Current info on COVID-19 – Our station is currently closed to all visitors but KBOG staff are available through email at contact@kbog.org. We are working hard to keep you up to date and connected through community radio.

The Coronavirus Disease COVID-19 pandemic is here in Oregon. Governor Kate Brown issued Executive Order 20-12. Worldwide, the virus has already killed over two million people, overwhelmed medical systems, millions have lost their jobs, many businesses are shuttered, and, experts say, this is far from over. To help you navigate how to respond to this public health challenge, below are some trusted sources of information for your review, including Frequently Asked Questions, the CARES and American Relief Acts, Unemployment and Small Business Resources:

Stay Safe & Stay Healthy!

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Circles In The Sand is back! June 10, 11, 12, 13, 25, 26, 27, 28!

Labyrinth – walking meditation – a unique walk on the beach. Labyrinth Master Artist Denny Dyke creates ” walkable art” which is a sandy path through an entire pattern with no wrong turns or dead ends. The path is further enhanced with detailed designs and is open for all to enjoy, Subject to cancellation due to inclement weather, rain, and/ or high winds. Learn more and see dates & times at Sandy Path Bandon.

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Bandon Crab Derby, July 1 – September 12!

Fun for locals and visitors alike!

During July and August every year, 120 Dungeness Crabs are tagged and released. Catch a tagged Dungeness Crab during derby months and take it to Tony’s Crab Shack (keep tag attached) for verification and recording. Each tag is an entry into drawings for cash and prizes! Only people with valid Oregon Shellfish licenses are eligible. When recording your entry, name, address, and phone numbers must be complete and clear.

Grand Prize Drawings – Bandon Cranberry Festival Weekend, September 12 at 12:00pm

First Drawing: $1,000
If not present, you will win $750

Second Drawing: $300
If not present you will win $150


5 additional DRAWINGS FOR CATCHING CRABS

$100 each

July 10, July 24, August 7, and August 21, September 4 – 4:00 pm
Must be present to win
All tags go back in for the drawing on September 12

For more info, call Tony at 541-347-2875.

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June is Pride Month!

June is Lesbian, Gay, Bisexual, Transgender and Queer (LGBTQ) Pride Month. This month-long celebration demonstrates how LGBTQ Americans have strengthened our country, by using their talent and creativity to help create awareness and goodwill. The first Pride March in New York City was held on June 28, 1970, on the one year anniversary of the Stonewall Uprising.

To learn more, find ways to celebrate Pride Month and events happening around the globe, see the Library of Congress, Pride Northwest and the International Gay Pride Calendar.

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Powerhouse Feature Artists – Arturo O’Farrill and the Afro Latin Jazz Alliance

“Virtual Birdland” 1-year Anniversary!

Multi GRAMMY® Award-winning pianist/composer Arturo O’Farrill and nonprofit the Afro Latin Jazz Alliance (ALJA) announces today they have reached more than 1 million people in over 25 countries through their innovative “ALJA Digital Village” programming since its launch one year ago in March 2020. ALJA immediately responded to the onslaught of the COVID-19 global pandemic with a multi-faceted initiative to raise urgent funds for New York/New Jersey-based jazz musicians (over $100,000 was raised) while instituting a digital platform for ALJA’s close network of standout musicians and educators.

The flagship “ALJA Digital Village” program “Virtual Birdland” will celebrate the milestone with the global release of a new album, Virtual Birdland, featuring O’Farrill and his acclaimed 18-person Afro Latin Jazz Orchestra performing with an array of special guests on 10 ambitious compositions recorded across a span of more than 50 online concerts. Each Virtual Birdland session is recorded remotely from the safety of each artists’ homes. Jon Pareles (Chief Popular Music Critic) of The New York Times included “Virtual Birdland” in his story, “10 Best Quarantine Concerts Online” (July 2021).

Since March 2020, O’Farrill and ALJA have presented programs with lauded guests such as Dr. Cornel West, Paquito de Rivera, Rudresh Mahathappa, Ana Tijoux, Miguel Zenon, Sean Jones, Mandy Gonzalez, Letieres Leite and Orkestra Rumpilezz, Sofia Rei, and Sahr Ngaujah. Master classes have been led by the likes of John Benitez, Papo Vazquez, Samuel Torres, Yasser Tejeda, and others. “ALJA Digital Village” programs such as Ori-Gen Collective and La Plaza bring award-winning performances and panels to the community (free of charge). ALJA has presented more than 100 dynamic programs over the past 12 months.

When the pandemic began there was a national and global reckoning,” says Arturo O’Farrill. “We were blindsided, and even though the sky seemed like it was falling, we rose up and were determined to play music and heal others. Virtual Birdland is proof that we are interconnected globally even if we are not allowed to leave our homes. The featured musicians sat in their living rooms, bedrooms, or closets and contributed to the lives of thousands of unseen listeners. No immediate feedback, no discernible applause, no fancy concert halls, just the purest form of art there is, service to others.”

“It’s during challenging times like the ones we are now living in that our community excels in its strength, compassion, and ability to come together for the benefit of all,” says Marietta Ulacia (Executive Director, Afro Latin Jazz Alliance). “Reaching nearly 1.5 million people through our digital programming is a milestone we are very proud of and tells us that people need music now more than ever. We look forward to continuing our online initiatives throughout 2021.”

Have a listen to a few tracks from “Virtual Birdland” below, and follow the links to learn more about Arturo and the Afro Latin Jazz Alliance, check them out on YouTube and make a tax-deductible donation to #Sustain The Groove to support their important work!

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Port of Bandon Boardwalk Art Show 2021

Vote for your favorites!

Enjoy the most accessible art show on the Oregon Coast, on display all summer long on the picture-perfect boardwalk in Old Town Bandon!

The 2021 Port of Bandon Art Show, “Gardens Under the Sea” celebrates underwater inhabitants of all kinds, mythical and real. The show is on display Saturday, May 22 through Sunday, September 19.

Sponsored by the Port of Bandon, the boardwalk show features works by amateur and professional artists living throughout Oregon and Northern California. For more information about the annual boardwalk art show, contact Port of Bandon staff, 541-347-3206.

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Artist Spotlight – Eleanor Goldfield, “No Solo”

(Cover art illustration for “No Solo” by Joe Infurnari – www.joeinfurnari.com)

(Album review of “No Solo” and links mentioned therein available at Terence Kumpf) – “Former Rooftop Revolutionaries vocalist-songwriter Eleanor Goldfield has released her long-awaited solo EP somewhat incongruently titled No Solo. The discrepancy stems from the fact that creatives seldom, if ever, produce in isolation. From poets and musicians to journalists, authors, and filmmakers, creators mingle, relate, influence, antagonize, and co-create. That’s certainly Eleanor’s world, where she wears the aforementioned hats with aplomb.

If you’re unfamiliar with her work, some highlights include:

  • TV producer: “Act Out!” (which ran on FreeSpeech TV for nearly five years)
  • Filmmaker (the award-winning documentary Hard Road of Hope, which traces the history of resistance in Appalachian mining communities)
  • Podcaster (Common Censored w/Lee Camp; Silver Threads w/Carla Bergman; and her own bimonthly Act Out!, a continuation of the show)
  • Journalist covering numerous issues including the fake eviction moratorium, rising homelessness, and the ludicrous notion that the US war machine can be greened to save the planet
  • Published poet, spoken word artist, and frontline acoustic performer
  • Curator of ArtKillingApathy.com, HQ for all her creative-activist output.

Alongside all of that Eleanor frequently tables in Washington DC, demonstrates, agitates, and organizes mutual aid actions. Since the above reflects an engineering schematic for how to utilize new media towards activist ends, it isn’t hyperbole to suggest that Goldfield is a modern-day Da Vinci. To escape capitalism’s restrictive specializations and its unholy trinity of exploitation, extraction, and waste, one must be.

But wait. Isn’t this supposed to be an album review? It is. I highlight the above because these activities inform No Solo, a five-track EP consisting of three songs and two spoken word pieces. Now then, on with the review! Whenever I tell a friend I picked up a record by an artist they haven’t heard of they inevitably want to know what it sounds like. When a buddy asked me about No Solo, phrases like sparse, stripped down, paired back, intimate, and lush came to mind. Knowing this was a solo release, and tangentially familiar with the hard rock/metal sound of Rooftop Revolutionaries, I expected the first four. The fifth was a bit of a surprise. The EP’s lushness stems from Rich Mouser’s crystal clear production and Eleanor’s voice. Her training as an opera singer is evident in her range, reach, and power. From spoken word to dizzyingly soaring choruses, Goldfield’s voice is not only strong but necessary. Her acute attention to, and adroit handling of, political themes is what the world needs. In “Outlaw,” the opener, she sings “I don’t wanna be an outlaw/but you made me.” Just who is she addressing — her parents? Estranged friends? Duplicitous politicians? The world? Herself? It could be all five, and I sense that it is.

On No Solo Eleanor vocally explores the reflective and the vulnerable, the driving, determined, and, most importantly, the empowered. The record seethes with righteous indignation.

Naturally, my friend wanted to know who she sounded like. Ah, that’s easy! I thought. But I found myself speechless. Eleanor reminds me of someone — many someones, in fact — but I couldn’t quite put my finger on who. Abandoning memory, I scoured my 20-gigaton music collection for comparisons. Alannah Myles’ sultry blues-rock vocal on “Black Velvet,” Fiona Apple’s “I Know,” Shawn Colvin’s “Set The Prairie On Fire,” anything by Margo Timmins of the Cowboy Junkies, and Shara Nova’s poignant reimagining of Blind Willie Johnson’s “Lord I Just Can’t Keep From Crying Sometimes” on Colin Stetson’s New History Warefare Vol. 2 seemed like sensible comparisons. Like any good artist, Goldfield draws inspiration from diverse vocalists. OG blues masters, rock icons Robert Plant, Steven Tyler, and Axel Rose, the tragically gone-too-soon Chris Cornell, and Jussi Björling, Sweden’s famed opera tenor, are all present, thus underscoring the idea that no one creates alone. Before they step back to let their progeny shine, the ghosts of predecessors shimmer on the periphery, waiting in the wings to clink cold beers after the curtain falls and the crowd cries out for more.

The songs on No Solo lack drums but they’re not beatless. On “Outlaw,” Goldfield’s Taylor 800-series dreadnaught, the main rhythm instrument, is paradoxically buried in the mix. Handclaps propel the chorus to lend a participatory feel, which ballasts the accusation leveled at the end of the first verse: “I know/your hopes and prayers, your pleading stares don’t do/a damn thing.” Beyond hackneyed phrases like ‘thoughts & prayers,’ Goldfield models participation and expects nothing less, closing the song with an invitation: “Are you gonna be an outlaw?” As the title implies, the song is a folk-rock tune with some delicious lead guitar licks deftly handled by Jordan Ferreira, and Mouser’s production elicits magic without overpowering the performances. Just under four minutes in I’m tempted to hit repeat, but I’m eager to hear what’s next.

The second track, the spoken word piece “Child of Immigrants,” departs from the folk-rock vibe. A subtle electro pulse drives the tasteful arrangement of piano, strings, and atmospherics underpinning Eleanor’s words. Tracing migration from the exoduses of the Jewish condition and the brutality of the Atlantic slave trade to Latin American families forced northward by the imperialist Monroe Doctrine, Goldfield assumes the voices of anyone fueled by despair and hope who has been forced into the whorl of danger and uncertainty. Less the conjured apparitions of victims panhandling for handouts, these are the voices of “resilience and love,” the “resistance to fascists and hate,” and the “legacy of our shame and our shared humanity.”

These first-person reclamations of voices near and distant flicker in the present. They are premised on an understanding that we must own the transgressions of our ancestors to undertake the painful, yet necessary work of reconciliation. Revealing that we are more than immediate family, “Child of Immigrants” uncovers the fact that we are held together by the too-often deliberately obscured rhizomes of entangled life that nurture us all.

Track three, “Pyre,” returns to the EP’s folk-rock sound. Rhodes piano and pedal steel guitar impart a luscious atmosphere over which Goldfield’s acoustic strumming, while simple, shines. If her vocals evoke the lapping flames of a pyre, Ferreira’s lead guitar work sets the song alight and burns just long enough to not overplay his hand. Fittingly, the song ends on a high note (“As long as it takes/I’m gonna stand where it burns”) to continue the theme of taking ownership of the world we’ve made and may bequeath to generations hence unless we chart a new course.

The second spoken word piece, “A Shrugging Dune,” I found difficult to listen to — not because it’s poorly executed, but because it’s unflinchingly raw and intimate. Recorded late at night or early one morning, Goldfield’s voice is tempered with whiskey or Rosé, tobacco and age. There is a delicateness here that tenuously balances the hard-wrought wisdom of the road with the naïve hope of adolescence. The opening line “I’m missing who I thought I’d become” reminded me of the sentiments that inform Marillion’s Misplaced Childhood, albeit in reverse. “A Shrugging Dune” might be tough to listen to, but I found myself drawn back to each crisp enunciation. With “the smooth sound of faded thoughts” evoking a synesthetic ASMR-vibe, I draw the curtains, light a candle, and set my player to repeat to ruminate on these poetic aural textures.

The EP closes with “Tangled.” Much of what marks the other songs — acoustic strums, pedal steel guitar, dueling lead licks — can be found here. A simple piano downbeat anchors the song while Ferreira delivers more explosive guitar work. At four minutes, “Tangled” is the longest piece on the record, but it’s also the one with fewest words. The whole EP clocks in at just under 17 minutes, and I have to admit it leaves me wanting more. Does Eleanor have more songs up her sleeve? I’d like to think so. Will we ever hear them? That depends on her.

Recorded in 2019, No Solo was supposed to be released in 2020. The coronavirus pandemic put a damper on that — not because the virus infected devices, but because Goldfield decided against releasing it. That’s because she plies her trade on the live circuit where she earns her bread like a real, live working musician. With those outlets temporarily suspended, No Solo was stuck in limbo. But as any artist knows, you can’t hold onto your creations forever. They have to be let go; warts and all, they have to walk on their own. The five tracks on No Solo don’t just walk, they run, and I don’t detect any flaws.

There’s an old adage which states that we get the scene we support. No Solo is finally out and with it a new wrinkle in Eleanor Goldfield’s ever-expanding creative-activist output. Does art change the world? Maybe. Will No Solo? I’d like to think so, but that’s up to us — you, me, your friends and family, and anyone else you can turn on to this exciting release, especially your political foes, the very people that need to hear it more than those of us already in the choir.

If you need a preview, No Solo is up on Spotify but I avoid that platform because I still believe artists should be compensated for their work. It’s also available on iTunes. But do yourself and Eleanor a favor and go to her website and buy No Solo as a digital download. If hardcopies are your thing, the EP is slated for vinyl release from a sustainable, eco-friendly organization in the Netherlands. Each direct digital purchase will turn that vinyl dream into a wax reality. In the end, No Solo is thoughtful, beautifully produced, and bound to get lodged in your player. Support radical independent art and you, too, to paraphrase Eleanor, can carve clouds into a featureless sky to bring forth a better world. For updates on her political concerns, activities, and future live appearances, follow Eleanor on Twitter at @RadicalEleanor.” ~ Terence Kumpf

Check out the album below and then head to ArtKillingApathy to grab your copy!

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Featured Artist – Drew Angus

New Single, “Made To Love You”

Drew Angus announces his new single “Made to Love You”, originally written for best friend’s first dance.

Official Music Video Out Now!

New York-based rising Singer/Songwriter Drew Angus is pleased to announce the release of his latest single, “Made to Love You,” produced by Grammy Award winner Mikhail Pivovarov, available on all streaming platforms April, 30th 2021. A sweeping blend of folksy roots and catchy pop melodies, Drew’s wedding-ready “Made to Love You” features award winning Cellist Dave Eggar, leading cellist in Coldplay’s “Viva La Vida” and other hits by Lindsay Stirling, Phillip Phillips and more. Drew and co-writer Matt Giella (Gee-EL-UH) wrote “Made to Love You” for Drew’s childhood friends’ first dance.

“My friends came to me looking for a perfect song for the first dance at their wedding. Matt and I had written a verse and part of the chorus earlier that week. I played what we’d written over the phone and they fell in love with it immediately. With their 11 year love story in mind, the song finished itself. It was meant to be.” Drew says.

Drew’s growing fanbase, including over 10k followers on Instagram and 16k on Facebook, finds authentic connection in his happy-go-lucky personality and heartfelt music. “Made to Love You” follows his previous holiday EP “A Snowglobe Christmas” and single “Mr. Gemini,” as Drew continues work on his next album due out late 2021.

Have a listen to “Made To Love You” below, and then head to Drew Angus to too grab your copy in time for wedding season!