HDTenEightyP/NetNews huggingface dataset:
From: john@zygot.ati.com (John Higdon)
Subject: Re: email requests
Originator: wdp@gagme
Organization: Green Hills and Cows
Date: Tue, 15 Sep 1992 05:26:29 GMT

In article <1992Sep13.034406.5546@gagme.chi.il.us> duncan@ravel.ati.com (Jim
Duncan) writes:

>Being as this terminal is at a Silicon Valley radio station, the 
>thought has occurred to me in terms of requests or general feedback. 
>However, I think that broadcasting an e-mail address from a commercial
>radio station with such an idea in mind would be a violation of network
>protocol.

Well, I don't know about that. Candy Chamberlain at KSJO regularly
gives out her e-mail address (cchamber@ksjo.ati.com) on the air and
occasionally actually gets responses. I know of no other commercial
station (besides KSJO) that has a system on the net, with employees
reachable via e-mail. Therefore I seriously doubt that the issue of
"broadcasting" an e-mail address has ever come up. (Your situation does
not count; that is YOUR system, not the station's.)

>From time to time, I get commentary about KUFX, etc. in my e-mail,
>which I sometimes pass along to other staff, and this is fine. Anything
>more than just spontaneous correspondence, however, would not be proper. 

But what if the station had a system and the users each had individual
accounts? Who is to say what would be an "appropriate" amount of
correspondence?

>Beyond that, I have a feeling that every hacker and phreak would join
>in the fun and cause problems!  

I think that is highly paranoid. Either the e-mail address will mean
something to the listener or it won't. If it does not, then where is
the harm. If it does, then the person is well aware of net protocol (or
at least the cost involved in writing from an MCIMail account, or what
have you) and there is nothing here that would particularly attract
abuse. After all, e-mail is exceedingly ignorable. Your remarks remind
me of an FBI agent to whom I explained the workings of the net. He
replied, "You mean that anyone can post whatever he likes and no one is
responsible for screening it????"

I know of no problems at KSJO from mentioning e-mail addresses on the
air. And I believe that she takes requests through that very channel!
-- 
        John Higdon         |   P. O. Box 7648   |   +1 408 264 4115
    john@zygot.ati.com      | San Jose, CA 95150 |       M o o !

Newsgroups: rec.radio.broadcasting
From:  WEOS-FM <BLACK%HWS1%HWS.bitnet@CUNYVM.CUNY.EDU> 
Subject: AFROPOP and Brazilian Hour Info
Originator: wdp@gagme
Organization: WEOS radio
Date: Sat, 5 Sep 1992 06:45:21 GMT

Afropop Worldwide is produced by World Music Productions in New York and is
distributed by National Public Radio. It is aired on NPR stations and other
public radio stations natiowide. They have a listeners guide available for
a SSAP with $1.16 on it to NPR 2025 M st, NW  Washinton, DC 20036.
The host is Georges Collinet. It is funded by CPB, NPR stations, NPR Cultural
performance fund, and NEA.

The Brazilian Hour is produced by the Brazilian Consulate General and is
distributed by  the Extended Program Service on the Public Radio Satellite.
It is hosted by Sergio Mielniczenko and he can be written at Brazilian
Consulate General  8484 Wilshire Blvd, Suite 730  Los Angeles, CA 90211.

Hope this helps.
Michael Black, General Manager, WEOS(FM) Geneva, NY
N2FIZ

Newsgroups: rec.radio.broadcasting
From: lgold@callahans.Cadence.COM (Lynn Gold)
Subject: Re: 98.9 FM San Francisco - Summary and further question 
Originator: wdp@gagme
Organization: /mnt4/lgold/.organization
Date: Wed, 9 Sep 1992 21:36:45 GMT

In article <1992Sep2.232913.10908@gagme.chi.il.us> lightw@cetra.trl.OZ.AU
(Liron Lightwood) writes:

>What is the Urban Contemporary (Urban) format?

>If it is just lots of pop and dance music, including pop ballods and rap,
>with little if any rock, then I must say, that is what I thought the
>Top 40 format was about.  I understood 'Top 40' to be a nickname for the 
>above format description.

Urban Contemporary is ONLY dance and rap music.  It does NOT tend to
include pop ballads unless they're done by a dance or rap artist.  It
also seems to be an unofficial requirement that the artist be black or
hispanic.

--Lynn
Newsgroups: rec.radio.broadcasting
From: rcoryell@well.sf.ca.us (Roger Coryell)
Subject: Re: 98.9 FM San Francisco - Summary and further question 
Originator: wdp@gagme
Organization: Whole Earth 'Lectronic Link
Date: Sat, 5 Sep 1992 07:58:39 GMT

what are urban contemporary stations..? <<

Well, the difference between top 40 (CHR) and urban contemporary is
eally kinda slight, but a true chr plays the hits , whatever they are,
be they "achy breaky heart," "feels like teen spirit", or the latest
Hammer tune. Urban stations generally are more limited to dance music,
or in the case of a softer urban, ballad material by primarily black
artists. In fact, urban radio is often (incorrectly) as a euphemism
for Black radio. Note: Successful urban (or Churban hybrid) stations
generally have an audience that transcends any one ethnic community, but
their musical focus is a little narrower and "blacker" than traditional
CHR.

Newsgroups: rec.radio.broadcasting
From: schuster@panix.com (Michael Schuster)
Subject: Superadio III mini-review
Originator: wdp@gagme
Organization: PANIX Public Access Unix & Internet, NYC 
Date: Wed, 9 Sep 1992 21:35:30 GMT

Having just picked up a Superadio III at BEST today, I thought I'd
post my initial impressions. I bought it to replace my SuperRadio II
(spelled with two "r"'s, as opposed to the III, which is spelled with
one "r"). Just before putting my II up for sale I compared them side
by side. (If you're interested in a MINT SuperRadio II for $25 give me
a holler).

Compared to the II, the III is about the same size but with more
rounded edges. There is more black and less chrome, and the tuning
knob has been moved from the front to the right side. The tuning dial
is now parallel to the front rather than angled back as on the II. The
knobs and switches are all smaller. The exposed section of the
telescopic antenna is almost an inch shorter. It still sports antenna
and headphone connectors and has an internal AC power cord. The power
switch is still in the same stupid position on the top edge, but it
protrudes less and is recessed in a little bit. 

The SuperRadio II has been described as ugly, and the III touted as
being restyled for improved appearance. Ugh. In my opinion the GE
designers have found new ways of making a radio look ugly. The $20
Taiwanese boom boxes at the closeout store look better. Oh, well. If
anything, it's less flashy and that's a plus.

Differences: First, the AM tuning goes well past 1700 now, but the
dial markings are surprisingly non-linear (1000, 1200, 1400, 1600,
1700 spaced equally apart). Dial calibration on AM is acceptable, on
FM it's horrid just as with every specimen of the II I'd ever seen.
There is considerably less backlash on the dial cord mechanism than on
the II.

The Superadio III sports a new switch labelled "wideband". Contrary to
prior speculation, this switch does not appear to switch in a new
NARROWER filter, but a new WIDER filter. In the wide position treble
repsonse improves noticeably, but at the expense of considerable
adjacent channel interference. Heterodynes and carrier splash from
adjacent stations make this useful only for strong, local stations in
the clear.

Sensitivity and selectivity (in the 'normal' position) seem equivalent
to the SuperRadio II. Audio is about equal to the II, although the box
labelling says the tweeter is larger on the new model. It is slightly
less bassy than the II. Still an incredible sounding radio, for the 
money ($39.95).
-- 
_______________________________Mike Schuster________________________________
NY Pub. Access UNIX/Internet: schuster@panix.com | 70346.1745@CompuServe.COM
The Portal (R) System: schuster@cup.portal.com   | MCI Mail,GEnie: MSCHUSTER


Newsgroups: rec.radio.broadcasting
From: steveh@grafex.Cupertino.CA.US (Steve Harding KA6ETB)
Subject: email requests
Originator: wdp@gagme
Organization: GAGME - Public Access UNIX of Chicago, Illinois, USA, Earth
Date: Thu, 10 Sep 1992 18:31:04 GMT


Considering how many radio folk read this group:

Anybody ever consider taking request via email?

steve

Newsgroups: rec.radio.broadcasting
From: ampex!newsq@decwrl.dec.com (Stan Busby)
Subject: NBC chimes
Originator: wdp@gagme
Organization: Ampex Corporation, Redwood City CA
Date: Sat, 12 Sep 1992 08:04:53 GMT


I am old enough (65 today) to remember the NBC chimes.
The notes are G, E, C, on the musical scale, which at 
the time stood for General Electrical Company, which
owned NBC.  The NBC affiliate that I worked for, WTAR-TV,
(now WTKR, (I think) even had, in each studio, a little
Xylophone with three metal resonators and a little wooden
mallet, so that if the station had to originate a net 
feed, the announcer could whack out the chines.  

One of the pioneers of magnetic recording was Colonel Ranger,
who developed the RangerTone control-track kind of tape
synchronization.  His other claim to fame, I am told, is that
he automated the NBC chimes.

Now NBC, sold by GE to RCA, and now resold BACK to GE, has
come full circle.  I think they use a peacock now, but I
don't know what the peacock sounds like.

[Moderator's Note:  Congrats Stan, on your 65th]
Newsgroups: rec.radio.broadcasting
From: rrb@airwaves.chi.in.us (R.R.B Moderator)
Subject: Double vision?  You think YOU have trouble!
Originator: wdp@gagme
Organization: Airwaves
Date: Tue, 15 Sep 1992 05:52:13 GMT

If you received two copies of the Scott Fybush article on call letters,
and the article on the 'tuggle circuit' (title has to do with Earthquakes)
you're not alone.

I received over 100 copies of each of those articles in my incoming
mailbox (rrb@airwaves.chi.il.us) today :-(.

Some site somewhere messed up.  I appologize, but believe me, I had it worse
than you :-).  My box had over 250 articles in it (as opposed to the usual 
10 -30 per day) and over 200 were duplicates of these two articles.

Hooray!

William


Newsgroups: rec.radio.broadcasting
From: jerry@nutmeg.hnrc.tufts.edu (Jerry Dallal)
Subject: Re: NBC chimes
Originator: wdp@gagme
Organization: USDA HNRC at Tufts University
Date: Tue, 15 Sep 1992 05:42:07 GMT

In article <1992Sep13.034352.5514@gagme.chi.il.us>, rholmes@athena.cs.uga.edu
(Robb Holmes) writes:

> I remember listening to NBC new year's broadcasts in the sixties 
> when sometimes the "chimes" took on a very odd, out-of-tune sound.
> This sound is now a familiar one to me: the flutter distortion of
> a bad cart, which is preparing to jam.
> 

I have been told that the NBC chimes were produced not by a xylophone, but by
a Theremin.  This could account for the sound that you heard.  Can anyone
verify this information?

Newsgroups: rec.radio.broadcasting
From: gutierre@noc2.arc.nasa.gov (Robert Michael Gutierrez)
Subject: Mexican Skip/Border stations
Originator: wdp@gagme
Organization: NASA Science Internet Network Operations
Date: Wed, 9 Sep 1992 21:22:12 GMT

Just a question about "Mexican Radio" (remember Wall of Voodoo?).

I was just wondering what is going on with so-called border stations,
where the programming/studios are in the USA, but the transmitters
are in Mexico.  The most popular was, of course, XER-(A through F)
in Cuidad Juarez.  The XERB incarnation was, of course, home to
'Wolfman Jack' (and represented in 'American Graffitti').  XER was
also best known as the classic mega-watt AM broadcast band station
before the WARC(?) took care of all that.

(What kind of finals did they use for that kind of power?  I saw
pictures of the antenna setup...lot's 'o towers and wires!)

Currently, San Diego has 2 border stations (owned by the same
company).  An all-sports station (690 AM) and an alternative rock
station at 91.1 FM ('91X').  ALso, I think XPRS (1090 AM) is another
border station since that was a classic Top-40 station in the '70's.

There was also talk of a movie called "Mexican Radio" somewhat about
the history of, somewhat fictionalized, etc, etc...


    rob.

[Moderator's Ignorance Showing:  Did all those big guns have to reduce
power?  How much did they get cut?  When?]
Newsgroups: rec.radio.broadcasting
From: rc@cmr.ncsl.nist.gov (Robert Carpenter)
Subject: Re: When dir WMUC come on?
Originator: wdp@gagme
Organization: National Institute of Standards and Technology
Date: Thu, 10 Sep 1992 18:31:54 GMT

We did field tests of centrally feeding the U of MD, College Park campus
for carrier current in the Spring of 1948. And were ready to go in the
Fall of that year. However....the campus electrical distribution system was
entirely redone in the summer of '48 and the centrally-fed system couldn't be
heard in any of the dorms. The active personnel changed a bit, and there was
a bit of midnight running of wires around many of the men's dorms during the
48-49 school year and WMUC came on the air in fits and starts. I think it
first operated from Johnny Nagle's dorm room. I remember his story about when
the Dean of Men showed up at the dorm one evening asking people where the
station was located. After Dean Epley left, everyone rushed in to see if John
had been expelled - it turned out that it had been a friendly visit, and
real quarters were provided in dorm basement by the next school year. So I
would guess you could say that WMUC **really** came on about 1950.

BTW, the orinigal intention was to use WOUM, but of course a quick check of
the FCC files showed that the U of Michigan had used that call for quite a
while.

John's other "interesting" radio story was about when he worked at WKAT,
Miami Beach, FL, while in high school during World War II. You first have to
realize that John stuttered. Anyhow it was his job to sign the station off one
night: "And so WKAT, Miami Beach, owned by A. Frank Katzentine ends another
broadcast day ...."   The only trouble was that it came out as " A Katz
Frankenstein.." and A. Frank was listening .....   Help was hard to find in
those days so John kept the job.

Enough, enough...   Bob Carpenter <w3otc@amsat.org>

Newsgroups: rec.radio.broadcasting
From: kramerbr@ucunix.san.uc.EDU (Brian Robert Kramer)
Subject: Re: WONE and WTWO, Dayton 
Originator: wdp@gagme
Organization: ??
Date: Sat, 5 Sep 1992 07:33:54 GMT

In article <1992Sep2.232545.10537@gagme.chi.il.us> Robert Carpenter
<rc@cmr.ncsl.nist.gov> writes:
>Sorry, but I forgot to mention that WONE (AM) and WTWO (FM) were an AM-FM
>pair in Dayton in the early 1950s. As FM stations died off in the mid-50s,
>they apparently turned in the WTWO call and license. When they again wanted
>FM, 'TWO was in use elsewhere - thus WTUO (FM).
>   73,  W3OTC  <w3otc@amsat.org>

Did they origionally have WTWO?  I used to work for them (it is now WTUE, not
WTUO, but you were close), and I thought I was told that they couldn't get
WTWO in the first place.  I'm still in contact with some people there, so I 
will find out.  They also have a BBS that gives the history of the station.
The number is (513) 274-3231 if you are interested in calling.  The Program
Director is the sysop, and he can answer many of the questions about the station

-- 
Some of it's magic, and some of it's tragic,
But I've had a good life all the way. 

Newsgroups: rec.radio.broadcasting
From: newsq@ampex.com (Stan Busby)
Subject: Re: Busby Chronicals, tales from the trenches
Originator: wdp@gagme
Organization: GAGME - Public Access UNIX of Chicago, Illinois, USA, Earth
Date: Tue, 15 Sep 1992 05:25:17 GMT

This starts off sounding like TV stuff, but hang in there,
please.
 
WTAR, Norfolk Va. was one of the last applicants to receive
a construction permit before the big freeze.  They
built a big three-storey building on Boush Street in
Norfolk, and built a self-supporting tower (no guy wires)
across the alleyway behind the building.  The transmitter
was located on the third floor, and the transmission lines
were located on a bridgework spanning the alleyway.
 
When the tower was finished, but the TV radiator not yet
installed, Television cameras were installed, both film and
visual.  All were tested and tweaked.  
 
When the 4-bay bat-wing channel 4 antenna was installed,
there was a problem.  Every piece of video equipment in the
place was plagued with interference at around 1 MHz.  Upon
investigation, the intereference came from WTAR's own AM
station, 5 miles out of town, BUT the TV tower, with its
new altitude, was now a quarter-wave vertical, shunt-feeding the
building.  Anything you touched with a scope probe had
WTAR-AM on it.  The worse affected was the iconoscope film
chain, perhaps because it has a whacking big hole in the front of
the box where projector shines in.  
 
It was a MESS!
From: byrns-j@gamma.corp.mot.com (John Byrns)
Newsgroups: rec.radio.broadcasting
Subject: Re: BROADCAST BAND FREQUENCY DEVIATIONS & EARTHQUAKE FORECASTING
Date: 13 Sep 92 03:45:28 GMT
Organization: Motorola
Originator: wdp@gagme

In article <1992Sep9.211047.18993@gagme.chi.il.us>,
lockhart@mothra.nts.uci.edu (Jack C. Lockhart) writes:
>
>      The very first indication of this phenomena appeared when trying
> to accurately log distant stations with a new crystal set called the
> Tuggle Circuit.  For a crystal set it has remarkable sensitivity and
> selectivity and quickly logged stations spread over half the country,
> plus Canada, Mexico and the Netherlands Antilles.
>

Does anyone out there know what the "Tuggle Circuit" is? Can anyone cite any
references which explain it's operation? This sounds like a very interesting
circuit.
Newsgroups: rec.radio.broadcasting
From: rpeck@bronze.ucs.indiana.edu (robert william peck)
Subject: Re: Query about "syndicated" programs 
Originator: wdp@gagme
Organization: Indiana University
Date: Sat, 5 Sep 1992 07:55:18 GMT

In article <1992Sep2.232721.10719@gagme.chi.il.us> Will Martin
<wmartin@STL-06SIMA.ARMY.MIL> writes:
>
>Afro-Pop Worldwide is hosted by someone whose name I interpret as:
>
>George or Josh Coulinee'  (with the accent over the last "e");
>
>If anyone can tell me the actual real spelling of these peoples' names,
>I'd appreciate it!
>

The correct spelling of the name is: Georges Collinet.

>As a side question, just how are programs like these referred to in the
>industry?  Are they "syndicated", like TV programs? 

Yes, they are available for public radio stations to "down-link" off of
a satellite feed.  "Afropop" is distributed by the National Public Radio
network. 

> ... but I don't know if they are free to the station ...

The programs are free; but, stations have to pay dues to National Public
Radio  :-)

> ... I have no idea how
>Afro-Pop is supported financially ...

"Afropop" is funded by the Corporation for Public Broadcasting, the
National Endowment for the Arts, the Rockefeller Foundation, NPR member
stations, and the NPR Arts and Performance Fund.

>I do recommend both these programs to anyone who is looking for
>programming for a radio station and who wants to broadcast a wide
>variety of good music and expand their listeners' horizons beyond the
>ordinary and indifferent-quality music found on 99% of US radio stations.
>

I agree with you 100%!

>Does anyone out there know of other similar types of programs? 
>
If I get a chance in the next few days, I'll see what program offerings
I can find.

BTW, "Afropop" is going to be the theme of a 'public radio cruise'
coming up sometime soon (I'm not sure what the deadline for space reservation

is at the moment).  Producer Sean Barlow, and host Georges Collinet,
will be onboard for this 7(?)-day cruise of the Carribean.  You can get
additional information from your local NPR-affiliated public radio
station, or by calling Cruise Holidays at 1-800-852-3268.  

yours, 
Bob Peck


Newsgroups: rec.radio.broadcasting
From: lagnaf@camelot.bradley.edu (Jeremy Styninger)
Subject: Re: Feed Info needed for Dick Bartley's show
Originator: wdp@gagme
Organization: Bradley University
Date: Wed, 9 Sep 1992 21:20:27 GMT

>Which brings up a point ...  I want to get a SEDAT card and DATS cage
>to pick up the various networks feeds (like the newly moved Dr. Demento
>show and American Gold).  I hear a SEDAT card is $1,000 nowadays,
>but I have no idea how much a receiver cage is.  Forgive me if I don't
>know, but the old DATS transponder is history now, isn't it, which
>make the old DATS cards worthless also...?

I've seen Fairchild cages and card for sale in the classified section
of Radio World.  You might get ahold of an issue and look there, or
call Allied Used equipment.

DATS cards are still very much in use.  SEDAT cards will pick up old
DAT though.  In fact, there is still alot of DAT 7.5 khz stuff up
there (as opposed to 15khz DATS.)

Jerm


Newsgroups: rec.radio.broadcasting
From: devmail!lisac@pegasus.att.com
Subject: Re: Car Talk 
Originator: wdp@gagme
Organization: AT&T
Date: Sat, 5 Sep 1992 06:51:39 GMT

>>WBUR's justification is that Car Talk is primarily an "entertainment
>>program.

Or, at least tries to be one...the guys try so hard to be humorous
with every symptom a caller mentions, that the gist of the problem
is sometimes lost.

On shows where the people laugh too much, it sounds like a bad
morning zoo, like what's running on WHTZ-100 in New York these
days.

Natural laughter is fine. Forced-sounding laughter isn't.

I wonder how Blake and BJ sound?


*LISA CARR*

My name isn't so bad.  I could have been a son born to the Hertz
family, got named Richard, and was called by a nickname.


-- 

Newsgroups: rec.radio.broadcasting
From: newsq@ampex.com (Stan Busby)
Subject:  Re: Busby Chronicals, tales, from the trenches
Originator: wdp@gagme
Organization: GAGME - Public Access UNIX of Chicago, Illinois, USA, Earth
Date: Tue, 15 Sep 1992 05:25:45 GMT

In the early days of network broadcasting, there were CBS,
NBC, and the Mutual Network.  NBC actually ran two services
called the red network and the blue network, so named because
their distribution pairs in telephone central offices were
tagged with either red or blue tags wherever there was a
terminal strip.
 
Governments get very nervous when the ability to communicate
with, or not communicate with the great unwashed taxbase 
falls into the power of too few people.  Ergo, NBC was forced
to divest itself of one of its nets.  I think the blue net was
retained and the red net was sold off and became ABC.
 
The Mutual network had no technical center as such (they may
have had a business center...I don't know).  The way it worked
was that all of the member stations which might from time to
time originate a program were connected together in a single
great loop which, in the eastern U.S., ran (I think) counter-
clockwise.  Thus Washington fed Baltimore, Baltimore fed Philly,
Philly fed New York, then to Boston, Rochester, on to Chicago,
St. Louis, New Orleans, then to Florida, then north back to
Washington.  
 
The way it worked was that the station currently feeding the
net opened the loop, while all others closed it.  If Washington
was talking, it fed the northbound phone line, and monitored
its input from the south.  I was not easy for one person to do,
because the delay around the loop was about a quarter-second.
Still, Washington would say "we take you now to New York", and
close his switch, while New York would open his switch and 
start talking (northward).  Sometimes the new feed would be
a little slow to react, or fingered the wrong switch, or
whatever and you would hear "we take you now to NEW YORK, 
YORK, york, york, ork, ork, uk, uk......" as the words from
Washington circled around the loop, losing potency each
time around the loop.

Newsgroups: rec.radio.broadcasting