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This is a special 90-minute Interchange focusing on Orson Welles in his less-appreciated role as an innovator in the WWII-era radio feature, a genre of radio mixing fact and drama that is a (largely forgotten and unacknowledged) forerunner of the radio documentary, as we know it now. (Think Ira Glass and This American Life.) We'll discuss what the radio feature was, why it arose, and what its role was in WWII, and how it relates to Welles’ signature style and concerns. We’ll feature selections from Welles’ Hello Americans and Ceiling Unlimited, programs which were official, government-sponsored propaganda.

Hello Americans: Episode 12, "Bolivar's Idea"

Ceiling Unlimited: Episode 12, selection, "With Your Wings" (a short story by John Steinbeck)

Guest Michele Hilmes is in Bloomington to deliver the Naremore Lecture, named after James Naremore, Emeritus Chancellors’ Professor of English, Comparative Literature, and the Media School at Indiana University. Author of perhaps the best critical book on the films of Orson Welles, The Magic World of Orson Welles, Jim Naremore talked Welles with us twice on Interchange to date. Her visit and the Lecture are sponsored by the Cinema and Media Studies Unit in the Media School at Indiana University, Bloomington.

GUEST:

Michele Hilmes is Professor of Media and Cultural Studies in the Department of Communication Arts at the University of Wisconsin-Madison. Her work focuses on media history and historiography, particularly in the areas of transnational media and sound studies. She is the author or editor of several books in this field, including Radio Voices: American Broadcasting 1922-1952 (1997), Network Nations: A Transnational History of British and American Broadcasting (2011), and Radio’s New Wave: Global Sound in the Digital Era, co-edited with Jason Loviglio (2013). She was a 2013-14 Fulbright Research Scholar at the University of Nottingham, England and is currently researching the history of British/American television co-production.

James Gilmore is a PhD Candidate in the Department of Communication and Culture at Indiana University. He is currently writing a dissertation entitled “Knowing the Everyday: Wearable Technologies, Experience, and Informational Excess.” His work has been published in journals such as Television and New Media, and New Media and Society. He is co-editor of the book Superhero Synergies: Comic Book Characters Go Digital, and he is currently finishing co-editing another collection of essays, tentatively titled The Unknown Orson Welles, which will hopefully be published next year.

RELATED

"Beyond War of the Worlds: 12 Other times Orson Welles Ruled the Radio" (A.V. Club)

"Hello, Americans: Orson Welles, Latin America, and the Sounds of the “Good Neighbor” by Tom McEnaney

The Facts about “With Your Wings”—Robert DeMott on An Old John Steinbeck Short Story Recently in the News

MUSIC

All compositions by Heitor Villa-Lobos

"Chore no. 1" performed by David Russell

"Valsa Choro" performed by Pepe Romero

"Bachianas brasileiras no. 5," "I. Aria - Cantilena," performed by Aquarelle Guitar Quartet

"Suite populaire brésilienne," "II. Schottisch: Choro" performed by Luciano Tortorelli

NEXT UP

Eleanor Roosevelt In Love and Politics

Susan Quinn joins us to discuss her "biography" of love, Eleanor & Hick. Eleanor Roosevelt has recently been christened the "First Lady of Gay" and in Quinn's new book we're introduced to the woman who was likely Roosevelt's first, and deepest, love,

Our March 7 episode will be special 90-minute Interchange focusing on Orson Welles in his less-appreciated role as an innovator in the WWII-era radio feature, a genre of radio mixing fact and drama that is a (largely forgotten and unacknowledged) forerunner of the radio documentary, as we know it now. (Think Ira Glass and This American Life.) Michele Hilmes joins us to discuss what the radio feature was, why it arose, and what its role was in WWII, and how it relates to Welles’ signature style and concerns. We’ll feature selections from Welles’ Hello Americans and Ceiling Unlimited, programs which were official, government-sponsored propaganda.

GUEST:

Michele Hilmes is Professor of Media and Cultural Studies in the Department of Communication Arts at the University of Wisconsin-Madison. Her work focuses on media history and historiography, particularly in the areas of transnational media and sound studies. She is the author or editor of several books in this field, including Radio Voices: American Broadcasting 1922-1952 (1997), Network Nations: A Transnational History of British and American Broadcasting (2011), and Radio’s New Wave: Global Sound in the Digital Era, co-edited with Jason Loviglio (2013). She was a 2013-14 Fulbright Research Scholar at the University of Nottingham, England and is currently researching the history of British/American television co-production.

Our show tonight features two well-known Cuban artists: contemporary novelist, Leonardo Padura, whose fictional detective Mario Conde has been introduced to an even wider audience now through the Netflix miniseries Four Seasons in Havana. As it was shot on location it gives viewers a feel for what our guest Anke Birkenmaier terms the “actually existing Havana”; and Tomás Gutiérrez Alea, also known as Titón. Specifically we’ll look at two films that speak directly from within the heart of the years just after the Revolution, and his penultimate movie which confronts the dangers of the doctrinaire where love and attraction are concerned.

Our music throughout is by Los Van Van. Formed in 1969 by Juan Formell, Los Van Van fused son, montuno, and rumba with North American rock, later incorporating funk, disco and hip-hop as well as salsa. Formell died in 2014 but the band remains Cuba’s most popular dance band.

Part One: Hardboiled Cuba

In 2016 Netflix produced Four Seasons in Havana, a miniseries based on a quartet of crime novels published in the 1990s by Leonardo Padura. It's a Cuban-Spanish co-production with original footage from Havana and and Cuban actors. When is a crime fiction more than the artful deployment of genre elements? When it’s set in Cuba and written by a Cuban.

Part Two: Filming from Within

The films of director Tomás Gutiérrez Alea, a life-long member of the Cuban Institute of Cinematographic Art and Industry, are hard to find in the United States. But Titón, as Alea is called, produced one of the 20th century’s great films, Memories of Underdevelopment which deals with an intellectual trying to find his place in post-revolutionary Cuba after having lost the economic geography that formed his identity. We’ll also discuss the Chaplinesque and Kafkaesque Death of a Bureaucrat and the 1993 film Strawberry and Chocolate, an anti-authoritarian film made by a personal friend of Fidel Castro

GUEST

Anke Birkenmaier is Associate Professor in the Department of Spanish and Portuguese at Indiana University and Director of the Center for Latin American and Caribbean Studies. She's the author of The Specter of Races: Latin American Anthropology and Literature between the Wars (University of Virginia Press, 2016), and co-editor, with Esther Whitfield, of Havana Beyond the Ruins: Cultural Mappings after 1989 (Duke University Press, 2011).

RELATED

Tomás Gutiérrez Alea profile in Senses of Cinema

Tomas Gutierrez Alea: Memories of Underdevelopment

"Private Eyes" (New Yorker profile of Leonardo Padura, 2013)

Anke Birkenmaier: Latin America Scholar (profile in Bloom Magazine)

Cuba Initiatives at Indiana University

MUSIC

All songs by Los Van Van

"Azucar"

"La Habana sí"

"Llegue, llegue"

UP NEXT

A special 90-minute Interchange focusing on Orson Welles in his less-appreciated role as an innovator in the WWII-era radio feature, a genre of radio mixing fact and drama that is a (largely forgotten and unacknowledged) forerunner of the radio documentary, as we know it now. Michele Hilmes joins us to discuss what the radio feature was, why it arose, and what its role was in WWII, and how it relates to Welles' signature style and concerns. We'll feature selections from Welles' Hello Americans and Ceiling Unlimited, programs which were official, government-sponsored propaganda.

If we are such stuff as dreams are made on...is anything real outside the mind? Henry Woronicz, the Director of IU Theatre’s production of The Tempest, attempts an answer. This weekend IU Theatre will open the production of Shakespeare’s The Tempest which will feature acrobatic aerial silk work and a female actor playing the “Salvage” Islander Caliban*.

For this "Arts Interchange" we speak about the “theater of the mind" that this play seems to be, and the two non-human characters that might represent the dark and light within the psyche. We might also ask, and perhaps Shakespeare is asking this too via Prospero, is this "stuff" and our "play" worth anything at all? We also venture into the territory of incest...but just barely.

The Tempest is being performed at the Ruth N. Halls Theatre an opens this Friday, 2/24, and runs through March 4th.

*For an explanation of "Salvage" see Frank Kermode's "Introduction" to the Arden Shakespeare edition of The Tempest. "...though he is thus connected with the Indian savage, he is also associated, as were the uncivilized inhabitants of the Indies, with the wild or salvage man of Europe, formerly the most familiar image of mankind without the ordination of civility....unchastity was a conventional attribute of salvage men, which Shakespeare skillfully exploits. These creatures were said to occupy an 'intermediate position in the moral scale, below man, just as the angels were above him...they are the link between...the settled and the wild, the moral and the unmoral.'" (xxxviii-xxxix)

GUEST

Visiting Assistant Professor and renowned actor, Henry Woronicz returned to Bloomington in January 2014 as a visiting faculty member and guest artist with the Indiana University Department of Theatre, Drama, and Contemporary Dance. As part of his visiting faculty appointment, Henry played the title role in the IU Theatre production of King Lear, directed by Henry’s partner and IU emeriti associate professor Fontaine Syer. From 2009 to 2012, Mr. Woronicz was on the faculty of the School of Theatre and Dance at Illinois State University, where he served as the Head of Graduate Acting.

RELATED

IU Theatre 2016-17: The Tempest

PHOTO DETAILS

L-R in the sky: Emily Rozman (blue), Athena Kopulos (white), Courtney Relyea-Spivak (gray)

Set by Kevin Nelson; Lighting by Matthew Wofford; Costumes by Courtney Foxworthy

CREDITS

Producer & Host: Doug Storm

Executive Producer: Joe Crawford

Born out of necessity, out of self-protection and preservation, Black Populism’s story is equal parts inspiring and heartbreaking. Last week Thea Riofrancos joined us to try to distinguish Populism in terms of its political character--on the Left and on the Right. Today, we’ll take a look at the development and destruction of Black Populism in the post-bellum South, discovering the strategies, institutions, and alliances created by the short-lived movement.

SEGMENT ONE

We begin in the hopeful but brief period of Reconstruction — touring through the tumultuous historical landscape that created Black Populism. But as former slaves and white sharecroppers, both impoverished by the new system of subjugation, began resisting the landed white southern aristocracy, that aristocracy fought back: formerly Confederate Southern Democrats colluded with the party of Lincoln to cut a deal — the "Compromise of 1877," that kept Republicans in the White House — in exchange for the end of Reconstruction. With the federal government in retreat, the plantation class sought to reestablish White supremacy in the South, terrorizing the black population, demolishing populist solidarity — and even through armed insurrection, taking back control of political power.

SEGMENT TWO

We focus on the movement itself as Omar Ali details some of the complicated circumstances and leaders behind Black Populism; then turning to the present, we explore the failures of the recent political past, the persistent cultural and economic injustices that Black Populism was built to overcome, and how the late 19th century movement can inform our perspectives on, and responses to, the most recent resurgence of White political power on the national stage.

GUEST

Omar H. Ali, Dean of Lloyd International Honors College and Professor of Comparative African Diaspora History at The University of North Carolina at Greensboro. He’s the author of several books including In the Lion's Mouth: Black Populism in the New South, 1886-1900 published by the University Press of Mississippi and most recently Malik Ambar: Power and Slavery Across the Indian Ocean put out by Oxford University Press. He’s also on the Board of Directors of IndependentVoting.org.

MUSIC

All by Archie Shepp

"The Cry of My People"

"The Chased"

"Come Sunday"

NEXT UP

Do the Arts Survive Revolution?

In 2016 Netflix produced Four Seasons in Havana, a miniseries based on a quartet of crime novels published in the 1990s by Leonardo Padura. It's a Cuban-Spanish co-production with original footage from Havana and and Cuban actors. What can a 1920s capitalist genre fiction tell us about Cuba under Castro? We’ll also discuss the films of director Tomas Gutierrez Alea and look at work by writer Alejo Carpentier--one of the world’s great novelists--a man with a foot on both sides of the 1959 Revolution.

RELATED

Black Populism (UNC Greensboro)

African Americans and Independent Voting

The Reconstruction Amendments (13th, 14th, 15th)

The Compromise of 1877 (Wikipedia)

Populism Against the "Center" (Interchange)

CREDITS

Producer & Host: Doug Storm

Today our guest, Thea Riofrancos, suggests populism is the not the problem, as so many in the "center" (left and right) fear, but the answer to the decades-long program of neoliberal policies that have created a politically disengaged citizenry. But what flavor of populism?

On the left, populism lays bare the class antagonisms that already structure social, economic, and political life; on the right, populism obscures them, replacing them with cultural chauvinism, xenophobia, and racism, reproducing rather than contesting inequality.

We'll discuss democracy and populism in the United States and the populist lessons to be learned from “pink tide” governments in Latin America.

Political analysts and strategists are undermined by their faith in the limited democracy they prize. The “center” they cling to has orchestrated, or been abetted by, abysmal voter turnout, mass disenfranchisement, feckless politicians and strategists, and the overwhelming influence of financial elites, amid staggering levels of inequality that rival the Gilded Age. A left populism holds the potential to revitalize democracy, while defending it from the dual threats of technocracy and revanchism.

GUEST

Thea Riofrancos is Assistant Professor in the Political Science Department at Providence College. Her research asks under what conditions ― and with what consequences ― resource extraction becomes the site of political conflict. Resources such as minerals or oil are implicated in the construction of political-economic orders ― states, democracies, and nations ― and serve as focal points for social resistance. In the context of Latin America, resource politics are particularly charged. They are inflected with the incomplete construction of national and regional sovereignty, legacies of popular mobilizations, and persistent aspirations to transform the relationship between economy, society, and nature.

RELATED

"Democracy Without the People: What if populism is not the problem, but the solution?" by Thea Riofrancos

"Populism and the People" by Thea Riofrancos

MUSIC

"Coffin for Head of State" by Fela Kuti

"¡El pueblo unido, jamás será vencido!" by Quilapayún

"Where There's a Will There's a Way" by The Crusaders

NEXT UP: The People's Party and Black Populism in the United States

Guest: Omar H. Ali

Following the collapse of Reconstruction in 1877, African Americans organized a movement in the South for economic and political reform: Black Populism. Between 1886 and 1900, tens of thousands of black farmers, sharecroppers, and agrarian workers created their own organizations and tactics primarily under black leadership. By the turn of the century, Black Populism was crushed by relentless attack, hostile propaganda, and targeted assassinations of leaders and foot soldiers of the movement. The movement's legacy remains, though, as the largest independent black political movement until the rise of the modern civil rights movement.

CREDITS

Producer & Host: Doug Storm

Assistant Producer & Editor: Rob Schoon

Board Engineer: Jen Brooks

Executive Producer: Joe Crawford

As a follow-up to last week’s program, "The Elected Coup," tonight we confront The Authoritarian Creep.

I should note that I spoke with both of our guests last Thursday (2/2) and as mindless speed seems to be the name of Donald Trump’s game (a la Italian Futurism), this show may already be behind the times!

SEGMENT ONE: Lessons from Local 10

We’ll try to learn from the past in order to affect our present moment--I spoke with Peter Cole, a labor historian at Western Illinois University about his recent In These Times article titled “Want to Stop Trump? Take a Page From These Dockworkers, and Stop Work”. Last Wednesday (2/1), Republican Representatives Steve King (IA) and Joe Wilson (SC) re-introduced a so-called right-to-work bill that would significantly hamper unions across the country and likely lower wages for all Americans. There’s nothing new about this of course, as Cole gives us an account of the decades-long concerted effort to weaken and destroy organized labor. And despite his appeal to blue collar Midwesterners, forged by opposing Trans-Pacific Partnership, DT has said he is “100 percent” in favor of right-to-work laws--and both House and Senate are controlled by Republicans.

SEGMENT TWO: The Bluster (and tweets) of Weak Leaders

We're joined by a scholar of authoritarian regimes, Tom Pepinsky, professor of government at Cornell University. With the White House’s illiberal disposition so obvious that it grounds new standard operating procedures, Pepinsky leads us down a fine line of interpreting the breakneck chaos of the new administration — cautioning us against basing our understanding in terms of obsolete totalitarianisms past, but also over-extrapolating the chaos and bluster into fearful, un-falsifiable fantasies… in the process, getting suckered into our own ‘alt’ reality.

GUESTS

Peter Cole is a historian of the twentieth-century United States and South Africa. He researches the history of social movements, especially how workers and labor unions organize in ethnically and racially diverse societies. He is the author of Wobblies on the Waterfront: Interracial Unionism in Progressive-Era Philadelphia (University of Illinois Press, 2007) and Ben Fletcher: The Life & Writings of a Black Wobbly (Charles H. Kerr, 2007).

Tom Pepinsky is Associate Professor in the Government Department at Cornell University. He studies the interaction of political and economic systems, mostly in emerging market economies. He is the author of Economic Crises and the Breakdown of Authoritarian Regimes: Indonesia and Malaysia in Comparative Perspective (Cambridge University Press, 2009).

RELATED

Want to Stop Trump? Take a Page From These Dockworkers, and Stop Work by Peter Cole

Covering Trump the Reuters Way

Everyday Authoritarianism is Boring and Tolerable by Tom Pepinsky

Weak and Incompetent Leaders act like Strong Leaders by Tom Pepinsky

House Republicans push forward anti-union ‘right-to-work’ bill

The Elected Coup (Interchange with Jeffrey Isaac and Samuel Moyn)

MUSIC

"Poor Millionaire Blues" by Peetie Wheatstraw

"The Ballad of Harry Bridges" by Sarah Lee Guthrie

Our latest President tweets out "policy" and executive orders and his national security advice is coming from Breitbart blogger, Steve Bannon.

This morning’s tweets:

‘Nancy Pelosi and Fake Tears Chuck Schumer held a rally at the steps of The Supreme Court and mic did not work (a mess)-just like Dem party!’

‘When will the Democrats give us our Attorney General and rest of Cabinet! They should be ashamed of themselves! No wonder D.C. doesn’t work!’

The clown car is full but they're not playing for laughs.

GUESTS

Jeffrey Isaac is James H. Rudy Professor of Political Science at Indiana University. He is Editor-in-Chief of the journal Perspectives on Politics and is the author and editor of several books including The Poverty of Progressivism and Democracy in Dark Times.

Samuel Moyn is Jeremiah Smith, Jr. Professor of Law and Professor of History at Harvard University. His areas of interest include international law, human rights, the law of war, and legal thought, in both historical and current perspective. He is a coeditor of the journal Humanity, and the author of The Last Utopia: Human Rights in History and Christian Human Rights.

MUSIC

"Continuum" by György Ligeti, performed by Antoinette Vischer

"Suite for Trayvon (and Thousands More)" by Trio Three and Vijay Iyer

"Sonata for Solo Cello" by György Ligeti, performed by Mathias Johansen

"Freedom Suite" by Sonny Rollins

RELATED

Trial Balloon for a Coup? by Yonatan Zunger

Thoughts on Putin and Trump: Democratic “Interference,” and the Transnational Contest for “Democracy” by Jeffrey Isaac

Look Back in Anger: From terrorism to populism, today's sweeping unrest has its roots in brutal competition by Samuel Moyn

Trump's Executive Order On Immigration, Annotated

President Trump's executive actions: The complete list so far

Indiana University Students and Faculty React to Immigration Order

UP NEXT

Our Creeping Authoritarianism

We’ve talked Coup--let’s talk Authoritarianism...Everyday Authoritarianism that is...and what we can do to stem its creeping tide: I’ll talk with Tom Pepinsky, a professor of Government at Cornell about Weak Leaders, Bullies, and Narcissists; I’ll also speak with Peter Cole a professor of History at Western Illinois University about his recent piece titled “Want to Stop Trump? Take a Page From These Dockworkers, and Stop Work.”

CREDITS

Producer & Host: Doug Storm

Assistant Producer: Rob Schoon

Board Engineer: Jennifer Brooks

Executive Producer: Joe Crawford

This is our first show under the Trump Administration and it seems appropriate as we’ve discovered President Trump wants to wall out the world, heighten police powers, and restrict or eliminate altogether arts funding. This is relevant here as The Quilts of Southwest China received some of its funding from the National Endowment for the Humanities which is on the chopping block.

The exhibition was organized by a bi-national consortium of Chinese and American museums, including the Mathers Museum of World Cultures at Indiana University, that has worked together to document and research these textiles--art forms dating back over 3,000 years, but little known outside certain ethnic minority communities in China. Featuring 24 works expertly fashioned, patched, and appliquéd together to form artistic, yet functional textiles, the exhibition presents research and collecting that provides some of the first documentation of the making and use of these textiles.

Left to Right: Tim Lloyd, Jason Baird Jackson, Doug Storm, Lijun Zhang (photo by Rob Schoon)GUESTS

Lijun Zhang, Research Curator at the Guangxi Museum of Nationalities in Guangxi, China. She holds a PhD in Folklore from Indiana University. She is co-curator of this exhibition and she has edited, along with Marsha MacDowell, an accompanying catalogue highlighting the exhibition.

Timothy Lloyd has served as the executive director of the American Folklore Society since 2001. Before coming to the Society, Lloyd served as executive director of Cityfolk, a non-profit folk arts presenting organization in Dayton, Ohio. Before that he was assistant director of the American Folklife Center at the Library of Congress.

Jason Baird Jackson, Director of the Mathers Museum of World Cultures and Professor of Folklore and Anthropology at Indiana University. He is a folklorist and ethnologist whose teaching and research work bridges the fields of folklore, cultural anthropology, linguistic anthropology, ethnohistory, and museum studies.

RELATED

Intangible Cultural Heritage and Ethnographic Museum Practice

China-US Folklore and Intangible Cultural Heritage Project

Mathers Museum of World Cultures

The Quilts of Southwest China (exhibition at Michigan State University)

Great Heaps of Grain and People (Interchange with anthropologist James Scott)

MUSIC

Highlighting Traditional Instruments

Intro - 巴烏 (bawu)

Break One - 笙 (sheng)

Break Two - 蘆笙 (lusheng)

Outro - 簫 (xiao)

NEXT UP

The first of several shows on Cuba--Castro and Che, the Revolution, gangsterismo, and the arts--particularly literature, film and music. We’ll begin with music. We’ll be joined by author Ned Sublette whose book Cuba and Its Music: From the First Drums to the Mambo has been called a major work of the social history of music and a “fascinating story of how music is shaped by economics, politics and culture, and how it becomes a force of its own.” It offers a behind-the-scenes examination of music from a Cuban point of view, unearthing surprising, provocative connections and making a case for Cuba as fundamental to the evolution of music in the New World. Revealed are how the music of black slaves transformed 16th-century Europe and how Cuban music influenced ragtime, jazz, and rhythm and blues.

CREDITS

Producer & Host: Doug Storm

As we head into the inauguration of President-elect Donald Trump, a local group says "NO, in Thunder": No to the erosion of civil liberties and the end of any semblance of a democratic society. We welcome organizers of Inaugurate the Revolution, a group seeking to transfer power into the hands of the disenfranchised, and to dismantle the systems of oppression that silence and make invisible so many of the country’s citizens. "To reimagine activism is to define revolution as a radical act of love."

GUESTS

Joe Varga, is an Assistant Professor of Labor Studies at Indiana University. He is a former Teamster shop steward and long time labor activist, having worked for the IBEW and the New York State Working Families Party. He is currently working on a project detailing the spatial history of de-industrialization in Southern Indiana. Joe is also active in Jobs with Justice, and numerous other activist causes.

Alice Corey, is a cellist performing with the group Felfel (the Arabic word for "pepper"), a small ensemble specializing in music of the Middle East

RELATED

Inaugurate the Revolution website

"The Black Revolution" Malcolm X (April 1964)

"Remaining Awake Through a Great Revolution" Martin Luther King, Jr. (March 1968)

"Trump: A Resister's Guide" (Harper's Magazine, February 2017)

AUDIO CLIPS

"The Bloodless Revolution" Malcolm X

"Remaining Awake Through a Great Revolution" Martin Luther King, Jr.

MUSIC

"Revolution" by Arrested Development

"Git Up Git Out" (instrumental) Outkast

"Move Somethin'" (Instrumental) Talib Kweli & Hi-Tek

"The Creator Has a Master Plan" Pharoah Sanders

Photo courtesy of the Mathers Museum

NEXT UP

The Quilts of Southwest China

In southwest China, traditional bed coverings and other household items have often been made, like American quilts, of small pieces of fabric that are patched and appliquéd together to form artistic, functional textiles. A bi-national consortium of American and Chinese museums, led by the Michigan State University Museum and the Yunan Nationalities Museum (Kunming), has conducted research on this important element of intangible and tangible cultural heritage tradition This groundbreaking exhibition provides American audiences with a glimpse into the historical and contemporary practice of this Chinese textile art. An exhibition at the Mathers Museum of World Cultures.

CREDITS

Host: Jennifer Brooks

Producer: Doug Storm

Assistant Producer: Rob Schoon

Board Engineer: Rob Schoon

Executive Producer: Joe Crawford