radio

The longest thread in the history of this blog belongs to Why WQXR is better off as a public radio station, which I posted on July 26, and still has comments this month. The post followed a complex deal by which the New York Times divested its legacy classical music station, WQXR — and by which the station’s format, call letters, record library and some of its personnel survived as a noncommercial outlet of WNYC, on a different channel with a weaker signal. From the comments one might gather that more listeners were unhappy than happy with the deal. My post mostly presented the upside.

Now here in Boston a similar move is underway. WGBH, “Boston’s NPR arts and culture station” will go the way of WNYC-FM, which phased out classical music starting in 2002, eventually shunting it to HD side-channels and Internet streams while populating the FM signal (as well as its AM one) with news and information programming, which tends to be more popular and to attract more money in listener contributions. By saving WQXR, WNYC returned classical music to the airwaves (although the city was still down one classical station, or two if you want to go back to the very late WNCN.) WGBH clearly had the same thing in mind when it bought WCRB, which was already weakened in the Boston metro when it moved from its old local channel (102.5) to its current channel (99.5) in Lowell. (Wikipedia has good background poop on WCRB’s own long saga.) While both WCRB signals have about the same range, the old 102.5 signal radiates from the Boston FM and TV antenna farm in nearby Needham, while the new one on 99.5 comes from a hill overlooking the I-495/I93 intersection, far to the north near the New Hampshire border.

So now WGBH plans to move its classical programming to WCRB, whch will become a non-commercial station (as did WQXR), and to do more news and information programming on its own home signal (89.7), which is grandfathered at nearly 100,000 watts on Great Blue Hill (hence the call letters) in Milton on the south side of Boston. In terms of wattage alone, it is New England’s most powerful station. (The largest coverage belongs to WHOM/94.9 on Mt. Washington in New Hampshire.) As a result WGBH can go head-to-head with WBUR/90.9, which is the incumbent public radio leader in Boston.

The big switch happens on December 1.

WGBH is doing its best to gloss over the signal loss for classical listeners, especially in the southern reaches of Eastern Massachusetts, where WGBH has a very strong signal and WCRB is mostly absent. My own take in this case is the same as it was for WQXR: this is the best that could be done for classical music on Boston airwaves — and it offers opportunities not possible for WCRB had it remained a commercial station. Go back to that first link if you want to see what those are.

As for me, I expect to be more likely to listen to a ‘GBH-run noncommercial WCRB than I did to the commercial one. First, the commercials were annoying. Second, the WCRB repertoire was pretty close to all-hits, rather than the more varied and challenging fare found on WGBH. There should be a happy medium between the two, and I’m sure ‘GBH will work hard to find it.

Finally, a word about HD radio. I got one recently — a $99 Teac unit — at Costco. The tuner is remarkably good, and it gets most local stations’ HD side-channels. But “tuning” HD is a counter-intuitive chore. I’d be curious to know if anybody (beside those who pick a channel and stay put) has had a positive experience with tuning it.

Had a great time mixing it up with the BlogTalkRadio folks a couple nights ago, talking Cluetrain after 10 years. Here’s the show. Big thanks to Allan Hoving for lining up and co-hosting it with Janet Fouts and Jim Love. Janet tweeted it live. Afterwards Jim put up a very interesting follow-up post, in the midst of which is this:

The message in Cluetrain is as fresh today as it was 10 years ago. ” We are not clicks or eyeballs, we are people ….deal with it.”

For those of you who missed it, the book started as a website, with 95 Theses splashed on a web page, in tribute, homage or just a scandalous rip off of Martin Luther’s famous set of 95 Theses.  If you don’t know about the original, shame on you.  Martin Luther was the renegade priest who started the Protestant Reformation by nailing 95 Theses to the door of a church.  Equally important but often ignored, he translated the bible from latin to the language of the people (in his case, German) and opened it up for all to read.  He also got married — remember he was a priest.  To some he was a heretic.  To others, he was a reformer who democratized an autocratic organization.

Whatever you think of him, he changed history.  Not on his own.  He didn’t invent the movable type that made it possible to print those bibles and distribute them widely.  He wasn’t the only figure questioning the institution — there was, at the time, a growing movement that were dissatisfied with what they felt was corruption and a lack of integrity in the church at the time.  It related to practices like the selling of indulgences — the ability to buy your way out of sin.  A number of people saw the church as a decaying, archaic and for some, even a corrupt institution.  They’d lost faith in it — literally.

Luther had the courage to say what he did.  In a world where the Catholic church was all powerful, this took a lot of guts.  But that doesn’t explain the power of what he accomplished.  No, he hit the zeitgeist of his era, he was a man of courage at the right place in history.  His ideas took off like a brush fire and the world was never the same.

It’s important to note, however, that this is the view from 500 years later.  It’s all compressed now and we can look back and see Luther’s document as a turning point.

The older I get, the earlier it seems. It’s funny that we chose 95 theses because that worked for Luther, but basically that’s why. (We also called it a manifesto because that worked for Marx. Karl, not Groucho, though the latter was much funnier. I also went to a Lutheran high school. Coincidence?) I don’t think any of us was taking the long-term perspective, though. We just wanted to say what we thought was true and nobody else seemed to be talking about.

But I’m thinking now that it will take many more years. Perhaps decades, before some of what we said will sink in the rest of the way.

Some marketers got it. Jim is clearly one of them. The Cluetrain Manifesto is required reading in the course he teaches. But the future is unevenly distributed. As David Weinberger likes to say, it’s lumpy. Cluetrain’s subtitle is “The End of Business as Usual.” I think that end will take a long time. We’re trying to hasten it with VRM, but that will take awhile too.

The short of it is that Business as Usual is insulting to customers. Take for example the form of Business as Usual that Bob Frankston (more about him here) calls the regulatorium. You get one of those when a big business category and its regulators become captive of each other.  For example, it was in revolt against a tea market regulatorium that citizens of the Massachusetts colony threw the East India Tea Company’s tea in the harbor. The colonists succesfully revolted against England, but customers still haven’t had a proper revolt against the belief by many companies that captive customers are more valuable than free ones. If Mona Shaw and her hammer are the best we can do, we’ve hardly begun.

The liberating impulse is independence, just as it was in 1773. Thanks to the Net, free customers are more valuable than captive ones. To themselves, to sellers, to the economy. We won’t learn that until we become fully equipped, as customers, to act on our independence.

At the end of the show Jim said he thought liberation would be a group thing. Customers getting power in aggregate. While I don’t disagree, I believe it is essential to equip individual customers with tools of both independence and engagememt. By that I mean tools that are as personal as wallets and purses, and just as handy and easy to use. We don’t have those yet.

But we will. And once we do, things will change radically. Count on it.

Looks like legislation opening up the FM band to more LPFM (low power FM) stations is moving through Congress. While Prometheus Radio celebrates, I gotta wonder if Calvary Chapel of Everywhere isn’t going to gobble a lot of those new licenses up. Since I can’t link directly to results (they’re from a database search, and are linkproof), go to FCCinfo.com, go to Search By / Licensee, and write Calvary Chapel in the Search Parameters box. Then click on Licensee_Search and see what happens.

Most of the results are for translators: low-power repeater stations. The ones with real call letters that end in -LP are for LPFM stations. These are legitimate stations, which, as the FCC describes here, “are available to noncommercial educational entities and public safety and transportation organizations, but are not available to individuals or for commercial operations”. That includes religious broadcasters, of which there are many.

Here’s Wikipedia’s list. (Man, there are so many good wikipedian obsessives on radio. I thought I could help with lot of this stuff, but these other folks are way past me at getting the details out there.)

There are some great LPFM stations. WCOM in Carrboro and KRUU in Fairfield, for example. But a lot of LPFMs are evangelical Christian stations, run by very resourceful outfits, which in the past have run rings around public and other community broadcasters.

We’ll see how it goes.

There’s something new on the FM dial in Boston. You might think of it as a kind of urban renewal. Grass roots, up through the pavement. (There’s a pun in there, but you need to read on to get it.)

You might say that fresh radio moved in where stale TV moved out.

Here’s some background. When TV in the U.S. finally went all-digital several months back (June 12, to be precise), one wide hunk of spectrum, from 54 to 88Mhz—where channels 2 through 6 used to be—turned into “white space“. In other words, empty. For most of us this doesn’t matter except in one little spot at the very bottom of the FM dial: 87.7 FM. It’s the first click on nearly every FM radio, yet the FCC licensed no FM stations there, because that notch belonged to TV channel 6 audio. From January 1963 until June 2009, you could hear Channel 6 (WLNE-TV) at that spot on the dial, across much of Southern New England, including the Boston metro. When analog television shut down in June, WLNE moved to Channel 49 with its digital signal. After that, 87.7 was white space too. (Some more background here.)

In a few cases (New York and Los Angeles, for example), somebody would get a license (New York, Los Angeles) to operate a low power analog Channel 6 TV station, leave the picture off and just broadcast the audio, creating a virtual FM station that most listeners didn’t know was licensed as picture-less TV. (LPTV stations are exempt from the digital requirement.) That was pretty clever, but it was also pretty rare. For the most part, 87.7 was all-hiss, meaning it was open for anybody to put up anything, legal or not.

Such as here in Boston. It was a matter of time before somebody put up a pirate signal on 87.7. That happened this week when “Hot 97 Boston,” an urban-formatted Internet station, appeared there. Hot 97 is also known as WPOT, according to this thread here.

I checked here and here to see if it’s legal (on FM), and can find no evidence. But it does sound like a real station. If you’re into urban radio with a local Boston flavor (also with no ads), check it out. The signal isn’t big, but it’s not bad, either. And it’s worldwide on the Net.

[Two days later...] I figured by now the Boston Globe and/or the Boston Phoenix would pick up on this story. So I just tweeted a bulletin. Let’s see what happens.

[Later still...] Dean Landsman reminded me that Brian R. Ballou of the Globe had a report on TOUCH-FM in June 2008. TOUCH is another pirate that appears from its website still to be active, at least on the Web (though at the moment I can’t get it on either FM or the station’s “click here/listen now” link). [And later again (October 13) ...] TOUCH-FM is still on the air. It’s pretty obliterated by other signals here in Cambridge, but I got it well enough to follow this morning in the car when I drove to Boston and back.

I like sports, and I enjoy sports talk radio. That’s one reason I have five car radio buttons set on stations carrying games or sports talk: four on AM (WRKO/680, WEEI/850, WAMG/890, WZZN/1510) and one on FM (WBZ-FM/98.5). The other is that sports talk is about 50% advertising, so I like to punch around.

But I wasn’t surprised to read ESPN Radio’s Boston affiliate set to sign off, by Chad Finn in the Boston Globe. It begins, “ESPN Radio’s Boston affiliate, WAMG-AM 890, will go off the air Monday after four years plagued by a weak signal and limited local programming.” In fact, “weak” doesn’t cover it. By day WAMG’s 25,000-watt signal covers the Boston metro pretty well. But at night the station drops to 6,000 watts and a pattern that excludes the whole north side of the metro. The map at that last link doesn’t show how much like a headlight that pattern really is.

Yet that’s not the worst of it. WAMG was able to “drop in” to the market from nowhere in 2005, thanks to a change in FCC rules that protected what were once called (literally) “clear channel” stations. Because signals on the AM band bounce off the ionosphere at night, powerful ones can be heard up to thousands of miles away. Since there were then only 106 channels (every 10KHz from 540 to 1600KHz), a handful were granted “clear channel” status, making them the only stations on those channels at night. Thanks to this rule, I could hear KFI/640 from Los Angeles in New Jersey and WBZ/1030 from Boston in Palo Alto. Here’s the whole list of “clears” as they stood when their status still held.

Since long-distance listening had mostly gone away by the late 1970s, the FCC in 1980 reduced protection for the old “clears” to 750 miles from their transmitters. WLS/890 in Chicago was one of those clears. So you might say that WAMG appeared through a new loophole. Problem was, WLS had not gone away. It often still reached Boston quite well at night, pounding WAMG’s already-weak signal.

This last week I was down in the South portion of Cape Cod, where WAMG puts no signal at all. As a result I could hear WLS quite well on a portable radio, along with other Chicago giants.

The Globe story suggests that WAMG will probably go dark. Given the coverage realities, that might not be the worst thing.

A thought. WAMG is licensed to Dedham, not Boston. It might not be the worst thing for Clear Channel (the name of the company that owns WAMG and a zillion other stations) to sell the licesnse to somebody in the Dedham community, who could cut the power back (to save electricity) and just try to serve the local community itself. Provided, of course, that local radio of the AM sort (which has changed little since the 1920s) still makes sense.

[Later...] Following up on 10 October 2009, WAMG has been off the air for several weeks.

Just arrived at my house in Santa Barbara after a long drive down from Monterey. Most of the way I listened to live coverage of the Station Fire on KNX/1070, both through the car radio (KNX has a huge signal that covers the whole southwest at night) and online over my iPhone, which was plugged into the AUX input of the radio in my rented Ford Focus (not a bad car, by the way).

Here’s KNX’s latest story, with a map.

Here is a set of mashed-up fire maps I just created, courtesy of MODIS and the U.S. Forest Service and Google Earth.

On the Live Web…

• Here are twitter searches for #stationfire and Station Fire.
• Here are Google Blogsearch and Technorati searches for “Station Fire.
• Here are Flickr photos of “stationfire”.
• LATimes on California Wildfires.
• Station Fire on Facebook.

Lots of grist for (and from) the news mills there.

Among other directions, the fire is moving eastward across Mt. Wilson, which looms over Los Angeles from just north of Pasadena. Mt. Wilson is one among many points along the nearest ridge of the San Gabriel Mountains, most of which lie within the Angeles National Forest. Perhaps more significantly, it is the home to nearly all the transmitters of FM and TV stations serving the Los Angeles metro. Also Mt. Wilson Observatory.

Reports say that firefighters (two of which have died so far) are doing their best to protect the Mt. Wilson facilities, but I wonder how long they’ll stay before driving back down. The only road out to the north is the long and winding Angeles Crest Highway — which is closed and may already be burned — and Mt. Wilson Road itself, which goes west through areas colored in the map above. The LATimes says the firefighters will stay there “no matter what”.

I’ve been to Mt. Wilson a number of times, and have often shot it from the air as well. These now comprise “before” pictures of the mountain.

Here is a Bing “birds eye” view of one section of the top of Mt. Wilson. This shot shows the observatory.

This Google Map shows the parking area where I assume firefighting equipment can keep away from advancing fire.

For what little it’s worth, the five zillion channels I get on my Dish Network TV system have nothing I can find on the fire. The locals here in Santa Barbara are running network shows. CNN and HLN are covering two dead guys. CNN has Larry King interviewing Ted Kennedy, and HLN has junk news coverage of Michael Jackson’s creepy autopsy results. As a news environment, TV is a slo-mo suicide victim.

Imagine a “News from Lake Wobegon” without the homespun prairie jive, lasting for more than an hour every weeknight, and packed with great stories, mostly of being a normal kid from greater blue-collar Chicago. That was Jean Shepherd, who was Required Listening in New York — and the whole Northeast — from the ’50s to the ’70s. “Shep” was also a writer of books and articles, a public performer, an artist and a screenwriter best known for A Christmas Story the 1983 hit movie that has since become required showing on holiday season television.

So I’m listening right now to “A Voice in the Night: A Tribute to Jean Shepherd”, on one of the Sirius public radio channels. I can’t tell which one because the display on the receiver is too dim, and the service’s own guide is nearly clue-free. (And I wont get rid of this receiver, because it’s one of the early ones with an illegally strong FM transmitter, which I like, and because it fits in three different cradles that will fit none of the newer units. I will, with regret for losing Howard Stern, dump Sirius when my subscription runs out later this year.)

Anyway, I’m busy and would love to hear this show later on a podcast. Alas, the only listen-link on the show page goes to a RealAudio stream that requires sitting at your computer (and having a Real player). If anybody knows how to get this on a podcast, let the rest of us know. Thanks.

I love this:

… and I hope the good (or evil, depending on your perspective) folks at Despair.com don’t mind my promoting their best t-shirt yet. (If it helps, I just ordered one.)

You’ll notice that blogging isn’t in the diagram (though Despair does feature it in four other purchasable forms). I bring that up because I think there is a difference between the social media in the Venn diagram and blogging, and that difference is akin to that between weather and geology.  The former have an evanescent quality. I’m still haunted by hearing that users get a maximum number Twitter postings (tweets) before the old ones scroll off. If true, it means Twitter is a whiteboard, made to be erased after awhile. The fact that few know what the deal is, exactly, also makes my point. Not many people expect anybody, including themselves, to revisit old tweets. The four names in the diagram above are also private corporate walled gardens. Blogging itself is not. True, you can blog in a corporate walled garden, but blogging is an independent category. You can move your blog from one platform to another, archives intact. Not easy, but it can be done. More importantly, your blog is yours. That’s why I dig Dave’s Scoble, your blog still loves you post. And why in the comments I said,

FriendFeeds and Facebooks and Microsofts will come and and go. They can be bought and sold, because they’re not human. Robert is human. Companies can’t be charming and lovable. They can, sometimes, for awhile. Ben & Jerrys did. Zappos did. But they got sold. You know, like slaves.

The only publication on Earth that’s all Robert’s is his blog. That’s where his soul is, because he can’t sell it.

It was while pondering the difference between social media and blogging that I posted this tweet today:

Thanks, @dnm54 But I still feel like my posts lately have the impact of snow on water. Too wordy? Not tweety enough? Not sure.

That got some reassuring responses, several playing with the snow-and-water metaphor. That’s one I’ve used often ever since first hearing “Big Ted”, by the Incredble String Band (from their Changing Horses album), played by the great Larry Josephson on his morning show on WBAI, back in the earliest 70s. “Big Ted” was a dead horse, about which the band sang, “He’s gone like snow on the water. Good bye-eeee.”

For a long time I harbored a fantasy about writing a history of radio, titled “Snow on the Water,” because that was its self-erasing quality. It was like unrecorded conversation that way. You get meaning from it, but you don’t remember everything verbatim, for such is the nature of short-term memory. Eight seconds later you might remember what somebody said, but not exactly. Tomorrow you might remember nothing more than having talked to the person.

Now I’m thinking “snow on the water” applies to social media as well. They’re conversational in the literal sense. They’re weather within which tweets fly and fall like flakes, and disappear into the collective unconscious.

On the other hand, blogging is geology. A blog’s posts may be current and timely, and constitute one person’s contribution to conversation around a subject or two, but each post is built to last. It has a “permalink”. Over time posts accumulate like soil deposits. You can dig down through layers of time and find them. What do tweets have? Temp-o-links?

From the beginning I’ve thought of blogging as journalism in the literal sense: Blogs are journals. Yet much of traditional journalism seems to have, on the whole, not much respect for its archives on the Web. Editorial “content” scrolls behind paywalls, doesn’t keep durable URLs, or disappears completely.

Which brings me to this comment by Tom Matrullo, left under this post about advertising. It’s way too deep to leave buried there:

There is no question that advertising requires us to be in the here and now, and not in the there and then, because it seeks to influence our desires and actions. Active repression of time, history, the past is basic to most commerce and commercial speech.

But I’d go further, because this is a large and important topic. Broadcast itself as a medium tends to put the past at a distance, even when it is about the past, because it makes it into spectacle. Something we watch from our NOW, the big now of advertising and current media.

And yet further: no media are more dis-attuned to the past than news media. It is all about the next story. That one last week that was entirely wrong? Ancient history. To be current, in news-speak, is to develop a sort of targeted Alzheimer’s in a certain direction.

Maybe this is one reason why the news media — on the whole, seems to me — have embraced social media of the temporary sort while continuing to put down blogging. Yes, they’ll set up blogs for their writers, but there’s often a second-class quality to those blogs, and the blogs willl get erased after the writer leaves — or even while the writer is still there. Dan Gillmor’s blog at the San Jose Mercury-News disappeared a number of times. Now it’s gone permanently. Dan’s columns are there, if you’re willing to pay $2.95 apiece for them.

It still blows my mind that, on the Web, newspapers give away the news but charge for the olds. Why not charge for the news and give away the olds? That would be in alignment with what they do with the physical paper. People will pay a buck for today’s paper, and nothing for one three days old. In the physical world, old papers are for wrapping fish and house-breaking puppies. If papers gave every old story a true permalink, search engines would find them, could sell advertising on them, and progressively elevate the whole paper’s authority.

I think they don’t do it for two reasons. One is that they’ve always charged for access to “the morgue.” Another is that embalming old papers has always been expensive. For many decades they bound them up like books for storage in libraries. I still have three of these, each for a whole week of New York Times papers from the ’50s and ’60s. The library at the University of North Carolina in Chapel Hill sent them out for recycling in 1975. The whole huge pile was rescued by buddies of mine who ran the recycling operation. The newspaper and the library at the time were modernizing by putting everything on microfilm. At the “Will Newspapers Survive” forum at MIT a couple years ago, I asked the panel (which included Dan Gillmor) about why papers charge for the olds and give away the news. Ellen Foley of the Wisconsin State Joural replied,

Speaking for the nation’s regional papers, one of our biggest problems is that today’s issues are all on microfilm tomorrow, not online. It would cost more than a million dollars to digitize our archives. It’s hard for me to make this argument to our publisher, who is trying to make money and make ends meet.

It’s not in the transcript, but I recall her adding something about how storing archives on disk drives was also expensive. That didn’t sit well with the audience, which knew better.

Anyway, my point is that, on the whole news organizations don’t care much about the past. They care about the present. I think social media tend to do the same thing. I’m not saying this is a bad thing. Nor am I trying to elevate blogging into the Pulitzer sphere. (But hey, why not?)  I’m just trying to get my head around What’s Going On.

Here’s my thinking for now. What I write on blogs isn’t just for the short term. I also have the long term in mind. I’m making geology, not weather. Both have their places. The more durable stuff goes here.

Bonus link.

[Later...] Joe Andrieu has a thoughtful response.

In Curation, meta-curation, and live Net radio, Jon Udell begins, “I’ve long been dissatisfied with how we discover and tune into Net radio”, but doesn’t complain about it. He hacks some solutions. First he swaps time for place:

I’ve just created a new mode for the elmcity calendar aggregator. Now instead of creating a geographical hub, which combines events from Eventful and Upcoming and events from a list of iCalendar feeds — all for one location — you can create a topical hub whose events are governed only by time, not by location.

Then he works on curation:

I spun up a new topical hub in the elmcity aggregator and started experimenting.

That ran into problems from sources. Still it was…

…great for personal use. But I’m looking for the Webjay of Net radio. And I think maybe elmcity topical hubs can help enable that.

So Jon leverages what Tony Karrer described in Second Calendar Curator Joins to Help with List of Free Webinars, and adds,

What Tony showed me is that you can also (optionally) think in terms of meta-curators, curators, feeds, and events. In this example, Tony is himself a curator, but he is also a meta-curator — that is, a collector of curators.

I’d love to see this model evolve in the realm of Net radio. If you want to join the experiment, just use any calendar program to keep track of some of your favorite recurring shows. (Again, it’s very helpful to use one that supports per-event timezones.) Then publish the shows as an iCalendar feed, and send me the URL. As the meta-curator of delicious.com/InternetRadio, as well as the curator of jonu.calendar.live.com/calendar/InternetRadio/index.html, I’ll have two options. If I like most or all of the shows you like, I can add your feed to the hub. If I only like some of the shows you like, I can cherrypick them for my feed. Either way, the aggregated results will be available as XML, as JSON, and as an iCalendar feed that can flow into calendar clients or aggregators.

Naturally there can also be other meta-curators. To become one, designate a Delicious account for the purpose, spin up your own topical hub, and tell me about it.

I really like Jon’s idea. Sometime this weekend I’ll set up what he’s talking abouthere. Or try. I’ve always found Delicious a little too labor-intensive, but then blogging in Wordpress’ writing window (as I’m doing now) is a PITA too. (One of these days I’ll get my outliner working again. That’s so much easier for me.)

The new radio dial is a combination of tools and each other’s heads. Given how the Net has eliminated distance as a factor in”reception” (a rapidly antiquifying term), the new frontier is time — how we find it. Or, in radio parlance, how we tune across it to find what we want, and then listen live or off stored files, either in our own devices (podcasting) or in the cloud (on-demand).

As we develop whatever this becomes, we need to avoid the usual traps. For example, there is this tendency for developers — commercial ones, anyway — to believe that the only available paths are –

1. Making a commodity
2. Trapping the user

So they do the latter. That’s why we get stuff like the iTunes store, which works with only one brand of mobile devices (Apple’s), and which nearly every other phone maker now, derivatively, wants to copy. (iTunes’ radio tuner, which is nothing more than a directory, works with nothing but itself, near as I can tell. As with most of the iTunes environment, it veers far from Apple’s reputation for ease of use — in addition to being exclusive and non-interoperable.)

What Jon’s doing here is one more among many necessary steps by which control of the marketplace shifts from user-trappers to users themselves.

Speaking of which, there is plenty of user input to the new, improved, and still-improving UI on the Public Radio Player, which now finds programs as well as stations. So, for example, I’m going to be on The Conversation with Ross Reynolds today on KUOW in Seattle, taking about the new 10th Anniversary edition of The Cluetrain Manifesto. The show starts at noon (though my segment comes in a bit later). When I looked up “conversation” on the Player, I found Rick’s show in the list results, and went right there. This goes a long way beyond tuning the way it used to be. But it still has a long way to go.

We’ll get us there.

In his comment to my last post about the sale of WQXR to WNYC (and in his own blog post here), Sean Reiser makes an important point:

One of the unique things about the QXR was it’s relationship with the Times. The Times owned QXR before the FCC regulations prohibiting newspapers ownership of a radio station were enacted. Because of this relationship, QXR’s newsroom was located in the NY Times building and news gathering resources were shared. In a precursor to newspaper reporters doing podcasts, Times columnists and arts reporters would often appear on the air doing segments.

It’s true. The Times selling WQXR seems a bit like the New Yorker dropping poetry, or GE (née RCA) closing the Rainbow Room. (Which has already happened… how many times?) To cultured veteran New Yorkers, the Times selling WQXR seems more like a partial lobotomy than a heavy heirloom being thrown off a sinking ship.

For much of the history of both, great newspapers owned great radio stations. The Times had WQXR. The Chicago Tribune had (and still has) WGN (yes, “World’s Greatest Newspaper”). The Washington Post had WTOP. (In fact, the Post got back into the radio game with Washington Post Radio, on WTOP’s legacy 50,000-watt signal at 1500 AM. That lasted from 2006-2008.). Trust me, the list is long.

The problem is, both newspapers and radio stations are suffering. Most newspapers are partially (or, in a few cases — such as this one — totally) lobotomized versions of their former selves. Commercial radio’s golden age passed decades ago. WQXR, its beloved classical format, and its staff, have been on life support for years. Most other cities have lost their legacy commercial classical stations (e.g. WFMR in Milwaukee), or lucked out to various degrees when the call letters and formats were saved by moving to lesser signals, sometimes on the market’s outskirts (e.g. WCRB in Boston). In most of the best cases classical formats were saved by moving to noncommercial channels and becomimg public radio stations. In Los Angeles, KUSC took over for KFAC (grabbing the latter’s record library) and KOGO/K-Mozart. In Raleigh, WCPE took over for WUNC and WDBS. In Washington, WETA took over for WGMS. Not all of these moves were pretty, but all of them kept classical music alive on their cities’ FM bands.

In some cases, however, “saved’ is an understatement. KUSC, for example, has a bigger signal footprint and far more to offer, than KFAC and its commercial successors did. In addition to a first-rate signal in Los Angeles, KUSC is carried on full-size stations in Palm Springs, Thousand Oaks, Santa Barbara and San Luis Obispo — giving it stong coverage of more population than any other station in Los Angeles, including the city’s substantial AM stations. KUSC also runs HD programs on the same channels, has an excellent live stream on the Web, and is highly involved in Southern California’s cultural life.

I bring that up because the substantial advantages of public radio over commercial radio — especially for classical music — are largely ignored amidst all the hand-wringing (thick with completely wrong assumptions) by those who lament the loss  — or threatened loss — of a cultural landmark such as WQXR. So I thought I’d list some of the advantages of public radio in the classical music game.

1. No commercials. Sure, public radio has its pitches for funding, but those tend to be during fund drives rather than between every music set.
2. More room for coverage growth. The rules for signals in the noncommercial end of the band (from 88 to 92) are far more flexible than those in the commercial band. And noncommercial signals in the commercial band (such as WQXR’s new one at 105.9) can much more easily be augmented by translators at the fringes of their coverage areas — and beyond. Commercial stations can only use translators within their coverage areas. Noncommercial stations can stick them anywhere in the whole country. If WNYC wants to be aggressive about it, you might end up hearing WQXR in Maine and Montana. (And you can bet it’ll be on the Public Radio Player, meaning you can get it wherever there’s a cell signal.)
3. Life in a buyer’s market. Noncommercial radio stations are taking advantage of bargain prices for commercial stations. That’s what KUSC did when it bought what’s now KESC on 99.7FM in San Luis Obispo. It’s what KCLU did when it bought 1340AM in Santa Barbara.
4. Creative and resourceful engineering. While commercial radio continues to cheap out while advertising revenues slump away, noncommercial radio is pioneering all over the place. They’re doing it with HD Radio, with webcasting (including multiple streams for many stations), with boosters and translators, with RDS — to name just a few. This is why I have no doubt that WNYC will expand WQXR’s reach even if they can’t crank up the power on the Empire State Building transmitter.
5. Direct Listener Involvement. Commercial radio has had a huge disadvantage for the duration: its customers and its consumers are different populations. As businesses, commercial radio stations are primarily accountable to advertisers, not to listeners. Public radio is directly accoutable to its listeners, because those are also its customers. As public stations make greater use of the Web, and of the growing roster of tools available for listener engagement (including tools on the listeners’ side, such as those we are developing at ProjectVRM), this advantage over commercial radio will only grow. This means WQXR’s listeners have more more opportunity to contribute positively to the station’s growth than they ever had when it was a commercial station. (Or if, like WCRB, it lived on as a lesser commercial station.) So, if you’re a loyal WQXR listener, send a few bucks to WNYC. Tell them thanks for saving the station, and tell them what you’d like them to do with the station as well.

I could add more points (and maybe I will later), but that should suffice for now. I need to crash and then get up early for a quick round trip to northern Vermont this morning. Meanwhile, hope that helps.

Edward Rosten and I have been having an interesting dialog in the comment section of my last post, which was mostly about WNYC buying WQXR from the New York Times (which has owned it forever) for $11.5 million — and moving QXR’s classical programming up New York’s FM dial from 96.3 to 105.9, where the maximum transmission wattage is far less than allowed on the old frequency.

There has been much hand-wringing and prognosticating over the whole thing. What Would You Do With the New WQXR? is a post on the NYTimes site that is followed by a great many comments. Says Edward, “Post #58, I can assure you, is representative of ‘input’ from people who’ve given ANY thought to how the proposed changes will play out. (’Power to the people’ has yielded to ‘power to the 24/7 classical music station, whatever its name!’)”

So here’s a summary of my own thinking about why this was a good move by WNYC.

1. $11.5 million is a bargain for any FM signal radiating from the center of Manhattan, even in these depressed economic times.
2. There will be a 24/7 classical station in New York called WQXR. It will continue to play much, if not most, of the music its current audience likes. It will also employ some of the same people and air some of the same programs. Doing even a subset of this is to buck the tide that is drowning classical stations everywhere in the U.S.
3. The signal on 105.9 will pack less punch than the old one on 96.3. The new one is 610 watts while the old one was 6000 watts, from the same antenna on the Empire State Building. The difference, however, is smaller than the wattage would indicate. On FM, height matters more than wattage, and those are the same. And signal strength increases as the square root of the wattage. This means that the new signal will be about a third the power of the old one, rather than one tenth. Either way, it’s still plenty of signal for the boroughs, southern Westchester, Jersey counties bordering the Hudson, and Nassau County. Not bad, considering.
4. WQXR will now be a noncommercial station owned by the top public station in the top metro market in the country. There are many upsides here that are not available to commercial stations — least of all one owned by a struggling newspaper. These include…
5. No commercials, beyond the usual noncommercial radio pitches for listener support. For an example of an alternative outcome — having a legacy station and its call letters shunted to a secondary signal while remaining commercial — check out WCRB, Boston’s equivalent of WQXR. The Wikipedia entrty provides copious (and depressing) background. What they don’t say is that WCRB plays lots of commercials, in spite of a commercial free sections of its schedule. (I’d suggest checking out WCRB’s live stream, but they’ve discontinued it.)
6. The opportunity for listeners to support the station directly, and involve themselves in the station’s missions. In the past one could support WQXR only by buying a car or a mattress from an advertiser. Now you can put some money where your ears are.
7. WQXR can use translators to enlarge its signal, and bring it to places outside its local coverage area. Translators are low power stations radiating the same audio on a different channel from the original signal. WQXR currently has translators on 96.7 in Asbury Park and 103.7 in Poughkeepsie. Now here’s the cool deal: While commercial stations can only use translators to fill in holes in their home coverage areas, noncommercial stations can put translators anywhere they please. Of course, these have to be on unoccupied channels, and most channels are occupied in most places. There are two ways WNYC can go here. One is to buy up, swap or otherwise deal for existing translators. (There is lots of horse-trading going on in any case between public broadcasters and religious ones. The latter have been much more resourceful about maximizing coverage and spreading translators everywhere.) The other is to find open spots where translators can be wedged in. Anywhere in the country.
8. The Internet is a wide-open frontier. I listen to WNYC’s classical stream (also carried on the air over the station’s HD service on FM) here in Santa Barbara. I also listen to many other stations (including a dozen or more classical ones) here as well. I use either my iPhone or our home Sonos system. Those are my radios, and they sound fine. There are no limits to the number of Internet channels WNYC/WQXR can choose to put out there. For models of station/stream proliferation (and brand extension) see what KCRW and Minnesota Public Radio do. This multi-million-dollar move by WNYC serves notice that it plans to be one of the country’s public super-stations.

I could go on, but you get the point. The opportunities for WQXR as a WNYC property are far wider than the New York Times would dream of contemplating. I advise loyal listeners of both stations to get behind the effort with cash and helpful input, rather than complaints about signal differences and what WNYC might do with WQXR. Hey, WQXR will be a public station soon. That should give you more influence than ever before.

Heard this morning on WNYC that the New York Times has unloaded its remaining broadcasting asset, which consists of the channel and facilities of WQXR, which has been a classical music landmark for as long as it’s been around. (One way or another, since 1929. Wikipedia tells the long story well.) The story on WNYC’s website says WQXR will become “part of” WNYC. I assume that means it will become non-commercial.

According to Bloomberg, the deal goes like this:

• “Univision will pay Times Co. $33.5 million to swap broadcasting licenses and shift its WCAA broadcast to 96.3 FM from 105.9 FM, which will become WQXR… WCAA will get 96.3 FM’s stronger signal.”
• “WNYC will pay Times Co. $11.5 million for 105.9 FM’s license and equipment and the WQXR call letters.”

WQXR was for a long time an AM/FM operation. The AM was on 1560, with a 50,000 watt signal out of a four-tower facility in Maspeth, Queens. The FM was for many years atop the Chanin Building, where it still maintains an auxilliary antenna. I have shots of the old and new antennas here and here. In 2007 the Times Co. unloaded its AM station, then (and still) called WQEW, to Walt Disney Co. for $40 million. It’s now Radio Disney, a kids’ station.

Since the 60s WQXR has shared a master antenna atop the Empire State Building with most of New York’s other FMs. This was their status in 1967. Wikipedia has a good rundown of what’s up there today. Scott Fybush also has a comprehensive report from 2003.

An open question is whether WQXR will remain a beacon on the dial. While other signals on the Empire State Building master antennas run 5000 to 6000 watts, the one on 105.9 is just 610 watts. According to WQXR’s  Web site, the station and has an audience of nearly 800,000 weekly listeners. How many of those will lose the signal? Coverage maps from radio-locator.com for 96.3 and 105.9 are here and here.

For the fully obsessed, here is a current rundown of everything on FM hanging off the Empire State Building, or within 1km of it.

Meanwhile, says here WBCN in Boston, a progressive rock radio landmark, is also getting yanked. You’ll still hear it on the Web, or if you are among the appoximately five owners of an “HD” radio receiver and close enough to WBCN’s transmiter on Boston’s Prudential Building in the Back Bay. Meanwhile Boston will get more of the usual: talk sports and “Hot AC” music. (To me “Hot AC” always sounded like an climate control oxymoron, while “adult contemporary” sounded like a euphemism for pornographic furniture.)