The Napping Wizard Sessions: Recent Episodes
David Colosi
David Colosi weaves conversations with artists from all over the map of mediums and genres. These radio shows are divided into Interviews and Tributes, and series like One Song, which dives deep into the cultural context of one song and a series called PREMISE which takes a fictional premise and through interviews, audio drama, improvisation and archival audio gauges the distance between fiction and our unbelievable reality.
See acast.com/privacy for privacy and opt-out information.
In this conversation, recorded on March 16, 2024, which is a follow-up to my previous podcast, philosopher Gloria Origgi elaborates the ideas in her book, Reputation: What it is and Why it Matters. In Part 1, I played her lecture on that subject from the Night of Philosophy 2019. Here we discuss the ideas and specific cases since that time in which reputation impacts our global lives.
Gloria Origgi is an Italian philosopher and social scientist based in Paris at the Institut Nicod, Ecole Normale Supérieure. In her research work, she tries to understand the impact of social relations and institutions on knowledge processes. She has worked extensively on the evaluation of knowledge and science. She has been a member of two advisory boards at the European Commission in Brussels (Future and Emerging Technologies and Gender) whose aim is to design the new Research Framework Program after Horizon 2020.
She has taught in France, Italy, Brazil, and is regularly invited in many institutions in United States, UK and Germany. In 2005 and 2013 she was Visiting Fellow at the Italian Academy for Advanced Studies at Columbia University. She also works on ethics of science, the epistemology of gender and its applications to social cognition. She was an invited Professor in Germany (University of Bielefeld - Center of Excellence for Cognitive Interaction) and in Munich in 2021.
In addition to La réputation, qui dit quoi de qui (Presses Universitaires de France, 2015) and its translation, Reputation: What it is and Why it Matters? (Princeton University Press, 2018); in 2019 she published a Dictionary of Social Passions (PUF) which gathers more than 140 colleagues from French universities and international institutions to understand the role of passions in human motivation. Her last book, La vérité est une question politique (Albin Michel) was published in 2024. Since 2016, she has participated in a new joint EHESS-Columbia University-Dakar University project on the Epistemologies of the South. She is also involved in research on Epistemic Democracy. Her research work has been covered by many newspapers and media such as The Financial Times, The Guardian, Le Monde, BBC, France Culture.
Hosted on Acast. See acast.com/privacy for more information.
In 2019, I was invited to participate in the Night of the Philosophy at the New School for Social Research to record and then make art with the various lectures I attended from 7pm-7am. I posted some of these already, but since that night, one lecture I never got to always stuck with me. It’s on Reputation by Gloria Origgi, a philosopher who works in the interdisciplinary fields of social epistemology and experimental philosophy. In these five years since that midnight event, reputation as a philosophical, social, and political subject has only grown in relevance to our lives. Here I play the lecture from 2019. In Part 2, I have a conversation with Gloria where she elaborates on the ideas she introduces and from her book, Reputation: What it is and Why it Matters. We discuss pertinent ways and specific cases of how reputation manifests in our global lives.
Gloria Origgi is an Italian philosopher and social scientist based in Paris at the Institut Nicod, Ecole Normale Supérieure. In her research work, she tries to understand the impact of social relations and institutions on knowledge processes. She has worked extensively on the evaluation of knowledge and science. She has been a member of two advisory boards at the European Commission in Brussels (Future and Emerging Technologies and Gender) whose aim is to design the new Research Framework Program after Horizon 2020.
She has taught in France, Italy, Brazil, and is regularly invited in many institutions in United States, UK and Germany. In 2005 and 2013 she was Visiting Fellow at the Italian Academy for Advanced Studies at Columbia University. She also works on ethics of science, the epistemology of gender and its applications to social cognition. She was an invited Professor in Germany (University of Bielefeld - Center of Excellence for Cognitive Interaction) and in Munich in 2021.
In addition to La réputation, qui dit quoi de qui (Presses Universitaires de France, 2015) and its translation, Reputation: What it is and Why it Matters? (Princeton University Press, 2018); in 2019 she published a Dictionary of Social Passions (PUF) which gathers more than 140 colleagues from French universities and international institutions to understand the role of passions in human motivation. Her last book, La vérité est une question politique (Albin Michel) was published in 2024. Since 2016, she has participated in a new joint EHESS-Columbia University-Dakar University project on the Epistemologies of the South. She is also involved in research on Epistemic Democracy. Her research work has been covered by many newspapers and media such as The Financial Times, The Guardian, Le Monde, BBC, France Culture.
Hosted on Acast. See acast.com/privacy for more information.
In this conversation, I speak with Brussels-based artist Erwan Mahéo. The conversation took place on May 25, 2023, as we were setting up a project in and around La Sirene de Belle-ile in France.
Erwan Mahéo's art practice moves freely between the categories of sculpture, painting, video, photography, collage, ceramics, and textiles but finds its home in eclectic mixes of genre-fluid forms, ideas, and expressions. In 2023 Bruxelles: La Lettre volèe published a monograph of his work titled Histoires et Gèographies. And in the past decade his work has shifted into comprehensive projects that create spaces where things can happen, inviting artists to create work in deeply entrenched historical and geographic sites.
You can explore his work on Instagram @erwan_maheo
Erwan's work has been presented in various institutions : La Grandeur Inconnue, Domaine de Kerguéhennec (F.1993) ; Laboratorium, Antwerpen Open (1999) ; Nameless Swirls, an Unfolding in Presence, Van Abbemuseum (Nl. 2003) ; Mathématiques, Fri-Art, Fribourg (Ch. 2004) ; Track, Gent (2012) ; Novelty Ltd. Fondation d’entreprise Hermès, La Verrière, Brussels (2017) and in galleries : Unknown Places, Tim Van Laere gallery, Antwerp (2005) ; Dispersion, Galerie Catherine Bastide, Brussels (2008) ; La Grande Image, Galerie Vidal Cuglietta, Brussels (2011), among many others.
He is on the faculty at La Cambre School of Visual Art in Brussels where he heads the Department of Urban Space.
Between 2003 and 2012 he founded and directed an Artist in Residence program called Le Centre du Monde on the island of Belle-ile-en-Mer (F). The collection which grew from this project was given to the FRAC Bretagne in 2014. The book Le Centre du Monde (Description of an invisible sculpture) was published on this occasion. Between 2013 and 2019 he co-founded and co-directed the editorial project Herman Byrd (with Sébastien Reuzé). In 2023 he founded the project La Sirene de Belle-Ile.
Hosted on Acast. See acast.com/privacy for more information.
In this Napping Wizard Session, I met up with Seattle-based artist Gretchen Frances Bennett in Bratislava Slovakia on 12 June 2023. In 2021-2022 she completed a Fulbright Core Scholar research grant to retrace a family trip she made to the city in the 1970s. Time travel, memory, family archives, we circle a literary work she has in progress that stretches the then and now of impressions she has from various trips to a Central Europe that changed so much between 1972 and 2023.
As this conversation demonstrates, Gretchen’s work explores the soup of recounted personal histories, the fluidity of memory, and the construction of new literary, visual, and audio stories that imagine themselves in the openings between historical facts and personal memories.
In NYC, Gretchen has participated in artist-in-residence programs on Governors Island with the Lower Manhattan Cultural Council, the Bronx Museum of Art and has created a public program with the Drawing Center. The Frye Art Museum and the Seattle Art Museum, among many others, have hosted exhibitions of her work over the years. Her writing has appeared in Cold Cube Press for Veronica Project Space, Seattle, WA; in Earth Saga Press, Letters from Earth, Glasgow, United Kingdom; and in La Norda Specialo, Seattle, WA. She has also been an adjunct faculty member at Seattle University, Department of Art, Art History, and Design for many years. More info can be found here: https://www.gretchenbennett.com/
In the podcast I promise to link to a playlist. This is Gretchen’s soundtrack and hallucinogenic audio mood board of the then-communist Czechoslovakia she visited in 1972-73. All the songs we reference can be found here. Listen along, or follow the podcast with this nostalgic soundtrack.
Gretchen’s Spotify Playlist: 72 / 73
If Loving You is Wrong, I Don’t Want to be Right, LUTHER INGRAM
Baby, Baby, I’m Hooked on You, MAC DAVIS
Ain’t No Sunshine When She’s Gone, BILL WITHERS
You’re so Vain, CARLY SIMON
Lean On Me, BILL WITHERS
Me and Mrs. Jones, BILLY PAUL
THE WEST WING, The Lame Duck Congress, Season 2.6, Aaron Sorkin and John Wells, ©Warner Bros.
LOONEY TUNES, Bugs Bunny and Yosemite Sam, (Cross This Line) Chuck Jones and Friz Feleng, ©Warner Bros.
FLIPPER, Ivan Tors Films in association with Metro-Goldwyn-Mayer Television
FINNEGANS WAKE read by Patrick Horgan, 1985, Book II, Episode I
Hosted on Acast. See acast.com/privacy for more information.
On April 02, 2021 I spoke with Farideh Sakhaeifar about her exhibition You are in the War Zone at Trotter and Sholer in New York’s Lower East Side and her residency at Koda Lab in Brooklyn. The presentations introduce several of her visual experiments from the last decade as a kind of survey. Her work explores various themes from the Middle East and her native Iran, and the differences and complexities of living in the United States since 2009. How does the media influence the way we see our position in the world? Having known Farideh since 2013, I take cues from the exhibition as opportunities to go off script into the past and future of her work and how she has handled the remarkable year that 2020 has been.
Audio excerpts from Halabja, 1988, with sound design by Sadra Shahab and narration by Maryam Ghoreishi
and vocal excerpt by Hussein Smko from the Hekler event The People’s Tribunal.
You are in the War Zone was organized jointly by
Trotter and Sholer: https://trotterandsholer.com/exhibition/you-are-in-the-war-zone/
and Koda Lab: https://www.kodalab.org/
with contributions and collaborations from Hekler: https://www.hekler.org/
Details about Farideh and her work can also be found here: https://faridehsakhaeifar.com/
I recommend you browse the website as we discuss the work and follow along with the images of the titles we introduce.
See acast.com/privacy for privacy and opt-out information.
The following is a transcript from a lecture I delivered at A Night of Philosophy, a free event that hosted 62 international philosophers and 12 artists on April 24, 2015 from 7pm to 7am simultaneously at the French Embassy and The Ukrainian Institute on New York City’s Upper East Side. I was invited as an artist, and I chose the subject of the shape-shifting character Leshonkii, of Ukrainian, Russian and Slavic folklore, to adapt to the site of the Ukrainian Institute. As an artist, the logical shape to shift into was that of a philosopher. I delivered my lecture in a crowded auditorium on The Philosophy of the Comic and Tickling at 03:50 am. I have no audio or video documentation of the event, so this is a post-performance presentation. The laugh tracks and supplemental audio was included in the live performance.
See acast.com/privacy for privacy and opt-out information.
In this reading from The Night of Philosophy in 2019 on October 06 at 03:00 am at the New School for Social Research in New York City, Cia Rinne was listed on the program with a presentation titled softly The Usage of Words. Listening to Cia Rinne’s poems is like channel flipping through international TV stations with the desire to reduce the mass of verbal waste by limiting each channel to just a single word. But infinity is infinity no matter the limits you put on how much fun you’re having with it. Minimalism pretends to seek silence, but it accumulates too much joy along the way.
Cia Rinne is a multi-lingual Swedish-born poet and artist based in Berlin. Her publications include zaroum, notes for soloists and l’usage du mot. For 6 years she documented the lives of Roma communities in Hungary, India, Greece, Romania, France, Russia and Finland while she collaborated on a book titled, “The Roma Journeys.” Her visual, literary and acoustic works have been included in various international exhibitions. More can be found below:
http://writing.upenn.edu/pennsound/x/Rinne.php
Samples from: Steve Reich, Different Trains, Electric Counterpoint – 3. After The War; Samuel Becket from Aspen 5&6; and Cia Rinne from Notes for Soloists with sound design by Sebastian Eskildsen, 2011
See acast.com/privacy for privacy and opt-out information.
In this lecture from The Night of Philosophy in 2019 at 05:00 am on October 06 at the New School for Social Research in New York City, Associate Professor of Philosophy, Nicolas de Warren, discusses our debt of plastic and nuclear waste. While many of us dream about augmented technology and the possibility of becoming cyborgs in the future, Dr. de Warren considers a different transformation of homo sapiens. With the prevalence, distribution and breakdown of plastics and nuclear waste into micro and nanoparticles, it is likely that we will consume so much as a species that future homo sapiens will indeed become part organic and part something else. Our waste habits produce an uncontrolled Kippleization – a term de Warren borrows from Philip K. Dick – that is guaranteed to transform the bodies of humans 100,000 years in the future. That is close to twice as long as homo sapiens have roamed the earth. The pyramids in Egypt are much younger than that, and yet the lazy gift we will saddle our descendants with will be far more cursed than the tombs of the pharaohs. In another Sci-Fi nod, this time to the Strugatsky brothers, de Warren compares us to disrespectful roadside picnickers - we have not taken from the forest everything that we brought in. Our campsite remains a mess.
Nicolas de Warren is Associate Professor of Philosophy at Penn State University. He has published extensively on phenomenological subjects such as Original Forgiveness, Husserl’s Awakening to Speech, Emmanuel Levinas and the Evil of Being, Sartre’s Phenomenology of Dreaming and Towards a Phenomenological Analysis of Virtual Fictions.
See acast.com/privacy for privacy and opt-out information.
In this lecture from The Night of Philosophy in 2019 on October 06 at 01:00 am at the New School for Social Research in New York City, professor of philosophy at CUNY Graduate Center Charles W. Mills spoke on the topic of Racial Justice. Dr. Mills charges the conceptions of T-justice (over-arching theories of Justice) by the Western European male canon of analytic philosophy with not accommodating G-justice (justice for those grouped as women, people of color, working class and LGBTQIA+, to name a few). Rather than taking the abolitionist road and starting from scratch, Mills takes the critical theory approach and finds salvageable material in, for instance, John Rawls’ Theory of Justice. Just as we continually try to amend the Constitution of the United States which was written by and for rich, Anglo-Saxon, slave-holding men, Mills suggests that we can reconstruct bits from the white supremacist tradition of analytic philosophy in order to make things right for other folks. He sees one path to corrective justice through a re-imagining of Rawls’ Veil of Ignorance and conceiving Justice for, what he calls, ill-ordered societies.
Charles W. Mills works in the general area of social and political philosophy, particularly in oppositional political theory as centered on class, gender, and race. He is the author of numerous journal articles and book chapters, as well as five books. His books include The Racial Contract (1997); Blackness Visible: Essays on Philosophy and Race (1998); From Class to Race: Essays in White Marxism and Black Radicalism (2003); Contract and Domination (co-authored with Carole Pateman, 2007); Radical Theory, Caribbean Reality: Race, Class and Social Domination (2010) and the forthcoming, Black Rights/White Wrongs: The Critique of Racial Liberalism.
Dr. Mills is a professor of Philosophy at CUNY Graduate Center in NYC.
His full essay on Racial Justice can be found at the Aristotelian Society:
https://academic.oup.com/aristoteliansupp/article/92/1/69/5032731
See acast.com/privacy for privacy and opt-out information.
On October 05-06 from 7pm to 7am at The New School of Social Research, I was invited to participate in The Night of Philosophy. Rather than do something live, I chose to record the 12-hour evening. The night hosted 50 philosophers and 50 artists in multiple venues at the New School scheduled in half-hour shifts. I couldn’t be everywhere at once, so the Field Recordings I play are of what I was able to hear. Other attendants certainly had different experiences.
Samples of lectures in this 30-minute episode come from, in no particular order: Philosophy as Radical Innovation by Markus Gabriel; Forgetting the Holocaust by Omri Boehm; Domestic Bliss: Philosophy and Family by Meghan Robison; Army of Ravens by Drucilla Cornell presented by Benoît Challand; A Feminist Social Imagery: A New Topography of Space by Maria Pia Lara; Do We Perceive the Same Colors? by John Morrison; Human Rights: On the Foundation of Ecological Socialism by Jay Bernstein; The New Age of Reputation by Gloria Origgi; Racial Justice by Charles Mills; Nothing New by Jack Halberstam; Black Existentialism by Lewis R. Gordon; The Usage of Words by Cia Rinne; Commitment to the Bit: On Andrea Chu by McKenzie Wark; Onkalo or the Contamination of Eternity by Nicolas de Warren; Realism, Objectivity and Evaluation by Justin Clarke-Doane.
Multimedia performances included: Musicircus (John Cage’s work presented by the College of Performing Arts directed by Blair McMillen and performed by students in the New School creative community, includes vocal, keyboard and saxophone); Bowie Singalong and Dance (presented by Simon Critchley and DJ Zenon Marko); Nightclub (DJ sets accompanied by a full reading of the first volume of Vernon Subutex, a French novel by Virgina Desppentes, concept by Meriam Korichi, excerpt with Vanessa Place); Collective Task (international group of artists and poets developing networking as an art practice excerpts with Vanessa Place and others); impromptu piano solos by Lewis R. Gordon; Wilhelm Reich’s The Emotional Plague (performed with two pianos, two voices, cello and audience participation with Morgan Bassichis and Ethan Philbrick); Sunrise Raga (Ehren Hanson and Jay Gandhi).
See acast.com/privacy for privacy and opt-out information.
Even a Fool Learns to Love, now that’s a David Bowie song that most people haven’t heard of. We also didn’t know there was a link between Life On Mars? and My Way. What? Frank Sinatra and David Bowie? Or is it Paul Anka and Claude Francois? Or maybe it’s Barbara Streisand and Sid Vicious. It gets confusing. In this episode I unravel how David Bowie made Life on Mars? as a parody and a revenge song of My Way.
This episode includes found footage of David Bowie and Paul Anka interviews, various samples of Even a Fool Learns to Love, Comme d’Habitude, My Way and Life on Mars?, also Maya Beisler, Seu Jorge and Barbara Streisand performing Life on Mars? The end features Elise Ald covering Comme d’Habitude, Nina Simone covering My Way and AURORA covering Life on Mars?
See acast.com/privacy for privacy and opt-out information.
In this episode I stage a reenactment of the introduction to Harry Mathews' novel Tlooth.
I produced this in a podcasting seminar at BRIC in 2016 with my fellow participants lending their voices.
See acast.com/privacy for privacy and opt-out information.
In this session I go back to the ONE SONG format with a flip. I still take a deep dive into one, well, riff, it just happens to be repeated in several songs. This one song has consistently found its place on top of the pop music charts for over four decades crossing genres and under different guises. Young musicians looking for a breakout hit and seasoned musicians looking to make a comeback need to listen to this show. One song can make all the difference, and this one is tested and – usually – always wins.
(Lou Reed, Negativland) You Can’t Hurry Love, The Supremes, 1966; I’m Ready For Love, Martha and the Vandellas, 1966; C’Mon Marianne, Frankie Valli and the Four Seasons, 1967; Touch Me, The Doors, 1968; ((You Can’t Hurry God) He’s Right On Time, Dorothy Love Coates, 1953); (I'm Ready for Love, Temptations, 1967); C’mon Marianne, Donny Osmond, 1976; Lust for Life, Iggy Pop, 1977; Heart, Rockpile, 1980; A Town Called Malice, The Jam, 1982; You Can’t Hurry Love, Phil Collins, 1982; Walking on Sunshine, Katrina and the Waves, 1983/1985; You Can’t Hurry Love, Dixie Chicks, 1999; Are You Gonna Be My Girl?, Jet, 2003; Selfish Jean, Travis, 2007; What is Happening? Alphabeat, 2007/2018; Valerie, Mark Ronson and Amy Winehouse, 2007; Lust for Life, J2 and Nicole Atkins, c2014.
See acast.com/privacy for privacy and opt-out information.
In this session, I talk with Nicholas Fraser about his text-based artworks. We focus on Left Hanging, a project where re-purposes his unrequited dating app. intros into ephemeral objects. Love letters like hanging chads cast shadows of conversations that were never properly counted. He spent a great deal of effort crafting these letters, and though they never captured their intended recipient, he found a way to utilize this archive to reach a broader audience. Nicholas’ work for the past decade has focused on the slippages of language, the erasure of meaning, our human desperation to communicate and our dizzying agility at failing at it. But sometimes we succeed, like in this conversation where we get an in-depth look at how Nicholas’ projects evolve and adapt.
As you listen to this, I encourage you to take a look at his website: http://nicholasfraser.com/
Born in the U.K., Nicholas Fraser lives in Brooklyn. Left Hanging was featured in the Spring/Break Art Fair and the 2017 Chashama Gala, as well as in a solo exhibition at Hofstra University's Rosenberg Gallery in 2016. His public sculpture, All Consuming, was commissioned for Randall's Island in 2015, the same year that he participated in the Bronx Museum's AIM program. His video Follow was featured in the 2015 AIM Biennale. A solo exhibition of his work was on view at York College/CUNY in February of 2015. He has also exhibited work at the Drawing Center, Interstate Projects, Dorsky Gallery, Flux Factory, Bronx Art Space, Art in Odd Places, La Mama La Galeria, Jack the Pelican and Taller Boricua. He has participated in residencies at MASS MoCA, Skowhegan, Art Omi, Sculpture Space, LMCC and BRIC. International audiences have seen his work in Paris, Seoul, Toronto, Cuba, Russia and Germany. In 2014 he was awarded a NYFA Fellowship for his ongoing video project about storefronts.
Sampled clips from, in order of appearance, Joe Cocker, Buckwheat Zydeco, Deee Lite, John Lee Hooker, Nicki Minaj (reading Roald Dahl) via Kanye West, Ray Charles via Norah Jones, Dixie Chicks, Jim Croce, Kid Koala (multiple), David Lee Roth via Van Halen, Tom Waits, Scissor Sisters, Jim Croce, Kid Koala.
See acast.com/privacy for privacy and opt-out information.
An incantation, a moan, a breath. This is my digital collection of Genesis Breyer P-Orridge’s music - a mere fraction of their enormous output over 6+ decades: all 154 tracks from the following recordings play simultaneously spread out at random as one song, 14.5 hours of music packed into 28 minutes. I had been a fan of their music since 1990 and then in 2015, along with 12 others, I spent several weeks with Gen at Pioneer Works deeply getting to know their philosophy, art and music. I haven’t adjusted any of the individual volumes or strategically placed any of these tracks. I only spread them out visually in the audio software, and this is the voice that spoke. Anyone familiar with the plurality of this incredible pandrogyne will know the role chance, intuition and magic played in their practice. I recommend headphones.
The recordings represented include every track from the following (not in this order): 20 Jazz Funk Greats; Allegory and Self; Fred; Heathen Earth: The Live Sound of Throbbing Gristle; Jack The Tab: Techno Acid Beat; Live at Thee Berlin Wall, Part One; Live in Bergenz; Live in Paris; Live in Thee East Village; Live in Toronto; Tale Ov 2 Cities: London and Glasgow Live; Thee City Ov Tokyo; Thee City Ov New York; Throbbing Gristle Greatest Hits.
See acast.com/privacy for privacy and opt-out information.
In this episode I talk with multi-media artist Moo Kwon Han about his recent exhibition, DRUM, at the Gyeongin Art Museum in Seoul, Korea. To make this work, he was granted access to multiple power facilities, many of them nuclear, all in South Korea. In our conversation we unravel the works in the exhibition, from the initial inspirational image of a detail of yellow drums containing radioactively contaminated clothing – a mere fraction of the total drums in this facility – all the way through to a final musical score that encapsulates both the path and the contents of the exhibition. When we see artworks in museums and galleries, it’s like looking at a lightening strike. We’re amazed by the instantaneous moment and evidence of what was created, but we really don’t understand what went into its making. In our conversation, I draw out the creative path Han followed in constructing Drum. I encourage you to look at his website before listening: https://www.hanmookwon.com/drum.
Mookwon Han was born in Gyeongju, Korea, and currently lives in New York. He has had solo shows at Kumho Museum of Art, Seoul (2017, 2020 forthcoming), Doosan Gallery New York (2009), CUE Art Foundation New York (2009), and Gyeongin (Kyung-In) Art Museum, Seoul (2000, 2019). Han’s work has been included in group exhibitions at Cube Museum, Seongnam; NY Media Center (2017); The Fondazione Filiberto Menna, Salerno, Italy; Galeria U Jezuitow, Poznan, Poland; Bund18 Creative Center, Shanghai, China; Coreana Museum, Seoul, Korea; Nation Centre for Performing Art, Asia Society Mumbai Centre, Mumbai, India; Metropolitan Pavilion, NY; David Zwirner Gallery, NY; Miyako Yoshinaga Gallery/ Asia Society Museum NYC; Unit B Gallery, San Antonio: Hoam Gallery and National Museum of Contemporary Art, Seoul.
Han received an MFA from the School of Visual Arts NYC (2006), attended the Skowhegan School (2008) and participated in residencies at Elizabeth Foundation for the Arts (2015-16), Seoul Foundation for Art and Culture (2013-14), Lower Manhattan Cultural Council Workspace Program (2011-12), LMCC’s Arts Center at Governors Island (2010), Art OMI (2009) and CUE Art Foundation(2008) and was a Smack Mellon Hot Pick. He was awarded a Korea Hydro Nuclear Power, Co. and Gyeongju Cultural Foundation Grant (2020), Puffin Foundation Grant, and New York Foundation for the Arts Artist Fellowship in Digital/Electronic Arts (2009) and joined as a review panelist (2014/2017).
See acast.com/privacy for privacy and opt-out information.
I found John Giorno’s recordings in 1989. In this tribute I share a personal experience with his work and how it influenced me during my time in Los Angeles. I follow that with four of John’s long poems. I was fortunate to meet him in 2010 and tell him an extremely abbreviated version of this, but I never knew him. Included are samples from many of John’s recordings. Other samples are from William Burroughs, Led Zeppelin, Ronald Reagan, Allan Sekula, Felix Guattari, Brion Gysin, David Bowie, Kathy Acker, Allen Ginsberg, 22 Jump St., Velvet Underground, Robert Mapplethorpe video documentary, Ann Waldman, Sinead O’Connor, Body Count, Talking Heads, David Bowie, Peter Gabriel and Patti Smith. The four poems are Suicide Sutra (1974), Eating the Sky (1979), I Don’t Need It, I Don’t Want It, And You Cheated Me Out Of It (1981), and Completely Detached From Delusion (1981). My intro ends at the 20 minute mark, so if you want to skip ahead to John's poems, drag the slider to 20:00.
See acast.com/privacy for privacy and opt-out information.
This just might be the most difficult-to-listen-to show I’ve made yet. You know those hidden songs at the end of some CDs: you hear the last one and then there’s acres of space and, wham, there’s a weird clip? Well that’s what this show is about. You have to have patience for this show, and with me, but this is the best way I could do a show about silence and surprise, and methods of exploiting new audio media. These songs would never have been played on the radio in the way they were made, but in the wild west of podcasting, even this goes! Keep this playing and you’ll hear clips from The Outer Limits, The Dust Brothers, Judas Priest, Weird Al Yankovic, The Beatles, Monty Python, Christina Aguilera, Jethro Tull, Public Enemy and Korn, and then complete songs by Alanis Morissette, Nirvana, The Donnas, Dragon Ash, The Cows, Negativland, Albert Ayler and Deee Lite. Wait for them all, and don’t adjust your (head)set.
See acast.com/privacy for privacy and opt-out information.
This is a listening show. In a traditional radio format, I collect recordings where Iggy Pop reads from books. Sit back and let Iggy tell you a story or send you to sleep.
CLIP LIST (in order of appearance)
-
(clip Persepolis, Marjane Satrapi and Vincent Paronnaud, 2007)
-
(clip: Leaves of Grass, Walt Whitman, recording from EP, Leaves of Grass, 2016, with Alva Noto and Tarwater)
-
(clip: “Good Evening,” excerpt from fundraising promo for film, The Sandman, with Dario Argento, 2014)
-
A Machine for loving, Michel Holleoubecq, recording from Préliminaires, 2009, with Hal Cragin
-
From Pent Up Aching Rivers, Walt Whitman, recording from EP, Leaves of Grass, 2016, with Alva Noto and Tarwater
-
The Tell-Tale Heart, Edgar Allan Poe, recording from Closed On Account Of Rabies, produced by Hal Wilner, 2007
-
A reading from the bible as Salvatore “Sally” Jenko, recording from Jim Jarmusch film Dead Man, 1995
-
Persepolis, Marjane Satrapi and Vincent Paronnaud, 2007
-
Repo Man, lyric to film theme song, recording from Rizzoli Bookstore by Jeff Slate, 2016, at the release of Jeff Gold’s book Total Chaos, The Story of the Stooges.
-
We Are The People, Lou Reed (1971), recording from Free, 2019, with Leron Thomas
-
(excerpt, Do Not Go Gentle Into That Good Night, recording from Free, 2019, with Noveller)
-
The Dawn, recording from Free, 2019, with Noveller (aka Sarah Lipstate)
-
(clip: American Valhalla, recording from Post Pop Depression, 2018, with Joshua Homme)
-
(clip: Les Feuilles Mortes, Jacques Prevert and Joseph Kosma, recording from Préliminaires, 2009, with Hal Cragin)
-
(clip Persepolis, Marjane Satrapi and Vincent Paronnaud, 2007)
See acast.com/privacy for privacy and opt-out information.
This episode is just the music of the Variations Kervilahouen by Marie Duprat. For my commentary, informed by discussions with Marie, check out Part 1 of this episode. But if you’re here, you just want to enjoy the music uninterrupted. So here are the ten Variations Kervilahouen by Marie Duprat, inspired by a trip to the island of Belle-Ile-en-mer in France in 2006, and recorded in 2007 at Gennevilliers Conservatory.
01 Vazen
02 La Pointe du Talut
03 Moulin d'Anvort
04 Grotte de L'Apothicairerie
05 Locmaria
06 Ty Nehue
07 Les Poulains
08 L'Ile du Diable
09 Goulphar
10 Epilogue
See acast.com/privacy for privacy and opt-out information.
In this show, I’ll walk you through the piano compositions of a friend of mine, Marie Duprat. She composed Variations Kervilahouen after a two-week visit to Belle-ile-en-mer in France in 2006. I’m playing versions mainly from a recording she made at Gennevilliers Conservatory in 2007, but I also mixed in a few – under my narration and the main one from La Pointe du Talut – from a recent concert at L'Atelier du Plateau in Paris in 2019. If you want to listen to just the music, without my commentary, I’m including a Part 2, so you can go there before or after listening to this one.
Marie was born in Strasbourg, in the Northeast of France. She studied music at the Strasbourg Conservatory and later moved to Paris to get her piano degree at Gennevilliers Conservatory. She continued her studies, this time in philosophy, history and literature, at the Sorbonne. She was on track to become a professor of philosophy when she was offered a job as an assistant at France Musique to conduct radio interviews dedicated to jazz and classical music. For the next ten years, she immersed herself in the music of others. In 2004, after what she described as exciting years, though filled with anxiety from time away from her own music, she left this job. In 2005 she allowed herself a self-imposed sabbatical to turn back to the piano, singing, writing and finding her artistic center. It was in June 2006 that she went to Kervilahouen. After that time she participated in a theater project in Rome with the comedians and authors Luisa Merloni and Fiora Blasi in Cabaret Hypocondriaque in 2007-2008. In 2011 she composed the music for a film documentary of the structural anthropologist Jean-Pierre Vernant by director Emmanuel Laborie and also composed stage music for a production dedicated to the poems of Arthur Rimbaud titled Vies ou les courants de la lande. In 2013, she realized a project titled Partita based on the No. 2 for piano of Johann Sebastian Bach with dancer and choreographer Laetitia Angot. Next it was her 2008 experience with comedians that led her to again collaborate with Fiora Blasi on Never Mind the Words where the two play the roles of Charlie Chaplin and Buster Keaton, and Marie recomposed much of the music of the films from the two comedic actors’ catalogs. Her most recent project is another collaboration centered on the allegory of Plato’s Cave. You can find out more about her here: https://www.atelierduplateau.org/agenda/voir/8131 and here: https://vimeo.com/214157227
See acast.com/privacy for privacy and opt-out information.
In this series on The Napping Wizard Sessions called ONE SONG I’m taking deep dives into single songs. In this episode, I take The Clash’s WRONG 'EM BOYO and chart the history behind it that connects late 1800s America through the true story and legend of Stagger Lee with the Jim Crow American south, reggae and the Jamaican Rude Boys, the Black Panthers, John Sinclair, the mods, skinheads and the birth of punk in the UK, and push it up against the anti-immigration and racist climate we're witnessing today in the dis-United States. For what appears to be a simple song, after peeling back the layers, it ends up becoming something like an anthem for solidarity, uniting racial and social struggles, and fraught with the glorious embellishment and vernacular drift of oral traditions. A lot of people are curious - What does 'Em Boyo mean?
REFERENCES AND FURTHER INFO:
Audio Ammunition. Documentary of The Clash. GooglePlay Original, 2013.
Brown, Cecil. I Stagolee. CA: North Atlantic Books, 2006.
Brown, Cecil. Stagolee Shot Billy. MA: Harvard University Press, 2003.
Chuck D. Stay Free: The Story of The Clash, Spotify original series, 2019.
Cox, Alex. Sid And Nancy + DVD extras. UK: Initial Pictures, 1986 and DVD extras.
Egan, Sean. The Clash On The Clash. IL: Chicago Review Press, 2018.
Gates Jr., Henry Louis. The Signifyin(g) Monkey. NY: Oxford University Press, 1988.
Gray, Marcus. Route 19 Revisited: The Clash and London Calling. UK: Random House, 2010.
Henzell, Perry. The Harder They Come. Kingston, Jamaica: International Films, 1972.
Lomax, Alan and John. American Ballads And Folk Songs. NY: Dover, 1994.
Marcus, Greil. Mystery Train. NY: Plume, Revised Edition, 2015.
Temple, Julien. The Future is Unwritten. Parallel Films Production, 2007.
…and various other sundries on YouTube
SONG CLIPS IN ORDER OF APPEARANCE
00:00:00 The Clash, Wrong ‘Em Boyo, 1979
00:05:43 Lloyd Price, Stagger Lee, 1958
00:08:12 Herb Weidoeft and His Band, Stack ‘O Lee Blues, c1924
00:08:42 Gertrude Ma Rainey, Stack O’Lee Blues, 1926
00:08:57 Amy Winehouse, live at Arena Anhembi, São Paulo, Brazil January 15, 2011
00:09:11 Cliff Edwards, Stack O Lee Blues, 1928.
00:09:28 Furry Lewis, Billy Lyons and Stackolee, 1927
00:09:40 Mississippi John Hurt, Stack O’ Lee, 1928
00:10:10 The Clash, Career Opportunities, 1977
00:10:29 Frank Hutchinson, Stackalee, 1927
00:10:39 Archibald, Stack-A-Lee, Parts 1 and 2, 1946
00:11:08 Fats Domino, Stagger Lee, Live at Montreux, 1973
00:11:32 Dion, Stagger Lee, 1962
00:11:51 Nick Cave and The Bad Seeds, Stagger Lee, 1996
00:12:20 Taj Mahal, Stack O’Lee, 1969
00:12:49 Keb Mo, from the movie Honey Drippers, 2007
00:13:02 R.L. Burnside, Stack O Lee and Billy Lyons, (year ?)
00:13:32 Sidney Bechet, Old Stack O’Lee Blues, 1946
00:13:42 Wilson Pickett, Stagger Lee, 1967
00:14:05 Elvis, rehearsal recording, 1970
00:14:17 Bob Dylan, Stack A Lee, 1993
00:14:35 Woody Guthrie, Stackolee Muleskinner Blues, 1944
00:15:00 James Brown, Stagger Lee, 1967
00:15:18 The Black Keys, Stag Shot Billy, 2004
00:15:51 Sol Hop’opi’i, Stack O’ Lee Blues, 1938
00:16:17 The Rulers, Wrong Emboyo, 1967
00:19:44 The Clash, Wrong ‘Em Boyo, instrumental, 1979
00:21:09 Junior Murvin, Police and Thieves, 1976
00:22:00 The Clash, White Riot, 1977
00:23:04 MC5, Kick Out The Jams, 1969
00:24:05 John Lennon, John Sinclair, 1971
00:24:57 John Lennon, David Frost Show, 1971
00:25:50 The Clash, I Fought The Law, 1977
00:27:05 The Who, Won’t Get Fooled Again, 1971
00:27:53 The Rulers, Copasetic, 1966
00:29:01 Jimmy Cliff, They Harder They Come, 1972
00:30:03 The Clash, Paul’s Tune, 1979
00:31:10 The Clash, (White Man) In Hammersmith Palais, 1977
00:32:50 The Rulers, Don’t Be a Rude Boy, 1966
00:33:22 Bob Marley and the Wailers, One Love, 1977
00:33:48 The Clash, Wrong ‘Em Boyo, 1979
00:35:17 The Rulers, Wrong Emboyo, 1967
00:36:00 The Slickers, Johnny Too Bad, 1971
00:37:12 The Rulers, Be Good, 1966
00:39:07 Joe Strummer, hostility clip from The Future Is Unwritten, 2007
00:39:32 The Clash, Rudie Can’t Fail, 1979
00:39:57 Nick Cave and the Bad Seeds, Stagger Lee, 1996
00:40:15 The Clash, Guns of Brixton, 1979
00:40: 34 Mississippi John Hurt, Stack O’ Lee, 1928
00:40:43 The Clash, Guns of Brixton, 1979
00:40:53 The Clash, Death or Glory, 1979
00:41:54 Furry Lewis, Billy Lyons and Stackolee, 1927
00:44:35 The Clash, Wrong ‘Em Boyo, 1979
00:47:45 (007) Shanty Town, Desmond Dekker and the Aces, c1972
00:48:46 Bob Marley and the Wailers, Buffalo Soldier, 1983
00:49:06 The Rulers, Wrong Emboyo, 1967
00:51:07 The Clash, Wrong ‘Em Boyo, 1979
00:52:04 Bob Marley, Jammin’, 1977
00:52:19 Scotty, Draw Your Breaks, 1971
00:53:02 The Clash, Wrong ‘Em Boyo, instrumental, 1979
00:55:56 Joe Strummer, on punk, The Future Is Unwritten, 2007
00:56:17 Joe Strummer, on drugs, The Future Is Unwritten, 2007
00:56:23 Joe Strummer, on pitfalls, The Future Is Unwritten, 2007
00:56:54 The Clash, Police and Thieves, 1977
00:57:47 Joe Strummer, on people, The Clash On Broadway Interview, 1981
00:59.16 Bob Marley, Punky Reggae Party, 1977
01:00:31 The Clash, Wrong ‘Em Boyo, live, Capital Theater, Passaic, NJ, 1980
01:00:38 The Clash, Wrong ‘Em Boyo, 1979
Tracking recorded at BRIC podcast studio, Brooklyn, August 17, 2019
See acast.com/privacy for privacy and opt-out information.
In this episode, Jimmy Raskin puts the cliché under the microscope through a process he calls Slapstick Enlightenment. Always obsessed with profound moments of failure, Jimmy discusses his love of two quotes by seminal figures of his work for the past several decades, Arthur Rimbaud: “If brass wakes as a bugle, it’s not its fault,” and Frederick Nietzsche, the subtitle to Thus Spoke Zarathustra, “A Book for All and None.” Putting these up against a profound moment of failure of his own in a mispronunciation of "polyphony," and finally against a recently found inspirational quote by an unlikely source, “All that is is there, all that is is here, all that is is,” he goes deep into his love of clichés and how the artist can resuscitate them.
Find Jimmy’s work at: Miguel Abreu Gallery: http://miguelabreugallery.com/artists/raskin; http://jimmyraskin.com/; http://thelasteccentric.com/
Supplemental tracks:
Jimmy Raskin, The Last Eccentric; George Jones, Wrong is What I Do Best; Jerry Lewis, The Nutty Professor; X-Files Theme Song; The Bob Dylan Foundation, feature on Joe Andoe; Blinded By The Light, Manfred Mann and more excerpts from Jimmy Raskin’s audio works.
Record date: January 27, 2019, BRIC Arts Media
Air date: April 01, 2019
See acast.com/privacy for privacy and opt-out information.
From 1977-2018 Adrienne Whiteley worked at the Rosamond Gifford Zoo in Syracuse, NY. As a voice major in college, she found part-time work as a seasonal employee at the zoo. She didn't know then that she had fallen into her career path. Over the next 41 years she worked her way up to the position of Senior Zoo Keeper, Collection Manager and Registrar, overseeing most aspects of the Zoo’s operation, and, most importantly, animal care and well-being. Since 2007 she has been teaching a highly popular course at Syracuse University on zoo animal management. In June 2018 we sat down to talk about elephants that paint, why penguins are vicious little monsters, unpredictable lions, the heart problems of gorillas and Bambi. “There’s a saying in the zoo community that there are more tigers in Texas than there are in the wild. Nobody needs a tiger.” Learn more about this wisdom and of Adrienne’s perspective on the zoo experience and the state of zoos and animal welfare in the American context. This interview is a bonus edition to my first episode of Premise: A Bold Move With The Cowardly Lion. In this isolated interview I cut the bits about the lion in the elementary school and focus on Adrienne’s experience and insights. To listen to her parts in Premise, find episode S02 E01 Premise: A Bold Move With The Cowardly Lion in my past shows.
*Photo of M'Wasi and Kierha (©Rosamund Gifford Zoo), the last two lions at the Rosamund Gifford Zoo. Kierha died in Dec. 2017 and M'Wasi in August 2018, shortly after this interview. Adrienne was fortunate to work with them.
See acast.com/privacy for privacy and opt-out information.
In this multi-part series, I explore Peter Gabriel as a storyteller from the early Genesis years, 1967-1975. As introductions to the songs and as entertaining banter while the band tuned their complex Prog Rock instruments, Peter Gabriel told stories to the audience about the upcoming song. I compile these stories, grouped according to their corresponding songs and chart their growth. Along with the elaborate costumes Peter created during this period, he also concocted whacky stories: The Green Trouser Suit, Thomas S. Eiselberg and his onions, Henry and Cynthia on the croquet pitch, five rivers with one dirty mouth, Romeo and Juliet go to the cinema, Michael and his worms, Rael, the Slippermen and more. This series is for the true early Genesis fan and for those who don’t know the full scope of what Peter Gabriel added to the band during the years he was with them. Part 3 covers the stories from the Selling England By The Pound group - Britannia eating Buddha biscuits, the cosmic lawmower, the dirty mouth of the fifth river, Romeo and Juiliet at the cinema - and The Lamb Lies Down On Broadway - Rael's adventures in NYC, a crashing cinematic wall, a prickly porcupine, a chamber with 32 doors, Lilly White Lilith, humpy, bumpy Slippermen and Rael's brother John.
See acast.com/privacy for privacy and opt-out information.
In this multi-part series, I explore Peter Gabriel as a storyteller from the early Genesis years, 1967-1975. As introductions to the songs and as entertaining banter while the band tuned their complex Prog Rock instruments, Peter Gabriel told stories to the audience about the upcoming song. I compile these stories, grouped according to their corresponding songs and chart their growth. Along with the elaborate costumes Peter created during this period, he also concocted whacky stories: The Green Trouser Suit, Thomas S. Eiselberg and his onions, Henry and Cynthia on the croquet pitch, five rivers with one dirty mouth, Romeo and Juliet go to the cinema, Michael and his worms, Rael, the Slippermen and more. This series is for the true early Genesis fan and for those who don’t know the full scope of what Peter Gabriel added to the band during the years he was with them. Part 2 covers the rest of the stories from the Nursery Cryme group - horrifying hogweeds and the first hermaphrodite - and then Foxtrot - a martian or Coca-Cola, two women being evicted and expected to shrink to 4 feet for their next apartment, King Canute commading the waves (or not) and Michael and the worms announcing Supper's Ready.
See acast.com/privacy for privacy and opt-out information.
In this multi-part series, I explore Peter Gabriel as a storyteller from the early Genesis years, 1967-1975. As introductions to the songs and as entertaining banter while the band tuned their complex Prog Rock instruments, Peter Gabriel told stories to the audience about the upcoming song. I compile these stories, grouped according to their corresponding songs, and chart their growth. Along with the elaborate costumes Peter created during this period, he also concocted whacky stories: The Green Trouser Suit, Thomas S. Eiselberg and his onions, Henry and Cynthia on the croquet pitch, five rivers with one dirty mouth, Romeo and Juliet go to the cinema, Michael and his worms, Rael, the Slippermen and more. This series is for the true early Genesis fan and for those who don’t know the full scope of what Peter Gabriel added to the band during the years he was with them. Part 1 covers The Green Trouser Suit, early Genesis singles, Trespass and The Musical Box from Nursery Cryme.
See acast.com/privacy for privacy and opt-out information.
This is a show about mumbling and other vocalizations. It’s a collection of jazz songs where instrumentalists engage in a verbal exchange with their instruments. Some mumble or hum along with the melody, some transcribe poems to melodies and leave out the words, some start with found recordings and mimic the melody of the spoken word. Some start with the melody and add words to mimic it. And others speak directly into the mouthpiece as a substitute for a microphone. While you’re listening, feel free to talk to yourself, mumble or harmonize along. Songs included by Oscar Peterson, Errol Garner, Keith Jarrett, Lionel Hampton, Charles Mingus, Branford Marsalis, John Coltrane, Jason Moran, David Dockery, Felipe Continentino, Pharoah Sanders, Rahsaan Roland Kirk, Anthony Braxton, and I finish with some of my own Poems To Be Read Through A Saxophone.
See acast.com/privacy for privacy and opt-out information.
GRAPHITE AND DIAMONDS: THE ALLOTROPIC DRAWINGS OF RACHEL BACON
Have you ever crumpled paper just right, or covered a sheet from edge to edge with graphite, or, otherwise, protected a clean page from damage at all costs? Rachel Bacon has, and from the sound of it, she’ll continue doing so. She’s been experimenting with materials for decades, and she’s gotten it down to a science – the science of paper and pencil, trees and graphite, wood and carbon, pulp and powder. Just like diamonds and coal both come from carbon, and folklore spins yarns of devils shitting gold or turning gold into shit, Rachel’s drawings act out allotropic roles. They’re unique works that play with our perceptions of reality and confront us with lightness and dark, weight and scale, and encourage us to take responsibility for the materials we exploit. Her drawings operate on subliminal and individual levels and position us as guests on a planet that allows us to inhabit it for now.
She was born in NYC and moved to the Netherlands after earning a BFA at Pratt Institute in 1990. She currently lives and makes art in The Hague where she teaches drawing at the Royal Academy of Art. In 2016 she earned an MA in London at the Wimbleton College of Art. She reappears in New York City often as well as travels the world taking advantage of artist-in-residency programs. Most recently she participated in the Banff Centre for the Arts, Mass MoCA and the Lower Manhattan Cultural Council’s Art Center on Governors Island (where we met in 2010). In addition to The Netherlands and the United States, she has had exhibitions in France, the United Kingdom, The Czech Republic, Turkey, Lithuania, Finland and Sweden, among others, and she has been nominated for and received several public art commissions.
I encourage you to explore her website while we’re chatting: http://www.rachelbacon.com
Record Date: 15 April 2018
Air Date: 02 December 2018
See acast.com/privacy for privacy and opt-out information.
In the pilot episode of this new series, PREMISE, David Colosi and his guests consider a New York City public elementary school staging a theatrical production of The Wizard of Oz by casting the role of the Cowardly Lion as a real lion.
Release date: 2018 August 28
David Colosi talks to Jeremy Sigler about … poetry.
Jeremy and David explore questions that arise from My Vibe: In the poet’s attempt to reach an audience, can one avoid succumbing to self-censorship, on the one hand, and fabricated outrageousness on the other while remaining true to oneself, flaws and all, and leave the campsite unmarred for the next campers? Are the dual desires to be read and to remain invisible at odds? Today, how does persona construction differ between a self-revealing literary book and a social media identity? What’s the impact of a poetry book footprint any more?
InMy Vibe, through the device of hyper-personal prose poems, Sigler explores the loneliness of the poet. With reference to Cheech and Chong, Marcel Duchamp, Rainer Werner Fassbinder, Peter Saul, Franz Kafka and others, in this conversation and in My Vibe Siglertakes us on a slapstick Broken Flowers-esque journey of the poet (and maybe Poetry itself) in mid-life crisis, reminiscing, revisiting and rewriting personal scenes of failed rock-n-roll, sports and sexual attempts, savoring the joys of married life and parenthood while comically entertaining the desire to remain a sole and smooth operator.
His pants stick to the wall, slices of American cheese are dyed black and scaled to wrestling mats and the swimming pool becomes the site of a confrontation with Heath Ledger. Like Freddie Mercury who is the only musician Jeremy knows who carried along with the mic half of the stand “like a Shakespearean dagger,” Sigler is the only poet Colosi knows of who utilizes an intern for dictation.
Jeremy Sigler is a poet based in Brooklyn, NY where he has lived since 1991. His new collection of writings, My Vibe, is published by Spoonbill Books. He has written numerous collections of poetry, including ToAnd To and Mallet Eyes published by Left Hand Books; Crackpot Poetpublished by Black Square Editions; and ABCDEFGHIJKLMNOPQRSTUVWXYZpublished by Kingsboro Press/For the Common Good.
Release date: 2017 June 21
See acast.com/privacy for privacy and opt-out information.
David Colosi digs through his live music collection and edits gems of wisdom musicians shared mid-performance with their audiences. “Bright moments is like making love to a moonbeam,” “No one going on a business trip would be missed if they never arrived,” and “If you got it today, don’t wear it tomorrow.”
Gil Scott Heron having enough of police violence, Bruce Springsteen advising teens about blind faith, Janis Joplin getting it while she can, Anohni hoping for matriarchal systems of governance and Tom Waits on vultures and shrimp; these and other nuggets from Arrested Development,Guru, Negativland, Rahsaan Roland Kirk, David Bowie, Sonny Rollins, Peter Gabriel, Madonna, Genesis Breyer P-Orridge, Jeff Buckley, Bob Dylan, Johnny Cash, Lou Reed, John Lennon, Concrete Blonde, John Cale, Cheap Trick, Sam Cooke, Alicia Keys, Jim Morrison, Paquito D’Rivera, John Giorno, Jimi Hendrix, Iggy Pop, Stevie RayVaughan, Neil Diamond, Leadbelly and Ian Hunter.
Release date: 2017 May 22
See acast.com/privacy for privacy and opt-out information.
David Colosi, with the accompaniment of Jake Nussbaum, compiles a DEVO tribute as a companion to his interview with Mark Mothersbaugh.
This selection covers DEVO’s roots in Akron passing through Kent State, punk rock, American New Wave, MTV, then into selected Mothersbaugh tunes for films like Life Aquatic and The Lego Movie, then to the 2011 DEVO return in Something For Everybody – with a few other oddities mixed in – and finishes with Mark’s newest project Mutant Flora, a box of six seven-inch records for growing mutated plants without a nursery or greenhouse.
To listen to Colosi's interview with Mothersbaugh about Myopia.
Record date: 2017 April 26
Release date: 2017 May 04
David Colosi talks with Mark Mothersbaugh about Myopia, Mutato Muzika, broken instruments and De-evolution. Mark Mothersbaugh: Myopia, collects for the first time a representative body of Mothersbaugh’s visual and audio artwork before and after his seminal work with DEVO. The exhibition is on view at The Grey Art Gallery at New York University from April 26 - July 15, 2017.
Mark Mothersbaugh has been part of the contemporary art conversation since the 1970s. As an art student at Kent State during the charged movement of war protests and the killing of fellow students on May 4, 1970 by the National Guard, Mothersbaugh co-founded the paradigm-shifting band DEVO.
Since that seminal period he has consistently challenged and redefined boundaries in music and visual art with a keen eye on social commentary, political awareness and self-controlled marketing. Spanning the punk and MTV eras, Mothersbaugh and DEVO mastered the concept of image construction through costumes, video and electronic music technology, and merchandising with a healthy dose of humor. Mothersbaugh parlayed his avant-garde musical background into a leading role in scoring for filmed and animated entertainment, interactive media and commercials.
His credits and awards as a composer include work with Paul Reubens and Wes Anderson and productions like Pee Wee’s Playhouse, 21 Jump Street, Cloudy with a Chance ofMeatballs, Rushmore, The Royal Tenenbaums, The Life Aquatic, the Rugratsfranchise and Yo Gabba Gabba where he can be seen as the Art teacher.
Committing himself to art making over celebrity, Mark has consistently maintained a visual practice through drawing, collage, postcards, notebooks, photography, constructed static and interactive musical and media objects and environments. For the first time, this exhibition situates his visual art practice from DADA to Jeff Koons and with comparable rustbelt connections between Mark’s Ohio roots to Warhol’s Pittsburgh with parallel lines drawn to Robert Williams and Raymond Pettibon and others in the Los Angeles scene where Mark and Mutato Muzika are based.
Mark Mothersbaugh: Myopia was organized by the Museum of Contemporary Art Denver and travelled to Minneapolis Institute of Arts; Contemporary Art Center, Cincinnati Art Museum; The Austin Contemporary; Museum of Contemporary Art Cleveland/Akron Art Museum and will be on view at The Grey Art Gallery at New York University from April 26 - July 15, 2017. You can see more of Mothersbaugh's artwork on his website.
Record date: 2017 April 26
Release date: 2017 May 04
See acast.com/privacy for privacy and opt-out information.
Host David Colosi talks to artist Hidemi Takagi about her photo and video projects. Growing up in Japan, she adored American films from the 1950s and ‘60s. The George Lucas classic American Graffiti made a significant impression. Her projects reflect this influence as she recreates that characteristic vibrancy and hyper-saturation of color as a nostalgic throwback to what was then her future dream of America. As a resident of New York City since 1997, living in various neighborhoods in Manhattan and Brooklyn, she finds the established cultures within her new homes – the Dominican population in Washington Heights, barbershop culture in Bed-Stuy, a senior home in Crown Heights – and photographs the color, joy and life of the people who came from diverse communities around the world to become Americans in this city. Visit her website here. Hidemi Takagi was born in Kyoto and currently lives in Brooklyn. She has exhibited internationally (London, Madrid, Tel Aviv, Berlin, Paris) and nationally, most recently in New York at The Bronx Museum of the Arts, the Queens Museum, BRIC Media Art Center, White Columns, Momenta Art, The Nathan Cummings Foundation and NYFA Gallery. Takagi has participated in the Artist in the Marketplace program at The Bronx Museum, the Immigrant Artist Program at NYFA, Lower Manhattan Cultural Council’s Swing Space program, Engaging Artist Residency by More Art and BRIC New Media Arts Fellowship. Her Blender project was selected for Times Square Public Arts 2011, and Hello It's Me was awarded Seed Grant funds from More Art.
Release date: 2017 March 30
See acast.com/privacy for privacy and opt-out information.
Did you ever think you’d grow up to talk to a robot that looked like you? David Colosi discusses with artist Stephanie Dinkins her conversations with AI entity Bina48 (created by Martine Rothblatt’s Terasem Movement, Inc.). Is building a robot into a human-like sculptural bust a gimmick to seduce humans to engage with it, or do anthropomorphic features allow for essential discussions about dignity and care? With what respect do we need to treat objects, and how does this change when computers have a face, a race and a gender? When we want to become friends with robots, do they want to become friends with us? With the integration of Artificial and Human intelligence approaching, Dinkins explores the language we build into our machine learning systems: when programmers assign words like “master” to the relationship of AI to humans and later Bina48 implores Dinkins to protect her robot rights, on what ground do we stand? Who do we trust at the controls? When machines are programmed to learn at exponentially increasing speed, and we humans have difficulty learning from our mistakes, an inferiority complex seems imminent. Are we poised to approach it with humility or reproach it with brutality? The issue is not robot revenge, as our sci-fi plots like to exploit, but, as Colosi and Dinkins explore, rather an examination of dignity as we position ourselves in relation to other humans and, ultimately, objects. Stephanie Dinkins is an artist and professor at Stony Brook University interested in creating platforms for ongoing dialog about artificial intelligence as it intersects race, gender, aging and our future histories. She is particularly driven to work with communities of color to develop deep-rooted AI literacy and co-create more culturally inclusive equitable artificial intelligence. http://www.stephaniedinkins.com
Release date: 2017 February 13
See acast.com/privacy for privacy and opt-out information.
David Colosi pays personal tribute to Lou Reed on the third anniversary of the poet-singer-songwriter supreme’s passing. Host Colosi on this special episode: “Whenever I’ve been invited as a visiting poet, students always ask me what poets I like. My first answer is always Lou Reed. They don’t get it. Neil Gaiman said it best when he spoke about his fans who respond to his characters by dressing or making-up like them. He said he’s touched to see that he contributed to furnishing someone’s internal landscape. Now I never took heroin, but all of Lou Reed entered my veins from the earliest Velvets through his collaborations with Metallica and John Zorn and Laurie Anderson, and those rivers have done some carving in my landscape – not in the way I look, but in the way I write, make art and navigate. Lou considered himself a literate rocker, and one of his goals was to pursue the good line. And he wrote many of them. His literary influences are well know, Delmore Schwartz, Hubert Selby, William Burroughs and Edgar Allan Poe. He never tried to rewrite them, except for Poe, but even then, he made it his own. And this is where I come in. Lou went from literature to rock, and I’m going from rock back to literature. If he demonstrated his path of influence from Poe, then I could show mine from him. I didn’t know Lou Reed, and he sure as hell didn’t know me, but I met him a few times, and we exchanged a few words. These are some of the songs that inspired me to write, make and be. They’re blended in my head like a Mayonnaise Soda (that’s what life’s like without Lou). This is Disco Mystic; this is Waves of Fear.”
Release date: 2016 October 27
See acast.com/privacy for privacy and opt-out information.
In celebration of the 80th birthday of the late jazz saxophonist Albert Ayler (July 13, 1936 – November 25, 1970), host David Colosi has compiled a two hour mix dedicated to the musician's life. Twenty tracks spanning multiple Ayler releases make up this tribute program. You will hear: Intro: Spirits (Spiritual Unity) Part 1: Interview with Daniel Caux for France Culture, July 27, 1970, Saint-Paul- de-Vence, France (Holy Ghost box set) Leap Frog with US 76th Adjutant General’s Army band (Holy Ghost box set) Summertime (with Herbert Katz) (Holy Ghost 1 box set) Part 2: Interview, France Culture (Holy Ghost box set) Old Man River, Take 2; Nobody Knows The Trouble I’ve Seen (Swing Low Sweet Spiritual) Good Bait (First Recordings Vol. 2) Going Home (Swing Low Sweet Spiritual) Part 3: Interview, France Culture (Holy Ghost box set) Ghosts: Second Variation (Spiritual Unity) Prophecy (Bells/Prophecy) Part 4: Interview, France Culture (Holy Ghost box set) Omega Is The Alpha (Live In Greenwich Village) Holy Family (Spirits Rejoice) Masonic Inborn, Part 1 (Music Is The Healing Force Of The Universe) Part 5: Interview, France Culture (Holy Ghost box set) Love Cry (Love Cry) Truth Is Marching In (Nuits De La Fondation Maeght) Part 6: Interview, France Culture (Holy Ghost box set) Love Cry – Truth is Marching In – Our Prayer (John Coltrane’s funeral) (HOLY GHOST 6) (Blues) (HOLY GHOST 6) Part 7: Interview, France Culture (Holy Ghost box set) New Generation; Everybody’s Moving (New Grass) Swing Low Sweet Chariot; Deep River; Old Man River, Take 1 (Swing Low Sweet Spiritual)
Release date: 2016 July 13
See acast.com/privacy for privacy and opt-out information.
David Colosi in conversation with artist Charley Friedman on Friedman's sculpture and photography, his relationship with humor, and his influences -- ranging from Lenny Bruce to Brian Eno. The glue that binds Charley Friedman’s work is humor. The crux of his work is to explore the absurd, tragic, and contradictory nature of living. Themes in his work reflect his preoccupations with how individuals, nations, and cultures form and transmit ideas and values. Friedman has exhibited and performed at numerous galleries and institutions including MoMA/PS1, Omi International Art Center, Queens Museum, Gallery Diet, The Fabric Workshop, Volta NYC, Joslyn Museum, Jack Tilton Gallery, and Neues Kunstforum. He lives between Lincoln, Nebraska and Brooklyn with his wife, the artist, Nancy Friedemann. Together, they are co-directors of the exhibition space Fiendish Plots, located in Lincoln.
Release date: 2016 July 19
Host David Colosi sits down with Amy Scholder to discuss her three decade history in the field of publishing, her iconic series High Risk, as well as her most recent project, Icon, an anthology of essays on public figures written by some of the industry's most provocative writers, edited by Scholder and released by The Feminist Press. Amy Scholder has been editing and publishing progressive and literary books for over twenty-five years. She has published the work of Sapphire, Karen Finley, June Jordan, Kate Bornstein, Kathy Acker, David Wojnarowicz, Dorothy Allison, Mary Gaitskill, Joni Mitchell, Justin Vivian Bond, and Paul B. Preciado, and many other award-winning authors. She serves on the Board of Trustees for Lambda Literary, and divides her time between New York and Los Angeles.
Release date: 2016 May 31
David Colosi in conversation with Peter Shelton, discussing Shelton's sculpture practice. Shelton is an artist who has been populating the world with sculpture since the 1970s, with environmental scaled works, biomorphic forms, and anatomic parallaxes take the sculptural premise of occupying space to its perfect end. Manipulating scale, size, and space; architecture, anatomy, and engineering; inflation, verisimilitude, and poetry, his work engages the minds of our human bodies in a dialog between inside and outside, subject and object, and close encounters with the thingness of Art. A childhood passion for anatomy led him to a BA at Pomona College in California studying at first pre-med, then anthropology and theater, which became the foundations for his sculptural interests when he transitioned to earning trade certifications at Hobart School of Welding in Troy Ohio and an MFA at UCLA. Shelton has been the recipient of a Guggenheim Fellowship, multiple NEA grants and a Louis Comfort Tiffany Foundation Grant; he has shown nationally and internationally, primarily with L.A. Louver and Gallery Sperone (currently Sperone Westwater); his work is part of the collections of most Modern and Contemporary art museums in the United States and Europe among which include the Panza and Eli Broad Collection, the J. Paul Getty Museum, the LA County Museum, MoMA in New York and San Francisco, MoCA in Los Angeles, the Smithsonian American Art Museum and the Walker Art Center; and he currently has four public commissions in the cites of Seattle, Indianapolis and Los Angeles, the last of which has been his home and base of operations since the mid-1970s.
Release date: 2016 March 11
See acast.com/privacy for privacy and opt-out information.
David Colosi brings his extraordinary collection of David Bowie tracks to the Clocktower studios and, with the moral and technical encouragement of Jake Nussbaum, spins nearly three hours of rare and surprisingly odd, even for Bowie, recordings. In this program you will hear: Volare (Absolute Beginners) And I Say To Myself (I Dig Everything) Please Mr. Gravedigger (David Bowie) Liza Jane (Gigantes De Pop) Man In The Middle (Rare Singles Vol. 2) Ragazzo Solo, Ragazza Sola (Alternative Biography) Heros – French (Changes Three Bowie) Laughing Gnome (Gigantes De Pop) Waiting For The Man (Unsurpassed Studio) Little Toy Soldier (Unsurpassed Studio) Don’t Let Me Down And Down (Indonesian Vocal Version) (Black Tie White Noise bonus) Little Wonder (Earthling) Segue: Ramona A. Stone, I Am With Name (Outside) Drive In Saturday (live) (Aladdin Sane, bonus) Here Comes The Night (Pin Ups) V2 Schneider (Heroes) Moonage Daydream (alternate take) (Man Who Sold The World bonus) John I’m Only Dancing Again (Changes Two Bowie and Young Americans bonus) Who Can I Be Now (Young Americans bonus) It’s Gonna Be Me (Young Americans bonus) God Only Knows (Tonight) A Lad In Vein/Zion (45rpm Japanese import single) Subterraneans (Low) If There Is Something (Tin Machine II) Pablo Picasso (Reality) All Saints (Low bonus) Move On (Lodger) (backwards) All The Young Dudes (Changes Three Bowie) I know It’s Going To Happen Some Day (Black Tie White Noise bonus DVD) Rock ‘N’ Roll Suicide (Ziggy Stardust) Red Money (Lodger) Sister Midnight (Reality Live) Under Pressure (a cappella, 1981) (Youtube) Rock ‘N’ Roll With Me (Diamond Dogs) Strangers When We Meet (Buddha of Suburbia and Outside) Here Today Gone Tomorrow (David Live reissue) Lazarus (Black Star) Janine (BBC Radio Session D.L.T. Show) (Space Oddity bonus)
Record date: 2016 January 15, Live broadcast
See acast.com/privacy for privacy and opt-out information.
David Colosi brings his extraordinary collection of David Bowie tracks to the Clocktower studios and, with the moral and technical encouragement of Jake Nussbaum, spins nearly three hours of rare and surprisingly odd, even for Bowie, recordings. In this program you will hear: Volare (Absolute Beginners) And I Say To Myself (I Dig Everything) Please Mr. Gravedigger (David Bowie) Liza Jane (Gigantes De Pop) Man In The Middle (Rare Singles Vol. 2) Ragazzo Solo, Ragazza Sola (Alternative Biography) Heros – French (Changes Three Bowie) Laughing Gnome (Gigantes De Pop) Waiting For The Man (Unsurpassed Studio) Little Toy Soldier (Unsurpassed Studio) Don’t Let Me Down And Down (Indonesian Vocal Version) (Black Tie White Noise bonus) Little Wonder (Earthling) Segue: Ramona A. Stone, I Am With Name (Outside) Drive In Saturday (live) (Aladdin Sane, bonus) Here Comes The Night (Pin Ups) V2 Schneider (Heroes) Moonage Daydream (alternate take) (Man Who Sold The World bonus) John I’m Only Dancing Again (Changes Two Bowie and Young Americans bonus) Who Can I Be Now (Young Americans bonus) It’s Gonna Be Me (Young Americans bonus) God Only Knows (Tonight) A Lad In Vein/Zion (45rpm Japanese import single) Subterraneans (Low) If There Is Something (Tin Machine II) Pablo Picasso (Reality) All Saints (Low bonus) Move On (Lodger) (backwards) All The Young Dudes (Changes Three Bowie) I know It’s Going To Happen Some Day (Black Tie White Noise bonus DVD) Rock ‘N’ Roll Suicide (Ziggy Stardust) Red Money (Lodger) Sister Midnight (Reality Live) Under Pressure (a cappella, 1981) (Youtube) Rock ‘N’ Roll With Me (Diamond Dogs) Strangers When We Meet (Buddha of Suburbia and Outside) Here Today Gone Tomorrow (David Live reissue) Lazarus (Black Star) Janine (BBC Radio Session D.L.T. Show) (Space Oddity bonus)
Record date: 2016 January 15, Live broadcast
See acast.com/privacy for privacy and opt-out information.
An electronic musician working in a variety of styles and founder and Creative Director of Network Awesome, an online TV Network, Jason Forrest also runs two record labels, Nightshifters (for club music) and Cock Rock Disco (for experimental sounds). It is obvious why host David Colosi calls Forrest a polymath. In this interview, Forrest talks in great detail about Network Awesome, describing it as longform media platform. It has a bright spectrum of content, carrying anything from documentaries to contemporary artists to Japanese cartoons to Vegan cooking shows. Forrest’s music is heavily sample based, intercut with hard drum and bass beats, classic rock and EDM influence, yet filtered through the perspective of an art student experimenting with art appropriation form. The artist remarks how this way of taking bits and pieces of culture and building works around them is fundamental in both his music and the structure of Network Awesome. Forrest’s sample-based music has been a pioneering force in the experimental music community since 1999. He has released records in the US, UK, EU, and Japan, has played on four continents, garnering him a large international audience along the way. In 2010, Forrest was asked to make the only official remix commissioned for Arcade Fire’s song No Cars Go for Merge Records 20 year anniversary remix compilation. The video War Photographer by Joel Thrussell was named video of the year by Res magazine 2006 and was included in the top 5 best music videos by Pitchfork media that year. It has been downloaded more than one million times (crazy, right?) The Steppin Off video directed by Jon Watts was also named video of the year by Res magazine, 2005.
Release date: 2015 November 16
See acast.com/privacy for privacy and opt-out information.
David Colosi in conversation with surrealist artist, Jen Ray, about her Deep Cuts solo exhibition at Albertz Benda Gallery in Chelsea, marking the homecoming of the previously Berlin-based Ray to her native United States. Ray's large-scale works are known for their surreal landscapes, where Amazonian women rule, militants move across dystopian fields, and uneasy spaces are occupied by rebels and provocateurs. Her art has been shown in museums and galleries in cities including New York, Berlin, and Paris. Deep Cuts is on view at Albertz Benda Gallery in Chelsea, October 8- November 7, 2015.
Release date: 2015 October 08