Concert Review: Hardwork Movement

On Friday April 5th, Philly-based hip-hop group Hardwork Movement took the stage in Allison Community Room. Founded by two Dickinson alumni Dwight Dunston ’10 and Jeremy Keys ’11, this concert was a celebrated homecoming. With four rappers, a flutist, pianist, bassist, drummer, and trumpeter, the band’s energy immediately infected the crowd. Audience members leaned against the stage as Keys, Dunston, and the rest of the group bounced and danced through their set. Keys had a specialty for leaning up into the audience, zoning in on listener, and speaking his verses to an individual. When the music would build, the band would crouch with the tension. When the beat finally dropped, they’d all splash around the stage, infectiously dancing and singing. Dunston had multiple costume changes, sporting a denim onesie, socks and sandals, and of course Dickinson merchandise. The crowd’s favorite of course was when he grabbed our over-sized WDCV canvas poster and wrapped it around himself like a cape. Whoever sang the next verse had the honor of wrapping the sign around themselves, all the while grooving with the upbeat music. Throughout the one hour set, Hardwork Movement presented the crowd with their best songs, including freestyles in spoken verse and instrumentals. 

                 

When the set finally wrapped up, every audience member went home with an extra bump in their step. Hardwork Movement brought to Dickinson light and energy, passion and power. WDCV thanks the band for coming through, and the audience members who made it such a fun experience!

 

                      

Find Hardwork Movement on spotify!
 

Written by Julia Ormond ’19

An Interview with Professor Pulcini

Professor Ted Pulcini, now in his final year at Dickinson, signed off to do an exclusive interview with WDCV FM. We sat down with him to discuss his 24 year long career, and asked him to do a little retrospective for us on his time here at Dickinson. Currently serving as the chair of the religion department, he’s pretty renowned for his classes. Professor Pulcini’s primary focus in academia is Abrahamic religions, but particularly Islamand early Christianity. Professor Pulcini is also a priest, and this other side of him has affectionately earned him the nickname “Father Ted” amongst people on campus, although he tries to keep his religious life and his academic life separate. That hasn’t stopped him from being a wonderfully wise man who gives fantastic advice to students (and this interview has some great gems of wisdom from him) when they ask for it.

 

We at WDCV have really appreciated him reflecting on his Dickinson experience. Listen to him talk about how much has changed here since when he first began teaching here, as well as hear his own personal experiences outside Dickinson that have inspired and molded him into the academic he is today.

 

 

Interview recorded March 7, 2019 by Nuhan Abid ’22 and Ellie Doblin ’21. 

Sidney Gish Concert Review

Last Saturday, Sidney Gish engaged a large crowd of Dickinsonians and Carlisle residents. With a set list written on her forearm, Gish played many of her most popular songs, with audience members dancing and singing along with her. Songs such as “Persephone” and “Not But For You, Bunny” drew cheers after the first couple seconds. She riffed off her own recorded songs, such as “Sophisticated Space,” adding new jazzy twists to her typical rhythm. 

Check out a snippet of her concert below!

The crowd loved her, evidenced by her massive merch line. The concert was a huge success, and WDCV loved having Sidney on campus! 

 

WDCV’s next concert will be March 1st at 5:30pm with Alice Kristiansen! Join us in the Allison Community Room!

WDCV / MOB Spring Concert Series Line-Up

This semester, WDCV and MOB are teaming up to bring the Dickinson campus and wider Carlisle community a concert series for the books. Ranging from indie bedroom-pop to full-throttle jazzy hop-hop, the Spring Concert Series is sure to satisfy any music-lover, as well as introduce many to great new artists! The line-up is as follows.

 

2/16 : Sidney Gish

First up on February 16th and 8pm in the Allison Community Room is innovative loop-pedal utilizing Boston college student Sidney Gish. For more about her see here.

 

3/1: Alice Kristiansen

Next up, on March 1st at 5:30 is Alice Kristiansen. Kristiansen is a NYC-based aspiring pop star and songwriter. She initially started out posting covers on youtube, which she still frequently posts, but eventually began writing and recording her own tunes. Her newest single “Easy” was released in December and is filled with big EDM synths, distorted vocal samples, and house drums. My favorite song by her is “Lost In Translation”, which I suspect may be named after the Bill Murray film. Though the lyrics are often clunky and the production is boilerplate, the vocals are stunning and the melody is infectious. Expect her to release some even more memorable singles in the coming months.

 

3/22: Shaed

On March 22nd at 5:30, the electro pop trio Shaed will come to campus. Chelsea Lee is the lead singer and twins Max and Spencer Ernst produce. “Trampoline” is a bonafide hit with over 39 million streams on Spotify alone. It’s easy to hear why. The production is icy and propulsive and the vocals are impressively layered. “Melt”, the title track of their newest EP, may be even better than “Trampoline”. It reminds me of Ariana Grande’s most recent material. If you don’t know Shaed now, you’ll definitely have heard them in a few years so see them here while you can for free!

 

4/5: Hardwork Movement

On April fifth at 5:30, Hardwork Movement is coming to campus. Hardwork Movement is made up of 4 rappers backed up by a crack five piece live band. They also have TWO Dickinson alumni in the band! Whoever says a liberal arts education doesn’t pay off clearly hasn’t heard the sweet sounds of these Hard Movers (which is what I called them). These guys release a lot of music with two albums from 2017 and an EP that came out in 2018 but the song that I’ve been bumping a lot is “Praise”. It’s piano based beat reminds me a bit of “Two Weeks” by Grizzly Bear but the vocals are super cheerful. “Dance With Me” is another great song, utilizing horns and a rapid fire delivery that reminds me a bit of Ghostface Killah.

 

4/19: Danny Fisher

Danny Fisher brings his unique take on electro pop to Dickinson on April 19th at 5:30. His most recent song, “With Love Or Nothing At All” mixes layers of his own vocals with atmospheric electronics crafting what reminds me a bit of Panda Bear. There will also potentially be student performers to open this act.

 

5/3: Phony Ppl

The final concert in the WDCV/MOB Collaborative Spring Concert Series Featuring Great Free Live Music For You Lovely People (title pending) finishes up with the neo soul band Phony Ppl. “Somehow.” is a simply wonderful song mixing jazzy guitar work, indie R&B vibes, hip hop beats, and luscious strings into a sweet love song.

 

We hope to see you at our concert series!

Top 10 Albums of 2018

Jonah Skeen’s Top Ten Albums of 2018

 

Hey folks welcome to my second annual countdown of the best music of the year. There was a lot of great music this year and, unlike last year, I kept pretty up to date on the hot new albums. Everything on this list is truly worth hearing.

  1. Love, Loss, and Auto-Tune – Swamp Dogg

Autotune is the most deverse current sound in popular music and I love it unabashedly. I especially love when artists who I don’t expect to use it. One of my favorite uses of autotune ever was Bon Iver’s 22 A Million. I was in sheer delight when I found out that the 76 year old R&B singer Swamp Dogg had recorded an album in Bon Iver’s studio and made similar use of autotune. This album is cut from the same cloth as 22 and by is far funkier, funnier, looser and maybe even weirder in the simple fact of it existing. “$$$ Huntin’” updates the talkin’ blues formula for these trap heavy times. The most beautiful moment on the album is the cover of the standard “Stardust”. It sounds like I’m picking up a transmission from space of aliens approximating human music.

  1. Boygenius – Julien Baker, Lucy Dacus, and Phoebe Bridgers

Boygenius is a supergroup made up of Julien Baker, Lucy Dacus, and Phoebe Bridgers. If that sentence doesn’t make you excited then you have some catching up to do. These women have put out a few of the best indie albums in recent memory. And now they have joined forces for a tour and an all too brief EP. Despite their variety of styles (Dacus is more fuzz rock, Bridgers is more folk influenced, Baker somewhat emo leaning), they sound like a natural fit. The highlight of this EP are the harmonies which are tear inducing. This is powerful stuff. If you’ve just gone through a break up or something of that nature, listening to this will be cathartic.

  1. El Mal Querer – Rosalía

I wish I still took Spanish so I could understand the lyrics on this. I hear that they’re great. What I can understand is the music which is groundbreaking. Rosalia uses the sound of revving motorcycles as percussion! There’s a song that does James Blake even better than James Blake does himself! The whole thing is as fun as any pop record you’ll hear this year. It’s equally at home at a house party as it is during the comedown. It’s rare to hear experimental and pop instincts balanced this well.

  1. And Nothing Hurt – Spiritualized

If Jason Pierce is to be believed, this is the last Spiritualized album. Which is sad news but what a way to go out. Unlike their earlier records, this record is not a grand statement. There’s no Elvis samples, 17 minute song about killing cops, orchestras, or gospel choirs. And Nothing Hurt is simply a set of well constructed songs recorded in Pierce’s home studio. The strings and horns come from samples from his record collection. What’s amazing is that Pierce can still write such deeply affecting music this late into his career and how lush this album sounds despite its modest origins. The lead off tracks are my two favorites: “A Perfect Miracle” starts off with ukulele and sounds like a straightforward love song before the narrator shifts from love to ending the relationship over the course of a few verses and the music builds into a beautiful crescendo. “I’m Your Man” is the ideal classic rock. There’s a guitar solo that wouldn’t sound out of place on a late Beatles record and lyrical similarities to the Leonard Cohen classic where it takes its name. This song, like the whole album, positions Pierce in the lineage of classic songwriters. I think it succeeds.

  1. Daytona – Pusha T

Back back way back in december 2015, Pusha released the clunkily titled King Push – Darkest Before Dawn: The Prelude which was to serve as an appetizer for King Push, his planned magnum opus. King Push never materialized but Push did drop his opus. Daytona is all killer, no filler. Just straight bars. This record barely bothers with hooks, which normally spells disaster but with a rapper as talented as Push, this is a huge plus. And the production! Ho boy! There’s this playlist called Kanye West – Producer of The Year that’s posted on Pusha, Kanye, Teyana, and 070 Shake’s Spotify pages which clearly signals that Kanye is aiming to be nominated for Producer of The Year at the Grammys. He shouldn’t get it, but listening to Daytona made me hope that the Wyoming Session albums would be a return to classic early Kanye. I was wrong, the production on Ye is his least focused ever, but at least I got Daytona out of it.

ALSO DRAKE WAS HIDING A CHILD COME ON

  1. Thresholder – Ian William Craig

This isn’t an album. It’s a compilation of outtakes recorded between 2014 and 2016. This album doesn’t really have songs on it; it mostly has sounds. But what glorious sounds! Ian William Craig is an artist like no other. He builds his music by combining avant garde tape manipulation with his magnificent opera trained singing voice. The end results bring to mind Bon Iver at his most experimental, a more minimal Sigur Ros, and William Basinski’s classic The Disintegration Loops. This is music that is both alien and somehow deeply human. All of Craig’s albums, particularly Centres, are worth checking out but Thresholder showcases what he does best in a comfact runtime.

  1. Sparkle Hard – Stephen Malkmus and The Jicks

My love of this album started with the lead single “Middle America”. It’s a ballad which Malkmus doesn’t do often but when he does it leads to classics like “Gold Soundz”, “Church on White”, “Freeze the Saints”, and “Spit on a Stranger”. I hoped that the rest of the album would be mature and understated. I was wrong. Sparkle Hard is a little of everything Malkmus does best. It has an extended stoner jam (“Kite”), garage rock (“Shiggy”), a country duet with Kim Gordon (the hilarious “Refute”), and a two part electronic experiment that turns into krautrock (“Difficulties – Let Them Eat Vowels”). Even more astonishing is that this isn’t even the album Malkmus planned to release. He made a completely electronic album that he planned to drop before his label told him to put out a more traditional release first. These were the songs that Malkmus just happened to have lying around. I am also extremely biased about this album for two reasons 1. I eternally love Malkmus for his work in Pavement and 2. I saw Malkmus live front row and he played most of Sparkle Hard. The songs are even better live and it felt that I was sitting in on a band practice because I was so close to the band. During the encore, Malkmus sang “Freeze the Saints” directly to me and it was among the greatest moments of my life. So listen to this album but maybe listen to a Pavement classic like Crooked Rain, Crooked Rain, or Slanted and Enchanted first.

            3. Knock Knock – DJ Koze

This album will take you on a journey. I know a lot less about dance music than I ought to but I do know that this record is dance music at its best. This record brilliantly uses a plethora of samples, synths, and newly recorded vocals to create a deeply psychedelic listening experience. The track that drew me in was “Bonfire” because it has vocals from Bon Iver and I will listen to anything that Justin Vernon sings over. The whole record is worth listening to straight through but the highlight is “Pick Up” which should’ve been a huge hit.

  1. Some Rap Songs – Earl Sweatshirt

To quote my roommate Jackson, this decade finally has its Madvillainy. Earl has been one of the most adored MCs in the game since way back in ‘10 when he was a wee lad of sixteen. Now he’s 24 and just ended a three year hiatus with his best, and most experimental, record. This year has been a big one for short albums. All of the five Kanye produced Wyoming albums were 7 or 8 songs in under half an hour. Earl one ups Ye. It’s 15 songs in only 25 minutes! And each one is a winner. There is not a wasted second on this record. Every verse is insightful, filled with allusions, and poetic. Earl isn’t rapping with precision; he’s rapping with purpose. He turned from the prodigy of Odd Future to a wizened philosopher. The beats on this thing are just insane. They’re more like soundcollages than traditional rap beats but hit all the pleasure points of classic old beats from someone like Dilla or Madlib. Earl’s father, South African poet Keorapetse Kgositsile, died earlier this year and though much of the album was completed prior, his death hangs over the project. This album is both surreal yet hyper emotional. People will be dissecting the meaning of the lyrics and trying to wrap their heads around these mind-bending beats for years.

 

Before my number one pick I’d like to shout out a few honorable mentions that didn’t make the list:

 

Iridescence – BROCKHAMPTON: BEST BOY BAND SINCE 1D! Also, “San Marcos” may be my absolute favorite song of the year.

Freedom’s Goblin – Ty Segall: a great double album covering everything from hardcore punk to folk to psychedelic rock.

KTSE – Teyana Taylor: Underrated R&B vocalist backed by old school sampled heavy Kanye beats.

Room 25 – Noname: live soul beats with unmatched lyrical wit.

Virtue – The Voidz: Strokes frontman returns with his best record since Room on Fire.

Golden Hour – Kacey Musgraves: Psychedelic country recorded in Sheryl Crow’s barn.

The Longshot – The Longshot: Green Day frontman solo album in disguise. If it were a Green Day record, it’d be their best since American Idiot.  

  1. Be The Cowboy – Mitski

The first time I heard this album, it was on the train into Manhattan with two of my friends. We were all listening to it and exchanging excited looks. The second time I heard this album was about two hours later and it was live. Seeing Mitski the day this album came out no doubt influenced my opinion on it. I didn’t care for the single “Nobody” until I saw her singing and dancing and realized it was meant to be sarcastic. Now, it’s among my favorite tracks of the year. This album is Mitski’s huge leap forward. Her last record, Puberty 2, was a great breakout album that cemented her as one of the most popular up-and-coming artists in indie rock. This album loses the grungy guitars, screamed vocals, and most other indie signifiers. It cements Mitski as one of the greatest artists of our time, full stop. Not just indie. Over 14 songs, and only 32 minutes, Mitski breezes through too many genres to name and often forgos standard verse-chorus structure. Sometimes, her lyrics read more like freeform poetry than pop lyrics. Yet this does not feel like an experimental album. It is as catchy and emotional as any of the best pop records. Each song conveys an incredibly detailed story in around two minutes. It is truly hard to pick highlights on a record as great as this, but “Remember My Name” is sung from the perspective of a lonely musician who wants her audience to keep her in their mind after she’s done performing. There is no way I’ll ever forget Mitski’s name after this album.

 

 

Written by Jonah Skeen ’21

Concert Review: AJR

AJR has been known for many single hits, such as the most recent “Weak” and “Sober Up”. AJR is a band composed of three brothers Adam, Jack and Ryan Met, who write and produce all of their songs in their own living room. They are a known band, but they still have the personal touch and small-scale concert environment.

AJR had only recently entered my radar of music. After hearing their hit “Sober Up,” I immediately started listening to all their other top hits and albums. So when my friends said there was a nearby AJR concert, I knew I had to go. They mostly played songs from their new album, The Click, and other older hits like “Pretender” and “I’m Ready”.

One of my favorite songs they played was Sober Up, because I love the chill beat and combination of acoustics and violin. The concert was very upbeat and AJR worked to really engage the audience. They performed a lively and entertaining show, including lots of dancing and lighting special effects.

Another great part of the concert was when they played a remix of The Office theme song and the crowd really enjoyed it. The energy throughout the concert was awesome as fans sang along to every song.

Seeing AJR live definitely made me like their music so much more, and the concert was an overall amazing, high-energy experience.

 

 

By: Victoria Dionisos ‘22

Concert Review: Mumford & Sons

On December 7th, at the Wells Fargo Center in Philadelphia, PA, Mumford & Sons performed for about two hours of sheer enjoyment. Even from their opening act (Maggie Rogers, a ridiculously talented emerging artist in the indie music scene reviewed by another DJ– read about her here!), I knew this was going to be an unforgettable experience.

Even though my love for this group has fluctuated over the years as they release each new album (it takes me a while to adjust to the changes in style), I’ve been a pretty big fan from the get-go. Honestly, my fondness for their usage of the banjo knows no bounds, and its absence in their later work hit me pretty hard. The titular album of this particular tour, Delta, also took a bit of getting used to. The banjo was still lacking, but the chill, sweeping orchestral nature of the tracks won me over.

They did a fantastic job of mixing high-energy jams with slower-tempo tunes, and the combination of their new music with fan favorites helped me understand why the mood of their newest album was made to feel so different. It’s calmer and flowing, and songs like “Picture You” and “The Wild” were a perfect fit among staples like “I Will Wait” and “Little Lion Man”. Regardless, the rhythm and soul behind each and every song was infectious, and any audience member could clearly see the group’s joy and energy throughout the entire performance. They were just enjoying themselves, and that made it all the better to watch. Even though I was up in the nosebleeds, I felt connected to the action below.

 

They gave it all they had and came across as so humble. The crowd around me was extremely responsive too, and we managed to make them laugh through some lyrics a couple of times. It kind of reminds you that they’re human, not just celebrities.

 

I was already a fan of the group before this concert, but I have an entirely new appreciation for all of the hard work that goes into their performances, and their genuine talent amazed me. Each band member played multiple instruments throughout the show, with lead singer Marcus Mumford actually playing the drums at one point while he was singing (an impressive feat).

 

 

I can’t stop listening to their albums now, and each song brings back the wonderful memories of that night. Everything sounds different, but in a good way, and I find myself smiling after almost every track. Seeing them perform these songs live has brought a new dimension to them that I hadn’t heard before.

 

But the best part? Getting to see someone absolutely shredding on a banjo.

 

By Nina Spoelker ’21

Thom Yorke – Suspiria

Singer, producer, frontman of Radiohead Thom Yorke, exhibits his known vocal beauty while also revealing extraordinary compositional production on Suspiria (Music for the Luca Guadagnino Film).

 

 

Radiohead’s talent is difficult to analyze, mostly because it all comes in the same package. Even though Philip Selway doesn’t sing, does he ever add anything to Yorke’s lyrics? Because Yorke is always the one singing, does he help with any production work? What does Ed O’Brien do? Unless there are solo works by members of the band, any sense of individual talent in the band could go unrecognized. The Beatles are a pretty obvious example of this; only after they split up was it proven that George was a way better songwriter than Paul (it’s true and you know it). Jonny Greenwood, an accomplished composer and orchestral writer, has scored every Paul Thomas Anderson movie since There Will Be Blood, and was recently given an Oscar nomination for his score of Phantom Thread. Now, Yorke’s decided to showcase his own style in the direction of a horror classic for the upcoming reboot of Suspiria.

 

As a listening experience, Suspiria is best with big noise-cancelling headphones and all the lights off. It’s supposed to be for scary movies, which it easily accomplishes; Yorke understands the power of ambience and noise to illicit pressure and fear. But what really makes this record stand out from a standard score is its diversity in texture. “A Choir of One”, a 14-minute experience, is in the same album as the one-minute “The Inevitable Pull”, a dense synthetic track that sounds like something bad is happening in the basement and you know somebody’s gotta investigate it. Tracks like these two compose the soundtrack-like-elements of the double-album, and while they are enjoyable in their own right, what keeps me coming back are the Thom-like-elements that feature Yorke’s vocals. “Suspirium”, one of the lead singles to the album, is a piano ballad that has Yorke floating with that golden falsetto of his over the instrumentation. Suspiria, a movie about a dance academy being run by a witches coven, finds its place in Yorke’s lyricism, as he says on the track, “This is a waltz, thinking about our bodies, and what they mean, for our salvation.” Moments like these are similar to Radiohead’s most recent album, A Moon Shaped Pool, although without any drums, guitars or heavy electronics behind him, Yorke’s vocals remain isolated, exposed for everybody to be confused about the true meaning of them.

Until the newest version of Suspiria hits theaters or streaming services, the greatest effect of Yorke’s effort is impossible to analyze. But, as a standalone ambient double-album, Thom Yorke has shown his beautiful artistry beyond just his gorgeous voice. Layered synths, experimental ten-plus-minute tracks, and spotlight appearances of Yorke lyrically create a fully realized world of tension and elegance that seems to make up Luca Guadagnino’s Suspiria.

 

Article written by Jackson Rhodes ’21

Shakey Graves ‘Can’t Wake Up’

Shakey Graves 2018 World Tour

Shakey Graves’ new album Can’t Wake Up (March 2018)

Last Tuesday night in Philadelphia, Shakey Graves performed at the Fillmore, accompanied by the Wild Reeds. Alejandro Rose-Garcia, an Austin-born native who renamed himself Shakey Graves in 2007, released his most recent album, Can’t Wake Up, in early 2018. In December of 2017, Shakey Graves posted on twitter “Next album. New sound. Sell your Suspenders.” Diverging from his traditional sound of folksy guitar and suitcase drum, Shakey Graves has explored a more risky, eccentric sound that molds his past with new experimental harmonies, themes, and colors. This 13-track album includes similar on-going themes by Rose-Garcia, such as the difficulty of love, fighting the contradictions of everyday life, and, most importantly according to him, blaming problems on other people.

The Wild Reeds at the Fillmore 

At the Fillmore on Tuesday, Rose-Garcia gracefully melded songs together to create a seamless performance. The mixing of songs old and new brought out the true fans in the crowd, who sang every word along with the 4-piece band. Not only was the sound perfectly thought-out and exciting, Rose-Garcia’s presence on stage magnified the eccentricity of the show. Shakey Graves’ songs have such character, and this is made obviously when one finally sees the Rose-Garcia perform. His facial expressions, movement on stage, and individual edits and reforms he makes to each song to better match his and the audience’s mood reflect his sense of self on stage. These small acts make the show that much better.

Shakey Graves at the Fillmore

 

Shakey Graves’ new album consists of popular hits such as Kids These Days, Counting Sheep, Mansion Door, and Excuses. His notable songs from Shakey Graves and the Horse He Rode In On (2017) are Nobody’s Fool, War Horn, Pay the Road, and If Not for You.    

Notable songs from And Then the War Came (2014) are Family & Genus, Perfect Parts, Only Son, Dearly Departed and Hardwired.

 

 

 

Shakey’s world tour continues throughout the year with the Wild Reeds. His music can be found on Spotify and his website shakeygraves.com, and his instagram handle is @shakeygraves. His music will shake you from beyond the grave!

 

 

 

 

 

Written by Julia Ormond (’19). Listen to my show, Tall & Small, Thursdays at 7pm where I play Shakey Graves and music like his!

WDCV Fall 2017 Review

WDCV Fall 2017 Semester Review

 

This semester flew by at WDCV! The fall of 2017 started off successfully as two new station managers, Justine Hayward ’18 and Julia Ormond ’19, organized and planned for the semester. The executive board, comprised of inventive and enthusiastic juniors and sophomores, tackled many events which ultimately lead to an overall awesome semester.

                     

WDCV had around 75 new DJ sign-ups during Activities Fair. The DJs stuck it out through training and information sessions, and got their shows a couple weeks after signing up. There were 30 newly trained DJs, 10 returning DJs, 14 exec DJs, and 18 community DJs, rounding out to 72 DJs in total broadcasting their radio shows throughout the semester!

                                   

 

Because we had so many DJs, we had a lot of exciting events. WDCV DJs provided music for Farm Frolics on the Dickinson College Farm in early September and hosted two successful Pop-Up Record Shops with our friend Dennis in October and late November. WDCV also participated in College Radio Day and First Friday simultaneously by DJing for those strolling through Carlisle on a sunny Friday afternoon. We compiled a playlist dedicated to the queer and LBGTQAA+ community for Out on Britton and collaborated with MOB to introduce their fall concert through the airwaves. WDCV successfully broadcasted live for a full day during our 24 Hour Live Event in late November and put on a concert in the Social Hall in early November to celebrate underrepresented artists from Lancaster and Boston. It was a huge success for all WDCV concert planners and concert-goers alike! And to end the semester on top, the station hosted a DJ potluck during the last week of classes to wish their DJs good luck on finals and a happy winter break!

                     

Outside of the many events that WDCV hosted this semester, the station continued to thrive as new DJs joined, awesome CDs were added as featured artists, and more people came to appreciate college radio. We can’t wait for next semester, and hope that you are all excited too! Thank you for a great couple months, and see you back in the station in January!

 

If you have any questions, email Julia Ormond at ormondj@dickinson.edu