Friday, May 10, 2013

"AFOS Daytime in the Nighttime" begins Monday, May 13 and "AFOS Vault" begins Thursday, May 16

'Aw, fuck, I don't know why Lucy and Mr. Mooney keep locking themselves in this goddamn vault.'
(Photo source: Corbis)
Starting next week, AFOS brings the daytime to the nighttime. "AFOS Daytime in the Nighttime" will stream a different weekday AFOS block ("Beat Box," "The Whitest Block Ever" and "Brokedown Merry-Go-Round") at 9pm from Monday to Wednesday.

"Beat Box" consists of selections from old scores with funk, synth or jazz sounds that have been sampled by beatmakers, plus cuts from more recent scores with funk, synth or hip-hop sounds. Beatmakers, get ideas for future samples during "Beat Box."

"The Whitest Block Ever" is a block of original themes or score cues from films made by filmmakers of color who have directed projects I like (and the occasional dog or two), including Justin Lin, Jessica Yu, Spike Lee and Robert Rodriguez.

"Brokedown Merry-Go-Round" consists of original score cues from animated shows and movies, whether cel-animated or in CG. I'm not really into metal, but I like what Vernon Reid and Rodrigo y Gabriela have done with the genre, and I'm also cool with the metal score music Stephen Barton wrote for Titmouse's short-lived, too-badass-for-Disney Motorcity. I wish Barton released his cues from that show. They'd be perfect for "Brokedown."

Then on Thursday in the same slot at 9 (as well as earlier that day at noon), "AFOS Vault" will stream old one-hour shows from the AFOS vault that were never streamed before in stereo.

'I will not have this in my studio! That's just a terrible, terrible, terrible, terrible 'That's Amore.' And there is nothing that you can do here in this room that can turn that around. Nothing you can do that can make up for what you just did to 'That's Amore.'--John Michael Higgins, Walk Hard: The Dewey Cox Story
Studio Paradiso in San Francisco
The only episodes of AFOS: The Series I actually like and can bear listening to snippets of are the ones I recorded in a professional studio. I'm not so big on the rest of them. But back when I had a steady income, which was three centuries ago, I was able to afford to record a few of those shows in an actual studio, and I'm honored to have done so in the same San Francisco studio where Kid Koala and the band Dengue Fever cut some records. Those three episodes that don't make me cringe--along with the 007-centric "Dance Into the Fire," the final episode, which I occasionally get asked by listeners to stream again--will be streamed in the "AFOS Vault" slot.

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