OnAir December 2022

Dear Listeners,

What a successful first issue last month! I must admit it was not done with impeccable polish or ideal efficiency, but it was done nonetheless. Now, with each issue, we can iron out the wrinkles in the dirty blanket that is WKCR – and December is the first step. After a slight delay to our first planning meeting (due to Fall Break because, yes, we are all college students), our wonderful group of OnAir-ers got together and de cided on the incredible line-up of this month’s articles with so much enthusiasm and creativity. December brings us a myriad of holidays, this is true, but none as important or influential as THE December holiday: Bachfest! Now, I say holiday, but I don’t really mean it - not for the WKCR Classical staff at least – while still jolly-filled, the week of the 24th31st ends up being one of the least relaxing of the year. Even with the nuisances and hardships of organizing and programming Bachfest, it is all worth it BY FAR to bring you all his incredible music. Expect a few more eclectic picks this Bachfest, though (see page 4)… Other than Johann Sebastian, our pride and joy, WKCR has a star-studded schedule of special broad casts this month (see page 11). I won’t give anything away, but if you like Japanese noise music or Charlie Brown, keep your dial turned to 89.9FM.

Happy listening!

Bach-vent

Anyone on the mailing list to receive this programming guide probably doesn’t need us to tell them that Bachfest—running Dec. 24th-31st—is the WKCR event of the year, just in time to round it out. In fact, most folks receiving this guide are probably Bach-olytes already. To those, the 23-day wait might seem like too long; therefore, the OnAir team figured that, if you’re already counting down the days to Bachfest, you might as well do it with some Bach! We’ve compiled a list of 23 alternative takes on Bach that you may or may not have heard before, to give you a taste of Bach each day until the real deal. And of course, starting December 24th, you can expect to hear more than a couple of these on 89.9 FM on the New York airwaves.

1

A New Sound from the Japanese Bach Scene (1969)

ST: “‘Little’ Fugue in Dm (B1), “2-Part Inversion No. 13” (B6) This record uses traditional Japanese instrumentation and swing rhythms to play some of the Bach standards. An all-around favorite across all departments (and programmers) at WKCR, its placement as first is no accident!

7

“Joy” and “Air for the G String”

Apollo 100, Joy (1972) “Joy,” a take on “Jesu, Joy of Man’s Desiring,” charted in the U.S. Billboard Top 10.

“Rondo”

12

The Nice, The Thoughts of Emerlist Davjack (1968)

Aside from the Toccata & Fugue in Dm, this track also samples the Dave Brubeck Quartet’s “Blue Rondo à la Turk.”

“Orchestral Suite No. 3 in DM, II: Air”

Ron Carter Meets Bach (1992)

Ron Carter ST: “Siciliano” (#9)

“Fugue in A Minor”

2

The Modern Jazz Quartet with Laurindo Almeida, Collaboration (1966)

Bach’s Greatest Swingle Singers

*Released as Jazz Sébastien outside North America.

8

9

Bach in Havana (2009) Tiempo Libre A traditional Cuban music take on several Bach standards.

13

Bach: An Imaginary Dance (2012)

Charles Curtis

ST: Solo Cello Suite No. 4 in EbM, VI: Gigue (#12) Uses the tabla (ragas drums).

18

Clara Rockmore, Dvořák, Ravel, Gershwin & Others: Chamber Works (2017) For theremin & piano.

Jazz Guitar Bach (1965)

André Bénichou

19

14

“Bach à la Jazz” Matt Herskowitz, Upstairs (2012)

Bach – Sonatas Partitas Vol. 1 (2013) Chris Thile ST: “Sonata No. 1 II: Fuga: Allegro” Played on the mandolin.

“A Whiter Shade of Pale”

Procol Harum, 1967 single Born when lyricist Keith Reid overheard a comment made woman at a party, the song’s Hammond Organ line bears similarity to the “Air on a G String” to be acknowledged pianist Gary Brooker, who says he simply had “Bach’s music when composing it.

“Bach’s Air on The The Great Kat, The Great Kat has as well as one of the her thrash metal takes favorite—her CDs, some of our favorite

Bach-vent Calendar

Selected Tracks

Standout tracks from the selected recording, if an album.

Interesting context and/or facts about the selected piece.

Album/Piece Title (Year)

Artist and/or Album

ST: “Track” (Track #) Notes on track.

Category

Alternative Instrumentation Jazz Pop/Commercial Vocal Latin

4

5

Greatest Hits* (1963)

Singers

Sébastien Bach America.

10

3 & (2013)

1 in G Minor, Allegro” (#2) mandolin.

Mandocello J.S. Bach: Cello Suite No. 1 in G Major, BWV 1007 (2021) Mike Marshall

Goldberg Variations / Variations (2011)

Dan Tepfer

ST: “Improvisation 5” (#11)

Wendy Carlos’s Synthesizer Bach

· Switched-On Bach (1968)

· The Well-Tempered Synthesizer (1969)

· Switched-On Bach II (1973)

· Switched-On Brandenburgs (1980)

11

The Bach Book (1999)

Jacques Loussier Trio

French composer & jazz pianist Jacques Loussier was best known for his jazz arrangements of Bach pieces—so popular, in fact, that the Jacques Loussier Trio was colloquially known in France as “le trio Play Bach.”

The G String Mosh”

15

Mozart, Beethoven, Bach And Shred (2021) got the range: she is both a Juilliard-trained violinist the “Fastest Shredders of All Time,” best known for takes on classical standards. She is another WKCR emblazoned with her dominatrix-like persona, are favorite pieces to receive in the mail.

20

21

Selected Tracks from Perpetual Motion (2001)

Bach Hits Back (1998) Swingle Singers

Best known for scoring two Kubrick films, Carlos’s Bach series brought synthesizers into pop music usage (imagine the 80s without it!). A trans icon, Carlos remains one of the great contemporary American composers.

16

The other half of this double album, A Cappella Amadeus, features vocal renditions of Mozart.

“Bourée”

Jethro Tull, Stand Up (1969)

A flute adaptation of Bach’s popular “Bourrée in Em,” from BWV 996.

made to a bears enough of a acknowledged by lead singer/ music in him”

Béla Fleck ST: #2, #8, #11-12, #15, #17, #19

Played bluegrass style.

The Modern Jazz Quartet 22

Blues on Bach (1974)

“Toccata and Fugue in D Minor”

Sinfonity, 2014 live recording

Played by the self-described first electric guitar orchestra.

FEATURE PIECE

Live (Again) From WKCR

by Sarah Barlyn

There’s no need for us to restate that the Covid-19 pandemic notoriously deprived musicians and listeners the experience of live music. But WKCR studios was no exception, with live performances ceased for nearly three years. The absence of live shows was a disappointing loss for the entire WKCR community, including members, listeners, and local musicians

The intimate sets that comprise WKCR’s live shows are performed by local musicians and broadcast realtime across the New York City airwaves. These shows require proper (and often mystifying) equipment, as well as a knowledgeable sound engineer to operate such equipment. During the pandemic, the upkeep and maintenance of WKCR’s equipment declined without personnel in the studios. Additionally, students who were familiar with the equipment necessary to record live shows had graduated. Therefore, the inperson return of WKCR, while exhilarating, left current members technologically bewildered.

One student at WKCR, Zachary Vanderslice (CC ‘25), discovered the studio’s live recording equipment after lingering in the station after his regular jazz programs. Zachary became a

licensed programmer during his first semester at Columbia in the fall of 2021. He became fascinated with the studio’s equipment, which many members had shrugged off as incomprehensible. Zachary had no background in sound engineering or producing, although he did (and still does) have an affinity for a wide variety of music. Throughout two semesters at the station, Zachary taught himself everything about live recording and became WKCR’s very own sound maestro, earning himself an appointment as the WKCR Head Engineer. Zachary is, indubitably, one crucial element of the equation that allowed WKCR to begin live performances again.

With a proficient engineer now in the studio, WKCR turned to find musicians to come into the station and perform live. This became possible through WKCR’s Archive Head and jazz aficionado in chief, Stephen Park (CC ‘24), and his alternating co-host, Satchel Peterson (CC ‘24). Both well networked within New York City’s collegiate jazz scene, Park and Peterson began inviting jazz musicians onto their regular show, Out to Lunch, every other Friday afternoon. Some of these performers played in their pre-existing bands, or one bandleader would form a new

group specifically for the live show. Either way, the hosts’ choice for musicians has proved to be impressive, with incredible live jazz proudly riding our airwaves biweekly.

A day in the studio before and during a live performance is both exciting and fraught. This day often involves an abundance of station members and guest musicians in the studios, working together to produce the cleanest version of a live recording to air across New York City. WKCR’s only available space for live musicians is our uniquely small all-purpose room, ubiquitously known as the Moo Aquarium, so named because of the murals that decorate the equipment cabinets in the back, one depicting a couple of colorful cows and the other an equally colorful undersea scene.

On these days, ‘Moo’ is tangled with microphone stands and XLR cables, which are then roped into the hallway for Zachary to connect to our sound mixer. Zachary must then wire the sound mixer in the hallway to the soundboard

in Master Control, from where WKCR transmits the signal on air.

Thanks to Zachary, Stephen, and Satchel’s passion for live music, as well as the encouragement and dedication of all station members, WKCR is becoming not only a place to share pre-recorded music, but regaining its status as a place to spread the live music of eager, up-and-coming musicians. WKCR shows such as Workaround and Live Constructions, which both require live music, now feature nearly weekly live performances by DJs and other contemporary musicians. Additionally, Zachary’s industrious pursuit of audio engineering is no longer a one-man success story: his hard work and the call to curiosity of the now-anachronistic tech have inspired other students, spurring the growth of WKCR’s operations team with members looking to become live engineers. Just like Stephen and Satchel, many members at WKCR have begun inviting local artists to our studio to perform their music for us and our listeners. As for all members at WKCR, we are thrilled to share our space and our airwaves with people like us—which is to say, people who love music just as much as they love sharing it.

All photos by Joshua Wang.

Zachary Vanderslice (CC ‘25) and Sarah Barlyn (BC ‘24) engi neering the live performance broadcast.

MEET A MEMBER

An Interview with Schuyler Rabbin-Birnbaum

by Melisa Nehrozoglu

How long have you been station manager?

What is it that you do in your position?

I’ve been station manager since March of ‘22. For what I do, I guess I make sure the lights are on! Day-to-day I’m responsible for the smooth-running of the station, ensuring that we’re following our FCC guidelines and having our programming staying true to our mission. I’m also here to consult on operations issues that arise. Also managing the website is a huge deal, ensuring the stream is running properly is a big thing because the stream tends to go down a lot. And of course managing our archival system that we call the remote computer, but it’s more known to listeners as playing pre-recorded programs. So especially with the Schaap shows. And I make sure that those play in full. If we’re going to make a decision to play a pre-recorded program, it’s something that is true to our mission.

First, feel free to share any background information about yourself!

I am the station manager here at WKCR. Before that I was the Jazz head and before that a jazz programmer. I have occasionally programmed some Classical, and I’ve done two American shows. Made my way around the departments! My major is American Studies,and I have a concentration in computer science. I’m from right here, Manhattan, and I had listened to KCR. I knew 89.9 FM was a cool station. I guess when I was in high school, I attached that major connection that it was Columbia. When I started here, I thought, “Wait a minute. I should do radio, I should do KCR.”

You mentioned you knew about KCR before you came here as a Columbia student. How did that come about?

Just through the radio! I would flip through the channels and I remember one day, I heard some jazz and I thought, “Oh, this is really cool, I didn’t know this station was here!” And then I heard the call sign a little later and it turns out that was actually Jazz Profiles. That was my first exposure to the great Sid Gribetz.

Is this an outlet for you talk about or play stuff you really like or be in a space where it is appreciated by fellow programmers or listeners?

Graphic by Sarah Barlyn.

I really like DJ’ing and playing some tunes that I had in my head that I thought sounded cool. It’s really fun to just put them out there. And sometimes you get people who don’t agree with what you’re playing, but that’s fine because much more of the time, you get callers who equally love it. So that’s a lot of fun. It’s definitely the act of putting out music in the airwaves and knowing that people are enjoying it simultaneously is definitely a big part of the fun.

What are your takes on Bachfest? What do you think makes it so special? Do you have any memories you’d like to share?

I think Bachfest is very KCR. We’re devoting at least 7 days a year to one artist. You really will not see any other station devote that much time to one singular person. And to do that every year and to have a community of listeners that look forward to it every year is really incredible. Bach is so accessible for our programmers. Because we have so many hours to staff, we have to pull programmers from different departments and getting them involved in Bach and having that diversity of takes on Bach is a really cool thing to see. I programmed Bachfest first in December 2020, and I did a few standard shows where I played some organ music. That was a lot of fun because I had sort of listened to the classics like “Toccata and Fugue in D.” But then I also got to hear the other stuff around it that I would not have thought to go and find if I wasn’t programming for three hours of Bachfest. So the act of discovery is fun.

You previously mentioned some rewarding experiences, like the Schaap tribute. What are some other KCR highlights for you? Or memories you’ll cherish?

All the Jazz birthday broadcasts, especially seeing the impact they have on social media, are a lot of fun. We put out a tweet announcing that Coltrane’s coming in two weeks, and it blew up! With that, not only are they liking Coltrane, they’re liking KCR. There

are some shows that have been highlights. I did Gil Scott Heron and then George Gershwin for Jazz Profiles. Also just sitting back and seeing the station roar back from COVID is really satisfying. We weren’t dead in the water, but we were playing off a computer for a year and a half!

What’s your favorite music to listen to if you’re able to pick? You can say certain albums!

I’d say the two albums that have influenced my listening are two Miles Davis albums, and they couldn’t be more different. The first one is the soundtrack to Elevator to the Gallows, a French film. He’s improvising along with the film. Great story behind it. So that album and then also Bitches Brew, which is when he’s in his fusion phase, and it’s got everything. It’s got Miles directing the band in a new way, and mirroring cultural changes. It’s just such a listening experience with Bitches Brew. You throw on the headphones and you feel like you’re right there with them improvising and making these new sounds. If you haven’t picked up, I am a huge Miles fan. So those two albums I’d say really have influenced my listening…actually one more! Art Blakey and the Jazz Messengers, Moanin’. That was probably the first Jazz album I had ever heard and, just, you can’t not love it.

Do you think it’s important for people in the realm of music broadcasting to go out of their comfort zones when it comes to music they know or don’t know? Only if you want to. I don’t think being forced to go out of your comfort zone is something we necessarily want to do. But if you want to do it, there’s a lot of good stuff that could come out of it.

What is your advice to recently licensed or prospective programmers? Just follow your ears!

ALBUM REVIEWS

4:44

Jay-Z Album Reviews

by Eric Aguilar

The follow up to his 2013 release Magna Carta, Holy Grail, 4:44 is the 13th studio release by Brooklyn all-time great rapper, JAY-Z. Where Magna Carta, Holy Grail saw a bold experimentation into different sounds, that admittedly has not aged well and is arguably one of the worst projects in his discography, 4:44 marks an unprecedented moment in what can be considered the third act in the career of JAY-Z. He buries the ego that fueled the better part of his career, letting go of the type of bravado that encapsulated not only his own rise to fame in the late 1990s, but what he and Roc-A-Fella Records would set as a standard for rappers to come. He is at his most vulnerable, dealing with themes of inequality in America, financial security, and most notably, admission of his own infidelity. And the music reflects it, much of this record is stripped back and almost amateurish, but not to the detriment to the whole of the album. It allows him to open up in ways that a polished and pristine recording would not be able to

convey. This is most apparent on the fifth track, which shares the name of the album, where close to the finish line, he criticizes himself for betraying his wife, Beyoncé Knowles, and their children. JAY-Z, 47 years old at the time of this 2017 release, also brings his own experiences of entrepreneurship, success, and continued relevancy. But this is not without fault, as some of his insight comes off as either painfully obvious or out of touch, most notably in “The Story of O.J.”, where he advises listeners to prioritize credit over going to strip clubs, and immediately follows it up with a rhetorical question about how Jewish people own so much property in America. He relies on his audience already knowing he is to avoid a misinterpretation or misconstruing of the intended meaning of the work. Thus, this release is one not recommended for a casual listener, as it’s very clear that the Brooklyn mogul’s target demographic for this album are those who are most intimately familiar with the direction and legacy of his career.

The Blueprint

While Shawn Carter was able to make his own significant mark with his debut album, Reasonable Doubt, his first venture under a label after various one off features with names such as Big Daddy Kane, Big L, and Mic Geronimo. The Blueprint comes five years after his major label debut, but solidified his legacy as an alltime to great to come. The album contains some of the biggest cultural moments in hip hop, both at the time, and beyond. The second track, “Takeover,” serves as JAY-Z’s diss track to Nas, who would eventually respond with “Ether” off his 2001 album Stillmatic. The conflict between the two New York giants remains as one of the greatest in the history of hip hop (though the two have since settled their differences and even collaborated). On the very next track, “Izzo (H.O.V.A.)”, Carter gives way to upcoming producer, Kanye West. Together, they created the song of the summer, and the track remains the most commercially successful song off the album. West showcases his signature “soul beats” style at the time, which would manifest itself into his meteoric debut album, The College Dropout. On the note of production, The Blueprint has been polarizing in that regard, a common criticism being that the record is not very innovative, and that it’s a product of its time as a top album in the midst of the bling era. But even if that were true, tracks like “Heart of The City (Ain’t No

Love)” have stood the test of time, featuring another Kanye West-produced track featuring a chopped sample from Bobby “Blue” Bland. It’s an explosive and exciting track that serves as yet another reminder of JAY-Z’s status as the King of New York, a mantle he ascended to after the death of Biggie Smalls.

The Blueprint exists as an outlier to the common trend of 1990s hip hop that Puff Daddy (modernly known as Diddy) laid out for rappers, most notably with The Notorious B.I.G.: create traction with mainstream sound and have the more substantial, lyrical cuts end up on the eventual album, rather than promoting rappers on their own songwriting and substantial vision. Carter did not design the album specifically for commercial benefit, otherwise he would have enlisted the hottest new producers or rappers to ensure he could earn higher sales. The work has established itself as something to be heralded for many years to come. With arguably his strongest punchlines, wit, and drive to hold onto his mantle as New York’s top hip hop artist, JAY-Z succeeds in his efforts, and lays down the foundation (or blueprint), for unwavering dominance within both music and entrepreneurship.

5:00 am 6:00 am 7:00 am 8:00 am 9:00 am 10:00 am 11:00 am 12:00 pm 1:00 pm 2:00 pm 3:00 pm 4:00 pm 5:00 pm 6:00 pm 7:00 pm 8:00 pm 9:00 pm 10:00 pm 11:00 pm 12:00 am 1:00 am 2:00 am 3:00 am 4:00 am

Special Programming

SPECIAL BROADCASTS

VINCE GUARALDI

Thursday, December 1, 4:00-9:00 PM

WKCR will play the music of pianist Vince Guaraldi, best known for his soundtrack album A Charlie Brown Christmas , throughout the afternoon and evening the day of Columbia’s annual tree lighting ceremony along College Walk. Far more than just a soundtrack musician, Guaraldi also worked extensively with other prominent jazz musicians like Cal Tjader and Woody Herman.

JAY-Z

Sunday, December 4, 1:00-6:00am

WKCR will honor a legend of NY hiphop: JAY-Z, one of the many greats to have graced our station’s airwaves at their careers’ outset. Filling the entire overnight and morning slot until dark hours end, we will broadcast hits, deep cuts, and special archival material from Hov’s catalog.

MERZBOW

Monday/Tuesday, December 19/20, 10:00pm8:20am

WKCR will celebrate legendary Japanese experimental musician Masami Akita, best known for his prolific catalog as the noise musician Merzbow.

FRANK ZAPPA

Wednesday, December 21, 12:00-9:00pm

WKCR will honor famed guitarist, bandleader, and experimental musician Frank Zappa all through the afternoon and evening.

THEMED SHOWS

SATURDAY NIGHT AT THE OPERA

Saturdays 9:00 PM-12:30 AM

December 3: Spanish Opera/Zarzuela Trio

December 10: Rodrigue et Chimène (Debussy)

December 17: Fidelio (Beethoven)

Host: Ale Díaz-Pizarro

SUNDAY PROFILES

Sundays 2:00-7:00 PM

Oscar Pettiford

December 4, 2:00 - 7:00 PM

Host: Sid Gribetz

Esperanza Spalding

December 11, 2:00 - 7:00 PM

Host: Maria Shaughnessy

Billy Harper

December 18, 2:00-7:00 PM

Host: Stephen Park

SPORTS

Women’s Basketball (vs. Lafayette)

December 3rd (Sat.), 1:00 PM

Anouncers: Ted Schmiedeler, Ale Díaz-Pizarro

Men’s Basketball (vs. UMBC)

December 6th (Tues.), 7:00 PM

Anouncers: Ted Schmiedeler, Stephen Dames

GUITAR MUSIC

Every Tuesday in December, 3:00-6:00 PM

Why is the guitar so popular, and why’s it so loud? Tune in to hear the sweetest and roughest guitars that recorded sound has to offer. Our godfather is Bo Diddley, but our journey takes us from Sister Rosetta Sharpe, to Sonny Sharrock, to Hüsker Dü, and beyond.

Host: Charlie Smith

Show Listings

Afternoon Classical, Fri. 3-6pm.

JAZZ

Daybreak Express, weekdays 5-8:20am

Out to Lunch, weekdays 3-6pm

Jazz Alternatives, weekdays 6-9pm

These three programs comprise the core of our jazz offerings. Programming consists of everything from New Orleans jazz, jazz age, swing era, bebop, hard-bop, mod al, free, and avant-garde. In short, you’ll encounter the entire range of recorded jazz on these programs. Hosts rotate from day-to-day, offering an exciting variety of ap proaches, some of which include thematic presentation, artist interviews, or artist profiles

Birdflight, Tues.-Fri. 8:20-9:30am

Archival programs from the late Phil Schaap, one of the world’s leading jazz historians, who hosted this daily forum for the music of Charlie Parker for about 40 years.

Traditions in Swing, Sat. 6-9pm

Archival programs hosted by the late Phil Schaap, this award-winning Saturday night staple presents focused thematic programs dealing with jazz up until about World War II. Schaap presents the music, much of it in credibly rare, from the best sound source, which is often the original 78 issue.

Phil Lives*, Mon. 3-5am

This overnight show features archival broadcasts of long form programs from late NEA Jazz Master Phil Schaap.

CLASSICAL

Cereal Music, Mon.-Thurs. 9:30am-12pm

An entirely open-ended classical show to start your weekdays. Tune in to hear the most eclectic mix of classi cal music on the New York airwaves!

The Early Music Show, Fri. 9:30am-12pm

Dedicated primarily to European medieval, Renaissance, and baroque music, all from before 1800 (plus or minus 50 years).

Extended Technique*, Wed. & Thurs. 3-6pm

WKCR’s first interdepartmental show (in the New Music and Classical departments) dedicated to contemporary classical music. You’ll hear everything from 12-tone and minimalist compositions to film and video game scores, and all things in between.

* Indicates show was created after January 2022

Similar to cereal music, most of afternoon classical has no restrictions on what type of classical music to play. The last hour of the show, however, is dedicated fully to the music of JS Bach.

Saturday Night at the Opera, Sat. 9pm-12:30am.

One of NYC’s longest running opera shows, Saturday Night at the Opera is a 3.5 hour show that allows operas to be played in their entirety, with room for commentary, descriptions, and some history.

NEW MUSIC

Afternoon New Music, Mon. & Tues. 3-6pm

Our daytime new music program features a wide variety of music that challenges boundaries and subverts categorizations. Shows include everything from seminal new music compositions to the most challenging of obscure deep cuts and new releases.

Transfigured Night, Tues./Thurs./Sat. 1-5am

Our overnight explorations into the world of new music, Transfigured Night rewards our late night listeners with a wide range of sounds and experimental music.

Workaround*, Fri. 9-10pm

WKCR presents Live DJ sets from Columbia students and local artists.

Live Constructions, Sun. 10-11pm

This weekly program features a live in-studio performance or a performance pre-recorded specially for the show.

AMERICAN

Honky Tonkin’, Tues. 10-11pm

One of WKCR’s longest-running American music programs, Honky Tonkin’ lands in the harder side of Country music. Emphasizing the greatest voices in the genre, Honky Tonkin’ is a country music dance party every Tuesday night.

Tuesday’s Just as Bad, Tues. 11pm - Wed. 1am Tuesday’s Just as bad explores the world of blues prior to World War II. Shows weave their way through the first decades of recorded music history and turn to the postwar years in the final half hour.

LISTINGS FOR LISTENERS

Night Train, Wed. 1-5am

All aboard! One of our two overnight programs in the American department, Night Train rolls through the post-war R&B and soul tradition, from the genre’s emergence in the 1940’s and 50’s through the funk revolution in the 1970’s. Shows often feature extended live recordings and concerts.

Offbeat, Fri. 1-5am

Offbeat is committed to broadcasting undiscovered new hip hop music. Shows typically focus on exposing underplayed or up-and-coming new artists, including experimental instrumental artists not typically played on mainstream hip hop radio.

Across 110th Street, Sat. 12-2pm

Kicking off our Saturday afternoon American music run, Across 110th Street airs soul, funk, and dance music from the 1960’s through the 1980’s and 90’s.

Something Inside of Me, Sat. 2-4pm

Something Inside of Me is WKCR’s Saturday afternoon blues show, focusing mostly on the electric and post-war styles.

Hobo’s Lullaby, Sat. 4-6pm

Rooted in the folk revival of the 1950s and 60s, Hobo’s Lullaby airs American folk and traditional music styles from the early 20th century through the present day. From old staples like Leadbelly, Elizabeth Cotton, and Woody Guthrie to contemporary stalwarts like the Carolina Chocolate Drops and lesser known artists, domestic traditions are alive and well on Hobo’s Lullaby.

Notes from the Underground, Sun. 12:30-2am

Notes from the Underground showcases contemporary hip hop and rap music with an emphasis on emerging and experimental artists. The program also hosts local and visiting artists for interviews, freestyles, and guestcuration.

Amazing Grace, Sun. 8-10am

Greeting listeners on Sunday morning, Amazing Grace shares with listeners the world of the African-American gospel tradition.

The Moonshine Show, Sun. 10am-12pm

On the air for nearly 60 years, The Moonshine Show showcases the American Bluegrass tradition, from the earliest roots in vernacular string-band music, through

* indicates show was created after January 2022

the genre’s pioneers in the 1940s and 50s and advancements in the 60s and 70s, through the leading innovators and stars of today.

The Tennessee Border Show, Sun. 12-2pm One third of WKCR’s country music programming, along with Honky Tonkin’ and the Bluegrass Moonshine Show, Tennessee Border highlights the singer-songwriter tradition, from Hank Williams and Townes Van Zandt to Lucinda Williams.

LATIN

Caribe Latino, Mon. 10pm-12am

Caribe Latino is a music program that features the diverse, upbeat music from numerous Latin communities in the Caribbean. Popular Latin rhythms such as Salsa, Merengue, Bachata and Latin Jazz take center stage throughout the program.

Urbano Latinx, Tues. 12-1am

A weekly Latin show airing contemporary sounds from Latin America, the Caribbean, and the diaspora, Urbano Latinx features mixes of salsa, merengue, Latin punk rock, and more.

Sin Fronteras*, Wed. 12-3pm Falling in the space of Out to Lunch on Wednesday afternoons, Sin Fronteras explores the tremendous Latin Jazz tradition.

Nueva Canción, Wed. 10-11pm Nueva Canción is an exploration of protest music created throughout Latin America during the 60s and 70s and its numerous other manifestations throughout other countries and time periods.

Som do Brasil, Wed. 11pm - Thurs. 1am From samba and bossa nova to MPB, hear the numerous and enchanting sounds and rhythms of Brazil.

Sonidos Colombianos, Fri. 10-11pm

Sonidos Colombianos presents music from one of the most culturally diverse countries of Latin America: Colombia! Our bilingual musical tour is guaranteed to include not only cumbia, but also the guitar-based bambuco from the Andean region, the harp llanero music from the Eastern Plains, the marimba-infused currulao from the Pacific Region, and the accordiondriven vallenato of the North Atlantic Coast.

LISTINGS FOR LISTENERS

The Mambo Machine, Fri. 11pm - Sat. 2am

The Mambo Machine is the longest running salsa show in New York City. The program presently plays a wide spectrum of Afro-Latin rhythms, combining new and old into an exciting, danceable mix.

El Sonido de la Calle*, Sun. 2-4am

A companion show to Saturday night’s American Notes from Underground, El Sonido de la Calle highlights the diverse world of contemporary Spanish-language hiphop and dance music.

IN ALL LANGUAGES

Seachran: The Celtic Show, Mon. 12-1am

Seachran features music from across the island of Ireland throughout the era of recorded music, particularly focusing on traditional folk and vernacular music forms.

Coordinated Universal Time, Mon. 1-3am

Coordinated Universal Time brings our listeners the latest cut of music from anywhere in the world, especially highlighting music that does not get attention in America. Our programming tries to bring the hottest and the most recent tunes to WKCR’s airwaves.

The African Show, Thurs. 10pm-12am

The longest running African music radio show in the United States, the African Show brings you a variety of music from the entire continent of Africa.

Middle Eastern Influences, Fri. 12-1am

During the hour-long show, Middle Eastern Influences features a wide range of beautiful tracks from regions of the Middle East, North Africa, and even, at times, South Asia.

Sounds of Asia, Sat. 6-8am

Rechristened from Sounds of China, Sounds of Asia explores the recorded musical traditions and innovations of Asia and the Pacific islands.

Eastern Standard Time, Sat. 8am-12pm

One of New York’s most popular Reggae programs, Eastern Standard Time takes listeners through Saturday morning from 8 am to noon with the hypnotic sounds of Reggae and Jamaican dance music.

* indicates show was created after January 2022

Field Trip, Sun. 6-8am

Field Trip focuses on the music and practice of field recordings: music recorded outside of a studio. Tune in and you may catch field recordings that were recorded fifty years ago, others that were experimented with by your favorite Afternoon New Music artist, or even those documented in New York City by WKCR itself.

Raag Aur Taal, Sun. 7-9pm Raag Aur Taal explores the sounds and rich cultural heritage of South Asia. The term “Raag Aur Taal” roughly translates to “melody and rhythm,” indicating the classical nature of this program.

Back in the USSR, Sun. 11pm-12am Back in the USSR features music from across the former Soviet Union and soviet states across Eastern Europe and East and Central Asia, from the mid-20th century through the present.

NEWS & ARTS

Monday Morningside*, Mon. 8:30-9:30am Monday Morningside is WKCR’s morning news broadcast to kick off the week, featuring news segments on events around Morningside Heights and upper Manhattan. If you’re not an early bird, all episodes are available as podcasts on Spotify!

PopTalk*, Mon. 9-10pm PopTalk examines current developments in pop music and the latest top-flight releases.

SoundStage*, Sun. 9-10pm SoundStage features audio dramas and radio plays from the WKCR archives as well as new compositions by students and contemporary writers. Some shows also feature interviews with dramatists and directors.

SUNDAY PROFILES

Sunday Profile, Sun. 2-7pm*

With the return of the five-hour profiles slot, programmers will showcase longform profiles as they have done for decades. While the primary focus remains on jazz music, we also feature other styles and traditions from across WKCR’s different programming departments.

CONCERTS

Concert Reviews

by Leni Bryan and Fenway Donegan

Between the energetic, gnarly, idiosyncratic opener, Speedy Ortiz, and dynamic headliner Cloud Nothings, I could not have asked for a better way to spend my Wednesday night at the Music Hall of Williamsburg. After waiting five years, I finally found the opportunity to see Speedy Ortiz, my favorite band, again. They seldom tour, and usually stay on the East Coast, so you have to act quickly when you see them pop on on a ticket. Sadie Dupuis, vocalist and guitarist, strutted onto stage holding her bubblegum pink guitar with the same liveliness and spunk I remember in 2018. Throughout their whole set, Speedy brought epic dyanamicism, playing some of their most well known songs like “The Graduates” and “Buck Me Off.” Speedy brought their punchy lyricism, wordplay, and interweavig guitar lines to a whole new level with their fiery energy. Their set ended too quickly, (until next time, Speedy Ortiz) and left the crowd bubbly and eager for Cloud Nothings. The crowd head bopped to the

melancholic introduction of “No Future/No Past,” the first song in Cloud Nothings’ 2012 album, Attack On Memory. For the album’s tenth anniversary, the four-piece played through the entire album, seamlessly transitioning from one song to the next, embellishing with goofy banter every now and then. Cloud Nothings leaned completely into the emotional ebb and flow of the album, and whether in the mosh pit or on the outskirts of the crowd, the show was a collective sonic catharsis. Throughout the set, pulsing with crisp solos over the fuzzy guitar, deep whines, and dissonant melodies, we escaped to the indie rock world of existential confusion, yelling, and jumping. Even with their loose attitude and nonchalance, bassist TJ Duke moved at lightning speed, guitarist Chris Brown shredded, drummer Jayson Gerycz absolutely destroyed the kit, and lead singer and guitarist Dylan Baldi nailed every intense groan and scream. The quartet brought the energy, the crowd was amazing, and I had an absolute blast.

— Leni Bryan

After their multi-year long hiatus, Alvvays (pronounced Always) returned with more than enough energy to justify their break. Having seen them play in North Carolina during their tour for the second album, Antisocialites, I had an idea of what to expect, but they blew my expectations away with an incredible set. It was definitely worth the wait!

I want to give credit to their sound engineer, who made sure every member of the five piece group could be clearly heard, even in a venue as large as Kings Theater. Their riffs are crisp as ever, the setlist felt intentionally designed so the audience would never go more than a couple of songs without hearing a hit, and lead singer Molly Rankin proves she still knows how to give a crowd exactly what they want. Going from a smaller venue like The Pinhook to Kings Theater, I was happy to see that the crowd’s energy remained the same. While an unavoidable side effect of the larger is a less personal atmosphere (Big Thief is the only band I’ve seen there that managed to make Kings’ 3000-capacity theater feel intimate), Alvvays more than made up for it with palpable energy. I was excited to see the majority of people on the balcony standing up to dance throughout the show.

“Slow Pulp” was an excellent opener, as their droning sound contrasted nicely with the

more pop flavored songs from Alvvays’s latest record, Blue Rev. However, some of the finer details in their songs were seemingly sacrificed to the pedalboard gods, as the delayed, fuzzed out guitars fought to be heard over one another. They more than made up for it with a tight set, mostly made up of songs from their 2020 album Moveys.

Alvvays’s show was staged in front of a massive projection of slowly moving colors and shapes, which changed with each song. While never feeling full-on psychedelic, the projections swayed with the rhythm of each song and would recede into the background during quieter parts of the set. Small touches, like the appearance of a sixth member who played tambourine during their opening number and how a bright stage light would illuminate each band member when they played a solo, showed how much thought went into the staging of the concert. Several song transitions were assisted with a full-stage blackout, further emphasizing the theatrical nature of the show.

Even though their staging was topnotch, at over an hour and a half, the setlist felt bloated at times, and a tighter set would have been appreciated. Despite the fact that they didn’t mess around too much between songs, a 20 song setlist, especially one that contains 11 of the 14 songs off their latest album, can definitely drag on. Regardless, I would still fully recommend seeing them live—provided Alvvays doesn’t take another three-year hiatus after this tour.

— Fenway Donegan

SUPPORT WKCR

TOP 5 REASONS TO DONATE TO WKCR

1. You’d be helping a student-run, listener-funded, and volunteer-based radio station continue to bring you the absolute best in what radio has to offer. Music, arts, news, and sports— we’ve got the works!

2. You wouldn’t be a free-rider anymore.

3. WKCR donations are tax-deductible (so make sure you donate before tax season). For more info on that, or anything else business-related, email business@wkcr.org

4. Being “the Original FM,” our equipment is getting a bit old. For example, Buzz, the hamster that runs the wheel that powers the station, is getting a little worn-out and arthritic. We need a new hamster. Sorry, Buzz, but it’s gotta be done!

5. Isn’t OnAir cool? Without proper funding, projects like this can’t come to fruition and, if they do, don’t make it very long. Donate to allow the little OnAir minions to stay in the job (we are all OnAir minions).

HOW TO DONATE TO WKCR IN 4 STEPS

BY MAIL

Step 1: Locate your nearest checkbook

Step 2: Indicate “WKCR” as payee and fill out as usual

Step 3: Mail cheque to CU Gift Systems, 622 West 113th Street, MC 4524, New York, NY 10025

Step 4: ...and VOILÀ! Just like that, you have become a WKCR supporter!

WKCR also accepts cheques to our direct address. Just Follow the same steps listed above but mail the cheque to:

2920 Broadway, New York, NY 10027

ONLINE

Step 1: head to www.wkcr.org

Step 2: Click the yellow “DONATE TO WKCR” banner at the top of the page

Step 3: Fill out the form in the giving portal and enter your information...

Step 4: ...and VOILÀ! Just like that, you have become a WKCR supporter!

Did you know you can make recurring donations to WKCR when you donate online?

Just indicate your frequency preferences on the giving portal when prompted!

Special thanks to Ale Díaz-Pizarro, Charlie Smith, Eric Aguilar, Fenway Donegan, Jacob Grayzel, Joshua Wang, Leni Bryan, Madelyn Elizondo, Maria Shaughnessy, Melisa Nehrozoglu, Sam Seliger, Sarah Barlyn, Schuyler Rabbin-Birnbaum, and Sofia Yousif.