For Lincoln’s birthday bicentennial year and Independence Day, Old Abe, the Civil War, and its still-present aftermath:
The United States Marine Band recorded a “Lincoln Centennial” on February 12 1909 (from A Lincoln Portrait).
Abe’s 1860 presidential campaign song was “Lincoln and Liberty;” it’s sung for us by Dan Zanes (ex-Del Fuegos, off Parades And Panoramas: 25 Songs Collected By Carl Sandburg For The American Songbag).
“I Heard Lincoln That Day,” says Gettysburg eyewitness Walter Rathvon, in archival audio recorded on Lincoln’s birthday 1938 by WRUL radio, Boston. Set to an instrumental “Lincoln’s Triumph (a Funeral March),” part of the Lincoln Shuffle (by Bryce Dessner, guitarist for The National and Clogs, composed for the great bicentennial site 21st Century Abe, used with their re-mixing blessings).
NPR recreates the “Gettysburg Address,” with the words of John Dos Passos read by Noah Adams, and Lincoln’s speech read by Lars Hoel; produced by Bob Malesky for NPR’s The Sunday Show. More…
Sarah Vowell is a gunsmith’s daughter, in “Shooting Dad,” produced for This American Life (from Lies Sissies & Fiascoes). Sarah’s latest book is The Wordy Shipmates. (Music: “Rebel Rouser” Duane Eddy 1958 Have Twangy Guitar Will Travel, “Burnt Down With Feedback” Phono-Comb 1996 Fresh Gasoline, “Your Good Girl’s Gonna Go Bad” Jonathan Richman 1990 Jonathan Goes Country.)
Joe Frank lets us eavesdrop on a father-son phone call between “Larry and Zachary” Block, from Joe’s hour Karma 3.
Host Larry Massett and several other sons try to get to know their “Lost and Found Fathers,” produced for Soundprint, with help from Barrett Golding, Brian Brophy, Bob Burrus, and Henry Dennis.
Photo by Katie Davis:
Jesse Jean with Teri and Toni.
Hearing Voices from NPR®
060 Getting Out: The Education of Jesse Jean
Host: Katie Davis of Neighborhood Stories
Airs week of: 2010-05-05 (Originally: 2009-06-03)
Getting Out: The Education of Jesse Jean (52:00 mp3):
Go to school, keep your grades up, go to college. That’s what we tell kids — over and over. What if just leaving your apartment, and walking up the block is risky? What if it feels safer to stay home, play video games, keep a low profile. When you do go out, head somewhere safe, like the teen center, the basketball court. That was the world of African American teenager, Jesse Jean.
Jesse’s self-portrait
Fall 2001.)
Jesse lived a half a block from host Katie Davis in their Washington DC neighborhood. He was lucky enough to get a scholarship to a private boarding school and brave enough to take it. Katie kept in touch with Jesse, as he moved into this new world. We hear three stories covering seven years, starting in summer, 2001.
Hearing Voices from NPR®
059 War Memorial: Return to Vietnam
Host: Alex Chadwick of Interviews 50 Cents
Airs week of: 2011-05-25 (Originally: 2009-05-20)
For Memorial Day, two stories recorded in Vietnam, one after the war, and one during:
In 1966, a young Lance Corporal carried a reel-to reel tape recorder with him into Vietnam. He made tapes of his friends, of life in fighting holes, of combat; and he continued to record until, two months later, when he was killed in action. Friend and fellow marine, Tim Duffie, remembers him in “The Vietnam Tapes of Michael A. Baronowski,” produced by Jay Allison and Christina Egloff for Lost & Found Sound. NPR: story | response | credits/links; American RadioWorks: transcript; Lance Cpl Baronowski: Memorial.
Host Alex Chadwick first went to Southeast Asia was as a soldier in the Sixties. Two decades later, he made a “Return to Vietnam” as a journalist, on the anniversary of the Tet offensive, to find what had and hadn’t changed since the war (producer: Art Silverman, engineer: Flawn Williams).
Jake makes a audio slideshow of his trek thru Rwanda to see the Mountain Gorillas (from his HV/NPR story), “Mountain Gorillas of Rwanda” photos and audio by Jake Warga:
When Carol Brobeck was 20, she gave her baby boy away for adoption. Twenty years later, the son, Joel, came looking. They two tell their story of reunion.
We’ve been collecting comments in our current Pubradio Survey. Most folk are hooked on HV’s series; a few can’t stand it. We’ve posted a few of the most passionate love — and hate — notes:
“Hearing Voices” is now my favorite of all NPR shows. I appreciate how hard it is to hit a homerun every week in terms of strong topic and strength of pieces. Keep up the great work.
Your sound mixing: distracting! Voice plus a background of found sounds and/or music could be done better- could be more nuanced. I frequently find the mix so ugly that I switch to another station until I think the cacaphony has ended.
I love your show… can’t find enough good things to say about it. I listen to it while lying in bed on Sunday mornings, before my husband or the baby wakes up, and it slowly brings me to the surface from the depths of sleep.
I’ve been a Paramedic/Fire Captain for almost 30 years, Life is in my face. Hearing voices, This American Life, and other programs you produce like this, bring me to tears. So meny times I hear my story being told through them. I am truly transported to another space and time stands still while I listen and relive the moment. I can go no where with out finding your programs to make me feel at home. Thanks for all you do!!!
Thank you for this show, i DEEPLY love it!
I’m not a big fan of HV compared to other series. It’s production is usually too corny, and I hate those pieces that are just mashups of sounds that are supposed to give some sort of ‘portrait’Â of something, but are really just annoying and ostentatious.
Hearing Voices from NPR®
058 Motherly Love: Moms, Young and Old
Host: Barrett Golding of Hearing Voices
Airs week of: 2011-05-04 (Originally: 2009-05-06)
In 1996 Radio Diaries producer Joe Richman gave “Melissa Rodriguez from New Haven: Teen Mom” a microphone and tape recorder. Melissa was 18 and pregnant. Joe asked her to make an audio journal of her life, for the series Teenage Diaries.
Amy Jo, single mother of two toddlers, is “Surrounded by Lights,” by producer Erin Mishkin of Public Radio Redux and SALT Institute for Documentary Studies.
Myra Dean tells StoryCorps of the day her son was killed by a reckless driver.
Ben Adair takes his mom in search of her mom and “Family Baggage.” Ben heads American Public Media‘s Sustainability and Global Climate Change Reporting Initiative.
Hearing Voices from NPR®
057 Roof of the World: In the Himalayas
Host: Scott Carrier of Hearing Voices
Airs week of: 2010-07-07 (Originally: 2009-05-06)
“Mount Kailash: Cricling the Center of Creation” (21:00) Scott Carrier
Walking a circuit alongside pilgrims, yaks and yogis, host treks one of the world’s most venerated — and least visited — holy sites, Mount Kailash. Produced for Stories from the Heart of the Land. Scott Carrier teaches Journalism at Utah Valley University in Orem.
Sonic Signatures- Tips for Creative Use of Interstitial Time
07/12/05 by Jay Alllison
At our radio stations (WCAI/WNAN/WZAI for the Cape and Islands in Massachusetts), we have been experimenting with interstitial time since the day we signed on. By interstitial time, I mean the cutaways, the hourly breaks, all the little moments between programming blocks, the cracks in the sidewalk.
We use that time to create our station signature, to declare our sensibility in 30, 60 and 90 second bursts.
Sonic IDs
Our first experiment is something we dubbed, “Sonic IDs,” an odd name that stuck. These are little community vignettes — portraits, anecdotes, oral histories, overheard conversation, short poems, jokes, slices of life — that end with our call letters. They are sudden narratives or images — like photographs for radio. Some are pure sound preceded by our favorite word: “Listen.” Others are simply the unheralded voices of our neighbors telling something about life. Our test of these surprising, non-standard moments, the way we know they work, is if the listener turns and looks at the radio when the come on. (Current article: “Bursts of lush and local life are new stations’ trademark“.)
The Nation magazine devoted an entire issue (2005-05-23) to Radio Waves. Here’s an excerpt from a featured article, “Confessions of a Listener” by Garrison Keillor:
What I want is to be surprised and delighted and moved. Here at the low end of the FM dial is a show in which three college boys are sitting in a studio, whooping and laughing, sneering at singer-songwriters they despise, playing Eminem and a bunch of bands I’ve never heard of, and they’re having so much fun they achieve weightlessness — utter unself-consciousness — and then one of them tosses out the f-word and suddenly they get scared, wondering if anybody heard. Wonderful. Or you find three women in a studio yakking rapid-fire about the Pitt-Aniston divorce and the Michael Jackson trial and the botoxing of various stars and who wore what to the Oscars. It’s not my world, and I like peering into it. The sports talk station gives you a succession of men whose absorption in a fantasy world is, to me, borderline insane. You’re grateful not to be related to any of them, and yet ten minutes of their ranting and wheezing is a real tonic that somehow makes this world, the world of trees and children and books and travel, positively tremble with vitality. And then you succumb to weakness and tune in to the geezer station and there’s Roy Orbison singing “Dream Baby” and you join Roy on the chorus, one of the Roylettes.
I don’t worry about the right-wingers on AM radio. They are talking to an audience that is stuck in rush-hour traffic, in whom road rage is mounting, and the talk shows divert their rage from the road to the liberal conspiracy against America. Instead of ramming your rear bumper, they get mad at Harry Reid. Yes, the wingers do harm, but the worst damage is done to their own followers, who are cheated of the sort of genuine experience that enables people to grow up. The best of what you find on public radio is authentic experience. It has little to do with politics. The US Marine just returned from Sudan with lots of firsthand impressions of the crisis there; the journalist just back from Falluja, where he spent three months; a firsthand documentary about life aboard the aircraft carrier USS John C. Stennis in the Middle East–that’s what Edward R. Murrow did from London in 1940, and it’s still golden today. It’s the glorious past and it’s the beautiful future. (Thanks to the Internet, the stuff doesn’t vanish into thin air. You can go to thislife.org and get the story of the Houston woman or the aircraft carrier documentary. You can find the Sudan and Falluja interviews at whyy.org/freshair. More and more people are doing this. Nobody cares what Rush Limbaugh said two days ago; it’s gone and forgotten, but the Internet has become an enormous extension of radio.) That’s why public radio is growing by leaps and bounds. It is hospitable to scholars of all stripes and to travelers who have returned from the vast, unimaginable world with stories to tell. Out here in the heartland, we live for visitors like those. We will make the demented uncle shut up so we can listen to somebody who actually knows something.
In the womb, our first connection to the outside world is through sound. Heartbeats. Voices.
When we’re born, our first impulse is to make sound.
Some creation myths say, in so many words, in the beginning there was sound.
Our voice starts deep within us and moves out into the world and into another person. Touch at a distance someone once said. And yes, sound enters us — all the time. We can’t help but hear. We don’t have earlids, as producer Jay Allison likes to say.
Our voice is a mixture of the air and our thoughts. They mingle together.
And this is a new thought to me. I’m still working on it. But, humans make sound. Think about it. We don’t make light. We don’t make taste. We don’t make touch, per se. Okay, I suppose you could aruge we make smells but that’s not something we fully control. But sound…we can create sound. We talk. We sing. We’re able to make noise with our bodies and because of our bodies — that’s how we’re constructed. That’s unique among the senses.
Have I gone off the deep end yet? No? Well try this.
Radio taps into something ancient. Something primal. Long before the printed word. Long before pictures and film. Waaay before Facebook, we communicated in sound. It’s all we had. We’ve been passing along information and telling stories sonically for about a bazillion years. At this point, it’s just how we’re wired. Radio plugs right into that.
With radio, the listener is a co-author. Radio engages the mind like a good book and we paint our own pictures. Television, which I know is an easy target, but for comparison, television tells you everything you need to know with its combination of pictures and sound. Radio lets you think.
Radios are inexpensive and ubiquitous — most homes have a good half dozen. You can be illiterate and ‘get’ radio.
There’s something magical about the radio. How the hell does sound get into that little box? If you talk to old school radio engineers, they’ll tell you the “M” in “F. M.” Stands for magic. I’ll let you guess what the “F” stands for. In fact, when radio was first discovered, it was thought that we tapped into a mysterious atmospheric element, the ether. I actually like to believe that’s true. More…
[John Rieger’s three-year bi-weekly late-night experiment in radio programming, Artifacts: KPFA-Berkeley 1985-1987, introduced the idea of “audiography”…]
“Artifacts” is an experiment in the esthetics of non-narrative audio figuration and thematic organization. The sound recording media have produced figurative works primarily in such narrative forms as journalism and drama. Non-narrative audio composition has been understood as a musical enterprise rather than a figurative one. The poverty of this accepted wisdom is suggested by the analogy with photography. While painting begins with “stuff” — paint, the elementary color stuff — photographic composition begins with what might loosely be called “semantic” elements, visual records of world objects which contain a world reference. Photography has a passive or receptive moment which painting does not; for while painting may be a wholly abstract enterprise, photography must at least begin from the figuration which occurs when the film receives the light image from the world object. clomid
So we may compare sound recording with musical composition. Music begins with the elementary sound stuff, whose fundamental property, we shall say, is timbre. Sound recording, however, begins with the passive or receptive moment which we noted in photography, where in this case the audio image of the world object is received and recorded. Sound recording is “audiographic”. But while photographic figuration has long since freed itself from the compositional constraints of the narrative tableau and the news photo, audiographic figuration still serves almost exclusively the dramatist and the journalist. Only by considering the audiographic record as sound stuff (musique concrete) have we managed to break these narrative shackles; but in so doing we have lost the reference to the world object and so destroyed the audiographic image qua image. ambien
Surely, then, we have not yet exhausted this remarkable medium!
Audiography records only the mystery. Radio journalism has fought against this mystery, doing appalling violence to what is subtle, ambiguous and profound in the name of clarity, and strapping the unruly “actuality” into a straightjacket of anemic literalism.
Consider the richness of the audiographic image. Unencumbered by the superabundance of banal visual information against which photographers and filmmakers have had to struggle to uncover what is mysterious in the Thing, audiography records only the mystery. Radio journalism has fought against this mystery, doing appalling violence to what is subtle, ambiguous and profound in the name of clarity, and strapping the unruly “actuality” into a straightjacket of anemic literalism. (Or perhaps it is the journalist who wears the straightjacket.) Radio drama, with equal violence, reduces the audiographic image to a sound “effect”, playing a perpetually supporting role, and coming and going by the servants’ entrance. Should the image then seek the seductive embrace of musique concrete it will find only the ultimate subjugation, its destruction. order soma
“Artifacts”, then, is the audiographic annunciation of the Thing. It heralds the esthetic of the blank stare. It calls upon us not to subjugate the image, but to receive it as it is for-itself; for within these audiographic artifacts objects lead lives of their own, revealing in their gravitational attraction one to another the unconscious mass, the hidden psychic substance which sustains them. They are to be approached not with a will to mastery, but with an attitude of reverence and humility befitting one on whom a thing of mysterious beauty has been bestowed. order prednisone
–John H. Rieger, June 17, 1985
The above Audiographic essay was performed live on-air by the author, with Catherine Stifter and Steve Tokar, on their KPFA program, “Artifacts: Manifesto, 1985” (7:58 mp3):
[Brady Wiseman is a friend, programmer, state legislator for my hometown of Bozeman, and a Big Picture guy. We previously posted a couple clips from an intervu w/ him. I think people should hear what he has to say; so here’s the audio and transcript of the long vers…]
Audio: Montana State Representative Brady Wiseman (D- Bozeman) Jan 2009, Helena MT — over pints at the Blackfoot Brewery (15:13 mp3):
Transcript: My name is Brady Wiseman. I am a software engineer by profession. I live in Bozeman, Montana. I have a hobby which is serving as a citizen legislator in the Montana Legislature. So I’m spending the next four months in Helena, Montana acting as a public servant as a member of the Montana House of Representatives.
As people become less and less well off, as our standard of living continues to decline, people will self-organize into different modes of economic activity.
I believe that the economic catastrophe were in is a five act play and we’ve just come to the close here in early January, 2009, we’ve come to the close of Act One. We’ve got four more acts to go and it’s a tragedy. So, as it plays out, the ability of the National government to change itself will become apparent as being inoperative.
National politics is not subject to change because there are too many powerful forces behind it. So the change is gonna come from the grass roots. As people become less and less well off, as our standard of living continues to decline, people will self-organize into different modes of economic activity. And it won’t be directed from the top, it will simply happen from below.
And we still, at this point, have a wonderful advantage and that is the existence of the Internet to help transfer the knowledge of grass roots change, self-organized change happening in one place to another. And, so, we may be able to see a sweeping difference in how America operates, quite rapidly, but it will happen from the bottom, I believe, and not from the top.
Wall Street has their people in place in the new Obama Administration. It’s the same people who developed the system in the Clinton administration that is now collapsed.
The Obama Administration, right now, is committed to maintaining the status quo and they have proven themselves to be the servants of Wall Street, already, before even taking office, they had proven themselves to be the servants of Wall Street just like every Administration before them, going back to Franklin Roosevelt, who was the last President to buck the powers that be because they fell flat on their face and he was able to. He had to.
Well, if they fall flat on their face now , they still have control over events. They have their people in place in the new Obama Administration. And I don’t have to say the names, the names are well known. But it’s the same people who developed the system in the Clinton administration that is now collapsed.
So, I don’t expect them to do anything other than to take care of the people at the top, and nobody’s talking about taking care of the people at the bottom. And that’s what I’m here to do in my job as a Citizen Legislator is to look out for the people at the bottom.
How do we heat our homes? How do we turn on the lights? How do we put food on the table? These are the essential problems of life and they are becoming more and more apparent as the remaining four acts of the five act play play out.
There is no chart for the waters that we’re in now. There’s no map for the territory on the other side. That’s where the self organization come in. People will simply cope. When the Soviet Union collapsed, there was nobody there to tell the people how to take care of themselves but they did. They managed it, they figured it out and I believe as things continue to decline — and economically I’m convinced they will — then our people will figure out how to make things work for themselves. And my job is to help that along as well as best as I am able from the level of State government. More…
Radio was discovered some 50 years ago by a dog named RCA Victor. RCA Victor discovered radio accidently by looking into a horn, and discerning the voice of his master. Ever since then, RCA Victor has been a tradition, and many have capitalized on his cocked ear and puzzled face.
In the early days of radio, there were many exciting inventions. The Father of The Tube was Lee DeForest. He evacuated a bulb left by the Gardener (coincidentally, a friend of RCA Victor) and stuck his in his thumb and pulled out some mysterious little bugs called electrons. When he put the whole thing in a wall-socket, he said “Yreka.” And he heard the voice of London Calling. The voice said, “This is London Calling!”
Radio grew apace after that. There were modifications of DeForest’s evacuated tube. One of them was put together with some verve by Maj.-Gen. Edw. Armstrong. He called it the Heartstrong receiver. He was able to hear Trenton on his receiver. He also said ‘Yreka!’ which was a favorite quote of radio inventors.
Television also grew apace. The first signal was a picture of Howdy-Doody sent from Seacaucus N.J. to Weehawken, N.J. The effect was electrifying. Howdy-Doody was seen from as far away as Bayonne. CBS then was invented to steal patents from RCA Victor and his friends.
Here’s a notion I picked up while visiting KWCW in Walla Walla WA, the radio station of Whitman College. “Inspirational Quote” from Eli Hansen (former KWCW General Manager,’99-’00):
Q: What function do you believe the college radio station should serve on campus?
A: When I was a little kid, the house I lived in had a pond in the backyard. My friends used to come over to look at it, then I’d usually end up pushing them in.
The pond wasnt very big, maybe five feet across at its widest point. It had a few fish in it — town rumor held that during the winter, they’d freeze right along with the water. This meant you had to be careful during the winter, cause if you broke the ice, you were liable to break the fish as well.
One time, a friend dared me to put my face in the pond and then go kiss my mom. I had a good time, but I don’t think my mom found it as funny as I did.
Anyway, the way I see it, our radio station is kind of like my old pond. Sitting in the backyard, providing some good solid down-to-earth entertainment whenever necessary. Like the pond, the radio station is a good place to take a dip and find your bearings. Something to take seriously, but not get too worked up about… it’s just a pond.
In 1996 Sue Schardt (now AIR exec) wrote this concise “Public Radio- A Short History” for the Christian Science Monitor. Her article starts in the 1920s, then moves toward our current pubradio sys:
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…
Hearing Voices from NPR®
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When Carol Brobeck was 20, she gave her baby boy away for adoption. Twenty years later, the son, Joel, came looking. They two tell their story of reunion. 
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