After taking nearly an hour to assemble, the seven piece IKEA clothing rack started to collapse. Instead of letting the rack hit the floor, four girls rushed to the site to rescue a garment bag hanging from the frame. The bag held a luxurious ruffled yellow dress designed by an upcoming Chicago designer, named Tatyana Merenyuk.. Tatyana’s work is defined by its playful textures, feminine colors, and intricate embellishments. Her designs will be featured in the Runway group’s first annual “Pure Euphoria Fashion Show” which will be held at the Krannert Art Museum this Saturday night.
“The goal of Runway is to show fashion as a dynamic art form on the U of I campus,” said co-founder, Aramide Odusanya. “We want students to recognize fashion as art.”
Odusanya is a sophomore economics major aspiring to become a fashion designer after her time at UIUC. While wearing her own design – a high waist satin skirt and white blouse – she explained that she was surprised to see that the university did not offer a fashion group or organization.
“There was nothing on campus to serve students, like me, who love fashion and want to go into the fashion industry,” said Odusanya. “I remember walking around on Quad Day looking for a club like Runway, and when I didn’t find one, I decided to start my own.”
Pooja Desai, co-founder and president of Runway, empathized with Odusanya and together, the two fashion lovers founded the Runway group. Desai is a sophomore journalism student, who hopes to use her experience with Runway to become a writer for a fashion magazine.
Their first runway event was the “Green House Fashion Show” at the Illini Union last semester, which showed designs made entirely out of recyclable material on an 80 foot runway, including duct tape, newspaper, and old clothes. The show was sold out.
“We didn’t anticipate doing so well since it was our first show, but the students really loved it,” said Desai. “I guess they’d been waiting a long time to see a legitimate fashion show on the U of I campus.”
“Pure Euphoria” will focus on showing work from established designers in the Chicago area. It will feature collections from artists such as Tatyana Merenyuk, Tel Aviv Couture, Lara Miller, Annie Ku, and Tonya Gross.
The founders are most excited about Tel Aviv Couture, which is a new company that represents fifteen Israeli designers based in Chicago. Desai described their collection as urban, edgy and innovative. “It’s bold, yet wearable – It’s wearable art,” she said.
Making final preparations for the show dressed in a pink and blue plaid dress, Desai ran to the collapsed clothing rack. “It’s always what you don’t anticipate will go wrong that goes wrong,” she said. Turning to Odusanya, Desai suggested using duct tape to mend the broken frame. “We should have plenty from the last show,” she joked. “Do you get it? I don’t think she gets it.”
Preparations for the show have been very labor intensive. Aside from assembling clothing racks, Runway members have been spending the last three months training their models, contacting designers, finding a venue, advertising, and fundraising for the event.
“It definitely takes a lot of time out of school work,” said Odusanya. “The people in our group are very dedicated.”
Sophomore opera major, Sam Dewese is in charge of training the models for the event. “Originally, were looking for girls that wouldn’t fall over in heels,” said Dewese. “We were also looking for girls who were sample size, or close to sample size.”
Sample size is between a size two and a size four when a model is 5 feet 8 inches tall. “It’s hard to find a girl with those dimensions,” said Dewese.
Because of his experience as an opera singer, Dewese understands the dynamics of movement on stage. “You want a pretty girl, but you want a girl who’s confident, who’s poised and who learns fast,” he said. “This is important because the models are bringing everyone’s work to life.”
After Desai duct taped the IKEA clothes rack together, she let out a sigh of relief. “I’m not stressed,” she said. “It’s just stuff – there’s a lot of stuff, but it always pulls together.”
The “Pure Euphoria Fashion Show” will be held at the Krannert Art Museum this Saturday night. Though admission is free, the group recommends a five dollar donation to the Don Moyer Boys and Girls Club. There will be first come, first serve seating in the museum’s first floor exhibit between 7:00 p.m. and 7:30 p.m. There will be a wine bar and free hors d'oeuvres will be served before and after the show in the museum’s main lobby. The group recommends that everyone come in formal dress.
The “Pure Euphoria Fashion Show” will showcase four different collections and 52 pieces from Chicago designers. Information about buying the pieces will be given upon request from a Runway group member.
“We’re bringing Fashion Week to Champaign-Urbana,” said Desai. “A lot of people think that when you are selecting an outfit to go to class or somewhere to be seen it’s just that. When people see that there are weeks spent in these major metropolitan areas entirely on the production of clothes, it shows that fashion is an art form.”
“There are more to clothes than fabric being draped on bodies,” Dewese added.
Tuesday, April 14, 2009
Tuesday, March 10, 2009
Graphic designers conceptualize bands' work independently
Hours of labor and gallons of paint are used in the creation of the perfect rock poster. Featuring a purple grotesque image of a bird-like monster, a flyer duct taped to a pole in front of the Canopy Club entrance advertises Mordechai in the Mirror’s upcoming show this Saturday at The Red Herring. Walls of abandoned construction sites have become canvases for bands to promote their work for decades. Mordechai in the Mirror’s most recent flyer can be seen taped over dozens of other posters advertising previous shows from bands like Santa and Common Flow.
Forming the right imagery to represent a band requires a mutual understanding between designers, band members, and promoters. It is a symbiotic relationship based on trust and respect. Bands trust artists to conceptualize their work, while artists use their music as inspiration for their imagery. Most poster artists work under loose guidelines, but rarely under the strict supervision of band members and promoters.
“By an initial band putting up [your] poster, they’re advertising your work as long as you put your name on it,” said graphic design and painting student Matthew Harlan. “Bands want to get themselves out there, too,” said Harlan, explaining the mutually beneficial relationship between poster designers and music artists.
Harlan has been creating silk screen posters for nearly a year. His work is known for its childlike and playful images. His latest poster for a local band named Santa embodies the theme of good versus evil through a dichotomy between a child playing a board game and an adult holding a gun while robbing someone. The two bodies are mirror images of each other. “[Like silk screening] things overlap and intersect,” said Harlan. “This good and this evil intersect with each other, [and] I could use silk screening printing to relay that.”
The poster’s theme is a reference to a conflict between Santa and a venue director. “They weren’t initially going to play the show, but they got guilted into it,” said Harlan. Harlan explains that many venue directors have power over a band’s recognition in a community. Pulling out of the show could have reflected poorly on Santa’s image, which forced them to stay. Harlan used this conflict for the imagery of the band’s poster.
“You can get away with things being a little bit campy and grotesque because there’s something playful about the medium,” said Harlan. Throughout his short, but successful silk screening career, Harlan has interpreted bands’ works successfully. “It’s a trusting relationship. They like what I do,” said Harlan.
John Vogl 25, is a graphic designer who has turned the rock poster tradition into a one-man business from his basement in St. Louis. His studio, the Bungaloo, is the source of posters for bands like Celebration Day and Elsinore.
Combining the arts of silk screen printing, illustration and lithography, Vogl creates limited edition posters displaying intricate and colorful imagery like abstracted landscapes and cartoon animals.
“I think bands and promoters…tend to enjoy an outside interpretation of what it is that they do,” said Vogl. His interpretation process ranges from listening to his clients’ CDs to doing something as random as cleaning the shower. “I don’t want to pigeonhole myself with a process,” he said. “When the right idea comes along, I’ll know it’s there.”
Like Harlan, Vogl’s combines the arts of drawing, graphic design, and print making. “[Designing posters] is an interesting opportunity to conceptualize a body of work from a band,” said Vogl. Creating imagery to promote a band is a give-and-take relationship that Vogl describes as a necessary exchange. Although he admits that he is nervous “about ninety-nine percent of the time,” he does not let this discourage him from creating his own imagery.
“The whole show poster scene is a very small niche,” said Vogl. “Being such a niche there’s not a whole lot of money involved and the turnaround is quick.” To operate on a quick timeline and small budget, Vogl thinks it is much more efficient and effective to work on the imagery alone. “I’m only a one-man shop,” he said.
While Vogl has turned his appreciation for rock flyers into a business, Harlan struggles to balance his print making with his schoolwork. “I have things due for my painting class and things due for graphic design and then I have this passion I want to do on the weekends,” said Harlan.
Poster making is a time-consuming process. The interpretation process has lasted Vogl days. After an idea is finalized, it can take up to 8 hours mapping out the design, and an entire day to complete the printing process.
“It’s really exciting. You’re standing up and you’re actually doing this work and you’re ending up with a product,” said Harlan. ““I really enjoy it. It’s very real.”
Harkening back to the traditions of print making, poster artists only create limited editions of their work. “The appeal is that there are only so many out there – the idea of putting a cap allows you to define the value of the poster,” said Vogl.
Mordechai in the Mirror’s band member, David Samuel is the graphic designer responsible for the bizarre bird monsters found on their flyers. Unlike Vogl and Harlan, Samuel spends little time on conceptualizing his band’s imagery. He admits that most of the imagery on his flyers are quick doodles which he has morphed into intricate posters.
Although they start as random doodles, “when you put color to them, they start to mean something,” said Samuel. Most of his images’ coloring is done on Photoshop using low opacity brushes and custom colors. The technique creates a rich watercolor effect.
The images are based on stream of consciousness doodling. “A big philosophy of mine is that I like to do it in pen because…you have to work with your mistakes,” said Samuel. He relates this idea to the philosophy of the band’s music.
“The music is based on loops, and the loops are made on the fly,” he said. “If there’s a weird off timing or weird mistake, it’s locked in the loop forever.”
The art of rock posters has created a tight link between the art and music world. “Shows should be an artistic experience,” said Samuel. “Both visually and auditory-ly.”
Wednesday, March 4, 2009
Contaminated groundwater posing health risks for Fifth and Hill residents
Champaign County Health Care Consumers representatives urged Champaign City Council at Tuesday night’s City Council Meeting to amend the Ground Water Restriction Ordinance passed the summer of 2007. According to CCHCC representative Claudia Lennhoff, Ameren’s December report reveals shocking information identifying the vaporization of 20 different toxins in the city’s ground water. However, the ordinance does not protect citizens from inhaling the toxins. This is has been a lasting concern for Champaign’s Fifth and Hill residents, even though the property is 40 to 50 feet away from the neighborhood’s residential area.
CCHCC’s primary concern is the ordinance’s failure to protect citizens from directly contacting and inhaling the toxins produced my Ameren. Ameren’s report quotes “it is using an institutional control to remediate the toxic ground water,” but Lennhoff claims that simply preventing ingestion of the toxins does not suffice as protection.
“Vaporization doesn’t stop at these boundaries,” said Lennhoff. Ameren failed to test outside of its boundaries, which suggests that the toxin vaporization could potentially hurt the Champaign residents.
The ordinance only prohibits residents from drinking the contaminated water. However, Ameren’s report indicated toxins can reach residents through other pathways, like inhalation and contact. Lennhoff claimed homes are forced to deal with flooding annually, putting people in direct contact with contaminated ground water. Additionally, water run-off into Boneyard Creek has potential to contaminate gardens that produce fruits and vegetables bought and consumed by the community.
Long term exposure to these toxins could cause serious health detriments like neurological and reproductive disorders, cancers and asthmas.
Amending the ordinance to include all three pathways of contamination – ingestion, inhalation, and direct contact – will force Ameren to clean up the toxins from the water. Though safety standards for benzene contamination in the ground water is five parts per billion, the southern end of the property showed a thousand parts per billion of benzene present in the ground water.
“On the surface, the ordinance is common sense,” said Lennhoff, “but its use is what is objectionable – its use is allowing Ameren off the hook from cleaning the contaminated ground water. It seems the real intent of this ordinance is to protect Ameren from incurring the costs of doing a thorough, and therefore costly, clean-up job.”
The data on Ameren’s website was not available in 2007, suggesting that Champaign City Council and Illinois EPA were not aware of the extent of contamination and the possibility of soil vaporization. However, the new data indicates that failure to amend the ordinance could jeopardize the health and well being of Champaign citizens in the area.
According to Lennhoff the problem dates back to nearly 20 years ago. Many residents that lived in the area previously have reporting sicknesses that could be caused by the contaminated vapors. It is a frequently neglected neighborhood in the City Council agenda.
The toxins have been building up since the Ameren plant first came into existence in the late 1830s. Buildup of contaminants over this period of time has the potential to affect day care centers, schools, and homes in the area surrounding the plant.
Ameren claims that a thorough clean-up will be disruptive. Lennhoff counteracted the statement in front of City Council saying, “people are willing to be disruptive”. According to CHHC representatives, illnesses and cancers are far more disruptive to a neighborhood.
“Who is being protected here?” questioned Lennhoff. She urged City Council to attend the Ameren open house which will be discussing its reports.
Reports and fact sheets related to this issue can be found on Ameren’s website. CHHC representatives also encourage citizens to attend Ameren open house to voice their concerns about the well being of Champaign residents.
CCHCC’s primary concern is the ordinance’s failure to protect citizens from directly contacting and inhaling the toxins produced my Ameren. Ameren’s report quotes “it is using an institutional control to remediate the toxic ground water,” but Lennhoff claims that simply preventing ingestion of the toxins does not suffice as protection.
“Vaporization doesn’t stop at these boundaries,” said Lennhoff. Ameren failed to test outside of its boundaries, which suggests that the toxin vaporization could potentially hurt the Champaign residents.
The ordinance only prohibits residents from drinking the contaminated water. However, Ameren’s report indicated toxins can reach residents through other pathways, like inhalation and contact. Lennhoff claimed homes are forced to deal with flooding annually, putting people in direct contact with contaminated ground water. Additionally, water run-off into Boneyard Creek has potential to contaminate gardens that produce fruits and vegetables bought and consumed by the community.
Long term exposure to these toxins could cause serious health detriments like neurological and reproductive disorders, cancers and asthmas.
Amending the ordinance to include all three pathways of contamination – ingestion, inhalation, and direct contact – will force Ameren to clean up the toxins from the water. Though safety standards for benzene contamination in the ground water is five parts per billion, the southern end of the property showed a thousand parts per billion of benzene present in the ground water.
“On the surface, the ordinance is common sense,” said Lennhoff, “but its use is what is objectionable – its use is allowing Ameren off the hook from cleaning the contaminated ground water. It seems the real intent of this ordinance is to protect Ameren from incurring the costs of doing a thorough, and therefore costly, clean-up job.”
The data on Ameren’s website was not available in 2007, suggesting that Champaign City Council and Illinois EPA were not aware of the extent of contamination and the possibility of soil vaporization. However, the new data indicates that failure to amend the ordinance could jeopardize the health and well being of Champaign citizens in the area.
According to Lennhoff the problem dates back to nearly 20 years ago. Many residents that lived in the area previously have reporting sicknesses that could be caused by the contaminated vapors. It is a frequently neglected neighborhood in the City Council agenda.
The toxins have been building up since the Ameren plant first came into existence in the late 1830s. Buildup of contaminants over this period of time has the potential to affect day care centers, schools, and homes in the area surrounding the plant.
Ameren claims that a thorough clean-up will be disruptive. Lennhoff counteracted the statement in front of City Council saying, “people are willing to be disruptive”. According to CHHC representatives, illnesses and cancers are far more disruptive to a neighborhood.
“Who is being protected here?” questioned Lennhoff. She urged City Council to attend the Ameren open house which will be discussing its reports.
Reports and fact sheets related to this issue can be found on Ameren’s website. CHHC representatives also encourage citizens to attend Ameren open house to voice their concerns about the well being of Champaign residents.
Tuesday, February 17, 2009
The I's of India showcasing diversity
Similar to the abstracted brush strokes of an expressionist painting, the “I’s of India” art exhibit paints a vivid image of India’s diversity by laying out different perspectives to form a cohesive image of India.
In commemoration of India’s Republic Day, the Illini Union Board (IUB ) is sponsoring the “I’s of India” exhibit at the Illini Union Art Gallery. The objective of the gallery is to encourage a discussion about diversity and showcase art from Indian-American artists on campus. The overwhelmingly positive response has sparked an interest in making the exhibit an annual tradition.
The idea was originally proposed by Priya Shah, senior in the College of Business, who became inspired to feature an exclusively Indian-American gallery at the University of Illinois campus when she was painting last winter.
“I love learning about perspectives and stuff like that,” said Shah, while sitting in the Illini Union Art Gallery last Wednesday. “I thought it would be interesting to see the perspective on our own campus from Indian students.”
Mounted along the walls of the gallery, Shah’s drawings illustrate her own view of India, depicting classic Indian imagery like characters and scenes from Hindu mythology and portrait of her mother in Indian clothing. These images communicate her religious passions and the family values that stem from her faith.
“I’ve been fortunate enough to travel to India, so I’ve seen many of the different perspectives,” she said. “Indian culture is categorized to one identity, but that’s not what it is.”
Shah has been involved with many awareness conferences on campus during her college career. Now in her senior year, Shah thinks it will be more meaningful to bring awareness about diversity in the Indian subcontinent through a medium that can be translated across borders.
Vinay Srinisvasan, sophomore in the College of Fine and Applied Arts, is a featured artist in the gallery. Srinivasan feels that this event is significant, because it releases the shackles many Indian students have attached to their academics.
“Indians lose sight of what makes them Indian – like the arts, dance, and music – because our social culture ingrains the importance of having a job that pays,” said Srinivasan. According to Srinivasan, these social expectations strip many Indian students of their creative passions. He really respects the gallery’s motivation to revive students’ creativity.
“This provides a great opportunity for students who are unable to show their talents otherwise,” said Srinivasan.
Shah’s mission to bring awareness about Indian diversity arises from the misconception that all Indians are the same.
“We’re actually very different from each other,” said Shah. She said that Indians from the north experience different customs and values than Indians from the south, making the country very diverse.
“When you meet another Indian person, you realize what their differences are just by their name and how they look,” she said. “That’s something that’s very unique to Indian culture.”
This theme is demonstrated through the vast differences in styles and messages being portrayed in the gallery. Srinivasan’s individual Indian identity is heavily based on his experiences and events that define India. Srinivasan’s painting, “Mumbai Massacre” depicts the horror of the terrorist attacks that occurred last year in Bombay. The multimedia piece uses newspaper clippings and rough brush strokes to show the pain he felt when the attack happened.
“There are so many attacks in India. This one meant a lot, and I was really hurt by it,” he said.
Arts coordinator for IUB, Melissa Gold, explained the application process for reserving the art gallery as a rolling process. The gallery needs to be booked about a year and a half in advance to guarantee the space.
“[IUB] is always trying to create new and progressive programs [to] broaden the eyes of students,” said Gold.
She became more involved with the organization of the gallery in the month leading up to the opening reception.
“[The gallery was] already so well organized,” she said. “We had numerous, numerous comment cards, and we did not get one negative response,” said Gold.
The positive response has inspired Srinivasan to continue Shah’s legacy. He is currently filling out the application and paperwork to continue the event next year.
“I can see it being embellished a lot more,” he said. He hopes to incorporate more artists, media and subthemes to next year’s exhibit. “The whole gallery would be one canvas, and the people would make up the brushstrokes of one image: India,” said Srinivasan
The exhibit’s innovative nature has inspired many artists to explore Indian art and discuss the parameters of what defines Indian art.
“Would it be considered an Indian painting if a White person painted an Indian painting?” said Srinivasan. “This gallery has really defined how students perceive Indian artwork.”
Art history classes at the University often fail to cover Indian art, leaving students like Shah and Srinivasan underrepresented in Champaign-Urbana. Shah thinks it is important for the campus to recognize the experiences and stories of Indian-American students.
“Our experiences make us who we are,” she said. “There is a huge Indian population on campus, and we all have very distinct subcultures,”
Shah hopes that the exhibit means as much to the rest of the University of Illinois campus as it does to her.
“I see India as a whole, with culture, history and art. It’s truly beautiful when it stands having a combination of these parts…kind of like a canvas,” said Srinivasan
In commemoration of India’s Republic Day, the Illini Union Board (IUB ) is sponsoring the “I’s of India” exhibit at the Illini Union Art Gallery. The objective of the gallery is to encourage a discussion about diversity and showcase art from Indian-American artists on campus. The overwhelmingly positive response has sparked an interest in making the exhibit an annual tradition.
The idea was originally proposed by Priya Shah, senior in the College of Business, who became inspired to feature an exclusively Indian-American gallery at the University of Illinois campus when she was painting last winter.
“I love learning about perspectives and stuff like that,” said Shah, while sitting in the Illini Union Art Gallery last Wednesday. “I thought it would be interesting to see the perspective on our own campus from Indian students.”
Mounted along the walls of the gallery, Shah’s drawings illustrate her own view of India, depicting classic Indian imagery like characters and scenes from Hindu mythology and portrait of her mother in Indian clothing. These images communicate her religious passions and the family values that stem from her faith.
“I’ve been fortunate enough to travel to India, so I’ve seen many of the different perspectives,” she said. “Indian culture is categorized to one identity, but that’s not what it is.”
Shah has been involved with many awareness conferences on campus during her college career. Now in her senior year, Shah thinks it will be more meaningful to bring awareness about diversity in the Indian subcontinent through a medium that can be translated across borders.
Vinay Srinisvasan, sophomore in the College of Fine and Applied Arts, is a featured artist in the gallery. Srinivasan feels that this event is significant, because it releases the shackles many Indian students have attached to their academics.
“Indians lose sight of what makes them Indian – like the arts, dance, and music – because our social culture ingrains the importance of having a job that pays,” said Srinivasan. According to Srinivasan, these social expectations strip many Indian students of their creative passions. He really respects the gallery’s motivation to revive students’ creativity.
“This provides a great opportunity for students who are unable to show their talents otherwise,” said Srinivasan.
Shah’s mission to bring awareness about Indian diversity arises from the misconception that all Indians are the same.
“We’re actually very different from each other,” said Shah. She said that Indians from the north experience different customs and values than Indians from the south, making the country very diverse.
“When you meet another Indian person, you realize what their differences are just by their name and how they look,” she said. “That’s something that’s very unique to Indian culture.”
This theme is demonstrated through the vast differences in styles and messages being portrayed in the gallery. Srinivasan’s individual Indian identity is heavily based on his experiences and events that define India. Srinivasan’s painting, “Mumbai Massacre” depicts the horror of the terrorist attacks that occurred last year in Bombay. The multimedia piece uses newspaper clippings and rough brush strokes to show the pain he felt when the attack happened.
“There are so many attacks in India. This one meant a lot, and I was really hurt by it,” he said.
Arts coordinator for IUB, Melissa Gold, explained the application process for reserving the art gallery as a rolling process. The gallery needs to be booked about a year and a half in advance to guarantee the space.
“[IUB] is always trying to create new and progressive programs [to] broaden the eyes of students,” said Gold.
She became more involved with the organization of the gallery in the month leading up to the opening reception.
“[The gallery was] already so well organized,” she said. “We had numerous, numerous comment cards, and we did not get one negative response,” said Gold.
The positive response has inspired Srinivasan to continue Shah’s legacy. He is currently filling out the application and paperwork to continue the event next year.
“I can see it being embellished a lot more,” he said. He hopes to incorporate more artists, media and subthemes to next year’s exhibit. “The whole gallery would be one canvas, and the people would make up the brushstrokes of one image: India,” said Srinivasan
The exhibit’s innovative nature has inspired many artists to explore Indian art and discuss the parameters of what defines Indian art.
“Would it be considered an Indian painting if a White person painted an Indian painting?” said Srinivasan. “This gallery has really defined how students perceive Indian artwork.”
Art history classes at the University often fail to cover Indian art, leaving students like Shah and Srinivasan underrepresented in Champaign-Urbana. Shah thinks it is important for the campus to recognize the experiences and stories of Indian-American students.
“Our experiences make us who we are,” she said. “There is a huge Indian population on campus, and we all have very distinct subcultures,”
Shah hopes that the exhibit means as much to the rest of the University of Illinois campus as it does to her.
“I see India as a whole, with culture, history and art. It’s truly beautiful when it stands having a combination of these parts…kind of like a canvas,” said Srinivasan
Monday, February 9, 2009
I've always wanted to be a radio personality
Interview with DJ and production manager of WPGU, Rama Vallury on February 4, 2009.
(Interview taken place at Starbucks on Green Street)
Neha: Thank you so much for meeting with me.
Rama: It’s my pleasure. I’m always in this area, since the radio station is across the street. Unfortunately, my office is occupied, so we couldn’t meet there.
Neha: Oh, it’s no problem. Let me give you a brief introduction of what I’m doing. The assignment for my JOUR 400 class is called “I’ve always wanted to…,” and I thought it would be appropriate to get in touch with someone at WPGU, because I’ve always wanted to be a radio personality.
Rama: Well, why don’t you become a radio personality?
Neha: (laughing) Well, I guess I’m just really shy. I just wanted to let you know, before I get into the questions I’ve prepared, that I will be recording this interview so I can keep my facts straight. You’re an on-air DJ, so I’m sure this is nothing out of the ordinary for you. Before I get into the questions, can you spell your name for me?
Rama: Sure, it’s spelled R-A-M-A. Last name is V-A-L-L-U-R-Y. My DJ name is Noodles, spelled N-O-O-D-L-E-S.
Neha: Great. What year, and how old are you?
Rama: I’m a senior. I’m 21, but I feel like I’m 85.
Neha: And what college are you in?
Rama: The College of Liberal Arts and Sciences. The Department of History and the Department of English.
Neha: How did you get involved with WPGU, considering that your major has nothing to do with broadcasting?
Rama: Threats. My older brother, who used to be a big something in the production department at WPGU had a job standing for me with the operations manager, but I didn’t take till I was a junior when it was off the table. I went on a study abroad and one of my friends from the trip happened to be the music director at WPGU. He told me I would do well there and enjoy myself, so I took her at her word and I showed up.
Neha: That’s great. And what exactly did you do there when you started, and what are you doing there now?
Rama: When I started I was an intern on air, which would be the RTS radio training staff, and I also was an intern at the production department that makes all the commercials, liners, and live media for the station. That’s what I did when I started there, and now I’m a full-fledged DJ on many shows. I also run the production department, so I’m in charge of making all the commercials, and I’m also in charge of hiring, firing, staffing, scheduling, and going to all of the wonderful meetings with all the other departments. It’s a good time.
Neha: You mentioned a pretty hefty list of things. This job seems like a huge time commitment. What inspires you to keep doing it considering – like I said earlier – that it’s not a part of your major? Does it help you at all with your major? Have you gotten any good skills you can use?
Rama: It’s a creative outlet for me because when I’m doing the academic work, I’m really focusing on it. So, for example, if I’m reading a book for English, I will focus on the book and its role in the English class. For History, I will focus on the paper that I’m working on. It doesn’t really afford much in terms of the creativity field. It’s really good for intellectual stimulation, but you really need a creative outlet and WPGU has done that for me for the past two years, where not only can I express myself on-air where people are listening, but I can also make commercials and try new things out every time with editing techniques and voice making, copyrighting. It forces me to continually change what I do and keeps me interested.
Neha: Cool and you mentioned that you do a lot of things on-air. What are some of the shows that you do? Can you give me an idea?
Rama: I’ll go chronologically. On Monday through Friday at 12 o’clock, I’m on the Flashback Café with Andy Jones, who’s the other DJ. It’s sponsored by Meier and Dallas and Company. We only play music pre-1995. We can go as far back as – I don’t know – the thirties if we really wanted to, but it’s usually things that have the classic, alternative feel that inspire alternative music. I’m on that show every day except for the weekend. And then later on that day, I’m on Funk, Peace and Soul which is at 9 o’clock. That is the show that plays funk music, soul music, R&B. Anything that’s in that field. So, Ray Charles, John Coltrane. Anything. Blues fits in there. Jazz fits in there. So, anything in that general genre, we do that. And at midnight Monday night going into Tuesday morning I’m on Warzone. It’s a musical debate show. We come in with different topics every week that we present. Well, we’re doing a show coming up which is Bob Dylan versus Neil Young, so I’ll take the side of Bob Dylan and my co-host will take the side of Neil Young. We’ll play music by each artist and debate the merits of each artist and merits of each song. And we’re not looking to crown anyone as the king of whatever or the bass player of all time, but we want to make a list and intelligent comments about it to get people more interested in listening to that music because – in the case of Bob Dylan – he’s an American folk hero, whereas Neil Young is highly unappreciated. So, we really want to introduce Neil Young’s stuff to people who are listening. On Tuesdays I am on Flashback Café but at 8 o’clock at night, I’m also on Shrinkwrap that plays all the new music that comes out. It’s sponsored by Mike and Molly’s and the Illini Apple Center. The requirement is that it has to be albums released recently. Three weeks is what we usually do as a cutoff. And we’re changing what it used to be where we’d just play the music and say, “this is new music” to – by putting me on it – we take certain albums and play a few songs from it and then give a review for the album, and then we go on from there. The Apple Center is interested in us doing some product testing, so they’re going to give us some cool new gadgets to play with for a week, and then we’ll talk about them on air and do all sorts of fun things like that. But yeah, we’re in charge of the new music. If you want to hear new music, you go to that show.
Neha: You said Apple is going to be giving you new gadgets to play with on air. Are they paying you for that?
Rama: They sponsor our show. Per show, each sponsor needs to pay a $100, so they can get live reads for each DJ to read during the show and to get commercials to run through the day, or specifically on a show. We have to mention that, “We are brought to you by the…Illini Apple Center…or Mike and Molly’s.” Then, we basically promote them because they are promoting us. It’s mutually beneficial, and it’s pretty fun. I enjoy doing it. Later on in the night, I do a show called Beats and Rhymes. It’s the only show where you can hear hip-hop on WPGU. It’s all underground and independent hip-hop. You’re not going to find rap or anything like that. We’re heavy on Tribe Called Quest, J Dilla. Anything like that, that has actual something to say and that is very innovative and fresh. We’re strictly hip-hop, not rap. There’s a clear difference between those. I think…I think that’s all of them. It’s a lot of shows.
Neha: Yeah, it definitely is a lot of shows. Like I said earlier, it seems like a huge time commitment. It seems like you’re pretty comfortable talking. You have a strong presence in person and on air. How long did it take you to become comfortable with talking on air, because being on air seems very nerve wrecking? How was your first experience on air? How long did it take you to finally master it?
Rama: It didn’t take me too long to become comfortable on air. I’m a person that does not generally like the sound of my own voice, but apparently people think I sound good for radio and all that stuff. So, the big thing for me was getting used to the sound of my own voice. The first time I went on air, it was 3 o’clock in the morning on a Saturday. I had been on Beats and Rhymes the night before as in intern, so I didn’t sleep. I went in and no one was there. My first break was shaky. It was a first jump into a pool on a winter day sort of thing. You’re a little nervous. You’re front selling and back selling and letting people know the phone number and things like that. You turn off the mic and you’re thinking to yourself, “oh my god, I was just on air – they can hear me!” You stop worrying about that after a while. You’re just having a conversation with the mic. The mic is just a mouthpiece to the world, so any thoughts you have about music you think people should know, you say. You learn to get all of that across in the shortest amount of time possible, because generally you have thirty seconds to a minute to get that across before you have to start playing music again. It was nerve wrecking, the first twenty minutes of the show. I had trouble answering the phone. Eventually, I figured that out. Once I figured out how to answer the phone, I got pretty good at it. I would listen to recordings of me on-air and hear where I was deficient and knew things I could do better at. It just so happened, the head producer I was working with also happened to be a DJ. He was the only other head producer in the department that did that, and he taught me a lot of things about what I should do on air and what I should sound like. I should know where I’m starting and where I’m ending. He just gave me individual techniques to play with. Working in the production department accelerated my progress, in terms of getting comfortable on air because I was on air in commercials, anyway. So, it wasn’t like people weren’t hearing me. It was just that I had to do it right the first time instead of having two to three tries to get the message across. So, for me it didn’t take that long. It’s just a lot of hard work that goes into it if you really want to do well.
Neha: What do you think it takes for other people that are interested in becoming on air DJs? What do you think it takes for them to be successful?
Rama: It takes a lot of commitment on your part. Something we like to stress is that it isn’t just a shift. Don’t treat it like a shift where you clock in and clock out. Treat it like a show. Make it your own. Call it something. Give people a reason to listen to you. What makes you special? That’s the big thing I ask about everyone’s show: Tell me what it is that makes you special. For example, Beats and Rhymes is the only show that plays hip-hop, and Funk, Peace and Soul is the only show that plays soul. For a DJ that’s on at 9 a.m. or in the afternoon: what is special about them? What are they bringing to the table? I can’t answer that, because they’re doing things only they would know. You have to put in a lot of work and make everyone realize that you’re not just the glorified button pusher. You’re actually putting in the work. So, if you want to be a DJ, you have to work at it. It’s a never ending process, because no matter how good you think you are, you can always be better.
Neha: That’s interesting because that’s a thing they say in journalism, too. What do you do on your shows to make them your own, aside from playing only hip-hop for Beats and Rhymes or playing only funk music for Funk, Peace and Soul?
Rama: Each show that I’m on, I try and bring my own individual presence to and contribute something, so it’s not me sitting there going, “mhmm, yeah,” and agreeing with the other guys on the show. For example, on Flashback Café we have a segment called Noodles Tips and Turntables, named by Andy Jones, who is the co-host. It became a segment because I decided I wanted to play vinyl on the show. It also turns out that I’m the only person that knows how to play vinyl on air. We turned it into a full-fledged segment everyday now. I consistently find new vinyl to play, which is fun. I’m also big on telling people stories about what they’re listening to and why they’re listening to it.
Neha: Have you been able to tie the skills that you’ve learned in radio and broadcasting to your major, and do you hope to do broadcasting in the future?
Rama: Believe it or not, broadcasting and a History or English major are not exclusively mutual fields. I find there’s a lot of carry over. If I read something in a book, I can make it relevant to the music we’re playing. I believe people refer to that as being hyper-literate. A lot of artists like to tell stories, and you can read their stories. Bob Dylan called himself Bob Dylan because of Dylan Thomas, the poet. So, if you read Dylan Thomas, you’re going to get a feel for Bob Dylan. So, I read a lot of things and it helps me express what we’re doing on-air. And historical things…I have a good mind for that. I remember a lot of arbitrary facts and stuff that may not seem important. I can think of a lot of music related facts and events throughout history that people might not remember. Working on broadcasting has also helped me become a better presenter. I’m constantly aware of the deadline that I’m working with. No matter how many things I would like to say, I have to tailor it. I have to get the maximum amount of impact in the time that I have. That is something that broadcasting has helped me do.
Neha: How about broadcasting in your future. Have you gotten any offers?
Rama: I went to a conference in November of last year, called Talent Track, which is run by the Conclave, which is a radio conference where you meet with professionals in the industry and get an air-check by them. They listen to a scope tape – which is usually a CD now – of three minutes of what you consider your best work in whatever department. I decided not to turn in a DJ one. I just went with the radio commercial broadcasting aspect of it. The responses I got were universally positive. An operations manager of a cluster of stations out of Omaha told me to quit school, start my own business, or start working in radio right now. I got a lot of cards from people who have my job in bigger radio stations, like Q101. I did some networking. I would like to keep doing broadcasting. It’s a constantly changing field and I’d love to keep up with it. Once I get my bachelor’s degree this May, I’m pursuing a graduate degree in advertising or radio production. I would love to keep doing this.
Neha: The future of radio is a little bit iffy. It hasn’t been doing so hot these days, and a lot of people argue that radio is dying. What are your thoughts on that?
Rama: (laughing) If radio was dying, we’d be in a serious amount of trouble. Right now, being a smaller station entirely run by students in a medium-sized, Midwestern town, the worst has happened, and we’re still doing okay. On our website, the217.com, WPGU gets the most hits. People want to see what we’re doing. A lot of stations are feeling the crunch and a lot of people are losing their jobs, but it’s just a reaction to the economy. When the economy picks back up, radio will come back with it, because a lot of people don’t realize podcasts are radio shows that you would listen to on the radio. They’ve just sent it out again, so you can listen to it again. There are nontraditional forms, so we’re not limiting radio to just radio. Keeping up with the pace of the times and adjusting will keep radio around for a long, long time.
Neha: Has WPGU felt the economy?
Rama: We have. Businesses tend to cut radio advertising as the first thing, because it’s a niche. In terms of broadcasting, you’ll find more people watching TV, than listening to the radio. We’re a very TV-dependent society now. In my department we try to keep our clients as happy as possible, and the better we do with their products, the better products we consistently make, we’re going to keep the clients we have and get other businesses interested, like the bars in Champaign, who never advertise until now. We keep in mind that other businesses are listening and they’re going to come in and see what we can do.
Neha: So you have faith?
Rama: I have faith that it will be around for a while. People just need to be up for the challenge, and it’s a pretty big challenge.
Neha: Well, I’d really like to thank you so much for coming out and meeting with me. It’s been a pleasure.
(Interview taken place at Starbucks on Green Street)
Neha: Thank you so much for meeting with me.
Rama: It’s my pleasure. I’m always in this area, since the radio station is across the street. Unfortunately, my office is occupied, so we couldn’t meet there.
Neha: Oh, it’s no problem. Let me give you a brief introduction of what I’m doing. The assignment for my JOUR 400 class is called “I’ve always wanted to…,” and I thought it would be appropriate to get in touch with someone at WPGU, because I’ve always wanted to be a radio personality.
Rama: Well, why don’t you become a radio personality?
Neha: (laughing) Well, I guess I’m just really shy. I just wanted to let you know, before I get into the questions I’ve prepared, that I will be recording this interview so I can keep my facts straight. You’re an on-air DJ, so I’m sure this is nothing out of the ordinary for you. Before I get into the questions, can you spell your name for me?
Rama: Sure, it’s spelled R-A-M-A. Last name is V-A-L-L-U-R-Y. My DJ name is Noodles, spelled N-O-O-D-L-E-S.
Neha: Great. What year, and how old are you?
Rama: I’m a senior. I’m 21, but I feel like I’m 85.
Neha: And what college are you in?
Rama: The College of Liberal Arts and Sciences. The Department of History and the Department of English.
Neha: How did you get involved with WPGU, considering that your major has nothing to do with broadcasting?
Rama: Threats. My older brother, who used to be a big something in the production department at WPGU had a job standing for me with the operations manager, but I didn’t take till I was a junior when it was off the table. I went on a study abroad and one of my friends from the trip happened to be the music director at WPGU. He told me I would do well there and enjoy myself, so I took her at her word and I showed up.
Neha: That’s great. And what exactly did you do there when you started, and what are you doing there now?
Rama: When I started I was an intern on air, which would be the RTS radio training staff, and I also was an intern at the production department that makes all the commercials, liners, and live media for the station. That’s what I did when I started there, and now I’m a full-fledged DJ on many shows. I also run the production department, so I’m in charge of making all the commercials, and I’m also in charge of hiring, firing, staffing, scheduling, and going to all of the wonderful meetings with all the other departments. It’s a good time.
Neha: You mentioned a pretty hefty list of things. This job seems like a huge time commitment. What inspires you to keep doing it considering – like I said earlier – that it’s not a part of your major? Does it help you at all with your major? Have you gotten any good skills you can use?
Rama: It’s a creative outlet for me because when I’m doing the academic work, I’m really focusing on it. So, for example, if I’m reading a book for English, I will focus on the book and its role in the English class. For History, I will focus on the paper that I’m working on. It doesn’t really afford much in terms of the creativity field. It’s really good for intellectual stimulation, but you really need a creative outlet and WPGU has done that for me for the past two years, where not only can I express myself on-air where people are listening, but I can also make commercials and try new things out every time with editing techniques and voice making, copyrighting. It forces me to continually change what I do and keeps me interested.
Neha: Cool and you mentioned that you do a lot of things on-air. What are some of the shows that you do? Can you give me an idea?
Rama: I’ll go chronologically. On Monday through Friday at 12 o’clock, I’m on the Flashback Café with Andy Jones, who’s the other DJ. It’s sponsored by Meier and Dallas and Company. We only play music pre-1995. We can go as far back as – I don’t know – the thirties if we really wanted to, but it’s usually things that have the classic, alternative feel that inspire alternative music. I’m on that show every day except for the weekend. And then later on that day, I’m on Funk, Peace and Soul which is at 9 o’clock. That is the show that plays funk music, soul music, R&B. Anything that’s in that field. So, Ray Charles, John Coltrane. Anything. Blues fits in there. Jazz fits in there. So, anything in that general genre, we do that. And at midnight Monday night going into Tuesday morning I’m on Warzone. It’s a musical debate show. We come in with different topics every week that we present. Well, we’re doing a show coming up which is Bob Dylan versus Neil Young, so I’ll take the side of Bob Dylan and my co-host will take the side of Neil Young. We’ll play music by each artist and debate the merits of each artist and merits of each song. And we’re not looking to crown anyone as the king of whatever or the bass player of all time, but we want to make a list and intelligent comments about it to get people more interested in listening to that music because – in the case of Bob Dylan – he’s an American folk hero, whereas Neil Young is highly unappreciated. So, we really want to introduce Neil Young’s stuff to people who are listening. On Tuesdays I am on Flashback Café but at 8 o’clock at night, I’m also on Shrinkwrap that plays all the new music that comes out. It’s sponsored by Mike and Molly’s and the Illini Apple Center. The requirement is that it has to be albums released recently. Three weeks is what we usually do as a cutoff. And we’re changing what it used to be where we’d just play the music and say, “this is new music” to – by putting me on it – we take certain albums and play a few songs from it and then give a review for the album, and then we go on from there. The Apple Center is interested in us doing some product testing, so they’re going to give us some cool new gadgets to play with for a week, and then we’ll talk about them on air and do all sorts of fun things like that. But yeah, we’re in charge of the new music. If you want to hear new music, you go to that show.
Neha: You said Apple is going to be giving you new gadgets to play with on air. Are they paying you for that?
Rama: They sponsor our show. Per show, each sponsor needs to pay a $100, so they can get live reads for each DJ to read during the show and to get commercials to run through the day, or specifically on a show. We have to mention that, “We are brought to you by the…Illini Apple Center…or Mike and Molly’s.” Then, we basically promote them because they are promoting us. It’s mutually beneficial, and it’s pretty fun. I enjoy doing it. Later on in the night, I do a show called Beats and Rhymes. It’s the only show where you can hear hip-hop on WPGU. It’s all underground and independent hip-hop. You’re not going to find rap or anything like that. We’re heavy on Tribe Called Quest, J Dilla. Anything like that, that has actual something to say and that is very innovative and fresh. We’re strictly hip-hop, not rap. There’s a clear difference between those. I think…I think that’s all of them. It’s a lot of shows.
Neha: Yeah, it definitely is a lot of shows. Like I said earlier, it seems like a huge time commitment. It seems like you’re pretty comfortable talking. You have a strong presence in person and on air. How long did it take you to become comfortable with talking on air, because being on air seems very nerve wrecking? How was your first experience on air? How long did it take you to finally master it?
Rama: It didn’t take me too long to become comfortable on air. I’m a person that does not generally like the sound of my own voice, but apparently people think I sound good for radio and all that stuff. So, the big thing for me was getting used to the sound of my own voice. The first time I went on air, it was 3 o’clock in the morning on a Saturday. I had been on Beats and Rhymes the night before as in intern, so I didn’t sleep. I went in and no one was there. My first break was shaky. It was a first jump into a pool on a winter day sort of thing. You’re a little nervous. You’re front selling and back selling and letting people know the phone number and things like that. You turn off the mic and you’re thinking to yourself, “oh my god, I was just on air – they can hear me!” You stop worrying about that after a while. You’re just having a conversation with the mic. The mic is just a mouthpiece to the world, so any thoughts you have about music you think people should know, you say. You learn to get all of that across in the shortest amount of time possible, because generally you have thirty seconds to a minute to get that across before you have to start playing music again. It was nerve wrecking, the first twenty minutes of the show. I had trouble answering the phone. Eventually, I figured that out. Once I figured out how to answer the phone, I got pretty good at it. I would listen to recordings of me on-air and hear where I was deficient and knew things I could do better at. It just so happened, the head producer I was working with also happened to be a DJ. He was the only other head producer in the department that did that, and he taught me a lot of things about what I should do on air and what I should sound like. I should know where I’m starting and where I’m ending. He just gave me individual techniques to play with. Working in the production department accelerated my progress, in terms of getting comfortable on air because I was on air in commercials, anyway. So, it wasn’t like people weren’t hearing me. It was just that I had to do it right the first time instead of having two to three tries to get the message across. So, for me it didn’t take that long. It’s just a lot of hard work that goes into it if you really want to do well.
Neha: What do you think it takes for other people that are interested in becoming on air DJs? What do you think it takes for them to be successful?
Rama: It takes a lot of commitment on your part. Something we like to stress is that it isn’t just a shift. Don’t treat it like a shift where you clock in and clock out. Treat it like a show. Make it your own. Call it something. Give people a reason to listen to you. What makes you special? That’s the big thing I ask about everyone’s show: Tell me what it is that makes you special. For example, Beats and Rhymes is the only show that plays hip-hop, and Funk, Peace and Soul is the only show that plays soul. For a DJ that’s on at 9 a.m. or in the afternoon: what is special about them? What are they bringing to the table? I can’t answer that, because they’re doing things only they would know. You have to put in a lot of work and make everyone realize that you’re not just the glorified button pusher. You’re actually putting in the work. So, if you want to be a DJ, you have to work at it. It’s a never ending process, because no matter how good you think you are, you can always be better.
Neha: That’s interesting because that’s a thing they say in journalism, too. What do you do on your shows to make them your own, aside from playing only hip-hop for Beats and Rhymes or playing only funk music for Funk, Peace and Soul?
Rama: Each show that I’m on, I try and bring my own individual presence to and contribute something, so it’s not me sitting there going, “mhmm, yeah,” and agreeing with the other guys on the show. For example, on Flashback Café we have a segment called Noodles Tips and Turntables, named by Andy Jones, who is the co-host. It became a segment because I decided I wanted to play vinyl on the show. It also turns out that I’m the only person that knows how to play vinyl on air. We turned it into a full-fledged segment everyday now. I consistently find new vinyl to play, which is fun. I’m also big on telling people stories about what they’re listening to and why they’re listening to it.
Neha: Have you been able to tie the skills that you’ve learned in radio and broadcasting to your major, and do you hope to do broadcasting in the future?
Rama: Believe it or not, broadcasting and a History or English major are not exclusively mutual fields. I find there’s a lot of carry over. If I read something in a book, I can make it relevant to the music we’re playing. I believe people refer to that as being hyper-literate. A lot of artists like to tell stories, and you can read their stories. Bob Dylan called himself Bob Dylan because of Dylan Thomas, the poet. So, if you read Dylan Thomas, you’re going to get a feel for Bob Dylan. So, I read a lot of things and it helps me express what we’re doing on-air. And historical things…I have a good mind for that. I remember a lot of arbitrary facts and stuff that may not seem important. I can think of a lot of music related facts and events throughout history that people might not remember. Working on broadcasting has also helped me become a better presenter. I’m constantly aware of the deadline that I’m working with. No matter how many things I would like to say, I have to tailor it. I have to get the maximum amount of impact in the time that I have. That is something that broadcasting has helped me do.
Neha: How about broadcasting in your future. Have you gotten any offers?
Rama: I went to a conference in November of last year, called Talent Track, which is run by the Conclave, which is a radio conference where you meet with professionals in the industry and get an air-check by them. They listen to a scope tape – which is usually a CD now – of three minutes of what you consider your best work in whatever department. I decided not to turn in a DJ one. I just went with the radio commercial broadcasting aspect of it. The responses I got were universally positive. An operations manager of a cluster of stations out of Omaha told me to quit school, start my own business, or start working in radio right now. I got a lot of cards from people who have my job in bigger radio stations, like Q101. I did some networking. I would like to keep doing broadcasting. It’s a constantly changing field and I’d love to keep up with it. Once I get my bachelor’s degree this May, I’m pursuing a graduate degree in advertising or radio production. I would love to keep doing this.
Neha: The future of radio is a little bit iffy. It hasn’t been doing so hot these days, and a lot of people argue that radio is dying. What are your thoughts on that?
Rama: (laughing) If radio was dying, we’d be in a serious amount of trouble. Right now, being a smaller station entirely run by students in a medium-sized, Midwestern town, the worst has happened, and we’re still doing okay. On our website, the217.com, WPGU gets the most hits. People want to see what we’re doing. A lot of stations are feeling the crunch and a lot of people are losing their jobs, but it’s just a reaction to the economy. When the economy picks back up, radio will come back with it, because a lot of people don’t realize podcasts are radio shows that you would listen to on the radio. They’ve just sent it out again, so you can listen to it again. There are nontraditional forms, so we’re not limiting radio to just radio. Keeping up with the pace of the times and adjusting will keep radio around for a long, long time.
Neha: Has WPGU felt the economy?
Rama: We have. Businesses tend to cut radio advertising as the first thing, because it’s a niche. In terms of broadcasting, you’ll find more people watching TV, than listening to the radio. We’re a very TV-dependent society now. In my department we try to keep our clients as happy as possible, and the better we do with their products, the better products we consistently make, we’re going to keep the clients we have and get other businesses interested, like the bars in Champaign, who never advertise until now. We keep in mind that other businesses are listening and they’re going to come in and see what we can do.
Neha: So you have faith?
Rama: I have faith that it will be around for a while. People just need to be up for the challenge, and it’s a pretty big challenge.
Neha: Well, I’d really like to thank you so much for coming out and meeting with me. It’s been a pleasure.
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