Pensacola, Florida
Monday January 21st 2019


WUWF Coming Events & Programs

Monday, September 19, 2011
NPR Science Correspondent, Joe Palca
Our Energy Future: Lessons from Fukushima and the BP Oil Spill

They say three’s the charm and WUWF is counting on that. In January 2011, NPR Science Correspondent, Joe Palca was scheduled to visit UWF to celebrate our 30th anniversary and speak about new and alternative energies. Unfortunately, after a valiant effort to get here, and hours on the tarmac, the airports in DC were closed and WUWF had to cancel the event at the last minute. We tried again in April 2011, but that time NPR was compelled to cancel Palca’s visit, rotating reporters from the science desk to Japan to cover the on-going Fukishima crisis.

Remember the Avis slogan “We try harder”? Well, we’ve made the bold gesture of inviting Mr. Palca back a third time. NPR Correspondent, Debbie Elliott will introduce him and Palca plans to speak about his work at NPR and present his thoughts in a revised program he calls Our Energy Future: Lessons from Fukushima and the BP Oil Spill. The event will begin at 7 pm in the UWF Conference Center and will be preceded by tours of the UWF Science & Engineering Building from 5:30 – 6:30 pm.

There are no tickets or reservations for either the tours or the talk. Both are free and open to the public. The event is sponsored by WUWF Public Media, the UWF College of Arts and Sciences, and International Paper. For more information call WUWF at 474-2787.

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October 3 – November 11, 2011 at Gallery 88
Reception: Thursday, October 6, 5-7 pm at the WUWF Studios
Photography of Frank Brueske, Doorways of the French Quarter

How often do we pass closed doorways and wonder what is behind the closed door? One doesn’t have to wonder in New Orleans’ French Quarter. In what may be America’s most free spirited city, the doorways are always open – many of them 24-hours a day, 365 days a year.  You don’t have to guess what is happening around the doorways. The activity is all on display to observe with your own eyes.

Photographer Frank Bruesky has captured the spirit of the French Quarter in this exhibit of black and white photography taken over multiple visits to New Orleans.

Join us for a reception to meet the artist and speak with him about this intriguing body of work on Thursday, October 6, 5-7 pm at the WUWF Studios.

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Thursday, September 1, E-tickets on sale at
Thursday, November 10, 2011, 7pm at the Hilton, Emerald Coast Ballroom
WUWF Acoustic Music Series Begins with Hard to Hardt

For those going through live acoustic music withdrawal since WUWF’s RadioLive went dark in July, here is a great reprieve. For the coming season, WUWF will be presenting a quarterly acoustic concert featuring two musicians or groups each time.

The first concert in the series is scheduled to be held Thursday, November 10, 2011 with Ed Gerhard and Cliff Eberhardt – both well known to RadioLive audiences.

From Tokyo to Rome and venues across the US, Ed Gerhard’s music has touched audiences all over the world.  Performing on 6-string, 12-string, slide guitar or Acoustic Hawaiian Lap Slide, Gerhard captivates his audiences with virtuosity, generosity and sly humor.  Known for his gorgeous tone and compositional depth, Gerhard can move a listener with a single note.  Scott Alalrik of the Boston Globe said it best when he wrote “Gerhard does not write instrumentals. He writes songs only a guitar can sing.”

Gerhard’s relationship with the guitar began at age ten, when he happened upon classical guitar master Andrés Segovia on TV. He finally got his first guitar at 14 and his initial interest in classical guitar changed dramatically when he heard the music of bluesman Mississippi John Hurt. He took some informal lessons with friends and learned by ear, slowing down LPs to half-speed to pick out the tricky parts. At 15, Ed was already beginning to perform in local church basement coffeehouses, playing solo and jamming with friends. Gerhard moved to New Hampshire in 1977. Joining a thriving folk and acoustic music scene proved invaluable for the young guitarist. “There seemed to be no limitation on places to play back then, or more importantly, what you could play” says Ed. During this period Ed began composing and arranging music for solo guitar, using a staggering array of alternative guitar tunings.
Gerhard’s unique approach to the Weissenborn (an acoustic Hawaiian lap slide guitar) is playing a significant role in reinvigorating interest in this somewhat esoteric, but beautiful, instrument. Ed’s style of Weissenborn playing is unique in that he composes and arranges music for solo Weissenborn with beautiful melodies, complex chords and moving bass lines, unusual for an instrument that normally serves an accompaniment role. With Ed’s wily sense of humor and transcendent guitar playing the audience may be in for an experience ranging from the “sublime to the ridiculous” and back again.
In addition to numerous CDs of wide praise and acclaim, Ed’s guitar work can be heard on recordings by Arlo Guthrie, Jorma Kaukonen and in the Ken Burns films Mark Twain and The National Parks: America’s Best Idea.

Growing up in a musical household, Red House recording artist Cliff Eberhardt knew by age seven that he was going to be a singer and songwriter. As a child Cliff taught himself to play guitar, piano, base and drums. In his teens Eberhardt was fortunate enough to live close to the Main Point (one of the best folk clubs on the East Coast), he cut his teeth listening to the likes of James Taylor, Joni Mitchell, Bruce Springsteen, Howlin’ Wolf, Muddy Waters, Bonnie Raitt, and Mississippi John Hurt – receiving an early and impressive tutorial in acoustic music. At the same time, he was also listening to great pop songwriters like Cole Porter, the Gershwins, and Rodgers and Hart, which explain his penchant for great melodies and clever lyrical twists.

The Folk Music Society of Huntington New York calls Eberhardt one of the most original songwriters currently on tour, “a highly intelligent and articulate artist whose penetrating and profound lyrics are sometimes overshadowed by his extraordinary guitar playing. Upon close listening, the Philadelphia-born singer’s gift for the English language is abundantly clear. The words that tumble from his mouth are framed by a raspy yet deeply elegant voice.”

“If life were fair and stardom based on raw talent, Cliff Eberhardt would be a household name.”
—The Washington Times

All tickets are $20. All seats are general seating and the audience is limited to 200. E-tickets will go on sale Thursday, September 1, 10 am at

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More information on all things WUWF at or 850-474-2787