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On Air · November 2026

WKCR 89.9 FM Executive Board Station Manager Solène Millsap stationmanager@wkcr.org Program Director Charlie Kusiel King programming@wkcr.org Director of Operations Hadassah Weinmartin operations@wkcr.org Student Life Director CJ Gamble studentlife@wkcr.org Publicity Director June Frankel publicity@wkcr.org Business Manager Sara Carson business@wkcr.org Department Directors Jazz Emma Lacy & Stella Manyan jazz@wkcr.org New Music Isadora Evers newmusic@wkcr.org Classical Isabel Norman classical@wkcr.org American Ben Rothman & Landon Pottebaum american@wkcr.org

Dear Listeners, November already!? Can you believe it? Neither can I. October flew by here at WKCR, though not without a packed month of programming. On October 10, we celebrated not only the 109th anniversary of Thelonious Monk’s birth, but also the 85th anniversary of WKCR hitting the airwaves in New York. Throughout the month, special programming ranged from birthday celebrations, new and old, to Columbia sports coverage, to live concert broadcasts. Never a dull moment in our studios! This November brings us here at WKCR back down to earth, if only for the time being. November 14 sees the birthday of Aaron Copland, which we will celebrate for three hours, and, of course, on November 21, we air the music of Coleman Hawkins for an entire day. Our signature Sunday Profiles feature an exciting range of hosts this month, with former Program Director Rachel Smith starting us off with a Lou Donaldson Centennial on November 1, jazz super-hosts Emma Lacy, Sara Carson, and Hadassah Weinmartin on November 8, the incredible Sid Gribetz on November 15, and American Department Director Landon Pottebaum making a profile debut on November 22. More information regarding special programming this month can be found on page 12. Of course, WKCR’s On Air Guide wouldn’t be the same without articles as varied as our programming. Three authors reflect on composers this month: Penny Shapiro writes on Angelina Gargano, while Colton Schons and Vera Paz discuss the legacy of Aaron Copland. Ella Werstler interviews Latin Department Director Damaris Lindsay, and I compile photos from WKCR’s epic 85th Anniversary Broadcast Series. On second thought, maybe in November, WKCR won’t come back down to earth; maybe it’s in WKCR’s nature to always strive for what’s new and exciting. That’s our tradition. Keep your dial tuned to 89.9 FM this month, and keep your browser on wkcr.org. Beginning this November, we’re here to stay for another 85 years.

In All Languages Ethan Thacker ial@wkcr.org

With gratitude,

Latin Merielen Espino latin@wkcr.org News & Arts Natalie Lahr news@wkcr.org Sports Mason Lau sports@wkcr.org

2 On Air · November 2026

Charlie

Mailing Address

THIS MONTH ON AIR Aaron Copland and The Shakers

. . . page 4

Senior Interview: Damaris Lindsay

. . . page 7

Weekly Schedule

. . . page 10

Special Broadcasts & Themed Shows

. . . page 12

Show Listings for WKCR Listeners

. . . page 13

Angelina Gargano Profile

. . . page 16

85th Anniversary Live Broadcast Photos

. . . page 18

Cover design by Ella Werstler

Collage by Harry Minsky

On Air · November 2026

AMERICAN

Aaron Copland and the Shakers

by Vera Paz and Colton Schons

n a city filled with protest, vivacity, love, and community, it’s difficult to imagine a time where the music of New York could be described any differently. Amidst the turn of the nineteenth century, waves of Eastern European and Jewish migrant families established small businesses, lining the streets of Brooklyn: among them, H.M. Copland’s Department Store and the Copland family home. Sounds of the piano rang from the packed Copland family home in Brooklyn as Aaron Copland, the youngest of five, navigated the keys for the first time, making up songs as he learned from his older sister, Laurine Copland. November 14, 2026 marks the 126th birthday of Aaron Copland: the “Dean of American Music.”* Raised humbly on what Copland described as “a street in Brooklyn that can only be described as drab,” by Jewish immigrants from Russia, Copland’s undeniably American background shaped his undeniably American music, even in a time which erased American identity from immigrants everywhere. In a transformative century of American identity and culture, Copland’s work and philosophy of music not only captured, but cultivated the rapidlychanging American culture. Throughout his 70year career, Copland’s music seized American culture in its history while picturing what the nation could become, asserting that “music must always flow, for that is part of its very essence, but the creation of that continuity and flow— that long line— constitutes the be-all and end-all of every composer's existence,”. At 21 years old, Copland’s love for music brought him to France, to study at the Summer School of Music for American Students at Fontainebleau, where he met the woman

4 On Air · November 2026

who would come to inspire his sound for decades: Nadia Boulanger, a French composer and music teacher who worked with other legendary musicians throughout the twentieth century. Boulanger’s leading hand through the world of classical composition inspired Copland’s earliest works, such as “The Cat and The Mouse” (1921) or “As It Fell Upon a Day” (1923).* Boulanger introduced Copland to the French-modernist sound, which ultimately shaped what would come to be his signature American melody, especially in his most famous ballet: “Appalachian Spring.” Copland’s mission to capture the essence of Americans carried him across the world to capture all kinds of human experiences. In order to get the most distinctly American sound, Copland had to experience what defined the United States of America himself. Arriving in Mexico City, Copland was introduced to El Salon Mexico, a dance hall famous for its blend of Latin American cultures through music. Inspired by the sound of Mexican folk music, Copland returned to New York with the foundations of early-modern American folk music, with a new musical mission: to write for the common man. In 1936, Copland released “El Salon Mexico,” a hopeful, romantic story of Mexican culture and perseverance. This release marked a shift in Copland’s music, from his learned, European-modernist style to a radical expression of political dissatisfaction and American hope. This shift reflected a nationwide shift in political culture, accompanying the rise of New Deal Socialists and patriotism throughout World War II. Following the embrace of Americanism after World War II, Copland celebrated the

nation’s victory with a song — one to honor the foundations of America. While previous American composers were venerated for their work honoring the most notable generals, Copland sought to write a “Fanfare for the Common Man:” a piece honoring people he had known and respected, from his brothers, sisters, and neighbors in Brooklyn, to the utopian Bluestone farmers in upstate New York, to the brilliant musicians he heard in Paris and Mexico City.* “Fanfare for the Common Man” does exactly that: the robust crescendo builds on each section just as the beauty of the nation was built upon the work of front-line laborers, soldiers, and the working class. Copland’s left-leaning political leanings rang out as a result of his connection to utopian socialists. His ballet score Appalachian Spring, choreographed by Martha Graham, blends folk tunes and defiant composition to cultivate the folk revival of the midtwentieth century, such as Pete Seeger and Simon & Garfunkel.* Amidst that counter-cultural zeitgeist, Copland used the seemingly bucolic Shaker tune “Simple Gifts” to capture the beauty of the American folk heritage and its utopian future. However, the Shakers were neither quiet farmers nor any old cozy Protestant denomination. As their name implied, they shook and danced dramatically in worship, brandishing the body in motion for spiritual gain. A better-known hymn boasted:

Oh ho! I will have it, I will bow and bend to get it, I’ll be reeling, turning, twisting, Shake out all the starch and stiff’ning! (1843, Canterbury, NH) (Andrews 114) Another hymn text of unknown origin, beyond showing the physicality of Shaker music, sounds like a nineteenth century kegger: Drink ye of Mother’s wine It will make you limber. If it makes you reel around, If it makes you fall down, If it lays you on the floor, Rise and take a little more.(Andrews 63) Who was this Mother and why were they drinking her (spiritual) wine? Ann Lee (1736-1784) was a founding leader of the Shaker religion in England and came to Colonial America on the eve of the Revolution. Known as Mother to her followers, she introduced matriarchal religious observance to white Americans, succeeding many Indigenous-woman led religions. She preached a life of celibacy without marriage, and equality between female and male believers. According to historian Louis J. Kern, Mother Ann Lee “called herself, and was considered by her followers, the ‘Second Appearing of Christ,’ or ‘The Lamb’s Bride.’” (Kern 74.) Despite her passing during the eighteenth century, she continued to communicate with her community during the nineteenth century Shaker revival using the faithful, especially girls and young women, as mediums.

On Air · November 2026

This revival, known as “Mother’s Work,” was a growing wave of Mother Ann’s manifestations across Shaker communities in the mid-nineteenth century. While the Shakers experienced demographic decline as members left the faith and fewer converts joined, the atmosphere of crisis made the air ripe for a spiritual intervention (Promey 1-5.) Beginning around 1840, Shakers began to receive spiritual “gifts,” often objects invisible and intangible to nonbelievers (Promey 18-21.) Shakers often then produced writings and drawings (or Mother Ann did, via her conduits.) Gifts also took the form of music and hymns. While “Simple Gifts” is not consistently attributed to Mother Ann herself (but who are we to say?) it “probably was a product of that [1837-47] revival,” according to historian Edward D. Andrews (136.) Read the lyrics with Copland’s other utopian and progressive influences in mind and feel the power of even a wordless melody from an apocalyptic, gender egalitarian, supernaturally woman-led group: When true simplicity is gain’d To bow and to bend we shan’t be ashamed To turn, turn will be our delight ‘Till by turning, turning we come round right. (Andrews 136) “Turning,” bowing, and bending physically enact the goals of utopia through song and movement. When all become equal, “to bow and to bend” will not replicate subjection. (This theology led the Shakers to accept enslaved people into their communes and pay their emancipation.) This “true simplicity” is not here yet and must be “gain’d” partly through song as a tool of liberation. Shaker music was acapella and not uniformly measured as Copland’s variations on this song’s melody in the Interlude of Appalachian Spring. Andrews argues that these energetic, “ritualistic,” songs were “the product of individuals” (often inspired by Mother Herself), and thus rhythmic and irregularities abounded

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(Andrews 90.) He also claims that, “having no recorded song tradition,” they copied vocal ornaments down faithfully when they did - and there were many! What Catholic or mainline Protestant hymn traditions would consider an ornament were ubiquitous parts of Shaker vocal practice. Copland’s birthday broadcast is a great time to revisit these strangely culturally productive yet subversive figures. Where Copland and Graham’s Appalachian Spring used the Shakers to look back at the nineteenth century through ballet, this was a look back at Copland’s twentieth century musical genius via the Shakers. Copland helped preserve the Shaker musical tradition in popular memory and paved the way for many. Thanks, Aaron, and thank you to the Shaker furniture from Colton’s mom’s antique store haul back in the 2000s; to playwright Arlene Hutton who wrote the historically faithful Shaker musical As It Is In Heaven (which he saw for free in Seattle via the TeenTix program); and to Amanda Seyfried for her full send performance in The Testament of Ann Lee (2025). Bibliography: Andrews, Edward D. The Gift to be Simple: Songs, Dances and Rituals of the American Shakers. J. J. Augustin Publisher, 1940. Kern, Louis J. An Ordered Love: Sex Roles and Sexuality in Victorian Utopias – the Shakers, the Mormons, and the Oneida Community. University of North Carolina Press, 1981. → little note on Kern: scholars have rightly pointed out that he erroneously uses polemical anti-Shaker and anti-Mormon work as primary sources for Shaker and Mormon sayings and practices Copland, Aaron. What to Listen for in Music. McGraw-Hill Books, 1939. Promey, Sally M. Spiritual Spectacles: Vision and Image in Mid-Nineteenth Century Shakerism. Indiana University Press, 1993. Hollywood Bowl. “Fanfare for the Common Man, Aaron Copland.” 2026. https://www.hollywoodbowl.com/musicdb/ pieces/345/fanfare-for-the-common-man. Aaron Copland, 1900-1990. (2015). The Library of Congress. https://www.loc.gov/item/n79089419/aaron-copland-1900-1990/ Ormond, Blake. “Aaron Copland and Jazz.” Music 345: Race, Identity, and Representation in American Music, November 8, 2021. https://pages.stolaf.edu/americanmusic/2021/11/08/ aaron-copland-and-jazz/. Witherell, Sharon. “Aaron Copland’s Music Captured America’s Spirit.” Fulbright, November 25, 2025. https://fulbrightprogram.org/aaron-coplands-music-captured-americas-spirit/.

MEET A MEMBER

Damaris Lindsay's Senior Interview by Ella Werstler

amaris Lindsay is the Latin Department head. She leads the department with a calm, composed vision; never taking things too seriously. However, if you watch closely enough, it is impossible to deny the genuine passion and talent she has. I officially met her during a 4 AM handoff at the station one cold December morning 2 years ago. From that point on, our friendship has grown immensely. I even had the honor of being her roommate last year. I am so grateful to have been able to share a space with Damaris for that time. Now we sit outside of her EC Suite. The door is slightly ajar and music can be heard from within. Inside, the WKCR board diligently sets up for the station's 1985 New Wave themed 85th birthday party which seems to be starting shortly…

I? Oh, I joined and now I do Latin. I'm the Latin Department Head and it's been really fun and I love WKCR. When I came to college, I was like, “Oh, I want to join the radio.” I literally would go to visit colleges and be like, “I want to do radio. I need to know what the radio is like.” And now I'm at the number one college radio station in the whole wide world because we were the 1st one and it's our 85th anniversary.

*this interview has been edited and adjusted for clarity and brevity

EW: Did you go to University Hardware and ask for the secret menu?

Ella Werstler: Damaris, please introduce yourself. Who are you and what has your journey with WKCR been? Damaris Lindsay: My name is Damaris Jade Lindsay. I was born on Long Island in New York, but technically I'm a New Yorker because Long Island is still part of the New York Metropolitan Area. I joined WKCR my freshman year. I've been in it ever since and right now I'm…Sorry, I hear music that is really exciting to me. EW: Do you need to pause? DL: No, it's okay. It's okay. Okay. Um, where was

EW: On this very day. DL: Yeah, on this very day. You know, I'm sad because before this party was starting, me and my girlfriend, Tessa, were trying to find party hats because we're like, “It's the 85th birthday. You’ve got to have party hats for everyone.” There's no party hats anywhere!

DL: They were closed. We were late because Tessa needed to finish her essay. EW: Okay, we have a lot of comments about Tessa, but let's get back to Damaris. Damaris, what made you want to be the Latin Department Head? DL: Um, because my good friend, Natalie, was like, “Hey, can somebody please apply?” She Slack DMed me and was like, “You've programmed for Latin before, and you want to apply to be Latin Department Head.” I was like, “Okay.” I was a sophomore and I was like, “Why not? It'd be cool to have a position.” And so I applied. I was probably the only person

On Air · November 2026

that applied so I got it. I was like, “I’m the Latin Department Head, even though I've only ever programmed like maybe 2 live shows before.” Anyway, I was really excited. EW: Do you have a favorite show to host in the Latin department? DL: My favorite show is Sin Fronteras, the Latin Jazz show and it's the best show ever. Unfortunately, I can't host it most of the time because it is in the middle of the day on Wednesday, but I did it over the summer going into my junior year and it was so fun.

EW: Was Sin Fronteras your first show? And if not, do you remember your first ever show? DL: My first show. Oh, probably El Sonido de la Calle. That was my 1st show because it's at 2 AM. That's where I ran into you because you were doing Jazz ‘Til Dawn. EW: That was our first ever real conversation. DL: Yeah, I know. It was big for me. I was like, “Oh my god, I just had a conversation with Ella Werstler.” EW: I honestly think it was bigger for me. DL: I think that was my first show. Not the one that I met you at, but one El Sonido de la Calle was definitely my first. EW: Since then you have done a lot of shows and you've probably learned a lot. So, what's the biggest thing that you have learned? DL: I’ve learned that there's so much wonderful music out there in the world. One time I did Amazing Grace, our gospel show. I was like, “Wait, this is fire.” And people would call it and be like, “This is really great music.” EW: You're talented. You are. DL: That was really exciting for me. EW: Well, yes, because you like music a lot. So much that you have a lot of your very own CDs (and I know this because I lived amongst your CDs last year). Do you have a favorite CD in your collection? And why is it your favorite? DL: LCD soundsystem, the LCD soundsystem self-titled album. It's my favorite CD because they don't make them anymore. And so I had to buy it off of discogs. And I was really, really excited that I got it.

8 On Air · November 2026

EW: I'm just gonna ask you one more question about WKCR which is: what are you going to miss most about the station? DL: Honestly, I'm probably gonna miss the space. I just love being in there. When I do program shows, it's so nice just sitting there. I love the library. I love libraries. I'm the biggest library nerd ever. And I love our library. When I programmed Sin Fronteras, I would literally go put my record on and then just go into the library and just look through everything for the full time I was there.

owns a hot dog store: Gray’s Papaya. It’s a very famous hotdog store in New York City. If hot dogs didn't exist, I don't know if I would have ever met her and she's the love of my life. So I'm gonna say that I choose hot dogs. EW: That question is officially not making the cut, I can't tell the people that you would choose encased meat over WKCR. So let's try something else…um, maybe you have some parting words besides that? Any parting words of wisdom or reflections that you want to leave us with? DL: Long live college radio, long live analog, long live the alternative. Hell yeah. EW: Hell yeah. Yay, Damaris!

EW: That's adorable. I can picture you, like, sitting there on the floor. DL: And then people would come in. EW: And you were just in your moment. DL: Well, yeah. EW: If you know Damaris, you know that she really likes music and libraries, but you also know that she really likes hot dogs. So if you are able to comment on your choice, Damaris, please choose between hotdogs and student radio. DL: Hot dogs or student radio? EW: Are you able to comment on that? DL: The thing is, so my girlfriend, right, Tessa, she has a hot dog store. Her family

Damaris in her favorite photo of herself, impersonating the Statue of Liberty.

On Air · November 2026

5:00 am 6:00 am 7:00 am

SUNDAY

MONDAY

TUESDAY

WEDNE

Jazz ‘til Dawn (cont’d)

Daybreak

Field Trip

8:00 am 9:00 am

Amazing Grace

Monday Morningside

Bird F

10:00 am 11:00 am

Cereal Music

The Moonshine Show

12:00 pm 1:00 pm The Tennessee Border Show

Out to Lunch

2:00 pm

Sin Fro

3:00 pm 4:00 pm 5:00 pm

Sunday Profiles

Afternoon New Music

6:00 pm 7:00 pm 8:00 pm

Jazz Alte

Raag Aur Taal

9:00 pm 10:00 pm 11:00 pm 12:00 am 1:00 am 2:00 am

News + Arts Programming Live Constructions Back in the USSR The Celtic Show

Urbano Latinx

Honky Tonkin’

Nueva C

Tuesday’s Just as Bad

Som do

Night Train

Transfigur

Coordinated Universal Time

3:00 am 4:00 am

Caribe Latino

Phil Lives

10 On Air · November 2026

Transfigured Night

ESDAY

THURSDAY

FRIDAY

SATURDAY Transfigured Night (cont’d) Sounds of Asia/Couleurs Antillaises

k Express

5:00 am 6:00 am 7:00 am 8:00 am

Flight

9:00 am

Now's The Time Eastern Standard Time Early Music

10:00 am 11:00 am 12:00 pm

Across 110th Street

Out to Lunch

onteras

2:00 pm

Something Inside of Me

Bach Hour

Canción

o Brasil

red Night

Hobo’s Lullaby

Middle Eastern Influences

Sonidos Colombianos

Saturday Night at the Opera 11:00 pm 12:00 am

The Mambo Machine

Transfigured Night

8:00 pm

10:00 pm

Notes From Underground Offbeat

7:00 pm

9:00 pm

Workaround The African Show

5:00 pm 6:00 pm

Traditions in Swing

ernatives

3:00 pm 4:00 pm

Afternoon Classical

Extended Technique

1:00 pm

El Sonido de la Calle

1:00 am 2:00 am 3:00 am 4:00 am

Jazz ‘til Dawn

On Air · November 2026 11

Special Broadcasts BIRTHDAY BROADCASTS

Aaron Copland Birthday Broadcast Saturday, November 14, 9:00PM-12:00AM

Coleman Hawkins Birthday Broadcast Saturday, November 21, All Day

SUNDAY PROFILES Sundays 2:00-7:00 PM Lou Donaldson Centennial November 1 Host: Rachel Smith TBA November 8 Host: Sara Carson, Emma Lacy, Hadassah Weinmartin TBA November 15 Host: Sid Gribetz Thomas Dorsey November 22 Host: Landon Pottebaum TBA November 29 Host: TBA

Collage by Harry Minsky

12 On Air · November 2026

Show Listings JAZZ

CLASSICAL

Daybreak Express, Mon.-Fri. 5-8:20am Out to Lunch, Mon./Tues./Thurs./Fri. 12-3pm Jazz Alternatives, Mon.-Fri. 6-9pm The core of our jazz offerings, these three programs span the entire range of recorded jazz: everything from New Orleans jazz, jazz age, swing era, bebop, hardbop, modal, free, and avant-garde. Hosts rotate daily, offering an exciting variety of approaches, some of which include thematic presentation, artist interviews, or artist profiles. On the first Wednesday of every month, Jazz Alternatives becomes “The Musician’s Show” and is hosted by a professional working musician.

Cereal Music, Mon.-Thurs. 9:30am-12pm An entirely open-ended classical show to start your weekdays.

Birdflight, Tues.-Thurs. 8:20-9:30am Archival programs from the late Phil Schaap, one of the world’s leading jazz historians, producers, and an NEA Jazz Master, who hosted this daily forum on the music of Charlie Parker for about 40 years. Now's The Time*, Fri. 8:20-9:30am The newest show from WKCR Jazz is dedicated to jazz as a living art form and features the music of young, upand-coming musicians pushing the genre forward. Traditions in Swing, Sat. 6-9pm Archival programs from the late Phil Schaap. This awardwinning Saturday night staple presents focused thematic programs on jazz until World War II. Schaap presents the music, much of it incredibly rare, from the best sound source—often the original 78 issue. Phil Lives*, Mon. 3-5am Selections of archival programs from late Phil Schaap. This show features interviews, tributes, and portions of longform programs. Jazz ‘til Dawn, Sun. 4-6 AM An early Sunday morning jazz program, limitless in era and style.

The Early Music Show, Fri. 9:30am-12pm Dedicated primarily to European medieval, Renaissance, and baroque music before c. 1800. Extended Technique*, Wed. & Thurs. 3-6pm WKCR’s first interdepartmental show (in the New Music and Classical departments) dedicated to contemporary classical music. Under the direction of the New Music and Classical departments, this program is dedicated to experimental classical music. Afternoon Classical, Fri. 3-6pm. Two hours of unrestricted classical music selections followed by one hour dedicated entirely to the music of J.S. Bach. Saturday Night at the Opera, Sat. 9pm-12:30am. One of NYC’s longest running opera shows, Saturday Night at the Opera features one opera in its entirety, with time for history and commentary, each week.

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. 1-5am and Sat. 2-6am 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 sets from local professional and student DJs. Live Constructions, Sun. 10-11pm This weekly program features a live in-studio performance or a previous performance recorded at WKCR. * Indicates show was created after January 2022

On Air · November 2026 13

LISTINGS FOR LISTENERS Honky Tonkin’, Tues. 10-11pm One of WKCR’s longest-running American music programs, Honky Tonkin’ focuses on country music from the 1930s through the 1950s.

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

Tuesday’s Just as Bad, Tues. 11:30pm - Wed. 1am For the first hour, Tuesday’s Just as Bad explores the world of blues prior to World War II. In the final half hour, hosts turn to the post-war years.

The Tennessee Border Show, Sun. 12-2pm The Tennessee Border Show highlights the singersongwriter tradition, from Hank Williams and Townes Van Zandt to Lucinda Williams.

AMERICAN

Night Train, Wed. 1-5am All aboard! One of 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 1940s and ‘50s through the funk revolution in the ‘70s. Shows often feature extended live recordings and concerts. Offbeat, Fri. 1-5am Offbeat exposes undiscovered, underplayed, or up-andcoming new hip hop artists, including experimental instrumental artists not typically played on mainstream hip hop radio. Across 110th Street, Sat. 12-2pm Across 110th Street airs soul, funk, and dance music from the 1960s through the ‘80s and ‘90s. Something Inside of Me, Sat. 2-4pm WKCR’s Saturday afternoon blues show, Something Inside of Me focuses on 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. Shows feature old staples like Leadbelly, Elizabeth Cotton, and Woody Guthrie through contemporary stalwarts like the Carolina Chocolate Drops. 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 guest curation. Amazing Grace, Sun. 8-10am Greeting listeners on Sunday morning, Amazing Grace shares the African-American gospel tradition.

14 On Air · November 2026

LATIN Caribe Latino, Mon. 10pm-12am Caribe Latino features the diverse, upbeat music from 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 From salsa and merengue to Latin punk rock, Urbano Latinx airs contemporary sounds from Latin America, the Caribbean, and the diaspora. Sin Fronteras*, Wed. 12-3pm Occupying the time slot of Out to Lunch on Wednesday afternoons, Sin Fronteras explores the tremendous and growing tradition of Latin Jazz. Nueva Canción, Wed. 10-11pm Nueva Canción explores protest music created throughout Latin America during the 1960s and ‘70s, on its own and in the context of protest music from other countries and during time periods. Som do Brasil, Wed. 11pm - Thurs. 1am From samba and bossa nova to MPB, Som do Brazil features the enchanting sounds and rhythms of Brazil. Sonidos Colombianos, Fri. 10-11pm Sonidos Colombianos presents music from Colombia. The bilingual musical tour includes 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 accordion-driven vallenato of the North Atlantic Coast. * indicates show was created after January 2022

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 plays a wide spectrum of Afro-Latin rhythms perfect for dancing. El Sonido de la Calle*, Sun. 2-4am The Latin companion to Sunday morning’s Notes from Underground, El Sonido de la Calle highlights the diverse world of contemporary Spanish-language hip hop and dance music.

IN ALL LANGUAGES The Celtic Show, Mon. 12-1am 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 listeners the latest cut of music from across the globe, especially highlighting music that does not get attention in America. The African Show, Thurs. 10pm-12am The longest running African music radio show in the United States, The African Show brings listeners a variety of music from the entire continent of Africwa. Middle Eastern Influences, Fri. 12-1am Middle Eastern Influences features selections from the Middle East and North Africa, with particular attention on traditional forms. Sounds of Asia and Couleurs Antillaises, Sat. 6-8am Previously Sounds of China, Sounds of Asia explores the recorded musical traditions and innovations of Asia and the Pacific Islands. Couleurs Antillaises features music from Haiti and the French-speaking Carribean. These shows alternate in the Saturday morning timeslot so each airs every two weeks.

Raag Aur Taal, Sun. 7-9pm Raag Aur Taal (which means “melody and rhythm”) explores the classical musical heritage of South Asia. Back in the USSR, Sun. 11pm-12am Back in the USSR features music from Eastern Europe, East Asia, and Central Asia, from the mid-20th century through the present.

NEWS & ARTS Monday Morningside*, Mon. 8:30-9:30am WKCR’s morning news broadcast, Monday Morningside features segments on events around Morningside Heights and upper Manhattan. All episodes are available as podcasts on Spotify. News and Arts Program, Sun.-Thurs. 9-10pm These programs form the core of our News and Arts programming. On Sundays, “Soundstage” features a live reading of a play; on Mondays, “Late City” offers retrospective coverage on local cultural happenings; on Thursdays, “Playlist Profiles” characterize a person through music. As news is constantly evolving, note that these programs are subject to change and preemption.

SPECIAL BROADCASTS Sunday Profile, Sun. 2-7pm* This five-hour program dedicated to a longform, researched profiles of a pioneering artist, label, or musical movement. Originally known as “Jazz Profiles,” this show has expanded its scope; today, it may feature any of the musical traditions represented by WKCR’s programs.

Eastern Standard Time, Sat. 8am-12pm One of New York’s most popular Reggae programs, Eastern Standard Time captures listeners with the hypnotic sounds of Reggae and Jamaican dance music. Field Trip, Sun. 6-8am Field Trip focuses on the music and practice of field recordings: music recorded outside of a studio. This definition is expansive and includes everything from released recordings to street music documented by WKCR.

* indicates show was created after January 2022

On Air · November 2026 15

NEW MUSIC

Profile on Angelina Gargano Penny Schapiro

ngelina Gargano and I became close friends in the spring of 2025. All our best friends were abroad, traveling and learning about the world, but Angelina and I, both born and bred New Yorkers, were still here. We felt stuck, but we were in it together. I was just starting to get the itch to create music. Listening to so much Le Tigre and Air, I wanted to make electronic punk music, or something ambient and meditative. The universe knew I needed a friend like Angelina to get started. One of the first things Angelina said to me was that music was her thing. She may have said it to me four different times. I learned it was just something she had always done. A drummer by trade, but truly a multi-instrumentalist, with adept bass and guitar playing skills. Angelina was slowly becoming obsessed with dance, and brought me along to usher at the Joyce Theater so we could see the show for free. In an attempt to play more often throughout the school year, she was beginning to play live music for Barnard dance classes. Even though this decision felt random at first, it turned out she fell in love with the synergy between the dance and the music she improvised. Working to support movement felt incredibly fulfilling. The movement not only directed Angelina’s music, but she saw that her music also helped influence the movement. She became fascinated with the interaction between these two time-based mediums, and their desperate need for each other. Now, Angelina has made compositions for numerous dance performances. She has composed for thesis projects, dance films, CoLab Performing Arts Collective pieces, and more. Many of her dance compositions are

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made with modular synthesis, but also often incorporate analog instruments. Angelina believes it is important to include instruments like guitar, bass, or field recordings even if their incorporation into the sound is imperceptible. They provide an added quality of uniqueness and texture. Many of her compositions are archived on Bandcamp. And I want to share her talent with the WKCR community! Right now, Angelina is collaborating with choreographer Francesca Dominguez on a three-part performance series. The first performance took place this summer at Jacob’s Pillow, and the second performance is coming up this November 19th, 20th, and 21st at New York Live Arts. I recently spoke to Angelina about her process and was struck by the insights she provided. Angelina takes a different approach for each project and collaboration, but one thing in her process is always certain: she will show up to rehearsals and generate music right then and there. Angelina does not want to feel like a performance is “Frankensteined” together. She wants to feel that she and the choreographer are creating one cohesive work together, both of dance and of music. Her music exists to support the choreography, and it cannot exist on its own. The same goes for the dance. The dance is nothing without musical support. The two mediums are inextricably linked. When choreography is not set, Angelina wants to generate alongside the choreographer. I am in awe of this spontaneity and ability to create on the spot. What I realized is that Angelina’s music is embodied. One cannot passively listen to Angelina’s work; one must also look and see

and feel, if they are lucky enough to attend the dance performances. So… even though I said her music cannot fully exist without dance, you can, and you should listen to some of Angelina’s work on Bandcamp. But before pressing play, make sure to take a deep breath… check in with your body…and then let it all go, dance; let her music live in your body too. Let her music be felt. Let it be embodied.

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85TH BDAY

Photos from WKCR’s 85th Anniversary Live Broadcast Series by Charlie Kusiel King

DJs Chanter The Timeless Sound, President Carter (Footsteps of Reggae), Misbehavior, Ayanna Heaven (Across 110th Street), Miss Hap, and Grace of Spades at Reggae On The Boardwalk - Rockaways Photo by Leon Dinham

(right) Here I am pictured at the opening of the American Academy of Arts and Letters’ opening of ‘The Game,’ beginning with Christopher William’s installation; Williams also adapted Franz Xaver Kroetz’s radio play ‘Inklusive’ which WKCR aired on October 5. Installation view, The Game, Player I: Christopher Williams, Provisional Props and Blocking Templates, American Academy of Arts and Letters, New York, 2026. Photo by Maris Hutchinson.

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Hadassah Weinmartin engineers the broadcast behind the scenes at the Village Vanguard Photo by Sara Carson

Sara Carson poses with three golden rules of the FCC behind the scenes at the Village Vanguard Photo by Hadassah Weinmartin

Hadassah Weinmartin, Solène Millsap, and June Frankel with DJs Prezzo (Groovetrackers), [g] and Adrian Rew at Ergot Records

CJ Gamble, Hadassah Weinmartin and I hanging out at Reggae On The Boardwalk - Rockaways Photo by Charlie Kusiel King

Hadassah Weinmartin behind the scenes at Zinc Bar Photo by Sara Carson

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My Trio performing at Close Up, close up Photo by Hadassah Weinmartin

Mingus Dynasty warming up at Zinc Bar Photo by Sara Carson

Hyllus and the Veligers live at Jalopy Theatre Photo by Charlie Kusiel King

Sharing 78s on the history of WKCR Jazz at the Hot Club Photo by Solène Millsap

Sara Carson looks on as the Sarah Hanahan Quartet performs at Zinc Bar Photo by Hadassah Weinmartin

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WKCR merch at the Hot Club of NYC Photo by Solène Millsap

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T h e e d i to r i a l tea m fo r t h i s i s sue wa s CJ Gamble, Emma Lacy, Eva Kabatas, Harper Greenf ield, & Izzy Rosales 22 On Air · November 2026

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