You are currently browsing the category archive for the ‘Blogroll’ category.

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

Advertisements

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.”
Read the rest of this entry »

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

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.

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”

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.

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!

10:02 am
El Perro Del Mar: Party
El Perro Del Mar

El Perro Del Mar is my new favorite new artist. El Perro Del Mar (nee Sarah Assbring) is a Swedish singer/songwriter whose style is very reminiscent of 1960s French pop. Her first LP El Perro Del Mar (released in 2006 on UK label Memphis Industries) can be described as “low-fi Phil Spector”, a wall of sound built with minimal materials. “My aim is to create a very complex and significant world of sound,” El Perro said in an interview with Independent Culture. “I’m also very interested in timeless qualities in a song and production so I tried to study the means to create that kind of feeling as well.”

10:08 am
Justin Sconza: The First Time
Paint By Numbers

10:09 am
Ono: Sisters O Sisters
Yes, I’m a Witch

Goodness gracious I love Ono’s new album, a collection of remixes from artists like Le Tigre, Peaches, Polyphonic Spree, The Flaming Lips and more. Only Yoko’s original vocals were used in the remixes and the artists created entirely new backing tracks. “Sisters O Sisters” is my personal favorite, but “Everyman…Everywoman” by The Blow Up is a close second.

10:12 am
Hot IQs: Duck and Cover
Dangling Modifier

10:16 am
Wolfmother: White Unicorn
Wolfmother

10:17 am
The Pale Pacific: Tied to a Million Things
Urgency

10:24 am
The Love Lights: Harder To Attack
Problems and Solutions

The Love Lights is a local Bellingham band made of an ensemble of “guitars, basses, drums, synthesizers, trumpets, steel drums, saxophones, accordions, glockenspiels, French horns, sleigh bells, tambourines, shakers, maracas, hand claps and lots of voices.” Their first LP Problems and Solutions is a fun, cute album, full of hand claps, pop, and adolescent love and squalor.

10:25 am
Dirty Faces: Dead Man’s Boots
Get Right With God

10:30 am
Of Montreal: Gronlandic Edit
Hissing Fauna Are You The Destroyer?

10:34 am
James Brown: I Got You (I Feel Good)
Millenium Collection

10:36 am
Yes, Oh Yes: Portland
The End EP

10:39 am
Swan Lake: Widow’s Walk
Beast Groans

10:42 am
Miho Hatori: Barracuda
Ecdysis

10:47 am
Deerhoof: + 81
Friend of Opportunity

10:50 am
The Streets: When You Wasn’t Famous
The Hardest Way To Make An Easy Living

10:53 am
Frida Hyvonen: You Never Got Me Right
Until Death Comes

Whatever the reason, I have been profoundly more interested in female artists. Perhaps it is the influx of a number of great new albums in the KUGS studio, including The Blow’s Paper Television, Miho Hatori, El Perro Del Mar, Yoko Ono, Haley Bonar and, last but not least, Frida Hyvonen. Yet another Swedish singer/songwriter, Frida’s voice is akin to Joni Mitchell and the strength of Until Death Comes, released by Licking Fingers, lies in its “plainness and truth” (All Music Guide). Frida washes upon our shores on March 21, 2007 at 8 p.m. to play at Chop Suey in Seattle, Washington.

10:55 am
Henrik Schwarz: Bird’s Lament
DJ Kicks

11:00 am
Norah Jones: Thinking About You
Not Too Late

11:02 am
gwEm and Counter Reset: The Man-Machine
8-Bit Operators

11:06 am
The Shins: Sealegs
Wincing The Night Away

Somewhere, Zack Braff is rejoicing. The alleged “life changing” band The Shins have returned with Wincing The Night Away, a follow-up to their massive hit album Chutes Too Narrow (2003). I have not really “absorbed” this album yet, but at first listen I did not, uhh, wince, so it shows promise. Not surprising, though, Wincing The Night Away is presently sitting pretty at No. 1 on the College Music Journal charts this week. Congratulations are thus in order for the Albuquerque, New Mexico quintent.

11:11 am
The Business: Get Out While You Can
Suburban Rebels

11:14 am
Hot Chip: Colours (DFA Remix)
Remixes and Rarities

11:21 am
Cezanne: I’ve Got So Much
Breaking Bats for Jesus

11:25 am
The Planets: Mafioso
Lost In Space

11:25 am
Damien Jurado: Hoquiam
And Now That I’m In Your Shadow

11:35 am
Math & Physics Club: April Showers
Math & Physics Club

11:37 am
Dean and Britta: Singer Sing
Back Numbers

If you are a Luna fan, Dean (Wareham) and Britta (Phillips) need no introduction, but here is one anyway: Dean and Britta’s new release (so new it won’t be released for another week, in fact) Back Numbers is so good I am contemplating adding an A to my name (um, hello, my name is Britt, stupid Internet). “As with L’Avventura and their work with Luna, Wareham and Phillips know how to tastefully cover other artists material both staying true to the original and equally giving it a life of its own. This feat is accomplished a couple of times on Back Numbers but no more eloquently than Britta Phillips take on Lee Hazelwood and Ann-Margret’s ‘You Turned My Head Around.'”

11:41 am
Andrew Bird: Lull
Weather Systems

11:48 am
The Storkes: Ask Me Anything
First Impressions of Earth

“Don’t be a coconut/God is tryin’ to talk to you” = best lyrics ever (sorry Lou Reed)

11:51 am
The Blow: True Affection
Paper Television

11:53 am
David Vandervelde: Wisdom from a Tree
The Moonstation House Band

By Michael Papish

Sunday, November 10, 2002; Page B02

They leave empty pizza boxes on your lawn, play loud music way past midnight and spill beer on, well, everything, but college kids are also helping to preserve a piece of American culture: the culture of interesting radio.

If we want to help them do that, we’ll need to get college radio back on the Internet. Since last spring, dozens of campus webcasts have been shut down, and more may follow, because of new federal regulations that threaten to bankrupt the small, volunteer-run radio stations that produce them. The shutdowns were premature, and in the end will probably turn out to have been unnecessary. But they illustrate the uncertainty and confusion surrounding the regulations, which were supposed to take effect last month but are now in limbo.

Why the big fuss over campus radio? From a music lover’s point of view, the mainstream American radio landscape is abysmal. Motivated only by profit margins, commercial radio conglomerates have turned our publicly owned airwaves into a bland wasteland. College radio, with its dedication to original and exciting programming, stands in stark contrast. The typical commercial station airs 500 or fewer songs a year, playing them over and over. The station I advise, WHRB-FM at Harvard University, plays 70,000 to 90,000 different songs every year. Some commercial stations no longer even bother to use humans, preferring canned voice-tracks recorded at a central studio and automated algorithms to determine their programming. Campus and small community stations feature live DJs making their own creative programming choices. Commercial radio fears alienating listeners with anything out of the ordinary. WHRB recently featured 178 straight hours of Haydn history and compositions, and four full days of the entire sonic output from the obscure ’60s avant-garde and underground label ESP-Disk.

But while college and community stations have no lack of imagination and enthusiasm, many are handicapped by weak broadcast signals; some of them can be heard over an area of just a few square blocks or only within closed campus networks. To overcome that problem, low-power stations began to broadcast simultaneously over the World Wide Web. WHRB introduced its digital “streaming” in 1999. Like other small webcasters, we saw ourselves as pioneers in an effort to bring back an era of exciting radio by using the Internet to reach new listeners.

Something stands in the way of that revival: the cost and terms of licensing music. FM and AM radio stations pay songwriters for the rights to broadcast their music, but not performing artists or record companies. The record industry looked to fix that inequity in the digital world by lobbying for, and getting, Congress to pass the Digital Millennium Copyright Act in 1998. The DMCA requires webcasters to pay royalties that are distributed to composers, performers and record labels. There’s nothing wrong with paying artists and copyright owners a fair price for their music, but the approved rates will prevent college and nonprofit webcasters from ever reaching more than a handful of listeners, if they choose to continue webcasting at all.

In 2001, a Copyright Arbitration Royalty Panel was convened to set royalty rates. Arbitration began with the Digital Media Association, a trade group representing larger, for-profit webcasters, suggesting a rate of .015 cents per song per listener. The Recording Industry Association of America, representing record labels and artists, countered with a rate 26 times higher: .4 cents per song per listener. Due to the high cost of participating in the arbitration, small nonprofit stations were unable even to have a seat at the table. In June, the government announced the final rates: .02 cents per song per listener for noncommercial stations and .07 cents per song per listener for commercial entities, with an annual minimum fee of $500 for both groups. The fee-setting process had effectively barred college and other small webcasters from participation, and the resulting fees were too high for them.To put those fees in perspective, a college webcaster such as WHRB, with a steady Internet audience averaging six or seven listeners per hour over 24 hours (yes, six or seven — about average for college radio today), would owe $170 a year but pay the $500 annual minimum. However, if WHRB’s Internet audience increases over the next decade to something similar to the audience for its FM signal (approximately 1,000 concurrent listeners on average), the station would owe $26,280 — quite a contrast to the $3,203 per year the station now pays to composers for playing the same songs over the air. In addition, the law required retroactive payments for any webcasting during the four years since the law was passed. The payments were due Oct. 20.

By the time the fee ruling was handed down, many small and suddenly alarmed stations had already begun to stop streaming. Then, beginning this past summer, a hubbub of complaints by disgruntled webcasters, artists and record labels grew in pitch and volume as the Oct. 20 deadline approached. Most of the panic was caused by the size of the four-year bills some webcasters would owe and the fines they might face if they didn’t pay up. Some small, commercial webcasters like Ultimate80s.com, Beethoven.com and radioio.com, with large listenership but limited revenues, faced certain bankruptcy. The RIAA, the industry trade group, came to an agreement with a subset of small, commercial webcasters that became the text of the Small Webcaster Amendment Act and was passed in the House of Representatives on Oct. 7. In plain terms, the SWAA reduces retroactive fees for a class of small webcasters in return for setting dangerously high royalty levels in the future.

None of that has helped college and community radio, and the near passage of the SWAA by the Senate, prevented only by the last-minute heroics of Jesse Helms, acting at the behest of a group of small webcasters operating in North Carolina, certainly would have hurt us.

Instead of fixating on the Oct. 20 deadline, college radio should be worried about the long-term survival of the Internet as an alternative to the conglomerate-controlled airwaves. Contrary to the opinions of many, I believe that the roadblock in our way, the RIAA, shares that goal. Unfortunately, our joint progress stands in the crossfire of the largest intellectual property war to occur in the last 25 years.

In the digital world, the future of music (and intellectual property in general) is cloudy. The record industry is at a confusing crossroads, knowing only one, sure truth: It owns a lot of sound recordings. What no one knows is the future medium or method by which those recordings will be heard. Will CDs become as obsolete as eight-tracks? Will music continue to be produced in an “album” format, or will we see a hybrid emerge, combining elements of both records and radio? With that uncertainty, the RIAA fights for the highest valuation of sound recordings possible.

The battle over webcasting royalties playing out in Congress, courts and conference rooms is one of the initial struggles in a war that could decide the future survival of all companies that own, promote and sell copyrighted materials. In the music world, the stage was set in 1978 by a report published by the Register of Copyrights on performance rights in sound recordings. In that report, a prescient Copyright Office warned that “Congress, in its deliberations on performance rights, should not be unmindful of the possibility that technological developments could well cause substantial changes in existing systems for public delivery of sound recordings. In that event, it is equally possible that a performance right would become the major source of income from, and incentive to, the creation of such works.”

Historically, the United States, unlike many other countries, has not granted copyright owners of sound recordings the right to be paid for the public performance of their music over the radio. What’s occurring now is the first attempt to set the value of those sound recordings on the Internet.

The disappearance of college and community webcasters would be an unfortunate and unwanted side-effect. But even though a future featuring diverse webcasters would be in the RIAA’s best interest, the group is afraid of letting down its guard and allowing the value of its sound recordings to be reduced. Five years from now, if the government were to create a compulsory license for Napster-like services, rates set today for webcasting would form an important precedent.

It’s time to recognize college radio’s unique and pioneering role in establishing the Internet as an incubator for diverse, edgy and creative broadcasting. The government should rework its royalty-setting procedures to give small webcasters a voice. The RIAA needs to stop trying to unfairly link college webcasting with the specter of students illegally downloading free music. And the RIAA should make the enlightened decision to compromise with small, non-profit webcasters in an agreement that will allow Internet radio to flourish for the benefit of both. If each side tries hard to hear the other, they’ll find more in common than they might think.

Michael Papish is technology and policy adviser for WHRB, the undergraduate radio station at Harvard University, and for the Intercollegiate Broadcasting System, a nonprofit organization representing more than 750 educationally affiliated stations. He is co-founder and CEO of MediaUnbound, a software company in Cambridge, Mass.

Welcome to Radio Cure, dedicated the exploring the history of independent and college radio in the United States.

Here you will find information, articles, and research on the development of non-commercial radio, including community public radio, college radio, and non-corporate radio stations, different radio models, the College Music Journal charts, and online radio webcasts.

September 2017
M T W T F S S
« Mar    
 123
45678910
11121314151617
18192021222324
252627282930