Dispatches from a Party Clean Up

on the job
On the job

Good DJ/Samaritan Helps Clean Up WOBC Party, Finds Little to Clean

You know, I sure do appreciate it when people go out of their way in order for others to have fun. Like the good residents of 123 South Professor St., and all those at WOBC behind this semester’s iteration of the station-led bash. On a typical Oberlin Saturday night, the party provided some key attractions that made it a so-called “success.” But I really gauged the success of it thanks to a quote from a good friend: “Man, that party was the best! My boyfriend and I hooked up with so many people!”

So to come back the next morning and help clean up a bit? Sure, why not. I mean, it’s the least I could do.

But arriving at SoPro that Sunday morning pre-hangover, I was surprised to see the place looking quite commendable. The inside of the house was pretty much done, so I took to the porch, where I separated glass bottles from cans. The clinking and crashing of bottles and cans in the numerous plastic bags proved therapeutic to my ears, as did the strange odors emitting from the mass of finished and unfinished beers. I then proceeded to “hose down” the porch, which mainly turned out to be me flooding one area of the porch and kind of giving up on the rest. I kicked the puddle around and spread the water around, thus deeming the porch ‘clean’. Then I picked up some soggy cigarette butts. Probably should’ve cleared those before the hose, right? As I walked through the backyard to put the hose away, I noticed mud and grime caking the bottom of my pants and white Converse. It made me feel dirty, and I like feeling dirty. It made me feel real, like I was actually doing something, like feeling the consequences of hard work and stuff. Some pretty powerful feelings at 123 So Pro that faithful Sunday morning.

Moral of the story? Don’t underestimate the power of the post-party, morning after clean up. Or alternatively, a question for all of us to think about – does Oberlin need to go harder and messier at parties?

Ivan Krasnov

Vinyl Workgroup Recommends…


Attached are some of the latest tracks unearthed by Vinyl Workgroup. Have a listen, and maybe fall in love with something new.

Misty Eyes by Richard Lloyd (Alchemy)

Screwed Up by Sparks (Big Beat)

Shine a Light by Spiritualized (Lazer Guided Melodies)

Sons of Stone by The People’s Temple (Sons of Stone)

London Town by Chris Spedding (The Only Lick I Know)

Daddy’s Gonna Treat You Right by Commander Cody and His Lost Planet (Ozone

Want us to digitize a track or full record from the station’s extensive vinyl vault? E-mail vinyl@wobc.org.

IAN NAGOSKI lecture + listening session TOMORROW 3/21

Widow's Joy

Oberlin Concert Board and WOBC present a lecture and listening session with Ian Nagoski:

Record producer, music researcher, and writer Ian Nagoski specializes in early 20th century recordings in languages other than English. In the past five years, he has produced collections for the Dust-to-Digital, Tompkins Square, Important, and Em record labels, as well as his own Canary imprint (manufactured and distributed by Mississippi Records of Portland, OR). In the past 12 months, he has produced six new LPs of music from India, Anatoalia, Greece, the Levant, and Eastern Europe, as well as a “global view of the rise of rock n roll, 1942-61.”

His new lecture, titled The Widow’s Joy: Pride, Genius, Grief & Lies from International 78rpm Recordings, seamlessly presents recordings from the the mid-1910s to 1950 across a wide geographic area. Musicians, famous and obscure, “classical” and “folk” alike are presented side-by-side as Nagoski describes one life after another of a creative person whose biography was marked by displacement, tragic circumstance, great opportunity, and forces of history beyond their control. In the process, Nagoski shares rarely-heard and deeply touching performances, some joyous and some heartbreaking, while asking questions about the value of life and meaning of music.

“Like [Harry] Smith, Nagoski is a Walter Benjamin visionary, using his collection of 78s to hallucinate a history that actually happened but which remains hidden beneath official dogma and nationalisms.” – Marcus Boon, the Wire

“I was entranced. I was FASCINATED.” – Henry Rollins, KJFC

“his work is so rare and important that it should almost be treated as a ritual object, a pathway to the past and a voice for ghosts of a forgotten part of American musical history… He is not an academic, but a street corner preacher. His milieu is probably a bar or rock club as much as it would be behind a lectern, but that’s the point of someone like Ian. His work lives in two places at once: in the mind of the academic and in the heart of the public. For that reason alone, he is special.” – Nate Wooley, Sound American

“work of great beauty.” – Jace Clayton, DJ /rupture, WFMU

“It’s almost in a mystical way. He’s not just talking about: ‘Here’s this item I own.’ When he talks about or writes about these items, they’re discs that can really transport you.” – Ben Chasney, Six Organs of Admittance

“as essential to an understanding of American music as anything else.” – Amanda Petrusich, Pitchfork

“a beautiful and labyrinthine Americana, one that stretches confines of the definition of the word itself.” – Thom Jurek, AllMusic

“enigmatic, haunting, transfixing, and just plain odd.” – Brett
McCabe, Baltimore City Paper

Craig Lecture Hall // Oberlin Science Center 2nd Floor // 7PM // Thursday, March 21st

Buy and Sell Records, CDs, Tapes and Trinkets at WOBC’s Annual Block Party!


block10 On Saturday April 27th from 1-4pm WOBC is hosting our annual block party in Park Street Park! (Potential rain date Sunday April 28th)

This year we’d like to host a record sale and flea market and we’re calling all music enthusiasts and eccentric collectors to help us. We need vendors! If interested, contact outreach@wobc.org.

The block party will also feature a 3 vs. 3 basketball tournament, four-square, performances and DJ sets by local artists, food trucks, and an open chess tournament. To register as a basketball team, just email outreach@wobc.org.

The block party is free and open to everyone so please do come out for a day of family fun in support of your local radio station.

PS – don’t forget to register yourself and two buds as a bball team.

Submit to the WOBC Zine!


Hope you all got a chance to check out the first issue of the WOBC ZINE at the end of last semester. The next issue of the Zine will be coming out in early April, and is looking for submissions.

Submissions are due at midnight on Sunday April 7th. Please email all submissions to promo@wobc.org.

Submissions may include ((but are not limited to)) themed playlists, comics, art, album reviews, photographs, essays, interviews, show calendars, reviews of shows… etc., be creative. Anything radio related goes.

RIP Jason Molina of Songs: Ohia and Magnolia Electric Co.


Lorain native and Oberlin alumnus Jason Molina passed away at the age of 39 this past weekend. Molina began his career as a heavy metal bassist in the Cleveland area, and went on to play a major role in Secretly Canadian Records’ rise to prominence. Molina released his self-titled debut LP in 1997 as Songs: Ohia and continued releasing records under this name until 2003, when he released his most critically-acclaimed album “Magnolia Electric Co.” Though Molina did not ever DJ his own show on WOBC, alumnus Eoin Russel states, “Jason and I would cover radio shows when people canceled. We’d play really bad classic rock from the 70s, and metal. We would get lots of complaints on the phone. I don’t recall him having his own show.” Some things never change around here…

Present WOBC DJs should fill the airwaves of Lorain County this week with tracks by Songs: Ohia and Magnolia Electric Co and check out the great photo located in the basement of Wilder of Songs: Ohia playing live in the ‘Sco. We offer our condolences to all of Jason’s friends and family. RIP.

Show of the Week: Infinity III: Supreme Peak

dj ian mccolm (r) playing with his band, nagual, in studio b.
when i met ian as a freshman in dascomb, i was immediately impressed with his breadth of musical knowledge and passion. three years later, ian’s show infinity iii: supreme peak is among my favorite shows at wobc. tune in tuesday nights @ 11pm for an eclectic mix of mindblowingly lush transcendental jams.
-arielle, program director

Hi Ian! Tell me about your show. What kind of music do you play? Are there any salient themes? 
My show is centered around music that I consider transcendental or of a spiritual nature. Not necessarily religious music, but music defined by its ability to inspire ecstatic states. A large portion of this is, what some would call, world music (Indian Classical music, African ceremonial music i.e. Gnawa healing music and East African “witchcraft” music). However, there are American and European performers that figure heavily into this definition for me; many of whom would be considered ambient or “drone” music. Terry Riley, Pelt, LaMonte Young, Charlemagne Palestine, and some of Brian Eno’s work all come to mind. The rest of the music for the show is comprised of pieces by musicians I’ve met on my travels who have evoked that same ecstatic state in their performances. In this category, I would include Sun God and Thousand Foot Whale Claw from Austin, TX and Diamond Terrifier from Brooklyn. Also, I primarily try to rely on my collection of analog recordings (cassettes & LPs) for material in order to assure myself that the majority of the music I play is new to the listening audience.

What’s one song or album you’re super into right now?
I have been listening to a lot of different music recently but I’ve only been stuck on a few records recently. My buddy Dan turned me onto a record called Don’t Forget to Boogie by the Japanese guitarist Tetuzi Akiyama which is really amazing. Akiyama is primarily known for his acoustic material and on this record he goes electric. The album is all fuzzed-out solo guitar with the exception of one acoustic track. The majority of material on the record is Akiyama alternating between pentatonic blues shredding and heavy boogie riffs. The first track “It’s a Boogie Thing,” is introduced by licks that sound like B.B. King on speed. The track eventually settles in a blues shuffle vibe on one chord that never changes for the rest of the song. I really love this record because the riffs take on new meaning when repeated for these extended lengths of time. The listener starts hearing all the upper harmonics that are being expressed due to the fuzz and the rhythm of the riffs takes on a hypnotic quality that really appeals to me.

What’s your favorite show on WOBC?
It’s pretty hard for me to name a favorite show. I really love Chuck Ryals show, “Chameleon Radio.” He’s such a great person with amazing taste is music that I love to tune in and hear new stuff. I have to give a shout-out to “The Real Nitty Gritty” with Tania and Thomas. Those guys have had the show before me two semesters in a row. They always have a killer playlist and they spin off of wax 100% of the time.

How do you see yourself/your show fitting into the broader context of community and independent radio and its importance?
Honestly, I try not to think about how much show fits into the broader context of community radio. I’d rather relate to that on an individual level. In my own life, the radio has always served the purpose of broadening my musical horizons and surprising me with quality music when I least expected it from the rest of society. Fundamentally, the most I can hope for, in terms of my relationship with the community & community radio, is that my show brightens someones day, makes them think differently about music and/or life, or transports them to another mental plane. In the simplest possible terms, if I communicate with one person through the airwaves, I have given back what radio has given me.

Do you have a favorite WOBC memory?
I have some great memories at WOBC. However, I have to say that one sticks out as my personal favorite. I had just started doing my first show freshman year and was looking through the vault for some British punk that I hadn’t heard yet. The station manager, Jesse Montgomery, came up to me and asked what I was looking for specifically. I told him and he took me through the whole compilation section of the CD room pulling out stuff that fit my description. That was when I realized how welcoming the environment at the station was and how serious everyone was about music. I think this was a seriously formative experience for me. It was good to see that there was a community in the college that was so musically invested but didn’t have all the academic baggage and jargon that the conservatory has. It was loving music for the sake of music. I don’t know why I react to that memory the way I do, but that’s a reason that I have tried to stay a member of WOBC since then.

Do you have anything else you want to add? Are you working on any interesting projects?
Right now I’m involved in a multitude of projects. I have 3 or 4 cassette releases coming out this Spring/Summer on my tape label, Pidgin Records. One of my bands, Nagual, is recording a full-length LP over Spring Break. I am completing an extended work for solo percussion and electronics which I toured on selections of over January. My friend Ross and I will be performing freely improvised accompaniment to silent films at Mahall’s in Lakewood on Saturday. After graduation, we will be doing a short tour of that material. In addition to all of this, I have to make sure I graduate and pass my classes.

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