Yo Gabba Gabba !!

Yo Gabba Gabba! is a fun live-action program for young children ages 1 and up. It is an American children's television show which created by Christian Jacobs (lead singer of the Aquabats) and Scott Schultz and produced by The Magic Store Productions and W!LDBRAIN. Among the varied animation sequences during the show is Super Martian Robot Girl, designed by indie cartoonists Evan Dorkin and Sarah Dyer. The toy models of the characters that appear at the beginning and end of each show were made by Kidrobot.

Here is a song of Christian Jacobs in the show. (HaHa, He is fun, right?)

Unlike most children’s shows, Yo Gabba Gabba was not developed by network executives. Instead the show was developed by two Southern California fathers with no previous experience writing for television let alone children’s broadcasting or education. They simply shared a mutual disappointment in kids’ television. They both wanted to design a kids' show that was entertaining while featuring real artists and real performers. The pair first started working together as teenagers, producing and directing skateboarding videos.After doing some odd jobs here and there, Jacobs and Schultz decided to try something different.

In 1999, after becoming parents themselves, the pair started playing around with ideas for children television. They later produced a pilot independently financed by small loans from friends and family. Even after producing the pilots, Yo Gabba Gabba did not get much attention until it started circulating on the internet. It happened to get viewed by Jared Hess, the director of Napoleon Dynamite andNacho Libre, who then phoned Brown Johnson, the executive vice president and executive creative director of Nickelodeon Preschool and told her to check it out. As soon as she saw it she said, “Lordy, nothing else looks like this on TV”.Yo Gabba Gabba finally found its home on Nickelodeon on August 20, 2007.

In its first two seasons, the show featured a wide variety of guests, including Jack Black, Leslie Hall, The Shins, The Aggrolites, Andy Samberg,Cornelius, Biz Markie, Shiny Toy Guns, Supernova, Mark Mothersbaugh, Rahzel, The Postmarks, Sugarland, Tony Hawk, The Roots, Low, Laila Ali, Elijah Wood, Mýa, The Salteens, Sean Kingston and series co-creator Jacobs' band, The Aquabats. In the second season guests included such bands as Enon, The Clientele, Datarock, Joy Zipper, Of Montreal, Chromeo, My Chemical Romance, Hot Hot Heat, Mates of State, MGMT, and The Ting Tings.

Here is an interview of Yo Gabba Gabba!!!!

What are your earliest musical memories?

Christian Jacobs: Early on, my dad only 45s from the 1950s. Kinda wacky songs like "Alley Oop" or "Yackety Yak." There'd be songs that were like "news report" mixes, where they'd have spoken "news report" mixes interspersed with silly music, sort of like Dr. Demento. Children gravitate to the more silly things.

Then I listened to a lot of radio in the '70s -- DEVO, Blondie, the Clash, stuff that was different from what else was being played. I was drawn to the green hair, the spikes -- the media helped with that interest...

How about your TV memories?

A bunch: Sesame Street, Electric Company, ZOOM, Mr. Rogers... it was a golden age of kids TV. Daily feasts -- it was all new, there were no studies saying watching TV is bad. We'd watch PBS all day as a kid, then run outside.

It was really a different time as a kid. There was lots of freedom to be a kid without adult supervision. Those shows, that freedom, really resonated with a lot of parents our age. Yo Gabba Gabba! strikes that chord, I think, helps bring back that freedom.

Reminds me how I used to walk nearly a mile to my kindergarten along a relatively busy street... I don't think I'd let my kids walk that route today...

It was definitely a different time, yeah. I'd at least be a little scared. So with the show we're going backwards a little bit, trying to capture that feeling of imagination and freedom.

Was your conception of Yo Gabba Gabba! music always to include guest stars?

It definitely evolved. We wanted to have different musical styles represented in the show. But once we brought in Biz Markie in the pilot, we started thinking about about bands we could bring in. We were a little reluctant -- I remembered how a lot of times I'd just tune out the two-minute musical montage in Scooby Doo where they'd have some band. So how could we integrate the bands into the show? That's when we came up with the idea of the Super Friends Music Show, with the TV set. It was an organic thing.

How has the process in getting artists change -- did you ever anticipate getting the Flaming Lips to be on the show?

In the beginning, we went to friends to fill in the gaps, or our own bands. And then we decided we'd send some requests to bands we liked. When folks like the Shins, and Cornelius, and Sugarland said "yes" right away, they made it OK.

With bands, managers or agents serve as a filter for requests; we'd actually written to the Flaming Lips when we first started and didn't hear back. But at some later point, they called and said, "We want to do this, we're fans, what can we do to be on the show?" At some point our schedules finally matched.

At this point bands that have been on the show are really big fans or have kids who are fans. They matched the show's energy level, they're giving really good performances.

I think that's a strength, actually -- you're not going to try to get somebody like Madonna because she's a big star. I mean, you had somebody like Jack Black on the show, and he's a star, but he fits with the show, and you're probably really big fans.

You know, I was talking with Tom Hanks at an awards show recently, which was by itself just cool. But he was saying, you know, my kids are grown now, I really don't know your show. Compare that to Anthony Bourdain, he was a huge fan, and came on the show. If he's not invested in the show, who cares about the performance?

How do you go about selecting the musical acts for the tour (since they're not always the same folks who've appeared on the show)?

Well, usually we start in the area. Like, who is local that could make an impact. It's hard to lock down people out on tour, for example. But we've had some great bands and guests on the tour and guests that have a local relevance to the cities.. Like Bootsy Collins in Cleveland, Run DMC from NYC, Zac Brown Band from Atlanta and so on. We always shoot for the moon, and sometimes we get really close!

What's up next for Yo Gabba Gabba generally?

We have our fingers crossed to start on a season 4 and we are working on a script for a movie. Pretty big plans for a pretty little preschool show! Ha!

This is the current "A Very Awesome Christmas" from Yo Gabba Gabba show airs on last Sunday, How people can imagine My Chemical Romance will perform in the show for Christmas. 

This is a gift for all of you, Merry Christmas!

Mondongo

In Spanish, the word “mondongo” means tripe, or the lining of a cow’s stomach. The word “Mondongo” is also a stew we love, and we are like three witches stirring it up in a cauldron: revolving and expecting and trying and experimenting; attempting to alchemize, to distill, and ooze all the chaos, and the all possible “all-ness” in it . . .

— Mondongo, 2008 (from the Mondongo Manifesto)

Mondongo are an Argentinian art collective consisting of Juliana Laffitte, Manuel Mendanha and Agustina Picasso, who founded Mondongo 1999, are not only partial to the stew, but make their work from a „cauldron“ of ingredients: „ We've used a huge variety of materials in our art, depending on what best reinforces the concept oft he work,“ says Manuel Mendanha, 34. „It’s always a process of experimentation until we finish it. We’ll keep experimenting with materials‘ til death comes!“ 

In Mondongo’s world all is up for deconstructive terrorism—the miserable ambitions of the ego, social hypocrisy, the slight satisfactions of sex, what’s left of the family, the murderous ideology of a victim satiated world.

The amount of work Mondongo put into each piece is extensive, and both intricate and beautiful. They are literally paintings without paint—using such materials as thread, beads, plasticine, cookies, and glitter, to name of few. Production is slow and deliberate as the material and concept are intricately jelled: the materials used as metaphorical adjuncts to the concepts.

Materials list from previous works by Argentinean artist collective, MONDONGO: fake pearls, matches, studs on leather, jawbreakers, beads, colored mirrors, thread, wax, Oreo cookies, biscuits, Ritz crackers, hair, feathers, resin, and meat. With their diverse medium, Mondongo creates visually flirtatious and intellectually intense imagery. Their subject matter is rampant—pornographic pictures downloaded from the Internet and recreated with cookies and crackers, female nudes with taxidermic cat heads, a Plasticine Little Red Riding Hood, and a meat series inspired by Rembrandt’s “A Woman Bathing in a Stream.”

I'm so sad today, can i have fun?

Let's go  yogabbagabba.com/ with me and  have more Fun.

“Don’t Worry Everything Is Going To Be Amazing”

Love it and share it with you 

DEFINE US EIGHT

HAVING FUN!!!!!!!!!!!!!!!

Maurizio Cattelan

(September 21, 1960, Padova, Italy) is an Italian artist based in New York. 

He did not attend art school but taught himself. He worked as a cook, gardener, nurse and mortuary attendant, before turning to making art with the hope that the art world might offer him ‘better treatment’. He began his creative adventures by making furniture for his apartment - ‘functional furniture with art meaning’. 

His art often combines sculpture and performance. Cattelan has a subtle sense of the paradoxes of transgression, the limits of tolerance. Since the early 1990s, his work has provoked and challenged the limits of contemporary value systems through its use of irony and humor. He teases the art world without ever falling into the naive trap of thinking he can subvert a system of which he is part. The characters and personas inhabiting maurizio cattelan’s world are ghostly appearances in a personal theatre of the absurd: policemen flipped upside down, stuffed animals hanging from the ceiling, a swami who buried himself in sand for hours at a time ... suspended between reality and fiction, Maurizio Cattelan’swork simulates and subverts the rules of culture and society in a continuous game of detournement, acts of insubordination and symbolical theft. Constantly exploring different materials, contexts and strategies, he refuses to take any moral or ideological position, concentrating instead on reproducing reality in all its complexities. while he does not offer solutions, he shows that one can survive and use the system without being consumed by it.

Nikki . s. lee

(born 1970) is a Korean American New York City-based artist and filmmaker. 

Lee's most noted work, Projects (1997–2001), begun while still in school, depicts her in snapshot photographs, in which she poses with various ethnic and social groups, including drag queens, punks, swing dancers, senior citizens, Latinos, hip-hop musicians and fans, skateboarders, lesbians, young urban professionals, and Korean schoolgirls. Lee conceives of her work as less about creating beautiful pictures, and more about investigating notions of identity and the uses of vernacular photography.

Tell us about how you started doing your work. You went to art school in Korea, right?
Nikki S. Lee: I went to photography school in Korea. [In New York] I went to FIT and NYU, both for photography. At NYU I had an assignment to make something for myself. And I was trying to figure out what I wanted to do because I was really tired of fashion photography.

How did you come up with the idea?
Nikki S. Lee: I had the idea about ten years ago in Korea, but I thought it would be too difficult so I forgot about it. I remembered it when I was looking for a concept to realize. At the time—’97, ’98— people were into simulacra. I was thinking a lot about simulacra and fake documentaries and I was interested in seeing how I could combine all those things.

How much thought do you put into the production aspect of your work? It looks extremely thought-out and “professional,” but you don’t seem like the type of person to spend a lot of money on printing costs.
Nikki S. Lee: When I first started I had no money because I was a student, however, I also don’t think that high-cost productions and expensive works are necessarily good. Of course, there is good work that cost a lot of money to produce but I don’t think it at all matters how much was spent. The important thing is how conceptually good or bad the project is. I like efficient projects because I like seeing the greatest outcomes with minimal effects. Like I said, I was a student with no money so I thought a lot within that limited space. I also like projects that involve many layers; at first glance they might seem like very simple projects, but as you dig deeper you discover many stories and layers within.

What kinds of still cameras do you use?
Nikki S. Lee: Actually, I’ve only used old, manual snapshot cameras. I’ve used too many different versions to list, but they all only had a simple shutter to click on. Even now I don’t use a digital camera, and I actually don’t have a camera of my own—not even a little digital camera or iPods that people carry around. Sometimes I panic when I want to take a picture while I’m walking down the street or something, but I’m not an avid photographer on a normal basis. When I need to photograph something, I hire a photographer.

Why do you think people can relate so well to your artwork?
Nikki S. Lee: Because it’s really easy to understand. Basically people see my work, and they get the concept right away because it’s easy.

What’s your concept?
Nikki S. Lee: It’s basically changing yourself and adapting to different cultures, and taking snapshots of people and situations. This Asian woman changes, and changes, and changes. It weird, but it’s really simple to understand. Plus it speaks to people’s fantasies about becoming other people somehow. They want to live other lives.

I like that the work has multiple layers, and people approach it from different angles. They see the different perspectives.

Identity is a constant theme throughout your work. How does this influence who you select to appear in your images?
Nikki S. Lee: Well, all of my work so far has required the active participation of people. I think that’s mostly because I like to work with the idea of identity and my views toward it. I think the other people were important for me to identify my own identity within the relationships with those people. In Buddhism there’s a saying that goes something like “I can be someone else and that someone else can be me as well.” Thoughts like this one—thoughts that cause you to view yourself in other people’s shoes—were my main focus, so the people play a significant role.

Were the projects more about you or the people?
Nikki S. Lee: It’s about me. The question is about me, but to show me with the other people in the project becomes every much significant. The identity question of myself requires me to look at the relationships with myself and other people.

What kind of work do you yourself like or appreciate?
Nikki S. Lee: I don’t like work that’s very serious on the outside, but not serious on the inside. [Some things] look really heavy and serious, but when you read into it carefully, sometimes it’s not. I hate that. So I like ideas where it looks simple and easy to understand, but when you look really carefully, the concept is very serious. I like that kind of work.