Your Reader Tips are, as always, welcome in the comments.

Your Reader Tips are, as always, welcome in the comments.

Welcome to the Wednesday (EBD) SDA Late Nite Radio.
Recently there’s been a bit of a behind-the-scenes scandal at the LNR studios: one particular commenter, Loretta, claims that another commenter – let’s call her “Carol” – has been boasting about having an affair with Loretta’s husband. A rather steamed Loretta writes, via email,

“She’s absolutely full of it. When my husband picks up trash, he puts it in a garbage can. And that’s what Carol looks like to me – pitiful trash. If she comes anywhere near me I swear I’m going to grab her by the hair and lift her off of the ground.”

“I’m not saying my husband is a saint – ’cause he ain’t – and that he won’t flirt with other women. What I am saying is that if Carol doesn’t back off I’m going to show her what a real woman is. She thinks she’s hot stuff? Well, if she’s got the guts, she should say to my face all this stuff she’s been saying to other people.”

“She’s been boasting about this supposed mutual attraction between her and my husband; well, mark my word, if she doesn’t shut up she’s going to find herself on a one-way trip to Fist City.”

I felt it was in the interests of public safety to publish the warning. Now, leave me out of it.
The thread is open for your Reader Tips.

Your Reader Tips are, as always, welcome in the comments.

Your Reader Tips are, as always, welcome in the comments.

Good evening ladies and gentlemen, welcome to SDA Late Nite Radio. Tonight, for your delectation, here is the oldest symphony orchestra in the world, the Leipzig Gewandhaus Orchestra, performing Johannes Brahms‘ Symphony N° 3, II, III, & IV, in F Major, Op. 90, Kurt Masur conducting, from the Glasgow Royal Concert Hall, in 1991 (33:30). This is, I think, overall, an excellent performance and presentation: audio, video, & production. (It’s also nice to see an audience that knows how to wait for a tune to properly end before applauding.) If you’re short of time, you might like to start reception of this transmission at the beginning of part III, and then, of course, things really take off in part IV.

Your Reader Tips are, as always, welcome in the comments.

Your Reader Tips are, as always, welcome in the comments.

Your Reader Tips are, as always, welcome in the comments.

For those who have been following our series of photographs about SDA Late Nite Radio, including our studio, transmitter, maintenance shop, and Mrs. Clarence Upton listening to our show in Bueler, Iowa, here’s a photograph of the new equipment we’ve acquired in order to deploy the “boxed apothegm” SDA LNR feature we’ve recently introduced, as shown above. The spittoon in the photograph is, of course, standard equipment.

Your Reader Tips are, as always, welcome in the comments.

Welcome to the Wednesday (EBD) SDA Late Nite Radio.
In The Adventure of English, Melvin Bragg’s fascinating and highly-readable book about the origins of our language, the author describes how an English speaker who hears someone speaking in Frisian, our nearest ancestral language, may get an odd, persistent feeling that he is this close to understanding what’s being said. Many of the words are almost identical (“goose” is goes, “butter” is buter, “sleep” is sliepe, “sea” is see, “cheese” is tsiis, and so on) but are simply pronounced a bit differently, and in that sense, he notes, Frisian is not so very different from England’s regional Geordie dialect, for example, and only slightly less comprehensible.
Stanley Unwin, tonight’s featured performer, was a British comedic actor with a peculiar and artful talent for speaking in a way that left listeners similarly hovering on the edge of comprehension. His unusual word constructions all sounded vaguely familiar, and he was so reassuringly English in his mannerisms and delivery that listeners who – inevitably, and by design, of course – could never quite parse the always convincing-sounding point he was making always felt that the shortfall must be their own fault, and that they would surely understand him if only they listened a bit more closely. Unwin traced the origins of his “strange but strangely comprehensible lexicon” to the day when his mother, who had tripped on the way home from work, told him that she’d “‘falolloped’ in front of a tram and grazed her ‘kneeclappers.'” His own use of language would later show that same sort of Joycean creativity: Elvis “wasp-waist and swivel-hippy” Presley, for example, was “tilty hibbers’n stick out the torso’n wobble both knee-clappers’n singit…”
Tonight’s selection, from the British film Carry On Regardless, is an excerpt of a scene in which Unwin’s baffling argot results in him being mistaken for a job applicant when he is in fact the business’ landlord trying to tell the owners that he has found another tenant. Watch the hilarious facial expressions of Miss Cooling at 2:37, as she hovers in a state of mild, diligence-induced torment: she doesn’t have the first clue as to what Unwin is saying, but his tone and cadence and and intonation are so eloquent-sounding as to leave her troubled by the possibility that he is speaking quite comprehensibly, and that she’s just not picking up on it – a self-doubt surely validated by Kenneth Williams’ character’s casual ability to precisely restate Unwin’s – apparently clear – position.
Here it is then, for your amusement: Stanley Unwin baffles the Carry On Team.
The thread is open for your Reader Tips.

Good evening ladies and gentlemen, welcome to SDA Late Nite Radio. Tonight, for your delectation, here are Louis Katzman and Whittall’s Anglo-Persians performing the original Charleston in 1923 (2:57), Vocalion pressing #14686. As far as I know, this recording antedates any other available versions of this song by two years. The introduction song on this pressing is Old Fashioned Love.

Your Reader Tips are, as always, welcome in the comments.

Your Reader Tips are, as always, welcome in the comments.

Your Reader Tips are, as always, welcome in the comments.

Good evening ladies and gentlemen, welcome to SDA Late Nite Radio. Tonight, for your delectation and pursuant to our ongoing exploration of their works (previously: Vicious Games, Desire, The Rhythm Divine, Of Course I’m Lying, & Lost Again), here are Dieter Meier and Boris Blank, as the Swiss band Yello, with guest Billy Mackenzie, performing Capri Calling ¤ from their Baby album, in 1991 (audio, 2:52).

It’s the time, Of April snows. And how it shows, In Hannah’s eyes. Calling she’s calling, Calling each midnight. Take me to new heights, Falling I’m falling. A secret power, Sweet with surprises. Leaves no disguises, When you feel pure.

It’s the time, Of April snows. And how it shows, In Hannah’s eyes. Time and she’s calling, A pool of thought. I sometimes call, In Hannah’s eyes. I hear her calling, Calling she’s calling. I hear her calling, In Hannah’s eyes.

Your Reader Tips are, as always, welcome in the comments.

Good evening ladies and gentlemen, welcome to SDA Late Nite Radio. Tonight, for your delectation, here are Roy Buchanan (a pioneer of the Telecaster sound, with his pinch harmonics technique) and Albert Collins (with his additions thereto of minor tunings and sustained attacks), and the band (of whom which I lack further information, my apologies), performing Further On Down The Road ¤ (8:31) in some unknown space & time. It is neat, I think, to be able to hear these guys workin’ together, in light of their rôles in the now classical evolution of music through the era of its introduction to the electronic dimension.

“Gospel, that’s how I first got into black music.” — Roy Buchanan

Your Reader Tips are, as always, welcome in the comments.

Welcome to the Wednesday (EBD) Late Nite Radio.
Every note of music, every voice that ever stirred the air prior to advent of the earliest sound-recording technology is gone forever. No one will ever hear Chopin playing his nocturnes, or an ancient Greek bard singing of the exploits of the gods as he strums his lyre, or hear the ringing voice of an 18th century Scottish balladeer. Because of a unique confluence of particular circumstances, though, tonight’s featured performer moves the line back – just a bit – and provides a tantalizing window into the pre-recording era sounds of mid-19th century American music.
David Harrison Macon was born in 1870 in Tennessee, the son of a distiller and former Confederate civil war captain. When he was 12 his father purchased Nashville’s Broadway Hotel, a famous hub for an assortment traveling minstrels and vaudevillians, where Macon would soak up hundreds of songs and lyrics and styles from older performers, some of whom had been playing their songs continuously since well before the civil war. After his father was stabbed to death the hotel was sold, and Macon began his 30-some year career as a muleskinner. Hauling goods between the towns of Woodbury and Murfreesboro, he always had his banjo with him as he sung to his mules and entertained passersby. By the time the voluble, musically deft and wisecracking Macon entered an early studio for the first time when he was in his mid-fifties, he was a real-life character, first and foremost; his recordings weren’t carefully-scripted studio creations but rather a documentation, replete with foot stomps and shouts and hollers, of a lifelong entertainer whose sensibility and music had been forged in an earlier era.
This wisecracking, entertaining, human-jukebox known professionally as Uncle Dave Macon takes us as close as we will ever get to hearing the sounds, styles and mannerisms of the US civil war-era music. In this 1926 recording mash up of “A-Monday Was My Courtin’ Day” and the 1844 song “Old Grey Goose”, he avows with a wink that he won’t get drunk no more Way Down The Old Plank Road.
You are invited, as always, to provide your Reader Tips in the comments.

Your Reader Tips are, as always, welcome in the comments.

 
Your Reader Tips are, as always, welcome in the comments.

Good evening ladies and gentlemen, welcome to SDA Late Nite Radio. Tonight, for your delectation, here is Mr. Evgeny Kissin performing Sergei Vasilievich Rachmaninoff‘s Prelude, Op. 23, N° 5 ¤, in G minor (3:45). Fans of Rachmaninoff or this Prelude may wish to visit our September 15, 2008 SDA Late Nite Radio show, where we featured Sviatoslav Richter’s version thereto, and some interesting quotes from Rachmaninoff and Richter.

Your Reader Tips are, as always, welcome in the comments.