Let’s put this Masaru Emoto business to bed. I am asking for a scientist with a biology or chemistry background to help me replicate his experiments for publication.
It is beyond me why no one from the scientific community has stepped forward in a more public fashion to replicate Emoto’s claims. I believe unchallenged information like this does a great harm to the general public’s collective understanding of science, and yes, religion.
I have contacts for publication of our replication experiments, and I will dedicate time to monitor the experiment and create supporting audio materials for the experiment. Scientist needs to supply microscope and computer photography hookup.
I’m no scientist, but I care about possbile misinformation to the general public.
Someone recently referred to me as an “expert” in this field. I’m certainly no expert, but rely on those scientists who are. Perhaps I’m just a little more vocal than others.
If you don’t know what I’m talking about, just move along. If you ARE aware of this information and have disregarded it, please be aware that’s it’s impact is not on a small number of individuals.
Busta Rhymes, aka Trevor Smith, Jr. – Visit the Official Busta Rhymes Website. Busta Rhymes is associated with Aftermath, also the current label for Bishop Lamont. I’ve worked on some of the ProTools sessions for Bishop and now have some material in the works with BR’s crew, so we’ll see what happens. In the meantime you can also visit my free hip hop battle forum at RapDogs.com – one of the net’s first public battle forums.
I got into a little situation with a hip hop crew a while back, and it wasn’t pretty. My close friends know about it, nothing I’m going to post publicly. I said I’d never do hip hop again……but it’s just too much dang fun. And besides, how many Norwegian Protestants do you know doing hip hop? Stay tuned….
Trevor Tahiem Smith, Jr. (born on May 20, 1972), better known as Busta Rhymes, is an American hip hop musician and actor. Chuck D of Public Enemy gave him the name Busta Rhymes (from former NFL football player George “Buster” Rhymes) after watching him perform.
In November of 2005, Busta Rhymes cut off his trademark dreadlocks during a photo shoot in a New York barbershop owned by producer Cory Rooney. The shop is featured on an MTV show titled The Shop. “I started growing [my hair] in December ’89. I was 17,†he said. “I signed my [record] deal and said I ain’t combing my hair no more. I don’t have to.” He says the haircut was symbolic of a change in his music and the new record deal.
2006 has seen the release of his seventh studio album, The Big Bang. The CD became his first #1 album of his entire career. The CD sold over 209,000 copies in its first week to earn the top spot on the charts. The album also became his highest charting album in the UK, peaking at #19 there. Some of the album was leaked on the internet, and as a result several songs were left off the album and new ones added. The Big Bang featured more production by Dr. Dre than Busta’s previous releases and appearances by Raekwon and Nas. The singles that have been released from the album are, “Touch It”, “I Love My Chick”, featuring Kelis and Will.I.Am of The Black Eyed Peas, “New York Shit” featuring Swizz Beatz and “In the Ghetto”, featuring Rick James. Busta also had a stint opening for Carey’s Adventures of Mimi Tour.
Photo I took from the stage while playing with Freddy Fender.
Sometimes people ask me how famous Freddy was. My mind flashes back to some of the shows – hundreds, sometimes thousands, of people all worked up to a frenzy. All ages in one room, spellbound by Freddy. Makes me smile.
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SAN BENITO — How famous was Freddy Fender?
The varied collection of awards and accolades that he amassed in his lifetime and the popularity of his music worldwide are evidence that Fender was more than a regional source of pride.
While not necessarily the standard barometer of fame, Fender was deemed prominent enough to be spoofed on “Saturday Night Live,” a television show that normally caters to young viewers. Horatio Sanz, a regular player on “SNL,” did his impression of Fender in the “Derek Jeter’s Taco Hole” skit on Dec. 1, 2001.
Fender actually made several television appearances, mostly as himself, on “The Tonight Show,” “American Bandstand,” the “Dukes of Hazzard,” “Hee Haw” and “Austin City Limits,” among others.
More recently, Fender’s “Before the Next Teardrop Falls” was included in the soundtrack for “The Three Burials of Melquiades Estrada,” a film by Tommy Lee Jones in which the main characters form a friendship, in part, due to their mutual appreciation for Fender’s song.
From 1975 to 2002, Fender was nominated for five Grammy Awards in six different categories, winning once for “Best Latin Pop” (“La Musica de Baldemar Huerta” in 2002) and twice for “Best Mexican/American Performance,” (for “Los Super Seven” in 1999 and “Texas Tornados” in 1990).
In San Benito, his birthplace, city leaders dedicated an elevated water storage tank bearing his likeness on June 4, 2005, Fender’s 67th birthday. In anticipation of the event, Fender acknowledged his supporters in a statement posted on his official Web site, www.freddyfender.com:
“God has embraced me many times when I was most in need of him,” he wrote. “Thank you many times friends and fans from all over the world for all your prayers, dedication and loyalty. See you in San Benito for the lighting of the H20 tower.”
In 2005, music distributor Direct Source replaced Thomas Jefferson’s face on Mount Rushmore with Fender’s on its “Rancho Grande” compilation of the singer’s music. Fender was widely lauded abroad as well as in his homeland in more serious ways. According to Fender’s Web site, he was inducted into the European Walk of Fame in 1993. In 1999 he got a star on the Hollywood Walk of Fame and was inducted into the Country Music Hall of Fame in Nashville.
He was also inducted into various music halls of fame in Louisiana, Texas and others around the globe.
As part of its farewell to the 20th century in 2000, the Orange County Register placed Fender 18th on its list of “Most Important Latin Artists of the Century.”
According to his Web site, Fender performed at inaugural balls for Presidents George H.W. Bush and Bill Clinton and Texas Gov. Ann Richards. Among the “career performances” also listed on Fender’s site are playing for President Jimmy Carter at the White House and performances at the Montreaux Jazz Festival in Switzerland, at Wrigley Field during Chicago Cubs games in 1981 and 1986, at Carnegie Hall and at the Macy’s Thanksgiving Day Parade in 1975.
The Internet has proved to be a significant role player in keeping Fender’s legacy alive. Most of Fenders albums are widely available online, with sale and auction listings for new and used copies of his compact discs posted on such Web sites as E-bay.com, Amazon.com, Overstock.com and Wal-Mart.com.
In some cases, individual songs or entire albums can be downloaded directly onto personal computers and MP3 players. Several of Fender’s songs can even be used as ring tones for mobile phones. Online purveyors of Fender’s songs hawk them in English and Spanish as well as in German, Dutch and Chinese, among other languages.
His fans were as varied as his last concert appearances, which included shows in Wisconsin, Washington, New Mexico, Oklahoma, California, Arizona and Nevada, according to his online calendar.
Fender resided in Corpus Christi, but he spent his last days as a musician on the road — mainly outside Texas. His last scheduled performances were listed as a private party in Houston on Dec. 3 and a concert at Steven’s Steakhouse in Commerce on Dec. 31 of last year. But his old bandmates Augie Myers and Charlie Rich, Jr. had to substitute.
The failure of Fender’s Web site administrator to update the calendar section prompted numerous messages from visitors for more information on Fender’s performances and prognosis.
Many of his fans incorporated his lyrics into their messages to the singer. One such entry was left by Judy Damato of Branford, Conn., who recently wondered publicly about Fender’s health in a message on the singer’s online guestbook.
“Please, whoever updates this site, is Freddy alright? I see no bookings on his calendar,” she wrote on Feb. 20. “Is he back in the hospital? Please at least let his fans know that he is OK. No one could ever take his place.
“He must be a kind, loving person to be able to touch so many hearts of people he’s never met,” she continued. “Please give us an update on what he is doing or how he’s doing; and could you do it before the next teardrop falls?” Daniel Ordaz
Valley Morning Star
This is an artist that really stirs my imagination. Meet Peter Callesen from the Oncotton Design Studio in London, England. See more of Peter Callesen’s artwork from his online gallery.
Seems he is picking up a bit on the groundwork laid by M.C. Escher. I’ve never met anyone who didn’t absolutely love Escher drawings. Around my college years a friend gave me the book Godel, Escher, Bach – which the author describes in his own words: “I realized that to me, Gödel and Escher and Bach were only shadows cast in different directions by some central solid essence. I tried to reconstruct the central object, and came up with this book.” If you like mathematical relationships, music theory and how the two related – I think you’ll love the book.
So Peter Callesen’s work excites me because I get the same sense of wonder with his work that I do with Escher. A kind of giddyness at the ridiculous nature of the work, and immediately following a deep respect for the complexity underneath a deceivingly simple presentation. A skeleton contemplates it’s relationship and seperation from the body; has it had enough of the tired shell and desires it’s own identity? Then I realize it’s a piece of paper, and I laugh at all that I am trying to read into it.
Great work Peter – you are a true artist. Your works make our minds dance and think, and with no bitter after taste. I predict one of his works will one day be in the Louvre. Maybe someday we’ll get to do a join art-music venture. That would be a blast!
From Peter’s Gallery
ABOUT MY WORK
A common theme in many of my works earlier works is a reinterpretation of classical fairytales as well as a more general interest in memory in connection to childhood – as for instance in my performances Castle, Folding and Jukebox. These playful performances exist in the lost land of childhood, between dream and reality, and It is in this meeting or confrontation of these two conditions, in a kind of utopian embodiment, that these works of art becomes alive, often in a tragicomic way.
This interest for the romantic is extended in my later exhibitions White Shadows at Esbjerg Art Museum and From dust to dusk, but here with less focus on the confrontation between dream and reality leaving more space for the poetic aspect as well as the possibility of a reality behind or within the dream.
Lately I have been working almost only with white paper in different objects, paper cut, installations and performances. Some of these objects and installations are copies of stairs and ladders made out of thin paper. These works derive from my earlier work, Bridge and Still life, dealing with dreams and the impossible – but here in a more fragile and almost sublime version. The trashy style in earlier works is here exchanged with a more precise aesthetics. The work exists in the gab between the recognizable everyday object and the fragile and spherical condition and material in which it appears. The whiteness, the ideal pure copy of something real as well as the vertical direction coherent in most of my paper works, could also indicate the aspect of something platonic or religious.
Most recent I have started to make white paper cuts/sculptures inspired by fairytales and romanticism exploring the relationship between two and three dimensionality, between image and reality. I find the materialization of a flat piece of paper into a 3D form as an almost magic process – or maybe one could call it obvious magic, because the process is obvious and the figures still stick to their origin, without the possibility of escaping. In that sense there is as well an aspect of something tragic in most of the cuts.
A continual figure in my earlier performances and later drawings is The Dying Swan, who can be described as a hybrid between The Ugly Duckling and a human figure. The Dying Swan reveals different layers of identities, and often he strives for being somebody or somewhere else or tries to achieve the impossible – but is always confronted with reality and failure. He is not only a symbolic character. In his interaction and power-play with the audience his physical presence often creates an intense and uncomfortable atmosphere. In the drawings The Dying Swan creates his own universe, where he seems to be trapped in impossible situations and circles, dealing with death, rebirth, self-creation, and -destruction.
Romantic Longing in the Art of Peter Callesen
by Camilla Jalving
Excerpt:
A4 fragility
Take a piece of A4 paper, just a normal ordinary blank one as it comes out of the copy machine tray. You can write on it, draw on it, but also cut into it. Peter Callesen does so. Since 2004 parallel to his performance practice, he has been transforming two dimensional surfaces into three dimensional sculptures by the means of a paper cutter. From the white surface of ordinary A4 paper, a narrative arises. Or rather, lots of them. Stories, dramas, film clips. In ‘Snowballs’ a small house is erected from the paper. In the background, up the hill, two balls of snow have been set into motion. It is only a matter of time before the house will be smashed to the ground by the force of the rolling balls. At least, this is what I imagine, as the small sheet-like paper sculpture only shows the seconds before the disaster. As a still image, a frozen moment in time full of classic suspense, it shows how a possible catastrophe will take place on the A4 paper, elegantly created by a few cuts and slices.
Other paper cutouts are more intricate, revealing a painstaking craftsmanship. With great care and immense patience, Callesen creates a white, hyper-aesthetic universe of puns-in-paper, often making use of a tragic-comic slap-stick humour with a melancholic tinge. Creating the paper cutouts is basic magic in a way. In stead of drawing, Callesen cuts, folds and suddenly a world appears. 2D becomes 3D, which is quite a heroic gesture in and by itself. A gesture of basic transformation you might call it, initiated by the artist/creator. However, and this is an important point to bear in mind, if the gesture is heroic, the outcome is equally fragile.
Much can be said about fragility as a formal strategy in artistic practices. In an art historical context, it can be seen as a counter-aesthetical move against traditional modernist sculptural practice, most often based, as it is, on volume, monumentality, the trace of manual force or industrial heaviness. Callesen’s sculptures are neither heavy, nor monumental. Rather, through their delicate materiality, their flagrant fragility evokes an ‘aesthetic of possible failure’, as if they are always on the verge of collapsing, of falling apart or being flattened by an awkward hand. In this way Callesen reformulates sculptural practise, querying as well as queering in a way, the monumentality of the medium.
In ‘Impenetrable Castle’ the castle reappears. Typical of Callesen’s paper cutouts, it is attached to its own negative, the paper from which it is cut. When cutting, Callesen never isolates the figure from the ground, but merely transforms ground into figure. Hence the castle remains a sculptural loop, a self-sufficient construction that cannot be entered as it closes itself off from the outside. As such it can be regarded as an emblem of both longing and enclosure, of “bitter melancholy, solitude, the sufferings of exile, the sense of alienation†to quote Berlin one more time. A closed-off world of fairytales and childhood dreams.
This connectedness of figure and ground can be seen as a merely formal matter: as the artist’s way to stage a battle between the flatness of the paper and the volume of the figure, hence creating a certain formal tension between the flat sheet and the elevated sculptural form. Perceived more symbolically, the connectedness of figure and ground seems to propose the inevitability of origin, meaning the impossibility of ever freeing oneself from the past. Like the figure, we are always bound to our grounding, literally speaking the A4 paper, metaphorically the place we come from. For even though the figure rises from the paper, it is equally restricted by the paper, defined as it is by what makes it possible. The paper cutout ‘Butterflies trying to escape their drawing’ makes this point very clearl: eight butterflies flapping their wings, albeit aimlessly, as they are tied to the material that brings them into being.
