a mindbending rendition of something familiar - at first you know something is wrong, you think it's the machine - you smack it - nothing. Once you figure it out, it's over. If its purpose is to embarrass you about your conditioning, forcing you to listen NOW, rather than from memory, it suceeds.
vm

This program is a great listen. Intriguing, fascinating stuff. This documentary offers a deep view into Orthodox and Chasidic Jewish life that few outsiders have a chance to observe. The intimacy of the piece is almost palatable--leaving you to feel like you should whisper while listening, so not to revel yourself.

The only thing not to like about the program is its title and first minute. Most listeners would immediately ask themselves "Who's Kalish?" and what this program is about? Brooklyn? A guy named Kalish? In truth, the title doesn't serve the program or its subject well at all. The program starts off with the producer describing the program and how it came together. It includes a lot of "I" and "me" references that give the impression that the host is the central presence in this documentary (which isn't the case). However, once the billboard is over and the program's content gets moving along, everything falls into place beautifully and stays that way throughout. The host does offer some occasional personal observations and thoughts, but is very generous and agile with how he weaves in and out of the program.

This would make a great special around the high holy days, Chanukah, or almost anytime. It would be nice if the producer could include a promo or additional support material to help stations promote the program on-air and online.

Several first-person recollections, audio verite pieces, and audio letters make up this hour of programming that is tied together by the theme of friendship and produced from a variety of sources. Each of these segments, in their own unusual way, gets at some real, true, human emotions that we're not often exposed to on the radio. The mix of styles that the show brings together makes for engaging listening and you (or your listeners) are sure to emotionally connect to something in each of these pieces. It's the kind of programming that makes listening to public radio on a Saturday or Sunday afternoon the perfect activity.

Pretty slick. Great PR as aimed at a younger demo. If you are a PD looking to hit a younger democraphic, Pop Vultures might be exactly what you should carry. Very informed and full of cultural reference and information. I feel out of touch because I don't know about half of what they were talking about. I'd listen to this every week if it were on my local public station.

A lot of fun. Not sure where this goes -- that's why there are PDs -- but given the fact that there are 24 hours in a day and there are 7 days in a week, there should be a space on numerous stations for something like this.

A clear, discernable voice. A refreshing and surprising piece that will provoke listener calls. Some may not be so willing to wallow quite in the dark side.

This program offers a soup to nuts history of Austin's growth into the live music Mecca that it's become today. The show is more than just contemporary talking heads and music--it features an amazing collection of archival interviews and recordings (including tape of some never-before-heard early Janis Joplin performances, which should qualify as an authentic archival treasure). The writing is acceptable (but a bit leaden), yet the production is well put-together, flowing smoothly between many different elements.

The program's only shortcoming (and it's a significant one) is that it doesn't deal well with its size and length. Productions of this size should treat themselves like what they literally are--programs: they should feature breaks, periodic reintroductions to ideas (and the program itself) as well as regularly IDing voices. This program sounds like it makes the assumption that all its listeners tune in at the beginning and remain engaged throughout. Unfortunately, this type of listener interaction rarely happens. It would be smart to give latecomers a chance to figure out what's going on or provide listeners (and stations) a break once in a while.

The producer should consider re-editing to make it more listener and station friendly, as well as providing a promo or some other support material to help stations promote its airing as an special or stand-alone program. They should also provide a mild language advisory for some mild, yet present, profanity and content.

Very professional sounding piece, great audio, with only the interviewee being heard. Very polished and intimate. I think this would work best with the rest of the pieces as a series, but each could be cherry-picked if, say, Emmylou was in town for a concert. They are very well produced and since there is no reporter's voice, it could sound like your station.

Would work best on TAL when Ira is sick and someone is filling in for him, or as a fundraiser spot. Maybe it could be played at a festival where Ira wins an award or if Ira is in town on a speaking engagement.

This piece has a local slant but the unusual topic (a blind Birmingham AL carillon player trained in Belgium and France who performs impromtu concerts as well as seasonal favorites) would appeal to a general audience. The piece has texture, smooth layers and paints interesting word pictures. But the bells harbor a harshness as well as sweetness; the carillon player must play with such force that you sense the "violence under the gentle melody," a parallelism to the strong bones and gentle demeanor of this story.

I wasn't fond of this piece because the arguing between the two friends turned me off. I didn't find it all that funny, but because humor is subjective, others might. There was good use of stereo sound. I don't know what most PD's would do about the f-bomb, probably beep it. I'd never take out a choice word because it might offend somebody, but I'm not a PD responsible to an audience.