Making waves

Part 4

by Kristen Lombardi

It took willing programmers and heavy negotiations to keep the station's signal active. People haggled with creditors to stall foreclosure. Members ousted board members, then launched emergency fundraisers to pay off $28,000 in unpaid utility bills.

"We saved the station, but it was a sinking ship," says Longone, a former Worcester Phoenix columnist who served as board treasurer in 1993. 'CUW was sinking literally, he explains, drowning in water buckets after the roof began leaking.

It was at this time, when failure loomed constantly, that today's veteran board members took command. They assumed responsibilities with determination, raising money for roof and heating repairs.

Simultaneously, board members noticed a certain folk programmer, Cutroni, who worked at an Auburn steel-product manufacturing plant, was handling correspondence, stuffing envelopes, and answering phones. The job of manager had remained open since Sampson's departure. The board "decided someone had to be in charge," Cutroni says, and appointed him temporary manager.

"It evolved into me being station manager," he adds.

Cutroni and board members set out to tackle finances -- no small feat, considering the station's debt. They appeared competent, energetic. In the station's 1994 annual report, they talked of tracking finances, rebuilding studios, replacing an unreliable security system. In short, they spoke of progress.

No doubt, Cutroni and board members have helped the station. They eliminated the deficit, increased underwriting, and reduced longterm debt -- from $131,818 in 1993 to $109,050 in 1996. Last summer, they boosted 'CUW's visibility by sponsoring a concert series.

In essence, what they've done is steady a chaotic station.

"There's no question the station's more stable than when I first started here," Cutroni says.

"We're surviving. The station's still on air," Kaczyk adds.

Frankly, he underscores this board's most remarkable achievement. Despite an embattled history, 'CUW keeps producing original, diverse programs that reflect community. In an era of media mergers and national buyouts, it offers a format in which 95 percent of programs originate locally.

It's three minutes past nine and you're listening to Face the Music, women's music every Thursday evening in Worcester, Mass. . . .

'CUW takes pride in providing "a voice for the voiceless," Cutroni says, and the format reflects this. It's expanded Spanish-speaking programming, offering four hours of noticias and musica on weekdays, thereby blocking off prime radio-time to serve a niche market -- unusual, for sure. It boasts an amazing "world cultures" line-up, representing most ethnic communities in town. Albanian, French, Indian, Vietnamese. A dozen languages can be heard over 'CUW airwaves.

Good morning. Welcome to the Sounds of Scotia. I'm Tom, bringing you the finest in Scottish music every Saturday . . .

As for music, 'CUW plays whatever listeners won't find on the commercial dial. Shows feature local musicians, rock, folk, rockabilly, reggae and lots of surprises. Like the time Jerry Fitzpatrick, drummer for the prison band Retaliation, showed up on Radio Free Wormtown. His band produced a tape at Massachusetts Correctional Institution in Gardner, and Wormtown hosts aired a few songs. Once Fitzpatrick was released from jail, after serving five years for an unarmed robbery conviction, he came to 'CUW unannounced, just to meet his favorite radio-show hosts.

Hosts: How did you hear 'CUW up at Gardner?

Fitzpatrick: Rick [a band member] got to keep his receiver. . . . He'd throw his antenna out of the window and attach it to a tree.

Hosts: Wow, he's willing to go the distance to hear us.  . . . Now that's a supporter of community radio.

When it comes to 'CUW's format, anything goes. And this is why programmers adore the station. After all, each one's walked in, then created a show. Aside from minimal federal guidelines, they enjoy autonomy on air.

"Management doesn't tell you what to play. There's no pressure from anyone with an agenda to push us in different directions," says Ron Carlson, a folk programmer for 13 years.

A rarity, for certain. Programmers relish lack of interference; they do what they love without hassles. Yet this promotes a disinterest in operations; programmers don't want to hassle management either. So, as long as management keeps 'CUW alive and doesn't limit shows, programmers see no reason to question status quo.

"As far as I'm concerned, the station's okay," Carlson says. He says he doesn't understand how it functions when it doesn't reach fundraising goals but adds, "I've got no complaints. We're still on air."

Dino Lykopoulos, programmer for Greek show, Club Salonica, recognizes the need for financial improvement but adds, "People are okay with the station. It has problems, but not as big as some make out."

If programmers are unconcerned with operations, management seems downright complacent. Most board members contacted by the Phoenix, didn't return phone calls. Those who did, admit the station's barely surviving but attribute the financial woes to dependence on listener generosity and lack of federal support. In short, they don't blame themselves.

"The station runs from crisis to crisis, which is typical of many nonprofit organizations," says David Johnson, a board member for four years. He says he always networks so the station can grow but adds, "it keeps its head above water."

Kaczyk adamantly defends management, citing a five-year plan as proof of commitment to growth. He declines to discuss any details but says, "the station will keep going. Wait and see."

In the end, management believes whatever it does is for the station's betterment. This may explain why Cutroni and board members end up dismissing criticism -- claiming, instead, it's rooted in vendetta. Critical programmers are probably angry with Cutroni, board members say, because he's not afraid to discipline. As for former board members, they're simply upset the board decided not to adopt their ideas.

"Everyone's a critic," says Cutroni, shaking his head at mismanagement questions. "I try to do what's best for the station. The critics are concerned with individual interests."

No doubt personal battles plague 'CUW. But critics bristle at the idea they're throwing stones for retribution's sake. They give credit to management for keeping the station afloat. Yet, unlike programmers who believe a financial struggle's natural for community radio, this camp points to management as the source of blame.

"There's no indication the board wants to move beyond survival mode. It's become the standard," Silverberg says.

Kristen Lombardi can be reached at klombardi[a]phx.com.

On to part 5