An amusingly cryptic narrative of Dadaist assemblage, Turkey’s hip-hop supergroup, 90BPM, presents the video clip for their second single from their premiere album, Kötülük Bizim Işimiz, a collection of alternative hip-hop that explores everything from Turkish funk to Prince Paul-styled turntablism.
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The appeal of “crowdfunded” art, facilitated by websites like Kickstarter and Indiegogo, is easy to comprehend. Crowdfunding allows artists to free themselves from the strictures that come from corporate and studio funding; if they can pitch their vision for their artwork to enough people willing to chip in, they can have total artistic control over the end product. That claim was made by director Zach Braff when he set up a Kickstarter campaign for his most recent film, Wish I Was Here. The crowdfunding model, so this pitch goes, democratizes the creation of art, allowing consumers of art to have a monetary stake in the creation of the art they want.
“The United States is where most drugs are sold.” The Mexican meth cooker is working at night, his face covered by a bandana, protection against both smoke and any sort of identification. “We know we do harm with all the drugs that go there,” he goes on as you watch one of his colleagues stir a huge blue vat and another documents amounts with a cell phone camera. Their arms and hands swirl in smoke, rising as if from a witches’ brew, “But what are we going to do? We come from poverty. If we were doing well, we would be like you, traveling the world or doing good clean jobs like you guys.”
The infamously cantankerous Sun Kil Moon frontman Mark Kozelek added yet another controversy to his name on 1 June 2015. While performing at London’s Barbican venue, Kozelek openly called out journalist Laura Snapes on stage, using misogynistic language—sadly, to the glee of his audience. Snapes later wrote about the incident for the Guardian. This incident no doubt triggered questions about just how much people continue to put up with Kozelek’s grouchy old man routine, particularly as it continues to rear its sexist and homophobic head. More interestingly, however, is the way in which his behavior plays into the immortal query in the realm of aesthetics: “Can you separate art from the artist?” Is it easy for people to make Sun Kil Moon’s Benji one of the most acclaimed albums of 2014 knowing Kozelek’s public persona?
Theoretically, if a work of art is bad, we will view or listen to it only once and never return to it again; after all, if it is truly bad, why would anyone want to spend additional time with it? Yet dozens of films fall under the umbrella of “so-bad-it’s-good”, where a film’s badness becomes the very reason why we enjoy it. From the terrible direction, performances, and editing of Tommy Wiseau’s The Room to the apocalyptic nonsense of Southland Tales, so-bad-it’s-good cinema offers moviegoers the chance to have fun at the expense of itself.
// Notes from the Road
"Marina's star shines bright and her iridescent pop shines brighter. Froot is her most solid album yet. Her tour continues into the new year throughout Europe.READ the article