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Airwaves (1985-08 And
/ AIRWAVES \ · A Service of Continuing Education & Extension University of Minnesota-Duluth Volume 6, Number 4 ' August-September 1985 Special •· Ray Charles: His Life and Music. kumd 103.3 fm Station Manager • Paul Schmitz Program Director • John Ziegler Public Aflairs Director • Jean Johnson Report to the Listeners Outreach Coordinator • Bob DeArmond Engineer • Kirk Kersten by Paul Schmitz, Station Manager Secretary • Donna Neveau Volunteer Staff • Remember the slighlly perplexed look patience. Projects of this magnitude jus.t couple of different departments at UMD, Lake Lime. Bil l Agnew, Bob Allen, Craig Anderson, Jon on Kirk Kerslen's face in lasl month's started with us on July 17, and will be Anderson, Kath Anderson, Mark Anderson, Bob issue when he was plugging in our new al the front desk from about 9:30 a.m. Lo Andresen, Leo Babcau, Todd Borstad, John"llrazner, antenna? I don't really know what he You may notice a change in our staff list - 2:30 p.m. four days a week. We are look- Dave Brygger, Jan Cohen, Tim Connelly, was thinking about al the moment that this issue; if you visit the station 'in ing forward Lo having her with us, and Christopher Devaney, Bruce Eckland, Dann Edholm, Pat Eller, Phil Enke, Linda Estel, Doug Fifield, photo was taken, but ever since he's been person, you will certainly notice a LO utilizing her previous experience with Kerry Fillmore, Susanna Frenkel, Scott Frisby, Brian thinking about "field Lun·ing .." That's a change becau e we have lost Helen computers as we are about LO enter the Gitar, Stan Goltz, Doug Greenwood, Jim Gruba, term for a specialized kind of work on Prekker. -
Firstchoice Wusf
firstchoice wusf for information, education and entertainment • decemBer 2009 André Rieu Live in Dresden: Wedding at the Opera Recorded at Dresden’s Semper Opera House in 2008, this musical confection from André Rieu is both a concert and a real wedding party in one of the world’s most beautiful opera houses. The charming bride and groom, part of the famous “Vienna Debutantes,” are joined by 40 pairs of dancers from the Elmayer Dance School in Vienna, as well as sopranos Mirusia Louwerse and Carmen Monarcha, the Platinum Tenors, baritone Morschi Franz, and the Johann Strauss Orchestra and Choir. Airs Tuesday, December 1 at 8 p.m. from the wusf gm Season’s As you plan your year-end Greetings charitable giving, please consider a contribution to HE HOLIDAYS CAME EARLY THIS YEAR WUSF. It’s tax-deductible, T at WUSF Public Broadcasting. Thanks to you, WUSF 89.7’s Fall Membership Campaign it’s easy and it will make a was an unqualified success. We welcomed difference in your community. 1,050 new members to our family and raised more than $400,000 from new and renewing Just call Cathy Coccia at members. Bravo to everyone involved! 813-974-8624 or go online Speaking about our loyal supporters, we recently celebrated our Cornerstone Society to wusf.org and click members during the second annual Corner- on the Give Now button. stone Appreciation event. This year’s guest was the witty and insightful Susan Stamberg, Make a gift that gives back – an NPR special correspondent. She touched to you and your neighbors. -
Craig Anderton
$2.50 February 1983 TW O NEW SYNTHESIZES . MODULES: SHEPARD ■ FUNCTION DYNAMIC TOUCH CONTROLLER NEW AGE MUSIC SYNTHESIZED CHOIRS PRO-ONE DYNAMICS MODIFICATION THE VOICE 400 The Fastest, Most Versatile and Musical Synthesizer Voice Available Oscillator A Oscillator B continuous waveshaping, continuous waveshaping variable pulse width, mod from saw to sine, AR enve ulation by S/H or LFO, low lope generator or LFO er octave, linear F.M. modulation, hard sync to VCO A. Keypad and Bank S w itch F ilte r Selects one of thirty-two High pass, Low pass, Band presets. pass all modes are 24db/ oct. Controls include Reso Operating Mode nance, Response (continu S w itch es ously variable) i: ADSR control Live, Memory and modulation, S/H or LFO Edit functions. mod, Noise source, Key board tracking. Output Section mixes your external signal Voltage Controlled into the delay, mixes Dry/ A m p lif ie r Delay, and output volume has its own ADSR and fea control. tures low noise and wide dynamic range. Analog Delay M o d u la tio n wide range low noise delay line operates from flanging to multiple wide range Low Frequency Oscillator with continuous waveshap repeats. Regeneration and LFO depth control will create a wide ing of three waveforms. LFO may be modulated by the Attack range of effects. Release envelope generator. The Voice 400 answers the need for a programmable syn * A voice for a sequencer or computer. thesizer that’s versatile enough to be all these things: * A complete synthesizer for wind or string controllers. -
Cokie Roberts Passed Away. It's a Simple News Fact, Anticipated By
Cokie Roberts passed away. It’s a simple news fact, anticipated by those near her and in the industry, but deeply saddening nonetheless. Cokie was one of the three NPR “founding mothers,” along with Linda Wertheimer and Susan Stamberg. Their courage, spunk, and insistence were legendary. Cokie was a giant among public radio reporters and commercial television announcers, and an inspiration to many women in public radio today. Her voice will continue to be heard in the work of generations of journalists who learned their craft from listening to her on their public radio stations. Here’s an excerpt from NPR’s official statement, written by departing CEO Jarl Mohn: “The public radio family has lost a founding mother, a journalist whose vigorous mind, boundless curiosity, and commitment to NPR have helped make us what we are today. Cokie’s contributions to public radio – and all of journalism – are many. At NPR she was part of the team that built the foundation for our newsroom and led the way for women in journalism at NPR and across the industry. A student of American politics throughout her decades-long career, she brought insight and perspective to countless elections, debates, and policy decisions great and small for NPR audiences. Through Cokie’s voice, the twists and turns in American democracy came to life. A natural storyteller, she could vividly connect the events of today with the people and policies of the past, helping all of us better understand their significance and who we are as Americans.” In closing, I’ll follow Cokie’s advice to listeners and encourage you to support your public radio station. -
A Prairie Home Companion”: First Broadcast (July 6, 1974) Added to the National Registry: 2003 Essay by Chuck Howell (Guest Post)*
“A Prairie Home Companion”: First Broadcast (July 6, 1974) Added to the National Registry: 2003 Essay by Chuck Howell (guest post)* Garrison Keillor “Well, it's been a quiet week in Lake Wobegon, Minnesota, my hometown, out on the edge of the prairie.” On July 6, 1974, before a crowd of maybe a dozen people (certainly less than 20), a live radio variety program went on the air from the campus of Macalester College in St. Paul, MN. It was called “A Prairie Home Companion,” a name which at once evoked a sense of place and a time now past--recalling the “Little House on the Prairie” books, the once popular magazine “The Ladies Home Companion” or “The Prairie Farmer,” the oldest agricultural publication in America (founded 1841). The “Prairie Farmer” later bought WLS radio in Chicago from Sears, Roebuck & Co. and gave its name to the powerful clear channel station, which blanketed the middle third of the country from 1928 until its sale in 1959. The creator and host of the program, Garrison Keillor, later confided that he had no nostalgic intent, but took the name from “The Prairie Home Cemetery” in Moorhead, MN. His explanation is both self-effacing and humorous, much like the program he went on to host, with some sabbaticals and detours, for the next 42 years. Origins Gary Edward “Garrison” Keillor was born in Anoka, MN on August 7, 1942 and raised in nearby Brooklyn Park. His family were not (contrary to popular opinion) Lutherans, instead belonging to a strict fundamentalist religious sect known as the Plymouth Brethren. -
LA MUSICA D'avanguardia (Provenienza Sconosciuta
LA MUSICA D’AVANGUARDIA (provenienza sconosciuta!!) Presentazione Questo volume si propone di fornire una panoramica, la piu' aggiornata possibile, sui fenomeni musicali che esulano dalle correnti tradizionali del rock, del jazz e della classica, e che rappresentano in senso lato l'attuale "avanguardia". In tal senso l'avanguardia, piu' che un movimento monolitico e omogeneo, appare come una federazione piu' o meno aperta di tante scuole diverse e separate. Alcune costituiscono la cosiddetta "contemporanea" (capitoli 1-7), figlia dell'avanguardia classica; altre sono scaturite della sperimentazione dei complessi rock (capitoli 8-10); altre ancora appartengono al nuovo jazz, e non fanno altro che legittimare una volta per tutte il jazz nel novero della musica "intellettuale" (capitoli 11-13); la new age, infine, sfrutta le suggestioni delle scuole precedenti (capitoli 14-17). Piuttosto che un'introduzione generale ci sembra allora piu' opportuno fornire una presentazione capitolo per capitolo: 1. L'avanguardia popolare. Per avanguardia si intendeva un tempo soltanto l'avanguardia classica. A dimostrazione di come i tempi siano cambiati, questo libro e' in gran parte dedicato a musicisti che hanno le loro origini nel rock, nel jazz o nella new age. In questo primo capitolo ci proponiamo di fornire una panoramica storica sulla nascita dei movimenti musicali che hanno introdotto le novita' armoniche, acustiche, ideologiche su cui speculano tuttora gli sperimentatori moderni. Ci premeva anche trasmettere la sensazione che esista una qualche continuita' fra i lavori di Varese e Stockhausen (per citarne due particolarmente famosi) e i protagonisti di questo libro. 2. Minimalismo. La scuola minimalista degli anni Settanta era chiaramente delimitata. -
THE FIRST FORTY YEARS INTRODUCTION by Susan Stamberg
THE FIRST FORTY YEARS INTRODUCTION by Susan Stamberg Shiny little platters. Not even five inches across. How could they possibly contain the soundtrack of four decades? How could the phone calls, the encounters, the danger, the desperation, the exhilaration and big, big laughs from two score years be compressed onto a handful of CDs? If you’ve lived with NPR, as so many of us have for so many years, you’ll be astonished at how many of these reports and conversations and reveries you remember—or how many come back to you (like familiar songs) after hearing just a few seconds of sound. And you’ll be amazed by how much you’ve missed—loyal as you are, you were too busy that day, or too distracted, or out of town, or giving birth (guess that falls under the “too distracted” category). Many of you have integrated NPR into your daily lives; you feel personally connected with it. NPR has gotten you through some fairly dramatic moments. Not just important historical events, but personal moments as well. I’ve been told that a woman’s terror during a CAT scan was tamed by the voice of Ira Flatow on Science Friday being piped into the dreaded scanner tube. So much of life is here. War, from the horrors of Vietnam to the brutalities that evanescent medium—they came to life, then disappeared. Now, of Iraq. Politics, from the intrigue of Watergate to the drama of the Anita on these CDs, all the extraordinary people and places and sounds Hill-Clarence Thomas controversy. -
ARSC Journal, Vol
NATIONAL PUBLIC RADIO ARTS AND PERFORMANCE PROGRAMS By Frederica Kushner Definition and Scope For those who may be more familiar with commercial than with non-commercial radio and television, it may help to know that National Public Radio (NPR) is a non commercial radio network funded in major part through the Corporation for Public Broadcasting and through its member stations. NPR is not the direct recipient of government funds. Its staff are not government employees. NPR produces programming of its own and also uses programming supplied by member stations; by other non commercial networks outside the U.S., such as the British Broadcasting Corporation (BBC) and the Canadian Broadcasting Corporation (CBC); by independent producers, and occasionally by commercial networks. The NPR offices and studios are located on M Street in Washington, D.C. Programming is distributed via satellite. The radio programs included in the following listing are "arts and performance." These programs were produced or distributed by the Arts Programming Department of NPR. The majority of the other programming produced by NPR comes from the News and Information Department. The names of the departments may change from time to time, but there always has been a dichotomy between news and arts programs. This introduction is not the proper place for a detailed history of National Public Radio, thus further explanation of the structure of the network can be dispensed with here. What does interest us are the varied types of programming under the arts and performance umbrella. They include jazz festivals recorded live, orchestra concerts from Europe as well as the U.S., drama of all sorts, folk music concerts, bluegrass, chamber music, radio game shows, interviews with authors and composers, choral music, programs illustrating the history of jazz, of popular music, of gospel music, and much, much more. -
Podcasts for Adults
PODCASTS FOR ADULTS Interested in the world of Podcasts? A podcast is a series of spoken word shows (like talk radio!) that focus on a particular theme or topic – like politics, cooking, or movies. You download them to your smartphone or other device to listen. Here are some fun and interesting podcasts suggested by the GPL Librarians. Choose from different topics, broadcast days, and lengths to find some that will become your go-to choices! For information on how to search for and listen to a podcast, check out our video tutorial at https://tiny.url.com/gplpodcasts Daily News Updates (and one weekly!) These pods are news updates to keep you informed. Up First The blurb: The three biggest stories of the day, with reporting and analysis from NPR News. With hosts Rachel Martin, Noel King, David Greene and Steve Inskeep. Frequency: 6 days per week Average time: 15 minutes The Daily (NYT) The blurb: The biggest stories of our time, told by the best journalists in the world. Hosted by Michael Barbaro. Frequency: Monday-Friday (+bonus episodes) Average time: 25 minutes What a Day The blurb: Cuts through all the chaos and crimes to help you understand what matters and how you can fix it. Hosted by Comedian Akilah Hughes and reporter Gideon Resnick. Frequency: Monday-Friday Average time: 15 minutes Marketplace The blurb: Hosted by Kai Ryssdal, our flagship program is all about providing context on the economic news of the day. Frequency: Monday-Friday Average time: 27 minutes WSJ minute briefing The blurb: Speed through tops news in a flash. -
KALW Is the Voice of San Francisco
The Stoop Black identity — complicated, fun, real. p. 4 Snap Judgment Live In San Francisco — December 3rd! p. 19 75th Anniversary Edition p. 3 Dying To Talk Live (Really.) p. 9 Meet the Beat Reporters p. 8 TALES OF STUDIOS PAST p. 6 Fall 2016 KALW is the voice of San Francisco. You cover all the communities that make up our city. — Donna Hayes, San Francisco KALW: By and for the community . COMMUNITY BROADCAST PARTNERS America Scores Bay Area • Association for Continuing Education • Berkeleyside • Berkeley Symphony Orchestra • Burton High School • Cabrillo Festival • East Bay Express • Global Exchange • INFORUM at The Commonwealth Club • Jewish Community Center of San Francisco • New America Media • Other Minds • outLoud Radio • Radio Ambulante • San Francisco Arts Commission • San Francisco Conservatory of Music • San Quentin Prison Radio • SF Performances • Stanford Storytelling Project • StoryCorps • Youth Radio KALW VOLUNTEER PRODUCERS Shereen Adel, Josiah-Luis Alderete, Dennis Aman, Dan Becker, David Boyer, Susie Britton, Sarah Cahill, Bob Campbell, Lisa Cantrell, Bonnie Chan, Julie Dewitt, Ethan Elkind, Chuck Finney, Richard Friedman, Janos Gereben, Nato Green, Nicole Grigg, Dawn Gross, Anne Harper, Meradith Hoddinott, Wendy Holcombe, Jeremy Jue, Dianne Keogh, Kendra Klang, Carol Kocivar, Justine Lee, Martin MacClain, JoAnn Mar, Holly J. McDede, Greer McVay, Rhian Miller, Sandy Miranda, Helena Murphy, Emmanuel Nado, Marty Nemko, Erik Neumann, Chris Nooney, Edwin Okong’o, Kevin Oliver, Steve O’Neill, David Onek, Joseph Pace, Colin -
Erdem Helvacıoğlu's Musical Career Started During His High School Years at Robert College
Education Istanbul Technical University, MIAM, Electroacoustic Composition and sound engineering PHD. Program, 2013 Istanbul Technical University, MIAM, Sound Engineering & Composition Master program, 2003 Yıldız Technical University, Industrial Engineering, 1999 Robert College, 1994 Awards Best Kurdish album of 2012 as producer, HAWER NET magazine, 2012 – Mehmet Akbaş “PIA” Best local album of 2012 as producer, Naim Dilmener, 2012 – Mehmet Akbaş “PIA” Best album of 2012, Ettore Garzia magazine, 2012 – “Fields and Fences” Best album of 2012, Canadian radio CJSW 90.9 FM, 2012 – “Planet X” Best album of 2012, KONTRA PLAK record store, 2012 – “Eleven Short Stories” Best album of 2012, Exclaim Magazine, 2012 – “Timeless Waves” Best album of 2011, Blogcritics Magazine, 2011 – “Black Falcon” Best album of 2010, Blogcritics Magazine, 2010 – “Sub City 2064” Best album of 2010, Perfect Sound Forever Magazine, 2010 – “Sub City 2064” Luigi Russolo Electroacoustic Music Competition, Finalist, 2010 Editors top 3 cds 2010, Guitar Player magazine, 2010 – “Sub City 2064” Best album of Spring 2009, Culture Catch Magazine, 2009 – “Wounded Breath” Best album of 2007, Audio Video Magazine, 2007 – “Altered Realities” Best album of 2007, Cyclic Defrost Magazine, 2007 – “Altered Realities” Best album of 2007, Textura Magazine, 2007 – “Altered Realities” Best album of 2007, All About Jazz Magazine, 2007 – “Altered Realities” Mostramundo Film Festival, The Best Original Soundtrack, 2006 MUSICA NOVA Elektroacoustic Music Competition, Finalist, 2006 Insulae Electronicae -
Minnesota Public Radio Corporation for Public Broadcasting (CPB) – Station Activity Survey: Local Content Report Fiscal Year 2019 CPB Grantee Name: KSJN-FM | ID 1466
Minnesota Public Radio Corporation for Public Broadcasting (CPB) – Station Activity Survey: Local Content Report Fiscal Year 2019 CPB Grantee Name: KSJN-FM | ID 1466 Question 6.1: Describe your overall goals and approach to address identified community issues, needs, and interests through your station’s vital local services, such as multiplatform long and short-form content, digital and in-person engagement, education services, community information, partnership support, and other activities, and audiences you reached or new audiences you engaged. Minnesota Public Radio (MPR) strives to be a leader in creating trusted and meaningful experiences for audiences. MPR continues to be a sustainable public service while deepening value to current audiences and expanding our reach to new market segments. MPR is uniquely positioned to respond to the significant social and demographic changes throughout Minnesota. MPR is a multi-platform media company focused on addressing community issues by investing time, talent and money to create, curate, and connect audiences. This is achieved by using broadcasts, podcasts, voice-artificial intelligence and social listening experiences. The following are examples of how MPR addressed community issues, needs and interests in FY19 through its three services — MPR News, Classical MPR and The Current. MPR News: • The MPR newsroom employs 24 reporters. The six reporters based in Greater Minnesota covered over 600 stories in FY19. The overarching goal of MPR’s reporting team is to foster a healthy news ecosystem across Minnesota. • In 2018 MPR News closely covered statewide state and federal elections. It aired nine debates engaging Minnesota’s U.S. Senate, Congressional, and Gubernatorial candidates.