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- Herausgeber: John Wiley & Sons
- Kategorie: Geisteswissenschaft
- Sprache: Englisch
Beginner-friendly advice on how to start and run a local FM station There are approximately 2000 low power FM radio stations in the United States. That number will grow as more licenses are issued in the coming years. Low Power FM For Dummies walks you through the key steps you need to take to establish, manage, and help run one of these hyper-local broadcast operations. You'll get easy-to-follow help on everything from making all your gear work to financing your operation, managing your staff, and complying with rules and regulations. Not sure where to begin? No worries! This book explains the process of getting a broadcast license and collecting all the necessary tools. It also provides insight on starting with a station that streams online only. Already got started? That's great too! You'll learn to refine your approach to low-power FM station management with the useful tips found within. Low Power FM For Dummies will also help you: * Serve your community at a hyper-local level with programming aimed directly at the people in your area * Manage the people, technology, processes, and systems that underlie a well-run low-power FM station * Guide the operations of a new or established station as a volunteer, board member, or creator Low-power radio stations need well-informed and effective operators, technicians, board members, and volunteers to fulfil their potential. Low Power FM For Dummies can help you fill any of those roles, and more, in no time at all.
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Veröffentlichungsjahr: 2023
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Low Power FM For Dummies®
To view this book's Cheat Sheet, simply go to www.dummies.com and search for “Low Power FM For Dummies Cheat Sheet” in the Search box.
Table of Contents
Cover
Title Page
Copyright
Introduction
About This Book
Foolish Assumptions
Icons Used in This Book
Beyond the Book
Where to Go from Here
Part 1: Lighting the Fuse: Getting High Impact from Low Power
Chapter 1: Getting High Impact from Low Power
Getting to Know Low Power FM Radio
Envisioning Your Radio Station
Creating Your FM Dreamscape
Chapter 2: Finding or Founding Your Nonprofit
Preparing for the LPFM Application Window
Uniting for Good: Partnering with an Existing Nonprofit
Starting from Scratch: Forming a New Nonprofit
Making Your Mark: Branding Your Organization
Chapter 3: Getting Permission to Broadcast
Finding Your Frequency
Hunting for Your Tower
Applying for an FM Frequency
Winning Your FM Frequency
Navigating MX Situations
Alternative Methods for Getting on the FM Dial
Part 2: Countdown to Blastoff: Launching Your Broadcast
Chapter 4: Firing Up Your Frequency
Permission Granted: Getting Started
Setting Up Your Signal
Choosing Between On-Site and Remote-Site Transmission
Understanding Your FM Transmitter
Installing Your Antenna
Installing the Emergency Alert System
Lighting It Up!
Partying at Your Official FM Launch
Chapter 5: Weaving Your Webcast
Launching Your Station on the Infinite Dial
Registering with Online Radio Directories
Developing Apps for Listeners on The Go
Teaching Skills to Smart Speakers: “Alexa, Play WXOX”
Part 3: Staying in Orbit: Building a Station That Endures
Chapter 6: Where the Magic Happens: Building a Studio with a Spark!
Finding a Studio Location
Considering Interior Spaces
Installing Studio Furniture
Selecting Studio Equipment
Providing Community Access and Security
Chapter 7: Cranking It Up: Developing Your Music Collection
Building a Physical Library
Developing a Digital Library
Archiving Original In-House Productions
Chapter 8: Going for the Gold: Developing Station Income
Making Friends and Creating Opportunities
Organizing a Capital Campaign
Building Station Membership
Developing Partnerships and Sponsorships
Working with Underwriters
Finding Government Money
Considering Incentive Programs
Driving Vehicle Donations
Maximizing Merch Sales
Hosting Fundraising Events
Chapter 9: Holding the Line: Managing Station Expenses
Maintaining Your Home-Base
Factoring in The Price of Technology
Licensing Music
Hiring Personnel and Growing a Happy Team
Joining Professional Organizations
Budgeting for Communications
Keeping Financial Records
Remembering Everything Else, Too
Part 4: Star Systems: (Low) Power to the People!
Chapter 10: Keeping It Legit: Broadcasting Rules and Responsibilities
Seeking Help and Getting Legal Advice
Understanding FCC Laws
Abiding by FCC Laws
Moving Beyond the FCC: Other Legal Considerations
Chapter 11: It’s Showtime! Developing Programming and Taking It Live
Moving from Dreams to the FM Dial
Setting the Scene
Preparing Your Shows
Going Live!
Keeping Time with the Programming Elements
Hosting On-Air Guests
Minding Studio Etiquette
Chapter 12: Forming the Band: Building Your Crew
Developing the Station CORE
Recruiting and Training Your On-Air Team
Addressing Staff Responsibilities
Part 5: Riding the Waves: Ups and Downs in Community Broadcasting
Chapter 13: Understanding Murphy’s Law of Radio
Being Prepared When the Broadcast Goes Silent
Dealing with Static and Other Interference
Disappearing (or Delayed) Talent
Failing Equipment
Spilling onto the Soundboard
Breaking the Rules
Staying Tough and Carrying On
Chapter 14: Cultivating Community Connections
Bringing the Community to the Station
Bringing the Station to the Community
Reporting on Emergencies
Chapter 15: Connecting with Listeners Locally and Worldwide
Promoting Your Station Internationally
Syndicating Programs Worldwide
Providing On-Demand Listening
Rambling Remotes
Part 6: The Part of Tens
Chapter 16: Ten Ways to Fill Dead Air (and Come Alive!)
Explore Your Music Stacks
Utilize Copyright-Free Material
Amplify Your Voice
Conduct an Interview
Play an Instrument
Rally Local Performers
Simulcast Another Low Power FM Station
Place a Mic Outside Your Window
Find a Numbers Station
Get Experimental
Chapter 17: Ten Epic Radio Broadcasts
The Birth of Radio (March 1, 1893)
The World’s First DJ (April 1, 1914)
The First Live Broadcast of Presidential Election Results (November 2, 1920)
The Broadcast of War of the Worlds (October 30, 1938)
The Launch of KPFA and the Pacifica Network (April 15, 1949)
The Launch of First Black Owned and Operated Station in the U.S. (October 3, 1949)
Bob Fass’s Fly-In (February 11, 1967)
The Launch of Radio Free Alcatraz (December 22, 1969)
The Reporting of Hurricane Katrina and Dome City Radio (August 2005)
The Power of International Human Rights Simulcasts (2020 and Beyond)
Chapter 18: Ten Inspiring Insights from Low Power FM Station Founders
LaGanzie Kale, KLEK Jonesboro
Julianna Ross, KMGP Seattle
Shawn Campbell, WCXP Chicago
Max Kelley, WAYO Rochester
Clark Grant, KBMF Butte
Davyne Dial, WPVM Asheville
Kara Richardson, WXND Louisville
David Beaton, WSLR Sarasota
Reverend Joan C. Ross, WNUC Detroit
Stella Linder Byrne, KMRD Madrid
Appendix A: Directory of Low Power FM Radio Stations
Appendix B: Glossary
Index
About the Author
Advertisement Page
Connect with Dummies
End User License Agreement
List of Tables
Chapter 7
TABLE 7-1: Music Automation System Comparison Chart Complied by David Klann of B...
List of Illustrations
Chapter 1
FIGURE 1-1: A number of creative demonstrations organized by the Prometheus Rad...
Chapter 2
FIGURE 2-1: Logos from several LPFM parent organizations.
FIGURE 2-2: The ART FM website has the following important elements: player but...
Chapter 3
FIGURE 3-1: The first adjacent and second adjacent channels to co-channel 97.1 ...
FIGURE 3-2: This WXOX propagation map shows the proposed broadcast range of WXO...
FIGURE 3-3: The schedule on the WXNA website provides some programming ideas.
Chapter 4
FIGURE 4-1: Minimum grounding procedure as suggested by Todd Urick, Technical D...
FIGURE 4-2: WXOX 97.1 FM launch party on Valentine’s Day 2016. Bonny “Prince” B...
Chapter 5
FIGURE 5-1: Hollow Earth Radio KHUH 104.9 FM in Seattle uses a player embedded ...
FIGURE 5-2: KPSQ in Fayetteville, Arkansas, uses a pop-up player that includes ...
FIGURE 5-3: Broadcast blocks in Audio Hijack for Mac users must be filled in wi...
FIGURE 5-4: Stream connection details in Rocket Broadcaster for Windows users.
FIGURE 5-5: The Radio Garden website (radio.garden) allows listeners to navigat...
FIGURE 5-6: Many LPFM radio stations have their own apps, a number of which are...
Chapter 6
FIGURE 6-1: The WXOX studio remodeled by ART FM chief operator and master carpe...
Chapter 7
FIGURE 7-1: The stacks/performance studio at WEFT Champaign-Urbana.
FIGURE 7-2: The CD collection at WXOX-LP Louisville.
FIGURE 7-3: A template for programming an album.
FIGURE 7-4: A record from the WHRC collection.
Chapter 8
FIGURE 8-1: Prior to going on air, Radio Tacoma WOWD created their entire studi...
FIGURE 8-2: Valentine’s Day “2 for 1” membership used at WXOX.
FIGURE 8-3: Collectable poster and tickets to the WXOX Voix de Ville. Poster by...
Chapter 9
FIGURE 9-1: Custom WXOX patches created by DJ Shawn O’Donnell of
Power Trash
.
FIGURE 9-2: Shonen Knife shows off a sticker given to them by DJ Clawdada as he...
Chapter 11
FIGURE 11-1: Quintron’s
Weather Warlock
is a weather-controlled synthesizer tha...
FIGURE 11-2: Promotional flyers for radio programs heard on WXOX.
FIGURE 11-3: You will often see a peace clock hanging on the wall of college an...
Chapter 13
FIGURE 13-1: An error message shown in Audio Hijack. Luckily, in this case, the...
FIGURE 13-2: The VHF propagation map from
vhf.dxview.org
. This site displays tr...
FIGURE 13-3: Everything that could go wrong, did go wrong for WXOX during this ...
Chapter 14
FIGURE 14-1: Beyond their broadcast, LPFM stations create all kinds of happenin...
FIGURE 14-2: WAYO tabling setup at the Park Avenue Summer Art Fest event in Roc...
Chapter 15
FIGURE 15-1: Tia Marie of WXOX interviews Chuck D over Zoom during the Grassroo...
FIGURE 15-2: Examples of remote studio setups developed by WXOX DJs during the ...
FIGURE 15-3: Author’s diagram of a remote studio setup.
Guide
Cover
Table of Contents
Title Page
Copyright
Begin Reading
Appendix A: Directory of Low Power FM Radio Stations
Appendix B: Glossary
Index
About the Author
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Low Power FM For Dummies®
Published by: John Wiley & Sons, Inc., 111 River Street, Hoboken, NJ 07030-5774, www.wiley.com
Copyright © 2024 by John Wiley & Sons, Inc., Hoboken, New Jersey
Published simultaneously in Canada
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Trademarks: Wiley, For Dummies, the Dummies Man logo, Dummies.com, Making Everything Easier, and related trade dress are trademarks or registered trademarks of John Wiley & Sons, Inc. and may not be used without written permission. All other trademarks are the property of their respective owners. John Wiley & Sons, Inc. is not associated with any product or vendor mentioned in this book.
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Library of Congress Control Number: 2023945274
ISBN 978-1-394-18532-0 (pbk); ISBN 978-1-394-18533-7 (ebk); ISBN 978-1-394-18534-4 (ebk)
Introduction
The airwaves belong to you. You breathe them in; you breathe them out. Yet, they endlessly elude your grasp. Radio is everywhere all at once, yet it is nowhere at all. A shape-shifter and a time traveler, so much can be done with this ever-mysterious medium, and we’ve only just begun to experiment with its potential.
The Low Power FM movement is a small but energetic alliance. Our army is growing by the day. Real living, breathing humans are pushing through the cracks of commercial automation with spontaneous ideas and original thought. DJs are playing music because it moves them, not because it fits a mathematical formula. Listeners are discovering these new vibrant stations, where real DJs speak to them in real time, about real things that are going on. They find that no algorithm can simulate the effect of connecting with another human. Radio penetrates the mind like no other medium! It works because it inspires the listener’s imagination and allows them to be a part of the creation. This book is your backstage pass, your entrance behind the curtain!
About This Book
Low Power FM For Dummies provides you with the information you need to start and maintain a noncommercial FM radio station — to create a spot on the terrestrial dial where you can amplify the voices of your community, play the music they love, and address the issues that are important to them. It begins with forming your nonprofit organization and walks you through all the steps of building your own community media outlet. This includes assembling your equipment, training your DJs, launching your web stream, and sharing your programming worldwide.
Starting with the basics, this book walks you through the steps of building a new community radio station. I share with you experience I have learned and the resources I have gathered on my own journey in the hope that it will shine a light on yours. In cases where you may need further expertise, I point you in the right direction. The suggestions in this book may not always work for your situation and you may find other solutions that you feel work better instead. Fantastic! Write in the margins, reach out and let me know, and maybe we can spread the word or get it in the next edition. This is a living, growing community project after all! My greatest hope is that this book gives you the confidence to find your own direction in radio — to help your station reflect the unique personality of your community and become unlike anything else that has ever hit the air! To make the content of this book more accessible, I’ve divided it into six parts:
Part 1
: Lighting the Fuse: Getting High Impact from Low Power.
This part helps you understand what it takes to become a Low Power FM (LPFM) broadcaster and shows you how to get there. It begins with the background of the LPFM movement and ends with you getting permission to broadcast.
Part 2
: Countdown to Blastoff: Launching Your Broadcast.
Here you discover the logistics for getting your signal on the FM dial and streaming online around the world.
Part 3
: Staying in Orbit: Building a Station that Endures.
Beyond the broadcast itself, there is a lot to think about when developing a new radio station. This part discusses everything else, from assembling your studio to developing your music collection, as well as the ins and outs for keeping it all afloat.
Part 4
: Star Systems: (Low) Power to the People!
Nothing is more valuable to a station than the people that keep it going. This part helps you develop guidelines for on-boarding DJs and building your backstage crew. It leads you through on-air regulations and helps you develop your own station policies.
Part 5
: Riding the Waves: Ups and Downs in Community Broadcasting.
So many adventures are experienced in broadcasting, so it’s hard to contain them all in a single category. This part includes those unruly ups and downs that you may encounter when running a radio station.
Part 6
: The Part of Tens.
The book concludes with a fun section that you can refer to when you need a breather, a brainstorm, or a piece of friendly advice. Radio does not always have to be so serious!
Foolish Assumptions
This book is written for people with the desire to start and lead their own noncommercial FM or online radio stations, without any prior knowledge or experience in the field. However, the information within is also helpful to anyone involved with a nonprofit community radio station — board members, DJs, technical directors, and even superfans who just want to learn more about how the whole thing works.
The Low Power FM movement was born out of the Local Community Radio Act as a means for giving local nonprofit organizations access to the airwaves. My assumption here is that most charities are busy with other activities and have little or no broadcasting experience. Luckily, radio does not require a great deal of technical knowledge, especially after you get going. But you do need a desire to communicate and a willingness to learn. Although this book focuses on building LPFM radio stations, it will also be helpful to those interested in launching community stations online. Most of the principles are the same except that you have less regulation online.
The term community station refers specifically to noncommercial stations operated by members of the immediate community. Community stations, for the most part, are powered by volunteer DJs, supported by listener donations, and broadcast local productions. I am the co-founder of ART FM, the nonprofit organization that manages WXOX 97.1 FM in Louisville, Kentucky. Throughout the text I refer to the station as both ART FM and WXOX. At times, ART FM is used to refer to the organization itself and the online broadcast with WXOX being more specific to the FM transmission.
As you read, please keep in mind that I am a LPFM radio station manager. I am not an attorney or an engineer. Neither am I a radio network representative or an agent of the Federal Communications Commission. I am a person, just like you, but with 10 years of LPFM experience. Many people have reached out over time, asking for advice. In addition to WXOX, I’ve helped a few other stations (such as WXNA and WXND) get on the air. In this book, I write it all down in the most straightforward way I know how. If in doubt, always consult with a professional (be that an attorney, an engineer, an electrician, or a pastry chef!).
Icons Used in This Book
Acting as traffic conductors for this book, the little icons you spot in the page margins tell you when you need to slow down and when you can fast forward. Here’s the key to understanding what they mean.
Holding a LPFM broadcasting license is a serious business! This icon alerts you to key information that’s important for keeping your station on air and acting for the public benefit. Pay attention at the back!
This icon lets you know when the waters are getting deep. If you feel like this material is getting over your head, skip over it or circle back to it later (after you have more of the basic concepts mastered).
When you see this icon, you’re getting the benefit of my wisdom — experience and helpful advice I’ve picked up along the way to make your own journey easier.
When you spot this icon, be sure to read it! Snakes, Black Holes, and quicksand await you on your LPFM journey, but so do stars, lighthouses, and song larks! Whatever you do, pay attention to this information as it will help you navigate your ship safely through LPFM’s dangerous waters.
Beyond the Book
In addition to the advice and guidance provided in this book, you get online access to even more help and information about building a Low Power FM radio station. I’ve included a number of important resources to help you manage the business of running your LPFM station — you can access them here: www.dummies.com/go/lowpowerfmfd.
As well as these documents, you can find this book’s handy online Cheat Sheet by heading to www.dummies.com and searching for “Low Power FM For Dummies Cheat Sheet.”
Where to Go from Here
Consider this book a user guide to flip backwards and forwards through, rather than any kind of linear story. You can skip through sections of text and focus on the portions that are helpful to you. The engineering and legal details within this book apply specifically to Low Power FM radio stations operating in the United States. However, the majority of this book is relevant to noncommercial stations operating anywhere in the world — full power or micro-broadcaster, FM or online.
Stream one of the LPFM stations listed in the directory at the back of the book. Use the index and the table of contents to dive directly into the subjects that most interest you. If you want to know where the LPFM movement came from, go ahead and start with Chapter 1. If you want to jump directly into starting a station online, skip to Chapter 5. If your community station is already on air and you’re seeking some station management advice, dive into Part 3. If you want a taste of what it’s like to run a LPFM before taking the leap, Chapter 18 provides helpful insights from LPFM station founders. It’s OK to start with dessert!
Part 1
Lighting the Fuse: Getting High Impact from Low Power
IN THIS PART …
Dig into the American broadcasting landscape and discover how you can become a part of it.
Build or join a nonprofit organization to help get your Low Power FM radio station up and running.
Get permission to broadcast and get set to take it live!
Chapter 1
Getting High Impact from Low Power
IN THIS CHAPTER
Introducing Low Power FM
Starting your own station
Building on your dreams
Your radio is hungry. It craves life, music, and conversation. It longs to connect neighbors with one another and unite enemies with a song. Radio dreams of broadcasting the sound of community to the people who live there. At long last, a group of radio activists have emerged to energize and empower the FM airwaves. They have started a Low Power Revolution and they are seeking a few good recruits!
Radio is dangerous, it is live, raw, and pervasive. It is powerful and unstoppable, which may be why it became so inaccessible. For nearly a century, commercial interests have tied up the FM frequencies leaving little room in between for community voices. But not anymore! Thanks to an unlikely partnership between pirates and politicians, the Local Community Radio Act of 2010 opened up these in-between spaces and put the power of radio into the hands of the people. If you’ve ever believed that you could change the world, you now have the opportunity. Take a deep breath and count to three, because an exciting journey lies ahead.
This chapter is your invitation to join the radio revolution and transform the FM dial one Low Power station at a time. Together we can bring real human voices back to the airwaves and discover new uses for this venerable medium. This chapter provides an introduction to the slow, complicated birth of the Low Power FM movement; looks at the rare, magical opportunity it has created; and considers the reasons why we must seize this chance to transform American media, one Low Power FM station at a time!
Getting to Know Low Power FM Radio
Low Power FM refers to a specific class of radio stations on the American FM dial. They are licensed to nonprofit organizations to operate with 100 watts of power at 100 feet of Height Above Average Terrain or HAAT (a mathematical formula you find out more about in Chapter 4). Commonly referred to as LPFMs (as you discover throughout the pages of this book), these hyper-local broadcasters are often listener supported and volunteer driven. LPFM stations have sprung up across the country in all shapes and sizes, bringing a fresh, homegrown flavor back to America’s FM dial.
Low Power FM stations have a strict limit on their broadcast power, although with the right location, 100 watts can reach thousands of people on a daily basis. Chapters 3 and 4 discuss developing an installation plan that will cover your community with the best signal possible. Just like all other stations on the FM dial, Low Power stations are regulated by the Federal Communications Commission (FCC) and have a code of law that they are required to uphold (explained in Chapter 10). This differs from those stations that stream online only; they are not required to have any kind of license or uphold FCC broadcasting expectations.
Most LPFM stations simulcast their programs via a web stream so that listeners all over the world have the chance to tune in online. Chapter 5 describes the easy steps for making this a reality. If you don’t have a LPFM license, you will find that there are still many ways to amplify your voice. You can then move forward and take advantage of the rest of the information in this book about managing and maintaining a radio station. With the exception of Chapters 3, 4, and 10, the rest of the information in this book is applicable to online broadcasters.
THE MAGIC OF RADIO
The magic of radio is impossible to explain. After just one taste, you will want it again. Forever. For the rest of your life. You will sacrifice so much time and energy making it sound good, and keeping it moving forward. But radio will reward you — a million-fold as a lover and a lifesaver, a storyteller and a first responder. Radio is your trusted companion, old friend, and life on the other end of the line. Radio is a brilliant educator, a stunning entertainer, and a powerful activist. To find out more about how radio can help build communities, check out Chapters 12, 14, and 15.
Radio can be used to share music, exchange ideas, and plan revolutions. In fact, few things cannot be accomplished by speaking to thousands of people at once. Which is why radio is also so dangerous, and why regulation has previously been so strict.
Understanding the American radio landscape
There was a time — a very brief moment — when radio could have become so much more than it is today. Nikola Tesla began demonstrating the power of his new wireless invention at the dawn of the 20th century (see Chapter 17), and it would be years before anyone thought to regulate the airwaves. Many folks were experimenting with the science just to see what it could do; radio clubs, technological schools, and Boy Scouts across the country were setting up radio stations in their attics and classrooms with transmitters made from copper wire and cardboard tubes. These amateur broadcasters began friendly competitions with one another to see who could get the farthest reception, who could have the clearest sound, and so on. They also worked together, self-regulating the airwaves, scheduling airtime through local networks so that they would not interfere with one another’s signals. It is hard to imagine what radio sounded like at that time. Or what might have happened had this free access of the airwaves been allowed to thrive.
Instead, federal legislation beginning with the Radio Act of 1914 strongly favored broadcasters who had learned to monetize the airwaves, fatten their wallets, and hire the best lobbyists. As radio clubs tinkered away, these capitalist networks pushed for stringent broadcasting laws that could protect their source of income and prevent interference during their sponsorship announcements. It wasn’t until the Communications Act of 1934 and the development of a government agency to police the radio waves that the new licensing rules were taken very seriously, but this time it was drastic. Under Herbert Hoover’s direction, the radio spectrum was reallocated. The largest, clearest licenses were handed out to commercial networks. Educational stations operated by clubs, universities, and nonprofit organizations were corralled into a limited area of the spectrum. The complaints of listeners, broadcasters, and educators were met with federal agents assigned to enforce the new rules. In a matter of years, commercialization had conquered the airwaves. Advertisers invented schedules that they felt sold the most product and broadcasters began sculpting their programs around the latest sales theories. To this day, mainstream American radio broadcasters cater their programming to appeal to advertising dollars, not to listener interest.
Sailing on the open seas
Low Power FM was born out of the salty waters of the pirate radio movement. These countless unknown individuals have sailed the dark seas of the terrestrial dial for over 100 years, insisting on the constitutional right to broadcast with or without government permission. Forced into the shadows by threats of fines, property seizure, and federal imprisonment, these independent broadcasters may only be remembered in the minds of those who experienced their fleeting moments on air. Their role in American history has vanished into the ether from which it emerged. Their work, however, broke through the barricades of federal regulation and finally made room for community voices on the FM dial.
Operating a FM transmitter without a license is illegal in the United States.
Despite this, you might be surprised at how many unlicensed broadcasters you find in your area, on air, right now. Often belonging to churches or hobbyists, these micro stations rarely mean any harm. However, radio broadcasting can have a powerful effect on the community — both physically and mentally. For example, an untrained broadcaster providing inaccurate information can cause listener panic and put lives at risk (see Chapter 10 for federal laws on responsible radio reporting), and a broadcast antenna hung too close to an occupied space can create a radiation health hazard (Chapter 4 provides advice on installing your equipment safely). These regulations make sense. The counter-argument has been that FCC laws restrict the airwaves so much that they prevent the development of hyper-local radio, including rapid emergency response. Therefore, pirates argue that they have the potential to save lives with their broadcasts and can provide more local value than the national network beamed in from some distant location.
In 1994 a pirate radio station named Free Radio Berkeley (freeradio.org), was caught by the FCC and fined $20,000. Stephen Dunifer, who ran the station, refused to pay the fine and vowed to fight the judgment. Dunifer’s actions were inspired by Mbanna Kantako of Human Rights Radio (humanrightsradio.net), who had previously been cited by the FCC for pirate broadcasting but refused to pay the fine — asserting that the First Amendment protected his right to free speech.
In defiance of the FCC raid on Free Radio Berkeley, Stephen Dunifer encouraged unlicensed broadcasters nationwide to take to the airwaves in protest of restrictive federal broadcast laws that made no room for community voices. He was represented in court by the National Lawyer Guild’s Committee on Democratic Communications, in the case “U.S.A. vs. Stephen Paul Dunifer.” The defense focused on the First Amendment and its insistence that the government agencies use the least restrictive means possible when governing the constitutionally protected Freedom of Speech. The Guild argued that the FCC was overstepping its bounds. U.S. District Judge Claudia Ann Wilkin found their case compelling and placed a hold on the fine as she reviewed the legality of the FCC licensing system, leaving the FCC virtually powerless against renegade broadcasters. An estimated 1,000 unlicensed stations went on air during the four-year review period that followed. When the judgment finally came in against Free Radio Berkeley on a technicality, the authority of the FCC was legally confirmed by the court. Pirate radio remained illegal, and enforcement resumed in full.
Switching on the LPFM light
From its home base in West Philadelphia, however, a pirate radio station called Radio Mutiny kept pushing full steam ahead, insisting on the people’s right to access the airwaves. When the FCC came knocking on the station door in 1998, the Radio Mutiny Collective responded with a savvy media campaign saying: “Community Radio — It Makes Common Sense.” The press showed up and it was the beginning of a full-court press on the Federal Communications Commission.
The pirate radio community knew that there was plenty of space for small stations in between the large commercial stations on America’s FM dial. Radio Mutiny teamed up with other unlicensed broadcasters to host a Pirate Radio conference in Washington, D.C., in 1998. The conference culminated in a Pirate March on Washington which caught the attention of FCC Chairman William Kennard.
As the first African American to lead the agency, Kennard hoped to rectify the loss of minority-owned stations that had occurred with the passage of the Telecommunications Act of 1996. When the Pirate March came past his window, he saw an opportunity. Within months, the FCC opened rule-making to develop a system for licensing community organizations broadcasting on Low Power FM stations. The order was completed and passed in just under two years.
Satisfied with this government action, Radio Mutiny spokesperson Pete Tridish announced that they were going legit. The Mutiny collective retooled and relaunched as the Prometheus Radio Project (prometheusradio.org), a nonprofit organization with the mission of helping nonprofits acquire FCC licenses and get on air nationwide. They acquired grants, hired employees, and traveled across the country hosting workshops while launching new stations.
Just as soon as things got moving, a series of legal attacks were launched against the LPFM movement. Among these was the Radio Preservation Act. This legislation, introduced by the National Association of Broadcasters (NAB) and National Public Radio (NPR) and passed by Congress in 2000, used exaggerated interference concerns to tie up urban airspace and prevent the construction of Low Power stations within heavily populated areas. Prometheus pushed forward with building stations throughout communities in rural areas while simultaneously lobbying Congress to pass another bill — the Local Community Radio Act (LCRA) — that would open more frequencies for LPFM stations. The collective took many creative approaches to bringing attention to community broadcasting, including assembling a hodge-podge of portable radios in front of the U.S. Capitol (shown in Figure 1-1) — perfectly symbolizing the array of unique radio stations that would take to their airwaves after the LCRA was passed. Ultimately, the new bill took 10 years, 20 attempts, and 50 handmade hula hoops to finally make way for legal community broadcasting in the United States. In late 2010, the LCRA finally got the support needed to pass Congress and head to the president’s desk.
© Pete Tridish.
FIGURE 1-1: A number of creative demonstrations organized by the Prometheus Radio Project led to the passage of the Local Community Radio Act, opening spaces on the FM dial to community broadcasters.
Introducing the Local Community Radio Act
On January 4, 2011 — thanks to a decade of tireless work by organizations such as the Prometheus Radio Project, Georgetown Law, the Future of Music Coalition, REC Networks, Free Press, the National Hispanic Media Coalition, and others — the Local Community Radio Act was finally signed into law by President Obama. As a result, thousands of LPFM radio stations would take to the air across the country.
But this great accomplishment did not happen without its sacrifices. Within the text of the LCRA is specific language that makes room for Low Power community broadcasters on the American dial so long as certain conditions are met. Among the stipulations is “no pirates allowed”; the law states that no one who has engaged in unlicensed radio may serve on the board of a Low Power FM station (find out more in Chapters 2 and 3). So although the pioneers — Stephen Dunifer, Pete Tridish, and Mbanna Kantako — were officially, purposefully, excluded from the new Low Power legislation, their sacrifice cracked opened the American airspace and made room for community broadcasters nationwide. From this point on, no longer would community members be excluded from the terrestrial airwaves! No longer would they be forced to listen to programming dictated by corporate sponsors. Now they had choices! At long last, American citizens became free to sculpt the airwaves to reflect their personalities and use them to amplify their concerns — but only those that seize the opportunity! And that’s what this book is all about.
Thanks to those early years of activism, thousands of LPFM radio stations are now on air across the United States. They come in all varieties, with studios of all shapes and sizes. Some are on university campuses, some are in community centers, some are in churches, and still others are in the basement of the station founders’ homes. You do what you have to do in community radio and often you have to improvise. Somehow, it always seems worth the effort. My hope is that the number of Low Power stations will increase dramatically after the FCC opens the next application window (described in detail in Chapter 3). With any luck, your station will be one of those.
Many organizations and individuals are mentioned in this book who are willing to help. As a whole, the LPFM community is very supportive. Don’t be afraid to call on them when you have questions. They understand that working with the FCC can be a complicated process. They understand that you don’t have a lot of radio experience. They also understand how important it is to get local voices on the air, and they are committed to making it happen. If you want to do this you can. I believe in you! Take it step by step and one day at a time and suddenly you will be there, driving around, listening to your own community station on the FM dial!
Envisioning Your Radio Station
Radio can be everything. And more. It morphs with each moment and can turn on a dime. Outer space to underwater — I’ll meet you there in an instant! It’s easy to travel through sound. Yet, today, where there should be communication highways, there are black holes. Empty spaces of static and chaos that jolt the senses as you scroll across the FM dial.
Tune in the static and listen for a moment. Then, imagine this cacophony of noise slowly fading out and the voices of your friends and neighbors slowly fading in. Imagine they begin playing your favorite songs, dedicating them directly to you; soon they are talking about issues that affect your life directly, things that are happening in all the places you know. Would you ever turn to the dial again? Maybe not. Perhaps this is why corporate media resisted community radio for so long. The vibrancy of the people’s broadcast can never be emulated by broadcasters who are doing it for the money.
Under the LCRA, small spots on the radio dial are pried open to make room for new 100-watt LPFM stations licensed to area nonprofits. Since its passage, nearly 2,000 LPFM stations have taken flight nationwide. Beaming with character and overflowing with personality, what these stations lack in electrical wattage, they make up for in human energy.
If you feel a little hesitant about applying for a LPFM license, I assure you that can get it done! It will be a challenge, but truly, you will get so much out of the experience that it is worth every bit of your time. Just take it on your own terms, keep it as basic as necessary as you get started, and build it up as you move along. It might not be perfect at first but just remember, anything sounds better than static, well, almost! (Discover critical things to avoid in Chapter 10.) To get started with your license application, pay attention to Chapters 2 and 3.
Few things are more rewarding than planting a garden and watching it grow. You can have a concept in mind when you start out, but it is impossible to predict exactly what your LPFM station might look like, how it might sound, or all the ways it will affect your listeners. There is no way to measure how many ears it will reach, minds it will change, hearts it will stir, or lives it will save. However, a community station will do all of these things and you will feel it happening. Flip to Chapter 18 to read the inspirational stories of ten LPFM station founders.
Why radio?
You have dozens of radio stations on your FM dial but you might think they were all the same. As you turn the dial all you find is commercials … and songs that lead into commercials. A few exceptions exist: sports stations, religious stations, and news stations broadcasting programming almost entirely piped in from distant locations. It’s increasingly rare to find a live human voice on the radio, maybe coming from a college or high school station. When you do, hold on it! Support it! Let them know that you are out there listening.
Imagine a different life … waking up each morning, excited to turn on your radio, tune into any one of your favorite stations, and look forward to what surprises you might hear. Perhaps you want something chill and ambient to ease into the day. Perhaps you need something rowdy to get you out of bed and off on assignment. If you like waking up to the news, of course, you can find that, too. But what if you want an astronomy lesson? Yes! A history discussion? Yes, please! Philosophical debate? Sure, radio can do that, too! Everything is right there, just with the turn of a dial. No service plan, no pop-ups, no data tracking, just pure uninterrupted sounds enriching and educating your community. If radio sounded like this, we would be lifetimes ahead. For more programming ideas, check out Chapter 11.
Some people ask whether FM radio is dying, or if it’s an outdated medium. We’ve been hearing these arguments since the dawn of TV, and now with the advent of the Internet, it started up all over again. Radio is a survivor. Streaming audio now allows stations to be heard all over the world (find out more in Chapters 5 and 15) and it is wonderful! Podcasting allows programs to be heard at the listener’s convenience. And none of this undercuts the validity of FM radio. Quite the opposite, in fact, as an FM broadcast increases the value and accessibility of an online broadcast. It provides the credentials necessary for getting serious attention. The FM frequency keeps your signal from getting lost in the multitudes of online choices. But most important of all, radio keeps the voices of your community saturating the airwaves, freely accessible for everyone within it to hear.
Why now?
Nonprofit organizations cannot compete in frequency bidding wars with national radio networks, and therefore they find little space on the FM dial. The FCC does not provide local nonprofit groups with opportunities to get on the airwaves very often. The rare opportunity to do so is the result of a decades-long battle by individuals and organizations who understand the importance of public access to the airwaves (outlined earlier in this chapter).
It’s remarkable that communities now have a chance to build a radio station and get it on the terrestrial dial. However, there are not many spaces left on the FM band, especially in urban areas. If we don’t claim and fill them with the voices of the people, they will be lost into the abyss of corporate repeaters. Chapter 3 tells you more about applying for one of those rare spaces.
Why you?
If not you, then who? First of all, not too many people know about this opportunity. With this book, upcoming conferences, and country-wide campaigns, this is something the grassroots radio community is trying to change. We need to get the word out and hopefully you will help.
The fact that you know about the LPFM movement places some responsibility upon you to take advantage of the situation. If you don’t, and no one does, then all the activism and hard work will eventually have been for nothing. Radio will continue to create its own demise, and down with it will go our freedom of speech.
If you step up to this challenge, however, you will do so not only on behalf of your own community, but also that of people nationwide whose very freedom depends on open avenues for making their voices heard. In short, you should do this! The wonderful thing is, you don’t have to do it alone. This book is your first step towards joining the radio revolution.
Creating Your FM Dreamscape
Low Power FM radio is by its very nature a team effort. The licenses are awarded to organizations not to individuals and they should be developed as such. A healthy station finds the perfect balance between management and self-governance. Ruling with an iron fist will never work with LPFM. Chapter 12 provides advice on building a great team that can help your station grow.
The American public owns the American airwaves. LPFM frequencies are licensed by the federal government to nonprofits for a certain period of time. That time must be used wisely or future renewals will be denied. Although building a station should be a collective effort, it does make sense for those who put in the work of bringing frequency to life to maintain rules and expectations for those who get involved.
Although it can take years to get an FM frequency, it can take just moments to lose it. Violating FCC rules can result in fines that are too substantial for most nonprofits to withstand. While sharing the airwaves with your community, you must be cautious about who you let on board, make sure that you train them well, and catch them immediately when mistakes are made. At the same time, you can’t be afraid to take chances on unique personalities — or their big ideas. The FCC spends its time pursuing blatant violations of federal law. Don’t freak about minor accidents, just make a correction and keep moving forward. Chapters 10 and 11 help you stay within the lines while pushing the boundaries.
Radio never sleeps. The most unbelievable things will happen. There is simply no way to fully prepare. You just have to be able to think on your feet and roll with all the punches. Chapter 13 provides some problem-solving advice.
Aside from that, the most important skill you can have is the ability to delegate. Of course, part of delegating is knowing who is up for the task. It is also knowing how to keep people motivated, even when there is no money involved. You must be nimble and flexible. Volunteers are reliable, until they are not. You must know every job and always be prepared to pick up the slack. Chapter 12 helps you master these tasks.
Community radio is fertile ground for new talent. It is a space where people with little media experience can get their hands on the equipment and try out new ideas. Chapter 11 provides creative tips for developing ideas into radio programs. Sometimes these ideas work, and sometimes they fail miserably. Programs that sound good on paper may not always live up to expectations, and shows that sound dull may light up the airwaves with surprise characteristics. You may find that people with fun personalities in real life have no vibrancy on the mic at all. And vice versa: Introverted individuals often light up on air and unleash a personality they keep locked inside. It goes to show that you never can tell.
Have a vision for your station and always keep it in sight. Perhaps you are an activist building a station to spotlight community issues and broadcast from local events. Maybe you are a musician who wants to highlight the music of your region and host on-air performances. Perhaps you represent a cultural group looking to broadcast health and voter information in multiple languages. Perhaps you are an athlete who wants to broadcast local sporting events. Maybe you are part of an artist collective that wants to stretch the FM possibilities to the outer limits. Perhaps you want to do all of this — and more — with a new free-form frequency. There are so many ways to envision a LPFM station. It is truly an open canvas, and the beautiful thing is that there is no right or wrong way to approach it.
Although there are some laws to follow, your own organization dictates the content on your station. Get creative! Chapter 16 suggests unusual ways to fill the air, and Chapter 17 will inspire you with some amazing moments in American radio broadcasting.
No matter how much you plan, your station will become different things at different times. You’ll be astounded at how much it can change depending on what is happening in the world or which DJ is on the air. Holidays, for instance, are always fun to celebrate on the radio (Chapter 11 helps stir on-air programming ideas). Special shows will fill the airwaves, and suddenly your station may take on a whole new character. Emergency situations, of course, become a lot more intense (Chapter 4 looks at the Emergency Alert System you must install for such situations). As important as it is to have a vision for your station, it is also important to allow your station the flexibility to be all the things it wants and needs to be.
Raising a station is very much like raising a child. It’s a lot of guesswork and a lot of improvising, but you will figure it out as you move along. Every organization will do it their own way and each young station will emerge with its own unique personality. I can’t wait to hear about them all! You will have visions for your station and it will take on a mind of its own. Like a child, a radio station takes all the time, energy, and love you have, but no matter how exhausted you become, you still want to give it more. Chapters 8 and 9 help you understand what kind of resources your station will need to thrive while providing creative fundraising activities to help you acquire them.
You will love watching your station grow and will understand that the rewards are greater than the sacrifices. The amazing moments will make you forget all the struggles and you will know the true joy of seeing your dreams come true.
Challenges will be there for sure, but serve your listeners and they will serve you in exchange. Don’t be afraid to call on them for the support, supplies, and donations that keep you going.
Make your station comfortable and welcoming and it will become a meeting place for your community. A place where friendships are made and collaborations are formed! Projects will take flight! Musical ensembles, theater troupes, and lifelong partnerships will be forged within your studio walls! Plans will be laid and ideas will be hatched! Magnificent things will happen! You will tune in, sit back, and wonder how it all came to be.
And then you will remember — it all started with you!
Chapter 2
Finding or Founding Your Nonprofit
IN THIS CHAPTER
Becoming a nonprofit license holder
Joining with an existing nonprofit or setting up your own
Building your presence
The Federal Communications Commission (FCC) only grants Low Power FM radio licenses to nonprofit organizations, public safety organizations, government agencies within their jurisdiction, and federally recognized tribal groups. LPFM stations cannot be individually held. Charitable organizations must be state registered nonprofits, but they do not have Federal 501(c)3 tax-exempt status.
If you are involved with one of these entities, that’s a great start! The FCC has certain requirements for nonprofit organizations and their board members who wish to apply for a LPFM license, and prior to applying you will need to be aligned with an organization that qualifies.
If you are not presently involved with any of the above entities, you will need to find one or found one before applying for an LPFM license. In this chapter you’ll discover what an organization needs to qualify and how to make sure that your group is in the best position to apply when the time arrives.
Preparing for the LPFM Application Window
To start broadcasting your LPFM radio station, you need to get permission to do so. And to get that permission, you need to apply for a license. Applications for a Low Power FM Construction Permit can only be submitted when the FCC opens an application window. The window is typically a one-week period during which entities may submit applications through the FCC website. The FCC promises that they will provide at least 30 days advance notice on their website prior to opening an LPFM window, although they often give a longer notice period. Even so, don’t wait for the official announcement to start getting organized … if you are interested in applying for a LPFM permit, you need to get ready now!
Meeting LCRA expectations
The Local Community Radio Act of 2010 (LCRA) created the rules for American Low Power stations (find out more about the Act in Chapter 1). Your LPFM application can and will be dismissed if your organization fails to meet any of the requirements set forth by the LCRA.
The full text of the LCRA can be found online at https://www.congress.gov/111/plaws/publ371/PLAW-111publ371.pdf. The FCC has distilled this information into an online guide to the Low Power FM service. This online manual includes information about the LPFM license process as well as answers to frequently asked questions. It is accessible at www.fcc.gov/media/radio/lpfm.
Keeping it local
According to the LCRA guidelines, only local groups can apply for LPFM frequencies. That means that your organizational headquarters needs to be within a 10-mile radius of your proposed transmission tower. If not, 75 percent of your board must live within that range. This radius increases to 20 miles for areas outside of the top-50 Nielsen radio markets (Nielson Audio is a firm that provides metrics on American radio markets). A list of the counties that are within the top 50 markets is available on the RecNetworks website: recnet.com/metro.
Upholding board expectations
Prior to filing your LPFM application, review the following information to be certain that nothing in the background of your organization will jeopardize your chance at gaining a license. Here are the things you need to be aware of:
80 percent or more of the board of directors must be American citizens.
Board members and their families cannot have ownership interest in any other broadcast licenses, daily newspapers, or cable TV systems.
Anyone who has been dishonest with the FCC in previous proceedings may not serve on the board of a LPFM.
Directors may not have been convicted of felonies for crimes involving discrimination or providing fraudulent statements to the U.S. government.
Directors may not have a conviction that has resulted in the loss of federal benefits under the U.S. Anti-Drug Act.
Directors cannot have engaged in the operation of an unlicensed broadcast station.
