Image from "Video Killed the Radio Star" video

Over the weekend I was so jealous when various friends mentioned that they were tuning in to the original first hour of MTV. In celebration of the 30th anniversary of MTV’s launch on August 1, 1981; VH1 Classic is in the midst of a 3-day marathon full of retro MTV programming, including a rebroadcast of the original first hour of MTV complete with commercials. Finally I couldn’t stand it anymore, and I made a call to my satellite TV provider to ask for an upgrade so that I could watch the MTV30 specials before they ended today.

Although I’m looking forward to tuning in to old clips from Yo! MTV Raps, House of Style, and MTV Video Awards shows, I was most excited to watch that original hour of programming from August 1, 1981, even though I never got to see it during my youth. My parents didn’t spring for cable in the 1980s, so my introduction to early music videos was from video shows like “MV3,” Video One,” “California Music Channel” (which was simulcast over a local radio station) and “Night Music.” As I sat down to watch MTV’s original hour (it will be re-run today as well), I was struck by the number of references to radio and to stereo sound. 30 years later a lot has changed. Not only has MTV’s programming drifted away from music videos (although they did recently bring back the video music show 120 Minutes), but an entire generation has lost interest in high fidelity stereo sound.

The first hour of MTV from August 1, 1981 began with footage of a space shuttle’s launch, followed by the words “Ladies and Gentlemen, Rock and Roll” and then the Buggles’ video “Video Killed the Radio Star.” In that video, piles of vintage radios can be seen as futuristic looking characters reminisce that “In my mind and in my car/We can’t rewind, we’ve gone to far/Pictures came and broke your heart/Put the blame on VTR.”

Much as home-taping was rumored to be killing the record industry, there was concern that cable television and video recorders were threatening traditional broadcasting outlets and the Buggles’ video questions if video was killing off the radio stars of the past.

A promotional video for MTV chronicled the importance of music to humankind and recounted that “man invented the radio and the phonograph” and explained that “full stereo sound…made the explosion.”

The first MTV VJ Mark Goodman welcomed viewers to “the world’s first 24 hour stereo video music channel.” He explained that “a new concept is born. The best of TV combined with the best of radio” and in his second segment he argued that, “We’ll be doing for TV, what FM did for radio.” Even commercials during that first hour referenced radio, as an ad for “The Bulk”showed a transistor radio being crammed into the expandable binder. Another commercial for Dolby hyped Dolby noise reduction, saying, “almost every time you play a recording, turn on the radio, or go to the movies, Dolby noise reduction has helped make the sound more real.”

At the time of its launch MTV also promoted the opportunity to listen to the cable network over the radio in stereo. By sending MTV a self-addressed stamped envelope, one could acquire an “MTV Dial Position Sticker,” which would “mark the exact spot where our sound comes in.”

It’s easy to imagine stereophiles back in 1981 hooking up their televisions to speakers or to FM stereo in order to watch videos in high fidelity sound. Yet today that promise seems antiquated in light of music fans tuning in to compressed sounds over the Internet or through iPods and earbuds. Although the Buggles’ first video on MTV nostalgically mused that VTRs (video tape recorders) killed the radio star, 30 years later we might wonder if iPods or the Internet killed the video star. In any event, I’m enjoying the look back at MTV’s past on VH1 Classic today, although I wonder why MTV didn’t share its history on its own flagship channel. Perhaps because MTV killed the video star.

TV will be leaving the radio in 2015

As I’ve reported before, TV channel 6 sits just below the left end of the FM dial which allows its analog audio signal to be heard at 87.7 FM. This is not an officially licensed FM frequency, but most FM radios will tune it in. This fact has allowed a few savvy LPTV operators on channel 6 to operate like radio stations, with minimal video content to keep the FCC happy.

However, the audio portion of a digital TV broadcast cannot be received on an analog radio. This means that channel 6 stations like Chicago’s WLFM-LP, calling itself Smooth 87.7, will lose their back door into the FM dial once they go digital in 2015.

WLFM and several other LPTV broadcasters submitted comments to the Commission urging it to permit LPTV stations to convert to digital on their own timelines, letting audience and market forces dictate the move rather than the FCC. The FCC concluded that the “the Communications Act compelled low power television stations ultimately to convert to digital operation,” and that more than four extra years after the 2009 full-power transition was plenty of time.

Otherwise, in this order the Commission did not take up or make any reference to channel 6 broadcasters exploiting their back door access to the FM dial. It would appear that the FCC would rather let this relatively constrained hack fade away rather than address it directly.

Smooth 87.7 now on cable TV

Chicago’s WLFM seems to have seen the writing on the wall and has made some plans to continue reaching an audience. The station recently started airing on Chicago Comcast cable TV channel 877 (third item on the page), with traffic and weather updates on the screen. This seems a lot like the digital music channels available on many cable systems, which often run static images and artist trivia on the screen while the music plays. Given that many people treat television like radio, leaving it on in the background while they go about their business, it’s not an absurd move for WLFM. At the same time I’m surprised that I cannot find WLFM doesn’t offer an online stream, which one would think would be the other easy way to retain their audience.

Nevertheless, car listeners are still an important audience for any broadcast radio station, and the channel 6 stations will lose them in 2015. Perhaps by then in-car internet radio will be a more mature and easy to use technology.

The FCC’s decision on the LPTV digital transition is pretty final. But there’s always a chance for reconsideration. I won’t be surprised if LPTV broadcasters, like WLFM, make some additional filings. I’ll certainly keep my eye out for them.

FCC Commissioner Mingon Clyburn

The National Federation of Community Broadcasters just wrapped up its annual conference this past weekend in St. Paul, MN. The NFCB has been a true anchor in the community radio movement, both supporting individual stations and advocating on their behalf in DC. This year the FCC actually graced the conference, with Commissioner Mingon Clyburn giving a speech on June 10.

Commissioner Clyburn certainly let loose quite a few surprises, starting with suggesting that TV channels 5 and 6 could be reallocated for non-commercial FM radio, low-power FM or AM broadcasters. While she said that she wasn’t suggesting an immediate change, Clyburn said that, “it is time for us to take a serious look at
where these services fit within the overall spectrum plan, and that Channels 5 and 6 maybe a good home.”

The spectrum allocated to analog channels 5 and 6 sits just below the FM band’s lower limit of 88 MHz. Before the digital transition you might remember being able to hear channel 6 TV audio at the bottom end of your FM dial. Although the transition meant full-power stations lost their analog audio signal, low-power TV stations were permitted to remain analog. As I’ve reported before, there are several low-power channel 6 stations taking advantage of their proximity to the FM dial to function effectively like radio stations rather than TV.

Any reallocation of channel 5 and 6 spectrum would require dealing with the few full-power stations that chose to stay put rather than move to different spectrum space. It would also have to deal with the LPTV stations on channels 5 & 6. My guess is that these stations could be offered to move into spectrum allocated for digital, though it might take some horse trading. It’s also likely that those few LPTV stations on channel 6 are going to be very reluctant to move and give up their radio-like business, although it’s just a matter of time before the FCC kills that business model by forcing all LPTV to go digital.

Commissioner Clyburn also suggested that community stations consider the charms of HD Radio. She acknowledged that, “limited receiver penetration and the cost of digital transmission equipment may make owning an HD Radio station an unappealing option for community radio groups.” However, she also proposed that “HD can provide yet another way to promote broadcast diversity and expanded programming option.” She even suggested that community stations or groups seeking stations could partner with other commercial or non-commercial stations to program their secondary HD-2 and HD-3 channels.

It’s pretty rare for community radio to get such a courtesy call from an FCC commissioner, and all the more rare for a commissioner to drop so many bombshells. I’m cautiously optimistic to hear such support for community radio and an apparent willingness to consider an expansion of the FM band in order to accommodate more non-commercial stations. I do have to note, however, that there’s no indication that an expanded band would be only for community radio. Nevertheless, it will be interesting to see if the idea gains any traction with the full Commission.

Portland DJ Cate of K-100

Last night I checked out the premiere of a new television series on the CW called Life Unexpected, largely because one of the main characters is a radio DJ. Additionally, it’s a teen-centric drama, so right off the bat the show is hitting at my pop cultural sweet spots.

[If you're planning to watch the show and haven't caught the first episode yet, then you may want to read this post later, as I reveal plot details below.]

The show opens with a shot of VU meters ticking away as we hear the sounds of a morning talk radio show in Portland, Oregon.

We eventually see the innards of the studio and get to spy on DJs Cate (played by Shiri Appleby of the long-departed teen show Roswell) and Ryan (Dawson Creek‘s Kerr Smith), as they entertain listeners with their banter about relationships and marriage. Interspersed with scenes of the studio are shots of teenage Lux listening to the show on her radio (see…teenagers really do still listen to terrestrial radio!) as she gets ready for her day.

We soon learn that nearly 16-year-old Lux is in foster care, and we watch her as she tracks down her birth father. In hopes of becoming an emancipated minor, she asks her newly-found dad Nate for details on her mother. She’s surprised to find out that it’s Cate, the host of her favorite radio show.

In an effort to get in touch with Cate, Nate calls in to the morning show and his call works to reveal the sordid details of his Zima-fueled hookup with DJ Cate back in high school. Embarrassed by the on-air revelations, Cate leaves the studio to meet Nate in the station parking lot where she ends up becoming reunited with her daughter Lux.

The family reunion is not without its drama and after some not-so-unexpected twists, we witness a touching scene that actually reveals the power of radio. Lux tells Cate,

“You don’t realize you were there. On the radio. When everything else in my life kept changing. I could count on you every day. People are just…so scared…to tell the truth…You…you just put it all out there. You say the truth.”

In the opening episode, Cate’s radio shtick is that she’s a commitment-phobic, cynical thirtysomething. She and her co-host relentlessly tease each other on-air while never revealing to listeners that they’ve been in a romantic relationship for 2 years. Yet by the end of the hour we see Cate taking Lux in to her home and accepting a marriage proposal from her radio show co-host Ryan. As clips from the upcoming episodes hint at; the morning talk show may end up being the place where Cate begins to reveal more and more personal truths.

It’s not surprising that often TV depictions of DJs are in the form of talk show hosts (vs. music DJs) since this can become an easy way for writers to reveal the feelings and motivations of their characters. We’ll have to wait and see if this particular glimpse of the radio world on Life Unexpected catches on with viewers. I’ll also be curious to see if radio retains its starring role as the series progresses.

Being a DJ Can be Scary

I’m one of those geeks who does TiVo searches using “radio” as my key word in order to ensure that I’m not missing an interesting radio-themed pop cultural moment. For some reason this week’s television listings offered up a bounty of radio nuggets, from the classic 1990 teen angst film Pump Up the Volume, to the 1987 retro-themed Woody Allen film Radio Days.

There were also a handful of children’s animated series with radio themes, including:

Postman Pat: in which “children put on a radio show at school”

Edgar & Ellen: watch as “Ellen becomes a mystery pirate DJ”

Beavis & Butt-head: tune in to see “The boys become disc jockeys for the day”

But what really caught my eye were the horror movies and thrillers set in radio stations. Premiering today on The Movie Channel, this year’s straight-to-DVD release Dead Air promised a “radio station fighting for survival” amid a terrorist attack.

Additionally, a 2001 episode of the series Night Visions called “Dead Air” aired this week, in which a late night radio shock jock deals with horror following some creepy calls. 1994′s Radioland Murders was also broadcast this week, with its tale of murder amid the launch of a new radio network in 1939.

Although horror can take place in any setting, there’s something particularly scary about the presence of a late-night DJ alone at a radio station. As I read the synopses for a few of these films and episodes I couldn’t help thinking about Play Misty For Me, in which a crazed caller is every DJ’s worst nightmare. With that, here are a few horror movie selections that will keep graveyard DJs awake at night:

1. Play Misty for Me (1971): Clint Eastwood directs and stars as late night DJ who is being stalked.

2. Dead Air (1994 made for TV movie): Gregory Hines stars as the DJ and a caller might be a killer.

3. Dead Air (2009): Late-night talk radio DJ holds down the fort at a station during a terrorist attack.

4. Radioland Murders (1994): Death abounds during the launch of a radio network in 1939.

Can you think of other representations of DJs in horror films?

NPR’s argument rests on a technical analysis concluding that digital TV signals are far more interference-resistant than analog, and that modern TV tuners are selective enough to make interference from FM negligible for even analog LPTV signals.

Predictably, fellow noncommercial FM broadcasters are lining up in support of NPR’s proposal, while the ABC network and the National Association of Broadcasters have filed comments in opposition, calling into question NPR’s engineering data. There’s a few sparks coming from these opposing comments, but the real fun is buried in comments from Chicago Public Radio.

Without naming names, CPR  pointedly complains,

LPTV stations have begun to invade FM radio, broadcasting audio signals that were licensed for TV broadcast as if they were commercial radio stations on 87. 7 MHz. Not only are these signals inappropriately being broadcast as radio, they are also bleeding 24·hour dance music, with commercial advertising, over into the noncommercial stations that are on the lower NCE FM channels. Like squatters moving into recently-vacated homes, these LPTV stations are, in effect, intentionally broadcasting commercial radio which spills over onto the reserved portion of the FM band, trespassing on the limited territory of their noncommercial neighbors. Before this phenomenon becomes entrenched, the Commission owes the public, as well as public radio stations, a reasoned consideration of this problem.

Not surprisingly Chicago Public Radio has one of these channel 6 LPTV’s broadcasting in its own backyard, though it plays a commercial smooth jazz format. I’m not sure why CPR doesn’t refer directly to Chicago’s WLFM-LP. Instead CPR apparently calls out recently departed “24-hour music format” Pulse FM in New York City.

Nevertheless, it looks like WLFM’s owners already feel the heat. In comments filed the same day as CPR’s, WLFM owner Venture Technologies Group actually writes in support of NPR’s proposal:

VTG believes that these regulations are no longer needed. As NPR rightly points out modern digital television receivers are far less susceptible to adjacent FM-band interference than the analog television receivers that were in use when Section 73.515 was enacted in 1985.

Likewise, without directly naming its local opposition, VTG acknowledges the low-level animosity going on:

For too long NCE FM broadcasters have been at odds with Channel 6 television stations. VTG sees no reason why everybody can’t get along.

But supporting NPR’s proposal doesn’t mean VTG intends to cut its own throat, asking for “flexibility” from the FCC, and strongly urging “the Commission to adopt a formal policy allowing LPTV and Class A television stations broadcasting on Channel 6 the option to… continue broadcasting in analog if they choose to serve their audiences with a portion of their spectrum as an FM audio service at 87.7 FM.”

I’m certain VTG’s qualified support for NPR’s proposal is offered as an olive branch to noncommercial stations, like CPR, with the hope of a little quid pro quo to get them to back off on their decidedly “off-label” use of TV spectrum to become radio broadcasters. I think there’s little chance of the Commission taking seriously VTG’s request to stay analog in order to remain as unofficial radio broadcasters, nor of noncommercial broadcasters extending a little more tolerance. The best VTG can hope for is that the FCC will continue to put off dealing with their use of the channel 6 backdoor until the transition to digital is mandated for LPTV.

In my second missive on the channel 6 radio phenomenon back in June I took note of Schenectady New York’s WRGB-TV. That station’s director of engineering made clear his intention to keep WRGB’s analog audio signal going even after the digital transition.

Now some ten weeks after the June 12 analog shutoff WRGB’s little experiment has come to an end. According to a brief statement posted to the station’s website dated August 24, general manager Robert Furlong acknowledges that this digital TV station has no authorization from the FCC to continue an analog broadcast on the FM dial, and announces the FM broadcast has been turned off, “effective immediately.”

I’ve not turned up any additional explanation for killing it so suddenly. My guess is that the station got a pretty firm message from the FCC reminding them that the license to broadcast an analog signal of any kind expired on June 12. I can’t see how WRGB continuing its 87.7 FM broadcast can be seen as anything but unlicensed operation, which would earn any other unlicensed broadcaster an FCC nastygram, at the very least.

Furlong also says that the station management “reviewing our options,” though I can’t really imagine what those options might be. They could petition the FCC to let them resume the analog broadcast, but that’s a very long longshot. Or perhaps they could reach an arrangement for simulcast with a desperate local radio station. Yet that option quickly gets complex, since I’m certain all of WRGB’s network affiliation and syndication agreements are for TV broadcast only. Adding a real radio simulcast would likely require renegotiating all of those contracts.

The appearance of analog TV’s channel 6 on the far left end of the FM dial was not designed in. Rather it was a happy accident which provided some listeners with an extra channel of programming and some other broadcasters an opportunity to sneak onto the FM dial. Like many such accidents, it might have been good while it lasted, but the sun seems to be setting for channel 6 on FM.

Arcane Radio Trivia alerted me to Pulse 87′s call to listeners to donate to the station in order to keep it in good stead with creditors. Nevermind that Pulse 87 is a commercial station (ostensibly operating in the noncommercial part of the dial at that).

As of July 21 it looks like loyal listeners came through with the much needed cash, gaining the station “a reprieve from some of our creditors” and the opportunity “to attempt to raise money through more conventional means.” The station also promises to return the donations, presumably once replacement capital is raised.

I’m not really sure what to make of this situation. Commercial media is having a hard time, whether broadcast, internet or print, so I’m hesitant to place blame on the weakness of radio or the channel 6 LPTV method. We have no idea what the books at Pulse 87 look like, so it’s hard to say whether the culprit is insufficient revenue, poor management, or some mixture of both.

However, I do think it’s safe to say that the particular dance music format of Pulse 87 has tapped into some kind of loyal niche audience otherwise insufficiently served by other stations. The real test will be whether or not Pulse 87 can keep up the quality of the programming that keeps a loyal listenership in the face of cashflow problems. The temptation to cost-cut by automating and embracing other Clear Channel tactics may be too strong, even if that’s the surest route to undercut the qualities that make the station unique.

Perhaps the station would be better off going non-profit and relying on its listeners who’ve apparently already demonstrated a willingness to cough up bucks to keep Pulse 87 on air.

“BusRadio is free to the school districts and is heard each day on more than 9,000 school buses in 24 states. The districts receive a small amount of money for allowing the music on their buses. There is different programming for elementary, middle and high school students.”

US News and World Report picked up the story this week and goes into more detail about the service:

“…BusRadio sends music, contests, public service announcements, and commercials over the Internet to school district servers, which then forward the programming to buses using wireless transmitters.”

What’s controversial is the fact that BusRadio airs commercials and may not be playing age-appropriate music, according to detractors.  The Post article explains that Congress has initiated an FCC review:

“Supporters say the radio content calms the kids on what can at times be a hectic bus ride.

But some parents say forcing their children to listen to commercials on the bus is akin to having their kids held hostage by corporate America. They also say the music is sometimes age-inappropriate.”

This definitely reminds me of some of the anti-Channel One (ad-supported TV news in schools) rhetoric from back in the day. BusRadio is fighting this backlash and has an extensive Q&A section called “Myth vs. Reality” on its website where it refutes many of these claims. Additionally, they allow parents to register on their website in order to listen to actual BusRadio programs that their kids may have heard.

Regardless, I’m never that thrilled about forcing kids to listen to commercial radio. But the whole brouhaha does bring back memories of my junior high school bus rides. We would plead with our driver to play the hot rock station and would feel so victorious if he complied. That was our bus radio.

TV Coverage of Michael Jackson's Radio Airplay

I’ve been combing through the web trying to get a handle on how radio has responded to the death of Michael Jackson on Thursday. There’s much anecdotal evidence to suggest that radio listenership was up, as fans sought out his music and news about his death from the radio. However, as listeners turned on their radios and TVs (and the Internet) to hear the sounds and see the images of the pop icon at his best, not all stations were able to deliver great programming from the outset. As Matthew pointed out on Thursday, many commercial stations with automated programming weren’t in a position to provide Jackson-themed music and commentary as the news broke.

However, an article in the Boston Globe today, “Live Radio Takes the Lead: Canned Programs are Set Aside as DJs and Fans Celebrate Michael Jackson,” points out that the Boston airwaves did have some success in terms of satisfying fans. According to the piece:

The death of pop megastar Michael Jackson brought new life to Boston radio this week, as local stations scrambled to capture the moment. Station managers called for all hands on deck, replacing automated voices with live talent to talk about the man and the music, take calls from nostalgic listeners, and saturate the airwaves with Jackson’s hits.

It was a historic day in an era of corporate radio, controlled play lists, and canned voices. At Mix 98.5, DJ Lady D played Jackson tunes and interviews from 7 p.m. to midnight on Thursday, the day of Jackson’s death. Caught in a week when the regular morning team was on vacation…the station called in three of its top personalities from around the clock, who sat together yesterday morning, live on the air.

In cars, living rooms, and offices, listeners set aside the solo experience of their iPods for a day and gathered around the radio to tap into something bigger – memories of college years, albums shared by millions across a range of musical tastes, dance hits two decades old that can still fill a dance club with another generation of fans.

“It’s a good reminder of what live radio can do, of the role that radio can play in bringing a community together,” said Scott Fybush, editor of Northeast Radio Watch in Rochester, N.Y.

Many stations no longer have live announcers, using canned voices for part or all of the day, and so can’t react to a major news event, he said.

Jammin’ 94.5 called back its morning crew for a second shift after the news broke. They talked about Jackson and spun his music until midnight. The pop icon was the only topic of conversation on Kiss 108 yesterday morning, and Oldies 103.3 played nonstop “Thriller,’’ “Billie Jean,’’ and other Jackson favorites all day…

The article also points out that some stations were unable to react, either because they didn’t have live DJs or didn’t have enough music in their collections:

There were some outliers yesterday, stations that did little to acknowledge Jackson’s passing, sticking to their usual focus and format. WBOS 92.9 fired its DJs last year and now features canned announcers between its alternative rock hits – “voice tracking,’’ as they say in radio – all day. It played just two Michael Jackson covers by other artists, said program director Ken West.

Most telling of all is speculation that this sort of communal grieving experience across radio may soon become a thing of the past:

Jackson had more fans across a broad spectrum of listeners than perhaps any pop figure of his generation, radio executives and music critics said. Fybush, the Northeast Radio Watch editor, observed that with more stations abandoning the live, local personalities of the past, “this may really be the last of these moments as far as music radio goes.’’

It’s so fascinating to me that the way that people listened to music on Thursday night may have been a radical departure from the way they listened to music on Wednesday. And, I agree, that it suddenly brought everyone back to the past, when radio was local, live, and communal. Is it possible that this will have any sort of lasting impact on radio?