KCRW Music Director Jason Bentley Chats About His New Gig, the Demise of Indie 103.1 and His Love of "Crash"

New KCRW music director Jason Bentley is no stranger to the public radio station’s semi-annual pledge drives, having been with the station for more than 16 years. But this is his first pledge drive since taking over the coveted “Morning Becomes Eclectic” show and the music director gig from Nic Harcourt. We emailed Jason a few questions, and he found time to send a response in between pitches.

Now that you’ve been in the seat for almost two months, how would you say “Morning Becomes Eclectic” has evolved so far? What’s the biggest change you’ve brought to the program?

I think two differences that come to mind are a broader definition of “eclectic” through music selection and guests, and more of an “open door” policy with other DJs at the station who may have something to share with the AM audience.

Talk about playing Mark Isham’s “Crash” as your first song (I remember hearing you play it a few weeks later too). What was the significance of kicking off with that?

The significance of Crash was simply that I like the piece a lot. I know Mark Isham personally, and it was something I felt would defy expectation.

Has the demise of Indie 103.1 impacted how KCRW programs itself at all? I’ve noticed that Ruth Seymour mentioned it in her recent letter to subscribers, and the KCRW site’s current call for new members specifically refers to KCRW’s “Indie Music.” Is there a hope to grab some of those displaced listeners, and has it made a difference in what music you play? KCRW, of course, once was home to “Brave New World” — is there a thought to carve out more of a home for indie rock?

The demise of 103.1 makes a dramatic case in point for the importance of supporting public radio when it comes to alternative music. There’s always been a place for emerging and independent rock at KCRW over the last 30+ years and that will continue to be the case.

KCRW a few years ago got rid of show titles for everything but MBE — the idea was to focus more on the DJs, but is there also more of an effort to promote a cohesive “KCRW sound”? Show titles like “Cafe L.A.” and ” Chocolate City ,” not to mention “Metropolis,” were such brand names… is there ever a thought to bring them back?

Personally, I never looked back after I dropped the name Metropolis. I actually wouldn’t mind losing Morning Becomes Eclectic to be honest with you. In any case, I think the station personalities and their music sensibility is what we should put forward first and foremost.

Will you eventually be doing a syndicated version, a new “Sounds Eclectic,” or did that go away in this transition?

I haven’t really explored the idea of a syndication. I just have too many other things to deal with right now. I suppose it’s possible, but not imminent at this time.

Any thoughts to what you might change to the music channel on the web stream? Any thoughts to adding more shows, or adding another stream with a different mix of music?

I think KCRW online is a solid product, between the music stream, on demand, and the live channel I feel like we’ve got it covered. I am interested in studying research and gathering feedback — coming to understand what people like and how they are using the music streams. We all put a lot of work into online initiatives, and I hope people appreciate it. Sometimes I feel like, with the live performance archives for instance, people aren’t really aware of the vast resource we offer.

Douridas had “Rare on Air,” Harcourt had “Sounds Eclectic,” will you be coming up with a new KCRW CD series? Is the Femi Kuti project a sign of what you’ll be doing with KCRW CDs? (Is the whole idea of selling a KCRW-themed CD at retail a relic of the old music industry?)

I’m really happy with the Femi vs. KCRW Soundclash EP and it was a great way to involve different people at the station in an original way. As far as future compilations, I’m developing a relationship with iTunes now so we can do compilations on a regular basis. Ultimately, I want this to feature live performances too, so it probably will take the place of ideas like “Rare On Air.” I see a different model for delivering more music and more current music to our listeners through an iTunes partnership.

This is obviously a tough time to have to do a pledge drive, given the economy. How is that going to impact your pitch the next week? What’s your message to KCRW listeners?

My pitch? Don’t get me started! Seriously though, it’s about supporting something that you value. Something that we’ve made possible together. Something no one ever thought was possible. Now is the time to make a difference for a non-profit, public radio outlet for alternative music, news, and cultural programming.

KCRW’s pledge drive continues through Monday. Pledge online at kcrw.com or call 1-800-600-KCRW.

KCRW Makes A Move to Attract Former Indie 103.1 Listeners

In a not-so-subtle bid to attract some of the radio listeners abandoned by Entravision’s decision to flip Indie 103.1 into “El Gato,” public radio station KCRW is starting to frequently use the term “indie” to describe its music programming.

Actually, the station has even altered its top-of-the-hour station I.D. to reflect that. Where KCRW DJs once touted “NPR News and hand-picked music for Southern California,” the I.D. now reads, “NPR News and indie music for Southern California.”

And in a letter to KCRW subscribers, general manager Ruth Seymour even mentions Indie by name: “LA’s commercial indie music station Indie 103 has just gone dark, unable to compete in today’s corporate radio marketplace.”

I can definitely see why they’re doing this. With my 103.1 preset now removed (I had to stick 98.7 in its place — gaah), it’s suddenly much harder to land on a default sound. And KCRW does share some of Indie 103.1′s artists — interestingly, right before its demise, Indie was playing Michael Franti — an artist championed for years by KCRW — in heavy rotation.

Nonetheless, the term “indie” in music circles usually refers to “indie rock,” and that’s not a sound that dominates KCRW’s music programming. (The station’s music shows have often been criticized for not including enough harder-edged sounds.) It’s a tad awkward to suddenly hear KCRW’s announcers touting “indie music,” when they oughta be calling it “global music,” or “eclectic music,” or just stick with the “hand-picked” description (a term I always kinda liked).

Speaking of KCRW, the Santa Monica College-based station is currently holding its semi-annual pledge drive. The premiums are still strong, despite the lackluster economy, so bone up on the best way to get the most out of your KCRW donation, then get to it!

KOST Does It Again: Christmas Music Propels It to No. 1

Sorry, Indie 103.1 fans — in its last Arbitron ratings period, the station — now known as Spanish language “El Gato” — failed to pull out of the basement, averaging a 0.4 share of the audience (tied, by the way, with public radio KCRW, among others).

Arbitron just released its personal people meter ratings for the holiday season, and no surprise here, KOST-FM’s annual all-Christmas music, all the time format dominated. KOST averaged a 7.2 share of the L.A. audience, with a cume of 4.3 million listeners. Top 40 KIIS was next up, with a 6.2 share, then classic hits KRTH — which also went with a Christmas sound this holiday — with a 4.4 share.

After that was Spanish AC KLVE (4.0), talk KFI-AM (3.9); Spanish oldies KRCD (3.8), alternative KROQ (3.6), urban KPWR (3.5), regional Mexican KLAX (3.3); and regional Mexican KSCA (3.2).

Retro Friday: When KROQ was KROQ; and When 103.1 was Groovy

Groove Radio 103.1 first launched in 1996; Swedish Eagle left in 1997, and the station continued for another year as just “Groove 103.1.” Here’s the sales pitch and early DJ lineup for Groove Radio:

BTW, for those of you still missing Indie 103.1 and wondering whether it can ever survive as an online-only station… Groove Radio continues to survive online, ten years after it left the airwaves.

The Racist Commenters Come Out

So much for a new age of tolerance and respect in our post-Obama nation… the racist comments just keep on comin’ on our Indie 103.1 posts. I don’t usually delete comments, even the ones that are nasty toward us. But these racist comments — using offensive slurs to describe the Latino listeners of the new El Gato 103.1 — are just appalling. Really, people? In 2009?! It’s depressing to see people hiding behind the anonymity of comments to let their true feelings fly.

Keeping Indie 103.1 Alive

A fan of the late Indie 103.1 has launched an online petition in an attempt to convince Entravision to restore the radio station. According to Katie of LetIndieLive.com, over 2,500 people had already signed on by 11 p.m. last night.

I don’t think it will make much of a difference, as Entravision seems committed to its new “El Gato” format, which is being rolled out in other markets as well.

But for those of you already suffering from Jonesy and Indie withdrawl, the station’s old website still has many, many podcasts posted and available for download. It’s not the same, I know, but pop it in and pretend you’re listening to a “Jonesy’s Jukebox” repeat.

Indie Reveals More Online Plans; "El Gato" Officially Launches

(Pic by Tedd Roman.)

Above, Indie DJ Tedd Roman manages to take a farewell pic in the former Indie 103.1 studios. (Check out his Twitter accounts here.)

The new “El Gato 103.1″ officially launched at midnight with the track “Volvere,” by K-Paz de la Sierra. Yep, the “Indie 103.1″ era is officially over.

(Pic by Tedd Roman.)

After signing off Thursday morning at 10, the station had been playing a handful of rotating songs by Black Flag, the Sex Pistols and X, among others, with an announcement in between explaining the station’s demise. That came to a stop last night at 11:58 p.m. with “Gimmie Gimmie Gimmie” by Black Flag.

Meanwhile, Indie’s online stream is currently operating as a jukebox, with no DJs or IDs. But according to Indie’s web site, some of the station’s specialty shows will be making the transition online (although its most popular one, Steve Jones’ “Jonesy’s Jukebox,” will not). The latest message from the Indie site:

In true Indie fashion, these DJs have offered to continue their labor of love and host their shows on-line. The current list includes: Passport Approved with Sat Bisla, Retrograde with Scott Dallavo, Harmony In My Head with Henry Rollins, Complete Control with Joe Sib, Neon Noise with Paul V, Chaos with Full Metal Jackie, Reggae Smoke In with Native Wayne, Barely Legal with Joe Escalante, Suicide Girls with Missy Suicide.

The Message That Foreshadowed Indie’s Demise

I noticed that someone had left this message earlier this week on an old December post we did on the cancellation of Indie specialty shows such as “Watusi Rodeo.”

Guess this anonymous commenter had some pretty good inside information. Their rumor didn’t come true until the end of the week, but it ultimately came true.

Introducing… "El Gato 103.1"

Here it is — El Gato 103.1, the station that will replace Indie starting tomorrow. “El Gato 103.1″ is expected to be a Spanish-language outlet focusing on regional Mexican music.

Retro Friday: The Birth of Indie 103.1

The late Indie 103.1 — original logo above — first appeared on L.A.’s radio waves during Christmas 2003, replacing the short-lived dance format “KDL 103.1.” Indie launched with a few days of punk and alternative Christmas music, before adopting its music format.

If you remember, the station broadcasted for the first several months without DJs; its liners were marked by a station voice that sounded like the slacker voice over guy from Carl’s Jr. (Thankfully, they eventually got rid of that guy –a few years later.)

Here’s how Franklin Avenue first covered the demise of KDL in 2003:

More Radio Waves
As expected, dance station 103.1 KDL signed off for good at midnight, ending its not-quite-year run with the techno tune “James Brown is Dead.”

The station then immediately launched into holiday music, starting with “Punk Rock Christmas.” It’s a more eclectic mix than what’s playing on KOST 103.5 right now. But just what we need: Two all-Christmas radio stations, right next to each other on the dial.

But stay tuned: 103.1 will segue to a rock format after the holidays. But the dancing is done.

And then… our <a href="http://franklinavenue.blogspot.com/2003/12/snap-judgement-on-new-indie-103.html
” target=”_blank”>first take on the station, at the end of December 2003:

Snap Judgement on the new “Indie 103.1″
Dance fans returning to L.A. from their Christmas vacations are probably wondering just what the hell happened to their “103.1 KDL.” Meanwhile, station owner Entravision launched the frequency’s new format at 11 p.m. on Dec. 25.

The station’s handle? “Indie 103.1.” College radio vets, begin guffawing at the station name now. But look past the unfortunate name, and I gotta admit, my initial impressions are pretty good. Scanning the radio message boards, someone said they even heard an obscure Public Enemy track on the station the other day. For a commercial outlet — and one whose sales are being handled by conglomerate Clear Channel, no less — that ain’t bad. Gleaned from the radio boards at Radio-Info, here are two hour-long sample playlists heard in the last few days:

5:03 PM WHITE STRIPES Hello Operator
5:05 PM U2 Unforgettable Fire
5:09 PM MICHAEL ANDREWS Mad World (Ft. Gary Jules)
5:13 PM SOCIAL DISTORTION Story Of My Life
5:17 PM X White Girl
5:21 PM SMITHS What Difference Does It Make
5:25 PM NOFX Franco Un-American
5:27 PM STONE TEMPLE PILOTS Plush
5:33 PM PIXIES Velouria
5:37 PM POLICE So Lonely
5:41 PM IMA ROBOT Dynomite
5:43 PM FOO FIGHTERS I’ll Stick Around
5:51 PM ATMOSPHERE Trying To Find A Balance
5:55 PM BEASTIE BOYS Rhymin & Stealin
5:59 PM NIRVANA Come As You Are

> > > 10:00 AM BAD RELIGION Sorrow
> > > 10:08 AM PEARL JAM Glorified
> > > 10:10 AM TALKING HEADS This Must Be The Place …
> > > 10:24 AM STEREO MC’S Step It Up
> > > 10:26 AM SMITHS Ask
> > > 10:30 AM INTERPOL Obstacle 1
> > > 10:34 AM RAMONES Do You Remember Rock’n'Roll…
> > > 10:38 AM ENGLISH BEAT Best Friend
> > > 10:42 AM NIRVANA Come As You Are
> > > 10:44 AM U2 Bad
> > > 10:50 AM POLYPHONIC SPREE Light And Day
> > > 10:54 AM MARLEY, BOB/WAILERS Three Little Birds
> > > 10:56 AM RADIOHEAD Where I End And You Begin

I know what you’re thinking: How can they call themselves “Indie” when (a) Most of the music they play was released on major labels and (b) Clear Channel is frickin’ involved?!

I dunno. And the station needs to mix it up more. Where’s all the new indie stuff? And how ’bout a sprinkling of alternative hip-hop, both past and present?

But it is nice to see some competition for powerhouse KROQ, albeit on a weak signal and with a narrow target audience.

As you can see, Indie originally focused heavily on older tracks, before becoming the more musically adventurous station that earned all of those accolades. Interestingly, the music tweaks over the past few weeks represented a return to that original heavy reliance on gold tracks. Sadly, it was too late to save the station.