vibrant as you shrink to the chin.

When the guitar finally commissioned, Lawrence Sonny Wimberley bass player took over from coinciding with the return of SP Leary for his longest stay in the group, when Leary was very drunk then played Snake the ba Muddy drums and guitar. His discography as a sideman in those years is quite significant. In 1966, with Waters' blues band, Big Mama would accompany Thornton in San Francisco for the public disk or Arhoolie, John Lee Hooker in the pseudo-"Live At The Cafe Au-Go-Go" and Otis Spann in "The Blues Is Where It's At." In 1967 Bob Messinger Muddy's manager, put the group in the study Douglas Alan having a small label with the same name for whom I had also recorded ndrix. As Muddy had a contract with Chess made him appear as a producer. 20 songs were recorded which resulted in two albums, "Chicken Shack" and "Mud In Your Ear" album which would lead vocals on "Long Distance Call" topic that starts the same way ends. First previously these particular sessions another disk ciparía Spann "The Bottom of The Blues "and in a session Montreal informal acoustic recorded by Michael Nuremberg and is published as" Muddy Waters & Friends. "

In February of 1968 the band arrived in New York Waters. I was looking for a harmonica player and Snake Boy told him about a white boy who had an met at a show a couple of days before and had been presented in the clubhouse with a friend. His name was Paul Oscher. Le hi Cieron Muddy test and was very convinced of the capabilities of the young man who had just turned 18 years. After having heard the sound of the harmonica greasy, Johnson said "Has the child tone whore" , fairly common expression in the vocabulary of Snake Boy.

Video Muddy Waters with Luther Snake Boy and Paul Oscher in 1968 in Germany
http://buttheb Through lues.blogspot . com

Paul Oscher said of him "Snake was dangerous, I saw him pointing a gun at the driver of a bus in the street 43. Snake had a $ 5 bill and wanted to climb. It was about 2 am, he and I alone. The driver said he had to have exact change, Snake held the gun, driving son of a bitch. The driver gave the beams, the police were there and imprisoned him. Just like that happened ". Another story occurred in New York was a result of the oppression that produced the big city. Walking through Washington Square Park tried to remedy his paranoia and removing the pistol fired at the feet of Leary. "Baila teen slut" said. On the other hand, their attitudes to flirt in bars were infamous "I can kiss you there? And touched the big toe foot. "I can kiss you here? And he touched her knee ". Was to the point and should not end badly for these adventures.
would travel to Europe in 1968 having been recorded in LP some of the performances: a concert by the BBC program, a live in Paris and the appearance on the Montreux Festival. It would also have a new partnership with Spann for the album "Cryin 'Time." Bob Margolin was beginning to become known to Muddy Waters although officially in the band come to relieve Sammy Lawhorn in the early 70's. Margolin met Johnson and reminded him that made endless songs Wilson Pickett "Do not Knock My Love" and originals of the soul as "Give My Check" or "Pull Out Your False theeth, Baby, I Want To Suck On Your Gums ."


abandon Johnson Muddy Waters in 1970 and established his own in Boston riding several bands, surrounding himself with musicians of the scene as the harmonica Bostonian "Chicago" Bob Nelson (nickname he had was Muddy much given to this aspect, such as "Georgia Boy" Johnson because he was always talking about that as I had the money would go to Georgia to visit his mother), although more lasting group with the most they interpenetrate and with whom he recorded two albums was formed by Tony Cagnita on harmonica, "Killer" Carter on bass and guitarist Mark "Frisco" Evangelos from which we have informally that Muddy would hire him and he refused to what that Margolin was then chosen. If you listen to two albums with this band "They Call Me The Snake" (I was in prison for possessing a knife and drunkenness, and its manager Harry Chickles and Ray Townley of Muse Records who paid the deposit) and " Down To The Nitty Gritty "with virtually the same roster recorded in two different radio stations, you realize the connection between Frisco and Snake Boy Carter funky roll, amazing songs, envelopes, sharp and forceful as "Woman Do not Lie" " Take It Off Him and Put It On Me "or" Down To The Nitty Gritty. "


would record in France in 1972 with pianist Sonny Thompson, Emmett Sutton on bass, Bill Warren on drums and Dusty Brown on harmonica, the album "Born In Georgia", demonstrating his versatility in three songs and acoustic slide duet with Johnny Shines. In return, he collaborated on three tem disk Shines as "Chicago Blues Festival 1972" also recorded in France. "On The Road Again" would be a continuation of the first, recorded the months of November and December of that same year with a guitar Shines threatening, passionate and deep midway between Waters and Hooker. And in 1975, "They Call Me The Pop Corn Man" for Black & Blue, in Paris, somewhat daunting pieces such as "Lonesome In My Bedroom" accompanied by a stellar band, with musicians such as Lonnie Brooks, Dave Myers, Willie Mabon and Fred Below. his band in Boston reference got rid of health problems and Johnson Frisco and back to normal musical activity reemprendería with new members such as Mark Baker to the guitar and Chris Stovall Brown on harmonica. However, the March 18, 1976 died of cancer in Boston, when was not yet 42.

This is a home video to be heard this ashbeast
Luther Snake Boy Johnson \\ "Take It Off Him and Put it of Me