The Napping Wizard Sessions
One Song: Lust for Riff
Season 3, Ep. 4
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.
Interview: Nicholas Fraser
Season 3, Ep. 3
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.
Tribute: Genesis Breyer P-Orridge
Season 3, Ep. 2
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.
Interview: Moo Kwon Han
Season 3, Ep. 1
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, andcurrently 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;NYMedia 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. andGyeongju 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).
Tribute: John Giorno
Season 2, Ep. 14
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.
Wait For It...
Season 2, Ep. 13
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.
Tribute: Iggy Reads
Season 2, Ep. 12
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)01. (clip Persepolis, Marjane Satrapi and Vincent Paronnaud, 2007)02. (clip: Leaves of Grass, Walt Whitman, recording from EP, Leaves of Grass, 2016, with Alva Noto and Tarwater)03. (clip: “Good Evening,” excerpt from fundraising promo for film, The Sandman, with Dario Argento, 2014)04. A Machine for loving, Michel Holleoubecq, recording from Préliminaires, 2009, with Hal Cragin05. From Pent Up Aching Rivers, Walt Whitman, recording from EP, Leaves of Grass, 2016, with Alva Noto and Tarwater06. The Tell-Tale Heart, Edgar Allan Poe, recording from Closed On Account Of Rabies, produced by Hal Wilner, 200707. A reading from the bible as Salvatore “Sally” Jenko, recording from Jim Jarmusch film Dead Man, 199508. Persepolis, Marjane Satrapi and Vincent Paronnaud, 200709. 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.10. We Are The People, Lou Reed (1971), recording from Free, 2019, with Leron Thomas11. (excerpt, Do Not Go Gentle Into That Good Night, recording from Free, 2019, with Noveller)12. The Dawn, recording from Free, 2019, with Noveller (aka Sarah Lipstate)13. (clip: American Valhalla, recording from Post Pop Depression, 2018, with Joshua Homme)14. (clip: Les Feuilles Mortes, Jacques Prevert and Joseph Kosma, recording from Préliminaires, 2009, with Hal Cragin)15. (clip Persepolis, Marjane Satrapi and Vincent Paronnaud, 2007)
Feature: Marie Duprat, Part 2
Season 2, Ep. 11
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 Vazen02 La Pointe du Talut03 Moulin d'Anvort04 Grotte de L'Apothicairerie05 Locmaria06 Ty Nehue07 Les Poulains08 L'Ile du Diable09 Goulphar10 Epilogue
Feature: Marie Duprat
Season 2, Ep. 10
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