Tune In to the Groovy New Sound

That college radio has endured over many decades is no small feat. The constant struggles are what should it be, who should it serve, and what is the point. All this and more is deeply explored in Live from the Underground by Fitchburg State University history professor Katherine Rye Jewell. Even at just 10 watts, these non-commercial, educational stations are scrutinized over mission. Student-run radio, writes Jewell, has long “presented a valuable learning experience for those interested in careers in broadcasting” but such opportunists “often butted heads with other students who saw radio as an activity in line with their liberal arts education.” She describes this dichotomy as laboratory vs. playground. The reader is guided coast to coast into the archives of countless operations through battles, protests, and even shutdowns with the thread being the music, maaaan. From polka to jazz, reggae to rap, classical to rock, the overarching goal throughout history has been serving communities that likely couldn’t hear such creations anywhere else on the dial.

Part of what made this an enjoyable reading experience was it brought me back 35+ years to when I was General Manager at Stonehill College’s WSHL. (At a robust 100 watts, pre-internet it could be found at 91.3FM all over, er, Easton.) My biggest test that senior year proved to be Student Government which, in its wisdom, formally requested a radical format change come Spring semester. Rather than playing all that gloomy Bauhaus and Sisters of Mercy, would it kill us to feature Paula Abdul? Well, yes it would, Gary because the station’s tagline was Mental Floss Radio, meant to clear out the glut with sounds that were fresh and original. Here’s where the author is at her best as she proves the value of developing alternative programming. She cites Trent Reznor as a loyal listener to college radio in & around Northeastern Ohio in the mid-80s, an experience that made his “head explode with limitless possibilities” which offered a “baptism into the world of alternative and underground music.” If Cleveland State had been playing goddamn Toto, we may never have gotten Nine Inch Nails and its auspicious debut, Pretty Hate Machine.

Professor Jewell instructs that the fight was real and worthy, that college radio could be “a bastion of authenticity and diversity in musical culture.” Yet she also shines a light on when it all started to get a bit corporate. In 1978, the College Music Journal was founded by a Brandeis grad and – while cool that it cobbled together charts, tips, and experiences – its success invited the attention of scumbag major labels looking for Johnny Bravos who fit the suit. A decade later, Billboard entered the fray with the debut of its Modern Rock chart which was peppered with so-called college rock bands. Within three years, Nirvana topped the charts and dominated MTV, leaving all to wonder, grunge is an alternative to what, exactly? Student DJs were left to discover and unveil the next round of great artists, true originals, and do so to this day with easy access to all recorded music. Jewell, a former student DJ herself, celebrates the opportunity provided students “to find their voice and amplify others” and has published the definitive document of such. So, keep it up, kids. Broadcast us a joyful noise. Just remember the key rule: no dead air.

If you have anything to say about this – or book recommendations – kindly post below (rather than emailing me) to spark conversation. Thank you!