KAOS-FM The Program Guide (July 1978)

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2 : the program guide - July 1978 


K.AO.S. STAFF 
KAOS-FM would like to thank the 
following businesses and individuals for ett Aceteas 
donating premium items and auction Sarah Bean 
items for the Spring marathon: Deauiaithune 
Mark Bonin 
Paul Brogger 
a Bill Darkow 


Kildow Nursery 

Falls Terrace Restaurant 
Empty Space Theater 
TESC Bookstore 
Meehans-Herb-ery 
Rainy Day Records 


Parnells Photo 

J.B.’s Western Wear 
Capitol Athletics 

Shipwreck Beads 

Oly Pottery and Art Supply 
First Flight Sandwich Shop 


Gary Ernest 
Brad Ferlong 
Rhoda Fleischman 
Katherine Ford 
David Gordon 
Diane Halpern 
Susan Hamblin 
John Henshell 


Geoduck Christian Fellowship Word of Mouth Books Toni Holm 
Capital Airways Jo Mamma’s : Tom Hood 
Niles Sports Center Asterik and Cheese Library Judy Hyslop 
Looking Glass Gardens Rainbow Deli Jeff Jacoby 
New Frontier Leather Calculators Unlimited Calvin Johnson 
Cascade Jewelry Candy Corner Elliot Jones 
Reminiscence Photo Parlour World Shop Gifts P.J. Jones 


Hair and Co. 
Tumwater Lanes 
Joie’s Portraits 
Pulliam’s Nursery 


The Menagerie 
Wax Butterfly 


Ken Ohlendorf’s Music Unlimited 


J-V Health Foods 


Lon Lawrence 
Robert Macht 

John Michalovskis 
Fran Morgan-Tougas 


The Lunchbox Pacific Sport and Cycle Joe Murphy 
Wholesale Car Parts Music Bar Todd Parry 
Gnu Deli Townhouse Decor Kirk Russell 
Sandwich Factory Paulson’s Bob Sellers 
Grace Piano Service Cork ‘n’ Crock Mark Smith 
Radiance Massage The Cinema Space 

Barnes Floral Blue Heron Bakery Ford Thaxton 
Cafe Intermezzo REI Becca Todd 
Culpepper Tobacco William Darkow Barb Trabka 
Fiddlehead Marina Mary Lee McCanna Win Vidor = 
A Child’s Place Champoo Bowl Bill Wake 

Folk Art Shop Kisor Tire Margo Westfall 
Capitol Laundry and Cleaning Mike Ross 


Wagner’s Bakery 

Zapital Business Machines 
)strom’s Mushrooms 
Pat’s Bookery 

Meredith’s Hallmark 

City Tire 


Capitol Amusements 
Evergreen Dairy 

Friday Nite Films 

Edie Adams Cut and Curl 
Eastside Barber Shop 
Talk of the Town 


Laurie Yung. 


ADVISORY COMMITTEE 


Libby Beck 
Doug Ekblade 
Elizabeth Stark 


K.A.0.S. CORE STAFF 


the Doug Anders - Tape Archives Librarian 
program guide Doug Anders — - Tape Archives Librarian 
Malcom Baker’ - Program Guide 
Bob Costello - Chief Engineer 
Editor Malcolm Baker Greg Falken - Special Productions 
Bill Johnston - Engineer 
Associate Heather Perkins - Program Director 
Editors Heather Perkins David Rauh - Station Manager 
Alex Stahl Alex Stahl - Engineer 
Robin Willet - News Director 


THE COVER picture this month 
was taken by Dana Squires at a 
recent Seattle concert, given by 
Patti Smith. 


the program guide - July 1978 3 


the 
program guide 


JULY 1978 


Tune up your 
needs at Budget. 


Nuclear power part IV . Malcolm Burgess. ... 


A CONiVersation With: 00... a se ean eee 8 
Some light on the group. Steve Rabow........ 9 
Audio engineering society.  ........ 10 


Record reviews . Mark H. Smith.............. 12 
‘ Ian Dur 
Accessories ae sf 
T-Shirts 


Cheap Trick 


All at the lowest eee: epee | 
prices around. Performance reviews . Thomas More Hibbard. 22 


Patti Smith George Romansic 
Also, concert Record reviews .George Romansic........... 24 
tickets with no ROpraHNteS © ce We oe ps whan patchy ee eee 26 


service charge! 


Open 7 days 


214 W 4th Ave Se ee 


943-9181 


The Program Guide is a non-profit magazine, published monthly by KAOS FM, Olympia, a 
non-commercial community radio station. Contributions to the station are tax-deductible. 
Postal address: The Program Guide, KAOS FM, Olympia Wa. 98505. 


TT S Submissions of work: To the Editor. Return scripts cannot be promised unless a stamped, 
addressed envelope is included with the contribution. 
Printed by the Shelton-Mason County Journal. 


ean RR 


the program guide - July 1978 


OCCASIONALLY I am asked, “Is Federal Communications Commission 
regulation of radio program content a violation of a programmer’s First 
Amendment rights?” FCC restrictions are unclear, and each situation is usually 
tested in court on its merits if a listener makes a complaint. KAOS, as a non- 
commercial FM station, abides by a rule which requires “an offer of a 
reasonable opportunity to respond over the licensee’s facilities,” among other 
things, in the case of a personal attack on some group or person, by someone on 
the air. As a community station it is happy to comply. Asked if KAOS has a 
policy on “offensive, obscene or similar” material, I would have to say there is 
none. Generally, when such material is aired the fairness statement is also read, 
inviting a response. 

The art of community radio is such that an occasional inadvertant slip will go 
unnoticed by the operator, for accessability means that sometimes unskilled and 
unschooled programmers control the air. More often though, the “offensive” 
material is coincidental to the program. Hither way, it would be ridiculous to try 
to legislate against such an event. In all, self-regulation appears to bring more 
malcontent that approval to a station. 

Television and radio networks do regulate themselves to a certain extent. They 
provide, for example, “family progrmming” at certain hours. Whatever 
appreciation they receive for this is likely to be undone by the rath they incur 
when they deviate from their normal practice. Their protection is not 
automatically First Amendment rights, but each issue must be tested in the 
courts. 

An important case is that of Olivia Niemi v. National Broadcasting Co., which 
comes before a jury in the California Superior Court on August Ist. Until now, to 
paraphrase the American Libraries Association which is dismayed by the action, 
“No limitation on First Amendment rights has involved the imposition of... 
(vicarious) liability for the unintended and uncontrollable response of a third party 
to what is said, written or shown.” A gang of girls allegedly “artificially raped” a 
young girl with a bottle as a direct result of seeing a similar incident enacted on a 
television program. The program “Born Innocent” was shown by a San Francisco 
NBC station, KRON-TV at 8 p.m. Charged with “negligently, carelessly and 
recklessly” airing the program, the network “knew or should have known that the 
minds of minors are impressionable and that broadcasting such a scene could 
cause some minors to imitate such conduct.” The American Libraries Association 
is concerned, along with CBS, the Motion Picture Association of America and the 
National Association of Broadcasters, since they feel that if broadcasters are to be 
accountable for the health and welfare of their viewers and listeners, the principal 
must also necessarily extend to newspapers, publishers, libraries, magazines and 
all the media. This responsibility would mean the editing of anything which might 
possibly cause anyone to act abnormally, and is an absurd infringement of the 
First Amendment since there is no predicting what stimulus might motivate what 
act. The California Medical Association has taken the opposing viewpoint saying, 
“the health and welfare of our society demand that broadcasters be accountable 
for their programming.” 

Despite a recent survey indicating a poor image at the radio station, the KAOS 
Advisory Committee appears to be doing better than ever in its role as advisor. 
The last meeting which I attended went quite amicably, as they all have for some 
time now, with the only problem being a lack of obvious business. Most of the 
time was spent in discussion about the role of the committee. Defining a role is an 
innocuous enough passtime, but, alternately, one wonders about the necessity for 
a body which is forced to analyze its function in order to occupy itself. 

One of the problems of the present committee is a limited Knowledge ot 
community radio. The addition of five or six KAOS staff members to the existing 
(seven: community members; students; Evergreen State College staff, faculty and 
Dean representatives; and a broadcast professional) would give it a broader base 
from which to draw. It would also tend to feed communication between the 
committee and the staff. There appears to be no good reason why the station 
manager is an exofficio member of the committee either. Making the station 
manager a full voting member, even during the selection of a new station 
manager would add to the ability of the committee. One vote in fourteen or 
fifteen would not be unfair. Once done, the committee could then get on with 
some of its real work, such as deciding on policy matters. 

Important fund raising planning should not be left to the station manager to 
single-handedly undertake. Especially now that with a reduced budget some of 
the essential services have had to be cut, it is vital that the committee take the 
initiative and detail some of the alternatives. Too, some of the potential growth 
problems can be investigated. Planning and advising are not merely academic 
exercises and the station would find it very valuable to have an informed, 
concerned Advisory Committee to turn to. ; 


I wonder’ why you sent me. your 
Program Guide.. KAOS sounds like an 
interesting radio station. I wish we had 
any radio station here in Florence. I 
couldn’t tell by your program guide 
whether or not you have a radio station 
or if it’s just a school project or 
something to pretend you have a radio 
station so you can grow up some day and 
get a good job or something. But, whether 
KAOS is a real radio station or not, it’s 
great that you’re into punk rock. The 
college students down here in Oregon 
(although don’t take my word for it since 
I don’t personally know any college 
students) are into country-rock music 
and jazz. They won’t let me do a punk 
rock show on KCCC in Eugene. No one 
would probably listen to it anyway. 
People dislike anything different here in 
Oregon. 

Anyway, I am a radio fan; I used to do 
a show on KPFA in Berkeley (“‘oldies’’) 
and stuff like that. We once tried to get 
a non-profit station going in Eugene 
called KRAS, but it fizzled out. So I was 
glad to see your guide although I’m not 
sure why I got it. If you’re trying to raise 
money I don’t have any. However, if I’m 
ever in Olympia, although I doubt I will 
be (but I would like to see what the 
other Rainy Day Records looks like), I’ll 
tune you in, if you exist. 


Lenny Goldberg 
Rainy Day Records 
Florence, Oregon 


To the Editor: 

I am sick and tired of having my 
program descriptions censored, edited, 
and surreptitiously cut. In the future, I 
will make no effort to research and write 
program descriptions. It is unfair to 
listeners and potential listeners of the 
program to either imply that it is my 
description or that the distorted words 
presented actually represent what the 
program is. 

Also, it is a gross insult to some 
programmers (and their listeners and 
readers) that their descriptions are just 
a small part of a vehicle for the 
propagation of punk rock and other 
regressive musics and ideas. 


John Henshell 
KAOS Staff 


letters to: The Editor, The Program 
Guide, KAOS, Olympia, Wa. 98505. Preference 
will be given to letters related to broadcasting or to 
topics previously raised in the program guide. The 
Editor reserves the right to accept, reject or 
abbreviate letters at his discression. Only signed 
letters will be used; pen names or initials are not 
acceptable. 


Nestles 


“ Kills Babies”? 


My roomates and I are addicted to Nestle’s 
chocolate chips. When we go into a grocery 
store we can hardly keep from drooling. 
There in those wonderful plastic packages 
chocolate nirvana. Unfortunately this cheap 
high causes an awful lot of frustration... 


because of... 


THE BOYCOTT of all Nestle’s products, 
which INFACT (infant formula coalition 
of church and secular groups) began in 
the United States July 4, 1977, was 
organized to stop manufacturers infant 
formula promotion to Third World 
mothers who cannot use it safely. 

Infant formula manufacturers sought 
new markets in the Third World when 
the birthrate declined during the 1960’s 
in the United States and Europe. Only 
5 to 10 percent of Third World mothers 
need to bottle-feed their infants but the 
infant formula manufacturers launched a 
massive advertising campaign employing 
billboards and radio spots to convince the 
other 90 percent that bottle feeding is 
healthier, scientific, and modern. 

Nutritionists protested the advertising, 
so through the aid of the United Nations, 
the companies agreed to modify their 
approach by dropping most billboard and 
radio advertising. 

Instead, the manufacturers carried on 
the promotion of the infant formulas 
through hospitals, by passing out free 
samples for new mothers who used the 
formula without realizing, until after 
their milk had dried up, how expensive 
it was on the open market, and hirine 
“milk nurses” (women who wore nurses’ 
uniforms and were not always medically 
trained) to promote formulas by visiting 
new mothers, providing gifts, advice and 
free samples. 

To use infant formulas effectively 
requires enough money to buy the 
formula and sterile conditions to make it. 
Third World mothers can rarely afford to 


buy the formula since the cost sometimes 
exceeds 80 percent of their total income, 
and they end up diluting it with 
cornstarch, water, or tea to stretch it 
which causes the infant to be 
malnourished. 

Lack of sterilization contaminates the 
bottle, which could cause infants to get 
chronic diarrhea, but sterilization is 
impossible for Third World mothers as 
they often do not have access to clean 
water, suitable pots, enough fuel to boil 
the bottle or refrigeration for storage of 


the program guide - July 1978 5 


unused formula. Diarrhea and malnutri- 
tion are not new to the Third World but 
the early onset in bottle-fed babies 
“Bottle Illness” is new because usually a 
mother’s milk, even of an _ underfed 
woman, will provide adequate nourish- 
ment and immunities against various 
diseases for the early months with 
malnutrition not appearing until the 
children are weaned. 

The result of baby “Bottle Illness” can 
be death but more likely protein 
deficiency in the early months of life will 
cause permanent brain damage. A study 
of three Arab villages revealed that while 
only .5 percent of breast-fed infants were 
Lospitalized for gastroenteritis, almost 25 
percent of the bottle-fed babies had to 
be hospitalized for that illness. Re- 
searchers in Chile discovered that death 
rates for bottle-fed infants were three 
times as high as those for breast-fed 
children. 

Several European social-justice groups 
became involved fighting “Bottle Illness” 
and when a Swiss action group translat- 
ed, “The Baby Killer”, an English article 
into German and retitled it “Nestle Kills 
Babies”, the Nestle company sued the 
group for libel. In June 1976, the judge 
found the Swiss group guilty of one count 
of libel because the group could not prove 
that Nestle had directly killed babies. 

In America, the Interfaith Center on 
Corporate Responsibility (ICCR), a 
National Council of Church agencies 
which coordinates the stockholder ac- 
tions, raised the issue of “Bottle Illness” 
and pressed for changes in companies’ 
formula promotion practices. In 1975 
ICCR members filed a stockholder 
resolution with Bristol-Myers, manufac- 
turer of Similac, asking for complete and 
accurate information on the company’s 
formula sales and promotional practices. 
So Bristol-Myers issued a 20-page report 
that medical authorities found to include 
little information and a number of 
inaccuracies. In 1976 stockholders filed 
another resolution and the inaccuracies 
were repeated in the management’s 


proxy statement. Sisters of the Precious 


Blood, stockholders and members of the 
ICCR, filed a suit against Bristol-Myers 

for violating a Securities and Exchange 

Commission law which prohibits missta- 

tement in proxy materials. In May 1976 

the judge decided in favor of Bristol- 

Myers because while the Sisters may 

have proved that the Bristol-Myers’ 

proxy statement did contain missta- 

tements (that the company does sell its’ 
formulas to people who are not able to 

use them safely) the Sisters did not prove 

that the stockholders had been caused 

irreparable harm by the misstatements. 

The Sisters decided to appeal the 

decision and under pressure from the - 
appellate court the Sisters and Bristol- 

Myers entered into negotiations. Bristol- 

Myers agreed to publish a report to 

stockholders including some of the 

Sisters’ evidence from the Third World 

countries and the planned policy changes 

of stopping the promotion practices of all 

direct consumer-oriented advertising 

including poster, calendars and name 

tags in hospitals and to stop using “milk 

nurses.” 

Nestle’s controls more than a third of 
the world market formula sales, but has 
been immune to American stockholder 
pressure since it is a Swiss based firm in 
which few Americans own stock and has 
refused to enter into negotiations with 
activist groups only making the conces- 
sion to dress their “milk nurses” in blue 
uniforms instead of white so they wil 
look less official. INFACT organized a 
boycott on all Nestle’s products since 
Nestle profits extensively in the United 
States from subsidiaries that sell 
everything from chocolate to instant 
soup, and it is the only way to pressure 
Nestle to change its promotion 
practices. 

Research indicates that there is infant 
formula malnutrition among the Amer- 
ican poor as well as in the Third World. 
The three companies, Bristol-Myers 
Abbot, and American Home Products, 
that market 90 percent of the formula in 
the United States do not use mass 
advertising. Instead they exploit the 
health system to promote the formulas. 
These companies give hospitals money 
‘for medical conferences, research grants, 
planning assistance for nursery additions, 
medical equipment, and other gifts if the 
hospital will use and give the companies’ 
formula to new mothers. Over half of the 
hospitals in the United States give new 
mothers free formula samples when they 
leave. More research has to be done to 
understand the extent of malnutrition 
among bottle-fed infants in the United 
States. 


Laurie Frankel 


the program guide - July 1978 


PART IV 


The Waste Of Nuclear Waste 


It is plain to most people that high 
carefully; how carefully is harder 


OF THE many suggestions for disposing 
of radioactive waste from nuclear power 
stations, only a few withstand practical 
enquiry. Most of the radioactive elements 
will have given up their energy and 
disappeared within about a thousand 
years, but some of the most dangerous 
radioactive daughters of the fission 
reactor have the longest halflives. For 
example, Iodine-129 has a halflife of 16 
million years; Neptunium-239, 2.13 
million years and Plutonium-239, 24,000 
years. 

Diag. 

Apart from loading all waste onto 
spacecraft and storing on some desolate 
planet (or firing toward the sun), or 
transforming some of the dangerous 
materials into inert substances, there is 
little alternative, and even these solu- 
tions are not necessarily safe. Excessive 
space launches would create a hazard by 
breaking up the atmosphere, limiting this 
means of disposal to only a relatively 
small quantity of the most dangerous 
wastes. Chemical experiment offers no 
suggestions that transformation can be 
done or that- other dangerous elements 
will not be created. Consequently most of 
the world’s atomic waste, to date, has 
been stored. 


Efforts of research, especially in 
France, have been concentrated mainly 
on ways to store the waste far longer, and 
more safely. One of the most popular 
alternatives seems to be to concentrate 
the waste and combine it with a type of 
glass. Glass has a high resistance to 
chemical action, although it has been 
shown, under labratory conditions, to 
melt and be dissolved by water action 
over long periods. Research in France 
also indicates that even elusive and 
volotile radioactive elements like 
Iodine-129 may be held this way by using 
a high recycling rate. At present 
Iodine-129 is usually caught in filters and 
compressed as solid waste. 

Storing nuclear waste is also a problem 
in terms of bulk. It is estimated that a 
steady consumption of one gigawatt year 
of electricity (or a steady consumption of 
one billion (1,000,000,000) watts of 
electricity for one year) will produce 
about two cubic yards of waste once it 


‘has been concentrated and combined 


with glass. An estimated 80,000 cubic 
yards of high level solid waste* will be 
produced in the United States annually, 
forty years from now if nuclear power 
* From Report ORNL 4672, Oak Ridge 
National Laboratory. 


generation grows at the expected rate. 

Too much heat would be generated for 
large scale storage underground, until at 
least 50 years after extraction from the 
reactor, since it might melt the contain- 
ing vessel. Consequently there is an 
exposure risk as the waste must be 
handled and moved. 

A safe place is needed to bury the 
waste until it has stabilized. Ideally the 
place should have little groundwater flow 
so that in the event of the glass container 
fracturing, the radioactive material will 
be. more slowly extracted. Scientists 
estimate that in between 20 million and 
200 million years, ninety-nine percent of 
the waste would be extracted from the 
cylinders. Alternatively it would take 
5,000 years, after the break-up of the 
glass. Water moving over its surface 
leaches elements from inside. When 
looking for water-free sites, possible 
modifications of the drainage level must 
be considered. So must faulting, diapiro- 
sion, erosion, falling meteorites and the 
magma intrusion. 

Ideally, too, this geological barrier 
must protect future generations who may 
forget where the waste is buried, or 
become technically decadent. It should 
also protect against criminal actions, 


level radioactive waste should be handled 
to comprehend. 


such as terrorism, but be accessible for 
retrieval for future use or for safer 
disposal. 

Even if safe methods for storage of 
nuclear waste are developed, there is an 
enormous responsibility on those who 
govern and control it. The past record of 
safety is no record at all as there are 
numerous examples of foolish and 
irresponsible handling. A policy of “out 
of sight, out of mind” seems to have been 
adopted by some authorities, who 
presumably hope they will be long gone 
by the time the problems emerge. Some, 
such as the Dutch government, see just 
how ridiculous the situation is and have 
stopped the production of nuclear power. 
Others refuse, and continue to produce 
nuclear waste at an ever increasing rate. 
We, the public, must trust the experts 
who claim to maintain safe standards. 
We must also demand satisfactory 
solutions to nuclear problems, and so far, 
there are none. 


Malcolm Burgess 


This is the last article in this series. 
Articles in response or on related topics 
are invited. 


the program guide - July 1978 


Ss 
_~ 


— “an ae 


> 


STEVE RABOW is a long time member of 
the KAOS staff. He has been active at the 
station holding a number of core positions and 
has. also been a member of the KAOS 
Advisory Committee. 

Guide: What is going to happen to KAOS 
now, do you think, in the wake of these heavy 
budget cuts? 

Steve: I don’t see how quality can be 
guaranteed or community access can be 
guaranteed if there’s no money going into the 
station to fund positions. On a purely 
volunteer basis, with a come and go situation, 
the station is going to have problems securing 
the outreach which ensures quality over the 
airwaves. 

Guide: So what has to come first, in your 
priority? 

Steve: Well probably the equipment. The 
equipment is really ancient and guaranteeing 
we're on the air is the most important thing, 
in my mind. The second would have to be the 
top management. You want to pay the Station 
Manager, to make sure the station operates in 
a smooth way. The Program Director's job is 
essential to make sure there is programming 
diversity and that cultural and public affairs 
are covered. News Director is an essential job, 
if we’re going to keep in touch with the 
community. In fact, they're all important. 
Tapes are important. 

Guide: Do you think people are going to 
take the positions just for the prestige or 
experience? What would you think about 
paying some of the minor positions, but not 
the station manager for example? 

Steve: Well, I guess that makes sense be- 
cause the Station Manager would be a student, 
but it limits the position to someone who can 
support himself. One of the advantages of hav- 
ing the Station Manager open, and paying, is 
that there is an opportunity for students who 
aren't financially well off, to have the manage- 
ment experience, and the radio experience. 

Guide: Do you know of any alternative, 
assuming there just isn’t the funding from 
student fees? 

Steve: In the past, we've tried to steer away 
from underwriting. I think this is probably 
going to change in the future. 

Guide: Do you think its a bad thing? 

Steve: It is nice to be independent and not 
have any ties. If you have somebody who 
wants to do a program of a controversial 
nature, if you're getting funded by some 
organization they may want to have some sort 
of control. Being independent is specifically 
that, with no strings attached. On the other 
hand, who knows, it may get community 
people more involved with the station and you 
can’t tell unless you try it. These may be some 
positive ramifications. 

Guide: What do you see as ideal growth? 
Have you any idea how big the station could 
be? 

Steve: I think it should go up to about 3 K., 
that’s 3,000 watts, stereo. That, I think, would 
be great. It would make us a real radio 
station. Right now we're in between. 10 watts 


is a college station. When we were 10 watts 
we were a typical college station and you could 
do anything on the air. And we did 
everything. On my program especially. We did 
nude radio once and invited the audience to 
participate. It was a kind of fun thing. We 
tried to see what the barriers were, to radio 
itself. But that was just one thing. At 10 watts 
you can do things like that. At 250 watts 
you're really a small community station in the 
state, at this point. If we go up to 3,000 watts 
stereo, we'd be in the big league; the majors. 
And it would be very good for everybody. 

Guide: How do you see that affecting the 
station politically? I've noticed at present it 
seems not to be a powerful enough tool to 
interest a lot of groups. 

Steve: Well, when we made the transition 
from 10 watts to 250 watts all of a sudden 
everyone was interested in KAOS. Before, 
some people were interested, “Yeah, maybe I'll 
do radio,” but as soon as we were getting out 
of the Westside, into Lacey, up into Stillicum 
and South Tacoma and into Shelton, a large 
number of people were writing us and calling 
us and very interested in doing something. 
The program This Is Your Radio Show on 
Saturday afternoons had a lot to do with that, 
too. Its been very, very successful at bringing 
people and showing people that radio isn’t 
something to be intimidated by. 

Guide: How long have you been at KAOS? 

Steve: I’m now into my fifth year. 

Guide: What was it like when you 
discovered it? How did you discover it? 

Steve: I was living at ASH, and my neighbor 
was going out with the station manager. So I 
talked to him. They didn’t have a workshop 
going back then and you just knew somebody. 
Things have changed since then. People have 
come who have had experience at other 
community radio stations. We've tried very 
hard to push it more having to know 
somebody to get in. 


Guide: You are on the Advisory Committee. 
Why did you decide to do that? 

Steve: Well, we had a funny situation with 
the committee where a station manager was 
selected and there wasn’t a quarum. I had 
some real reservations about the way that 
Advisory Committee was acting. They had 
Continued on page 21 


i ie i 


the program guide - July 1978 9 


SOME LIGHT ON THE GROUP 


Steve Rabow recently attended a concert in 
Seattle by Patti Smith and managed to talk 
to several of the group. First he spoke to Jay 
Dee Daugherty: 

Steve: Are you going to visit Jimi Hendrix’s 
grave tonight- 

Jay: Oh yeah... Steal the gravestone. 

Steve: You’re the drummer of the band... 
Jay: Ah... Yes... Are you really taping this- 
Steve: Yes I really am taping this. 

Jay: Hi Mom... 

Steve: If you had a message for today’s 
teenagers, what would it be... 

Jay: If I what... 

Steve: Today’s teenagers are a kind that 
struggles through life. That look for guidance 
from today’s modern cosmopolitan rock stars. 
Now, as a modern cosmopolitan rock star, 
what advice do you have for today’s young and 
modern, swinging enjoyable delectable 
teenagers. 

Jay: Don’t listen to Mom. 

Steve: Thank you. 


Steve: Are you Patti Smith’s sister... 
Unknown Person: Uh,uh. 

Steve: You’re not... People were shouting 
“Kimberly” down the stage and we figured 
maybe at you. 

Unknown: They’re wrong. 


Steve: You’re a female roadie though... 
Unknown: I just work for whoever pays me. 
Just doin’ my job. 

Steve: Aren’t we all... Thanks. 


Patti: Hi. 

Steve: Hi Patti... 

Patti: How’re you doing... What’s this... 
What’s your scene... 

Steve: We’re from KAOS. 

Patti: Oh, W, W.K.LS.... U.S... 

Steve: No. No, no, no. K.A.O.S. Kaos. 
Patti: K... O... 

Steve: KAOS... yeah. 

Patti: K.O.A.S. 

Steve: We wrote you a letter which said you 
could say fuck on our radio station and we 
wouldn’t complain. 

Patti: I don’t care about fuck on the radio 
station. 

Steve: Yeah. I know but I figure some stations 
kind of forget about that. What I really want 


to ask you... 


Patti: I mean... sometimes. I don’t really care 


about, I don’t, J don’t care... (sings) 
Steve: I dunno. But it’s really strange that 
a lot of stations do. 


Patti: Yes strange like how would you feel if 


someone... If some weird looking guy with a 
beard walked up to you and stuck a 
microphone in your face... 

Steve: I don’t know. I don’t think it would be 
real weird. 

Patti: What’s your statiom like... 

Steve: It’s diverse. Non commercial, communi- 
ty initiated. 

Patti: What are you doing for the environ- 
ment... Well, actually your environment looks 
pretty good, I can’t really complain about your 
environment. What could I complain about... 
It must be a good place to have Bruce Lee and 
Jimi Hendrix buried in it, you know what I 
mean... It’s like... that’s like... ah, It has 
something, you know. 

Steve: It’s the nutrients, really. Some people 
say it’s the water but we know for sure it’s the 
nutrients. 

Patti: Well, judging by the fact that I waited 
three hours for room service today and didn’t 
get anything, they just didn’t show up. 
Steve: You’ve got to realize that because it’s 
so wet around here people get very laid 
back. 

Patti: First, they made us leave the Hilton 
because President Carter was there... Me being 
such a good American. 

Someone: You should have picked a family in 
Portland to stay with. 

Patti: Actually, I stayed with a Japanese 
family in Portland... I did. At the house of 
Kiowa Chan and I learned a lot about the 
ancient gifts of the 16th century warriors in 
Japan. So actually I did learn quite a bit. I 
did learn quite a bit which I intend to expand 
into our next recording. You know you go to 
different places and you get a certain thing 
that you extend to a certain inspiration. What 
was that place where the Kentucky Derby 
was... 

Someone: Louisville. 

Patti: Louisville,... we wrote something in 
Louisville, something... a few things tonight. 
What was tonight... 

Steve: How did you feel about tonight... 
Patti: I felt... felt like sometimes I had the 
blues... Really, I had a great, I had a really 
interesting experience tonight as, like, as far 
as a guitar player. I’ve like experienced a lot 
of different ecstacies but I have never 
experienced the blues. And, umn,, it was really 
weir... it was a different kind of ecstacy I'll 


Continued on page 9 9 


10 the program guide - July 1976 


@* 
e 


REPORT FROM THE 60th AUDIO @-« 


ENGINEERING SOCIETY 


CONVENTION 


THE AUDIO Engineering Society con- 
vention takes place 3 times yearly, in 
New York, Los Angeles and a city in 
Europe, in rotation. It is a trade show at 
which new products are demonstrated 
and business contacts are made. There 
are also sessions at which technical 
papers are presented on such topics as 
“Design of High Slew Rate Amplifiers,” 
“Design of a 48mm Beryllium Diaphram 
Compression Driver” and “Hiring in the 
Audio Industry: You may be an Engineer 
but Can You Drive a Train-” 

This is my recollection of the AES 
convention taken directly from my notes. 
As my notes are in some places quite 
brief I will elaborate on them with 
_ statements in brackets. This report is not 
meant to be a technical summary of the 
convention, as technology is not my forte, 
but rather a report on what I found 
interesting as a person involved with 
music and music reproduction. 
£!1 Monday : 

Flight yesterday was uneventful and 
fairly short. Strong tail winds got us to 
LA 20 minutes ahead of schedule, 
10pm-12:06am. (Most of the Audio 
Recording Module from The Evergreen 
State College arrived on Monday, the day 
before the convention began. Ken 
Wilhelm, the module instructor, had 
arranged a few tours in various studios 
around LA.) Time more of a problem 
today as all the clocks at Mom’s house 
had not been reset. (Daylight savings 
time had begun the day before.) 
Therefore, when I awoke bleary-eyed at 
8am it was actually 9. So arrived at 
Westlake 45 mins. late. The first stop was 
a mixdown-only facility on Wilshire. 
(Westlake is a recording and mixdown 
studio used by major artists. It is strictly 
a state of the art studio. No expense has 
been spared to make it as sonically and 
environmentally plush as possible. The 
console, by Harrison, has 40 inputs and 
24 outputs and is computer automated. 
The tape equipment is by 3M. All 
necessary signal processing equipment, 
digital delay, compressors, equalizers, 
etc.. is available at a fixed cost 
($155 (hour for recording)) I’m currently 
sitting in front of the (Westlake) 


recording studio on Beverly waiting for 
the rest of the group to show up. They 
are probably stuck in traffic on La 
Cieniga... Interesting statement made at 
Westlake. Studio not built for natural 
sound. The studio is built as a tool. 
Westlake is definitely a new wave studio. 
Batiked baffles, designer carpet, func- 
tional and pretty. Beautiful walnut horns 
in the speakers. 

(Our next stop was Disney Studios in 
Burbank. Disney does not give regular 
tours. They seem a very tight knit 
community.) A huge contrast between 
Westlake and Disney Studios. Most of 
the buildings and equipment at Disney 
are c. the late 30’s. Things are done very 
much in the old way with home built 4 
to 1 boards and huge corner speaker 
enclosures. There is no need for updating 
equipment for things such as sound 
effects and speech loops so they haven’t. 
The exception is the orchestra recording 
studio which is thoroughly modern 
though certainly not chic. The entire 
atmosphere of the place is about 30 years 
off. It is apparent though that the final 
product was of extremely high quality 
even with the lack of many of the 
convenience functions of more modern 
equipment. 

5[2 Tuesday 9:30am 

Convention off to an inauspicious start. 
Exhibits don’t open until 1:30 and a 
boring talk gojng on. Found a cheap 
parking lot and made up the difference 
with a $2 shoe shine. The guy had his 
lines down well. Hands me a porn 
magazine and says, "maybe you'll see 
someone you know.” For the $2 he said 
he’d watch my bike (motorcycle) real 
good. 

(One of the most apparent new 


developments was the computer assisted 


mixdown system. This system permits an 
engineer, working with up to 24 tracks of 
information, to store information about 
the mix in a micro-processor or mini- 
computer to be recalled when needed. 
Practically, this means that mixes which 
used to require more than one person to 
manipulate the faders as the 24 tracks 
were being mixed to 2 track stereo, can 
now be done by one person programming 


into the computer, in sections, the 
changes to be made. Once a composit of 
these changes has been ’assembled” the 
engineer simply lets the 24 track and 2 
track machines run while the computer 
makes the necessary changes.) 
2:15 pm 

Exhibits are open. Neve (a British 
console manufacturer), has a truly 
amazing automation system on display. 
It automates levels and muting. What’s 
fantastic about it is that the faders are 
servo controlled (motorized) so when 
automatic adjustments are made on 
playback, the faders move unattended. 
Like all the toys in Close Encounters 
turning on by themselves. Total package 
of board and automation: $130,000. O 

(The most audible new developments 
in evidence were the digital recording 
systems demonstrated by Soundstream, 
3M and Mitsibishi. I can’t explain just 
how digital recording works but I can 
describe what it does. The dynamic range 
of a program, that is to say the ratio 
between the lowest level of sound and the 
highest level of sound present in that 
program, is inherently limited by the 
magnetic recording medium, as are 
frequency response and signal to noise 
ratio. The process of pulling a piece of 
tape across a tape head is a mechanical 
problem resulting in wow and flutter or 
unstable speed. In order to accomodate 
a piece of music with a dynamic range 
of, say 100 dB, on a tape with a dynamic 
range of 60-70 dB, some alteration of the 
signal must take place. The highest signal 
must be brought down and the lowest 
brought up. Were these changes not 
made, the smallest sound would be 
buried in tape hiss and the loudest sound 
would overmodulate the tape, causing 
distortion. Digital recording widens these 
limitations by a considerable amount. 
The specifications for the Soundstream 4 
channel digital tape recorder are: 


CHEK LOS HHOHROHHHPHOHHOHOHPHEOH AGA 


Dynamic range 90dB RMS, & 
unweighted & 
Signal [noise ratio 90dB RMS, ad 
unweighted 

Frequency response 0-21KHz (.5dB oe 
-1dB) 


o 


Unmeasurable wow and flutter 


Copies suffer no generation loss) 
3:50 

Digital recording is as amazing as they 
say. Soundstream had a demonstration of 
recorded classical music. Very quiet on 
the soft passages but most. impressive 
was the bass drum which shook the walls 
of the room at a far higher level than I 
have ever heard from a tape. The 
orchestra played loud but the drum came 
right up over it and shook the walls. 
(With conventional, analog recording, to 
add together the loud orchestra and the 
louder bass drum would have overloaded 
the tape. It didn’t seem to phase this 
system in the least.) 

5/4 Thursday 7:45am 

Here begins entries in a new notebook 
having left my other in Gene Darling’s 
car. This leaves me with yesterday to 
catch up on. Having caught up (sort of) 
on my sleep, my first stop was McCabes 
(guitar shop and concert hall in Santa 
Monica). I went there to (a) play the 
guitars and (b) find someone to introduce 
me at Takoma records next door. 
Unfortunately, no one who I knew very 
well was there so I walked over to 
Takoma alone. (At this point I should 
interject that my purpose for Wednesday 
was to~find myself an internship for 
September.) There I found a sign on the 
door that said, in effect, if you have no 
business here don’t even knock, call for 
an appointment. So back I went to 
McCabes to call for an appointment. I 
discovered that explaining Evergreen and 
internships over the phone to someone 
who’s in a hurry is not very easy. In the 
end I left a letter of intent with a 
secretary without very much assurance 
that they would ever get back to me. The 
next activity, buying waterproof over- 
mitts for the trip home, proved to be 
considerably more successful. Blue 
Cordura for $7.50. 

After lunch, I went to talk to Jason. (A 
friend of the family. It seems you just 
have to know somebody.) He has a studio 
on Pico. It is a nice small place with used 
but working equipment. Ampex 1100 16 
track, old KAOS type Ampex half track, 
3M 8 track (now up for sale). Good studio 
with an 1890 Steinway bought from 
Village Recorders, several other key- 
boards (Rhodes, Wurlitzer, Arp) and 
what looks like good acoustic design. He’s 
expanding to the building next door and 
is booked solid. (Most of tbe music he 
records is rhythm and blues and 
country-western. Also misc. demo tapes 
and commercials.) The prospect looks 
good for setting up an internship in Sept. 
2nd engineering, tape machine aligning, 
generally helping out. 
10:30am 

Today up at the ungodly hour of 
6:30am in order to be downtown at 8 to 


catch the bus out to the JBL (loud- 
speaker) tour in Northridge. Assembly 
line interesting, laser room more so. 
(They make holograms of speaker 
components in motion, then analyse the 
3 dimensional image.) Question in laser 
room, “How do you interpret this data—” 
Answer, “That’s proprietary informa- 
tion.” At the end of the tour, I asked for 
a t-shirt. I was told that none were 
available. Another member of the tour 
stepped in and asked if there were not 
any ELP t-shirts from last year. I ended 
up getting one of them. “You know,” he 
said, “I designed that shirt and yet I 
never got one.” He then whipped out a 
pen and diagrammed the ELP sound 
system on my notepad, raged against 
Phase Linear amps, extolled JBL and 
BGW. His name is Herbert Goldstein 
and he heads JBL Canada. (I think that 
the people at the convention were at least 
as interesting as the equipment.) 
4:00pm 

I think the single worst thing about LA 
must be the traffic. I left the convention 
at 3 pm specifically to get home ahead 
of the traffic. That idea worked for about’ 
the first 100 yards on the Harbor Fwy. 
About a mile later I passed the scene 
of the accident. Two cars and a fire 
department Gremlin parked on the side 
of the freeway. Now things picked up 
again and it was happy sailing onto the 
Santa Monica Fwy. Uh Oh the magic 
signs say slowing ahead and they’re quite 
right. At the next sign, which I have 
plenty of time to read at 20 mph, I am 
informed that the accident is yet another 
mile ahead. By now the motorcycle is 
extremely upset and is showing its 
displeasure by heating up and baking my 
feet. By and by, we reach the scene of 
the accident, this time two cars and a 
motorcycle cop parked on the center 
divider. From then on I made it home in 
good time, if not with a song in my 
heart. 

But back to the good stuff. On 
returning to the Hilton (after the JBL 
tour), I went back to’ the exhibits area 
and revisited the things I had the most 
interest in and a few that I had missed 
on Tuesday. Mitsibishi had a PCM 
(pulse. code modulation or digital) 
demonstration with disc, cartridge and 
open reel playback. It was quite 
impressive. The representative estimated 
3-5 years before laser read discs would be 
widely available. They offer all of the 
advantages of digital recording sound- 
wise and would cost about the same to 
manufacture as LPs: They would be 
impervious to fingerprints and minor 
scratches and, as only light would touch 
the actual surface of the disc during 
playback, there is no wear on the disc 
itself. 


the program guide - July 1978 11 


(At this point my notes end. In my 
notes I only touched on what I considered 
to be the two major attractions of: the 
convention, digital recording and com- 
puter assisted mixdown. There were in 
fact 147 exhibitors set up in the Hilton — 
on 3 floors. The most interesting exhibits 
were the ones you could get your hands 
on. Many of the console manufacturers 
brought in 24 track tape machines, 
connected a dozen headphones to the 
board’s inputs and let you play with the 
mix. Harrison offered a copy of the 24 
track master of Herbie Hancock’s latest 
album while Neve had a copy of the score 
from Star Wars. 

The AIS convention is a place where 
decisions involving lots (and lots) of 
money are made. The sales representa- 
tives work on an interesting “nametag 
system.” Everyone at the convention has 
a nametag with their membership status, 
name and who they represent typed in. 
When you begin a conversation with a 
sales rep, the first place he looks is to 
your tag. I discovered that by wearing a 
non-member nametag and being from 
The Evergreen State College shortened 
my conversations with sales representa- 
tives by a good bit. ‘ 

I also found that, while the tech- 
nological aspects of the conversation were 
very interesting, if they are not being 
used to produce a higher quality end 
product they are just so many knobs and 
switches. The most fascinating thing 
about being in Los Angeles for this event 
is the very fact of being in LA for it. The 
city was built around the entertainment 
industry and it shows. The major studios, 
The Village Recorder, The Record Plant, 
are able to sustain themselves at the 
highest level of technological excellence 
by charging the $150 per hour that major 
artists or their record companies are 
willing to pay. It is a high level business 
where those who are able to pay get 
awfully good treatment. For instance, 
when The Village Recorder ordered a 
Neve automated board and it wouldn’t be 
customized for a month, Neve installed 
a loaner for a month, then took it out 
again. It’s a business where state of the 
art is redefined every few months and it’s 
all because so very many people buy 
records. 

Next month:-The trip home. 


Greg Falken 


12 


Mark H. Smith 


Ian Dury: Not so Stiff After All 

“NOT THAT awful man again.’’ That 
was the first thing I heard as I woke 
up and plopped Ian Dury’s ‘‘New Boots 
and Panties” on the turntable. Though 
the song, ‘‘Wake Up and Make Love 
With Me” drifted through the room, 
my companion was not at all amused, 
causing me to scratch my head and 
mutter something about tastelessness 
being necessary. But Ian Dury is far 
from tasteless He is funny. Not funny 
odd but funny ha ha. He’s from Essex. 
Working class-cockney-Mary Poppins 
type voice. He sings about real things. 
When it’s a love song it usually has 
something to do with his penis. When 
ne’s pissed off he calls things what 
they deserve to be called. He puts 
down macho strutting, random vio- 
lence. and people that mess with him. 
Sure he’s funny but somewhere in 
there is a perverse twisted streak. 
Making him a delightful songwriter. 

He was originally in a group called 
Kilburn and the High Roads. This 
band featured a crippled drummer (he 
had to be carried on stage and lowered 
into the trap set), a seven foot tall bas- 
sist named Humphery Oceans, and a 
few other twisted looking characters. 
Rumor has it that they were one of 
the most exciting pub bands around. 

But somewhere something happened 
and things fell apart. Maybe Dury was 
too convincing in his delivery, scaring 
everyone around him. 

But now with the advent of punk 
rock Dury is back. Now it’s fashion- 
able to be offensive and Dury is offen- 
sive with so much class you end up 
liking him. ‘‘I want to take this man 
out for lunch”’ is a common thing to 
hear people sav after they listen to a 
few cuts. Some of the songs are en- 
dearing. ‘I'm Partial to Your ABRA- 
CADABRA”™ or ‘“‘Sweet Gene Vin- 
cent.’ “Sex Drugs Rock and Roll’’ is 


the program guide - July 1978 


one of the best songs to float through 


this place in a long time. Funny 
though, it doesn’t give the typical pic- 
ture of arock star’s life. 

Dury is a pervert. But aside from 
that he is also one of the most in- 
ventive songwriter-singers to come 
through in, as I said before, a long 
time. He is also NOT a punk rocker. 


CHEAP TRICK is described as a band 
without a history. Some say they met in 
the south of France, other stories have 
members of Cheap Trick in the Nazz 
with Todd Rundgren. And I have been 
told that Cheap Trick played every gay 
bar in the Chicago-Milwaukee area for 
years. Members of the band claim to like 
Mexican food. 

Their first album came out and was, 
unfortunately, too hot to play on any 
stereo you valued. It was a masterpiece 
debut album and I remember thinking at 
the time that they could never follow this 
one up. I was right. “In Color” came out 
and it didn’t have that killer instinct. It 
was not a doberman pinscher. But it was 
one of the more eloquent statements of 
heavy-metal-pop-rock. 

The music is sort of a combination of 
Beatles-Who-Nazz stuff I’ve never heard, 
New York Dolls. The lyrics are mostly 
drug-sexual references, but it’s hard to 
tell because they are so _ obscure. 
Beautiful but obscure. 

Now “Heaven Tonight” comes out and 
“Oh my god.” Bad production. The hooks 
are more pop oriented than ever. The 
words are obtuse with references to “In 
Color.” Instead of the mainstream pop 
stance the chord progressions became 
weird. Strange elements start coming in. 
The guitars are hotter than ever. 
Wonderful piano playing. Better than 
“In Color”— Yes. Hotter than the first 
album— Close. If you were stuck on a 
desert island and could only have one 
Cheap Trick album, which would it be— 
“Heaven Tonight.” Why- It’s more 


physical. You lose weight listening to it. 
It’s so close to perfection it makes your 
skin crawl. Also the boys on the cover are 
so pretty. 

This is an example of the lyrical 
style: : 
"T looked hard in your eyes 
It was love at first sight 
It took me minutes, your still waiting 
Waiting for your turn, your turn 
It won't be long. 
Stiff Competition.” 


Stiffs Live 

NO ONE playing on this album is a 
punk rocker. None of the music on 
this album is punk rock. Everyone on 
this album is a rock & roller. All of the 
music on this album is Rock & Roll. 
It’s sort of a Stiff records pick of the 
hits. This is unfortunately a flaw in 
the record. The album opens with 
Elvis Costello and the Attractions 
doing a Burt Bachrach song, which is 
truly inspired, but it’s followed by yet 
another live version of ’’Miracle 
Man.”’ Too bad. Then Ian Dury and 
the Blockheads who really cook. Un- 
fortunately they cook on three songs 
that are also on the album, ‘‘New 
Boots and Panties.’’ Too bad. The oth- 
er side has Nick Lowe’s Last Chicken 
in the Shop, featuring Dave Edmunds 
on guitar, playing ‘‘Lets Eat’’ a hot 
“power pop’? number and preceding 
that another previously released song, 
“TI Knew The Bride.’’ What’s the deal? 
How about some unreleased new stuff. 

But then the gems of this album ap- 
pear. Wreckless Eric, he looks like a 
frog with a seriously demented smile, 
doing two songs never released before. 
He is demented and the songs are 
wonderful. Especially ‘‘Semaphore 
Signals’’ the tune of which is hard to 
drive from your head. After the 
Wreckless Eric songs are over a song 
called “Police Car’’ by Larry Willis is 
stuck on the back. It is good. 

If you really like live albums, this is 
one of the best If you haven’t seen 
Elvis Costello live, this is a good bet. 
If you like Nick Lowe’s ‘‘Pure Pop for 
Now People,”’ buy it. But if none of the 
above appeal to you, maybe you should 
get it just for the sicksicksick per- 
formance of Wreckless Eric. Keep 
your ears open for that name in the’ 
future. (The next Dylan?) Maybe. 


LOST MUSIC NETWORK 


P.O. Box 2391 ° 
Olympia, Wn. 98505 


Now, let's talk about the LOST MUSIC NETWORK. 


LMN is alive and changing. IRC is defunct and ali original members should 
have been refunded. 


Here's how the Lost Music Network can do its job: 


-Radio stations send us their playlists and program guides. 

-Record companies send their records and publicity packets. 

-Record stores take an interest in what is in their bins. 

-Listeners keep us on our toes. 

-Potential advertisers take the plunge. 

Everyone curious about new and different musics fill out our questionnaire 
and send us a couple of bucks. 


John and I have put over $500 into LMN and it still isn't far off the ground. 

We think we can do something really worthwhile with about $10,000. Then, OP 
would have a chance of expansion and we'd be able to make phone calls to those | 

who determine what makes the top 200. To our knowledge there are no other LMNs. 
There are no other groups that try to expose listeners to the diverse musics P 
they could be feasting their ears on. We're not concerned that they like what + 
we like. We're concerned that they get to hear and learn about more of the world's — 
music than that which is conventional or sanctioned by the centuries.Our thought 

is that there is no better place for this type of musical education than on our 
hundreds of "educational", non-commercial radio stations - now mostly wasted on 


duplication of commercial "rock" playlists or unlistenable "instructional" pro- 
gramming. 


Tirade aside: It really wiil take the wholehearced support of some of you 
visionaries out there to make the Lost Music Network truly effective. Both 

John and I will be leaving LMN and OP to other capable hands for awhile. We 

have to go scrape up some dough. In the meantime, I know LMN can use all the 
help it can get. Think what you can do for the cause. Got a million dollars? 
Smarter than Einstein? Computer genius? Own a newspaper or fanzine? Professional 
typesetter? Professional or excelient writer? Wanna do an LMN benefit? 


KEEP IN TOUCH. 


iva) la Musica, 


Jo eph William Taco 


ADDRESS 


INTERESTS: 


FAVORITE MUSICIANS: 


QUESTIONS for OP: 


date of birth: 7 MAY WE USE THIS INFO IN A LOST MUSIC NETWORK DIRECTORY? _ 


If you are a musician,what do you play? Who are your influences? If you have a 


record or tapes please send to LMN, PO Box 2391, Olympia,WA. 98507. 


If you are a record company representative... What is your company and phone? 
Please send releases and press kits to LMN. OP advertisements come in four 

wx 73” 5"x7 - S**x 35%" 
different sizes - full page’ ($75.20), half page ($37.60), & quarter page ($18.80). 


Wait a minute, that's only three. Unclassified ads are $.20 a word. 


If you are a radio person , what's the station's call letters and phone? Format? 


abt you put out a playlist or program guide please send them to LMN. 


If you're just a listener... What is your occupation or school? Do you have 


special skills? If you know anything tell LMN. 


Convince your boss to carry obscure records and to advertise in OP. We have any 


addresses you may need. 


Let's be cute. Did I happen to mention the Lost Music Network address? It is: 
Lost Music Network (LMN),PO Box 2391, Olympia,WA. 98507. 
How did you hear about LMN? 


If any kind souls would like to write me or John during the summer, his ma's 
address is PO Box 24, West Cornwall,CT. 06796 and she'll forward anything on 
to our labor camp. No letter bombs please. She's a sweet old lady.PLEASE WRITE: 


aa 
‘ Wea an 


il 
‘bane 
" 


i a8 |__|} LOST MUSIC MAGAZINE no, 2 


LETTERS 


Yeah.. | picked up the first “OP” on a tour 
of the Northwest last month and was duly 
impressed. | work at KZDC-FM here in 
Santa Cruz (the radio arm of the local U. 
of C.) and am likewise dedicated to obscure 
quality music of many kinds. 

Here’s some info on stores, publications and 
records you may not be hip to and would 
like to print: Cymbaline Records and Comix, 
1101 Cedar St., Santa Cruz, CA. 95060. 
Local freethinking disc outlet. They carry 
imports, boots, import singles, twisted and 
vital music publications, etc. Sounds Fine, 
PO Box 292, Riverdale, MD. 20840. 
Collector’s publication. Good to excellent 
articles and discographies on major bands. 
Superb “Q. and A.” column. Caters to 
obscure info on well-known musical figures. 
Lotsa ads (auctions and sales) from rip-offs 
to bargains. Ear, 1553 Posen, Albany, CA. 
New music publication from S.F. Bay area. 
Excellent articles on composers, interviews, 
and off-the-wall attitudes, although slick- 
ness has been encroaching on them. Ads for 
unknown new music records. New Music 
Distribution Service, 6 West 95th St., NY, 
NY 10025. You probably know about this 
source of records, but if not, find out quick. 
1 knew I'd heard of Gary Wilson before, 
and this is where. A goldmine for obscure 
records... all “avant-garde” contemporary, 


jazz, and New Music, indescribable and. 


unheard of (practically speaking) all. The 
NMDS distributes their own music through 
their own channels. They have a catalog. 
Ask for it. 

Hopefully you guys are open to obscure 
stuff by well-known or heard-of quality 
artists. Lots of fine music by great people 
ends up on B-sides, bootlegs, or nowhere, 
and it takes some research to find out that 
it exists and if it’s available. I’d be into 
compiling 90 percent deterministic obscure 
discographies of bands like the Who and the 
Stones, as well as new kids like Elvis 
Costello and Patti Smith. (Personally, I’m 
interested... but OP has a commitment to 
artists who rarely come up in coversation. 
-ed.) 

‘|in this vein, there exists an Elvis Costello 
single (namely "Stranger in the House” — 
“Neat, Neat, Neat” (the Damned’s toon)) 
which was packaged with the first 50,000 
copies of This Year’s Model in England, but 
removed from the import batch that has 
appeared in the USA and Canada. Does 
anyone know of a source for this record.. 
If so, contact me. 

Greg Freeman 

106 Doane St. 

Santa Cruz, CA. 95062 & 


Saw the Stranglers on their first stop on 
tour: Pretty Dull. Record’s better but onty 
for the song that sounds like *Love Her 
Madly” and one or two more. Can’t wait 
for Talking Heads’ second. Dick Clark’s 20 
Years of RocknRoll: cut-out.8. Great stuff 
except for “Candles in the Rain” YECHH.. 
Even has Johnny Cash chasin’ his band 
through about 5 key changes on “I Walk 
the Line” but “Nice to be With You” by 
some Neil Diamond clone sucks. But it’s got 
Carl Perkins “Blue Suede Shoes” and 
“Rebel Rouser” and “Peppermint Twist” — 
worth the $3.47 or so. It’s got “Leader of 
the Pack’, too. 

*Nervous Breakdown” by Eddie Cochran 
currently Number | fave here. Send me the 
name of anyone else who mentions the fact 
that Bob Theile is married to Brenda Lee. 
Will Clive’s hair transplant take.. | must 
have a copy of “Valentine Stomp” by Fats 
Waller on RCA Vintage. Help.. 

Steve Aseta 

80 Clermont St. 

Oakville, CT. 06779 & 


This is a nifty idea.. You might well ask 
“What are the Rubber City Rebels really 
like.. “* You just don’t know how it is here 
in Spudville, USA.. Yesterday, the Akron 
Beacon Journal, this burg’s only newspaper, 
did a feature on Devo and other “Akron 
Sound” proponents in their Sunday color 
supplement, Beacon Magazine. Major 
premise: Here’s a band of international 
renown (Devo) and no one here has ever 
heard of them. That's how it is. Con- 
sequently, if | wish to sce the Rubber City 
Rebels, | would have to go to New York 
City or London or Los Angeles. There isn't 
any place around here where they can play. 
There is no record collector's paradise. 
either. (What would | do without mail- 
order.. ) There is only one station that plays 
new wave music. It’s from Case Western 
Reserve and is a whopping !0-watts strong. 
Suffice to say, I’ve never heard it. I send 
alot of suggestion cards to WMMS (the No. 
1 AOR station in der welt, they say) (I 
make it a point to list only American 
releases. "Sex and Drugs and Rock and 
Roll” was the only import they tried to sell 
in all of 1977. They treated it as a novelty 
record anyway.) (I do, too -ed.) 

Hey.. I’m a person you’re curious about. 
One of my favoritas is Nico. | was glad to 
read that she’s been making concert 
appearances semi-lately. Who _ knows.. 
Maybe she’ll come out with a new LP one 
of these days. 

Rate.A.Record Scction: All 10s — “Because 
the Night”, Patti Smith Group. “Thunder 
and Lightning”, Deaf School. ‘tl Love the 
Sound of Breaking Glass”, Nick Lowe. 9 
— “R.A.F.”, Eno and Snatch. “Clones”, 
Waitresses. 8 -- “Shot by Both Sides”, 
Magazine. Human Switchboard EP. 
Theresa Fagan 

448 Delmar Av. 

Akron, OH. 44310 


OP 2 
] gave away (after selling what | could) my 
record collection and also my phonograph. 
I do have an FM radio, but I find that | 
seldom turn it on except when I’m cleaning 
house... and always seem to get Rod 
Stewart. At the time, | saw it as a symbolic 
act. You can only be an adolescent for so 
long. Rock stars do not — at least of the type 
I was interested in — age well, which is why 
I was attracted to them anyway — a sort of 
desperate gamble against time and the 
implacable facts of mediocrity. Real talent 
lasts forever - as Anita Bryant demon- 
strates — and so what.. The real acte gratuite 
(however you spell it) is to believe you have 
it and get others to believe you do when you 
know you don’t. (Huh.. -ed.) 
The Lost Music Network seems a testimony 
of — forgive me for saying so — the wrong 
sort along those lines. When | was in college 
a group started an alternative to the 
“established” literary: magazine (Rimbaud 
was still a poet in my greenage, although 
even then the handwriting was on the wall) 
to reach the unsung and unappreciated 
creative types — but ended up publishing the 
same ones who were in the regular literary 
magazine — alas, real talent of even the most 
obscure sort still wants the flash and filigree 


of the swindlers — the only real possible | 


honesty along these lines to my mind is to 
be a computer programmer and perform 


only for friends. Once one decides to } 


become famous (or infamous) there is only 
one road. In short, there’s no one out there 
but us. 

Don't take this as a sneer, since | am 
along different lines — about to commit 
myself to a similar act of wrongheadedness. 
There can only be one hell, and the idea 
of talent is demonic — purity of heart is to 
will one thing. (If you want to know what 


the one thing is, I leave you to read | 
Kierkegaard’s book by the same title.) 
Anyway. | dont believe in rock’n’roll 
anymore. 

John Thorne 

Boston, MA. 


P.S. Your mailsheet is very entertaining, 
another indicator of its inevitable doom. 


Who OP is 
kaitor - John Foster 
Managing Editor ~ Alisa X. Newhouse 
Others - Joe Taco, Stevo Rabisbo, George Romansic, 
Mark H. Smith. 
|All letters, articles, should be addressed to: 
P.O. Box 2391 
Olympiz, WA 98507 


OP Confessions 
' OP was started for sundry noble and selfish reasons. 
We felt that radio was dying a boring death. We wanted 
everyone to see how right-thinking we were. We wanted 
to get interesting mail and get in touch with people who 
thought like us. We wanted to help musicians get due 
recognition. We wanted to get free records. We wanted 
to communicate with people without risking anything. 
We wanted to see if it would work. We wanted to get 
some experience doing this sort of thing. We wanted to 
start a grass-roots movement away from schlock-rock. 
We wanted to arouse people’s interest in the unknown. 
We wanted to get across the way we feel about music. 
OP is young, but it is not stupid. We realize that we 
suffer from some grand delusions. It’s funny, though, 
leven as we reach for that old pie in the sky, the 
impossible dream, whatever it is that people are always 
clawing their ways towards, some good things are 
happening. We are losing money at a phenomenol rate. 
No longer will we worry about all the money we're 
saving by not smoking cigarettes. It’s all down the tube 
We are hearing from some great-sounding people and 
we haven’t fought with them yet. OP, the alien, is 
finding that it’s part of something that’s going on all 
over: People are starting to fight for control of their own 
lives. There is indeed a vital new arts underground 
springing up among small groups of individuals all over 
the USA at least. Although there are definate centers 
of activity, I think that it’s happening in small 
communities as well. Olympia, Washington — where I’m 
writing this is — is certainly no hub of activity... but as 
I write this new bands, arts groups, OPs, and a 
community (in the real sense) radio station are coming 
into their own. Whoever said it ain’t easy was sure right, 
and the beaching of the OP music group is testament 
to the fact, but it is happening. As it happens it is also 
cyclically dying as the romantic allure of failure and 
meaninglessness takes its toll on those who lost sight of 
where it was they wanted to go in the first place. Perhaps 
believing in something so much can only lead to painful 
disillusionment. Right now it doesn’t really matter. 
We're riding that wave. Only a fool would think about 
what it’s going to be like when we finally crash against 
the rocks. 


Strange.. 
We’re looking for people who always want 
to hear new and different music, those 
whose taste is wide and whose mind is open. 
Send an SASE and a letter if you wish. Lost 
Music Network, PO Box 2391, Olympia, 
WA 985078 p 


Short letter to Patti Smith 


Hey Patti, like it’s cool that you’re in the 
top 40, but we’re kinda worried about 
what’s going on in that electric head of 
yours. When you fell off that stage could 
you really believe it was simply an accident.. 
One day we’re afraid you'll fall off another 
edge and we'll have to ask the angels just 
where you’ve gone. Do you want to be the 
next rock’n’roll victim.. Look, your group’s 
performances are uneven but for the most 
part brilliant. How could they be anything 
less with such intensity.. You play some of 
the best - who’s kidding who.. — the 
absolute best heavy metal-psychedelic 
disco-pop ritual music we’ve ever heard. 
So sometimes you get caught up in your 
raps and Lenny has to cut you off with some 
blistering guitar. Even I’m a bit long- 
winded, but I’m alot younger than you are. 
Frankly, | don’t know how strong you are 
and how strong you want to be. 


3 0P 

The nature of touring lends itself ‘to 
destruction. It works on shocks to the body, 
and after you've a bit debilitated physically 
what’s to:stop it from destroying your 
brain.. People who want to be rock’n’roll 
stars have to have some serious mental 
problems to start off with. Unless one is 
careful, it is hard to see the flowers from 
the weeds after awhile when every other 
person is a parasite or a fool. But I’ve seen 
the kids — mostly college kids - who come 
to be with you, and they’re pure. They love 
you, they care about you, they live a bit of 
themselves through you, and so do I. All 
over the country women are _ taking 
microphones in their hands and trying to 
sing like you. I think you are enormously 
influential, and I think you have a power 
that is as dangerous as it is holy. Listening 
to you talk after a recent show I found you 
defensive, immature, cynical, nasty, cutting, 
preachy, and self-righteous. In short, 
obnoxious. I have also found you to be 
charming and, yes, kind. But here’s the 
thing, by the very nature of your livlihood 
and art you are always under public 
scrutiny. You are always vulnerable and 
this is a scary idea until one embraces it 
and commits oneself to the idea of choosing 
one’s fame and learning from it. This entails 
becoming less defensive and more aware of 
what is really around you. I believe there 
is as much art as artlessness. At this time 
I think you are often blind (or numb) or 
perhaps afraid of all the simplest beauty 
about you. Hendrix and Jim Morrison and 
Brian Jones and lots of other great 
musicians didn’t die because they were on 
to something. They just forgot how to live. 
Drugs won’t save you. Religion won’t save 
you. Money won't save you. | think I saw 
something that night. When you talk to 
Lenny Kaye, suddenly you don’t take 
yourself so seriously anymore, your voice 
loses its monotone, and what you say really 
means something. I think it must be love. 
Of course, when it comes down to it you 
gotta save yourself, but there are lots of 
people who can help you along the way. OK, 
so I’ve gotten a little preachy and 
self-righteous myself, but it’s only because 
I care about you. Look, I know you’ve 
already got a mother to worry about you, 
but in a way you’ve got a million mothers, 
a million lovers, and a million children as 
well. Me.. I’m just another kid who wants’ 
to be a rock’n’roll star. “Fight the Good 
Fight’” doesn’t have to be another cliche 


se? 


i 


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inimalism in modern music. 
Minimalism as an art trend is not a strictly modern occurence. A move towards| 


the simple has taken place everytime the idea has gotten into people’s heads that the 
world is much too complex and — or that the masses are far too superficial. To some 
the minimal offers an escape. To others it appears to be the real truth about things. 
To yet others it is therapy. 

Some have felt the trend toward the minimal to be a reminder that the simple, 
unself-conscious act is still possible; though, paradoxically, it proves the opposite, since 
conscious decision-making is still involved at at least one juncture (the choosing of the 
minimal path). However, minimalism creation doesn’t involve constant human 
intervention and is thus the least deliberate of the available processes. It can come 
as close as any other method (and much closer than most) to achieving the purely 
spontaneous act. 

Minimalism can sometimes be equated with primitivism, showing what of human 
nature has been ‘lost’ and, practically, to devise experiments for its recovery. This helps 
ito explain the use of electronics and other modern means for sound creation — because 
what is called for is not a ‘return’ to the primitive but a ‘recovery’ of some of the 

haracteristics of same. 

Certain minimalists think that ‘Shuman nature has been lost” in twelve-tone music, 


Op 


“The use of hidden structural devices in music 
never appealed to me. Even when all the cards 
are on the table and everyone hears what is 
gradually happening in a musical process, there 
are still enough mysteries to satisfy all. These 
mysteries are the impersonal, unintended, 
psycho-acoustic by-products of the intended 
process. These might include sub-melodies heard 
within repeated melodic patterns, effects due to 
listener location, slight irregularities in perfor- 
mance, harmonics, difference tones, etc. 

Listening to an extremely gradual musical 
process opens my ears to it, but it always extends 
farther than I can hear, and that makes it 
interesting to listen to that musical process 
again. That area of every gradual (completely 
controlled) musical process, where one hears the 
details of the sound moving out away from 
intentions, occuring for their own acoustic 
reasons, is it.” 


4. 


for example, or even in classical form itself. This points out an essential dichotomy 
among musical minimalists. Some musicians compose minimal works because they feel 
there is too much process and not enough of the human. Others write or perform music 
(or whatever you would call what it is they do) because they feel that there is too 
much of the human and so utilize musical process to supplant ego. John Cage, for 
example, thinks that humans are being immodest in having anything to do with the 
composition of music. 

This second type, process-oriented minimalism, tends toward the rigid (Cage, 
incidentally, happens to be an exception to the rule). This rigidity results from the 
relative invariance of the formulaic. Processes, when applied to music composition or 
performance, tend to take care of themselves, leaving humans as audience. This happens 
to bring out another aspect of the minimalist dichotomy: |. that process-oriented or 
systematic minimalism, in its scientific concern with structure and form, attempts an 
exposition and understanding of the complex through a microscopic observance of the 
elemental., and 2..that freely-organized minimalism, in its concern with the human 
(or, better word: the natural), usually expresses a poetic fascination with the elemental 
for its organic simplicity alone. The first type we shall call “hard minimalism”, the 
second “‘ 

Minimal works have this in common: they are pure — musically and conceptually 
— and therein lies much of the appeal. It is no surprise to find that a number of| 
minimalist artists fancy themselves poets or even shamans. To these people, minimalist 
music becomes a meditational device and a means toward transcendence. Musically, 
it focuses all attention on the one, instead of including the ornamental or the extraneous. 
The concept of minimalism adopts religious significance for its transcendent values (an 
added point, first stressed by the Romantics, is that sound itself is already divorced 
from the world of objects and thus already has special significance). At its most extreme, 
this music calls for an “emotional gutting” in order to focus our attention on simple 
truths. . 

Another cause of minimalist creation results from a feeling that moderation or a 
middle ground is impossible. It is a return to a primitive extreme because evtrything’s 
been done, and everything’s aclutter. It is a belief that only a radical move will capture 
people’s attention. 4 

The move made by the simple, humble person would be toward “soft”? minimalism. 
His would be a concern with drama but not theatrics. The opposite extreme (highly 
developed sophistication), might be every bit as subtle but would be too geo-filled... 
and maybe too abstract for communication to take place. 

On the other hand, a certain strand of disco is minimalistic. It focuses on one thing: 
the beat. This music doesn’t often attempt transcendence except through 
body-consciousness. The same is true of punk-minimalism. It is not concerned with 
truths any more complex than pure sound as stark freedom from daily existence. Punk 
is an abstraction made real of the basic forms of rock n roll. 

There is a certain determinable emotional reponse to much minimalistic music. 
“Soft”: calmness, increased sensitivity, a fragile dreamlike drifting into the 
unconscious... “‘Hard”: definite acceptance or rejection of sound. Wholesale disengaged 
surrender of mind and body. 

Minimalism is concerned with winning you over. It is concerned with your entire 
frame of mind and not just certain sections of your brain. It often repeats things over 
and over until you get them. 


LaMonte Young: One of the original minimalists 
of our age. This man, though virtually 
unrecorded, has been an influence on Reich, 
Glass, Terry Riley, David Behrman, Kraftwerk, 
Nico, Brian Eno, Tangerine Dream, Gong, Soft 
Machine, John Cale, John Cage, and others too 
Numerous to mention. Young listens to the 
amplified hum of your standard electrical current 
(in the °60’s he had a famous house (“Dream 
House”) in NYC which featured this amplified 
hum as its sonic environment). He also has an 
interest in sine waves, especially in the changes 
they go through as listener location varies. His 
music has been termed “trance music” by some 
and has taken on strange mystical and religious 
significance for others (Young’s behavior 
encourages this). Young’s music is unique when 
contrasted with the music of Reich or Glass 
because his doesn’t even offer any rhythmic 
variation and is instead perceived as a drone. 


Philip Glass: His musical concerns are similar 
to Reich.- Glass composes (or supplies the 
process) principally for organ or for percussion 
ensemble, most probably because with these 
instruments you can distinguish the individual 
parts easily, Like Reich, he is interested in the 
relationship betwen the parts as gradual musical 
process affects one or both. Glass compositions 
(Music in Contrary Motion, Music in Fifths) are’ 
generally quite long and seem ta have a tevel of 
complexity not found in Reich’s, which is true 
only because Reich has involved himself with 
some of the most clemental musical concerns 
imaginable. d 


QUIET MINIMALISM 
Steve Reich: Here’s a guy to whom musical process means everything. From 1965 up 
o 1971 almost all the music he did was based on a single device — phase shifting 
(Drumming, Come Out, It’s Gonna Rain). The process of phase shifting, when involved 
in musical composition, has two musical parts playing in strict synchronism. Slowly, 
one begins to gradually move ahead of or behind the other. That’s the whole 
‘oncept. f 

As if that’s not enough, when Reich decided to move on to other things, he chose 
as those other things |) gradual changes in timbre while pitch and rhythm remained 
onstant. 2) the process of gradually substituting beats for rests (or rests for beats) 
‘ithin a constantly repeating rhythmic cycle, and 3) the usage of musical cues {i.e., 
hree struck notes on a vibraphone to signify a change in tempo) in order to be able 
0 do away with the role of the conductor. Jamis man is a true minimalist. 

Reich has this to say about_his elementai esncerns: 


Terry Riley: Here is an example of what happens 
to ad isciple of Young’s when confronted and won 
over by the pop-happenings of the late 60’s. His 
music (Rainbow in Curved Air, In C) might be 
best described as free-floating multi-textural 
rhythmic psychedelia utilizing tape-delay to allow 
recurrent themes and overlapping phrases. Riley 
gives the impression that he thinks he’s in touch 
with something deep. We haven't heard too much 
from him lately. 

David Behrman: An associate of Riley’s way back 
when. His work concentrates on an integration 
of acoustical and electronic instruments. One 
work of Behrman’s (On the Other Ocean) 
features a tone-generating micro-processor 
programmed to emit tones harmonic with the 
notes played by the instruments. The musicians, 
in turn, choose their next notes according to what 
the generator has just played. The result is a 
slow-moving pastiche of everchanging chords 
which even the most staid of ears can listen to 
without pain. 


Cluster: A German electronics duo. Their music 
places them somewhere between Kraftwerk and 
Tangerine Dream (much closer to T. Dream). 
Process does not seem to be an important word 
to them, for their sound is airy and (seemingly) 
improvised. It’s the sounds themselves that this 
duo dedicate themselves to. They have, 
incidentally, recently worked with... 
Brian Eno: A story of change — Eno started his 
career as an eccentric art student dedicated to 
Outrageousness. He was known for wearing 
liberal amounts of makeup and feathers and for 
“playing” tapes and synthesizer for the British 
avant-rock group Roxy Music (how’s that for 
type-casting.. ). 

After a number of incidents, including a falling 
out with Roxy’s singer Bryan Ferry and a severe 
accident which immobilized him for quite some 
time, Eno made the realization that maybe he 
was heading in the wrong direction. He gradually 
became much more serious about his art. He 
began extensive studies in aesthetics and in 
various scientific processes, becoming specifically 
interested in two areas: questions pertaining to 
the biological basis for the arts, and the idea of 
cybernetic process applied to artistic creation. 

Basically, what this highly ego’d person did 
was to slowly humble himself in his role as 
creator. In Discreet Music, he set up an electronic 
system including synthesizer, echo unit, and tape 
players with built-in delay, into which he 
programmed two simple and mutually compatible 
melodic lines of different duration, which the 
system. then transformed into an _ over- 
thirty-minute piece of music with virtually no 
intervention on Eno’s part (he actually changed 
the timbre from time to time throughout the 
work, but that was all). 

As well as this deference to the better wisdom 
of machines in the compositional process, Eno has 
also bowed to various arithmetic devices as well 
as his own “Oblique Strategies”, a set of 
instructional cards meant to be consulted at 
random, thus guaranteeing the non-intentional 
within each work. 

Eno’s music ranges from the avant-pop (Baby’s 
On Fire, I'll Come Running (To Tie Your 
Shoes)) (his lyrics, by the way, being chosen 
according to musical rather than literary value) 
to endlessly shifting electronic pieces meant to be 
listened to ‘tand yet ignored” at nearly inaudible 
levels. 


- 


Morton Feldman: A modern “classical” composer 
who studied, at one time, under John Cage. His 
primary concern in all his music is to sustain a 
“flat surface” with a minimum of contrast. 
Feldman’s music (Rothko Chapel, For Frank 
O’Hara) is very unassuming and easily passed 
over, but anyone who pauses long enough to listen 
begins to notice aspects of sound and structure 
so intensely minute that most composers and 
musicians don’t even bother with them. A 
frequent reaction to a Feldman piece really heard 
is incredulous surprise at being given a view into 
a world so small you never knew it existed. As 
cliche has it; less is, truly, more. 

John Cage: Indeterminancy. Silence. Listening to 
a John Cage piece can be like listening to the 
world. He thinks concert halls should keep their 
windows open. He thinks concert-goers should 
keep their ears open. Ultimately, he only believes 
in one concert hall, and that is: the world. 


s. 


Another Green World, an album which Eno 
refers to as “sky music”, is a collection 0} 
miniatures; short snatches of static or slow- 
moving synthesizer — tape pieces interspersed 
with a few intricate vocal works. The most recent 
album, Before And After Science, is Eno’s water 
music’, with everything moving in currents or in 
waves and at varying rates of speed, according 
to atmospheric conditions (and the instructions 
of the “Oblique Strategies” cards). Eno himself 
seems carried by this music, instead of the other 
way around, and in doing so seems to have 
accomplished the goals of both “shard” and “soft” 
minimalism. This music succeeds both as process 
and as pure sound. 


THE LOUD MINIMALISTS 


Kraftwerk: German synthesizer band who pin 
their music on the relationship between advanced 
technology and man. They attempt to bridge the 
gap between man — machine (We Are the Robots; 
Showroom Dummies). Whereas their music once} 
consisted of electronic sound painting, it has no 
become a rigid, technically perfect construction. 
The mechanical sounds are meant to trigger 
bodily response. Mechanical — body affinity. 
Donna Summer - Cerrone: These two are only 
included here because of their non- 
intellectualized use of Kraftwerkian pulsating 
sound as dance music. Rigid rhythms to keep the 
body in motion and the head at rest. The sound 
infiltrates and fills the cavities of brain and body. 
The beat goes on. 

Ramones - Wire: Again, the music consists 0! 
nothing but the primary elements of the type o 
music that they perform, which in this case is 
rock and roll. All additional elements are! 
ornamental and thus unnecessary. The Ramones 
(Blitzkreig Bop, Loudmouth) play primal tee — 
rock both for its ironic and its straightforward 
effect. Reductionism tends to point out inherent 
absurdity ¢ like seeing Arnold Schwarznegger 
without his muscles. Underneath it all he’s just 
a person, right.. Ramones music dispels 
sophistication, both for musical (rock has gotten 
kind of overburdened lately) and social (they 
wanna be young) reasons. 

Wire milks minimal rock for its more overtly 
dramatic aspects (Reuters, Mannequin). Arnold 
Schwarzenegger without muscles would look 
shrivelled and stark to them. They don’t see how 
that would be funny. Whereas Ramones music 
cleans out (blasts away) your cancerous growths 
of stylish nihilism with their sophistication-less 
view of fun, love, and youth; Wire ravages like, 
that cancer gone amok (leaving bare bones).@ 
minimalism in modern music 

george romansic 


op 6 
Eno-Seven Deadly Finns — Later 
On (collage from excerpts of Eno 
~ Fripp No Pussyfooting collabor- 
ation) (Island UK) “Finns” is one 
of Brian’s curious, campy rockers, 
enjoyable but not essential. “Later 
On” is an exceptional and dense 


work. 8 
Roogalator-Love and the Single Girl — 


I Feel Good. (Virgin) It’s not punk or 
power-pop, just a very strong melody... 
could be the theme for a TV show. 
Goodnatured James Brown cover on 


Residents-Satisfaction. (Ralph) A 
classic reissue on gold plastic. Densely 
sinister, intensely funny — not wimpy 
or restrained like Duck Stab. Brilliant 
Snakefinger guitar. B-side is unplea- 
sent, also. 9 

Peter Gabriel-Solsbury Hill. 
Remember this guy from Genesis.. I 
never realized, he sounds like Cat 
Stevens with brains. Verry pretty and 
not unpleasently so. 7 

Gary Wilson-Dreams — Soul Travel 
(22nd Century) Buy You Think You 
Really Know Me first (240 Bermond 
Av., Endicott, NY 13750 $5) and ask 
him if he has any copies of this single 
hanging around. It is atypical disco- 
space-muzak and probably not the 
place to start your Wilson collection. 
i 

The Avengers-(Dangerhouse) Excel- 
lent punk rock from the West Coast 
with especially forceful female lead. 
Everything comes together on this one. 
9 


IMPORTS 


TOP Singles 


by Joseph W. Taco 


By way of explanation: 1 and 2 equal 
poor; 3 and 4 equal fair, 5 and 6 equal 
good, 7 and 8 equal very good, 9 and 
10 equal excellent. 

We're not really interested in review- 
ing lousy singles, although we’ll throw 
one or two in just to establish some} 3% 
semblance of credibility. If you’re from 
a more cosmopolitan area you may 
notice that alot of these singles are 
from 1977. Very few new singles are 
making their way to the nearest big 
city (Seattle) or to the good radio 
station (KAOS). Consequently, I have 
to borrow singles from people who due }} 
to rumor, reviews, or radio-play bought 
them some time ago. This situation 
would be remedied if all record 
companies sent their records directly to 
OP. I’m still working on that. 


flip. 7 

Roxy Music-Both Ends Burning — 
For Your Pleasure (Island UK) 
“Burning” from the maligned 
Siren LP and ’Pleasure” live from 
a deserted, metallic planet. 8 
Tartan Horde-The Disco Brothers 
(Holland) produced by Dave Ed- 
munds. New Scottsman Nick Lowe 
and Horde with their hit “Bay City 
Rollers We Love You” and three other 
off-beat disco-pop tunes. Good- 
inatured and vivacious, very fresh 
indeed compared to alot of the 
precious and pretentious new “new 
wave” groups. 8 


Eater-You — Outside View (The 
Label UK) Punk for British 
surfers. 5 

Johnny and Self-Abusers-Saints and 
Sinners — Dead Vandals (Chiswick) 
British punk. Good cover. 5 
999-Nasty, Nasty. Green plastic. This 
is what I’ve been waiting for. High 
energy, hard core British punk. 9 


American 
Paley Brothers-You’re the Best. A 
good pop car-radio song, although not 
as sensitive as “Ecstasy” single. 6 
Furys-Say Goodbye to the Black 
Sheep. (Double r, Box 38, Orange, CA 
92666) this is fairly unique in that it 
is not especially loud or strange, but 
has the spirit of what’s good about the 
“new wave”. 7 

Raspberries-Go All the Way. Perfect 
example from early-70’s of power-pop 
— supposedly the next big thing. Tough 
rock guitar, Beatlesque vocals and 
harmonies, and great on a car radio. 
10 

Talking Heads-Psychokiller (acoustic 
and electric) now everyone has the 
chance of deciding for themselves 
which version is more effective. 
Acoustic has more edge but is flatter. 
“Psycho-killer, C’est que ce.. FA-FA 
FA-FA-FA... 8 

Kenny Menard-Why Do We Live In 
Hell.. (La Louisianne) C and W from 
the bayou asks one of the most 
profound questions since “Why.. “ 6 
The Randoms-ABCD - Let’s Get Rid 
of New York. (Dangerhouse) Typical 
second-wave west coast punk. Loud, 
vaguely dirty, energetic, cute. 5 
Roky Erickson-Bermuda — The Inter- 
pretor (Rhino) former leador of the 
13th Floor Elevators -— a great 
psychedelic band from Texas in the 
mid-60’s. The singing here is fabulous 
and the acid-casualty lyrics in no way 
detract. 8 

Jim Basnight-Live in the Sun — She 
Got Fucked (Precedent, 7616 Latona 
NE, Seattle, WA 98115) Unusual and 


Eno and Snatch-R.A.F.  — 
Eno-King’s Lead Hat (Polydor 
UK) Uh, what do I say about this 
one.. “Lead Hat’? from the 
Science LP is one of Eno’s best 
curious, campy rockers. A-side 
with female “new wave” group 
Snatch is excellent, intriguing — 
spoken parts over an... uh... 
unusual instrumental track. 9 


DBO THE STANDING STE 


{CLSISELS BLUSTRAICDS 


“indeed ‘lovely’ ’’/ John Rockwell 


To order your lovely records by mail: 
Complete the following form. 
Single albums are 56 each (inciusive of tax. handling, and postage). 


Please make check of money order payable to Lovely Music Ltd. 


LML 1001 ___ albumsat S6each Robert Ashley 
Private Parts 


LML 1041 albums at S6each David Behrman 


& : rns "i 3 Figure in a Clearing 

infectious, “Live in the Sun” bounds UML 1031 albums at $6 each Peter Gordon 

along with horns. “She Got Fucked” Star Jaws 

is a minute of pure rock’n’roll energy. UML 1021... albums at $6 each ree e he 7 

From the town where suicide and rain tra 1651, 02. lamluris atiseleacn,.MeredithiMoale 

do nothing to prevent supreme bor- Key 

edom. 10 LML 106) albums at 86 each “Blue” Gene Tyranny 
Out of the Blue 


Ramones-Rockaway Beach. Would be 
top-40 if not for the punk undertones. 
Luckily, these guys still need to be 
Processed. 8 

Bloedie-Denis. Blondie reminds me of 
the Singing Nun, it’s a wonder she’s 
not from Canada... but what do ya 
expect from New York.. 7 


albums § 


Total _ payment enclosed 


NAME 


AGORESS 


Lovety Music, Ltd. 
463 West Street 
New York. N.Y. 10044 


COTY STATE 


TELEPHONE 


Jam-All Around the World. — Carnaby 
Street. Who sound-alike or not, the 
Jam are growing on me. They seem to 
hit their groove in the middle of songs. 
7 

The Adverts-Safety in Numbers — We 
Who Wait. (Anchor) Suffers in power 
next to the Jam. Best part: off-beat 
vocals. 6 

Vibrators-London Girls (live) — Stiff 
Little Fingers. I like the sound — punks 
rushing en masse. 6 

The Table-Do the Standing Still — 
Magical Melon of the Tropics. 
(Virgin) B-side is long and artsy, 
mannered vocals, complex. A-side is 
seudo-punkoid. I think this is the next 
ig thing. 6 


Lovely Records 


Peter Gordon’s Star Jaws is one of the 
sexiest albums around. The first track, 
“Star Jaws”, is a Booker T. pelvic grinder. 
I] haven’t met anyone who hasn’t started 
moving when they heard this. I lurch 
around the room, feet shufflin’ and mouth 
_|hanging open. A neanderthol boogie.. But 
;\it has a strange twist, like the MGs are 
dyslectic or something. The next cut is a 
boyfriend-girlfriend song. One of the best, 
it’s so cute it hurts. ““A boy who’s got no 
girlfriend ain’t got no problems — A boy 
without a girlfriend ain’t got no morals — 
A boy without a girlfriend he don’t know 
what to do.” Oh this guy has lost his love, 
he’s in bad shape. He’s confused. He needs 
her back. Oh baby. “Hey love, where have 
you gone to.. ” This time though its the 
Residents on backup. At least it starts 
sounding that way. It degenerates. 

The last cut on the first side is the killer 
on the album. "Macho Music” is progres- 
sive jazz turkey in the straw. It builds, it 
grows, it comes. This song is dense, lush, 
gold and silver love-making. A Gustav 
Klimt. (A who.. Who writes these things.. 
-ed.) It rocks, sways, and I lose my mind. 
This is where Gordon gets so sexy. His horn 


by Mark H. Smith 


Robert Ashley Practices voodoo. Put on 
either side of Private Parts and you will 
shortly become entranced. The voice, like he 
drinks clorox, the words, and the music... 
Ashley knows the power of words, he lets 
them run untethered. Listen to this record 
and don’t count on being too articulate for 
awhile. You get tranced out. It is another 
powerful hallucinogen. What Ashley des- 
cribes is easy to visualize, but the total 
effect is like walking into a time warp for 
twenty minutes. Don’t wear tight clothing 
while listening to this. Don’t even move. 
NOT RECOMMENDED for parties.. 
While he recites, with tabla and mellotron 
in the background, I’m sure he’s holding a 
doll that looks like me and is sticking pins 
in its frizzy-haired head. Unfortunately, | 
think he leaves them in permanently. 


Nick Lowe-Halfway to Paradise — If 
Don’t Want the Night To End (Stiff) 
Lowe exudes sincerity and looseness in 
his celebrated “pop” fashion. Whether 
he is either is anyone’s guess. 7 
Creation-Painterman ~ Making Time. 
(Raw) A reissue from the beginnings 
of European psychedelia. Great distor- 
tion. Fun but primitive. 7 

Horace Parlan-A Child is Born ~ A 
Flower is A Lonesome Thing. (Stec- 
plechase, Rosenvaengets Alle 5, 
DK-2100 Copenhagen. Denmark) 2 
pieces for solo jazz piano by a master. 
7 

Yachts-Suffice to Say (Stiff) Owes a 
great debt to groups like the Creation 
— only now it sounds old-fashioned. 
Tea-kettle organ is effective — one of 
the best songs of 1967. B-side is trite 
but infectious... can’t help but sing this 
one. 7 

Lew Lewis Band-Out For A Lark — 
Watch Yourself. British blues-band. 
A-side is strong and B-side is the Little 
Walter tune. The whole thing is 
refreshingly irrelevent. 6 

Hugh Mundell-My My (Jamaica) 
produced by Augustus Pablo, this is a 
typical example of a reggie single. Side 
A is atypical sweet (but good) ballad, 
the flip is the “dub” version of same... 
essentially Pablo fooling around with 
the tape to create a jagged, disem- 
bodied effect. 7 

Joe Gibbs-Security Force (Jamaica) 
A-side is very straight horn- 
instrumental. Percussion adds _back- 
bone (and bite) to the dub version. 
Brittle, tense effect is achieved. 7 
Gorillas-Gatecrasher. (Chiswick) 
Rocks along quite nicely. Uninspired. 


David Behrman’s “On the Other Ocean” — 
“Figure in a Clearing” is like perfume. It 
uses electronics, micro-processor, flute, and 
bassoon. “Figure in a Clearing” substitutes 
cello for winds. It fills the air like perfume. 
Honey perfume. It isn’t academia-anemia 
electronic music and it isn’t in the 
playing. I feel like he’s the Faustian sax/Terry Riley dentist’s office genre either. It 
man. Sold his soul to the devil so he could|is very subtle and beautiful. The flute and 
put his soul in his playing. But his playing/bassoon play with the micro-processor. It’s 
comes straight from the crotch. It’s sweaty|play. It’s like sunny days, five in a row in 
and slimy, it squeals and moans. And rarelyja rain forest. 

(I couldn’t imagine honey perfume being 
The next side is not nearly as outstanding|subtle or beautiful so | borrowed the album. 
as the first. It does have some beautiful stuff]/On first listen I found it ageless (familiar 
ion it. in an enticing way), melodic, reminiscent of 
This album has two problems: |) It’s much|some music of the Far East (meditational). 
too short. I just start getting hot and|The raving punk rocker | was with said it 
bothered and then it’s over. Actually, I}made her feel content, reminded her of 
,, |think that’s the only problem. It’s pop with|being in a long bath with the lights off, and 
a twist, a sexual twist. The musicians on the|she thought of it as being clean-sounding 
album are first rate. Most notably Steve|and uncluttered. -ed.) 

Bartek on bass and guitar, and Tony|Lovely Music, 463 West St., NY, NY 
Johnson on drums. This has become, over|10014, all Lovely Records $6.00 
Elvis Costello’s new one and everything, my |post-paid. 

favorite new album. Note: Mark H. Smith doesn’t write about 
(So what is the second bad records. What’s the point.. @ 


roblem.. -ed.) 


Why criticise.. OP is not a writers pape 
For excellent writing about music we’ 
suggest something like the Village Voice 
from NYC or Sounds from London. We ar 
people driven to share our passion for musi 
with you. We think people sharing 
themselves with other people is more 
important than anything. As a critic OP has 
no great insight. OP the critic can only hope 
to interest others enough so that they will 
make an attempt to hear (or re-hear from 
a different perspective) the musics they have 
missed or dismissed. Whether Joe's taste 
matches your own, or whether it is “better” 
or “worse” than your own is irrelevent. OP 
is in one sense a_ political humanist 
movement. We attempt to support musicians 
who have not taken the well-trodden path. 
We would like to support those artists who 
can use our support the most. Simple, 
ch. om ‘ 


8 OP 


The OP Playlist 


Iggy Pop and James Williamson: Kill City 
(Bomp) 3 


Rocking the World : 


OP Plugs 
OP once again plugs Life In Hell (6447 
Orange St., Suite 105, L.A., CA. 90048.) 
It’s an expensive look at the underworld 
($950), but it’s about the cheapest that’s 
urrently available. No.5 is bigger and 
better than ever. I’m not much for comic 
books (have no feelings about Howard the 


Duck), but this is different. For one thing ° 


it’s the best use of xerox I’ve ever seen, and 
it tempts me to throw this typewriter out 
the window and enroll in the famous artists 
chool that | saw advertised on my matches. 
Where are my matches.. No matter. Pierre 
Bemis, or whatever he’s calling himself 
these days is one of those astute observers, 
land what those rabbits say can really shake 
you up if you happen to read the words that 
appear in baloons. One rabbit (they all look 
alike to me) talked about ‘forbidden words” 
in No.3 — those cringe-inducing words and 
uphemisms that have been popularized by 
the hippies. How long, | wonder, will it take 
before “puke” and “‘feh” and “‘alienation” 
and “angst” and “ennui” and all those 
Onomatopoeic words used by *punks” and 
‘new wavers” leave a gagging sensation in 
is throat.. am 


stevo’s “Must-Haves” 


Here’s a short list of records you have 
probably never heard. They are gems that 
anyone would immediately love. Fun 
recordings like these wilf not only break the 
ice, but will serve to provide proof that 
independent labels can often be superior to 
the majors. (Note: because they are small 
abels there are limited copies available. 
jrab them while you can.). 

“All Penguins Arent Catholic” - “the 


oy 


87115) Bears selling bracelets out of human 
nails and a logical explanation for the 
Farth’s near-perfect rotation on its axis 
(penguins jump into a great ice-hole when 
ne pole becomes too heavy.). 

“Mankind” Son of Pete (Beserkley) 
The munchkin symphony orchestra at their 
very best: Why was this cut out of the O7 


mMevie 


RARE ROCK ON CASSETTE. 
Bowie, Devo, Wailers, and more. Send 2 
stamps ~ IRCs for interesting list. Write: 
Penguin, PO Box 5816, Santa Monica, 
CA, 90405. 


What do you know about the group The Second 
Society.. z 


AFTER ALL THESE MONTHS, I HAVE DEONED 
2 TIC LITTLE PRAMERS.,. THATS 
ne (1 TIME FOR ANOTHER KEFTY pose cF 
Fouxs, \T © RELP HOS MAKE IT THRDI 


ANSWER MOUR PATHE 


€ THE INTELLIGENT, 


“Bowlegged Women” — “I Can't 
Without You” - Bull “Moose” Jackson. 
(King — Guston Records, 220 Boscobel St., 
Nashville, TN. 37213) Yet another 
candidate for your section of “erotic record 
art” discs. Fun and nasty in a be-bop sort 
of way. 

”’Swimming Pool” ~ “Cannibal Cutie” - 
Herb and the Spices. (BNWRC, 300 Vine 
St., Seattle, WA. 98121) Asked for a menu 
and got handed a mirror. 

Sleepy Stonewell’s Brotherhood Boogie” - 
“Excerpt: Robert O. Smut” = Thorndike 
Pickicfish Pacifist Choir (1.0-Fi Records) If 
you can find this please Iet me know. 
Bizarre and crazcd. 

“Crotch” “White Boy Musician Blues” 
Rebecea (Beast, PO Box 6041, Sk, CA. 
94103) Battle of the bulge revisited with 
new twist make love not war. What.. This 
is a wonderful classic that should have been 
Written in the “30s so Stash Records could 
have picked ito up for their Copulatin® Blues 
lal? 


Robert Nighthawk: Bricks In My Pillow 


(Pearl — Delmark) 


he Violinaires (Jewel) 


Pere Ubu: The Modern Dance (Blank) 
Wire: Pink Flag (Harvest) 


he Leopards: 
Moon) oH 
New Music For Electronic and Recorded 
Media (1750 Arch) ey 
Robin Williamson and His Merry Band: }:: 
[American Stonehenge (Flying Fish) 
INick Drake: Pink Moon (Island) 
Lester Bowie: Rope-A-Dope (Muse) of 
evolutionary Ensemble: The Psyche —: 
RE) oR 
en Webster: Did You Call.. (Nessa) 
eredith Monk: Key (Lovely) = 
ohn Appleton — World Theatre Music FE: 
Folkways) 
Residents: Third Reich and Roll (Ralph) E: 
ebris (Static Disposal) 3 
ary Wilson: You Think You Really Know [= 
e (BTW) 
ommy Hoehn: Spacebreak: (Powerplay) 
ohn Cale: Vintage Violence (Columbia) Fz: 
atfield and the North: Rotter’s Club 
Virgin) et 
Barnaby — Candid Jazz Reissues (dist. by 
anus) 
ivin’ With the Refugees From Hasting 
treet (Chiaroscuro) 
Hamiett Bluiett: Endangered Species (India 
avigation) 
ir: Air Time (Nessa) ss: 
Kevin Ayers: Shooting at the Moon ES 
(EM1) a 
INico: Marble Index (Elektra) 
Michael Mantler: Silence (Watt) ; 
Robert Wyatt: Rock Bottom (Virgin) oe 
his is Reggae Music,’ Volumes 1-2. 
(Island) a 
Memphis Slim: USA (Pearl — Delmark) Ss: 
Original Five Blind Boys of Alabama: 
Swing Low, Sweet Chariot (Jewel) RS 
David Johansen (Blue Sky) 
Gencration X (Chrysalis) fee 
Brian Eno: Before And After Scienc 
(Island) 
Big Star: No. | Record (Ardent) 
Louie and the Lovers: Rise (Epic) 
MCS: Back In the USA (Atlantic) 
Pagliaro | (CBS) 
Andy Pratt: Shiver In the Nigh: 
(Nempceror) 
Suicide Commandos: Make A Recore' 
(Blank ~ Phonogram) 


Kansas City  Slickers a 


Troggs: Love Is All Around (Fontana) — 
Armand Schaubroeck Hh Live At Holidas 
Inn (Mirror) i 
Velvet Uoderground: Live L969 = 
(Mercn:y i @ 


some openings and I thought it would be 
advantageous to apply. 

The idea is that radio is not something that 
is necessarily a priviledge. It’s a tool like any 
other tool; a microscope, a book, a stethascope. 
Its like art, a painting. Its creative. You can 
use it as an outreach _of your own self, to 
explore things about yourself. You can use it 
to share things with other people. There are 
just lots of possibilities. That is the idea of 
community radio; to expose to as many people 
as possible those ideas. It isn’t as heavy as it 
might seem. 

Guide: What is the function of the Advisory 
Committee? 

Steve: Well, the actual function is to ensure 
that the station is legal and to pick the station 
manager. Beyond that I don’t know that it 
plays a real major role. 

Guide: What are some of the things the 
Advisory Committee could do? 

Steve: The Advisory Committee should be 
exactly that. They should be. advising. They 
should be in a situation where they have 
knowledge about radio. Right now we have 
Doug Ekblade on the board. He’s from KRAB 
and people like that are an asset to the 
Station. The station manager can come to the 
meetings and say, “Look, we're having this 
problem, this problem and this problem. What 
can we do? Let’s talk it over.” And it gives 
him or her something to bounce ideas off. 

Guide: Are you saying they should be radio 
people? 

Steve: No, interested people who have a 
good worldly perception. People who have new 
ideas and can give some fresh perspective. 


Guide: What is happening to radio? 

Steve: It’s really scary to me. Commercial 
radio is very scary. There are very limited 
kinds of music on each station. There are very 
few stations, which really play a diversity of 
American musical culture. I don’t know of any 
radio stations that do international music, 
beside community stations. People who listen 
to radio really get a limited perspective. The 
radio stations try to do that. They’re looking 
for a market and they try to play up to that 
market. 


Guide: I presume you're leaving KAOS 
now that you've graduated? 

Steve: Right. I’m going to be moving to 
Seattle to study for the M. Cats, which is the 
medical school admissions test. Ill probably 
try and get some sort of position in a radio 
station over the summer. Other than that, I 
don’t have any long range plans, although I 
may well get involved in the future, with a 
cooperative community station just to be 
supportive of something like that. I think that 
community stations should be supported, so 
wherever I am, if there’s a community radio, 
Tll try to put my two bits in. 

Radio, for me, has been a lot of fun. I've 
learned a lot from radio, about people, 
especially about music. I’ve had a lot of fun 
with my program. The community outreach 
has been great, the responses have been very 
positive. We've had a lot of talk shows and 
things like that. It’s just been great. But my 
real love is medicine and what I want to do is 
become a doctor. 


the program guide - July 1978 


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21 


Patti Smith in Concert 


Thomas More Hibbard 


PATTI SMITH is an _ exceedingly 
handsome woman: as one former Black 
Oak Arkansas fan in the audience 
screamed she is “fucking beautiful.” This 
is, in fact, the major point of attraction 
of the Patti Smith Group. The band was 
merely adequate, but not tight, and when 
Patti Smith picked up her Rickenbacker 
the result was an abyssmal wall of noise. 
Her sonics T-shirt did endear me to her 
slightly, however, and her voice did 
sound fuller than on the albums; but 
every song seemed slowed down to 
half-speed (perhaps the result of four 
shows in four cities in four days). 

The major problem with the concert 
was that the intellectual high point was 
so obviously geared to amorality. In the 
song “Gloria” the words “anything’s 
allowed” seemed to reflect the attitude of 
the crowd precisely. Anything, to me, 
means anything: and this is a very 
disturbing and threatening concept - 
especially considering the crowd to which 
it was addressed. In addition these lyrics 
are poetry, which means the message 
they contain is more important than any 
other kind of information. “Anything’s 
allowed” may be fine if we use it to refer 
to smoking dope or balling who we want 
or saying ”fuck” on radio free America; 
but if it is to refer to tearing the seats 
of the Paramount apart to be thrown at 
the warm-up band, or standing in those 
same seats blocking the view of persons 
behind, or murder, or thievery, or selling 
heroin to school children, then ll 
intelligent listeners must raise a collec- 
tive eyebrow. 

The information contained in these 
songs is important too. Gone are the days 
when the Rock and Roll audience could 
not understand the rock lyric — this is not 
good-time music; the fans (the same that 
once prefered the neanderthal good-time 
sound of Black Oak or BTO as 
mentioned above) know these lyrics, they 
know that anything’s allowed. Are they 
all to end as rock and roll niggers that 
will drown in their own vomit in a dirty 
hotel room in the manner of their god 
Jimi Hendrix.. 


George Romansic 


Patti Smith may not belong to this 
world. One thing’s sure: She doesn’t want 
to. Her reality is one of symbols 
(Political, psychological, religious); of 
gods and heroes. Totally unacceptable to 
her is the idea of the banal. Rock and roll 
becomes an ecstatic life-giving ceremony. 
An electric guitar serves as a potent 
means of communication (with even the 
dead.. ) and transcendance. She reads the 
Bible while stoned in order to “really feel 
its mystical side” and imagines a cryptic 
significance coinciding with any action 
she or any of her heroes take. 

TEST ONE: Think of some guitarist 
whose solos you've cried over before. If 
you can’t, don’t trouble yourself reading 
any further. 

As with anyone who attempts to inflate 
their own actions to an always symbolic 
level, there is a good amount of bull-shit 
given rise to. Two of the times that I’ve 
seen her onstage I’ve found myself very 
embarassed for her because of the 
awkwardness and superficiality of her 
raps. The way she mixes metaphors is 
atrocious — Jackson Pollack was a nigger.. 
Jesus Christ was a nigger.. That’s funny, 
they didn’t look black. 


TEST TWO: Think of a novel or a 
movie or even a TV show that presented 
a view of life to you so wonderful that 
you didn’t want to go right back to your 
own. Can’t do it.. Why are you still 
reading.. 

The thing that always most embar- 
rassed me about Patti Smith was that she 
could say and do these things as if she 
really meant it. I mean, how could she 
sing with such disarming sincerity about 
spaceships landing to take her away.. 
(“All my earthly dreams are shattered, 
I’m so tired, I quit..”) Why was it so 


important to her to own original copies” 


of the works of Rimbaud, or to have one 
of Baudelaire’s opium pipes.. And how, 
pray tell, did the Fender Duo-Sonic take 
on such special power in her own mind.. 
At the close of her recent Seattle concert, 
she stood alone on stage, flailing at a 
guitar she couldn’t play and creating an 
incredible wall of noise. Later, inter- 
viewed, she spoke of that moment with 
surprise, saying that until then she had 
never experienced the blues while on 
stage. It was Seattle, land where Jimi 
Hendrix died and was buried, that 
caused her to stand up there alone, 
enveloped by that pure noise she was 
creating; her fingers working agitatedly 
at the strings, which were breaking; until, 
finally, the last string was broken, and 
the noise echoed and was gone. 


the program guide - July 1978 23 


TEST THREE: Do you own or is there 
available for your use a record player.. 
How loud can it go.. Never found out.. 
Go home, kid, you bother me. 

I am no longer embarrassed by Patti 
Smith just as I am no longer embarrassed 
by the wisdom of children. Both can be 
as stupid as logs, but both seem to have 
an input into a world that we see less and 
less of as we grow up, and just maybe 
stupidity is an integral part of that world. 
When Patti Smith sings that ‘“anything’s 
allowed”, she’s talking about that world 
and not about tearing up the seats or 
about murder or about anything like 
that. When she sings — whether she’s 
being smart or stupid she always means 
it — she gives me an idea of what freedom 
is all about: freedom to be smart or 
stupid, but to always mean it. 

TEST FOUR: Do you ever do things 
that you know are dangerous just so 
you'll know what tt feels like.. No.. What 
is it you’re doing here.. 


WHEREVER 
YOU GO 


Everyone knows 
Budget Tapes & Records 
has the lowest prices 
in town for albums. 
But don’t forget that 
goes for tapes, too! 
7.98 List sells for 5.99 
everyday. 

4.97 on sale 
Drop in! 


214 W. 4th Ave. 
943-9181 


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Open Mon - Fri 8-7 
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RECORD SELECTION 


HENDRICKS 


George Romansic 


FACT: A writer, if he wishes to 
have any effect, must strive to establish 
credibility with his audience. If, for 
example, he were to contribute a 
scholarly treatise on the minimalist trend 
in music and an article on freedom and 
anarchy, he would be unwise, considering 
the tenuous nature of the views expressed 
in each, to also submit for publication a 
selection which challenges the very issue 
of said writer’s credibility through its use 
of questionable journalistic procedure. 
That issue now spoken to, here follows 
that selection: 


SYSTEMS FOR EVERYBODY 

In which eight recent albums, not all 
of them heard by the reviewer, are judged 
and disposed of with a minimum of fuss. 
The albums being 1) The Stranglers: 
Black and White (A and M). 2) U.K. 
Squeeze (A and M). 3) Generation X 
(Chrysalis). 4) Cheap Trick: Heaven 
Tonight (Epic). 5) The Leopards: Kansas 
City Slickers (Moon Recs., Box 4001, 
Kansas City, KN 66104). 6) Tommy 
Hoehn: Spacebreak (PowerPlay, Box 
4818, Memphis, TN 38104). 7) Iggy Pop: 
TV Eye (RCA). 8) Sham 69: Tell Us the 
Truth (Sire). 

Nine categories by which to judge 
various aspects of these recordings in 
head-to-head competition were thought 
up, and here’s how they rated: 


ALBUM COVER 
1) Cheap Trick 
2) Stranglers 

3) UK Squeeze 
4) Iggy Pop 

5) Generation X 
6) Sham 69 

7) The Leopards 
8) Tommy Hoehn 


PRODUCTION 
1) Leopards 

2) Tommy Hoehn 
3) Sham 69 

4) Generation X 
5) UK Squeeze 
6) Stranglers 

7) Cheap Trick 
8) Iggy 


STYLE-pop to rock 
1) Hoehn 

2) Leopards 

3) Cheap Trick 

4) UK Squeeze 

5) Stranglers 

6) Generation X 

7) Sham 69 

8) Iggy 


COMPETENCE 
1) Cheap Trick 
2) Leopards 

3) Tommy Hoehn 
4) Stranglers 

5) Generation X 
6) UK Squeeze 
7) Sham 69 

8) Iggy 


INTELLIGENCE 
1) Iggy 

2) Leopards 

3) Tommy Hoehn 
4) Sham 69 

5) UK Squeeze 
6) Cheap Trick 
7) Generation X 
8) Stranglers 


POLITICAL CONSCIOUSNESS 
1) Sham 69 

2) Iggy 

3) Leopards 

4) Tommy Hoehn 

5) Generation X 

6) UK Squeeze 

7) Cheap Trick 

8) Stranglers 


, re OMPLIMENTS. | 


Hansa Ayes Kt 


HOW IT RATES AGAINST THEIR 
USUAL STANDARDS 

1) Leopards 

2) Tommy Hoehn 


3) Sham 69 


4) UK Squeeze 
5) Stranglers 

6) Cheap Trick 
7) Iggy 

8) Generation X 


WHAT I KNOW ABOUT THEM 
1) Iggy 

2) Cheap Trick 

3) Leopards 

4) Stranglers 

5) Tommy Hoehn 

6) Generation X 

7) UK Squeeze 

8) Sham 69 


LASTING VALUE 
1) Iggy 

2) Leopards 

3) Tommy Hoehn 
4) Sham 69 

5) Cheap Trick 

6) Generation X 
7) Stranglers 

8) UK Squeeze 


Results: The Leopards and Tommy 
Hoehn lp’s come out most highly 
recommended. If you like the hard-pop 
sides of the Who and the early Kinks 
then you'll like the Leopards for sure. As 
for Tommy Hoehn, he sounds an awful 
lot like Big Star (if you haven’t heard Big 
Star you are definitely missing someth- 
ing). Alex Chilton even co-wrote some 
stuff on the record.. Listen to Big Star 
and then listen to Tommy Hoehn. 

The Iggy album sounds like a rush- 
release of some live stuff from the past 
few year. If Iggy’s a hero of yours then 
you'll certainly find moments here to 
rejoice in, but the big difference between 
this and any of his other albums is that 
here the good stuff only comes in 
moments. 

As for Cheap Trick, I still maintain 
(though all my friends tell me otherwise) 
that this album was cloned in the studio 
from IN COLOR; and that, just like any 
clone, it lacks the distinctiveness and 
humanness of the original. 

The Sham 69, Generation X, UK 
Squeeze, and Stranglers records are all 
good ones, more or less, but I’d be 
hard-pressed to make a quality distinc- 
tion between any of them. Check out 
individual reviews in other publications 
for more help (or maybe even in this 
publication). This record reviewing sure ‘ 


is a funny business. 


nS 


——— 


is barnyard friends 


inspected By 
No, 94 


fq case st gatand relives 
this stig with gurment, 


GRETA GRACR 


the program guide - July 1978 


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26 


the program guide - July 1978 


MONDAY 


IN LIEU OF: 


7:00 

John Michalovskis 
Every month someone asks for a program description. Well what 
can | do but write a snappy: “It’s wonderful ya’ gotta listen to 
it..” Listen to what.. 

Why, an hour classical. Sometimes good ol’ stand by’s like 
Brahms, Mozart and sometimes something you've never heard 
before. 

Then from 8-9 down home folksy or sometimes some Irish. 
Listen in for a surprise. 

9-10 a whole hour of out of this world Latvian music. Mostly 
ethnic and traditional sometimes modern. 

10:00 STRETCHIN’ IT: 

Fran Morgan-Tougas 
Jazz, ethnic and avante-garde programming designed to educate 
and stimulate as well as to entertain. 


1:00 BLACK AND BLUE ALL OVER: 

Lon Lawrence 
The title says it all for this new summer show; basically Black music 
from.all parts of the planet, although the U.S. of A. will be our focal 
point. We are going to get up with Reggae, good time Blues and 
early Jazz, as well as get down to some serious searching for musical 
roots in places like the Mississippi Delta, New Orleans and of course 
Africa. | encourage suggestions, comments, facts, history, advice, love 
letters and used paper bags. Please send it all at once to Box 45, 
KAOS FM Radio, Olympia Wash. 98505. 


3:00 WOMEN’S MUSIC AND MORE 
Diane Halpern and Becca Todd 
Women’s music, etc. 


4:05 REPORT TO THE LISTENERS 

A few moments of commentary and information from the folks 
who bring you KAOS. If you'd like to hear something discussed 
on this program, phone 866-5267 or write to KAOS, PO Box 1125, 
Oly., WA 98507. 


5:00 TO BE ANNOUNCED 
This time slot was still open as the guide went to press. 
7:00 CITY COMMISSION AGENDA 


7:05 VARIETY SHOW: 


Toni Holm 
“Each week at this time Toni pulls out the greats from the collections 
in the KAOS library, in the interest of broad and varied musical 
horizons (or something like that.) 


Let’s make THE PLACE our place! 


with this Coupon 


BURGER & FRIES 

2 FOR THE PRICE OF 1!! 

4 - 7pm Mon - Thurs 
866-8213 


THE PLACE 
6 am - 8 pm 


ee 


r] 7:00 


5244 MUD BAY ROAD m | 


TUESDAY 


The Tuesday schedule will vary slightly to accomodate the City 
Commission Meetings which are broadcast live. 


CITY COMMISSION MEETING BROADCASTS: 


3:00 pm 

7:30 pm 

3:00 pm 

July 25 7:00 pm 

July 5 3:00 pm (This is a Wednesday.) 
There is no meeting on the 4th of July 


July 4: 
July 11 
July 18 


Commission meetings are normally held at 3:00 on the first and 
third Tuesdays of the month. and at 7:30 on the second and fourth 
Tuesdays. These meetings will be broadcast live. 


7:00 MUSIC FOR SMALL ROOMS: 

Mark Bonin 
Listening to one Seattle FM station one evening, we heard 3 
Brandenburg Concertos played - one of them twice.. Because 
there are plenty of good composers of classical music without 
the last name of Bach, I’ve consciously avoided playing any of 
his pieces. But he did write some good charts, so | finally played 
a violin partita of his. But that was only after playing pieces by 
people like Jeanne Farrenc, Lili Boulanger, and Heitor Villa-Lobos. 
So for a variety of chamber music, break your fast with Music 
for Small Rooms. 


| really enjoy hearing from people who are listening,.and appreciate 
everyone who's called up to say how much they like the music | 
play. If you have any favorite chamber pieces, feel free to call me 
and request them. 
10:00 MUSIC FOR A SUMMER DAY: 
Space Ruetz 
Really, there is just no way to describe the show. You'll just have 
to listen. After all, everyone Knows the show is ninety nine percent 
music (Rock, Blues). And I’m sure you're familar with our 
programming practices. So listen in, listen up and enjoy. 
Requests taken cheerfully courteously and quickly. A special 
reminder too: listen to Internews at 10 am and the Community 
Billboard at 12 noon. 
1:00 ALBUM PREVIEW: 
Natalie Coleman 
Each week Album Preview will air new albums, as well as old, 
obscure, and seldom heard ones, in their entirity. Tune in for 
refreshing, virtually uninterrupted music. Call (866-KAOS) if you wish 
to request something in particular. 


3:00 (alternating with the CITY COMMISSION MEETINGS) 
Heather Perkins and Alex Stahl will play selections ranging from Irish 
Folk to British Jazz. 


DIVERTIMENTO: 
Brad Furlong 


| Divertimento returns for two hours bi-weekly with Baroque, 


Rococo, and Classical music presented in honor of the composers 
and classical radio’s patron saint DeKoven. 


9:00 LYRIC OPERA OF CHICAGO BROADCASTS 


WEDNESDAY 


OPERA 6:30 MOTORCYCLE TOURING: 
: ; Greg Falken 
7a program will be hosted by a person knowledgable on the Motorcycle touring is a strange form of entertainment. It involves 
subject. Recorded opera and live commentary nothing more than getting on a motorcycle and going for just 


about any length of time, half a day to six months. Some people 


10:00 UNTITLED camp along the way and some stay in motels. There are groups 


Elliot Jones devoted specifically to riders over the age of 45 (the Retreads). 
Bringing you the best in music, with a new direction weekly There are groups that ride together and those who prefer to ride 
(sometimes hourly). alone. They all agree though that getting there is more than half 


the fun. This program is designed to inform the touring rider of 
events happening locally and throughout the northwest. We will 
feature interviews with interesting folks in the motorcycling 
community and selected readings from Road Rider and other 
touring publications. | hope you'll join me in looking at this unique 
form of travel and nomadic living. 


7:00 JAZZ ‘N JIVE IS STILL ALIVE 

Lon Lawrence Schieder 
Good-bye to Pat and Dana. June 7 was _a shocking day to Radio 
Ethiopia fans as they eagerly crowd around the living room radio 
(bedroom radio...) at seconds before 7 pm only to be outraged 
by the lack of rock and roll and the mysterious and total 
disappearance of Radio Ethiopia from the air waves. 

But wait - take heart.. This new upstart promises to uphold 
the tradition of exciting radio within his newly allotted hours of 
7-10 pm. Yes, and furthermore, | promise to air at least a 15 
minute dose of Patti Smith and Tom Waits to ease the pangs of 
withdrawal 

The rest is a secret. 


2:00 LIFE IN THE CITY 


Calvin Johnson 
Contemporary and 60's rock with news articles of import. 12:00 Jeff Amsrad 


Se = S 


Come in and compare 


You'll not find 
A Better Deal 


From Us: 
The Good Feet People 


ADULT STUDENT HOUSING 


3138 OVERHULSE RD., OLYMPIA, WASH 98502 176/866-8181 


28 


_ the program guide - July 1978 


THURSDAY 


7:00 CLASSICAL CONSORT 
Kirk Russell 
Enjoy the tastiest selections of Baroque and Classical music. 


10:00 PARAPHERNALIA: Rob Macht 


Jazz and Soul music for swingers and swingshifters. 
Miles Davis once said, “Ycu can’t fight if your ass ain’t tight’. Tune 
in and find out what it all means. Jazz, Soul, etc. 


1:00 MUSIC 
Joe Murphy 
Basically Jazz and Rock 


4:00 ARTIST’S SPOTLIGHT 

Natalie Coleman 
Join Natalie every Thursday afternoon for a musical anthology of one 
or two musical groups or artists. A fine mixture of music and tasteful 
trivia, from Debussy to Joni Mitchell to Yes. (Listeners are invited 
to request their “fave” group or artist for “Artist’s Spotlight’). 


5:30 ATLANTIC DATELINE 
A weekly taped program bringing rich and varied information. 
Moderated by Edward Morgan and produced by Eli Productions. 


6:00 Bob Sellers and Gary Ernest. 


8:00 PEOPLE, PLACES AND THINGS: 
Judy Hyslop 
10:00 LIFE IS ELSEWHERE: 


; Mark Smith 
Gary Wilson is cool. 


Half Japanese is cool. 
Armand Schaubrock is cool. 
1 am cool. 


SANDWICH SHOP 


Sam - 4pm 
Mon - Fri 
352-7461 


‘BEST HOT CORNED BEEF SANDWICH IN TOWN 
BEST CHEESECAKE ANYWHERE 


WILL CATER: LUNCHES, DINNERS, WEDDINGS, PARTIES 


WESTSIDE CENTER — ACROSS FROM THE BOWLING ALLEY 


admit. Experienced a lot of different things. 
some new, some neutral, some... nutrients. 
You know for future guitar players, big, small 
isometric exercises for your hands. I don’ 
have a lot to say, but I do have a few tips for © 
guitar players. Isometric exercises. 

Steve: Vo you have any tips for teens... 
Patti: That’s about as good a tip as I could 
get. That tip was given to me by Fred Soni 
Smith. Was a group called Sonics Rendezvou: 
Band, which you might be, aah, which wil 
probably come to this town someday, and if 
they do, you'll really have a great time. And 
here’s Jay Dee Daughtery. Jay, how’d you like 
to say a few words on W.K.H.E.D. here. 
Steve: You and I are good... 

Jay: She called you a balding D.J.... 

Steve: I’ve been around, could be. 

Jay: You are going a little bald on top. 
Steve: A lot of people look up to you guys, 
probably because Americans are so isolated, or 
something like that, from each other, and so 
they use music as a binding force. What kind 
of things do you like to communicate to 
people... 
Lenny Kaye: The only thing we communicate 
to anybody is the concept of total freedom, 
that you have the choice and the energy to do { 
with yourself what you will, without restric- 
tions or boundary except the unacessable 
boundary of personal responsibility to your @ 
art. That’s what we tell people. We’re not, like, 
occupying whatever position we hold to the 
people, jealously. We want everybody to have 


_as good a time as we do because as much as $ 


we’re like a band, we’re also, like, a great 7 
audience. We love rock ‘n’ roll you know. 
Nobody is any one thing and so just a question 
of exploring and integrating all yourselves into 
the art of your life. That’s all, you know. 
If we hope to awaken anything in people, it’s 
that; otherwise you just hope they’re havin’ a 
good time. Stays out of trouble, you know, 
keeps themselves positively anarchistic. 
Steve: Thanks. 

Steve: You want to know the story of the girl 
you had on stage... She’s nine years old, goes 


to an alternative school here in Seattle, and 
is the only one in her school who likes Patti 
Smith. They all like disco music. 

Patti: That’s a very heavy school. 

Steve: Yeah... right. 

Patti: I know why they like disco music 
though. It’s because parents buy them all 
these robot toys and take them to see Star 
Wars. And you know disco music is like... I 
don’t know, I’m not against disco music. Some 
disco music I actually like. Radio Ethopia’s a 
disco tune. We should make... Lenny... De, do ; 
de de, do de de do. De do de de do, de de 
do. I bet we could make Radio Ethopia into 
a disco tune. Man let’s sell out to the limit, 
boy. Let’s take... de, do de, do de de do, fuck. 
de do de de... Then everybody could go... You 
know everybody will love that. The faggots 
will love it. It’ll be big. That’s where you make 
your hits. If you could have a really great disco 
record like in a fag bar, you hot a hit. Because 
they know, I mean they know because they 
know how to move, that’s why. They know 
how to move. 

Someone: There’s a good one down on Second 
Avenue. 

Patti: No, I don’t, I don’t go to those places. 
I go home and read scriptures. 

Person: No — I, I, First and Second Ave where 
I did most of my news stories. 

Patti: Amen. Right Mister Kay. 

Lenny: Amen. 


Steve: Do you really read scriptures... 

Patti: Yes I do, son. 

Steve: Sorry Mom, I didn’t mean to offend 
you. But seriously, tell us about what you 
do. 

Patti: What I read... What chapter I’m into... 
I mean is this a test... 

Steve: No. 

Patti: Or is it just curiosity. 

Steve: Yeah, it’s just plain simple curiosity. 
Patti: Oh, you know I try to read it 
chronologically, try to read it chronologically, 
and I got, I got up to the part with Moses 
and... the part I couldn’t take:was when they 
like unleashed like 50 million toads on the 
Roman babies. That was really sick. I mean 
why, I mean why... Like God gets this guy 
Moses. This poor guy who stutters and wants 
to be left alone, gives him a snake that is 
constantly turning into a serpent. You think 
that... I mean, you tell me if this is God. This... 
the Bible has a few loopholes in it. Do you 
think that God is gonna unleash 50 million 
billion toads to like devour Roman babies... 
That is sick story. I mean that is very hard 
for me to believe. 

Unless, He must really be something. I had to 
stop there put it down for a while cause it got 
really confused. So I had to skip some 
chapters. I will admit that. But you know... I 
like this King’s part because it tells... That one 
you can just get stoned and read. There, some 
of them are too politically... you have to take 
political responsibility to read. Some of them 
you can just read, get stoned, they’re really 
good chapters. That’s like King’s, Solomon — 
you know, that era. Solomon, the Psalms 
because it’s just like reading Groomy. Like 
that’s like the whole thing of Reggae music. 
Getting stoned reading like the Revelations. 
Reading things that revelate, you know, like 
reading the radient chapters. Just getting 
stoned and reading them; you can get into that 
scene. I mean their like all different 
interpretations. All different things it’s really 
like a pretty good book. It’s like it’s good and 
better than like “Black Opium,” there’s 
another one. The Children’s Book of Grass. 
It’s very inspirational. The Koran. I mean a 
lot of those books are just great to read when 
you’re stoned. I mean it’s like you know, you 
really know that drugs, if used correctly aren’t 
evil. When you’re there and you're just stoned 
and you’re reading the revelations and not 
getting paranoid but feeling radient. It’s not 
a bad experience. And you can’t... All you have 
to do is check in into any Holiday Inn... 
Actually any hotel. Almost every hotel you 
check in will have a Gideon Bible there. If you 
don’t know where to find one, take some girl, 
check into a hotel. Do as you please and as 
you’re leaving go into the desk and get your 
free Gideon Bible. 

Someone: Patti, would’ you like some 
wine... 


Patti: No, I think I have to go home now to 
see if there’s any boys waiting for me at the 
hotel. You can always dream. 

Steve: Thanks very much Patti. 

Patti: Oh, you’re welcome. 

Steve: And thank you Lenny. 

Lenny: It was a pleasure. 


the program guide - July 1978 29 


FRIDAY 


7:00 CHICKEN SOUP: 

Barbara Shelnutt Trabka 
Good morning. Start your week with three hours of jazz music. 
| will be reading Richard Brautigan’s new novel, “Sombrero 
Fallout’ at.7:45 and community bulletin board at 8:00. Then back 
to solid jazz. Call me for requests. 


10:00 PRIMO STASH FOR THE SENSES: 
Win Vidor 

Every musical note is guaranteed to give you a pleasurable rush 
that will activate the chambers of your mind. Listen each week 
and become reacquainted with your memories as we re-hash the 
music and sounds that were so familiar to us yesterday. 

When you get turned on to Primo Stash, a few of the 
performers you'll get off with are: Dave Van Ronk, Janis Joplin, 
Jefferson Airplane, Moby Grape, Velvet Underground, and the 
Fugs. Each session there'll be selected readings from the 
meaningful publications that chronicled the 60’s counter-culture: 
The Realist, Evergreen Review, Helix, Psychedelic Review, 
Avant-Garde, L.A. Free Press, and Oracles. 


1:00 FRIDAY 1 TO 3 
Laurie Yung 
Laurie will play rock mostly, with pertinent and underplayed 
selections thrown in. 
15.00 
3:00 THE SUMMER GAME.L Dave Rauh 
Dave will give us baseball news, and present Americana in all its 
glory. 
519.00 
7:00 EARWAX 
Alejandro Stahl 
The music in this program (and it’s all music except for the 
Community Bulletin Board at 8 o’clock) is kind of hard to classify; 
most of it’s meant to be that way. | play a lot of what’s been called 
“progressive” music, although some of it goes all the way back to 
the sources as electronic and Eastern music, folk, and comedy, in 
my efforts to provide a program which goes beyond the limits of 
any particular style, while retaining the timeless quality and flow of 
all music. (“Hey, that’s got rhythm-”’) And beyond all that, it’s Friday 
night: do you wanna dance- 


9:00 JONES JAMMIN’: 

P. J. Jones 
What it is Oly.. It happens every Friday night with Phil Jones Mr. 
~P.).”” and “Brother Bry’ Brian Johnson. We say Boo to commercial 
schmuk.. 

Were all about gettin’ up with the get down. Steppin’ yeah.. 
Playin’ the latest and the greatest on the soul and jazz scene. 
So quit commin’ and come on to what's happin’. The best soul 
and jazz in the Northwest. KAOS 89.3 FM is for Rainy Day 
People. 


12:00 OLY AFTER HOURS: 

Margo Westfall 
The time to hear another part of our music culture. Oly After 
Hours features jazz or late night listening with an emphasis on 
live music by local artists. 


6:00 THE SATURDAY MORNING SPORTS BAG: 

Dusty Anchors 
Weekly recap of all sports news. Nationwide and especially local 
sports, (there is a possibility of maybe starting earlier.) Toss in a 
little music, primarily Rock, jazz and Bluegrass. Also a lot of humor, 


and you have all the ingredients for the Saturday Morning Sports 
Bag. 


9:00 ODDS AND OTHER ENDS: 

Doug Anders 
This month, | promise to play the Jazz, the whole Jazz, and nothing 
but the Jazz. So help me Jazz. 
12:00 THE FICTION AND COMEDY RADIO 
THEATRE 
The Not Ready For Reality Players: 
Ford Thaxton, Bill Darkow, Sylvia Darko, Brian Oberquell, Robert 
Earl (Butch) Day, John Sibota, Margaret McEwen. 
This show, recently expanded to 3 hours, is hosted by the Not Ready 
For Reality players, and features a wide variety of programming for 
your listening enjoyment. The Science Fiction portion includes music 
from some of the great film scores of movies and television, news 
and reviews of current SF films, occasional selected short story 
readings, and a new SPECIAL weekly feature: A column of news, 
reviews, and general observations from the west coast editor of 
STARLOG magazine, David Houston. Backing up the SF will be the 
Comedy portion, featuring comedy ranging from the insane to the 
sublime, from nutty nuances to silly songs, from Cosby to Carlin, 
encompassing the old and the new, the bad and the good, the left 
and the right, the to and fro, etc. Be ready for the unexpected. 


SCIENCE 


3:00 THIS IS YOUR RADIO SHOW: 

This time is reserved in the KAOS schedule for people new to 
programming to do a special one time program in an area of 
public and community affairs, performing arts, music, political 
commentary, etc. The person or persons doing the show come 


Custor Lao 
Setcialty Pizzas 
Hack Bread 


OURS 
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Wen from [1:00a_ mn. (noo 
Sat. é Seay une 
LI :502m.( 7:30am. 
Fri.¢ Sat. rights) 
cHaster Charge BarkAnericard 
Lb Go orders ¢ phone-ahead lunches 


Corner ofStatepZar 943-9649 


to KAOS and work with a licensed engineer who can facilitate 
the technical side of the show. Or if you can’t make it on a 
Saturday, don’t worry, your program can be recorded and 
someone from the station will air it during the show time. If you 
or your group would like more information call the Program 
Director, 866-5267. KAOS is a community access radio station; 
it wants you. 


4:00 SAME TIME NEXT WEEK: 

Dave Rauh 
Stay tuned every Saturday for the best in new rock and odd 
ditties. Also, articles from the Wall Street Journal on everything 
from candy bars to goose hunting (no kidding...) 


7:00 COUNTRY FOR THE MOST PART: 

Greg Falken 
Country for the Most Part dips, at various times, into cajun, latin 
and folk music. But for the most part (see where that comes in...) 
| play country music, progressive country, bluegrass, country and 
western, you get the idea. A feature of the program that we 
must say goodbye to this month is the Chelsea House Concert 
series. It was a wonderful series and | would like to thank the 
Chelsea House Folklore Center for providing it to us. | will attempt 
to keep it’s, time slot, 8:30 - 9 p.m., filled with other taped live 
performances and | hope | can keep up the high standard that 
Chelsea House set. So anyway, listen in and see what you think. 
You may find that you like this strange genre more than you had 
anticipated. 


10:00 THE POSTLEWD HOURS: 

John Henshell 
This is a progressive country. music radio program. “In an age 
of labels,” according to Steve Morse, “It was inevitable that 
someone would coin the term ‘progressive country’ music. It was 
just as inevitable that people would have a frantic, and 
occasionally silly, time of defining it.” Waylon Jennings says, “If 
it was appearance and arrangement and instrumentation that 
made country usic, Dean Martin would be the greatest country 
singer in the world today...” As Christopher Wren (Moscow critic 
for the New York Times) puts it: “Country music is really the 
American Sound” (not to be confused with the Pungent Sound). 
John D. Loudermilk, speaking of the consciousness of that 
American sound, says, “We're (America) in such a mess right now 
that our music (country) must reflect the turmoil that we’re going 
through. We need... decent dialogue. Country music can be the 
real vehicle from which the broadsides come.” The Country 
Music Association once formed a committee (DTF...) to define 
country music, ard they gave up (you could do some research 
on the CMA, and read all about Connie B. Gay). Other 
performers, writers, and critics are more precise and dogmatic. 
Rhodes scholar Kris Kristofferson simply says, “If it sounds like 
country... it’s country.” David Allan Coe doesn’t surprise anyone 
when he sings, “| don’t need some turkey tellin’ me that | ain‘t 
country.” A spokesman for BFD Broadcasting Incarcerated 
describes it as “Religious music for atheists; an emotional, sexual, 
witty, or sociopolitical art form of the people originally founded 
by a thelonious monk, and devoid of punk, funk, or junk.” The 
Postlewd Hours is a radical radio presented through the media 
of the status quo using their hard and soft ware to the utmost. 
Steve Morse (Pop Top Apr. ‘75) describes the phenomenon this 
way: “TO many listeners, progressive country is the most . 
refreshing development on the current musical scene. It is 
therefore understandable why a larger and larger liberal audience, 
disgusted with the decadence of rock and the boredom of disco, 
have latched onto progressive country... it has been a movement 
Of aftistic integrity.” 


the program guide - July 1978 


SUNDAY 


7:00 THE CLASSIC HICK SHOW: 

Bill Wake 
Classical music; a fine way to ease into the Sunday from whatever 
high energy expended the night before. Contemporary, Romantic, 
and some Baroque, with a touch of joy or comedy. Enjoy this 
time with me if you please. 


10:00 NEW YORK 
BROADCAST: 


PHILHARMONIC RADIO 


12:30 WHAT IT IS: 

: Kidd Rhythm 
My roots are basically from the R and B of the ‘50s. Still, | haven't 
really been exposed to all of the artists and their materials. There 
were only two R and B stations on the Pacific Coast that | was 
familiar with - both were surprisingly staffed by black DJ's who 
knew a lot about R and B. Each, Bob Summerise and “Eager 
Beavers’ owned and operated record shops in the area. This was 
a good set-up - from their shops you could order the pacesetters 
they ‘were playing. Some of the standard retail record outlets 
would order the requests but that meant waiting for the 
distributor. Just as neighborhoods were segregated, so was music. 
if a white person wanted to hear black music... there were black 
stations and white stations. The same thing went on in the record 
shops... the black music would be available only in black 
neighborhoods. White shops had to special order it. In the ‘50s 
a white person going into a black part of town to buy or dig 
music was labeled trash by other whites, whose negative 
impression of R and B had labeled it as race music. Through the 
early “SOs up to the early ‘60s we will travel with various vocal 
solo and group performers who influenced the white industry. 
An example can be seen by comparing rock and roll of the late 
“50s with the R and B of the early ‘50s. In a number of the top 
rock and roll performers we can see the black influence on the 
white idols. Bonnie Raitt, Ry Cooder and the Beatles are just a 
few of the familiar names that have recorded R and B material. 
Now you can listen to the original recordings from the 78's, 45's, 
and LP’s on the first and third Sunday of the month from 12:30 
PM until 2:00 PM and the rest of the Sundays from 12:30 until 
3:30. 


2:00 THE 2 O’CLOCK COUNT: 

“Robbin Crook 
Robbin Crook first became interested in the criminal injustice 
system when he got busted and sent to the joint for possession 
of three-quarters of an ounce of pot. Since his release he has 
been talking to other people who've been convicted of victimless 
crimes. The 90 minute program usually features music and 
interviews that focus around a person’s stories and struggles. 
They're all interesting, some more than others. 


3:30 THE LIGHT: 

Susan Hamblin and Bob Sellers 
Our show, as our lives, is centered around God and His 
unaboundable love. We try to tell people of this through songs, 
talk, and testimonies of outside people. We have hopes that you, 
too, may experience this peace personally and to tell it among 
the world. Besides the personal experience we just wish to ‘raise 
the awareness of religion and Jesus. We would like to see Olympia 
become a little more involved with Evergreen and Evergreen with 
Olympia, so in our way we are doing that, between church and 
community. 


5:30 EUROPEAN ROCK; TWO SCOOPS PLEASE 
Rhoda Fleischman 
European Rock, with a few exceptions of course. Is your idea of 
European Rock the same as mine- Give me a hint - call KAOS. 
And every Sunday from 7:00 to 7:30 you'll hear a fantasy or 
Science fiction short story. Now reading the second book in The 
Chronicle of Narnia by C. S. Lewis. 


8:00 IT’S GONNA RAIN: 
Todd Parry and Dennis Bloom 
Oh yes, the summer time. All this sun and hot weather but when’s 
it gonna rain- Well at least you can hear it if you can’t see it. Sunday 
nights and then some. Oh yes, new hours. Just look at the bright 
side of this thing... Relaxing on Sunday nights to the coolness of Yer 
Radio will keep the fleas away. 
July 16: Excerpts from the Northwest Regional Energy Conference 
starring: Senator Jackson, James Schlesinger, and Dixy Lee Ray. 


11:00 THE POSSIBILITIES ARE ENDLESS: 

David Gordon, Dr. D. Hakenbush, Tom Hood, Oswald MyGum, 
Jeff Jacoby, John Safeway, Franklin Ruiz Ill, Professor Pearson, and 
anyone else we can pull in from out of the sewers, or off the 
street. 

Through the benificent wisdom of K.A.O.S. FM The Possibilities 
are Endless is now being aired at 11, that’s 11 o'clock instead 
of 12. No more confusion: about what day it is... 

Now I’ve seen these boys work,and believe you me, they work 
hard long hours to bring you the best in live and prerecorded 
sound source recordings, radio theater, and controlled mass 
insanity that, you can’t help but be a part of. A recent poll of 
underground sewer workers states; this is their favorite show to 
catch small furry creatures by. This show not only has social 
significance, but also carries a broad political base. Failure to 
participate will result in a serious status: loss. 


ALL WAYS TRAVEL SERVICE, INC. 


Bae 


ays 


Wesrtsive Snorprinc Center 


OLYMPIA. WASHINGTON 943-8700 


the program guide - July 1978 


JULY 


an 


NON-COMMERCIAL COMMUNITY RADI: 


OLYMPIA WA 98505 


KPOL 


Performances start at 9 p.m. One dollar cover. 


1978 


JULY 6 
GRACE WHITELY 
& WILLY FROST 


Swing & Folk 


JULY 7 & 8 


TIM McKAMEY 
& MARK FILLER 


Folk 


JULY 14 & 15 
PEACE BREAD 
& LAND BAND 


Original Folk 


JULY 21 & 22 

SCOTT LAWRENCE 
TRIO 

dazz 


JULY 28 & 29 


JEFFERY MORGAN 


Exploratory sounds 


Downtown Olympia, corner of West Thurston & Capitol Way. 943-1371. 


206/866-526 


Permit No. 65