On Air Guide September 2026

On Air · September 2026

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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

Dear Listeners, September is a particularly special month for us at WKCR. With the start of a new school year, we have the opportunity to welcome a new set of voices into the station.

Some will arrive knowing exactly what they want to do; others will wander in, stumble upon something they didn't know they were looking for, and end up sticking around.

Either way, I’m excited to meet the next programmers, archivists, engineers, and characters who will slowly weave themselves into the fabric of the station you know and love.

And September is only the opening act. While we officially celebrate our 85th anniversary in October, this month we begin turning the dial toward the celebration. We’re kicking off our 85th Anniversary Concert Series, collaborating with various venues across the city throughout the month. On September 3, Firing Lion will return to the airwaves after nearly a year away. Tune in every Thursday from 9-10pm, except the third Thursday of the month, for a bit of competition, commentary, and a look at the world of sports.

Alongside the live broadcasts, we will also be celebrating the birthdays of John Cage and Sonny Rollins with 24-hour broadcasts and devoting 100 hours to celebrating John Coltrane’s centennial.

So, to everyone listening, welcome to a new semester at WKCR. Whether you’re joining us for the first time or returning for another semester, I’m excited to see what the coming months bring, both on the air and around the station.

Classical Isabel Norman classical@wkcr.org

Stay tuned,

American Ben Rothman & Landon Pottebaum american@wkcr.org

CJ

In All Languages Ethan Thacker ial@wkcr.org Latin Merielen Espino latin@wkcr.org

Photograph by Hadassah Weinmartin & Sara Carson Cover design and graphics by Ella Werstler

News & Arts Natalie Lahr news@wkcr.org

Mailing Address

Sports Mason Lau sports@wkcr.org

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CONTACT US

2920 Broadway General Inquiries: board@wkcr.org New York, NY 10027 Listener Line: 212-854-9920 USA ©Copyright 2026 WKCR FM NYC

THIS MONTH ON AIR Reflections on the Hadassahthon

. . . page 4

The Saviors at The Atlantic Theater

. . . page 7

All My Friends, WKCR, and Sonic O

. . . page 9

Weekly Schedule

. . . page 12

Special Broadcasts & Themed Shows

. . . page 14

Show Listings for WKCR Listeners

. . . page 16

Newport Jazz Fesitval Photo Essay

. . . page 18

On Air · September 2026

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WKCR

O

Reflections on the Hadassahthon

by Hadassah Weinmartin

n August 16, I programmed the entire Sunday schedule, a 24-hour hosting marathon. The last host to have completed this marathon was Ted Schmiedeler, former Station Manager and Archivist, in July of 2024. Throughout the night and day I wrote a series of reflections, recording my immediate thoughts and musings, musical and otherwise.

Here is an abbreviated version of this “diary.”

Hours 1-3 started off strong and social, with visits from Charlie, Sara, Nick, SJ, and Anly.

One 6-pack, a pack of Chips Ahoy, sour cream and onion chips, veggie straws. I was unsure what to play for Notes From Underground but Sara’s recommendation of Lucy Bedroque had the exact energy that was needed, a captivating combination of hyperpop and hip hop. I have been playing whole albums which make the time pass faster. There are so many worlds of genres that I have not even dipped my toe into but are enjoyable and inspiring. According to his On Air article, Ted had already picked out his records and gathered his food. I haven’t picked out records for Jazz ‘til Dawn, am planning on surviving on the previously mentioned snacks and the kindness of visitors of which I am planning on having many (achieved by making this marathon a birthday celebration).

I have a lot to do to keep busy, books and things to write. I would like to enjoy the meditative boredom and solitude of this marathon, but

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I am certain I would doze off. I am hoping to minimize my reels scrolling and keep up with these reflections. Let’s see how it goes! I’ll be back for Jazz ‘til Dawn.

A quarter of the way through the 6th hour and no caffeine yet, though my yawns are becoming more frequent. I have been relishing this jazz show, spinning a self-indulgent profile on Miles Davis. No callers yet but it is an odd hour. The bass solo on "My Funny Valentine" from Live at the Plaza was so good. Sunrise is 6:20 today, not long at all but only ¼ of the way through the day. I just took a break to “rest my eyes”...

I think it is time to crack open the first energy drink.

Only an hour since I last wrote but I am back to update you. I am feeling much more awake thanks to the Celsius. I still haven't seen anyone since 3:00 a.m. I am enjoying Field Trip a lot so far– the Arumanian Polyphonic songs are mind blowing and meditative!!

Nicolai and Marie Stan’s folk ballad of voice, violin, and dulcimer is something I never would have listened to or heard of otherwise.

What a privilege to be able to sit all day and explore music that I have and haven’t heard of, listen to records older than me from both all over the world and New York City, awaiting the company of my interesting and kind friends.

Field Trip flew by!

The music was amazing and I got a lovely, encouraging call from a 'KCR alum and friends who had finished an all nighter in Vermont at a wedding. Now I have a visitor for Amazing Grace. I really like the contrast from show to show - Wagner to underground hiphop, Urbano Latino to Field Trip to Gospel. I am feeling super awake and caffeinated!! Nothing like two hours of hallelujah to get pumped for the Hadassahthon (probably no one has said that sentence).

Time is both flying and I feel like I have been here for eons. I am also enjoying some time alone, bopping my head to these bluegrass selections. The sleep deprivation has not entirely set in (maybe it was the Celsius and coffee). I haven’t read much more since this morning but I realize I should work on some Newport photo editing and plan my Sunday Profile and gather records for the next show… plenty to be done. It is hard to not slump over in the host chair and let my attention sink into Instagram. This reflection is certainly grounding me– that and Stuart Duncan’s shredding on this record, Freewheeling!

The reflections have slowed down evidently since 11:00 a.m., but the social interaction has picked up. The Tennessee Border Show was a great time to program, especially since I only focused on two artists. Two friends arrived to hear me excitedly begin my Jazz Profile, which I have been programming since 2:00pm. I spent most of TBS preparing for the profile and am quite glad I did because I have learned a lot about the intricacies of Cecil McLorin Salvant’s career.

Maybe because I am excited about the music

or I have achieved a balance of caffeination or the lifesaving Milano’s sandwich from Mel, but this profile may be my favorite part of the day so far. I am feeling physically strange but that is what happens after this many hours of being awake consecutively…

After one rocky mic break where I embarrassed myself and Nick with a confusing French pronunciation, my spirits have been lifted by a kind phone call, and, more importantly, the most delicious tiramisu I have ever tasted, courtesy of Isabelle. I am also currently listening to Oh Snap! - one of my favorite records of all time, live on my favorite radio station of all time. While a cliche format, a chronological Sunday Profile is extremely satisfying. I am following, hanging onto each note of Cecile’s artistic evolution and exploration. I feel so surrounded by love and support and music and awesome food and am probably slightly delirious.

(August 17th) I write this reflection from my bed for the night because there is too much to reflect on that I don’t want to forget and the last quarter of the marathon was a bit too hectic. The excitement of my Sunday profile wore off and I found myself drifting away into the peaceful enveloping ragas. – beautiful records. I enjoyed observing how at the end of each extended raag improvisation, the intensity would increase rhythmically and dynamically while staying focused on the droning tonal center. I love that I spent a good part of the 24 hours observing such things about music, reflecting, singing along, connecting each song to any wisp of previous knowledge, and discussing these connections out into the airwaves or with my surrounding friends, the people I most love to discuss music with.

On Air · September 2026

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(The final stretch) After more caffeine I was swept away in a frantic preparation for Nick and I’s News and Arts slot, while simultaneously setting up to engineer for Live Constructions (thankfully a relaxed 4 input setup). The News and Arts slot was fun and I might have been nervous, being my first or second ever Narts slot, if not for the fact that Nick was far more nervous then I was for his first ever show. It was fun to get swept up in the story of Toxe’s rainy set at the MOMA PS1 Warm Up. Swirl Girl, sounded sweet and authentic as ever on Live Constructions, engineering her live set while Caroline manned the board renewed my excitement to finish producing her EP. The interview following Penny’s set I felt giddy, maybe because it was so close to the end or maybe because I knew exactly what questions I wanted to ask her, my inspiring, imaginative friend, whose creative process has always fascinated me. It could have been the adrenaline of the set up or the last of the stimulants ( just coffee and Celsius) propelling my body forward, or that I was just elated to broadcast the satisfying conversation Penny’s musical evolution and its relationship with her visual arts, to give my friend a platform to talk in a place and on a day that was so special.

After Live Constructions a weight was lifted because I could trick myself into thinking it was a Sunday night like any other, I just had to linger at the station a little while longer than I normally do after LC. The end was so surreal, I talked to my mom right away, debriefing her as I put away records and retired MC to its familiar, almost habitual clutter. I don’t remember exactly what I said on my last mic break, but I know that I was overwhelmed by gratitude for everyone who indulged me in this ridiculous feat. I thanked the listeners profusely.

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Without the listeners there would be no point in pouring my soul into the curation, appreciation, and circulation of music. Over one thousand four hundred minutes of music in the past day has only deepened my craving for connection to the rest of the world – to realize that what makes us human is our creativity and constant striving for inter and intra personal connection. Music encompasses all of that, radio encompasses all of that, and, at this moment in my life, entering day 3 of my third decade, WKCR certainly encompasses that.

It is obvious that I need to go to sleep.

Good night! Long live radio!

Hadassah Weinmartin Director of Operations

NEWS & ARTS

The Saviors at The Atlantic Theater:

By faith, or in spite of it

by Joah H. Park

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n my final glimpses of July, I was finishing what I would describe as my week of play.

I’d been lucky enough to fill my nights with the Classical Theater of Harlem’s Othello, a couple of musicals, and my dear friend Ruby’s set at Ornithology. Closing night was reserved for Bubba Weiler’s new play, The Saviors, which premiered at the Atlantic Theater earlier that month.

A few weeks prior I had the opportunity to speak to Crystal Finn, an actor and professor at Barnard College, who plays Judy, an incredibly compassionate and involved member of the congregation. As I picked her brain about the significance of originating a role for new works like these, she described the actor’s distinctive “relationship with a living playwright who is usually in the room with you and… writing the play as you’re performing it.” For her, the performance is “less of a job of interpretation” and simply a question of “how do I get there.”

This idea of an almost amorphous process intrigued me, and since the team at The Atlantic were kind enough to let me read Weiler’s script prior to my attendance, I was keen on seeing how my interpretations of these characters might change from pen to stage.

I couldn’t help but laugh as I took my seat, recognizing a choral rendition of “10,000 Reasons" by Matt Redman playing overhead. I was now seated in a pew at church back home with a bible, pen, and offering envelopes neatly tucked behind each seat. A few hymnals later, the show begins and our altar boys, Michael and Paul, walk right down the aisle onto the stage. Now, unlike the many 25 year old highschoolers we see on screen, these boys are actually just kids. Michael, played by 14-year-

old Ivan Howe, wants to be the best altar boy he can be. But whether his diligence is due to his faith and devotion to God or to his best friend Paul, played by 13-year-old Julius Rinzel, remains unclear.

When it comes to themes of religious guilt and adolescence, I find myself skeptical of whether or not new works are able to put new complexities under the microscope or if it will feel like a regurgitation of what's already been said. Michael and Paul felt quite standard to me from the synopsis, but upon first read, I felt differently. Weiler wrote a dynamic so kind and incredibly tender, refusing to turn their friendship into a caricature of repression in religious spheres. It’s less about the torture of rejecting your identity and closer to a confession of everything you feel before you become aware that you’re being tortured. They are kids first. Every race to stuff the bulletins and every admittance of upset comes from a place of friendship and a discovery to be made about themselves. All of the subtext surrounding Michael’s feelings towards Paul exists as an extension of this delicate friendship, so it feels honest even when it may come off as a bit heavy handed.

For the first half of the show we see the boys interacting with an unhoused stranger named Julian, played by Stanley Simon. All the characters begin to hold much more weight once the audience is privy to the relationship between Julian and Judy. If our young Michael takes on the role of a shepherd for our faithless Paul, Judy and her prodigal son become a realistic depiction of what it looks like when you can no longer lead by example.

This is what it looks like to be an

On Air · September 2026

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adult continuously stunted and haunted by notions of a model christian. When are you allowed to lie about your son’s mission trip?

Or be unforgiving towards his violence? Is it “christian” to try and manufacture a clean slate, knowing the truth about your estranged son will invite a churchwide seminar about your imperfect life? Is it “christian” to suffer from substance abuse or mental illness? Or are there just certain things we feel that simply cannot be helped?

In my interview with Crystal, I mentioned Paul Tillich’s Dynamics of Faith, where he makes a case for doubt as faith’s strongest pillar. I found that the written version of Judy grapples with this most evidently in dialogue with Paul, but Crystal’s realization of her character made me aware that Judy actually holds onto this concept like a lifeline. Every lackluster youth group meeting with one student, every choir practice with an insufferable vocalist, and every attempt to bring a child closer to God is the moment she tries to cope with the reality of her son.

These actions become a testament to her faith.

It would be harder and more embarrassing for her to fall apart. Maybe because the boys are younger, they have the ability to mold themselves into something different. Paul is at peace with his doubts about God, deciding to pull away from the church once he’s made up his mind. Michael takes this as a personal offense. This makes sense because to him, Paul is the biggest indicator of God’s existence. His family moved to Iowa after his dad was laid off and found a random job there. His original school couldn’t take on extra students because the teacher was at capacity.

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And so all of that happened to happen and then I came here and met you.

And like… If there’s no God, then… What's that about?

And he’s right. What is that about?

Call it faith or call it happenstance; for Michael, knowing Paul was simply preordained.

Hearing those words come from such youth left me with a strange feeling of loss. That I had forgotten about a kind of certainty that only exists for a short moment before we become a version of Judy trying to convince ourselves of a truth without a moment's rest, just to keep it alive. The play ends with a heartfelt, “I love you. Don’t say anything.” It is so brave and so assured, and I am on the edge of my seat, bracing for his honesty to be the death of his conviction. But the lights go to black just in time. After the curtain call, my friend turns to me and says, “I wish we got to hear Paul’s response.” But I can’t agree. I am glad to see Michael immortalized in that moment of doubtlessness. Or maybe, his confession in spite of it.

NEWS & ARTS

All My Friends, WKCR, and Sonic O

by Penny Shapiro

Y

ou may or may not know my name, as this is my very first article for WKCR’s On Air guide. So hello! I am Penny Shapiro, sometimes known by my artist name Swirl Girl.

I am not trained to host a show on WKCR, so I am what some might call a lurker, and thank goodness for that.

It all started a little less than a year ago. I played Live Constructions on September 28th, 2025, one of my earliest forays into performing my own music. It was terrifying, to say the least, but despite my hints of stage fright, I was honored to have been given the platform to experiment and feel welcomed by a community of music lovers… who might just like what I make too. I finally got to spend time with people like McKenna Roberts, who I already knew through my best friend (Olivia Tedesco, of course), and her best friend, Ella Presiado. I saw McKenna and Ella as staples of this radio community. I looked up to them: they were (and are!) cool, they had taste, and carried a quiet confidence that I admired.

I also finally became friends with Caroline Nieto when she interviewed me before my performance. Up until then, Caroline was a campus celebrity in my mind, and famously known to me as that cool girl I don’t know who has my custom pins on her backpack! Stepping into the WKCR station that night, I kept asking myself: where has this been my whole life!?

Already, two years into my undergraduate degree, how come I never stumbled upon this sooner? But of course, always better late to the party than never.

Post Live Constructions, Ella and I found ourselves sitting in Hungarian Pastry Shop, mind mapping our newest ideas for a

music collective. We felt that something was missing in our community, so why not fill the void and feed our craving for more accessible live music? We set out to start a series of music events showcasing student musicians, all for free (most importantly). We also needed Olivia Tedesco to join us on our mission, bringing her aptitude for curating art shows, parties, and events. Sonic O certainly would not be Sonic O without Olivia. I will always feel inspired by

her ability to make things happen, to bring any idea to life. Amidst a brainstorming session in my apartment, I think it was Solene Millsap (the current WKCR station manager) who coined the name Sonic O, and our vision started coming to life. Olivia immediately started making tons of posters and buttons, spreading them all over campus. Hadassah (Dasi to me) Weinmartin joined, alongside McKenna, as our go-to sound engineers. Dasi, Caroline, sometimes

On Air · September 2026

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Charlie Kusiel King, and I also soon became members of the Sonic O House Band. Whether rehearsed or unrehearsed, we always play.

Our very first show was November 13th, 2025, in an apartment on the Upper West Side. In order to get the address, people texted a mysterious phone number seen on our posters. This number was actually just mine. We all lugged amps, microphones, and instruments from WKCR, sound-checking to the best of our abilities (thank goodness for Dasi). After rearranging all the furniture, Olivia hung up the posters we made. Projecting a video I made of found footage of my heroes, Kathleen Hanna, a pioneer of the DIY punk scene, and Björk, a transcendental experimental artist, I felt a part of that history. Olivia, Ella, and I made zines and wrote our manifesto. Being a part of something like this was something I had dreamed of ever since high school. At 16, I would sit in my bed romanticizing the past, wishing I was alive in New York when making art seemed like it happened everywhere and all the time. But maybe I like being alive right now… maybe the same can be said for right. now… things are happening.

Our very first set list was composed of WKCR house-names, Joan Park, Public Safety (Georgia Dillane and Ben Erdmann’s band), Sonic O House Band, and Gabriela McBride.

The show was a success; I felt inspired, reborn, anew. We made that happen! We made that happen, and we could make it happen again and again and again. Like an addiction, I wanted more.

Sonic O, just a small group of us, now with five shows under our belt, has become a beautiful space where we have had a range of artists playing folk, bluegrass, jazz, punk, rock, electronic, and whatever other genre you

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can think of. Our network has grown beyond our WKCR community, extending downtown at NYU and into Brooklyn with shows at the Caffeine Underground and Cassette.

“Even though the name SONIC O is totally up to interpretation... one can make assumptions (Do you want a...). I love the implications, because pleasure (in all aspects) is an important value, one that is thought of as taboo, unnecessary, selfish, deviant, but that can actually be a catalyst for life-affirming change. That is why the structures of power want us to struggle, to be a cog in the machine.

But no! No... no, no, no, no! As Audre Lorde writes in the “Uses of the Erotic”: "The erotic is a resource within each of us that lies in a deeply spiritual plane, firmly rooted in the power of our unexpressed or unrecognized feeling..." and it can basically help change the world when we channel it in the right ways.

SONIC O might just be a means of channeling this pleasurable energy through art, music, and community. SONIC O might be our way of contributing to that change.”

A little something I wrote for a Newsletter of mine, but that feels just right here too.

And that’s also why Ella wrote: “MUSIC TONIGHT, REVOLUTION TOMORROW,” on one of our zines.

We are here to stay, to be political, to create accessible live music for as long as we can.

Be on the lookout for our next shows, get involved, make music, and share it.

Because EVERYTHING IS MUSIC and MUSIC IS FREE. There is nothing like making something with your friends.

There is simply nothing like it.

And all I hope is that you feel it too.

I really hope you feel it too.

All my love, Penny Shapiro

On Air · September 2026 11

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

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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 · September 2026 13

Special Broadcasts SPECIAL BROADCASTS

John Cage Birthday Broadcast Saturday, September 5, All Day

Sonny Rollins Birthday Broadcast Monday, September 7, All Day

John Coltrane Centennial Broadcast

100 Hours: Saturday, September 19, 8PM - Wednesday, September 23, 11:59PM

85th ANNIVERSARY LIVE BROADCASTS

Reggae On The Boardwalk: at Rockaway Beach Amphitheater Sunday, September 6, 2:00-7:00PM

Hyllus

at Jalopy Theatre Saturday, September 12, 8:30-10:30PM

World Music Institute presents Laura Itandehui at Public Records Friday, September 25, 8:00-10:00PM

Takeover

at Ergot Records Saturday, September 26, 12:00-4:00PM

Cellist Louise Dubin and pianist John Novacek William Hill III Trio at Sacred Music at Columbia Thursday, September 17, 6:00-7:00PM

at Zinc Bar Monday, September 28, 8:3010:00PM

Mingus Dynasty

Sarah Hanahan Quartet

at Zinc Bar Friday, September 18, 8:30-10:00PM

at Zinc Bar Tuesday, September 29, 8:30-10:00PM

The Saamis: preserving an 800- Georgia Heers Quartet year old vocal tradition of Khayal at Zinc Bar at Sacred Music at Columbia Thursday, September 24, 6:00-7:00PM

Wednesday, September 30, 8:30-10:00PM

’s 85th Anniversary Live Broadcast Series continues in

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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

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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.

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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 · September 2026 17

NEWS & ARTS

Newport Jazz Festival Photo Essay

by Hadassah Wienmartin & Sara Carson

It was Nate Smith’s first year as artistic director of theat Newport Jazz festival. Following in the tradition of his predecessor, Christian McBride, Smith introduced many of the acts and played a set with his own group. When Sienna Spiro had to drop out the day of her set due to health reasons, Smith organized a last-minute jam session with various musicians from other sets.

18 On Air · September 2026

Mohini Dey is a rising star fusion bass player. It was her first time bandleading at Newport Jazz festival.

Angine de Poitrine, the microtonal math rock duo from Quebec who gained extreme popularity this year after their performance on KEXP.

Fresh off a flight, Lalah Hathaway delivered a stunning vocal performance.

Little Simz was the most hip- hop leaning act, but quickly won over the crowd with her energy and lyricism.

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Half of the festival was spent in awe of the beauty of Fort Adams State Park. It was lovely to be among a community of Jazz lovers of all ages gathered together to listen!

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Scenes from around Newport:

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Trumpeter Brandon Woody’s Newport debut!

Mei Semones, who has previously performed on Barnard’s campus!

Two absolute jazz legends, guitarist John Scofield and bassist Dave Holland, play duo. Both are veterans of Newport Jazz, Holland having played in the iconic 1969 Miles Davis set.

Linda May Han Oh leading her powerhouse trio with Ambrose Akinmusire and Tyshawn Sorey

The string section and the horn section of jazz fusion act Snarky Puppy

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Terri Lyne Carrington moved the audience with her powerful drumming and an inspiring call for freedom.

Not pictured: Aaron Parks, Matthew Stevens, Morgan Guerin, Carl “Kokayi” Walker, Debo Ra

“Sonny Miles on a Trane”: Chief Adjuah and Kamasi Washington led a tribute to the two centennial musicians and recently departed legend: Miles Davis, John Coltrane, and Sonny Rollins.

The engaging arrangements often combined popular compositions from the musicians.

Not pictured: Rickey Washington, Lemar Guillary, Cameron Graves, Brandon Coleman, Tony Austin, Mike “Blaque Dynamite” Mitchell, Miles Moseley, Patrice Quinn

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SML: Anna Butters, Jeremiah Chiu, Josh Johnson, Booker Stardrum, Gregory Uhlmann

SML brought together the unique sound of modular synthesis blended into jazz improvisation, presenting a totally spontaneous set based around listening, prioritizing the musical process over the product.

The legendary pianist Herbie Hancock closed the festival. Despite the pouring rain, thousands gathered to watch his energetic performance

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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. Thanks to your donations, we were able to retire Buzz, the hamster that ran the wheel powering us. But our new hamster, Roach, needs to start saving for retirement... can you blame him?

5. Isn’t On Air 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 On Air minions to stay in the job.

HOW TO DONATE TO WKCR IN 4 STEPS

BY MAIL Step 1: Locate your nearest checkbook

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

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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 Emma Lacy & Izzy Rosales 26 On Air · September 2026

WKCR 89.9 FM

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