Kraftwerk @ MOMA!


Don’t get excited–I didn’t exactly see the performance. But a couple of weeks ago, I walked into the Museum of Modern Art (MOMA) in New York City with some friends, and BAM! I saw a huge display with their name on it! I was so amazed that my embarrassed companions had to sit and wait until I calmed down!

It was the space in which would be held their upcoming, rare, performance (sold out, of course) right there. At the museum.

Coming so soon after I’d made my blog entry on my Kraftwerk memories and a rare online interview I found with Ralf Hütter, can ya blame me for believing that this was all because of me?

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Back to Mono


Funnily enough, it’s guys named Kevin who have introduced me to music. When I was growing up, it was my nephew Kevin; when I was grown, it was my dear friend Kevin. When the Kevins bring the music, I just open my mind… because their minds are open, I guess.

Recently I was hanging out at my friend Kevin’s place, and he played some ’50s/’60s music–which I didn’t know he even liked–from his Phil Spector Back to Mono boxed set. As we listened, I sang along to every song that came on: To Know Him is To Love Him, Corrine, Corrina, Spanish Harlem, Pretty Little Angel Eyes, I Love How You Love Me, Uptown, He’s a Rebel… Because this was the music I grew up on.

Of course, I’d first heard these songs on radio. Even for a kid, they were pretty easy to pick up: two listens and you’d have it memorized. It also helped that they were usually about love–teen love, unrequited love, hopeful love–and since I was a mushy kid, they were right up my alley. Plus, those suckers were so short–a little over two minutes. And there was kind of a formula: two verses, a part in the middle (when I got older I learned that that was called “the bridge”–thanks, professor James Brown), then one more verse, and it was done.

(That under-three-minutes radio format changed with one song: Love to Love You Baby by Donna Summer. When it came out in 1975, there was much controversy about the song, because it was extremely risqué for the time, what with ol’ Donna moaning in ecstasy over and over. But what was really, truly shocking, was the length of the song. That’s what everyone talked about the most: “Oh snap! Did you hear that Donna Summer song? It’s SIX MINUTES LONG!”)

As for my enjoyment of that ’50’s music, get this: a few years ago I was hired to copyedit the book Doo-Wop: The Music, the Times, the Era by Bruce Morrow and Rich Malouf (plus write a few quick chapters myself). Coincidence? YOU decide!

doo wop cover

No, those ain’t lipsticks… they’re cool car headlights

doo wop acknowledgement page

“Cousin” Brucie’s acknowledgement page, mentioning me!

So tell me, dear reader: in your radio-listening history, what’s the format change that affected you the most?