Radio World

It was clear from the beginning that Congress had not found enough money to prevent small businesses — defined as those with fewer than 500 employees — from feeling the pain inflicted by the COVID-19 pandemic in the United States. As legislators continue to negotiate a second round of funding, broadcasters of all sizes are speaking out, hoping to get their portion of the loans in order to stave off further financial disaster.

Hawaii Media Owner George Hochman feels strongly that Congress should authorize more funding for the Small Business Administration’s Paycheck Protection Program under the Coronavirus Aid, Relief and Economic Security Act. 

Hochman is dedicating air time to encouraging listeners to express their own support for the PPP, running a spot 18 times per day from 6 a.m. to midnight on all 15 of his stations in the Hawaiian islands.

Listen to Hochman’s spot now using the media player below or download it here.

http://www.radioworld.com/wp-content/uploads/2020/04/Paycheck-Protection-Program.wav

 

Hochman encourages other small radio stations to participate in this effort.

“Owners/managers, get on the air, use your airwaves to get your listeners off the fence and support this program. Now is the time to use the power of our voices and let the public know that they need to call their representatives and tell them to refund” the SBA’s Paycheck Protection Program “and do it now, so their employees can get back to work,” Hochman wrote in an email to Radio World.

Meanwhile, the National Association of Broadcasters is supporting a bipartisan letter from U.S. Senators Maria Cantwell (D-Wash.), John Kennedy (R-La.), Amy Klobuchar (D-Minn.), and John Boozman (R-Ark.) that is urging their colleagues to open up future SBA loans to broadcasters and news publishers with more than 500 employees. 

The original PPP legislation excluded any businesses of this size or larger from applying, but NAB and the senators say that local news outlets are being hit especially hard by the pandemic, despite playing a critical role in informing listeners, viewers and readers. 

The senators explain their rationale for seeking the exception in the letter: “Even though these news outlets may be owned by larger groups, they operate independently.” Therefore, they write, “Waiving SBA’s affiliation rules for local newspapers and broadcasters and ensuring that financial assistance flows to the local affiliate, not the parent company, would allow these small, local operations to be eligible for much-needed financial relief.” This change would allow broadcasters the same carve-outs created for the hospitality and restaurant industries, which the Washington Post reports have already drawn significant criticism.

A NAB press release quoted NAB President Gordon Smith as saying, “America’s broadcasters are providing trusted and credible lifesaving coverage to keep citizens safe during the COVID-19 pandemic, yet local stations are suffering advertising losses of historic proportion that will undermine this critically important service. We urge Congressional leaders to support this proposal to provide immediate SBA loan eligibility to more local radio and TV stations,” 

A similar effort is being led by U.S. House Antitrust Subcommittee Chairman David N. Cicilline (D, RI) and Representative Jim Sensenbrenner (R, WI) in the other Congressional chamber.It is important to note that 97% of the original program’s $349 billion was allocated in less than two weeks, according to the Financial Times. However, the amount of funding floated for the next round is likely to be significantly smaller — closer to $310 billion, according to CNBC, despite increased demand as the effects of COVID-19 hit more sectors.

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The deadline to nominate in the Special Edition “Best of Show” Awards has been extended to May 1.

“We’ve pushed the deadline by two weeks in light of the just-announced timetable for a virtual version of the NAB Show, to give all interested companies the chance to participate,” said Paul McLane, managing director of content for B2B Media Technology brands.

“The Best of Show program has always been conducted during the NAB Show, and when the physical show was cancelled we established the Special Edition version to help fill that gap. Now, with the timetable set for NAB Show Express, it makes sense for us to sync to its timetable. We will announce the winners during that week in mid-May.”

The Special Edition Best of Show Awards program is an initiative of our parent company Future plc to showcase new, innovative products introduced this spring for specialized technology users.

Companies can nominate products for awards presented by the following publications and websites: TV Technology, TVBEurope, Digital Video, Government Video, Video Edge, Radio World, Pro Sound News, Sound & Video Contractor, B+C, and Next TV.

Companies seeking guidance about which brand to enter for can find guidance here.

Winners will be selected by panels of professional users, technical experts and editors based on descriptions provided by companies via the official nomination form. Companies pay a fee to enter; not all products are selected as winners. All nominees and winners will be featured in a Program Guide sent to readers this spring.

“Our thanks to the many companies that are participating in the 2020 awards despite the disruption caused by the pandemic,” McLane said. “Our media technology marketplace is a vibrant place, and there’s clearly plenty of innovation and hard work going on, judging by the nominations to date. Meantime we’re also all looking forward to being back in Las Vegas next year for a more traditional spring show.”

For more information about the Special Edition Best of Show Awards, visit the official website.

 

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The long-standing feud over newspaper/broadcast cross-ownership could be headed to the Supreme Court if the FCC, NAB and a group of media companies have their way.

On April 17, the Federal Communications Commission petitioned the Supreme Court to review the latest decision made by the Third Circuit Court of Appeals, which overturned many of the commission’s media ownership deregulation decisions made in 2017. At that time the court said the agency “did not adequately consider the effect its sweeping rule changes will have on ownership of broadcast media by women and racial minorities.” Soon after, the National Association of Broadcasters and the FCC joined forces to seek a full-court hearing of the court’s ruling. That request was denied.

[Read: FCC Challenges Court’s Broadcast Dereg Smackdown]

The FCC responded in its April 17 filing that reforms of FCC media ownership rules are not only long overdue but are part of a larger mandate by Congress that the FCC revise or repeal media ownership rules that are no longer necessary.

“It’s unfortunate that the same divided panel of the Third Circuit yet again has blocked the commission’s efforts to modernize our media ownership rules,” said FCC Chairman Ajit Pai, making this decision the latest “obstruction of commission action and congressional intent” over the last 17 years.

The court’s most recent decision continues to freeze in place decades-old ownership restrictions, Pai said, which have outlived their competitive usefulness in the digital age.

“Absent further action by the Supreme Court, broadcasters will continue to be saddled with outdated regulations,” he said. “The Supreme Court’s intervention is necessary to restore the commission’s discretion to regulate in the public interest and modernize media ownership regulation for the digital age.”

Commissioner Michael O’Rielly concurred. “The commission’s efforts for well over a decade to modernize media ownership regulations have been stymied at every turn,” O’Rielly said in a statement. “It’s time to settle this issue and bring our regulations into the twenty-first century.”

The group of media companies that also petitioned the Supreme Court over the Third Circuit’s findings include Bonneville, Connoisseur Media, Fox, News Corp, the News Media Alliance, Nexstar, The Scranton Times and Sinclair Broadcast Group.

 

The post Supreme Court Asked to Weigh In on Media Deregulation Decision appeared first on Radio World.

Chairman/CEO Bob Pittman of iHeartMedia is shown at an event in 2017. According to news reports, Pittman won’t take a salary for the rest of this year due to the national health crisis.
Credit: Getty Images/Gerardo Mora/Stringer

The massive technical recalibration of iHeartMedia earlier this year — when it shed over 1,000 jobs and moved to a more centralized content distribution system — was viewed by some industry observers as one possible blueprint of commercial radio’s future. 

And that was before coronavirus hit the country hard.

This article is about the long-term implications of that reorganization, though such discussions now must carry additional caveats about the unknown impact of the health crisis, over coming weeks as well as years to come.

 It’s certain that similarly sized radio broadcast companies were already watching closely to see if iHeartMedia’s cloud-based top-down programming structure would succeed. Now iHeart and every other company is also struggling to adapt to the public health dangers and the economic downturn.

iHeartMedia has said that its new “AI-enabled Centers of Excellence” or network operation centers would allow the company to pivot and embrace the capabilities of artificial intelligence. This doesn’t surprise radio experts since it is in line with corporate America’s love of automation. The company didn’t describe the exact role of the hubs in press releases describing the changes. 

The technical modernization allowed the company to eliminate many jobs on the programming side; and in March it was still not clear how many technical and engineering positions were affected. It is possible iHeartMedia has added some podcast producers and data scientists to fill out new digital teams, industry observers say. Those comments preceded fresh news at the end of March that the company would institute furloughs due to the coronavirus and that company head Bob Pittman would not take a salary for the rest of the year.

AI-DRIVEN

iHeartMedia has more than 850 stations and also owns online music service iHeartRadio. It now has a Markets Group organizational structure, which allows for the grouping of clusters of stations that are geographically close and culturally similar, according to a press release. 

Company officials have declined to speak about specifics, but it appears at least part of the technical modernization is based on a music-mixing AI system offered by Super Hi-Fi, according to Radio World’s previous reporting. The system allows for music to be segued with voice-over capabilities along with other algorithmic options.

Getty Images/ipopba

“Technology-powered” is how iHeartMedia now characterizes itself, according to a variety of press releases. It plans to use its “unique scale” to take advantage of its position in the audio marketplace. 

“The company has made significant technology investments to change everything from how it sells advertising to how it utilizes data and builds new businesses like its digital platform, podcast platform and robust data platform,” it stated in early 2020.    

Since the company has been slim on details, Radio World asked several veteran technical observers for their views about what iHeart’s new technical strategy might look like. Though most of them spoke prior to or early on during the disruptions of mid-March, their focus was on longer term anyway.

The most obvious result is that iHeartMedia would likely have little live programming except in its larger markets, they said, looking ahead. AI-enabled Centers of Excellence will program smaller markets. Some markets could be left with only a sales staff and no building. 

“The technical consolidation of programming origination on a massive scale, never before seen, might be a possibility,” said one technical observer. “I would further guess that in many smaller and medium-sized markets of iHeartMedia, possibly also in the larger ones that only a sales force would possibly remain.” 

The radio industry’s subsequent rush to enable wide-scale telework now would seem likely only to accelerate any such changes.

iHeartMedia, which emerged from Chapter 11 bankruptcy in 2019, revealed little new information about its plans during an earnings call for investors in late February. There was a lot of talk about “de-leveraging balance sheets” and “improving capital structure,” but iHeartMedia executives again gave scant insight into that transformative shift in business operations and jobs cuts.  

According to a 10-K filing with the U.S. Securities and Exchange Commission that predated coronavirus, it still had 11,400 employees. The modernization initiatives were expected to deliver $100 million in cost savings by the middle of 2021, according to a financial release.

iHeartMedia said then that it was anticipating real estate expenses to jump this year as it possibly consolidates some broadcast facilities and downsizes others. 

But by the end of March the company had withdrawn its full-year fiscal guidance. “iHeartMedia had a strong January and February before the effects of COVID-19 began to unfold into a global pandemic in early March,” it said then. “The challenges that COVID-19 has created for advertisers and consumers has impacted iHeart’s revenue in recent weeks, creating a less clear business outlook in the near term.”

“COOKIE-CUTTER”

Longtime radio observer and iHeartMedia critic Jerry Colliano reported early last month that the broadcaster was at least considering building out “cookie-cutter office and studios” that would be very similar in each market.

“While iHeart tries to negotiate out of leases and/or sell property it owns, according to those familiar with developments, the intention is to create a new build in every city. Presumably that even includes major markets,” Colliano wrote then.

iHeartMedia’s new network operation centers likely consist of management, program origination, commercial and imaging production as well as log preparation and billing, said another industry observer. 

“AI in its most basic form has been part and parcel to current program automation systems, music scheduling and log preparation for some time. There will have to be significant expansion and integration to enable (iHeartMedia) to use over a large number of stations,” this expert said.

A sophisticated distribution network would also be essential to the delivery of program content and technical functions, this person said. 

Technical monitoring could also be centralized with “virtualization of all studio functions” clearing the way to have a functioning radio station with no studios, according to another technical expert. “The FCC’s deletion of the main studio rule makes such operation possible and entirely legal now,” he said.      

Another industry observer said that over time, he suspects there will be many fewer iHeartMedia stations managers and programmers “artfully shaping compelling content” to appeal to a local community. 

“They are likely to be replaced with AI distilling local social media to sound as though the station is connected to the community,” he said.

Even local sales teams could be eliminated in some cases and replaced with a more regionalized approach to selling, according to the expert. 

There are examples of such a “move to the cloud” with broadcast groups operating stations remotely, he said.

“TV has embraced AI more so, but EMF [Educational Media Foundation] feeds the same programming to all of their local stations and centralizes technical monitoring at their master control facility near Sacramento, Calif. Obviously, iHeart would take this a step farther and use a common facility to produce most if not all programming for multiple local facilities,” the technical expert said. “The result will probably be regional sanitized content.”

DISTANCE NOT AN “ISSUE”

iHeartMedia’s turn toward a more centralized system of program delivery does raise the question of whether the company can improve its bottom line without jeopardizing local ratings in each market, observers said. In fact, financial analysts on February’s earnings call raised the issue of localism and whether the broadcaster’s ratings could be hurt following the earlier staff cuts.

“We don’t think the quality will go down, but rather it will go up. We want the best programming in each market. Distance is no longer an issue in our business, and our ability to project the best talent we have to any location any time is a substantial advantage for us,” said Bob Pittman, chairman and CEO of iHeartMedia.

Pittman mentioned personalities Ryan Seacrest and Bobby Bones and their national syndicated morning shows during the earnings call and remarked about the quality they bring to any radio station.

“We will continue to find those opportunities where we think we can improve quality or create leverage out of great talent,” Pittman said. “To the listeners it is local and we will continue to serve our local communities.”

In addition, Pittman said building music logs and selecting music for each individual iHeartMedia radio station is a lot of work, which can be made easier by using AI to streamline operations. 

“Now that we have so much data, the problem is absorbing all that data. By using AI to help us with that, I think it improves the music, and it will free up iHeartMedia programmers to do other things that make radio great, like imaging and promotions. And working with the talent, no matter where the talent is located.”  

By the end of March, the business world had changed. But there was no sign of a change in the company’s long-term plan described above. Rich Bressler, the company’s president, COO and CFO, said then, “We fully appreciate the unprecedented challenges posed by this crisis, however, we remain confident in our business, our employees and our strategy. With our experienced management team and our leadership position in the audio sector, we are committed to navigating this period while serving our audiences and other constituents.”

The post How Will iHeart’s “Centers of Excellence” Strategy Play Out? appeared first on Radio World.

Getty Images/RossHelen

Today, in the third decade of the 21st century, I am noticing disturbing things about our industry and AM radio. We are seeing stations being turned off and licenses turned in because owners are not making enough money to cover operating expenses. It is a shame to hear that an antenna’s real estate value exceeds the value of a station business. 

AM radio reception is not getting better, especially in cities where high-rise structures dominate the skyline. In the “old days,” one would try to position an AM radio by the window to get good reception. Today, many structures have reinforced glass in their steel structures, which does not allow reception. 

Second, the stations’ audio fidelity has not improved. Once again, in the old days, the station cared about fidelity (granted, most were transmitting music). Today, a station is sending anywhere from 10 kHz to 15 kHz of bandwidth (if they’re lucky) to the transmitter, and it’s compressed with almost no dynamic range. 

This is a recipe for listener fatigue, and nobody wants that! Listener fatigue causes the audience to block out the content, including advertising.

Third, and this is a generational problem, the sales departments do not understand AM reception and thus have difficulty selling it. A high-power AM may have better coverage than an FM, but AM has an image of the radio your grandparents listened to.

Granted, there are some successful AMs out there, but not many.

In contrast, streaming is growing, with a lot of the credit going to the smart speakers (thank you, Amazon and Google). The internet is prevalent in homes and the workplace, where radio reception may be limited.

SUGGESTIONS TO THE STREAMS

Many AM broadcasters are streaming audio but only going through the motions. Some are promoting it! Some are even selling it! Will listenership grow? It is inevitable. 

What do these stations need to do?

First, realize that the parameters of a stream are not equal to broadcast. 

Adjust the audio processing of your stream differently from your over-the-air broadcast. Let it have an audio signature! 

The days of a tuning knob to go up and down the dial are gone. There is no need for a loudness war; streaming is now a destination! 

If you are playing music, ensure all the instruments can be heard. How often can you say you hear the cymbals, oboe or the cow bell? If you are a talk station, let the transients of the host’s voice be heard with dynamic range. 

This can improve total listener hours. All stations want to tell their advertisers that people are listening more. Who knows — the station may even make more money.

[Related: Tesla Offers Infotainment Upgrade That Removes Radio But Pushes Streaming]

Second, many stations are doing dynamic ad insertion. The internet allows for ads to be targeted to the specific listener and location. This can sound good and natural, if done right. The station needs to match the loudness level of its content with the inserted ads, which is not easy but possible. The station must have reliable metadata to cue the ads and adjust the timing so the breaks sound good. These adjustments take time but are well appreciated by all.

Also, the announcer can no longer talk up to the post of the commercial. This sounds great on the air, but is a train wreck on the stream, since the commercials are different than over the air. Yes, this is a downfall of dynamic ad insertion.

SMART SPEAKER ADVANTAGE — THE FUTURE IS NOW

The fastest adoption by the public of a new technology has been the smart speaker. Significantly, sports leagues like the NFL recognize the value of smart speakers and are restricting sports rights, since they realize this is a new profitable market. 

Many people use smart speakers to listen to radio stations. Here’s a revelation — this is streaming. You are not seeing a growth in radios in the home, but you are seeing more smart speakers. In fact, the technology is even beginning to creep into cars. 

Smart speakers are the new home radio. Can they sound good — yes!  Will more models emerge — yes!  

[Read more: Techsurvey 2020 Tracks Smart Speaker Success]

Can streaming save AM radio? Maybe. For many years, radio has said they are now content providers, now radio has to believe it. Currently, many are calling for AM to be turned off. Others are calling for AM to go “all digital.” 

Why turn it off if AM can eventually evolve into a streamed source with growing listenership (not today, maybe tomorrow)?

Why go all-digital with HD Radio? Deep pockets will be needed to fund it, and the shift will require major education to the sales staff and the listeners. And even then, how would sales earn their commissions?  Plus, who will teach the local Best Buy clerk that the features exist!

AM is the immediate problem, but issues for FM will follow shortly — especially with translators populating every free spot on the band.

These are some of my reasons for saying that streaming with smart speakers has the capability of saving the AM broadcaster. Of course, I will also say: Content is still king.

David Bialik is the co-chair of the Audio Engineering Society’s Technical Committee for Broadcast and Online Delivery and is a Fellow of the AES. He was the director of stream operations for Entercom Communications and CBS Radio. Bialik is available for consulting at (845) 634-6595 or dkbialik@erols.com.

The post Streaming and Smart Speakers Could Save AM. How? appeared first on Radio World.

One in a series of articles celebrating radio’s first century.

Nov. 2, 1920, traditionally is recognized as the start of radio broadcasting in the United States. It’s the date that station KDKA broadcast the Harding-Cox election returns from a primitive transmitter atop a Westinghouse factory building in Pittsburgh. But in reality, broadcasting had been taking place on an experimental, irregular basis for more than 10 years prior.

Notable early experimenters included Reginald Fessenden in Massachusetts, Charles Herrold in California, Vincent Kraft in Seattle and Frank Conrad in Pittsburgh. And perhaps the most prominent of these early experimenters was Lee de Forest (1873-1961), the radio scientist noted for his invention of the triode vacuum tube.

“ELEMENTS OF CULTURE” Lee de Forest transmits into an early arc transmitter, about 1910. Two telephone microphones are joined in parallel to create a double button carbon mic. The arc chamber is attached to the right side of the transmitter cabinet. To the right is an Audion receiver.

De Forest had envisioned the concept of broadcasting news and music to an unseen audience as early as 1907, while experimenting with the transmission of voice using primitive arc transmitters.

“I had in mind its great usefulness as a means for broadcasting news and music entirely in addition to the use of the wireless telephone as a means of two-way communication by voice,” he wrote later. “From the beginning, (as) a great lover of opera and fine music, I was intent on developing the means and methods for broadcast distribution of these elements of culture to widely scattered audiences.”

De Forest conducted a number of demonstrations of voice transmission between 1906 and 1910, principally for the U.S. Navy, in which he broadcast phonograph music as well as the live voices of opera singers. In 1910, he broadcast a live performance from the stage of the Metropolitan Opera, although the sound quality was poor and almost no one heard the broadcast.

In 1914, Lee de Forest sold his “Audion” vacuum tube patents to AT&T, but he wisely retained the rights to use tubes for distribution of news and music, and to manufacture devices capable of receiving these broadcasts. AT&T foresaw no commercial value in broadcasting, and so readily conceded to this clause in the contract.

Here is de Forest with one of his first Oscillon transmitters, similar to one used at Highbridge. Before 1915, de Forest and others used arc transmitters, and he was apparently the first to develop a tube transmitter. (Perham de Forest papers, History San Jose)

Then de Forest established a laboratory at 1391 Sedgewick Avenue in the Highbridge neighborhood of the Bronx, where he developed a high-power vacuum tube capable of radio transmitting, which he called the Oscillon.

In 1915, de Forest received an experimental station license with the call sign 2XG and began experimental transmissions of concerts and news bulletins on a wavelength of 800 meters (375 kHz). It was the first radio station to use vacuum tubes instead of obsolete arc or spark technologies.

In October of 1916, he made a cross-promotion agreement with the Columbia Gramaphone Company, and 2XG began broadcasting the latest Columbia recordings three nights a week.

Carl Dreher, a young amateur operator, later recalled being a regular 2XG listener: “The quality was quite good, and I used to listen to the station for hours at a time.”

De Forest with singer Mary White, broadcasting from 6XC at the California Theater in San Francisco.

On Nov. 7, 1916, de Forest broadcast the returns of the Woodrow Wilson-Charles Evans Hughes presidential election, four years before KDKA. De Forest later wrote: “The New York American ran a wire line into our office so as to have the up-to-the-minute reports. I myself served as one of the announcers. At 11 o’clock that night we signed off, after assuring our invisible audience that Hughes had been elected president.” The next morning, he was horrified to find out that late results from California had in fact reelected Woodrow Wilson for a second term.

It was estimated that 7,000 people heard de Forest’s broadcast that night, including listeners as far away as North Carolina.

RADIO SILENCE Soprano Ruth Phipps sings over 6XC in San Francisco.

After the United States entered the World War, all private radio stations were ordered off the air on April 17, 1917. The operators were instructed to take down their antennas and disassemble their transmitters. The general public was even prohibited from operating a radio receiver. As a result, all other early broadcast experimentation was halted.

Lee de Forest’s 2XG was shut down, along with the stations operated by Frank Conrad in Pittsburgh and Charles Herrold in California.

The receiver ban was not lifted until April 15, 1919, while the restriction against transmitting ended on September 26. De Forest immediately reopened his 2XG Highbridge station, and on Nov. 8 he broadcast the play-by-play results of a Wesleyan-New York University football game. Popular New York vocalist Vaughn De Leath also made the first of a series of live broadcasts, earning her the title of “The Original Radio Girl.”

Vaughn De Leath, the “Original Radio Girl,” first broadcast over de Forest’s station 2XG in 1920.

Early in 1920, de Forest moved the 2XG transmitter to the top of the World Tower Building in Manhattan, giving him improved coverage and easy access to performers in the city’s theater district. But Radio Inspector Arthur Batcheller ordered 2XG to cease operations because he had not requested prior government approval for the move. “There is no room in the ether for entertainment,” Batcheller declared.

Undaunted, de Forest packed up his equipment and took it to San Francisco, where he opened 6XC in the California Theatre, the city’s most opulent motion picture house. His 1,000 watt transmitter broadcast on 1260 meters (238 kHz) into an antenna suspended between the theatre building and an adjoining bank building. On Jan. 28, 1920, he wrote: “California Theater radiophone is in pretty good shape. Antenna on Humboldt Tower is not ideal, but the music has been heard 1,200 miles out to sea.”

By April of 1920, six months before KDKA, 6XC was airing daily broadcasts of Herman Heller’s 50-piece orchestra live from the stage of the theatre.

A microphone attached to a large Magnavox horn was hung 40 feet above the stage to pick up the music. Live singers also performed into individual microphones, and harp and piano soloists were broadcast. To allow the transmission of phonograph records, a steel needle was connected directly to the diaphragm of a microphone mounted on the tone arm. Demonstration receivers were set up in clubs, hospitals and hotels around the area to introduce the public to the potential of radio broadcasting.

In September, ARRL President Hiram Percy Maxim addressed the 6XC audience, predicting that radio broadcasting would one day serve audiences in the millions.

OTHER INTERESTS Late in 1921, Lee de Forest closed 6XC at the California Theater. It was relicensed as KZY by the Atlantic-Pacific Company, and installed in the Rock Ridge neighborhood of Oakland. Seen here is the de Forest 1 kW transmitter, left, and an Interpanel receiver at right.

But de Forest was beginning to lose interest in radio. His professional interests were being directed towards the development of his “Phonofilm” sound-on-film technology, and his radio work was delegated to others in the company.

And so in late 1921, after originating more than 1,500 separate broadcasts from the California Theatre, 6XC was shut down and the equipment was transferred to the Atlantic-Pacific Radio Corporation, the de Forest Radio Telephone and Telegraph Company’s Western representative. A new station was installed in the company president’s home in the Rock Ridge area of Oakland, and KZY, “The Rock Ridge Station,” soon debuted.

KZY went on the air at midnight on Christmas Day, 1921, broadcasting several hours of Christmas carols. It quickly developed a large and loyal following in the Bay Area, and was heard clearly at night throughout the Western states. Live and recorded music programs were supplemented by news reports provided by the San Francisco Call and the Oakland Post-Enquirer.

But soon, like so many pioneer broadcasters, the new operators lost interest in funding the high cost of a radio station without any incoming revenue, and KZY had ceased operation by the end of 1922.

Back in New York, one of de Forest’s employees, engineer Robert Gowen, assumed responsibility for the company’s broadcasting activities. He built station 2XX at his home in Ossining and broadcast phonograph and live music each night at 11 p.m.

Lee de Forest works on his invention of the “dynatherm,” a medical device used on radio waves, in 1937.

Vaughn De Leath again was heard on the New York airwaves, and news reports were broadcast nightly. 2XX operated from December 1919 to May 1921 with 300 watts on 330 meters, and was heard by amateurs around the country.

In 1921, the Department of Commerce became concerned that too many amateur and experimental stations were broadcasting programs intended for the general public, and so in the fall of 1921 it created a new “Limited Commercial” license class specifically for broadcasting. All stations were required to share just two frequencies: 360 meters (833 kHz) and 485 meters (619 kHz). All other classes of licenses were forbidden from broadcasting music and news.

And so, in order to continue broadcasting, the de Forest Company closed 2XX and obtained a Limited Commercial license on Oct. 13, 1921, with the randomly-assigned call sign WJX. But apparently, the station was never a serious venture and appears to have operated only sporadically. The license was finally deleted in June of 1924, marking the end of Lee de Forest’s radio broadcasting activities.

The renowned inventor spent the majority of his remaining career on the development of his sound-on-film system. It fell to the big electrical corporations — General Electric, Westinghouse, RCA and AT&T — to develop radio broadcasting into a solid commercial technology.

John Schneider is a lifetime radio historian, author of two books and dozens of articles on the subject, and a Fellow of the California Historical Radio Society. He wrote in Radio World in December about KJR in Seattle, perhaps the first station in the U.S. to achieve a century of continuous broadcast activity.

 

REFERENCES & FURTHER READING

• “Father of Radio” by Lee de Forest
• “De Forest — King of Radio, Television, and Film” by Mike Adams
• “The Airwaves of New York: Illustrated Histories of 156 AM Stations in the Metropolitan Area, 1921–1996” by Bill Jaker, Frank Sulek and Peter Kanze
• “Radio News” Magazine, June, 1921
• “Pacific Radio News” Magazine, July 1920
• “Radio” Magazine, February, 1922
• San Francisco Chronicle, March 24, 1922
• Wikipedia:  “Radio 2XG”
• “Post-war Experimentation and Development” by Thomas H. White
• “Chronology of AM Radio Broadcasting 1900-1960” by Jeff Miller

The post Lee De Forest, Pioneer Broadcaster appeared first on Radio World.

The author is founder, College Radio Foundation and College Radio Day, and a professor at William Paterson University, New Jersey.

For many of us who started our broadcast careers in college radio, we still recall the memories of the experiences we had and the extraordinary bonding we shared with other students at the radio station. For most of us, it was in that environment that we not only learned or confirmed that we wanted to work in radio as a career, but we also created some friendships that would last a lifetime.

That all feels suddenly on hold for college radio students today. It seems that the very heart of their campus experience has been ripped away from them. Right now, most college radio stations studios are empty. The music director’s office is silent. The newsrooms are shut down, and the lounge area has empty sofas and chairs, with things left out on desks and tables, such as open magazines with half-read articles, unchecked lists of tasks that needed to be completed before spring break, and schedules for shows that will likely never take place. It’s like stumbling onto the Mary Celeste, a place that has been hastily abandoned on short notice.

[Read: College Radio and Coronavirus]

“Our students were on Spring Break when the world began to shut down. Their belongings were still on campus, and the uncertainty of what was next was definitely a huge factor on their anxiety levels,” said Anabella Poland, GM at WMSC, Montclair State University in New Jersey. “As information began to trickle down from authorities, there was a shift to first sadness, grieving their loss of community, loss of togetherness, and for some, the loss of their last semester on campus and all the celebratory activities this semester would bring.” For many involved in college radio, the shutdown was a massive blow.

For example, at the radio station that I manage, WPSC — Brave New Radio, at William Paterson University in New Jersey, we have had to cancel all our planned major events for the rest of this academic year. No more Braveathon, no annual Alumni Weekend (devastating for the alumni who love coming back), and no game coverage for our sports crew that lives and breathes competitive sports.

But there is hope, a resistance to the circumstances that the students now find themselves in. The COVID-19 situation may have resulted in campuses closing across the country, and the world, but students are not staying silent. Many students involved with college radio have quickly adapted and are finding new ways to create radio and find a way to communicate that to their audiences. It’s heartening to witness their passion combined with sheer ingenuity, to create and share content that provides information and comfort to a listening audience.

That’s true at WMSC, whose staff went from a period of mourning their losses to switching “to strength and sheer determination, to not let this time define us, and to explore the available options to continue to service our community,” said Poland. The students quickly committed to continuing their meetings and creating content, and “While emotions do vary day-to-day, based on news headlines and on each student’s individual circumstances, the group’s morale when they come together in virtual meetings and shows is good.” Poland shared, “I am not a psychologist, but I always begin my meetings asking how everybody is doing, I validate their shared feelings.”

WMSC’s Anabella Poland is creating programming from home.

At Neumann University in Pennsylvania, close to Philadelphia, resiliency is a way of life. Director of Neumann Media, Sean McDonald, has been very busy. “Morale at my station (WNUW) has progressively gotten better,” he says. After the sudden shock of the situation, “The initial response was dead air. Nobody wanted to do anything,” said McDonald. But now the students are back to creating content.

“Because of my background in broadcast engineering, I quickly go into problem solving mode,” and so right now, “WNUW is fully operational, even though I am the only person legally allowed into the station. I took home a bunch of equipment and created my own remote studio/master control, and have complete control of our TV and radio studios. My students are doing both prerecorded and live radio shows in a variety of methods,” he explained.

Those methods include using Discord to record shows, as well as Skype, Zoom or MS Teams. But because of McDonald’s engineering background he has been able to set-up a lot of technology from his home. “I have been using Axia’s SoftSurface over our school’s VPN client to control our Axia Fusion console. I set-up our record bus to a recorded feed in our iProfiler system, so I can hear callers that may call the studio through the Live Player app, and I have VPN access to control our RCS Zetta system … I’ve also given the more tech-savvy students access to the Comrex FieldTap app, and they can dial into one of my other Comrex units to get on the air. Like I said, having a broadcast engineering background certainly comes in handy during a pandemic!”

Sean McDonald with his home studio setup.

Poland is also using similar strategies and technologies to keep WMSC on the air. “We began broadcasting via Zoom on FB Live and uploading the shows to YouTube and SoundCloud, and then our chief engineer procured the necessary software to remote us into the station. Now we do our morning show live Monday through Friday. We also host two other news shows live. As we get more comfortable with this new modus operandi, we are adding prerecorded shows to our RCS NexGen lineup.”

Both Poland and McDonald have been working together to develop a project called the College Radio News Network (CRNN), which was conceived by Poland a while ago, and was already being used to share content and programming for celebratory occasions such as the annual College Radio Day and Vinylthon events. But the current situation now offers a perfect scenario for people to collaborate and share material that would help stations in this difficult time. The CRNN could be a vital tool for college radio stations during this time of social distancing, allowing students from college stations across the world to connect, share content, and participate in each other’s broadcasts.

So, looking to improve the process, Poland reached out to McDonald at Neumann University, to create a space that would allow for easy content sharing. “In order to keep the CRNN free to use and access, I had to find a way for stations to be able to contribute content that would not take too much time — I was looking for a way for people to easily upload and download content. Sean’s extensive technological background was vital to creating that space,” said Poland.

McDonald was able to set-up a space on a secure server at his university and was happy to help Poland take her idea to the next level. “The College Radio Network is the baby of Anabella Poland. We all have different perspectives, coming from all over the country. The idea of the website is to share copyright-free material created by college radio, for college radio. Newscasts are how this started, but we’re also looking to share coronavirus content in various forms. From interviews with front line workers, to diaries of how you’re feeling, to play-by-play of your mother in the kitchen making pancakes (true story), we want to give content to stations to share and to be the voice of the pandemic. There’s no obligation or pressure, just another resource to use during this strange time in our world,” said McDonald.

Other initiatives are also taking place, such as the College Coronavirus Coverage Awards, organized by four major journalism organizations — The Society of Professional Journalists, the Associated Collegiate Press, the Society for News Design, and College Broadcasters Inc. — who have joined forces to recognize college journalists who are “admirably covering a pandemic for little or no money while struggling with online classes.” The awards invite content from students “about COVID-19 that informed your audience of students, faculty, staff, administration, and alumni,” according to the website.

All these developments and initiatives are evidence that this difficult time can be met with responses of ingenuity and determination to connect with others. “Bringing my studio to my house has made me excited to go to work, and excited to problem solve,” said McDonald. He added, “Right now I’m loving what I’m doing and I’m making the best of it!” There is the belief that college radio should not be silent during this time. As Poland says, for her students, “There is a sense of urgency and duty to be on the front lines covering a historic moment, and to not allow the virus to take that from them.”

Perhaps something good can come from a bleak moment in time, and college radio can step up and help fill the silence.

 

The post College Radio: After the Shock, Resistance Is Now appeared first on Radio World.

Conceptual image of the completed campus, with the new West Hall at left.

One small pleasure denied us with the decision not to hold the NAB Show in April was that we aren’t able to see the new expansion of the LVCC under construction. But when broadcasters do come back to Vegas, we won’t be able to miss it.

With nearly 2 million square feet of exhibition space, the Las Vegas Convention Center has always been a spacious facility for NAB Shows. But thanks to the $980 million expansion project now underway, the LVCC is adding 600,000 square feet of exhibition space called the West Hall, an outdoor plaza and a new grand atrium. What was spacious before will be even more vast.

The expanded LVCC will have an entrance facing the famous Las Vegas Strip. For those familiar with the city landscape, the 60-year-old Riviera Hotel and Casino was cleared to make room for this new facility. 

But that’s Vegas, a one-of-a-kind destination that is constantly reinventing itself.

BIG, BIG, BIG

“Las Vegas is a city built for moments that change lives, and now we’re expanding to better serve the moments that change business,” said John S. Schreiber, vice president of business sales with the Las Vegas Convention and Visitors Authority. The LVCVA is the owner/operator of the LVCC.

The future West Hall exterior.

“These additions and improvements will keep Las Vegas as a top destination for meetings, events and tradeshows.”

To put it mildly, the expanded LVCC will be huge, so huge that it will include a three-station underground loop tunnel system traversed by self-driven Tesla electric vehicles to move convention-goers around. 

 Las Vegas is the kind of town where a tourist can clearly see their destination but then spend half-an-hour walking towards it without making much apparent progress.

 The current LVCC with its North, Central and South Halls fits into the city’s “Big, Big Big!” tradition. And when the West Hall opens in January 2021 —  its first event will be CES 2021 — it will push those limits even further even by Vegas standards. 

Construction of the new LVCC West Hall, outdoor plaza and grand atrium is in full swing. “The project is currently more than 70% complete,” said Schreiber in early 2020. And once it is done, the LVCVA will start renovating the current North, Central and South Halls to bring them up to the West Hall’s standards; that work is scheduled to be finished in 2023.

(Target dates in this story were gathered prior to the global coronavirus emergency but an LVCVA official said in late March that the dates remained valid so far.)

PHASED COORDINATION

“The LVCC expansion and renovation project was designed in phases to accommodate the needs of all shows utilizing the facility with minimal disruption,” Schreiber told RW.

The work was not expected to have an effect on the 2020 show, according to Chris Brown, the NAB’s EVP of conventions and business operations. Construction was to be limited to the new West Building. “The LVCVA has done a good job of coordinating with major shows like ours to minimize the effects of their construction and renovation plans. They have set their schedule to work around the big events.”

Looking farther ahead, Brown said that he anticipated “one year of challenge” in 2022. 

“We will lose access to the Central Hall as it is taken off-line to undergo much-needed renovations,” he said. “This means we will be in a situation where we will use West, North — renovated at that point — and South. So we will need to come up with supplemental transportation options to help move people between the three halls.”

A free underground system will move attendees quickly among three station stops.

The underground tunnel loop being built by Elon Musk’s Boring Company should be online by 2021. 

Excavation of the first of the two vehicular tunnels was completed in February. The boring machine tunneled 40 feet underground for nearly a mile over three months, then broke through a concrete wall near the West Hall expansion. The project is designed to transport up to 4,400 convention attendees per hour. 

“This is an exciting new transportation concept and will provide a highly-advanced and unique underground transport option to move people from one corner of the campus to the other using Tesla vehicles,” said Brown.

 “It will ultimately move a high volume of people at rapid speeds. For instance, it will only take a couple of minutes to go from the tip of West to the tip of the South Hall.” 

BIGGER, BETTER SHOWS

Once all phases of the LVCC expansion and renovation have been completed in 2023, the facility’s extra room will allow for bigger, better NAB conventions.

“We are excited about the expansion as it will not only provide access to more space, but to more flexible space,” said NAB’s Brown. 

“For instance, the new West Building includes a large, centralized meeting room complex that includes great swing space and some larger room options. This opens up some possibilities for us, including moving our Main Stage programs to that area or maybe adding a second spot for larger sessions. We are also considering some creative uses of that space; perhaps using it for more experiential purposes, special demo areas, combo learning and networking areas.

“Another great feature of the new West Hall is a sizable outdoor balcony space that is perfect for receptions and other networking,” Brown added. “So we will definitely be incorporating the West Hall immediately.”

Adding more floor space potentially means more walking; would NAB add other options such as Segways, electric carts or other people movers to help delegates get around the larger LVCC more comfortably?

“Some of that will depend on how we are using the space from one year to the next,” replied Brown. “In 2022 we will likely have to consider some of these options to help facilitate flow between the buildings. The Boring system will certainly help in all scenarios, but we also understand it won’t cover the need entirely.”

Brown expressed excitement about the long-term impact.

“The plan is being undertaken not just to add the space, but to create a more modern facility with better and more flexible space. And at a point in time where we are very focused on evolving and enhancing the experience that we deliver through the NAB Show, those enhancements will have a very positive effect.

 “It is also true that more space means more options for us, both in terms of what space we choose to use and how we use it. The rest, the getting around part, is all an operational challenge — and I think our team is pretty good at figuring out how to manage those challenges.”

The post Massive LVCC Expansion Is Underway   appeared first on Radio World.

Fig. 1: Pop the cap on the condensate drain and use a flexible bottle brush to clean it out.

Before it starts to get too hot, now is a good time to check your cooling systems — both at the transmitter and for the studio and rack room. 

Studio air handlers can be wedged above the actual studio or technical operations center, which can be a nightmare should the condensate drain get clogged with algae and then overflow. 

Whether you do the maintenance yourself or you contract an HVAC company, schedule it now. 

If you’re doing the work, remove the PVC cleanout cap atop the drain trap (shown in Fig. 1). With a bottle brush — buy one in the housewares/kitchen supply section of a grocery store — clean out the trap. Pour clean water down the trap as you go to speed the process. After cleaning, store the bottle brush next to the condensate drain, so it will be handy next time.

Once the trap is clean, I’ve seen some HVAC techs pour a little bleach into the drain. The big box stores sell an alternative, Air Conditioner Drain Pan Tablets. These tablets are placed in the drain pan and last about a month. Their chemical makeup prevents the buildup of algae, slime and scale, keeping the drain clear. Two hundred tablets run about $30; smaller quantities are available for about $1/tablet. 

We write a lot about redundancy. In a large transmitter building, your cooling backup may consist of a second air conditioner. An alternative is forced air cooling, as pictured in Fig. 2, should the air conditioning fail.

Fig. 2: High-efficiency filters combined with a louvered air intake can keep a transmitter site cool, should the air conditioning fail.

An air vent, even if it’s filtered, would defeat the job the air conditioning does, so adding motorized louvers is recommended. As shown in Fig. 3, the louvers are controlled by a thermostat, which drives a motor to open them when high temperature is detected. You’ll probably need to remove the air filters to inspect the operation of this seldom-used backup system. Maintenance includes lubricating the linkage that controls the louvers, and watching for smooth operation as the louvers open and close. 

Fig. 3: Inspect the thermostat, motors and linkage that open and close the louvers on your backup air system.

If you’re not using high-efficiency air filters, as in Fig. 2, consider doing so; they’re worth the extra cost. We don’t get to transmitter sites as often as we used to, and these filters will keep your equipment cleaner. While you’re at it, measure the filter sizes of your transmitters and convert them to the higher-efficiency filters as well. 

You can reduce cost by buying in bulk. Once you have your filter sizes, search online for bulk air filters. Of course, Amazon sells a variety, but also check acFilters4Less.com; they offer free shipping.

We’ve mentioned this before but it bears repeating: With so many sites to cover, keeping track of the filter change dates can be difficult. With a Sharpie-type permanent marker, write the date of install on the new filters. Depending on the local conditions, plan on inspecting their condition every month and replacing as needed. Most sites can get by with a quarterly filter change.

You’ll find a variety of air conditioning maintenance videos online — just search for air conditioning maintenance.

***

Veteran San Francisco contract and projects engineer Bill Ruck enjoyed reading Frank Hertel’s tips regarding rodent control in transmitter buildings. Bill adds two things.

First, regarding rat poison. A poisoned rodent goes looking for water and may die outside. The body is then eaten by one of their natural predators, and the poison kills the predator. Natural predators like coyotes and raptors control rodents for free, so think hard about the effects of using poison. 

Engineers will find this useful: Bill’s wife Siobhan shared a website called R.A.T.S., which stands for Raptors Are The Solution. Their home page www.raptorsarethesolution.org encourages you not to use toxins for controlling rodents. As you will read, poison not only kills birds of prey, but also dogs and cats.

Consider alternatives.

If you feel it necessary to kill rodents, Bill suggests snap traps. Bill is one of many volunteers at the KPH Project, the Maritime Radio Historical Society. The National Park Service, which owns the society’s sites, prohibits the use of poison, so Bill says they had to seek out alternatives. They have found that electric traps also work well, especially for larger rodents.

 Bill’s second point refers to airborne disease. He says Frank was lucky that he only got a bacterial infection and not Hantavirus after his rodent experience.

There is no cure for Hanta, and the mortality rate is 38%. Keep that in mind if you encounter a site littered with mouse droppings. 

Bill offers a suggestion when cleaning up mouse droppings: First, wet them down with a dilute chlorine bleach solution. It’s best to wear a respirator. Then, wear gloves and use paper towels to clean up the mess. Dispose of the used towels carefully, preferably in a plastic bag that you seal.

There’s useful information about Hantavirus on Wikipedia and the Centers for Disease Control. He also recommends a PDF from the CDC. It explains Hantavirus, how it’s spread and safe procedures to clean up, should you encounter a rodent infestation.

Bill concludes that the best overall long-term solution for mice infestations is to follow Frank’s tips for prevention, especially never leaving any food or drinks or anything that smells of food (like fast food wrappers) in your transmitter building. Practice good housekeeping.

John Bisset has spent over 50 years in the broadcasting industry and is still learning. He handles western U.S. radio sales for the Telos Alliance. He holds CPBE certification with the Society of Broadcast Engineers and is a past recipient of the SBE’s Educator of the Year Award.

The post It’s Time To Inspect That Air Conditioner appeared first on Radio World.

For the millions who are stuck at home, the National Recording Registry has a few new suggestions on how to inspire nostalgia or arouse baseball fervor — and much of it came to you through your radio.

The U.S. Library of Congress recently named more than two dozen recordings as national aural treasures worthy of preservation because of their cultural, historical and aesthetic importance to the nation’s recorded sound heritage.

What makes that list? The opening melody from “Mister Rogers’ Neighborhood;” the thrilling play-by-play of the 1951 National League tiebreaker between the New York Giants and the Brooklyn Dodgers and even the Village People’s international dance anthem “Y.M.C.A.” Those are among the newest recordings recently inducted into the National Recording Registry of the Library of Congress.

“The National Recording Registry is the evolving playlist of the American soundscape. It reflects moments in history captured through the voices and sounds of the time,” said Librarian of Congress Carla Hayden. The library received more than 800 nominations this year.

Under the terms of the National Recording Preservation Act of 2000, the librarian, with advice from the Library’s National Recording Preservation Board (NRPB), is tasked with annually selecting 25 titles that are for culturally, historically or aesthetically significant and are at least 10 years old. The new recordings bring the total number of titles on the registry to 550, a small part of the Library’s vast recorded-sound collection of nearly three million items.

Of the different genres and formats, listeners can find old radio sportscasts, classical recordings, jazz music and songs so knowable that it only takes a few notes to decipher its origin — take, for example, the disco hit “Y.M.C.A.” The new group of recordings also include the vibrant 2008 “Percussion Concerto” album and Dr. Dre’s debut studio album “The Chronic” (1992). Other selections include the 1920 jazz swing “Whispering” by Paul Whiteman and his Orchestra; Puccini’s “Tosca,” performed by Maria Callas; and the first commercial digital recording of symphonic music in the United States by the Cleveland Symphonic Winds. Several recordings on the list were made by some of America’s female changemakers, including Memphis Minnie, one of the most popular female country blues singers of all time and her single “Me and My Chauffeur Blues,” which was recorded in 1941.

Also on the list: comedy radio classics. Allan Sherman’s comedy classic from 1963, “Hello Muddah, Hello Fadduh” made the registry this year, a fact that would have astonished its author, said Sherman’s son, Robert Sherman. “It’s still something that people care, sing about. It would have amazed my father, 50-plus years since he wrote it.” Other ’60s classics include the original version of “Wichita Lineman,” written by Jimmy Webb and recorded by country music singer Glen Campbell in 1968.

Recordings of several radio broadcasts made the list too: an episode of “Arch Oboler’s Plays,” one of the earliest American old-time horror radio programs, and the announcement of the assassination of Pres. John F. Kennedy made by the Boston Symphony Orchestra conductor during the recording of a live performance on Nov. 22, 1963.

And lest we forget the appeal of our nation’s pastime, the Library of Congress selected Russ Hodges’ call of the 1951 National League tiebreaker between the New York Giants and Brooklyn Dodgers.

In that game, the Giants were down two runs in the bottom of the ninth inning of the final game of the three-game playoff. Ralph Branca was pitching for the Dodgers, Bobby Thomson came to bat, and Willie Mays was on deck.

“Ralph was a good, good pitcher. Didn’t have a real good curve but a good fastball,” the legendary Mays said to the Library of Congress. “And he placed it a lot, so I thought they would do the same thing with Bobby. Walk him and pitch to me because they knew that was my first year.”

They didn’t. Instead, Thomson hit a walk-off home run — the “Shot Heard ’Round the World” — and gave the Giants one of the most dramatic victories in baseball history.

Registry titles are preserved at the Library of Congress Packard Campus for Audio Visual Conservation, a facility with more than 7 million collection items where the nation’s library acquires, preserves and provides access to the world’s largest and most comprehensive collection of films, television programs, radio broadcasts and sound recordings.

Here are two well-known recordings that made the list.

The 1951 National League Tiebreaker: New York Giants vs. Brooklyn Dodgers — Russ Hodges, announcer (Oct. 3, 1951)

In 1951, the New York Giants won 37 of their final 44 games to catch their crosstown rival Brooklyn Dodgers, forcing a three-game playoff for the National League pennant. The teams split the first two games, setting up the decisive tiebreaker at the famed Polo Grounds. In the bottom of the ninth inning, the Dodgers led 4 to 1. The Giants had scored a run and had runners at second and third with one out when third baseman Bobby Thomson stepped into the batter’s box. Ralph Branca’s first pitch was a called strike. As he released his next pitch, Giants announcer Russ Hodges said, “Branca throws…” and then shouted, “There’s a long drive. It’s gonna be, I believe — the Giants win the pennant! The Giants win the pennant! The Giants win the pennant! The Giants win the pennant!” This game was actually covered by several legendary announcers, including Hodges (Giants radio), Ernie Harwell (Giants TV), Red Barber (Dodgers radio) and Gordon McLendon (the national broadcast). But it is Hodges’ call that is most remembered and which so vividly captures not only the action on the field but also the excitement of the moment — truly the thrill of victory and one of the greatest calls in all of sportscasting.

WGBH broadcast of the Boston Symphony on the day of the John F. Kennedy Assassination, Boston Symphony Orchestra (1963)

The ageless adage of “drawing comfort through music” had never been more thoroughly tested than on the scheduled afternoon broadcast of the Boston Symphony, with its conductor Erich Leinsdorf, on Nov. 22, 1963. That day, just after concluding Handel’s Concerto Grosso in B flat major and a second short piece, Leinsdorf was forced to break with normal concert protocol and, stoically, address the large audience with a change of program and to share the tragic news of Pres. Kennedy having been killed in Dallas only minutes before. For those in the audience and thousands more listening to the broadcast over the radio, it was their first news of the president’s assassination. In the hall, and over the airwaves, shock and gasps rang out. As everyone in the hall — including the musicians — processed this news, the sheet music for the “Funeral March” from Beethoven’s 3rd symphony was distributed to the orchestra, which bravely performed. The next day, Margo Miller of the Boston Globe reported, “The ‘Eroica’ marcia funebre is one of the great moments in music. The dread beat of the march cannot be disguised. Yet there is a middle section of the movement, a time of incredible energy and involvement, somehow, or so it seemed Friday, expressing eternal hope.”

Final List — 2019 National Recording Registry

“Whispering” (single), Paul Whiteman and his Orchestra (1920)
“Protesta per Sacco e Vanzetti,” Compagnia Columbia; “Sacco e Vanzetti,” Raoul Romito (1927)
“La Chicharronera” (single), Narciso Martinez and Santiago Almeida (1936)
“Arch Oboler’s Plays” episode “The Bathysphere.” (Nov. 18, 1939)
“Me and My Chauffeur Blues” (single), Memphis Minnie (1941)
The 1951 National League tiebreaker: New York Giants vs. Brooklyn Dodgers — Russ Hodges, announcer (Oct. 3, 1951)
Puccini’s “Tosca” (album), Maria Callas, Giuseppe di Stefano, Angelo Mercuriali, Tito Gobbi, Melchiorre Luise, Dario Caselli, Victor de Sabata (1953)
“Hello Muddah, Hello Fadduh” (single), Allan Sherman (1963)
WGBH broadcast of the Boston Symphony on the day of the John F. Kennedy assassination, Boston Symphony Orchestra (1963)
“Fiddler on the Roof” (album), original Broadway cast (1964)
“Make the World Go Away” (single), Eddy Arnold (1965)
Hiromi Lorraine Sakata Collection of Afghan Traditional Music (1966–67; 1971–73)
“Wichita Lineman” (single), Glen Campbell (1968)
“Dusty in Memphis” (album), Dusty Springfield (1969)
“Mister Rogers Sings 21 Favorite Songs From ‘Mister Rogers’ Neighborhood’ ” (album), Fred Rogers (1973)
“Cheap Trick at Budokan” (album), Cheap Trick (1978)
Holst: Suite No. 1 in E-Flat, Suite No. 2 in F / Handel: Music for the Royal Fireworks / Bach: Fantasia in G (Special Edition Audiophile Pressing album), Frederick Fennell and the Cleveland Symphonic Winds (1978)
“Y.M.C.A.” (single), Village People (1978)
“A Feather on the Breath of God” (album), Gothic Voices; Christopher Page, conductor; Hildegard von Bingen, composer (1982)
“Private Dancer” (album), Tina Turner (1984)
“Ven Conmigo” (album), Selena (1990)
“The Chronic” (album), Dr. Dre (1992)
“I Will Always Love You” (single), Whitney Houston (1992)
“Concert in the Garden” (album), Maria Schneider Orchestra (2004)
“Percussion Concerto” (album), Colin Currie (2008)

 

The post Registry Highlights the Sounds We Love to Hear appeared first on Radio World.

The author is membership program director of the National Federation of Community Broadcasters. NFCB commentaries are featured regularly at www.radioworld.com.

Many cities and states are reaching the conclusion of their stay-at-home period. Whether that period is extended or not, community radio stations need to start planning what they will and need to do when their communities reopen.

Virtually every community radio station has been affected in some way by the coronavirus. From complete switches to automation systems to staggering staff and volunteer presence for health and safety, community radio has had to adapt during this extraordinary time. Our programming and community service have been impacted. And, though we all crave getting back to what we love to do, community radio stations have to be especially diligent, considering their many constituents, volunteers and donors.

Pres. Trump has said in recent press statements that he intends to defer to the states, though he’s also expressed his desire to restart the economy amid growing unemployment. Many states indicate they will approach the reopening of businesses and public spaces with caution.

[Read: Community Broadcaster: Tips for Better Home Recordings]

How will community media organizations that have been on reduced operating and programming capacity return to normal operations?

You should strongly consider again reviewing existing documentation on these issues, as well as advice from federal, state and county officials. Communicating with those on the frontline is going to give you the most informed look at what your city is facing, and the risks to your staff and volunteers. Those leaders may say it’s too risky right now, or may involve you as part of phased returns.

In March, the Occupational Safety and Health Administration issued an excellent guide for preparing workplaces for COVID-19. Though it came out before the peak of public awareness, its lessons are important for everyone. At the top of the list is developing an infectious disease emergency plan, in the event of an outbreak. Your station’s plans should consider and address the level of risk associated with various areas of your building and the tasks staff and volunteers perform there.

For example, a locked engineering room is unlikely to have a lot of foot traffic and volunteer presence. Your live studio will have both. Will you be open to the general public to come in? Should on-air volunteers come back all at once, or in waves? How can your station put cleaning and other safety rules in before reopening fully? How can you educate your staff and volunteers about the new normal, at least for the foreseeable future?

The Centers for Disease Control and Prevention recommends ongoing safety protocols like face masks and social distancing. It also suggests a standard for sick individuals in order to prevent the spread of the coronavirus.

In this context, your station will also want to consider the welfare of its volunteers, staff and visitors. Whether and where people came from after travel and if they are in vulnerable populations may be significant if they are coming to your station. If your station has been dependent on preproduced programming, what programming can continue to be preproduced and what needs to be live in the studio? And how can you respectfully include those volunteers who still do not feel safe or are in an at-risk group?

Even during the COVID-19 pandemic, radio has been a trusted service. So, our return to business must come with an appreciation for the faith listeners put in us. Our returns must thus come with attention, care and compassion.

The post Community Broadcaster: Now What? appeared first on Radio World.

Radio World’s “15 Things You Don’t Want to Miss” webcast is now available on demand.

In an April without an NAB Show, it’s more important than ever to stay informed about new products and technology from our industry’s leading manufacturers

RW’s core ongoing mission is to bring together buyers and sellers of specialized broadcast technology, and to help engineers and managers advance in their careers by exploring key technical and business trends.

The webcast is part of Radio World’s “Spring Show @ Home” information series, created with the idea of helping you to do your job — whether you are a user or a creator of that technology.

Hear from Paul, Marguerite and our webinar sponsors about their new offerings this spring, including key features and targeted applications; explore the trends you would have heard about at the NAB Show; and learn what our editors are hearing from the industry’s leaders about important tech developments and standards.

 

SPEAKERS

Paul McLane
Editor in Chief, Radio World

Paul is a veteran industry technology journalist and former broadcast news anchor.

Marguerite Clark
Editor in Chief, Radio World International

Born in the U.S. and based in Paris, Marguerite is a veteran industry technology journalist who has been covering issues impacting the global media sector for more than 20 years from both Italy and France.

The post Radio World “15 Things You Can’t Miss” Webcast appeared first on Radio World.

Ajit Pai

FCC Chairman Ajit Pai addressed the InterAmerican Development Bank and the International Institute of Communications Online Workshop this week.

The following are his remarks, which he titled, “Regulation in Times of Pandemics: Lessons for the Future.”

First, thank you to the IDB (Interamerican Development Bank) and the IIC (International Institute of Communications) for organizing today’s meeting and for inviting me to participate.

Thank you to Ambassador David Gross and COMTELCA Executive Secretary Allan Ruiz for running this virtual panel.

It’s a pleasure to be with you and an honor to be joined by my distinguished counterparts: Alejandra de Iturriaga, Head of Spain’s CNMC; Adolfo Cuevas Tapia, President of the IFT in Mexico; and Leonardo Euler de Morais, President of ANATEL in Brazil. I hope all of you and your families are staying safe.

We’ve all been asked to talk about our experiences in responding to the COVID-19 pandemic, and any lessons learned that could guide us in the future.

Before going any further, I think it’s important to acknowledge up front that we should approach this exercise with a proper dose of humility.

At the FCC, it has been exactly five weeks since we effectively shut down our headquarters, shifted our operations online, and made pandemic response our primary focus.

In many ways, we’re still building the plane while flying it. Recognizing that it’s hard to say anything definitive only a few weeks into a fluid situation, I’d like to walk you through the FCC’s guiding principles as we’ve approached this challenge.

Number one, set clear priorities.

There’s an old saying: if everything is a top priority, then nothing is a top priority. With limited time and capacity, we needed to make quick assessments about the most important national objectives where the FCC could make a difference.

Looking at the landscape in early March, a few things became clear. First, social distancing was going to force huge segments of our economy and daily lives to move online, making it more important than ever that Americans have Internet access. And, second, social distancing would create massive temporary job losses and furloughs, putting millions of Americans at risk of missing bill payments and having their Internet and telephone service cut off.

So, we decided that our top priority was to make sure that as many Americans as possible have Internet access and that that no American would have their Internet and voice service cut off because of the disruptions caused by the COVID-19 pandemic.

That brings me to guiding principle number two: use markets before mandates.

In times of crisis, I understand how some might be tempted to look for any lever they can find to compel private companies to carry out the government’s goals. But with the coronavirus pandemic, the FCC chose a different path.

Specifically, we called on broadband and telephone service providers to take what we call our Keep Americans Connected pledge. The pledge has three core commitments: no consumer would lose service over the next 60 days due to an inability to pay a bill because of the disruptions associated with the pandemic; no one would be charged late fees because of the pandemic; and Wi-Fi hotspots would be opened up to anyone who needs them. The response was overwhelmingly positive. More than 700 broadband and phone providers have signed the pledge, including all of the nation’s largest service providers and many of the smallest.

We also urged providers to go above and beyond the pledge, to do whatever they could to help Americans stay connected and expand connectivity. And many have. They’ve upgraded speeds at no charge, expanded low-cost programs, offered free service to low-income families and students, and donated connectivity to healthcare workers and facilities.

Some might wonder: why are these private companies acting in the public interest?

I think the biggest factor is that these decisions are made by people. And in trying times, most people want to do the right thing, not just for their company, but for their fellow citizens and for their country.

But I also think that the market creates powerful incentives for companies to do the right thing. If your company doesn’t step up for you, or even worse, engages in bad behavior, consumers will be much more likely to turn to the competition in the weeks, months, and years ahead.

I would note that we also urged broadcasters to use their platform to promote social distancing, and they have enthusiastically and voluntarily done so. They have also expanded news coverage of the COVID-19 pandemic, providing Americans with the information that they need to stay safe and healthy. And they’ve raised funds in their communities to help those in need.

In the end, I believe trusting the markets rather than solely relying on mandates resulted in more consumer-friendly policies than we would have achieved with a more heavy-handed government intervention, and I know that we were able to make these changes more quickly. I’d also argue that the general regulatory approach that we have in the United States have applied to the broadband marketplace gave us much stronger infrastructure in the first place, as it gave companies the incentives to invest in resilient, robust networks that could withstand unprecedented consumer demands.

The third principle I’d like to highlight is to use every tool in the toolkit.

None of the FCC’s programs was developed with a pandemic in mind, but all of them sure can help.

For example, telehealth has become increasingly valuable in the era of social distancing. It allows people to get medical attention while avoiding the increased risk and strains at hospitals. To promote telehealth solutions for the patients of rural hospitals and clinics, the FCC voted to make an additional $42 million immediately available through our Rural Health Care Program.

Building on this foundation, two weeks ago, the FCC established a $200 million COVID-19 Telehealth Program to help health care providers provide connected care services to patients at their homes or mobile locations in response to the pandemic. This new initiative was fully funded as part of Congress’s recent coronavirus relief legislation.

Similarly, the FCC has examined our programs to connect schools, low-income households, and individuals who are deaf or have a speech disability, and has relaxed rules to help extend service to more people during this pandemic.

Relatedly, these efforts highlight the importance of having pre-existing programs in place to close the digital divides that exist in our communities. These are the communities that are most vulnerable during emergencies, and it is much easier to scale up existing programs than start from scratch during an emergency.

That brings me to the fourth principle: During an emergency, act like it’s an emergency.

If there’s one area where bureaucracies struggle most, it’s doing anything fast. But during a pandemic, delays can be deadly. So the FCC has put a premium on making decisions as quickly as possible. We’re talking days, not months or years.

In particular, it seems like every other day, we have been granting temporary authority to wireless carriers to use additional spectrum to meet the increased demand for mobile broadband. We’ve already seen evidence that one of these waivers has helped a provider double the speeds for its 4G service in certain areas of the country.

We have also moved quickly to identify new scam robocalls and text messages offering free home testing kits, promoting bogus cures, selling health insurance, and preying on virus-related fears. We’re working to warn consumers about these schemes and how best to protect themselves.

The last principle I’ll highlight might be the most important: put your people first.

To get the policies right, you need to treat the people on your team right. The health and safety of FCC employees is paramount to me. That’s why, on March 12, I directed all FCC staff who could telework to begin working from home. For context, on March 19, California became the first state in the U.S. to issue a stay-at-home order. We know that many of our staff are home with children, so we’ve given staff 10 hours a week of leave if necessary to tend to family concerns. These decisions may seem small, but I believe they make a big difference. They’re the right things to do for our dedicated professionals who always give us everything they’ve got.

I’ll finish with something I said earlier: it may seem like a long time, but we’ve only been dealing with this issue for several weeks. There’s still much we can learn from each other. So let me just say that I look forward to hearing from everyone else and leaving this conversation armed with new ideas to better serve our fellow citizens.

The post Pai Explains Commission’s Coronavirus Philosophy appeared first on Radio World.

The author is senior operations manager for CRP Radios.

LIMA, Peru — CRP Radios is a leading radio company in Peru, the only one 100% focused on entertainment radio, with eight FM brands and two AM brands strategically segmented to connect with Peruvians. In my position I am responsible for the effective performance management of all technical activities, taking overall responsibility for engineering, IT and supply-chain performance nationwide. 

We are a customer-oriented organization, hence listeners’ and advertisers’ satisfaction is placed at the core of our technical and business decisions. Our overall strategy for the radio broadcasting environment is that it’s what comes out of the speaker that counts — the perfect mix of content and sound quality. 

The FM spectrum in Lima is a very competitive sound environment — a challenge that’s not always easy to face. Each of the eight FM brands that we manage has a different format, so that means eight different music formats focused on eight different groups of listeners. All aimed at having the best sound in the segments in which we compete.

When it comes to processing, it’s too easy to crank up the levels to be the loudest on the dial, but we know full well that that’s not what our listeners want. The Omnia.11 broadcast audio processor has proven to be a flexible device for sound-quality improvements in all our FM stations. We have been amazed at the difference a good audio-processing preset can make for a station’s flavor. We are continually aiming to create a sound that keeps listeners listening and feeling that they’ve got the best flavor of their favorite music. 

Omnia.11

This sound cannot be created in a silo, it’s an ongoing process that relies on customers’ and engineers’ feedback alike, and each step has brought us closer to that golden sound.

Omnia processing gives you the ability to craft the sound you want and contributes to bring out the most from content and create long-lasting engagement with listeners, which after all is a key part of broadcast service.

We are consistently seeking out the best-in-class platforms and support professionals. Our partnership with The Telos Alliance has proven to be powerful forthe challenge of achieving a signature sound that suits our listeners’ tastes. Great platforms are just as important as proper professional support in the operations arena, and we have received great technical assistance on every project or technical issue that we have faced over the last few years.

Having Axia consoles plus Omnia processors is the technical solution that is supporting us to be able to create our own unique style and more importantly the one that suits our listeners. During 2020 we will continue to migrate to Axia consoles and we are in the process of optimizing all our audio connections through Livewire + AES67 to create a more flexible and smarter I/O topology.

We feel that the partnership that we have built with The Telos Alliance continually contributes to our efforts to improve audience engagement and bolster ratings. 

For information, contact Cam Eicher at The Telos Alliance in Ohio at 1-216-241-7225 or visit www.telosalliance.com. 

The post User Report: CRP Radios Crafts the Perfect Flavor appeared first on Radio World.

Ad hoc planning: A white board at WAMU(FM) in the nation’s capital mirrored what was happening at many radio stations in March. Senior Director of Technology Rob Bertrand told RW the station was working to “achieve 100% virtual operation” over coming weeks. Read his interview here.

The coronavirus crisis ripped the fabric of the U.S. radio broadcast industry in March, as it did virtually all of the nation’s business sectors. 

Vague uneasiness about public health and transmission in early March changed swiftly to sweeping action that reinvented radio’s daily life a week or two later. And the situation continued to evolve daily.

For many, it was the postponement (and eventual cancellation) of the April NAB Show, first announced March 11, that brought home reality: The 2020 spring convention season would be like no other. 

This decision would have seemed controversial not long before, and it was still jarring on the day it was announced, given that the spring show hadn’t missed a year since 1945. 

But within two more days President Trump was declaring that COVID-19 constituted a national emergency. The loss of a big convention, as dramatic as it was, became just another example of how radio’s business and technical landscape was altering at breathtaking speed. 

RADIO AT ARM’S LENGTH

Virtualization became a trending topic as stations told employees they’d be working work from home for the foreseeable future. Engineers and IT staff had to move quickly to enable remote shows from living rooms of air talent without opening new cybersecurity gaps. 

“The good news is that for many stations, remote access has been in place in one form or another,” consultant Gary Kline told Radio World. “Traffic can operate remotely using VPN or other specialized remote access software. The same goes for music scheduling and even the automation/playout system. Many stations have been utilizing some form of remote voice tracking for years,” he said.

The basic elements of operating a radio cluster are routine for most stations, he said, perhaps with help from the vendors of traffic, CRM or playout systems as well as the involvement of the station engineer or IT department/contractor. 

The emotional impact of this transition, however, was another matter. For engineers, Facebook groups and social media sharing became even more important sources of information, ideas and comfort.

Meanwhile radio stations that remained “open” adopted vigorous procedures for cleaning and sharing equipment. Microphone windscreens became a hot commodity. Station visitors such as prize winners or clients were asked to stay away.

Broadcast equipment manufacturers said they were working to maintain product shipments from current inventory and to maintain remote support; but many sent team members home or, at least in one case, quietly laid off most of their staff. Many manufacturers also wondered whether their incoming component shipments would be maintained.

NAB’s PILOT innovation initiative cancelled an FM-band HD Radio field test that had been scheduled to start in March, involving Xperi and radio engineers from a number of NAB member groups.

The Society of Broadcast Engineers asked its chapter chairs to refrain from holding in-person meetings for at least two months. Instead, SBE encouraged them to “meet virtually through any capabilities you may have available to you,” according to an email shared by Chapter 1 Chair Paul Kaminski.

Numerous planned events like the annual convention of the New Jersey Broadcasters Association in June were cancelled. 

College radio station managers were faced with deciding whether and how to function when their campuses shuttered or student populations mostly went home. 

FEMA put out messaging about how the Integrated Public Alert Warning System may be used to inform, alert or warn the public, including EAS and WEA alerts. It encouraged questions via email to IPAWS@fema.dhs.gov.

Manufacturers, law firms, trade publications and other service providers scheduled virtual conferences and events either to present the content they’d planned to share at the convention, or to help clients cope with their new business reality.

#WeAreGrateful

Radio leaders celebrated the medium’s role in disseminating information. The Centers for Disease Control and Prevention upped the number of radio PSAs airing specific to COVID-19 in target markets, including Seattle, San Francisco, New York, Los Angeles and Houston. NAB said the value of airtime donated to coronavirus PSAs in about a week was equivalent to $10 million of radio and TV ad spots. 

Beasley Media Group rolled out a hashtag and PSA campaign, the #WeAreGrateful initiative, intended to thank “first responders, healthcare industry workers, retail employees, utility workers, transport drivers and others who are making a difference.” 

Dashboard radios began displaying messages from RDS feeds like “Remember to wash your hands” and “We’re all in this together.”

But some in the industry lamented recent reductions in U.S. radio air staffs — such as the big cuts by iHeartMedia in January — and questioned radio’s ability now to provide true local programming during a time of crisis.

Some observers also speculate that the impact of changes on operations and workflows will be long-term. Given that stations only recently have been allowed to run without a main studio in each city of license, one school of thought holds that this sudden growth in the use of remote broadcasting could hasten the trend away from local physical studios. 

Tell us about the impact on your own operation. Email radioworld@futurenet.com.

To read the latest articles on this topic, see www.radioworld.com/tag/coronavirus.

The post Health Crisis Challenges All of Radio appeared first on Radio World.

A conversation at the AEQ booth during last year’s NAB Show. Photo by Jim Peck

Companies that had paid to exhibit at this year’s spring NAB Show are hearing this week from the association about refunds and rollover options.

Several radio floor exhibitors confirmed that they’ve received an email from NAB, each containing the same offer: The exhibitor can choose a 66% refund now — an amount it said was “calculated after covering NAB’s expenses incurred up to the time of cancellation to plan and produce NAB Show” — or apply the full amount toward booths at the next three spring shows, with 66% applied to the 2021 convention and the balance over the next two years.

[Related: “Decision to Abort Makes for ‘Poignant Moment’ for NAB”]

The email said “additional options” are available for companies exhibiting at NAB Show New York, without giving details.

“Thank you for your patience as we worked to finalize the best possible refund options for you,” the association wrote in the email. “We remain committed to doing right by you, our industry, and all of our partners and stakeholders, especially under the current challenging circumstances. Nothing is more important or rewarding for our team than working with you to create a vibrant marketplace for the global media and entertainment industry.”

Radio World reached out to NAB for comment and will report any reply. The association recently announced plans for a virtual event, NAB Show Express, in May.

The annual convention is huge, with an estimated 1,600 companies last year. Reports in other trade press have estimated annual spring show revenue at $46 million to $48 million, based on tax documents. An NAB spokesman speaking with RW earlier this year declined to estimate the potential cost of cancelling the2020 show or to discuss any insurance arrangements, other than saying at the time that “It’s obviously a financial hit.”

The post NAB Offers Exhibitors a Partial Refund or Rollover Options appeared first on Radio World.

Major storms have caused headaches for Jefferson County’s PB Radio LLC. According to Deltaplex News, the tempest took out the radio tower for KPBA(FM) “99.3 The Beat” on April 12. The station is currently still off the air. 

Prior to this weekend’s destruction, the Pine Bluff, Ark., tower stood at 151 feet above ground level and 361 feet above sea level, according to Radio Locator. The station is licensed for an effective radiated power of 6000 Watts and a non-directional antenna. 

Under normal operation, this tower also relays the signals for KTPB(FM), KTRN(FM) and KDPX(FM), and engineers are working to adjust the STLs. 

All four affected stations are licensed to former Arkansas Gov. Mike Huckabee’s Bluff City Radio (co-owned with Paul Coates). However, Bluff City Radio entered into a local management agreement for all four stations with PB Radio LLC in April 2018, according to reporting from The Pine Bluff Commercial. 

The article also noted that PB Radio is owned by Mike and Alpha Horne; Alpha Horne died in March 2019. Prior to this investment, The Commercial says Mike Horne served as the acting manager for the stations, and before that Horne owned radio stations elsewhere in Arkansas, Oklahoma, Texas and Kansas, and also had served as the chief operating officer for the Crain Media Group.

[From 2019: Arkansas Plans New Local SBE Chapter]

As of Thursday morning, April 16, the insurance adjuster had visited the tower site, and General Manager Greg Horne confirmed in a phone call with Radio World that a tower crew would be coming out later in the week. When asked about a timeline for getting the station back on the air, Horne said, “We’re working as fast as we can” but that there is nothing concrete to report.

KTRN is now on the air, broadcasting news and weather updates, as well as other programming.

The post Strong Storm Knocks Down Arkansas Radio Tower appeared first on Radio World.

When communications attorney Robert McDowell started feeling a little under the weather last month, he chalked it up to seasonal allergies and related bronchitis and got the usual antibiotic from his primary care physician. Then his symptoms worsened.

It wasn’t seasonal allergies.

After a trip to the hospital and back home again, the former FCC commissioner was readmitted with what turned out to be COVID-19-related double pneumonia.

Throughout the arc of his escalating illness he was tweeting occasional status reports that had his many friends in Washington communications circles concerned, then emailing each other with many questions and no answers as his tweets stopped for several days. His silence was understandable in retrospect.

Still regaining his strength (he lost 12 pounds during the ordeal) and with a slight cough and what he calls a “shipwreck survivor” beard — he declined to provide photographic evidence — a gratefully recovering McDowell talked with Radio World’s sister publication Multichannel News in an exclusive interview on those harrowing times and how he eventually made it home.

In a scene straight out of a Hallmark movie, that homecoming was marked by a double rainbow (see photo), a return he credits to the prayers and support of his friends, timely Facetime telemedicine from a lifesaving doctor outside the hospital, continuity of care from another lifesaving doctor inside the hospital, and some serious self-advocacy.

Multichannel News: When did you first notice symptoms?
McDowell: It was March 14. I felt like I had my usual allergy-induced bronchitis, which I get every couple of years. I called my doctor and she put me on Azithromycin [an antibiotic] as usual. I took the normal cold decongestants.

MCN: Walk us through how this escalated from “Oh, this is seasonal allergies” to making burial arrangements.
McDowell: I felt OK, like I had bronchitis, but I was totally functional March 14 and 15. On March 16 or 17 I sprouted a mild fever, which, again, isn’t unusual when I have bronchitis. But in the back of my mind I was thinking: “I’ve been on antibiotics for three days. This shouldn’t be happening if I am on antibiotics.” But other than that I felt fine, though a little bit slowed down.

On the 17th, St. Patrick’s Day, my son reported that his friend, who had been a houseguest of ours March 6–8, had tested positive for COVID. I was grateful to him for getting tested and letting us know. He deserves a gold medal for that.

MCN: And then the light began to dawn?
McDowell: That prompted me to call my doctor, Dr. Connie Le. She’s fantastic and a hero in this whole story, big time. She saved my life.

She had me come in — it is now March 18 — and they arranged, after a lot of work over a few hours, to get me tested at an Arlington County Health Department drive-through COVID testing center. [Arlington is one of the Virginia counties with the highest incidence of COVID-19.] It was very difficult to get. It was their first day of operation. I got a throat swab like you get for a strep test.

I got more congested and an increased cough, so I Facetimed Dr. Le on March 20 — at this point we were only seeing each other via Facetime — and she saw something she didn’t like.

MCN: So, this clearly demonstrates the value of telemedicine and connectivity?
McDowell: Yes, this was the mobile internet. Thank goodness for all those spectrum auctions I helped promote.

So, Dr. Le sees something she doesn’t like on Facetime and says: “You’ve got to go to the ER.” I protested, saying “Look, I feel fine. I just have an increased cough and increased congestion.” But during the week my temperature had been starting to yo-yo from normal to 103, then back down to 99 and then 101.5, then normal again.

MCN: Were you thinking COVID-19 yet?
McDowell: Yes, but I’m thinking I don’t need hospitalization. I’m a healthy 56-year-old, I go to the gym. I run, I don’t have any of those compromising conditions. So, technically I guess I was in denial. But thankfully my doctor had an amazing ability to perceive something over Facetime. There was nothing obvious that I knew, but she saw something. Maybe it was a sixth sense.

MCN: Did she tell you what she saw?
McDowell: I didn’t ask her to try and deconstruct it because I didn’t want to bug her. I knew she had a lot of other patients. I will someday, though.

She sent me to the ER just before midnight Friday night the 20th. They took a chest X-ray and found a spot of pneumonia in my left lung. I have never had pneumonia before. And, that’s kind of serious, so you’re thinking: “I’ve got COVID-related pneumonia.” Remember I’m still not officially diagnosed because the test results aren’t back [they would ultimately confirm it was the virus]. The hospital gave me their own COVID test at that point.

So, they put me in a normal hospital room. I was not yet getting oxygen at this point.

On Sunday, March 22, the doctor in charge, they are called “hospitalists,” who I never saw or met and who did not examine me — he was keeping track of my numbers, my blood oxygen saturation level, heart rate and blood pressure —– discharged me. I was happy with that, so I didn’t resist and went home.

On Monday, March 23, I was coughing more and still having a lot of congestion. Dr. Le kept asking me [again via Facetime] if I felt short of breath. I said, “Well, I have pneumonia so there are times when I feel a little winded, but I am coughing, too, a lot, so what’s the difference?” She again saw something she REALLY didn’t like this time and so she called 911. She didn’t tell me or ask me. She just did it, then called my wife to say “be ready in two minutes.”

The amazing Fairfax County EMTs came in all their protective gear, absolutely fabulous, and put me on oxygen right away. I felt better right away. It’s amazing what a little oxygen can do. And off I go to the ER again. They take X-rays again, and I have full-blown double pneumonia and my lungs are filling with fluid. Meantime, the doctor tells my wife that I have less than a 50% chance of survival.

MCN: And did you feel like someone with less than a 50% chance of survival?
McDowell: I didn’t feel like a dying man. Thankfully I remained conscious and had my wits about me. Jennifer, my wife, probably knew more about my condition than I did at that point. But in the ER, I could see very grim looks on the faces of the doctors. There was an older doctor, a guy who had been an ER doctor his entire career and you could tell he had seen it all, and he kind of kept looking at me out of the corner of his eye as though he didn’t like what he saw, either. Then another pulmonologist came in who was very alarmed when she saw that I was on five liters of oxygen. The more oxygen you need, the less well your lungs are functioning as they should to transfer oxygen to your bloodstream.

This is where self-advocacy came into play.

MCN: Did they bring up the possibility of intubation.
McDowell: Yes, after I was out of the ER and up in my room. But while I was still in the ER, and to give you some background, in 1992 I was kicked by my horse and severely injured, rupturing my kidneys, liver and a lung. That put a hole in my lung. This is where I learned, when I was in intensive care back in 1992, that the interplay between your blood oxygen level and the amount of oxygen they are feeding you is a very key indicator of whether or not they are going to intubate you or not.

So, while I was still in the ER, I convinced the doctors to turn down my oxygen because nobody took ownership as to why I was at five liters. I said, “Well, turn me down to three and see what happens. If I turn blue, you can turn it back up,” which you can do in a second in the ER. I said I am going to try some meditation and prayer and see if I can try to keep it above 90%. It was a gamble. At first they resisted because I think I was in such a nosedive they didn’t want to take any chances. But I think I was sentient enough, and said it in a constructive, collaborative way — I wasn’t glowering at them — that they tried it. I never needed to go back up to 5 liters again, because my blood oxygen level remained above 90% [with one brief exception noted below].

To get back to your question, eventually I get to the hospital room. It’s a sealed room where you are all by yourself, right. Nobody is allowed in. Your primary care doctor is not allowed in the building. Family is not allowed in the building. I would advise people to bring your [phone] power cord so you can stay in touch.

They asked would you prefer Jello or broth? I said, “Well, I can’t have either because they are both full of MSG and I get migraines from MSG. How about something to eat like just grilled fish.” They said, “No, we need to keep you on a clear diet.” Why do you need to keep me on a clear diet? “Because the doctor is preparing to intubate you.”

That is how I found out. And that became a pivotal moment because I knew that if I was headed toward intubation, odds are — statistics are all over the place — but odds are I won’t be coming home.

MCN: How did you react?
McDowell: That was a moment for me to really kind of rally and keep my oxygen levels up. They were preparing to intubate me and preparing to wheel me up to the ICU. I think I was in a stepped-up, sort of intermediate level, not intensive care but not a regular room.

They had this sort of SWAT team of registered nurses who walked around with backpacks. I don’t know if they were defibrillators or oxygen. But once, when my blood oxygen dipped into the 80s, this big burly guy with a backpack shows up at my doorway to check on me. We had a pleasant conversation and I got my oxygen level back up then, so he was able to go away.

MCN: You said on Facebook you got the antimalaria drug that has been much in the news?
McDowell: Dr. Le was fighting for me to be put on hydroxychloroquine. The hospitalist, Dr. Borgschulte, was also seeing very positive results at the hospital when they administered the drug. I was all for it. They had not changed my medication from March 14 to March 23. I was in a nosedive. When I knew I was possibly going to be intubated, I was preparing my family for my demise and giving burial instructions. Keep in mind that my wife had been told I have a less than 50% chance of survival.

MCN: You had to do this over Facetime?
McDowell: Yes.

MCN: Not to give away the ending, but you got better.
McDowell: I think the hydrochloriquine was first administered on the 23rd. That was the only change. I had been on the same antibiotic, azithromycin, from the 14th to the 23rd, when I was given less than a 50% chance of survival. The antibiotic is meant to prevent a secondary bacterial infection. It doesn’t do anything with the virus.

MCN: What happened next?
McDowell: So, the next morning [the 24th], I woke to a very gentle yet strangely powerful finger on my forehead making the sign of the cross. So I said to the priest, “Hi, are you giving me the last rites?” He said “something like that.” It is unclear whether it was the last rites — the [Catholic] church doesn’t call it that anymore — but it was a step above the anointing of the sick. The day before I had asked for a priest, so it wasn’t completely out of the blue.

I also got a call from a priest at the Shrine of the Immaculate Conception in Washington. It turned out that former FCC commissioner Mike Copps’ wife, Beth, works there and Mike and Beth very sweetly had arranged for a priest from the shrine to call. That was incredibly thoughtful of them. Former commissioner Jonathan Adelstein also texted me to let me know he was praying for me in Hebrew.

But on the 24th, I pulled out of my nosedive and began to stabilize. I was no longer deteriorating, but I wasn’t gaining altitude either. That took a few days, which is why I was there until April 1.

Photo: Griffin McDowell

MNC: You talked in a Facebook post about a rainbow.
McDowell: I came home April 1 and my son had to help me up one flight of stairs. I had to stop three times to catch my breath. We just rebuilt our house last year and there is this suite next to my office that my wife decided was perfect for COVID isolation. So, that evening near sunset I got a call — that’s how I communicate with my family — to look out my window.

There was a quality to the sunlight that was lighting up the trees in this brilliant, color-rich fashion that I hadn’t seen before. And they said, “Look. There’s a rainbow.” I had to kind of look out the window at a steep angle, and It was a double rainbow. So my son, Griffin, went outside and took a picture.

It was really nice to see that. People can say what they want, believe or not believe whatever they want about it, but it was rather remarkable. I’ve lived on this property for 56 years and I’ve never seen anything like that before. It was very inspirational.

MCN: So, how are you now [this interview was conducted April 8] and how long will you have to self-isolate?
McDowell: I checked with my doctor and I will have to stay a few more days in solitary confinement out of an abundance of caution. [McDowell coughed as though on cue.] I still have a persistent cough, which you can hear, and the doctor says it could take 10 or 12 weeks before I feel like myself again. I do go outside once a day to stroll around, and even jogged up a steep slope only 72 hours or so after having to stop three times to climb a flight of stairs. I had to prove it to myself. I was totally gassed and my heart was pounding, but I did it. I don’t do that every day. I’m not stupid. But I do walk around every day to pick up sticks and watch the birds and try to get the lungs expanded and the heart pumping.

And I am doing a little bit of work each day [McDowell is currently a partner and co-leader of Cooley LP’s global communications practice in Washington], reviewing documents and doing conference calls. I don’t have much stamina. I get very fatigued, but that is all apparently normal. We don’t know if I have permanent lung damage. It’s a possibility, but we won’t know for weeks or months.

MNC: Have you been tested again to see if you are negative?
McDowell: No, I have to do that at some point. I am not sure exactly how that works. But I have not been tested. I want the family to get tested for the antibodies, too, because I assume everybody has the antibodies, the five of us, since we had a houseguest who was contagious and the day I first came down with symptoms they were all around me.

MCN: You had tweeted in early March about traveling to New York and eating in a favorite restaurant amid the virus “panic.” In hindsight those tweets sound like you thought the virus might not be the threat it ultimately was. Was that the case?
McDowell: I was definitely taking all the precautions that were prescribed at the time [March 8]. So, I wasn’t shaking hands, social distancing, though I don’t think they were saying six feet at that point. I knew there was some risk going to New York. I don’t know if that’s where I caught it. I did have to go through Penn Station. But, yes, in hindsight I should not have gone to New York.

MCN: What would you say to anyone now who thinks that we are overreacting to the virus?
McDowell: We’re not.

MCN: Would you have any issue with the government using your personal info to build a COVID database or tracking your movements or others as part of a mitigation effort?
McDowell: I have already arranged for all of my relevant medical information to be used for studies. It depends on what they want, but I would be happy to provide all relevant information that could be helpful. And as soon as I am healthy enough I will be donating plasma in hopes that it can actually save somebody.

MCN: Do you have any advice from your experience, other than bring the power cord to the hospital?
McDowell: You don’t know how it is going to affect you if you are exposed to it. So, on paper this should not have affected me this way — a healthy 56-year-old with no underlying conditions. There is something about my makeup. Maybe it is the Type A blood. One theory is that males with Type A are hit harder by this and have a higher mortality rate. There is some evidence showing that.

It seems as if most people aren’t horribly affected by this. But there is enough data showing that it unexpectedly hits some people you wouldn’t expect to be so vulnerable really hard, and kills them.

My other advice is for people who are symptomatic. For me there were two “cliff” days. My doctor said that day seven, after the onset of symptoms, is a cliff day, meaning that if you are still sick and notice any degradation whatsoever, however slight, in your condition, on day seven go to the hospital. For me that was true. Then day 10 was another “cliff” day.

The point being is you can think you are just weathering a tough case of the flu for a week or more when in reality what’s happening is your lungs are filling up and you can end up in a tailspin all of a sudden.

Let me say one other thing. Knowing there were hundreds of people, maybe more, praying for me, people from all faiths, gave me a sense of comfort, resolve and strength. It was emotionally overpowering. People were texting me, direct-tweeting me, calling Jennifer. So I want to thank everyone, many people I don’t even know who they are. I felt like George Bailey in “It’s a Wonderful Life.”

MCN: What are you binge watching?
McDowell: I try not to, but I did binge watch some “Twilight Zone,” the original. We’re all living in it anyway.

Social (Media) Distancing

The arc of the virus and McDowell’s journey through it to a double rainbow on the other side was reflected in his tweets, beginning March 8.

One benefit to the asymmetric fear of #coronavirus: this is a great time to travel. I’m headed to #NewYork today for business (yes, the economy is still working: 273K new jobs in Feb.!) & there are no lines at the airport. Many #fearless people working though! pic.twitter.com/EZYa1soxFG

— Robert M. McDowell (@McDowellTweet) March 8, 2020

So there’s no way to sugar coat this: my doctor had me go to the ER last, and good thing. I have mild pneumonia due to likely #COVID19 infection. Docs are giving me IV antibiotics and the aim is to not remain here long. #CarpeDiem #GodBlessAmerica 🇺🇸 #Freedom

— Robert M. McDowell (@McDowellTweet) March 21, 2020

Update: after three brutal days battling pneumonia and likely #COVID19 in the hospital, I’m being discharged to go home into isolation. Thanks for the plethora of messages – too many to respond to. I’m still quite weak and will need my sleep. Please respect that. #GodBless

— Robert M. McDowell (@McDowellTweet) March 22, 2020

I am back in the hospital with double pneumonia and likely #COVID19. Please don’t text or tweet me. Prayers welcome.

— Robert M. McDowell (@McDowellTweet) March 24, 2020

Back Home, Take Two! After being in the hospital since March 23 for the 2nd time, I’m back home – quite feeble and isolated, but home. FYI, #COVID19 almost killed me last week. You’re prayers saved my life. Thank you. I’m so #grateful.

— Robert M. McDowell (@McDowellTweet) April 1, 2020

In my ongoing #gratitude towards all who helped bring me back from the edge of my grave due to #COVID19, I’m grateful to my primary care doc, Connie Le, MD. She was a superhero, saw things other didn’t and doggedly advocated on my behalf – all remotely. Thank you, Dr. Le!

— Robert M. McDowell (@McDowellTweet) April 3, 2020

#OnThisDay in 1973 @MartyMobile stepped out onto 6th Avenue to make the world’s first public call on his new invention: the cell phone. He changed the world & brought #freedom to billions. The mobile #Internet will help bring us out of the #COVID19 crisis. Thank you, Marty!

— Robert M. McDowell (@McDowellTweet) April 3, 2020

The post Robert McDowell: A COVID-19 Survivor’s Story appeared first on Radio World.

Getty/ISerg

Maine-based communications attorney Richard “Rick” Hayes has shared a letter he sent to Sen. Susan Collins (R – Maine). In it, he urges Congress to request that the FCC suspend the collection of the 2020 mass media regulatory fees in order to help stations struggling from complications related to the COVID-19 pandemic. 

In an email to Radio World, Hayes writes, “As a communications attorney for 37 years, I have seen recessions and wars affect how radio stations operate. I’ve never witnessed anything like the almost-total business shut-down occasioned by the coronavirus. This crisis is an existential one for many broadcasters.”

Hayes hopes others in the broadcast industry will join him in contacting their representatives about this matter.

Read his letter in full below.

April 15, 2020

The Honorable Susan Collins

413 Dirksen Senate Office Building


Washington DC 20510

Dear Senator Collins,

Radio and Television stations in Maine and in all of the United States are facing extreme hardship during this virus crisis. Local radio and TV stations depend on advertising revenues in order to operate and serve their communities. With local businesses shut-down, advertising revenue has evaporated leaving many stations unable to pay their bills and retain their employees. The CARES Act provides much needed relief, especially the PPP program. Without this life-line, many stations would have signed-off the air, by now. 

I represent radio station licensees before the Federal Communications Commission with clients in most states. My clients are worried about another bill which will come due for them, in September. That bill, the annual FCC Regulatory Fee, is due to be paid in September. These fees are quite impossible for most stations to pay, given the current crisis. These fees could be the straw that breaks the camel’s back for many of them. Non-payment of these fees can and have resulted in a few stations losing their licenses. 

Annual regulatory fees are mandated by Congress, pursuant to Section 9 of the Communications Act of 1934, as amended. Section 9 requires the Commission to collect regulatory fees to recover the regulatory costs associated with its enforcement, policy and rulemaking, user information, and international activities.

These fees will be collected in September, 2020. Stations are struggling to keep the lights on and working hard to retain their employees. These stations, from Portland to Presque Isle  — as well as from Maine to Hawaii, need relief but that relief needs to come from Congress. An amendment to the Communications Act needs to be considered to eliminate the requirement to pay the 2020 regulatory fees. The relief would enable stations to continue to serve their communities, without interruption. 

For example, an AM station in Portland, Maine, would pay as much as $4800 while an FM station would pay $5,325.according to MM Docket 19-105, Report and Order and Notice of Further Proposed Rulemaking, August 27, 2019. According to that same FCC document, a tiny AM station in Presque Isle would pay $950! An FM station in the same town would be required to pay over $1,000! Many stations simply cannot afford to make these payments, this year.

Your help with this suggestion could save many stations from ceasing operation. 

Can we count on your support?

Sincerely,

Richard J. Hayes, Jr.

207-236-3333

rick@rjhayes.com

The post Hayes Urges FCC Not to Collect Mass Media Regulatory Fees This Year appeared first on Radio World.

Digital Radio Mondiale in collaboration with Asia-Pacific Broadcast Union and Arab States Broadcasting Union will jointly host a two-part interactive webinar session.

Dubbed “DRM Benefits in Times of Crisis,” the first session takes place on Thursday April 23. A second session follows on Thursday April 30. Both will begin at 4 p.m. MYT (9 a.m. BST).

Discussions will focus around DRM features, which include the Emergency Warning Functionality, monitoring map and content server programming using Journaline. They’ll also highlight the usage of DRM in public signage.

In addition, presenters will outline how it’s possible to use DRM datacasting technology in education, particularly in regions without a stable internet or television signals.

Speakers include Ruxandra Obreja, DRM chair; Alexander Zink, Fraunhofer IIs, DRM vice-chair; Yogendra Pal, chair Indian platform), Simon Keens, Ampegon; Jan Bremer, NXP; and Radu Obreja, DRM Marketing Director.

“This webinar duo is a first for us as our long and fruitful cooperation with ABU is now being enriched with that of ASBU,” said DRM Chairman, Ruxandra Obreja.

“Many people are under lockdown now so we believe a webinar provides an excellent opportunity for those interested to learn more about DRM and its advantages, beyond audio, that are particularly useful in times of crisis.”

Register here.

The post Digital Radio Mondiale Announces Webinar appeared first on Radio World.