SPARK NEWS: “THE ZEN OF ‘HIGH FIDELITY’” LIVES IN NONCOM TRIPLE A RADIO

Rob Gordon (John Cusack) and Barry (Jack Black)

at Championship Vinyl

Folks at noncommercial Triple A radio stations have a lot in common with the characters in Stephen Frears’ classic cult move High Fidelity.

Like the crew that hangs out at Championship Vinyl in the 2000 film, their love and knowledge of music is contagious and must be shared.

Today we profile leaders of three noncommercial Adult Alternative stations who are in tune with The Zen of High Fidelity. Each is a music source that can’t be replaced by Spotify or other algorithm-based providers. The power of curation is as important as the power of the music.

RUSS BORRIS, MUSIC DIRECTOR, WFUV, NEW YORK

Russ Borris

Earlier in November, Forbes published an interview [link] with Russ Borris titled WFUV Music Director Explains Why Radio Still Matters In The Streaming Age. In the article, freelance journalist Danny Ross asks Borris key questions about why stations like WFUV [link] are thriving in the age streaming music from numerous sources.

Forbes: There are countless forms of entertainment in the digital era, so how is it that according to Nielsen, 93% of US adults still listen to the radio each week? Why are terrestrial radio stations like WFUV so significant in the age of Spotify?

Borris: It's apples and oranges. Streaming offers the opportunity to hear anything you want at any time, but it's an algorithm-based recommendation system.

So if you want to listen to Nine Inch Nails right now, go ahead — I can't do that for you.

But on our station, we're going to have a real-life human being telling you about breaking music. That human touch is what we hold fast to. It strengthens our connection to people.

Forbes: What are the advantages to being a non-commercial station?

Borris: Our audience isn't about one thing so we jump styles, genres and eras because what we do is very diverse. We play rock, soul, world music, songwriters, electronic.

So we have to reach an audience of people who are passionate about discovering new music, and looking for something they can't find anywhere else.

Forbes: So, you are the cool kids at Championship Vinyl in High Fidelity?

Borris: You probably had that family member or friend as a kid who just knew music and turned you onto stuff. That's what our DJs are. Our audience wants us to tell them what's good and what they should hear. It's why they trust us and why they give us money.

So much of what we do is still very much programming by way of gut and feel. I love that. We balance what our membership is telling us to do with its fundraising dollars, and the new music that we love.

STACY OWEN, PROGRAM DIRECTOR, WFPK, LOUISVILLE

This summer, Style Blueprint, a regional online ‘zine that covers women making a difference, published an interview with Stacy Owen, Program Director at WFPK [link] in Louisville [link]. In the article, titled How One Woman Influences Louisville’s Music Scene, writer Lauren Helmer talked with Owen about her 30 years in the radio and music industries.

Stacy Owen

Style Blueprint: WFPK was one of the first alternative music public radio stations in the country. Since 2000 you’ve been Louisville’s musical tastemaker. Why did you choose this kind f work?

Owen: Growing up, music was all around me. My dad taught voice. Mom’s side of the family played various acoustic instruments, and eventually, my sister moved to Nashville to be a singer-songwriter. I decided my passion was championing the artists I loved. It frustrated me that some of the most interesting and talented musicians didn’t have a place on the airwaves. Later, I realized public radio could play a part in rectifying that.

Style Blueprint: When did you turn this realization become your life’s work?

Owen: My first radio job was at WNKU in the Cincinnati market as a news reporter. I found I was relaxed behind the mic and camera. I was hired in 2000 as WFPK’s Assistant Program Director and morning music host and became Program Director four years later.

Style Blueprint: When did your work begin to “click” for you?

Owen: Early on in my career, I worked with a man named Ed McDonald. He taught me…how to really listen when conducting an interview and how to be myself on air. Ed is blind, so this gave me a unique perspective.

[I love] finding and nurturing new talent, whether musician or announcer, is very rewarding. It can be challenging to keep up with all the moving parts of the job, but I’m blessed every day to work with a talented group of peers in this beautiful facility. If a song brings you pleasure, there’s no reason to feel guilty!

CHRIS WIENK, VP OF RADIO, WEXT, ALBANY

Chris Wienk

Much like Rob Gordon, the likeable owner of Championship Vinyl in High Fidelity, Chris Wienk likes to hear other people’s lists of favorite songs. So, at WEXT – Exit 97.7 [link] – he created the weekly show My Exit that lets listeners be the DJ and curate their favorite music.

He recently talked about My Exit with the folks at noncommusic.org, the official site of the noncomMUSIC Alliance [link];

Question: The show’s description reads: “My Exit is a whole hour of music you get to program. Plus, you will be the DJ!’ Sound like fun? It is. There are a few rules, but we can discuss them when you’re in consideration for a show!” How does it work?

Wienk: Actually, there may be fewer than a few rules, but who’s counting? This idiosyncratic DIY radio show has been running since 2008, when Exit 97.7 went on the air, introducing Triple A format to the Capital area.”

“We knew that there were a lot of people out there who were huge music fans [and they] know about music we don’t know about. Listeners apply simply by sending an email to the station.”

Each show contains fourteen musical selections, plus commentary. Some volunteer hosts have constructed elaborately themed shows. Some arrive with fourteen songs they adore – fourteen that tell their life story.

Question: Describe some of the people whose tunes have appeared on My Exit?

Wienk: A local science fiction author selected songs that played on Exit 97.7 in the background while he was writing his latest thriller. An intern at the station played R&B and hip hop. A did a show. A human rights activist carefully curated his hour with fourteen songs from cultures and communities in war zones.

“As long as it doesn’t have curse words, they can play whatever they want.”

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