Si Bon

Post Facile Aujourd'hui.
Out of Quebec comes Beatrice Martin aka. Couer de Pirate.

Straight Tacheles

Increasingly, the benefits of urban gentrification are being hailed as hugely important to the cultural development of communities, and broadly, cities. By no means a new, positively received concept, it is certainly one that has powerfully come in vogue within, at least, the past two decades.

Specifically, the reversal of old industrial, or commercial, structures into modern, artistic and cultural hubs is a component of this trend that has proven extremely popular in many municipalities. Immediate examples can be seen in the project properties of Hamilton, Ontario's Imperial Cotton Centre for the Arts; the Cotton Factory and the recently opened Hamilton Hotel, as well as Toronto’s Wychwood Barns, overseen by ArtScape.

However, bucking this trend of renewal, with no less of a creative and cultural vengence, is East-Berlin's Tacheles. This aging commercial complex, has housed, at different points in its long history, an in-door market place, a new-technology showroom, a Nazi prison, a theatre, and low rent housing. During the 1960s and 70s, after decades of consistent and intense usage, Tacheles was evaluated by engineers and ultimately slated to be demolished, a process that was initiated in 1980 and to be completed by 1990.

Yet, in 1990, two months prior to the final detonation which would have leveled the remaining majority of the complex, the artists’ initiative group Kunstlerinitiative Tacheles occupied the building and had it designated a historical site. Upon initiating another engineering survey of the Tacheles, it was found that the complex was, in fact, still sound, despite its semi-demolished appearance.



Since this time, the complex has become officially known as Kunsthaus Tacheles, and has become an art center and nightclub that is a central destination to a number of Berlin’s arts, activist and cultural groups. What is particularly interesting about this is that, unlike the trend of targeted, cultural gentrification, Tacheles' emergence as an arts centre has been a wholly organic one, lead by a gradually developing grassroots arts community.

Moreover, the most interesting facet of the Tacheles is not even necessarily in the groups that it hosts, but rather its manifestation as a gigantic, and continuously evolving, mixed media work of art. Boasting an ever-changing, eclectic array of murals, sculptures and other pieces, the deceptively un-dilapidated Tacheles is less a gentrified example of old into new, than it is fateful study of cultural
(r)evolution.

Albeit, one with an uncertain future.

Comedic References Across Time

Having finally caught up to the current season of Mad Men, I found myself struggling to understand, why, in its first episode, Peggy and her new creative department employee keep purring “John” and “Marsha” back and forth to eachother.

After conducting some thorough Googling, I found that what they were doing was carrying on with an inside joke/popular comic reference from the era. This, of course, is not so surprising, but what does make it interesting is that, on the one hand, it further represents the fine toothed comb which the Mad Men creators use to ensure period accuracies, and on the other, it represents a very well placed gimmick by the writing staff to not just portray an organic and realistic workplace, but one that the viewer can also associate with.

The whole “John and Marsha” thing was a skit that satirized soap operas, recorded in 1951 by comedian Stan Freberg. The skit consists of two characters continually repeating each other’s names, a narrative is made out of the overindulged intonation that the actors apply to the speaking of their names, playing on the hammy, melodramatic acting found in soap operas. Though recorded in 1951, the skit would have maintained popularity through Mad Men’s 1964, and even to modern day where it is still occasionally performed.

In regards to how this is clever writing, representing an organic and easily relatable workplace, simply consider, how frequently in a given day (especially in this time of viral videos that are instantaeneously spread through emails and links on Facebook and Twitter accounts) you might repeat fad-like jokes or phrases with co-workers for a comic cathartic release. How many times did you refer to “Charlie bit me,” the grape stomp lady, “I like turtles,” or perhaps deliberately interrupt someone with “I’m really happy for you and Imma let you finish but...”? How often do (did) you reference shows like Simpsons, Saturday Night Live, Seinfeld, Dave Chappelle, Family Guy or even How I Met Your Mother?

Though it was an obscure and out of the blue reference, kudos to the Mad Men writing staff on their insightful attention to detail, as well as effectively illustrating the cross-generational connection inherent in these sorts of workplace comedic quips.

The Wilderness Beyond Boundaries

A couple months ago, Radiohead lead Thom Yorke prophesized the music industry’s imminent and not-too-far-off downfall. The cause of this would be related to reasons that have been heard before, those being primarily the industry’s player’s unwillingness and inability to adapt to more innovative models of distribution, and lack of embracing the possibilities inherent in new technologies. Yorke encouraged young artists not to sign with the sinking ship labels, and instead, explore these new possibilities on their own.

In terms of embracing these new possibilities, artists need to look no further than Arcade Fire. Though still represented under label Merge Records, the band has not been shy about experimenting with everything from distribution to music videos in the lead up to the release of their new album, The Suburbs. Earlier in the summer, the band not only webcast their Madison Square Garden show on YouTube, but had auteur director Terry Gilliam (Brazil, Fear and Loathing in Las Vegas) direct the project. As well, in terms of the album’s release, aside from traditional methods and among other things, the band also made the songs available to listen in full off their own website.

Now the band has launched one of the most fascinating projects associated with The Suburbs, The Wilderness Downtown, the interactive short-film/Google Chrome and street view project that blasts the boundaries of the traditional music video. Directed by Chris Milk, the video, for the song “We Used to Wait,” prompts the viewer to enter their home address and then proceeds to lead the viewer through an abstract narrative set in their own neighbourhood.

Nearly three months since Yorke’s declaration, the industry still remains standing, but at least bands that matter, like Arcade Fire, are continually testing new waters.

The Undead Book

Books currently "developing character" in my bag: A Confederacy of Dunces (John Kennedy Toole), Chief Culture Officer (Grant McCracken), Wikinomics (Don Tapscott and Anthony D. Williams).

“Death of” media predictions have persisted for some time and in reference to many different types, notes a recent New York Times article. For example, TV was supposed to kill the radio and the movies, and the internet was supposed to kill TV. However, as the article goes on to detail, none of these forms of media have ever truly died, but rather, have evolved to fulfill other roles or, particularly in the case of vinyl, re-emerged to fulfill new niches.

Yet, a question still remains as to how literature will evolve. Certainly we see obvious indications as to the future of non-fiction print, the increasing prevalence of online news sources, the decline of the literal newspaper, the popularity of topical blogs. Such media has well begun carving out its future existence as widely available, short-burst bites of information. Nevertheless, and at least for me, the future of long-form non-fiction and fictional literature remains less certain. I say at least for me because, though some may roll their eyes and say “obviously, they’ll be translated to ebook formats to be read on the iPad or Kindle,” I, honestly, want nothing to do with those formats or products.

Now, I am not saying that the iPad or Kindle are non-functional or pointless products that I would never use, but they are products that I would prefer not to use to engage myself with a book. A couple summers ago I went on a Cross-Canada train trip for roughly a month. Going from Toronto to Vancouver, back to Toronto and then to Halifax with a number of spots in between, takes a lot of days aboard a train, and unless there are Aussies aboard doing it too, reading material becomes your best friend for the long stretches between great views, destinations, arrivals, departures, and daylight.

The novel that most notably accompanied me on this trip was Michael Chabon’s The Amazing Adventures of Kavalier and Clay. As a piece of literature it provided an amazing escape from train induced boredom (which, despite the views, is bound to happen), but more importantly, as a solitary traveller, it became an appreciated companion. Physically, its appearance and development matched my own, the less I shaved, the more creased its covers became, the more thoughts I had while reading it, the more notes were jotted down inside its cover. It became less a book in my bag than it did a partner, accompanying me on my journey and developing its own character along the way.

It seems unrealistic to me that an iPad or Kindle could ever provide such appreciated (and durable) company. The sterile, glowing screen aside, even if I were to decide to bring one on any form of rugged adventure, I sincerely doubt that I would view a broken or chipped screen as proudly (or, at least, indifferently) as I would a ripped, coffee stained cover.

I guess the point to be made is that literary print, as it exists and has existed for centuries, remains a much more flexible format than those that are vying to be the next link in its evolution. Looking back at the aforementioned examples of TV and Radio, in their evolution their ease of use and application has been increased. Radio has gone from large, immobile, wooden units to personal devices that tune into digital signals (which can also be personalized). TV has gone through very similar transformations. Books, on the other hand, have always been a highly personalized experience (personalization being a decidedly central concern of all media evolution). If anything, those products trying to push the medium forward seem more like a step back. I’d rather lose a single, beat-up paperback worth $10.00, than my entire library contained on a pristine, plastic device worth $500.00 alone.

Of course, and as the article further points out, the real question in literature’s evolution is not necessarily “is the print format dead?” But rather, “is our attention-span?” Certainly, having all your social media available on the same medium as your book is not conducive to dedicated reading time.

So, books, what’s next?

March of the Bags

A new project, by Californian environmental group Heal the Bay, builds a bridge between humourous viral videos and environmental campaign awareness.

The Majestic Plastic Bag is a mockumentary, narrated by Oscar winner Jeremy Irons, that parodies various nature documentaries as it makes believe that plastic bags are an indigenious species of Californian wildlife. The short video details the epic journey of a plastic bag, from the grocery store to its final, migratory home in the Great Pacific Garbage Patch, a clump of consumer waste, ranging in size estimates from the state of Texas to the whole of the contintental United States, and located in the North Pacific Ocean.

The film was made to function as a viral video, funny and easily shared, so that it might also raise awareness about the push to have Calfornia's congress pass bill AB 1998, a piece of legislation that would significantly reduce plastic waste (such as banning the use of plastic bags) in the state.

Shades of Hell

Three versions of the same song (well, kind of, the third is a sampe of the first)... Which is your favourite?

Either way, enjoy!

1. (Original) The Clash - Straight to Hell


2. (Cover) Lily Allen - Straight to Hell


3. (Sample of Original) M.I.A. - Paper Planes

Social Network's "Creep"

Scala and Kolacny Brothers - "Creep"

If you haven't yet seen the trailer for The Social Network directed by David Fincher, then you haven't yet heard this amazing cover of Radiohead's "Creep." reminiscent of the opening of the Rolling Stones' "You Can't Always Get What You Want" the use of the choir offers such a different sound perspective on the song (and creates an odd sense of discomfort when they drop the F-bomb in the chorus).

Check out a number of their other choral renditions of famous songs, such as Coldplay's "Yellow" and U2's "With or Without You."

Enjoy the Sorrow

At a four-movie, dusk ‘til dawn show at East Hamilton’s Starlite Drive-In, I once again, and quite happily, saw Get Him to the Greek. In what has been a very dismal cinematic summer (thank god for the arrival of Inception), the quasi-sequel/spin-off comedy Get Him to the Greek has been a hilarious saving grace.

Staring Russell Brand, reprising his role as Aldous Snow from Forgetting Sarah Marshall (2008), and Jonah Hill, not reprising his role from Forgetting Sarah Marshall, Get Him to the Greek is about Hill’s character’s struggle to get “off the wagon” again Aldous Snow from London to a live show at the Greek Theatre in Los Angeles (and convincing him to revive his washed-up career along the way).

For those who remember Forgetting Sarah Marshall, you may recall a number of faux-rock singles performed by Aldous Snow and his band Infant Sorrow, such as “We’ve Got to Do Something” and “Inside of You.” What is great about Get Him to the Greek is that not only did the makers continue with this idea, but the entire film soundtrack does, in fact, double as an Infant Sorrow – Live at the Greek album, enticing the audience to believe that Infant Sorrow, and front man Aldous Snow, do actually exist.

The album is comprised of a number of Infant Sorrow’s supposed classic hits, such as “Going Up,” “the Clap,” “F.O.H.,” and the ill-received “African Child.” And, to ensure the correct sound (90s inspired Brit-rock), the album is actually a collaboration of established contemporary British rockers such as Carl Barat of the Libertines and former Pulp front man Jarvis Cocker. As well as influences from Russell Brand, and Jason Segel - who wrote the songs that were featured in Forgetting Sarah Marshall and make appearances in this film.

Not unlike Flight of the Conchords, these quirky songs sound great while giving a sort of cheeky wink to the listener. Yet, what is particularly interesting with this album is that despite being, at face value, a fictional band with false singles made for the soundtrack of summer comedy and all tied into a clever marketing strategy, it’s actually a much more enjoyable listen than a good amount of what’s currently heard on mainstream radio.

Unfortunately the Infant Sorrow live-shows were a very limited engagement, however, to further suspend your disbelief (and gladly so), check out the Infant Sorrow website. Or simply buy the album here.



Infant Sorrow "Going Up."

Super-Shorts

As I excitedly bought a Marvel Superheroes McDonalds Happy Meal toy yesterday, on a road trip home from Montreal, I was reminded of an item that I had wanted to post a couple weeks ago...

With the well of popular characters to make films out of beginning to run dry, Marvel Comics’ film studio (Marvel Studios) is rumoured to be exploring an interesting idea to both introduce audiences to less popular, or “B” list characters, and to gauge their potential success if translated into films.

For those who care, it goes without saying that Dr. Strange, Luke Cage, and Black Panther do not have the same draw as Spider-man, X-Men and Iron Man. Therefore, Marvel may produce short films, featuring these characters, that will be roughly 10 minutes in length. These films will appear before upcoming movies featuring their more famous characters (such as Thor – 2011, Captain America – 2011, The Avengers – 2012, and the Spider-man reboot – 2012). In doing this, Marvel expects to get an idea of what characters’ films might fly with audiences, without risking too much financially.

This approach would continue to set Marvel apart from its rival DC and their canon of heroes. Already their film approaches are distinctly different, with Marvel focused on making film adaptations of its stable of popular characters, where as DC (excluding the Batman, Superman and the upcoming Green Lantern film) has tended to focus on its more off-beat characters and graphic novels, such as The Watchmen and Constantine (from Hellblazer).

Of course, the successful testing of a character does not guarantee that its film would be a success, whether critically or financially. Particularly critically, for every Iron Man 1 & 2, Spider-man 2, and X-Men 2, that Marvel has had, there has been a Wolverine, Daredevil and Fantastic Four 1 & 2, and many other lukewarm, at best, films to name.


The lesser known Dr. Strange, Black Panther, and Ant-Man.

Souls of Mischief - Cab Fare

It has been in my head, plus it has got to be one of the best examples of an old sitcom opening theme being sampled... if (m)any others exist.

Also... July 24th is just about here, remember YouTube's Life in a Day experiment.

Roar for the Afternoon

Every year around this time Governor’s Island in New York City hosts Jazz-Age themed, week-end afternoon park parties. The parties are $10 per ticket and include a jazz orchestra, dancing (with instruction), picnics, era attractions and games. Those attending are encouraged to wear period costumes, though, judging from the amazing photos that always appear on the Sartorialist blog this time of year, encouragement scarcely seems necessary. In the past the gatherings have also been held in June, one can scour the Sartorialist archives of previous years’ Junes to see older pictures from these parties. It would be amazing to see something like this coordinated locally, perhaps the old bandshell at Gage Park, or Dundas Driving Park, the lawn of Dundurn Castle, or at least somewhere in the GTA.

Pictures are courtesy of the Sartorialist.

One Day out of Life for a Lifetime

“...I saw a film today, Oh boy...”
- John Lennon (via The Beatles), A Day in the Life

On July 24th, 2010, life in a single day on earth will be documented and assembled into a feature film, brought to you by collaborators Google, YouTube and LG Electronics.

The project, entitled Life in a Day, encourages people all over the globe to upload video footage of any event happening to them throughout the 24 hours on July 24th, the experiences can and should range from the celebratory to the tragic, and from the traumatic to the comforting.

All video footage that is uploaded will be accessible on the Life in a Day YouTube Channel, however, select footage will be edited into a feature film by director Kevin MacDonald (The Last King of Scotland) and overseen by executive producer Ridley Scott (Gladiator). This Life in a Day film will then be entered into the 2011 Sundance Film Festival. All creators of selected footage will be credited as co-directors and an exclusive 20 spots will be available for co-directors to attend the film festival.

It could be said that video platforms such as YouTube already, likely, nearly, capture the entire gamut of global human experience and beyond. As of this year, there was an estimated 120 million videos on YouTube alone, with 200 000 uploaded daily, and an estimated timeframe of 600 years required for one individual to view them all. Yet, the Life in a Day project adds a unique angle, namely, how does a single, time capsuled day in the human experience look, when sent through the grinder of cinematic art.

It could almost be accepted that YouTube as it currently stands is more representative of life on earth in all its frenetic, random, and varying-in-quality glory. I certainly do not doubt MacDonald’s talent as a director, but it must be posited that having a director who ultimately over sees the project’s compilation, will naturally skew the vision of the world. Self efficacy is, of course, possible in film, but with an anicipated over 200 000 videos to be uploaded on July 24th, selection will be an unavoidable expression of preference and perception. Nevertheless, perhaps this will be part of the film’s attraction, viewing the world through foreign eyes for a single day.

Lastly, as an interesting little calculation, if the aforementioned video statistics are true and it would take 600 years to view YouTube's 120 million videos, then if July 24th sees the (at minimum) expected upload of 200 000 videos, it would take approximately one year to view one day's worth of life on earth.

Wooster Collective: Online Gallery of Art on the Edge

Street art and culture jamming is by no means a new or culturally specific phenomenon. Excavation at Rome's fallen city of Pompeii has revealed graffiti scrawled on walls or commentary etched over top of various political or commercial announcements. However, with our continually, and undeniably, commercialized world, the proliferation of various sorts of culture jamming and street art becomes a refreshing alternative to the monotonous drone of the regular promotional noise in our daily experiences.

Though street art and culture jamming are mutually inclusive, they do exist as seperate ideas. Whereas each involves the creation of a public piece of interest and often through the use of pre-existing materials or structures, culture jamming typically takes the form of "subvertising," and creates a commentary, often critical in nature, directed towards an existing organization or group.

The Wooster Collective, named for a street in NYC's SoHo, has, since 2003, documented global instances of both street art and culture jamming, including anything from photos of specific works, interviews with specific artists, and even instructional videos for specific techniques, such as "tape art." Ranging from the whimsical to the witty, Marc and Sara Schiller's Wooster Collective has amassed such a vast collection of documented works that in August 2009 a YouTube channel was devoted to the Collective's videos.

Though we are now quite far from the 19th century styled Salon approval of "official art," the works and artists featured on the Wooster Collective are still frequently considered as existing on the periphery of the art world. Nevertheless, it can be said that the continuation, documentation, and accessibility of the various types of street art and culture jamming, from sites such as Wooster, provides us with a much needed, creative and inspirationally rebellious break from our world through challenging the daily mundane.

Space Invaders mosaic piece, by French street artist Invader. Photographed in Montpellier, France.

The End of an Absolute Person

"We can't all be stars because someone has to sit on the curb and clap as I go by"
- Sebastian Horsely

As is stated in not as many words, a common thread among posts on this blog are how the article's subjects impact the notion of individuality. Particularly in this day and age, and particularly among progressively younger generations, individualistic entitlement abounds. Yet, the question must be begged whether this idea of being a personalized island truly exists, or if it is merely an idea, and an often destructive one at that.

Moreover, the question must also be begged, is true individualism self-destructive? For one to truly march to the beat of their own drum, must this also assume that they will eventually march themselves to their own end, or at least, to their own obsolescence. For lack of better phrasing, self-preservation does tend to be more of a concern for the mainstream.

I pose these questions only because last week saw the passing of someone who was as close to iconoclasm as they come, British artist, writer, and self-proclaimed dandy Sebastian Horsely, 47. To be perfectly honest, I scarcely knew of Mr. Horsely, before I found myself in my kitchen last Friday morning listening to Q on CBC radio and hearing host Jian Ghomeshi announce his death (suspected drug overdose) and then replay an interview with him from spring 2008. I recall the incident from 2000 when he had himself crucified in the Philippines, but beyond that I knew very little.

In fact, few in North America could probably say they knew much about him, and it most likely did not help that he was banned from entering the United States in 2008, to promote his memoir (Dandy in the UnderWorld), on charges of moral turpitude. Let alone the fact that many prominent modern artists tend to fall outside the realm of (to coin a new phrase) "Household Nameism," Mr. Horsely's unapologetic tastes and lifestyle tended ensure that as far as more popular common culture was concerned, and particularly in this side of the world, his name was not frequently used.


Nevertheless, here was a person that lived a life as true to their own being as can be. In the end, his own choices may have out done him, but perhaps this is an essential component of living a truly iconoclastic and inidividualized life. Your own end, in the end, is a consequence of your own choice.

For the sake of further defining your own life in relation to those around you, and in celebrating the life of a nearly true individual, pick up his memoir and indulge in his "depraved and morally corrupt" wisdoms.

Munny Munth!

The Munny is five years old this June, and Kid Robot is celebrating its customizable vinyl action figure with some sweet deals and contests.

Founded in 2002, Kid Robot specializes in designer toys, among the most famous of its product selection are Dunnys and the aforementioned Munnys. Mimicking a hybrid of cartoon animals and graffiti/stencil art characters, these figurines, which can be acquired in a variety of sizes and colours, are part of a broader collection that includes Trikkys, Raffys and Rooz'. Typically Dunnys are bought predesigned, but Munnys, Trikkys and others come blank, ready to be designed by the owner.

In celebration of the Munny's birthday, Kid Robot has declared June to be Munny Munth, and deals such as "buy one Munny, get a mini-Munny free" are being offered at most Munny retailers.

Here in Hamilton you can find Munny's, and the birthday deal, at Mixed Media located on Cannon St. and James St. North, and what a better time to go check them out than tonight! Being the second Friday of the month tonight is the June 2010 edition of the monthly James Street North Art Crawl, wherein Mixed Media will be displaying Munnys designed by various local artists.

Among the Munnys featured tonight will be those designed by yours truly. Starting last spring, I thought it would be a fun project to design personalized Munnys for friends and family on their birthdays and other special occasions. To date I have done about 15 or 16, and a photo collage of 12 of them will be set up at the store. Additionally, given that I took advantage of the "BOGO" deal, before the day is done I will design, paint and set up a big Munny (pictured above) to accompany the photo collage. What will it be? Good question, I have no idea yet, so make sure to get out to the Art Crawl tonight and check out the Munnys at Mixed Media!

And for extra interest, simply Google image search "munny" and check out the insane designs that people have come up with all over the world.

My favourite of the Munnys I have done, this is my baby cousin George.

The "Beginning" is about the "End"

For the maiden Bohemian Cusp blog post I have selected a story found on the May 17th PSFK Good Ideas Report.

"Before I Die I want to" is an artistic, cultural anthropolgy project undertaken through the medium of Polaroid photography. Creators Nicole Kenny and ks rives ask participants "What do you want to do before you die?" Following the query, a Polaroid is snapped as the participant answers. They are then prompted to write their answer on the Polaroid, below their picture.

The project aims to investigate three central themes:
1) The "death" of the Polaroid.
2) A psychologist's tool called safety contracts.
3) A passion to get people to think about (and act upon) what is important in their lives.

Adding a further dimension to this project is the creator's decision to engage participants in both the United States and India. From this, clear cultural differences were found between American and Indian participants, particularly concerning anxieties related to death. In this regard, Indian participants were generally more comfortable with their impending fate than were American. An additional finding was the affect that levels of financial security have upon the participant's "dream." Broadly speaking, the greater the security, the greater the "dream."

Concerning the notion of individuality, this project poses an interesting challenge. Essentially, although we may all have specific desires and goals that we'd like to fulfill prior to our expiration, defining us as seperate sentient beings, the types of goals we might "dream" and the ways in which we "dream" them are determined by much larger class and cultural definitions.

As for me, middle-class, caucasian Canadian male, I characteristically have a general anxiety towards death. Yet, given the sometimes random nature of death, I would like to think I could be comfortable with my life and what I've done at all times, recognizing that in life you can never do everything. Nevertheless, anxiety, and comic avoidance in uncomfortable situations prompts me to, on a completely silly whim, respond with "Before I die, I want to finally finish reading the Lord of the Rings Trilogy, or at least start."