Where's the voice of dissent?
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Beale
Where's the voice of dissent?
CFNY was, at one time, an amazing radio experiment. I doubt if anyone here would debate that. I loved the station from 1979 to about 1989. I tried to love it beyond 1989, but just didn't have the strength. There are volumes of testimonials here saying the same thing; "it was perfect, now it's not". What I am dissappointed to see here is no criticism of anything CFNY ever did prior to 1992. It's like we're all wearing rose coloured headphones. I found fault with a few things CFNY did, even it its golden years. As many of the old staffers still read this board, and are still influential in Canadian Broadcasting, I feel it's important to let them know what was wrong, not just what was right. As the plaque above Jim Jones' throne read: "Those who do not remember the past are condemned to repeat it".
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Anonymous
Where's the voice of dissent?
Interesting point. Any examples? Want to get the ball rolling?
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Beale
Where's the voice of dissent?
OK, since you asked...but these views are just my humble, unqualified opinions....
Well, my personal pick would be the moment that the cartoon character named "Chris Sheppard" was given a microphone. What I always enjoyed about CFNY was the creative, intelligent way the jocks communicated. When one thinks of someone like Marsden, James Scott, Dani Ellwell, JR, Maie Pauts, Don Berns, Hedley, et al, one remembers a fairly sincere reparte, delivered to listeners who are considered peers. When I think back to Chris Sheppard's broadcasts, all I can think of is this fakey-fake cowboy with a fabricated accent suggesting he knows everybody and everything. His delivery and manner cheapened the quality of the programming he (and the station) was presenting. I understand the reason behind an announcer creating a persona--hey, they all do it to one degree or another--but that was too much. That's the first example of CFNY programming being about "CFNY" or about an announcer, rather than about the music itself. There were a few announcers guilty of this kind of presentation, but nowhere near Shep's level of arrogance and condescention.
Other than that axe to grind, I think some of the programming choices were poor. I don't think "The Cult" ever belonged on CFNY. Cockrock bands like that had plenty of airplay elsewhere. Just 'cuz yer lead singer is wearing a "goth-hat", that don't make yuz goth. The Cult were a hint of what was to come in "Alternative" music. Now they're a staple of the "Classic Rock" format. 'Nuff said.
Some of the specialty programming was pretty marginalised. Streets of Ontario, for example, was not positioned in a timeslot which had high listenership. Same with the Import Show, and mosaic shows like the Jazz, Blues and Reggae shows. I certanly think these shows, offering a real change from every other station on the air, should have been placed in more accessible timeslots. Of course you can argue that the time they were placed reflects the level of interest expressed by the listeners, but that suggests that programming does not have an influence on peoples' tastes--a position with which I disagree. Ceretainly the popularity votes on this site add fuel to my argument.
Lastly, the tired dynamic of two lunkheads prattling on and on during a morning show has got to go. Every station does it, and it's cheap. A morning show should have ONE announcer, otherwise, it becomes a mess of toilet humour, self-congratulatory in-jokes, and lo-com-denom chit-chat. The exception to this rule is if half of a morning team is Geets Romo. Geets can do no wrong. Same applies to Hoodat Singer, wherever he is...
That's it for me.
Well, my personal pick would be the moment that the cartoon character named "Chris Sheppard" was given a microphone. What I always enjoyed about CFNY was the creative, intelligent way the jocks communicated. When one thinks of someone like Marsden, James Scott, Dani Ellwell, JR, Maie Pauts, Don Berns, Hedley, et al, one remembers a fairly sincere reparte, delivered to listeners who are considered peers. When I think back to Chris Sheppard's broadcasts, all I can think of is this fakey-fake cowboy with a fabricated accent suggesting he knows everybody and everything. His delivery and manner cheapened the quality of the programming he (and the station) was presenting. I understand the reason behind an announcer creating a persona--hey, they all do it to one degree or another--but that was too much. That's the first example of CFNY programming being about "CFNY" or about an announcer, rather than about the music itself. There were a few announcers guilty of this kind of presentation, but nowhere near Shep's level of arrogance and condescention.
Other than that axe to grind, I think some of the programming choices were poor. I don't think "The Cult" ever belonged on CFNY. Cockrock bands like that had plenty of airplay elsewhere. Just 'cuz yer lead singer is wearing a "goth-hat", that don't make yuz goth. The Cult were a hint of what was to come in "Alternative" music. Now they're a staple of the "Classic Rock" format. 'Nuff said.
Some of the specialty programming was pretty marginalised. Streets of Ontario, for example, was not positioned in a timeslot which had high listenership. Same with the Import Show, and mosaic shows like the Jazz, Blues and Reggae shows. I certanly think these shows, offering a real change from every other station on the air, should have been placed in more accessible timeslots. Of course you can argue that the time they were placed reflects the level of interest expressed by the listeners, but that suggests that programming does not have an influence on peoples' tastes--a position with which I disagree. Ceretainly the popularity votes on this site add fuel to my argument.
Lastly, the tired dynamic of two lunkheads prattling on and on during a morning show has got to go. Every station does it, and it's cheap. A morning show should have ONE announcer, otherwise, it becomes a mess of toilet humour, self-congratulatory in-jokes, and lo-com-denom chit-chat. The exception to this rule is if half of a morning team is Geets Romo. Geets can do no wrong. Same applies to Hoodat Singer, wherever he is...
That's it for me.
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Antarctica
Where's the voice of dissent?
I felt the same way about Chris Sheppard too. Oh I know about his phony ways he had put on. I thought I was gonna lose my dinner at times while listening to him. Hey isnt he part of a band called love inc or something now (perhaps was)? Who knows, and who cares lol, I couldnt stomach that guy!
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Spirit Admin (Admin)
Where's the voice of dissent?
I knew Chris back in the Club 102 days. He was a soft-spoken, extremely intelligent guy who had an unbelievable talent for music programming. The Shep you heard on air was (of course) a persona - he did not have the ego he appeared to have on air.
I don't know about him now, but I would suspect that the Love Inc. character is still just a persona - and that he's still just a soft-spoken guy who loves music.
I don't know about him now, but I would suspect that the Love Inc. character is still just a persona - and that he's still just a soft-spoken guy who loves music.
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willing spirit
- Posts: 20
- Joined: Fri Dec 01, 2006 8:45 pm
- Location: woodstock ontario
Re: Where's the voice of dissent?
I actually like The Cult and still do.Shure they also get airplay on Classic Rock radio but not as much as Rush's 'The Spirit Of Radio' (a song about cfny).I never got into that Rush song and associate it with Classic Rock radio, yet the song itself was both inspired by cfny and played on cfny.Other cfny groups that have been played on Classic Rock radio include U2, 54.40, The Clash, Talking Heads and Gary Numan.Are all these artists guilty by the association?Beale wrote:
Other than that axe to grind, I think some of the programming choices were poor. I don't think "The Cult" ever belonged on CFNY. Cockrock bands like that had plenty of airplay elsewhere. Just 'cuz yer lead singer is wearing a "goth-hat", that don't make yuz goth. The Cult were a hint of what was to come in "Alternative" music. Now they're a staple of the "Classic Rock" format. 'Nuff said.
The Cult's musical style was a combination of post punk (cfny music) with stuff like ACDC and The Doors (classic rock), so I can understand why both formats would play it.
It's doubtfull that any fan of early cfny liked every single song.If my memory serves me right, I can remeber them playing Phill Collins atleast once.Not exactly my idea of exciting music.And I certainly can't stand that Blue Rodeo stuff they would come to play.
Ps. Yes it's a little late to join the conversation...better late than never!
The era I had difficulty with at the station (which we all played into for listeners and ratings) was what I'd sometimes call \"the 12 inch that goes on until lunchtime tomorrow\". It was mid-to-late 1980s Nik Kershaw wanky drum machine hell. There was of course lots of other stuff being played as well, but it's amazing to think now that there was actually resistance at first to playing artists like The Smiths and Billy Bragg because the tracks were so short and raw.
I think my favourite stuff was The Sunday Music Magazine with Skot. Smart, interesting music programming you could really sink your teeth into. The Import Show was great too.
I didn't mind Chris S. Listening to his show in a car driving up Yonge St on a Saturday night was fun and felt just right and I'm sure his phenomenal ratings paid a lot of the station's bills too.
I think my favourite stuff was The Sunday Music Magazine with Skot. Smart, interesting music programming you could really sink your teeth into. The Import Show was great too.
I didn't mind Chris S. Listening to his show in a car driving up Yonge St on a Saturday night was fun and felt just right and I'm sure his phenomenal ratings paid a lot of the station's bills too.