Radio Survivor

For me, the main reason that I’m so addicted to doing a radio show week after week is the music. I’m interested in new, independent, underground, and underexposed sounds and artists and the easiest way for me to get access to this music is by volunteering at a college radio station.

I’m lucky that at my station, KFJC, we add as many as 40 items to our library every week. The music that KFJC adds isn’t necessarily new, often the Music Director is adding things that are decades old that may not have gotten much exposure when they were initially released.

Even though I’m at a station with a  massive record library and am exposed to new sounds every week; I still get the chills when I hear an amazing artist on the radio who I have never heard before.

For my #1 Top Radio Show I have to give credit to a college radio DJ at University of San Francisco station KUSF: DJ Schmeejay, the host of Radiodrome every Tuesday morning from 9am to noon. On several occasions while listening to his show, I’ve had to pick up the phone and call to find out more information about the incredible music that I was hearing. A few of the artists that he’s helped me to discover are Vashti Bunyan and Virginia Astley, two women producing ethereal sounds with folk and psychedelic influences.

I remember calling to find out about Virginia Astley and he told me that it was a hard-to-find release that he’d picked up at a KUSF Record Swap. Probably that very night I headed up to KFJC and found numerous Virginia Astley LPs in the library and learned that may of them hadn’t been played in over a decade. So I played her music on my show as well, exposing more listeners to the treat that I’d heard on a fellow college station.

What I like about DJ Schmeejay’s show is that he crafts interesting sets of music, with a mix of new and old across a range of genres that make sense sonically. You might hear lovely folky sounds from the 1960s, beautiful atmospherics from the 1980s, or a seriously old school Jimmy Durante piece.

I talked to DJ Schmeejay over email about his nearly 7-year-run hosting Radiodrome and he shared with me some of his thought process behind the program and also how his role as one of the Music Directors at KUSF leads to some interesting finds. Here’s a bit of our conversation: (more…)

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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I started reading the Professor’s detailed travelogues of his AM and shortwave radio band excursions back when he was writing for WFMU’s Beware of the Blog. After he quit contributing to BotB I learned that he was keeping things going at his own Radio Kitchen blog.

The Professor belongs to a group of radio enthusiasts who record what are known as “airchecks,” which are simply off-air recordings of radio stations. Usually created as a form of historical record, air check recordings serve as an often valuable capture of what is an otherwise mostly ephemeral medium.

In the analog era airchecks were mostly recorded on boombox style radios with built-in cassette recorders. Enthusiasts often traded copies of these tapes with folks from other parts of the country or the world. You see before the internet that was the only way to hear what local radio sounded like somewhere else without traveling.

In the digital era you’d think that recording and sharing radio airchecks would be much easier, given the near ubiquity of digital audio and video recording devices. But while radios with built-in cassette recorders were omnipresent at any electronics or discount store in the 1970s through the 1990s, there are few digital equivalents in existence in the 21st century. Although Apple recently included limited FM radio recording capabilities into its newest iPod Nano, it only records up to 15 minutes, and has no AM reception. So what do you do to digitally record hours of AM or shortwave radio?

The Professor recently took up that very question. One solution one might consider is connecting your computer’s audio input to a radio. The big problem there, however, is that computers generate a ton of RF interference which can seriously mess up AM and shortwave reception. iPods and other MP3 devices wreak similar radio havoc.

In his long, but worthwhile and info-rich, post the Professor gives an overview of the state of recording radio digitally, giving a nice user review of C. Crane’s CC Witness radio, which includes an MP3 recorder.

Aside from recording my own radio programs (usually direct off the studio board), I’ve only dabbled in recording radio airchecks over the years. In the 20th century I also mostly used cassette recorders. Due to sloppy labeling practices I’ve mostly lost all of those tapes over the years. I’ve also done some recordings in the 2000s, primarily to capture source material off shortwave for unfinished audio art projects. I did most of those recordings on minidisc recorders which seem to be very well shielded compared to other digital recorders, injecting almost no noise into the signal. The last Hi-MD models let me upload the recordings directly onto my computer for sharing and manipulation. Hi-MD is also how I recorded my mediageek radioshow for podcast distribution up until last year.

I’m not sure that I will ever record enough radio airchecks to merit spending $179 on a dedicated digital radio recorder. But I sure am glad that such a device exists, keeping alive a hobby that documents the rich history of broadcasting that otherwise would just dissipate into the ether.

Those of us who call ourselves radio fans are increasingly a small and devoted lot and the same can be said of radio scholars. It’s for that reason that I was super excited to find out about the international radio conference known simply as The Radio Conference.

This year’s event, The Radio Conference 2009: A Transnational Forum, was held in Toronto, Canada in July and featured academics from all over the globe talking about a wide range of topics including radio history, commercial radio in Canada, pirate radio in 1960s’ New Zealand, African-American CB Radio Culture, liberal implications of This American Life, and the impact of the British invasion on college radio in the 1980s.

I wasn’t able to make it to the event, but radio scholar and college radio DJ Nick Rubin wrote an excellent summary, which is posted on my Spinning Indie blog.

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.

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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I’m actually amazed at how noncommercial radio has become the site of so much innovation in the medium in the last decade, and how commercial radio is getting left in the dust. On the music side we have Seattle’s indie rock KEXP and New Jersey’s freeform WFMU which both have significant internet listenership along with substantial on demand archives and net-only programming. With traditional public radio you can find archives of nearly every nationally syndicated program, as well as live streams and internet-only shows.

Now public radio has taken a big leap in mobile with the 2.0 release of the Public Radio Player for the iPhone. The previous release of the player provided an easy way to listen to the live stream of public radio stations across the country. While a convenient app, there was little to differentiate it from any number of other apps that let you listen to live radio streams.

The new 2.0 player breaks new ground by integrating on demand listening to hundreds of public radio programs, both national and local. The Public Radio Player is a collaboration between all the major public radio organizations led by the Public Radio Exchange, which is itself an innovative (but not the first) online archive of public radio content from member stations, networks and independent producers.
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