If the purpose is to make me long for the days of receiving email from Nigerian princes and friends trapped in Copenhagen, mission accomplished.
If the purpose is to make me long for the days of receiving email from Nigerian princes and friends trapped in Copenhagen, mission accomplished.
Based on the trending topics in my news feed, here are what appears to be the most important cultural items and touchstones of 2013 that should go in the new Cedar Rapids Convention Center Time Capsule:
This copy of “The Mote in God’s Eye” was in the very first lot of books I purchased when I joined the Science Fiction Book Club as a fourteen year-old.
Historical Note: Kids, in the Stone Age (pre-Amazon), if you didn’t live in a town with a good bookstore or library, mail-order book clubs were the only way a Sci Fi or Mystery geek could get the genre books we craved. You joined, they sent you a bunch of books for a penny to hook you in, then gave you the opportunity to buy subsequent books at a decent discount. The only issue was, a couple of the titles each month were “featured,” and would be sent automatically unless you told them not to send them. It would be like Amazon automatically sending you books they thought you would like every month.
Come to think of it, I’m surprised they don’t.
Anyway, going back and reading this book again was a true joy. It has moved with me, well… through two college dorms, four apartments and five houses. I miss the very cool paper cover, long since torn to bits.
A book collector might sniff at my lower-quality “book club” edition, but the cover is intact, if worn, and every word is still there, and that’s what I care about.
I do see that another of my literary heroes, Robert Heinlein, is quoted on that cover, and I agree with his assessment.
Even after forty years, this book still stands up. The science is solid Except for the obligatory Faster-Than-Light cheat, Niven and Pournelles’s space ships obey all the laws of physics. It’s also worth mentioning that each character carries a “pocket computer” that can access any stored information, and record live audio and video. Sound familiar?
That’s right, Larry Niven and Jerry Pournelle invented the iPad four decades before Apple.
And the story? Still the best First Contact ever written, with an intriguing minor plot point that explains why a monarchy might be the only workable structure for a planet-spanning human government.
My enjoyment of the book is magnified by having had the opportunity recently to get to know Jerry Pournelle a little bit through his occasional appearances on Leo LaPorte’s “This Week in Tech” show. Still sharp as a tack and interested in all forms of technology.
Apparently, Jerry’s daughter has released a book taking place in the “Mote” universe, making an unofficial trilogy It’s on the list, right after I re-read the first sequel (not as great but not bad,) “The Gripping Hand.” Which Amazon tells me I purchased in August 2006.
Definitely time for a re-read.
My friends Rob Cline and Lennox Randon have each published a debut novel in the last couple of weeks. I’ve read them both, and even though I happily admit to being prejudiced, they are both great reads.
Now, I see that Amazon is recommending them to me!
Please allow me to do the same to you.
Follow the links below for Amazon. Also available for Nook and physical copies at createspace.
The U.S. may not be building a Death Star, but it appears Kirkwood might be.
So, I see that Shirley Bassey’s birthday is today. She’s 76, and really only known in the U.S. for singing the theme from “Goldfinger,” arguably the tune that set the standard for big Bondian opening themes that continues today with Adele and “Skyfall.”
(Sergio Mendes’ “The Look of Love” actually preceded Goldfinger, as it was featured prominently in “Dr. No,” but not to the extent as with Goldfinger and most of the other Bond themes).
But the point of this story is not to discuss Bond movie themes.
As I said, in the States, we mostly know Bassey for one nearly fifty-year-old movie theme. In her native Britain, she apparently is still a big deal.
We were in London a few months ago, and went to see the Comedy Store Players, the improv troupe who invented “Whose Line?” They’re awesome, by the way. If you ever are in London on a Sunday night, run, don’t walk to get get tickets.
Anyway, not one, but TWO of their routines that night referenced Shirley Bassey, and everyone in the crowd immediately picked up on who they were talking about.
It must be the same when you’re in Germany and someone mentions David Hasselhoff.
I recently spoke to the Interact club at Washington High School. Interact is the high school extension of Rotary, and it’s been my pleasure to have visited this club several times as a member of Cedar Rapids Rotary West. On this day, however, I was there to talk about my day job.
It was with “mixed” feelings I read the news that my radio alma mater, “Mix 96. 5” WMT-FM has switched formats to country.
Now, radio format changes are nothing new, and not limited to the corporations that now control much of what you hear. Even in the days when most stations were locally owned, demographic and market changes often dictated a switch.In fact, one of the biggest format-change firestorms I can remember also involved WMT-FM.Way back in 1982, my friend and mentor Rick Sellers (who now owns KMRY) changed WMT-FM’s format from Beautiful Music to Soft Adult Contemporary to attract the Baby Boom audience.
Rick soon discovered that Hell hath no fury like an Andre Kostellanetz fan scorned. Letters and phone calls poured into WMT, and dozens of angry letters to the editor were printed. WMT engineers even went so far as to purchase and install external antennas for the most vocal complainers so they could more easily listen to the area’s remaining Beautiful Music station, KFMW in Waterloo.
A few months later, when KFMW became Rock 108, the shit hit the fan all over again, but that’s another story.
The original “96FM” was largely automated. They literally just switched out a set of Beautiful Music tapes for AC tapes. But WMT was founded on personality, and Rick intended that his FM station have the same kind of air personalities that made WMT-AM a community institution.
Unfortunately, local legends like Jerry Carr, Steve Carpenter, Gary Edwards and Rick himself already had jobs, so Rick had to work with the material at hand.
And his first acquisition was a punk kid working across the street at KQCR (now Z102.9).
I arrived at WMT-FM in April of 1983. A few months later, Tim Boyle was summoned from crosstown KCRG-AM (now KGYM, see what I mean about format changes not being anything new?). By the late 80s, Wayne Johnson, Brian Schellberg and Lonnie Levine solidified a memorable lineup.
Later, 96 1/2 would be the home of great personalities like Tom Cook, Carla Davis, Eric Walker and current residents Randy Lee and Kathryn Foxx, both of whom were originally hired by me. (Clear Channel-You’re welcome). But that’s another post.
Actually, Cedar Rapids was a pretty-happening radio market at the time. Up and down the dial, cool people were doing fun things on the air. Mark & Glen (Those Guys in the Morning) at KRNA, which was also the rock and roll home of current KCCK jazzer Bob Stewart. Gary & Todd at Q103, whose radio descendants are Z’s Schulte & Swann. And the Bears (both of them) at KHAK.
Even more than a quarter-century later, the things I did as a 96 1/2 FM DJ form the core of my radio bio.
Broadcasting live from a hot-air balloon (“People of Cedar Rapids… My Name is Frosty Mitchell, and I’m Not Wearing Pants!”), doing my show live via satellite from underwater at Disney’s Epcot Center, tossing typewriters out of a cherry picker in Greene Square Park.
One April Fool’s day, we pretended WMT-FM was a 60’s era “Boss” Top 40 station, complete with period music, jingles, commercials and news from the spring of 1963 (“Scientists predict flying cars by 1987!”)
Buck Wheeler’s Traffic Chopper, Uncle Wayne’s Noontime Oldies Challenge, Lonnie’s Night Veggies, the Rock & Roll Weekend Oldies Show; the list goes on and on.
But the primary product of 96 1/2 was music. Eschewing consultants, our format was a potpourri of 60s and 70s oldies, pop currents and the occasional independent release that struck our fancy.The record industry actually took some notice for what was happening in little Cedar Rapids, honoring us for the small part we played in launching the careers of artists like Luther Vandross, Tracy Chapman, Bonnie Raitt and others. I proudly display those Gold and Platinum records in my KCCK office to this day.
Unfortunately, not much of the above would be possible in today’s environment. The local music director is no more. Songs are all programmed from the corporate office, and thirty minute commercial-free music sweeps don’t leave much room for fun antics.
But for me, the greatest disappointment in the new radio model is the disappearance of the music personality. Once, a DJ who could deliver interesting content in the 20 seconds between the end of the song and the beginning of the commercial was a valued commodity.
Today, not so much. The trend is more Ryan Seacrest, less Carla Davis.
Clear Channel is upfront about replacing local announcers with out-of-town voice tracking, saying the product is better. Imagine how different our local stations would sound, however, if their corporate owners used their resources to train local announcers and help them get better, rather than replace them, also providing pipeline of future talent. Professional sports understands the benefits of a farm system, but broadcasting doesn’t seem to get it.
Now, local talk radio is still alive, although it tends to be a little “angry white guy stirring the pot” for my taste. And, I would be remiss to not mention the quality and entertaining work being done locally by the great folks at KMRY, Z102.9 and KCJJ.
Another friend and mentor who taught me a lot, Mary Quass, along with Jeff Winfield and much of their 90’s-era KHAK team are also keeping the spirit alive in a variety of midwest markets in their NRG Media group.
Meanwhile, at the public radio end of the dial, both statewide Iowa Public Radio and local stations like KCCK are prospering, despite threats against NPR and CPB funding.
And the good people still at our local Clear Channel and Cumulus operations try hard to make good radio within the restrictions and budgets laid down by their higher ups. But by and large, decisions affecting the media licensed to serve our community are made by people who will never live here.
Fortunately, local radio is by no means dead in the Cultural Corridor. KMRY, Z102.9 and KCJJ are energetic operations serving audience and community well.
Times change, and as I said previously, format changes are the rule, not the exception.
I hope that the model of a creative person sitting in a room, interspersing a little wit in between cool songs, will continue to be something people want to have in their town.
As for Mix 96.5, the 2011 version bore little resemblance to the one I worked at.
But I’ll miss it just the same.
The following is a guest opinion run in the Iowa City Press-Citizen on April 11, 2011. Read it on their site.
Much of the dialogue regarding proposals in the U.S. Congress to reduce or restrict funding for public broadcasting has focused on the impact those cuts will have on news and information stations such as Iowa Public Radio that carry National Public Radio programming.
While many public radio stations provide unrivaled news and public affairs programming, music also is an integral element of public radio’s service. More than 100 stations, including our own KCCK, have full-time music formats. Music accounts for about one out of every three hours of public radio listening.
Jazz, classical, folk, world and eclectic music are offered in Iowa and around the country by public radio stations mainly because these niche formats are regarded as economically unsustainable in the commercial market. Chances are, whenever you have heard music on the radio that is something other than mainstream pop, rock or country, it’s because you’re listening to a public music station. In some communities, public stations are the only music outlet that is locally programmed, not controlled by a distant corporate owner.
Sadly, the potential impact of federal funding cuts will tend to have a much deeper effect on music stations than news outlets. Public music stations tend to be smaller than our news and information cousins. Therefore, federal grants can make up a much larger portion of our budget. In KCCK’s case, Corporation for Public Broadcasting grants provide 20 percent of our cash budget — nearly $110,000.
Now perhaps, if you aren’t a jazz fan, you don’t see a lot of value in having a jazz radio station in your community. But KCCK provides community benefits that go well beyond playing jazz on the radio.
We apply a community engagement model to our service. What this means is that we go into the community we serve, engage in a two-way dialogue about how we can help and then become an active partner in the solution.
Here’s an example: In conversation with high school band directors, we learned that some incoming freshmen didn’t have a strong background in jazz because their middle schools don’t offer jazz band. This led KCCK to bring Kirkwood Community College and a group of jazz educators together to create a summer jazz band camp just for middle school students. Students who might not otherwise have even tried out for jazz band are now leaders in high school.
We’ve also created an exciting new music service that is not replicated anywhere in the world. The Iowa Channel is a program stream devoted exclusively to local artists, the majority of whom have never been played on the radio at all. The Iowa Channel gives listeners a steady diet of bands like Orquesta Alto Maiz, The Blue Band, The Nadas, SPT Theatre and many more.
You can listen online at http://iowachannel.org, download the iPhone app, or over the air on KCCK HD-2.
Loss of federal funds would have a devastating effect on KCCK and the community we serve. It would force us to lay off staff and certainly would spell the end of programs such as band camp and the Iowa Channel.
What can you do to help? Two suggestions:
With your help, we can keep public radio strong and maintain a strong and vibrant local music culture, for jazz and all genres of music.