The phrase easy listening has now shifted over to light rock, which is softer than soft rock. I await the gutsy station that advertises hard listening. The one category in my local paper's listing that could not easily be defined by musical types was MOR. We play the great pop singers and the big-bands era as well as the new material from George Shearing, Mel Torme and the Linda Ronstadt songs she did with Nelson Riddle.
That's middle of the popular road? What, then, is right wing - William Rehnquist and the Supremes? View on timesmachine. TimesMachine is an exclusive benefit for home delivery and digital subscribers. To receive a station, an FM receiver is tuned to the center frequency of the station's channel. The lowest and almost-unused channel, channel , extends from Channel has a center frequency of Because each channel is 0.
Because the lowest channel is centered on FM audio for analog television channel 6 is broadcast at a carrier frequency of Therefore, in effect, the FM broadcast band comprises only FM channels This spacing was developed in response to problems perceived on the original FM band, mostly due to deficiencies in receiver technology of the time.
With modern equipment, this is widely understood to be unnecessary, and in many countries shorter spacings are used. See FM broadcast band. Other spacing restrictions relate to mixing products with nearby television, air-traffic control, and two-way radio systems as well as other FM broadcast stations.
The most significant such taboo restricts the allocation of stations Commercial broadcasting is licensed only on channels through the upper 80 channels, frequencies between FM stations in the U.
These regulations see Docket have resulted in approximately double the number of possible stations, and increases in allowable power levels, over the original bandplan scheme described above. All powers are specified as effective radiated power ERP , which takes into account the magnifying effect gain of multiple antenna elements. The U. The highest-power stations are class C in zone II, and class B in the others. Its narrator invites people experiencing problems to either call him on , an actual phone number in Australia in the s then properly formatted as FM - 36 translated to FM on the rotary dial or keypad , or visit him at his home, at which point he will perform assorted unsavoury acts to resolve said problems.
Situations in which he offers assistance include those involving lewd high school headmasters, and significant others who are either adulterous or who persistently find fault with their partners. One of the cartoon's characters was named Dishonest John, and carried a business card that read, "Dirty deeds done dirt cheap.
Special rates for Sundays and holidays. In , after the album was released in the U. Their attorney told the Chicago Tribune that the song's digits were followed by what to his clients sounded like an "8", thus creating the couple's phone number.
Another fan-favorite from the album is " Ride On ". The lyrics concern a man ruminating on the mistakes he has made in a relationship while drinking. Scott jammed the song with Trust at Scorpio Sound Studios in London on 13 February , six days before his death in that city. A recording of this later surfaced on the Bon Scott Forever Volume 1 bootleg. In concert, Scott would often introduce "Problem Child" as being about Angus.
Oh yeah, get your fuckin' jumbo jet off my airport! A modified international edition was released on Atlantic on 17 December , although the label was unhappy with its vocals and production. According to bassist Mark Evans , band manager Michael Browning told him he assumed Bon Scott would be fired as a result. I managed to claw it back in. Thank God. The tough rock acts only got what little airwave attention they did because they'd built up a fanbase through years on the road.
It was a brutally simple catch Americans were said to have trouble understanding Bon, and if the people working with the band couldn't make out the lyrics, how was his voice going to work on the all-important U. Following the American success of Highway to Hell in late , copies of the album began to appear as imports in the US. Some of these were the original Australian edition on Albert Productions; however, Atlantic also pressed the international version in Australia, and many of these were also exported to the US.
Strong demand for both versions in the wake of the even greater success of Back in Black led the US division of Atlantic to finally authorize an official US release in March It went straight to No. The band was working on a new album, which would ultimately become For Those About to Rock We Salute You , released later that same year; the US release of Dirty Deeds was widely seen as damaging the momentum for that album, which it outsold.
The band was forced to add songs from Dirty Deeds to its setlist on its subsequent tour, also taking the focus away from their new album. At the time, Doug's argument was purely financial. In radio, supply can spur demand; consumers purchase new equipment when it makes sense to buy it.
When the Japanese government ended its broadcast monopoly in , the market for radio and TV receivers boomed as the new stations produced material audiences wanted. Before, there hadn't been a good reason to spend more. And, of course, as production increased to meet the new demand, prices began to fall.
When the FCC talks about interference, it isn't just attacking one pirate who may or may not be cutting in on other stations' signals. It's raising the specter of chaos.
This may seem a bit coy. Hiken and Dunifer are not demanding an end to broadcast licensing they're trying to undo the watt rule. Still, in interviews, Dunifer does ruminate freely about an FCC-free world.
If there are disputes, why do we need intervention at the federal level? If someone is being really outrageous, you can resort to simple legal tort action.
Well then: What would the airwaves be like without licensing? Would we have Dunifer's self-regulated spectrum or the chaos described by government officials? The early s, a period in which a substantial number of radio stations had gone on the air but before the Federal Radio Commission—the FCC's predecessor—was created by the Radio Act of , provides some context.
Traditional histories of the period describe it as a time of radio gone ga-ga. The Department of Commerce handed out licenses without care for spectrum scarcity, the story goes, and the secretary of commerce at the time, Herbert Hoover was unable to hold the line against interference.
Nineteen twenty-six ushered in what's been called the 'Breakdown of the Law' period, during which the airwaves degenerated into complete chaos. Then Congress created the Federal Radio Commission, which undertook the long-overdue task of reducing the number of licenses to fit the available spectrum.
Recent scholarship has shown this history to be almost entirely incorrect. Since Ronald Coase's classic Journal of Law and Economics article of , 'The Federal Communications Commission,' most economists have recognized that a more rational solution to the problems of the 'Breakdown of the Law' period would have been to recognize property rights in the broadcast spectrum and treat interference, as Dunifer suggested to Spin , as a tort.
As soon as the Department of Commerce started handing out licenses, a 'priority in use' system of property rights spontaneously emerged, says Hazlett. Broadcasters homesteaded particular frequencies at particular times of the day hour stations were rare then.
Spectrum rights were freely tradeable, and freely traded. Some areas adopted, without government prodding, the institution of 'silent night,' in which local broadcasters would shut down for an evening to allow listeners to tune in to long-distance signals.
As the demand for licenses began to exceed supply, problems developed—but they were being dealt with. When this single channel became scarce, Hoover denied new licenses. The Intercity decision [ Hoover v. Intercity Radio Co. Meanwhile, established broadcasters, looking for protection against competition, wanted the government to limit the number of new licenses it would issue.
They had a friend in Hoover. The groundwork for the 'Breakdown of the Law' was laid after the secretary decided, in November , to stop issuing new licenses, arguing that the spectrum was completely filled. He invited a court challenge, and one arrived in April United States v. Zenith Radio Corp. Like Intercity , Zenith denied Hoover the right to withhold a license. Unlike Intercity , however, it denied him discretion over time and wavelength assignment. Hoover did not appeal the case. On July 8, Donovan came out for Zenith and asserted that the government had no authority to define spectrum rights.
At the same time, non-regulatory solutions were ignored.Play your favorite AM & FM station's live broadcast instantly on loditudixavo.bentchiseluperdicalidelistsamqui.co Works with any device. Discover the best music, sports and news talk radio stations.