SAMPLE Fall 2015 by KWUR 90.3 fm

Fall

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table of c 1 Fall 2015 Schedule 9 Cool New Jazz & Folk Albums 10 Top 5 Nature Sounds African Curiosity 11 Pro Anti African Request Selective Review of 14 AWash U Restrooms

15 DJ Spotlight: Ethan Jaynes 18 Recipe for Quiche 19

Crate Digging: A Brief Journey Through the Psychedelic Samples of Madlib

contents 21 Respect Our History 23

Immediately Before His First Radio Show

25 Paperhouse Interviews the 27 KWUR Quartetto di Cremona

34 MD Jerikâ&#x20AC;&#x2122;s Fave New Releases 35 Melting the Ice 38 Top 10 Hip-Hop Albums of 2015 39 Songs from the Black Hole

Exec 4

Fall 2015 Schedule Sunday 8am-9am 9am-10am 10am-11am 11am-12pm 12pm-1pm 1pm-2pm 2pm-3pm 3pm-4pm 4pm-5pm 5pm-6pm 6pm-7pm 7pm-8pm 8pm-9pm 9pm-10pm 10pm-11pm 11pm-12am

The Hammock Hour Carpet Lessons Cum Back to Realiti Me Time Flying Fantasies If You’re Feeling Sinister Spaghetti and Meepos Fragical Mystery Tour Lady Daydream Earthling Report Aural Sex The Department of Homeland Obscurity Maddest Tacos KWUR Community Broadcast poppy disk Axon Terminal

Monday 12am-1am 9am-10am 10am-11am 12pm-1pm 1pm-2pm 2pm-3pm 3pm-4pm 4pm-5pm 5pm-6pm 6pm-7pm 7pm-8pm 8pm-9pm 9pm-10pm 10pm-12am

Full House w/ Danny & Tanner Mis Pijamas supple queefs <3 sad po’ boys club the fabian society relish in this anguish Loose Kannin Mystik Spiral The Red Coats Are Coming B.O.A.T.S. Odd Logic Let There Be Jazz I Dream of Meme Fine Exotic Materials

wave n/a w~a~v~e anything wave/electronic wave indeh wave/prog/rock chitchat and storybooks wave smokey beats electronic/hip-hop wave/folk/world/good eclectic hip hop, electronic, experimental, metal, indie rock, classical, jazz, fo blues, world & its various micro-ge

variety wave “everything except country” whatever i want punk indie/new wave/whatever EDM a bit of this and that... alternative RnB miscellaneous wave jazz jazz and blues primarily funk/jazz/world

song and speech to swing to n/a there was a time when the music would play

keep your head in the clouds Yeezy taught me Oprah’s favorite songs Perfectly Prog lazy sundaze nap time murmurs terrestrial noises the cherry on top beats and bangers angriest Mexican food n/a r&b, my show is like a wine-tasting or cheese-tasting event but olk, with music. you get a bit of everything and you’ll leave enres satisfied.

Eleni Anas

you got it, dude! pónselos let’s share this experience together music curated by yung lean meat we’ll get to the revolution eventually when you hand the weird kid the aux cord two fingers to sky (insert pop culture reference) still playing jams from the Commonwealth beware of all enterprises that require new clothes the worst of the dirty dale take the jazz train elitist music for the common people don’t worry, we brought only the finest exotic materials

Eleni Anas

tuesday 12am-1am 1am-2am 9am-10am 10am-11am 11am-12pm 12pm-1pm 1pm-2pm 2pm-3pm 3pm-4pm 4pm-5pm 5pm-6pm 6pm-7pm 7pm-8pm 8pm-10pm 10pm-11pm 11pm-12am

Trump’s Wig 2016 Soggy Nacho Takes St. Louis Scenes From a Hat Free Time The Campfire Signifier/Signified A Bundle of Blankets The Accidental Radio Show Mx. Psychosis catpowerhour Caffeinated Comatose $pinspirati0n Assorted Fuzz and the Lonely Nipple Seismic Pickles Shively’s Old Tuneshack Creature Feature

Wednesday

12am-1am 1am-2am 9am-10am 10am-11am 12pm-1pm 1pm-2pm 2pm-3pm 3pm-4pm 4pm-5pm 5pm-6pm 6pm-7pm 7pm-8pm 8pm-10pm 10pm-12am

Sleeping Mind waking up the neighbors Radioral Breakfast Fusion TBD Freaking Out the Neighborhood The Cut Pues Nada The American Fearsome Critter Good Evening Vietnam what. The Participation Trophy BATPANDArama Surprise Party

(white) house music wave af wave wave folk/country/alt rock wave star-domed beach human music omnigenre waVe (to your mom, don’t be rude electronic/wave/R&B chillwave wave eclectic/wave wave

cool electronic wave/rock world fusion wave hip-hop/electric hip-hop/footwork wavey blues n bluegrass different theme every week alternative rock sports electronic/hip-hop/rap everything

the only hairdo America needs I’m scared of math as always the points don’t matter “am I right ladies?” welcome to the campfire significantly insignificant hamsters and elder berries boh god how did i get here i am not good with radio problamtizing all your favorite binaries *screams internally* we’re all addicted to something listen to us we don’t sleep exactly what you think the rebirth of the chili mac power hour music for creatures

whatever man cw’s musical Pedialyte it’s going down better than breakfast TBD all the music you’re not supposed to hear you’re in the cut with... venga, tío. backwoods legit this one’s for Patrick keep choppin’ wood very srs business you never know what you’re gonna hear next

thursday 12am-1am 9am-10am 10am-11am 11am-12pm 12pm-1pm 1pm-2pm 2pm-3pm 3pm-4pm 4pm-5pm 5pm-6pm 6pm-7pm 7pm-8pm 8pm-10pm 10pm-12am

Sin Pantalones Delta Gramma Taser Foster Wallace Big Things Salsa Tequila and a Churro hugs not ugh’s The English Breakfast Thom Yorke’s Lazy Eye Kurt Vile Is a Swell Guy Char Lane Beats Donut Emotions Red Sound Wavezzzz Visions of Collisions Mulberry Boxing Gloves

friday 12am-1am 7am-8am 10am-11am 11am-12pm 12pm-1pm 1pm-2pm 2pm-3pm 3pm-4pm 4pm-5pm 5pm-6pm 6pm-7pm 7pm-8pm 8pm-9pm 9pm-10pm 10pm-11pm 11pm-12am

Lampost Accord Nacho Poncho The Great Outdoors Crabgrass Turn Up or Transfer Bruh Swanson’s Swan Dress Songs Sung by Shadows Shut Up and Listen K-War 1 Castles in the Sky of Diamonds Picamás The Triple A Battery Radio Gnome Invisible Shy Guy Show Some Music

wave/alt/indie/other wave wave talk show electronical indical ethereal magi wave wave wavy wave, hip hop wave talk/world hard rock/alternative/metal extreme

alt/indie rock + misc. indie folk wave wave EDM/hip-hop hip hop/edm wave, hip-hop, indie post rocok, math rock, downtemp wave

electronic todo y nada wave various (inc. progressive rock, fusi Korean hip-hop gogo, hip-hop, soul, wave, rock

60% clothed lol i can’t wait for sunrise yoga! BPA-free radio programming, straight to your doorstep alright, this is it Kapadayummm it’s whatever because breakfast is the most important meal of the day best show ever tune in! brought to you by John’s Donuts Walter Benjamin on mic, funky global tunes on waves assorted noise FOREVER

it’s a wonderful life. not. your. poncho. enjoy the great outdoors...indoors grass, sass, and zero class finna get loud and get down bruh I see you America’s channel for everything Sealandic sweet grooves to soothe and move please?

why have a house when you can have a castle remember to buckle your seatbelts electric!; ion) your one-stop shop for Canterbury rock (and more!) it’s not just K-Rap for your enjoyment.

Maddy Underwood

saturday 10am-1pm 1pm-2pm 2pm-3pm 3pm-4pm 4pm-5pm 5pm-6pm 6pm-7pm 7pm-8pm 8pm-9pm

Musica esoterica Happy Hour Mellow Moods With Sammy C Wandering the Desert Rhythm Nation Mild Chaos Bootleg Hour Bougie Nights Manna

classical cosmic jazz, blues, folk, indie, funk folk alternative 80/90sR&B, funk, talk indie/electro/r&b old folk/old rock/old stuff alternative

Derek Schwartz

(mostly) unfamiliar classical music but only cosmos easy listening ~letâ&#x20AC;&#x2122;s watch along the dry lengthening shadows~ two outspoken college kids. nothing can go wrong there. ??? itâ&#x20AC;&#x2122;s banjo time manna you serious?

Cool New Jazz and Folk Albums 1) 2) 3) 4) 5)

The Beyond / Where the Giants Roam by Thundercat The Epic Kamasi Washington Made for Pleasure The New Mastersounds Silver by Fourplay Busted Jukebox Volume 1 Shovels & Rope

DJ Sammy C

Cherry Xie

Top 5 Nature Sounds of 2015:

Eleni Anas

1) Rain 2) Waves crashing in the Atlantic 3) Wind 4) Waves crashing in the Pacific 5) Birds Honorable Mention: Another One â&#x20AC;&#x201C; Mac DeMarco Adam Banker

Pro-African Curiosity Anti-African Request

See... You asked me not to write about Africa I got confused So I wrote about Africa to respond to you Apologies if I bruise your ego with the words I choose Sometimes we miss the cues society looms over our beings and let loose the fires and fiends harboured in our caboose *choo*choo* You,know, in the back of our trains of thought My train is derailed and sorts It carries heavy disgraced reports Scores and scores and scores of stories of ignorance wrapped in scorn The story it seems so long so I’ll dive in and swim or, cause I’m Kenyan, run this in and give instances of when my patience ran thin. Like that time she asked if Kenya is enjoying reprieve from the violent antics, Violent antics? We haven’t seen a war since the country was founded And she’s my international student advisor. Shouldn’t she know this? Saying I’m straight from Africa then asking if I flew in As though being African means I could somehow sprint over the Atlantic I’m tired of explaining my origin, man. DOOFUS You first. Yes, my name is still George when I’m in the sticks, Looking at me weird like my name isn’t really mine unless it has clicks No, I can’t tell you how “Africa” is there are 54 countries, Yes, we learn English. No, not under trees. “Wow, you speak English?!” like its a circus trick and we’re some kind of monkeys. Look, this is the West in the 21st century, so there is no excuse for some of the questions you’re asking. The internet could teach you some things, help you boost your intellectual Amanda Reiter

Eleni Anas

diversity, if only you ever stopped jacking. You always seem to know your facts when it comes to figures and stats of AIDS and Malaria But where were these facts when you asked “In which part of Kenya is Nigeria?” *PAUSE* “In the Souther part,” I felt like answering. Having to constantly hold my tongue was something new to me. But I couldn’t hold it anymore when he asked if the tap water in our capital was sewagey. *MMMMMGGHHH* At the end of my tether, I had to answer accordingly whether I preach it and say to be the bigger person we must always endeavour As a human being one tires of constantly trying to be better. So he had it coming when I looked up and said with as straight a face as ever: We don’t even have tap water. We just drink the warm piss of our clan elders. I told a new friend of mine a friend of mine died at 19.

She replied it’s probably because Kenya has such a low life expectancy. Now I know ours is 63 and yours is in the 70s but how freaking low does it have to be for it to be normal to die as a teen??? So who I am I talking to as I say these things? This is a representation of what we all could be. When it comes to ignorance nobody’s got the monopoly But it all boils down to framing your curiosity properly. This isn’t a PC rant of how I got booboos on my feelings. I’m a tough cookie to crack You can’t break me between the teeth of your misguided readings This is a piece full of questions that are only true So when next you tell me not to write about Africa I’ll respond and say that when I last wrote about Africa I wrote to say Iwa FUCK YOU Iwa

Amanda Reiter

Popularity

Medium

Low

Medium

Low

HIGH

Low

Medium

Location

Bauer

Crow 2nd Floor

DUC 3rd Floor

Ridgely 2nd Floor

January 1st Floor

McMillan Single Bathroom

Olin

Physics Library

Whittaker 1st floor

B-

A-

B+

B-

A+

B+

Ambiance

A wooden bench where you can sit while your friend takes care of business

It’s a 1-person bathroom w/ 1 stall

V Spacious

Full-length mirror

Deep feelings of comfort

Tampons

Special Offers

A Selective Review of WashU Restrooms

FYI the door is nestled between two bookshelves that stand against the wall furthest from the main entrance

You will run into someone you know at least once every 8 times you step foot into an Olin bathroom

Don’t put your coffee on the tiny shelf next to the sink; if ur less than 6ft. tall it will 100% spill onto your head when you try to take it down

Literally have never seen another human in here

If the radiator is on you can lay your jacket on top of it and then when you’re ready to leave the jacket will be all warm and toasty

Comments

by Serena Fang

DJ Spotlight: Ethan Jaynes So you’ve been getting involved with and are helping Gabe Clark get the KWUR Cymbal account up and running. Can you tell us a little bit about Cymbal and how KWUR’s involvement with Cymbal is important for our mission and responsibility of providing an alternative media outlet to what is normally heard and listened to on the radio? Cymbal is a new music-oriented social media app that was started by a couple of Tufts grads. It’s sort of like Instagram for music—you post a song you like, and other users can listen to it, like it, comment on it, etc. I started a personal account a while ago and really enjoyed it. At a KWUR event, I started talking to Gabe about the app, which he had heard about, and we both agreed that it could be a great way for KWUR to

expand. By posting songs that the DJs and directors are enjoying, KWUR is able to establish an immediate, interactive connection with listeners. There are no big companies involved, no vetting system in place—all the music we’re sharing is stuff we genuinely love or find interesting. It’s a terrific way to share music that wouldn’t normally be heard through typical media channels. There is already a thriving community of college radio stations featured front-page by Cymbal, and Gabe and I are in the process of getting KWUR verified and up there for the community to see. What are some music groups/musicians that you would tell the KWUR/WashU community at large to keep on the lookout for in 2016?

Amanda Reiter

As for big acts, I hope to be hearing from Kanye and Radiohead soon. I’m very excited for Bowie’s new album as well, and I’d be on the lookout for releases from Animal Collective, Death Grips, James Blake, Tindersticks, and Tortoise. I wouldn’t be surprised if we saw some random album drops, that’s been in vogue these days. As for up-

Amanda Reiter and-comers, I could see Pile making a Would you rather be a gif or a meme? And breakthrough if they put out something why? that tops their last full-length. If Hellfyre Club keeps releasing projects I am a meme, I have no choice. at the rate they’re going, they’re bound to get bigger. My personal wish would be Nick Machak for Phil Elvrum to put out a new album. What’s a good song to listen to at 3:30 am? “Idle” by Spooky Black. Or “Washer” by Slint. I just kinda made a playlist for this. I was actually up last night at that time and I was listening to Sunn O)))’s Black One. So that too.

Cristal Thomas

Calla Ho

Recipe for quiche:

â&#x20AC;&#x153;A quiche is like a fancy omelette that you can eat all weekâ&#x20AC;? -Anya Venezia

1) Buy pie crust, 4 eggs, 2 cups milk, cheese, vegetables, salt, pepper 2) Preheat the oven to 350 degrees 3) Mix the eggs and milk together and add some salt and pepper; cook the vegetables 4) Put vegetables and cheese in pie crust, then pour egg mixture. Sprinkle some more cheese on top. 5) Bake for 40 minutes. 6) Eat the quiche Anya Venezia

Crate Digging: A Brief Jour Psychedelic Samples of Mad

Who is Madlib?

is also one of the most eclectic and diverse in the world. There is no better way to get a feel for the exotic and rare records Madlib has been listening to then by checking out the songs he sampled for the vast amount of beats he has made. Perhaps by listening to some of the tracks Madlib used to make his lush and psychedelic beats, we can Born Otis Jackson Jr. in Oxnard CA, begin to understand this eccentric producer Madlib is a prolific producer who has composed beats for rappers ranging from who has created some of the best rap music Freddie Gibbs, to Mos Def, and MF Doom. everrrrrrr made. True understanding of this He also raps as high-pitched, cartoon alter elusive legend, however, we may never find. ego Quasimoto and even makes hip-hop influenced jazz music as “Yesterday’s New Quintet”. But first and foremost, Madlib is Quasimoto – Come on Feet, Samples a music aficionado with a record collection Alain Goraguer – Ten et Tiwa he claims weighs in total over four tons. The song Ten et Tiwa comes from Madlib’s record collection is not just big; it the soundtrack of the strange 1970s French animated film Fantastic Lootpack – Answers, Samples Lee Planet. This mind-bending movie Mason & His Orchestra – Shady has heavily influenced the artistic Blues direction of Quasimoto, Madlib’s bizarre high-pitched alter ego. If you While perhaps not as catchy as have not watched Fantastic Planet or Madlib or Quasimoto, Lee Mason listened to Quasimoto’s debut album is an alias used by British composer The Unseen, I highly recommend you Pete Moore. Pete Moore arranged do both. Fantastic Planet tells the a lot of music for television, like story of gigantic blue aliens called the futuristic “Asteroid”, and for Draags that have conquered Earth some reason in the 1970s decided and keep humans as pets. If you don’t to compose funk music. Answers think that sounds like inspiration for samples the opening flute hook of the a rap album, then you clearly have song to create a beat that sounds like not gone on a weeklong psychedelic it busted out of a Blaxploitation film. mushroom bender, which Madlib It is a grimy yet super funky loop and claims caused him to create The has inspired many other producers Unseen. to try to sample the track like Madlib did. Definitely check out the original song, which features some incredible trumpet and organ interplay.

rney Through The dlib

Maddy Underwood Freddie Gibbs & Madlib – Bomb (feat. Raekwon), Samples Goblin – Goblin

Madvillainy – Curls, Samples Waldir Calmon – Airport Love Theme Madvilliany is the team of Madlib and part-time rapper and supervillain MF Doom.Madlib provided all the beats, while MF DOOM does the vast majority of the rapping on the tracks. Both at the top of their game, and the end product is a dense, psychedelic album that is an essential listen for any fan of hip hop. Waldir Calmon, on the other hand, is an obscure Brailian jazz pianist who apparently has released dozens of albums, according to the tiny amount of information on him I found on the internet. We have no idea where Madlib found the music of Waldir, but the world is certainly better because of it.

“Bomb”, off the recent collaborative album between rapper Freddie Gibbs and Madlib, features another window into Madlib’s eclectic record collection. On this track Madlib sample’s 1970’s Italian progressive rock band Goblin. Goblin is primarily known for composing the soundtrack to various “giallo” horror movies, including many of those made by Italian horror master Dario Argento. Madlib’s decision to sample this track for a Freddie Gibbs song raises an interesting question: Would it be scarier to live in a Dario Argento movie, or five blocks from where Freddie Gibbs grew up in Gary, Indiana? David Gobel

Respect Our History: A Note from Your Friendly Archivist Landon Bennett

This year I was faced with a very other, definitely more impactful and intriguing, and generally undefined, task: important, changes and directives that revive the archivist/historian position at were enacted to remedy our problems), KWUR. My position used to be a staple with yours truly receiving the honors of KWUR, back when it was necessary to to man the helm. Only thing was keep written transcripts of all executive that I had absolutely no clue what my meetings, interactions with other position entailed, and i quickly learned student organizations, and written yearly that no one else did either. Eleni and budgets. Back before computers could I had a couple meetings to discuss our efficiently organize anything we wanted vision for my position and what I could with the click of a button, someone do to contribute to the station as a needed to be there to do all of the whole. Essentially what it boiled down bitchwork, for lack of a better phrase. to was digging into the old archives of However, as time went on and the KWUR stuff stored in the library and needs of the station track of A grave task: pulling KWUR keeping began to change all the happenings out of the rut it fell into with improving at meetings this technology (and the following the death of year. general motivation While I Unicron. of the people wonâ&#x20AC;&#x2122;t bore you with my position faded), the good ole with descriptions of the latter of the archivist drifted into obscurity circa aforementioned tasks, I do have an 2006. important message to share with all DJs Flash forward to this year. Eleni about the primary duty of my position: Anas, our valiant general manager, delving into our history. For those of kommander of the KWUR komrades, you who are new, or just simply took was faced with a grave task: pull KWUR the Bible Test during your training and out of the rut it fell into following moved on to just focus on your own the death of Unicron (may it rest in personal show, I believe you have much peace). Ever since our mighty bastion of to gain from taking time to appreciate streaming and organization, a symbol of the history of KWUR. all that is KWUR, lost its will to live, the Next summer will mark the 40th legitimacy of KWUR began to diminish. anniversary of KWUR, and you all should People were constantly missing shows, be damn proud of that. Weâ&#x20AC;&#x2122;ve survived failing to log new releases, give PSAs, or as a fully student run organization for show up to their shows all together. Eleni far longer than most other faculty knew she had her work cut out for her, supported student groups. In that time, and she had a plan of how to ameliorate weâ&#x20AC;&#x2122;ve found a way to make it through the situation. various administrative scares, lure Thus the historian position was tons of amazing artists to campus, and revived (amongst a vast array of create a reputation for ourselves in the

community as a legitmate source of musical education. We got busted for selling dope on air. We got to interact with greats like REM, Nirvana, Dinosaur Jr, and more. Hell, we got to interview Chris Novecelik! That’s so dope! We created our own megacomputer that ran all the shit in the studio for like two decades! That’s so dope! We’re like one of the few ten watt broadcasting stations left because they can’t find a way to get us off the air, that’s dope! I could go on, but honestly, hearing this from me will only do so much. With my work in special collections nearly finished, there will now be a digital database that houses all the cool stuff that I found in the archives. You can now, at your leisure, introduce yourself to the wealth of kool KWUR kollections available. You can view old issues of Sample, back when it was a real magazine and not a charming pamphlet like you’re currently reading. You can see the old letters from the founder of KFRH to the higher ups at WUSTL, the old appeals to get our station to upgrade its wattage, our original bible and the mission statement that Beau Harris, the father of WUSTL

radio, formulated before the founding of KFRH. You’ll be amazed how much more you appreciate what we do and how much prouder you’ll be of where we’re going. KWUR is headed in a great direction, and while you may look back on the 80’s as our glory years, we’re not too far off. Keep it real friends! Signing off, Landon Bennett

Immediately Before His First Radio Show O Muses, Terpsichore and Eutephre, who hold the lyre and flute, I ask of you little: Keep me from hesitance, from stammering or stuttering, From foolishness or unwonted vulgarity, O Muses, and O Apollo of the lyre; But for me to wield music, songs a-plenty, as you wield your instruments, Spilling beauty as a sweet boy from a wine-cup; let me furnish, without doubt, The academy with songs. I will pay you a debt, three days of food laid aside, If I am granted this prayer.

Eleni Anas

Elijah Armstrong

Maddy Underwood

Paperhouse See your light shining on the land— —smash the wall. Up & down fake everything make you feel so fair. You can make anything what you want with your head. You are here and they are where anywhere within mind. Sometimes in my pride— it’s a divine theory. Too many sliding songs run again today. For any anything you & your mind— divine paperhouse lay back for the sound.

You just can’t give them no more—you just can’t give them no more. You just can’t give them no more—you just can’t give them no more. You just can’t give them no more—you just can’t give them no more. You just can’t give them no more—you just can’t give them no more...

You just can’t give them no more!—You just can’t give them no more!— You just can’t give them no more!—You just can’t give them no more!— You just can’t give them no more!—You just can’t give them no more!— You just can’t give them no more!—You just can’t give them no more!— You just can’t give them no more!—You just can’t give them no more!— You just can’t give them no more!—You just can’t give them no more!— Humming down fake anything— make you feel so bad. You can make anything what you want with your head. Humming down fake anything – make you feel so bad. You can make everything what you want with your head. Flying paperhouse the land starts all askew. Flying away in the paperhouse— the paperhouse that I once knew. You can make it happen in the paperhouse the land starts under wrack. You can make it happen in the paperhouse— the paperhouse that I knew— coming back. Damo Suzuki transcribed and formatted by Elijah L. Armstrong with extensive help from various online lyrics sources

KWUR Interviews the Quartetto di Cremona The Quartetto di Cremona is a string quartet founded in Cremona, Italy. The group has become known as one of the most interesting chamber ensembles on the international scene, performing at major festivals and prestigious concert halls in Europe, South America, Australia and the US. Its members are Cristiano Gualco (violin), Paolo Andreoli (violin), Simone Gramaglia (viola), and Giovanni Scaglione (cello). KWUR got to interview with them on October 6, 2015 at the Radio Arts Foundation St. Louis (RAF-STL). They came sporting fine, tailored t-shirts and stylish Italian shoes. I’ve transcribed their responses with minimal translation to preserve the music of their accents.

You guys are the Quartetto di Cremona. How did you meet? Simone Gramaglia: We did study at the Giovanni Conservatoire altogether. Cristiano, Giovanni and I, almost at the same time. And Paolo, who is the younger, came later. But in the conservatoire, we just met, but then everyone got his own way to other cities, outside of Italy, just to get perfection playing and studying with great masters. Then, me and Cristiano met again at—which is probably the best academy in Italy for music—it is called the Stauffer Academy, where the best players that we have like Salvatore Accardo, Bruno Giuranna and Rocco Filippini teach. So me and Cristiano met there, teaching—eh, studying there. It wasn’t an orchestra. It was an Italian chamber orchestra, by the way, that was started by Salvatore Accardo. During a concert, Cristiano came to me, during the break, asking if I would have liked to play quartet. I had no idea about what a quartet did, but we had friends. I knew string quartet players, but I didn’t think to play in quartet. But as we were very best friends, I decided to say “okay, yes, let’s start quartet.” Then we started quartet with other two members. In 2002, second violin and cello left the quartet, together, and me and Cristiano were just a duo for a few months, but we really wanted to play quartet. Even if the name of the quartet was Quartetto di Cremona, we contacted Giovanni and Paolo. We were quite lucky because Giovanni just finished his studies in Basil, Switzerland. Paolo had just got his

diploma in the conservatoire, so they were free and they told us, “ok, it would be a pleasure to play, let’s try” and we said, “ok, let’s try for six months and then we’ll see how it goes.” After six months, we say, “ok, let’s continue for another six months” and after those six months, we arrive all the way to today. It’s been almost fifteen years since we’ve played together.

Grace Lu

Wow. Giovanni Scaglione: Now we are waiting for next six months. Simone Gramaglia: Exactly. [laughter] Cristiano Gualco: Let’s try another week actually. [more laughter] How much have you guys toured during this year? Cristiano Gualco: Well my wife told me that we are always six months a year away from home. So we are always, a little bit—

Always touring? Cristiano Gualco: It’s not always together...sometimes it’s one concert, then we come back. Sometimes we are away for one week, and then we come back, so we also have free time at home. But yes, for most of the time, we are around for concerts— Paolo Andreoli: I would say nine months. [laughter] Cristiano Gualco: — And also for teaching. We teach in the same academy

The difficult thing is to be fresh after ten times that you play the same piece and to be inspired. So what we try to do is always play...like we are in concert. where the quartet was started in Stauffer Academy in Cremona. Now we are teachers. We have a string quartet class. We have about ten young quartets coming… Oh, all of you teach it? [group murmurs of agreement] Giovanni Scaglione: Yes, four years ago, after twenty fives years, they decided to…ehm to...[group murmurs “create”] to create a string quartet class. And they gave it to us, as teachers. Simone Gramaglia: It’s an international class. All the groups who’d like to come are allowed. There is an audition, of course, but who passes this audition can come study with us for free because there is a kind of scholarship that covers all the costs for the groups. So, USA string quartets, you are very welcome to come and study with us. [warm laughter]

That’s great. How many groups do you guys accept for a class? Giovanni Scaglione: Now our class is

more or less 10 groups. Cristiano Gualco: There are auditions every year. And you see every year, every time, ten or fifteen groups come to audition so we try to keep the level very high, so we can’t accept more than a few groups, not more than ten, because there isn’t enough time. Every year, we take two or three new groups. Do you teach these groups individually, one-on-one? Or is this in a classroom setting? Cristiano Gualco: Every group comes to Cremona, and we teach two days every month. Every one of us gives us a lesson to every quartet. Every quartet has four lessons every month, it’s about 6-8 hours of lessons for every group every month. And you guys tour during the times that you’re teaching too? Cristiano Gualco: No, the days for teaching, they are just a few months. We stay in Cremona and we just teach, we cannot even rehearse with the quartet because we are fully busy with teaching. We actually tour the rest of the month. Getting back to your tour, how did you choose the music for your concerts? [Group translates the question for Paolo] Paolo Andreoli: Usually, the artistic director of the quartet is Cristiano. Of course we try to find the right way, for every concert, to choose the best music. Because sometimes, ehm… Cristiano Gualco: Promoters. Paolo Andreoli: —promoters ask for special piece. They love Brahms, they want Brahms, we have to play Brahms. Sometimes they ask for contemporary piece because now, we need to also play contemporary piece, but we try to find the story between the pieces we choose in the concert.

Derek Schwartz Simone Gramaglia: It’s a collaboration between us and the promoters. Paolo Andreoli: There’s always a sense throughout the concert. Cristiano Gualco: For example, there was a program that had two pieces by Anton Webern. Webern belonged to the second Viennese school and everybody knows Webern for his twelve-tone music, so that’s music without harmony. It’s very short pieces, it’s a little bit strange to the people who are not used to his music. But as I said we played two pieces and the first piece that we played, it is a very romantic piece that belongs to the period before he started to compose with the twelve-tone technique, so people can hear the two different sides to this composer. We’ve played a Mozart quartet and a Schubert quartet so that people can have a taste of what Vienna became from the beginning—let’s say Mozart, who belonged to the first Viennese school— to the second Webern, who is very far away from the style of Mozart. We always try to have a story in the concert, at least when we can decide entirely

the program. Sometimes, as Paolo said, we need to adjust our proposals with the promoter, maybe because they’re doing a cycle and they need a particular Beethoven quartet, so we discuss with the promoters in that case. I have a question about your recording process. When you guys make recordings, do you have a particular philosophy or idea about recording that you keep in mind as you entering it? Cristiano Gualco: An idea? What do you mean? Is there maybe a mindset, a philosophy, or a particular practice of it? [quick Italian murmurs] Cristiano Gualco: Well, the recording process is very complicated because you are in a room and you have to play over and over the same thing because there will be a noise or a small mistake—the microphones are always near so they take in things that in concert, you wouldn’t notice, so we have to play many times. The difficult thing is to be fresh after ten times that you play the same piece and to be inspired. So what we

try to do is always play, what we play in the moment of recording, like we are in concert. The goal is to always give to the public something fresh, something in a concert. It’s also the most difficult thing because, you know, after eight hours of recording, you’re not so fresh. [laughter] But it’s very important because sometimes you hear recordings that are perfect but they miss that

not ideal ensemble, so you have to get through those things. It’s a very, very hard process.

element of improvisation sometimes. We always try to keep this improvisation feeling as though we’re playing in front of an audience. You must be ready for recording, because like I said, the microphones are so sensitive. They get every little noise… Giovanni Scaglione: Dirty things. Cristiano Gualco: [laughter] Dirty things. The ensemble in microphone is much more difficult because if you’re in a hall, there’s a quartet but there’s maybe five meters between the audience and a quartet. The perfect ensemble, you can hear most of the time, if the group is prepared. But with a microphone, a split tenth of a second is already perceived as

the Beethoven quartet, for us it’s so important that we give something to the audience that is special because there are so many Beethoven recordings, so we want to make sure there’s something new and fresh from us. So I think that’s what keeps us— Simone Gramaglia: What we’ve learned over the years that’s very important is when you finish a recording, for example, at the end of the session you’re very tired so we talk as less as possible. Eat good food if possible. Go to sleep, rest, in any case, have our own privacy. So if someone wants to watch a movie, watch a movie, read a book, take a walk. Just be a little bit alone. Then, the day after,

How do you keep morale high then at the end of an eight-hour recording session? Cristiano Gualco: The morale, we don’t keep high. [laughter] No, I am joking. We record music we love, anyway, so we want to do our best. For example, with

it’s easier to start again. This is very important. The human side is extremely important in the life of a quartet and to know how to manage life with it, otherwise it’s dangerous. Are you guys recording on the road? You can’t return home at night and meet up again the next day? Why is that these sessions are for so long and so

Giovanni Scaglione: Really generous. Simone Gramaglia: Yes, really generous. He gives us this wonderful place where we have rooms and there is an auditorium where we record. Giovanni Scaglione: We have a cook. What! Simone Gramaglia: Yes, he cooks for us. To keep the morale high, it’s easier this Eva Nip

way. In any case, it’s in the middle of the countryside so we can go for a walk. It’s in a wonderful place. Giovanni Scaglione: You’re invited if you In a different city? want. Simone Gramaglia: We have the luck to Cristiano Gualco: You would like it very record in a little place called Pordenone. much. It’s called Turin. We take our time, like Giovanni Scaglione: Next recording. when you go to a monastery because you [laughter] want to keep a week for meditation... we Simone Gramaglia: The name of the don’t do meditation. We just go there place is Cultural Foundation for Arts to record. It’s an intense period. Usually Banne-Spinole. three days. It’s in an estate owned by a nobleman called Federico Spinola, if That sounds great. you could mention him it would be great Cristiano Gualco: Oh yes, it is. If we because he’s a person who loves music, a didn’t have to play, it would be even rich person of course, a nobleman— better. [laughter] concentrated? Simone Gramaglia: We usually go in a place to record.

Simone Gramaglia: Because there is the land, you always have a lot of things to eat and they’re very good. And it’s difficult to say no, but then you have to record. [laughter]

things to play like Schubert, Bartok, we play many pieces. In parallel, we do some Beethoven cycles. But what is going to come next, in Milan for January, we will play the Mozart cycle. Mozart wrote 23 quartets, more than Beethoven, So for my final question, you guys are who wrote just 16—just 16, we say just touring and playing Beethoven’s music in 16 [laughter]—but from January to your circuit currently? And how long is that November, the Mozart cycle will be going to go for? done in Napoli and Turin. That is our next Cristiano Gualco: Well, we’ve now project. finished Beethoven. We’re playing Beethoven’s symphony in Rome, and Thank you so much for your time. we’re finishing the cycle, but of course Simone Gramaglia: Thank you, it was our we don’t do that everywhere because pleasure. we have other projects. We have other

If you’re interested in the music program that the Quartetto di Cremona offers at Stauffer Academy, you can follow the link here: http://www.quartettodicremona.com/ artist.php?view=news&nid=2234 Special thanks to George Yeh (classical director) and Landon Bennet (archivist) for coordinating the interview. Thank you to the Radio Arts Foundation St. Louis for allowing us use of their station’s studio for the interview. (RAF-STL provides fantastic programming on orchestral, chamber, jazz, blues, opera, and symphonic music. To access their stream, tune into 107.3 FM or visit http://www.rafstl.org/)

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Melting the Ice: A Short Story

Stephen was initially intrigued by Catherine’s profile when he noticed a photo of her twirling a hula-hoop at a dimly-lit concert venue. Some of Stephen’s favorite experiences happened at the music festivals frequented by the coastal bourgeois. Some scholars termed those events “pleasure prisons” since similarly large amounts of money were spent by event organizer on entertaining guests as “keeping them safe,” which really meant harassing and inconveniencing them at every turn. Stephen sought a freer, truer electronic dance music experience. Where else might he find that than Saint Louis, closely connected to Chicago, where house music was born out of inner city hip-hop parties, but then shipped off to Europe and given a thorough whitewashing. The resurgence of electronic dance music in the United States began with dubstep ten years ago, a genre seemingly unlistenable by contemporary standards but still beloved in pockets of anachronism such as Saint Louis. In pursuit of purer strains of culture, he approached the threshold of the brick warehouse. The bouncer patted down his abdomen, back,then ran his fingers along the waste off his pants. “All good,” he said. “No drugs.” Passing through the doorway, Steven was surprised to find a mixture of crackling reggae and sizzling electronic synthesizers blasting through the dance floor. Electronic music shares common roots with reggae, he thought, but the roots are usually denied acknowledgement, smoothed over by the aesthetics of capitalism. Meanwhile the DJ rambled into the microphone

about the need for healing in their damaged city, and wished peace and love upon the concertgoers. Steven saw her across the room, twirling her neon hula-hoop in the hazy club. He though she looked pretty in her grey bandeau top, black shorts, fishnets and black fuzzy boots. Her style seemed torn between the darkness of the gothic and the radiance of utopia. The party allowed Catherine to transcend the passivity of her retail work by performing her skills for a captivated audience. Catherine enjoyed manipulating her LED-lit color-changing hula-hoop, utilizing the tracer effect to generate illusory geometries in the eyes of the onlooker. Though Catherine enjoyed entertaining those who watched, she performed mostly for the sensation of flow, the ephemeral feeling of escaping the experience of time, the experience of time being the primary burden of her line of work. Steven was amazed by the hulahooping prowess that Catherine displayed. Steven imagined that through hula-hooping Catherine acquired mastery over space and time, bending sight to its breaking point, at which it would spill out with the forbidden secrets of life itself. Catherine noticed Stephen’s presence, caught her hula hoop, and smiled politely at him. “Hi,” he mouthed in her general direction; over the loudness of the music it was impossible to converse. He motioned for her to follow him outside into the courtyard, where they could get to know each other better, and she nodded yes. Stephen

fumbled and took her forearm to lead her through the crowd outdoors. Upon walking outside, Stephen was alerted to the presence of a lot more activity going on at the warehouse than simply music and dancing. Two fire twirlers performed their skills before a small crowd, manipulating their hoi in a mesmerizing and death-defying manner. Elsewhere a man peddled hand-made jewelry, conducting informal transactions from his table as though it were a market stall. Then there were also men selling other handicrafts such as paintings, snippets of hand-typed love poems, t-shirts, and other unnecessary trinkets and baubles. Catherine seemed immune to this overload of visual stimuli. As he paused for a moment to stare at the fire twirlers evade death using what appeared to be magic of some kind, Catherine effortlessly passed through the crowd,

currently using upon her). She couldn’t help but notice the slight wrinkle on the left side of the chest of Stephen’s shortsleeve collared shirt, and imagine herself fixing it to put back on the rack. Catherine and Stephen looked at one another, and each fumbled to begin a conversation. Recognizing that they had little common ground, Stephen complimented Catherine on her hula hooping. “You’re so good at it; do you practice a lot?” “Yeah; I like to go to the park and practice my hula hooping on the weekends when it’s nice out.” Stephen imagined what a foreign sight that must have looked like to the unknowing mothers and children of North County. Sacred rainbow geometries against the concrete playgrounds and metal jungle gyms. Though, now that he thought about it, Jessie Colston

catching up with her many friends. Walking back, she casually mentioned, “By the way, that guy I was just talking to is tonight’s DJ.” For the first time, she took a good look at Steven. Though short, he was well-built, with a well-kept reddish-brown beard, and a charming if slightly goofy smile (which he was

aren’t those the same materials that make up the warehouses where these raves take place. He wondered, is there a material demarcation between one type of utopian space and another? “That sounds like fun,” he replied. “I’d love it if you would teach me how to do it sometime.”

“Yeah, I’d like that,” she answered, smiling slightly. “Cool,” he grinned. They each began to realize that, despite the apparent differences in background, the same basic emotional currents ran deep inside each of them. They already seemed to know each other intimately, even though they didn’t know one another in any other sense. But for now, that didn’t matter, it could wait. “Do you want to go back inside and dance?” “Definitely.” And so he lead her by the arm down the stairs into the bass cave, and she abandoned the hula-hoop which she used to create a pocket of space as they entered the crowd. While Catherine’s friend rattled the room with his grimey brand of dubstep, the crowd pressed Stephen and Catherine closer together. There was little room to breathe in the moist heat, but each was happy enough to bask in the others oxygen and slowly melt down the walls of misunderstanding with their body heat.

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Top 10 Hip-Hop Albums of 2015 3) L’Orange & Jeremiah Jae: The Night Took Us In Like Family A modern-day street rap classic, L’Orange and Jeremiah Jae show their older, gritty influences while remaining grounded in the present day

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1) Kendrick Lamar: To Pimp A Butterfly This album has been talked about so much, there’s almost nothing left to say. My opinion: it’s great James Dreuckhammer

ONG.LAST.A$AP

tal, showing that able making music ers (Joe Fox) as f Simons and Rick

Jessie Colston

songs from the black hole Weezer’s “Songs from the Black Hole” is an album close to my heart. Conceived after between the Band’s successful Blue Album and “Pinkerton,” “Songs from the Black Hole” was never released commercially. I recommend the album to anyone who enjoyed the low-fi aspect of Pinkerton but still wants to hear songs from a character named Jonas. “Songs from the Black Hole” is, first and foremost, a rock opera detailing the space voyage of a small band of friends. Much of the album details the mixed feelings of Jonas the astronaut as he voyages off to a new uncharted planet— an analogy for sadboy Rivers Cuomo’s own voyage into fame and rockstar-dom. Though the project was eventually scrapped, and doesn’t even have an official track listing, a few songs made it onto Pinkerton. Tired of Sex, Getchoo,

and No Other One, start off Pinkerton, but were originally taped on an 8-track recorder in Cuomo’s house. Much of the album has songs that seem incomplete, with several tracks under a minute long. Nonetheless, tracks such as Superfriend, Devotion, Now I Finally See, and Blastoff! All could have been singles on Pinkerton after some polishing, If you’re feeling like some Blue/ Pinkerton era Weezer but 2015’s album wasn’t grainy enough for you, then “Songs from the Black Hole” will more than satisfy your needs. Will Clutterbuck

Jessie Colston

This edition of SAMPLE was designed by Alex Berger with assistance from Cristal Thomas and Sofia Goodman for the Washington University in St. Louis student-run college radio station KWUR during Fall 2015. Typefaces used include Brandon Printed and Brandon Grotestque. The art and writing was provided by the KWUR executive board and general body. Cover includes art by Adam Banker, Alex Berger, Cherry Xie, Gabe Clark, Eleni Anas, Jon Vuylsteke, Sam Williams, Serena Fang, Sofia Goodman, Sunny Feinstein and Will Wyssession.

Art and writing contributed by: Adam Banker Amanda Reiter Anya Venezia Calla Zhou Cherry Xie Cristal Thomas David Gobel Derek Schwartz Eleni Anas Elijah Armstrong Eva Nip Gabe Clark Grace Lu

KWUR is now on Cymbal! Follow us: @KWUR

Jerik Leung Jessie Colston Katie Shin Landon Bennett Maddy Underwood Nick Machak George Gathiani Sam Williams Serena Fang Cristal Thomas Dylan Bassett James Dreuckhammer Will Clutterbuck