Monday, May 25, 2020

LPFM on US Islands

The LPFM license is in a precarious position on the best of days. But co-channel protections on US territorial islands are even more challenging for one primary reason: spacing. The co-channel protections require much greater distances. Take a class A station for example. On the US mainland a 24 km co-channel protection is required. But on a U.S. territorial island that triples to 80 km. The first adjacent protection more than quadruples from 24 km to 111 km.  The second and third adjacent channel minimum separation increases from 29 to 42 km. More here.

Currently, the United States has five major U.S. territories: American Samoa, Guam, the Northern Mariana Islands, Puerto Rico, and the U.S. Virgin Islands. All of those islands groups combined only have 14 LPFM radio stations. Most of them reside in Puerto Rico, which despite occupying over 5,000 sq miles Puerto Rico only has 9 LPFMs.

Out of that list. only one University is represented: 97.3 WUVI at The University of the Virgin Islands. The University was granted a CP in 2014 to build the 100 watt LPFM station. But the station has it's roots in a much older religious station.

The LPFM station descends from the original AM stick 1090 WUVI-AM, founded in October 1985 as WIBS. It was sold to the Three Angels Corporation in 1989 and renamed WGOD. Dr. Alexander Randall managed to arrange for the University to lease the station from Three AngelsCorp. in 2012 whereupon the station changed calls to WUVI. But in 2017 hurricanes Irma and Maria did so much damage to the WUVI-AM facility that it was too expensive to repair. Its license was cancelled September 23, 2019; leaving the LPFM the sole facility surviving.

Below is a complete list of the LPFM stations currently licensed to US territorial islands.

Puerto Rico:

City Frequency Call sign Format
Aguada-Aguadilla 90.7 WQHD-LP Latin Oldies
Mayaguez-Anasco 90.9 WLYM-LP Adult Contemporary
Caguas 90.9 WODB-LP Religious
Moca 93.7 WMAA-LP Religious
Moca 97.9 WZFE-LP Religious
Isabela-Quebradillas 98.1 WCXQ-LP Tropical
Cabo Rojo-Mayaguez 98.1 WZCL-LP Adult Contemporary
Mayaguez 107.9 WVPJ-LP Religious
Aguadilla-Aguada 107.9 WYKQ-LP Religious




The US Virgin Islands

City Frequency Call sign Format
Charlotte Amalie 96.9 WTJC-LP Religious
John Brewers Bay 97.3 WUVI-LP College



Guam (Yes, just one LP station)

City Frequency Call sign Format
Tumon 106.9 KGCA-LP Religious



American Samoa

City Frequency Call sign Format
Tafuna 94.5 KKAS-LP Religious
Ili'ili 95.1 KULA-LP Religious





If you were curious I did not skip the Northern Mariana Islands. They have no LPFM stations as of this date, and very few stations in the first place. They have at present: 7 FM stations, 1 FM repeater, 1 FM translator and 1 very lonely-looking AM station. Before you ask about those scant US minor outlying islands... most of them are uninhabited and there are no radio stations on the few that are: Midway Island, Palmyra Atoll and Wake Island.

Monday, May 18, 2020

Peanut Whistle

From Transistor Transmitters for the Amateur by Donald L. Stoner
For decades, possibly up to a century "peanut whistle" has been slang for a low power transmitter. The two words have been bound together for 150 years or more and have evolved through multiple  different meanings.

In 1880 some models of peanut roasters released exhaust steam from the boiler or heat chamber through a pipe to sound a whistle. Ex patent # 225561. Metal working trade magazines shared simple designs. An 1897 issue of the magazine The Metal Worker describes the whistle itself.  "The whistle is made from two disks 1½ inches in diameter, raised and soldered together, and having a small hole in the underside, on the edge of which the steam is blown."  These typically brass steam whistles were the OG peanut whistles; and are now pricey collectibles.

That usage tied to the sound of the peanut roaster cart was later conflated with cheap and colorful plastic toy "peanut whistles." In the 1950s Planters manufactured them by the thousands. The term came to include any cheap toy whistles, plastic, brass, tin, anthropomorphic and/or otherwise. Strangely both of these meanings came to dovetail in small, under-powered transmitters.  Here [LINK] is a great story about a pirate station in Vietnam 30 years later.

In March of 1897 Forek Bain a then well-known electrical engineer in Chicago, wrote an article Whistling Arcs - A case of Electrostatic Induction, and the remedy for The Western Electrician:
"The strange phenomenon to which I refer was a loud, harsh whistling noise produced in the lamps as soon as the arcs were struck. The whistle was nearly identical in tone to that of the deviling whistle of the familiar peanut roaster. It registered somewhere between upper and middle C. It was very loud and could be heard at about two blocks distant from the lamb engaged in this disagreeable pastime."
There lies the onomatopoeic connection between small transmitters and the peanut whistle. They poth emitted a high-pitched sound. But it appears that the continuous radio wave itself was imagined by some as a "whistle" in comparison to the make/break nature of the telegraph. This goes back to the earliest spark gap transmitters. In 1892 George Francis Fitzgerald wrote in Nature:
"...the electromagnetic vibrations set up by Leyden jar or condenser discharges die out very rapidly, it was very desirable to obtain some means whereby the vibrations could be maintained continuously. Comparing such vibrations with those of sound, he said the jar discharges were analogous to the transient sound produced by suddenly taking a cork out of a bottle; what was now required was to obtain a continuous electromagnetic vibration analogous to the sound produced by blowing across the top of a bottle-neck. In other words, some form of electric whistle or organ-pipe was required."
So starting from there it's not hard to imagine why the original WOR transmitter with it's antenna on the roof of Bambergers department store would be called a peanut whistle back in 1922. Or why New York City Mayor Fiorello LaGuardia would dismiss the WNYC facility at the Commodore Hotel as a 'peanut whistle' in 1934. Even as Edwin Armstrong began to develop transmitters that would improve clarity on the VHF and UHF bands, the usage continued. Vincent Galloway of Omaha, NB wrote into Radio World in November of 1922 and asked:
"In making up the Armstrong super-regenerative receiver, I have experienced a “peanut whistle.” This sometimes develops into a sound like a hiss or a water fall. My tickler coil, or ball, is 4 inches in diameter wound with No. 24 enamel wire and has about 90 turns. The filter condenser is not affected; neither is the potentiometer which feeds the coupler."

The magazine's editor wrote back to answer in the same column:
"The 'peanut whistle' you describe is the correct whistle to obtain. It should not be very strong, but it proves your oscillating tube is OK, or as we say 'She motes.' the connections are correct. We suggest that you get the switches on the primary of the vario-coupler at the exact adjustment for 360 meters, otherwise you will get nothing but the whistle. If there is a very great difference even the whistle will be blotted out..."

The term became more popular in WWII, referring to small transmitters, and moved into popular HAM jargon where continued to refer to low power transmitters. The term appeared often in QST magazine in reference to 2 and 5 watt transmitters. But we must not forget the disposable cheapness of those toy whistles. Those play their own part. The book The Birth of Top 40 Radio by Richard Fatherley and David MacFarland hammered home the idea that the facility of the 250 watt 1450 WTIX-AM in 1953 was in poor nick. They referred to it as both a "chewing gum & bailing wire operation" and a page later as a "peanut-whistle" technical facility. Already low power, small transmitters were synonymous with low quality... like a toy peanut whistle.

Monday, May 11, 2020

The Billboard Rhythm & Blues DJ Spotlight

DJ Spotlight was a section in the Rhythm & Blues section of Billboard Magazine. Their Rhythm & Blues section itself goes back to at least July of 1952. It was a different era. Billboard still had both weekly Vaudeville and Burlesque sections.

It's original focus was on record reviews and charts as you'd expect. That same year, Bob Rolontz took over the "Rhythm & Blues Notes" column from Hal Webman. Mr. Kal Rudman was a contributing editor to the section starting in 1964. The column had been running since the middle of 1950, and addressed R&B more seriously as an industry. It was still full of record releases, and artist signings but it also covered R&B venue news, and both radio station and record label moves. Rolontz joined Billboard as a reporter in 1951, having grown up in radio. His father owned WCAU in Philadelphia. More here.

The Rhythm & Blues section fell under Music and Record news. But it didn't run in every issue. The spotlight ran irregularly. There was one spotlight it's first month, but three times in the following April. By March there was a spotlight every week. But back in the January 2nd issue there isn't a Rhythm & Blues section at all.  Because of that inconsistency I've broken out the below chart by week to indicate not just who is featured, but also if there was a DJ Spotlight at all. No DJ appeared more than once but some stations appeared multiple times. Out of 52 weeks only 37 DJs were spotlighted, and of those only one was a woman: Ruby "Lady Cool Breeze" Lewis of 890 KBYE-AM [More here].

Perhaps the most interesting discovery is that the spotlighted DJs are not all African-American. Both Charlie Brown of WLOU and the inimitable Porky Chedwick of WAMO were profiled. In a modern context it would be politically correct to see a race-agnostic chart or feature like that. I am not sure that's how it was intended or perceived way back in 1965.
Then suddenly in November, after the DJ Spotlight on Larry Daley, the feature just stopped. If it had been in December you might have expected it to re-start the following year.  But there were no Rhythm & Blues spotlights to come in January of 1966; and none ever again. It ended as abruptly as it began, without any explanation. The timing lines up with the departure of Rolontz for a VP job at Atlantic records but correlation is not causation. 

Date Issue Name Call sign City
01/02/1965 Vol. 77, No. 1 none

01/09/1965 Vol. 77, No.2 none

01/16/1965 Vol. 77, No. 3 none

01/23/1965 Vol. 77, No. 4 none

01/30/1965 Vol. 77, No. 5 Paul "Fat Daddy" Johnson WSID Baltimore, MD
02/06/1965 Vol. 77, No.6 George Hudson WNJR Newark, NJ
02/13/1965 Vol. 77, No. 7 none

02/20/1965 Vol. 77, No. 8 none

02/27/1965 Vol. 77, No. 9 E. Rodney Jones WVON Chicago, IL
03/06/1965 Vol. 77, No.10 George Woods WDAS Philadelphia, PA
03/13/1965 Vol. 77, No. 11 Jimmy Byrd WILD Boston, MA
03/20/1965 Vol. 77, No. 12 Charlie Brown WLOU Louisville, KY
03/27/1965 Vol. 77, No. 13 Porky Chedwick WAMO Pittsburgh, PA
04/03/1965 Vol. 77, No. 14 Bill Curtis WUFO Buffalo, NY
04/10/1965 Vol. 77, No. 15 Milton "Butterball" Smith WMBM Miami, FL
04/17/1965 Vol. 77, No. 16  Ruby "Lady Cool Breeze" Lewis KBYE Oklahoma, City
04/24/1965 Vol. 77, No. 17 George Truehart WDAO Dayton, OH
05/01/1965 Vol. 77, No. 18 Eugene Potts WGIV Charlotte, NC
05/08/1965 Vol. 77, No. 19 Chuck Moore KPRS Kansas City, MO
05/15/1965 Vol. 77, No. 20 Eddie Castleberry WVKO Columbus, OH
05/22/1965 Vol. 77, No. 21 Al Jefferson WWIN  Baltimore, MD
05/29/1965 Vol. 77, No. 22 Edward "Pee Wee" Harris WXKW Troy, NY
06/05/1965 Vol. 77, No. 23 Sir Walter (Raleigh) WAMO Pittsburgh, PA
06/12/1965 Vol. 77, No. 24 Jerry Thomas KNOK Dallas, TX
06/19/1965 Vol. 77, No. 25 William Johnson WUST Washington, DC
06/26/1965 Vol. 77, No. 26 Bob Hudson WCIN Cinncinatti, OH
07/03/1965 Vol. 77, No. 27 Chet McDowell KYOK Houston, TX
07/10/1965 Vol. 77, No. 28 Chuck Cunningham WLOU Louiville, KY
07/17/1965 Vol. 77, No. 29 none

07/24/1965 Vol. 77, No. 30 Tom Reed KPRS Kansas City, MO
07/31/1965 Vol. 77, No. 31 William "Boy" Brown KJET Beaumont, TX
08/07/1965 Vol. 77, No. 32 "Big" Ben Tipton KBYE Oklahoma, City
08/14/1965 Vol. 77, No. 33 Bill Williams WCHB Detroit, MI
08/21/1965 Vol. 77, No. 34 Bill Moss WVKO Columbus, OH
08/28/1965 Vol. 77, No. 35 Dr. Bop (Hoyt Locke) WAWA Milwaukee, WI
09/04/1965 Vol. 77, No. 36 none

09/11/1965 Vol. 77, No. 37 "Cousin" Herb Lance WERD Atlanta, GA
09/18/1965 Vol. 77, No. 38 "Skipper" Lee Frasier KCOH Houston, TX
09/25/1965 Vol. 77, No. 39 Larry Dean WWIN Baltimore, MD
10/02/1965 Vol. 77, No. 40 Clifton "King Bee" Smith KCOH Houston, TX
10/09/1965 Vol. 77, No. 41 Ben Miles WANT Richmond, VA
10/16/1965 Vol. 77, No. 42 Rick Darnell KPRS Kansas City, MO
10/23/1965 Vol. 77, No. 43 Ruben T. Washington KNOK Dallas, TX
10/30/1965 Vol. 77, No. 44 Kelson "Chop-Chop" Fisher WWIN  Baltimore, MD
11/06/1965 Vol. 77, No. 45 Larry Daley WCIN Cinncinatti, OH
11/13/1965 Vol. 77, No. 46 none

11/20/1965 Vol. 77, No. 47 none

11/27/1965 Vol. 77, No. 48 none

12/04/1965 Vol. 77, No. 49 none

12/11/1965 Vol. 77, No. 50 none

12/18/1965 Vol. 77, No. 51 none

12/25/1965 Vol. 77, No. 52 none


Monday, May 04, 2020

The Fix-Tuned Radios of 4VEH

4VEH  transmitted its first radio program in Haiti on June 2, 1950. the station was founded by a missionary named Green Tolbert Bustin. The station was called "La Voix Evangélique d’Haïti."In English that's "The Evangelistic Voice of Haiti." Bustin was an American, born in 1903 in Hillsboro, MS. He was quote a self-promoter and wrote two autobiographies from which we can reap some context for how this station came to be. Rachael Picazo wrote a station history in 2000 titled The Rocks' Cry Out.

I think it's important to point out that these evangelicals were more than a tad patronizing about the local Haitian people. Even Picazo's book in the year 2000 referred to Haitian "witch doctors" and "Satan" controlling the lives of "savage" people. They refer to people as "cannibals", and "primitives" in ways you seldom see outside of a Trump rally today. Bustin's books are even less tactful. The explicit racism is astounding by modern standards. But between the three texts there is a lot of radio history. In his book My First Fifty Years Bustin wrote:
"To  the  best  of  my  remembrance  my  first  public  mention  of  the  Broadcasting  Station  was  in Chicago only a few weeks before leaving for Australia in June of 1948... A few days later while in conference with our Advisory Board, Brother J. W. Menefee, one of our members, assured me that he highly favored the plans for the Broadcasting Station and had $500 to give toward the project."
 After returning from Australia, he met again Menefee to make plans for the radio station.  only a few days after the meeting Menefee died. Then just a few weeks later Bustin's wife died as well. but he pressed on. Bustin had no radio knowledge of his own. Due to that technical deficit, neither of his autobiographies contain any technical information about the station. He credits an engineer named Paul Shirk from California, with the transmitter design plans. Bustin had a "vision" and selected a location in Haiti at the base of a mountain. Even Shirk pointed out the engineering errors in god's plan. The first 4VEH broadcast was with a 700 watt transmitter on 31 meters. It was only receivable to the south as there was a mountain blocking half of their coverage area. But the signal was strong to the South.  HJCM in Quito, Ecuador was able to return their QSL.


Regardless, the station continued to broadcast. They carried the sort of programs you'd expect, testimonials, devotionals, sermons, hymns and requests for domination. An organist, Mrs. DeMille, visited the 4VEH studios and spent days recording hymns on reel-to-reel tapes. It sounds like quote an effort to expand the station library, but her first name was not recorded.

In the Fall of 1951 the station was struck by lightning and knocked off the air. Shirk took advantage of the outage and designed a 3,000 watt transmitter to replace it. But while in Haiti Shirk got malaria and the dysentery was crippling. Job unfinished, he had to return to the states to recover. Another engineer Mardoqueo "Mardy" Picazo finished the job. He had been an engineer at WVLK in Lexington, KY; WMTC-AM in Jackson, KY, and WLW-TV.
In the above fund-raising pamphlet you'll notice the donations are correlated to amounts of diesel fuel. Bustin's autobiographies don't mention it. But Ms. Picazo's book includes a multiple references to their generators. A passing reference identifies the early generator to be a Witte pair. [LINK] Later she refers to a Cummins engine. In 1961 the Cummins company actually donated  a 4.5 ton, 75 kw diesel generator to 4VEH. It's hard to over-rate the significance of that donation. In Haiti even today less than 40% of the population has access to electricity officially. Those italics are intended. In urban areas 72% of the population has electricity but in rural areas only about 15% of homes have electrical service. Haiti 155 [LINK] wrote "When available, electricity is extremely unreliable. A combination of worn wiring, overloading, and illegal “tapping” has resulted in irregular service."  The 4VEH site was in a rural area so it was imperative that they generate power locally. This became central in the mid 1990s after a coup and U.N. occupation. Diesel was rationed and they have to cut back their programming hours and ask for donations of diesel fuel.

They moved to new studios in 1953. They station now broadcast on both 31 meters and 49 meters. Picazo described the studios and Celotex sound proofing writing a vivid paragraph on the spare station library. Less than 10 years later they would build a new library to hold 16,000 tapes
"A record case in the control room held the entire station music library: about a hundred 78 rpm discs which were used for daily song request programs and a literal "handful" (since I could put my hand around the pile) of 33 rpm records, and some classical and a few sacred pieces."
In 1959 they acquired some land near the ocean where 4VEH would have better coverage than in god's original plan. It was three miles across the bay from Cap-Haitien, near the small town of Petite Anse. The new transmitters were flipped on in October of 1960 with 15,000 watts of power. They also added a 2,500 watt signal at 1035 kc in the AM band.  Interestingly even in 1961 they only had 2 hours of programming in French or Haitian Creole despite the fact that about 90% of Haitians speak only Creole and about 5% speak primarily French. It's a bit daft but after 10 years they finally began recruiting local Haitians to create programming in creole.
In 1960 they also began locally distributing pre-tuned radios called "Go-Ye" radios. Whatever the stated intentions of the program, it reminds me of a similar practice in North Korea. Radio and TV sets in North Korea are supplied pre-tuned to state-run North Korean  stations. Citizens are not permitted choice. There it is actually illegal to tune into foreign broadcasts. While 4VEH lacks the enforcement power of a government entity, the lack of choice inherent in poverty re-defines their programing as propaganda.
4VEH still operates today. They have 4 FM signals on the island and one AM signal and their programming is almost exclusively French or Creole.  The expansion was slow and steady. In 1968 they added an annex. In 1976 they put on another addition which included new studios and in 1980 they did another large remodeling.  Rev. G.T. Bustin died in 1995 at the age of 92. Mr. Paul Shirk, engineer, died in 1996 at the age of 89.  In 1996, 4VEH began distributing solar-powered radios, they've given away about 60,000 of them so far, with a goal of distributing 250,000. Sadly even in 2020 these are still pre-tuned (fix-tuned) devices expanding their captive audience. [SOURCE]