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Prairie Public Radio

From Wikipedia, the free encyclopedia

Prairie Public is a network of 10 radio stations in the state of North Dakota. Prairie Public's radio network provides NPR news and programming, local and regional news, and two distinct music formats, the News and Classical network and the adult album alternative formatted Roots, Rock, and Jazz network.

It is a service of Prairie Public Broadcasting, in association with North Dakota State University in Fargo and the University of North Dakota in Grand Forks. Prairie Public maintains active studios in Grand Forks, Fargo, and Bismarck.

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Transcription

(woman) "Prairie Mosaic" is funded by-- the Minnesota Arts and Cultural Heritage Fund, with money from the vote of the people of Minnesota on Nov. 4th, 2008; the North Dakota Humanities Council, a nonprofit independent state partner of the National Endowment for the Humanities; the North Dakota Council on the Arts, and by the members of Prairie Public. [bass, drums, and acoustic guitar play in bright rhythm] Ž Hi, I'm Bob Dambach, and I'm Barb Gravel. Welcome to "Prairie Mosaic," a patchwork of stories about the people and the places that contribute to the arts, culture, and history in our region. On this edition of "Prairie Mosaic," we'll visit the headwaters of the Mississippi and a North Dakota State Park; see how rhubarb leaves can be transformed into pottery, and profile a painter from Moorhead. Technology and steel reflect the artistic talents of a Moorhead, Minnesota woman. Karman Rheault can't remember a time when she was not making art. Today she employs an iPad, a plasma cutter, and a welder to grow her artistic dreams. [acoustic guitar plays in bright rhythm] (Karman) I don't remember a time when I wasn't making art. I've been making stuff since I was a little kid. I remember going to garage sales with my allowance for the week and trying to buy art supplies and digging clay at the river and making little sculptures and just anything I could do, I was always making something. When I went to college, my concentration was in sculptural ceramics. I think it was more of a lifestyle change, when we moved out here, I didn't have the wiring for my kiln, and so I thought okay, well I'm going to paint then. I just decided you know, that means less tools right now, it's easier to set up, I had small children. So I went and just started painting like crazy, and just painted and painted for years, I think about 12 years. I've never really understood an artist that sticks with a medium for their entire life, just because I'm inspired by so many different things, and I've always had this passion to learn new mediums. This is a piece that I started, I guess, it's called, "Into the Fire," it's about facing your fears. A friend of mine said, you know, we should take this welding class, I said yeah, I've always wanted to learn how to do that, I've never learned that. We took one course, I think it was one evening, by the end of the week, I had all the tools. I had a welder and a plasma cutter, and I was set up. There we go. Got my first part there. I love the tools; the fact that you can make something out of this, this flat sheet of steel and cut it down and create this crazy 3-dimensional object, that was really intriguing to me, and it kind of brought me back to what I loved about ceramics, it was sort of that same way, where you could start with this, you know, piece of mud or clay, and build something completely different. This is my favorite tool, the plasma cutter. It's like drawing with fire. It's something that painting probably helped with. The metalwork is the hand-eye coordination, so when I jumped into doing metal and cutting metal with a plasma cutter, it was really easy for me to hold it steady and to make the fine lines. A little bit scarier probably than painting because you're working with 30,000-degree Fahrenheit temperatures. [laughs] I don't like using paint so much on metal, so I like using natural patinas or using chemicals to create different colors in the metal versus a paint, so you can kind of still see the metal. A lot of times I will think of kind of a theme that I want to build on, and like this year I'd say that my theme would be kind of change, change and growth, and that's just something that I felt when the year turned, that it was going to be a huge year of change. And so some of the sculptures that I made were based on that. So I'll just start sketching on my iPad and sketch out some ideas and not only the basic layout of what the sculpture will look like, but what I think that it means to me. So I'm not grinding these all the way down, I'm just giving them a little texture with the grinder and smoothing the edges a little bit. I have a big trailer of scrap out here and I save most of the scrap from other pieces that I do. They're extremely inspiring to me, so a lot of times I'll dig through that and see if there's any of the shapes that are striking me at that moment, that would go with this piece, and then I'll kind of go from there. This is where I like to add a lot of dimension, so I'll get some metal pieces and suspend these up off of this a little bit. I didn't do commissions until about two years ago, and I had a customer come into the gallery and liked my work and really wanted me to make something for her. And it really put me out of my comfort zone. It's not something that I usually like to do, ever. So I immediately gave her the card of another artist, and she said, "No, I really, I want you, I like your work, I want you to do it." So I, finally I said okay, I'll do one commission and I'll see where that goes, and if it's horrible, I'll never do it again. Actually, probably about 85% of my work is now commissioned work. It's been fantastic; it's really pulled me in directions that I probably wouldn't have gone on my own. Definitely took me out of my comfort zone, but I'm getting more comfortable learning what the customer wants and trying to create what they see in their head. And some of them have a real rigid idea of what they want, others say this is the size I want, come up with something. Those are the most fun. I wouldn't say I'm the cleanest welder either. I just kinda want to make it stick, I don't care if it's real pretty underneath there, nobody's going to see it anyway. MSUM, it was great to go back there and work with them, and they were doing a remodel on their Nemzek Building, and wanted a 4-foot dragon, which is their logo for their Athletic Department. it was basically just a dragon. I made it 3-dimensional so the back and the head were separate pieces, and then I had to light both and the flames that were out of the mouth, I kind of heated to create like a gold color on it. And it was just a really fun, fun project and it's in a really neat space that they've built over there. The metal goes to um, kind of a gold, and then a blue, and then a purple, depending on how long you leave he heat on. I hope to stay with metal for a long time. I really, really love it. You know, if I had the right studio setup, enough room to do my metal and paint and ceramics, I'd probably be working in all the mediums all the time. [laughs] The headwaters of the Mississippi River, have long been a major attraction for summer tourists in Northwestern Minnesota. At Itasca State Park, you could walk on the rocks and over the shallow stream that mark the beginning of the Mississippi River. [bass, drums, and guitar play in bright rhythm] (woman) It's a great place to work, but the hardest part is everyone, when they're here, they're on vacation. [laughs] Itasca State Park is Minnesota's oldest state park. It began in 1891; it was set aside by the state legislature after a big push from a guy named Jacob Vandenberg Brower. who came to this area and found that it was a very important spot that should be preserved for future generations. One thing is that the park is very large. It's over 32,000 acres, so there's definitely a lot of places to get out and explore. Everything opens by Memorial Day weekend and goes through fall colors, which typically is about mid October. But the park is open year around, and so people can come to the park any time of the year. Each year we have around a half million people that visit Itasca State Park. We have very good visitor numbers that come from the State of Minnesota, as well as North Dakota, Canada, Iowa, Illinois, the surrounding states, as well as from all over the United States and countries from all over the world. They come to this area for a wide variety of reasons. Some come just to see the headwaters of the Mississippi River, others will come to camp, bike, hike. In the fall we have a deer hunting season that goes on, as well as when we get into winter season, we have skiing, cross-country skiing and snowshoeing, we have year-round housing in the park so people could stay here. We actually have one of our campgrounds open to primitive camping in the wintertime too. So you could camp here year around if you wanted to get into the winter months as well. There's plenty to do whether you're here in the summer, the spring or fall or winter, and it's a good representation of what Northern Minnesota used to look like all the way across. Andrew Stark is a young and emerging artist in the Fargo-Moorhead area. He studied art at Minnesota State University Moorhead and his art is displayed in galleries all over the region. (Andrew) Trying to create some kind of spiritual moment with painting, that's my ultimate goal. It really started with being, uh, 5 years old and drawing and drawing at the kitchen table with my father. My parents were always very encouraging of my artwork, always encouraging me to draw as much as possible. Once I got to college, I decided to take some art classes, and I really fell in love with painting. I loved that working method, the experience of painting, and kind of the meditative qualities of it. I'm very influenced by the abstract expressionists. I always found I loved more of an expressive, kind of action experience oriented kind of style as opposed to a highly realistic. I consider myself a colorist, and in terms of the process, it's all about the responding to the mark. Drawing has been very influential in terms of putting a mark down and responding to that mark, trying to understand or design the chaos that you create and make order out of it. The process of being in the studio at MSUM and working and getting feedback from professors, from fellow students, colleagues, that I think, is kind of where you start to really gauge your work. You can look at it objectively. You start to understand how the viewer responds to it. You develop, you know, conceptually, you develop the material, the technique. I remember that first step was very, very daunting. You're putting your work out there to be judged, but I had a very good reception early on. I got into the Underbrush Gallery right away after my EFA show. So those experiences really allow you to start to get the desire to show work. My paintings are very influenced by my mood. I think they're evocative of different moods. The viewer's always going to take something away from a painting that I don't anticipate or expect, and I have to take that into consideration. My intent is more that it creates some kind of emotional response for the person. All of my paintings are kind of interior and exterior, not only influenced by the outside, but you know, my own inner thoughts and moods and feelings, and trying to evoke a feeling in that sense. Knowing when you're done is always difficult. My mentor used to say a painter is never finished, or the painting is never done or that the artist is never happy with the result-- it's always a constant struggle. I tend to work on 4 or 5 paintings at once and so I'm kind of always rotating. When I'll get stuck I'll move on to something else and come back, so you know, it can take weeks, it can take months. You know, I have some paintings that I haven't been happy with over the course of a year or two. I come back to it, and something will happen. It's difficult to find that stopping point. There's a feeling I have when it feels complete. At least it becomes in my mind, really set in its, in its own objectness. Once the work for me is completed, it's done and I need to move on. I've had to supplement my income; that's part of the struggle. I feel like I've been extremely lucky in being able to get into galleries such as Ecce and have an opportunity to show my work and to sell work. But it is hard, it's difficult as a career, but going into it and deciding to get my bachelor's and then ultimately my master's of fine art, I knew that this was the path I wanted to take, this was my passion. It keeps you coming back, and so far it's been very rewarding. You know, the communities, especially downtown is very arts pro-art supportive; it's very inspirational for me and it gives me a sense of peace. Arts often have a lot of difficulty in terms of support. But I think there's always room for improvement. Follow your passion, do what you love, don't be afraid to take risks. One of the biggest lessons that I learned while in school was, and especially with painting, was not being afraid to fail in terms of my work, always pushing forward, experimenting, exploring, trying as many techniques as possible, trying as many things as you can to really, you know, carve out where you want to go. Ž Sara Jo Trangsrud has always loved to play in the dirt. Now she's taken that love and incorporated it into a style of pottery that reflects her passion for the outdoors and organic shapes. (Sara) Art gave me a release, because I was so nervous as a child. I think it gave me a release where I could do things that I was actually good at. I usually start with going out to the rhubarb patch and looking at my leaves. I grew up with rhubarb leaves, we played with rhubarb leaves, we did stuff with rhubarb leaves when we were growing up. I need to find two similar leaves, of course, no two are alike. And I look for a leaf that kind of spikes my creative interest. I need a leaf also that will lay somewhat flat, 'cause if it's too much wavy then you can't get it laid down into the clay. The first time I got an inkling to use clay is, I bartered with a friend, she made the cement leaves, which I'm sure most people are familiar with out of rhubarb. And I looked at them, I thought, it's so heavy and clumsy, it's beautiful, beautiful, but I don't want it to be so heavy. I thought... I can do clay! And I have to do some trimming on the veins because if the veins are too thick, they will press all the way through your clay, and then you don't have a leaf; you have bits and pieces of mess! [laughs] One leaf is pressed in, I flip it over, and I actually devein the second leaf of the big veins, press it in, and then I lay it into whatever form I decide I'm going to be using with that particular leaf. I always liked dirt and growing things, you know, and I think the clay lets me express that passion. I learned a lot in the production pottery, learning more discipline actually there, you know, in college they emphasize the creative more, and when I worked at the production pottery, I learned more discipline. Just kind of ease it down into the bowl, it kinda, somewhat decides on its own which way it wants to flip, somewhat I decide it needs to go one way or another. I don't want any real deep creases. I allow them to dry; I pick some of the leaf out, what doesn't come out burns out in the kiln. Then I get to decide what colors these leaves are going to kiss. They don't have to be green; they can be red, they can be blue, they can be combinations. So I pick the colors that I want to go on the leaf, and I glaze, and I usually use the pouring method just to let it flow in with the leaf so it has kind of a growing, flowing feel to it. I don't know, a lot of it's trial and error. You know, you try something, it didn't work, well what did work? You know. Some glazes work better with other glazes that you know-- 'cause I do a lot of glaze overlay and you get wonderful things, and sometimes they're not wonderful, but you learn then from it. Sometimes there's some glazes that work better underneath, some work better on top, some don't work together at all! [laughs] I realized I could melt glass and this would make it look like water running down into my leaf and it just-- one thing added to another and I went from flat leaves to more rounded leaves. I can throw on the wheel, and I can do other, other hand-built things, but my-- when I can use something that has grown with the clay and create something with it, it just, that's when I feel the passion. When I put the pieces into the kiln, I teeter pieces of broken glass where I feel like water would flow. If you get too high with the glass, it starts dissipating and makes kind of a weird charred look in your pot. If you get the right temperature, it has this wonderful flow. Then it gets fired again and it's like Christmas every time I open the final firing, 'cause you never know for sure if it's going to work exactly how you planned. It usually doesn't, but usually it's wonderful. It's therapy, you know, it's, you have the self-gratification that you've made something beautiful. There's something for me about digging in dirt, playing in the clay, that just makes me feel good, and that's kind of a therapy for me too. I really enjoy seeing it done, but one of the joys is seeing how other people react to 'em. You know, they see these leaves and they go, "Wow! Is that real water?" That's one of the first reactions. They want to touch, they're scared to touch the glass but they want to and I say, "Oh go ahead and touch it." Then, "That's not water!" They expect it to be water in the bottom of these leaves it's glass then just watching their reactions to the different colors and shapes. The passion evolves into the next thing, and who knows what I'll, will be next, you know, it just, it keeps evolving, you know, and it's kind of a journey, and it speaks a little bit of my story I guess. Ben Suchy was raised in a family that valued the land as much as they valued music. In his solo stomp-grass show, he's a virtual one-man band with a unique style, a mix of blues, folk and rock. [playing in a fast blues rhythm] Ž Yeah early in the morning Ž Ž Early in the morning Ž Ž I go to work all damn day Ž Ž Oh lord I'm goin' crazy Ž Ž Ž Yeah early in the morning Ž Ž Early in the morning Ž Ž When I go to sleep Ž Ž I lay upon a mountain of dreams Ž Ž Ž One of these days I'm gonna climb up in that mountain to stay Ž Ž [harmonica solo] Ž Ž Ž Ž Ž Yeah early in the morning Ž Ž Early in the morning Ž Ž When I go to sleep Ž Ž I lay upon a mountain of dreams Ž Ž Ž One of these days I'm gonna climb Ž Ž Up in that mountain to stay Ž Ž Ž Oh one of these days I'm gonna Ž Ž Climb up in the mountain to stay Ž Ž Oh one of these days I'm gonna Ž Ž Climb up in the mountain to stay Ž Ž [finger picking in bright blues rhythm] Ž Sittin' at that station North to Southern line Ž Ž You're on vacation of the one-way ticket kind Ž Ž You started moving down slowly Ž Ž And now there you go Ž Ž Ž Some kind of Zen they found down in Old Mexico Ž Ž Ž You were a mover and a shaker on the scene Ž Ž You rolled in sixth gear if you know what I mean Ž Ž You wore those diamond rings Ž Ž From your head to your toe Ž Ž Ž You jumped that first world ship Ž Ž For that third world boat Ž Ž [harmonica solo] Ž Ž Ž Ž Ž So now you're sittin' at the station Ž Ž North to Southern line Ž Ž You're on vacation the one-way ticket kind Ž Ž You started moving down slowly Ž Ž And now there you go Ž Ž Ž Some kind of Zen they found Ž Ž Down in Old Mexico Ž Ž Ž Some kind of Zen they found down in Old Mexico Ž Ž Ž Some kind of Zen they found down in Old Mexico Ž Ž If you know of an artist, a topic, or an organization in our region that you think might make an interesting segment, please contact us at... I'm Barb Gravel, and I'm Bob Dambach. Thank you for joining us for this edition of "Prairie Mosaic." Ž (woman) "Prairie Mosaic" is funded by-- the Minnesota Arts and Cultural Heritage Fund, with money from the vote of the people of Minnesota on Nov. 4th, 2008; the North Dakota Humanities Council, a nonprofit independent state partner of the National Endowment for the Humanities; the North Dakota Council on the Arts, and by the members of Prairie Public.

Contents

History

KUND's lineage can be traced to 1923, when KUND (now KWTL) signed on from the University of North Dakota, one of the first college radio stations in the United States. KUND moved to several frequencies over the years before finally settling on 1370 AM. By the 1970s, it had adopted the on-air name of Northern Lights Public Radio. It added two FM stations in 1980[1] and 1995.[2]

The two stations briefly went off the air in 1997 due to flooding in the transmitter. In August of that year, KFJM was renamed KUND-FM, and UND's college radio station, KFJY, became the new KFJM.[3]

In 1952, students at North Dakota Agricultural College signed on KDSC, a carrier current station. It began using the KDSU calls sometime in the early 1960s, when NDAC became North Dakota State University. The station went off the air in 1964 due to technical difficulties, but returned in 1966 as a fully licensed FM station. It originally tried to satisfy all tastes, airing jazz, blues, folk music, classical music, rock and opera. By 1981, however, it had evolved into a more traditional public radio station, airing news and jazz during the week and specialty programming on weekends.

Both stations were early members of NPR, but this still left western North Dakota without public radio. Prairie Public Television broadened its mission to include radio in the late 1970s, and in 1981 KCND in Bismarck signed on as the first public radio station in the western part of the state, under the on-air name of Prairie Public Radio. Between 1981 and 1993, four more stations signed on.

On February 1, 1999; Prairie Public Radio, KDSU and KUND merged to form North Dakota Public Radio, with the goal of providing a full public radio service to all of North Dakota. In 2004, KUND-AM was sold by the University of North Dakota, leaving the network.

On September 26, 2006, the service reverted to the Prairie Public name, chosen to achieve brand consistency with Prairie Public Broadcasting's television and other operations.[4]

In 2009, KPPD signed on as a full-power station for the Devils Lake region, and HD Radio was rolled out to all Prairie Public full-power stations.

In 2012, KPPW signed on as the new full-power News and Classical network station for Williston, with KPPR moving to the Roots, Rock, and Jazz network.

Programming

Prairie Public produces and broadcasts Main Street, an interview and call-in show hosted by Doug Hamilton,[5][6] "Dakota Datebook," "Into the Music with Mike Olson," Prebys on Classics," and Why?, hosted by UND philosophy professor Dr. Jack Weinstein.[7] Prairie Public is also the distributor for The Thomas Jefferson Hour.[8]

Prairie Public offers news programming on weekday mornings and afternoons from its newsrooms in Bismarck and Fargo. It also airs news from NPR and Native Voice One.

Prairie Public is a member station of National Public Radio, airing programs such as All Things Considered, and also carries programming from Public Radio International (such as The World) and American Public Media (such as A Prairie Home Companion), as well as from Public Radio Exchange (such as This American Life).

Prairie Public's radio network offers two programming services. The primary News and Classical network originating from KCND in Bismarck is carried on most stations, and split into eastern and western schedules. The adult album alternative formatted Roots, Rock, and Jazz network originating from KFJM in Grand Forks has gradually expanded its programming to additional stations since its launch in 2002. KDSU in Fargo carries a combination of both networks, airing Roots, Rock and Jazz programming when the rest of the main network airs classical music.

News and Classical

Most news and classical programming is produced at the Bismarck studio.
Most news and classical programming is produced at the Bismarck studio.

The primary network of Prairie Public airs classical music, news, talk, and weekend specialty shows, including jazz.

Roots, Rock, and Jazz

KFJM originates Prairie Public's second music format, a mixture of adult album alternative, blues, folk, and jazz. The network is rebroadcast full-time on KPPR Williston and the HD-2 channel of Prairie Public's other full-power News and Classical stations. KDSU of Fargo broadcasts the network midday weekdays and overnights.

Stations

Prairie Public has 10 full power stations and 9 low-power translators broadcasting across North Dakota, northwest Minnesota, and eastern Montana.

Location Frequency Call sign Network Call sign meaning
Beach 91.9 K220FI (KDPR) News and Classical
Bismarck 90.5 KCND News and Classical Capital of North Dakota
Bowman 91.9 K220FJ (KDPR) News and Classical
Crosby 91.9 K220FF (KPPW) News and Classical
Devils Lake 91.7 KPPD News and Classical Prairie Public Radio Devils Lake
Dickinson 89.9 KDPR News and Classical Dickinson Public Radio
Fargo 91.9 KDSU Mixed News and Classical & Roots, Rock, and Jazz North Dakota State University
Grand Forks 89.3 KUND-FM News and Classical University of North Dakota
90.7 KFJM Roots, Rock, and Jazz Folk and Jazz Music
Jamestown 91.5 KPRJ News and Classical Public Radio Jamestown
Hettinger 91.9 K220FG (KDPR) News and Classical
Minot 88.9 KMPR News and Classical Minot Public Radio
Plentywood, MT 91.9 K220FE (KPPW) News and Classical
Thief River Falls, MN 88.3 K202BK (KUND-FM) News and Classical
Tioga 91.9 K220FH (KPPW) News and Classical
Williston 89.5 KPPR Roots, Rock, and Jazz Prairie Public Radio
88.7 KPPW News and Classical Prairie Public Williston

HD Radio

Prairie Public's full power stations broadcast HD Radio signals, adding full-digital simulcasts of their analog channel, plus the Roots, Rock, and Jazz network on subchannel "HD-2" of the News and Classical stations.

Cable systems

Shaw Cable's Winnipeg system carried Prairie Public's News and Classical service at 107.9 FM (via KUND-FM), until Shaw discontinued FM distribution in 2012.[9]

Prairie Public's News and Classical network is carried on MTS Ultimate TV across Manitoba, on channel 733.[10]

See also

References

  1. ^ Staff, FCC Internet Services. "Call Sign History". licensing.fcc.gov. Retrieved 21 August 2018. 
  2. ^ Staff, FCC Internet Services. "Call Sign History". licensing.fcc.gov. Retrieved 21 August 2018. 
  3. ^ http://transition.fcc.gov/Bureaus/Mass_Media/Public_Notices/Call_Sign_Changes/pnmm7171.txt
  4. ^ "Prairie Public Broadcasting » 2000s". www.prairiepublic.org. Retrieved 21 August 2018. 
  5. ^ "Prairie Public Broadcasting » Pressroom". www.prairiepublic.org. Retrieved 21 August 2018. 
  6. ^ "Prairie Public Broadcasting » Main Street Archive". www.prairiepublic.org. Retrieved 21 August 2018. 
  7. ^ "Programs A-Z - Prairie Public Broadcasting". www.prairiepublic.org. Retrieved 21 August 2018. 
  8. ^ "Archived copy". Archived from the original on 2016-01-24. Retrieved 2016-01-25. 
  9. ^ "FM Discontinuation". Shaw.ca. Retrieved 2012-10-06. 
  10. ^ http://www.mts.ca/file_source/mts.ca/Static_Files/Raw_PDF/MTS%20Ultimate%20TV%20Channel%20Packages.pdf[permanent dead link]

External links

This page was last edited on 21 August 2018, at 19:56
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