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DJ Testimonials, Page 3

WPRB and Me—Perfect Together!

By Sean Murphy ’94 [photo: Nicole Scheller]

I’m definitely not the first, and I hope I’m not the last, to be able to say that I majored in WPRB. Officially, I graduated with a degree in Politics, but my independent work and thesis focused on regulatory processes at the Federal Communications Commission. And that work resulted from many long and late nights spent playing and talking about records and bands and radio and what it meant to be non-profit, commercial, and independent all at the same time. From the music to the management lessons to the friendships, my WPRB experiences still reverberate nearly 25 years later.

I arrived at the basement of Holder Hall’s 11th entry in September 1990. I had some idea of what I might be getting into, as I’d spent the previous spring and summer interning at WMBR, 88.1 Cambridge, MA (MIT’s radio station). WPRB was different, from the rigidity of the program logs and actual paid 30- and 60-second ads to the presence of the main record library right in the control room. But the most important similarity was that WPRB saw and understood itself as an institution at, but not of, the university.

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1967: WPRB Shows MOR to the Door

By Rupert Macnee ’69

When I arrived at Princeton in the fall of 1966, I brought a suitcase full of British pop records of the era. I very quickly realized that all these records were knock-offs of what was happening in the United States. Motown was flourishing. I discovered Blues and Jazz and even though Chuck Berry was a disappointment at one of our dances, I was deeply in awe of the rich heritage of American music.

WPRB was at that time firmly devoted to MOR – easy listening like Peggy Lee, Tony Bennett, Frank Sinatra, classics in their way, but not exactly 1966 teenage stuff. I got a spot on the WPRB roster because Boyd Britten, (later “Doc on the Rock” at KROQ in Los Angeles), thought my voice sounded like the world service of the BBC.

After a year of this dreadful music – well I thought it was then – I went back to England for the summer of 1967. Apart from Sergeant Pepper, it was the summer of Jimi Hendrix, the Who, and Cream. When I got back to Princeton in the fall of 1967 the playlist opened up a bit, and for a few months we did daily shows featuring loud rock and roll from a mobile set-up in one window of the University Store. It was fun to wander around on the sidewalk with a microphone interviewing passers-by and playing the latest batch of records from England. I’m firmly convinced that WPRB actually premiered a good many records that didn’t really kick off in the U.S. until early 1968.

WPRB was also a great facility for recording and mixing. I did the music for several films in that tiny studio – Barry Miles playing Harpsichord, Al Price, Oliver Whitehead, Jim Floyd, Lindsay Holland, Vincent Gregory, all were much-appreciated contributors to some less than memorable epics!


Stanley Jordan, and the Battle Against “Your Music”

By Kenneth McCarthy ’81

I first got involved with PRB in the spring of my freshman year (1978). It was an interesting time for the station. Though there were a lot of talented individuals in areas like engineering and programming, other area like sales, training, and scheduling were a bit shaky to say the least.

As best as I can remember, the station had only one sponsor, the University Store and one ad, the “These Are My Favorite Things” spot. Thank God it was a good spot because we played it twice an hour, every hour. And we didn’t log that many hours. It wasn’t unusual for the station to sign off after Morning Classical at 10 AM due to a lack of DJ’s.

The details of what happened the next year when the new management group took over could fill a book. It was a complex situation. As an organization, PRB had to be rebuilt from scratch. We had very few members and new people had to be attracted, brought in, and trained fast. There was also a major ideological split among the managers. You had one group that wanted the station to have a top 40 sound and another group that wanted the station to be an alternative to what was available on commercial radio.

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(Re-)Introducing WPRB’s 1980s House Band: The Funstigators!

By Steve Buratowski ’84

DOWNLOADS: The Complete Funstigators WPRB Tapes (.zip file) and the original Funstigators bio (.pdf)

One by-product of WPRB in the early ’80s was a band called the Funstigators. The band consisted of Steve Buratowski, Mark Crimmins, Ray Gonzalez, Kevin Hensley, Chuck Steidel, and Charles Sullivan. All were class of 1984 and, and except for Charles, joined the station as DJs soon after arriving at Princeton. Mark, Chuck, and Charles were roommates, and as far back as freshman year one of their favorite things to do on weekends was to get some cheap beer and play music. Chuck and Mark had guitars, and Charles played one of those tiny squeaky Casiotone keyboards that were popular in the ’80s, using an overturned trashcan as a stand.

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The Razor Sharp Mind of WPRB’s Jeff Meyers

Photo: Jeff Meyers (aka Rod St. John) with Jean Shepherd
Text: Gregg Lange

The late 1960s was a highly active and diverse era for WPRB. News staffers aggressively covered coeducation, plus anti-war and civil rights demonstrations; the sports department traveled with Ivy champion football and nationally-ranked basketball teams; classical music was beginning to assert itself seriously; and the earlier preponderance of middle-of-the-road music was blown away by underground rock and a fabulous jazz department that appeared almost overnight, experimental specialty programs and even a highly popular Top-40 show, all by students. Meanwhile, the station sponsored concerts of all sorts, and its annual presentation of raconteur Jean Shepherd at Alexander Hall became the stuff of radio legend.

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“All those records—Who knew what they might hold?”

By Matthew H. Robb ’94 (center, looking skeptical at Maxwell’s, Hoboken, NJ)
DJ from 1991-1997; 1999-2000
Jazz Director ’92; Program Director ’93
Also pictured above: Greg Lyon (left), Evan Bates (right)

I’ve been thinking about this for a few weeks now and it’s funny to me how non-specific most of my WPRB memories are. There are definitely some concrete ones – I’m pretty sure I was in the old studio A / aux sorting records when the on-air DJ, who I am confident was Scott Crater, put on Superchunk’s Cool 7” and that just pretty much changed my life. It somehow coalesced everything I knew about music (well, alternative and punk music) up until that point and blew it wide open. But maybe that’s getting ahead of things.

I knew a little about radio when I was high school, volunteering at the local public radio station, and I was was of those alternative music teenagers—lots of New Order, the Cure, etc. Add to that an older brother whose tastes ran to the Jam, Elvis Costello, the Clash, and the Replacements, and growing up in the south with a certain familiarity with the Athens scene. I was definitely a pop kid more than a punk kid – the glasses made going to hardcore shows a little nerve-wracking when I was in high school, and the punk scene in north Alabama felt a little too aggro for me. So Josh Wise and I would listen to a lot of Pixies and REM and trade notes and records. That mixtape culture, way too may VHS recordings of 120 Minutes and IRS’ the Cutting Edge – that’s what I had when I walked into my first DJ training sessions (with Mike Graff, I believe). And seeing those stacks I started to realize how little I knew.

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LISTEN: Artificial Artifacts cover “Gilligan’s Island”

I started listening to WPRB during the summer of 1985 or 1986. For a misfit kid who’d not yet established a strong sense of self-identity, everything WPRB played at that time seemed utterly revelatory in comparison to the bar-band hokum, limp dance tracks, and horrific hair-metal that populated the corporate airwaves of the day. Not surprisingly, it didn’t take long for me to become completely hooked. One of the first bands I associated with the station was a local hardcore act called Artificial Artifacts. They did a ridiculous cover of the Gilligan’s Island theme song, which (I soon discovered) many WPRB programmers were happy to honor requests for. THIS IS THE STORY OF THAT BAND, THAT SONG, AND THE NOW-OBSOLETE TECHNOLOGY NEEDED TO PLAY IT. (As told by Artificial Artifacts member, former WPRB DJ, and noted filmmaker Jeff Feuerzeig.) -Mike Lupica

Glenn Tucker and I were roommates at Trenton State College in 1985 where I was production manager and a DJ at WTSR 91.3 FM doing the Jeff Eph show (also known as “Radio Of The Absurd.”)  [A guy named] Gene was in a hardcore band named Send Help who had a 45 out titled “Buffy’s Dead” on the super cool Long Branch NJ Brighton Bar label Mutha Records owned by a leather and chains biker named Mark “The Mutha” Chesley. This of course spoofed the TV show Family Affair.  Here’s a link to the song and cover art.

John and Dave Tamp, along with Adam Bushman, were friends of Glenn’s from New Brunswick where we used to rehearse in a wild crumbling space owned by the leader of Terry Hughes and the Backyard Party. Terry also hosted Monday night jam sessions at the Court Tavern.

After hearing the Dickies and Circle Jerks do humorous covers and particularly ISM doing the fantastic Partridge Family cover of “I Think I Love You”, we were inspired to tackle Gilligan’s Island which we recorded live to 2 track in some cheap basement studio in Princeton on a reel of used 1/4″ tape from WTSR.

DOWNLOAD or LISTEN: Artificial Artifacts – “Gilligan’s Island”

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Xenakis Liner Notes of the Gods

By Narin Dickerson (above)

I started out listening to WPRB during my freshman year (1999), but I didn’t become involved as a DJ until, I think, 2001. One of my first recollections of WPRB was tuning in shortly after I’d moved into my dorm and hearing someone read from the Q section of the dictionary. I’d grown up with somewhat experimental radio theatre sneaking into the overnight hours of my now-all-too-tame local NPR affiliate, so this made me excited and curious for more.  (more…)

WPRB DJs Arrested in Washington, 1970

[Jeff Weiser (left) and Bruce Snyder help cover the 1972 election live on the air.]

By Douglas B. Quine

I joined WPRB in my freshman year of 1969-1970 and trained on WPRB-AM before serving as a newsman at the May Day protest demonstration in Washington (1970) and the election night headquarters of Nixon and McGovern (1972). In Princeton, I took on the folk & blues shows on WPRB-FM, served as Traffic Director and assistant business manager, and finally served on the Ivy Network Board of Directors.

I have many memories of WPRB, including lighting fluorescent lamps by the radiated antenna power on Holder Tower, talking with stoned listeners who called into the studios, organizing the Beach Boys, Fish, Jean Shepherd, Weather Report, & Poco concerts, and the first WPRB Tee Shirts (blue shirts with a yellow smudge at the bottom which was supposed to represent a voice print). The stories that I’ve retold the most times, however, must be the “WPRB arrests in Washington” and “The Do Me Bird”.

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WPRB at the DNC, Sting from the Police, and Freeform vs. Format

By Jordan Becker

I started at WPRB during the second semester of my freshman year in 1979. The ability to have the entire record library—and it was still all vinyl—at my disposal was intoxicating. Unless that was the fumes from the records.

At the time, the station’s rock programming was still very much beholden to the freeform model of the late 1960s-early 1970s. In fact, to my memory, the only requirement that we had was the obligation to play a certain amount of jazz during a rock show. That all changed, though, when Ashley Ellott became station manager, and Jason Meyer became program director. They attempted to turn the rock programming into something more consistent and more rock oriented. To me, there is something to be said for listeners having a general sense of what they might hear when they turn on the radio, and having some consistency from day to day and time slot to time slot theoretically results in listeners staying with the station for longer periods. On the other hand, they also insisted that we use the slogan “Your Music,” which was generally reviled—it might have worked at a professional commercial station, but was a bad idea for a college radio station.

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