All musicians in the past, starting with the middle ages were interested in popular music. (...) Bela Bartok's music is made entirely of sources from Hungarian folk music. And Igor Stravinsky, although he lied about it, used all kinds of Russian sources for his early ballets. Kurt Weill's great masterpiece Dreigrochenoper is using the cabaret-style of the Weimar Republic that's why it is such a masterpiece. Only artificial division between popular an classical music happened unfortunately through the blindness of Arnold Schoenberg and his followers to create an artificial wall, which never existed before him. In my generation we tore the wall down and now we are back to the normal situation, for example if Brian Eno or David Bowie come to me, and if popular musicians remix my music like The Orb or DJ Spooky it is a good thing. This is a natural normal regular historical way. - STEVE REICHThree weeks ago, I came down with the flu. Whatever the cause, I had no choice but to spend six days in bed. Since I don't have Internet access at home, or even cable satellite T.V., the only two ways to pass the time were the two Rs. Reading and Radio! Now reading for twelve to fourteen hours at a time is all very well if one is in great health, lying on a beach in Goa (yes, this IS my favourite pastime - maybe I should have pursued a career as a proof reader!). But when I had the flu, my head refused to stop pounding and my cold ensured that my eyes kept watering non stop. Plus, I did not fancy covering all the lovely library books with my germs, so that some poor unfortunate soul comes down with the flu as well. As much as I dislike humans, I'm not actively out to make them all sick!
Whatever happened to authenticity of content, rather than a toss up between sensationalist programming and hack-job journalism? Every story, every music feature does not have to have a gimmicky "angle" to it. Some of the best, most interesting programs on radio feature conversations, discussions or storytelling. Some of the best music programs are simple presenter-introducing-music-that-he/she-loves if that's what the program calls for. The obsession with making radio programs like they are prime time TV shows is just idiotic. I cannot fathom why anyone would take an interesting idea or subject and then clutter it with stupid sound effects, excessive cliches and stereotypical scripted commentary. Perhaps it is because unlike the pioneers of radio in the first half of the 20th Century, today's radio producers are overpaid media puppets obsessed with turning everything into a bland, generic prototype.
No wonder then that when I was listening to a completely random selection of programs, I didn't know the difference between a program on, say, RTE Lyric FM (actually, I lie...I DID know most of the Lyric FM shows - Marty Whelan, take a bow. *Shudder*) and Classic FM (but that's because Lyric is a poor imitation of Classic FM. One has a former pop-idol wannabe/reality show winner, the other has a former Rose of Tralee presenter/game show presenter. Again, *shudder*).
I've confused myself with all the parenthesis filled sentences. But even a classic rock radio station in Canada had the same dull as dishwater style - zero research, zero knowledge, zero variety of music on offer. There's only so many times I can listen to "Stairway to Heaven" followed by "You shook me all night long" in a day. I did listen to some very good programs, that managed to stay true to the "radio as music" ethic, and I'll be adding links to these programs on to the Offbeat website and page, if anyone cares to know what they are!
If Glenn Gould were alive today, there is no way the CBC or any other mainstream radio station would let him make the kind of programs he did in the sixties and seventies. Sure, you can have all the state of the art equipment, "tweet" while you're live on air and what not, but without substance, passion and research, you have a poor, mediocre program. Speaking of research - I was mortified at some of the basic mistakes that overpaid presenters thought it okay to make (this applies to TV as well....remember when Pat Kenny introduced Jerry Sienfeld as Jerry Sien-FIELD? ). Is there anyone who goes on a radio program when there is NOTHING to promote? Or are all radio programs supposed to cater to the needs of people who want to plug their latest event, book, CD, cat, wedding, you catch my drift. When I interview people for Offbeat, it is because I genuinely want to talk to such and such a person on the program, not because they have a concert or CD launch coming up. I remember when I interviewed Leon Fleisher, it was just because I WANTED to interview him, after speaking to his student Louis Lortie and reading about him in one of Gould's letters - last week, he played a concert in Ireland, his first time ever, a year after our original interview aired! Yes, I know, my "awesomeness" is infuriating, so I'll stop. I actually remember the Fleisher interview, because three of my transition year students helped me research that program.
So while there have been two or three happy coincidences where promoting an upcoming concert or CD has been possible, that has NEVER been a priority for me. You can't wait for the right subject matter for your show. Nor can you expect that the right subject matter is enough! Without basic reading and research, without a level of sincerity and genuine interest there is no radio. There is only noise.
Upon recovering from the flu, I was appreciative of a few things.1) Having the ability and facility to listen to some wonderful radio programs from around the world, made by radio enthusiasts and people who cared enough about the medium to be themselves rather than watered down, generic dullards. 2) I also had a new found appreciation for independent radio stations that allow the kind of programming that commercial radio turns a blind eye to. Even taxpayer/government funded radio stations compensate for what they lack in new ideas and quality by treating everything as if it were just "business" - hours of bland, generic, diluted programs. I guess it boils down to the same basic principles - you can pay a presenter or producer a high salary, but if they are lacking in passion and creativity, no high tech special effects will substitute for that. I actually really enjoyed listening to a top forty type radio program in England, not because of the music, but because of the natural, enthusiastic presenter who was just brimming with life. And it wasn't the cliched fake bubbliness either, she was completely at ease on air, and amazingly, it made the chart music bearable (except for that awful song by Lady Ga Ga and Beyonce which sounds so overproduced it made me reach for the sick bucket, only kidding).
For me, the radio is many things at once - it is music, speech, technology, art, intimacy and education. Every radio program I put together, whether it's just a general "Offbeat" show or a special feature on a certain musician/composer/book has several life forms. The solitary, visual-free environment of a radio studio appeals to me immensely. I write random thoughts and ideas for music to play on the show much like I do in my blog, except that they are written down in my notebook first. In that sense, even a simple little hour long radio program is my own creation, something that I regard as a piece of music in itself. I hate reading scripted notes unless it's a feature documentary that has a different format (again, freelancing for mainstream radio stations, I figured out how to get reasonably good at this, but it's not my favourite thing in the world). Even then, I prefer to just allow my thoughts and feelings to flow, even in conversations with musicians, sometimes with bizarre results! I also think that ANYONE presenting a program, whether it's on radio or TV should not be afraid to let their own personality come through. Except if you're Jonathan Ross or Gerry Ryan. Then, I don't want to know you. At all. Ever. But seriously, the reason Ryan Tubridy (I left Ireland after it was announced that he was presenting the LLS - no joke!) is utterly hopeless at what he does is because he is afraid to reveal any part of himself on air, or in front of the camera. You can't expect other people to open up to you if you maintain an air of indifference or display a personality lacking in warmth. Whether a program attracts two listeners (like my programs or Alan Partridge's - actually I get more listeners than Alan, but that's because there are more people in Pune than in Norwich ha!) or two million, the same rules apply. I suppose you can't function the same way when you have smarmy executives breathing down your neck and all everyone cares about is ratings and money. This is one of the reasons why I turned down a job at a mainstream classical music radio station in Canada (Toronto's answer to Classic FM I suppose) and also why I will never touch a station like Lyric FM. Money does NOT make my world go round, though I probably could have used the money to save a few more strays!
So I suspect that I have found my soul mate when it comes to Dublin City FM. And because it is such a joy and privilege to be involved in such a stimulating process, I don't care that I don't get a cent for it (FYI mainstream radio stations worldwide pay freelancers a pittance and most of the time your original idea and hard work is ruined by endless dilutions, you wonder if it is worth anyones while to bother). It helps that the people at this particular radio station are some of the most down to earth, sincere, decent human beings I have ever known. I am very doubtful if any other station would let me make radio programs from anywhere in the world, on any subject and musical composer of my choice. Speaking of radio programs, I'll be adding podcasts for the last two programs of The Jazz Scene (which I present/produce on Saturday Nights while Mick Murray, the program's creator and presenter is still recovering) early next week. Offbeat will also feature an extensive two hour special on Armenian musicians and composers which will air at the end of May. The phenomenally talented David Rees Williams, founder and pianist with the David Rees Williams Trio will be featured in conversation with me, and I'm also working on introducing the radio play form to Offbeat in coming months. So it's all good, I guess! Let me sum up by quoting that madman Howard Stern who says "If you're going to be strong on the radio, you got to let it all out, even the ugly stuff. And you can't apologize for it."
You can also get in touch by sending an email to offbeat AT dublincityfm DOT ie
