DOCUMENT RESUME ED 385 885 CS 509 016 AUTHOR Sauls,
DOCUMENT RESUMEED 385 885CS 509 016Sauls, Samuel J.College Radio.14 Apr 9522p.; Paper presented at the Annual Joint Meetings ofthe Popular Culture Association/American CultureAssociation (Philadelphia, PA, April 12-15, 1995).Speeches/Conference Papers (150)ReportsDescriptive (141)AUTHORTITLEPUB DATENOTEPUB TYPEMF01/PC01 Plus Postage.Audience Awareness; *Colleges; College Students;Experiential Learning; Higher Education; *Mass MediaRole; Music; Popular Culture; *Programming(Broadcast); *Radio*Alternative Music; *Campus Radio StationsEDRS PRICEDESCRIPTORSIDENTIFIERSABSTRACTAs with commercial stations, the underlying premiseof the college radio station is to serve the community, whether it bethe campus community or the community at large, but in unique waysoften geared to underserved niches of the population. Much of collegeradio's charm lies in its unpredictable nature and constantmutations. The stations give students opportunities to work in aprofessional environment, make mistakes, and learn from theirexperiences. Because most campus radio stations are under theauspices of an academic department within the college or university,the presence of the station can complement actual coursework. Fromscholarly jazz programs to unusual classical repertory to crashing,howling post-punk hardcore rock, college radio supplies music heardnowhere else on the airwaves. The music industry is turning tocollege radio to identify bands that may reach mainstream audiencesan album or two in the future. The growth of noncommercialeducational FM radio, generally the staple of college radio, can beattributed to the Federal Communications Commission's allocation in1945 of 20 FM channels designated for noncommercial use. Some 70% ofall campus radio stations licensed to colleges and universitiesprogram some type of "alternative rock." College radio is thebreeding ground for new talent and the lifeblood of the independentrecord industry. Alternative music will continue to maintain, if notexpand, its influence on college radio stations. (Contains 32references. A figure illustrating a sample program guide isattached.)(RS)Reproductions supplied by EDRS are the best that can be madefrom the original *******************************
000000LLICollege RadioPrepared forRADIO BROADCASTING1995 PCA/ACA NATIONAL CONFERENCEPhiladelphia, PAApril 14, 1995Samuel J. Sauls, Ph.D.University of North TexasU.S. DEPARTMENT Of EDUCATIONOffice of Educational Reibearth and improvementPERMISSION TO REPRODUCE THISMATERIAL HAS BEEN GRANTED BYEDUCATIONAL RESOURCES INFORMATIONCENTER (ERIC)0/1ms document boa been reproduced asreceived from the person or ofganirabononginating d0 Minor changes nitre been made to improvereprOductien Qualitytnisdocurnent do not neceSaanly represent offic.atPoints of via* Of opobons slatedTO THE EDUCATIONAL RESOURCESINFORMATION CENTER (EPIC)OE PI position or POhcvRunning head:COLLEGE RADIO
CollegeRadio1COLLEGE RADIO".I think [college radio) is a vital and necessarypart of radio today!The college scene make us all examineourselves as to where we are.what defines the norm if youdon't define the edges?" (George Gimarc, Author of PunkDiary:1970-1979, March 8, 1995).As a culture, college radio' actually reflects thecurrent climate on the campus.As an outlet for the studentpopulation, it acts as a venue into the campus itself.Thecollege radio station offers a true alternative toprogramming not commercially available or viable.The bestindicator of this trend is the programming of alternativemusic that reflects the diverse life styles of a "collegeculture."Additionally, the "open format" utilized at themajority of college stations also distinguishes them fromtheir commercial counterparts.The term "college radio" encompasses stations operatingon college and university campuses, including 2-yearcolleges.Initially, college radio stations were developedas experimental stations.Today,, college radio broadcastingcomes in many forms in addition to the standard FM and AM'Suzanne P. Wager, a senior majoring in Radio/TV/Film at theUniversity of North Texas, assisted in the initial research forthis paper.
CollegeRadio2radio station.Carrier current/wired-wireless and closed-circuit offer campuses additional outlets.An even morerecent offering is the FM cable access station provided toschools through local cable TV systems or on-campus networks(Sauls, 1995).College and university radio stations areoperated in an on-going manner.Basically, these stationsare run just like a business or "auxiliary enterprise" oncampus.Overall, as with commercial stations, the underlyingpremise of the college radio station is to serve thecommunity, whether it be the campus community or thecommunity at large, but in unique ways often geared tounderserved niches of the population.".[N]early allstations see their primary function as one of providingalternative programming to their listening audiences.More specifically, the alternative programming is primarilymade up of three types:entertainment, information, andinstruction" (Caton, 1979, p.9) ."College radio is asvaried as college towns or college students" (Pareles, 1987,p.18).Some stations mirror commercial radio, while othersopt to develop their own style.Programming at collegestations "can span many music genres, from rock to folk,jazz to metal, reggae to rap, gospel to tejano, andclassical to country.Spoken word poetry, alternative-perspective news, religious and political programming also
CollegeRadio3Thisoften find a home on college radio" (Sauls, 1995) .programming lends college radio to the appeal of the "openBasically, anything goes.radio format."Even the radiodrama, the foundation of early radio, can be found today oncollege radio stations (Appleford, 1991) .Additionally,"numerous college radio stations are network affiliates ofNational Public Radio, offering well known programming suchas 'Morning Edition' and 'All Things1995) .Considered'"(Sauls,(Of note, in 1995, the federal funding of theCorporation of Public Broadcasting was under congressionalscrutiny.Both public radio (NPR) and television (PBS) relyon CPB funds (Petrozzello, 1995).)Often college stations,modeling themselves after NPR and community-supportedstations, will provide "block programming" along with"innovative, genre-crossing, free-form excursions" (Pareles,This is where you will find Gloria Steinem on1987, p. 18) ."City Arts of San Francisco" hosted by Maya Angelou or ShireHite on "To The Best of Our Knowledge."(See Figure 1 for asample block program schedule.)Thus, as Gundersen wrote in 1989, "much of collegeradio's charm lies in its unpredictable nature andconstant mutations.every year.inappropriate."One fourth of programmers gradua,:eNo [musical] genre is deemed(p. 5D).Or as Ken Freedman, programdirector of WFMU, the Upsala College radio station in East;)
CollegeRadio4Orange, N.J., said in 1987:"'but at best, college radioallows each station to develop its own personality,'. [alswe're specializingfor us, we're dedicated to diversityin not specializing'"(Pareles, p. 18).Student Training and Administration"College radio is truly the training ground fortomorrow's broadcasters, providing the student anopportunity to practice techniques in broadcasting" (Sauls,1995)."The traditional function of most campus radiostations has been to serve as a training ground for studentswho plan to enter professional broadcasting" (Smith, 1990,p. 17) .The stations give students opportunities to work ina professional environment, make mistakes, and learn fromtheir experiences.These stations are staffed by volunteer"non-professional" students, and/or skeleton part or fulltime paid staff member(s) .Basically, these are full-timeentities operated by part-timers and volunteers.Here itmust recognized that "because of their limited lifeexperience, students may not always know the differencebetween promotion, public relations, and pressure(Holtermann, 1992)" from outside entities, particularlyrecord promoters (Wilkinson, 1994) .administration is critical.Here, then, station
CollegeRadio5Because most campus radio stations are under theauspices of an academic department within the college oruniversity, the presence of the station can complimentactual coursework.The stations are generally supervised bya faculty advisor or staff manager who oversees theadministration and operation of the station on a day-to-daybasis, providing needed continuity as student staffs chanaeyear to year (Sauls, 1995) .Thompsen wrote in 1992 that "afaculty advisor can be a driving force in shaping a visionfor the station, the reasons for its existence" (p. 14).Such demands of station administration and supervision of afaculty advisor are normally in addition to their normalworkload requirements of teaching, research, and service.Because of the relationship between the station advisor andacademic department it must be recognized that "financialresources and operating procedures are almost entirelydetermined by the academic missions of the department"(Ozier, 1978, p. 34).The findings of studies reflect theimportant association between academic programs and thefunding and purposes of college radio (see Sauls, 1993).Funding for stations varies greatly, with the bulktraditionally coming from student fee support or generalacademic funds.This, of course, can cause conflict."Although some college stations have switched to a top 40format and emulate professional stations, most are still
CollegeRadio6eclectic, non-commercial, and proud of it.But to stayafloat, and to grow, they must please their sponsoringcampus groups" (Knopper, 1994, p. 84) .Otherwise, theymight be subject to possible budget cuts or even suspension.But, as Stephen Fisher, new music program coordinator at theUniversity of San Francisco's KUSF, says:.Providing "cultural programming," winnina awards,avoiding radio violations, and operating with a senseof "what they don't know won't hurt them" staves offthe budget cutters.Basically, they leave us alone, Fisher says.More because they don't understand us, not because theywant to leave us alone. (Knopper, 1994, p. 84)Because the funding of these station is usually limited,many stations also solicit program underwriting support,listener contributions, and outright donations, which areimportant because advertiser/commercial content is severelyrestricted by law on noncommercial stations (Sauls, 1995).Programming, Censorship, and Alternative Radio"From scholarly jazz programs to unusual classicalrepertory to crashing, howling post-punk hardcore rock,college radio (alongside a few listener-supported andcommunity radio stations) supplies music heard nowhereelse on the airwaves" (Pareles, 1987, p. 18).This type of
CollegeRadio7programming, an actual service, is consistent with the factthat colleges and universities, as are commercialbroadcasters, are licensed to "operate broadcast facilitiesin the public interest, convenience, and necessity" (Ozier,1978, p. 34).Additionally, the on-going broadcastsprovided by college radio help to serve as public relationsarms for the schools themselves.Often college radiostations are the only outlets for such broadcasts as campussports and news.In regard to the colleges' anduniversities' perceptions of college radio, one advantage isthat the institutional image is enhanced every time awell-programmed station identifies itself as affiliated withthe school (Sauls, 1995) .This identification though canlead to potential problems, particularly in regards to musicprogramming and censorship.Wolper, in 1990, clearlyindicated this issue when he wrote that "[t]he licenses ofcampus radio stations are held by boards of trustees atuniversities and colleges.Those groups traditionally avoidarguments with the FCC" [Federal Communications Commission](p.54).Wolper cited the concern of Ken Fate, the studentaeneral manager of KUOI-FM, at the University of Idaho, inMoscow in regards to the FCC: "They are trying to censor us.They are making it criminal to play music.poetry on the air.To read literature"Id(p. 54).To read
CollegeRadio8As the influence of college radio grows, however, sodoes its caution.[In 1987], the FederalCommunications Commission issued a warning to KCSB-FM,a 10-watt college radio station in Santa Barbara,Calif., that it had committed "actionable indecency" bybroadcasting the punk-rock song "Makin' Bacon" after 10P.M.The warnina was part of a broadening of thecommission's restrictions on broadcast indecency.(Pareles, 1987, p. 18)How then does this compare then to commercial radiobroadcasting?College radio "is pretty much unregulated asto what's played.You have people in charge, makingdecisions as to what to play, that are not operating undercommercial constraints of consideration of how popular isthis group?"1995).(G. Gimarc, personal communication, March 8,This view was also emphasized when, in 1989, ScottByron, editor of the College Music Journal's New MusicReport, said that "they don't have commercial pressures.Listeners don't realize that what they hear on commercialradio has been filtered by programmers so it reaches thelowest common denominator.Yet most people are willing totake chances, to explore" (Gundersen p. 50).exploration can be found on college radio.ThisJohn E. Murphy,a member of the Intercollegiate Broadcasting System Board ofDirectors and then general manager of WHUS-FM at the1!)
CollegeRadio9University of Connecticut at Storrs was quoted in 1990 assaying that "(1)arge commercial stations often don't want togive air over to extremes.They would never touch some ofthe stuff that is broadcast on campus stations" (Wolper, p.And this then, leads to the idea of programming54) ."alternative" material, mainly alternative music.And, asexpected, that has impacred commercial radio listeninghabits as we know them."The shift would be the latestindicator that American's thirst for music traditionallyplayed on college radio is growing.[Aln increase infragmentation and focus on individual demographics has lefttraditional Top 40 high and dry" (Zimmerman, 1992, p. 64).And, college radio has made an impact and the musicindustry has discovered college radio!In 1992, Schoemerwrote:The music industry at large has looked for ways toexploit college radio as market at least since the mid80's, when bands like R.E.M. and U2 crossed over from abase of college-radio fans to mainstream commercialsuccess.But this year [1992], with the multi-platinumsales of albums by Nirvana (more than 4 millioncopies), Pearl Jam (over 3 million copies), Red HotChili Peppers (3 million) and others, the game haschanged cnnsiderably.College radio has been aii
CollegeRadio10business for several years; now, it's serious business.(p. C27)The music industry is turning to "college radio as a kind ofearly warning system, identifying bands that may reachmainstream audiences an album or two in the future"(Pareles, 1987, p. 18).The programming of alternative music can have anegative impact as well.This concept of college radio asan alternative to commercial radio, is fairly widespread,but as Thompsen indicated in 1992:.it can detract from the educational experience ofstudents by encouraging them to focus on the sources ofprogramming, rather than on the audiences forprogramming.The philosophy is, by design,diametrically opposed to the prevalent philosophy ofnearly every commercial radio (and television) station.(p.13)In reality, the entire concept of providing"alternative music" to a college audience can be questionedas to the penetration of the college demographic itself.Kevin Zimmerman, wrote in 1989 that "more high schoolersactually listen to alternative music than college students"(p. 67.)And so, it is postulated that while alternativerock bands are popular on college radio stations, thecollege students themselves listen more to mainstream radio.
CollegeRadio11Alternative Music and College RadioThe growth of noncommercial educational FM radio,generally the staple of college radio, can be attributed tothe Federal Communications Commission's allocation in 1945of 20 FM channels designated for noncommercial use (between88 and 92 megaHertz) .Little was it anticipated that thenoncommercial "band" would evolve into what it is today."In the later 70's and early 80's, bands like R.E.M., U2 andTalking Heads first established themselves on theunderground circuit before eventually reaching an audienceof millions" (Schoemer, 1992, p. 26).Back in the '70s it would probably had been rebelliousplaying a Black Sabbath record or maybe the SexPistols.These days it's going to be something likethe Butthole Surfers.The line keeps getting movedfurther and further to the left.not really involved in it,Certainly to someoneit could seem like "it'smuch more out there now than it was." But, in ahistorical context and in taking things as they relateto each other, it's just as outrageous to play a BlackSabbath record in 1970 as it is to play the Sex Pistolsin 1976 as it is to play the Butthole Surfers today.It still achieves the same effect.communication, March 8, 1995)1,)(G. Gimarc, personal
RadioCollege12When did the alternative music "thing" really take off?In 1994, Cheryl Botchick, an associate editor at the CollegeMusic Journal New Music Report said that "(t)en years ago,college radio existed in kind of a bubble.Then cameJane's Addiction, Nirvana, Lollapalooza, Pearl Jam, and thelucrative marketing of alternative music" (Knopper, 1994, p.84) .Some record companies have gone so far to suggest"that college stations are 'wasting their signal' if theyaren't playing alternative music" (Stark, 1993, p. 90).Why has "alternative music" become so popular?It isprojected that some 70% of all campus radio stationslicensed to colleges and universities program some type of"alternative rock" (Wilkinson, 1994) .Radio consultant andPollack Media Group CEO Jeff Pollack said that "[p]eople aretaking a rawer, tougher, more substantive approach to thingsin general, and there's a rejection of what's predictableand too slick" (Zimmerman, 1992, p. 66).This feeling hasalso thus produced talent like Soundgarden, Stone TemplePilots, Tracy Chapman, Edie Brickell and the New Bohemians,Living Colour, Ziggy Marley, Dire Straits, the Police, theCars, the Clash, Elvis Costello, 10,000 Maniacs, and NineInch Nails.These have become the "mainstream" groups, thegroups now aware of in the general public.Rut alternative music is not just limited to rockmusic.In 1989, Gil Creel, Music Director of Tulane
CollegeRadio13University's WTUL, New Orleans, told the audience at theCollege Music Journal's New Music Report's Music Marathon"that concentrating on 'the latest kick-ass hardcore orfeedback [rock]' wasn't enough to be alternative, but thatjazz, house music, hip-hop, and blues must also berepresented" (Bessman & Stark, p. 12).Even "college-appropriate country music" should be exposed (Bessman, 1989,p. 52)."College radio is a safety valve in the sanity of themusic world"1995).(G. Gimarc, personal communication, March 8,This is where new talent is born and discovered."Today, college radio is all-important.ground for the new talent .It's the breeding[and] it's also the lifebloodof the independent record industry" (Ward, 1988, p. 47).Bythe mid-80's, it was discovered that college radio couldbreak new groups in such genres as country/punk fusion, the60s sound, and punk rock."College radio stationsgreenhouses for cutting-edge rock 'n' rollnurture newbands that often become mainstream hits a few months later"(Stearns, 1986, p. D4) .Thus, "[a]t a time when many newartists face difficulty breaking through at commercialradio, college radio has grown into a virtual industrywithin an industry[l" (Starr, 1991, p. 30).Major musicindustry trade magazines, such as Gavin, now cover collegeradio piaylists, along with the mainstream music."The
CollegeRadio14major record companies view format-free college stationsthat play alternative music as rock's minor league, thetraining ground for future U2s and Depech Modes" (Mundy,Additionally, the college students playing1993, P. 70).the music tend to appreciate it more than mainstream djs."Says singer Tanya Donelly, who's often interviewed bycampus deejays.the music.'"'They're more educated and excited about(Mundy, 1993, p. 70).This leads to the"Collegesocial implication of discovering new talent!radio is garnering new respect and clout as a launching padfor undiscovered, and under-appreciated, talent" (Gundersen,1989, p.5D).New talent, alternative music, and collegeradio are being desired more and more (Mayhew, 1994).It's Not Mainstream.It's Alternative.It's ExpressionIf the 'Saturday Night Live' appearance [printedJanuary 1992] was Nirvana's chance to prove to theunconverted that it was worthy of such honors [of beingone of the most popular bands], the group failedmiserably.But if its goal was to make anuncompromising display of the values of undergroundmusic, the achievement was unheralded.Nirvana didn'tcater to the mainstream; it played the game on its ownterms. (Schoemer, 1992, p. 26)
ColleaeRadio15For those of us who saw the Nirvana televisionperformance it was a message of expression.Here, theultimate alternative, college-oriented group was captivatingand cultivating the American culture with its performance.For them it was their time to express their true feelings."Nirvana may not fit into the formulaic pigeonholes theindustry usually carves for popular music.But for a wholegeneration of misfits, the members of Nirvana are nothingshort of saviors" (Schoemer, 1992, p. 26) .Coupled withNirvana's appearance on MTV's "Unplugged," thesesperformances were the true definition of the young cultureand their feelings toward society."Generation X" hasrealized that they might not be as successful as theirparents.This phenomenon, if it becomes reality, will be asocietal first in America.We have always strived for, beenpreached about, been told how we will always do better thanour parents.But, it has now become a possibility that thisis not certain.And, the college generation, the youngergeneration, has realized this possibility.generations they appear to wander about.mis-guided.being hectic.They appearIn a way, it is almost an organized form ofYou really don't know what's next, but youcan sense the anger.their music.To otherAnd this form, then, is reflected inAnd, in turn, it is reflected in theprogramming of college radio.
CollegeRadio1What's the future of alternative radio?As ofSeptember 1994, The M Street Journal reported that out of11,565 operating stations, 370 were programming alternativerock as their primary format.noncommercial.of 29,Of these stations, 276 wereListed as the tenth most popular format outit is apparent that alternative rock is growing as afundamental format (back cover).Thus, it can be projectedthat alternative music will continue to maintain, if notexpand, its influence on college radio sations.You get a lot more confrontational radio in collegeradio.And, it's actually very healthy from twodifferent standpoints.One is it gives an accuratereflection of that part of society which doesn't reallygPt much exposure in the normal media.And the otherpart is, as broadcasters, these kids get to work it outof their systems for 4 years before they have to put onthe suit and tie and be real people.real responsiblebroadcasters.March 8,(G. Gimarc, personal communication,1995)And so it rests upon those who direct these "students"to understand their limitations, be positive, create aprofessional atmosphere, and give responsibility in order tofurther nurture the creative activity.Only through this,the programming availablp, will one really envision theculture that is college radio.1.6
CollegeRadio17REFERENCESSebadoh speaks to the bruised(1994, October 1) .Ali, L.souls of sensitive rockers. Los Angeles Times, p. Fl.KCRW builds for future(1991, August 28) .Appleford, S.Los Angeles Times, p. F4with an ear to the past.Swear off the 'C' word, CMJ college(1989)Bessman, J.panel says. Billboard, 101(46), 48, 52.College radio focus of(1989)Bessman, J. & Stark, P.Billboard,101(45),12, 18.CMJ panels.The College Radio Handbook.(1981).Brant, Billy. G.Ridge Summit, PA: TAB Books Inc.BluePublic radio in Virginia.(1979)Caton, B.Telecommunications Study Commission (Working Paper No.Richmond: Virginia State Telecommunications Study12)(ERIC Document ED 183 209)Commission.Punk Diary:(1994)Gimarc, G.St. Martin's Press.1970-1979.New York:College radio explores(1989, February 27) .Gundersen, E.rock's flip side. USA TODAY, p. D5.The relationship between record(1992)Holterman, S.A descriptivecompanies and college music directors:study of alternative radio. Unpublished Master's Thesis,University of Tennessee, Knoxville.College radio suffers growing pains.(1994).Knopper, S.Billboard, 106(28), 84.M Street Journal, The.M Street Corp.Mayhem, Malcolm.music, please.Mundy, C.p. 70.(1994).October Sample.New York:(1994, DeCember 23). A little collegeFort Worth Star Telegram. p. ST10.(1993, November).Radical radio.MademoisellUniversity broadcast licensees: RxOzier, L. W.(1978) .Public Telecommunications Review, 6(5),for progress.33-39.
CollegeRadio18College radio, new outlet(1987, December 29) .Pareles, J.The New York Times, p. C18.for the newest music.(1995, March 6)Petrozzello, Donna.'Zero funding means death.fear:p.Public radio's worstBroadcastina & Cable,50An analysis of selected factors which(1993).Sauls, S. J.influence the funding of college and universitynoncommercial radio stations as perceived by stationdirectors (Doctoral dissertation, University of NorthDisseration Abstracts International,Texas, 1993) .54(12), 4372Entry submitted toCollege radio.(1995)Sauls, S. J.the Encyclopedia of United States Popular Culture.Popular Press.Bowling Green, OH:.The art behind Nirvana's(1992, January 26).Schoemer, K.ascent to the top. The New York Times, p.2-26.Some alternative(1992, October 30)Schoemer, K.The New York Times, p. C27.boundaries fall.Programming the college radio(1990)Smith, G. E.Colleae Broadcaster, 3(2), 17.station.CMJ examines the effects of success on(1993)Stark, P.altErnative music. Billboard, 105(47), 13, 90.CMJ aims to broaden scope of(1991, November 2) .Starr, V.Billboard,pp. 30, 32.alternative scene.Big bands on campus:(1986, October 24).Stearns, D. P.look at future hits. USA TODAY, p. D4.AEnhancina the electronic sandbox:Thompsen, P. A.(1992)A plan for improving the educational value of studentoperated radio stations. Feedback, 33(1), Cover, 12-15.(1988)Ward, E.13(7), 47.Back to school cool.Wilkinson, Jeffrey S.free form funhouse?Mother Jones,College radio:Feedback, 35(1), 4-7.(1994).Farm team orIndecency suit chills campus stations.(1990) .Wolper, A.Washington Journalism Review, 12(9) 54.
CollegeRadio19Schizoid college rock:(1989, August 16).Zimmerman, K.Hip radio, safe acts. Variety, p. 67.Alternative pops pop's(1992, March 9).Zimmerman, K.Variety, pp. 64, 66.balloon.
College Radio20Figure 1I.SUNDAYMONDAYTUESDAYanersity of Natili Teta%WEDNESDAY THURSDAYFRJDAYSATURDAY6 am6 am KNTuCLASSICAL7 am -8 am 9 am10 am -6CLEvELANDORCHESTRAUNT TALK I1,041(lt:I MOUE iDeriton weeldyl %seal PointDETROITSYMPHONYORCHESTRA1 pm -am- 8 amaria- 9 am7iarfa- 10 am- 11 amit am12 n --WEEKENDRADIOSot/tidings I %steal Foist 1 UNT TALK I DIALOGUESANFRANCISCOSib& 45KbER5 FAR Li 1 NCI!Denton WevIdy Jazz RevisitedInes in 3ou*12 n- 1 pmORCHESTRA- 2 pm2 pm3 pm4 pm -KNTUCLASSICAL- 3 pm5 pm -8 pm- 5 pmLATE EDITION6 pm7 pm -- 4 pMAlazzAND SELDOMIS HEAROTZ.141-In!Denton Wet141Soundings' seaI PeI.1 I UNT TALK Jaa Rev's/fed6 pmrMtn CENTURYROMANTICS- 7 prnKNTu CLASSICAL- 8 pmTO THE BEST OF9 pmOUR KNOwLEDGE9 pmTyPE -A*10 pm11 pm12 rnRADIOKNTU BLUESREVIEW1 0 PM NEWS UPDATELATE NIGHT SNACK1 ?Iwo :la z z li"r,;1;":"SEEDSGlobal- 10 pmAA'Inix- 11 pm12 m* lazz South airs the first frido) of e.ery month.SOURCE:KNTUFM Program Guide, Feb.April, 1995, University ofNorth Texas, Denton.4.;
funding and purposes of college radio (see Sauls, 1993). Funding for stations varies greatly, with the bulk traditionally coming from student fee support or general. academic funds. This, of course, can cause conflict. "Although some college stations have switched to a top 40. format and emulate professional stations, most are still
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