The WNUR Almanac last modified Feb. 12, 2013 General Calendar August ● Schedule all­staff and recruitment meetings – by the last week of August at the latest ○ Put ad for recruitment meeting in the issue of the Daily Northwestern that goes home to new student. Also put in the first and second editions of the Daily for the new school year. ● Begin work on fall concert if planning to have it early – first week of August ● If traffic logs have not been going all Summer (they should) definitely get them ready for September ­ finish by last week of August

September ● All­Staff Meeting – First week of classes ● Recruitment Meeting – First week of classes ○ Should be scheduled for right after the All­Staff meeting with perhaps a 15 minute break for dealing with small issues ● Student Activities Fair – check schedule (during New Student Week) ○ Talk to ASG president to get in ● Traffic should update logs for the start of the quarter – before the first week of classes ● Graduate Adviser should check with producers to make sure everyone has access to I&P Report section of staff.wnur.org ● In 2010 WNUR DJed the School of Communication Beach Party (Sept. 30, 2010). There were Streetbeat and Drift DJs who played sets with accessible beat­driven music, emphasis on Latin and Caribbean sounds. Used WNUR’s new portable DJ gear and the new IP Comrex Access codec to do a live broadcast from the SPAC North Beach. A 5kw generator was obtained at the School’s expense, but it was overkill; we can use a much smaller (3kw or less) generator next time. ● Announce and set deadline for the year’s t­shirt/logo design competition

October ● Phoneathon: make sure your phoneathon director is chosen. ● Weekend and Freeform Producers should agree what do to re: Daylight Savings Switch ○ Officially, the fall change makes the clock turn from 1:59 AM to 1 AM, while the spring change makes the clock turn from 1:59 to 3 AM. However, in order to be fair about the amount of time gained or lost, Fast n Loud has traditionally taken the extra hour in the fall and given up an hour to Freeform in the spring. ● Graduate Adviser should make sure I&P Reports are being filed

November ● Fill in Thanksgiving Break schedule at least a week in advance ● Begin finding replacements for Winter Break as soon as Thanksgiving is over ● Plan the Winter Programming Meeting for Reading Week

December ● Winter Programming Meeting during Reading Week ○ at the programming meeting make sure to consider Phoneathon when talking about Sports. See if any games are scheduled and decide if they should be on air or internet­only. Weekend games are of particular concerns b/c these shows only have one phoneathon show and if they are not on the air then they never get a chance to pitch. ● Settle on a date for Winter All­Staff Meeting in January ● Graduate Adviser should start reminding everyone to finish up their I&P Reports during the first week of the month

January ● Winter All­Staff Meeting during first week of classes

February ● Phoneathon! Usually scheduled for the third week of the month. See Phoneathon instructions for more info. ● Graduate Adviser should ensure that I&P Reports are being filed mid­month

March ● Decide on a day for Spring Quarter All­Staff Meeting during first week of Spring Quarter ● Fill in schedule for Spring Break before Reading Week ● Graduate Adviser should start sending reminder emails regarding I&P reports 2­3 weeks before the end of the quarter

April ● Spring Quarter All­Staff Meeting during first week of classes ● If there will be a fall concernt, decide on a date for it so the Norris space can be reserved and assign staff to work on it over the summer ● Graduate Adviser should check to make I&P Reports are being filed around mid­month

May ● Decide on/fill Summer schedule during the first week of May (or earlier) ○ Try to recruit summer­only DJs with on­air announcements, facebook, website. ○ This will give time to find community or returning college DJs from other schools to fill open slots. ○ Non­NU­students should understand that summer shows do not guarantee regular shows during the regular school year (especially rock). ● Recruit next year’s Exec Board by mid­May ○ Invite them to the last few meetings and have them meet with the people in their future positions ● Decide on Summer Exec Board by last week of May ● Graduate Adviser should send out reminder emails regarding I&P reports 2­3 weeks before the end of the quarter ● (Outdoor Spring Concert?)

June ● Schedule FCC training for new summer DJ recruits during reading week. ● Graduation: WNUR traditionally airs “commencement weather announcements” letting listeners know if graduation will be held indoors or outdoors. ○ Therefore it is critically important that the station be fully staffed with DJs for the whole day until at least 7 PM. ○ In 2010 the contact was special events coordinator Sheila Dworak. She typically contacts the station advisor in early June to confirm and send two pre­written announcements: one for outdoors, one for indoors. ○ On the day of graduation she calls the station at 12:05 PM to tell us which announcement to air. The announcement airs at least every half­hour from 12:05 to 5:30 PM. It is very important to be fully staffed and on­air through this time. ○ In the event that plans change Special Events should call us. If the weather looks threatening but fair weather has been announced, you can check in with the office of University Relations.

Specific Tips and Checklists

Student Activities Fair Recruitment – September, New Student Week ● We should always have Streetbeat there DJing (turntables are coolness magnets). ● The handing out of bumper stickers and pins was also great. ● We should have a good sign ● The more people there the better, and the more extroverted the better

Fall All­Staff and Recruitment Meeting – September, First Week of Classes ● Schedule the meeting in August so that you can advertise in the Daily Northwestern's Orientation Issue and get your promotions together ● Begin setting up an agenda about 2 weeks in advance ○ This entails setting a show order and printing/emailing that list for reference ○ There was some disagreement over the effectiveness of having time limits (they were set at 3 minutes and were often not followed) ■ It would be a good idea to keep the limits to at least put the idea of brevity in people’s heads ■ Probably plan to set time limits, but allow for a certain amount of slippage ○ Allow time for opening and closing remarks ● Create flyers and how to distribute them ● It's a good idea to have some fliers or signs up in the building where the meeting is held to help people know it's the right building and where to go ● Email all producers and directors, asking them to be available the day of the meeting ● The more staff we can get there, the better, not just producers. The extra people make it much better. The meeting beforehand helps this, as does free food. ● Make it a Facebook event ○ Make threads in the main Northwestern Class of 20xx group ○ As many freshman dorm groups and the Medill and School of Communication groups ○ Reply to people via personal message and individualize your responses to make them feel neato ● Emails: ○ Make sure that the whole staff is there. It is suppose to be an all­staff meeting. ○ Be clear with the producers that we want all of their staff to be there. ○ In the past, people were threatened that they were going to lose their show if they didn’t come to this meeting. We should consider doing that again. ● We should consider having some sort of slideshow playing ● Have one person in charge ● Make fliers early – put them up early (a week in advance?) ● Take over the WNUR webpage and make it an advertisement for the meeting ● Signing up after the meeting: we should have a better system of this. Not put everything up on the stage – that's a bit of a clusterfuck. Maybe have each show spread out around the room with signs or something. ○ Another idea: spread out into a hallway and have producers line the sides ● Pizza – get it. ● Have music playing, especially at the beginning as people are showing up ○ But maybe not WNUR, since experimental rock show fare might scare away the Breakfast with Broadway people

Fall Concert – Late September/Early October ● Occurred for the first time in 2009 and was considered fairly successful ○ First time it was an amplified rock concert that happened on October 18, 2009 ○ We were lucky with the weather, but in the future, it would be safer to have this earlier ● Scheduling ○ If scheduling an amplified rock concert, it can be the only event happening at Norris ○ This requires early scheduling (like Spring) ○ Alternatively, this concert could become an acoustic event ○ Saturday afternoon might be a better bet than Sunday ■ Less hangovers, less homework to overcome ● Technotrix, while expensive, did a good job and should be hired again ○ www.technotrix.net ○ 708 235 0933 ● Having the concert outside has its pros and cons ○ Pros: ■ It is cool in the sense that open­air concerts are fun ■ Bigger possibility for walkbys (and thus, recruitment) ○ Cons: ■ The possibility of cold or rainy weather ■ Greatly increased cost (possibility of cost sharing?) ● Publicity ○ Start early! ○ Contact local newspapers, do so 6 weeks in advance ■ remind them again 2 weeks in advance ● Live Broadcast ○ Allow time for cuing and testing ○ Bass was too high in 2009’s mix ○ Remind technician in advance ■ Specifically: we will need both a stage and radio mix ● Order pizza for all the WNUR helpers, the bands, and the technicians/workers ○ Papa John’s has a 4 large pizza deal for delivery if you show your Wildcard ○ Whole Foods has an even better deal if you are willing to walk

Publicity Contact List and General Tips

Publicity outlets: North by Northwestern ­ [email protected] Time Out Chicago ­ http://chicago.timeout.com/section/get­listed The AV Club ­ [email protected] Chicagoist ­ [email protected] Thrill List ­ http://www.thrillist.com/contact/Chicago Muzzle of Bees ­ [email protected] The Chicago Sun­Times ­ [email protected] Pitchfork ­ [email protected] NU Intel The Daily The Red Eye (Tribune) The Chicago Reader

On­campus Concert Tips These tips are good for venues like Norris and Shanley. The concert planning process should begin at least two months ahead of the planned date.

Submitted April 2012 by Ethan Simonoff, Rock Producer 2011­12

● Reserve performance space that you will need; do this through Norris (we think the center for student involvement, but you should double check). ● Meet with someone from Norris to discuss exactly what your event will be like, so that they can give you any necessary information. ● Contact bands and make sure a contract from Norris (also center for student involvement) is signed by the band. ● Equipment lists: ○ Sound equipment ■ P.A. system (speakers to amplify sound; we rented these from StuCo) ■ Floor monitors (for bands; we rented some from StuCo, and used Airplay's powered speakers) ■ Sound board (we rented from StuCo, but it might be beneficial to think about buying a portable one to use in the future) ■ Microphones, clips, stands, and XLR cable (we used Airplay's equipment for this) ■ Relevant power adapters/cables/extension cords/power strips (usually comes with equipment, but have extra to be safe) ○ Light equipment (this is where we encountered the most difficulty) ■ Light board (rented from StuCo) ■ Lights (we rented these from Cahn for $1 apiece) ■ Light cable (for our 24 light show, this costed $66 from Intelligent Lighting Creations in Chicago) ■ Rig, or light poles (Shanley has these, so we didn't need to rent anything, but I am not sure about all places on campus) ■ Gaffer's tape, wrenches, ladders (to help set up lights and tape down cable) ○ Personnel ■ Sound Designer (Matt Ludwig and I did this, but you will need people able to run the sound board, do sound check, and set up between sets) ■ Light designer (we paid an NU student $100 to help set up, run the light board, and tear down; $100 was probably on the lower end for payment) ■ Lots of helpers/crew members/friends (with ~10 people helping us, the entire set up took at least 6 hours, including sound and light; this does NOT include transporting all of the gear ­ that took another 3­4 hours) ● Contact Patty (WNUR business manager) about getting payment for band (you need to fill out, and have any bands fill out, a vendor payment form from the University ~1 month before the show to have payment ready the day of), for any people that you hire, and for reimbursement for out­of­pocket expenses

Also, you should be conscious of the the capacity of the space you are using; have people counting, etc., especially if you are not charging/ticketing for entrance.

I&P Reports

● At the beginning of the school year, the Graduate Adviser should ensure that everyone at the station has access to the I&P Section of staff.wnur.org ○ This will require the aid of producers, especially the Weekend Producer ○ This is how you enter people at the staff.wnur.org page: ■ an admin (GM, etc.) goes to people, searches for the appropriate person. If they are already entered, add additional producer roles. If they are not, create their membership in the staff.wnur database. Make sure they know at exec that they will either have modified accesses, or will gain access to the site, and that this is where I&P reports are filed from. ● I&P Reports should be filed for the following programming ○ … ● The following shows will almost certainly have to fill out reports every quarter ○ News ○ Sports ○ Airplay ○ NURD ○ Being There ○ Feedback ○ Sportsvoice ● Additionally, many other shows like Continental Drift and Handpicked will produce I&P­worthy programming and should stay vigilant for opportunities to file warranted reports ● Generally speaking, the Graduate Adviser should check to make sure the appropriate shows are filing their reports mid­quarter and then send out the first of many reminder emails 2­3 weeks before the end of the quarter. The GA will also most likely have to harass certain shows to complete their I&Ps as the filing date approaches.

Sample Budget (2009­10)

A structured budget that is allocated to particular categories will help WNUR’s staff be more aware of the funds available for the station’s progression throughout the year. Moreover, the allocation of funds into specific categories will allow staff members to plan events, concerts, and other station activities involving finances more easily. Furthermore, a formal, allocated budget will allow WNUR to be more financially organized throughout the year, and encourage staff departments to make more improvements for WNUR. Below is the budget allocation proposal.

Current Budget $22,761.20 Allocation Categories: Concerts and Events: $7,000 Promotions: $2,000 Equipment: $2,000 General Line: $2,000 Staff Development: $500 Emergency Reserve: $9,261.20

Running a Programming Meeting Amy Anderson, Programming Director, 2009­2010 The goal of the programming meeting is to create a schedule of shows for the upcoming quarter. In order to do this, the programming director must contact the hosts and/or producers of all current shows via e­mail or phone and create a schedule of pitch times (see attached pitch schedule). In the e­mail, the Programming Director should ask the host/producer for a short blurb describing the show and the times that work for the host/producer to come to the station and pitch. The programming meeting is generally held during reading week, and each show comes in and gives their pitch to the programming board. Anyone who wants to create a new show also comes to pitch at this time. Pitch slots are every 5 minutes, which gives hosts enough time to talk about their show, what day/time they want the show next quarter, and any questions or concerns. Once all shows have pitched, the programming board discusses the schedule and votes to determine which shows will receive slots and when. Discussion usually lasts about 30­40 minutes if there are no major changes being made to the schedule. The programming director then e­mails the entire staff to share the upcoming quarter’s schedule. The programming board is made up of the following WNUR Exec Board members: Program Director, Music Director(s), Rock Producer, Jazz Producer, Streetbeat Producer, Continental Drift Producer, Freeform Producer, Weekend Producer, News Director, Public Affairs Director, and Sports Director. In the case of a tie, the General Manager will have the tie­breaking vote. Generally, the Programming Director orders pizza for the programming board, since the meeting is usually held around dinner. In past years, the meeting has been held in Louis Hall on the second floor couches.

Sample Pitch Schedule (When each show comes to pitch during meeting): 6:00 Shred, White and Blue ­ Ezra Raez 6:05 Freeform ­ Ezra Raez 6:10 Hidden Forms ­ Ryan Doran 6:15 Lotus Beat ­ Roopam Khare 6:20 Being There ­ Thomas Ouellette 6:25 Blues ­ Michael Baum 6:30 Sports Voice ­ Kevin Fishbain 6:35 Feedback ­ Andrew Leff 6:40 Morning Sickness ­ Eric Yarnell 6:45 Streetbeat ­ Yann Manibog 6:50 Airplay ­ Lucas Segall 6:55 Breakfast with Broadway ­ Aaron Ricciardi 7:00 NURD ­ Daniel Carlyon 7:05 Jazz ­ Michael Mounier 7:10 Frank and Don ­ Daniel Mescher 7:15 More Bounce ­ Zachary Robinson 7:20 Rock ­ Ben Dunnington 7:25 Wild Mountain Nation ­ Doug Kaplan 7:30 Continental Drift ­ Allie Silver 7:35 Folk ­ Ron Lewis 7:40 Fast and Loud ­ Darren Pakravan 7:45 Ska Sound System ­ Darren Pakravan 7:50 Deep Fried Butt ­ Anoop Jain 7:55 El Zilencio ­ Raul Rodriguez 8:00 This is Hell ­ Trevor Ewen 8:05 Americana ­ Al Finley 8:10 Classical and Beyond ­ Eric Ricks 8:15 R&B Flashback ­ Eric Ricks 8:20 Discuss pitches and schedule

Sample Quarter Show Schedule (Sent to all WNUR staff and put on web site):

Monday 12:00­5:00am: Dedicated 5:00­12:00pm: The Jazz Show 12:00­2:00pm: Continental Drift 2:00­9:00pm: The Rock Show 9:00­10:00pm: Jumpin’ East of Java 10:00­2:30am (next day): Streetbeat

Tuesday 2:30­5:00am: Freeform 5:00­12:00pm: The Jazz Show 12:00­2:00pm: Continental Drift 2:00­9:00pm: The Rock Show 9:00­10:00pm: Wild Mountain Nation 10:00­2:30am (next day): Streetbeat

Wednesday 2:30­5:00am: Freeform 5:00­12:00pm: The Jazz Show 12:00­2:00pm: Continental Drift 2:00­9:00pm: The Rock Show 9:00­10:00pm: Deep Fried Butt 10:00­2:30am (next day): Streetbeat

Thursday 2:30­5:00am: Freeform 5:00­12:00pm: The Jazz Show 12:00­2:00pm: Continental Drift 2:00­6:30pm: The Rock Show 6:30­9pm: Basketball Broadcasts TBA 9:00­9:30pm: The Next Big Thing 9:30­10pm: More Bounce 10:00­2:30am (next day): Streetbeat

Friday 2:30­5:00am: Freeform 5:00­12:00pm: The Jazz Show 12:00­2:00pm: Continental Drift 2:00­9:00pm: The Rock Show 9:00­10:00pm: Shred, White & Blue 10:00­2:30am (next day): Streetbeat

Saturday 2:30­7:00am: Freeform 7:00­9:00am: Broadway My Way 9:00­1:00pm: This is Hell 1:00­4:00pm: Classical and Beyond 4:00­7:00pm: Airplay 7:00­9:00pm: Hidden Forms 9:00­11:00pm: Reggae Vibrations 11:00­12:00am: Ska Sound System

Sunday 12:00­2:00am: Fast and Loud 2:00­8:00am: Freeform 8:00­10:00am: Gospel 10:00­12:00pm: Folk 12:00­2:00pm: Blues 2:00­3:30pm: R&B Flashback 3:30­5:30pm: Lotus Beat 5:30­6:00pm: NURD 6:00­7:00pm: Being There 7:00­8:00pm: Feedback 8:00­9:00pm: Sportsvoice 9:00­10:00pm: Morning Sickness 10:00­12:00am: El Zilencio

Miscellaneous Phoneathon Stuff

Phoneathon phones: ● These need to be set up by Production Services. We use a round­robin so that if one phone is busy or is unanswered it rings to the next one. Production Services will make the request to set up the round­robin. Do this at least a week in advance. The main phone number is 847­491­3655. ● At the end of Phoneathon 2011 we turned off the round­robin and forwarded the main number (847­491­3655) to the main WNUR line (847­866­9687). Make sure to remind Production Services of this when you set up for Phoneathon 2012.

Sports Pre­emptions: ● Sports has basketball games going on during Phoneathon. During the Winter Programming Meeting this needs to be considered to see if Sports will interfere with any shows, in particular our popular weekend programming. ● In 2011 a Sunday women’s basketball game was broadcast internet­only in order to avoid pre­empting Blues and other Sunday shows. It’s best to plan for this from the beginning of the quarter. ● Beginning 2012 Sports began internet only for the majority of their games scheduled during Phoneathon. The Fall Sportsathon provides that department with its on­air fundraising opportunity.

Phoneathon computers:

They should be set up by Production Services. In 2010 this was done by chief operator Jess Hundahl, and assistant chief operator Brad Hunter.

The following highlighted information is deprecated as of Winter 2013, when a new Phoneathon system was implemented:

The staff.wnur website needs to be modified with the IPs of the phoneathon computers so that they can access them, and the phoneathon year needs to be updated. This is done for security reasons. Mike Corsa, former GM and current volunteer, has experience with this. These are the instructions he sent in 2010: The file to update is base.php and it's located in: /htdocs/lib/controllers/admin/phoneathon

On line 24, I changed:

$curPhoneathon = 2009; to $curPhoneathon = 2010;

The file to set the IPs of the PCs that can take pledges is pledges.php and it's in the same directory. It looks like the list is quite long now. In the past, I thought it was just the four PCs in the pledge room. Currently, it's:

'129.105.123.3', '129.105.123.71', '129.105.123.4', '129.105.123.5', '129.105.123.6', '129.105.123.2', '129.105.123.30', '129.105.123.21', '129.105.123.94', '129.105.128.71', '129.105.128.244', '129.105.123.92', '129.105.123.39', '129.105.123.97', '129.105.123.31', '129.105.123.50'

I hope that helps. Let me know if there are any other web updates or customizations that would be nice w/ this year's phoneathon.

End of Phoneathon: ○ Make sure everyone knows when it ends. Signs in OACR should specify specific time (not just day). We don’t want people pitching when there is nobody to answer the phone. ○ Take the phone number off the website immediately. ○ Forward the main phoneathon number to the OACR so that DJs can take stray pledges as necessary. You will need the help of the Asst. Dir. for Production Services for this (currently Brandon Grill), he will call TNS to make the forwarding possible and end the round­robin. ○ Put up a thank­you announcement to be read by the DJs in the OACR.

Phoneathon

Pre­Drive Email and Donor Communications ● We have set up an email list on our listserv called wnur­[email protected]. It is set up as a broadcast­only list, and only the [email protected] email address may send to it. It is updated with new email addresses after every phoneathon. ● We use this list to send a “pre­drive” Phoneathon email to WNUR donors, roughly one week before Phoneathon begins. A special web page is set up to receive these donations. The link is only distributed via this email. ● Since 2011 we have offered a special “pre­drive premium package,” at $89.30 that is only available to previous donors, as an incentive to start donating early. ● The [email protected] email address is typically forwarded to the Phoneathon Director and adviser. Sending email from this address is done via the Zimbra web interface.

Accepting Credit Card and Online Donations ● Since 2010 WNUR has been accepting credit card donations through the Alumni Relations and Development online donation system. They set up a special WNUR branded page that ensures donations made through this page are credited to WNUR without the ability for the donor to accidentally miss specifying WNUR as the recipient. ● As of Feb. 2013 our contact at Alumni Relations and Development is: Catherine Eliasik Director, Gift and Record Services Office of Alumni Relations and Development Northwestern University c­[email protected] Direct: 847­491­8324 ● We have not been permitted to integrate our Phoneathon system with their system, so some double­entry has to occur. ● We need to contact Alumni Relations Business Systems Project Manager Paul J Matijevic ahead of Phoneathon to give him the IP address ● s of our Phoneathon computers in order to authorize them to make multiple donations. In 2013 we ran into an issue with donations being rejected due to security measures implemented sometime in 2012 that prohibit multiple donations being made by one IP. We were not informed of this change in advance, and learned the hard way.

Online Donations: ● Donations made online are exclusively entered into the Alumni Relations system. ● We create a page on the WNUR website with a link to their site and instructions to donors to specify their premiums in the “comments” section of their donation. ● We inform Alumni Relations ahead of time what our pledge and premium levels are, since they have to figure out the tax deductible donation value for each donor (the donation minus the market value of the premium). ● Alumni Relations will send scanned PDFs of each donation receipt to the adviser. This usually starts within 2 ­ 3 business days of the start of Phoneathon. ● We then need to enter in these donations into our Phoneathon system. We mark them as paid, since the credit card has been processed once we receive the PDF. ● The Phoneathon director may need to follow­up with donors in order to clarify premium choices. Very occasionally we run out of a premium that has been chosen. Then the Phoneathon director suggests a substitute. ● After Phoneathon is completed we send an Excel spreadsheet to Alumni Relations containing all paid donations, with a column for the donation amount, and the premium market value amount. This should occur within 2 weeks of the end of Phoneathon.

Phone Donations: Credit Card ● When receiving credit card donations over the phone, the volunteers enter the donor’s information directly into the Alumni Relations donation site. ● When that entry is completed, the volunteer then completes entry of the donation on the WNUR Phoneathon system. ● We do not retain donor credit card information under any circumstances.

Phoneathon Premium Mailings

As of 2012 premiums are mailed during scheduled station­wide work parties organized by the Phoneathon Director. Food and refreshment is typically provided. Previously individual shows had been responsible for mailing their own premiums, but delays and difficulty in coordination caused the station to discontinue this practice.

● The first mailing should occur as soon after Phoneathon as possible, ideally before Spring Break. ○ This mailing will consist primarily of premiums going to donors who paid by credit card, in addition to any check donations that have been received. ● One to two more small mailings will be necessary to mail premiums to donors who paid by check over the course of the spring quarter.

Mailing instructions: ● WNUR keeps bubble mailer and tape supplies for Phoneathon. The inventory should be checked in advance to make sure they are sufficient. Allow at least five business days for the ordering and delivery of additional supplies. ● The Phoneathon Director should contact Mail Services at least two business days ahead of time to alert them of when the packages will be ready to mail so that they may make the proper arrangements for the larger than average pickup. ● NU mailing forms are kept in the WNUR office. Additional copies may be obtained in advance from Mailing Services. ● In general, the forms are pretty self­explanatory. You fill in your name, the department (WNUR), address (1877 Campus Drive), the type of mail (usually First Class Mail), and then the chartstring you're charging it against. The chartstring that you're supposed to use for these mailings is the Unrestricted Gifts chart string, available from the advisor or finance coordinator. ● You can then put the packages in the USPS containers and leave them by the door to room 121. Put the Mail Services form on top of each USPS container.

PSAs

Creating new PSAs has been tough in the 2009­10 school year. From the perspective of the grad student adviser, I think the most easily addressable issue here is that there are too many points of communication where the process can get delayed or derailed. As far as this goes, the best way to deal with this would be to charge the traffic director or work­study employee with finding his/her own PSAs rather than relying on others (though we should not discourage help).

Recommendations/thoughts: ● It might be worth trying to enforce a minimum number of new PSAs per quarter – maybe 2 to begin with. This gives a concrete goal and also gives a rule with which to bludgeon traffic director ● Adcouncil.org is a good place to start ● Talking to people in the nonprofit world and sending emails around has proved mildly fruitful towards the end of this school year – maybe there’s a place we can tap into on campus? Does the business school have a non­profit MBA program? ● We should also encourage the WNUR community to offer up thoughts from their own pet non­profits

College Broadcast Awards

● http://www.askcbi.org/?page_id=1165

Transmitter Interference This is the station on 89.1 in Mt. Prospect that in 2009 installed the wrong transmitter and broadcast on 89.3.

The translator station in Mt. Prospect, W206BL 89.1 FM is operated by Best Media. The person in charge of their radio stations is: Deepak Viswanath PO Box 690347 Elmhurst, NY 11369

The broadcast center's number is 718­784­8555

Deepak's direct cell number is 212­786­2365

At the broadcast center I've also talked to Karamjit Nanda, x104.

When Sports Cuts Into Other Shows (Possibly put this in next Policy Manual update) If your show is going to be cut down to less than one hour, your show will be covered; however, if your show is going to be an hour or more, you are on the hook for your show.

Sports engineers, if you are going to be unable to stay until the next scheduled program, please tell the listserv about a week in advance.

Weekend Producer Duties per Lindsey Kratochwill, 2009­2010

● Send emails, make sure that weekend DJ's are communicating with you and make sure they know what is expected of them. ● It's difficult to coordinate at times, because all shows are so differently run and very insular, so they tend to run themselves. Let it happen, and step in where necessary. ● If there's a problem with any particular show, be sure to confront them about this and have them come talk to the programming board about the issue, rather than waiting until the programming meeting. This happened with NURD this year and was effective for both parties. Increased communication is KEY. ● Respect community DJ's without letting them walk all over you.

Music Director Duties (this is for Jazz, but pretty much applies across the board)

Jazz Music Director Outline ● Communication with Record Labels – Getting Material ○ A major way that the Jazz Show, or most any other shows, receives CDs/LPs to play is through communicating with record labels or promoting companies. Basically, as a Music Director, you are convincing these record labels that, if they send us a copy of a new release, its airplay on WNUR will be beneficial to the record label and artist. However, most of the connections between the Jazz Show and record labels are already in place. We regularly receive CDs without specifically requesting them from many labels. However, as a Jazz MD, it is important to keep ensuring the labels that our show is thriving. Every now and then, it is helpful to just send a quick email to a record label and thenk them for supporting our show, or request or express interest in a new CD. ○ In many cases we will receive material from new, upstart labels, or lables which have not given us material before that would be great on our show. It is always a good idea to send an email back to the label/artist in these cases. Many record labels that are just getting started will take a chance and invest some money in sending out materials to a variety of stations with jazz shows, understanding that many of the stations may not have interest in the CDs. When we receive materials from these types of labels, it is important to let them know that we are interested in their material and would like to continue receiving it in the future. ○ There are, I’m sure, many labels out there that put out material that we would love to have added to the Jazz Show collection that are not currently sending us material. It’s a good idea to, every now and then, do some surfing online and try to see what new stuff is out there that we haven’t been receiving. Send those record labels an email and let the know that we would be interested. There are some labels that do not service radio stations with new material out of principle, but those are few and far between. ● Listening/Selecting Albums ○ As Jazz MD, it is a good idea to keep tabs on the mailbox to see what new CDs keep coming in. Typically, you will add new CDs to the drawer over the weekend either twice every three weeks or three times every four weeks. I usually do the new adds on Sundays, but that’s just what usually works best for me. Before doing a round of adds, empty out the mailbox and give all of the CDs a listen. In theory, the music director should listen to every CD sent. However, for the purpose of saving time if needed, certain CDs can be discarded based on information sent on the one­sheets, which are single sheets of paper that are usually sent by record labels to stations which provide background about the artist and a description of the CD. I fht eCD sells itself as being a smooth jazz/”contemporary jazz” album, chances are we aren’t interested. ○ When that is not the case, give the CD a relatively quick listen, just enough to get a good feel for the nature of the music on the whole. The amount of time you will want to spend on each CD will really depend on how much time you have in general, so don’t feel bad if you have a lot of other things to do. ○ The question of what CDs to add is probably the most subjective part of the music director’s job. In general, the focus of our show is free/avant­garde/experimental jazz. However, this is a vague term, but our interpretation of this style is generally congruent with interpretations of those who write about music. Aside from that style, the music we add tends to combine “out” jazz with world music (most often Asian, African, and European folk), modern classical music, noise/free improve, electro­acoustic improve, and experimental rock. ○ In genral, I would recommend adding between 6­12 new albums per week in the week that you do add new CDs. When than that are added, individual CDs are likely to get overlooked or ignored. ● Document New Adds ○ Once you have decided which albums will fit on the Jazz Show, it is important to document them. This is important for several reasons: ■ We want to have a complete list of everything we have added in the year and in years past ■ It is important to communicate what we are adding to our staffers, record labels/artists, and listeners.

Luther Thomas/John Lindberg “Spirit of St. Louis” (Ayler 2008) Luther Thomas (as), John Lindberg (b) Here’s a classic session released on Ayler Records from 1977 featuring St. Louis saxophonist Luther Thomas and an 18­year­old John Lindberg, known most for his work with the String Trio of New York, on bass, who traveled to St. Louis to perform with Thomas on this occasion. The tape was recently discovered by Lindberg himself amidst his belongings, and was soon thereafter mastered and released. The music is definitely influenced by the work of the Art Ensemble of Chicago, as Lester Bowie was one of Thomas’ early influences and friends in the jazz world. This can be heard through the inclusion of some shouting and calling vocals and some bells and whistles as well. ○ For each CD, create a brief write­up that includes the album name, artist name, release year, and the personnel and their instruments, followed by a brief summary of the music. Here are a few examples:

Jeremiah Cymerman “In Memory of the Labyrinth System” (Tzadik, 2008) Jeremiah Cymerman (cl) This album is a pretty challenging listen, but it demonstrates remarkable creative power on the part of the 27­year­old New York­based clarinetist who is featured on this solo album. With the use of computer processing, Cymerman creates a delightfully eerie soundscape, with tracks ranging from under a minute to over twelve. This is his 2nd album as a leader; his first was put out last year on Solponticello Records, entitled “Big Exploration,” on which he headed up a 13­piece ensemble.

○ The factual information included in these write­ups is always information that I have either gathered from the one­sheet, the liner notes, or, sometimes, the artist’s website, so don’t feel as though you have to be familiar with this type of information off the top of your head, because this is definitely not the case. The two examples above are pretty thorough examples; for some CDs, one or two sentences will do. ○ Every week, you also have the opportunity to write an extended review of an album to be published on the website. We call these the “pick/picks of the week.” This is a cool opportunity because you can credit yourself on the write­up and get your name out on the internet as a music reviewer. These reviews are usually different in that they will include a bit more editorial evaluation of the music than the regular write­ups. ○ Once the write­ups for the week are finished, compile them in one document and send it out to the jazz staff in time for the week to start. ● Document plays ○ Before adding a new CD to the drawer, it needs to be assigned a number. CDs are given numbers sequentially, beginning with “001” at the beginning of the year, and continuing on to the end of December. The goal here is to create an easily accessible list of everything that has been added. Also, it will serve as a sheet on which DJs can mark plays. ○ Put a label­sized sticker on the album cover and mark the album’s number on the label. Draw a few lines and make columns for the DJs to mark the plays. ○ Print out a spreadsheet with all of the new CDs and their numbers and place it in the OACR for the DJs to mark. The spreadsheet will list the album name, artist name, label, date, and a column for DJs to mark plays. At the end of the week, compile a list of the top 10 albums played that week by number of plays. Email this list out to the Jazz Contacts list, along with a list of the new albums to be added for the upcoming week. ● Maintaining the Drawer ○ Before putting the new CDs in the new drawer, there are several other things that need to be done in order to “process” them. First, take a sharpie and write the artist name in the top­left hand corner of the front cover of the CD. This will be the name under which the album will be filed once it is no longer in the new drawer. Also, write “WNUR Jazz” on both the cover and on the CD itself. If the album is from a local group or artist, mark “local” on the front of the album so that, when filed, it will be sure to go in the local drawer. ○ Deciding which name to file a CD under is not always easy. In many cases, there is a clear leader on the recording (ex. The Vandermark 5, The Peter Brontzmann Octet) that is conveyed by the name of the group. Sometimes, even though there are multiple players on the album, the artist title given is just simply the leader of the date, which makes it easy as well. ○ In some cases, there is no clear leader on a recording. If this is the case, file it under either the player who has contributed most to the composition on the album, or the most well­known of the players. In these cases, it’s really a judgment call, so use your best judgment and don’t spend too much time on it. ○ In some cases, the artist name is not related to the names of any of the performers. In these cases, go with precedent, or the reputation of the group. For example, an Art Ensemble of Chicago re­issue or a re­issue from the ROVA Saxophone Quartet, two groups that have put out a lot of material, would be filed under “A” and “R” respectively. An issue from the group FME, one of many Ken Vandermark projects, would be filed under “V” in the local drawer. ○ Make sure that every CD is either in a hard plastic case if it is not sent to us printed on a cardstock case before it is put in the “New” Drawer. Place the new CDs in the near­left part of the drawer. Each time you add new CDs in the drawer, take the oldest ones out. In order to make it easier, approximate which ones are the oldest by taking a quick survey of the numbers on the labels. ○ When you remove the old CDs from the new drawer, put them in the thin, soft, plastic sleeves and file them in either the local or regular drawers. ○ There should generally be 100­200 CDs in the new drawer at a time.

Underwriting During the 2009­2010 academic year, WNUR started its first formal underwriting program. The program began with the formulation of a media kit. This media kit included information about underwriting, FCC regulations, and WNUR programming. The business director along with a business team sent this media kit to potential underwriters. Furthermore, this media kit was posted in the new underwriting section on the website. Throughout the year, the station garnered underwriters through two types of deals. With Sony Pictures Classics and Evanston SPACE, WNUR received money for underwriting spots. This money went into WNUR’s budget. With the Chicago Reader and Minuteman Press, WNUR established an in­kind deal. The station traded underwriting announcements for publicity and store credit. In­kind deals are a terrific way for the station to save funds. When WNUR and a client come to terms on an underwriting deal, both entities must sign the Corporate Underwriting Agreement. After this is signed by both organizations, the deal is in place. Furthermore, before a contract is signed, it is essential that a member of WNUR send the underwriting spot to the client for review. Also, a schedule of spots should be fully planned through, before a contract is signed. Moreover, it was decided at the end of the year, that before a contract is signed with an underwriter, WNUR’s executive board must have a majority vote to approve the transaction. Once an underwriting agreement is established, it is essential to make sure the underwriting announcements are played according to the schedule. In order for this to occur, the business director must work with the producers to ensure the announcements are played during WNUR programming. However, in the future, the business director should work more closely with the traffic director as well.

Underwriting Contract

WNUR CORPORATE UNDERWRITING AGREEMENT

[______], (“Donor”) located at ______, agrees to make a contribution of $______to WNUR­FM, 89.3 FM (“WNUR”) to help underwrite costs associated with WNUR’s broadcast operations for the academic year 2009 ­ 2010.

In recognition of this contribution, WNUR will identify Donor as a corporate underwriter. Consistent with the foregoing, WNUR will acknowledge Donor’s support with an announcement consisting of Donor’s official name, location, and services, said announcement to be aired during WNUR programming, in accordance with the terms of the WNUR Quarterly Packages, throughout Northwestern University’s fall, winter, and spring academic quarters. Donor understands and acknowledges that the manner in which such recognition is provided is subject to applicable law and regulations of the Federal Communications Commission and the Internal Revenue Service. Donor further acknowledges that WNUR reserves the right, if necessary in WNUR’s sole discretion, to change the text of Donor’s desired message to conform to such law or regulations. WNUR will seek Donor’s approval of any changes to the text before it is recorded for use on the air.

[______] WNUR­FM

By:______WNUR Representative

Date:______WNUR Director of Broadcast Operations

Date:______

WNUR is licensed as a non­commercial, educational FM broadcast station located in Evanston, Illinois. Northwestern University is the licensee. Contributions provided pursuant to this agreement are deductible to the extent provided by law.

Traditions and Good Ideas

For many years, it was customary for the General Manager (GM) to be a junior. The year after his/her stint as GM, s/he would become Program Director, allowing him/her to keep in close contact and mentor the new GM.

History

Annual accomplishments and milestones

2010­2011 ● WNUR’s Exec Board had its first visioning session/retreat in May 2011. The session, facilitated by advisor Paul Riismandel, was an opportunity for members to reflect on the year and make plans for the forthcoming year. Additions to the Exec Board, such as a Web Editor, position, were just some of the ideas that were implemented.

2011­2012 ● WNUR DJ’d the School of Communication Fall Picnic, accompanied by a live broadcast, and DJ’d the fall Student Activities Fair. ● Acquired and began using the RCS Zetta automation system. First use was during spring break 2012 to fill in spots where there were no DJs during the business day. Programming consisted of WNUR airchecks recorded and edited to remove time­sensitive information. This use continued during the summer break. ● Sonic Celluloid: ● A new WNUR website debuted, based on the modern WordPress platform. WNUR also had its first Web Editor, in charge of bringing new content to the website on a regular basis. This marked the retirement of the “Society” system developed by former WNUR GM Mark Flury nearly a decade earlier. Though innovative at the time it was developed, WNUR was unable to maintain the code base sufficiently to keep the site up and secure. ● The Exec Board had its second annual visioning session/retreat, where plans for quarterly general staff meetings and a creative director position were amongst the ideas put into action the following year.

2012 ­ 2013 ● WNUR remained on the air through a full week of HVAC work in Louis Hall due to use of Zetta for 24/7 playout at the transmitter. The OACR had to be shut down due to dust and construction work, and previously that would have required the station to be off the air for that period. ● Began using Zetta automation for live assist playout of PSAs, promo spots and underwriting. DJs are able to switch into auto mode in the event of a no­show, permitting WNUR to better stay on the air 24/7. ● WNUR DJ’d the School of Communication Fall Picnic and the fall Student Activities Fair. ● The Rock Show attended the Hopscotch Festival in Raleigh, NC in September, reporting back on air and on the website. ● A newly designed website debuted in September. It was the second new design in two years, since the changeover to using WordPress. ● WNUR had its first Creative Director, whose job it is to help set WNUR’s brand identity, and manage its graphical representation on promotional materials, online, signage, and the like. ●

Exec Board membership

Exec 2008 ­ 2009 General Manager: Taylor Dearr Program Director: Anoop Jain Webmaster: Andrew Farley

Exec 2009 – 2010

General Manager: Doug Kaplan, SoC 2011 Program Director: Amy Anderson Medill 2010 Phoneathon: Kate Watson WCAS 2011, Brenna Scheving Rock: Benjamin Dunnington, MCSE 2010, Pat Bishop SOC 2010, Julian Zlatev WCAS 2011 Weekend: Lindsey Kratochwill Jazz: Michael Mounier WCAS 2010 Streetbeat: Marshall Hilgemann SOC 2010, David Wille SOC 2010, Yann Manibog, replaced by: Brendon DiVincenzo, Joshua Lau Promotions: Shree Jariwala MCSE 2011, Lauren Virnoche SOC 2010 Business: David Benjamin News: John Rodier SOC 2010 replaced by Tim Cycyota, Yannell Selman Sports: Aaron Pepper, Kevin Fishbain replaced by Eric Mayo, Zachary Warren Traffic: Sean Kane Continental Drift: Samuel Prime, SoC 2010 Freeform: Ezra Raez Productions: Dave Sumberg Music 2011 Operations: Caleb Melby Public Affairs: Thomas Ouellette

Exec Fall 2010 DRIFT Janna Herman, Hayley Schilling, Allie Silver (emeritus)

ROCK Ezra Raez, Tommy Rousse, Julian Zlatev, Doug Kaplan

STREETBEAT Brandon DiVencenzo, Josh Lau

JAZZ Ryan Stoddard

NEWS Yanell Selman, Tim Cycyota, John Rodier

PROMOTIONS TJ Spalty, Sharon Kwon, Ethan Simonoff

SPORTS Eric Mayo, Zachary Warren

FREEFORM Dan Sloan

OPS & BUSINESS David Benjamin

WEEKEND Lindsey Kratochwill

PROGRAMMING Ryan Lafferty

PRODUCTION Matt Ludwig, Aaron Quick

PUBLIC AFFAIRS Sarah Weber

TRAFFIC Sean Kane

Exec. 2011-2012 General Manager: David Benjamin : Programming Director: Desiree Staples : Operations Director: Eric Felland : Traffic Director: Janel Montfort : Business Manager: Dan Mescher : Publicity/Marketing Chair: Denise Lu : Events Chair: Billie Kaplan : Outreach Chair: Soren Nelson: Freeform Producer: John Zeledon : Weekend Producer: Ryan Lafferty :

Phoneathon Director: Soren Nelson : Web Editors: Sam Daub and Matt Ludwig : Production and Technical Director: Matt Ludwig : WNUR Sports Directors: Seth Bernstein and Cody Dunlap: Rock MD and Producers: Dan Sloan (MD) and Ethan Simonoff, Lily Oberman, Sean Kane (Producers): Continental Drift Producers: Janna Herman and Minna Zhou ; Streetbeat Producers: Brendan Klinkenberg/Jason Dong/Nikita Jazz Producer / MD: Lindsay Barranco and Ryan Stoddard:

Exec 2012-13 Matt Ludwig General Manager Ethan Simonoff Programming Director Monica Yi Operations Director Sam Daub Web Editor Desiree Staples Events/Handpicked Producer Dan Sloan Rock Show Producer Denise Lu Publicity/Marketing Director John Zeledon Freeform Producer Tristan Sokol Webmaster Killian Coate Outreach Co-Chair

Brendan Klinkenberg Outreach Co-Chair Lily Oberman Rock Show Music Director Jason Lederman Business Director Soren Nelson Business Director Ryan Lafferty Phoneathon Director Harlyn Siler Weeekend Producer Kara Craig Traffic Director Jenna Powell-Malloy Events Director Julia Watson Creative Director Kristian Ayala Rock Show Producer Paul Riismandel Advisor Svyat Nakonechny Continental Drift Producer Jim Sannes Sports Director Zach Kisfalusi Sports Director Zach Silva News Director Bridget Illing Publicity/Marketing Director Jason Dong Streetbeat Director Nikita Shulzenko Streetbeat Producer Will Conroy Jazz Show Producer/Music Director

Airplay Engineers recording sets in the PCR DJs in the OACR should take primary responsibility for making sure that live recordings meet FCC requirements. On­air DJs are responsible for dumping any profanities as the show is broadcast, but per policy, once they have dumped the profanity, they should also end the source. (I.e., stop playing the Airplay recording.) Ultimately, responsibility needs to be shared between the engineer and the DJ to make sure that no FCC violations happen.

FCC Inspections Operations manager sends out checklist of all relevant FCC protocol as a refresher for DJs. Starting on 4/25/11, mock inspections begin of Drift and Rock shows.

Deprecated Info This is retained in case of possible future reference, but is no longer relevant or accurate.

Website Information: Announcements can be added to the front page, pushing down the “featured show” using an app put together by former GM Mike Corsa in 2010. Here are instructions:

I finally got around to putting something together for an Announcement Editor on the WNUR website. Nothing fancy, but it should do the trick. Just go to: http://www.wnur.org/announce

You'll have to login with the username/password you use for the Playlist Editor. Right now, only you and I have access to it, but I can easily add more if you send their Playlist Editor usernames. The Jazz Show announcement active right now is just an example (I took the content off the jazz main page). Feel free to add more.