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This week, I went digging around in the corner of the catacombs where I keep stacks of radio ads and PSA's, and dug up a batch of 20-30 year old spots, on four different tapes, which are from a variety of very different times and places.
First up, four 1981 PSA's from the US Customs service, two featuring the dulcet tones of Lorne Greene, and two featuring (a less-than-involved) sounding country singer Terri Gibbs:
Here are three ads from Computerland, with bargains that can hardly be believed: Imagine saving $400 on your purchase of an IBM computer, with enhanced keyboard, DOS and 640 K of RAM, all for only $1999! Where do I sign up????
Next up, a dozen ads, in a variety of lengths and styles, telling people about the 1982 Tax Filing Season, and the things you might want to know. You'll hear from Lyle Waggoner, Fernando Lamas, Mason Adams, Michael Warren, James Gregory, Anthony Geary and Sarah Purcell, from a recent retiree and from a snooty aunt, among others:
I've saved the best/weirdest/most unexpected for last. When I saw "Land-O-Lakes" on the box, I initially thought it would contain butter or other dairy ads. Not quite, as a closer look at the box indicated (although the box indicates only four ads). This set of eleven ads is from the Land-O-Lakes Co-Op, and feature ads for a variety of products to help your pigs, hogs, calves, cows, and other farm issues. There's some good listening here!:
Vicki Bennett has been making audio and visual collage since 1991, when the internet was a fetus and you probably didn't own a computer. She creates her work with the nom de plume People Like Us. It's a moniker that speaks to the role of the collective and popular culture in her work, and a need to belong. Using collage as her medium, she creates audio recordings, films and radio shows that mix and manipulate original sources from both experimental and popular media. Her work has been shown at Tate Modern, The Barbican, Sydney Opera House, Pompidou Centre, Maxxi in Rome and Sonar, and she's hosted the WFMU radio program Do or DIY since 2003.
Plus, she's a judge for the Past Re-Imagined As the Future
remix contest with the Free Music Archive. In this Q&A, Bennett shares that she's hoping to see
works that are engaging and transformative. As you comb through the
materials in the Prelinger Archives, she reminds us that these videos aren't just about the past, but also about the present, the future, and something timeless.
What first drew you to the practice of AV collage art?
This week, WFMU launched into silent fundraiser mode with our 31 Days of October campaign, and it is going strong! In an effort to pay our bills without resorting to a second pledge drive, we decided it was better to come up with a month of incredible on-air specials, listener meet-ups, and events (while taking pledges online and through the mail).
This fall, we are offering some great new swag: our Turntable T-shirt designed by Nick Dewar, and a compilation of holiday music called "WFMU's War on Christmas" (CD + MP3 disc) with cover artwork by Mayuko Fujino.
Do not miss out on the holiday compilation, it contains an exclusive unreleased mix of "Jesus Christ" by Big Star, plus tracks by James Pants, Klaus Nomi, the Reigning Sound, and more!
In one corner of my basement archives, there is a large stack of tapes I bought two or three years ago, which have proven especially fascinating, to the point that I'm deliberately parceling them out to myself, as sort of periodic "gifts" of really special listening. These are media tapes, many of them raw audio from television or film, and most of those having something to do with the CBS networks. I previously shared a tape of Howard K. Smith and Sen. Albert Gore, Sr., from this same collection (which contains a lot of Howard K. Smith tapes).
Today's tape is different than the others that I've listened to in that it is the soundtrack for a film, specifically, a film meant to drum up advertising business for CBS radio. There are enough moments of background music, and even a few sound effects, to make it clear that there was a visual element to this presentation. And this tape is undoubtably the final raw source tape for the soundtrack - there are upwards of 50 splices in the tape, where various recorded elements were stitched together from what were probably multiple takes, some of which are visible in the scan of the tape. There's even a cut in the middle where a very non-announcer-like voice tells us that there would be a switching of film reels.
It's an interesting presentation, even without the visuals. After a brief, catchy introductory piece, there is a lengthy discussion of how prosperous America has become in the last 15 years (and I'm sure those who were in abject poverty in 1953, and/or fighting racism would love to hear how the country was one big middle class at that point, with very few people living at the fringes). It ties this in with the increased buying power of Americans. Then it moves into the sales pitch.
I was sort of fascinated by the fact that although the subject becomes RADIO at about the six minute point, the word "radio" is not mentioned until more than three minutes later (although there are clips from radio programs, and there may have been many visuals of radios, of course), and even more interested in the fact that CBS is not mentioned until about 3/4 of the way through, and initially, it's mentioned as an example of a network, rather than the focus of the presentation.
The presentation concerns itself largely with the omnipresence of radio in the country, its varied uses and its mobility, and finally, the value of advertising on radio, versus print or television, especially the lower cost for what had been proven to be greater audience attention. There is a funny series of short ads for a fake hair care product in the mix, too.
A odd point is made about CBS having "more of the top 29 programs than all other networks combined", which made me wonder if that "more" number was 15, making the the more typical statement, which would be about the top 30 shows, impossible. Or perhaps there were only 29 network shows left by 1953 - whether the CBS honchos knew it or not, national radio programming of the sort being promoted here was quickly leaving our world. Before the end of 1957, the very last radio network comedy show (Stan Freberg's masterful half-hour) would go off the air, and by 1960, there were precious few dramas, and few, if any, variety shows.
Decades ago, before the era of huge radio conglamerates and when many DJs actually had the freedom to pick personally the tunes heard on their shows, a fair number of singers decided to record songs about DJs themselves, no doubt in the hopes of increasing their record's appeal to the various gatekeepers behind the microphones.
An earlier dispatch on this topic can be found over here.
Stuart Owen - B.J. The D.J. (2:42)
Mike Lane - Letter To A D.J. (3:25)
B. Bob Akers - D.J. Wife (3:09)
Today, three tapes which I've been saving for awhile, for just the right time. Now, instead of making each into a post of it's own, I've decided to bundle them together, into an "odds and ends" post.
First up, a very brief tape featuring someone named Oliver, a radio newsman who has been asked (in 1975) to provide a few seconds worth of introduction to a special program on Foreign Policy. He does so, giving seven nearly identical readings in about 90 seconds. What makes this tape memorable is the obnoxious version of the text he shares with his recipients after the seven intros, in giving an eighth intro, in an altered fashion. While I hope this sort of thing no longer goes on, I suspect it probably does.
Next up, an equally obnoxious tape. I knew I was in for an interesting listen when I opened this box and saw that the inside cover was labeled "Phallus in Wonderland". The resulting tape did not disappoint, although my enjoyment of it was mostly in the wonder of listening to two people who clearly thought they were being much funnier than was actually the case, rather than any humor or titillation I got out of it. For about 16 minutes, Jerry and an unnamed woman take a trip through a few different children's stories, replacing key words here and there or accenting certain syllables. If you're in the right mood, you may find it either fascinating or mind numbing, or maybe even both.
Finally, and on a truly different note, there is a recording of an amazing televised Civil Rights Discussion, probably from a public television station, from a some time in 1968. The last half hour of what was an hour long show is recorded here.
I'm calling it a discussion, although for significant stretches of it, it's really more of a barely-under-control argument, to the point that at times, the microphones in one of the two studios being used are cut so that the other parties can respond without being interrupted (although you can still hear the "cut" participants continuing to talk). I think I've identified one participant as Maryland Representative Charles Mathias, and wonder if "Mr. Kilpatrick" is one-time segregationist James J. Kilpatrick. I also think one of the speakers may be Hosea Williams, who was part of Dr. King's inner circle. As to the others, I think there are mentions the names Mr. Field, Mr. Palmer and Mr. McKissick, but beyond hearing those names, I have been unable to identify these other speakers.
At the end of the show there is over nearly 90 seconds of muffled conversation, followed by some ending voice-over comments, and I couldn't help but laugh at the song which started the commercial for an upcoming show, a song whose lyrics did not really fit with what had just gone down. I've left in a moment of that song for your enjoyment.
Trumping any WFMU DJs who ever felt winded after the old 4 hour long 2-6am overnight slot, WFMU's beloved People Like Us is too good at programming insanely long radio shows. She's got a 24/7 Do or DIY stream on WFMU and put together a 744 hour long broadcast for the UK's AV Festival called Radio Boredcast. Which is where I pass the mic to PLU...
We are very pleased to inform you that Radio Boredcast has now been archived in its entirety at WFMU.
Given that Radio Boredcast is a 744-hour online radio project, we consider today, The Longest Day, a most appropriate time to make this announcement. Curated by Vicki Bennett (People Like Us) with AV Festival, Radio Boredcast responds to our ambiguous relationship with time - do we have too much or not enough? - celebrating the detail, complexity and depth of experience lost through our obsession with speed. BASIC.fm first hosted the project through the duration of AV Festival (1-31 March 2012) and now this unique and colossal archive is accessible for Listen on Demand at WFMU.
An impressive list of participants (including WFMU DJs) were invited to create new radio shows, audio works and mixes in response to the AV Festival theme "As Slow As Possible" and thematic playlists and contextual programming surround these creations.
The full list of participants are: Carl Stone, Pseu Braun & Alex Orlov, Touch, Rob Weisberg, Nicolas Collins, Andrew Lahman, Chris & Cosey, Jonathan Dean and Transmuteo, Cheese Snob Wendy, Kevin Nutt, Tony Coulter, Daniel Menche, Scott Williams, John Wynne, Chris Watson, Jem Finer and Longplayer, Tim Maloney, Ergo Phizmiz, Matmos, Dave Soldier, Charlie and Busy Doing Nothing, Andrew Sharpley, Nancy O Graham, Gwilly Edmondez, Anna Ramos & Roc Jiménez De Cisneros, Doug Horne, Irene Moon, David Suisman, Radio Web MACBA, Mark Gergis and Porest, Jez Riley French, Don Joyce, Carlo Patrao and Zepelim, Dorian Jones, Jason Willett, Zach Layton, Primate Arena with Alex Drool and Eran Sachs, David Toop, Dylan Nyoukis, Jared Blum and GiganteSound, Ed Pinsent, Adrian Philips aka Mr Rotorvator, Axel Stockburger, Craig Dworkin, Felix Kubin, People Like Us, Language Removal Services, Daniela Cascella, John Levack Drever, Joel Eaton, Clay Pigeon, Gudrun Gut, Charles Powne, Carl Abrahamsson, Andreas Bick and Silent Listening, Phantom Circuit, Patti Schmidt aka Wheelie Houdini, Leif Elggren, Ken Freedman, Erik Bünger, Douglas Benford, Christof Migone, BJNilsen, Andy Baio, Adam Thomas aka Preslav Literary School, Caroline Bergvall, Ken's Last Ever Radio Extravaganza, Tapeworm, Brent Clough and The Night Air, Ilan Volkov, Nat Roe, Steven Ball, X41, The Long Now Foundation, Sharon Gal, Michael Ruby, Jonathan Leidecker, DJ/rupture, Gordon Monahan, Michael Cumella aka MAC, Lloyd Dunn and nula, DDDJJJ666, and Kenneth Goldsmith.. Thematic playlists run throughout from "Acconci" to "ZzzŠ" programmed by Vicki Bennett.
Although the theme is Slowness, we urge you to get over there now and have a listen!
I had the pleasure of speaking with Jayne County on my program on Thursday; she hit the stage at Bowery Electric on Thursday for the Max's Kansas City Alumni Reunion shows (which goes on through Sunday). Check the archive for the interview. I heard that Jayne might be at La Mama before her much anticipated Max's reunion performance, so it was off to the Ellen Stewart Theatre first! The La Mama show was- Jukebox Jackie: Snatches of Jackie Curtis -an exhilarating collage performance containing elements of the Warhol star's life; poetry, film snippets, songs and great vignettes. The final performance is on June 10th. With a killer cast: Justin Vivian Bond, Bridget Everett, Cole Escola and Steel Burkhardt, the production was a huge pleasure to take in. Jayne County did indeed grace the theatre-goers with her rendition of Max's Kansas City, as seen here as an encore to the show. She was gone in the blink of an eye (aye aye!) as soon as the show was done, and was soon to get onstage with her alma mater, so to speak, the Max's Kansas City Alumni Reunion show. The shows run all weekend at Bowery Electric, check their site for scheduled shows!
Posted by dianekamikaze on June 08, 2012 at 02:30 PM in Diane Kamikaze's Posts, Interviews, Music, New York City, Photography, Propaganda, Radio, Sex, Video Clips, WFMU in General | Permalink | Comments (3) | TrackBack (0)
Technorati Tags: Bowery Electric, Bridget Everett, Cole Escola, Jackie Curtis, Jayne County, Justin Vivian Bond, La Mama, Max's Kansas City, Mickey Leigh, Peter Crowley, Rattlers, Steel Burkhardt, WFMU
(pictured, Glenn Branca Ensemble stoked to exchange secret guitar tunings for WFMU swag at our tent last year). Happy to say for a fourth year, WFMU returns to Barcelona, Spain to bring you the fullest coverage from anyone from the Primavera Sound festival. Tune in Friday, June 1st and Saturday, June 2nd from 3pm to Midnight ET and hear some hefty blocks of programming from some true WFMU musical faves including Ice Age, Mudhoney, Thee Oh Sees, The Pop Group, Demdike Stare, Marianne Faithfull, Michael Gira, The Melvins, Chameleons, Dirty Beaches, Codeine, Off!, Liturgy, and more performing in front of the Mediterranean. FMUers Liz Berg, Jason Sigal, Brian Turner, and Scott Williams will be live and giving play by play between sets and chatting up some of the performers to boot (plus posting pictures live on the playlist page accessible via wfmu.org homepage during the broadcasts.
Broadcast schedule NYC time (subject to change):
Friday, June 1
3:00pm Lee Ranaldo Band
3:45pm Ice Age
5:00pm Archers of Loaf
5:25pm The Chameleons
6:00pm Milk Music
6:30pm Wolves in the Throne Room
8:30pm Thee Oh Sees
9:00pm Dirty Beaches
10:00pm Marianne Faithfull
10:25pm The Cure
11:20 The Men
11:40pm Harvey Milk
Saturday, June 2
3:30pm The Dirty Three
5:40pm The Field
6:25pm Olivia Tremor Control
7:20pm Michael Gira
8:05pm Sharon Van Etten
8:25pm James Ferraro
8:50pm Atlas Sound
9:15pm Demdike Stare
9:45pm The Pop Group
Once again, subject to change.
Past WFMU broadcasts have brought you sets from Swans, Glenn Branca, Diplo, No Joy, Oneohtrix Point Never, Pavement, Grinderman, Sunn o))), Ariel Pink, The Clean, Van Dyke Parks, Wire, Mission of Burma and dozens more. You can check out some of the archives streamed from Primavera from 2009-2011 here (not all our sets were archived for extended periods), and download some of the past WFMU Primavera sets by approving artists on the Free Music Archive! Keep an eye on the FMA for some of these 2012 sets being offered for download in the weeks ahead. And keep an eye on WFMU's home page this weekend for news, schedule changes.
I was 16, in 1976, when I first discovered the availability of bootlegs. After written requests to addresses in the back of a magazine, a few different catalogs arrived in the mail, and I stocked up on things like The Sweet Apple Tracks (still a favorite), The Beatles Christmas Album and a host of other Beatle related products of varying quality, from priceless to dubious.
One catalog promised something a bit different - reel to reel tapes featuring spoken word content involving or about the Beatles or the individual members. There were collections of Beatles press conferences, excerpts from the "Lennon Remembers" interview with Jann Wenner, a copy of a promotional interview released for a George Harrison album, and so forth. And so, long before I started deliberately collecting ephemera on this most magnificent of recording formats, I sent away for a half-dozen reels, perhaps the first reels I owned that were not pre-packaged releases from record companies or home-recorded tapes from my family's own collection.
The one that intrigued me the most promised to hold a radio documentary about the "Paul is Dead" rumors of late 1969. Every now and then I've thought about this tape, especially after a different program on the rumors was posted to the first 365 days project, several years ago.
This program is hosted by Christopher Glenn, who later went on to be the voice behind the iconic Saturday Morning "In the News" programs for kids, as well as the voice of the CBS World News Roundup, until just months before his death in 2006. The show features some of the early "clues", an interview with one of the people who broke the "story", other "expert" insight, and a lot of speculation.
I've always found the Paul is Dead stuff really fascinating - Iwhile don't believe for a moment that The Beatles were in any way behind the rumors, the sociology of it is quite compelling, and the lengths to which people went to imagine some of the clues is amazing. You can do the same thing with a lot of different ideas - I knew someone who came up with dozens of clues to show that The Beatles were trying to let us know that John had gone blind, just to show how easy it was to make unrelated lyrics and photos seem to mean something more important, and of course Charles Manson went in yet another direction with what he was sure was hidden in the lyrics. But that this particular group of clues spread so quickly and so completely is really something.
There is no indication within the program, as heard on the tape, as to its source, and the tape box was completely generic. But this program appears to date from very early in the spread of the rumors - I'm guessing late October or early November of 1969 - because many of the more obscure "clues" which were later taken as central to the "hoax" are not mentioned, and don't appear to have been "discovered" yet. What's interesting here is the almost complete acceptance of the exceptionally unlikely idea that The Beatles were involved in the hoax, on the part of everyone who is heard on the show.
Also interesting is that, despite being put together by a talented, respected newsman (and no doubt at least a few researchers), this program repeats the assumption that Paul wrote the music and John wrote the words, a description of their partnership that was never true, let alone by 1969. And finally, where would the report have come from in late 1969 that "The Beatles are known to be working on a new album"? By the time Abbey Road was released, John had quit the band, although this had been hushed up quite effectively, and although Let It Be was still awaiting release, no one at that time would have been reporting that the Beatles were recording together.
Don McNeill was a radio legend, host of The Breakfast Club, heard on WLS in Chicago and nationwide on the Blue Network (and later ABC) for over 35 years. At the height of his run on the show (and shortly after ending a brief TV simulcast), in 1956, McNeill teamed up with Archie Bleyer, founder and head of Cadence Records, for a one shot 45 of a song which had been sung on The Breakfast Club, "Make America Proud of You".
This record appeared on the label during a real hot streak, in between number one hits by The Chordettes and BIll Hayes (the year before) and Andy Williams and The Everly Brothers (the year after).
For the A-side, McNeill engaged what sounds like at least a hundred Chicago area young people, including lots of Boy Scouts and Girl Scouts, and the choruses from two North Shore high schools, Evanston and New Trier (the latter being the school I would attend, some twenty years later, at that school's West Campus). This assembled multitude made quite the boisterous recording.
For the flip side, McNeill and Bleyer again utilized the talents of the New Trier chorus, minus all of the other performers, however, for a much more sedate (and, to these ears, dull) performance of the material, complete with a recitation by McNeill which touches on, among other things, how even if you're not the smartest, fastest or otherwise bestest, you can still do your own personal best in everything you attempt, and in doing so, "make America proud of you".
Don McNeill, Evanston and New Trier High School Choruses, Chicago Girl Scouts and Boy Scouts, Archie Bleyer - Make America Proud of You (MP3) | New Trier High School Chorus, Conducted by Archie Bleyer, Narration by Don McNeill - Make America Proud of You (MP3) | Single A-Side Label (JPG) | Single B-Side Label (JPG)
Venues: Central New Jersey has had it's abundance of home venues/ house shows/locations for some time, changing from address to address in a moment's notice, but a fairly active scene. We recently lost New Brunswick's Court Tavern, a club that booked original music for decades, through many genres. It was a huge loss to the patrons of the bar, as well as bands needing a venue in that area to play, who were from all corners of the country, and to anyone just needing that live music fix.
Two days ago I went to the grand opening show at the Warehouse Motor Club, a new venue in Middlesex, NJ. It's a team-run, decent sized space in a cement walled warehouse. The venue capacity looks to be well over 400 people; I didn't see an occupancy sign. Initial impressions: they're gonna have to move the slot car track in the back if they have bigger shows; more people in it may make it sound a little less reverberant, but there is a need for more sound absorption material in the venue's future. It's an all-ages venue, so there is no alcohol, which will bring loyal youngsters, maybe alienate the heavy drinkers; matinees may be the way to go; there is a snack bar. There was a bit of record distro action as well as a space for band merch. I didn't check the bathrooms, so no latrine report today! It's got the racing flag motif and signs all over the place, they've got branding going on, light trusses, what looks to be a sturdy stage, and an arm wrestling station! All a great way to start, and time will tell how everything goes; they'll figure out what works and what doesn't. I certainly wish them the best of luck! Sunday's show featured Night Birds, Altered Boys and Real Cops. If they can get people to migrate to and venture from further areas, we may have a great new energetic spot in New Jersey, which is sorely needed. Clip on those jumper cables!
Posted by dianekamikaze on May 08, 2012 at 10:16 AM in Art, Current Affairs, Diane Kamikaze's Posts, History, Live at WFMU, Music, New Jersey, Photography, Radio | Permalink | Comments (1) | TrackBack (0)
Almost a quarter of a century after the fact, these recordings of Daniel Burke on WZRD blow myself and probably most other freeform DJs out of the water. An incredibly important staple of the experimental/music scene of Chicago in the 80s, WZRD, broadcast from the decrepit and littered, cavernous bowels of Chicago's Northeastern University, represented pure unmiterated spirit. Burke, who has virtually been a kingpin of off kilter soundscapes since 1983, under the project name Illusion of Safety, not to mention also being a film maker, visual artist, photographer, pizza maker, and freestyle frisbee practitioner, does his job exceptionally well at the radio DJ console. These archives are rife with expeditiously shifting tectonic loops, apparently from his own personal rig; tertiary industrial totems often augmented with entropy, crime reports, and rare flash-in-the-pan underground relics from the cassette network of that time. Although he was anonymous simply as a "wizard", part of the station's traditional musk, Burke really made these radio shows his own. One notable aspect of WZRD programming also seems to be their penchant for designating the parameters of mandatory public service announcements very loosely, so rather than hearing about your average non-profit humane organization, which is all fine and good, we get to hear an articulate yet somewhat troglodytic Mr. Burke reading texts on the mysteries of sonic vibrations as dictated by Hafler Trio, or disseminating tragic information about the nuclear radiation that killed John Wayne and many others while filming in Nevada in the 70s. I promise to anyone who is interested in the evolutionary mnemonics of freeform radio, this is not to be missed. Many thanks to Dan for sharing!
*These dates correspond exactly to the labels on Daniel Burke's CDRs*
10/8/88 #2 Part 1 | 10/8/88 #2 Part 2 | 10/8/88 #3 Part 1 | 10/8/88 #3 Part 2 | 10/8/88 #4 Part 1 | 10/8/88 #4 Part 2 | 12/3/88 #3 Part 1 | 12/3/88 #3 Part 2 | 12/10/88 #1 Part 1 | 12/10/88 #1 Part 2 | 12/10/88 #3 Part 1 | 12/10/88 #3 Part 2 | ?
To commemorate the passing of legendary and influential banjo stylist (as well as wicked guitar picker) Earl Scruggs this week at age 88, let's play this complete Martha White Flour program from June fourth, 1953. It features one of my favorite Flatt & Scruggs numbers, "Dim Lights, Thick Smoke" and many other pieces. You can also take a look at this same song performed on one of the episodes of their television show, and more, right after the jump.
I wish I could lay hands on a pithy quote from Mr. Scruggs himself, at this short notice, but I will at least pass along this story from the autobiography of Charlie Louvin of the Louvin Brothers. We join Charlie as he talks about their early pre-fame days on the radio, where they briefly went by the name "The Foggy Mountain Boys" (along with two other fellas):
"The funny thing was, Lester Flatt and Earl Scruggs came up with the same name later, and when they broke up, they had a lawsuit going about who owned the rights to it. Lester thought it should be Lester Flatt and the Foggy Mountain Boys, and Earl thought it should be Earl Scruggs and the Foggy Mountain Boys. Well, one night, I ran into Lester backstage at a show we were playing together, and I said, "Lester, what in the hell are you boys doing suing each other?"
"Well," Lester said, "Earl claims the name belongs to him because he wrote the 'Foggy Mountain Breakdown'. And I say that I came up with the name before he even wrote that song."
"Shit," I said, "it don't belong to either damn one of you."
A quick check-in from your kamikaze reporter... Since the marathon ended I've gotten out to check out a few bands: shots are in this order: Magic Circle from Boston, Windhand from Richmond, VA, Rhode Island's Pilgrim, a shot of Brooklyn's own Natur and then live in the WFMU studio on this past edition of My Castle of Quiet: Wretched Worst! This Thursday at noon, the PEER PRESSURE guest on my Kamikaze Fun Machine program will be Mike Hill, guitarist and songwriter/vocalist of TOMBS to DJ a set of music that's sure to be killer! Final photo in this bit is of TOMBS from last year's SXSW performance at Lovejoy's. Enjoy!
Posted by dianekamikaze on March 20, 2012 at 11:10 AM in Current Affairs, Diane Kamikaze's Posts, Interviews, Live at WFMU, Music, Photography, Radio, Travel, William Berger's Posts | Permalink | Comments (1) | TrackBack (0)
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It's an annual WFMU Marathon tradition! Yo La Tengo plays requests in exchange for pledges live on WFMU TONIGHT, Friday March 2nd, (9pm - midnight, EST) on Pseu's Thing with a Hook, hosted by Pseu Braun and Gaylord Fields.
Pledge $100 and have your request ready to fire! You can use this link to submit your pledge and song request in advance.
We'll be hosting a live video stream of the performance at wfmu.org, but the show won't be archived, so don't miss out!
WFMU's 2012 Fundraising Marathon continues through March 4th!
Pledge Page | Swag | DJ Premiums | Marathon Map | Co-Host Schedule |
Marathon Info | Pledge Banner Code | Employer Matching Donations | Marathon Tumblr
As you probably are aware, the WFMU Annual Fundraising Marathon starts next Monday, Feb 20th (well, you know now, don'tcha?). As the staff goes into this undertaking, the word PLEDGE gets repeated over and over again in a relatively short period of time. After awhile, the word goes unnoticed, yet it's an odd word just the same. We pledge allegiance to the flag, or at least sometime in our lives we Americans have been asked to do so. Our country is certainly enjoying watching the disorderly process the Republicans have been undertaking to determine who might lead the USA in that important pledge of allegiance next January 20th. It's not a leap year word per se, but the word pledge certainly seems to have something to do with leaping, jumping, dancing or urging in some way. And I know you're all dying to go and spray your furniture at the moment..
The Pledge Music site has been garnering attention; it's tag line is: "the new business of making music." Yes; it's that word again. Poking through the site, I found some familiar faces who are in the midst of putting together new recording projects, and asking (with rewards attached) the public for a little push of their own. Friend of WFMU, Hugh Cornwell's Pledge Music campaign for his new record "Totem and Taboo" ends in 45 days; Richard Barone's putting out a reissue on the 25th anniversary of his "Cool Blue Halo" release, and there are 26 days left in the campaign Ian McCulloch has on the same site for his next solo record. It's a busy time in pledge-land!
I will leave you with a lovely duet: Art-Brut and Hugh Cornwell with a great version of the Stranglers' Dutchess, posted yesterday on Soundcloud.com; eagle-eyed by WFMU's own Evan "Funk" Davies! Feast your ears, and yes, of course, sorry to mention it, please don't forget to pledge!
Yo La Tengo will be playing cover song requests in exchange for pledges on Friday, March 2nd (9pm-mid) on Pseu Braun's show with co-host Gaylord Fields, and WFMU's Hoof & Mouth Sinfonia close out the Marathon on Sunday March 4th with drunken live band karaoke. Don't miss out on our biggest on-air bash of the year!
Today's tape was intriguing enough when I heard the first six minutes of it. When I heard the remainder of the tape (which also indicated what that six minutes had been recorded over, I was even more fascinated.
Recorded over the initial third of the tape, at 15 IPS (the speed often used at recording studios), in whole track mono, after some initial setting up sounds, were versions of two Rockabilly classics, the first being "Heartless Woman" (most often associated with Terry Noland) and the second being "The Fool" (Sanford Clark's huge hit from 1956). There is no indication anywhere on the tape or box as to who is performing on these tracks, or even that they exist on the tape.
Well, as soon as these recordings end, the rest of what they were erasing shows up, at 7 1/2 IPS and again in whole track mono. And it is just as fascinating as that Rockabilly session, and yet couldn't be more different than it. What remains are three full episodes (and a fragment of a fourth) of a show hosted by Edwin Randall, short radio shows he hosted for The American Friends Service Committee, a Quaker organization, and on which he was joined by Harry P. Cain.
A quick internet search - and I don't for a moment claim to be an expert on any of this - shows that Harry P. Cain was a senator from Washington, and that he served in that position just long enough to develop strong ties to Joseph McCarthy, and join him in the legendary crusade against Communists. This has tended to paint him with the same brush with which history has painted McCarthy. However, once relieved of his seat in Congress, Cain was appointed to the Subversive Activities Control Board, where he began to question some of decisions being made in the name of protecting the nation from Communists, particularly in the area of violations of civil liberties. After making a point of raising these concerns in a variety of ways, he alienated those with whom he had previously worked, including President Eisenhower, and he resigned from the Control Board.
It would appear that these radio shows date from near the end of Cain's time on the Subversive Activities Control Board. They mention his three years on the Board, a time frame he never actually reached - he resigned after 2 1/2 years! The interviews are primarily focused on his concerns about civil liberties, and he brings up several examples of questionable use of Government power, as well as how difficult it was for the little guy to fight back. With one of ideals of The American Friends Service Committee being social justice, a radio show produced by that organization would have been a good fit for Cain to express his views, as they were near the end of his tenure on the Control Board.
(The very last bit is a very brief fragment of yet another show hosted by Edwin Randell, which itself was mostly erased by the show featuring Harry P. Cain. It was on the tape, so I included it.)
4.) Edwin Randall and Harry P Cain (For the American Friends Service Committee) - Fragment and Full Episode 1 (MP3) | 5.) Edwin Randall and Harry P Cain (For the American Friends Service Committee) - Full Episode 2 (MP3) | 6.) Edwin Randall and Harry P Cain (For the American Friends Service Committee) - Full Episode 3 (MP3) | 7.) Edwin Randall and Bill Hoisel - Fragment (MP3) | Tape (JPG)