If You Live in Chicago, Help Driftglass Take on Michael Savage

Driftglass is organizing a letter writing campaign to the advertisers on Chicago's hate radio station WIND. If you live in the area, help him out. Here's why:

Remember, if you choose to contact any or all of the organizations on the list;

1. Polite but firm works best to accomplish what you are trying to do.

2. This is not a Free Speech issue. Like any other American, Michael Weiner Savage is free to vomit his lunacy in letters to the editor, or on his preferred street corner, or on a blog, or scrawled in his own shit on his bedroom walls.

Instead this is about Disinvestment. This is about demanding that companies which choose to invest their advertising dollars in despicable organizations like WIND either stop doing what they are doing, or publicly affirm that they do indeed support the unhinged ravings of Michael Weiner Savage.

Because in the Age of Dubya, there is no third choice.

My favorite unhinged raving by Savage:

After Vice President Al Gore won the Nobel Prize:

"90 percent of the people on the Nobel Committee are into child pornography and molestation...."

Go help driftglass.

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One of the advertizers is the Elgin Symphony Orchestra. A symphony orchestra? WTF? Do they think that WIND is the local NPR station?

I'd rather see someone hire a private detective to see if Savage is really the closet case a lot of people suspect he is, and we already know he's a quack from his career as an herbalist. I don't want him off the air -- I want him thoroughly and irrefutably shamed.


You'd be surprised how many rich old white racists have a love -- nay, fetish -- for classical music. I suspect that they mostly see it as something "untainted" by lesser, browner hads. In fact I'd put money on that being the reason behind all the "Mozart Effect" hype of the last ten years. Me, I listen to classical once in a while. I also listen to jazz and Motown once in a while.

In southern California, at least, the audience for classical music includes a rapidly growing Asian contingent. It might have something to do with the flood of gifted Asian soloists, or it might simply reflect the local demographics. We also get regular doses of Takemitsu and Tan Dun.

There is, nonetheless, a shortage of African performers and composers and African-Americans are a relatively small fraction of the classical audience here.