LOWRIDER BICYCLE`S

Lowrider bikes are so cool to me. I would like to start bilding lowrider bikes here in Oslo. There are so many people here that ride bikes and its like there cars, so why not customice them and make them difrent and special.Think i will start VooDoo John`s lowrider bikes of Oslo ?? Hmmmm would be fun to try and see how it works....

Johnny the homicidal maniac: anuther awsome comic

Johnny the Homicidal Maniac (abbreviated JTHM) is the first comic book by Jhonen Vasquez. A black comedy and comedy horror, the series tells the story of a fictional serial killer named Johnny C. as he explores the psychological and possibly supernatural forces which compel him to commit a string of murders. In the 1990s, Johnny began as a comic strip, then ran under alternative comics publisher Slave Labor Graphics as a limited series of seven issues, later collected in the trade paperback Johnny the Homicidal Maniac: Director's Cut. The series produced two spin-offs titled Squee! and I Feel Sick.

Tank Girl : very cool comic

The crossroads

The crossroads is a place loaded with superstitions and stories. Back in the days before the automobile and paved highways, people traveled dirt roads through the wilderness and bayous either on horseback or by foot. The pace of the journey was generally slow and often caused the mind to wander in the trees and shrubs. In a way travelers were much more vulnerable. They did not have the safety of their cars or road side phones to call for help. And as darkness fell, I'm sure that all of the superstitions and stories of evil devoured their consciousness.

Many countries such as the European countries, India, Greece and Japan, as well as people such as the American Indians, subscribed to the superstitions and folk tales of the crossroads. At these intersections, demons, evil spirits, ghosts, Kobolds and fairies were found. It is a burial place for suicides and murderers and a dump heap for parricides. The crossroads is a rendezvous for witches who use this place for Sabbat rituals. Sacrifices were offered to the gods to protect humans from the evil which lurked here.

Legba is a trickster deity and god of entrances and crossroads. He is part of the belief systems of blacks of Dutch Guina, Brazil, Trinidad, Cuba and the voodoo cult of Haiti and New Orleans. In the new world, Legba goes about in tatters and he functions in cult rituals "to open the way" for the gods to possess their devotees. For this reason his songs are sung first at all rites. In the new world syncretism he is often equated with the devil. With this information, we can assume that when Robert Johnson made his claim of meeting the devil, he was referring to Legba.

In Haitian Vodou, Papa Legba is the intermediary between the loa and humanity. He stands at a spiritual crossroads and gives (or denies) permission to speak with the spirits of Guinee, and is believed to speak all human languages. He is always the first and last spirit invoked in any ceremony, because his permission is needed for any communication between mortals and the loa - he opens and closes the doorway. In Haiti, he is the great elocution, the voice of God, as it were. Legba facilitates communication, speech and understanding. In the Yoruba pantheon, honored in Nigeria, Cuba, Brazil, and elsewhere in the Yoruba diaspora, Ellegua is mostly associated with Papa Legba since both share the role of being the god of the crossroads. In contrast to Papa Legba, however, Eleggua is a trickster child. Legba also shares similarities to Orunmila, the orisha of prophesy who taught mankind how to use the mighty oracle Ifá. He usually appears as an old man on a crutch or with a cane, wearing a broad brimmed straw hat and smoking a pipe, or sprinkling water. The dog is sacred to him. Because of his position as 'gate-keeper' between the worlds of the living and the mysteries he is often identified with Saint Peter who holds a comparable position in Catholic tradition. He is also depicted in Haiti as St. Lazarus, or St. Anthony[1].

In Benin and Nigeria, Legba is viewed as young and virile, is often horned and phallic, and his shrine is usually located at the gate of the village in the countryside.

Another interpretation of the crossroad hinted at by some blues songs is that point at which a particular road is taken in life. Originally the blues "Crossroads" was a literal right-angle crossing of two railroads - "where the Southern cross the Dog" - in Moorhead, Mississippi. The "Southern" was a line of the Southern Railway, sold to the Columbus and Greenville Railway in 1920, and the "Dog" was the "Yellow Dog", officially the Yazoo and Delta Railroad, part of the Illinois Central Railroad system after 1897. This place is mentioned in a number of blues, including the recorded works of W. C. Handy and Bessie Smith. The term remained an important metaphor in the blues tradition, one of the most notable examples is the famous Cross Road Blues, recorded in 1936 by Robert Johnson.

Mississippi blues

The Delta blues is one of the earliest styles of blues music. It originated in the Mississippi Delta, a region of the United States that stretches from Memphis, Tennessee in the north to Vicksburg, Mississippi in the south, the Mississippi River on the west to the Yazoo River on the east. The Mississippi Delta area is famous both for its fertile soil and its poverty. Guitar, harmonica and cigar box guitar are the dominant instruments used, with slide guitar (usually on the steel guitar) being a hallmark of the style. The vocal styles range from introspective and soulful to passionate and fiery


Booker T. Washington White (November 12, 1906 – February 26, 1977[1]) was a delta blues guitarist and singer. "Bukka" was not a nickname, but a phonetic misspelling of White's given name Booker, by his second (1937) record label (Vocalion). White himself disliked the spelling "Bukka" and preferred to be called "Booker"


John Lee Hooker (August 22, 1912 – June 21, 2001) was an American blues singer-songwriter and guitarist, born near Clarksdale, Mississippi. Hooker began his life as the son of a sharecropper, William Hooker, and rose to prominence performing his own unique style of what was originally closest to Delta blues. He developed a 'talking blues' style that was his trademark. Though similar to the early Delta blues, his music was metrically free. John Lee Hooker could be said to embody his own unique genre of the blues, often incorporating the boogie-woogie piano style and a driving rhythm into his masterful and idiosyncratic blues guitar and singing. His best known songs include "Boogie Chillen'" (1948) and "Boom Boom" (1962).

Hooker's life experiences were chronicled by several scholars and often read like a classic case study in the racism of the music industry, although he eventually rose to prominence with memorable songs and influence on a generation of musicians.


Robert Leroy Johnson (May 8, 1911 – August 16, 1938) was an American blues singer and musician. His landmark recordings from 1936–1937 display a combination of singing, guitar skills, and songwriting talent that have influenced later generations of musicians. Johnson's shadowy, poorly documented life and death at age 27 have given rise to much legend, including a Faustian myth. As an itinerant performer who played mostly on street corners, in juke joints, and at Saturday night dances, Johnson enjoyed little commercial success or public recognition in his lifetime.

His records sold poorly during his lifetime, and it was only after the first reissue of his recordings on LP in 1961 that his work reached a wider audience. Johnson is now recognized as a master of the blues, particularly of the Delta blues style. He is credited by many rock musicians as an important influence; Eric Clapton has called Johnson "the most important blues singer that ever lived".[1][2] Johnson was inducted into the Rock and Roll Hall of Fame as an "Early Influence" in their first induction ceremony in 1986.[3] He was ranked fifth in Rolling Stone's list of 100 Greatest Guitarists of All Time

Cajun music

Cajun music, an emblematic music of Louisiana, is rooted in the ballads of the French-speaking Acadians of Canada. Cajun music is often mentioned in tandem with the Creole-based, Cajun-influenced zydeco form, both of Acadiana origin. These French Louisiana sounds have influenced American popular music for many decades, especially country music, and have influenced pop culture through mass media, such as television commercials.



Dewey Balfa (March 20, 1927 – June 17, 1992) was an American Cajun fiddler and singer who contributed significantly to the popularity of Cajun music. Balfa was born near Mamou, Louisiana. He is perhaps best known for his 1964 performance at the Newport Folk Festival with Gladius Thibodeaux and Vinus LeJeune, where the group received an enthusiastic response from over seventeen thousand audience members. He sang the song "Parlez Nous à Boire" in the 1981 cult film Southern Comfort, in which he had a small role.