In this episode:
- James Franco performing a new original radio drama by the playwright Will Eno
- Jonathan Coulton on the strange (and infuriating) intersection of Sir Mix-a-Lot, U.S. copyright law, and Glee
- Tao Lin on speaking very slowly
- Kitty and Kool A.D. rapping Tao Lin’s fiction as quickly as possible
- the artist Nick Cave on his horsey sound installations in Grand Central Station
- Isis Aquarian on documenting her years living with two hundred other members of the Source Family cult in a mansion in L.A.
- Julian Koster of the Music Tapes on his touring sideshow, The Traveling Imaginary
- A tiny bit more!
Jonathan Coulton’s story was produced by Andrea Silenzi of the FMA. Christian Lorentzen appears in the Tao Lin piece. Nick Cave’s story was reported by Anna Altman. Isis Aquarian was interviewed by Patrick James.
Listen to a mixtape of songs chosen by Kitty to score this month’s episode.
- Sarah Silverman on the relative merits of her virtual pet owl
- Shane Carruth on the sound of his new film, Upstream Color
- Conan O’Brien on “Benny,” a dissatisfying, unhelpful Frankenstein monster
- A brief, bizarre conversation between Jack White and Conan O’Brien
- Novelist Rachel Kushner (The Flamethrowers, Telex From Cuba) in conversation with painter Laura Owens (many awesome paintings)
- JM Tyree and Ben Walters on the relative merits of the 1958 horror-cheese classic The Blob
- Charlie White and Boom Bip cut an album composed entirely of the anxieties of young people
- Nathan Salsburg on a treasure trove of hillbilly records he found in a Louisville Dumpster
- More, some more
Sarah Silverman’s owl speech was written by Alena Smith. Shane Carruth was interviewed by Ross Simonini, who also produced the Charlie White piece. Conan O’Brien’s Frankenstein riff was produced by Jack White. Nathan Salsburg’s story was produced by Matt Frassica. Thanks for listening! Please give us a rating on iTunes if you have a sec. Sad as it is, podcasts can’t get all of their nutrition from listeners alone — they need iTunes ratings to thrive.
Web extras: hear an extended edit of the Rachel Kushner / Laura Owens interview.
Episode Two exists!
- David Cross describes his aura-sniffing powers
- Andrea Silenzi proposes a copyright-free alternative to the Birthday Song
- Devendra Banhart on the language of songwriting. (Listen to DB’s exclusive mixtape he made for the Organist!)
- Sam Lipsyte’s Old-News Summary
- Thomas Rogers on the origins of the gay male voice
- Brian McMullen’s indirectory of toll-free ogres
Also available on iTunes and KCRW.com. Enjoy!
Welcome to Episode one of the Organist, wherein:
- the short-story master George Saunders talks about how riffing as a teenage benchwarmer led to the richly imagined voices of his fiction;
- Parks and Recreation‘s Nick Offerman explains the tortured etymology of the word “podcast” (it’s a conflation of the words paw and broadcast — a radio show with claws);
- critic Greil Marcus considers a reissue of the first Bikini Kill EP and a new novel by Percival Everett;
- Amber Scorah tells the story of her defection from the Jehovah’s Witnesses while working as a missionary in Shanghai;
- Pitchfork editor Brandon Stosuy presents five five-word record reviews of excellent new guitar rock;
- the electronic duo Matmos takes a song from their new album apart, piece by piece, revealing its brilliant, pulsating innards;
- a new(ish) film casts a shotgun microphone as its protagonist;
- And more!
- Actually, not much more. That’s more or less everything.
At a few junctures during Episode One, the listener is directed to this website to find “Web Extras”–e.g., the full interview with George Saunders. Find that and those here.
Erratum: Percival Everett here reads the first paragraph of his novel—not the first chapter.