https://ohms.wisconsinhistory.org%2Foral-history%2Frender.php%3Fcachefile%3DWSA0073.xml#segment11
Segment Synopsis: Born in New York City in 1945 where he resided until 1966; came to Madison in 1966 to do graduate work in history at University of Wisconsin; left Madison in the fall of 1969 for a nine-month research trip; returned in May 1970 and stayed until August of that year. Received Ph.D. in June 1971; began teaching the following fall at the University of Vermont.
https://ohms.wisconsinhistory.org%2Foral-history%2Frender.php%3Fcachefile%3DWSA0073.xml#segment422
Segment Synopsis: About the time of the Mifflin Street Riot, which WMFM - “Up Against the Wall” covered, there was disagreement over how organized programming should be; resulted in several people leaving. Thereafter “Up Against the Wall” settled down to a regular schedule, broadcasting a couple nights a week, from 10:00 p.m. to 3:00 a.m.; included some coverage of important news events.
https://ohms.wisconsinhistory.org%2Foral-history%2Frender.php%3Fcachefile%3DWSA0073.xml#segment694
Segment Synopsis: Basically the same group who organized “Up Against the Wall.” They included Joe Jackson, Jan Rothbard, Mark Rohrer, Mark Stoler, Barry Chiad, and other people who left. Joe Jackson did not run an entire show; served as “master of ceremonies,” opened his shop for meetings, and supplied his address for mail.
https://ohms.wisconsinhistory.org%2Foral-history%2Frender.php%3Fcachefile%3DWSA0073.xml#segment1219
Segment Synopsis: Stoler played “everything under creation.” Blues included Reverend Gary Davis, Albert King, B. B. King, Luther Allison, Muddy Waters, Howlin' Wolf, etc. Folk music included Pete Seeger, Bob Dylan, Phil Ochs, Tom Paxton, Eric Anderson. Rock music included Eric Clapton, Crosby, Stills and Nash, and others. First in Madison to play Chicago Transit Authority. No station in Madison up to that time played such music.
https://ohms.wisconsinhistory.org%2Foral-history%2Frender.php%3Fcachefile%3DWSA0073.xml#segment1651
Segment Synopsis: Portions of show meant to jolt listeners out of what they were doing; attempts made to program based on what announcers thought they were doing. Stoler assumed, for instance, that on Friday nights at 11:00 p.m. people were getting stoned, so they'd play “soaring” music; at midnight they'd mellow it out with Blues. About 1 a.m., they'd play some “sex” music, and an hour later “crashing” music. Eventually realized they were creating a mythical person listening to the show, doing what they, the announcers, would rather have been doing. A general rule was not to play loud, screeching music at 3:00 a.m.
https://ohms.wisconsinhistory.org%2Foral-history%2Frender.php%3Fcachefile%3DWSA0073.xml#segment2302
Segment Synopsis: “You've gotta start with Black Blues”: Chicago, Muddy Waters, Lightnin' Hopkins, etc. In White music, where Whites began playing Black music and adding their own brand of Country and Western, important contributors were Bill Haley and Elvis. That form died out in the 1950's, and British groups such as the Beatles and the Rolling Stones brought it back. The important change in lyrics and style was with Dylan, who influenced important groups such as the Beatles and the Rolling Stones.
https://ohms.wisconsinhistory.org%2Foral-history%2Frender.php%3Fcachefile%3DWSA0073.xml#segment2412
Segment Synopsis: In retrospect, “not that much,” but was fun at the time. Although the music was revolutionary and did come across, what was forgotten was the “co-optation mechanism” which tamed the music. In the sixties there was an “incredible outburst of new forms both lyrically and musically.” Music no longer speaks to a group, and has become a “thing to do at cocktail parties.” “I'm reminded of the last line in Easy Rider and the last line in the Electric Kool-Aid Acid Test: 'We blew it, we blew it, we blew it.'”