KNSA - Robert Richmond - Fortune Teller-Native American Radio Promo (CD)
A new innovation just developed by the Western Electric laboratories, known as a master control panel, was installed in the KPO control room. This enabled the volumes of all studio microphones to be controlled separately and mixed together. This piece of equipment has since become the heart of any radio studio.
KPO continued to hold its reputation as one of the West Coast's most important stations through At that time, the station was leased to NBC, who later purchased it outright. It was to continue in this fashion throughout the thirties. InKPO became the first station on the west coast outside of Los Angeles to increase its power to 50, watts. A spacious concrete transmitter building was constructed, and a huge General Electric transmitter was installed.
The transmitter consisted of fifteen cabinets that were arranged in a U-formation around the main control desk. A spray pond was located outside the transmitter building, where the water used to cool the giant transmitter's tubes was cooled. The antenna consisted of two large self-supporting radio towers, with a single-wire T-type antenna suspended between the towers.
In a new foot tower was constructed, replacing the longwire T-type antenna that had been in use at the Belmont transmitter site since The improved system was designed to reduce fading in many locations during evening reception, and resulted in better overall signal performance. John Elwood, General Manager of KNBC, announced the new tower had increased the station's prime coverage area by roughly 10, square miles.
In the 's, KNBC featured a mix of network programs and local record programs hosted by disk KNSA - Robert Richmond - Fortune Teller-Native American Radio Promo (CD), including the popular Doug Pledger. This continued as the station's basic program offering into the 's and beyond, with popular later hosts such as Frank Dill and Carter B. KNBR made a short attempt at rock music programming in That was the year that a nationally-recognized programming expert studied the station and the San Francisco radio market.
NBC tried it for only six months, before discarding it as an utter failure. KPO's first studio and transmitter, It all began inwhen Joe Martineau completed his tour of duty with the Navy and came back to San Francisco. He had done a lot of radio work in the Navy, and wanted to continue with it.
He proposed to them that they install an experimental broadcast transmitter in the store and allow him to operate it. It made its debut at 9 AM on April 17, It was a small station, but with high ideals.
No programs were permitted except that they were high class, and we were quite sure they would not offend the sensibilities of a mother with children in the home. Commercials KNSA - Robert Richmond - Fortune Teller-Native American Radio Promo (CD) not allowed Trobbe, who at 75 was still very active in San Francisco music, KNSA - Robert Richmond - Fortune Teller-Native American Radio Promo (CD) the KPO trio: "We were just brought up there as extras, to fill in the time between programs So, we were kept pretty busy after a while.
After KPO broadcast the dedication ceremonies of the California Palace of the Legion of Honor on January 11,this became yet another regular remote broadcast location, and Marshall W. Giselman broadcast organ recitals every Sunday afternoon. On this date, it was announced that the "San Francisco Chronicle", whose new building was just around the corner from Hales, would join with the store in the operation of KPO.
Also on that date, KPO became a part of the first coast-to-coast network broadcast: the inauguration of President Calvin Coolidge. KPO was the westernmost link of a transcontinental telephone line connected to 27 other stations across the nation.
The broadcast had been arranged by RCA, a company that would be going into the network business on a full-time basis just eight months later, forming the National Broadcasting Company. We found stations that are genuinely indispensable to their communities and profoundly local, but they face chronic and sometimes exasperating challenges. They are nevertheless on the cusp of becoming a coordinated system. We believe that — with continued investment and creative thinking about generating and sharing resources — Native radio will succeed in taking that important step.
We were struck again and again by the deep connections between Native stations and the communities they serve. Because they serve communities with chronic health problems and limited medical services, for example, some stations offer call-in programs that let listeners talk with health providers about issues of life, death and disability, such as diabetes, addiction and cancer.
Often located where weather is extreme, the stations regularly broadcast crucial information about road closings, storms, fires and floods. They act as important vehicles for distributing community information. Native station signs on every morning with the traditional singing of the KNSA - Robert Richmond - Fortune Teller-Native American Radio Promo (CD) callers.
Those callers were the original Native KNSA - Robert Richmond - Fortune Teller-Native American Radio Promo (CD), standing high in the village, singing the news to everyone. At both the local and national levels, Native radio makes it possible for Native Americans to tell their own story from their own point of view.
Mainstream public radio often wrestles with how to bring more diverse and underrepresented voices to the air. This is the compelling, important daily work of Native radio: presenting and preserving the voices, ideas, language and culture of Native people. One station staff member told us about a Native station that signs on every morning with the traditional singing of the tribal callers.
As one station representative told us, scarcity is a constant for most Native stations. Located in communities with few local businesses and plagued by unemployment that routinely exceeds 50 percent, Native stations generally have no success with pledge drives, underwriting and other traditional public radio means of support. Of the total community financial support brought in by 32 Native stations, seven stations raise 93 percent.
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