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40 Watts from Nowhere: A Journey into Pirate Radio, by Sue Carpenter
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When law office receptionist Sue Carpenter first asked how she might start her own radio station, everyone laughed. Getting on the air (legitimately) in San Francisco was a multimillion-dollar ambition. But in 1995, with the help of a few subversive techies and pirate-radio gurus, Sue built her first transmitter in her hilltop San Francisco apartment and launched KPBJ, enlisting friends as DJs. A few months later, Sue landed a magazine job in Los Angeles, took her transmitter with her, and established KBLT.
From these humble beginnings KBLT emerged as one of L.A.'s best-loved radio stations, staffed with more than a hundred DJs and supported by major music labels eager to reach a different kind of audience. The station expanded its playlist from indie rock to an eclectic mix of jazz, hip-hop, electronica, and countless other styles. In the three and a half years before the FCC finally caught up with Sue, KBLT went from interviewing unknowns to hosting live performances by the Red Hot Chili Peppers -- without ever leaving Sue's apartment.
40 Watts from Nowhere is Sue's frank and hilarious account of her bizarre double life during the height of California's pirate-radio boom: journalist by day, counterculture icon by night. It's an amazing true story, one that will instantly appeal to music fans -- and free spirits -- everywhere.
- Sales Rank: #1424299 in Books
- Published on: 2004-02-03
- Original language: English
- Number of items: 1
- Dimensions: .84" h x 5.81" w x 8.74" l,
- Binding: Hardcover
- 240 pages
From Publishers Weekly
Carpenter has penned an endearing if flawed memoir about running a pirate radio station out of her Los Angeles apartment for three years and meeting all sorts of oddballs, rock stars and wanna-bes while staying one step ahead (well, most of the time) of the FCC. Her characters are right out of central casting: she describes herself as "a motorcycle-riding blonde with a bunch of leather in her closet"; her ne'er-do-well musician boyfriend as someone who has "an affection for needles"; and her tech-support guy as a likable slob with awkward social skills. The oddballs mostly come across as standard-issue L.A. airheads, and Carpenter's wooden ear for dialogue ensures they stay one-dimensional. But her frank, often funny narrative is easily absorbed, and the story's a good one: one woman quitting a humdrum receptionist job to flout the law by filling the airwaves with the indie rock she loves, music she believes the monolithic Clear Channels of the world aren't playing. While most of the bands from the book's mid-1990s setting are no more than funny names that never made it out of the local clubs, there are also cameos from several big (or soon to be big) acts, including the Red Hot Chili Peppers, Jane's Addiction and Beck. With the station inevitably shuttered in 1998 by the FCC, one wishes Carpenter had gotten the book done a bit sooner for full cutting-edge effect.
Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
From Booklist
Carpenter's autobiographical reflections on running low-powered FM radio stations without benefit of FCC credentialing is a folksy addition to discussions about access to the nation's airwaves. Carpenter says she is a very average young woman who just wanted to bring much-needed variety to the FM dial and decided to launch her own station. She quickly discovered that nonpolitical programming was the exception rather than the rule among her fellow pirates, including those expert in the technology she needed to master. Despite resistance and otherworldly weirdness from grimly committed pirate-radio politicos, she eventually broadcast on ultralow frequency, first in San Francisco, then in L.A. Her call letters-- KPBJ, KBLT (which the aforementioned politicos considered frivolous)--suggested the tasty listening options she offered as she and her DJs broadcast an incredible variety of music from her living quarters. Throw in the constant threat of FCC detection, and this looks more than ever like a credible mate to On the Road and the Fear and Loathing books in the ranks of insurgent outsiderdom. Mike Tribby
Copyright © American Library Association. All rights reserved
Review
Mike Watt, founding member of the Minutemen and former KBLT DJ After many, many years of being a guest on lots of radio shows, I was finally able to be on the other side of the mic, the one picking the tunes and spieling thoughts of my own making. This experience was profound upon me. The two years I had 'The Watt from Pedro Show' on KBLT were quite the hoot for me, big time....Paige's [aka Sue Carpenter] righteous commitment to creating an environment where folks could let their freak flags fly was truly a wonderful thing, and it's something I'll always feel very honored to have been a part of....So many parallels to being like a young minuteman in the early punk movement. Aaaaaaaaarrrrrrrrrrggggggghhhhhhh...D. Boon would've been proud. -- Review
Most helpful customer reviews
5 of 5 people found the following review helpful.
Pirate radio--really cool, although not exactly legal
By Denise Weeks
I loved this book! I picked it up off the table at an independent bookstore that is closing. Never would have thought to look for it, although I've always had a keen interest in the subject matter.
Even before I saw "Pump Up the Volume," I thought broadcasting was really cool. Disclosure: I'm a general class amateur radio operator. So far, the worst thing I have ever done was call someone who said a naughty word on the autopatch (a telephone connection through a repeater on two meters). And that was my MOTHER, who should've known better. LOL! I'm very careful whenever I get on the air (only occasionally now, because I'm busy on the Internet) to follow all the rules.
Who hasn't talked on a walkie-talkie or on the CB radio and pretended to be Cher? (Perhaps you haven't, ahem.) But underground radio seems to be a victimless crime, as long as you aren't modulating frequencies reserved by others, so I don't know why there is such opposition to it. (So many frequencies have been taken from the amateur radio service bands that it isn't even funny--and many public frequencies have been given to commercial interests, which makes me angry. Whose airwaves are they? Don't they belong to the people, not the government? Aren't WE supposed to be the government? But that's another rant.)
I've always been fascinated by the idea of being a DJ, but the skinny on that (and I have this on good authority) is that you are a shill, that you play from their playlist and by their rules. A few years ago I bid on a "day as a DJ" in a charity auction, and I won. I called the station expecting them to be excited about my plan to have an on-air persona/handle and bring some of my friends' recordings as well as some old, old standards to play--and I even had an idea about telling a joke and having listeners call in to guess the punch line, and thereby awarding concert tickets. Well . . . no. I was told that I would come in for about two hours and get a station tour, and then record a couple of sound bites. If I wanted to, I could sit with one of their DJs and help run the broadcast. However, I had to play ONLY "young country" artists off their playlist, and furthermore only the songs that were designated. I made noises about payola and so forth, and the phone person simply said, "We're a ClearChannel station." No excuses or whitewashing. Radio as I knew it in the early 1960s doesn't exist.
Pirate radio, on the other hand . . . you can do anything you want.
It sounds like an awful lot of work and expense, though. By the end of her reign over the airwaves, the author was getting pretty exhausted and the FCC raid was the last straw. It's too bad she couldn't have had some little corner of airspace. When I was in college, we had an FM radio station carried on carrier current (through SMU's electrical systems--any radio plugged into a wall in the dorms or classrooms could pick it up), and it was lots of fun for volunteers to run. It didn't harm any commercial interests. I don't know if it still exists.
This book raises questions about who actually owns the airwaves. We've said that the government can regulate frequencies, but there really isn't much "citizens band" activity now, and we've lost so much of the band to commercial stuff. What about the constant low-wattage radio signals that get put out by the iPods that are broadcasting to car radios? They don't seem to care about that. We should have some rules about stations that would use low power and serve really small areas, such as neighborhoods.
I don't suppose it matters much now, because everyone listens to podcasts or their own playlists instead of broadcast radio. Students stream radio on laptops through their Internet connections. Recently I bought a new car with Sirius XM built in, and there are lots of channels to listen to there. If people want news, they tune in to cable TV. If I have a need to tell people things, I now have a bully pulpit: my blog.
But I mourn a little for the old version of broadcast radio, where if you heard the civil defense siren, you could tune in to your local AM stations and find out what was happening. Or if some news story began breaking locally, you could tune in to hear about it. Traffic and weather could be picked up more often than just every hour or half-hour, the way it works now. And we had local radio personalities who were part of the community. It's just a little sad.
Reading this book took me back to the music of the 1990s and was a refreshing look at a nonconformist who wanted to make something different in her community. Recommended.
1 of 1 people found the following review helpful.
Taps into a fantasy I've always had
By Zelie Nic
Who hasn't wanted their own radio station? I know that, as a kid, I bought aq cheap CB at a yard sale and would occasionally broadcast with that, imagining that everyone in the neighborhood was listening in on my secret radio underground, and enjoying it.
But take that same desire and naivety and bring out a twenty-something college grad early ninties slacker (for lack of a better term) and see what happens. KBLT, although not the first pirate station in San Francisco or Los Angeles, was undoubtably the most popular. Despite the acclaim and accolades, the FCC eventually caught up with our heroine. Perhaps she brought it on herself; if Carpenter hadn't tried to expand her signal strength... who knows how much longer she would've had?
This book raises questions about constitutional law, ownership of low watt radio signals, etc. For me though, it was an oppritunity to transport myself into one of my earliest fantasies. A good part of me wishes I could do the same thing... but it would probably be a lot easier to find me in a city as small as Pittsburgh.
Its a good book if you're interested in radio, pirate radio, youth culture in the 1990s, etc. The book's well paced too; it doesn't slow down and stays interesting. I recommend it.
15 of 16 people found the following review helpful.
Who owns the air?
By Jonathan Colcord
40 Watts From Nowhere is a human interest story where the protagonist loses the game, but still gets a lovely consolation prize- the experience of having created a thriving community. A loyal following consisting of the media, musicians, and like-minded individuals, simply by providing music to a small core of ravenous music lovers. The only problem? It was against the law. The FCC caught up with 'Paige Jarrett' and put a stop to her unauthorized distribution of free music. No, this is not the story of yet another copyright infringing youth downloading music for free from the internet. This is the unusual success story of low-power, Pirate Radio in one of America's largest cities- Los Angeles.
In an attempt at curbing the boredom of a 9 to 5 job as a receptionist, Sue Carpenter decided to purchase a small transmitter and set up shop in her apartment, eventually enlisting a small army of 25 or so volunteer disc jockeys playing everything from folk to punk. Pirate radio, notorious for broadcasting radical fringe political views is an unusual forum for music Carpenter discovered as she enlisted the help of many of the radio underground's key players for technical advice.
For nearly 3 years, KBLT (yes, named for the sandwich), operated freely, almost so publicly that they would enlist artists such as Mazzy Star for a benefit concert, host Red Hot Chili Peppers for an in-studio impromptu performance, and even gain the services of punk rock legend Mike Watt to do his own KBLT radio program. Eventually, this cavalier attitude and a more powerful antenna location would spell KBLT's demise, being shut down permanently by the FCC.
This story will delight anyone, such as myself who have worked in radio outside of the commercial realm. People who understand the power of music on its own terms, without playlists and big money commercial programming or rules. KBLT had the spirit of good College Radio, only without the college to go along with it. Anybody who lives on the left end of the dial will understand. Should anyone but the people themselves own the airwaves? In a country that brags of free speech, it's an interesting question...
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