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KEXP-FM 90.3 – 'Planet Earth'southward Seattle-Based Listener-Powered Radio'

• Past Peter Blecha
• Posted vii/12/2019
• HistoryLink.org Essay 20790

Seattle boasts a distinctive history in radio broadcasting. Information technology was home to several pioneering stations at the dawn of this new technology about a century ago, and 1 of these pioneering stations went on to found itself among America's most influential breakout stations in the rockin' '60s. In more recent times is the saga of the mighty "listener-powered" KEXP, which traces its roots to its predecessor, KCMU, the Academy of Washington'south modest, pupil-run, 10-watt station, founded in 1972. Adopting a community funding model -- and a heavy focus on local music in the 1980s -- KCMU played a significant role in the rise of the Pacific Northwest's famous Grunge Stone move. Later on shifting from its largely volunteer organizational model in the 1990s, the station received support from Microsoft billionaire Paul Allen, was renamed KEXP in 2001, and moved into new state-of-the-art quarters on the Seattle Heart campus. In the years hence it has debuted innovative new technologies, streamed digitally, posted live in-studio performance videos online on YouTube, issued exclusive compact discs -- and go a globally treasured model of radio excellence.

In one case Upon a Time

The earliest pioneering radio stations in the 1920s typically aired commercially sponsored 15-infinitesimal blocks of news, religious content, mini-dramas and comedy, 78-rpm recordings and/or alive musical performances by the likes of homegrown pianists, violinists, and singers -- forth with enough of scripted ads. But just as electrical technology advanced, and the stations' broadcast ranges expanded, the quality of on-air talent also improved.

Along the way -- and as boosted stations arose -- stations began specializing, and classical music and country/western formats became popular. And so in the belatedly 1950s, rock 'north' coil records began appearing on the playlists of stations that had adopted the Peak-40 pop-striking format, and soon the wars between competing Seattle stations, such as KJR (950-AM) and KOL (1300-AM), commenced.

KJR was founded in March 1922, while KOL (formally founded in 1928), traced its corporate history to KDZE in 1922. While KOL valiantly battled KJR over the Top-40 slice of the Northwest's radio pie throughout much of the 1960s, KJR established itself as the prime station nether the leadership of star disc jockey Pat O'Twenty-four hour period (b.1934) and debuted many hit records that stations across the nation subsequently adopted.

Classical to Classic Rock

Meanwhile, on the underutilized FM dial -- traditionally the province of tiny classical music stations, weather reportage, as well as the minority of households who even endemic an FM radio -- things were more sedate. I local pioneer was KUOW (90.5-FM), a non-commercial, educatee-serving educational station based on the University of Washington campus. It had begun broadcasting in 1952 with educatee volunteers serving every bit staff. In 1954 KUOW upgraded its base to a "studio" in the Communications Building, where information technology continued airing such mundane content every bit classroom lectures, school sports coverage, and classical music well into the 1960s.

Some other classical station that would play a major part was KISW (99.9-FM), founded in 1950 at 9201 Roosevelt Way NE. Sold to the owners of KJR AM in 1969, past 1971 KISW had switched to a rock format and the FM band'due south popularity was shortly to skyrocket -- the fuse having been lit in June 1968 by KOL (94.i-FM), Seattle'due south first costless-form, or "underground," all-music station. Meanwhile, KTW (102.five-FM), a country station founded in 1964, switched to a "classic stone" format a decade later as KZOK. It and KISW became crosstown rockin' rivals for many years.

The early '70s saw the elevation of educatee unrest, with swirling interconnected bug including antiwar and civil-rights protests, and general strikes, on campuses. In the wake of the Kent State killings in May 1970, KUOW'due south studios were invaded and overtaken by the Communications Coalition: 50 radicalized UW students who felt the station's milquetoast airings were not fairly presenting the burning issues of the day. This "Radio Gratis KUOW" crew was allowed to broadcast its "liberated radio" content throughout that night, and with that venting, things and so settled down. But the demand for educatee-run radio content persisted.

KCMU-FM

In 1972, four undergrads convinced the UW's School of Communications to provide them with the space (Room 304) and limited funding to launch a new monaural station (KCMU) as a lab for communications majors. The station was assigned 90.5 FM (KUOW had moved over to 94.9-FM in 1958) and was intended to air student news and light entertainment. The founders were: John Kean (station manager), Cliff Noonan (program director), Victoria "Tory" Fiedler (jack-of-all-trades), and Brent Wilcox (engineer). The school's faculty managing director, Dr. Don Godfrey, assisted in preparing the paperwork required to attain proper FCC licenses, etc.

Wilcox and Kean led the construction of the control rooms, wired-up and installed equipment, and and so a transmitter was erected atop the McMahon Hall dormitory. The laughable 10-watt station boasted a circulate range that barely covered the concrete span of the campus itself (its power would exist boosted to 182 watts in 1975). Earlier the twelvemonth was out, Paul Sands replaced Kean, while Dean Smokoff replaced Noonan and in 1973 became the station director. Tom Bowman joined the squad every bit KCMU's offset news director. Amongst the primeval student DJs were Jeff Skin, Michael Marti, and Leroy Skeers. Equally DJ Smokoff recalled: "We started KCMU FM every bit a way for UW broadcast students to have hands-on experience and training. Some of the first announcers were not Communications majors because we needed to fill positions" (Smokoff). Thus, the tradition of allowing some outsiders, fifty-fifty non-students somewhen, commenced.

Thus, plenty of folks got valuable experience associating with KCMU, and went on to notable careers. Amongst them, Leroy "Leroy Henry" Skeers went on to KZOK, KZAM, and KEZX earlier managing Starbucks' Global Music Programming; Tom Corddry (a Communications Section teaching assistant) went on to KZAM and KZOK; Paul Sands became a news producer at KIRO-Boob tube; Robert Cardenas went on to KISW; Jude Noland went on to KZAM; Steve Lawson went on to KING AM, and helped found Bad Animals recording studio; Cheryl Marshall went on to KOMO AM; Bob Branom went on to KUOW and and so Rex-Goggle box; Steve Poole went on to KOMO-TV; Tim Hunter went on to KOMO and KLSY; John Steckler became sales manager at KIRO- and King-TV; while co-founder Brent Wilcox worked at KUOW, and Dean Smokoff had a long radio career at KXLE, KAYO, KVI, KOMO, KBSG, KNDD, and KMTT.

Listener-Supported Radio

In August 1981, and due to the faltering Reagan economic system, UW budget cuts slashed funding for its broadcasting program. Making matters worse, the FCC simultaneously demanded that all 10-watt stations increase their power to 100 watts -- an expense the UW was balking at. In response the Save KCMU Committee arose led past Lynn Olson (later a KIRO radio news editor) and DJs including Sherman Peabody, Neil Sussman, Troy Apollo, and Billy Fortune. Their public fundraising campaign plus a $28,000 grant from the ASUW Student Activities and Fees Committee brought in enough funds to get KCMU through the following year. KUOW also stepped upward in 1981, taking over supervising KCMU, and providing a professional person auditor and an engineer. That same year also saw a new crop of notables joining the team. UW student Dow Constantine (b. 1961) became a volunteer DJ/promotion director and likewise met his future wife, volunteer DJ (so, music manager) Shirley Carlson, at the station. Constantine later served as a Washington Land Representative, then equally a Senator, and was get-go elected King County Executive in 2009.

In addition, KCMU hired a new manager, Jon Kertzer, who'd helped launch the refreshingly eclectic KZAM (1540-AM) in 1975. Under his leadership KCMU began refocusing as a "modern rock" format in September 1981 -- with the slogan "You're riding a New Moving ridge with KCMU" -- and the Audioasis all-local new-music program was launched. Kertzer recalled that in January 1982, "we did the first on-air fundraiser and information technology was all nigh tying in local music. For me, the start of the station was all most community support" (Zwickle).

The community responded, and that aforementioned year KCMU was able to increase its ability to 182 watts, finally stretching its circulate range beyond Academy District and nearby Capitol Hill neighborhoods. In 1983 KCMU went stereo and to a 24-hours-a-solar day schedule. From so into 1985, Kerry Loewen (formerly at California'south KFCJ) served as manager before existence replaced by Chris Knab (co-founder of San Francisco's 415 Records label), who oversaw the 1986 move from ninety.five to 90.3 on the punch, the relocation of its transmitter to Capitol Hill, and the increase in ability to 404 watts, expanding KCMU's coverage to about 15 miles.

Past this point the station was forging an identity by focusing its programming to underserved realms of modern music by calculation new hosts and shows highlighting roots music (country, rockabilly, and dejection), reggae, jazz, contemporary global music, and, importantly, Northwest stone. The touch on that its support for the latter category had cannot be overstated.

"For several years KCMU was ground primal for the Seattle music scene," noted Charles R. Cantankerous, the editor of Seattle's influential music magazine, The Rocket. "It was the only area radio station that regularly supported local bands, and, if its listenership was tiny, it was influential in breaking many bands ... At times the station had more DJs than listeners, but it's no exaggeration to say that virtually every volunteer who had an air shift in the late '80s concluded up getting a task in the music manufacture or playing some role in the Seattle scene" (Cantankerous).

Amidst the most notable volunteer DJs was Jonathan Poneman, rock guitarist and one-fourth dimension UW student, who took on hosting the Audioasis show. I day in 1986 he invited equally a live guest, Bruce Pavitt, who had his ain indie-music column in The Rocket and had already founded the Subterranean Pop cassette label in Olympia. Now he was promoting his showtime vinyl gear up: Sub Pop 100. "We both had that passion for local music so at that place was good synergy," he said. "The Sub Pop 100 being discussed on Audioasis -- the revolution started right there." Pavitt was soon hosting his own Sub Pop USA bear witness on KCMU. As he would remember, "Getting people to remember near the ability and value of regional music was the purpose of the show" (Zwickle).

Meanwhile, 2 of Pavitt's onetime musician pals, Kim Thayil and Hiro Yamamoto, had also moved to Seattle and Thayil began listening and calling in and winning various KCMU telephone music-trivia contests. Then, one day, "I went down to choice up my prize, and they said, 'You're always around anyhow, how'd you similar to work here full-time?'" (Cross). He began hosting his own show, while simultaneously forming the band Soundgarden with Yamamoto and so-drummer Chris Cornell (1964-2017). That was about when Pavitt and Poneman began actually connecting and decided to ratchet Subterranean Pop up a notch, cutting some tunes with Soundgarden, and release them on the Sub Pop characterization. With additional support from KCMU DJ Mike Fuller, the 1987 unmarried "Hunted Down" got heavy play on KCMU and Soundgarden was on its way to global Grunge celebrity.

Volunteer-Powered Staff

The Rocket was proving to be a gustation-making influence in the culture, and additional contributors served every bit DJs for KCMU. The publication's hip-hop adept, Glen Boyd, became a publicist/promoter with Sir Mix-A-Lot'due south new Nasty Mix label, so American Records; its heavy-metal expert, Jeff Gilbert, hosted the BrainPain show and founded the Basis Cipher label; its local music history columnist (this author) founded the Northwest Music Archives and served as Senior Curator for Seattle's music museum, the Experience Music Projection; and KCMU DJ Veronika Kalmar worked as managing editor at The Rocket.

The 1980s brought additional talents to the KCMU volunteer DJ roster, amidst them Paul Aleinikoff (host of the edgy and noisy On The Border testify), Norman Batley (founder of the alt-stone Life Elsewhere and Positive Vibrations reggae shows), Riz Rollins (the pop director of Orpheum Records, and eventual ace trip the light fantastic-society DJ), Clark Humphrey (longtime columnist at The Stranger, and author of 1995's Seattle rock history book, Loser); and Don Yates, who served as a volunteer DJ and and then programme director.

KCMU also benefited from the contributions of numerous active musicians who volunteered as DJs, including Mark Arm (guitarist/singer with Light-green River and Mudhoney), Steve Turner (guitarist with Green River and Mudhoney), Jeff Smith (singer with Mr. Epp and the Calculations), Ben McMillin (vocalizer with Skinyard), Marshall Gooch (guitarist with the Power Mowers), Dave Brooks (drummer with Coffin Interruption), and Scott Vanderpool (drummer with Room Nine and the Chemistry Set), who later moved on to KISW, KZOK FM and CBS Radio.

As UW student, KCMU DJ (and then, music director) Organized religion Henschel would recall: "KCMU helped create a really vibrant and self-aware music scene. Information technology gave everyone a sense of community" (Cross). That the scene was gaining in vibrancy was undeniable -- only it seemed no i outside of Seattle knew that or cared. In 1986, Henschel proceeded to produce a now-legendary compilation double-cassette ready titled Bands That Volition Make You Money that featured promising yet overlooked Northwest bands (including Poneman'due south Treeclimbers, Vanderpool's Chemistry Ready, Arm and Turner's Green River, and Thayil'southward Soundgarden). Information technology was comprised of tunes that KCMU was airing but were otherwise being ignored by the radio industry. She mailed it out to every mover and shaker in the business, and information technology is credited with having fatigued the earliest attending from outside labels and stations to the emerging Seattle Grunge scene. That cassette ultimately helped become Soundgarden signed to a major label, A&M Records. It thusly proved her foresight and acumen; Henschel went on to serve every bit a vice president of marketing at Capitol Records in Los Angeles.

Nirvana'southward Radio Debut

In early 1988 Seattle'due south ace recording engineer/producer, Jack Endino, passed off a new cassette of fresh tunes he'd cut with a piffling band from Aberdeen named Nirvana to a few manufacture folks including KCMU DJ Shirley Carlson. And thus did the hereafter-megastar group garner its very beginning radio airplay when she chose to broadcast "Floyd The Barber." Months after, the band'southward leader Kurt Cobain (1967-1994) walked a copy of their debut Sub Popular single "Love Buzz" into KCMU hoping that they might air information technology.

Then, as he and a girlfriend made the render trek home in her car, dashboard radio locked onto 90.3-FM, he was disappointed that the disc wasn't being aired. So mid-route, she exited I-five and, using a gas-station payphone, Cobain called in an bearding request for the song. Before long after, the record was diggings forth and the couple reveled in that magic moment. KCMU would also debut tracks from Nirvana's follow-up album, Bleach. 3 years later, in September 1991, a grateful Cobain (and Nirvana) returned to the station to do an on-air release-solar day interview promoting the band's 2nd album, the immortal Nevermind.

The CURSE Revolt

In 1991, KCMU manager Chris Knab began to stage in "a watered-down format and an disciplinarian management system," shocking the staff and listeners alike (Humphrey). The key objection was that Knab seemed to be attempting to convert a beloved and quirky public radio station into a slick commercial one. In his defense, Knab explained, "The Academy had asked me to slowly take the station and make it grow." Toward that end, he hired Tom Mara as development managing director, DJ Don Yates every bit program director, and began hiring paid on-air staff.

Debbie Letterman joined as morning-shift host (replacing iv other DJs). And, surprise, listenership actually began increasing, every bit did KCMU'due south annual fundraising efforts. So far so skilful, but Knab too opted to subscribe to World Café, a syndicated plan of Developed Gimmicky music produced by the University of Pennsylvania's WXPN. These changes --highlighted by a new slogan: "KCMU: A World of Difference" -- sparked a remarkable backlash by disappointed DJs and listeners alike.

"Earth Café was the straw that broke the camel's back," Yates said. "The audition plummeted. So we dropped it. But by and then the station had broken apart" (Zwickle). Some staffers departed by option, others were cut loose. An activist organization called CURSE (Censorship Undermines Radio Station Ethics) arose to fight what it considered "a betrayal of KCMU'south democratic mission" and it "encouraged local KCMU supporters to stop donating money to the station in protest" (statemaster.com).

Knab responded by instituting an in-house no-criticism policy that resulted in at least twenty staff departures. "People started complaining on the air and Chris started firing them," Yates recalled (Zwickle). Amongst those who quit was music managing director Kathy Fennessy; she had been at that place since 1989. Expletive founded a publication, CURSEword, and began property events to help publicize its boxing.

A lawsuit was filed confronting the UW, and the U.South. District Courtroom struck downwardly Knab'southward gag rule. Still, by then many popular volunteer DJs were gone. The brouhaha eventually settled down, and new talents, including DJ/host Cheryl Waters with her live-band operation feature called The Live Room, emerged. Then, after Knab's departure, Mara rose to station manager in December 1993. More tumult awaited every bit management worked to further professionalize the station: the KCMU News Hour was cut, in 1996 three more paid DJs were hired, and in 1997, the last remaining volunteer DJs were let go.

KCMU to KEXP

Feeling cramped in its shabby onetime studios, KCMU successfully raised funds and moved into KUOW'southward former facility in the basement of Kane Hall when the latter station moved off-campus in 1999. In December 1999 the UW Computing and Communications department took over KCMU from the University Relations department, and the station began serving as a platform for testing new Internet technologies. In 2000 KCMU became the earth'southward first station to begin streaming its broadcasts in 1.4 Mbit/s uncompressed, CD-quality live audio via the Internet.

In June 2000 the Experience Music Project, founded by Paul Allen (1953-1918), opened while his squad also joined negotiations between KCMU's executive manager Tom Mara and Ron Johnson, UW professor (and VP of the Computing and Communications Department). The issue was a bargain that brought dramatic changes to the station thanks to an influx of $3 meg.

By April 2001 Allen had helped fund the conversion/expansion of KCMU to KEXP, which was to be relocated to KZOK's vi,300-square-foot quondam studio at 113 Dexter Avenue N in Seattle. The station'due south new telephone call letters were a nod to Allen's obsession with the Jimi Hendrix Experience -- plus a clever reference to an acrid-addled comedic fleck on the band's Centrality: Bold As Love album from December 1967, which contains a voice (of drummer Mitch Mitchell) playfully acting as an "announcer" from "Radio Station EXP" who poses a silly interview question (to Hendrix) virtually UFOs.

Allen's funding "put the station up in fancy, rent-gratis digs, bought the station all-new, state-of-the-fine art equipment, changed the call messages to KEXP, and promised the UW $600,000 over the course of four years to back up the school'due south music programs ... KEXP has just been handed the resources to transform Seattle'due south tiny, beloved non-commercial radio station into an international thespian in Internet broadcasting. Brand no error: radio is a dying art; the Internet is the future; and whether KEXP continues to serve Seattle's local music community or not, it will soon be international in terms of listenership" (DeRoache). Such worries were unfounded as KEXP proved to be equally committed to Northwest music as KCMU ever was -- merely now with 720 watts and dissemination 24-7-365.

"Our chief motivation in transitioning erstwhile-media-based KCMU into broadband-Internet-based KEXP," said Ron Johnson, "was to effort to employ Internet technologies to springboard DJs and listeners into a wider global audience. We hoped that by using the Cyberspace to tie together those otherwise niche communities across the world that we could make KEXP a feasible force supporting truly authentic music" (Zwickle).

KEXP's Crew

Numerous KCMU veterans carried over as members of KEXP'south initial core crew, including KEXP'southward executive director Tom Mara, and program manager Don Yates. Some 20 DJs were retained as well, including Amanda Wilde, Riz Rollins, John Gilbreath, Greg Vandy, Darek Mazzone, Jon Kertzer (whose Best Ambiance globe-music bear witness originated in 1984), Cheryl Waters (whose The Midday Show originated in April 1994), Leon Berman (whose Shake The Shack rockabilly prove originated in 1986 and connected on KEXP into 2016), and Masa (whose Expansions electronica show aired for more than 20 years).

So there is the case of Kevin Cole, a former radio music director in Minneapolis, and so a senior music editor and creative marketing manager for Amazon, a volunteer KCMU DJ in 1998, and then KEXP'southward program director. Some other former KCMU volunteer DJ, John Richards, excelled with The Forenoon Show (which is credited with breaking many new acts including The Lumineers and The National) while besides managing KEXP's other 40 DJs. Marco Collins -- the hitting-making Grunge era disk at Seattle's KNDD -- joined KEXP in 2009. Other notable on-air talents have included Fri night host Michele Myers (from New York'southward WNYE), and Audioasis host Sharlese Metcalf (who became KEXP'southward music community events producer).

Making History

The technological promises inferred by Paul Allen's date with KEXP began to actualize. In 2001 the station'due south UW-based engineers developed the radio industry's first real-time playlist; in 2002 the station launched the industry's starting time streaming archive (which would eventually contain all of its programming from the previous two weeks along on-air live creative person performances); in 2003 information technology began the first cellphone stream; in 2004 information technology won a Webby Award for best radio website; in 2005 information technology got permits to increase wattage from 720 to iii,300 and aired its get-go in-studio live-operation podcast with the Seattle hip-hop trio, Nail Bap Project; and on March 10, 2006, KEXP increased its signal to iv,700 watts.

Nearly a decade later, in 2014, the UW Board of Regents could see that KEXP was in safe, nurturing hands. The fledgling station had matured beyond anyone's original vision back in 1972. The regents voted to formally transfer (on September thirty, 2014) ownership of KEXP 90.three-FM's broadcast license to the Friends of KEXP 501(c)3 nonprofit arts organization. In Feb 2015 construction began to convert the old Northwest Rooms at the Seattle Eye -- designed past famed builder Paul Thiry (1904-1993) for Seattle's 1962 World's Fair -- into KEXP'southward new 28,000-square-foot, land-of-the-art facility.

KEXP moved into its new home in December 2015 and held a massive yard-opening event on April 16, 2016, which was attended by some 12,000 fans. The station boasts deluxe physical features including a massive music library/archive, a 75-person area where visitors can sentry broadcasting activity, a 4,500-square-foot infinite for customs gatherings, and a comfortable "greenish room" where touring musicians tin residual, relax, and, gratefully, practise laundry, while making in-studio appearances at KEXP. All this progress was impressive -- fifty-fifty before an anonymous donor, a non-Seattleite, gave the station a $10 meg souvenir in April 2018: "the largest bequest to a single public radio station in history" (KOMO staff).

Back in 2014, the station had first unveiled its new live video-streaming service via YouTube, KEXP Now, which past mid-2019 had attracted more than one million subscribers and more than 500 one thousand thousand viewers worldwide. And thus, "Our little radio station," a bemused Male monarch County Executive Dow Constantine one time reflected, "became a global musical phenomenon. It'south funny to think about this fiddling 10-watt station where the bespeak could barely accomplish across Interstate 5 being presumptuous plenty to share a musical perspective with people in Europe and Asia and Africa" (Zwickle).

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Sources:

Author conversation with Tom Mara at KEXP, May 6, 2019; Dean Smokoff emails to Peter Blecha, April fourteen, 2019, copies in writer's possession; Leroy Skeers e-mail to Peter Blecha, April 14, 2019, copies in writer'due south possession; Dean Smokoff, The Birth of KCMU 90.v, deanosgoldencollectibles website accessed on April 12, 2019 (https://deanosgoldencollectibles.com/kcmu-the-outset); Vic Stredicke, "Strike News on KUOW," The Seattle Times, May xiii, 1970, p. C-10; Don Boram, "KCMU Needs Bucks," UW Daily, October seven, 1983; Neil Sussman, "The History of KCMU," The Wire, May 1986, pp. 1-2; Glen Hirshberg, "Curse on KCMU," Seattle Weekly, Nov 25, 1992, pp. 31-33; James Bush, "KCMU Fucked, or What?" Hype, December 1992, pp. xvi-18; Konrad Ribeiro, "KCMU, Expletive Take Battle to UW Pupil Assembly," The Daily, March ten, 1993, pp. ane-iii; Veronika Kalmar, "KCMU vs. Expletive: Who Won?" The Rocket, April 13-27, 1994, p. 13; Clark Humphrey, Loser: The Real Seattle Music Story (Portland: Feral House, 1995), 180-181; Charles R. Cross, Schoolhouse Rock, Part iii Alumni magazine, www.washingtonedu website accessed on April xiv, 2019 (https://world wide web.washington.edu/alumni/columns/dec96/schoolhouse_rock3.html); Jeff DeRoache, "Radio Ga-Ga -- With Paul Allen's Money at Its Disposal, Does KCMU -- Look A Minute -- KEXP Really Need Any More of Your Money?" thestranger.com website accessed April 9, 2019 (https://www.thestranger.com/seattle/Content?oid=7007); Jonathan Zwickle, "Some Incommunicable Vision," cityartsmagazine.com website accessed April ix, 2019 (https://world wide web.cityartsmagazine.com/some-impossible-vision/); Tom Phalen, "Plenty Of Static At Embattled KCMU," The Seattle Times, November 10, 1992 (seattletimes.com); Jim Brunner, "KCMU No-Criticism Policy Violated Constitution," The Daily, July 27, 1994, pp. 1,vii; Jim Brunner, "Ruling Won't Finish The Curse On KCMU," Ibid, July 27, 1994, pp. 1,7; Jennifer Waits, "My Visit to Public Radio Station KEXP in Seattle," radiosurvivor.com website accessed on April 13, 2019 (http://www.radiosurvivor.com/2015/01/xiv/visit-public-radio-station-kexp-seattle/); Gene Johnson, "Tiny Seattle Station KEXP Rides the Internet to Get Indie Music Leader," kitsapsun.com website accessed Apr 15, 2019 (https://products.kitsapsun.com/annal/2005/ten-29/75505_tiny_seattle_station_kexp_rides_.html); Richard A. Martin, "New Experience," seattleweekly.com website accessed on April nine, 2019 (https://www.seattleweekly.com/news/new-experience/); KEXP, statemaster.com website accessed on April 13, 2019 (http://www.statemaster.com/encyclopedia/KEXP); Nick Wingfield, "Internet Radio Can't Hold Dorsum KEXP Success," The Seattle Times, November 8, 2015 (seattletimes.com); Nicole Brodeur, "Kevin Cole: 'Seattle is Unlike. So KEXP is Different,'" Ibid, January 23, 2015 (seattletimes.com); Mark Pendolino, "How KEXP Runs an Efficient Streaming Music Arts Organization," smartsheet.com website accessed April 16, 2019 (https://www.smartsheet.com/blog/how-kexp-runs-efficient-streaming-music-organization); KOMO staff, "Woman donates About $10 one thousand thousand to KEXP-FM," komonews.com website accessed on April 21, 2019 (https://komonews.com/news/local/woman-makes-souvenir-of-almost-10m-to-kexp-radio).

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