DX LISTENING DIGEST 2-184, November 24, 2002 edited by Glenn Hauser, wghauser@hotmail.com Items from DXLD may be reproduced and re-reproduced only if full credit be maintained at all stages and we be provided exchange copies. DXLD may not be reposted in its entirety without permission. Materials taken from Arctic or originating from Olle Alm and not having a commercial copyright are exempt from all restrictions of noncommercial, noncopyrighted reusage except for full credits HTML version of this issue will be posted afterwards at http://www.worldofradio.com/dxldtd02.html For restrixions and searchable 2002 contents archive see http://www.worldofradio.com/dxldmid.html NOTE: If you are a regular reader of DXLD, and a source of DX news but have not been sending it directly to us, please consider yourself obligated to do so. Thanks, Glenn WORLD OF RADIO 1157: WBCQ: Mon 0545 on 7415 [new time just advised, ex 0515] WWCR: Wed 1030 9475 RFPI: Sun 0600, Mon 0030, 0630, Wed 0100, 0700 on 7445 and/or 15039 WJIE: M-F 1300, daily 0400; Sun 0630, Mon 0700, Tue 0630 or 0700, 7490 ONDEMAND http://www.wrn.org/ondemand/worldofradio.html [High] (Download) http://www.k4cc.net/wor1157h.rm (Stream) http://www.k4cc.net/wor1157h.ram [Low] (Download) http://www.k4cc.net/wor1157.rm (Stream) http://www.k4cc.net/wor1157.ram (Summary) http://www.worldofradio.com/wor1157.html ** AUSTRIA. Glenn, Listened to R. Austria International on November 23, 2002 on 7325 kHz from 0230 to 0255 UT, SIO 454. Program consisted of News, "Report From Austria" and "Postbox". On "Postbox" letters were read from listeners about the prospect of ORF leaving SW. I thought I'd finally get the information directly from the source. Wasn't to be as the program ended abruptly at 0255 UT, even though the announcers were still reading letters. At 0258 UT heard the BBC ident signal on 7235. Oh, well... 73, (-.. . Kraig Krist, KG4LAC, VA, DX LISTENING DIGEST) Regarding the additional English broadcasts of RAI: 0000 on 9870 seemed to be there Nov 24, poor reception with co-channel from something Far East. But the Sunday 1704-1800 on 17865 via Canada is not. 17865 cut off as usual at 1659 and did not come back (Glenn Hauser, OK, DX LISTENING DIGEST) ROI: No, I think we indeed hadn't the B02 schedule yet, also because it was posted on their website only with a delay (hardly a surprise of course, considering the lack of menpower there). So here is the whole shortwave schedule with kW/degrees figures added from the HFCC file although not necessarily reflecting the actual situation, namely they run 6155 with 100 kW only when both 500 kW transmitters are required for AWR transmissions: 0000-0100 13730 300/245 0000-0200 9870 300/275 0200-0300 7325 300/305 0500-1200 13730 100/160 0500-2308 6155 300/ND 0600-0700 17870 100/115 1200-1800 13730 100/ND 1300-1400 17855 500/90 1800-2308 5945 100/ND Sackville: 1500-1600 17865 250/272 The ORF network Radio 1476 (frequency acc. the station name) also airs various ROI productions, including this ones in foreign languages: Mon-Fri 2000 and 2230 Report from Austria, Sat 1830 Journal d'Autriche, Sat 2000 Insight Central Europe, Sun 2000 Letter from Austria / Network Europe. Satellite transmissions: On Astra within the DVB bouquet of ORF, main program under "ROI Wien", Sackville program (actually just a feed to Merlin London, hence nowhere listed) under "ROI SAC". Languages: Spanish 0030-0100, 0130-0200, 0330-0400, 2030-2100 English 0230-0300, 0632-0700, 1230-1300, 1330-1400 on 17855 only, 1430-1500, 1630-1700 on Sackville feed only, 1930-2000 French 0730-0800, 1200-1230, 1830-1900, 2130-2200, 2230-2300 (not on Sat). Otherwise German, mostly relaying Ö1, but 0500-0600 Ö3 relay instead; Mon, Wed and Fri 2308-2400 (so on Astra and Internet only) rebroadcast of FM4 programming. Radio Afrika International: Sat 2203-2300. Further shortwave transmissions outside the ROI programming may still exist; the Radio Afrika website http://www.radioafrika.net gives 1430-1600 on 17875 but this would need to be confirmed. The HFCC file does not include such an outlet (Kai Ludwig, Germany, Nov 24, DX LISTENING DIGEST) ** BRAZIL. 4755.0, R. Educação Rural; 2338 11/23, Brasilian pop/vocal music, 2333 "Radio Educacão Rural" jingle, man in Portuguese with TC, slogans, promos (Steven Wiseblood, Boca Chica Beach, TX, DX-160, DX LISTENING DIGEST) ** BULGARIA. The DX programme of Radio Bulgaria English service was aired at the very first time on November 17th, 1957, ID as Radio Sofia, Bulgaria. Radio Sofia's DX program was created and presented by Dimiter Petrov, LZ1AF, under the title "Calling DXers and Radio Amateurs". The 45th anniversary will be celebrated in Sofia on November 20th on the ham radio meeting, which is held every Wednesday. Now there are three different versions of that DX program: -- "Radio Bulgaria Calling" in English compiled by D. Petrov and Rumen Pankov, featuring Amateur radio news and BC DX tips. -- "Sendung fuer die Funkfreunde" / "Program for Friends of Radio" in German, French and Spanish. Compiled by Rumen Pankov and features thematic part plus BC DX tips. -- "DX Mix" in Russian and Bulgarian compiled by Ivo Ivanov, features news from HFCC via Internet. The schedule of Russian and Bulgarian DX programs was published previously. The others are English Fris 2235 5800 7500 Sats 0035 & 0335 7400 9400 Suns 0748 12000 13600 1248 12000 15700 French Tues 2138 5800 7500 Weds 0238 7400 9400 0720 (irregularly) 12000 13600 1220 12000 15700 and irregularly, on all transmissions on Sundays. Spanish Suns 1748 9700 11700 2218 6000 7300 Mons 0018 5900 11600 0218 5900 7500 11600 0718 (irregularly) 15700 17500 1218 (irregularly) 15600 17500. (Rumen Pankov, Bulgaria, BC-DX Nov 18 via DXLD) ** CANADA. Salama Radio: I dimly remember they were on air not daily? The use of Sackville for this purpose reminds me on the old Merlin Network One which was also transmitted via Sackville back to Europe in the evening (Kai Ludwig, Germany, Nov 24, DX LISTENING DIGEST) ** CANARY ISLANDS. In last week's Flashsheet I indicated my initial report to the Full Gospel Las Palmas Church on 6715 usb sent to pulse@121.net bounced. However, my second try to fglc@jet.es resulted in an e-mail reply in 1 day from v/s Gyusub Chung indicating 100 watts (Rich D`Angelo, PA, NASWA Flashsheet via DXLD) ** COSTA RICA. A handy excerpt from REE`s full schedule, to keep track of which frequencies are via the Cariari relay: 0000-0400 C-11815 Sudamerica 0200-0600 C-6040 Centro y Norteamerica 0200-0600 C-11880 Centro y Norteamerica 1000-1300 C-11815 Centro y Sudamerica 1100-1400 C-5970 Centro y Norteamerica (Lun a Vie) 1100-1400 C-15170 Centro y Norteamerica (Lun a Vie) 1200-1500 C-5970 Centro y Norteamerica (Dom) 1200-1500 C-15170 Centro y Norteamerica (Dom) 1200-2300 C-15125 Sudamerica (Dom) 1500-2300 C-9765 Centro y Norteamerica (Dom) 1500-2300 C-17850 Centro y Norteamerica (Dom) 1600-2300 C-9765 Norte, Centro y Sudamerica (Sab) 1600-2300 C-15125 Norte, Centro y Sudamerica (Sab) 1600-2300 C-17850 Norte, Centro y Sudamerica (Sab) 1800-2000 C-9765 Norte, Centro y Sudamerica (Lun a Vie) 1800-2000 C-15125 Norte, Centro y Sudamerica (Lun a Vie) 1800-2000 C-17850 Norte, Centro y Sudamerica (Lun a Vie) (via Ángel Rodríguez Lozano, en El Dial 11/02, Madrid, España via Conexión Digital Nov 23, excerpted by gh for DXLD) ** CUBA. 4870.07, 1007- Nov 24, R. REBELDE. Continuous music with occasional announcements in SS with ID by female announcer at 1000. Difficult copy with het from possible India and Guatemala near this freq. Difficult copy at S3 signal level then dropped out at 1009. Carrier still noted but very weak at this time (Robert E. Montgomery, Levittown, PA USA, Cumbre DX via DXLD) For once, here`s a Cuban which does not work out to be a likely harmonic --- unless 6 x 811 and 2/3, around which I recall some station used to vary (gh, DXLD) ** CUBA [non]. REEMPLAZO DE ALTO FUNCIONARIO EN SERVICIOS DE TRANSMISIONES DE E.U. TENDRA DEFINITIVO IMPACTO SOBRE RADIO Y TELE- MARTI La salida del Sr. Brian Conniff como Director Interino del International Broadcasting Bureau (IBB) es una señal clara y definitiva de que cambios significativos se avecinan para los servicios de transmisiones al exterior del gobierno de los Estados Unidos. [Caption:] Brian Conniff, Director Interino del IBB. Funesto para Radio Martí. Su salida abre un rayo de esperanza para la audiencia cubana en la Isla. En el caso específico de Cuba, su partida puede resultar beneficiosa para los cubanos dentro de la Isla. Las operaciones de radio y televisión hacia el extranjero constituyen un punto neurálgico en la batalla de relaciones públicas y de ideas, esencial a la política exterior de los Estados Unidos. Irónicamente, en esta vital área, a la administración Bush le ha tomado dos años obtener el traspaso de poderes obtenido en las elecciones presidenciales del 2000. No debemos olvidar que durante la Presidencia de Clinton, una agenda bien activa, destinada a crear condiciones que facilitaran la eliminación de Radio y Tele-Martí se puso en marcha. [caption] Kevin Klose, predecesor de Conniff. Se le premió con la Dirección de la Radio Nacional Pública (NPR) por sus servicios al Clintonato. Se alega estar implicado en la agenda de demolición de los Martís. Por muchos años, los elementos demócratas más liberales en el Congreso habían librado constantes batallas por socavar la imagen de las operaciones hacia Cuba cuyo prestigio profesional, su credibilidad indiscutible y sus niveles de audiencia llegagon a ser los más altos de toda la historia de los servicios de transmisiones al extranjero del gobierno de E.U. ¿Por qué la agenda de demolición en los Martís ha continuado tras el reemplazo de Herminio San Román y Roberto Rodríguez Tejera? El designado político de la administración republicana, Salvador Lew, un cubano-americano -Independiente- a quien este periódico saludara en su nombramiento, no sólo ha sido incapaz -por las razones que sean- de tomar efectivas riendas de Radio y Tele- Martí, sino que ha fracasado rotundamente en cumplir el mandato presidencial que acompañara el anuncio de su nombramiento "traer a los Martís un fuerte liderazgo y una nueva dirección". Nuestras fuentes aquí en Washington nos dicen que La Casa Blanca tiene sumo interés en que Radio Martí recupere sus niveles de audiencia y prestigio; que tomarán todas las acciones necesarias para garantizarlo; que buscarán las fórmulas institucionales legales y necesarias para que esa herramienta del gobierno de Estados Unidos haga su función. Sería necesario tomar medidas drástica, pero existe la voluntad política de llevarlo a cabo. Por Ares Spinoza, Washington D.C., La Nueva Cuba, Noviembre 21, 2002 (via Oscar, DXLD) ** EGYPT. Nos dice nuestro colega y amigo Ruben G. Margenet, que desde el 27/10/02 el servicio en castellano de Radio El Cairo transmite de 0045 a 0200 UTC, por las dos únicas frecuencias en los 25 metros: 11680 y 11790 KHz. Sin embargo personalmente pude chequear el esquema de la ERTU (Egyptian Radio & TV Union) via Internet, y los mismos informan que el nuevo esquema del servicio al exterior en lengua española se irradia así: HORA UTC KHZ DESTINO 0045-0200 9475 Norteamerica 11680 Centroamerica 11790 Sudamerica Desde Buenos Aires, pude reportar con buena señal las dos frecuencias en 25 metros, con una notable mejoría en la recepción de la emisora a diferencia de los últimos años. Sin embargo, cabe destacar que la frecuencia nominal de 11680 KHz, en realidad se escuchó en la de 11688.0v KHz. Intenté reportar la frecuencia de 9475 KHz desde las 0045 UTC, y se podía escuchar algo de música tipo árabe, pero no sé si se trataba de Radio El Cairo, debido a la pésima modulación y mala señal. Otro aporte interesante es que la estación estuvo fuera de aire el pasado sábado (UT) 23 de Noviembre (Marcelo Cornachioni, Argentina, Conexión Digital via DXLD) ** GEORGIA. Radio Republic Abkhazia s-on one hour later, at 1500 UT in Russian and Abkhazian, from Nov 16th (Rumen Pankov, Bulgaria, BC-DX via DXLD) ** GERMANY. The report about the outsourcing policy of the CBC was quite interesting because it appears to be quite similar to the approach of Mitteldeutscher Rundfunk here. This corporation would be another topic; the "Jump" program they produce is truly a shame for the whole public broadcasting system in Germany and their "MDR info" all-news network (the one that is still relayed by Bayerischer Rundfunk 2300-0500 on 6085) gets meanwhile also criticized for being shallow, partly even biased. And so on (Kai Ludwig, Germany, Nov 24, DX LISTENING DIGEST) ** HAITI. "Hi Guys, I've waded through the first 16 DXpedition tapes and now I've reached the last logs, where the reception of this mystery station was taped. I first noticed it at 0911 UT, QRMing the Spanish station (still unIDed but maybe the Argie Del Plata) dead on 1030 kHz. [you mean both are dead-on 1030? --gh] "The tape reveals: Music, music, music until church bells at 0943. Male voice comes on in slightly accented French with clear ID: "Radio Guinen, 92.9 FM et 1050 AM..." This man says they broadcast the Mass every morning at this time. Thus, it is a genuine Haitian but a lot more off-frequency than I anticipated. Then a different guy began singing in Creole "Vous caputez la Radio de la Cayo..." The Mass followed with intro of the celebrants by a woman, also in proper French, etc. "Wild!!!! First time logged in Newfoundland! Thanks to all for your time and interest. "Best wishes, (Jean Burnell, in Nov. 24 e-mail to Terry L Krueger, FL, DX LISTENING DIGEST) ** HAWAII. LATE NEWS ON-TIME http://starbulletin.com/2002/11/22/business/index.html KHNL-TV is going to "clock time" Dec. 30, meaning its 10 p.m. news will start at the same time as its competitors. "Our goal over the past few years has been to let people sample our news, to have the NBC product drive people into our news. We're now quite comfortable with the (ratings) progress our news has made and we're ready to compete at 10," said John Fink, vice president and general manager of KHNL and sister-station KFVE-TV. KHNL has been criticized for adding commercials during prime-time. It makes the station more money, but also pushes NBC programming past 10 p.m., meaning viewers who prefer a competing station's newscast miss coverage of top stories. Fink would not specify the number of commercials KHNL will lose, but said WB- affiliate KFVE will likely get some spillover. Fink called WB "the strongest network in terms of growth," which, coupled with top ratings for UH sports makes it "as valuable if not more valuable than most other prime-time properties. "Top-rated KHON anchor Joe Moore has often made on-air comments about KHNL's late-starting news, welcoming viewers who may have tuned in late. Mike Rosenberg, president and general manager of ABC-TV affiliate KITV, said the move is beneficial to viewers and advertisers. In addition, he said, the ratings race is bound to heat up. "The one thing they're not going to be able to do anymore is hold their viewers hostage until 10:06 or 10:07," Rosenberg said. "It'll be interesting to see what the effect is." Erika Engle is a reporter with the Star-Bulletin (via Brock Whaley, DXLD) ** HONDURAS 4830.08, R. Litoral, 1154-1203 24 Nov. End of religious program with religious music, canned Christmas greeting with Christmas music, canned ID promo by man, canned echo ID announcement by man with mention of "4830 kilociclos, banda internacional de 60 metros", another canned ID announcement by man with call and frequency, then yet another canned ID announcement by woman as "...ciudad, la voz de la selva, transmite HRLW R. Litoral, 4830 kilociclos, banda international de 60 metros, con.... Apartado Postal ?? en La Ceiba ?? R. Litoral". Into soft music. Back down on this frequency again. Have noted it here a couple times in the last month. Wonder why they keep jumping back and forth. Nice clear signal and one of the strongest signals on 60 meters at this time this morning (Dave Valko, PA, Cumbre DX via DXLD) 4830.1, Radio Litoral, 0432-0502* Nov 23, wandering down to here from usual 4832 with non-stop religious vocals until a Spanish ID at 0451. More religious music until woman gave sign off ID and announcements over instrumental music. Poor to fair (Rich D`Angelo, PA, NASWA Flashsheet, via DXLD) ** INDIA. The following frequencies are not in use by AIR External Services in B-2002 although listed in their latest printed schedule and web site. 13620 0215-0300 Pushtu (Afghanistan) 15075 1615-1730 Hindi, 1745-1945 English (E. Africa) All other entries are OK in their NEW website http://www.allindiaradio.org Their old internet site was http://www.air.kode.net and http://www.allindiaradio.com Note: 9950 to Europe at 1745-2230 has been taken off air temperorily from yesterday as it is having spurious emissions (===== 73 Jose Jacob, Nov 22, dx_india via DXLD) ** INDONESIA. Voice of Indonesia has used 11785 kHz for transmission at 0030-0400 for the past three days, instead of 9525 as previously. RRI's home service relay on 15125 is still off air. RRI Makassar's daytime SW frequency 9552v has also been off air in recent days. The station continues to be heard on 4753 with extended hours for Ramadhan, signing off at around 0030 after relaying news from Jakarta (Alan Davies, Surabaya, Nov 24, Cumbredx mailing list via DXLD) ** INDONESIA. RRI Pontianak on 3976.1 is now signed on at 1857 as a special schedule of Ramadan season. And according to my monitoring at 1840, RRI Ternate on 3344.8, RRI Serui on 4606.3, RRI Makassar on 4753.3, RRI Fak Fak on 4789.1, and RRI Jambi on 4925.0 have already started its program, Nov 23, 2002 (Juichi Yamada, JAPAN, Jembatan DX via DXLD) ** IRAQ [non]. Clandestine: 9155, V. of Assyrians, man with talks about dictatorship in Iraq 1710, Hymns after 1711. Marginal signal at 1710 with QRM at both sides (FSK). Better with level S8 max at 1743 with mysterious pop songs, 23.11 (Z. Liangas, Thessaloniki Greece, DX LISTENING DIGEST) ** KOREA SOUTH [non]. Finalmente el Servicio de Español de KBS Radio Corea Internacional ha optado por la frecuencia de 9760 Khz desde la estación repetidora de Sackville-Canadá como la más apta para llegar al área de América Central y norte de Sudamérica dejando sin efecto a los 11715 Khz, utilizada desde el 2 de abril de 1990. De modo que, a partir del domingo 24 de noviembre de 2002 quedará funcionando solamente la frecuencia de 9760 Khz. RCI agradece a todos los monitores que han contribuido para tal decisión. Por otra parte, anunciaron que se busca una buena frecuencia para el horario nocturno en Sudamérica (0100-0200 UTC) ya que -según las informaciones de los monitores- en los 11810 Khz Radio Corea Internacional no está siendo escuchada. Por último, ya se pueden escuchar vía Internet los programas Antena de la Amistad y Buzón del Radioescucha entrando a la página http://rki.kbs.co.kr haciendo click en spanish y luego en audio por demanda para luego optar por el programa favorito (Noticias anunciadas en los programas Antena de la Amistad y Buzón del Radioescucha del sábado 23 de noviembre de 2002 via Rubén Guillermo Margenet, Argentina, Nov 23, Conexión Digital via DXLD) ** LEBANON [non]. ID Voice of Freedom "FPM Radio Station``. Clandestine from ? to Lebanon, 11515 Voice of Freedom -in Arabic- heard sign-on for test transmission at 1600 with a patriotic song followed by General Aoun's message. A male voice ID at 1622 "Sawat al- Horria, Izaa't Lobnan al-mowahed al-Mostaquel, wa Saout al-Moqawama al-Lobnanyh al-Sharifa". SINPO/34444 Developing... Voice of Freedom, Radio united independent Lebanon, and Voice of the noble Lebanese Resistance (Mahmud Fathi, GERMANY Nov. 23/thanks for Hans's tip, Cumbredx mailing list via DXLD) Listed on the TDP website as Voice of Free Lebanon with a website at http //www.rpliban/rpl/index.htm Contact info as RASSEMBLEMENT POUR LE LIBAN / FRANCE 63, RUE SAINTE ANNE, 75002 PARIS. TELEPHONE 01 40 15 06 52. TELECOPIE 01 40 15 05 52. Broadcasts are daily and are listed as being in Arabic, while website is in French (Hans Johnson, Nov 22, Cumbre DX via DXLD) ** MEXICO. CAMBIO DE FRECUENCIA - FERNANDO MEJÍA BARQUERA IMER EMPOBRECE Y RENTA LA 660 A ROCHA Publicado en Milenio Diario viernes 22-Nov. Actualización 10:04 Hrs. Así como algunos ejidatarios ceden el usufructo de sus parcelas a particulares porque sembrar ya no es negocio o porque no pueden por sí mismos explotarlas adecuadamente, es cada vez más frecuente que empresas radiofónicas renten frecuencias que tienen concesionadas al no ser capaces de administrarlas. Ahora es el Instituto Mexicano de la Radio (IMER) la entidad que ha decidido otorgar el uso de una de sus frecuencias a una empresa privada, en este caso el canal 660 KHz, que durante más de un lustro operó como ``La Candela``, nombre que ha perdido en favor de otra denominación: ``Comunicación 660``. ¿RUMBO A LA PRIVATIZACIÓN? Desde la semana pasada empezaron a difundirse en el noticiario Detrás de la noticia, transmitido en dos emisoras del IMER, diversos ``promos`` relativos a nuevos programas que habrían de transmitirse por la 660 a partir de este lunes: ``La Ampolleta``, ``Café en Sanborn`s``, ``La hora del cambio``, ``Pesos y centavos``, todos producidos por la empresa que preside el periodista Ricardo Rocha. Esto coincidió con un rumor que recorrió el medio radiofónico desde principios de noviembre, en el sentido de que la emisora XEDTL ``La Candela`` sería rentada con el fin de obtener por esa vía ingresos para el IMER. El viernes pasado se hizo oficial que el arrendador es Detrás de la Noticia, sin embargo, de manera incorrecta, pues se encuentra involucrada una empresa paraestatal que administra bienes de la nación; los detalles de la operación no se dieron a conocer. Como la ausencia de claridad ha sido característica del gobierno foxista, tampoco se sabe si el arrendamiento de esa frecuencia constituye el primer paso para privatizarla y si otras frecuencias, entre las 20 administradas por el IMER en la república, son candidatas al arrendamiento o a la privatización. SON Y CUMBIA, O NOTICIAS Es un hecho que el IMER opera con problemas económicos desde hace tiempo y que, al menos en 2003, no podrá salir de ellos a través del subsidio gubernamental. En el proyecto de egresos para el año entrante enviado por el Ejecutivo al Congreso de la Unión, se solicitan recursos por 87 millones 583 mil pesos para el IMER, lo cual representa una disminución de millón y medio de pesos con respecto a 2002, cuando los recursos entregados a la institución fueron de 88 millones 819 mil pesos. Por cierto, el IMER sigue presentando la peculiar situación de que aun cuando sus recursos provienen de la Secretaría de Educación Pública, entidad que, se supone, iba a coordinar sus actividades, según se anunció a principios del sexenio, sigue dependiendo políticamente de la Secretaría de Gobernación. Recibe dinero de la SEP y órdenes de Gobernación. Parece claro que el Instituto Mexicano de la Radio no es prioritario para el gobierno y que la instrucción para la señora Beistegui, quien asumió la dirección general en junio de este año, es avenirse a la estrechez presupuestal y obtener dinero de donde pueda. ¿Qué es mejor, una estación tropical y deportiva, como era ``La Candela``, o una de ``radio hablada`` con muchos noticiarios y programas de análisis, como la actual ``Comunicación 660``? A quienes vemos con simpatía el trabajo periodístico del equipo de la agencia Detrás de la Noticia podría parecernos que lo primero, pero quienes gustan del son y la cumbia han perdido una opción radiofónica. En todo caso, el problema no son solamente los gustos personales de unos y otros radioescuchas, sino el hecho de que el IMER no tiene proyecto, o al menos su actual directora no lo ha hecho público y explícito. PALABRAS CONFUSAS El 20 de agosto de este año, cuando tomó oficialmente posesión como directora del IMER (puesto que desempeñaba en los hechos desde el 17 de junio), Dolores Beistegui indicó que su objetivo es ``hacer del IMER una radio verdaderamente pública (...), buscar la democratización y la pluralidad de las expresiones, rescatar la confianza y la credibilidad ciudadana, y hacer público lo que durante mucho tiempo ha sido usado para el ejercicio y el beneficio de la autoridad``. Se trata de palabras confusas. Pueden significar cosas diversas y hasta justificar actos políticos contradictorios. Con ellas se podría, por ejemplo, argumentar la privatización del IMER. Se podría decir que el conjunto de 20 emisoras que lo integran y que han sido usadas ``para el ejercicio y el beneficio de la autoridad`` deben ser devueltas a la ``sociedad civil`` –de la cual forman parte los empresarios radiofónicos– para que en ellas se desarrollen ``la pluralidad de las expresiones`` y se haga ``público``, es decir de la sociedad, lo que fue controlado muchos años por el gobierno. Y también podrían usarse para exigir que en el IMER se practique una radio ``pública``, ``de Estado``, no ``de gobierno``, y que en ella se expresen los sectores de la ``sociedad civil``, entendida ésta como el conjunto de organizaciones no gubernamentales donde se agrupan ciudadanos de diversas procedencias: trabajadores, colonos, profesionistas, estudiantes, feministas, gays, etcétera. Cuadran lo mismo para el discurso privatizador que para el de matiz estatista. Tendría que haber claridad en el IMER. Si se planea privatizarlo habrá que explicar por qué, para qué y cómo se haría. Qué ganaría el país con esa decisión y si se va a vender a quienes el gobierno elija mediante una negociación privada o a través de licitación. Si el IMER va a permanecer como entidad estatal habrá que explicar por qué y para qué va a mantener en condición. MICROHISTORIA La frecuencia 660 AM fue operada inicialmente (1942) por la empresa Radio Programas de México (de ahí su sigla original XERPM). En los años sesenta pasó a poder del grupo Radio Fórmula y en 1971 se transformó en ``Radio Juventud`` (ahí se difundió el 11 de septiembre de ese año el Festival de Avándaro). En 1978 pasó a manos del gobierno que se cobró con esa estación y algunas otras deudas fiscales del dueño de Radio Fórmula. En 1986, ya como parte del IMER, fundado en 1983, se transformó en XERIN ``Radio Infantil``, y se especializó en programas para niños. En 1991 cambió su sigla a XEDTL ``Radio 660``, y se especializó en música tropical y en deportes. Mantuvo ese formato, pero en 1994 pasó a llamarse ``La Candela``. Desde el 18 de noviembre de 2002 se llama ``Comunicación 660``. Tiene una potencia autorizada de 50 mil vatios, una cobertura estimada en 101 mil 787 kilómetros cuadrados, una audiencia potencial de 38 millones de personas y cubre los estados de México, Hidalgo, Puebla, Tlaxcala, Querétaro, Guerrero, Oaxaca y Guanajuato. (Fernando Mejía Barquera, via Héctor García Bojorge, DF, Nov 23, Conexión Digital via DXLD) ** NIGERIA. V. of Nigeria in English, "Listeners Letters" program heard on Saturday at 0645 UT Nov 16 on 15120 kHz, asked for reception reports. Repeat on Suns 1145, Mons at 2215, and on Wednesdays at ????. (Rumen Pankov, Bulgaria, BC-DX via DXLD) ** OKLAHOMA. 26100, USA, NBFM, UNID, 2228-2240 Nov 16, thanks to a telephone tip from Tom Williamson caught this one with San José State beating up on Tulsa 49-24. Prior to a break mention "on the University of Tulsa Radio Network". However, during breaks you could hear the announcers chatting in the both so no local commercial breaks or local IDs. Any ideas? Good when in but deep fades and gone most of the time. Tom indicated this one was on most Saturdays coinciding with college football (Rich D`Angelo, PA, NASWA Flashsheet via DXLD) ** RUSSIA [and non]. Hello Everyone, And thanks for the very interesting mails which have been coming my way recently. Sorry for the absence of anything from here, but I've been away from home for three days, so am still catching up on my reading. Yes, a very nice recording from Moldova - Kai. It was remarkable to hear three different IS tunes and a national anthem all at once! All else on 999 disappeared here when our local commercial rubbish arrived on frequency some years ago, so Pridnestrovye is impossible for me. The information Bernd gives concerning Yakutsk seems very relevant to me. I realise that output powers can be misleading in some instances, but 7200 is still regularly the best signal here currently - I note HFCC says via 0 deg (is that omnidirectional or do they really mean 0 deg? - I wonder who would want to live north of Yakutsk!) - while 7345 is less strong - HFCC says via 315 deg. The opposite used to be the case. I can now hear something on 7140 (there might even be two signals) around 0800, but not good enough to ID - one might be KRE, which is sched at that time. I note the HFCC says 20 kW at 30 deg on this frequency, and that Olle doesn`t hear Yakutsk. There's no trace so far of 4825 here - maybe there will be in about one month`s time. I hadn`t realised that Russian SW sites were built near the railways, but it does make sense I guess! Why, though, all this confusion concerning the actual names of the sites - is it still something left over from the cold war days? Or does Russian administration still not know for sure where their stations actually are! I guess the IBB and DW officials only print what they are told. Tbilisskaya is obviously lots of kilometres distant from Armavir and Krasnodar. Best 73's (Noel Green, UK, Nov 24, DX LISTENING DIGEST) The HFCC lists changed from "ND" to "0" for ND is season A99, so "0" means really "omnidirectional" now, while 360 would mean "North". As for confusion about transmitter site names: this is not limited to Russia/CIS, I think this is the case in very many countries. Also in Germany for example, many sites have been circulating under different names. 73s, (Bernd Trutenau, Lithuania, DX LISTENING DIGEST) Hi, 360 / 000 degrees: 6195 2200-0200 44,49 SNG 125 1 And BBC/Merlin registered Kranji, Singapore, curtain of 1 degree, which I suppose is true North of Singapore site, to avoid 000 degrees, the 'non-directional' entry. There has been an explanation of Tbilisskaya site in the DX press some 6-8 years ago. If my brain is still right: The town of at least 10.000 inhabitants, infrastructure of school and medicine care, police station, postoffice a.s.o. belongs only to the site staff and their families, is self-sufficient. Near Tbilisskoye. The county name of the nearby greater city is Armavir. The state/ oblast name is Krasnodar. Is that right, Bernd? 73 de (Wolfgang Bueschel, Germany, DX LISTENING DIGEST) ** RUSSIA. On Thursday Nov 14th Voice of Russia in German reactivated the DX program compiled by Mrs. E. Hoshova, noted at 1642-1652 UT on 6145 7300 7380 7390 etc. (Rumen Pankov, Bulgaria, BC-DX via DXLD) ** SINGAPORE. See RUSSIA above ** TIBET. Esquema de emisiones de la Voz del Tíbet suministrado por la propia emisora: HORA UTC KHZ 0650-1535 5240, 4905, 4920, 6110, 6130, 6200 0650-1000 7125, 7385 1000-1535 9490, 9580 1750-0100 4905, 6130, 6200, 7385, 9490 1750-0135 6110 Todas las transmisiones son en idioma tibetano, excepto una emisión en inglés de 1100 a 1125 UTC por 9490 KHz (Marcelo Toníolo, Greenvale, USA, Conexión Digital via DXLD) A few problems here: the above sked appears to be in LOCAL time, UT +8; the 1100 UT English broadcast has been reported on many other frequencies too, and what about 1630? This schedule omits services in Chinese. Finally, Voice of Tibet is the name of a clandestine, not this official Chicom station (Glenn Hauser, OK, DX LISTENING DIGEST) ** TOGO. 5047.0, Radiodiffusion Togolaise, 0515-0610 Nov 24. After hearing a carrier yesterday around 0500 (and on other mornings), Lomé seems to be active now with man and woman in French, choir music and 'Onward, Christian soldiers'. No formal ID heard, but several times Togo was mentioned. Transmission break at 0548, again back at 0552. News at 0600 with a 'live' report and at same time fading away. Signal too weak to read (Piet Pijpers, Netherlands, Cumbre DX via DXLD) ** U K. HOLD TIGHT THE MASSIVE Ever since Simon Dee's first broadcast from the MV Caroline in 1964, pirate radio has played a crucial role in forming Britain's musical taste. Now the phenomenon is bigger than ever, the airwaves in the cities so crowded that the pirates are being pushed into the suburbs and the countryside. Alexis Petridis picks up the story in an Essex garage with a young man named Stealth . . . Alexis Petridis, Thursday November 21 2002, The Guardian It has been described as a new studio, a nerve centre, and the headquarters of Essex's top pirate radio station, and admittance has been granted only after a rigorous vetting procedure. I have been quizzed at length. ID has been demanded. The Guardian's photographer has been accused of spying for the government: "I'm sorry about that, mate," says our guide, a 19-year-old who bears the fitting pseudonym of Stealth. "But he looks exactly like an inspector from the DTI - he's even driving a Ford Mondeo." Finally, though, Stealth has agreed to drive us to the secret location. On the way, the car stereo blares out Soundz FM. It plays chirpy UK garage topped not with patois-heavy rhymes about guns, "haters" and inner-city violence, but rap of a distinctly Essex strain. "Big shaaht aaht to the XR3i crew," says the MC. "Buzzing abaaht in the rain on a Sunday afternoon." The screening procedures are so exacting, it's difficult not to be slightly disappointed when you arrive. You can call this place a studio until you are blue in the face, but there is no getting around the fact that we are standing in the middle of someone's garage. The turntables nestle on a workbench amid cans of de-icer and Hammerite. The DJs and their friends sit on piles of stacked-up garden chairs, their baseball-capped heads nodding in time to the beats. A DJ called Mr Y2K is hunched over the turntables, while his fellow DJ Softmix chatters into a microphone, taking requests and demands for "shout outs", and reading text messages. The mobile phone rings. He hands it to Mr Y2K, and a brief, animated conversation takes place, just audible over the beats. A listener is criticising Y2K's choice of records. "Yeah, I know, mum," he mutters. "I didn't really want to play it myself." He pauses and looks momentarily pained. "Will you stop interfering?" he asks, plaintively. "Big up Mr Y2K's mummy!" cries Softmix. Stealth rolls his eyes. "Sometimes his nan rings up as well," he says. Soundz FM is far removed from the popular image of a pirate radio station. For a start, we are not in a crumbling Hackney tower block, nor is the atmosphere fugged with marijuana smoke. Judging by the litter on the floor, Soundz runs on nothing stronger than junk food and cigarettes. The atmosphere is cheery with the added frisson of illicit behaviour. It is somewhere between a youth club and a house party being held while parents are away. Everyone is friendly, if startled by the arrival of a national newspaper in their midst. "Shout going out to the Guardian posse," cries Softmix, by way of introduction. "Checking out the studio, writing an article on Soundz FM!" He then decides to conduct an interview of his own. "What do you make of it?" he asks, thrusting the microphone into my hands. But I have neither the voice nor the vocabulary for pirate radio. "So far it seems very impressive," I say, sounding like the winner of a competition to find Britain's most middle-class person. Aware that Soundz FM's street credibility is threatened, Softmix takes the microphone back. "Wicked," he says. From Radio London in the 60s to So Solid Crew's Battersea-based Delight FM, pirate radio has traditionally been a London phenomenon. Two years old, Soundz is one of a new breed of suburban pirates, uncomfortable with the gangster posturing and occasional bursts of violence that have become associated with illegal radio in the capital. Although Soundz reaches London, the majority of its audience comes from the suburbs: Essex, Surrey, Kent and Hertfordshire. The "staff" of Soundz FM are curiously prudish. Swearing is banned on air. "Some stations use filthy language, you know," bridles one DJ indignantly. "They're asking to be taken off the air, no question." "In London they want that rude boy attitude," says Stealth. "In certain parts of north-west London... well, there's a pirate station there that's actually based in a crack den, so that gives you an idea of some of them. But we're not all like that. We're referred to as polite people from Bexley. We're a friendly, community station. We're from the suburbs, we don't bother trying to get non-suburb listeners." There's a musical distinction as well, albeit one of those infinitesimal sub-generic shifts that anyone not completely immersed in the dance music world has no hope of understanding. DJ L-Dubs attempts to explain it to me. "Shady garage", he says, is to be avoided at all costs, whereas "happy garage" attracts "uplifting people who want to be uplifted". The latter, he informs me, is what Soundz FM is all about. I nod knowledgeably, but have no idea what he is talking about. Equally bewildering is the station's co-founder, Master Control. Portly and middle-aged, he cuts an incongruous figure amid the sportswear-clad teens. He was a teenager himself when he first got involved with pirate radio. Now it has completely taken over his life. During the week he makes "rigs" - radio transmitters - that he sells to other stations. At the weekends he careers around the Essex countryside, checking Soundz's aerial, ensuring that the signal is not causing interference to television or the emergency services. Ask him what the appeal of pirate radio is and he looks completely mystified. "I don't know. I find it... I don't know. I can't really do anything else. It's the only thing in my life that I can do. I make rigs that work, I do it properly. You get a sense of achievement, I suppose." He's not alone in his inability to explain the compulsion to break the law on a weekly basis, endure the endless hassle and expense of having your transmitter impounded by the Radiocommunications Agency (or stolen by a rival station) and risk unlimited fines and two years in prison. There's certainly no financial reward - the DJs pay a 10[?] pound weekly subscription to play on the station, which goes towards running costs - and little chance of celebrity. While some of the Soundz staff clearly see the station as a means of breaking through, circumventing the politburo of ageing celebrity DJs who control the dance scene, it is statistically unlikely that they will. For every So Solid Crew, who have converted their pirate notoriety into a more tangible form of celebrity, there are scores of DJs beavering away in semi-obscurity: Dom Da Bom, Miss Giggles, Lukozade, DJ Bangers, the hopefully named Aylesbury Allstars. It's peculiar, but then pirate radio has always been a bit peculiar. By definition it exists outside the mainstream, attracting strange characters who don't really fit in anywhere else. As befits a criminal enterprise, it regularly changes its identity. It began in 1964, the brainchild of Irish businessman Ronan O'Rahilly, who noted that, in the heyday of Beatlemania, the BBC Light Programme was broadcasting only two hours of pop music a week. Rahilly's Radio Caroline and its competitor Radio London invented pop radio as we know it today. By 1967, however, the Marine Broadcasting Offences Act had made the seafaring stations illegal, and Radio 1 had swiped both the pirates' all-pop format and their biggest DJs: Tony Blackburn, Dave Lee Travis, Kenny Everett and John Peel. Deprived of both legality and raison d'être, pirate radio went into decline. By the 70s, it was the domain of crackpots: Radio Nordsee featured a DJ called Spangles Muldoon and broadcast virulent Tory propaganda during the 1970 general election. Radio Enoch, meanwhile, offered military music and plummy voices denouncing immigration. It took the rise of dance music to revive the pirates' fortunes. Britain's underground soul and reggae scenes grew throughout the 70s, but were largely ignored by Radio 1 or the new commercial stations. Pirates stepped in to fill the void. Invicta, Radio Free London, Solar, Horizon and LWR eschewed fishing trawlers and set up in the centre of London, broadcasting urban music in an urban setting. When acid house was effectively banned from Radio 1 after 1988's tabloid drug exposés, a host of new pirates sprung up: Centreforce, Sunrise and Fantasy among them. It set a pattern that has repeated ever since, in which the pirate stations are the scourge of the authorities and a vital source of new music for the record industry. When a new dance genre emerges - hardcore, drum'n'bass, and most recently UK garage - a new wave of pirates appear, devoted to the new sound. Virtually every garage or drum'n'bass tune that makes the national chart will have been played on a pirate station first. Occasionally, a pirate DJ finds himself at the helm of a hit. Flex FM's DJ Dee Kline went to number 11 in 2000 with I Don't Smoke, a garage record that sampled Jim Davidson doing his comedy West Indian voice. Radio 1 repeated the trick it pulled off in 1967, luring DJs Pete Tong and Tim Westwood from LWR, Gilles Peterson from Horizon and the Dreem Teem from Blackbeard Radio. But this time the pirates, attracted by the relatively low cost of setting up a station (estimated by Stealth at around 2,500 pounds), won't die away. In 1991, the RA carried out 475 operations against pirate stations. Last year, it carried out 1,438. London's airwaves are currently jammed with a startling array of illicit stations. At the weekend, you can hear anything from the pre-pubescent children of So Solid's Dan Da Man spinning garage on Delight to Ghanian gospel music courtesy of WBLS's improbably named DJ Rabbi. Stations rise and fall with dizzying frequency - the victims of internal feuding, a lack of suitable studio locations and raids by the DTI's Radiocommunications Agency - but there is always someone to replace them. So far this year, the RA has raided 179 pirate stations in London. Most went straight back on the air. As the RA dôlefully admits: "There's no easy victory or cure for pirate radio. You take them down, they put them up again. You can't be sure people won't re- offend. You're just dealing with a specific complaint at a specific time." According to Stealth, central London's airwaves are so overcrowded that the suburbs are the best option for a new station. "We're doing it as a hobby. There are too many stations in London and they're all doing it for money. When it turns into a money market, you get people using dodgy rigs, employing thick cement mixers to install the equipment." Meanwhile, he says, pirate stations are springing up in locations that make Bexley look like a teeming metropolis: Weymouth, Newquay, Telford, Ludlow, Swindon. To prove the point, Stealth suggests a visit to his friend's station, Y2K Kent, which broadcasts from Margate. The next weekend, we rendezvous in a lay-by near the Blackwall Tunnel. Stealth arrives in a small hatchback, with a large skull and crossbones flag sticking out of the sunroof. In Margate I am introduced to Y2K's founder, a stocky 20-year-old who works for a drainage company by day and who calls himself Fraudster. Fraudster has been involved in pirate radio since he was 13. He originally DJed around London before realising the pirate scene was simply too crowded there. "We realised we needed to go somewhere else," he says, "so we packed everything into the car and just started to drive out of London, through the Blackwall tunnel. This was the first place we got to." Fraudster says that in its year of existence, Y2K Kent has been successful enough to attract complaints from the local commercial radio station. "They said we nicked 1,000 of their listeners, but they play music for over-30s, so I don't see how that works." Nevertheless, it is a modest set-up, located in the box room of a student house. The room is so tiny that three people constitute a life-threatening crush. DJs and associates crowd outside, peering in. It is extremely hot, and the unmistakable stench of bloke wafts down the stairs. The windows must be kept shut, lest anyone notices the noise and contacts the RA. "You have to be careful in Margate," says Fraudster, "because there's no crime, the police have got nothing to do. The front page of the local paper is 'man steals pork pie from Tesco's'." On the floor, an electric fan cools a tangle of wires and electronic boxes, apparently assembled to plans by Heath Robinson. On our arrival, it breaks down. "Hold tight the massive," says the MC, "as we sort it out inside the place." Stealth immediately springs into action. "You need a graphic on the mixer," he suggests. "I need another studio," groans Fraudster, looking harassed. In fact, Fraudster spends most of my visit looking harassed. His mobile phone rings constantly, not with shout outs or requests, but irate calls from his girlfriend, for whom the novelty of pirate radio has clearly long worn off. "I sometimes wonder why I do this," Fraudster admits. "I spend my whole week cleaning out shitty drains, then spend all weekend doing this. I'm not in it to earn anything. I suppose it's for the joy of the music." The RA's spokesman argues that "people suffer as a result of pirate radio. They tune into a station they want to listen to, and find something else blocking it. I take their calls, and they're absolutely furious. If you live nearby they create a noise nuisance. They're anti-social." You take his point - you wouldn't want to live next door to an illegal radio station, pumping out UK garage or drum'n'bass from Friday evening to Monday morning. However, it's hard not to be impressed by the determined attitude of the pirates. There is little fame and less cash in their world of box bedrooms and converted garages. Yet still they doggedly carry on, buying new rigs, finding new studios, skulking about in search of suitable transmitter sites. Although most of them are far too young to remember the Sex Pistols, there's something resolutely punk about their attitude: confronted with a dance scene that has slid into mundane irrelevance, they have decided to do something for themselves. Their ambitions are not commercially driven, yet they extend far beyond anti-authoritarian posturing. At Soundz, there's a lot of talk about digital radio. When legal stations switch to digital transmission, they live in hope that the RA will leave the obsolete FM band to them. Soundz even has aspirations beyond playing music. "We run a show between 8pm and 12am where we do comedy," says Stealth, proudly. "It's absolute chaos. We had a bloke out with a microphone doing wind ups on people in McDonald's in Lakeside shopping centre, and on drivers at the Dartford tunnel. You'd crease up if you heard it." A little corner of pirate radio, it seems, will be forever DLT. A few weeks after my visit, Stealth telephones. Both Soundz FM and Y2K Kent have gone off the air. Soundz has collapsed due to internal disagreements: Stealth and Master Control have fallen out over music policy. Y2K Kent, meanwhile, was raided by the RA, who found not only their rig, but two station staff standing next to it. For the first time, Stealth sounds bleak about the future of pirate radio: "Fines are going up, more stations are getting raided, things are getting tighter all the time. They're really turning up the heat." But it's still not hot enough to discourage Stealth and Fraudster. Within weeks, both are back in business with new stations, Fraudster with a station called Essence 105.1 FM, Stealth with Impact 99.7 FM. He has moved out of the garage and set up a studio in an industrial estate. And he has finally nailed pirate radio's unique appeal. "The buzz is when you're driving down your local high street and you hear it playing out of someone else's radio, or you hear people talking about it on the bus," he says. "You realise you're having an effect. If it was going nowhere, you'd soon lose interest." Copyright Guardian Newspapers Limited (via Mike Terry, DXLD) ** U S A. CAPTURE OF FUGITIVE PROMPTS GREAT RELIEF By Joseph Gerth The Courier-Journal Steve Anderson, the Pulaski County fugitive arrested Friday in the North Carolina mountains, remained in an Asheville jail yesterday awaiting his expected transfer to a detention center in Kentucky. He will stay in North Carolina until at least tomorrow, when he will appear before a federal judge there. Meanwhile, people in Kentucky expressed relief yesterday that Anderson had been captured. From the newspaper editor he reportedly threatened on a radio broadcast to the sheriff whose deputy Anderson allegedly opened fire on, the capture was much anticipated. ''He's bad news -- stupid bad,'' said Bell County Sheriff Harold Harbin, who lost Anderson's trail after the former Kentucky State Militia member allegedly shot at Scott Elder on Oct. 14, 2001. ''Riding up and down the highway, patrolling the roads with automatic weapons, pipe bombs and hand grenades in his truck, that's stupid bad.'' Carol Coffey, the former news editor of Somerset's Commonwealth Journal, said ''Oh, thank God,'' when she learned of the arrest. The Anti-Defamation League said Anderson had threatened Coffey's life on a shortwave radio show he produced before he disappeared. Coffey, who had written about Anderson, said her 10-year-old daughter was terrified that Anderson would come after Coffey. The family eventually moved to a new home -- partially out of fear. ''He tormented my family, and you just don't do that,'' Coffey said. Don York of the U.S. Bureau of Alcohol, Tobacco and Firearms' Louisville office said Friday that Anderson had been arrested without incident in Cherokee County, N.C., as he entered a residence. York said the arrest came after the ''America's Most Wanted'' television show passed on to authorities a tip it received after airing a segment about Anderson on Nov. 2. Cindy Anderson, a producer for the program, said federal officials told the show that Anderson was arrested around 3 p.m. Friday and that the investigation was continuing. She said the ATF wouldn't say which tip led to the arrest. It was the second time the show had featured Anderson, an alleged racist and anti-Semite accused of talking about killing federal law enforcement officials on the unlicensed radio station he operated from his home. The Kentucky State Militia said it threw out Anderson because he refused to stop broadcasting. York said the ATF worked the case with the North Carolina Bureau of Investigation. He declined to give any specifics of the arrest, but said Anderson is scheduled to appear in court tomorrow. John Bason, a spokesman for the North Carolina Bureau of Investigation, could not be reached for comment yesterday. Anderson is being held in the Buncombe County Jail in Asheville. A corrections officer said that since Anderson is a federal prisoner, requests for interviews must go through the U.S. Marshals Service, which did not return a call yesterday. Anderson had been on the run since the night he allegedly opened fire on Elder, who was off-duty but pulled Anderson over for driving his pickup erratically with no lights. The Bell County sheriff's office has said that Elder was about to send Anderson on his way when he noticed ammunition on the seat. Anderson allegedly pulled a gun and fired at Elder, striking the deputy's cruiser numerous times. Elder's 17-year-old girlfriend, who was in the car, suffered minor injuries. Anderson drove into the woods and abandoned his truck. A search of the vehicle turned up pipe bombs, and a search of his home yielded more guns and ammunition. Law-enforcement officials and groups such as the Anti-Defamation League had been watching Anderson for some time. He allegedly used his pirate radio station to make threats against government agents; used his farm in Pulaski County for Ku Klux Klan rallies; and, according to neighbors, fired guns on his property daily. Sheriff Harbin said he is just pleased that Anderson is in custody. ''Nobody needs him on the streets,'' he said. ''He never needs to be on the streets again.'' Don Holcomb, who lives near Anderson's farm, agreed. Holcomb said that Anderson was never any real trouble -- although ''he was always trying to corner people and talk that old, crazy talk'' -- but that he scared Holcomb's children and fired guns a little too often. ''He shot every day,'' he said. ''Just boom, boom, boom, every day. And you never knew which way he was shooting.'' Steve Anderson's alleged crimes caused many people in southeastern Kentucky to feel uneasy (Louisville Courier-Journal Nov 24 via Artie Bigley, DXLD) ANDERSON ARRESTED -- ASHEVILLE, N.C. -- JEFF NEAL After over a year, Steve Anderson`s luck finally ran out Friday afternoon in rural North Carolina. Anderson, the former Kentucky Militia member who once aired his hate-filled short-wave radio show nightly out of his home on Elrod-Martin Road in Pulaski County, was arrested without incident in Cherokee County, N.C. — a rural area west of Asheville — according to Kentucky ATF spokesman Don York. York said the North Carolina State Bureau of Investigation and the Bureau of Alcohol, Tobacco and Firearms, were acting on a tip they received following a Nov. 2 episode of ``America`s Most Wanted,`` which re-visited the Anderson case. ``We had received a lot of tips that were dead ends,`` York said. ``But this one panned out. ``It feels good to have this guy in custody,`` York added. ``And we`re very thankful that it was a clean arrest ... there was no force used and no one was injured. We obviously were a little concerned he might get violent.`` Cindy Anderson (no relation), a producer for ``America`s Most Wanted,`` said she was ``really excited`` about the capture of Anderson. ``We worked very hard to get Anderson`s case on our show, and we`re very glad this worked out,`` Cindy Anderson said. ``We don`t have a lot of details about the tipster at this point, but from what the North Carolina SBI is telling us, the tip was right on the money.`` The tipster will receive a $20,000 reward for information leading to the capture of Anderson. Anderson was a member of Kentucky`s militia until April 2001, when he was expelled from the group for being too bombastic with his views. He also has ties to the Christian Identity Movement, a group which considers white Christians superior to non-whites and Jews. The militia said it dismissed Anderson because he made inflammatory comments about the U.S. government, blacks, Jews and immigrants over an unlicensed radio station he operated from his Pulaski County home. Radio for Peace International, A Costa Rica-based group which monitors short-wave radio broadcasts, labeled Anderson as ``the world`s most hateful broadcaster`` last year. Anderson`s exploits were brought to light locally after a series of articles on hate by the Commonwealth Journal. During one of his shows, Anderson made a veiled threat toward a CJ editor. Anderson was being monitored closely by local law enforcement and other agencies while he broadcast his show every evening. But it was not until Oct. 14, 2001, that people`s fears about possible violent acts by Anderson came to pass. Anderson was on his way back from the Identity Feast of Tabernacle — a gathering for white supremacists — in North Carolina when he was pulled over by Bell County Deputy Sheriff Scott Elder near Middlesboro. Elder stopped Anderson because a tail light was out on his camouflage-colored truck. When Elder asked Anderson for identification, and then questioned Anderson about possible weapons in the vehicle, the traffic stop escalated into near disaster. Anderson allegedly shot up Elder`s cruiser before fleeing into the mountains of Bell County. He was a fugitive until Friday. Neither Elder nor his 17-year-old girlfriend, who was with him at the time, were injured although the cruiser was hit more than 20 times by rifle fire, according to authorities. Anderson`s truck was found the next day with a pipe bomb and ammunition inside. A search of his Pulaski County residence turned up more weapons and explosives. ``America`s Most Wanted`` first became involved in March of this year, after two packages sent from the Commonwealth Journal urged the popular FOX television series to spotlight the Anderson saga. A crew, led by Cindy Anderson, came to Somerset on March 5, and conducted interviews with Pulaski County Sheriff Sam Catron and former CJ news editor Carol Coffey. Sadly, the piece aired on April 13 — the night Catron was shot dead by a sniper during a fish fry fund-raiser at the Shopville-Stab Volunteer Fire Department. ``Sheriff Catron`s sister, Nancy (Hruneni), lives up my way (in the Washington, D.C. area), and I`ve stayed in touch with her,`` Cindy Anderson said. ``I told her this evening that Anderson had been caught, and she was very happy that Sam had been so helpful.`` After many dead-end leads failed to expose Steve Anderson, ``America`s Most Wanted`` decided to run a shortened version of the Anderson segment early this month. ``We do that often when leads aren`t panning out, or are drying up,`` Cindy Anderson said. ``We re-air the stories and get things going again.`` Cindy Anderson said Friday night that ``America`s Most Wanted`` was already planning a segment on Steve Anderson`s capture. York had few details on Anderson`s arrest. After Anderson was taken into custody, he was transported to Asheville, N.C., where he will likely make a court appearance tomorrow in federal court. York said Anderson will be extradited back into the Eastern Kentucky Federal Court District in Lexington soon. Story created Saturday, November 23, 2002 (Somerset Commonwealth-Journal via DXLD) ANDERSON TIMELINE --- SOMERSET --- STAFF REPORT May 29, 1993: Steve Anderson buys farm near Elrod, in Pulaski County, from Marvin Cromer for $12,000. He moves to Pulaski County from Florida where his mother reportedly is a school teacher and where Anderson once worked as an electrician. Fall, 1993: Anderson is arrested by the late Pulaski County Sheriff Sam Catron and four deputies for disarming two hunters and destroying their shotguns for hunting too close to his property. He is tried before Judge Daniel Venters and, after some bizarre courtroom behavior, he eventually pleads guilty to second-degree wanton endangerment, a misdemeanor. He serves one year on probation and pays to repair the shotguns. Winter, 1994: Anderson changes his clothing from that typical of an Amish person to military-issue, camouflage attire. March 20, 2001: Anderson is given direct orders by then Commander Charlie Puckett, of the Kentucky State Militia, to cease broadcasts of a short wave radio program, called United Patriot Radio, on which he spews hate-laden messages about non-whites and Jews. April 9, 2001: Anderson is ousted from the Kentucky State Militia for disobeying Puckett`s orders and continuing to broadcast his radio program. August 8, 2001: United Patriot Radio is named the number one most hate-filled radio show on short wave by the Far Right Radio Review, a group that has been fighting the dominance of far right views on short wave radio, since 1993. ``Steve Anderson, without a doubt, fits the number one position of the top 10 hate broadcasters,`` says James Latham, a Far Right Radio Review host. October 14, 2001: Following a routine traffic stop, Anderson fires more than 25 shots from an automatic rifle at a sheriff`s deputy in Bell County narrowly missing the deputy`s girlfriend who hides on the floor of the vehicle. He flees. His vehicle is located and two pipe bombs are found inside. October 15, 2001: Pulaski County sheriff`s deputies, FBI agents, ATF agents and other law enforcement officials descend on Anderson`s home on Elrod-Martin Road in hopes that he will return here. He remains at large. January 16, 2002: The Bureau of Alcohol, Tobacco and Firearms ups a $5,000 reward for information on Anderson from $5,000 to $20,000. March 5, 2002: America`s Most Wanted comes to Somerset to film a segment about Anderson. Interviews are conducted at The Commonwealth Journal and with the late Pulaski County Sheriff Sam Catron. April 13, 2002: America`s Most Wanted segment airs about Anderson, however the event is overshadowed by the assassination of Sheriff Catron. Nov. 2, 2002: Another brief segment on Anderson airs on America`s Most Wanted generating a bonafide tip. Nov. 22, 2002: Acting on the tip to America`s Most Wanted hotline, the North Carolina Bureau of Investigation and ATF agents arrest Anderson in Cherokee County, N.C. and transports him to Asheville, N.C. He will soon be extradited to Kentucky to face charges here in the Bell County shootout. Story created Saturday, November 23, 2002 (Somerset KY Commonwealth-Journal via DXLD) ** U S A. On his Main Street segment this week, Kim Elliott mentioned that he had attended a meeting of the BBG recently, where VOA language services were prioritized; at the top of the list were Arabic, Farsi, Mandarin, Spanish; further down, English to Africa. But Worldwide English was not on the list (Glenn Hauser, Nov 24, DX LISTENING DIGEST) ** U S A. Re: WCCO mug offer: A picture, scan, etc. should do it. So far I have seen one from 1970. I was hoping for a QSL from the late 20's or 30's though. Thanks! (Terry Palmersheim, KC7LDP, Nov 23, krhimer@attbi.com DX LISTENING DIGEST) Hi Terry: I live about 45 miles north of New York City (out in farm country) and I'm amazed at WCCO's signal to this day. Their sky-wave signal is still quite potent. This sounds similar to complaints about other 50 kWs in urban areas. WTOP 1500 in Washington DC has a AM and FM sister to bolster their reception locally, yet can be heard nearly worldwide. I remember the complaints about CBL 740 Toronto before they went commercial. It was the same song. If I had to guess, I would think that urban man-made noise from power lines, computers and other devices with CPUs, fluorescent and street lights and everything else adds to the decay of BCB signals. The decay of their ground system might add to it. But just you wait...you haven't heard the noise IBOC makes! You should hear WCCO here in the NYC area. You'd shake your head in wonder. Very strong all night long. Happy Thanksgiving de (N2KZ, Karl Zuk, hard-core-dx via DXLD) ** U S A. Re KKSU: Glenn - thanks for staying on top of this and pinning them down on info. I wonder if they ever considered taking over the old KWHK-1260 [Hutchinson] spot on the dial? They wouldn't be state-wide, but at least they'd still be on the air. And there are a few other frequencies in KS that I would personally say are full of nearly-useless programming which might be better served by KKSU's offerings (Paul L. Swearingen, Topeka, Nov 23, DX LISTENING DIGEST) ** U S A. SMALL TOWN RADIO, by BILL MARDIS http://www.somerset-kentucky.com/lifestyles/index.cfm#1988 Small town radio has undergone drastic changes during the last half century. Now sophisticated and computer operated, small-town radio today has evolved into a format similar to its urbanized cousins. Radio was introduced into small communities during a less complex age. Sometimes it was fun, even at the expense of professionalism. Radio stations began springing up in towns like Somerset, Monticello, Campbellsville and Glasgow in the late 1940s and early 1950s when the economy was booming after World War II. Initial radio stations owners and investors were not large, out-of- town entertainment conglomerates, but local men fascinated by the industry and willing to spend money to get a frequency and put their own station on the air. AM (amplitude modulation) stations were more common at the onset. FM (frequency modulation) would dominate later. (AM and FM are types of modulation of carrier waves emitting from a radio transmitter and tower). Owners and station managers initially looked outside their area for announcers and paid high salaries to attract professionals to small- town USA. However, in short order, the high-paid talent became disillusioned in one-stoplight towns and owners found they couldn`t pay big salaries and the light bill selling radio spots for 50 cents and $1 apiece. After saying good-bye to their ``stars,`` managers began to look for local talent. Translated, that means somebody who could read well and work for a more modest paycheck. Truth be told, fascination with being a ``radio star`` drove many a young person behind a microphone without thought of compensation. They were so proud of being a radio personality that they often developed an accent before they got their first paycheck. ``I hear you on the radio`` was sweet music to a young announcer`s ears. They would have worked hungry. Many did. Radio in those days was mostly ``live,`` meaning almost every minute was filled with a ``real-live`` announcer playing records or riding the gain for a country band or gospel group performing in ``Studio A.`` The program format usually had banjo pickers, fiddle players and pretty female singers filling most every Saturday. Sundays were reserved for gospel singers and preachers. Strong ties developed between country bands and radio stations on which they performed. Country singers thought the radio station couldn`t do without them and most station management agreed. Every musical group, be it country or gospel, had a wide following that translated into listeners. Recorded music usually was on three types of records – 78 rpm (revolutions per minute), 33 rpm and later, 45 rpm. Long-playing disks featuring popular stars and promoting the Army or Navy filled many 15- minute segments of radio programming in those days. Unlike today`s laser-reproduced compact disks, recordings during early radio days were played with bulky record arms and needles. Quality of reproduction, particularly on 78 rpm records, was not always the best. Recordings with three different speeds required a mechanical change of the turntable to play 78s, 33s and 45s. Change the record and forget to change the speed and there was a ``blooper,`` some worse than others. When a microphone is turned on (live) in a control room, the loudspeaker in the room is muted. If an announcer is wearing headsets, he can`t tell if the mike is on or off without looking at the switch. An announcer, just out of the Navy and working at a southern Kentucky radio station, was having trouble modifying his language from ``swabby`` lingo to civilized civilian verbalization. During an early morning radio show, the ex-Navy man started a 45 rpm record on 78 rpm speed. The piercing whine that filled the airways was not melodic. The announcer was wearing headsets. His mike was open. He spat out a ``nasty`` word. The engineer at the controls began to sweat. Luck was with him. Something blocked out the dirty word. Either nobody heard it or that early in the morning nobody was paying attention. The telephone didn`t ring and the announcer didn`t get fired. Unlike today, the Federal Communications Commission (FCC), licensing agent for radio stations, laid a ``heavy hand`` on use of public airways. One smutty word could call a station`s license into a hearing. FCC regional inspectors would come into a town unannounced, rent a motel room and listen to the local radio station for several days. When the FCC representative finally came to the manager`s office, he already was familiar with the station`s policies and usually had several unwanted suggestions. Live talk shows and audience participation programs, particularly by telephone, were often delayed 20 to 30 seconds by tape recording so unacceptable language could be kept off the air. The bane of an announcer`s existence was to be assigned to host the then wildly popular ``man on the street`` programs. People loved to get on the radio and large crowds would gather around to talk to the microphone. Funny, and often embarrassing situations, could happen while a live mike was on the street. An announcer (blush) at WTCO in Campbellsville was doing a ``man on the street`` program when he spotted his favorite aunt approaching. She was working her way through the crowd to say hello to her nephew. This aunt, like a lot of people during those early days of small town radio, lived out in the country. She didn`t have a radio and she didn`t even know that her nephew was a ``big radio star`` in town. She always greeted him with a great big buss. For those who have never been ``bussed,`` a buss in those simple times was a big, fat, wet kiss on the jaw. It may still be today, but at least it has lipstick with it. ``Auntie`` saw nothing to hinder giving her nephew the traditional greeting. After all, she hadn`t seen him for a spell and didn`t have the faintest idea what he was doing. The announcer almost panicked. He knew he was going to get kissed right there in front of all his loyal listeners. His voice broke and stammered. ``Throwing her arms around him, auntie laid a big ``buss`` on his blushing jaw. She used snuff and her sloppy lips against his face sent a wetsounding ``splat`` out on the airways and left a faint brown trickle of ambeer down his cheek. He doesn`t remember the remainder of that ``man on the street`` program. Broadcasting from county fairs was another unwanted assignment from the announcer`s viewpoint. One memorable broadcast at a Western Kentucky county fair left a radioman with a boatload of worries about FCC monitoring. ``Good evening, sir. Are you enjoying the fair?`` said the announcer to a bored-looking fairgoer. The fairgoer had had his fill of mule races and cattle shows. ``Frankly, it ain`t worth a (expletive deleted),`` he blurted into the microphone. Unforgettable is the news broadcaster at a small radio station in Western Kentucky who had a bad habit of reading ``cold`` copy. For the uninitiated, ``cold`` copy is news read on the air without being checked or edited. In those days, wire service copy was printed on single-sheet, folded paper that piled up behind the printer. The less-than-prepared announcer would rush out to the Associated Press printer, tear off a long piece of copy and pull it toward him as he stumbled over the latest news on the air. He was reminded several times about ``cold copy`` without heeding the good advice. It was time to teach him a lesson. All announcers smoked in those days, and practically everyone carried a cigarette lighter. To make a lasting impression on the cold-copy reader, an unwise co- worker flipped on a cigarette lighter and set the paper afire during a newscast. If the FCC had been listening that day, the station would have lost its license. The newscaster made several unacceptable sounds as he frantically fought the flames. A group of radio jokesters in one town carried audience participation to a new level. They borrowed a pair of lady`s unmentionables from a local department store and displayed the undergarment on the radio antenna of a well- known citizen`s automobile, parked on Main Street. ``Look what blew into town!`` cried an announcer on the air, giving the exact location of the unusual sight. Another announcer, who thought he was a comedian, called the local drugstore, identified himself as being from the telephone company and told the clerk to ``cover up the phone``; that the line was being ``blown out.`` She did, much to the amusement of coffee drinkers who frequented the place. Small town radio stations looked for any legitimate source of revenue. One of the moneymakers was ``PI`` (per-inquiry) accounts. A radio station advertised some special deal and the supplying company would pay the station so much for each inquiry about the product. A poplar ``PI`` deal in the early 1950s was to give a discount on the special deal if the listener sent in a 1945 nickel. One of the funniest things that every happened at WLOC in Munfordville was the dear lady who sent in her nickel and got herself a brand-new, cheaply made sewing machine. Unlike today, many imported items were little more than junk. Her new sewing machine arrived on schedule. She unpacked the device and plugged it in. The sewing machine started just like the directions said it would. The needle was flying up and down and vibrations made it look as if it had come alive. She took an immediate dislike to the sewing machine, but nothing in the printed directions told her how to turn it off. The longer it ran the faster it got and the more noise it made. The letter the woman fired off to the radio station demanding her money back was a classic. Totally frustrated and really angry at the radio station through which she ordered the unbridled product, the good woman described how the ``sewing sheen,`` as she called it, destroyed her family`s peace of mind. The ``sheen`` walked across a table, fell to the floor, scared the cat and dog and was finally destroyed by ``her man`` with a chopping axe, according to her letter. Her strongly worded description of a radio station selling that type of ``sewing sheen`` left a lasting impression upon management and the announcers who so effectively marketed the machine. Small-town America loved radio. Businessmen were so loyal to the local radio station that the volume was turned up so it could be heard across the street. Shoppers could go from store to store and not miss a single broadcast. Most of the amusing things that occurred in the early days of small-town radio were accidental. A few, shamefully, were by design. However, the overriding intent was to be professional. Managers and announcers were just as proud of their format as are producers of today`s modern, sophisticated broadcasts. Time has a way of changing things, sometimes for the better. You can`t tell the size of the community today by the quality of its radio broadcasts. Speaking of time, don`t you think it`s about time for a station break. Story created Friday, November 22, 2002 (Somerset KY Commonwealth-Journal via DXLD) ** U S A. In my view, the real problem is that NPR --- unlike [BBC] Radio 4 --- is not really a network. NPR is a program distribution service in the main. Individual stations in the NPR (and PRI) chain are free to accept and reject nearly all of the programs on offer. Except for the "franchise" programs --- Morning Edition and ATC --- listening to NPR affiliates is a hit or miss thing. If one has favorite news or entertainment programs on one station, he or she is not apt to hear them at the same times or even at all on another NPR affiliate in another city. It's all too haphazard, if you ask me. Now, the one perceived advantage to this approach is that the local station can tailor its schedule to what it perceives to be the needs and demands of its listenership. That's true and, to a certain extent, a desirable objective as far as it goes, but other networks --- like the CBC, for example --- have been able to successfully marry the two objectives by turning over significant portions of the day to local affiliates to program. This approach, however, also maintains an important unitary identity by better sufficiently standardizing each network station's schedule. It would be better, from my perspective, for NPR to split itself into at least four programming services --- those emphasizing, in turn: -- News and current affairs -- Classical music, jazz and the arts -- Education -- A full service of amalgam of the above. This approach would address the fact that many regions have more than one NPR affiliate, while others only have one. In the former instance, it would reduce the chances that the same programs would be carried by nearby or co-located affiliates (a wasteful practice that damages the image of NPR and public radio in general), while permitting isolated affiliates to access a full range of rich programming (John Figliozzi, swprograms via DXLD) Actually, there are multiple satellite streams available to all NPR affiliates. Program Directors are free to mix and match. That is infinitely preferable to being stuck with a sIngle one-size-fits-all program stream in my opinion. At the station where I work, we have seven satellite demods, all capable of manual or computer control. One is tuned to a data channel that acts as an order-wire where NPR can send program info. Two are allocated to computer-controlled digital tape recorders to capture programs for delayed broadcast. Three demods feed the studio console for real-time airing of programs. One demod feeds the console and is left on the overnight service frequency to facilitate transition by volunteer operators who may not be familiar with how to manually tune the receiver. The demods can access programs from NPR, PRI and APR by simply retuning. Thus, the Program Director has maximum flexibility to play with the program selections and air times. We have an unusual format that seems to work in a market that has only two public stations over most of the coverage area. News from 5 AM to 9 AM including BBC, Morning Edition, and Marketplace. From 9AM to 4 PM it's classical music, 2 hours from NPR and the rest from local CD's. There is a 10 minute break for NPR and local news at noon. All Things Considered airs at 4 PM for only one hour. Then its BBC until 6 PM. At six it's classical music until 5 AM about half of which is from the satellite. On Saturdays we do Morning Edition at 8-10 AM, Car Talk, and then local classical music until 6 PM when Prairie Home Companion comes on. That is followed by a local program called Just Folks that features mostly new folk artists. It's back to classical music at 11 PM until 8 AM Sunday. Two hours of Morning Edition are followed by classical music until 5:30 PM. At 5:30 its a combination of shows loosely called Family Night until we rejoin the Beethoven Network at 9 PM for the overnight classical music. You gotta agree that's a pretty diverse line-up. No we don't do jazz because there is another station at a "traditionally black college" down the road a ways that does a good job of that. My point is that if we were stuck with a single stream and no ability to time-shift programs, we could not have the kind of diversity needed in our particular small market. The equipment allows us to carry a service called The Beethoven Network overnight from WFMT in Chicago. At 04:59:40 a cue tone from the Beethoven Network causes the computer to play a recorded ID. During the 20 seconds before 05:00:00 the computer automatically retunes the demod to the BBC World Service to pick up the morning one hour news feed produced in cooperation with WGBH. When the morning news person gets in about 05:30 she makes sure that demods one and two are tuned manually for the Morning Edition and Marketplace feeds. The news person manually switches from BBC to Morning Edition to Marketplace by simply manipulating the console. Every NPR affiliate should have this same capability as the equipment is provided by NPR. So there is really no need for an amalgamated stream or streams dedicated to any particular program genre. Program Directors are free to select the programs that fit their audience needs and the station's format. They are also free to delay programs within contractual limits to provide an air time that suits the local audience. For example, our station got lots of hate mail from the religious zealots that insist on shoving their antiquated superstition (thanks Glenn) down other people's throats when we placed Sound Money on Sunday Morning at 08:00. The Program Director time-shifted Sound Money to Monday evening which, as far as I know, offends nobody's sensibilities and the hate mail stopped. Of course the program is now 2.5 days old by the time it airs and that can be an eternity when it comes to relevance but that is the compromise chosen. In markets where there are more than one or two public stations, PD's are able to adjust what programs they air and when they air them depending on what the other stations are doing. Unfortunately, public radio and TV stations still measure their success largely by ratings and rating trends. That does not drive the program mix to greater diversity. On the contrary, it sometimes causes stations to butt heads with duplicated shows simultaneously. Take the Washington DC market. WAMU carried Morning Edition while WETA carried classical music. In the afternoon WAMU carried bluegrass and old time country music while WETA did All Things Considered. Then WETA got greedy and started airing Morning Edition. WAMU countered by airing ATC. The losers were the classical and bluegrass music listeners who did not contribute their money in the same proportion as the news junkies. Maybe that serves them right. You pays your money or somebody else makes your choice. This is not good but it is the real world. For my money it still beats having NPR stations locked into one of five rigid program streams ala BBC (OSWR). ~*-.,_,.-*~'^'~*-.,_,.-*~'^'~*-., (Joe Buch, DE, swprograms via DXLD) What station you work for? -*~'^'~*-.,_,.-*~'^'~*-.,_,.-*~'^ There are necessary compromises in every approach. As I alluded to earlier, Joe, I understand that each station would prefer to have complete flexibility to design its own schedule in its entirety. Since our public stations program for "members" (who pay, not to put too fine a point on it), that ability to have local control would be valued over a more rigid network arrangement that may be more attractive to transient listeners (who don't pay --- at least to that local affiliate.) My local NPR-affiliated stations prefer that as well --- and luckily they don't take the same programs, so I don't have an overlap problem. I was just trying to address an oft-expressed issue (that some perceive that this more local-focused approach leaves in its wake) --- consistency from one NPR "market" to another. There is no perfect answer. But some do want to be able to hear their "favorites" wherever they go. I was trying to articulate a middle ground. Having three or four different clearly identifiable "emphases" (or streams, as you put it) available in the same market would blunt some criticism about some metro areas having too many NPR stations competing with one another (and airing some of the same programming) and might make it possible for a listener like myself to have better access to certain programs not currently carried locally. For example, if one of my options were the "news/current affairs-centered NPR", I could hear "The Connection" --- which I can't because my stations don't air it (John Figliozzi, NY, ibid.) I see no parallel between the approach I described and the seven streams of the BBC. The latter is just the identical service sliced and diced seven different ways. That IS a waste. This is one reason I firmly believe the world will go "on-demand" for this stuff. Who decides if "Here and Now" is better than "To The Point", "The Connection", "Odyssey", "Worldview", or "Radio Times"? If people want consistency from market to market, let 'em get Sirius or XM. This may be one reason the CBC is in tougher shape (so it seems) than NPR -- the schedule rigidity with little wiggle room for local markets. I find it somewhat amusing that CBC Radio One has local programming in AM and PM drive -- exactly the time that most NPR stations take the national feed of Morning Edition (Richard Cuff / Allentown, PA, ibid.) It has been interesting to watch this thread on the state of broadcasting and the various services available and method of delivery. As a career communicator and broadcaster in big and little stations before that, I submit the essence of success and the potential in broadcast properties is not in the technology, the services available from someone else, nor ways you can cut corners. The audience will come back to radio if you provide entertainment and information with innovation and art/craft. Pay good people who have a real background and education in audio and visual arts and broadcast programming, give them a budget and let them innovate. Quit listening to what others are broadcasting or believing the consultants and ratings rats. Dare to do what broadcasting did when the slate was empty and went on do so well before the Magids showed up. That is, recognize that entertaining programs, supported by news prepared locally for your market audience, not some demographic, and delivered by people who can write, read and have at least a nodding acquaintance with English as a first language, and I say you could do what is not being done now; develop a loyal, vocal following which in turn would attract advertisers which then -- and only then -- would make the owners money. But, hey, I'm old and idealistic. (Vern M[odeland], AR, http://www.runningriver.com ibid.) ** U S A. Subject : RE: [NRC-am] WLS & Old People The stations involved would probably have an episode of ecstasy if some type of protest or legal action was to be taken. What better way to conclusively prove that the station does not cater to "old farts" than to be sued by a bunch of 'em? The resultant brouhaha would no doubt inflate the stations numbers with younger listeners who would instantly empathize with the station for trying to serve them and then getting criticized for it. On the other hand, I think that the folks at the AARP are reasonably intelligent and know that very few marketing dollars are spent against older Americans and the actions of radio stations are generally just one form or another of reaction to this fact. Another recent example is in the area of oldies stations. Over the last 10 years, nearly all 50's music has been removed since its appeal is to over-55, and now 2002 has seen the removal of most early 60's songs and the addition of early 70's music in an effort to pull the demos back into 25-54 rather than 45-64. Again, it's just the act of staying away form an audience group that will produce diminishing revenue. Good example: Perpetual #1 station in Tampa/St. Pete is WDUV. Most of it's audience is not just over 55, it is over 65. Billing rank? It's 14th, with less than a third of the billing of the top biller. Stations strive to bill in proportion to audience size, or a ration of at least 1:1 Many A/C and Country stations do 1.2:1 or better. WDUV does 0.32:1, underperforming majestically in a market you would think would understand the power of older consumers. In a sense, this has no relevance to those people... who would never call a radio station anyway. What is at issue is the source of ad revenue, and the insistence of nearly every advertiser in the US to steer clear of the over 55 or over 60 market. Even with the profusion of graying baby boomers, very few products choose to advertise towards older consumers. Callers are generally less than 1% of a station's listenership (David Gleason, CA, NRC-AM via DXLD) Your point noted, mine being that cutting out call in audience because "they sound older than 55" makes even less sense. There are voices to be heard from all ages. This whole policy really does sound like a consultant/accountant assessment of keeping the money flowing. And it speaks to what radio has been reduced to, nothing but money. Homogenized in the major markets to be salt free and absolutely predictable. Which leads back to DXing, and the chance to hear a station with a real person in a real studio producing a real radio program on the fly, mistakes and all. Always from a small station and usually in a small town, nearly always having fun with it. When successful, the audience is there, but it's the art of radio that survives only beyond the horizon of the big cities and big radio corporations and big consultants. The art survives. We who know DX know that it's there, and we're often privileged to hear it, and take pleasure in the moment. This is about the art, the soul, and voice from far away. Where radio is only about money, David, only about money, it becomes as soulless as the Las Vegas strip on Saturday night (Gerry Bishop, Niceville, FL, ibid.) ** U S A. NC RADIO STATION PLAYS ONLY LOCAL MUSIC http://www.charlotte.com/mld/observer/news/local/4586755.htm (via Artie Bigley, DXLD) WBZB-1090, applying to move to x-band ** U S A. RADIO PERSONALITY JACO FIGHTS BACK AFTER FIRING BY KMOX By Diane Toroian Of the Post-Dispatch 11/21/2002 09:55 PM Axed radio personality Charles Jaco is fighting back against his former employer, KMOX (1120 AM). In a statement Thursday, Jaco insisted he never committed an act of "gross misconduct" as the station claims. Rather, he believes he was fired Monday because he demanded union representation at a disciplinary meeting. Jaco was in hot water for his rude e-mail responses to listeners' letters. He told one listener in crude language to, in effect, buzz off and another to "ask for time off work for Hitler's birthday so you can celebrate." Wade Baughman is the attorney for American Federation of Television and Radio Artists, the union that represents KMOX broadcasters. He agreed that KMOX managers had the right to punish Jaco for his responses to listeners. "We were certainly willing to sit down and talk discipline, but this is nowhere near gross misconduct," said Baughman. There is not a specific list of offenses that defines the legal term "gross misconduct." Baughman suggested the station claimed "gross misconduct" to avoid paying out the remainder of Jaco's contract, which expires in September. Jaco said in his statement, "Although I had hoped I could resolve any dispute with KMOX without the need for legal proceedings, that does not appear possible at this time given KMOX's unwillingness to withdraw its accusation against me of 'gross misconduct.' My reputation has been unfairly tarnished by KMOX." The television and radio artist union has filed a grievance demanding Jaco's reinstatement. It also has filed an unfair labor practice charge with the National Labor Relations Board. Jaco said he is discussing further legal action with his personal attorney. KMOX General Manager Karen Carroll said she could not comment on personnel manners. Jaco, 52, earned $122,500 a year. He came to KMOX seven years ago after gaining a national reputation as a Gulf War correspondent for CNN. He also has gained a reputation for his biting commentary and abrupt tone - qualities not especially rare in the world of talk radio. The station has yet to announce who will replace Jaco, who filed news reports and hosted an evening current events show (via Brock Whaley, DXLD) AFTRA DEMANDS CHARLES JACO'S REINSTATEMENT At KMOX/St. Louis While KMOX management has steadfastly refused to comment on the specific reason Jaco was fired earlier this week, today's St. Louis Post Dispatch reports that Jaco had received an e- mail from a listener upset about what she felt was biased coverage by KMOX of Republican Catherine Enz in this year's congressional elections. Jaco reportedly e-mailed back to the listener that he did not conduct the interview in question and added, "Piss off you miserable piece of crap." The listener forwarded Jaco's reply to KMOX GM Karen Carroll, who fired Jaco for "gross misconduct" — a term generally associated with a company being able to terminate a contract employee for cause and without severance. Now AFTRA has filed a grievance demanding Jaco's reinstatement and has filed an unfair labor practice charge with the National Labor Relations Board. Jaco is reportedly also discussing further legal action with his personal attorney. "Although I had hoped I could resolve any dispute with KMOX without the need for legal proceedings, that does not appear possible at this time given KMOX's unwillingness to withdraw its accusation against me of 'gross misconduct,'" Jaco tells the newspaper. "My reputation has been unfairly tarnished by KMOX." (Radio & Records Nov. 22 via Brock Whaley, Atlanta, DXLD) ** VENEZUELA [non]. CUBA "Aló, Presidente" via RHC noted on 11705 clear and fair in passing at 1740+ GMT Nov. 24, parallel better 6140. Man babbling, but not the Michael Jackson of Venezuela this time (Terry L Krueger, FL, DX LISTENING DIGEST) ** ZANZIBAR. TANZANIA 11734.09, R. Tanzania Zanzibar, 2050 Nov 16. Like Arabic style music, ID, anthem and signed off. Good (Nobuo Takeno, Kawasaki, Japan, NRD-535D with 10 meters wire, Cumbre DX via DXLD) UNIDENTIFIED. Any idea what the carrier (not sure if there is any audio -- I'm not hearing any at least) is on 15056.5, 1745+ Nov. 24? Spur? (Terry L Krueger, FL, DX LISTENING DIGEST) ++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ DVD REVIEW ++++++++++ THE BEATLES: "A HARD DAY'S NIGHT" (1964) Miramax DVD (2002) Stomp & Stammer Magazine -- Nov 02 By Tom Roche When "A Hard Day's Night" was released in 1964, it was expected to be another teen-exploitation flick with the usual four-wacky-kids threadbare plot. Indeed, the feature films released that year by Herman's Hermits and The Dave Clark Five soon sank without a trace. But those films didn't have arguably Britain's most innovative director at the time, Richard Lester. Or Gilbert Taylor as cinematographer, fresh from shooting "Dr. Strangelove" just weeks before. Or The Beatles themselves, fresh from their first visit to Ed Sullivan's CBS show. The film's eccentric and individualistic approach (like Monty Python 20 years later and AbFab 20 years after that) is due to the fact it was a purely British film that was initially never planned for release in America. Director Lester and crew shot mostly hand-held around London theatres and train stations, with no glitz, no dumbing down, and no removal of puzzling UK slang. The New York Times "serious" film critic called it, famously, "the 'Citizen Kane' of jukebox movies." This month, as the movie approaches 40, comes a 2-disc DVD release. The film itself holds up very well, but the once-ferocious soundtrack sounds more quaint and boxy with each passing year. And I have personally seen 21st century teenagers dismiss it as a bore. Broadcasting historians will enjoy seeing the wide array of now- vintage B&W British TV cameras, switchers, and monitors in the studio/theatre scenes. Lester took care to film these scenes at 25 frames per second instead of the usual 24, which would later complicate mixing and synching. But the benefit is a sharp capture of all the images on all of the TV monitors and camera viewfinders - all of which were running at a 25 frames per second PAL TV standard. The innovative shot composition, fast editing and inside dialogue, not to mention the long hair, electric guitars, and shall-we-say foppish attention to fashion detail (thank you Brian Epstein), were radical in their days but are now commonplace to the point of snooze-inducement. The DVD is blessed (or burdened, depending on your point of view) with an astonishing 1,200 photos and 5 HOURS of additional footage. So if you are still a Beatle geek who just can't let go, you'll love the repetitive interviews with every pathetic loser involved in the film's production. You'll hear from the film's ditzy hairdresser, at length, and "The Tall Extra Who Jumped High In The Dance Scene." Oh, and the moving recollections from "The Woman Who Passed John Lennon Once In The Hall." I wish I was making this up.... This fatuous bonus footage is compiled and edited on the cheap, too. It's clear the Beatles were not involved with the DVD reissue. Richard Lester provides some new insight, but a long feature with George Martin explaining the making of each song one by one might have been interesting except that the piece has no music! They couldn't afford the rights! Toward the end of Disc 2, two near-dead curmudgeon British sound mixers finally provide the only glimpse of reality : it was a goat rodeo, it was horrible, we don't know how it turned out so well. There's the usual promises of better digital this and digital that on the DVD, but I can't tell much difference. The mono film's songs are now in stereo, that's about it. Still, this is the film that got there first, putting the music video flag on the pop culture moon. If you've never seen "A Hard Day's Night", it is, even without the Beatles, a beautifully realized time capsule of an innocent and optimistic world long, long gone (--Tom Roche, Atlanta, DX LISTENING DIGEST) ###