The Grand Rapids LipDub Video was filmed May 22nd, with 5,000 people, and involved a major shutdown of downtown Grand Rapids, which was filled with marching bands, parades, weddings, motorcades, bridges on fire, and helicopter take offs. It is the largest and longest LipDub video, to date.
This video was created as an official response to the Newsweek article calling Grand Rapids a “dying city.” We disagreed strongly, and wanted to create a video that encompasses the passion and energy we all feel is growing exponentially, in this great city. We felt Don McLean’s ‘American Pie,’ a song about death, was in the end, triumphant and filled to the brim with life and hope. – Rob Bliss, Director & Executive Producer, Status Creative
Anything I know about drama today comes more from Norman Corwin than anybody.
Norman’s passion for the world, the human race, is in the very marrow of his words.
“One World Flight” (13:07):
In this NPR story for the Kitchen Sisters Lost & Found Sound, producer Mary Beth Kirchner sits down with Norman Corwin to remember his four month flight around the globe, and the resulting radio series. (The original 13-episode 1946 series is at Internet Archive.)
“On October 1, 1945, I stood at the hypocenter of the Hiroshima atomic bombing and made a slow revolution. In that instant I had a difficulty grasping that this city had been felled by a single explosion.”
Password-protecting a WordPress Post/Page hides its Content and Excerpt, but not its Custom Fields: those can still show. Below are ways to hide ’em, and functions for customizing the default WP Password-Protected messages.
Password-protect a Page/Post
Setting the Visibility to Password-protected changes the:
Ellen Rocco, GM of North Country public Radio, has this memorial to the Public Telecommunications Facilities Program (PTFP), a recently defunded .gov agency, that helped buy gear used to bring you your local pubradio:
The folks who run the PTFP are people you will never read about in the news or see on television. Bill Cooperman and his team are the kind of federal employees who belie all the nasty stereotypes we hear about “bureaucrats.” They are helpful, they want to see stations succeed, and they understand when unforeseen circumstances force changes in timelines (e.g., bad weather keeps us from installing a new facility as planned).
—Ellen, Rocco, “Alphabet soup, public radio and gratitude.”
The voices of Sergeant Wallace Trahan, Sergeant Aaron Kelly, Sergeant Zachary Scoskie, and Colonel Diane Huey, interviewed at a Bagram Air Base hospital (outside Kabul, Afghanistan) by NPR’s Quil Lawrence, and mixed bg Jim Wildman for Morning Edition:
In Mom, Dave Isay, StoryCorps founder and editor of the bestselling book, Listening Is an Act of Love, presents a celebration of American mothers from all walks of life and experiences. Selected from StoryCorps’ extensive archive of interviews, Mom presents the wisdom that has been passed from mothers to their children in StoryCorps’ recording booths across the country.
By 1967, national leaders recognized that noncommercial broadcasting was being held back by its lack of a network structure. Stations were on their own, with little way to share programming of national interest. With the Public Broadcasting Act of 1967, Congress provided for ways to build a national financial and distribution infrastructure for noncommercial television and – oh, yes! – radio (added to the legislation at the last minute).
The Act created the Corporation for Public Broadcasting to serve as a conduit for federal financial support of local radio and television stations, nationally produced programming, and interconnected services. With regard to radio, it was concluded (after a year of study) that most noncommercial radio was either student-run, or religious in nature, and therefore did not fit the criteria for funding. Consequentially, two important strategic decisions were made with regard to administering radio. First, a set of criteria was devised for funding. Unlike television, virtually no on had the capacity to produce sustainable, quality programming on a national level. In 1970, National Public Radio (NPR) was created as a national production center for news/information and cultural programming. NPR was to also serve as the coordinator for national program distribution. NPR began its national program service in 1971 with production of “All Things Considered”, a daily hour of in-depth, primarily national, news. The distribution infrastructure was completed in 1979 with the launch of public radio’s own satellite system which, for the first time, allowed local stations to send and receive programs among themselves. Between the years of 1970 and 1982, NPR was funded almost entirely by the CPB (stations paid $100 to join NPR).
Community radio also formalized itself during the ’70s. Fifteen stations and license applicants, several from Lorenzo Milam’s original group, formed the National Federation of Community Broadcasters (NFCB) in 1975. In general, the ’70s and early ’80s were a period marked by dramatic growth across the spectrum in public radio… the independent producers community emerged, the number of public radio stations tripled, minority participation grew significantly, Morning Edition from NPR (the a.m. sister to All Things Considered) went into production, and university stations moved to redefine their community outreach beyond simply acting as “classrooms of the airwaves”. More…
In 1970 National Public Radio’s first program director wrote a “mission statement” to define the aspirations for this new network and its first daily program, All Things Considered, which debuted May 3, 1971. Here’s some prime cuts from “National Public Radio Purposes” by William H. Siemering:
Because National Public Radio begins with no identity of its own it is essential that a daily product of excellence be developed. This may contain some hard news, but the primary emphasis would be on interpretation, investigative reporting on public affairs, the world of ideas and the arts. The program would be well paced, flexible, and a service primarily for a general audience. It would not, however, substitute superficial blandness for genuine diversity of regions, values, and cultural and ethnic minorities which comprise American society; it would speak with many voices and many dialects. The editorial attitude would be that of inquiry, curiosity, concern for the quality of life, critical, problem-solving, and life loving. The listener should come to rely upon it as a source of information of consequence; that having listened has made a difference in his attitude toward his environment and himself.
There may be regular features on consumer information, views of the world from poets, men and women of ideas and interpretive comments from scholars. Using inputs from affiliate stations, for the first time the intellectual resources of colleges and universities will be applied to daily affairs on a national scale.
Philosophically, time is measured by the intensity of experience. Waiting for a bus and walking through an art gallery may occupy the same time duration, but not the same time experience. Listeners should feel that the time spent with NPR was among their most rewarding in media contact. National Public Radio will not regard its audience as a “market” or in terms of its disposable income, but as curious, complex individuals who are looking for some understanding, meaning and joy in the human experience.
Most of the ideas in Siemering’s doc still seem sound; many remain untested. For instance, here’s NPR’s hopes for “cultural programs.” Notice the use of the term “radio art”… perhaps the first and last time NPR expressed the concept: More…
The “radio voice” was established early: it demanded a norm of intonation, inflection and voice projection which was as absolute in its rules as the BBC’s so-called “standard English”. Deep chest tones, bland assurance, total lack of hesitation or error were essential, so as to convey that ineffable, indispensable quality-Sincerity. This exaggerated diction also helped to compensate for the primitive equipment and the bad reception in “fringe” areas…
(1948) FM radio was just being launched in America. Therefore there were open channels available which were not yet worth a great deal of money, since there were very few receivers and only a small audience. The new medium was especially suited to the kind of broadcasting Hill intended, which was to achieve a high technical as well as intellectual and artistic standard. A few years earlier there would have been only low-fidelity AM channels, prohibitively expensive to acquire; a few years later FM would also become expensive, though not in the same league as AM, whose broadcast radius and therefore its audience were much greater. In the meantime the asset, a greenfield site, would become also a liability as KPFA struggled to reach an audience without FM receivers….
Having established two totally revolutionary principles — absence of commercial sponsorship and indifference to a mass audience — Hill went on to describe in detail some of the attributes of a broadcasting medium which would conform to these criteria. The very fact of non-commercial broadcasting led at once to two interlocking principles: there was no time-ownership and no need for commercial breaks:
On examination of the tradition and uses of second-hand timing in commercial radio, it appeared that this practice had an entirely economic origin and meaning. Since at best it poses an obstacle to programming freedom, there appeared no reason whatever for its continuance in educational radio not engaged in the sale of time segments.
This had two highly pragmatic results: (1) the absence of commercial breaks meant that broadcasts could assume whatever attention span was required by the subject matter; and (2) this could be extended to its logical conclusion; i.e., a program could be as long as necessary or appropriate.
One of the many sources Whiting cites is: Lewis Hill, Voluntary Listener-Sponsorship: A Report to Educational Broadcasters On the Experiment at KPFA, Berkeley, California. Berkeley, CA: Pacifica Foundation, 1958. If anyone knows where I can get a copy, please holler.
“In a crisis grow. That’s the only creative possibility, take a risk and expand.” —Lew Hill
Lewis Hill co-founded Pacifica Radio (then KPFA & WBAI), based on “The Theory of Listener-Sponsored Radio.” In this taste of his 1951 treatise, he describes the commercial broadcast and how it differs from his new idea of a non-commercial radio:
Let me instance the announcer, not only to seize the simplest case, but because he will serve as the gross symbol for the writer, the musician, and all who try to make a living in the program end of radio. You will recall without difficulty, I hope, this fellow’s nightly solicitude toward your internal organs. In his baritone way he makes a claim on your attention and faith which few of your closest friends would venture.
I know of no better explanation of this man’s relation to you, to his utterances, his job, and his industry, than one of the time-honored audition tests given to applicants for announcing jobs at certain of the networks. The test consists of three or four paragraphs minutely constructed to avoid conveying any meaning. The words are familiar, and every sentence is grammatically sound, but the text is gibberish. The applicant is required to read this text in different voices, as though it meant different things: with solemnity and heavy sincerity, with lighthearted humor, and of course with “punch.”
If his judges award him the job and turn him loose on you, he has succeeded on account of an extraordinary skill in simulating emotions, intentions and beliefs which he does not possess. In fact the test was especially designed to assure that nothing in the announcer’s mind except the sound of his voice–no comprehension, no value, no choice, and above all no sense of responsibility–could possibly enter into what he said or what he sounded like. This is the criterion of his job.
The significance of this situation is strangely neglected, as I have said, although the commonplaces of industrial life that best explain it are much discussed. We all know, for example, that the purpose of commercial radio is to induce mass sales. For mass sales there must be a mass norm, and the activity must be conducted as nearly as possible without risk of departure from the norm. But art and the communication of ideas–as most of us also appreciate–are risky affairs, for it can never be predicted in those activities just when the purely individual and abnormal may assert itself. Indeed to get any real art or any significant communication, one must rely entirely on individuals, and must resign himself to accept not only their uniqueness but the possibility that the individual may at any time fail. By suppressing the individual, the unique, the industry reduces the risk of failure (abnormality) and assures itself a standard product for mass consumption.
We know these commonplaces, but it is truly staggering to contemplate what they imply and cause in American radio. Should you inquire why there is no affinity between the serious arts and radio, you will find that this is the reason.
America is well supplied with remarkably talented writers, musicians, philosophers, and scientists whose work will survive for some centuries. Such people have no relation whatever to our greatest communication medium. I have been describing a fact at the level of the industry’s staff, it is actually so notorious in the whole tradition and atmosphere of our radio that it precludes anyone of serious talent and reasonable sanity from offering material for broadcast, much less joining a staff. The country’s best minds, like one mind, shun the medium unless the possessor of one happens to be running for office. Yet if we want an improvement in radio worth the trouble, it is these people whose talent the medium must attract. The basic situation of broadcasting must be such that artists and thinkers have a place to work–with freedom. Short of this, the suffering listener has no out.
“The Theory of Listener-Sponsored Radio,” Lewis Hill 1951, from The Exacting Ear: The Story of Listener-Sponsored Radio, and an Anthology of Programs from KPFA, KPFK, and WBAI, Eleanor McKinney, Editor, (Pantheon Books/Random House, 1966).
Preventive Maintenance Monthly (now digitized at VCU libraries) was an Army pub started in 1951 and drawn by comic artist Will Eisner, with comically beautiful service babes asking accusing questions like “Who didn’t check out these parts before taking them off the equipment?” And offering vital SOPs like: