Sunday, July 15, 2012
We're Three Years Young!
HOT DIGGETY DAWG! With help from so many wonderful people, we've made it once again! Who'd've ever thunk it?
Just about the time I think we're going to run slack of material, here comes another load of audio, a visual tidbit, or something to save our tail from languishing- all due to the unselfishness of collectors, the love of the station by former jocks and other personnel and devoted listeners...ALL who are and were important in KAAY's history! Folks, without YOU, we would wither on the vine!
Suffice it to say, we've had an abundance of things come our way, that we've been able to schedule ahead of time, to free us up to continue to search at a less frenzied pace...but we're always on the search. So please, don't ever think your contribution isn't important- BECAUSE IT IS!
My greatest thanks to Dave S., who has stuck by the blog with his extreme patience of my computer ignorace and who has lent that wonderful knowledge to bring you many, many KAAY audio bites and improvements to this blog...and to Greg Barman, who has lent his incredible audio expertise to rescuing otherwise dead and broken tapes and converting it all so that we can use it here on the blog. Without these guys, this blog would be nowhere as exciting or appealing as it has been!
Being a labor of love, may we labor long....
Bud S. (staceys4@hotmail.com)
Friday, July 13, 2012
Eric Thomas, KAAY, July 1981
Here is a mid-day shift, with Eric Thomas and the "Kay-Why Original Oldies Party". Obviously mid-July, because of the high temperatures Eric was reporting!
"Scoped, but still nostalgic and enjoyable...Kay-Why", Kay-Double-Ay-Why" identifiers abound. Lots of early rock-n-roll stars, too!
(or download here)
After the "Oldies Party" is over, rock of the 1981 era resumes....someone yelled "Be there!" behind Eric at about 5:41, re: the Jefferson Square Parking lot...wonder who that was?
Thanks again to Russell Wells for sharing this audio goodie and to Dave S. for sharing his computer skills, bringing this to you to enjoy!
Bud S. (staceys4@hotmail.com)
"Scoped, but still nostalgic and enjoyable...Kay-Why", Kay-Double-Ay-Why" identifiers abound. Lots of early rock-n-roll stars, too!
(or download here)
After the "Oldies Party" is over, rock of the 1981 era resumes....someone yelled "Be there!" behind Eric at about 5:41, re: the Jefferson Square Parking lot...wonder who that was?
Thanks again to Russell Wells for sharing this audio goodie and to Dave S. for sharing his computer skills, bringing this to you to enjoy!
Bud S. (staceys4@hotmail.com)
Wednesday, July 11, 2012
WAKY's 3rd Reunion
Heard from The Voice we all love and know, Tom Perryman regarding one of KAAY's former sister LIN stations, WAKY:
"WAKY had its 3rd Reunion at the Louisville Zoo in mid June and about 19 thousand showed up...you can see WAKY web at WAKY1035.com...check it out...WAKY actually turns 54 years old this year!...I started at WAKY as a newsman 52 years ago!"
Tom also mentions, "WAKY was started in 1958 by the McLendon Corp. out of Dallas. Gordon McLendon was an extraordinary person and he and his father were the brains behind the company that started with KLIF in Dallas, and acquired KILT in Houston, and a station in San Antonio and elsewhere..LIN bought WAKY I believe in 1961 or 62..and bought KILT not long after if I recall correctly. Don Keyes was the programming guy behind all the Top 40 stations McLendon had..and he was a great guy...In the early years, all the McLendon stations earned huge ratings in all the markets they were in. Best regards! Tom Perryman"
You can also visit the AM website of WAKY at:
http://www.79waky.com/index.htm
and enjoy lots of neat airchecks...you may even see a few names there of deejays and newsmen who worked at both WAKY and KAAY!
If you want to hear and see more of Tom, just type "Tom Perryman" or "Tom Perry" in the upper left-hand box and do a search...Tom's voice boomed and reverberated all over KAAY's i.d.'s!
Thank you, Tom!
Bud S. (staceys4@hotmail.com)
"WAKY had its 3rd Reunion at the Louisville Zoo in mid June and about 19 thousand showed up...you can see WAKY web at WAKY1035.com...check it out...WAKY actually turns 54 years old this year!...I started at WAKY as a newsman 52 years ago!"
Tom also mentions, "WAKY was started in 1958 by the McLendon Corp. out of Dallas. Gordon McLendon was an extraordinary person and he and his father were the brains behind the company that started with KLIF in Dallas, and acquired KILT in Houston, and a station in San Antonio and elsewhere..LIN bought WAKY I believe in 1961 or 62..and bought KILT not long after if I recall correctly. Don Keyes was the programming guy behind all the Top 40 stations McLendon had..and he was a great guy...In the early years, all the McLendon stations earned huge ratings in all the markets they were in. Best regards! Tom Perryman"
You can also visit the AM website of WAKY at:
http://www.79waky.com/index.htm
and enjoy lots of neat airchecks...you may even see a few names there of deejays and newsmen who worked at both WAKY and KAAY!
If you want to hear and see more of Tom, just type "Tom Perryman" or "Tom Perry" in the upper left-hand box and do a search...Tom's voice boomed and reverberated all over KAAY's i.d.'s!
Thank you, Tom!
Bud S. (staceys4@hotmail.com)
Thursday, July 5, 2012
Eric Thomas, "KAAY, KQ94-FM", July 5, 1981
Boy, when I heard this identifier, I thought, "Were they simulcasting on this date???" I know Dave Montgomery and Greg Fadick ("Hot Scott Fisher") told us so many months ago about an FM operation and sister station. This had been KEZQ-FM, which became KLPQ-FM...and the rest is history...see this link:
http://mighty1090kaay.blogspot.com/2009/09/kaay-fm-sister-station.html
Unscoped, with some atmospheric fade, this is a real aircheck, "DXed from Iowa", the notes say...nostalgic, isn't it? Seems as if there's some co-channel interference, like a hazy, high-pitched buzz there, as well...? Thirty-one years later today, it seems and sounds like just yesterday....
(or download here)
Being DXed from Iowa, this had to be a night-time broadcast. Remember those coverage maps? Yeah!
Thanks to Dave S. for archiving and to Russell Wells for his superb library!
Bud S. (staceys4@hotmail.com)
http://mighty1090kaay.blogspot.com/2009/09/kaay-fm-sister-station.html
Unscoped, with some atmospheric fade, this is a real aircheck, "DXed from Iowa", the notes say...nostalgic, isn't it? Seems as if there's some co-channel interference, like a hazy, high-pitched buzz there, as well...? Thirty-one years later today, it seems and sounds like just yesterday....
(or download here)
Being DXed from Iowa, this had to be a night-time broadcast. Remember those coverage maps? Yeah!
Thanks to Dave S. for archiving and to Russell Wells for his superb library!
Bud S. (staceys4@hotmail.com)
Wednesday, July 4, 2012
Tuesday, July 3, 2012
25th Anniversary!
I know this isn't related to KAAY, et. al., but I wanted to announce that today, July 3, 2012 is my and my wife's 25th wedding anniversary! Twenty-five years ago, some crazy things happened- NOT at the wedding, but preceding the wedding!
Seems as if I changed from my sweaty work clothes to clean, fresh clothing for the dress reheasal the eve of our wedding. When I got up the next morning, I grabbed my tux and goods and took off, as I was late. I got stopped a few miles from the house by an Alabama State Trooper...
"Sir, I stopped you for speeding...can you come to my passenger seat and let's take care of this, please?"
I sat in his car and he proceeded to ask me, "May I see your license, sir?" I told him that I didn't have it, that I left it at the church. "Church?" I mentioned that I'd changed clothes the evening before and I'd just realized where I'd left it. So, he asked why was I in such a hurry? "Because I'm late for my wedding today!"
Well, he whipped out his book, got my information and mentioned that when I got back from the honeymoon, that I could take my license and the ticket down to the courthouse and have it "taken care of" with no fine. He whipped it out in record time, forwarning me to be careful and TRY to keep my speed down...that my soon-to-be-wife needed her husband. I thanked him and got out of the patrol car- and just before I closed the door, he yelled, "HEY!" I thought, "Oh Lord, he's changed his mind!" When I reopened the door, he had this big grin on his face...and he said, "Have fun!" I almost died!
I thanked him and eased off to the church- I wasn't TOO late and everything went off without a hitch.
Not only that, but at the wedding rehearsal the evening before, as my wife pulled out of her parking spot, she turned into a power pole, crumpling her fender. On the spot, we were loaned a Cadillac to use for our honeymoon trip! Disaster made into a blessing, on the spot! We got the fender fixed for a minimal fee after we got back.
WHEW! Where did the years go? I just want to day to my bride Salina: I want another twenty-five!
Bud S. (staceys4@hotmail.com)
Seems as if I changed from my sweaty work clothes to clean, fresh clothing for the dress reheasal the eve of our wedding. When I got up the next morning, I grabbed my tux and goods and took off, as I was late. I got stopped a few miles from the house by an Alabama State Trooper...
"Sir, I stopped you for speeding...can you come to my passenger seat and let's take care of this, please?"
I sat in his car and he proceeded to ask me, "May I see your license, sir?" I told him that I didn't have it, that I left it at the church. "Church?" I mentioned that I'd changed clothes the evening before and I'd just realized where I'd left it. So, he asked why was I in such a hurry? "Because I'm late for my wedding today!"
Well, he whipped out his book, got my information and mentioned that when I got back from the honeymoon, that I could take my license and the ticket down to the courthouse and have it "taken care of" with no fine. He whipped it out in record time, forwarning me to be careful and TRY to keep my speed down...that my soon-to-be-wife needed her husband. I thanked him and got out of the patrol car- and just before I closed the door, he yelled, "HEY!" I thought, "Oh Lord, he's changed his mind!" When I reopened the door, he had this big grin on his face...and he said, "Have fun!" I almost died!
I thanked him and eased off to the church- I wasn't TOO late and everything went off without a hitch.
Not only that, but at the wedding rehearsal the evening before, as my wife pulled out of her parking spot, she turned into a power pole, crumpling her fender. On the spot, we were loaned a Cadillac to use for our honeymoon trip! Disaster made into a blessing, on the spot! We got the fender fixed for a minimal fee after we got back.
WHEW! Where did the years go? I just want to day to my bride Salina: I want another twenty-five!
Bud S. (staceys4@hotmail.com)
Monday, July 2, 2012
Jersey Shore, Summertime 1906
Down on the Jersey Shore, ca. 1906.
Ahh, summertime! I thought this photo was interesting on several levels. With now being officially summer, thoughts turn to family outings and "the beach". This is what it was like on one summer day in 1906, the beach at Atlantic City, NJ - people out having fun and enjoying the water and sand. And just to make this related to radio, the photo caption also points out a "DeForest Wireless" radio station. Look for the antenna mast in the haze - near the end of the pier.
Check out the swimsuits! and the variety of concessions. Also the first aid tent in the close foreground. What else can you spot?
Y'all be safe, and have fun!
photo credits: http://www.shorpy.com/
Dave Montgomery
Ahh, summertime! I thought this photo was interesting on several levels. With now being officially summer, thoughts turn to family outings and "the beach". This is what it was like on one summer day in 1906, the beach at Atlantic City, NJ - people out having fun and enjoying the water and sand. And just to make this related to radio, the photo caption also points out a "DeForest Wireless" radio station. Look for the antenna mast in the haze - near the end of the pier.
Check out the swimsuits! and the variety of concessions. Also the first aid tent in the close foreground. What else can you spot?
Y'all be safe, and have fun!
photo credits: http://www.shorpy.com/
Dave Montgomery
Friday, June 29, 2012
Postcard From San Marcos, Guatemala
What a surprise! A Peace Corps volunteer hearing a BIG piece of home! I can't make out the actual year this was reported and recieved- the post mark is faded- but it is in the early 1970's as the other mail is that Wayne Moss has donated for this blog.
It just goes to show you, KAAY punched through the ether, entertaining people far, far away!
Thank you, Wayne!
Bud S. (staceys4@hotmail.com)
Monday, June 25, 2012
Comments, Re: Cuban Fan Letters
Hello Bud,
It was very kind of you to publish that stuff from Cuba, it’s been an instant time machine for me. I was a teenager by that time (1973), and all my friends and me were always awaiting till midnight for the Beaker Street. We were in the north western part of Cuba, close to the Gulf of Mexico and it always amazed us how in the world this AM signal could reach us from Little Rock. Now I live here in the US and take the opportunity to thank personally Clyde Clifford and the original KAAY staff for making possible even for the Cuban listener of forbidden music a program like Beaker Street.
Best Regards
Marco Romeu
It was very kind of you to publish that stuff from Cuba, it’s been an instant time machine for me. I was a teenager by that time (1973), and all my friends and me were always awaiting till midnight for the Beaker Street. We were in the north western part of Cuba, close to the Gulf of Mexico and it always amazed us how in the world this AM signal could reach us from Little Rock. Now I live here in the US and take the opportunity to thank personally Clyde Clifford and the original KAAY staff for making possible even for the Cuban listener of forbidden music a program like Beaker Street.
Best Regards
Marco Romeu
Saturday, June 23, 2012
KAAY Ron Casteel and David B. Treadway, June 23, 1983
Compliments of Russell Wells, here is a short clip of Ron Casteel and David B. Treadway on KAAY, June 23, 1983. Somewhat 'scoped, still enjoyable...and, I think, this is the only audio recording we have of Ron Casteel:
(or download here)
Kudos to Dave S. for his work in bringing this aural treasure to you!
Bud S. (staceys4@hotmail.com)
(or download here)
Kudos to Dave S. for his work in bringing this aural treasure to you!
Bud S. (staceys4@hotmail.com)
Thursday, June 21, 2012
Post Card/QSL Request From Yucatan, MX
Here is a postcard mailed from Yucatan, Mexico from a listener from Miami, FL; apparently, he heard KAAY while on vacation! The front of the card shows an interesting carved lion seat.
Please note that this is a true "DXer"- he included the information about the radio he was using and the signal strength codes. He was listening to Tom Roberts- the time he notes is apparently during Beaker Street.
I wonder if he ever got a QSL card? Thanks to Wayne Moss for this interesting and beautiful card!
Bud S. (staceys4@hotmail.com)
Tuesday, June 19, 2012
Honeysuckle.....
April 2012 was notable in my part of Arkansas for how (as Ian Anderson put it in "Aqualung") the flowers bloomed like madness in the spring. I cannot remember ever seeing such lush growth of the honeysuckle, or having the fragrance of it be so nearly overpowering--in the best sense of that word.
It was unusual to the point where I wondered what it could MEAN. The smell would dang near follow you indoors! I was not about to complain over such a wondrous manifestation of the Creator's Hand, but I guess I have just enough Choctaw blood from my great-grandmother to where I wondered if it was a Sign.
Then came April 16th, with the news that Levon Helm was suffering mightily from a recurrence of cancer and wasn't expected to live much longer. Sure enough, he died on the 19th, taking a piece of my soul with him. It was especially grievous, coming so near to the loss of Earl Scruggs on March 28th.
I got to thinking that maybe the honeysuckle had known that Levon was dying--even before we humans got the word--and had decided to give him a gift on his way out of this world. Well, the blooms and the scent continued their pleasant onslaught undiminished through the night of April 26th.
On the morning of Friday, April 27th, the fragrance was GONE just as suddenly as if it had never been there. The blooms were still everywhere--on every possible fence and tree trunk--but their perfume had simply disappeared. The honeysuckle has not smelled since that day.
That was the day they buried Levon Helm. And people can call this a coincidence as long as they want to.
dbt
It was unusual to the point where I wondered what it could MEAN. The smell would dang near follow you indoors! I was not about to complain over such a wondrous manifestation of the Creator's Hand, but I guess I have just enough Choctaw blood from my great-grandmother to where I wondered if it was a Sign.
Then came April 16th, with the news that Levon Helm was suffering mightily from a recurrence of cancer and wasn't expected to live much longer. Sure enough, he died on the 19th, taking a piece of my soul with him. It was especially grievous, coming so near to the loss of Earl Scruggs on March 28th.
I got to thinking that maybe the honeysuckle had known that Levon was dying--even before we humans got the word--and had decided to give him a gift on his way out of this world. Well, the blooms and the scent continued their pleasant onslaught undiminished through the night of April 26th.
On the morning of Friday, April 27th, the fragrance was GONE just as suddenly as if it had never been there. The blooms were still everywhere--on every possible fence and tree trunk--but their perfume had simply disappeared. The honeysuckle has not smelled since that day.
That was the day they buried Levon Helm. And people can call this a coincidence as long as they want to.
dbt
Friday, June 15, 2012
"Don Marquez" (Don Marcus) Cuban Fan Letter
Here is a letter from a listener in Cuba who heard Don Marcus ("Don Marquez") while he was running Beaker Street! This is the only letter Wayne Moss sent me which was addressed specifically to someone at KAAY. Apparently, Don made an impact on this fellow! I just had to include a shot of the envelope, since it was addressed to "Don Marquez"....
More to come!
Bud S. (staceys4@hotmail.com)
Wednesday, June 13, 2012
Mobile, AL Tower
Hey Bud, I just received a copy of Aitken's book "Continuous Wave" and gathered a few more clues about the possible purpose of the tower that is shown in the picture.
http://mighty1090kaay.blogspot.com/2012/04/hot-springs-attractions-1900-1908-and.html
Aitken says that Marconi pioneered the use of a vertical antenna to replace the horizontal antenna that was generally in use at the time.In 1900, the "raw" spark system was the only system in use. This was about 10 years before anyone knew how to generate a continuous (i.e.,sine) wave and even longer before anyone could modulate the signal with a voice. The Navy didn't get into the wireless business until the late 1900s and none of the original Navy stations were located on the Gulf Coast. However, the United Fruit Company was a heavy user of spark equipment and because Mobile is a port, I'm guessing that this was a Marconi spark station that was used by United Fruit Company (and perhaps others).
(The full citation:)
Hugh G.J. Aitken, The Continuous Wave: Technology and American Radio,
1900-1932 (1985), ISBN 0-691-08376-2.
According to the book, "In the Caribbean and Central America the
United Fruit Company, through its subsidiary, Tropical Radio, operated
an extensive network of land-based stations and relied on radio to
control the movement of its famous 'Great White Fleet'."
Tropical Fruit invented and patented the crystal detector and was
later merged into RCA.
Because Marconi sold its stations as complete packages of equipment
and coupled with the use of a vertical antenna, it seems likely that
this was a Marconi-supplied station.
Hollis W. Duncan
http://mighty1090kaay.blogspot.com/2012/04/hot-springs-attractions-1900-1908-and.html
Aitken says that Marconi pioneered the use of a vertical antenna to replace the horizontal antenna that was generally in use at the time.In 1900, the "raw" spark system was the only system in use. This was about 10 years before anyone knew how to generate a continuous (i.e.,sine) wave and even longer before anyone could modulate the signal with a voice. The Navy didn't get into the wireless business until the late 1900s and none of the original Navy stations were located on the Gulf Coast. However, the United Fruit Company was a heavy user of spark equipment and because Mobile is a port, I'm guessing that this was a Marconi spark station that was used by United Fruit Company (and perhaps others).
(The full citation:)
Hugh G.J. Aitken, The Continuous Wave: Technology and American Radio,
1900-1932 (1985), ISBN 0-691-08376-2.
According to the book, "In the Caribbean and Central America the
United Fruit Company, through its subsidiary, Tropical Radio, operated
an extensive network of land-based stations and relied on radio to
control the movement of its famous 'Great White Fleet'."
Tropical Fruit invented and patented the crystal detector and was
later merged into RCA.
Because Marconi sold its stations as complete packages of equipment
and coupled with the use of a vertical antenna, it seems likely that
this was a Marconi-supplied station.
Hollis W. Duncan
Monday, June 11, 2012
Catt And I
Catt Sirten grew up in Nashville, TN, so didn't listen to KAAY, as he was out of the main lobes of transmission, but he was aware of the Mighty 1090. However, I have listened to Catt for many, many years on various radio stations around Mobile, AL. His programs, Sunday Jazz Brunch (8AM-2PM Central Time) and Radio Avalon (weeknights, 10PM-12 Midnight Central Time) are reminiscent of Clyde Clifford's Beaker Street- in a jazzy sort of way. Catt programs some of the most eclectic jazz around, from classic, to worldbeat, to fusion, to trance and everything in between, with some nice big band mixed in!
Catt told me that he is one of two people who are privileged to have radio shows of this sort (the other guy, I forget his name, is in California; Catt says his show is much bigger, but I can't see how- Catt's is pretty awesome!!! bs). Catt is now working for WZEW, where these programs originate. Other stations he's worked at (not in any particular order) are WERC, Birmingham, AL; WFBQ, Indianapolis, IN; WPFM, Panama City, FL; WMXC, Mobile, AL (who is airing their own Sunday jazz show since Catt left); WHMD, Hammond, LA; WTKX, Pensacola, FL; WCGQ, Columbus, GA; WAAY, Huntsville, AL; WHIL, Mobile, AL; WMSL, Decatur, AL; and the World Space Studios, Phoenix, AZ.
Catt's other observations: "Stuart McRae was a program director in Lafayette, IN (WXUS, 1979...bs) when I was in Indianapolis. He became the first program director of WZEW when they changed from gospel to hard rock in December of 1981 (I believe). I also believe that Dick Downes was once program director of WZEW."
(Don Payne was also at WXUS, hired by Stuart McRae...bs)
I have been able to visit with Catt numerous times when he was on remote at locations here in and around Mobile; the picture above is of he and I at one of my favorite restaurants, Pintoli's Italian Cafe, just minutes from my home here in Satsuma, AL!
http://www.letseat.at/pintolis
Catt does a remote once a month at Pintoli's and is well-received by the local clientele- in fact, many people travel to Pintoli's for their new brunch menu, and enjoy jazz while they partake of the cafe's geniune Italian cuisine. Catt has graciously taken time in-between sets to talk with me, to share history and just to generally gab about many things in general. After listening to him for so many years, I feel like he's family! He really likes to hear from listeners- it spurs him on to find the most unique, tasty music to share! To say he gets excited that someone listens is an understatement!
So, here's to another Great of radio, who's paths has crossed with people we know; it seems to me the radio business is a small, close-knit society, but that's my opinion. There are a few lucky souls who get that gig, doing what they love- Catt Sirten is one of those blessed people and we're blessed to enjoy his programming.
For your listening pleasure, see the link in the right-hand sidebar, or click here:
http://www.radioavalon.com/
Click on the "about radio avalon" tab for the podcasts and enjoy!
Thanks to Catt Sirten for being a friend of this blog!
Bud S. (staceys4@hotmail.com)
Wednesday, June 6, 2012
Habana Fan Club Reply Letter
Dear reader and visitor, we take/took it for granted that we could hear radio stations (and enjoy other media) without fear of reprisal. The letters Wayne Moss has so graciously shared with us and posted here reflect the zeal others outside the United States had for listening to such programming- especially that of KAAY and Beaker Street.
You've seen the previous Habana Club Fan Letter, then KAAY's response letter...and here's the Club's "thank you" letter. I tried to scan it in with the correct colors, but something was "lost in the translation"...the stamp was supposed to be brown! Nonetheless, here is the letter, edited again of course, of the Club president who was apparently overjoyed at KAAY's responding to his letter (actually, there were two identical letters mailed at different times- only one was posted beforehand):
Should we here in the most free country in the world actually realize the privileges we have- and that we should have as much zeal for those freedoms we take so lightly! More letters from Cuban listeners will be posted, as we have space and time...these letters are wonderful history and a testamant that KAAY put a monstrously BIG K signal 'way ouside our borders!
By the way, do any of you out there remember "onion paper"? And Air Mail envelopes? Very thin, very light, as postage between countries could be very costly...and these wonderful Cuban listeners were spending hard-earned wages to write to and follow our beloved KAAY! Many of these letters sent to me by Wayne are of this type...so, stand by, don't touch that dial, more are to come!
Bud S. (staceys4@hotmail.com)
You've seen the previous Habana Club Fan Letter, then KAAY's response letter...and here's the Club's "thank you" letter. I tried to scan it in with the correct colors, but something was "lost in the translation"...the stamp was supposed to be brown! Nonetheless, here is the letter, edited again of course, of the Club president who was apparently overjoyed at KAAY's responding to his letter (actually, there were two identical letters mailed at different times- only one was posted beforehand):
Should we here in the most free country in the world actually realize the privileges we have- and that we should have as much zeal for those freedoms we take so lightly! More letters from Cuban listeners will be posted, as we have space and time...these letters are wonderful history and a testamant that KAAY put a monstrously BIG K signal 'way ouside our borders!
By the way, do any of you out there remember "onion paper"? And Air Mail envelopes? Very thin, very light, as postage between countries could be very costly...and these wonderful Cuban listeners were spending hard-earned wages to write to and follow our beloved KAAY! Many of these letters sent to me by Wayne are of this type...so, stand by, don't touch that dial, more are to come!
Bud S. (staceys4@hotmail.com)
Tuesday, June 5, 2012
KAAY 50th Celebration Reunion
From Doug Virden, re: the preparations for the upcoming KAAY reunion/anniversary:
"Have set a date for the 50th celebration, it will be Fri. Sept. 7th with the place still to be determined. It will be former employees of KAAY and listeners with RSVP."
So stay tuned here; when Doug gives me the location, I'll inform everyone.
Bud S. (staceys4@hotmail.com)
"Have set a date for the 50th celebration, it will be Fri. Sept. 7th with the place still to be determined. It will be former employees of KAAY and listeners with RSVP."
So stay tuned here; when Doug gives me the location, I'll inform everyone.
Bud S. (staceys4@hotmail.com)
Monday, June 4, 2012
EKKO Stamps
Ethel of Fayetteville recently inquired about EKKO stamps, as pictured above on this beautiful KTHS verification letter.
Radio stations used to take the time to write to their listeners, sending such great letters written on elaborate stationary and affixing their EKKO stamps upon them. EKKO stamps then, as they are today, were highly-sought items and are collectable items today
Radio was a hobby, both to listen to and to operate, until other mediums came along, such as television and the Internet. Suffice it to say, a part of the hobby was to collect these reception stamps, such as these below:
These wonderful letters and stamps evolved into "QSL cards"; to my knowledge, KAAY only sent out typewritten letters and QSL cards. However, it is said that the EKKO Company went out of business, perhaps before World War 2, well before KTHS became KAAY. For more information on these interesting reception stamps, see the links below:
http://www.cinderellas.info/columns/ekko/
http://reviews.ebay.com/WHAT-apos-S-AN-EKKO-STAMP?ugid=10000000000839026
Thanks, Ethel, for reminding me of this wonderful historical part of radio!
Bud S. (staceys4@hotmail.com)
Thursday, May 31, 2012
Habana Fan Club Letter, And KAAY Response
KAAY Great Wayne Moss sent me a packet of letters the station received over the years to share with you, dear reader and visitor! I'll sprinkle them about the blog, here and there, as they are great history and a small representation of the massive amounts of mail KAAY got over the years.
(If anyone out there has any other letters to share with us and, ultimately, other KAAY fans around the world, please contact me at my e-mail address below. bs)
This first letter comes from Havana (Habana), Cuba. At Wayne's insistance, I've edited it (and other letters to come, from Cuba) to remove the names, as political pressures even today may endanger those who may still be living. As I've gotten assurances from some KAAY fans in Cuba, but warnings from others who have left Cuba, I must err on the side of caution, as per Wayne's wishes; I would wish NO harm to anyone, in any way, through this blog!!!
This first letter (yes, we'll get to it!) is from a fan club; I'll only publish two pages here, as the last page had the members' names on it. This information will NOT be shared under any circumstances, due to security reasons. The second letter, also edited, is the reply from KAAY to the fan club. Although lengthy, both HAD to go together for cohesiveness and continuity....
OK, read history here! Note in KAAY's reply all the people who signed it!
...and KAAY's response:
What wonderful history! Our thanks go to Wayne Moss for this and other letters to come.
Bud S. (staceys4@hotmail.com)
(If anyone out there has any other letters to share with us and, ultimately, other KAAY fans around the world, please contact me at my e-mail address below. bs)
This first letter comes from Havana (Habana), Cuba. At Wayne's insistance, I've edited it (and other letters to come, from Cuba) to remove the names, as political pressures even today may endanger those who may still be living. As I've gotten assurances from some KAAY fans in Cuba, but warnings from others who have left Cuba, I must err on the side of caution, as per Wayne's wishes; I would wish NO harm to anyone, in any way, through this blog!!!
This first letter (yes, we'll get to it!) is from a fan club; I'll only publish two pages here, as the last page had the members' names on it. This information will NOT be shared under any circumstances, due to security reasons. The second letter, also edited, is the reply from KAAY to the fan club. Although lengthy, both HAD to go together for cohesiveness and continuity....
OK, read history here! Note in KAAY's reply all the people who signed it!
...and KAAY's response:
What wonderful history! Our thanks go to Wayne Moss for this and other letters to come.
Bud S. (staceys4@hotmail.com)
Monday, May 28, 2012
Thursday, May 24, 2012
Who Is Russell Jones?
From the Russell Wells Collection, here is a brief clip of Russell Jones. Can anyone tell us about who Russell Jones was, was that his air name or real name and when did he work at KAAY?
(or download here)
Thanks again to Russell Wells for sharing and thanks to Dave S. for sharing his time and skills to bring these audio treasures to the blog for you all to enjoy!
Bud S. (staceys4@hotmail.com)
(or download here)
Thanks again to Russell Wells for sharing and thanks to Dave S. for sharing his time and skills to bring these audio treasures to the blog for you all to enjoy!
Bud S. (staceys4@hotmail.com)
Friday, May 18, 2012
Dan Garner, KLAZ-FM, Satellite TV
Doug Ward, who sent in the George J. Jennings YouTube video awhile back sent in this little historical tidbit:
"...I noticed a post a few months ago discussing KLAZ-FM and its founder, Dan Garner. Dan died several years ago, but it should be noted that he almost had a huge deal after KLAZ - he received one of the first licenses for a Direct Broadcast Satellite. Dan and his engineer, Dr. G. Gordon Apple, were truly the pioneers of the industry. Unfortunately, his license got transferred to another company due to FCC politics, and now the DBS industry is served by DirecTV and Dish Network. So in a way, KAAY served as an indirect inspiration that led to the satellite TV programming I enjoy at home today.
Someone wrote a book about the DBS industry titled "Cutthroat" - a preview of the chapter about Dan Garner is online here -
http://books.google.com/books?id=2dhM7xdI89EC&pg=PA139&lpg=PA139&dq=cutthroat+%22dan+garner%22&source=bl&ots=DhjsY1zD4o&sig=yLNYOSRzPBWL3jnCJynZGbZe23A&hl=en&sa=X&ei=VcCeT8HOD-mw2wW4p_DqDg&ved=0CCAQ6AEwAA#v=onepage&q=cutthroat%20%22dan%20garner%22&f=false
Best regards,
Doug Ward"
Thanks, Doug!
Bud S. (staceys4@hotmail.com)
"...I noticed a post a few months ago discussing KLAZ-FM and its founder, Dan Garner. Dan died several years ago, but it should be noted that he almost had a huge deal after KLAZ - he received one of the first licenses for a Direct Broadcast Satellite. Dan and his engineer, Dr. G. Gordon Apple, were truly the pioneers of the industry. Unfortunately, his license got transferred to another company due to FCC politics, and now the DBS industry is served by DirecTV and Dish Network. So in a way, KAAY served as an indirect inspiration that led to the satellite TV programming I enjoy at home today.
Someone wrote a book about the DBS industry titled "Cutthroat" - a preview of the chapter about Dan Garner is online here -
http://books.google.com/books?id=2dhM7xdI89EC&pg=PA139&lpg=PA139&dq=cutthroat+%22dan+garner%22&source=bl&ots=DhjsY1zD4o&sig=yLNYOSRzPBWL3jnCJynZGbZe23A&hl=en&sa=X&ei=VcCeT8HOD-mw2wW4p_DqDg&ved=0CCAQ6AEwAA#v=onepage&q=cutthroat%20%22dan%20garner%22&f=false
Best regards,
Doug Ward"
Thanks, Doug!
Bud S. (staceys4@hotmail.com)
Wednesday, May 16, 2012
Eric Thomas, KAAY, May 1981, Pt. 2
Again, more great hit music (even though it is 'scoped), brought by Eric Thomas on KAAY! This seems like a continuation (or very similar) to the previous post.
This is another example of the daytime broadcasts many of us could not hear. Even though it is heavily 'scoped, it still brings back good memories of the music from the early 1980's....
(or download here)
And again, thanks to Russell Wells for his donation and to Dave S., who donates a LOT of his time behind the scenes to make sure you enjoy these audio goodies!
Bud S. (staceys4@hotmail.com)
This is another example of the daytime broadcasts many of us could not hear. Even though it is heavily 'scoped, it still brings back good memories of the music from the early 1980's....
(or download here)
And again, thanks to Russell Wells for his donation and to Dave S., who donates a LOT of his time behind the scenes to make sure you enjoy these audio goodies!
Bud S. (staceys4@hotmail.com)
Tuesday, May 15, 2012
R.I.P. Donald "Duck" Dunn, 1941-2012
"Steve Cropper and Duck Dunn!" Maybe you remember John Belushi shouting that at the end of the classic "Soul Man" from the first Blues Brothers movie. He referred, respectively, to guitar player Cropper and bass player Dunn, who starred in the band that was "powerful enough to turn goat (pee) into gasoline." And it was hard to miss Duck's appearance with his afro, his beard and his pipe.
On Mother's Day, May 13, 2012, word came that Duck had died in his sleep in Tokyo after doing two shows the previous night with Stax greats Eddie Floyd and Steve Cropper. He was 70 years of age.
If you're any sort of hipdog, you know that Duck Dunn came up with Booker T And The MGs, although he did not join until after "Green Onions" (bass on that cut was handled by Lewis Steinberg). When you took Booker and them, added The Memphis Horns and Isaac Hayes on piano, you had the house band at Stax Records.
Wilson Pickett, Sam And Dave, Otis Redding, Carla Thomas, Johnnie Taylor. When they cut their hit records at Stax, the mighty Duck Dunn was anchoring the low end. Alongside the fabulous Al Jackson, Jr (nicknamed "The Clock" for obvious reasons) on drums, he laid down a groove that may well outlast the pyramids.
I wouldn't know this until many years later, but Felix McDonald's fabled 70-cycle bass cutoff in the KAAY audio chain only enhanced and defined Duck's soulful low notes. The compression in the line and the tubes in the RCA transmitter made 'em as thick and greasy-delicious as a plate of Memphis ribs. All I could tell you at the time was that those Stax records jumped right out of the speaker and grabbed you by the butt!
Yeah, it was KAAY that brought Duck Dunn to my teenage wasteland, same as it brought me the lonesome moan of Levon Helm--and now they're both gone to the Skywave.
Here's a couple of choice examples of Duck Dunn's legacy, first with Johnnie Taylor, then with Otis Redding:
http://www.youtube.com/watch?v=3RueCun_Bh8
http://www.youtube.com/watch?v=8nA18g_PwG0
David B. Treadway
Doc Holiday VII
The Last PD
On Mother's Day, May 13, 2012, word came that Duck had died in his sleep in Tokyo after doing two shows the previous night with Stax greats Eddie Floyd and Steve Cropper. He was 70 years of age.
If you're any sort of hipdog, you know that Duck Dunn came up with Booker T And The MGs, although he did not join until after "Green Onions" (bass on that cut was handled by Lewis Steinberg). When you took Booker and them, added The Memphis Horns and Isaac Hayes on piano, you had the house band at Stax Records.
Wilson Pickett, Sam And Dave, Otis Redding, Carla Thomas, Johnnie Taylor. When they cut their hit records at Stax, the mighty Duck Dunn was anchoring the low end. Alongside the fabulous Al Jackson, Jr (nicknamed "The Clock" for obvious reasons) on drums, he laid down a groove that may well outlast the pyramids.
I wouldn't know this until many years later, but Felix McDonald's fabled 70-cycle bass cutoff in the KAAY audio chain only enhanced and defined Duck's soulful low notes. The compression in the line and the tubes in the RCA transmitter made 'em as thick and greasy-delicious as a plate of Memphis ribs. All I could tell you at the time was that those Stax records jumped right out of the speaker and grabbed you by the butt!
Yeah, it was KAAY that brought Duck Dunn to my teenage wasteland, same as it brought me the lonesome moan of Levon Helm--and now they're both gone to the Skywave.
Here's a couple of choice examples of Duck Dunn's legacy, first with Johnnie Taylor, then with Otis Redding:
http://www.youtube.com/watch?v=3RueCun_Bh8
http://www.youtube.com/watch?v=8nA18g_PwG0
David B. Treadway
Doc Holiday VII
The Last PD
Thursday, May 10, 2012
Eric Thomas! KAAY, May 1981
Here's a "new" one, from the Russell Wells Collection! Doing my research, I haven't found anything on Eric Thomas before. Here is a 'scoped morning aircheck from May 1981:
(or download here)
Can anyone give us an insight on Eric Thomas and if that was his real name? Thank you!
And thanks to Russell Wells for sharing; and to Dave S. for sharing his computer skills to bring these audio gems out for us to enjoy!
Bud S. (staceys4@hotmail.com)
(or download here)
Can anyone give us an insight on Eric Thomas and if that was his real name? Thank you!
And thanks to Russell Wells for sharing; and to Dave S. for sharing his computer skills to bring these audio gems out for us to enjoy!
Bud S. (staceys4@hotmail.com)
Tuesday, May 8, 2012
George Jennnings and the Jonesboro Tornado
Doug Ward sent us this!
Hi Bud -
I just noticed a YouTube video posted a couple of days ago by KAIT TV Channel 8 in Jonesboro -
What if the 1968 Jonesboro Tornado Happened Today?
http://www.youtube.com/watch?v=IFg8cyBnJd0
To me, that news announcer sounds like George J. Jennings, so I'm passing this link along for your opinion. Perhaps it was found in your archives?
Thanks for the excellent KAAY blog you are publishing.
best regards,
Doug Ward
Beebe, Ark.
(http://www.youtube.com/watch?v=IFg8cyBnJd0)
Thanks, Doug, for the video and kind comment!
Monday, May 7, 2012
Cart Machine Development
http://www.sbe24.org/WBA-SBE-Shows/archives/Clinic2009/Rector-cartmachine-2009.pdf
Take a look at this presentation by Andy Rector, my old boss and former part owner of ITC, on the history of cart machine development.......
Dave M.
Take a look at this presentation by Andy Rector, my old boss and former part owner of ITC, on the history of cart machine development.......
Dave M.
Cart Design History Per Paul Kirby
(Dear reader and visitor, Paul Kirby, as you may remember, was introduced to me via Vicki Worthington through her book "San Antonio Radio Memories" and I have read the book several times, enjoying it every time. Paul was a large contributor to the book and he and I have e-mailed each other several times since then. Paul is a very enjoyable and knowledgeable gentleman to know and I respect him very much for his wit and knowledge. Since many of his memories also encompass the same technology as that of KAAY and other stations of the 1962-1985 era, I am more than pleased to include his comments for the blog- he, Dave Montgomery, Hollis Duncan, Felix McDonald and others are the unsung heros who kept our beloved stations alive, for us to listen to and enjoy...and who'd've ever thunk it that these wonderful, magical marvels of the airwaves ever needed maintenance? We never knew it, or thought of it, did we? So, herewith, is Paul's post! bs)
"Bud,
Thanks for forwarding and posting my comments about endless loop tape cartridges.
Here are further comments as verified by a couple of 50s broadcast engineer types who were "there when it happened."
Paul
The endless loop tape cartridge was first designed in 1952 by Bernard Cousino.
George Eash produced an endless loop tape cartridge design in the mid 50s, which he called Fidelipac.
Collins was the first company to make the endless loop tape cartridge technology available to broadcasters via a licensing agreement with Eash.
Bill Lear did attempt to make a usable endless loop tape cartridges in the 1940s, but failed.
Earl Muntz sold endless loop tape cartridges using a four-track design in the early 60s.
What Bill Lear did (also in the early 60s) was to modify the Fidelipac and 4-track technologies so the capstan roller was embedded into the tape cartridge and to double the number of audio tracks on the tape from 4 to 8."
"Bud,
Thanks for forwarding and posting my comments about endless loop tape cartridges.
Here are further comments as verified by a couple of 50s broadcast engineer types who were "there when it happened."
Paul
The endless loop tape cartridge was first designed in 1952 by Bernard Cousino.
George Eash produced an endless loop tape cartridge design in the mid 50s, which he called Fidelipac.
Collins was the first company to make the endless loop tape cartridge technology available to broadcasters via a licensing agreement with Eash.
Bill Lear did attempt to make a usable endless loop tape cartridges in the 1940s, but failed.
Earl Muntz sold endless loop tape cartridges using a four-track design in the early 60s.
What Bill Lear did (also in the early 60s) was to modify the Fidelipac and 4-track technologies so the capstan roller was embedded into the tape cartridge and to double the number of audio tracks on the tape from 4 to 8."
Friday, May 4, 2012
Mark Larsen Aircheck! KAAY 1979
Folks, here's Marvelous Mark Larsen! In checking with Mark, he said he'd sent this to us awhile back and we already had it on the blog...and this was in Russell Wells' collection, so we thought we'd bring it back. So, for your enjoyment, here is mixed-bag aircheck of Marvelous Mark from 1979! Times are all over the place, so I believe this is a montage of dates. 'Scoped, yes, but I'll bet the snippets of music got your toes tappin' and memories flowin'~!
(or download here)
Thanks again to Russell Wells, for sharing his great collection!
Bud S. (staceys4@hotmail.com)
(or download here)
Thanks again to Russell Wells, for sharing his great collection!
Bud S. (staceys4@hotmail.com)
Thursday, May 3, 2012
Cart Snarl Blooper, By Dave M.
In the 70's, tape cartridge technology was good enough to record the music on endless loop carts, for airplay. Playing "records" on the air was beginning to give way to new technology. Records, after all, could get scratched, could develop noise resulting from dust and dirt in the grooves, and might even break if dropped or mis-handled. Frequently played records would have to be replaced, sometimes as frequently as once a day because of some sort of sonic defect. Tape cartridges would solve most of these problems.
The endless loop tape cartridge was a derivative of 8 track tape cartridges, except it used high quality studio grade lubricated tape, and specialized tape decks created specifically for broadcast use. That's what was done at ITC, International Tapetronics Corporation, where I went as service manager after my tour of duty at KAAY.
When carts were used on the air, there was always the danger that a cart would "die" on the air. The example KLPQ blooper was what it sounded like when a cart failed and the DJ was not in the room or otherwise not paying attention: Moments of nervous dead air, then the panicked scramble to get things corrected.
The ScotchCart was introduced that took tape cartridge recording and playback about as close to studio grade reel to reel performance as was possible with the technology of the time - direct A-B comparisons between the original material and the playback version of a ScotchCart were usually undistinguishable, even for the fabled "golden ears' always present in the studio.
(ITC Series 99 Professional analog audio tape cartridge record / playback deck)
The ScotchCart was the best analog audio tape cartridge we had ever seen. It was sonically transparent, mechanically rugged, and performed superbly in the often rough and tumble control room environment . And best of all it was a match for the ITC Series 99B analog audio tape cartridge machines that were our top or the line recorders and playback decks.
(ScotchCart audio tape cartridge)
But the ScotchCart had one very big problem. It would run for literally hundreds of plays beyond that of a traditional tape cartridge, and then without any warning whatsoever it would fail, usually at the worst possible moment. Since I ran the service department at ITC the telephone calls ultimately ended up on my desk. And there were a lot of P.O.'ed engineers I had to deal with.
We spent huge amounts of man-hours researching the cartridge failure mechanism. We discovered the failure mode, and from that we then developed a resolution strategy. We decided to develop the means to dynamically measure the cartridge playback performance in real-time, and display the cart performance in bar graph form. We used a "red-yellow-green" LED bar graph display that could be easily read at a distance. The idea was that if we could give the DJ an indication that the cartridge was beginning to fail, and how soon till disaster strike, he could pull the cart out of circulation until a new, replacement cart could be made and substituted.
Today, most radio playout is done from digital databases, and audio tape cartridges are used only on a limited basis, if at all.
DM
The endless loop tape cartridge was a derivative of 8 track tape cartridges, except it used high quality studio grade lubricated tape, and specialized tape decks created specifically for broadcast use. That's what was done at ITC, International Tapetronics Corporation, where I went as service manager after my tour of duty at KAAY.
When carts were used on the air, there was always the danger that a cart would "die" on the air. The example KLPQ blooper was what it sounded like when a cart failed and the DJ was not in the room or otherwise not paying attention: Moments of nervous dead air, then the panicked scramble to get things corrected.
The ScotchCart was introduced that took tape cartridge recording and playback about as close to studio grade reel to reel performance as was possible with the technology of the time - direct A-B comparisons between the original material and the playback version of a ScotchCart were usually undistinguishable, even for the fabled "golden ears' always present in the studio.
(ITC Series 99 Professional analog audio tape cartridge record / playback deck)
The ScotchCart was the best analog audio tape cartridge we had ever seen. It was sonically transparent, mechanically rugged, and performed superbly in the often rough and tumble control room environment . And best of all it was a match for the ITC Series 99B analog audio tape cartridge machines that were our top or the line recorders and playback decks.
(ScotchCart audio tape cartridge)
But the ScotchCart had one very big problem. It would run for literally hundreds of plays beyond that of a traditional tape cartridge, and then without any warning whatsoever it would fail, usually at the worst possible moment. Since I ran the service department at ITC the telephone calls ultimately ended up on my desk. And there were a lot of P.O.'ed engineers I had to deal with.
We spent huge amounts of man-hours researching the cartridge failure mechanism. We discovered the failure mode, and from that we then developed a resolution strategy. We decided to develop the means to dynamically measure the cartridge playback performance in real-time, and display the cart performance in bar graph form. We used a "red-yellow-green" LED bar graph display that could be easily read at a distance. The idea was that if we could give the DJ an indication that the cartridge was beginning to fail, and how soon till disaster strike, he could pull the cart out of circulation until a new, replacement cart could be made and substituted.
Today, most radio playout is done from digital databases, and audio tape cartridges are used only on a limited basis, if at all.
DM
Wednesday, May 2, 2012
KLPQ Blooper
Lance Sanders sent us this audio post and note!
Here's the audio:
(or download here)
Thanks, Lance!
Bud,
I was going through some old tapes I had recorded & found this funny blooper from KLPQ, the FM sister of KAAY.
The cart snarled during a song; a dash for another ensues on-air. The guy did a good job recovering, but I can't remember his name. Bet some of the readers will know.
This is spring of 1981 if tape was marked correctly. Enjoy.
Lance D. Sanders - AD5KL
Hot Springs Village, AR
Here's the audio:
(or download here)
Thanks, Lance!
Monday, April 30, 2012
KAAY November 20, 1969 With Mitch Michaels
Here is a rare audio clip of KAAY's Newsman "Mitch Michaels" (Nick Markel, 1968-1978), covering a shift.
We've heard Mitch Michaels doing the news in previous audio clips and it is a real treat to hear him at work deejaying. The professionally-done commercials and great KAAY jingles bring us back to a more relaxed, fun time....
(or download here)
Thanks to Russell Wells for this contribution and to Dave S. for audio linkage.
Bud S. (staceys4@hotmail.com)
We've heard Mitch Michaels doing the news in previous audio clips and it is a real treat to hear him at work deejaying. The professionally-done commercials and great KAAY jingles bring us back to a more relaxed, fun time....
(or download here)
Thanks to Russell Wells for this contribution and to Dave S. for audio linkage.
Bud S. (staceys4@hotmail.com)
Friday, April 27, 2012
The Move! Pt. 3, By Dave Montgomery, Engineer
Getting Music to the Transmitter
The Cottondale Lane location was relatively low level compared to surrounding terrain, so there was no easy way to get a line of site from there to the transmitter. So at the beginning, we used a high quality telephone line to connect the studio to the transmitter. It was expensive, and we were at the mercy of the telephone company to fix things when something went wrong. It was reliable for the most part, but certainly not ideal.
After the acquisition of KEZQ-FM, we had access to The Tower Building in downtown. The Tower Building was the first “tall” building in the business district, and it was also the location of the KEZQ transmitter (which we now owned). We were able to secure some equipment rack space, and we installed a microwave transmitter link to go from the Tower Building to the Wrightsville transmitter in one hop. There were a couple of engineering challenges, but the link was successful. Once the microwave link was operational, our telephone link from Cottondale Lane to the Tower Building was relatively short, better quality, and easier to maintain.
Opening Day
The "on-air" date for the Cottondale Lane studio was determined long in advance. Part of the sign-on in the new building was to have an early morning motorcade from the West 7th Street studio to the Cottondale studio, headed by Sonny Martin (Matt White). It was heavily promoted on-air for months in advance.
The motorcade went off without a major hitch, and Sonny's show was broadcast from the new studios right on time. There were no major problems - his was the first show to broadcast from a brand new studio, with all new equipment, and he had never seen the equipment (!) - much less have any rehearsal time prior to the actual event. He was a pro in all respects.
The KAAY studio was on the 2nd floor, and it overlooked the back parking lot at Cottondale. There was a large picture window that allowed Sonny to see the crowd that gathered that morning - and vice-versa. The throng could watch Sonny do his program through the control room window - - it was a great time!
We signed on in the Cottondale studios with basic capability - a control room studio for KAAY, a news booth, and one production studio. Over the next few weeks, we built two more production studios, several news editing stations, a farm programming studio for Marvin Vines. The eventual addition of the FM channel (KEZQ, now KKPT-FM), would come several months later.
The technical cutover was handled by having people at both studios as well as the transmitter. When the last word was spoken from the 7th Street studio, a changeover was made to feed audio to the transmitter from the new studio. It happened so quickly and smoothly on the air that no one knew we had made a little radio magic happen right before their ears!
(Thank you, Dave! This story had been eagerly awaited by many of us, myself included! When I was in Little Rock a year ago this month, with Jerry Sims and Charlie Scarbrough, all I had in my mind of the 7th Street Studio was the picture I had found awhile back and posted on this blog. In fact, here it is again:
I'd never known it had been a doctor's office...and here is 2400 Cottondale, taken while Jerry was driving me around:
I can only imagine the procession! I wish I could have been there, Thanks to Dave Montgomery for this great bit of history- and to David B. Treadway, for his story, which led into this three-part series. You guys are truly Greats! Bud S.)
The Cottondale Lane location was relatively low level compared to surrounding terrain, so there was no easy way to get a line of site from there to the transmitter. So at the beginning, we used a high quality telephone line to connect the studio to the transmitter. It was expensive, and we were at the mercy of the telephone company to fix things when something went wrong. It was reliable for the most part, but certainly not ideal.
After the acquisition of KEZQ-FM, we had access to The Tower Building in downtown. The Tower Building was the first “tall” building in the business district, and it was also the location of the KEZQ transmitter (which we now owned). We were able to secure some equipment rack space, and we installed a microwave transmitter link to go from the Tower Building to the Wrightsville transmitter in one hop. There were a couple of engineering challenges, but the link was successful. Once the microwave link was operational, our telephone link from Cottondale Lane to the Tower Building was relatively short, better quality, and easier to maintain.
Opening Day
The "on-air" date for the Cottondale Lane studio was determined long in advance. Part of the sign-on in the new building was to have an early morning motorcade from the West 7th Street studio to the Cottondale studio, headed by Sonny Martin (Matt White). It was heavily promoted on-air for months in advance.
The motorcade went off without a major hitch, and Sonny's show was broadcast from the new studios right on time. There were no major problems - his was the first show to broadcast from a brand new studio, with all new equipment, and he had never seen the equipment (!) - much less have any rehearsal time prior to the actual event. He was a pro in all respects.
The KAAY studio was on the 2nd floor, and it overlooked the back parking lot at Cottondale. There was a large picture window that allowed Sonny to see the crowd that gathered that morning - and vice-versa. The throng could watch Sonny do his program through the control room window - - it was a great time!
We signed on in the Cottondale studios with basic capability - a control room studio for KAAY, a news booth, and one production studio. Over the next few weeks, we built two more production studios, several news editing stations, a farm programming studio for Marvin Vines. The eventual addition of the FM channel (KEZQ, now KKPT-FM), would come several months later.
The technical cutover was handled by having people at both studios as well as the transmitter. When the last word was spoken from the 7th Street studio, a changeover was made to feed audio to the transmitter from the new studio. It happened so quickly and smoothly on the air that no one knew we had made a little radio magic happen right before their ears!
(Thank you, Dave! This story had been eagerly awaited by many of us, myself included! When I was in Little Rock a year ago this month, with Jerry Sims and Charlie Scarbrough, all I had in my mind of the 7th Street Studio was the picture I had found awhile back and posted on this blog. In fact, here it is again:
I'd never known it had been a doctor's office...and here is 2400 Cottondale, taken while Jerry was driving me around:
I can only imagine the procession! I wish I could have been there, Thanks to Dave Montgomery for this great bit of history- and to David B. Treadway, for his story, which led into this three-part series. You guys are truly Greats! Bud S.)
Wednesday, April 25, 2012
KAAY Reunion In Planning!
Folks, there are plans afoot for a KAAY reunion for those who worked (....errr, I hate using that word, they had SO much fun while at the station!) from 1962-1985. Please contact me direct at my e-mail address below and I'll forward your message(s).
Sorry I can't be more forthcoming on the information, but I will say that the target date is late August or early September, so pass me your messages A.S.A.P. and I'll get 'em to the planner!
Bud S. (staceys4@hotmail.com)
Sorry I can't be more forthcoming on the information, but I will say that the target date is late August or early September, so pass me your messages A.S.A.P. and I'll get 'em to the planner!
Bud S. (staceys4@hotmail.com)
Monday, April 23, 2012
The Move! Pt. 2, By Dave Montgomery, Engineer
Choosing a Site for the New Studios
The agreement between the highway department and the radio station allowed for buying the existing building structure, a moving allowance, an allowance to find a new site, and an allowance to build a new building. It also had an equipment allowance, since for at least some period of time, we would need duplicate facilities until the move was completed.
Pat found a suitable site on Cottondale Lane. It was part of a new business park that had just opened up, and the developers were looking for tenants. So a deal was struck for the land at 2400 Cottondale Lane. We were the first building in the new business park.
During this same approximate time span, LIN Broadcasting sold the station to Multimedia Radio Inc of Greenville, SC. Eventually, and before we moved into the new building, Pat Walsh would leave the station and Jim Tandy (ex-WSIX Nashville) would enter the scene as the new General Manager under the new Multimedia ownership.
Design and Planning the New Building
The building design was straightforward and uncomplicated. It was two floors, with all the studios on the second floor. Since the building is built next to a levee of the Arkansas river, we had to plan for the possibility of flooding at some point during the life of the building. So, the second floor elevation was slightly above the 100 year flood plane. All telephone, electrical, and communication s lines came into the second floor into a technical room. We also had a window installed at one end that would allow someone to boat right up to the building, and use the window as an emergency entry and exit. The auxiliary generator was located on the roof, and fed by natural gas, giving us virtually unlimited generator backup power if it was ever needed.
Studio cabinetry was custom built by a company in Ohio. I created a 3D view of each studio, complete with general dimensions to the cabinet maker, who built our new cabinets from those drawings. A detailed equipment list was prepared for each room, including re-purposed equipment from the old studio along with new equipment we had to purchase. I took this opportunity to upgrade to matching JBL speakers in all studios, and unify all microphones on the EV RE-20 model.
The AM studio would get a new RCA console, and it would be wired almost identical to the RCA console on West 7th street. This would reduce training and familiarization to a minimum, and make the installation of equipment easier as well. Speakers were installed in the ceiling over each announcer’s working location, which helped put the “sound” right into the announcer’s ears, and also help keep studio noise pollution down since the monitors would not be run at extremely high sound pressure levels.
All the studio walls were built of conventional stud and drywall building materials, except that we had separate stud walls for the interior wall and exterior wall. Walls were 6 inches thick with a 2 inch air gap in between the two rows of studs. Acoustic insulation was woven between the two stud walls, to dampen any coupled acoustic noise from inside to outside (and vice versa). Doors were acoustic dampened and had acoustical gaskets on the bottom, top, and sides. All windows were double paned, minimum.
Each studio had two independent lighting systems. A conventional fluorescent light system could be used, or a recessed lamp “mood light” on dimmers could be used. Each control room had its own air conditioner and separate thermostat. When the DJ’s were working, most of them liked the studio very cool or cold, and the music LOUD.
Next, Part 3! DM
The agreement between the highway department and the radio station allowed for buying the existing building structure, a moving allowance, an allowance to find a new site, and an allowance to build a new building. It also had an equipment allowance, since for at least some period of time, we would need duplicate facilities until the move was completed.
Pat found a suitable site on Cottondale Lane. It was part of a new business park that had just opened up, and the developers were looking for tenants. So a deal was struck for the land at 2400 Cottondale Lane. We were the first building in the new business park.
During this same approximate time span, LIN Broadcasting sold the station to Multimedia Radio Inc of Greenville, SC. Eventually, and before we moved into the new building, Pat Walsh would leave the station and Jim Tandy (ex-WSIX Nashville) would enter the scene as the new General Manager under the new Multimedia ownership.
Design and Planning the New Building
The building design was straightforward and uncomplicated. It was two floors, with all the studios on the second floor. Since the building is built next to a levee of the Arkansas river, we had to plan for the possibility of flooding at some point during the life of the building. So, the second floor elevation was slightly above the 100 year flood plane. All telephone, electrical, and communication s lines came into the second floor into a technical room. We also had a window installed at one end that would allow someone to boat right up to the building, and use the window as an emergency entry and exit. The auxiliary generator was located on the roof, and fed by natural gas, giving us virtually unlimited generator backup power if it was ever needed.
Studio cabinetry was custom built by a company in Ohio. I created a 3D view of each studio, complete with general dimensions to the cabinet maker, who built our new cabinets from those drawings. A detailed equipment list was prepared for each room, including re-purposed equipment from the old studio along with new equipment we had to purchase. I took this opportunity to upgrade to matching JBL speakers in all studios, and unify all microphones on the EV RE-20 model.
The AM studio would get a new RCA console, and it would be wired almost identical to the RCA console on West 7th street. This would reduce training and familiarization to a minimum, and make the installation of equipment easier as well. Speakers were installed in the ceiling over each announcer’s working location, which helped put the “sound” right into the announcer’s ears, and also help keep studio noise pollution down since the monitors would not be run at extremely high sound pressure levels.
All the studio walls were built of conventional stud and drywall building materials, except that we had separate stud walls for the interior wall and exterior wall. Walls were 6 inches thick with a 2 inch air gap in between the two rows of studs. Acoustic insulation was woven between the two stud walls, to dampen any coupled acoustic noise from inside to outside (and vice versa). Doors were acoustic dampened and had acoustical gaskets on the bottom, top, and sides. All windows were double paned, minimum.
Each studio had two independent lighting systems. A conventional fluorescent light system could be used, or a recessed lamp “mood light” on dimmers could be used. Each control room had its own air conditioner and separate thermostat. When the DJ’s were working, most of them liked the studio very cool or cold, and the music LOUD.
Next, Part 3! DM
Friday, April 20, 2012
Arkansan Levon Helm Of The Band Dead At 71
http://news.yahoo.com/levon-helm-key-member-band-dead-age-71-232604612.html
Arkansan Levon Helm, drummer, vocalist and co-founder of The Band passed away yesterday, after a long battle with throat cancer, at age seventy-one....
We've lost quite a few artists lately....we hope they're all attending The Big Jam Session In The Sky, wherever they are.
Bud S.
Arkansan Levon Helm, drummer, vocalist and co-founder of The Band passed away yesterday, after a long battle with throat cancer, at age seventy-one....
We've lost quite a few artists lately....we hope they're all attending The Big Jam Session In The Sky, wherever they are.
Bud S.
Thursday, April 19, 2012
The Move! Pt. 1, By Dave Montgomery, Engineer
The Lead In To The Move
Pat Walsh was the General Manager, Wayne Moss was the Operations Manager, and the station was still owned by Lin Broadcasting. The station was located on the West 7th street building, a former doctor’s office.
Pat had been told that the State was going to extend the partially complete I-630 “Wilbur Mills Freeway” to connect I-30 in downtown, and extend it to far west Little Rock. Western Little Rock was growing rapidly, and it was immediately apparent that a quick way from the far-west bedroom neighborhoods back to the State Capitol area and downtown business core was needed. So plans were drawn up by State Highway Department engineers, and the KAAY building on West 7th street just happened to be in the planned State Capitol exit of I-630.
The highway department made contact with Pat, and advised him that they intended to buy the building, tear it down, and build a freeway off ramp in its place. Negotiations were held and an equitable solution was reached. We were given a timeframe to move (I think it was about 24 months but I am not sure of this point). Pat advised corporate and the clock started ticking.
About the same time, we had decided to upgrade the KAAY control room with a new audio mix console. We decided on the RCA BC-7 since it was approximately the same capability and size of the existing Collins 212. (RCA BC-7, Collins 212 consoles)

After several planning sessions, we came up with a console control layout that was very similar to the Collins, which would make training the DJ’s easy. Basically, we duplicated the layout of the Collins console onto the new RCA console so that the controls for each tape player and turntable was as close to the same location on the new console as it was on the old one.
The RCA console did not have enough inputs, so I added two more inputs, one each for the “left” turntable and “right” turntable. I had no space on the main panel, so I added them onto the meter panel – the “left” turntable control was just left of the left VU meter, and the right turntable was located just to the right of the right-hand VU meter.
We also wanted to upgrade the studio microphones – we had been using RCA 77DX ribbon microphones, and it was felt new microphones would help give us a punchier sound on the air. We obtained a Shure SM-7 microphone and an Electro-Voice RE-20 microphone. Both were tested on the air over a period of time, alternating from one to the other, and eventually the RE-20 was chosen. (RCA 77DX, Shure SM-7, E-V RE-20)
The main control room was the biggest room in the building, and was formerly an X-ray room in the former doctor’s office. The studio layout was straightforward – the rear wall was a flow to ceiling record storage rack and cabinets that were used for various control room items. The audio console was on the opposite wall, facing into the newsroom through a large double pane window.
When sitting at the console, there were audio tape cartridge machines on the left and right sides of the console. On the far left wall was a large cartridge rack that held commercial announcement tapes and some program related tapes. You can see the general layout in this photo of Jonnie King hard at work in the West 7th Street studio.
Pat Walsh was the General Manager, Wayne Moss was the Operations Manager, and the station was still owned by Lin Broadcasting. The station was located on the West 7th street building, a former doctor’s office.
Pat had been told that the State was going to extend the partially complete I-630 “Wilbur Mills Freeway” to connect I-30 in downtown, and extend it to far west Little Rock. Western Little Rock was growing rapidly, and it was immediately apparent that a quick way from the far-west bedroom neighborhoods back to the State Capitol area and downtown business core was needed. So plans were drawn up by State Highway Department engineers, and the KAAY building on West 7th street just happened to be in the planned State Capitol exit of I-630.
The highway department made contact with Pat, and advised him that they intended to buy the building, tear it down, and build a freeway off ramp in its place. Negotiations were held and an equitable solution was reached. We were given a timeframe to move (I think it was about 24 months but I am not sure of this point). Pat advised corporate and the clock started ticking.
About the same time, we had decided to upgrade the KAAY control room with a new audio mix console. We decided on the RCA BC-7 since it was approximately the same capability and size of the existing Collins 212. (RCA BC-7, Collins 212 consoles)

After several planning sessions, we came up with a console control layout that was very similar to the Collins, which would make training the DJ’s easy. Basically, we duplicated the layout of the Collins console onto the new RCA console so that the controls for each tape player and turntable was as close to the same location on the new console as it was on the old one.
The RCA console did not have enough inputs, so I added two more inputs, one each for the “left” turntable and “right” turntable. I had no space on the main panel, so I added them onto the meter panel – the “left” turntable control was just left of the left VU meter, and the right turntable was located just to the right of the right-hand VU meter.
We also wanted to upgrade the studio microphones – we had been using RCA 77DX ribbon microphones, and it was felt new microphones would help give us a punchier sound on the air. We obtained a Shure SM-7 microphone and an Electro-Voice RE-20 microphone. Both were tested on the air over a period of time, alternating from one to the other, and eventually the RE-20 was chosen. (RCA 77DX, Shure SM-7, E-V RE-20)
The main control room was the biggest room in the building, and was formerly an X-ray room in the former doctor’s office. The studio layout was straightforward – the rear wall was a flow to ceiling record storage rack and cabinets that were used for various control room items. The audio console was on the opposite wall, facing into the newsroom through a large double pane window.
When sitting at the console, there were audio tape cartridge machines on the left and right sides of the console. On the far left wall was a large cartridge rack that held commercial announcement tapes and some program related tapes. You can see the general layout in this photo of Jonnie King hard at work in the West 7th Street studio.
We did not completely know it at the time, but choosing these new microphones and audio consoles would play an important role later on when we designed the new studio technical facilities.
Next: Part 2....DM
Next: Part 2....DM
Wednesday, April 18, 2012
Beaker Street With Tom Roberts, April 1971
Here you go, all you Beaker Street fans! Partially 'scoped, the opening captures some classic Gary Gears jingles in the beginning. This recording seems to have been taped off the air, with a tape recorder and mic (due to some extraneous noise), the signal was very strong at times...there were periods of atmospheric fade, with some slight noise present in quiet periods of the recording. The area where received and taped is not known, but it is remeniscent of other nostalgic DX off-air recordings....
There was mention of a February 18th concert, a January 1st concert, et al, late in the recording...maybe this is a montage of different nights? The recording came to us listed as April 1971....
Somewhere, I remember a very short clip posted of Tom Roberts on A. J. Lindsey's blog, November 21, 2008, but the players are broken. The recording I remembered was just a few seconds; we may revisit Tom Roberts and get that little snippet here sometime in the future. It is a real pleasure to get this recording from Russell Wells and his collection!
We have virtually no history of Tom Roberts; can someone come forward and let us in on some history, please?
(or download here)
Thanks to Russell Wells; also to Dave S. for doing the audio honors!
Bud S. (staceys4@hotmail.com)
There was mention of a February 18th concert, a January 1st concert, et al, late in the recording...maybe this is a montage of different nights? The recording came to us listed as April 1971....
Somewhere, I remember a very short clip posted of Tom Roberts on A. J. Lindsey's blog, November 21, 2008, but the players are broken. The recording I remembered was just a few seconds; we may revisit Tom Roberts and get that little snippet here sometime in the future. It is a real pleasure to get this recording from Russell Wells and his collection!
We have virtually no history of Tom Roberts; can someone come forward and let us in on some history, please?
(or download here)
Thanks to Russell Wells; also to Dave S. for doing the audio honors!
Bud S. (staceys4@hotmail.com)
Monday, April 16, 2012
You Never Hear The One That Gets You
When I listened to the aircheck of Wayne Moss from August 16, 1976 (http://mighty1090kaay.blogspot.com/2012/01/wayne-moss-himself-august-16-1976.html), I heard a complete and total professional at work. Of course, it didn't sound like work at all, which is the key to this whole Radio business.
The Wayne who was caught on tape that day was the same Wayne you would have heard any other day: a regular guy who just happened to be a star--with a fifty-thousand-watt limousine to ride around in. Wayne didn't have to give any conscious thought to what he was doing. His hands knew the location of every button and switch; he could have found 'em blindfolded. His mouth knew exactly where that microphone was and his ears told him how close to it he should be. Part of his brain was (and probably still is) on autopilot concerning the sequence of call letters, title and artist, time and temp, station promotion and the hundred other little details that we call Formatics.
If you have to think about these things, you sound like a robot. If they're second nature to you, you can concentrate on having fun. And according to the Pat Walsh Book of Radio Secrets (a remarkably thin book because there are so few secrets), "Fun is contagious. People hear you having fun and they want to have some, too."
So here's Wayne Moss, preserved in audio amber as he sits at the controls and lets it roll with that consummate ease of his. (Cue the theme from Jaws.) But little did he suspect that his days were numbered. That he was going to be replaced. That I would soon see him cleaning out his office to make way for somebody who--in my opinion--couldn't carry his headphones.
It was about this time that I had returned to KAAY after a four-year absence, thankful that Wayne had a gig for me. I was also a bit nervous that Lin Broadcasting had just sold KAAY to some outfit called Multimedia. I had been through my first station sale by then and had seen some real nastiness as a result. But maybe this one would be different. Silly boy!
One bright spot in the approaching Fall of 1976 was the fact that we finally were going to get in the new building! This joke ("wait 'til we get in the new building") had been going around 1425 West Seventh Street for so many years that it had long since ceased to be a joke and had become a myth of Biblical proportions. It's not unkind to say that the building on West Seventh was a dump. And it's not much of an exaggeration to say it had gotten so overcrowded that you had to go outside to change your mind.
The new building had become our Promised Land. Tape recorder bit the dust in the production room? Wait 'til we get in the new building. Leaky roof in the front hall? Wait 'til we get in the new building. Flat tire on the Funmobile? Wait 'til we get in the new building. One day, Tricia in traffic was whining that her butt had gotten too big. Right on cue, four of us told her: wait 'til we get in the new building!
So, yeah, that new building was the biggest of big deals to us. Trouble was, neither Wayne Moss nor Pat Walsh would get there with us. Serious miscarriage of Cosmic Justice and Harbinger of Decline. More about those aspects soon, but now it's time to let Dave Montgomery take up the story of The New Building.
David B. Treadway
Doc Holiday VII
The Last PD
The Wayne who was caught on tape that day was the same Wayne you would have heard any other day: a regular guy who just happened to be a star--with a fifty-thousand-watt limousine to ride around in. Wayne didn't have to give any conscious thought to what he was doing. His hands knew the location of every button and switch; he could have found 'em blindfolded. His mouth knew exactly where that microphone was and his ears told him how close to it he should be. Part of his brain was (and probably still is) on autopilot concerning the sequence of call letters, title and artist, time and temp, station promotion and the hundred other little details that we call Formatics.
If you have to think about these things, you sound like a robot. If they're second nature to you, you can concentrate on having fun. And according to the Pat Walsh Book of Radio Secrets (a remarkably thin book because there are so few secrets), "Fun is contagious. People hear you having fun and they want to have some, too."
So here's Wayne Moss, preserved in audio amber as he sits at the controls and lets it roll with that consummate ease of his. (Cue the theme from Jaws.) But little did he suspect that his days were numbered. That he was going to be replaced. That I would soon see him cleaning out his office to make way for somebody who--in my opinion--couldn't carry his headphones.
It was about this time that I had returned to KAAY after a four-year absence, thankful that Wayne had a gig for me. I was also a bit nervous that Lin Broadcasting had just sold KAAY to some outfit called Multimedia. I had been through my first station sale by then and had seen some real nastiness as a result. But maybe this one would be different. Silly boy!
One bright spot in the approaching Fall of 1976 was the fact that we finally were going to get in the new building! This joke ("wait 'til we get in the new building") had been going around 1425 West Seventh Street for so many years that it had long since ceased to be a joke and had become a myth of Biblical proportions. It's not unkind to say that the building on West Seventh was a dump. And it's not much of an exaggeration to say it had gotten so overcrowded that you had to go outside to change your mind.
The new building had become our Promised Land. Tape recorder bit the dust in the production room? Wait 'til we get in the new building. Leaky roof in the front hall? Wait 'til we get in the new building. Flat tire on the Funmobile? Wait 'til we get in the new building. One day, Tricia in traffic was whining that her butt had gotten too big. Right on cue, four of us told her: wait 'til we get in the new building!
So, yeah, that new building was the biggest of big deals to us. Trouble was, neither Wayne Moss nor Pat Walsh would get there with us. Serious miscarriage of Cosmic Justice and Harbinger of Decline. More about those aspects soon, but now it's time to let Dave Montgomery take up the story of The New Building.
David B. Treadway
Doc Holiday VII
The Last PD
Friday, April 13, 2012
The Car Radio, An Interesting History
Folks, we all know how we can't do without our car radios! And how they've been an important part of listening to our favorite tunes while cruisin' the night away, or on a long trip. I was alerted to this story by a fellow Ham radio operator and listening enthusiast...enjoy!
SUNDOWN
One evening in 1929 two young men named William Lear and Elmer Wavering drove their girlfriends to a lookout point high above the Mississippi River town of Quincy, Illinois, to watch the sunset. It was a romantic night to be sure, but one of the women observed that it would be even nicer if they could listen to music in the car.
Lear and Wavering liked the idea. Both men had tinkered with radios – Lear had served as a radio operator in the U. S. Navy during World War I – and it wasn’t long before they were taking apart a home radio and trying to get it to work in a car. But it wasn’t as easy as it sounds: automobiles have ignition switches, generators, spark plugs, and other electrical equipment that generate noisy static interference, making it nearly impossible to listen to the radio when the engine was running.
SIGNING ON
One by one, Lear and Wavering identified and eliminated each source of electrical interference. When they finally got their radio to work, they took it to a radio convention in Chicago. There they met Paul Galvin, owner of Galvin Manufacturing Corporation. He made a product called a “battery eliminator” a device that allowed battery-powered radios to run on household AC current. But as more homes were wired for electricity, more radio manufacturers made AC-powered radios. Galvin needed a new product to manufacture. When he met Lear and Wavering at the radio convention, he found it. He believed that mass-produced, affordable car radios had the potential to become a huge business.
Lear and Wavering set up shop in Galvin’s factory, and when they perfected their first radio, they installed it in his Studebaker. Then Galvin went to a local banker to apply for a loan. Thinking it might sweeten the deal, he had his men install a radio in the banker’s Packard. Good idea, but it didn’t work – half an hour after the installation, the banker’s Packard caught on fire. (They didn’t get the loan.)
Galvin didn’t give up. He drove his Studebaker nearly 800 miles to Atlantic City to show off the radio at the 1930 Radio Manufacturers Association convention. Too broke to afford a booth, he parked the car outside the convention hall and cranked up the radio so that passing conventioneers could hear it. That idea worked – he got enough orders to put the radio into production.
WHAT’S IN A NAME
That first production model was called the 5T71. Galvin decided he needed to come up with something a little catchier. In those days many companies in the phonograph and radio businesses used the suffix “ola” for their names – Radiola, Columbiola, and Victrola were three of the biggest. Galvin decided to do the same thing, and since his radio was intended for use in a motor vehicle, he decided to call it the Motorola.
But even with the name change, the radio still had problems:
•When Motorola went on sale in 1930, it cost about $110 uninstalled, at a time when you could buy a brand-new car for $650, and the country was sliding into the Great Depression. (By that measure, a radio for a new car would cost about $3,000 today.)
•In 1930 it took two men several days to put in a car radio – the dashboard had to be taken apart so that the receiver and a single speaker could be installed, and the ceiling had to be cut open to install the antenna. These early radios ran on their own batteries, not on the car battery, so holes had to be cut into the floorboard to accommodate them. The installation manual had eight complete diagrams and 28 pages of instructions.
HIT THE ROAD
Selling complicated car radios that cost 20 percent of the price of a brand-new car wouldn’t have been easy in the best of times, let alone during the Great Depression – Galvin lost money in 1930 and struggled for a couple of years after that. But things picked up in 1933 when Ford began offering Motorolas pre-installed at the factory. In 1934 they got another boost when Galvin struck a deal with B. F. Goodrich tire company to sell and install them in its chain of tire stores. By then the price of the radio, installation included, had dropped to $55. The Motorola car radio was off and running. (The name of the company would be officially changed from Galvin Manufacturing to “Motorola” in 1947.)
In the meantime, Galvin continued to develop new uses for car radios. In 1936, the same year that it introduced push-button tuning, it also introduced the Motorola Police Cruiser, a standard car radio that was factory preset to a single frequency to pick up police broadcasts. In 1940 he developed with the first handheld two-way radio – the Handie-Talkie – for the U. S. Army.
A lot of the communications technologies that we take for granted today were born in Motorola labs in the years that followed World War II. In 1947 they came out with the first television to sell under $200. In 1956 the company introduced the world’s first pager; in 1969 it supplied the radio and television equipment that was used to televise Neil Armstrong’s first steps on the Moon. In 1973 it invented the world’s first handheld cellular phone. Today Motorola is one of the second-largest cell phone manufacturer in the world. And it all started with the car radio.
WHATEVER HAPPENED TO….
The two men who installed the first radio in Paul Galvin’s car, Elmer Wavering and William Lear, ended up taking very different paths in life. Wavering stayed with Motorola. In the 1950’s he helped change the automobile experience again when he developed the first automotive alternator, replacing inefficient and unreliable generators. The invention lead to such luxuries as power windows, power seats, and, eventually, air-conditioning.
Lear also continued inventing. He holds more than 150 patents. Remember eight-track tape players? Lear invented that. But what he’s really famous for are his contributions to the field of aviation. He invented radio direction finders for planes, aided in the invention of the autopilot, designed the first fully automatic aircraft landing system, and in 1963 introduced his most famous invention of all, the Lear Jet, the world’s first mass-produced, affordable business jet. (Not bad for a guy who dropped out of school after the eighth grade.)
This story and a "Learavian radio", among other neat things, can be found on Jim's Antique radio Museum web page:
http://www.antiqueradiomuseum.org/thecarradio.htm
Car radio....ahhh, what a luxury! Thanks for the heads-up to KD4ORO!
Bud S. (KC4HGH) (staceys4@hotmail.com)
SUNDOWN
One evening in 1929 two young men named William Lear and Elmer Wavering drove their girlfriends to a lookout point high above the Mississippi River town of Quincy, Illinois, to watch the sunset. It was a romantic night to be sure, but one of the women observed that it would be even nicer if they could listen to music in the car.
Lear and Wavering liked the idea. Both men had tinkered with radios – Lear had served as a radio operator in the U. S. Navy during World War I – and it wasn’t long before they were taking apart a home radio and trying to get it to work in a car. But it wasn’t as easy as it sounds: automobiles have ignition switches, generators, spark plugs, and other electrical equipment that generate noisy static interference, making it nearly impossible to listen to the radio when the engine was running.
SIGNING ON
One by one, Lear and Wavering identified and eliminated each source of electrical interference. When they finally got their radio to work, they took it to a radio convention in Chicago. There they met Paul Galvin, owner of Galvin Manufacturing Corporation. He made a product called a “battery eliminator” a device that allowed battery-powered radios to run on household AC current. But as more homes were wired for electricity, more radio manufacturers made AC-powered radios. Galvin needed a new product to manufacture. When he met Lear and Wavering at the radio convention, he found it. He believed that mass-produced, affordable car radios had the potential to become a huge business.
Lear and Wavering set up shop in Galvin’s factory, and when they perfected their first radio, they installed it in his Studebaker. Then Galvin went to a local banker to apply for a loan. Thinking it might sweeten the deal, he had his men install a radio in the banker’s Packard. Good idea, but it didn’t work – half an hour after the installation, the banker’s Packard caught on fire. (They didn’t get the loan.)
Galvin didn’t give up. He drove his Studebaker nearly 800 miles to Atlantic City to show off the radio at the 1930 Radio Manufacturers Association convention. Too broke to afford a booth, he parked the car outside the convention hall and cranked up the radio so that passing conventioneers could hear it. That idea worked – he got enough orders to put the radio into production.
WHAT’S IN A NAME
That first production model was called the 5T71. Galvin decided he needed to come up with something a little catchier. In those days many companies in the phonograph and radio businesses used the suffix “ola” for their names – Radiola, Columbiola, and Victrola were three of the biggest. Galvin decided to do the same thing, and since his radio was intended for use in a motor vehicle, he decided to call it the Motorola.
But even with the name change, the radio still had problems:
•When Motorola went on sale in 1930, it cost about $110 uninstalled, at a time when you could buy a brand-new car for $650, and the country was sliding into the Great Depression. (By that measure, a radio for a new car would cost about $3,000 today.)
•In 1930 it took two men several days to put in a car radio – the dashboard had to be taken apart so that the receiver and a single speaker could be installed, and the ceiling had to be cut open to install the antenna. These early radios ran on their own batteries, not on the car battery, so holes had to be cut into the floorboard to accommodate them. The installation manual had eight complete diagrams and 28 pages of instructions.
HIT THE ROAD
Selling complicated car radios that cost 20 percent of the price of a brand-new car wouldn’t have been easy in the best of times, let alone during the Great Depression – Galvin lost money in 1930 and struggled for a couple of years after that. But things picked up in 1933 when Ford began offering Motorolas pre-installed at the factory. In 1934 they got another boost when Galvin struck a deal with B. F. Goodrich tire company to sell and install them in its chain of tire stores. By then the price of the radio, installation included, had dropped to $55. The Motorola car radio was off and running. (The name of the company would be officially changed from Galvin Manufacturing to “Motorola” in 1947.)
In the meantime, Galvin continued to develop new uses for car radios. In 1936, the same year that it introduced push-button tuning, it also introduced the Motorola Police Cruiser, a standard car radio that was factory preset to a single frequency to pick up police broadcasts. In 1940 he developed with the first handheld two-way radio – the Handie-Talkie – for the U. S. Army.
A lot of the communications technologies that we take for granted today were born in Motorola labs in the years that followed World War II. In 1947 they came out with the first television to sell under $200. In 1956 the company introduced the world’s first pager; in 1969 it supplied the radio and television equipment that was used to televise Neil Armstrong’s first steps on the Moon. In 1973 it invented the world’s first handheld cellular phone. Today Motorola is one of the second-largest cell phone manufacturer in the world. And it all started with the car radio.
WHATEVER HAPPENED TO….
The two men who installed the first radio in Paul Galvin’s car, Elmer Wavering and William Lear, ended up taking very different paths in life. Wavering stayed with Motorola. In the 1950’s he helped change the automobile experience again when he developed the first automotive alternator, replacing inefficient and unreliable generators. The invention lead to such luxuries as power windows, power seats, and, eventually, air-conditioning.
Lear also continued inventing. He holds more than 150 patents. Remember eight-track tape players? Lear invented that. But what he’s really famous for are his contributions to the field of aviation. He invented radio direction finders for planes, aided in the invention of the autopilot, designed the first fully automatic aircraft landing system, and in 1963 introduced his most famous invention of all, the Lear Jet, the world’s first mass-produced, affordable business jet. (Not bad for a guy who dropped out of school after the eighth grade.)
This story and a "Learavian radio", among other neat things, can be found on Jim's Antique radio Museum web page:
http://www.antiqueradiomuseum.org/thecarradio.htm
Car radio....ahhh, what a luxury! Thanks for the heads-up to KD4ORO!
Bud S. (KC4HGH) (staceys4@hotmail.com)
Wednesday, April 11, 2012
"More Hit Music, With J. J. Stone!" KAAY, April 11, 1973
Thanks to our good friend Russell Wells, here is J. J. Stone! Opening with a classic Gary Gears jingle, we're off into a Easter season broadcast on a Wednesday. J. J. Stone was at KAAY when Wayne Moss was Operations Manager. Judging from the date, I was still in the 8th grade....
No 'scoping here --- just great memories and songs. No jammed and crammed commercials, very professionally done. This is the first and only recording I know of with J. J. Stone, so it was a real thrill when I found it!
Thirty-nine years later, we're able to bring this to you, sounding as good as you can imagine! It is unknown if this was a studio recording or a close-in aircheck...happy anniversary, J. J. Stone!
(or download here)
(I'll have to ask Wayne Moss next time I call him, but does anyone have any idea who J. J. Stone was, or where he is today, please? Thanks! Bud)
Much thanks to Russell Wells for this rare donation of audio and to Dave S. for audio archival linkage!
Bud S. (staceys4@hotmail.com)
No 'scoping here --- just great memories and songs. No jammed and crammed commercials, very professionally done. This is the first and only recording I know of with J. J. Stone, so it was a real thrill when I found it!
Thirty-nine years later, we're able to bring this to you, sounding as good as you can imagine! It is unknown if this was a studio recording or a close-in aircheck...happy anniversary, J. J. Stone!
(or download here)
(I'll have to ask Wayne Moss next time I call him, but does anyone have any idea who J. J. Stone was, or where he is today, please? Thanks! Bud)
Much thanks to Russell Wells for this rare donation of audio and to Dave S. for audio archival linkage!
Bud S. (staceys4@hotmail.com)
Tuesday, April 10, 2012
"Coming Attractions"
Dear reader and visitor, we are about to share with you over the next several months a number of airchecks and studio recordings from Russell Wells, with audio help from Greg Barman and the consummate computer skills of Dave S....just in time to post on their anniversary dates! As they appear on their magical dates, please enjoy them...I marvel at the recovery efforts of several people, as these wonderful historical audio offerings have been lovingly preserved and offered to us to share with YOU!
It's just like stepping back in time, as I laid beneath those clear, beautiful skies out in Semmes, AL, looking up at the stars as a child, then later, driving through the night after my shift ended as a teenager and a college student, listening to KAAY's massive signal, delivering hit after hit in their special way!
Some of these recordings are of people we haven't found before, others are old favorites...please enjoy!
My thanks to Greg Barman, Russell Wells and Dave S. in their massive labors of love to bring these to you- gentlemen, we couldn't enjoy these without you!
Bud S. (staceys4@hotmail.com)
It's just like stepping back in time, as I laid beneath those clear, beautiful skies out in Semmes, AL, looking up at the stars as a child, then later, driving through the night after my shift ended as a teenager and a college student, listening to KAAY's massive signal, delivering hit after hit in their special way!
Some of these recordings are of people we haven't found before, others are old favorites...please enjoy!
My thanks to Greg Barman, Russell Wells and Dave S. in their massive labors of love to bring these to you- gentlemen, we couldn't enjoy these without you!
Bud S. (staceys4@hotmail.com)
Monday, April 9, 2012
Hot Springs Attractions, 1900-1908- and Mobile, AL Thrown In....
Dear visitor, KAAY engineer Dave M. sent these pictures to me a few months ago...and I am still trying to catch up to him, at times. My apologies to Dave for not running these sooner!
The first picture is from 1908, just a few years prior to KTHS' broadcast debut. Dave said the caption read, "Army and Navy General Hospital"...Dave also says, "Closer to the camera on Reserve Avenue we have the Imperial Bath House and some helpful signage."
A few years earlier, circa 1900, he found a picture of Central Avenue in Hot Springs:
Both of these pictures, and many more, can be found on http://www.shorpy.com/
Some do, some don't know, but KAAY was KTHS in the early days before 1962, when LIN Broadcasting bought KTHS. For more history, type in "KTHS" in the upper left-hand seach box, click on the magnifying glass and get ready to read!
Dave also provided me with a picture of downtown Mobile, AL circa 1901, which shows some interesting things: at the foot of what is present-day Government Street, there appears to be a radio tower or antenna! We had some good discussions with this one!
Admiral Raphael Semmes is now, present-day, in almost the same position he was back then, after having been moved a time or two down the street.
Dave had enlarged the picture many times and we had fun picking out the details...he has a sharp eye (and wit to match!). I'd almost forgotten about this photo, so I'll have to inquire around Mobile to see if anyone can identify what radio service (most likely maritime) utilized this tower. These are Dave's observations:
"1) I think you are correct that it is a radio tower - probably transmissions for marine use (??) since it is next to the port, a good hint.
2) The tower is grounded at the bottom, there are no insulators that I could see.
3) There appears to be a wire grid work along the upper part of the tower face. Note sure what this is for other than to perhaps present a "solid" electrical face along the side of the tower.
4) There also appears to be what might be a feed wire coming from the left and attaching onto a tower face about 1/3 way up. With the tower grounded and the feed wire connector at about 1/3 the overall height, can we think this is a center loaded antenna? If so, the frequency may be in the range of 5 - 7 MHz judging on the apparent height. Do you know what frequencies were used for early marine Morse transmission?
5) The top of the tower has what appears to be a cantilevered support - maybe a supplemental radiator?
6) The ball on the top is likely for lightning suppression."
Thank you, Dave!
Bud S. (staceys4@hotmail.com)
The first picture is from 1908, just a few years prior to KTHS' broadcast debut. Dave said the caption read, "Army and Navy General Hospital"...Dave also says, "Closer to the camera on Reserve Avenue we have the Imperial Bath House and some helpful signage."
A few years earlier, circa 1900, he found a picture of Central Avenue in Hot Springs:
Both of these pictures, and many more, can be found on http://www.shorpy.com/
Some do, some don't know, but KAAY was KTHS in the early days before 1962, when LIN Broadcasting bought KTHS. For more history, type in "KTHS" in the upper left-hand seach box, click on the magnifying glass and get ready to read!
Dave also provided me with a picture of downtown Mobile, AL circa 1901, which shows some interesting things: at the foot of what is present-day Government Street, there appears to be a radio tower or antenna! We had some good discussions with this one!
Admiral Raphael Semmes is now, present-day, in almost the same position he was back then, after having been moved a time or two down the street.
Dave had enlarged the picture many times and we had fun picking out the details...he has a sharp eye (and wit to match!). I'd almost forgotten about this photo, so I'll have to inquire around Mobile to see if anyone can identify what radio service (most likely maritime) utilized this tower. These are Dave's observations:
"1) I think you are correct that it is a radio tower - probably transmissions for marine use (??) since it is next to the port, a good hint.
2) The tower is grounded at the bottom, there are no insulators that I could see.
3) There appears to be a wire grid work along the upper part of the tower face. Note sure what this is for other than to perhaps present a "solid" electrical face along the side of the tower.
4) There also appears to be what might be a feed wire coming from the left and attaching onto a tower face about 1/3 way up. With the tower grounded and the feed wire connector at about 1/3 the overall height, can we think this is a center loaded antenna? If so, the frequency may be in the range of 5 - 7 MHz judging on the apparent height. Do you know what frequencies were used for early marine Morse transmission?
5) The top of the tower has what appears to be a cantilevered support - maybe a supplemental radiator?
6) The ball on the top is likely for lightning suppression."
Thank you, Dave!
Bud S. (staceys4@hotmail.com)
Sunday, April 8, 2012
Saturday, April 7, 2012
Recent Comments to the Blog
From time to time, I compile the comments people submit to the blog and post them here, so that you have the opportunity to see who is checking in and what they are saying. Here is the batch from the last 10 weeks....
If any of the comments interest you, you can locate the original article by using the Search window at the top left corner of this web page.
--Dave S.
If any of the comments interest you, you can locate the original article by using the Search window at the top left corner of this web page.
--Dave S.
Thursday, April 5, 2012
Charlie Scarbrough Voiceover
"I found this video spot on YouTube that supposed to be a national commercial spot for Ole Miss. The voice sounds like Charlie Scarbrough.
http://youtu.be/6xTNDbdQjog
Sincerely,
John Price"
Yes, John, that is indeed our one and only Charlie Scarbrough! Charlie does freelance voiceovers coast to coast and can be heard all over. This is just one example of his work.
Many other KAAY personnel are still "in the business", deejaying, voice-over, production and other work. The quality shows, after all the hard work radio personnel do to develop their craft. Thank you John!
Thank you, Charlie Scarbrough for permission to post this...and to Jim Cleveland for help in this area, as well....
Bud S. (staceys4@hotmail.com)
http://youtu.be/6xTNDbdQjog
Sincerely,
John Price"
Yes, John, that is indeed our one and only Charlie Scarbrough! Charlie does freelance voiceovers coast to coast and can be heard all over. This is just one example of his work.
Many other KAAY personnel are still "in the business", deejaying, voice-over, production and other work. The quality shows, after all the hard work radio personnel do to develop their craft. Thank you John!
Thank you, Charlie Scarbrough for permission to post this...and to Jim Cleveland for help in this area, as well....
Bud S. (staceys4@hotmail.com)
Tuesday, April 3, 2012
1947 RCA BTA-50F Catalog, From Engineer Hollis Duncan!
Hey Bud,
Here is a link to the June 1947 issue of RCA Broadcast News announcing their brand new BTA-50F AM transmitter. It has lots of nice pictures and a schematic. Best regards, Hollis
http://www.americanradiohistory.com/Archive-RCA-Broadcast-News/RCA-BC-45-1947-Jun.pdf
Very COOL, thank you, Hollis! There's more in this copy (from RCA Broadcast News) to enjoy, so sit back and read on!
Dear Reader and Visitor, if you remember my visit to Little Rock a year ago this month, you'll likely remember all the pictures I posted here...many of the transmitter itself. This catalog, Hollis so thoughtfully forwarded for us to enjoy, explains a LOT of the goings-on in the different stages and areas of the transmitter...so fantastic!
David B. Treadway and Jerry Sims both were my guides there at the transmitter site. I hope David B. enjoys this catalog...and I wish Jerry were alive to see it, as well....
Enjoy, compliments of Engineer Hollis Duncan!
Bud S. (staceys4@hotmail.com)
Here is a link to the June 1947 issue of RCA Broadcast News announcing their brand new BTA-50F AM transmitter. It has lots of nice pictures and a schematic. Best regards, Hollis
http://www.americanradiohistory.com/Archive-RCA-Broadcast-News/RCA-BC-45-1947-Jun.pdf
Very COOL, thank you, Hollis! There's more in this copy (from RCA Broadcast News) to enjoy, so sit back and read on!
Dear Reader and Visitor, if you remember my visit to Little Rock a year ago this month, you'll likely remember all the pictures I posted here...many of the transmitter itself. This catalog, Hollis so thoughtfully forwarded for us to enjoy, explains a LOT of the goings-on in the different stages and areas of the transmitter...so fantastic!
David B. Treadway and Jerry Sims both were my guides there at the transmitter site. I hope David B. enjoys this catalog...and I wish Jerry were alive to see it, as well....
Enjoy, compliments of Engineer Hollis Duncan!
Bud S. (staceys4@hotmail.com)
Monday, April 2, 2012
One More Little Barn Catalog View
Gil, another friend of the blog and devoted Beaker Street listener, had sent along a .pdf file, also which Dave M. converted for us to view here on the blog. It is also of the front and back covers of the First Edition, but in a different color. Now we know that there are at LEAST two surviving Little Barn catalogs out there!
Gil said he listened to Clyde Clifford on Beaker Street while in Mobile, AL. Thank you, Gil!
This has been fun, bringing these pages to you! What a great look back....
Any more "heads" out there have any different versions, PLEASE? (You don't have to be a "head"!) I would love to hear from you at my e-mail address below!
Bud S. (staceys4@hotmail.com)
Gil said he listened to Clyde Clifford on Beaker Street while in Mobile, AL. Thank you, Gil!
This has been fun, bringing these pages to you! What a great look back....
Any more "heads" out there have any different versions, PLEASE? (You don't have to be a "head"!) I would love to hear from you at my e-mail address below!
Bud S. (staceys4@hotmail.com)
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