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27-410: KMNR strives to provide educational, entertaining, and informative radio programming as a public service to the students, faculty, and administration of Missouri S&T and for the people of Phelps County . KMNR is a " free-format " station. This means the on-air DJ chooses all program content, with the exception of standard educational productions, which KMNR airs to serve the public interest. KMNR

54-595: A radio station . The radio format emerged mainly in the United States in the 1950s, at a time when radio was compelled to develop new and exclusive ways to programming by competition with television . The formula has since spread as a reference for commercial radio programming worldwide. A radio format aims to reach a more or less specific audience according to a certain type of programming, which can be thematic or general, more informative or more musical, among other possibilities. Radio formats are often used as

81-502: A balance of available public content in each area, and in particular to enable non-profit local community radio to exist alongside larger and richer national companies. On occasions format regulation may lead to difficult legal challenges when government accuses a station of changing its format, for example arguing in court over whether a particular song or group of songs is "pop" or "rock". Formats constantly evolve and each format can often be sub-divided into many specialty formats. Some of

108-399: A bookstore and fitness center. The building's interior was gutted and reconstructed to modern studio standards and KMNR remained there until 2005. KMNR's current location is the first floor of Altman Hall at the corner of 10th and State Streets. The station is now in the same building where its forerunner KMFA began. Radio programming Radio programming is the process of organising

135-401: A consequence, AM radios stations—many of which were "independent", that is not affiliated with the network —began to emerge in the United States and Canada. They developed a format with programming consisting of music, news, and charismatic disc jockeys to directly attract a certain audience. For example, by the 1960s, easy listening obtained a stable position on FM radio –

162-457: A few years, FM radio stations were supplying program formats completely analogous to their AM stations counterparts, increased to more than 50% in 1970 and reached 95% in 1980. During the 1970s and 1980s, radio programming formats expanded into commercially successful variations, including, for example, adult contemporary (AC), album-oriented rock (AOR) and urban contemporary (UC), among others, which spread to most AM and FM radio stations in

189-478: A generalist radio format. However, the United States witnessed the growing strengthening of television over the radio as the major mass media in the country by the late 1940s . American television had more financial resources to produce generalist programs that provoked the migration of countless talents from radio networks to the new medium. Under this context, the radio was pressured to seek alternatives to maintain its audience and cultural relevance. As

216-701: A major mass media entertainment and information medium earning many millions of dollars in revenues annually through radio advertising commercials or sponsorship . These latter uses were brought about after 1920 by business entrepreneurs such as David Sarnoff , who created the National Broadcasting Company (NBC), and William S. Paley , who built Columbia Broadcasting System (CBS). These broadcasting (as opposed to narrowcasting ) business organizations began to be called network affiliates , because they consisted of loose chains of individual stations located in various cities, all transmitting

243-460: A makeshift radio station in the dormitories which was unofficially called KMFA, these letters standing for the original four buildings in the Quadrangle residential complex: Kelly, McAnerney, Farrar, and Altman Hall (although it was also known by something else – Kool MF Association). The station was located in the northwest corner in the basement of Altman Hall and egg cartons were used on

270-549: A marketing tool and are subject to frequent changes, including temporary changes called " stunting ." Except for talk radio or sports radio formats, most programming formats are based on commercial music. However the term also includes the news, bulletins, DJ talk, jingles, commercials, competitions, traffic news, sports, weather and community announcements between the tracks. Even before World War II , radio stations in North America and Europe almost always adopted

297-510: A radio receiver set. The new medium had grown rapidly through the 1930s, vastly increasing both the size of its audience and its profits. In those early days, it was customary for a corporation to sponsor an entire half-hour radio program, placing its commercials at the beginning and the end. This is in contrast to the pattern which developed late in the 20th century in both television and radio, where small slices of time were sold to many sponsors and no corporation claimed or wanted sponsorship of

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324-501: A schedule of radio content for commercial broadcasting and public broadcasting by radio stations . The original inventors of radio , from Guglielmo Marconi 's time on, expected it to be used for one-on-one wireless communication tasks where telephones and telegraphs could not be used because of the problems involved in stringing copper wires from one point to another, such as in ship-to-shore communications. Those inventors had no expectations whatever that radio would become

351-429: A spectrum considered ideal for good music and high fidelity listening as it grew in popularity during that period – and the middle of the road (MOR) rose as a radio industry term to discern radio stations that played mainstream pop songs from radio stations whose programming was geared towards teenagers and was dominated by rock and roll , the most popular musical genre of the period in the United States and which held

378-471: Is staffed entirely by students. Programming is provided by volunteer DJs. Station administration is performed by a seven-member executive board that is elected once per year from the body of DJs. As of November 2024, the station listed 78 active DJs. The first inkling of a Missouri S&T student-run radio station was conceived in the early 1960s (when the school was known as Missouri School of Mines (MSM)). Some MSM students, including Roger Beckman, fabricated

405-555: The Grand Ole Opry , has been focused on broadcasting country music since it began in 1925. Radio soap operas began in the U.S. in 1930 with Painted Dreams . Lørdagsbarnetimen , a Norwegian children's show, with its premiere in 1924 interrupted only by the Second World War, was the longest running radio show in the world until it ceased production in 2010. In the early 1950s, television programming eroded

432-564: The Federal Communications Commission required that co-owned AM and FM stations be programmed independently from each other. This resulted in huge competition between radio stations in the AM and FM spectrum to differentiate themselves for both audiences and advertisers. At that time, it caused a proliferation of many radio formats, which included presentation, schedule and target audience, as well as repertoire. Within

459-479: The United States. Over time, FM radio came to dominate music programming, while AM radio switched to news and talk formats. In some countries such as the UK, licences to broadcast on radio frequencies are regulated by the government, and may take account of social and cultural factors including format type, local content, and language, as well as the price available to pay for the spectrum use. This may be done to ensure

486-415: The entire show, except in rare cases. These later commercials also filled a much larger portion of the total program time than they had in the earlier days. In the early radio age, content typically included a balance of comedy , drama , news, music and sports reporting. Variety radio programs included the most famous Hollywood talent of the day. During the 1920s, radio focused on musical entertainment,

513-580: The first successful radio format called Top-40 . In reality, the Top-40 format was conscientiously prepared to attract the young audience, who was the main consumer of the records sold by the American record industry at that time. Soon, playlists became central to programming and radio formats, although the number of records in a playlist really depends on the format. By the mid-1960s, American FM radio's penetration began achieving balance with AM radio since

540-432: The future radio station as well as familiarized themselves with the scrutiny of the Federal Communications Commission (FCC). Finally in 1964, what was once a student prototype in the dorms of MSM, became a bona fide campus-owned student-run radio station with call letters of KMSM. It first started playing jazz , easy listening , and light and heavy classical music in order for listeners to have an alternative venue to

567-455: The love of free format radio. KMSM's call letters became KMNR in 1972. The "MNR" is a reference to Missouri S&T's mascot, Joe Miner. KMST , formerly named KUMR, is a separate public radio station. KMNR's studio has had at least three locations. The first known location was in T-6, a temporary building between Harris Hall and the current Mechanical Engineering Extension. As T-6 was 'temporary'

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594-466: The popularity of radio comedy, drama and variety shows. By the late 1950s, radio broadcasting took on much the form it has today – strongly focused on music, talk, news and sports, though drama can still be heard, especially on the BBC . Radio format A radio format or programming format (not to be confused with broadcast programming ) describes the overall content broadcast on

621-448: The renovation of the space to the east of the control room, resulting in a larger library, larger lobby, and a large production room/studio to the northeast of the control room. The original lobby, and the famous nooks and crannies that existed in that awkward space were sealed-off. In 1997 T-6 was demolished to make room for a parking lot and KMNR was moved to a leased building at the corner of 12th and Pine Streets that had formerly housed

648-444: The rock and country music played by other Rolla radio stations. Dr. Wells Leitner became the first faculty adviser; Jerry Kettler was the first educational program director; Wayne Huckabee was the first music director; Mike DeVaney was the first business director; and Dale Marshall became the first station manager. The executive board hired its DJs, paying them a "princely" wage of fifty cents an hour. Today's KMNR DJs work only for

675-426: The standard overall-system supplied fare, often at synchronized agreed-upon times. Some of these radio network stations were owned and operated by the networks, while others were independent radio owned by entrepreneurs allied with the respective networks. By selling blocks of time to advertisers, the medium was able to quickly become profitable and offer its products to listeners for free, provided they invested in

702-494: The university allowed the students who supported KMNR to personalize the interior not only with various rooms but also with elaborate murals painted on the walls, the most prominent being the iconic "KMNR Boeing 747" painted in the 1970s, later replaced with the KMNR Space Shuttle in 1983. KMNR was located in T-6 from the early 1970s to 1997. The original layout of the radio station was almost doubled in area in 1984 by

729-448: The walls and ceiling to improve acoustics. It could be heard anywhere on the dial. Around 1962, Beckman suggested a campus-owned, student-run radio station to Student Council officer Dale Marshall who brought up the suggestion to Dean Wilson one night at a meeting. Wilson requested Marshall to submit a project report, which was immediately approved upon review. The project was on hold for one year while students brainstormed and developed

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