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Ep. #151: Hari Kondabolu

Hari Kondabolu is a very funny and incisive stand-up comedian who hails from Queens, New York. He has written for shows like Totally Biased with W. Kamau Bell and appeared on the Late Show with David Letterman, Conan, and John Oliver’s New York Stand-Up Show among others. Earlier this year, Kill Rock Stars released his highly acclaimed and hilarious stand-up album, Waiting for 2042, which is out on vinyl December 2. On Friday December 5, he headlines a show at the Biltmore Cabaret in Vancouver and here, Hari and I discuss Queens New York not Seattle Washington, how Canada’s not so great, cowardly Americans, indigenous eradication and white demonry, fighting not fleeing, agreeable Canadians, how Stephen Harper might be slicker than George W. Bush, the downfall and terrible truth of Jian Ghomeshi, being on Q, knowing Jian and how he used to always call me ‘buddy,’ Jian’s aggressive egotism, comedy and show biz power dynamics, Hari’s mom doesn’t think he listens anymore, people who think I should have a shot at hosting Q, people who think brown people can replace other brown people, Hari’s #vishonQ campaign, accusations of race obsession in observational comedy, Aziz Ansari’s take on mining one’s cultural heritage in their work versus someone like Russell Peters who does accents in his act, how Peters has galvanized South Asian communities, whitewashed accents and losing our parents’ voices, the situation in Ferguson and what it says about our social progress, white demonry, the remorseless Darren Wilson, people who actually listen, the Terry Gross interview might’ve been a little too great, #vishonQ, Back to the Future and the way forward to politely colonizing Mars, CIA seed money, Weezer’s decline and my lapsed membership (#1234) in their fan club, the Pixies have also been a let-down, more empathy for artistic evolution, really obsessing over Weezer’s trajectory, how and why we measure artists’ creative output, Radiohead, Fugazi, Shellac, the Beatles and others who have created an interesting, nearly flawless body of work, Weezer’s time and place post-Kurt Cobain/at the dawn of widespread internet use in the mid-90s, Pinkerton is messed up, “El Scorcho” and “Across the Sea” are both racist, taking online flak, how Hari’s completion of a B.A. in Comparative Politics and a Masters in Human Rights from the London School of Economics somehow led him to comedy, Paul Mooney, following his passion, you have to laugh when you want to cry, addressing the diaspora and telling his parents’ stories, my dad came here with nothing and now I’m an asshole, coming to Canada more, Sled Island, Northwest Canada and Vancouver, Todd Barry’s Crowd Work movie is great, #toddbarryonQ, Waiting for 2042 is on vinyl via Kill Rock Stars, and pandering to white people, not appreciating our parents’ cooking until white people tell us it’s good, “What’s that smell?,” thanks mom and dad, google.com, the comedy bit “Moving to Canada,” and also #vishonQ.

Related links: harikondabolu.com killrockstars.com vishkhanna.com

Hari-Kondabolu-2011

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News Podcast

Ep. #137: Xylouris White

Xylouris White is an extraordinary music pairing featuring George Xylouris, a renowned lute player in the Cretan folk tradition, and Jim White, a tremendous drummer known for his work in the Dirty Three and with Will Oldham, PJ Harvey, Nick Cave, and more. The duo have just released a stirring new album called Goats that bridges gaps between Greek music and post-punk, while also touching upon other cultures and genres for something altogether unique. Goats was produced by Fugazi’s Guy Picciotto, it’s out now via Other Music Recording Co., and has prompted Xylouris White to tour across North America and Europe throughout October and November. Here, both men and I discuss how they met each other 25 years ago in Australia, how George lived in Melbourne for a while and saw Jim’s punk band with Mick Turner and also the Dirty Three, how Jim would see George and his dad play too, how George would some times play with the Dirty Three, how Xylouris White started two years ago, why Jim took a while to get to Crete but then went straight to the studio and ate goat for lunch, how the songs they worked on are constantly changing, sitting versus dancing songs in Cretan folk, how traditionalism works within innovation, feelings and space, when George began working with his father, renowned lyra player Antonis Xylouris, a.k.a. Psarandonis, at 12 years old, touring Europe as a kid, the piece “Psarandonis Syrto,” why Cretan folk traditions often include re-making older songs in some way, nothing is original, the melodies are not stuck on the words, pieces like “Fandomas” are ever-changing, 15 syllables, longing and love songs, keeping traditions vital, chickens, Jim’s musical origin story, the Saints, growing up in a Greek area of Melbourne, the Laughing Clowns and Jeffrey Wegener, being part of a community, working with Guy Picciotto and how he inspired deeper feeling within Xylouris White, when Jim, George, and Guy work on live scores for Jem Cohen films, making another record while on their extensive tour this fall, the songs “Pulling the Bricks” and “Suburb,” tremolo or caterpillar strumming, and then we’re like the wind.

Related links: xylouriswhite.com othermusicrecordingco.com vishkhanna.com

Xylouris_White_M.Mathioudakis

 

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Ep. #111: Hamilton Leithauser

Hamilton Leithauser is a very talented singer and songwriter who is best known for fronting the acclaimed New York City band, the Walkmen. Last year, the Walkmen announced they’d be taking an extended hiatus after releasing a string of wonderful albums. Before long, members of the band began releasing solo material, including Leithauser. His new album is the startling and wondrous Black Hours, a timeless star-studded pop affair that was released on June 3 via Ribbon Music, and has prompted him to tour including a stop at Hamilton, Ontario’s Supercrawl this September. Here, Hamilton and I discuss NPR’s Tiny Desk concert series, that time I saw the Walkmen play one of their last shows together in Halifax this past October, knocking a tooth out on a microphone, when work on Black Hours first began, why he made a record under his own name, who helped make this album a star-studded affair, the relationship between the conception of this solo record and the end of the Walkmen and why the band is taking a break, Frank Sinatra records, songwriting reversal, a nightclub, night time tone within the phrase “black hours,” Danzig, Self-Pity, growing up in Washington D.C. and seeing Minor Threat, Nation of Ulysses, Fugazi, and other Dischord Records bands, playing punk, working as a studio assistant at Inner Ear studios while Fugazi was recording Red Medicine, not making it into Instrument, being young and apolitical, loving the Make-Up and Ian Svenonius, the Cramps and the Modern Lovers, lead singers versus bands, Chain and the Gang, being in a band or being on your own, not sounding like the Walkmen, the new record’s weird storyline, the bizarre circumstance of the Walkmen’s “extreme hiatus,” trying new things but the Walkmen will likely be back, it’s fun to play, there are already new songs written but there was some writer’s block, working well with others, playing “Mr November” with the National, Hamilton playing Hamilton, Ontario, the song “The Silent Orchestra,” and then Hamilton out.

Related links: hamiltonleithauser.com vishkhanna.com

hamiltonleithauser

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