Posted on May 15, 2004 at 09:16 AM
One of my favorite things about these interviews is the way the interviewer occasionally swings the mic over to a fourteen year old to have him comment and react to the tragic stories he's hearing. There’s a concern about bringing it all back to the present day, to make it feel less remote to younger generations. I guess it’s an odd but real concern. The fourteen year-old’s responses are not always that illuminating or unusual—and you get the feeling that the gulf between the childhoods of the story-tellers and the childhoods of the story-listeners is great-- but there’s something that feels right about placing them alongside one another in the same forum. I would have liked the juxtapositioning of the young and the old to have been more sustained but all the same, the stories from the survivors are very tragic and moving and need to be heard. This could run on appropriate anniversaries, memorial days, or around Holocaust Remembrance Day.
Posted on May 14, 2004 at 12:55 PM
Great interview with an artist and musician. I was not familiar with Ani's work but the interview made me want to learn more. Inspiring.
Posted on May 14, 2004 at 12:27 PM
Posted on May 14, 2004 at 10:51 AM
Posted on May 14, 2004 at 10:06 AM
Disclaimer: I am an avowed Pop Vultures Fan. I continue to marvel at Kate Sullivan's prodigious knowledge of pop music and I wonder who else could get away with talking about Lesbian musicians on the radio or saying this:
"That's the biggest shock about seeing a Rolling Stones concert live --is that they're actually the Stones and Mick is actually Mick and he actually does all the things that Mick Jagger does."
After having listened randomly to several programs I'm confused at times about whether Kate is talking to us in a kind of monologue or whether her co-Vultures are with her in the studio. I prefer when the show starts seemingly in the middle of a conversation with Garth Belkin. Kate is the band leader but it's the back and forth with her bandmates that gives the show a kickin' tempo.
Question: Kate often refers to interviews she's done (in this program she mentions Joan Jet). Are they recorded? Does she write for any music publications? This is obviously good material for the web site. There's lots of possibilities here too for local stations that run the show to use the web to develop a community around this program.
Posted on May 14, 2004 at 08:02 AM
This is a straight opinion piece, no context. Often directly addressing his absent subjects (Mr. Cheney, President Bush, Richard Clarke, and so on), this is one person's rolling political commentary. There is not a clear idea how a general audience might benefit from listening.
It's difficult to tell how this piece would be useful to stations. There are some production and technical issues (there are mic plosives about every ten or fifteen seconds). Further, it is packaged as a ten-minute program (though the length is actually 11:40), which is a difficult length for many stations to accommodate. The host tends to rush his delivery, so it is sometimes difficult to understand what he is saying (the web site he mentions three times is almost impossible to pick up).
If the producer is interested in distributing their work, a better format might be to take their thoughts and restructure them as a 3-4 minute political commentary rather than an independent program.
Posted on May 14, 2004 at 06:40 AM
Some of the sound effects and music are especially effective, but a few could be cut down and/or eliminated all together (the counting dance steps audio could be kept at bed level, brought up for just a second or two, then brought back down--without diminishing the piece).
Our station used this piece on Mother's Day, but it would be appropriate for just about any time. This is an example of what sets public radio commentary apart: smart writing, effective delivery, and a catalyst for lingering thoughts and emotions.
Posted on May 13, 2004 at 05:48 PM
Good stuff, an intriguing mini documentary about a New York mental hospital. Opens with an unusual discovery of inmates' belongings in a forgotten room. Listeners primarily hear the voices of staff who worked at Willard: what it was like, the way the institution and the town complemented one another. Any sort of "company town" audience will take an interest.
Posted on May 13, 2004 at 12:58 PM
The excellent music mix supports, even elevates this finely-observed remembrance -- an emotionally painful exchange between three young people. The producer wonderfully captures the complexities of love and sex, self-respect, and a whole bunch of other stuff in a very short time. Her imagined endings to the train ride successfully round off what comes before. Excellent pick for youth-geared programming, but parents of teens might want to listen up as well.
Posted on May 13, 2004 at 12:30 PM
Very good oral history-esque portrait of a unique company town. Interviews with townsfolk, former staff members, and even a patient provide great details and make the place come alive. One of the staff, cleaning up after the psychiatric center closed down, offers a compelling description of finding an attic room filled with 400 suitcases – the personal belongings of former patients, containing everything from sweaters to FDR campaign posters. We hear about the gravedigger patient, the long-time staff member who kept only one memento from his time in this “haven for incurables,” and conditions good and bad. The producer writes well, the piece flows along. This is a valuable snapshot of a certain place in time, and a particular method for treating the mentally ill. The talk ends at about 12:00 – there’s a long music trailer that can easily be faded as needed. At this length, hard to program into NPR slots, but if you’ve got a mix-slot, or special programming on mental health issues, include this.
Posted on May 11, 2004 at 08:32 PM
Hard news feature with a bit of a slant. Exhaustive coverage of a subject that holds it's strongest relevance for one particular community or at the most, for the state of California and it's laws regarding use of medicinal marijuana.
I suppose usual for these times, there was no explanation from the feds as to WHY they were overriding a state law. California won't take it lying down and while that's interesting, ...to be a genuine hard news story, there should be a little more equal representation in the reporting.
Posted on May 11, 2004 at 06:21 PM
The only reason this probably is better for the Internet than the radio is because the Flash presentation adds so much to it! The piece is very impressionistic, visually and aurally, but it really makes clear the double nature of the fair - the day-time fair and the night-time fair. This is accentuated by slightly different visual styles in the day and night Flash sections. What I really like about this piece is the ambiguity in the narrator's tone, which is something that I've always felt towards the fair. You just don't know what to make of it sometimes and all you can do is watch and observe. In that way, I felt like I could empathize with this piece very much. There are also some great moments where the "actualities" sync up with the narration to underscore important parts.
Posted on May 11, 2004 at 03:09 PM
A laid back speaker gives the history of Crayolas while young crayon users chime in favorite colors and reviews of each others' art. Allington's impeccable timing and creative mix will spice up any broadcast about creativity, arts education, or design.
Posted on May 11, 2004 at 03:01 PM
Fresh, funny, spontaneous. All this and a flawless mix. Any community that will soon host Davy Rothbart and a Found Event will love to hear this on the airwaves. This piece is alive!
Posted on May 11, 2004 at 05:57 AM
A rare opportunity to hear an in-the-moment production that successfully combines a theatre audience, stage band, sound effects teams and live actors. It's not old time radio theatre --it's new time audio theatre using time-tested techniques and components to bring listeners fresh entertainment.
Posted on May 11, 2004 at 04:59 AM
Listening to Turnstyles takes the agricultural analogies even deeper. Ask a farmer what happens when you plant seeds to close together, or mix together too many varieties in close quarters—and what happens? None of them grow to their potential.
Musically, Turnstyles is one of the most tasteful programs I have heard. However, the program is too diverse and its one-hour length proves problematic.
In many cases, music mix or "needle drop" programs tend to be little more than an exercise in taste self-expression for the host and producer. They don't translate nationally. You can't swing a dead cat anywhere in this country without hitting a music "expert" with ultra-refined tastes. However, Turnstyle host Sam Fuqua is on a much higher level than most--a man of extraordinary taste. He pulls together sets of music that, on the surface, might seem like silly explorations of eclecticism--but they work. This program features electronica, blues, world music, even some jazz. Often these disparate elements are lined up together. It shouldn't work as a music mix, but it has amazing synergy.
The music is the program's greatest strength, but also its greatest weakness. No radio program has ever created significant public service by appealing to music geeks like me. For a great majority of public radio listeners, the show is too all over the place. Repeatedly, these eclectic music shows have proven to only attract a very small audience and not offering much to the rest of the station's listeners. Plus, if a station is interested in establishing a beachhead with different listeners by offering a unique musical format (unique as in different than the station normally offers)--the station will need to offer a significant and consistent number of hours to do so. Airing just a one-hour program won't cut it.
The program also offers a large chunk of time to an interview and "live" performance (in a pre-recorded show--it is a little dubious to refer to it as a "live" performance). The interview subject was interesting, and the music really engaging, but the interview segments were way too many and way too long. If an interview can build my interest in 2 or 3 minutes--great. Get to the pay-off (perform some music)--don't keep talking! The interview should be there only to enlighten the performance and shouldn't last a second longer than necessary. If it is a music show, then it should get to music as quickly as possible, every time. (I was driving while listening, so I can't tell exactly how long the interview segments were--it felt like many, many minutes a piece.)
Producing this program as a one-hour show for public radio feels like stuffing a square peg in a round hole. This music mix and the talents of the host and producer would be better used creating an unique Internet audio stream or a larger block of programming for one station (or perhaps a block of programming for a small number of AAA or college stations).
Posted on May 10, 2004 at 07:43 PM
Debruicker has a knack for revealing life in her world. It's especially appealing since it's not mainstream living (see For the Blood is the Life) and the simplest thing almost seems astonishing. This is a sweet example of life in Kentucky- but it's not as effective as it could be. (Notes to producer) I look forward to more work from her - she gets right in close.
Posted on May 10, 2004 at 07:26 PM
Testimony to that is the fact that in spite of the narrator-less collage of voices which can often promise a certain amount of chaos, the content was so interesting and well placed that I didn't need to know who the voices were beyond a chorus of political prisoners.
Outside this anniversary - whenever and wherever the struggle for freedom is celebrated or acknowledged - this is a story to be aired, again and again. I'm chanting for a solid hour version.
Posted on May 10, 2004 at 08:08 AM
This is the sort of piece that makes public radio look bad. A reporter is assigned to cover Ohio's new concealed carry law and profiles herself -- a card carrying vegetarian whose never touched a gun before -- taking the required weekend gun safety course. Get the picture? Some 15 other men and a few couples have signed up for the course. We don't hear from them at all though it's likely that their stories would have been more interesting. Later the reporter complains that the course wasn't "straight", there was lots of complaining about liberal politics so she decides to call some of her liberal friends and air out some predictable gun control bromides. Unfortunately the audience isn't getting this story straight. We don't learn much. Perhaps if the reporter is well known in her area this sort of treatment works; for the rest of us better to label it striaight -- as a commentary.
Posted on May 09, 2004 at 05:18 PM
The story held my interest. It was informative, and gave a little history of Americana.
I thought the music trailer at the end was way to long. I fell it could have added a lot more to the story if it was cut to about 30 secods, with the pertinent part faded in and out.