Showing posts with label CMJ. Show all posts
Showing posts with label CMJ. Show all posts

Monday, October 18, 2010

College Radio Goings-On at the 2010 CMJ Music Marathon


The annual CMJ Music Marathon is in New York City this week, with all of the affiliated panels, shows, films, and for the first time a separate gaming seminar. I won't be in attendance this year (but if you want to see highlights of the 2009 and 2008 festivals, take a look at my extensive recaps), but am excited to see that college radio is still a vital part of the 2010 CMJ Music Marathon.

On Radio Survivor I outlined some of the college radio stations who have been nominated for College Radio Awards. If you're attending CMJ, make sure to cast your vote for your favorite stations. Winners will be announced at CMJ's College Day, taking place this Thursday, October 21st. Other college radio events include a College Radio Mixer on Tuesday, October 19 from 4-6pm and mentor sessions for college radio DJs on Friday, October 22.

I'm also pleased to see that a few college radio stations, KXSC (University of Southern California), KVRX (University of Texas, Austin), and CHUO (University of Ottawa), have teamed up to co-present an unofficial (and free) CMJ showcase "Manifest Airwaves" on Friday, October 22 from noon to 7pm at Bruar Falls in Brooklyn.

I spoke with a few of the organizers about Manifest Airwaves in order to learn more about this awesome college radio collaboration. According to CHUO's Music Director Joni Sadler, she was initially contacted by KXSC's Maura Klosterman over the summer. She said, "It initially started out as the idea to just throw a show/party for bands from our areas, and it grew from there when other stations got involved as well."

Each station is helping to book bands, promote the event, and they are all sharing in the costs. KVRX is also planning to film the event. According to KVRX Promotions Director Brittany Campbell, "We plan on filming most of the performances for our YouTube page which has other KVRX performances, interviews, and DJ trivia." Brittany mentioned that KVRX will also be setting up a photo shoot at the event for attendees.

According to Joni and Brittany, all of the stations have benefited from this collaboration. Joni said, "We have a diverse little group of stations working together for this, so that's made for some good brainstorming and diversity with the artists involved." Brittany added, "I think it's a great opportunity for future shows, events and long-lasting relationships for student radio stations. We have to stick together."

Since the participating stations are in California, Texas and Ottawa, Canada, much of the organizing has happened over email. A few staff members have met in person previously, which, according to Joni, "I've met Maura [KXSC] and Nichole from KVRX in person. Our stations definitely have some similarities, and having met them face-to-face before made it easy to know that we'd work well together on this kind of project."

The participating stations aren't necessarily bringing big crews to CMJ, with Joni being the sole CHUO attendee. Joni explained that she pays her own way and that, "From what I know, CHUO has never officially 'sent' anyone to CMJ. It's always awesome to get to hang with friends from all over the US and Canada that you only get to see once a year, and it's a great opportunity to share ideas with people from other campus and community stations. I find the panel discussions valuable, but even casual discussions of how different stations function has been helpful for me in the past. Plus, the WFMU record fair is going on during CMJ - and that ALWAYS totally rules." Brittany said that 3 folks from KVRX would be in attendance and said, "We are looking forward to the big city, east coast music, meeting all walks of life, and being able to stay at a bar till 4am. I am personally not looking forward to the cold... it's 86 in Austin and 54 in NYC."

Sounds like a great time! Sorry to miss all of the festivities, but I am hoping to get the full report from those of you who attend.

Wednesday, August 18, 2010

Room-Share Opportunity During CMJ Music Marathon


CMJ College Radio Awards Ceremony 2009

The first time that I attended the CMJ Music Marathon I traveled by train from Philadelphia to New York City with several of my friends and college radio cohorts. We all crammed into a hotel room at the Roosevelt Hotel where the conference was being held, with several unlucky folks having to sleep on the floor or on cots in order to save money. The next year I went solo, as nobody from my station was interested in going. With no money to spend on an expensive hotel room for myself, I ended up asking a high school friend's sister if I could crash on the floor in her shared apartment in Soho.

I'm sure that many people are in the same situation and have dreams of attending CMJ, but are scared off by the high prices of hotel rooms in New York City (where $300 a night is a "special" deal).

So, as a public service to some college radio folks who are itching to go the CMJ Music Marathon, here's a room-share opportunity for those of you who are interested in minimizing your travel costs. Even if this deal doesn't work out for you, feel free to post your own offers to share accomodations in the comments section of this post:


CMJ Room Share Opportunity:

Osprey Radio, the University of North Florida student run radio station is trying to attend the CMJ Music Marathon in NYC this October. We need your help! If anyone is interested in potentially sharing a hotel room to help us cut down on costs, please contact us at ospreyradio@unf.edu if you are interested. Feel free to check us out at ospreyradio.com

Monday, January 4, 2010

Montco Radio Embraces their Online-Only Status


In my final trend piece for 2009 over at Radio Survivor, I wrote about The Growth of Internet Radio as one of the top radio trends of the past decade. At the end of the article I covered implications specific to the college and indie radio scene and pointed out that many college radio stations have decided to go web-only, either because their schools have sold off their terrestrial signals or because online-only is a better alternative to other options (cable, carrier current, weak terrestrial signal, etc.). Additionally, some new college stations have been able get started due to the ease of online broadcasting (vs. the red tape involved with getting a license for an AM or FM station).

One example of an online-only college radio station is Montco Radio at Montgomery County Community College in Blue Bell, Pennsylvania. An article in today's Norristown Times Herald covers the station's embrace of netcasting:

"'In terms of broadcast, I don’t know if a tower is better than what's going on now. People can get Internet radio in their car, so they can listen while they drive, no tower needed,' said Morgan Betz, co-adviser to Montco Radio and full-time faculty member. 'A goal would be to serve the community more one day. We’re very happy with the Internet. We get a lot done, and in the long run, we’re very happy where we are.'"


The article points out that Montco Radio has been recognized by CMJ as one of the top Internet-only college radio stations in the country (and by the way, they were featured in the pages of CMJ as well).

What do you think? Is it better for college stations to have terrestrial signals or do Internet-only stations reach just as many listeners?

Tuesday, December 1, 2009

Spinning Indie 50 State Tour: Stop 12- California's KSCR


Welcome back to the Spinning Indie 50 State Tour, in which I investigate stations from all over the United States.

This virtual tour of radio stations has so far included stops in 11 states, including Arkansas, Wisconsin, Kansas, Louisiana, Alaska, North Dakota, Nevada, West Virginia, Kentucky, Minnesota, and Montana.

As you can see by the list, for the most part I've been taking my Spinning Indie 50 State Tour to smaller towns outside of the media glare of big cities and the coasts. But, since I'm attempting to virtually travel to all 50 states, it was only a matter of time before I made it to a big coastal city. As a Californian, I was a bit daunted by the prospect of selecting one station from this massive state to profile for the "tour," but was intrigued by the tale of the University of Southern California (USC) station KSCR, so decided to take the trek a bit closer to home.

When I was at the CMJ Music Marathon in New York City this October, I got to also meet a bunch of folks from KSCR (you can read their take on the CMJ fest on their blog); so was even more excited to feature the station.

KSCR "Family Band" at CMJ Artist Lounge, October 2009

KSCR is a student-run radio station in Los Angeles that began as a carrier current station at USC in 1975 and eventually had stints on cable and on FM. By 1998 they were webcasting, which continues today along with an AM broadcast over 1560 AM in Los Angeles. The station is devoted to independent music, billing itself as "revolutionary radio."

Thanks so much to KSCR's Public Relations Director Kat B., Music Director Emilie Brailey, and General Manager Zak Wolf for taking the time to fill me in about their station. On to the interview:

Spinning Indie: I understand that KSCR will celebrate its 35th anniversary in 2010. Can you tell me a little bit about the station's history?

Zak Wolf, General Manager: KSCR can trace its roots back to 1946 when USC decided that a radio station would provide the University and its students with an unprecedented media format for that period in history. By the mid-1970s, however, that radio station, KUSC, had switched to an all-classical format and students were only permitted to be interns.

In 1975, 13 dedicated and diverse undergrads decided to start their own radio station. Since then, the face of KSCR changed frequently. We've had all sorts of formats and many different means of broadcasting, from AM 530, to a public access cable TV channel to a pirated FM signal at 104.7.

In 1998 the FCC began to crack down on unauthorized radio signals. While driving up the I-110 en-route to shut down a Silverlake radio station that happened to use the same frequency as KSCR, the FCC happened caught us broadcasting on the 104.7 stream and shut it down. KSCR thus adopted a webcasting signal, one of the first stations to do so, and switched to 1560 AM.

Since then, we've struggled to get funding both externally via sponsorships and PSAs, and internally from the University Student Government. This hasn't stopped us from being a strong radio presence among the USC student body and the Los Angeles area. We broadcast 24 hrs a day at 160 kbps stream and locally at 1560 am, dedicated at least 12 hours each day to live DJs, Newscasters or Sports talk shows.

Every Friday we bring a band in to play a set live over the air and we hold an interview afterwards. We continue to release our annual publication "Bandwidth" and we put on some of the best free concerts around. We plan to build on KSCR's history of amazing in-studio performances and concert performances, which include (in reverse order of appearance): Tom
Brosseau, Crystal Antlers, Mika Miko, Happy Hollows, Avi Buffalo, Daedelus, Busdriver, Gangi, Army Navy, The Dodos, Thee Oh Sees, Abe Vigoda, No Age, Mirah, Ghostland Observatory, My Chemical Romance, Minus the Bear, and (in the early nineties) No Doubt, Biggie Smalls, Gang Starr, DJ Shadow, J5, WuTang Clan, Mos Def & Talib Kweli, Busta Rhymes, and Common.

On October 17th we look[ed] to build on this list with our first show of the fall semester featuring Nosaj Thing, Rainbow Arabia, and Ras G.

Spinning Indie: How will you celebrate the station's anniversary? What do you guys do to preserve the station's history?

Zak Wolf: In 2010 KSCR will commemorate its 35 year anniversary with the move to the new Campus Center. This will be a turning point for KSCR, as the station will have state of the art equipment and a central location on campus, exponentially raising awareness of KSCR among the student body.

We've established an Alumni association called KSCRfriends, who have pledged to raise $1 million for KSCR. They hold monthly conference calls, accept donations year round and meet annually every homecoming to reinvigorate the efforts and meet the fresh faces of the KSCR staff, which, as KSCR is completely student run, change significantly each year.

Every so often KSCR will update its DJ manual and its online wiki or "documentation project" with the new history of the station. There will be a new update before the move to the campus center.

KSCR was up for the 2009 mtvU College Radio Woodie
Image courtesy KSCR Facebook Page

Spinning Indie: You're on AM and online right now, but KSCR used to be carrier current and low power FM. How powerful is your over-the-air signal (how far away can it be heard) and do you think many of your listeners are tuning in via AM radio?

Kat B., Public Relations Director: I’ll be frank here — our AM signal sucks. It's supposed to cover all of campus, but it doesn't. We’re working on reclaiming our FM presence, though. (Fingers crossed.)

Zak Wolf: KSCR's bread and butter is our online stream, but our AM broadcast reaches approximately 1 mile around campus. KSCR 1560 AM goes out via a 10 watt signal, which, if turned up, would be vulnerable to FCC restrictions and licensing. Right now, because we are located at an educational institution and do not broadcast outside our range, we do not need an FCC license.

My guess is that very few listen through the radio waves in comparison to our online broadcast simply due to issues of fidelity and range. We hope to garner enough listeners and support from our student body and the USC administration to apply for an FM signal; however, in Los Angeles this is an expensive and exhausting task, currently beyond the capabilities of an all-volunteer undergraduate staff with a relatively small bank account.

Spinning Indie: You must be thrilled about your new studio space in the campus center (coming in 2010). How did all of that come about?

Zak: We are supremely excited. Student Activities and Campus Affairs, with the help of our alumni network, previous KSCR staffs, and the amazing Brandon Operchuck, our faculty adviser and director of performance venues at USC, have joined forces and funds to build us our new facility. Michael L. Jackson, Vice President of Student Affairs, has been a strong supporter of KSCR as well, and has helped with the inclusion of KSCR in this amazing new Campus Center. We fall under the umbrella of a much larger project, and we're enjoying the shade.

Kat: It’s really hard for me to be excited about the new studio since this is my last year at USC! I’m so jealous of all the underclassmen involved with KSCR; they really don’t know what’s coming to them. The space is going to be absolutely amazing. I’ll have to visit — a lot.

2009-2010 KSCR Staff Photo
Courtesy KSCR

Spinning Indie: I know that various alums have helped to set up a group (Friends of KSCR) charged with raising funds in order to ensure the station's future. I'm not sure I've heard of similar efforts at college radio stations. Why do you think station alums are so passionate about preserving KSCR?

Zak: KSCR is unique because it was started as 100% student-run and has remained that way. USC initially didn't want to give students their own station, but the efforts of the original 13 set the bar for the next 35 years of KSCR staffers.

Everyone at KSCR has the opportunity to become part of a family. We're all volunteering our time to make something that we believe has the potential to truly be great. We feed off each others' excitement daily. Our motivation is entirely our own. Our facilities are entirely our own. It's a feeling of belonging and commitment so above and beyond any cynical critique or monetary consideration that no one ever wants to leave.

Every member of KSCR puts so much of their time, efforts and self into the station that the rewards are ineffably satisfying. Plus, our programming is totally original, our music is amazing and unique, we put on the best events, and we give students unprecedented opportunities and experiences in broadcast journalism, music industry, and even leadership. Who wouldn't want to see a place like that continue?

Spinning Indie: Can you tell me about your online music database. Is it primarily for DJs to use?

Zak: Our online database essentially keeps track of all the music that KSCR has. It's used by DJs to create playlists and log their tracks. The logging of songs played is mandatory as we report our charts to CMJ and are required to keep track of every song we play on the air. It also allows us to send song information to the front page of our website and through the m3u stream. Our music department uses reviews, recommended tracks and RIYLs to expose DJs to music they might not have encountered before, and in that sense it’s a very informative tool.

Emilie Brailey, Music Director: The online music database is open to everyone. I think it was started in order to feed the robot but now it’s a handy back up system in case albums go missing (like the fucker who stole the Shins… you can’t keep us down mother fucker, you can’t keep us down!)

Spinning Indie: What is the revolutionary robot?

Emilie: The revolutionary robot is our mascot. He’s a big friendly dancing machine! In reality, the robot is our iTunes, it’s what makes KSCR a 24 hr programming station. When there isn’t a show, the iTunes is playing, stocked with music that only staff or select DJs have added that is of KSCR quality.

Zak: The revolutionary robot is the KSCR mascot. It got its name from our slogan "Revolutionary Radio," meant to highlight our unique programming and alternative music. We have a robot costume we like to bring out at promotional events, and we use robot imagery on a lot of our promotional materials.

"Revolutionary Robot" also references a program that we are looking to re-instate on our new server, which was called "the robot" and operated like a high-tech iTunes shuffle and sent track information to the kscr.org front page mimicking a DJ's logged tracks. Now, we have our music department hand pick a huge amount of cohesive music for our "Studio A" iTunes, which we place on party shuffle. We then use KungTunes to send that information out over our stream. The new robot that we're looking to program on our recently purchased server will hopefully be able to do the same as the old with maybe a few more updates.

Flyer from Recent KSCR event
Image courtesy KSCR Facebook Page

Spinning Indie: Are most students aware of KSCR? Do you have to be a student to be a DJ? What role does it play on campus?

Zak: We're always looking to raise the profile of KSCR amongst our students. We flyer, and table often, in addition to giving out our information at USC's orientation sessions and constant online promotion.

Only USC students can be a DJ. We provide a service you really can't get anywhere on our off campus. Anyone can have their own show, anyone can listen. It's awesome.

Kat: KSCR’s presence at USC has increased tremendously since I started here in the fall of 2006. Now, when we have informational meetings for our station interns, the room is often packed to the brim with students eager to become a part of the station. I think our increased visibility has a lot to do with our recent focus on effective marketing and promotion; we recently got a Twitter account, redid our other social networking sites and are currently in the process of redesigning the KSCR website — all very significant methods that can increase awareness of a campus radio station.

We recently changed our constitution so that USC alumni — mainly alumni of KSCR — could come back and have a timeslot for a show. It’s been really awesome to see some familiar faces back in the studio. Otherwise, the rest of our DJs are USC students, and we’d really like to keep it that way.

While USC has its own Concert Committee to bring live shows to campus, KSCR has really filled the niche in bringing independent music to USC; our concerts — and the music we play — really don't cater to the majority of students who will camp out on the quad to see someone like the Fray perform. That being said, we’ve had the opportunity to expose many students to the wide variety of artists in the local independent scenes.

We did our first outdoor music festival on campus this past spring and has bands such as Mika Miko, Crystal Antlers, Avi Buffalo and the Happy Hollows perform — it was a huge success. We’ve also brought No Age into the studio for interviews, had KSCR alum Daedelus do a benefit show for the station and we’re working on sponsoring our first off-campus show for the end of the year. If there’s something we’re really good at, it’s live events.

Julianna Barwick live at KSCR
Photo Courtesy KSCR Facebook Page

Spinning Indie: I know that Los Angeles is a huge market with lots of college radio stations. How does KSCR play a role in the broader community and music scene surrounding the campus?

Zak: KSCR is all about its content. Our DJs are dedicated to their shows. Our sports department is relentless about theirs and the USC games. We make sure we have the best non-top 40, independent music around. We distribute our magazine all around LA. We have a whole section of our "New Wall" of CDs devoted to LA artists and bands. Our Live Show brings in a different local act each week to play in Studio B over the airwaves. And, of course, our free concerts on the USC campus bring in the best local talent for USC students and anyone in Los Angeles who wants to attend.

Emilie: Up until now KSCR has not been huge outside of USC, but I think that it has been blossoming in the last few years. I think every year the staff becomes more and more aware of the potential and our fan base has really grown. I know of many people all around the monstrous LA area who are not only familiar with KSCR now, but also come to shows we put on. I’m not sure about other college radio stations and we don’t seem to be competing with them yet (if we are I am unaware).

Spinning Indie: What's the overall music philosophy of the station?

Emilie: Music philosophy: this is college radio. “College Radio” has almost become a genre in itself. My philosophy is that KSCR should have only the best; no-crap policy. Although we give some bands a chance that may not have had one otherwise, we really stick to what we think is the best quality.

Zak: We love any genre of music, except we won't play top 40 artists. Our goal is to provide music that you won't hear on mainstream radio especially since KCRW is NPR most of the time, KXLU doesn't have the strongest of signals and Indie 103.1 is all but dead.

KSCR is original programming 100% of the time. We spin mostly indie/alternative, but we also have parts of our library devoted to electronica, hip hop, jazz, world music, punk and loud rock.

Photo courtesy KSCR Facebook Page

Spinning Indie: Are there any specific rules about the music that gets added to your station? Are DJs required to play anything in particular? Is there anything they aren't allowed to play?

Emilie: There are indeed some rules to adding. KSCR is truly college radio, so we do not add nor are DJs supposed to play anything that is Top 40 or overtly popular. Sometimes DJs play older popular music (Beatles, Bob Marley) and we still add stuff that’s considered pretty popular (the new Neil Young album, for example) but for the most part it’s an indie sound on all levels.

Nothing of bad sound quality, obviously, is added, and nothing that sounds too pop (even it’s an obscure band) is added too often.

Of course, the new stuff added is usually a blanket style, but the intricacies change depending on the music director. I’m really into indie singer songwriter mystical spacey shit (Bon Iver makes me jazz in my pants) so I add a lot more of those kind of bands than a music director who is more into other styles.

As stated, DJs are not allowed to play popular music/Top 40. With that said, our DJs are really free to play mostly whatever they want. They usually become a college radio DJ because they are into college radio music, so there aren’t many issues. They are required to play four new adds per hour (I add on average 7-15 albums a week) while supplementing their show with one
‘other’ genre per hour (a genre they don’t normally play). This allows new music to always be on the airwaves and keeps all shows pretty eclectic.

Zak: ...we encourage DJs to use our music library and database, and to play music that isn't popular now and was never popular before. In other words, if you're a KSCR DJ and you want to play the Beatles, play a B-side from the white album or an obscure version of one of their hits.

Kat: Absolutely not! The great thing about KSCR is that it brings together so many students with the broadest of music tastes; we add and play just about everything from your general college indie rock to world music to metal to jazz. If it sounds good and we like it, chances are it’ll get added. (Having cool cover art doesn’t hurt, either!)

There’s just one rule — and I think we may have upset some interns at our most recent KSCR information meeting by saying this — but KSCR’s primary goal is to function as an alternative to the slush of Los Angeles FM radio, and as such, we try not to play anything you’d find on a Top 40 station.

We try to encourage DJs to go for the deep cuts, the unreleased material, the tiny little band trying to make it big...

Spinning Indie: Do you add and play vinyl? mp3s? cassettes?

Emilie: We play vinyl, mp3s, CDs, any kind of aux you can muster (computer, iPod, iPod-esque creatures), but so far no cassettes that I know of and adds are mostly in the form of physical CD.

[But in my opinion it’s okay. I may be desecrating generations and skinny jean wearing hipsters, but cassettes were short lived and unnecessary. The sound quality is not like that of other mediums. So go KSCR for not having them!]

Zak: We have an old closet of hip hop and electronica vinyl, and we occasionally get vinyl submissions, but KSCR is a mostly CD based radio station. We do, however, encourage DJs to bring their own vinyl. We have a turntable in our main studio and two turntables with a mixer that is hooked up to our board in what we call "studio b." MP3s are usually burned to disc and we can play cassette, but we don't have it in our library.

Kat: I remember there used to be a cassette player when I first started at KSCR! I wonder where that went…

Most of our database is made up of CDs, but DJs often bring in their iPods or their own vinyl to play over the air, too. I think, before I graduate this spring, I need to do an all-vinyl show; I’m long overdue.


Spinnining Indie: Is there anything else you want to share about KSCR or college radio in general?

Zak: College radio knows what's up. Listen to us online at kscr.org!

Kat: Independent radio rules! I’ve met some wonderful people during my time at KSCR and made some lifelong friends in the process. I’m truly going to miss the station when I graduate this year.

Thursday, November 12, 2009

Radio Station Field Trip 19 - RXP 101.9 "The New York Rock Experience"

Emmis Communications- Home of WRXP

It was never on my agenda to visit a commercial radio station. My assumption has been that a corporate radio station in 2009 would be a very boring and depressing place. To me the horrors of commercial radio these days are the results of fewer and fewer station owners, resulting in tightened playlists, less local programming, and more DJ automation.

However, when I saw a panel of DJs and staff from WRXP (aka "the New York Rock Experience") at the CMJ Music Marathon in New York City last month I actually became intrigued again about the potential of commercial radio and decided that I wanted to see this New York City rock station in action.

Leslie Fram on Mic During "The Rock Show"

Thanks so much to Program Director Leslie Fram for welcoming me to the station and for allowing me to be a fly on the wall during her morning show. Also a big thanks to her co-host Matt Pinfield, Producer Matt Ianni and DJ Greg Russ for talking to me about RXP.

WRXP has been around since February 2008 as a rock-oriented station in New York City owned by Emmis Communications. Previously, 101.9 was home to a number of formats, most recently smooth jazz up until to the change to rock.

I visited the station on the morning of Friday, October 23, 2009 during the last hour of the morning drive show hosted by Matt Pinfield and Leslie Fram. Dubbed "The Rock Show," it airs on weekdays from 6 to 10am.

Matt Pinfield Selecting Tracks During His Morning Show on RXP

When I arrived, former college radio DJ Matt Pinfield (perhaps you remember him from his days hosting MTV's alternative music show "120 Minutes" or from his regular gig during DirecTV's SXSW coverage) was actually selecting music to play during the final hour of the show which they call "Spinfield."

In advance, he'd creating a list of possible tracks to play and I watched him pick and choose his final selections. He changed his mind about a couple of things as he heard the music play, making comments like, "I need something kind of synthy." It was something I could relate to as a DJ and I was so happy to see him excited about crafting interesting segueways. He also seemed really moved by listener feedback and was elated when a comment came in on his mobile phone from a listener saying, "you made my day."



He played both classic (Elvis Costello) and new (Killers) stuff and even through in some bands that were completely off my radar like The Raspberries (by listener request). I was surprised and delighted to hear him throwing on one of my '80s favorites The Chameleons and impressed that on the fly he decided to nestle that next to Black Sabbath. Matt was downright giddy about that particular musical segue and it became so obvious to me that he loves music and radio. You can view his entire playlist for that hour on the RXP blog.


Although it wasn't a revolutionary hour of music, it was refreshing to see that there's a commercial station out there where DJs actually have some say over what they are playing. And....it wasn't all digital music. Matt played some CDs during the show and I also saw the 10AM DJ arriving for his shift with a CD wallet in hand.

Following my visit I talked to Leslie about this a bit and she told me over email that,

"RXP reminds me of the 'spirit' of radio when I first started. We are all very passionate about music and are excited to have the opportunity to work for a company that allows us to offer our listeners a different kind of rock radio station in the Tri-State. DJ's that can actually talk about the music, program their own features and play new music and unsigned bands!"

It was obvious during my visit that Matt and Leslie love music. They talked about artists who they were planning to see and seemed super enthusiastic and engaged.

Music Brought in by the Next DJ

But, as you might guess, being commercial radio it's not all wild and anarchistic. Like all stations, they have a log of "business" that they must attend to every hour, including commercials, public service announcements, ticket giveaways, etc. The producer of the show maps out the overall flow of things in advance and you can actually take a peek at what one such flow sheet looks like on this post from the RXP blog last week. Music being played also includes requests and some emphasis on local artists with their "Local Licks" selection during the hour that I was there. To get a sense of all of the music being played, you can take a look at the station's playlist archive for the past 2 weeks.


During the hour that I was in the studio, I was kind of amazed by the lengthy sets of music, with the DJs only really taking a few breaks. They called these breaks "stop sets" and they seemed to last for about 5 minutes, including DJ banter and ads.


After Matt and Leslie finished their show, I got a quick tour around WRXP. Being a part of the Emmis radio group, they share space with a few other radio stations. Greg took me around to the WRXP production studio, green room (complete with gross couches--a staple of any radio station!), and through farms of cubicles housing sales, HR, accounting, and the web teams.

Requisite Nasty Couch in the Stations' Shared "Green Room," complete with Dead Tree

Programming and Music Directors had offices with doors and I even spotted a vinyl record reflected through the glass of the Music Director's office. Although I didn't see any sort of music library, Greg did point out a locked cabinet of music for one of their fellow stations. Mail tubs full of music were also in the hallway outside the Music Director's digs.

Music Director's Office at RXP

Believe it or not RXP also has a show completely devoted to vinyl. The Sunday morning "Vinyl Experience" show airs from 9 to 10am and is hosted by vinyl enthusiast Paul Cavalconte. It actually debuted on October 25th, just a few days after my visit. Although the station doesn't have a vinyl library, they do have turntables which they set up in the Control Room for that particular show. Do you know of any other commercial stations with vinyl-only shows? I'd love it if that was a growing trend.

Thanks again to the crew at RXP for showing this college radio gal around the station's digs. Although many things are different (commercials, salespeople), many things were surprisingly the same (stinky couches, enthusiastic DJs).

Previous Spinning Indie Radio Station Field Trips:

Field Trip to WECB at Emerson College
College Radio Field Trip 2 - Cal Poly's KCPR
College Radio Field Trip 3 - Notre Dame's WVFI
Radio Station Field Trip 4 - WFMU in Jersey City
Radio Station Field Trip 5 - East Village Radio in NYC
Radio Station Field Trip 6 - WNYU in New York City
Radio Station Field Trip 7 - Northwestern's WNUR
Radio Station Field Trip 8 - Stanford's KZSU
Radio Station Field Trip 9 - University of San Francisco's KUSF
Radio Station Field Trip 10 - Santa Clara University Station KSCU
Radio Station Field Trip 11 - UC Berkeley's KALX
Radio Station Field Trip 12 - KSJS at San Jose State University
Radio Station Field Trip 13 - WBAR at Barnard College
Radio Station Field Trip 14 - KFJC at Foothill College
Radio Station Field Trip 15 - UC Santa Cruz Station KZSC
Radio Station Field Trip 16 - Haverford College Station WHRC
Radio Station Field Trip 17 - FCCFree Radio in San Francisco
Radio Station Field Trip 18 - Flirt FM in Galway, Ireland

Tuesday, November 10, 2009

My Crazy Final Day at CMJ: Radio-o-Rama

The final moments of CMJ 2009

My final day at the CMJ Music Marathon 2009, Friday, October 23, 2009, was jam-packed with radio-related adventures. In the morning I headed over to commercial radio station WRXP in order to hang out and get a tour of the station. It was a really fun experience and actually made me a bit more optimistic about the potential of commercial radio. My next post will be a full write-up on that tour.



College Radio Mentor Session with KDHX's Kate Estwing
Following that, I raced back over to NYU to take part in a short "college radio mentor session" that I'd arranged the previous day. Students participating in College Day the day before were entitled to sign up to have 15-minute chats with various folks from the industry, including radio promoters and community radio station KDHX.

KDHX's Program Director Kate Estwing talked to me about the St. Louis station. She mentioned that her station streams the past 2 weeks-worth of shows and said that the streams are really successful because "people don't like appointment listening anymore." I was also heartened to hear that KDHX plays vinyl and features a lot of in-studio performances (200 this year!).

The station gets its funding from members (they're doing a fundraiser right now), grants, and the Corporation for Public Broadcasting (CPB). Right now they're in the midst of a "Station Renewal Project" grant from CPB and the ultimate goal is to get the station to a place of self-sufficiency.

Man Behind the Curtain Engineering during KEXP Session

KEXP Sessions at the Cutting Room
Next, I raced over to the Cutting Room to see some of the live music that KEXP was hosting and broadcasting from there. On that particular day they were only doing acoustic sets and I caught a bit of the performance by Choir of Young Believers. There was lots of documentation happening, as the set was being filmed, photographed, and recorded for the archives and live stream. The set-up wasn't super conducive to having a live audience; but it was fun to hang in the hallway, meet folks from KEXP and see a bit of how radio was covering the festivities at CMJ.



Internet Radio: A Free-for-All
The final panel that I was able to make it to was all about Internet radio and featured a range of folks from KEXP, East Village Radio, the Future of Music Coalition, SoundExchange, AOL Radio, and Yep Roc. Much of the discussion focused on licensing and fees related to Internet radio and the affiliated rules and regulations. After a long week (and little sleep) I had a hard time focusing on all of the nitty gritty details of the conversation, except to recognize that there's much complexity surrounding these issues.

We heard that podcasting is different from streaming in that a podcast is considered a "distribution of a sound recording" and streaming is a "public performance" according to Kyle Funn from SoundExchange. SoundExchange helps artists get paid for streaming radio.

People talked about fee structures, reporting requirements and the currently imperfect methods for getting royalties to artists when not every song being played is necessarily reported. Internet Radio was described by Casey Rae-Hunter of Future of Music Coalition as having "tremendous promise" in terms of breaking new music and a future was imagined in which "a new breed of entrepreneurs" work to sort out all of the connections between radio, technology and reporting on artists/songs being played.

AOL's Peter Schiecke pointed out that the majority of the money that AOL Radio makes is used to pay royalties, meaning that it's "not a booming business." He suggested that there should be rates in effect that aren't "driving people out of business."

A few highlights/quotes I liked:

Emch Subatomic (KEXP, BrooklynRadio.net): Internet Radio is "a little bit of the wild west...right now."

Peter Schiecke (AOL Radio): Internet radio... "it still feels like it's in its infancy."

Jeremiah Lewis (Yep Roc Records): Radio is "a source for us to make money" (singles sent to radio are meant to encourage album purchases)

Peter Ferraro (GM, East Village Radio): "We are not making money at the present time...it's been a promotional vehicle for the restaurant [Little Frankie's] more or less...[that is] funded by tomatoes and dough and flour."

Casey Rae-Hunter (Future of Music Coalition): He uttered my favorite word all week: "Earballs"


Artist Lounge at the Pure Volume House
My final stop before departing NYC was the artist/press-only "lounge" at the pop-up venue at Collective Hardware dubbed Pure Volume House. This was a place where bands could hang out, get free haircuts, and the occasional free pizza slice. Press (like me) were also allowed, although I was initially denied access to the exclusive loft area where the hair cutting and massages were taking place. As is often the case, when one is told that something is off-limits it often sounds way more interesting than it turns out actually to be. I was in and out in a flash as there was no free food in sight. On my way out I ran into some college radio kids from KSCR who had been hanging there all week disguised as the KSCR Family Band. Rock on.

Previous Posts about the 2009 CMJ Music Marathon:

CMJ 2009 Band Name Trends Revealed
Radio is Alive and Well at the CMJ Music Marathon (for Radio Survivor)
Radio's Presence at CMJ
CMJ 2009 Music Marathon Recap Part Two (10/20/09)
Social Networking, Metal Radio & Digital Music, and Miles Davis in 1959 (10/21/09)
CMJ 2009 College Day Part One- College Radio and Competition
CMJ 2009 College Day Part Two: Music Directors' Summit
CMJ 2009 College Day Part Three: Making Executive Decisions Panel
CMJ 2009 College Day Part Four: College Radio Awards
Small Beast Showcase at The Delancey During CMJ: Theremin, David J, and David Lynch Covers

Saturday, November 7, 2009

Small Beast Showcase at The Delancey During CMJ: Theremin, David J, and David Lynch Covers

David J at The Delancey in NYC

My all-time favorite show during the CMJ Music Marathon this year was a showcase at The Delancey on Thursday, October 22, 2009. As part of the "Small Beast" series, this collection of acts played in the small bar area on the ground floor of the club. Downstairs one of the most happening shows of CMJ was taking place and a line of people stretched out the door. But I was happy to be inside at a less populated, more experimental, and (can you believe?) free show. Nestled in a velvety booth, I felt like I was transported to a crazy cabaret inhabited by characters from a Wim Wenders film, with Nick Cave and Leonard Cohen orchestrating the soundtrack.

This particular event was the 40th show in the "Small Beast" series, curated by Paul Wallfisch. He was the MC of the evening as well as a performer and even passed a tip jar to collect donations for the musicians between sets.

I was lured to the show by the promise of not only David J, but also musicians incorporating theremin and David Lynch covers into their sets. It seemed like the perfect confluence of performers and sounds for me.

Unfortunately things got going a little bit late (a pain at CMJ when every act is scheduled at precisely timed intervals so that attendees can pop from show to show), owing to a missing musician. As soon as the show began, though, I was entranced.

Pamelia Kurstin at The Delancey

First on the bill was Pete Drungle, featuring Pamelia Kurstin with some loungy, jazzy sounds on theremin. Pete played Wurlitzer piano and another fellow handled percussion using some intriguing box-like contraption that he was sitting on. Overall, it was magical, shimmery instrumental music.

Call me Kat at The Delancey

After that, Call me Kat from Denmark provided some lovely vocalizations over vintage synth. She tantalized with a sophisticated cover of the Britney Spears tune "Toxic."

Spottiswoode was a passionate, singer-songwriter guy with a guitar. His text-focused song about all the ladies he liked included phrases like "girls with glasses and ten dollar asses, that's what I like." I was instantly reminded of the retro Nails classic "88 Lines about 44 Women," although his take on things was way less saucy. Later he moved to piano and I became a lot more interested in the dirgier style that he transitioned into. I bantered a bit with the guy next to me (who turned out to be David J!) and he mentioned that parts of the set reminded him of Randy Newman. I could see that too, with a bit of Billy Bragg thrown in for good measure. For sure he was a storyteller and that was the commonality between all of the influences that I heard in his music.

Thomas Truax at The Delancey
(Spinster Sister to his left)

One of the most intriguing musicians of the night was Thomas Truax. Like a mad professor he came on stage with a collection of fascinating, Rube Goldberg-style contraptions that he used to make music. Crafted with bits and pieces of vintage materials, the Hornicator featured part of an old phonograph horn. The automatic drum kit dubbed Sister Spinster sat perched on a table in front, churning out demonic, heartbeat sounds as well.

Thomas looked a bit like a cross between David Byrne and Harry Dean Stanton and was just plain creepy cool. At one point he jumped up on the bar and crouched down playing his guitar while singing to each and every member of the crowd, weaving in and out of booths while he sang. He's done an album of songs from the films of David Lynch and included a few in the set at Delancey as well.

Paul Wallfisch and Little Annie

Our host for the evening, Botanica's Paul Wallfisch then hit the stage. I was fascinated by him in part because he bears an uncanny resemblance to a DJ at my station (appropriately named Mitch LeMay). Perhaps he's his doppelganger. Paul played piano and was quite the lounge lizard, making the old time, variety show vibe of the evening even more apparent.

I kept wondering what the 20-year-old CMJ hipsters must be thinking as they crossed through the room to get to the Antlers show downstairs. Did they run screaming thinking "oh my god, this is cheesy old people music" (like I used to think about Barry Manilow), or did they recognize the camp aspect of it all? Special guest Little Annie joined in and she was definitely the glamorous diva of the night. Dressed to the nines in head-to-toe black, she looked classic and classy, but her lyrics were biting and sassy.

David J with members of Botanica at The Delancey

Then, the star attraction for the night was Bauhaus and Love and Rockets luminary David J. Halloween songs were promised and he definitely delivered with some creepy-themed songs about murder and death. He performed a lot of covers, including songs by LCD Soundsystem and Tom Waits and premiered a new song of his called "Blood Sucker Blues" about a strung-out vampire.

I was a bit star-struck as it took me awhile to realize that I'd been sitting next to David J. for much of the evening. It was pretty cool to just chat about the music with a fellow music-lover who turned out to be one of the main reasons I was at the show in the first place.

I'm also 90% sure that I spotted another celebrity that evening. If you look closely at the pictures I took during the David J. set you might just spot a shadowy figure who I think is the hilarious actor/comedian Clark Duke (he plays the geeky cool Dale on the TV show Greek). If it wasn't him it was just some CMJ hipster who could have been his twin.

David J was spinning a DJ set at Small Beast later, but as it was nearing 2am, I had to split to get some sustenance (late night S'mores crepe, anyone?!) after a very long day of CMJing it.

If I'm back in New York, though, I'll definitely be checking out Small Beast again because if this show's lineup was any indication, the booking philosophy is simply inspired.

Thomas Truax with his Hornicator

Previous Posts about the 2009 CMJ Music Marathon:

CMJ 2009 Band Name Trends Revealed
Radio is Alive and Well at the CMJ Music Marathon (for Radio Survivor)
Radio's Presence at CMJ
CMJ 2009 Music Marathon Recap Part Two (10/20/09)
Social Networking, Metal Radio & Digital Music, and Miles Davis in 1959 (10/21/09)
CMJ 2009 College Day Part One- College Radio and Competition
CMJ 2009 College Day Part Two: Music Directors' Summit
CMJ 2009 College Day Part Three: Making Executive Decisions Panel
CMJ 2009 College Day Part Four: College Radio Awards

Friday, November 6, 2009

CMJ 2009 College Day Part Four: College Radio Awards


Not necessarily the most educational part of College Day at the CMJ Music Marathon this year, but certainly the most fun was the College Radio Awards Ceremony on Thursday, October 22, 2009.

A few months back CMJ subscribers were invited to suggest nominees for the awards and in September those finalists were announced. During the CMJ Music Marathon attendees were able to vote for their favorites in a variety of categories related to college radio and college radio promotion.

Here's a selection of this year's nominees and you can check here for last year's winners.

Lisa Hresko and Moose Double Check the Vote Count

The MC for this event was CMJ's Editor-in-Chief Rev. Moose. He set an irreverent tone for the festivities by throwing free Bjorn Bjorg underwear out into the crowd throughout the ceremony. Instead of having set presenters, he chose folks based on the names on business cards that he pulled from his pocket. Those accepting awards also joked around by running up the aisle shooting confetti guns, spouting off non-sequiter acceptance speeches, and by pretending to answer fake cell phone calls from family members.

This year, Sacramento State station KSSU dominated with 5 awards (ousting last year's big winner KEXP). Canadian stations also did extremely well, with CJLO earning three awards and CHUO and CFUV each scoring one a piece.

I was impressed to see a variety of stations nominated for awards this year, but a bit disappointed to again see one station win a sweep of major awards. It's tough, because many of the people voting probably aren't familiar with all of the stations in the running...so they may just vote based on who they've met at CMJ and who they've seen on panels.

No Wonder CJLO Won "Best Group Effort"

On to the station-related winners (to see all winners, see the story on CMJ):

Station Of The Year:

KSSU (Sacramento)

Apparently this is the first year that this was not won by KEXP.

Biggest Community Resource:

KSSU (Sacramento)

Best Use Of Limited Resources:

KSSU (Sacramento)

Best Online-Only Station:

WOXY.com (Austin)

Best Website:

KEXP (Seattle)

Most Doing Something No One Else Is Doing:

WNYU (New York)

Best Student-Run Station:

KSSU (Sacramento)

Most Supportive Of The Local Scene:

CFUV (Victoria)

Music Director of Year

KSSU's Susie Kuo

Specialty Music Director Of The Year

CJLO's Brian Joseph

Best Group Effort

CJLO (Montreal)

Coolest

CJLO's Omar Husain

Best Taste In Music

CHUO's Joni Sadler (Ottawa)


Previous Posts about the 2009 CMJ Music Marathon:

CMJ 2009 Band Name Trends Revealed
Radio is Alive and Well at the CMJ Music Marathon (for Radio Survivor)
Radio's Presence at CMJ
CMJ 2009 Music Marathon Recap Part Two (10/20/09)
Social Networking, Metal Radio & Digital Music, and Miles Davis in 1959 (10/21/09)
CMJ 2009 College Day Part One- College Radio and Competition
CMJ 2009 College Day Part Two: Music Directors' Summit
CMJ 2009 College Day Part Three: Making Executive Decisions Panel

CMJ 2009 College Day Part Three: Making Executive Decisions Panel

"Making Executive Decisions" Panel During CMJ's College Day 2009

The final panel of College Day during the 2009 CMJ Music Marathon was called "Making Executive Decisions" and focused on a discussion about running a station and training DJs. Moderated by Justin Spindler of Mute (and formerly of WDBM), it included Maura Klosterman from KSCR (University of Southern California), Trent Wahfeldt of KCSU (Colorado State University), Ben Williams of The Llano Idea (he was formerly at the KTXT), and Manu Taylor from New Zealand station 95bFM (University of Auckland).

This panel turned out to be an interesting mixture, with two true college radio stations (KSCR and KCSU), a semi-commercial university-owned station from New Zeland (95bFM), and an Internet-only station that was spawned by the death of a college station.

We learned that KSCR began in the late 1970s at USC and that the school also owns an FM classical station. Although KSCR has a weak AM signal, it is mainly an online station these days.

Ben Williams talked about the plight of Lubbock station KTXT, which was shut down by the university without notice last year after being on the air for 50 years. Although there were protests and a movement to save the station, the university stuck to its decision. In February, Ben started the Llano Idea as a "forum for KTXT students to continue what they were doing." The new online station works to "curate events," do shows and basically continue the work of the former station.

Trent talked about how KCSU recently separated from their university and it now a part of the student media organization.

Manu told us a bit about 95b FM, which began in 1969 as a pirate radio station that was initially a student prank in the harbor of Auckland, New Zealand. Eventually it developed into a radio club and began broadcasting over AM. By the 1980s they moved to FM. As Manu spoke more and more about the station, I grew very confused about how they compared with my vision of college radio in the United States. He mentioned the station's news and editorial team and that they create their own commercials and "generate revenue." So, it's a bit of a different kind of station, in that it has some commercial leanings and seems to be run professionally.

Radio History at KALX

Funding

Not surprisingly, the first topic of discussion was funding. Ben pointed out that he's found that it's "significantly cheaper" to run an Internet-only station and that in its first year of operation, he's managed to self-fund The Llano Idea. He mentioned that they'd considered having DJs pay a small monthly fee to be on the air, but for now they've "scrapped" that idea.

Maura talked about how some of the original founders of KSCR "started a campaign for an endowment for the station." She said that at USC there's a precedent for this, as their marching band has a similar endowment. Although they won't see the money from the endowment for a long-time, it does help to guarantee their future. In the past, KSCR got money from student fees, but that amount has been dwindling from year to year and was down to $1500 last year. They get some income from a company called "University Communications," which pays them to read public service announcements over the air.

At KCSU, there isn't much funding from the school, although they do manage to have "12 paid managers."

A few KSCR Staff Members (aka the KSCR "Family Band") at the CMJ Artist Lounge

Recruiting Staff and DJs
KCSU recruits staff during various campus events and fairs, where they sent up promotional tents. They have around 50 DJs and are on a campus with 26,000 students to draw from.

Manu talked about the "aggressive environment" at his station (with a sense of pride) and said that an "element of nerve is required to walk in the door." The station is branded as "shelter from the shit," which says it all as far as the vibe he was trying to express. He pointed out that people aspire to be at 95b FM and that the station provides a "pathway" to careers in media. His station has 15 paid staff who are paid commercial rates and 70 volunteers.

Maura said that although USC has a "music industry major," people at KSCR are a mixture of folks with varying degrees of interst in working in the business of music.

Trent said that at KCSU maybe "5 to 10 percent" of the staff might go on to work in radio or music. Regardless, he said that the station provides great experience.

Keeping DJs Motivated and Dealing with Burnout
Trent said that what's really worked at KCSU is having a Director of Training and Retention. It's a paid position on the station's staff. He said that although as many as 100 people might sign up as expressing interest in the station at various events, fewer than 50% come in to train, so they work hard to keep those people.

Ben said that when KTXT shut down it had 70 volunteers, but maybe only 50% of them are still participating in the Llano Idea. He said, "not a lot of people are dedicated" and that there's only "a handful of people who I can count on."

Maura expressed that she's had to step back from some of her station activities. She's a graduate student and when her studies began to suffer she decided to step down from being Music Director.

Manu talked about his staff with a mixture of pride and derision, arguing not only that his "journalists...get jobs easily" but also that he'll drop a DJ "because he's an idiot." He has a mentoring program at the station, where he will pair new DJs with those who are more estalished (including some who've been there for 25 years).

CMJ Exhibitor's Loft


New Roles at Station?
The panelists also talked about non-traditional roles that they have at their stations. Manu has a "Content Manager" who handles digital music adds and he also has a sales team. The Llano Idea has a video production team, a web director, and a Systems Administrator. Maura pointed out that KSCR is completely student-run and only recently did the station even open its doors to alumni DJs.

Social Networking
Trent mentioned that his station started a Facebook page and that because of it they've "gained a lot of new listeners" and that he feels that it's "really important to have that connection with listeners" since they are not listening to the station all of the time. When Maura asked the audience if their stations had Facebook and Twitter accounts, pretty much every hand was raised. It's amazing for me to see stations finally getting serious about social networking; since back in March I had a hard time finding many stations on Twitter and Facebook.

Trent gave some social networking tips, suggesting that "consistency" in updating pages will draw more people. Ben said that they use their blog for interviews and sessions with local bands and argued that radio is moving into being more a "content provider." Trent concurred, pointing out that the web "extends radio" through things like music reviews and DJ profiles.

At Manu's station, staff actually get paid to produce documentaries and other content and everything is archived on the site.

Vinyl at KFJC

What Makes a Good Music Director?
When asked "What makes a good Music Director?," Manu simply replied, "ears." He talked about "picking hits" and said he's been doing it for 22 years. Ben said, "at the end of the day you want to have listeners...there's a line there that you have to tread" and said that he believed that the music director's job was to "know what's hot or what's going to be hot before your listeners do."

According to Manu "people skills" are also important and he wants staff members who are able to manage relationships and reply to emails.

Trent said that it's vital for MDs to know and listen to their stations.

Equipment at WNUR


Managing Volunteers
Manu is pretty blunt about his dealings with problematic volunteers, relaying an anecdote about how he put a restraining order on a volunteer once. On the flipside, he rewards volunteers with "access" in order to motivate them. He may give tickets to events or free phone credit from their Vodafone sponsor.

Maura said that they have no money to pay staff members. Justin pointed out that when he was an MD he was paid a small stipend and that it did help motivate him at times. Overall, though, he said that most weeks he did his job at the station "for the passion."

DJ Training
Trent said that at his station incoming DJs learn the FCC rules, shadow a show with the Training Director, shadow 2 prime time shows, shadow a specialty show, then take both written and on-air tests. Depending on the DJ, this whole process takes between 3 days and 2 weeks.

At KSCR aspring DJs begin with an internship where they are required to do 10 hours of volunteer work before they are allowed to take part in more formal studio training. Training there is self-paced.

Sign at KZSC

Motivating DJs Who Can't Be Fired
An audience member that at his school, participation in the station is offered as a class and that you "can't kick people out." DJs at his station take the class pass/fail and even if they do a horrible show they can't fail as long as they are "trying." He wondered how to motivate DJs to do better in that kind of environment.

Manu suggested coming up with guidelines which DJs could be measured against, whereas Maura simply recommended getting DJs to think "beyond...just their shows." Trent said that it's really helpful to just "hang out" and "develop relationships" with DJs. Manu agreed, saying that DJ meetings or parties can be useful bonding experiences. Justin added that being a DJ can be a "singular, lonely experience," so he encourages people to get "out of the booth" and interact.

Evaluating DJs, Getting Them to Follow Rules
Colin from WMSR asked about how to handle rule-breaking DJs and if folks have suggestions on the protocal for pulling shows off the air. Ben said that at KTXT airchecks were monitored and the Program Director would work with DJs on "Radio 101." He said that it really helped him to go over his airchecks with the Program Director and he saw improvement in his show. He argued that "airchecks should be mandatory" and said that at his station there was a waiting list of people who wanted to get on the air. He added, "Make sure that your PD sounds good on the air" and "Make sure your PD knows how to do an aircheck" since that person is setting the tone for the station's airsound.

Previous Posts about the 2009 CMJ Music Marathon:

CMJ 2009 Band Name Trends Revealed
Radio is Alive and Well at the CMJ Music Marathon (for Radio Survivor)
Radio's Presence at CMJ
CMJ 2009 Music Marathon Recap Part Two (10/20/09)
Social Networking, Metal Radio & Digital Music, and Miles Davis in 1959 (10/21/09)
CMJ 2009 College Day Part One- College Radio and Competition
CMJ 2009 College Day Part Two: Music Directors' Summit