CAMPUS FREQUENCIES The "Alternativeness" of Campus Radio Broadcasting Brian Fauteux A Thesis m The Department of Communication Studies Presented in Partial Fulfillment of the Requirements for the Degree of Master of Arts at Concordia University Montreal, Quebec, Canada July 2008 © Brian Fauteux, 2008 Library and Bibliotheque et 1*1 Archives Canada Archives Canada Published Heritage Direction du Branch Patrimoine de I'edition 395 Wellington Street 395, rue Wellington Ottawa ON K1A0N4 Ottawa ON K1A0N4 Canada Canada Your file Votre reference ISBN: 978-0-494-45295-0 Our file Notre reference ISBN: 978-0-494-45295-0 NOTICE: AVIS: The author has granted a non­ L'auteur a accorde une licence non exclusive exclusive license allowing Library permettant a la Bibliotheque et Archives and Archives Canada to reproduce, Canada de reproduire, publier, archiver, publish, archive, preserve, conserve, sauvegarder, conserver, transmettre au public communicate to the public by par telecommunication ou par Plntemet, prefer, telecommunication or on the Internet, distribuer et vendre des theses partout dans loan, distribute and sell theses le monde, a des fins commerciales ou autres, worldwide, for commercial or non­ sur support microforme, papier, electronique commercial purposes, in microform, et/ou autres formats. paper, electronic and/or any other formats. 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Canada ABSTRACT Campus Frequencies The "Alternativeness" of Campus Radio Broadcasting Brian Fauteux This thesis explores the construction of "alternativeness" on Canadian campus radio broadcasting, using the CKUT Radio-McGill program Underground Sounds as a case study. It is the purpose of this thesis to situate campus broadcasting within the contemporary terrestrial broadcasting environment, looking at literature that theorizes and conceptualizes ideas about what makes campus broadcasting alternative from other broadcast forms, and what factors influence and structure the boundaries and limitations of "alternativeness" on campus radio. Included in this topic is an examination of how terms and concepts such as "alternative," "local," "independent," "community," and "scene" are used on campus-community radio programming, and how these terms construct a broadcasting ethos that may or may not be similar to notions of the alternative/independent/local/community in music scenes and identities. The on-air treatment of these terms are juxtaposed to the way they are discussed in the popular music and cultural industries literature. As well, prominent Canadian broadcast history and policy as it relates to campus radio is a significant component of this thesis, particularly its role in shaping the structure and mandate of Canadian campus radio. in ACKNOWLEDGEMENTS The completion of this thesis was financially aided by the Social Sciences and Humanities Research Council of Canada, Concordia's Faculty of Arts and Science and Department of Communications Studies. Thank you to each of these institutions and departments. Thank you to Charles Acland, my thesis supervisor. Your help and guidance has been a constant source of motivation throughout the past two years (beginning with my first research paper in October 2007). I am very grateful for the conference support, which factored greatly into my experience as an MA student. I would also like to thank the other members of my thesis committee, Andra McCartney and Leslie Shade, two individuals who have been more than helpful not only as second and third readers, but in their respective roles as my professor and as my program advisor. Big thanks to Dallas, Mark, Peter, Jess, Dave, and Ann, the individuals of the somewhat weekly "Thesis Attack/Club" and first year's post-Monday-night outings. Your insight and humour made this process all the more enjoyable. Thank you to my family, whose constant support is always much appreciated, and (once again) to Dallas, my partner in most things, who has been there every step of the way. Finally, a less formal/serious (but still relevant) thanks to The Wire, cheap food, coffee, On Bodies, social moments during drinks, Tuesday/cheap movie nights, DVD- sharing, and the many constant group emails, for filling in the gaps. iv TABLE OF CONTENTS Introduction 1 Chapter One 13 Theories and Concepts Regarding the "Alternativeness" of Campus Radio Chapter Two 40 Influential Community and Campus Radio History and Policy Chapter Three 73 Sounds from the Underground: "Alternativeness" and Underground Sounds Conclusion 101 Appendices Ill Works Cited 119 v INTRODUCTION My interest in campus radio broadcasting began as an undergraduate student at The University of Western Ontario. Waking up to CHRW's morning show, I found out about bands I had not yet heard of, and became informed about upcoming album releases and show dates. I soon realized that the station plays an important role in promoting Canadian bands and artists, as well as student-organized music-based events. This relationship between artist and station became even more evident upon moving to Montreal in August of 2006, and joining an already-existing band that was on the lookout for a new drummer in May 2007. Shortly after joining this band, we were interviewed on McGill's campus radio station, CKUT-FM. The band was given ample time to explain current projects, and two full songs off the group's five song EP were played. As a fairly new band with no label or industry support, this interview was a valuable method for promoting both the band and the band's music. My experience with campus radio over the course of three or four years is quite different than my experience with public or commercial broadcasting. I not only listen to campus radio, but feel somewhat connected to the stations because of my brief involvement as a volunteer at CHRW, and because of the interview at CKUT. Following my involvement with both stations (as an avid listener and a moderate participant), I became curious as to how I could compare my experience with campus broadcasting to the literature and journalism that heralds the decline of terrestrial broadcasting1 citing 1 Terrestrial broadcasting here refers to radio transmitted through the air from a radio tower to an antenna, as opposed to satellite signals, podcasts, or internet radio. Although digital signals can travel through the air, this thesis is primarily concerned with "traditional" FM and AM broadcasting, and the term "terrestrial broadcasting" will hereafter refer to these forms. 1 problems such as concentrated ownership, repetitive playlists on commercial radio, and the effects of digital and satellite technologies on radio listenership. What is it that makes campus broadcasting different, particularly in regards to the role it plays in a local community, whether music-based, political, or cultural? It is the purpose of this thesis to situate campus radio within the contemporary terrestrial broadcasting environment, looking at literature that theorizes and conceptualizes ideas about what makes campus and community radio different, or alternative, from other broadcast forms. Analyzing a campus radio station itself, this thesis also considers how a campus station defines and describes its programming, and how this fits within the station's structure and mandate. Through this analysis, I hope to draw some conclusions about the limitations and boundaries concerning the "alternativeness" of campus broadcasting, a term that is placed in quotation marks because of fluid, complex, and numerous meanings. The remainder of this introductory chapter will briefly introduce the ideas and questions that will be pursued throughout the rest of this thesis. The contemporary Canadian broadcast environment is an intriguing site for study that poses a number of questions about the current state of terrestrial radio broadcasting. Ongoing regulatory changes to broadcast policy have dramatically altered the way in which Canadians receive radio programming. In 2005 the Canadian Radio-television and Telecommunications Commission (the CRTC) approved and licensed satellite radio undertakings for Canadian Satellite Radio Inc. (providing XM radio services) and SIRIUS Canada Inc. (CRTC 2005-61), services that now come standard with many new automobiles. This development is significant as time spent in vehicles accounts for a 2 large portion of Canadian radio listenership (Berland 230), altering the type of radio content Canadians are listening to and the way in which radio services are received. Moreover, personal technologies such as mp3 players are providing listeners with more options as to how music is distributed and consumed. Robert L. Hilliard and Michael C. Keith note the significant rate at