Showing posts with label NPR. Show all posts
Showing posts with label NPR. Show all posts

Thursday, March 16, 2017

drowned out by popular culture

"This and many more specials as well as the ongoing NPR airplay, put my music in the spotlight over the years and continued to do, usually drowned out by popular culture"

"The vast majority of radio stations that have broadcast my music over the last 40 years is from National Public Radio. I would go as far as saying that without NPR, PRI and the PBS, I am not sure that I would have become a nationally known solo artist because commercial radio has, for the most part, ignored violin/fiddle music almost completely. I am linking a video from one of the most prominent PBS Specials I have created – with Yo-Yo Ma. I remember the budget of this special from 2000 nearly exactly. $180,000 came from Sony Classical Records to film this at Avery Fisher Hall, and it was matched by $180,000 from Public Broadcasting, and was aired on PBS several times. Without the funding from the National Endowment, the special would not have been possible. This and many more specials as well as the ongoing NPR airplay, put my music in the spotlight over the years and continued to do, usually drowned out by popular culture. As a young boy, I am not even sure I would have gotten into arts music without PBS and NPR in our household almost daily."
-Mark O’Connor
Mark O'Connor portrait by John David Pittman
Excerpted from:
“The White House released its budget proposal on Thursday, which suggests eliminating the Corporation for Public Broadcasting and the National Endowment for the Arts…
White House budget chief Mick Mulvaney says Trump administration officials focused on areas of the budget where they felt they could not ask taxpayers to foot the bill, specifically citing the Corporation for Public Broadcasting (CPB).
"When you start looking at the places that will reduce spending, one of the questions we asked was 'Can we really continue to ask a coal miner in West Virginia or a single mom in Detroit to pay for these programs?' And the answer was no,” Mulvaney, the director of the Office of Management and Budget, said in a Thursday morning interview…
"We can ask them to pay for defense, and we will, but we can’t ask them to continue to pay for the Corporation of Public Broadcasting."
Under Trump’s proposed budget, the funding for the CPB would be eliminated, as would the funds for the National Endowment of the Arts and National Endowment for the Humanities.
According to Patrick Butler, President of America's Public Television Stations, around 23,000 people work in public broadcasting across the U.S., many at small town and rural radio and television stations.
"In the long run it's entirely possible that everybody would lose his or her job," Butler told NBC News, "If that funding goes away."
Remote areas will be hit hardest if CPB funding — 70 percent of which goes to local stations — is eliminated. Bill Legere, General Manager of Juneau, Alaska's KTOO, oversees a staff of 24 people that run both the public radio and television stations in the state capitol. Funding from the Corporation for Public Broadcasting makes up about one-third of his budget, but in some smaller towns, CPB grants account for closer to 90 percent of operation costs.
According to a statement issued Thursday by PBS, public television is "America's largest classroom," with 68 percent of all kids aged 2-8 watching and learning from shows like Sesame Street, Thomas and Friends, Arthur, and others.
Speaking on MSNBC's Morning Joe on Thursday, Office of Management and Budget Director Mick Mulvaney said that cutting public broadcasting was in the best interest of rural and inner-city Americans.
Mulvaney also said Thursday that much of the budget came from policy proposals Trump outlined in speeches and interviews during his campaign.
"We went back and pulled lines from speeches, interviews and turned his words, his policies into numbers,” Mulvaney said. "So folks who voted for the president are getting exactly what they voted for. "”

Mark O'Connor's "Appalachia Waltz" (Feat. Yo-Yo Ma) Loved Composition For Strings


"Orchestral programming would nearly cease to exist as well. There is really no outlet for interesting Symphony Orchestra work, and the distribution of it without NPR and PBS. This link here is a piece of mine with the Buffalo Symphony that was the subject of a PBS Special. It featured my critically acclaimed "American Seasons" violin concerto which obviously would not have had a chance on commercial T.V. or radio, but still worthy of being promoted and supported I believe. There is really nothing in the pop culture that could make up for the loss I am afraid, not for symphony orchestra."
- Mark O'Conner


"Fall" from Mark O'Connor's "American Seasons" w. JoAnn Falletta/Buffalo Philharmonic





Tuesday, March 25, 2014

Licenses for WGBH FM and WCRB FM in Boston being challenged before the FCC

Since November 6, 2009 "Supporters of Folk and Blues on WGBHhas been in the forefront of the fight by WGBH management to replace "the peoples' music"* with "single format"** (talk and news) format. We welcome this recent effort by the "Committee for Community Access", which formed some time during or after 2009, when WGBH fired Steve Schwartz, reduced Eric Jackson's on-air hours and eliminated Bob Parlochato's jazz sprogrms. For additional background, read


Graphic in "WGBH drops folk and blues programs", 11/7/09 - http://notlobmusic.blogspot.com/2009/11/wgbh-drops-folk-and-blues-programs.html, Jeff Boudeau
Marita Rivero Vice President and General Manager for Radio and Television, WGBHJune 1, 2012 at 1:10am · Latest version by Jeff Boudreau
Brendan Hogan returns to Boston NPR radioSeptember 30, 2011 at 12:16pm · Latest version by Jeff Boudreau
Consider community radioSeptember 29, 2011 at 4:07pm · Latest version by Jeff Boudreau
Re-statement of purposeJune 23, 2011 at 3:06pm · Latest version by Jeff Boudreau
WGBH has been escorting long time employees out the doorJune 10, 2011 at 9:17pm · Latest version by Jeff Boudreau
Scott Dickinson's brilliant idea, an open group resource for folk, blues, roots & americana in New EnglandMay 26, 2011 at 12:51pm · Latest version by Jeff Boudreau
...all in "Supporters of Folk and Blues on WGBH's" files areaas well as "WGBH drops folk and blues programs", 11/7/09 - http://notlobmusic.blogspot.com/2009/11/wgbh-drops-folk-and-blues-programs.html - and subsequent WGBH-related articles in Jeff Boudreau's blog - http://notlobmusic.blogspot.com/
-----
* Attributed to Jim Kweskin, November 7, 2009, quoted by Jeff Boudreau  ""I can only assume this has something to do with the almighty dollar. Isn't this supposed to be public radio and aren't we the public. Folk music has been a mainstay on WGBH for as long as I can remember. Acoustic artists are as popular as ever and in some ways even more popular then in days gone by. I don't get it. WGBH should be ashamed of itself. Well, as Ma Joad said, "We're the people and you can't stop us and you can't lick us. We just keep coming, 'cause we're the people."
Source: http://notlobmusic.blogspot.com/2009/11/wgbh-drops-folk-and-blues-programs.html
** A term used by WGBH management at meetings of the the "Community Advisory Committee", November, 2009.



================


Licenses for WGBH FM and WCRB FM in Boston being challenged before the FCC


Committee for Community Access
4 Carol Avenue | Suite 6 | Boston | MA 02135617.277.4715
Media Contact: Sue Auclair, 617-522-1394 _jazzwoman@earthlink.net

March 25, 2014

For Immediate Release:

Broadcast Licenses for WGBH FM Educational Foundation and WCRB FM in Bostonbeing challenged before the FCC by Committee for Community Accesshttp://www.CCAccess.info

Boston, MA--The Committee for Community Access, a local public interestmedia advocacy umbrella organization, filed Petitions to Deny Renewal ofthe licenses held by WGBH Educational Foundation and WCRB FM with theFederal Communications Commission, Washington D.C. on the first business dayin March, which was March 4, 2014. (The FCC was closed on Monday March 3 dueto asnowstorm.)

Massachusetts radio stations have a 10-year FCC renewal cycle and 2014 isthe year for all radio stations in the state to renew their licenses withthe FCC.

The WGBH Educational Foundation's Oppositions to Committee for CommunityAccess's Petitions to Deny are due 30 days later, or on April 3, 2014. CCA's Replies to the Oppositions will be due 20 days from when theFoundation's Oppositions are filed or April 23rd, whichever is later.

On behalf of Classical, Jazz, Folk and Blues music lovers, The Committeefor Community Access is requesting that the trustees of the EducationalFoundation restore full time music programming on the high power, clearsignal facility of WGBH-FM 89.7 mHz.

CCA calls on members of the public who wish to protest the WGBH EducationalFoundation's dropping of almost all of WGBH-FM's music broadcasts,canceling all Blues and Folk shows, ending its decades long tradition ofjazz all night by limiting jazz to weekend evenings, and its relocation ofall classical programming to a weak out-of-town station, to mail theirsupport of CCA's FCC petitions within the next two weeks to the FCC and tothe WGBH Educational Foundation's Board of Trustees, so the station and theCommission may understand the depth of public feeling on this issue.

A sample letter for the public is on CCA's new webpage: _http://www.ccaccess.info_ (http://www.ccaccess.info/)

Addresses:Media Bureau - Audio SectionFederal Communications Commission445 12th Street S.W., Room TW-A325Washington D.C. 20554

RE: License Renewal Applications ofWGBH-FM #BRED 20131202BIAWCRB-FM #BRH 20131202BIR

Board of TrusteesWGBH Educational FoundationOne Guest StreetBrighton, MA 02135

A steering committee, led by CCA's Chairman, Jacob A. Bernstein andincluding lobbyists for Classical, Jazz, Folk and Blues music programminghas been formed to publicize and raise funds to support these efforts.

"We cannot believe the trustees approved the way Jazz radio was decimatedin June 2012," states Jack Bernstein, Chairman of the Committee forCommunity Access. "Management is chasing a pot of gold in their combinedradio/TV/Web News/Talk format infiltrating and taking over the proud musicbastion they spent 40+ years in the making. We're opposing what they'redoing because they created the demand among New England music lovers forthe best presentation and reception of music. WGBH-FM was an establishedhighly polished exposition of music that was TOO ESSENTIAL TO LOSE!"

Brief History of Eliminating Music at WGBH:

September 1995: Ron Della Chiesa's Music America scrapped by management
September 2009: WGBH bids to purchase WCRBNovember 2009: WGBH purchases WCRB for $14 Million
November 2009: FCC approves WGBH purchase of WCRB; WGBH moves all classical programming to WCRB FM. A protest is held at Old South Churchwith a panel featuring Chris Lydon, Richard Dyer and others. John Voci wasrepresenting WGBH at this event.
December 2009: WGBH Discontinues BSO Friday Afternoon Broadcasts
January 2010: Folk and Blues shows dropped
June 20, 2012: WGBH FM cuts jazz programming; fires Steve Schwartz, cutsEric in The Evening to weekends only; cuts all-night

===============

Related articles from this blog:

1000 supporters of folk and blues on WGBH can't be wrong!, 11/15/09
Which side are you on?, 12/26/09
NPR Ate My Local Public Radio Station, 7/7/10
On the demise of folk, blues and classical on WGBH-fm. one year on., 11/9/10
WGBH's March Towards "Single Format" Continues, 6/20/12
Jazz Funeral for Jazz on WGBH Radio, 7/5, Brighton, 7/3/12
Folk, Blues, Classical and Jazz Funeral for ALL Passed WGBH Music Programs, Copley Square, 7/27, 7/27/12
This will be your last email from WGBH, 8/27/12
4th Anniversary Folk-to-AAA Format Change at "Boston's NPR Music Station", 1/24/13
Think before you donate to so-called "public" radio, 6/7/13
4th anniversary of WGBH killing the peoples' music, 12/2/13

==================


Appended 3/27/13. 

notloB Music asked Scott Fybush for his opinion, who obliged: "As I said when Jeff passed along the news of this initially - good luck with that. Ever since the WNCN fight in the 1970s, the FCC has been steadfast in its determination not to be a judge of content, especially at renewal time. And unlike Canada, where stations are required as a condition of license to program a certain amount of spoken-word content, there's nothing in the FCC rules that mandates whether stations run spoken-word or music programming. If WGBH's license could somehow be pulled for not carrying any music programming, then so could WBUR's, and WEEI's, and WBZ-FM's, and most of the AM dial. If the aim here is to get publicity, so be it, but it's not going to go anywhere at the FCC."
Scott was involved for many years in Boston-area commercial radio and is now the owner of Northeast Radio Watch.

Scott's analysis appears to be dead on. In "Group challenges WGBH programming" by Joseph P. Kahn  | GLOBE STAFF   MARCH 25, 2014,  Jack Bernstein is quoted as saying “We expect to be turned down...”
Read the full article here.

Monday, July 8, 2013

Heavy Rotation: 10 Songs Public Radio Can't Stop Playing


Just as the NSA has no business intercepting our electronic communications, the federal government has no business running a "public" radio corporation.
Get the feds off our public airwaves!
p.s. NPR music sucks.

From its Facebook page:
Download new songs by Neko Case, Valerie June, Adultrock, Jason Isbell and many more, handpicked by public radio's top DJs.

Source

Heavy Rotation: 10 Songs Public Radio Can't Stop Playing

Download songs by Neko Case, ADULTROCK, Valerie June and many more.

3 min 30 sec


Download Valerie June's "Workin' Woman Blues" in this month's edition of Heavy Rotation.
Download Valerie June's "Workin' Woman Blues" in this month's edition of Heavy Rotation.
Courtesy of the artist
Another month, another great mix of new music chosen by public radio's top DJs. Download an explosive new track from Neko Case, discover the Shabazz Palaces-approved Seattle rapper Porter Ray and get to know Valerie June, one of public radio's frontrunners for Best New Artist of 2013. Grab all 10 of our picks below, as chosen by the following contributors:
  • Chris Campbell, DJ at WDET's ALPHA channel in Detroit
  • Lars Gotrich, producer and host of Viking's Choice at NPR Music
  • Anne Litt, DJ at KCRW in Los Angeles
  • Larry Mizell Jr., DJ at KEXP in Seattle
  • Dave P., host of Making Time RADio at WXPN in Philadelphia
  • Jewel Parker, host of Strictly Hip-Hop on WEAA in Baltimore
  • Jeremy Petersen, DJ at opbmusic in Portland
  • Fiona Ritchie, host of NPR's Thistle & Shamrock
  • Kim Ruehl, writer for FolkAlley.com
  • Gwen Thompkins, host of Music Inside Out at WWNO in New Orleans

Heavy Rotation: July 2013

Neko Case
  • Album: The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You


In a way, we were predisposed to love 's new song, "Man." Her upcoming The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You was recorded, in part, in Portland with producer , and the song features 's guitar work. She's also headlining our city's Music Fest NW in September. Local biases aside, we're just huge fans of the singer, who comes out swinging in "Man" with a driving beat and a declaration — "I'm a man / That's what you raised me to be" — that's especially interesting after the "Man man man man man man-eater" refrain of her last record's "People Got a Lotta Nerve." Lyrically provocative — wait for that radio-unfriendly final verse — it's catchy enough to hook even the manliest among us. --Jeremy Petersen,
Jason Marsalis
  • Album: In a World of Mallets


There's an endearing sweetness to "Ballet Class," by the Jason Marsalis Vibes Quartet. The song appears on the album In a World of Mallets, and its ethereal quality conjures bunheaded ballerinas crossing a parquet floor. But midway through, the quartet really swings. I asked Marsalis what makes "Ballet Class" so damned pleasing and he replied, "The melody is based on a C major scale, the hardest to play on vibes, and the rhythm comes from the bolero used in classical music. As for when we solo, we can bring in whatever kind of music we want — samba, rock, hip-hop, blues, flamenco, anything — and it will work." Marsalis wrote the album's liner notes and dedicates "Ballet Class" to "all genres of music." Now, that's on pointe. --Gwen Thompkins,
Download Valerie June's "Workin' Woman Blues" in this month's edition of Heavy Rotation.
  • Album: Pushin' Against a Stone


When I heard "Workin' Woman Blues," I knew Valerie June was completely different, and that's rare these days. The first time I played her music on air, the positive response from listeners was overwhelming — I haven't had that much response to an artist or song in a long time. June's sound is influenced by R&B, Appalachia, gospel and blues and anchored by excellent songwriting. A Tennessee native, she makes music that oozes the Mississippi River as much as it does and Stax records. June has help from a lot of special friends on the forthcoming Pushin' Against a Stone: Kevin Augunas and Dan Auerbach from produced tracks, while and Richard Swift make appearances. But my favorite song, "Workin' Woman Blues," was produced by bassist Peter Sabak. I see little reason for the blues in Valerie June's future, as she's already my leading contender for Best New Artist of the year. --Anne Litt,
ADULTROCK
  • Album: In The Shade (Single)

(101.9 FM, an NPR affiliate in Detroit), in collaboration with , Studio Feed and Paxahau, recently launched , a 24/7 interactive music streaming service that plays electronic and progressive soul music. The channel has been seen as a game-changer in Detroit, due to its eclectic playlist and widescreen sensibilities, perfectly exemplified by songs such as "In the Shade" by Irish DJ Gavin Elstead — otherwise known as ADULTROCK. "In the Shade" features chillwave and downtempo-style sounds as it hearkens back to some of the lush, funky and orchestral influences of 1980s producers like Trevor Horn, but with a laid-back, contemporary spin. The track is a groovy, dreamy, soulful, head-notic experience that's cinematic in nature, but is still performed with finger-popping elan. This joint deservedly gets spun frequently on both the Progressive Underground and ALPHA channel. --Chris Campbell,

Jason Isbell's new album is called Southeastern.
  • Album: Southeastern


was established as a force when his old band, Drive-By Truckers, made a name for itself years ago. Unfortunately, his rise accompanied a descent into addiction. He battled it for years before carefully turning over a new leaf — a struggle and pursuit he chronicles beautifully on his new solo album, Southeastern. There, Isbell sheds a few layers of clothing and skin in order to bare an earnest, sober soul. Part repentance, part damn good songwriting, the disc doesn't lack high points. But "Live Oak" is where the complexity of surmounting addiction comes to a head. The opening lines alone are enough to slay: "There's a man who walks beside me and he's who I used to be / I wonder if she sees him and confuses him with me." --Kim Ruehl,

Porter Ray
  • Album: BLK GLD

A 25-year-old rapper, Porter Ray Sullivan was once described to me by ' Ishmael Butler as "the Golden Child." A son of Seattle's Central District, Porter Ray namechecks Butler and revered Seattle MC Infinite as influences. Appropriately, "5950's" is 206 from head to toe; named for a model of New Era baseball cap, it's described as sporting Mariner teal throughout Porter's stunning debut, BLK GLD. Here, Porter reels off the minutiae of murder, betrayal and narcotic sales with a poetic eye that recalls vintage , tempered with a numb, gray-sky detachment (and aided by a sterling verse from Nate Jack) all over shimmering piano keys, a subdued drum shuffle and quiet-storm rain effects. In this city — built on, around, and seemingly under water — it's even easier than you'd think to get washed, depending on where you're standing. --Larry Mizell Jr.,

Drug Church
  • Album: Drug Church


While I'm not so sure I'd want to live in the house that Quicksand built (you know, because it's made of... never mind), at least the post-hardcore bands that band inspires would know their way around a melody. Count the fellow New Yorkers in Drug Church among its disciples; the band features the outspoken Self Defense Family/End of a Year frontman Patrick Kindlon in a lighter but no less intense role. "Reading YouTube Comments" comes from the band's Fast and the Furious actor-referencing debut, Paul Walker, and sounds like a game of chicken with shopping carts. Feedback punctuates a classic punk start-stop rhythm before the whirlwind chorus wherein Kindlon yells, "DECLINE! DECLINE!" Start the pit; I'm getting in. --Lars Gotrich, NPR Music
Locksmith
  • Album: The Green Box

Locksmith's "Stand It" drops jewels from start to finish. Over a beat by producer 9th Wonder, the rapper proves his ability to go toe-to-toe with hip-hop's heavy hitters. The song is mellow and straight to the point; it reminds me of the classic New York City hip-hop vibe from the 1990s. I recommend playing it at loud volumes in the car, on repeat. --Jewel Parker,
Gesaffelstein
  • Album: Pursuit (Single)


I've been spinning Gesaffelstein tracks on the Making Time RADio show since he released his first EP on Turbo Recordings in 2010. Gesaffelstein is one of my most-played artists; all of his tracks are massive, and when I say "massive," I mean they are huge in sound. But the French producer has just put out his biggest track yet, "Pursuit." It's so big that's it difficult to figure out what to play after it in a club, because nothing can hold up to its sonic density. With "Pursuit," Gesaffelstein creates a genre of electronic music that sounds as much like rock as it does dance. I'm going to spin this one all summer long. --Dave P.,
The Chair
  • Album: The Road To Hammer Junkie


I like my rootsy music to feature players with sharp skills, singers with a bit of an edge and arrangements that surprise. When it's irresistible, that's usually because there's also some sort of subcutaneous anarchy. This is what threatens to erupt on The Chair's second album, The Road to Hammer Junkie. The octet from Orkney, an archipelago off the north coast of Scotland, taps the deep well of traditional fiddle music for which the islands are famous, then drives it stomping into the 21st century. Five years in the making on this outing, the sound is as rugged as an Orcadian coastline, with palpable joy bubbling over in even the darker tracks. Anyone who can inject this much heart, soul and spontaneity into a studio album must be unstoppable live. No wonder the 'Chair men' are a hit on the festival circuit. As for "Knees of Fire," just try to sit still. --Fiona Ritchie,

Monday, June 17, 2013

What Does Passim Mean to You?

Received by email from
 Dan Hogan  via passim.ccsend.com 
Passim
Dear Jeff, 

I want to thank you for your involvement with Passim and to ask for your support as our new fiscal year draws to a close on June 30. Below is some information that I hope will inform and inspire you to give in a way that is meaningful to you. 
  • Did you know that Passim is a nonprofit?  
  • Did you know that, to sustain our programs, we depend on our community for 40 cents in memberships and donations for every dollar in ticket sales?
  • Did you know that 80 cents of every dollar you give goes directly to our programs, while only 20 cents goes to overhead?
We hope your answer to all of these questions is "yes, we knew that!"

Our next question is:
  • Will you support our mission to "provide exceptional musical experiences, nurture artists and build community" by becoming a member or donating before June 30?
Again, we hope your answer will be a resounding "yes." If so, then just click here and you'll be well on your way to continuing your role in our community - a community that consists of newer and more seasoned artists, students, members and others, all of whom share a desire to show how vital music is to our lives.  Make the same statement today by showing how important live music is to your life. Our new fiscal year ends June 30 - help us end on a healthy note by becoming a member or donating today.
Thank you for your support.
With Warm Regards,
Dan Hogan
Executive Director

   
PassimMissionThe Passim Nonprofit Mission
The mission of Passim is to provide truly exceptional and interactive live musical experiences for both performers and audiences, to nurture artists at all stages of their career, and to build a vibrant music community. We do so through our legendary listening venue, music school, artist grants and outreach programs. As a nonprofit since 1994, Passim carries on the heritage of our predecessors-the historic Club 47 (1958-1968) and for-profit Passim (1969-1994). We cultivate a diverse mix of musical traditions, where the emphasis is on the relationship between performers and audience and teachers and students. Located in Harvard Square, Passim serves Cambridge and the broader region by featuring local, national and international artists. Our ultimate goal is to help the performance arts flourish and thereby enrich the lives of members of our community.

Passim is supported in part by:

Sent by reply email:

What does Passim mean for me?
It means the post-Siggins board / post Tim Mason-managed institution has abandoned its earlier mission as stated before February 2010:

"Music as a MissionPlans are well underway to ensure the mission of Club Passim continues. It's more than the sharing of good music. As a non-profit, the club believes it critical to preserve and promote folk and acoustic music by nurturing new artists, offering varied programming, and featuring both new and established talent. The challenge to fulfill this mission is to keep it financially sound by building its membership base and continue strong fundraising efforts through donations, corporate sponsorships and grants. We hope you join us this year in supporting the artists and helping us keep playing the music for another 50 years."

Apparently "Passim" (and the NPR version of WUMB) both have a problem with the "f" (folk) word being in their respective mission statements, websites and branding, as having such would inconveniently get into the way of presenting inferior-quality pop "artists." A case in point, I attended a recent concert where a friend was the featured act. My Eastman-trained date said of the very disorganized, untalented opener "who did she slept with to get the gig?"

Do us all a favor, abandon the "pop" experiment. Bring the old crew and the old Club Passim (Betsy, Tim, Millie, Elizabeth et al) back.

"Passim" also means that the dropping of the word "Club" dishonors the earliest years as Club 47.
From http://www.passimcenter.org/Page.asp?n=34392&snid=311510808&org=passimcenter.org, copied 2/13/10
Passim History
It's hard to believe that thousands of musicians consider playing in a room no larger than 30' x 40' that intimately seats 125 in a basement in Harvard Square as "making it." But they do, because this brick-floored subterranean locale is Club Passim, one of the nation's legendary cultural icons and epicenter of great folk and acoustic music. A place where musicians like Joan Baez, Tom Rush, Jackie Washington, Peter Wolf, Taj Mahal, Patty Larkin, Goeff & Maria Muldaur, Shawn Colvin, and Suzanne Vega cut their musical teeth before playing larger venues.

Why Legendary?
For more than 50 years, Club Passim has been known as a premier national venue presenting new and established traditional, folk, and acoustic musical performers. In all its incarnations, from the original Club 47 (1958-1968) to Passim (1969-1994) and finally as its present Club Passim, the club has been a special place for both artist and audience member. Probably more than any other single site, Club 47 can claim to have produced a generation of performers, record producers, festival organizers, and managers who remain a great influence on today\'92s music industry. Club 47 may have been the most influential club of its kind during the 1960s folk boom, even more so than clubs in New York and Berkeley. The venue's role in America's musical and cultural history is still being assessed in books, recordings, television documentaries, articles, and autobiographies.
Making History
Club Passim first opened as a jazz venue in 1958 under the name of Club 47. The first few months were rocky as the club was shut down by the Cambridge police. The local blue laws at the time prohibited more than three stringed instruments in a place that served food and beverages. So they got a non-profit educational charter and reopened as a private club, making people members at the door.
It wasn't long before it earned a reputation for good music, coffee, and company. And it was here that a friend of then unknown 17-year-old Joan Baez rented the club out just to get her on stage. Baez quickly built a worshipful following and became a regular feature. Here, she introduced Bob Dylan who played between acts.
The Club was shut down by Cambridge police once again, but the performers rallied and held their own hootenannies to keep the music going. Supporters soon realized that they had built a strong community around the club-a strong, close-knit community that remains to this day. The Club Today-40 More Years When rock-and-roll electrified the music and became "the sound," its influence lessened folk's popularity and broadened the folk spectrum simultaneously. But when the '60s came to a close, so did the era of Club 47, which was reborn into Passim and run by Bob and Rae Anne Donlin, who kept its flavor true to its roots. Best of all, Club Passim remains a small venue, where the audience is close enough to feel reverberation of music, see the sweat of the brow, and be a part of the art. Club Passim remains that community that began 40 years ago. It remains a non-profit organization that relies on members, donors, and volunteers for support.
The key to Club Passim's continued success is its audiences, who support new musicians, take risks, and lend an educated ear. But it's more than the music that brings them back. A notation in the club's Memory Book, written by a fan whose association with the club spans its history, sums up feelings of others who've passed through the room: "...The beauty of this place is that in 30 years, those of you who pass through this sacred room will have equally wonderful memories of performers whose careers were launched here. I hope your memories, felt years from now, will inspire the feelings of kinship with special musical experiences that mine do for me. Come here often. The specialness of this room will grow on you."
"Passim evokes Bob and Rae Anne Donlin; "Club Passim" honors both Club 47 and the Donlins.
Bring back the hybrid name, Club Passim.

Friday, June 7, 2013

Think before you donate to so-called "public" radio

With so many local community and independent college radio stations out there, it is a wonder that anyone listens to corporate commercial or corporate, so-called "public" radio.





And on the "public" radio side, use this blog's search feature for "WGBH" or "WUMB" (two Boston NPR affiliates) to read horror stories about what they have done to eviscerate folk, blues and jazz, the peoples' music*, from Boston's public airwaves).


Instead of donating to corporate/government "public" radio, instead consider donating to and becoming involved with your local community and independent college station.


Community and independent college are types of radio service that offer a third model of radio broadcasting beyond commercial and public. Community and independent college stations serve geographic communities and communities of interest. They broadcast content that is popular to a local/specific audience but which may often be overlooked by commercial/mass-media and so-called "public" broadcasters. 


Community and independent college radio stations are operated, owned, and driven by the communities they serve. Community radio is not-for profit and provides a mechanism for facilitating individuals, groups, and communities to tell their own diverse stories, to share experiences, and in a media rich world to become active creators and contributors of media.


So before you pledge to that corporate NPR affiliate, consider instead donating to your local community radio station.






*Jim Kweskin, used with permission.

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Here's a Facebook event created yesterday you can share to educate the masses and spread the appeal.

Friday, November 9, 2012

The Civil Wars Bite the Dust

The news, broke at last night's Mike and Ruthy concert at the Loring-Greenough Hosue in JP, today has been confirmed by Rolling Stone, the Americana pop duo "The Civil Wars" have indeed broken up.


The philosophical and practical Ruthy quipped "maybe if they had named themselves "Longevity" they would still be together."

American pop music cheerleaders NPR music and local AAA pop purveyor WUMB hyped "The Civil Wars" beyond reason. Personally I was never a fan, but wish them well.

From http://www.npr.org/artists/137227339/the-civil-wars

The Civil Wars

The Civil Wars
Courtesy of the artist
The Civil Wars artist page: interviews, features and/or performances archived at NPR Music

CONCERTS

The Civil Wars performed on Mountain Stage.
January 9, 2012 The indie-folk duo brought its gentle, yearning harmonies to West Virginia's most famous stage.
The Civil Wars play the Harbor Stage at The Newport Folk Festival on Sunday.
August 1, 2011 Hear the duo perform their sweet, harmony-rich folk-pop songs with loving chemistry at Newport.

STUDIO SESSIONS

The Civil Wars recently performed live at WFUV in New York City.
May 3, 2011 Hear one of 2011's breakout bands perform live in the studio at WFUV in New York City.

INTERVIEWS & PROFILES

Joy Williams and John Paul White are The Civil Wars.
February 12, 2011 The folk duo discusses Grey's Anatomy, their relationship and what's next.

MORE STORIES

Joy Williams and John Paul White of The Civil Wars perform backstage during the Sasquatch! Music Festival.
November 8, 2012 The warm folk-pop duo, now on hiatus due to "internal discord," performs "Kingdom Come" in a field.
The Head and the Heart.
December 16, 2011 The Head and the Heart is one of many new folk groups that bend tradition while keeping it alive.
Cover art for Bright Eyes.
December 5, 2011 The list of our 50 favorite albums includes Bright Eyes and more artists from B to E.
The Civil Wars perform at NPR headquarters in Washington, DC for a Tiny Desk Concert on Thursday, May 12, 2011.
June 27, 2011 Watch Joy Williams and John Paul White's swooning chemistry and stirring harmonies at NPR Music.



Joy Williams and John Paul White of The Civil Wars perform backstage during the Sasquatch! Music Festival.
WatchThe Civil Wars: A Song Of Loyalty, Before It's Tested
November 8, 2012 – The warm folk-pop duo, now on hiatus due to "internal discord," performs "Kingdom Come" in a field. KEXP
The Civil Wars performed on Mountain Stage.
ListenThe Civil Wars On Mountain Stage
January 9, 2012 – The indie-folk duo brought its gentle, yearning harmonies to West Virginia's most famous stage.
The Head and the Heart.
ReadNew Adventures In Folk: The Best Of 2011
December 16, 2011 – The Head and the Heart is one of many new folk groups that bend tradition while keeping it alive. FolkAlley
Read50 Favorites Of 2011: B-E
December 5, 2011 – The list of our 50 favorite albums includes Bright Eyes and more artists from B to E.
The Civil Wars play the Harbor Stage at The Newport Folk Festival on Sunday.
ListenThe Civil Wars, Live In Concert: Newport Folk 2011
August 1, 2011 – Hear the duo perform their sweet, harmony-rich folk-pop songs with loving chemistry at Newport. WKSV
The Civil Wars perform at NPR headquarters in Washington, DC for a Tiny Desk Concert on Thursday, May 12, 2011.
WatchThe Civil Wars: Tiny Desk Concert
June 27, 2011 – Watch Joy Williams and John Paul White's swooning chemistry and stirring harmonies at NPR Music.
The Civil Wars recently performed live at WFUV in New York City.
ListenThe Civil Wars: A Match Made In Nashville
May 3, 2011 – Hear one of 2011's breakout bands perform live in the studio at WFUV in New York City. WFUV
Joy Williams and John Paul White are The Civil Wars.
ListenThe Civil Wars: A Chance Meeting, An Internet Sensation
February 12, 2011 – The folk duo discusses Grey's Anatomy, their relationship and what's next.