Wednesday MidDay Medley
TEN to NOON Wednesdays – Streaming at KKFI.org
90.1 FM KKFI – Kansas City Community Radio
Produced and Hosted by Mark Manning

Wednesday, May 27, 2026

WMM presents: Margaret Cho + FlareThaRebel + Brodie Rush & Cody Calhoun of An Evening of Pink Floyd

1. “It’s Showtime Folks”
   from: Motion Picture Soundtrack to All That Jazz / Universal / Dec. 20, 1979
   [WMM’s theme]

2. Radkey – “Ready To Burn”
   from: “Ready To Burn” – Single / Little Man Records / May 22, 2026
   [To single from upcoming New Album Bedroom Sand to be released on July 14, 2026Radkey released the EP Victory on July 30, 2025. It was part of WMM’s 120 Best Recordings of 2025. // single “Falling Out of Grace” on October 24, 2025. Radkey released the single “Victory” on March 28, 2025. On September 23, 2022 Radkey released the single “Better Than This.” The band released “Games (Tonight)”: on January 28, 2022 on Little Man Records. Isaiah, Dee, and Solomon Radke of the critically acclaimed rock trio Radkey joined us live in our 90.1 FM studios on September 5, 2018. Radkey was formed in 2010 in St. Joseph, where the brothers were raised. The family moved to Kansas City. The band has released multiple full-length recordings. In 2021 Radkey was featured in Dave Grohl’s van-touring documentary film, WHAT DRIVES US. Radkey released GREEN ROOM on Little Man Records on November 27, 2020. On Green Room the band serve as their own producers. Radkey released DARK BLACK MAKE UP in 2015 and DELICIOUS ROCK NOISE in 2016 — plus multiple EPs and singles, and were part of a MasterCard advertising campaign on digital billboards in NYC along with a national television commercial that aired during the 2018 Grammy Awards that brought the band to the attention of Jack White who asked the band to tour with him. In 2018 the band went back on the road with The Damned throughout the United States. In December they went back into the studio to record with producer Bill Stevenson of the California punk rock group Descendents. In early 2019 they played shows in Amsterdam and Stockholm. In 2018 the band released “Basement,” “St. Elwood,” “Rock & Roll Homeschool,” as well as several other singles. On February 22, 2019, Radkey released “No Strange Cats…P.A.W.” a 7-song EP is essentially a collection of the band’s most recent singles. It comes after the January 11, 2019 release of No Strange cats…Spiders – EP a 6 song EP of several new songs mixed with several singles from late 2018.]

[Radkey plays Bottleneck, 737 New Hampshire St., Lawrence, KS. On Friday, June 12, with Godzillionaire.]

3. Sweeping Promises – “Shooting Shadows”
   from: You Say I Romanticize / Feel It Records – Sub Pop / August 14, 2026
   [From bandcamp page: Sweeping Promises’ introduction to the global punk underground was their debut album, Hunger for a Way Out, one of the breakout successes in music during 2020’s pandemic lockdown. In 2023, they followed up with the acclaimed Good Living Is Coming for You, which made Album of the Year lists for Pitchfork, NPR, Paste, and BBC, just to name a few. The album found guitarist/producer Caufield Schnug and bassist/vocalist Lira Mondal testing the limits of their home-recording resourcefulness as freshly minted Kansans – new place, new space. Now, the band is back with a frenetic new offering: You Say I Romanticize. // Recorded over an 18-month period, largely prepared and periodically interrupted by Schnug’s non-SP production work, You Say I Romanticize is a tribute to the chaos of creation and collaboration under shifting circumstances. For years now, Schnug and Mondal have embedded themselves in their combination tour house and recording studio in Kansas, annually working on dozens of albums from other bands, hosting tour stops, planning shows, and the like. After an immersive process of tracking and whittling down YSIR demos and carving out an idiosyncratic chamber recording method for the album’s intentional wall-of-sound, the duo brought in touring drummer Spenser Gralla to play the songs like the band would on stage. // The album’s frenzied execution, akin to the group’s renowned live show, prevails most of all in Mondal’s vocals. Whereas previously, you might have heard a growl here and there on certain Sweeping Promises tracks, the band’s formidable singer shouts, roars, hits all sorts of tricky notes, and shreds her throat all over the record, notably on the pummeling opener “Shooting Shadows” and the smoldering “Cocoon.” // A shadow side exists along with Sweeping Promises’ love of their artistic community—borne of weirdos channeling their misfit status into vibrant art and punk rock music, often passing through the revolving door that is their home studio. You Say I Romanticize takes the art-by-any-means-necessary ethos Mondal and Schnug have developed over the years and turns the prompt upside-down, landing on a personality epidemic manifesting across all ten tracks. // A big theme of You Say I Romanticize is hinted at in its title. Taken from a lyric sung on driving album closer “Write Lightly”—a narrative about the importance of self-expression in writing being scrubbed away by “professional” concerns—many of the characters Mondal fleshed out here are outcasts, marginalized by society and morphed into longing fanatics. The personalities depicted on You Say I Romanticize are often writerly types; as writing is, by and large, an art of obsession. To wit, “Last Man,” by equal turns musically nervous and cathartic, loosely takes after Mary Shelley’s literary work of the same name, The Last Man—a dystopian 19th Century novel written in wake of a cholera outbreak. Similarly, “My Anchoress” resonantes in its portrayal of 15th Century author Julian of Norwich—centered around her enduring Revelations of Divine Love (one of the earliest English-written works by a woman), which details her eccentric, sensuous religious visions. // Sweeping Promises have long been progenitors of concept-forward art-punk music that is remarkably immediate and irresistible. For being largely about personalities boxed in by isolation, You Say I Romanticize is carried by an outright soaring energy. —Martin Douglas ]

[On September 9 through November 18 Sweeping Promises go on a 32 City U.S. Tour that include: St. Paul, Denver, and even Omaha, but not KC. Local promoters passed, because it’s not a tribute show.]

4. Til Willis & Erratic Cowboy – “Come Up High”
   from: Art, Luck and Architecture – EP / Til Willis / May 8, 2026
   [Til Willis on vocals & guitar; Bradley McKellip on guitar; Eric Binkley on bass; and Austin Sinkler on drums. With Randy Wills on Organ on December’s Clover and East Bijou. Recorded and Mixed by Randy Wills at Exceptions Studios (Topeka, KS). All songs written by Til Willis. (c) 2026 Lemon Zephyr Music BMI. // Til Willis & Erratic Cowboy released Glass Cactus on March 27, 2025 with Til Willis on vocals, guitar, percussion, mixing, & production; Bradley McKellip om guitars & lap steel; Eric Binkley on bass, and Austin Sinkler on grums with Nate Holt on keyboards for: Ten Miles of Days, Horizon, Smells Like Honey, Recovering Sunday; Chance Dibben on Sonic Manipulations on Homecoming, Recovering Sunday, Natural Law; and Steve Faceman on backup vocals on Lost. Recorded in The Barn in Tecumseh, Kansas. Mixed in The Cabin in Ouray, Colorado, and at 1509 Recording Service in Lawrence, Kansas. // Til Willis, born in the heat of 1980, has been making music for a long time. Currently, when not performing solo, he makes noise with Erratic Cowboy. The style of music is lyric driven rock, that draws influence from many sources. Some have described it as Tin-Roof-Rain-Water-Bop. Til has had the pleasure to have performed with Pete Seeger.]

5. youbet – “Ground Kiss”
   from: youbet / Hardly Art / May 1, 2026
   [From Bandcamp page: The best teachers never stop learning. They listen closely, stay curious, and let what they discover shape how they guide others. On their new self-titled album as youbet (due May 1st 2026, via Hardly Art), longtime music educators Nick Llobet (he/they) and Micah Prussack (she/her) proudly act as both explorer and guide, sharing three-dimensional musical sculptures so confidently and esoterically their own that they couldn’t have been released under any other name but youbet. Created in motion and shaped between long stretches of touring, the album reflects a moment of ecstatic possibility and grit. Both sharpened and expansive, youbet grows from the confines of home recording and “bedroom pop” into something sturdier, louder, and unmistakably their own. // “I myself am a constant student of life, of creating,” Llobet says. “I see people’s creative anxieties because I have lived them. It’s very therapeutic because I can tell that I’m giving people strong advice based on all my failures.” Llobet relocated to New York from Denver in 2013 and forged initial connections in the local scene, while creating youbet and writing two albums, but it wasn’t until meeting Prussack in 2022 that they discovered a different level of musical connection. When the duo started playing together, they quickly realized their uniquely shared musical language and eagerness to learn from everything, connecting over a vast array of musical influence and their own practice of teaching. “Early in our friendship, Nick and I were playing guitar in the park and we decided that the Beatles were so good because they learned how to play hundreds of songs together,” Prussack says. “So we began our quest to learn 1,000 songs. Nick started compiling a massive playlist called ‘Learn Me’ filled with music that we habitually study and generate new ideas from.”  // The duo began experimenting musically, and their subsequent year of touring led to a new, more refined sound. “We had a huge opportunity for reinvention,” Prussack says. “Nick will never play the chord that you expect, and is always pushing me outside of my creative box. Their compositions are so exciting to explore, and on tour we began to reconsider and transform the kernel of each song to match our new environment.” // That depth of surprise and expansive warmth radiates from album opener “Ground Kiss”, a late-night existential query written when Llobet found themselves adjusting to living alone after the end of an 11-year relationship. “The song represents an endless search for that something and the rebuilding that goes along with trial and failure,” they say. The song unites the spectrum between clouds of plucked Big Thief-esque glow and bursts of distorted frustration. To that end, youbet demonstrates Llobet and Prussack’s ability to weave beguiling musical and lyrical expression, pushing and pulling at the resulting mesh. // Developing their finely tuned fusion between complex musicality and deeply felt emotion required more than hoping inspiration would strike. Instead, the process of creating youbet involved countless hours of precise engineering, meticulous craft, and gritty dedication. The duo were consistently listening, learning, and writing. But that hard work boils down into every facet of their work, including bringing a set of dumbbells on tour so they could keep active and stay disciplined. For their part, Llobet sees the resulting album as a statement of that hard work and the opening of a new chapter. “It’s the beginning of a new era for youbet,” they say. “The band started as a sort of bedroom project for myself, but it has transformed into something expansive since working with Micah. It’s like we’re running a family business.” // The broiling “Undefined” draws from that personal soul-searching, a musical mosaic of life before and after a complicated breakup. Llobet first worked out the verses while waiting for a guitar student, a fitting backdrop for the song’s balance of wizardly art pop experimentalism and diligent power pop hookiness. Co-producers Katie Von Schleicher and Julian Fader help round out the mix, the former adding synth glisten and the latter a drum backbone hammered into place by Prussack’s bass. // The concussive “See Thru” rushes headlong through heavy alt rock chop, moments of gentler curve, and even bubbly electronics—a track Llobet notes began when they were toying with a Debussy piano part on guitar and then stamped in the harmonics and energy of Japanese hard rock band Boris. Elsewhere, “Receive” finds Llobet carving away at generational conflict, tethering propulsive bursts of guitar reverie with raw emotional vigor in the vein of Pile. “On the verse, the bass is playing variations on the vocal melody,” Prussack says. “Throughout the album, there’s unique interplay and variation that you can only get from a lot of hard work together.”// Echoing their strengths as educators, the ability to voraciously learn from a breadth of influences informs youbet—from the dizzying score to Alfred Hitchcock’s Vertigo to dazzling flamenco—but their ability to recognize meaning beyond signposts and find connections to emotional experience pushes everything into a topographical realism. “Having respect for the canon doesn’t mean we’re ever limited by revivalism. There’s a whole universe of musical vocabulary that we can borrow from and translate into our language,” Prussack says. // That willingness to learn from the past while building the future is something tied deeply to the band’s New York City roots, with so many visionary artists having previously built new worlds within the city’s confines. “For years, I was too intimidated to step into the scene. It’s been such a breath of fresh air to build this new craft, this new philosophy of songwriting in a scene I respect and feel in community with,” says Llobet. / Compelling art requires an unimaginable burst of new life, a shift from two-dimensional ideas to viscous, sinewy reality. As much as the hard work bolsters the music, it’s truly the resounding spirit of Llobet and Prussack’s relationship at the core of youbet. “Micah has brought a lot of order to my chaotic neurodivergence,” Llobet reflects. “I consider her my musical confidant. She can be cleverly critical and extremely encouraging. She’s probably the most opinionated person I know. Together we build this musical balance.” What emerges is an album that doesn’t just break free of its former constraints, but reconfigures them into something sturdier: a collaborative language capable of holding contradiction, growth, and connection all at once.]

6. Yaya Bey – “Blue”
   from: Fidelty / drink sum wtr / April 17, 2026
   [When Queens-born Yaya Bey released her 3rd album, do it afraid, in 2025, she yearned to move past the topic of grief after feeling her work was increasingly viewed through the narrow lens of loss. That said, there was plenty to mourn, from the death of her father, the acclaimed Juice Crew MC, Grand Daddy I.U. as well as a creeping sense that a particular Black American experience, the one she grew up in, was disappearing. The week the album dropped, despite the critical acclaim, she found herself on the road in a Miami hotel room, crying uncontrollably. She wasn’t just tired, but also coming to the realization “there was no place for that grief to exist that would not become a spectacle. I had been holding it in. Maybe, to protect myself. Maybe to prove the onlookers wrong. Whatever the case, it was spilling over now.” // What Bey was pondering was “what part of that ache is specifically Black?” and clarity followed. Yaya quickly returned to the studio after last summer and crafted a new body of work, an album that works as an accomp-anying piece to do it afraid, called Fidelity, the result of that breaking point. It is a record born from a summer of reflection on what it means to be a Black artist when your grief becomes a commodity, another sob story for onlookers to feast upon. Fidelity is a bold step forward, and in this new act, Bey moves past the surface-level labels to examine what she calls the “Three Deaths”: the personal, the communal, and the loss of innocence. // The album confronts Personal Death through the passing of her father in 2022. Bey questions why the life expectancy of Black musicians is so short as we continue to lose consequential artists, only to receive their flowers too late, too far after the fact. “Why are we more interesting as ghosts?” she asks, looking at the mid-career mark where so many artists are left to die by a system that prioritizes the “shiny & new.” // On Fidelity, the social and the personal are inseparable. Bey explores the Death of Home & community, charting the displacement of native New Yorkers and the fracture of the Black diaspora. She critiques the rise of Black capitalism, or the “individualism and tribalism” that have replaced community solidarity. From the gentrifi-cation of her native Queens or Brooklyn’s Bed-Stuy to the “diaspora wars” online, Bey navigates the ways we’ve been pulled apart, weaponizing our differences instead of addressing the collective ache of being “made new” in a world that demands our constant adaptation. // Finally, the record addresses the Death of Innocence—the crash back to reality for a generation raised on the empty promises of the 90s and Y2K eras. Bey reflects on the transition from the “Golden Era” of Black media to a landscape of global pandemics, state violence, and an industry that exploits and disposes of Black artists that were once held in high esteem. // The songs show-case Bey’s range as a performer from lead-off single “Blue” which opens like a breath of fresh air to the project. Yaya says: “Blue” is the first song I wrote for the album. I wrote it when I was rock bottom coming off the heels of do it afraid. When I realized I had to make a big shift mentally and emotionally or I was gonna drown. The production is really reminiscent of early 2000’s Pop/R&B like something red-haired Kelly Rowland would sing over on one of her solo projects. The nostalgia drew me to it. Almost like I’m coaching my young-er self through something. Which I guess ultimately I am.” // Equally bright & effusive, “Forty Days” glim-mers with clarity, a song with a heavy theme about a phase transfer that is unexpectedly buoyed with a Disco-Funk confidence. “There’s a belief that after a loved one dies you give them 40 days to pass over into the ancestral realm and that got me thinking about what is the time frame for the grieving to transition into a new life that is absent of the lost one’s physical presence. How do both accli-mate to new conditions of the relation-ship?” // Fellow Queens native NESTA drops in for “Egyptian Musk”, a surprise chance moment turning into a key moment in the album. “I ran into NESTA at an event the night before and invited him to a session. We had this really dreamy reggae track that sounds like something old with a fresh spin. I named it Egyptian Musk ‘cause it reminds me of the scent. Rich, sweet and comforting.” // The core of the album is indeed found in its title. For Bey, Fidelity is the ultimate Black skill. It is the ability to fall down and get back up, to be “religious-ly joyful” even while the world is on fire. It is a grand pivot away from a yearning for mainstream accessibi-lity, and toward a radical faithfulness to self and community. Fidelity is not just a foil to do it afraid; it’s a re-clamation. She puts it, the veil is lifting, the work is being done, she’s still here. Cheers to hers, & our fidelity.]

7. Lee Walter Redding – “It Should Be Ours” (CD #7) (4:02)
   from: “It Should Be Ours” – Single / Lee Walter Redding / February 4, 2025
   [Lee Walter Redding released the EP Student Loan Forgiveness Program – EP on July 18, 2025. It was part of WMM’s 120 Best Recordings of 2025. // Lee Walter Redding released the single “All My Text Messages Are Verification Codes” on July 11, 2025. Lee Walter Redding released the single “It Should Be Ours” on February 24, 2025. // On July 15, 2022 Lee Walter Redding released the EP live From The Argyle Wallpaper. Lee Walter Redding on vocals, guitar; Justin Rogers on bass; Andy Kirk on guitar/synth and Justin Skinner on drums. // Lee Walter Redding released “Elephant Man (feat. Stephonne)” on April 9, 2021. Lee told us that he learned about Stephonne Singleton from listening to Wednesday MidDay Medley and hearing Stephonne for the first time. WMM bringing musical collaborations together since 2004. // Kansas City based Lee Walter Redding was raised on 60s rock, steeped in 90s Britpop ennui, and guided by contemporary neo-soul, Lee Walter Redding weaves dry humor into vibrant sonic textures that sway from wistful to chaotic. Think 2010s Nick Lowe fronting The Velvet Underground. On warped vinyl. More info at: http://www.leewalterredding.bandcamp.com] [Lee Walter Redding was our guest on WMM on July 13, 2022]

10:24 – Underwriting

8. Black Light Animals – “sleeptalking”
   from: LAST CALL FOR LOVE SONGS / The Record Machine / March 28, 2025
   [Black Light Animals are: Cole Bales on lead vocals, background vocals, guitar, keyboards; Cody Calhoun on lead guitar & percussion; Branden Moser on bass, guitar, keyboards, drums & percussion; and Alex Hartmann on drums & percussion. All songs written and produced by Black Light Animals. Lyrics by Cole Bales, Cody Calhoun, Branden Moser. Mixed and engineered by Cole Bales. Mastered by Adam Boose. Featuring Nate Hubert on keyboards & background vocals; spoken word intro and outro by Jass. Seyko Groves & Paula Saunders on additional background vocals and vocal arrangements. Brett Jackson on saxophone. Recorded at Groove King Studios in KCMO. // Formed from the ashes of their last band, Instant Karma the new record contains lush pop vocals crooned over spaghetti western riffs, psychedelic synth, and hip hop drums. Playboys of the Western World is a sprawling, decadent examination of what it means to be a human being through the lens of horror movie organs, spaghetti western guitars, hip hop grooves, psychedelic sojourns, and ballads crooned to lovers in the night. More info at: http://www.blacklightanimalsband.bandcamp.com]

9. Be/Non – “Over The Moon”
   rom: A Valley of No: The Alternative A Mountain of Yeses / Haymaker Records / Apr. 8, 2020
   [Originally released May 12, 2009, A Mountain of Yeses was made by: Brodie Rush on vocals, guitar, bass, drums, keyboards; Ben Ruth on bass guitar; Ryan Shank on drums & percussion, and Jeremiah James on guitar, Moog & Vocals. Brodie writes: “This album is a journey into the sculpting process of creating “A Mountain of Yeses”. In contrast to the original release, this compilation contains alternate mixes, isolated tracks and demo versions. Be/Non presents a bizarro-like version of the AMOY album, showing an alternate universe what could have been if the creation of the album went on a divergent path. Behold the paradoxical serendipity of Be/Non’s unique take on constructing a space-themed story/album.]

10. Pink Floyd – “The Great Gig In The Sky”
    from: The Dark Side of the Moon / Capitol / March 1, 1973
    [Nick Mason (drums), Roger Waters (bass guitar, vocals) and Richard Wright (keyboards, vocals), with David Gilmour (guitar, vocals). The Dark Side of the Moon is the eighth studio album by the English progressive rock band Pink Floyd, released March 1, 1973 by Capitol Records in the US, and March 16, 1973 by Harvest Records in the UK. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London. // The group employed multitrack recording, tape loops, and analogue synthesisers, including experimentation. The engineer Alan Parsons was responsible for many aspects of the recording, and for the recruitment of the session singer Clare Torry, who appears on “The Great Gig in the Sky”. // The Dark Side of the Moon explores themes such as conflict, greed, time, death, and mental illness. Snippets from interviews with the band’s road crew and others are featured alongside philosophical quotations. The sleeve, which depicts a prismatic spectrum, was designed by Storm Thorgerson in response to the keyboardist Richard Wright’s request for a “simple and bold” design which would represent the band’s lighting and the album’s themes. // The Dark Side of the Moon has received widespread critical acclaim and is often featured in publication listings of the greatest albums of all time. It brought international fame and wealth to all four band members. As a blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14× platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 996 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band’s best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history. In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress for being “culturally, historically, or aesthetically significant”. It was inducted into the Grammy Hall of Fame in 1999. // Waters conceived an album that dealt with things that “make people mad”, focusing on the pressures associated with the band’s arduous lifestyle, and dealing with the mental health problems suffered by the former band member Syd Barrett. // The band approved of Waters’ concept for an album unified by a single theme. Waters created demo tracks in a small studio in a garden shed at his home in Islington. Parts of the album were taken from previously unused material; the opening line of “Breathe” came from an earlier work by Waters and Ron Geesin, written for the soundtrack of The Body, and the basic structure of “Us and Them” was borrowed from an original composition, “The Violent Sequence”, by the keyboardist, Richard Wright, for Zabriskie Point. The band rehearsed at a warehouse in London owned by the Rolling Stones and at the Rainbow Theatre in Finsbury Park, London. They also purchased extra equipment, which included new speakers, a PA system, a 28-track mixing desk with a four channel quadraphonic output, and a custom-built lighting rig. Nine tonnes of kit was transported in three lorries. This would be the first time the band had taken an entire album on tour. // The album had been given the provisional title of Dark Side of the Moon (an allusion to lunacy, rather than astronomy). // Pink Floyd’s lengthy tour through Europe and North America gave them the opportunity to make improvements to the scale and quality of their performances. After more concerts in Europe and North America, the band returned to London on January 9, 1973 to complete the album. // Each side of the vinyl album is a continuous piece of music. The five tracks on each side reflect various stages of human life, beginning and ending with a heartbeat, exploring the nature of the human experience and, according to Waters, “empathy”. “Speak to Me” and “Breathe” together highlight the mundane and futile elements of life that accompany the ever-present threat of madness, and the importance of living one’s own life – “Don’t be afraid to care”. By shifting the scene to an airport, the synthesiser-driven instrumental “On the Run” evokes the stress and anxiety of modern travel, in particular Wright’s fear of flying. “Time” examines the manner in which its passage can control one’s life and offers a stark warning to those who remain focused on mundane pursuits; it is concluded with a retreat into solitude and withdrawal in the reprise of “Breathe”. The first side of the album ends with Wright and Clare Torry’s soulful metaphor for death, “The Great Gig in the Sky”. // “Money”, the first track on side two, opens with the sound of cash registers and rhythmically jingling coins. The song mocks greed and consumerism with sarcastic lyrics and cash-related sound effects. “Money” became the band’s most commercially successful track and was covered by other artists. “Us and Them” addresses the senseless nature of war, the ignorance of modern-day humans who have been taken over by materialism, and the isolation of the depressed with the use of simple dichotomies to describe personal relationships. “Any Colour You Like” tackles the illusion of choice one has in society. “Brain Damage” looks at mental illness resulting from the elevation of fame and success above the needs of the self; in particular, the line “and if the band you’re in starts playing different tunes” reflects the mental breakdown of Syd Barrett. The album ends with “Eclipse”, which espouses the concepts of otherness and unity while encouraging the listener to recognise the common traits shared by humanity. // The Dark Side of the Moon was recorded at EMI Studios (now Abbey Road Studios) in approximately 60 days between May 31, 1972 and February 9, 1973. Pink Floyd were assigned staff engineer Alan Parsons, who had worked as the assistant tape operator on their fifth album, Atom Heart Mother (1970), and had gained experience as a recording engineer on the Beatles albums Abbey Road and Let It Be. // The Dark Side of the Moon sessions made use of advanced studio techniques, especially the Studer A80 16-track recorders, an appreciable advantage over the eight- or four-track recordings they’d previously made, although the band often used so many tracks that second-generation copies were still needed to make more space available on the tape. The mix supervisor Chris Thomas recalled later, “There were only two or three tracks of drums when we came to mixing it. Depending on the song, there would be one or two tracks of guitar, and these would include the solo and the rhythm guitar parts. One track for keyboard, one track for bass, and one or two sound effects tracks. They had been very, very efficient in the way they’d worked.” // “The Great Gig in the Sky” features Richard Wright’s piano composition accompanied by improvised vocals from Clare Torry, a session singer and songwriter and a regular at Abbey Road. Parsons liked her voice, and when the band decided to use a female vocalist he suggested that she could sing on the track. The band explained the album concept to her, but they were unable to tell her exactly what she should do, and Gilmour, who was in charge of the session, asked her to try to express emotions rather than sing words. In a few takes on a Sunday night, Torry improvised a wordless melody to accompany Wright’s emotive piano solo. She was initially embarrassed by her exuberance in the recording booth and wanted to apologize to the band, who were impressed with her performance but did not tell her so. Her takes were edited to produce the version used on the track. She left the studio under the impression that her vocals would not make the final cut, and she only became aware that she had been included in the final mix when she picked up the album at a local record store and saw her name in the credits. For her contribution she was paid her standard session fee of £30, equivalent to about £360 in 2025. // In 2004, Torry sued EMI and Pink Floyd for 50% of the songwriting royalties, arguing that her contribution to “The Great Gig in the Sky” was substantial enough to be considered co-authorship. The case was settled out of court for an undisclosed sum, with all post-2005 pressings crediting Wright and Torry jointly. // The Dark Side of the Moon became one of the best-selling albums of all time and is in the top 25 of a list of best-selling albums in the United States. Although it held the number one spot in the US for only a week, on the week of May 5, 2006 The Dark Side of the Moon achieved a combined total of 1,716 weeks on the Billboard 200 and Pop Catalog charts. // In 2007, one in every 14 people in the US under the age of 50 was estimated to have owned a copy.]

10:36 – Interview with Brodie Rush, Cody Calhoun, Liam Sumnich, Nate Hubert, and Tim Jenkins

Brodie Rush is a musician, songwriter, band leader, graphic artist, actor, father and survivor. He has served as the Director of Animation & Motion Graphics at Crush Media. He is the creative genius behind Be/Non, a Kansas City band that has been making music for over 25 years. In October 2019, Brodie Rush survived having an Aortic Dissection, and after being in a coma, and after months of therapy, recovery, and healing through two dangerous years of Covid-19, Brodie returned to the studio to create new music and bring Be/Non back to life on stage, after a six year hiatus. Brodie Rush is considered a musical genius from his musical peers, including Haymaker Records Founder – Brenton Cook and many area music radio DJs. Be/Non has continued to move the boundaries of music and performance with special live shows at the Scottish Rite Temple, creating film and video to be presented wit h lie concerts, opening for Thomas Dolby. In the summer of 2008 Brodie was part of a Kansas City Theatre production of Pink Floyd’s The Wall, produced at at the former La Esquina Gallery, where Brodie played the “psychologically disintegrating” character of Pink, the role Bob Geldof played in the 1982 Alan Parker film version

We came to know Cody Calhoun as lead guitarist for the Kansas City based band Instant Karma. Cody immediately charmed our radio listeners with his clever sense of humor, and impecable musical taste. When Instant Karma went through their identity shift and became Black Light Animals we all followed awith Cole Bales, Branden Moser. And now Nate Hubert and Liam Sumnicht . The band members have recorded and performed lives with fantastic collaborations with Jass, Seyko Groves, Paula Saunders and others. Through their own Groove King Studios in KCMO. // Black Light Animals debut album, Playboys of the Western World was their own sprawling, decadent examination of what it means to be a human being through the lens of horror movie, organs, spaghetti western guitars, hip hop grooves, psychedelic sojourns, and ballads crooned to lovers in the night. Last year Black Light Animals released LAST CALL FOR LOVE SONGS on The Record Machine on March 28, 2025. It was in the Top Ten of WMM’s 120 Best Recordings of 2025.

Also with us are: Liam Sumnicht (Black Light Animals, Not A Planet), Nate Hubert (Black Light Animals), and Tim Jenkins (Ramona Clay).

These guys join us to share details about An Evening of Pink Floyd, Friday, May 29, doors at 7:00pm, show at 8:00pm, at Warehouse On Broadway, 3951 Broadway, KCMO. The night will feature, The Dark Side of the Moon, performed in its entirety along with many more of Pink Floyd’s biggest hits and deep cuts. The band features some of Kansas City’s finest Rock, Soul, and Psychedelic musicians: Brodie Rush (Be/Non), Cody Calhoun (Black Light Animals), Liam Sumnicht (Black Light Animals, Not A Planet), Nate Hubert (Black Light Animals), SEYKO (The Freedom Affair and SUNU), and Tim Jenkins (Ramona Clay). With special guest performances by Aryana Nemanti and Michael Tipton (Found A Job, Michael Tipton & The Scoundrels) among others! For more information you can visit: https://warehouseonbroadway.com/

Brodie Rush, Cody Calhoun, Liam Sumnich, Nate Hubert, and Tim Jenkins thank you for being with us on WMM. An Evening of Pink Floyd, Friday, May 29, doors at 7:00pm, show at 8:00pm, at Warehouse On Broadway, 3951 Broadway, KCMO.

The night will feature, The Dark Side of the Moon, performed in its entirety along with many more of Pink Floyd’s biggest hits and deep cuts.

Pink Floyd:
Nick Mason (drums)
Roger Waters (bass guitar, vocals)
Richard Wright (keyboards, vocals),
David Gilmour (guitar, vocals).

The band features some of Kansas City’s finest Rock, Soul, and Psychedelic musicians:
Brodie Rush (Be/Non) – bass & Vocals
Cody Calhoun (Black Light Animals) – Guitar
Liam Sumnicht (Black Light Animals, Not A Planet) – Drums & vocals
Nate Hubert (Black Light Animals) – Keyboards & Vocals
SEYKO (The Freedom Affair and SUNU) – Vocals
Tim Jenkins (Ramona Clay) – Guitar

With special guest performances by Aryana Nemanti and Michael Tipton (Found A Job, Michael Tipton & The Scoundrels) among others!

For more information you can visit: https://warehouseonbroadway.com/

The Dark Side of the Moon is the eighth studio album by the English progressive rock band Pink Floyd, released March 1, 1973 by Capitol Records in the US, and March 16, 1973 by Harvest Records in the UK.

Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London. The group employed multitrack recording, tape loops, and analogue synthesizers, including experimentation.

The engineer Alan Parsons was responsible for many aspects of the recording, and for the recruitment of the session singer Clare Torry, who appears on “The Great Gig in the Sky”.

The Dark Side of the Moon explores themes such as conflict, greed, time, death, and mental illness. Snippets from interviews with the band’s road crew and others are featured alongside philosophical quotations.

10:46

11. Pink Floyd – “Breathe (In the Air)”
    from: The Dark Side of the Moon / Capitol / March 1, 1973
    [Nick Mason (drums), Roger Waters (bass guitar, vocals) and Richard Wright (keyboards, vocals), with David Gilmour (guitar, vocals). The Dark Side of the Moon is the eighth studio album by the English progressive rock band Pink Floyd, released March 1, 1973 by Capitol Records in the US, and March 16, 1973 by Harvest Records in the UK. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road) in London.]

10:49 – More Interview with Brodie Rush, Cody Calhoun, Liam Sumnich, Nate Hubert, Tim Jenkins

Brodie Rush & Cody Calhoun & Company join us to share details about An Evening of Pink Floyd, Friday, May 29, doors at 7:00pm, show at 8:00pm, at Warehouse On Broadway, 3951 Broadway, KCMO. The night will feature, The Dark Side of the Moon, performed in its entirety along with many more of Pink Floyd’s biggest hits and deep cuts. The band features some of Kansas City’s finest Rock, Soul, and Psychedelic musicians: Brodie Rush (Be/Non), Cody Calhoun (Black Light Animals), Liam Sumnicht (Black Light Animals, Not A Planet), Nate Hubert (Black Light Animals), SEYKO (The Freedom Affair and SUNU), and Tim Jenkins (Ramona Clay). With special guest performances by Aryana Nemanti and Michael Tipton (Found A Job, Michael Tipton & The Scoundrels) among others! For more information you can visit: https://warehouseonbroadway.com/

Brodie Rush & Cody Calhoun, thank you for being with us on WMM

The sleeve, which depicts a prismatic spectrum, was designed by Storm Thorgerson in response to the keyboardist Richard Wright’s request for a “simple and bold” design which would represent the band’s lighting and the album’s themes.

The Dark Side of the Moon has received widespread critical acclaim and is often featured in publication listings of the greatest albums of all time. It brought international fame and wealth to all four band members. As a blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s.

The Dark Side of the Moon is certified 14× platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 996 weeks.

By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band’s best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history.

In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress for being “culturally, historically, or aesthetically significant”. It was inducted into the Grammy Hall of Fame in 1999.

An Evening of Pink Floyd, Friday, May 29, doors at 8:00pm, at Warehouse On Broadway, 3951 Broadway, KCMO. The night will feature, The Dark Side of the Moon, performed in its entirety along with many more of Pink Floyd’s biggest hits and deep cuts. The band features some of Kansas City’s finest Rock, Soul, and Psychedelic musicians: Brodie Rush (Be/Non), Cody Calhoun (Black Light Animals), Liam Sumnicht (Black Light Animals, Not A Planet), Nate Hubert (Black Light Animals), SEYKO (The Freedom Affair and SUNU), and Tim Jenkins (Ramona Clay). With special guest performances by Aryana Nemanti and Michael Tipton (Found A Job, Michael Tipton & The Scoundrels) among others! For more information you can visit: https://warehouseonbroadway.com/

Brodie Rush, Cody Calhoun, Liam Sumnich, Nate Hubert, Tim Jenkins thank you for being with us on WMM – An Evening of Pink Floyd, Friday, May 29, doors at 7:00pm, show at 8:00pm, at Warehouse On Broadway, 3951 Broadway, KCMO. For info you can visit: https://warehouseonbroadway.com/

10:58

12. Pink Floyd – “Eclipse”
    rom: The Dark Side of the Moon / Capitol / March 1, 1973
    [Nick Mason (drums), Roger Waters (bass guitar, vocals) and Richard Wright (keyboards, vocals), with David Gilmour (guitar, vocals). The Dark Side of the Moon is the eighth studio album by the English progressive rock band Pink Floyd, released March 1, 1973 by Capitol Records in the US, and March 16, 1973 by Harvest Records in the UK. Developed during live performances before recording began, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of former band member Syd Barrett, who had departed the group in 1968. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road) in London.

13. Be/Non – “Journey”
    from: A Valley of No: The Alternative A Mountain of Yeses / Haymaker Records / Apr. 8, 2020
    [Originally released May 12, 2009, A Mountain of Yeses was made by: Brodie Rush on vocals, guitar, bass, drums, keyboards; Ben Ruth on bass guitar; Ryan Shank on drums & percussion, and Jeremiah James on guitar, Moog & Vocals. Brodie writes: “This album is a journey into the sculpting process of creating “A Mountain of Yeses”. In contrast to the original release, this compilation contains alternate mixes, isolated tracks and demo versions. Be/Non presents a bizarro-like version of the AMOY album, showing an alternate universe what could have been if the creation of the album went on a divergent path. Behold the paradoxical serendipity of Be/Non’s unique take on constructing a space-themed story/album.]

11:00 – Station ID

14. FlareThaRebel – “Dear City”
    from: Dear City / Shafer Publishing / May 1, 2026
    [Amplifying the tension between having love for one’s city while not dismissing its inequities, Dear City is a lyrical reflection of truth-telling and hometown pride. The album highlights commonalities experienced by many urbanites regardless of where they call home.  // In the weeks leading up to the album release concert, Flare has been releasing music video reels on social media featuring snippets of the new songs from Dear City. Filmed by Flaming Heart Productions, each reel features only the first verse or at most the first verse and chorus of each song, giving fans a taste of what’s to come and building hype for the album’s release. // Elevating the concoction further, Flare collaborated with bar owner, Bryan Ari, to film the music video reel of “Mixology” at Fern Bar. Flare turned the filming into a “fishbowl experience” inviting guests to watch him create the reel live while sipping cocktails of their own. Flare landed the scene, which involved rapping while mixing a cocktail and flaming an orange rind a precise moment within the song’s verse. The outcome? Confidently smooth – after about six takes and some hands-on coaching from Bryan Ari.// Career and love brought hip-hop MC Flare Tha Rebel™ back to his hometown of Kansas City, MO, which sparked a creative renaissance. As The Pitch noted, “As a member of hip-hop collective Anti-Crew, Flare Tha Rebel made quite an impact on the Kansas City hip-hop scene. After making the leap from KC to Chicago in the late ’00s, he’s now back…” His homecoming has proved fruitful – his track “Playground” was voted the Number 1 Song of 2022 by listeners of 90.9 FM The Bridge. Throughout his career, Flare has shared stages with heavyweights including Chance The Rapper, RZA of Wu-Tang Clan, Mac Lethal, Nappy Roots, and CES Cru. His most recent release is the locally acclaimed EP, “Summer You, Summer Me”, followed by his feature on the Kemet Coleman song “Android”. // Flare Tha Rebel aka Jeff Shafer is Executive Director for City Year Kansas City, an educational-equity nonprofit that places mentors/tutors in schools to keep kids on track to graduate. This was the job that brought Jeff back to KC, where he became Executive Director. ]

[FlareThaRebel plays Day Eight of Manor Fest 8 on Saturday, May 30 at 1:00pm at The Kemper Museum 4420 Warwick Blvd., KCMO with\Kadesh Flow and True Lions.]

11:02:30 – Interview with FlareThaRebel

FlareThaRebel returns to Wednesday MidDay Medley to share details about his new, epic full length album, DEAR CITY that was released May 1, 2026. Dear City is an incredible testimony of life as an artist in Kansas City making Hip Hop music. Dear City features 12 tracks with guest appearances from Jazlyn, Kemet Coleman, Ryan Marquez, Edie Moore, Kadesh Flow, The Epitome, The Royal Chief, Shay Lyriq, Joey Cool, and Paula Sunders, Shon Ruffin and SEYKO of The Freedom Affair. FlareThaRebel has just returned from special performance in Ireland with Kemet Coleman and Kadesh Flow. FlareThaRebel plays Day Eight of Manor Fest 8, on Saturday, May 30 at 1:00pm at The Kemper Museum 4420 Warwick Blvd, KCMO, with Kadesh Flow and True Lions. FlareThaRebel is also known as Jeff Shafer who serves as Executive Director for City Year Kansas City, an educational-equity nonprofit that places mentors/tutors in schools to keep kids on track to graduate. This was the job that brought Jeff back to KC. More info at: http://www.cityyear.org

FlareThaRebel, Thanks for being with us on Wednesday MidDay Medley

FlareThaRebel has just returned from special performance in Ireland with Kemet Coleman and Kadesh Flow.

FlareThaRebel plays Day Eight of Manor Fest 8, on Saturday, May 30 at 1:00pm at The Kemper Museum 4420 Warwick Blvd, KCMO, with Kadesh Flow and True Lions.

DEAR CITY that was released May 1, 2026. Dear City is an incredible testimony of life as an artist in Kansas City making Hip Hop music. Dear City features 12 tracks with guest appearances from Jazlyn, Kemet Coleman, Ryan Marquez, Edie Moore, Kadesh Flow, The Epitome, The Royal Chief, Shay Lyriq, Joey Cool, and Paula Sunders, Shon Ruffin and SEYKO of The Freedom Affai

Career and love brought hip-hop MC FlareThaRebel back to his hometown of Kansas City, MO, which sparked a creative renaissance. As The Pitch noted, “As a member of hip-hop collective Anti-Crew, FlareThaRebel made quite an impact on the KC hip-hop scene.

After making the leap from KC to Chicago in the late ’00s, he’s now back…” His homecoming has proved fruitful – his track “Playground” was voted the Number 1 Song of 2022 by listeners of 90.9 FM The Bridge. Throughout his career, Flare has shared stages with heavyweights including Chance The Rapper, RZA of Wu-Tang Clan, Mac Lethal, Nappy Roots, and CES Cru. His most recent release is the locally acclaimed EP, “Summer You, Summer Me”, followed by his feature on the Kemet Coleman song “Android”.

FlareThaRebel last joined us on WMM on February 11, 20926 to talk about Music Maker Mondays presented by Manor Records Foundation, & Brewery Emperial on the First Monday of every month, 5:00pm-7:00pm (through August) at Brewery Emperial, 1829 Oak St. KCMO, to provide local music makers of all types – any genre, a laid-back, non-gig environment to connect, organize, and build community through a new monthly happy hour occurring on the first Monday of each month.

Flare Tha Rebel aka Jeff Shafer is Executive Director for City Year Kansas City, an educational-equity nonprofit that places mentors/tutors in schools to keep kids on track to graduate. This job brought Jeff back to KC, where he became Executive Director.

11:11

15. FlareThaRebel – “A City Called Killah (Remix)”
    from: Dear City / Shafer Publishing / May 1, 2026
    [Amplifying the tension between having love for one’s city while not dismissing its inequities, Dear City is a lyrical reflection of truth-telling and hometown pride. The album highlights commonalities experienced by many urbanites regardless of where they call home.  // In the weeks leading up to the album release concert, Flare has been releasing music video reels on social media featuring snippets of the new songs from Dear City. Filmed by Flaming Heart Productions, each reel features only the first verse or at most the first verse and chorus of each song, giving fans a taste of what’s to come and building hype for the album’s release. // Elevating the concoction further, Flare collaborated with bar owner, Bryan Ari, to film the music video reel of “Mixology” at Fern Bar. Flare turned the filming into a “fishbowl experience” inviting guests to watch him create the reel live while sipping cocktails of their own. Flare landed the scene, which involved rapping while mixing a cocktail and flaming an orange rind a precise moment within the song’s verse. The outcome? Confidently smooth – after about six takes and some hands-on coaching from Bryan Ari.// Career and love brought hip-hop MC Flare Tha Rebel™ back to his hometown of Kansas City, MO, which sparked a creative renaissance. As The Pitch noted, “As a member of hip-hop collective Anti-Crew, Flare Tha Rebel made quite an impact on the Kansas City hip-hop scene. After making the leap from KC to Chicago in the late ’00s, he’s now back…” His homecoming has proved fruitful – his track “Playground” was voted the Number 1 Song of 2022 by listeners of 90.9 FM The Bridge. Throughout his career, Flare has shared stages with heavyweights including Chance The Rapper, RZA of Wu-Tang Clan, Mac Lethal, Nappy Roots, and CES Cru. His most recent release is the locally acclaimed EP, “Summer You, Summer Me”, followed by his feature on the Kemet Coleman song “Android”. // Flare Tha Rebel aka Jeff Shafer is Executive Director for City Year Kansas City, an educational-equity nonprofit that places mentors/tutors in schools to keep kids on track to graduate. This was the job that brought Jeff back to KC, where he became Executive Director. ]

[FlareThaRebel plays Day Eight of Manor Fest 8 on Saturday, May 30 at 1:00pm at The Kemper Museum 4420 Warwick Blvd., KCMO with\Kadesh Flow and True Lions.]

11:14 – More Interview with FlareThaRebel

FlareThaRebel returns to Wednesday MidDay Medley to share details about his new, epic full length album, DEAR CITY that was released May 1, 2026. Dear City is an incredible testimony of life as an artist in Kansas City making Hip Hop music. Dear City features 12 tracks with guest appearances from Jazlyn, Kemet Coleman, Ryan Marquez, Edie Moore, Kadesh Flow, The Epitome, The Royal Chief, Shay Lyriq, Joey Cool, and Paula Sunders, Shon Ruffin and SEYKO of The Freedom Affair. FlareThaRebel has just returned from special performance in Ireland with Kemet Coleman and Kadesh Flow. FlareThaRebel plays Day Eight of Manor Fest 8, on Saturday, May 30 at 1:00pm at The Kemper Museum 4420 Warwick Blvd, KCMO, with Kadesh Flow and True Lions. FlareThaRebel is also known as Jeff Shafer who serves as Executive Director for City Year Kansas City, an educational-equity nonprofit that places mentors/tutors in schools to keep kids on track to graduate. This was the job that brought Jeff back to KC. More info at: http://www.cityyear.org

FlareThaRebel, Thanks for being with us on Wednesday MidDay Medley

Flare has shared stages with heavyweights including Chance The Rapper, RZA of Wu-Tang Clan, Mac Lethal, Nappy Roots, and CES Cru. His most recent release is the locally acclaimed EP, “Summer You, Summer Me”, followed by his feature on the Kemet Coleman song “Android”. FlareThaRebel is also known as Jeff Shafer who serves as Executive Director for City Year Kansas City, an educational-equity nonprofit that places mentors/tutors in schools to keep kids on track to graduate. This was the job that brought Jeff back to KC. More info at: http://www.cityyear.org

The DEAR CITY album was connected to DEAR CITY Reels – filmed by Lava Dreams, Directed by FlareThaRebel. Each Reel showcases verses and chorus of songs from DEAR CITY album.

Jeff Shafer is Executive Director for City Year Kansas City, an educational-equity nonprofit that places mentors/tutors in schools to keep kids on track to graduate.

FlareTheRebel wants to encourage Kansas City to form a music office of MUSIC OFFICE AND MEETING IN OCTOBER WITH DALLAS MUSIC OFFICE

Flare’s brother Sike is known for his pristine community murals’s located all over Kansas City. Sike’s time at Recycled Sounds was memorable for Jeff as a young kid and as he developed into a DJ and graphic designer and got heavily into the scene with The Guild, CES Cru, Sounds Good, Brother of Moses, etc. This influenced Jeff and Anti-Crew to start releasing music and performing as well.

Many of Flare’s songs are connected to his Art to Empower initiative, raising awareness and funds for a variety of social justice causes and nonprofits, such as his Royalty EP poster designed by muralists JT Daniels, which raises funds for the Equal Justice Initiative. Flare’s Art to Empower initiative, and about merchandise that was designed by your brother muralist Sike Style to raise funds and awareness for BLOC (Brothers Liberating our Communities).

As Flare explains, in our country Black men are being mistreated, demonized, killed, and not given the same structures that they need to be successful.

Flare writes: “We have to pull together ourselves as a community,… that’s something that I’m very passionate about. I can’t just talk about it. I got to walk the walk and, if I can use art to promote and raise funds for nonprofits and social justice causes that are making difference on the front lines, then that’s what I want to do.”

“You can’t do this without being empathetic, in my opinion,” Flare concurs. “I might be bringing up topics that are hard for people to swallow, but I hope I do so in a way that’s still motivating. Music is supposed to make you feel an emotion and hopefully, the emotion that people feel from this music is motivation to make a change, to make a stand, or–at the very least–to educate themselves about the realities of our country.”

“I’m motivated by my ancestors,” states Flare emphatically. “I’m motivated by the revolutionaries and civil rights activists that have come before me and I’m motivated by the ones that exist today. I’m learning from them and when I’m creating art, I’m interweaving what I’ve learned from them into what I’m addressing. It was a way to create a lyrical pro-Black narrative that I felt was very relevant.”

Flare Tha Rebel & Bob Pulliam joined us live in our 90.1 FM studios on August 11, 2021. the year his EP, THE REVOLUTION WILL NOT BE HASHTAGGED, was released (on July 9, 2021). This was the 50th anniversary of Gil Scott-Heron’s “The Revolution Will Not Be Televised.”

FlareThaRebel thanks for being with us on WMM

FlareThaRebel hosts Music Maker Mondays presented by Manor Records Foundation, & Brewery Emperial on the First Monday of every month, 5:00pm-7:00pm (through August) at Brewery Emperial, 1829 Oak St. KCMO, to provide local music makers of all types – any genre, a laid-back, non-gig environment to connect, organize, and build community through a new monthly happy hour occurring on the first Monday of each month

11:22

16. FlareThaRebel – “Powder Blue”
    from: Dear City / Shafer Publishing / May 1, 2026
    [Amplifying the tension between having love for one’s city while not dismissing its inequities, Dear City is a lyrical reflection of truth-telling and hometown pride. The album highlights commonalities experienced by many urbanites regardless of where they call home.  // In the weeks leading up to the album release concert, Flare has been releasing music video reels on social media featuring snippets of the new songs from Dear City. Filmed by Flaming Heart Productions, each reel features only the first verse or at most the first verse and chorus of each song, giving fans a taste of what’s to come and building hype for the album’s release. // Elevating the concoction further, Flare collaborated with bar owner, Bryan Ari, to film the music video reel of “Mixology” at Fern Bar. Flare turned the filming into a “fishbowl experience” inviting guests to watch him create the reel live while sipping cocktails of their own. Flare landed the scene, which involved rapping while mixing a cocktail and flaming an orange rind a precise moment within the song’s verse. The outcome? Confidently smooth – after about six takes and some hands-on coaching from Bryan Ari.// Career and love brought hip-hop MC Flare Tha Rebel™ back to his hometown of Kansas City, MO, which sparked a creative renaissance. As The Pitch noted, “As a member of hip-hop collective Anti-Crew, Flare Tha Rebel made quite an impact on the Kansas City hip-hop scene. After making the leap from KC to Chicago in the late ’00s, he’s now back…” His homecoming has proved fruitful – his track “Playground” was voted the Number 1 Song of 2022 by listeners of 90.9 FM The Bridge. Throughout his career, Flare has shared stages with heavyweights including Chance The Rapper, RZA of Wu-Tang Clan, Mac Lethal, Nappy Roots, and CES Cru. His most recent release is the locally acclaimed EP, “Summer You, Summer Me”, followed by his feature on the Kemet Coleman song “Android”. // Flare Tha Rebel aka Jeff Shafer is Executive Director for City Year Kansas City, an educational-equity nonprofit that places mentors/tutors in schools to keep kids on track to graduate. This was the job that brought Jeff back to KC, where he became Executive Director. ]

[FlareThaRebel plays Day Eight of Manor Fest 8 on Saturday, May 30 at 1:00pm at The Kemper Museum 4420 Warwick Blvd., KCMO with\Kadesh Flow and True Lions.]

11:28 – Underwriting

17. Margaret Cho – “Lucky Gift”
    from: Lucky Gift / Clownery Records / February 14, 2025
    [Margaret Cho’s 3rd music album. She released In Transistion in 2013, and American Myth in 2016. // Produced and co-written with Garrison Starr and Roger Rocha. Acoustic Guitar Garrison Starr and Margaret Cho. Backround Vocals Kate Willett. // Stef Rubino, Feb 18, 2025, http://www.autostraddle.com – In her over 30-year queer career, Margaret Cho has managed to leave her mark on just about every mainstream creative endeavor we have available to us as artists. Since beginning her career as a stand-up comedian in the early 1990s, Cho has grown to be one of our most prolific multi-hyphenate artists, constantly working across genres and willing to share her creative pursuits with her fans and the general public. Over the last 30 years, she’s gone on several comedy tours and recorded many comedy specials and albums; she’s been in films and on TV; she’s co-produced podcasts, written books, and recorded and written her own music. She has also collaborated with other musicians like Fiona Apple, Grant Lee Phillips, Ben Lee, Andrew Bird, Ani DiFranco, Tegan and Sara, and Patty Griffin. // Her first two albums of original songs, Cho Dependent and American Myth, were released to critical acclaim in 2010 and 2016 with the former earning her a Grammy nomination in 2011 for Best Comedy Album. Both of those albums featured Cho’s signature style of finding ways to laugh at the more traumatizing aspects of her life while also finding new phenomena to poke fun at and lambast a little, hence being labelled as musical comedy albums. After a nearly nine year hiatus from music production, she released her newest album Lucky Gift last week on Valentine’s Day. // Cho, a self-proclaimed music lover, collaborated with musicians Roger Rocha and Garrison Starr to both write most of the tracks and produce and compose the album, which is less comedia than the previous two albums and more of an interesting examination of the last few years of Cho’s life, her personal losses, the political atmosphere in the U.S., and the kinds of music that move her the most. // The album’s opening title track, “Lucky Gift,” is undoubtedly the biggest song on the record in terms of composition and the places Cho has to take her voice in order to match the power-pop energy of the fast-paced drums, stomping electric acoustic guitar and double-neck mandolin, and celebratory background harmonies. Although the song is brand new, its structure, rises and falls, and ever-present tambourine feel especially reminiscent of late-1990s and early-2000s pop hits. In it, Cho sings to her lover, “Thought I’d lose you but I haven’t  / The worst thing I been through never happened / I could look at you and live / You are such a lucky gift.” // Then, in what feels like one of the hallmark qualities of Cho’s sense of humor, just a few songs later, we get this one’s companion in “90s Sisyphus,” a song about breaking up with the lover in “Lucky Gift.” The composition of “90s Sisyphus” feels equally nostalgic, only its led by the fuzzy power chords of an electric guitar and punchy drums with a jangly, gleaming synthesizer just above it, all rounding out the late-1990s rom-com feel of the song. Whereas “Lucky Gift” was an ode to new love, “90s Sisyphus” gives us her feelings after the fall: “You got me so unbound / And I hate you now / Love’s most bitter refrain / Spit it up and taste it again.” / Two tracks on the album, “Funny Man” and “Baked Bread,” serve as informal eulogies for two of Cho’s friends who passed away since the recording and release of her last album. The first, “Funny Man,” is a crisp, percussive piano- and horn-section-driven track about the late, great Robin Williams and the difficulty of being the kind of comedian who uses humor as a coping mechanism for the trauma they’ve experienced, Cho singing at the chorus, “Weren’t we lonely / Weren’t we sad / Weren’t we beautiful / Weren’t we bad.” “Baked Bread” was written to honor Cho’s friend Gerri Lawlor, and its composition plays with the conventions of both pop-rock and country through its thumping bassline and twangy guitar hooks. This song is not quite as straightforward as “Funny Man” is. Instead, it is imbued in metaphor and what seems like very personal recollections of Cho’s life with Lawlor. That doesn’t make it difficult to listen to by any means, but it does feel a little less accessible than many of the other tracks on the album. // Another pair of tracks, “Wheels of Gold” and “Melinda,” address Cho’s 10-year struggle to finally get sober from opiate addiction, though the positionalities of the speaker on both of the tracks are completely different, with “Wheels of Gold” focusing on the feelings of being “in love” with drugs while “Melinda” sets its sights on the experience of recovery. The compositions of each track also help set the tone for their speakers: “Wheels of Gold” rivals that of “Lucky Gift” with the soaring orchestral swell of the electric organ leading the track whereas “Melinda” is much more lowkey, instead featuring slow, glassy acoustic guitars and some subtlely emotive violin. // Being that the long-out Cho has always fearlessly and publicly stood up for queer and trans people, it’s no surprise there’s a track on the album written specifically for queer and trans youth and dedicated to Nex Benedict. Through brightly composed acoustic guitars and glittering keyboards, Cho delivers an uncomplicated anthem for queer and trans youth reminding them that they’re free to be who they are even if the world tells them they’re wrong. Cho sings, “All I know is I’ve had enough / So I’m sending this message up / And you can be you / You can be you / You can be you / And that’s what’s true.” In a recent interview about the album, Cho said “You Can Be You” is one of her favorite tracks on the album explaining that “it’s an opportunity to establish a ‘queer elder’ understanding and a relationship to the younger community.” // While her first two music albums take the opportunity to incorporate more of Cho’s humor, Lucky Gift is an album of serious writing and musical composition that occasionally has some glimmers of Cho’s humor poking through. Although it is starkly different from a lot of the work she’s done, the album serves as yet another example of Cho’s talent. Where many artists this far into their careers might feel comfortable resting on the signatures and routines they’ve built, Cho proves once again that she’s consistently and successfully evolving, not just to keep up with the times but to show how vital it is to keep uncovering new parts of yourself as time goes on. In that way, Lucky Gift is just helping us get to know Cho in a completely different way than we’re used to and is a fun, welcome addition to Cho’s incredible repertoire.

[Margaret Cho brings her new show, “Choligarchy” to The Folly Theater, 300 West 12th, KCMO, on Saturday, June 16, at 7:30pm. ]

11:33 – Interview with Margaret Cho

Comedian. Actor. Musician. Advocate. Entrepreneur. Artist. Margaret Cho is smart, she’s funny, she’s courageous, she’s outrageous, she’s charming, she’s provocative, she’s fearless, she’s raw, she’s honest, she roots for the underdog. She is the underdog. Margaret Cho the five-time Grammy and Emmy nominated comedian-actress was recently included in VOGUE Magazine’s “9 best female comedians of all-time’ alongside Joan Rivers, Gilda Radner and Wanda Sykes. Margaret Cho is the author of two memoirs, has done 12 national comedy tours including “True Colors” with Cyndi Lauper. Margaret has been in 48 films, including Fire Island, a portrayal of the LGBTQ Asian American experience on Fire Island. She has been in 72 television shows, including 19 episodes of All American Girl, 72 episodes of Drop Dead Diva, 21 episodes of Fashion Police with Joan Rivers, and 3 episodes of 30 Rock, where her portrayal of Kim Jong II was nominated for a Primetime Emmy Award for Outstanding Guest Actress in a Comedy Series. Margaret Cho has also created 8 television comedy specials, recorded 9 comedy albums, 3 full length musical albums, 11 musical singles and 23 music videos. Margaret Cho was the recipient of the Victory Fund’s Leadership Award, the first-ever Best Comedy Performance Award at the Asian Excellence Awards, the First Amendment Award from the ACLU of Southern California, and the Intrepid Award from the National Organization for Women (NOW). She has been honored by GLAAD, American Women in Radio and Television, the Lambda Legal Defense and Education Fund, the National Gay and Lesbian Task Force(NGLTF), the Asian American Legal Defense and Education Fund (AALDEF), PFLAG, She Rocks Awards and LA Pride.

Margaret Cho brings her new “blistering and brutally honest” show, “Choligarchy” to The Folly Theater, 300 West 12th, KCMO, on Saturday, June 16, at 7:30pm. For more information you can visit: http://www.follytheater.org

Margaret Cho Thanks for being with us on WMM

First off – We LOVE Margaret Cho! Her stand up shows have made me laugh so hard we’ve cried. Mark writes, “as a queer person living I the United States her performance work has made her a hero to me and the queer people everywhere.”

We just played “Lucky Gift,” the title track for Margaret’s last music full length release. She worked with Garrison Starr in writing and producing. This is Margaret’s power pop anthem and the first song she wrote on her mandotar (a double neck mandolin-guitar).She writes, “It is giving gay pop in the best way and it’s my favorite song I’ve ever written.”

Margaret will be participating in the Jillith Fair Tribute concerts for Jill Sobule.

David Bowie is a big influence to Margaret.

Margaret was born and raised in San Francisco, an experience that helped to shape her worldview. She knew she was funny enough to try stand-up at age 14. Soon after, Margaret won a contest to open for Jerry Seinfeld, prompting a move to Los Angeles and work on the college comedy circuit. She performed over 300 concerts within two years. Arsenio Hall introduced her to late night audiences, Bob Hope put her on a prime time special and justlikethat, Margaret Cho became a household name

Cho was born on December 5, 1968, to a family of Korean descent. Her paternal grandfather Myung-sook Cho, a Christian minister, worked for the Japanese as a station master during their occupation of Korea. When Japan withdrew from Korea at the end of World War II, he was denounced as a chinilpa, a traitor, by North Korea and forced to move with his family, including his son, Margaret’s father Seung-hoon Cho, to South Korea. During the Korean War, Myung-sook ran an orphanage in Seoul.

According to Margaret, she was raised in “a very Christian family.” Cho grew up in a racially diverse neighborhood near the Ocean Beach section of San Francisco, which she described as “old hippies, ex-druggies, burn-outs from the 1960s, drag queens, Chinese people and Koreans. To say it was a melting pot – that’s the least of it. It was a really confusing, enlightening, wonderful time.” Cho’s parents, Young-Hie and Seung-Hoon Cho, ran Paperback Traffic, a bookstore on Polk Street at California Street in San Francisco. Her father writes joke books and a newspaper column published in Seoul, South Korea.

At school, Cho was bullied, saying that “I was hurt because I was different and so sharing my experience of being beaten and hated and called fat and queer and foreign and perverse and gluttonous and lazy and filthy and dishonest and yet all the while remaining invisible heals me, and heals others when they hear it – those who are suffering right now.”

Choligarchy continues Margaret’s mission of speaking truth to power. We are living in such crazy times, when reality is seemling so absurd already, is it harder to find the jokes?

“My new show Choligarchy is bringing me back to my roots as a political comedian. I’m so frustrated with the state of the union and I know the only weapon I have is humor. We are being taken over by the richest people in the world but the one thing they cannot afford is jokes at their expense. I want to fight fascism with everything I have. This will be my most blistering and brutally honest show yet! Let’s tear down racism, homophobia and sexism with all that we have. We have to fight for what we have now, because if we wait any longer, it might be too late to save ourselves” says Margaret.

Cho goes on to share –“Not only do we need more than impeachment. We need a full cabinet removal. Gavin Newsom has to go in with California Closets and redo the whole thing.”

“I will fight Kristi Noem at the med spa of her choosing. We would both have to dissolve our filler beforehand to ensure a fair fight.”

Margaret Cho writes a joke everyday.

Margaret started doing television when she was 24

Margaret is in Gregg Araki’s next film, “I Want Your Sex” w/ Olivia Wilde & Charli XCX

Margaret is featured alongside Sandra Bernhard & Kristen Schaal in Disney’s season 2 of “Percy Jackson and the Olympians”

Like other comedians of the time, she was soon offered a network show. Her groundbreaking ABC sitcom, All-American Girl premiered in 1994, and while producers said they wanted to work with her because she was a non-conformist Korean American woman with liberal views, they also wanted her to tone it down for television. “For fear of being too “ethnic,” the show got so watered down that by the end, it was completely lacking in the essence of what I wanted to accomplish.”

In 1999, her groundbreaking Off-Broadway one-woman show, I’m The One That I Want, toured to national acclaim and was turned into both a best-selling book and feature film of the same name. After her experience with All-American Girl, Margaret made sure she would only have to answer to herself, staying in charge of the distribution and sales of her film, an unusual move at the time. In 2001, Margaret launched Notorious C.H.O., a smash-hit 37-city national tour that culminated in a sold-out concert at Carnegie Hall. 

In 2003, Margaret began her 3rd sold-out national tour, Revolution, heralded as “Her strongest show yet” by Chicago Sun Times and earning her a Grammy nomination for Comedy Album of the Year. In 2005, she released the live comedy film Assassin, which premiered in select theatres and on the LGBT premium channel, Here! TV.

Margaret returned to television in 2008 with the VH1 series, The Cho Show. Describing it as a ‘reality sitcom,’ Margaret said at the time, “It’s the closest I’ve been able to come to what I do as a comic on TV.” The aptly titled Beautiful tour followed, exploring the good, bad and ugly in the world of beauty and the marketers who try to shape our world-view. 

In 2009, Margaret nabbed a co-starring role in the dramedy series Drop Dead Diva, which aired for six seasons on Lifetime. Margaret memorably participated in 2010’s Season 11 of Dancing with the Stars, performing a dance number in a gay-pride-supporting rainbow dress during a time when there was a rise in suicides among gay youth due to bullying. 

2010 culminated in another high, a second Comedy Album of the Year Grammy Award nomination for Cho Dependent, her incredibly funny music album. Featuring collaborations with Fiona Apple, Andrew Bird, Grant Lee Phillips, Tegan & Sara, Ben Lee and more, the album received critical acclaim, not only for the topics tackled, but also for Margaret’s musicianship. In 2011, Margaret released the live concert film of Cho Dependent, shot at the Tabernacle in Atlanta, GA.

Margaret spent whatever free time she had crafting a new stand-up show, MOTHER, which she took across America and Europe in 2012. According to Margaret, “MOTHER offered an untraditional look at motherhood and how we view maternal figures and strong women in queer culture.”

Margaret’s creative side moved full speed ahead with an Outstanding Guest Actress Emmy nomination for playing Kim Jong II on 30 Rock. 2015 also brought Margaret back to the stand-up stage, where she filmed PSYCHO at the historic Gramercy Theatre in NYC

Margaret put out her second studio album, American Myth, in 2016 on her Clownery label, earning her a third Grammy nomination for Best Comedy Album. In 2017, Rolling Stone magazine named her one of the 50 Best Stand-Up Comics, calling her “the sort of funny, sex-positive feminist and LGBT activist younger comics continue to look up to.” 

Her 2018 Fresh off the Bloat tour was shuttered by Covid, but as soon as she was able to get back out on stage, she did. Margaret kicked off 2019 as the Poodle on the first season of The Masked Singer on FOX, appeared in an episode Law & Order: SVU and was in an episode of HBO’s critically acclaimed series High Maintenance. In 2020, Margaret appeared in three films –Faith Based, also starring Seinfeldalum Jason Alexander, Friendsgiving, with Kat Dennings and Malin Akerman, and in Netflix’s first major animated film, the acclaimed Over the Moon.

In June of 2021, Netflix released the hit rom-com Good on Paper, starring Iliza Shlesinger with Margaret co-starring as her best friend. Her 2022 appearances included guest starring roles on Season 2 of The Flight Attendant (HBO Max), Season 2 of Hacks (HBO Max) and two Netflix is a Joke comedy specials: Stand Out: An LGBTQ+ Celebration and Jane Fonda & Lily Tomlin: Ladies Night Live. Probably the biggest splash of that year was her role as “Erin” in HULU’s smash Fire Island with Bowen Yang & Joel Kim Booster.

2023/24 has found Margaret, well, everywhere. She guested on Amy Schumer’s Life with Beth as well as the Ryan Murphy hit Doctor Odyssey and was part of the ensemble cast of the Netflix doc Outstanding: A Comedy Revolution. A who’s who of incredible comedians, the documentary shares the history of LGBTQ+ stand-up and its importance as an instrument for social change over the past five decades.

Margaret’s latest film, All That We Love, premiered at the Tribeca Film Festival, with Margaret earning rave reviews. The Hollywood Reporter called the film “poignant and lovely.”  Margaret was also named the Vanguard Artist-in-Residence for Manhattan’s famed Joe’s Pub. This prestigious recognition singles out “an iconic artist who has significantly influenced the artistic community of Joeʼs Pub & American culture at large.”

Remarkably, she also managed to film a series and another movie. Margaret stars as “Wasp,” one of the “Gray Sisters” (alongside Sandra Bernhard and Kristen Schaal) in Season 2 of Disney’s Percy Jackson and the Olympians as well as in Gregg Araki’s thriller I Want Your Sex, also starring Olivia Wilde and Charli XCX.

Margaret has also developed a new solo show, Mommy, A One Woman Cho, which is noted for being her first work of fiction. “My new show, Mommy, is a completely fictional autobiography of my mother I have written for the stage. You can lie in plays but not standup comedy, so I’m super excited for my Mommy fan fiction era.” The play debuted in July 2024 to a sold-out audience at Marist College.

If that wasn’t enough, the end of 2024 brings new music from Margaret. The first single, Lucky Gift – also the album’s title – gives a taste of things to come before the February 14, 2025, release on her Clownery Records label.

Margaret continues to staunchly support the causes that are important to her: anti-racism, anti-bullying and gay rights. She was the recipient of the Victory Fund’s Leadership Award, the first-ever Best Comedy Performance Award at the Asian Excellence Awards, the First Amendment Award from the ACLU of Southern California, and the Intrepid Award from the National Organization for Women (NOW). Margaret has been honored by GLAAD, American Women in Radio and Television, the Lambda Legal Defense and Education Fund, the National Gay and Lesbian Task Force(NGLTF), the Asian American Legal Defense and Education Fund (AALDEF), PFLAG, She Rocks Awards and LA Pride.

“Margaret Cho is my soul sister, we see the world through the same lens trying our damndest to make things just a little groovier, mellower & a lot more fun. I admire her deeply. You’ve got to experience her live to get the whole picture so get up & make it happen! She is one of a kind” – Sandra Bernhard

Margaret was also part of Netflix’s “Stand Out Comedy Special” and “Over The Moon” film with Ken Jeong & Sandra Oh which was nominated for an Academy Award & Golden Globe Award.

Margaret has been working on a 10 year project – a new one-woman show about her mother and two sisters, where Margaret plays all of the characters – hoping to eventually take the show to Broadway.

A pioneer amongst women in comedy, Margaret doesn’t take anything for granted as she continues to tackle difficult subjects with sensitivity and her razor sharp insight with her takes on addiction, abuse, activism and Asianness. It’s all about the politics of disgust and what is disgusting about politics. Margaret has received many rave reviews for her live shows with the Chicago Tribune saying “Be it on-screen (“30 Rock,” “Drop Dead Diva”) or on stage, Margaret Cho has been one of the most exciting, unpredictable stand-up comics working for some time, and that hasn’t changed. If anything, the Asian-American female comedian’s voice has become more valuable than ever, given today’s social climate, and Cho’s material remains just as compelling, thanks in part to—and sometimes in spite of—her unapologetic delivery.”

“Margaret Cho inspired me since I was a kid. She was someone who was queer, Asian and doing something that you did not immediately associate with an Asian person. There’s a dearth of representation when it comes to queer people or Asian people, but I have to give credit to the people who have been out here doing it, and that’s definitely Margaret.” – Bowen Yang

“The Notoroius C.H.O.! Margaret is a jack of all trades and master of many. Whether conjuring the spirits of George Carlin, Joan Rivers or Lenny Bruce, she is committed to navigating the world of comedy and uniquely making it her own. Completely unapologetic about the life experiences that have shaped her path and journey to where she is today. These are just some of the reasons I love Margaret.” – Wanda Sykes

“Margaret Cho is a pioneering, trailblazing, genre-busting badass. She also happens to be extremely amusing.” – Shirley Manson of Garbage

“Margaret doesn’t just kick the door down. She lights it on fire.” – Atsuko Okatsuka

“I’ve said it before but it bares repeating: I would not be doing what I do without Margaret Cho. Her comedy was daring and bawdy and incisive when I first discovered her early work and seeing her now it’s remarkable how she’s been able to evolve, stay relevant and remain one of the funniest comics working today.” – Joel Kim Booster

Margaret Cho Thanks for being with us on WMM

Margaret Cho brings her new “blistering and brutally honest” show, “Choligarchy” to The Folly Theater, 300 West 12th, KCMO, on Saturday, June 16, at 7:30pm. For more information you can visit: http://www.follytheater.org

11:50

18. Margaret Cho – “Wheels of Gold”
    from: Lucky Gift / Clownery Records / February 14, 2025
    [Margaret Cho’s 3rd music album. She released In Transistion in 2013, and American Myth in 2016. // Produced and co-written with Garrison Starr and Roger Rocha. Acoustic Guitar Garrison Starr and Margaret Cho. Backround Vocals Kate Willett. ]

[Margaret Cho brings her new show, “Choligarchy” to The Folly Theater, 300 West 12th, KCMO, on Saturday, June 16, at 7:30pm. ]

19. Mitski – “I’ll Change For You”
    from: Nothings About to Happen to Me / Dead Oceans / February 27, 2026
    [Nothing’s About to Happen to Me is the eighth studio album by Mitski. Continuing the musical through line established with The Land Is Inhospitable and So Are We, the album features live instrumentation by The Land touring band and ensemble arrangements. The album finds Mitski immersing herself in a rich narrative whose main character is a reclusive woman in an unkempt house. Outside of her home, she is a deviant; inside of her home, she is free.]

20. Noel Coward – “The Party’s Over Now”
    from: Noel Coward in New York / drg / 2003 [orig. 1957]

Next week, on Wednesday, June 3 we talk with David Brighton of David Brighton’s SPACE ODDITY, The Quintessential David Bowie Tribute Experience, presented by The Folly Theater, Friday, June 5, at 7:30. We also welcome back to the show Stephonne, AND Jocelyn Olivia Nixon of The Creepy Jingles joins us to talk about her band’s new album WASHED UP.

THANK YOU to everyone who donated to KKFI’a Winter Fund Drive during Wednesday MidDay Medley we had a total of 49 individuals donated $3924.00 going way over our show goal!

Thank you to KKFI Staff: Executive Director – Bess Wallerstein Huff, Chief Operator – Chad Brothers, Director of Development & Communications – J Kelly Dougherty, Volunteer Coordinator – Darryl Oliver, and Shaina Littler – Office Manager Book Keeper

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This radio station is more than the individual hosts of each individual radio show. It is a collective spirit of hundreds of people, setting aside ego, to work for the greater good of community building and the goal of keeping our airwaves, non-commercial, and open! Thank you to programmers who create content for over 85 locally produced radio shows & volunteers who made extra effort to keep our station alive.

Our Script/Playlist is a “cut and paste” of information.
Sources for notes: artist’s websites, bios, wikipedia.org

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Show #1149