Category Archives: Entertainment

What I learned working for a Christian college radio station #2: the formal and informal practices of radio

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Organizations may have some obvious or well-known procedures while other practices are more hidden. Some of the formal policies of radio stations might be obvious. You have to air a station ID around the top of the hour. You have to air emergency alert tests every so often. Not following through with these policies comes with consequences.

Here is one example of a less well-known policy. According to the FCC, certain information had to be kept in a file. Radio is a federally regulated industry with licenses coming with requirements. I always wondered who might stop by and look at such files. Do most people even know were radio stations are located?

Some practices are less formal or more open to interpretation across stations. Two examples stand out. One was the way we organized music during a typical hour. We had certain categories for songs, such as heavy rotation, medium rotation, and power gold. How many slots each hour had for these categories plus the number of songs in that category determined how often those songs would play. With some other rules for songs (such as there had to be a certain amount of time between two songs from the same artist playing), this meant the heavy rotation songs would play about 40 times a week. And the heavy rotation category led off every hour. Why do people listen to music on the radio? They want to hear the popular songs. With our system the would not hear them every hour but every few hours. And those songs would tend to play at the beginning of the 15 minute increments that make up radio hours (and that are tied to ratings). As a college radio station, we did not always follow this format – we had other parts of the day that were structured in the same ways.

A second example involved how we referred to ourselves. Radio stations have options, that typically include their FM or AM frequency number or their call letters (typically 4). We were WETN on FM 88.1. We would often call ourselves “WETN – Wheaton College Radio.” Sometimes we would refer to our frequency: “FM88, Wheaton College Radio.” Or “WETN, FM88.” WETN is a good shorthand for “Wheaton,” a name both our college and community shared (traced back to the same Wheaton brothers who were early settlers). And not a lot of stations can boast that they are in the 88s.

Once I knew these practices, they seemed obvious. The station ID was built into our on-air scheduling software. How many ways are there to refer to our call letters and frequency? Perhaps this is true in all settings but with no previous experience in radio, it took time to learn these official and informal policies.

Possible link between major music releases and driving deaths

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A recent working paper looked at the possible connection between music releases and traffic fatalities:

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A group of researchers affiliated with Harvard Medical School recently issued a working paper reporting an association between the release days of the most-streamed albums and an increase in US traffic fatalities. The authors say the pattern is consistent with smartphone-enabled driver distraction, including the use of in-vehicle phone-mirroring platforms.

“Modern smartphones present new threats to road safety beyond talking and texting, but the real-world effects are difficult to study,” the researchers said in their explanation for performing the study. Fatal traffic accidents and release days for popular streaming albums, the team said, were chosen as an “exogenous event” that “may offer an opportunity to quasi-experimentally study the impact of distraction using observational data.”…

The team used data from the US Fatality Analysis Reporting System, which catalogs all fatal crashes on public US roadways, and compared that to data from Spotify charts, looking specifically at the top 10 albums with the most first-day streams between 2017 and 2022 (Taylor Swift and Drake each appear three times in the top 10, for those curious)…

They adjusted for fixed effects like holidays, the day of the week and week of the year, repeated the analyses to select for infotainment systems and other automobile information, and accounted for driver characteristics including age, the number of people in the car, and involvement of alcohol. The team even conducted multiple “placebo album” falsification tests, running experiments on randomly-selected dates, to be sure they weren’t overlooking something else unknown.

This sounds like an example of a “natural experiment” where researchers can see what happens to driving deaths on Fridays with major music releases and Fridays without them.

Three quick thoughts in response:

  1. I remember when major music releases were on Tuesdays, not Fridays. And when the music was not yet digital, a consumer had to go to a location to buy a physical copy. I was never in any release lines but I definitely went to stores on release day to buy CDs. (Have never done this for records or cassettes.)
  2. How many people enjoy new music in a car versus via ear buds, headphones, and speakers in other settings? A moving vehicle can make it difficult to hear music. The road is noisy. A vehicle makes noise. The car has a certain sound system. In newer vehicles, the listener is streaming music. But driving is better with entertainment. And driving with friends and music can be fun. Driving fast with friends and loud music can feel fun.
  3. What might be a public health response to this? Regulations about screens in cars – making them easier to operate, smaller, less distracting, etc.? Music release days back on Tuesdays or another weekday to avoid the possible connections to weekends? Public safety messages? Promoting the use of driverless vehicles?

What I learned working for a Christian college radio station #1: speaking into a microphone in an empty room

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I worked at WETN 88.1 FM, Wheaton College’s radio station, for all four years as an undergraduate and for several years later as a faculty member. This is the start to a non-consecutive series of posts regarding the valuable lessons I learned while doing this. #1:

You are alone in a radio studio. You sit down in front of the mixing board and computer display. Various audio equipment surrounds you. You put on headphones, press a button to turn on the microphone, push the fader up, and start speaking.

This is a common occurrence in a radio studio but it is an odd situation compared to most of life. Typically when you start talking there is a visible audience. You are talking to a friend or a family member or to a coworker. They can see you and you can see them.

One of the first things I learned as a first-year student in college at the college radio station was to talk into a microphone with an audience in mind but no one in front of you. No immediate reactions from people or a visible audience. You can hear yourself in your headphones but that is about it. You just have to keep going until your segment is over.

What does one say in such a situation? Can you carry on a conversation with yourself? Can you imagine who might be listening? It took time to feel comfortable doing this, to have a sense of what you could feel comfortable saying and how long it might take. Even if many people have experiences talking to themselves in their heads or out loud, it is a different experience doing it into a microphone for public consumption.

And it is a skill that I think has served me well. In comparison, such an experience makes talking in front of people look more attractive. They react. They are not imaginary. You get quick feedback regarding how what you are saying is landing. There might be opportunities for dialogue. If you can keep a conversation going with yourself, having material to work with in conversation often provides better opportunities.

I do not know how many hours I ended up talking by myself into a microphone. I did spend a lot of solo time in a basement on-air studio or recording for on-air and creating ads and promos in a recording studio. The on-air studio had a few methods for interacting with the outside world – a phone line that could also be placed on-air, the computer (AOL Instant Messenger and email in my early days), and the campus “Blanchard Cam” that showed outside conditions in front of our main building. A lot of time to figure out how to be comfortable with that microphone.

I also had enjoyable radio experiences with conversation partners. I co-hosted a talk show one academic year and we regularly invited guests for conversation. I read news on our morning show and had more off-the-cuff interactions with multiple hosts. I did play-by-play of football and soccer games with partners. Radio was not only a solitary experience but learning to talk alone was critical to the experience and for other areas of life.

Trying to explain the magic of The Beatles – in children’s books

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Many have tried to explain what made The Beatles great. Was it the relationships between the members, the time they spent honing their craft in Hamburg, their songwriting, their musical and recording innovations, or their being in the right spot at the right time?

Whatever the answer is, how does one explain this in children’s books? I read a recent example in We are The Beatles, an entry in the “Ordinary People Change the World” series.

As someone who has read plenty of books about The Beatles, I appreciate seeing opportunities for kids to learn about the group. With an overview of the group’s members and their career (plus some lively illustrations), this might give kids a sense of what the group was and what they accomplished. Just complete the line implied at the end of the second page depicted above: “with a little help from my friends.” (I’ve also read Who Were The Beatles? in the “Who Was” series.)

But it may be just as hard to explain to kids as it is to explain to adults. I also recently read The Genius Myth which has an extended discussion of The Beatles. If “genius” is not about a lone innovator, does this musical group help us see the relational and social alchemy that leads to genius?

As The Beatles and their music continue to age (Paul and Ringo can’t live forever, can they?), it will be interesting to see if the narratives about their success change. What might kids and adults think in 2060, one hundred years after the group worked hard to establish themselves?

What it took for a successful suburban musician to push against their suburb’s push to go to college

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A look back at the life of musician Justin Baren, member of The Redwalls, highlights how they forged a path to music success from their suburban upbringing:

Along with his older brother, Logan, Baren was an obsessive fan of the British Invasion sound of the 1960s, which he channeled into the band the brothers formed while students at Deerfield High School. Jordan Kozer, the band’s first drummer, recounted how the brothers studied Beatles albums like holy scripture; Justin would record rehearsals and require the others to spend hours listening to their mistakes to get their parts right the next time.

“He didn’t know anything else. He didn’t try anything else. Deerfield was pushing people to go to college. He and Logan didn’t care anything at all about that. They were laser focused on making this happen. There was no backup plan,” Kozer said.

The perseverance worked. On the same day of their high school graduation, the band was in Los Angeles signing a contract with Capitol Records, the U.S. label of the Beatles. Two years later, the Redwalls opened shows for Oasis in U.K. soccer stadiums…

“From a very early age, we knew the kids in high school weren’t going to be our scene,” Justin told this writer in 2005. “We wanted to get into the real music scene and not be limited by what other kids were saying or doing. We wanted to be Downtown where it was happening.”…

Despite their age, their hard work, sophisticated musical sensibilities, confidence and charisma impressed the network of music professionals in the city. The Redwalls, which included guitarist Andrew Langer, solicited the help of Mitch Marlow, then the talent buyer for a music club in Evanston, by blindly handing him a cassette tape of their music. “What nerve, they put Beatles outtakes on a cassette and are saying it’s their band,” Marlow first thought, until realizing days later the recordings were contemporary…

Marlow ended up managing the group. He booked headlining shows for them at Double Door, the Hideout and Metro. He recorded them, encouraged them to keep writing original songs and introduced them to Bob Andrews, co-founder of Champaign indie label Undertow Music, a collaboration that resulted in “Universal Blues,” the band’s 2003 debut. They were high school seniors.

To become a professional in many fields requires focus and practice. To do this by the end of high school is impressive.

It is interesting to hear that Baren and the band did this while pushing against what was expected of them in their suburban high school. Deerfield High School is a highly rated institution and like many such schools encourages students to go to college. What would parents say to students in similar schools who say they want to pursue music rather than going to college? How many high school musicians are able to secure a record deal and open for a major rock group? Is this a good life path?

And then the path toward music success moved away from their suburban community to Chicago. They played in music venues utilized by numerous music groups, small and big. They got into the music networks of promoters and venues and labels that are based in big cities.

Was there anything in their music or performances that would belie their suburban roots? Maybe not. But the story of suburban high school to major record label is rare even as there must be plenty of suburbanites among successful music artists in the United States.

Musician raised in the suburbs “grateful for the thousands of hours of sitting in my room playing guitar”

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How might being raised in a quiet suburban community affect a musician’s career?

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You grew up in Wheaton. What was that like?

Quiet. It’s a nice suburb, I enjoyed it. I was homeschooled, so I had a very different experience than probably a lot of people did. My mom kept our world very big — we traveled a lot. Wheaton is where I fell in love with music. I’m grateful for the thousands of hours of sitting in my room playing guitar.

Practice is required to become skilled at many tasks. Having the time, space, and skills to practice well is helpful.

Suburban bedrooms are a private space in the American suburban home. It is a place to get away from the world. One can be alone with their thoughts. In the case of practicing music, playing guitar in a bedroom isolates the activity and noise from the rest of the house. The practicing goes unobserved.

Add to this that suburbs are sometimes portrayed as being creative wastelands. Suburbs are said to be conformist, conservative, cookie-cutter. Many narratives suggest there is a suburban facade of success and attainment – happy families, polite interactions – but just below the surface are problems and divisions.

Can suburban bedrooms produce artistic talent and creativity? The majority of Americans live in the suburbs and multiple generations have grown up in the suburbs. Presumably at least a few artists, novelists, filmmakers, playwrights, and musicians have honed their craft in the suburbs, and perhaps even in their bedrooms.

Growing up in the era of peak suburban shopping malls and movie theaters

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Growing up in the 1990s, I and other residents of my suburb did not lack for choices when it came to shopping malls and movie theaters. While our suburb itself was not home to a theater or shopping mall, within a 10 mile drive, we could access at three shopping malls (with several more within a few more miles) and numerous smaller shopping centers and at least five first-run movie theaters and several additional second-run theaters (with more just beyond those 10 mile boundaries).

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This provided lots of options. Did we want to see the latest blockbuster (with a good string of these in the mid to late 1990s) at a new 16 or 24 theater location? What kind of store – national chain, anchor department store, local business – did we want to visit at the mall and perhaps we could find food there?

This era is over. There are still shopping malls and movie theaters around. I do not lack for options if I were to look up theaters and malls near me. But, there are fewer within that ten mile radius: two of the three malls closed and multiple movie theaters closed or downsized from megaplex size.

And if I go to these places, the experience is different and the world has changed. Both are often less lively. People have more options, particularly at home. They can shop with their smartphones and computers and order goods and food right to their doorstep. They can skip theaters for movies, streaming them on their own screens. I am guilty of this as well; partly due to being in a different stage of life, partly because I have other options, I do not frequent malls and movie theaters.

Some shopping malls and movie theaters will hang on in the suburbs. They have been around for decades. They are part of the suburban landscape. They continue to offer unique experiences, even if people can shop and watch movies elsewhere. There just will not be as many of them in the future and people may have to drive a little further to find what used to be more plentiful.

The rise of youth and rock music

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A look back at one influential rock album highlights the connection between age and rock music:

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In the mid-1950s, the idea that the cutting edge of pop would come to be dominated by relatively young people writing songs for and about people even younger was a revolutionary notion, one that in the next decade would come to be taken for granted.

How much did the music help encourage youth culture or the youth culture encourage the music? This was a period with a growing number of children and teenagers and a different sense of what youths could do and contribute to society.

It would be interesting to compare that time period to today regarding music. Some of those original influential youths from the 1950s and 1960s music scene are still alive. They continue to make new music as well as play their old hits. They are no longer young; but do they continue to carry on a youthful spark or the youth culture of that time? Or do they not matter much as younger people continue to make, remake, and innovate music.

It is hard to imagine otherwise but imagine the purveyors of rock music in the 1950s and 1960s were not young – not Elvis, Chuck Berry, the Beatles, etc. – but rather musicians in their 30s and 40s. What might be different – the sound? The lyrics? The scene? Would rock music be different today based on those changes back then?

Filming in a real place but not calling it that place in the movie

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A new streaming romantic comedy features a Chicago suburb:

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“Libertyville will be featured quite a bit,” he said. All the business names were kept as is and some of the shopkeepers appear in the film, he added.

The village was to have been one of the locations for another of his holiday films, Charles said. That was delayed but filming for “Christmas at the Zoo” has been approved by the village and is planned for December.

“Libertyville has been on our radar for some time,” he said. “Having had a great experience shooting ‘Exes’ there, we’re happy to be coming back.”…

Local actors will be used in the film and Libertyville will be listed as an official filming location on the IMDb website.

With all these real shots of Libertyville, it appears the film does not say it takes place in Libertyville. From one Facebook post and a brief shot in the movie trailer, it appears the community in the film is named “Mill Creek.” According to Wikipedia, there are at least a few communities in the United States named “Mill Creek.”

I have wondered about whether filming in real locations matters for those watching a film or TV show. Couldn’t they just have found some establishing shots or used a studio to film? This is commonly done so how much does it matter that this was set in a real place that the film’s creators were familiar with? Perhaps the residents of Libertyville can watch and discuss and then compare what people who watch from elsewhere think.

How watching the TV show “Cribs” affected what viewers expected from their own homes

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What did Cribs teach viewers about homes?

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The show’s audience of Millennials, coming of age in an era defined by consumption, learned to take their cues from celebrities. These role models accumulated traditional markers of wealth while also having fun subverting them: In their respective episodes of Cribs, the That ’70s Show actor Wilmer Valderrama highlighted red Solo cups and paper plates on display in a china cabinet, and Missy Elliott gestured to her decorative, seminude Greek statues, remarking, “Naked a-s-s all around the house.” The show featured nouveau riche celebrities who proudly referred to themselves as outsiders; the rapper Juelz Santana was still a “hood dude,” and the record producer Master P claimed that he’d come “from the ghetto.”

These scenes were designed for the average young viewer to enjoy, yet their appeal was offset by their unattainability. Even the celebrities themselves hadn’t always attained Cribs’ vision of the so-called good life. On occasion, the show constructed complete fantasies: Bow Wow and 50 Cent supplemented their car collections with luxury rental vehicles, and the singer JoJo presented her uncle’s lake house as her own. On camera, T-Pain and Missy Elliott admitted to staging their homes—with a frosted cake and a colony of goldfish, respectively—several hours before filming. These contrivances became so well known that, in 2009, the All-American Rejects guitarist Nick Wheeler spent much of his appearance mocking them. “I went down to Enterprise and picked up what they had,” he said, standing beside his Mitsubishi and Mazda sedans, before flaunting his notably sparse kitchen. “I didn’t just do this for Cribs,” he said, evoking an earlier episode in which Kim Kardashian insisted that the cookies on display in her kitchen were homemade, despite their striking resemblance to a popular prepackaged variety…

The secret of Cribs, though, was that even amid its less relatable moments, the show found a way for viewers to feel included in the fantasy: It taught the audience what to consume as well as why they should, by demonstrating how a person’s property—both its literal value and its aesthetic qualities—could define them. Viewers could seek to understand a celebrity’s personality by studying their domestic environment. “The subject of house furnishing is more important than is often realized,” said the Cribs companion book, explicitly articulating this connection:

Everyone is free to change his surroundings. Hence the furniture and the decorations of a house, and the condition of the house and grounds, are properly considered as index to the character of its occupants.

It sounds like one lesson is that the ways someone inhabits a space says a lot about them. Sure, some people have more resources to work with but decorating a home is about self-expression. The homeowner gets to narrate their choices and what they are trying to say about themselves. (Now I am wondering how often this happens when someone provides a house tour to someone visiting; is the focus on the residence or what the house says about the people living there?)

At the same time, I wonder if the size of the dwellings depicted and the amount of things within those spacious spaces affects viewers. I first read sociologist Juliet Schor’s book The Overspent American in graduate school. She argues that watching television shows helped shape what Americans expected from homes. If you watch a typical drama or sitcom, you tend to see people living in large residences with nice furnishings. With Americans watching a lot of television in the postwar era, they could consider the characters on television as a reference group. Rather than just looking at family or neighbors for what is normal or possible regarding housing and consumption, they could now turn to TV depictions of regular life. For example, how did those young adults on Friends afford those apartments and lifestyles? Did regular viewers of Cribs then envision larger homes for themselves?

I have not read any studies that look specifically at that question: did watching specific television shows directly affect choices about where to live? Broader data can look at the possible relationship between how many hours of TV people watched and their consumer choices. Did watching Cribs or HGTV or any number of shows that prominently feature well-appointed spaces change real behavior, and if so, how?