KUGS 89.3 FM Bellingham

What is KUGS?

“The mission of KUGS-FM is to serve the students of Western Washington University in Bellingham, WA by providing a diverse program of music and information consistent with student interests. The Board of Trustees of Western Washington University holds the license and the Associated Students operate the station. KUGS is staffed by students and community volunteers who are committed to providing programming that encourages a greater understanding of the human differences and cultural pluralism within the University community and the world we live in. Through its programming, KUGS serves as a bridge from the University to the surrounding community. ” (AS)

 

“KUGSFM is an AS Activity Approved by the Board of Trustees in 1977 KUGSFM is an activity of the Associated Students and has been in operation since 1974 under authority granted by the Federal Communications Commission. The official broadcast programming policy was approved by the Western Washington University Board of Trustees in Motion 20177 on February 3, 1977.”

Where did it come from?

January 29, 1974
KUGS begins broadcasting with 10-Watt transmitter

1984
Increases signal from 10 to 100 Watts

1992
Switches from “quilt format” to college rock format

1997
KUGS becomes 2nd station in the US to broadcast online,
using the “see you see me” format

1998
KUGS receives Mayor’s award by the
Bellingham Arts Commission for excellence and diversity in music and issue oriented programming

1999
Application turned in to FCC for an increase to 700 watts
Application still pending…

1999
KUGS begins Realplayer streaming online

1999
Kerensa Wight of KUGS wins Music Director of the Year at Gavin convention

2002
KUGS decides to stop webcasting until royalty agreements and reporting requirements are finalized in Congress

2002
Voted best radio station in “Every Other Weekly” publication

(KUGS)

Where does KUGS get its funding?

In addition to the financial support from the A.S., KUGS also encourages sponsorship from area businesses, and individuals. As a non-profit radio station, KUGS sells underwriting, not direct advertising.

Also, the public can donate financially to KUGS through the Western Washington University Foundation. When donating to the WWUF, you can designate your contribution to a specific department or program, such as KUGS. According to the WWUF website:

 

The Western Washington University Foundation collects no fees on any annual gift. 100% of each contribution in deposited directly into the designated area’s account for use by that department. Your support benefits both faculty and students, immediately creating teaching and learning opportunities.

Where can I learn more about KUGS?

KUGS.org

Que pasa, KUGS?

KUGS 89.3 FM Makes Triumphant Return to Cyberspace

EMP and KEXP: Press Release

March 30, 2001
KCMU Radio, University of Washington and EMP
Launch Innovative Partnership
Same Format, Improved Programs, State of the Art Studio and
New Call Letters Highlight Collaboration

SEATTLE – March 30, 2001 – KCMU Radio, the University of Washington and Experience Music Project (EMP) today announced a new partnership that will allow the station to build upon its current format and slate of programs, and become an innovator in public radio programming and technology. Highlights of the collaboration include a state-of-the-art studio in Seattle that provides the station new equipment and tools, financial support from – and collaboration with – EMP to help subsidize the radio station’s ongoing operations, and a name change from KCMU to KEXP 90.3 FM – Where the Music Matters.

The call letter change reflects a new era for the station, a continued emphasis on diverse music and an experimental and
eclectic format. The University of Washington remains the license holder and controls station programming, as it has since the station’s first broadcast almost 30 years ago.

As part of the new relationship, the station’s format, ownership and staff remain unchanged. “This is an exciting opportunity for us to take the station into the new century,” said Tom Mara, executive director of KEXP 90.3 FM. “Through collaboration with EMP, we can do everything KCMU has been doing well, and do more of it. The new high-tech facility, increased supportfor even more programming for our current format, and working together to create educational opportunities will really make KEXP 90.3 FM an exciting public radio station unrivaled in its diversity and quality. We’re now positioned to become much more active – offer more in-studio performances and interviews, more live performances from venues throughout the community, and a stronger commitment to local musicians. We will now be able to add more of what we have always dreamed of providing in the world of non-commercial, listener-supported music. This partnership enables us to provide richer, deeper experiences as part of our ongoing mission to enrich our listeners’ lives.”

Second Verse Same as the First

I have now been a KUGS Music of the Masses DJ for eight weeks (huzzah!) and am beginning to feel more comfortable behind the microphone and console.

In regards to my self-determined “Areas of Improvement” list, I think I am making sound progress.  I have finally learned how to use an LP/record player (though unfortunately my show does not usually allow me to play any records – as most of my show comes from The Wall and in CD format – unless requested) and I am beginning to feel more confident speaking to a large audience.  I still find this to be my greatest challenge, however, because sometimes I find myself just listing off the songs and artists I played (“At the top of the hour you heard blah, blah and blah…”), which is a little boring.  I’d like to challenge myself to come prepared with interesting information about the artists or albums I play on my show and this will be my main goal for my show this upcoming Tuesday (March 6, 2007).

I will pat myself on the back for diversifying my playlist and going outside of my own personal taste.  I’ve been playing hip-hop, reggae, and folk outside of just the “Specialty” requirement and asking my friends with different musical taste for recommendations.  I want to live up to the eclectic mix of music all M4TM shows are suppose to provide (a “taste of the rainbow” as the promo says) and hopefully I can continue to venture into genres I’ve never ventured into before.  Interestingly enough, I have found some artists outside of my usual realm of indie-rock/proto-punk/glam/mod that I really like, so it is a win-win situation for everyone.

Oh, and can I just say I am really appalled by the lack of musical knowledge from the general public?  Every show I have to do a giveaway, which is decided by a music trivia question. Rarely does anyone get my trivia questions right (I usually have to give a hint), which I feel are  actually pretty easy and common knowledge.  For example, I asked one week for people to name the two MCs of Public Enemy (Flavor Flav and Chuck D)  and of the 10 callers, only one person got both names.  Then I asked what “The Day The Music Died” is in reference to, and I got several callers who thought it marked the day Elvis died.  The week of the Grammys I asked who has recieved the most Grammy nominations with 77 (Quincy Jones), and two people called and said Michael Jackson, three The Beatles, and one for Ray Charles.  Even when I gave the hint the name started with a Q did no one get it right.  What are our children learning in school?!

Next quarter I decided to not do a specialty show, though I partially regret this decision.  I really like hosting a M4TM show because it helps me stay atop of new artists and albums, which is what I would be doing with my free time anyways.  Originally I thought I would apply for a “Wes Anderson soundtrack-ish” show, if that means anything to you.  Wes Anderson movie soundtracks (think Rushmore, The Royal Tenenbaums, etc.) usually are an eclectic mix themselves of proto-punk (The Velvet Underground, The Stooges), contemporary instrumental (Mark Mothersbaugh), and whimsical songs of the 60s and 70s (Joan Baez, The Creation, The Faces, etc.).  I thought it would be interesting to create a show around the same format and highlight some of my favorite artists (namely Bowie, The Velvet Underground, The Who, Nico, etc.) which fit perfectly, in my opinion.  But alas, I did not know how responsive listeners would be and I really like M4TM, so I am sure next quarter will be just as educational and fun as this one now.

Anyways, I just wanted to take an opportunity to reflect on my experiences from the past few weeks.

Goals for the last three weeks of the quarter:

1.  Research artists and albums ahead of time; try to find one or two interesting facts for 10-15 artists I will play on my show Tuesday

2.  Ask for more requests (sometimes I forget to announce I take requests)

3.   Play the new Explosions in the Sky, even though all the songs are 5 – 7 minutes long

4.  Continue to work on song transitions and diversifying the playlist

Introduction to KEXP (90.3 FM)

Beginning as a tiny 10-watt station back in 1972, KEXP has grown over the years into an innovative, influential cultural force in the Seattle community and beyond.

• KEXP has been on the air since 2001. Our previous incarnation was KCMU-FM which went on the air in 1972.
• More than 180,000 listeners tune in each week
• Nearly 12,000 listeners are supporting members of KEXP
• More than 300 volunteers & interns contribute approximately 8540 hours to KEXP each year
• Over 200 businesses support KEXP through donations and underwriting
• KEXP sponsors and promotes more than 150 events annually
• KEXP’s music library has more than 24,000 CD’s
• KEXP.ORG has More than 75,000 unique visitors per week
• More than 10,000 people stream KEXP everyday
• There are over 250 live performances each year in the KEXP Studios. It’s not that uncommon for 3-4 in a single day
• The ‘EXP’ in the KEXP call letters refers to the “experimental” nature of service.

Where does KEXP get its funding? KEXP license is help by the University of Washington, with an Executive Board of Directors, and an Advisory Council. KEXP is not affiliated with a public television station. In 2004, the majority of KEXP’s funding – 45% – comes from Members like you. Local businesses make up 21% of funding, and 33% comes from other sources.

What is KEXP’s relationship with the Experience Music Project? KEXP, the University of Washington and the Experience Music Project share the same values and educational, preservation and outreach aims. In conjunction with the EMP relationship, The Allen Foundation for Music has provided funding since 2001 for four years. Through collaboration between UW, KEXP 90.3 FM and EMP, the Foundation’s grants have been used to support music education and public programs.

How do the public radio services NPR, PRI and KEXP differ? National Public Radio, based in Washington, DC, is radio production and distribution company for news, information, entertainment, and music programs including flagship programs, Morning Edition, and All Things Considered. Public Radio International, based in Minneapolis, Minnesota, distributes public radio programs such as This American Life to stations worldwide. American Public Media is also based in Minneapolis, Minnesota, and produces and distributes programs like A Prairie Home Companion. All three are not for profit organizations. KEXP’s programming is all produced locally, and we don’t broadcast any programs from any of these organizations. To hear NPR, PRI, and APM programming in Seattle, you can tune in to KPLU FM 88.5 and KUOW 94.9 FM, and KBCS 91.3FM

– from KEXP.org

Canadian Public Broadcasting

What’s up with Canadian radio, eh?

The big four radio networks in Canada are all owned by the Canadian Broadcasting Corporation (CBC), including CBC Radio One, CBC Radio Two, La Premiere Chaine and Escape Musique.  All of CBC’s radio operations are commercial free and features local, national, and world programming.

What is the Canadian Broadcasting Corporation (CBC)?

The corporation operates separately from the government in its day to day operations.  It is governed instead by the Broadcasting Act of 1991 and is directly overseen by Parliament and the Department of Canadian Heritage (Wikipedia).

The Broadcasting Act of 1991 main tenant is to “maintain Canada’s cultural fabric- thereby strengthening its economic, political and social structures (Media Awareness Network).  It stipulates the broadcasting policy for both television and radio, empowers the Canadian Radio-Television and Telecommunications Commission, and outlines policies for the Canadian Broadcasting Corporation.

“The Act imposes a Canadian owned and controlled system of broadcasting, and includes provisions regarding Canadian content in programming and production. It encourages the development of Canadian expression, and the use of Canadian talent and creative resources. There is also a specific emphasis on reflecting Canada’s cultural diversity: section 3 states that programming and employment opportunities should serve the needs and interests of all Canadians, and reflect their various circumstances.” (MAN)

CBC receives its funding from the federal Canadian government, as well as supplementary funding for programming.  In 2006, the Canadian government provided over $946 million to fund CBC.  “This differs from the public broadcasters of many European nations, which collect a license fee, or those in the United States, such as PBS and NPR, which receive some public funding but rely to a large extent on contributions from individual viewers and listeners” (Wikipedia).  Additional supplemental funding comes from website advertising, subscription fees,  and advertising revenue).

Does Canada have community and campus radio stations, too? 

Yes, and they operate very similiarly to American community stations.  Many Canadian community radio stations target underrepresented minority communities (the Franco-Ontarians, Acadians, First Nation peoples, etc.) and are operated by cooperatives.  Canadian community radio stations are all part of the National Campus and Community Radio Association (or L’Association nationale des radios étudiantes et communautaires), a non-profit organization.

The NCRA/ANREC is a not-for-profit national association of organizations and individuals committed to volunteer-based, community-oriented radio broadcasting. It is dedicated to advancing the role and increasing the effectiveness of campus and community radio in Canada. It works closely with other regional, national, and international radio organizations to: provide developmental materials and networking services to its members, represent the interests of the sector to government (particularly the CRTC) and other agencies, and promote public awareness and appreciation for community-oriented radio in Canada. Since 1981, it has affected changes to national radio policy, helped lower tariffs affecting radio stations, and has helped stations open doors while preventing others from closing. Core initiatives include: GroundWire, Dig Your Roots, !earshot, Women’s Hands and Voices, the Community Radio Fund, sector-wide listservs, and an annual radio conference. It remains committed to the vitality of campus and community radio stations in Canada.

Community Radio

What is community radio?

Community radio caters to a specific area or region and its broadcasting is generally reflective and tailored to the community, population or audience. In the United States, community radio is typically non-profit and non-commercial and licensed under the same class D FM band transmitters many college radio stations also operate from. Many community stations are licensed as full-power FM stations, while others – especially newer community stations – are licensed under low-power broadcasting rules (Wikipedia). In Europe, community radio is essentially considered “pirate radio,” or unlicensed illegal broadcasting.

What is the difference between commercial and community radio?

For one, community radio is non-profit. Second, community radio programming (music and news selected) is uniquely tailored to the community and not generalized for the entire country like larger corporate radio stations. “The aim of…community radio program is to address crucial social issues at a community level, such as poverty and social exclusion, empower marginalized rural groups and catalyze democratic processes and development efforts” (Virtanen). News featured on community radio stations are about local news, local issues, and, in some cases, can be especially geared toward immigrant and minority groups that are underrepresented in media elsewhere.

Without the pressures of fulfilling sponsor agreements, satisfying corporate demands, or generalizing programming to apply to a large or national audience, community radio stations can dedicate significant portions of their programming to community issue talk shows, diversifying their music selections, and giving airtime to populations otherwise ignored by the mass media.

Who runs community radio and where does it get its funding?

Many community radio stations rely heavily, if not exclusively, on volunteers from the community. “Community radio stations are distinct from public radio in that most of their programming is locally produced by non-professional DJs and producers, where public radio tends to rely on more syndicated programming” (Wikipedia).

To reduce any reliance on financial support from corporations, community radio stations rely on donations from the community, underwriting from local businesses, membership drives, and station fundraising projects.  Public broadcasting is also funded through the Corporation for Public Broadcasting (CPB), created from the Public Broadcasting Act of 1967 (Public Matters).   The act stipulates a portion of funding for public broadcasting would come from the federal government, as well as its subscribers, private, state and local funders.  Additional funding also comes from private donors from local businesses, foundations, colleges and groups.

“Federal law dictates that 89 percent of the federal funding appropriations go directly to local radio and television stations by way of Community Service Grants (CSGs). CPB receives 5% for its operational costs. The system support account receives another small portion (6%), which pays for music licensing fees, discretionary spending, and research and technology investments on behalf of the public broadcasting system” (Public Matters).

For years proponents of public broadcasting have been trying to introduce legislation for the federal government to financially sponsor public broadcasting and community radio stations, as to give them a chance to survive next to Clear Channel and other radio and media megapowers:

“Public broadcasting is a trusted and valued media gateway to authentic engagement with our world, a treasured national resource that has been in place for 40 years. For a federal investment of approximately $1.53 per American per year, public broadcasting creates and distributes quality, commercial-free programming and provides local community services that cannot be found elsewhere. Many of us grew up watching public television, listening to public radio. Perhaps your children are now doing likewise. Please continue to support public broadcasting – for what it has meant to your life and what it will mean to the lives of generations to come.”

Citations:

Tell Them The Public Matters Campaign
Virtanen, Tarja. UNESCO. “How to Do Community Radio: A Primer”

Development of College Radio

College radio debuted the 1960s, as a result of the Federal Communication Commission (FCC) issuing Class D Licenses to low-watt stations to expand the recently developed FM band. While prior to the 1960s some colleges had access to AM and used it for science experiments, access to the FM band gave these stations a few hundred watts each and therefore greater broadcasting abilities (DIYMedia.Net).

In the early years, college radio stations carried local and national news, sports scores, and music, and in some cases, distance learning courses and lectures. Eventually, however, towards the later half of the 1970s, college radio stations began to switch to an “alternative rock” format, later dubbed “college rock.” College or alternative rock was any type of music that was not mainstream (or mainstream yet) (All Music Guide). From there, stations began to diversify their formats, becoming more and more experimental in nature.

FM radio popularized almost immediately and soon there was great competition for channels and licenses. In 1979, the FCC somehow concluded that the low-power stations were a hindrance to broadcasting and revoked many of the Class D Licenses (Tufts). If a full-power commercial station wanted a radio signal, the college radio stations would be forced to bow down. In order to avoid this untimely fate, many stations were required to upgrade their facilities and stations, on the students’ dime. Those stations who could not afford to upgrade were forced off the air and locked-in by other booming stations.

Playlist 2.20

Radiohead: There There   /  Hail to the Thief

Matt & Kim: It’s a Fact (Printed Stained)  /  Matt & Kim

The Bird and the Bee: Because  /  The Bird and the Bee

Mancino: The Anvil and Me  /  Manners Matter

The Planets: Mafioso /  Lost in Space

Miles Davis: Summertime /  Cool and Collected

Of Montreal: A Sentence of Sorts in Kongsvinger  /  Hissing Fauna Are You The Destroyer?

Death Cab For Cutie: Pictures at an Exhibition  /  Something About Airplanes

Ono: You and I  /  Yes, I am a Witch

Dirty Pretty Things: Bang Bang You’re Dead /  Waterloo To Anywhere

Jesu: Transfigure /  Conqueror

Minus The Bear: Drilling  /  Interpretaciones de Oso

Massive Attack: Exchange /  Mezzanine

Damien Jurado: Hoquiam /  And Now That I’m In Your Shadow

Peter Bjorn and John: Amsterdam  /  Writer’s Block

Mirah: Recommendation /  Advisory Committee

Aqueduct: Living a Lie /  Or Give Me Death

Nortec Collective: Babel /  Babel Soundtrack

Dean & Britta: Singer Sing /  Back Numbers

The Sea Navy: Arctic Advice /  OH These Troubled Times

Architecture in Helsinki: Do the Whirlwind  /  In Case We Die  

Basement Jaxx: Where’s Your Head At?  /  Rooty

The Love Lights: Harder To Attack  /  Problems and Solutions  

Miho Hatori: Barracuda  /  Ecdysis

Suburban Kids with Biblical Names: Seems To Be On My Mind /  #3 

Lily Allen: Everything’s Just Wonderful   /  Alright, Still  

The Blow: Big U   /  Paper Television

The Shins: Sealegs  /  Wincing The Night Away  

Sun Kill Moon: Track 1   /  Ghosts of the Great Highway

Coach and The Four: Hearts and Arrows   /  The Great Escape

El Perro Del Mar: Party  /  El Perro Del Mar

CMJ Charts 2.20.07

 

1 THE SHINS Wincing The Night Away

2 OF MONTREAL Hissing Fauna, Are You The Destroyer?

3 DEERHOOF Friend Opportunity

4 APPLES IN STEREO New Magnetic Wonder

5 THE GOOD, THE BAD & THE QUEEN The Good, The Bad & The Queen

6 BLOC PARTY A Weekend In the City

7 CLAP YOUR HANDS SAY YEAH Some Loud Thunder

8 MENOMENA Friend and Foe

9 LILY ALLEN Alright Still

10 YOUTH GROUP Casino Twilight Dogs

11 SLOAN Never Hear The End of It

12 BIRD & THE BEE Bird and the Bee

13 PIEBALD Accidental Gentlemen

14 CLINIC Visitations

15 SIX PARTS SEVEN Casually Smashed To Pieces

16 SONDRE LERCHE Phantom Punch

17 PETER BJORN & JOHN Writer’s Block

18 POSTMARKS The Postmarks

19 BUSDRIVER RoadKillOvercoat

20 ARCADE FIRE “Black Mirror [Single]”

Save NPR!

Hi,

President Bush just proposed drastic cuts to NPR and PBS. We’ve stopped similar cuts in the past, but enough is enough: With the new Congress, we can make sure this never happens again.

We need Congress to save NPR and PBS once and for all.

Can you help out by signing this petition to Congress? It’s really easy—just click the link below:

http://civic.moveon.org/publicbroadcasting/?referring_id=-7273345-SPo3Hg_v1gG1v9wyXApQMA

Thanks!