But when I had a scare with the F.C.C, when they were looking for me in 1998, it was another station on the same frequency that called one of my DJs to say, “Hey they’re after you.” They could’ve let me go down, but they didn’t. I wouldn’t say that it was really friendly because there was a little bit of an unspoken turf war we were all battling for the same thing, our right to be on the air. I feel like I knew everybody else who was operating on 104.7. When I came to LA, even though it’s super spread out here, there were so few spots to squeeze in on the dial, so all of us were pretty much just using 104.7, and so we just sort of found each other because we were bleeding into each other’s stations, occasionally. Up in San Francisco, the first engineer for my station had his own pirate station. Sue: It’s weird how, when you start doing it, other pirates begin noticing you’re there. Did you feel connected with the other pirate stations operating out of California? Did you ever interact with each other?
Morna: In 1995 you moved to San Francisco and launched the station KPBJ. Sean McAuliffe – Managing Director at NTS Radio, London From competing for the airwaves with other pirates to dodging the Federal Communications Commission (F.C.C.), Carpenter talks us through starting her own station through to the moment she closed the closet doors and ceased transmission for good. We meet to discuss about her role in the pirate radio scene of the 1990s, where she details her humble beginnings with KBLT and the community of independent musicians and label-owners in Los Angeles. Today, Carpenter is a writer and (legal) broadcaster for Southern California station, KPCC-FM, and her work in pirate radio paved the way. Nicholas Lewis – Editorial director at The Word Radio, Brussels If we don’t feel it, we don’t stream it.”
Carpenter had taken the station from her closet to Rolling Stone magazine and CBS News. By 1998, KBLT was hosting live performances by bands including Red Hot Chilli Peppers, Mazzy Star and Jane’s Addiction.
What started as a two-hour show each night, hosted out of Carpenter’s bedroom, became a 24-hour network boasting over a hundred contributors, playing everything from rock and jazz to hip-hop and electronica. Armed with a radio transmitter and driven by a love of music, Carpenter entered the fray on her own terms in 1995, embarking on a journey into pirate-radio with the launch of LA-based station, KBLT. of LA’s pirate radio scene, and ask our collaborators and contemporaries: What is the future of radio?įatigued by the banality of mainstream radio in San Francisco in the mid-nineties, then-freelance journalist, Susan Carpenter, decided to take matters into her own hands. Against a backdrop of retro-futurist illustrations of Radio City, the now-defunct hub of pirate radio in the 1960s, we speak to Susan Carpenter, an O.G. Online-niches have been carved out, to showcase a diverse range of sounds. It has since been reconfigured and reinvented by independent innovators. When Carhartt WIP Radio launched 10 years ago, few would have predicted the look and sound of digital broadcasting.
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