If you primarily listen to commercial radio stations, you're not likely tapping into a hyperlocal broadcast.
Public Radio has long provided quality shows that feature local figures, issues and entertainment. Still, the majority of programming heard on most Public Radio stations originate from distant locations.
Not exactly "pirate" radio, a few small stations continue to eek out enough funding and garner enough volunteers to bring exceptionally hyperlocal programming.
KSKQ-LP in Ashland, Oregon, is just such a station. Their tagline is: "Ashland, Oregon's Low-Powered Community Radio"
KSKQ's primary mission is to empower "community and strengthens local culture through inclusive programming by providing a forum for artistic expression and social issues."
Maya Seligman Empowers Her Listeners
One community member took up KSKQ's rallying cry and turned it up a notch. Throughout the week and during her show, DJ Maya Seligman invites her listeners to suggest the following week's theme.
Her themes have ranged from the color red to the word "you" to international cities. She primarily uses her page on KSKQ's site (http://www.kskq.org/maya/) and her Facebook page to communicate with her listeners and to take their suggestions.
Her show exemplifies how hyperlocalism works and how much more engaging hyperlocal coverage can be.
Her show, actually all programs on KSKQ, are funded solely by generous donations. Making profits is not the primary goal of this station or the DJs who volunteer their time.
KSKQ and Maya are creating hyperlocal content the right way, in an engaging manner that keeps listeners returning week after week.
Here's to my hyperlocal hero of the week - Maya Seligman!
To listen in to Maya's past and future broadcasts, visit http://www.kskq.org/maya/ New shows air from 2:00-3:00 PM (PST) every Friday.
If you live close enough, you can listen in during broadcast on 94.9 FM. Everyone, no matter where you may live, can listen in at http://www.kskq.org.
See also: "Variations on a theme"
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
03 February 2010
10 September 2009
Farewell, Bob Parlocha
My heart is pittering between ache and joy. JPR's Rhythm and News made a major switch in their programming. Deadheads in the State of Jefferson are likely to lament the loss of the Grateful Dead Hour with David Gans. Something tells me, though, they will be quite content to have Keller Williams' Keller's Cellar take its place. (I know I enjoy it.)
Far more devastating to me, however, is the loss of "Late Night Jazz with Bob Parlocha."
Bob's voice moved me through many a long night. He has been with me as long as I've lived in the Rogue Valley. I bottle fed both my sons listening to Bob.
Bob's custom JPR commercials marked the passing of every hour, letting me know how much time I had left that night with that killer jazz that sets the mood, paces my pulse, and drove whatever I was doing with each reedy sigh, with each snare whisper, with each wailing trumpet. I'll miss you, Bob.
On the flip side, there's no more Echoes with David DeLomberto either. This all means that the current show which airs for five hours and is followed by an hour of World Cafe with David Dye equals a dream come true. The closest thing to Open Air at night we're likely to ever get.
In the long term, I'd definitely say that JPR made the right choice. The fact is most people probably found the old schedule of 2 hours of Echoes followed by 4 hours of Late Night Jazz a little sleepy. In order to attract a greater and more sustainable listener base, it most likely behooved JPR to make this bold programming change.
Far more devastating to me, however, is the loss of "Late Night Jazz with Bob Parlocha."
Bob's voice moved me through many a long night. He has been with me as long as I've lived in the Rogue Valley. I bottle fed both my sons listening to Bob.
Bob's custom JPR commercials marked the passing of every hour, letting me know how much time I had left that night with that killer jazz that sets the mood, paces my pulse, and drove whatever I was doing with each reedy sigh, with each snare whisper, with each wailing trumpet. I'll miss you, Bob.
. . . . . . . . . . . . . . .
On the flip side, there's no more Echoes with David DeLomberto either. This all means that the current show which airs for five hours and is followed by an hour of World Cafe with David Dye equals a dream come true. The closest thing to Open Air at night we're likely to ever get.
In the long term, I'd definitely say that JPR made the right choice. The fact is most people probably found the old schedule of 2 hours of Echoes followed by 4 hours of Late Night Jazz a little sleepy. In order to attract a greater and more sustainable listener base, it most likely behooved JPR to make this bold programming change.
07 May 2009
Decembrists to Receive Award for Most Pretentious Band of 2009
With their recent concept album "Hazards of Love" flying off virtual shelves, Portland-based band The Decemberists are quickly on their way to mainstream heights.
Many factors have spurred them onto such widespread acceptance, but the Society for True Talent has dealt a potentially devastating blow to the band. The STT recently released their list of nominations for various awards they give out at the end of June of each year. Topping the "Most Pretentious" list is none other than The Decemberists.
The Chairman for the STT says, "There a whole ton of reasons we nominated them for this award. Most namely is the way they try to craft their lyrics in ways that would really only appeal to Brit Lit college majors."
The title track to "Hazards of Love" contains perhaps the most notable example of how The Decemberists write these type of hyped up lyrics. Take this line for example:
Other reasons cited by the STT point more to their attitude than their musical ability. Here are some of the reasons submitted by nominee members:
Many factors have spurred them onto such widespread acceptance, but the Society for True Talent has dealt a potentially devastating blow to the band. The STT recently released their list of nominations for various awards they give out at the end of June of each year. Topping the "Most Pretentious" list is none other than The Decemberists.
The Chairman for the STT says, "There a whole ton of reasons we nominated them for this award. Most namely is the way they try to craft their lyrics in ways that would really only appeal to Brit Lit college majors."
The title track to "Hazards of Love" contains perhaps the most notable example of how The Decemberists write these type of hyped up lyrics. Take this line for example:
The prettiest whistles won't wrestle, the thistles undone"The whole idea of this maiden in green tromping through the woods seeking her true love is best left to Arthurian Legend," says an anonymous member of the nomination board.
Other reasons cited by the STT point more to their attitude than their musical ability. Here are some of the reasons submitted by nominee members:
- "Colin Meloy sings in that asynine pop-punk voice made popular back in the 1990s by Green Day. That pseudo-British accent just grates on me, and let's face it, British doesn't equal classier these days."
- "They're from Portland, Oregon, but their lyrics reflect an obvious pining to have come from Portland, Maine. Classic of bands who feel like the town that made them popular is a sh--hole."
- "They dress like a bunch of hipster doofuses."
17 February 2009
200 Gather to Play "Oye Como Va"
What: Second Annual Ashland Schools Combined Band Concert
Who: Ashland Middle School, Ashland High School, Southern Oregon University bands
When: 7:30 PM 12 February 2009
Where: SOU Music Hall
Over 200 musicians gathered to play a HUGE band version of Tito Puente's "Oye Como Va." Most of you probably know the Santana's version better, but there was something particularly magical about this performance.
During the concert, the Ashland Middle School, Ashland High School and Southern Oregon University bands took turns playing solo and with each other.
The Ashland Middle School band always impresses the audience. Here are a group of seventh and eighth grade kids who can effectively lull us with a rendition of "Wildflowers" then follow it up with a roaring "Phantom of Dark Hollow."
As the Ashland High School band joined AMS , the high school teacher conducted an ambitious piece of the fun off-tempo "Contraption." With less than 45 minutes of practice, they pulled off the piece nicely.
This reporter admits to a bias toward the AMS band, so I just brush past the technically correct, but not as thrilling SOU performance. Their rendetion of "From the Delta" started out sounding reminiscent of the 40's big band jazz, but eventually faded off into a more classical music sound by the "Spiritual" segment began.
The most thrilling part of the concert came as an encore. The program already broadcast the song choice as "Oye Como Va" to be performed by all three schools at once. As each band grouped up in various combinations throughout the concert, it was obvious that not all the musicians from all three schools were going to fit on the stage.
Suddenly, those of us in the less acoustic lower section of seating were treated to something truly special. All the trombones, French horns, and trumpets lined the center aisle behind us. As they blasted out the song from both front and back, the notes of wind, brass and percussion clashed and laced above our heads. It was a one-of-a-kind experience.
Three notes of trivia:
Who: Ashland Middle School, Ashland High School, Southern Oregon University bands
When: 7:30 PM 12 February 2009
Where: SOU Music Hall
Over 200 musicians gathered to play a HUGE band version of Tito Puente's "Oye Como Va." Most of you probably know the Santana's version better, but there was something particularly magical about this performance.
During the concert, the Ashland Middle School, Ashland High School and Southern Oregon University bands took turns playing solo and with each other.
The Ashland Middle School band always impresses the audience. Here are a group of seventh and eighth grade kids who can effectively lull us with a rendition of "Wildflowers" then follow it up with a roaring "Phantom of Dark Hollow."
As the Ashland High School band joined AMS , the high school teacher conducted an ambitious piece of the fun off-tempo "Contraption." With less than 45 minutes of practice, they pulled off the piece nicely.
This reporter admits to a bias toward the AMS band, so I just brush past the technically correct, but not as thrilling SOU performance. Their rendetion of "From the Delta" started out sounding reminiscent of the 40's big band jazz, but eventually faded off into a more classical music sound by the "Spiritual" segment began.
The most thrilling part of the concert came as an encore. The program already broadcast the song choice as "Oye Como Va" to be performed by all three schools at once. As each band grouped up in various combinations throughout the concert, it was obvious that not all the musicians from all three schools were going to fit on the stage.
Suddenly, those of us in the less acoustic lower section of seating were treated to something truly special. All the trombones, French horns, and trumpets lined the center aisle behind us. As they blasted out the song from both front and back, the notes of wind, brass and percussion clashed and laced above our heads. It was a one-of-a-kind experience.
Three notes of trivia:
- The Ashland High School band teacher said that they were pretty sure "Oye Como Va" has never been performed by this big of a band before.
- Two fellows in there early 60's joined the bands, especially spiffed up in their tuxes. Both stood next to my 'bone playin' older son, and one told him that he was at the concert where Santana first performed "Oye Como Va."
- Somewhat related, the trombone player in Santana's "Smooth" (feat. Rob Thomas) is an Ashland High School graduate.
20 November 2008
Welcoming Rogue and Poet!
If you live and work in the arts in the Rogue Valley, you'll want to check out rogueandpoet.com. An Arts and Entertainment E-Zine for Southern Oregon's Rogue Valley, this site has the most comprehensive list of active artists and musicians working in this region. And the list keeps on growing...
I could go on about this site, but that wouldn't do it justice. You should check it out for yourself — rogueandpoet.com
I could go on about this site, but that wouldn't do it justice. You should check it out for yourself — rogueandpoet.com
28 July 2008
Lucinda Williams — Country Meets California
I've always loved Lucinda Williams. There's something about the sound of her voice that scratches me in just the right places. Until listening to her song "Righteously" I was unable to put my finger on her style.
She certainly has a strong rock-and-blues sound, with just enough country twang to spice the sound but not bog it down. Yet there's something else swimming around in her voice that I just couldn't peg.
Then it struck me like a spaghetti bowl of log-jammed cars. California! More precisely, the Valley Girl sound. There's a slight sassiness and confidence you only get from the girls of Orange County rolling around in Lucinda's delivery.
If you love Lucinda for her assumed southern roots, no worries. She was born in Louisiana.
For those of you unfamiliar with Lucinda Williams, here's the song that made me draw the Country/California connection:
Righteously, Lucinda Wiliams (Audio Only) — YouTube
She certainly has a strong rock-and-blues sound, with just enough country twang to spice the sound but not bog it down. Yet there's something else swimming around in her voice that I just couldn't peg.
Then it struck me like a spaghetti bowl of log-jammed cars. California! More precisely, the Valley Girl sound. There's a slight sassiness and confidence you only get from the girls of Orange County rolling around in Lucinda's delivery.
If you love Lucinda for her assumed southern roots, no worries. She was born in Louisiana.
For those of you unfamiliar with Lucinda Williams, here's the song that made me draw the Country/California connection:
Righteously, Lucinda Wiliams (Audio Only) — YouTube
09 July 2008
Help Me Appreciate Martin Sexton
Let me start by saying that when it comes to singing, Martin Sexton has skills. He can sing in such a wide range that he's beyond skilled; he's a master. So, I can appreciate that aspect of his work.
What gets me about Martin Sexton is how he's all over the map in regards to his range. It's as though he thinks that if he doesn't sing through the entire scale, to let loose at all octaves, that he hasn't done his job as a singer. In the words of my youngest son, "Why does he think he has to show off all the time?"
That's about how I feel about it, too. There's no good reason to go all over the vocal map like Martin does. It's like all these female hip-hop artists who start nearly every one of their songs with that worn-out "Yea-aa-aaah!" or "Oooo-ooo-uuuu-aaah!" Do something original.
Speaking of original, I'm sorry, but Martin Sexton lacks originality. His "Black Sheep" song offers nothing new to the world of lyrics — with his mention of angels, of how his dad always told him what he needed to hear not what he wanted to hear, of how he thanks God Almighty, of how he's going to set his soul... wait for it, wait for it, here comes the cliché... free-eee-eeee!
Please, I want to appreciate him. After all, the unique Keller Williams likes to work with Martin. Now, there's a musician!
Here's a video of Martin Sexton performing "Black Sheep":
What gets me about Martin Sexton is how he's all over the map in regards to his range. It's as though he thinks that if he doesn't sing through the entire scale, to let loose at all octaves, that he hasn't done his job as a singer. In the words of my youngest son, "Why does he think he has to show off all the time?"
That's about how I feel about it, too. There's no good reason to go all over the vocal map like Martin does. It's like all these female hip-hop artists who start nearly every one of their songs with that worn-out "Yea-aa-aaah!" or "Oooo-ooo-uuuu-aaah!" Do something original.
Speaking of original, I'm sorry, but Martin Sexton lacks originality. His "Black Sheep" song offers nothing new to the world of lyrics — with his mention of angels, of how his dad always told him what he needed to hear not what he wanted to hear, of how he thanks God Almighty, of how he's going to set his soul... wait for it, wait for it, here comes the cliché... free-eee-eeee!
Please, I want to appreciate him. After all, the unique Keller Williams likes to work with Martin. Now, there's a musician!
Here's a video of Martin Sexton performing "Black Sheep":
05 June 2008
Describing Dancing Ladies
I've started listening to classic rock again. The other day, I sat listening to Eddie Money's "Shakin'" when I noticed that (although really referring to some hot sex) the song painted a vivid image of a woman going crazy for music.
I flashed to another such song by Keller Williams: "Freaker by the Speaker." Keller's song has got to be the pinnacle of songs that describe a woman lost in the music. Every time I hear it, I see that girl with her binky sliding into a backspin.
This got me thinking about a great playlist: Dancing Ladies!
I would like to create a list that features one definitive song from each decade of Rock and Roll (no matter how loosely interpreted).
Shakin'
Freaker by the Speaker
I flashed to another such song by Keller Williams: "Freaker by the Speaker." Keller's song has got to be the pinnacle of songs that describe a woman lost in the music. Every time I hear it, I see that girl with her binky sliding into a backspin.
This got me thinking about a great playlist: Dancing Ladies!
I would like to create a list that features one definitive song from each decade of Rock and Roll (no matter how loosely interpreted).
- 1980s - "Shakin'" by Eddie Money
- 2000s - "Freaker by the Speaker" by Keller Williams
Shakin'
Freaker by the Speaker
23 May 2008
Classic Rock Is Not For Rednecks
I've recently started to listen to the classic rock station again. I used to be a rabid rock listener until the mid-1990s. I stopped listening partly because of the fact I'd heard every song on the station's playlist at least a couple hundred times. Mostly I ceased because I couldn't stand the commercials any longer.
Well, I've ventured back into the world of commercial radio. Don't ask me why, but I'm there. It's really cool that I get to play the same game of "Quick, name this group!" with my sons that my uncle played with me. It's even more fun to share some music trivia with them... but one thing about the current classic rockers confuses me.
How did the classic rock audience become so closed minded? I'm serious here.
Maybe it's not the audience. Maybe it's the DJ's or the programmers or the big guys sitting in their New York offices. Whatever it is, I don't understand how it's all about macho rednecks. It's all about monster trucks, rodeos and being a "real" American. It's about being a redneck, as though Lynard Skynard is the only band that ever mattered. Just because the hugely popular "My Name Is Earl" chooses to color its show about white trash with classic rock tunes doesn't mean the spirit of classic rock is riddled with closed-minded idiots.
Think of all the top names from the rock scenes of the Sixties, Seventies and Eighties. Jimi Hendrix, Bob Dylan, Rush, Led Zeppelin, Pink Floyd... It was all about challenging the status quo, about trying new and exciting things, things that pushed both musician and listener to the edge and beyond. Somewhere along the line, though, the clueless frat boy and good ole boy made their way into the classic rock psyche and we get to hear ignorant-ass remarks from DJ's like the one I heard the other day:
"Apparently Robert Plant's got together with some of bluegrass people to make an album. Guess he must be hard up these days."
Are you kidding me? Has this guy ever listened to some of the mandolin-rich tunes that Zep produced. Probably not; he just plays what's on the list. That "bluegrass people" is a hugely successful person known as Alison Krauss. Ever hear of her? If you haven't, odds are you're living in a bubble.
Well, I've ventured back into the world of commercial radio. Don't ask me why, but I'm there. It's really cool that I get to play the same game of "Quick, name this group!" with my sons that my uncle played with me. It's even more fun to share some music trivia with them... but one thing about the current classic rockers confuses me.
How did the classic rock audience become so closed minded? I'm serious here.
Maybe it's not the audience. Maybe it's the DJ's or the programmers or the big guys sitting in their New York offices. Whatever it is, I don't understand how it's all about macho rednecks. It's all about monster trucks, rodeos and being a "real" American. It's about being a redneck, as though Lynard Skynard is the only band that ever mattered. Just because the hugely popular "My Name Is Earl" chooses to color its show about white trash with classic rock tunes doesn't mean the spirit of classic rock is riddled with closed-minded idiots.
Think of all the top names from the rock scenes of the Sixties, Seventies and Eighties. Jimi Hendrix, Bob Dylan, Rush, Led Zeppelin, Pink Floyd... It was all about challenging the status quo, about trying new and exciting things, things that pushed both musician and listener to the edge and beyond. Somewhere along the line, though, the clueless frat boy and good ole boy made their way into the classic rock psyche and we get to hear ignorant-ass remarks from DJ's like the one I heard the other day:
"Apparently Robert Plant's got together with some of bluegrass people to make an album. Guess he must be hard up these days."
Are you kidding me? Has this guy ever listened to some of the mandolin-rich tunes that Zep produced. Probably not; he just plays what's on the list. That "bluegrass people" is a hugely successful person known as Alison Krauss. Ever hear of her? If you haven't, odds are you're living in a bubble.
09 May 2008
Tom Waits: The Funniest Man in Music
Underground music sensation Tom Waits released footage from his press conference on YouTube. You've probably heard something by Tom at one time or another. His gravelly lounge vocal stylings have earned him not only a voraciously loyal fan base, but critical acclaim as well.
His songs are often riddled with offbeat or deadpan humor, as is so aptly demonstrated in this press conference for his "Glitter and Doom" tour:
Tom Waits Press Conference — YouTube
His songs are often riddled with offbeat or deadpan humor, as is so aptly demonstrated in this press conference for his "Glitter and Doom" tour:
Tom Waits Press Conference — YouTube
29 April 2008
I Don't Care for Richard Thompson
Richard Thompson takes himself waaaay too seriously!
Yeah, yeah. Many people I know would have my head for making such a statement. I can't deny that Richard is a skilled singer/songwriter, but his lyrics pander to a current audience. Many of his lyrics will not stand the test of time, sort of like those humorous "Anyone but Bush" stickers and tees.
His guitar stylings are super-formulaic. Any vagabond playing for money downtown can play like him. And his singing style is full-throttle serioso all the time. What's more, he seems to appeal to men only. I have never met a single female who likes Richard's music, but the fellows love him.
With that said, though, I do recommend that if you like emotionally deep vocals, cleverly biting lyrics and social commentary to check out Richard Thompson's work.
Maybe with time I'll come to appreciate him. For now, though, he's just too testosterone for my tastes, so much so that I just laugh when I hear him on the radio.
Yeah, yeah. Many people I know would have my head for making such a statement. I can't deny that Richard is a skilled singer/songwriter, but his lyrics pander to a current audience. Many of his lyrics will not stand the test of time, sort of like those humorous "Anyone but Bush" stickers and tees.
His guitar stylings are super-formulaic. Any vagabond playing for money downtown can play like him. And his singing style is full-throttle serioso all the time. What's more, he seems to appeal to men only. I have never met a single female who likes Richard's music, but the fellows love him.
With that said, though, I do recommend that if you like emotionally deep vocals, cleverly biting lyrics and social commentary to check out Richard Thompson's work.
Maybe with time I'll come to appreciate him. For now, though, he's just too testosterone for my tastes, so much so that I just laugh when I hear him on the radio.
24 April 2008
Music 2.0 - A Paradigm Shift in the Music Industry?
Check out Robin Good's latest post, where he discusses Gerd Leonhard's book and concept: Music 2.0.
If you don't want to read through the copy, be sure to watch Gerd's video. I think the greatest point Gerd makes is when he says:
If you don't want to read through the copy, be sure to watch Gerd's video. I think the greatest point Gerd makes is when he says:
First we tried DRM, but nobody was admitted to make copies or to share the music, which is just a very ludicrous idea that you cannot share music, which is the essence of music.
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