{"id":944,"date":"2012-06-24T15:05:35","date_gmt":"2012-06-24T19:05:35","guid":{"rendered":"http:\/\/www.artsjournal.com\/jazzbeyondjazz\/?p=944"},"modified":"2019-09-12T18:54:46","modified_gmt":"2019-09-12T22:54:46","slug":"news-good-and-otherwise-about-good-radio","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2012\/06\/news-good-and-otherwise-about-good-radio.html","title":{"rendered":"News — good and otherwise — about good radio"},"content":{"rendered":"

WNYC\/WQXR program host David Garland<\/a> makes a good point, in reference to the announcement by WGBH (Boston)<\/a>\u00c2\u00a0that it’s cutting back its nightly\u00c2\u00a0“Eric in the Evening”<\/p>\n

\"\"<\/a>

David Garland, host of “Spinning on Air”, WNYC 93.9, Sunday evenings, 8 pm<\/p><\/div>\n

jazz show, Steve Schwartz’s Friday night jazz show and \u00c2\u00a0Bob Parlocha’s overnight jazz show. Writes Garland: \u00c2\u00a0“I wish good radio was considered a good ‘story’ while it’s ongoing, not only when it’s cancelled.”<\/p>\n

Journalists love conflict — it’s hard to make something that’s positive and ongoing dramatic. So it’s probably in the scheme of things that radio programs that continue to provide high quality pleasure to loyal listeners year after year don’t attract much frequent attention. But fair enough –\u00c2\u00a0and here’s some nice news: WBGO (Newark) is celebrating the 40th anniversary of program host Michael Bourne on the air, and the 30th anniversary of music director and Morning Jazz host Gary Walker’s launch of his radio career.<\/p>\n

\"\"<\/a>

Michael Bourne – WBGO-FM<\/p><\/div>\n

Bourne, who is host of\u00c2\u00a0Singers Unlimited<\/em>,\u00c2\u00a0Afternoon Jazz\u00c2\u00a0\u00c2\u00a0<\/em>and\u00c2\u00a0The Blues Hour\u00c2\u00a0<\/em><\/em>on WBGO Jazz 88.3, and will broadcast<\/em>\u00c2\u00a0<\/em>live from the Montreal Jazz Festival on\u00c2\u00a0Sunday July 1, 10:00 am – 2:00 pm and Monday, July 2 – Wednesday, July 4, 2:00 pm – 6:30 pm. He’s heard on the radio at 88.3FM and worldwide on the web at\u00c2\u00a0www.wbgo.org<\/a>.<\/p>\n

\"\"<\/a>

Gary Walker, WBGO-FM<\/p><\/div>\n

Walker, like Bourne and Garland and most of the other radio broadcasters I know, got his start at his college radio station and has not stopped.<\/p>\n

(Tangent, disguised as full disclosure: I produce arts segments for NPR, and once had a weekly show on the radio station of my high school, New Trier East, where I broadcast “Little Suite” from Roscoe Mitchell’s album Sound.<\/em>\u00c2\u00a0A listener within the station’s tiny range called to tell me about Eli’s Chosen Six, the avant-garde Dixieland band of Yalies including trombonist Roswell Rudd and bassist Buell Neidlinger — I borrowed that lp and played it on my show the next week. And I grew up listening to Chicago’s WVON (“Voice of the Negro,” though it was owned by the Chess brothers), as well as WLS and WCFL (which at the time mixed hits from Aretha, the Temps, Tops, Otis Redding, Wilson Pickett with the Beatles, Stones, Animals, Spoonful, Airplane, Turtles, Doors, Rascals, Hendrix, Simon & Garfunkel, Laura Nyro . . . Commercial radio then sure was swell).<\/p>\n

In the digital age one wonders if there would still be terrestial radio as it’s existed since the 1920s if people didn’t listen in their cars. There are a lot of attractive online platforms competing for ears’ attentions. Sadly for those who crave human contact, the digital platforms offer music but no djs, who fostered a sense of community among listeners. But that leads to an interesting comment posted on Ed Bride’s insightful article<\/a>\u00c2\u00a0about the WGBH debacle by the supremely talented radio producer Bobby Jackson, formerly at<\/p>\n

\"\"<\/a>

Bobby Jackson, producer\/host of “Roots of Smooth”<\/p><\/div>\n

WCLK-Atlanta and WCPN-Cleveland, now distributing his own show Roots of Smooth<\/a>\u00c2\u00a0in 16 U.S. markets and on the web:<\/p>\n

There is a much more at work here. This is about systematic oppression from privileged board room members who make the decisions about the relevance of African-American culture on the radio.\u00c2\u00a0I would venture to say that there aren’t many people of color at those tables who are making these decisions. . .\u00c2\u00a0The elimination of jazz on other public radio stations have not helped their numbers. In fact, in many situations, these behind closed doors, board room decisions have put the stations at odds with many supporters in their communities; supporters who have left their ranks. . .I am incensed that African-American music and culture continues to be marginalized and is the first to be thrown under the bus when there is a “financial” crisis. . .One of the reasons public radio exists in the first place was to give voice to the voiceless over the airwaves. There is a rich history surrounding what we do that speaks to affirmation of the true melting pot that America is suppose to be. It is a model on display to share; for all to learn from, how we are able to come together under the magic of jazz, a music that originated in the African-American and is now shared not just here in the United States, but the world over. It is insane that it is being taken off the shelf in so many places in its place of birth.<\/p><\/blockquote>\n

It may be an unintended consequence of financial strategies that the music which used to be so easily, cheaply accessible to Americans of every background and economic strata is now being relegated to an ever-more-obscure niche. But even if it’s unintended, it’s real. And Bobby is so right — public radio was instituted to be a voice for the otherwise unheard public. Non-commercial radio is supposed to have a mission beyond accruing profits.<\/p>\n

Come on, WGBH — be a leader in public broadcasting, end the pernicious trend. Use the airwaves to promote great American music that has the potential to appeal to everybody. So it costs a few bucks to keep informed djs on the air — make that point in your fund-drives. Be a job sustainer, if not a job creator. Realize that Boston needs and wants “Eric in the Evening,” Steve and Bob, and will not flock to hear more talk-news but will<\/em> tune-in for jazz.<\/p>\n

howardmandel.com<\/a><\/p>\n

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All JBJ posts <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

WNYC\/WQXR program host David Garland makes a good point, in reference to the announcement by WGBH (Boston)\u00c2\u00a0that it’s cutting back its nightly\u00c2\u00a0“Eric in the Evening” jazz show, Steve Schwartz’s Friday night jazz show and \u00c2\u00a0Bob Parlocha’s overnight jazz show. Writes Garland: \u00c2\u00a0“I wish good radio was considered a good ‘story’ while it’s ongoing, not only […]<\/p>\n","protected":false},"author":2,"featured_media":951,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-944","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-about","8":"entry"},"jetpack_featured_media_url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2012\/06\/bobby-jackson1.jpeg","jetpack_shortlink":"https:\/\/wp.me\/p1i3CL-fe","jetpack_sharing_enabled":true,"jetpack-related-posts":[{"id":22,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2007\/07\/howard_mandel.html","url_meta":{"origin":944,"position":0},"title":"Howard Mandel","author":"djm","date":"July 8, 2007","format":false,"excerpt":"I'm a Chicago-born (and after 30 years in NYC, repatriated in 2014) writer, editor, author, arts reporter for National Public Radio, non-profit organization consultant and videographer -- a veteran freelance journalist working on newspapers, magazines and websites, appearing on tv and radio, teaching at New York University and elsewhere, specializing\u2026","rel":"","context":"In "about"","block_context":{"text":"about","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/about"},"img":{"alt_text":"HM2.for%20web.jpg","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/HM2.for%20web.jpg?resize=350%2C200","width":350,"height":200},"classes":[]},{"id":182,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2009\/04\/nycs_surviving_summer_jazz_fes.html","url_meta":{"origin":944,"position":1},"title":"Vision Festival, NYC’s sole surviving summer jazz big bang","author":"Howard Mandel","date":"April 15, 2009","format":false,"excerpt":"With no news confirming -- or denying -- that there will be a mainstream New York City jazz festival next summer like those produced by George Wein since the late '60s and for the past 25 years supported by the JVC Corporation of America, the artist-organized \"avant-jazz\"\u00c2\u00a0Vision Festival stands as\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":1324,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2013\/04\/jazz-video-canon-for-nyu-tisch-students-jazzapril-week-3.html","url_meta":{"origin":944,"position":2},"title":"Jazz videos for troubled times, JazzApril week 3","author":"Howard Mandel","date":"April 21, 2013","format":false,"excerpt":"Is it hard to sustain four weeks of Jazz Appreciation Month? 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During a radio interview for the NPR show News & Notes, Butch identifies himself as a jazz musician not\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"","width":0,"height":0},"classes":[]},{"id":3074,"url":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/2023\/04\/36-jazz-heroes-in-32-us-cities-and-there-are-many-more.html","url_meta":{"origin":944,"position":5},"title":"36 Jazz Heroes in 32 US cities – and there are many more","author":"Howard Mandel","date":"April 6, 2023","format":false,"excerpt":"The Jazz Journalists Association announces the 2023 Jazz Heroes -- \"activists, advocates, altruists, aiders and abettors of jazz,\" formerly the A Team -- emphasizing as it has annually since 2001 that jazz is culture that comes from the ground up, by individuals crossing all demographic categories, working frequently with others\u2026","rel":"","context":"In "main"","block_context":{"text":"main","link":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/category\/main"},"img":{"alt_text":"","src":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2023\/04\/2023-heroes-collage-1-scaled.jpg?resize=350%2C200&ssl=1","width":350,"height":200,"srcset":"https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2023\/04\/2023-heroes-collage-1-scaled.jpg?resize=350%2C200&ssl=1 1x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2023\/04\/2023-heroes-collage-1-scaled.jpg?resize=525%2C300&ssl=1 1.5x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2023\/04\/2023-heroes-collage-1-scaled.jpg?resize=700%2C400&ssl=1 2x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2023\/04\/2023-heroes-collage-1-scaled.jpg?resize=1050%2C600&ssl=1 3x, https:\/\/i0.wp.com\/www.artsjournal.com\/jazzbeyondjazz\/wp\/wp-content\/uploads\/2023\/04\/2023-heroes-collage-1-scaled.jpg?resize=1400%2C800&ssl=1 4x"},"classes":[]}],"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/944","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/comments?post=944"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/posts\/944\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media\/951"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/media?parent=944"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/categories?post=944"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/jazzbeyondjazz\/wp-json\/wp\/v2\/tags?post=944"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}