By RFT Music
By Drew Ailes
By Bob McMahon
By Allison Babka
By Kelsey McClure
By Carolina de Busto
By Ben Westhoff and Sarah Purkrabek
By Steve Brennan
The radio. Have two simple words ever held such tragically unfulfilled potential? It's free, it's everywhere, it plays music 24 hours a day, and it sucks.
It shouldn't be this way. There's enough great music in the world to fill the airwaves on every station from now till doomsday, but commercial radio gives us only the narrowest slice of it. Even the catalogs of giants like Otis Redding and the Kinks get hacked down to their two or three most demographically appealing numbers. Along with such meager rewards, of course, the commercial stations serve up loads of crap that isn't fit for human ears. For every "How Soon Is Now?" and "Paranoid," there are a dozen turds: "Young Girl" and "Breakfast at Tiffany's" and "Ordinary Average Guy" and so on into infinity. Why are these people making us listen to these songs?
The dumbed-down aesthetic applies to new stuff, too. It's been a long time since commercial radio played any appreciable role in uncovering exciting, vital music or shaping an important new style. In the minds of most musicians, radio airplay is a distant and therefore unimportant prospect. No musical visionaries these days are going to turn to radio to spread their particular gospel, and Big Radio is perfectly happy with that -- more room for Billy Joel and Sixpence None the Richer.
Such a powerful medium being used for such shabby little purposes. Depressing, isn't it?
All the more reason to sing "huzzah!" at the sense of renewed purpose that has come over our town's radio alternative, KDHX (88.1 FM). Clued-in listeners around town are abuzz over the community-radio station's steadily improving programming. The days of "blues, folk and not much else" are gone. Over the past couple of years, KDHX has grown into its mantle, becoming exactly what a noncommercial station should be: adventurous, knowledgeable, intelligent, populist and ear-strainingly diverse. It has reaffirmed its status as a musical lifeline to isolated listeners scattered around the bi-state sprawl.
The station's not-for-profit status, of course, is what makes idiosyncratic programming possible. The station is overseen by a 14-member board and employs seven paid staffers, along with a fluctuating number of volunteers. Board, staff and volunteers are all represented on the Programming Committee, which makes the decisions about what goes on the air. KDHX is fully independent of any government or corporate entity, although it does receive some support from those quarters. The bulk of KDHX's finances comes from its listeners in the form of membership dues.
And if those dues figures are any indication, its listeners agree that KDHX is changing for the better. According to station manager Bev Hacker, the number of KDHX members has doubled in two years, from 2,500 to 5,000. "And the next pledge drive should be even better," Hacker says.
The improvement isn't accidental, says KDHX staffer Tony Renner. Renner joined the paid staff of the station as music director in 1998. This came after nine years in the job as a volunteer. He says that when he and a few others became full-time staffers, they brought a new energy to their jobs.
"The old philosophy was "Whatever happens, happens,'" Renner says. "There was never a sense that we can really control this.
"The new philosophy is the opposite."
What this means in practice is an aggressive approach to seeking out new music, new shows and new ideas. As an example, Renner cites the way Fred Friction's Fishin' with Dynamite show got onto the schedule.
"At a meeting, (programming committee chair) Bob Putnam and I got to talking about how we needed an alternative- country show," Renner says. "But who would we get to do it? Bob said, "What about Fred Friction?'
"So we asked Fred. He said, "Well, I've never been on the radio before.' We told him, "You'll pick it up.'"
Renner attributes the improvement in the station's programming to staffers and committee members' "being willing to actually go out and look for something rather than wait for an application to come in."
Hacker, another longtime volunteer who joined the station's paid staff in 1998, has been an important motor behind the station's renaissance.
"When I started here, we were going in a particular direction," Hacker says. "Our demographic tends to be in the 40- to 55-year-old range, and we felt we had to cultivate a younger audience."
One strategy was more intelligent scheduling. The old KDHX schedules were often haphazard, with little regard for the listening habits of the people who were most likely to be tuning in at a given time of day. Now, the station's "strip programming" approach bunches similarly inclined shows at similar times of day throughout the week: Roy St. John's popular morning show, followed by folk and country. Blues rule the afternoons, with talk in the evenings and rock at night. The weekends are heavy with ethnic music and dance genres such as reggae and hip-hop.
"You can hear a show and listen the next day at the same time and hear the same genre," says Hacker. "The schedule is much more user-friendly."
Renner agrees. "Some of what happened when I came here is that stuff that was on overnights has been moved to more audible time," he says, "like Rocket 88, a good accessible rock show. And Rob Levy's Juxtaposition was brought out of retirement. Rob does an excellent job playing new modern rock, the kind of thing The Point should be playing." And that's why we have community radio, isn't it?