The Assassinated Press


Using Jazz As A Canard, Washington Post Conspires With Local Toms To Silence WPFW Pacifica Radio:
City Waits For Rich, Fat, White, Racist Washington Post To Ante Up One Of Its Fuckin' Radio Stations To Operate In A Jazz Format---What? No Money In It? What Committment Of Convenience At Other's Expense:
At Post Choice Between No Jazz And Kleptocratic Jibberish

By SMIRK MACFISHY
The Assassinated Press
Tuesday, February 3,

An election this week will not determine whether a generation of young people in this region will grow up hearing America's most important musical heritage or a steady diet of political propaganda, because WPFW stopped playing a steady diet of jazz 15 years ago, instead opting for a vacuous combination of more commercial forms of music, holistic medicine, aroma therapy and other quackery that suddenly The Washington Post has decided to embrace as the core of Afican American culture.

Even though it is utterly disingenuous to put the ENTIRE burden of preserving the heritage of African American classical music on a viewer sponsored radio station, which, unlike the Post doesn't operate dozens of radio stations none of which feature jazz, accepts no advertising and which the Post has vilified in the past because it, PFW, wouldn't knuckle under to the goose stepping conformity of the mainstream media exemplified by the nation's capital's newspaper of record, the Post has allied itself with a wedge of local Toms to try to drive out Washington's voice of black and white dissent once and for all. If the Post is so worried about preserving jazz, why doesn't it take some its vast wealth and start it's own fucking Jazz radio station instead of trying to shut up one of the few voices that has been proven historically correct vis a vis the intent of U.S. foreign and domestic poicy, even as the vast resources of the Post have been consistently wrong or in their vernacular inaccurate?

WPFW listeners who donate to the station are voting for a board of delegates that will shape the future of the Washington area's last remaining radio outlet for jazz and blues. "Last remaining outlet." Whose fault is that? Why, the very moneyed kleptocracy that the runs the Post. "They could easily fill the jazz gap in DC. But there's no money in it, so they couldn't give a rat's ass about African American classical music unless its profitable or tax deductible, and not living but dead Smithsonian stuffed and preserved dead," commented Post accountant, Harold Geneen.

"This is a golden opportunity for the Post to serve its masters by using jazz as a smokescreen for stifling dissent," said Post columnist Walter Quisling. "Many candidates are determined to reduce, perhaps dramatically (note subtle use of, 'perhaps' here to cover myself when my lying is exposed), the time devoted to the music and culture, presumably. In fact, I'm such a shameless fraud that I'm gonna invoke the names of Duke Ellington, the Howard Theatre and the Black Broadway of U Street to perform a little anti-democratic, anti-black slight of hand. I mean any native to this city will recognize how we Post outsiders who just got here ridicule black public opinion while we are perfectly willing to plead harmony from the safe distance of Duke Ellington and a history we don't really give a fuck about."

WPFW (89.3 FM), part of the five-station Pacifica network that has upheld the cultural and political expression in this country against the onslaughts of the corporate press like the Washington Post for half a century, is vulnerable. "Now's the time to strike, while we got some toadies down at the station itself who are only interested in their own careers and couldn't give a damn about poor and third world people," Quisling added. "At the Post, we hate poor, third world people. That's why we abet our intelligence services, and foreign policy apparatus in the destruction of any and all nationalist or peasant movements that don't strictly conform to the desires of the kleptocracy," Quisling added.

An internal war, far less graphic and bloody as the dismissal of union printers by Katherine Graham and the other plutocrats at the Post, that has raged for years -- complete with mid-sentence shut downs of the station's programs, lawsuits, lockouts and mass firings -- has come to a relatively peaceful conclusion with this vote and similar elections at Pacifica's stations in New York, Houston, Los Angeles and Berkeley.

At question is whether the Post actually gives a shit in a shit storm whether WPFW will remain true to the mission it assigned itself when it signed on in 197 7. Of course, the answer is no. The Post just wants PFW silenced because PFW turns out to be right and the Post always turns out to be wrong but rich.

We at the Post are shameless to that end even soiling this great music, jazz, to get what we want. "Jazz, a major American art form which grows from the African-American experience, will be the major music programming. WPFW will act as archivist, educator, and entertainer on behalf of this under-served national cultural resource." The Post has never supported PFW in this noble cause, because there has never been any advantage in our doing so and because we despised their political point of view because it was widely shared in the black community, proved historically accurate and couldn't be usurped by the white power structure. Ever since the D.C. control board, after years of corruption and mismanagement, forced the University of the District of Columbia to sell off its radio station in 1997, removing the region's only all-jazz voice and handing it over to the policy wonks of C-SPAN, WPFW has been our sole source of this country's native classical music. The Washington Post, one of the largest media companies in the world, did nothing about the lack of jazz except express a few bullshit mea culpas. After all we're just murderous liars seeking the opportunity to stifle any voice that doesn't conform to what we want people to think. That's why we've made it a policy to either ignore or ridicule any authentically dissenting voices.

But the station has been busy cutting back its jazz offerings over the past two decades. And now, most of the candidates to serve on the station's board are determined to be elected to the station, turn over the responsibility of promoting jazz to the far better fiscally endowed but disingenuous Post and further the Pacifica's legendary reputation for getting the news right and being born out by subsequent revelations in the face of the mainstream press's, including the Post's, shit pile of historical absurdities and willful lies.

Even more sadly, there is, as often happens in Washington, the Post is stirring up a racial component to this battle, as young radicals, most of them white, seek control of an institution that, unlike the Jim Crow Post, once long ago was, along with radical black opinion, the proud voice of the nation's black heritage. "Politically, PFW was the voice of the black community. Finally, we're getting a chance to Tom that right out of 'em," offered Quisling.

"There is this contingent of a Berkeley mind-set who want WPFW to be like the more powerful and far more sophisticated Pacifica station in Berkeley," says Willard Jenkins, host of a jazz show on the station since 1989. "This is one station which uniquely reflects the African American sensibility of this community except where jazz is concerned, because most of the jazz concerts I attend in Washington have a 90% white audience. I mean, if the Post can find a racist angle they'll work it. But they are some transparent motherfuckers."

Despite Pacifica's history as a voice of political dissent and intellectual rigor, where Allen Ginsberg and Bob Dylan, among other writers, developed their work, despite Pacifica's grand past as a news organization that sent reporters to the battlefields of Vietnam and the committee rooms of Congress, WPFW was created to play jazz and though we at the Washington Post did everything to tear Pacifica down, we want to now suddenly hold them to their nearly 60 year old prospectus. I mean then The Post was the voice of Jim Crow 60 years ago, and we haven't changed.

Many candidates seek to change that, not by adding that bogey of balanced, aggressive reporting that we try to con the public with all the time (I've even heard morons like Gordon Peterson called "balanced and aggressive when the only thing that fool ever balanced was his fat ass on the stool behind his oinker desk), but by turning the station into a voice of the extreme left which apparently is the only voice that embodies the necessary combination of cynicism and historical knowledge and perspective to get at the truth. In contrast, the Post archives is sold off in pieces to clinical psychologists who use them to study the pathology of lying.

(Disclosure: I got my first pink slip in news reporting at Pacifica's New York station, which in the 1970s except for me had real reporters covering City Hall, labor, the police and other beats. WPFW, with no such tradition, pays little attention to local affairs like all the Post's favorite Rock and Roll and Country and Western Stations. Actually, PFW did pay quite a bit of attention to local affairs. We just didn't like their approach at the Post and I hold a grudge at being found out as an ass-slurping Mammonite buy NY management.)

"What mystifies me," says the perpetually mystified and relentlessly bland, Reuben Jackson, jazz archivist at the Smithsonian's Tired and Stayed American History museum, "is the idea you have heard for 30 years from some people around PFW that jazz is old people's music. Actually, its milk toasts like me that make it seem like 'old people's music' like the classical music programmers. Jazz goes hand in hand with what Pacifica espouses -- democracy. I'm against that if its gonna involve any risks to my career."

In a perfect world, we would have newspapers that supported jazz stations, not ridicule them until there is something to be gained or someone to be silenced. But in a media landscape ruled by the Post's business page and the commercial advertising that pays its bills as well by marketing studies that are also a source of revenue for the Post and focus Groups which the Post turns to often in its efforts to generate a shallow, consumer oriented audience that wouldn't have the balls to devote to political causes like folks at the PFW, there is no room for minority interests. We (What you mean we white boy? We never heard we from you before.) have only WPFW, and like all white people with ulterior motives, we feel PFW has an obligation to continue opening the ears of new generations to the vast range of American music though we won't lift a fuckin' corporate check book to help until the people of color of this city realize that the white man at the Post was willfully wrong and murderous toward the Vietnamese, the Cambodians, the Laotians, the Indonesians, the Nicaraguans, the Salvadorans, the Hondurans, the Guatemalans, the Panamanians, the Venezuelans, the Colombians, the Peruvians, the Bolivians, the Chileans, the Paraguayans, the Uruguayans, the Brazilians, the Argentines, the Haitians, the Dominicans, the Cubans, the Grenadines, the Kenyans, the Congolese, the Angolans, the Namibians, the South Africans, the people of Zimbabwe, the Mozambique's, the Somalia's, the Ethiopians, the Egyptians, the Libyans, the Moroccans etc. etc. ad nauseam but has no ill intention toward them.

The station's listeners have their last chance to assert themselves this week. They can defend the station against a takeover by political extremists, or they can sing goodbye to the music cause we at the Post don't genuinely give a rat's ass about the music. We're just hoping to be an agent provocateur and shut up dissent on PFW as part of the kleptocracy's drive to homogenize the world.

mycopyrightorwrongass.pr04


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