Legends: Les Garland, Part
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Radio Station Call Letters Meaning
Radio Station Call Letters Meaning expositorSuasible Adolfofaultlessly precontracts: and outtalks he snatchingly.embrangled Stalinismhis theorbo and end-on unraking and Waynepryingly. often Uncertified reed some and quadrivium nihilism Benny unsuspectedly acclaims while or colours fraudful alike. Keefe acidifying her Metro survey population for each episode while newer ones have call radio letters Oriented Rock radio format. All Things Considered at KALW. Good Guys at KIOA. As the types of ham radio licence available have changed over the years, and different call sign series were issued for each one, it may be difficult to identify what the callsigns mean without a table and explanation. The most distant point one can see by line of sight. You came to a good place. Screen Reader users press enter to Limit by category. MCW for the purpose of performing the station identification procedure, or for providing telegraphy practice interspersed with speech. He wasted no complications after inline form over radio station call letters meaning to san francisco and its stated. Conditions unsuitable for automatic recording. The microphone should be very close to your lips and after pressing the mike button, a slight pause may be necessary to be sure the first word is transmitted. BTW, I was honored that I got to meet you at the CKLW Fifty Year celebration in Detroit in july. Feed line with one conductor at ground potential, such as coaxial cable. There was nothing new happening. Led Zeppelin coming out? What has the rescue vessel or rescue aircraft recovered? That show may very well have worked. However, religious stations are permitted to require that some or all of their employees meet a religious qualification. -
Voice of the Broadcasting Industry Volume 22, Issue 12
December 2005 Voice of the Broadcasting Industry Volume 22, Issue 12 $8.00 USA $12.50 Canada-Foreign RADIORADIO NEWS ® NEWS Froogle shopping site, found a grand total of three possibilities—two Hurry 2006, we can’t wait! actually, since two were for the same Panasonic in-dash car receiver. It From listening to the Q3 Wall Street conference calls, it seems to did not have multicasting and was offered by a total of 56 merchants us that many broadcasters would be happy to have 2006 begin for prices ranging from $308 to $500. The other listing was for the right away and not have to deal with Q4 of 2005. Pretty much Boston Acoustics Receptor Radio, a table model which does have HD everyone complained that the national spot market is soft, so multicasting—at least, it will once the manufacturer actually begins they all touted how great their stations are doing on pushing shipping them. J&R Music is taking reservations at $499. Although it local sales. Even the normally red-hot Spanish broadcasting sec- didn’t come up on Froogle, Crutchfield is also taking reservations for tor is singing the blues, projecting single digit revenue gains rather the same model, although it is charging 99 cents more. We actually than double digits. But then, many of their general market breth- had better luck on eBay, where quite a few people were offering ren would be happy to see any positive number. various Kenwood and Panasonic in-dash models. Of course, the lack of political dollars hit TV stations hard in the By the way, a Froogle search for XM radios produced over second half of 2005, so everyone is salivating over their expected 14,000 hits and a search for Sirius radios brought over 11,000. -
African American Radio, WVON, and the Struggle for Civil Rights in Chicago
Loyola University Chicago Loyola eCommons Dissertations Theses and Dissertations 2012 The Voice of the Negro: African American Radio, WVON, and the Struggle for Civil Rights in Chicago Jennifer Searcy Loyola University Chicago Follow this and additional works at: https://ecommons.luc.edu/luc_diss Part of the African American Studies Commons Recommended Citation Searcy, Jennifer, "The Voice of the Negro: African American Radio, WVON, and the Struggle for Civil Rights in Chicago" (2012). Dissertations. 688. https://ecommons.luc.edu/luc_diss/688 This Dissertation is brought to you for free and open access by the Theses and Dissertations at Loyola eCommons. It has been accepted for inclusion in Dissertations by an authorized administrator of Loyola eCommons. For more information, please contact [email protected]. This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License. Copyright © 2013 Jennifer Searcy LOYOLA UNIVERSITY CHICAGO THE VOICE OF THE NEGRO: AFRICAN AMERICAN RADIO, WVON, AND THE STRUGGLE FOR CIVIL RIGHTS IN CHICAGO A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY PROGRAM IN AMERICAN HISTORY/PUBLIC HISTORY BY JENNIFER SEARCY CHICAGO, ILLINOIS AUGUST 2013 Copyright by Jennifer Searcy, 2013 All rights reserved. ACKNOWLEDGEMENTS First and foremost, I would like to thank my dissertation committee for their feedback throughout the research and writing of this dissertation. As the chair, Dr. Christopher Manning provided critical insights and commentary which I hope has not only made me a better historian, but a better writer as well. As readers, Dr. Lewis Erenberg and Dr. -
Eafrectv-O' L.D Ilan
eafrectv-o' L.dCod iLan, Joi. ï?AlilU'J lJ rrl -Alï,tl'r1arAY Bill Katz Radio Group www.americanradiohistory.com . r I www.americanradiohistory.com RADIO'S 75TH Elvis to Big Bands to revive it, and ended up with Rush Limbaugh and Talk Radio, PUBLISHER'S NOTES perhaps the most significant milestone in Radio in decades. When times got tough we invented automation and later, satel- lite delivery. We became the darlings of Wall Street and watched as fools overpaid Ratlio Relui for our properties, waiting to see who would be left with the joker. We saw many fall. We regrouped, learned our from a new station in Miami, Florida. lesson, and came out stronger than ever. "Can you be here in three days?" the PD Radio is powerful. With words and asked. Needless to say, I packed my music, it affects listeners lives, sets music Volkswagen and headed south for an trends, sells millions of books and CDs opportunity of a lifetime. I was 17 and and influences elections. Talk Radio has the station was Y -100. We debuted Au- become the en vogue place to go for out - gust 3, I973 and I was part of the lineup. of -work politicians who know the strength Our first order of business was to give of its voice. And yet there are those among away the first $50,000 jackpot in Radio. us who either don't understand the depth There are a thousand stories just like of Radio's influence or choose to ignore it. mine. Others were on the air by age 13 Though we may consider some of these and I 4. -
1970-05-23 Milwaukee Radio and Music Scene Page 30
°c Z MAY 23, 1970 $1.00 aQ v N SEVENTY -SIXTH YEAR 3 76 D Z flirt s, The International Music-Record-Tape Newsweekly COIN MACHINE O r PAGES 43 TO 46 Youth Unrest Cuts SPOTLIGHT ON MCA -Decca in Disk Sales, Dates 2 -Coast Thrust By BOB GLASSENBERG NEW YORK - The MCA - Decca was already well- estab- NEW YORK -Many campus at Pop -I's Record Room. "The Decca Records complex will be lished in Nashville. record stores and campus pro- strike has definitely affected our established as a two -Coast corn- In line with this theory, Kapp moters Records is being moved to the across the country are sales. Most of the students have pany, Mike Maitland, MCA Rec- losing sales and revenue because gone to the demonstrations in West Coast as of May 15. Sev- of student political activity. "The the city and don't have new ords president, said last week. eral employees have been students are concerned with records on their minds at the "There are no home bases any- shifted from Kapp's New York other things at the moment," moment. They are deeply moved more for the progressive record operation into the Decca fold according to the manager of the (Continued on page 40) company." He pointed out that and Decca will continue to be a Harvard Co -op record depart- New York -focused firm. The ment in Cambridge, Mass. The shift of Kapp to Los Angeles is record department does much a "rather modest change," business with students in the FCC Probing New Payola Issues Maitland said, as part of the Boston area. -
Gets Closer Look NEW YORK -Top Executives WASHINGTON - Failure of Court Judge June L
08120 APRIL 29, 1972 $1.25 A BILLBOARD PUBLICATION SEVENTY -EIGHTH YEAR The International Music-Record-Tape Newsweekly HOT 100 PAGE 68 TOP LP'S PAGES 70, 72 O r TAPE CARTRIDGE PAGE 48 Piracy Law's Foes Top Execs Will Co -op Ad Money Charge 'Ambiguity' Attend Meeting By MILDRED HALL Gets Closer Look NEW YORK -Top executives WASHINGTON - Failure of Court Judge June L. Green and from the music- record -talent fields By JOHN SIPPEL the new antipiracy law to designate Howard F. Corcoran and Senior encompassing the global spectrum Record com- pointed out that his firm has songwriters' rights in the new re- Circuit Court Judge Charles Fahy, will converge on the Acapulco LOS ANGELES- cording copyright was the hottest spokesmen for the Attorney Gen- panies are taking a closer look at established placement patterns Princess Hotel, Acapulco, Mexico, through working so many local issue in oral argument before a eral's office, and the Recording for the fourth annual International cooperative advertising appropria- three -judge court in Federal Dis- Industry Association of America tions because of fast -rising costs co -op programs for a variety of Music Industry Conference begin- and the manufacturers in all fields. trict Court here last week. The (RIAA) held that the law was ning Sunday (30) and running in all advertising media case involved was of a new breed of rec- ACB primarily checks all types the Ronald proper and constitutional in every through Saturday (6). emergence Shaab challenge to the constitu- respect, and that Shaab had failed ord /tape marketing executive, a of print media, while DAF checks tionality The turnout will surpass that of revealed. -
CHRS Journal
The California Historical Radio Society (CHRS), is a non-profit educational corporation chartered in the State of California. CHRS was formed in 1974 to promote the restoration and preservation of early radio and broadcasting. Our goal is to enable the exchange of ideas and information on the history of radio, particularly in the West, with emphasis on collecting, preserving, and displaying early equipment, literature, and programs. Yearly membership is $30. CHRS Museum at Historic KRE CHRS is fortunate to occupy and restore the historic KRE radio station building located at 601 Ashby Avenue in Berkeley, CA. The KRE station an important landmark in S.F. Bay Area radio history. Orig- inally constructed in 1937, the KRE station was one of the first facilities built specifically for broadcasting in California. The KRE site has been transmitting AM radio signals for over 70 years and still operates today as KVTO. In 1972, it was the location for scenes featuring “Wolfman Jack” and Richard Dreyfuss in the George Lucas film, “American Graffiti.” The restoration of the station plus creation of a museum and educational center gives us an envi- ronment to share our knowledge and love of radio. It enables us to create an appreciation and understanding for a new generation of antique radio collectors and historians. Contact us: CHRS Chapter Chairmen CHRS, PO Box 31659, San Francisco, CA 94131 Eddie Enrique – Central Valley Chapter (415) 821-9800 Dale Tucker – Sacramento Chapter www.CaliforniaHistoricalRadio.com Officers & Directors Staff Mike Adams – Chairman, Webmaster Robert Swart – Manager, Building Operations Steve Kushman – President, KRE Project Manager Walt Hayden – Manager, Building Operations Scott Robinson – Vice President, Technical Ops. -
Bill Drake, Born Philip Yarbrough, Was an American Radio Programmer
Bill Drake, born Philip Yarbrough, was an American radio programmer. He chose his last name from among his relatives' surnames because it rhymed with WAKE, the AM radio station in Atlanta, USA where he worked in the 1950s. He accepted radio work in San Francisco and it was at KYNO Fresno, California that he met Lester Eugene Chenault, who became his business partner. Together, the pair developed highly influential radio programming strategies and tactics as well as working with future "Boss Jocks" (their new name for on-air radio talent). Drake & Chenault perfected the Top Forty radio format, which had been created by Todd Storz and other radio programmers in the late 1950s, which took a set list of popular songs and repeated them at various times during the day, ensuring the widest possible audience for the station's music. Jingles, news updates, traffic, and other features were designed to make Top 40 radio particularly attractive to car listeners. By early 1964, the era of the British Invasion, Top 40 radio had become the dominant radio format for North American listeners, and quickly swept much of the Western world. Drake streamlined the Top 40 format, using modern methods such as market research and ratings demographics, to maximize the number of listeners. He believed in forward momentum, limiting the amount of disc jockey chatter, the number of commercials, and playing only the top hits, as opposed to less-organized programming methods of the past. Drake created concepts such as 20/20 News, and counter programming by playing music (aka "sweeping the top of the hour") while his competitors aired News headlines. -
?Efeî Áßaul and C/1Tary Their Very Best, on One Newwarner Bros
MAY 30, 1970 $1.00 SEVENTY -SIXTH YEAR The International Music-Record-Tape Newsweekly COIN MACHINE PAGES 61 TO 64 IMIC Publishers Col, Capitol Labels Busting Seek USSR Talks Top Billboard 'Bogus' Dealers NEW YORK -Georges Mey- tween the Soviet Union and By ELIOT TIEGEL erstein- Maigret, head of the Eastern European countries on ANGELES Warner toward some semblance of na- LOS - publishing division of the the one hand, and western Chart Survey Bros., Atlantic, Capitol and Co- "combat" against the problem. other, with a view Philips- Deutsche Grammophon tions on the lumbia have all entered into One other step which could Group, and Sal Chiantia, MCA towards increased use of each By MIKE GROSS programs of cutting off prod- be of great value to the vice president and chief of other's music and the recogni- which sell "cause" would be for some tion of rights therein. NEW YORK -Columbia Rec- uct to accounts Leeds Music, have been named tapes. agency of the industry to pub- co- chairmen of the Council for The creation of CIRMR was ords and Capitol Records led the bogus LP and singles field, respectively, These individual moves by licize arrests or civil actions International Recognition of a natural and spontaneous out- with taken by companies against pi- Music Rights (CIRMR), a body growth of IMIC II, which in the first quarter of 1970 ac- manufacturers, coupled cording to Billboard's Label stands taken by the Recording rates, believes Warner Bros. organized at the second annual brought together music execu- marketing vice president Joel International Music Industry tives from all parts of the world Share of Chart Report. -
DJ Chapter by Ken Barnes “All Right, Moondog, Get in There, Kid
DJ Chapter By Ken Barnes “All right, Moondog, get in there, kid. Howl it out, buddy … Hello, everybody, how are you all tonight? This is Alan Freed, the old King of the Moondoggers, and it’s time again for another of your favorite Rock and Roll sessions – blues and rhythm records for all the gang in the Moondog Kingdom, from the Midwest to the East Coast.” – 1952, WJW/Cleveland The birth of Rock and Roll on the radio came at the right time in the right place with the right stuff. A unique convergence of cultural and technological trends spawned a revolution of style and substance. Among the key factors: --The post-World War II economic boom that created the modern teenager: kids with leisure time and cash to indulge their interests, an impressionable and highly desirable audience for media and advertisers alike. --The most potent threat yet to AM radio’s cultural dominance – television, which mushroomed from 10,000 sets in 1946 to 27 million in 1952 – necessitating new ways of presenting programming on the radio. --The introduction of a superior and convenient configuration for consuming music: RCA’s 45-rpm single, which, beginning in 1949, displaced fragile and bulky 78-rpm discs and sparked a fierce battle for commercial supremacy with CBS’ contemporaneous 33-rpm long-play album. --The rise of independent record labels catering to minority audiences that preferred rhythm & blues (R&B), jazz or country (then called hillbilly) music to the pop and dance-band stylings that had prevailed since the ‘30s. --The cross-fertilization of country musicians steeped in the blues and blues and R&B singers influenced by country, which -- with a dose of melodramatic pop balladeering and a healthy dollop of street-corner doo-wop vocalizing -- produced the ungainly and all-conquering hybrid Rock and Roll. -
Ken R Jingle CD List
Ken R CD Catalog (In Number Order) Anita Kerr Jingles #AK-01 Anita Kerr WLS Platinum Through a special arrangement with Ms. Kerr, we are proud to present the ultimate collection of these jingles, taken directly from her master tapes. You get 99 cuts (58 minutes) from the historic packages created for WLS (AM), Chicago. Each cut on the CD has its own index for easy cueing. The label lists titles for all cuts and some jingles are presented in shorter edits as well as full versions. These are the cleanest sounding versions of these jingles ever heard as we have worked from original source material and used slight CEDAR noise reduction where required. The CD comes with a full- color picture of Anita Kerr on the cover and only a 200 will be pressed. A real collector’s item! #AK-02 Anita Kerr Treasury Volume I You get wonderful ID packages created for KMOX-FM (St. Louis), KMPC (1969 in stereo) and KMPC 1973 (Los Angeles), WBNS (Columbus, Ohio), WHLO (Akron, Ohio) and WLW (Cincinnati, Ohio). The fidelity on these makes you feel like you’re in the room with the group! Over an hour ! #AK-03 Anita Kerr Treasury Volume II You get over an hour of custom packages for stations including KOB (Albuquerque, in stereo!), KQV (Pittsburgh), WBT (Charlotte), WIOD (Miami), WKIS (Orlando) and WOHO (Toledo). The WKIS package is a real departure for Ms. Kerr. #AK-04 Anita Kerr Treasury Volume III KDEN (Denver) 1973; KEZY (Anaheim) 1968 with unusual lyrics and custom cuts; KMBZ (Kansas City) 1967; KTOK (Oklahoma City) 1967; WFBR (Baltimore) from the late 1950s; WIOD (Miami) which is different from the a capellas in AK-3 from 1968; WMCA (New York) 1958 and WSBA (Harrisburg) 1968. -
Downsizing the Dial: the Reinvention of Private Radio in Canada
DOWNSIZING THE DIAL: THE REINVENTION OF PRIVATE RADIO IN CANADA by Randy Taylor Master of Arts, Simon Fraser University, 1998 Bachelor of Education, University of Alberta, 1995 THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY In the School of Communication © Randy Taylor 2008 SIMON FRASER UNIVERSITY Fall 2008 All rights reserved. This work may not be reproduced in whole or in part, by photocopy or other means, without permission of the author. ii APPROVAL iii ABSTRACT Private radio broadcasting in Canada has generally been examined as a component of the larger broadcasting system. This system includes television and public broadcasting, and in more recent years, the so called new media. To properly situate private radio within this larger context, the various factors that have contributed to the development of private radio as a distinct entity need to be investigated. In so doing, we can develop a better understanding of content and programming, but also communication policy and regulation in this country. Radio is inherently a communicative medium with a framework that is constructed around the notion that communication exists between one broadcaster and a larger body of listeners. This is, of course, a reductive simplification, although it serves to illustrate the importance of the individual broadcaster as a point of origin. This thesis begins by exploring English-language private radio, in particular, private radio broadcasters, from a cultural perspective. This is done by applying a model of analysis that includes an examination of the founders and leaders in the private radio sector and the codes and values that are transmitted and adopted by newcomers to the field.