Folio

KPFK 90.7 FM^

September 1981

PLEASE POST

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PHYLLIS DE PICCIOTTO In association with LAEMMLE THEATRES presents

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A festival cf Films

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WNA KARENINA la. wtMitg Maya Pi isetskaya in the ballet-film based on Tolstoy's novel. Also with: Alexander Godunov , Vladimi r Ti khonov, Nina Sorokina, Valery Levintal, Lev Statland. 81 min, USSR, 1974

PAS DE PeUX 14 min . Canada, 1968 Dancers: Margaret Mercier i Vincent Warren, Award-winn inQ short bv Norman McLaren.

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ROWEO AND JXIET la. MIEMiIRt

"May be the most remarkable screen dance creation ever of fered. .. lavish!" N.Y. Times GRAND PRIZE WINNER CANNES FESTIVAL 1955 Corps de Bal let and orchestra of the BOLSHOI Theatre Moscow. Juliet danced by GALINA ULANOVA and Romeo hv YURI ZHDANOV. 95 min, IIS^R, 1954

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PLISETSKAYA DANCES 70 min, 1964 MAYA PLISETSKAYA of the Bolshoi Ballet dances in scenes from: SWAN LAKE, SLEEPING BEAUTY, LAURENCIA, SPARTACUS, THE LITTLE HUMPBACKED HORSE, KHOVANSCHINA and others.

ADOLESCENCE 22 min, France, 1966 The magnificent MADAME EGOROVACnow over 80) dances again to demonstrate to her pupil SON I A PETROVNA.

ROYAL 11A.M. 1 ESQUIRK 11 A.M. SPARTACUS i.A. pwMitw

"Yuri Grigorovich's SPARTACUS comes into its own as both ballet and film. ..One of the best dance films ever made.

N.Y. Times Dancers of the BOLSHOI BALLET, featuring Vladimir Vassiliev, Natalia Bessmertnova, Maris Liepa and Nina Timofeyeva. The music is by "-- -- -^-^ ----

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LITTLE HUMPB^:KED HORSE 85 nin, Russia, 1961 A magical tour through the land of flying horses, dancing fish and tumbling clowns. The BOLSHOI BALLET features MAYA' PL ISET- SKAYA and VLADIMIR VASILIEV.

GAITE PARISIENNE

LEONIUE mAsSINE and the BALLET RUSSE DE MONTE CARLO. Rare footage of the heirs of

Oiaghil lev's company. 20 min, 1941

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STA^ OF THE RUSSIAN BALLET la. phemihe

Featuring the BOLSHOI BALLET ana LENINGRAD OPERA. SWAN LAKE with Galina Ulanova; THE FOUNTAIN OF BAKHCHISARAI, Ulanova and Maya PI isetskaya; THE FLAMES OF PARIS, a colorful homage to the French Revolution.

80 min, USSR, 1953 GALINA ULANOVA

Excerpts from: GISELLE, DYING SWAN, ROMEO AND JULIET and LES SYLPHIDES. -^7 min. .19M

SWAN LAKE

Leningrad's KIROV BALLET in TSCHAIKOVSKY

classic. Dancers: Yalena Yevteyeva, John

Markovsky, Makhmud Esambayev, Valer>' Panov.

Directors: Konstantin Sergeyev and

Apot I inari Dudke.

Choreography: SergeyevCbased on Petipa-

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90 min, Russian, 1969

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SLEEPING BEAUTY « min, uisK, iyo4

The KIROV BALLET rendering of the Petipa classic. Director: KONSTANTIN SERGEYEV. Dancers: ALLA SI20VA, YURI SOLOVYOV, NATALIA MAKAROVA and VALERY PANOV.

YOLNG fWI AND DEATH 15 min, France, 1965 RUDOLF NUREYEV and "ZIZI" JEANMAIRE dance to BACH'S PASSACAGLIA AND FUGUE IN C MINOR. Choreographer: ROLAND PETIT.

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CHILDREN OF THEAT!

The inside story of the Kli«V SCHOOLCfor- merly the Imperial Ballet School of Russia), the school that produced:Ni J insky, Pavlova, Ulanova, Nureyev, Makarova, Baryshnikov . This is the exciting adventure of those who follow in their footsteps. A poignant and joyous film, narrated by Princess Grace of Monaco. ''" "'". I'^'S

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['ly, .:,'l>OTr :33 min. Austral ia, 1976 "This is a comic ballet, full of sunlight and Nureyev is the sun king. "-L. A. Times Directed by RUDOLF NUREYEV 4 ROBERT HELPMANN Dancers: NEREYEV, HELPMANN, LUCETTE ALOOUS, RAY POWELL, FRANCES CROESE, COLIN PEASLEY.

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Stars CYNTHIA GREGORY 4 IVAN NAGY, dancing to PACHELBEL'S CANON IN D. Chore'jgraphy is by AMERICAN BALLET THEATRES' Wi 1 1 iam Carter.

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.BALLET FILM FF..STIVAU Ticket order form

NO RESERVID SEATS ALL PROGRAMS SUBJECT TO CHANGE

To order tickets by mal I :

■■lake check payable to LAEWLE THEATRES.

Mall with ticket order form to: LAEMMLE THEATRES 11523 Santa Monica Blvd. Los Angoles CA 90025

('LEASE ENCLOSE A SELF-ADDRESSED,

STAMPED ENVELOPE.

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PROGRAM

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DATE

HOW MANY

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THE FOUNTAIN Of 6AKMCM1SAHAI SIAHS OF THE RUSSIAN BALLET

CITY/ZIP

DAYTIME PHONE 1981

DISCOUNT TICKETS (5 «dm. ) at $15.00 EACH. TOTAL ENCLOSED 1

(Tickets also available at boxofflc* on the date of Darforfflsnca. If soace Dannlts.)

Folio

KPFK 90.7-fm

KPFK STAFF

GMwral Manager: Jim B«rland. Program Diractor: Clare Spark. Inttrim Davelopmant Dir: Jeannie Pool. Music: Carl Stone, Dir.; John Wager-Schneider, Lois Vierk. News: Marc Cooper, Dir.; Diana Martinez, Asst. Dir. Public Af- fairs: Helene Rosenbluth, Dir.; Roberto Naduris, Asst. Cultural Attain: Paul Vangelisti, Dir. (on leave). Exac Prod., Tntfic: Roy Tuckman. Production: Linda Mack. Dir.; Margaret Fowler, Mgr.; Fernando Velazquez, News Eng.; Sylvester Rivers, Gten Gordon, Raffaello Mazza. Chiaf Engineer: Don Wilson. Circulation: Ahna Armour, Dir. Public Relvtions/CommunitY Events: Mario Casetta, Dir. (on leave). Reception/Info Coord: Bob Akjrich. Fdio: Audrey Tawa, Editor.

KPFK LOCAL ADVISORY BOARD

Danny Bakewell, Ruth Galanter, Brownlee Haydon. Linda Hunt, Wilma Keller, Diana Martinez, Mel Reich, Anita Steinberg, Laurence Steinberg, Roy Tuckman, Delfino Varela, David Wesley.

The KPFK Local Advisory Board meets on the third Tuesday of each month, 7:30 p.m., at the station. Observers are invited to attend.

KPFK Switchboard: 213/877-2711,984-2711, 980-5735. Open Mon.-Fri., 9:30 a.m. to 5:30 p.m.

PACIFICA FOUNDATION: 5316 Venice Blvd., Los Angeles 90019. 213/ 931-1625.

PacHica Foundation National Board of Directors & Offi- c»fs: Hon. Chair: R. Gordon Agnew; Chair: Jack O'Dell; Pres.: Peter Franck; 1st VP: David Lampel; VPs: Ray Hill. Rosemarie Reed, Sharon Maeda, Jim Berland, Da- vk) Salniker; Trees: Milton Zisman; Asst. Treas: Dan Scharlin;Sec: Ying Lee Kelley; Asst. Sec: Ron Clark; Exec. Committee: Ying Lee Kelley, Delfino Varela, Da- vk) Lampel, Marie Nahikian. National Board of Directors (not named alxjve): Richard Asche, Gabfielle Edgcomb, Margaret Glaser. Philip Maldari, Robbie Osman, Sandra Rattley, Julius Mel Reich, Alex Vavoulis. Padfica Foundation National Office: Sharon Maeda, Executive Director; Norman Erazo, Controller; Ron Pelletier, Admin. /Assistant; Mariana Berkovich, Book- keeper Padtica Program Sendee & Tape Library: Hel- en Kennedy, Director; Sandra Rosas, Business Mgr.; Catherine Stifter Engineer. Pacifica National News Service & Washington News Bureau: 868 National Press BkJg., Washington DC 20045. 202/628-4620. PACIFICA NETWORK SISTER STATIONS: KPFA: 2207 Shattuck Ave. Berkeley CA 94704. KPFT: 419 Lovett Blvd Houston TX 77006. WBAI: 505 Eighth Ave. New York NY 10018. WPFW: 700 H St., NW. Washington DC. 20001.

VOLUME 23 NUMBER 9

SEPTEMBER 1981

THE FOLIO (1SSN027 4-4856) is the monthly pu- blication of KPFK, 90.7 FM. with offices and stu- dios at 3729 Cahuenga Blvd. West, North Hollywood CA 91604. Second Class Postage paid at Studio City CAand additional mailing offices. POSTMASTER: send address changes to P.O. Box 8639, Universal Ci- ty CA 91608. The Folio is not sold, it is sent free to each subscriber supporting norvprofit, non-commer- cial KPFK, and contains the most accurate possible listings of the programs broadcast. Subscriptions to KPFK are S30 per year, and are transferrable to the other Pacifica stations. Our Transmitter is on Mt. Wilson. We broadcast in stereo multiplex with 25 microsecond pre-emphasis. Dolby calibration tones air daily before the principal evening music program. KPFK is owned and operated by the Pacifies Foun- dation, a non-profit institution. KPFK is a member of the Association of California Public Radio Sta- tions and the National Federation of Community Broadcasters.

Fernando Velazquez. Once a farmer, carpenter, painter, shipbuilder, musician, and general jack of all trades, he is now KPFK's News Engineer. Fernando's responsibility is to produce the pre-recorded portions of the evening news and to make sure that when you hear our correspondents' reports you DON'T hear their mistakes and their saying "O.K., here comes the report in three-two-one."

Fernando was born in Sinaloa, Mexico where he grew up learning to farm, but has lived in Los Angeles on and off for the last eleven years. He returned to Mexico in 1974 to set up his own farm, but things didn't quite work out. "The economic situation got real bad and we small farmers began to organize. But when a half dozen policias j'udiciales show up at your house, you know it's time to move on," he says. Fernando moved on to Jalisco where he worked in a num- ber of political organizing campaigns.

Returning to California in the late 1970's, Fernando became a regular KPFK listener, and in 1980 joined the news volunteer workshops. "I wanted to work In news, even though I was a musician at the time, because I think that our con- sciousness and outlook on the world is shaped mostly by the information we receive or don't receive." While still in the workshops, Fernando became a one- man mobile unit. Dragging a KPFK tape recorder wherever he could, he man- aged to tape some of the year's outstanding programs, like Dick Gregory's talk at Occidental College. In January of this year he joined the staff as News En- gineer.

Over the last two months, Fernando has expanded his responsibilities and has undertaken the organization of KPFK's Spanish Language News {Noti- ciero Pacifica, Thursdays at 6:45 pm). "Here in the U.S. the labor movement to a great degree ignores the undocumented workers who at best are used as strikebreakers," Fernando notes. "I think it's important that they have some information source to turn to to find out what's really going on. And of course, our Spanish language news is aimed at the entire Spanish-speaking community of Southern California." But it isn't just Los Angelinos who will hear Noticiero Pacifica: while Fernando was at the National Federation of Community Broad- casters' meeting this summer in Colorado, at least ten other stations requested Pacifica 's Spanish Language News Service. "We'd like to see our news go up on the Public Radio Satellite," says Fernando, "so that we can distribute it nationally." And considering the work that Fernando and his twelve volun- teers have been investing in the project, it's certain that it won't be long before Noticiero Pacifica becomes a nationwide broadcast.

FERNANDO VELAZQUEZ by Marc Cooper

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John Cage Empty Words Satie Day Sunday

Labor Day Holiday

On the occasion of John Cage's 69th birthday, we offer three very special events: the first is a Cage birthday celebration Saturday, September 25, when Imaginary Landscape will feature a montage of music and statements from many of Cage's colleagues and asso- ciates, including Morton Feldman, Lejaren Hiller, Alvin Lucier, llhan Mimaroglu, Merce Cunningham, Maryanne Amecher, Ted Szanto, and others. The next day

On the occasion of John Cage's 69th birthday, we offer three very special events: the first is a Cage birthday celebration Saturday, September 5, when Imaginary Landscape will feature a montage of music and statements from many of Cage's colleagues and asso- ciates, including Morton Feldman, Lejaren Hiller, Alvin Lucier, llhan Mimaroglu, Merce Cunningham, Maryanne Amecher, Ted Szanto, and others. The next day, we follow with a performance of a piece which proved to be very important to Cage, by a com- poser with whom he found a great deal in common: Erik Satie and his outrageous 18-hour piano piece Vexations. This live per- formance will emanate from our Studio A and will feature over a dozen pianists playing in relay. Finally, on Friday, September 25, Cage himself will take to our air in a live marathon perfor- mance of his own 12-hour Empty Words. Based on a text by Thoreau, the work is the culmination of the philosophy and teachings developed by Cage over the last 50 years. The perfor- mance begins at 6:30 pm and ends at 6:30 am Saturday.

Special programming all day Monday, September 7 in honor of Labor Day, focusing on both the historical per- spectives and new insights on working life in the '80s. Included in the day will be talks by San Francisco econo- mist Anne Marcus on women's posi- tion in the psid labor force; UCLA , historian Kathryn Kish Sklar talking aobut the increasing impwrtance of woment in the work force versus their lack of change in their political status; Vera Davis talking about black commu- nity organizing in Venice; and Marc Cooper investigating working class movements of the '30s and '40s in his interview with labor historian Jon Amsten. You'll also hear documen- taries on Talking Farmwork Blues and Women Talking Union, as well as a special feature on the life and times of organizer Joe Hill. From 1 2 noon to 3 pm and from 9 pm to midnight, Howard and Roz Larman will present songs and stories relating to the con- ditions of working people around the world, including Bruce "Utah" Phillips' songs of the IWW, the railroads, mines, and loggers. From Australia, "The Rebel Chorus," excerpts from a concert of contemporary political songs; and from the San Diego Folk Festival, songs of work and labor with Jim Ringer, Jane Voss, Michael Cooney, and more. Enjoy your holiday with us!

SEPTEMBER FOLIO PAGE 6

Chile and South America

Upton Sinclair

South Africa Teach-in

This September 1 1 marks the 8th anni- versary of the overthrow of the Popu- lar Unity Government of Salvador Allende in Chile. Chile today is still ruled by the same general who headed that coup: Augisto Pinochet. And while the solidarity campaigns of the mid-'70s have begun to wane, the im- mense social problems faced by the Chilean people continue unabated. On this special day of programming we will be looking at the coup itself, the Senate investigations into CIA partici- pation in the coup, and in the evening as part of our live broadcast from Stu- dio Z, we will hear from a panel of Chilean activists speaking on the situ- ation today inside their country. The last part of the evening will be devoted to a round table discussion with repre- sentatives from other countries in South America that live under similar milita- ry dictatorships as is the case in Ar- gentina, Uruguay, Bolivia, Paraguay, and Brazil. You are invited to attend the evening portion of our broadcast that will take place in Studio Z, high- lighted by performances of Chilean music; we'll even be serving empana- das to munch on. Call 877-271 1 during business hours to make your reservations.

Upton Sinclair: The Reverent Radical will be rebroadcast as part of the Af- ternoon Air on Tuesday, September 22 at 2 pm. This 4-hour documentary was produced in 1978 to commemo- rate the 100th birthday of Upton Sin- clair, the world's most widely-read author. The program presents Sinclair's childhood memories, early and late ex- periences with alcoholism, social mo- ralit/; his research on The Jungle, read- ings from the book, its effects, early socialist experiences, unionizing and arrest; remarks on humor, psychic re- search, capitalism; his campaign for governor and other anecdotes. Pro- duced by Roy Tuckman. Technical assistance by Margaret Fowler. Fea- turing the "Something's Happening" Players, starring Dudley Knight. Win- ner of the 1978 Armstrong Honorable Mention Certificate for Superior Pro- gramming in Community Service. A meaningful radio experience for Sin- clairites and Who'sinclairites.

Live from Studio Z, September 23 at 7 pm, an evening exploring the current situation in Southern Africa. A host of panels, speakers and experts will re- view the sharpening conflict inside South Africa where a minority of white Europeans still cling to power in a country where the African majority is reduced to less than secondary citizen- ship. Also to be discussed is the grow- ing war of liberation in Namibia, where guerrillas belonging to SWAPO are try- ing to break South African rule. What changes has the new regime in Zimba- bwe brought to Southern Africa? What is the role of Angola and Mozambique in that part of the world? Special fo- cus on the U.S. position in South Afri- ca. Are the allegations of the Organiza- tion of African Unity that the U.S. is tilting toward apartheid South Africa true? If they are, what implications arise? You are invited to attend this live broadcast in which there will be participation by representatives of the African liberation movements and local solidarity and anti-apartheid groups. Phone 877-271 1 to make your reservations.

SEPTEMBER FOLIO PAGE 7

Inability to Confirm September Film Selections.

It's time to put the Folio to bed, and this time without solid information about upcoming film(s). This isn't punishment-it's just life! Please keep listening to the air for announcements.

Reservations.

Unless otherwise noted, announce- ments will air for the week prior to film showings, reminding you of the date for phoning in your reser- vations for that screening. Normally, it is the Thursday before the screen- ing, from 6:00 pm to 9:00 pm, over 213/985-5735.

Film Club Card.

You are always required to have your Film Club Card in hand when you call for reservations, and when you arrive at the theater for admission. Thanks for your cooperation.

Post Cards.

If you'd like written notification about those features NOT printed in the Folio, send in a bundle of self- addressed regulation post cards (with 12 cent postage on each one), and we'll send you information each time about upcoming films.

Report to the Listener

On pages 12 and 13 you will find a reprint of an article by Jules Feiffer which I discovered while planning a Read All About It episode. It struck me as a perfect resume of our current situation, and I offer it for your thoughts. My own reflections on it follow.

The role of Pacifica is to champion liberty against puritanism and tyranny, and to attempt to live a democratic existence in the midst of society's conflict over the value and strength of democratic ideals. We see demo- cracy as the most human system yet devised. We do not lift one social sys- tem over another, but judge all sys- tems by examining in a dispassionate way their effects on the lives of their people. These effects include the cul- tural and artistic substance of their lives, as well as the economic and po- litical conditions with which they must cope. This examination must be multi-faceted. It must include facts and expositions of history , the passionate experience of those who live under all types of social con- ditions; it must include the finest artistic creations, and the popular as well.

The mere exercise of such open- minded investigation does harm to tyranny and injustice, for they can- not stand the light of investigation and free inquiry. We are neither the friend nor enemy of any political ad- ministration; we seek to expose re- ality and reveal experience.

This adventure is motivated by a desire to bring us closer together, through our common experience, even though our interpretation of that experience may vary. Respect for our different backgrounds and ideas is the underlying theme of this dialogue and investigation.

There are forces in America which are on the advance that would deny the value of this inquiry. They would claim that information about the workings of certain government agencies or corporations is not In our interest to know. They would keep from us and particularly from

our children, certain books, films, sounds and sights that would, in their view, harm us. . .and in doing this they would substitute govern- ment's judgement for family judge- ment. The oppressive family is bad enough, but when reinforced by op- pressive government, it leads to the immature social mentality that is always seeking "leadership" to tell it what to do. It is this immaturity that makes us question that freedom which we espouse, when its exer- cise touches our own deeply held beliefs or fears.

This struggle for unfettered investi- gation and genuine questioning should include ourselves, for as we better understand the social and family for- ces which create our own fear of free- dom we can help others understand too, and build a broader and deeper constituency for democracy. This is my own vision of Pacifica 's role.

Pacifica People

Some of the names and faces continue to change at KPFK. After six years at KPFK as producer, training coordina- tor, and Public Affairs Director, Helene Rosenbluth is moving on to indepen- dent production and the world be- yond. Linda Mack, who developed quickly during the past two years from production worker to operations director, is leaving to continue her education in engineering and as a recording engineer. She will continue to work on KPFK productions and, we trust, add her considerable skill to many of our future efforts.

KPFK Money

In next month's Folio we will present a complete financial report and bud- get for the coming year. It is clear that the increase in listener support has averted a crisis which could have resulted from the ending of five train- ing grants (due for completion this year) which brought the station $24,000 in additional CPB money this year, as well as the ravages of in- flation which have added about 330,000 of f ixod costs to our opera- ting budget during the past 12 months.

We will be setting a high goal for KPFK's Fall Fund Drive. If wamake it, we will be able to continue our re- solve to become completely indepen- dent of government funding by 1983. That is when significant cuts enacted this year by Congress will begin to re- duce support from CPB to public radio.

Watch this space next month for more details, and keep your ears open for the many reasons why KPFK must maintain its independence.

For Pacifica,

Jim Berland General Manager

SEPTEMBER FOLIO PAGE 9

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Clare Spark, Program Director

I Am Not Your Mother and This Is Not a Test

This month I want to reflect upon bureaucracy and the psychology of the marketplace; how the Sixties' slogan of "trust the process" may or may not contradict the structures of domination we've come to iden- tify as insufferable. This is not an abstract lesson in social theory: I want to apply this analysis to several questions which are emerging here— 1 . Why don't many people have the wish or the confidence to telephone our talk shows and 2. How are we to accomplish our goal to integrate minorities in a new way— one which will not "perpetuate existing struc- tures of domination" as I wrote in the June Folio.

Consider self-confidence, consider what the psychologists call basic trust. Courageously, let us contem- plate our bureaucratized market so- ciety, one where everything and everyone is measured and tested, pigeonholed and tracked; where everyone seems to be on the make; where you can't tell your friends from your enemies; where the world (which is a phase in history made by people) appears intractable, per- manent, hostile and alien. This world so accurately described by Hobbes as "the war of all against all" is said by the official culture to be naturally harmonious and free; thanks either to the laws of the unimpeded free market, and/or to the presence of institutions which arbitrate and re- solve conflict. ["Normal" people find "true love" in this context.)

Somebody please tell me how, in a society where power and privilege are monopolized by one class, one gender, and one race, we should be- lieve that these class institutions will resolve conflicts in favor of anyone but the owning class? Enter Pacifica and its grand plan to develop auto- nomy and critical consciousness in

the audience; to integrate women, minorities and white working class males in new ways. Why should people trust us, given the rich his- tory of bamboozlement these groups have experienced?— i.e., the institu- tions created "for their own good" —schools, family welfare programs- turn out to be agencies of social control; in the name of individual success, some in unions, as tokens, have been co-opted and thereby have had to relinquish the commu- nity networks which helped them to survive in America— then have been paraded as proof that "the system works." Or, from the left, women, minorities and white male workers frequently experience elitism which takes the form of insensitive terminology ("false consciousness"); paternalism; tactical rigidity; dilettant- ism; Third World-ism (concerned with the faraway unmatched by support of causes in the bedroom or the back- yard); or, "going native"— escaping the iron cages to wallow in their mu- sic, their food, their sex, their tragedy.

Back to our original question. Are we asking our women/minority/work- ing class listeners to call KPFK and risk getting trashed vet again?

Pacifica claims to have social pro- cesses which people can trust; yet I fear that we will replicate these old sadomasochistic strategies unless there is a lot of introspection and self-criticism: I know that I have par- ticipated in every one of these "class" actions. At some point, one can say, "Enough. I'm going to change, how- ever long and painful that process is." Former masochists, like myself, will try to find supportive structures which help us all find more authen- tic, egalitarian ways of being together. This is what I want for our radio sta- tion: not the bogus perfect happy family thrust upon us by mass media; but a creative community. To do that, we have to change the way we imagine our capacities and measure our talents— all of us. The reluctance

to do that comes, as I have said, from the psychology of the marketplace. To transcend it, we have to under- stand how, for instance, bureaucracy has penetrated every aspect of exis- tence. The bureaucrats define reality and they gain our acquiescence in this reality through tests which they devise and which we trust as accurate gauges of our "potential." We are isolated in these tests, "on our own." Having internalized our success or failure in the tests, we can be relied on to limit our expectations, not to be surprised when our "reach ex- ceeds our grasp" and so we wait for heaven.

What if, as the alternative to bu- reaucracy, we were to shift our fo- cus from the performance of the tested, isolated individual, to the group? What if we evaluated the group as successful insofar as it ac- curately describes social reality; as it demonstrates its capacity to care for each and every member; as it honors the uniqueness of each per- son—including unique perspectives and vision; as it resonates with loveli- ness and pain?^ I believe that such a community would embody pro- cesses that foster independence and authenticity^; that in such circum- stances people, finding that they are not required to cut off vital parts of of themselves in order to function, who are NOT BEING TESTED AS A PRELUDE TO RE| ECTION , find that they have inner resources and capacities hitherto invisible to them, or perhaps, capacities which have re- mained hidden in a hostile world.

What I am saying is this: unless Pacifica can represent alternative so- cial relations, all the integration plans, bibliographies, resource net- works, affirmative action hires, etc., will be for naught. We'll wake up

continued on page 36.

Social Responsibility

By George Margolis, MD

The following article introduces the issues and concerns around which Physicians for Social Responsibility was formed. The Los Angeles chapter of PSR regularly examines these issues on Prescription for Survival, heard every second and fourth Tues- day of the month at 7:30. Check the listings for details.

At first, his fear-fixed eyes kept looking up, his mouth agape, his mind askew as he watched the sword overhead dangling by a hair follow him from room to room and into the open air, but as days blended into years, he galnced up less and less until he almost forgot it and when people men- tioned it, he'd ignore them and if they persisted, he'd say, "It's protecting me." -"The Sword" by Ed Spitzer

For most of us nuclear war is incon- ceivable, unthinkable. It could mean the end of civilization— even the end of humankind. But after living with the bomb for 35 years, the world has become accustomed to the 20th cen- tury's sword of Damocles. Anathema has become banality. Consequently, a passive p)opulace is witnessing a mas- sive global arms buildup carried out In the name of national security. The penultimate outcome is MAD (mu- tual assured destruction), the concept of deterrence through strength. The ultimate outcome will be a global catastrophe, manifested either as World War III or as a slow, inexorable decline of society into a series of worsening crises of scarcity, depri- vation and disease as more and more resources are committed to munitions instead of human needs.

Faced by this grim prospect, a growing body of socially responsible American physicians, who regard nu- clear war as an "untreatable disease," has formed a society called Physicians for Social Responsibility. This organi- zation is dedicated to the goal of edu- cating the world's peoples to the ab- solute need to prevent humanity's "last epidemic." In a series of sympo- sia across the nation during the past year, PSR has cited convincing evi- dence of the inability of the medical community to cope with the conse- quences of nuclear war. Selected data are cited below.

In World War II, which cost the lives of 52 million people, the tonnage of explosives expended was equivalent to three megatons of TNT. Incredibly, an H-bomb of that magnitude can now be stored under a bed (Amory B. and L. Hunter Levins, Energy War: Break-

ing the Nuclear Link, Friends of the Earth, 1980). Today the global stock- pile of weapons is equivalent to 15,000 megatons— one million Hlro- shi mas-packaged into 60,000 nuclear bombs and but 30 minutes away from programmed target sites. In its 200- year history, our nation has engaged In five major wars, but it has barely dipped a finger into the terrible pool of blood. Its dead from these five ma- jor wars number only a little more than one million. The first nuclear bomb detonated over a major urban center in this country would dupli- cate that death toll in 1 1 seconds. In an afternoon of war 140 million Am- ericans would be killed.

In the face of predicted massive casualties the medical facilities of this nation are pitifully inadequate. There are 6,988 registered hospitals with a bed capacity of 1,372,000. The av- erage daily census of 76.1% occupan- cy leaves only about 300,000 open beds. In an attack on an urban center the burn toll could be counted In the millions. The burn center in Boston has only 24 beds, that in New York only 50 and that in San Francisco only 32. In all the burn centers in the coun- try there are only 1 ,000 beds to care for such patients. Even these capaci- ties are unrealistic. Since most major medical facilities are located In the central core of cities, 90% of the hos- pitals and their staffs would be des- troyed or diabled. The problem of dealing with radiation effects would be just as formidable— and far more protracted.

Because a nuclear war has not yet happened, the concept of mutual as- sured destruction has been labeled as a success. This success is illusory, how- ever. Since 1945 there have been 200 conventional wars, fought in the Third World with armaments supplied by the developed world and producing a death toll that dwarfs that of World War II. The reality is that MAD has created a world that has never been more insecure. Herein lies a paradox. MAD may prevent a nuclear war— but it absolutely guarantees a global cata- strophe.

Today we are witnessing its early stages. There are 150 million Africans facing imminent starvation at a time when, in pounds per person, there Is more explosive power in the world than food (Ruth Leger Sivard, World Military and Social Expenditures, World Priorities, Inc., 1979, 1980).

In the nuclear age— when the only "just" war to be waged is that against the moral and social ills of society and the intolerable levels of poverty and misery and disease in our social order— the world powers continue to stockpile armaments. Richard J. Bar- net's judgement of this world situa- tion bears repeating: "Malnutrition is the hidden holocaust of our day . . . It is avoidable, and because it is avoid- able it is as much an Indictment of this generation of bystanders as Hit- ler's holocaust was an Indictment of the last." (The Lean Years, Simon and Schuster, 1980). Famine is but one facet of the catastrophe toward which the world is headed.

These are indeed, somber perspec- tives. Still, this forum can be conclu- ded on an upbeat note. Physicians for Social Responsibility has begun to receive worldwide attention. Fur- ther, in March 1981, an affiliated society. The International Physicians for the Prevention of Nuclear War, held Its first meeting in Washington, D.C. Participants included leading physicians from Britain, France, West Germany, Canada, Japan, Swe- den, Norway, the Netherlands, Is- rael, the United States and the So- viet Union. Dean Howard Hiatt of the Harvard School of Public Health only a year ago stated: "If the me- dical community were to break the virtual silence on this issue, we might help interrupt the arms race." This is beginning to happen now. The educational program of Phy- sicians for Social Responsibility will make it extraordinarily difficult for physicians to remain unlnvolved bystanders, passively witnessing a race toward Armageddon— and oblivion.

777/s article originally appeared in the Spring 1981 issue of the Dart- mouth Medical School Alumni Maga- zine, of which Dr. Margolis is editor. Permission to reprint was obtained through Dr. R.M. Rufsvold, L.A.- PSR.

SEPTEMBER FOLIO PAGE 11

Thinking Pacifica

The following article originally ap- peared in the July 1 1. 1981 issue of The Nation and was featured on Read All About It. The tremendous response received prompted us to include it here to stimulate thinldng about Paci flea's role in the 1980s. —Jim Berland

Movie America—

Or, The Past Recaptured

Jules Feiffer

Ronald Reagan spoke at Notre Dame not too long ago. He came back to Notre Dame, although he had never actually gone. He had gone there in a movie, Knute Rockne, All American. He played Frank Gipp, known as The Gipper. The Gipper died, and Knute Rockne, played by Pat O'Brien, gave a locker-room speech in the movie. President Reagan reminisced about the speech. He told his Notre Dame audience that Pat O'Brien didn't give that speech to just any football team; he waited years until he found a team that was quarrelsome, dispirited, bit- terly divided-a prophetic metaphor, one might say, for present-day Ameri- V). And Pat O'Brien Rockne galvanized that losing team by calling forth the ghost of the Gipper— Ronald Reagan, that is— that hero-player who died tragically. "Let's win this one for The Gipper," President Reagan quoted Knute Rockne as saying. And that bitterly divided team came together, went out on the playing field as one and wiped out the opposition foot- ball team, their helmets and cleats no doubt supplied by Cuba and the Soviet Union.

To say the least, Mr. Reagan's speech was apocryphal. It was true all right, true in the movies. But in the world that exists outside the movie world, the record shows that that was not a divided Notre Dame team that year, and the speech Rockne gave was, according to veteran players, the same speech he gave over and over and over again, as inspirational as any other locker-room speech. It's not that Ron- ald Reagan made it up. The movies made it up, and Ronald Reagan be- . lieves the movies.

SEPTEMBER FOLIO PAGE 12

The President told a White House audience of Jews on Holocaust Day that, unlike right-wing extremists who claim that the Holocaust was an in- vention, he knows for a fact that it happened because he was in Europe in 1945 when the death camps were found and he saw movies, actual films. That's how Ronald Reagan knows about the Holocaust, the way he knows about Knute Rockne. History only exists if one visited it personally or caught it on film. Had he not seen timely, on-the-spot, photographs of the Holocaust, our President might today be calling it The Holocaust Theory, as suspicious of the Holocaust as he is of evolution. There are as yet no movies of evolution. But if Ronald Reagan in his Warner Bros, days had been cast in a movie about Charles Dar win, today he would believe in evolu- tion.

And that, I'm afraid, is what we're in for: Movie America, a world which in large measure is a piece of fiction, a mini-myth in which Pat O'Brien is interchangeable with Knute Rockne, the past is rear projection, memory is dead and when it's not dead it goes back no further than Warner Bros., 1945.

Movie America, where saying makes it so, where Tinker Bell logic rules. Close your eyes and wish. Will it, and it's bound to come true. Trust in faith. Trust in ignorance. Trust in the faith of your own ignorance overcoming the faith of your enemy's ignorance. Trust in romantic characters and hard- nosed imagery. Trust in that cold-war revival movie— The Russians Are Com- ing, The Russians Are Coming. Trust, as Ronald Reagan does, in John Wayne's America. For the first time in our nation's history, naked ideolo- gy occupies the White House. And on what is this ideology based? How is it formed philosophically? On Holly- wood movies.

Movie America, where small frame houses on shady-laned suburban streets housed large, loving, quirky, good-humored, plucky, patriotic, white Protestant families with col- ored maids who were not one whit less large, loving, quirky and good humored; where individualism thrived.

and handouts, charity, bureaucracy, officialdom of any kind were scorned. Except of course for the cop on the corner. Where there were family and community and good schools that had good teams and held great proms. On Sunday in Movie America every- one went to church. Jews and gentiles and Buddhists and Seventh-Day Ad- ventists went to movie church and listened to a movie sermon in which Jesus Christ was The Gipper who died not for our sins but for our gross na- tional product, so that we might go out there and win— win a new job, win the ball game, win a pay raise, win a boyfriend, win a car.

Movie America was born out of the hearts and minds of immigrant Jews and first-generation Irish, who, as pro- ducers and directors and screenplay writers, gave us the faith, the faith of their own fantasies that became, in time, the fantasies of virtually every- one else. They gave us a dream that proved over and over that Americans were handsome, charming, rugged go- getters; that we were winners, that we were classless, that we were white. Movie world— the leveling of diversity, the whiting of America.

A dream that taught us to be pa- tient; the time would come when we'd be up on the mental screen, with our house in the suburbs or our penthouse in the city, our apple-cheeked kids, our romantic memories of colorful poverty, happy-go-lucky war, tossing pebbles into the sea while trotting in slow-motion on the beach with our loved ones.

These were the supply-side fanta- sies that led to movie reality, that led to a leader born out of this ersatz reality, schooling himself in its values, its Warner backlot dreams, waiting in the wings to take over when a coun- try, demythified, deromanticized, caught in slow decline, called upon the last faith left, the last remaining belief after we stopped believing in God and church and family and edu- cation-movie faith. Conservatism is not the name of the philosophy now ro'-iding in the White House. Tinker Bell is the name of the philosophy now residing in the White House.

Nostalgia for a time that never ex- isted anywhere but on movie and tele- vision screens— adherence to a set of principles whose substance is made of popcorn.

That national awareness that began in the 1960s, the awareness that this society might not be as just as adver- tised, as free and equal as promised, that began with civil rights sit-ins and ended with Vietnam disruptions; a decade that promised to tear the country apart and remake it has led instead to Jimmy Carter, who put us to sleep, and, once fast asleep, what did we dream of? Why, the movies. Movie magic. The coming of a hand- some old prince.

For fifty years we have dreamed of movie magic but never before have we elected it to our highest office. Who'd believe it could actually solve our problems?

But now we live in a period where we believe nothing can solve our prob- lems. The poor will always be with us, so screw the poor. Blacks and His- panicsand Indians and homosexuals will always be with us, so screw them too. The old and aging will always be with us, not wise and paternal and full of folk wisdom as they once were on the screen, but infirm and demand- ing and stinking up the back room of the house or the nursing home or the retirement community to which we have succeeded in exiling many of them.

One of the meanest phrases to come along in our time is the phrase: "You can't throw dollars at problems." We threw dollars at the poor, didn't we? And they didn't go away. We threw dollars at blacks; we threw dollars at Medicare and Medicaid and welfare and abortion clinics; and all we suc- ceeded in doing, according to present- day conventional wisdom, was to give us more poor, more angry blacks, more bad health and bad health care, more babies and more abortions. That is what we mean when we talk, as we do now, of the failure of liberalism. We mean really the failure of hope, the failure of optimism, the break- down of an ethic made up of idealism

and generous impulses. So that today even liberals are quoted as saying, "You can't throw dollars at prob- lems." They have forgotten who gave us the phrase: Richard M. Nixon.

But there is one place you can throw dollars. You can throw dol- lars at the military, where we have thrown dollars for years; and yet, according to experts, we are now virtually helpless against the Russians. So, apparently, throwing dollars at the military is as fruitless as throw- ing dollars at problems. Our missiles are sickly, our naval forces are under- nourished, our Air Force is on food stamps, our Army, we suspect, can't or won't fight. Clearly, throwing dol- lars at the military doesn't work any better than throwing them at the poor and the old and the needy and the racially oppressed.

But this is a view out of fashion in Movie America. Living in a time when we don't believe anything real can be solved, anything truly can get better (that the American pie is shrinking!), we lose interest in the rights or wel- fare of others. When there is no light at the end of the tunnel, we acquire tunnel vision: us against them, us against our neighbors.

Having turned hopeless, we turn mean, we turn suspicious. When you're suspicious, you see black muggers un- der the bed and the Russians outside the window. And that's why we need dollars to throw at our armed might, our police, our CIA, our FBI, our cruise missiles.

Movie America is not, underneath it all, a creation born out of hope. It is a creation born out of disillusion disguised as iiope. It is a supply-side nightmare, in which we are asked to remember nothing but our fears, nothing but our perceived or misper- ceived needs. We are to remember nothing that really happened, noth- ing on which experience can be based. That memory is to be despised, dis- missed as the "Vietnam syndrome," dismissed as "the ghost of McCarthy- ism."

Memory is to become as disposable as diapers, as transitory as fast foods. History is a threat to movie imagery, so history is limited to today's press release; yesterday's is denied, the day before yesterday's is rewritten.

The enemies of memory, having moved to revoke evolution, now move to revoke the library card. The Moral Majority, its friends in and out of gov- ernment, know, with a chilling assur- ance, good from bad, right from wrong, They know the Bible. They invent the Bible. They invent our past to suit the present. They are the quasi-official censors of Movie America. They do not approve of R-rated literature, R-rated movies or television, R-rated lives. They want G. They want good- ness and light and white and shady lanes and picket fences and Mickey Rooney as Andy Hardy and Walt Dis- ney as God. They want us, our hearts and minds.

Moonie-eyed with movie magic, they wish to define our reality, make tintypes out of our hopes, turn our most creative, innovative and ambi- valent impulses into needlepoint samplers.

With a hard-line ideology now in power, the stage is set for a debate that will prove or disprove arguments that have been chewed over for gen- erations. Out of this debate will e- merge a new American character eith- er more authoritarian and repressive or more democratic and egalitarian, more curious and therefore more wil- ling to suffer the complications and uncertainties that go with change or more willfully ignorant and arming to the teeth against the threat.

We are now full-fledged comba- tants in a war movie. A battle for the soul of the good old F.S.A.- the Fragmented States of America. I hope you're on my side.

SEPTEMBER rOLIO PAGE 13

JOHN CAGE: An Interview

This month we celebrate the birthday of John Cage, certainly one of Ameri- ca's greatest composers. KPFK will feature special programming in honor of Cage on Saturday, September 5 at 10 pm on Imaginary Landscape/ and a premiere presentation of Cage's Empty Words on Friday, ^he 25th at 6:30 pm. Check listings for details. The following interview (Part I of II) appears in Contemporary Composers on Contemporary Music, Elliot Schwartz and Barney Childs, editors. Da Capo Press, 1967.

Roger Reynolds: Would you say something about your early musical training and tastes? I was amused to read that, at one time, you had hoped to devote your life to playing the works of Grieg.

John Cage: My first experience with music was through neighborhood pia- no teachers, and particularly my Aunt Phoebe. She said of the work of Bach and Beethoven that it couldn't possi- bly interest me, she herself being de- voted to the music of the nineteenth century. She introduced me to Mosz- kowski and what you might call the piano music the whole world loves to play. In that volume, it seemed to me that the works of Grieg were more interesting than the others. RR: You remark in 45' For A Speak- er that "when [you] first tossed coins [you] sometimes thought: I hope such and such will turn up," and that "an error is simply a failure to adjust immediately from a precon- ception wo an actuality." Are you still troubled occasionally by practi- cal difficulties in implementing your philosophical positions? JC: When I first made the transition from a continuity that I was directing, as it were, to one which I wasn't di- recting, I still had a certain knowledge of the possibilities. And so, seeing that there were some that would be pleas- ing, I did, at first, wish that they would come up, rather than the ones I didn't know were pleasing. What act- ually happened was that when things happened that were not in line with my views as to what would be pleas- ing, I discovered that they altered my

SEPTEMBER FOLIO PAGE 14

awareness. That is to say, I saw that my views gradually changed from par- ticular ideas as to what would be pleas- ing, toward no ideas as to what would be pleasing. In other words, I try, rath- er, to keep my curiosity and my aware- ness with regard to what's happening open, and I try to arrange my compo- sing means so that I won't have any knowledge of what might happen. And that, by the way, is what you might call the technical difference between indeterminacy and chance operations. In the case of chance op- erations, one knows more or less the elements of the universe with which one is dealing, whereas in indermina- cy, I like to think (and perhaps I fool myself and pull the wool over my eyes) that I'm outside the circle of a known universe, and dealing with things that I literally don't know any- thing about.

RR: What do you think about the terms "meaning" and "symbolism" in connection with Art?

JC: Well. . .About symbolism: I have never particularly liked it. I'm begin- ning to have a different view of it. I don't like it when it is a one-to-one relationship. That is to say, that a par- ticular thing is a symbol of a particu- lar other thing. But if each thing in the world can be seen as a symbol of every other thing in the world, then I do like it. As for meaning, I'm afraid that word means how one's experience affects a given individual with respect to his faculty of observing relation- ships. I think that is a rather private matter, and I often refer, in this case, to the title of Pirandello's play. Right You Are, If You Think You Are. RR: Would you comment on your statement in Silence: "when we sep- arate music from life, what we get is art."

JC: I cite the hexagram on grace in the Chinese book, the / Ching. That is generally held to be the hexagram on Art, and Art is viewed there as a light shining on top of a mountain, il- luminating, to a certain extent, the surrounding darkness. That would place Art in a position where it pene- trated, to a certain extent, life. Now if you separate the two, let us say, if

you deal with this light— this thing that is better than the darkness or lighter than the darkness -and call that Art. . .then all you have is that lightness. Whereas what we need is to fumble around in the darkness, because that's where our lives (not necessarily all of the time, but at least some of the time, and particularly when life gets problematical for us) take place: in the darkness, or as they said in Christianity, " the dark night of the soul." It is in those situations that Art must act, and then it won't be just Art, but will be useful to our lives.

R R : In Lecture on Something you write that "when we remove the world from our shoulders, we notice it doesn't drop. Where is the respon- sibility? Responsibility is to oneself which is to say the calm acceptance of whatever responsibility to others and things comes along." Has not man traditionally operated on the assumption that his responsibility was to force Nature or life to con- form to his needs? JC: Not man in general, but man as European. Man as Asiatic had a different view, which I refer to sev- eral times in the book. And in parti- cular to that lecture by Fuller in which he points out that, jsut as if setting out from Asia to America you go with the wind, so the philosophies that grow up in Europe are in opposition to Nature, and toward the control of Nature. Whereas, the philosophies that grow up in Asia and increasingly so toward the Far East, are concerned with the acceptance of Nature, not its control. These two things meet in America, and so it is possible for us, I think, as Americans, more than it is possible for Europeans, to see the possibility of what you might call irresponsibility.

RR: I notice that, at one time, you found the sounds of Beethoven, Ital- ian bel canto, jazz, and the vibraphone distasteful, but that you had come to terms with all excepting the vibra- phone. What is the present state of your relation to the vibraphone?

with Roger Reynolds

JC: I aan see perfectly well that, if I liked the vibraphone, the world would be more open to me. I n the same way that if I liked Muzak, which I also don't like, the world would be more open to me. I intend to work on it. The simplest thing for me to do in order to come to terms with both those things would be to use them in my work, and this was, I believe, how so-called primitive people dealt with animals which frightened them.

RR: In spite of some of the charges which have been hurled at you, it seems that your activities could be" interpreted as a battle against the su- perficial: a reaction against a society which seems bent on increasing its insulation from direct experience and involvement in life. JC: Well, I have decided that it is frequently difficult to know how to steer one's course in social situations; and I've decided to use this as a kind of compass: To make affirmative ac- tions and not to make what I call negative, or , you might say, critical or p)olemical actions, even when the thing telng criticized or fought against is patently evil. In other words, I shall not attack the evil but rather promote what seems to me to be what I call affirmative.

RR: What I had in mind with this question was to get at what seems to me to be true of your work. That is, although there are many uninformed and unthinking criticisms and com- ments about what people think your work does-nof what you intend it to do— it could be viewed as a posi- tive attempt to get at the rejection of experience.

JC: Let me put it this way, and it's in direct relation to the book [Silence] I've had more response from the book than I've ever had from the publica- tion of a record, the publication of music, the giving of a concert, the giving of a lecture or anything. Many, many people write or telephone to say that they have responded to a particular part of the book. It puzzled me at first— why they sou Id respond more to a book than to any other ac- tion—and then it occurred to me that they are, in a sense, performers when

they read. That is to say, they engage in an activity of their own, and so have a direct experience. Most people mistakenly think that when they hear a piece of music, that they're not doing anything, but that something is being done to them. Now this is not true, and we must arrange our music, we must arrange our Art, we must arrange everything, I believe, so that people realize that they them- selves are doing it, and not that some- thing is being done to them. RR: I notice, in that connection, that you refer somewhere to your compositions as "occasions for ex- perience" involving the eyes as well as the ears. While noting the influence that Zen has had on you, in the fore- ward to Silence you absolve it of res- ponsibility for your activities. This was interesting, and brought to mind the disparities between the concept of Art in societies influenced by Zen, and your views. Would you comment on which aspects of Zen you find stimulating and acceptable, and which are not useful? I notice, for example, that several times in the book you mention that the / Ching expresses a certain view with which you can- _ not agree.

JC: That is rather difficult for me to answer because it's aprocess that I 'm involved in continually. What I do, and what I have done wince about 1947 when I got involved with Ori- ental philosophy is this: I try to see how something I read or something I experience works outside of its con- text (in, say, the context of music) and then, in the context of daily life. If I can see that it works, then a kind of thing you might call acceptance goes on. But if it doesn't work some- where. . .it seems to me that there must have crept in some bug. Then I will lay it aside, become skeptical about it, and try to examine it further. One can't do this all the time but it's a useful process. For instance, if, in our dealings with our compKJsition of music, we find that it distorts our daily life, then there must be some- thing wrong with the way we're com- posing, it seems to me. Whereas, if the way we compose is applicable to

our daily life, and changes it, then it seems to me that there is something useful in the way we're composing music.

RR: Which is the most important element of rfiusic? JC: The element of time. RR: I was hoping that you would talk a little about your provocative ideas on this subject. JC: My reasons [for believing that time is the most important] , I have often given; namely, that if you take what the Europeans call the various parameters of sound, you find that only one of them exists in what we call silence, and that is time. Neverthe- less, our views of time are suffering alteration, so that it is almost becom- ing less tangible than it was.

flR: Would you elaborate? JC: Well, we not only can go forward in time but we are able to go backward in time. We must find some way to be able to go in all directions. Or in the work, for instance, of Christian Wolff, a thing which is difficult to rationally conceive takes place, namely, zero time. You see, if music is conceived

next page. SFPTFMBER FOLIO PAGE 15

continued from page 15.

as an object, then it has a beginning, nniddle, and end, and one can fell rath- er confident when he makes measure- ments of the time. But when music is process, those measurements become less meaningful, and the process itself, involving if it happened to, the idea of Zero Time (that Is to say no time at all), becomes mysterious and there- fore eminently useful. RR: You have said that "normally the choice of sounds is determined by what is pleasing and attractive to the ear: delight in the giving or receiving of pain being an indication of sick- ness." You also mention that "when the war came along, [you] decided to use only quiet sounds," because "there seemed to be no truth, no good, in anything big in society." Do you still hold these views, and, if so, what about the subjective and purposeful nature of such choice? JC; Both of those views were prelim- inary to my present point of view, which brings it about that I use, fre- quently, very loud sounds now. Even the view expressed about the giving of pain and pleasure. . .1 don't agree with that any longer. We do give and receive pain and we might as well recognize the fact.

RR: What is an experimental act, and how does it relate to so-called experi- mental music?

JC: Experimental music can have many definitions, but I use the word experimental to mean making an act- tion the outcome of which is not foreseen.

RR: In your lecture Experimental Music you answer a question concern- ing the impracticability of perform- ing your music by saying: "Compo- sing's one thing, performing's another, and listening's a third. What can they have to do with one another?" It would seem that they are very Inti- mately connected.

JC: We normally think that the com- poser makes something, the performer Is faithful to it, and that the business of the listener is to understand It. Yet the act of listening is clearly not the same as the act of performing, nor is either one of them the same as the act of composing. I have found that by saying that they have nothing to do with one another, that each one of those activities can become more cen- tered in itself, and so more open to its natural experience. Referring to what we said earlier, about people

<:rpTFMRFn Fni in pacf in

generally thinking that something is being done to them, well, when they listen, they think that the composer, through the performer, has done some- thing to them, forgetting that they are doing it themselves. RR: Since it would seem that human beings have uniquely developed capa- cities for expressiveness (no matter how crude they may sometimes seem to us to be), how can you advocate abandoning expressivity in music? JC: Coming back to what we said about symbolism, everything is ex- pressive. But what it expresses grows up in each person who has the experi- ence. If the person performs in such a way that the events he brings into existence are free, completely around them, to be viewed in any way, then the optimum of a desirable situation seems to me to have arisen. Whereas, if in his expressivity, he forces the viewer to respond in a particular way, then he has cramped and narrowed the situation of possibilities.

RR: Then the sounds the performer makes should be free of intention in order to allow them. , . JC: . . .to be fully expressive! RR: A key term which appears in many of your writings Is "Theater." What does"theater" imply to you? JC: It simply means the use of all one's senses. But the senses we use primarily are seeing and hearing. Thea- ter Is distinct from music In that it calls seeing strongly Into play with hearing.

RR: In other words, physical actions in space take on a significance equal to that of sounds In the air. JC: Yes.

RR: Do you think that lack of thea- ter may be partially responsible for some of the negative response to elec- tronic music?

JC: Definitely. I think that the most Important thing to do with electronic music now Is to somehow make it theatrical, and not through such mean; as turning the lights out, but rather through Introducing live performance elements. That Is to say, people actu- ally doing things.

RR: Do you think that perhaps a de- gree of encroachment on the tradi- tionally ritualistic atmosphere of pub- lic concerts would help? That is, should listeners not be artiflcally sep- arated from sound sources by stereo- typed seating arrangements, stages, formal clothing, and so on?

JC: That too. But I also mean the actual, visible manipulation of the machines, to begin with; the distinct giving to the audience of the impres- sion that something is happening then which Is unique to that parti- cular experience. If the audience, if any of us, feel that what is being played at that time can be played at any other time, and result In the same experience, then a kind of deadliness falls over everyone.

RR: This strikes me as being the case In traditional concert programs such as those given by the Choral Union Series here in Ann Arbor. When you can hear Beethoven's Fifth Symphony on any one of for- ty different recordings, how strong is the need to listen carefully at a concert? Urgency is missing because the sound of a familiar piece of mu- sic Is such a relatively common ex- perience, especially since various "Interpretations" are so remarkably similar.

JC: In this connection, David Tudor and I were discussing on our way from New York, the possibility of his re- solving not to make any records in the future, unless they result in ac- tions which could not possibly be made otherwise. I don't think that this would be a full answer to the problem, but at least it would be an answer to the problem as it confronts him, in his musical life; namely, he is frequently asked to make records, and now he could refuse to make them. RR: Yes, though such a resolve could be hard on those of us who do not live in New York. JC: But you see through the kind of activity that you are making here in Ann Arbor, the deficit of music that records have seemed to offset is being offset here, through the con- certs that you give; and if this will spring up over the whole country— or even just what you're doing here- then there will be inevitably an ex- change of live music, in the places where it is produced. The more peo- ple see the liveliness of this, the more It will crop up In other places. This is, again, what I refer to as af- firmative action.

ACTIVIST FILE

One thing KPFK has a/ways needed is a centralized, up-to-date file of activists and their organizations. Staff and volunteer programmers have come and gone— and so has access to their contacts, address books, and rolladexes. Work on such a file has begun. This form has been developed so you 'II know what information we'd like to have. If you or your organization want our programmers to know about you, please fill it out and send it to KPFK c/o Activist File. Thanks!

NAME

ADDRESS

CITY/ZIP PHONE NO.

ORGANIZATION (Please write out acronyms, e.g. NOW— National Organization for Women)

Address .

City/Zip Phone No.

Please give a brief description of your organization's purposes and activities.

MEMBERSHIP FACTS

Cost $ Tax-deductible?.

Meetings (When, where, how often)

Newsletter (How often?)__ Locally or nationally published?.

Other membership benefits ^ .

Would your organization be willing to promote KPFK issue-related programs/events through meeting announcements and/or your membership publications?

Whom should we contact? Lead time?_

Other contacts/speakers you would recommend to KPFK

If you would like to send additional information or literature about your organization, please attach this sheet and mail to:

KPFK Activist File

3729 Cahuenga Blvd. West

North Hollywood, CA 91604 9/81

SEPTEMBER FOLIO PAGE 17

1 Tuesday

6:00 Sunrise Concert. Carl Stone.

9:00 This Morning. News, Charles

Morgan Commentary (rebr.).

Read All About It, Calendar

with Terry Model.

10:00 Folkscene. This morning, music from the British Isles. Howard and Roz Larman host.

11:00 The Morning Reading. We con- tinue with Mario Casetta's read- ing of The Riddle of the Sands by Erskine Childers.

1 1 :30 Public Affairs Open Time. 12:00 Noon Concert: At the Key- board, with Leonid Hambro.

2:00 The Afternoon Air. Open time til news headlines with Marc Cooper at 3:00; then, Liz Lloyd with American Indian Airwaves; at 4:00, a new day and time for The Nixon Tapes with Tom (no relation) Nixon and his wonder- ful musical eclectica. At 5:00, a Report to the Listener with General Manager Jim Berland. Calendar with Terry Model.

6:00 The Evening News.

6:45 Open Journal.

7:30 Help Is on the Way. Issues and analysis surrounding the mental health profession. Host is clini- cal psychologist Steve Portuges. Open phones.

8:30 Tuesday Evening Concert. De- tails unavailable at press time. 10:30 Music of South Asia. Most is

Harihar Rao. '1:30 The Late Night News. 12:00 am Something's Happening!

I can't remember his name hosts.

2 Wednesday

6:00 Sunrise Concert. Carl Stone. 9:00 This Morning. News, Commen tary, Read All About It, Terry Model v/ith Calendar.

10:00 Folkdance with Mariol

11:00 The Morning Reading. We con- tinue with Mario Casetta's read- ing of The Riddle of the Sands, by Erskine Childers.

11:30 Public Affairs Open Time.

12:00 Noon Concert: The William Malloch Programme. A mu- sical (mostly classical) treasure hunt conducted by critic, com- poser, and member of the Mu- sic Panel of the California Arts Council.

2:00 The Afternoon Air. Ray Tatar with Theater CloseUp; open time til 3:00 and news headlines with Marc Cooper; at 3:30, Feminist Magazine, with inter- views, features, news, and music. Terry Model wraps things up with the Calendar.

6:00 The Evening News.

6:45 Comment: Charles Morgan.

7:00 International Journal. News and features about the latest developments in world politics.

7:30 Up From the Ash Grove. Ed Pearl hosts.

9:00 Teatro de la Unldad. KPFK's Spanish-English radiodrama project under the direction of Jaime Jaimes, with the Los Angeles Actors' Theater. To- night, a rebroadcast of Nostras Somas Dios, by Wilberto Canton. 1 1 :30 The Late Night News. 12:00 am Something's Happening! Ron of Laurel Canyon hosts.

3 Thursday

6:00 Sunrise Concert. Carl Stone.

9:00 This Morning. News, Charles

Morgan Commentary (rebr.).

Read All About It, Calendar

with Terry Hodel.

10:00 Folkscene. The Cache Valley Drifters are the featured guests performing new, bluegrass, and original material. Roz and How- ard Larman host.

11:00 The Morning Reading. We con- tinue with Erskine Childers' Riddle of the Sands, as read by Mario Casetta.

11:30 12:00

2:00

6:00 6:45

7:15

8:00 9:00

11:00

11:30 12:00

Public Affairs Open Time. Noon Concert: Chapel, Court, and Countryside. Music from the medieval to the baroque. Joseph Spencer hosts. The Afternoon Air. Media Rare with Paul Lion; open time til 3:00 and news headlines with Marc Cooper; then, Grace Jacobs with Speaking of Se- niors; Bob Pugsley with Inside LA. continues to expiore the public policy landscape of L.A.'s natural and man-made environ- ments. Open time til 5:00, when 7776 Wizards look at time mea- surements with Jack Jennings. Calendar with Terry Hodel. The Evening News. Noticiero Pacifica. Treinta mi- nutes de los acontecemientos mas importantes de la semana. Voz y Raiz de Latino America. A weekly magazine of culture and politics in Spanish. Pacifica Presents. Boston Symphony: Live in Concert. Haydn: Symphony No. 39 in G minor; Mahler: Symphony No. 3 in A minor. Seiji Ozawa conducts. William Pierce hosts. Stereo. Dolby. Janus Company Radio Theatre. Repertory Radio Theatre, fea- turing Mallory Geller, Jan Ri- dophi Geller, and Mike Hodel. The Late Night News, am Something's Happening! Ron of Encino hosts.

SPANISH LANGUAGE PROGRAMMING EXPANDED

On Thursdays at 6:45 pm we have been broadcasting our new Noticiero Pacifica, a weekly news round-up in Spanish. And now following that program at 7: 1 5 we are adding Voz y Raiz de Latino America, a weekly magazine of culture and politics in Spanish. In our first few programs Voz y Raiz de Latino America has brought you detailed looks at Guate- mala, year-round busing in Los Angeles schools, and other issues of im- portance to the resident Latin American and Chicano communities. This program is another demonstration of KPFK's commitment to multi- cultural and provocative programming.

KPFK anuncia un nueva programa en espanol, Voz y Raiz de Latino America. Este programa es una revista radial de actualidad politica y cultural de y para la comunidad Latino Americana residente en el sur de California. Este programa se escucha todos los jueves a las 7:15 de la tarde en seguida de nuestro resumen semanal de noticias en espanol, Noticiero Pacifica. Voz y Raiz de Latino America es otra manifestacion del compromiso de KPFK de servir todas las comunidades de nuestra zona

StfTEMBLR FOLIO PACE 18

4 Friday

10:00 11:00

11:30 12:00

2:00

6:00 Sunrise Concert. Carl Stone.

9:00 This Morning. News, Blase Bonpane Commentary, Mid- dle East in Focus with Michel Bogopolsky and Sarah Mar- dell, Calendar with Terry Model.

Independent Music. The Morning Reading. Mario Casetta continues his reading of Erskine Childers' Riddle of the Sands.

Public Affairs Open Time. Noon Concert: Soundboard. John Wager-Schneider hosts. The Afternoon Air. Just a Minute: The World This Week, with analysis and discussion about the latest in world po- litics and culture; at 3:30, Newswatch with Marc Cooper and Clare Spark, and your input on news and its treatment in the media. At 5:00, Claudia Fonda-Bonardi with Media Watch; Terry Model with Cal- endar to wind things up.

6:00 The Evening News.

6:30 Open Journal.

7:00 The Health Department. Vita- min C and you— conversations with Linus Pauling concerning the vitamin, its requirement by human beings, and its use in preventing and curing disease; with an update on the award of a contract to Pauling's institute by the National Cancer Institute. Al Muebner hosts.

8:00 Le Jazz Hot & Cool. John

Breckow with his fabulous rec- ord collection, and conversation. 10:00 Hour 25: Science Fiction.

Mike Model and guests. 12:00 am Straight, No Chaser. Jay Green hosts.

2:00 am Keep Listening. . .

5 Saturday

6:00

7:30

8:30 10:30

Morning of the World. Music

from around the world. Lois

Vierk hosts.

Music of South Asia. Harihar

Rao hosts.

Folk Music. John Davis returns!

Halfway Down the Stairs. New

time. In a valiant attempt to

rid the world of grown-ups.

Uncle Ruthie presents a song,

story, and love-filled viable alter-

native to the painful process of maturation! Fun and no big words!

1 1 :30 Workers' Health and Safety. The Los Angeles Committee on Occupational Safety and Health (LACOSM) provides a physician or industrial hygen- iest to take your phone calls about health problems which may be connected with the workplace.

12:25 Weekend Calendar. Terry Model.

12:35 The Car Show. John Retsek and Len Frank with guests, open phones. 2:00 Ballads, Banjos, & Bluegrass.

Tom Sauber hosts. 3:00 We Call It Music. Nostalgic jazz from the first half of the cen- tury. Jim Seeley hosts. 4:00 Jazz Omnibus. Ron Pelletier,

and occasionally a guest or two. 6:00 The Saturday News. 6:30 On Film: Dean Cohen.

6:45 Onstage: Lawrence Christon. 7:00 The American Mercury. In

honor of the 200th anniversary of the founding of Los Angeles, we examine the past and the present of the city someone called "60 suburbs in search of a city." Tonight, "L.A. Plays Itself," a documentary collage about the city of the angles, produced by Mike Model. 8:00 William Malloch Programme. A musical (mostly classical) treasure hunt conducted by critic, composer, and a mem- ber of the Music Panel of the California Arts Council. 10:00 Imaginary Landscape. Special edition tonight, honoring the 69th birthday of John Cage, with music and tributes from his colleagues and associates from around the world. Carl Stone hosts.

ERIK SATIE and JOHN CAGE /<—,

i - -,':;;--^

The following is an excerpt from Th& Bride and th^ffachelors, by Calvin Tomkins (Penguin Books, 1962). \t:^ «;:;^ i'2^

Cage had long been interested in Sati^.^ose ii'drti^^d bizarre spirit had presided, somewhat mysteriously, over the actlviti^ of Les Six in Paris during the 1920s; indeed. Cage thought he could detect in Satie's then lit- tle known symphonic drama, Socrate, a type of rhythmic structure similar to his own, a structure which, he firmly believed, had enabled Satie to break with the harmonic structure of Beethoven. (Some years later Cage saw Sa- tie's notebooks in Paris and found, sprinkled about the margins, clusters of numbers that seemed to correspond to the numbers Cage used to work out his own rhythmical strilctur^s. Muge)y excited; he mentioned his dis- covery to Darius Milhaud, who had known Satie well. "Oh, no," said Mil- haud, "Those numbersreferred to shopping lists.")

. . .[Cage] was pattifeu1a*ft^,stri),ck by a $atle rnanuscript, aptly titled Vexations. A single'sHeet bf mijsic for piano that could be played in 80 seconds, it bore the composer's blith? notation at the tpp, "To be played

. . .Cage's attitude toward Satie aieds a certain light on the question so often asked about Cage himself— that is, does he mean to be funny? The bizarre; notations on Satie scores (for example, the famous passage that was to be performed "like a nightingale with a toothache") led many of his contemporaries to dismiss him sjb mere practical joker. . , .Cage was beguiled by this sort of absurdity, but he believed strongly that even Satie's most absurd statements could be found to contain a kernel of ser- ious thought. When Cage and nine fellow pianists gave the Vexhtions its first performance, in New York's Pocket Theater in September 1963, the results fully justified, fbrCaiSe at least, his conviction that it was no joke; after about ari hour and^a iT^f of the 840 repetitions, he said later, "we all realized that something bad been set in motion that went far beyond what any of us had antipipated," and by the end of the performance, which lasted continuously for 18 hours, the work's hypfKJtic effect had

stayed thrpugh frpm be-

been attested by many listeners, one of wl ginning to-^ti^l. / • /•

Special program on Cage Saturday , Satie's Vexations will be performed I conclusion.

I prh~t(h Imaginary Landscape; ve on Sunday from 6 sfm to its

SEPTEMBER FOLIO PAGE 19

12:00 am Maximum Rock & Roll.

Host Tim Yohannan with guest hosts such as Jello Biafra, Ray Farrel, and others. Fea- turing obscure records, inter- national releases, small labels, and tapes. Check it out. 2:00 am 2 O'Clock Rock. Avantrock is what this program plays, but it is not a specific sound or genre. Avantrock is a perspec- tive. A. 'Enthal hosts, with Robert Francis and the mys- terious Susan.

6 Sunday

6:00 Vexations of Erik Satie.

Our presentation of Vexations by Erik Satie will emanate live from our Studio A without in- terruption of any kind, begin- ning at 6 am and concluding ap- proximately 18 hours later. Some of our featured pianists performing in relay will be Leo- nid Hambro, Delores Stern, Dorrance Stalvey, Richard Grayson, Paul Reale, Gloria Cheng, Lorna Little, Bob Fer- nandez, Ani Schwartz, and Lucky Mosko. It's all part of our celebration of John Cage's 69th birthday. See accompany ing box for more info.

7 Monday

relating to the conditions of working people around the world, including material rec- orded live at UCLA, San Oiego Folk Festival, and McCabe's in Santa Monica. You'll hear the music of Utah Phillips, IWW member, "The Rebel Chorus" of Australia, recordings from Canada, the British Isles, and New Zealand, and performances by Jim Ringer, Jane Voss, Mi- chael Cooney, and others. Enjoy your day off with us!

12:00 am Something's Happening!

"Future of Communication" part 3 (of 4) with Alan Watts. From MEA, Box 303, Sausalito CA 94965. Open night.

Labor Day specials all day Monday, September 7.

6:00 Sunrise Concert. Carl Stone's

labor of love. 9:00 Labor Day Special Programming.

In honor of all you hard-working folks out there, relax and kick back with us from 9 am to mid- night when KPFK presents spe- cial programming focusing on both the historical perspectives and new insights on working life In the '80s. Included in the day will be talks by San Francisco economist Anne Marcus, UCLA historian Kathryn Kish Sklar, on women in the labor force; Vera Davis on black community or- ganizing in Venice, and Marc Cooper with Jon Amsten on working class movements of (from noon-3pm and from 9 pm- midnight) will be special pro- grams produced by Howard and Roz Larman: songs and stories

8 Tuesday

6:00 Sunrise Concert. Carl Stone. 9:00 This Morning. News, Charles Morgan Commentary (rebr.). Read All About It, Terry Hodel with Calendar.

10:00 Folkscene. The Larmans fea- ture a program of traditional and contemporary American folk music.

11:00 The Morning Reading. Erskine Childers' Riddle of the Sands, as read by Mario Casetta.

11:30 Public Affairs Open Time.

12:00 Noon Concert: At the Key- board, with Leonid Hambro. 2:00 The Afternoon Air. To make up for yesterday's special pro- gramming, we feature Alan • Watts with "Future of Commu- nication" part 3 of 4 (43 min.). Modern methods of communi- cation are extending man's ner- vous system to cover the planet (women's, too). How and why will such an extended nervous system operate? How will it af- fect the "private person" and our ideas of ethics and respon- sibility? How, to use Toynbee's word, will it "etherealize" our entire society? From MEA, Box 303, Sausalito, CA 94965. At 3:00, Marc Cooper with news headlines; open time til 4:00 and Tom Nixon's Nixon Tapes (music of all kinds); open time

til Calendar time with Terry Hodel. 6:00 The Evening News. 6:45 Open Journal. 7:30 Prescription for Survival. In this continuing series on the medical consequences of living in a nuclear world, the Los An- geles Physicians for Social Res- ponsibility examine nuclear wet in Los Angeles. Can we survive a nuclear attack? Many think we can and are preparing for such an event. Please listen and find out why civil defense planning constitutes a medically and sci- entifically unsupportable gam- ble with human life. Dr. Bob Rufsvold hosts. A guest co-host and special guest from the sci- entific community will be fea- tured. A celebrity artist is also expected. 8:30 Tuesday Evening Concert.

10:30 Music of South Asia. Harihar Rao hosts.

1 1 :30 The Late Night News.

12:00 am Something's Happening!

With the guy from Hollywood.

9 Wednesday

6:00 Sunrise Concert. Carl Stone.

9:00 This Morning. News, Com- mentary, Read All About It, Terry Hodel with Calendar. 10:00 Folkdance with Mario! 1 1 :00 The Morning Reading. The con- clusion of Erskine Childers' Riddle of the Sands. Your reader has been Mario Casetta. 12:00 Noon Concert: The William Malloch Programme.

2:00 The Afternoon Air. Ray Tatar with Theater Close-Up; open time til 3:00 and news headlines with Marc Cooper; at 3:30, Fem- inist Magazine, with news, fea- tures, and music; Terry Hodel with Calendar.

6:00 The Evening News.

6:45 Comment: Charles Morgan.

7:00 International Journal. News and features on the latest in world events.

7:30 Up From the Ash Grove. Ed Pearl hosts.

9:00 John Lennon: The Political and the Personal. Features rare tapes of Lennon's own political state- ments; his political music, and interviews with Pete Seeger and Abby Hoffman. Produced by Jon Wiener and Clare Spark. 1 1 :30 The Late Night News. 12:00 am Something's Happening! With Eddy L'Hollywood.

o

t

THE MORNING READING

J.D. Salinger's Catcher in the Rye

Weekdays, 11:00 am, beginning Thursday .September 10

Thirty years and two months ago, Holden Caulfield began his endless wand- erings through the collective conscience of generations of young readers. His search has become part of our imaginative heritage, a part of the Great Tradition of the American Novel— that of Innocence in quest of non-corrupt- ing Experience. And yet there is something which distinguishes him from his fellow travellers— a sense of the absurd, a suitcase full of contradictions that Salinger has made out of the patchwork fabric of our own psyches.

This must be the catch of The Catcher in the Rye, for reading it is like ex- periencing a long series of deja-vues. It is almost as if the author had snuck into the hidden places of our memories and there discovered the stuff his book was to be made of.

Such an immediate sense of recognition is no doubt what attracted Bud Cort to Holden Caulfield. His own wanderings through the "phoniness" of Hollywood would be a mirror image of the Catcher's dilemma. After grow- ing up in (the) Rye, New York, Bud studied and acted off-Broadway until he was discovered by Robert Altman for his Brewster McCloud. In the years following, he became the "radical innocent" of the '70s, a decade with special affinities for the period caught by the Catcher.

Produced for KPFK by Jay Kugelman and Philomene Long.

FOR AFTERNOON AIR LISTENERS

Because of your requests, we are making new phone numbers available for you to call in during talk shows only during Afternoon Air segments. Those numbers are 213-877-2711 or 213-984-271 1 or 213-980-5735. These numbers are for our regular switchboard-your call will be an- swered by the receptionist, then transferred into studio and put on hold until it is your turn to be on the air. For some people, it will be cheaper to dial one of these numbers than the regular on-air 985-5735 number. Check your phone book to see if any of the new prefixes are a local call for you. If you are still calling long distance, it will be cheaper for you to call the regular 985-5735 line, as we do not answer those ringing calls until they are on the air.

One more thing: TTiese numbers are only for you, our subscribers. They will not be given out over the air. Also, there will be no preferen- tial treatment to callers over these three numbers. Again, these numbers are for use only during Afternoon Air call-in segments.

comunidad Latinoamericana residente en el sur de California. 8:00 Pacifica Presents. 9:00 Boston Symphony: Live in Concert. Bernstein: Fanfare; Mendelssohn: Violin Concerto in E minor, op. 64; Bartok: Concerto for Orchestra. Isaac Stern, violinist; Seiji Ozawa con- ducts. William Pierce hosts. Stereo, Dolby.

1 1 :00 Janus Company Radio Theatre. Repertory radio playhouse, of- ten performed live.

1 1 : 30 The Late N ight N ews.

12:00 am Something's Happening! Hollywoodian host.

10 Thursday

6:00 9:00

10:00

11:00

11:30 12:00

2:00

6:00 6:45

7:15

Sunrise Concert. Carl Stone. This Morning. News, Charles Morgan Commentary (rebr.). Read All About It, Calendar with Terry Hodel. Folkscene. "In Search of the Wild Dulcimer" with Robert Force and Albert D'Oscche. Howard and Roz Larman host. The Morning Reading. Today we begin a special rebroadcast of J.D. Salinger's Catcher in the Rye, the classic novel of grow- ing up in the '50s. Performed by Bud Cort, with musical im- provisation by Richard Greyson. Produced for KPFK by Jay Ku- gelman and Phllomene Long in 1978.

Public Affairs Open Time. Noon Concert: Chapel, Court, and Countryside. Continuing with its series of rebroadcasts of earlier programs, with em- phasis on concerts which ori- ginated live on C,C,&C's Mon- day evening programs. Joseph Spencer hosts.

The Afternoon Air. Open time til 3:00 and news headlines with Marc Cooper; then. Speak- ing of Seniors with Grace Jacobs; more open time til 5:00 and Bobby Nelson and Shel Plotkin {The Wizards) examine "Voyage Saturn Encounter August 25" with David Morrison from NASA Terry Hodel with Calendar. The Evening News. Noticiero Pacifica. Treinta mi- nutos de los acontecemientos mas importantes de la semana. Voz y Raiz de Latino America Revista radial de actualidad po- litica y cultural de y para la

6:00 9:00

10:00 11:00

11:30 12:00

11 Friday

Sunrise Concert. Carl Stone. This Morning. News, Blase Bonpane Commentary, Terry Hodel witfi Calendar. Independent Music. The Morning Reading. We con- tinue with J.D. Salinger's classic Catcher in the Rye. Reader is Bud Cort.

Public Affairs Open Time. Noon Concert: Soundboard. John Wager-Schneider hosts. The Afternoon Air. Just a Minute: The World This Week- ly which staff and guests ex- amine what's happening in world politics and culture. At 4:00, Chilean Winter: we begin our special programming on Chile and Latin America with a doc- umentary produced immediate- ly after the 1973 coup in Chile. This program, recorded in San- tiago, Chile, focuses on the last ten weeks of the Popular Unity government. You'll hear the voices of Salvador Allende, Vic- tor Jara, Isabel Parra, and wo- men, students, and trade union- ists who died defending the Popular Government. Produced in September, 1973 by David Gelber and Marc Cooper. At 5:00, The CIA and Chile. Re- broadcasts of the famous Paci- fica documentaries produced during the congressional hear- ings that revealed the CIA role in the overthrow of Salvador Allende. Calendar with Terry Hodel.

The Evening News. Live Forum on Chile and South America. From Studio Z, music, poetry, .md politics. On the 8th anni./..- iry of the coup in Chile,

a panel with representatives of the Popular Unity government will speak on the current situa- tion in Chile, a focus on the so- cial and political problems that the military government has pro- duced as well as what is being done to solve those problems. Then, a second round table dis- cussion with representatives of the resistance movements from other South American countries now living under military rule. Throughout the evening you will hear Chilean music being performed live, intersperced with the best of of Pablo Ne- ruda's poetry. And if you are among the lucky who have made reservations to attend this event live, you'll be able to dine on Chilean empanadas and other delicacies from South America. What? No reservations yet? Call 213/877-2711 during business hours dnd make them!

10:00 Salvador Allende: A Session in the Tribunal of History. A dra- matic recreation of the life and death of the Chilean president. El Teatro de la Unida performs this play under the direction of Jaime Jaimez. This magnificently produced radio broadcast comes complete with music, voices, and sounds that give you the flavor of being in Chile at this crucial moment. Don't miss this broad- cast which will also be heard on the public radio satellite. In Spanish.

12:00 am Straight, No Chaser. Jay Green hosts.

2:00 am Listen to this Space. . .

12 Saturday

6:00

7:30

8:30 10:30

Morning of the World. Lois Vierk with music from around the world.

Music of South Asia. Harihar Rao hosts.

Folk Music. John Davis hosts. Halfway Down the Stairs. Uncle Ruthie changes the sex of her stories' characters so that her listeners of all ages may also change and grow! 1 1 :30 From This Point Forward.

Joel Gayman hosts a program of theory and strategy for the '80s and beyond. Weekend Calendar. The Car Show. John Retsek and Len Frank with an occa- sional guest or two and open

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phones for your questions. Ballads ^anjos ^nd Bluegrass. Tom Sauber hosts. We Call It Music. Jim Seeley hosts.

Jazz Omnibus. With Ron Pelletier.

The Saturday News. The Well Tempered Wreader. Jed Rasula.

Kurt Weill in America. (Part I). No European composer has ever absorbed the American idiom with the grace and ra- pidity of Kurt Weill. This two- part assessment of his works for the American stage begins with highlights of Johnny John- son, Lady in the Dark, One Touch of Venus, and Knick- erbocker Holiday. Produced for KPFK by Bill Hunt. (Part II will air Sept. 26 at 7 pm.) William Malloch Programme. A musical (mostly classical) treasure hunt conducted by critic, composer, and a mem- ber of the Music Panel of the California Arts Council. Imaginary Landscape. Sirius, a piece for soprano, bass, trum- pet, bass-clarinet, and tape by Karlheinz Stockhausen, pur- ports to be the music of the alpha star of Canis Major, 8.7 light years away. For the in- habitants of Sirius, music is the highest of all vibrations, and therefore is the most de- veloped of all things. Every composition on Sirius is sup- posedly linked to the rhythms of the star constellations, sea- sons of the year, and times of the day, the elements and the existential differences of all living things. Whether Stock- hausen actually imagines him- self to be a composer from Sirius or simply an admiring Earthling is not clear, but one thing is for sure: the two-hour composition is as full of pre- tense as anything he ever wrote as a mere mortal. Carl Stone hosts.

am Maximum Rock & Roll. Tim Yohannan hosts, with special guests, small labels and tapes.

am 2 O'clock Rock. Andrea 'Enthal with Robert Francis and the Mysterious Susan play avantrock, which may be punk or new romanticism or technorock or avant garde or even noise.

13 Sunday

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6:00 Gospel Caravan. Prince Dixon. 9:00 Bio Cosmology. Jack Garris explores a myriad of contem- porary insights: the integration of bi-hemispheric consciousness and bio-rhythmical body states, the complementary concepts of a quantum physics of inter- penetration, the extra-species communication with dolphins and primates, the moon per- ception of an island earth in a cosmic sea of blackness, the pro- jection of an intergalactic intel- ligence network, the theoreti- cal presence of black holes spi- ralling to elsewhere and else- when. The program will pre- sent an organic synthesis of the micro-sensitivity of science and the holistic perception of uni- tive consciousness. Dorothy Healey. Marxist com- mentary, guests, open phones. The Skip Weshner Program. The Sunday Opera. Mascagni: Cavalleria Rusticana. Montserrat Caballe, soprano; Jose Carreras, tenor; Matteo Manuguerra, bari- tone. The Ambrosian Opera Chorus and Philharmonia Or- chestra are conducted by Ric- cardo Muti. Then, Leoncavallo: I Pagliacci. Renata Scotto, so- prano; Jose Carreras, tenor; Kari Nurmela, baritone. The South- end Boys' Choir, Ambrosian Opera Chorus, and Philharmo- nia Orchestra are conducted by Riccardo Muti. Angel SZCX 3895. Fred Hyatt hosts. Beyond the Fragments. Social theorist Carl Boggs with an analysis of current political de- velopments national and inter- national. Open phones, guests. The Sunday News. The Science Connection. Steve and Vera Kilston host. Preaching the Blues. Blues, black gospel and boogie woogie. Tonight's show specially pre- pared and hosted by Bill Clarke and The Night Owls, L.A.'s own Chicago-style blues band. The blues calendar at 8. Pro- duced and co-hosted by Mary Aldin.

8:30 IMRU / Gay Radio Collective. News, features, calendar.

9:30 Folkscene. A program of tra- ditional and contemporary folk music. The program fea- tures live music, interviews with the performers, and the finest

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SEPTEMBER FOLIO PAQtn

in recorded folk music from America, Canada, the British Isles, France, Australia, and New Zealand. Hosted by Roz and Howard Larman. 12:00 am Smoke Rings. Jazz all night long with John Breckow.

14 Monday

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Sunrise Concert. Carl Stone. This Morning. News, Phyllis Bennis Commentary, Read All About It, Calendar with Terry Hodel. Folkdance with Mario! The Morning Reading. J.D. Salinger's classic Catcher in the Rye. Reader is Bud Cort, with musical improvisation by Richard Greyson. Produced for KPFK by Jay Kugelman and Philomene Long. Public Affairs Open Time. Noon Concert with Jeannie Pool. Focus on works by con- temporary women composers featuring new releases and tapes of recent live premiere perfor- mances.

Alan Watts. "Future of Commu- nication" part 4, concluding. (Rebroadcast on Something's Happening! tonight.) 51 min. The Afternoon Air. News head- lines with Marc Cooper; Dr. Jon Douglas and Barbara Spark with Health Improvement; at 4:30, Barbara Cad'^'s Dealing; Consumer Awareness with Ida Honorof ; Calendar with Terry Hodel.

The Evening News. Comment: Charles Morgan. Labor Scene. Sam Kushner. Open Journal. Late-breaking news features and discussions with host Helene Rosenbluth. Family Tree. Cheka Abubakari, historian, lecturer, and attorney discusses religion and its African origins. Sylvester Rivers is host/ producer.

Chapel, Court, and Countryside. Joseph Spencer with an explora- tion of the world of early mu- sic from the medieval to the baroque.

In Fidelity. Since In Fidelity didn't appear last week for its usual first-Monday-of-the- month "Beginner's Night," tonight's an open program with news and basic audio in- formation, and more time than usual, these short nights, for

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15 Tuesday

6:00 9:00

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Sunrise Concert. Carl Stone. This Morning. News, Charles Morgan Commentary (rebr.). Read All About It, Terry Model with Calendar. Folkscene. Today, folk music from the British Isles. Howard and Roz Larman host. The Morning Reading. Con- tinuing with J.n. Salinger's Catcher in the Rye, as read by Bud Cort. Music by Richard Greyson.

Public Affairs Open Time. Noon Concert: At the Key- board, with Leonid Hambro. The Afternoon .Wt. Open time til 3:00 and news headlines with Marc Cooper; at 3:30, American Indian Airwaves with Liz Lloyd; then. The Nixon Tapes with Tom Nixon and his incredible record collection. At 5:00, a Report to the Listener with Program Director Clare Spark. Calendar with Terry Model. The Evening News. Open Journal.

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Help is on the Way. Clinical psychologist Steve Portuges with an examination of the mental health profession. Open phones for your input. Tuesday Evening Concert. Music of South Asia. With Marihar Rao. The Late Night News, am Something's Happening! Host is Hollywood Ron.

16 Wednesday

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Sunrise Concert. Carl Stone. This Morning. News, Com- mentary, Read All About It, Terry Model with Calendar. Folkdance with Mario! The Morning Reading. Bud Cort continues his reading of J.D. Salinger's classic Catcher in the Rye.

Public Affairs Open Time, "■loon Concert: The William Malloch Programme. The Afternoon Air. Ray Tatar's Theatre Close-Up; open time til 3:00 and Marc Cooper with news headlines. Then, Femin- ist Magazine brings us up to Calendar time with Terry Model. The Evening News. Comment: Charles Morgan. International Journal. Features, reports on late developments in world politics. Up From the Ash Grove. Ed Pearl hosts.

Folk-Say. A potpourri of fairy tales, jokes, "tales told as true" and other forms of spoken arts in English. Producer-host Mike Hall takes phone calls from listeners.

The Big Broadcast. Bobb Lynes hosts.

The Late Night News, am Something's Happening! Mr. Rob of Encino hosts.

17 Thursday

6:00 Sunrise Concert. Carl Stone.

9:00 This Morning. News, Charles Morgan Commentary (rebr.). Read All About It, Calendar with Terry Model. 10:00 Folkscene. Traditional and con- temporary American folk songs and originals performed by special guest Debby McClatchy.

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Howard and Roz Larman host. The Morning Reading. J.D. Salinger's classic Catcher in the Rye, as read by Bud Cort. Public Affairs Open Time. Noon Concert: Chapel, Court, and Countryside. An ongoing festival of concert presentations which were originally heard live on C,C,&C, or were record- ed especially for it. Joseph Spencer hosts.

The Afternoon Air. Media Rare with Paul Lion; open time til 3:00 and news headlines with Marc Cooper; Grace Jacobs' Spealfing of Seniors: then. Bob Pugsley with Inside LA.; more open time til 5:00 and The Wiz- ards' Bobby Nelson and Shel Plotkin discuss human reproduc- tion with Bill Hanratty and Mary Kennedy. Calendar with Terry Model.

The Evening News. Noticiero Pacifica. Treinta mi- nutos de los acontecemientos mas importantes de la semana. Voz Y Raiz de Latino America. Revista radial de actualidad po- litica y cultural de y para la comunidad Latinoamericana residente en el sur de California. Pacifica Presents. Boston Symphony: Live in Concert. Berlioz: Les Franc- Juges overture; Ravel: Rhapso- dic espagnole; Brahms: Sym- phony /\lo. 2 in D major, op. 73. Seiji Ozawa conducts. Wil- liam Pierce hosts. Stereo. Dol- by Noise Reduction. Janus Company Radio Theatre. Repertory radio playhouse of- ten performed live. The Late Night News, am Something's Happening! His name escapes me at the moment—

18 Friday

6:00 Sunrise Concert. Carl Stone. 9:00 This Morning. News, Blase Bonpane Commentary, Mid- dle East in Focus with Michel Bogopolsky and Sarah Mardell, Terry Hodel with Calendar.

10:00 Independent Music.

11:00 The Morning Reading. J.D.

Salinger's Catcher in the Rye, as read by Bud Cort. Musical improvisation by Richard Greyson.

1 1 :30 Public Affairs Open Time.

12:00 Noon Concert: Soundboard.

John Wager-Schneider hosts.

2:00 The Afternoon Air. Opening things up with Just a Minute: The World This WeeAr— discus- sion and analysis of world po- litics and culture; then, Clare Spark and Marc Cooper with Newswatch , open phones and your observations on the news media; at 5:00, Claudia Fonda- Bonardi with Media Watch. Ter- ry Hodel with Calendar.

6:00 The Evening News.

6:30 Open Journal.

7:00 The Health Department. This evening's program features an appreciation of Bernard Feld. If you don't know who Bernard Feld is, you ought to tune in and find out, because he's been trying to save your life for the past 30 years. Produced by Al Huebner.

8:00 Le Jazz Hot & Cool. John Breckow hosts. 10:00 Hour 25: Science Fiction.

Mike Hodel with guests, open phones.

12:00 am Straight, No Chaser. Jay Green hosts.

2:00 am Listen to this Space. . .

19 Saturday

6:00 Morning of the World. Lois Vierk hosts.

7:30 Music of South Asia. With host Harihar Rao.

8:30 Folk Music. John Davis hosts. 10:30 Halfway Down the Stairs. The message of Uncle Ruthie's radio ministry is so subtle that before the kids and their folks know it, they have turned into the wonderful Human Beings they always vverel 11:30 Public Affairs. 12:25 Weekend Calendar. 12:35 The Car Show. John Retsek

and Len Frank give advice and answer your questions via open phones.

2:00 Ballads .Banjos ,and Bluegrass. Tom Sauber hosts.

3:00 We Call It Music. Musical nos- talgia with Jim Seeley.

4:00 Jazz Omnibus. Ron Pelletier hosts.

6:00 The Saturday News.

6:30 On Film. Dean Cohen.

6:45 On Stage. Lawrence Christon.

7:00 The American Mercury. Okay, so Los Angeles is into its third century. Now what? That is the premise for a phone show

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where producer/host Mike Mo- del will ask you what your vi- sions of Los Angeles are. Think about it, and be ready to call.

8:00 William Malloch Programme. 10:00 Imaginary Landscape. A special 2% hour I.L., featuring pianist Cecil Taylor recorded live at the Mozartsaal in Stuttgart. The performance of "One Too Many Salty Swift and Not Goodbye" is an incredible vir- tuoso display lasting the length of the broadcast without inter- ruption. Broadcast v/\ih the per- mission of the Suddeutscher Rundfunk and Hat Hut Records. Carl Stone hosts. 12:15 am Maximum Rock & Roll. Tim Yohannan hosts, with guests, international releases, small labels.

?:00 am 2'0 Clock Rock. Andrea 'Enthal, Robert Francis, and the mysterious Susan play avantrock.

20 Sunday

6:00 Gospel Caravan. Prince Dixon. 9:00 Bio-Cosmology. Jack Garris. 11:00 Dorothy Healey. Marxist com- mentary, guests, open phones. 12:00 Skip Weshner Program. 1:00 The Sunday Opera. Delius: The Magic Fountain. Kathleen Pring, soprano; John Mitchinson, tenor.

Award-winning documentary on Upton Sinclair featured on The Afternoon Air Tuesday, 2:00 pm.

5:00

6:00 6:30

7:00

Chorus and orchestra are con- ducted by Norman Del Mar. Ara- besque 8121. Fred Hyatt hosts. Beyond the Fragments. Carl Boggs with examination and analysis of international poli- tical developments. Guests, open phones.

The Sunday News. The Science Connection. Steve and Vera Kilston host. Preaching the Blues. Blues, black gospel, and boogie woo-

What's your vision of Los Angeles in the future? Mike Model invites your ideas on The American Mercury, Saturday September 19, 7:00 pm.

gie. New releases and re-issues if any for the first half hour; then, a survey of the record- ings of some of the blues artists who have birthdays this week, including Little Milton, Roy Brown, Jazz G ilium. Barbecue Bob Hicks, Gus Cannon, Silas Hogan, Snooky Pryor, and Billy Boy Arnold. The blues calendar at 8 as usual, plus every now and then a drop-in surprise. Mary Aldin hosts.

IMRU / Gay Radio Collective. News, features, calendar. Folkscene. Hosts Roz and How- ard Larman with tentatively scheduled guests Malcolm Dalg- lish and Grey Larsen. 12:00 am Smoke Rings. John Breckow with jazz and conversation.

8:30

9:30

21 Monday

6:00 9:00

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11:30 12:00

Sunrise Concert. Carl Stone. This Morning. News, Phyllis Bennis Commentary, Read All About It, Calendar with Terry Hodel.

Folkdance with Mario! The Morning Reading. Contin- uing with Bud Cort's reading of J.D. Salinger's Catcher in the Rye.

Public Affairs Open Time. Noon Concert with Jeannie Pool. Works by contemporary

SEPTEMBER FOLIO PAGE 27

women composers, new relea- ses, taped performances.

2:00 Alan Watts. "Solid Emptiness," part 1 of a 4-part seminar (Ma- dhyamlka). The way of libera- tion according to Nagarjuma's negation of all intellectual "hang-ups"; and its expression in the literature of the Prajna- paramita (or Wisdom for Cros- sing to the Other Shore). From MEA, Box 303, Sausalito, CA 94965. Rebroadcast tonight on Something's Happening!

3:00 The Afternoon Air. News head- lines with Marc Cooper; at 3:30, Organic Gardening with Barbara Spark and Will Kinney; then, Barbara Cady with Dealing; at 5:00, Body Politics with Dr. Gary Richwald. Finally, Terry Model with Calendar. The Evening News. Comment: Charles Morgan. Labor Scene. Sam Kushner. Open Journal. Late-breaking news features and discussions. Produced by Helene Rosenbluth. Family Tree. Tonight, Britain: racism and the recent protest in the low-income areas, a docu- mentary produced by Sheiron Allen.

Chapel, Court, and Countryside. Host Joseph Spencer shares his expertise on early music, its in- struments, and performance prac- tices.

In Fidelity. Record-importer and audio writer Laurence Vittes returns with more recorded good- ies under his arm— recordings of audiophile and musicophile in- terest. Peter Sutheim hosts, with open phones.

11:30 The Late Night News.

12:00 am Something's Happening!

A new Alan Watts 4-part seminar begins with "Solid Emptiness." See 2 pm listings for details. Open til 6.

6:00 6:45 7:00 7:30

8:30

9:00

10:30

Join us for a live teacti-in on Southern Africa on Wednesday, the 23rd, 7:00pm.

11 12;

30 00

2:00

22 Tuesday

6:00 Sunrise Concert. Carl Stone. 9:00 This Morning. News, Charles Morgan Commentary (rebr.). Read All About It, Calendar with Terry Hodel.

10:00 Folkscene. Howard and Roz

Larman with a program of Am- erican folk music.

11:00 The Morning Reading. Bud Cort continues his reading of J.D. Salinger's Catcher in the Rye. Produced by Jay Kugelman

6:00 6:45 7:30

and Philomene Long. Public Affairs Open Time. Noon Concert: At the Key- board, with Leonid Hambro. The Afternoon Air. Today, a special 4-hour presentation of Upton Sinclair: The Reverent Radical, produced in 1978 to commemorate the 100th birth- day of the world's most widely- read author. The documentary traces Sinclair's life from his childhood memories through his literary and spiritual experi- ences, political activity, and union organizing. Included are his thoughts on humor, psychic research, Albert Einstein, and capitalism, as well as readings from The Jungle. Produced by Roy Tuckman. Technical as- sistance by Margaret Fowler. Features the Something's Hap- pening Players, starring Dudley Knight. Winner of the 1978 Armstrong Honorable Mention Certificate for Superior Program- ming in Community Service. See highlights column for more details! Afterward, Calendar with Terry Hodel. The Evening News. Open Journal.

Prescription for Survival. On August 6, 1945 the world first learned of the medical effects of the atomic bomb, and for 36 years the bomb has shaped and troubled our thoughts, our lives, the course of our nations, and everyone's nightmares. And yet our minds choose to forget, to deny the very instrument that threatens our existence. The Los Angeles Physicians for Social Responsibility will address these

issues and explore the psycho- sociological realities of a nu- clear world. Please join the phy- sicians and their guests as they stimulate us all to think the unthinkable and to develop new ways of thinking and planning for a future free from the threat of nuclear catastrophe. Dr. Bob Rufsvold hosts. 8:30 Tuesday Evening Concert.

10:30 Music of South Asia. Harihar Rao hosts.

11:30 The Late Night News.

12:00 am Something's Happening! Was it Robert of Silverlake? I might be wrong. . .

23 Wednesday

6:00 9:00

10:00 11:00

11:30 12:00

2:00

6:00 6:45 7:00

Sunrise Concert. Carl Stone. This Morning. News, Com- mentary, Read All About It, Calendar with Terry Hodel. Folkdance with Mario! The Morning Reading. J.D. Salinger's Catcher in the Rye. Reader is Bud Cort. Public Affairs Open Time. Noon Concert: William Malloch Programme.

The Afternoon Air. Ray Tatar with Theater Close-Up ; at 3:00, Marc Cooper with news headlines; then, Feminist Mag- azine brings us up to Calendar with Terry Hodel. The E\ening News. Comment: Charles Morgan. Taach-ln on Southern Africa. Live from Studio Z, an evening exploring the current situation

SEPTEMBER FOLIO PAGE 28

in Southern Africa. A host of panels, speakers, and experts will review the sharpening con- flict inside South Africa where a minority of white Europeans still cling to power in a country where the African majority is reduced to less than secondary citizenship. Also for discussion is the growing war of liberation in Namibia, where guerrillas be- longing to SWAPO are trying to break South African rule. What changes has the new regime in Zimbabwe brought to Southern Africa? What is the role of An- gola and Mozambique in that part of the world? And a special focus on the U.S. position in Southern Africa. Are the alle- gations of the Organization of African Unity that the U.S. is tilting toward apartheid South Africa true? If they are, what implications arise? You are in- vited to attend this live broad- cast in which there will be par- ticipation by representatives of the African liberation move- ments and local solidarity and anti-apartheid groups. Phone 877-271 1 to make reservations.

10:00 The Big Broadcast.

1 1 :30 The Late N ight N ews.

12:00 am Something's HappeningI Roi le Fou hosts.

24 Thursday

6:00 Sunrise Concert. Carl Stone. 9:00 This Morning. News, Charles Morgan Commentary, Read All About It, Terry Hodel with Calendar.

10:00 Folkscene. Bluegrass, old-

timey, and cajun music from the Harmony Sisters. Howard and Roz Larman host.

11:00 The Morning Reading. Bud

Cort reads from J.D. Salinger's Catcher in the Rye. Music by Richard Greyson.

11:30 Public Affairs Open Time.

12:00 Noon Concert; Chapel, Court, and Countryside. A program by, for, and about the history of music: the recreation of the instruments, the research into the performance practices of the era, and the wonderful music which results. Joseph Spencer hosts. 2:00 The Afternoon Air. Open time til 3:00 and news headlines with Marc Cooper; then, Grace Jacobs with Speaking of Seniors;

6:00 6:45

7:15

8:00

9:00

open time til. 4:00 and Tom Nixon's /V/xo/7 Tapes. At 5:00, The Wizards' Bobby Nelson and Shel Plotkin examine statistical processes and systems with Tony Russo and John Bachan. The Evening News. Noticiero Pacifica. Treinta mi- nutos de los acontecemientos mas importantes de la semana. Voz y Raiz de Latino America. Revista radial de actualidad po- litica y cultural de y para la comunidad Latinoamericana residente en el sur de California. Prophets and Other Troublemakers. New show! Tonight, the producers intro- duce and discuss their plans ' for the series, and take calls to entertain listener advice and suggestions. The program is pro- duced by Ecumedia, the com- munications group related to the Southern California Council of Churches, and is designed to illuminate the activities of re- ligious activists (the kind you don't always hear about). See accompanying box for further details.

Boston Symphony: Live In Concert. Beethoven: Overture from the Incidental Music to Goethe's Egmont, op. 84; Anton iou: Circle of Thanatos and Genesis; Beethoven: Sym- phony No. 5 in C minor, op. 67. Michael Best, tenor; Mac Morgan, narrator, with the

Tanglewood Festival Chorus, John Oliver, conductor. Seiji Ozawa conducts. William Pierce hosts. Stereo, Dolby.

1 1 :00 Janus Company Radio Theatre. Radio playhouse featuring Mal- lory and Jan Geller and Mike Hodel.

11:30 The Late Night News.

12:00 am Something's HappeningI

What was I supposed to remem- ber?

PROPHETS AND OTHER TROUBLEMAKERS Thursday ,September 24 8:00 pm

KPFK gets religion!

Ecumedia, the communications group related to the Southern Califor- nia Council of Churches, is producing a new series covering the half of the religious spectrum which seldom gets air time. World and local news and announcements covering what religious groups are up to; guests interviewed on themes of how modern church, synagogue and other religious activists are dealing with current human crises and prob lems; phone-in listener dialogue with these guests and the producers; guest reviews of religious values in culture, found in TV, movies, rec- ords, books, stage productions.

This show will be pluralistic and progressive. It will surprise many KPFK regulars (both staff and listeners) who have stereotypes and hostility about what they think religion stands for.

Topics of the week will include religious perspectives on such themes as the military; the entertainment industry; refugees and immigration; corporate power abuses; public education; hunger and poverty; family and lifestyle issues; government budgets; how women, minorities, rebels, and prophets are faring in organized religion. A religious critique of the religious new right and "pray-TV" will be included.

The series will begin on October 1. On September 24, the producers will introduce and discuss their plans for the series in a preview show and will take calls to entertain listener advice and suggestions.

SEPTEMBER FOLIO PAGE 29

John Cage's Empty Words.- American premiere Friday, 6:30 pm-6:30 am Saturday.

25 Friday

6:00 9:00

10:00 11:00

11:30 12:00

2:00

6:00

Sunrise Concert. Carl Stone. This Morning. News, Blase Bonpane Commentary, fea- tures, Terry Model with Cal- endar.

Independent Music. The Morning Reading. Conclu sion of J.D. Salinger's classic Catcher in the Rye. Performed by Bud Cort, with musical im- provisation by Richard Greyson. Produced for KPFK by Jay Ku- gelman and Philomene Long in 1978.

Public Affairs Open Time. Noon Concert: Soundboard. John Wager-Schneider hosts. The Afternoon Air. World poli- tics and culture discussed on Just a Minute: The World This Week; at 3:30, Marc Cooper and Clare Spark with News- watch, open phones; Claudia FondaBonardi at 5:00 with Media Watch. Wrapping things up, Terry Hodel with Calendar. The Evening News.

6:30 John Cage's Empty Words: An American Premiere, based on the writings of Thoreau. KPFK presents the premiere of Cage's epic 12-hour work-a culmina- tion of the philosophy and tech- niques developed by Cage in over 50 years as a leader in Am- erican and international art and music. The 12-hour broadcast is comprised of four sections of 2Vi hours each. In addition, there will be three breaks of % hour each between the sections fea- turing interviews and back- ground information. Cage will be manipulating the text of Thoreau's Walden, rearranging punctuation, words, syllables, and letters in accordance with chance operations of the / Ching. Maryanne Amecher accompan- ies Cage, using the sounds of Walden Pond itself. See high- lights column for more infor- mation.

26 Saturday

6:30 Morning of the World. Lois Vierk hosts a program of mu- sic from around the world.

7:30 Music of South Asia. Host is Harihar Rao.

8:30 Folk Music. John Davis hosts. 10:30 Halfway Down the Stairs. Share songs and stories with Uncle Ruthie. 11:30 From This Point Forward.

Joel Gayman with theory and strategy for the '80s and beyond. 12:25 Weekend Calendar. 12:35 The Car Show. John Retsek and Len Frank share their ex- pertise with you. Open phones

2:00 Ballads Banjos St Bluegrass. Tom Sauber hosts.

3:00 We Call It Music. Jim Seeley hosts.

4:00 Jazz Omnibus. Ron Pelletier, an occasional guest, and fine music.

6:00 The Saturday News.

6:30 Fictions. Judy Taylor.

7:00 Kurt Weill in America. (Part II) The continuing career of the

German expatriate who be- came one of America's musi- cal treasures. This survey con- cludes with highlights from Street Scene, Lost in the Stars, and Down in the Valley. Pro- duced for KPFK by Bill Hunt. 8:00 William Malloch Programme.

10:00 Imaginary Landscape. How do the traditions and broken tra- ditions of master 20th century composers influence today's composer of solo piano music? What interpretive insights can the contemporary pianist glean from the keyboard idioms and innovations of the past? In a program featuring Donald Davis, composer, and Gloria Cheng, pianist, we will present the perspectives of both composer and performer on selected solo piano works of Ravel, Webern, Boulez, Berio, Stockhausen, Lazarof, and Donald Davis. Live from Studio 'A,' with host Carl Stone.

12:00 am Maximum Rock & Roll. Tim Yohannan hosts.

2:00 am 2 O'Clock Rock. Avantrock in all its forms, presented by A. 'Enthal with Robert Francis and the mysterious Susan.

27 Sunday

6:00

9:00

11:00

12:00 1:00

1:30

5:00

6:00 6:30

7:00

Gospel Caravan. Prince Dixon. Bio-Cosmology. Jack Garris. Dorothy Healey. Marxist com- mentary, guests, open phones. Skip Weshner Program. Tenor of the Times. Hearing that Great Dane, Lauritz Mel- choir, spoils it for all would-be heldentenors of today, as tenor buff Fred Hyatt will remind you. The Sunday Opera. Mozart: The Magic Flute. Soloists Pilar Loren- gar, Cristina Deutekom, Renate Holm, Hermann Prey, Stuart Burrows, Martti Talvela, Die- trich Fischer-Dieskau. The Vien- na State Opera Chorus and Vien- na Philharmonic Orchestra are conducted by Georg Solti. Lon- don OSA 1397. Beyond the Fragments. Carl Boggs and guests discuss national and international politics. Open phones.

The Sunday News. The Science Connection. Steve and Vera Kilston host. Preaching the Blues. Blues, black gosjael, and boogie woogie. Be- lieve it or not, there were a lot

of birthdays this week: Mighty Joe Young, Fenton Robinson, Joe Hill Louis, Ray Charles, and Little Joe Blue were all born on just one day (the 23rd); plus, we'll hear from B.B. King, Little Willie Littlefield, Louis Myers, Tarheel Slim, and Hous- ton Stackhouse. Blues calendar as usual at 8, plus whatever else. Mary Aldin hosts.

8:30 IMRU / Gay Radio Collective. News, features, calendar.

9:30 Folkscene. A program of tra- ditional and contemporary folk music, featuring live music, in- terviews with the performers, and recorded folk music. Roz and Howard Larman host.

12:00 am Smoke Rings. John Breckow.

28 Monday

6:00 Sunrise Concert. Carl Stone. 9:00 This Morning. News, Phyllis Bennis Commentary, Read All About It, Terry Hodel with Calendar.

10:00 Folkdance with Mario!

11:00 The Morning Reading. Today we begin Paul Boardman's reading of The Big Knockover, by Dasheill Hammet, one of the most interesting practition- ers of "hard-boiled realism." The story is set in San Francisco and deals with a massive bank robbery and its aftermath.

11:30 Public Affairs Open Time.

12:00 Noon Concert with Jeannie Pool. Today, a live, in-studio performance by the North- ridge Woodwind Quintet (Alice McGonigal, flute; Michael Kibbe,

oboe; Donald Ransom, clarinet; Jenice Rosen, bassoon; and Louise MacGillivray). Produced with partial funding from the Musician's Union Performance Trust Fund. Plus, music by women composers for wood- wind quintet taped at the First National Congress on Women in Music held in March 1981 at New York University.

2:00 Alan Watts. "Solid Emptiness," part 2. From MEA, Box 303, Sausalito, CA 94965.

3:00 The Afternoon Air. Marc Cooper with news headlines; Organic Gardening with Will Kinney and Barbara Spark; Dealing with Barbara Cady; Ida Honor- of 's Consumer Awareness; Terry Hodel with Calendar. The Evening News. Comment: Charles Morgan. Labor Scene. Sam Kushner. Open Journal. Late-breaking lews features and discussions, rielene Rosenbluth, producer. Family Tree. Libertarians: is their program beneficial for African Americans? Sylvester Rivers is host/producer. Chapel, Court, and Count:yside. An exploration of early music from the medieval to the ba- roque. Joseph Spencer hosts. In Fidelity. Recording engineer Carson Taylor began his career in the 1930's when the 78-rpm speed, wax masters— and, of course, direct-to-disc recordings —were the usual format for con- sumer records. Since then, through tape and long-play and digital, Taylor has kept up with technology and with music. To- night, an hour-long visit with Carson Taylor, on tape. Peter Sutheim hosts. 11:30 The Late Night News.

6:00 6:45 7:00 7:30

8:15

9:00

10:30

FUND DRIVE VOLUNTEERS NEEDED

Attention all KPFK phone volunteers. . .past, present, and future! We need your help! KPFK will embark on its Fall Fund Drive in October. We need you to help answer the phones during the on-air pitching. It's a great way to help KPFK make it. Last Fund Drive we lost a few new subscribers because there were not enough people to help out in the phone room. Don't let that happen again. Volunteer some of your time to help answer pledge line phones.

If you can start thinking ahead, give Bob Aldrich a call at 877-271 1 during business hours to let him know when you'll be available to help answer the phones. Or, come to KPFK for a pre-fund drive get- together meeting on Tuesday, September 29, 1981 at 7:30 pm.

The dates for our October fund raiser are the 3rd through the 17th; the second half to come in November. We need you.

8:30 10:30

11:30 12:00

Tuesday Evening Concert.

Music of South Asia. Host is

Harihar Rao.

The Late Night News.

am Something's Happening!

Mr. Burbank hosts.

Wednesday

10:00 11:00

11:30 12:00

12:00

am Something's Happening

Alan Watts with "Solid Em tiness," part 2. Open night.

29 Tuesday

6:00 Sunrise Concert. Carl Stone. 9:00 This Morning. News, Charles Morgan Commentary (rebr.). Road All About It, Calendar with Terry Hodel.

10:00 Folkscene. Today, folk music from France. Howard and Roz Larman host.

1 1 :00 The Morning Reading. We con- tinue with Dasheill Hammet's The Big Knockover. Reader is Paul Boardman.

11:30 Public Affairs Open Time.

12:00 Noon Concert: At the Key- board, with Leonid Hambro. 2:00 The Afternoon Air. Open time til 3:00 and news headlines with Marc Cooper; more open time til 4:00 and The Nixon Tapes with Tom Nixon. At 5:00, a Report to the Listener with General Manager Jim Berland. Terry Hodel with Calendar. 6:00 The Evening News. 6:45 Open Journal. 7:30 Help Is on the Way. A ciiiical analysis of the mental health profession. Clinical psychologist Stevu Portuqes hosts, with open

phfiri^i.

/ 32

6:00 6:45 7:00

7:30

9:00

Sunrise Concert. Carl Stone. This Morning. News, Com- mentary, Read All About It, Terry Hodel with Calendar. Folkdance with Mario! The Morning Reading. Dashiell Hammet's The Big Knockover. Reader is Paul Boardman. Public Affairs Open Time. Noon Concert: The William Malloch Programme. The Afternoon Air. Ray Tatar with Theater Close-Up; news headlines at 3:00 with Marc Cooper; Helene Rosenbluth hosts Feminist l\^agazine. fea- turing news, interviews, music; Terry Hodel with Calendar. The Evening News. Comment: Charles Morgan. International Journal. News and features about current issues in world politics. Up From the Ash Grove. Ed Pearl hosts.

New York Capitol of the 20th Century. A lecture by Elizabeth Hardwick (Part I). In this first of a two-part essay, "Pastoral Memories," novelist and critic Hardwick discusses the images of "Old New York" in 19th century American writing. Delivered as UCLA's annual Ewing Lecture, it was recorded April 21, 1981 and produced for KPFK by Paul Vangelisti. Second program airs next month.

10:00 The Big Broadcast 1 1 :30 The Late Night News. 12:00 am Somehing's Happening! Just teasin', Roy.

Of

3-17

;

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Cesar's BMW Repair

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SANTA MONICA, CAIIFORNIA M404

TabplieM PU) 3*4411*

i^ecommended by KP?K's "CAR SHOWI

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SEPTEMBER FOLIO PACE 33

Letters

The following letter was written in response to a speech by Herbert Ap- theker which called for the banning of the Nazis, the KKK, and their propaganda (Aptheker views propa- ganda as infectious). Listener com- ments are eagerly solicited.

Dear Clare Spark,

Here are my comments regarding the Herbert Aptheker broadcast of this afternoon:

I cannot support the notion of sup- pressing any ideology or viewpoint, no matter how despicable, which springs from any human mind or soul. This must not be interpreted as lib- eral complacency; rather, it repre- sents an obviously more difficult path than simple censorship. I am naive enough to hold firmly still to the es- sential right of human beings to choose their beliefs.

Aptheker is not wrong in his assess- ment of the damage done by Nazi and other hideously racist propaganda. There is certainly a feeling of urgency about people inciting each other to hate and kill, but I think his analogy to yelling fire in a crowd is off target. What is central to this issue is not so much public safety but rather, econ- omics. Aptheker did mention the money and power behind the dissem- ination of these anti-humane dogmas. I wish he had addressed that aspect more directly. I am neither econo- mist nor historian, but I have seen the vested interest of the ruling class in maintaining the status quo of capi- talism and imperialism. I can see how the power elite is served by racism, sexism and xenophobia. Propaganda incites the masses to do the dirty work for heads of state and corporation: to frighten and torture communities of people, to break up efforts to organize, to keep oppressed classes in their place. And it takes many forms, often more insidious than cross-burning ral- lies. How many women have left the psychiatric office unable to reconcile their rage and frustration with the double-talk of male supremacy? How many school children have grown up inculcated with misinformation about the world and a blind urge to consume and exploit and compete?

er-nTT kaar D cr\t i/\ a A r- tz ^x

Racism could never take hold where people, by reason of their understand- ing their own humanity, could see themselves in others. The dark side of human life cannot be conquered or suppressed. It is always with all of us and we have to learn through indivi- dual and collective growth to recog- nize and come to terms with it. I would not like to see the evil hidden beneath a law. There, it will only fester and spring forth anew under a different circumstance. Humanity is larger and more complicated than any regime it has spawned throughout history.

The truth is simple in essence, but rarely simple in manifestation. Those who seek to impose artificial values like nationalism and hokey religion can ususally be counted on to come up with simple-minded explanations a about the inferiority of certain types of people. Unfortunately, slogan-like thinking has mass appeal. Particularly since the U.S. school systems have trained several generations into a gang of knee-jerk reactionaries who are ad- dicted to material acquisition and the defense of property. If there were any kind of real education in this country where people could learn to question the sources of their information, to find joy in human experience and ex- pression and to trust in their own per- sonal reality, then, in my optimism, I believe there would be no place for separation and victimization among people.

Suppression can't work, it can only engender more suppression. This busi- ness of censorship is dangerously elitist regardless of the politics from which it springs.

Agnes de Bethune

Dear Paul Lion,

Thank you for your fine reading of my poem, in a very good context, on your very interesting program (Media Rare). And thank you for your phone call in advance, and the interesting conversation.

I have thought for some time about an aspect of that conversation, par- ticularly your participation with Dean Cohen and Paul Vangelisti on the Scoff of Reviewers program. Your anger, hardly obscured, and your oc- casional silence which I sense is frus- tration choking you off completely. (I could be wrong!)

Which brings me to the "significant" observation I made with regard to your reviewers program and your responses to the other participants. I perceive them as operating on a stated or unstated policy of "the medium is the message," or,"the form is the content." I have long be- lieved this to be, in the words of Barry Commoner, bullshit.

A bucket has a form. It's content may be water or gasoline. The con- tents are not interchangable by either intention or accident without poten- tial disaster. Either content and buck- et form a whole, but try to put out a fire with a bucket of gasoline! It's like trying to teach the ways of peace and civilization with a movie like "The Wild Bunch" or the ways of statesmanship and good citizenship with John Wayne and his movies.

Maybe, just maybe, just realizing the full import of the premise of Dean and Paul might help you organize your own thesis to deal with it.

Carlisle Schnitzer

Paul Vangelisti, Dean and I all realize there is this difference between us, a fundamental one, I feel. I 'm glad that KPFK allows the expression of such differences, and I'm glad that you per- ceived it. I also think your analogy of the bucket with oil or water is superb, and I plan to use it. -Paul Lion

Dear Clare and Carl,

Thank you, thank you for the July 30 rebroadcast of the CAR ASA teach- in on Women's Reproductive Rights! It was wonderful. I missed the original broadcast, and was grateful for the chance to hear the whole event. That teach-in is the sort of programming that I joined KPFK to support.

The other reason I joined is Carl Stone. Carl's eccentric, eclectic, and always fascinating music programming is essential to the life and blood of KPFK. As a longtime listener. Film Club member, and International Con- cert Series attendee, I want to make my support of Mr. Stone's Sunrise Concert and all other musical events and programming at KPFK very clear to both of you.

Clare, I read in the excellent cover story on KPFK in the LA. Weekly that you were considering requisi- tioning some of Carl's morning con- cert time for public affairs program- ming. This would be very bad. Many of us rise every day to morning con- cert, and wouldn't be able to get out of bed without it.

I love KPFK just as it is now— well balanced internally, and active on all fronts. I believe in the fight for indi- vidual freedoms, and will always sup- port KPFK as a champion of those freedoms. Not the least of which is the right to hear all sorts of music!

Three cheers for all of you— your station keeps me sane.

Miriam Weeks

We all agree that Sunrise Concert is an excellent program that meets the needs of a significant portion of our subscribers. There are no plans to cancel it in favor of an early morn- ing news magazine in the foreseeable future.

Clare Spark

Dear KPFK.

New Music America was fantastic. A real feel for the state and directions of contemporary classical music was offered us. As you have cited Hallock Hoffman assaying in 1963, "What is new? what is going on? in music. ..New composers.. .and performers have had their first opportunities to be heard on Pacifica stations, and we, the for- tunate listeners, have had a chance to hear them." These are shining mo- ments in Pacifica broadcasting. Don Salper

The following two poems were sent in by an anonymous Chapel, Court, and Countryside listener:

Man with Flute

How I envy

Your silver-stained songs

Your unity is metallic magia

When you give voice

To all that lay voiceless

And raw brutality

is softened

by one silken sound. How I long to be A tender, fluted melody.

Old souls Rich and deep Know not sleep Know not sleep Radiate Bathed in light Old souls Know not night.

Dear Joseph Spencer,

Outstanding show (July 13) on Chapel, Court, and Countryside. I love the music. More More More— Your show is a natural high— exqui- site feelings of peace and joy so badly needed these days. God bless and please don't stop. Linda Clark

Dear KPFK,

I really enjoy the music program- ming at KPFK because of its relevance. I especially enjoy Lois Vierk's music selections. She is extremely talented and is the reason why I listen to KPFK.

Do you suppose you could give her longer time?

Francine Lane

Dear Jim Berland,

Six hours devoted to Lucier's Music on a Long Thin Wire is obviously ac- ceptable, while Peter Sutheim (and the listening audience) is deprived of a mere thirty minutes!

Certainly someone at KPFK will have to step back to get a better per- spective and do some gutsy evaluating of the whole scene.

A number of my friends and myself feel that Peter is a great asset to KPFK (as a matter of fact, some of them are listeners mainly because of him), and that ninety minutes is hardly "too much time devoted to that type of program," as Clare indicated to me when I recently spoke to her on the phone.

Let's delete some of the bilious mu- sic played especially during the early morning hours, and give the time back to Peter. He's doing a helluva job, as are Roy and Marc.

Maurice Ehrlich

SEPTEMBER FOLIO PAGE 35

Dear Marc,

■jMfrV.i*? ■ . • •'■* -'■-' *^ 1

continued from page 10.

Thank you and KPFK for providing Irish Northern Aid with an opportu-

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every day and it will still be business

nity to air its views. As the spokesman

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as usual in the U.S. of A. So I'm ask-

for INA, 1 think 1 was treated fairly

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ing each of us who loves the radio

and given ample time to clearly state

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station, who cherishes it as the only

INA's position.

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authentic culture in America; just

It was unfortunate that the British

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how much are we willing to support

did not deign to send a representative

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each other in this process of growth

to KPFK. It was, however, consistent

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and change? How much pain can we

with their past practice. With KMPC

endure as we examine all that class

a month ago they also refused to do

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baggage? For myself, 1 can say, hesi-

anything more than tape an interview

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tantly and timidly, 1 am starting to

-no challenges, no telephone call-ins.

trust the process.

no dialogue. Their absence speaks

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eloquently for the weakness of their

Notes

position. Defending a policy of colo-

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nialism in the year of 1981 is no mean task.

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' 1 originally wrote "sharing loveli-

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ness and pain." Pacy Markman point-

Thanks again. Marc. Your efforts

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ed out that "sharing" implied a finite,

are much appreciated.

Roger McGrath

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measurable quantity -as opposed to

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the more accurate word "resonance"

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which also feels like connection, not

loss. 1 also want to acknowledge Joan Vogel's helpful criticisms which have enriched my work for 6 years.

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^ Authenticity— "the right to tell the

truth without being abandoned. "-C.S.

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SEPTEMULl: hOLIO PACT 3fi

Classified

^assical Music Lovers' Exchange-

the Knk between unettached muiic lovert. Writ* CMLE, Box3I.Pelh<m, N.Y. 10803

AWARE SENSITIVE COUNSELORS

who are concerned with the whole of man/woman rather than a part. Bea Mego, M.A., MFCC, Richard Schneider M.A., IVIFCC (IR 1900). Call 559-2375.

RADICAL THERAPY group has opening for people ready to explore social influences on their personal problems. Facilitated by Sharon Shapero-393-3779 and Maria Joyouspirit-559-1181. Call for info. Weekly evening meetings in WLA.

COSMIC COVER-UP?

Learn of the revolution going on in physics and cosmology that the big institutions were unable to supress. Send S9.95 + 6% for Calif, res. to Craig Gunnufson (APGR Conf. Dir.) in order to receive your copy of the proceedings held at Golden West Col- lege in March of 1981.

ALAN WATTS AUDIOCASf ^TTES.

For free brochure send stam "-d, self-addressed envelope to IV A, Box 303, Sausalito, CA 949 3.

WESTSIDE FRIENDS OF KPFK

forming now-Call Howard Feldman at 931-8880 after 1 pm for details.

MENSA: Greater Los Angeles Branch International High IQ Society. P.O. Box 1941 , Los Angeles, CA 90053.

PIANO LESSON

Instructor has M.A. in Music, 10 years teaching experience. Beginner and advanced. Classical and Popular. 397-6275.

SOUND REPAIRS OF AUDIO equip ment at a minimal cost to KPFK sub- scribers. Don't put your ailing radio or stereo in the closet. I will make those unaffordable repairs affordable. TOM HAMILTON AUDIO, 371-5984.

ETHNIC JEWELRY PIECES AND TEXTILES specially selected from world-over: exotic pendants, rings, bracelets, earrings, bags, belts, molas, embroid'd pillows, beads. Direct sales OR you create Ethnic-Sales-Show Party of friends & earn % of sales. Call Maria: 559-1181.

PACIFICA'STAPi IBRARYhasa

brand new catalog oi all new titles. For a FREE copy of over 300 Pacifica programs on cassette, write the Paci- fica Tape Library, 5316 Venice Blvd. Los Angeles, CA 90019.213/931- 1625.

VOLUNTEER NEEDED to transcribe taped materials for Folio. Your help would be greatly appreciated. Call Audrey at the station. 877-271 1.

SUMMER'S ALMOST OVER! Don't get caught in the rush to send Audrey and Margaret to Europe, Asia, Africa, or Encino maybe. Call today.

ADVERTISING RATES EFFECTIVE JANUARY 1, 1981.

Full page: 7" wide $300

9%" deep

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4'/

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Back Cover 7" wide S300 7" deep

Classified: $10 per column-inch, typesetting included. No art, just words. 40 characters per line, incl. spaces & punctuation. Or, 25 char- acters per line of ALL CAPS. Max. 6 lines per inch.

Payment in Advance! Please submit payment with your copy, as we have no money for billing or follow-up, and nobody to do it.

Deadline: 1st of the month preced- ing the month of publication, (e.g., Feb. 1 for the March edition, etc.). One week before that if there is any work to do to get it ready!

Camera Ready: The above prices are for camera ready art (except for the classified). Typesetting & art production services can be ne- gotiated at SlO/hour (S10 min.), with an extra week required before deadline. S3 for all reductions, en- largements, half-tones, etc. That's below our cost.

Audrey Tawa, Folio Editor 3729 Cahuenga Blvd. West North Hollywood, CA 91604 213/877-2711

SEPTEMBER FOLIO PAGE 37

Your Subscription

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Bill Payment.

Always send a bill with your check I We cannot credit your account cor- rectly unless we know exactly what your check is paying for. If you send a check for a pledge payment with- out a bill, you might get credit for a new subscription and still be billed for your original pledge.

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^s

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Nam0 1

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atyandZip

1

Volunteer Page

They turn the station on and off, and make it go in between. They run errands, produce programs, engineer, stuff envelopes, answer phones, build things, help at off-air events— in other words, we couldn't exist without them. Those not listed elsewhere in the Folio are:

Frieda Afary / Kamran Afary / Laurien Alexandre / Sheiron Allen / Marlene Al- varado / Richard Amromin / Gayle An- derson / Neza Azad / Greg Battes / Ho- race Beasley / Beverly Bernaki / Bruce Bidlack / John Bliss / Michel Bogopolsky Carolyn Born / Michael Bos / George Braddock / Helen Caputo / Lucia Chap- pelle/ Louise Chevlin/ BJ Clark / Peter Cole / Terry Craig / Peter Cutler / Lo- ren De Phillips / Sande Dickerson / Di- no Di Muro / Lisa Edmondson / Michael Elliott / Richard Emmet / Marianne Fin- kelstein / Frances Fischer / Gordon Fitz- gerald / Steve Fowers / Rosalie Fox David Fradkin / Scott Fraser / Kevin Gallagher / Dave Gardner /John Glass Gera Golden / Terry Goodman / Greg Gordon / Jane Gordon / Gail Valerie Griffin / Robert Griffin / Dan Halpert Nancy Hamilton / Bill Handelsman Burt Handelsman / Rich Hansen /Jim Harris / Virginia Harvey / Madeleine Herrold / April Hill / Skip Hockett Dennis Johnson / Michael Jondreau Susan Judy / Ella Kaumeyer / Hugh Kenny / Jens Klindt / Chuck Larson Chris Lauterbach / Melanie Lewis / Roger Lighty / Ruben Lopez / Mi- chael Lovelace / Elizabeth Luye / Iris Mann / Eva Marcus / Theresa Mazurek Phil Medlin / Michael Miasnikov /Joan Midler / Steve Mitchell / Sam Mittel- man / Thomas Moody / Toni Navarra

Nanci Nishimura / Juli Parker / Dow Parkes / Phoenix / Robert Portillo Mike Powell / Belle Rabinowitz /Jan Rabson /John Ratliff /Wendy Ross Mary Rousson / Edith Royal / David Royer / Leslie Sallee / Sheryl Scar- borough / Lisa Schlein / Diane Schmidt Celia Schwartz / Elliot Shifter / Rick Shea / Robby Shear / Pearl E. Shelby Bob Sheldon / Lester Silverman / Rob- ert Smartt / Helen Steinmetz / Arthur Stidfole / Catherine Stifter / Ron Streicher / Ed Thomas /Janet Thomas Dave Thompson / Susan Tewes / Mod- estine Thornton / Elissa Tree / Brad Turrell / Roy Ulrich / Howard Vanucci Andy Vavrek / Bill Vestal / Barbara Warren / John Watson / Suzi Weissman Bert White / Jane Willits / Carol Wills Steve Wilson / Jim Witter. . . and all others we may have inadvertently omitted.

It's common knowledge that KPFK couldn't exist without the support and hard work of its volunteer corps. When any of them decide to leave, we all feel a real void. Many thanks are due to the following volunteers :

Mike Leviton, who will be returning to school in Eugene, Oregon to get a degree in broadcast journalism.

Dave Thompson, news department volunteer, will produce and anchor the evening newscast for WSAW television in Wausaw, Wisconcin (CBS affiliate).

Carol Wills, also a former news volun- teer at KPFK, now reports news for WPRY-AM in Perry, Florida. Carol also plans to do reports for Pacif ica via our news bureau in Washington.

Rosalie Fox now works for KTNB- AM in Bakersfield, California, an ABC affiliate. She does reporting, anchoring, and an occasional inter- view program.

Best wishes to all of our former vol- unteers, and thanks again for their valuable contributions to the station.

moving?

Your Folio will NOT be forwarded automatically to your new address. It will be returned to us after a few weeks with your new address on it— probably not in time for the next Folio! So to avoid missing out, fill out this coupon and return it to us, with your current (old address) label still attached on the reverse side.

PLEASE PRINT!

Name

New Address

City

State

Zip.

Mail to: Subscriptions, KPFK. 3729 Cahuenga Blvd. West. No. Hollywood, CA 91604.

SEPTEMBER FOLIO PAGE 39

BOOK SALE

Sat, Oct. 3rd

THERE WILL BE TWO DROP-OFF DATES:

Sept. 19th

At the home of

Barbara Brotherton 345 Jasmine Dr. Brea, Ca. (714)529-7655

Ralph Sibilio 10272 Nightingale Ave. Fountain Valley 714/962-3115

Kay Lang & Fred Perry 11561 Varna St. Garden Grove 714/530-4326

Thanks to all those supporters and friends who attended a very successful fundraising party in SilverlakeJuly 19.

Sept. 26th

Hans Leder

Lorrel Reger

2553 East Santa Fe

16646 Alliance Ave.

Fullerton

Tustin

714/525-8058

714/836-6746

For information, phone Bill at 714/833-6572 (work)

or 714/552-3188.

friends of kpfk

KPFK Folio

(ISSN-0274~4856)

P.O. Box 8639

Universal City CA 91608.

Studios at 3729 Cahuenga Blvd. West

North Hollywood CA 91604.

Second-Class Postage Paid at Studio City CA and at additional mailing offices.

TIME VALUE: Program material September 1 through 30.

Pacifica Radio*Los Angeles