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music director | media team

background

The station reaches an audience of over 3 million potential listeners, giving many of these artists a conduit to spread their work and message. With this in mind, the rest of the Executive Team and I brainstormed to positively impact the radio programs we oversaw and shaped them for our radio community, as well as the greater Chicago area. 

station history

WNUR is an institution that has served the counter-cultural communities of Northwestern University and Chicago for nearly 70 years. The station started operations with a 100-watt transmitter in the spring of 1950, reaching the communities of Northwestern, Evanston and eastern Skokie. From 1950 to 1977, programming was split between music and news, both attempting to emulate what could be heard on commercial radio stations of the time. In 1977, WNUR acquired a 7200-watt transmitter, and in doing so, cemented its place in the Chicago radio landscape. At the time, no other independent radio station in Chicago reached as many ears, and with this new power also came a change in broadcast philosophies at WNUR. Armed and fueled by the emerging underground musical movements following the breakout of punk rock in England and New York City, younger DJs began to make waves of change at WNUR.

"...We aim to provide an inclusive space for people to learn and express themselves by exploring and promoting underrepresented content, and in turn sharing that knowledge with others."

- WNUR Mission Statement

Videos, interviews, and editorials I've generated have included artists such as Claude Vonstroke, Anja Schneider, Troyboi, The M Machine, Big Wild, Malcolm London, Bassel of Bassel and the Supernaturals, Obsesión, Organ Freeman, Desert Hearts, Richard Vission, Bad Boy Bill, Ouri, and Jaymie Silk. 

contribution

I've published work on our website, social media feeds, and on AIR, featuring artists and live events. Some of my event coverage includes SnowGlobe, Igloofest, Summer Camp Music Festival, Bonnaroo, Santa Cruz Music Festival, and Electric Forest. It's given a voice to many artists, both established and growing. They contribute to their own communities, as well as advocate and foster strong messages and movements. As Music Director, I also regulated our late-night programming and made sure shows were up to code and in-line with WNUR values. 

my role

Anja discusses her career and early background, the development of her label, and the balance between touring and parenting. Check out the interview below! 

interviews

The links to 2 Video Interviews and 3 Editorials I've been fortunate to contribute to are listed below. Additionally the remaining are available at https://www.wnur.org/

Watch WNUR’s interview with renowned DJ and producer Anja Schneider at Igloofest Montréal.

Maxime Usdin and Marc Chicoine of WNUR Streetbeat had the pleasure of chatting with Ben Swardlick and Eric Luttrell, the San Francisco duo behind The M Machine! 

They discussed their beginnings, joining the label OWSLA, and the release of the new album GLARE. Check out the interview above!

transcribed interviews

Claude Vonstroke At Electric Forest Music Festival 2017

This year marked my first experience at the Electric Forest Music Festival. While day one and two didn’t agree with our campsite, (it was rained out and my tent collapsed), the weather did not overshadow the tremendous impact that E-Forest had. The art installations, musicians, diversity of stages, and beautiful setting made it feel like fiction. Above all, my interactions with artists made it a worthwhile weekend.


Among those, our team was given the chance to interview the kingpin of Dirtybird Records, Claude Vonstroke. While starting in San Francisco, Dirtybird has made large waves within the house scene, through Claude’s distinctly funky sound, the famed Dirtybird BBQs, and the label’s rich roster of talented artists. Claude was as friendly as he was brutally honest, with regards to his relatively unexpected career trajectory, emerging projects, and the struggles associated with becoming a fulltime artist while developing a label. Our discussion is below: 

Marc: Cool, well first off man it’s great to meet you. Thanks for speaking with WNUR. I’m originally a Bay Area fan so it’s special for me.

Claude: Cool, thank you. 

Marc: So, for our listeners, I’m just going to briefly describe what you do (and your background). You have Dirtybird, which has been very successful, with an exceptional roster of artists from many different countries. From Eats Everything, to Justin Martin, to Nick Monaco for a time, (who is also from SF). You’ve also had that Sirius XM station the Bird House, which I tune into when I drive, and you have the Dirtybird BBQs.

Claude: Right, and now it’s (grown to) a campout festival. 

Marc: So setting the stage you have your fingers in a lot of different areas, as an artist, as a curator.

 

Claude: And we have the Birdhouse stages. 

Marc: Yes, and bringing other artists out using your platform. So I wonder what was it like for you in SF right at the very beginning? Right when you were starting off? 

Claude: So I started off in Oakland, and my roommate went to high school with me, and he was kind of a techy guy, nerdy kinda, doing math and stuff. And he taught me how to build PCs. He had taught me over the phone before I moved to Oakland, but then I started really doing it. So I was able to make these really cheap PCs that were really fast. And then we would get all this bootleg software from China and I was able to have a much better rig than I should have. So I made a documentary about how to become famous... well not a famous DJ, but how to become a DJ that gets gigs. I interviewed all like the most famous people at that time, so like Paul Vandike, Orbital, and Derrick Carter.

 

Marc: I believe Derrick Carter actually used to play at our station. He had a residency. 

Claude: Cool that’s awesome! Ya, so I got all these people on it, and I edited it, and directed it, did everything on these bootleg rigs, and then I (chuckle…) ran out of money completely. So I had to make all the music, because you need music to play under the interviews, so we just remade songs that sounded like the people who were on the interviews, and I used some songs from other people as well. But then by the end of it, basically, I knew how to make house music. Then I moved to SF. The whole time I was working in SF, at an editing place, video editing. But I was going out all the time too. 

Marc: Damn that’s really interesting, I know SF has a music scene with a large amount of culture and history, but isn't the music central area. It’s not LA or New York...

Claude: So it’s not, I have this thing, like it’s a great place to have a clique. It’s like, really cliquey, and awesome, if you’re in one of the cliques. So I really liked Drum and Bass when I first got there… I could not get into that clique. Like, forget it. I’m sure some people say the same thing about us. 

Marc: What were some of the venues you went to? I’m just curious? 

Claude: Cat Club, eventually they had it at a Pizza Place.

Marc: DNA Lounge? 

Claude: No I’m talking about the Drum and Bass Party. They had it at a Pizza place upstairs, then they had it at Cat Club. Ya, I went to DNA Lounge, I went to the Top every Wednesday. Justin had his thing there.

 

Marc: And what year was all this, what was the timeframe? 

Claude: 2001.

Marc: Word… DNA Lounge is closing. The owner mentioned it had been there since the first .com boom but that they’ve run out of funding. 

Claude: It is? It had a good room. Are they selling it to some giant computer company? It’s not a bad room. I’ve had some good nights in there. 

Marc: Good to hear, so you’ve kind of jumped into my next question, which is what it was like as an emerging artist in that area. I was wondering if you had an SF influences based on cultures that inspired you, from the Hyphy movement, to Funk, or really anything? 

Claude: Ya, I mean I was from Detroit, and if I had done straight Detroit music I don’t think it would have been as eclectic. So there was kind of this extra element of, hippie, slash funny weirdo, like hip-hop head, lower height vibe that got snuck in there. 

Marc: That’s awesome. Another question I have, a bunch of our listeners as well as quite a few members of our station are students. Many of us are aspiring artists as well. What advice would you give, or impart to someone who is at the beginning of their career as a musician? Also what is it like starting a label? 

Claude: It’s two different kinds of advice. It’s like, be realistic, and be unrealistic (more chuckles). So be unrealistic but don’t be stupid. The only way that I was able, I’d figured out that I really wanted to do it, so I had to make a plan to do it. Not just like, “I’m just gonna DJ everywhere and smoke a bunch of weed, and hope that something happens.” You have to make a really hardcore plan about where you want to go and how you’re going to get there. Even if it seems completely ridiculous just do it anyway. Really like, don’t quit your job from like another six months to a year from when you think you should quit your job. Also get just a tiny stockpile of money, so you can actually survive not getting booked for six months. Do you know what I’m saying? 

Marc: Yes!

Claude: Just get a little bit of a nesting before you go full-on. That’s good advice. Otherwise you can just burn out, two months. Be like, nahmean, we used to eat mustard sandwiches. Which is just like two pieces of bread with mustard, and sh** like that just to make it. If you get to the mustard sandwiches in the first two months, you’re not gonna be a DJ. 

Marc: That’s really useful advice. 

Claude: You gotta be able to go a little bit longer than that. 

Marc: One thing I wanted to ask as well… I think often using the general umbrella term of House, there isn't equal representation within both gender and marginalized communities. Which is kind of ironic because House and Techno started from marginalized communities in the first place. I know you have J Phlip on your roster, and I’m wondering what you think about this issue (with regards to gender)?

Claude: Ya that’s a very big question. This is something I really also noticed after last year’s Campout. I just looked at the lineup and I was like, “Man, I think we f** up” (laughs around the room). So now I booked 8 women, and all kinds of people. I just definitely, I’m not gonna have like, this only really... (male-dominated). I made a concerted effort this year, but I really think, it’s not like you need to try hard. There are so many good people that it’s pretty easy, you just have to not be an idiot. 

Marc: Do you think it’s improving, that there’s more representation now?

Claude: I think that also, a couple people in the higher range of events, like Garry Richards, even though he made a crazy video. He is thinking about it, and booking more women and stuff now. There are a few people that are doing it, and then there are always a few people that don’t give a f**. Just like how life goes forever right? 

Marc: So one thing, I saw you at Bonnaroo, and your alter-ego project, which is actually just your name Barclay. Would you like to share how that started? 

Claude: That was originally what I wanted to do when I was eleven, was be a rapper. All that stuff was basically from when I was like eleven to fourteen. I had a flap hat, I had a jam box, I wanted to be RUN DMC. It was just like, I was from a different planet. I made up, technically, I said I would never admit that I was actually another planet. But anyway, all that stuff is from my childhood, and I just thought that was what I was gonna do, but I just got really good at making House music… So I just said that I need to go back because that was so fun and interesting, and I just still want to do it. 

 

Marc: So it’s your passion project? That’s really cool. So this is my last Q and then I’ll let you fly, no pun intended. But I was wondering, personally... Who illustrates the album covers for Dirtybird because they’re crazy!? The animal morph combinations. 

Claude: OK, this is also a passion project of mine. So every year for the last five or six years, we were just doing sh** art, for a long time. Like that little bird that I drew, it was just like, really bad. For someone who likes art I was like, “Uggh why are we doing such bad art”. So I just said why don’t I get all the best people that I can possibly find to do the art. So every year, I hire one person to do all the Dirtybird art, but it’s a different person every year. It’s always low brow pop surrealism, which is my favorite kind of art. It’s always weird as f**. So… this year’s guy his name is Dolk, and he’s from Spain. Last year was Dan May from Michigan, with the fuzzy monsters. The year before that was Rahul Dellelo, from the Netherlands, with the combined animals. And then the year before that was Bram Carter, who’s just a really cool illustrator from Brighton, England. So they’re from everywhere.

Marc: Awesome we’ll that was my last question, so to close I just want to say thank you. 

Claude: Oh ok perfect (timing). 

Interview With Malcolm London At Bonnaroo Music Festival 2017

At Bonnaroo Music Festival 2017, we had the opportunity to speak with Spoken Word musician, activist, and teacher Malcolm London. Malcolm, a Chicago native, pushes to improve the education system and combat social divides that exist within the city.

 

By the age of 20, he already participated in a TED talk, and he continues to raise awareness about the many issues that exist within the overarching educational and social system, as well as work to eradicate these problems. 


On a personal note, my interaction with Malcolm was one of the most insightful artist interviews I’ve been fortunate to take part in. His passion, demeanor, and the goals he makes, which extend far beyond himself, motivate others to take part in his efforts. Our interview is below:  

Marc: So starting off, I was wondering if you could speak up about where you’re from, and how that’s influenced you as both an activist and an artist. Coming from the Chicago area. 

Malcolm: Ya man, I’m from Chicago, the west side of it, and born and raised in the Austin neighborhood. I grew up there, and I often say I got my education on the bus from there. You know in a city like Chicago it’s uniquely segregated, to put it in a nice way. So, ya man I think most young people in the city, folks I’ve grown up with, if you live in a city like Chicago you either become defeated by how it exists, or you become extremely fortified in trying to overcome.

Marc: So proactive? I guess speaking from that I was thinking about the fact that it seems like a city of neighborhoods. 

Malcolm: Ya, which is its beauty and its fault.

Marc: I was wondering, what tensions do you think within the education system at large are especially problematic? 

Malcolm: At large, I think where we get our education, even beyond the complexities of race and gender and class. Even the idea that a classroom still looks the same way that it’s looked since the early 1900s, and it’s 2017. We have a computer in our pockets. So you don’t learn in school how to define yourself, or to love yourself, or even taxes for that matter. I feel like we get it wrong with education and the biggest thing is, what does it mean? Does it mean that we’re coming to this space to be better human beings, or are we coming to this space to be obedient taxpayers? Or obedient in whatever sense of the word. I think at large that’s the first mistake, that we have folks who control the educational system, and the curriculum, and the classrooms who don’t give a sh** about the people inside them.

Marc: And it just compounds. So I’d read that you had given a TED talk, when you were 20, which is very impressive. I’m 22 so I’m like, oh man, setting the bar [some good laughs], and it was spoken word. Can you talk a little bit about the motivation behind it and how that happened, as well as what you discussed? 

 

Malcolm: Ya, I talked about generally what we are talking about. The education journey, in a four minute Snapchat, a snapshot poem. It was kind of crazy how that happened. I had written the poem, called high school training grounds, interrogating what really is education, particularly in Chicago. Where there is segregation, there is class, and by happenstance it was invited to be a TED talk. Since then I think, my motivation behind that poem is really just telling my own narrative. and I think as an artist and as a poet, especially in Chicago, which is home of Louder Than A Bomb a poetry festival that happens every year. The need and necessary work of telling stories is important, especially in the city of Chicago, where silos exist. So it’s like, how do we come together and show each other, each other, and also interrogate each other with love and critique each other with love? If you can’t have honest conversations you can’t start the dialogue. I think poetry does that, hopefully, and also music.

 

Marc: Speaking of poetry, I know you were the winner of 2011 Louder Than A Bomb, and now you do a lot with the poetry community at large. Can you talk about how you went from working within [the competition] to teaching within it? 

Malcolm: So that’s a big shoutout to Kevin Coval, who runs that space. It was kind of seamless, and now at 24 I still consult and visit classrooms, and talk to young people at juvenile detention centers, etcetera. It’s a beautiful space.

Marc: That’s awesome. So this question has a little bit of a different context, but how do you think your failures have changed your perspective. Would you be comfortable discussing them and how they’ve helped you grow, and how you’ve worked through the trials and tribulations of growing up in that system, as well as being an artist and spoken word author? 

Malcolm: Ya, I think failure is the best thing that we can learn from. Tangibly, statistically, I graduated with a 1.9 GPA, I graduated with two arrests under my belt before I became an activist. I think, that particular lens is indicative of, like, I always say living in a city like Chicago, there’s a me in every jail cell and every graveyard. This just means that every young person is f**ing amazing, but because of the existing statistics that exists, they won’t make it or be alive. But I think, by failure we learn from our mistakes, and how to not do the same sh**. So I think, for me, the biggest thing is being able to have a community of people who can also hold you accountable to the things you want to do, and hold you accountable to your potential. I think that’s also what we should do, for politicians and people in power, is hold them accountable for what they say, and be hopeful I guess.

Marc: Absolutely, and I was wondering if part of that was the result of being frustrated by your education, because you saw this system at large. Was it like “why do I even try”?

Malcolm: Ya ya, absolutely, any kid or student feels like that. Like what is the purpose of this? You know, I can tell you every person feels that way. Go to most American high schools right now, and you tell me a young person loves his environment? Unless they go to [private or independent] school or something. It’s hard to find that space. I think that’s less on the young person and more on the system in place. Teachers have it hard, there is a bureaucracy of leadership, and all of that effects.

Marc: What do you think would be a key factor, for anyone across racial lines anywhere in Chicago, to create some impactful change or help become a positive force within the system, and support what you advocate for?

 

Malcolm: I’m a proponent of, [chuckle] maybe I’m a cynic and a pessimist, but there are so many problems. So many complex, very, very, hard problems that I do not have all the answers to. But I will say that, if you hear anybody who figures out a way to solve a problem, a solution, by all means tell more people. I think that, you make a mistake by believing there needs to be new ideas. We put people on the moon, we can figure out how to solve racism and sexism, we just need more people involved to do it. It’s not necessarily more ideas, so get more involved. We live in a mass information age, so follow up. Love yourself, figure out what that looks like. There are so many different solutions, which is a beautiful part of humanity.

 

Marc: And with exactly what you were talking about, your message, it sounded like you started with Spoken Word. What’s it been like, while similar, transitioning to being a musician? How do you utilize your previous artistry and bring it into this new context. Do you think that has really helped to project your message to a lot of people? 

Malcolm: I think it’s just a different platform. The fun part is as a creative person, figuring out how to make music and learning about bars and measures, which I wish I had in school. But it’s fun, honestly it’s fun, and that’s the direction I want to go right now. It’s honestly just, I’m the same person just doing a different thing. So, you know, all of my experiences influence that, and it’ll make for a unique listening experience. Just having fun with it.

Marc: Ya definitely. Alright I have a couple more questions. So I was wondering, you have this album that just came out? 

 

Malcolm: Ya Opia, it came out in October of 2016. Ya, we’re here at Bonnaroo.

 

Marc: It’s about to go down, and I was wondering there were quite a few people that helped out on the album. You’ve got Donnie Trumpet, Niko, started off with Kids These Days. Then you had Vic, Chance. 

 

Malcolm: Ya Chance definitely heard the tape but he’s not on it. But he’s here at the festival, so we’re about to link up.

 

Marc: Ya so it seems like there’s a big Chicago movement to try and generate this positivity.

 

Malcolm: No absolutely, I mean we all come from the same space. I continually try to respect and love Chance for keeping that energy. He’s the most famous guy in the country right now, and still we have that open mike. So I appreciate that. But ya Opia came out, and we’re here at Bonnaroo. I went on tour not too long ago, and the tour was great. Ya man, wherever whenever, this is great.

 

Marc: Hell ya, and what does the album name mean for you? 

Malcolm: Ya so Opia, I’m a word nerd I found it. It’s like a lost word, but it means the intensity of looking

someone in the eye, which can feel both invasive and vulnerable. So I was like, you know, I don’t want to make the best rap bravado tape, I just want to make something honest. So when people listen to my project, they feel like they’re looking me in the eyes. That’s what I hope to accomplish.

 

Marc: So you’re bringing something to light that may be uncomfortable and invasive for others. 

 

Malcolm: Ya, you gotta open your eyes.

 

Marc: So my last question, is there anything that you would like to project to both our listeners and our readers for our editorial? For University students who have the potential to really push and be activists.

 

Malcolm: Absolutely, especially those that are newer to Chicago. I love Northwestern, I love its campus, and I love the students. Ya man, I think, go to Chicago is the first, literally to those students. There are so many things and misconceptions about Chicago, and about its people, and if you take that lesson with you everywhere in the world, and you’ll begin to learn things. Look out for how the city is growing, and hopefully be apart of that, is my personal advice. Other then that I mean ya man, my name’s Malcolm London, try to remember that. Hit me up. I love talking to people, I love building with folks!

Interview with Bassel of Bassel and the Supernaturals At SCAMP

On a memorial day weekend, the WNUR Media Team scurried over to Summer Camp Music Festival in Chillicothe, IL. The festival itself was Neverland; a tent city of over 20,000, buried in the forest and along park grounds. Stages featured music across genres, including jam bands, techno, and powwow. Over the course of three days, festival-goers developed a rich informal economy and community dynamic. The weekend was filled with craftspeople, many of whom sold, traded, or bartered their wares. Beyond these informal creatives, the stage acts were equally captivating.


Our team had the privilege of interviewing the lead singer, Bassel, of Bassel and the Supernaturals. Bassel, a first-generation Syrian American, engages and raises awareness for the Syrian refugee crisis. As an activist, spokesperson, and artist, Bassel plays an important role in creating a dialogue about the problems facing Syrians, both within and outside of the states.

 

This interview provides a lens for his message, which is also highlighted in the band’s 2017 album, Elements. The group gave an outstanding performance at SCAMP and successfully conveyed their mission. The ensemble directly contributes to The Karam Foundation, a nonprofit dedicated to providing a better future for Syria. Donations are accepted here.

Marc: Alright great! So first can you tell us a little about yourself and your band? Where are you guys from?

 

Bassel: Yes, we’re Bassel and the Supernaturals. I’m Bassel Almadani, and we’re based in Chicago. We’re a 7 piece neo-soul funk ensemble. I’m first-generation Syrian American, and we are all some really funky dudes, and we’re at Summer Camp today.

 

Marc: That's awesome. How did you meet the members of your band, and are they also Syrian American?

 

Bassel: They are not Syrian American, but a lot of them are connected to this issue in some way or another. We met through the music scene. I went to Chicago 7 years ago as a songwriter, and been in Chicago performing, getting out there, touring, meeting artists pretty consistently… and met my drummer through Loyola music scene. I met my guitarist through the DePaul scene, and that sort of expanded and I met a lot of musicians between both those schools and my whole funk network just kind of rapidly expanded from there.

 

Marc: That’s great, so the collegiate scene had a pretty large impact in meeting different artists and getting out there, at least in Chicago?

 

Bassel: From the get-go, from the get-go for sure. And then as I started playing out more often, I really became apart of the soul-funk family in Chicago, which is very closely knit. Whether it’s bandmates that play in other soul and funk projects, or we all work with each other and sort of becoming a big collaborative network.

 

Marc: That’s awesome, and you mentioned there’s a full-length album that was recently released in 2017 called Elements? Can you describe your process and some of the trials and tribulations of creating the album, the nature of it, how has it been?

 

Bassel: We released the album in February, so earlier this year, and its full length is Elements, and it was over 2 years in the making. It started tracking in February of 2015. There’s a lot of layers to it, there’s a lot of musicians involved, well beyond our rhythm section, we had a full piece horn section, auxiliary percussion, backup vocals, strings, and woodwinds. We really went in and added a lot of textures on to this album. Then earlier this, I guess last year, a little over a year ago, our bassist on the album passed away, like really unexpectedly. He was from the DePaul music scene and was an unbelievably funky dude. And that just kinda put a pause on things as we recalibrated, and we really dug in and made sure this album sounded as good as it could possibly be, to due diligence to his amazing talent. So we finally released the album in February, and did a pre-order campaign behind the album; donated 3,000 dollars to the Karam Foundation for humanitarian aid in Syria. So ya we had this whole crowdfunding campaign going on in December, and we did the donation and then essentially released the album in February, and then hit the road in March. We did a handful of tour dates, we went to South By Southwest, and it’s just been really picking up speed since then.

 

Marc: So it sounds like the album has been very politically impactful, actually receiving help from donations for the Syrian refugee crisis, and sonically it sounds very interesting. What do you think the message of the album has really been about in general? Contextually what do you talk about within it, motivations of it?

 

Bassel: Ya well the concept of Elements, there’s a literal component to it, where there are references to Water and Fire and Earth and the all connect to stories that also relate to these elements. But what brings it all together is that natural order of the world and being above and beyond something that is within our control. Which I believe is fundamental learning, as it relates to Syria. There are some things that we cannot control related to this, but we have to adapt, and we can’t ignore this crisis that is happening in our backyard, that has been affecting my family members. Even though it does seem beyond anything that one person can have a huge impact on, we have to adapt and we have to stay noisey around this issue and stay connected to this, in a deep way. So ya it definitely relates to Syria in that way, but it also above and beyond that, the circumstance with our Bassist, or just all the obstacles that we’ve experienced in the making of this record.

 

Marc: You said NOISEY, and actually, I heard you were premiered on NOISEY as well as VICE, and a number of other news outlets. So I’m wondering what is the role that the news and media, and Universities as well, from what it sounds like, what roles have they played in the dissemination of your message?

 

Bassel: Well last year, in particular, it played a much bigger role. One thing I didn’t mention after the album was released and we went to South by Southwest, the showcase that we were involved with at South by Southwest was called Contraband, and it featured artists from the countries targeted by the immigration ban. So we represented Syria as part of that showcase. So that led to a lot of national press. We had writers following us for a few days, Al Jazeera… they were coming out of the woodwork, which was really beautiful to see. I’ve been out there talking about Syria for over 6 years because I’m very personally connected to this issue, and I think a lot of people were nervous to get near it or didn’t want to get political. Even though all these innocent people are dragged into the middle of this issue, and the way that their lives have all been affected, it felt like this political issue that people didn’t want to get near. So it took a lot of connecting with people, getting to know people, and creating collaborations from a trusting place. Not coming in with some message of how people should think. So I think once the election came, and that issue came home, and we had the refugee ban that came to place, I think people felt a need, an urgency, to become connected to this issue, and to make a positive impact. So I think at that point is when something like this showcase at South by Southwest opened up for us as this opportunity, to have this voice on a national platform, and to know that people are hearing and caring about it. So that was, that was really beautiful, and I feel like, particularly since the election, finding people who are more connected to this issue, more student organizations that are seeking us out for performances or speakers, or Q and A engagements, cultural centers, and churches, a lot of people that feel like they’ve been sitting around too long and need to act now.

 

Marc: Yes, that actually leads me perfectly to my last question. Obviously we are a student, University, and community-funded radio station. What is the best way for listeners, and people just generalized, to move forward and make an impact on this problem, this crisis? What do you think is the most direct way?

 

Bassel: I think more than anything, finding a way to stay connected, through experiences like this. I don’t know if, have you guys met a Syrian person before? I always like to ask that…

(Our Media Team shook our heads no)

 

Bassel: Yes, so I think a lot of times people that I’ve talked to haven’t met a Syrian person, so it feels like an issue that’s super far away. Now when you hear about things in the news, or you hear about a charity organization, you can make a personal connection to that, and it’s a very significant impact. So I think just staying connected to it, and you know being able to personalize that, is a really important step. Engage and go to festivals, you know whatever it is. But above and beyond that there are some amazing organizations in the US that are doing fantastic work and some right in our backyard. There’s one close to Chicago, in Evanston, called Karam foundation. That’s where we’ve donated a lot of the proceeds from our pre-order and we’re working to consistently donate proceeds from our merchandise, it goes to Karam Foundation. Their whole mission centers around building a better future for Syria by empowering children and families, getting them back into schools, providing them with care, transportation to get them to these schools, helping them get back on their feet so they can steer their own futures.

 

Marc: So it’s a very direct, tangible way to impact.

 

Bassel: Yes, and there are others, there are a few other organizations right here in the US. There’s the Syrian American Medical Society, Syrian American Council, and then there’s a lot of others that are doing amazing work, whether it’s for refugees in the states, for refugees right on the border between Syria, Jordan, and Turkey, or refugees inside of Syria, that are doing policy work and advocacy. I think just identifying the way that you want to help and seeking out the organizations that are doing that work to really compound the effectiveness of the work they’re doing.

 

Marc: Ya, we’re all excited to one, see your show at 4 PM, and two, hopefully, help spread your message.

 

Bassel: Thank you brotha, hope it doesn’t stay too muddy!