[Notes added October 23, 2026]
All the major record companies - RCA, Warner Bros., Atlantic, CBS/Columbia, MCA, Polydor, Arista, A&M - dissolved completely their Disco Departments by the end of 1979, defining the abrupt and absolute END of the Disco Era.  This was NOT an organic, natural occurrence, but a calculated determination to destroy the beauty and harmony that, by design, Disco symbolized.   Designer Music Disco was, with the most beautiful melodies, most extravagant arrangements and orchestrations, and most complex compositions and productions in all of music history, contrived by structure of its characteristic 4-4 timing to create harmony, replicating the harmony and organized structure of Nature, to elevate listeners and dancers by its high-frequency energy of sound to a realm beyond this earthly existence.  Into Satan's Abyss this "civilization" plunged in 1980, and back into the septic cesspool of the 1950s and '60s, only this time pushing beyond the boundaries of the camp and kitsch of that putrid timeperiod, but with continuous amplifying of the decomposing corpse of a former-civilization that 1980-to-present-day represents.  Upon listening to The World's Most Sophisticated Radio Show, just one show, just one fragment of a show, one cannot help but ask WHAT HAPPENED TO CREATE SUCH BEAUTY between the most severely mentally-retarded timeperiods of the 1950s/'60s and 1980s-to-present-day.  And one cannot help but ask the same question in encountering The World's Most Sophisticated Radio Show amid the squalid filth of radio, of all media, INCLUDING my host radio station, since 1980: the evidentiary proof of the rotting cadaver of this former-civilization.
ALL recording artists were made aware of the Holocaust that was about to ravage the Music Industry at the end of 1979: It was NOW OR NEVER if they wanted to express their talent in full-bloom, to perform their Last Hoorah: Natalie Cole, Andy Williams, Marlena Shaw, Barbra Streisand, Johnny Mathis, Al Martino, Bette Midler, Paul Anka, Ethel Merman, Aretha Franklin, Nancy Wilson, Les McCann, Shirley Bassey, Ann-Margaret, Ringo Starr, Cher, Sergio Franchi, Gladys Knight, Jack Jones, and many others made their 1979 performances the supreme coup-de-grace of their careers, released from their earthly chains, whose exuberant vocals sprang forth from their newly-energized spirit, concomitant with their works' grandest arrangements and orchestrations.  For the first time in their careers and never before since, their talent garnered wings, and took flight on the thrust of the most lavish melodies and productions of their careers.
What stands as the exemplar of this Last Hoorah is Jack Jones' Wives and Lovers.  One should, at the risk of ballistic emesis, listen to his 1960s version of the same title, with not only the characteristic 1960s simpleton "arrangements" and "production," but also the embarrassing lyrics: "Don't send him off with your hair still in curlers; you may not see him again"!   The absence of cerebral tissue to contrive such chauvinistic lyrics and below-kindergarten production work is incredible.  And the MONUMENTAL ACCOMPLISHMENT of Disco in elevating this garbage to the heavens through the 1979 Wives and Lovers exclaims the triumph of Humanity's Crowning Achievement.   Jack Jones' vocals on the first verse are moderately expressive, setting the mood, and after the bridge "Pour the wine... Start the music..." his vocals leap into animation with the building orchestration, a la Disco manner - with Walter Murphy arranger and conductor of the 100-piece Los Angeles Symphony Orchestra, Harry Bluestone, concertmaster - which by the conclusion EXPLODE beyond the stratosphere with orchestration on rocket fuel, together comprising a conclusion that absolutely defines the Disco Movement.   Jack Jones NEVER sounded so free - his soul finally liberated.
What would have propelled this production to the status of Trophy to the Disco Movement is to have implemented the converse of the 1960s simpleton lyrics.   This time, and at the apex of the Women's Liberation Movement, lyricizing with the reverse perspective: "Go back to her with the gift of a new gown... And plans to take her out to go dancing on the town..." and maybe entitled Husbands and Dancers.
Continuing the mix with The Robin Hooker Band's Stand by Your Man accentuates the theme, all of which completely nullified and transporting us back to the class and sophistication of 1970s consciousness with Alma Faye Brook's Don't Fall in Love.
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[Notes added October 10, 2026]
One of my signature mixes was performed this week on two different Barry Manilow recordings - Copacabana (At the Copa) and En El Copa.   The challenge in this type of mix is to run two different records (in two different languages, in this case) at the same time by the same artist, and alternate LIVE between the two, so that the end-result sounds like an original recording.  Why this is a special challenge is because, although the vocals are recorded on the same instrumental mix, the records are two different pressings, which ALWAYS means that they do not perfectly match from beat to beat.  And why this type of mix happens to be my innovation has direct relation to the near-impossibility of making it a success; and, even if anyone else could have thought of it, it would NEVER be attempted on a LIVE broadcast by anyone.   A couple details: While the record that is on-air at one moment, the other is "in cue," where, within a split-second, I "push" or "pull" the "off-air" turntable in order to match the beats and placement with the on-air one, and then bring that one on-air while bringing the on-air one off-air and into cue to adjust and match the beats, and back and forth, until I decide to end the mix.  This is the same process as that of another one of my signature mixes - "Disappearing Vocals" Mix - whereby I effect the same process, with one recording the vocal version and the other the instrumental version of the same song.  Someday, I will describe the extraordinary difficulty in this special type of mix, my mastery of which can be heard during the presentation of September 17, 2026 (Listen Here), with Earth, Wind & Fire's Boogie Wonderland , during which my intention was to spotlight the MONUMENTAL orchestration of this group's piece-de-resistance.

A couple hints on the integrity of a DJ's mixes, his/her mixing ability, and the DJ him/herself:
Variable-speed turntables make it easier than non-variable-speed ones to mix, but they also are tempting for lazy and uncreative mixers.  An easy way for a listener to determine the level of competence of a DJ is to play the beginning of a song in a mix, fast-forward to the end of that song, and make note on whether the two are of two different keys, as long as not a purposeful modulation of the song made within the composition.  If they are of two different keys, the DJ had adjusted the speed of the turntable during the play of that particular song in order to force-mix it with another song.  THIS IS A NO-NO, because it destroys the integrity of the original recording of the song and is an irritant to the listener, because more often than not IT IS AN OBVIOUS DISTORTION.
The half-hour mix beginning with Donnie and Marie's On the Shelf, at ~116 beats per minute (BPM), and ending with The Hudson Brothers Disco Queen, at ~130 BPM, is one of the many challenges I gave myself this week - an impossibility for anyone else.  This illustrates the point of my previous post on the multiple tempo changes within a song itself, never mind from song to song: Each song within the six songs that comprise this half-hour mix gradually increases its own tempo, which meets and joins the tempo of the subsequent song in the sequence to make a seamless mix.  One can listen to the beginning of any one song in the mix, fast-forward to the end of that song, and aver that the two pieces are of the same key; hence, no manipulation of the turntables to modify the original tempo of any song in the mix had occurred.
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[Notes added October 5, 2026]
General information on the process of constructing The World's Most Sophisticated Radio Show

First: To answer the many questions received through e-mail: Because the presentations are performed at Midnight, it is a bit difficult to present my full format, as was done years ago.  Efforts are being exercised to acquire my Prime-Time timeslot once again, at which time I can unveil my strict format stylings of my earlier presentations.  Please be patient during this process of testing equipment, performing an archeological expedition of the THOUSANDS of masterpieces in my repository, and working toward fulfilling my mission - "Education Through Entertainment."

Second: One must recognize and understand the magnanimity of what is being done through my presentations: NO-ONE in the entire world, during the DISCO Era or since has even attempted to accomplish such a task; that is, two-hour-long mixing live on the air of a 4,000-watt radio station without ANY preproduction work of any kind, as a matter of fact without ANY practicing of the mixes on multiple turntables with a mixer-board!   One's listening to recordings of radio shows and mixes on airchexx, soundcloud, mixcloud, youtube, etc. from the 1970s through today will verify that not only are those mixes completely preproduced, with, maybe, an occasional live overdub, but most are simple, straight mixes, from one song to another.

Third: There is not one song during the entire 2 hours of The World's Most Sophisticated Radio Show that is not remixed in some way.   Unfortunate it is that I was not in the industry during the DISCO Era to have access to the original tracks of History's Most Beautiful Melodies and Elaborate Orchestrations to perform my own mixes on these masterpieces.  My remixes are for the purpose of enhancing the beauty and magnificence of the original compositions, NOT - as do most online ego-driven creatures - desecrating and destroying the magnificence of the original compositions.  Over 80% of the time, my remixing is directly because the so-called Disco Mixer ended a song too soon; that is, the verses, sometimes only two, and bridges are completed within the first 2 or 3 minutes, and the rest of the song is what I call "orchestral filler."  Many people inquire on what "mix" or "version" I am playing on a certain song, because they do not have it and cannot find it.  It is because I might bring a song into a mix by the middle-break, allow some of the orchestral build to occur, which enables me to bring in the instrumental introduction, and then allow the first verse to occur, and then, on the bridge after the first verse, mix in the bridge AFTER the second verse, whereby I can mix in the concluding "orchestral filler," and allow that for a while, as we anticipate the arrival of the second verse and bridge complex.  The shame of it all is that THIS IS WHAT A DISCO MIX SHOULD BE, in the first place, AND WITH THE ORIGINAL TRACKS.  And, how about this: Have a third verse and instrumental interlude of the verse, bridge, and refrain.   And how about this, too: END THE SONG WITH THE "HOOK," THAT IS THE REFRAIN!
I cannot define how many times during the course of a presentation I am forced to construct MY OWN ENDING OF A SONG, because the "mixer" didn't have the mental acuity to fulfill this basic principle.  That is, I remix the ending to bring in the "hook" of the song again, making it the anticipated conclusion, during which I mix in the next song, wherein the previous song exits the mix with the "hook" on the mind of the listener.
A crying shame it is, and a loudspeaker on the value, intellect, and creativity of the Disco Mixer in his/her ability in taking, sometimes, 64 - at least - tracks of orchestral and vocal elements and mixing them into a cohesive composition that, with multiple breaks and builds, excites fully the listener and dancer onto a higher plane of existence.
This is one of the many reasons for, before and now, the existence and purpose of The World's Most Sophisticated Radio Show.
The other, near-20% of the mixes involve my unique "disappearing-vocals" mixes, double-beat "echo" mixes, phasing, and others.

Fourth: One of the predominant reasons that comprise why even the most "talented" mixers would not dare to even attempt to do what I do for any length of time, never mind two solid hours week after week, has basis in several major issues:
1. The foundation of the Disco Sound is beautiful melodies and extravagant arrangements orchestrated and performed by real individuals and NOT machines pounding fake drums, mechanized rhythms, and, of course, no orchestration.  This means that the orchestra conductor conducted the players, including the drummer(s) and rhythm players, causing the tempo to vary, even from beat to beat.
2. Written in the sheet music of all Disco songs is the number of purposeful tempo changes:
a. From introduction to conclusion, whose philosophical reasons align with the psychological and physiological; that is, as the builds of the orchestration as well as the vocal enhancements intensify the excitement of the composition, the tempo speeds up.  Some songs increase tempo by several beats per minute (BPM) from beginning to end.  So to try to anticipate a successful mix of an upcoming song at its introduction by testing whether the mix will work at the beginning of the song currently playing is a near-100% futile endeavor.  Confer Ashford and Simpson's Dance Forever, the first song of the playlist of August 20, 2026 (Listen Here), whereby one will almost take flight for the amount of energy expended in keeping up with the tempo by the song's conclusion, if the frenzy of the vocals and orchestration were not enough.
b. Within the songs themselves: Never is the tempo of a song's verses the same as that of its bridges or refrains, with some made to be obvious.   Confer Karen Young's Hot Shot, within the playlist of September 24, 2026 (Listen Here), whose bridge slows down by several BPMs in order to:
1. make a clear separation from the previous verse and accentuate the funkier orchestration
2. signal dancers on the dancefloor to change dance-moves/steps (This is where the house DJ would, maybe, flick on the strobe-lights, intensifying the excitement).

One can recognize very readily that all of this great effort in composing the most beautiful melodies, most extravagant arrangements, and grandest orchestrations is for the sole purpose of elevating the listener and dancer through the highest frequencies of sound to a higher plane of existence, beyond reality.  How many songs vocalize this with the theme "...Where the music takes me..." _______________________________________________________________________________________________________________

[Notes added September 17, 2026]
Another masterpiece of a presentation comprising individual masterpieces of melody, orchestral arrangements and productions, and recording and engineering to illustrate the absolute zenith of this "civilization."
One in particular - and only one of the many - is Earth, Wind & Fire's Boogie Wonderland.  All crossover groups, of course, couldn't accomplish Disco to save their lives, and, so, required masterful producers, arrangers, and orchestra conductors to take charge of the entire project in order to elevate the bands' mediocre status to their artistic pinnacle achievement.  Another incomparable production master, arranger, and orchestra conductor - Benjamin Wright, commanding the 100-piece Los Angeles Symphony Orchestra, with Janice Gower, concertmaster (See the gargantuan orchestra here) - took charge of the monumental feat of elevating this mediocre "jazz-funk" band to the one monumental moment in its entire history that exclaims its insurmountable height of artistic achievement.  One must listen to Boogie Wonderland hundreds of times in order to decipher the uncountable orchestral elements woven with excitement and yet elegance into this philharmonic fabric, and, on the bridge, culminating with the wild tenuto and pizzicato treatments of 50+ violins, 20+ violas, and over a dozen cellos, with blasting brass, wailing French horns, and an Earth-shattering slam of the high-hat on the drum-rolls.... A testament to what humanity can accomplish when tapping into the highest-frequency energies of one's internal divinity.
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[Notes added September 3, 2026]
In listening to the Miracle-Wonders of greatest melodic, arrangement, orchestral, and production masterpieces in all of music history, via the artistic and intellectual superiority of The World's Most Sophisticated Radio Show, one will immediately realize and understand that the revolution known as Disco was derived of a higher plane not of this realm.  It was the last bastion of class and sophistication, with many of the orchestra members direct from the big bands and orchestras of the 1930s and '40s, whose names one might recognize in reviewing the links of the major orchestras of the world, listed below, with a whole new generation of producers, arrangers, orchestra conductors, and concertmasters in their 20s and 30s, no less!  It is as if the army comprising thousands of orchestra conductors, concertmasters, and players, and the thousands of sound, recording, and mixing engineers, and Disco consultants knew that this would be history's - this entire civilization's - Last Hoorah.   At the end of 1979, ALL the major record companies dissolved their Disco departments; and, as a result, disintegrated as if never happened was the luxurious extravagance of symphony-orchestra sound; destroyed forever was the talent in creating the most beautiful and harmonious melodies, as an extension of the harmony of Nature; disappeared immediately and forever was the deep real Disco drums replicating the human heartbeat that cannot - no matter how hard one tries - be replicated today; and eliminated forever not only the immensity and complexity of the magniloquent orchestral arrangements but also the intricate and irreplicable methods of playing the various instruments themselves: bass, violins, violas, cellos, trombones, French horns, trumpets, rhythm guitars, orchestra drums, all concurrent with the destruction forever of the palatial paradises known as the discotheque, where fantasy became reality, and reality dissolved into fantasy.  The reason why we find ourselves listening to the insurmountable beauty of these songs hundreds of times is not only because one song is so complex in its structure and composition that it is actually a dozen songs in one, but also because there are so many tracks of instruments woven into this elegant fabric that, at one time we find ourselves paying attention to the masterful bass-playing; another time we are following the screaming-in-ecstasy of the violins; another time it's the liquid voice of the primary vocalist, and then the harmonies of the background vocalists that demand attention; another time we notice how the dialogue between the horns and strings actually replicates humans in conversation; and then the countless times we are caught completely off-guard by hearing something for the very first time, for example how a rhythm guitar is scratching in the left channel while an acoustic guitar is playing a counter-melody in the right channel, all the while hearing, through such ornamental orchestration, the snap of the snare-drum, reverberation of the deep bass-drum, and the echo of the handclaps!   And, then, out of nowhere, "I just heard what the cellos are doing during the bridge," one might exclaim.  It's as if, each time we hear a song, it's the first time we're hearing it... UNIQUE TO THIS MONUMENTAL ARTFORM.
Just one example: This morning's Les McCann's Just the Way You Are, a mediocre old tune elevated to embody the pinnacle of superhuman accomplishment, begins as a composition of delicate vocals, bass-playing, drumming, and orchestration from introduction into the first verse; transformed is the second verse with flaming bass-playing, orchestration, and drumming, with an adjustment, even, of the skin of the snare-drum to effectuate a plosive percussive on the downbeat; and, by the third verse, after an elegant orchestral interlude highlighting the multifarious arrangements, with the incomparable Paul Riser as not only the producer and arranger, but also the conductor of the 100-piece Los Angeles Symphony Orchestra - with Harry Bluestone, concermaster - the production crescendos into an orchestral inferno, with Les's impassioned vocals his supreme career-best, that only one with no soul could not be in tears and wearing goosebumps.  And, yet again, my perfect mix and choice of previous song - Martinez/Hernandez's If There's Love - to introduce this masterpiece could not have honored better both these representations of the absolute artistic apex of this former-civilization.  My choosing to conclude this half-hour mix at the bottom of the hour is because nothing could follow.

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[Notes added August 30, 2026]
In the face of the most BEAUTIFUL melodies and vocals, most EXTRAVAGANT arrangements and productions, and most MONUMENTAL orchestrations and productions in ALL of Music History, one will notice IMMEDIATELY the complete decomposition of this "civilization" since 1979! ...Brought to LIFE ONLY by

One will also hear very clearly that today's "orchestras" cannot hold a candle to the monstrous Disco Orchestras of 1974 - 1979, whose players of violins, violas, cellos, trumpets, trombones, French horns, tubas, and harps accomplished feats to which today's orchestra players could only wish to aspire.  Although many names of the numerous players are yet to be added, the incomplete lists illustrate the luxury of the melodic, orchestral, and production masterpieces of which they were a part.  And this does not even take into consideration the thousands of studio and individual rhythm players, recording engineers, mixing engineers, and Disco consultants, which were respective to the producers and arrangers of the individual productions:
New York
Philadelphia
Los Angeles
Detroit
Miami
Chicago
Nashville
San Francisco
Atlanta
Memphis
Toronto
Montreal
Quebec
London
Paris
Munich
Berlin
Milano.

High-Frequency Artform Amid Their Life-Destroying Frequencies The reasons why disco had to be destroyed, done so completely by the end of 1979, have become more and more clear as the years have elapsed since then. All cells within living organisms generate and absorb electrical frequencies specific to the function of the cells and relative to those organisms to which the cells belong.  Like higher-lifeforms, cells - in their generating and absorbing surrounding energies - can themselves be degraded or intensified in their performance, whose energy can then be further degraded or intensified as the energy is transmitted to surrounding cells, similar to how - on a macro level - people feed off the energy of others, as, for example a person in a bad mood can diminish the energy of others, and one in a happy mood can uplift the energy of others.  These cellular frequencies and the subsequent transmission of electrical energy elicit chemical responses within the cells, and then more chemical responses within the organ or tissue where the cells reside, which then manifests a whole host of chemical responses that not only influence but also determine the overall mood of the individual, which, down the line, influences the overall mental, physical, and spiritual health of the individual not only of the moment but through his/her entire lifetime.  On the cellular level, the actual science can be seen through what is known as the electron-transport chain, whereby food consumed by an organism and then broken down into its chemical components is done so in order that the electrons (translation: electrical energy) that comprise the atoms of the chemical components are exchanged within the batteries of the cells, which then fuel the manufacturing plants within each cell, driving their manufacturing of other chemicals such as neurotransmitters, enzymes, hormones, proteins, and so on.  Moreover, within the neurons of the Central Nervous System, including those of the brain, the electrical charge of each individual cell, then, is transmitted to neighboring cells, generating frequencies not only conducive to proper cellular performance but also responsible for producing electrical activities in whole brain regions that manifest in thoughts and ideas, and the resultant behavior of the individual. There have been those throughout history - with understanding of cellular frequencies and cellular harmonics - that have been hard at work in manipulating directions of societies through their manipulating of frequencies of individuals' cells, and they knew that the high-frequency brainwaves that are generated through the higher-harmonics of the beautiful melodies and intricate orchestrations of disco not only did not fit into their paradigm but also worked toward annulling their efforts.  Widespread destruction of disco, therefore, was necessary, and so disco was eliminated from formats of radio stations, and destroyed were the disco departments of all major record companies abruptly at the end of 1979, even with some of the stations top-performing ones in their respective markets!  The issue is: Disco is the veritable, absolute silver bullet in the black heart of the dead-of-mind-and-spirit black-souls of this world: After all, whose heart, mind, and spirit would not be uplifted by such happy music of such high-frequency harmonics designed to elevate the heart, mind, and spirit but those not in possession of a heart, a mind, and a spirit. One must research Tavistock Institute and Laurel Canyon Studios in order to gain greater insight into the purposeful devising of the hateful, destructive, low-frequency form of "music" known as rock and roll.  The mission of these black-souls was to control society by destroying the individual's mind, accomplished through, first, destroying the individual's brain-cells with low-frequency waves, and, second, imprinting the desired programming on the resultant "mind."  Rock and roll accomplished this with utmost ease, as it from the onstart attracted - as it still does - the lowest-level lifeforms with "brains" just inactive extensions of their spinal-cord - loving and even being energized by hate and destruction, as well as being mesmerized by the satanic overtones and ritual that stood - and continue to stand - as the hallmark of this new form of "music."  Rock and roll was forced onto the world-scene to drive citizens into a state of mental, physical, and spiritual sickness both on the cellular level by destroying brain-cells through low-frequency electrical energy and subsequent poor performance of cellular communication and on the macro level through the resultant ease of reprogramming of the populace and imprinting their specific psychopathic agenda.  And, like any other bacterial mutation of a brain-degenerating disease, rock and roll has mutated into various antibiotic-resistant strains known as punk, heavy-metal, hip-hop, and rap, all of which amplified beyond one's wildest nightmares to fulfilling the mission of the dead-of-mind-and-spirit black-souls of the planet and their satanic-promoting demon-freaks in the "entertainment" industry. So we revel in our recognizing what they are and what they are attempting to achieve.  And our living on higher-level energies by history's most beautiful melodies and intricate orchestrations defines our superiority over their dead-frequency, black-soul nothingness.  They, from the very beginning, have been envious - and, therefore, hateful and destructive - of our being able - without satanic inducement and without exogenous chemical dependency but with just the high-frequency harmonics of history's most beautiful melodies and intricate orchestrations - to thrive in our Island of Paradise in their nightmare world.

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Once Upon A Time, There Was Beauty And Harmony Once upon a time, there existed art.  And there also existed - even before art - the passion and intellect that would create art. The head of Casablanca Records in the 1970s ran his organization with the proud proclamation: "I will spend two dollars to make a dollar."  Art for the sake of art.  This same mindset was held by those in past centuries undertaking the building of the world's great cathedrals, most of whom at the onset having devoted their lives to the monumental projects with knowledge that they would never see even the foundations finished.  The Casablanca Credo spoke volumes on the general philosophy of the 1970s, the timeperiod culminating in the pinnacle of music, film, and television.  However, after reaching a pinnacle, just by definition of pinnacle, there exists a fall afterward.  And what a precipitous fall it was after the 1970s, lasting until present-day, with no end in sight.  Listening to "music," watching television, going to the movies emblazons the mentally-retarded filth that comprise these industries.  It is as if we are 4,000 not only ~40 years from the philosophical thinking of the 1970s.  Today's "film," "television," and "music" are infested with nothing more than DNA-degenerated, cerebrum-decomposed black-souls whose only talent is the corrupting and destroying of forgotten forms of art into mirrors of their filthy core, with no harmonious composition, no feeling, no passion, no humanity, vomited by lower-lifeforms genetically-degenerated with neither soul nor brain: the parallel of a dead society whose virtually only manufacturing is guns and bombs.  We had taken an inverted, inside-out, 180-degree turn from the philosophical-intellectual-spiritual-cultural apex of humanity and entered The time of history that defies parody.  This society, as represented by its entertainment, is a sick parody.  Future civilizations thousands of years from now will draw the scientific conclusion that it was the toxic chemicals, growth hormones, antibiotics, pharmaceuticals, nuclear waste, flesh-eating bacteria, and brain-consuming viruses and amoebas that were responsible for the widespread devastation to the genetic material of the once-human human-being.  One can imagine how the paramecium-brains in today's "entertainment" industry would react to hearing, for example, from the Casablanca label, Alec Costandinos' Synergy, 1979, with the 100-piece London Symphony Orchestra, Pat Halling and John Watson, concertmasters - akin to a paramecium's reaction to the magnanimity of the Pyramids of Egypt.  And to think that masterpieces like this were even conceived never mind composed, arranged, orchestrated, performed, recorded, mixed, pressed onto vinyl into the form of a disco single, and danced to by a society in history's poshest palaces of music and dance in their tuxedos, silk gowns, and designer jeans makes the whole timeperiod an untouchable, never-to-be-revisited dream.  The greatest compliment to our artform and the supreme affirmation to its intellectual and artistic superiority is the amount of energy still expended by the mentally-retarded filth in their continuing to disparage and trying to destroy its memory. The dumbing-down of the Dumb-and-Dumber Society began in the 1980s, the hallmark of that decade, a term that became standard in our lexicon during that virulent time, and has reached such a critical stage at this point that this society now holds the honor of being the most-retarded, -diseased, and -obese society in all of recorded human history - a true dumbocracy - and is the disdain of the rest of the world.  How and why did all of this happen, and at such an accelerated rate of speed?  How did the Money Machine take over so quickly that we now have in our lexicon "The 1%" and "The 99%," as if back in tenth-century Feudal England.  All emperors, rulers, dictators, and aristocracy of past civilizations, as well as those of today, have been and continue to be indoctrinated with the basic psychology of the ruling class: Maintain the Three Fs - Keep them fat and fatuous and fearful, with food and entertainment and an enemy, with Bread and Circus and an enemy, with a bag of Cheetos and American Idol and an "enemy," and they will not have the time or the brain power to realize their being the victim of the great Money Machine.  For the first time in this country's history, today's youth and their children will be bequeathed not their parents' inheritance, as in the past, but their parents' debt!  The Mayans, Aztecs, Incas, Chinese, Hindus, and other ancient societies wrote of this time thousands of years ago, stating that the bottom of the current 26,000-year cycle will take place on December 21, 2012, which is why all of their calendars ended on that date.  But, as they also stated - and as physicists during the 1940s had also foreboded would happen from their scientific examination - during the 1980s until 2012, and for the same duration thereafter, Earth and the rest of the solar system, on the way to the center of the Milky Way, would pass through the photon belt as it had many times in past 26,000-year cycles.  During this period, Earth and all the organisms on the planet will be bombarded with neutrinos, causing a great magnetic and chemical shift of Earth and, therefore, chemistry and physiology within the living organisms on the planet, the ominous portent of not only a great increase in extreme climate and ecological changes of the planet itself but also extreme chemical and electrical imbalance and the resultant hate, aggression, materialism, and militarism of humans on the planet.  The egregious consumption of the planet's resources for profit and power will take precedence over preservation of the planet and respect for other living things, respect of humans for even their children and the dying planet that they bequeath them, and, over all else, self-respect.  Sound and look familiar?  Destroyed became the soulful sensitivity and masterful artistry in the making of 1970s films such as The Black Stallion and Rocky, for we had entered the lightless depths of blackened soul and hateful militarism of the 1980s-to-present-day The Terminator; and how many sequels of this trash are we up to at this point?  And, as if we have not plunged deep enough into the bottomless pit of mindless artlessness by the decades-long staging of a sort of thematic "good" versus "evil," we have now "good" versus "good"!  Batman vs. Superman?!  And also Iron Chef and Food Wars and Cake Wars and Cupcake Wars?!  So we see that it was "written in the stars," so to speak, that the inevitable happen and continue to happen.  The summary is this: When a society for decades since 1980 strips funds from education, nutrition in the schools, the arts, music, and physical education, while at the same time pumping the war-machine whose purpose is to keep the smaller-and-smaller minds fearful yet entertained with the nightmare of "music," "film," and "television" since 1980, the result is the least-educated, most-obese, and most-sickly (mind, body, and spirit) society in recorded human history.  And, like bacteria, these organisms, without soul or brainpower for creative thought, destroy all that is different.  Hate is the byproduct of this bacterial behavior; and, with the brain as just an extension of the spinal column, the organism fears what is different, and what is feared is hated.  Because this cycle is a powerful self-reinforcing feedback loop, hate, then, becomes the fuel.  So, the greater the hate as product, the greater the hate as fuel.  Hateful, aggressive, materialistic, militaristic behavior - similar to that of out-of-control bacteria - is the result. The most common critique among my audience-members around the world during the production of my radio shows regarded my capturing the great artistry typical of the 1970s and my being the Antithesis of the current Anticulture.  It is with this sentiment that I am planning a return to the airwaves soon, as the process is underway to upgrade equipment for my demanding standards.  With a collection of melodic and orchestral masterpiece song-titles that no-one else's collection can come close to, my desire was then and is still to provide on-air documentation through my Museum of Melodic Masterpieces the time when there existed beautiful melodies and orchestrations because there was, once upon a time, harmony and beauty within the harmoniously-orchestrated life on Earth, and, therefore, the very reason to compose harmonious, beautiful music.  A society's artforms reflect not govern that society and its intellectual state.  How many of us will be around in 13,000 years during the next apex of the 26,000-year cycle when humanity will experience its next "Golden Age" can be determined, but those that have the mental capacity to understand these words and appreciate their collective meaning, those whose brains and genetic programming have not been consumed by the destructive Anticulture virus, can be ecstatic over their being among the highest elite of this current Age of Anticulture.  And, so, they can revel over and fly high with humanity's crowning achievement through my past and yet-to-be radio shows, knowing that the negativity perpetuated by those lowest of lifeforms should be given as much value as that of the virus that rendered them dead of mind and spirit. It is the most beautiful painting, sculptural, and architectural form that dominates all the world's "most beautiful" cities today: Roman Baroque, which was highly derogated during its inception in sixteenth-century Rome for its symbolism, too, for its representing the burgeoning of the human spirit against the spiritual asphyxiation of institutional religion.  Disco was and remains the symbol of the burgeoning of the human spirit of women, people of color, and people of various sexual orientations through the spiritual asphyxiation by the culture-bereft, brain-deficient 1950s/1960s society.  For the first time in popular-music history, women, people of color, and people of various sexual orientations and ages (some even in their twenties!) were members of and commanded the world's grandest orchestras, composed the most beautiful melodies, created the most exquisite arrangements, engineered the most extravagant productions in all of music history.  This was not to be tolerated and still cannot be tolerated by the lowest of lifeforms whose paramecium-level genetic programming dictates that they destroy all that is beautiful and harmonious.  Today, we can thank the masters Michelangelo, Bernini, Borromini, et al. for the unparalleled sculptural and architectural beauty that adorns Rome and is directly responsible for the beauty of today's Paris by von Haussmann, who demolished squalid old-Paris for the sparkling Roman-Paris that we see today; for the beauty of today's London by Wren, who refashioned medieval-London after the Great Fire into stately Roman-London of today; and that of today's Vienna, Austria; St. Petersburg, Russia; Washington, DC; and the list goes on.  Centuries from now, Disco will hold the same esteem for its expressing the liberation of the soul... through monumental composition of sound.

"Pick Me Up, I'll Dance!"  Listen to the masterpiece of melody, arrangements, orchestration, and engineering almost 40 years old! With its 100 tracks of violins, violas, cellos, harps, trumpets, French horns, trombones, tubas, saxophones, flutes, basses, drums, rhythm guitars, acoustic guitars, electric guitars, grand pianos, congas, bongos, and vocals, it is typical of the thousands of melodic and orchestral masterpieces that ended by the close of 1979, terminating the DISCO Era.  While listening, please note the multiple layers of intricate orchestral arrangements, intensified by the elegant engineering and the masterful disco-mix, especially at the middle-bridge, where the horns and strings (mimicking the beauty and harmony of Nature) conduct dialogue, first horns and then strings, and then coming together in synchrony to conjoin the refrain - masterpiece! Click for credits of the vocalists, arrangers, producers, orchestra conductor, concertmaster, orchestra members, engineers, and disco-mixing. Imagine the zombified braindeads in the "music" industry today trying to even recreate this, never mind create such beauty from scratch!  Today's evil black-souls do not have the beauty of the spirit to do so; that ended when the Disco Departments of ALL major record labels were destroyed at the end of 1979, and funding for local contracted symphony and philharmonic orchestras ceased, thereby ending forever the Disco Era.  No more dancing into euphoria in tuxedos, silk gowns, and designer jeans by magnificent melodies orchestrated to mimic the harmony of Nature: The 1980s percolated the fecal matter back up from the 1950s/1960s sewers, and the filth took stranglehold of the music industry, accelerating and amplifying their pestilence to result in the upside-down, backward, inside-out society that is the "norm" today.  Note the elegance and sophistication of the near-1000 (so far) album-covers in the Glamor and Splendor pages, all of which featuring those smiling, laughing, and on a natural-high that was the inspiration of the beauty of the music contained within the album-covers.  You will not be able to ignore, also, that those that turned into '80s evil, hateful soul-less freaks were forced by the sheer magnitude of beauty of the 1970s to shine in glamorous sophistication, for example, the 1979 album of Michael Jackson - barely 20s years old! - in tuxedo and smiling with dignity; 1977/78/79 albums of Grace Jones - barely 30 years old! - portrayed in beautiful watercolors; both of whom becoming the fossil-old, fecal-putrid, realtime nightmares characteristic of the 1980s-and-beyond culture-and-intellectual abyss.   One will get the impression through examining the photographs of these album-covers, while listening to the beautiful melodies and exquisite orchestrations, that it is a time that existed only as a dream.  It is virtually countless the number of people that have expressed via this website, through my radio shows, and throughout online platforms about their experiencing a deep anemoia for The Apex Of Human Achievement, The Disco Era... a deep longing for and connection with this timeperiod that evokes such a profound emotional and spiritual connection, despite one's not having lived through the timeperiod to experience it.

Comments from Listeners of The World's Most Sophisticated Radio Show - "Dear Dr. Rob, Considering the absolute filth and mentally-retarded that have taken over our "entertainment" industry, you are a miracle, an angel sent from Paradise. It is impossible for anyone of any intellect and sophistication to be able to listen to the radio, watch television, or go to the movies, as the viral infestation of these lower-lifeforms is prolific and thorough. Please return to radio and Internet audio-streaming. We need our angel back!" - "I still feel it an honor and privilege to have been an audience-member of your live radio broadcasts, Dr. Rob, and it is 10 years since your last show. I remember each week, amid the illiterate radio-retards up and down the radio-dial promoting the "music" of illiterate retards, being elevated to a plane high above this realm, with your magical presentations as my fuel. They are symbol of what humans can accomplish when supreme intellect combined with consummate passion are their motivation. I hope that someday you decide to return to the airwaves so that the growing audiences around the world starving for culture and refinement have more than just the small taste of several of your shows online and are able to have the honor that I once had. On behalf of all of the world's conoscenti of concerto, I thank you immensely with your own spellbinding syllables" - "Your supreme creativity in assembling music history's most beautiful melodies in your shows and album artwork in your Glamor and Splendor pages is a veritable Museum to Music! Your supreme artistry of words and knowledge both in your writing and in your speaking is a veritable Museum to Language! Your supreme artistry of your shows' production and engineering is a veritable Museum to Radio! We hope that you will grace the airwaves once again with your museum-pieces of production, Dr. Rob." - "I grew up in the ugly, cultureless 1980s, so I never heard any of these beautiful melodies. You can imagine my complete surprise to find these radio shows and how I could not even have imagined radio to be a form of art, like a dream! My friends and I often talk about what a wonderful time the decade of the 1970s was for so much beauty to exist, and the enormous creative energy that it took to compose, arrange, orchestrate, engineer, and produce these marvels. We are ashamed at our generation's forms of entertainment, especially music, and by those that cannot sing or play an instrument to save their sorry lives, but even worse for a whole generation and then some to be entertained(!) by those that cannot sing or play an instrument to save their sorry lives. There are MANY of us that yearn for that beautiful time, and for a true artist like you to deliver the beauty to us. We were DEPRIVED! You must know that there are hordes of all age groups that long for your amazing artistry once again on the air, and not only those that had the privilege of living during the time but also the many that are lovers of art and all things beautiful, including those of my generation and since. You are an inspiration, a phenomenon!" - "The sheer magnificence of these presentations is awesome and awe-inspiring, from the elegant elocution and poetry to the marvelous melodies and mixes. Just the fact that this superior intellect has devoted this much passion for this music affirms the intellectual superiority of disco! Thank you, Dr. Rob!" - "An artwork is measured by the amount of energy, passion, and emotion put into the artwork and the amount of energy, passion, and emotion elicited by audiences of the artwork. Your videos, your radio presentations, your poetic words, your website design, your style of writing, your historical analysis are all immeasurable works of art, Dr. Rob. You are the supreme artist! As you rhythmically rhyme for us" - "Every time you turn on the microphone, you tell a story, equating the role of the instruments on the melody with, for example, the role of the architectural elements to the composition of the the building as a whole, or the culinary elements to the composition of the dessert as a whole, or the astrological elements to the composition of the cosmos as a whole, or the biological elements to the composition of the human body as a whole, or... and on and on..... Just amazing! And on live radio, while you are mixing and remixing songs and playing jingles, and on and on.... You are the master magician, Dr. Rob! Our whole society is starving for the culture and refinement that you bring!" Radio - all of media! - is ennobled by your masterful art! The rest of media should bow in reverence. Your "sentences of sculpture" come to life" - "Your videos are MAGICAL... Your font is MAGICAL... Your speaking is MAGICAL... Your music and mixes are MAGICAL... Your jingles are MAGICAL... Your whole presentation is MAGICAL, MYTHICAL, MYSTICAL, MAGNIFICENT! Your productions stand as proof of humanity's worthiness of redemption. Those in media should bow in reverence to this "magician on a mission"! As the "magician on a mission" says" - "Your superior intellect, your superior command of the language, your superior poetic artistry, your superior audio artistry, your superior video artistry, your superior mixing ability, your superior musical taste, your superior radio mastery all come together to complement this superior form of music. Thank you forever for being the only proof that we need that disco is the intellectual and artistic superior form of music, for no other form of music has the power or artistic merit to attract your superior persona, Dr. Rob! Period!" - "Thank you, Dr. Rob, for standing as the beacon pointing humanity to redemption! With the backdrop of a beautiful melody and lush orchestrations, we hear" - "One can only be stunned and amazed at the wondrous MAGIC of these perfect presentations - the style, the poetry, the cadence, the music, the mixes - MAGIC and MAGNIFICENT! And we can only hope that one day you will return to the airwaves so that we can be audience once again to these broadcasts as they are presented live. Thank you for being a true artist, Dr. Rob, for you have created a unique and inimitable grand opus that will forever stand as testament to humanity's crowning glory!" - "Too bad that most of today's society is too retarded and classless to understand any of this, even the concept. But know that you do have appreciators of your incredible work, Dr. Rob. We thank you endlessly for your "wondrous wizardry"" - "Today's "musicians," "rappers," and "media" brain-deads could never imagine our language and forms of media to be so beautiful. These radio shows stand as the testament to what a human with a superior intellect and refinement can produce! Bravo, Dr. Rob!" - "Nothing can bring us to a higher plane than history's most beautiful melodies enriched by the plush orchestrations and angelic harmonies of humanity's greatest achievement in all of music history - disco. Not only do we have history's greatest composers, arrangers, producers, orchestra conductors, orchestra members, engineers, and mixers before our very ears to prove it but we also have media history's greatest presenter to display these music masterpieces in the most artistic fashion ever even imagined! Thank you, Dr, Rob!" - "Amid the shame of our current anti-culture, whose media-rot defame our language and reduce it to putrid ugliness, here lies proof that English can be sculpted into beautiful forms evoking splendid images, and on live radio!" - "These masterpieces of production stand as testament to the fact that the English language can not only be made to sound beautiful but also be transformed into veritable art. Our communication-tool - so assaulted and bludgeoned by the sludge of society in today's "music," television, and film industries - is sculpted into wondrous images" - "Your taste, your mixes, your speaking poetry inside whirling orchestration - Incredible! Your special mix on "Pillow Talk" brings the song to a new height!" - "Your artwork, your font, your elocution, your cadence, your music, your mixes, your written words on your website are all perfectly defined by your show's name: MAGIC! The rest of media - all of society - is shameful in comparison." - "We KNOW that this is humanity's superior form of music by the fact that this superior intellect has magically materialized this superior radio broadcast! These shows redeem humanity" - "These radio broadcasts vividly illustrate that only a superior intellect could produce such monumental art of words and presentation: the music, the mixes, the poetry, the choreography of it all, and on live radio, no less!" - "Who would - even could - have thought that radio could be art. These shows are magical, mystical, MONUMENTAL!" - "That one is able to transform that vile wasteland called radio into pure art is a magical feat in and of itself, but to do so with such beauty and artistry is genius! The command of the language, the elocution, the orchestral and melodic masterpieces, the mixes, the jingles, the style that brings it all together form the ultimate "disco mix." Magnificent." - "The glamor, the splendor, the sparkle, the polish, the finesse that exemplify the Disco Era are brought to life in these magical presentations by you, Dr. Rob. "The World's Most Sophisticated Radio Show" is the greatest understatement of the millennium, and to think that that vile medium called radio was once ennobled by your presence! And, now, the embarrassment called Internet Radio: Could media get any worse? We long for your returning to the airwaves, Dr. Rob." - "Today, the time-period populated by the most-obese and -retarded society in human history, when it is fashionable for "men" to wear their beltline down to their crotch and walk around looking like 2-year-olds with a fresh load in their diaper, and "women" to wear fake glitter-nails, fake hair, and hiphugger jeans with their obesity overhanging like an obscene animated bran-muffin, and whose entertainment is performed by lower-lifeforms having just crawled out from the slime with their pierced and tattooed bodies, 100-word vocabularies, and "singing" sounding like mating cats, we know that we are at the absolute bottom of the 26,000-year cycle that the Mayans and Ancient Egyptians described. So, too, we know to recognize the source on any criticism today against the 1970s or disco for what it is: hamburger fat and french-fry grease for brains. Furthermore, for disco to appear like a supernova between the two lowest-class time-periods in history - the 1960s and 1980s, the decades that define the terms mental-retardation, camp, and kitsch - the miracle of the 1970s speaks volumes through the most beautiful melodies and extravagant orchestrations that popular music has ever produced. No-one but one of superior intellect and perfection of artistry could do justice to this supernova known as disco in the black sky of music history, so it would have to be you, Dr. Rob. Thank you for being the one, the only one! Your wondrous words express it all" - "What can be said about pure perfection of art and intellect. A copy of just one of your weekly presentations would be enough to insert into time-capsule in order to prove to future generations that intelligent life on Earth did once exist! Thank you, Dr. Rob, for being the paragon of perfection! Your May 23, 2003 presentation would be my choice, with the immense orchestration of the Los Angeles Symphony Orchestra, Gerald Vinci, concertmaster, for Paul Anka's Never Get to Know You" - "Yes - "The Pride of Planet Earth." Amid swirling strings and belting brass of Joe Long's mighty orchestra, The New York Philharmonic Orchestra, Gene Orloff, concertmaster..." - "Surrounded by f-words and vulgar language by the refuse of society and their turning our language ugly, vile, and detestable, we have before us a media miracle. "Rappers" and "musicians" today do not possess the brain-power even to be embarrassed. Just the concept of this formula for a radio show is sheer genius, but to execute it is miraculous - MAGICAL! How you sculpt your words into images and make us pay attention to the orchestral elements delivers us into a higher plane of emotions. Your shows themselves are disco mixes! Orchestral-psychological masterpieces! To choreograph all of this into fantastic mixes of history's most beautiful melodies and richest orchestrations into masterful art on live radio is far beyond what this planet has ever and could ever produce! As your words magically bring to life" - "That radio and now the Internet can be elevated to the supreme height of beauty by unparalleled poetry and rhapsodic radio artistry with the backdrop of music history's most magnificent melodies and orchestrations is all we need as proof of the absolute superiority of disco! Dr. Rob reigns! As your mastery describes" - "Right on the beat! - ...Metaphorizing with my melodious meteorology On humanity's crowning-glory... And, by the might of my speech, like the role of the weather, To the heights we reach, as the soul is a feather... Masterpieces of words and poetry amid perfect radio choreography, and on live broadcasts?! You put all others to pitiful shame!" - "Your logic is flawless (paraphrasing from your website): The true greatness of an artform can be measured by the amount of energy expended by its detractors in extinguishing the artform, for, if the artform were insignificant, there would be no need to extinguish it. It would fall on its own accord. To witness throughout the years the bacterial behavior by the mentally-retarded filth of society against disco is to have reaffirmed for us the artistic and intellectual supremacy of the artform devised by the premier orchestra conductors, arrangers, producers, and musicians of all of music history. And, because of their bacterial nature, these lower life-forms, through their self-acknowledged inferiority, must eliminate the artform that highlights their pestilential worthlessness. Thank you for your existence, Dr. Rob! You and your art are flawless!" - "Just by virtue of the fact that this insurmountable intellect with his perfection of diction, style, and presentation pays tribute to this art-form speaks interminable volumes on the superiority of this form of music. And, in contrast, that the characteristic lower life-forms are attracted to other forms of "music" reinforces and affirms disco's intellectual and cultural superiority. As your magic, Dr. Rob, materializes into words" Bravo!" - "If those in the media were in possession of 2 brain-cells, they would hide in shame in the presence of these masterpieces of production. Our language itself is made into art"