Category: Radio

Past examples of published radio and podcast programs.

  • Curators and Artists of T:BA Festival 2009

    Curators and Artists of T:BA Festival 2009

    KBOO Air Signal Audio from Art Focus 09-01-09

    In the weeks leading up to the 2009 iteration of the Time-Based Art Festival annually produced by Portland Institute for Contemporary Art (PICA), I was given a chance to guest host an episode of Art Focus on KBOO, September 01, 2009. Host Eva Lake gave me a chance to program my own show. I ran with it, packing in guests.

    Featuring the guest artistic director at that time Cathy Edwards and monologist Mike Daisey on the phone, visual artists Fawn Krieger and Jesse Hayward in pre-recorded interviews, plus staff curators Erin Boberg and Kristan Kennedy in the studio, this moment is kind of amazing.

    The first segment introduces the festival with Cathy, Erin, and Kristan. I bring in Mike, and the discussion gets underway. Around 20 minutes, I cut to a produced segment with Fawn and Jesse, their interviews stitched together with a brief music concrete piece built with field recordings at The Works, the combined art exhibition and temporary night club space that acts as a centerpiece for the festival. The final few minutes are given to pontificate on contemporary art.

    It was fun to listen to this again, even though I cringe at a few things. The funny thing about community radio is that hosts have minimal media training, and I mean that in both the technical sense and in quotes, “media training,” a euphemism for polite, energetic, palatable behavior for the audience.

    There is a moment when everybody is going on about Philadelphia Live Arts Festival (now Fringe Festival). Inwardly, I’m freaking out because I lost control. Without media training, I crudely redirect the conversation back to TBA. Okay, it was fine.

    As a result of what I felt to be aggressive behavior, I started doing the now ubiquitous vocal fry thing. When the microphone picks up your voice in every detail, it’s easy to slip into. I just think it’s a bad habit that became popular.

    Whenever I did these live day time talk shows, I felt pressure to be far more professional and palatable than I was on my late night shows, but really I’m a basket case behind this calm demeanor that I manage to project.

    I overcompensated by packing in guests. Thirty minutes with Mike Daisey talking about TBA alone could have been a great show.

    Somehow, I expected to bring Oregon Painting Society on despite having these wonderful guests in the studio and on the phone. That would have been saturation. Thankfully, they never showed up, or there was a miscommunication, I cannot recall, but I mentioned it at the end of the show.

    To reflect on the oddness that the most comparable event to TBA just so happened to be in the city I now live and love, Philadelphia, and that I forgot about that, shows there’s weird symmetry to everything. Portland was where I discovered myself as an artist and media producer while TBA played a meaningful role in that. I haven’t felt similar until the last year in Philly.

    The years that I spent attending and covering the festival from 2007 to 2015 were very special to me. I don’t know what word to describe the sum total of education, mind expansion, creative inspiration, and social gratification that I derived from it, but it’s rad.

    I remain in contact with Kristan a little bit via Instagram. We have reminisced on the fact that I got to experience those formative growth years, the good old years.

    When I found this audio and wanted to post about it, I asked her about Philadelphia Live Arts and she pointed me to this 2013 article by Philadelphia Dance. It was basically a rebranding strategy tied to the development of a new performance venue owned by the same organization.

    My understanding is that much like FringeArts is the same but has changed, Time-Based Art Festival has taken a different shape with institutional change. I am sure that during covid there were substantial adaptations to old ways. Coming up on 20 years, I would love to attend to see for myself. That said, I haven’t been to Fringe before, so it’s in the bucket for the future.

  • A Missile to the Moon?

    A Missile to the Moon?

    LCROSS Mission Radio Special on KBOO Radio – Archival Clip – Program at 04:05

    On October 9, 2009, there was a propagandized NASA mission involving a “kinetic weapon” designed to eject enough plume from Earth’s Moon to be analyzed by a follower probe within minutes of impact. The hypothesis was that it could detect and measure water on the moon.

    I learned about this mission through Jarrett Mitchell, who considered activism a kind of performance art. He chose this mission with that weird Portland ironic authenticity that was still charming back then. I met him during a tour of a T:BA Festival site in August for a different radio special. He passed out protest flyers headlined with, “DON’T BOMB THE MOON.” He used his talents for creative illustration as part of the art project.

    Jarret brought songwriter Kaia Wilson. Kelly Slusher was my co-host and she brought on her friend and mentor at the time Alison Bradley. I also brought conspiracy theorist Alfred Webre by phone, just to throw everything off.

    From the perspective of a producer, it was lightning in a bottle. From the standpoint of myself today, half of this show is ludicrous, and should be viewed as the reason that Portlandia was able to come into our city and trounce all over us.

    There was an important question raised involving the status quo of peaceful use of outer space. There is a UN treaty and the idea is we don’t plan or execute any missions that could be used for violent purposes. I would say LCROSS legitimately could be viewed as a military exercise.

    Beyond this genuine public interest question, we made little sense. Kelly says something about how this can effect the Earth’s tides. Then I said something about debris coming back to Earth. I legitimately wrote to NASA’s press department asking for comment about debris from the LCROSS mission. I cannot believe that I passed a full year of college astronomy with straight A’s. In fact, I consulted my instructor Bob Ewing about it and read his comments on the show.

    Thankfully, I had the wherewithal to take a neutral position and have fun with it. 

    Kelly froze up at the beginning of the show and she couldn’t talk, even though she was co-host. I kind of forced her into that role because she inspired the show. When I showed her Jarret’s flyer and explained the mission, she cried, as if the moon was a delicate living being. As her Man, all I wanted to do was make her feel better, so I used my leverage at KBOO to squeeze a morning special in before the mission.

    Morning drive listenership was estimated to be in the tens of thousands easily. I bet we had good ratings, but in broadcasting you never really know how many tuned in.

    This program follows Democracy Now, and the audio file begins with Jeremy Scahill’s report. I leave in the whole context of the archival audio because it also includes a community calendar entry from Kelly, who joined me as a KBOO volunteer. We were a very close couple.

    A few days later, she and I set our alarms to wake up around 4am to watch the mission. We envisioned a kind of moon landing experience, assuming live analog video of the moon would be visible. Not the case, as it would turn out, it was all sensors and computer generated images.

    Despite this being one of the most highly propagandized videos of a lunar mission in decades, including a NASA commissioned rock song, a dedication to Walter Cronkite, and a publicized livestream of the mission, they did not have any video of the actual event.

    We were able to broadcast men on the moon in 1969 but we can’t do it today.

    I have a joke. If they had never faked the moon landing then nobody would have unrealistic expectations. Of course you can’t livestream from a flying rocket at the moon.

    I have never been able to recover the original LCROSS mission livestream footage, but it was hilarious. Kelly and I were cracking up when we saw scientists playing for the cameras. 

    I’ll never forget what I saw though. Kelly saw it too.

    One guy rose his hand for a high five, another guy let him hang. That guy, who let the dude hang, packed his briefcase in a hurry and stormed out of the room while everyone cheered on the success of the mission.

    I hope a good citizen taped that livestream. If so, I hope they would email me with the video.

    Finally, I will note that I was having my annual Portland cold, as the weather turns in late September, around when this show aired. You will hear my sinus but I push through it.

    Although I am a little embarrassed of this program, it’s pretty entertaining, and as a host I do a fairly good job keeping the content moving.

    It’s fun, enjoy it.

  • My Interview with the Late Daniel Johnston

    My Interview with the Late Daniel Johnston

    Featured image via 20Watts

    My radio interview with the legendary Daniel Johnston for KBOO in 2009.

    Looking back, I am still amazed that I landed this interview. It is simple however, I was the first producer at KBOO to reach out to Daniel Johnston’s manager. That is really how you find opportunities in life: Timing. His manager was his brother, Dick.

    Something I don’t mention in the script here, when I got him in the interview chair he had a momentary freak out, running out of the studio. I hope to this day it wasn’t me. Because it was like he felt threatened by me. He was famous for living with schizophrenia.

    Imagine my panic standing in Studio 2, all prepared for the interview, and for a moment I thought it was over before it had even started. His brother ran after him, calmed him down, and we got a good fifteen minutes in, including an in-studio performance. Somehow, the guitar came in too quietly on the board and its signal was lost. With tape, you really have to push the gain.

    It is silly that I ended up using cassette tape as my medium. Listening to it now, I feel like it wasn’t worth it, but then again, I did something unique with this radio piece and I had the freedom to do it at KBOO. For what I contributed to the station besides 11 minutes and 26 seconds of noisy airtime, listen until the end for the call sign.

    Johnston has been recorded plenty of times in super high definition since he was made famous in the 1980’s. To come to him a scrappy young man myself with a cassette system for an interview seems like exactly what I should have done, granted we were in a studio with professional standards.

    There is more to the reason I used cassette than that. I believe the session files were intentionally disappeared. All KBOO producers had space on a network drive, and my Adobe Audition files with Daniel Johnston went missing from my folder. I still had the cassette. So I passed it off like it was a creative decision.

    My personal legend is that ultimately I had no choice, because the original media was both digital and cassette, but the digital disappeared. A likely story, akin to my dog ate my homework, you might say. Let’s just say it was the ghost in the machine.

    If memory serves me right, I was stuck, and I tried to make it work with digital noise filtering and other things, including some reverb. It is sonically one of my worst pieces of radio or any audio that I’ve produced. But you get used to it.

    It is a simple piece, I read an intro script to lead in the interview. After the short talk, we go to his concert that night with a field recorder. It was at Berbati’s Pan, I talk to some fans and a musician that I knew and yet whose name I didn’t get down because I was an amateur journalist. I think his name is Ryan. After the concert, the out segment is the performance that I captured in the studio.

    Nobody arranged to get a picture with myself and Johnston, in front of the studio, or anything. This is a real oversight by myself and the whole organization. But we got the audio. Here it is, in my archive.

    It could have been more awkward. I think I approached him very rationally, but I was thrown by the fact that his mind was elsewhere. He may literally be fighting off the flight response the whole time. There is a sense also that he is still trying to make it. He doesn’t seem self-conscious to the fact that everything wrong about what he did is what made him famous. One can only have compassion for the mindset of a man you cannot understand.

    Rest in Peace, Daniel Johnston. You really were a prolific songwriter, and a gift to musicians for generations to come.

    See the original post at KBOO right here.

    See the photo spread from which I obtained the featured image.

    See what else was happening that week via Portland Mercury.

  • Robert McChesney and John Nichols Interview

    Robert McChesney and John Nichols Interview

    It was a spring morning in 2016 and there was an omen on my path to make this interview with Robert McChesney and John Nichols, at Hotel Deluxe in Portland, Oregon. They agreed to an interview if I could meet them on their way out the door, in the lobby.

    I woke up in the morning to a landslide that blocked my usual route to St. Helen’s Highway, to downtown early to set up the gear. I made it to a road block and had to reverse course and take the high road to drop down Burnside. The scheduling was already tight, I was setting up my recording equipment in the car.

    I walked into the hotel with my microphones and recorder hot and rolling. I start this interview out of breath and anxious.

    This kind of foreshadowed the reality that was to manifest by the fall of that year: Donald Trump would win a landslide of electoral votes, forcing the left to double back and find a new strategy to reform the dangerously teetering American project.

    The event is also allegorical to the subject of the book, People Get Ready: The Fight Against a Jobless Economy and a Citizenless Democracy, as we are going down a path that will be obstructed sooner or later, and we may have to start a recourse before we know its coming.

    I am proud of this interview and grateful that these guys, who are well known authors and progressive figures, would join me on my little podcast. I never read the book, they didn’t offer a copy. But it’s probably a good read.

    At the time of this interview, the podcast was called Horizon at End Times, but it was published by THRU Media. Intro music courtesy of New Amsterdam Records, composed by Qasim Naqvi.

  • T:BA Revived Washington High School in 2009

    T:BA Revived Washington High School in 2009

    The inaugural year of the reopening of Washington High School in Southeast Portland, Oregon, was carried out by none other than Portland Institute for Contemporary Art as part of the Time-Based Art Festival. The following comes from two interviews conducted at the site for a radio special on KBOO Community Radio, which aired in September, 2009. The interview begins with Fawn Krieger.

    Interviews with Fawn Krieger and Jesse Hayward for T:BA 2009

    In the context of a live broadcast, the audio above is only an excerpt of the original program, which is not included here.

    Washington High School remained occupied by PICA for four more years, atypical of the moveable feast that is The Works, a nightly cabaret that caps off each day’s program.


    Fawn pictured me standing with her laptop to offload our interview audio.