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Never Not Looking: Zut Alors! I'm French Four!

1:39:12
 
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Archivált sorozatok ("Inaktív feed" status)

When? This feed was archived on September 02, 2022 14:46 (1+ y ago). Last successful fetch was on July 28, 2022 07:04 (1+ y ago)

Why? Inaktív feed status. A szervereink huzamosabb ideig nem tudtak érvényes podcast-feedet megjeleníteni.

What now? You might be able to find a more up-to-date version using the search function. This series will no longer be checked for updates. If you believe this to be in error, please check if the publisher's feed link below is valid and contact support to request the feed be restored or if you have any other concerns about this.

Manage episode 290006109 series 2366097
A tartalmat a dsco's Podcast biztosítja. Az összes podcast-tartalmat, beleértve az epizódokat, grafikákat és podcast-leírásokat, közvetlenül a dsco's Podcast vagy a podcast platform partnere tölti fel és biztosítja. Ha úgy gondolja, hogy valaki az Ön engedélye nélkül használja fel a szerzői joggal védett művét, kövesse az itt leírt folyamatot https://hu.player.fm/legal.

Kevin Wolff and I were the art and music couple. Our “lanes” started out fairly well marked, but got messier over time. Not long after we met, I began sending holiday mix CDs to friends instead of cards. Kevin being Kevin, he got involved in the project. He’d offer advice on songs or musical acts, and he provided cover art for the first few years. He soon got much more involved in the musical aspect while I ended up taking over the imagery. Although, when it came to the hand-colored CDs themselves, that was all Kevin. And I did all the mixing. We used to fight bitterly over it.

When we both lived together in Indianapolis, I made mix CDs for Kevin to play in his studio and classes, With titles such as “Mope,” “Sulk,” “More Mope,” and “Son of Sulk,” they riffed off Kevin’s fondness of ridiculously OTT morose pop epics (think “All By Myself”) and self-absorbed Brit pop (think Morrissey). Sadly I don’t have them anymore because Kevin’s students were so fond of them, they kept stealing them from him. (Hoosier art-student hooligans be that way sometimes.)

Once Kevin and I joined forces in Chicago, I began a series of custom mixes for him called “I’m French.” The title derived from Kevin’s insistence that he ethnically was a French Jew, even though he was a German Roman Catholic; whenever we’d encounter something especially Gallic, Kevin would say to me, “I’m French.” They were developed as sound-collage journeys (something I more or less developed during my ersatz college radio deejay days at KSPC), mixing music and dialogue (usually campy film snippets or silly things that resonated with us both). I would mix Kevin’s favorites with discoveries for him in an effort to expand his musical horizons. He came to adore musical collaging and repurposing (think Steinski and the Avalanches—the gesture fit perfectly into his creative thinking and artistic process), as well as high camp of a certain stripe (think “Valley of the Dolls” soundtrack or Peggy Lee’s exotica), and, perhaps most surprising of all, he loved early glam/punk (think the Runaways’ “Cherry Bomb” or The Upper Crust).

I posted the three I’m French mixes on this podcast—essentially to give myself easy access to them—and Kevin was very intent on me making the long-promised Zut Alors! I’m French Four! Because of his illness, it never came to be. I felt awful about it and made several attempts, but I just couldn’t. If for no other reason, we’d began scrapping over what ultimately ended up on the final I’m French mixes. I couldn’t go through that with him sick and otherwise unoccupied.

I think I redid the second I’m French mix 800 times before Kevin was happy with it. And given that Zut Alors! crashed at least 10 times while I was making it, I think the spirit of Kevin was with me on this one, too. I lost the whole first mix I did; but, it turns out, the second one was much, much better. But then that seems to be how this works.

As I worked with Dan Devening Projects on Kevin’s retrospective show Never Not Looking, I realized I had to come back to Zut Alors! as well. At first, I thought about making an I’m French greatest hits, but I thought, “No, I need to serve up something new for Kevin to feed on.” The elements he loved are all here: Peggy Lee exotica? Check. (“Sans Souci” was an all-time favorite of his; he felt it perfectly encapsulated his bad experience with the treacherous idiot of a dean at IUPUI’s Herron School of Art.) Pop collage? Check. (The section that runs from a repeat of the Avalanches’ “Frontier Psychiatrist”—which may have been his favorite thing on earth; hardly a day went by without one of us quipping, “He’s a nut! He’s crazy in the coconut!” or “Granny Gazoot! Let’s have a toot!”—through White Town’s “Your Woman,” and by the way Kevin was nuts about Al Bowlly). Glam/punk ’tude? Check! (Joan Jett, meet Billy Nomates). The B52s? Check. Brit pop? Check. General arty silliness? Check, check, check. (I’m sure we would have argued over Art Brut’s “Modern Art! [Makes Me Rock Out!]” He might have hated it, but it’s perfect and I’m leaving it in, dammit!) And so many of his favorites are here from Homer Simpson (he quoted “Art hates me” almost daily) to Who’s Afraid of Virginia Woolf to A Delicate Balance to the Venable family.

There’s an art opening tradition—strong in Chicago—of having a deejay play at hipper art openings. So here’s a set for an opening that because of the pandemic didn’t really happen. Fortunately, Never Not Looking is turning into quite the happening. So, doff a beret, fire up a Gauloises, look at the art online at http://deveningprojects.com/ and enjoy this Zut suite.

The Patience of a Saint—Electronic ﷺ Total Eclipse (Man Parrish Mix)—Klaus Nomi ﷺ Sans Souci—Peggy Lee ﷺ Smooth Operator—Señor Coconut ﷺ Boys and Girls—Prince ﷺ Boys and Girls—Blur ﷺ DTNA—Smokey ﷺ Pablo Picasso—The Modern Lovers ﷺ Modern Art—Art Brut ﷺ Frontier Psychiatrist—The Avalanches ﷺ My Way of Life—The Brass Ring/Frank Sinatra ﷺ My Woman—Al Bowlly ﷺ Your Woman—White Town ﷺ Call in Sick—Billy Nomates ﷺ Housework—B52s ﷺ Colour Problem—Bad Dreams Fancy Dress ﷺ Manuelo—Carmen Miranda ﷺ Tu Vuò Fà L’Americano—Sophia Loren ﷺ Pipppero—Elio E Le Storie Tese ﷺ We’re Cultural, Not Sexual—Jayne Mansfield and Mickey Hargitay ﷺ Yummy, Yummy, Yummy—Julie London ﷺ Joan Crawford—Blue Öyster Cult ﷺ Norman Fucking Rockwell—Lana Del Rey

  continue reading

22 epizódok

Artwork
iconMegosztás
 

Archivált sorozatok ("Inaktív feed" status)

When? This feed was archived on September 02, 2022 14:46 (1+ y ago). Last successful fetch was on July 28, 2022 07:04 (1+ y ago)

Why? Inaktív feed status. A szervereink huzamosabb ideig nem tudtak érvényes podcast-feedet megjeleníteni.

What now? You might be able to find a more up-to-date version using the search function. This series will no longer be checked for updates. If you believe this to be in error, please check if the publisher's feed link below is valid and contact support to request the feed be restored or if you have any other concerns about this.

Manage episode 290006109 series 2366097
A tartalmat a dsco's Podcast biztosítja. Az összes podcast-tartalmat, beleértve az epizódokat, grafikákat és podcast-leírásokat, közvetlenül a dsco's Podcast vagy a podcast platform partnere tölti fel és biztosítja. Ha úgy gondolja, hogy valaki az Ön engedélye nélkül használja fel a szerzői joggal védett művét, kövesse az itt leírt folyamatot https://hu.player.fm/legal.

Kevin Wolff and I were the art and music couple. Our “lanes” started out fairly well marked, but got messier over time. Not long after we met, I began sending holiday mix CDs to friends instead of cards. Kevin being Kevin, he got involved in the project. He’d offer advice on songs or musical acts, and he provided cover art for the first few years. He soon got much more involved in the musical aspect while I ended up taking over the imagery. Although, when it came to the hand-colored CDs themselves, that was all Kevin. And I did all the mixing. We used to fight bitterly over it.

When we both lived together in Indianapolis, I made mix CDs for Kevin to play in his studio and classes, With titles such as “Mope,” “Sulk,” “More Mope,” and “Son of Sulk,” they riffed off Kevin’s fondness of ridiculously OTT morose pop epics (think “All By Myself”) and self-absorbed Brit pop (think Morrissey). Sadly I don’t have them anymore because Kevin’s students were so fond of them, they kept stealing them from him. (Hoosier art-student hooligans be that way sometimes.)

Once Kevin and I joined forces in Chicago, I began a series of custom mixes for him called “I’m French.” The title derived from Kevin’s insistence that he ethnically was a French Jew, even though he was a German Roman Catholic; whenever we’d encounter something especially Gallic, Kevin would say to me, “I’m French.” They were developed as sound-collage journeys (something I more or less developed during my ersatz college radio deejay days at KSPC), mixing music and dialogue (usually campy film snippets or silly things that resonated with us both). I would mix Kevin’s favorites with discoveries for him in an effort to expand his musical horizons. He came to adore musical collaging and repurposing (think Steinski and the Avalanches—the gesture fit perfectly into his creative thinking and artistic process), as well as high camp of a certain stripe (think “Valley of the Dolls” soundtrack or Peggy Lee’s exotica), and, perhaps most surprising of all, he loved early glam/punk (think the Runaways’ “Cherry Bomb” or The Upper Crust).

I posted the three I’m French mixes on this podcast—essentially to give myself easy access to them—and Kevin was very intent on me making the long-promised Zut Alors! I’m French Four! Because of his illness, it never came to be. I felt awful about it and made several attempts, but I just couldn’t. If for no other reason, we’d began scrapping over what ultimately ended up on the final I’m French mixes. I couldn’t go through that with him sick and otherwise unoccupied.

I think I redid the second I’m French mix 800 times before Kevin was happy with it. And given that Zut Alors! crashed at least 10 times while I was making it, I think the spirit of Kevin was with me on this one, too. I lost the whole first mix I did; but, it turns out, the second one was much, much better. But then that seems to be how this works.

As I worked with Dan Devening Projects on Kevin’s retrospective show Never Not Looking, I realized I had to come back to Zut Alors! as well. At first, I thought about making an I’m French greatest hits, but I thought, “No, I need to serve up something new for Kevin to feed on.” The elements he loved are all here: Peggy Lee exotica? Check. (“Sans Souci” was an all-time favorite of his; he felt it perfectly encapsulated his bad experience with the treacherous idiot of a dean at IUPUI’s Herron School of Art.) Pop collage? Check. (The section that runs from a repeat of the Avalanches’ “Frontier Psychiatrist”—which may have been his favorite thing on earth; hardly a day went by without one of us quipping, “He’s a nut! He’s crazy in the coconut!” or “Granny Gazoot! Let’s have a toot!”—through White Town’s “Your Woman,” and by the way Kevin was nuts about Al Bowlly). Glam/punk ’tude? Check! (Joan Jett, meet Billy Nomates). The B52s? Check. Brit pop? Check. General arty silliness? Check, check, check. (I’m sure we would have argued over Art Brut’s “Modern Art! [Makes Me Rock Out!]” He might have hated it, but it’s perfect and I’m leaving it in, dammit!) And so many of his favorites are here from Homer Simpson (he quoted “Art hates me” almost daily) to Who’s Afraid of Virginia Woolf to A Delicate Balance to the Venable family.

There’s an art opening tradition—strong in Chicago—of having a deejay play at hipper art openings. So here’s a set for an opening that because of the pandemic didn’t really happen. Fortunately, Never Not Looking is turning into quite the happening. So, doff a beret, fire up a Gauloises, look at the art online at http://deveningprojects.com/ and enjoy this Zut suite.

The Patience of a Saint—Electronic ﷺ Total Eclipse (Man Parrish Mix)—Klaus Nomi ﷺ Sans Souci—Peggy Lee ﷺ Smooth Operator—Señor Coconut ﷺ Boys and Girls—Prince ﷺ Boys and Girls—Blur ﷺ DTNA—Smokey ﷺ Pablo Picasso—The Modern Lovers ﷺ Modern Art—Art Brut ﷺ Frontier Psychiatrist—The Avalanches ﷺ My Way of Life—The Brass Ring/Frank Sinatra ﷺ My Woman—Al Bowlly ﷺ Your Woman—White Town ﷺ Call in Sick—Billy Nomates ﷺ Housework—B52s ﷺ Colour Problem—Bad Dreams Fancy Dress ﷺ Manuelo—Carmen Miranda ﷺ Tu Vuò Fà L’Americano—Sophia Loren ﷺ Pipppero—Elio E Le Storie Tese ﷺ We’re Cultural, Not Sexual—Jayne Mansfield and Mickey Hargitay ﷺ Yummy, Yummy, Yummy—Julie London ﷺ Joan Crawford—Blue Öyster Cult ﷺ Norman Fucking Rockwell—Lana Del Rey

  continue reading

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