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VOWRVoice of Wesley Radio (Newfoundland radio station)
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References in periodicals archive ?
on a cool November night, and here I sit: in the control room of VOWR, eavesdropping with permission on the making of "Music for Relaxation," a late-night show hosted this evening by Ted Rowe.
He notes that whereas many paid workers do their job in order to "make a living," the people at VOWR "want to be here.
Each participant in the day-to-day activities of VOWR represents both media and listener, subject and participant, creating continuity in the life of the station.
Ted Rowe, for example, volunteers for VOWR two evenings every month, and knows many listeners by name.
It took only a short time for my assumption that VOWR (a station with little advertising and no commercial jingles) would have a financial story of woe, to be entirely refuted.
The radio auction is something of an institution at VOWR, serving as the station's central fundraiser since its inception in 1947.
Significantly, VOWR also benefits from individual donations and corporate sponsorships.
VOWR is selective in the corporate sponsorships it will accept; it will not air pre-recorded advertisements deemed by management not to be in keeping with the station mandate.
In order to better understand the funding choices made by VOWR, it is necessary to consider the station's philosophy for programming.
Despite its geographic distance from VOWR, Dorgan's Airwaves of Zion provides a useful starting point in examining the station's religious programming.
Airwaves of Zion might be usefully compared with VOWR. In each case, volunteers play a predominant--if not exclusive--role in the station's functioning.
I would argue, however, that while VOWR exhibits many of these surface features, its program variety is not the result of program improvisation, nor the fragmented conjoining of individual groups; instead it reflects a living radio organism.