They changed their minds. A week ago, WNYC announced it was terminating its familiar "New Sounds" program with John Schaefer. On Monday, Goli Sheikholeslami, the new president and CEO of New York Public Radio, announced that "New Sounds" and Schaefer and the long-time producer, Caryn Havlik, will be remaining.
In a gracious statement, Sheikholeslami said, "A show like New Sounds can only be produced by public radio, and specifically at NYPR." She recently resigned from her arts job in Chicago to take the leadership of New York Public Radio.
Sheikholeslami's full statement on line can be read here:
The moral to the story is that sometimes new executives need to be reminded just what it is they are leading. Protesting is good, particularly in something as subjective as the arts. Donating (or not donating) also works. I am so happy for John Schaefer -- and for the eclectic audience of WNYC in the city that never sleeps.
Here is my original article last week:
I can’t remember where I was, but I definitely had the radio on, late one evening, listening to John Schaefer’s show, “New Sounds.”
You never know what you will get. Schaefer seemed to find music from cultures all over the world, and within the United States – odd instruments, string and reed and percussion, plus the human voice at all pitches, and he would bubble about them, with junior-high-school enthusiasm.
This night – he works best late in the evening – Schaefer introduced a trio performing the songs of Antonio Carlos Jobim but with unique arrangements, a blend of classic and bossa nova, familiar songs, carefully crafted.
The album was “Casa,” performed by Ryuichi Sakamoto with his incisive, spare piano, and Jacques Morelenbaum, with his lush, sweeping cello, and vocalist Paula Morelenbaum, with her haunting Portuguese and charming almost lisping English. The songs were standards, from the basic Jobim playbook, but the interpretations were unique.
I think Schaefer informed us that the album was recorded on the piano of the late Tom Jobim – in Jobim’s lakeside house in Rio. From what I read, Sakamoto felt awe at his pilgrimage to the home of the master, and had to ease into touching the piano.
I was hooked, went out and bought the CD, which has become the most-played album on my iPod.
A classic. That’s what John Schaefer does. He finds new releases, some of them flirting with commercial, some of them delightfully obscure, destined for one-time hearing, but in the memory bank, somewhere.
A show like this would seem to have institutional permanence, particularly in polyglot multicultural New York. In fact, “New Sounds” lasted from 1982 until this week, when the new hatchet at WNYC announced that “New Sounds” is about to be disappeared. For what reason? They have a better replacement?
“Why would they do that?” Laurie Anderson asked Michael Cooper in the Times on Monday.
In the city that never sleeps, shouldn’t there remain a place for music you never heard before? Something that opens your mind and your ears?
“New Sounds?” What does the “NY” in WNYC stand for?
Thank you, John Schaefer, for the many years of “New Sounds” and please let your fans know about the next gig.
* * *
Bad news on the doorstep:
A review of "Casa" when it was new:
Welcome to World Cup 2022, the most absurd thing that the routinely absurd world of sports has ever produced.
Those extreme descriptions were what virtually the entire world, save for those who had walked off with bags of cash from Qatar, called the awarding of soccer’s greatest event to the incredibly tiny, incredibly wealthy country back in 2010.
Twelve years ago, many were convinced this event couldn’t possibly happen: staging the world’s biggest sporting event in a country the size of Connecticut, one with zero soccer culture and even less soccer infrastructure? The tournament couldn’t possibly take place in 120-degree heat, and FIFA, the governing body of soccer, most certainly wouldn’t upend football leagues around the world to change the traditional summer schedule, could it?
And, for God’s sake, what about the beer?
Those were just the logistical concerns. The moral concerns are far more distressing. FIFA, so busy paying lip service to equality, couldn’t possibly expect the world to embrace a country where you could go to prison for being gay, where women’s rights are severely curtailed and female victims of sexual assault could go to prison, charged with engaging in extramarital sex. And all those questions came before the global realization that the World Cup was being built on the backs of migrant labor: modern-day slaves held in Qatar with virtually no rights, low wages and no ability to leave. Migrants make up 90% of Qatar’s stated population of 3 million. The country’s native-born equal about 300,000, or roughly the size of Anaheim.
---Ann Killion, columnist for The San Francisco Chronicle.