the disc-jockey. Airshifts were assigned by the program director, but the schedule was not strict i.e. the station would sign off and on depending on whether the DJ showed up. Record service consisted of a smattering of 45s sent from a few of the major record labels. In 1973 several of the progressive-rock oriented students became very involved and vowed to clean up the lax formatting. Throughout these years KFJC was run by students who were in a 2-year broadcasting program. After 2 years in the program, the student was obliged to "move on" to make room for incoming students. Approximately 80 new students signed up for the on-air class every year during this time. The program director and music director maintained a mostly Progressive-Rock format, using a "clock" showing when on-air breaks were to be taken and what announcements were to occur during those breaks i.e. The Entertainment Calendar, PSAs, or promos for the many station benefits that the staff organized. The clock gave students the feel for what professional stations would ask them to follow. The program director and music director collaborated to create a playlist which was sent to the record companies (just as the professional stations did). This enabled KFJC to get great album service from all of the major and minor record labels for the first time. A system of noting time and date that songs were played was put into use to avoid over-playing the same songs. The playlist that was sent to the record labels was derived from these notations. Several ethnic and specialty shows were also part of the programming during these years. Emphasis was put on developing a good sound—good enough to take listeners away from the professional stations (mainly KOME, KSJO, and KSAN). Jocks were encouraged to play songs and groups that were being exclusively played on KFJC. According to surveys conducted by KOME, KFJC had quite a following during the 1973-1975 era. The format clock eventually became very tight, with an ensuing restricted sound. In late 1978, five student managers decided to restore the music format to again include punk/new-wave—this time, emphasizing the genre. They voted out the General Manager, John Low. DJs were now encouraged to play "alternate" tracks from bands like the Ramones, Elvis Costello, the Knack, and the Clash, i.e., songs that weren't being played by the professional stations (KSJO, KOME, and KSAN). Influential players during