Jody Rosen at the formerly-locally-owned Slate has a lovely rant about the unbearable whiteness of “indie” music. Then Rosen segues into a side rant about the peculiar slant of NPR (and upscale white America) toward black music; preferably their preferences for Af-Am artists who are “Dead, Old, Retro, Foreign,” or “DORF.”
Feliks Banel offers fond recollections of the late great KJET, the AM modern-rock station that ruled a small but eventually-influential portion of Seattle’s listening audience from 1982 to 1988.
…its five-part Post-Intelligencer remembrance series. No new information here, just memories—and one really retro image of Jean Godden.
The legendary radio commentator began his national career in 1951 with what, at the time, was a standard program format—15 minutes of news headlines mixed with personal opinions. Harvey outlasted all of that format’s other, now forgotten practitioners (Lowell Thomas, Fulton Lewis Jr., Gabriel Heatter, etc.). Like many of these forebearers, Harvey maintained an attitude of just-plain-folks populism while he advocated conservative policies that pleased big corporate advertisers. And like a lot of radio conservatives past and present, his “hot” personality translated poorly into the “cooler” aesthetic of television.
Bonneville International, which just regained ownership of KIRO Radio last year, will switch KIRO-AM to all sports talk next April. KIRO-AM’s news and news-talk fare will move exclusively to 97.3 FM.
Thus will end more than 35 years of what was successively billed as “KIRO Newsradio 7,” then “KIRO Newsradio 71,” then “710 KIRO.” (Each more precise frequency reference responded to the prevalence of more precise tuning displays on car radios.)
KIRO-AM is one of the city’s oldest stations. It goes back to the Old Time Radio golden age, during which it amassed a larger collection of CBS Radio network recordings than CBS itself had (a collection of phonograph records that’s now owned by the UW). It eased into a middle-of-the-road music and news format by the early 1960s.
In the early 1970s, Bonneville spent its way to the top of the local ratings by ditching the DJs (except on weekends) and hiring a full news reporting staff.
I heard Nixon’s resignation speech on KIRO. I heard the start of the first Gulf War on KIRO. The voices of Bill Yeend, Dave Ross, Jim French, the late Wayne Cody, et al. are permanently etched in my brain’s ROM.
It was weird, on Election Night, to bring a cheap, FM-only portable radio to my temp office site and try to listen (during a dinner break) to NPR’s blathering “analysis” of returns that hadn’t come in yet. KIRO had already begun simulcasting its news-talk on FM, but I couldn’t pull in that signal from where I was.
But that’s one reason why they’re doing this. The public now associates AM talk with looney right-wing demagogues. FM is now where the targeted demographic audience segments go for everything except sports (with a few notable exceptions such as KIXI and KPTK).
Like many “sixties youth icons,” Carlin was already 30 by the summer-O-love. Aside from being an anti-censorship icon (who nonetheless got his share of “family entertainment” roles, he was one of the last bridges between the Ed Sullivan and Saturday Night Live eras. He also virtually invented the pay-TV comedy special genre, that most direct of storytelling formats.
…a few days since we last met. But here are some recent events in the nooze:
…could possibly resist the clarion call of Obamamania? Douglas County, that’s who.
In other nooze:
The only real liberal on local commercial talk radio, David Goldstein, has been axed from his weekend-night shift on KIRO-AM. The station, which recently came under new/old management, has decided to fill more of its lower-rated hours with repeats and syndicated fare.
…as you may know. But I like sometime NPR contributor John Hockenberry’s account of how he never quite fit in at Dateline NBC. He alleges the show’s producers (1) wanted only stories with an “emotional center,” but only if those emotions were the ones the producers wanted to exploit, (2) didn’t get that the Internet age was irreversably fragmenting the former mass audience, and (3) were too caught up in corporate-culture nonsense that actively discouraged creative thinking.