19 days later, COVID-free!
Maybe that’s why they call it COVID-19.

19 days later, COVID-free!
Maybe that’s why they call it COVID-19.

It amuses me that I’m such a flighty bird, and yet I am able to hyperfocus on ridiculous projects like coming up with 45 musical clues about the American Flag!
For a while, when we were all sitting at home during COVID, I made it a point to pull together a crossword puzzle for every Sunday. I would come up with the clues during the week while doing the dishes. I just came across this one, which, conveniently, is Flag Day specific.
To fill out the puzzle, follow the link and select “solve online” at the bottom of the page. You’ll then be able to type directly into the squares. Once you feel you’ve exhausted the puzzle, you’ll find the solutions by clicking on “Answer Key PDF.”
I probably should have specified in one or two of the clues that a full name or title is required (that is to say, more than one word).
Earn your stripes, or see see stars here:
And Happy Flag Day!

By nature, I am not a superstitious person. But perhaps there is something to looking over one’s shoulder around the Ides of March.
On the other hand, when it comes to something like COVID-19, what’s the difference?
I noticed the other day that it’s been two years since I last set foot in the WWFM studios. Early in March 2020, with the whitetips of the coronavirus tsunami already visible on the horizon, all hosts of recorded specialty programs were asked to prepare five “evergreen” shows – shows that are not time-specific – to be aired over the coming weeks. That way, we could all hunker down in our homes until the coast was clear. Needless to say, this proved to be an underestimate.
Though the campus of Mercer County Community College has since reopened, and classes have resumed – even the college gym has been accessible for quite some time – part-time staff is unlikely to be called back anytime soon. I suspect it’s more of a budgetary than a safety issue at this point.
In any case, it’s unfortunate to have had my live air shifts curtailed in this way, and to not have access to a studio in order to be able to produce new recorded shows. At least I can dip into the archive for rebroadcasts of past episodes. That said, those stored on the station’s hard drive only go back as far as 2010, with perhaps a stray episode from 2009. I can make minor tweaks to these, if necessary, on my laptop, pending actually setting up a home studio, which I suppose I really should have done two years ago. I think WWFM must be the only radio station not to have it hosts continue broadcasting remotely, be it from a basement or a bedroom closet.
My last live air shift was on March 11, 2020. I didn’t know that it would be my last, so it was a show pretty much like any other, marked by a number of birthday observations (in this case, remembering composers Henry Cowell, Carl Ruggles, Anthony Philip Heinrich, Astor Piazzolla, and Xavier Monstalvatge). Here’s the playlist for the first two hours:
4:00 HENRY COWELL, Hymn and Fuguing Tune No. 10
4:10 CARL RUGGLES, Men and Mountains
4:23 HENRY COWELL, The Fairy Answer
4:32 ANTHONY PHILIP HEINRICH, The Ornithological Combat of Kings (Grand Symphony)
5:03 ASTOR PIAZZOLLA – Histoire du Tango
5:25 JOHANN SEBASTIAN BACH (arr. Marcilio Lopes) – Partita No. 4 in D major, BWV 828: Gigue
5:34 XAVIER MONTSALVATGE – Concerto breve
That was followed, at 6:00, by my weekly Wednesday feature, “Music from Marlboro,” programmed from the archive of live performances and commercially-released recordings from the Marlboro Music Festival. For this particular installment, I played the following:
6:04 JOHANNES BRAHMS – String Sextet No. 2 in G major
6:52 JOHANN SEBASTIAN BACH – Orchestral Suite No. 3 in D major: Air
I was back in the station later in the week, to put some finishing touches on my production work, to be sure that all my evergreen shows were in place. That was on Friday the 13th. (I know, right?) The layoff notice arrived by email later that night.
I made my debut on WWFM all the way back on September 28, 1995. The 20th century! As with any job, at times it could be a bit of a wild ride, and I think I proved myself to be quite the tenacious bronco buster. In the end, it would take nothing less than a world health emergency to finally dislodge me. Six months shy of my Silver Jubilee, too!
Everything has been up in the air since then. But I’ve long since stopped holding my breath for the phone to ring. Repeated shows ensure that I continue to have somewhat of an air presence. But they are no substitute for assembling creative programs for live broadcast, the reward of spontaneously sharing music I love, and being able to respond in a meaningful way to current events on a somewhat daily basis.
I hate to think what my work mailbox must look like at this point. Beware the Ides of March!

I’m not afraid of Russ Tamblyn. He just better not pull any of that “Tom Thumb” crap.
Off to get my second dose of Moderna now.

I’ve been thinking about Bliss Michelson incessantly since I learned of his death late yesterday afternoon. Bliss, who was production manager at WWFM The Classical Network from 1992 to 2011, died on Sunday of complications from COVID-19. His wife, Peggy, preceded him on February 26.
First of all, thank you for your condolences. I want to make it very clear that this is not “my” loss, so much as it is a loss to anyone who knew or listened to him. Bliss was so talented at what he did. I already stated, he was probably the best all-around radio host I ever worked with, in terms of being able to do it all – knowledgeable, efficient, personable, conversational, an avuncular presence, impeccable in his pronunciation, and a varied, balanced, and interesting programmer – a real pro. I never saw anyone navigate production work the way he did, while simultaneously doing a live air shift. And he was such a nice man.
I certainly do not want to give the impression that we were joined at the hip, but we did have a very long association, dating back to 1995, which continued when we worked together at WRTI. If anything, he was like an uncle to me. You can learn a little more about our interactions if you read my post from yesterday.
Of course, on the most basic level, we shared a passion for music, and because of Bliss’ love of composers from the Northern countries, I have a lot of fond memories of our bonding over Sibelius.
Perhaps cryptically, I concluded last night by mentioning Sibelius’ Fourth. This is Sibelius’ weirdest, gloomiest symphony, a work written under the shadow of death, as the composer had recently undergone a series of surgeries for throat cancer. It is an austerely beautiful piece, though admittedly it does go to some very strange places.
Bliss’ morning air shift on The Classical Network ran to 10 a.m. Earlier in the morning, he would mix up the Vivaldi and the Haydn and the Dvořák, with enough lesser-known repertoire to keep it fresh and engaging. But by 9, he would often go for something a little longer, and sometimes a little more challenging. Personally, with Sibelius’ Fourth, I can’t understand what all the fuss is about, but it tends to rub listeners the wrong way. Or at least it manages to wind up the one crank in the audience who is going to call and complain.
Bliss was generally pretty unflappable, but I remember at least once he was not happy with a phone message from a listener that it fell upon me to convey. I hasten to add, for the most part Bliss was a teddy bear, not a bottle of nitroglycerin, as I tend to be. But I chuckle sometimes to think of his reaction.
At any rate, a memo was passed around that we shouldn’t be playing Sibelius’ Fourth in the mornings. I prefer to think that this was not disobeyed, but rather conveniently forgotten.
This one’s for you, Bliss.
(By coincidence, the video was posted by someone using the screen name Furtwangler, who happened to be one of Bliss’ favorite conductors.)
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