ON AIR sign at the old Pirate Cat Radio (Photo: J. Waits)

The FCC released a list today, updating its statistics on the total number of licensed broadcast stations in the United States.

Based on this list, there are more radio stations today (14,952) then there were a few months ago.

The number of AM stations, FM commercial stations, and FM educational stations all increased since the end of September, 2011. The only categories in which there was a drop in the number of radio stations were FM translators/boosters and Low Power FM.

By the end of December, 2011, there were 87 more radio stations in the United States than there were at the end of September. FM educational stations (college radio, high school radio, public radio, community radio, and religious broadcasters) picked up the most stations and increased by 72. By the end of the year there were 10 fewer LPFM stations and 114 fewer FM translators/boosters.

As of December 31, 2011:

AM Stations:                         4,766 (up from 4,763 in Sept. 2011)
FM Commercial Stations:      6,542 (up from 6,530 in Sept. 2011)
FM Educational Stations:       3,644 (up from 3,572 in Sept. 2011)
Total Radio Stations:        14,952 (up from 14,865 in Sept 2011)

Not included in Total Radio Stations:

FM Translators and Boosters:   6,099 (down from 6,113 in Sept 2011)
Low power FM:                            838 (down from 848 in Sept 2011)

The 2011 survey team managed to contact 149 LPFM stations. Among the study’s findings: 31 percent of the stations reported no income from underwriting. Another 32 percent disclosed that between one to 25 percent of their budget came from underwriting. Nine percent acknowledged that 26 to 50 percent of their budget came from underwriting.

Bottom line: 72 percent of these signals reported that less than 50 percent of their income came from an underwriting source.

source: Prometheus Radio

“Based on the budget ranges provided by the stations which answered this question, we calculate the total number of underwriting dollars for these respondents as $947,000,” Prometheus’s Brandy Doyle writes. “If these responses hold for all LPFM stations, then the underwriting revenue for the LPFM service as a whole would be approximately $7,284,615. To put this in context of commercial broadcast radio advertising revenue, this number represents .0005% of the over $15 billion in revenue for U.S. commercial radio in 2010, a negligible amount.”

Thus, “LPFM stations are highly unlikely to have a detrimental economic impact on full power commercial stations.”

Why is this even a question? Prometheus filed the data in an FCC proceeding titled the “Economic impact of Low-Power FM Stations on Full-Service Commercial FM Stations.” Congress required the Commission to conduct the inquiry when it authorized more LPFM stations earlier this year. If you’ve been waiting for the National Association of Broadcaster’s shoe to drop, here it comes.

In its comments in the proceeding, the NAB wants the FCC to pay particular attention to the impact that new LPFM’s might have on commercial “niche” stations:

NAB agrees that some advertisers who now reach minority or niche audiences over commercial stations may divert their radio budgets to underwriting of LPFM stations. Even if that does not occur, however, a lowpower station that diverts audiences from a full-service station will reduce the full-service station’s advertising revenues because the full-service station may no longer garner as many listeners, regardless of whether particular advertisers choose to support the LPFM station. Particularly for full-service stations serving niche audiences, the loss of listeners may reduce advertising revenues to a point where the station is no longer financially viable or where it would be forced to change to a more mainstream format.

To which Prometheus responds:

The Commission’s role is not to protect incumbent stations from competitors, but to ensure that licensees serve the public interest. The LPFM service is relatively new, and has been hampered by restrictions that relegate LPFM stations to rural areas. It is our hope that both existing and future LPFM stations will continue to grow in their community impact, and in some cases, this growth will include larger budgets and increased revenue from underwriting. Such growth will likely create a positive economic impact in the communities where stations are located. In the long term, new LPFM stations may indeed have a positive economic impact on their full power commercial neighbors as well, by pushing radio to return to its roots of local community service and keeping broadcasting relevant.

WFMU is On the Air (Photo: J. Waits)

Today the FCC released two lists containing the total number of licensed broadcast stations in the United States. Despite the crowded radio dial, the number of licensed radio stations increased between June and September, 2011.

According to the FCC, as of September 30, 2011 (PDF), there were 14,865 radio stations in the U.S. That represents a 55 station increase since June 30, 2011 (PDF). Non-commercial educational FM stations (which include college radio, public radio, community radio, and religious radio) fared the best, picking up 59 more frequencies. AM stations decreased in number. Here’s a breakdown of the types of licensed stations, including separate tallies for LPFM and translators/boosters:

As of September 30, 2011:

AM Stations:                      4,763 (down from 4,770 in June 2011)
FM Commercial Stations:   6,530 (up from 6,527 in June 2011)
FM Educational Stations:   3,572 (up from 3,513 in June 2011)
Total Radio Stations:       14,865 (up from 14,810 in June 2011)

Not included in Total Radio Stations:

FM Translators and Boosters:   6,113 (down from 6,124 in June 2011)
Low power FM:                            848 (down from 852 in June 2011)

WZND Gets a Chance at LPFM

College radio advocates are protesting the loss of student-run FM stations. On campuses nationally, cash-strapped colleges and universities are selling or leasing stations to outsiders.  The new owners are not committed to students, but have other agendas with plans for public radio programming or niche music formats.  As broadcast licenses and studio equipment are lost; at best, students end up with Internet-only stations.

There is a counter trend and good news from Bloomington, home of Illinois State University, Normal.  Student-operated radio station WZND just became the recipient of a donated LPFM license from Rock in Victory Ministries (RIVM). On September 1, the Federal Communications Commission (FCC) approved the ownership transfer of WEWT-LP from RIVM in Bloomington to the Illinois State University Foundation (ISUF), accompanied by a change in call letters to WZND-LP. 103.3 will be the Low Power FM voice of Illinois State University students, reaching nearly 75,000 potential listeners with 83 watts.

Christian station WEWT-LP, which launched on September 21, 2004 with “positive pop, dance/techno, rock, hip hop, rap, metal and hard music” for a youthful audience, has recently been experiencing severe financial problems. Although the FCC forbids LPFM operators from selling their stations, an LPFM station can be donated to another non-profit organization.  As a result, RIVM gave WEWT to ISUF, which has the needed financial resources. While approvals of transfers normally take 50 days or longer; this transaction took only 44 days.

Low Power FM stations must be owned and operated by non-profit educational organizations with no other broadcasting interests.  Since ISU owns the news/blues/jazz public radio station WGLT-FM 89.1 and a translator on 103.5 in Peoria, the school is not allowed to operate an LPFM.  However, the separate ISU Foundation can, so it was through this foundation that the donation was processed.

ISU’s Student radio station WZND, which plays a mix of rock, hip-hop, country, and classic hits, is currently celebrating its 30th anniversary as a cable radio station.  It is also heard in the Bone Student Center and on the Internet.  It has a staff of 100, including 28 interns. With the donation of WEWT, the formerly unlicensed station now has an opportunity to broadcast terrestrially.

John O. Broomall, Sr., the founder and Senior Consultant for Christian Community Broadcasting, served as Consultant to Illinois State University Foundation in the above transaction.  CCB was founded in 2000, shortly after the FCC established LPFM.  CCB’s mission is to help churches, ministries, schools, and other non-profit organizations start and operate LPFM stations with consulting, FCC filing services, and RF equipment.  John also serves as Underwriting Manager for private NCE TV station WATC-DT 57 in Atlanta.  In addition, John and his wife Henri operate WPCG-LP 103.7 from their home in Canton, Georgia.

In a statement, Congressman Doyle said,

“The benefits of low power FM radio have been demonstrated time and time again. These stations have been instrumental in local news reporting, emergency response, and cultural enrichment. I hope the FCC will recognize these important values so that many more Americans, in Pittsburgh and all other cities and towns, can enjoy the richness of local radio.”

The 28 House members also urged the Commission “to ensure the licenses are awarded to truly local churches, non-profit organizations, local governments and schools.” Given that local ownership is strictly required by FCC for LPFM licenses one has to wonder if this isn’t a bit of a swipe at the networks of translators piping in distinctly non-local and distant signals which compete with LPFMs for space on the dial.

The deadline to comment on the FCC’s rulemaking on pending translator applications and the implementation of the Local Community Radio Act was Tuesday, September 6.

The National Association of Broadcasters slipped its comments [PDF] in Tuesday just under the wire, pretty much urging the FCC to reduce the priority of licensing LPFM stations in the most densely populated urban cores, while asking the Commission to process and license as many translator stations as possible before moving on to opening up LPFM licensing windows. In particular the NAB suggests the FCC rely on Arbitron markets for determining the availability of LPFM frequencies, rather than the currently proposed method which focuses on keeping frequencies available inside a city’s urban core. Using an Arbitron market as the geographical measure, the requisite number of LPFM-eligible frequencies may remain available, however they could be only on the fringes, unable to serve the city centers that were a priority for many of the Congresspeople who supported the Local Community Radio Act.

The Commission is now accepting replies to comments that have been submitted. This is when the sparks really start to fly, as LPFM advocates attack the NAB’s counter-proposal, and the groups hoping for new translator licenses return the favor. The deadline to submit these reply comments is September 20.

As we reported back in July, the purpose of this rulemaking is to set the implementation of the Local Community Radio Act, which expands the opportunity for more new LPFM community stations.

In particular the FCC asked for comments on how to proceed with pending translator repeater station applications, given that these stations can be placed on frequencies that are also appropriate for new LPFMs. The Commission proposes setting a “floor” for the minimum number of LPFM-appropriate frequencies that must remain available in a given market after translator licensed are granted.

LPFM advocacy group the Prometheus Radio Project has created a video that explains this proposal. Prometheus also has an “action” page for those who want help submitting comments to the FCC.

Kettle Falls, Washington

The city of Kettle Falls, Washington describes itself as 1610 Friendly People and One Grouch. All of them had an Low Power FM Radio Station, it seems.

“But was stolen after 2 years of operation,” writes Richard Walter, President of the Kettle Falls Radio Group, to the Federal Communications Commission. “Upon investigation it was found awaiting it’s use as a translator. No further action was taken.”

Walters’ letter doesn’t seem particularly grouchy. Why is he writing to the FCC now?

“Prometheus Radio has prompted us to tell you our story,” he explains. It also happens that the Commission has just proposed a new set of rules that would give LPFM licenses a more competitive chance over translator applications.

Walter describes Kettle Falls as a “tourist oriented ghost of a town, drowned by the Grand Coulee Dam. Our mission has been to bring modern communication techniques into this sunny patch of the state of Washington.”

His missive continues:

We (kettlefallsradio.org) are trying to provide our rural town with another chance at broadcasting a much missed signal. They (Prometheus) suggest and I agree, that new LPFM applications be given priority over past translator applications.

Kettle Falls Radio Group is a non-profit organization for education. We have a 10 year history. As to why we need this broadcast station, there can be no other assumption than it has gotten a lot of people excited about an opportunity to have a voice.

The applications for new translators–which are low-powered stations that may only rebroadcast the signal of a full-power station–would be processed for small markets and rural communities. In order to leave some space on the dial for new LPFM stations the Commission proposes dismissing translator applications in larger markets where new translators would fill up any last available space appropriate for LPFMs.

In 2007 the FCC froze the processing of 6,500 pending applications for FM translator stations because the Commission concluded that doing so would “frustrate” the further development of LPFM. It then established a limit of ten applications per applicant, which the Commission has now reconsidered. Instead, the FCC proposes a policy based on the availability of spectrum for LPFM on a market-by-market basis. This is in part motivated by a stipulation in last year’s Local Community Radio Act, under which the Commission is required “to ensure that licenses are available for LPFM and FM translator stations; licensing decisions are based on community needs; and translator and LPFM stations remain equal in status.” The change is also propelled by the recognition that a simple translator application cap likely would not preserve spectrum space for LPFM in the largest, most crowded radio markets.

In today’s proposal the Commission suggests a “floor” specifying a minimum number of LPFM frequencies that must remain available in a market in order for translator applications to be processed and awarded.

Responding to the FCC’s proposal, Brandy Doyle, Policy Director at the Prometheus Radio Project, said,

Today the FCC starts to redeem the promise made to thousands of community groups and national organizations that successfully fought to pass the Local Community Radio Act. The Act requires the FCC to ensure channels for low power stations, and we believe a market-specific solution could accomplish that.

Congressman Mike Doyle (D-PA), lead cosponsor of the Local Community Radio Act, said,

I am delighted to see that the FCC is moving forward to carry out legislation I championed for so many years. This is a major victory for community radio, and I urge the FCC to license as many LPFM stations as possible.

Are you a college/community/LPFM/unlicensed music show host? Does the show that comes on before you have an impact on your program, or your efforts to cultivate an audience? I ask now because I forgot to mention the question when I moderated a National Federation of Community Broadcasters workshop panel on great music programs.

I first started thinking about this issue back in the late 1980s, when I did substitute music show hosting at KPFA-FM in Berkeley. It’s an odd story. I took a studio board operation training class at the station with then operations director Jim Bennett. Once I got reasonably good at handling all the microphones, patch cords, tape reels, and turntables, I ran the board a lot at KPFA. I never developed much of a “brand” at the station, but I became someone who could fill in for other music and public affairs programmers when they didn’t show up. This sometimes happened in the evenings and weekends.

It was a short lived career, but I did notice something. It sometimes mattered what came before the show that I was presently helping or hosting. One day, for example, the previous programmer signed off by playing a song by an artist with whom I wasn’t very familiar. As I recall, it was late summer in 1988. The lyrics went like this:

Don’t you know, they’re talkin’ ’bout a revolution
It sounds like a whisper

While they’re standing in the welfare lines
Crying at the doorsteps of those armies of salvation
Wasting time, in the unemployment lines
Sitting around, waiting for a promotion

Don’t you know, they’re talkin’ ’bout a revolution

The host outrowed the tune with a breathy intonation of the word “Revolution!” and signed off. I then took over the board. My memory on this is a bit sketchy, but I think the evening’s entertainment was a pre-recorded show about Pete Seeger and other folk singers of that era.

As I sat there in the studio, all the phone lights started flashing. I knew that this couldn’t be about Seeger (no offense Pete), so I started to take them.

“What WAS that last song??” the first caller pleaded.

I didn’t know, I admitted.

“Please . . . ” the caller begged. “I have to find out!”

The next few calls went along similar lines, with the same desperate tone. So I ran out into KPFA’s main lounge, and there to my enormous relief was the previous host. I asked to see the last album he’d played, and wrote down the artist and the song title. I spent the next ten minutes telling callers who sang that song.

It was Tracy Chapman, “Talkin’ ‘Bout a Revolution,” I explained. People thanked me like I had just given them penicillin for their kid.

During those minutes, it didn’t feel like people were listening to the show I was board-opping. It felt like they were still listening to the previous show. Since then, I’ve wondered what other music programmers thought about the impact of what comes before their stint. So I’ve been asking around via e-mail and our Facebook page. Here are the responses I’ve gotten so far.

From Patty Oey, DJ Pax Humana, host of Searching for the Holy Grail, KFJC Thursday mornings:

My weekly show in on Thursday mornings from 6 to 10 a.m.  It is an eclectic mix of rock, electronica, jazz, folk, country, blues, international, psychedelic, soul, well…everything except metal. The preceding show is always a graveyard shift by a different DJ each week, so I’d have to say that the format of the show before mine really has no effect on me personally.  Since the grave shift (from 2-6 a.m.) is eclectic as well, and since KFJC is so diverse, it does not really matter that the shift from the grave to my show may be abrupt.

Karl Hauser, KFJC:

About the only thing I’m looking at when I come in to take over is what the previous DJ played in the last hour.  Our station policy is that if you’re not doing a specialty show, you have to play 35% of what’s in the Current Bin.  Sometimes I come in with a few tracks in mind that I really want to play out of current and I’ll check to see if the last DJ played them in the recent past.  Sometimes I’ll here something on my way in to do a shift that I think I’d like to play and then try to find something that is similar.  Since I try to arrive early, by the time I get it on the air, an hour or so may have passed.  Once I get to the station I stop listening to music and focus on pulling together what I want to play during my shift.  A few times I’ve had a moment or two of inspiration and have managed to get something on in a timely manner to compliment the previous song or two.

I consider myself to be a ronin (samurai without a shogun) here at the station.  I fill in when I can on the air, but I don’t have a regular shift.  Trying to cultivate an audience is something I really don’t give much thought to.  I like to think that there is someone out there listening, but unless they call in I have no way of knowing.  I try to remember to announce that I play requests (then I know someone’s listening).  I personally like trying to shoe horn in the request to the set or the music I happen to be playing.

The DJs here at KFJC are a pretty diverse group.  There’s lots of overlap but I usually don’t worry too much about what someone has played before my shift.”

Dave Foster:

I come on with an electronic music show right after Democracy Now. I find it hard to play celebratory music after hearing about how we spend Sagans on war and the FBI is spying on us. Occasionally I will riff on a subject like radioactivity or US imperialism in the Philippines. Yes there are tracks that reflect these themes, believe it or not. Maybe it’s a good thing to follow the news with entertainment that takes people’s minds off the burdensome stresses of the day. Or is it diffusive?

Anthony Bonet, KALX-FM in Berkeley:

Every programmer would probably like to feel that he or she exists in their own universe. Deejays who are lucky enough to be able to be allowed to program their own shows may feel that their particular aesthetic is so pronounced and so uniquely their own that their listeners will come to them irrespective of what precedes them. Anyone who has had to follow a “news special or a prolonged lacrosse tournament can tell you that an audience can vanish for many hours given the appropriate impetus.

If one were to think “in the usual way,” one might be inclined to say that a punk rock deejay leading into a classical deejay would not work. A more subtle analysis suggests that it depends on the audience expectations of the station. If an audience expects innovative, adventurous programming, a lead-in program that emphasizes a particular style of music – let’s stick with punk rock as an example – transitioning into a programmer who tends towards quieter instrumental pieces could actually work. I am one of the few deejays on KALX who regularly play “classical” music. I am preceded by one of my favorite KALX deejays who leans toward Joe Strummer inspired, political punk. He and I both get calls saying they love the combination of our two programs. What we have in common is that we both try to be thoughtful and creative each week and we do not pigeonhole ourselves.

If he plays the Clash at 8 o’clock, by 8:30 he may be playing a corny Henny Youngman routine. Likewise, if I’m playing Arvo Pärt at 9, I might be playing the B-52′s at 10. The challenge is to be diverse without being arbitrary and when programmers succeed, their audiences will stick along for the ride.

Natalie Sibert Freitas:

For a few years I did a show of “alt rock”, funk and more… it came after a show that was primarily Americana and old trad. rock. I felt like I could hear what little audience was there run away. Building an audience was also hindered by being on twice a month. (that’s the short version)

Phil Toole:

Funny that this is the topic. The show before mine on FCC Free Radio is a news/current events show while mine is an interview show focusing on Bay Area indie,and unsigned bands. Last week he suggested that we do a “Mr. Phil Songs of the Week” featuring the two bands appearing on my show. It’s a great idea that makes an excellent tie-in.

Shekky Brown:

my show on KUSF was from six to nine in the morning…the jocks before me usually did a great job of hooking the 4-5 AM listeners, especially dj zoe b…the fact that i have a pre recorded show intro that forcefully announces my presence on the air/internets also helps…when i was on radio free burning man, the situation was so drug addled and disjointed that it was a wonder that we were able to even keep a regular schedule…but we did, and the programming there could be light years ahead of what any college or community oriented station could dream of producing, no matter who was ahead or behind you…

Thanks to all the folks above who offered feedback on this question. If you have any further thoughts, feel free to leave a comment below.

Ever since the passage of the Local Community Radio Act, the big question has been how the FCC will deal with its backlog of applications for translator repeater stations. Translators are low-power stations that may only rebroadcast the signal of an existing full-power station, and can be fit in many of the spaces on the dial that could also accommodate low-power FM community stations under the provisions of the Act.

The answer to that question may soon be on the horizon. The Commission has an item on the agenda for its July 12 open meeting that addresses the issue. Unfortunately there’s little indication as to what the exact decision at hand might be. The agenda only says we can expect a “Notice of Proposed Rule Making seeking comment on the impact of the Local Community Radio Act on the future licensing of low power FM and FM translator stations.”

LPFM advocates are certainly hoping that the Commission will propose opening up a new application window for low-power stations first, while those with translator applications in the queue are hoping to be dealt with first. I suspect that the FCC’s proposed rulemaking will try to find some middle ground, if that’s possible. In any event, there should be a public comment period following the announced proposal.