from: Wreck This Mess

1 Oktober 2003

To Whom It May Concern:

Ik schrijf U persoonlijk over een groot onderwerp. En ik moet het schrijven in mijn niet-echt Nederlands [hier geboren maar woonde het grotendeels van mijn leven in de VS]. Ik produceer al bijna 18 jaar een radio programma [eerst in NY, daan in Parijs, en nu hier in Amsterdam]. Voor mij gaat een radio programma altijd over de kruising tussen de persoonlijk en de global. Dat gebuurt hier in Amsterdam [en Nederland] en is best bemoedigd door de vrije radio zenders die overaal ter wereld te vinden zijn.

Daarom heb ik een selectie gemaakt van een persoonlijk aanvrag op brieven van globaal luisteraars en fans van mijn programma die het redden van een ether-broeiplaats zeer belangrijk vinden. Dus, hierein vindt U eerst mijn engels-taallig uitleg en daarna een selectie van de meest overtuigende brieven die ik over de laatste 2 maanden ontving. Omdat ze overal vandaan komen, zijn ze bijna allemal in het Engels. Het gaat niet zo veel over mijn eigen programma of bestaan maar over het heele bestaan van vrije uiting en onafhankelijk freedom of expression. Een blik naar het grid van Radio 100 of Radio Patapoe geeft men een indrukwekkend beeld van belangrijke personas en levendige programmas - radio met passie.

"Over recent months there have been many discussions, naturally in Dutch, of the progressive destruction of Amsterdam's unique legacy of community access and independent media networks. This hatchet job has been achieved by a combination of ruthless corporate greed, the lack of knowledge and (frankly) incompetence of local politicians, (supposedly the guardians of the uniquely local democratic freedoms of expression) and the (almost total) apathetic cultural, social and political media makers and artists that have used Amsterdam's media but seem unwilling to put up a real fight when it is threatened.

To demonstrate the dimension of what is being lost here let me make a direct comparison. In London at Hyde Park Corner there is something called Speaker's Corner. It is known around the world that any one can turn up and stand on a soap box and say what they like. If Speakers Corner were to be snuffed out by a powerful real-estate developer, and simply re-located without warning to a suburb (it is situated in a prime piece of London Real estate worth millions) with the incompetence or worse connivance of local politicians, it would warrant more than an indifferent shrug it would cause a national (and maybe international) outcry. But the equivalent decimation in the common space of the media landscape so far elicits barely a ripple of public indignationŠ

Although little valued at home, Amsterdam's tactical and community media projects has a significance way beyond the boarders of the city. Next 5 Minutes is one of the events that made people outside of the Netherlands aware of our the city's remarkable media structure as a unique laboratory for cultural experimentation. A campaign against its summary extinction by corporate greed must be launched at the Next 5 Minutes and if possible be internationalised."
David Garcia, Director of "Next 5 Minutes" Tactical Media Conference.


Een blik naar mijn relatie met Amsterdam en vrije radio. Helaas, even in het engels:

The reasons for choosing to live in Amsterdam are many but one of the most attractive is its history of promoting or at least tolerating alternative cultures and lifestyles. Part of its appeal may be the Rijks Museum but just as big a part of the attraction is the everyday cultural alternatives that visitors want to see and experience firsthand. Remember, the Balie, Melkweg, Ruigoord, de Ijsbreker, de Balie, Westergasfabriek, and the Paradiso not to mention countless others all arose [or were saved from the wrecker's ball] out of the unofficial subculture of the not-so distant past. The value of unsanctioned culture as a harbinger of the future is immeasurable and thus remains attractive for fostering a lively multi-cultural environment. These various institutions are now part of the very pride and character of cultural Amsterdam.

The recent efforts of Wethouder Deel and his "Partners van Amsterdam" and "City Marketing" ideas clearly points to the need for creative responses to assuring that Amsterdam remains a cutting edge cultural city. The sad state of the potentially world-class Stedelijk Museum is one indication that Amsterdam/Dutch politics can be every bit as short-sighted culturally as the rest of the world. The term for this is penny-wise and pound foolish. It implies a lack of vision. I would not be writing this if I thought there wasn't some hope that some among you who represent the Dutch citizenry had creative visionŠ

In a sense Radio 100, Radio Patapoe, and Radio Vrije Keyser did precisely what was asked of all artists in the Netherlands in the late 1980s. Find your own way and learn to survive without government handouts. This is something that radio veteran Bill Levy [16 years at Radio 100 as Dr. Doo Wop] recently pointed out to me. He noted that the free radio stations were significant examples of success stories in this regard. They have gone it on their own and have succeeded and now it seems that new policies want to punish that success. This is sad because, as Levy again, pointed out, what paint is to painters, the ether or airwaves is to radiomakers. And just as one would never propose to take an artist's blue paint away from him, one should also not consider confiscating the airwaves from the radiomaker.

Chief among the alternative media available in Amsterdam is a lively radio culture [although, granted, the entire medium's commercial value and sexiness has shrunken dramatically overall when compared to more lucrative and newer media]. This liveliness is evident in the various Next Five Minute Conferences held every several years in Amsterdam. Local alternative media are usually generously represented including local radiomakers, adding to the notion that local Amsterdam media are intimately connected to worldwide developments in alternative media.

I am here and remain here in Amsterdam in part because of the situation of alternative radio that I initially came into contact with in 1989 during my participation in the incredibly eye/ear-opening [for me] "Europe against the Current Festival" held in het Centruum rond de Beurs van Berlage. When I moved here in 1996, I set as my goal to work for both of the legendary free radio stations and have been happily doing so for some 6 years now.

The amazing detail about these 2 low budget [NO subsidies, totally self-sufficient] free radio stations and not-for-profit, cultural foundations that [used to] broadcast on unused frequencies in and around Amsterdam was that their reputations and power carried way beyond their broadcast reach and even beyond their webcasting range into the realm of the legendary. Essential to a global-multi-cultural Amsterdam but totally without cost to anyone - except the radiomakers themselves. That in itself is an amazing example of survival and resourcefulness - ask any American [see letters below].

Free-thinking people do not only appreciate the easy and non-bureaucratic access to free radio but they also appreciate the alternative voices presented by free radio - music, sounds, and opinions not heard or disseminated by more formally established radio stations. I have had interested visitors from Japan, USA, Bristol in the UK, Germany, all of whom were fascinated by the animated and vital state of independent radio here.

We have nothing to lose by playing our own unreleased soundscapes, obscure bands, unsigned music-makers or broadcasting a Noam Chomsky or Edward Said lecture; to the contrary, we have plenty to gain. Our reputation only continues to grow by avoiding the very hits and the very mistakes of ordinariness and blandness that are market driven and determined by sales prowess and demographic considerations. No wonder most people have fled from radio as a satisfying medium preferring their own CDs and mp3s.

My 18 years at alternative radio stations in NY [WFMU - one of the nation¹s only free radio stations], in Paris [Radio Libertaire - legal anarchist station], transcend the ideas of mere hobby or paycheck. In fact, I have been paying for 18 years for the right to continue to do free radio. Yes, we radiomakers pay and are in no way, shape, or form beholden to any organization for funding or support. Each radiomaker pays a modest monthly sum to assure the station's survival. This may be seen as insane by those who place a price tag on everything they do or perform, but for me it is a unique [and under-valued] form of dedication to the principle of free, unfettered, creative media.

Commercial aspect: When I began work at WFMU in 1985, I remember big bands like REM and De La Soul but also performers like Tom Waits and Diamanda Galas who had NO outlet other than alternative radio for people to become familiar with their work. It can be said that WFMU [and stations like it] helped make REM and De La Soul what they are today, artistic pop bands accepted by a broad spectrum of the culture. The same can be said [in the US] for Dutch-based musicians like the Ex, Bettie Serveert, Willem Breuker, Jaap Blonk, and the Dog Faced Hermans, who all have gained a considerable following almost exclusively through non-commercial [in the US, college] radio stations. This non-commercial type of exposure is what allows bands like the Ex to tour relatively easily in the States.

At this point we have not even begun to discuss the areas of on-air creativity or vrije radio as an alternative forum for neglected subjects, artistic stratagems, and ideas. Radiomaker is pretty much a Dutch-invented word and relates to the entire field of sonic experimentation that can be described by what it is not: It is not club DJ-ing nor musical stage performance, it is also not endless babbling about nothing, nor endless trivia contests and the general Americanification of radio or simply the dumb-down strategies of marketing "geniuses."

"Voordat ik wegging, was er Š de hele obiechtcultus die uit Amerika is overgekomen. Maar het is alleen maar extremer geworden. Televisie is geen medium meer, maar is verworden tot een amusementsorgaan."
Anil Ramdas, PS Magazine, 9 Augustus 2003, over televisie.

En aan de andere kant, wat onzin van Lex Muller [PS, 26 Augustus 2003]:
"Het is elitair gelul om op ons [SBS 6] neer te kijken, de cijfers wijzen het uit... Net als in Amerika zullen we steeds beter naar de wensen van het publiek moeten luisteren."

As you will see in the letters that follow nothing can be further from the truth; the American media does not listen to the public's wishes. That is why most Americans listen to CDs and Walkmans, watch videos or pay television. That is why radio has become a vast wasteland of hate-talk shows and general lowest-common-denominator idiocy. Call it the McDonaldification of mass media if you want. If you gave the people what they actually wanted as opposed to what you have determined to offer them [Top 40 songs sandwiched in between hundreds of commercials] they would certainly listen to quality or at least other radio if they still remember what that is! The mere existence [and problem for advertisers] of zappers [afstandsbediening] pretty much tells you that people want the power to NOT watch or listen to the commercials they are being forced to consume... And this is where free radio [free media in general] can be an important other voice and other choice.

Vrije Radio is something altogether unique. Radiomakers treat the radio as a kind of musical instrument or as a duet partner in a conceptual musical composition.

I have been performing my own form of low-budget soundscaping and conceptual radiomaking for these aforementioned 18 years to help promote literally thousands of under-recognized musicians, soundmakers, and poet-writers such as those who may appear in the Bimhuis, OCCII, the Melkweg, or elsewhere.

The most famous use of radio as a creative medium probably involve the early 1980s experiments of Willem de Ridder, which served as inspiration to us radiomakers in the US. But he is merely the tip of the Dutch iceberg as literally hundreds of fun-loving and serious soundmakers have followed suit with just as many program formats and concepts.

The only element lacking in this scenario is free radio's appreciation and acceptance by those who should know better: those involved in culture, the arts, and multi-cultural organizations. We ask for very little, certainly less than what is offered visual artists or musicians or writers here in the Netherlands. We do not want funding, sponsorship, or any other hand-outs from the government, we just want the right and freedom to continue as we have been for over 20 years in Amsterdam and elsewhere in the Netherlands - and elsewhere in the world and on the Internet. We want only the peace of mind that we will not be punished for our creativity or prevented from exercising our rights to free expression.

I [like many other Amsterdam and world radiomakers] participated in the second edition of "The Next Five Minutes" Conference with a conceptual piece about radio that was broadcast and continuously rebroadcast on both Radio Patapoe and Radio 100 during and after the 1999 Conference. I have also written extensively about radio for a variety of media in the past, most of them express a hopeful outlook about the situation that exists [existed?] here. Albeit, most of these were authored before the present gloomy etherflits situation of 2003.

My articles on radio have appeared on the Nettime website, the Canadian Electroacoustic Community website, in Sandbox [NY art magazine], Earshot [UK soundscape journal], the Paris Free Voice, Paris Passion, Lowest Common Denominator, Bad, in various lecture forums and academic anthologies concerned with communications, media and creativity. From hundreds of communications and conversations one gathers that we in Amsterdam are in some measure the envy of the world. The existence of free radio in the Netherlands, only enhances the general [if flawed] view people have of this land. We serve as both blueprint and inspiration for others who want to produce free radio.

Our basic appeal to you:
o we cost no money
o we have no bureaucracy
o we have 20+ years experience in broadcasting - we know what we are doing technically
o we require no upkeep costs, no investment
o we are a creative cultural site that can be promoted just like a museum or the Vondel Park as part of what makes Amsterdam uniquely exciting o we remain the link between local and international thus successfully integrating the global with the community.
o easy creative access by those with the desire to perform on air or create their own radio shows
o we offer passive listening pleasure, active engagement, even direct involvement in the making of sound + radio + events
o we do NOT desire to interfere with already-established commercial radio stations

It is in these endeavours and in this capacity that many among us yearn for a status that is as yet not recognized nor fully-appreciated by the Dutch government: that of a third way - non-commercial and non-public radio - free radio, in other words.

The following letters are only a small sample of what could easily be summoned up if need be. The Radio 100 website has collected many many hundreds of support letters, which are mostly of the "we want Radio 100 to stay" variety. I have gone my own way and collected letters that deal with the importance of the existence of Dutch free radio to a world outside the Netherlands. The letters as you will see express a tone of sadness, incredulity, and frustration concerning the current unstable situation surrounding Dutch free radio. I hope the letters will offer an important international voice and perspective that expresses the value of free and independent radio - and ultimately how important the Netherlands and Amsterdam can be in this endeavor.

If you should desire further inquiries or further dialog about our desire to work within broadcast laws while still maintaining freedom and artistic flexibility at a low cost I would certainly pass this on to those who have a much deeper and broader understanding of our collective radio situation in the Netherlands.

I thank you in advance for taking the time with this long plea.

Best & soundly,
bart / wreck this mess






from: Former Music Label Owner & IT Businessman: Danny Letham

Dear sirs,

My name is Danny Letham, and I write to you from Denbighshire in North Wales. I have had some disturbing news from my friends at "Wreck This Mess", and must share with you my indignation.

I am the former proprietor of a recorded music company "LivHouse Records" and a dedicated lover of all genres of music. Throughout my 49 years I have been inspired by the pioneering spirit of the independent sector in recorded music - both the bonafide business trading labels and (especially) the so-called underground. The contribution it has made is immeasurable both to cultural development by giving a platform for innovation and (in a wider sense) to the entrepreneurial spirit that makes Europe the great place that it is, with the personal and cultural freedoms that we enjoy today, sans pareil in the new world climate.

I might add that as a "conventional" businessman myself (now in the I.T. world) my own ability to think creatively and operate competitively has been stimulated as much by the "indie" ethos as by any formal training, probably more so. I am sure I am not alone in this.

You must know from the lessons of recent history how fragile our freedoms are in Europe today, at any rate if those politicians who exhort us to defend them are to be believed!

Therefore I cannot understand why the Government of the Netherlands (a nation not free itself less than 60 years ago) can contemplate stifling a vital organ of such a stimulating part of our "multi-cultural" world by proscribing the "Free Radio" stations, because they are neither public (ie the instrument of government) nor commercial (ie the instrument of the often too-oppressive faceless corporations). To my mind it is the same in principle as the Scottish Highland Clearances of which my own government became ashamed, and the land acquisitions from natives in Africa, America, and other parts of the world.

Magnification? I think not. It is the same as the threat to the way of life of everyone to runs or works for a small business that plays a part in keeping their community alive. Why does the Dutch government want to spoil its record of open-minded liberalism by destroying this fine network and handing its territory over to Big Business, in effect for a payment of wampum?

In Britain in 1967 the so-called "pirate" radio stations were banned. I remember as a young teenager at the time that one significant factor that prevented us from descending into cultural stagnation was the tolerant attitude of many European mainland coastal nations, including the Netherlands, who did not see the need to remove the broadcasters from their territorial waters, even if the Wilson Government did.

The "Free Radio" concept is alive and well elsewhere in the world (eg WFMU in the United States), and in my opinion provides a much-needed third way (not to coin a phrase), between on the new dikat-orientation of government (democratic or otherwise) and the dumbing-down being spwaned by the lowest-common-denominator attitude of consumer-corporates. I would implore the Dutch Government to think again, and in so saying I express a fear for all of us in Europe, lest we are on a return journey to darker days.

Danny Letham, UK






from: Paris Music Producer / DJ: Laurent Diouf

Dear Sir / Madam,
My name is Laurent Diouf. I am a journalist (Coda magazine, Musiques & Cultures Digitales). And I'm also in charge of WTM-Paris, the French section of "Wreck This Mess" on Radio Libertaire 89.4 (the voice of the French Anarchist Federation) since 1991 (http://www.wtm-paris.com) This show was originally performed by Bart who's now running WTM-Amsterdam, "Wreck This Mess" on Radio 100 and Radio Patapoe. in Amsterdam. It has come to my attention that their is a risk that the situation of "Free Form Radio" in the Netherlands is under threat of a drastic change. This is terrible news for the democracy. Free radio in the Netherlands, as for other free radio stations world-wide, is a necessity for diffusing modern culture, philosophy, politics, musics, arts, etc Please, defend the right and existence of Free Form radio in your country. Thank for your help.

Laurent Diouf
Paris, France
http://www.wtm-paris.com
http://www.htz-records.com






from: American Artist living in Japan: Christine Bullard

To Whom It May Concern,

Hey, let's keep those stations going. free radio needs to continue, new sounds, new ideas need a place to grow. free radio is the garden in which they can grow.

thanks,
c bullard
artist living in japan and friend of free radio in the netherlands






from: NY Music Producer: Patrick Oliver

I live in New York and work for as a producer and music supervisor for a commercial music house. We understand as much as anyone the pressures of the free market and as such we see everyday the effects these have on music. On the one hand music gets aired and musicians usually get paid. On the other hand the diversity and quality of music can be extremely limited. Being in the United States, too, we can see first hand the effect that so-called "liberalization" of the airwaves has had on radio.

The effect is not pretty. The US used to have some of the greatest and most diverse radio in the world. Not any more. Instead of a plethora of musical taste, now, whether you are in downtown LA, rural Arkansas, the great plains, New England or Miami you are more than likely to hear not only the same music but the same radio shows. This is due to the "liberal" laws that have allowed one company, namely Clearchannel, to own a huge portion of the airwaves. And this portion is growing.

Recent senate hearings came to the conclusion that further "liberalization" will be "beneficial". How so? The benefits to Clearchannel are clear. National advertising space is far more attractive to advertisers than the laborious routine of buying chunks of local space throughout the country. And by the way its good for us too, as a company that gets paid for producing music to go on the commercials.

But, as usual, its the good citizens of the United States who suffer. There is less local radio of any kind. And more importantly, the only music that gets played by artists whose label can afford to pay Clearchannel. With the same playlists from Seattle to Miami radio is simply dull. The long term commercial effects must be dire. Whose listening?

As came out in recent Senate hearings - many areas have now have no local representation at all. One story that actually came up in the senate hearings was of a goods train that derailed in rural Iowa. One of the cars contained highly toxic chemicals which spilled releasing poisonous gas into the atmosphere. County police went to the local radio station to broadcast a warning to local residents and found not a single human being at the station. Thanks to "liberalization" all the radio was beamed in from out of state. How efficient.

Radio is a powerful medium and has been important to people for a long time. It seems arrogant and very misguided to think that selling it off to the highest bidder could benefit anyone but the highest bidder. And it is lazy and ignorant to sell something that you can't be bothered to fix. Whoever is in charge. Please stop ruining everything that is good. Just stop.

Patrick Oliver
Amber Music






from: NY Avant-Garde Musician: Marc Sloan

To: The Minister of Culture
The Minister of Commerce, Hague, Netherlands

Greetings *

This letter is in reference to the Dutch National Radio Frequency Policy. As a composer as far away from you as New York City, in a land that commodifies life and a corporate goverment that wages war on those who do not, it is imperative that your country NOT further privatize your freedoms, radio and your people.

Here in the United States (soon to be Federally exempt "Regions" financially, yet under martial law) ClearCom owns most of the major radio stations. Bechtel is in Iraq for the water. If you persist on the implementation of the Dutch National Radio Frequency Policy your radio stations will be owned by the 'ClearCom' agenda within 5 years.

It is companies like the Monsanto's that want to take the tulip that you grow in your garden and make you pay for that right. The Dutch National Radio Frequency Policy will give the radio stations to Joe Camel so that a few lackeys make a few dollars so WE, the Dutch, the musicians and DJs have to pay for radio time.

Within the appearant "art world" of New York it is radio programs like Bart Plantega's in Amsterdam / Wreck This Mess that gives voice to composers and innovative sound collage artists. In the USA you have to listen to Elton John and Phil Collin's Genesis. Music that was made 30-40 years ago, fourth reich national anthems played over and over again in the public streets, in restaurants, elevators and on MOST of the radio sations in just TOO MANY countries. The Dutch National Radio Frequency Policy will make the most commercially and mainstream oriented stations the only stations able to exploit the remaining Dutch frequencies.

Please keep Free Radio in the Netherlands.

Marc Sloan, NYC
www.marcsloan.net






from: NY Musician & Producer: Chris Burke

I am writing to protest the Dutch National Radio Frequency Policy, which currently threatens the very existence of Free Radio in the Netherlands.

I am a musician/producer and studio owner in New York City and I rely on shows like "Wreck This Mess" on Radio Patapoe other Dutch radio sources on the internet for the cutting edge of music and music information.

It is grave error to reserve the airwaves for only the biggest, most commercially and mainstream oriented stations. Stations like Radio Patapoe and Radio 100 are essential the the working of a vibrant democracy like your own.

In America we have a much more dire situation with most media in the hands of fewer and fewer large corporations that have stifled independent voices and challenging music and ideas on the air. We are working hard to change that here, but in the meantime please do not repeat the mistake. Remember the importance of the "marketplace of ideas".

Thank you for your time.

Chris Burke alias Glomag, NYC
bong + dern inc.
sound and music for new media
http://www.bongdern.com






from: East Timor Radio Station DJ: Chesara Guererra

Dear friends of Free Radio,

Here in East Timor several community radio stations have organised themselves within the ARKTIL, Assosiation of Community Radio Timor Lorosae, to stand strong together and protect our right for free radio broadcast and free media in general.

The right of free media is subscribed by the International Convention in Geneva. Your country signed this Convention.

We are shocked to hear what is happening in the Netherlands with the new rules on frequencies. Can only rich and commercial radio stations in your country broadcast their voice under this new regulation? How about the non-profit and low-budget radio stations? Do they have no right of speach?

Here in East Timor, we fought 24 years for our independence and our rights of self-determination to become a country with all the freedom that the word democracy contains. More than 200.000 people died for this. Today, we organise ourselves not only to create free media, but also to protect free media. As free media is a guarantee for transparency, peace and democracy in its true meaning.

Must we conclude that the Dutch government has given up on equal rights for all? Must we conclude that the Dutch government has given up on democracy?

We, staff and members of Radio Rakambia (Dili) and Radio Povo Viqueque (Viqueque), express our concern and protest against any policies that undermine the freedom of non-profit and independent press in any country, especially in those countries that call themselves democratic nations.

Chesara Guererra,
Dili, East Timor






from: Basque Free Radio Makers: Txapa Irratia

Hi. Excuse for my English. We are a free radio of Bergara, Basque country called TXAPA IRRATIA. We give you our support in all yor activities against this new law.
If we can do any other thig write us asking for it

TXAPA IRRATIA






from: Poet, Writer, Editor, Living in the UK: Edward Woods

To whom it may concern:

As a fan, in particular, of the radio programs WRECK THIS MESS on both Radio 100 Amsterdam 99.3 FM and Radio Patapoe 97.2 Amsterdam, and an avid reader of DJ Bart's regular playlists, as well as a frequent listener & supporter of the Dr. Doo-Wop show on Radio 100, I strongly urge the Dutch government to drastically amend its plans to abolish these and other free radio stations in the Netherlands.

The very notion that a country which has long been a haven for free expression in all its forms would suddenly restrict her airwaves to be exclusively used by mainstream public + commercial broadcasting is an unthinkable travesty. Indeed, this is tantamount to selling off part of a nation's very soul.

Whatever else it hopes to accomplish, the newly-introduced Dutch National Radio Frequency Policy will not win any friends among the thousands of free radio listeners in Amsterdam, the rest of the Netherlands, and for that matter around the world, not unless it changes course immediately. Radio 100, Radio Patapoe and Radio de Vrije Keyser must survive. It is up to the Dutch government to see to it that they do.

Emphatically yours,

Eddie Woods,
Devon, England






from: Independent Post-Pop Musician: Jonathan Thomas

To All Concerned:

Though I am not a citizen of the Netherlands, I am writing on behalf of Dutch Free Radio, insofar as it is a cultural institution relevant to listeners worldwide, and important to me as a musician/writer/aficionado of vital and noncommercial music.

If the Dutch government has any meaningful interest in a "free" market, then it must acknowledge that attempts to pigeonhole all broadcasting into "public" and "commercial" categories amount to censorship of independent thinking and expression (and not just in terms of "arts" reportage: during the recent war in Iraq, a major source of non-sanitized, balanced information for me was Free Radio).

The likes of Radio 100, Radio Patapoe, and Radio de Vrije Keyser need to retain their legal status and self-determination. A diversity of voices and cultural viewpoints is essential for any free society, and it is ludicrous to suppose that any such diversity can be preserved by awarding broadcasting licenses to the highest bidders, as proposed by Dutch Zerobase legislation.

Free Radio has flourished in the Netherlands for 25 years, and has proved its importance there and in the wider world. In such difficult times as small and noncommercial US broadcasters are now facing (due to FCC deregulation in favor of large-scale corporate interests), it is lamentable that those looking to more "progressive" European models for inspiration and encouragement should find the situation as bad or worse for their overseas counterparts who believe in radio as a labor of love and as a vehicle of expression available to a broader constituency than profit-oriented lobbies.

What the Dutch government does in the near future in regards to Free Radio will be of importance to more than Free Radio per se and its local listenership; the trend toward centralizing and restricting access to the airwaves is (dare I say it at the risk of sounding alarmist) a preliminary step to a new, insidious kind of totalitarianism. I strongly urge you to preserve Free Radio, and with it, the endangered ideals of freedom of expression and independent thinking.

Yours truly,

Jonathan Thomas






from: NY Writer: Carol Wierzbicki

I am a New York-based writer and I receive Bart's Wreck This Mess Playlist every week. Although I can't get the show, I read his playlists because I want to know what is happening with music that's new and interesting. It is nearly impossible to hear original programming in New York, where all the major stations are driven by advertising dollars. The smaller, more innovative stations have such weak signals and are therefore it is difficult to hear their shows.

I hope you will decide to keep the Dutch Free Radio Stations going. Otherwise, you may be creating the same situation as we have here in New York: I hardly ever listen to the radio now except for news.

Sincerely,

Carol Wierzbicki
New York






from: Independent Record Label Producer & Musician: James Dougherty

hi,

I run an independent recording label Portland, maine in the united states called sonik alchemy. I have also been a performing musician for years. i am writing to you because of wreck this mess. I believe that radio of this caliber should not be regulated out of existence or shut down but nurtured.

thank you for you time in this matter,

james dougherty
sonik alchemy






from: Los Angeles Book Publisher & Editor: Tosh Berman

Dear Sir or Madam,

My name is Tosh Berman and I am the publisher and Editor of TamTam Books here in Los Angeles.

I am writing on the behalf of the situation that has risen regarding Dutch radio stations that maybe banned due to new policies. I strongly suggest to allow 'free radio' programming and 'free radio' systems to operate.

Being a music and culture lover I am a fan of "Wreck This Mess," for its dynamic programming and the thoughts that are behind this particular programming. The very intimate nature of radio should be honored - and the best way to allow that is to allow free programming and free radio to go on. Let's not give the public less choices - but open up the airways to allow what is wonderful out there in our culture and elsewhere.

Sincerely,

Tosh Berman
TamTam Books
http://www.tamtambooks.com






from: Michigan, USA Musician: Dr. Dr. Jazz, D.D.S.

I, Dr. Dr. Jazz, am a dentist, listener of Radio Patapoe (via internet as I live in Hartland, Michigan, U.S.A), and a musician who is fortunate enough to have had work played on Bart's "Wreck This Mess". Living in the United States, where the corporate takeover of the airwaves in not only ongoing but escalating, I cannot urge enough that airspace allotment be made for enterprises such as Radio Patapoe. There is a great need for the true alternative category to have exposure via the radio. Amsterdam has been a cherished beacon of many freedoms. Do not forsake this in lieu of capitalistic greed. The airwaves belong to the people, not the highest bidder.

Good luck,

Dr. Dr. Jazz, D.D.S.






from: Canadian Professor: Ellen Waterman

To Whom It May Concern:

My name is Ellen Waterman, and I am a professor of music at the University of Guelph in Canada. I am writing to protest, in the strongest possible terms, the Dutch government's recent move to illegalize Free Radio through the Dutch National Radio Frequency Policy. For many years Radio Patapoe, Radio 100 and others have stood as cultural icons of the international avant-garde. Radiomakers such as Bart's longstanding "Wreck This Mess" and the seminal work of Willem de Ridder have made important contributions to our understanding of radio as an artistic medium in itself. This has been reflected in influential scholarly publications such as Radiotext(e) (Autonomedia, 1993), and Sonic Geography Imagined and Remembered (Penumbra, 2002).

By suppressing Free Radio, you are undermining your country's admirable reputation for artistic innovation, plurality of expression and cutting-edge aesthetics. How sad to see you following the impoverished model of radio that obtains in North America! Undermining Free Radio will have a deleterious affect on the expression and dissemmination of meaningful artistic creation - one that goes far beyond the physical boundaries of the Netherlands.

Sincerely,

Ellen Waterman, Ph.D.
Asst. Professor
School of Fine Art and Music
University of Guelph
Ontario, Canada






from: Blindpainters Art Foundation, Amsterdam: Carol Poye

As Blindpainters Art Foundation we travel the world and were always happy to come home to our Amsterdam base with the best radio station of the world = Radio 100. The music, the News, the agenda of what's going on in Amsterdam Underground, the voices of friends, we listened to it 24 hours a day and it was never boring. Since about half a year ago, the reception on 99.3 FM, became disturbed and weak. Reason are probably the building a huge school opposite our house and the very strong signal of City FM Utrecht on the same frequency, being very close to where we are. Live streaming via internet works a bit, but make our computers crash and is not so direct and alive as the radio. Commercial radio stations sucks we don’t want to listen to them. We want free radio, we need free radio. Coming home is not as nice as it used to be, we miss the news, don't know what's up in Amsterdam, it is just TOO silent.

Blindpainters Foundation
www.blindpainters.org






from: Paris Artist, Writer, DJ: Black Sifichi

In Defense of Free Radio in the Netherlands

Dear Sir / Madam,

It has come to my attention that their is a risk that the situation of "Free Form Radio" in the Netherlands is under threat of a drastic change. This is terrible news. Free radio in the Netherlands has always been a beacon for other free radio stations world-wide and is a necessity for diffusing modern culture, philosophy, politics, music is the most democratic manner.

I am a poet, musician, photographer and Radio DJ at Aligre FM and Radio Nova in Paris. I often listen to (via the internet) and receive the news letter each week of Bart's - "Wreck This Mess" (Radio 100 / Radio Patapoe in Amsterdam). His is one of the finest radio prorgrams found world wide and so are his intriguing and very complete literary playlists. The reason this and other programs on free form radio stations are of better quality is the lack of pressure from outside sources such as publicity / marketing or a single minded editorial direction. Free form radio exists because of the love and desire to keep radio alive and breaks away from the classic hierarchy, which is behind most other media structures.

Recently I finished an album with the legendary group The Black Dog entitled "Unsavoury Products" which came out on Hydrogen Dukebox records. This music was made from a purely artistic desire, as a hommage to William S. Burroughs and was able to get considerable airplay in the Netherlands because of the existance of free form radio. If it wasn't for this kind of platform - so many facets of musical and written culture are going to continue to disappear.

Please defend the right and existance of Free Form radio in your country. So many things have changed in this world, and all too often we are simply left with mediocrity and regret afterwards.

Let's not make another mistake.

yours truly,

Black Sifichi / Aligre Fm






from: NY Sound Artist: Gen Ken Montgomery

To Whom it may concern,

As an artist and a producer of artistic music since 1981 I have witnessed Free Radio Stations becoming fewer and fewer here in the U.S. The Netherlands have a reputation for supporting art, culture and radio programming that is original and diverse through Free Radio.

I was first introduced to composer and artist who creatively inspired me by listening to Independent Free Form Radio Stations.

Please continue to support this artform.

Thank You,

Gen Ken Montgomery
President Generator Sound Art, Inc.
New York City
www.generatorsoundart.org






from: NY-based Irish Businessman: John Mehigan

To whom it may concern,

I have been told that The Dutch government recently implemented a Zerobase Radio Frequency Policy, designed to control and regulate free use of the airwaves by commercial radio stations, and that on May 23 this year most available space on the Dutch airwaves was auctioned off to the highest bidder.

I am an Irishman living in NYC as a naturalised citizen, yet feel European to my core so this came as both a severe shock & disappointment to me. I have been an avid listener to Wreck This Mess for over a decade on my many trips to Holland, both business & pleasure. I also have a friend there tapes copies of particular shows for me. There are no radio stations and/or shows to compare to those on Dutch free radio. Be proud of them, don't destroy them for the sake of soiled, filthy corporate lucre.

The USA prides itself on being the 'Land of the Free'. I couldn't agree less, however I always believed it would be an apt name for Holland. The above action is really a crushing blow to what makes Holland such a great place, with it's reputation for so many freedoms. Please do not become like Uncle Sam and live a lie. Give the airwaves back to the people, not to the corporations. The airwaves are not yours to give anyway.

Yours in consternation,

John F. Mehigan






from: NY Computer Systems Designer: Pawel Tulin

I think the point is that independent culture is getting slammed and shopping mall culture is taking over. That does not mean you have to agree with one or the other independent venture, that is beyond the point. It means that the society should embrace everybody's access to media and preserve the right to self expression, etc. Otherwise you might as well start working for Microsoft or McDonalds or something and stop fooling yourself or you will end up like this country where all the Democrats are so busy picking on each other that we have Bush for a prez and all suffer.

nothing personal :-)

Pawel






from: NY No Wave Musician and Software Designer: David Solomonoff

I read Lizette Alvarez's article, "Free Spirits in Their Fortress, the Law at the Gate", regarding the attempt to close "Free Town," of Christiania in Copenhagen with some interest. A similar attempt to seize a public space for commercial exploitation that has long been a public commons for artists and free spirits is now taking place in the Netherlands.

In this case however it is not an attractive piece of waterfront real estate but the radio frequencies that are at risk. For thirty years there has been a tolerance for "Free Radio," unlicensed radio stations broadcasting music and other content not heard on the mainstream media. Although technically illegal, these stations have a large listenership.

The Dutch government's recently implemented Zerobase Radio Frequency Policy is designed to control and regulate free use of the ether by commercial radio stations. On May 23 this year most available space on the Dutch airwaves was auctioned off to the highest bidder. Predictably, the highest bidders were large, well-capitalized media conglomerates.

The ZeroBase Policy acknowledges only two kinds of radio: public and commercial. Any radio formats that don't fit within either of these categories have in effect become criminal organisations. An enforcement program called "Project Etherflits", an initiative of the Department of Economic Affairs, has since March of this year been pro-actively identifying and tracking broadcasters throughout the North and East of the country, confiscating studio equipment and imposing large fines. Many stations have already been forced off the air.

Although Free Radio culture in the Netherlands has a long history and remains innovative, popular and highly valued as an important cultural and political resource, Free Radio is neither public nor commercial. Thus, under the Zerobase legislation these stations will never be granted a legal broadcasting permit.

While a comparatively few people will ever live in a bohemian enclave such as Christiania, the Dutch Zerobase Radio Frequency Policy and similar attempts to allow further consolidation of broadcast media in this country present a serious threat to open public discourse and the access to dissenting viewpoints.

David Solomonoff






from: New Zealand Artist-Scientist: Wayne Thresher

MacNetherlands, NOT!

Do you, dear reader, ever think about the consequences of your dreaded Dutch National Radio Frequency Policy? I am an avid listener to Radio Patapoe and other Free Radio stations. I live in New Zeeland where I make beautiful artworks from naturally occurring glass. My studio is isolated at the base of the Ruahine Mountains. I do this to provide a barrier to the virtual wall of moronic sludge pumped at me by the Pajama people. You know, people who make you feel like taking a nap.

I crave wildness/originality and grace. When I have the bandwidth, I listen to Free Radio to blow out the scrud; to find my Muse. A handful of us sparks keep this most unbright cinder from consolidating into a giant hamburger. You need to encourage us. Think about it. With out us you hear only perhaps the voice of Berlusconi! Where you now stand, you stand alone. Lost amidst the snoreocrats and the legume ciphers.

You Dutch are rightfully proud of your courage to be original, fair-minded & progressive. I implore you to reconsider this course you seem to have chosen. Please recognize the value for all listeners by protecting non-commercial AND non-public Free Radio by providing separate legal status within the National Frequency Policy.

We Kiwi's need your support. Afterall, we are your [Zeeland!] namesake!

Keep your brains alive.

Wayne Thresher
Cambria Studios
Ashhurst, New Zealand






from: NY Internet Journalist & Avant-Garde Musician: Carola Solomonoff

Hello,

I'm writing to weigh in on the Dutch Government's recently implemented Zerobase Radio Frequency Policy. Though I'm not a resident of the Netherlands, I'm familiar with the concept of truly free radio via the writings of Bart at Wreck This Mess. I say truly free, because I do not regard the dichotomized choice between public and commercial radio to be a true choice at all. The content of both have become totally predictable. They are two packages ‹ with sugar in one and salt in the other. Either your teeth ache or your lips pucker. It is only in media coming from outside these rigid formulas that anything new has a chance to be born. We desperately need the new. We are spinning our wheels. Most of what flows from both public and commercial sources is an endless rehash of what's been coming down the cultural/political pike for roughly 100 years.

I publish an email newsletter and website (Mondo QT) which focuses on topics both political and cultural. I also write for print media sources. I often write about political corruption in the northeast section of the United States, with a focus on corruption's impact on what are called "second tier cities". In other words, cities that are not New York and Boston. A consistent complaint from residents in these areas is that local problems are either ignored or covered up by the local news media. Which generally have to bow to the financial pressure of local advertisers-- or to the local arm of public support. Some of my belief in the importance of free radio grows out of my experience with the frustration of these citizens. The more opportunities for more voices to be heard outside the predictable media dichotomies the better. The more chances to receive more information freely the better. The more places where new culture can be born the better. Let a zillion truly free flowers bloom and please-- let the Dutch air waves remain a frontier for the human spirit.

Sincerely,

Carola Von Hoffmannstahl-Solomonoff
Mondo QT






from: Freelance Journalist & Editor: Jason Gross

Dear Sirs,

I am a freelance writer (Spin, Time Out, MOJO, the Wire, No Depression, Village Voice), editor and producer.

I am very distressed to hear that the Dutch government is about to sell off its radio frequencies. Non-commercial free radio is important not only for the Dutch public but for the worldwide public which is now able to access it online. By denying the public this, you deny them the opportunity to expand their horizons and for non-commercial artists to be heard and given the chance to find an audience.

Best wishes,
Jason Gross
Perfect Sound Forever: online music magazine with warped perspectives
http://www.perfectsoundforever.com






from: American Photographer living in France: Bradleigh Weiss

To whom it may concern,

Freedom of expression is a big deal .Wars have been fought over it - are being fought over this most sacred of concepts.

By making the liberty of the airwaves into a purely commercial entity you are limiting access to the airwaves to those who have the most money. This should not be. There's a lot of stuff out there on the edge that merits listening to, even if it's not all suitable for use as a soundtrack of a coca cola commercial.

Please do not make it impossible for our voices out here away from the mainstream to be heard. The world will be a much more boring place if shows like wreck this mess are silenced. Try listening to it yourself one night and see if you don't find at least one piece in the shows' content that;
a. you enjoy and
b. you would not hear anywhere else.

Sincerely yours,

bradleigh weiss






from: German Musician / Artist: Robert Steng

hello!

my name is Robert Steng, I am an artist and musician from Stuttgart, germany. I want to express that a loss of the Dutch free radio culture will also mean a loss for a lot of people outside of the Netherlands. please do everything to keep free radios alive!
Greets,

Robert Steng






from: British Music Producer: Adam Sykes

Hello,

I run UK based label Iris Light Records. We supply promotional music to radio programs in the Netherlands like Radio 100. It has come to our attention that radio station like the above mentioned are due to the Dutch National Frequency Policy is likely to destroy radio stations like those mentioned.

This can not happen, Radio Stations like those mentioned are the life blood of small independent labels like myself in The Netherlands, without these forward thinking individuals running such programs and stations then our music, and labels like us, would not be heard.

Although based in the UK, I believe programs like Radio 100, Radio Vrije are a solid foundation in experimental music and audio art. for this reason alone it is imperative that they are allowed to survive in the state they exist at present. Without them the very basis for experiment in music is lost to the populace, and the international community loses one of it's greatest allies in transmitting these experiments.

These Radio Stations are not pumping out mindless pop music, it is challenging experimental music that needs stations like these to survive.

I hope you do not implement the policy and will continue to support these Radio Stations so that they continue to inform, document and address the ever changing movements in music and audio culture.

My very best wishes,

Adam Sykes
Iris Light Records
www.irislight.co.uk






from: British experimental musician living in Den Haag: Justin Bennett

Den Haag, 9 July 2003.

Dear Radiofestatie

I am an artist based in The Netherlands since 1988. One of the things that interested me about The Netherlands, looking and listening across the water from the UK, was the extent of progressive radio culture here. Works of mine (I work with both sound and image) had already been broadcast on public radio here even before I arrived.

Once over here and busy "in te burgeren", it became obvious that most of the interesting radio activity had shifted to the sphere of free radio. Radio 100 in Amsterdam and Radio Tonka in Den Haag opened the door for me to the world of Dutch sound art. Radio Tonka in particular was instrumental in setting up an ambitious live radio artwork of mine which won official recognition from the Haags Gemeentemuseum.

Having worked with art centres like De Vleeshal in Middelburg, Witte de With in Rotterdam and Lokaal 01 in Breda on radio projects, I know how difficult it is for artists to obtain permission for even a short-range broadcast licence. Free radio fills this gap, offering flexibility, non-commercial programming and enthusiastic participation.

In contrast, I note the appalling state of public and commercial radio in The Netherlands. It takes only a few minutes scanning the ether to realise that what the broadcasters offer is ten times the same stuff: an incredible redundancy and repetition of programming that makes me homesick for the BBC.

It is typical of this country (maybe Europe in general) that the success of a project is measured solely in commercial terms and not in its contribution to the social or cultural sphere. Diversity? Multiculturalism? forget it.

City councils like Amsterdam and Den Haag have slowly come to realise that their actions against the cultural "vrijplaatsen" and in favour of project developers was stunting cultural growth and development. Now some of these "free cultural spaces" are being tolerated and even (re)created as alternative centres of cultural production. How long will it take before the Dutch government realises that their policy of auctioning ether frequencies to the highest bidder and pursuing "illegal" broadcasters is stunting the development of radio culture in a similar way?

Best Wishes,

Justin Bennett






from: Poet & OECD Administrator: John Noonan

Protect Free Public Radio - Free Access to Culture and Free Speech

To Whom it May Concern,

My name is John Noonan. I am a published American poet, songwriter (and member of Sacem) living in Paris, France. I have been listening to Bart and "Wreck This Mess" for at least 15 years, in New York, Paris and Amsterdam.

It is vital to protect this kind of broadcasting. It is an art form. DJs like Bart are working very hard to keep our shared, planetary, music culture and heritage alive. Their work, dedication and passion for truth and free expression deserves the maximum support by institutions such as your own.

It is your responsibility as an administrator of public policy to protect and nurture them and not to confine them to the limited margins of the airwaves.

We talk of Global Public Goods. Well in my opinion radio shows like "Wreck This Mess" are a Global Public Good.

Sincerely yours in good judgement,

John Noonan






from: World Musicians: Anna Nacher & Marek Styczynski

Dear Sir / Ms

We're writing on behalf of The Magic Carpathians Project - the collective of musicians from Central Europe (Poland) who over the last 5 years have delievered several CDs, played tours in Europe and the U.S. and have been animating cultural events here in the borderland of Poland and Slovakia. With growing anxiety and pain we've been watching to what extent the space for independent radio stations has diminished in the countries of Central and Eastern Europe, due to rampant commercialisation of broadcasting.

It is our only hope that radio stations like Radio 100, Radio Patapoe or Radio Vrije still exist and broadcast in European Union (which we're about to join), often bringing to European audience the independent music created in Eastern and Central Europe which otherwise would be still somewhat obscure to the average listener from Western Europe. From our perspective this is the space for the civic education through music and the art of freeform radio that shall not be forget and / or mindlessly left behind.

In our book, recently published in Poland by "Bezdroza" Publishing House ("Ucho Jaka: Muzyczne podroze z Kathmandu do Santa Fe" - "Yak's Ear. A Journey of Music from Kathmandu to Santa Fe", Bezdroza 2003, www.bezdroza.com) we have mentioned Radio 100 and Radio Patapoe, especially Wreck This Mess by Bart as the excellent example of the art of freeform radio which is more of the art project than standard broadcasting. We hope the readers of our book will have the chance to listen to it for themselves in the future.

Please leave the space for non-commercial, non-public Free Radio in the Netherlands!

Sincerely yours,

Anna Nacher and Marek Styczynski
The Magic Carpathians Project
Nowy Sacz
POLAND
www.karpatymagiczne.vivo.pl






from: Radiomaker from Antwerp: Geert Frateur

Dear all

I hereby subscribe to and support your following main claims:

WE URGENTLY DEMAND THAT THE DUTCH GOVERNMENT ACKNOWLEDGES NON-COMMERCIAL, NON-PUBLIC FREE RADIO AS A SEPARATE LEGAL RADIO CATEGORY WITHIN THE NATIONAL FREQUENCY POLICY. THAT IS TO SAY THAT LOW-COST, FREE-ACCESS DOMAINS IN THE ETHER MUST BE CREATED.

Indeed, as a member of the board of Radio Centraal (103.9 FM Antwerp, Belgium) I can only state that a non-commercial and non-public free radio station is of capital interest for the socio-cultural heartbeat of any community or city wherever in the world.

I've visited similar radio stations in Belgium, India, Norway, Iceland and discovered each time that they are a vital part of the socio-cultural cohesion of communities all over the world. They are constitutive to and safeguard an independent voice in a world that is becoming either overregulated or under-regulated, either too public or too private.

Non-public, non-commercial free radio stations (like Radio Centraal) are often empowered by and embedded in a larger community and are as such the perfect counter-culture against social exclusion, social injustice, cultural backwardness, nationalism, racism and even fascism.

It is my strongest belief that non-commercial, non-public free radio stations are the hearts and the lungs of any open, intercultural and democratic community. Hence they cannot be scrapped or eliminated; it would be like killing the same community. We do not expect communities to commit suicide either, do we? So, these radio stations should be there to stay!

Yours sincerely,

Geert Frateur
Radio Centraal (Antwerp)






from: Washington DC Writer & Journalist: Jose Padua

To Whom It May (or May Not) Concern:

Being both a freelance journalist (for alternative newspapers such as the Washington City Paper as well as mainstream papers such as the New York Times) and a fiction writer/poet/performer, I have spent a great deal of time either covering the arts or presenting my own artistic endeavors. Being based here in the Washington D.C. area, I have been envious of the numerous means by which artists on the other side of the Atlantic may present their work. One means in particular, is radio.

Here in Washington, the last truly independent and adventurous radio station, WGTB, was removed from the airwaves some twenty or so years ago. WGTB presented jazz, rock, classical music, poetry, comedy and more in a format that was completely unhindered by commercial considerations. It was that rare instance (in America, at any rate) where art came before commerce. Naturally, such a radio station could never survive here.

It is with sadness that I must note that the Netherlands may be catching up to America in this regard.

Through Radio Patapoe (which I listen to through the internet), and in Particular, the Wreck This Mess program, the implications of the Netherlands' new Zerobase Radio Frequency Policy came to my attention. In acknowledging only two forms of radio (public and commercial) and in effect eliminating the FREE, so-called "illegal" stations, listeners in the Netherlands (and listeners like me overseas) will be left with the choice between the idiotic words and music of commercial radio, and the insipidly pretentious blatherings of public radio. (In case you're not aware of it, America's National Public Radio, with just a few exceptions, is a dreadfully bland, horribly dull, and artistically inconsequential affair.)

Is this what the government of the Netherlands wants? To be more like America? Mind you, I am not one of those self-loathing Americans who believes that everything about America is crass and corrupt (though much of America is precisely that). Still, I think it's obvious that the Zerobase Radio Frequency Policy is a step towards making the arts and culture in the Netherlands that much more like America's. It is not, by any means, a step in the right direction.

Jose Padua
Writer/Journalist
Alexandria, VA, USA






from: Independent Record Label Owner: Adam Sykes

Hello,

I run UK based label Iris Light Records. We supply promotional music to radio programs in the Netherlands like Radio 100. It has come to our attention that radio station like the above mentioned are due to the Dutch National Frequency Policy is likely to destroy radio stations like those mentioned.

This can not happen, Radio Stations like those mentioned are the life blood of small independent labels like myself in The Netherlands, without these forward thinking individuals running such programs and stations then our music, and labels like us, would not be heard.

Although based in the UK, I believe programs like Radio 100, Radio Vrije are solid foundation in experimental music and audio art. for this reason alone it is imperative that they are allowed to survive in the state they exist at present. Without them the very basis for experiment in music is lost to the populous, and the international community loses one of it's greatest allies in transmitting these experiments.

These Radio Stations are not pumping out mindless pop music, it is challenging experimental music that needs stations like these to survive.

I hope you do not implement the policy and will continue to support these Radio Stations so that they continue to inform, document and address the ever changing movements in music and audio culture.

My very best wishes
Adam Sykes
Iris Light Records
www.irislight.co.uk






from: Ireland-based Radio Supporter: Jean Routhier

Hello,

if the music is out on one frequency, invite all free radio supporters to build lo-power radio transmitter, and have them broadcast the internet stream on every frequency!!

keep up the sound resistance!

jean






from: NY Musician & Manager of John Cage & Merce Cunningham: Marc Farre

July 31, 2003

To Whom It May Concern:

My name is Marc Farre. I am a New York-based recording artist, free-form radio programmer, and former manager to JOHN CAGE and MERCE CUNNINGHAM. I have spent my entire career working in areas of culture that many consider "fringe" but which, in time, have been universally revealed to be visionary and even profoundly influential (as indeed Cage and Cunningham have become).

BART, through his bewilderingly rich cultural contributions, including his program WRECK THIS MESS - and more generally through Dutch free radio stations such as RADIO PATAPOE and RADIO 100 - has for nearly 20 years now been exactly this kind of luminary. Wreck This Mess is a profoundly influential program, known and cherished worldwide. It is exactly the kind of visionary cultural offering that the Netherlands is rightly admired for around the world.

Sadly, it has now come to my attention that the Dutch government's new Zerobase Radio Frequency Policy runs the risk in effect of forcibly homogenizing the Netherlands radio spectrum, of making it more rigid and formulaic - as it already is here in the USA. As an American who has little recourse to such cultural offerings in my own country, I implore you, do not let this happen! Please, instead, cherish and protect this extraordinary and unique resource of non-commercial, non-public free radio you have in the Netherlands right now. As far as I (and many others in my country and indeed around the world) am concerned, Bart is a Living National Treasure, an asset to free music lovers around the world and, through his work and the Dutch Free Radio garden he is planted in, a source of great honor for the Netherlands.

Thank you so much for considering my views on this matter.

Sincerely,

Marc Farre
New York, NY






from: President Birdman Recording Group, Inc.: David Katznelson

August 4, 2003

To whom it may concern,

My name is David Katznelson, owner of The Birdman Recording Group, Inc., and former Vice-President of Warner Bros. Records A&R. During my career I have signed bands like The Flaming Lips, Mudhoney, Nick Cave and the Bad Seeds, The Boredoms, The Warlocks, The Texas Tornados, Otha Turner and more. I currently work with six different independent music labels and represent musicians in the field of Rock, Blues, Jazz, Classical, Noise, Country, Tejano, Calypso, Pop and Electronic. Music is my life, a life that started at KUSF, a college radio/independent station in San Francisco in 1985.

From my radio beginnings, I learned that the airways are where most people in the world hear the music they love and the music that makes them think. Radio is a source of learning, of enjoyment, of life-enrichment. With Clear Channel doing its best to destroy free radio in my country, college radio stations and international free radio stations (that can be listened to over the internet) are becoming more and more important in the dissemination of new, cutting edge sounds and sound ideas. Free radio is the only outlet that many composers and musicians can have their creations heard and appreciated.

True art is a driving force for international relations and personal betterment. I cannot stress enough the need for free radio to exist and to flourish.

Through my contact with WRECK THIS MESS, I have learned that the Dutch government has recently implemented Zerobase Radio Frequency Policy, which in controlling and regulating free use of the ether by commercial radio stations is only focusing on public and commercial radio, not non-commercial, non-public radio. Free radio is something to be cherished, like the finest of gemstones. One only needs to read the weekly WRECK THIS MESS updates, and listen to the programming to understand that, as an example of free radio, it is critical to world culture that it persists in its objectives. Let non-commercial, non-public radio exist as a separate radio category within the national frequency policy. Let it thrive by applying low-cost and free-access domain policies in the ether. SAVE FREE RADIO.

Sincerely,

David Katznelson






from: Independent Artist / Musician: Jeff Groden

To whom it may concern,

I am an independent artist, two words which are increasingly less likely to be used together, and I am writing to show my support for Wreck This Mess and all the radio stations which are in jeopardy of being devoured. Is it not enough that the world's ears are savaged without the possibility of any respite from the clamor and crap of commercial radio. The artists who release music for the love of it and the joy that it brings their audiences need and deserve the forum of free radio and radio which is not under the domination and suppression of the mass media. Leave us our place to work and contribute in our own small way. Leave these stations alone and find another way to wring the last bit of life out of our world.

regards

jeffrey roden
the big tree music






from: Tamizdat, Eastern European Music Label, NY / Prague: Heather Mount

To whomever this should concern,

For over four years now, we have been dedicated listeners and supporters of Radio 100 and Radio Patapoe in the Netherlands. These particular independent radio stations are rare and unique bastions of international cultural understanding which promote global voices and which celebrate the learning that comes from the exchange of music. These independent stations give voice to music of the world that is often overlooked by either commercial or public radio stations, and are driven by dedicated musical historians whose passion it is to create unique opportunities for listeners to enjoy high-quality music that otherwise might not be available to them.

The influence of Radio 100 and Radio Patapoe reaches far and wide across the globe. We write from New York City, where we tune in to internet radio and receive radio playlists from programs hosted on these independent stations. We know that these stations play unique and quality music emanating from all across the globe.

To disallow Radio 100 and Radio Patapoe to continue to serve the interests of people like me from around the world, is to do a disservice to all people who appreciate the art of music and who enjoy the opportunity to hear and learn about unique global sounds. Please allow these independent radio stations to continue setting an inspirational standard for independent radio stations around the world to follow.

Sincerely,

Heather Mount and Matthew Covey
Tamizdat
http://www.tamizdat.org






from: NY Business Writer & Poet: Susan Scutti

To Whom it may Concern:

I am writing to you via Wreck This Mess from New York City. Unfortunately it took the recent blackout to inspire me to respond to the Dutch government's recently implemented Zerobase Radio Frequency Policy.

I am a fan of free air waves. I feel upset that non-commercial, non-public free radio is not considered a separate (and preservable) category right beside commercial radio and public radio.

During the blackout, I depended on the airwaves. During those two days without power, I enjoyed the diversity of voices, opinions and music to be found as I slid around my radio dial. Can you imagine the pleasure (and feeling of safety) it brought me to experience the sounds of all sorts of different people and their opinions and their music continuing in the face of crisis?

I get that money needs to be made and the selling off of frequencies to the highest bidders must continue. Still, it just seems natural that some space be reserved for those with less money -- and more innovative gifts. And yeah, it takes a lot of nerve to claim you can contribute something valuable despite the fact that you're not paying. Still you must, in your own lives, have been that person once or twice -- the one with less than the others but still bearing a gift (yourself).

Commercial radio has its place, as does public. Yet a chasm lies between those two categories. That chasm is called non-commercial, non-public free radio. Please preserve it.

Thanks!

Sincerely,

Susan Scutti, NYC






from: Amsterdam Anders Candidate / Pop Music Aficionado: Frank van Shaik

Herinnering aan Radio Honderd

(vrij naar Marsman)

Denkend aan Radio Honderd hoor ik brede muziekstromen
graag door vijandig klaagland gaan,
rijen ondenkbaar fijne impopulairen
met hoge antennes in de ether staan;

en in de geweldige ruimte verborgen
de radio-vrijen verspreid door het land,
toongroepen, noten, geknotte woorden,
werken en vormen in een groots verband.

Het budget is te laag en de zin wordt er langzaam
in politiek-willekeurige akkoorden gesmoord,
maar in alle gewesten wordt de stem in de ether
met zijn eeuwige klanken bevrijd en gehoord.

Frank van Schaik, Amsterdam

origineel.....
Herinnering aan Holland (1937)

Denkend aan Holland zie ik brede rivieren
traag door oneindig laagland gaan,
rijen ondenkbaar ijle populieren
als hoge pluimen aan den einder staan;

en in de geweldige ruimte verzonken
de boerderijen verspreid door het land,
boomgroepen, dorpen, geknotte torens,
kerken en olmen in een groots verband.

De lucht hangt er laag en de zon wordt er langzaam
in grijze veelkleurige dampen gesmoord,
en in alle gewesten wordt de stem van het water
met zijn eeuwige rampen gevreesd en gehoord.






from: Florida Spoken Word Recording Artist: Roberto Valenza

hello to whom it may concern,

Independent radio is the inner circle of freedom in this world, where music and voices beyond the money and power people who only use the world and have no idea or thoughts about caring for it. in america and europe free radio is the voice the only voice without millionaires and government cancer telling what can be heard or with the church what can be believed. to weaken the power of independent radio is one more voice not heard. please consider what is being lost. people need something outside of the commercial stupid painful violent garbage only sent out by old ways of seeing and believing. i sincerely hope that this station stays on the air...

Yours, a simply caring human,

roberto valenza






from:Texas Artist: Ana Marie de la Pena Portela

Greetings,

I'm an artist, have exhibited in Copenhagen (Billboard Project" Paradise Europe / Nordanstadt Skarstedt) first American invited to residency in Vienna (BMWK) recent Die Hogue selectee for 2004. I write from San Antonio, Texas. I don't have to explain why I feel that some government from "across the pond" should acknowledge, that we live in such a fragile society so much hate, personal freedom and expression is so important. I speak as an artist, as a free spirited boheme, please keep the free radio culture alive.

thank you

Ana Marie de la Pena Portela
www.anadeportela.com






from: Systems Designer / Music Journalist / Radio Producer: Dave Mandl

To Whom It May Concern,

I am a music journalist and radio producer based in New York City. I'm writing to express my concern about the threat posed to free radio by the increased privatization of radio frequencies in the Netherlands. I listen regularly to several Dutch free stations (in particular Radio 100 and Radio Patapoe) over the internet, and I know many other journalists and artists in New York who do as well. Even with the growth of webcasting worldwide, radio stations that broadcast a diverse selection of music and cultural affairs programming free of the restrictions of the marketplace are very hard to find. Radio 100 and Radio Patapoe allow all kinds of "unpopular" or powerless voices--minority ethnic groups, little-known musicians and composers ‹ to be heard, a quality that is highly prized by the stations' listeners. The Netherlands has always been a place where this kind of radio programming has been allowed to thrive, or even actively encouraged. It would be a disaster to lose these highly regarded and irreplaceable radio voices.

Thank you,

Dave Mandl
WFMU-FM, New York City
http://www.wfmu.org/~davem






from: Experimental Musician / Composer / Editor: Scott Marshall

24 August 2003

To whom it may concern,

I am writing from New York to strongly urge you to support Dutch Free Radio as a sovereign and separate entity within the Dutch broadcast spectrum.

I am an experimental musician, composer, and editor with almost 30 years experience. My principal style is audio collage, though I am also a trained musician (keyboards, guitars). In 2000, I composed a full-length score for renowned choreographer Lar Lubovitch ("Men's Stories"). In 1999, I composed an audio collage for a scene in Woody Allen's film "Small Time Crooks" (the "modern dance" sequence). Throughout the 1980s, I organized and directed Panic Records and Tapes, an international publishing and distribution collective devoted to custom limited-edition audio projects that featured individually hand-crafted artwork (the "What Is Truth?" compilation LP series, numerous tape releases). For over 15 years, I have enjoyed international radio airplay of my work on such stellar stations as Radio 100 and Radio Patapoe.

Here in America, artists of all disciplines generally languish and endure the cruel vicissitudes of the hypercapitalist cultural marketplace. If you are a cultural producer, but not among the 1/2 of 1 percent of artists and musicians that support themselves with their work, you generally have to struggle endlessly to have your work heard/seen. The Federal Communications Commission exists solely to ensure that radio/television distribution opportunities are available only to an ever-dwindling number of big-money media conglomerates. Across the country, the AM radio bandwidth has been almost completely taken over by the reactionary ultraright, broadcasting a steady barrage of gutter neofascist political spew. The FM band has also increasingly come under corporate/governmental pressure, leaving only low-power college radio stations to provide any "alternative" or non-commercial programming (though they often operate under the scrutiny and control of University Regents and Boards). As a result, my colleagues and I have always looked with great appreciation upon the modern Dutch model of cultural support and tolerance (not to mention state-provided health-care!). It would be a great tragedy in this otherwise exemplar history if Dutch Free Radio is squeezed out of existence. We live in a time where the likes of Rupert Murdoch and his ilk attempt to systematically monopolize whole media markets as a strategy of their neofascist agenda. The American airwaves are so tightly controlled by the FCC that nothing like Dutch Free Radio exists at all. It is ESSENTIAL that that rare species of communications, non-commercial non-academic Free Radio, be protected against its total extermination.

Keep Dutch Radio Free!!

Thank you, yours,

Scott Marshall, NYC
www.subliminal.org/paniculture






from: Vienna composer, sound artist, professor: Gabriele Proy

I support the Dutch Free Radio Stations in their protest against Dutch National Radio Frequency Policy which currently threatens the very existence of Free Radio in the Netherlands.

Gabriele Proy
Vienna, Austria, Europe
president of the European Forum Klanglandschaft FKL
lecturer at the School for Radiotechnology SRT Nuernberg, Germany