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Spraygraphic.com is calling for artists and designs grab an old vinyl record and be creative with it. Take the record and turn it into a piece of visual art for all to see.



We expect to end up with a gallery full of diverse, compelling, and fresh vinyl records from all over the world.





The show will be at Hoodlums Records in Tempe, AZ on December 5th, 2009!!!!!!!!!

Requirements: IMPORTANT – Read This to Avoid Problems With Your Submission!!!!!


1) The Deadline for Entry is December 1st, 2009. THERE IS NO ENTRY FEE!!!

2) PLEASE NO FRAMES OR FRAMING OR STUFF ATTACHED TO THE BACK OF THE RECORDS.

3) The show will run about two months.

4) All submissions must hung flat on the wall. We are hanging the records with a nail through the middle opening.

5) All artists that submit a piece must have a spraygraphic profile to be accepted for submission. No profile, no hanging.

6) All participants must send information on a typed piece of paper and it must include: their spraygraphic address (Ex. www.spraygraphic.com/chuckb) along with their name, location, title of piece, and along with any other pertinent info you can think of. IF YOU WOULD LIKE TO SELL THE WORK MAKE SURE ALL THIS INFO IS INCLUDED AS WELL AS PHONE NUMBER AND EMAIL ADDRESS---AND SELLING PRICE


7) All media is accepted. Paint, markers, screenprinting, digital, stickers, crayon, photograph, etc. are all acceptable.

8) Each artist is allowed up to three (3) pieces.



9) Please make sure your piece is completely dry before shipping. Allow at least 48 hours drying time before packing and shipping your artwork. Also wrap them in plastic or other film, DO NOT USE PAPER.

10) Time is of importance because the show is on December 5th and we would like to begin hanging on December 1st.

So far, the response has been enormous from the Spraygraphic Community!!!!!!!

Everyone that submits a work will be hung at the show on December 5th. As well as be featured on this PAGE and our blog: SPRAYBLOG.NET



The show is curated by Chuck b.
All questions about the show can be directed to chuckb@spraygraphic.com



***IMPORTANT***2 WAYS TO SUBMIT***


LOCAL SUBMISSIONS CAN BE DROPPED OF AT THE HOODLUMS IN TEMPE!!!!!!



ALL OTHE SUBMISSIONS:

SEND ALL ARTWORK TO: Spraygraphic, 706 East Granada Drive, Tempe, Arizona 85281

SALE OF ARTWORK!!!!!!!!
Hoodlums Records will be selling the artwork while the show is up in their spaces. There is a 30% commission on all gallery sales. The money goes to Hoodlums Records. SPRAYGRAPHIC IS NOT TAKING ANY COMMISSION FROM THE SHOW. You don't have to sell your artwork if you do not want to.

If you would like to you sell your piece(s) please provide the following TYPED information:
1) The Sale Price
2) The name that should appear on the check.
3) Your address

4) Your phone number and email address



INTERNATIONAL SUBMISSIONS:

We welcome art from all over the world...if you would like your art back PLEASE DO NOT SEND POSTAGE because it won't work in the UNITED STATES...We can bill you the postage price via paypal and then we can return your art work to you...



The artist's payments will be sent out 30 days following the closing (May 31st). Please make sure your payment information is TYPED ON A COMPUTER. Please do not write or paint your information!!!!!!!!!

AFTER THE SHOW
1. If you would like your artwork returned to you, please include a self-addressed, stamped envelope (SASE) with the correct amount of return postage included. This means the same size as the original package. Once the show comes down any unsold work will be mailed back in your SASE envelope.



2. If your work does not sell by Feb 14th, 2010 and you do not want your artwork back, then artwork becomes the property of Spraygraphic.com.
PR


Seeing the track title "Requia for Ethnic Cleansing" on a release on Russian post-industrial label/distributor Zhelozebeton could lead you to imagine something very different to what this actually is. Rather than a dystopian and even slightly suspect post-Soviet soundscape, what you get here is a real oddity - a Japanese act producing what they call "schizopoetry" in a jumbled mixture of various languages.
What this amounts to is a truly strange and esoteric brew which may intoxicate some but will drive away others on first exposure. It will appeal to those seeking something truly strange and hard to imagine. With four tracks and lasting little more than 20 minutes this is a very concentrated dose of 'whatever this is.' The music is proudly irrational and even childlike, deliberately nonsensical and (mostly) terminally obscure.
"Partizan" features desultory acoustic guitar and mumbled, painful, vaguely Tom Waits-like vocals, which is fine if you like that sort of thing. "Ono Sendai" is the best produced and most interesting track. It's a sorted of haunted indietronica that slowly builds into an ambient piece on the lines of Steve Reich's guitar pieces and has a strange charm. "Kurz-y-nuy" returns to a Tom Waits style vocal underpinned by what sounds like a reverse tape loop. "Requia for ethnic cleansing" itself is equally charming and irritating, the falsetto vocal is mournful and evocative. This is offset by muzak elements and what again seems to be a reverse effect. For me this triggers a strange reminder of (and desire to listen to) the dystopian reverse funk of the Bunker Records project Shitcluster, masters of this technique. Eventually gunfire sounds intrude towards the end of the track but in a curiously polite and modest way.
In its own terms and for whatever target audience (if any) that it may have, this brief collection is probably a brilliant success, but its appeal will definitely be limited - this one is only for true connoisseurs of weirdness.

-- Alexei Monroe [4/10]

i should want to be alan lomax in new domain これはルーツを持たない我々の再帰的な言及 なのかもしれない。ちょうど僕らはシルクロードとアメリカーナ の場が届かない穴に生まれ落ちた。 新しい領域はシームレスで即時的な環境(デジタル)である。 そこで奏でられる音はワールドミュージックと我々が呼んでいるものにちがいない。 deemployedは生産の諸関係の再生産から の抜けおち、つまりは主体化の失敗さらにはルーツをもたない我々の 象徴化からの抜けおちをもしめしていないだろうか?

--by ovrdose kunst themselves(japanese)


僕はスペクタクルの周辺で幼少期を過ごした。
今から思えばそれは国が技術とゆるぎない
進歩を経た事の誇示であったようにおもう。
僕はその周辺に住む権利を得たと同時に
スペシャルな毎日をすごしてしかるべきだとおもっていた。
そしてそのまま象徴的にも成長していくはずだった。
またスペクタクルはサイバネティックな
身体へと僕が合体するのを許すはずだった。
ところが僕はある時期から僕に配給されている
のは消化器官の弱い身体であるだけであることにきずいた。
享楽には至れずフラットな毎日が続いていくのを
幼少期が終わった早い段階で認識した。
ちょうど音楽のメタファーをもちだしていえば、
L.A.からシアトルにすべてが移行する時期と重なる。
We got un nuit dystopia

--Another description (japanese)

たしか01年ごろであったとおもうが、
アルバムの購入という形式を
一掃してしまうぐらいlive365はエポックだった。
我々は365に内包性を求めたのだろう。
だから神経質にステーションを変えた。
ステーションを変えるのが日課
になる日もあったろう。相転移がおきて
それは演奏という概念に近かったろう
それはジャンルの逃走線をはるのに
一番近い道にみえた。
ワールドミュージックという言葉は
我々にとってパントーナルと同義語であり、
我々は365をそれにいたるインターフェイス
とみなしていたとおもう。無意識のうちに

These are the people behind the hypnotizing musics you hear in our streams. Without them, Bluemars and Cryosleep wouldn't
exist at all.

Please, do not write to ask for mp3s, if you like their music, please buy their albums, they are well worth it. And since i never include an entire album to the stream, there is plenty of room for discovery !

Note that some of the listed artists may have a broad range of genres.

This list is in "no particular order"™.


Submissions

If you are a musician and would like to submit some of your work to our stations, you may simply send me a link to your mp3 files, or contact me to request a mailing address to which you may send your CDs.

Note that it may take some time for me to process your submissions, as i can get quite busy with other obligations, however I definitely will listen to your tracks eventually. Also, please do not be upset if i do not decide to include any of them to the streams, your music may simply not match any of the very specific moods that i attempt to give to the stations: Non-inclusion to the streams does not necessarily reflect on the quality of your work. Biosphere / Bleep / Geir Jenssen
Spacecraft
Jan Hanford
Mystical Sun
Steve Roach
David Helpling
Jon Jenkins
Global Communication
Carl Weingarten
Liquid Mind / Chuck Wild
Jonn Serrie
Matt Borghi
B12
Open Canvas / Alpha Wave Movement
Sounds From The Ground
Meg Bowles
David Schombert
Lustmord / Arecibo
CyberZen
Numina
Spacetime Continuum
Plastikman
Omicron / SETI / Savvas Ysatis
Drum Komputer / Escape Tank / Taylor Deupree
The Orb / Dr Alex Paterson
Timeshard
Higher Intelligence Agency
Cafe del Mar
Adham Shaikh
Vangelis
Polygon Windows
Prototype 909
The Black Dog
Microglobe / Mijk van Dijk
FFWD
Coldcut
Timeshard
Real Life / Paul Castle
Michael Stearns and Ron Sunsinger
Radiowave
Slumberland
Baked Beans
Solar Quest
James Bernard
Oophoi
Spacedrifters
Vir Unis
Sad World
F.U.S.E.
Der Spyra
Fanger and Siebert
Jaia
Tim Floyd
Air Sculpture
Alcyon
Roger Eno
Amok
Angels of Venice
Anugama
Arovane
C.O.N. Sequencer
Crystalsphere
Djivan Gasparyan
Diane Arkenstone
Drifting in Silence
Electric Universe
Emmanuel Farley
Erik Ursich
Exit
Fanger & Schonwalder
Porcupine Tree
Sussan Deihim
Richard Horowitz
The Arc
Gras / False Mirror
Healer
Ishq
J.F.C.
John Huling
Juno Reactor
Ka-Baalim
Cupid
Kabana
Kit Watkins
Kurrel The Raven
Lensflare
Lisa Gerard
Lomov
Loscil
Maps & Diagrams
Mind Over Matter
Modul
Monokit
Motionfield
M2
Neon
Neotropic
Nine Inch Nails
Normally Invisible
Photophob
Pete Namlook
Plumb and Plumber
Restive
Richard Bone
Ryu
Sascha Muller
Samsa
Sattyananda
Speedy J
Syndromeda
Tangerine Dream
Terre Thaemlitz
The Alison Project
The Itch Incident
Trickform
Sam Rosenthal
Vidna Obmana
Hazard
Woob
Xenoton
Emit
ARC
Deathprod
Cliff Martinez
Deep Space Network
Dreams of Dying Stars / Stijn Van Cauter
Kammarheit
Patrick Cassidy
Raison d'Etre
Robert Rich
Sonovo
Mind Soup
Between Interval
Erik Wøllo
The Future Sound of London
Bjørn Lynne
Tom Opdahl
J Arif Verner
Ansiform
Arcanum
Asura
Autumn Spirit
Beef Terminal
Brothomstates / Lassi Nikko
Carbon Based Lifeforms
Cell
Court of Hidden Faces
Craig Padilla
Patrick O'Hearn
David Hudson
Jon Hallur
Kammarheit
Shadowplay Collective
One of my all-time favorite songs sung by an extremely hot Ben Orr (and no, I'm not referring to the weather that day).
tag:
The Cars Live Aid Just What Needed Ben Orr
Judas Priest Live Aid 1985 You've Got Another Thing Coming Performance Philadelphia Concert Rob Halford
REOSpeedwagon Can'tFightThisFeeling LIVEAID
Sting Message In Bottle Police Live Aid MTV 1985 rock castration
Brazil is a 1985 film directed by Terry Gilliam. It was written by Gilliam, Charles McKeown, and Tom Stoppard and stars Jonathan Pryce. The film also features Robert De Niro, Kim Greist, Michael Palin, Katherine Helmond, Bob Hoskins, and Ian Holm. John Scalzi's Rough Guide to Sci-Fi Movies describes the film as a "dystopian satire".

Sam Lowry (Jonathan Pryce), a young man trying to find a woman who appears in his dreams while he is working in a mind-numbing job and living a life in a small apartment, set in a dystopian world in which there is an over-reliance on poorly maintained (and rather whimsical) machines. Brazil's bureaucratic, totalitarian government is reminiscent of the government depicted in George Orwell's Nineteen Eighty-Four, except that it has a buffoonish, slap-stick quality and lacks a 'Big Brother' figure.

Jack Mathews, movie critic and author of The Battle of Brazil (1987), characterized the film as "satirizing the bureaucratic, largely dysfunctional industrial world that had been driving Gilliam crazy all his life."[1] Though a success in Europe, the film flopped upon initial release in North America, even with the extra publicity of the fight with the studio. It has since become an important cult film.

The film is named after the recurrent theme music "Aquarela do Brasil."
Contents
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Sam Lowry (Jonathan Pryce) is a low-level government employee, often daydreaming of saving a beautiful maiden. One day he is assigned the task of trying to rectify an error created by a government mishap, causing the incarceration and execution of Mr. Archebald Buttle instead of the suspected terrorist, Archebald "Harry" Tuttle. When Sam visits Buttle's widow, he discovers Jill Layton (Kim Greist), the upstairs neighbor of the Buttles, is the same woman as in his dreams. Jill is trying to help Mrs Buttle find out what happened to her husband, but has gotten sick of dealing with the bureaucracy. Unbeknownst to her, she is now considered a terrorist friend of Tuttle for trying to report the mistake of Buttle's arrest in Tuttle's place to bureaucrats that would not admit such a mistake. When Sam tries to approach her, she is very cautious and avoids giving Sam full details, worried the government will track her down. During this time, Sam comes in contact with the real Harry Tuttle (Robert De Niro), a renegade air conditioning specialist who once worked for the government but left due to the amount of paperwork. Tuttle helps Sam deal with two government workers who are taking their time fixing the broken air conditioning in Sam's apartment.

Sam determines the only way to learn about Jill is to transfer to "Information Retrieval" where he would have access to her classified records. He requests the help of his mother Ida (Katherine Helmond), vainly addicted to rejuvenating plastic surgery under the care of cosmetic surgeon Dr. Jaffe (Jim Broadbent), as she has connections to high ranking officers and is able to help her son get the position. His mother is delighted as she used to be frustrated at her son's prior lack of ambition, and the promotion Sam receives is one his mother has previously arranged for him but that Sam has declined. He eventually obtains Jill's records and tracks her down before she is arrested, then falsifies her records to make her appear deceased, allowing her to escape the bureaucracy. The two share a romantic night together before Sam is apprehended by the government at gun-point for misusing his position.

Sam is taken to be tortured by his old friend, Jack Lint (Michael Palin), as he is now considered part of an assumed terrorist plot including Jill and Tuttle. However, before Lint can start, Tuttle and other members of the resistance shoot Jack and save Sam, blowing up the Ministry building as they flee. As they try to disappear into the crowds, Tuttle's disappearance is surreal and mysterious; he is slowly covered by the stray scraps of paper from the destroyed Ministry building, and once Lowry comes to his aid and tears through the layer of paper, Tuttle has disappeared. The scene becomes dream-like as Sam runs to his mother at a funeral. The funeral is described as that of Mrs. Terrain (Barbara Hicks). Rather than Mrs. Terrain who is recently deceased due to her cosmetic surgery gone wrong, Sam's mother, thanks to Dr. Jaffe's repeated surgery, now seems like in her 20s again, looking exactly like Sam's love interest Jill, and is surrounded by a flock of juvenile admirers younger than Sam himself. She refuses to help and, falling into Mrs. Terrain's seemingly bottomless coffin, he then continues to run from the police in streets that more and more resemble the concrete and brick walls of his nightmare daydreams. When he finds himself surrounded on three sides by the police and the imaginary monsters of his nightmares, he turns to the only escape way left and climbs up a seemingly insurmountable pile of old flex-ducts such as those running the world of Brazil, and finds sanctuary in a trailer driven by Jill, whereupon the two leave the city together.

However, it is revealed this happy ending is all happening inside Sam's head when in front of the idyllic scene, two faces come into view staring at the camera, that of Jack and of Mr. Helpmann (Peter Vaughan), who as Deputy Minister of the Ministry of Information is the system's highest official we see in the film. What they are looking at, as they now realize, is Sam having become insane at Jack's hands. Jack gives up trying to torture Sam, and Sam is left with a smile on his face, humming "Brazil" as Jack moves Mr. Helpmann in his wheelchair away from the scene.

[edit] Cast
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