Category: Features

Change was in the air in Bloomington in 1971; only those in power could fail to notice.

 

 

 

By Charlotte Zietlow

 

 

“Never doubt that a small group of thoughtful, committed citizens can change the world; indeed, it’s the only thing that ever has.”  –Margaret Mead

 

In 1971, Bloomington was a very different place than the modern city we know today. Surrounded by forests, quarries, hills, and hollers, you couldn’t tell if the home of Indiana University was a boom town or a backwater burg.

City and County governments were run almost entirely by Republican businessmen–upstanding citizens who were active in both their churches and the few charitable organizations in the area. As might be expected at the time, these city officials were men, and the charities they administered were geared mainly toward boys they hoped would someday take their place as city fathers.

In 1971, Bloomington was an  employment center for thousands of workers from Lawrence, Greene, and Owen Counties. The majority of these were women who had come to work for local stalwarts RCA or Sarkes Tarzian, as well as for newly established firms like Westinghouse, GE, and Otis. The Cook empire was still in its infancy then. Along with Tarzian, it had not been unionized, but the other major firms were. Times were good for those who had jobs.

The Bloomington of 1971 was a city ready to flourish. The IU population had tripled to over 30,000 students in just over a decade and beautiful university buildings were sprouting up all over campus. Historical preservation was an unknown concept; elegant, older homes on Walnut and College were torn down to make way for bland, one-story insurance offices.

Mayor Jack Hooker had foreseen the wisdom of at least rudimentary city planning but the rampant residential growth to the east and south went largely unregulated. There were no uniform requirements in place for sidewalks, sewers and gutters.  What older homes that remained were bought up by ambitious landlords and either replaced by poorly built apartments or chopped up into units. The calculations of these landlords were many–they fought vigorously to minimize city mandated maintenance requirements. Green spaces were ignored.

In 1971, Bloomington felt like a closed system.  There was very little interaction between the connected folks on the city council and new residents–the faculty coming from around the  world and other, more developed campus towns, the students and union workers who weren’t born in Bloomington and seemed like a passing phase.  Government meetings were short, simple, and the decisions were made in advance.  New ideas were not encouraged. Neither were questions.  Checks and balances did not exist; beyond a few shunned outliers, the council was perpetually allied to the mayor.

Coming from Minnesota and Wisconsin, as I did, I couldn’t believe that developers didn’t have to help put in sidewalks and provide for storm water on the hilly terrain here. Single family homes were being rezoned without question. Housing codes were not enforced. Citizens raising questions were treated with condescension or ignored.  We had to go to Indianapolis to buy kitchen appliances.  The city government was unreachable—one council member suggesting that if we had a problem we should all go to church.

 

But change was in the air; only those who held all the power could fail to notice.  New IU faculty poured in by the hundreds, coming from sophisticated university cites from all over the world. Most of the new hires at IU were men.  Of course, most of the new faculty were too involved with their work to look around and notice the conditions that surrounded them.  Except for the wives, that is. They had plenty of time to gauge what was happening.

In many ways, our experience in Bloomington was a reflection of what was happening throughout the country.  After all, the sixties hadn’t exactly been a picnic.  In fact, they were incredibly disruptive and challenging.  Following the ‘quiet revolution’ of the Eisenhower years, a New Frontier suddenly appeared.  JFK’s ‘Ask not what your country can do for you, but what you can do for your country’ urged all toward the future with a renewed sense of responsibility.

The Pill had just reached the mass market, changing the way women and their families could plan their futures.  The Kennedy Peace Corps was unlike anything that had preceded it–a brand new and inclusive approach to the rest of the world.  Those who possessed the stamina and curiosity for exploration suddenly had the structure necessary to do so.  We could now reach out and help other nations much more easily, thereby increasing our understanding of diverse people and places. It was also the beginning of the Space Age, with the funding of NASA motivated by a race to the moon.

Millions of people, young and old alike, were excited. The smell of marijuana wafted through neighborhoods. There was even the possibility that everyone in the nation would receive sufficient health care. It truly was a New Frontier, one that everyone who chose to could participate in. Popular music broke out of its Great American Songbook tradition, the British Invasion mesmerized fans of many different ages, with rock and roll, folk music, and bossa nova added into the mix.

Then in 1961, The Bay of Pigs disaster shook our confidence. The following year, we waited through the fear and anguish of the Cuban Missile Crisis, which had housewives in Ann Arbor wondering if they should even bother to cook dinner. Civil rights leaders were met with systematically cruel responses. Women fought hard to carve out a place for themselves in a male-dominated society, but progress was slow and painful. This remained true even after the Griswold decision allowed married women in Connecticut to purchase contraceptives.

Unbelievably, in front of the whole world, our glamorous, charming leader John F. Kennedy was shot dead. Then, to make it a devastating one-two punch, his alleged murderer, Lee Harvey Oswald, was also killed before millions of television viewers.

So many of us had worked so hard to arrive in the New World, believing in its promise so deeply that we were filled hope and unbridled enthusiasm. We had a new President, Lyndon B. Johnson, a southerner, very effective as a Senate leader but what could we expect in the areas of civil rights, health care, peace?

 

At first it was a miraculous gift—Medicare, Medicaid, the Voting Rights Act, the Civil Rights Act, the War on Poverty.  Overriding his fellow southerners, LBJ worked to fulfill Kennedy’s promises.  It was unbelievable, and major pieces remain part of the fabric of our society.

And then we bombed the Bay of Tonkin.  Suddenly, young men were being drafted to take up arms in a tiny country no one had ever heard of and for reasons that were never fully clear.  Young men, boys really, were hustled through basic training and sent off to fight in Vietnam.  Many of these soldiers weren’t even 18 yet.  Consider that for a moment.  These young men found themselves in a tropical land of rivers and jungles, the alien backdrop to a culture and language they didn’t understand.  They were surrounded by both enemies and friends, without any way of knowing which was which.  We had weapons of mass destruction and used them viciously against a force armed with bamboo contraptions and Russian machine guns.

The whole country erupted after that. Friendships and marriages were destroyed by external events. Children disowned their parents and vice versa. It seemed like the whole world was trembling

By the end of the sixties, our country was riven, torn.  Either you were for the war or against it with mounting fury and desperation.  Young men poured out of small towns to enlist, many  choosing the armed services over jail stints for petty crimes.  College students, many of them white and affluent, opted for university deferments. The less well-to-do, who were disproportionately black, had no choice but to go.  Students everywhere insisted that we ‘question authority.’   ‘Never trust anyone over thirty’ was another favorite mantra.  They remained excited about the New Frontier and were willing to help bring it about through protests and violence.  Chaos littered the prosperous times brought about through military production.  Both free love and hatred were rampant.  No, the sixties were certainly no picnic.

The city government was unreachable in 1971—one council member suggesting that if we had a problem we should all go to church. 

The tipping point in Bloomington came with most of the shock waves rolling through the mayor’s office.  A consortium of the largest church congregations had made a proposal to build a high rise apartment building for senior citizens at the intersection of Kirkwood and Dunn, where Dunnkirk Square is currently located.  The City installed parking meters in the residential neighborhoods to underwrite part of the project.  Needless to say, this idea did not sit well with the people who actually lived in those neighborhoods.

The City planned to contribute a substantial tract of land to the project.  Unfortunately, there wasn’t any money in the general fund to pay for it.  Undaunted by this difficult reality, Mayor Hooker dipped into the utilities fund to buy up a large parcel of land downtown.  The plan was to repay this ‘loan’ with the revenues generated by the parking meters.  In the meantime, the church consortium was working with HUD to support the actual construction.

Then something rather important came to light.  Someone had failed to do their homework and using the utilities fund for such a purpose turned out to be illegal.  Ultimately, the mayor and the controller were indicted and brought to trial.  Prosecutor Tom Berry had no choice but to take the case to court.  He did a workmanlike job during the prosecution, but the trial ended in a hung jury.  Eventually, the mayor was fined two dollars and the City was forced to repay the utilities fund.

The fallout from all this was momentous.  Outraged, many Bloomington residents began to attend city council meetings, intent on voicing their complaints.  Unfortunately, they never had the chance.  These angry citizens were denied the right to speak.

But this strategy turned out to be a big mistake because it caught people’s attention and persuaded them to become actively engaged.  The outrage was pervasive throughout Bloomington, but nine of us were upset enough to offer ourselves up as candidates for city council. Along with this writer, the Democratic slate featured Bobbie Bennett, Al Towell, Sherwin MIzell, Hubert Davis, James Ackerman, Richard Behen, Brian de St. Croix and Wayne Fix.  A promising young Republican named William Andrews ran for city judge, on a platform that had much in common with the Democrats’ agenda.  Lastly, members of the old guard selected Frank McCloskey to run against Hooker for mayor.

Most of us were Roosevelt and Kennedy Democrats, but in some ways, we were all very different people. Fortunately, this did not impede our ability to work together.  Although we came from disparate backgrounds, we had several important values in common.  Chief amongst these were transparency and a commitment to citizen participation. We were new and inexperienced, but we certainly weren’t dumb.  We knew how to learn and were willing to listen.  Unlike our predecessors, we actively acknowledged the citizens’ inalienable right to be heard.

We ran in the primary election and became the slate for the fall.

We got down to business quickly.  We worked hard every day.  Most important of all, we persisted.  We had the shared goal of increasing citizen participation and maintaining proper respect for their input.  We wanted informed, professional city management, not constant political jostling.  We wanted to replace the unresponsive cronyism of the past and build a city we could be proud of.

Senator Birch Bayh came from the State of Indiana, not exactly a hotbed of dissent.  He and his staff saw what was happening and responded in kind, one of his aides drafting the 26^th Amendment of the constitution and watching in amazement when it was ratified within a few months.  The 26^th Amendment granted the right to vote to all U.S. citizens over the age of eighteen.  It was a response to the chant ‘if they’re old enough to die for their country, they’re old enough to vote for the people who send them to their death.’  It went into effect on July 1, 1971.

Strangely enough, Bloomington was the first city in the country to hold a municipal election after that.  We were a college town facing an intense election campaign.  The national press watched closely to see whether the students would ‘take over’ our little city as was generally predicted by the status quo.  Reporters from the New York Times, The Washington Post, The Los Angeles Times, and the Chicago Tribune came to Bloomington.  The city resonated with the dire warnings issued by the establishment.  None of the reporters spoke to us.  The people in power shouted:  ‘the students will take over and ruin our town.’

Amazingly, we won.  We won these seats in an upset and immediately began putting clearly defined policies into practice.  Eventually, we transformed Bloomington by changing the way it did business.  We didn’t turn the city around alone–it was truly a community effort–but we used our positions to lead the charge.

 

A Local Sea Change

Our efforts brought about a much needed paradigm shift.  We created a list of issues called The Better Way to Govern and tackled each of its items in turn.  Take the issue of patronage, for instance.  Instead of the ‘to the victors go the spoils’ approach that dominated the era, we intentionally retained all government employees who did their jobs effectively.  We also recognized the importance of having the department heads who helped make policy be in sync with the Mayor.

We encouraged citizen involvement.  Both the mayor and the city council called on interested and qualified residents to serve on the growing number of boards and commissions that were created to manage the City.  To stir productive dialogue, we insisted that citizens bring facts and knowledge to the table, not blinding biases or relentless self-interest.

We also made great strides in administrative effectiveness.  When filling professional positions, we sought out well-qualified, credentialed candidates, hiring them for their abilities in the field.  Whether looking for a city planner, a utilities manager, a city engineer, a city attorney, or a controller, we hired people who truly knew what they were doing–not just ‘good guys’ we knew in the community.  Lastly, we always checked with our attorneys before starting on any project.  We believed in doing our homework, not in taking orders.

Today, the term accessibility means something quite different than it did in the past.  Now it refers to the importance of accommodating person with disabilities, but in 1971, it referred to the facilitation of open communication between local citizens and the government officials that served them.  We wanted the people of Bloomington to know that their government listened whenever they spoke, and that they would be treated with the respect they deserved.

We were especially proud of the job we did on economic expansion.  Up until the 1960’s, job creation programs centered almost entirely on skilled and unskilled men who supported single income households.  In those days, corporate headhunter types took their orders from (“consulted with”) the Chamber of Commerce and the West Side Development group, neither of whom saw much need to create employment opportunities for unskilled or qualified women.  This was true despite the fact that there was now a glaring need for jobs among this segment of the population.  To counteract this, we advanced directives that helped women enter the workplace and allowed families to keep up with an economy that had made two-income households into a requirement.

At the time, the concepts of planning and zoning were anathema across Indiana.  “You can’t tell me what to do with my land” was a common refrain.  To its credit, Bloomington had tried to implement city planning but in 1971, property developers did not have a clear set of guidelines.  With a new planning commission in place–one selected directly from the community–we began to transform the chaos into a working system.

IU experts were anxious to work with the City to create a public transit system and federal funds were becoming available to help.  We were happy to work with both the feds and IU and confirmed the need for it with our Manpower task force.  Bloomington Transit was born.

Republican President Nixon signed the bill creating the Environmental Protection Agency and in 1970 the first Earth Day was proclaimed.  Bloomington merchants and students had been developing a plan for recycling, but had been ignored by the City.  The School of Public and Environmental Affairs was born in 1972, and eager faculty worked with local environmentalists to protect our water supplies, especially Lake Monroe.   We supported both strongly in contrast to those whom we defeated.

We also created a Manpower Task Force, established a preliminary historic preservation policy, a beefed up human rights commission and ordinance with enforcement options and a staff, and sought out federal and State funding for social services, a commission on the Status of Women, child care.   And we made government feel as if it mattered.

 

At the very end of our term (December, 1975)  a city building inspector denied a building permit to a group hoping to renovate space for a gay coffee house.  At that point Brian de St. Croix came out, and in 1975 he worked to draft a gay rights amendment to the Human Rights Ordinance we had written and staffed to enforce in 1972.

The response was incendiary–both for and against–very vocal, threats,  name-calling etc.  When the time came to vote only five of the nine council members showed up. Both Council members and members of the overflow audience spoke passionately. The Bible was quoted—opponents favored the Old Testament, proponents the New Testament.  The vote was unanimously “aye.”  The Mayor immediately indicated he would sign it.  It became law.

IU opposed the human rights ordinance for other reasons, and several years later sued to have it nullified at the State level.  IU’s concern, they said, was that the ordinance might be applicable to the University. IU prevailed. They resisted any implications they would be subject to City rules and regulations in any way.  In overturning the Human Rights ordinance, they also killed the gay rights amendment.

Several years later a new Human Rights ordinance was adopted by the City.  It did not include the gay rights clause.  Gay rights was finally codified in 1993 (about ten years later) ominously, but only after a marathon six hour meeting which also was incendiary, with lots of singing of Onward Christian Soldiers.

A Microcosm of the Wider World

On November 9, 2016 life in the United States changed dramatically.  We suddenly had a president who was unpredictable and communicated in the most idiosyncratic ways imaginable.  He was also new to the workings of Washington, D.C.,  ignorant of custom and precedent that demonstrate both his scorn for propriety and his relentless will to do things his own way.

Some of us are delightfully surprised at his election and are now waiting for America to become great again.  Others are dismayed, fearful, and trying desperately to figure out how to cope with this bizarre new regime.  Difficult questions abound.  Will we continue to honor the Constitution?  Will everything familiar be changed into something unrecognizable?  Will the rule of law somehow prevail?  Will Obamacare be replaced or eliminated?  And if we wander into nuclear war, who will be our allies?

Here, in the richest nation in the world, economic inequality has worsened considerably over the past few decades.  Small towns are disintegrating beneath the weight of economic hardship and an unprecedented opioid epidemic.  Major issues surround us at every turn; we are beleaguered with concerns about everything from social justice to health care and education.  All of these stand in great need of help.  In other words, it’s an absolute mess.  It doesn’t feel good.  And what can we do about it?

This is not the first time in our nation’s history that our problems have seemed overwhelming. it’s not even the first time in my lifetime.  Some of us experienced The Great Depression, World War II, the Korean Conflict, the Cold War, and McCarthy’s Un-American Activities Committee.  Not to mention the devastating assassinations that occurred in the late 1960’s.  And now more than ever, there’s the ongoing struggle for racial equality and prosperity and climate change.  There have been many crisis moments in my lifetime, some of which are not yet resolved. Yet we have managed to find solutions for some of them, and we continue to try despite tremendous adversity.

 

Similar Challenges, Similar Methods

It’s been 45 years since a small group of concerned citizens helped transform the Bloomington community.  Since then, some things have reverted back to near tyranny and a certain amount of power has shifted away from the citizens. But although this means it’s high time to remind those in power that they work for us and not vice versa, there remains a great deal of hope in the thought that most of the major changes remain in place.   I write this story to encourage others to do as the ten of us did in 1971.  Although some of us were recent immigrants and new to the work of government, we still managed to gather a little army to assist in our work.  We recreated the City of Bloomington in a more democratic image.  The result was a vibrant, attractive, and comfortable place to live, work, study, raise children, and retire.  It will require faith, dedication, and a great deal of focused hard work to push back against the current adversity, but I hope all of you will find inspiration in our story.

 

Hope Going Forward

We can affect change today, but only if you become a part of the process.  It won’t happen by itself, but you can do it.  It will take stamina, careful planning, self-awareness, and understanding of our local citizens’ actual needs.  It will also require a willingness to forge alliances whenever you can find like-minded people and to keep your eye on the prize at all times– a city where everyone can live and thrive.

Never forget that everything you do makes a difference.  Your actions affect everything that comes next and life is full of surprises.  Don’t burn bridges with anyone–you never know who your next ally might be and you’ll need to build working relationships with them in advance.  Life is short, so use the time you have wisely.  We must keep going.  We must continue to fight for change right here at home; this is the best chance we have to contribute to a democratic world community.

[editor’s note: Charlotte Zietlow moved with her family to Bloomington in 1964. She has a checkered career in linguistics, city and county government, business, education, social services and family. She was the first woman president of the City Council and the first female Monroe County commissioner. Dubbed by some as “the woman who swims upstream,” she believes we can all build a better world together. This article is  a relatively short look back at the 1971 election and its results. Many details are not included, but will be presented in great detail  in her forthcoming book We Did This, publication date to be announced.]

 

 

 

             

 

 

 

 

By Joe Hiland

In 1973, Indiana University awarded Kurt Vonnegut Jr. an honorary doctorate in Humane Letters. Two years earlier, he had finally earned his master’s in Anthropology from the University of Chicago more than two decades after the faculty rejected his first thesis. They didn’t have a change of heart about the work he’d done as a graduate student; instead, they accepted his 1963 novel Cat’s Cradle as an alternative thesis. The belated degree suggested that his fiction had contributed more to the study of humanity and our social customs than his youthful scholarship had. If you care to weigh the wisdom of this decision, you can find early drafts of the novel and copies of his rejected thesis in the Lilly Library’s archive. There you’ll also find Vonnegut family photos, original drawings from Breakfast of Champions, and the rulebook for a board game he invented but failed to sell. You can see these and other pieces of Vonnegut paraphernalia at the library’s new exhibit, Random Acts of Granfalloonery: The Art and Fiction of Kurt Vonnegut, Jr.

Read the full article, along with a complete schedule of Granfalloon events, in the current issue of The Ryder. Pick up a copy at one of 250 locally owned shops and restaurants or on the IU campus.

 

Co-hosts Don Glass and Yaël Ksander are just getting started

 

What were you doing at 4:58 pm on February 28th, 1988? Think real hard. Listening to WFIU – that’s the correct answer. And if you were listening to WFIU, you would have heard the very first episode of A Moment of Science, titled  “Benjamin Franklin’s Swatches on the Snow.” Is there snow on the ground as you are reading this? If so, and if you listened to that first episode, and if you retained just a little bit of what you heard 30 years ago, then chances are you are dressed properly. If not, well, maybe it’s warm out.

A Moment of Science is celebrating its 30th anniversary. Over the years, the program  has become an integral part of the cultural landscape of Bloomington. How did it begin? Where is it going? We sat down at a local café with co-hosts Don Glass and Yaël Ksander to talk about the past, the future, and all things in between.

Interview by Peter LoPilato

Ryder:  So, 7,000 episodes?

Yaël Ksander:  Is that right!? I know that Don and I have done about 4,000 together.

Don Glass:  I’ve lost count. I think it’s between 7,400 and 7,500.

[RYDER]:  Which was the best one?

[DG]:  The one we just did.

[RYDER]:  What’s the coolest part of doing the show?

[DG]:  I think there are two cool parts. The first one is learning cool stuff.  And the other (gesturing towards Yaël) is working with her.

[YK]:  Awwww!

[RYDER]:  So in other words, this show wasn’t really that good before she joined?

[YK]:  (laughter) Yeah, that’s pretty much what he’s saying….

[DG]:  Actually, it wasn’t.

[YK]:  There’s a funny story about how we segued into my tenure, but I don’t want to accelerate things…

[DG]:  The long answer to your question is, the shows are better. They’re certainly better for us to perform, so to speak.  I think they’re better to listen to when there are two people doing it, especially when there’s a man and a woman, which is something I insisted on–

[RYDER]:  There’s that sexual tension.

[YK]:  (laughing) When we have sex on the show, which we often do, it usually has to do with the hermaphroditic qualities of worms or something like that.  Usually when we have a little of that piquant touch there, it’s Don saying something like “I wish my mom would stop signing me up for these online dating services.”  We’ll have things like that, but we don’t usually explore the, you know, sexual tension between us, because that’s just obvious.

[DG]:  Sometimes there is a sort of tension, not in a sexual sense, but in a gender sense

[RYDER]:   Has the show evolved since Yaël has been part of it? Was there a defining moment where something clicked?

[DG]:  It’s been an evolution.

[RYDER]:   But if I were to listen to an early episode, say the fourth episode with Yaël–

[YK]:  So much has changed. The bottom line is our relationship, which is real.  We aren’t just hired guns showing up and doing voiceover….We were joking earlier that it really is like The Sonny and Cher Show (laughing)….Don and I have just gotten to be better and better friends over the years and so a lot of that comes through. And so when he first hired me to do this show, I didn’t know him very well and I was on my best behavior (more laughter). Now, I’m extremely disobedient and he puts up with me. And he lets me make fun of him all the time.

[DG]:  And the writers have sensed that.

[YK]:  Yeah, right, they’ve responded.

[DG]:   A lot of credit has to be given them, because when they write the scripts, we ‘just’ read them, but the creativity’s behind them.

[RYDER]:  How involved are you? Do you sometimes revise the scripts?

[YK]:  Yeah, he does a lot on the front end.

[DG]:   I’m the producer’s last editor.  So the writers send the scripts to me after I approve what they’re doing in the first place.  Then, if it needs some tweaking, I ask them to do it.  I mean, I could do it, but they’re paid to do it. They’re also very good at it.

[RYDER]:   How many writers are there?

[DG]:  Let’s see.  Oh, this numbers thing. I’ll have to go through…(mentions several names under his breath while counting) Is that five? Oh, six.

[RYDER]:  Are they also researchers, or are they just writers? They’re researchers as well, right?  You’re not just pulling the Encyclopedia Britannica off the shelf and reading from that?

[YK]:  No. There’s a lot of vetting that goes on.

[DG]:  They come with the ideas and I say ok, this’ll work.  Then they research it, which means probably browsing the web to look up stuff.  They see an article in a magazine and pattern the script after the information in that article.  Several articles for that matter.  It might not just be one.  Then, once we get the tweaking done, all the programs are sent to a scientist.  So we’re not just going to rely on what somebody reads in the New York Times. 

[RYDER]:  No fake news.

[DG]:   Did you see my letter-to-the-editor the other day?

[YK]:  Did they put it in?

[RYDER]:  You had a letter in the New York Times?

[DG]:  No, I wish it was. It was in the H-T….So each script is checked by a scientist. Which is not foolproof, but it certainly gives it a certain amount of authority by having them check it because sometimes they disagree. They might say that article in the Times left out this or it left out that.  So they’ll help us correct that.

[YK]:  And originally, for the scientists, we drew upon on the resources that we had here at IU. In fact, as the show came together, that was the idea, that we would take the name of Indiana University and our significant scientific resources to the world… Don, why don’t you explain the origin story.

[DG]:  Paul Singh was a professor in physics, and he was coming home from a fishing trip with one of his sons and they were listening to StarDate on the radio. And either he or his son said “If they can do that with astronomy at the University of Texas, why can’t we do something with general science?” I was concerned that it might be a little esoteric. But Paul convinced me. His point was to bring science to the people.

We were joking earlier that A Moment of Science really is like The Sonny and Cher Show. —  Yaël Ksander 

[RYDER]:  Each episode is two minutes on the air.  How much time goes into preparing each episode?

[YK]:  Yeah, good question.  Like all radio, oh my goodness.

[DG]:  It takes hours.

[YK]:  You know, film production, TV production, radio production….

[RYDER]:  Speaking of film production, when are you going to pitch Moment of Science  to a Hollywood studio?

[YK]:  Yeah!  Who’s going to play you, Don?

[RYDER]:   George Clooney.

[YK]:  George Clooney!  Who do I want?  Scarlett Johansson.  (laughter)

[DG]:  Stephen Colbert can play me. Stephen Colbert or Chevy Chase.

[YK]:  Chevy Chase?  He’s too goofy.

[DG]:  That’s what I like about him.

 

[RYDER]:  Has there ever been a question or a topic that you would not discuss? Maybe something that might be politically sensitive?

[YK]:  We think about the political ramifications all the time, and we’re not interested in putting people off. So a lot of times, we’ll have to tweak the language in order not to make untoward suggestions.  For example, the other day we had a script about how drones were being used to measure and collect and photograph the stuff that whales blow out of their spouts. They’re using drones to do that.  And the first line was just a real casual:  “You know, Don, drones are pretty cool!”  I think we had to tamp that down a little bit. Because obviously, drones are used for warfare.

[DG]:  I wasn’t thinking about the military part of it.  Drones can be just a disaster if people aren’t careful how they use them.  They can wreck airlines.

[YK]:  In radio you get only one chance.  People can turn you off real quick.

[RYDER]:   Do you ever tackle subjects like climate change or evolution?

[YK]:  Oh yeah.  We don’t stray away from provocative subjects.

[DG]:   They’re provocative to some people and not others.  We deal with the science.

[RYDER]:  So how do you feel about the current administration dismissing scientific research?

[YK]:  That’s why we think now the program’s more important than ever, because, like on that bumper sticker, “science is true whether you believe it or not.” So just getting people to think about how things work and the fact that there are these laws that determine …

[DG]:  But at the same time, we’re going to look at the science, not the political aspects…

[YK]:  So we refrain from moralizing or putting the stamp of approval on things.

[RYDER]:  How many takes does the average episode require?

[DG]:  Two point something.

[YK]:  99% of them have no overdubbing.  We record it like old radio theater.  We do it in one take, whether or not that take takes 17 takes to get.  We don’t splice things together, so the interaction you’re hearing is real life interaction. And we have to get all the way through a two minute thing with the music underneath us without screwing it up.

[RYDER]:  Do you record back to back episodes? Do you record five or six at a time?

[DG]:  Six a week.  It takes about an hour and a quarter, which isn’t too bad.

[YK]:  It has been an incredible school for me in terms of voice work because I remember looking at these scripts that were two minutes long, and thinking how in the heck am I going to get through all of this without screwing up.  And it used to scare me so much.  It’s so unforgiving.  If I’m reading a newscast live and I stumble, no biggie, right?  But for this, we don’t do stumbles, so it’s been a way of trial by fire.  It’s been a great way to learn actually, like boot camp.

[RYDER]:   Where do you see Moment of Science in ten years?

[DG]:  Oh, man.  Who would have thought we’d be here for 30 years?  I don’t know. Probably the way it is now, in terms of radio.

[RYDER]:  What about podcasts?

[YK]:  Yeah Don, talk about how much action they get.

[DG]:  I was getting to that because in some people’s minds, radio is dead. Traditional broadcasts, that is.    And the fact is, there may be some truth to that.  Some people still listen to the radio, but they’re older people.  Other people listen to their own music on their phone.  They listen to what they want, when they want.

[YK]:  We only listen to podcasts. I say we, but I mean 30-year-olds do that.

[DG]:   The whole media environment is changing so rapidly, and I’m not keeping up with it.  I’m doing radio.  As long as people want radio programs, that’s’ what I’ll do.  If they want something else, somebody else can do that.  I’m not criticizing it.  It’s just the way i approach it.

[YK]:  Luckily, the station has had the foresight to adapt and make the program available.

[DG]:  They just branched out to the web and its’ been very successful.  In 2017, A Moment of Science got over two million site visits. Two million! That’s 45% of WFIU’s website activity. I can’t act like a total idiot and pretend it’s not happening.

[YK]:  He doesn’t like it.

[DG]:  I don’t dislike it.  I think it’s fine.  Obviously, more people are hearing it, just in a different way.  I’ll have to ask the people who analyze the website, but I wonder if more people are using the podcast than just going to the website and listening to it.  My guess is they probably are.  It’s a bit more cumbersome to go the website and click on the script and click on the audio.

 

[RYDER]:  So Yaël, tell us the story of how you became co-host.

[YK]:  I had just joined the station in the Fall of 2000. At the same time Angela Mariani was leaving for Texas–she had been the co-host with Don.  So [turning to Don] you were thinking maybe you were going to record her an ISDM line, but that was going to be pretty expensive.

[DG]:  Or just have her record scripts and send them back. But it was too cumbersome to work.  Really complicated.

[YK]:  Yeah, you were kind of flummoxed about how to proceed. Then, in comes unsuspecting me.  I don’t know how you just thought to “give the new girl a try.”

[DG]:  I can’t remember that part either.  I must have heard you.  I would never just take somebody off the streets.

[YK]:  I’ll tell you, I was pretty thrilled because I had enjoyed the program for a couple of years before joining the station.  I was very excited and Don said, “Well, come over on Thursday and you can audition. You’re an unknown quantity and Angela and I had this rapport going, but it’s getting kind of difficult, so why don’t you just come in and give it a try.”  And so I came in on a Thursday and we recorded some scripts.  I was thinking I was auditioning, right?  I was waiting for the other shoe to drop; then he said “come in next Thursday and we’ll do some more.”  Then he didn’t have to remind me to come in on Thursdays and then about five years later, I said “Don, did I pass the audition?  Or are you going to give it back to Angela?” He never told me.

[DG]:  I never even thought of it.  I don’t know if it’s a male/female thing or not, but I kind of assumed that you’d already been doing it for five years that maybe you’d assume you had it.

 

[RYDER]:  I’d like to end with a quote and ask you to respond: “All of our science, measured against reality, is primitive and childlike.”

[YK]:  Who said that?

[RYDER]:   Nobody important. I’ll tell you who said it after you respond.  [which we forgot to do; the quote is from Albert Einstein.] [YK]:  I feel somewhat agnostic about everything – that there’s so much more to discover than we can even begin to grapple with

[RYDER]:  Every three years we learn that a healthy diet is different than we thought it was three years earlier.

[YK]:  Right . . .my father as a child had leeches put on him as a way of bringing down a fever – I mean, it was in another country and 70 or 80 years ago but still –

[DG]:   They use maggots to clean wounds. Maggots only eat dead tissue so they use them to heal really bad wounds that have dead tissue around them – we covered that on a show about ten years ago.

[YK]:  We like to do gross-out scripts on the program. Scripts about maggots and roadkill? – they’re memorable!  Like naked mole rats. One time I asked Don, “What does a naked mole rat look like? Is it like a possum?” This was completely unscripted. Don said — this is a direct quote: “A naked mole rat makes a possum look like Raquel Welch!” (loud laughter; people in the café are staring)

[RYDER]:   Not too many people reference Raquel Welch anymore. She might be appreciative.

[DG]:  If she ever saw a naked mole rat, I don’t think she’d be flattered.

Photo: Hannah Sturm

 

 

 

 

 

 

 

 

 

 

 

 

 

Scott Fivelson chronicles the life and times of one of Hollywood’s greatest directors, or does he?

Interview by Richard Fish

 Oskar Knight is so real, he really ought to be real. His entire career is a shining example of why Hollywood has always been the foremost place on the planet where reality, myth and legend don’t just meet, they dance. But (spoiler alert!) Oskar isn’t really real, except that he is now, since the movie came out. This delightfully crafted, engagingly funny mockumentary does for Tinsel Town what This is Spinal Tap did for Heavy Metal: in the age of Alternative Facts, this is a perfect Alternative Biopic.

The pun-gently titled Near Myth: The Oskar Knight Story was born in the brain of writer-director Scott Fivelson, whose wide-ranging creativity is all the more amazing because he doesn’t get to live here in Bloomington. I caught up with him at his home, somewhere in earthquake-prone, fire-ravaged, mudslide-covered, traffic-choked, rain-inundated, drought-stricken Southern California.

Ryder: This was obviously a labor of love, Scott, and when you come right down to it, it’s really a movie about Hollywood – about Oscar Night as well as Oskar Knight. You certainly understand how the movie industry works, even when it doesn’t! So, how did you manage to use that understanding to whack the Zeitgeist right between the eyes?

Scott:  Ha! It’s true reality has been getting kind of blurred lately in the media, and it’s nice to discover we’ve made something that resonates in a timely way, but that wasn’t in my mind when we started. I just loved the stories of these great filmmakers so much that I wanted to have another one, so we could enjoy his story….and miss him. Oskar is a larger-than-life character, a bit like Charles Foster Kane – in fact, this picture is something of a tribute to Orson Welles.

Ryder: Who does appear, briefly, and Oskar’s right there with him of course. Do you think people need to be serious movie buffs to really “get” this movie?

Scott: Oh, no, not at all. I’ve had people tell me they really liked the picture, thought it was very funny – and then said they’d tried to find out more about Oskar and his movies online, and asked why a Google search only turned up references to this movie!

Ryder: They actually thought–?

Scott: Yeah, they did. Of course the more you know about movies, the more you’ll get out of it.

Ryder: Oh, yes! The detail is amazing, all the way through. All those pictures of Oskar with the great stars and in famous places, so perfectly chosen to evoke the era –

Scott: It’s up to the viewer to decide if we inserted Oskar, or just found those pictures in Hollywood archives.

Ryder: It’s great fun to spot all the stars as they flash on the screen, but you move right on because you’re into the story. It’s a great story.

Scott: All the best stories are about people, and that’s why it’s the arc of a life, a career, the triumphs and the struggles – Oskar lived a long life, you know, and he never gave up trying. If someone is around long enough, they have a story like this.  And we do have some real stars to help tell it.

Ryder: What Lolly Poppins and Hedda Publicity used to call “Hollywood Insiders?”

Scott: Yes, we had great luck with the casting. We had some hot young up-and-coming actors and some well-established names – of course Lenny Von Dohlen has done a lot of things, from Miami Vice and Twin Peaks to The Orville, and David Suchet was brilliant as Hercule Poirot, and Margaret O’Brien goes back to the 1940s, starting as a child actress.

Ryder: She looked great, and I loved seeing Noel Neill and Jon Provost, from Superman and Lassie on TV –

Scott: Yes! We had so many wonderful experiences working on this project.

Ryder: And it’s very funny. Would you call this film a satire?

Scott: I’d call it a blend of satire, comedy, whimsy, nostalgia…

Ryder: …sort of a love letter to Hollywood.

Scott: Love…but in the real world. It can be poignant. There’s heartache and heartbreak, but there’s something really inspiring in Oskar’s story, too.

Ryder: And we’re getting to see the picture just as it’s coming out.

Scott: That’s true, and I’m delighted it’s going to be shown in Bloomington. It’s an independent project, you know, and the whole team that worked on the film – we’d like to believe we’ve made something kind of special. The Ryder Film Series is just the sort of program that can really add to the buzz, and Oskar always was a good time – that’s what his friends always said. I hope people will spread the word, especially online.

Ryder: Well, Bloomington people do tend to have a lot of connections. I sure enjoyed it. Thanks, Scott, for talking with us and giving us a movie that is an ideal prelude to the Academy Awards show on Sunday, March 4^th. Got any predictions?

Scott: Just that nobody’s going to break Oskar Knight’s all-time record as the Director with the most nominations.

 

 

 

 

 

 

 

 

 

 

text by Kenneth Shafer       photo by Brody Nevins

On one warm night, July 19, 2017, in Bloomington all the following occurred within only a few hours of each other.

In the basement of a South Walnut house a small but fascinated crowd of mostly twenty-somethings  were taking advantage of the free Open Tweak V (fifth in a series), as a live electronic performer was knob-twisting and fine-tuning his dual “Eurorack” modules, his Elektron drum machine and sound sampler, and his Korg keyboard synthesizer, churning out a series of hypnotic beats and blips.

“Welcome to the south side of electronic music,” said the host, Iain Donkin though he didn’t bother to explain how the south side of Bloomington differed from the north side. Still, he continued, “Almost everything we do here is Live Personal Appearance (Live PA), and we cover the spectrum of genres – Electronic Dance Music, Trance, Drone, and spontaneous collaborations. This is a venue for discovery, nearly everyone who participates is self trained.”

A few blocks away and less than an hour later, Indiana University music professor Paul Siwko-Bajon played to a somewhat less than sellout crowd of much older people at the Buskirk-Chumley theater. Twenty bucks got one entry to an overview of Synthesizers in Film, branded as Synthfest. Multiple top of the line racked Kurzweil synths were visible on the stage, along with a tower personal computer.

Before the live synth playing, the audience was treated to a short video where classic synth player Jean Jarre was shown in his studio surrounded by scads of electronic music making hardware, only a few of which had attached keyboards. Indicating a preference for what are known as electronic sequencers (hardware boxes that play pre-programmed sequences of notes), Jarre explained how he created one of his classic pieces, Oxygene.

From here, Siwko-Bajon took the stage and played the classics from Vangelis, Giorgio Moroder, Tangerine Dream, John Carpenter, and Jean Jarre, underscoring the importance of synthesizer music as film soundtracks, especially for science fiction movies like Blade Runner and Escape from New York. The crowd was attentive, but did not dance other than with an occasional gratuitous nod of the head, as if they were disguising the fact that they were almost falling asleep as the performance passed their usual bedtime hour of 9:30 pm.

But the night was still young. It was easy, almost too easy, to walk just around the corner, and slip down the steps into the underground of The Root Cellar, where Danger Latte and Kyle Spears were DJing their particular brand of so-called Techno, which is one of the types of electronic music most amenable to dancing. This was Saturday night, after all, and nobody had to be anywhere Sunday morning, and the crowd was not about to let up until the legally-mandated closing hours wee in the morning. The thump thump! thump! thump! thump! of the bass drum on every quarter beat kept everybody jumping.

That such a litany of electronic events could happen so close together in location and time was not always so in Bloomington, and should not be taken for granted. That it did is a clear and pronounced statement that electronic music has firmly arrived in Bloomington.

How did this scene get to this point? Where did it come from? And where might it be going?

This issue initiates a series of articles will address those questions, if not fully answer them. Other follow-up articles will focus on the history of synthesizer and electronic dance music, the explosion into numerous different types, called genres, and even into sub-genres, the evolution of experimental and electronic music in Bloomington, the role of local Disc Jockeys (DJ’s), Live Performers (Live PA), and a bit of a catch-all covering what is called experimental, ambient, and drone electronic music.

The musical culture changes. Electronic and Dance Music is claiming its rightful place in the local music scene as a full-fledged equal with classical, rock, jazz, R&B, blues, folk, and country.

A Short Guide to Dance Music and Electronic Venues in Bloomington

The Bluebird

The Bluebird has been at the top of the heap for music venues since the 1970’s, and continues today. Its large capacity, its reputation, and its history all serve to be a draw for big name acts with a healthy smattering of local artists thrown in. When the big names come in, the cover can be expensive, but that does not deter a crowded attendance. When most of the students leave town for the summer, the Bluebird will feature more local acts.

There’s a big dance floor right in front of the performance stage, which also accommodates what is usually the best light show for these events. By midnight it is often standing room only, and that is even shoulder to shoulder.

Music wise, The Bluebird seems to feature more of the Hip Hop derivative genres of dance music.

The Root Cellar

This club is one of the favorites of the DJs. It regularly features EDM and live electronic acts, and as its name implies, it is underground, being in back of The Farm restaurant. As well as a nominal size dance floor, there is some seating, and off to the side several cubby holes with comfortable lounge sofas that serve as “chill rooms” to provide a little sonic distance from the boom boom boom of the music.

It also seems to attract a more diverse crowd than some of the other venues, and a poster at the door cautions entrants to leave their bigotry at home.

The Root Cellar is very supportive of local acts, and seems to often provide entry without any cover charge.

Video Saloon

The Video Saloon has its EDM dance floor right at street level, across from the Bluebird, and customers often traffic between the two. EDM acts are presented on a somewhat infrequent and irregular basis and have been known to be without a cover charge.

Serendipity

Serendipity has a light, airy feel, located in the same space as the legendary Second Story. The stage is at one end, the bar at right angles to it, with a dance area the length of the club. You’re more likely to encounter an international type crowd here, as it also regularly hosts Latin dance nights.

As advertised, Serendipity is a martini bar – with a peculiar twist of also featuring PBR on tap.

Blockhouse

The Blockhouse is a somewhat hidden gem nestled in the same cluster that includes Serendipity and The Back Door. You get to it by going downstairs – to an underground, a characteristic which it shares with the Root Cellar, and which has all the flavor of “underground” Techno clubs in the Detroit area. Being underground, it’s possible, but not easy, to take a break outside, but just like truly urban Techno underground clubs, there are two or three “chill rooms” where you can get just a little bit away from the volume of the kick drum, and have a chat with the friend you just made.

It does not have the capacity to generally handle big name acts, though regional one and smaller national acts do pass through. It is one of the venues that is especially hospitable to local EDM DJ’s and live performers.

Open Tweak

Strictly speaking, Open Tweak is a Bloomington House Show network kind of place rather than a “club.” This is an experimental electronic event as part of the Bloomingtron network. (Read carefully now, there is that “r” in Bloomingtron that makes all the difference.) Another underground venue, it is located in the basement of a house on South Walnut Street.
Players Pub

Players Pub is as little bit off the beaten path, being further south, but still within easy walking distance if you’re going “clubbing” to multiple destinations. Cover charges are modest, and this is the only place where you can get food, really good food, late into the evening. The red beans and rice are highly recommended.

The dance floor is open and inviting, and for those taking a break, there is also easy access to the sidewalk patio which is taken full advantage of in the summer.

Players Pub draws a steady, but not packed, crowd, and its schedule is consistent – dance music every Friday night starting at 11:30 PM, after the headliner music act has left the stage.

DJs usually bring a light show and maybe fog machines, and the dance crowd seems to be easier than average to accommodate making new friends. It also features a wide variety of DJs, and doesn’t seem to play favorites.

The Back Door

The Back Door is easily the most festive of the clubs. As Bloomington’s premier LGBTQ venue, you are likely to see costumes and fashions any day of the week, not just during Halloween or a Friday the 13^th.  A disco ball provides the shimmering light. The Back Door is more likely to feature what is known as “House” music than most of the other clubs.

During a recent visit on a Friday the 13^th, a patron dressed with a giant Earth globe for a head claimed that “global warming” was the scariest thing going on, as the dance music provided the release from the madness of the world.

The Back Door is also one of the more consistent hosts for dance music, featuring it every Friday and Saturday night. There is a cover, but it is modest.

Recess

What to say about Recess? Well, it seems to have more in common culturally with its sister watering hole Kilroy’s on Kirkwood than any of the other electronic venues. It’s an experiment of an “18 and over” venue, being launched only a few months ago. A spate of bad publicity over questionable marketing slogans was climaxed by a public rebuke by Bloomington mayor John Hamilton.

Few of the local DJ’s we interviewed had much experience with it. Recess looks to be booking national acts, possibly augmented by a set of local DJs who do not circulate much beyond Recess’s confines.

Its proximity close to campus and the fraternities and sororities on Third Street naturally make it a big favorite of the college crowd.

Electronic / EDM Bloomington Venue Roundtable

The Ryder asked many of club owners and managers about town a number of questions about the growing scene for Electronic and Dance Music in Bloomington. Panelists in this discussion are Nicci B at The Back Door, Dave Kubiak of the Bluebird, David James of The Blockhouse, Joe Estivill of Players Pub, and Danny McKinley of The Root Cellar.

The Ryder: How often do you offer entertainment that can be considered electronic or Electronic Dance Music?

Nicci B:  MADDOG and Pixie are our resident Friday and Saturday night DJs and both invaluable to our business and the culture we’ve created at The Back Door.

Joe Estivill: Weekly, Fridays at 11:30 PM.

Danny McKinley: Three to six times a month, sometimes more, sometimes less depending on who is looking for gigs and how recently others have played.

David James: We do a wide variety of music – rock and roll, jazz, Hip Hop – and we do EDM at least once a month.

Dave Kubiak: For the current semester, about three times a month, counting both local and national acts. We often book TR0LL and Shy Guy Says and local acts after national acts for Thursday night shows. Our national and local acts support each other both ways – it’s give and take.

The Ryder: How do you feel this entertainment is received by your customers? Are they enthusiastic, do they dance a lot? How is your attendance? What can you say about your customers interaction with these types of acts?

Nicci B: I can tell you that, regardless of the genre, dance music is and has always been at the center of queer culture and specifically queer night life — we dance to celebrate, we dance to mourn, we dance to protest, we dance to rage, we dance to escape.

Joe Estivill: This is a new audience for us.  They do dance a lot.

Danny McKinley: There are a lot of positive reaction from the public and customers for this style of music. Most who come for EDM nights are very enthusiastic and spend as much time dancing as their bodies will let them. Generally our attendance is outstanding, even on nights that would normally be slower or even nights when there is a lot of competition from other clubs doing similar events.

David James: Attendance is performer dependent.

Dave Kubiak: Promotion is critical to attendance. The underlying principle as to what the Bluebird is morphs over time. Some things are the same but the music genres change. I want the Bluebird to be the place that everyone wants to experience. Interaction with the audience is great with our EDM acts. We would still like to take it up another level, but there can be a lot of production involved, since some national acts literally fly in with only a suitcase for their setup, and we have to arrange the rest, like the light show.

The Ryder:  Do you feel there are differences between electronic / EDM acts and your other live acts (rock bands, shows, skits, etc.) – how does EDM fit into your overall offerings?

Joe Estivill: It’s a bit different than most of our acts as they are solo artists, most of our acts are bands.  It’s a great complement to our other offerings as we like to mix it up.

Danny McKinley: There is a huge difference in the styles of EDM even within the genre. I couldn’t really say, other than some of the crowd types, most people who come to our club and stay are generally in a good mood and are enthusiastic about the entertainment they are seeing/hearing. I couldn’t really respond to the question if you are trying to get at whether or not one type of night is better than the other or if crowds are more positive or negative. As an overall offering, we try to offer a good safe time with quality entertainment/ music and our EDM artists fit right with this category quite well.

David James: Oh, yeah! We welcome good people and good music. And the EDM community is a welcome one.

Dave Kubiak: EDM can be polarizing, kind of like country music. Either you really like it or you don’t at all.

The Ryder: Do EDM DJ’s offer you a cost advantage in what you pay your acts?

Joe Estivill:  No, everyone works for the door.

Danny McKinley: We offer all performers more or less the same rates. I guess the only ‘bargain’ that maybe we get is that most of the current EDM DJs like to perform in small groups. When this happens we do see pull of different crowds where some of our performers are solo and not only have to push through with a longer endurance, but also have to try to pull from all crowds by their lonesome. (one hour or five hours, the performances these people do, have to be exhausting)

David James: No, EDM does not offer a cost advantage to us.

Dave Kubiak: The biggest difference is that EDM or live electronic acts are usually only one or two performers. But what has changed is this – it used to be that rock acts, of several performers, traveled a circuit of about three hundred miles radius. And they play four or five nights in a row. For EDM, the national acts travel nationally, and may fly in from two thousand miles or more, and only for one night. So the expenses can be greater.

The Ryder: What do you see as the near and/or long-term future for electronic / EDM for your club?

Joe Estivill: Continue to grow our weekly gig.

Danny McKinley: I see it being a regular in our rotation of entertainment. As the scene grows more and more great DJs keep popping up. I’m really quite impressed at the number of really excellent DJs that have come out of seemingly nowhere. (Eighteen months ago, I was having a trouble filling my calendar and now I have trouble making room for everybody)

David James: EDM and Electronic will be around for years to come! It is relatively new compared to other types of music.

Dave Kubiak: We’re on the music bus, let’s see where it takes us. Certainly through the spring semester.

The Ryder: Any specific Electronic / EDM artists that  you have hosted that you would like to specifically mention?

Joe Estivill:  I enjoy the different styles of the DJ’s.  No favorites quite yet.

Danny McKinley: DJ Angst and E-Trash, MADDOG, TR0LL, Derz, Lemondoza, Longuy, Danger Latte, Kyle Spears, Sweater Disco, Lowe, Plastic Sounds, Deep Sense, FIIT, and I am sure I’m forgetting many more, but these are some of the very excellent and very different styled EDM DJs and producers that we have hosted/ particularly enjoyed.

Dave Kubiak: We’re getting the networking of people in place. Attendance is a consequence of more than contact via social media. The best is when a friend tells another friend.

The Ryder: Any general comments you’d like to make that you would find quotable?

Nicci B: I think anytime you get a critical mass of queers together in one space a dance party becomes less of a possibility and more of an inevitability–it’s just what we do.

Joe Estivill: Come dance!

Danny McKinley: DJ Angst said it best, “When it comes to EDM/electronic music: the vibe, the performance, the audience, the dance, the party will go ALL. NIGHT. LONG.”  Though you may quote me, please make sure DJ Angst gets credit for the “ALL. NIGHT. LONG.” tag. It’s his tag for his parties, it’s just a very true statement and positive statement for the genre.

Dave Kubiak: I’m happy The Ryder is writing this piece. And I’m happy that TR0LL (Troy Michael) and Shy Guy Says have been so instrumental to the success of this kind of music. Troy has been working very, very hard to uplift the DJ and EDM scene all over town.

 

A Too Brief History of Electronic and Dance Music

There’s no way a magazine article can do full justice to exploring the roots of electronic music and its dance music variation, but justice be damned, there can be no significant understanding without at least touching on the history.

The modern incarnation of the electronic synthesizer can be largely attributed to inventors and engineers Robert Moog and Donald Buchla, who designed and produced their units beginning in the mid-1960’s. As with any new technology, these early units were quite expensive, and so their use was restricted to only film producers and big name rock acts who could carry the cash to buy them.

It would not be until the 1980’s that we began to see the popularization and democratization of electronic music. This trend was made by the confluence of four tendencies, two technological, one sociocultural, and one that can only be thought of as a completely fortuitous accident.

The first technological breakthrough was the advent of the microprocessor. It is no coincidence that the affordability of electronic synthesizers occurred at the same time as the introduction of the personal computer. IBM’s first floppy-based PC and PC/XT with a hard disk, released in 1981-1982 were powered by an Intel 8088 processor. The 8088, running at 4.77 mHz, soon found competition from a Z80 manufactured by Zilog, which ran at a “blazingly” fast 7.16 mHz.

Those of you with a fine-tuned sense of irony will chuckle at the fact that Zilog  during 1980 – 1989 was a short-lived subsidiary of Exxon, which implies that Big Oil had a substantive role in the creation and promulgation of this type of music.

Just as the microprocessor was to make computing available to the masses, so would it do so for making electronic synthesizer music available to musicians, driving down the prices tremendously. In short order, synthesizers and drum machines using the Z80 as their engine hit the market, classic and very influential hardware like Sequential Circuits’ Prophet 5 and Prophet 10 polyphonic synths and Drumtrax drum machine, the Roland Jupiter 8, the Oberheim OB-8 polyphonic, the Memory Moog, Roland MC4 Microcomposer / Sequencer,  the Moog Source, the Akai 2700, and others.

The second groundbreaking technological advance was the creation of the Musical Instrument Digital Interface (MIDI) standard in 1983. Prior to it, synthesizers and keyboards could inter-operate only by an analog electrical standard called CV / Gate (for Control Voltage), and there were two competing incompatible implementations, one followed by Sequential Circuits, Moog, and Roland, and another by and Korg and Yamaha. Dave Smith of Sequential Circuits and Roland’s Ikutaro Kakehashi collaborated and released the standard into the public domain, the invention of which would have possibly made them billionaires today if they had tried to patent it themselves. The MIDI interface allows practitioners to interconnect all kinds of electronic equipment, synths, drum machines, samplers, effects units, drum machines, even light shows – the list goes on and on.

The third significant influence is sociocultural. As a backlash to the indulgent excesses of the progressive rock era, with its overly produced sounds, punk rock made its debut in the late 1970’s, followed by its cousin New Wave. This created some breathing room for electronic experimentation that had not existed before. Building upon the disco sound, today’s dance music can also be heard in its synth-pop forerunners of the late 1970’s and early 1980’s.

Dan Sicko documents this in his treatise “Techno Rebels – The Renegades of Electronic Funk”:

“One could hear New Wave’s offbeat and eclectic ingredients working themselves out in Detroit’s early electronic records, where groups like Human League, the B52’s, and Visage were reconciled with Eurodisco, the midwestern funk of George Clinton, Zapp, the Ohio Players, and subconsciously, the Soul of Motown.”

The last influence to mention is nothing more and nothing less than a historical and serendipitous accident of immense proportions.

In the early 1980’s, the Roland Corporation released two compact electronic music boxes: the TB-303 Bassline synthesizer, and its companion TR-606 Drumatix drum machine, which could be synchronized together by a 5-pin cable which was the forerunner of the MIDI cable. These were explicitly but ineffectively marketed to rock guitarists, to provide a rhythm section for them to practice with alone.

It was not long before this was recognized as a complete commercial failure. The drums of the TR-606, well, being analog electronics, just didn’t sound like real drums. And neither did the mechanical sounding electronic bass of the TB-303 sound like a real electric bass guitar. Scores of TR-606’s and TB-303’s hit the pawn shops. This was to have wholly unintended and unforeseen consequences.

From a 2002 article in Wired magazine:

“Earl “Spanky” Smith picked up a 303 in a Chicago secondhand music store and took it back to his place, where his musical partner, Nathaniel Jones, tinkered with the box. Jones, who was beginning to DJ under the name Pierre, played with a row of knobs – Resonance, Decay, and Cut Off Freq – for adjusting the bassline; the controls were meant to be set, then left alone during recording or rehearsal. But Pierre programmed a bassline, hit the Run button, then cranked each of the knobs to its upper limit as the bassline was playing back. The 303 reacted with a piercing, almost obscene screech.

“Spanky was saying, ‘Keep doing it, keep doing it!'” Pierre remembers. “It wasn’t meant to squeak and squeal and all that kinda stuff. We just knew it sounded weird and energetic and funky. We thought, ‘Wow, this thing is really a jolt of lightning!’ So we taped it and took the tape to [legendary DJ] Ron Hardy’s place, the Music Box. We played it, and by the third time people were going crazy.”

Though they didn’t know it at the time, by adding the warped, druggy 303 sound to then-standard club beats, Pierre and Spanky had invented a new genre of dance music: acid house.

In no time at all, electronic and dance music trailblazers in Chicago and Detroit were picking up these boxes at the pawn shops for pennies on the dollar, as they began the popularization of this wholly new type of music. They found a music fanbase who reveled in the sheer artificiality of those sounds! Today, those same boxes sell on ebay for as much as ten times their original 1982 dollars.

Roland ceased production of the TB-303 many years ago. But its recognizable squeaky squawky sound lives on in many, many hardware emulations and sampled sounds. In fact, Roland recently introduced machines which use digital emulation of the TB-303’s analog sounds, the TB-3 Bassline and a lookalike clone, the TB-03 Bassline. Other firms such as Cyclone Analogic, Abstrakt Instruments, Analogue Solutions, and x0xb0x manufacture clones, and how well they replicate the sound of the original Roland TB-303 is a subject of endless debate in facebook synthesizer group forums.

As far as drum machines go, Roland at about the same time extended upon the TR-606 by releasing the TR-808 which was a big improvement with its multiple audio outputs for the different drums, and the TR-909, which was the first drum machine to implement MIDI.

These four machines were pivotal to the evolution of disco into the multiple electronic genres of dance music. And their sounds carry on through today. In fact, there are those music critics who contend that the manufacturer and model of music hardware used is essentially indicative of the genre of electronic music being produced.

The Early Bloomington Experimental and Electronic Scene

Bloomington has a heritage of experimental music going back nearly forever.  In the mid-1970’s an avant-garde band called MX-80 used no synthesizers, but did use their dual live drummers and electric guitars in such an unusual and eclectic way that they (nearly) defied description during that heavy-duty rock era. Self-proclaimed fans of musical anarchist Captain Beefheart and Frank Zappa, they were alternately characterized as art dada, proto punk, or perhaps most accurately of all, acid punk. Their music was so out of the mainstream rock at the time that no music club in town would book them, and they faced the ignominy of performing multiple times only at the auditorium of the Monroe County Public Library.

Thus locally unappreciated if not downright scorned for their ahead-of-their-time sound (their dual drummers presaged the multiple drum machines now prevalent in dance music), they headed out to greener pastures in San Francisco, where they hooked up with kindred spirits Tuxedomoon and The Residents, both of whom are still actively making music today. Continuing to use traditional rock instruments, but adding a healthy mix of electronic effects and synths, they pushed the envelope of experimental synth-punk.

The Residents, in particular, explicitly stage in-your-face anonymity into their act, as their live appearances and album covers always feature them wearing giant eyeball heads, a performance meme that is also used to great effect by the French dance band Daft Punk, who hide behind Schwarzenegger de-fleshed Terminator style robotic costumes, and even Bloomington’s own Shy Guy Says, who uses a giant round-eyed emoji as his visual persona.

But the most significant roots of the Bloomington electronic scene are traceable back to local electronic enthusiast Mark Kunoff, who started a Bloomington Electronic website in 2010 which was active through early 2015, when it was overtaken by its companion Bloomington Electronic facebook page.  Bloomington Electronic was a virtual meeting space for the community’s electronic musicians to congregate, collaborate, and publicize their (rather limited) number of shows. During these early years, unlike today, live acts predominated over DJ acts, although DJs were also welcome. Interviews with local performers were prominently and regularly featured.

Under the brand Speed of Sound, Bloomington Electronic sponsored quite a number of shows at the Bluebird, Back Door, the Root Cellar, and the now defunct Rachel’s Café, featuring acts at the time like Shy Guy Says, DJ Flourish, Beauklu, Dioxin One, DJ Gigante, Ersatz Modem, the Audiodics, and many others.

The music was Drum ‘n’ Bass (DnB), Dubstep, Experimental, Ambient / Drone, House, and various amalgamations that defied any single genre.

This early trailblazing, mostly by live acts, slowly but steadily gave way to the “Electronic DJ”, most of whom emphasized more “danceable” beats as opposed to “experimental eclecticism.”

They were able to build upon the continuity of dance music in the LGBTQ scene.  A bar called Bullwinkle’s (so-called because it was ensconced in the former Moose Lodge building) held a consistent program of DJ’s playing dance music throughout the 80’s, 90’s, and beyond. Bullwinkle’s was located beneath the alt-rock, New Wave, punk club Second Story, but both closed in 2006.

More than one local DJ and live performer challenged this writer’s initial contention that beyond this historical niche the DJ scene had no significant presence in Bloomington 18 months ago, but in fact had been percolating for quite a while.

DJ Angst, who has a strong preference of House music, explained “There has been a lively dance music scene for the past five years. When we started back in 2011 it was definitely a little quieter with less events, so our Riot Bootique event was pretty unique, but we always drew a great crowd and had some really big parties. What has definitely changed is the number of DJs and the number of events.”

DJ Troll confirmed that the scene has really taken off the last couple of years: “I started DJing about 18 months ago. I think that inspired new up and coming DJs to go for it and start planning shows. It honestly could have been one of those, “If he can do it so can I,” situations. I have noticed the amount of local DJs at least tripled since I started.”

MADDOG agreed: “The electronic scene in Bloomington has always been here. That’s the beauty of this town. There is music here for everyone of every genre. You just need to look for it. A lot of my inspiration for doing what I do came from watching friends perform at house parties and what used to be The Jungle Room in the early-mid 2000’s. Guys like Action Jackson, Sleepy T, Phnm, Flufftronix, Figure, and Wally Wonder who have all gone on to make names for themselves outside of Bloomington. I spent my late teens-early 20s watching these dudes and just being in awe of them. It wasn’t until I got a little older and more confident in myself as a woman that I realized this is something I can do too.”

Bad Psychic recalled: “I remember going to my first “rave” at the Hotspot (where Btown Diner now resides) in ‘97 or 98’. The scene here in the US was really taking off then. That place was always busy and would draw kids from all over the Midwest sometimes to see a specific DJ. Of course the scene is not the same as it were back then, but I’m happy to see it’s slowly come back in the past decade or so.
“Well when I started Bad Psychic 4 years ago, I was playing shows with Ray Creature all the time because they were the only other band in town doing something similar to what I was doing. I’ll never forget when Natascha Buehnerkemper Jacob (drummer, vocals for Ray Creature) pulled me aside as I was working at The Runcible Spoon and introduced herself to me. “Hey! Are you Bad Psychic? I’m in the band Ray Creature and I live in a house called Butt Temple. Do you wanna play a show with us there some time?” It was the kind of classic Bloomington interaction I live for. There was also Dust From A Thousand Years, they’ve been playing in Bloomington a long time. Also Hunter Child and Drekka. And then there were the noise dudes of the Artifex Guild/Auris Apothecary realm (Dante Augustus Scarlatti, Lather, Noon, John Flannely, etc) who messed around with electronics. That was over 4 years ago. But I would agree that lately electronic music has been taking off more in Bloomington, which is exciting to see.

“Also around that time, Amy Luxenburger was doing this incredible project called Amy & The Dancebox. She recorded her songs with Jon Booth of Ray Creature in 2014. Her album, Good Report Card, is perfect and so touching. She wrote the whole album on a Casio keyboard with her friend Catherine Jewett singing harmonies. She passed away not long after the songs were recorded and we’re all so lucky to have her songs preserved, to have this memory of her.”

Another DJ, Sweater Disco, also challenged the contention that the recent spate of electronic dance events is a new phenomenon: “That’s absolutely false, dance music has had a place in the underground Bloomington scene for quite some time. A friend of mine, who’s also an audio engineer/live-sound engineer in town, has been around for several years (more than 4) and has told us stories about large warehouse parties, and dance music events that have evolved and been thrown for years.

“A promoter/friend in Indianapolis has also commented on Bloomington’s history of dance music, referencing loft parties and warehouse parties, similar to what I’ve heard from other older dance music fans. I remember hearing about shows at Dunnkirk and the Bluebird (2012-2014ish?) with huge national acts like Zeds Dead, Kill the Noise, DJ Craze, RL Grime, Baauer, and Boyz Noise. The Bluebird even had Bassnectar headline there in 2010, and Deadmau5, Feed Me, and Le Castle Vania did an impromptu show there in 2011 after a rained-out show in Bloomington.”

“I would say that dance music “took off” (became more visible in this generation of students’ college culture) about one to two years ago, mostly due to frats picking up on EDM, and more college kids coming to school with some DJ experience already.”

Another DJ, Danger Latte, confirmed the increase in popularity lately: “Yea! It’s pretty crazy, it’s like we all came from nowhere all around the same time. My journey started while living in Chicago, when I discovered house music by going to street festivals and warehouse parties. After moving back to Bloomington the obsession with the music grew to the point where I felt like I had no other choice than to start DJing in the fall of 2015. Later that year I discovered Techno, which grew into an even bigger obsession, especially when I realized that it was a seldom played genre at most venues in Bloomington.”
A live act going by the stage name of FIIT still sees the local electronic scene in its early stage: “Locally to Bloomington,  EDM (Electronic Dance Music) is still very fresh. When I first started performing live (summer 2015), I was not aware of any other pure electronic dance oriented acts. A lot of my first FIIT shows were in basements of houses often booked with rock acts that may have included electronic elements into their music with a synthesizer or a drum machine, or booked with experimental live PA (aka Personal Appearance) acts. The setting of these venues was fine, but they did not stimulate a dance atmosphere. Since Acid/Techno is a dance music, I was on the search for a better space and acts with similar intentions. This is about the time I met up with a group of local DJ’s (Body Mechanics) that were playing Acid/Techno music in their sets and at a particular club (Root Cellar). They put me on a few of their shows as a live act and it worked out perfectly.”

The Electronic Scene in Bloomington Now

There was a time when FM radio was the primary conduit to introduce new music to a community, but local radio stations no longer satisfy that function, though there are a couple notable exceptions.

Community radio WFHB has a Dance Music program called Beat Party, every Saturday night from 10 pm to midnite. Featuring four or five DJ’s that rotate on a regular basis, like Goodhands, Deejayspikes, Slique Monique, Dancin’ Don, Zeitgeist, MADDOG, and Mark. WFHB’s Program Schedule, available on their website, has a place to click on the DJ’s name and see their playlists for all of their recent broadcasts, a very good resource if you’re trying to associating musician names with music.

MADDOG explains: “Beat Party is pretty unique – there’s no rules really. You’re not restricted to EDM, House, or Hip Hop. I know I personally like playing late 80s – early 90s House and Club with some late 90s – early 2000s Trance. But if I can squeeze in some World music or Afro/Latin/Brazilian beats then I do.

“I know some DJs on the show are more Urban or Hip Hop based while others are more dance or club oriented. I don’t think it really matters as long as it makes you move. That’s kind of the great thing about WFHB and Local Radio in general – you can tune in whenever and always get something different. It’s not like tuning into a Top 40 station where you kind of always know what you’re going to get.

“EDM and dance music have become much more mainstream in the past few years. So I would think there is some cross-over in ‘sound’ you know what I mean? With mainstream radio and my sets on and off WFHB.

“Also as a DJ you get a lot of ‘requests.’ It’s not something that I condone but people kind of think that’s a thing you do – go up to the DJ and ask them to play your song. You hear that line in music all the time ‘Hey so and so DJ play my favorite song!’ so I think people kind of think that’s a thing. But what I’m getting at – is because of that – at the club I’ll sometimes play something that is a little more well known that you may hear on popular radio or MTV (if people still watch that ha!) People kind of freak out if they don’t hear Beyonce. So for instance if I’m at The Back Door or another “dance club” I may throw in a top 40 remix here and there to keep people engaged.

Indiana University radio WIUX (99.1 FM) likewise is another place on the radio dial. Though there is a fair amount of IU sports “talk radio” and a concentration of college radio “indie rock,” you’re far more likely to encounter electronic or dance music here than elsewhere. The signal is not powerful, so its range is limited, but it reaches through most of Bloomington proper.

WIUX Event DJ Director Ethan Brown has a program called Inbound, Tuesdays 8 pm – 10 pm, which features predominantly house and dance music. Also, WIUX sends representatives to some national electronic music festivals, with website coverage via reporter’s narratives and some musical excerpts. Recently Moogfest 2017, Durham NC, and Movement 2017 – Detroit Electronic Music Festival have both been covered in considerable depth, with lots of reviews.

Aside from these local exceptions, those looking for dance music airplay turn to alternatives like Spotify, or music Soundcloud or Youtube url’s passed around on facebook. Those who have Sirius XM satellite radio receivers, increasingly popular options on autos, can find four channels of interest. They are BPM (Channel 51), Electric Area (Channel 52), Chill (Channel 53), and Studio 54 (Channel 54.) An Internet streaming option is also available with Sirius XM.

Which brings us to how in Bloomington the dance music scene is primarily a club scene, rather than a radio scene. One can find these events even in home basement venues, via the Bloomington House Show Network facebook page. These are mostly too numerous and erratic to discuss in depth.

That leaves us with the club scene to cover. The first installment in this series, published last month, did this from the point of view of the club owners, managers, and booking agents.

But now let’s put the audience first, front and center.

Not to take the obvious for granted, they were asked by The Ryder at a number of recent events: “Uh, just why are you here?” Here are a sample of their responses, nearly all of the attendees in their early to mid-twenties.

John: “I like the energy. It’s a diverse crowd. Anybody can dance with anybody. I go out at least every couple weeks.”

Matt, wearing a Chicago Cubs sweatshirt: “I like the looseness – the absence of rules. Everything feels free. I don’t like music out of a jukebox – I want to see a performance!”

Kendra: “There’s complete freedom of expression. You can be anybody you want to. Nobody asks questions, because nobody cares what you do with the rest of your time. Music drowns out a complicated world – and we can all connect. The main point is – it’s all good! There’s a beat we can all get on with – all of us together! To have a good time! I try to go every week.”

Mariah: “I like going to the festivals too, and not only electronic ones, but also like the Rothbury Music Festival.”

Emily: “It’s not just couples dancing. It’s everybody going with the flow. It’s PLUR – Peace, Love, Unity, and Respect. And acceptance. Everybody is so nice – nobody is mean. Why, even uptight people can be comfortable with this dance music! Why, just look at them go – you just can’t make a fool of yourself!”

They mentioned attending with friends, but also meeting lots of new people too. They also contrasted the scene with what they saw as negative aspects of some of the “collegiate” hang-outs: “Some places, all the guys want to know is what sorority you’re in – that’s just too much like a clique! Nobody asks you that here! And people are nicer besides.”

Now to move on to interviewing one couple – as a couple. See if their answers were any different. Not really. Their names were Max and Ally. Max was wearing a Napoleon Dynamite t-shirt.

Max and Ally: “We go out once or twice a week, usually on weekends. Sure, our circle of friends like this music too and we often find out about events from them, but going to these events is how you make friends too. We usually learn of happenings via facebook. We sometimes go because we like the club but also sometimes because we like the DJ who is playing.”

Now at first glance there’s not much different here than what was present at the Summer of Love 1967 in San Francisco, or Woodstock, or Monterey Pop – but peel one layer away from the onion and there is one very, very important difference: The drum machine does not get tired. It does not stop. It keeps perfect time. And it does not miss a single beat.

It’s impossible to overstate the significance of this and its consequences.

Danny McKinley of the Root Cellar touched on this when he said, echo’ing one of his mainstay DJ’s: “DJ Angst said it best, ‘When it comes to EDM / electronic music: the vibe, the performance, the audience, the dance, the party will go ALL. NIGHT. LONG.’”

That’s right. The performances feature non-stop, seamless transitions from music segment to segment, the whole night long. There’s no lead vocalist announcing, “OK, we’re gonna take a fifteen minute break and then be back to play another set.”  There’s no interruption when one band leaves the stage and the next one comes on. There’s no occasional slow, sappy ballad to give the musicians a bit of rest before they return to their frenetic rockin’ pace. There’s no narrative interlude with the obligatory and now overused, “Hey, Bloomington, we love ya and let me introduce the band!”

Once the DJ, or the live act, presses the Play button on the first of dual DJ decks, or the sequencer, there’s no stopping until the night is over and last call for drinks has been announced. Dual decks, whereby the DJ cues up the next tune, matches the beat together with the one already playing, sees to that. One after another after another. And the dual decks allow one DJ to leave and another to come on smoothly.

Paradoxically, the freedom of expression, the feeling of equality, the connectedness of it all, which those interviewed all articulated, is actually a recognition of their submission to The Beat.

When you’ve got the groove on, nothing else much matters. And The Dance is as much a ritualistic subservience as it is an expression of self identity or group solidarity. Sure, you can wear a lizard costume as a couple of dancers did at the Video Saloon, or dress up like a peapod as did one dancing fool enthusiast at Player’s Pub, but you’re still a slave to the master clock resident in the electronic hardware.

Give yourself over to the music, and the music will set you free.