Showing posts with label shortwave radio. Show all posts
Showing posts with label shortwave radio. Show all posts

Sunday, July 29, 2018

Life before the Internet ruined everything

"Schwarzweiß-Testbild der 1950er und 1960er Jahre
auf Philips-Fernseher TD1410U ("Starenkasten") von 1952."
Wikipedia Commons (public domain).
Someone at work yesterday made the comment that they felt "nostalgic for life before the Internet."

To be honest, from the looks of him, I'm not sure he's old enough to remember life before the Internet, bet let's assume so until proven otherwise.

But that and another recent conversation about TV test patterns (yes, it was a thing) got me trying to remember what life was like and what I liked about it.

Before we get too far into this and you decide to brand me a Luddite and report me to the Social Media Police, I do want to stress that I appreciate life in the Internet age a great deal. I love the connectivity with both people and information. I love the community, the communication, the getting a glimpse of lives lived elsewhere--which has always been an interest for me.

But . . .  sometimes . . . I feel a few things have been given up along the way for the sake of information and connectivity . . . and I'm not sure we're any better (and possibly a lot worse) for it.

Below are a few examples from my memory banks. I'd be curious about what you remember and what you liked as well.
  • Not necessarily pre-Internet but ... A limited number of TV channels meant that we all generally watched the same programs and could talk about the same shows and understood the same cultural references. So there's your communication and connectivity right there.
  • The challenge of "discovery" -- meaning that as information wasn't so readily available, when I found what I wanted or needed, it felt a bit more special. Discovery felt more remarkable. Now I rarely get a thrill from my information and research discoveries.
  • I sometimes think the quality of my friendships was a bit stronger. There was no social media, so I couldn't tune into everyone's lives as easily and thus perhaps paid more attention to those around me (maybe? maybe not!). Also, I used to write letters, long, glorious letters, to those who didn't live nearby, and I used to receive long, glorious letters from those who lived far away. Nowadays I'm lucky if I can string together a couple of paragraphs, my handwriting has become atrocious, and almost all the mail I get relates to buying or selling condos. (That may be specific to Toronto, however.)
  • I used to read more and create my own, temporary world through the book I was reading at the time. Or did the same through shows I watched--for example, soap operas. I'd match Dark Shadows or Another World when they were firing on all cylinders with True Blood or This Is Us. I admit to having dodgy taste, but fork it, I'd take life in Collinsport or Bay City any day over a real or imagined Pittsburgh.
  • I miss receiving magazines in the mail. And holding the newspaper, smudgy ink and all, and reading it daily.
  • I miss mail in general. And stamps--although I still collect them. I used to decorate the envelopes of letters to friends. (I'm sure the post office hated it, but I enjoyed doing so.) My personal favorite decorated letter was sent to a friend in Australia back in the '80s and referenced the plot of the Oz (wouldn't you know it?) nighttime soap, Return to Eden. "On the next Return to Eden, Stephanie Harper suffers major plastic surgery setback." And side by side I featured a picture of the lovely Rebecca Gilling (who played Stephanie H.) and Jamie Lee Curtis's melting face from one of the Halloween movies, imposed over a background of the Sydney Harbour Bridge and some kangaroos. (Perhaps you had to be there.)
  • Encyclopedia(s) and reference books. Out of date, sure, but did you need the latest information or could you improvise with what you had? Sure you could.
  • Shortwave radio. That was a big hobby for me growing up and has influenced my life even today--the music I listen to, an interest in travel and culture, a love for information, a fascination with people from other places and what life is like where they live.
  • Regionalism. I miss the uniqueness of language and culture in places. Sameness makes it easier to communicate but it also makes things duller. In North Carolina, grew up calling a toilet a "commode"--very polite and rural Southern. We called the 6-peanut-butter-crackers-to-a-pack "Nabs." We all wanted to go see Tweetsie Railroad and meet Mildred the Bear. I can still sing the advertising jingle for both Cheerwine and Ivey's. Those weren't all felled by the advent of the Internet, but it's part of a similar story--consolidation and homogenization in American if not international culture. Yawn.
  • International Communism. Seriously. Totalitarian regimes were at least about something, a worldview, a cultural and economic philosophy, even if they weren't always sincere. Nowadays we get dickishness passed off as ideology. In business attire, ferchrissakes.
  • Ditto for "Americanism." We ran rampant over the post-war world but at least you knew what we were about--liberty, opportunity, freedom of choice, better consumer goods, making money, exploiting resources (and people along the way), defeating international Communism -- even if we didn't always live up to the liberty, opportunity, and freedom parts, at home or abroad, as much as we said we did. But think about it--would you rather be exploited on the way to a) getting a washer & dryer or a car or b) for an extra bag of millet and increased boot production in your industrial sector? Don't kid yourself, champagne supernova Socialists: You would choose a) every time. (Who even knows what millet is, let alone why you would want more of it?)
Yeah, I know, nostalgia's for suckers. For everything I miss, there are probably a zillion things I don't--and with good reason. Lack of access to information might mean more ignorance--although more information doesn't seem to have made us smarter, that's for sure. Old-styled Americanism and Communism abused and killed people. Opportunities for "deviant" behavior or "alternative lifestyles" were definitely circumscribed in a world with less information and connectivity. Even being a gender other than straight male or a race/ethnicity other than white seemed rather deviant back then. 

Still, it wasn't all bad, was it? I'm sure I was frustrated then as I am sometimes now, likely more so, but occasionally I feel like a few of my more cherished possessions got lost in transit while moving rapidly to the future.

So take at least some of the above with a grain of salt, a tongue firmly in cheek, the musings of a privileged goofball at 50+, whose greatest hits collection is dropping off the pop charts after a good run in the top 10, 20, 30, and 40.

I'm Weird Montag Yankingyourchainabit, and I'm here as long as you'll have me.

Now 'eat it.

Sunday, October 02, 2016

The songs of shortwave, volume 3



The third (and final?) volume of my songs of shortwave homage . . . or nostalgia-fest . . . or persnickety obsession. You decide.

In this edition, I focus on interval signals and signature tunes from France, the Middle East, and Africa. There's also a bonus track, "Merck toch hoe sterck" by the Dutch jazz trumpeter Cees Smal. This harks back to volume 1 of this mixtape series: Back in the day, "Merck toch hoe sterck" was the melody for Radio Nederland's interval signal.

The African stations are of particular interest to me--I used to listen to many of these in the 1970s and 1980s on the "tropical band" (below 5 megahertz) on my shortwave radio. They weren't the easiest to receive or clearest to listen to. In fact, until I discovered several websites that provide recordings of interval signals, I wasn't sure from which stations or countries the broadcasts emanated.

I think my interest in Africa stems from those days. The exoticism of Africa appeals to me, I'm (partially) ashamed to admit. But there's also Africa's history, potential, and culture that interest me. While I've spent a lot of time focusing on South African history and culture (in this blog, in studies, and in my life), I am also interested in West and Central African culture, especially the literature and music.

So in this mix, you'll hear interval signals intermingled with patriotic songs and anthems and pop tunes that I hope convey both the era then and the culture now.

If I do a future shortwave songs mix, I might focus more on Asia (although, due to my listening location on the U.S. southeast coast, I couldn't tune in Asian broadcasters very well)--or I might go off in a different direction: The songs of shortwave, Benelux edition, playing tunes I remember hearing on 208 Radio Luxembourg broadcasts, Radio Nederland's pop chart program, Radio Free Europe's transmissions to Eastern Europe, and other shows and stations from Central and Western Europe.

I certainly have the collection. Now do I have the bravura/shamelessness to share some of my very Euro-cheez taste?

* * *

The playlist
  • Radio France Internationale - Interval signal, announcement, national anthem
  • Andre Claveau, Mathe Altery, Christian Borel, & Claire Vallin - "Nous n'irons plus au bois"
  • Gilbert Sigrist Trio - "Nous n'irons plus au bois"
  • Serge Gainsbourg - "Aux armes et caetera"
  • TRT Voice of Turkey - Interval signal, broadcast opening, announcement
  • Radio Cairo - Announcements, signature tune
  • Dissidenten - "Radio Arabia"
  • Kol Israel/Voice of Israel - interval signal
  • Meshugga Beach Party - "Hatikvah"
  • Dori Ben Ze'ev - "And Still You Dance"
  • Voice of Palestine - March
  • The Very Best featuring Ezra Koenig - "The Warm Heart of Africa"
  • Voice of Nigeria - Interval signal, broadcast opening, announcement
  • Sierra Leone Broadcasting Service (SLBS) - Interval signal, march, signature tune
  • Ghana Broadcasting Corporation - interval signal, song
  • B. K. Ofori's Guitar Band - "Yen ara asase ni"
  • Radiodiffusion-Television Guineenne - Interval signal, announcement, anthem, music
  • Bako Dagnon - "Alpha yaya"
  • La Voix de la Revolution Congolaise - Interval signal, music, announcement
  • National Station, Yaounde, Cameroon - Interval signal and announcement
  • Francis Bebey - The Coffee Cola Song
  • Radiodiffusion-Television Togolaise - Interval signal
  • Radiodiffusion-Television Ivoirienne - Interval signal, march, announcement
  • Keke Kassiry - "Abidjan"
  • Mamadee & Ky-Mani Marley - "Africa Is Calling" (Road of Life Riddim Mix)
  • Amadou & Mariam featuring Knaan - "Africa"
Bonus track
  • Cees Smal - "Merck toch hoe sterck"

Saturday, May 28, 2016

The songs of shortwave, volume 2



The third time has to be the charm. Or so I hope.

This is the third version of my original volume 2 mixtape dedicated to the Cold War era of international broadcasting on shortwave. You can find the playlist below, here's a preview: This mixtape features interval signals from the Voice of America, Deutsche Welle, Radio Berlin International, Radio Tirana, Radio Bucharest, Radio Moscow, Radio Peking (not Beijing), among others. In addition, the mixtape offers music by Gene Autry, Paul Jabara, the Drifters, R.E.M., Falco, Esquivel, Georgy Garanian and the Melodiya Jazz Ensemble, and more.

Why the fascination with the Soviet and Communist era? No, I am not a budding, full bloom, or wilted Communist. While I can see the merits of a Socialist approach to economy, government, and society, the Soviet system had significant human, environmental, and economic costs. Let's put it this way: If you have to keep people behind an iron curtain or a Berlin Wall to make sure they benefit from and "enjoy" what you've planned for them, you might have already failed to sell the idea to your followers.

Then again, Capitalism continues to be an ugly business, also having enormous human, environmental, and economic costs, so I can fathom some of the appeal of alternative approaches to living and working.

During the 1970s and 1980s, when I did most of my shortwave listening, the Cold War was hot and heavy-handed, and the Soviet Bloc stations were all over the airwaves, as were the Chinese Communists and their satellites and, lest we forget, the U.S. and its entourage (e.g., Radio Free Europe, Radio Liberty, et al.) So what I heard then--and I heard a lot because I often listened day and night, whenever I could and as often as I could--has stayed with me through the years.

Thus there's some nostalgia afoot here, as well as romance for an era lost. That era was not always wonderful, at least in the American mind, but it wasn't without its merits, its charms, and its aficionados. I'm not alone in this view; think of the movie Goodbye Lenin, for example, or the book Comrade Rockstar, by Reggie Nadelson, about the life and times of American-East German rockstar Dean Reed.

You'll hear a fine example of that loss in the last track in this mixtape, the final broadcast of Radio Berlin International, a broadcast I actually happened to hear by accident back in 1990. It's a transmission that still offers me a slight shiver, a haunting if you will. Because that broadcast feels a bit like me--it's late, we both feel past our prime, on the verge of being made redundant, but wanting to hold on as long as we can to a rapidly disintegrating world.

And we want to tell someone about what it was like and what is disappearing. Anyone who will listen really, even though we're never sure anyone is paying attention.

* * *

The playlist

  • Voice of America - Closing and signature tune
  • Gene Autry - "Yankee Doodle Dandy"
  • Paul Jabara - "Yankee Doodle Dandy"
  • Radio Free Europe - TV commercial audio from the early 1970s
  • The Drifters - "On Broadway"
  • R.E.M. - "Radio Free Europe"
  • Swiss Broadcasting Corporation - Interval signal, announcement, and time signal
  • Falco - "Vienna Calling"
  • ORF External Service - Interval signal and opening
  • Esquivel - "Blue Danube"
  • Deutsche Welle - Interval signal
  • Radio Berlin International - Interval signal
  • Das Kapital - Auferstanden aus Ruinen
  • Radio Tirana - Interval signal
  • Radio Budapest - Interval signal
  • Radio Polonia - Interval signal and announcement
  • Frederic Chopin - Etude for piano no. 12, op. 10 (Revolutionary Etude)
  • Unknown - "Kupredu, leva, zpatky ni krok" ("Forward, Left . . .")
  • Radio Sofia - Interval signal and opening
  • Radio Bucharest - Interval signal and opening
  • Radio Station Peace and Progress - Interval signal, opening, and announcement
  • Radio Moscow - Interval signal
  • Georgy Garanian and the Melodiya Jazz Ensemble - "Moscow Nights (Evenings in Moscow)"
  • The Red Army Choir - "Moscow Nights (Evenings in Moscow)" 
  • Radio Peking - Interval signal and announcement
  • The East Is Red Choir - "The East Is Red"
  • Monkey - "March of the Volunteers"
  • Arbeit - "Die Internationale"
  • Radio Berlin International - Excerpt from final English-language broadcast, 2 October 1990

Sunday, December 20, 2015

The songs of shortwave, volume 1



Author's note: I updated this mixtape on 1 January 2016 (Happy New Year!). This is volume 1; volume 2 is forthcoming--hopefully no later than later this month. Enjoy!

* * *

Happy early holidays--at least if receiving a new mixtape/podcast from me is a fun gift in your mind. I hope it is because it's all I've got for you this year. Perhaps, ahem.

My gift to you is all about me, of course! Ha, well, kinda. It's another in a series of my explorations into my childhood, into what made me tick then and continues to make me tick now, decades later.

I was a huge aficionado of international broadcasting on shortwave radio back in the day, and I still think about buying a new radio--the kind of set, a tabletop or a highly sensitive portable, that I couldn't afford when I was younger. After all, I live in a new part of the globe, and there are no power lines in our neighbo(u)rhood. (Everything's buried so as to prevent snapping during extreme cold and icestorms, and I suspect to soothe suburban aesthetic sensitivities as well.) Just imagine what I might hear again or for the first time from our near neighbors--Iceland! Greenland! Saint Pierre et Miquelon!

Or maybe I would hear from some place completely different--Indonesia, Thailand, Kenya, Cote D'Ivoire--all those places I wanted to tune in so long ago but could never quite pull in on my static-friendly portable in rural North Carolina.

This is not to say that I was a slouch as a DX-er (aka, long-distance listener). I remember staying up until the early hours to hear the opening of the broadcast day in Togo and Cameroon. I remember going to bed listening to Latin rhythms emanating from stations in Brazil, Colombia, and Venezuela--and have the QSL cards to prove it. I remember hearing Iceland, the Philippines, Bangladesh, Tahiti, Tashkent, Morocco, and hundreds of others, near and far.

My favorites? In no particular order--the Voice of Turkey (for the music), Radio Australia, Brussels Calling, Radio France International, Radio Sweden, Radio Exterior de España/Spanish Foreign Radio, Radio Austria International, Deutsche Welle, Radio Nederland, Radio RSA: The Voice of South Africa (I know, I know . . .), and, naturally enough, Radio Canada International.

A European bias perhaps, but these were often the best, most consistently received stations where I lived at the time.

Which came first--My interest in the world outside of where I lived or my enthusiasm for shortwave, which led to an interest in the world elsewhere? I would say the former. I mean, how many kids were in the second grade trying to borrow books on Sweden from their small-town public library? Not many, at least not in North Carolina in the 1960s and '70s. Some days I truly feel for my parents. What a bafflement I must have put them through with the constant arrival of letters and packets of information from the Soviet Union, Germany, Japan, South Africa, and Australia.

I still yearn for those days of uncomplicated childhood, when my only "responsibility" was to listen to shortwave, learn about different cultures and perspectives, write some letters to radio stations (or penpals), and receive mail from all over the world.

Those days are mostly gone, I fear. Who writes letters anymore? I can barely send out Christmas cards. I still listen and watch international broadcasting, but it's all internet-based, whether on my computer, my phone, my Kindle, or my Roku.

Now at least I can hear the content without squelch and static, the jamming and knob-twiddling, but the serendipity, the happenstance, the fun, are somewhat lacking. Where's the challenge if all you have to do is go to a URL, an app, or a channel? Tuning in--figuring out the frequency, realizing the time difference, setting the dial just right, and hoping against hope that some other undesired station didn't bleed into the broadcast you wanted to hear--was an adventure.

So this mix and the previous podcast I did are ways for me to hark back to that time but also to celebrate its positive influence on my life. I might never had ventured out of North Carolina and moved to Texas, let alone Canada, without my shortwave radio. I might never have been open to meeting and falling in love with a truly lovely man from Egypt. I might never have learned about music--and international communism!


* * *

Now about these tunes . . .

In most cases, I think they speak for themselves, that is to say, there is a clear connection between the signature tune and the song played. In other cases, not so much. So below you'll find an annotated playlist in which I try to explain myself and where my mind was when I made my choices.
1) "Oranges and Lemons - the Bells of St. Clement's" and 2) the BBC Caribbean relay station version of "Oranges and Lemons."

This is immediately followed by 3) the tonal "B-B-C" interval signal, enchanting and slightly haunting, mixed with 4) the BBC "V" interval signal, mixed with 5) the BBC World Service bells.

Radio RSA QSL card. Author's collection.
6) A version of "Lillibulero" was (and maybe still is) featured at the top of the hour of most BBC World Service broadcasts.

7) "London Calling" by the Clash: Again, another popular song that seems inspired by the world of international broadcasting. I first heard the Clash on the BBC World Service Top 20 or A Jolly Good Show, can't remember which now.

8) Radio RSA: The Voice of South Africa - interval signal and announcement: My favorite signature tune and possibly the most beautiful one ever created. For a moment put aside the racist Apartheid regime that created the tune to lure you in. It is still a gorgeous melody played simply and lushly. It's probably single-handedly responsible for my life-long fascination with Afrikaans and Afrikaner South Africa. (Other connections: Dutch colonial expansion led directly to the unique culture and grinding problems of contemporary South Africa.)

9) Toni & Jan: A modern interpretation of the folk tune, "Ver in die Wereld, Kittie," upon which the signature tune is based. It doesn't compare all that favorably to the original in my mind. Thus I'd love to hear remake played as slowly and sparingly as the original interval signal.

10) and 11): Two versions of "Nkosi Sikelel' iAfrika" ("God Bless Africa"), the new, post-Apartheid national anthem of South Africa. 10) is by the Mahotella Queens and 11) by Beston Barnett.

12) Radio-Télévision Guinéenne interval signal and opening: If I'm going to celebrate Afrikaner culture, I'm going to have to balance things out by celebrating post-colonial African culture as well. Guinea--home at one point to Pan-Africanist revolutionary Stokely Carmichael and performer, activist, and South African ex-pat, Miriam Makeba.

13) "Alpha Yaya" by Bako Dagnon: I don't know the history of this song, other than it's considered a "heroic" song and may or may not be sort of a Guinean, post-colonial African anthem. It seems like a good balance to anything inspired by Radio RSA.

14) Interval signal and announcement for the general overseas service of All India Radio. A broadcaster I was only able to listen to sporadically over the years, but one with a mystical, unmistakable interval signal.

15) Dissidenten - "All India Radio": Not a song from that era--I don't even remember how I first heard about Dissidenten--but part of my interest in exploring (the world, world music) I suspect. The title makes it seem as though I wasn't alone in being fascinated by foreign radio broadcasts.

Radio Japan QSL card. Author's collection.
16) Interval signal for Radio Japan, 17) "Kazoe Uta," and 18) "Sakura, Sakura": Apparently, Radio Japan used "Kazoe Uta," described as a Japanese children's counting song, as the interval signal for its international broadcasts, but it also used "Sakura, Sakura" ("Cherry Blossoms") for others. I have no idea which this is, and I have no clear sense of whether the "Kazoe Uta" and "Sakura, Sakura" selected are matches to the signature tune. Nevertheless, it's an attempt to pay homage to the beauty and significance of Japanese culture. I never listened much to the Radio Beijing or Radio China International, so I have nothing to offer from there in this mix. Maybe in volume 2 . . . .

19) Radio Australia interval signal and the laughing kookaburra, along with 20) "Waltzing Matilda" by the Seekers: Again, here's another case where I find the interval signal more enjoyable than the folk tune upon which it is based. Oh well.

21) The interval signal for l'Office de Radiodiffusion-Télévision Française (ORTF) in Tahiti, unforgettable with its South Pacific rapid-fire drumming, one I often heard in the evening in North America.

22) The bird-chirping interval signal and opening anthem of Radio New Zealand.

Moving on to the Nordic world, I offer in rapid succession the following: The haunting interval signal for 23) Radio Norway, followed by the one for 24) YLE Radio Finland. That is followed by the interval signal for 25) Rikisutvarpid, the national broadcaster of Iceland, with 26) Radio Denmark up next. And that is followed by 27) Radio Greenland, a station that I think I heard once or twice way back in the day but one that I was never able to clearly identify.

28) Radio Sweden interval signal and opening: The "classic" broadcast opening featuring notes from the song, "Storm och böljar tystna ren . . . ," and Hugo Alfvén's "Swedish Rhapsody."
Radio Sweden QSL card. Author's collection.
29) A longer, instrumental version of "Storm och böljar" performed by Tomas Blank and the Göteborgs Symfonietta, followed by 30) Ralph Lundsten's "Out in the Wide World," the song that eventually replaced the classic Radio Sweden interval signal and broadcast opening. I like it, quite a lot actually, but I still prefer the 1970s version.

Is Canada a Nordic station? Some would say yes, but then we might have to examine what is meant by the term "Nordic." For the purposes of this mixtape, I'm lumping 31) Radio Canada International's interval signal, the first four notes of "O, Canada," with the other Nordic national and international broadcasters.  This is where my intense like affair with Canada didn't so much begin but was greatly encouraged and strengthened. (My stamp collection and the GAF Viewmaster slides of Canada I received as a birthday gift are also to blame for my Canada crush.)

32) "Vive la Canadienne" and 33) "Les Montréalais": Two songs that were featured in Radio Canada International's broadcasts in the 1970s. This exact recording of "Vive la Canadienne" was used to open the broadcast, while this exact recording of "Les Montréalais" was used as part of the closing. Where my love affair with Montréal all began.

Next we transition to the Benelux countries (minus the 'Lux): 34), 35), 36), and 37) are various interval signals from various versions of Radiodiffusion-Télévision Belge (RTB) and Belgische Radio en Televisie (BRT), the French and Dutch broadcasters, respectively, of bilingual Belgium.

BRT often used versions of the Dutch folk song, 38) "Kwezelken" for it's interval signals. You can clearly hear this in 37) but also in 35) if you pay close attention. Meanwhile, RTB used versions of the song 39) "Où peut-on être mieux . . . ?" for its interval signal. Why can't we all just get along?

40) Radio Netherlands - interval signal and opening: One of the first international broadcasters I ever listened to. The interval signal and opening are far more stilted than the broadcasts that used to and still emanate from Hilversum.

41) Ben van Bergen and the Voices Inside My Head: A modern interpretation of "Merck Toch Hoe Sterck," the Radio Netherlands signature tune. 

42) Voice of Spain interval signal and opening: I always think of this as Radio Exterior de España or the awkwardly named Spanish Foreign Radio. "Radio Spain International" never seemed to be a workable option.

REE pennant. Author's collection.
43) The Spotnicks - "Spanish Gypsy Dance": A popular version of "España cañi" or "Gypsy Spain," a paso doble composed by Pascual Marquina Narro, a piece of music that always makes one think of Spain. (I might also suggest anything by Miles Davis's Sketches of Spain LP.)

44) Interval signal for RAE, Radiodifusión Argentina al Exterior: An incredibly long opening. Apparently the interval signal features the first few notes of "Mi Buenos Aires querido," although I struggle a bit to hear it.

Next up, two versions of "Mi Buenos Aires querido," 45) by Daniel Barenboim, Rodolfo Mederos, and Héctor Console and 46) a piece of chill wallpaper by La Fonda Tango Club. The original is by famed Argentine tango composer, Carlos Gardel. My Gardel CDs are still locked in a storage bin in Pittsburgh (no, really), so we'll have to "make do" with these contemporary versions.

And to round everything out (with a hint of what's to come in volume 2), I conclude the mixtape with 47) Radio Havana Cuba's interval signal and opening, plus 48) the Red Army Choir performing "La marcha del 26 de julio." Radio Havana's interval signal features the opening notes of this march. 
Comrades, let the Revolution begin! Forward left to volume 2, coming soon to a MixCloud near you.

Saturday, October 11, 2014

Evenings in Moscow



Nostalgia time: This is the version of "Moscow Nights" or "Evenings in Moscow" (in Russian: "Подмосковные Вечера") by Soviet-era jazz great, George (aka Georgiy) Garanian and the Melodiya Ensemble. As noted in the description for the YouTube video, this version of "Moscow Nights" was played as a sort of interval signal or signature tune--a signal or piece of music that identifies a radio station and helps the listener fine tune the radio, especially a shortwave radio, to the broadcast--for the old Radio Moscow. According to the comments section for the video--for once, not as vile, racist, homophobic, xenophobic, and sexist as most of the comments sections on the 'Tube--this was a specially commissioned version of the Russian standard by the broadcaster.

The question for me is whether this version was ever available on vinyl, CD, or as a high-quality mp3. So far, no luck on this one. I can find other versions by Garanian and the Melodiya Ensemble, but I would love to find a copy of this one--the sleek, jazzy, summer-in-the-city version.

This version makes me nostalgic for a number of reasons. In the 1970s and even into the early 1980s, I used to listen to Radio Moscow on shortwave. I don't think it was for the programming, other than Moscow's take on the news, somewhat skewed reports on life in America, and the occasional cultural moment, like Soviet jazz recordings. But listen I did, just as I did to Radio RSA: The Voice of (Apartheid-Era) South Africa, the BBC, the Voice of America, Paris Calling Africa, Radio Australia, Deutsche Welle, Radio Prague, Berlin Radio International, and hundreds of other stations--sometimes for the news, the music, and the cultural programming, sometimes just for the exoticism of the broadcast location. Iceland! Cameroon! Radio Sutatenza in Colombia! ORTF in Papeete, Tahiti! And, yes, even the exoticism of Soviet-style communism intoned--politely, firmly, humorlessly--by quasi-American-sounding voices.

There is nostalgia, too, for my trip to the Soviet Union, one of the highlights of my life (so far). Washington, Helsinki, Leningrad, Tallinn, Moscow, Helsinki, Stockholm, New York, Washington, May into June 1985--a journey that still makes my heart hum, moan, and ache, with the sights, sounds, voices, aromas, and thoughts almost tangible 30 years later.

It was my first time overseas and led to some other overseas trips, such as Australia in 1987, because of friends I made in my travels. I got to use my very limited Russian (often badly). I made a fool out of myself on more than one occasion (I was all of 23 at the time; in theory, I'm allowed to be immature, even though I won't allow myself that excuse in my memories). I was tired by the end of it, sick of dealing with American jerks (and the occasional Russian one), a little homesick, a little hungover, and needing some downtime and solitude, being the introvert that I am. As a result, Helsinki and Stockholm are somewhat of a blur.

Yet I was homesick for Russia, for Europe, after I got home to Washington. I felt I should be elsewhere, anywhere but here, a feeling I still experience regularly, though less painfully nowadays. I don't think it's so much that I thought I should be European; it's more the case that I just was ready to travel, learn, experience the universe, and meet people who had a larger worldview and more knowledge about life, culture, history, and the now than I--a little hayseed/hipster wannabe from rural North Carolina--had at the time (or even today). But I only had so much money to do so, and no real guidance from family and friends on how to go about it.
Afternoons in Leningrad, circa May 1985

So in some ways that first trip abroad was wonderful, revelatory, sublime. But in other ways, it was painful, harsh, and frustrating--it just made me want more.

I still feel that way today, often frustrated by my limited vantage from Pittsburgh and the insularity around me. I'm impatient for change and hopeful that the next change, the next move, the next job, the next trip, will salve my restlessness just a bit.

But maybe that wouldn't be such a good thing. Perhaps it's better for me to stay restless and hungry for something more, something better. Frustrating, yes, but it is ultimately oddly enjoyable.

Well, maybe not enjoyable, nor satisfying. It's just who I am. And it's past time to accept that, be a little proud of it, and celebrate it now and into an uncertain, opportunity-filled future.

Saturday, December 10, 2011

Il n'y a pas de mystère



It's a sunny day here in da Burgh, sunny but cold, below freezing in fact. But, honestly, I'm not complaining. Sunny, cold days in Pittsburgh are all-too-rare, as too often here it is cold in the winter but not sunny at all. Instead, it's gray, unremittingly gray, in sky and in spirit. And it can be wet in the fall and the spring and, in fact, throughout the year. But during the winter, when that frozen water falls from the sky, it does so in a dry, powdery form, a snow that is great for skiing and snow-shoeing. In theory.

In reality, there rarely seems to be enough of it. Oh, it snows. And snows. And snows! But it often doesn't accumulate until January and February, and even then, it snows and snows and snows (did I mention that?), but the amount received is out of proportion to what falls from the sky.

Difficult to explain--and I've had four winters of trying. Essentially, it drizzles non-stop during the winter. It's just that the drizzle is in the form of snow. Follow me?

I often describe a Pittsburgh winter--which usually starts in November and lasts until early April--as being akin to living in the bottom of an old, deep, abandoned well. And instead of rescuers dropping a rope down the well to secure your release, some jokester insists on sprinkling a large box of instant potato flakes overhead, just to give you that snowglobe effect. Jokey as that may be, no one's laughing. Especially not me.

Why I live here is indeed a mystery, but until a new career path reveals itself or the man of my dreams whisks me away to parts unknown, this is where I am. Have kitty litter, shovel, and ice-scraper, will travel.

* * *

A sunny, cold day in Pittsburgh does allow me to do what I do best: Dream of other places. And when I dream of anywhere but here, I find myself feeling wistful for Montréal, a city I adore (which sounds kind of pretentious, "j'adore" and all that, but there you have it) and one where I've passed a lot of wonderful times over the last couple of years.

Admittedly, I have spent more spring, summer, and fall times in Montréal, not winter ones. Despite my physical and psychic groaning over the thought of another winter approaching, I would love to visit la Belle Province during Montréal's "Nuits Blanches" or Québec City's winter carnival, just to experience it and see, maybe just maybe, whether I could cope with a real Canadian winter and make the leap from here to there.

And never look back.

So what brought on that reverie, other than a lovely almost-winter's day? It was a revelation of another sort, the resolving of a musical mystery that has been forty some years in the making.

And the answer is "Les Montréalais" ("The Montrealers") by French-Canadian singer, musician, and actor, Louise Forestier.

Now what was the question?

By way of background, it's a question that was formed in the early- to mid-'70s, when I used to listen to Radio Canada International on my shortwave radio. Remember my posting and podcast about signature tunes and interval signals from a couple of months ago? Well, I promised a follow-up, and the discovery of this tune may be the inspiration I need to keep my word.

"Les Montréalais" was a piece that was used for a period of time as incidental music on the English-language broadcasts of RCI during the mid-'70s. The piece--an odd, wonderful mélange of acoustic and electro--was played at the end of the broadcast, between sign-on and signature tune (the first four notes of "O, Canada"). It's a piece that I have loved ever since I heard it, but until this last week, I never knew what is was called, who it was by, or whether it was even memorable to anyone else.

I've searched for it intermittently over the years. But how do you search for a sound, a song with no lyrics and limited vocals, something that you heard forty years ago? Even Canadian friends couldn't help with this one, especially since I couldn't describe it, sing it, or even hum it properly.

Recently, while browsing around the web and the various CBC/Radio-Canada sites and archives, I stumbled across the homepage for "Maple Leaf Mailbag," the question-and-answer program on Radio Canada International. There was a web form that invited questions, and on a whim, I thought, well, why not? What could it hurt? It's cheaper than the airfare from Pittsburgh to Montréal, that's for sure.

Within a week, I received a pleasant message from a friendly gentleman in Audience Relations saying that he would investigate. And just a couple of days ago, I received a follow-up message, with the mystery of forty-plus years finally resolved, the answer at last revealed, and the link to the YouTube video attached.

So please enjoy this little 2 minute-and-46-second blast from my past.

In the meanwhile, I'm going to be greedy and redouble my efforts to find another mystery song, one I used to hear on shortwave radio stations from Central Europe during the mid-'70s. It was a slice of Teutonic disco à la Silver Convention, featuring a breathy female vocal singing over and over again, "Fly high butterfly" (or "fly, fly, butterfly"?) with a male voice intoning dramatically in harmony, "Butterfly!"

And, no, it's not "Fly High Little Butterfly" by Arabesque.



What can I say that I haven't already said about my dodgy musical tastes? I can say this: My criteria for musical satisfaction often consists of the mood conveyed, nostalgia, and whether it has a good beat and is easy to dance to.

While it doesn't extend necessarily to Arabesque, hum a few more bars and don some costuming that makes you look like an exploding Christmas cracker, and you just never know . . .

Monday, September 26, 2011

London calling (but you don't have to answer if you're busy)


I am, with this post, confessing my full-fledged nerdiness to the world.

(As if there was ever much doubt, I know . . . )

One of the things that has kept me occupied of late (other than bidding a tearful farewell to the citizens of Pine Valley, the most interesting town in Pennsylvania, closely followed by Llanview) is my latest podcast, "The Sounds of Shortwave Radio, Part 1," which you can listen to or download by visiting here.

While I've only done a handful of podcasts so far, this was by far the more difficult one to create, for a number of reasons, pretty much all of them out of my control.

For one, I picked a rather obscure topic--the interval or tuning signals (sometimes known as signature tunes) used by international radio broadcasters during the 1970s and '80s. I know, I know--but believe you me I've certainly seen more obscure (and, I might add, far less interesting) thesis and dissertation topics in my time. Lucky you, my creative output involves not even one reference to "epistemology" or "sub-altern studies."

The challenge here was that while I knew some of the tunes in my head, I didn't know the songs they were based upon--or even whether they were based on anything at all. Maybe they were the Casio musings of some frustrated, wannabe-cruise ship performer that had sidelined into a career as a radio technician. How should I know? Even with a Wikipedia page and the World Radio TV Handbook as able assistants, I still had to do a lot of research to uncover the facts.

For another, to get around my lack of knowledge about the actual songs most of the interval signals were based on, I was just planning to snag some mp3s off the internet and play those tunes in the podcast, along with some other, radio-related music. Pretty simple and given that these were 30-second tunes used by mostly public broadcasters 20, 30, 40 years ago, I was sure, if I could find them, there would be no problem employing them in my podcast.

Ha bloody ha. I could definitely find them (at the bottom of this post, you'll find some links to explore on your own *and* send hate mail to the site owners on my behalf), but most if not all were locked down so tightly for copyright purposes. And not by the copyright holder, the person or institution that created the tune, but by the person or persons who made off-air recordings of the signals.

Admittedly, copyright law is confusing, and far be it from me to argue anyone's logic, although any casual examination of the doctrine of fair use would probably stand mostly in my favor for re-using your work--especially when "your work" consists of sticking a tape recorder next to your radio speakers sometime in 1977!

Besides, even if my fair use arguments don't sway you or the powers-that-judge, there are a number of Creative Commons alternatives available to help share "your work" and gain attribution for it.

You're welcome!

Of course, I didn't realize I couldn't add these works to the podcast until after I wrote the script. So I rewrote the script, only to find that, when recorded with music, the whole thing stretched to nearly two hours in length. (What, me wordy?) Which just seemed cruel and unusual for all of us. So that resulted in a third rewrite and a re-recording of much of what I had already done.

All that aside, I had my usual "local" issues to contend with--the freight rail line that runs near my apartment, for starters, along with the playing-basketball-with-concrete-planters approach to life of my upstairs neighbors' two miniature, thug-based lifeforms.


Nonetheless, the podcast is done, and there is, as far as I can tell, a minimum of floor stomping, crying over time-outs, and bowling with the family cat and fine china going on in the background.


I do suffer for my art, such as it is. Hopefully you'll be able to overlook the bloodstains and the empty pill bottles to enjoy what you can of it.

* * *

Some places on the internet to hear actual interval signals and signature tunes:


* * *

Signals to listen for--a few of my favorites; focus on those used during the 1970s and 1980s, my "golden age" of shortwave listening:
  • All India Radio
  • BBC Caribbean Relay Station, Antigua ("Oranges and Lemons")
  • Kol Israel, the Voice of Israel
  • Radio Australia ("Waltzing Matilda" and the cackling of a kookaburra)
  • Radio Bangladesh
  • Radio France Internationale (the children's song, "Nous n'irons plus au bois")
  • Radio Moscow ("Moscow Nights")
  • Radio Norway International (a folk tune from the Hallingdal region; also featured in Symphony No. 1, "Towards the Mountains," by Eivind Groven)
  • Radio Polonia ("Revolutionary Etude" by Frederic Chopin)
  • Radio RSA: The Voice of South Africa (Apartheid bad! "Ver in die Wereld Kittie" played on the guitar and the chirping of the boemakierie good!)
  • Radio Sweden (different ones were used in the 1970s and more contemporary times--both have, to me, a haunting, "Nordic" quality about them)
  • RAE: Radiodifusión Argentina al Exterior
  • Spanish Foreign Radio/Radio Exterior de España
There are others, but this is a good, under-2-hour start.