“But I could throw a rock and hit one in this audience right now.” Where were the actual Wu-Tang fans?
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“Things have value when they are rare,” RZA explained. He spoke about “entitlement” and suggested that younger listeners feel “entitled to music.” He hoped the aura and rarity associated with a one-off, $5 million dollar record would “change the perception of both art and music” and “provide a seal to musical legacy.” RZA - or R.Z.A., or Rizzor - stepped onstage, introduced himself as the abbot of Wu-Tang. He was a representative of Paddle8, the online auction house responsible for selling the album, and he let us know that this moment would be “anchored forever in the realms of fine art.” Schlenzka returned to inform us that we are “very privileged” to hear the first, last, and only “public” listening session of Once Upon a Time in Shaolin. I surveyed the event and thought of Joey Bada$$’s recent line: “Cash ruins everything around me.”įollowing a brief introduction wherein curator Jenny Schlenzka - heavily pregnant with a thick European accent - referred to RZA more than once as “Rizzor,” a tall posh British man in a burgundy suit began shouting indiscriminately into the microphone. This fragile union of cross-cultural interest reminded me of Jay Z’s performance with Marina Abramovic - which I saw live and hated - only this was less embarrassing. Certainly I endorse rap’s claim to art, but I often wonder why they want to perform this claim in the institutions of the art world.
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And one of them inexplicably mispronounced RZA, “R.Z.A.”Īfter being ushered through security, the audience filed into PS1’s weird courtyard tent-dome, with its semi-curved, quasi-IMAX screen, projected onto which were close-up images of the nickel-silver box, a contract, a chess set, and a red wax seal. Invariably, intensely, hilariously: the radio fans smelled like booze. I saw Ebro Darden (the programming director of Hot 97), Jace Clayton (DJ Rupture), a handful of familiar faces from the art world, and a gaggle of confused “fans” who had won tickets from Power 105. This of course meant a long line, but it gave me an opportunity to see who would be attending this once in a lifetime exhibition. I had been told in advance that no recording devices would be allowed in the museum, including computers or phones. I was thinking of Wu-Tang’s fans as I arrived at MoMA PS1 several minutes late. He infamously dogged RZA so persistently that he became - loosely, controversially - a member of the Wu-Tang Clan. “The irony of it is that we did it for the fans,” said the album’s producer, Tarik “Cilvaringz” Azzougarh, who is himself a Wu-Tang superfan.
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Unless, that is, Shaolin’s future owner decides to distribute it for free - an unlikely scenario. So if you didn’t happen to be at MoMA PS1 last evening - among a smattering of journalists, high-bidders, and Power 105 contest winners - you will likely never experience the entire album, or even the 13-minute sample heard by Flavorwire.
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And we learned yesterday that Once Upon a Time in Shaolin will remain under copyright until 2103 - that’s 88 years. Here is some additional info: the CD is housed within two nickel-silver boxes that were hand-carved by a Moroccan artist and his team of ten workers over three months there is only one physical copy of the album in existence all digital versions have been destroyed and bidding starts at $5 million. The album’s title: Once Upon a Time in Shaolin. And it took more than two years to produce, mostly because eighty percent of its vocals were re-recorded to capture the intensity of early Wu-Tang records. It features 31 tracks, all eight living MCs, most if not all Wu-Tang affiliates (Sunz of Man, Redman, Cher), sirens, bombs, samples from kung fu cinema, and original skits. The new and possibly final Wu-Tang album is more than two hours long.