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Folio 

KPFK    90.7    FM^ 

September  1981 


PLEASE  POST 

For  informslion  call  47B-I04I 


PHYLLIS  DE  PICCIOTTO  In  association  with  LAEMMLE  THEATRES  presents 


I5AIICT: 

A  festival  cf  Films 


ffWf^¥T 


OCt,lQ-ll  ESQUIRi;    

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. 


m  oCf.lff-n 

a-  -OeT.t7'18 


ROYAL       ill 
ESQUIRE 


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 


J  OCT. 17-18 


SPARTACUS 

viartimif  Vassttiev 
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ROYAL        11  A.M. 

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  "--  --  -^-^  ---- 


^  WaV.  7J4 -TSTTAL  -fW.H. 

,  N0V.14-1S         iRE  IIA.M 

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 

.14-lf  -  RdtAi  ■"ilS'.lC.'^'' 

)V.21-22    ESQUIRE  11A.M. 

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- 

I vanov  origi nal ) 

90  min,    Russian,    1969 


ANNA  KARtNIMA 


.  1    ROi  i\\^         \\  K   ^' 

HiOTr.-7-B  ESQUIRE  11A.M. 

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. 

Pnjut.ivitd  mXh  aiil6tanct  oi  tht 


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 


l4*fP^'f-6 


ROY, 


['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. 

IN  A  REHEARSAL  ROOM 


Wi 


a  Sun. 
OA.M   pnjy 


mmmpmam 

IROYAL  THEATRfe  I       ^   IfiSOUIHl :  Tm^XTRF^ 

1152J  Santa  Monica  Blvd.   ^ 
West  Los  Angeles      '^ 


II    min,    1975 

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. 

dance  association 


!  vd. 


$4. on    ADMl':«:r"v 


Dl.  I  HINT 
5   admi  ■'■'i''" 


515.00 


.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. 

NA»€ 


PROGRAM 


THEATRE 


DATE 


HOW  MANY 


COST 


ADOHESS 


SEND 


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 


At  the  Mike 


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FOLIO  PACE  S 


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 


Sour 

Apple 

Tree 


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 
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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! 


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ADDRESS 


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Address . 


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


MEMBERSHIP  FACTS 

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Other  membership  benefits ^ . 

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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 


12:25 
12:35 


2:00 

3:00 

4:00 

6:00 
6:30 

7:00 


8:00 


10:00 


12:00 


2:00 


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 


11:00 

12:00 
1:00 


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 


5:00 


6:00 
6:30 

7:00 


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 


6:00 
9:00 


10:00 
11:00 


11:30 
12:00 


2:00 


3:00 


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


8:00 


9:00 


io:ao 


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 


(213)    83e-971B 
(2t3)    839-3S36 


A  &  P 
CUSTOM  PHOTOGRAPHY 

JERRY  ANGELO 
RON  PELLETIER 


We  Get  The  Job  Done 

Townes  Photographic 

(213)  383-4396 

Editorial  &  PR 

Headshots,  Portraits,  Bands 

Weddings 


f^DOlA  JElSGTrtS 

"The  Harbor  Aica's  Only  Independently 
Owned  and  Operated  Community  Newspaper." 

Random  Lengths  is  a  free  speech  community 
paper  that  presents  issues  from  alternative 
perspectives  not  commonly  found  in  the  regular 
print  media.  We  openly  solicit  articles  from  all 
people  in  the  community.  Subscriptions  $3.50 
per  year. 


RANDOM  LENGTHS 

P.O.  Box  731 
San  Pedro,  CA  90733 


SEPTEMBER  FOLIO  PAGE  24 


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your  phone  calls.  Peter  Sutheim 

hosts. 
1 1 : 30    The  Late  N ight  News. 
12:00   am  Something's  Happening! 

"Future  of  Communication" 
part  4  (concl.)  with  Alan  Watts. 


15  Tuesday 


6:00 
9:00 


10:00 


11:00 


11:30 
12:00 

2:00 


6:00 
5:45 


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. 


What  exactly  .  does 

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Discount  stores  are  not  good  places 
to  go  for  advice.  Market  pressures 
force  them  to  recommend  components 
for  reasons  that  have  nothing  to  do 
with  how  well  they  reproduce  music. 
Earworks'  principal  stock-in-trade  is 
information  and  know-how,  wedded 
to  a  reliable  sense  of  how  real,  live 
music  sounds.  Earworks  isn't  beholden 
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7:30 


8:30 
10:30 

11:30 
12:00 


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 


o.f 


6:00 
9:00 


10:00 
11:00 


11:30 
12:00 

2:00 


6:00 
6:45 
7:00 


7:30 
9:00 


10:00 

11:30 
12:00 


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. 


<:fptfmri-'R  fdi  in  pagf  7S 


cY20t:tGfiton*s 


A  Book  Shop        1 8 1 8  N .  Vermont  Ave. 
Los  Angeles  90027 
213/664-3882 

520  E.  Colorado  Blvd. 

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11:00 


11:30 
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2:00 


fTIEIDIFI 


The  Fourth  Tower  of  Inverness 
Moon  Over  Morocco 

The  Incredible  Adventures 
of  Jack  Flanders 


Great  Adventiifc  Serial*  on  CufVltcft 

For  complete  tnlormatlon,  write  to: 
ZK,  K.D.    '\,  Fort  Edwarit,  NV    12(28 


6:00 
6:45 


7:15 


8:00 
9:00 


11:00 


11:30 
12:00 


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 


VCDTCUDCD  cr\i  in  DAr-r  tc 


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 


10:00 
11:00 


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 


; 


® 


Cesar's  BMW  Repair 

1S27  BROADWAY 

SANTA  MONICA,  CAIIFORNIA  M404 

TabplieM  PU)  3*4411* 


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


yjt  n 


MASTERPIECES  OF 

CAPITALIST  REALISM 


atfhe 

nvsf YM  of 

UN  ^NATURAL  HIITORY 
NOV-DEC,20I3 


Rll  1  ROARD^  of  thft  FUTURE, 


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- 

w^'       W         ^^^^^H 

every  day  and  it  will  still  be  business 

nity  to  air  its  views.  As  the  spokesman 

E^^-^                    ^^^^1 

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

for INA,  1  think  1  was  treated  fairly 

H|HHH|k^.j^                                C^^^H 

ing  each  of  us  who  loves  the  radio 

and  given  ample  time  to  clearly  state 

^^HSiJ^EB^BLi                      <^^BkMl 

station,  who  cherishes  it  as  the  only 

INA's  position. 

^rapuHHH^                ^^K'M 

authentic  culture  in  America;  just 

It  was  unfortunate  that  the  British 

Wf^^^^SS^'  "^           £^^^'  ^ 

how  much  are  we  willing  to  support 

did  not  deign  to  send  a  representative 

wk\      \^Bmu»2L                         "^i^^^^^^K^'' ' 

each  other  in  this  process  of  growth 

to  KPFK.  It  was,  however,  consistent 

Kl- '  •  ^^H^Sik '            '^fi^HL ' 

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 

lK\     ^iQ^Hr'  ?>          ryii^^H 

baggage?  For  myself,  1  can  say,  hesi- 

anything more  than  tape  an  interview 

f^bV      '-^  M^P^              mB^^H 

tantly  and  timidly,  1  am  starting  to 

-no  challenges,  no  telephone  call-ins. 

trust  the  process. 

no  dialogue.  Their  absence  speaks 

H^^'"       ^Hj 

eloquently  for  the  weakness  of  their 

Notes 

position.  Defending  a  policy  of  colo- 

^^^^HKjV/                        ^^^H 

nialism  in  the  year  of  1981  is  no  mean 
task. 

IPiiplfl' I            IBS 

'  1  originally  wrote  "sharing  loveli- 

l^ij^   <||l;'^                                           ^^^K^ 

ness  and  pain."  Pacy  Markman  point- 

Thanks again.  Marc.  Your  efforts 

Hk^^K  '                          I^B^ 

ed  out  that  "sharing"  implied  a  finite, 

are  much  appreciated. 

Roger  McGrath 

K^^^B    "^^            ^Hs 

measurable  quantity -as  opposed  to 

I^BJ^^v                    . .               '^^P** 

the  more  accurate  word  "resonance" 

^^^^^v '                      ^Bf?' 

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. 

R       m 

^  Authenticity— "the  right  to  tell  the 

truth  without  being  abandoned. "-C.S. 

Mt 

o\ 

cdt 

si 

TJV 

(D\ 

CD  J 

f^S 

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 


Half  page     7' 

4'/ 

Column 
inch  rate 


wide 
"deep 


SI  50 


2%"wide     S   12 
(min.  3"deep) 


Full  column  (9%"deep  $100 
half  column  (4%"deep  $  55 

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 


The  Computer. 

Our  computer  is  located  in  Santa  Bar- 
bara. Your  payment  may  not  go  into 
the  computer  as  quickly  as  you  might 
thinl<  because  payments  go  to  our 
lockbox  and  through  the  bank  before 
they  are  fed  into  the  computer.  This 
process  often  takes  more  than  a  week 
from  the  time  you  send  your  payment. 
So,  if  you  send  your  check  by  the  8th 
of  the  month,  you  may  receive    the 
Folio  for  the  following  month. 

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. 

First  Class  Folio  Mailing. 

The  Folio  is  mailed  Second  Class,  and 
should  take  2  to  5  days  to  get  to  most 
places.  Unfortunately,  our  experience 
has  not  been  good,  especially  with 
outlying  areas.  First  Class  mailing  is 
available  for  S8  extra  per  year  (pro- 
rated at  75c  per  month  for  current 
subscriptions.  If  you  get  your  Folio 
on  time  but  would  like  to  receive  it 
well  before  the  first  of  the  month, 
you  may  want  to  get  the  first  class 
service. 

I  Didn't  Get  My  Folio. . . 

The  Folio  is  mailed  before  the  20th  of 
the  month.  If  you  have  not  received 
your  Folio  by  the  first  of  the  month: 

1)  check  your  subscription  expiration 
date  on  the  previous  Folio  mailing  la- 
bel (upper  right  hand  corner  of  label). 

2)  Make  sure  you  haven't  moved  with- 
out notifying  us.  3)  If  you  haven't 
moved  and  are  currently  enrolled  as 

a  subscriber,  contact  your  local  post- 
master about  delivery.  4)  Send  us  a 
previous  Folio  label  with  an  explana- 
tory note  or  call  for  a  new  Folio  to 
be  sent  to  you. 

Moving-Addrets  Changes. 

If  you  move,  your  Folio  will  not  be 
forwarded  unlets  you  have  requested 
Second  Class  forwarding  from  the 
Post  Office.  The  best  way  to  expedite 
an  address  change  and  assure  contin- 
ued receipt  of  the  Folio  is  to  contact 
ui— in  writing  preferably -before  you 


move,  giving  us  your  name,  old  zip- 
code,  and  new  address.  There  is  an  ad- 
dress form  on  the  back  page  of  the 
Folio  that  you  can  clip:  it  already  has 
your  current  mailing  label  on  its  back. 
Always  include  your  account  number 
at  the  top  of  your  Folio  label  for  in- 
stant handling.  Address  changes  that 
we  get  back  from  the  Post  Office  cost 
us  25c  apiece  and  frequently  take  a 
month  to  be  returned  to  us. 

Exchange  Mailing  Lists. 

KPFK  exchanges  and  rents  its  sub- 
scriber lists  to  other  organizations  of 
common  interest  (Channel  28,  Ralph 
Nader,  ACLU,  etc.).  If  you  don't  want 
to  be  on  exchange  mailing  lists,  send 
your  Folio  label  to  the  Subscriptions 
Department  and  ask  for  an  "NJ"  code. 
Your  name  will  then  be  automatically 
excluded  from  all  mailings  except  for 
the  Folio  and  other  communications 

Prisoner  Subscriptions. 

KPFK  sends  a  free  subscription  to 

any  prisoner  upon  request. 

from  us. 

Cassette  Folios  for  the  Print 
Handicapped.  The  Folio  is  available 
on  cassette  (returnable)  to  all  print 
handicapped  subscribers.  If  you'd 
like  to  get  the  Cassette  Folio,  please 
tear  off  the  address  label  on  the  back 
of  your  Folio  and  send  it  along  with 
a  note  (or  you  may  call).  Within  two 
months,  you'll  be  receiving  your  com- 
plete program  guide  on  cassette.  The 
cassettes  are  returned  to  us  at  the 
end  of  each  month  to  be  re-used. 

^s 

' 

MAIL  COUPONS  AND  CHECKS  TO  KPFK. 
P.O.  BOX  92900,  LOS  ANGELES  CA  90009. 

New  Subscription 

[  ]  $30/  year  regular  rate. 
[  ]  $15/ year  low  income. 

[  ]  $75/  year  Film  Club. 

1 

[  1  $15/  %  year. 

[  ]  $  8/  %  year. 

[  ]  $40  down  Film  Club, 

then  bill  $5/mo.,  -t-$5  service($80  total) 

Gift  Subscription 

Check  subscription  rate  above,  and  be  sure  to  include  BOTH                            1 
the  name  and  address  of  your  gift  recipient  and  your  name,                             1 
address,  and  current  Folio  label.                                                                         | 

Film  Club  Conversion  of  Your  Curre 

nt  Subscription 

($15  credit  given-new  subscription 

for  12  months  created.) 

[  ]  $60  Full  payment. 

;   )  $30  down,  bill  $5/mo. 
idd  $5  service  charge  ($65  total) 

Nam0                                                                                                                                        1 

Adilrtu                                                                                                                                    1 

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