Whether strapped in by a seatbelt of static or zoomed in on a woman laying on top of a kicked-down Village
Voice stand, Sacramento’s Death Grips know how to churn out low-budget, yet high-impact music videos. Of the
13 tracks off last year’s free mixtape Exmilitary, six of them have music videos to their name — often strangely
perfect matches for their equally visceral punk-rap recordings.
And for now, even after signing a record deal to Epic last month, their approach isn’t likely to change: roam
around with shitty Canon cameras and flashlights on hand, without any real plan or route, and scream as much
as they’d like. With their latest lo-fi video hitting the ‘net this week for “The Fever (Aye Aye),” Death Grips’
drummer Zach Hill offered a few tips to Hive on how to shoot a memorable music video with $20 or less.
1. Turn to Everyday Situations
“Guillotine (It Goes Yah)” — that’s a very anxiety-fueled song and claustrophobic in a sense, but then at the same
time it has an unsettling quality. So, it makes total sense to start filming in a car. It’s an example of where we
were trying to find some claustrophobic, familiar environment and like, a real environment. I think that’s why
people are really connecting to as well, to seeing an environment that they see themselves, where they’ve had
that same sort of feeling as well.
2. Embrace the Old Adage, “Less Is More” and Not Just Monetarily Speaking
There isn’t an ideal scenario in the way we work, because the things we imagine in our minds aren’t accessible
and within our budget. So even if we think of an ideal location in our imagination, maybe it’s not realistic for us
to make that happen. So we were forced to work with whatever’s available to us because of those limitations.
Those limitations are actually what creates the videos in the first place.
3. Keep Your Eyes Peeled for Good Bargains and Rare Items Like Police Sirens
I found those at a secondhand technological store in downtown Sacramento. We had the idea of somehow
incorporating those into the “Get Got” video and thought of what we ended up doing, standing up on the Capitol
building and all that. I went in there, and there was an English man in there. He said they weren’t for sale, but
plenty of people would ask to buy them. I couldn’t really understand what he was actually saying. Ultimately he
decided to sell them to me, and I don’t even know why. They were on display with old PCs and iPhones,
PlayStations and stuff, and I guess that’s why he hadn’t sold them in the past — because they were on display.
But he was saying how it’s crazy how many people ask if they can buy them, and so he was like, “Fuck, I’ll just
sell them to you.” It’s funny, because it’s a business that I don’t think is necessarily doing that well. I mean, I’m
very grateful that he decided to sell them to me; that was great. But then I was like, “Why don’t you just sell them
so that other people can buy it then?” It was kind of a weird exchange. They were $20. Best $20. We spend
money on gas to get to places, but as far as any type of prop, we have a nonexistent budget.
4. Pay Attention to Your Surroundings
I met this woman in New York City; her name is Carla. It was, like, in 6 in the morning. We had to make a stop in
New York City for this other thing we were shooting, and this woman, she had a tower of cigarettes. I don’t know
if you see that, but she’s essentially paying with a tower of cigarette packs that were stuffed into each other. I
wish I had been filming this, but she walked over and she kicked over that Village Voice stand and laid down on it
— and I was like, “Whoa, this woman is amazing.”
We were sort of watching her as Stefan [Burnett, vocalist] was walking outside, so we started filming him walking
around her, and she seemingly had no idea what we were there for, no knowledge that we were even paying any
mind to what we were doing. After we filmed that visual we went outside to smoke, and after smoking and after
watching her, she basically caught my attention and waved me down and asked me to come hang out with her.
So I hung out with her for 15 to 20 minutes and she talked to me about life. She was talking about Christmas a
lot.
5. Embark Upon Territory That May or May Not Belong to You, With a Gas Mask If Possible
I’ll give you an example — that “Takyon” video. I was homeless last year, while we were working through Ex-
military. I got back from Japan, and the house I was living in for four years had been sold, so I had to move out
and I didn’t have anywhere to go. I ended up in this industrial basement, and then upstairs in the building was an
office complex. This one Sunday we were filming that video, and we decided to go upstairs to that office, where
we weren’t supposed to go, and then we started filming. There’s that scene where Stefan is checking all the
doors and one of them was unlocked, so it was improvisational that we walked into that space. Then in the video
you hear this woman say, “Hello?” People were in there, and yeah, that turned into a really crazy, kind of scary
scenario. Stefan was wearing all black, and the way he looked in that [gas] mask. It was really scary and real to
him, which I understand. They thought we were there to — whatever, and then it turned into this crazy thing. The
woman was screaming, but in the video is all you hear is, “Hello?” We cut it.
It’s not like, “Oh, let’s go to this illegal location” or things like that; naturally, we end up in those spots. I guess
that’s how we relate to graffiti artists. We just wander around with a camera and flashlights and then find places.
Maybe we’re naturally drawn to spots where we’re not supposed to be.
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To Boddah
Speaking from the tongue of an experienced simpleton who obviously would
rather be an emasculated, infantile complain-ee. This note should be pretty easy
to understand.
All the warnings from the punk rock 101 courses over the years, since my first
introduction to the, shall we say, ethics involved with independence and the
embracement of your community has proven to be very true. I haven't felt the
excitement of listening to as well as creating music along with reading and
writing for too many years now. I feel guity beyond words about these things.
For example when we're back stage and the lights go out and the manic roar of
the crowds begins., it doesn't affect me the way in which it did for Freddie
Mercury, who seemed to love, relish in the the love and adoration from the
crowd which is something I totally admire and envy. The fact is, I can't fool you,
any one of you. It simply isn't fair to you or me. The worst crime I can think of
would be to rip people off by faking it and pretending as if I'm having 100% fun.
Sometimes I feel as if I should have a punch-in time clock before I walk out on
stage. I've tried everything within my power to appreciate it (and I do,God,
believe me I do, but it's not enough). I appreciate the fact that I and we have
affected and entertained a lot of people. It must be one of those narcissists who
only appreciate things when they're gone. I'm too sensitive. I need to be slightly
numb in order to regain the enthusiasms I once had as a child.
On our last 3 tours, I've had a much better appreciation for all the people I've
known personally, and as fans of our music, but I still can't get over the
frustration, the guilt and empathy I have for everyone. There's good in all of us
and I think I simply love people too much, so much that it makes me feel too
fucking sad. The sad little, sensitive, unappreciative, Pisces, Jesus man. Why
don't you just enjoy it? I don't know!
I have a goddess of a wife who sweats ambition and empathy and a daughter
who reminds me too much of what i used to be, full of love and joy, kissing
every person she meets because everyone is good and will do her no harm. And
that terrifies me to the point to where I can barely function. I can't stand the
thought of Frances becoming the miserable, self-destructive, death rocker that
I've become.
I have it good, very good, and I'm grateful, but since the age of seven, I've
become hateful towards all humans in general. Only because it seems so easy
for people to get along that have empathy. Only because I love and feel sorry for
people too much I guess.
Thank you all from the pit of my burning, nauseous stomach for your letters and
concern during the past years. I'm too much of an erratic, moody baby! I don't
have the passion anymore, and so remember, it's better to burn out than to fade
away.
Peace, love, empathy.
Kurt Cobain
Frances and Courtney, I'll be at your alter.
Please keep going Courtney, for Frances.
For her life, which will be so much happier without me.
I LOVE YOU, I LOVE YOU!
Sarah Kane (3 February 1971 – 20 February 1999) was anEnglish playwright. Her plays deal with themes of redemptive love, sexual desire, pain, torture — both physical and psychological — and death. They are characterised by a poetic intensity, pared-down language, exploration of theatrical form and, in her earlier work, the use of extreme and violent stage action. Kane herself, as well as scholars of her work, such as Graham Saunders, identify some of her inspirations asexpressionist theatre and Jacobean tragedy.[1] The critic Aleks Sierz has seen her work as part of what he has termed In-Yer-Face theatre, a form of drama which broke away from the conventions of naturalist theatre.[2] Kane's published work consists of five plays, one short film, Skin, and two newspaper articles for The Guardian.

Life[edit]

Born in Brentwood, Essex, and raised by evangelical parents, Kane was a committed Christian in adolescence. Later, however, she rejected those beliefs. After attending Shenfield High School, she studieddrama at Bristol University, graduating in 1992, and went on to take an MA course in playwriting at theUniversity of Birmingham, led by the playwright David Edgar.[1][3]
Kane struggled with severe depression for many years and was twice voluntarily admitted to the Maudsley Hospital in London.[4] However, she wrote consistently, if slowly, throughout her adult life. For a year she was writer-in-residence for Paines Plough, a theatre company promoting new writing, where she actively encouraged other writers.[5] Before that, she had worked briefly as literary associate for the Bush Theatre, London. Kane died in 1999, when, two days after taking an overdose of prescription drugs, she committed suicide by hanging herself by her shoelaces in a bathroom at London's King's College Hospital.[6]

Works[edit]

Kane originally wanted to be a poet, but decided that she was unable to convey her thoughts and feelings through poetry. She wrote that she was attracted to the stage because "theatre has no memory, which makes it the most existential of the arts...I keep coming back in the hope that someone in a darkened room somewhere will show me an image that burns itself into my mind."[7]

Blasted[edit]

Main article: Blasted
Apart from some writing which she would dismiss as "juvenilia" (some of it reused in later plays Crave and4.48 Psychosis[8]), Kane's first play was Blasted.[1] Kane wrote the first two scenes while a student in Birmingham, where they were given a public performance. The agent Mel Kenyon was in the audience and subsequently represented Kane, suggesting she should show her work to the Royal Court Theatre in London.[1] The completed play, directed by James Macdonald, opened at the Royal Court Theatre Upstairs in 1995. The action is set in a room of a luxurious hotel in Leeds where Ian, a racist and foul-mouthed middle-aged journalist, first tries to seduce and later rapes Cate, an innocent, simple-minded young woman. From its opening in a naturalistic – though troubling – world, the play takes on different, nightmarish dimensions when a soldier, armed with a sniper's rifle, appears in the room. The narrative ultimately breaks into a series of increasingly disturbing short scenes. Its scenes of anal rape, cannibalism, and other forms of brutality, created one of the biggest theatre scandals in London since Edward Bond's Saved[1] in 1965. Kane admired Bond's work, and he in turn publicly defended Kane's play and talent.[9] Other dramatists whom Kane particularly liked and who could be seen as influences include Samuel Beckett, Howard Barker,[10] and Georg Büchner, whose play Woyzeck she later directed (Gate Theatre, London 1997).
Blasted was fiercely attacked in the British press. The Daily Mail drama critic Jack Tinker wrote a review headlined "this disgusting feast of filth."[11] This reaction was shared, if in slightly more muted terms, by most other critics.[12] Blasted was, however, praised by fellow playwrights Martin Crimp,[13] Harold Pinter (who became a friend),[14] Caryl Churchill,[15] who considered it "rather a tender play". It was later seen to be making parallels between domestic violence and the war in Bosnia, and between emotional and physical violence. Kane said, "The logical conclusion of the attitude that produces an isolated rape in England is the rape camps in Bosnia and the logical conclusion to the way society expects men to behave is war."[16]
Blasted was produced again in 2001 at the Royal Court. The assistant director of this production, Joseph Hill-Gibbins, suggests that "The argument is made through form, through the shifts in styles in Blasted. That's how she constructs the argument, by taking this setting in an English Northern industrial town and suddenly transporting the action to a war zone." The critical realism that the first scene sets up is "literally blasted apart" in Scene Two. The critic Ken Urban says that "for Kane, hell is not metaphysical: it is hyperreal, reality magnified."[17]

Skin[edit]

Main article: Skin (1995 film)
Skin was an eleven-minute screenplay written for Channel 4, a British TV station, depicting a violent relationship between a black woman and a racist skinhead. It was first shown at the London Film Festival in October 1995 and televised by Channel 4 in 1997. The film stars Ewen Bremner, Marcia Rose, Yemi Ajibadeand James Bannon.[18]

Phaedra's Love[edit]

Main article: Phaedra's Love
Kane was then commissioned by the Gate Theatre, London, to write a play inspired by a classic text.Phaedra's Love was loosely based on the classical dramatist Seneca's play Phaedra, but given a contemporary setting. In this reworking of the myth of Phaedra's doomed love for her stepson Hippolytus, it is Hippolytus, rather than Phaedra, who takes the central role. It is Hippolytus' emotional cruelty which pushes Phaedra to suicide. Kane reversed classical tradition by showing, rather than describing, violent action on stage. The play contains some of Kane's wittiest and most cynical dialogue. Kane described it as "my comedy."[1] Directed by Kane, it was first performed at the Gate Theatre in 1996.

Cleansed[edit]

Main article: Cleansed
Cleansed premiered at the Royal Court's theatre downstairs in April 1998, and was directed by James Macdonald. This was at the time the most expensive production in the Royal Court's history. Kane had written the play after reading Roland Barthes' assertion that "being in love is like being in Auschwitz."[19] Cleansed is set in what Kane in her stage directions described as a university but which functions more as a torture chamber or concentration camp, overseen by the sadistic Tinker. It places a young woman and her brother, a disturbed boy, a gay couple and a peepshow dancer within this world of extreme cruelty in which declarations of love are viciously tested. It pushes the limits of what can be realised in the theatre: stage directions include "a sunflower pushes through the floor and grows above their heads" and "the rats carry Carl's feet away."

Crave[edit]

Main article: Crave (play)
A change in critical opinion occurred with Kane's fourth play, Crave, which was directed by Vicky Featherstone and presented by Paines Plough at the Traverse Theatre in Edinburgh in 1998.[1] The play was performed under the pseudonym of Marie Kelvedon, partly because the notion amused Kane, but also so that the play could be viewed without the taint of its author's notorious reputation. "Marie" was Kane's middle name and she was brought up in the town of Kelvedon Hatch in Essex.[20]
Crave marks a break from the on-stage violence of Kane's previous works and a move to a freer, sometimes lyrical writing style, at times inspired by her reading of the Bible and T. S. Eliot's The Waste Land.[1] It has four characters, each identified only by a letter of the alphabet. It dispenses with plot and unlike her earlier work, with its highly specific stage directions, gives no indication what actions, if any, the actors should perform on stage, nor does it give any setting for the play. As such, it may have been influenced by Martin Crimp's 1997 play Attempts on Her Life, which similarly dispenses with setting and overall narrative. Kane had written of her admiration for Crimp's formal innovations.[21] The work is highly intertextual. At the time, Kane regarded it as the "most despairing" of her plays, written when she had lost "faith in love."[22]

4.48 Psychosis[edit]

Main article: 4.48 Psychosis
Her last play, 4.48 Psychosis, was completed shortly before she died and was performed in 2000, at the Royal Court, directed by James Macdonald. This, Kane's shortest and most fragmented theatrical work, dispenses with plot and character, and no indication is given as to how many actors were intended to voice the play. Written at a time when Kane was suffering from severe depression, it has been described by her fellow-playwright and friend David Greig as having as its subject the "psychotic mind."[5] According to Greig, the title derives from the time — 4:48 a.m. — when Kane, in her depressed state, frequently woke in the morning.

Reception[edit]

Though Kane's work never played to large audiences in the UK and was at first dismissed by many newspaper critics, her plays have been widely performed in Europe and South America. In 2005, the theatre director Dominic Dromgoole wrote that she was "without doubt the most performed new writer on the international circuit".[23] Fellow-playwright Mark Ravenhill has said her plays "have almost certainly achieved canonical status."[24] At one point in Germany, there were 17 simultaneous productions of her work. In November 2010, the theatre critic Ben Brantley of the New York Times described the SoHo Rep's "shattering production" of Kane's Blasted (which had opened two years previously) as "one of the most important New York premieres of the decade."[25]
Roberto Saviano (Italian: [roˈbɛrto saˈvjano]; born September 22, 1979) is an Italian writer and journalist.
In his writings, articles, television programs, and books he employs prose and news-reporting style to narrate the story of the Camorra (a powerful Neapolitan mafia-like organization), exposing its territory and business connections.
Since 2006, following the publication of his bestselling bookGomorrah (Gomorra in Italian), where he describes the clandestine particulars of the Camorra business, Saviano has been threatened by several Neapolitan "godfathers". The Italian Minister of the Interior has granted him a permanent police escort. Because of his courageous stance, he is considered a "national hero" by author-philosopher Umberto Eco. He lives at a secret location to avoid reprisal attacks.[1] Saviano was also accused by former Italian Prime Minister Silvio Berlusconi of defaming the country and being unpatriotic[citation needed].

Career[edit]

Saviano was born in Naples on September 22, 1979. His father was Catholic while his mother was Jewish.[2]He graduated in philosophy at the University of Naples Federico II. His writing is influenced by anti-fascistthinkers such as Giustino Fortunato, Gaetano Salvemini[3] and conservative authors such as Ernst Jünger,Ezra Pound, Louis Ferdinand Celine, and Carl Schmitt.[4]
As a journalist, he collaborates with L'Espresso and La Repubblica, and other magazines including: Nuovi Argomenti, Lo Straniero, Nazione Indiana, and Sud, and can be found in various anthologies such as Best Off. Il meglio delle riviste letterarie italiane (2005), and Napoli comincia a Scampia (2005).
In 2006, following the success of the non-fiction Gomorra[5] (Gomorrah in English[6]), which denounces the activities of the Camorra, Saviano received ominous threats. These have been confirmed by the collaborators for justice and reports that have revealed attempts on Saviano's life, by the Casalesi clan. Investigators have claimed the Camorra selected Casalesi clan boss Giuseppe Setola to kill Saviano over the book, although the alleged hit never occurred.[7]
After the Neapolitan Police investigations the Italian Minister for Interior Affairs Giuliano Amato assigned a personal bodyguard and transferred him from Naples. In autumn 2008, the informant Carmine Schiavone, cousin of the imprisoned Casalesi clan boss Francesco Schiavone, revealed to the authorities that the clan had planned to eliminate Saviano and his police escort by Christmas on the motorway between Rome and Naples with a bomb;[8][9] in the same period, Saviano announced his intention to leave Italy, in order to stop having to live as a convict and reclaim his life.[10]
On October 20, 2008, six Nobel Prize-awarded authors and intellectuals (Orhan Pamuk, Dario Fo, Rita Levi-Montalcini, Desmond Tutu, Günter Grass, and Mikhail Gorbachev) published an article in which they say that they side with Saviano against Camorra, and they think that Camorra is not just a problem of security and public order, but also a democratic one. They also think that the Italian government must protect his life, and help Saviano in having a normal life. Signatures are collected on the site of the Italian newspaper La Repubblica.
On December 10, 2009, in the presence of Nobel Prize winner Dario Fo, Saviano received the title of Honorary Member of the Academy of Fine Arts of Brera and the Second Level Academic Diploma in Communication and Art Teaching Honoris Causa, the highest recognition by the Brera Academy equivalent to a postgraduate degree. Saviano dedicated the awards to the people from the south of Italy living in Milan.
Saviano contributed an op-ed piece to the January 24, 2010 issue of the New York Times entitled, "Italy's African Heroes".[11] He wrote about the January 2010 riots between African immigrants and Italians in Rosarno, a town in Calabria. Saviano suggests that the Africans' rioting was more of a response to their exploitation by the 'Ndrangheta, or Calabrian mafia, than to the hostility of native Italians.
On November 2010 he started hosting, with Fabio Fazio, the Italian television program "Vieni via con me", broadcast by Rai 3.[12]
His second book, ZeroZeroZero,[13] was published by Feltrinelli in 2013. This book is a study of the business around the drug cocaine, covering its movement across continents and the role of drug money in international finance.

Awards and honors[edit]

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