Radio Survivor

Last week’s Intercollegiate Broadcasting System conference (IBS for short) kicked off the music and radio convention season and there appears to be no end in sight for broadcasters and music lovers over the course of the next few weeks.

If you’re hoping to immerse yourself in music, bond with broadcasters, or geek out about the intricacies of specific music genres; then there’s at least one conference or festival for you in the next 4 weeks.

Here are some options:

SXSW in Austin, Texas (3/12-3/21/10):

This massive music festival in Austin has expanded in recent years to include a film festival and interactive conference. If you want to see tons of bands, sessions about music, and hear about the latest in technology, then you’ve got to get to Austin. Radio stations from all over the country also flock to Austin to do live broadcasts and to host showcases, including college station Radio K (Minneapolis) and community radio station WFMU (New Jersey).

From March 17-20th, 7 different college/public radio stations (KCRW, The Current, KEXP, KPFT, KUT, KXT, and WXPN) will be participating in live daytime music showcases at The Day Stage Cafe. You can even catch a short film, Peter in Radioland, in which old-school radios have a starring role.

College Broadcasters, Inc. (CBI) Convention in NYC (3/14-3/16/10):

If you are working in any form of college media, from radio to television to journalism, then this is the convention for you. It’s held in conjunction with College Media Advisers (CMA). To get the full scoop about what’s in store, take a look at my interview with the folks behind CBI and the conference.

International Association for the Study of Popular Music (IASPM) Conference in New Orleans (4/9-4/11/10):

This is THE conference to hit if you are a music academic or simply enjoy dissecting the intricacies of music, musicians, or genres. Over the years I’ve seen fascinating presentations about Japanese noise, the history of turntablism, and the connections between metal and classical music. Usually there is a paper or two related to radio.

The NAB Show in Las Vegas (4/10-4/15/10):

The big National Association of Broadcasters event in Las Vegas includes a number of mini-conferences as well as an exhibition floor. There’s a Broadcast Management Conference, radio luncheon, as well as sessions geared towards digital media professionals. If you want to be a fly on the wall for free, take a look at Spinning Indie for a complimentary pass to the exhibition floor.

Experience Music Project (EMP) Pop Conference in Seattle (4/15-4/18/10):

This annual conference (which is FREE) is a chance for academics and music journalists to bond over their love of popular music. This year’s theme, “The Pop Machine: Music and Technology” lends itself to discussions of radio; with far more papers about radio (including a few topics related to radio history, a paper on Mexican radio, one on radio as an instrument, another about radio commercials) being presented this year than I’ve ever seen at this conference. There will also be presentations about Lady Gaga, girls’ rock camps, cassettes, vinyl, Pandora, auto-tune, and the Vocoder (to name a few).

Broadcast Education Association (BEA) Convention in Las Vegas (4/15-4/17/10):

A conference for broadcast media educators and practitioners, this definitely has an academic slant to it. This year’s research symposium focuses on papers about the intersections between sports and media. They also have a Festival of Media Arts, which includes a student media competition. Here are some of the winners in the “audio” category. There are also panels related to student radio, sessions geared towards careers in radio, and some that look at specific stations both in the U.S. and abroad.

The FCC opened up an important licensing window for new noncommercial FM stations in 2007, announcing the first round of license winners in 2008. However another 59 licenses remained up in the air due to the Commission needing to pick a winner amongst competing applications. The FCC announced those winners on Tuesday [PDF].

The Commission uses a point system to judge which group should receive a noncommercial FM license amongst multiple competitors. The system awards points with preference to candidates that are locally headquartered with an “established” presence, do not have a controlling interest in another nearby station and which propose to serve the largest number of people.

For the first time the FCC had to contend with applicants who are currently running low-power stations. Because the operators of LPFM stations cannot also operate full-power stations, the Commission will require these operators to give up their LPFM licenses before signing on with their full-power stations. In order to make sure their communities are not deprived of service any longer than necessary the Commission is allowing the LPFM stations to petition to maintain broadcasts until they are ready to begin test broadcasts with their full-power stations.

A total of nine LPFM station operators were in competition for licenses nationwide, and of these five won. Two winners are stations that have been operating as traditional community radio stations: Radio Free Moscow in Moscow, Idaho and Berkshire Community Radio in Great Barrington, MA.

Radio Free Moscow (RFM) edged out Fire Media Corporation and Country Roots Preservation Group based upon RFM demonstrating that it is an “established local applicant,” which neither of the other contenders claimed. Berkshire Community Radio (BCR) won out over the University of Massachusetts and Home Improvement Ministries. BCR and UMass both scored the same number of points, which required the FCC to use “tie breaker” criteria. The first tie-breaker criterion prefers the organization that has fewer licenses in other communities. UMass operates WBCR in Boston, while BCR, as a LPFM, operates no other, which resulted in BCR winning this competition.

Amongst the rest of the licensees [PDF], seventeen appear to be obviously religious groups, three are universities or colleges, two are primary or secondary schools, two are established public broadcasters and one is a Native American group. The nature or affiliation of the other licensees can’t be easily discerned from their names.

These awards are considered tentative because will be an opportunity for the filing of petitions to deny a license to any of the winners. However, in practice, such denials rarely occur.

As we wrote last week, radio has played a vital communications role in Haiti in the weeks following its devastating earthquake last month. But what we didn’t cover in that story is the sad state of some Haitian community radio stations which have suffered major damage to buildings and equipment.

According to a series of articles on the Committee to Protect Journalists (CPJ) blog, community radio plays an important educational role for Haitian citizens. By broadcasting native language programming it is serving a rural population in which 80% of homes are said to contain radios.

A post from last week reports that,

“In the western and southeastern parts of the country, at least 16 stations are facing serious problems that have suspended their broadcasts, Sony Esteus, executive director of SAKS, a local organization of community radio stations, told CPJ. The earthquake obliterated SAKS’ office in the Bourdon neighborhood, east of Port-au-Prince.”

In a post this week, CPJ shares some video of the destruction at the office of community radio organization SAKS, as well as footage from a destroyed community radio station in Fondwa.

Take a look at CPJ’s entire blog series on Haiti to find additional stories about the role that radio is playing during this crisis and to learn about the state of several other radio stations.

In January of 2000 struggles over the management of the Pacifica Foundation were at a fever pitch. As the owner of five major community radio stations in New York, LA, Berkeley, Houston and Washington DC, as well as the national Pacifica Network, the Pacifica National Board and its executive director were accused of orchestrating a corporate-style consolidation of power and censoring on-air content (for more on that read RadioSurvivor Matthew Lasar’s Uneasy Listening: Pacifica Radio’s Civil War). It was this latter charge that prompted a strike by the group of freelance reporters who contributed to the daily half-hour syndicated Pacifica Network News (PNN). Shortly thereafter the reporters formed a collective to produce their own daily news program, Free Speech Radio News (FSRN).

The station where I volunteered then, WEFT, picked up the program almost immediately, replacing PNN in its schedule, as did a bevy of other community stations. These decisions were driven as much by conflicts between affiliates and the Pacifica Network as they were by solidarity with the striking reporters.

FSRN is my #1 radio program because I have deep respect for the integrity of the organization and the program itself. I’ve been listening since the very start, and even then it showed itself to be very different from any other radio news program in the US. Operating as a worker-run collective, FSRN features reporters from all over the world, many of them reporting on events in their home towns, states and countries. As a result on any given edition of FSRN you will hear a diversity of voices from people of a wide range of backgrounds that stands in contrast to virtually any other radio news program. You will also gain a perspective that differs from that of an American reporter who parachuted into a crisis zone, may not speak the local language, and is otherwise separated from the local people except for those hours when s/he’s actually on the ground.

Showing its roots in the Pacifica Network, FSRN carries forward with a social justice mission, focusing on stories about people and issues that are largely left out of the mainstream news–whether its CNN, FOX or NPR. When reporting on national or global events that are also covered in the mainstream news, FSRN makes an effort to seek out unheard perspectives. For instance, this past week the program featured reports about residents living outside Port Au Prince in Haiti who are receiving less aid than those in the capital, and about activists’ expectations for the president’s State of the Union address.

The strike that created FSRN ended in March 2002 when the program joined the Pacifica Network, gaining both funding and better distribution via Pacifica’s satellite network. That happened shortly after Pacifica pulled the plug on its own PNN. Since then FSRN has continued to bring well-reported truly alternative radio news to 104 noncommercial community and college radio stations.

In 2008 the financially strapped Pacifica drastically reduced its financial support of FSRN, forcing FSRN to rely more heavily on listener donations. That the program has been able to survive is a testament to the resolve of the reporters and the great value its listeners place on this one-of-a-kind enterprise.

If you’ve never heard Free Speech Radio News I strongly encourage you to find it on a local station or listen online.

One of terrestrial radio’s many benefits is that is has the capacity to be a resource for the local listening community. Since in recent years there has been less and less local content on commercial stations, there’s a great opportunity for college and community radio stations to put even more emphasis on the needs of the listening audience in one’s backyard.

My all-time favorite local radio show is on the community radio station KZYX in Philo, California. “Trading Time” is call-in swap show (airing every Saturday morning from 11am to noon) that allows people in Mendocino County to advertise goods for sale, rides needed, or items that they are looking for. It’s like a community bulletin board on the radio (or a live version of Craigslist).

The folksy hosts of “Trading Time” introduce callers, repeat details about the various items for sale, and read off emails and snail mail-delivered listings that have come in from other neighbors. Although on the surface listening to a bunch of people calling in with items to sell or trade might sound mundane, there’s something about the show that is riveting. It provides a real slice of life for the local community and you get to hear a cross-section of folks sharing news of what their current list of cast-offs might be.

Someone might call in offering an old truck. Another caller could be seeking a ride to San Francisco. And yet another might be looking for a couch. In addition to calling in live during the show, members of the community can also submit their listings of items they’d like to buy, sell, trade or barter to the station by snail mail or by using an online submission form.

If you don’t live near Philo, similar shows air all over the country, including the following:

KSCJ 1360 AM in Sioux City, Iowa:  KSCJ Swap Shop is on the air Saturdays and Sundays

WJXR 92.1 FM in Jacksonville, Florida : Swap Shop airs Monday through Saturday mornings

Mid Kansas Radio in McPherson, Kansas: Swap Shop airs daily. You can also check out some of the daily listings on their website. Today they’ve got free puppies and someone is looking for a lava lamp.

WGNS Talk Radio in Murfreesboro, Tennessee : Swap ‘n Shop has been on the air since 1947! Some of the latest listings include hay, pit bull puppies, and a “wheel barrel” for sale and someone who is looking for help fixing their “fridge.”

KGAS in Carthage, Texas: KGAS Radio Swap Shop is on the air weekday mornings. Callers can list up to 4 items in 30 seconds. No firearms allowed and only clean and sanitized mattresses.

Late night has always been a special time for radio, ever since station owners decided not to turn off the transmitter at midnight. Now that it’s no longer necessary to have a live human being operating the station during all the hours it’s on air, commercial late night radio is mostly a bland mash of automated music, syndicated programming or Coast to Coast AM. But late night continues to be a truly sacred time in the noncommercial band, especially on college and community radio. As long as there are sleepless, nocturnal, caffeine-fueled college students and volunteers willing to stay up all night in sacrifice to the radio gods, the overnight hours will be DMZ of truly free form radio born of inspiration and insomnia, where nearly all of the normal rules of proper radio can be safely ignored until 6 AM.

While most college and community stations have their own local variety of late night brilliance, my favorite example of the species is on community radio WEFT in the college towns of Champaign-Urbana, IL, home of the University of Illinois. Broadcasting from storefront studios in Downtown Champaign, I spent fourteen years volunteer at WEFT and avoiding earning degrees in graduate school. In those years it was my distinct honor and privilege to listen to, and often participate in WEFT’s longest running program, Incoming Wounded.

Hosted by Edlee B’n Hadd (a/k/a Ed Hadley) since sometime in the 1980s, Incoming Wounded takes over the airwaves every Saturday night at midnight to bring a continuous wash of sounds to the night owls of East-Central Illinois. Ostensibly Incoming Wounded is a show that features ambient, electronic and experimental music. But that’s like saying Monty Python’s and the Holy Grail is a movie about some guys searching for a cup.

Beginning each week with his introductory collage of weather-radio reports, the sound of rain and other found sounds, Edlee never lets silence get a toe-hold over the course of the next four to six hours. Yes, he does play recorded music and CDs, but they just function as the foundation for the host’s active imagination and assorted sound processors, electronic toys, homemade musical instruments and found sounds. These external stimuli all serve as inspiration for an improvised story, monologue or sequence of mouth sounds turned musical through Edlee’s beloved Casio VA-10.
(more…)

I first heard about the Chicago Independent Radio Project (CHIRP) when I moved to Chicago in the spring of 2008. For all intents and purposes the project grew out of the former incarnation of Loyola University’s WLUW-FM which operated as a community radio station from 1997 to June 2008. In 2001 Loyola announced that it would no longer fund the station and called in Chicago Public Radio (CPR) to operate it. During this time it featured eclectic indie-rock focused programming, supplemented by local specialty shows of type familiar to community radio listeners. But at the end of that run the university took back full control of the station with plans to make it more student-run and student-focus as part of Loyola’s revitalized School of Communication.

Chicago radio veteran Shawn Campbell was WLUW’s program director during the CPR days, and after the hand-over became a prime mover behind the effort to create CHIRP as a true community radio station serving the city. I interviewed Shawn on my former radio program back in Oct., 2008 just as the organization was getting off the ground.

After more than eighteen months of organizing and fund raising CHIRP finally went online this past Sunday, Jan. 17. Although it’s online-only right now, CHIRP plans to operate like a regular broadcast stations with live DJs spinning indie-rock oriented programming focused on the particular taste and music scene in Chicago. The approach is not unlike a Chicago version of Seattle indie-rock powerhouse KEXP, especially since public affairs programming is not currently in the plan.

But in many ways an online station is a stopgap measure for CHIRP while its volunteer staff waits for the Senate to get to work on the Local Community Radio Act, which passed the House in December. You see, there are no open spots for new FM stations of any kind in the greater Chicago dial. But there’s hope that if LPFM is restored to its original specifications there will be an opportunity for some new low-power community stations in and around the city. When and if that happens, CHIRP will be poised to apply for its own space on the FM dial.

While the station’s volunteers worked hard to build its studios in Chicago’s North Center neighborhood, they also helped lobby on behalf of LPFM expansion alongside groups like Free Press and the Prometheus Radio Project. As a result the project received attention from the New York Times back in December.

With a real studio, a staff of volunteer DJs and an online presence it looks like CHIRP will be in a good position to hit the air running if it’s able to get a LPFM license. In the meantime it will be interesting to see if an online station can be regarded as a community station even without a broadcast signal. CHIRP has made a very good start of it, maintaining a strong public presence at cultural events across the city over the past year. The station is starting off with an unusual amount of momentum for an online station, so it will be interesting to see how it grows and develops during its first year.

I’m not aware of any other online-only stations operating as a fully human-staffed community stations elsewhere in the US. If any of our readers know of any, please tell us about them in a comment to this post.

Today there are close to 1000 more noncommercial, locally-programmed community radio stations on the air in the US than a decade ago. The reason for this is the low-power FM radio service created by the Federal Communications Commission in 2000. While Congressional intervention cut the new service off at the knees at the end of that year, the creation of LPFM is an important event that provided crucial recognition for the value of hyper-local community radio.

By the end of the 1990s the FCC was feeling a lot of heat about radio. From one side were complaints about the steep decline in local service brought on by the great loosening of ownership restrictions in the 1996 Telecom Act. On the other side broadcasters were haranguing the Commission about the rise in unlicensed “pirate” broadcasters.

The unlicensed broadcasters–who often preferred the moniker “microbroadcasters”–justified their actions as civil disobedience. Using power levels well under the 100 minimum the FCC set for the lowest class of broadcast station, the microbroadcasters correctly cited the fact that the Commission refused to provide licenses for this class of stations.

A perfect storm for microbroadcasting was created by the availability of inexpensive transmitters and a unifying raison d’etre. Besieged by as many as a thousand unlicensed stations nationwide, the Commission’s Enforcement Bureau had no real hope of keeping up. Yet the Commission had to defend its own legitimacy in the face of critics upset about the spike in unlicensed activity. So the FCC kept up enforcement actions, with the apparent hope that some high profile busts would keep both critics and would-be pirates at bay.

That was the scene set for the emergence of LPFM. The idea for LPFM did not arise fully-formed from the mind of then-Chairman William Kennard. Rather, several proposals for an LPFM service had been floated to the FCC in the late 90s. Furthermore, a real movement had grown behind LPFM, with the Prometheus Radio Project leading that organizing effort.

For Chairman Kennard LPFM offered a ripe opportunity to release some of the pressure by offering would-be unlicensed community broadcasters a shot at a real license. LPFM also looked good politically. Who would oppose inexpensive low-power noncommercial stations intended to serve small, local communities? Well, the NAB and NPR, for starters, under the reasoning that any competition is bad for business.

Nevertheless Chairman Kennard’s FCC moved forward and emerged in January, 2000 with a full-fledged service. There were two real innovations with LPFM. The first was permitting low-power stations to be spaced closer on the dial than full-power stations. The second innovation–often overlooked–is that it created a simplified and expedited licensing process. Obtaining a full-power station license is often a long, laborious and expensive endeavor that requires pricey engineering surveys and legal assistance. With LPFM the Commission did the engineering work in advance, identifying every possible LPFM frequency nationwide. It then set licensing windows during which all applicants would submit their paperwork.

The hitch in the program came at the end of 2000 when the NAB finally succeeded in convincing Congress that close-spaced LPFM posed an interference threat to their full power stations. That resulted in a rider attached to an omnibus budget bill which forced LPFM stations to obey the same spacing as stations broadcasting at thousands of watts. But, importantly, the NAB did not succeed in killing LPFM altogether, and stations started going on the air by 2005 2002.

At the end of 2009 the House passed the Local Community Radio Act, intended to restore LPFM to the levels originally set by the FCC. Now we wait for action by the Senate. When passed, the shorter spacing allowances promise to add many more hundred LPFM stations, especially in the nation’s largest urban markets.

Although most of commercial radio is vaster wasteland than it was a decade ago, noncommercial stations continue to be a bright spot on the dial. Because of LPFM hundreds of communities that otherwise would never have a vibrant, locally-programmed noncommercial station enjoy the sort of community radio that was rarer commodity just ten years ago.

It’s a day that thousands of low-power FM and community radio activists have been awaiting for just about nine years. This evening, at 7:06 pm the House of Representatives, with a minimum of drama, passed H.R. 1147, the Local Community Radio Act of 2009 by voice vote. Little drama for the House nevertheless meant nearly two days of sitting on the edge of the seat for LPFM advocates as they waited for the House to move through its usual machinations and other business. Regardless of how much we might wish LPFM was at the top of the legislative agenda, instead it seemed more like an afterthought. At least it was enough of a no-brainer for the House that they didn’t even need a roll call vote. I’ll take it.

The bill restores the original technical specifications for LPFM which the FCC instituted in 2000. These specs allow a low-power station to be placed as close as the third adjacent channel on the dial. In practice that means if a full-power station broadcasts on 100.1 FM then a LPFM may be placed at 100.7 FM, provided that the frequency is otherwise available.

On Dec. 18, 2000 a provision limiting LPFM stations to obeying the spacing requirements of full-power stations was slipped into an omnibus budget bill and signed into law by President Clinton after a long series of back-room horsetrading. Under these still-current rules, a LPFM station may only be spaced as close as 100.9 FM next to that hypothetical full power station at 100.1 FM.

.2 MHz may not seem like a big difference, but when it comes to spacing stations on the FM dial, it is a game fought and won by tenths of a megahertz. This difference is of particular importance in the nation’s largest radio markets which already have very full dials that will not permit the addition of another full-power station or LPFM that has to obey full-power spacing rules. LPFM proponents estimate that passage of the Local Community Radio Act will create the potential for at least a hundred new stations nationwide.

Now the focus moves to the Senate, where the Commerce Committee has already approved the Senate version of the bill. If it goes to a floor vote and is passed then it is likely to be signed by President Obama.

The Local Community Radio Act of 2009 was scheduled for a floor vote in the House of Representatives today, a moment that LPFM activists have been awaiting for almost nine years. And wait they did. Anyone who has watched her share of C-SPAN knows that the House moves at its own pace, for its own reasons. Today, it waited for quorum, then lumbered forward on about half its agenda today. As of 5:30 PM EST the Clerk of the House reports that business for the day is over and so the vote for LPFM moves to tomorrow.

This is the first time that a vote on a bill to restore low-power FM to the FCC’s original specifications has been scheduled for the full House since 2000. Signs are looking good that the bill may finally pass, though we’ll know much more tomorrow…. maybe.