Spinning Indie: pirate radio

Showing posts with label pirate radio. Show all posts

Thursday, July 15, 2010

Radio Station Field Trip 23 - San Francisco's Pirate Cat Radio

Pirate Cat Radio in San Francisco

All photos: J. Waits

On a beautiful, sunny Saturday morning I headed out to San Francisco's Mission District to finally visit Pirate Cat Radio. The online-only community radio station began as a pirate station way back when station founder Daniel Roberts was a 14-year-old living in suburban Los Gatos. Eventually he took his operation to San Francisco, where until recently he has been broadcasting over the FM airwaves at 87.9 FM. Last year, however, after yet another notice from the FCC (this time, a fine for $10,000), Pirate Cat opted to focus on being an Internet-only station. According to Daniel, he hasn't actually broken the law in at least 7 years, as he has not been responsible for transmitting the station over FM (although his fans might be).

The Pirate Cat Radio website explains this history further, stating:

"Pirate Cat Radio from time to time has been downloaded from the web and transmitted over the air as an extra-legal (unlicensed) service in Los Angeles, in Vancouver B.C., in Berlin, and in San Francisco using 87.9 fm and possibly other frequencies.

The Federal Communications Commission is charged with promoting 'the larger and more effective use of radio in the public interest.' Pirate Cat Radio believes that the FCC has failed in that mission by not creating a practical means for local and neighborhood program services like ours to gain access to the air.

We have sought licensing in the past and been ignored or turned down. The FCC appears to have no path of access to air, except for parties having millions of dollars to invest. This is wrong. We do not try to regulate the use and re-use of our program service, and are not able to do so. Pirate Cat Radio will continue to look for ways to obtain legal broadcast authorizations for our service."

One thing that sets Pirate Cat Radio apart (especially when it was truly a pirate station) from most radio stations is that it operates in public, inside of a cafe run by Pirate Cat Radio DJs. Customers can purchase vegan treats, donuts, and caffeinated drinks from the modest cafe.

When I arrived at Pirate Cat Radio on the morning of June 5, I couldn't resist sampling their signature beverage: The Maple Bacon Cafe Latte. This drink ended up with a cameo on Anthony Bourdain's No Reservations TV show (he called the drink "delightful" and "evil and good"), so it's actually been helping to lure customers into the cafe. The guy who made me my $5 latte was a former college radio DJ-turned Pirate Cat Radio punk show intern. He told me that just that week he'd done his first on-air interview at the station and was looking forward to getting more involved.

After getting my caffeine fix, I met up with Pirate Cat's Music Director Katherine (aka DJ Canary Turd). It turns out that Katherine and I both had a shared DJ history at KSPC at Pomona College, which once again reminds me of just how small the college radio world is. She's been at Pirate Cat for nearly 3 years and actually joined the station after noticing the cafe.

Pirate Cat Radio Studio, with View of Pirate Cat Radio Cafe

As Music Director, her role is to provide music options for DJs; although she is the first to admit that most DJs aren't investigating the music that she adds. She told me that they used to require DJs to play a certain percentage of new music, but that it was a challenge to get people to actually do it. In the past, Pirate Cat also asked every DJ to donate an album a month to the station. Music could have been solicited from labels, purchased, or been handed down from an individual's own collection. These days Katherine handles all of the music being added.

Katherine is mostly adding digital music, although she maintains a shelf of "hard copy" CDs in the studio for both new and local music. They don't intend to build a physical music library at the station and instead opt to just digitize any CDs that they want to retain the music from for future use by DJs. She said that it was a "hard choice" to go completely digital, but said, "we just don't have the space for a library," adding, "we're not an archive."

New and Local CD Library at Pirate Cat Radio

Although Pirate Cat has turntables in their studio, Katherine said that aren't in the best location for DJs. Stashed behind the mixing board, they are "out of the way" and frequently get broken. Despite these problems, there are some DJs who play all vinyl and there were a handful of vinyl records on the studio shelves. Katherine said that it's rare for the station to get sent any vinyl from record labels or bands.

Katherine adds a wide range of material to the station's library and it's up to DJs to decide what to play on their shows, as there aren't any format rules at Pirate Cat. Some of the current shows on the air include an all-Spanish language music program, a Greek blues show, a comedy program, news, and shows that play a mix of music from ska to reggae to electronic to punk. The one requirement placed on DJs is that they are supposed to do interviews on their programs or have live guests. Katherine said that by airing interviews, it "really connects the station with the community."

Pretty Swank for a Radio Station Couch!

Often there are live events at the station/cafe, including the Mission Underground Film Festival, various station benefits, and live music. Katherine agreed that, "people mostly come to try the latte..." Some locals are regulars at the cafe, including firefighters from a nearby station. She said that the neighborhood has been changing a lot recently, with a new art gallery and restaurants cropping up nearby.

Although DJs at Pirate Cat have a lot of freedom over the air, they do still have to abide by a number of station rules. Everyone has to volunteer for a station department, known at Pirate Cat as "ministries." Ministries include departments like Music, Public Service Announcements, PR and Marketing, News, and Interviews (to name a few). DJs are required to donate around 2 hours worth of work to the station every week and interns have to work in the cafe. In addition to that, there are station dues (which can be swapped for hours spent working in the cafe) and mandatory monthly staff meetings.

Pirate Cat Radio Doesn't Have the Band-Sticker-Covered Cabinet that Most Stations Have,

But Look at Their Trash Can!

During my visit I was surprised to see Pirate Cat founder Daniel Roberts hanging out at the station. Just a month before he had launched KPDO in Pescadero and I knew that he was just getting that station off the ground. He told me that he's been splitting his time between the two stations and said that he'd actually been at Pirate Cat four days that week. There are days when he'll spend a part of the day at each station, no small feat given the fact that it's more than an hour's drive between Pescadero and San Francisco.

Daniel said that he was pleased with how things were going at KPDO and when we spoke he had nearly 30 DJs working towards getting shows. As with Pirate Cat, he plans to have monthly staff meetings. One difference, however, is that KPDO DJs are asked to contribute 8 volunteer hours a week to the station. He said that there is so much that has to get accomplished there, that he has to delegate the work. One of his goals was to get the schedule filled with local DJs by the end of summer. At the time we spoke he was rebroadcasting Pirate Cat Radio programs on KPDO when there wasn't a scheduled DJ.

Daniel Roberts and Pirate Cat Radio DJ La Pirata Margarita

As I wrapped up my visit, Katherine, Daniel and I looped back to a discussion about music and talked about the challenges of being a Music Director and trying to convince DJs to expand their musical horizons. Daniel said that at KPDO he's having the same struggles, made even more difficult since the station hasn't built up a library of music. While we spoke he began hauling the modest collection of the rarely-played vinyl out of Pirate Cat's studio, with the intention of bringing it down to KPDO.

In the weeks since my visit, Pirate Cat Radio has gotten a new coat of paint and a jazzed up menu (coconut curry mocha, anyone?) and KPDO has been fundraising (they want to boost the station's broadcast power and range) and connecting with the community through a summer film festival. I'm glad to see the passion for radio at Pirate Cat and to have witnessed the birth of KPDO. Thanks again to the DJs and staff of Pirate Cat Radio for taking the time to show me around their San Francisco digs.

View of 21st Street from Pirate Cat Radio Studio

Thursday, May 20, 2010

Radio Station Field Trip 21 - KPDO in Pescadero

It's not every day that a brand new community radio station gets launched, so I couldn't miss the opportunity to make the trek down to Pescadero, California to witness the beginning minutes of KPDO. In honor of their 1st official broadcast day on Saturday, May 8; KPDO 89.3 FM hosted a day-long bash on the lawn outside the offices of their community radio station.

Located in the small, rural town of Pescadero, KPDO is about an hour's drive south of San Francisco. On my drive down to the station I traveled along the scenic Highway 1, passing not only surfers, but also cows and fruit stands. The town of Pescadero is known to city folk for its proximity to the beach and also for the famous fruit pies at the historic (since 1894) eatery Duarte's Tavern. Within spitting distance of "downtown" Pescadero, KPDO is located in a small building next to a grassy field. For the launch party on May 8th, bands set up on the lawn and performed live on the air. During breaks people could mill about, take a look at the station, chat with DJs, grab a beer, or even catch the sound of a nearby rooster.

KPDO Station Manager Daniel Roberts Checks out the Signal at the Launch Party

As I wrote on Radio Survivor, KPDO has actually existed as a licensed station since 2003, but hasn't really had a staff or DJs at the helm until now. Former middle school teacher Celeste Worden applied for the license for the station back in 1994 and had planned to use the community radio station as an educational platform for young people. Unfortunately by the time she got the license from the FCC, she'd already moved out of the area. Fast forward to Fall 2009 when Pirate Cat Radio owner Daniel Roberts (aka Monkey) offered to work to bring the station in Pescadero to life. His other station, Pirate Cat Radio in San Francisco, had recently been levied a hefty FCC fine for broadcasting without a license and Monkey jumped at the opportunity to broadcast over the FM airwaves again in an FCC-authorized way. However, he was quick to point out to me that HE hasn't technically broken the law in at least 7 years since he hasn't been operating an illegal transmitter for Pirate Cat (his fans have).

Music Performances outside KPDO

When I talked to Daniel at the opening party for KPDO, he told me that he submitted a proposal to Celeste and was lucky enough to be given the opportunity to run the station as its Station Manager and Treasurer. In addition to that, he'll be doing the "News Mongers" show every weekday morning as well as a music show on Sunday nights.

I was there when KPDO officially began broadcasting at 11am on May 8th during the launch party. Live DJ shows were slated to begin the following Monday, with gaps in the schedule being filled by rebroadcasts of Pirate Cat Radio shows. The station will stay true to its original educational mission, with plans already in place for interns and teen participation. Daniel said that he "has a massive lesson plan lined up" and that "people are ready" to start training new DJs. Some of the staff, including Daniel, have previous radio experience at both community and college radio stations.

KPDO Studio in Pescadero

KPDO is licensed to broadcast at 300 watts, but is currently only operating at 100 watts. Daniel told me that the station will be heard from Ano Nuevo to San Gregorio and from La Honda to the Foothills. The cramped radio dial and the geography of the hills on this part of the coast conspire against them a bit, as well as potential interference from 43-watt station on the same frequency out of nearby Pacifica. In fact, as I drove down to KPDO (just before they went on the air), I caught bits and pieces of programming from both KLSI (QFM out of Pacifica) and from college station KOHL on 89.3FM.

KPDO Studios

Daniel was dismissive when I asked him about KLSI, saying that the station is run by a guy from out of town and that it's "basically a jukebox from Florida." Daniel said that the owner of KLSI runs a bunch of radio stations and that he's not connected with the local community and added, "Scum of the earth are people who treat radio like real estate." I told Daniel that I'd heard that UC Santa Cruz had been helping out with KPDO about a year ago and asked him what happened. He said that UC Santa Cruz had made an offer to purchase the station, but that the owner of KLSI contested that purchase. Apparently because of the related legal fees, UC Santa Cruz pulled out, leaving the future of KPDO uncertain. I asked Daniel why KLSI wasn't taking issue with his takeover of KPDO and he said that it's because he's just running the station and the license isn't being transferred.

KPDO Couch (a station MUST HAVE item), with a View to the Studio

Thursday, April 29, 2010

Coming of Age as a Jehovah's Witness and College Radio Lover: An Interview with Tony DuShane

When I heard word that former college radio DJ Tony DuShane had released a coming-of-age novel, Confessions of a Teenage Jesus Jerk, about growing up in the Jehovah's Witness religion, I was very interested to hear more about his personal story. The novel is based on his own experiences growing up in the religion and in places it touches upon the conflict that he must have felt between being part of a very restrictive religion and his burgeoning interest in music, radio and indie culture.

In his interview with me, Tony touches upon the similarities between his own upbringing and that of the novel's protagonist and goes into detail about radio has helped to save his soul. These days he continues to DJ at Pirate Cat Radio in San Francisco, doing his long-running show "Drinks with Tony," in which he interviews writers, artists, and musicians.

Spinning Indie: How closely does your novel "Confessions of a Teenage Jesus Jerk" model your own youth?

Tony DuShane: I was that Jehovah's Witness kid, knocking on your door with my elder dad from four years old forward. I thought God was going to kill me at Armageddon because I masturbated or I watched an R-rated movie. I was deep in the belief system and very earnest, just as Gabe is in the novel. Into my 20s I thought God would expose this darkness inside me when he killed anyone who wasn't a JW at Armageddon and I would be the reproach of my family who would watch me die and not feel sorrow since I turned out to be a wicked man. Looking back, my darkness resembled a cup of whole milk, and the novel is a tribute to how I felt in that repressive environment.

Gabe is his own guy. I put him through some similar situations I was in, but I wish there was more of him in me at the time.

He was a fun character to work with and develop. It took many rewrites to balance his naivety with his strong belief system and ultimately give himself larger and larger dares to challenge the right and wrong in his world. The last rewrites were the hardest because I really fell in love with him, he was no longer a doppelganger of myself and I wanted to pull him out of the situations happening around him. That's when the writing break through really happened, when he spoke for himself and made decisions and I had to just watch and cry and laugh and slap him, yet give him a hug.

Gabe did get help from his step-uncle, Jeff and his cousin, Karen. The help wasn't always beneficial, some of it was purely silly, but it was a perspective he really needed to push him forward that I never had when I was growing up.

Spinning Indie: For someone clearly so into music, it must have been challenging for you to grow up as a Jehovah's Witness since so many music-related things forbidden by the religion (school dances, band posters & T-shirts) are enmeshed with teen culture and identity. Was that a source of conflict for you?

Tony: Personally, even though I hid my music from my parents, I had an odd sense of entitlement about it. There was honesty in it. My parents were so strict, I wished them dead often and when Suicidal Tendencies came out with "I Saw Your Mommy and Your Mommy's Dead", that was sweet bliss for under three minutes. Listening to punk was like a three minute orgasm. It was like I could leave my body and my family and religion for power chords and screaming. My parents found some of my punk rock contraband and made me throw it away. That was more dread, more guilt and more frustration. If it wasn't for music and literature I probably would've killed myself. Suicide runs in my family and I've had a few very dark periods where it was a real possibility.

Confessions of a Teenage Jesus Jerk tows the line between dark comedy and tragedy, and then I start talking about it for interviews and I seem so tragic. I'm funny in real life. Tragically.

Spinning Indie: The title character, Gabe, seems to catch glimpses of the non-Jehovah's Witness world through his interactions with music, mixtapes, and the radio. Can you tell me how your youth was shaped by music and radio?

Tony: I found MaximumRocknRoll on KPFA one night after bible study. I think I was 14. Then, I found college radio and I thought I had made this huge discovery. KFJC was the strongest signal where I lived in
Millbrae, and KZSU came in as well.

I would tape songs off of the radio, then make mix tapes for Jehovah's Witness girls who I thought were cute and wouldn’t tell on me. I'd even talk in between songs, telling my romantic focus of the moment that I loved them "and this next song is about my love for you."Hopefully most of those made it into the trash, but it's kind of cool to think there's still a tape out there, that some girl held onto. If I listened to it, I'd probably have six therapy sessions dealing with listening to my 16 year old self profess his love via cassette.

Oh, and KZSU has those finals weeks shows where the DJs play album sides so they can study while DJing. I used to tape those religiously.

Spinning Indie: There's a scene in the book where one of Gabe's friends (who is grounded) asks him for a transistor radio. This seemed like a telling moment to me and a reminder about how isolated teenagers can feel when they feel cut off from friends and their culture. When you were a teen, what was your connection to radio?

Tony: Connected to my headphones every single night. The JW always told us not to listen to music at night since Satanic music can come in and we wouldn't be able to change the dial. Sometimes I would wake up to a
song that "sounded" demonized, and I'd quickly turn off the radio and pray. I was a spiritual schizophrenic.

Vintage Photo of KFJC DJs Mona Lott and Tony DuShane

Photo courtesy Tony DuShane

Spinning Indie: Tell me a bit about how (and when) you first got involved with college radio.

Tony: I was still a Jehovah's Witness and 19 years old. Within a year my uncle killed himself, my sister attempted suicide, my dad had a nervous breakdown and lost his job and I put my hands on my girlfriend's boobs and fingered her. Since the last part was a sin, I confessed to the elders so I could get my paradise handstamp again and not be killed at Armageddon. I told them about the girl and five of them agreed that God took his spirit away from our family and all the calamities were because I had sinned. Then they were telling me not to go to therapy and trying to disfellowship my dad because he must have a secret sin since he had a nervous breakdown.

My dad spent 18 years as an elder and putting his whole soul into helping others in the religion. To watch these people turn on him, I was at a complete loss. And, crazier, I still believed in the JWs, I just decided to leave and pursue my radio dreams. Ultimately the JW elders caught up with me and offered to help me and I accepted. Again, because I thought I was dead at Armageddon if I stayed away. They made me stop the radio station, so I quit my show, but doubts sprouted up again after observing really bad shit happen to other people in the congregations. I went back to KFJC and did fill-ins without telling anyone and tried to play both sides.

Spinning Indie: How has radio changed your life?

Tony: It's an addiction. I have to DJ. There's a difference when DJing at clubs and bars. When you're DJing to FM airwaves, you're DJing into space. There's no feeling like it. It's like inviting people over and playing records and talking about the records. Except your friends are in range of a transmitter. There could be five. There could be 5,000.

I remember the thing new DJs always do, they always beg for phone calls. Giving out the phone number every five minutes, wanting to play requests, wanting validation of people actually listening. It's embarrassing to listen to, but we've all been there. Now, I never give out the phone number and actually pull the plug on the phone during my radio shows. I do a lot more interviews now and set up since my shows focus on literature, I don't need someone calling in to request The Dwarves.

DJing at Pirate Cat Radio in San Francisco

l to r: Tony DuShane, Johnny Crash, and Bryan Kehoe

Photo courtesy Tony DuShane

Spinning Indie: Are you still doing a show at Pirate Cat Radio? (since when?) How is that experience of DJing at a pirate station similar or different to working in college radio?

Tony: I got back into radio by doing a podcast back in 2000 for Filmjunkie. It was interviews with actors and filmmakers. Then Filmjunkie became a film festival for a few years, so I switched my focus to literature and interviewing writers. Which turned into Drinks with Tony in 2002 since I tended to tape interviews at bars. I joined Pirate Cat in 2004 I believe. So, Drinks with Tony was a podcast as I was focusing on my writing and I got in touch with Monkey who runs Pirate Cat and let him know he could play my interviews if he wanted and he said, "Just do a fucking show already." I’ve taken some time off recently from the station as we were doing final rewrites and getting the publicity wheels rolling for the novel.

As with college radio, pirate radio goes in waves of staff disputes, this fucking sucks, can't I just do my show, to everyone's happy and there's a dysfunctional family love. Pirate radio seems to be more of a dictatorship than a decently run college station, where people can speak up, there are actually program directors and it seems to run a bit better. Then there's the whole FCC paranoia, which is very real, but Monkey was the first person I have seen who has changed they way pirate radio deals with the FCC...he's nothing less of a genius and I know his love for radio and his contribution will turn into something much bigger in the future.

Jehovah's Witness Literature Adjacent to a Gaming Magazine

At a Place of Business in San Francisco, April 2010

Photo by Jennifer Waits

Spinning Indie: What's your connection to the Jehovah's Witnesses today? Are people upset about the book?

Tony: I'm inactive. That means I left and didn't do anything to get disfellowshipped for. They drill you with questions, but I played the mental illness card and they backed off.

That said, a few JWs who wanted to be cool and go see bands with me or get free tickets to films and drink my liquor and eat my food at my house for the past 10 years of my being inactive, they would hang out with me and really pretended to be my friend. When word of the novel came out, when my JW wife cheated on me, they blamed me and my novel. Pure hatred was spewed at me from so-called friends. It hurt like hell. The book was written, so I was in deal and technical edits mode, but I've had nothing but ignorant hatred from people who don't even know that the book comes from a place of love, understanding and truth.

Spinning Indie: Are you willing to share what caused you to leave the religion and if radio (KFJC?) had anything to do with that?

Tony: Radio and literature saved my soul, but they had nothing to do with my leaving the religion. I started seeing how the elders would make people feel like shit from the stage at the Kingdom Hall. I'd been reading literature and psychology books for some years. I was trying to just fade out so my family would still talk to me, so my "friends" would still talk to me. One day, I said, enough. There's something very wrong with elders acting so arrogant, then expecting such pureness from the flock of devotees. When the elders or the leaders at the Watchtower did something wrong, very wrong affecting many people, the answer was, "we're imperfect, God is giving us new light." When someone touches a girl's nipple, you can lose your family. I realized the whole religion was arrogant.

Which is why I wrote a novel and not a memoir. The memoir would have told the story. There would have been a preachiness to it. I despise preaching, I was involved enough with it growing up. The story had to be compelling and throw the reader into the world of Jehovah's Witnesses. To understand that there is good and bad. To understand that some people need religion. To understand that even the people who exploit religion sometimes feel they're doing it for the right reasons.

Beyond religion, as humans, we all justify our actions one way or another. The novel had to dig into the humanity aspect of why people make decisions that others see as odd.

Writing is about getting to the core of the human condition. Comedy is about the same thing. A poop joke is actually an observation of something we all hopefully do at least once a day.

Spinning Indie: Coincidentally, while I was reading the book, Jehovah's Witnesses were making the rounds of my neighborhood. What do you do when they come to your door?

Tony: I live in San Francisco and I've only been approached by Spanish speaking JWs when I lived in the Mission, and they'd just ask if I spoke Spanish, and now I live in a neighborhood where it's hard for anyone to get past the security gate. Oh, short answer, I don't know, hasn't happened, mostly because I live in the inner city and they have a hard time preaching in these neighborhoods.

Friday, December 4, 2009

Spinning Indie Radio Station Field Trips

Beginning in March 2008 I set out to visit as many college radio stations as I could all over the country. For the most part, if I have plans to travel out of town I will attempt to visit a nearby station.

In January, 2009 I turned my attention closer to home and scheduled trips to five college stations in the San Francisco Bay Area. So far, the furthest I've traveled was to Ireland, where I have visited college radio stations in Galway and Dublin.

Although I've expanded my travels to include community radio stations, commercial stations, unlicensed low power stations, high school stations, a religious station, a pop-up radio station, and NPR; my focus still remains fixed on independently-minded radio.

So far, I've visited the following places (not necessarily in chronological order of when I visited each station!):

2008:

Field Trip 1 - WECB at Emerson College in Boston
Field Trip 2 - Cal Poly's KCPR
Field Trip 3 - Notre Dame's WVFI
Field Trip 4 - WFMU in Jersey City
Field Trip 5 - East Village Radio in NYC
Field Trip 6 - WNYU in New York City
Field Trip 7 - Northwestern's WNUR

2009:

Field Trip 8 - Stanford's KZSU
Field Trip 9 - University of San Francisco's KUSF
Field Trip 10 - Santa Clara University Station KSCU
Field Trip 11 - UC Berkeley's KALX
Field Trip 12 - KSJS at San Jose State University
Field Trip 13 - WBAR at Barnard College
Field Trip 14 - KFJC at Foothill College
Field Trip 15 - UC Santa Cruz Station KZSC
Field Trip 16 - Haverford College Station WHRC
Field Trip 17 - FCCFree Radio in San Francisco
Field Trip 18 - Flirt FM in Galway, Ireland
Field Trip 19 - RXP 101.9 FM in New York City
Field Trip 20- WGBK at Glenbrook South High School

2010:

Field Trip 21 - KPDO in Pescadero, California
Field Trip 22 - KZYX in Philo, California
Field Trip 23 - San Francisco's Pirate Cat Radio
Field Trip 10.5 - KSCU's New Digs at Santa Clara University (2010)
Field Trip 24 - Radio Valencia in San Francisco (2010)
Field Trip 25 - WZBC at Boston College
Field Trip 26 - KSFS at San Francisco State University

2011:

Field Trip 27 - KEAR and Family Radio in Oakland, CA

2012:

Field Trip 28 - Belfield FM at University College Dublin, Ireland
Field Trip 29 - Trinity FM at Trinity College, Dublin, Ireland
Field Trip 30 - KCNL, KSJO and KLOK in San Jose, CA
Field Trip 31 - WLUW at Loyola University Chicago, IL
Field Trip 32 - WPGU at University of Illinois, Champaign
Field Trip 33 - WEFT in Champaign, Illinois
Field Trip 34 - WRFU in Urbana, Illinois
Field Trip 35 - Radio DePaul, Chicago, IL
Field Trip 36 - WIBN in Oxford, Indiana
Field Trip 37 - KCSF at City College of San Francisco
Field Trip 38 - WRAS at Georgia State in Atlanta
Field Trip 39 - SCAD Atlanta Radio
Field Trip 40 - WREK at Georgia Tech
Field Trip 41 - WMRE at Emory University

2013:

Field Trip 42 - WZRD at Northeastern Illinois University in Chicago
Field Trip 43 - KLC at Lewis and Clark College, Portland, OR
Field Trip 44 - KRRC at Reed College, Portland, OR
Field Trip 45 - KALW in San Francisco
Field Trip 46 - Urban Knights Radio at Academy of Art, SF, CA
Field Trip 47 - KPSU at Portland State University, OR
Field Trip 48 - KDUP at University of Portland, OR
Field Trip 49 - KJCC at San Jose City College, San Jose, CA
Field Trip 50 - KSMC at St. Mary's College, Moraga, CA
Field Trip 51 - KCEA at Menlo-Atherton High School, Atherton, CA

2014:

Field Trip 52 - WXVU at Villanova University, Villanova, PA
Field Trip 53 - KPOO in San Francisco, CA
Field Trip 54 - Mutiny Radio in San Francisco, CA
Field Trip 55 - BFF.fm in San Francisco, CA
Field Trip 24.5 - Radio Valencia's New Location in SF (2014)
Field Trip 56 - WSRN at Swarthmore College, Swarthmore, PA
Field Trip 57 - WMBR at MIT, Cambridge, MA
Field Trip 58 - WHRB at Harvard University, Cambridge, MA
Field Trip 59 - WTBU at Boston University, Boston, MA
Field Trip 60 - WMFO at Tufts University, Medford, MA
Field Trip 61 - WRBB at Northeastern University, Boston, MA
Field Trip 62 - WHHS at Haverford High School, Havertown, PA
Field Trip 63 - Radio 1851 at St. Joseph's University, Philadelphia, PA
Field Trip 64 - WQHS at University of Pennsylvania, Philadelphia, PA
Field Trip 16.5 - WHRC at Haverford College, Haverford, PA
Field Trip 65 - WRGW at George Washington U, Washington, D.C.
Field Trip 66 - WMUC at University of Maryland, College Park, MD
Field Trip 67 - NPR in Washington, D.C.
Field Trip 68 - WLOY at Loyola University Maryland in Baltimore, MD
Field Trip 69 - WLTL at Lyons Township High School, La Grange, IL
Field Trip 70 - KEXP in Seattle, WA
Field Trip 71 - Rainy Dawg Radio at U of Washington, Seattle, WA
Field Trip 73 - UWave at University of Washington, Bothell, WA
Field Trip 74 - Hollow Earth Radio in Seattle, WA
Field Trip 75 - KXSU at Seattle University, Seattle, WA
Field Trip 76 - The Tower at SF Art Institute, San Francisco, CA

2015:

Field Trip 72 - KUSF-in-Exile/San Francisco Community Radio
Field Trip 77 - WRFL at University of Kentucky, Lexington, KY
Field Trip 78 - KCSB at UC Santa Barbara, Santa Barbara, CA
Field Trip 79 - RBMA Radio in San Francisco (pop-up station)
Field Trip 80 - WRVG-LP at Georgetown College, Georgetown, KY
Field Trip 81 - WONC at North Central College, Naperville, IL
Field Trip 82 - 9th Floor Radio at Laney College, Oakland, CA
Field Trip 83 - ARTxFM in Louisville, KY
Field Trip 84 - KBCP at Bellarmine College Prep, San Jose, CA
Field Trip 85 - Bellarmine Radio at Bellarmine U, Louisville, KY
Field Trip 86 - WHBC at Howard University, Washington, D.C.
Field Trip 87 - WGMU at George Mason University, Fairfax, VA
Field Trip 88 - KWVA at University of Oregon, Eugene, OR
Field Trip 89 - KAOS at Evergreen State College, Olympia, WA
Field Trip 90 - WVAU at American University, Washington, D.C.
Field Trip 91 - Radio K at University of Minnesota, Minneapolis, MN
Field Trip 92 - KRLX at Carleton College, Northfield, MN
Field Trip 93 - KBOO in Portland, OR
Field Trip 94 - XRAY.fm in Portland, OR
Field Trip 95 - WMCN at Macalester College, St. Paul, MN
Field Trip 96 - KSPC at Pomona College, Claremont, CA
Field Trip 97 - KBPS at Benson Polytechnic H.S., Portland, OR
Field Trip 9.5 - KUSF.org at University of San Francisc o

2016:

Field Trip 98 - WBCR at Brooklyn College, Brooklyn, NY
Field Trip 99 - WHCS at Hunter College, New York, NY
Field Trip 100 - WPRB at Princeton University, Princeton, NJ
Field Trip 101 - WCUA at Catholic University, Washington, D.C.
Field Trip 102 - WGTB at Georgetown University, Washington, D.C.
Field Trip 103 - WOWD-LP Takoma Radio in Takoma Park, MD
Field Trip 104 - WERA-LP Radio Arlington in Arlington, VA
Field Trip 105 - CHIRP Radio in Chicago, IL
Field Trip 106 - Met Radio at Metropolitan State U of Denver, CO
Field Trip 107 - KOMF-LP Open Media Foundation in Denver, CO
Field Trip 108 - The SOCC Colorado College, Colorado Springs, CO
Field Trip 109 - KCSU at Colorado State University, Fort Collins, CO
Field Trip 110 - KVCU Radio 1190 University of Colorado, Boulder, CO
Field Trip 111 - KUCI at University of California, Irvine, CA
Field Trip 112 - KBPK at Fullerton College, Fullerton, CA
Field Trip 113 - KEPC Pikes Peak CC, Colorado Springs, CO
Field Trip 114 - WCAS Radio at Metropolitan State Univ., Denver, CO
Field Trip 115 - KXUA at University of Arkansas, Fayetteville, AR
Field Trip 116 - KHDX at Hendrix College, Conway, AR
Field Trip 117 - KCHUNG Radio in Los Angeles, CA
Field Trip 118 - KPSQ-LP in Fayetteville, AR
Field Trip 119 - KUOZ-LP at University of the Ozarks, Clarksville, AR
Field Trip 120 - KABF in Little Rock, AR
Field Trip 121 - KUHS-LP in Hot Springs, AR
Field Trip 122 - WYBF at Cabrini University in Radnor, PA
Field Trip 130 - WNUW-LP at Neumann University, Aston, PA
Field Trip 134 - WHIP at Temple University, Philadelphia, PA
Field Trip 135 - WKDU at Drexel University, Philadelphia, PA
Field Trip 138 - WPPM-LP at PhillyCAM in Philadelphia, PA

2017:

Field Trip 123 - WVCW at Virginia Commonwealth, Richmond, VA
Field Trip 124 - WRIR-LP in Richmond, VA
Field Trip 125 - WMWC, U of Mary Washington, Fredericksburg, VA
Field Trip 126 - WXJM, James Madison University, Harrisonburg, VA
Field Trip 127 - WCWM, College of William & Mary, Williamsburg, VA
Field Trip 128 - WHCL, Lehman College, Bronx, NY
Field Trip 129 - WTJU, University of Virginia, Charlottesville, VA
Field Trip 131 - WUVA, University of Virginia, Charlottesville, VA
Field Trip 132 - WXTJ-LP, University of Virginia, Charlottesville, VA
Field Trip 133 - WDCE at University of Richmond, Richmond, VA
Field Trip 136 - KLMU, Loyola Marymount University, Los Angeles, CA
Field Trip 137 - KXLU, Loyola Marymount University, Los Angeles, CA
Field Trip 139 - WFUV, Fordham University, Bronx, NY
Field Trip 140 - KLLG-LP in Willits, CA
Field Trip 141 - WKCR at Columbia University in New York, NY
Field Trip 142 - WIIT, Illinois Institute of Technology, Chicago, IL
Field Trip 143 - WHPK at University of Chicago, Chicago, IL

2018:

Field Trip 144 - KVCB-LP at Vacaville Christian Schools, Vacaville, CA
Field Trip 145 - Wave Farm and WGXC in Acra, NY
Field Trip 146 - WGXC Hudson in Hudson, NY
Field Trip 147 - KAKX-FM at Mendocino High School, Mendocino, CA
Field Trip 148 - WVKR-FM at Vassar College, Poughkeepsie, NY
Field Trip 149 - KDVS-FM at UC Davis in Davis, CA
Field Trip 150 - KSFL-LP Portland Radio Project in Portland, OR

Stick around to see who's next...

Tuesday, September 8, 2009

A Global Look at Radio: 2009 Radio Conference Report by Nick Rubin

Main Buildings on the York Campus

I am SO disappointed to have missed a recent radio conference in Canada called The Radio Conference 2009: A Transnational Forum; but am super pleased that fellow DJ/radio scholar Nick Rubin was able to go and report back for Spinning Indie. Happening every other year (in changing locales) since 2001, this international conference brings together a wide range of radio scholars.

I met Nick (virtually) when I discovered that he had presented a paper about college radio at the International Association for the Study of Popular Music (IASPM) conference in 2008 and had him send me a copy of it so that I could write about it for Spinning Indie. We've been in touch ever since, as it's a very small group of us who write about college radio from an academic perspective (or from any perspective, really).

Huge thanks to Nick for his great insights about the July conference. It sounds like lots of good geeky radio scholar fun.

Here's his recap:

The Radio Conference 2009: A Transnational Forum

Conference Report by Nick Rubin

Hey y'all. My name's Nick Rubin and I'm a PhD student at the University of Virginia, working on a dissertation on college radio during the late-seventies/early eighties. I'm also a DJ at UVA's WTJU, and have worked at a few other college/community/public stations through the years.

Thanks to Jennifer for asking me to blog the conference; I've loved reading Spinning Indie, and I'm excited to be a contributor, in whatever minimal capacity. And if anybody reading this would be willing to share experiences/impressions of college radio in the late-seventies/early eighties, please contact me at nickrubin@virginia.edu.

Thanks.

The Radio Conference: A Transnational Forum was held July 26-30 at York University, in Toronto. Actually, it was on the extreme northern edge of Toronto, and the heart of the city was visible only as a thin, distant layer of smog. York itself was ringed by parking lots and several square blocks of brand-new, mostly-empty brownstones – the area was, in a word, uninviting.

But the remote locale facilitated a close-knit meeting, with radio scholars representing all continents besides Antarctica. A substantial contingent from Australia, New Zealand, and the UK led a nightly charge to the one nearby sports bar, and Anne McLennan of York's Media and Culture department made sure the panels ran on time. She also hooked us up with lunch and dinner each day. It sort of felt like summer camp.

The Southern View from York U

I attended this biennial conference in Lincoln, UK in 2007, and was struck then by the variety of topics addressed, partly attributable to the global provenance of the inquiries. In the U.S., music, news, and talk programming have long dominated the radioscape, shrinking our expectations along with our experiences - when’s the last time you turned on commercial radio and were genuinely surprised or bewildered by what you heard?

The medium’s possibilities dwarf its present implementation in the U.S., so it was useful to hear of radio as drama, as activism, as instruction, as propaganda. The papers suggested a multitude of directions not just for college radio scholars, but for college radio. How much are college stations testing the limits of terrestrial radio as an artistic medium? I've never done a show that wasn't spinning discs, so I can't claim to be pushing any boundaries – I'm just wondering…

Social Impact of Radio

Keynote speaker Michael Keith called for the faculty members present to teach more classes on social impact, laying out a litany of instances when radio made a difference in local politics or served as a voice for underrepresented groups. This made me wonder how much one could claim a social impact through musical programming. One interesting moment came when Keith told the crowd that college students might get interested in radio if we pointed out that these days, "radio" also means internet radio, podcasting, digital radio, etc.

I've gotta say this claim has never sat well with me, because it sounds vaguely misleading and because radio as I understand it (terrestrial radio) stands to lose out if it appears on a platter with all these other media. Andrew Dubber elegantly turned around Keith's assertion, offering "maybe we should say that broadcasting is more than just radio now." Right away, this sounded more intellectually honest while maintaining terrestrial radio as a unique endeavor – particularly valuable, irreplaceable even.

HD Radio in U.S., WFMU's Real-time Chat Rooms,
and What it Means to be a Radio Listener

That said, the most interesting papers I saw on the first day weren't about radio in this specific sense. Michael Huntsberger (Linfield College, Oregon) recounted the botching of HD radio in the U.S. context, expanding his purview to consider examples of "value-added" terrestrial radio, such as WFMU's real-time internet chatrooms, where listeners discuss the music on the air or more likely, something totally unrelated. Huntsberger paraphrased WFMU Manager Ken Freedman; the chatrooms are like a party where FMU provides the site and the music, and the guests can talk about whatever they're talking about.

It made me think of the ways that we conceive of our listeners and the way we intend our shows – are they meant as background or as close listening, for solitary listeners or groups? And it made me think of the ways that changing technologies have externally affected our modes of listening to radio; i.e., the existence of music streams on the internet makes us listen differently to a radio station, whether or not the station itself has a stream. Do we subconsciously acknowledge or respond to this as DJs, and how much should we even think about it?

African-American CB Radio Culture and Relation to College Radio

Angela Blake (Ryerson University, Toronto) examined African-American CB radio culture, a welcome reminder that the Citizens' Band comprised (and still comprises) more than just the working-class white truck drivers of seventies' lore. Blake linked African-American CB culture to games like the dozens and to hip hop emceeing, which on one hand seemed to reinscribe borders of black cultural activity, but on the other hand, located it in an unexpected site, causing a reevaluation of CB.

Blake's paper made me think of radio stations at traditionally-black colleges, and the way that these stations are often implicitly erased from "college radio" because of the way that the term is so casually equated with, you know, predominantly white kids spinning tunes by predominantly white musicians for a predominantly white audience. I know that "rock" is a contested field, but would applying "college rock radio" to the scenario just described remind us that it only represents one strain of college radio?

New British Invasion and College Radio

My paper was about the "New British Invasion" in the early eighties mainstream, and college radio's relation to the phenomenon. Briefly, when the synthpop bands started breaking huge here in the States (thanks in large part to MTV), there was a backlash from many angles: synthpop wasn't real rock; it was linked to the twin evils of disco and punk; the dudes wore makeup; etc. College stations had largely supported these bands as imports, but a self-image as gatekeepers to the underground led them to turn more to regional American scenes as the English bands hit the mainstream. There's a lot to tease out, but it sparked some interesting discussion, which was pretty exciting. I'll let y'all know if I publish it some day.

Also on my panel was a paper about the rise and fall of the "Alternative/ Modern Rock" format. The speaker's background included record promotion and commercial radio, as well as record promotion, and he was concerned with reviving the format, rather than analyzing what makes modern rock modern rock, which as a music head, I would have been really interested in. In any case, our papers dovetailed nicely, and (in a reverse echo of what I said at the beginning of this post), some of the folks there said it was nice to hear papers about music formats.

Radio History: 1930s Aboriginal Recordings, 1960s Pirate Radio in New Zealand, Commercial Radio in Canada in the 1970s-1990s, Finland Radio in the 1990s, etc.

The other papers hinted at the range of possibilities for radio scholarship – one examined the ethical issues of an expedition undertaken in the 1930s to record (and broadcast) aboriginal musical activity, and more importantly, of the efforts to repatriate the recordings with the source communities. Others recounted Radio Hauraki, New Zealand's 1960s pirate radio station; the shifting policies of the Canadian government to shape commercial radio programming from 1975-1990; the narrowcasting developments in the Finnish radioscape during the 1990s; and the neoliberal social sensibilities inculcated by This American Life.

The range of approaches and topics was pretty staggering, and suggested the vast intellectual space out there for radio scholarship. At the same time, I wondered about the audience for such inquiries, as radio's social impact – while remaining considerable – seems to have been far outstripped in the present context by "new social media" outlets. Radio folks are obviously interested in radio; can we convince communications departments and publishers that others are as well? The pessimistic view is that radio – including college radio – is in crisis; it's pretty much history. But isn't the crisis worth examining? What are the social, economic, and legal forces in play? What are the cultural ramifications?

There's plenty to talk (and write) about, as the Radio Conference proved. Thanks to Jennifer for asking me to report back to y'all.

Thursday, July 16, 2009

Radio Station Field Trip 17 - FCCFreeRadio in San Francisco

On Monday I had the opportunity to check out a brand new low power FM (LPFM) radio station in San Francisco called FCCFreeRadio.

Located in a secret South of Market (SOMA) location, FCCFreeRadio is a micropower community radio station (they shy away from the term "pirate radio") that is broadcasting both online and at 107.3 FM without a license from the FCC. According to their website they believe that the U.S. government has granted emergency authority for broadcasters to operate without a license during time of war, including the current "war against terrorism."

Board at FCCFreeRadio

The station has been on the air since January 24th, 2009, although the studios have only been recently built. The first live show from the current studio took place on May 30th.

It was exciting to visit such a new station and it's encouraging to me that there are people who believe in radio so strongly that they are willing to start up a new terrestrial station. Thanks so much to General Manager John Miller and Program Director John Hell for taking the time to show me around their new digs.

John Hell and John Miller

Both John Miller and John Hell are enthusiastic supporters of radio and have extensive broadcast experience. Between the two of them they have worked in college radio, community radio at LPFM stations (they were both at Pirate Cat Radio in San Francisco), commercial radio, and in Internet broadcasting.

They both began DJing when they were teens. John Miller started at commercial station KWNE in Ukiah and had his trial by fire when he had to stand in for the regular DJ (who was stuck in jail). He said that from then on he "got hooked" on radio and eventually became inspired by comedy, then Internet broadcasting. He's been involved with many stations since then, including a gig at All Comedy Radio on KPHX 1250AM in Phoenix which aired on 271 stations globally (including South Africa). Additionally, he's been the technical brains being a variety of stations and helped to set up a new LPFM station in Arizona: KWSS. Along with John Hell he helped Pirate Cat Radio build their new studio as well.

John Hell's DJ career started with him spinning tunes at the Ice Capades ice skating rink in Foster City. He went on to DJ at weddings and events, worked at college stations KCSM and KFJC (where he DJ'd for nearly 10 years under the moniker The Reverend Dah Wave), and was part of the crew that started Radio Free Burning Man before he joined SF Liberation Radio and Pirate Cat Radio.

John Miller told me that he'd always dreamed of doing comedy radio in the San Francisco Bay Area and was inspired by the morning show hosted by Alex Bennett back in the 1980s and 1990s on a series of stations including KMEL, KQAK and Live 105. Bennett's show at the time (he's now on Sirius satellite radio) was characterized by a regular stable of comedian guests and a live audience. John's passion for comedy comes through in the current lineup of programming on FCCFreeRadio. He's hosting a morning show that's in the spirit of the old Alex Bennett show and has a programmer on staff who is dedicated to filling the comedy shifts.

Currently FCCFreeRadio is working to recruit DJs and fill up its 2-hour shifts. They have 17 hosts and 16 shows right now in addition to John Miller's weekday morning show (Monday to Friday from 6-10am) with comedian Susan Maletta. When there is no live DJ the station runs automated music programming culled from top hits of the past several decades. John Hell was quick to point out that the automated programming is a temporary solution and isn't necessarily reflective of the more adventurous airsound that they are going for with live DJs. They hope to eventually provide live programming 24 hours a day, but for now are focusing on filling up drive-time shifts. To get a sense of some of the music programming, take a look at John Hell's archived playlists on his website.

Most of the DJs at the station have extensive radio experience already, so on-air training is pretty limited. To get a show, people are required to submit a proposal and upon approval they are trained on the equipment and given a run-down on the short list of rules (don't swear, play station promos, say the station name, and give out the studio number).

DJs at FCCFreeRadio are expected to pay monthly dues and attend monthly staff meetings. Those with music shows must bring their own music since there is no music library. Currently the studio supports the playback of CDs, mp3s, and music from laptops. John Hell told me that any money left over from staff dues will get used for projects at the station, including studio improvements like new equipment and better soundproofing. Being a low budget operation, they are also soliciting help from listeners in the form of underwriting, equipment donations, and real estate (do you live atop a mountain? they need a better spot for their transmitter).

Even with their limited resources and space, FCCFreeRadio has already taken on some interesting projects, including a live remote from a nearby auditorium. DJs regularly have in-studio guests, ranging from musicians to comedians to artists.

In my interviews with John and John I learned more about the mission of FCCFreeRadio, where they fit in to the overall radio landscape in San Francisco, and why they chose a slot on the commercial side of the dial:

Spinning Indie: What's the overall mission of your station?

John Miller: I would say to your question to the over all mission of FCCFREERADIO is to provide a place for community radio. All the staff will be doing something each week that will link their show to the community. We are putting the local back into radio.

John Hell: This is something that is ever evolving, but I know it's safe to say that part of our mission is to serve the SF community that we broadcast out of. We want to pay attention to the concerns of the neighborhood, and we strive towards being a voice for those in the neighborhood that have no voice. With that being said, we also believe that music programming should be challenging as well. We don't believe that we should be playing the "hits," from any genre or era. There are plenty of other stations in the bay area that are doing this.

We've asked the staff to take the next few weeks to think about the mission. We plan on putting it in writing and on our website within a few months. Check back.

Spinning Indie: How do you differentiate yourselves from other low power, community, and college radio stations?

John Miller: Well this question is one that I have never thought about, at least to the point that should matter. I have built a LPFM because I was without a home for my program. That's where it started... after that I am just running a station like I would run any other LPFM station. I just want my hosts to be on the top of their game, with all hosts working each week to do better for themselves and their programs.

John Hell: There is plenty of room in this largely populated and diverse bay area for many non-commercial, LPFM's. Our station is personality driven. Most of our staffers have at least 10 years radio experience; many have over 20 years experience. John Miller and I have a passion for radio as done in the days of KMPX/KSAN's "Big Daddy" Tom Donahue, KYA's Emperor Gene Nelson and Bob Mitchell; and of course the King of Pirate Radio, Wolfman Jack.

FCCFreeRadio's show log

Spinning Indie: Were you influenced/inspired by any existing radio stations?

John Miller: Well, all but 2 morning hosts are gone from the airwaves in SF. I grew up to Alex Bennett for my morning show (My program The John Miller Program with Susan Maletta has the foundation of The Alex Bennett Program with Lisa Thompson.) From KOME.... Dennis Erectus, One of the kings of working the FCC.

From KSJO Lamont and Tonelli. They have somehow been on the air in the Bay Area for over 25 years. I am personal friends with both and back in the day helped with live remotes when I could.

Last, well maybe not the last, but the last for this list...Tom Leykis. He owned afternoon drive for years and before they put him on FM he owned AM. Shame to see the talent of yesteryear not on the air.

John Hell: I was influenced by the '80s morning show of Frazer Smith, of KLOS in LA, and M. Dung of KFOG. Dung also hosted the Sunday Night Idiot Show, which he would sometimes do live at Wolfgang's (owned by the late rock impresario Wolfgang Bill Graham). I would attend those live shows as often as I could.

View into a Phantom Studio

Spinning Indie: Can you explain a bit more about how you selected 107.3 FM?

John Miller: Well I did not want to be down in the basement so I have always been on the upper side of the dial doing my radio program. So with that I went looking and found 107.3 FM was open for San Francisco proper. With that I liked being between CBS's KCBS and Cumulus station The Bone. Both huge stations with a very broad group that tune in.

The Ubiquitous Radio Station Couch

Spinning Indie

Thursday, July 15, 2010

Radio Station Field Trip 23 - San Francisco's Pirate Cat Radio

Thursday, May 20, 2010

Radio Station Field Trip 21 - KPDO in Pescadero

Thursday, April 29, 2010

Coming of Age as a Jehovah's Witness and College Radio Lover: An Interview with Tony DuShane

Friday, December 4, 2009

Spinning Indie Radio Station Field Trips

Tuesday, September 8, 2009

A Global Look at Radio: 2009 Radio Conference Report by Nick Rubin

Thursday, July 16, 2009

Radio Station Field Trip 17 - FCCFreeRadio in San Francisco

Spinning Indie Radio Station Profiles

Jennifer Waits/Spinning Indie Press

About Jennifer Waits

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Spinning Indie

Thursday, July 15, 2010

Radio Station Field Trip 23 - San Francisco's Pirate Cat Radio

Thursday, May 20, 2010

Radio Station Field Trip 21 - KPDO in Pescadero

Thursday, April 29, 2010

Coming of Age as a Jehovah's Witness and College Radio Lover: An Interview with Tony DuShane

Friday, December 4, 2009

Spinning Indie Radio Station Field Trips

Tuesday, September 8, 2009

A Global Look at Radio: 2009 Radio Conference Report by Nick Rubin

Thursday, July 16, 2009

Radio Station Field Trip 17 - FCCFreeRadio in San Francisco

Spinning Indie Radio Station Profiles

Jennifer Waits/Spinning Indie Press

About Jennifer Waits

Recent Comments

My Radio Survivor Articles

My Other Blogs

Search This Blog

Subscribe to Spinning Indie

Become a Fan of Spinning Indie on Facebook

Blog Archive

Labels

Music and Radio Commentary and Resources

College Radio Organizations

Content of this Blog May Not Be Reproduced Without Permission