Category Archives: WFHB

885 Words: Pirates

With my book-length history of community radio WFHB edging so near completion that I can taste it, I’m spiraling off on a related tangent to write a piece for the Limestone Post on an odd little moment in the station’s history.

And, by the way, the Limestone Post itself is fixing to celebrate its 10th year of existence. To that end, I’m having executive editor Dason Anderson on my WFHB interview program, Big Talk, next month, so stayed tuned.

The LP story will recount the time a local radio pirate threw a monkey wrench into the works and sabotaged Bloomington Community Radio, Inc.’s second attempt to gain an FCC license. BCR was the third and current moniker for the nonprofit corporation hell-bent on starting a community radio station hereabouts. A motley pair of roommates had come up with the crazy idea in the summer of 1975. It took them and others nearly two decades to get WFHB off the ground.

Correction: the two, Mark Hood and Jeffrey Morris, were actually garagemates. They lived in a converted garage behind Jack Gilfoy’s recording studio on the then-outskirts of Bloomington. Hood was Gilfoy’s chief engineer and Morris did a lot of electrical and handyman work for the studio. The two didn’t always have a TV so they listened to Michael Bourne‘s eclectic WFIU afternoon music program and, in the evening, they’d tune their old clunky receiver to WWL, a clear-channel, 50,000-watt powerhouse out of New Orleans. WWL back in the mid-1970s was big with long-haul truckers and featured such countrified luminaries as Red Sovine and the Carter Family. One record Hood and Morris heard again and again was Sovine’s 1965 hit, “Giddyup Go,” a spoken-word ditty telling the tale of a truck driver father and his estranged son sharing an emotional reunion at a truck stop.

Hood and Morris would never have heard “Giddyup Go” on Bloomington radio in the mid-1970s, nor would they have heard anything other than commercial pop proffered by whichever Indianapolis Top 40 station could come in clear enough to be heard. Michael Bourne’s WFIU program was so good he had to pack up and move to New York City where he became a legendary radio personality on WGBO. Bloomington 50 years ago was almost a radio desert. “Bloomington radio basically sucked,” says WFHB’s first general manager, Brian Kearney, of the local AM/FM scene.

BCR was readying its second FCC application (its first had been denied in 1981) in the mid-1980s. Kearney, who was BCR president at the time, and the rest of the founding crew were confident they could get their station on the air before the ’80s were out. It didn’t work out that way, though. Local radio pirate Bruce Quinn filed a competing application with the FCC and, surprisingly, won. If you’re hot for details on the Bruce Quinn Affair, you’ll have to click on over to the LP next month.

Anyway, pirate radio, or broadcasting without an FCC license. That Bruce Quinn fellow would set up his turntables, mic, and transmitter in his living room or that of a sympathetic friend or supporter and crank out a weak signal, irregularly, in the evening, playing records not heard on any other Bloomington station. He was a radio pirate and every time he flipped the on/off switch on his transmitter, he risked prosecution, fines, and seizure of his equipment by the FCC.

Pirate radio has been in existence since the very first governmental agency established regulations and licensing for the AM/FM spectrum. It reached its zenith in the 1960s with “border blasters” (think of Wolfman Jack at XERF/XERB, mega-powered AM stations just over the Mexican border, the Wolfman’s voice reaching far into the United States) or the UK’s many, storied unlicensed stations emanating from ships in international waters (see the Philip Seymour Hoffman movie Pirate Radio, aka in the UK The Boat That Rocked).

It’s not so much of a thing anymore, what with the emergence of internet streaming. Hell, anybody on Earth can hear my voice any time of the day or night even though my show airs Thursdays at 5:30pm. People who, for whatever reason, once eschewed the FCC route (or whichever authority regulates the airwaves in their country) can now transmit their voices, their music, their opinions, their ideas, and (mostly) their nonsense around the globe so why go pirate?

There just might be good reason to go pirate in the coming years. Now that Li’l Duce (or Caligu-lite or the Mad King) has led the charge to eliminate the Corporation for Public Broadcasting and is paving the way for his select group of billionaire cohorts to take over every single freaking media outlet on the planet, there will be vanishingly fewer opportunities for people to dissent, to protest, to air contrary opinions, to be weird, and to let the world know about it.

With many of those same few billionaire cohorts owning internet social media empires, posting about, say, 2027’s No Kings Rally may well be next to impossible.

There may come a day when the only folks able to let the world know about ICE’s evils, MAGA’s manias, QAnon’s canards, or any of today’s other democracy-snuffing goings-on will be radio pirates in their dens or living rooms, using vintage transmitters, sending unlicensed signals throughout their neighborhoods. Pirates, in other words.

 

532 Words: I Want You

My last post was almost a month ago. I’ve been busy working on my book-length history of radio station WFHB, home of my weekly Big Talk interview program. I hope to get this thing done by July but if I had a million dollars for every hope that has come true recently, I’d still be broke.

Speaking of Big Talk, I’ve been on a great run since January. In case you missed any of my episodes (and, if you did, it’s time to take stock of your life and priorities) here’s my show lineup this year:

Participatory Democracy: Peter Dorfman

Ecologic Apocalypse: Shannon Gayk

53 Thieves: Caleb Ely

Bloomington Early Music: Suzanne Ryan-Melamed

Trashion Refashion: Sophia Wang

Planetary Futures: Rebekah Sheldon & Tess Given

The Hundredth Hill: Krista Detor & David Weber

Arts Alliance of Greater Bloomington: Charles Pearce

Canopy Bloomington: Ava Hartman & Jon Vickers

Film Noir: James Naremore

Bloomington Int’l Film Festival: Matt Rice

Hoops 4 Hope: Alex Ashkin

Alternate Dimension Mill: Emily McGee

Poetry, Puppets & Music: Johanna Winters & Dave Torneo

This week and next, during WFHB’s Spring Fund Drive, I’m featuring the iconic, the storied, the contrarian anti-star, Mark Bingham. He’s back in Bloomington for the nonce. He recently completed a month-long residency at the Orbit Room. Bingham has spent his adult lifetime tilting against the celebrity-driven music industry even as he’s made a living recording and producing acts ranging from Dr. John, REM, Allen Ginsberg, the Dave Matthews Band, Elvis Costello & Allen Toussaint, the Black-Eyed Peas, Joe Sample, Steve Earle and even Harry Shearer.

In part one, Bingham tells the most delicious anecdote about a young, aspiring entertainer in early 1980s New York City whose countless graffiti mentions on music club bathroom walls (specifically referring to her outsized libido) was her first intro to celebrity. Her surname, by the way, was Ciccone. Madonna Ciccone.

Bingham 50 years ago was instrumental in getting the then-named Community Radio Project off the ground. The nonprofit corporation that owns WFHB (and is now named Bloomington Community Radio, Inc.) was started by geeky, tech-y, dream-y, post-hippies Mark Hood and Jeffrey Morris in the summer of 1975. They knew they needed ready cash to get their noncommercial, listener-supported radio station off the ground so they staged a live music benefit show at the Bluebird. Bingham at the time ran Bar-B-Q Records here in town and was a member of the prog-rock band, Screaming Gypsy Bandits. He wrangled all the acts for the benefit which packed the house and earned Hood/Morris a nifty $700 bucks. They thought it was a fortune. Little did they know they’d need about a thousand times more than that before they could get their station on the air.

Well, they did it.

And now, in this weird Trump-world where National Endowment for the Arts and Corporation for Public Broadcasting funds are no longer a sure thing, it’s more important than ever for you to reach for your wallet and help us stay on the air. Anything helps: if you can only afford a buck, send in a buck; if you can afford $10,000, we won’t refuse it. Just call 812.323.1200 or make a safe, secure donation online at WFHB.org. And make sure to mention Big Talk when you give.

Thanks.

Big Talk: Looking for Dad

My weekly radio interview program, Big Talk, airs every Thursday on WFHB, 91.3 FM, or always and forever on the ‘FHB website. The podcast usually posts precisely at 6:00pm, just as the broadcast concludes.

I’ve been doing that gig since 2014. Big Talk started out as an eight-minute feature on the Daily Local News. By 2017 I was chomping at the bit to get my own stand-alone slot on the station’s programming schedule and then-news director Wes Martin helped me jump through the hoops to get it done. I’ve had hundreds of guests on in the nearly ten years the show’s been a thing. It’s basically a one-person operation with me handling booking, research, studio set-up, engineering, hosting, editing, post-production, and, for chrissakes, keeping the Big Production Room as tidy as possible.

My first guest, way back in January ’14 was cartoonist Nate Powell, who’s penned a passel of fabulous graphic novels, includes the three-volume classic, March, with the late civil rights legend and Georgia congressperson John Lewis. Following him, I brought on Bloomington’s grand dame of politics, Charlotte Zietlow. My chat with her inspired me to pitch a book idea to her and, lo and behold, six years later our book Minister’s Daughter: One Life, Many Lives hit the bookstores. For a couple of years, I was able to turn Big Talk editions into print profiles on Limestone Post for my regular column, “Big Mike’s B-Town.”

Some of my favorite shows have featured the likes of Dan “Carp” Combs, the homespun philosopher who’s long served as a local township trustee here in Bloomington; Pete Buttigieg, then-mayor of South Bend who came to town to speak to a house party of women voters (and, as I chatted with him in the kitchen that afternoon, I concluded he was a fellow with his eye set on the White House); Debbie Herbenick, the Indiana University sex researcher, Joe Varga, the IU labor historian; Ed Schwartzman, the restaurateur whose young son took his own life; Laura Lane, longtime Herald Times reporter; and Nancy Hiller, author, master woodworker, and all-around good egg, whom I had on several times.

I’ve had CIA spies, New York Times bestselling authors, filmmakers, scientists, cops, magicians (well, alright, illusionists), pizza moguls, comedy club proprietors, singer-songwriters, poets, painters, Hula Hoop-sters, historians, a couple of alumni from the Firesign Theater, and even a cos-player who wrote a book about raising Viking children.

When I’m on my deathbed and I look back on my far-too-short life, I’ll be able to say my greatest talent was getting people to talk about themselves. I’ll reveal the secret of why and how I became adept at that: my dad never really spoke with me. That’s the kind of bird he was. A good friend once tried to ask me, apropos of one thing or another, “When your father talked to you did he….” I put my hand up and said, “Hold it right there. My father never talked to me.” My friend couldn’t believe it, but it was true.

Other than yelling at me or telling me to do something, Daddy-o was mum. I figured he didn’t care much for me. Then I learned he was quite the bon-vivant at times when he was younger. He’d tell stories and jokes and even dance a polka at family gatherings and parties. I was able to conclude it wasn’t me, it was him. I was, in a very profound way, growing up.

Dad, I can only conclude, was terribly depressed for the last quarter century of his life. He’d come of age in an era when seeing a therapist was about as likely for a working class man as owning a tuxedo. So, my diagnosis is pure guesswork. But he exhibited all the classic symptoms, including an inability to connect with others and to demonstrate even the slightest hint of affection.

When I tried to work through my own depression under the care of a string of therapists, social workers, psychologists, and even the odd priest and nun (honestly, I’d gotten to a point where I’d try anything to get out of my emotional morass), all those experts assured me Daddy-o was a textbook case and that my malaise was clearly inherited.

One day, when I was suffering through the loss of a love (my fault; I was a young knucklehead), and the pain I felt was greater than any other human had ever experienced, I collapsed in a heap on my parents’ front porch. I heard Ma, inside, say to Dad, “Joe, go out there and help him. He needs you!”

Dad slowly emerged. He knew himself well enough to realize rescuing a knuckleheaded 23-year old from heart-pain was not one of his fortes. He sat on the stoop next to me. That, in itself, was novel inasmuch as he normally did everything in his power to avoid contact with other humans. “Jeez,” I thought, “they must really think I’m in bad shape.” (They were right: I’d even been ideating suicide.)

My heart felt as though it would burst just because my father had chosen to sit close to me. He asked me what was wrong and I told him about the girl who’d given me the gate. He didn’t respond, because he never did. So — and I have no idea why I did this — I asked him how he knew Ma was the one for him. Mirabile dictu, he opened up. He told me the story of meeting my mother.

As a teenager, he hung out with his pals at Hanson Park on Chicago’s northwest side. One afternoon a traveling girls softball team was playing there. The girl playing short centerfield caught his eye. She had curly hair and belly-caught pop-ups, like an old-time grocer catching a falling can of corn in his apron. Dad was smitten. He said, “I took one look at her and said, ‘I’m gonna marry that gal one day.'”

Ma & Dad, Summer, 1945.

The story itself was beautiful, but the fact that Dad actually shared it with me sent me over the edge. I sobbed, deeply and loudly, for long minutes. Dad was baffled: “What’d I say? What’s goin’ on?” He never would know, coming from the era and background he did.

That was the turning point in my heartbroken summer of 1979. I started healing.

So, let me amend my thesis: Dad did talk to me. Once.

From that minute on, my goal in life became to try to get people to tell me their stories. Who knows? Maybe I was trying to recreate that cathartic emotional release, that flood of endorphins or whatever other body drugs that start splashing around when one experiences deep joy or sadness. Or maybe I concluded that if I could get Dad to talk to me, I could get anybody to do it. I don’t know. I don’t need to know.

I only know it’s what I’ve done all my life, in print, online, and on the radio.

Another amendment: my first Big Talk wasn’t with Nate Powell. It was with my Dad that August night on the stoop in 1979.

1000 Words: Movie Magic

I had a fun and informative chat with IU Cinema director Alicia Kozma yesterday afternoon. It was the first time I’ve recorded an edition of Big Talk in the WFHB studios since February 2020.

Kozma.

That time, I shot the breeze with the Busman’s Holiday boys, Lewis and Addison Rogers. Next thing any of us knew, the nation — hell, the entire world — was being shut down. So for some 27 months I’ve been recording Big Talk editions à la Marc Maron — in my garage. It took quite a few tries but I think I was able, eventually, to get a pretty decent sound quality even as I was squeezed in among the lawnmower, The Loved One’s hot rod, some old rolled-up carpeting, the washer and dryer, and tons of other clutter.

Lewis (L) & Addison Rogers.

I figured I’d venture out into the world yesterday so I reserved one of the station’s recording studios. It was a blast seeing the old community radio gang again — GM Jar Turner, news director Kade Young, and development director Brooke Turpin. The big news at the station is Kade cut off his extremely long pandemic hair and Jar has let his tresses grow down to his shoulder blades. Brooke’s mop remains stylishly trimmed.

As for me, well, I haven’t worried about the hair on the top of my head since the 1990s. That emanating from my ears and nose, though, must be controlled using Wahl machinery.

By the way, did you know the word glabrous means free from hair? Ironic, isn’t it? I mean, it’d be like the 45th President of the United States being surnamed Noble or Goode. Hair has sprouted in generous amounts from every corner and niche of my bod since I was an early teen. This even though my scalp became largely desolate starting in about 1981.

Glabrous.

Anyway, in researching Alicia Kozma, I learned about a woman named Stephanie Rothman. She’s one of Kozma’s fave producer/directors and was one of the very first female top executives in Hollywood.

Rothman was the first female winner of the Directors Guild of America fellowship while a student at the University of Southern California. Cult film director Roger Corman hired her as an assistant straight out of college. Stephanie worked in every possible position on Corman-produced movies with titles like Beach Ball, Voyage to the Prehistoric Planet, and Queen of Blood. Her stint with Corman was an invaluable apprenticeship where she learned every aspect of making a commercial movie. Corman eventually tabbed her to direct It’s a Bikini World.

Rothman.

This all came about in the 1960s when Hollywood saw women as good only for parading their breasts onscreen. Sure, there were female directors and/or producers — Ida Lupino comes to mind — but you could count them on one hand that’d suffered the loss of three fingers in a farm accident.

Lupino.

Rothman hated working on what was called the “exploitation” genre. Kozma defines exploitation films as those made on the barest of budgets, designed to make quick box office money at, say, drive-in theaters, and which featured plenty of jiggling female flesh and a whole hell of a lot of violence.

“I was never happy making exploitation movies,” Rothman said. But she did so because women directors were rarely hired or bankrolled a half century ago. The only job she could find was at an exploitation factory.

Corman.

Rothman did, though, inject a mote of enlightenment into the process. She directed the films Student Nurses and The Velvet Vampire for Corman. As long as the exploitation film formula demanded nudity to one degree or another, Rothman chose to have as many male actors shed their clothes as female actors. And as long as she had to include violent scenes in her movies, she strove to show the results of that violence, both physical and emotional. She also focused on female leads as more fully developed characters rather than simply unclad bodies prancing around the screen.

Kozma calls Rothman the “anti-Russ Meyer.”

A Russ Meyer Opus.

She split off to start her own production company, Dimension Pictures, with her husband, Charles S. Swartz. Rothman directed three Dimension films: Group Marriage, Terminal Island, and The Working Girls. She scripted Beyond Atlantis for Dimension as well. In all of them, she took an exploitation standby, unbridled male desire, and extended it to include that of her female characters. It may be hard to believe today, but the idea of a female movie character really wanting to engage in sex back then was utterly groundbreaking.

Still, Rothman remained unsatisfied with the whole exploitation thing. Even when she left Dimension in 1975 and hoped to make serious films, she couldn’t because Hollywood had typecast her as an exploitation director. She couldn’t win.

Alicia Kozma says she’d love to get Stephanie Rothman to make a personal appearance at the IU Cinema sooner rather than later. Rothman, who hasn’t worked on a film since 1978, is now 85 years old. She remains healthy and energetic, acc’d’g to Kozma. The IU Cinema director has her fingers crossed that Rothman may soon make her way to Bloomington.

Sometimes when I think I might like to retire from radio, I simply remember I get to meet and chat with cool folks like Alicia Kozma. And learn about others like Stephanie Rothman. So I’ll stick with Big Talk for the foreseeable future.

(The podcast of my chat with Alicia Kozma will post later today at 6:00pm on the WFHB website. Podcasts of all previous Big Talks can be found here.)

Talkin’ Up The Talk

Big Talk has been a thing on Bloomington radio for a good eight years now.

I remember that first Big Talk, recorded in the cramped live air room at the WFHB studios in January 2014. My guest was Nate Powell, the noted cartoonist who’d illustrated the first volume of Rep. John Lewis‘s graphic novel memoir, March. (Lewis, Powell, and writer Andrew Aydin went on to produce two more volumes of the trilogy.) Lewis, of course, was the famed civil rights activist who served 33 years in the United States House of Representatives. Elected to the House 17 times from whatever district in Georgia the statehouse had mapped (or, probably more accurately, gerrymandered), Lewis previously had been a high ranking member of the Student Nonviolent Coordinating Committee (SNCC) and had been famously bashed on the head by an Alabama state trooper during the 1965 Selma voting rights campaign. His skull was fractured and he feared at the moment of impact that his life was about to end. The march he was participating in that particular day became known as Bloody Sunday.

Nate Powell was a popular graphic novelist who’d already written and/or illustrated nearly 30 books including Swallow Me Whole, Any Empire, and The Silence of Our Friends. He’d won the Ignatz and Eisner awards for best original graphic novel for 2008’s Swallow Me Whole.

♦︎

WFHB’s archives no longer go that far back so here’s the raw recording of that first Big Talk feature with Nate Powell:

♦︎

My second Big Talk guest ever was Charlotte Zietlow, the beloved (by most) and legendary local politician and activist who, with a motley crew of political outsiders including future Congressperson Frank McCloskey, transformed Bloomington from a Republican-led town to one run by Democrats in 1971. It’s remained that way ever since. That Zietlow guest spot began a relationship between her and me that only grew stronger as time passed and resulted in the publication in September 2020 of our book, Minister’s Daughter: One Life, Many Lives.

Look for it in your local bookstore or online.

At the time of the Powell, Zietlow, et al interviews, Big Talk was an eight-minute feature on WFHB’s Daily Local News. It would go on that way for the next two and a half years, with a lengthy gap in 2016 for me to get the crap kicked out of me by lymph node cancer. As I recovered from chemoradiation therapy and got stronger and regained the 80 pounds I’d lost during treatment, I realized I wanted to take that radio spot to the next level and so applied to WFHB’s News and Public Affairs Committee for a half-hour slot in which I could make Big Talk a stand alone program.

The then-News Director, Wes Martin, did all the heavy lifting for me in that effort and I was thrilled to learn my new show had been approved. So, in August 2017, I aired my very first 28-minute Big Talk, with guest, Adria Nassim. Adria, too has become a friend. She writes a regular column for the Bloomington Herald-Times detailing life for people on the autism spectrum.

Alex Ashkin (R) with his recent guest, Wally Ouedraogo, co-owner of The Inkwell on Woodlawn.

Since then, Big Talk has aired weekly, every Thursday at 5:30pm, with a re-broadcast every Friday at 11:30am. Last year, I even recruited a semi-regular co-host, Alex Ashkin, a dynamic fellow I’d met hanging out in the Soma coffeehouse on Grant Street in downtown Bloomington. Alex is a lot younger than I am (and that I’d care to admit) and that’s the reason I asked him to come aboard. I’d been starting to feel as though the program needed a fresh voice, someone from a different generation and lifestyle who’d bring in a whole new slew of guests. He’s done just that.

Big Talk has put more than 250 guests on the airwaves here in South Central Indiana and, for that matter, on the internet around the world. Our most recent edition featured Kathy Loser, former librarian for the Monroe County Community Schools Corporation and current board member of the Monroe County Public Library. Kathy has strong opinions about…, well, everything, but especially about books and efforts by well-funded political activists trying to ban or restrict reading materials in school and/or public libraries. Like many — or even most — Big Talks, this edition was timely inasmuch as there appears to be a new wave of banning/restrictions around the country, most prominently the McMinn County, Tennessee dustup that came to light last month.

Books, Libraries, Reading, Banning: Kathy Loser

Anyway, all this is my way of crowing about my radio program. Thanks a lot for indulging me. And thanks even more if you tune in to WFHB, contribute to the station, or listen to podcasts of Big Talk.

Jim Manion, Raw

A few years ago, perhaps 2018, give a take a year, I was sitting in the reception area at WFHB waiting for my Big Talk guest to show up for recording that day when the station’s music director, Jim Manion, strolled in. He carefully noted that we were alone and proceeded to confide a secret. He was thinking of retiring, he told me. No one was to know.

To that end, Manion added, he wondered if I’d consider interviewing him on Big Talk when the time came and after he’d made his announcement. Well sure, I replied. Heck, Manion’s one of founding members of the WFHB family. He was in at the very beginning, ab ovo as it were, when a crew of young dreamers came up with the bright idea to start a community radio station here in Bloomington, Indiana.

People like Brian Kearney and Jeffrey Morris and others were excited to start an FM station that’d add the the tiny but growing list of other such radio outlets, supported by listeners, without commercials, and playing something more — a whole hell of a lot more — than the two-minute, 30-second bubble gum pop hits the Top 40 stations had been airing throughout the 1950s and ’60s. “There was a real creative renaissance going on at the time,” Manion has been quoted as saying regarding the FM radio revolution of the late 1960s and early ’70s. That crew formed a nonprofit organization in the mid-’70s and started the byzantine application process for an FCC license. It’d take them nearly 20 years to get approved and go on the air.

That’s Manion, 3rd from the right, with (gasp) dark hair, in WFHB’s early days.

When WFHB went on the air in December 1992 for a test run and in January 1993 for real, the station’s headquarters and studio were crammed into a tiny cinderblock shack underneath the WFHB broadcast tower off Rockport Road southwest of the city proper. It’d be another year before the station found a proper home in the city’s old firehouse behind what is now known as the Waldron Center. Ergo our corporate moniker, Firehouse Broadcasting.

I could have rubbed my hands together in greedy glee at the thought of steering Manion through the history of WFHB as well as his own colorful life. Manion reminded me the day was years off before he retreated into his grotto-like office. I never forgot about his proposal but, as the years passed, the idea became more and more just that — an idea, a wisp, a dream. Retirement, for me and my contemporaries, remained a distance prospect, something we knew was to come, but, like kids, we could still pretend it was in the far future.

At our age, Manion’s and mine, the years pass as months or even weeks did when we were in our teens and twenties. Next thing I knew, earlier this spring, an email came from Manion telling me the day was at last approaching. He would retire at the end of May 2021.

It was time to set up that Big Talk he’d suggested, his valedictory.

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And so we aired Part 1 of the life and times of Jim Manion and of the radio station, WFHB, a week ago, Thursday, May 20th. Today, we aired Part 2. As with all my recordings, I carefully snipped out all the ums and ahs and ers, all the coughs and belches and lip smackings, all the “Oops, did I say that? I meant to say….” misspeaks and recants. But the more I thought about it, the more I became convinced I ought to put up the raw audio of Jim’s and my conversation. It took place, via Zoom, on Wednesday, May 12th, 2021, starting at 12:30pm. Jim had to squeeze the interview in between a scheduled meeting he’d had with station general manager Jar Turner and a doctor’s appointment. I was afraid we’d be rushed but, no, Jim was voluble and expansive. We went on and on and, of course, I was able to turn the interview into a two-parter.

So, give a listen to the unedited chat. If you love WFHB, if you love Bloomington, if you love Jim Manion, you’ll love it.

Hot Air: Eyes & Ears

You get the Big Mike treatment two ways on this first day of June:

First: The latest installment of Big Mike’s B-town runs in today’s Limestone Post magazine. I profile Michael Waterford, who — as we speak — is fixin’ to kayak down the entire length of the Mississippi River. He was my guest on Big Talk back on May 4. Here’s the link to that chat on WFHB, 91.3FM.

Second: The latest edition of Big Talk runs this afternoon at 5:00pm on ‘FHB. My guest will be Hondo Thompson, the new main stage emcee for the John Hartford Memorial Festival, taking place — again, as we speak — at the Bill Monroe Music Park & Campground in Bean Blossom, just north of Nashville, Indiana. I never knew much about Hartford until I set Hondo up for our Tuesday morning recording. Turns out he was quite a known guy in the bluegrass/newgrass/Americana music rackets. Hondo’s a big aficionado of said strains and he’s got a jillion stories to tell. So tune in this afternoon or click on the links I’ll post tomorrow AM for both the 8-minute radio feature and the entire original interview.

Gentle On My Mind

This song made two guys rich. One was John Hartford who penned it, and here’s the backgrounder on it: Hartford had just seen the movie Dr. Zhivago, starring Omar Sharif and Julie Christie. He fell in screen-love with the female lead and told a pal, “I’d drink Julie Christie’s bathwater.” He promptly sat down at a picnic table and wrote, in 20 minutes, “Gentle on My Mind,” an innovative folk-y, roots-y, ‘grass-y thing that broke all the rules. Among Hartford’s crimes and misdemeanors:

  1. The song — as written — ran for four minutes, an eternity in those AM pop radio days
  2. It didn’t follow the verse/chorus/verse/chorus/bridge/solo/repeat roadmap supposedly vital to a hit record — he employed a series of rapid-fire poetic stanzas, each leading to the climactic title line
  3. It had a banjo part

Julie Christie As Lara In “Dr. Zhivago”

The other guy who raked in the dough thanks to the song was Glen Campbell, whose 1967 version of it became a monster hit. Before G-on-M-M, both Hartford and Campbell had been mildly successful in their chosen musical arenas but after Campbell’s 45 charted, each became a big time star.

Give a listen:

 

Hot Air

Foods Facts

In case you missed it, here’s the WFHB podcast featuring an interview with Keith Taylor, a co-op governance researcher who works at Indiana University’s Ostrom Workshop in Political Theory and Policy Analysis. Taylor started a change.org petition calling on the Board of Directors of Bloomingfoods to come up with a clear and public plan to address some of the issues that are making B-foods employees, shoppers, and co-op members nervous these days.

Bloomingfoods

Bloomingfoods

Taylor was grilled by News Director Joe Crawford last week about goings on at the local co-op grocer. Among other things, B-foods faces a potential union vote by its employees and must find a way to compete with two new natural and organic grocers coming to town within the next couple of years. Both Lucky’s Market and Whole Foods Market have announced plans to hit Bloomington. Lucky’s on South Walnut Street is due to open by the end of May.

Friday, the B-foods Board announced its decision to ask for help from the National Co+Op Grocers (NCG) in resolving its financial picture. At the same time the Board revealed that its president, Tim Clougher, has stepped down.

The NCG move will entail volunteer managers from other member grocery stores coming in and observing B-foods’ operations, doing an audit of its books, and making recommendations for repairs.

If Bloomingfoods pulls through the next couple of years in decent shape, it’ll be a testament to the loyalty of its customer base and the buy-local philosophy. B-foods not only faces competition from Lucky’s and WFM but mega-grocer Kroger has gone all in on natural and organic, especially at its newly remodeled Kroger Theme Park store on the east side.

The NCG request indicates that the B-foods brain trust is serious about the co-op’s future.

Shouting Out For Hamilton

Congrats to Rob Deppert for landing the plum task of intro’ing Howard Dean when the lobbyist/Dem Party sachem comes to town to flog for mayoral candidate John Hamilton.

Dean will spiel for Hamilton at the Monroe County Courthouse Wednesday at 1:00pm. The former Vermont governor and chair of the Democratic National Committee is credited with implementing the party’s “50-state strategy” that loaded both the US Senate and House of Representatives in its favor in the 2006 elections. In 2008, Barack Obama used the same strategy win election as president. Under the strategy, the Dems fought hard in what had previously been regarded as hopeless states and districts. Voters who’d considered themselves outnumbered in those places were targeted and energized, leading to numerous Democratic upsets.

Dean

Howard Dean

Most Murricans only know of Dean through a video of him hollering to rouse the troops at post-election rally the evening of the Iowa Caucuses in 2004. Known as the “Dean Scream,” video of the outburst was aired endlessly that month and was the final nail in the coffin of Dean’s presidential aspirations. Fox News pretty much ran all-scream, all the time for a good four weeks.

Me? I thought he got a raw deal from the get-go. So he hollered. So his voice was hoarse and cracked. It was a pep rally, for pity’s sake.

Truth is, Dean is a top-notch political strategist and certainly would have been my guy for president over both incumbent George W. Bush (duh!) and even eventual Dem nominee John Kerry.

Happy Days Here Again?

Speaking of politics, the folks who run my back office — AKA Soma Coffee — just got in a new shipment of mugs. Said mugs, natch, aren’t really new; Soma’s famed for its retro inventory. Take the mug I got today — on it was a repro of the New York Times front page the day after Barack Obama was elected prez in 2008.

NYT

Of course, I got to reading the impossibly tiny print. I was reminded that the election had produced a Democratic majority in the Senate of 59-41 as well as a 257-178 plurality in the House that happy November day.

All I can wonder is how in the goddamned hell the Dems pissed that advantage away.

OTOH: It looks like presumptive Dem nominee for prez in 2016, Hillary Clinton, is harkening back to those cheery times with her recent moves to the Left. Mebbe the party has learned a thing or two over the last couple of elections.

Hot Air

These Boots….

In my entire life I’ve only ever really lusted after two material items. Well, three, technically. Funny thing is, they were both sort of related.

One was a transistor radio. I dreamed, both sleeping and awake, about owning one for a good six months when I was eight years old. I was certain my notoriously penny-pinching mom would never get me one for Christmas but that didn’t stop me from haranguing her from September on in 1964. And on Christmas Eve when I finally opened the little package that I had no idea would indeed be a Sears Silvertone transistor radio, I let out a shriek equal to any emitted by teenaged girls at a Beatles concert.

Which brings me to item No. 2: I wanted a pair of Beatle boots. Good god in heaven, they were the coolest shoes ever designed. Pointy toes. Cuban heels. No laces, only that very neat insert of elastic at the side. The Beatles were cool, sure, but their feet were transcendently cool because they were encased in those works of art.

Beatle Boots

Beatle boots.

Just saying the words brings back the old covetous feeling. I wanted…, no, I needed them.

Naturally, the nuns at St. Giles Catholic school made an announcement early on during Beatlemania that Beatle boots — as well as Beatle haircuts — would be forbidden. Oh, how I wanted those boots more than ever after that.

The very sound of Beatle boots — a smart click-click that echoed through the halls — was intoxicating. My stupid soft-soled and -heeled shoes sounded like, well, nothing.

Some of the cooler guys at St. Giles got around the Beatle boots ban by wearing what we called “Dago shoes.” By the way, the cooler guys at St. Giles invariably were the Italians from the Galewood neighborhood of Chicago. The Irish kids from Oak Park wore plaid shirts and corduroy trousers.

Trousers. Hehe. The losers.

The cool kids wore skin-tight, knifelike-creased slacks. I would have cut off a finger or two to dress like the cool kids, many of whom were the scions of mid-level Outfit guys. Their daddy-os might have been vicious mobsters but their style sense was impeccable.

I had my priorities as I approached adolescence.

Anyway, Dago shoes. They, too, had pointy toes and Cuban heels but they were lace-ups. And the laces were the skinny, round, shiny kind, not the flat, black cloth, sensible variety that the Irish Oak Parkers wore. Again, the losers.

I remember one of the coolest kids being yanked out of line by one of the tough-guy nuns because he was wearing Dago shoes. “But S’ter,” he protested, “these aren’t Beatle boots!”

This legal hair-splitting clearly forced the nuns to re-strategize. That afternoon when Sister James Mary, the principal, made her end-of-day announcements over the PA, she said, her voice dripping with annoyance, “And from now on, there will be no more wearing of ‘Dago shoes.'” Then she added, speaking slowly and distinctly, “No pointed toes and no Cuban heels.”

We all tittered and giggled over the fact that she’d said Dago.

Sister Caelin barked, “Quiet!”

Dago shoes with Cuban heels. It was like a social studies and geography lesson rolled into one.

Back to Beatle boots — just look at this still from the Beatles’ film A Hard Day’s Night:

From "A Hard Day's Night"

How kicky, in the parlance of the times. Wearing their signature footwear, the boys appear to be running on air, levitating, like the demi-gods they were. How I wished I could levitate like a demi-god.

Today, of course, I wear the clunkiest, roundest-toe, softest-soled shoes in all of creation. Adulthood, man. It beats a kid’s dreams down.

Money (That’s What Pols Need)

Joe Crawford’s News Dept. at WFHB reported yesterday that John Hamilton scooted out to Washington, DC for a fundraiser at some snazzy restaurant in our nation’s capital.

Hmm.

Hamilton’s been crowing that he won’t take a dime of “corporate money” ever since he declared himself a candidate for Bloomington mayor in this year’s election.

Hamilton

Hamilton

[BTW: Early voting has begun. Go do it now!]

Yet, his DC fundraiser featured at least two big bucks lobbyists. Okay, sure, as Hamilton himself says, the lobbyists’ dough is not the same as corporate green. He points out that the lobbyists work for good, wholesome, “progressive” operations not, I imagine, big, mean old companies that profit off the raping of the planet.

Still, it’s checkbook democracy. Hamilton’s not a villain here; it’s the entire Citizens United political racket that’s corrupt.

Anyway, give a listen to the WFHB report.

Money (That’s What I Want)

http://www.youtube.com/watch?v=g-nfIzhmSCc

Hot Air

Democracy

It’s WFHB board election time with three plucky souls throwing their hats in the ring. And, BTW, Board president Joe Estivill is snatching his hat back. Joe, proprietor of The Players Pub, is retiring after a tumultuous term as the big man of the nine-member conclave.

Among other fires he and his Board battled, the resignation of dynamic General Manager Chad Carrothers and the subsequent botched hiring of Kevin Culbertson rank among the hottest. Under Estivill’s captaincy, the Board eventually rectified the Culbertson mess and the station settled back into a somewhat peaceful existence.

spotphoto-580x330

Joe’s Board also authorized the hiring of a politically-wired money-raiser: Dorothy Granger became the station’s Development Director in the summer of 2014. Granger also is District II representative on Bloomington’s City Council.  With on-air fundraiser revenues falling short of projections since the departure of Carrothers, the station has been in need of cash. Granger’s hat-in-hand work has been a lifesaver.

Station members will vote on the Board members at WFHB’s annual meeting in June. Here’s the slate thus far:

  • Attorney Pam Davidson is running for reelection. She serves on the finance committee, volunteers at Middle Way House and Lotus, and is a member of the WFIU & WTIU Community Advisory Boards.
  • Louis Malone was appointed to fill out an unfinished term on the Board early last year. He’s running for a full term now. Louis is shelter care coordinator for the Youth Services Bureau of  Monroe County. He’s a member of the personnel and nominating committees.
  • Tom Henderson is a first-time aspirant for the Board. He says he offers public radio, media technology, information technology experience.

The above three have been vetted by the Board’s nominating committee. As always, the Board has put out the call for petition candidates — that is, any who collects 10 signatures of station members can get on the June ballot. None have to this point.

Harry As Dick

Y’gotta watch Harry Shearer do his dramatization of the Nixon Tapes. That’s all; just watch.

http://www.youtube.com/watch?v=f9HtoWea72A

Broken Taillights

So, a Charleston, South Carolina cop was charged with murder for shooting a guy in the back the other day. It’s not known just yet how many slugs Walter Scott caught from behind but Officer Michael Slager did fire eight shots at the 50-year-old as he ran away.

The killing might have been a blip on the radar screen of today’s police war on America’s dark-skinned citizens save for the fact that someone caught the incident on video. Hearing about a summary execution on the street is one thing; seeing it is entirely another.

Cop apologists can moan all they want about how we — the woefully uninformed citizenry — can never understand what pressures and fears officers endure on the streets. How would you react? they typically say in that challenging tone of voice. My answer in this case would be I wouldn’t shoot a goddamned guy in the back.

It’s true, we civilians don’t know all the nuances and details about the relationship between cops and people of color but we do know this: one police department after another has been busted for racial profiling, cops all over this holy land exchange racist emails, many big city police forces have KKK sects within their departments, story after story tell us about cops shooting unarmed black men but not shooting armed white men, and US citizens are 100 times more likely to be shot by the police than UK citizens, after allowances are made for the population difference.

Walter Scott was stopped for a broken taillight. Those in the know are fully aware that the broken taillight is the hassling cops best friend. As attorney Mark Geragos told one cop defender on CNN last night, “…[M]y father was a prosecutor for many years [and] used to say, ‘There’s more guys in state prison for broken tail lights than any other offense. Broken tail light means go hassle somebody of color.'”

What the cops are doing is a natural outgrowth of human behavior. Cops are confronted with the ugliest side of humanity every day. They begin feeling helpless under the constant onslaught of immorality, illegality, and — pure and simple — viscerally disgusting behavior.

Like any other human, a cop wants to lash out. He wants to find someone to punish for the flood of vice he witnesses every moment of his working day. He wants to make someone pay. In the United States, we have a convenient population of poor, alienated, scarily different-colored people. Being poor, they’re more likely to be involved in crime — petty and otherwise — so the poorly prepared cop zeroes in.

Go look for a broken tail light and fuck that gorilla up.

And don’t underestimate the usage of the term gorilla or any other similar apish pejorative. Cops are not anthropologists. They’re not scientists of any sort. Too many only know that those black bastards are animals.

Until our American city governments start training cops properly and weeding out the reactionaries and racists, until even the “mildly” prejudiced cops are separated from the overall force, more black men will be killed. And make no mistake, it’s not just bad white cops  who see black men as the enemy — far too many black cops see ghetto blacks as some kind of substandard citizen.

These shootings have to stop.

[h/t to Richard Lloyd.]