defrog: (45 frog)
The new academic year kicks off later this month. For those of you who are Mass Comms majors, I’ve prepared three (3) syllabuses for you.

In a playlist format. Because you like it like that.

Here’s the first one for those who plan to specialize in radio.

[3 credits]






Begin the day with a friendly voice,

This is dF
defrog: (Default)

This is not a Valentine’s Day playlist. Which I mention because most people associate ballads exclusively with sappy love songs by hair metal bands. However, while a love song is a type of ballad, there are many others. In fact, ballads are traditionally poems that tell a story set to music.

This was always my understanding of the term – not least because I remember seeing so many songs with a title that starts “The Ballad Of …” and all of them were usually narratives.

Which of course got me to thinking: (1) how many songs are there titled “The Ballad Of _______”? And (2) are there enough for me to program a fake radio station with the motto “Nothing But Ballads”?

Answers: (1) At least 180, and (2) maybe?

Anyway, here’s what I’d be putting in rotation.




METHODOLOGY: Mostly it’s any song with “Ballad Of” in the title. I made a few exceptions in order to bookend it as a proper playlist.

PRODUCTION NOTE 1: This isn’t every song I found with “Ballad Of” in the title – there are some others on Spotify, but I didn’t like them much. 

PRODUCTION NOTE 2: Spotify's embedded lists only go up to 100 songs apparently. But there's at least 80 more songs after the ones you see above, trust me.  

AUDIENCE PARTICIPATION: Did I miss something obvious? Feel free to suggest your own additions, and if I like them I’ll add them.

Cast your ballad,

This is dF
defrog: (Default)
 You know of course that Rush Limbaugh is gone. You also know that many people are dancing on his grave singing hallelujah. You might be one yourself.

 

I am not hear to dance upon his grave, as I’m generally not into grave-dancing. Actually I normally wouldn’t post anything at all, but as a political junkie who worked in radio (to include news/talk radio around the time that Limbaugh and conservative talk radio in general was ascending*), I feel compelled to say something.

 

And that’s only really because of this piece by Conor Friedersdorf dunking on conservatives who have been giving Limbaugh credit for advancing conservatism in America throughout his career. Friedersdorf argues this isn’t true. Many liberals have responded along the lines of “oh yes he jolly well did”.

 

It’s possible many of the latter group didn’t read past the standfirst. Friedersdorf is specifically referring to “conservatism” as the political and economic ideology championed by the likes of William F Buckley and Milton Friedman – the general ideology of small govt, free trade, balanced budgets and personal responsibility. Friedersdorf argues that conservatism as defined above has been on the decline since Reagan left office, and while Limbaugh kicked off his career pushing a Reaganesque conservative agenda, he eventually abandoned it (as did the GOP in general) in favor of the current GOP ideology of culture wars, manufactured outrage, lib-pwning and the defense of Straight White Christian America at all costs.

 

Therefore, Friedersdorf says, Limbaugh was never the champion of conservatism that modern conservatives make him out to be.

 

And ... well ... okay.

But ...

 

The question, I suppose, is whether conservatism can be fairly and accurately defined strictly as an economy-based political ideology.

 

I don't think it can.

 

For one thing, you have social conservatism, which has been around in the US for a long time but became a serious political force in the 1960s and went mainstream during Reagan’s term, thanks in no small part to the rise of the Moral Majority and Christian Coalition. From that point on, the GOP spent as much time talking about traditional “family values” (and the alleged left-wing agenda to destroy them in favor of turning American children into gay Commie Satanic baby-killing multicultural dope fiends) as they did about free trade and tax cuts. By the mid-90s, social conservatism was inseparable from economic conservatism as far as GOP ideology was concerned.

 

While Limbaugh was never a conservative Christian in any meaningful sense, he was definitely onboard with social conservatives in terms of their basic political stances, even if he mainly used them as a way to bash liberals over the head. (Fact: Limbaugh was triggering libs before triggering libs was cool.)

 

Meanwhile, by the time Newt Gingrich and the Republican Revolution brought their Contract With America™ to Congress in 1994, the GOP had adopted a noticeably and increasingly more aggressive tone in its rhetoric – they weren’t just opposed to liberal policies, they were ANGRY about them. Anger and indignant outrage increasingly became the default setting for the GOP as the party tapped into (and encouraged) the anger, fear and frustration of their mostly white base that lived in fear of liberals turning the US into Cuba, or whatever they thought the Radical Liberal Agenda™ was. The other side of the aisle was no longer mere opposition – it was the Enemy of America. The GOP became less interested in bipartisanship and more interested in demonization, polarization and obstruction.

 

By perhaps no coincidence, conservative talk radio was expanding fast by exploiting that particular fear, and Limbaugh was leading that charge. Things took off from there, and now here we are in an era where the GOP is now the Trump Party that lives in a universe of alternative facts where libs are demonic anarchists who stole the election and are out to cancel white culture etc and so on.

 

So basically I’m not convinced by the argument that Limbaugh didn’t advance “conservatism” in the Buckley/Friedman sense, because that’s too narrow (and slightly dishonest) a definition of what “conservatism” has become. Friedersdorf kinda touches on this, and acknowledges that the GOP is no longer the party of Reagan in an economic-policy sense. But the party of Reagan was also the party of social conservatism, which Limbaugh and the GOP exploited to varying degrees of intensity for the last 30+ years to the point that the resulting culture war is now the dominant ideology. The economic side of GOP conservatism is now limited to ensuring that rich people live as tax-free as possible and this will somehow benefit the rest of us. (Spoiler: it won’t.)

 

Ironically, of course, many people who call themselves conservatives in the modern 21st Century sense still tend to fancy themselves as liberty-loving tax-cutting small-govt Reaganites. But at least some of those are from the conservative intellectual crowd who lost their usefulness around the time that Sarah Palin became a household name. They’re also being disingenuous – the GOP hasn’t embraced any meaningful form of economic conservatism or fiscal responsibility for decades. Even Reagan raised taxes, and he also more than doubled both the deficit and the national debt. In my lifetime, the deficit had only even gone down during Demo admins, not Republican ones. (There are complicated reasons for this – I'm just saying.)

 

Limbaugh himself occasionally complained about this and went after who he considered to be RINOs. But he ultimately went along with it, I think, because the Loud Angry White Populist schtick of the GOP suited his radio style. He was always a demagogue and an outrage merchant, and he delighted in stoking white fear of a black planet under Obama. Trump was the first President to successfully trade in the kind of xenophobic white-identity insult comedy that Limbaugh had pioneered. 

 

Rush is often credited with countering the alleged liberal narrative of the Mainstream Media™, but it’s more accurate to say he helped create a new conservative narrative for an alternate universe that only ever made sense if you never questioned it. Which of course was part of Limbaugh’s whole brand – his loyal “dittohead” audience openly bragged about believing every word he said without question, if only to make the libs scream in frustration.

 

Limbaugh didn’t do that on his own, of course – he had help from fellow radio hosts, Fox News, right-wing bloggers and the GOP in general. But his dittohead army was arguably the rock upon which the Trump Party built its alt-realty church.

 

So in my opinion, Limbaugh didn't just help advance conservatism in America – he played a role in transforming it to the ugly hateful beast it is today.

 

Thank you for coming to my TED talk, etc.

 

*FULL DISCLOSURE: I worked at a news/talk radio station from 1994 to 1996 in Southern Illinois, but we didn’t carry Limbaugh’s show. Our mainstay was Chuck Harder, who at that time tended towards centrist populism of the kind you typically heard from Ross Perot, Pat Choate and Ralph Nader. He also entertained Clinton conspiracy theories.

 

Radio silence,

 

This is dF

defrog: (Default)
Art Bell is gone, which means finally he may finally find the answers he was looking for.

If you don’t know, Bell was the late-night talk radio host of Coast To Coast AM, in which he and his guests and callers explored UFOs, aliens, Bigfoot, various supernatural and paranormal phenomena, and government cover-ups of all the above. Bell was X Files before X Files was cool.

When I worked at a news-talk radio station in the mid-90s, we ran the first couple of hours of his show before sign-off. And having grown up at a time when some of the big best sellers were written by Erich von Daniken, Charles Berlitz and Hal Lindsey – and where TV was running programs like Kolchak: The Night Stalker and Project UFO – I had a soft spot for Bell’s subject matter. Granted I don’t believe in conspiracy theories, but I admit I'm fascinated with the theories themselves. And frankly, compared to the political shows we ran in the afternoon, Bell was by far the sanest person in our line-up.

The secret, I think, was that he was very open minded and willing to let callers talk about all kinds of weird things, but he also knew when to reign them in or push back when even their own internal logic started to unravel. He could generally tell when people really believed what they were saying and when they were making it up as they went along, and he wasn’t afraid to call them out on it – yet he did it in a calm and reasonable way. He didn’t yell at or insult anyone – at least not while I was listening. Maybe he did in later years, but from what I understand he had the same style from beginning to end.

Which isn’t to say that everything he said was true. But he could at least make it sound plausible, more often than not.

Of course, some people blame Bell for not only convincing people that conspiracy theories and UFOs are real, but laying the groundwork for people like Alex Jones and the alt-right. Personally I don’t think that’s accurate or fair. People believed in UFOs and govt conspiracy theories long before Bell picked up a microphone. He gave them a voice and a platform, but the internet would have done that eventually anyway.

And in any case, conspiracy-theory radio really has its roots in the rise of rabid conservative talk shows in the early 90s. If you want to pin Alex Jones and alt-right batshit fact-free outrage radio on anyone, pin it on Rush Limbaugh. He pretty much invented both the format and the business model.

By comparison, I think Bell was relatively harmless, both in terms of the subject matter and the way he handled it. Again, I only listened to him from the early 90s to 1996, so I don’t know what his latter-year broadcasts were like, but at least during that time, Bell wasn’t a loud angry demagogue out to exploit populist anger exclusively in favor of a specific political party. He was more like a radio version of Charles Fort, keen to explore the unknown and unexplained, and convinced that the world is weirder than we think and – to a coin a phrase – the truth is out there.

I want to believe,

This is dF
defrog: (Default)
I have returned from the US, and I’ve more or less recovered from the jet lag and the 15-hour flight.

It was mostly the same deal as last year: a road trip from Chicago to Maryville-Alcoa and back, by way of Carbondale, Nashville and Cincinnati (rather than Indianapolis). Overall it went smoothly, apart from the occasional debilitating illness. Also, this time out we were unable to meet a few people we wanted to meet due to schedule conflicts and lost wallets. Anyone we were unable to meet, sorry about that, we'll make it up to you next time. 

Other than that, it was a pretty fun time. Here are the highlights:

1. Cheap books

We joined Books A Million and scoured McKay’s (both the Nashville and Knoxville locations), as well as Hastings and a couple other places. Here’s my take:



Note that I’ve read The Sirens Of Titan before, but for $5.97, I’m keen to re-read it.

Also, I’ve finally decided to take the plunge and try some of the Star Wars expanded universe books. I’ve avoided them in the past mainly because I thought it was just too much to keep up with. I was also worried about the quality of the writing. But with all the excitement about the new movie and all, I just felt inspired to try a couple, though I’m sticking to Original Trilogy period for now. We’ll see how these two go and take it from there.

2. Conservative books for conservatives who read

In Maryville-Alcoa, I also visited a place called Ollie’s, which is sort of like Big Lots. It has a book section. It looks like this.



So I didn’t find much there. But I did notice a pattern in Tennessee bookstores, where (1) you see a lot of books on prominent display from authors like Rush Limbaugh, Bill O’Reilly, Glenn Beck, Mark Levin, Brian Kilmeade and various GOP candidates – particularly Donald Trump and Ben Carson. As opposed to, say, books by Hillary Rodham Clinton and Bernie Sanders. Just saying.

I also noticed that a lot of these authors take up prominent space in the American History section. You kind of expect that with Bill O’Reilly, who seems to have a second career writing books about famous political assassinations of famous Americans (Lincoln, Kennedy, Patton, Jesus, etc). Glenn Beck and Brian Kilmeade, not so much.

Res ipsa loqitur.

3. Touch me I’m sick

I came down with stomach flu in Maryville-Alcoa. Laid me out for two straight days. Then my mom got strep throat. Then KT got both. Then the cat started vomiting. It was kind of funny after awhile. Anyway, everyone recovered fairly quickly, so our travel plans didn’t get seriously disrupted as a result. I did end up sleeping through Halloween, though.

I just hope my travel insurance will cover my doctor’s visit. I don’t have a lot of experience with American HMOs, except that even something relatively simple can cost you a fortune in consultation fees. The actual medicine was only $20.00.

4. Burger time

We ate a lot of burgers. This is probably unavoidable, though we did try to avoid the obvious stuff on the road.

The highlight: Five Guys, which is still our Gold Standard for fast food burgers.

The lowlight: Steak’n’Shake, which used to be the Gold Standard back in college, but these days seems to go down in quality every time we visit. The shakes are still good, and the food isn’t terrible, but it’s not something to look forward to anymore.

Best décor: S&B Burger Joint, which has a serious rock theme going on. It’s also the only burger place I’ve been to that requires an orientation session from the server. Good food though. Try the deep fried pickles.





5. Toll roads

Chicago is bristling with them. I discovered this last year, but this year we got caught up a little more than usual in the system, thanks to a few toll plazas where either cash isn’t an option, or we ended up in a situation where it was an unmanned toll booth and we had no change. You do have the option to pay online and you have seven days to do so (though you have to remember which toll booth it was, and what time you went through it). The fine for not paying is substantial, but I do find myself wondering how many people actually bother, or how rigorously it’s enforced.

6. There ain't much to country living

We stopped in Paducah, KY for coffee and gas. Inside was two guys in overalls buying wintergreen chewing tobacco. Outside was a pick-up truck with some bullet holes in the side. Meanwhile, in a rest area by the state line, I got into a conversation with the tour booth woman who told me about her 120-pound mini-pig.

Later, in TN, I found myself behind a pick-up truck with a bumper sticker that said: “Uncle Sam wants you to speak English.”

7. I’m bored of American radio

This year’s rental car didn’t come with a Sirius XM subscription, so I had to make do with standard radio, which is hard to do on a road trip where you can only stick with a station for so long until you drive out of range.

Making matters worse is that American radio is just terrible – it seems to get worse every year I come over. It says a lot when you find yrself settling for whatever classic rock station you can find, knowing that’s probably as good as it gets for decent music.

I did notice one trend I hadn’t picked up on before: talk radio on the FM dial. This may be old news to you, but I wasn’t aware that talk radio was in so much demand that the AM dial no longer had sufficient room for it. Unfortunately, this meant that in Tennessee, around 75% of my programming choices on FM were limited to news/talk, sports/talk and country music. The rest was either Top 40 or a classic rock station that was always just five miles away from bad reception.

8. Cheap gas

I paid $1.77/gal for gas in Maryville.

Thanks, Obama.

Well, that’s enough, isn’t it?

Back to the grind,

This is dF

defrog: (science!)


[Via The Abominable Lady Phibes]

Sincere-type ham,

This is dF
defrog: (Default)
And now, college radio humor!

What the program director says:



[Via Pirate Treasure]

What the DJs do:



[Via LP Cover Lover]

Final vinyl,

This is dF


defrog: (Default)
Ever since Classic Rock™ emerged as a radio programming format, the challenge has been to define just what qualifies as “classic”.

Back in the 90s, it was relatively clear-cut, at least to me – classic-rock was defined by both time period and sound. It didn’t include anything from the 50s, and very little before 1964, when The Kinks invented power chords. Generally speaking, “classic rock” focused on the period from the latter half of the 60s – by which time rock was becoming more oriented around albums instead of singles – to roughly the end of the 1970s, when the old school stopped dominating the charts and the New Wave began.

Put another way, Classic Rock™ in the 90s was basically a rebranded version of the AOR format of the 70s, only with no new releases past 1980 or so.

Obviously that’s changed, and now we hear U2 and Nirvana and Guns’n’Roses on Classic Rock™ stations – which makes sense when you remember that those songs are over 20 years old now. But that means “classic rock” is no longer defined strictly by a specific time period.

Or is it?

Five Thirty-Eight’s Walt Hickey wondered just that after hearing Green Day’s “American Idiot” on a Classic Rock™ station. So he did some number-crunching, and came up with a few interesting results.

1. Classic Rock™ depends to a degree on what city you live in. (z.B. Billy Joel gets lots of airplay in NYC, but the Eagles rule the roost in Tampa)

2. The 10-year period from 1973 to 1982 accounts for 57% of all song plays in the study.

3. The top 25 most frequently played artists (including Led Zeppelin, Van Halen, Rolling Stones etc) together account for almost half of the spins on Classic Rock™ stations in the US. Put another way, 5% of all the bands played on those stations made up nearly half of song plays.

But what about the Green Day?

Well, Hickey doesn’t provide much explanation for it. But his study does basically confirm that, for the most part, Classic Rock™ is still generally rooted in the 60s and 70s, and extends mostly to around 1991 (the year punk broke, and also Metallica). Sure, you’ll hear R.E.M. and Simple Minds and Ratt too. But it’s mostly still locked within that “classic” time frame. If there’s a common denominator here, it’s probably longevity – i.e. songs that stand the test of time.

The other common denominator is, of course, market research. Classic rock is what listeners – or at least listeners crunched down in to data sets – say it is. That’s not news. Radio stations have done that for years.

However, in the age of Spotify and digital media and crowdsourcing, there are new ways to gather and crunch those data sets. Spotify owns a company called The Echo Nest, which uses data and genre algorithms to generate song recommendations. Here’s how they go about that, according to Glenn McDonald, the guy in charge of developing the genre algorithm:

In addition to the web-crawlers and listening histories, The Echo Nest uses sophisticated music-analysis software to figure out the qualities of different songs. McDonald looks at 13 dimensions when evaluating genre: tempo, energy, loudness, danceability, whether a song is more acoustic or electric, dense or spare, atmospheric or bouncy, and so on. Some genres are defined by one of these dimensions in particular — electronic music with a very finite range of beats per minute, say — and some are painted in broader strokes, like classic rock.

Classic rock, McDonald said, has a much wider range of tempo and rarely is powered by a drum machine. The Echo Nest can detect whether an actual person is behind a drum set based on minor imperfections in tempo, or beats that a drum machine can’t mimic. “The timing will be very human and unmechanical,” a dead giveaway, he said.

So there you go. No drum machines. (Sorry, Jesus & Mary Chain.)

Anyway, the numbers seem to confirm that Classic Rock™ is still mainly confined mostly to the late 60s/70s, with leeway for more recent releases depending on the demographics. That said, those demos are primarily drawn from the baby-boomers and Gen Xers that grew up with that music. So what happens when the millenials start defining what is Classic Rock™? Will DJs start segueing from Thin Lizzy to One Direction?

I’m not that worried. For one thing, I don’t listen to radio anymore. And anyway I’ll probably be dead by then.

PRODUCTION NOTE: I recommend reading the article. There are very interesting charts in it.

Rock’n’roll fantasy,

This is dF


defrog: (Default)
Casey Kasem passed away a couple of weeks ago, but I was neck-deep in travel and work, so I didn’t have time to write something about him. Now I do, and there’s really no way I can’t blog about him.

Not because of the family melodrama over his healthcare, which doesn’t interest me at all, but because – like a lot of people my age – Kasem was an ubiquitous presence in pop culture, either via cartoon voiceovers (he WAS Shaggy Rogers) or American Top 40.

As a youngster, of course, I had no idea they were the same guy. I never made the connection between Shaggy and the guy doing the weekly countdown on the radio. (This was in the days before cartoons gave credits to the voice talent, and even when they did, the end credits typically ran at blink-and-you’ll-miss-it speeds. So sue me.) Once I found out, I was impressed that there was more to him than American Top 40.

That said, American Top 40 was itself a radio institution. American music fans tend not to be as chart-obsessed as (say) British music fans, but we do like to rank songs, and even though American Top 40 was based on strictly quantitative data from Billboard, there was something appealing about finding out what the top songs were – at least until you outgrew Top 40, discovered college radio and learned that there was so much better music out there.

One funny thing about American Top 40 is that, reportedly, a lot of people are writing tributes to Kasem hailing him as a sort of tastemaker of pop music who knew a hit when he heard one and didn’t let himself get pinned down by any single genre.

Which is, of course, ludicrous. Kasem didn’t decide anything – his weekly countdowns were determined by the Billboard charts. He was basically reporting the charts and movements, and giving a modicum of background for each track, without passing any personal judgments on them, yet sounding as though he liked each track. Which is what all DJs are supposed to do (unless they get paid to be opinionated). He was the equivalent of an anchorman reporting the news, but more personable and engaged rather than detached.

And he was very good at it. Arguably he was better at it than his eventual replacements Shadoe Stevens and Ryan Seacrest.

I suspect that’s why those studio outtakes of him swearing out the staff became a popular item. Some people just thought it was funny to hear Mr Clean Cut American Top 40 say “fuck”, but others hated Kasem (or more accurately hated the music on his show) and saw it as proof that the Corporate Rock advocated by Kasem and Tipper Gore was two-faced hypocritical bullshit, man.

Personally, I didn’t find it all that funny after the initial shock value wore off, if only because I was already in radio by then and hey, I’ve had bad days in the studio too. And I probably wouldn't like it if someone taped that and released it into the wild – especially if there was a chance it would cost me my reputation or my job. (For the record, I didn’t find that Bill O’Reilly Inside Edition meltdown outtake all that funny for similar reasons. Politically I think Papa Bear is way off the reservation, but I don’t think the tape proves anything except broadcasting is a stressful job, especially when you depend on other people doing their job so you can do yours.)

That said, I admit there’s something fascinating about the Kasem tape as a sort of contradictory pop-culture artifact. So I appreciate it better in the context of something like, say, Negativland’s notorious “U2” record.

Speaking of which, Negativland has marked Kasem’s passing by releasing the “U2” single in multi-track form and inviting fans to remix it and post the results on their site. I plan to give it a shot.

TRUE STORY: My first commercial radio job was running Casey's Countdown, a shorter version of Casey's Top 40, the show he did after quitting American Top 40 in 1988. The show was delivered to the radio station on six (6) vinyl records, so my job was to play the records and commercial spots and station IDs during the breaks. My first day on the job, I mixed up the records and played one side in the wrong order. Big fun. 

Keep reaching for the stars,

This is dF

defrog: (Default)
I’ve blogged before about the decline of radio as a channel for breaking new music, which is due to both online competition from the likes of Spotify and the effect of consolidation on radio programming (i.e. there’s a reason you hear the same “classic” hits over and over and over again).

Now, according to the Wall Street Journal, new research indicates that radio programmers are even more likely to stick to the familiar rather than subject audiences to new music. What’s more, it’s actually working as an audience growth strategy:

The strategy is based on a growing amount of research that shows in increasingly granular detail what radio programmers have long believed—listeners tend to stay tuned when they hear a familiar song, and tune out when they hear music they don't recognize.

It doesn't mean stations aren't playing new songs so much as they’re milking hit songs and keeping them in rotation for far longer periods:

The top 10 songs last year were played close to twice as much on the radio than they were 10 years ago, according to Mediabase, a division of Clear Channel Communications Inc. that tracks radio spins for all broadcasters. The most-played song last year, Robin Thicke's "Blurred Lines," aired 749,633 times in the 180 markets monitored by Mediabase. That is 2,053 times a day on average. The top song in 2003, "When I'm Gone" by 3 Doors Down, was played 442,160 times that year.

In theory this is good news for the artists/songwriters who make it into rotation – more plays = more royalties. However, it’s bad news for all the artists who haven’t been added, because they have to wait a lot longer to get a chance. Even for artists who are already on the air, they can’t promote a new song until the old one goes out of rotation. And that means lower album sales, because it’s harder to sell albums based on just one hit song, especially when people can just buy the one song from iTunes or Amazon.

Here’s the depressing part:

Old-fashioned terrestrial radio remains by far the most popular source of music in the U.S. and the way that most consumers say they discover new music, according to Nielsen research.

In other words, the medium people rely on most to discover new music is playing less and less of it.

Meanwhile, there is this:

Three years ago Clear Channel launched a program called "Artist Integration" that plays snippets of new songs during advertising time instead of music-designated time. Clear Channel itself is buying the ad slots in order to promote new records.

And this, children, is why yr Uncle Frog thinks commercial radio is bullshit.

And don’t get him started on the goddamn Grammys.

Glitering prizes and endless compromises,

This is dF


defrog: (onoes)
And now, here’s a very big infographic explaining the impact of media consolidation on the radio and television business.

For a start, it’s why Simon & Garfunkel’s “Mrs Robinson” is in rotation on at least one radio station in every city in America.

Big graphic and wordy essay commence ... )

Meanwhile, here’s one more stat to chew on: while six companies may control 90% of broadcast media, the biggest media company in America (in terms of media revenue) isn’t even on that list. 

Who would that be, you ask?

Why Google, of course.

I want it all,

This is dF


defrog: (Default)
Coming up on Episode 50 of this series, and people ask: “How come you haven’t mentioned The Eagles yet?”

So let’s take care of that right now.

Obviously The Eagles dominated the airwaves and the charts in the mid-late 70s. And I confess I liked a lot of their songs, starting from “Witchy Woman” and “One Of These Nights” up to all the hits from their album The Long Run.

Interestingly, though, I only ever bought one 45 of theirs – “Heartache Tonight”. And it paled in comparison to the B-side, “Teenage Jail”, which I ended up liking more because it didn’t really sound like a typical Eagles song.



These days, I’m ambivalent towards The Eagles. But I still do like listening to their earlier stuff sometimes, especially the spooky ones.

And of course, “Journey Of The Sorcerer,” which ended up being the theme to The Hitchhiker’s Guide To The Galaxy radio series. That never gets old.

FUN FACT: I almost bought a 45 of “Life In The Fast Lane” once. I was music director at a college radio station where the general manager had very strict rules on swearing in songs, due to the fact that we were part of a conservative college in a conservative town (Clarksville, TN, represent!). He freely admitted the down-side was not being able to play “Life In The Fast Lane”, his favorite Eagles song, because of the lyric “We’ve been up and down this highway / haven’t seen a goddamn thing”.

I distinctly remembered hearing an edited version on the radio when the single came out, with the lyric changed to “damn thing”, which was acceptable to the GM. So I started trawling used record stores to find the 45 version. I eventually found a few, but every one of them had the original album version. So either the radio station in question had a special FCC-friendly copy of the 45, or they did their own edit on tape.

Young, vicious and frail,

This is dF


defrog: (Default)
You know that question you get as a kid: What do you want to be when you grow up? 

Somewhere in junior high school, I knew the answer: I wanted to be a radio DJ.

And this Donald Fagen album cover pretty much explains why.



I honestly thought radio would be a lot like that – me sitting in a booth late at night, smoking and drinking, playing my favorite records and talking about whatever I liked.

And of course, eventually I got my wish and got into the business, and I was a regular DJ on the graveyard shift.

And it was pretty much nothing like what Donald Fagen promised me.

Which is why I write about telephones now. That and the pay was crap.

To be fair, college radio is a lot closer to that album cover (apart from the cigarettes – no smoking allowed, which is okay since I never took up smoking anyway), and I put in a lot of hours doing that. It was fun for me, if not for the listeners.

Anyway, point being, it's a great album cover.

CLARIFICATION: The album cover itself didn't inspire me to get into radio. The Nightfly came out in 1986 – I wanted to get into radio well before that, just from listening to it enough. Radio was a lifeline for me at the time, feeding me music that was helping me get through every single day of my not-so-fun childhood. I wanted to be part of that.

How was I to know it wasn’t nearly as spontaneous as it sounded?

BONUS TRACK: While we’re at it, here’s my favorite track from that album.

Gonna have a wingding,

This is dF


defrog: (Default)
Yr Liberal Hollywood Obamaganda headline of the day:

Everything is political.<br />Everything.

[Via Def Agent jasonfranks and The Mary Sue]

This is the most awesome conspiracy theory ever.

Just listen to this:

RUSH: The villain in the Dark Knight Rises is named Bane. B-A-N-E. What is the name of the venture capital firm that Romney ran, and around which there's now this make-believe controversy? Bain. The movie has been in the works for a long time, the release date's been known, summer 2012 for a long time. Do you think that it is accidental, that the name of the really vicious, fire-breathing, four-eyed, whatever-it-is villain in this movie is named Bane?

Well of course it’s not. It couldn’t be more obvious. Granted, Bane was created as a character almost 20 years ago, and Christopher Nolan decided to use Bane for the third Batman film back around 2009-2010. But c’mon, of all the Batman villains they could have picked, they picked the one that just happens to sound like a company that Mitt Romney used to work for?

WHAT ARE THE ODDS?

Okay, I know, I’m giving this far more attention than it deserves. Limbaugh has long since demonstrated that his broadcasting style involves pretty much zero research in whatever topic he decides to riff on that day, and I remain convinced he does this mostly for the attention, and/or to fuck with people. Or possibly the SEO gains. I think he enjoys being flame bait. So really, I’m just playing into his hands here.

Still.

Incidentally, Rush’s “point” in bringing this up is that lots of people are going to see this film and associate Bane with Bain, and that Team Obama is somehow banking on this to work in his favor:

And there's now discussion out there as to whether or not this was purposeful, and whether or not it will influence voters.

Uh huh. I have five American dollars that says the “discussion” only existed in Limbaugh’s head before he mentioned it.

The Bane of yr existence,

This is dF

defrog: (Default)
You thought you’d heard the last of Glenn Beck when Fox News canned him.

But Glenn Beck is still in the batshit conspiracy business.

And business is good.

Hello. Glenn Beck has more money than you. Enjoy yr day.

It’s even more mind-boggling when you pause to remember that, in terms of batshit talk radio ratings, Glenn Beck isn’t even on top of the list. He’s No. 3 behind Rush Limbaugh and Sean Hannity.

It’s hard to think of anything to add to this that isn’t really obvious.

All I can say is that when you live in a society that rewards wholesale ignorance, revisionist history, race baiting, apocryphal anecdotes, batshit paranoid fantasies and cash-for-gold scams with that kind of money, it’s probably not a sign of the Apocalypse so much as a sign that we probably deserve one at this point.

Or is that too harsh?

Maybe. But I probably wouldn’t mind so much if so many people didn’t take Beck seriously. Which is why I can’t decide which is worse: whether Beck really believes his own schtick, or he’s a savvy broadcaster who knows how to draw an audience. Because if it’s the latter, I’m pretty most of his audience isn’t in on the joke.

Either way, it’s the latest indication that Rational Discourse is LONG dead and gone. And all because there’s no money in it.

Why bother,

This is dF



defrog: (Default)
“The irony of the Information Age is that it has given new respectability to uninformed opinion.”  ― John Lawton

You may have heard by now that Rush Limbaugh spent last Friday informing America that Presidente Obama was sending US troops to Uganda to kill all the Christians – and by “Christians” he meant the “Lord’s Liberation Army”.

You may also have heard that the LRA is actually a pretty vicious bunch, and that in any case Obama is only sending over military advisors who will play no combat role at all.

Result: Limbaugh’s rant was so far off-base that even Senator James Inhofe (R-OK) – the guy who thought Abu Ghraib was no big deal – had to step in and say on the Senate floor, “Dude, no, that’s wrong.”

Plenty of liberal bloggers are spinning this as evidence that Limbaugh (and therefore the Republican Party) supports kidnapping, torture and murder as long as it’s done in the name of Jesus, but I don’t buy that – not least because it seems that near the end of his show word filtered in on what the LRA is really about, and Limbaugh started to hedge a little.

What likely happened was that Rush saw a headline about Obama starting a war sending troops somewhere, saw the words “Lord’s Resistance Army” and thought, “That’s my hook,” and ran with it from there, because he knows what his listeners want to hear: proof that Obama is a Muslim who wants to kill Christians.

I figure that’s how it went down because that’s generally how Limbaugh works – he tries to sound knowledgeable about a subject he knows nothing about by making shit up as he goes that conforms to his own worldview.

I will say Limbaugh’s on-air reaction to the revelation that the LRA may not be nice people is both priceless and telling:

Is that right? The Lord's Resistance Army is being accused of really bad stuff? Child kidnapping, torture, murder, that kind of stuff? Well, we just found out about this today. We're gonna do, of course, our due diligence research on it. But nevertheless …

It’s that “Nevertheless …” that gets me. In this case, it’s shorthand for “Okay, I could be wrong, but that doesn’t change the overall point I’m trying to make that Obama hates Christians and wants to kill them.”

Also, the comment about due diligence is great, because traditionally broadcasters do that BEFORE they go on the air, not AFTER they’ve spent their slot spouting complete baloney.

Which is why I’m convinced he does this on purpose. I think Rush is perfectly happy to spout whatever bullshit he wants and play the “Hey, I had no idea” card when he gets tripped up, as though it’s better to come off as an uninformed and intellectually lazy ignoramus after yr done stating yr opinion than while yr actually stating it.

Not unexpectedly, he’s now trying to laugh it off – and also pass the blame to his studio cohorts for not knowing who the LRA is. So not only is he playing the “Hey I had no idea” card, he’s playing the “It’s not my responsibility to know what I’m talking about” card.

And why not? He gets paid millions of dollars to do this, and it’s not like his listeners care – they’re already onboard with Rush’s worldview and are generally not only proud that they don’t know any more than Rush does, but are smug about it.

Still, you can’t ask for a better illustration of 21st Century American Politics than that.

On the bright side, if the majority of Americans had no idea who the LRA are or what they’redoing, they know now.

Ignorance is never bliss,

This is dF


defrog: (Default)
There’s some dispute as to what was the last song to air on WRVU before it became WFCL.

Some reports say it was New Order’s “Waiting For The Siren’s Call”.



The Nashville Scene says it was Johnny Thunders’ “You Can’t Put Your Arms Around A Memory”.



I’d like to think it was the latter – partially because I prefer Johnny Thunders to New Order, and partially because it just fits.

Don’t try,

This is dF

defrog: (Default)
The last good radio station in Nashville, TN is off the air.

The spectrum license for WRVU – a.k.a. 91 Rock, a.k.a. the radio station of Vanderbilt University, a.k.a. the best radio station in town – has been sold to Nashville Public Radio for $3.35 million and is now an all-classical music station called WFCL.

Damn.

I get all nostalgic in this part ... )

The good news – such as it is – is that it’s not the end of WRVU as such. It will still exist online, and starting this September, will broadcast on one of WPLN’s HD radio channels. That does mean fans will have to splurge on a new radio in order to tune in. Chalk it up to the trade-off of technological progress – online radio and HD radio mean more space for more broadcast voices. But it’ll cost you something. (At least $40 in the case of a new HD radio.)

It’s also only fair to say that while I’m not happy that Nashville Public Radio bought them (ostensibly because they wanted to run separate stations for classical music and the NPR talk programs), better them than, say, Clear Channel or Bott Radio Network. Because the last thing Nashville needs is ANOTHER country music station (there are something like 12 of them now) or Christian station (17!).

On the other hand, they could have handled it better. A lot of WRVU DJs had no idea about the change until they showed up for their next shift and found themselves locked out of the building.

Also, WRVU isn’t the first college radio frequency an NPR affiliate has bought in recent times, and by the looks of things won’t be the last. Which suggests the heyday of college radio as we know it is just about over.

But then that’s true of radio in general, in a way. The industry won’t die, but I’m one of those old farts who grew up with the concept of broadcast radio as a companion – for me, radio was a magic box tuning into the ether to see what and who was there. And as the broadcasting business has morphed horribly into clusters of identikit formats run by the same handful of conglomerates, it was good to have at least one slot on the dial where you could find something unusual.

Those days are ending. That’s a damn shame, Jim. And while it’s nice that HD radio and the Interweb will at least make it possible for the likes of WRVU to continue, it ain’t the same.

Off the air,

This is dF
defrog: (Default)
Or, “Why I keep doing this when bloggery is dead.”

Today marks the sixth anniversary of my presence on the LJs (though not this specific blog, which I started in late 2007).

I’m racking my brains trying to think of something clever to say about it. Honestly I’m not coming up with much. One thing I can say is that I’ve learned an important lesson in doing this:

Blogging is a lot like college radio. You do yr show, play yr music and say what’s on yr mind, imagining all the while that yr friends are out there listening and digging it – when in reality most of them don’t even have their radio turned on.

Which is the case with me. Sure, I have 62 followers (which is probably about 5x as many people as used to listen to my radio shows), but most of you are people I’ve met here on LJ. Of all the meatspace friends I’m in contact with, almost none of them read this blog.

This isn’t their fault, of course. I know it’s nothing personal. They have lives, and each life comes with different priorities, some of which are beyond control. Few of them listened to my radio show as well for similar reasons.

Granted, a key difference is that radio is a fixed yet ethereal medium – it goes out into the ether live, at a fixed time, for one broadcast only, never to be heard again unless someone bothers to tape/archive/syndicate it. With blogs, it’s all recorded and time-shiftable – and still most people I know will never see the vast majority of what I post, mainly because they’re not on LJ and never will be. The only way I can reach them is on Facebook – and even there, most of what I post goes unnoticed and/or "unliked" (and that’s due to the fact that I’m competing with a million other posts in their news feed, 80% of them Farmville updates).

Which begs the question: why bother?

The answer – at least for me – is that I do it for the same reason I did college radio: partly for the love of the medium, partly for my own amusement, and partly to keep in practice. And yes, because I'm an opinionated bastard. But I also do it for the few people who do tune in for whatever reason, whether I know them or not.

(I believe the medical term for this is “sheer bloody-mindedness”. I’ll have to check.)

The same applies to comments (or lack thereof). I get very few of them, but it’s really no different from college radio in that respect – hardly anyone ever called in apart from the occasional request, often for songs I had no interest in playing (Skid Row and Warrant were common examples). If anything, the bloggery gets a better response (with the caveat that I don’t have a troll/spam problem, or a lot of psychotic ex-girlfriends/boyfriends/spouses tuning in, as I know other people do).

All of which I mention because I’ve seen other LJers despair from lack of commentary. But for me, it’s like I’m back in the DJ booth broadcasting to the ether. I just assume that yr out there, and yr getting it, even if you don’t phone in.

Which is my meandering way of saying thanks for tuning in, and that broadcasts will continue as normal.

On with the countdown,

This is dF
defrog: (evil beans)
I get press releases.

Sometimes ... they make me sad.



"Glenn is the perfect complement to our schedule. This truly enhances the strength of our all-star Salem line-up," said Chuck Tyler, KRLA Radio Program Director.

That’s actually not the sad part.

This is the sad part:

About KRLA

Salem Communications Corporation is the largest commercial U.S. radio broadcasting company that provides programming targeted at audiences interested in Christian and family-themed radio content, as measured by the number of stations and audience coverage. Upon completion of all announced transactions, the company will own a national portfolio of 96 radio stations in 37 markets, including 58 stations in 22 of the top 25 markets. We also program the Family Talk™ Christian-themed talk format on XM Radio, channel 170.
Salem also owns Salem Radio Network, a national radio network that syndicates talk, news and music programming to approximately 2,000 affiliated radio stations and Salem Media Representatives, a national media advertising sales firm with offices across the country.

In addition to its radio broadcast business, Salem owns a non-broadcast media division. Salem Web Network is a provider of online Christian and conservative-themed content and streaming and includes websites such as Christian faith focused Christianity.com, Christian living focused Crosswalk.com®, Online Bible Study at BibleStudyTools.com, and Christian radio ministries online at OnePlace.com. Additionally Salem owns conservative news leader Townhall.com® and conservative political blog, HotAir.com providing conservative commentary, news and blogging. Salem Publishing™ circulates Christian and conservative magazines such as Homecoming® The Magazine, YouthWorker Journal™, The Singing News, FaithTalk Magazine, Preaching and Townhall Magazine™. Xulon Press™ is a provider of self publishing services targeting the Christian audience.

Well, that PLUS this.

Draw yr own conclusions.

Start spreading the news,

This is dF

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