Radio Survivor

For as much as I love radio I have to admit that there’s very few programs that I might consider appointment listening. Sure, I tune in to NPR daily to catch up on the news with Morning Edition and All Things Considered, but they’re pretty interchangeable to me. If, for some reason, the BBC News Hour were on instead I’d notice the difference, but I wouldn’t turn off the radio.

My #5 is not appointment listening. However, that doesn’t mean I don’t like it. I do know when it’s on, and if I happen to be in a radio listening mood at that time, I will be sure to tune it in. In fact, when it comes to commercial radio–especially syndicated commercial radio–it’s my favorite program currently on the air.

Little Steven’s Underground Garage stands out from most commercial music radio because it still shows the idosyncratic touch of its namesake host. Focused on the somewhat ill-defined subgenre of garage rock, the program plays rough-edged rock and roll that finds its roots with 1960s bands like the Troggs who went on to inspire early punks like the Ramones and later rockers such as the White Stripes. While this sort of rock is a mainstay of the Underground Garage, Little Steven takes a kind of “I know it when I see it” approach to the show, including a healthy does of Motown and other early rock nuggets alongside the more catholic selections. But his approach is not a hodge podge, like any real music DJ he draws connections between the songs he plays, often explaining why he deems an unorthodox choice worthy of inclusion.

Host Little Steven Van Zandt is otherwise known as a member of Bruce Springsteen’s E Street Band, but in his off time has dedicated himself to the promotion and preservation of garage rock. While I certainly like most of the music labeled garage rock, I would never have considered myself a particular fan, as such. I first became aware of Little Steven’s campaign for the subgenre when a band local to Champaign-Urbana, IL, where I used to live, The Blackouts (now The Living Blue) won his first Underground Garage Battle of the Bands. That’s when I first tuned in to the program Sunday nights on the local classic rock station.
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This past week I visited San Francisco. In addition to finally meeting my co-bloggers Matthew and Jennifer in person, I also made my pilgrimage to one of the best music stores in the country, Aquarius Records in the Mission.

The oldest music store in the city, Aquarius is not big, and it’s far from comprehensive in its selection. If you want the latest Black Eyed Peas or Bon Jovi albums you’re probably better off going to Ameoba. Instead, Aquarius specializes in arcane, experimental music, including obscure heavy metal. For most people the store would be inscrutable; to me, it’s heaven.

But it’s not just the inventory that makes Aquarius great. It’s that every CD and record in the place appears to be careful chosen, even curated. For a store its size quite a bit of space is given over to employee favorites and new releases. And every single one of those new or favorite albums has a paragraph-long write-up on the front describing the artist and album in loving detail.
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The commercial radio industry’s reaction to last week’s Boston Globe article reporting on the relative dearth of young listeners can be fairly summed up, as “Nuh uhhhh! Not true!” Despite radio’s collective denial, I had this reality reaffirmed for me this past Friday.

I had the opportunity to speak with a group of high school and college age interns at an independent music promotion agency here in Chicago on the topic of the music radio. More so than any random grouping of teenagers and young adults, this was a group that is passionate about music and the artists that create it.

Chicago

Yet, when I asked the group of about twelve interns if they listen to radio, only five rose their hands. Of that group a few of the older ones said they listen to public radio, primarily for the news. A couple said they listen to Chicago’s most well-known and widely respected commercial AOR station, WXRT, and one said she listens to a couple of the pop stations on occasion.

When I asked why they listen to little or no radio the answer was pretty similar to what we’ve been hearing in the press. They said there’s too much repetition, not enough music that they care about and way too many commercials. A few also said that none of the stations they’ve heard are diverse enough for their tastes. They don’t want to pick a station that only plays hip-hop, rock or dance music; they like their genres blended.
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In his post about Pandora yesterday, Matthew mentioned that he’d like to see a different model of radio on the Internet, where both listeners and DJs have some sort of control over the music selections. Well, we’re definitely in an era full of user-generated content and of success stories like American Idol, where fans vote for their favorite performers and play a role in who wins the big prize. So, it’s no surprise that traditional radio is starting to experiment with giving listeners a chance to control the playlist.

San Francisco commercial radio station Live 105 just launched a show on June 28th that airs on Sunday nights from 10 until midnight which is being touted as “100% User-Controlled Radio.” Listeners sign up for a service called Jelli in order to help formulate the playlist. According to Jelli’s website:

“Jelli is 100% user-controlled radio℠, enabling users to take over a radio station using their web browsers. Leveraging the power of the web to reinvent traditional broadcasting, Jelli empowers the community to interact with the broadcast in real-time and determine dynamically what plays on the air.”

I signed up for Jelli and have to admit that I was excited about potentially being able to re-shape Live 105’s playlist. However, as you might guess, the song selection that I had to choose from limited. I scanned through the choices trying to shake things up a bit by voting for all of the more obscure bands and for the genres that are outside of Live 105’s current playlist.

Amid all of the expected rock tracks from Green Day, AC/DC, and Rancid, I was surprised to see some wild card song options including soul, reggae, Tom Jones, Bee Gees, jazz from Miles Davis, country from Willie Nelson, hip hop from Jurassic 5, Run DMC, and a Tribe called Quest. There were even selections from college radio favorites like The Cramps, Vivian Girls, Squirrel Nut Zippers, American Analog Set, Sonic Youth, Galaxie 500, Sleater-Kinney, Dead Can Dance, !!!, Nick Cave and the Bad Seeds, Diamanda Galas, Casiotone for the Painfully Alone and old punk like Agent Orange. So, I wonder. If all the indie kids got on here and voted for a list of non-mainstream stuff, could we have a Sunday night commercial radio show that was both listenable and unexpected? I’d love to see that.

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It was a pretty momentous occasion a few weeks back when San Francisco commercial radio station KCBS celebrated 100 years of broadcasting. Well, sort of. As Ben Fong-Torres pointed out in his Radio Waves column on Sunday, KCBS’s predecessor KQW broadcast its first voice transmission over the radio in San Jose in 1909:

It was there in 1909 that an engineer, Charles “Doc” Herrold, broadcast his first voice transmissions. He began regular broadcasts in 1912, and his station became KQW, which evolved into KCBS…

Herrold, said [San Jose State University Professor Mike] Adams, used a spark cap, and his audio was crude. He was a pioneer in broadcasting entertainment, said Adams, but he had no financial support and was bypassed by inventors of the superior vacuum tube. Herrold’s station lasted until the United States shut down radio stations during World War I. He obtained a license for station KQW in 1921, but lost control of the station, which relocated to San Francisco in 1934 and became KCBS in 1949. Oh. Well, then: Happy 60th Anniversary, KCBS!

Another way that radio honors its history is with groups like the National Radio Hall of Fame. Voting is now open for 2009 nominees, including radio pioneer Dr. Demento.

And, finally, an article on CNNMoney.com posits that services like Pandora (an Internet service that selects music for you based on music that you already like) may be the future of radio. The piece quotes Pandora co-founder Tim Westergren:

“There’s a huge frustration among listeners that radio doesn’t play music they like,” Westergren says. “Once you use personalized radio, why would you go back to a station that is programmed for you and half a million other people?”

Well, yes…you probably wouldn’t. But, if you listen to non-commercial stations with lengthy playlists and DJ-curated shows, you might be disappointed by a random, computer-generated DJ-less playlist. The article continues:

However, not everyone sees it that way. “Traditional radio forces you to listen to new things,” says Bob Lefsetz, author of the influential music industry blog the Lefsetz Letter. “Pandora’s recommendations are ridiculously tame.” The New Yorker’s pop music critic, Sasha Frere-Jones, agrees: “I wish it were more adventurous.”

Agreed. And the future of radio is still TBD…