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daggerzine · 5 years ago

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Ray Farrell on music and his time at SST, Blast First, Geffen and many more.

Ray Farrell has had a lifetime surrounded by music. First as a fan as a young kid and then eventually working for a series of record labels. He’s obviously a fan first and foremost as you can tell by reading below. It also seemed like he was there at the beginning of some major music scenes happening.

I had met Ray very briefly at one of the A.C. Elks hardcore shows that Ralph Jones put on in Atlantic City in the Summer of 1985 though Ray doesn’t remember it (honestly, a bunch of us were standing in a circle and chatting so I’m not even sure if any proper introductions were done).

Anyway, knowing some of the record labels that Ray had worked for I wanted to hear the whole story. I contacted him and shot him some questions and he was more than happy to elaborate and let us know where he’s been and where he’s going. Take it away, Ray!

Where did you grow up?

RF-Jersey City and Parsippany, New Jersey in the 60/70’s. I have two younger brothers.

What did you listen to first…classic rock or stuff earlier than that?

RF-Rock wasn’t classic yet. My earliest memories of music are my parents’ modest collection of 45’s and grandparents’ 78’s. My mom had a handful of singles on Chess and Satellite (pre-Stax) that she said fell off a truck. We rented our house from a family connected to the mob. The records probably came from them. My mom and her sisters often sang Tin Pan Alley era songs at family gatherings. Harmony was encouraged!

Some records I heard as a toddler stayed with me forever. Lonnie Donegan’s “Does Your Chewing Gum Lose Its Flavor?” is a skiffle classic. Chuck Berry’s “Guitar Boogie” and “Last Night” by the Mar- Keys are still favorites. I remember being spooked by the overblown production of the “Johnny Cash Sings Hank Williams” e.p. on Sun Records. In the mid 60’s, my mom had top 40 radio on in the house unless my dad was home. When I was in kindergarten, a high school neighbor in our building babysat me for a couple hours after school a few days a week. Her girlfriends came over regularly. They listened to a lot of doo-wop, which I still love today. The babysitter and her friends taught me how to slow dance, even though I wasn’t nearly a full grown boy. J

My best friend in 7th grade was a Beatles fanatic and we immersed ourselves in decoding clues to the “Paul McCartney Is Dead” gimmick. That was a brilliant scam and a fun short term hobby. It was a deep dive into The Beatles music as a junior music detective. By the time I started buying records, The Beatles were on their way out.

I happily lived for many months on only three albums-

CCR’s “Bayou Country”, Iron Butterfly’s “In A Gadda Da Vida” and the Beatles “Sgt. Pepper.” I joined the Columbia Record Club. I got the first twelve albums for one buck. That was a popular scam. Those first twelve records shaped my taste because they were the only records I had. I didn’t know what to order but I chose very well in retrospect. After that, I bought a lot of records. I didn’t smoke, but many of my friends did. A carton of cigs cost the same as an lp- 5 bucks.

I learned in 7th grade that if I knew the songs that girls liked, we would have something to talk about. Girls loved Tommy James and The Shondells and The Rascals. I still do! I had a wider range in music taste than most of my high school friends. Everyone in my extended circle loved the Stones, Neil Young and the Allman Brothers. In a tighter circle we were into David Bowie, Lou Reed, Sparks, Todd Rundgren etc. I loved Mountain, Led Zep, Hendrix, Budgie, The Kinks, Alice Cooper, Sabbath. At first, The Stooges seemed too deep and serious for me. A little scary because I thought if teenagers felt like this all over the world, I’m doomed. I bought the album with “Loose” and played that song for weeks before listening to the rest of it. The girl next door had Iggy’ s “Raw Power” album the week it was released. When glam rock was happening in England, there was a weekly NYC radio show that played the Melody Maker Top 30 singles. I was fascinated by T.Rex, Slade, Hawkwind. I don’t recall if prog rock was a tag yet, I knew that I didn’t like songs that rambled on for more than 7 minutes. There were exceptions of course- some King Crimson, Yes, Mahavishnu. I was impressionable. Radio station WBAI hosted “Free Music Store” concerts with local acts. One show was a keyboard group called Mother Mallard that had banks of synthesizers on stage. They were similar to the music of Phillip Glass and Steve Reich, who you would only hear on that same radio station. I talked myself into buying their records, but it took years to comprehend them. I was too young to be listening to such serious stuff. I played soccer and ran track for a couple years. During meets at other schools, I made friends. At parties I heard Issac Hayes, Bohannon and James Brown records. Brown was all over top 40 radio. Rhythm guitar was my jam! Soul and funk records were best for that. I spent many nights listening to AM radio. The signal travels farther at night, so I’d listen to stations far away. It didn’t matter what kind of music it was. Some of my relatives had short wave radios. I was more interested in radio production than short wave content. The production quality has not changed much since then. It often sounds like broadcasts trapped in the ether for the last 30 years.

While I was in high school, it was common for local colleges to host rock and jazz concerts for low prices, sometimes free. The schools had to spend the money sitting in the student union coffers. There was a live music club in my town called Joint In The Woods. The venue began as a banquet hall that doubled as a meeting hall for Boy Scout Jamborees and the like. When it became the Joint, it was a disco. The first night of live music was a show with Iggy & The Stooges. The regular disco patrons were pissed! The guys were mostly goombah’s in Quiana print shirts and bell bottoms. Three or four guys smacked Iggy around after his set. Sure enough, he played Max’s Kansas City the next night as if nothing happened. Because of this club, touring bands were suddenly playing in my town. Badfinger, Roy Wood’s Wizzard, Muddy Waters. The NY Dolls were scheduled but didn’t show up. Springsteen was often an opening act. The N.J. legal drinking age had just lowered to 18. It was a great time. I was still in school, so I wasn’t staying out on weeknights.

I was determined to learn NYC music history by hitting all the Greenwich Village clubs and talking to the owners and bartenders. It didn’t matter what kind of music they specialized in- I was into the vibe. There were occasional scary nights parking near CB’s or jazz spots in that neighborhood. Folk music was on FM radio at the time. A high school friend booked a local coffee house called Tea & Cheese. Mostly locals and ambitious tri-state artists. Martin Mull, Aztec Two Step, Garland Jeffries. Some of Lou Reed’s touring band, The Tots, played there. I went to all kinds of record stores, mainly those that sold rock imports and cutouts. I was fascinated by the street level buzz of a record. In ’74, I heard dub reggae for the first time. The only stores to get that music were in Queens because there was a strong West Indian community there. It may have been the “Harder They Come” soundtrack that got me started. There was a “pay to play” radio station in Newark - WHBI. DJ’s had to buy their airtime. Arnold “Trinidad” Henry had a weekly show playing new calypso and reggae. He was more into calypso than reggae. A lot of calypso was political and comical. Arnold was fascinating! There was often a personal crisis he’d talk about on the air. My favorite incident was when he said that his life had been threatened during the program, so he locked himself in the studio.. Someone called the cops. They convinced him to unlock the door. He just wanted more airtime. Arnold played the first reggae dub track I’d heard- full dub albums were a new concept at the time. Most dub was found on the flipsides of reggae 45’s. One of the shows sponsors was Chin Randy’s Records in Queens. I trekked out there by train to buy my first dub records. That was a trip! Randy Chin’s family went on to start VP Records.

What was the first alternative/independent music you got into? How did it happen (friends? older siblings?)

RF-The term “punk” as a music style hadn’t been coined yet. I vaguely recall equating “punk” with the great “Nuggets” compilation or something Greg Shaw might have writ in Bomp Magzine. I didn’t identify labels as independent. I knew that if the label design was simple and the address was listed, it was probably a small company. There were plenty of record stores carrying obscure stuff. I bought import records from a few NYC stores. I took the bus in until I was old enough to drive. One store Pantasia, was up in The Bronx. I went there one Christmas eve day to get the import of the second Sadistic Mika Band album. The clerk talked me into buying the harder to find first album as well. He said it sounded like Shel Talmy produced it. I knew who that was and it was a revelation to talk to somebody in a record store at that level. That is what a record store should be! I read Phonograph Record magazine, Bomp and Trouser Press regularly. Patti Smith and Television self released their debut singles- those are the first “indie” records I bought, followed by the first two Pere Ubu singles. I remember hearing the Modern Lovers’ “Roadrunner” from the Bezerkley Chartbusters comp on WFMU and thinking that there must be more music like that. It was refreshing.

Seeing Patti Smith and Television perform at CBGB’s changed my life. I connected the dots. I had BÖC albums on which Patti had co-writes. She had a poem insert in Todd Rundgren’s “A Wizard, A True Star” album. She read a Morrison poem on a Ray Manzarek lp. She wrote for rock music mags with distinctive style. I read a brief story about her in the Voice and went to see her do her annual Rock N’ Rimbaud show. Shortly after that she and Television played CBGB’s for six weekends in early ’75. Both bands were really great. Patti didn’t have a drummer yet. Richard Hell was a big inspiration to me. He looked cool. He played bass like he just picked it up the month before. That was a new concept. Television changed bass players in the middle of the residency. Television was the first band I saw with short hair and they dressed like teenage delinquents circa 1962. The CBGB’s jukebox had a good number of 60’s garage records. In my head I conceived Television to be inspired by that music. Made sense to me- Lenny Kaye, who assembled the “Nuggets” comp, is in the PSG. When I went back to see Television headline, The Ramones opened. Seeing The Ramones again, Talking Heads opened. It seemed like the streak of seeing great new bands would not end. They were distinctly NYC sounds. They could not have merged anywhere else. I remember avoiding the band Suicide because I didn’t think the music could be good J. Bands like Tuff Darts, Mumps and The Marbles opened shows but I wasn’t thrilled by them. A CBGB’s band that doesn’t get mentioned much is Mink DeVille. They wore matching outfits like they were playing a low budget Miami dive in 1962J. The club still had the small corner stage. The p.a. was ok and the bands had small amps. The music wasn’t loud in a “rock” way. You could sit at a table right in front of the band. Although we consider the club a birthplace of punk, the club showcased local bands that had been around for a while. I think the club upgraded the p.a. once before building the big stage. I realized at that point that when a band was great or at least interesting live, the records were basic documents of the band’s sound.

What was your first job in the music scene/industry?

RF- Before realizing I wanted to be in the business, I hounded import mail order guys on the phone about non-lp b-sides and albums that weren’t released stateside. I was fascinated by the process. Why were some records not in stores even though they had local airplay? My dad did not listen to much music, but he had an army buddy that made a living in Al Hirt’s band. He came to our house once. He gave my dad a copy of John Fahey’s “After The Ball” album, which he played on. I liked his stories about the session man side of the business. Fahey treated him well. I was generally shy, but when it came to music I would approach anyone I thought I could learn from. I heard horror stories about the music biz in NYC but learned later that those were a mob related labels. At the time, I thought the entire NYC music biz might be that way. I planned to move to California anyway. In high school, I go-fer’d at local Jersey radio stations and talked my way into meeting a few top FM radio dj’s. I thought I wanted to be a professional dj, but my dad wisely talked me out of that. The itinerant radio jock life would not be for me. It was a racket.

In ’76, I took a long low budget cross country trip with my high school sweetheart. Along the way, I stayed in Memphis for three weeks with a cousin who was stationed at the Millington naval base. Got a job at a hip movie theatre that served liquor. I found Alex Chilton in the phone book and spent an afternoon talking with him. I wasn’t yet legal drinking age in Tennessee. It amused him that a fan showed up in his town who was not old enough to drink. En route to Cali, Tulsa, OK was on my route to find Shelter Records and studio , but it shut down and the label moved to L.A. At the time, Dwight Twilley’s “I’m On Fire” was a radio hit. I didn’t think there were still bands like that. Twilley was from Tulsa, but had moved to L.A. by that time.

When I arrived in L.A. I visited small label record company offices. A few offered me jobs or references. I spent two weeks crashing at the Malibu house of a distant family friend. I didn’t want to live in L.A. but I was encouraged by the opportunities. I got a job at the famous record store- Rather Ripped in Berkeley, CA.

Patti Smith told me about Rather Ripped before I left Jersey. In ’75, she and her band went to California for shows in L.A. and Berkeley. The northern Cali shows were set up by the store. She did a poetry reading there. This is well before “Horses” was released. I bought a couple records from the store’s Dedicated Fool mail order service. They had a monthly catalog on newsprint. Thousands of records in tiny font. Every record was described with a few words. This is 1976 and punk rock was just getting started. I worked as a prep cook in a charcuterie associated with Alice Waters’ famous restaurant Chez Panisse. The proprietor knew the record store owners. I wasn’t actively looking to work there, but I talked about music all day every day. They fast tracked me for an interview. Because of a scheduling mistake, Tom Petty interviewed me for the job. His first album just came out and “American Girl” was close to being a hit single. The band came to the store before a local show. Tom overheard the owner apologizing for not being able to do the interview, so he offered to conduct it. It was great. I knew all about his label, Shelter Records. I deliberately avoided talking about The Ramones and Patti Smith because punk was new and against the grain. At the end of the interview Tom told the owners that if he lived in Berkeley, he’d buy all his records from me. The store owner still had to interview me formally the next day, but I knew that I nailed it.

It was owned by two dynamic gents that were connected to Berkeley society and Bay Area journalists. They weren’t typical record store guys. They celebrated the 70’s in the moment. They held court with well known music scribes, musicians, dj’s. They were good friends of The Residents. Perhaps my strangest story is meeting The Residents with the Rather Ripped owners at a S.F. Irish bar that specialized in Irish Coffee’s. I had only recently heard of the group, so I was not cognizant of their marketing myth. At the bar, we were with our girlfriends and wives. One of the Residents tried to convince me and my gf to go back their place for a hot tub session. I laughed out loud and said “geez, what a bunch of hippies”! We didn’t go. In retrospect, I should have gone on the condition that they wore eyeball heads in the tub. At that time, The Residents rarely performed live, but they did in 1975 for the store’s birthday party. The early Bezerkley Records (Jonathan Richman, Greg Kihn) was distributed to stores through Rather Ripped. Their office was a few blocks away. At the store, each employee had unique music taste and expertise. Pop music was changing rapidly with a new energy. Some of us were tapped into it. We all had to know the key new releases in every genre because we were tastemakers. Major labels would beg us to do window displays for new releases. But if they could not find a store employee that liked that artist, it was no go. So, no Pablo Cruise window display. We weren’t against major labels, but we put a lot of energy into selling the ton of music that we loved. Our focus was on imports, indies, promos and cut outs where we could get a good price mark up. We had a rare record search service with customers all over the world. We’d find rare records through trade-ins and by combing record stores all over the state.

There were a few import distributors, but they weren’t hip to many small run U.S. independent releases. That was understandable because bands didn’t often press enough records for a distributor to get excited about. In other words, why spend half your day hunting down records that were only pressed in small quantities. Just as they start selling, you’re out of stock. There gonna sell a hell of a lot more Scorpions’ picture discs! As always, some distributors financed exclusive re-pressings of records that had momentum. The only way to get records like Roky Erikson’s “Two Headed Dog” single or The Flamin’ Groovies’ “You Tore Me Down” 45 was directly through mail order. I wrote to label addresses listed in Trouser Press and fanzines to buy direct in order to sell them in the store with no competition. Major label sales reps didn’t prioritize us because we didn’t shift bulk units of the hits. However, we were so plugged in to the lesser known artists that we were a good place for record companies to try and start a buzz. We could swell 50-100 of a record that all the other stores sold a handful of. Bands showed up at the store while touring. Springsteen bought Dylan bootlegs from us by mail order. Patti Smith’s manager Jane Friedman used the store as a home base when Patti and John Cale came through the area.

Berkeley is in the East Bay of the S.F. bay area. A few months after starting at Rather Ripped, I realized that the city had a rich music scene well before punk /new wave started. There was Fantasy Records, a well known jazz r&b label but best known for CCR; Arhoolie, Solid Smoke, Metalanguage; the contemp classical labels- Lovely Music and 1750 Arch; folk and blues labels like Takoma and Olivia. Of course, bands like Chrome and others started labels to release their own music. Ralph Records was started by The Residents, and they began signing bands. Rather Ripped was also a center for improv, electronic and meditation records.

In ’77 or ’78 I joined the nascent Maximum Rock N Roll radio team. This was well before the magazine. In the early days there were weeks when we didn’t have enough new punk records to fill the two hour weekly show. Tim Yohannon was all about energetic, real rock n roll, so he filled in the program with records by Gene Vincent, The Sonics etc. BTW, Tim applied green masking tape to the three closed sides of every record he had. He gave me a Mekons double single he decided he didn’t like. It was in a gatefold sleeve that he sealed shut with his green tape! Sometimes he re-designed the cover art…never for the better. He made his own pic sleeves for 45’s that didn’t have them. Bands would stare at their own records in bewilderment. Tim was archiving the records of the entire punk and hardcore movement worldwide.

Eventually, Tim brought in Ruth Schwartz, and Jeff Bale as co-hosts- both great people. Jello Biafra was a frequent guest. Tim assembled the “Not So Quiet On The Western Front” lp and later organized syndication for the radio show. I remember hearing the first Disorder ep and thinking -this is the future! J It was exciting. But soon, most hardcore records sounded alike to me. It was like- “Do you want more fries with your fries?” I went to plenty of live shows without knowing a lot about the bands playing them. I was happy when the fashion trended away from jackboots to sneakers…getting a boot kick to the head in a stage dive could be brutal. I didn’t see a lot of skinhead violence at shows, but I know it was changing the scene.

San Francisco and Berkeley were important music centers, activist meccas as well as creative artistic and intellectual hubs. Yohannon had history as an activist. He identified with public protests for causes & social issues. For many teenagers, punk rock was a rite of passage. I think it changed a lot of kids’ lives for the better. The overriding message was to be civically aware of what is going on around you and what affects your life.

Tell me about your time at Arhoolie Records. Where was it located?

Rather Ripped’s owners had a falling out and the remaining owner just wanted to sell records and antiques with his wife. He moved it to a nearby city. Just before the store closed, he told me of an open position at Back Room Distribution, a division of Arhoolie. It was in El Cerrito, a small town north of Berkeley. Chris Strachwitz, the owner of Arhoolie is a legendary record man. He recorded many of his early blues albums with a tape recorder in his car. He owned the legendary Down Home Music store in the same building. Separated by partition behind the store was Back Room. It was an indie label distributor for blues, folk roots music. Rounder Records was still a new label at the time. I gotta admit, when Rounder issued The Shaggs “Philosophy Of The World’ I was in seventh heaven. I worked primarily for the distributor, grooming to be a sales rep but I spent a lot of time in the store. At first, I didn’t yet relate to blues and country music. But there were a lot of touring artists in those styles making a living. It was a strong network of clubs, fans, radio shows and press that fueled it. The store had an incredible selection of obscure 50’s/60’s rockabilly and garage band comps. The Cramps were my favorite band at the time. The rockabilly comps mostly on a the Dutch White Label, were treasure troves of insane songs. My heart was in new music- whatever you wanna call it, punk, new wave, art music. That’s the business I wanted to be in. I used my time to learn more about distribution operations. The people that worked at Arhoolie and in its community were fun music heads. There were a lot of good musicians among them. It was a great time to live in Berkeley.

What was next, Rough Trade and CD Presents? Was that in San Francisco? I went to that Rough Trade store a few times and it was an amazing store.

I knew folks from Rough Trade UK because I bought imports from them to sell @ Rather Ripped. When they wanted to open in the U.S. they contacted me, but at the time the wage was low and there wasn’t enough space to work. I was interested in working in the distribution division, not the store. They speiled something about it being a socialist business. I stayed at Arhoolie for a little while longer. In the meantime, I was offered my own weekly late night radio show on Pacifica’s KPFA in Berkeley- same station as Maximum Rock N’Roll. I took over a show called “Night Sky”, an ambient music program. My interim program title was “No More Mr. Night Sky” until I settled on “Assassinatin’ Rhythm”. The station’s music director was a contemporary classical composer closely associated with avant -garde and 20th century music. A major segment of my show was for industrial, post-punk and undefinable music. I hosted a few live on- air performances with Z’ev, Slovenly and Angst among others. Negativland’s “Over The Edge” program started on KPFA around this time. KPFA was 100,000 watts of power with affiliate stations covering the Central Valley down to Fresno and Bakersfield.

When the time was right, I moved to Rough Trade’s U.S. distribution company in Berkeley. The record store was in San Francisco. We distributed a lot of British records sent by Rough Trade UK, often in small quantities. Rough Trade US was set up to press and distribute select RT and Factory records by Joy Division, ACR, The Fall, Stiff Little Fingers, Crass. It was cheaper and more effective to press in the U.S and Canada. I also distributed some U.S. labels but there was one Brit on the staff that hated most American music. On top of that, it could be a dangerous place to work. One of the staff was importing reggae records and weed from Jamaica to our warehouse. The local connection was shot on his porch shortly after he picked up a shipment! I was lucky to spend a few days travelling with Mark E.Smith of The Fall. He loved obscure rockabilly and garage band records. I was able to return to Memphis for a while to prep the first Panther Burns album for release. Tony Wilson of Factory put up most of the money to keep RTUS going. He was a brilliant character, but I learned from talking with him how not to conduct business. I often got sample records from bands that wanted distribution. Pell Mell’s “Rhyming Guitars” e.p. was the start of my long association with the band. I enjoyed selling records to stores all over the country. I learned about local scenes, records, fanzines, clubs and college radio stations everywhere. Making these sources connect for touring bands and record sales was exciting. Because Rough Trade is British, we had the benefit of connections with club dj’s. We pressed and promoted New Order’s “Blue Monday” single on a shoestring budget. For a long time, it was the best kept secret from the mainstream. I left Rough Trade for Subterranean Records ( Flipper etc) for a spell while working in a record store. The guy that put up the money for the record store ran guns to Cuba through Mexico. Thankfully, not through the actual store. I booked Cali shows for Panther Burns, The Wipers, Sonic Youth, Whitehouse.

Who owned the CD Presents label? I remember that Avengers compilation.

It was owned by a lawyer, David Ferguson. He had a recording studio as well. I didn’t understand why he wanted to run a label. He did not have an ear for music. But we did release a Tales Of Terror lp! He almost released a DOA album that I thought the band would kill him over. Many years later I got into a fist fight with one of David’s employees in a limo ride shared with Ferguson and Lydia Lunch. We fought through the window separating the driver from the passengers. I would love to recreate that for a film. Good times!

My main role there was to set up the first Billy Bragg record in the U.S. Billy’s manager was the legendary Peter Jenner and both were great to work with. They were using CD Presents as a stepping stone to a major label. In the meantime, I knew a few people at SST. Joe Carducci is an old friend. He was pitching me to move to L.A. and work there, but I resisted for a while. I had just met the woman that I knew would be the love of my life. I didn’t want to move to SoCal. Joe gave me an ultimatum. He sent three advance cassettes that convinced me to go- Meat Puppets’ “Up On The Sun”, Minutemen’s “Double Nickels” and Huskers’ “New Day Rising” That’s an excellent recruiting strategy. I later married the love of my life.

On the side I booked shows for bands I loved. Gerard Cosloy asked me to book Sonic Youth first northern Cali shows. I also booked shows for The Wipers and noise band Whitehouse

Was SST Records next? How long did you last there and what was that like?

I was there for three years. “How long did you last there?” sounds like I was biding my time :) I’m often asked about my time with SST.

Carducci hired me to do PR. That meant publicity, college radio, regional press. Video was a valuable promo tool. MTV’s “120 Minutes” program was a great way to promote our records.

In 1987 we put out more records than Warner Brothers. By that time, I hired people to help.

I’ve done a number of interviews about SST. If you have specific questions, shoot. I recall that my social life was almost entirely with my co-workers and bands on the label. I was nearly oblivious to music from other labels. I was a big fan of Dischord and Homestead. Metallica, COC, Voivod and the Birthday Party/Nick Cave were my non-SST staples.

I think around this time I had met you briefly in NJ at one of the Elks Lodge shows that my old friend Ralph Jones put on. Were you living in NJ at that point or just visiting?

You’ve mentioned that before and I don’t recall the specific show. I moved out of NJ permanently in ’76. I came back for annual summer visits to NYC, north Jersey and Philly. Some high school friends went to Upsala College, then the home of WFMU. On my first visit back in ’76 I met Irwin Chusid and R. Stevie Moore. Some high school friends were connected to Feelies before they took that name.

Was Blast First! next? I met Pat Naylor once and hung out with her at a show and she was really sweet.

Yeah around the time I left SST, the folks in Sonic Youth called saying that they had left as well. They wanted me to be involved with Blast First! in the U.S. I knew Paul Smith because he released their albums in the UK. Blast First UK released a number of Touch N Go and SST records. The label was a division of Mute which had a U.S. deal with Enigma. My job was almost entirely “Daydream Nation” promotion. It was so much fun to be able to go deep with one album. We issued Ciccone Youth shortly afterward, which augmented the overall Sonic Youth story. The only other active touring band was Band Of Susans and on a limited level, Lunachicks and Big Stick. It was only one year of work before Enigma cut Mute/Blast First loose. I went on Sonic Youth’s Soviet Union tour and I had a few memorable meetings with Sun Ra. David Bowie called a few times asking about recording studios that Dino Jr and Sonic Youth used. Bowie had a brilliant idea to record Suicide’s “Dream Baby Dream” with Glenn Branca’s large guitar group. We tried following up on it but Bowie was immersed in Tin Machine and other projects.

Was it on to Geffen then?

Yes, Sonic Youth had good meetings with the label. I had recently met Mark Kates who was championing the signing. He suggested that I come in to meet the entire company. He brought my name up with David who said, “we need someone like that here”.

I had fleeting thoughts that working for a major was “selling out”...punching corporate clock. I wanted to apply what I knew on a larger scale.

What was that like, working for a proper major label? Was David Geffen still involved?

On my second day there, David called me into his office. He is down to earth, street smart. Like many of the best in the biz, he didn’t have an attitude. He had met with the Meat Puppets. He sensed that Dinosaur Jr. was important. I reminded him that I was not hired for a&r.

He said- “I don’t assign job titles. If you find something else you’d like to do here, you can pursue it ‘after 5pm’ ”. I found reissue projects like the Pere Ubu box and Raincoats catalog. I recorded a new Raincoats album. I signed Southern Culture On The Skids, Garrison Starr, Skiploader. I assembled and recorded Rob Zombie’s Halloween Hootenanny comp. With Sonic Youth, I pondered making records with John Fahey and Townes Van Zandt. After ten years, it was time to move on.

Tell us what you do now, didn’t you get involved with digital music at some point?

Geffen Records was folded into Interscope in 1999 and I was bored with the limitations of the business as it was. Digital music was gaining ground solely through illegal file trading on Napster. I knew there would be a major shift in the business moving to digital. I worked for the download site. eMusic.com, signing distribution agreements with labels. This was years before iTunes and YouTube. Major labels would not work with us because mp3 files are open source files that could be traded freely without control. They saw eMusic as a facilitator of illegal file trading. Like marijuana use leading to hard drugs! In the big picture, I knew that digital downloads weren’t “sexy”. But at some point, digital music would develop into something easier to track and use. We skipped the major labels. The bigger independent labels understood that digital music would be the future. It was a great place to be. I knew a lot of music, but I had no idea there were so many labels in every country. One label owner told me that I had the best job in the world. I knew that to explain this new unproven music format it could be an uphill climb. So I took the time to research label websites for song samples. That way I could find common ground with label owners. There’s surf music in Brazil? There’s a young female cellist duo in Prague that make energetic music? There’s archaic royalty rules connected to opera arrangements? Bring it on! It certainly changed how I listen to music.

It was a time when business rules and legal rights had to change in order to deal with digital income disbursement. For example, digital downloads could be sold by the song while royalty payments were based on album sales. eMusic was at the forefront of those changes. When iTunes launched, digital music was “legitimized”. Borne out of eMusic was RoyaltyShare which provides a royalty accounting platform for labels. It is now a division of The Orchard and I divide my time between The Orchard and RoyaltyShare.

Who are some current bands you are into?

A loaded question! I listen to a lot of new music. I spend a lot of time listening to records and cd’s in my collection. Of current artists, I really like Steve Gunn’s music. I listen to the projects involving members of Sonic Youth. Bill Nace, Kim’s partner in Body/Head is a guitar genius. Body/Head’s music is a cathartic experience for me. London is lucky to have Thurston Moore living and working there. I think the music they make separately is far more exciting that what Sonic Youth would’ve made if still together.

Lately I’m digging Melenas from Spain, Hayvenlar Alemi from Turkey. Quin Kirchner is a Chicago based drummer that put out a great jazz record in 2018 called “The Other Side Of Time”. I think he plays on Ryley Walker ‘s records.

Because I’ve spent so much time with the music of Sonic Youth, Branca and Rhys Chatham, I crave the occasional dive into instrumental symphonic guitar army and tonal stuff. Current favorites in that vein are Bosse De Nage, Pelican, Sunn O)))

Given the chance I’ll see any performance by Mary Halvorson, Ches Smith, Marc Ribot or Mary Lattimore.

It took me years to get it, but I’m now a big fan of Keiji Haino’ music. Dean McPhee is a British guitarist I really like. I just bought a couple of Willie Lane lp’s on Feeding Tube.

I research music history and the development of the industry. There are historical and social components of every type of music by culture, country, time period. I love stories about riots at premieres of new avant garde works. I read a book about famous classical composers in the 18th Century playing home concerts (salons) where people are talking the entire time…but they are paid handsomely for the performance. Streaming music sites and YouTube are vast repositories of music and cultural documentation.

Do you still make it out to many shows?

I go to two/three shows a month when I’m home and more when traveling especially NY/London. I start work early in the morning so I’m not out late often. I understand why people see less live music as they get older. I’m done with music festivals. The Big Ears Festival is the only Stateside event that might inspire me to stand for eight hours.

I always hear music by new artists that I really like. I don’t always go to see the live show. Sometimes I hear a new band that sounds like a band I liked 20 years ago. I wouldn’t deliberately see a band that uses another band’s sound as a template.

What are your top 10 desert island discs?

I cannot do 10. It’s 20 or nothing. If you say sorry Ray, it will be nothing. FineJ If I’m on an island, I’ll listen to the ocean waves and sounds of nature. If I’m relegated to a desert, I’ll listen to the blood coarsing through my veins.

Miles Davis- Kind Of Blue

Television- Marquee Moon

Peter Brotzmann- Machine Gun

Sex Pistols -Never Mind The Bollocks

Rolling Stones- Let It Bleed

Soundtrack – The Harder They Come

Billy Harper – Black Saint

Kleenex/Liliput- First Songs

Patti Smith Group -Easter

Hound Dog Taylor & The Houserockers- Houserockin’

Led Zeppelin- Houses Of The Holy

Sonic Youth – Daydream Nation

Elvis Presley- Sun Sessions

The Cramps- Songs The Lord Taught Us

Pell Mell -Flow

Procol Harum- A Salty Dog

Sibelius- Complete Symphonies

Lou Reed -Coney Island Baby

Meat Puppets- Up On The Sun

The Kinks- Kinks Kronikles

“Hmm....Flow or Star City?”

Any final words? Closing comments? Anything you wanted to mention that I didn’t ask.

I’ve been involved off and on with the artist Raymond Pettibon for a music project called Supersession. He has made records under this moniker before. This project began in 1990 and stalled for many years. We revived it a couple years ago. I play bass. Raymond wrote many pages of words and lyrics that he passed to the band, encouraging us to write music behind them. It’s different from Raymond’s other records because it is not improvised. Rick Sepulveda, our guitarist is a great songwriter and he wrote music for Raymond’s words. Rick sings a bunch of the songs because Raymond loves his voice. We did a NYC performance in November that was really fun. So now of course, I’m thinking we should play monthly in L.A. We are nearly finished with the album that we recorded at Casa Hanzo, the San Pedro studio Mike Watt owns with Pete Mazich. Raymond is a brilliant man; fun and inspiring to work with. When I practice with Rick, he’ll often break into a cover song deep in the recess of memory. Like John Cale’s “Hanky Panky Nohow” ,Kevin Ayers’ “Oh Wot A Dream” or the Doors “Wishful Sinful”. We may cover a Harry Toledo song. It’s a blast. I hope to have the album finished in July.

Tav, Bobby, Pell Mell and Ray

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watch-the-singapore-grip-s1-e4 · 4 years ago

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certainheartrunaway · 5 years ago

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Ohio/Penn DX Bulletin No. 1429

SB DX @ WW < KB8NW $OPDX.1429

Ohio/Penn DX Bulletin No. 1429

The Ohio/Penn DX PacketCluster

DX Bulletin No. 1429

BID: $OPDX.1429

September 2, 2019

Editor Tedd Mirgliotta, KB8NW

Provided by BARF80.ORG (Cleveland, Ohio)

Written/Send from Strongsville, Ohio

Thanks to the Northern Ohio Amateur Radio Society, Northern Ohio DX

Association, Ohio/Penn PacketCluster Network, the AB5K’s AR Cluster

Networks, NJ1Q & W1AW, NG3K & ADXO, W3UR & The Daily DX, WB6RSE, K8GI,

K8YSE, KT8D, W8GEX & 60m DX News, DL1SBF, DL7UXG & The DX News Letter,

DxCoffee.com, DD0VR, DXNews.com, DX-World.Net, F5NQL, F6AJA & Les Nou-

velles DX, GU4YOX, I1JQJ/IK1ADH & 425 DX News, OZ6OM & 50 MHz DX News,

RN3RQ, Sixitalia Weekly and VA3RJ & ICPO for the following DX information.

DXCC COUNTRY/ENTITY REPORT: According to the AR-Cluster Network for the

week of Sunday, 25th/August, through Sunday, 1st/September there were 207

countries active. Countries available: 3A, 3B8, 3B9, 3D2, 3W, 4J, 4L, 4O,

4S, 4X, 5A, 5B, 5H, 5R, 5T, 5W, 6W, 6Y, 7X, 8P, 8Q, 8R, 9A, 9G, 9H, 9J,

9K, 9L, 9M2, 9M6, 9N, 9Q, 9V, 9Y, A2, A3, A4, A6, A7, A9, AP, BV, BY, C3,

C6, C9, CE, CE0Z, CE9, CM, CN, CP, CT, CT3, CU, CX, CY9, D2, D4, DL, DU,

E5/s, E7, EA, EA6, EA8, EA9, EI, EK, EP, ER, ES, ET, EU, EX, EY, EZ, F,

FG, FK, FM, FO, FR, FY, G, GD, GI, GJ, GM, GU, GW, H4, HA, HB, HB0, HC,

HH, HI, HK, HL, HP, HS, HZ, I, IS, J2, J6, J7, JA, JT, JW, JX, JY, K, KG4,

KH0, KH2, KH6, KH8, KL, KP2, KP4, LA, LU, LX, LY, LZ, OA, OD, OE, OH, OH0,

OJ0, OK, OM, ON, OX, OY, OZ, P2, P4, PA, PJ2, PJ4, PY, PZ, S0, S5, S7, S9,

SM, SP, ST, SU, SV, SV5, SV9, T7, TA, TF, TG, TI, TK, TR, TT, UA, UA2,

UA9, UK, UN, UR, V3, V4, V5, V7, V8, VE, VK, VP2E, VP2M, VP8, VP9, VR, VU,

XE, XU, XZ, YB, YJ, YK, YL, YN, YO, YS, YU, YV, Z2, Z3, Z6, ZA, ZB, ZD7,

ZD8, ZF, ZL, ZP, ZS

* PLEASE NOTE: The report “could” contain “Pirate/SLIM” operations or

more likely a “BUSTED CALLSIGN”. As always, you never know – “Work

First Worry Later”.

4U1UN UNITED NATIONS NEWS. On August 24th, the following was posted on

the United Nations Amateur Radio Club’s (4U1UN) FaceBook page: “We are

receiving a lot of messages regarding the lack of 4U1UN (United Nation

Amateur Radio Club) activity on the bands. We will try to clear some

things about the current Club’s activities.” Read the complete post at:

https://www.facebook.com/United-Nations-Amateur-Radio-Club-4U1UN-169357566427247/timeline

8Q7, MALDIVES. Roly, ZL1BQD, will be active as 8Q7XR from Maldives (AS-013)

between November 10th and December 30th. Activity will be on 80-10 meters

using CW, SSB and FT8. QSL via his home callsign. ADDED NOTE: Beware that

this is a re-issued callsign. Mark, M0DXR, used this callsign in 2008.

9M16, WEST MALAYSIA (Special Event). Members of the Kelab Radio Amateur

Jalan Klang Lama, the 9MDXC and MARTS will be activating the special

event callsign 9M16KING from Kuala Lumpur between now and September 30th.

Activity is to celebrate the 16th Yang di-Pertuan Agong (16th constitu-

tional monarch and head of state of Malaysia). Activity will be on 80-10

meters using CW, SSB and various Digital modes. QSL via the operators’

instructions.

9U, BURUNDI (Reminder). Francesco, IV3TMM, will once again be active as

9U3TMM from Bujumbura (WW Loc. KI46QP) between now and September 17th.

Activity will be on 60-6 meters using SSB, RTTY and FT8. QSL via IV3TMM,

by the A.R.I. Italian Bureau, ClubLog or LoTW.

A2, BOTSWANA (Update). The A21EME Team have updated their info on their

activity from Botswana (KG25wk) between October 20-29th. Operators now

mentioned are Dan/HB9CRQ, Chris/PA2CHR, Lins/PA3CMC, Andrew/ZS6AVH, John/

ZS6JON, Paul/ZS6NK and Bernie/ZS4TX. Activity will be on the following

dates and bands:

October 20-25th — 6m, 2m, and 70cm EME. Modes JT65 and CW.

October 20-29th — 23, 13, 9, 6 and 3cm. Modes JT65 and CW.

Also mentioned is activity on the QO100 satellite. For more details,

see QRZ.com.

QSL for 6m, 2m, 70cm and QO100 Sat. QSOs via PA3CMC, direct or by the

Bureau. NO IRCs.

QSL for 23cm and up QSOs via HB9Q.

CQ NEWS (Eddie DeYoung, AE7AA, Named CQ Magazine Awards Editor). A press

release, dated August 29th, from Richard Moseson (W2VU), Editor of CQ

Amateur Radio, reports the following: Eddie De Young, AE7AA, of Clearwater,

Florida, has been named Awards Editor of CQ Amateur Radio magazine, Editor

Rich Moseson, W2VU, announced today. His first Awards column appears in

the September 2019 issue. De Young succeeds Ted Melinosky, K1BV, who was

both Awards Editor and USA-Counties Award Custodian for more than 20 years.

CQ previously announced the appointment of Brian Bird, NX0X, as the new

USA-CA custodian.

De Young has been licensed since 1954 and has, over the years, held more

than two dozen call signs from 11 different countries. He spent 38 years

in the Pacific, Asia and Antarctica, including many in Australia. While

there, he served as Awards Manager for the Wireless Institute of Australia,

where he helped modernize the program and developed software to improve

award processing. He has also been on nearly a dozen DXpeditions.

Since returning to the United States, Eddie has worked summers for the

National Park Service as a park ranger at Hawaii Volcanoes National Park

and at Glacier National Park in Montana. On the ham bands, he is active

via remote stations and with limited operation from his new apartment,

with 100 watts and a homemade fractal square loop on his balcony. Eddie

enjoys operating primarily CW and digital modes.

De Young says he plans to offer hints in his column on earning CQ awards

of all kinds, inform newbies how to get started on their award hunting

quests and share how much fun and educational award-chasing can be. Eddie

also says he plans to include occasional competitions, award nostalgia

and ideas from readers.

CQ Editor Rich Moseson said, “Eddie brings a world of experience from

all over the world to this position. As an avid award chaser as well as

someone who has ‘been the DX,’ he understands both sides of the award-

hunting equation and is uniquely qualified to help CQ’s readers achieve

the greatest possible success in their own award-hunting efforts. Plus,

as former awards manager for a national association, he understands the

administrative side of award programs as well. I look forward to working

with Eddie.”

D4, CAPE VERDE. David, CT1EKU, is once again active as D44CH from Sal

Island (AF-086) until September 5th. Activity will be on various HF

bands using SSB and the Digital modes (FT8). QSL via LoTW, ClubLog and

eQSL.

DXCC’S MOST WANTED (ClubLog). The “DXCC Most Wanted” entities list has

been updated on ClubLog as of August 30th. The list contains 340 entities.

The following are the top 10 entities:

1. P5 DPRK (North Korea) 6. BV9P Pratas Island

2. 3Y/B Bouvet Island 7. KH7K Kure Island

3. FT5/W Crozet Island 8. KH3 Johnston Island

4. BS7H Scarborough Reef 9. FT5/X Kerguelen Island

5. CE0X San Felix Islands 10. 3Y/P Peter 1 Island

No changes this month. The complete “DXCC Most Wanted” entities list

is available at: https://secure.clublog.org/mostwanted.php

E6, NIUE. Andrew, OZ5E, will be active as E6AN from Lakepa, Niue Island

(OC-040) between September 7-10th. On QRZ.com it states, “This is a

“research” activation to prepare for a DCA-expedition (Danish Contest

Academy) later in the sunspot cycle, so there will not be that much

activity and it will be a holiday operation.” This operation is actually

being called an “Antenna Experimental Tourist Style expedition.” It also

states on QRZ.com to not shout too loud at him as “Andrew is not up to

speed as an operator (yet).” Activity will be on 40/20/15 meters, maybe

160/80/17m and 10m if it is open. Modes will be mainly FT8 and SSB – maybe

some CW. QSL via OZ5E direct or LoTW. For more details, see:

http://www.oz5e.dk

EA6, BALEARIC ISLANDS. Alessandro, IU2IBU, will be active as EA6/IU2IBU

from Punta Prime, Minorca Island, between September 7-13th. Activity

will be holiday style on 80-10 meters using SSB with 100 watts into an

End-Fed Half Wave antenna. QSL via his home callsign, by the Bureau,

direct or LoTW.

EX, KYRGYZSTAN (Reminder/Update). Operators Leszek/SP6CIK, Jarek/SP6OJK,

Janusz/SP9FIH, Roman/SP9FOW, Jerzy/SP9TCE and Jozef/SP9HVW will be active

as EX0QP (not EX6QP) from the south shore of Issyk-kul Lake between Sep-

tember 2-15th. Activity will be on 160-10 meters, especially the 30/17/12m

bands, using an Inverted L, phased verticals, and Spiderbeams. Operating

modes will be CW, SSB, RTTY and FT8 (F/H mode). Suggested frequencies are:

CW – 1832, 3532, 7032, 10122, 14032, 18082, 21032, 24912 and 28032 kHz

SSB – 3605, 7100, 14195, 18140, 21195, 24940 and 28420 kHz

RTTY – 1845, 3569, 7045, 10145, 14095, 18095, 21095, 24920 and 28095 kHz

FT8 – 1845*, 3569, 7045, 10145, 14095, 18095, 21095, 24920 and 28095 kHz

* listening for JA on 1908

QSL via SP6OJK or ClubLog’s OQRS.

GJ, JERSEY. Bob, GU4YOX, will be active in this year’s CQWW DX CW Contest

(November 23-24th) as GJ4YOX. Boat and lodging are booked, and Bob is

looking forward to his first CQWW CW operation from GJ-land. Bob will be

a Single-Op/Single-Band (20m)/High-Power/Unassisted entry in the contest.

QSLs will be available by Bureau, direct and LoTW. Bob will arrive on Wed-

nesday evening (November 20th) and return to Guernsey on Monday (November

25th), so there could be some pre/post contest QSOs.

IOTA NEWS…………..

AS-159. By the time you read this, operators Bulent/TA0TA, Nazim/TA2MN,

Adem/TA6CQ and Taskin/TA6N will be active as TC0Z from the

Kefken Island Lighthouse until September 4th. Activity will

be on 160-10 meters using SSB and the Digital modes (FT8 was

mentioned). All logs will be uploaded to LoTW, ClubLog and

QRZ.com after the DXpedition.

AS-206. (Reminder) Operators Take/JI3DST and Masa/JR8YLY will be active

as JI3DST/0 and JR8YLY/0 from Sado Island between September

6-11th. Activity will be on 80-6 meters using CW, SSB, RTTY

and FT8. QSL via their home callsigns.

EU-034. Ari, OH3KAV, is now active as ES0KA from Saaremaa Island

(WW Loc. KO08) until September 5th. Activity will be on 80-10

meters using mainly using FT8 and CW, and possibly also on 60m.

QSL via OH3KAV, by the Bureau or direct. All QSOs will be

uploaded to LoTW and ClubLog.

EU-058. Thierry, F6CUK, will be active as F6CUK/p from Sainte-Marguerite

Island (DIFM ME-020 FFF-1450 DFCF 06-063) between October 5-6th.

Activity will be on 40/20 meters using CW and SSB. QSL via his

home callsign, direct, by the Bureau, LoTW or ClubLog’s OQRS.

OC-237. Look for 7I1TI to be active from Tunda Island, Java Costal

Islands, Indonesia, between September 6-8th. Activity will

be on HF bands. QSL via HA3JB. NO OTHER DETAILS WERE PROVIDED.

PLEASE NOTE: Since the Webmasters of the new <www.iota-world.org> have

decided NOT to post or dedicate a Web page to announce upcoming IOTA

operations, PLEASE send your IOTA operations information to the OPDX,

and we will post it here in an upcoming bulletin……

JT, MONGOLIA. Operators Sergey/UA0SE, Leonid/UA0SU, Serge/UA0SC, Mark/

UA0SRQ and Anton/RA0SMS will be active as JT7A from the Khövsgöl Nuur

National Park, Mongolia, between September 5-9th. Activity will be on

various HF bands using CW, SSB, FT8 and FT4. QSL via RA0SMS or ClubLog’s

OQRS.

KH6, HAWAII. Ben, DL8UI, will be active as KH6/DL8UI from O’ahu Island

(OC-019) between September 13-15th. Activity will include the Worked All

Europe DX SSB Contest (WAE), September 14-15th. QSL via his home callsign,

direct or by the DARX Bureau.

NCDXF NEWS. Now available online is the 2019 Summer Northern California

DX Foundation (NCDXF) Newsletter (11 pages) for download at:

http://www.ncdxf.org/pages/newsletter.html

Interesting DXpeditions to read about are:

* Kanton Island – T31EU QRV from a scrap heap by Ronald Stuy, PA3EWP

* Shif Island (AS-189) – EP6RRC by Vasily V. Pinchuk, R7AL

OPDX MAILING LIST (Just A Reminder). The “new” OPDX Mailing List is back up

and running! Details on how to subscribe/unsubscribe are at the bottom of

this bulletin. PLEASE pass the word around…. Thanks and 73 de Tedd KB8NW

OY, FAROE ISLANDS. Operators Ray/DL1ZBO, Peter/DL5FF and Volkmar/DL2VU

will be active as OY/DL1ZBO, OY/DL5FF and OY/DL2VU, respectively, between

September 2-12th. Activity will be on CW, SSB and the Digital modes. They

will also be in the Russian WW RTTY Contest (September 7th). QSL via their

home callsigns.

P2, PAPUA NEW GUINEA. Puiu, YO5BIM, is currently and once again active as

P29VIM from Port Moresby, until September 22nd. Activity will be on 160-6

meters (including 60m) using mainly CW, JT9 and FT8, with an Icom IC-706

MK2G. QSL via his home callsign.

PACIFIC TOUR HAS STARTED. Heli, DD0VR, (along with XYL Bigi, DE3BWR) who

was active as C6A/DD0VR from the Bahamas during January and February this

year, informed OPDX on Saturday morning that they were in Singapore, and

they should be starting their Pacific Tour that night by the time you

read this. Their tentative schedule is as follows:

Fiji — Signing as 3D2VR between September 2-9th

Samoa — Signing as 5W0VR between September 9-16th

Tonga — Signing as A35JY between September 16-21st

Activity will be on various HF bands (80-6m). QSL via his home callsign,

direct or by the Bureau. LAST MINUTE UPDATE: Message from Heli late Saturday

indicated they had problems with customs (radio equipment) in Nadi because

they were closed on Sunday. They hope to get the equipment on Monday and

start building antennas.

PROPAGATION FORECAST/REPORT (September 2-8th)…….

Sep/02nd HN Sep/05th AN Sep/07th AN

Sep/03rd AN Sep/06th AN Sep/08th AN

Sep/04th AN

SOLAR REFERENCE KEYS/INDEXES AND GEOMAGNETIC REFERENCE

——————————————————

NORMALITY GEOMAG K Values Alpha

—————– —— ——– ——

AN – Above Normal Quiet K=0-1 0-7

HN – High Normal Unsettled K=2 8-15

LN – Low Normal Active K=3 16-29

BN – Below Normal Minor Storm K=4 30-49

DIS – Disturbed Major Storm K=5 50-99

VRY DIS – Very Disturbed Severe Storm K=6-9 100-400

Meanwhile, check out the following Web sites for propagation:

* VOACAP predication Web page at: http://www.voacap.com/hf

and http://www.voacap.com/prediction.html

* DX.QSL.NET Propagation page: https://dx.qsl.net/propagation

* A daily HF radio wave propagation forecast can be found at:

https://www.facebook.com/thomasfranklingiellaw4hm

* SolarHam Web page: http://www.solarham.net

* Radio Propagation/Space Weather/Sunspot Cycle Information at:

http://sunspotwatch.com

* Monthly propagation charts between four USA regions and twelve

overseas locations are at: http://arrl.org/propagation

* Information and tutorials on propagation are at: http://k9la.us

* Graphic propagation tool by DR2W: http://www.dr2w.de/dx-propagation

* Point to point propagation at: http://www.predtest.uk/p2p.html

* Realtime propagation at: http://www.predtest.uk

* Also on Twitter: https://twitter.com/@GiellaW4hm

QSL INFO AND NEWS……………….

QSL-INFO from DB0SDX by Lothar, DL1SBF (www.qslinfo.eu)(September 1st)

————————————————————————-

3Z0R via SP9SX HB0/DJ1AA/M via DJ1AA SI3A via SM3LIV & (L)

4U500M via UA3DX HF80WIELUN via SP7KED SP4WOJTEK via SQ4AVD

5B4ALX via IZ4AMS & (L) IF9/IT9PPG via IT9PPG SP60DXC via SP7DQR

5H3DX via NK8O (d) IQ3GO via IV3AZV SP75WA via SP5WA

DL70AFUG via DM4EAX & (L) IQ9DE via IW9CTJ (d) SV5/DJ5MN via DJ5MN

EI0NMMI via EI6AL LX75V via LX1JH TM10SRY via F5KCC

EO28U via UR8US LZ304AE via LZ1KCP TM5MFL via F6KJX

ET3AA via N2OO & (L) MM2N via MM0GPZ & (L) YQ8T via YO8KGA

G1A via M0NKR & (L) OE3XMA via OE1DIA YR2019SIMPO via YO3KAA

GB100HAL via G0KUC OZ/DK1DU via DK1DU (d) YU73BFG via YU8A

HA01FF via (HA-B) S92HP via CT1ENW & (L) ZW5ARCCO via PY6TV (d)

(e) eQSL only (d) direct only (B) Bureau only (*-B) DX’s- Bureau

(O) OQRS only (C) ClubLog only (L) LoTW only (N) No QSL needed

(I) No IRC (P) PayPal (NB) No Bureau

LOGS ONLINE AT CLUBLOG.ORG THIS WEEK……

https://secure.clublog.org/logsearch/5K0K

https://secure.clublog.org/logsearch/9U3TMM

https://secure.clublog.org/logsearch/MS0INT

QSLS RECEIVED VIA LoTW: 8R1K, 9G2HO, A45XR, C6AGU, CX6VM , E6AC, FO/AI5P,

GB19RB, KH8C, MU0FAL, PJ9X, S92HP, TO5M and VE4GV

QSLS RECEIVED VIA MAIL: 1A0C, FH/UA4WHX, HK1NA (SA-082), JG7PSJ/7

(AS-206) and V31DL

QSLS RECEIVED VIA THE BUREAU: 7S2W, OH8X, and TM0CLNS

— We would like to see more QSL Bureaus (such as AS/US/SA/AF.. etc)

to send in their info….

SPECIAL EVENT (Highway to a DX Party!). The Citrus Belt Amateur Radio

Club of San Bernardino <w6jbt.org>, California, is once again hosting

(probably one of the most fun special event activities) the 20th annual

“Route 66 On The Air” special event between September 7-15th. The purpose

of this event is to offer amateur radio operators a fun way to “Relive

the Ride” of their own memories of Route 66, and to celebrate the highway’s

93rd anniversary. The U.S. Highway 66 established in 1926, was the first

major improved highway to link the west coast with the nation’s heartland.

Through stories, songs, and TV shows, the highway came to symbolize the

spirit of the freedom of the open road, inspiring many to see America.

Look for the following 20 stations (two are rovers) operating in or around

the major cities along the old “Route 66” from Santa Monica, California,

to Chicago, Illinois:

Stations City Clubs/Individuals

——– ——————– ————————-

W6A Santa Monica, CA Westside Amateur Radio Club

W6B Los Angeles, CA Westside Amateur Radio Club

W6C San Bernardino, CA Citrus Belt Amateur Radio Club

W6D Victorville, CA Victor Valley Amateur Radio Club

W6E Barstow, CA Barstow Amateur Radio Club

W6F Kingman, AZ K2 Amateur Radio Society

W6G Flagstaff, AZ Northern Arizona DX Association

W6H Albuquerque, NM Albuquerque DX Association

W6I Amarillo, TX Panhandle Amateur Radio Club

W6K Oklahoma City, OK W6K Oklahoma City

W6L Tulsa, OK Tulsa Amateur Radio Club

W6M Riverton, KS

W6N Joplin, MO Joplin Amateur Radio Club

W6O Lebanon, MO Lebanon Amateur Radio Club

W6P St. Louis, MO St. Louis Amateur Radio Club

W6Q Chicago, IL Six Meter Club of Chicago

W6R Springfield, MO Southwest Missouri Amateur RC

W6U Wilmington, IL Wilmington Area Amateur Radio Club

ROVER STATIONS

—————-

W6S ROVER 1 Northern Arizona DX Association

W6T ROVER 2 Northern Arizona DX Association

Special event stations are expected to be found in the vicinity of the

following frequencies. (Look for digital modes in the standard band segments

for such mode) All frequencies +/- QRM:

CW – 3533, 7033, 10110, 14033, 18080, 21033, 24900, 28033 and 50033 kHz

SSB – 3866, 7266, 14266, 18164, 21366, 24966, 28466 and 50166 kHz

Digi – 3573, 7074, 10136, 14074, 18100, 21074, 24915 and 28074 kHz

R66 MOBILE Operations – Any amateurs operating while actually driving

along Route 66 during the special event period are encouraged to

take part in “Route 66 On The Air”, by using the designation

“mobile 66” for SSB or “/m66” for CW after their callsigns. All

other amateur radio operators are welcome to contact these mobile

operators. NOTE: ONLY W6S AND W6T ARE ONLY THE OFFICIAL EVENT

ROVER/MOBILE STATIONS AND WILL BE ENDORSED ON THE EVENT CERTIFICATE.

REPEATERS – Some of the participating clubs will also be operating this

event from their local VHF/UHF repeaters. Check the ARRL repeater

guide for possible repeater frequencies, if you’re in the local

area.

Each participating club will issue their own QSL card commemorating

this event. QSL information is available on the Web at:

http://w6jbt.org/?page_id=27

For more details about the event and the certificate that is available,

please visit the “Route 66 OTA Site” at: http://w6jbt.org

http://w6jbt.org/?page_id=23

T8, PALAU (Reminder). Nobuaki, JA0JHQ, will once again be active as T88PB

from the VIP-Guest Hotel in Koror City, Palau, between September 6-9th.

Activity will be on 160-6 meters using CW and 6m FT8. His equipment is

an IC-7300 w/TL933 amp (about 500w) into a 3 element Yagi and DP antennas.

QSL via LoTW (preferred) or direct to his home callsign. For more details

and updates, see his Web page at: http://pandasan.jimdo.com

TK, CORSICA. Arnoud, PE2USA, will be active as TK/PE2USA from two different

locations in Corsica during the month of September. Between September 2-9th,

he will be in WW. Loc. JN42ON (close to Ravin de Stipidi), and between

September 9-14th, he will be in WW. Loc. JN41KR (north of Punta Vaccaja).

No other details were provided. QSL will be confirm via eQSL.

TT8, CHAD. Jean Louis, ZS6AAG, is now active as TT8JLH from N’Djamena.

He is there working for the Médecins Sans Frontières [MSF](Doctors With-

out Borders), and the length of his stay is unknown. Activity has been

on 20 meters SSB. QSL via his home callsign and eQSL.

V2, ANTIGUA (Reminder). Bud, AA3B, will once again be active as V26K from

Antigua (NA-100) between September 8-20th. Activity will be sporadic

because he is doing maintenance on the station but will be primarily CW

on various HF bands. QSL via LoTW or via AA3B, direct or by the Bureau.

An OQRS will be available via ClubLog.

V3, BELIZE. Vernon, NN5E, will be active as V31CC between October 5-12th.

Activity will probably be on 80-10 meters using CW, SSB, RTTY and FT8.

QSL via his home callsign, direct, by the Bureau or LoTW.

V4, ST. KITTS AND NEVIS. Felipe, NP4Z, will once again be active as V43Z

from Saint Kitts Island (NA-104) during the CQ WW DX SSB Contest (October

26-27th) as a Single-Op/All-Band entry. QSL via N4AO.

ZK3A TOKELAU ISLANDS DXPEDITION NEWS (Update). The following was reported

on August 29th, on the ZK3A Web page (https://tokelau2019.com) and Twitter

(https://twitter.com/ZK3A_2019) [edited]: The ZK3A team will be on all 3

of the Islands in Tokelau (Fakaofo, Nukunonu & Atafu).

* The Amateur Radio Club in Tokelau will have callsigns for each of these

islands, ZK3RF, ZK3RN & ZK3RA.

* Each club stations utilize electricity from the islands solar panels.

* The ZK3A team will be donating to all 3 islands the following.

TS-590S, Dipole for 40m & 20m, A3S and a 800w Linear Amplifier.

* In addition the team has shipped 3 x 6 KVA generators to be used

during our activation. At the end of our time on the island, we

will be donating these generators to each of the Tokelau Islands.

* Total donation from our team is around $ 8,000 USD.

ADDED NOTES: The ZK3A Tokelau Island DXpedition is conducting a survey

on what bands and modes are needed for this operation. Give them your

input at: https://www.surveymonkey.com/r/ZK3A

Also, it has been reported: A free of charge certificate issued in

electronic format will be available for working ZK3A on 3 different

bands regardless of mode, or on 3 different modes regardless of band

send your application to: uz1rr at ukr.net

***********************************************************************

TO BE ADDED TO THE OPDX MAILING LIST — Click or send requests to:

Subscribe: (mailto:[email protected]?subject=subscribe)

Unsubscribe: (mailto:[email protected]?subject=unsubscribe)

Just a reminder, you can still obtain the OPDX Bulletins via the

OPDX Web page (provided by John, K8YSE) [http://www.papays.com/opdx.html],

QRZ.com (under Forums; News; Special Events, Contests.. etc.), several

DX Mailing Lists, and two different UseNet Groups (rec.radio.info and

rec.radio.amateur.dx). The weekly bulletin (issue # from the OPDX Web

page URL) is also posted on the following Media pages:

NODXA FaceBook — https://www.facebook.com/NorthernOhioDxAssociation

Twitter — https://twitter.com/kb8nw_opdx

ALSO VISIT THE NORTHERN OHIO DX ASSOCIATION’S WEB PAGES AT:

http://www.nodxa.org/

http://www.facebook.com/NorthernOhioDxAssociation

***********************************************************************

* All excerpts and distribution of “The OPDX Bulletin” are granted as

long as KB8NW/OPDX/BARF80 receives credit.

** To contribute DX info, please send via InterNet Mail to:

([email protected]) or ([email protected])

Information can now be faxed to the following phone line at:

1-419-828-7791 (F A X only!)

……. 73 de Tedd KB8NW

/EXIT

***********************************************************************

Tedd Mirgliotta, KB8NW – E-mail addresses:

<[email protected]> or <[email protected]>

Editor of the Ohio/Penn DX Bulletin (OPDX – DXer’s Tool of Excellence)

President of the “Northern Ohio DX Association” (NODXA)

DX Chairman for the “Northern Ohio Amateur Radio Society

ARRL Assistant Director of the Great Lakes Division

Sysop of the “Basic Amateur Radio Frequency BBS” (BARF80.ORG)

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humanistauno · 5 years ago

Text

The Woman Of Conciousness: Oprah and Her

Expedition Towards The Success

by: Jihad Lumagan

The Agony of Her Childhood

Oprah Gail Winfrey was born on January 29, 1954 to Vernita Lee and Vernon Winfrey on an isolated farmland in Kosciusko, Mississippi. Her name was supposed to be Orpah, from the Bible, but due to difficulty of spelling and pronunciation, she was known as Oprah almost from birth. Oprah Winfrey's unmarried parents separated paths soon after she was born and left her in the care of her maternal grandmother Hattie Mae Lee on the farm.

As a child, Winfrey entertained herself by blissfully "play acting" in front of an audience of their farm animals , according to her she do it everyday to boost her self-esteem, confidence and to at least forget her loneliness for the negligence of her both parents. Oprah's grandmother encouraged her love of books by teaching her how to read at the age of 2. She started by reading the Bible and soon began speaking at her church. Later, she would recite memorized verses to her grandmother's friends and she addressed and had a talk to her church congregation about "when Jesus rose on Easter Day” when she was two years old. Under the strict guidance of her grandmother, she learned to read at two and a half years old. Then Winfrey skipped pre-school after writing a note to her teacher on the first day of school saying she belonged in to the first grade. She was promoted to third grade after that year. To be with her mother when Winfrey turned six years old she was sent north to accompany her mother and two half-brothers in a Milwaukee ghetto, an extremely poor and dangerous neighborhood. Then at twelve years old she was then sent to live with her father in Nashville, Tennessee due to poverty and her mother couldn’t sustain for a living. Feeling secure and satisfied for a short period she began making speeches at social gatherings and churches, and one time earned five hundred dollars for a speech. She knew then that she wanted to be "paid to talk."

Winfrey, again, was asked back by her mother, and she had to leave the safety of her father's home. The poor, urban lifestyle had its negative effect on Winfrey as a young teenager, and her problems were compounded by repeated sexual abuse, starting at age nine, by men that others in her family trusted. While babysitting Vernita's children, Oprah's 19-year-old cousin raped her, took her out for ice cream, and told her to keep it a secret. She did, but this would not be the end.

Within the next few years, she would face more abuse from a family friend as well as an uncle. She kept silent about all of it for years. Her mother worked odd jobs and did not have much time for supervision.

A turning point

In her early teens she was sent to Nashville to live with her father, who proved to be a positive influence in her life. According to Winfrey her father saved her life. He was very strict and provided her with guidance, structure, rules, and books. He required Winfrey to complete weekly book reports, and she went punished without dinner until she learned five new vocabulary words each day.

Winfrey became an excellent student, known in her school, participating as well in the drama club, debate club, and student council. In an Elks Club speaking contest, she was granted a full scholarship to Tennessee State University. The following year she was invited to a White House Conference on Youth. Winfrey was crowned Miss Fire Prevention by WVOL, a local Nashville radio station, and was hired by the station to read afternoon newscasts.

Winfrey became Miss Black Nashville and Miss Tennessee during her freshman year at Tennessee State. At age 19 Winfrey became a news anchor for the local CBS television station. Following her graduation from Tennessee State University in 1976, she was made a reporter and coanchor for the ABC news affiliate in Baltimore, Maryland. She found herself constrained by the objectivity required of news reporting, and in 1977 she became cohost of the Baltimore morning show People Are Talking. The Nashville Columbia Broadcasting System (CBS) affiliate offered her a job; Winfrey turned it down twice, but finally took the advice of a speech teacher, who reminded her that job offers from CBS were "the reason people go to college." The show was seen each evening on WTVF-TV, and Winfrey was Nashville's first African American female coanchor of the evening news. She was nineteen years old and still a sophomore in college.

The Track She’s All About

After Winfrey graduated, WJZ-TV in Baltimore, Maryland, scheduled her to do the local news updates, called cut-ins, during Good Morning, America, and soon she was moved to the morning talk show Baltimore Is Talking with cohost Richard Sher. After seven years on the show, the general manager of WLS-TV, American Broadcasting Company's (ABC) Chicago affiliate, saw Winfrey in an audition tape sent in by her producer, Debra DiMaio. At the time her ratings in Baltimore were better than Phil Donahue's, a national talk-show host, and she and DiMaio were hired. Winfrey moved to Chicago, Illinois, in January 1984 and took over as anchor on A.M. Chicago, a morning talk show that was consistently last in the ratings. She changed the emphasis of the show from traditional women's issues to current and controversial (debatable) topics, and after one month the show was even with Donahue's program. Winfrey excelled in the casual and personal talk-show format, and in 1984 she moved to Chicago to host the faltering talk show AM Chicago. Winfrey’s honest and engaging personality quickly turned the program into a success, and in 1985 it was renamed The Oprah Winfrey Show. Syndicated nationally in 1986, the program became the highest-rated television talk show in the United States and earned several Emmy Awards.

Three months later it had inched ahead. In September 1985 the program, renamed the Oprah Winfrey Show, was expanded to one hour. As a result, Donahue moved to New York City.

In 1985 Winfrey appeared in Steven Spielberg’s adaptation of Alice Walker’s 1982 novel The Color Purple. The History of Black Women Through Drama and Song, which she performed during an African American theater festival in 1978.

Her critically acclaimed performance led to other roles, including a performance in the television miniseries The Women of Brewster Place (1989). Winfrey formed her own television production company, Harpo Productions, Inc., in 1986, and a film production company, Harpo Films, in 1990. The companies began buying film rights to literary works, including Connie May Fowler’s Before Women Had Wings, which appeared in 1997 with Winfrey as both star and producer, and Toni Morrison’s Beloved, which appeared in 1998, also with Winfrey in a starring role.

Winfrey later lent her voice to several animated films, including Charlotte’s Web (2006) and The Princess and the Frog (2009), and appeared in Lee Daniels’ The Butler (2013). Selma (2014), a film about Martin Luther King, Jr., that Winfrey produced and also appeared in, was nominated for an Academy Award for best picture. She subsequently starred in the HBO TV movie The Immortal Life of Henrietta Lacks (2017), portraying the daughter of a woman whose cancerous cells were, unbeknownst to her and her family, used in research that led to numerous scientific advances. Winfrey then appeared as Mrs. Which in the 2018 film adaptation of Madeleine L’Engle’s acclaimed 1962 sci-fi novel, A Wrinkle in Time.

Winfrey broke new ground in 1996 by starting an on-air book club. She announced selections two to four weeks in advance and then discussed the book on her show with a select group of people. Each book chosen quickly rose to the top of the best-seller charts, and Winfrey’s effect on the publishing industry was significant. Winfrey further expanded her presence in the publishing industry with the highly successful launch of O, the Oprah Magazine in 2000 and O at Home in 2004; the latter folded in 2008.

In 1998 Winfrey expanded her media entertainment empire when she cofounded Oxygen Media, which launched a cable television network for women. In 2006 the Oprah & Friends channel debuted on satellite radio. She brokered a partnership with Discovery Communications in 2008, through which the Oprah Winfrey Network (OWN) replaced the Discovery Health Channel in January 2011. In 2009 Winfrey announced that her television talk show would end in 2011; it was speculated that she would focus on OWN. The last episode of The Oprah Winfrey Show aired in May 2011, and Oprah’s Next Chapter, a weekly prime-time interview program on OWN, debuted in January 2012. In 2017 it was announced that Discovery was acquiring a majority share in OWN, though Winfrey would remain involved in the channel. That year she also became a special correspondent for the newsmagazine 60 Minutes, which aired on CBS.

Winfrey engaged in numerous philanthropic activities, including the creation of Oprah’s Angel Network, which sponsors charitable initiatives worldwide. In 2007 she opened a $40 million school for disadvantaged girls in South Africa. She became an outspoken crusader against child abuse and received many honours and awards from civic, philanthropic, and entertainment organizations. In 2010 she was named a Kennedy Center honoree, and the following year she received the Jean Hersholt Humanitarian Award from the Academy of Motion Picture Arts and Sciences. In 2013 Winfrey was awarded the Presidential Medal of Freedom. She won the Cecil B. DeMille Award (a Golden Globe for lifetime achievement) in 2018, and her impassioned speech—in which she called for racial and gender equality—was widely seen as one of the ceremony’s most memorable moments.

The Limelight of Oprah

The popularity of Winfrey's show skyrocketed after the success of The Color Purple, and in September 1985 the distributor King World bought the syndication rights (the rights to distribute a television program) to air the program in one hundred thirty-eight cities, a record for first-time syndication. That year, although Donahue was being aired on two hundred stations, Winfrey won her time slot by 31 percent, drew twice the Chicago audience as Donahue, and carried the top ten markets in the United States.

In 1986 Winfrey received a special award from the Chicago Academy for the Arts for unique contributions to the city's artistic community and was named Woman of Achievement by the National Organization of Women. The Oprah Winfrey Show won several Emmys for Best Talk Show, and Winfrey was honored as Best Talk Show Host.

Production

Winfrey formed her own production company, Harpo, Inc., in August 1986 to produce the topics that she wanted to see produced, including the television drama miniseries based on Gloria Naylor's The Women of Brewster Place, in which Winfrey was featured along with Cicely Tyson, Robin Givens, Olivia Cole, Jackee, Paula Kelly, and Lynn Whitfield. The miniseries aired in March 1989 and a regular series called Brewster Place, also starring Winfrey, debuted on ABC in May 1990. Winfrey also owned the screen rights to Kaffir Boy, Mark Mathabane's autobiographical (having to do with a story about oneself) book about growing up under apartheid in South Africa, as well as Toni Morrison's (1931–) novel Beloved.

In September 1996 Winfrey started an on-air reading club. On September 17 Winfrey stood up and announced she wanted "to get the country reading." She told her adoring fans to hasten to the stores to buy the book she had chosen. They would then discuss it together on the air the following month.

The initial reaction was astonishing. The Deep End of the Ocean had generated significant sales for a first novel; sixty-eight thousand copies had gone into the stores since June. But between the last week in August, when Winfrey told her plans to the publisher, and the September on-air announcement, Viking printed ninety thousand more. By the time the discussion was broadcast on October 18, there were printed before February 1997.

The club ensured Winfrey as the most powerful book marketer in the United States. She sent more people to bookstores than morning news programs, other daytime shows, evening magazines, radio shows, print reviews, and feature articles combined. But after a six-year run with her book club, Winfrey decided to cut back in the spring of 2002 and no longer have the book club as a monthly feature.

The Talks Ahead

Although one of the wealthiest women in America and the highest paid entertainer in the world, Winfrey has made generous contributions to philanthropic organizations and institutions such as Morehouse College, the Harold Washington Library, the United Negro College Fund, and Tennessee State University.

0 notes

fmservers · 6 years ago

Text

What’s next for podcasting?

The podcast market will discover the answer to a foundational question about its future in the next few years. Will it continue along the path of music streaming, where all podcasts are available everywhere on free, ad-supported tiers? Or, will it follow the path of streaming TV into paid subscription services with exclusive content?

Today, effectively all of the industry’s revenue is from advertising — at least in the United States. However, we’re seeing the first steps being taken toward paid subscriptions and exclusive content. Based on numerous discussions I’ve had with top figures in podcasting over the last month, it’s clear that popular shows are getting large offers for exclusivity on podcasting platforms, major Hollywood players are entering the market, and some top VCs are willing to back new streaming platforms taking a Netflix approach to podcasts (like Luminary Media which raised a $40 million seed round).

Many in the industry are deeply skeptical of that business model and for good reason: we don’t have concrete evidence that consumers in the US will pay for podcasts and ad revenue is becoming quite lucrative for the top shows as the format gains popularity. But that precedent has hardly been entrenched, as the sector is only just now gaining mainstream consumer interest and getting attention from Hollywood.

And, there’s a macro problem with betting on ads. The dominance of Facebook and Google over all digital ad spending has already driven a shift to subscriptions across music, video, and publishing. Even with dramatic market growth, podcasting doesn’t have a comparative advantage in competing against the scale and ad-targeting of the duopoly.

Subscription tiers and exclusive shows (akin to Netflix Originals) can, on the other hand, provide a virtuous cycle of quality content and stable revenue, generating recurring revenue directly from consumers who might ultimately pay for multiple streaming subscriptions to access different shows.

Could podcasting go the direction of streaming TV, with subscription tiers and original series? The breakout success of House of Cards—the first Netflix Original—set the stage for Netflix’s dominance in streaming TV.

Podcasting’s future looks more like Hollywood than like NPR radio

The annual Infinite Dial survey by Edison Research tracked that the percent of Americans over age 12 who listen to a podcast in a given month grew steadily from 9% in 2008 to 26% (or 72 million people) in 2018. Fifty-four million Americans, or 17% of those over 12, are weekly podcast listeners with a mean weekly listening time over 6.5 hours.

The popularity of podcasts still exists primarily within a demographic niche, however. Roughly half of podcast listeners make $75,000 or more in annual income and a clear majority have a college degree (in fact, one-third have a master’s degree). This highlights how much potential for audience growth there still is. Podcasts are still mainly formatted like NPR radio shows, with hosts discussing politics, business, or society and a particular audience demographic tuning in as a result.

But podcasting is just a content medium and should be filled with shows that appeal to all different types of people, just like music, TV, film, publishing sites, and YouTube each have a vast range of content for everyone. Tom Webster, the SVP of Edison Research who co-authors that big annual survey on podcasting, highlighted in a recent blog post the discrepancy between the format and topics of the most popular podcasts and those of the most popular TV shows.

Addressing this gap in diverse show types is the thesis behind large new podcast production companies like Gimlet Media, Wondery, and Endeavor Audio. Endeavor Audio launched on September 13 as the podcast division of entertainment conglomerate Endeavor, dedicated to financing, developing, and marketing podcasts made for as diverse a set of topics and styles as there are in TV: scripted dramas, competition shows, documentaries, etc. that appeal to different audiences. Endeavor also owns WME, the world’s largest talent agency, giving it distinct advantage in creating new shows that draw on the skills of top creative talent in Hollywood. The upcoming wave of podcasts crafted to be more like TV shows than radio shows is what could bring tens of millions new listeners into the podcast market.

That will only be accelerated through music streaming services’ entry into the market and the rapid consumer adoption of smart speakers. Spotify, Pandora, iHeartRadio, and others have made podcasts a priority over the last year, promoting shows to millions of users who aren’t already into podcasting. Smart speakers like the Amazon Echo and Google Home make it easier for people who hear about a podcast to try it (just ask Alexa to play it) and will likely increase podcast listening among those in age groups that have lower smartphone penetration (children and people over 55).

Advertising isn’t the best path forward

Last year the US market size for podcast ad revenue was only $314M and this year it will still be around $400M (according to the IAB). That’s extraordinary annual growth for an industry but it’s still tiny in absolute value. Justine and Olivia Moore at VC firm CRV crunched the numbers to show that podcasting makes 10x less money per hours consumed than any other major content medium. There’s a lack of monetization on the vast majority of podcasts: the minimum number of downloads per podcast needed to enroll in the industry’s ad marketplaces or start discussions with most advertisers is 50,000. As they noted, this is attributable to a range of issues like lack of programmatic advertising, lack of analytics, and lack of consistent measurement standards.

Life is admittedly getting good for the most downloaded shows now that the podcasting market is getting serious attention. One executive I discussed this with (who represents several top podcast creators) says there are a handful of podcasts generating eight-figures in ad revenue per year, a rapidly growing tier making seven-figures, and a large “middle-class” making six-figures. That’s before income from touring, merchandise, and book/film/TV deals. The going rate for ad spots is anywhere from $20-50+ CPMs and podcast ads tend to have a higher conversion rate than video ads.

As General Manager of Endeavor Audio – the new podcasting division of entertainment conglomerate Endeavor – Moses Soyoola is overseeing a group that’s bringing top Hollywood talent into the podcast space and financing new types of shows.

But near-term financial gains are not the primary reason that big names in Hollywood are getting interested in producing podcasts, according to Endeavor Audio general manager Moses Soyoola. When we spoke recently, he explained that while the income can reach into the seven figures on successful shows, that’s still less than what they can make in other creative projects. They see podcasting as a brand-building mechanism, however, and as an opportunity to understand a new storytelling format that could become even more lucrative in the future.

As with all ad-dependent content, the losers right now are those with passionate niche audiences and those producing big-budget shows that advertisers treat the same even if audiences find much deeper value in. A creator with a devoted fan base of 30,000 listeners cannot currently tap into advertising nor easily turn to subscriptions as an alternative. Listening to an hour’s worth of news discussion that the hosts record over a couple hours day-of generates roughly the same ad revenue as listening to an hour installment of a show that takes months to produce.

With the growing number of narrative podcasts being created by Endeavor Audio and others, the need to include numerous ad spots throughout them is disruptive, pulling audiences out of the story. It constrains the format and limits content within the boundaries of family friendliness that major advertisers are comfortable with. This is like the historic difference between network TV shows and HBO shows, which — freed from ad breaks and advertiser concerns — became the crown jewel of TV dramas and went on to consistently top the Emmy Awards winner list.

Would people pay for podcasts?

China is the inverse of the Western podcast market. The Chinese “podcast” market dwarfs that of the US because it is the norm to have paid subscriptions for shows rather than rely on advertising. To my understanding, the definition of podcast here may be broader than the scope in the US — by including audio courses — but the Chinese government estimated the market for paid podcasts alone as $7.3 billion in 2017.

We know consumers in the West are willing to pay subscriptions for film/TV and for ad-free streaming music, so why not for podcast streaming? New content formats often start free, have lagging monetization, then as the audience grows enough and creators experiment enough, premium content rises up that people are willing to pay for. Podcasts have been around for two decades but are just now going mainstream and seeing serious investment from Hollywood.

We saw with music streaming and satellite radio that many consumers are willing to pay in order to eliminate audio ads from music that’s otherwise free to listen to. Spotify has made a big push into podcasts over the last few months; it creates branded podcasts in collaboration with advertisers but can’t remove ads that are within podcasts it distributes. As podcasts turn to programmatic advertising — and large streaming services like Spotify push them there in order to serve up the ads — it would be surprising if Spotify didn’t make podcasts ad-free for its Premium tier subscribers and encourage podcast listeners to go Premium.

Most podcasts aren’t worth paying for, just like most articles on the internet aren’t worth paying for. Paywalled content has to be exceptional to stand out from the noise and get consumers to open their wallets. The freemium model is most likely to become the norm in podcasting, with most podcasts available free and ad-supported but some particularly high-quality shows restricted to a paid subscription tier that’s ad-free.

Streaming competition will drive exclusivity

If we’re being honest, the existing podcast streaming services — and there are many — are all the same. They are simple utilities for searching for and playing a show. No one has cracked the nut of discoverability in a differentiated way: making podcasts easy to discover based on topic and style and having a personalized recommendation tool that works as well as Pandora and Spotify music recommendations do.

Streaming services of any content format struggle to differentiate on user interface alone. Users are there for the content — that’s the product they’re after. So ultimately, the way to differentiate is via exclusive content that audiences eagerly want. That’s true whether the service has a paid subscription or not, but maintaining a profitable subscription tier is nearly impossible if one’s competitors are able to offer all the same content for cheaper. Differentiation requires differentiated content available in the subscription that can’t be gained elsewhere: high-quality original shows.

This past summer, Spotify launched its first Spotify Original Podcasts, including a $1 million deal with comedian Amy Schumer to develop “3 Girls, 1 Keith” (which it just renewed for a second season). Schumer’s podcast isn’t exclusive to Spotify but it’s easy to envision the streaming service signing future podcast deals as exclusives as its base of podcast listeners grows (it has rapidly become the second most popular podcast platform after Apple’s Podcasts app).

Each individual I’ve spoken to over the last few weeks who runs a leading podcast production company said they are getting approached by numerous streaming platforms about exclusive shows. Most aren’t taking the deals, at least not yet, but it’s clear the industry is about to run this experiment over the next couple years and see if consumers buy in.

A couple of the executives I met noted that the deals top podcast services are offering for exclusivity are quite lucrative, but when you factor in how much the reduced audience size that comes with being exclusive limits touring, merchandise sales, and potential for a book/film/TV deal, it’s a tougher sell.

That has been true, but I think it’s quickly changing. Given how much consumer adoption of podcasts is poised to grow, the top few podcast streaming services (by monthly active users) could each enable an exclusive podcast to still reach an audience in the millions of listeners. In particular, I’m talking about Apple Podcast, Google Podcasts, Spotify, Pandora, and iHeartRadio given their pre-existing install bases. It’s also a rational decision for each of them to overpay for exclusivity of hit shows in these early days of the market — the short-term loss on a given show is an investment in becoming the preferred streaming service for millions of new podcast listeners.

The streaming platforms don’t have the leverage to negotiate ownership over exclusive podcasts—there’s too much competition between them and optionality for podcast creators—so creators will retain rights to develop touring, merchandise, book/film/tv deals, and other revenue streams. As a successful TV producer explained to me, the consideration of turning a podcast into a TV show is the same as turning a book into a TV show: it’s about whether it’s a captivating story that engages the audience; the existing audience size will affect deal terms but a hit podcast only being on iHeart or Spotify wouldn’t inhibit it from getting a deal.

If one company is uniquely positioned to offer exclusive shows without a paid subscription tier, it’s iHeartMedia (which acquired the Stuff Media podcast network in September). In addition to its iHeartRadio streaming service, it can syndicate shows across its radio stations which reach 250 million Americans per month. That could generate more ad revenue than from a show existing solely across podcast apps and give it a bigger fan base to benefit touring and other revenue streams.

Looking at how exclusivity could impact consumers’ experience, it’s notable that people are typically on the hunt for just one podcast to listen to in a given session. With lengths typically 25-60 minutes, this is most similar to picking out a TV episode. Music services need full libraries of the world’s songs because people listen to a wide range of 3-4 minute songs in the same sitting and organize them into custom playlists of every imaginable combination. Having music divided between separate streaming platforms would be disruptive to the core experience of a music listening session. Switching apps to listen to a different podcast might not be any more inconvenient than doing so for TV shows on different streaming services.

Podcasting should embrace “listener revenue”

Direct “listener revenue” from paid subscription tiers enable a whole swath of niche content creators to make a living creating high-quality podcasts for a small, passionate audience and they enable worthwhile return-on-investment for big budget productions that audiences find deep value in. Importantly, subscription tiers across the major podcast streaming platforms would drive an industry-wide focus on shows that gain popular acclaim rather than shows that maximize initial downloads or streams (just like subscription publishing incentivizes quality over clickbait).

Breakout shows that receive pop culture buzz will be critical to any paid subscription tier in podcasting gaining traction, like the success of House of Cards and Orange is the New Black were critical to Netflix gaining respect for its Netflix Originals and differentiating from competitors. Such breakouts will likely involve a big name from Hollywood whose existing fan base drives a critical mass of initial listeners, and whose name recognition lends credibility to a potential paid tier subscriber. And it will almost certainly be a narrative format rather than another talk show.

Incumbents moving into podcasting from music streaming (or that are operating systems able to pre-install their app) have a distinct advantage here over startups dedicated to podcast streaming. Established players can expose millions of existing users to their own shows and bundle premium podcasts into existing subscription plans. Podcast streaming startups hoping to break through will need a lot of initial capital to develop their own shows and will need to seek bundling partnerships with companies that already have distribution — like mobile carriers and subscription video platforms. Luminary Media in NYC, founded by Matt Sacks of NEA, might be the first to launch with this approach: with a $40 million seed round, it’s aiming for a majority of content on its upcoming subscription streaming service to be its own originals within 3 years. Don’t be surprised if a couple other VC-backed podcast apps take this route in the year ahead as well.

It is likely we will see a combination of exclusive shows and paid subscription tiers develop on several platforms over a period of the next 18-36 months. It won’t happen overnight, but looking at the precedent set in other content formats and having spoken to two dozen senior figures in the industry during the past month, we seem to be in the early days of this shift, driven by the growth of podcasting from talk shows into a broader entertainment medium.

Via Eric Peckham https://techcrunch.com

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chicagopdlover · 6 years ago

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24: Live Another Day

Edit In May 2013, Deadline first reported that Fox was considering a limited-run “event series” for 24 based on a concept by Howard Gordon , after failed efforts to produce the 24 feature film and the cancellation of Kiefer Sutherland ‘s series Touch . David Fury confirmed on Twitter that he would also be involved, pulling “double duty” with Gordon’s new series Tyrant . [1] The following week, Fox officially announced 24: Live Another Day , a limited-run series of twelve episodes that would feature the return of Jack Bauer . Fox CEO Kevin Reilly said that the series would essentially represent the twelve “most important” hours of a typical 24 season, with jumps forward between hours as needed. As with the rest of Fox’s push into event programming, the production was promised to have “a big scope and top talent and top marketing budgets.” Reilly also noted that the project could pave the way for sequel series in the future. [2] In the press release, Gordon said: “ Jack Bauer has always been an exciting, thrilling character, and I confess that I’ve missed him. I think the audience has too. The character has evolved through the years, and this new and exciting event series format is perfect to tell the next chapter of his story and continue to reflect how the world is changing. Fans can rest assured that the Jack they know and love will be back. ” Kiefer Sutherland , who was confirmed to executive produce and star in the new series, added: “ The response to ‘24’ is unlike anything I have ever experienced as an actor before. To have the chance to reunite with the character, Jack Bauer, is like finding a lost friend. The story ideas from Howard Gordon are exciting and fresh, and will not disappoint. Great thanks to 20th Century Fox Television, Imagine Television and the FOX network for this opportunity. Make no mistake, my goal is to knock your socks off. See you soon. ” In June, it was announced that Jon Cassar was signed to executive produce and direct multiple episodes of Live Another Day , including the first two. [3] Executive producers and writers Robert Cochran , Manny Coto and Evan Katz also returned, with Coto and Katz serving as showrunners. [4] [5] Sean Callery composed the score for the series. [6] The writing process began on July 1 , with David Fury pitching the first episode. [7] The first episode, ” 11:00am-12:00pm “, was written by Evan Katz & Manny Coto [8] and the second, ” 12:00pm-1:00pm “, by Robert Cochran and David Fury . [9] Returning 24 director Milan Cheylov directed episodes 9 and 10. [10] On July 11 , 2013 , executive producer Brian Grazer announced in an interview that the 24 miniseries would “be a limited series that would then spin off into a series itself. Fox is doing it, Fox studio and Fox network, and we’re totally thrilled by that.” [11] Casting After Kiefer Sutherland , Mary Lynn Rajskub was announced as the second official cast member in August 2013 , reprising her role as Chloe O’Brian . [12] In September 2013, it was revealed Kim Raver was negotiating a deal to return as Audrey . It was also revealed that the new President of the United States would be a character the audience has met before, leading to speculation that William Devane ‘s James Heller would be returning as President. [13] On October 4 it was confirmed that both Raver and Devane had signed deals to rejoin the cast. [14] In November 2013, Canadian actor Michael Wincott was announced as the first new cast member, portraying an infamous hacker and activist named Adrian . [15] Soon after, Gbenga Akinnagbe and Giles Matthey were cast as series regulars, playing CIA agents Erik Ritter and Jordan Reed . [16] At the TCA panel on January 13, 2014, Fox announced that Yvonne Strahovski had joined the cast as Kate Morgan , a CIA field operative on the trail of Jack Bauer. [17] The same week, Emmy Award -nominated film and television actor Benjamin Bratt was announced to play the role of Steve Navarro , the CIA’s London chief of operations. [18] Tate Donovan was announced to play Audrey Raines’ new husband and White House Chief of Staff Mark Boudreau . [19] On January 24, the casting of renowned actor and comedian Stephen Fry as British Prime Minister Trevor Davies was announced. [20] In December 2013, two-time Oscar nominee Judy Davis was cast as Margot Al-Harazi , a British national and the widow of a notorious terrorist. [21] However, in February, Davis left the role after personal matters prevented her from traveling to London for filming. [22] Davis was replaced by Game of Thrones actress Michelle Fairley . [23] In December 2013, David Fury sent out a pair of tweets suggesting that Carlos Bernard could return to portray Tony Almeida . [24] Bernard ultimately did not appear, but an ” extra scene ” involving Almeida will appear on the season Blu-ray Disc set . [25] Filming Edit 24: Live Another Day filmed on location in London , United Kingdom . [26] Pre-production and location scouting by the crew, including Jon Cassar , began in November 2013. [27] The production offices for Live Another Day were based in the Gillette Building in west London, previously used for films such as Red 2 . [28] Production began on January 6 , 2014 , with filming scheduled to occur from January 25 through June 13 . [29] Promotion Edit A 45-second teaser titled “Street Chaos,” featuring Jack Bauer and Chloe O’Brian , was filmed on January 21 for debut during the February 2 Super Bowl XLVIII telecast on Fox . Several short fifteen-second clips were released on YouTube during the pre-game broadcast. The first promo featuring footage from the new episodes, titled “The Clock Starts Ticking”, aired on Fox on March 9, 2014. On April 7, ” Jack Is Back “, a half-hour behind-the-scenes featurette featuring interviews with cast and crew members, was released on Fox.com and other outlets. On April 11, a new movie-style trailer was released, along with the debut of a viral marketing campaign focusing on Chloe O’Brian and her new organization Open Cell . A fifteen-second TV spot features Chloe warning viewers that Jack is innocent and directing them to Open-Cell.org to learn more. This was accompanied by similar radio advertisements and the “hacking” of Fox’s 24 Facebook and Twitter pages to link to posts on the website. Following each new episode, a new web feature called Connect24 , sponsored by Sprint , offered exclusive sneak peeks for the subsequent episode after the user completes certain “missions.” A 24 panel was held at the 2014 San Diego Comic-Con on July 26 , 2014 , featuring Kiefer Sutherland , Jon Cassar , and Yvonne Strahovski . [30] Release Edit In April, Amazon.com announced a deal with Fox Broadcasting Company to become the exclusive streaming carrier for 24: Live Another Day via its Amazon Prime service. [31] The first four episodes of Live Another Day were made available for purchase on Amazon.com starting on May 6 , 2014 , the day after the two-hour premiere. The series was simulcast in Canada, debuting on May 5, 2014, on Global . [32] In the United Kingdom, the series premiere aired on Sky1 at 1:00am on May 6 , 2014 simultaneous with the U.S. premiere, with the official premiere on May 7 and airing on Wednesdays thereafter. [33] Canal+ , which holds the airing rights in France, aired the premiere with a 40-minute delay from the U.S. airing. [34] On May 6, 2014, it premiered in Germany on Sky Deutschland , [35] in Mexico and Latin America on Canal Fox [36] in Greece and Cyprus on Fox , [37] and in the Philippines on Jack City — first at the exclusive time of 1:00 pm via satellite before airing in its regular primetime slot of 9:00 pm. [38] In Asia, the series aired on AXN , starting on May 6 on AXN Asia and May 9 on AXN India. [39] It was broadcast in Australia on Network Ten . [40] It also premiered in South Africa on May 29 , 2014 , on M-Net . [41] 24: Live Another Day was released on DVD and Blu-ray in the U.S. on September 30 , 2014 . [42] Among the special features is ” 24: Solitary “, a Blu-ray-exclusive “story extension” that addresses Tony Almeida ‘s fate following Season 7 . [25] Reception Edit As of May 7, 2014, 24: Live Another Day holds a rating of 70 out of 100 on the review aggregator site Metacritic, indicating “generally favorable” reviews.” [43] On Rotten Tomatoes, another review aggregator, the series currently holds a score of 84%, and is considered “Certified Fresh.” [44] The two-hour premiere episode received generally positive reviews. Merrill Barr ( Forbes ) compared the premiere favorably to previous seasons of 24 , stating that “The audience is given reason to care about Jack and his associates again because events are given reason to matter again… Here, much like in seasons one and two , everything ties together. The plot Jack’s trying to stop has a direct connection to the lives of multiple supporting characters he’s yet to interact with. It’s this dynamic that made the show great once, and will make it great again.” [45] Aaron Riccio ( Slant Magazine ) wrote that the twelve-episode format was a promising development, and that “the result is a leaner, scrappier 24 that is both firmly within its comfort zone…and somehow outside it, with Jack and the other returning characters more readily showing the wear and tear of their profession.” [46] Other reviews were less positive; Jeff Jensen ( Entertainment Weekly ) criticized the reuse of story elements and character archetypes, concluding that “Despite the high-grade action, the premiere is more a showcase for everything that was bad about 24 than a reminder of everything that was good.” [47] Reception for the season’s finale was generally positive [48] [49] and ratings for the finale were up to 21% from the previous installment. [50] Despite airing in mid-2014, Live Another Day competed in the 2014-2015 season at the Primetime Emmy Awards , as it had not aired half of its episodes by the May 31 , 2014 deadline to qualify for the 2013-2014 awards. [51] Live Another Day was nominated for three Primetime Emmy Awards in the Miniseries or Movie category: Outstanding Music Composition (Original Dramatic Score), Outstanding Single-Camera Picture Editing, and Outstanding Sound Editing. Media tie-ins

from Christian David Biz https://ift.tt/2LqyMm2 via Article Source

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