WRVU IN THE NEWS

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VU Radio Station Changes Format

Vanderbilt University's student-run radio station undergoes a programming overhaul next month that could give it the most interesting sound it has had in years.
On Jan. 1, Stacy Hand becomes music director and Sherry (sic) Scott becomes general manager at WRVU-FM (91.1). Both juniors, the women are implementing new ideas aimed at lifting the station out of its alternative music rut.
"We feel like we're getting too repetitive on the air," Hand admits. "We have a lot of DJs playing nothing but alternative (music), and they play their same, favorite bands every week. We don't need to be playing as much commercial alternative now because 94 (WRLG-FM) is doing that (in the Nashville market)."
The changes won't be radical -- alternative music remains in the mix -- but the plan is to "open up the format," Hand says.
That means encouraging DJs, who program their own shows at the station, to experiment with jazz, world music, blues, acid jazz, folk and classical music, for instance, and to incorporate those styles into the shows they're doing now.
Last weekend Scott, Hand and some of the other 'RVU staffers went shopping for records, beefing up the station's collection with new jazz and world music titles.
Anthropology professors and folks from VU's Blair School of Music are being consulted for their input on the new programming initiatives, "People who actually know about the music," Scott says, "as opposed to people who play what the labels say is cool."
Hnd has started an aggressive campaign to recruit producers/announcers with new ideas and with backgrounds in other kinds of music. VU graduate and undergraduate students are the primary talent pool.
"You're basically supposed to be affiliated with Vanderbilt to be on the air," Hand explains.
Among the intriguing proposals she has seen is one for a radio drama show, already in the early stages of planning and production.
"It's a radical experiment," says Hand of the revamping. "We're not heading toward block programming, we're aiming for something where the music is intermixed in an attractive way. We're hoping to get a lot more diversity on the air. That way we'll serve a lot more of the Nashville public."
Now, Hand feels, the station's primary listening audience is local high school-age kids eager to hear alternative music. The youngsters probably outnumber university-based listeners.
"We're hoping, by intermixing the music, we won't be turning off our high school audience. We're still going to providing what they want, and we feel it's important to provide something for them."
Established and successful shows focusing on bluegrass, blues, rap and dance music will remain in the new format.
College radio, by its very nature, draws from a community whose members are still learning about the universe of music. Education frequently takes place on the air. Wisely, Hand and the 'RVU administration have plans to accelerate the process.
"We're going to hold seminars for our DJs," she says, "to teach them how to do interviews and how to incorporate all these different kinds of music into their shows and make them sound good."
WRVU's 14,500-watt signal reaches the entire Nashville area. Because students run the station, it sometimes goes off the air between semesters and around holidays and exams.
Listeners should begin to hear results from the new programming initiative around mid-January, Hand says, soon after students return to campus Jan. 11.
The station is scheduled to get new equipment, including a new studio board, over the holidays. The new setup should allow for live, on-air performances by visiting artists.
"We felt like we weren't doing what we had set out to do originally," Hand says. "We weren't providing something for the Nashville audience that they couldn't get elsewhere."
As she plans for the new year, Hand is listening to progrmming ideas form anyone interested in helping the station improve its offerings. She can be reached at 322-3691.

- The Tennessean, 12/94

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Best Adventurous Local Radio Broadcast: 91 Namaste, WRVU-91 Rock

91 Namaste serves up a bracing blast of audio curry
Too often, 91 Rock gets written of as a college station run by Vandy brats Granted, there have been rough moments in the station's history, but there have been shining ones as well -- the most recent and consistent of which is 91 Namaste, which airs Sunday from noon to 2 PM. Judging from the number of requests and special announcements every week, this show has helped bring together the city's Indian community -- and, like the proliferation of ethnic restaurants and other small businesses across Nashville, it exemplifies our city's growing cultural diversity. 91 Namaste plays filmi, Indian pop music that blends traditional instruments, such as sitar and tabla, with modern instruments such as guitar and synthesizer. The resulting combination, which draws on pop music forms from all over the world, is quite stunning. This is exactly the kind of music that college radio stations should be playing -- especially since no one else will.

- Nashville Scene, 3/30/95

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It Ain't Just Rock and Roll Any More:

Vanderbilt Radio Moves into Uncharted Territory

Through the years, the music played on WRVU has evolved from classic rock in the '70's, to pop in the '80's, to college alternative throughout the '80's, to the most recent less alternative "alternative" music of the '90's. As 1994 came to a close, the Executive Staff of WRVU gathered to brainstorm the changes needed to bring about yet another new era of music. Yet, this new era cannot be classified under one term, which is precisely the goal of the station. When asked to define this change, General Manager Sherri Scott said that "definitions are stifling" and prefers to refer to the new format as "a cornucopia of music." If you tune into 91.1, within one hour you will probably hear a mixture of blues, jazz, various foreign music, along with the familiar alternative music associated with college radio.
The format of WRVU has always included a wide variety of music, but it has traditionally been concentrated into individual specialty shows. So one might ask, "Why the change?" E-Staff (the station's executive board) feels that recently the quality of the radio station has declined as DJs play the same types of music without adding anything new or creative to their shows. Their goal is to make turning on the radio interesting and fun by challenging the listeners to open their minds and discover their own definition of music. Program Director Stacy Hand says, "We want to dispel the whole myth of the liberal alternative, in which the audience thinks they are so liberal and punk rock, yet are falling into the same traps of closure that they often criticize."
By launching a musical experimentation with the new format, WRVU desires to provide a means for listeners to escape this trap of musical closure. Hopefully, playing a variety of music that many may not have been exposed to previously will cause individuals to question why they listen to the type of music they do. Scott explains that "people are in a fluctuating period of their life where they want to discover new types of music, but the only music they hear comes from their own circle of friends. This way, we are allowing people to open up to new types of music and encouraging them to explore music as a way of finding their own identity." Yet Hand remarks that they "are not trying to appear as musical elitists, which is why we are adding a diversity of music and experimenting with anything different." Thus, through the format change, WRVU is making a statement about how the rising "alternative" culture of the '90's stifles originality and creativity in the type of music Americans are listening to.
With 14,500 watts of broadcasting power, an increase in university funding, and a plethora of DJs, WRVU has the potential to be an exceptional college station. Hand remarks, "All we need now is the initiative to get things going the way they need to be running." The station has already received numerous positive responses to the format change, especially with the increase in blues and jazz music. DJs like having a variety of music available to them, and a lot of listeners have called in with remarks indicating their pleasant surprise with regard to the changes. For example, one caller commented, "Is this a joke? It's so random and diverse. I really like it."
The diversity of the new format has sparked some negative remarks. For the most part, however, DJs have received positive feedback about the format changes. Although everyone might not like it at first, WRVU hopes that people will continue to listen and greatly expand their musical interests. Hopefully, increasing the variety of music the station plays will appeal to a wider range of listeners, including more graduate students and older members of the community. They want to expand the listening body in the Nashville community, with hopes that, as Scott states, "Nashville will open its mind, invite new bands in, and end the stagnation of music." She notes that the local scene is improving and praises Local Music Director Jack Wongananda "for finding local music that does not seek us out."
WRVU General Manager Sherri Scott savors a balanced meal at the station. Program Director Stacy Hand (at left) is not so enthusiastic. Photo by Wilmer Lin
The changes in the format are the greatest addition to WRVU right now, but it is only one of many new modifications. The increased number of specialty shows adds to the new diversity of the station. When asked which new specialty shows they were most pleased with, Scott and Hand encouraged listeners to tune into 91 on Thursdays from noon until two pm for "Aural Intercourse," a vocal performance and opera show; on Saturdays from eight pm until midnight for two jazz shows, followed by an acid jazz show with Chek from midnight until 3 am; and on Sundays from noon until two pm for "91 Namaste," a collection of Indian music. These are only a few of the specialty shows playing on WRVU. The programming schedule for the spring semester is now available at the station, the Overcup Oak, and a variety of other places around campus and the community.
The future holds many exciting changes for WRVU. The station is pursuing plans to remodel its offices by getting new carpet, painting the walls, and adding a new control room with state-of-the-art equipment. The current eqiupment is from the early eighties and is becoming harder to maintain. The new control board will allow for more interviews and expanded capabilities for live in-studio performances.
This year WRVU plans to hold their annual benefit with National Public Radio and the National Endowment for the Arts in response to Congress' threat to cut funding for the NEA. By holding this musical protest they want to make the public conscious of the benefits art brings to Nashville. In addition to having bands play, they hope to have artists set up booths and to invite speakers to voice the benefits that public radio, music and art bring to the community. There will be a booth providing stamps and posttcards for people to write to their congressmen and protest these changes. Also, Sinking Creek, which is funded by the NEA, will be showing clips from their films, The benefit will be held at 328 Performance Hall on April 15, and the music will be indicative of the new format by inviting several local, alternative bands, a blues band, a jazz band, and possibly a "twisted bluegrass" band.
WRVU wants to provide music that everyone can enjoy at the benefit as well as on the air. E-Staff acknowledges that they have limited resources and knowledge about the changes they are making, and therefore they encourage everyone to respond to the changes by calling or coming to the station, because by hearing its listeners input, they can continue to make the station better. So challenge yourself to a little musical experimentation by tuning in to 91 Rock!

- Versus Magazine, March 1995

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Turned On and Tuened In

By Jim Ridley and Michael McCall

For many years, Nashvillians have fantasized about having a local public-access radio station. The appeal of such a station is obvious: a wide-ranging, continuously surprising mix of music, unburdened by consultants or rigid formats. The obstacles are just as clear--mainly, finding a signal, constant funding, and station operators willing to work for little or no money.

A true community station, like Memphis' excellent WEVL-FM, is probably many years away. But Nashville does have the next best thing: Vanderbilt's WRVU-FM (91.1 FM), a college-radio operation that offers the most eclectic, unusual, and imaginative programming in town. Casual listeners tune in to 91 Rock every morning not knowing whether they'll get a sampling of edgy indie rock or a swell two-hour block of Cajun and zydeco music. All they know is that they might hear something they'd never hear anywhere else in Nashville.

For that reason, the station has plenty of loyal listeners. Devoted followings have sprung up around such regular shows as Dave Ellis and Eric Watts' "91 Soulsville" (classic soul music from 4 to 6 p.m. Wednesdays), Traci Todd's "George, the Bluegrass Show" (from 2 to 4 p.m. Sundays), and Karina Bull's long-running lounge show "The Mad Pad" (from 6 to 8 p.m. Mondays). Friday's all-night funk/hip-hop/house programs have cult audiences; so do the Thursday-night "Booze Party" of vintage sleaze-rock; Monday night's "Buster's Ball," with its big-band boogie and snippets of old radio serials; and Friday's all-encompassing "Shake Your Booty for the Revolution" broadcast, which features deejay Jesus spinning Hank Williams alongside P-Funk and Jimmy Cliff.

91's influential dance shows, however, may be its most popular feature. WRVU is capitalizing on these programs with an all-night dance party and fundraiser from 8 p.m. to 8 a.m. Saturday at the Marathon Village complex at 1305 Clinton St. Three separate halls have been devoted to the blowout: a downstairs "chill-out room" with coffee, acid jazz, and a live performance by Dinah Shore Jr.; a main upstairs room for house music; and a hardcore jungle/hip-hop room. Computerized graphics will play on giant video screens, and a light show will blaze away throughout the evening.

The headliner is San Francisco deejay Robbie Hardkiss, who makes his first Nashville appearance. The event has drawn other mixmasters from across the country, including New York's Micro and Odi, San Francisco's Dante and Niven, and Lexington's Trevor LaMont. As for local talent, 91 Rock's DJ Chek, Avalanche, DJ Ron, Egon, and "Club 91" host Brad Robinson will be on hand. Nashville's Chip B (who helped assemble the talent), Alejan, MK2, and Lary Brakes will also mix. Capping the night will be a live PA battle between Audio Transit and Digital Information Systems.

Station manager Jamie Noble, a Vanderbilt junior (and chemistry and math major) who deserves some credit for WRVU's strong lineup of programming this semester, says the event will be non-alcoholic and fully secured; anyone staying past midnight will have to present an ID. Even so, it should be a blast, and the $15 door charge is a small price to pay to help keep 91 Rock's airwaves free. For more information, call 322-6397. (JR)

--Nashville Scene, April 10, 1997

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WRVU

WRVU has been an important part of the music scene at Vanderbilt and in student life in general since its inception in 1953. Recently, Versus talked to both Ken Berryhill whose show The Old Record Shop can be heard from 12-2 p.m. Thursday afternoons and Jamie Noble, the current general manager of the station. Ken operated his own radio transistor from his dorm room in Cole Hall in the early '50s and was instrumental in setting up the first (legal) radio station at Vanderbilt. Versus explores some of the changes that WRVU has undergone over the years and WRVU's importance as an outlet for different kinds of music.

Purpose On-the-Air

Ken's purpose is to entertain through humor while providing informative research. Ken modestly compares himself to a "ham" actor, or a pretentious, unskilled performer. He describes himself as a bit "verbose" as well. Ken is proud to be the father of WRVU.

How Ken Originally Envisioned WRVU

Ken had grand, concrete plans for the station: 1) He would manage the station. 2) WRVU would be a variety station, playing music ranging from rock to jazz. 3) It would educate, offering credit courses for the community on the air. Ken now laughs at this idea. While he had enough power in his room to reach radios a mile in every direction, using this amount of power was illegal. 4) WRVU would be staffed entirely by students. In reality, WRVU, one of the few campus stations at the time, was extremely entertaining and popular.

Story Behind the Radio Station

While attending Lamberth College in Memphis, Tennessee, Ken used a $15 transmitter he bought in high school to launch his radio career. The radio station was an instant hit. When Ken was preoccupied with class (or a date, he adds), other students were welcome to start their own shows on the air. Ken later transferred to Vandy. He approached the chancellor about beginning a radio station, lacking a concrete proposal. The chancellor said he would look into the matter. Within days, Ken was called to the chancellor's office once again, wondering what mischief he had done. Rather than punish him, the chancellor told Ken that he was willing to begin the radio station step-by-step. A committee responsible for the radio station was formed by Ken's senior year. By that time, Ken had been drafted into the army to fight in the Korean War. WRVU was finally born in 1953 in his dorm room at Cole Hall; it was simply a carrier station, or a station operated through the electrical system without an antenna. Students across campus could now tune in to the 600 am dial and enjoy listening to Vanderbilt's first radio station.

Ken's Shows

Ken generally controls every aspect of his shows, writing the script independently for each show. Working at a television station made him appreciate the freedom of the radio. Ken's shows begin with a half-hour of old pop music, known as the "Old Record Shop," followed by "Ken's Country Classics." Ken ends with "Old Jazz Boy," a series of Dixieland jazz songs. Ken says this portion of the program is his favorite. As a side note, Ken and his wife founded the Memphis Jazz Blues Club. It began with eight members; at its peak, it consisted of 400 members. The Blues Club is still active today.

Memories of the Old Radio Days. . .

As a joke, Ken would rewrite the last half of a script for a commercial. After a friend would read an embarrassing script on-the-air, Ken remembers being threatened. While he was not sabotaging scripts for commercials, Ken would place an alarm clock in a box covered with heavy books. He would then set the alarm to ring during the middle of a show of an unsuspecting DJ. Interestingly enough, Ken also remembers becoming extremely depressed after each of his shows. A psychology professor told him that he probably suffered from withdrawal after expending so much emotional energy during shows.

Ken's Book

Ken is author of the book Funny Business. While teacher of a class on how to become a comedian, Ken received a letter from Prentice Hall, requesting that he write a book similar to the textbook he used in class. Ken says he thought about the offer for about 30 seconds before he agreed to write the book. Receiving this letter was a dream come true for Ken.

What Ken Thinks of WRVU Today

Ken listens to only two radio stations: WSM, a country station, and 91.1 WRVU. He is very impressed by the management of the station and confidently agrees that the station is well-equipped and well-handled. He gives the station an "A+," although he doesn't necessarily relate to all the different types of music played over the air.

Importance of Radio in Society

We seem to have stumped Ken with this question. He is not sure exactly what importance the radio station has. However, he emphasizes that each station should define its goal before it begins. Managers should regularly ask themselves, "Are we doing what we planned to do?" Other important questions university radio stations should ask are, "Will prospective students want to come after they listen to the station?" and "How are we going to raise funds?"

* * *

WRVU is located in several dimly lit rooms behind the Commodore Card office in Sarratt. If you've ever gone out that exit into the Sarratt parking lot, you've probably peered through the large glass pane and glimpsed the panoply of microphones and record players, the blinking panel with its strange knobs and dials, and the real live DJ operating it all. Versus talked to Jamie Noble, the station's general manager, about his views on the role of WRVU in student life and on the music scene in Nashville.

We are led down a narrow corridor into one of the mysterious back rooms where several members of the E-staff (the station's executive board) are gathered. It is about 12:30 in the afternoon, so most of them are eating their lunches while talking shop back there. The furniture in the room is decrepit. There is an impressive array of stickers, posters, and graffiti decorating the walls.

When we first arrive, Jamie is not there. I joke about how this would be a good place for one of the temporarily homeless to camp out. One member of the E-staff, Eric, points to some blankets in the corner and says "Somebody is!" Eric does a show called 91 Flavas, which can be heard Friday nights, 8p-10p.

Jamie arrives. He makes it a point to say hello to everybody at the station before settling down to do the interview. Jamie is relaxed, but highly articulate.

Versus: When did you take over the office of GM?
Jamie: Well, I was elected in December of '96. The general manager has several responsibilities, but I'm really equal with everyone else. I mean, none of us gets paid.
Versus: What kind of message do you have? What is your mission statement?
Jamie: Personally, I don't have a mission statement per se. But the music I play tends to lift me emotionally and mentally. It changes my sense of spirituality, and I try to convey that to our listeners. I know that a lot of other people, through whatever genres of music, also have a deep connection to the music. And the fervor for it is reflected in the number of hours they spend at the station. Also, I try to make people more aware of what different kinds of music is available other than what is played on MTV. I have a jazz show because I felt that there wasn't enough jazz played over the radio.

At this point, Brad, the engineer of the station, pulls out a large can of Lemon Dude from a file cabinet and emits a few spritzes into the room. Everything suddenly starts to smell like lemon-fresh laundry detergent. Brad's show 91 Club can be heard 6-8 p.m. on Friday evenings.

Versus: Do you plan on producing any changes in the radio station?
Jamie: We have tried to implement some. But we have run into some walls, and people have put up walls for that matter. Last Thanksgiving break, the telecommunications department decided to put up a wall where our business office was. We have a pretty cramped space as it is, and they just made it more so. I have been trying to change the layout of the place, but it has been hard. We have been trying to update our computer system because our computer system is fairly out-dated. And we have been trying to get out of our AP wire contract. I found out recently that this is a 10-year contract. We don't have the contract around; it is through the AP so they have the written contract. That's $5000 we're stuck with that hardly gets used. The money can really be put to use somewhere else. We have been trying to get equipment to entice more bands to come. With our limited equipment, we can't do a whole lot right now.

Versus: What does it mean for WRVU to be alternative?
Jamie: That's not a word that we really associate ourselves with anymore. Alternative was an MTV coined phrase that came up when Nirvana's smash hits came through. We have never touted ourselves as an alternative station in that sense, but more of an alternative to the mainstream. It's not so much a different style of music but a difference in music styles. We have always prided ourselves in not having to answer to anybody as far as what we play at the station.

Brian comes into the room and listens to our interview for a few minutes. Brian's show, the Haunted Mansion, is broadcast every Thursday from 8-10 p.m.

Versus: Have you met any famous people through the radio station?
Jamie: I don't know about famous, but I do get to meet a lot of people. I had a band from North Carolina that I'm a big fan of called Spent on my show last year. The other day, I got to interview Tim Gaine from Stereolab along with Brian and Eric. That was definitely one of the high points of my radio career because he [Tim Gaine] is such an influential member of the indie rock community. I also got to go up to the College Music Journal Festival three or four weeks ago. I met Beck and the Chemical Brothers there. Recently, the Pixies and the Clash have come by. I think that Versus even did an article on it two years ago.

Versus: So do you think WRVU serves an important function in student life?
Jamie: Definitely. It's the largest group of actively participating students. We have anywhere between 100-125 active DJs every semester. And it's growing. We currently have about 50 trainees, which is the highest number I've seen since I was a freshman. That's encouraging. It seems that people are becoming more aware of WRVU.

Versus: And most people don't have the opportunity to do this other than in college.
Jamie: Yes. And a lot of people don't realize what a privilege it is to have the radio station. Aside from Georgia State University in Atlanta which has a 100,000 watt station, we're one of the largest college stations in the southeast. We have over a million people in our broadcasting area and a 50-60 mile radius depending on the weather. We're serviced by all the major record companies and report to all the major college recruiting magazines. In terms of a college radio station, it doesn't get much better than this.

Versus: Versus is doing an issue on music. We were wondering if you had any general comments about the music scene in Nashville or at Vanderbilt.
Jamie: I know of Dave Cloud's Gospel of Power, a Vanderbilt graduate. Actually, two Vanderbilt graduates are involved in that right now. That's definitely a student related project. I know that Belmont has quite a few bands, but Vanderbilt mostly has the frat bands. Unfortunately, even as commercial as 94 was, they were a good competitor to keep the music scene in check before they went off the air. The outlet for a lot of music in Nashville nowadays is going to be MTV because 103 is changing its format to more of an adult genre. There's a big gap there. Say someone listens to the new Beck song on what used to be 94. He might then be more likely to listen to some of the music we play. You can't really pull a person in to different kinds of music unless he first listens to what is slightly off-kilter in commercial music. The individual contributions really make a difference in Nashville. Nashville is unique in that it's still of the size where that sort of thing can happen. You can still have the smaller clubs getting the bigger bands. And I think that's very fortunate for the city and the music scene as a whole.

Versus: Is there anything else you'd like to add?
Jamie: Listen to 91. Open up your ears.

Tune into Jamie's show, The Beat, from 6-8 on Wednesday evenings.

- The Versus

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Cross Country

By Jim Ridley

Eddie Stubbs' WSM-AM show doesn't broadcast on weekend nights -- he's busy hosting something called the Grand Ole Opry. But there's a new option for those seeking stone-country nuggets on the airwaves: the rollicking Hipbilly Jamboree, which rumbles every Saturday night from 10 p.m. to midnight on Vanderbilt's left-of-the-dial wonder 91 Rock. Hosted by music writer Randy Fox and Great Escape comanager Doyle Davis, the Hipbilly Jamboree features what Davis terms "country that kids who don't like country would like."

So far, that includes everything from Bill Monroe's "The Little Girl and the Dreadful Snake" to Faron Young's "Live Fast, Love Hard, Die Young," which get requested every show. Every week the Jamboree is deluged with requests for obscure songs, and Fox, Davis, and Vanderbilt senior Emily O'Brien do their damnest to oblige. One of their finds, a barrelhouse-piano number called "Doggie House Boogie" by Merrill Moore, has become an audience favorite. And when they aren't lugging in stacks of wax from their private stash, the hosts turn the mic over to guest artists -- including Paul Burch, Paul Niehaus, and the Calvins -- who aren't exactly household names to 91 listeners.

"We don't seem to be drawing the regular 91 audience," says Davis, who also hosts 91's popular "D-Funk Show" every Friday night. Davis first launched the Jamboree in the summer of 1996, but it didn't join 91's regular line-up until last summer. Ever since, the show has steadily picked up listeners -- and it'll probably pick up even more now that it has moved from a Thursday-night slot opposite the master himself, Eddie Stubbs. "We don't like going head-to-head with Eddie -- he's too good," Davis says. "But we're trying to play something a little bit different."

To find the Jamboree, lock in 91.1 FM on the dial this Saturday night at 10. The request line is 322-ROCK. Playing stump the host with Fox is well-nigh impossible, but we still recommend calling in either Johnny Paycheck's "Pardon Me (I've Got Someone to Kill)" or Porter Wagoner's "The Rubber Room."

--Nashville Scene, October 16, 1997

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91 Dance

By Jim Ridley

Over the past five years, WRVU deejay Ron Slomowicz has hipped Nashville to some of the nation's hottest dance music every Saturday night on 91 Rock. Slomowicz is considered such a tastemaker that his playlist is printed regularly in the trade journal DMA; more than 3,000 revelers got a taste of his stash when he manned the wheels of steel at the wall-to-wall Artrageous late party a few weeks back.

This Saturday, starting at noon, Slomowicz is throwing himself a live, on-air 23rd birthday bash, spinning 12 consecutive hours of dance music mixed live in the studio. Some of Slomowicz's favorite artists and local celebrities will be phoning in birthday greetings, and the city's foxiest drag queens will pop by to lend the marathon that hormone-enhanced je ne sais quoi. In case you're busy, Slomowicz will repeat the affair Saturday, Nov. 30, starting once again at noon. And don't bother listening for his selections elsewhere: Slomowicz refuses to play any track listed on any other local dance station. The request lines are open.

--Nashville Scene, November 21, 1997

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