It’s really just another lesson in why you should never but an exact public date on a launch. Of course in this case it’s the date for a “disappearance” or removal, but as I predicted last month and as has occurred in the past, Facebook is once again guilty of writing threats on innocent people’s walls and then neither following up on them, nor cleaning up.
Without meaning to be too critical — I’m just sayin’. And, as long as I can have this badge on my wall it would be nice if my friends could still use it to click through and learn more about the, uh, Cause!
In February of 2005, WNYC – New York City’s main NPR station, launched its first episode of Radiolab with Jad Abumrad. OK, actually the first episode was months earlier. Abumrod had actually produced numerous Radiolab-like segments since joining NPR in 2002, many on Kurt Andersen’s amazing, long-running Studio 360 program.
Radiolab is a workshop in the aural experience – it is, at its core, a program that explores the essence of radio, from story arc to research to interview to post-production and mixdown. Any given episode will surprise you in its clarity, weirdness, and attention to detail. My first reaction to listening — I became a regular listener to the podcast (you can subscribe here for RSS, xml, or iTunes) in 2005 — was amazement at how much effort, creativity, and likely attempts at perfectionism went into the editing and remixing of the audio. An hourlong Radiolab is without fail a stimulating and thought provoking experience, rooted in the great voices, delivery, and smartypants adeptness of hosts Jad Abumrod and Robert Krulwitch.
My love affair with this program is capped by how well it uses the latest technology – since the early days of podcasting, Radiolab has been made available in multiple formats for download and streaming as well as across many NPR member stations nationwide. We’ve come to expect this from NPR programming since the grand ol’ days of RealAudio streams. But this show stands apart in that it takes the story and the sound and the experience to extreme levels, show after show.
I don’t have a TV nor do I care to watch one. I listen to programs like this. Stock up your music-playing receptacle with multiple episodes from the archives before your next road trip and you will not be disappointed. Even P Diddy listens to Radiolab twice.
Finally, music… Musical Language (mp3) just reading the first graf of the show notes is mesmerizing as it is:
What is music? How does it work? Why does it move us? Why are some people better at it than others? In this hour, we examine the line between language and music, how the brain processes sound, and we meet a composer who uses computers to capture the musical DNA of dead composers in order to create new work. We also re-imagine the disastrous 1913 debut of Stravinsky’s Rite of Spring…through the lens of modern neurology.
UPDATE: Just got an email that my funds went through! After a whole month SOTRU hit its Kickstarter fundraising goal with just two minutes to spare! Congrats!
Having just heard that one of my recent Kickstarter investments, CicLAvia, has been funded, a new project has conveniently crossed my path and if you’re into it too, you’ve got a few days left to chip in a few bucks.
State of the Re:Union (SOTRU) is a public media show that seeks to unify its audience by telling the stories of real people through an innovative exploration of a city, detailing how things come together and what pulls them apart. Each radio episode, host Al Letson travels to a different American city or town and explores how community is created. Who are the people who help bring it together? What are the issues they face? How does the culture of an area shape the people and vice versa? Through a unique mix of storytelling, cultural excavation, music and multimedia, SOTRU brings community to life. — Read more | website | Facebook | Twitter.
Kickstarteris a groundbreaking concept in microdonations and in awesome website and community. You pledge to donate the amount you choose — with great incentive rewards for various dollar amounts — and the money is taken via your Amazon.com account only if the fundraising goal is met.
State of the Re:Union is closing in on 50% funded with only 4 days remaining (after a month on the site) so let’s give it a boost by August 21st!
Hey friends, I’m working on a fun campaign that can turn into a TOTALLY AWESOME adventure for you and your friends, assuming you enjoy beer, river rafting, VIP private dinners and courtside seats, private jets to Vegas cabanas and the like. For one winner and FIVE friends! Since you may need a break from all that madness, 6 round trip tickets on Virgin America are thrown in as well.
It’s often dawned on me that my early scribblings on the web may someday disappear without a trace yet I continuously forget to archive said posts — for posterity if nothing else. Well today I listened to this blistering set from last week’s Newport Jazz Festival and was transported to ten years ago, Empty Bottle, Tuesday night Vandermark Five sessions and the frenetic rhythm from the band set up living room style disrupting the magic in the air. Love how that sound pumps through my veins and so does the rest of the world.
Ken Vandermark continues blazing trails across Europe, Africa, and the Middle East while basing himself in Chicago with many of the same cats. I keep up with Ken via his daily Twitter and Facebook updates which highlight the daily undertakings of a creative troubadour in brief, diary-like entries. I still subscribe to the chi-improv Yahoo! group for sentiment. Little has changed in Chicago I imagine — although my visits are too rare. (Save for the tragic death of Malachi Ritscher and the recent passing of FredAnderson). Still a few active venues and occasional improv backrooms shifted throughout the town and Peter Brötzmann, Ab Baars and the finest European improvisers still come over almost every year and the Chicago contingent of the Tentet visits Europe at least once a year.
Powerhouse Sound features Vandermark on reeds with longtime collaborator Nate McBride on electric bass; Jeff Parker, guitar and John Herndon, drums – both of whom are known for their work with Tortoise.
Below, three articles I wrote in 1998 for Centerstage.net relating to the Chicago Jazz scene. Still buried in some closet — minidiscs of interviews that I conducted with several of the players for a piece I never completed. There’s a nice long interview with Fred Anderson there and hopefully i’ll find it and when I do I’ll post it for all to share.