Past Blog Posts
- July 15, 2019
Heard “Trader Joe’s” podcast yet? I don’t know who might listen to a 22-minute corporate ad. But, given how cool podcasts have become: hey, that sounds inviting. The idea is also an implicit endorsement for radio-- because that’s where podcasting originated. Yes.
I don’t want to disenchant young progressives for whom podcasts are their go-to listening medium today. It likely wouldn’t concern them in any case that in fact these phone-friendly popular audio items are little more than archived radio productions. They follow basic principles developed by radio hosts and editors over the years-- many years.
I’m not here to knock podcasting; not at all’; podcasts are a welcome advance, a real boon for radio broadcasting. Still evolving, radio has conscripted a generation who twenty-five years ago listened to sound productions only in a car, or (as teenagers) from a boom box at the beach.
Today’s listeners don’t dial into 99.5 FM or 800 AM. Through iTunes or another app, they locate an amusing podcast among a list of hundreds (thousands?) of podcast subjects or sites. Many of those are original radio productions adapted to a podcast format, packaged into serials that can be subscribed to, listened to for a while then picked up later. Everything’s portable—not only in your car, but in your pocket phone while traveling to work by train or subway car.
So the medium of radio not only survives; it’s evolving too, using the latest technology to reach into every phone.
How has radio’s appeal endured? Simply because radio builds on its quintessential feature-- intimacy. Besides its proven versatility, radio invites us in. Yes, it may stimulate us with flute solos, sitar ragas, blues and R&B, Brahms sonatas or inventive hip-hop poetry. More poignantly, radio taps our deep human need for the voices of others. It’s often a very private experience, attested by the ubiquity of slinky earbuds and chunky wireless headphones that envelope each wearer in his and her personal world.
Many are unfamiliar with a piece of household furniture known as an FM radio receiver -- like the Jackson Bell 1930s ‘cathedral’ style countertop item . You’ll find other classics such as Bakelite radios and transistors on vintage radio sites for broadcasting aficionados from the era bypassed by the current generation-- like the dial-up phone that was plugged into a wall!
I learned about the dispensability of these FM home receivers when visiting the apartment of a fellow producer thirteen years ago. She quietly answered my challenge-- How can a radio producer not possess a radio, the medium we work in?-- by opening her computer and tuning into our station’s webpage! “It’s called streaming”, she informed this old-timer.
Today every station live-streams and offers a phone app through which you can subscribe to listen live and search archived shows and podcasts. Thanks to phone apps radio’s reach extends far beyond the kitchen table model or the car receiver. For a few intervening years when television dominated home entertainment, the car was where most radio programs reached listeners. Then cars acquired SiriusXM (launching 22 podcasts soon, I’m informed) whose plethora of channels competes with television.
Sixty years ago, apart from the toaster, a radio was the only electronic device in regular use in a home. When television came along, oh the woes and warnings: radio was finished. How would it complete with live picture transmissions? Chatty comedians like Arthur Godfrey eschewed radio for TV, as did sportscasters. (Imagine fans gathering around a sitting room audio receiver cheering on their team! But they did.) Then there’s drama; drama was once a mainstay of radio, offering employment for writers, actors and sound effects specialists. “The Lone Ranger” and “The Shadow” were two serialized shows I recall hearing as a child. (One can still find those early dramas on programs like “The Golden Age of Radio” which my WBAI colleague Max Schmid began producing in 1976.)
Radio dramas provided evening family entertainment and were adapted for children too. I belong to the generation of schoolchildren who walked home for lunch where we heard a daily episode of some short children’s drama airing at 12:30. This was in Canada where radio always had a special status. Maybe it still does.
The still popular broadcast “Selected Shorts” [Image result for selected shorts radio] based on recorded performances began in 1985. Today radio drama is enlivened by productions like “The Moth Radio Hour” launched in 2010 (from Woods Hole, MA) inspired by Atlantic Media’s www.atlantic.org commitment to “the art of the story, in the power of sound and spoken word”. (Atlantic Media introduced a fresh ambiance into radio broadcasting.)
For decades after television was a household fixture, in defiance of expectations, radio held his own. Television sets were initially one per household, dominating the sitting room, with the radio receiver consigned to the kitchen for morning news and weather.
Radio’s role in the music industry was advanced by “American Top 40 Countdown” introduced in 1970 by Casey Kassem.
And what about political radio? Perhaps as a corollary to growing opposition to the Vietnam War, alternative voices carved out their space on the FM dial. The Pacifica Network surged in popularity during the 1960s (giving birth in 1996 to “Democracy Now” which has largely eclipsed the mother network). Pacifica’s early commitment to vigorous debate and a space for dissenting voices fostered the talk-radio format where lively hosts brought listeners on-air by phone. Talk radio’s widening influence is now associated with extreme conservative advocates Rush Limbaugh, Michael Savage and Mark Levin. Their radical views may appear risible to some, but their deep impact into American politics is unarguable. One of the founders of talk-radio lies at the other end of the political spectrum--“RadioUnnamable”’s Bob Fass who originated “free form” radio which also revolutionized late night FM listening.
The podcast revolution notwithstanding, regular FM broadcasting is attracting print news sources to the air, from “Counterpunch” to “The New Yorker Radio” and New York Times’ “The Daily”. Stay tuned for more.
- July 05, 2019
"Fellow-citizens, pardon me, allow me to ask, why am I called upon to speak here to-day? What have I, or those I represent, to do with your national independence? Are the great principles of political freedom and of natural justice, embodied in that Declaration of Independence, extended to us? And am I, therefore, called upon to bring our humble offering to the national altar, and to confess the benefits and express devout gratitude for the blessings resulting from your independence to us?
I am not included within the pale of this glorious anniversary! Your high independence only reveals the immeasurable distance between us. The blessings in which you this day rejoice are not enjoyed in common. The rich inheritance of justice, liberty, prosperity, and independence bequeathed by your fathers is shared by you, not by me. The sunlight that brought life and healing to you has brought stripes and death to me. This Fourth of July is yours, not mine. You may rejoice, I must mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak today?
What, to the American slave, is your Fourth of July? I answer: a day that reveals to him, more than all other days of the year, the gross injustice and cruelty to which he is a constant victim. To him, your celebration is a sham; your boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery; your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him, mere bombast, fraud, deception, impiety, and hypocrisy—a thin veil to cover up crimes that would disgrace a nation of savages. There is not a nation of the earth guilty of practices more shocking and bloody than are the people of these United States at this very hour.
At a time like this, scorching irony, not convincing argument, is needed. O! had I the ability, and could reach the nation’s ear, I would, to-day, pour forth a stream, a fiery stream of biting ridicule, blasting reproach, withering sarcasm, and stern rebuke. For it is not light that is needed, but fire; it is not the gentle shower, but thunder. We need the storm, the whirlwind, the earthquake. The feeling of the nation must be quickened; the conscience of the nation must be roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and the crimes against God and man must be proclaimed and denounced.
An excerpt from Frederick Douglass’s July 4th1852 Independence Day address in Rochester, New York. Presented by James Earl Jones, part of a performance of Howard Zinn’s Voices of a People’s History of the United States.
- July 04, 2019
“This is not what America is about” argues a U.S. reporter referring to revelations of misogynist, violent, racist behavior by employees of the U.S. Border Patrol ‘guarding’ migrants held in detention centers.
Sorry Mr. Thompson (the "Propublica" reporter who broke this story); THIS IS what America is about. Vulnerable people, i.e. women, men and children held in secret or without legal representation:-- undocumented migrants, Americans in detention or serving sentences in prison, our indigent and our Black and Brown citizens in general, and foreign prisoners. We witness their abuse, beatings and killings by ‘authorized’ armed personnel every day--every day-- most of it carried out by our local police officers.
But that’s another long, sad story. Let’s get back to those border guards and their contempt for their wards. Where did we last see this shameless conduct on the scale of these recent revelations? Was it not Abu Graib in 2004? And Abu Graib was just one Iraqi prison where American excesses were exposed. One can find more references to extreme cruelty and sadistic acts by American and allied troops (all under earlier administrations) directed against prisoners in Afghanistan.
As much as our naïve public and the noble liberal wing of our press may wish to assign this newly revealed shame to the Trump administration, the ‘problem’ is much deeper.
I suggest it exists within the training of U.S. troops today and to the license given them in the Iraq and Afghan wars-- a license to humiliate, mutilate, shame, torture and murder with impunity— over people they have been taught to despise. Recall the report of an American verbally attacking a Muslim woman in the street not long ago proudly proclaiming: “I killed people like you over there!” (This week we had one U.S. veteran tried for just one murder by U.S. troops in Iraq; and he was acquitted.)
The U.S. is home to more than two million Iraq-Afghan war veterans who, when they announce they are veterans, we are obliged to hail with “Thank you for your service”. A huge percentage of these veterans are ill—little wonder, given crimes they have witnessed and committed. Of those, an undocumented number have become abusers and killers at home. Too often, if one searches through a news story we’ll find that many killings-- of families by out-of-control husbands or fathers, or the perpetrators of mass shootings-- are by veterans. A local New Hampshire paper carried a story in May about the murder of two enlisted women by a fellow soldier at their military base.
One threat of a mass shooting, by a military veteran, was thankfully intercepted more recently in Dallas, Texas.
A "Mother Jones" investigation of mass murders in the US and contributing factors (updated May 31, 1019) offers no analysis about killers’ experiences in the armed services and in foreign wars.
What we need is a thorough, honest tally of the number of our prison guards, our border patrol guards, and policemen who’ve been in the U.S. military--policemen like those threatening the family in Phoenix .
Videos exposing this kind of terrorizing American urban police behavior may shock our largely white population. It will not shock Black Americans. Nor will it shock Afghans and Iraqis who doubtless witnessed countless such shameless, unrestrained murderous conduct by U.S. and other occupation troops in their neighborhoods.
A closer examination of prior military experience of those involved in the recently revealed activities towards would-be-migrants by border guards may well reveal a) racism, Islamophobia and misogyny perpetuated by our military establishment, and b) the culpability of all American administrations. The ugliness that faces us today cannot simply be laid on the shoulders of the current White House occupant.[ Abu Graib At Home in America ]
- June 06, 2019
Even in New York, it’s not often one has an opportunity to view a sculpture exhibit on the scale of Simone Fattal’s 50-year retrospective at the Museum of Modern Art PS 1. It’s a splendid assemblage of work—247 items— from a prolific artist generously distributed over spacious galleries in a grand museum space in Long Island City, New York
As I moved through the eight halls devoted to stages of Fattal’s work—collage, canvas paintings, work on paper, ceramic and glazed terracotta, I found her sculpted pieces particularly compelling. Many are rather whimsical; although they initially appear somber. The overriding impression from these sculptures is of movement and ‘becoming’; while the striking paintings and collages evoke contemplation, for me. Even Fattal’s stark back and white lies on canvas are heavy with deliberation.
This is not a crowded, ponderous mind we are witnessing at work; there’s some playfulness here, along with a reach into history. The range of work is not surprising given that they represent half a century, in Lebanon, California, and France.
Accompanying captions refer to the impact of displacement and geopolitical conflict on the artist. This may apply to mystical terracotta items-- mostly standing humanoid figures, their blunt torsos anchored by heavy trunk-like legs. While these pieces evoke something colossal from early times, there is nothing daunting in them. Is Fattal telling us they represent past (or present) experiences which, while they may embody dislocation, are in fact manageable and embraceable?
The headless, armless figures stand unambiguously erect, about to step forward. Speaking with Ms. Fattal at her home in Paris last week, she affirms: “I want to show man on his feet, as witness, still standing.”
She began sculpturing long after she left Syria and then Lebanon in 1980 where she’d worked on canvas. Taking with her the detritus of war with an energy she would never lose, she turned her attention to founding a publishing house. Her Post Apollo Press featured innovative texts, mainly poetry—especially the writing of the powerful poet and painter Etel Adnan.
Settled in California, Fattal returned to the plastic arts in the late 1980s not to resume painting (some striking canvases from that period are exhibited here). She began clay sculpting, a medium she chose, she explains “because clay gives the sense of being alive; it retains the quality of fragility and lightness at the same time.”
Too often creations of artists originating in places we associate with conflict are interpreted as cathartic; their images seem baleful or angry, we are told, to expunge or transform painful past experience. I don’t see this in Fattal’s work on exhibit in this grand New York gallery. With the mostly diminutive scale of her massive (in image, not size) ceramic and clay shapes, perhaps the artist is showing us how she prevails as an energetic being celebrating a continuous forward movement.
The reference to ancient antiquity in some sculpted forms may derive from a ‘memory’ of lost civilization. But through their color and their weightlessness, the artist transforms them into celebratory images. Those massive feet under the torsos are not irreconcilably anchored; they seem ready to spring off the platform.
Still, there’s an undisputed historical feel to many sculpted figures, especially the mystic ceramic and stoneware torsos. While possessing a sense of emergence, they simultaneously remind us of recovered, damaged reliquaries. I found myself meditating on them.
Accompanying exhibition notes inform us how Fattal draws from her personal experience in the Middle East and from the epics of Gilgamesh and Dhat al-Himma created in that cradle of civilization millennia earlier. Characters from these tales populate the exhibition and may provoke viewers to search out those classics. The art itself is however strong enough to suggest an intentional reach into the elemental aspect of civilization.
Simone Fattal is a fine example of the many women with roots in the Middle East, Asia and Africa who exist in a global 21st century, bringing powerful messages, with courage and limitless energy that speak to all. Their female voices represent a universal past, a present and a future.
This is an exhibition for anyone, and for any age. But I encourage women to see this display of one woman’s vision. Just as I encourage women to read the poetry and novels of the abundance of contemporary women who seem to be in the forefront of groundbreaking research, of invention, of reinterpretations, and of honest truth-telling. Fattal is in the vanguard of creative women demonstrating our ability to reinterpret history and reality, and to project the power of our gender in completely new terms. To my question to Fattal about women in the arts, she replies—“We can pick up and move on from adversity maybe more easily than men can, perhaps because we fall from a less elevated place.”
The exhibition runs to September 2nd, well worth a trip to New York just to imbibe this display of energy and imagination. Allow extra time to view “Autoportrait 1972-2012”, a 47 minute film by the artist. It’s screening at the same venue. Attached photographs from the MoMA PS1 installation are taken by M. Gurung for this article.[ Arab Women at Work: Simone Fattal Retrospective ]
- May 28, 2019
Embassy raided; citizens starved by sanctions; coveted oil resources targeted--again.
The United States is still punishing Iran for the 1979 takeover of its ‘sacred’ premises, its embassy in Tehran. By contrast, when American authorities occupy another nation’s embassy there’s nothing but approval from the American public and silent acquiescence by others. I don’t know about you, but I heard no outcry, not even a quiet show of concern emanating from the diplomatic corridors of Washington or New York earlier this month around the violation of sovereign diplomatic property—that of Venezuela. That hush recalls a similar embassy raid:—the American assault on and occupation of Iraq's embassy on Massachusetts Avenue in late 1990.
Anticipating the recent incursion, at least the Venezuelan administration was able to remove their files and to made arrangements with a brave team of American supporters, The Embassy Protection Collective, to occupy the building for as long as possible in order to attract some media attention to the threat and eventual (illegal) takeover of its property by U.S. law enforcement personnel. That handful of activists stood against not only a police force, but a menacing crowd of Venezuelan opposition supporters eager to assume control of the building in the name of U.S.-backed Venezuelan president-in-waiting Juan Guaido.
The 1990 assault on the Iraqi embassy went unnoticed and completely unprotested at any level. At that time, a public unfamiliar with Kuwait (and Iraq) was overwhelmed by terrifying media accounts of an unspeakable military aggression. Worldwide, emotions were swiftly roused by images of a new Hitler; Saddam Hussein was reframed as a menace to the entire world, his arsenal directed at Europe.
There wasn’t a whimper when Washington’s Iraq embassy was stormed and barricaded. It would remain empty and barred to any Iraqi presence for more than 12 years (until 2003 when the U.S. occupied Iraq and installed its chosen leaders in Baghdad).
The American assault proceeded at multiple levels, as with Venezuela, but more rapidly in Iraq’s case and with blanket global approval. Within a mere four days, after the August 2nd invasion of Kuwait, an unprecedented international embargo, probably drawn up in anticipation of an Iraqi miscalculation and blunder-- was imposed on the nation of 18 million. It was comprehensive, ruthlessly policed and internationally adhered to, lasting long after Iraq’s weapons-of-mass-destruction were neutralized, after billions of dollars of Iraqi revenue from controlled oil sales were essentially stolen, after the country’s overseas holdings were impounded, after treasures were pillaged, after millions died or were stricken by embargo-related illnesses and starvation, after medicines were long unavailable, and after millions of its citizens fled in search of relief from that punishing siege.
Sound familiar? Today we hear how Venezuelans’ health and living standards have deteriorated, how unemployment is driving poverty, how American allies have frozen Venezuelan assets held in their banks, how millions of desperate citizens have emigrated, how Maduro is a tyrant, how his police are smothering dissent, how opposition is deepening--all endorsed by American media and members of Congress’ support for regime change.
Thus far, remarkably, Venezuela has resisted outside efforts to instigate a coup and impose its chosen leader. A few voices are calling for a negotiated settlement to the standoff, although Amnesty International is playing its part in demonizing the Maduro government. Recall how AI affirmed the story of Kuwaiti babies ripped from hospital incubators by Iraq’s occupying forces-- a phony but effective ploy, later exposed to be totally fabricated.
Iraqi people’s resistance to the murderous U.S. embargo was noble but the experience was nevertheless silently punishing—a war whose harmful ramifications continue today. It was a brutal siege worth remembering because of this, also because the deaths and suffering during that 13-year prelude to the invasion are not calculated into the Iraq war record. Neither are they included in U.S. war crimes and obfuscations by our media. First, the 1990 embargo on Iraq was wholeheartedly sanctioned by the United Nations. Second, within a few months the U.S. led a massive bombing campaign to drive Iraqi troops from Kuwait and to bomb key infrastructure in the Iraqi capital and other population centers. That strategy smashed bridges and factories and the nationwide power grid, unleashing a torrent of toxicity that would infect Iraq’s water, its soil and its air for decades—a plague that persists to the present. American-led bombing continued for years, theoretically aimed at an illegal ‘no-fly zone’ prohibiting flights in the north but effective nationwide, allowing allied jets (mainly U.S., British, and French) to terrorize the entire population. Well documented but little known were summer attacks by fighter jets loaded with incendiary bombs that set Iraq’s ripened wheat fields alight, destroying one of the people’s few domestic sources of food.
While the Bush Sr. administration designed and imposed the embargo, the succeeding Democratic Clinton presidency (1993-2001) strictly maintained it. So critics of the current policy against Venezuela who blame a pugilistic Trump administration need to recognize this is a tried and tested non-partisan American—Republican and Democrat—war policy.
Eventually—rather late, as is often the case— documents would provide details of that embargo war. My own reports joined voices of colleagues, notably John Pilger, Felicity Arbuthnot, Kathy Kelly, George Galloway and the International Action Center led by former attorney general Ramsey Clark documented devastation wrought by the embargo.
It was only in 2012, after the U.S. invasion and occupation ended, when noble institutions like Harvard Press risked publishing The Invisible War: The United States and Iraq Sanctions a specific study of that episode. Also belatedly (in 2010) came Cultural Cleansing in Iraq, a credible account of the pillaging of Iraq following the U.S. invasion.
What informs our consciousness of that distant war today? Accounts of ISIS atrocities and memoirs by retired American marines of their lost comrades.
“When I’m in the studio, I feel like I’m 30. But when I leave it, I know I’m 80.”
artist David Hockney
- a poem.. a song..
- Poem "Daddy's Been Gone"
Theater artist Andrea Assaf performs from the "Robin Monologues" Flash
- Qur'an Surat Al-Shams
from 'Approaching The Qur'an', CD.
- Book review
- Laila Lalami's
The Other Americans
reviewed by BN Aziz.
- Tahrir Team
- Read about Tamara Issak in the team page.