Co-op Radio - Prometheus Radio Project · Web viewBROADCASTING. A Manual for Co-op . Radio Programmers. This copy belongs to: _____ Preface to the 2006 Edition: The manual in your

BASIC BROADCASTING

A Manual for Co-op Radio Programmers

This copy belongs to:

____________________________

PREFACE TO THE 2006 EDITION:

The manual in your hands has been lovingly crafted to provide you with a lasting reference for Co-op Radio’s programming, broadcasting and station policies. This new edition would not have been possible without the hard work of Sage Aaron, Tameem Barakat and Elsie Kipp.

Thank you and enjoy!

Kristiana Clemens, Program Co-ordinatorApril Fools’ Day, 2006


At last, another volunteer manual for Co-op Radio! If you’ve been around long enough, you’ll remember Behind the Mike. This manual is based on that incredible effort and updates and expands upon it…. The move out of our old home of 25 years beside Pigeon Park and into our new home on the main floor of the Sunrise Hotel (one block east) spurred the need for a new manual. With three brand-new, state-of-the-art Control Rooms and one fabulous new Studio, we want to help people make the most of these facilities…. We hope that this manual will help us all become even better programmers at Co-op Radio.

This edition was the culmination of many people’s work, including: Alex Tate, Jay Hartling, Megan Adam, Leela Chinniah, Allan Jensen, Wade Thomas, Rob Gauvin, April Sumter-Freitag, Jane Williams, Lorraine Chisholm, and the many others whom we’ve missed (sorry!).

Thanks to everyone for helping keep Co-op Radio’s important and critical voice on the air: this manual will be completed almost exactly 27years after our very first broadcast. Let’s hope there will be at least as many wonderful years ahead for the People’s Station, CFRO, 102.7 FM, Vancouver’s Co-operative Radio.

Dave Olsen, Manual Co-ordinatorMay Day 2002


At last, a volunteer manual for Co-op Radio! This manual like many other things at the Station is the result of efforts by many young people. Among them are Jan DeGrass, Kandace Kerr and myself. The final edition and production work was done by Jan DeGrass.

We hope it is useful; to all volunteer who work to be part of a unique concept in community media in Canada. Your comments and suggestions for changes and additions are welcome.

Vinny Mohr, Station Co-ordinatorOctober 24, 1983

BASIC BROADCASTING 1

BASIC BROADCASTING:A Manual for Co-op Radio ProgrammersTable of Contents

Item Page

Preface 1

Table of Contents 2

What is Co-op Radio? 5

Herstory 6

Timeline 8

Organizational Structure 9

Committees 10

Funding 11

Promotion 11

Members’ Rights 12

Programmers’ Responsibilities 12

2 Hours Per Month 13

Station Operations 15 Getting in the Door Opening the Door for Others Logging In Preventing Theft Taking Calls Making Calls Delivering Messages Getting Mail Keeping Clean Playing Safe

Programming Objectives 18

Programming Applications 20


BASIC BROADCASTING:A Manual for Co-op Radio ProgrammersTable of Contents (cont.)

Item Page

Programming Procedures 21 Log Sheets Pre-Recorded Announcements (PRAs) Public Service Announcements (PSAs) Station Ids Music Program Length Pre-emptions Absenteeism Reporting Technical Problems Emergency Contacts Rights To Programming Co-ordinators Operators

Equipment and Facilities 24 Control Room A Control Room B Control Room C Studio Reserving the Control Rooms and Studio Portable Equipment Rental of Studios and Equipment Computers

On-Air Policies and Broadcast Laws 27 Airing Internal Correspondence Obscenity and Profanity Hate Propaganda and Abusive Comments Balance of Opinion Libel, Slander & Defamation Elections & Referendums Anti-Government Remarks False or Misleading News Trial Coverage and Media Bans Food, Drugs and Medical Advice Fundraising Copyright Permission Open Line Programming


BASIC BROADCASTING:A Manual for Co-op Radio ProgrammersTable of Contents (cont.)

Item Page

Complaints 33 The Rights of Listeners The Responsibilities of Programmers The Responsibilities of Programmers: Contextualization The Role Of The CRTC The Role of the Station Case Study: Let’s Talk About Sex

Using Your Voice 39

Interviews 41

Pitching 42

Appendix I: Log Sheet 43

Appendix II: PRA Sheet 44

Appendix III: Security Log Sheet 45


WHAT IS CO-OP RADIO?Vancouver Co-op Radio, CFRO, 102.7FM, is a community-based, multilingual, non-

commercial, listener-supported, volunteer-operated, co-operative radio station.

Vancouver Co-operative Radio is a community-based radio station, governed by a license with the Canadian Radio, Television and Telecommunications Commission or CRTC. As a community-based station, our programming is aimed primarily at people without access to mainstream media. We endeavour to be accessible to artists, local performers, working & unemployed people, as well as to the economically, socially or politically disadvantaged. The station and its programs provide a forum for the expression of differing views on a wide range of issues, including issues which are controversial to the public at large or controversial within the communities to which particular programs are directed. We try especially to include points of view, information and music that are rarely expressed on other broadcast media. One of our goals is to provide programming and a working environment that is not sexist, racist, homophobic, transphobic, ageist, ableist or anti-poor.

As a multilingual radio station, we provide airtime for communities to express themselves in their own languages. At present, we broadcast in Amharic, Armenian, Azeri, Cantonese, English, Farsi, Korean, Kurdish, Polish, Punjabi, Russian, Serbo-Croatian and Spanish. Approximately 15% of our airtime is devoted to what the CRTC calls “Ethnic Programming.” According to the CRTC, “Ethnic” programs are those that are mainly presented in languages other than English, French or those of First Nations peoples.

As a non-commercial radio station we offer an alternative to mainstream media. We do not advertise over the airwaves. We recognize some of the financial support we receive in the form of sponsorships and we promote cultural and political events in the form of co-sponsorships, but our goal is to inform, not to advertise.

As a listener-supported radio station, we organize twice-yearly on-air fundraisers (Spring and Fall Member Drives) to ask listeners to support us by buying a share in the co-operative and becoming members of the station. About 65% of our budget comes from memberships, and we are striving to increase that percentage.

We are a volunteer-operated station. More than 400 volunteers produce and broadcast more than 80 different radio programs every week. Volunteer members make decisions at the station by participating on different committees and by voting at the station’s Annual General Meeting. Our committees include: Finance, Technical, Training, and Programming. Our Board of Directors is made up of volunteer members elected at the Annual General Meeting. Each Board member participates in at least one committee. The station’s unionized staff includes a Financial Administrator, Technician, Program Coordinator and Membership Co-ordinator.

Co-op Radio is structured and managed as a co-operative. Co-op Radio members own shares in the organization and participate in it at all levels. For this reason, we are governed by the Co-operative Associations Act of BC as well as the CRTC. On top of these regulations, Co-op Radio has its own rules or by-laws, and policies governing many aspects of the station’s programming and day-to-day operations. This manual is a compilation of history, policies, regulations and guidelines that all programmers at the station should be aware of before they go on the air!


HERSTORYCo-op Radio is one of Canada’s oldest and most vibrant community radio stations.

Here is a brief overview of some of the highlights from our more than 30 years of “herstory!”In 1973, two groups who eventually formed the nucleus of the Co-op Radio idea

decided to join forces: the Muckrakers (Community Research Service), who clipped newspapers and met weekly to discuss current events behind the news, and Neighbourhood Radio, a group who produced programs for other stations.

As the two groups assisted others in the community to learn radio production and produce programming on local issues, they felt the need for a better forum for their work that existing radio stations failed to provide.

The group made a presentation to the CRTC (Canadian Radio and Television Commission) in March of 1974. Sixteen people were in attendance representing the 231 shareholders that were to be the first members of Co-op Radio. The vision described to the CRTC was of a Station that would better serve the needs of greater Vancouver, and would provide an alternative to “existing commercial programming and the national focus of the CBC.”

The written application stating the goals of Co-op Radio forms the basis for station policy today:

To keep people informed about local cultural and public affair To provide an outlet for local artists and musicians To make radio more accessible to minorities and community groups

Two months later the CRTC granted Co-op Radio a license for the frequency of 102.7 FM. The excited delegation promised to be on the air by September 1974, saying, “We won’t be more than 30 days out.” However this ambitious claim was confronted by several major difficulties.

An extensive search for a building to house Co-op Radio began that summer. When it was finally located in the Downtown Eastside, it had been unoccupied except by pigeons for the previous 15 years. The three story heritage building with its marble bathrooms and graceful winding staircase was selected as Co-op Radio’s home because of its central locations and accessibility to major bus routes. Built in the early 1900’s, it had house a merchant’s bank for tailors and garment sweatshops in the Gastown area and later a bank. The bank’s vault can still be seen in the basement of the building.

However, the building’s old world charms were lost on the volunteers who scraped six inches of pigeon droppings from the floors without the benefit of functioning plumbing. Workers were hired that summer through local employment programs and the cleaning began: the floors were sanded, waxed and varnished, new plumbing was installed, and studios and control rooms were built and soundproofed.

Money was raised by any means possible. Four individuals used their own property as collateral to secure a loan from the Gulf and Fraser Fisherman’s credit Union for $25,000 to start the ball rolling. Corporations were approached for donations of carpet, lumber, typewriters, furniture and practically everything else. By fall, the studios and offices were completed and the transmitter had arrived from the east. It would have been a memorable occasion except that on its arrival, frantic engineers noted that several important parts were missing!

Mock broadcasting in preparation for the big day helped to ease the waiting. The transmitter was installed on the BCTV tower on Burnaby Mountain and a fresh hitch became apparent – there was no clear line of sight from the studios to the transmitter, therefore an already purchased microwave link could not be used to send programming from the studio to the transmitter.


HERSTORY (CONT.)Despite these difficulties, which had already set the Station back some eight months on

its original promise, broadcasting began in May 1975. The first programs were pre-recorded. The operator took the tape, caught a bus out to Burnaby, went up to the transmitter shack at SFU, and then broadcast the tape. This was later improved when a phone line was installed at the transmitter shack, so that programs could be sent from the studio directly to the transmitter. The transmitter power at that time was 3,717 watts. However, many parts of Vancouver had poor reception because of the effects of surface geography on the FM signal coming from Burnaby Mountain.

In 1978, when the CRTC approved our first license renewal, it commended Co-op Radio for “providing a valuable alternative community service responsive to the cultural, information and entertainment needs of its listeners.”

By April 1979, Co-op Radio extended its original mandate and was carried throughout the province via cable. In October 1980, Co-op Radio received the Media Human Rights Award, its first national honour from the League for Human Rights of B’nai Brith of Canada. This annual award recognizes and encourages special efforts by the media to sensitize the public to human rights awareness. Co-op Radio received the award in recognition of programs produced by the Chinese-Canadian public affairs program Pender Guy, which is no longer on the air.

In October 1982, Co-op Radio was forced to move its transmitter from Burnaby Mountain to the CFMI tower on Mount Seymour. The new location improved the quality and reception of the signal, giving the station an effective radiated power of 5,500 watts. This increased the listening audience, and incurred such large moving expenses that it plunged the Station into the worst financial crisis in its seven-year history. Thanks to a successful $10 levy on all Station members, combined with outstanding fundraising efforts on the part of programmers and staff, the Station slowly rose out of the red.

After 27 years of enduring a slow disintegration of the studios and offices at Pigeon Park, Co-op Radio moved one block east into the ground floor of the Sunrise Hotel. On Friday, July 27, 2001, we started broadcasting from these brand new, state-of-the-art and accessible studios. This historic event followed years of planning, months of preparation, and an entire weekend of moving! In fact, we are still unpacking…just ask staff for a tour of the basement some day!


TIMELINE1973 Co-op Radio began as an idea between two different groups - the Muckrakers and

Neighbourhood Radio – who were producing materials for radio stations and alternative press services on issues that were usually ignored.

1974 On behalf of the first 231 shareholders of Vancouver Co-operative Radio, representatives presented to the CRTC (Canadian Radio-Television and Telecommunications Commission) and received their first licence! The group set up the station in the former Mercantile Bank building in Vancouver’s Pigeon Park (at the corner of Carrall and Hastings St.). The building had been empty for 15 years and the founders of Co-op Radio had to shovel 2 inches of pigeon droppings from the floors of the building.

1975 First broadcast on April 15, 1975! In those early days, tapes were carried by hand up to our transmitter on Burnaby Mountain (3717 watts).

1978 Renewed our CRTC license and were commended for “providing a valuable alternative community service, responsible to the cultural information and entertainment needs of its listeners.”

1979 Carried on cable to most parts of BC

1980 Won the national Media Human Rights Award from the League for Human Rights of B’nai B’rith.

1982 Moved transmitter to Mount Seymour (5500 watts) – that’s our current transmitter

1984 Began full daytime programming – prior to that we were only broadcasting after 5pm on weekdays. Mayor Mike Harcourt declared the first week in May to be Community Radio Week, in honour of Co-op Radio.

1997 Began the process of finding a new home for Co-op Radio. The decision to move went to 2 AGMs. We were offered a space by the Portland Hotel Society – it was important for us to stay in the neighbourhood due to accessibility and line-of-sight to our transmitter.Won the NCRA’s Standard Award for Programming Excellence.

2000 Won the Roger Inman Memorial Award for Community Economic Development.

2001 Moved to the new station at 360 Columbia St. (220 metres away from the old one!). Our new space offered us more accessibility, more visibility and more financial sustainability.

2003 Won the NCRA’s Standard Award for Programming Excellence – again!

2004 Won the MOSAIC Human Rights Award


ORGANIZATIONAL STRUCTURECo-op Radio was run largely by volunteers for the first seven years of its existence. A

monthly decision-making meeting of staff and volunteers, which came to be known as the Workers’ Forum, made most operational decisions. The Workers’ Forum was disbanded in 1981. Since that time, Co-op Radio’s Board of Directors, Staff and Committees have become the main decision-making bodies and working groups at the station.

The Board of Directors is made up of nine volunteers who are elected at the station’s Annual General Meeting (AGM). This meeting is open to all members of the station and usually takes place in November. In order to be elected to the Board of Directors, a person must be a member of Co-op Radio in good standing. Most Board members are required to have been active at the station for at least six months and to be Canadian citizens. Board members are elected to terms ranging from one to three years and must be re-elected after that if they wish to serve again. The structure and composition of the Board of Directors is detailed in the station’s rules and by-laws. Board responsibilities are as follows:

Produce and update job descriptions for paid staff Ensure new paid staff members are evaluated according to policy and collective

agreement Deal with contract negotiations and union business Oversee and supervise the functioning of Committees Steward the financial well-being of the station Update, develop and create policies necessary to fulfilling Co-op Radio’s mandate. Help to resolve disputes and conflicts that arise within the station and act as an appeal

body for decisions made at the Committee level.

Board meetings are held once a month. The date and time of the next Board meeting is posted on the “What’s up at the Co-op?” bulletin board at the station. Board meetings are open to all Co-op Radio programmers and members, who can speak to the meeting but do not have a vote. Non-members may attend Board meetings at the discretion of the Board. A member wishing to present to the Board must give seven days’ advance notice to one or more Board members, with a general outline of the topic to be presented. Presentations by guests at Board meetings may be limited to 10 minutes’ length at the discretion of the Board.

Staff are unionized and operate as a collective. The station has four paid staff members: a Program Coordinator, Membership Coordinator, Studio Technician and Financial Administrator. Staff members are responsible for distinct areas of the station’s operations, but manage the station collectively: there is no boss or station manager! Staff members report to the Board of Directors and work closely with one or more committees to make decisions in different areas of the station’s operations.

Committees are Co-op Radio’s main decision-making and working groups. Committees are made up of volunteer programmers, community members and staff who work together to manage the station’s many different operating areas. Board Committees have a Board representative or liaison who reports on the Committee’s activities and decisions to the Board of Directors. Working Committees do not report directly to the Board of Directors, but assist staff with crucial areas of day-to-day operations at the station.


COMMITTEESHere is a list of some active committees at the station. The list is always subject to

change, as new committees are struck to deal with changing developments and older committees are restructured or fall out of use:

The Programming Committee is a Board Committee comprised of the station’s Program Co-ordinator, two Board members, one Board appointee, two Public Affairs programmers, two Music programmers, one Arts programmer, one Non-English language programmer and one First Nations programmer. Programmers are elected to this committee by their peers. The Programming Committee reviews new program applications; ensures the development of new programming; reviews and evaluates existing programs; refines and updates programming policies and ensures programmers’ compliance to those policies.

The Membership Committee is a Board Committee comprised of the station’s Membership Co-ordinator and one or more Board members and volunteers. The Membership Committee works on maintaining, enhancing, and expanding Co-op Radio’s membership base by planning for the Spring and Fall Member Drives and improving our member services.

The Technical Committee is a Board Committee comprised of the station’s Engineer, one Board member, and volunteers. The Technical Committee deals with maintenance and repair of our transmitter, and our control room, studio and portable recording equipment.

The Finance Committee is a Board Committee comprised of the station’s Financial Administrator, one Board member, and volunteers. The Finance Committee prepares and presents a budget reflecting the station’s goals and objectives; monitors the station’s financial statements and situation; reviews non-budgeted expenses and changes to the budget; develops and implements strategies for financial stability; monitors the financial and legal aspects of sponsorships and grant applications; and meets annually with the station’s auditors.

The Sponsorship and Grants Committee is a Board Committee comprised of the one or more staff members, Board members and volunteers. This Committee searches out non-membership related funding sources for the station, reviews and implements the station’s sponsorship policies, and ensures that grant applications are completed on deadline.

The Training Committee is a working Committee comprised of the station’s Program Co-ordinator and volunteer and/or community members. The Training Committee ensures that basic skills and technical operating courses are offered regularly; provides opportunities for programmers to upgrade their skills; develops resources, activities and structures for training workshops; and develops and refines training policies.

The Music Department is a working Committee that maintains and builds Co-op Radio’s music library, publishes music charts for the station, and keeps the station in contact with a wide range of music distributors and record labels.

The Production Committee is a working Committee that records and produces Pre-Recorded Announcements (PRAs) to promote the station, its programming and special events.

The Web Committee is a working Committee made up of volunteers who maintain and develop our website: www.coopradio.org

The Cleaning Committee is a working Committee made up of volunteers and Board members who keep the station sparkling by coordinating regular cleaning duties.


FUNDINGIt costs at least $15,000 each month to keep the station on the air. Our expenses

(unlike our income!) are regular and monthly. We pay for building maintenance fees, hydro, phone bills, salaries, technical equipment, transmitter maintenance, licensing and membership fees to professional and government agencies, and general operating supplies (like office supplies, blank CDs, and cleaning products). It adds up quickly, and it’s all absolutely necessary to keep us broadcasting!

Co-op Radio’s largest single source of funding is our membership base, made up of individuals and groups that regularly donate money to support the station. Some of this money arrives throughout the year from people who tune in and decide to join the station, but most of it is earned during our Spring and Fall Member Drives.

Because the station is incorporated under the Co-operative Associations Act of BC, donations made directly to Co-op Radio are not tax-deductible. However, Co-op Radio has a friend in the Community Radio Education Society (CRES). CRES is a charitable organization set up to support the community development, outreach and educational components of our community radio station. CRES contracts Co-op Radio to do charitable work on its behalf. You can support Co-op Radio indirectly by making a tax-deductible donation to CRES.

Co-op Radio also receives some of its funding from government grants, grants from private agencies and foundations, and special fundraising activities and events such as benefit concerts or raffles.

Apart from this revenue, Co-op Radio relies on in-kind donations of office furniture, office supplies, audio equipment and cleaning supplies to meet day-to-day needs and keep our facilities functional. Another significant part of our funding comes from donations of labour – your labour! Every volunteer member of Co-op Radio is expected to contribute two hours of non-programming time each month to help out the station. Without your donation of time, effort and enthusiasm, Co-op Radio would simply not survive.

PROMOTIONOur broadcasts are our best publicity – good quality, entertaining and interesting radio

programs. But we also undertake other campaigns and activities. Shows often do their own publicity, by making their own posters or flyers, appearing at conferences, events and demonstrations, or holding special events such as benefit dances, raffles, film evenings, and live remote broadcasts.

Co-op Radio’s website at www.coopradio.org is another way that we promote the station, with live Internet streaming and up-to-date station information.

Another major source of publicity is Co-op Radio’s quarterly Listeners’ Guide, which is mailed to all of our active members and distributed to community centres, libraries, shops, cafes and other places where people gather in and around the Lower Mainland.

Finally, word of mouth is a cheap and vital form of publicity in which we can all participate!


MEMBERS’ RIGHTSAll members of Co-op Radio, who have bought a share in the co-operative and paid their

membership fees, have certain rights:

The right to attend any Board or Committee meeting concerning station governance as an observer, with prior notice to the Board. There are no closed meetings at the station. However, if a meeting goes “in camera” for a specific, sensitive issue, guests will be asked to leave for that portion of the meeting.

The right to vote on matters arising at the Annual General Meeting, including the election of Board members.

The right to run for election to Co-op Radio’s Board of Directors at the Annual General Meeting, providing that the legal requirements for holding this position can be met.

The right to use station equipment for station work, subject to its availability and provided that you are properly trained and/or certified for its use.

The right to ask questions and receive respectful answers. The right to receive positive and constructive critical feedback from staff, Board and

Committee members. The right to submit positive and constructive critical feedback to staff, Board and

Committee members.

PROGRAMMERS’ RESPONSIBILITIESBeing part of a show and working at Co-op Radio is a privilege, not a right, and comes with

certain responsibilities:

The responsibility to be member of the co-operative in good standing. The responsibility to keep the Program Co-ordinator informed of your current email

address and phone number. The responsibility to sign in and out of the Security Log when you enter and leave the

station. The responsibility to treat everyone at the station (staff, programmers, volunteers, guests,

and other members) with respect and consideration. The responsibility to familiarize yourself with the legal responsibilities and restrictions

concerning broadcasting as they relate to your show. The responsibility to complete any training required for your work at the station. The responsibility to contribute two hours of non-programming time each month to support

the work of the station. The responsibility to sign and honour a Programmers’ Contract outlining the expectations

Co-op Radio has for its programming members.


2 HOURS PER MONTHAlong with programming responsibilities, every programmer is required to contribute

two hours each month to help support the station. These hours should be recorded in the Programmer Timesheet binder underneath the Security Log alongside the Policies binder at the station. It is important to keep a record of these hours. The station needs to keep track of the amount of in-kind labour that is donated each year for grant funding purposes, and to reward and recognize the contributions of our volunteers! There are a number of ways to fulfill your voluntary obligations to the co-operative. Here are some suggestions:

Cleaning Sweep, vacuum, tidy and scrub. Recycle, remove trash and water our plants! Join Co-op Radio’s Cleaning Committee to unite forces with like-minded neat freaks.

Distributing Listeners’ Guides Our quarterly Listeners’ Guides are mailed out to all active members, but we rely on

volunteers for street-level distribution throughout Vancouver and beyond.

Stuffing Envelopes We send mail to our thousands of members at least four times per year. This is a big

job that requires lots of volunteers to fold letters and Listeners’ Guides, label and stuff envelopes, seal them and add postage.

Tabling at Outreach Events Co-op sets up Membership Information tables at a number of festivals and

community events throughout the year. Promote the station by staffing a Co-op Radio table one afternoon.

Reception With only a handful of staff at the station, reception volunteers are always in demand. Answer phones, open doors and greet visitors.

Attending Training Workshops Sign up for training opportunities with the station, then put the time spent learning

new broadcast-related skills toward your 2-hour commitment.

Providing Training Workshops If you have special skills and work well with others, consider offering a training

workshop in your area of expertise. The time you spend planning and facilitating your workshop will count toward your volunteer commitment.

The Training Committee is always looking for trainers for Control Room operation, Programmer Policies, Station Orientations and Portable Recording equipment.

Trainers are invited to join the Training Committee, which meets once every month or two to plan upcoming workshops and overall training goals for the station.

Production Committee Take production training and help to record and mix Pre-Recorded Announcements

(PRAs) for the station.

2 HOURS PER MONTH (CONT.)


Music Department Log and sort incoming music Assist with tracking and charts Solicit new music Help to build a searchable database of the station’s music.

Programming Committee Programmers can run to represent their programming area on the station’s

Programming Committee, the decision-making body that deals with new program applications and programming changes.

Technical Committee Attend committee meetings and assist with technical work as your skills permit.

Web Committee Help to keep our web presence vibrant, current and attention grabbing.

Membership Committee Help to plan the Spring and Fall Member Drives Assist with developing member services and incentives

Finance Committee Assist with bank deposits and credit card payment processing Attend monthly Finance Committee Meetings

There are countless other ways to make your 2-hour contribution to the co-operative each month. The opportunities are virtually limitless, and there is something for everyone.

If you have an idea that is not listed above, approach staff to make it happen!


STATION OPERATIONSGetting in the Door

To enter the station, go to 360 Columbia Street and press the buzzer marked “Co-op Radio.” Be patient. The operator on duty may be on-air and unable to deal with you right away. Don’t be afraid to buzz again. Eventually you will hear a voice asking who you are and what you want. Don’t be offended. If they are the operator on duty after office hours, it is their responsibility only to let in people who are authorized to use the station’s facilities. When the operator acknowledges you, you can pull the door handle and enter through the first door.

Once you are inside the first door, press the button next to the second station door and wait for the operator to open it for you. Please be patient.

Opening the Door for Others The outside door will ring on line 3/door of every station telephone. Press line 3/door and pick up the phone. Say “Hello, Co-op Radio. May I help you?” Press * * on the numeric keypad to open the door. Hang up and press the orange Rls button When the person buzzes at the inside door, the Co-op Door line will ring Pick up the phone and press the grey button marked Co-op Door Press 6 to let people inside the station.

Logging InEvery person entering the station must sign into the Security Log by the front door,

writing very clearly their full legal name and the date and time when he or she is entering. Likewise, every person leaving the station must sign out of the Security Log by clearly writing the time that he or she is leaving. A copy of the Security Log form is attached in Appendix III.

Preventing TheftIn recognition of the valuable and vital resources of our station, Co-op Radio has a

zero tolerance policy on theft. If something is taken from the station without permission and is not returned by the next business day, this is considered theft. Any form of theft from the station will result in an immediate and indefinite ban from the station. To help prevent theft, please follow these important security procedures at all time:

Do not leave doors propped open for any reason at any time. If you see an open door, close it! Doors that need to be locked will lock by themselves when shut.

Be aware of who is at the station when you are, and keep an eye on people you don’t know. Don’t let people into the building at night and on weekends unless they are programmers, on-air guests coming for an interview, or members in to pay pledges.

If you see people walking out with station property (CDs, audio equipment, microphones or office equipment), stop them! Ask their names and find out whether they have obtained permission from staff to borrow or remove the items.

If you see station equipment that has been left unsecured, put it in a safe place or lock it away and inform the Studio Technician via email or a note.

If you are the only person at the station, ensure that all doors are completely shut when you leave.

STATION OPERATIONS (CONT.)


Taking CallsWe don’t have a full-time receptionist at the station, so answering the phone is

everyone’s job! The door buzzers ring through our phone system, so answering the phone is doubly important.

When there is no receptionist on duty, callers dialing the office line (604-684-8494) will be answered by a voice message prompting them to access any number of staff and station information mailbox extensions.

Operators on duty are expected to answer all calls to the studio line (604-684-7561) and door buzzers. Please don’t let the phones ring without answering. It could be urgent, or you may be stranding someone outside. When you answer the phone, you are the voice of the station. Always answer by saying “Co-op Radio” and please be polite to our listeners and supporters. If a listener calls in with a question, try to answer it patiently and respectfully. If the caller wants information about an upcoming show, check the Listeners’ Guide. If they want a Listener’s Guide mailed to them, take down their name, address, phone number and email address and drop a note into the Membership Coordinator’s mailbox, or at least refer the caller to our website at www.coopradio.org. If they want to become a member, take the pledge and credit it toward your program’s fundraising goal! If you can’t answer a caller’s question, ask the person to call back on the office line (604-684-8494).

If a caller wants to speak to a volunteer who is not at the station, suggest that the caller try again during the time of that volunteer’s show. Under NO circumstances should you give out any volunteer’s home phone number or email address. If a caller is persistent, take a message and put it in the mailbox belonging to that person’s show.

Making CallsDuring your program, outgoing calls should be made on Studio Lines 1 and 2. Long

distance calls are blocked at the station and must be made either by charging the call to a third party number, or by using a calling card or a pre-paid phone card available at most convenience stores.

At times when your program is not on the air, outgoing calls should be made on office lines 1 and 2. Please refrain from using the station’s phones to make personal calls. We only have 2 office lines, and need them to deal with station business.

Delivering MessagesWhether received by phone or in person, messages should be placed in the

appropriate mailbox for staff and programmers. Mailboxes are located along the wall next to the front door of the station. They are organized alphabetically by show name and every show has one. Check your show’s mailbox regularly for messages and station updates.

Getting MailMail sent to the station and addressed to specific programmers and shows will be

directed to the respective programmers or shows and placed in their mailboxes.However, mail received by the station is the property of the station. CDs received at

the station by mail or delivered in any fashion, should be directed to the Music Library. The Music Library will inform programmers and shows about incoming CDs. CDs and other music or recorded materials obtained by Co-Op Radio programmers, in their capacity as programmers of Co-Op Radio, belong to the station and should remain with the station when a programmer leaves or ceases his or her activities with the station.

STATION OPERATIONS (CONT.)


Keeping CleanALL programmers are responsible for keeping the station clean. Each and every time

you are at the station, you must clean up after yourself! Cleaning supplies are kept in the closet beside the kitchen and bathroom.

There is absolutely NO smoking permitted inside the station. There is NO food or drink allowed in any of the Control Rooms, in the studio, or near any computers. If you do bring food and drink to the station, consume it responsibly at one of the large tables provided and remember to clean up after yourself. LEAVE NO TRACE.

Playing Safe

Co-op Radio is committed to providing its staff, members and volunteers with an environment within the station that is free from harassment, discrimination and in which all can feel safe and welcome. We respect the rights of all people regardless of race, colour, ancestry, place of origin, sex, sexual orientation, marital status, gender identity, family status, religion, disability, political belief, and social or economic condition. Co-op Radio will not tolerate any form of discrimination or harassment; in particular, the forms of discrimination and harassment covered by human rights legislation.

Behaviors that may contravene the station’s Safe Space policy include abusive, discriminatory or harassing behavior that demeans, humiliates, or embarrasses a person, and that a reasonable person should have known would be unwelcome is a violation of this policy. It includes actions, comments, or displays. The station has an extensive policy and protocol covering instances of this kind of oppressive behavior within the station’s doors. You can find a copy of the complete policy in the Policies binder kept underneath the Security Log alongside the Programmer Timesheets binder.

PROGRAMMING OBJECTIVES


Programming objectives reflect the overall goals of the station. As a community-based, non-commercial radio station, we give preference to live, locally produced shows and local coverage of events, whether they are musical, political, or community-based. We strive to do this while retaining our commitment to pro-feminist, anti-racist, anti-classist, anti-homophobic, anti-transphobic, anti-ageist, and non-discriminatory programming.

Much of the programming heard on Co-op Radio is simply not available through conventional media. Our main objective is to provide programming that is a progressive alternative to other media sources. We give priority to programming that:

Is produced by groups, not individuals Has local content and roots in the listening community Includes a diversity of grassroots voices Reflects emerging and underrepresented communities Is educational and inspiring Is produced live Is not for profit Promotes technical skill-sharing Respects its audience

Specific objectives for each category of programming are included below.

Programming ChangesThe station’s Programming Committee must approve significant changes in the format,

content or personnel of any program. Such changes could be considered to constitute a new program, which would then have to be approved under the same procedure as any other new program.

Public AffairsCFRO public affairs programming is aimed at specific interest groups as well as a

general audience. We provide airtime to social movements such as labour, feminist, lgbtq, First Nations, immigrant/refugee, youth, environmental, social justice and peace activists who are generally denied access to conventional media. We will not broadcast a program that reflects the views of only one person. Although CFRO does not take a unitary editorial stance on any given issue, we are partisan to the extent that our programming endeavours to cover issues and events from the perspective of progressive movements struggling for social change and taking action around shared grievances. For example, international news and features highlight the perspectives of social movements in other countries, since conventional media often ignore the views and perceptions of such movements; local stories feature the experiences and views of marginalized communities in our area, who are not likely to be represented on mainstream radio or television news. In choosing public affairs programming, we give priority to programs that:

Have direct experience with and ties to the communities and issues they represent Have a local focus and include people telling their own stories Cover topics or communities that have been denied access in other media Are not rooted in one ideology or dogma or in support of any government or religious

authority Explore many sides of an issue


PROGRAMMING OBJECTIVES (CONT.)Music

CFRO’s music programming should provide access and exposure to: Locally produced and performed music Live guests, by phone or in the studio Thematic or narrative presentations of background information and historical contexts

of music, making unusual music accessible to the non-expert. Styles and genres of music not generally available on commercial radio. Groundbreaking and innovative new sounds.

Programs devoted to commercial releases in mainstream rock, pop or urban music will not be accepted.

ArtsCFRO’s arts programming should provide exposure to local and independent artists or

performers who don’t receive much attention from other media. Our arts programming should also emphasize artistic work that has social significance or deals with contemporary social issues. We make an effort to encourage forms of art that are particularly adapted to radio as a medium, such as: radio drama, comedy, poetry, spoken word, storytelling and experimental sound.

Non-EnglishNon-English programming at Co-op Radio should constitute approximately 15% of the

station’s total programming. A Non-English program is one that is mostly presented in a language other than English. Programs presented in two languages, one of which is English, are not considered non-English programs. Non-English programs are bound by the same policies as all other programs on Co-op Radio.

The following are considerations for developing non-English programming: Relative size of language groups in our listening area. Relative rate of immigration. In particular we recognize the importance of granting

airtime to programs providing a vital service to communities attempting to cope with life in a new country.

The degree to which a community is served by existing communication channels. Where there are community centres or media available to the community, it should be considered whether or not a proposed program will provide a significant alternative to them

Content addressing the contemporary experience and culture of immigrant and non-English speaking communities in BC

No program application based on pre-recorded material or bulletins produced by any government or religious authority is acceptable.

Other Types of ProgrammingThere is no intention to develop programming in the area of sports unless it is

concerned with local sports or an alternative view of sports.CFRO does not broadcast programs that are concerned with promoting or presenting a

particular religion, or religious point of view.Programs concerned specifically with academic instruction will be allowed if they are

organized in accordance with the programming objectives outlined above.In accordance with the station’s anti-oppression mandate, Co-op Radio supports programming

initiatives by marginalized groups, particularly women, First Nations, LGBTQ and differently-abled.

PROGRAMMING APPLICATIONS


New program applications should be submitted to the Program Co-ordinator, who will deliver them to the Programming Committee for approval. Only complete program applications will be assessed by the Programming Committee.

A complete application for a new program includes: 2 copies of the completed new program application form (Appendix II) 2 copies of a 30-60 minute audio demo on cassette, CD or minidisk Completed Volunteer Information forms for all applicants

New program applications must meet the following guidelines: The show fits in with the programming objectives of the station as mentioned above. The show satisfies a programming need of the station, or offers unique programming

not currently available on the air. The audio demo is satisfactory as to format and content, technical presentation, and

strength and experience of the programming group. The applicants are organized as a collective, and all members of the collective are Co-

op Radio members who will have taken a Programmer Policy Training, signed a Volunteer Commitment and Programmer Contract, and completed any necessary technical training before the show goes to air.

Completed program applications will be presented to the Programming Committee by the Program Coordinator. The Committee will assign at least two members to review the application. These members will report back at the next Committee meeting with a recommendation. The program group whose application is being considered may be invited to attend the meeting to discuss and answer questions that the Committee might have, and to respond to any concerns raised by the report back.

The Committee may, by consensus decision, choose to: Approve Reject Make suggestions and invite re-application

An approved program application cannot go to air until an appropriate time slot is available. Applications, once approved but not yet on-air, will be placed on a waiting list.

If the Programming Committee rejects an application, it will advise the applicant in writing with reasons for the decision. Once an application is rejected, the Programming Committee will not consider a new application from the applicant for six months from the date of rejection. Decisions of the Committee may be appealed to the station’s Board of Directors.

Once on the air, new programs will be on probation for 3 months. Within this three month period, the Programming Committee will monitor the new program and decide whether it will be given regular program status, have its probation extended or be cancelled.

Programmers involved with new programs must complete a Station Orientation and Programmer Policy Training, and at least one member of the collective must complete Control Room A training and certification, before the program can go to air.

PROGRAMMING PROCEDURES


Log SheetsDue to CRTC and station policy requirements, the station must keep track of who

operated for the show, which programmers produced the show, what time station IDs were given, when PRAs were played and what music was played. All program operators are required to fill out a log sheet in compliance with these obligations. Co-op Radio maintains a commitment to 35% Canadian music content and our log sheets must reflect this. Failure to complete a log sheet will result in a reminder notice from the Program Co-ordinator. If, within one week of receiving a reminder notice, a show does not submit a log for their program, the show may be suspended for 3 weeks. If, after being suspended, the show still fails to submit a log, the show may be cancelled.

Remember to fill out ALL sections of your program’s log sheet, including the equipment count and list of who was at the station during your show. There is a copy of the log sheet in Appendix I.

Pre-recorded Announcements (PRAs)Station policy requires that at least one PRA (station promo, program promo or special

event promo) be played during each and every show. Please refer to the PRA sheet, which lists the PRAs that are required to be played on each show. An example can be found in Appendix II.

PRAs are found on CDs in the on-air control rooms. The colour of the CD’s label identifies each category of PRA:

Station IDs/Stingers (blue) – a general promotional announcement for Co-op RadioMembership Promos (green) – encourages listeners to become Co-op Radio membersShow Promos (purple) – promote the station’s different programsSponsorships/Co-sponsorships (orange) – announcements for special events or campaigns

promoted by our sponsors; acknowledgements of our sponsors’ support for the station. These PRAs MUST be played as scheduled on the PRA sheet in each Control Room!

Special Programming/Special Events (red) – let our listeners know about upcoming special programs, station events or grassroots community events endorsed by the station.

Show Themes (brown) – music played regularly at the start or end of a certain program.

Every program should have a pre-recorded Show Promo, which other shows can play to promote the program. You can request that a PRA be produced for your show or for a special event by submitting a PRA request form to the station’s volunteer Production Committee. Contact the Program Co-ordinator for more information and guidelines.

Public Service Announcements (PSAs) CFRO is a public service information source. Events listings and public service

announcements are important aspects of our programming. Such announcements can be forwarded to the attention of programmers by staff; however it is ultimately at the discretion of individual programmers whether or not a public service announcement or event listing is aired.

There is a PSAs folder in each on-air Control Room. Any PSAs (promotional material for upcoming events or notices of public interest) that arrive by email or mail to the station are filed in these folders according to date. Make it a habit to check the folders for information of interest and ensure that the next show can find them as well.

Announcements from commercial or retail establishments or for personal individual gain are not public service announcements and will not be tolerated. Our station’s mandate is to provide information, not commercial advertising.

PROGRAMMING PROCEDURES (CONT.)Station IDs


Programmers must announce CFRO’s call letters, station name and FM frequency at least once every half-hour. The time of each ID should be written on the program’s log sheet.

Music Many programmers choose to bring their own music to broadcast during their shows.

However, Co-op Radio’s music library is also available for use by all Co-op Radio programmers, volunteers and staff.

The upstairs library consists of rows of CD cabinets near the door to the station. The basement library contains older CDs, vinyl, and cassette collections. CDs in the upstairs library are sorted alphabetically by artist name, starting with the top left drawer. You must re-file the CDs you use when you are finished with them. The drawers are unlocked and available to programmers at all times. Library users are encouraged to make note of what is available in the library and then retrieve CDs for use on the day of their show.

Access to the basement library is restricted. Contact the Music Department or the Program Co-ordinator to find out how to access material from the basement library.

ABSOLUTELY NO material from either music library is allowed to leave the station without written permission from the Program Co-ordinator. The upstairs library is monitored by surveillance camera, so STAFF WILL KNOW if you break this rule.

A listening post with CD and cassette players is available for library users.

Program LengthTo facilitate smooth transitions between programs and to allow for station identification

and promotional PRAs, half-hour programs should run for 27 minutes, 1 hour programs for 57 minutes, 90 minute programs for 87 minutes etc., leaving 3 minutes at the end of each program for transitions to be made. Each show must end at least three minutes before the next show’s start time to facilitate transitions, unless otherwise agreed upon by both shows.

Going overtime means going past the scheduled time at which the program is to end, regardless of when the show began or whether there is a show to follow. If a program goes overtime on more than 3 occasions in one 12-month period, the program may be suspended. For a first offence, programmers making the complaint will be asked to speak with the offending programmers to resolve the issue directly. For a second offence, a note will be emailed to the offending programmers and placed in the program’s mailbox at the station by the Program Co-ordinator. For a third offence, the Program Co-ordinator will deliver another note and advise the Programming Committee. The fourth time, the Programming Committee will be required to take action. Depending on the seriousness, the program may be suspended for a period from one week to three months. On a fifth offence in one 12-month period, the Programming Committee will suspend the program for a minimum of three months.

Pre-EmptionsAll regular programming is pre-empted for on-air fundraising programming during the

Spring and Fall Member Drives. Programmers wishing to broadcast a special fundraising program during a Member Drive, or to be pre-empted during the Member Drive, must submit a request to the Program Co-ordinator at least 8 weeks in advance. Programmers shall be informed at least one month in advance if their show is going to be pre-empted during a Member Drive.Applications for a pre-emption outside of a Member Drive should be made in writing to the Program Co-ordinator and approved by the Programming Committee.

PROGRAMMING PROCEDURES (CONT.)


AbsenteeismIt is the sole responsibility of programmers to be on time for their programs. Station

staff and other programmers are not responsible for filling in for programmers who fail to show up for their shows. However, all programmers are responsible for ensuring that there is audio being broadcast from the station when they leave, by placing a musical or public affairs CD on continuous play/repeat.

In the case of a planned absence, it is the responsibility of programmers to find a suitable replacement for their shows. The Program Co-ordinator must be advised of all planned absences and fill-ins. Failure to do so may result in suspension or cancellation.

All unplanned absences will be investigated and documented by the Program Coordinator, who will, in turn, inform the Programming Committee. In the case of unplanned absenteeism without cause, the Program Co-ordinator will send a letter of warning to the programmers involved. In the case of a second failure to provide a program in a period of six months, the program will be suspended for a period of four weeks. After a third absence in one six-month period, the program will face suspension or cancellation at the discretion of the Programming Committee.

Reporting Technical ProblemsEquipment failure should always be reported to the Studio Technician as soon as a

problem is noticed, via a note in the Studio Technician’s mailbox, email or a phone message.

Emergency ContactsEmergency contact numbers for staff are located in both Control Rooms. DO NOT use

these contacts unless there is an emergency: fire, flood, power failure, and acts of vandalism, theft or violence. In case of an emergency, staff and the front desk of the Sunrise Hotel adjoining the station should be informed immediately.

Rights To ProgrammingProducers of programming on Co-op Radio have the right to copy their programming

for their own use or that of their guests and listeners. Listeners should be encouraged to make a special donation to the station in exchange for copies of programming. Programming produced using equipment or facilities at Co-op Radio cannot be sold to another broadcaster or organization without prior negotiation with the station’s Finance Committee.

Co-ordinatorsShows with multiple or rotating hosts and producers are required to designate a

responsible person to act as a Co-ordinator with whom the Programming Committee can liaise.

OperatorsAll On-Air Operators must be trained and certified to operate out of the control room(s)

they are using. The On-Air Operator is responsible for reporting any broken or faulty equipment to the Studio Technician. No equipment may be moved or altered or re-patched without the permission of the Studio Technician or Program Co-ordinator.

A program’s On-Air Operator is responsible for the security of the entire station, studio and offices during the program’s timeslot each week. The On-Air Operator must ensure that everyone at the station has signed the Security Log by the front door.

Certified On-Air Operators may be eligible to receive a keycard to provide access to one or more of the Control Rooms or to the doors of the building. This card is not transferable, and cardholders are responsible for the actions of anyone they lend or give their cards to.EQUIPMENT AND FACILITIES


All On-Air Operators must be trained and certified to operate out of the control rooms they are using. Broken or faulty equipment must be reported to the Studio Technician.Programmers, members and guests should not exploit station facilities for personal use.

Control Room AOnly certified operators may operate from Control Room A. A certified Control Room A

operator is one who has completed Co-op Radio Programmer Policy Training and the Control Room A training course, and has passed a certification test. If a non-certified programmer is found to be operating from Control Room A without special permission from staff, their show will be immediately suspended for 4 weeks.

Control Room BOnly certified operators are allowed to use the equipment in Control Room B. A

certified Control Room B operator is one who holds a current membership with Co-op Radio, has received training in the use of the equipment in Control Room B and has been designated by the Training Committee and/or the Studio Technician to be included on the list of Certified Control Room B operators.

Only certified operators who are current programmers or artists-in-residence at Co-op Radio will be given unrestricted access to Control Room B. All other certified operators will need to make arrangements with the Studio Technician for access. Non-certified operators can make special arrangements for use of Control Room B as a studio or meeting space, on the condition that they do not tamper with any of the equipment in the control room.

In the unlikely situation where a person uses Control Room B without the above conditions being met, a report will be made to the Staff collective, who will decide what action is to be taken based on the following guidelines:

The first occurrence will result in an immediate 1-month suspension from the station A second occurrence will result in a 6-month suspension from the station. A third occurrence will result in an indefinite ban from the station’s premises.

Appeals to decisions of staff may be made to the Board of Directors.

Control Room COnly certified operators are allowed to operate from Control Room C. A certified

Control Room C operator is one who is a current member of Co-op Radio, has completed Programmer Policy Training and the Control Room A training course, and has passed a certification test.

StudioProgrammers may use the studio space located between the control rooms for live

guests, musical performers, or other live elements needed for their show. Access to the studio is made available through a key kept in Control Room A. Use of the studio is managed using a schedule posted on the studio door. Programmers can make special arrangements with staff for the use of the studio as a space for pre-recording or meetings.

Reserving the Control Rooms and StudioControl Rooms A and C are used for broadcasting throughout the day. However, if you

are a certified operator and want to use a Control Room while it is not in use (for example, to pre-record a program or phone interview), you can sign up for a shift using the schedule posted on the Control Room door. Remember that our on-air broadcasts and training workshops are of prime importance. Production work follows in importance to both on-air broadcasting and training workshops.EQUIPMENT AND FACILITIES (CONT.)


Portable Equipment CFRO has several pieces of portable audio recording equipment that can be made

available for the use of programmers. Only the Program Co-ordinator or Technician may lend out portable equipment belonging to the station, though any staff member can receive returned portable equipment and place it in the Technician’s office.

Only Co-op Radio members may borrow portable equipment from the station. Borrowers may be asked to complete specialized training before being allowed to sign-out certain pieces of equipment (ie. Minidisk training for the Minidisk recorder, DAT training for the DAT recorder). Borrowers must complete a Portable Equipment Sign-Out form before equipment is loaned out. This form must list all of the items being borrowed and must also specify the date on which equipment will be returned. The form must be signed by the borrower and by the Program Co-ordinator or Technician before any portable equipment leaves the station.

Borrowers should arrange with staff for a specific time to return equipment to the station on or before the return date listed on the Sign-Out form. If equipment is returned after the date specified on the Sign-Out form, borrowers might have their borrowing privileges suspended or revoked, according to the following procedure:

First offence: verbal warning Second offence: borrowing privileges suspended for 6 months Third offence: borrowing privileges permanently revoked Upon the return of borrowed equipment, staff must complete a Portable Equipment

Return form on the back of the Sign-out form, which will be kept in the Technician’s office. If equipment is damaged or lost while on loan, borrowers will be liable for costs associated with the repair and replacement of items, as determined by the Technician. Liability shall not exceed the costs incurred by the station in replacing or repairing borrowed equipment. Failure to repay the station for a requested amount of expenses incurred in repairing or replacing equipment that was damaged or lost while on loan will result in a borrower’s privileges being immediately and permanently revoked in a written letter that will be kept on file.

Co-op Radio reserves the right to request a copy of any broadcast-quality recordings made using the station’s portable equipment. Borrowers will not be responsible for the cost or labour involved in making such copies.

Decisions made by staff with regard to the implementation of this policy may be appealed to the Board.

Rental of Studios and EquipmentCo-op Radio’s studios and equipment are available to all Co-op Radio programmers

and members who have taken appropriate training. Use of the station’s studios and equipment is free of charge for all programming-related, independent, and non-commercial projects. For other projects, fees may be charged upon negotiation with the Finance Committee.


EQUIPMENT AND FACILITIES (CONT.)

ComputersTwo public access computers (one iMac, one PC) are available for preparing and

working on station programming. Here is the Code of Conduct for the Public Access Computers at Co-op Radio:

The on-air operator reserves the right to refuse access to the computer terminals for any reason whatsoever.

All users must have a current Co-op Radio Membership Card. All users must sign in and out on the station security log and computer sign in sheet. No food or drink is permitted near the computers. No copying of existing software is permitted. No selling of any disks and/or software is permitted. Computers may be used for ONE HOUR at a time, for a total of TWO HOURS PER

DAY. The two one-hour sessions must be separated by at least one hour. This is a public use computer space. Please respect the privacy of others by not

viewing their screens. Co-op Radio does not condone classist, sexist, racist, homophobic, transphobic,

ageist, or other discriminatory behavior. Please refrain from viewing material that may be offensive to others.

It is prohibited to use this station for illegal, actionable or criminal purposes or to seek access into unauthorized areas. Infringement of copyright is prohibited. We assume no responsibility for any direct or indirect damages arising from the use of its connection to Internet services.

Please note that a broad range of material is available over the Internet. We do not take responsibility for its accuracy, timeliness, or appropriateness.

You must sign up to use the computers. If you are not signed up and someone else signs up in the current timeslot, you must leave the computer immediately and without complaint.


ON-AIR GUIDELINES, POLICIES & LAWSThese guidelines are designed to inform and empower Co-op Radio broadcasters to

make decisions about what material to broadcast over the airwaves. Radio stations are responsible for everything broadcast over their licensed frequency. All broadcasts and, by agreement with the station, all programmers are bound by certain limitations proscribed by laws originating with The Criminal Code, Common Law, the Broadcast Act, regulations respecting radio broadcasting and various other CRTC policies. There are also internal station policies that influence what may be said or played on the air.

The station’s primary policy regarding programming is to put information into the hands of programmers, allowing them to make informed and responsible decisions regarding programming for themselves, the co-operative and the listening public.

The station respects the right of any member of the public to tune in and listen to Co-op Radio broadcasts. In much the same way as we strive to create a safe space within the walls of the station for marginalized groups and individuals, likewise we work to create this kind of safe space on the airwaves.

Given the nature of society’s power structures, the needs and rights of specific, self-identified communities are often incompatible with the mainstream’s domination and control of the “public interest.” Much of the self-expression heard on community radio is predictably objectionable or offensive to those who do not identify with the roles played by community broadcasters. The result is complaints, and due to the public nature of radio as a regulated medium, a need to process and resolve them. These guidelines offer information you will need to protect yourself and your program from complaints and legal imbroglios, as well as details about how complaints concerning on-air broadcasts will be handled by the station.

For additional resources, check the CRTC’s website at crtc.gc.ca or the NCRA’s CRTC page: www.ncra.ca/CRTC/

Airing Internal CorrespondenceCo-op Radio’s broadcast mandate does not include airing the internal politics of the

station. Internal correspondence refers to any form of correspondence directed to programmers regarding the policies and procedures of the station. This is different from correspondence that is appropriate for the entire membership and general public. To help ensure a high standard of programming at the station, programmers are requested not to air any internal Co-op Radio correspondence. Examples of such correspondence include disciplinary letters from the Programming Committee or from the Board of Directors.

If a programmer receives any form of correspondence enforcing the station’s policies and reads that correspondence over the air, s/he will face an immediate suspension of 3 months. If the programmer is already facing a suspension as a result of the correspondence that was issued to them, they will face an additional 3 months’ suspension. This policy refers specifically to disciplinary and internal correspondence and does not include open discussion and debate on issues occurring within the station that are relevant to the wider community.


ON-AIR GUIDELINES, POLICIES & LAWS (CONT.)

Obscenity and ProfanityOn-air hosts should avoid swearing and sexually explicit content. In the case where

obscene or profane language is broadcast as part of a musical or pre-recorded selection, hosts should warn listeners and make an effort to contextualize offensive language within the realm of artistic practice.

It is illegal under Canada’s Criminal Code and the regulations respecting Radio Broadcasting to broadcast obscene material. Obscenity is defined in the Code as sexual content that is “degrading or dehumanizing” and poses a “significant risk of harm to women and children.” Since the definition of obscenity is vague, it is the programmer’s responsibility to judge whether material that makes reference to sexual activities should be aired and whether some audience members would take issue with the material, and object on the basis of the law. Distinctions are often made between that which is gratuitous and that which has redeeming qualities, be they artistic, educational or social in their relevance.

The language used in depictions and representations of sex has considerable bearing on the issue of obscenity, since much of the vernacular has at times been considered as profanity. According to the Criminal Code, obscene matter must contain some reference to sex; therefore, it is not obscene to broadcast swear words that do not refer directly to sex. However, profanity is also prohibited under the regulations respecting Radio Broadcasting.

Complaints about obscenity and profanity in artistic and musical pieces have frequently centered on the inappropriateness of the language used, the tendency towards abusive comments, and the interpretation of materials as racist, sexist or homophobic. Formats most often singled out by complainants have been hardcore, rap/hip hop and presentations of artistic pieces such as poetry and prose.

In many situations, making it clear to listeners that the material being presented is an artistic piece is required. Being pro-active in explaining the merits of certain material to listeners may avert the future need to explain and justify actions with the CRTC or the courts. No obscene or profane content in any context should be broadcast during hours when children are likely to be listening.

Hate Propaganda and Abusive CommentsThe use of sexist, racist, homophobic or ableist remarks or materials is prohibited and

may result in immediate suspension or cancellation of a program.The regulations respecting Radio Broadcasting state that, “A licensee shall not

broadcast any abusive comment that, when taken in context, tends to or is likely to expose an individual or a group or class of individuals to hatred or contempt on the basis of race, national or ethnic origin, colour, religion, sex, sexual orientation, age or mental or physical disability.” It is illegal by the Canadian Criminal Code to advocate genocide or incite hatred towards an identifiable group.

It is important to remember that you are responsible for any guests and the remarks that they make.

Any material that could be perceived as likely to expose persons to hate, or perceived to be abusive must be thoroughly contextualized.


ON-AIR GUIDELINES, POLICIES & LAWS (CONT.)Balance of Opinion

In 1987, Co-op Radio received complaints about its program Voice of Palestine. The complainant argued that the station’s programming was “unbalanced” with respect to issues of Middle East relations, specifically between Israel and Palestine. The station argued that its mandate is to provide a voice to under-represented groups and viewpoints and, in effect, provide balance to a broadcast system that, as a whole, is consistently unbalanced. The situation resulted in the CRTC issuing a policy statement on the requirement to provide balance. According to the CRTC’s Public Notice 1988-161, balance in the broadcasting system should be maintained in the following manner:

Responsibility for balance rests with each broadcaster and the programming it offers. Not all programming must be balanced, only that relating to matters of public concern. The need for balance increases with issues that are increasingly controversial. Individual programs need not be balanced in and of themselves, but the overall

programming of the licensee should be balanced over a reasonable period of time. It is the broadcaster’s responsibility to decide whether an issue is a matter of public

concern and to determine the manner in which balance is to be achieved. These requirements do not mean that the station must represent all sides of every

issue all the time. What the CRTC requires is that a regular listener to a single station would be exposed to more than one opinion on important subjects. In reality, this implies a level of program coordination and control that does not exist within the model of community radio. In approaching an issue of public concern, the station would have to be aware of any programming initiated in this area and ensure that other programming was taking place, which balanced the viewpoints of the original programming. This approach involves a centralized model of programming that contradicts the decentralized model used by Co-op Radio and many other community stations.

Since the station provides access to many groups and individuals and exercises no editorial control over the programs on the air, diversity is a defining factor in our broadcasting. In a decision regarding Co-op Radio’s license renewal following the complaints about Voice of Palestine, the CRTC made recommendations as to how the station could fulfill its balance obligation. These suggestions included:

Regular announcements about the community nature of the station and how applications are processed and approved

A regular listener reaction or “soapbox” program Providing airtime to a complainant Searching out alternative viewpoints Station production of specific programming designed to achieve balance.

While programmers are encouraged to consider the principle of balanced coverage when undertaking programming on issues of public concern, the station only deals with matters of balance in response to specific complaints. Given the diversity of programming at the station, an issue of significant public concern is likely to be covered from a variety of viewpoints during a reasonable amount of time. If a complaint occurs about a particular area of programming, the Programming Committee will consider whether additional actions are necessary to fulfill the legal requirements conferred upon the station by the CRTC’s interpretation of balance.

The balance requirement is secondary to the station’s policy prohibiting sexist, racist, heterosexist, ageist or ableist remarks, as well as the prohibition of abusive comments. There is no requirement to balance points of view that promote the empowerment or right to self-determination and self-expression of oppressed people.ON-AIR GUIDELINES, POLICIES & LAWS (CONT.)


Libel, Slander & DefamationThough freedom of speech is unquestioned by the Broadcast Act and our license

directs us to present views not often heard on other media outlets, the station must abide by laws and other rules concerning the presentation of these ideas. Otherwise, we could be subject to a costly lawsuit.

Libel is a damaging untruth, regardless of intent. Libel and slander are defamatory statements. A defamatory statement is:

Calculated to lower someone in the estimation of her/his peers, or cause that person to be shunned or avoided, or expose her/him to hatred, contempt or ridicule, or convey an imputation on her/him disparaging to her/him in her/his office, profession, calling trade, or business.

Untrue.A true statement of fact is not actionable even if it is defamatory, but truth is often

difficult to establish. To protect yourself, your show, and the station against a libel suit, remember: Your facts must be correct and you must be able to prove them.

If someone can prove damage to him or herself, or his or her business or reputation, on the basis of your false information, you and the station could be in trouble. In determining whether a particular statement is defamatory, the courts will not necessarily rely on the meaning intended by the person who made the statement, but will take into account the meaning that was understood by the people hearing it. Everyone who participated in disseminating a defamatory statement may be sued. To avoid the risks of defamation, remember these guidelines:

If you put an article on your show that was written by someone else and defames a person, the broadcaster and the station are as culpable for defamation as the person who wrote the original article.

A person can be defamed even if they are not directly named, if someone listening is able to identify them through the statements being made.

The honest belief that what you said is true is not defensible under law. It’s also not defensible to have made an “honest mistake” in good faith. Defamatory remarks happen most often in commentaries or editorials.

Consideration must be given to how material being presented will be received by the parties referred to. Opinion pieces should be avoided unless they have been discussed and properly planned out. Any material offering commentary or judgements on specific individuals or groups must be prepared in advance and be well thought out with respect to laws regarding defamation.

Given that libel, slander, defamation and other contraventions of the Broadcast Act can put the station at serious risk of bankruptcy as a result of a lawsuit and can also jeopardize our CRTC license, the following steps will be taken for circumstances when a programmer has been found to commit libel, slander or to have contravened the Broadcast Act:

The program will be placed on probation for five years. If anyone involved with the program commits libel or slander, or contravenes the Broadcast Act on the air during this probationary period, the program will be cancelled.

Programmer(s) who commit libel or slander or contravene the Broadcasting Act will be immediately suspended for 6 months from ALL programming at the station and may only be permitted to go on the air during this time to offer an apology, if such action is deemed appropriate in remedying the situation.

If the station is sued and required to pay damages as a result of slander or libel, the programmer(s) responsible will be expected to pay the deductible charge on CFRO’s liability insurance coverage.

ON-AIR GUIDELINES, POLICIES & LAWS (CONT.)


Elections & ReferendumsSponsored or contracted airtime is not available for political endorsement. This does

not apply to political or social movements that are not vying for government power. If programmers choose to give airtime to an election or referendum campaign, it is their legal duty by CRTC regulations to give “equitable” time to all accredited political parties and rival candidates represented in the election or referendum. “Equitable” airtime means giving all candidates and parties some coverage (not necessarily equal coverage).

Election or referendum coverage must be oriented toward issues, not personalities or political parties. It must be interactive, balanced and provide equal opportunity. It is not meant to allow free airtime to candidates.

It is legally forbidden to broadcast a program, announcement, or comments of a partisan nature on the day before or the day of an election or referendum in the area we serve.The broadcast of election results of a riding before the polls close is also prohibited.

It is also against the law for a candidate in an election to host a radio program while his or her election campaign is underway. Programmers who are also candidates cannot carry out any on-air duties during the election period – the time the election is called through to the polls closing.

Anti-Government RemarksIt is illegal to broadcast any remark that advocates or teaches the use of force to

change the government of Canada (Criminal Code, section 60-4). This “seditious libel” law has rarely been used in recent history, with the notable exception of the 1970 FLQ crisis in Quebec, and does not apply for any sort of criticism whatsoever of the existing system of law, courts constitution, etc., as long as violent overthrow is not mentioned.

False or Misleading NewsThe Radio Regulations prohibit the broadcast of any false or misleading news. Artistic

works that imitate or recreate actual events must be contextualized in order to make the fictional nature of the work clearly apparent to listeners.

Trial Coverage and Media BansThe need to ensure a fair trial in the courts can come into conflict with the station’s

freedom to broadcast. When a legal matter is under the jurisdiction of the courts, no one should interfere with the court’s proper handling of the case. This does not mean that we cannot report and comment on a trial once it is under way, it just means we have to be careful not to prejudice the trial or attempt to influence the results. Media bans mean that no information about a case can be broadcast.

Food, Drugs and Medical AdviceThe Regulations Respecting Radio Broadcasting prohibit the broadcast of a

recommendation for the prevention, treatment or cure of a disease or ailment unless the CRTC and appropriate government bodies have approved the script of the recommendation.

FundraisingA broadcaster cannot appeal for donations for an organization unless it is:

A church or religious body permanently established in Canada and serving the area covered by the station

A recognized charitable institution or group A university A musical or artistic organization whose principle aim is not for profit.


ON-AIR GUIDELINES, POLICIES & LAWS (CONT.)Copyright

You cannot re-broadcast anything on Co-op Radio that you have recorded from another radio station or from films and videos without seeking and gaining the permission of the owner of the copyright. Infringement of copyright carries stiff penalties. Books, articles and other printed materials are usually copyrighted. Written permission must be obtained from the author or publisher to read these on the air. After 50 years, written material comes into the public domain and permission is not needed.

Music copyright is covered by the station’s payment of fees to SOCAN, the Canadian copyright group. Reciprocal agreements exist between SOCAN and other countries and their copyright groups. You do not need to obtain permission to air musical recordings, but you must record the name of the artist and song title on your log sheet.

PermissionRegulations Respecting Radio Broadcasting prohibit the broadcast of any person’s

comments, live or taped, without that person’s permission. If you are taping an interview be sure to inform the person they are being taped. If you are using an open phone line, be sure the person knows that they are on the air!

When taping an open session (lecture, speech, panel, etc.) BE CERTAIN that everyone present, especially the presenters, know the meeting is being taped for broadcast. It is a good idea to get individuals to sign a waiver allowing the material to be broadcast by the station, held in the archives for future broadcast and possible reproduction.

Open Line ProgrammingOpen line programming means putting listeners on the air via telephone. This format of

programming involves listeners in an open forum, allowing for a wide variety of opinion. However, open line programming can also be difficult to control and may put the station at risk.

Since programmers and the station are responsible for everything broadcast over the air, callers to an open line program are no different than in-studio guests with respect to what can and cannot be broadcast. Danger lies in the chance that callers may make remarks that contravene the laws and policies concerning libel and slander, abusive and hateful comments, or obscenity and profanity.

Guidelines for open line programming: Topics should never encourage comments that are prohibited by law, broadcast

regulations or station policy. All participants, especially guests, should be familiar with these guidelines. Callers must be screened before being put on the air. This means that the call must be

answered off-air and the intent of the caller must be questioned and confirmed as being legitimate with respect to the intent of the program.

Programmers should be prepared to take immediate and appropriate action, if callers make prohibited comments, by interrupting the caller or disconnecting the call. These actions could be used in conjunction with a response to the caller’s comments and a statement to all listeners that such comments are prohibited.

Unless the program is explicitly directed to a specific group and specific callers are targeted, a variety of perspectives should be allowed on issues of public concern.

Be aware that organized groups of callers may try to turn the program into a vehicle for the presentation of one point of view.

All participants should be treated fairly and with respect. Programmers should not give advice in areas beyond their expertise.

COMPLAINTS


The Rights of ListenersIt is the right of any member of the listening public to file a complaint against the radio

station about what is broadcast and to see that complaint processed in a formal and public manner.

Complaints may be communicated directly to the station or via another body such as the police, the CRTC or a representative, such as a lawyer. If it is directed to the station, the complaint may be informal, like feedback or criticism, or formal, demanding further action. If a complaint is directed through a third party, it can generally be assumed to be formal. If a complaint is to be considered formally, it must be accompanied, either at the time of broadcast or during follow-up, by a name and a phone number or address.

If a law has been or is perceived to have been broken, the complainant is in a position to take action through the courts. The complainant would, probably with legal counsel, file a suit against the station or individuals involved if the issue is defamation. In the case of a law respecting obscenity or for example election coverage, the complainant would likely go through the CRTC or, though considerably less likely, through the police.

The Responsibilities of ProgrammersAs a community station we encourage feedback and participation from our listening

audience. It is your responsibility as a programmer to acknowledge complaints, to ascertain whether or not they are formal, to provide a reasonable justification for the material that provoked the complaint, and to work toward a resolution of the complaint.

All formal complaints must be forwarded to the Program Co-ordinator. If a complaint is dealt with effectively and the listener is satisfied, the issue can be resolved internally and risk for the station is minimized. General considerations:

Always be prepared. Never broadcast material that hasn’t been previewed or planned. Give due consideration to material that could be considered objectionable Seek advice from other programmers or the Program Co-ordinator regarding

provocative material. Be prepared to justify and contextualize anything you say or play. Remember that you and the station are responsible for everything that is broadcast.Guidelines for dealing with complaints: Be polite. Assure the complainant that their criticism is being taken seriously. Be non-confrontational. Try to diffuse the anger or frustration that motivated the

complaint. Avoid engaging in gratuitous debate. Present your reasons for having aired the

material in the way that you did simply and clearly. You can apologize for offending the listener without apologizing for what was played. You can acknowledge the complaint on air and present your justification to all your

listeners. Explain what the material is about and why you think broadcasting it is important. Do NOT, in any way, take advantage of your position on the air by engaging in a one-sided debate or insulting the complainant or their position.

Encourage feedback. Opening the phone lines may provide for input from people who want to express their opinions on the topic. If the material broadcast is controversial, there will likely be a diversity of opinion.

If the complainant wants to take further action, document the complaint and complainant. Forward this information to the Program Co-ordinator and encourage the complainant to contact the Program Co-ordinator directly.

If the complainant is abusive or threatening, you are not obliged to continue speaking with him/her. First warn them that you will not continue talking with them if they are abusive. If they continue to be abusive after this warning, you may hang up.

COMPLAINTS (CONT.)


The Responsibilities of Programmers: ContextualizationAs the airwaves are public property, due consideration must be paid to how listeners

are hearing the material broadcast, in response to how it was intended. The contexts in which a given broadcast is heard may vary greatly. Broadcasters should consider the fact that material being presented could be received by anyone with a radio, thus opening a multitude of possible interpretations and understandings of the material being presented. How and when materials are heard, as well as what they are and why they were broadcast, have an impact on decisions regarding whether the materials are suitable for broadcast on the public airwaves. Hence, context is often the critical factor in determining whether a given broadcast is within the limits of the law and other rules governing radio broadcasting.

The context of radio programming, how materials are presented or contextualized, is the responsibility of the programmer. While the station as a whole is ultimately responsible for everything broadcast, the primary responsibility for the impact of how material is presented lies with the programmer.

Context has been central to the interpretations made and precedents set regarding complaints about controversial programming. Thus far, the onus has been on radio stations to justify what material is played, and when and how it is presented. With respect to controversial programming, the question, “Was the material adequately contextualized?” is frequently asked. Context is the framing of material to ensure that the meaning and intent of the material is established, clear and, hence, not open to misinterpretation, or at least less likely to be misinterpreted.

The following is a list of things to consider when thinking about the context created by a program what context it is heard in.

Time of Day - This bears significant impact on who is listening and what impact broadcasts will have. Some material is considered appropriate for broadcast, but not for children. Examples include the use of profane language, depictions of violence and descriptions or representations of sexuality.

Target Audience - The station is mandated to provide a service for groups and individuals who are under-represented in the mainstream of our society. Conflicts can arise between this mandate and listeners who do not identify as the “target” audience but are tuning in anyway. Programmers targeting their broadcasts to a specific audience should be aware that anyone with a radio is in a position to tune in. Comments or materials presented may be in context, understood and appreciated by members of a target community, but misinterpreted or offensive to listeners who do not identify with that specific culture or group. Programmers are not required to contextualize broadcasting for listeners who may object to the existence of a specific program (for example, a lesbian program) or to the issues and concerns represented in the interest of that group or movement.

Warnings – One solution for programming controversial material is to use warnings before, during and after the program, to inform listeners of the potentially objectionable nature of the material being presented. Warnings give listeners an opportunity to tune out material they may find offensive. However, warnings may also have the opposite effect, making listeners, including those who will likely object, tune in more closely; and they may degrade material, apologize for it, or add an element of shame.

Thematic Programs – These include a central topic for the program or segment reinforced by elements such as commentary, reportage, music and interviews that help define and explore the theme. Thematic programming can provide adequate context for materials that could be considered objectionable by buffering the material with explanations, other perspectives and background information that highlights the importance of playing the material.

COMPLAINTS (CONT.)


The Role Of The CRTCSince the CRTC draws its authority from the Broadcasting Act and has the public

responsibility to regulate broadcasters using the public’s airwaves, the activities of the CRTC are on the public’s behalf and reinforced by the legal system.

The CRTC is required to process formal complaints made by members of the listening public. The CRTC files details of complaints, including all correspondence, and maintains them as part of the licensee’s public file, to be revisited at the time of license renewal. License applications (for new or renewed licenses) are the most formal and public of the CRTC’s interaction with individual licensees, involving publication of the process and salient features of the application, and in some cases public hearings. Licenses are awarded in varying durations, most commonly two to seven years.

Outside of the applications procedure, regulation is for the most part limited to investigations of complaints from the listening public. Part of the CRTC’s role as the federal regulator is to investigate complaints and take appropriate actions. The standard CRTC process for dealing with complaints is as follows:

The CRTC obtains a written copy of a complaint and forwards this to the licensee The CRTC asks the station to respond to the complaint, with a copy to the CRTC If warranted, the CRTC will request audio or a transcript of the broadcast in question The CRTC analyzes the response and, if requested, the transcript. They may request

more information or clarifications from the station, especially with respect to station policies governing the relevant aspects of broadcasting highlighted by the complaint

The CRTC responds to the complainant with a copy to the station The complainant may pursue the matter further, involving more letters and responses

as outlined above.All relevant documents are kept as part of the station’s public file and may or may not

come into play when the station undertakes a license renewal.In analyzing programming in response to complaints, the CRTC tends to fall back on

certain criteria in determining the acceptability of the broadcast in question. While most criteria are rooted in the Broadcast Act (and thus legally binding), they also tend to be vague and open to interpretation. The CRTC draws on previous experiences and interpretation in its deliberations as to how to deal with the complaint and what actions, if any, to take with the radio station either at the time of the complaint or during license renewal. The most common of these criteria are the requirements for broadcasting that is of “high standard” and “balanced with respect to opinions expressed.”

In its correspondence dealing with complaints, the CRTC has frequently referred to, though never really defined, the “high standard” references of the Broadcasting Act.This is one of the few references to actual programming in the Broadcast Act: “The programming provided by each broadcaster should be of high standard.” In the past, this has been one of the only criteria used in evaluating broadcasting. Does the programming conform to the Act? Is it of high standard? Since “high standard” is extremely vague in itself, the interpretations of specific complaints are more informative. Unfortunately, these interpretations tend to vary greatly, offering no solid basis for interpretation of “high standard” in of itself.


COMPLAINTS (CONT.)The Role of the Station

In most cases, it is in the interest of the station to keep complaints out of the domain of the courts and the CRTC. While some issues may be worth taking a stand on, arguing complaints may be time-consuming and expensive, draining the station of financial resources and or resulting in the suspension of our broadcast license.

Complaints about Co-op Radio’s on-air broadcasts should be directed to the Program Co-ordinator. Complaints can be made by handwritten or typed note, through email, in person or by phone. The Program Coordinator shall acknowledge receipt of all complaints and may decide to take complaints first to the programmers concerned or directly to the Programming Committee. In either case, both the programmers involved and the Committee shall be informed of all complaints regarding programming at the station. The Program Co-ordinator will ensure that a Board rep on the Committee receives a copy of all complaints.

If a complaint is taken directly to the programmers concerned, the programmers and the Program Coordinator in consultation can decide to:

Dismiss the complaint on the grounds that it is frivolous or that to air it would violate programming policy.

Resolve the complaint off-air by approaching the complainant directly. Draft a letter of response to the complaint and submit it to the Programming Committee Read the letter of complaint or excerpts from it on-air, or broadcast a panel or forum

that includes the complainant or another person who holds the same or similar views on the issue at stake in the complaint.


COMPLAINTS (CONT.)The Role of the Station (Cont.)

When a complaint is taken to the Programming Committee, the Committee shall review the complaint and, where possible, listen to the segment or program at issue in the complaint. If the Committee decides that further action is warranted, this procedure will be followed:

MONTH 1 Programmers involved with the show named in the complaint are informed that a

complaint has been received and are asked to submit a letter of response or attend the next Programming Committee meeting if they wish.

The Committee will draft a proposal for resolution of the complaint. The Committee will arrange to monitor the program until the next meeting. The Committee will inform complainants of the steps taken.

MONTH 2The Programming Committee will review the complaint and decide whether the

problem has been resolved or dealt with adequately. Committee members who monitored the program will give a brief report back Programmers will have the opportunity to share their side of the story, through the

presentation of a letter of response to the complaint or by attending and addressing the meeting in person, or both.

Programmers and other guests shall be asked to leave the meeting while the Committee deliberates in camera over whether further action is necessary.If the Committee decides that further action is warranted, it will draft a letter to the

programmers involved, stating the nature of the problem, the programming policy or objective that has been contravened and a proposal for resolution of the complaint. This letter shall also inform the programmers that they are on probation for one month starting immediately and that their program will be suspended or cancelled at the end of this probationary period if the problem continues. The programmers will be invited to submit a letter of response or to attend the next Programming Committee meeting if they wish. This letter shall be delivered to the programmers at least one week before the next Programming Committee meeting and a copy will be kept in the program’s file at the station. The Committee will arrange to monitor the program for another month.

MONTH #3:The Programming Committee will review the complaint and decide whether the

problem has been resolved or dealt with adequately. Committee members who monitored the program will give a brief report Programmers will have the opportunity to share their side of the story, but will be asked

to leave the meeting while the Committee deliberates over whether further action is necessary.If the Committee is still not satisfied with the way the problem has been addressed,

probation may be extended and suspension or cancellation procedures may be initiated. Programmers will be informed that they have the right to appeal this decision to the Board and the Programming Committee’s decision will included in the Programming Committee’s report to the Board.


COMPLAINTS (CONT.)

Case Study: Let’s Talk About SexIn February 1993, the CRTC received a letter of complaint about a program on Co-op

Radio: a special on The Lesbian Show entitled “Let’s Talk About Sex.” The broadcast included readings and discussions about lesbian sex and used words such as “cunt,” “fuck,” and “clit.” The complainant objected to the use of “profane language, graphic sexual descriptions and lewd group comments” during the program. The broadcast included several identifications of the program as being on the topic of sex, explaining the rationale behind the broadcast and the collective’s choice of graphic language and depictions. Upon receiving some complaints by phone at the station, the programmers decided to open the phone lines and put listeners on the air to offer their opinions about the program and the issues involved. The response was significant: lots of callers, some in opposition, and most in support.

As part of the normal procedure for dealing with complaints, the CRTC requested the station respond to the complainant’s letter. The CRTC also requested a copy of the broadcast. Upon receipt of letters from the station’s Program Co-ordinator and the Lesbian Show Collective, the complainant wrote to the CRTC and argued against the explanations and justifications offered by the station.

In its final correspondence regarding the matter, the CRTC cautioned Co-op Radio: “The licensee should ensure that appropriate warnings precede controversial material, that controversial material be placed in context, and that the broadcast time be suitable for such material.” The CRTC also noted that it “does consider the broadcast (and repetition) of a warning to listeners to be appropriate for a show” (such as the “Let’s Talk About Sex” edition of The Lesbian Show). The CRTC acknowledged the need for the type of program broadcast on the station and conceded that the use of non-clinical language was reasonable. The CRTC did, however, question whether the broadcast met the “high standard” requirement of the Act since it used “terms such as ‘cunt,’ ‘fuck,’ and clit’ through a program aired in the mid-evening hours.” The program was in fact aired between 8:30 and 10:30 PM. The CRTC noted that all correspondence relating to the complaint would be placed on the station’s public file.

General objectives for programming sexually explicit materials are listed below: Programming exploring sex and sexuality is valuable toward building an understanding

of sex as a healthy acceptable human behavior that, to the significant detriment of many groups and individuals, has been poorly communicated in our society.

Used in reference to sexuality, words or expressions such as “fucking,” “ass,” etc. are in context and therefore not gratuitous or profane. In order to be consistent with the goal of breaking down stereotypes and taboos, it is sometimes necessary to use everyday human language rather than clinical jargon.

Given that a majority of complaints relating explicit broadcasts have been levelled against lesbian and gay radio programs, it must be recognized that there are differing and legitimate realities, conceptions and expressions of sexual preference and practise that need not be defended, and whose protection is a basic human right. The station takes a fundamental position that homophobia and heterosexism must be challenged.

Programming that educates and creates awareness of safe sexual practise is a priority. The “protection” of children and youth from any participation in discussions about sex

and sexuality is a contributing factor to negative aspects of social sexual relations. In undertaking sexually explicit programming, broadcasters should consider how

graphic the materials presented are and what impact they may have on listeners. In cases involving graphic descriptions of sexual activity, programming should be

contextualized and decisions, such as the use of language, should be explained. Programming of sexually explicit materials purely for shock value is unacceptable. Programming should be based in achieving awareness, providing education, and

prompting positive images of sex and sexuality.


Programmers must be clear as to their motivation and prepared to justify their actions.


USING YOUR VOICE Although an announcer should be more concerned with overall presentation than the

voice itself, the voice is, of course, vitally important on radio. Since it is the only dimension a listener has, it must be effective. The voice can be used to capture and keep listeners interest in your program.

A full, strong voice is supported by the whole person. This means that your emotional state, physical state and entire attitude are reflected in your voice. On the radio, there may be times when you will have to project a more cheerful image than you actually feel. This is when the voice becomes all-important. When you are dealing with radio, voice is not just one part of the performance: it is the entire performance!

Following are some of the factors that affect the voice and suggestions on making the most effective use of each factor.

AttitudeYour voice is affected by the nature of your thoughts and feelings. Fear, anxiety and

depression all find their way into your voice at times. Thus, the voice is the channel through which the nature of character, attitude, and emotions of the announcer are communicated.

BreathBreath is the control for your voice and speech. Controlled yet relaxed breathing while

you are on the air results in clarity and the ability to produce sensitive variations in the volume and tone of your voice. There can be no effective speech performance without this breath control. While you are on the air, your mouth is relatively close to the microphone, where every sound from your mouth is picked up and projected to your listeners. Good posture will help facilitate quieter breathing. Also, during a pause of any sort, avoid breathing in to the microphone. And never rush onto the air having run or otherwise exerted yourself. There are a few things more difficult to listen to than a breathless announcer.

Mouth When you speak normally to a friend, your mouth undergoes a vast number of minute

muscular movements. When you are on the air these movements must be somewhat calculated; yet you cannot have tension in either your throat or your mouth. You must learn to relax your throat. Let your tongue and lips form your words and allow your vocal cords to “release” the flow of sound in a relaxed manner. Huskiness, hoarseness, “breathiness” and raspiness all result from poor breath control and/or a squeezed throat. A helpful hint for relaxing the mouth/tongue before going on the air: place a pencil/pen horizontally between your teeth, pressing down with your tongue. Practice reading your lines and remember to remove the pencil/pen before going on the air!

ResonanceThis is the voice quality in timbre. An open, relaxed throat will emphasize richer and

fuller overtones. A tensely squeezed throat will produce uncontrollably harsh overtones. Resonance is best when nasality is kept to a minimum and the throat is relaxed.

ExpressionThere is no question that on radio there must be more than the usual amount of

expression in most voices. The announcer must be adept at varying voice tones and volume in a comprehensive and appealing manner. Voice should reflect the mood and excitement of the announcements. Regardless of the situation or copy you must let the listener know that you believe in what you are doing. All meanings must be clear. All subtle changes in mood must come through the announcer’s expression and choice of words. Monotony has no place on radio.


USING YOUR VOICE (CONT.)Pitch

This is how the voice is used to indicate a type of statement. A question will need a rise in pitch at the end. A casual statement will need a different pitch. An exclamatory statement may need a harsh pitch. It is through the use of pitch that the announcer communicates authority and believability to listeners.

TimingChanges in the rate of speech and the use of pauses while speaking are essential

parts of the voice. When the rate becomes constant, you have monotony. Generally, importance of topic is reflected in the speech rate. Important aspects will often be spoken more slowly than less important ones. The pause is an oral punctuation mark. With it, ideas are separated. Rate, including pauses, must be varied and very well controlled.

Vocabulary This is your choice of words. Avoid repetition. Enhance your vocabulary so that your

topics have more meaning and listener appeal. A misused word almost always sounds pathetic.

Pronunciation There can be no authoritative announcing without useful and accurate pronunciation.

All these factors can be mastered and become second nature to the seasoned radio announcer. Once they are part of your normal speech routines, you can begin concentrating on polishing your voice and other aspects of your presentation. The best way to progress is to listen to yourself. Record your programs and listen back to them to help improve the quality of your voice.


INTERVIEWS

Interviews are an important part of Co-op Radio’s programming. It is important that Co-op programmers strive to bring new voices and new ideas to the airwaves. The following are guidelines to consider in preparing an interview.

Choose a focus. A focus is different from a “topic.” For example, you may want to organize a program on the “topic” of drug addiction in Vancouver. The “focus” of an interview could be the impact of a safe injection site on street-level drug use in the Downtown East Side. Choose the focus of your interview and keep that in mind when choosing guests and preparing questions.

Find the right guest. The “right” guest is one who can speak directly to your focus from his or her own lived experience.

Refine the focus. Don’t over-prep before you contact your guest. Be flexible about your precise focus (e.g. the focus of an interview with a homeless drug-user may be different from that of an interview with a medical service provider, which may be different from one with a sociologist). Don’t be afraid to change the focus if you found an interesting and enthusiastic guest who does not quite “fit” your original idea.

Pre-interview your guest. Let your guest know what the focus of the interview will be. This will help your guest to organize their thoughts and put him/her at ease. Don’t call it a “pre-interview;” it’s just a chat to see what you’ll talk about during the interview. During this chat, feel free to go beyond your focus to ask anything and everything related to the topic at hand. Take notes! Be sure your guest knows your contact information in case of emergency, the exact date and time of the interview, and whether the interview will be live or pre-recorded..

Double-check the details. Be sure to have the correct spelling and pronunciation of your guest’s name, how he/she wants to be introduced, the name of the organization your guest is affiliated with and its contact information.

Research your topic. Don’t expect your guest to provide all the information for you. Being a good interviewer means having a grasp of pertinent facts and contexts before asking questions. The interview is meant to inform and educate listeners, not you.

Prepare your questions. Choose your first question carefully. Listeners will lose their concentration quickly, so you have to grab their attention and keep it! Create a logical flow through your sequence of questions. Avoid jumping from one subject to the next; instead plan on ways that your questions may evoke answers that will lead to your next question.

Draft an introduction. KISS - Keep It Short and Simple! Introduce your guest in the manner that he/she would like to be addressed, and leave the details for the guest to address during the interview. Give your listeners space to make up their own minds about the issue at hand.

Get comfortable. Prepare a comfortable physical environment for you and your guest to talk during the interview.

Listen, don’t talk. Don’t interrupt your guest! Think ahead. Always have your next question in mind while your guest is speaking. Thank your guest at the end of every interview! Listen back. Whether your interview was pre-recorded or live, be sure to listen back

to it later. Take notes and think about what you would do differently in the future.


PITCHING

“Pitching” means making a “pitch:” an appeal for members to join and support the station! Pitching is the way we raise funds on the air during our Spring and Fall Member Drives. You must pitch for at least 10 minutes of every hour during Member Drive programs. 13 Lucky Tips for Successful Pitching

Brainstorm your “whys.” Imagine you are listening to your own Member Drive show. What would you need to hear about the station to pay for a membership?

Make a list of your “whys” and bring it to your Member Drive show, to help remind yourself on the air. Avoid detailed scripts! Try to keep things fresh and natural.

Practice with a partner before the Drive. Ask a partner for feedback on your “whys,” “asks” and tone of voice. Ask your pitching partner to help you out live on the air!

Say it from the heart. Listeners can sense when you are trying to sell them something. It’s important that you care about what you are saying and sincerely believe that people will benefit from supporting the station.

Stay positive. Listeners will feel your enthusiasm and want to join in the fun! Make it interesting. Vary the length and the timing of your pitches. Vary the “whys”

so that you are not saying the same thing over and over! Use a variety of voices, music and sounds in and around your pitching to attract listeners’ attention.

Tell a story. Share personal anecdotes about your positive or light-hearted experiences with the station. Explain why you joined Co-op Radio! Mention interviews or performers from specific communities that you’ve recently had contact with.

Talk as if you’re speaking to a single listener. Little words like “you” make listeners feel like you’re paying attention to them. “Hi, there, friend! We need your call now!”

Set goals and challenges. Set a realistic but ambitious goal for pledges that you want to get on each of your Member Drive programs. Share your show’s goal with listeners at the beginning of the program and challenge them to meet it.

Include practical information about membership levels and giveaways. Tell your listeners about the membership categories and their prices.

Tell listeners to call in and give out the phone number. People like to be asked, and they can’t call if they don’t know the number! Read it out slowly, clearly and often!

Pitch often! Most listeners need to hear 6 or more pitches before they will call in. Thank your callers! Thank callers by name (if they agree to this) and announce the

gift incentives that they will be receiving for their pledge.

7 Unlucky Don’ts DON’T say that the phones are quiet. Instead, try something like, “There is still a

line open and volunteers are standing by to talk with you.” DON’T use the word “pitch” on the air. Listeners don’t need to know the jargon

behind your appeal for support. It may make them feel that you are being insincere. DON’T read out the dollar amount of members’ pledges on the air. This is

personal information that the members may not want all our listeners to know! DON’T threaten or make demands on listeners. They will be much less likely to

respond to angry or bossy statements than to gentle, sincere persuasion. DON’T complain about the station. This is not a time to discuss your beefs with our

equipment, programming, or policies. DON’T forget the facts about membership levels, station contact information, and

your fabulous giveaways! DON’T forget the phone number!

APPENDIX I: LOG SHEET


APPENDIX II: PRA SHEET


The PRA Sheet Thursday

**DO NOT REMOVE FROM CONTROL ROOM**

SHOW NAMETime PRAs to be played:

EL BUS DE LAS 77am – 11am

SUPERSOUL THURSDAY11am – 12noon

SP162-F SPRING DRIVE 2006APRIL 6, 13, 20!!!

BROWNBAGGER12noon – 1pm

SOUND RESISTANCE!1pm – 2pm


411 SENIORS2pm – 2:30pm

BROKEN RECORDS2:30pm – 4pm

IT TAKES A VILLAGE4pm – 5pm


KLA HOW YA FM5pm – 6pm

SP163-MF WORLD PEACE FORUM APRIL 6, 13, 20!!!

NOFA6pm – 7pm

FRUIT SALAD7pm – 8pm


THE LESBIAN SHOW8pm – 9pm

SP163-MF WORLD PEACE FORUM APRIL 6, 13, 20!!!

ARTS RATIONAL9pm – 10pm


BETTER DAYS10pm – 12midnight

SP160-2M FUTURE PAST HOOTENANNYAPRIL 6, 13, 20!!!

ART OF BEATZ12midnight – 2am

****All Shows – Please play at least 2 PRAs per hour (you select). Thanks! ****


APPENDIX III: SECURITY LOG SHEET

Vancouver Co-operative Radio, 102.7FMSECURITY LOG – SIGN-IN SHEET

In order to prevent theft and maintain personal security in the station, everyone entering or leaving the station must sign-in and –out below.

Anyone not signed in will be asked to leave. Thank you!

FULL NAME (Please Print Clearly) DATE Time In Time Out


NOTES


Documents

Co-op Radio - Prometheus Radio Project · Web viewBROADCASTING. A Manual for Co-op . Radio Programmers. This copy belongs to: _____ Preface to the 2006 Edition: The manual in your