RTV Theory and Practice - Special Issue
Houaton, Texas, and in Washington, D,C . , as well as a national news service , and an extensive audio tape archive which supplies subscribing stations throughout the United States anđ Canada. Programs on the Pacifica stations have been typically innovative, including; live poetry readings by Alan Ginsberg and Lawrence Ferlinghetti, debates about the threats of nuclear war between Nobet laureate Linus Pauling and Edward Teller, the father of the hydrogen bomb , programs by pacifists điscussing their opposition to the Korean and Vietnam wars , regular programs produced by and for the women's community , for the Latino community , homosexuals , blacKs , handicapped, elderly people , communists, collages of spoken word and music, political commentary , anđ ап intensive mixture of classical, rock , folk , blues , jazz , electronic, and international folk musics that coulđ be heard nowhere else on the dial. Тће radio stations became the political and cultural focal point of many communities , allowing people an opportunity to produce programming and ехсћапде information among themselves anđ between other communities . News and public affairs programs were produced to stand as critical alternatives to the information provided on commercial broadcast outlets. During the Vietnam War , for example , WBAI, New York , carned a 15-minute nightly summary of news about the conflict , anđ it was the only broadcast outlet that utilized the Адепсе France Presse , the only western world wire service to have a correspondent m Hanoi. Radio documentaries were regularly produceđ discussing such issues as war and peace, pollution, racisim in Los Angeles , lesbian activism in the U.S. , and the life of Billy Holiday . In the 1960 sand 1970s there were also some attempts at community radio at a number of college stations . Where stations successfully mcorporated the đesires into the community they served, however, they frequently ran mto control conflicts with the admmrstration of the umversity that controlled the stations' licenses (Barlow , 1987). In some mstances , such as WBUR-FM m Boston , a new umversity administration fired all but a skeletal staff so that controversial programming could be suppressed. WCWP, the radio stations of C.W. Post college m suburban New York City suffered a similar fate (Post, 1974 ). 13 I Another collection of community stations calls itself the "KRAB Nebula" (after foundmg station KRAB , Seattle , Washington ) , with stations orgamzed collectively . There were strongly anti-commercial stations , with a mixture of off-beat kinds of music and public affams . Public affairs programs
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