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Cover of the WMBR fall program guide showing a photo of many of the members enjoying the fall cook out.
Download the WMBR Fall Program Guide here.

by James Rock ’26, co-general manager

This past year has been transformative for WMBR. We’ve welcomed a new cohort of talented DJs, breathing fresh life into our programming. Our schedule boasts an exciting mix of innovative shows alongside beloved classics, and our live broadcasting is on the upswing.

Your contributions have already made a significant impact. Studio renovations, including repaired walls, fresh paint, and new furniture, have revitalized our space. Equipment upgrades, such as new appliances and audio engineering gear, have enhanced our production quality. We’ve also invested in campus outreach at MIT, growing our community presence and strengthening our ability to recruit new talent.

As we move forward, your support is more crucial than ever. Last summer, scorching in-studio temperatures stressed our equipment and sweated our DJs. A full-scale HVAC overhaul is our top priority for the coming fiscal year. With your support, we will ensure a safe, comfortable broadcasting environment for sweltering summers to come.

To deliver the crystal-clear signal you deserve, we’re investing in state-of-the-art broadcasting technology. Enhancing our production facilities will allow us to create even more engaging, high-quality content. Your donations also continue to cover essential expenses such as webcasting and licensing fees, music purchases, insurance, and legal costs.

Every dollar you contribute directly shapes the future of our station. You’re not just donating; you’re investing in a vibrant community hub, supporting local talent, and ensuring diverse voices and programs are heard on the airwaves. We are profoundly grateful for your support. Thank you for being the best listeners a station could ask for!

by Bruce Sylvester

Red Hill and White Shell, 1938, Georgia O’Keeffe (American, 1887–1986), Oil on canvas
The Museum of Fine Arts, Houston, Gift of Isabel B. Wilson in memory of her mother, Alice Pratt Brown.
© 2024 Georgia O’Keeffe Museum / Artist Rights Society (ARS), New York.
Photograph © The Museum of Fine Arts, Houston; Jud Haggard.
Courtesy Museum of Fine Arts, Boston

Simply and matter-of-factly titled Georgia O’Keeffe and Henry Moore, the Museum of Fine Arts‘ new show is said to be first ever whose theme is bringing together these two 20th-century leaders in fusing nature and abstract mondernism: Moore mainly through sculpture and O‘Keeffe mainly through painting, though we do also see the first of only three sculptures she ever did during her lengthy professional career. The show‘s 150 objects are heavily grounded on found objects like shells, stones and animal bones, Moore’s from his 70-acre farm in the English countryside and O’Keeffe’s from her walks around the wide open spaces of her adoptive home beneath the expansive skies of New Mexico.

O’Keeffe was a master of careful staging to create illusions of size and space. Her much celebrated flowers were often larger in her paintings than in real life because she wanted us to see them more clearly. She’d put a small object in front of a distant background of wide open sky to make the object seem larger. Suspending a deer pelvis midair beneath a faraway sky was a masterstroke.

They embraced both the symmetry and the unpredictability of nature. The holes they showed were important to their art. Take the holes in the elm tree section Moore fashioned into a statue of a reclining human. As the show’s excellent wall notes point out, “Gaps and apertures provided new ways of seeing objects and their surroundings. By looking through, new compositional opportunities arose. After all, a hole, Moore remarked, was ‘a shape in its own right, the solid body was encroached upon, eaten into, and sometimes the form was only the shell holding the hole.’ … Moore carefully considered what a visitor would see through the spaces in between sections and how his work could shape that perception.” O’Keeffe once said, “I like empty spaces. … Holes can be very expressive.”

Of course, Stonehenge fascinated Moore. Here are two lithographs of the enigmatic ancient edifice he did when he was 75 years old.

Reclining Figure, 1959‑1964, Henry Moore (English, 1898–1986), Elmwood
The Henry Moore Foundation: gift of Irina Moore 1977 LH 452
Photo credit: Jonty Wilde
Courtesy, Museum of Fine Arts, Boston

We can enjoy recreations of their studios. Some authentic items come from Moore’s. Hers is immaculate and carefully arranged. His is obviously a workplace in the throes of creativity. To enhance our connection with Moore, the MFA has put white splotches on the floor where we’re standing as we perhaps note the similar white splotches on the reproduction of his floor. We see a film of Moore at work. O’Keeffe didn’t allow such films to be made. A photo of him is obviously informal. Her photo looks like she planned and arranged everything about it. Controlling her image was important to her.

To enhance the show’s context, there are a few items from their modernist contemporaries such as Edward Weston, his son Brett Weston, and Imogen Cunningham. The impressive balancing in a small Alexander Calder sculpture made from four pieces of walnut may reflect his academic background in civil engineering.

A gracefully curving cherry wood bench by Peter M. Adams is both functional and art. In other words, you can sit on it, though the museum asks that we all be careful with it.

The Museum of Fine Arts show Georgia O’Keeffe and Henry Moore is on view through January 20.

WMBRBQ 2024 (#2) happened recently! This is our approximately-biannual BBQ, bringing WMBR DJs together to enjoy a carefully curated 88.1 mixtape (by Chuck U. of Troubadour & 88 Rewound) and each other’s company. Photos by Kayode Dada ’27, co-host of Midwest Pizzeria.

by Bruce Sylvester

Old Age, Adolescence, Infancy (The Three Ages), 1940, oil on canvas
Collection of The Dalí Museum, St. Petersberg, FL (USA); Gift of A. Reynolds & Eleanor Morse
Courtesy Museum of Fine Arts, Boston

With his melting watches and disembodied human limbs, Salvador Dali was perhaps the ultimate surrealist of the previous century. The movement’s early leader, Andre Breton, said that the goal of surrealism was to resolve the previously contradictory conditions of dream and reality into an absolute reality, a super-reality. But Dali also paid homage to his forebears in his own bizarre style. That’s the point of the Museum of Fine Arts’ astounding new show “Dali: Disruption and Devotion,” which brings together old masters that influenced him and his own works, reflecting and building on them in ways that only Dali could imagine.

The show reaches back to the Medieval Netherlands for works in the nightmarish vein of Hieronymus Bosch, moving forward to two of Dali’s heroes: his fellow Spaniards Goya and Velazquez. We see a few of his reimaginings of Goya’s Los Capricos along with the originals. Dali disassembled a 17th-century royal portrait by Velazquez and then fractured, pruned, and recreated it in a 20th-century way. Some people think that Dali’s trademark handlebar mustache was inspired by Velazquez’s, which we see in a royal portrait that includes him doing the painting.

Surrealists saw no need to present the human figure completely and accurately. In a painting of two adolescents, only one face has mouth, nose, and eyes. In another painting of two people, only one shadow is accurate. As for those expendable scientific laws such as gravity, water can spill up.

The show’s excellent wall notes point out that Dali used rhinoceros horns to show the perfect order of nature since the horn develops in a logarithmic spiral.

Dali lived from 1904 to 1989. Though his father was an atheist, Dali became a devout Catholic well into his adulthood. A minimalist “Christ in Perspective” done in red chalk on paper looks at Jesus from above at an angle that makes his torso look like a pelvic bone.

Elsewhere, the heads of three women standing together become in another sense the bottom of a larger bust of Voltaire. 

With about 100 items, the Museum of Fine Arts’ show “Dali: Disruption and Devotion” presents an artist who knew no bounds as he reconstrued classic art from earlier centuries that had thrilled and inspired him. The show is on view through December 1.

By the way, the show doesn’t mention this – it can’t mention everything – but Dali lived in the U.S. for various periods and did work for Walt Disney.

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