Charles L. Austin was born April 30, 1890 in Clinton Iowa. His family moved to Portland in 1902 when Charlie was 12. He Attended East Portland High School. Sometime between 1908 & 1919 Mr. Austin became most interested in electronic experimentation. At one point, so much so, he developed his own home laboratory. (1556 N.E. Taylor St. in the Mt. Tabor area).

In early 1920 Mr. Austin applied for a "Special Amateur" Wireless Telegraph Station License from The Radio Division, Bureau of Navigation, U.S. Department of Commerce. In June 1920 Mr. Austin was granted the License 7ZI for 200 Meters (1499kc). No doubt, Mr. Austin heard & read about other Spark Stations experimentation with phonograph music.

In early 1921 Mr. Austin applied for an "Experimental" Wireless Telegraph License, so he could legally broadcast music. In May 1921 Mr. Austin's new firm The Northwestern Radio Manufacturing Co. was granted the License 7XF for 200 Meters (1499kc) with the power of 5 watts. By June 25, 1921 7XF had broadcast music, making it Oregon's first broadcasting station, as we know Radio today. Mr. Austin also served as first President of the Portland chapter of The Northwestern Radio Association in 1921.

In October 1921 7XF was granted additional frequencies to broadcast on. They were: 375 Meters (800kc), 450 Meters (686kc) & 550 Meters (545kc). These were probably used individually for music, morse code, experimentation, etc. By early 1922 7XF was broadcasting every Tuesday & Friday Evening at 8:45PM with Public Health Service bulletins & Mondays with Industrial News. Concerts & Market reports were also broadcast at times. In February 1922 Mr. Austin's firm completed work on Oregon's 2nd broadcasting station, 7XG built for Willard P. Hawley, Jr. This station would later evolve into KBPS.

On February 27, 1922 Mr. Austin's firm applied for a Limited Commercial Broadcasting License. On March 31, 1922 The Northwestern Radio Manufacturing Co. was granted the license & calls KGN for 360 Meters (833kc), and authorized to increase power to 100 watts. This was done in April 1922. With no way to generate revenue at the time, most stations failed. The few that survived this time period 1921 to 1925, were usually backed by major companies (KGW - The Oregonian Newspaper).

On May 31, 1923 KGN suspended operations. In February 1924 the KGN apparatus was sold to Eric H. Chambers company: The Radio Bungalow and became KFOH on March 24, 1924. Little is known about Mr. Austin from this point on, until the 1930's.

In 1930 Mr. Austin built the first Police Radio Station in Oregon. KGPP was licensed to operate on 2452kc Short Wave. KGPP calls stood for: Government Portland Police. First Police Dispatcher: Captain John Schum. By 1933 KGPP was operating on 2.442 Megs. with the power of 500 watts. The transmitter was later moved to Mt. Tabor Park. It was close to Mr. Austin's home and for the next 25 Years he was KGPP's Engineer. Mr. Austin retired in 1955. As a side note, he taught Morse Code Classes at the YMCA.

On December 22, 1968 The Oregonian interviewed him on his life. He never mentioned anything about his early broadcast beginnings. Nothing about 7ZI, 7XF or KGN. I believe he thought he had failed. I did fail to find his obituary. To common a name, for an uncommon man.

On April 5, 1927 KGW was one of 7 pacific coast stations to broadcast the inaugural program by the Orange Network of the National Broadcasting Co. NBC was the first Network in the West. The stations of the Orange chain were: KFI Los Angeles KPO San Francisco (switched to NBC-Gold chain 1931, now KNBR) KGO Oakland (now San Francisco) KGW Portland KOMO Seattle KFOA Seattle (switched to Don Lee chain 1929 as KOL) KHQ Spokane

The 3 hour program started at 8PM from NBC Studios in San Francisco. The San Francisco Symphony Orchestra entertained with solos from Jeane Gordon & Lambert Murphy.

The 2nd hour, KFI Studios in Los Angeles took control. The Los Angeles Caballeros entertained with music from south of the border. Then vocals from the Duncan Sisters, followed by the Hollywood String Quartet & Moseby's Dixieland Blue Blowers.

In the 3rd hour, it was back to San Francisco with the Frank Ellis Orchestra from the St. Francis Hotel. Thereafter the NBC Pacific Coast Network chain (PCN) originated programs from San Francisco. Orange was rarely used as it's network name after this point.

There seems to be no date when KGW switched to the NBC-Red Network. The earliest reference is July 3, 1936.

On June 15, 1945 the NBC-Red Network name was shortened to NBC, when RCA sold the NBC-Blue Network to Edward J. Noble, to meet requirements of antitrust laws. The Blue Network then became ABC on this date.

Previous to NBC, KGW had it's own "chain" of stations broadcasting it's popular variety show The Hoot Owls (with Mel Blanc) Friday Nights 10:30 to Midnight. The chain included: KFOA Seattle (aka KOL) KHQ Spokane KMO Tacoma

The excerpts used here are from the Oregon Journel Newspaper dated June 26, 1921. It should be mentioned, The Oregonian also ran this general story, though not as interesting. What follows is the earliest example of local radio broadcasting as we know it today.

The first convention of the Northwestern Radio Association was held in Portland yesterday (6-25-21) at the East Side Business Men's Club. 125 members attended. (Keep in mind, only one commercial license was operating in the U.S. at the time: KDKA Pittsburgh, started on 11-2-20. The rest were all Amateur statis stations. 1XAE would be the 2nd commercial on 9-19-21, WBZ Springfield, MA). Amateur Radio Clubs from the Williamette Valley, Eastern Oregon, Washington & Northern California sent representatives. Portland with 65 members, had the most in attendance.

Charles L. Austin (7XF) was the first Portland Club President. It was mentioned at the meeting, that West Coast inventors, such as Mr. Austin (home laboratory) were not receiving credit in the East, for their ideas.

It was also reported that Mr. Austin had been amusing himself lately by broadcasting phonograph music to radio operators on various ships in the Portland Harbor, from his Mt. Tabor home. Even ships at the Port of Astoria reported hearing the music "plainly audible" now 80 years ago.

17 years before ABC was created, the network name was used in the Northwest. The American Broadcasting Co. was founded by the Western Broadcasting Co., owners of KJR Seattle, KEX Portland & KGA Spokane. ABC was headed by Adolph F. Linden, President. He was also President of Puget Sound Savings Bank of Seattle. The flagship station was KJR.

On October 3, 1928 ABC programming debuted on KEX. On October 7, 1928 the "ABC Northwest" chain began an alliance with the Columbia chain, bringing CBS programming to the West, for the first time on this date.(even before California). The Columbia Broadcasting System was only linked in the East at that time. There would be programmed ABC nights & CBS nights.

In November 1928 The American Broadcasting Co. began affiliations with KYA San Francisco & KMTR (aka KLAC) Los Angeles. At this point ABC carried programs from these stations, as well as KJR.

In January 1929 the Network now known as the ABC Western chain, added: KDYL (aka KCPX) Salt Lake City & KLZ Denver. This made the American Broadcasting Co. the third largest network in the U.S.

On June 1, 1929 ABC began serving the Mid West, with new affilites: WIBO Chicago WIL St. Louis WRHM Minneapolis (aka WLB) KFAB Lincoln, NE KTNT Muscatine, IA On July 13, 1929 ABC Western welcomed KFBK Sacramento.

On July 31, 1929 The American Broadcasting Co. announced plans to expand to the Eastern Seaboard, in it's effort to align a nationwide network by the fall of 1929. ABC claimed to of had a dozen Eastern Stations lined up, including WOL Washington D.C.

It was also announced that ABC Western would sever ties with the Columbia Broadcasting System in October 1929, to become an independent network. Already CBS's William S. Paley was aligning new stations in the West. He planned to have land lines in place by January 1930. Not quick enough. There would be a few months without Columbia chain programming on the West Coast.

On August 12, 1929 KOIN Portland announced it would affiliate with the Columbia chain.

On August 20, 1929 reports reached Washington D.C. that the ABC Western chain was experiening unexpected difficulties in it's plans to set in operation a national network by October. Mr. Linden (ABC Head) failed to secure additional financing to shore up the Chains mounting financial burden.

On August 25, 1929 The American Broadcasting Co. gave control of it's leased land lines to The Columbia Broadcasting System, so the CBS chain could continue to feed it's Western affiliates. Also on this date CBS switched to the Don Lee owned stations: KHJ Los Angeles & KFRC San Francisco.

On August 26, 1929 the Columbia chain announced that on September 1, 1929 CBS would start feeding, what would later be called the "Columbia Northwest Unit". Those stations were: KVI Tacoma (now Seattle) KOIN Portland KFPY Spokane (aka KXLY)

At this time Mr. Paley was looking for a replacement for ABC. He then entered an agreement with Don Lee. Previous to this Mr. Lee had strung land lines between his stations KHJ & KFRC a year earlier. Together with Mr. Lee's financing, they created "The Don Lee-Columbia Network", CBS's Western chain. With these affiliates, Mr. Lee created his "Don Lee Broadcasting System"(DLBS) feeding the same stations programming, when Columbia was silent.

On November 10, 1929 KOIN carried it's first Don Lee programming. The original ABC land lines then reverted back to KJR, KEX & KGA. Their story continues in Part 3. A year later KOL Seattle joins The Don Lee-Columbia Network.(KVI also continues). On November 3, 1933 KOIN began sharing CBS programs with sister KALE.

By 1935 relations between CBS & Don Lee were beginning to strain. Columbia wanted more control over it's affiliates. They now had financial capability to lease land lines. On December 29, 1936 ties were severed. The Don Lee chain was in need of another partner. They found what would become their perfect match. An Eastern Network hungry for produced programming and eager to expand West. This story continues in Part 5: Mutual & Don Lee.

On September 25, 1937 KALE dropped their CBS affiliation. KOIN once again became the exclusive Portland CBS station.

On October 1, 1929, just 27 days before the beginning of the Depression, Ralph A. Horr took control of the newly named Northwest Broadcasting Co., owners of KJR Seattle, KEX Portland & KGA Spokane. This was formally the Western Broadcasting Co.

On December 22, 1929 the Company launched a new regional network to serve it's stations from KJR. Dubbed the Northwest Broadcasting System or NBS. This was the remnants of the American Broadcasting Co.(ABC). See Part 2.

In mid 1930 KPQ Wenatchee joined the NBS chain. For a related NBS story, see Part 4.

On October 16, 1931 NBC announced that several weeks ago it had acquired the Northwest Broadcasting Co. with it's Network NBS. KEX was now a subsidiary of NBC. This was done to keep the Northwest Broadcasting Co. from folding. NBC picked up the stations for a minimal price, needing additional high power outlets for it's new network.

On October 18, 1931 the inaugural program of the NBC Pacific "Gold" Network was broadcast at 8AM P.S.T. from New York. Joined in the broadcast dedication were the Pacific "Orange" Chain stations including KGW. For more on the Orange Chain, see Part 1. The Gold Network was NBC's Western link, programming many Eastern Blue Network shows. The Pacific Gold Chain stations were: KPO San Francisco (switched to NBC-Red chain 1936, now KNBR) KECA Los Angeles (now KABC) KJR Seattle KEX Portland KGA Spokane Available to be connected to either chain were: KFSD San Diego (aka KOGO) KTAR Phoenix

On August 25, 1933 NBC sold KEX to The Oregonian Publishing Co., owners of KGW. In this same time period, KJR Seattle was sold to Fisher Blend Station, Inc.(B.F. Fisher), owner of KOMO. KGA Spokane was sold to Louis Wasmer, Inc., owner of KHQ.

On March 12, 1936 the Gold Network was merged into the NBC-Blue Netork, with a few lineup changes: KGO San Francisco KECA Los Angeles (now KABC) KFSD San Diego (remained with NBC 1945, aka KOGO) KJR Seattle (now KOMO) KEX Portland KGA Spokane Available to be connected to either chain were: KTAR Phoenix (remained with NBC 1945) KMED Medford (starting 1937, remained with NBC 1945)

On October 18, 1943 RCA President & NBC Chairman David Sarnoff sold the NBC-Blue Network to Edward J. Noble for $8 Million in cash. Mr. Noble was owner of Lifesavers Candy Co. In 1945 he purchased the name "American Broadcasting System" from George B. Storer. ABS had been another illfated regional network in 1934-35. The name was changed slightly to the American Broadcasting Company. ABC debuted on June 15, 1945.

On November 5, 1930 The United Broadcasting Co. began it's West Coast Network from Los Angeles. The inaugural program started at 7PM. The UBC Chain stations were: KFWB Hollywood (now Los Angeles) KTM Los Angeles KTAB San Francisco (now KFSO) KXA Seattle KXL Portland KGB San Diego KORE Eugene KMED Medford KVOS Bellingham

On February 26, 1931 UBC announced that it had merged with NBS - The Northwest Broadcasting System, owners of KJR Seattle, KEX Portland & KGA Spokane. For more on NBS, see Part 3. Both chains would run independently.

On February 29, 1931 KEX became an affiliate of UBC, as well as NBS. KXL continued to be an affiliate, to a lesser degree.

On April 1, 1931 The United Broadcasting Co. suspended operations.

On April 8, 1931 L.L. Davis, Chairman of UBC's Board of Directors, announced that UBC would resume within a week, with possibly more affiliates....

The Depression was definitely here at this point. --Update-- When UBC "The Silver Network" merged with Northwest Broadcasting System on February 26, 1931, there was another company involved with the merge. Pacific Broadcasting Corp., owner of KYA San Francisco. It was said, with the added affiliates, the United Broadcasting Co. was the most powerful chain on the West Coast. The UBC Chain stations were: KFWB Hollywood (now Los Angeles) KGER Long Beach KYA San Francisco KJR Seattle KXL & KEX Portland KGB San Diego KGA Spokane KORE Eugene KMED Medford KVOS Bellingham KPQ Wenatchee

Louis L. Davis, Chairman of UBC's Board of Directors.

Radio show ranking's from "Variety" magazine, published in a KGW ad from "The Oregonian" dated December 17, 1933. The KGW ad was boasting 10 out of 12 top programs were on the station.

1. Rudy Vallee's Varietes - KGW 2. Amos 'n' Andy - KGW 3. Burns & Allan - KOIN 4. Maxwell Show Boat - KGW 5. White-Jolson Revue - KGW 6. Jack Benny - KGW 7. Will Rogers - KGW 8. Ben Bernie - KGW 9. Fred Allen - KGW 10. Jack Pearl - KGW 11. Phil Baker - KGW 12. Bing Crosby - KOIN

Portland Network Affiliates: KGW 620 NBC-Pacific Coast Network, fed by eastern Red Network programs. KOIN 940 Don Lee-Columbia Network, fed by eastern CBS Network programs. KEX 1180 NBC-Pacific Gold Network, fed by eastern Blue Network programs.

On September 26, 1937 The Mutual Broadcasting System made it's Northwest debut at 4:30PM. The inaugural feature was a 90 minute program called "Welcoming, From The East".

65 years ago this month the Country was shaken by a program on the Columbia Broadcasting System. It was Orson Welles' adaptation of "War of The Worlds". Most of you know the story and the hysteria that occurred during and after the broadcast on the East coast. For a national look at this story, check out the link featuring "The New York Times". The script is also available here.

But what happened in Portland & the Northwest?

It was Sunday October 30, 1938, Halloween eve and "The Oregon Journal" newspaper was running it's daily radio column ad "Studio Air-Flo, KOIN/KALE". Both stations were owned by The Journal. Among other programs highlighted in this column was: An invasion of the earth by inhabitants of Mars will be the imaginary theme of Orson Welles, when the "Mercury Theatre On The Air" broadcasts an adaptation of H.G. Wells' "War of The Worlds" over KOIN today at 5 p.m.

That's right, 5:00PM which would have made it 8:00PM Eastern time. This was a Live broadcast across America. Most programs were in 1938. There was no time to warn the West, what was to come.

PORTLAND STATIONS 10-30-38 KGW 620 NBC-Red KOIN 940 CBS KWJJ 1040 KEX 1180 NBC-Blue KALE 1300 Don Lee-Mutual KXL 1420 KBPS 1420

On Monday October 31, 1938 the front page of "The Oregonian" far right hand corner read: All Nation Agog, Realistic Radio Drama Causes Hysteria, Play About 'Men From Mars' Ivading World Taken to be Real Thing.

The front page of "The Oregon Journal" far right hand corner read: Radio Play Quiz Begun After Panic, Nation-wide Hysteria Follows 'Realistic' Presentation of Invasion From Mars; Federal Agency Investigates Program. A large picture of 23 year old Orson Welles with a CBS microphone appears with the U.P. article. Above the picture reads: Brought 'Men From Mars'. Below the picture an article: Orson Welles 'Sorry' Feared Play 'Too Dull'.

From "The Oregonian" which owned rival stations KGW & KEX, comes the best local coverage, headline read: 'War of Worlds' Shakes Portland, Calls Pour in by Hundreds to Newspaper Office. (Now the complete story)

A wave of hysteria that swept across the United States Sunday night as the result of a realistic radio dramatization of H.G. Wells' "War of The Words" reached all the way to Portland, 2500 miles from the scene of the fictional disaster.

The telephone switchboard of "The Oregonian" was swamped by hundreds of excited calls. Queries kept members of the newspaper's editoral department and of radio stations KGW and KEX busy. Several persons rushed into the business offices of "The Oregonian" on the street floor, demanding information.

Police Kept Busy Dozens of calls were made to "Portland Police" radio operators (KGPP). Most of the callers demanding to know what protection the city could offer and what place might be safe in event the wholesale destruction spread to the Pacific coast.

Radio station KOIN which released the program in Portland, reported it was able to answer 500 of the volley that swamped it's switchboard. The station received complaints that three women had fainted and a doctor was called for one, the elderly mother of a retired army officer.

At Washougal, Wash., a man was reported to have loaded his family into a car and to have driven frantically through the streets looking for a haven of refuge.

The Portland office of the Western Union Telegraph company was jammed with persons seeking to send telegrams to relatives in the East, inquiring as to their safety.

At Concrete, Wash., (32 miles East of Mount Vernon.) Women fainted and men prepared to take their families into the mountains for safekeeping when electric power failed. (from The Journal, this) Just as an announcer was "choked off" by "poisonous gas" in what he had just said might be the "last broadcast ever made" the town plunged into darknes. One man bolted from his home, grabbed a small child by the arm and headed for the pine forests. (from The Oregonian, this) For a time the village of 1000, verged on mass hysteria.

Elsewhere in the Northwest calls poured into newspaper and press association offices by the thousands. Seattle newspaper switchboard operators reported many hysterical calls from persons wanting to know if it was true New York had disapeared beneath the Atlantic ocean.

SEATTLE STATIONS 1938 KVI 570 CBS (Tacoma) KIRO 710 CBS KXA 760 KOMO 920 NBC-Red KJR 970 NBC-Blue KRSC 1120 KTW 1220 KOL 1270 Don Lee-Mutual KMO 1330 Don Lee-Mutual (Tacoma) KVL 1370

From "The Oregon Journal" local headline read: Many Portlanders' Hair On End During Broadcast. (Now the complete story)

Radio's "destruction of the world by Martians" got a rise out of many Portlanders' early Sunday evening. Like their Eastern relatives, some Portlanders' hair stood on end when "news flashes" in the dramatization by Orsen Welles of H.G. Wells' "War of The Worlds" over CBS and KOIN-The Journal from 5 to 6 p.m. carried the word that "here they come, tall as skyscrapers...they're throwing a heat wave...etc."

Don Price and George McGowen, on duty at KOIN-The Journal studios, said that they answered about 100 telephone calls (note: 100, The Oregonian reported 500) to reassure persons it was "all a dramatization."

The "War of The Worlds" dramatization was a presentation of the "Mercury Theatre On The Air", a Columbia chain sustaining program heard each Sunday over the network from New York City.

The Journal switchboard was "swamped" during the play and calls came in intermittently through the evening, the operator reported. Apparently unlike some other cities, no telegrams of inquiry were sent via Western Union to Eastern 'folks'. (note: The Oregonian said it was jammed.)

A member of The Journal staff returning from the coast, was informed by a panic-stricken McMinnville service station attendent, "There's no use buying any gasoline. The worlds coming to an end!" The Journal man insisted on getting his gasoline and driving along.

Sought Baptism, Absolution Grants Pass Ore., Oct. 31.-(AP)-A Grants Pass minister confirmed the report today that after last night's fantastic radio drama of an invasion of the United States by men from Mars, several persons called in excitement at his home seeking baptism and the benefits of religion.

The End

Mutual was able to expand, thanks to CBS, severing ties with The Don Lee Broadcasting System. For more on this see Part 2. This colaberation began December 30, 1936 when the Don Lee owned stations affiliated with Mutual, they were: KHJ Los Angeles, KFRC San Francisco & KGB San Diego.

The next step was to move MBS into the Northwest as The Mutual-Don Lee Broadcasting System, MBS's Western link. This was the largest regional network in the U.S. at the time, counting the California affiliates. The Northwest affiliates debuting 9-26-37 were: KOL Seattle KALE Portland (aka KPOJ) KMO Tacoma KORE Eugene KSLM Salem KIT Yakima KVOS Bellingham KGY Olympia KIEM Eureka KPQ Wenatchee KRNR Roseburg KXRO Aberdeen

The Don Lee owned stations also produced programming for Mutual and it's West Coast Network. They were offered to affiliated stations when MBS was silent. The Don Lee Network became a stockholder in Mutual in 1940.

On September 16, 1945 The Associated Broadcasting Corporation made it's coast to coast debut at 11:00AM Pacific Time, as the fifth network. The inaugural program was 2 hours, opening with an address from FCC Chairmen, Paul A. Porter in Washington at ABC affiliate WWDC. The Associated Network boasted 22 affiliates including KWJJ Portland. ABC's President was Leonard A. Versluis & Roy C. Kelly was Executive Vice-President. ABC was headquartered in Grand Ripids MI where Mr. Versluis owned WLAV.

Three Months earlier on June 15, 1945 another ABC debuted, the American Broadcasting Company. This ABC was the former NBC Blue Network. The Associated Chain filed a suite to stop the American Chain from identifying it's network as ABC. In December 1945 an agreement was reached under which the Associated Chain would change it's identity to ABS, The Associated Broadcasting System. This occurred between December 22 & 25, 1945. On April 28, 1946 the ABS Network folded with 23 affiliates, including WMCA New York.

LIC..DATE...CALL.K.C..CITY..........AIR DATE/OTHER May 1921....7XF..1499.Portland......by June 25, 21 Feb 1922....7XG..1499.Portland......Feb 1922 Feb 1922....7XH..1499.Corvallis.....Oct 7, 22 Mar 1922....7XI..1499.Portland......Mar 26, 22 Mar 15, 22..KGG...833.Portland......was 7XI Mar 21, 22..KGW...833.Portland......Mar 25, 22 Mar 28, 22..KYG...833.Portland......was 7XG Mar 30, 22..KQY...833.Portland......Mar 31, 22 Mar 31, 22..KGN...833.Portland......was 7XF Apr 12, 22..KQP...833.Hood River....May 24, 22 May 4, 22...KDYQ..618.Portland......May 9, 22 May 13, 22..KDYU..833.Klamath Falls. May 26, 22..KDZJ..833.Eugene........by Aug 2, 22 June 14, 22.KFAB..833.Portland......July 25, 22 July 6, 22..KFAT..833.Eugene........Sept 24, 22 July 6, 22..KFAY..833.Central Point.Sept 23, 22 Aug 1922....KFBH..833.Marshfield....by Oct 28, 22 Aug 1922....KFBM..833.Astoria.......Oct 22, 22 Aug 15, 22..KFCD..833.Salem.........was KFAB Oct 1922....KFDA..833.Baker......... Oct 3, 22...KFEC..833.Portland......Oct 3, 22 Oct 1922....KFFE..833.Pendleton..... Oct 1922....KFAY..833.Medford.......was Central Pt Nov 1922....KFGG..833.Astoria.......Nov 7, 22 Dec 7, 22...KFDJ..833.Corvallis.....was 7XH Mar 7, 23...KFFO..833.Hillsboro.....Mar 23, 23 Mar 1923....KFGL..833.Arlington..... Mar 1923....KFHB..833.Hood River....by Apr 12, 23 Mar 23, 23..KFIF..833.Portland......May 4, 23 June 1923...KFJI.1190.Astoria.......July 19, 23 Feb 1924....KFOF.1249.Marshfield.... Feb 1924....KFOH.1060.Portland......Mar 24, 24 June 19, 24.KFQN.1060.Portland......was KGG Nov 1924....KFRQ.1410.Portland......Nov 1924 Nov 12, 24..KFJR.1140.Portland......May 18, 25 Aug 5, 25...KFWV.1410.Portland......Oct 6, 25 Sept 17, 25.KTBR.1140.Portland......Sept 19, 25 Nov 9, 25...KQP..1410.Portland......was Hood River Dec 21, 25..KOAC.1070.Corvallis.....was KFDJ Apr 6, 26...KOIN..940.Portland......was KQP P-D-X Aug 1926....KOIN..940.Sylvan........was Portland Nov 27, 26..KXL...750.Portland......Dec 13, 26 Dec 1926....KGEH.1270.Eugene........Dec 26, 26 Dec 23, 26..KEX...670.Portland......Dec 25, 26 Dec 26, 26..KMED.1200.Medford.......Dec 28, 26 Feb 10, 27..KWBS.1490.Portland......Feb 11, 27 Feb 16, 27..KLIT..860.Portland......Feb 18, 27 June 24, 27.KWJJ.1310.Portland......was KFWV Mar 15, 28..KOOS.1450.Marshfield....was KGEH Eugen Apr 22, 28..KORE.1500.Eugene........was KLIT P-D-X Aug 28, 29..KVEP.1500.Portland......was KWBS 1930........KOIN..940.Portland......was Sylvan Mar 17, 30..KBPS.1420.Portland......was KFIF Sept 22, 32.KALE.1300.Portland......was KTBR Oct 1932....KFJI.1210.Klamath Falls.was Astoria May 22, 34..KSLM.1370.Salem.........Oct 3, 34 1934........KAST.1370.Astoria....... Oct 1935....KRNR.1500.Roseburg......Dec 11, 35 1938........KLBM.1420.LaGrande......Sept 30, 38 1938........KBND.1310.Bend..........Dec 18, 38 1939........KBKR.1500.Baker......... 1939........KUIN.1310.Grants Pass...Dec 16, 39

early Portland radio station pictures & memorabilia back to the 1920's. Some of the written history was wrong. The writer concluded that an ad in "The Portland Telegram" newspaper (ad ran between 1927 & 28) was proof that KEX was Portland's first broadcast station. The ad read: "The Pioneer In Radio in Portland:- The first program of radio entertainment ever put on the air in Portland was broadcast by the Portland Telegram on November 27, 1921, from it's offices in the Pittock block, operating under temporary government permit." The ad goes on to say: "Tune in on KEX, The Telegram's Station - 239.9 Meters, 1250 Kilocycles." (KEX was on 1250kc. from 6-15-27 to 2-17-28). The website writer states below the posted ad: "Portland's first radio station license was granted to The Portland Telegram and it was assigned the call letters KEX."

These conclusions are incorrect. First, KEX was never owned by The Portland Telegram. KEX at the time was owned by Western Broadcasting Co. KEX had been in trouble with the FRC for spilling it's signal onto other local and outlying frequencies. The FRC re-assigned KEX to the lower class 1250kc. frequency. (previously on cleared channel 670kc.). KEX had also alienated a lot of local advertisers because of this and because KEX was not locally owned. (Portland's first). KEX had huge blocks of time for sale. Enter The Portland Telegram, buying up much of the time for a nominal fee. Hence "KEX, The Telegram's Station."

KEX went on the air December 25, 1926 and had never broadcast under a temporary government permit, experimental license or call sign of any kind between 1921 & 1926. But what did happen on November 27, 1921? I had a date and this intrigued me. Anything about early Portland radio in 1921 is very rare. The only article found to date was on June 26, 1921 where among other thing's mentioned at the first convention of the Northwest Radio Association, Charles L. Austin was reported broadcasting phonograph music to radio operators on various ships in the Portland Harbor and heard from as far away as Astoria, over his station 7XF.

This is considered the earliest example of Oregon radio broadcasting as we know it today. (For more on this historic article, read "Part 2: Portland Radio History Changes" on the "Portland Radio History" page, posted in 2001). Knowing all this, I didn't know what to expect in The Portland Telegram article. First, here's the article it self. Added comments & additional information are in parenthesis(). Additional information from a follow up Portland Telegram article dated November 30, 1921, Page 1, column 2 are added with asterisk**.

The Portland Telegram, Monday, November 28, 1921, Page 1, column 7. Headline: "Radio Carries Concert AFAR, Music Week Feature Planned by The Telegram Heard in Many Stations (telegraph receiver sender stations). The Telegram's first radio concert given last night in the Telegram office (11th & S.W. Washington St.) and transmitted by radiophone to hundreds of official and amateur stations in Portland and neighboring towns and states, was most successful. One receiving station in Portland was able to make a wax cylinder record from a number sung by Mrs. Mischa Pelz and hear the song all over again by playing it on the phonograph.

The Telegram is operating it's radiophone *at 250 wavelength* (250 meters or 1199kc.) *and at a radius of 500 miles* by special government permit under the license 7XF Charles Austin. (7XF would later become KGN). The first concert is given at the Y.M.C.A. (831 S.W. 6th Ave.) and transmitted by it's radiophone. (station 7YG). At 9 o clock The Telegrams own radio transmits the music from the Telegram office, and at 10 o clock a concert is given on the east side and transmitted by the radio outfit operated by Charles Austin. (station 7XF at 1556 E. Taylor St., now 5830 S.E. Taylor St.).

The Telegram's radio was installed by and is in the charge of C.R.(Ray)Beamer and Wilbur Jerman (would later launch his KFWV aka KWJJ) of the Stubbs Electric Company. (O.B. Stubbs would later launch his KQY). Among the songs sung by Mrs. Pelz last night were "The American's Come" by Fay Foster; "Beautiful Oregon" by Edward Mills; "Thank God for a Garden" Teresa Del Rigo; "A Song of Thanksgiving"; "Flow Gently Sweet Afton" and "Annie Laurie". (end of article) More to come...

Charles L. Austin's company "The Northwestern Radio Manufacturing Co." & 7XF's listed licensee, was building radio apparatus at this time for sale. Know doubt this was a good way to promote his product, by getting a newspaper involved. This broadcast event might have brought about the later sale of new Portland station 7XG to Willard P. Hawley, Jr. in February 1922, which Mr. Austin built. Since The Portland Telegram station permit was under the license of 7XF, no call sign was ever issued for this broadcast event.

The biggest surprise was the YMCA broadcasting music. Their station 7YG was a telegraph station. Actually all call signs with a number were originally telegraph stations, but only call sings with "X" for "Experimental", were allowed to broadcast music. 7YG was licensed as a "Technical & Training School" station, not allowed to broadcast music. Many stations across the country licensed for telegraph only, were illegally broadcasting music. This was the rage of 1920 & 21. The most famous Northwest station to illegally broadcast music was 7YS at Saint Martin's College in Lacey WA. Today 7YS is considered Washington states first broadcast station. 7YS would become KGY in 1922 and move to Olympia in 1933.

This makes Portland's 7YG, Oregon's 2nd broadcast station. The YMCA was issued a licence bearing the call sequence 7YG granted to the Young Men's Christian Association in June 1920. As a side note, Charles Austin was also issued a license in June 1920 for his first telegraph station 7ZI. All telegraph stations operated on 200 meters or 1499kc. It's not known if 7YG broadcast music before or after the planned 7 day event. It is known that 7YG continued as the YMCA telegraph station until January 1923 when the license was transfered to Oregon Institute of Technology. The Portland radio school also operated station KDYQ. The school was located at 6th & Taylor St. 7YG would continue until the school closed on February 7, 1929.

The other surprise was The Portland Telegram station operating on 250 meters. It was not stated in the follow up article, if this was only The Portland Telegram station frequency or if all three stations were operating on the same frequency. The scheduling would've made this possible. We might never know. This is also the earliest article in Oregon broadcast history to mention a call sign, a frequency or a broadcast schedule. Before this and even after the 7 day event, music was broadcast on a whim. When ever it struck the broadcaster to do so. It's also the first documented live music performance. Before this, music was broadcast from phonograph records.

Wouldn't it be a treasure to uncover that wax cylinder mentioned in the article. It would certainly be the earliest Oregon radio air check! This article is another great discovery in early Oregon broadcasting.

NUMBER OF RADIOS 1900 18 per 1,000 people 1910 82 per 1,000 people 1920 123 per 1,000 people 1930 163 per 1,000 people

SALES OF RADIOS 1922 $60 million 1929 $842.6 million

NUMBER OF RADIOS ON FARMS July 1925 553,003 April 1927 1,252,126

Between 1922 & 1929 the number of radios increased from 60 thousand to more than 12 million.

Ran across this in "The Oregonian" dated April 13, 1946. This is the earliest FM article on Portland I've seen to date. At the time Portland had no FM's on the air.

"Basic engineering plans for four frequency modulation radio broadcasting stations in Portland have been approved by the Federal Communications Commission in Washington D.C. The stations which had "Conditional Grants" were:

The Oregonian, KGW, 95.3 Megacycles, 51 Kilowatts. Transmitter will be on Healy Heights. "KGW has owned the site for 4 years and plans to proceed at once." (KGW-FM began operation on May 7, 1946).

KOIN, Inc., 94.5 Megacycles, 50 Kilowatts. Transmitter will be on Sylvan Hill with KOIN. (KOIN-FM began operation September 12, 1948 on 101.1Mc.)

Pacific Radio Advertising, owned by Wilbur J. Jerman (owner of KWJJ) & John C. Egan, 95.7 Megacycles, 3.2 Kilowatts. Transmitter will be on Healy Heights. (KPRA began operation on September 25, 1947).

KXL Broadcasters, H.S. Jacobson, President & Manager was on vacation at the time of this writing. All that is known, is the transmitter site will be on Mount Scott.

This is unfortunate, since KXL never built and up to now was unknown. What happened? And where is KPFM's Stan Goard in all this? KPFM would be on the air in 6 months (November 1946). Did KXL sell it's C.P. to Stan Goard?

June 12, 1947 was the FCC re-alignment date but unlike the AM re-alignments in the 1920's, FM stations switched to their new frequencies at their own speed. FM being line of sight was probably the reason the FCC was more flexible on this.

KPFM July 31, 1947 / 94.9mc to 97.1mc

KGW-FM October 10, 1947 /95.3mc to 100.3mc

On September 25, 1947 KPRA began operation on 95.7mc with the power of 250 watts. KPRA was owned by Pacific Radio Advertising Service, also standing for call letters. The company owners were Wilbur J. Jerman & John C. Egan. They also owned KWJJ Broadcasting Co., Inc. KPRA studios were located at 1017 S.W. 6th Ave. (KWJJ's address: 1011 S.W. 6th Ave.). KPRA's transmitter site was located on Healy Heights. Mr. Jerman was General Manager. KPRA was Portland's 3rd FM Station. KPRA broadcast Monday through Saturday 10AM to 1PM & 6:30PM to 10PM. On this date KPRA's first night broadcast was a Beaver Baseball Game. KPRA Simulcast one program with KWJJ "What's On FM" at 12:45PM daily, answering that question.

Power was increased a month later to 3,410 watts. On January 9, 1948 KPRA switched to 95.5mc. Also in 1948 William E. Richardson became G.M. Mr. Jerman became President of KPRA.

On September 24, 1948 KPRA announced that it was temporarily suspending operation to allow installation of new equipment. This was a ploy to shut down KPRA gracefully after one year, to the day. The station could not generate enough revenue to support it's self. FM Broadcasters were beginning to realize the new wavelength was going to take longer to accept. Maybe in a year or two. That was the thought of many broadcasters at the time, including Mr. Jerman. Stay tuned to 95.5mc for KWJJ-FM.

It wasn't clear that KFMY began broadcasting in Stereo at it's launch date. (1-17-59). Complicating this was The Eugene Register-Guard newspaper not reporting radio station news and The Oregonian's "Behind The Mike" report ten years later, vaguely mentioning this around the 10th anniversary.

What was found on 3-13-03 nails down the Multiplex Stereo question, in this time capsule "Behind The Mike" colunm dated December 26, 1961. KFMY's G.M. Duke Young was congratulating KPFM's Staff & Management as Portland's first to enter into Multiplex Stereo broadcasting, which happened at 12 Noon on December 16, 1961. I'm guessing Mr. Young was frustrated with the Eugene paper passing on KFMY's triumph as being first in Oregon, as a news story. I believe The Oregonian knew this and did a nice piece on Mr. Young's station.

KFMY was the first station in Oregon to broadcast in Multiplex Stereo and 4th on the West Coast to do so. KFMY was also 15th in the Nation to begin Multiplex Stereo. This happened at 8:00PM on November 17, 1961. KFMY Creator, C.E. & Stockholder (Laurence) L.C. "Curt" Raynes said "We lucked out! KFMY was originally built-designed & engineered for stereo broadcasting 3 years ago with changes to meet FCC specs & regulations. KFMY recently received FCC permission to move it's transmitter site to Blanton Heights (probably 4555 Blanton Rd.) with antenna height 1,385 feet above sea level, 780 feet above average terrain. This should take place in 90 days."

On April 30, 1962 KOAP-FM began operation at 3:30PM. Dedication ceremonies included speeches by Oregon Governor, Mark Hatfield; KEX President, Herbert Buchman; State System Chanceller, Roy E. Lieuallen & Extension Division, Dean J. Sherburne. It was announced Classical music would be the base of the operation. KOAP-FM had been made possible by a generous gift from Westinghouse Broadcasting Co., Inc., owners of KEX on 10-25-61. Transfer of the license to: The State of Oregon, acting by and through the State Board of Higher Education, was accepted on 3-15-62. Approved by the FCC on 4-30-62. The former KEX-FM had left the air on 4-8-62. For more on the donation and previous history see "Westinghouse Establishes KEX-FM".

KOAP-FM broadcast on 92.3mc. with the power of 57KW. KOAP-FM's transmitter site was located on Healy Heights (4504 S.W. Carl Place. Street connects with west side of Council Crest Drive) in Portland OR. A Westinghouse Model FM10 transmitter was utilized with a four-bay pylon antenna, mounted on a 146 foot self-supporting steel tower. The antenna was 955 feet above average terrain. The KOAP-FM transmitter site was adjacent to sister KOAP-TV channel 10 studio & transmitter site at 4545 S.W. Council Crest Drive. (former KGW-FM & KQFM transmitter site. KOAP-TV began operation 2-6-61). KOAP-FM re-broadcast via over the air pick up, AM sister KOAC 550kc. Corvallis OR from studios at 303 Covell Hall, on the campus of Oregon State University. The KOAP FM-TV Administration offices were located in the General Extension Division, Oregon State System of Higher Education Building (1633 S.W. Park Ave.) in Portland OR.

KOAP-FM call letter meaning from TV sister: Oregon Air Portland. KOAP-FM slogan: This is OEBN, Oregon Educational Broadcasting Network. Dr. Luke F. Lamb was KOAP-FM Director of Educational Media; James M. Morris, Director of Educational Radio & TV Dept.(OEBN); William F. McGrath, Educational Services Manager(OEBN); Paul La Riviere, KOAP-FM Program Manager (formerly KEX-FM P.D.); Rollie Smith, Program Manager(OEBN); Philip B. Kalar, Director of Music(OEBN)(formerly with WGN, WMAQ & WLS P.D. & M.D. 1930-42); Robert C. Hinz, News Director(OEBN); Shirley J. Howard, Director of Women's Programming(OEBN); "Bob" Robert M. Roberts, Instructor(OEBN); "Tony" Anton H. Schmidt, KOAP FM-TV Chief Engineer. KOAP-FM operated 3:30PM to 10:30PM Monday through Thursday & 3:00PM to 11:00PM Fridays.

By May 1963 KOAP-FM had changed it's slogan slightly to: Oregon Educational Radio Network. Also by 1963 KOAP-FM had built a control room in the transmitter building, which included an RCA console, 2 turntables & 2 Ampex 350 audio tape machines, plus a microphone. KOAP-FM originated programming 6:00PM to sign off. On September 26, 1963 KOAP-FM moved to 91.5mc. & increased antenna height to 960 feet. During the frequency move, the station was off the air for ten days. By October 1963 Paul La Riviere was KOAP-FM General Manager. By October 1964 William F. McGrath was OERN General Manager; Lester G. Mock, KOAP-FM General Manager; Kenneth L. Warren, OERN Program Manager & Bob M. Roberts, KOAP-FM Assistant Professor of Radio & Television (plus) Music Director.

By February 1965 KOAP-FM had changed it's slogan slightly again, to: OEB Radio, Oregon Educational Broadcasting. OEB was administered by the Oregon State System of Higher Education's Division of Continuing Education. Also by 1965 KOAP-FM had initiated a 960MHz microwave link with KOAC for better sound quality. KOAP-FM hours of operation were now 3:00PM to 10:00PM Monday through Friday (KOAC 10AM to 10PM Mon. thru Sat.). The KOAP FM-TV Administration offices at 1633 S.W. Park Ave. was now called The DCE Building (Division of Continuing Education). By April 1965 the OEB Radio program schedule percentage breakdown was: 41.2% Performing Arts, 20% Other (includes news), 12.5% General Educational, 11% Entertainment, 8.3% Public, 7% Instructional.

In January 1966 OEB Radio & KOAP-FM became NER member stations. (National Educational Radio, debuted in 1963 as a tape distributed network). On March 21, 1966 KOAP-FM hours of operation began mirroring KOAC 9:30AM to 10:00PM Monday through Friday. (KOAC was on Saturdays only). On May 24, 1966 KOAP FM-TV moved Administration & TV Production studios to The Northwestern, Inc. Building. (2828 S.W. Front Ave.). OEB leased opproximately 11,000 square feet on 3 floors. Northwestern Motion Picture & Recording continued to occupy the rest of the building. By September 1966 William F. McGrath was KOAP-FM Program Director. On September 28, 1966 KOAP-TV dedicated it's new studios. By October 1966 Robert C. Hinz was OEB General Manager. By October 1967 Bob Hinz was OEB G.M. & P.D. with John McDonald, OEB News Director.

On November 5, 1967 KOAP-FM added Sundays to it's schedule 3:55PM to 11:00PM. On May 19, 1968 Sundays were dropped when a grant was used up. On August 3, 1968 Philip B. Kalar, OEB Director of Music and KOAC M.D. since 1950, passed away. By October 1968 Lester G. Mock was Assistant Director of Educational Media & William F. McGrath KOAP-FM General Manager. In May 1969 Frank Woodman was named OEB Music Director (formerly on KEX-FM, KPAM/KPFM, KPOJ AM-FM & KSLM). On July 21,1969 KOAP-FM added an extra hour nightly expanding to 11:00PM. Also simulcasting reduced 5:00PM to 9:45PM. On September 29, 1969 simulcasting expanded 11:00AM to 7:30PM. By October 1969 Lester G. Mock was Head of OEB; Robert C. Hinz, OEB General Manager & Robert C. Mundt, OEB Program Director.

On May 3, 1971 the NER Network merged with NPR (National Public Radio, debuted on 4-19-71). On this date KOAP-FM became an NPR member station. Also on this date NPR debuted a new program "All Things Considered". On June 5, 1971 OEB announced the KOAP-FM studio & transmitter site would move to the adjacent KOAP-TV tower site (4545 S.W. Council Crest Drive) comprising the former KOAP-TV studio building. Work had already begun on the new radio studio in the old TV building. (production control room & tape editing studio). Stereo equipment would be installed with a new antenna side-mounted on the KOAP-TV tower. Work on the stereo conversion would begin in the Fall 1971, moving in early 1972. On July 4, 1971 KOAP-FM expanded hours of operation Sunday through Friday 11:00AM to 11:00PM. On October 3, 1971 KOAP-FM expanded to 7 days a week. 9:00AM to 10:00PM Monday through Friday, 9:30AM to 10:00PM Saturdays & 11:00AM to 11:00PM Sundays.

On March 13, 1972 KOAP-FM inaugurated "FM stereo service and the birth of a new network service concept. Oregon Educational & Public Broadcasting Service." Slogans included the previous with: OEPBS Radio. Stereo was on just a handful of programs in the beginning, from the new studios at 4545 S.W. Council Crest Drive. A new Gates FM20H transmitter had been installed. Power had increased to 61KW with antenna height lowered to 910 feet. By June 1972 Donald R. Larson was Director of OEPBS & Robert Bell, KOAP-FM Program Director. On August 28, 1972 OEPBS sold the old KOAP-FM studio & transmitter site at 4504 S.W. Carl Place to Port Services Co. (Al H. Herman, owner) for $53,000. On October 2, 1972 KOAP-FM expanded hours of operation 8:00AM to 10:35PM Monday through Friday & 8:00AM to 10:00PM Saturday & Sundays.

In March 1973 KOAP-FM began it's SCA sub-carrier channel service for "Golden Hours". Monday through Friday 10:00AM to 5:00PM with Graham Archer as Director. By May 1973 Robert C. Hinz was OEPBS General Manager; Thomas M. Doggett, OEPBS Broadcast Manager & William F. McGrath KOAP-FM Station Operations Manager. On June 1, 1973 KOAP-FM hours were reduced 8:00AM to 10:00PM daily. In August 1973 Donald S. Bryant became Director of OEPBS. On October 7, 1973 KOAP-FM expanded Sunday hours 7:00AM to 11:00PM. On May 4, 1974 KOAP-FM weekend hours expanded 7:00AM to 12:30AM Saturdays & 6:30AM to 12:05AM Sundays. In June 1974 "Hep" Harold A. Hepler became KOAP-FM Chief Engineer. By November 1974 Robert C. Hinz was Director of Operations, OEPBS & Thomas M. Doggett, Director of Programming & Production, OEPBS.

On February 3, 1975 KOAP-FM expanded SCA hours with the addition of "Radio Reading Service" talking books for blind & handicapped, Monday through Friday 8:00AM to 10:00AM (Golden Hours: 10AM to 5PM). On April 1, 1975 KOAP-FM expanded SCA hours 8:00AM to 10:00PM with more Golden Hours. By December 1975 Donald S. Bryant was Executive Director of OEPBS & Bonnie Solow, News Coordinator, OEPBS. On February 19, 1976 OEPBS purchased KVDO (TV) channel 3 Salem OR for $203,000. On February 26, 1976 KVDO began separate OEPBS programming. On February 28, 1976 a disgruntled viewer protesting KVDO's sale to OEPBS cut guy wires, toppling the channel 3 TV tower. By June 1976 KOAP-FM had expanded hours of operation 5:58AM to 12:10AM daily with SCA hours expanded to Midnight. On August 31, 1976 KTVR La Grande OR was donated to OEPBS from KTVB, Inc. of Boise ID. Channel 13 was then shut down. On September 20, 1976 KVDO signed back on the air with a new tower.

On November 6, 1976 KOAP-FM expanded SCA hours to weekends, 8:00AM to Midnight Saturday & Sundays. By December 1976 Mary Kay Mitchell was News Coordinator, OEPBS. On February 1, 1977 KTVR signed back on the air re-broadcasting portions of KWSU-TV Pullman & KSPS Spokane WA, mirroring OEPBS-TV programming as much as possible (4PM to 11PM) until the OEPBS-TV translator network was completed, delivering the signal. In early May 1977 KYTE donated it's 3,000 Classical music library to OEPBS after Gaylord Broadcasting purchased KOIN AM-FM. On May 9, 1977 OEPBS began running the old "Koin Concert Hall" program 8 to Midnight Monday through Friday.

On September 1, 1977 OEPBS shut down KTVR because of increasing technical problems at the Mount Fanny transmitter site. On January 1, 1978 KTVR signed back on the air carrying OEPBS programming for the first time. On March 1, 1978 KOAP-FM cut SCC Golden Hours programming 8:00AM to Midnight Monday through Friday & 6:00PM to 10:00PM Saturdays. In April 1978 OEPBS debuted the 34 piece "KOAP Studio Orchestra". Dennis Kalfas, Director. Oregon's only studio orchestra. By May 1978 Graham Archer was Executive Director of Golden Hours. On June 1, 1978 KOAP-TV began receiving programming via the Westar 1 satellite. On June 30, 1978 PBS landlines were discontinued. In September 1978 KOAP-FM began receiving NPR programming via the Westar 1 satellite. In Fall 1979 KOAP-FM moved studios in with TV sister at The Northwestern, Inc. Building (2828 S.W. Front Ave.). 50% of OEPBS Radio programming now originated from KOAP-FM.

In November 1979 The State Board of Higher Education created a new division for it's broadcast stations, calling it The Oregon Commission On Public Broadcasting. Travis Cross, Chairmen & Patricia Joy, Assistant Vice-Chairmen (formerly with KGW-TV). On May 3, 1980 "A Prairie Home Companion" debuted through it's newly formed distributer APR (American Public Radio) & on KOAP-FM. In OEPBS's "The Hungry Eye" member guide, the first program discription: "A variety show which features host Garrison Keiller and presents a range of musical styles." In November 1980 Dean E. Anderson became Acting Executive Director of OEPBS. In January 1981 Gerard L. Appy became Executive Director of OEPBS. In June 1981 OEPBS made a proposal to the Oregon Commission On Broadcasting to move KVDO Salem to Bend OR.

In October 1981 a new slogan: This is OPB, Oregon Public Broadcasting. OPB Radio. By December 1981 Robert C. Hinz was OPB Director of Radio Programming & Operations. In January 1982 Patricia Joy became Special Assistant to The Executive Director of OPB. Also in 1982 licensee named changed to State of Oregon, acting by and through The Oregon Commission On Public Broadcasting. On August 6, 1983 KVDO Salem signed off the air, ending 13 years of service to the Willamette Valley. Channel 3 would move to Bend OR. Also in August 1983 Patricia Joy became OPB Director of Radio Programming. By December 1983 Virginia Breen was OPB Operations Coordinator. In mid December 1983 KOAP-TV moved it's antenna to the KPDX tower site on Skyline. (211 N.W. Miller Rd.). On December 22, 1983 at 9AM, KOAB channel 3 Bend signed on the air.

In March 1984 KOAP-FM moved to the KPDX TV tower. KOAP-FM began using a new Harris FM-25K as it's main transmitter and moved the Gates FM20H as backup. A Harris (ERI) six-bay antenna was mounted at 1,560 feet above average terrain. (476 meters). Power increased to 70KW horizontal & 21KW vertical. Also in 1984 licensee named changed to State of Oregon, Oregon Commission On Public Broadcasting. By December 1984 Mike Tondreau was KOAP-FM Chief Engineer & KOAP-FM format was listed as Fine Arts. By October 1985 Elaine Piper was Manager of Golden Hours. On January 23, 1986 KOAB-FM 91.3kHz. Bend OR began operation, carrying OPB Radio programming. By 1986 most OPB Radio programming originated at KOAP-FM. In July 1986 KRBM 90.9kHz. located at Blue Mountain Community College in Pendleton OR, began carrying some OPB Radio programming.

In August 1986 Maynard E. Orme became Executive Director of OPB. Also in 1986 Tom Goldman became OPB Radio News Director. In April 1987 K232CK 94.3kHz. Hood River OR became OPB Radio's first FM translator station. In May 1987 Michael Foley became Manager of Golden Hours. In June 1987 OPB broke ground on the new "OPB Broadcast Center" in the John's Landing area of Portland. Mike Tondreau was now KOAP-FM Director of Engineering. Also in June 1987 OPB Radio moved the KRBM transmitter site from the college to Warren Hill and increased power from 1KW to 25KW. OPB Radio programming also increased on KRBM. On September 1, 1987 KOAP-FM expanded hours of operation 5:00AM to 12:10AM daily. In November 1987 OPB Radio added two new FM translator stations. K220BG 91.9kHz. Lakeview OR & K216BI 91.1kHz. Valley Falls, Plush OR. On December 1, 1987 KOAP-FM's Golden Hours service expanded 5:00AM to 12:10AM daily. Also in December 1987 K210AV 89.9kHz. La Grande OR began operation.

In March 1988 Virginia Breen became Acting Director of Radio Programming for OPB, when Director, Patricia Joy became gravally ill. Also in March 1988 Carolyn Duncan became OPB Radio News Director. News programming was now carried 40 hours weekly. KOAP-FM format was discribed as Classical, New Age & Jazz. In late June 1988 KOAP FM-TV moved studios to the new "OPB Broadcast Center". (7140 S.W. Macadam Ave.). In August 1988 Patricia Joy passed away from a viral brain disease. In October 1988 Virginia Breen became Director of Radio Programming for OPB & Robert McBride became OPB Music Director. In December 1988 K218BA 91.5kHz. John Day OR; K214AQ 90.7kHz. Mount Vernon OR & K211BF 90.1kHz. Burns, Silvies OR began operation.

On February 15, 1989 KOAP FM-TV & OPB announced "A change is in the air at Oregon Public Broadcasting. We've just made a little change that makes big sense: our Portland TV & Radio call letters are now KOPB." Also in February 1989 K212AQ 90.3kHz (Wagontire) Riley, Alkali Lake OR began operation. In June 1989 Brian Thomas became OPB Radio News Director. In July 1989 KOPB-FM began 5 minute NPR Newscasts from 10:01AM to 3:01PM weekdays. Also in July 1989 K218AZ 91.5kHz. The Dalles OR & K218BC 91.5kHz. Baker City OR began operation. In October 1989 K219BG 91.7kHz. Silver Lake OR began operation. In December 1989 Ted Bryant became OPB News Director (formerly KOIN AM-FM-TV N.D.). By February 1990 KOPB-FM slogan: OPB, it's where you belong.

In September 1990 Maynard E. Orme became OPB President & C.E.O. & Virginia Breen was named OPB Vice-President of Radio. Also in September 1990 K217BO 91.3kHz. Halfway OR & K220DA 91.9kHz. Richland OR began operation. On September 27, 1990 KEPB channel 28 Eugene OR began operation carrying OPB programming. In March 1991 K276BU 103.1kHz Corvallis OR began carrying OPB Radio after KIQY 103.7kHz. Lebanon donated the translator station. On August 1, 1991 KOAC began news & information programming 8:00PM to 11:00PM while KOPB-FM continued it Classical music. On April 1, 1993 KOAC news & information programming expanded 11:00AM to 11:00PM.

In June 1993 a new private non-profit corportion was formed for OPB stations. On September 20, 1993 OPB station licenses were transfered to Oregon Public Broadcasting (Maynard E. Orme, C.E.O.). By December 1993 James H. Lewis was OPB Senior Vice-President. In March 1994 K298AC 107.5kHz. Ontario OR began operation. On May 1, 1994 KOPB-FM expanded hours of operation 4:00AM to Midnight weekly. On July 1, 1994 APR Radio Network became PRI, Public Radio International. Also on this date KOPB-FM Golden Hours expanded 4:00AM to Midnight weekdays & 4:00AM to 11:00PM weekends. Some of these hours were also KOPB-FM programming. In August 1994 K289AC 105.7kHz. (Manzanita OR) Nedonna Beach OR began operation. In June 1995 Jerry DeLaunay became Golden Hours Manager. In October 1996 K231AD 94.1kHz. (Pacific City OR) Happy Hollow OR & K218BX 91.5kHz (Salishan OR) Gleneden Beach OR began operation. By December 1996 Debbi Hinton was OPB Senior Radio Vice-President & Morgan Holm, OPB Radio News Director.

On March 5, 1997 OPB's experimental high-definition television station transmitted a random-bit data stream using the FCC's new DTV standard. OPB was the first in Oregon to achieve this. (experimental DTV license issued 9-96). On September 1, 1997 KOPB-FM dropped Classical music except on weekends. KOPB-FM began duplicating KOAC's news & information format. On September 15, 1997 OPB's experimental DTV station was assigned the calls KAXC for UHF channel 35. On October 11, 1997 at 4:37PM KAXC became the first TV station in Oregon and one of the first on the west coast to transmit a high-definition television picture. In September 1998 KOPB-FM's Golden Hours was also offered on SAP (second audio program) on stereo TV's. In January 1999 Golden Hours programming ended over KOPB-FM's SCC.

In May 1999 groundbreaking for the new "Skyline Tower LLC" took place. A joint venture of OPB & KGW. The tower would be 926 feet. In October 2000 KOAP 88.7kHz. Lakeview OR began operation & K220BG went dark. In June & July 2001 KOPB FM-TV moved to the new Skyline Tower. (299 N.W. Skyline Blvd.). KOPB-FM moved it's Harris FM-25K first, with the back up Gates FM20H operating during the move. The Gates would then move and become the back up at the Skyline Tower. The new multi station FM panel "Shively" antenna is at 720 feet, composed of eight-bays, with 3 panels in each bay, attached around the faces of the tower. KOPB-FM increased power to 73KW. On December 7, 2001 KOPB-DT channel 27 Portland began DTV operation. On October 29, 2002 KOAC-DT channel 39 Corvallis began DTV operation. By February 2003 Lynn Clendenin was OPB Radio Program Director. In August 2003 KTVR-FM 90.3kHz. La Grande OR began operation & K210AV went dark. KOPB-FM slogan: This is OPB.

The Broadcasting Yearbook's never listed FM translators. The only publication at the time I knew of was the "FM Atlas" by Bruce F. Elving.

The 1973 2nd Edition listed translators for the first time. Here are Oregon's first translator stations, added to this are later FM Atlas Editions giving the changes. I've also added transmitter sites & ownership when known.

K265AA 100.9 Chemult (KTMT 93.7 Medford) Radio Medford, Inc. Transmitter site: Walker Mtn./1974: changed call & frequency to K276AE 103.1/1990: off the air.

K265AB 100.9 Grants Pass (KTMT 93.7 Medford) Radio Medford, Inc. Transmitter site: Baldy Mtn.?/1983: changed call & frequency to: K276AR 103.1/1988: changed call & frequency to: K221CP 92.1/Still operating, making it the oldest existing Oregon FM translator station.

K280AC 103.9 Portland (KUOW 94.9 Seattle) Transmitter site: The St. Johns Bridge/1977: moved city of license to Vancouver WA. Transmitter site moved to: Portland's Northwest Hills. Began operation between November 6th & 14th 1977. 5AM to 1AM/1984: off the air.

Question: Who was first on the air?

Oregon's oldest FM translator station, still on it's original frequency since 1974. That station is: K265AC 100.9 Klamath Falls (KTMT 93.7 Medford)

On April 30, 1949 KWJJ-FM began operation on 95.5mc with the power of 3,410 watts. KWJJ-FM was owned by KWJJ Broadcast Co., Inc. (Wilbur J. Jerman, President & General Manager). KWJJ calls also stood for Wilbur J. Jerman. Studios were located at 1011 S.W. 6th Ave. in Portland. Transmitter site was located on Healy Heights. KWJJ-FM simulcast it's AM sister. KWJJ-FM operating hours were 3PM to 11PM daily. This was Mr. Jermans 2nd attempt at FM broadcasting. (see KPRA(FM): KWJJ's 1st Sister).

On November 14, 1950 KWJJ-FM discontinued operation at midnight, following the sale of the transmitter site. Like most FM's at the time, KWJJ-FM operated at a loss and sold for approximately half the estimated value. Audience acceptance of the new radio band, had not taken place nationwide as expected. Many FM broadcasters were getting out.

The transmitter site purchasers were Ed Parsons, owner of KVAS Astoria (Clatsop Video Broadcasters), Elroy J. McCaw, owner of out of state radio stations & Jack Keating, owner of a Portland recording studio. The new owners applied for FCC permission to install an experimental television relay transmitter to rebroadcast KING-TV Seattle on channel 3. (Keep in mind, Oregon's 1st television station, KPTV channel 27, would not begin until Sept 20, 1952). The purchase was made following tests of KING-TV reception made via mobile equipment by Mr. Parsons in all sections of Portland. The plan was to apply later for a regular television license. None of this occurred.

On November 16, 1950 KFGR began operation on 1570kc. with the power of 250 watts, daytime only. KFGR was owned by Irving Vincent Schmidtke. He was also General Manager & Chief Engineer. Studios & transmitter were located on Sunset Drive (between 26th & Willamina Aves.). The location at the time, was never assigned a numbered address. KFGR calls stood for Forest Grove Radio.

On December 28, 1953 KFGR became KRWC. Calls stood for Radio Washington County. In 1955 power was raised to 1KW. On January 1, 1958 Reverend F. Demcy Mylar became G.M. On September 10, 1958 KRWC was sold to The Christian Broadcasting Co. (Reverend F. Demcy Mylar, President & Doctor Robert M. Kines) for $50,000. Mr. Schmidtke retained ownership of the studio/transmitter property. Robert W. Ball became G.M. Programming was described as cultural & religious. KRWC call slogan: Keep Right With Christ.

On October 1, 1958 KRWC studios were moved to a mobile unit and placed on property at 2740 Pacific Ave. Mr. Schmidtke was now using the old studios for his other business he had operated at the same time, Smitty's Radio & Television Clinic. On November 8, 1959 KRWC was sold to Triple G Broadcasting Co. (Lester L. Gould, President, Dorothy R. Gould, Leroy A. Garr & Esther L. Plotkin) for $50,000. Patrick W. & wife Jean S. Larkin became Co-General Managers.

On December 1, 1959 KRWC became KGGG. Calls stood for first three owners last names. Slogans: K-triple-G, the voice of the valley. The station with a smile at the top of your dial. In the Fall of 1960, Triple G Broadcasting Co. was transfered to group ownership. Crawford Broadcasting Co. (Doctor Percy Bartininaus Crawford, President) for $65,000. (Company now owns KKSL, KKPZ & KPBC in the Portland area).

On January 1, 1961 KGGG became KWAY. Call stood for Washington And Yamhill counties. Rick Blakely became General Manager & Chief Engineer. Slogan: K-WAY. On June 1, 1963 KWAY was sold to Harold O. Savercool for $37.500. Paul W. Savercool became President & General Manager. The format then changed to Top 40. KWAY slogans: The K-WAY. Top tunes for teens. The golden sound. The better music sound of Washington County. (A put down to KUIK Hillsboro).

In early 1965 Harold O. Savercool became President of K-WAY. R.T. Fletcher became G.M. and the format changed to Country & Western. Slogan: Country K-WAY. On October 31, 1965 KWAY left the air for unknown reasons. The tower still stands as a reminder of Forest Grove's Radio History. The KWAY calls live on in Waverly Iowa.

AIR DATE/CALL LETTERS/M.C./CITY/OTHER INFO. May 7, 46 KGW-FM 95.3 Portland/100.3 on 10-10-47 by Nov 13, 46 KPFM 94.9 Portland/97.1 on 7-31-47 Sept 25, 47 KPRA 95.7 Portland/95.5 on 1-9-48 Oct 12, 47 KUGN-FM 99.1 Eugene Oct 24, 47 KWIL-FM 101.7 Albany Dec 8, 47 KRVM 90.1 Eugene/91.9 by 1956? Apr 25, 48 KGPO 96.9 Grants Pass/AM sister: KUIN June 6, 48 KPOJ-FM 98.7 Portland/98.5 on 3-27-64 Sept 12, 48 KOIN-FM 101.1 Portland Nov 25, 48 KEX-FM 92.3 Portland/KOAP-FM in 1962 Apr 30, 49 KWJJ-FM 95.5 Portland/KPRA in 1947 Dec 19, 50 KTEC 88.1 Oretech/(Klamath Falls) Apr 4, 51 KWAX 88.1 Eugene/91.1 by 1956? Dec 10, 54 KQFM 100.3 Portland/KGW-FM in 1946 May 1, 58 KRRC 89.3 Portland Jan 17, 59 KFMY 97.9 Eugene Jan 25, 59 KEGA 93.1 Springfield/AM sister: KEED Mar 20, 59 KBOY-FM 95.3 Medford by Mar 28, 59 KEED-FM 93.1 Springfield/KEGA in 59 Sept 25, 60 KGMG 95.5 Portland/KXL-FM in 1965 Oct 11, 61 KPDQ-FM 93.7 Portland Apr 22, 62 KWFS-FM 96.1 Eugene Apr 30, 62 KOAP-FM 92.3 Portland/91.5 on 9-26-63 by Sept 3, 62 KBMC 94.5 Eugene July 5, 65 KXL-FM 95.5 Portland/KGMG in 1960 Oct 26, 65 KBVR 90.1 Corvallis

On November 25, 1948 (Thanksgiving Day) KEX-FM began operation on 92.3mc. (trivia: KEX started on Christmas Day 1926). KEX-FM was owned by Westinghouse Radio Stations, Inc. (Walter C. Evans, President). Studios were located at Radio Center (1230 S.W. Main St.) in Portland. KEX-FM's transmitter site was located on Healy Heights (4545 S.W. Council Crest Drive). A Westinghouse unit, employing a four-bay pylon antenna, mounted on a 146 foot self-supporting steel tower. Antenna height: 955 feet above average terrain, with the power of 56.4KW. KEX-FM was Portland's 6th FM station, duplicating it's sister and the ABC Radio schedule (3PM to 9PM daily). One of the first programs heard on this day, episode 1 of The Cinnamon Bear, at 4:45PM. Charles S. Young was General Manager of KEX & KEX-FM.

In 1950 John B. Conley became G.M. In 1952 Joseph E. Baudino became Executive Vice President of Westinghouse Radio. In 1953 the licensee name changed to Westinghouse Broadcasting Co. (Chris J. Whitting, President). In 1955 KEX-FM reduced power to 56KW, also Donald H. McGannon became President. In 1956 Herbert L. Bachman became General Manager. On December 17, 1956 KEX-FM was quietly taken off the air.

On August 5, 1957 KEX-FM was reactivated. A new policy: All Westinghouse FM's would adopt classical formats. KEX-FM was now operating 5PM to Midnight, Monday through Friday. Slogan: You're in tune with Westinghouse, KEX-FM in Portland. On May 1, 1960 KEX-FM & sister moved to new studios at 2130 S.W. 5th Ave. (cost approximately $200.000).

On October 25, 1961 Westinghouse announced plans to donate KEX-FM to the state of Oregon. Westinghouse had previously donated other FM's to educational interests in some of it's markets. KEX-FM's G.M. Herbert L. Bachman originated the idea here. Portland did not have an outlet for Oregon Educational Broadcasting Radio. In fact the City had just seen it's sister television service begin 8 months earlier. (KOAP Channel 10).

On March 15, 1962 the transfer "by deed as gift" to licensee: State of Oregon, Acting by And Through The State Board of Higher Education, was approved. The gift included broadcasting equipment, the transmitter site and KEX-FM's classical music library. A total value of $100,000. Work then began on the new broadcasting studio in the transmitter building at 4545 S.W. Council Crest Drive. On April 8, 1962 KEX-FM left the air and the 92.3 frequency was clear until April 30, 1962 when KOAP-FM began operation,

On October 3, 1934 KSLM began operation on 1370kc, with the power of 100 watts daytime only. KSLM was owned by Oregon Radio, Inc. (Harry B. Read). Studios were located at 345 Court St. in Salem. Transmitter was located one half mile from city limits. KSLM calls stood for SaLeM.

In early 1935 KSLM began night operation.(100 watts day & night). In early 1937 studios were expanded with a new address 343 Court St. On September 26, 1937 KSLM affiliated with the Mutual-Don Lee Broadcasting System. By 1938 KSLM was on the air 7AM to Midnight.

On April 28, 1939 KSLM switched to 1360kc. Power increased to 1kw day, 500 watts night, from it's new studio & transmitter location at 633 N. Front St.(now Front St. N.E.). A 218 foot Wincharger vertical radiator was installed. In 1940 KSLM raised night power to 1kw.

On March 29, 1941 KSLM switched to 1390kc. On March 1, 1944 KSLM was sold to auto dealer Paul V. McElwain & Glenn E. McCormick for $69,000. Mr. McCormick became President of Oregon Radio, Inc. & KSLM G.M. In mid 1944 KSLM moved studios to The Senator Hotel at 519 Court St.

On January 4, 1949 KSLM moved studios & transmitter to a new $100,000 building in Kingwood Heights. (520 West Hills Way N.W.) in West Salem. On September 30, 1953 KSLM was granted a construction permit for KSLM-TV channel 3. (5.5kw visual, 2.75kw aural). The TV station was never built. By October 1953 KSLM's slogan was: Radio Salem. By 1954 KSLM was operating 24 hours.

On May 26, 1959 KSLM raised day power to 5kw. In May 1959 KSLM switched it network affiliation from MBS to ABC. In late 1959 Lou C. McCormick succeeded her husband as President of Oregon Radio, Inc. On May 21, 1963 Mrs. McCormick became 100 percent owner, from 65.4 percent. Mrs. McCormick's new married name was now Lou C. Paulus. By 1964 KSLM was programming an MOR format. On January 1, 1968 KSLM affiliated with the abc Information Network. On February 29, 1968 KSLM switched back to it Mutual affiliation. On July 3, 1970 KSLM-FM began operation, simulcasting it's sister.

On October 30, 1977 KSLM was sold to Holiday Radio, Inc. for $684,000. Price included KORI(FM). Owners were Terry McRight, James B. Franklin & W.P. Buckthal. In 1980 KSLM added a CBS affiliation. In 1981 Mutual was dropped again. In 1982 KSLM switched to an AC format. Slogan: Holiday Radio, Salem's first station. (not true, see archive "Portland Station Becomes Salem's First".)

In March 1986 KSLM was sold to Ronette Communications of Oregon, Inc. for $1.2 Million. Price included KSKD(FM). Owners were Carl Como Tutera, Ron Samuels, Norman Drubner 50 percent & The Daytona Group of Oregon, Inc. 50 percent. In the Summer of 1986 KSLM switched to an Oldies format.

On July 26, 1988 KSLM was sold to 1010 Broadcasting, Inc. (John E. Grant) for $215.000. On April 6, 1992 KSLM was sold to K-Salem Communications (Greg Fabos) for $151,000. In February 1994 KSLM switched to SMN's satellite delivered "Kool Gold" oldies format.

In late 1994 KSLM was sold to Willamette Broadcasting, owners of KYKN Keizer OR. Willamette had 9 months to find KSLM a new transmitter site. The current site was now prime real state and the land lease was going to expire soon. By the Summer of 1995 Willamette was still looking, but time had run out. KSLM went dark.

In 1996 KSLM was granted a construction permit for 1660khz. in the new Expanded AM Band, which it still holds. In early 1997 KSLM returned to the air. Studios were now located with sister KYKN at 4205 Cherry Ave. N.E. in Keizer. Transmitter was now located in North Salem.

On October 22, 1998 KSLM was sold to Entercom Portland License LLC (Entercom Communications Corp.) for $605.000. Shortly after the sale, KSLM began simulcasting KFXX Vancouver WA from studios at 0700 S.W. Bancroft St. in Portland OR. Slogan: Sports Radio 910, The Fan.

MORE TO COME!!!

On May 9, 1922 KDYQ began operation on 485 Meters (618kc). It was Oregon's first school station. KDYQ was owned by Oregon Institute of Technology (a different school than the existing in Klamath Falls). Studio & transmitter were located at 6th & Taylor St. in Portland. The school also held experimental license 7YG. KDYQ's slogan was: The radio school. Programs included: weather reports, market & stock information, news bulletins & radio club broadcasts. On Nov 6, 1922 KDYQ moved to 360 Meters (833kc). In 1923 KDYQ operated 3 hours a day. On Jan 23, 1925 KDYQ ceased broadcasting during the school's move to a new location. This move would take several months. The Radio Division refused to grant a new license to replace the now expired permit. The school then reverted to it's experimental license 7YG, since changed to amateur license status, now W7YG. On Feb 7, 1929 W7YG was discontinued when the school was terminated.

On March 27, 1922 KGG began operation on 360 Meters(833kc). It was Oregon's 2nd commercially licensed station. KGG was owned by: Hallock & Watson Radio Service.(radio set dealers: Joseph H. Hallock & Cliff H. Watson). Studio & transmitter were located at: 192 Park St. in Portland. KGG calls stood for: King GeorGe.(reigning King of England). Hallock & Watson Radio Service also held experimental calls 7XI for other broadcasting purposes. KGG slogan was: Halowatt.(a play on Hallock & Watson's last names). KGG was KGW's chief news competition. On Sept 29, 1922 KGG opened an additional studio in "The Oregon Journal" Newspaper Building. KGW was located in "The Oregonian" Building. By 1923 KGG was using the slogan "The Rose City". Additional progammming consisted of new phonograph recordings, radio instruction & lectures. By 1924 KGW dominated Portland airwaves with it's separate frequency, no longer needing to share time with five other broadcasters on 833kc. On May 31, 1924 KGG threw in the towel and ended broadcasting

KFFO began operation on March 23, 1923 and broadcast on 360 Meters(833kc). Studio & transmitter were located at the corner of East Main St. & 2nd Ave.(address unknown). KFFO was owned by Dr. E. H. Smith, M.D.D.O., Physican & Surgeon (Osteopath). His practice was also at the same cross streets.(206 East Main St., 2nd floor of The Hillsboro National Bank Building). KFFO could have been in the same offices, or in other office space in the building. The station probably didn't interfere with his medical practice, since his allocated time to broadcast was 6 to 7PM daily & 9 to 10PM Fridays.(time assignments made by a Portland radio board). Programming was very typical of the period, consisting of concerts, vocalists, news, weather & market reports. In May 1923 KFFO moved to 1310kc. On March 12, 1924, just 11 days before KFFO's 1st anniversary, it was taken off the air. Dr. Smith elected to withdraw from active broadcasting at this time.

On February 11, 1927 KWBS began operation on 1490kc. with the power of 10 watts. KWBS was owned by Schaeffer Radio Co. KWBS calls stood for William B. Schaeffer.(He also owned Schaeffer Radio Manufacturing Co.). Studio & transmitter were located at 226 S.E. 14th St. in Portland. KWBS played mostly phonograph recordings.

On March 1, 1927 KWBS raised power to 50 watts. On June 15, 1927 KWBS switched to 1500kc. KWBS call slogan: Know, Watch, Boost, Serve.

On May 7, 1928 studio & transmitter were moved to the Francis Motor Car Co. Building (405 S.E. Hawthorne Ave., corner of S.E. Grand Ave.). The studio was on the Mezzanine floor. Power was also increased to 100 watts on this date.

On August 28, 1929 KWBS became KVEP and licensee name changed to Schaeffer Broadcasting Co. KVEP call slogan: The Voice of East Portland.

In November 1929 after the Depression hit in late October, KVEP became unprofitable. Mr. Schaeffer then entered into a contract to transfer control of the station to Robert Gordon Duncan. KVEP was taken over for the purpose of airing Mr. Duncan's viewpoints and to turn a profit. Mr. Duncan known as "The Oregon Wildcat" reportedly kept a gun at his desk while broadcasting. He used profanity to underscore his attacks on Sears & Robuck and other chain stores, along with "Merrill-Lynch and the rest of the banking gang."

KVEP shared time on 1500kc with other area broadcasters including KUJ Longview(now Walla Walla). Mr. Duncan refused to honor the time division agreements. Letters flooded the Federal Radio Commission.

On May 29, 1930 the FRC denied KVEP's license renewal. On May 30, 1930 KVEP left the air. Mr. Duncan attempted to air KVEP under temporary authorization in June 1930, pending a final decision by the courts. In July 1930 KVEP's equipment was attached by creditors, ending any comeback. On September 15, 1930 KVEP's license was canceled. Mr. Duncan's courtroom plea unsuccessful.

On October 10, 1930 Robert Gordon Duncan was found guilty of violating the Radio Act of 1927. Several violations were specified, but "indecent and profane language" was the cited offense that sent Mr. Duncan to County Jail for 6 months, with a $500 fine. Mr. Duncan holds the distinction of being the first individual in U.S. History ever to be convicted and serve a Federal Sentence for public broadcast

On Oct 7, 1922 Oregon Agricultural College's new broadcasting apparatus initiated it's first test program, an O.A.C Football Game, on 360 Meters(833kc). Other test programs proceeded in the weeks that followed. On Dec 7, 1922 O.A.C. College was assigned the government call sequence KFDJ and officially began operation on this date. It should be noted that even though the station was in Corvallis, Portland Newspapers always listed it's special programs for this areas listeners. Jacob Jordan was Chief Operator and also built the apparatus. Studio & transmitter were located at the Physics Department. In Nov 1924 KFDJ shifted to 1180kc. On Oct 2, 1925 KFDJ moved it's studio to the Admnistration Building. The transmitter & antenna, two self-supported 45 foot towers were installed on the roof of Apperson Hall. On Nov 4, 1925 KFDJ shifted to 1060kc. On Nov 11, 1925 KFDJ moved it's studio to a suite used by the College Music Department. On Dec 21, 1925 KFDJ became the first station in Oregon to change it's call letters. The government was now granting stations, if desired specific calls, symbolizing a name or slogan initialled in the call letters. KOAC, for: Oregon Agricultural College. Now Oregon's oldest existing calls on radio. Also on this date the station shifted to 1070kc. In early 1927 O.A.C. College became Oregon State Agricultural College. KOAC's license reflected this change. On June 15, 1927, the first major national frequency reallocation took pace by the new Federal Radio Commission(FRC took control 4-24-27), moving KOAC to 1110kc. By now KOAC was using the slogan: Science for service. On Nov 11, 1928 another major national frequency reallocation. KOAC was shifted to 560kc. On Nov 19, 1928 KOAC moved it's transmitter to the new Physics Building. Two 95 foot towers were placed atop the structure. On Dec 6, 1928 KOAC was shifted to 570kc. due to interference with other stations on 560kc. In early 1929 KOAC moved it's studio to the third floor of the Physics Building. On Oct 1, 1929 KOAC shifted to 550kc. In late 1938 KOAC's license was transfered to a new entity: The Oregon State System of Higher Education. In July 1942 KOAC moved it's transmitter site to Granger OR, five miles N.E. of Corvallis on U.S. 20(The Albany-Corvallis Hwy). A two tower directional antenna system was installed. On April 17, 1956 Oregon State Agricultural College became Oregon State College. In early 1961 studios were moved to 203 Covell Hall. On March 6, 1961 O.S.C became Oregon State University. In 1962 KOAC's license name changed to State of Oregon, Acting By & Through The State Board of Higher Education. KOAC's slogan: Oregon educational broadcasting radio. In 1971 KOAC became a member of NPR. Slogan: This is OEPBS, Oregon Educational & Public Broadcasting Service. By 1973 KOAC was broadcasting Classical & Jazz Music, in addition to educational features. In 1982 KOAC's license name changed to State of Oregon, Acting By & Through The Commission On Public Broadcasting. By 1986 most OPB programming was coming from sister KOAP-FM Portland. Slogan: Oregon Public Broadcasting Radio. In 1987 studios moved to 239 Covell Hall. In 1991 talk programming was added. On Sept 20, 1993 KOAC's license changed to Oregon Public Broadcasting. KOAC slogan: This is the news & information service of Oregon Public Broadcasting. 1996 OPB slogan: You're with OPB Radio. The contributors supported radio stations of Oregon Public Broadcasting, It's where you belong.

KOAC started with 50 watts. Late 1924 100 watts. Oct 2, 1925 500 watts. Dec 1928 1kw. July 1942 5kw day, 1kw night, both directional. Early 1947 night power raised to 5kw directional.

On November 9, 1925 KQP began operation at 8PM on the temporary assignment of 1210kc. The frequency was shared by Meier & Frank's KFEC & Benson Polytechnic's KFIF. KQP was owned & built by H.B. Read (Harry Read). Studio was located at The Portland Hotel (room 544, 167 6th St., now: 721 S.W. 6th Ave.) in Portland. The KQP Calls were originally sequentially assigned to The Blue Diamond Electric Co. in Hood River OR on April 12, 1922. KQP began operation on 360 Meters (833kc.) May 24, 1922. On March 5, 1923 KQP was sold to The Apple City Radio Club, Inc. (Harry Read, KQP Operator). In July 1925 licensee name changed to H.B. Read. On October 18, 1925 KQP was granted an application to move to Portland OR.

The transmitter site was located at Sylvan OR on Mt. Calvary Hill (north side of Washington St., now Barnes Rd., from current lower south side location). KQP operated with 500 watts. The antenna was different from any other Portland station. Held by a 120 foot wooden mast, the device had 16 wires forming a loop, with 4 to each guy, held in a vertical umbrella shape by 4 guy wires. The lead-in came direct from these to the transmitter house. The counter-poise was of the wagon-wheel type, with 8 sides surrounded by a wire which acted as part of the counter-poise. KQP was the first station north of San Francisco (KGO) to broadcast it's programs by remote control. Ivan R. Gilbert was KQP's Operator. The station was managed on a strict commercial bases.

On November 17, 1925 KQP switched to the temporary assignment of 1410kc. and began sharing time with Wilbur J. Jerman's KFWV. Between December 3, 1925 & January 15, 1926 KQP increased power to 1KW, making it the most powerful station in Oregon, for the moment. On December 10, 1925 KQP switched to 1300kc. By mid December 1925 KQP broadcast: 2PM to 3:30PM Monday through Saturday, 6PM to 9PM Monday, 5PM to 5:30PM Tuesday, 8PM to 9PM Tuesday & Wednesday, 8PM to Midnight Thursday, 8PM to 10PM Sunday. On January 1, 1926 KQP switched back to the temporary assignment of 1410kc. with KFWV. On February 4, 1926 KQP switched and settled on 940kc.

On February 7, 1926 KQP began leasing all it's air time to "The Portland News" newspaper. Charles W. Myers, The Portland News Business Manager over saw affairs at KQP. Slogan: KQP & The Portland News. On March 1, 1926 KQP was sold to Northwestern Trust Co. (J.B. Eakin, President, Jay Stockman, Secretary-Treasurer) for $2,400. Dolph Thomas became Station Director. Then on March 11, 1926 Harry B. Read announced "he had been swindled by Mr. Stockman" and that the new owners of KQP "were an unsavory group". The Portland News discontinued it's association with KQP. On March 15, 1926 Mr. Read re-acquired KQP from Northwestern Trust Co. as KQP, Inc. with financial help from The Portland News.

On March 25, 1926 KQP left the air when Mr. Read sold his now minority interest in KQP to Hallock & Watson Radio Corp. (Joseph H. Hallock & Cliffton H. Watson, radio engineers & former owners of KGG Portland, now dark). On March 27, 1926 KQP, Inc. requested new Calls from The Radio Division stating "that KQP suffered from a bad reputation while in the hands of it's former operators". On April 6, 1926 The Radio Division granted the requested calls KOIN.

On April 12, 1926 KOIN began operation at 3PM. Call meaning: Know Oregon's Independent Newspaper. (The Portland News motto minus "Know"). Dolph Thomas, Studio Director & Manager, also "The Voice of KOIN". Slogan: The Portland News-Halowat Broadcasting Station. (Halowat: a play on owners Hallock & Watson last names). KOIN broadcast: 3PM to 4PM & 8PM to 10PM Monday through Friday, 7:50PM to 9PM Sunday. By June 1926 KOIN began using it's Call meaning as it's slogan. On June 21, 1926 KOIN moved studios to the basement of The Heathman Hotel (355 Salmon St., now: 731 S.W. Salmon St.). Also by this time "The KOIN Orchestra" had begun, Conducted by Mischa Pelz. In August 1926 licensee name changed to KOIN, Inc.

Also in August 1926 The Radio Division changed KOIN's community of license to Sylvan OR, it's transmitter location. On October 17, 1926 KOIN began two tower operation. One tower was 100 feet, the other, 110 feet with an additional 20 foot mast on top of each. The upper mast was guyed with wires to the main structure by a self supporting system. Justification for one taller tower was because Mt. Calvary Hill was not flat at it's crest. On November 8, 1926 KOIN, Inc. became wholly owned by The Portland News (The News Publishing, Harry W. Ely, President, group owner: Scripps Newspapers). Cliffton H. Watson stayed on as KOIN's Chief Engineer. By mid 1927 KOIN's slogan: The station of the hour.

On December 17, 1927 KOIN moved studios to the mezzanine floor of The New Heathman Hotel (344 Salmon St., 1933: 712 S.W. Salmon St., 1980: 1001 S.W. Broadway). On November 4, 1928 Art Kirkham joined KOIN as an announcer. By November 1928 KOIN slogan: The Portland News Station. In 1929 Red Dunning joined The KOIN Orchestra as Assistant Director. By July 1929 KOIN broadcast: 9AM to 2PM & 3PM to 5PM Monday through Saturday, 6PM to Midnight Monday, Wednesday, Friday & Saturday, 6PM to 11PM Tuesday & Thursday, Noon to 1PM, 1:30PM to 2:30PM & 6PM to 10PM Sunday. On September 1, 1929 KOIN became a charter member affiliate of "The Don Lee-Columbia Network", CBS's new western chain. (KEX lost CBS when KEX group owner ABC Western Network, carrier of CBS folded).

On November 10, 1929 KOIN carried it's first program from The Don Lee Broadcasting System. (same land lines as CBS). By December 1929 C. Roy Hunt was Vice-President & General Manager of KOIN, Inc. In 1930 Joseph Sampietro took over Conducting The KOIN Orchestra. By June 1930 the FRC had moved KOIN's community of license back to Portland OR. On December 8, 1930 the popular "Koin Klock" program debuted. This could have been the first time the call slogan was used (Coin). By December 1930 Bruce Fichtl was Assistant General Manager.

On February 28, 1931 KOIN was sold to KOIN, Inc.(The Journal Publishing Co., owner of The Oregon Journal newspaper 30%, Charles W. Myers, President, formally of The Portland News with KQP, Simeon R. Winch, Vice-President, C. Roy Hunt, Treasurer & continuing G.M.). Slogan: KOIN, The Journal. On November 20, 1932 KOIN raised daytime power to 5KW from it's new 10 acre transmitter site on the south side of Barnes Rd., referred to as Barnes Hill, corner of Jones Rd. (now S.W. Skyline Blvd.) 5516 S.W. Barnes Rd. Ground breaking for the two story transmitter building on 10-3-32. Building 35x56, transmitter room 20x30, generator room 12x22, heating room 10x12, garage 12x18, shower & locker room 12x12, night duty apartment 12x34. The entire building was metal shielded with all steel work grounded.

The transmitter building was midway between two 300 foot steel towers, 600 feet apart. The ground system for the new plant was of the "radial" type, a copper circle 400 feet in diameter. The "spokes" were the equivalent of 30 miles of 2 inch width No. 12 copper wire. They were buried to a minimum of 4 feet. This was further grounded by the sinking of copper ground rodes 8 feet long, thus obtaining a permanent ground to the depth of 12 feet. Ground system & building plans by KOIN Chief Engineer, Victor S. Carson. The facility cost $50,000. On November 3, 1933 Koin began sharing The Don Lee-Columbia Network with sister Kale. By May 1935 KOIN broadcast: 6:30AM to Midnight Monday through Saturday & 8AM to Midnight Sunday.

On December 29, 1936 The Don Lee-Columbia Network became The Columbia Pacific Network, when the Don Lee liaison with CBS ended. KOIN continued to be a Don Lee Broadcasting System affiliate until January 31, 1937. On September 9, 1937 KOIN again became the exclusive Portland CBS affiliate. On May 4, 1938 Koin reverted to a new single Ideco steel 540 foot vertical radiator at it's Barnes Hill site. $20,000. for additional acreage & grading. Another $20,000. for the tower & contruction. By 1940 Johnny L. Carpenter was Sports Director By April 1940 Les Haplin was News Editor (Director). On August 11, 1940 KOIN added an additional 540 foot Ideco tower and raised night power to 5KW directional. Louis S. Bookwalter, Chief Engineer.

On March 29, 1941 KOIN switched to 970kc. In 1942 C. Roy Hunt KOIN G.M., Treasurer & part owner died. Later in 1942 Charles W. Myers KOIN President took on G.M. dutes as well. Clyde E. Phillips became Treasurer. In 1944 Red Dunning became KOIN Orchestra Director. By May 1945 Koin was operating 24 hours Tuesday through Sunday, Midnight to 1AM & 6AM to Midnight Mondays. (swing shift war hours). On March 30, 1946 KOIN was sold to satisfy the FCC's duopoly ruling to KOIN, Inc. (group owner: Field Enterprises, Inc., Marshall Field III, President) for $1,045,000. Harry H. Buckendahl became Vice-President & General Manager for the next 22 years.

On January 22, 1952 KOIN was sold to Mount Hood Radio & Television Broadcasting Corp. (Ted R. Gamble, President, C. Howard Lane, Vice-President, Edward G. Burke, Jr., Sherrill C. Corwin & Ralph E. Stolkin) for $700,000. (price included FM sister). Koin slogan: The best in radio everyday. On June 9, 1954 Samuel I. & wife Mitzi E. Newhouse bought 50% in KOIN-AM-FM-TV for $556,000. (They also owned The Oregonian & Oregon Journal newspapers). In 1955 KOIN-AM-FM moved studios to 140 S.W. Columbia St. (KOIN-TV location since sign on 10-15-53). By October 1955 Koin's slogan was: Portland's liveliest station. By November 1955 KOIN broadcast: 6AM to Midnight weekly. By September 1957 slogan was: Koin 970.

In 1960 Ted R. Gamble KOIN President & part owner died. Later in 1960 C. Howard Lane, became President & Harry H. Buckendahl became V.P. once again as well as G.M. By this time Koin's music was described as MOR. Slogan: The best sounds in music. By September 1963 KOIN's slogan: The Pacific Northwest's showmanship station. By May 1965 Koin broadcast: 5:30AM to Midnight Monday through Saturday, 7AM to Midnight Sunday. By October 1965 Koin's slogan was: The community station for the new Portland. By October 1967 John Armstrong was News Director. In 1968 Fred McKinney was named KOIN Orchestra Director after Red Dunning retired. In January 1969 Andrew E. Jacobs became G.M. On October 16, 1970 KOIN broadcast the opening game for the new Portland Trail Blazers. (Bill Schonely did play by play). By January 1972 Koin's format was listed as "popular jazz music".

On August 25, 1972 the program "Koin Klock" left the air after 41 years. A victim of demographics. On the last program KOIN mainstays: Art Kirkham, Johnny Carpenter & Red Dunning with Clint Gruber, Ivan Jones, Blain Hanks & Bob Henderson. A day later another Koin classic ceased. The KOIN Orchestra, the only surviving daily live radio studio orchestra west of the Mississippi ended after 46 years. The KOIN Orchestra consisted of Jack Lenard, Kash Duncan, Bob Douglas, Harry Gillgam & Fred McKinney, Director. The KOIN format was then changed to popular contemporary. Slogans: Koin's flipped. Radio 97. In April 1973 Richard J. Butterfield became G.M. By September 1973 Ted Bryant was News Director. In 1976 KOIN slogan: 97 Koin.

On May 1, 1977 KOIN was sold to Gaylord Broadcasting Co. (Edward L. Gaylord, President, Lee Allen Smith, Vice-President) for $1 1/2 Million. (price included FM sister). Tom S. Reddell, G.M., Bob Beran, News Director. On May 2, 1977 Portland radio's longest network affiliation ended after 48 years. KOIN began the transfer of CBS programs to KYXI, becoming independent by 5-12-77. On May 12, 1977 KOIN became KYTE (first call change in 51 years). Call slogan: 97 Kite. Format changed to what was described as contemporary music, geared to listeners 18 to 49. KYTE broadcast 24 hours. In July 1979 Verl Wheeler became G.M. On September 4, 1979 KYTE switched to a Country format, formally on FM sister. Slogan: 97 Country.

In 1980 KYTE moved studios to 2040 S.W. 1st Ave. In March 1981 Crawford P. Rice became President of Gaylord. On April 1, 1983 KYTE was sold to Charlton H. Buckley, Inc. for $3,750,000. (price included FM sister). Format changed to Al Hams "Music of Your Life". KYTE slogan: Everyday it's more of your all time favorites. Also in 1983 licensee name changed to Henry Broadcasting Co. & Robert C. Fauser became G.M. In 1984 Mr. Fauser became President & General Manager. In 1985 KYTE changed to an Easy Listening format. In November 1986 Greg W. Reed became Vice-President & Steve Feder became G.M. In November 1987 Mr. Reed became G.M. as well as V.P. In 1988 Robert Scherner became G.M.

On January 28, 1989 KYTE switched to a Classical format, formally on it's FM sister. Slogan: This is Classical 970. In 1990 KYTE began broadcasting in AM stereo. (Motorola C-QUAM). On May 4, 1990 KYTE became KESI. Call slogan Easy 970. Format switched back to Easy Listening. KESI slogan: Playing a variety of your relaxing favorites. Also in 1990 Jeff Salgo became Vice-President & General Manager. On May 1, 1991 KESI became KBBT. Call slogan: 970, The Beat. Format switched to Alternative Rock. KBBT slogans: The beat of the 90's. The way rock & roll was meant to be heard, squeezed down and blasted through some crappy AM radio. In April 1992 David McDonald became Vice-President & General Manager.

On August 1, 1996 KBBT was sold to American Radio Systems License Corp. (group owner: American Radio Systems). On October 15, 1996 KBBT (moved to 107.5Mhz.) became KUPL. Call meaning from new FM sister Couple. (note: calls were originally used on 1330Khz. 1976 to 1995). Format switched to Traditional Country. KUPL slogan: Strait Country 970, we're playin' more than 30 years of favorites. On November 13, 1998 KUPL was sold to CBS Radio License, Inc. (group owner: Infinity Broadcasting Corp.). By January 1999 KUPL slogan: Classic Hit Country. On January 23, 2001 KUPL switched to an Oldies format. Slogan: AM 970, Cruisin' Oldies. Also in 2001 Mark Whalen became G.M.

On August 1, 2001 KUPL became KUFO. (calls copied from original FM sister). Call meaning: Unidentified Flying Object. Format switched to Talk. KUFO slogan: Extreme talk 970, the talk that rocks. KUFO carries programming from it's own "Infinity Broadcasting" network originating stations.

On June 24, 1924 KFQN began operation on 1060kc. KFQN was owned by the Third Baptist Church. Studio & transmitter were located at the Church: 108 North Knott St.(corner of N. Vancouver Ave. & N. Knott) in Portland. Reverend W. Arnold Bennett was Pastor. The apparatus was the old KGG, formally 7XN (Oregon's 4th broadcasting station). KFQN broadcast: Wednesdays & Fridays 8:00PM to 9:00PM & Sundays 9:45AM to 10:30AM & 9:00PM to 10:00PM. Due to the irregular schedule, the license renewal was denied March 19, 1925. The Radio Division was now in the process of weeding out those stations not broadcasting daily, now that many stations had their own frequencies.

In early 1923, radio club students from Benson Polytechnic Institute spotted a radio apparatus "For Sale" in the Stubbs Electric store window located at 75 S.E. 6th Ave.(corner of 6th & Oak Sts.). Stubbs was also home to KQY at the time. The apparatus for sale was KYG, formally 7XG (Oregon's 2nd broadcasting station). Schools & colleges were getting into broadcasting across the country. This was a cost efficient way to do it. The students talked Benson faculty into purchasing the year old equipment. Next the radio club applied for a commercial license and requested the Bureau of Navigation's Radio Division to transfer the KYG calls to Benson. The Bureau had stopped assigning 3 letter calls in May of 1922. Already those early calls were being coveted.(The Bureau in Nov. 1926 would start issuing more). The request was denied. The KYG license had already been cancelled and the Calls deleted November 7, 1922. On March 23, 1923 the Bureau issued a license to Benson Polytechnic Institute bearing the sequentially-assigned calls KFIF for 360 Meters(833kc). It should be noted that Benson uses this date as it's first broadcast.(The date appeared on the first license). KFIF actually began operation May 4, 1923. Studio & transmitter were located at the School, 546 N.E. 12th Ave. in Portland. Benson also held experimental calls 7XAD for other broadcasting purposes. On (or about) November 23, 1923 KFIF moved to 1210kc. On (or about) November 10, 1926 KFIF switched to 1190kc. On June 15, 1927 the new Federal Radio Commission assigned KFIF 1400kc. On March 1, 1928 the FRC moved KFIF to 1310kc. On November 11, 1928 KFIF switched to 1420kc. In the fall of 1929 KFIF's licensee name changed to Benson Polytechnic School. On March 17, 1930 KFIF became KBPS, signifying the School name. By mid 1938 KBPS broadcast weekdays 11:AM to 12:30PM & 3:PM to 5:PM.(silent during summers). On March 29, 1941 Tne NARBA Treaty was implemented in North America at 3:AM EST. KBPS was assigned 1450kc. Later in 1941 a self-supported vertical radiating antenna tower was installed. By 1951 KBPS operated 10:AM to 9:PM daily, except summers. KBPS slogan was: Voice of the Portland Public Schools. In 1954 KBPS licensee name changed to Portland Public Schools; Benson Polytechnic School. On March 19, 1959 the license was changed back to Benson Polytechnic School. KBPS slogan in the 1960's was previously mentioned with: Be a friend, turn us on. In 1973 KBPS joined NPR. In 1982 KBPS licensee name changed to School District No. 1. In 1991 KBPS moved studios to 515 N.E. 15th Ave. In October 1994, as a way to raise money for operating KBPS, Benson made an agreement with Portland State University to share time on KBPS under the non-licensed calls KPSU. Studios are located at 1825 S.W. Broadway, in the Smith Memorial Center, sub basement. KPSU first slogan: 1450 AM, Portland State University Radio. KBPS slogan: Portland Public Radio

On December 13, 1926 KXL began operation on 750kc. with the power of 50 watts. KXL was owned by KXL Broadcasters, Inc. Studios were located on the top floor of the Mallory Hotel, with transmitter on roof.(171 Lownsdale St., now 729 S.W. 15th Ave.) in Portland.

On February 17, 1927 KXL switched to 770kc. In May 1927 KXL was inspected by the newly empowered Federal Radio Commission. In a report, it was noted that the station was a "very haywire operation". KXL was then re-assigned to the lower class frequency of 1360kc. on June 15, 1927.

On September 26, 1927 KXL studios & transmitter were moved to the Bedell Building, 7th floor studios.(130 S.W. 6th Ave., 6th & Alder). KXL slogan: The Voice of Portland. In April 1928 power was increased to 100 watts. On November 1, 1928 KXL switched to 1250kc. & power increased to 500 watts..

In October 1929 The Federal Radio Commission conducted a license renewal hearing for KXL. In the FRC ruling, KXL was reduced to 100 watts & forced to share time with the Benson Polytechnic School Station KFIF on 1420kc. This went into effect on November 1, 1929.

On November 5, 1930 KXL became a UBC affiliate. On April 1, 1931 UBC folded. In early 1935 KXL increased day power to 250 watts. In late 1937 KXL studios moved to the KXL Building (1101 S.W. Washington St.). In late 1939 night power was increased to 250 watts. On March 29, 1941 KXL & KBPS were switched to 1450kc.

On October 12, 1941 seventeen years after KXL's debut on 750kc., the station returned. Power was increased to 10KW., sunrise to sunset & limited night hours when WSB Atlanta was off air. KXL's transmitter site was now located at Harmony OR. A new multi-tower directional array was activated on this date. KXL's new slogan: Oregon's Most Powerful Radio Station.(it was for the moment). In 1942 studios were moved to the 5th floor of the Orpheum Building.(743 S.W. Broadway).

On January 4, 1947 KXL Broadcasters, Inc. started the XL Group of stations. Those changing their calls on this date were: KXLE Ellensburg WA KXLF Butte MT KXLJ Helena MT KXLK Great Falls MT KXLL Missoula MT KXLO Lewiston MT KXLQ Bozeman MT KXLY Spokane WA

In 1953 KXL studios were moved to it's transmitter site.(6735 S.E. 82nd Ave.). On November 7, 1955 KXL Broadcasters, Inc. was sold to Mount Rainer Radio & TV Broadcasting Corp.(Lester M. Smith and Lincoln & Sylvia Deller) for $450,000. Mr. Smith also became G.M.

On June 7, 1958 KXL was sold to Sinatra Radio & Essex Productions, Inc.(entertainer Frank Sinatra & wife Nancy) for 2 Million.(included KJR Seattle). KXL was programming a top 40 format at this time. Slogans: Listening's swell on KXL. The nifty 750.

In early 1959 the licensee name changed to Seattle, Portland & Spokane Radio, Inc.(KJR-KXL-KNEW). On January 4, 1961 KXL increased power to 50KW.(directional single-pattern, limited night operation to WSB Atlanta). KXL slogans: Refreshing Radio. Aisle 750.

On October 14, 1964 KXL was sold by Mr. & Mrs. Frank Sinatra to entertainer Danny Kaye & wife Sylvia and Lester M. Smith for $700,000. KXL was programming a "Good Music" format at this time. Slogan: Better Music. In 1970 KXL joined the abc Information Network. On June 29, 1972 the licensee name changed to Kaye-Smith Enterprises. In January 1973 KXL dropped it abc affiliation.

On October 14, 1975 KXL was granted pre-sunrise authority of 500 watts.(6AM & local sunset). In 1977 studios were moved to 1415 S.E. Ankeny St. In 1980 KXL dropped it Easy Listening format and switched to News/Talk. Slogan: News Radio 75. On June 1, 1981 KXL joined the NBC Radio Network. On February 1, 1982 KXL began carrying NBC's TalkNet schedule.

On May 13, 1982 Lester M. Smith bought all of Mr. & Mrs. Danny Kaye's stock in KXL. Kaye-Smith Enterprises became Alexander Broadcasting Co. In March 1984 KXL began 10KW night operation.(directional single pattern all hours). KXL slogan: Portland's News Authority.

On August 16, 1988 KXL was given permission to raise night power to 20KW.(2 pattern directional, for day & for night). In 1989 KXL joined the CBS Radio Network. In 1992 KXL dropped it's NBC affiliation. KXL slogans: News Radio 750, When You Need To Know. The Northwest Spells News K-X-L.

On December 25, 1926 KEX began operation on 670kc. with the power of 2.5KW. KEX was owned by Western Broadcasting Co.(Northwest Radio Supply Co. of Seattle with KJR(now KOMO) Vincent I. Kraft). Studios were located at 201 Terminal Sales Building (446 S.W. Morrison St.) in Portland. Transmitter was located at East Glisan & Buckley Ave.(now S.E. Glisan & 122nd Ave.). The Towers: Two masts were of braced steel construction, with a base of about 18 feet, tapering to the top, which was 225 feet above the base. The masts were approximately 300 feet apart, with the transmitter building midway between. The lead to the aeriel took off out of the top of the building and led to the center of the aerial wire. KEX was built at a cost of $35.000. KEX slogans: Oregon's most powerful station. A public service necessity.

KEX as the first broadcaster in Oregon to be owned by a company not based in it's home town. This caused problums. Advertisers stayed away, but this was not the only reason. KEX was reduced to broadcasting only a few hours a day. Just days after the newly empowered Federal Radio Commission took control on April 24, 1927. KEX was one of the first stations to be inspected. The FRC had already received complaints from listeners & WMAQ. The complaints were that KEX was spilling it's signal onto other local & outlying station frequencies.(transmitter was not crystal controlled). Plus KEX's signal was interfering with WMAQ, a 5KW station on 670kc. from Chicago. KEX was reported averaging 3KW, but suspicion was the the station was utilizing it's full 20KW capability at times.

On May 5, 1927 KEX as re-assigned to the lower class frequency of 1240kc. On June 15, 1927 KEX was moved to 1250kc. On March 1, 1928 KEX switched to 1080kc. On October 3, 1928 KEX began carrying programs from the ABC Northwest Chain, based at sister KJR Seattle. On October 7, 1928 KEX carried it's first CBS Chain program, over the ABC Chain. On November 11, 1928 KEX switched to 1180kc. and doubled power to 5KW. The transmitter was now crystal controlled. Night broadcasts were divided with KOB State College NM.

On August 25, 1929 the now known ABC Western Chain folded. On September 1, 1929 KEX lost it CBS Chain affilation to KOIN. On December 22, 1929 KEX began carrying programs from the new NBS Chain, based at KJR. On Febraury 29, 1931 KEX also affiliated with the UBC Chain. On April 1, 1931 UBC folded.

On October 16, 1931 it was announced that KEX's Western Broadcasting Co., owned now by the Northwest Broadcasting Co. of Seattle with KJR, was now a subsidiary of the National Broadcasting Co.(NBC). On October 18, 1931 KEX carried the inaugural of the new NBC Pacific "Gold" Network.

On August 25, 1933 KEX as sold to the Oregonian Publishing Co., owners of KGW. In 1934 KEX moved studios to 801 Oregonian Building (537 S.W. 6th Ave. with KGW). In 1935 KEX's transmitter site moved to North Portland, off N. Denver Ave.(Pacific Hwy.) using a 300 foot tower.(KGW would move to this site in 1938).

On March 12, 1936 the NBC Pacific "Gold" Network became part of the NBC Blue Network. On November 29, 1939 KEX switched to 1160kc. KEX slogan: Your friendly Blue Network station.

On March 29, 1941 KEX moved to 1190kc. In September 1943 a studio fire at the combined KEX-KGW Studios forced a move to the home of KWJJ at 1011 S.W. 6th Ave. This was never covered in any newspaper, probably because of wartime.

On December 28, 1944 as a result of the FCC's new duoploy ruling, Oregonian Publishing Co. sold KEX to Westinghouse Radio Stations, Inc. for $400,000. In 1945 KEX studios moved temporarily to 815 S.W. Yamhill St. On June 15, 1945 the NBC Blue Network became ABC. KEX slogan: This is your Westinghouse station. On November 24, 1946 KEX moved to Radio Center.(1230 S.W. Main St.). KEX slogans: Radio 1190. Have a gay time, every day time, keep tuned to KEX.

On April 8, 1948 KEX raised power to 50KW at 6:30PM (fulltime directional) from it's new transmitter site located at Clackamas OR (9415 S.E. Lawnfield Rd.). Three Blaw-Knox 455 foot guyed towers were erected.(Westinghouse 50-HG transmitter). KEX slogan: Oregon's only 50,000 watt station. In 1953 the licensee name changed to Westinghouse Broadcasting Co.

On December 17, 1956 one of the largest Portland network switches took place. The catalyst was KGW-TV beginning operation, taking ABC-TV from KLOR ch. 12 & ABC Radio from KEX to KGW. KEX could have picked up NBC, it did not. NBC affiliated with KGON(on 1520kc. as of 7-30-56 from 1230kc.). KEX elected to go independent. A Gutsy move for a 50KW station at the time. Network Radio was losing to TV, but not to the degree that would happen by 1960. In newspaper ads, KEX celebrated Indpendence Day.(Barney Keep dressed as George Washington with the rest of the air staff). KEX became the only full time 50KW Independent in the West. This as the beginning of the KEX most of us grew-up with. Quality Local Programming.

In 1959 studios moved to 2130 S.W. 5th Ave. KEX slogans: You're in tune with Westinghouse, KEX in Portland. The Big K of West Coast Radio. The Mighty 1190. Here's what's new, KEX News.

On September 1, 1962 KEX was sold to Golden West Broadcasters, Inc.(entertainer Gene Autry) for $900.000. KEX as programming an MOR format at this time. Slogan: This is the 50,000 watt call of the Northwest, KEX in Portland.

In January 1973 KEX affiliated with the abc Information Netork.(taken from KXL). KEX was programming an AC format at this point. Slogans: KEX sounds like Portland. Music 1190. Full Color Radio.

In Fall 1978 KEX moved to new studios at 4949 S.W. Macadam Ave.(cost 1 Million to build). KEX slogans: Lets make the music together. Touching your life. KEX, what a team! Your full service station. In 1983 KEX added an affiliation with Mutual.

On March 14, 1984 KEX was sold to Taft Television & Radio Co. for $8,127,391 (price included KKRZ) & 50 acres of land. KEX slogans: The pulse of Portland. Radio for grown-ups. The 50,000 watt News leader of the Northwest. 1190 KEX. On October 15, 1987 the licensee name changed to Great American Broadcasting Co. On December 6 1988 KEX went non-directional day only. In the 1990's? Citicasters Licenses, Inc. became the licensee. KEX slogan: The 50,000 watt blowtorch of the Pacific Northwest, 1190 KEX.

On May 4, 1999 Citicasters Licenses, Inc. became part of Clear Channel Communications. Around this period KEX went News/Talk full time. KEX slogans: The News leader. News Radio 1190 KEX. Depend on us.

Test broadcasts of KGON began between the 23rd & 27th of June 1947, 1AM to 6AM on 1230kc. with the power of 250 watts. Then on July 4, 1947 at 7AM KGON began commercial operation. KGON was owned by Clackamas Broadcasters (Dr. John H. Fitzgibbon, President, Roy Jarman, owner of "Jarman's Buick & Chevrolet" dealership, Temple V. Ehmsen, Chief Engineer & station builder. For more on Mr. Ehmsen see "Oregon's First FM Attempt"). Studio & transmitter were located on "Super Highway" (McLoughlin Blvd., Pacific Hwy. 99E) in Gladstone. KGON cost $50,000. to build.

The one story modernistic building held a main studio, a control room studio, news, program & writer rooms & a business office. A 12 person staff ran KGON. Hale Byron, General Manager, Bob Roberts, Program Director & Chief Announcer, Douglas Bates, News Editor (Director), Ray Cummins, Chief Operator, Rod Cain & Gene O'Brien, Announcers & John Ford (Soap) Opera Announcer. KGON call meaning, city of license: oreGON city. KGON operated 7AM to Midnight, Monday through Saturday & 8AM to 11PM Sundays. KGON broadcast live & transcribed programs. The station was also big in sports, first broadcasting local high school games, then later expanding into regional college play by play. KGON slogan: The Voice of Clackamas County.

In late 1947 Floyd C. Bain became G.M. On July 15, 1948 broadcast hours were reduced. 7AM to 10PM Monday through Saturday & 8AM to 10PM Sundays. By October 1948 KGON slogan: Your home town station. On March 28, 1949 broadcast hours expanded 7AM to Midnight Monday through Saturday & 8AM to Midnight Sunday. Also in 1949 licensee name changed to Clackamas Broadcasters, Inc. & Irwin S. Adams became G.M. By February 1950 KGON slogan: Oregon City Radio. By March 1950 Bob McAnulty was doing Sports Play By Play on KGON.

On March 11, 1950 KGON affiliated with LBS, The Liberty Broadcasting System. The 249 station network broadcast Major League Baseball through re-enactments. (LBS studios & flagship: KLIF Dallas TX). Later in 1950 LBS expanded into entertainment programming. On April 29, 1950 KGON became the first station in the Portland area to begin 24 hour operation. Slogan: Serving the Portland metropolitan area 24 hours a day. By December 1950 H.I. Jackson was Assistant Manager, Delmar Lundbom, P.D. & N.D., Gene Good, Jr., Sports Director & Robert Brower, Chief Engineer.

By January 1951 Sammy Taylor was on KGON 11AM to 2PM. On May 16, 1952 The LBS Radio Network folded. By December 1952 Sonora B. Hoffman was Program Director, Frank Faro, News Director, H.I. Jackson, Sports Director & Edward G. Saxe, Chief Engineer. By November 1954 KGON slogan: The 24 hour station. By December 1954 Vincent Coyle was Sports Director. By December 1955 Ray Brooks was Sports Director & William R. Watson, Chief Engineer.

On July 30, 1956 KGON switched frequency to 1520kc. and raised power to 10KW directional, using a mult-tower array. (Collins transmitter, single pattern all hours). For the 1230 frequency continuation see "Gresham's KRDR". KGON slogans: First in sports. Tops on your dial at 1520. By December 1956 Robert J. Hartke was President & Co-Owner of Clackamas Broadcasters, Inc. with Irwin S. Adams, Secretary-Treasurer & G.M. At this time KGON was referred to off air as K-Gone.

On December 17, 1956 KGON became Portland area's NBC affiliate. (KGW dropped NBC for ABC, from KEX). In 1958 KGON's studios were assigned a numbered address. (1065 McLoughlin Blvd.). By August 1958 Sidney Roach was Chief Engineer. By September 1958 Bob McAnulty was doing mornings on KGON. On April 17, 1959 KGON added an affiliation with the Mutual Broadcasting System. On January 7, 1960 KGON lost the NBC Radio Network, when KGW became the affiliate once again. In 1961 KGON shortened broadcast hours 6AM to Midnight.

Between April 16 & 20, 1962 KGON raised day power to 50KW directional (single pattern day & night) from it's new 12-acre transmitter site in Clackamas OR (15201 S.E. Johnson Rd.). Three towers, 162 feet high, Gates BC-50 transmitter. The (future studios &) transmitter site cost $250,000. The KGON air staff included: Larry Holloran 7-10AM, Bob Stevens (formally on KISN) 11-1PM, Larry Curran 1-6PM & Vic Knight 7:30-Midnight.

On September 3, 1962 KGON switched format to modern music (top 40) & news exclusively. MBS entertainment programs were dropped. Slogan: KGON, clear channel 15. The KGON air staff included: Jack Par (formally on KGRO & KISN) 6-9AM & 11-1PM, Larry Holloran 9-11AM, Ray Willis 1-3PM & 5-8PM, Vic Knight 3-5PM & 8-11:30PM.

On November 12, 1962 the FCC gave KGON permission to move studios to their transmitter site. (15201 S.E. Johnson Rd.). KGON's original studio location (1065 McLoughlin Blvd.) was later "Oregon City Honda". About 1985 McLoughlin Blvd. implemented five digit address numbers, plus S.E. was added to the addresses. The location is currently "Thomson Used Cars". (19380 S.E. McLoughlin Blvd.).

On January 21, 1963 the KGON air staff included: Jack Par 6-10AM, Ben Tracy (formally on KAYO) 10-Noon & P.D., Don Chapman noon-3, Bill Western (formally on KISN) 3-6PM & Vic Knight 6-11:30PM. Between August 12 & 16, 1963 KGON began 24 hour operation once again. Air staff included: Ted Behr 6-9AM, Roger Hart (formally on KEX & KISN) 9-Noon, Ben Tracy noon-2 & P.D. (later moving to KGRL & becoming the voice of "Les Schwab" tire ads since 1964), Bill Western 2-6PM, Paul Anthony 6-Midnight, Russ Reed Ripley III midnight-6 & Don R. Hughes, News Director.

On January 20, 1964 the KGON air staff included: Roger Hart 6-10AM, Ken Chase (formally on KISN) 10-noon & P.D., Joe Allen noon-3, Bill Wittman 3-7PM, Tom Mix 7-Midnight & Russ Reed Ripley III midnight-6. Also in early 1964 KGON changed from one directional pattern to two. (day & night).

On March 1, 1964 it was announced that KGON was sold to Republic Broadcasters, Inc. (Kenneth E. Palmer, President & John C. Hunter, Vice-President) for $980.000. (plus assumption of $830,000. in debt). Transfer took place on 7-1-64. Mr. Hunter was also President of KIMN Denver, with Mr. Palmer as V.P. & G.M. Their top 40 station was in fierce competition with KBTR in the Denver market. KBTR was partly owned by Don Burdon. Speculation at the time was that 50KW KGON would take on Mr. Burdon's 1KW KISN.

On August 1, 1964 KGON became KYMN. Call slogan: Kim radio 1520. (calls based on sister KIMN Denver). Format: top 40. Douglas J. Taylor, General Manager, James Jobes, Chief Engineer. The Kim air staff included: Tom Mix 6-10AM, Jack Merker 10-Noon & P.D., Larry Curran noon-3 & N.D., Steve Lee 3-7PM & Russ Ripley 7-midnight. KYMN slogans: More music and more entertainment from fabulous Kim in Oregon. The 50,000 watt voice of the great Northwest. The peak of your dial, move up to Kim. The Kimcasters call for fair skies in Kimland. 65 Kim counted degress at 4:23 Kim time. Radio to live by.

On October 1, 1964 the Kim air staff included: Bill Western 6-10AM, Jack Merker 10-noon & P.D., Larry Curran noon-3 & N.D., Steve Lee 3-7PM, Joe Allen 7-Midnight & Bill Davison midnight-6. On October 25, 1964 KYMN dropped the Mutual Network. (KPOJ picked up MBS once again).

On February 1, 1965 KYMN changed format to Good Music. (instrumental, familiar tunes, standards & some classical). The music was from taped sources. Four breaks an hour. Three spots per break with 12 minutes of un-interrupted music. Slogan: Elegance without affectation. John C. Hunter, V.P. & G.M., Jack Merker, Operations Manager, Bill Western, Program Director, Robert W. Scott, News Director.

On June 1, 1966 at 5PM Oregon Governor Mark O. Hatfield dedicated the new emergency broadcasting facilities at KYMN. The 300 square foot underground control room, fallout shelter was encased in 16 inches of cement. The communications center was also equipped with a shortwave two-way monitoring system with the Clackamas County Civil Defense headquarters. The initial shelter was expanded by 700 square feet to include the music library, space for off air personnel, stocked with 14 days of food rations and a generator with a 5,000 gallon fuel supply. By October 1966 John C. Hunter was President & G.M., with Lee Williams as News Director. KYMN slogans: Fine Kim music. Aren't you glad you listen to KYMN? Don't you wish your children did?

On August 21, 1967 KYMN's licensee was reorganized. Wally Nelskog became Vice-President & James B. McGovern, General Manager. On September 18, 1967 KYMN became KYXI. Call slogan: KiXIe. (calls & format based on KIXI Seattle). Format: Good music a.k.a. Beautiful music. KYXI slogans: Metropolitan radio. Beautiful music 24 hours a day. By October 1968 Jim Liniger was Program Director (later on KYTE-FM & KLLB as Laid-Back Lenny) & Harry Christensen, News Director.

On May 2, 1969 KYXI announced it had applied for an FM station in Oregon City, frequency unknown. (103.3?). The FCC never granted the application. KYXI slogans: The sound of beautiful music. In the air everywhere, KYXI Oregon City.

On November 20, 1969 it was announced that KYXI was sold to Pacific & Southern Company, Inc. (DeSales Harrison, Pesident) for $6,493,550. (price included KIMN AM&FM Denver). Transfer took place 17 months later on January 7, 1971. (FCC approval on 4-15-71). Kent Burkhart, Radio Division President, William Gott, Chief Engineer. On July 19, 1972 James B. McGovern became V.P. as well as G.M.

On January 15, 1973 KYXI was sold to McCoy Broadcasting Co. (Arthur H. McCoy, President) for $1.5 Million. (Transfer took place on 1-26-73). On March 13, 1973 licensee name changed to KYXI, Inc., James B. McGovern, President & G.M. (group owner: McCoy Broadcasting Co.). By September 1973 KYXI's format had changed to MOR with Harry Christensen & Mark Andrews as Co-News Directors.

On October 1, 1973 it was announced that KYXI, Inc. had purchased KLIQ-FM for $400.000. Calls changed to the AM's pioneer letters (KGON) on 11-1-73. In March 1974 Craig McCoy became KYXI Station Manager. (son of owner). In October 1974 KYXI affiliated with the NBC Radio Network. (KGW dropped NBC). By November 1974 Robert Reed was P.D. & N.D. In August 1975 Craig McCoy became G.M. & Herbert H. Smith became President of KYXI, Inc. Slogan: The sound of the Northwest.

On July 12, 1976 KYXI changed to an All News format. Also on this date KYXI added an affiliation with NBC's News & Information Service. A press release said KYXI had the largest News staff in the Northwest. Slogans: This is your news & information station. News 15. The news authority. On the scene with News 15. Herbert H. Smith, President & General Manager, Paul Hansen, News Director & Mike Cooley, Chief Engineer.

On May 2, 1977 KYXI added an affiliation with the CBS Radio Network. (KOIN/KYTE dropped CBS). On May 29, 1977 The NBC News & Information Service ended nationally. By December 1977 Gary Johnson was News Director & Norman Smith, Chief Engineer. On April 14, 1978 licensee name changed to McCoy Broadcasting of Oregon, Inc.

On April 8, 1979 it was announced that KYXI was sold to Western-Sun, Inc. (The Des Moines Register & Tribune newspaper) for $27.7 Million. (price included KGON(FM) Portland, KLAK & KPPL(FM) Lakewood/Denver, KHON(TV) Honolulu & satellite KAII(TV) Wailuku). FCC approval on 6-1-79. Also in 1979 KYXI dropped it's NBC affiliation and picked up the Mutual Broadcasting System. By December 1979 Craig McCoy was President & General Manager & KYXI added an affiliation with AP Radio. On April 8, 1980 Larry Holtz became Chief Engineer. By December 1980 Michael Johnson was Broadcast Director.

In 1981 KYXI installed a new Harris MW-50-A transmitter. Also in 1981 KYXI dropped the Mutual Network. Slogans: News radio 1520. The only one in Oregon. If it's going on, it's going on KYXI 1520. In early 1983 KYXI dropped AP Radio & began airing the audio feed from CNN Headline News from cable TV. In April 1983 Linn Harrison became Station Manager, Jeff Davis, Traffic. In January 1984 Linn Harrison became General Manager. On February 1, 1984 it was announced that KYXI would switch later in the month to Satellite Music Network's "Stardust" nostalgia format, keeping it's old time radio programs at night. CNN Headline News was dropped. Later in 1984 Linn Harrison became President of Western-Sun, Inc.

On September 1, 1984 KYXI became KSGO. Call meaning: Solid Gold Oldies. KSGO began an Oldies format. CBS Radio was dropped. Michael Johnson, Program Director. KSGO slogans: 1520 KSGO solid gold. The music you grew up with. Solid gold rock & roll. By December 1984 Jeff Davis was Program Director.

In July 1985 KSGO was sold to KSGO/KGON, Inc. (group owner: Ackerley Communications, Inc., Barry A. Ackerley, President, Donald Carter, Executive V.P.) for $6,750.000. Dan Hern, V.P. & G.M., Peter Bolger, Operations Manager. In late April 1988 KSGO moved studios with FM sister to 4614 S.W. Kelly Ave. in Portland. In June 1988 Donald Carter became President of Ackerley. Between June 20 & 26, 1988 KSGO began broadcasting in AM stereo. (Motorola C-QUAM). By February 1989 Eric Worden was Program Director.

On August 18, 1989 KSGO began playing the song "We Built This City" by Starship, for hours. Then the sound of a baby being spanked! Next an announcement: "The-X has come to town to kick ass!" Followed by "Welcome To The Jungle" by Guns 'N' Roses. The-X's P.D. was Dave Numme. On September 12, 1989 KSGO became KFXX. Call slogan: The-X. Other slogans: Pure rock, The-X. X-Marks the spot. X-Rated. X-tasy. In early 1990 licensee name changed to KFXX/KGON, Inc.

On September 1, 1990 KFXX changed to a Sports/News/Talk format. Call slogan: The Fox. Mike Turner, Program Director. KFXX slogan: X-ceptional sports. KFXX affiliated with CNN Radio. In January 1991 KFXX changed format slightly to Sports/Talk. Slogans: Sports Radio 1520 AM. 24 hours of sports. Portland's sports radio. Sports & nothing but sports. Also in 1991 Steve Feder became General Manager & Duane Link, Program Director.

On September 25, 1992 KFXX was sold to Apogee Radio Limited Partnership I (group owner: Apogee Communications, Inc., Roy P. Disney, Owner. Great nephew of the late Walt Disney) for $5.5 Million. (price included FM sister). Steve Feder became V.P. & G.M. In 1993 James A. Johnson became President & General Manager & Kevin Toon, Program Director. By June 1994 KFXX slogans: Sports Radio 1520, The Fan. We're talkin' sports. In July 1994 KFXX added an affiliation with ESPN Radio & Steve Arena became Program Director (former K-2 sports anchor).

On August 1, 1995 KFXX was sold to ECI License Co. L.P. (group owner: Entertainment Communications, Inc., Joseph M. Field, President, David J. Field, CFO & Senior Vice-President). Also in 1995 KFXX added an affiliation with USA Radio. In January 1996 Thomas C. Baker became Vice-President & General Manager. In Spring 1996 KFXX dropped CNN & USA Networks, picking up abc, CBS & Westwood One Radio Networks.

On August 7, 1997 KFXX raised night power to 15KW directional. On October 6, 1997 Scott Masteller became Program Director. In early 1998 KFXX dropped the abc Network, picking up The 1 On 1 Sports Radio Network. KFXX slogans: Sports Radio 1520. Portland's real sports leader, The Fan 1520 AM.

On March 30, 1998 KFXX became KKSN, when KFXX & KKSN switched frequencies. (Entertainment Communications, Inc. purchased KKSN on 3-1-98). KFXX moved to 910khz. "The Fan, moving to 910 AM". KKSN-Sunny 910 became Sunny 1520. "Tell a friend we've moved and share the songs on Sunny 1520". 1520khz. did move studios to the "Pioneer Tower" building. (888 S.W. 5th Ave., Suite 790). KKSN broadcasts Westwood One's "Adult Standards" satellite format and is an abc News affiliate.

On June 19, 1998 licensee name changed to Entercom Portland License LLC. On July 2, 1998 Entertainment Communications, Inc. became Entercom Communications Corp. On September 28, 1998 David J. Field became President of Entercom. On January 7, 1999 Gary M. Hilliard became Chief Engineer. On November 12, 1999 Jack Hutchison became Vice-President & General Manager. On December 20, 1999 KKSN moved to The Bancroft Building. (0700 S.W. Bancroft St.).

On February 1, 2000 KKSN changed it's transmitter (access) address to 8200 Cypress Ave. In April 2001 Allan Davis became Program Director. KKSN slogans: The station for great songs & great memories. We're Sunny 1520.

On July 18, 1946 the FCC granted an application for a new 250 watt AM daytime station in Portland OR on 800kc. to John W. Davis. Calls KJXD stood for John Davis, future G.M. On December 18, 1946 KJXD was granted a modification of power level from 250 watts to 1KW. Also in late 1946 KJXD calls were changed to KPDQ. On July 8, 1947 it was announced that KPDQ's Chief Engineer would be Rodney F. Johnson & Don Dundell, Program Director.

On July 30, 1947 KPDQ began operation at 6PM. Studio & transmitter were located at Oaks Park. (no physical address to this day, between 320 & 330 foot of S.E. Spokane St., on S.E. Oaks Park Way, access road). Raytheon transmitter. Tower 260 feet. KPDQ call slogan: join the K-Pretty Darn Quick switch to KPDQ. KPDQ broadcast sunrise to sunset daily. Programs consisted of news & transcribed music.

In 1949 KPDQ moved studios to The Panama Building (534 S.W. 3rd Ave., room 210) & William E. Richardson became General Manager. On November 27, 1950 KPDQ began it's first weekday religious program. (title unknown, listed as religious). In 1951 John W. "Jack" Davis became General Manager once again as well as Owner. On November 7, 1951 Fred C. Haskins became Program Director, Announcer & Chief Engineer.

In 1952 KPDQ moved studios to The 6th St. Terminal Building (1008 S.W. 6th Ave., room 207). By December 1954 John W. Davis was Owner, President & General Manager, Willard Guthrie, Program Director & Robert Beattie, Chief Engineer. By October 1955 Mark Fidler was Program Director, News Director & Disc Jockey. KPDQ slogans: The music & news voice of Portland. 1,000 watts of grown-up listening. By December 1955 Don Wilkinson was Chief Engineer.

In 1956 KPDQ moved studios to a brick building in The Hollywood District. (4903 N.E. Sandy Blvd.). By December 1956 Dale Allison was Program Director & Keith Griggs, News Director. KPDQ slogan: The voice of Hollywood. By 1958 KPDQ's broadcast schedule mostly consisted of religious programs. By August 1958 Dan McDonald was Program Director & Dan McPeak, Chief Engineer.

On April 1, 1959 KPDQ became Portland's first full-time religious broadcaster since KFQN in 1924. KPDQ slogan: Portland's radio pulpit. By August 1959 Arlan Walker was Chief Engineer. On September 10, 1959 KPDQ began broadcasting from it's new transmitter site in Raleigh Hills OR. (7201 S.W. Vermont Court). Continential transmitter. Tower 260 feet. In early 1960 David M. Jack became Station Manager. (later KLIQ Owner). On August 18, 1960 licensee name changed to KPDQ, Inc.

On October 11, 1961 KPDQ added an FM simulcast sister. KPDQ-FM began operation on 93.7mc. By October 1962 Don Wilkinson was back as Chief Engineer. By October 1963 Robert W. Ball, Jr. was General Manager & Jerry W. Johnson, Program Director. By February 1969 KPDQ slogan: The sound of inspiration. By October 1969 David Winchester was Program Director.

On November 24, 1970 KPDQ was granted Pre-Sunrise Authority to operate 6AM to sunrise with 491 watts. In 1972 KPDQ had 13 full-time & part-time employees and was rated one of The Top 4 Religious Stations in the Nation, by the NRB. (National Religious Broadcasters). By December 1975 Joe Alcorn was Operations Manager & Gary Hurst, News Director. By 1976 KPDQ slogans: Inspirational Radio Northwest. Portland's sound of inspiration.

In 1977 KPDQ moved studios to 5110 S.E. Stark St. On August 19, 1977 licensee name changed to Inspirational Broadcasting Corp. By December 1979 Jack Davis II was President. By December 1981 Jim Heim was Chief Engineer. By 1982 KPDQ slogan: Pacific Northwest Christian Radio. In 1984 KPDQ joined the Mutual Broadcasting System. By December 1984 John Davis II was General Manager as well as President. Also Joe Alcorn became Program Director & Larry Wilson, Chief Engineer. By December 1985 Ken Broeffle was Chief Engineer.

On July 28, 1986 KPDQ was sold to Salem Media of Oregon, Inc. (group owner: Salem Communications Corp., Stuart W. Epperson, Chairmen & Edward G. Atsinger III, President & Chief Executive) for 6.5 Million (price included FM simulcast sister). Transfer took place 8-86. Jack P. Kandel, General Manager. KPDQ slogans: Sharing the good news throughout the day. Radio that makes a difference. In 1989 KPDQ began 24 hour operation, lowering power to 500 watts at night. In 1993 Darrell E. Kennedy became General Manager. Slogans: AM 800, your inspiration station. Thanks for choosing Portland's talk alternative. In 1994 KPDQ dropped the Mutual Network. In 1995 KPDQ installed a new Gates 1 transmitter.

On July 25, 1996 KPDQ took over the Contemporary Christian music format from it's former FM sister KDBX "Spirit 107.5" becoming "The new Spirit 800 AM". Some day parts continued simulcasting religious programs from KPDQ-FM. (Salem Media of Oregon, Inc. purchased KDBX in 1995 for over 1 Million, selling on 7-25-96 to American Radio Systems License Corp. for 14 Million). Scott Veigel & Scott Stevens Co-Music Directors. KPDQ slogans: Portland's new home for the best Christian music, the new Spirit 800 AM. Sharing the moments of your day. Portland's Spirit. By December 1996 Chuck Tyler was Operations Director, Lew Davies, News Director & Alan Garren, Chief Engineer. By June 1997 KPDQ slogans: Todays Christian radio. Spirit 800 AM. By December 1997 Dennis Hayes was General Manager & John White, Chief Engineer.

On August 24, 1998 KPDQ dropped it's Contemporary Christian music format for Talk Radio & affiliated with it's parent company's SRN Radio Network. KPDQ slogan: The new True Talk 800 AM. In October 1999 Don Perkin became Chief Engineer. On August 22, 2000 Joseph D. Davis became Senior Vice-President of Operations for Salem Communications. By December 2000 Andy West was Operations Director & Program Director. On October 30, 2001 Joseph D. Davis became Executive Vice-President-Radio Division. KPDQ slogan: True Talk 800 AM.

On June 10, 1948 the FCC granted a application for a new 1KW AM daytime station in Portland OR. on 1290kc. to Mercury Broadcasting Co. (Gordon E. Bambrick, President & Harold K. Krieger, Vice-President. a minority interest was held by attorney Alfred P. Kelly). Mr. Bambrick was previously Production Manager of KGW for 7 years. Mr. Krieger had also been employed at KGW as well as KOIN. Calls KBKO were assigned and stood for majority owners last names: Bambrick, Krieger & the state of Oregon. On December 28, 1948 licensee name changed to Mercury Broadcasting Co., Inc. On January 9, 1949 KBKO conducted it's first test broadcast at 10AM.

On January 10, 1949 KBKO began commercial operation at 7:30AM. Studios were located at The Carmen Building (3908 N.E. Sandy Blvd.) in The Hollywood District. The transmitter site was located at Oaks Park. (no physical address to this day, between 320 & 330 foot of S.E. Spokane St., on S.E. Oaks Park Way, access road, formally the KWJJ transmitter site until 8-48). Transmitter building: 29x32. Tower: 229 feet. KBKO broadcast sunrise to sunset daily. Mr. Bambrick became G.M. & Chief Announcer as well as President., Mr. Krieger was Chief Engineer as well as V.P., Lloyd A. Sutherland was an additional Announcer. KBKO specialized in "Sweet-type music". Slogan: The sweetest spot on the dial. By December 1950 Eddie Lehay was Sports Director. By 1951 KBKO slogan: The station of continuous musical entertainment.

On September 25, 1952 W. Gordon Allen & Thomas P. Kelly purchased 75% of Mercury Broadcasting Co., Inc. for $26,800. Gordon Bambrick remained President & General Manager. (FCC approval 1-28-53). On November 1, 1952 KBKO became KLIQ. Call slogan: cLIck radio. By December 1952 Mr. Bambrick was Program Director as well as President & General Manager. In late 1953 Thomas P. Kelly became General Manager as well as part Owner.

On April 12, 1954 KLIQ was silenced, after Agents of The Federal Bureau of Internal Revenue padlocked the door of the KLIQ studio building. The radio station had not paid withholding taxes for 1953 and had liens totaling $8,600.

On May 5, 1954 the I.R.S. held an auction of the KLIQ assets, outside the transmitter building at Oaks Park. Highest bid was Callison-Peterson Radio Associates (Glenn B. Collison, V.P. of Engineering for Trinity Broadcasting Corp., owners of KLIF Dallas & Merle B. Peterson, Chief Engineer of KOLO Reno) for $5,500. KLIQ was under a 90 day "Silent Period" granted by the FCC. This grant ran out on July 12, 1954. For unknown reasons KLIQ did not return to the air. One reason may have been the new land lease with Oaks Park. This had to be negotiated first. In December 1954 the KLIQ studios were relinquished.

This just in from former "Radio Click" DJ Bob Adkins, who would later be known as Addie Bobkins.

When KBKO became KLIQ on November 1, 1952 The Oregonian & Oregon Journal newspapers dropped radio listings for the station. Up to now, I did know what that ment. Mr. Adkins was kind enough to E-Mail me & clear this up.

KLIQ was the first Portland station to drop block programming for music. But more important, KLIQ was the first Portland station to switch to a Popular Music format.

The Radio Click air staff included: Tom Kelly, sunrise-9 (& majority owner), Rick Thomas 9-Noon & PD, Jeryll Burris (female) Noon-1, Bob McCarl 1-4PM, Bob Adkins 4-sunset & Noon to sunset Sundays. KLIQ used a clicker sound (clicker in hand looked like a frog) when announcing the Slogan: This is KLIQ, Radio Click. (click!!)

Bob Adkins did his air show 7 days a week and sold Ad time as a KLIQ Salesman all for $29.45 a week against a 10% commission. This was his first radio job and was led to believe that "double billing" was a normal thing in radio.

When KLIQ was silenced on April 12, 1954 Mr. Adkins was owed about $1,500. which he collected most of through a court order from sponcers, accounts & trades.

Rick Thomas & Bob McCarl were hired as DJ's at KXL & converted the station to Popular Music from block programming. This was the beginning of KXL's Rock & Roll days and the two would become KXL's on air main stay's from the mid to late 1950's.

Mr. Adkins moved to Aberdeen following Tom Kelly to (KXRO?) to become Sales Manager. Mr. Adkins returned to Portland shortly and was hired by Rick Thomas at KXL to do Weekends & fill-ins for Don Porter, Mornings, Rick Thomas & Bob McCarl.

In 1957 Bob Adkins moved to KEX full time doing his "Bob's Danceland" show 7-midnight. The KEX DJ line up: Barney Keep, Bob Blackburn, Russ Conrad, Bob Adkins & Al Priddy, all night.

In Fall 1957 Mr. Adkins moved to KEED Eugene, then to KVAL (TV) to do this first show as "Addie Bobkins" 4:30 to 6:00 afternoons. In the fall of 1961 he moved his show to KPTV. Then took on KISN 10-Noon at the same time. In the Fall of 1964 he was hired by sister station KCOP (TV) to do his show in Los Angeles.

On September 20, 1951 KPAM began operation on 1410kc. with the power of 1KW. KPAM was owned by Broadcasters Oregon Limited. (Stanley M. Goard, President & General Manager). 2nd floor studios & transmitter were located in Healy Heights on Sentinal Hill. (4700 S.W. 19th Ave.). Call meaning: Portland Amplitude Modulation. KPAM simulcast it's FM sister station KPFM, 9AM to sunset daily. KPAM was brought in to help bolster KPFM's small listenership. Stand alone FM's were going dark all over the country. FM broadcasting had not caught on as fast as predicted. (for more on the studio building & FM side, see: Stan Goard's KPFM To KKSN-FM). KPAM's P.D. was Thomas Hotchkiss & Charles K. Dickson, C.E. KPAM broadcast a few classical programs along with opera & organ music.

On July 27, 1953 KPAM broadcast hours expanded 6AM to sunset Monday through Saturday & 9AM to sunset Sunday. By December 1954 Dougles Ducklow was P.D. & John C. Lewis, N.D. KPAM's format by now was Classical music. Slogan: Portland's high fidelity station. By December 1955 James T. McGuire was P.D. & Gordon R. Larson, C.E. Slogan: Portland's good music station. On March 11, 1956 KPAM broadcast hours were reduced 6:30AM to sunset daily. By August 1957 the studio & transmitter address changed to 4700 S.W. Council Crest Drive. On January 6, 1958 KPAM broadcast hours expanded 6AM to sunset Monday throught Saturday & 6:30AM to sunset Sunday. By early April 1958 KPAM/KPFM had the largest schedule of taped classical broadcasts in the Country. By August 1958 Jim McGuire was Assistant Manager as well as Program Director.

On September 1, 1958 KPAM raised power to 5KW. First Continental 315-B transmitter to be installed in the West. By November 1958 KPAM slogans: Radio high fidelity. Your good music station. On April 23, 1959 KPAM was sold to Gospel Broadcasting Co. (Reverend F. Demcy Mylar, President) for $200,000. (price included simulcast FM sister). Robert W. Ball became G.M. Transfer took place on 5-20-59. Then on July 15, 1959 the FCC ordered KPAM & FM returned to it's previous owner, pending a hearing on protest from KPDQ. (5-20-59 permit temporarily stayed). KPDQ questioned Rev. Mylar's ownership of KRWC Forest Grove, constituting part of the Portland Market. Rev. Mylar withdrew.

On January 9, 1960 KPAM was sold to Chem-Air, Inc. (William E. Boeing, Jr., President) for $200,000. (price included simulcast FM sister). Transfer took place on 4-1-60. Del G. Leeson, G.M., Don Wirtz, P.D., Theodore Hanberg, C.E. In June 1960 Bob McClanathan became C.E. (formally from KEX). By August 1960 KPAM slogan: Portland's fine music station. By September 1961 Don Vincent was P.D. On October 18, 1961 KPAM joined the 17 station non-interconnected QXR Classical Network. (flagship: WQXR-FM N.Y.C.). Slogan: The home of the classics. In 1963 the studio & transmitter address changed to 3101 S.W. Fairmont Blvd. The mailbox had been moved to a private road just off Fairmont, which is just below Council Crest Dr. By July 1963 Lloyd Yunker was P.D. By 1964 KPAM's slogan was: Better music.

On October 19, 1964 KPAM dropped it's Classical music, switching to an MOR format. On October 1, 1965 KPAM was sold to Romito Corp. (derived from last names of owners: Walter "Wally" P. Rossman, President & General Manager, Dr. Samuel L. Miller & Marvin R. Tonkin, of Marv Tonkin Ford Sales, Inc., 1/3 interest each) for $175,000. (price included FM simulcast sister). Transfer took place on 12-1-65. John Edwards, P.D. (aka Warren Weagant, of the family owned KKEY) & Nat Jackson, N.D. By Fall 1966 the KPAM air staff included: John Edwards 6-10AM & P.D., George Goode 10-2PM, George Boston aka Boston Blackie 2-7PM, Bob King 7-sunset, Nat Jackson, N.D. & Bob McAnulty (show time unknown).

On June 20, 1967 Wally Rossman purchased full ownership of Romito Corp. for $20,000. and assignment of liabilities. (price included FM simulcast sister). By November 1967 George Goode was N.D. By March 1969 KPAM had changed format to Top 40 with D.J. "Sunny Day" doing Afternoon Drive. By July 1969 the KPAM air staff included: Bob King 6-10AM & P.D., George Goode 10-2PM, Bob Brooks 2-7PM, Dan Foley 7-sunset & Bob Lee, N.D. By March 1970 station I.D. KPAM-FM & AM Portland. Slogan: K-Pam, AM 14. By June 1970 Craig Walker (formally on family owned KROW) was Jocking Middays. By September 1970 Paul Hansen was N.D.

In November 1970 K-Pam affiliated with abc's American Contemporary Radio Network. In September 1971 the K-Pam air staff included: Mike Dinean 6-9AM, Bill Donovan 9-noon, Dick Jenkins noon-3, Craig Walker 3-7PM & P.D., Mark Lewis 7-sunset & Mike Turner, N.D. In June 1972 the K-Pam air staff included: Michael O'Brien (formally on KISN) Morning Drive, Bob Marks (aka Micheal Bailey) Middays, Gary Stevens (formally Sunny Day on KPAM & Jimmy Cassidy on KISN) Afternoon Drive & P.D. Jim Donovan, PM-sunset & Mike Turner, N.D. Also in 1972 the studio & transmitter address changed back to 4700 S.W. Council Crest Dr. In 1973 K-Pam dropped the abc Contemporary Network. By September 1973 Edward Hoyt was P.D. & Tom Cauthers, C.E. (formally with KISN News).

On December 7, 1973 KPAM became KLSC. Call slogan: cLaSsiC radio, KLSC. On this date KLSC began broadcasting an automated oldies format supplied by syndicator A.I.R. (American Independent Radio). AIR's "Classic Gold" format featured hits from 1955 to 1963. KLSC slogan: All the oldies, all the time. The KLSC automation & studio were on the 1st floor basement, near the transmitter. In April 1974 syndicator AIR changed it's name to reflect joint owners: Drake-Chenault Enterprises, Inc. (Bill Drake & Gene Chenault: Consultants, were behind the music & sound of "Boss Radio" 93 KHJ). By November 1974 Fred C. Delahey was KLSC's G.M. In February 1975 Mark Lewis bacame N.D. Also in 1975 KLSC expanded it's oldies format to include hits from 1955 to 1969 & Pat Pattee began a live Weekend Afternoon Show. (formally on KISN).

On April 30, 1976 KLSC became KPAM once again, simulcasting it's FM sister's Top 40 format. KPAM also re-affiliated with the abc Contemporary Network. Slogan: K-Pam, AM 14. In October 1976 Byron Swanson became C.E. (formally KISN C.E. & D.J. Johnny Dark). By December 1976 Charlie King was G.M. & Bob Beran, N.D. (formally with KGW News). By December 1977 Victoria Stewart was N.D. Slogans: The soundship K-Pam. The best of both worlds (AM & FM). Real people radio. AM 14. By December 1979 Bill Maye was P.D. & Pat Wood, N.D. By 1980 KPAM was using a Harris MW-5A transmitter. In June 1980 Gary Hilliard became C.E.

On September 5, 1980 KPAM was sold to Duffy Broadcasting, Inc. (Robert J. Duffy, President) for 3.5 Million (price included FM simulcast sister). Harold Hinson, General Manager. Between October 5 & 12, 1980 KPAM switched to a Contemporary Christian format. Slogan: Music you can believe in. K-Pam dropped the abc Contemporary Network. Tom Farley, Station Manager & Program Director. The studio was across the hall from it's sister station, on the 2nd floor.

On July 26, 1982 KPAM became KCNR. Calls from FM sister. KCNR began simulcasting it's FM sister's Hot A.C. format. Greg Fabos became G.M. By December 1982 Thomas T. Farley was G.M., Richard Harker, P.D., Sherm Meyer, N.D. (formally with KISN News) & Jack Ondracek, C.E. In October 1983 Martin Greenberg became President of Duffy Broadcasting. By December 1983 Gary Hilliard was back as C.E. In January 1984 Tom Farley became V.P. as well as G.M. By December 1984 Trevlyn Holdridge was P.D. In January 1985 David McDonald became V.P. & G.M. In Spring 1985 the KCNR air staff included: Jim Donovan (formally on KPAM-FM & KGW) Morning Drive, Bill Jackson, Middays, Glynn Shannon (formally on KGW) Afternoon Drive & Carolyn Meyers, N.D.

On July 1, 1985 it was announced that KCNR's FM sister was purchased by FVBC, Inc. and that Duffy Broadcasting was looking for a buyer for KCNR. Finding a buyer for a stand alone daytimer, proved to be more difficult than first thought. KCNR continued to simulcast it's former FM sister. By July 14, 1985 the air staff included: Jim Donovan 6-10AM, Bryan O'Neal 10-3PM, Scott McLeod 3-6PM & P.D. & Jon Windus 6-sunset. On October 7, 1985 KCNR switched format to what was described as "a careful blend of Adult Contemporary music geared to the 25 to 44 age group." The slogan changed to: K-Lite. By November 1985 the air staff included: Dave Allen 6-10AM, Bryan O'Neal 10-3PM, Bill Jackson 3-6PM & P.D., Jon Windus 6-sunset & Dana Jeffries, N.D. Slogan: K-Lite, playing favorites from yesterday & today.

On April 1, 1986 KCNR was sold to Gothic Broadcasting Corp. (Richard A. Hodge, Owner & President. Mr. Hodge was a Superior Court Judge in California). On this date KCNR change to a Jazz format. Roger W. Morgan, G.M. (formally on KISN). KCNR was run by volunteers & had no sales staff. On December 25, 1986 KCNR became KKUL. Call slogan: cooL jazz. The calls were changed on Christmas Day, so the air staff could wish it's listeners "A Cool Yule." In February 1987 KKUL began paying it's air staff and started going after commerial business. George Fendel, P.D. In Summer 1987 KKUL moved studios to The Imperial Hotel. (400 S.W. Broadway).

On October 16, 1988 KKUL went dark. Five days later on October 21, 1988 the FCC granted transfer of license to KKUL Radio, Inc. (Fred W. Hudson, principal) for $225,000. 1410 would return in 2 1/2 months, but that's another story. Stay tuned....

Between January 12 & 24, 1952 testing began on the reactivation of KGW-FM. KGW AM's owners had renewed interest in FM broadcasting at this time. FM had stabilized for the most part and KGW was the only Portland network affiliated station without an FM simulcast sister. KGW-FM would continue on it's last assigned frequency of 100.3mc. Power was increased to 57KW. (was 54KW). Tower was 205 feet. The four-bay antenna was 1,240 feet above sea level. KGW-FM was owned by Pioneer Broadcasters, Inc. (Quenton H. Cox, President, group owner: The Oregonian Publishing Co., E.B. MacNaughton, President). For more on the original station, see "KGW-FM: First FM In The Northwest".

On February 1, 1952 at 3:00 PM KGW-FM rejoined the ranks of Portland FM broadcasters. Studios were located with AM sister on the 4th floor (5 studios) of The Oregonian Building. (1320 S.W. Broadway). The transmitter site was still located on Healy Heights. (4545 S.W. Council Crest Drive). S.I. Newhouse, Jr., G.M., Donald F. Whiteman, P.D. & Harold C. Singleton, Chief Engineer & original station builder. By 1952 Mr. Singleton had built his home at 4646 S.W. Council Crest Drive which was almost directly across the street from the KGW-FM tower. (very handy. He also owned property at 4488). Call meaning from AM sister. KGW-FM began simulcasting it's sister once again and the NBC schedule. KGW-FM broadcast 3:00 PM to 10:15 PM daily.

On November 1, 1953 KGW-FM was sold to North Pacific Television, Inc., comprising of five Portland business men, seeking a VHF-TV channel. (Gorden D. Orput, President, Henry A. Kuckenberg, Co-Vice-President, Paul F. Murphy, Co-Vice-President, Frank W. Cookingham, Secretary, W. Calder McCall, Treasurer) and one Seattle business woman buying 40% of North Pacific within the transaction. (Mrs. Alexander Scott Bullitt, Executive Vice-President. She was also President of King Broadcasting Co., owner of KING AM-FM-TV Seattle). Price included AM sister in the $500,000. purchase. Quenton Cox became Station Manager.

On October 20, 1954 KGW-FM was sold for $3,750. to it's Manager, Quenton H. Cox, the same G.M. that launched the station in 1946. (transfer took place 11-54). The transmitter site was leased to Mr. Cox. North Pacific was considering the location as a possible transmitter site for it's forthcoming TV station. On December 1, 1954 KGW-FM became KQFM. Call meaning: Q's FM. Mr. Cox nickname was "Q". Also on this date studios were opened at The Terminal Sales Building, room 423 (1220 S.W. Morrison St.). Trivia: KEX's original home, room 201, 1925 to 1934. Quenton H. Cox, President & General Manager, Helen Cox, Program Director & Charles K. Dickson, Chief Emgineer. KQFM broadcast 9AM to 9PM Monday through Saturday. Off the air Sunday. KQFM was primarily a music station.

On January 23, 1955 KQFM added Sunday to it's broadcast schedule. (9AM to 9PM). In Summer 1955 KQFM reduced power to 17KW with antenna height at 960 feet. By September 1956 KQFM's format was described as "background music". On June 14, 1960 King Broadcasting Company's charitable corporation, The Bullitt Foundation, Inc. (Mrs. Alexander Scott Bullitt, Chairman) donated the (KQFM) transmitter site at 4545 S.W. Council Crest Drive by way of Community Television, Inc. (Mrs. Robert E. Stearns, President) to the State of Oregon, Acting By & Through The State Board of Higher Education. "Gift of Portland property worth $65,000. as a channel 10 broadcasting site, subject to the donors agreement." "Stipulated that the property would revert to the giver if the property were used for anything except non-commercial educational broadcasting." KQFM would have to move. (deed recorded 7-5-60. side note: The property had originally been offered to Community Television, Inc. of Portland, for an educational TV station on channel 10 in November 1956, when financial outlay was beyond the State Boards scope).

On October 27, 1960 KQFM left the air to move it's transmitter across the street to the KGMG tower at 4636 S.W. Council Crest Drive. KGMG had only been broadcasting a month. Rain hampered the mounting of the antenna for days. The antenna tubs could not get wet. By early November 1960 KQFM was back on the air.

On March 21, 1962 KQFM was sold to Point-O-Salescast, Inc. (Juan Young, President) for One Dollar, plus assignment of liabilities totaling $10,000. Point-O-Salescast, Inc. formed in 1950, installed tape cartridge playback devices in stores permitting commericals to be interspersed with music. In 1963 KQFM's antenna height was lowered to 930 feet. In 1964 KQFM studios moved to The 18th Avenue Building. (405 N.W.18th Ave.). By October 1964 Arlie D. Kent was General Manager. On July 5, 1965 the transmitter site changed ownership name to the KXL-FM tower. By 1968 KQFM broadcast 8AM to 11PM daily.

On September 1, 1969 KQFM & Point-O-Salescast, Inc. were sold to David M. Myers for $59,000. (FCC approved 8-5-69). Mr. Myers owned the "Music By Muzak" franchise from Medford to Randle WA. The franchise began in 1957. Mr. Myers purchased the franchise in 1963 with Audio Electronics Co. Formed in 1952, this firm designed, installed & maintained communication systems. At this time the Muzak service moved in the Portland area from phone line distribution to KQFM's new SCA (Subsidiary Communications Authorization) subcarrier. Jon I. Wright became KQFM's P.D. with William E. Laurens, Chief Engineer. In 1970 KQFM moved studios in with Mr. Myers other businesses at 2815 S.W. Barbur Blvd. By June 1970 KQFM's format was described as "Familiar instrumental music". On April 26, 1972 KQFM raised power to 100KW. By October 1972 Jon I. Wright became G.M. & KQFM slogan was: Just good instrumental music 24 hours a day.

In August 1975 KQFM moved with Mr. Myers other companies to a new modern building in the Johns Landing area. (The Audio Group Building, 5005 S.W. Macadam Ave.). David M. Myers had formed a new group corporation to oversee his five companies. He was now President & Chief Operation Officer of The Audio Group. Comprising: Audio Electronics Corp., The "Muzak" franchise, Point-O-Salescast, Inc. with the KQFM license, Metro Music (like "Muzak", but specializing in Rock to Country formats) & Dub-Master (high fidelity tape duplication). With this move KQFM began stereo broadcasting with new computerized automation equipment. KQFM's format also changed to what was described as "sprighty, classy, foreground. It is music for the discriminating popular taste." Slogans: Q-Music, no Bach, no Rock. The sparkling sound of Q-Music. Bob Reed, Program Director. In Fall 1976 Audio Group severed it's "Muzak" franchise, creating it's own service called "Q-Music". By 1977 KQFM's format was described as "Soft MOR".

On December 21, 1977 the FCC approved the sale of KQFM to Golden West Broadcasters, Inc. (Recording, Radio, TV & Movie Star, Gene Autry, Chairman of The Board, John T. Reynolds, Executive V.P. & Operating Officer, Michael M. Schreter, V.P. of Finance, Administration & Treasurer, Clair Stout, V.P. & Secretary) for $500,000., plus a $90,000. consulting agreement. (transfer took place 1-23-78). Two days earlier on December 19, 1977 KQFM's new sister KEX had broken ground on the new Golden West Broadcast Center adjacent to The Audio Group Building. Richard P. Kale became V.P. & General Manager, Bill St. James, Program Director (formerly with KBCQ Roswell & 1976 Billboard Top 40 P.D. of the year) & Paul Mathew, Chief Engineer.

On January 1, 1978 KQFM began broadcasting with Golden West personnel. Studios remained at The Audio Group Building with production & sales offices at the KEX studios located at The 5th Avenue Building. (2130 S.W. 5th Ave., Suite 12). KQFM began a slow music transition ending on 2-23-78. On this date a new format was unveiled, described as "Pop album oriented contemporary music". Slogan: Stereo Q100. The Q100 air staff included: Scotty Johnson 6-11AM, Bill St. James 11-2PM & P.D., Todd Dennis 2-7PM, M.L. Marsh 7-12AM & M.D., John Libynski 12-6AM, Bruce Pokarney & Lisa Stark, News (formerly on KGAY, now with abc News) & Dave Spacek, Weekends. On November 11, 1978 it was announced that Richard P. Kale had been named Vice-President of Radio for Golden West Broadcasters.

On November 29, 1978 KQFM & sister KEX announced that they had moved to the new Golden West Broadcast Center. (4949 S.W. Macadam Ave.). The multi-story office structure cost $1 Million to build with KQFM & KEX on the 2nd level occupying 11,000 square feet. (1st level was for lease). Also on this day Jack McSorley was announced as KQFM Station Manager. In February 1979 the Q100 air staff included: Karen Tracy 6-11AM (1st Portland Female Morning Drive D.J., formerly on KGON, KPAM-FM & KYTE), Mark Newell 11-2PM, Bill St. James 2-7PM & P.D., Jim Robinson 7-12AM, Sleepy John Cuthbertson 12-6AM (formerly on KVAN), Bruce Pokarney & Lisa Stark, News with Dave Spacek, Weekends.

On April 8, 1979 KQFM switched to a Progressive Rock format. In an ad announcing the change: Hear it on Q100 before it's beaten to death. Mr. McSorley said, target audience is 25 to 34. The Q100 air staff included: Karen Tracy 6-10AM, Mark Newell 10-2PM, M.L. Marsh 2-4PM & Interim P.D., Jim Robinson 4-8PM (formerly KGON P.D.), Rick Miller 8-12AM, Dave Spacek 12-6AM, Bruce Pokarney & Lisa Stark, News. Also in 1979 Victor Ives became Vice-President of Golden West FM Stations. In late 1979 KQFM acquired a new RCA 20KW transmitter with a newly built RCA circular polarized antenna system. By December 1979 Greg Reed was Vice-President, Norm Gregory, Program Director, Mike Turner, News Director (formerly KPAM/KPFM N.D. & KGON N.D.), Jim Robinson, Music Director & Tom Rose, Chief Engineer. Slogans: Q100, take a bite. You're on Q, Q100.

By Spring 1980 the Q100 air staff included: Bill Slater & Mike Turner 6-10AM, Mark Newell 10-3PM, The Big B.A. (Bob Ancheta, formerly KVAN P.D. & KGON M.D.) & Chris Burns (formerly KLIQ N.D. & KGON N.D.) 3-7PM, Rick Miller 7-12AM, Dave Spacek 12-6AM, Thom O' Hair, Program Director & Cynde Slater, Music Director. On October 21, 1980 Bob Brooks was announced as KQFM's new Program Director, moving from KEX Production Director. (formerly on KPAM/KPFM & KGON P.D.). By December 1980 KQFM's format was described as "AOR".

In Summer 1981 KQFM switched to an Oldies format. Slogan: The new Solid Gold FM-100. KQFM was using a new Harris 9000 3 automation system. Automation problems were frequent. D.J.'s were always standing in. Thus the FM-100 air staff lineup: Gorden Scott 6-10AM, Bob Brooks 10-2PM & P.D., Rick Miller 2-7 PM, Dave Spacek 7-12AM & Steve Naganuma, Part-time. In January 1982 Walton S. Reid became V.P. & General Manager. Slogan: Solid Gold FM-100, the best damn music. On April 6, 1982 William Ward became President of Golden West. In Spring 1982 KQFM switched to an A.C. format. Slogan: KQFM-100. Bill Dodd, Program Director. In April 1983 Golden West Broadcasters was reorganized. Gene Autry was now sole Owner. By October 1983 Ken Bartell was Station Manager.

On November 2, 1983 KQFM became KKRZ. Call slogan: The Rose. KKRZ's format was described as "Young adult top tracks". KKRZ affiliated with the abc/FM Network & the RKO (young adult) Network. KKRZ slogan: Portland's Rose. On March 14, 1984 KKRZ was sold to Taft Broadcasting Co. (Charles S. Mechem, Jr., Chairman of The Board, David S. Ingalls, Vice-Chairman, Dudley S. Taft, President, George E. Castrucci, Executive V.P. of Finance, Carl J. Wagner, Executive V.P. of Radio) for $8,127,391. (price included AM sister). David Crowl was named KKRZ Station Manager.

On March 16, 1984 at about 6:00PM KKRZ changed format to CHR. Slogan: Z100, the switch is on. First song played was "Rock The Casbah" by The Clash. KKRZ dropped RKO & switched from abc/FM to The abc Rock Radio Network. By April or May 1984 the Z100 air staff included: Brian Thomas (formerly part of "Thomas & Ross" on KMJK), Mark Garrick, News & Val Currey, Traffic, together forming the first "Morning Zoo" 6-10AM, Mark Newell 10-3PM & P.D. (formerly on KQFM), Scott Drake 3-7PM & M.D., Peter Lett 7-12AM (formerly on KMJK) & Matt Jones 12-6AM Board Op with stagers. In June 1984 Gary Bryan became Program Director (formerly KISW & KNBQ P.D.).

By September 1984 the Z100 air staff included: Gary Bryan, P.D., Dan Clark (formerly on KGON), Lorna Dee, News & Tony Martinez, Traffic, making up The Zoo 6-10AM, Dennis Nakata 10-3PM, Scott Drake 3-7PM & M.D., Johnny Edwards 7-12AM & Terry Donahue 12-6AM. By early 1985 the Z100 air staff included: the addition of Randy Middleton (later known as Nelson) to "The Morning Zoo" 6-10AM, Sean Lynch 10-3PM A.P.D. & M.D., Scott Drake 3-7PM, Chet Buchanan 7-12AM (formerly on KNBQ) & Terry Donahue 12-6AM. KKRZ slogans: Go bananas with Z100. Portland's number 1 hit music station. Z100 means music. By December 1985 Richard Wilson was Chief Engineer.

In March 1986 Byron Swanson became Chief Engineer. (formerly KISN C.E. & D.J. Johnny Dark, also KPAM-FM C.E.). Also in 1986 Dave Milner, Sr. became General Manager. In Fall 1986 Sean Lynch became Program Director. By November 1986 the Z100 air staff included: John Murphy, Dan Clark, Lyle Arthur, News (formerly on KGW), Tony Martinez, Traffic & Ray Middleton, making up The Zoo 6-10AM, Sean Lynch 10-3PM & P.D., Scott Drake 3-7PM & Chet Buchanan 7-12AM. (12-6AM ??). In Summer 1987 KKRZ moved it's transmitter site to the KPDX TV tower at 211 N.W. Miller Rd. A new Harris FM-35K transmitter was installed with the old RCA as auxilary. Antenna height was raised to 1,433 feet or 438 meters. Power was reduced to 95KW

On October 12, 1987 licensee name changed to Great American Broadcasting Co. (group owner: Great American Television & Radio Co., Carl J. Wagner, President), after a management buyout. In early 1988 Carl Gardner became V.P. & General Manager. In Spring 1988 Mark Capps became Program Director. KKRZ slogans: Todays best music. The most continuous music. In 1989 the SCA subcarrier on 100.3Mhz. was ended. In 1991 Bill Ashenden became Station Manager. In 1992 Ken Benson became Program Director. In 1993 Tommy Austin became Music Director. In January 1994 Clint Sly became General Manager. KKRZ slogans: Portland's new Z100. Something's new at the Z, the new Z100, now playing a decade of hits. In June 1994 licensee name changed to Citicasters Co.

On February 14, 1996 Jacor Communications, Inc. (Randy Michaels, C.E.O., Robert L. Lawrence, President & C.O.O.) announced that it would purchase the 19 Citicasters stations for $770 Million. Jacor would own 54 stations. (Federal Court consent 12-31-96). By September 1996 KKRZ slogans: Portland's hottest music's on Z100. Portland's Z100. In 1997 Byron Swanson became Engineering Manager with Shane Ruark as Chief Engineer. In 1998 Ronald S. Saito (formerly KGW G.M.) became V.P. & General Manager with Tommy Austin, Program Director & Valleri Ring, News Director.

On October 8, 1998 Clear Channel Communications, Inc. (Lowry L. Mays, Chairman & C.E.O, Mark Mays, President & C.O.O.) announced that it would purchase Jacor Communications, Inc. for $6.4 Billion (FCC approval 5-4-99). Clear Channel would own some 450 stations. Randy Micheals became Clear Channel Radio Chairman & C.E.O. KKRZ licensee name changed to Citicasters Licenses, Inc. shortly there after. In 1999 Shane Ruark became Chief of Engineering.

In July 2001 KKRZ moved it's transmitter site to the KGW/OPB-DT tower at 299 N.W. Skyline Blvd. A new Harris transmitter was installed with dual 20KW's & all automatic switching. Plus three Harris ZD-5 auxilary transmitters for KKRZ & sisters. Antenna height was raised to 470 meters with a beam tilt. In August 2001 Michael Storm became Program Director. On May 1, 2002 Byron Swanson retired from broadcasting after 40 plus years. By June 2002 slogan: The new Z100, todays hottest music. Also by 2002 Michael Hayes was Program Director & Rob Ryan, Music Director. KKRZ slogans: Portland's number 1 hit music station, Z100. The Portland Original, Z100.

A rare find. Spring radio ratings from A.C. Nielsen, taken from April 25th through June 19th. Published in The Oregonian on August 6, 1960. Added on are programs & shows during this time period.

MORNING 6-9AM 1. KOIN 40.1 World News 6AM/Koin Klock 6:15/Frank Goss News 7:30/The Bob Hazen Show 7:45/Consumer News 8AM/Shelley Serenade 8:30-9AM 2. KEX 27.4 Barney Keep 6-9AM 3. KWJJ 18.0 Newsreel 6AM/Frank Hemway News 7AM/Frank Tyrer 7:15/Don Kneass News 7:45/Frank Tyrer 8AM/Paul Harvey News 8:55-9AM 4. KISN 15.9 Hal Raymond 6-9AM 5. KGW 12.4 Bill Davis 6-9AM (NBC News hourly) 6. KPOJ 10.4 Larry Kilburn 6-9AM 7. KXL 7.7 Morning Overture 6-9AM 8. KPAM 5.7 Concert At Dawn 6-9AM

9AM-NOON 1. KOIN 36.6 This 'N' That 9:05/Mid-Morning News 9:30/Fred McKinney's Piano 9:45/Happiness 10:05/Mrs. Burton 10:15/Dr. Malone 10:30/Ms. Perkins 10:45/Next Door 11:05/Pat Buttram 11:45-12PM (CBS News hourly) 2. KWJJ 20.3 Don McNeill's Breakfast Club 9AM/John Holbrook News 10AM/Tell-O-Test 10:15/Sammy Taylor 10:30-12PM 3. KISN 20.1 Bob Stevens 9-12PM 4. KGW 18.9 Bill Davis 9AM/R.H. Peck 10-12PM (NBC News hourly) 5. KEX 15.2 Barney Keep 9AM/Russ Conrad 10-12PM 6. KPOJ 12.9 Larry Kilburn 9AM/Chuck Bernard 10-12PM 7. KXL 10.5 Serenade In The Morning 9-12PM 8. KPAM 5.5 Coffee Concert 9AM/Festival of Music 10-12PM

NOON-3PM 1. KOIN 30.8 Come & Get It 12:15/Arthur Godfrey Time 1:05/ Art Linkletter's House Party 2:05/The Garry Moore Show 2:30/The Bing Crosby-Rosemary Clooney Show 2:45-3PM (CBS News hourly) 2. KWJJ 19.6 Sammy Taylor 12PM/Paul Harvey News 12:15/Sammy Taylor 12:30/Frank Tyler 1-3PM 3. KISN 18.5 Bill Jackson 12-3PM 4. KGW 16.7 R.H. Peck 12PM/Red Robinson 2-3PM (NBC News hourly) 5. KEX 13.2 Russ Conrad 12PM/Lee Smith 2-3PM 6. KXL 10.5 Serenade In The Afternoon 12-3PM 7. KPOJ 9.2 Chuck Bernard 12PM/Mark Allen 1-3PM 8. KPAM 8.0 Concert Matinee 12PM/Stereophony 2-3PM

AFTERNOON 3-6PM 1. KOIN 30.0 The Little Show 3:05/Newspaper of The Air 3:30/Art Kirkham News 4:05/Julius Walter 4:15/Shelly Serenade 4:30/Part of Law 4:45/Lowell Thomas Sports 5:05/News & Weather 5:15/Tom Harman Sports 5:30/The Little Show 5:45-6PM (CBS News hourly) 2. KISN 19.1 Jack McCoy 3-6PM 3. KWJJ 17.1 Sammy Taylor 3PM/Don Kneass News 5PM/Paul Harvey News 5:15/Speaking of Sports 5:30/Stock Market 5:45-6PM 4. KEX 15.5 Lee Smith 3-6PM 5. KGW 14.2 Red Robinson 3-6PM (NBC News hourly) 6. KXL 11.9 Serenade In The Afternoon 3PM/Limelight 4-6PM 7. KPOJ 11.5 Mark Allen 3PM/Bob Blackburn 4-6PM 8. KPAM 6.6 Concert Variations 3PM/Commuters Concert 5-6PM

EVENING 6-9PM 1. KOIN 31.4 Johnny Carpenter News 6:05/The Big Show 6:15/Frank Goss News 6:30/The Big Show 6:45/Amos 'N' Andy 7:05/Capitol Assignment 7:30/Bob & Ray 7:45/The World Tonight 8PM/Masters of Melody 8:15/The Big Show 8:45-9PM (CBS News hourly) 2. KWJJ 17.6 Edward Morgan 6PM/Virgil Pinkly 6:15/John Daley News 6:30/Quincy Howe 6:45/ The Holy Rosary 7PM/Voice of China 7:15/Back To The Bible 7:30/Allen Revival 8PM/Girls Town 8:15/Eve Meditation 8:30-9PM 3. KISN 16.9 Jack McCoy 6PM/Tom Murphy 7-9PM 4. KPOJ 15.2 Bob Blackburn 6PM/Dick Novak 7-9PM 5. KEX 11.6 Bob Liddle 6-9PM 6. KXL 10.3 Limelight 6-Sunset 7. KGW 9.6 Wes Lynch 6-9PM (NBC News hourly) 8. KPAM 3.6 Candlelight & Silver 6PM/Berg's Chalet 7-Sunset

9PM-MIDNIGHT 1. KOIN 23.2 The Big Show 9:05/Capitol Cloakroom 9:30/Five Star Final 10:05/Time To Remember 10:30/The Late Show 11:05/Meditation 11:55-12AM (CBS News hourly) 2. KEX 16.2 Bob Liddle 9-12AM 3. KPOJ 13.7 Dick Novak 9-12AM 4. KISN 12.2 Tom Murphy 9-12AM 5. KWJJ 7.3 The World Tomorrow 9:05/ The Quiet Hour 9:30/Dreamland 10:05/Easy Listening 10:30-12AM (ABC News hourly) 6. KGW 6.2 Wes Lynch 9-12AM (NBC News hourly)

The Oregonian on August 18, 1959. Added on are programs & shows during July 1959.

MORNING 6-9AM 1. KOIN 44.3 World News 6AM/Koin Klock 6:15/Weather 7AM/Koin Klock 7:05/Headline News 7:15/Frank Goss News 7:30/The Bob Hazen Show 7:45/Consumer News 8AM/David Vaile News 8:15/ Rusty Draper 8:30/Shelly Serenade 8:35-9AM 2. KEX 25.6 Barney Keep 6-9AM 3. KWJJ 19.9 Newsreel 6AM/Sports Newsreel 6:45/Frank Hemingway News (ABC) 7AM/Jack Hayes 7:15/Don Kneass News 7:45/? Engle News 8AM/World News 8:15/Organ Music 8:30/Paul Harvey News (ABC) 8:55-9AM 4. KGW 18.2 Bill Davis 6-9AM 5. KISN 16.3 Hal Raymond 6-9AM 6. KPOJ 14.5 The Larry Kilburn Show 6-9AM (Breakfast News 7:45) 7. KXL 11.3 Bill Jackson 5-9AM

9AM-NOON 1. KOIN 37.4 The Wayne King Show 9:05/This 'N' That 9:20/Harry Babbitt 9:30/Mid Morning News 9:45/Happiness 10:05/Mrs. Burton 10:15/Young Dr. Malone 10:30/Ma Perkins 10:45/Whispering Streets 11:05/The Couple Next Door 11:15/The Romance of Helen Trent 11:30/The Pat Buttram Show 11:45-12PM (CBS News hourly) 2. KGW 23.6 Bill Davis 9AM/R.H. Peck 10-12PM 3. KWJJ 17.4 Don McNeill's Breakfast Club 9AM/Sammy Taylor 10AM/Tell-O-Test 10:15/ John Holbrook News (ABC) 10:30/Sammy Taylor 10:45-12PM with news at :25 & :55 4. KEX 17.0 Barney Keep 9AM/News 10AM/Kay West 10:05/Russ Conrad 10:20-12PM 5. KPOJ 13.3 The Larry Kilburn Show 9AM/The Chuck Bernard Show 10-12PM 6. KISN 10.8 Jim Tate 9-12PM 7. KXL 6.0 Bob McCarl 9-12PM

NOON-3PM 1. KOIN 40.6 Local News 12:05/Weather 12:15/Come & Get It 12:20/Arthur Godfrey Time 1:05/Art Linkletter's House Party 2:05/The Galen Drake Show 2:30-3PM (CBS News hourly) 2. KEX 20.4 George McGowen 12-2PM/Russ Conrad 2-3PM 3. KWJJ 19.6 Paul Harvey News (ABC) 12PM/Local News 12:15/Sammy Taylor 12:20/News 12:55/Jack Hayes 1-3PM with news at :25 & :55 4. KGW 19.5 R.H. Peck 12PM/Red Robinson 2-3PM 5. KPOJ 12.7 Todays News 12PM/The Mark Allen Show 1-3PM 6. KISN 11.6 Steve Brown 12-3PM 7. KXL 10.0 Bob Liddle 12PM/Bob McCarl 1-3PM

AFTERNOON 3-6PM 1. KOIN 42.7 The Little Show 3:05/The Wayne King Show 3:25/Come To The Fair 3:30/Newspaper of The Air 3:35/Art Kirkham News 4:05/Julius Walter 4:15/Local News 4:30/Shelley Serenade 4:35/Baker, Law 4:45/Lowell Thomas Sports 5PM/P.M. Sports 5:10/News 5:15/Weather 5:25/Tom Harmon Sports 5:30/Johnny Carpenter News 5:45/Sports 5:55-6PM (CBS News hourly) 2. KWJJ 20.3 Sammy Taylor 3PM/News 3:25/Sammy Taylor 3:30/News 3:55/Sammy Taylor 4PM/Frank Hemingway News (ABC) 4:15/Sammy Taylor 4:30/Don Kneass News 5PM/Sports, Stocks & News 5:15/Jess Mason 5:30/Headline News 5:45-6PM 3. KGW 17.7 Red Robinson 3-6PM 4. KEX 16.3 Russ Conrad 3-6PM 5. KPOJ 13.7 The Mark Allen Show 3PM/Bob Blackburn Traffic Jamboree 4-6PM 6. KISN 12.4 Wally Thornton 3-6PM 7. KXL 10.0 Bob Liddle 3-6PM

EVENING 6-9PM 1. KOIN 32.6 Johnny Carpenter News 6:05/The Big Show 6:15/Frank Goss News 6:30/The Big Show 6:35/Amos 'N' Andy 7:05/Local News 7:30/Griff. ? 7:35/George Burns & Gracie Allen 7:40/Bob & Ray 7:45/The World Tonight 8PM/Masters of Melody 8:15/The Big Show 8:45-9PM (CBS News hourly) 2. KGW 15.9 Wes Lynch 6-9PM 3. KISN 15.8 Tom Murphy 6-9PM 4. KEX 15.4 Al Priddy 6-9PM 5. KPOJ 15.2 Action News 6PM/Bob Blackburn Traffic Jamboree 6:05/Dick Novak's Rhythm Room 7-9PM 6. KWJJ 12.1 Edward P. Morgan News (ABC) 6PM/Virgil Pinkley 6:15/John Daley News (ABC) 6:30/? Gorme 6:35/Music 6:45/News 6:55/The Holy Rosary 7PM/Voice of China 7:15/Back To The Bible 7:30/The Allen Revival 8PM/Girls Town 8:15/Evening Meditation 8:30-9PM 7. KXL 4.8 Bob Liddle 6-sunset

9PM-MIDNIGHT 1. KGW 21.1 Wes Lynch 9-12AM (Ray Horn 12-6AM) 2. KPOJ 18.8 Dick Novak's Rhythm Room 9-1AM 3. KOIN 18.7 The Big Show 9:05/News Flashes 10PM/Five Star Final 10:15/Sports 10:25/Good Evening 10:30/The Late Show 11:05/Meditation 11:55-12AM (CBS News hourly) 4. KISN 13.9 Tom Murphy 9-12AM (Dennis James 12-6AM) 4. KEX 13.9 Al Priddy 9-12AM (Lee Smith 12-6AM) 6. KWJJ 7.2 The Radio Church 9PM/The Quiet Hour 9:30/John Vandercook News (ABC) 10PM/Dancetime 10:05/Eager Beaver 11:45-3AM

Pulse Ratings published in The Oregonian on August 19, 1959. Added on are formats.

1. KISN 17% Rock 'N' Roll 2. KOIN 16% Variety 2. KEX 16% Popular 4. KGW 15% Rock 'N' Roll 5. KPOJ 14% Rock 'N' Roll KWJJ Variety KXL Rock 'N' Roll

On September 23, 1959 the FCC granted a construction permit to build an FM station on 95.5 mc. in Portland OR to (I.G.M.) International Good Music, Inc. (Lafayette "Rogan Jones", President; David Mintz, Executive Vice-President). IGM, founded in 1958, was a builder of broadcast automation systems, headquartered in Bellingham WA, where the company operated KVOS AM-TV. In early October 1959 calls KGMG were assigned, standing for "Good Music", the format term for classical music.

On December 22, 1959 at 3:00 PM property on Healy Heights (4636 S.W. Council Crest Drive) was auctioned and sold to Tower Sites, Inc. (group owner: I.G.M., Inc.). KGMG license was changed to Tower Sites, Inc. shortly after. Winning bid was $45,500.00 for real estate, broadcast studio building and a 248 foot tower. This facility was previously KHTV Television. Channel 27 declared bankruptcy after it's 10-31-59 sign off. (KHTV launched on 7-6-59, property purchased on 10-22-58). Previous to this in 1947 the property was the transmitter site for the failed KPRA (FM) and later the second failed attempt as the first KWJJ-FM in 1949. By coincidence these stations operated on 95.5 mc. In 1950 the property became the site of the first broadcast test of Television in Oregon.

June 30, 1960 was announced as the target date KGMG would commence broadcasting with Marc Bowman, Station Manager & Ernie Harper, Chief Engineer. Power: 68.35KW. Antenna height: 920 feet above average terrain. Target date was moved to July 15, 1960. In August 1960 licensee name changed to KGMG, Inc. (Rogan Jones, President; C.W. Jones, Secretary; group owner: I.G.M., Inc.). By September 9, 1960 KGMG was testing intermittently.

On September 25, 1960 KGMG began regular operation at 7:00AM with it's IGM automation system. Mr. Bowman: "We will broadcast the great classics, lighter works, folk music, jazz & music from Broadway." KGMG broadcast 7AM to 1AM daily. Only selected commercials would be played. No singing jingles allowed. Newspaper Ad: "FM listeners can share the enjoyment of the worlds' greatest music. Heritage Music, programmed by a staff of musical experts. Selected from one of the largest music libraries in the world. 18 hours a day are now programmed for you. Music carefully balanced to the time and mood of the day." Slogan: Your Heritage station.

By this time "Heritage Music" programming was also heard on other IGM owned FM stations: KGMI 92.9 Bellingham, KGMJ 95.7 Seattle, KFMU 97.1 Los Angeles & KFMW 99.9 San Bernardino. In November 1960 KQFM moved it's transmitter & antenna across Council Crest Dr. to the KGMG facitity. In early 1961 KGMG power was reduced to 68KW. In October 1961 KPDQ-FM & Electromatic, Inc. also began leasing antenna space at the KGMG Tower site. By March 1962 KGMG was broadcasting the recorded "Heritage Concert" series. Slogan: Heritage Music FM.

On March 17, 1962 KGMG became the 2nd Portland station to broadcast in multiplex stereo. In July 1962 KGMG began leasing antenna space to Pacific Motor Trucking Co. for a 25 watt VHF transmitter. By October 1962 James L. Hamstreet was General Manager. He was based in Bellingham. Marc Bowman continued as Station Manager. By November 1963 William J. Trader was Station Manager. On April 20, 1964 KGMG switched to an automated MOR format from IGM. By mid 1964 KGMG was broadcasting 9AM to 11PM daily. By October 1964 John S. Mackwood was Station Manager & Chief Engineer with Virgina C. Kupfer as Program Director.

On May 13, 1965 the FCC approved the sale of KGMG, Inc. to Seattle, Portland & Spokane Radio, a joint venture of Dena Pictures, Inc. & Alexander Broadcasting Co. (Entertainer: Danny Kaye aka David Daniel Kaminsky, 80% & Lester M. Smith, 20% & General Manager) for $125,000. (transfer took place 6-18-65). KGMG moved studios to new AM sister KXL studios in Harmony, OR. (S.E. 82nd Ave. & Sunnyside Rd., numbered address not available, now site of Clackamas Town Center Mall, 12000 S.E. 82nd Ave.).

On July 5, 1965 KGMG became KXL-FM and began duplicating KXL's "Good Music" format (all instrumental lush strings) 9AM to 9PM. Slogans: KXL & KXL-FM stereo, double your musical pleasure. Living stereo. Melvin M. Bailey, Program Director; John Salisbury, News Director & Bryce Howard, Chief Engineer. By September 1965 KXL-FM had a new pair of RCA BTF-20 transmitters to form the RCA BTF-40 E, 40KW transmitter. The new antenna was an RCA (dielectric) BFC-5, 5 bay circular pole mounted antenna.

On June 15, 1966 it was announced that Mel Bailey was now Station Manager. Les Smith continued as GM. In September 1966 KXL-FM staff began taping it's evening "Good Music" programming for syndicator IGM, now known as BPI (Broadcast Programming International) which provided the software to many FM stations nationwide. (IGM continued to build the hardware). In December 1967 KLIQ-FM began leasing antenna space at the KXL-FM Tower site. By January 1968 KXL-FM slogan: More good music, 24 hours a day. (KXL-FM simulcast hours: 9AM to 4PM). In September 1968 KJIB began leasing antenna space on the KXL-FM Tower. Rent for each station was $200.00 a month.

In 1969 KXL-FM raised power to 100KW and increased antenna height to 990 feet. By October 1969 Wayne Jordon was Program Director. In 1970 KXL-FM & sister switched to a "Popular Music" format. KXL-FM continued to simulcast 9AM to 4PM. Slogans: KXL-FM stereo, the beautiful music station. A beautiful music oasis. By October 1970 Les Smith was named Executive Director. By October 1971 Ray G. Watson was Station Manager & Robert Kellogg, Operations Manager. On June 29, 1972 licensee name changed to Alexander Broadcasting Co., Inc. & Dena Pictures, Inc., a joint venture, doing business as Kaye/Smith Enterprises. By October 1972 Ray Watson was General Manager & William Bise, Chief Engineer.

On July 27, 1974 retired KGW AM-FM C.E., Harold C. Singleton sold his home & property at 4646 S.W. Council Crest Dr. to KXL (Kaye/Smith Enterprises) for $98,000. This adjacent property to the KXL-FM Tower site was to become the new studio home of KXL AM-FM. The City of Portland did not approve this move since the property was not zoned for business use. At this point Mr. Singleton's former residence became a rental and KXL AM-FM the landlord. In Fall 1974 KBOO moved it's transmitter & antenna from the adjacent former Singleton properties 50 foot tower to the KXL-FM site. With this move came Consolidated Frightways Corp. VHF mobile base transmitter & antenna, two radio transmitters from Pacific Union Paging & Radio Cab Co. transmitter & antenna.

On October 21, 1974 Larry Wilson became Chief Engineer. (formerly KPOK AM-FM, KUPL AM-FM O.M. & C.E.). In 1977 KXL-FM & sister moved studios to the Buckman District of Portland (1415 S.E. Ankeny St.) after the Clackamas Town Center studio deal fell through. At this time KXL-FM's 50% simulcast was ended. By December 1977 Larry Roberts was Program Director. By December 1978 KXL-FM slogan: Stereo 95. On April 9, 1981 licensee name changed to Alexander Broadcasting Co., Inc. (group owner: Kaye/Smith Enterprises). Also by April 1981 slogan: KXL-FM 95, the place to relax. By February 1982 Howard Huntley was Operations Manager & Robert Kellogg moved to Production Director. KXL-FM was programming SRP's Beautiful Music Service. (James Schulke Radio Productions). Additional slogans: Easy Listening 95.5 KXL-FM. Beautiful KXL-FM.

In November 1982 Tim McNamara became Sales Manager. By February 1983 the KXL-FM booth announcers included: Howard Huntley 6AM-2PM (live mornings, voice tracked middays & O.M.), Joel Cole (Formerly on KUIK, KLIQ, KWJJ & KYXI) 2PM-10PM (live afternoons & voice tracked evenings), Mike Thissel 10PM-6AM (all voice tracked). In 1983 BPI (Broadcast Programming International, Inc.) became a property of Kaye/Smith Enterprises. In March 1984 KXL-FM switched to TM's "Beautiful Music" service & was playing 5 to 6 vocals an hour. By 1987 BPI had shortened it's name to BP and moved to Seattle. In February 1987 KKRZ moved it's antenna off the KXL-FM Tower to the KPDX TV Tower. In 1989 Ray Watson became VP & GM. KXL-FM was running Unistar's "Special Blend" satellite format with George Walker doing local Mornings.

In April 1990 KXL-FM changed format to Lite Favorites, also called Easy Favorites. Satellite music service except for drive times. Slogans: We're the new K-95.5. Light Favorites with less talk. I love my music, K-95.5 (jingle). In August 1990 KBOO, KGON & KPDQ-FM moved off the KXL-FM Tower, moving their antenna's to the new adjacent KGON Tower. In Fall 1990 Tom Parker became Operations Manager. (formerly on KGW, KFRC, KKLI, KMXI & KXL). By Summer 1991 the K-95.5 air staff included: Lee Gordon, Mornings; Randy O'Neil, Middays; Tom Parker, Afternoons & O.M.; Scott Curtis, Evenings & Claudia Marshall, News Director. In November 1991 KWJJ-FM moved it's antenna off the KXL-FM Tower to the KGON Tower. In 1992 Les Smith became Chairman, with Irv Karl, President & Tim McNamara, General Manager. KXL-FM slogans: Portland's more music station is Lite 95.5. Home of the guaranteed 45 minute music sweep. In September 1992 Dennis Kelly became Operations Manager. (formerly KXL N.D.). By this time KXL-FM had installed a "Broadcast Electronics FM-35 A" transmitter and continued to use one of the "RCA BTF-20" transmitters as backup.

On September 27, 1993 KXL-FM switched to a Hot A.C. format. Slogan: The new Star 95.5, no soft oldies, no kid stuff, just superstars of the 80's & 90's. Star 95.5 with another Star-set. 25 minutes of music non-stop. In July 1994 Dan Packard began weekends on KXL-FM. (formerly on KMJK, KYTE, KJR, KBSG & KWJJ). By or on October 24, 1994 KXL-FM switched format to "Music of The 70's". Slogans: Now there's a station that plays only the 70's, all day & all night, on Best of The 70's, the new FM 95.5. Best of The 70's, 95.5 KXL-FM. Jingles: Jam's "70's Station" Image voice: Ron Erak. The FM 95.5 air staff included: John Williams (as of 10-17-94, formerly on KTAC, KREM, KGW & KKSN-FM) with Gloria Johnson, News Director (formerly on KVAN, KGON & KKSN-FM) 5-9AM also with Captain Steve Sanders, Traffic & Tom Hunter, Producer; Randy O'Neil 9-1PM; Chuck Tyler 1-3PM; Shawn Taylor 3-7PM; Scott Forrest 7-12AM & Dan Packard began a succession of name changes during the hosting of the Saturday night "70's Dance Party". Pseudo names: Timothy, Timmy Martinez, Timmy T., Timmy Terio, T.K. Terio & Timmy Tornado by February 1995.

On November 1, 1994 Chuck Tyler became KXL-FM Program Director. By January 1995 Ruby Blake was doing 7-Midnight with Glenn Nobel 2-6PM Saturdays & Noon-6 Sundays. In March 1996 KXL-FM & sister moved studios to the John's Landing area. (0234 S.W. Bancroft St.). On April 15, 1996 KXL-FM modified it's 70's format to include the 80's. Slogans: Some stations think music from the 80's has been lost. Tell'em we've found it. The greatest hits, music radio, 95 KXL. More than just the 70's. The greatest hits of the 70's & 80's, 95 KXL. Jingles: Jam's "The Retro Point". Mike Dirkx, Operations Manager; Scott Tom, Music Director & Marie Dodds, News Director. The 95 KXL air staff included: Scotty & Marie, 5-9AM (Scott Tom & Marie Dodds, formerly KXYQ-FM Mornings) Tom Hunter, Producer; Randy O'Neil 9-2PM, John Williams 2-7PM, Ruby Blake 7-12AM & Barbara Voight 12-5AM.

In Fall 1996 KXL-FM modified it's format again to 80's & 90's music. Slogans: Music Radio 95 KXL-FM. Portland's best mix of the 80's & 90's, 95 KXL. By December 1996 Ray Watson was Senior Vice-President. In March 1997 KXL-FM switched to a new slogan: 100,000 watts of power, crystal clear stereo, Portland's best mix of the 80's & 90's, has a new name, Mix 95.5. It's a maximum music mix exclusively from Mix 95.5. Jingles: Jam's "Breakthrough". Image voice: Ron Erak. In March 1997 John Williams moved to KEX and Glenn Nobel took Afternoons 2-7PM.

In December 1997 Carl Widing was hired as Program Director of KXL-FM (formerly KINK P.D. for 12 years). In February 1998 KXL-FM switched to an Adult Album format. Slogan: 95.5 FM. Air staff included: David Shult & Marie Dodds, N.D. 5-9AM, Ruby Blake 9-2PM, Scott Tom 2-7PM, Terri Magnuson 7-12AM & Barbara Voight 12-5AM. In August 1998 KXL-FM moved off it's 39 year old tower to the adjacent 4700 Tower (formerly called The KGON Tower) 4700 S.W. Council Crest Dr. Antenna height was raised from 302 meters to 386 meters. (Jampro JTC-3 antenna). A new "Broadcast Electronics FM-35 T" transmitter was installed. The old "B.E. FM-35 A" was moved to the site as the backup transmitter. The KXL-FM Tower site was now unoccupied.

On November 3, 1998 KXL-FM was sold to Rose City Radio Corp. (Paul G. Allen, Owner & C.E.O.; Renne Rank, Chairman & Marketing Director) for $55 Million (price included AM sister). FCC approval on 11-30-98. On March 26, 1999 at 5:20 PM KXL-FM switched to a Rhythmic Contemporary Hit format. (Rap, Hip-Hop & R&B). First song played was "Changes" by 2Pac. KXL-FM slogans: Jammin' 95.5, Portland's new hit music station. For people who like to dance and can. John Christian, Program Director (formerly KWIN Stockton P.D.).

On April 30, 1999 KXL-FM became KXJM. Call slogan: JaMmin'. The Jammin' 95.5 air staff included: The Breakfast Party 6-10AM (Ebro & Christina with Doug Zanger, Producer), Alexa 10-2PM, Mario Devoe 2-6PM, Louie Cruz 6-10PM (formerly on KWIN), Pretty Boy Dontay 10-2AM & M.D. (formerly on KWIN), Doug Zanger (Board Op) 2-6AM. In mid 1999 BP (Broadcast Programming) was acquired by Jones Media Networks Limited and merged with Jones Radio Networks (JRN). In October 1999 Mark Adams became KXJM's Program Director.

On February 22, 2000 "The Playhouse" debuted on Jammin' 5:30-10AM with PK, Scooter, Ebro & Sonie (Doug Zanger, Producer). By June 2000 KXJM slogan: Portland's party station. Also in 2000 Larry Wilson became Director of Engineering for Rose City Radio Corp. The City of Portland declared the old KXL-FM Tower "abandoned" after two years unused and ordered it dismantled. The 4700 Tower name changed to The Stonehenge Tower, named for new owner Stonehenge investor group of Seattle. In March 2001 BP became JBP (Jones Broadcast Programming).

On December 20, 2001 Kent Randles became Chief Engineer. Also by December 2001 James Derby was KXJM Operations Manager. In January 2002 Alexa became Jammin's Music Director. In October 2002 the old KXL-FM Tower was dismantled. On November 1, 2002 the KXL-FM Tower property and adjacent former Singleton home & property were sold to Gray Frierson Haertig. Mr. Haertig is remodeling the KXL-FM transmitter building into an apartment for rent. On July 18, 2003 Larry Wilson became Chief Engineer of KXJM & sister once again & continued as Director of Engineering for Rose City Radio Corp. KXJM slogans: Jammin' 95.5, Portland's Hip-Hop station. There's only one Jammin' 95.5.

On December 26, 1946 the FCC granted a "Class B" conditional grant to Westinghouse Radio Stations, Inc. (Walter C. Evans, President) for 92.3mc in Portland OR. In early 1947 KEX-FM calls were assigned. In August 1947 a construction permit was issued in lieu of the conditional grant.

On November 25, 1948 (Thanksgiving Day) at 3:00PM KEX-FM began operation. (trivia: sister KEX began on Christmas Day 1926). KEX-FM studios were located at Radio Center. (1230 S.W. Main St.). KEX-FM transmitter site was located on Healy Heights (4504 S.W. Carl Place. Street connects with west side of Council Crest Drive). A 10KW "Westinghouse Electric" transmitter, employing a four-bay pylon antenna, mounted on a 146 foot self-supporting steel tower. The antenna was 955 feet above average terrain, with the power of 56.4KW. The KEX-FM signal was heard within a radius of 85 miles. KEX-FM was Portland's 6th FM station, duplicating it's sister and the ABC Radio schedule. KEX-FM operated 3:00PM to 10:15PM daily. Cy S. Young was General Manager with Robert L. Thomas as News Director & Thomas T. Ely, Chief Engineer.

On September 1, 1949 KEX-FM reduced hours of operation 3:00PM to 9:00PM daily. By December 1950 John B. Conley was General Manager & (Mel) Melvin M. Bailey, Program Director. By December 1952 E.V. Huggins was President & Joseph E. Baudino was Executive Vice-President of Westinghouse Radio Stations, Inc. On January 22, 1954 licensee name changed to Westinghouse Broadcasting Co., Inc. (Chris J. Whitting, President). By December 1954 Jack A. Erwin was Chief Engineer. By December 1955 KEX-FM had reduced power to 56KW & Donald H. McGannon was President, also Jesse E. Leonard was News Director. By December 1956 Herbert L. Bachman was General Manager. On December 17, 1956 KEX-FM was quietly taken off the air.

On August 5, 1957 KEX-FM was reactivated. A new policy: All Westinghouse FM's would adopt a Classical format. Westinghouse also controlled programming by mandating records by numbers. KEX-FM was now operating 5:00PM to Midnight, Monday through Friday. Slogan: You're in tune with Westinghouse, KEX-FM in Portland. By this time Robert A. McClanathan was a staff Engineer & Don Wirtz a staff Announcer. (formerly on KPAM/KPFM). On October 18, 1958 Ed Gilbert was appointed Chief Announcer with John R. Gordon to assist. By August 1959 Ed Gilbert was working the evening shift. In late 1959 KEX-FM increased power to 57KW. On March 25, 1960 Paul LaRiviere, KEX-FM's Program Director announced, control of Classical programming was now in KEX-FM hands. On May 29, 1960 KEX-FM & sister moved to new studios at 2130 S.W. 5th Ave. (offices moved a day earlier) The facility cost approximately $200,000.

On October 25, 1961 Westinghouse announced plans to donate KEX-FM to the state of Oregon. Westinghouse had previously donated other FM's to educational interests in some of it's markets. KEX-FM's G.M., Herbert L. Bachman originated the idea here. Portland was without an outlet for Oregon Educational Broadcasting Radio. The City had just seen it's sister television service begin 8 months earlier. (KOAP Channel 10). On March 15, 1962 the transfer "by deed as gift" to licensee: State of Oregon, Acting by And Through The State Board of Higher Education, was accepted. The gift included broadcast equipment and the 3 to 4 thousand KEX-FM Classical Music Library. A total value of $100,000. On April 8, 1962 KEX-FM left the air. The FCC approved the transfer on 4-30-62. The story continues under the title "KOAP-FM & The Building of OPB".

On May 1, 1959 Gordon A. Rogers, President, P.D. & licensee of "Radio Station KBLA" a 250 watt broadcaster on 1490kc. in Burbank CA, made an announcement. Mr. Rogers had applied for a 1KW daytime station on 1550kc. in Vancouver WA. On January 10, 1962 the FCC granted a construction permit. Estimated construction cost was $13,675. First year operating cost $72,000. First year anticipated advertising revenue $75,000. Proceeds from the KBLA sale by July 1960 were used for the building of the new station. Trivia: KBLA switched to 1500kc. & 10KW daytime in 1964, broadcasting a Top 40 format with DJ, Humble Harv. KBLA was reprised with Humble Harv in the 1980 movie "The Hollywood Knights" depicting Halloween night 1965.

On August 10, 1963 KGAR began operation at 5:00AM. KGAR studio & transmitter were located in the Fruit Valley vacinity of Vancouver WA (2808 Walnut St., in a former home). The transmitter was a Bauer 707, serial number XT-1 (1st 707 & prototype). The tower was about 100 feet of sewer pipe. The studio consisted of a Collins 212B console, 2 Russco turntables, a Western Electric microphone, 3 Magnecord PT-6 reel-to-reel tape machines & 2 Spotmaster cart machines. Equipment was originally refurbished or castoff from KBLA.

Behind The Mike column 8-15-63. "We run an all-news format says Gordon A. Rogers to The Oregonian. Sunday will be offered to churches for commercial religious programs. Religious music and smooth standards may also be played Sunday along with the news. No jungle or teen-age frantic music will be played at any time. We program to the adult listeners and at the same time invite the youngsters to tune in and find out what is going on in the world around them. We will not play down Vancouver. We are licensed as a Vancouver radio station and are proud to admit that our signal emanates from that beautiful city.(jab at KISN?). Our broadcasts will serve Vancouver, Portland and the adjacent environs on an equal basis."

Gordon A. Rogers was President & licensee; Gordon A. Rogers, Jr., General Manager; Bob Van Roy, News Director (formerly KKEY N.D.); Leo Erickson, Chief Engineer and station builder. KGAR call meaning: Gordon Arthur Rogers. KGAR operated 5:00AM to sunset daily. (6AM sign on in Winter). KGAR slogans: All news, all day. KGAR has it all over Vancouver, Portland. The KGAR Newscasters were Bob Van Ray, Tom Cauthers (formerly with KGON-1230, KYJC, KRVC, KNND M.D., KKEY & KGRO) & Gordon Short (aka Al Gordon).

Tom Cauthers remembers September 1963: "The reporters...us three guys would rotate doing shifts. All the news was rip n' read off the UPI teletype machine. The first newscast was assembled off the wire, and had to last at least 30 minutes. It was recorded as it was delivered live on the air. Then, about 3 minutes of PSA's ran while the reporter re-wound the tape to air it. That newscast would run again, while the reporter assembled the next half hour newscast. When the first tape was over, the reporter would read another half hour while the tape recorded."

"When it was over, the first tape ran. Then the second tape, while the reporter got ready to read the third segment while it was being recorded. After that, every other half hour was fresh, and recorded for later playback." Refered to on the air as "The KGAR News-wheel". News shifts were 5-11AM, 11-4PM & 4-sunset. In January 1964 Tom's brother, Bruce Cauthers began Saturday newscasts & fill-ins. (formerly with KFLY, KLOO & KGRO).

In January 1966 KGAR switched to a Top 40 format. 50KW KYMN 1520kc. had abandoned it's Top 40 format on 2-1-65 after battling 1KW KISN 910kc. for 6 months. The KGAR feud would be more personal, a battle KISN would never forget. KGAR's Program Director became A.J. Harold (formerly on KSNN, later aka Bobby Noonan). Tim L. Freed, Chief Engineer (formerly on KBPS, KPAM-KPFM). KGAR slogan: Everything's nifty on 15-50. The KGAR air staff included: Tim Freed, 6-10AM; Rob ???, 10-2PM; A.J. Harold, 2-sunset.

On January 31, 1966 Robert T. Fletcher joined the KGAR sales staff (formerly on KEED, KOMB, KBAR, KFLY, KGAY, KRXL, KLOO & KWAY G.M.). In March 1966 Robert T. Fletcher aka Bob Duke became Program Director. On May 1, 1966 KGAR launched it's "Boss Radio" slogans: Boss radio at 1550. The IN sound in town. The Boss 1550. More rockin' rhythm, more often. KGAR plays more music. Much more music machine, KGAR 1550. (Boss Radio duplicated from "93 KHJ" slogans launched 5-3-65).

On May 10, 1966 KGAR moved studios to Portland OR. Baker's Dozen by Doug Baker 5-9-66: "Early this year one Gordon Rogers, Sr. the owner of KGAR radio in Vancouver WASH. secretly leased the Flatiron Building at the corner of S.W. 10th & Burnside (949 S.W. Oak St.). Once he had a 10 year lease Rogers took pains to white wash the windows of the building with poster paint thus masking from view what has happened in the building during the past six weeks. The building you see is directly across the street from KISN studios at N.W. 10th & Burnside." (10 N.W. 10th Ave.) More to come...

Just to turn the knife in the wound, Rogers will erect on his new building large signs. The first one due to go into position this Monday (today), will read "KGAR Boss Radio, Dial 1550". On the side of the building which faces KISN's building another big sign will read "Radio IS KGAR". Although KGAR is moving it's sales and administrative offices into the new Portland site, it will continue says Rogers to keep it's Vancouver WASH., identification, operating studios there and licensing it's news truck in Washington."

"Rogers, while he plans to spoof KISN's various promotions has no intention of spending the large sums of money spent by the Star Broadcasting Co. on it's promotional efforts. He gave as an example, his recent "Bat Guanomobile" contest ran in rebuttal to KISN's "Batmobile" contest. KISN gave away large prizes, KGAR only a wheelbarrow of guano and a trip to Scappoose." KISN's only comment came on 5-12-66 in "Baker's Dozen" from a staff member not mentioned. "KGAR took a big gamble in signing a 10 year lease. The radio biz being what it is, it was risky..."

The Oak Street studio was used on air mornings & afternoon drive only. Middays the studio was a production room. By July 1966 The Boss Personalities were: Don Coss, 5-9AM (formerly on KWAY & KUIK); Big Daddy Duke (aka Bob Duke) 9-Noon; Tim Freed, Noon-2; A.J. Harold, 2-sunset. In late September 1966 Robert T. Fletcher became Assistant G.M. & Paul Oscar Anderson aka P.O.A. became Program Director (formerly on KISN). The Boss Jocks were: P.O.A., 5-9AM; Don Coss, 9-Noon; Tim Freed, Noon-2 & A.J. Harold 2-sunset.

On October 17, 1966 in a civil action before Circuit Judge, Robert E. Jones, Paul E. Brown aka Paul Oscar Anderson claimed he was fired for refusing to go along with KISN election coverage. Mr. Brown told the court that on September 22, 1966 Don Burdon, President of KISN told him he planned "to put Mark Hatfield in the U.S. Senate." KISN News reports on rival Bob Duncan were to "show Duncan in a bad light." Mr. Brown believing this policy to be in violation of the FCC equal time provision, refused to play promotional spots announcing special coverage and was fired by KISN's Program Director. (PD name not mentioned).

On October 18, 1966 the KISN slanted news charge was "not substantiated by the preponderance of evidence." KISN had sought an injunction enforcing a no-competition clause in Mr. Brown's contract for one year. The Judge ruled Mr. Brown could not broadcast on KGAR until December 1, 1966. "Gordon A. Rogers, owner of station KGAR, said Brown will immediately go to work for his station doing sales. On December 1st he will go on the air as our top morning disc jockey." Rick Chase was interim mornings.

In hindsight October 17, 1966 would mark the beginning of the end for KISN & the Star Stations, Inc. group. In December 1966 P.O.A. dropped the "Boss Radio" slogans in favor of "KGAR, the hard rock of the Northwest." By early 1967 P.O.A. had parted from KGAR and Bob Fletcher was P.D. again, as well as Assistant G.M. By Summer 1967 Gene Nelson was doing Afternoon Drive on KGAR.

On January 1, 1968 abc Radio divided it's network into four services. KGAR became an affiliate & debuted the "American Contemporary Radio Network" to the Portland market. By May 1968 the KGAR air staff included: Don Coss, 5-10AM; Tim Freed, 10-3PM; Todd Dennis (younger brother of Don Coss) 3-sunset. By this time the KGAR BIG '15' music surveys were being distributed. By October 1968 KGAR was listed as programming "Negro music 6 hours weekly". By June 1969 KGAR's format was described as "Top 30 and R & B music." By October 1969 Danny Dark aka C. Norman Chase was News Director & Chief Engineer.

In late 1969 KGAR closed it's Oak Street studio. (by fall 1970 the studio was the new location for "Ron Bailie School of Broadcast"). By late 1969 the KGAR air staff included: Big Daddy Duke, 6-Noon & Danny Dark, Noon-sunset. Sundays included: Dave Stone (formerly on KRDR as Junior Rockaway, later aka Dave "Record" Stone) 10-sunset. KGAR slogan: The music station. On December 15, 1969 Bob (Duke) Fletcher became General Manager, as well as P.D.

On April 7, 1970 KGAR began a transition from "Top 30" to "Golden Hits" freaturing afternoon talk shows "Just Pain Jack" hosted by Jack Hurd (formerly on KLIQ) 4-6PM & Bob Duke, 6-sunset. On May 1, 1970 KGAR switched to all "Golden Hits". By October 1970 Michael W. Johnson was Program Director.

On January 18, 1971 KGAR switched format to Country & Western. Slogans: Town & Country KGAR. The Country 1. Country 1550. KGAR call slogan: Great American Radio. Bob (Duke) Fletcher, G.M. & P.D., also on the air 3:30-sunset; Michael Johnson, Music Director. The abc Contemporary Network was dropped. By October 1971 Dan Ramsey was News Director.

On September 13, 1972 KGAR switched back to a "Top 20 Rock" format. Slogans: We found it, KGAR 1-55. There's only one KGAR. Bob (Duke) Fletcher, G.M., P.D. & M.D.; Mike Garland, News Director. On March 23, 1974 KGAR added Soul music to weekends with DJ's, Jimmy "Bang-Bang" Walker & Roy Jay-Soul (later KQIV G.M.). KGAR weekend slogan: The Soul of Portland. Also in 1974 KGAR affiliated with the Mutual Black Network (news at 50 after the hour)(founded by MBS on May 1, 1972, MBN featured a Black perspective on the news). KGAR also re-affiliated with the abc Contemporary Network (news at 55 after the hour). By October 1974 KGAR's address had changed to 2808 N.W. Walnut St.

In 1975 KGAR opened an additional studio at the "Inn At The Quay" aka "Inn At The Quay Motor Inn" (100 Columbia St.) in Vancouver. (Collins console). In 1976 KGAR dropped the Mutual Black Network & added APR Audio news. KGAR broadcast 6 hours of Black programming, 1 hour of farm news & 6 hours of religion weekly. KGAR slogan: Super Rock. By 1976 Peter A. Mann was Music Director; Dave Beck, News Director (formerly on KOIN) & Oliver Potter, Chief Engineer. On September 2, 1976 KISN signed off the air after the 5 Star Stations were denied FCC licenses on 1-31-75. Charges brought back to life on 12-3-70. Gordon A. Rogers had won the war. (for more on this, see "KVAN & KISN: The Originals").

On December 22, 1976 KGAR's license was transferred to KGAR, Inc. (Gordon A. Rogers, President & 51% owner; Lloyd Graham, 24.5%; Robert Schaefer, 12.75% & John Wynne, 12.75% interest).

On December 24, 1976 at 3:38AM KGAR began 24 hour operation from it's new main studio & transmitter site in Orchards WA. Land now part of SEH America, Inc. (4111 N.E. 112th Ave.). KGAR increased power to 10KW with directional nights. The two Blaw-Knox towers were formerly the KXL towers from the old Clackamas Town Center site. KGAR had installed a Continential Electronics 316F transmitter with the Bauer 707 as back up in the new cinder block building. The Walnut Street location was now sales & production only.

KGAR expanded it's Top 40 programming and added the talk show "Family Forum & Fun" hosted by Al Emrich (formerly on KLIQ) Monday through Thursday 11-1AM. Fridays talk show "Rapline" was hosted by A.C. (Al C. Emrich, Jr.) 11-1AM. By March 1977 KGAR slogan: Music Radio 1550. By late Spring 1977 the "KGAR Music Men" were: Bob "Big Daddy" Duke, 6-10AM; Mark O. Foster, 10-2PM; Bob Meyer, 2-7PM; Jay McCrae (formerly on KYAC, later aka Kelly McCrae) 7-11PM; Al Emrich, 11-1AM; A.C. 1-6AM. Weekenders: Steve Naganuma, afternoons (formerly with KGW & KPAM-FM) & Hal Hill, evenings. By May 1977 additional slogan: 1-55 KGAR.

On August 1, 1977 KGAR switched to a Country format for the 2nd time. Robert T. Fletcher, G.M. & P.D.; Roger Hart, Music Director (formerly on KLIQ & KEX as Roger Ferrier; KISN, KGAY P.D., KGAL P.D., KKEY, KGON & KISN as Roger Hart); "Al" Alfred C. Emrich, Promotion Manager. KGAR slogan: Country 1550. KGAR dropped the abc Contemporary Network. By October 1977 KGAR had abandoned it's "Inn At The Quay" studio.

By November 1977 the KGAR air staff included: Roger Hart, 6-10AM; Bob "Big Daddy" Duke (Fletcher) 10-3PM; Dave Stone (the original) 3-7PM; ????, 7-12AM; Steve Dougles, 12-6AM; Sundays: Steve Bradley, alternating 7-12AM & 12-5AM (formerly at KPOK AM-FM, KUPL AM-FM & KKEY). Sunday talk shows: Al Emrich, 8-9AM; Geno Martini, 9-10AM. KGAR slogan: There's only one KGAR. By October 1978 the KGAR air staff included: Bob Meyer, 6-10AM; Steve Meredith, 10-3PM; Bob Taylor (formerly on KPOK) 3-7PM; Judy West (formerly Judy Grindstaff on KOAP-FM) 7-12AM & Earlray, 12-6AM.

On December 1, 1978 KGAR, Inc. was purchased by Inland Radio, Inc. (group owner: Capps Broadcast Group, Inc.; David N. Capps, President & 40% interest; Gary L. Capps, Vice-President & 40% interest) for about $1 Million. The brothers also owned under the Capps banner: Inland Radio, Inc., KSRV Ontario OR; Juniper Broadcasting, Inc., KGAL & KXIQ (FM) Bend OR (also corporate offices); Eastern Oregon Broadcasters, Inc., KTIX Pendleton OR; Capps Broadcasting, Inc., KGAL Lebanon OR & Capps Broadcast Group, Inc., KEEP & KEZJ (FM) Twin Falls ID. (FCC approval: 11-17-78. License transferred:: 11-22-78).

"We really feel that Vancouver never had a radio station that paid attention to Vancouver" Capps explained. "It (Clark County) is a growing market, and it's worthy of at least one-station." Ron Hughes became General Manager & P.D.; James (Al) Boyd, Corporate Director of Engineering (formerly on WRBL, KBND P.D., KTIX P.D., N.D. & C.E.; KGRL O.M.). Also in December 1978 KGAR moved it's sales & production offices to the "Avenide del Sol" shopping center (5620 N.E. Gher Rd., Suite H).

In March 1979 Bill Cole became Program Director & M.D. (formerly KLOG P.D. & C.E., KGAL, KASH, KPUG P.D., KPOK, KWJJ, KTNT-KNBQ P.D., KMPS). In January 1980 the KGAR air staff included : Bill Cole, 6-9AM, Rick Elgin (formerly on KYXI) 9-Noon; Bob Taylor, Noon-3; Jeff Williams (formerly on KRDR & KGAY) 3-7PM; Judy West, 7-12AM; Dale Hansen, 12-6AM, Steve Meredith, morning news & News Director; Candice Seigal, afternoon news. In June 1980 Rick Freeman was doing Noon-3. In early 1981 Barry Burkes was Noon-3. KGAR slogan: The only one. (KGAR). In Spring 1981 Bill Cole became Operations Manager as well as M.D.

On May 4, 1981 KGAR became KVAN. Call slogan: VANcouver Radio. This was the 3rd KVAN. The original was on 910kHz. and the 2nd on 1480kHz. KVAN slogans: K-Van is Clark County proud! Vancouver Country. Sometime after the call change, the studio & transmitter address became known as "1550 KVAN Way". In October 1981 Jeff Williams became Music Director. By December 1981 Ron Hughes was V.P. & G.M.; Becky Hale, News Director & James Boyd, KVAN Chief Engineer. In April 1982 Dick Manning became News Director. In June 1982 KVAN reduced hours of operation 5AM to Midnight. In early 1983 Jim McEwen was on air 6-12AM (formerly aka Jim Conway on KRDR, KWJJ & KAAR). In December 1983 Jeff Williams became News Director. In Summer 1984 Bill Cole became Station Manager.

On May 15, 1985 studios moved to the "Avenida del Sol" shopping center with sales & production. K-Van expanded into an adjacent suite, taking out a wall. In July 1985 KVAN moved it's transmitter site to Sifton WA (15307 N.E. 34th St. This land was formerly the KPVA, KVAN & KARO transmitters site. All had been on 1480kHz. The address then was 15507 N.E. 34th St.). Two tower array. The Continental & Bauer transmitters were moved from the old site to the new and the land sold to SEH America for their expansion. In October 1985 James Boyd became Corporate Director of Engineering, again. By December 1985 Dave Lee was Program Director & M.D. plus doing afternoon drive.

In early 1986 KVAN was sold to Gentry Development Corp. (David N. Capps, retained 39.68%; Bruce L. Engel & William G. Williamson) for $1,289,964. Mr. Engel was also President of Tigard-based WTD Industries, Inc. which owned timber mills. In Spring 1986 KVAN switched format to Adult Contemporary. Warren Franklin, Program Director & M.D.; James Boyd, KVAN Chief Engineer, again.

On December 31, 1986 it was announced that Magic Radio, Inc. (Bruce L. Engel, principal owner, with Matt Capps & Gary L. Capps) purchased KMJK (FM) 106.7MHz. Lake Oswego OR for $3.9 Million. Gary L. Capps, C.E.O. (transfer in 4-87). By December 1987 Warren Franklin was K-Van's Program Director; Paul Duckworth, Music Director & afternoon drive. In February 1988 KVAN affiliated with the Mutual Network. Also in 1988 KVAN & KMJK (FM) licensee names merged and became Engel Communications Group (Bruce L. Engel, President; Terri Engel & David N. Capps).

On February 4, 1989 it was announced that KVAN was purchased by Rogue Broadcasting Corp. (group owner: Fairmont Communications Corp.; John P. Hayes, Jr., President & COO) for $7.4 Million. (price included FM sister. FCC approval: 5-5-89. Transfer: 8-1-89). On September 12, 1989 David McDonald became Vice-President & G.M. of Rogue Broadcasting Corp.

On October 2, 1989 at 10:37AM most of the K-Van staff was laid off "purely for economic reasons." "Ten K-Van employees were terminated effective immediately, with three scheduled to continue operating the business end and the operation. It left employees in a state of shock. Some were described as in tears by the time the brief session ended." During the meeting at 10:23AM KVAN began simalcasting sister KMJK (FM)'s Classic Rock format from studios located in the "Kristin Square" building (9500 S.W. Barbur Blvd., Suite 302) in Portland OR. KVAN played local spot breaks within the simulcast along with it's own local newscast (news copy faxed from KMJK) and continued local sports broadcasts. KVAN's affiliation with the Mutual Network ended. Bill Stairs, Program Director; Brad Dolbeer, Music Director; John Dimeo, KVAN Manager. Slogan: Classic Hits 106.7 KMJK.

On October 12, 1989 KVAN became KMJK. Call meaning from FM sister history as Magic. (this was the 2nd KMJK (AM). The 1st was on 1290kHz.). By this time Jeff Williams had been re-hired as 1550's Public Affairs Director. In December 1989 Mark O. Hubbard became President of Fairmont. In January 1990 KMJK (AM) moved it's studio to the smaller 800 square foot "Suite L" within the "Avenida del Sol" shopping center. On February 19, 1990 KMJK & KMJK-FM switched to a Hot A.C. format. By December 1990 Michael Ellis was Program Director. On January 25, 1991 simulcast sister KMJK-FM became KMXI.

On February 15, 1991 KMJK became KVAN once again. On February 18, 1991 KVAN dropped it's simulcast of KMXI 6AM to 10PM daily. KVAN adopted a "light contemporary adult music" format and began utilizing National Broadcasting School graduates & students as air talent. Dave McDonald, V.P. & G.M. "had decided that it was not cost effective to generate revenue with KVAN." From 10PM to 6AM KVAN continued to simulcast KMXI. KVAN re-affiliated with the Mutual Network, carrying news at 30 minutes passed the hour. Les Friedman, Manager (formerly on KVAN-1480); Rocket (real name unknown) P.D. KVAN slogans: Clark County radio. Number 1 in Clark County. Clark County's choice.

On August 28, 1992 Fairmont Communications Corp. filed for Chapter 11 bankruptcy protection. $128.7 Million in assets and $235.5 Million in liabilities. Fairmont owned 4 AM's & 5 FM's. Between September 20 & 27, 1992 KVAN switched to a Talk format. Night simulcasting with KMXI ended. Terry Richard, Manager. Slogans: People power for the Pacific Northwest. Vancouver's own K-Van.

In April 1993 the NBS school agreement ended and KVAN was turned over to KWBY 940kHz. Woodburn OR, under a L.M.A. Donald D. Coss became President of KVAN. Mr. Coss was also President, G.M. & licensee of KWBY. KVAN began simulcasting KWBY's Classic Country format with some talk programming from studios at "Pacific Plaza" (1585 North Pacific Hwy., Suite H). KVAN also featured block programming from the K-Van studio. KVAN operated 5AM to Midnight. Kiefer Mitchell became General Manager. In Summer 1993 K-Van added Spanish programming.

On July 12, 1993 KVAN was sold to Vancouveradio, Inc. (Richard A. Granger, Sr., President & G.M., a former Clark County Commissioner) for $177,750. plus $6,340. back taxes. (FCC approval on 9-10-93). James Boyd, Contract Engineer. On September 4, 1993 license transfer took place and KVAN was shut down. A larger facility was needed for the forthcoming full service station.

On October 25, 1993 KVAN returned to the air as a 24 hour News station with a local morning news block. Studios opened in the new "Pacific Business Center" (7710 N.E. Vancouver Mall Drive, Suite F) in Vancouver WA. K-Van occupied 1,904 square feet of space. Jeff Williams, Assistant G.M., Operations Manager & News Director; Bill Cole, Station Manager. KVAN affiliated with CNN Headline News. Slogans: We're Clark County's information station, K-Van 1550. Clark County owned, Clark County operated, Clark County proud! Clark County's K-Van. Clark County news comes first on K-Van 1550.

By mid February 1994 KVAN had change to a News/Talk format, affiliating with Major Talk Network, Mutual, Talk America, United Stations Radio Network & Westwood One. K-Van became the Portland area's first "Hot Talk" station. KVAN slogans: Clark County's hot talk, K-Van 1550. Talk to hot for Portland.

In March 1994 David Granger became General Manager; Jeff Williams, Operations Manager & Mark Granger, News Director. Also in March 1994 KVAN dropped CNN for abc News. In the first week of October 1996 KVAN was knocked off the air for six days following a fire at the transmitter site from electrical problems. Also in October 1996 Mark Granger became Program Director as well as News Director. By 1997 K-Van had dropped Major Talk Network, Talk America, United Stations Radio Network , Westwood One and added the WOR Radio Network. Between October 15 & 17, 1997 KPAM 860kHz. Troutdale OR began operation from the KVAN transmitter site. In 1998 KVAN installed a new Nautel XL-12 transmitter. The Continental 316F became the back up.

On November 20, 1998 KVAN was sold to Pamplin Broadcasting-Washington, Inc. (group owner: Pamplin Communications Corp.; Dr. Robert B. Pamplin, Jr., President, CEO & Chairmen; Gary A. Randall, COO & Vice-Chairman; Kevin Young, Vice-President & G.M.) for $1.65 Million. On April 18, 1999 Westwood One pulled the plug on the Mutual Network after 62 years of service to the Northwest. MBS programming moved to Westwood One & KVAN became an affiliate. In August 1999 Paul H. Hanson became News Director (formerly KVAN-1480 N.D., KPAM-KPFM N.D., KYXI, N.D.). In September 1999 KVAN added affiliations with ESPN Radio & Radio America.

On January 1, 2000 David Bischoff became Chief Engineer (formerly with KOIN AM-FM, KVAN-1480 C.E., KYTE-KLLB-KRCK C.E., KKCW C.E., KEX-KKRZ). Early 2001 KVAN slogan: Clark County Radio. On April 11, 2001 Gary A. Randall retired from Pamplin Communications Corp. Also in April 2001 Mark L. Ail became Operations Manager (formerly with KISN sales). On July 7, 2001 KVAN dropped it's local morning news block along with ESPN Radio & Radio America networks. In November 2002 Bill Gallagher became Program Director (formerly KGW N.D., KXL, KEX, KEWS). On December 19, 2002 KVAN was granted "Program Test Authority" through 6-20-03, to begin work on a power increase.

On March 25, 2003 KVAN became KKAD. Call slogan & format: ADvice talk. KKAD added affiliations with AP Network News, Jones Radio Network, Talk America, Talk Radio Network & Wall Street Journal Radio. abc & Westwood One were dropped. KKAD slogan: Sound advice, no politices. In April 2003 KKAD increased power to 50KW day & 12KW directional nights. Four towers, 81.7 meters in height. A new Harris DX-50 transmitter had been installed. The Nautel XL-12 became the back up. The old Continental & Bauer were dismantled and junked. Also in 2003 Tim Hohl was News Director.

On the weekend of September 1, 2003 KKAD moved studios to sister KPAM at the "Pioneer Tower" building (888 S.W. 5th Ave., Suite 790) in Portland OR. (studios formerly home to KKCW & KXYQ-FM, 1993-95. KKRH-KRSK, KKSN & KKSN-FM, 1995-99).

On June 14, 2004 KKAD changed format to "The Music of Your Life" Radio Network, syndicated by Jones Radio Networks. KKAD dropped Talk America, Talk Radio Network, Wall Street Journal Radio & WOR Radio Network. Slogans: The all new AM 1550 KKAD. You're listening to the music of your life on AM 1550 KKAD. In Summer 2004 Bill Gallagher became News Director. On September 9, 2004 Paul Clithero became General Manager. On December 16, 2004 KKAD added the slogan: Sunny 1550. KKAD slogans: Thanks for listening to the all new Sunny 1550 KKAD. It's the music of your life on Sunny 1550 KKAD.

KEX 1956 Barney Keep, 6-10am Kay West, 10-10:30am Russ Conrad, 10:30-4pm Bob Blackburn, 4-7pm Bob Atkins, 7-10pm Jess Mason, 10:15-?

KPOJ 1959 Larry Kilburn, 6-10am Chuck Bernard, 10-noon Mark Allen, noon-4 Bob Blackburn, 4-8pm Dick Novak, 8-1am

KISN 1961 Hal Raymond, 6-9am Bob Stevens, 9-noon Mike Phillips, noon-3 Jack Par, 3-7pm Tom Murphy, 7-1am Johnny Dark, 1-6am

KGW 1962 Jim Kelly, 6-9am Ray Horn, 9-noon Rick Housely, noon-4 Wes Lynch, 4-7pm Frank Bonnema, 7-1am

KISN 1964 Frank Benny, 6-10am Addie Bobkins, 10-noon Roger Hart, noon-3 Don Steele, 3-7pm Tom Murphy, 7-1am Pat Pattee, 1-6am

KPFM 1966 John Edwards, 6-10am George Goode, 10-2pm Bob McAnulty, 2-7pm Bob King, 7-midnight Bob Brooks, midnight-6

KISN 1967 Michael O' Brien, 6-10am Tom Michaels, 10-noon Bobby Noonan, noon-3 Roger W. Morgan, 3-7pm Judge Ramsey, 7-midnight Pat Pattee, midnight-6

KGW 1972 Don Wright, 6-10am Craig Walker, 10-2pm Phil Harper, 2-6pm Tom Parker, 6-10pm Joe Cooper, 10-2am Ed Riley, 2-6am

KISN 1972 Roger W. Morgan, 6-10am Tom Michaels, 10-noon Bobby Noonan, noon-3 Mother Bear, 3-7pm Dave Stone, 7-midnight Pat Pattee, midnight-6

KPAM-FM 1972 Michael O' Brien, mornings Bob Marks, middays Gary Stevens, afternoons Jim Donovan, evenings

KGW 1976 Bruce Murdock, 6-10am Craig Walker, 10-2pm Tom Parker, 2-6pm Bob Anthony, 6-10pm Dave Hood, 10-2am Mark Rivers, 2-6am

KVAN 1976 Iris Harrison, 6-10am Gloria Johnson, 10-2pm Bob Ancheta, 2-sunset

KGW 1977 Craig Walker, 6-10am Glynn Shannon, 10-2pm Dave Hood, 2-6pm Jim Donovan, 6-10pm John Williams, 10-2am Mark Rivers, 2-6am

KGON 1977 Iris Harrison, 6-10am Bob Ancheta, 10-2pm Gloria Johnson, 2-6pm Dick Sheetz, 6-midnight George Bier, midnight-6

KEX 1980 Jimmy Hollister, mornings Bob Swanson, middays Bob Miller, afternoons Nick Diamond, evenings

KGW 1984 Craig Walker, 6-10am John Williams, 10-2pm Steve Lloid, 2-6pm Brian Mathews, 6-10pm Joanne McCall, 10-2am Scott Tom, 2-6am

KKRZ 1986 John Murphy-Dan Clark, 6-10am Sean Lynch, 10-3pm Scott Drake, 3-7pm Chet Buchanan, 7-midnight

KXL-FM 1996 Scott Tom, 5-9am Randy O'Neil, 9-2pm John Williams, 2-7pm Ruby Blake, 7-midnight Barbara Voight, midnight-5

KYXI 1972 Jim Liniger, 6-9am Ken Lomax, 9-noon Bob Brooks, noon-3 Ric Elgin, 3-7pm Don Boyd, 7-midnight Mark Andrews, midnight-6

KYXI 1975 Steve O'Shea, 6-10am Jim Liniger, 10-noon Mark Andrews, noon-3 John McComb, 3-6:30pm Dick Novak, 7-midnight Ed Smith, midnight-6

KGON 1977 Iris Harrison, 6-10am Bob Ancheta, 10-2pm Gloria Johnson, 2-6pm Dick Sheetz, 6-midnight George Bier, midnight-6

You left out 1960 KISN had 6-9am Hal Raymond 9-12am Bob Stevens, jack mccoy 12-3 Mike Western, Mike Phillips 3-7pm Bill Jackson, Jack Par 7-12pm Tiger Tom Murphy news-Bill Howlett 12-6am Russ Ripley, Ben Dawson

Kex had Barney keep Ted Rogers (I can't remember what year) Frank Benny Roger Ferrier (Roger Hart) Russ Conrad

KISN-91 Dec 1971

Michael O'Brien AM John Christy AM Tom Michaels Noon (not exactly sure who did afternoons in December) Ron Ugly Thompson 7-mid Pat Pattee Mid

The staff that followed in 71 Obrien Michaels JJ Jordan (new pd from wrko) Chuck Martin (went on to become pd at KHJ) Pattee then in 72 Roger W Morgan -mornings Dick Jenkins-mid days Mother Bear- (was also Buddy Scott) Stone-evenings Pattee (news: Mike Ray who is now the producer of the ABC evening news) Buzz Kelly-weekends

uncle don of course was the last KISN morning man in 1976.

Uncle Don Wright AM . . Dick Sims 3-7PM (aka Bwanna Johnny) Dave Stone 7-mid

KQIV, Line-up at launch, Sept. 1972 Glen Adams, 6-10am Ed Hepp, 10am-2pm Jeff Clarke, 2-6pm Steve Shannon, 6-10pm Dick Jenkins, 10pm-2am Michael Stroufe, 2-6am Ben Marsh, ND

KQIV, Sept. 1973 Steve O'Shea, 6-10am Mike Sakellarides, 10am-2pm Norman Flint, 2-6pm Jeff Clarke, 6-10pm Larry Scott, 10pm-2am Joe Collins, 2-6am Jim LaFawn (PD), Weekends Joel "J.R." Miller (CE), Weekends

KB101/ROCK DELUXE Early 1980-Fall 1980:

6-10am John Earling Mark Gerek (News) 10am-2pm Steve Naganuma Diana Jordan (News) 2-7pm J.J. Jeffrey Vicki Stewart (News) 7pm-Mid John Walker Mid-6am Gregg Lenny

KB101...Leading The Gold Rush Fall '80-Spr. '81:

6-10am Michael O'Brien Mark Gerek (News) 10a-Noon Robin Mitchell Diana Jordan (News til 3pm) 12N-3pm John Earling 3-7pm J.J. Jeffrey 7pm-Mid John Walker Mid-6am Gregg Lenny

KB101...Hot Hits-Cool Oldies Summer '81-Dec '81

6-10am Michael O'Brien 10a-1p John Earling 1p-3pm J.J. Jeffrey (+ production) 3-7pm John Walker 7pm-Mid Terry Donahue Mid-6am Matt Williams

KB101...January '82-Nov. '82:

Don't recall the exact lineup

Michael O'Brien mornings Uncle Don Wright PM Drive ...race around the world promotion Bwana Johnny..was part-time I thought, as was Ron Leonard.

KARadiO 1480

Early 1980

6am-10am Bwana Johnny 10am-2pm Bruce Taylor 2pm-6pm Kelly McCRae 6pm-midnight John Windus Midnight-6am Ray Bartley

KMJK Line-up '86-'90

Those Guys in the Morning (Todd Brandt & Rick Rydell)(6-10) Glynn Shannon (Middays 10-3) Craig Johnson (Afternoons 3-7) Brad Doelber (Evenings 7-12) Bob Anchetta (Overnights 12-6)

On September 9, 1948 the FCC granted a construction permit to build an AM station on 1260kc with 1KW daytime only to McMinnville Broadcasting Co. (Jack B. Bladine, President & also Publisher of McMinnville's "Telephone-Register" newspaper. Station co-Owner & brother Phillip N. Bladine was also associated with the newspaper). Call letters KMCM were assigned, standing for city of license, McMinnville OR. KMCM was originally applied for as an FM station in 1946. The application was withdrawn after West Coast FM growth did not bear out. In December 1948 licensee name changed to Yamhill Broadcasters.

On January 28, 1949 ground was broken, when work began on the tower radials. Copper wire was buried 10 inches deep and extending out 200 feet from the base, every three degrees. 120 in all. By the end of February 1949 a 210 foot tower had been erected by C.H. Fisher & Son of Portland. On March 31, 1949 studio building forms were poured next to the tower at 2163 Lafayette Ave. in McMinnville. The exterior of the building was done in natural cedar siding with the pylon painted green. The inside had decorative mahogany trim. The 1,600 square foot building was built by "Clete" Gell Building & Remodeling. KMCM estimated construction cost was $27,500.

On June 11, 1949 KMCM tested it's new Western Electric 443A-1 transmitter for the first time at 5:15am. Then on Saturday June 18, 1949 at 11:00am KMCM began operation when McMinnville Mayor, R.H. Windisher threw the switch. A one hour inaugural program was broadcast from the stage of "The Mack Theater" (510 N.E. 3rd St.) and was viewed by an audience. Local dignitaries had been invited from every community in Yamhill County. KMCM staff were introduced. Music was provided by Steve Paietta & his Orchestra with vocals by Brad Reynolds. KMCM's first newscast was broadcast directly from the stage.

KMCM had 9 employees, with Louis F. Gillette (formerly on KPQ, KHQ, KGA & KPOJ) Station Manager; Gilbert Tilbury, News Director; Bruce Brown, Sports Director; Glasco P. Branson (formerly on KELA) Commercial Manager & announcer; George "Skip" Hathaway (later KUGN CE) Chief Engineer; Phyllis Bladine (owner relation) Receptionist-Bookkeeper; Ivan Smith, announcer; Eugene K. Kilgore (formerly on KRUL) announcer. The station was equipped with an "Echo-tape" reel to reel recorder. The format was local block & syndicated programming.

KMCM utilized Capitol Records Transcription Program Service, which featured 15 minute programs such as: The Eddie LaMarr Show, The Jan Garber Show, Lullaby In Rhythm, Music From Hollywood, My Serenade, Rhythm Ranch, Sunset & Vine, Tex Ritter's Music Corral. Other national transcription programs carried were: Chuckwagon Jamboree, Plantation House Party, Hawaiian Echoes, Carle Comes Calling. Weekends included: Southland Spirituals & Voice of The Army.

Local Programming included: The Alarm Clock Club (mornings), Bargain Bulletins, Newberg On The Air, Sheridan On The Air, Amity On The Air, Noon News, Farmers Exchange, Yamhill County Today, 1260 Time (afternoons), Sports From The Sidelines, Northwest News, Kilgore Auction Time. Saturday nights featured the one hour "Hayloft Jamboree" from remote locations like Eagles Hall. By June 22, 1949 KMCM had listener reception reports "Heard loud and clear" in Tillamook & Delake (now part of Lincoln City). Also heard as for south as North Bend and north to Seattle and east to Maupin. KMCM operated 6:00am to sunset but had gained directional night approval. By September 1949 KMCM slogan: Always good listening.

On November 4, 1949 KMCM began 1KW directional night operation with an additional tower added. KMCM operation expanded 6:00am to 10:30pm weekly. On March 1, 1950 KMCM joined KBS (Keystone Broadcasting System, founded in 1941). On October 2, 1950 KMCM affiliated with the Liberty Network (Liberty Broadcasting System, founded in 1947 by Gordon B. McLendon. LBS studios were at flagship KLIF Dallas TX) LBS was primarily a sports network with some newscasts and entertainment programs but was growing fast with 300+ affiliates. At this time LBS was the 3rd largest radio network.

By December 1950 Homer Rhose was News Director; Dudley Gaylord, Farm Director & Sports Director; Betty Barton, Womens Director & Milt Muir, Chief Engineer. In 1951 KMCM incorporated. License now read: Yamhill Broadcasters, Inc. By September 1951 KMCM slogan: Yamhill County's listening habit. By early 1952 LBS was the nations 2nd largest radio network with 458 affiliates. On May 16, 1952 The LBS Radio Network folded. By December 1952 Ivan A. Smith was Program Director (later KGW-TV Newscaster).

On February 12, 1953 the owners of KMCM & "Telephone-Register" merged newly acquired newspaper the "News-Reporter" forming the "News-Register". By December 1953 Glasco P. Branson was KMCM's General Manager, N.D. & C.M. By December 1954 Leslie Cunningham was Program Director; Craig E. Singletary, Sports Director & Jack Adkins, Chief Engineer. KMCM slogan: Willamette Valley's favorite radio station. By December 1955 Glasco P. Branson was G.M., P.D. & C.M.; Craig E. Singletary was News Director & S.D.; Edwin Nuhring, Chief Engineer.

By December 1956 Craig E. Singletary was Program Director & S.D. By March 1957 KMCM operated 6:00am to 10:00pm weekly. Also in 1957 Phillip N. Bladine became President of Yamhill Broadcasters, Inc. By February 1958 KMCM broadcast 6:00am to 8:00pm weekly. By July 1958 Glasco P. Branson was General Manager & C.M.; Craig E. Singletary, Program Director & N.D. By July 1959 Craig E. Singletary was P.D., N.D. & Farm Director. KMCM operated 6:30am to 6:30pm weekly.

On August 22, 1959 it was announced that KMCM was purchased by Yamhill Radio Co. (Jerry Carr, President; John Courcier, Vice-President & G.M.) for $80,000. (FCC approval on 10-1-59). Larry D. Lanz became Program Director & Glasco P. Branson, Commercial Manager. In December 1959 a call slogan was introduced: K-Mac radio 1260, always the best in listening. By August 1961 Gary Hamilton was Program Director & Robert Lewis, Chief Engineer. By June 1962 the K-Mac air staff included: Gary C. (believed to be Gary Hamilton) 6:30-9am; Marv Ryum, 9-noon; "Newsreel" with Bill Powell, noon-12:30; Marv Ryum, 1-3pm; Larry Lanz, 3-6:30pm. KMCM format was M.O.R. (Middle of The Road). KMCM slogan: The most happy sound. By September 1962 Larry D. Lanz was General Manager, P.D. & C.E.; Gary Hamilton, News Director & William S. Powell, Commercial Manager.

On April 1, 1963 KMCM was sold to 25 year old Ray A. Fields for $100,000. Licensee "Ray Andrew Fields" who was President & G.M. Larry D. Lanz became Program Director & C.E.; Tom Butler, Commercial Manager. KMCM dropped it's liaison with KBS. By October 1963 Craig E. Singletary was back as Sports Director again. Also on K-Mac were Marv Ryum & Whitey Coker (formerly on KNPT, later KISN ND). On October 29, 1963 KMCM opened it's expanded studios at 2163 Lafayette Ave. In July 1964 Bud Charles became News Director (formerly on KEX). In September 1966 Richard W. Bacon became Sports Director. The K-Mac air staff included: Dick Bacon, 6:30-9am; Ray Fields, 9-noon; "The Noon News" with Ralph Keyser & Larry Lanz, noon-1pm; Larry Lanz, 1-3pm; Zane Williams, 3-5pm & Ralph Keyser, 5-6:30pm.

In January 1967 KMCM switched to a Top 40 format. Hours of operation expanded 6:30am to 10:00pm Sunday through Thursday & 6:30 to midnight Friday & Saturdays. Ray A. Fields became President, G.M. & Program Director. By April 1967 Jay Van Dyke was News Director & S.D.; Bill Barger, Chief Engineer & Robert Williams, Sales Manager. The 1260 air staff included: "The Clock Watcher Show" with Ray Fields & Jay Van Dyke, news, 6:30-9am; Mike White, 9-noon; Bill Barger, noon-3; Ralph Keyser, 3-6:30pm & Peter Marland (formerly on KROW) 6:30-10pm (his slogan "Listen to P.M.". Later aka Peter Marland Jones or P.M.J. on KEX, KKEY & KVAN). On January 1, 1968 KMCM bacame a charter affiliate of the "American Information Radio Network" abc's new on the hour service.

On October 29, 1968 KMCM was sold to Norjud Broadcasting, Inc. (Judith Irene Aldred, President & co-Treasurer with father, Theodore H. Johanson, Vice-President & co-Treasurer) for $97,500. Transfer of control took place on 11-16-68. Judy's husband, 38 year old Norman P. Aldred became General Manager, P.D. & C.M.; Charles McKeen, News Director & Grant Fickert, Chief Engineer. KMCM's format was switched back to M.O.R. In 1969 KMCM installed a new Collins transmitter. By October 1969 Jim Hardy was Chief Engineer. By December 1969 Norman P. Aldred was General Manager & C.M.; Ed Smith, Chief Engineer. In March 1970 Harry Girtman became Program Director. KMCM had no on air slogan, although letterhead stated: Sounds like fun.

By October 1971 KMCM's format was M.O.R. with some Country-Western. Norman P. Aldred was General Manager; Tim Elliott, Program Director & Bart Tolleson, Sales Manager. By October 1972 KMCM's format was entirely Country-Western. KMCM call slogan: More Country Music. Gene Page, Program Director; Jeff Davis, Music Director & Ed Owens, Chief Engineer. By September 1973 Stan Ohl was Program Director; Don Lee, Music Director; Jerry Robertson, News Director; Wally Keller, Chief Engineer & Warren Pomeroy, Sales Manager.

By November 1974 19 year old Jeff Davis was back as Program Director & C.E. (Oregon's youngest P.D.); Michael R. Kolb, Music Director; Philip Pratt, News Director & Paula Gunness was a KMCM Newscaster before leaving for KATU Eyewitness News. By November 1976 KMCM's format was Country & M.O.R. Ken Paul was Program Director; Jeff Davis, Music Director (later on KPAM-FM, KWJJ PM, KYXI, KSGO PD & KPDQ); Pat Hellberg, News Director & Randy Rist, Chief Engineer.

In early 1977 KMCM switched to an Adult Contemporary format and expanded it's broadcast day 6:00am to 2:00am. Also in 1977 Norjud Broadcasting, Inc. was reorganized with Norman P. Aldred as President. In Fall 1977 abc Radio cancelled it's contract with KMCM. The station lost it's "Information" Network affiliation. Scuttlebutt was, KMCM had played local spots during abc commercials. KMCM then became an affiliate of the Mutual Broadcasting System shortly there after.

By November 1977 Larry Ward was General Manager; Jack Berry, Program Director; Rod Lewis, Music Director; Ron Ross, News Director; Ed Olmstead, Chief Engineer & Larry Miller, Sales Manager. In 1978 KMCM began Top 40 music evenings with Jim Maass (later on KVAN 1550 & KGW APD). By November 1978 Jack Barry was General Manager; Ron Romain, Program Director & C.E.; Scott Martin, Music Director. KMCM slogan: The only station you'll ever need.

On July 1, 1979 KMCM became KCYX. Mr. Aldred stated, the calls were changed "to repair damage" done from the former G.M. "running the station into the ground!" KCYX call slogan: K-siX. Reflecting part of the dial position (1260). The call slogan was dropped shortly there after. KCYX jingle package was called "Someplace Special - MOR" by T.M. Productions, Inc. (Sent to KCYX on 6-15-79). Slogans: Someplace Special KCYX. The spirit of Oregon. Broadcast hours were shortened 6:00am to midnight. Norman P. Aldred, President, G.M. & P.D.

By November 1979 Kay Egle was News Director; William Stemg, Music Director; Ed Olmstead back as Chief Engineer; Jackie Fields (wife of former KMCM owner Ray Fields) Sales Manager & Dave Hanson, Sports Director. In February 1980 Michael R. Kolb (formerly KMCM MD, KFOG, KPEN PM) became Program Director and hired Craig Foster as a weekender. In May 1980 KCYX dropped it's Top 40 music evenings and returned to Adult Contemporary as other day parts.

On May 30, 1980 KCYX was sold to 1260 Radio, Inc. (Merrill "Deane" Johnson, President & G.M. with wife Kathleen Johnson, General Sales Manager, 66.66%; Vera T. Frederick, 23.33%; Delwin Peterson & wife Marilyn Peterson, 10.01%) for $475,000. The land continued to be owned by the Aldred's. (Assignment of license on 5-21-80). Son, Michael Johnson was Chief Engineer & Craig Foster, Music Director. Added slogans: The new KCYX. Yamhill County's KCYX.

In September 1980 Steve Kenyon became Sports Director. The KCYX air staff included: Mike Kolb & Brian Edwards with Kay Egle, news, 6-9am; "Open Line" with Kay Egle, 9-10am; Tom Shannon, 10-3pm; Jim Sayers, 3-7pm (later aka Jim Bickel on KXL); Craig Foster, 7-12am (Mutual Radio Theater 10-11pm)(later aka Craig Adams on KAAR & KKSN AM/FM). Weekends: Steve Kenyon. Bill Ashenden (later KKRZ SM, KXL GSM) added to the sales staff. In January 1981 Steve Kenyon moved 7-12am weekly. On August 20, 1981 KCYX became one of a handful of Oregon stations to use a satellite dish for network news. Mutual installed the $6,000. dish free, even before Portland's distribution dish. (Westar I Satellite).

In January 1982 Brian S. Edwards became Program Director. In June 1982 Steve Kenyon became Program Director as well as S.D. & mornings 6-9am. On September 6, 1982 KCYX dedicated it's newly rebuilt "Studio A". By November 1982 Deane Johnson was President; Kathleen Johnson, General Manager & G.S.M.; Dee Dee Harrington, News Director. In August 1983 Ben Gutierrez & Chris Taylor began as weekenders. Also in 1983 Todd Butterfield was 3-7pm. In February 1984 Al Schwartz became News Director & Brad Eaton (formerly on KLIQ AM/FM, KUGN, KATR, KXA, KKEY) became Public Affairs Director for "Open Line" 9-11am.

In Fall 1984 Steve Kenyon became Station Manager as well as S.D. (later on KUMA). Also by this time Deane Johnson was President & G.M. again & Kathie Johnson, General Sales Manager. In October 1984 Ben Z. Gutierrez became News Director. In late 1984 Chris Taylor became Program Director & on 11-3pm. (later on KCNR-FM, KKLI, KMXI, KPAM, KKRZ & KYSJ). In Spring 1985 Jim Patterson became Program Director. In August 1985 Ben Z. Gutierrez became Music Director as well as N.D. (later on KHVH, KHNR ND, KITV Weatherman).

On July 31, 1987 KCYX was sold to Matrix Media, Inc. (Michael S. Symons, President) for $681,812. Matrix Media also owned KBCH & KCRF (FM) Lincoln City. In October 1987 Gregg K. Clapper became General Manager (later on KKGT, KTLK & KPAM PD); Rich Patterson (formerly with KEX) Program Director & afternoons (later KEX APD & KPAM). KCYX format changed to A.C. & Talk. KCYX became the Portland outlet for "The Larry King Show". In January 1988 K.C. McCormick became Public Affairs Director (later aka K.C. Caldwell on KGON & KTWS). In Spring 1988 Warren Franklin (formerly on KAPS, KBAM, KVAS, KSLM, KGAL, KTDO, KVAN PD/MD, KYKN) became General Manager (later KBZY VP).

On May 16, 1990 KCYX suspended operations for an indefinite period. Thomas Huntsberger trustie of the bankrupt estate of Matrix Media, Inc. announced Eugene businessmen Larry R. Bohnsack purchased KCYX for $120,000.

On June 20, 1990 calls were changed to KLYC which stood for: Leading Yamhill County. This slogan was not used on air. On October 2, 1990 the FCC approved the license transfer to Bohnsack Strategies, Inc. (Larry R. Bohnsack, President & G.M.). Also on this date KLYC began operation. [There is no information on station personnel available during this period]. KLYC format was Adult Contemporary & Oldies. KLYC affiliated with CNN Radio News. The Mutual Network had been dropped. KLYC slogan: The best is always here on 1260.

In 1993 KLYC studios moved to 1975 Calvin Court, N.E. By November 1996 Kevin Weeks was News Director. KLYC slogans: We're Yamhill County's Choice. We've got the entertainment you want, and the information you need. Your radio for Yamhill County. Your station for Yamhill County's favorite music. Your community connection. By November 1997 Phillip Bohnsack (owner relation?) was News Director. By November 1998 Mark Marshall was Vice-President of Programming (later on KOTK) and Tim Riley (formerly on KUIK) News Director (later on KOTK). By November 1999 Scott Simmons was Vice-President of Programming & Asst. Music Director. Also Aaron Andrews, Music Director.

In 2000 KLYC moved it's transmitter site to 10027 Warmington Rd., S.E. Directional night power was reduced to 850 watts. In 2001 KLYC changed format to Oldies exclusively. On September 24, 2002 the FCC denied Bolnsack Strategies, Inc. a request for a waver of the late payment penalty concerning the FY2001 regulatory fees due for KLYC. By August 2003 Eve Fuller was Program Director & News Director.

By December 2004 Mr. Bohnsack's wife Laurel "Stella" Bohnsack was Public Affairs Director & James Boyd (formerly KBND PD, KTIX PD ND & CE, KGAL OM, KGAR/KVAN CE, KSLM CE, KEJO CE)Chief Engineer (later with KBCH/KYTE/KCRF/KNCU CE, KYTT/KYSJ CE, KDCQ CE, KWBY CE, KBZY CE, KCKX CE,KWIP CE, KXPC CE, KMCQ CE, KUIK CE). In 2005 Larry R. Bohnsack became Program Director as well as President & G.M.; Laurel "Stella" Bohnsack, Operations Manager & Eve Fuller, News Director. KLYC slogans: Radio for Yamhill County. 1260 KLYC, playing the songs you want to hear.

This is the last of the radio format series to be posted. "The Oregon Journal" began listing formats in June 1969. There are 10 format changes since the 1965 listing.

AM 550 KOAC Educational/Classical nights (NER) 620 KGW Middle of the Road/night Talk (NBC) 750 KXL Good Music (Instrumentals) 800 KPDQ Religious 910 KISN Top 40 Music 940 KWRC Middle of the Road 970 KOIN CBS & Local Programs 1080 KWJJ Country-Western (abc) 1150 KKEY Cosmopolitan Music (abc 2ndary) 1190 KEX Popular Music 1230 KRDR Country-Western/Top 40 nights 1260 KMCM Top 40 Music 1290 KLIQ Talk/Religious mornings 1330 KPOJ Popular Music/night Talk (MBS) 1360 KUIK Country-Western 1410 KPAM Middle of the Road 1450 KBPS Educational 1480 KVAN Top 40 Music 1520 KYXI Beautiful Music 1550 KGAR Top 40 Music

FM 89.3 KRRC Music Variety 91.5 KOAP-FM Educational/Classical nights (NER) 93.7 KPDQ-FM Religious-Music nights 95.5x KXL-FM Good Music (Instrumentals) 97.1x KPFM Middle of the Road 98.5 KPOJ-FM Popular Music/night Talk (MBS) 100.3 KQFM Instrumental Music 101.1x KOIN-FM Classical Music

x denotes stereo

There are 9 format changes since the 1963 listing.

AM 550 KOAC Educational 620 KGW Middle of the Road (NBC) 750 KXL Instrumental Music 800 KPDQ Religious 910 KISN Top Tunes 940 KWRC Middle of the Road 970 KOIN CBS & Local Programs 1080 KWJJ Country-Western (abc) 1150 KKEY Cosmopolitan Music (abc, 2ndary) 1190 KEX Popular Music 1230 KRDR Country-Western 1260 KMCM Middle of the Road 1290 KLIQ Jazz/Religious mornings 1330 KPOJ Popular Music/night Talk (MBS) 1360 KUIK Country-Western 1410 KPAM Middle of the Road 1450 KBPS Educational 1480 KVAN Country-Western 1520 KYMN Good Music 1550 KGAR All News 1570 KWAY Top Tunes

FM 89.3 KRRC Classical Music 91.5 KOAP-FM Educational/Classical nights 93.7 KPDQ-FM Religious-Music nights 95.5x KXL-FM Instrumental Music 97.1x KPFM Middle of the Road 98.5 KPOJ-FM Popular Music/night Talk (MBS) 100.3 KQFM Instrumental Music 101.1 KOIN-FM CBS & Local Programs

x denotes stereo

It's been very hard over the years researching formats of Portland area radio stations since both "The Oregonian" & "Oregon Journal" never published format listings in the 1960's. I've pieced together what I believe was broadcast during 1963 using format terms of the time and The Oregonian's late 60's layout. Input welcome.

AM 550 KOAC Educational 620 KGW Middle of the Road (NBC) 750 KXL Better Music 800 KPDQ Religious 910 KISN Top Tunes 970 KOIN CBS & Local Programs 1080 KWJJ Middle of the Road (ABC) 1150 KKEY Cosmopolitan Music 1190 KEX Popular Music 1230 KRDR Country-Western 1260 KMCM Middle of the Road 1290 KLIQ Good Music 1330 KPOJ Popular Music/night Talk 1360 KUIK Top Tunes 1410 KPAM Better Music 1450 KBPS Educational 1480 KVAN Top Tunes 1520 KGON Modern Music (MBS) 1550 KGAR All News 1570 KWAY Top Tunes

FM 89.3 KRRC Classical Music 91.5 KOAP-FM Educational/Classical nights 93.7 KPDQ-FM Religious-Music nights 95.5x KGMG Great Classics 97.1x KPFM Better Music 98.7 KPOJ-FM Popular Music/night Talk 100.3 KQFM Instrumental Music 101.1 KOIN-FM CBS & Local Program

AM 550 KOAC Educational 620 KGW Top Tunes (NBC) 750 KXL Better Music 800 KPDQ Religious 910 KISN Top Tunes 970 KOIN CBS & Local Programs 1080 KWJJ ABC & Local Programs 1150 KKEY Top Tunes 1190 KEX Popular Music 1230 KGRO Good Music 1260 KMCM Middle of the Road ? 1290 KLIQ Good Music 1330 KPOJ Popular Music 1360 KUIK Top Tunes 1410 KPAM Fine Music 1450 KBPS Educational 1480 KVAN Popular Music ? 1520 KGON MBS & Local Programs 1570 KWAY Top Tunes

FM 89.3 KRRC Classical, Folk & Jazz 92.3 KEX-FM Classical Music 93.7 KPDQ-FM Religious-Music nights 95.5 KGMG Great Classics 97.1x KPFM Fine Music 98.7 KPOJ-FM Popular Music 100.3 KQFM Background Music 101.1 KOIN-FM CBS & Local Programs

x denotes stereo

AM 550 KOAC Educational 620 KGW NBC & Local Programs 750 KXL Top Tunes 800 KPDQ Middle of the Road ? 910 KVAN Country-Western 970 KOIN CBS & Local Programs 1080 KWJJ Popular Music 1150 KHFS Hi-Fi Music 1190 KEX ABC & Local Programs 1230 KGON Syndicated & Local Programs 1260 KMCM Middle of the Road ? 1330 KPOJ MBS-DLBS & Local Programs 1360 KRTV Middle of the Road ? 1410 KPAM Good Music 1450 KBPS Educational 1570 KRWC Middle of the Road ?

FM 92.3 KEX-FM ABC & Local Programs 97.1 KPFM Good Music 98.7 KPOJ-FM MBS-DLBS & Local Programs 100.3 KQFM Background Music 101.1 KOIN-FM CBS & Local Programs

AM 550 KOAC Educational 620 KGW ABC & Local Programs 750 KXL Top Tunes 800 KPDQ Middle of the Road ? 910 KVAN Country-Western 970 KOIN CBS & Local Programs 1080 KWJJ Popular Music 1150 KHFS Hi-Fi Music 1190 KEX Top Tunes 1230 KGRO Sparkling Music 1260 KMCM Middle of the Road ? 1330 KPOJ MBS-DLBS & Local Programs 1360 KUIK Happy, Bright & Light 1410 KPAM Good Music 1450 KBPS Educational 1480 KRIV Popular Music ? 1520 KGON NBC & Local Programs 1570 KRWC Middle of the Road ?

FM 97.1 KPFM Good Music 98.7 KPOJ-FM MBS-DLBS & Local Programs 100.3 KQFM Background Music 101.1 KOIN-FM CBS & Local Programs

620 KGW, KINK, KEWS, KOTK, KDBZ, KTLK, KPOJ 970 KOIN, KYTE, KESI, KBBT, KUPL, KUFO, KCMD 1290 KLIQ, KMJK, KVIX, KLVS, KPHP, KKSL 1520 KGON, KYMN, KYXI, KSGO, KFXX, KKSN, KZNY, KGDD 97.1 KPFM, KPAM-FM, KCNR, KKLI, KKSN-FM, KYCH-FM 101.1 KOIN-FM, KYTE-FM, KLLB, KRCK, KKCY, KUFO 106.7 KQIV, KMJK, KMXI, KKBK, KKJZ, KLTH

550 KOAC Educational 620 KGW Top Tunes 750 KXL Top Tunes 800 KPDQ Religious 910 KISN Top Tunes 970 KOIN CBS & Local Programs 1080 KWJJ ABC-DLBS & Local Programs 1150 KKEY Country-Western 1190 KEX Popular Music 1230 KGRO Hi-Fi Music 1260 KMCM Middle of the Road ? 1290 KLIQ All News 1330 KPOJ Popular Music 1360 KUIK Middle of the Road 1410 KPAM Religious/Good Music 1450 KBPS Educational 1480 KPVA Popular Music ? 1520 KGON NBC-MBS & Local Programs 1570 KRWC Religious

FM 89.3 KRRC Classical, Folk, Jazz 92.3 KEX-FM Classical 97.1 KPFM Religious/Good Music 98.7 KPOJ-FM Popular Music 100.3 KQFM Background Music 101.1 KOIN-FM CBS & Local Programs

On November 16, 1950 KFGR began operation on 1570kc. with the power of 250 watts, daytime only. KFGR was owned by Irving Vincent Schmidtke. He was also General Manager & Chief Engineer. Studios & transmitter were located on Sunset Drive (between 26th & Willamina Aves.). The location at the time, was never assigned a numbered address. KFGR calls stood for Forest Grove Radio.

On December 28, 1953 KFGR became KRWC. Calls stood for Radio Washington County. In 1955 power was raised to 1KW. On January 1, 1958 Reverend F. Demcy Mylar became G.M. On September 10, 1958 KRWC was sold to The Christian Broadcasting Co. (Reverend F. Demcy Mylar, President & Doctor Robert M. Kines) for $50,000. Mr. Schmidtke retained ownership of the studio/transmitter property. Robert W. Ball became G.M. Programming was described as cultural & religious. KRWC call slogan: Keep Right With Christ.

On October 1, 1958 KRWC studios were moved to a mobile unit and placed on property at 2740 Pacific Ave. Mr. Schmidtke was now using the old studios for his other business he had operated at the same time, Smitty's Radio & Television Clinic. On November 8, 1959 KRWC was sold to Triple G Broadcasting Co. (Lester L. Gould, President, Dorothy R. Gould, Leroy A. Garr & Esther L. Plotkin) for $50,000. Patrick W. & wife Jean S. Larkin became Co-General Managers.

On December 1, 1959 KRWC became KGGG. Calls stood for first three owners last names. Slogans: K-triple-G, the voice of the valley. The station with a smile at the top of your dial. In the Fall of 1960, Triple G Broadcasting Co. was transfered to group ownership. Crawford Broadcasting Co. (Doctor Percy Bartininaus Crawford, President) for $65,000. (Company now owns KKSL, KKPZ & KPBC in the Portland area).

On January 1, 1961 KGGG became KWAY. Call stood for Washington And Yamhill counties. Rick Blakely became General Manager & Chief Engineer. Slogan: K-WAY. On June 1, 1963 KWAY was sold to Harold O. Savercool for $37.500. Paul W. Savercool became President & General Manager. The format then changed to Top 40. KWAY slogans: The K-WAY. Top tunes for teens. The golden sound. The better music sound of Washington County. (A put down to KUIK Hillsboro).

In early 1965 Harold O. Savercool became President of K-WAY. R.T. Fletcher became G.M. and the format changed to Country & Western. Slogan: Country K-WAY. On October 31, 1965 KWAY left the air for unknown reasons. The tower still stands as a

reminder of Forest Grove's Radio History. The KWAY calls live on in Waverly Iowa.

On June 6, 1948 KPOJ-FM began operation at 6AM on 98.7mc, with the power of 50KW. KPOJ-FM was owned by KALE, Inc. (P.L. Brown, President; & "The Oregon Journal" Newspaper). On this date, sister KALE became KPOJ at the 6AM sign on. Studios were located at 919 S.W. Taylor St. Building in Portland. KPOJ-FM's transmitter site was located on Mt. Scott. (antenna height 1,486). This was Portland's 4th FM station. Richard "Dick" M. Brown was G.M. KPOJ-FM simulcast KPOJ's entire broadcast day, (6AM to Midnight) and was a Mutual-Don Lee affiliate. Call slogan: This is KPOJ, Portland Oregon Journal.

On July 7, 1948 the licensee name changed to KPOJ, Inc. In August 1949 KPOJ AM & FM moved studios to The Odd Fellows Building. (1019 S.W. 10th Ave.). Also in 1949 KPOJ-FM reduced power to 44KW. By 1952 KPOJ-FM's slogan was: Portland's personality station. In 1953 William W. Knight became President of KPOJ, Inc. In 1955 KPOJ-FM reduced power to 4.3KW. On June 29, 1956 KPOJ AM & FM inaugurated the first mobile studio on the west coast. Also in 1956 Richard "Dick" M. Brown became Vice President & General Manager. In 1957 KPOJ-FM's power was raised to 4.4KW. Slogan: KPOJ, the bright spot on your dial.

On January 28, 1958 KPOJ, Inc. applied for a Television License for channel 2. (KPOJ-TV). On March 23, 1959 KPOJ, Inc. asked the FCC to dismiss the Television Station Application. The Company was now looking at a new direction "independent radio". On April 15, 1959 KPOJ AM & FM dropped the Mutual-Don Lee Networks. (They were picked up by KGON, which also had NBC). Opting for music, the stations debuted "Action Radio" on this date. "Action Music" was popular music of today & yesterday. "Action News" was direct from the City Desk of The Oregon Journal. "The Action 5" were: Larry Kilburn 6-10AM, Chuck Bernard 10-Noon, Mark Allen Noon-4PM, Bob Blackburn 4-8PM, Dick Novak 8-1AM & Tom Morgan, Action News.

By 1960 KPOJ-FM was using additional slogan: The million dollar sound. In early 1961 Richard "Dick" M. Brown became President & General Manager. In 1962 KPOJ-FM reduced power to 4.1KW. (antenna height 1,100). By 1964 KPOJ-FM was broadcasting 24 hours, except weekends 5:30 to Midnight. On March 27, 1964 KPOJ-FM moved to 98.5mc. The move would make possible future power increases. (not possible because of Seattle's 98.9mc). On November 1, 1964 KPOJ AM & FM picked up the Mutual Network for the 2nd time. By 1965 KPOJ-FM's slogan was: The sing-a-long sound. By 1967 the slogan was: Fresher radio.

On August 15, 1968 KPOJ-FM became KPOK and began separate "stereo" programming with no network affiliation. On this date horizontal power increased to 100KW. (antenna height 1,036). KPOK's format was described as "The button-down sound" 30% hits, 60% standards & 10% mod sound. KPOK broadcast 6AM to Midnight. Call slogan: OK stereo. Slogan: Stereo 98. On June 9, 1970 KPOK became KPOK-FM and began 50% duplication of it's sisters MOR format. Slogan: OK makes you feel good all over. In late 1972 KPOK AM & FM switched to a Country format. Slogan: Rockin' Country.

On May 16, 1973 KPOK-FM was sold to Tracy Broadcasting Co. for $1,050,000. (price included AM sister). Richard B. Stevens, President. On July 11, 1973 KPOK-FM became KUPL. Call slogan: Couple. KUPL then switched to a separate automated Beautiful Music format. Slogans: 98-FM, the difference is the music. Blooming with beautiful music. Easy listening all day, all night, all nice. In December 1973 Robert O. Franklin became G.M. In 1974 Robert E. Sharon became G.M. In early 1975 Bob Oxarart became G.M. Between August 23 & 28, 1976 KUPL became KUPL-FM. In late 1976 studios moved to 6400 S.W. Canyon Court at Sylvan. In late 1977 KUPL-FM power was raised to 100KW horizontal & vertical. (antenna height still 1,036).

On September 1, 1981 KUPL-FM was sold to Scripps-Howard Broadcasting Co. (Jack R. Howard, Chairman). In 1982 KUPL-FM switched to an automated Easy Listening format. (also from Bonneville International Corp.). Slogan: The music of your life. In March 1984 Edward T. Hardy became G.M. KUPL-FM then began simulcasting it's AM sisters Country format. In 1985 KUPL-FM initiated separate Country programming. Slogans: K-98. More country favorites. On March 23, 1986 KUPL-FM's transmitter site on Mt. Scott suffered a $580,000. fire, forcing the station to return to the air at reduced power a week later.

In late 1986 KUPL-FM's antenna height was raised to 1,104 feet. In May 1989 Ed Hardy became Vice President & General Manager. By 1992 KUPL-FM slogan: Back to back country. In January 1993 KUPL-FM began simulcasting it's AM sister again. On October 20, 1993 KUPL-FM was sold to Baycom Oregon L.P. for 23 million. (price included AM sister). KUPL-FM slogan: Continous hit country favorites, more music Couple. In January 1994 Greg A Lindahl became G.M. In 1995 KUPL AM & FM moved studios to 222 S.W. Columbia St., Suite 350. Also in 1995 KUPL-FM added translator station K251AD on 98.1mhz in Beaverton, to clear up reception problems in the area.

On August 1, 1996 KUPL-FM was sold to Radio Systems of Miami, Inc. (group owner: American Radio Systems) Steve Dodge, C.E.O., Joe Winn, C.F.O., Stanley Mak, G.M. KUPL-FM slogans: Couple plays todays best country. The Northwest spells country K-U-P-L. On September 4, 1997 at 7AM KUPL-FM switched back to it's original frequency, 98.7mhz, after 33 years. KUPL-FM's transmitter was moved to an earlier site, it's AM sister (at the time KALE) used with then sister KOIN Radio, 57 years ago. (Sylvan Hill, 5516 S.W. Barns Rd.). KUPL-FM moved to the KOIN TV Tower. Power was reduced to 37KW horizontal & vertical (antenna height 1,443). This was done to clear up reception problems in the Beaverton area. K251AD was shut down. Slogan: 98-7 KUPL, we play the most music guaranted.

On June 4, 1998 KUPL-FM was sold to a new group owner: CBS Radio. On November 13, 1998 group ownership changed to: Infinity Broadcasting Corp. In 1999 Lee Rogers became Operations Manager. On August 7, 2001 KUPL-FM became KUPL. Slogan: Couple Country.

On October 3, 1934 KSLM began operation on 1370kc, with the power of 100 watts daytime only. KSLM was owned by Oregon Radio, Inc. (Harry B. Read). Studios were located at 345 Court St. in Salem. Transmitter was located one half mile from city limits. KSLM calls stood for SaLeM.

In early 1935 KSLM began night operation.(100 watts day & night). In early 1937 studios were expanded with a new address 343 Court St. On September 26, 1937 KSLM affiliated with the Mutual-Don Lee Broadcasting System. By 1938 KSLM was on the air 7AM to Midnight.

On April 28, 1939 KSLM switched to 1360kc. Power increased to 1kw day, 500 watts night, from it's new studio & transmitter location at 633 N. Front St.(now Front St. N.E.). A 218 foot Wincharger vertical radiator was installed. In 1940 KSLM raised night power to 1kw.

On March 29, 1941 KSLM switched to 1390kc. On March 1, 1944 KSLM was sold to auto dealer Paul V. McElwain & Glenn E. McCormick for $69,000. Mr. McCormick became President of Oregon Radio, Inc. & KSLM G.M. In mid 1944 KSLM moved studios to The Senator Hotel at 519 Court St.

On January 4, 1949 KSLM moved studios & transmitter to a new $100,000 building in Kingwood Heights. (520 West Hills Way N.W.) in West Salem. On September 30, 1953 KSLM was granted a construction permit for KSLM-TV channel 3. (5.5kw visual, 2.75kw aural). The TV station was never built. By October 1953 KSLM's slogan was: Radio Salem. By 1954 KSLM was operating 24 hours.

On May 26, 1959 KSLM raised day power to 5kw. In May 1959 KSLM switched it network affiliation from MBS to ABC. In late 1959 Lou C. McCormick succeeded her husband as President of Oregon Radio, Inc. On May 21, 1963 Mrs. McCormick became 100 percent owner, from 65.4 percent. Mrs. McCormick's new married name was now Lou C. Paulus. By 1964 KSLM was programming an MOR format. On January 1, 1968 KSLM affiliated with the abc Information Network. On February 29, 1968 KSLM switched back to it Mutual affiliation. On July 3, 1970 KSLM-FM began operation, simulcasting it's sister.

On October 30, 1977 KSLM was sold to Holiday Radio, Inc. for $684,000. Price included KORI(FM). Owners were Terry McRight, James B. Franklin & W.P. Buckthal. In 1980 KSLM added a CBS affiliation. In 1981 Mutual was dropped again. In 1982 KSLM switched to an AC format. Slogan: Holiday Radio, Salem's first station. (not true, see archive "Portland Station Becomes Salem's First".)

In March 1986 KSLM was sold to Ronette Communications of Oregon, Inc. for $1.2 Million. Price included KSKD(FM). Owners were Carl Como Tutera, Ron Samuels, Norman Drubner 50 percent & The Daytona Group of Oregon, Inc. 50 percent. In the Summer of 1986 KSLM switched to an Oldies format.

On July 26, 1988 KSLM was sold to 1010 Broadcasting, Inc. (John E. Grant) for $215.000. On April 6, 1992 KSLM was sold to K-Salem Communications (Greg Fabos) for $151,000. In February 1994 KSLM switched to SMN's satellite delivered "Kool Gold" oldies format.

In late 1994 KSLM was sold to Willamette Broadcasting, owners of KYKN Keizer OR. Willamette had 9 months to find KSLM a new transmitter site. The current site was now prime real state and the land lease was going to expire soon. By the Summer of 1995 Willamette was still looking, but time had run out. KSLM went dark.

In 1996 KSLM was granted a construction permit for 1660khz. in the new Expanded AM Band, which it still holds. In early 1997 KSLM returned to the air. Studios were now located with sister KYKN at 4205 Cherry Ave. N.E. in Keizer. Transmitter was now located in North Salem.

On October 22, 1998 KSLM was sold to Entercom Portland License LLC (Entercom Communications Corp.) for $605.000. Shortly after the sale, KSLM began simulcasting KFXX Vancouver WA from studios at 0700 S.W. Bancroft St. in Portland OR. Slogan: Sports Radio 910, The Fan.

---The Beginning of KGH Hillsboro---

On Monday September 20, 1920 The Federal Telegraph Co. purchased 331 acres for $41,500. from the Rood estate (Fred Rood of Hillsboro). Frank H. Barstow, Federal's local Manager will erect a 625 foot tower with a set of 6 smaller towers to hold 6 sets of antennas (KGH would be capable of broadcasting on 6 different wavelengths simultaneously).

The land was 3 miles east of Hillsboro, next to the Southern Pacific Railroad tracks near Newton Station. (What is today Newton OR is between S.E. 32nd Ave. & The Sunset Esplanade on Oregon Hwy. 8, The Tualatin Valley Hwy.). The total cost Barstow estimates will be $200,000.

The new station will take the place of the Lents Oreg. station (KFU was licensed in May 1915). It was taken over by the U.S. Government during World War 1, dismantled and transferred to Siberia for use by the U.S. Navy. The new station will send and receive from Europe and Asia but will be employed chiefly for corresponding with California stations.

A receiving set will be installed on top of "The Board of Trade" building in Portland Oreg. (270 Oak St., now: 310 S.W. 4th Ave.) where Federal has offices. Transmission lines will be placed between Hillsboro & Portland. Construction will begin in one month. [The Oregon Journal, September 22, 1920, page 4.]

KGH was licensed in June 1921 and was assigned the wavelengths: 300 meters (999.3kc), 600 meters (499.6kc), 8,300 meters (36.12kc), 9,400 meters (31.89kc), 14,200 meters (21.11kc), 15,300 meters (19.59kc). Many wavelength changes would occur in the years to come. KGH used synchronous rotary spark gap transmitters, called by operators across the country as "Stone Crushers" for the sound they made. The antennae had an elaborate counterpoise system that radiated in a circle around the main tower. There was a 3kw transmitter for close ships and a 5kw set for ships far out at sea.

From The Oregon Journal, September 25, 1927, section 2, page 8. KGH, just purchased by Mackay Radio & Telegraph Co. announced it has just in stalled a 500 watt shortwave transmitter. It's being used after 7:00 p.m. This fall a 1,500 watt arc & tube transmitter will be installed, replacing one of the old stone crusher types. I.F Julien is in charge of KGH with fellow operator G.B. Gould.

On December 31, 1928 Mackay Radio announced a new more powerful transmitter will be installed by March 1, 1929 making KGH The Most Powerful Marine Radio Station In The Northwest, said Eugene H. Price, Mackay District Manager. ____________________________________________________________

KEK Hillsboro began operation on July 9, 1923. KEK is owned by The Federal Telegraph Co. and is a Marine receiving station located on Council Crest. KEK has 4 long wave receivers. Two for ship work and two for shortwave reception.

Three or four signals from Federal's San Francisco operating room (KFS transmitter in Palo Alto, CA) are picked up simultaneously by KEK and passed down to the main office in Portland at The Board of Trade Building, where the operating room is located. The signals come in on a long wavelength automatically and are received on a paper tape. Operators transcribe the signals from the tape direct on to a telegraph blank card, ready for delivery at a speed of 40 to 80 words per minute over KGH, Federals transmitting station in Hillsboro.

Portland is one of the very few cities in the world that has a complete ship to ship and point to point radio service. KEK recieves news day and night of ships carrying loved ones, news of ships in trouble. Vessels 1,000 miles at sea report their positions nightly or might request medical aid. KEK's Council Crest site is hidden among fir trees. The receiving room building is no bigger than a garage. The pickup antenna uses a frame covered with wire mounted outside the building and rotated from the operating desk. Warren Clark is the Main Operator of KEK.

The "KG" block of calls has special meaning for the Portland area. We were assigned five "KG" calls. Of course the only remaining is KGW. With this in mind, the thought was to compile the original license assignments of the entire block. What's interesting about the "KG" block is that all were assigned to Pacific Coast States or ships. The following was gathered from Department of Commerce, Radio Service Bulletin's.

CALLS, COMMUNITY LICENSE(S), [VESSEL]

KGA Spokane WA, Oakland CA [COAMO] KGB San Diego CA, Tacoma WA, San Francisco CA [CAROLINA] KGC Kanatak AK, Hollywood CA (LUCKENBACH NO.2] KGD [SURUGA][DACIA] KGE Medford OR [WESTWEGO] KGF Candle AK, Pomona CA [LUCKENBACH NO.3] KGG Heceta Island AK, Portland OR [LUCKENBACH NO.4] KGH Hillsboro OR KGI Nellie Juan AK, Oakland CA KGJ [SAN JUAN] KGK [EDGAR F. LUCKENBACH] KGL Port Hobron AK [DOCHRA] KGM Ketchikan AK [MEXICANO] KGN Portland OR, Albina OR KGO San Francisco CA, Oakland CA, Altadena CA, Underwood WA KGP [PONCE] KGQ Todd AK KGR [CAMBRIDGE][ATLANTA] KGS [SENATOR BAILEY] KGT Fresno CA KGU Honolulu HI [ONEGA] KGV Los Angeles CA [FRED'K LUCKENBACH] KGW Portland OR [D.N. LUCKENBACH] KGX Port Wakefield AK [HARRY LUCKENBACH] KGY Olympia WA, Lacey WA KGZ ?

U.S. DEPARTMENT OF COMMERCE

RADIO DIVISION

RADIO SERVICE BULLETIN

Issued monthly

Washington, August 30, 1930 - No. 161

BRANCH OFFICE OF THIS DIVISION OPENED IN PORTLAND, OREG.

A branch office of the Seattle office (seventh radio district) has been opened at 227 New Post Office Building, Portland. [today: Postal Building, 510 S.W. 3rd Ave.] Individuals or companies residing or located nearer to Portland than Seattle should apply to the radio inspector at Portland for information pertaining to operator licenses, station licenses, and other matters properly pertaining to the work of the division. ________________________________________________________

"PACIFIC TELEPHONE" PORTLAND DIRECTORY - November 1957

Federal Communication Commission-- Engnr In Charge Dist Ofc USCtHse - CA6-3361

Engnr In Charge Radio Mon Sta 2310 N.E. 148Av - AL4-2221

On July 28, 1929 The Department of Commerce, Bureau of Lighthouses, Airways Division, Aeronautics Branch announced plans to construct a weather station just east of Rocky Butte. At the time the Government was in the building stage of starting up a network of aviation weather stations. The Portland licensed station would serve aircraft for 700 miles. KCS La Grande had already been put into service earlier in July. KCS would serve the territory between Portland & Salt Lake City.

On October 15, 1929 KCY began operation, broadcasting weather reports at 30 minutes past the hour. KCY studio & transmitter were located in Wilkes Oreg. on Fisher Rd. (address unknown). Fisher Rd. began north, off Barr Rd. (now: N.E. Halsey St.) and ran towards the Columbia River. Fisher Rd. is now part of the longer N.E. 148th Ave. running south. KCY cost $25,000. to build. Ward E. Cutting was KCY's Chief Operator. Clyde H. Bruyn, KEX Chief Engineer helped with the transmitter installation. It is believed Mr. Bruyn was KCY's Contract Engineer since KEX's transmitter site was close at Buckley & Glisan (now: 122nd & Glisan). KCY's wavelength was 327kc. On this date KCY's sister weather station KCX Medford Oreg. also began operation on 344kc.

By March 1932 Oregon had a network of Airway Marker Beacon stations also owned by The Department of Commerce, Bureau of Lighthouses, Airways Division, Aeronautics Branch. They were: "H" Arlington 278kc. plus: 248kc. "F" Cascade Locks 278kc. plus: 248kc. & 284kc. "S" Meacham 278kc. plus: 320kc. "W" Medford, high power station at 266kc. "B" Portland, high power station at 284kc. "H" Sexton Mtn. 278kc. plus: 266kc. "O" Umatilla 278kc. plus: 320kc.

By 1932 The Department of Commerce, Radio Inspection Service, Monitoring Station was located in Portland's Healy Heights at 1005 Tualatin Ave. (now: 4149 S.W. Tualatin Ave.). Robert A. Landsburg, Inspector.

On April 3, 1912 the United States ratified the "Radio Act of 1912" and was assigned calls by the International Convention on May 9, 1913. The United States was assigned all of the "W" and "N" blocks of calls, plus part of the "K" block. KDA through KZZ. KAA through KCZ had already been assigned to another country. They were later allocated to the U.S. in 1929. The United States gave the U.S. Navy the "N" block but took call assignment control from the Navy Department and created a new administrative unit to assign calls. The Radio Division, Bureau of Navigation, U.S. Department of Commerce.

This new division was under the Bureau of Navigation since most call assignments went to telegraph stations on ships. As land stations grew more prominent by 1922, some of these early ship call assignments were re-assigned to land stations. By this time most of these land stations broadcast audio.

It's always been part of radio history lore to boast if your station calls were orginally assigned to a vessel. Here for the first time, is a compiled list from The Department of Commerce, Radio Service Bulletins. The following have been selected from west coast assignments.

CALLS, COMMUNITY LICENSE(S), [VESSEL]

KFI Los Angeles CA [I.D. FLETCHER] KGA Spokane WA, San Francisco CA [COAMO] KGB San Diego CA, Tacoma WA [CAROLINA] KGU Honolulu HI [ONEGA] KGW Portland OR [D.N. LUCKENBACH] KKP Seattle WA [PROTEUS] KLX Oakland CA [SAN PEDRO] KNT Kukak Bay AK, Aberdeen WA [MIELERO][MONTAUK] KNV Los Angeles CA [CUBADIST] KNX Los Angeles CA [MORENI] KOA Denver CO [HAMILTON] KOB Albuquerque NM, State College NM [PRINCESS ANNE] KOH Reno NV [GLENPOOL] KOL Seattle WA [MOUNT HOPE] KPO San Francisco CA [STANDTOW][TWILITE] KPQ Wenatchee WA, Seattle WA [SUNLITE] KQI Berkeley CA [INDIAN] KQP Portland OR, Hood River OR [PARTHIAN] KQY Vestal Substation CA, Portland OR [POWHATAN] KSL Salt Lake City UT, San Francisco CA [ST. LOUIS] KTW Seattle WA [DELAWARE SUN] KUJ Walla Walla WA, Longview WA, Seattle WA [MUNDALE] KXA Seattle WA [BOSTON] KXL Portland OR [CITY OF TAUNTON] KXO El Centro CA [CONNECTICUT] KYA San Francisco CA [ATALANTA] KYG Laguna Bell Substation CA, Portland OR [WILD DUCK] KYQ Honolulu HI [CALIFORNIA] KZC Parsons KS, Seattle WA [AZTEC] KZM Oakland CA [DIANA] WLS Chicago IL [ARBOREAN]

In 1919 The Radio Division began assigning ship calls with four letters.

KDAY Redondo Beach CA, Santa Monica CA [TOLOSS] KDBX Clear Lake SD, Banks OR, Boonville MO [MOUNT CLAY][DE KALB] KDBZ Anchorage AK, Portland OR [APUS] KDON Salinas CA, Monterey CA [VOLANT] KDOV Medford OR, Ashland OR, Medford OR [STONEWALL] KDUN Reedsport OR [RIPPLE] KDUX Aberdeen WA, Ocean Shores WA [G.N. WILSON] KFAX San Francisco CA [CHILLICOTHE] KFLS Klamath Falls OR [NEW ORLEANS] KIMN Denver CO [SALVATION LASS] KING Seattle WA [WATERTOWN] KINK Portland OR [LAKE GLASCO] KISM Bellingham WA [BALDBUTTE] KISN Belgade MT, Salt Lake City UT, Vancouver WA [LAKE FAGUNDUS] KISS San Antonio TX [LIBERTY LAND] KODL The Dalles OR [MENOMINEE] KODZ Eugene OR [OPHIS] KOLD Tucson AZ [ANTONIA] KOMB Fort Scott KS, Cottage Grove OR [LAKE GERT] KONG Everett WA, Visalia CA [MARGUS] KOPB Portland OR [LAKE FERNALDA] KORD Richland WA, Pasco WA [SUNDANCE] KORK Portland OR, Las Vegas NV [DRYDEN] KORL Honolulu HI [HALEAKALA] KOST Los Angeles CA [CHESTER VALLEY] KOTK Omaha NE, Portland OR [WEST NERIS] KUGN Eugene OR [LAKE HARESTI] KUPL Portland OR [CONNESS PEAK]

The NBC Network Chimes

by Robert M. Morris From OTB Volume 20, No. 1 (June, 1979)

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There has been controversy as to the first broadcasting station, but there has been little doubt that the first broadcast network program occurred on January 4, 1923, as a simultaneous transmission from WEAF New York and WNAC Boston of a New York-originated program. This program started at 8:03 PM with the selection "Habanera" from Carmen by Bizet, sung by Davera Nadwernay. This was followed a few months later with a more extensive network transmission originating at Carnegie Hall and broadcast by WEAF New York, WGY Schenectady, KDKA Pittsburgh, and KYW Chicago using facilities supplied by AT&T Co. This was followed quickly during the summer of 1923 with the construction of a second Telephone Company station, WCAP in Washington, D. C., and the regular linking of this and other stations with programs from WEAF. Facilities specially engineered for this purpose were originally called the "Red Layout," later the Red Network.

Operation of the broadcasting network required close coordination between the point of program origination and operating points along the network for proper switching of circuits and for making required station break announcements. It was determined that some special, readily identifiable, aural cue was needed. Voice cues by the announcer did not work with sufficient reliability to be satisfactory. As a result the four-tone Deegan chime, frequently used to announce dinner, was tried as an aural cue. It is not known who selected the chime melody used, but a seven note series as shown in Figure 1 became the red network cue and was used until operations under NBC moved to 711 Fifth Avenue. Both studios at 195 Broadway were equipped with a four tone chime for network cues.

In 1927 the new NBC broadcasting operation moved from previously used studios at 195 Broadway and 33 West 42 Street to new studios at 711 Fifth Avenue. With this move came many changes, including a change to a simpler three note network cue consisting of the notes G, E and C in that order. This chime cue was also used on the newly formed Blue Network of NBC headed by station WJZ. This method of cueing for station breaks using hand operated chimes and the three note NBC aural logo continued until shortly after the move to Radio City in 1933.

Sometime during the latter part of 1933, O. B. Hanson and R.M. Morris of NBC Engineering Department visited Captain Richard H. Ranger at his home in North Newark. This visit was for the purpose of inspecting and becoming better acquainted with an electronic organ developed by Captain Ranger. This organ, one of the first of its kind, bore little resemblance to later developments in this field, such as the Hammond. It was quite complex and had many features of the pipe organ but the equipment consisting of countless tubes, relays, oscillators, amplifiers, filters, modulators, etc., occupied all of a two car garage.

Later, the Captain accompanied Mr. Hanson and me back to downtown Newark where we slopped et the Robert Treat Hotel for some refreshment and a continuation of our discussion. It was during this quite informal conference that the subject of the NBC chimes arose with the thought that a push-button operated electric chime would be preferable to the method then used. The discussion concluded with the suggestion that Captain Ranger prepare a design of such a device and present it as a proposal to NBC. It was hoped that a reasonably simple and trouble free design, suitable for network use, would be forthcoming.

Somewhat to the surprise of NBC Engineering it was only a month and a half or so later that Captain Ranger appeared with a working model of his proposal. (Figure 2 shows Ranger [left] with his device.) It consisted of a unit suitable for rack mounting in which the chime tones were produced by three sets of 8 metallic reeds which plucked in sequence by studs on three motor driven drums. It was a small electric music box. Tone from the reeds was obtained by capacitive coupling of adjustable fingers mounted above each reed.

Tests of the new Rangertone Chime indicated that it had many desirable features but had a tone quality quite different from the soft voiced Deegan chimes. This problem was referred to the music experts of NBC with the result that Ernest LaPrade, concert master for Walter Damrosch and the Music Appreciation Hour, was assigned to work with Roland Lynn of the NBC Laboratory to achieve satisfactory tone quality from the new chime machine. After many days of effort, since both men were perfectionists, a pleasing but distinctive tone quality was achieved. After the necessary circuit changes were made in the studio control system, the new electronic chimes were put on the air in New York, and orders were placed for additional units for other major program originating points.

The Rangertone Chimes were used successfully by NBC for several years until they were replaced by all electronic chimes developed by the NBC Laboratory about 1939. The NBC Chimes were used on early television program s in the forties and early fifties and were even accompanied for a short time by a visual logo of a three bar chime in color. As television became dominant and switching was accomplished on a precision time basis the need for an aural switching cue faded. The three note G - E - C chime had however become well established as a trademark and aural logo of NBC. A musical selection based on the three note theme was written which is still heard as the theme for "NBC Movie of the Week". The three chime notes are also heard regularly as an aural logo for the NBC Evening News programs.

An interesting sidelight on the chimes occurred in 1938 during a trip the author made to England, Holland, Germany and France to observe progress in television in these countries. D.C. Birkenshaw of BBC one evening commented that he frequently listened to programs from the States over short wave from the General Electric stations at Schenectady. He thought it was most ingenious of them to use an aurally coded identification for the G E. stations by using chimes with the notes G - E - C for General Electric Company. I tried to persuade him that the chime signal came from NBC and had nothing to do with General Electric. I'm not sure he really believed it

So you think our 60 cycle electrical system was originally determined by our 60 seconds/minutes time standard? Not exactly.

When Westinghouse and others were determining the frequency for alternating current back in 1889 and 1890, several frequencies were developed. One of the first to be used was 133. The choice of this odd frequency was based on their generating unit which ran at 2000 rpm, had 8 poles and gave 16,000 alternations per minute or 133 1/3 cycles (16, 000 divided by complete alternation or 60 plus 60 = 133 1/3).

Other frequencies were tried depending on the power source: steam engines and water power. The cylinder type steam engine ran at a relatively low speed. At one time some thought was given to 16 2/3 cycles since an 8-pole generator at a lesser driving speed gave 2000 alternations or 16 2/3 cycles.

The lower frequencies worked great for large low rpm electric motors but were impractical for lighting purposes because of the pronounced lamp flicker.

A strong contender and one used for many years, particularly in heavy industry, was 25 cycles. This frequency originated at the Niagara Falls hydro power plant in the 1890's. After several compromises they settled on a 12 pole, 250 rpm machine which gave 3000 alternations or 25 cycles. It is only in recent years that 25 cycle has been phased out in most industry.

High speed turbo generators did the trick for soon six-pole, 1800 rpm generators became standard giving 60 cycles which was a compromise for drive speed and machine design.

So you see, our 60 cycle system was not necessarily decided by 'time' but by source of motor speed and generator design.

Morse, in the arrangement of his conventional telegraphic alphabet, took as a unit of space or length the shortest available length of line, technically termed a dot. His alphabet was then made up of signs, forty-five in number, formed from three elements: the dot, the space and the dash, arranged in various combinations, representing the following relative values:

The dot--one unit

The space or break between the elements of a letter--one unit

The space, employed in the "Spaced Letters,"--two units

The space, separating the letters of a word--three units

The space separating words--six units

The short dash--three units

The long dash--six units

Prof. S. F. B. Morse, in considering the mechanical means at command for producing at a distance any permanent mark, perceived that by means of the electromagnet, the motion of a lever, up and down, could be easily and surely commanded; and if a pencil at one extremity of it were made to strike upon a piece of paper. A dot would be made whenever the magnet was charged and quickly discharged. This action, however, without a further device, would be unavailing to produce variety, since the lever motion is limited to the simple movement of up and down. Hence the idea of moving the paper at a regular rate beneath the pencil.

Thus a dot could be made on the moving ribbon of paper, which, passing onward, the paper was ready to receive (after an interval more or less extended) another dot, or series of dots. Thus, the ability to produce dots in groups at pleasure was demonstrated, and, consequently, groups of dots expressive of various numerals were devised.

In pursuing the experiments with the numerals whose elements were a simple dot and space, it was perceived that, by means of the moving paper, not merely a dot could be produced at pleasure, but if the magnet was kept charged while the paper was in movement, the pencil produced a line long in proportion to the time in which the magnet was charged. This fact introduced a third element for combination, to produce variety in the groups, indicating letters, as well as numerals, to wit: the line or dash; so that dots, spaces and lines in any variety of combination were at command for forming a code of signs. Hence originated what is now universally recognized as the Morse code.

In the arrangement of the alphabet it was desired that no letter should occupy more than five dots, or nine units in length; and none of them, with the single exception of the letter J, exceeds that number. Another principle was specially observed, that of the letters occurring most frequently in the English language, were therefore composed of the fewest and shortest elements. The letter E is thus represented by a single dot; the I and T within the space of two dots or three units, and so on. The numerals were comprised within the value of six dots, or eleven units, to distinguish them more readily from the letters.

Upon the introduction of the Morse system into Germany many years ago, an important arrangement of the alphabet was devised, called the Continental or International Alphabet, and this has been adopted and become universal on all submarine cables as well as land lines, in all parts of the world where the Morse apparatus is used, except in America. It is founded on the Morse, and the only letters that differ from the Morse are c, f, j, l, o, p, q, r, x, y, z; the additional letters peculiar to foreign languages are ä, ö, and ü, é and ñ. The figures are all different, except the figure 4. All these letters and figures are made by dots and lines, the same as the Morse, and only differ in their relative position.

Amateur Radio in the 1950s: Romance and Reality

by Ronald R. Thomas 6415 Chastain Dr. NE Atlanta, GA 30342

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In the 1950s, amateur radio or "ham radio" seemed almost magical. There was no Internet, long distance telephone calls were expensive, and international air travel was limited. People knew that Hams talked to each other all over the world, which was perceived as glamorous and exciting. They also knew that Hams often provided emergency communications during disasters and had played an important role in military communications during World War II.

Most people were pleased to have a ham radio operator in their neighborhood. They were often even quite willing to allow a ham to run a long wire antenna across their backyard.

During that era, many home radios covered shortwave bands, which enabled people to listen to hams talking to each other. Some listeners decided to become hams themselves so that they could participate in this exciting hobby. Their first step would be to begin studying for a license.

Licensing

In the 1950s, the Federal Communications Commission (FCC) ruled supreme over the airwaves. The agency totally controlled radio broadcasting, commercial radio communications and, of course, amateur radio. Obtaining a ham radio license required passing Morse code receiving and sending tests and a stringent written exam.

Every aspiring radio amateur quickly acquired a copy of the American Relay League (ARRL) publications related to licensing. These included How to Become a Radio Amateur, The Radio Amateur's License Manual, and Learning the Radiotelegraph Code. The prospective applicant worked with these self-study aids and practiced Morse code until he or she felt ready to take the exam at an FCC office.

Larger cities, like Buffalo, Detroit, Boston and New York had FCC offices where amateur exams were given on a regular basis. In addition, FCC personnel gave examinations in other cities, like Cleveland and Pittsburgh, on a quarterly basis. Sitting for the examination often involved time away from work or school, and it sometimes required a long drive to an FCC examination location.

By the mid 1950s, the General class amateur radio license conferred operating privileges on many modes and bands. Higher license classes (Advanced or Extra), were required for voice privileges on some of the more crowded band segments. Later in the decade, General licensees were given full operating privileges. The license was issued for five years and was renewable.

Passing the exam for a General class license was not easy. First, the applicant took a 13 word-per-minute Morse code receiving test. If that test was passed, a 13-wpm sending test followed. The applicant was allowed to take the written test only after he or she passed the sending and receiving tests.

The prospective ham who had passed the written test went home and waited until the mail brought the coveted license. Anyone who failed any portion of the examination had to wait 30 days before trying again. Many failed some part of the exam on the first attempt.

Also, in that era, the FCC introduced a Novice class license. It was a one-year, non-renewable, license that offered limited Morse code operating privileges on special Novice shortwave frequencies plus voice privileges on two meters. The Novice class license required only a five-wpm code test and a very basic written exam. Also introduced was a Technician class license that had only a five-wpm code test, but required the same level of written exam given for the General class license. This license was good for five years, could be renewed, and provided operating privileges only on the very high frequency Ham bands, where there was relatively limited activity.

Ham Equipment

Once a new ham had obtained a license, he set about acquiring the necessary equipment to assemble his station. In the 1950s, most hams operated primarily on the shortwave (3 to 30 MHz) amateur bands and used separate receivers and transmitters. Hams usually bought a commercially built receiver from companies like Hallicrafters and National Radio and, quite often, built their own transmitters.

A wide variety of receivers was available ranging in price from $50 for a Hallicrafters S-38 to $359 for a National HRO-50. The selection of commercially built ham transmitters was somewhat more limited. A popular commercially built ham transmitter was the Viking Ranger offered by the E. F. Johnson Company for $293. It had an input power of 75 watts using CW and 65 watts using AM phone. It also had a built in variable frequency oscillator. A variety of low-powered, low-priced, crystal-controlled, CW rigs--tailored for the limited Novice operating privileges --were also on the market.

Hams desiring to build a transmitter would find a construction article in a magazine or the ARRL Radio Amateur's Handbook. Then they would search for the necessary parts, do the metal work on the chassis and cabinet, and solder in all the components and wiring. Unfortunately, no matter how good the final product, the builder had created a transmitter that had little resale value.

Those who wanted equipment with a commercial look yet wished to do their own building might shop for a transmitter kit. Companies like E. F. Johnson offered their equipment in kit form at a significant cost savings. For example, a $293 Viking Ranger transmitter sold for $215 in kit form.

The builder would receive a pre-drilled chassis, pre-painted cabinet, and all of the necessary components. He would then do all of the assembly, working from what was usually a very sketchy construction manual. It would have been a real challenge for a beginning ham to assemble one of those kits. It was a job for those with advanced skills.

The Heath Company changed the world of electronic kits, including ham radio kits, with their "Heathkit" line. Heath's great success was due in large part to the world-class assembly manual supplied with every kit. Those manuals made it possible even for beginners to successful assemble a Heathkit.

The Heathkit DX-100 transmitter was extremely popular in the 1950s. It had an input power of 120 watts on CW and 100 watts on AM phone and had a built in VFO. It sold for $190 in kit form. Heathkits were often less expensive than other kits, because Heath frequently used new, military surplus parts and bought many other components in large quantities at discount prices.

All of the equipment in that era used vacuum tubes, and the glow from those tubes was a sight never to be forgotten. Unfortunately, the equipment was large and heavy. A Heathkit DX-100 transmitter weighed 107 pounds and a National HRO-50 receiver weighed 84 pounds. Today, such a radio is often referred to (sometimes fondly, sometimes sarcastically) as a "boat anchor."

The final ingredient for getting on the air was the installation of an antenna. Wire antennas were widely used on all of the shortwave Ham bands. Also, some Hams used beam antennas on the higher frequency Ham bands.

On the Air at Last!

Every ham remembers his or her first on the air contact. It truly seemed like a magical moment to talk to someone via radio. The conversations included station equipment, occupations, the weather, and other non-controversial topics. In that era, hams did not talk about religion, politics, or anything that might be the least bit offensive. Nevertheless, the conversations were enjoyable.

As the QSL cards confirming contacts began to accumulate, they were proudly displayed for the admiration of friends, visitors, and neighbors. It was hard for someone to not be impressed when seeing the colorful cards from faraway places.

End of an Era

As the 1950s progressed, amateur radio began to change significantly. For example, vacuum tubes were replaced by transistors; AM phone was replaced by single sideband; separate transmitters and receivers became transceivers; and Hallicrafters, National, and Heath disappeared. Society changed also, and the ham radio operator no longer seemed to be a glamorous figure.

However, hams have always changed with the times. By the 1960s and 1970s, they accepted SSB, began using repeaters on the VHF Ham bands, and learned how to integrate computers into amateur radio. Nevertheless, those who first experienced ham radio in the 1950s will always remember the magic and romance of that era.

Did Marconi Receive Transatlantic Radio Signals in 1901? - Part 1

by Henry M. Bradford Site 1, Comp A0, RR2, Wolfville, N.S. B0P1X0

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We are again fortunate to have another article from Henry Bradford on the early years of the Marconi transatlantic stations. Henry presents a thought-provoking discourse on the controversy associated with Marconi's earliest transatlantic experiments. There's no doubt in my mind that, due to Marconi's misunderstanding of the limitations of his receiving equipment, the letter "S" was really heard on HF, not on MF as the inventor claimed.

Give this article a whirl and see if you are convinced. If you are convinced, you might speculate, as I did, where communications technology would be today if the communications effectiveness of HF was uncovered at the turn of the 20th. century, instead of some 25 years later.-- Frank J. Lotito, Editor, "Below 535"

In December 1901, Marconi claimed to have received, at St. John's, Newfoundland, a radio test signal transmitted by his high-powered spark transmitter station at Poldhu, Cornwall, England. This was the first reported transatlantic radio transmission, and it convinced Marconi that a transatlantic radio service was possible. In spite of his subsequent successes in transatlantic wireless communications, his celebrated original claim has remained the subject of controversy.

The doubts today centre around the reported wavelength and time of day: 366 metres (820 kHz), around midday and early afternoon at St. John's. At this time, much or all of the transatlantic path was in daylight. In the light of modern knowledge about radio propagation, Marconi could hardly have picked a worse combination of frequency and time of day for the transatlantic experiment. Imagine attempting transatlantic transmission on the North American AM broadcast band in the middle of the day!

As most radio listeners know, reception at these frequencies typically is restricted to within a few hundred miles from the station in the daytime, though it may extend many times further at night. The reason for this is this is that the D-layer of the ionosphere absorbs the energy of radio waves in this frequency range during the day, but disappears at night, allowing long distance reception via reflections from higher levels in the ionosphere.

So how did Marconi receive transatlantic radio signals in the middle of the day in what now is the AM broadcast band --if indeed he did? Let us examine all his early efforts at long distance radio communications for an explanation. (See References [1] through [3] for full descriptions of the events and equipment.) In 1900, Marconi built a powerful new shore station at Poldhu, Cornwall for ship-shore radio communications and experimentation. It was designed by Professor J. A. Fleming, a prominent electrical engineer. The station employed a spark transmitter, but unlike its battery-powered predecessors it was powered by a 35 kilowatt alternator. Encouraged by ranges of several hundred miles obtained with the new station, Marconi decided to attempt transatlantic transmission.

Most scientists of the time felt this was impossible. That opinion was based on the belief that radio waves, like light, should travel in straight lines, limiting radio communications to about horizon distances. Marconi knew that he had already exceeded that limit, and believed that radio waves, for some reason, followed the curvature of the Earth. Therefore he reasoned that with stations of sufficient size and power, he should be able to span the Atlantic. No one at the time knew that reflections from the ionosphere could greatly extend the range of radio transmissions.

Marconi chose Newfoundland as the receiving site for his first transatlantic experiment in order to minimize the length of the propagation path. In December, 1902, he sailed to St. John's with portable receiving equipment and set it up on Signal Hill, about 2100 statute miles, or 3500 kilometres, from Poldhu. The transmitting antenna at Poldhu was a fan, broadside to the Atlantic, made up of 54 vertical wires. The top of the fan was 60 metres (about 200 feet) wide, and was suspended 48 metres (about 160 feet) above the ground. The wires came together at the lower end where they were connected to the feed line to the transmitter. (See page 36 of Reference [3] for a good photo of it.)

The test schedule required Poldhu to transmit sequences of S's (three dots) in Morse code, together with short messages, interspersed with five-minute breaks at intervals. The transmissions took place from 11:30 AM to 2:30 PM Newfoundland time each day beginning December 11 [4]. The reported wavelength was 366 metres (820 kHz), and although there has been some controversy about this figure, it seems consistent with detailed modern analysis of the Poldhu transmitter [5,6].

Descriptions of the receiving equipment used are sketchy, and the details reported by different sources vary. I believe that the combined descriptions best fit two types of receiver developed by Marconi prior to 1900: an untuned receiver and a tuned ("syntonic") receiver. (See Figures 1 and 2.) Since there was no electronic amplification, the critical component in these receivers was the detector.

The detector used was called a "coherer," and there were two principal types. The best known of these consisted of a glass tube containing metal filings held between two metal plugs that served as electrodes. When a RF signal voltage was applied across its electrodes, the filings cohered, lowering the resistance of the device and causing the direct current in a battery circuit containing the coherer to increase.

This direct current typically operated a relay which fed a larger current to a paper tape recorder. The latter current also operated a tapper which decohered the filings after the receipt of each signal. Basically, the coherer acted like a voltage-controlled switch that closed when a radio signal was received. Many people were involved in the development of the coherer, including Sir Oliver Lodge, who gave the device its name.

In the second type of coherer, a drop of mercury was used in place of the metal filings. It was called a self-restoring coherer because it did not require a tapper. The behavior of this instrument is not well understood, but its detector action may have been principally due, like that of a diode, to its non-linear I-V characteristic. Although known as the "Italian Navy Coherer," this detector, used in conjunction with a "telephone" (earphone), probably was developed originally by Sir J. C. Bose of India [7]. Since there is a potential node and current antinode at the bottom of a grounded vertical aerial, Marconi stepped up the signal voltage applied to the coherer by means of a RF transformer, called a "jigger," in both his untuned and tuned receivers. The principal difference between the tuned and untuned receivers was that the primary and secondary circuits of the jigger were tuned in the former by means of variable inductors and capacitors, whereas no effort was made to tune the circuits of the latter.

End of Part 1.

References [1] Baker, W. J., A History Of The Marconi Company, Methuen & Co., London (1970). [2] Vyvyan, R. N., Wireless Over Thirty Years, George Routledge & Sons, London (1933). Reprinted as Marconi And Wireless, EP Publishing Limited, Yorkshire, England (1974). [3] Bussey, Gordon, Marconi's Atlantic Leap, Marconi Communications 2000, Coventry, England (2000). [4] Bondyopadhyay, Probir K., "Investigations on the Correct Wavelength of Transmission of Marconi's December 1901 Transatlantic Wireless Signal, Part 2," IEEE International Antennas and Propagation Symposium Digest, Seattle, Washington, June 19-24,1994, pp 217-220. [5] Ratcliffe, J. A., "Scientists' Reactions to Marconi's Transatlantic Radio Experiment," Proc. IEEE, Vol. 121, No. 9, September 1974. [6] Belrose, John S., "A Radioscientist's Reaction to Marconi's First Transatlantic Wireless Experiment--Revisited," Antennas and Propagation Society, 2001 IEEE International Symposium, Vol 1, 2001, pp 22-25. [7] Bondyopadhyay, Probir K., "Sir J. C. Bose's Diode Detector Received Marconi's First Transatlantic Wireless Signal Of December 1901 (The "Italian Navy Coherer" Scandal Revisited)," Proc. IEEE, Vol. 86, No. 1, January 1988.

Did Marconi Receive Transatlantic Radio Signals in 1901? Part 2 (conclusion): The Trans-Atlantic Experiments

by Henry M. Bradford Site 1, Comp A0, RR2, Wolfville, N.S. B0P1X0

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We apologize for not mentioning in February that the installment of this article published then comprised only Part 1 and that the second and final part would follow in this issue.--MFE

On December 11, 1901, Marconi and his party used balloons to support the receiving aerial wire which was about 500 feet long. According to Marconi's assistant, George Kemp, "Marconi tried all the detectors from time to time" until a heavy gust of wind blew the balloons away, ending the day's experiment. "Signals appeared at intervals on a telephone in series, when using our sensitive tube (coherer) circuit, and, at times, the dots threatened to appear on the tapper." [8]. The receiver was the syntonic (tuned) type.

On December 12, a kite was used to support the aerial wire, and Marconi switched to the untuned receiver because the erratic changes in elevation of the kite made tuning the aerial too difficult. Later, in a recorded address, Marconi said that he "tried various microphonic self-restoring coherers placed in the secondary circuit of a transformer, the signals being read on a telephone. In many cases a succession of S's being heard distinctly (also heard by Kemp) although, probably in consequence of the weakness of the signals and the unreliability of the detector, no actual message could be deciphered. The coherers which gave the signals were one(s) containing loose carbon filings, another designed by myself, contained a mixture of cobalt and carbon filings, and thirdly the 'Italian Navy Coherer,' containing a globule of mercury between two (conducting) plugs" [4].

Marconi recorded in his diary: signals received at 12:30, 1:10, and 2:20 Newfoundland time [2]. Marconi said later "At 12:30 PM, while I was listening on the telephone receiver there came to my ear, very weakly, but with such clarity that there could be no possible doubt, a rhythmic succession of the 3 dots corresponding to the letter "S" of the Morse code..." [4]. Some signals also were received December 13 during the brief time that a kite could be kept aloft.

When Marconi announced his reception of transatlantic radio signals to the world, the Anglo-American Telegraph Company, which held a monopoly on telegraphy in Newfoundland, threatened court action if Marconi continued his wireless work there. That ended transatlantic radio experiments in Newfoundland. His announcement of success met with some scepticism, especially in England, based on preconceived notions about radio waves travelling in straight lines.

To counter this and fully satisfy the Board of his company, his next long range experiment was carried out on a voyage from Britain to New York aboard the SS Philadelphia in February, 1902. In this experiment, he continually monitored signals from the Poldhu transmitter, which was unchanged and still operating at a nominal 820 kHz (366 metres).

Judging from Kemp's description, the receiving antenna was a four-wire horizontal cage about 150 feet above the deck [8]. A syntonic (tuned) receiver was used. Morse code messages were received to a maximum range of 700 miles during the day and 1550 miles at night. The repeated Morse letter S (the test signal used in the Newfoundland experiment) was received up to about 2100 miles at night, approximately the distance from Poldhu to St. John's. Marconi tested the range of the Poldu station again in 1902 on voyages aboard the Italian naval vessel Carlo Alberto, presumably with a tuned receiver. The results were consistent with those obtained on the SS Philadelphia.

During a summer voyage around the European coast, signals were received about 1600 miles from Poldhu at night (not necessarily the maximum range), but only to about 500 miles by day. On an east-west transatlantic voyage in October, signals were received right into the harbour at Sydney, Nova Scotia at night, at a reported wavelength of 1100 metres (about 273 kHz). Although these voyages vindicated Marconi as far as proving that trans-Atlantic radio communications were possible, they indicated that they could only be made at night at wavelengths of hundreds of metres, raising questions about the daytime experiment in Newfoundland.

Marconi was finding by trial and error that better results were obtained at longer wavelengths. He used a wavelength (at least sometimes) of 1650 metres (about 182 kHz) at his first trans-Atlantic station at Glace Bay, but still was confined to intermittent night-time operation. When he finally opened a commercial trans-Atlantic radio service in 1907 between another station near Glace Bay ("Marconi Towers") and Clifden, Ireland, he was using a wavelength of about 5000 metres (60 kHz). This provided reliable daytime communications and usable, but more variable, night-time communications.

What does all this tell us about the first transatlantic experiment between Poldhu and St. John's? Firstly, all the results obtained with tuned receivers were at least qualitatively consistent with modern experience and knowledge about radio propagation, although the long ranges obtained with such primitive equipment might come as a bit of a surprise to the reader [9]. Though daytime ranges at 820 kHz were limited to several hundred miles, the night-time ranges were several times longer.

The fact that no definite signals were received at St. John's on the tuned receiver (December 11) is no surprise to broadcast band listeners, and is consistent with radio propagation theory. According to the Austin-Cohen radio propagation formula [10], the daytime field strength at 820 kHz at St. John's would have been about 1/1500 of the field strength at the maximum daytime range achieved in the SS Philadelphia experiment.

The only result that seems inconsistent with modern knowledge was the claim of daytime reception of the 820 kHz transatlantic test signal at St. John's on December 12, which was made with an untuned receiver. It has been suggested that Marconi may have mistaken atmospheric interference ("static") for the three dots of the letter S repeated continuously. I doubt this because Marconi was an experienced radio listener, and his description of the event, quoted above, sounds very convincing.

Assuming then that he did hear the test signal, the most reasonable explanation is that his untuned receiver detected it at some frequency or frequencies other than the nominal transmission frequency of 820 kHz. Spark transmitters were notorious for their broadband emissions, and it is quite probable that the spectrum of the Poldhu transmitter contained significant power in the HF (short wave) band. [5].

Propagation curves indicate that the daytime strength of a 7.5 MHz signal at St. John's would be about six times greater than the field strength of a 820 kHz signal 700 miles from a source of the same power (the maximum daytime range in the SS Philadelphia experiment), if ionospheric absorption is neglected [11]. However, only a fraction of the broadband HF spectrum of the Poldhu transmitter would likely reach Newfoundland; the ionosphere would absorb all of it except for a band a few MHz wide below the maximum usable frequency (MUF), which would have been about 12 MHz.

Add to this a host of more uncertain factors such as the relative performances at 820 kHz and HF of the transmitter, the antennas, and the receivers, and about all you can say is that spurious HF radiation from the Poldhu spark transmitter provides the most plausible explanation of the first transatlantic radio transmission. Ironically, improvements in tuning prevented this from happening again in transatlantic work, and the potential of short wave for long distance communications was not realized for another two decades.

References and Endnotes [8] Kemp, George, "Extracts from the diary of G. S. Kemp.," Vol. 3., Marconi Archives, Marconi plc.

[9] Typical ranges for shipborne 1.5 kW spark transmitters and receivers of the early 1900's (no electronic amplification) were a surprising 100 nautical miles at 1 MHz, and 185 nautical miles at 150 kHz. Factors contributing to such good results with such primitive equipment probably were: large receiving antennas with good ground connections to the hull of the ship, resulting in low antenna circuit losses; propagation over salt water; and the large impulsive power of a spark transmitter. The voltage-controlled coherer detector was well suited to detection of the peak signals provided by the spark transmitter impulses. Ratcliffe (Reference 5) estimates the RF power output of the Poldhu transmitter during the damped wave spark impulses to have been a few tens of megawatts, whereas the average power input was only 35 kilowatts! This large ratio of impulse power to average power was due to the spark being produced by the relatively short discharge of a capacitor.

[10] P. David and J. Voge, Propagation of Waves, Pergammon Press, 1969.

[11] Bremmer, Dr. H., Terrestial Radio Waves, Elsevier Publishing Co., 1949.

Oliver Lodge: Almost the Father of Radio

by James P. Rybak, W0KSD Mesa State College Grand Junction, CO 81501

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By the year 1887, the 36-year-old Oliver Lodge was already regarded in Great Britain as a highly accomplished scientist. A professor of physics at the newly-established University College in Liverpool, he was known for his brilliant scientific mind and ability to explain complex scientific principles in a manner that could be understood by virtually anyone. In 1887, the Royal Society of Arts asked Lodge to prepare a series of lectures, to be given the following year, concerning how buildings might best be protected from lightning damage.[1]

The designers of the lightning protection systems of that time assumed that lightning was a continuous direct current discharge. They believed that protection from lightning could be obtained by placing copper rods above the buildings and connecting them to the earth by means of heavy copper grounding cables with a very low dc resistance.[2]

The lightning protection "experts" could not understand why lightning discharges frequently ignored the copper conductors and chose what seemed to be higher resistance "alternate paths" to ground.[3] This often resulted in great damage being done to the buildings. Such failures of the lightning protection systems was typically blamed poor ground connections.[4]

Lodge had had an interest in learning more about the subject for several years.[5] He now planned to conduct a series of experiments on electrical discharges prior to giving the lectures. The scientist intended to learn why lightning often did not follow the low-resistance path provided by the copper conductors.[6] He immediately began a series of experiments to learn more about lightning protection.

These laboratory investigations proved to be extremely important. They would contribute substantially to the development of wireless telegraphy and establish Lodge's world-wide reputation as an outstanding scientist.

In addition to demonstrating the effects of inductance in circuits with time-varying currents, the experiments ultimately resulted in Lodge establishing the existence of electromagnetic waves independently of, but virtually simultaneously with, the German scientist Heinrich Hertz. Lodge also discovered the phenomenon of electrical resonance and found that the "coherer" effect provided a very useful means for detecting the presence of electromagnetic waves.[7]

It was commonly known in 1887 that a lightning discharge is produced when the accumulation of electric charge in a cloud causes the potential difference between that cloud and the earth to increase until the intervening air breaks down electrically and becomes a conductor. Lodge visualized this as being much the same process as when the voltage across a capacitor increases until the breakdown of the dielectric occurs.[8] It also was well known that the discharge of a Leyden jar (capacitor) produces an oscillatory current rather than a direct current.[9] Oliver Lodge erroneously believed, therefore, that a lightning discharge also is oscillatory.[2]

The physicist decided to perform some preliminary "alternate path" experiments to attempt to confirm his theories prior to giving his first lecture on lightning in March of 1888. He used Leyden jar discharges to simulate lightning. The jars were usually charged using a Voss machine that generated static electricity through friction. One of the experimental arrangements used by Oliver Lodge is shown as Figure 1.[4,6]

The Voss machine was connected to the terminals, A. These, in turn, were connected to the inner conducting surfaces of two Leyden jars. The outer conducting surfaces of the jars were connected to an adjustable spark gap, B. A long loop of very low resistance copper wire, L, was connected across this spark gap. The wire Lodge first used was approximately 12 meters in length but had a resistance of only 0.025 ohm. [4,6] It wire closely simulated the characteristics of the conductors normally connected to lightning rods.

The electrical charge stored in the Leyden jars could flow either through the very low dc resistance path provided by the loop of wire or it could flow across the very high resistance path through the air between the spark-gap terminals at B. It would seem that the obvious path for the charge to follow would be through the low resistance wire loop. Surprisingly, Lodge was able to produce very large sparks across the spark-gap, B, even though the dc resistance of the wire across the gap was only a fraction of an ohm.[4]

When Lodge gave his first lecture on lightning to the Royal Society of Arts, he argued that since (as he believed) lightning discharges have a very high oscillatory frequency, it is necessary to take inductive reactance effects into account when predicting which path the discharges will follow. Inductance was not a very well understood or accepted concept in those days.[6]

Michael Faraday in England and Joseph Henry in the United States, independently but almost concurrently, had observed some effects of inductance almost sixty years earlier. Sir William Thomson (Lord Kelvin) in 1853 had recognized the influence which inductance (Thomson called it "electro-dynamic capacity") has in causing the discharge of a Leyden jar to be oscillatory.[9]

Oliver Heaviside later demonstrated the importance of inductive effects in the transmission of signals along long telegraph lines and undersea telegraph cables. The concept of inductance, however, did not receive general acceptance or understanding until Sir William Thomson (Lord Kelvin) publicly endorsed Heaviside's inductance theories in 1889. Lodge's lectures on lightning, however, occurred prior to Thomson's endorsement.[2]

Lodge maintained that, at the frequencies involved in the oscillatory lightning discharge, the inductance of the conducting cables resulted in a very high opposition to current flow. Therefore, the alternate path actually followed by a lightning discharge did indeed exhibit the lowest total opposition or impedance to the current flow even if its dc resistance was not the lowest.[6]

Those in attendance who did not subscribe to Lodge's inductance theories were quick to question the accuracy of simulating lightning with Leyden jar discharges. Particularly questionable, they argued, was the idea that a lightning discharge is oscillatory.[1]

Years later, Lodge realized that lightning is not an oscillatory discharge but is actually a rapidly pulsating unidirectional (dc) discharge.[2] However, the effects of the inductive reactance on the flow of these pulsating lightning currents is the same as Lodge predicted for oscillatory currents.[6]

The issue could not be resolved satisfactorily at the March lectures, and the critics wanted more convincing experiments to be performed. Further discussions on lightning were scheduled for the September 1888 meeting of the British Association to be held at Bath, England.[1]

Oliver Lodge continued his "alternate path" experiments during the spring and summer of 1888 with the purpose of investigating the behavior of the electrical oscillations produced by the Leyden jar discharges. He now replaced the loop of wire he had been using with a pair of long wires, each approximately 29 meters in length (Figure 2). The wires, L and L', were terminated in spark-gaps.[4,6] He found that the Leyden jars discharged in the usual manner at spark-gap A, but that a simultaneous spark was produced at spark gaps B1, B2, or B3.

Oscillatory currents were produced in the part of the circuit consisting of the Leyden jars and the spark-gap at A. The capacitance of the jars together with the inductance of the spark-gap wires at A determined the frequency of the oscillations.[4] Every time a spark occurred at A, however, Lodge found that a longer spark occurred at B1, B2, or B3. The spark at B3 always was the longest.

The electrical waves produced by the oscillations at A traveled along the wires and were reflected at the far ends. Lodge knew that the longer spark at B3 was due to what he called the "recoil impulse" or "recoil kick" at the end of the wires where the waves were reflected.[4] At spark gap B3 both the incident wave and the reflected wave had their maximum values and were in phase. This produced a voltage twice as large as the voltage at spark gap A.

More importantly, Lodge determined that the discharge at B3 was the most intense when the lengths of the two wires L and L' were one-half wavelength (or an integral multiple of one-half wavelength) for the oscillations produced.[4,8] Under these conditions, a maximum coupling of the oscillations produced at A was occurring in the wires. Oliver Lodge had discovered electrical resonance (or "syntony" as he later would call it[6]) between the two parts of the circuit.[4,8]

In addition, the scientist was able to demonstrate that standing waves existed along the wires. In a darkened room, he observed a visible glow along the wires at one-half wavelength intervals corresponding to the voltage peaks. He also performed a number of other experiments concerning the characteristics of discharging Leyden jars during that spring and summer of 1888.[11]

Oliver Lodge clearly knew that he had produced and detected the electromagnetic waves predicted some twenty-four years earlier by James Clerk Maxwell.[3] Before he presented these observations as part of the findings in his study of lightning conductors, however, Lodge went on vacation in that summer of 1888. It was while on vacation that Lodge read of Hertz's similar work with electromagnetic waves.[6,10] Lodge then added a postscript to his own paper acknowledging Hertz's work in an extremely positive way. He concluded the postscript by saying: "The whole subject of electrical radiation seems working itself out splendidly."[8]

Lodge presented his findings to the British Association meeting in Bath in September of 1888. The well known theoretician, G. F. FitzGerald, who reported on the results Hertz recently had published, chaired the meeting. Interestingly enough, FitzGerald had told Lodge in 1878 that it never would be possible for anyone to produce the electromagnetic waves predicted by James Clerk Maxwell. By 1882, however, FitzGerald had corrected his erroneous belief.[12] The following year, FitzGerald suggested that electromagnetic waves might be produced by discharging a capacitor through a very small resistance.[3]

Those in attendance and, later, other knowledgeable people, recognized that Lodge's findings were equivalent to those of Hertz and had been arrived at independently of, and virtually simultaneously with, Hertz's.[3,6] Heinrich Hertz, however, would always receive the world's principal acclaim and recognition because his work was published slightly before that of Lodge.

The electromagnetic waves generated by Hertz were radiated into space whereas those generated by Lodge were guided by wires. Consequently, the work of each man helped confirm the validity of what the other had done. Lodge and Hertz corresponded and exchanged scientific papers. They always maintained great respect and regard for each other as scientists and as human beings.[3] Lodge never resented the fact that Hertz's work received greater acclaim.[6] When Hertz died in 1894, Lodge wrote a magnificent tribute to his achievements.[13]

In 1894, Lodge discovered that a nonconducting tube containing metal filings (Figure 3) could be used to detect the presence of electromagnetic waves. His findings were based on an observation made in 1890 by Edouard Branly (1846-1940). Branly had discovered that the resistance measured across the ends of a such a tube normally was very high. However, if an electromagnetic wave was generated nearby, the metal particles became fused together and the resistance dropped to a low value. The resistance remained low until the tube was tapped and the fused particles returned to their original, separated condition.[14]

Earlier, Lodge had observed the same fusing effect between metal spheres in light contact with each other when an electromagnetic wave was produced. He called the fusing of the metal produced by the electromagnetic wave, the "coherer effect." Similarly, he called any detector of electromagnetic waves based on this effect, a "coherer." He quickly realized that the "filings tube coherer" represented the most convenient form for utilizing the coherer effect to detect electromagnetic waves.[15]

Perhaps Lodge's most important improvements to the filings tube coherer were the evacuation of the air from the tube and the development of an automatic "tapping back" device which utilised a rotating spoke wheel driven by a clockwork mechanism. The mechanical impulses provided by the tapping back device restored the filings tube coherer to its non-conducting state at regular intervals, independent of the detection of electromagnetic waves. This filings tube coherer detector was considerably more sensitive than was the simple wire loop "resonator" with a spark gap that Heinrich Hertz had used as the detector of electromagnetic waves in his experiments. It also was more convenient to use than was the metal-sphere coherer detector Lodge had previously developed.[15]

Lodge used his improved filings tube coherer, together with a Hertzian wave oscillator, as part of a demonstration for a commemorative lecture entitled "The Work of Hertz" given in London at a meeting of the Royal Institution in June of 1894. A sensitive mirror galvanometer was connected to the coherer so that the detection of the electromagnetic waves was visible to the audience in the form of a moving beam of light.[6,16] Later that same month, Lodge used a small portable receiver based on similar equipment to demonstrate the detection of electromagnetic waves at the annual "Ladies' Conversazione" of the Royal Society in London.[6,17]

He also demonstrated essentially the same apparatus at a meeting of the British Association held at Oxford in August of 1894. In that demonstration, however, he replaced the mirror galvanometer with a more sensitive marine galvanometer of the type normally used for the detection of submarine cable telegraphy signals. Lodge's source of electromagnetic waves, located in another building some 55 meters away, consisted of a Hertzian oscillator energized by an induction coil. A telegraph key connected to the primary winding of the induction coil was used by Lodge's assistant to send both long and short duration trains of waves, corresponding somewhat to Morse code dots and dashes.[6] Those in attendance witnessed Lodge's receiving equipment detecting electromagnetic waves that had traveled the 55 meter distance.

Lodge clearly had all the necessary elements of an elementary wireless telegraphy system. While it could be argued successfully that Lodge did indeed achieve signaling of a sort in all three of these demonstrations, there is no indication that the sending of any true messages was accomplished or even attempted with this apparatus. It was not his intent to do so. Oliver Lodge never considered using his equipment for communicating, although the idea of wireless telegraphy had been suggested two years earlier by William Crookes.[18]

The first two demonstrations were performed simply to show that electromagnetic waves can be generated and detected. The purpose of Lodge's demonstration at Oxford was to propose that perhaps there exists an analogy between the way a coherer responds to electromagnetic waves and the way the eye responds to light.[6]

Oliver Lodge later admitted that, at the time, he had not seen any advantage in using the relatively difficult process of telegraphing across space without wires to replace the well developed and comparatively easy process of telegraphing with the use of connecting wires.

He, like virtually all of his contemporaries, believed at the time that electromagnetic waves travel only in straight lines as does light. (Maxwell, after all, had shown that light is nothing more than electromagnetic waves with very short wavelengths.) Consequently, Lodge assumed that the maximum possible range attainable using wireless signaling would be very limited. These reasons help to explain why, in Lodge's own words, ". . . stupidly enough no attempt was made to apply any but the feeblest power so as to test how far the disturbance could really be detected."[19] As a result, Lodge was one of several electrical experimenters who, had they recognized what they had in their hands, might have earned the principal credit for the development of wireless telegraphy.

In all fairness, however, one should never think that Lodge was lacking in either insight or in astuteness. His exceptional perceptiveness and keenness of mind when conducting experiments had been demonstrated time and time again. But he was first and foremost a scientist and teacher, more concerned with theory than commercial applications.[6]

While Oliver Lodge is remembered for numerous significant scientific achievements, including his contributions to the development of wireless telegraphy, it might be said that he let "the two big ones" slip through his fingers. Had he proceeded with his alternate path experiments a little more rapidly, Lodge might be the one whom we today credit with having experimentally verified Maxwell's predictions. Similarly, if Lodge had realized the potential of wireless communication, Marconi might have had to share with him the unofficial but commonly used title "Father of Radio."

Those wishing to read about other aspects of Oliver Lodge's life are referred to the author's earlier, less specialized article.[20]

References [1] Jolly, W.P.; Sir Oliver Lodge, Fairleigh Dickinson University Press, Rutherford, NJ, 1974. [2] Lodge, Oliver; Advancing Science, Harcourt Brace, New York, 1932. [3] Lodge, Oliver; Past Years, Hodder and Stoughton Ltd., London, 1931. [4] Lodge, Oliver; Lightning Conductors and Lightning Guards, Whittaker Ltd., London, 1892. [5] Rowlands, Peter; Oliver Lodge and the Liverpool Physical Society, Liverpool University Press, Liverpool, 1990. [6] Aitken, Hugh G.J.; Syntony and Spark, Princeton University Press, Princeton, NJ, 1985. [7] Lodge, Oliver; "The History of the Coherer Principle," The Electrician, vol. 40, November12, 1897, pp. 86-91. [8] Lodge, Oliver; "On the Theory of Lightning Conductors" The London, Edinburgh, and Dublin Philosophical Magazine, Series 5, vol. 26, August, 1888, pp.217-230. [9] Thomson, William; "On Transient Electric Currents," The London, Edinburgh, and Dublin Philosophical Magazine, Series 4, vol. 5, June, 1853, pp. 393-405. [10] Hertz, Heinrich; "On Electromagnetic Waves in Air and their Reflection," Wiedemann's Annalen, vol. 34, July 1888, p. 610. [11] Lodge, Oliver; "Experiments on the Discharge of Leyden Jars," Proceedings of the Royal Society, vol. 50, January, 1892, pp. 2-39. [12] Lodge, Oliver; Talks About Radio, Doran Inc., New York, 1925. [13] Lodge, Oliver; "The Work of Hertz," The Electrician, vol. 33, June 8, 15, 22, and July 6, 27, 1894, pp. 153-155, 186-190, 204-205, 271-272, 362. [14] Branly, Edouard; "Variations of Conductivity under Electrical Influence", The Electrician, vol. XXVII, June 26 and August 21, 1891, pp. 221-2 and 448-9. [15] Lodge, Oliver; "The History of the Coherer Principle", The Electrician, vol. XL, November 12, 1897, pp. 86-91. [16] Lodge, Oliver; The Work of Hertz and Some of His Successors, London, 1894, p. 24. [17] Unsigned and untitled article, Nature, vol. L, June 21, 1894, pp. 182-183. [18] Crookes, William; "Some Possibilities of Electricity," The Fortnightly Review, February 1,1892, pp. 173-181. [19] Lodge, Oliver; Signalling through Space Without Wires, (3rd edition), London, 1908, pg. 84. [20] Rybak, James; "Radio's Forgotten Pioneer," Popular Electronics, July 1990, pp. 62-66 and 95.

Scientific American Supplement, April 20, 1895, page 16087:

A SEMAPHORE TELEGRAPH STATION.

WHEN a vessel passes in sight of the shores of a civilized country it is customary to communicate with the rest of the world, receiving the latest news, and in turn announcing any dangers to which the vessel has been subjected. The facilities for communication have been greatly increased by the introduction of the semaphore. The utility of the semaphore has been so widely recognized that it is difficult for a vessel to pass unperceived along any of the French coasts. The semaphore is naturally located on a high point from which an unobstructed view of the sea can be obtained, and is placed either on the top of a house or tower. On the pole are several signal arms and the station is connected with the national telegraph system. There are usually two signal poles, one of which is devoted to the display of meteorological signals which announce the probable conditions of the weather, the predictions coming from the observatories. These signals are made of canvas and are shaped liked cones or cylinders, so that they can be seen from whatever direction they are viewed. The cone as shown in the engraving announces the probability of high north winds. The same pole is used for the signals of the international code, which are made with the aid of eighteen flags. This international code which is used to-day by all maritime nations, is made up by grouping flags, four or more of which represent not only words and phonetic signs, but ideas and whole phrases. Unfortunately, the use of flags is not sufficiently rapid for long conversation and signaling becomes difficult at great distances, because the colors blend together, and in the case of calms or very brisk winds it is nearly impossible to distinguish the signals. It is to avoid these inconveniences that the semaphore has been introduced for marine signaling, permanent arms being secured to the semaphore, which give signals analogous to those on the railways or those of the old Chappe telegraph. The actual signals are made by three arms which are articulated to the pole. These arms can be freely moved to various positions with the utmost precision by the mechanism. Eighteen signals can be made by combinations of these arms, which correspond to the eighteen flags of the international code. As shown in our engraving, the arms are manipulated by means of chains which pass around drums which are turned by handles. The whole signalling apparatus is mounted on a platform which can be turned so as to permit of the signals directly facing the vessel which is spoken. Messages from vessels are transmitted to their destination, the charges of course paid by the recepient of the telegram. For our engraving and the foregoing particulars we are indepted to L'Illustration.

Early communications development included a variety of semaphore telegraph lines, where spotters used visual signals to relay messages from one elevated location to the next. By the early 1800s, these mechanically-operated visual telegraph lines were fairly common in Europe, although only a few simple links were ever built in the United States. However, visual telegraphs were slow, covered limited distances, and were usable only during good visibility, so inventors worked to develop a way to send signals by electrical currents along wires, which promised nearly instantaneous transmissions over great distances in all kinds of weather. But progress was slow, in part because the nature of "electrical fluid", as it was then known, was poorly understood.

William Cooke and Charles Wheatstone developed the first electric telegraph to go into commercial service, which began operation in England in 1838. Like the earlier mechanical telegraphs, this pioneer electrical telegraph used visual signaling -- in its initial configuration, two needles at a time, out of a total of five, rotated on the receiving device to point to letters on a display. Meanwhile, other inventors worked on electric telegraphs based on different principles, the most important being Samuel Morse in the United States, who developed a system that imprinted dots and dashes on a moving paper tape. (Later, operators would learn to read the dots and dashes directly, by listening to the clicking of the receiver). In 1844, the first commercial line using Morse's design went into service between Washington, District of Columbia and Baltimore, Maryland. Its success was followed by the rapid construction of telegraph lines throughout the United States, and eventually Morse's dot-and-dash approach became the worldwide standard. Although the electric telegraph made most visual telegraphs obsolete, telegraph wires couldn't be run out to sea, so, until the development of radio, a few semaphore links continued to provide ship-to-shore communication. A Semaphore Telegraph Station, from the April 20, 1895 issue of the Scientific American Supplement, described a French shoreline installation, which displayed meteorological signals, sent messages to passing ships, and also received commercial telegrams sent from the ships by semaphore flags.

Morse used standardized sequences of dots and dashes to represent individual letters and numbers for transmitting messages, and this became known as the American Morse Code. However, Morse's original code specification included a few oddities, so although American Morse was widely adopted throughout the United States, a more consistent version was developed in Europe, known as Continental Morse Code. Telegraphic Codes, from the 1912 edition of the Electro-Importing Company's Wireless Course, compares the American and Continental Morse Codes with a third, short-lived code used by the U.S. Navy. Radio would also adopt dot-and-dash signaling in its early days, and radio operators generally used the same telegraphic codes as landline telegraphy, so at first most U.S. radio stations used American Morse, while a majority of the rest of the world used Continental Morse. However, radio's use in international communication meant that a single standard telegraphic code was needed in order to avoid confusion. Eventually Continental Morse was universally adopted for radio communication, and, reflecting its expanded status, it became known as International Morse. Meanwhile, the original American Morse largely disappeared from radio use.

Although the telegraph was mostly used for sending individual messages, other more general applications were also developed. As lines spread throughout the country, the telegraph was recognized as ideal for rapidly gathering and distributing news items. In George B. Prescott's 1860 History, Theory and Practice of the Electric Telegraph, The Associated Press of the United States section reviewed the first telegraphic press association, which had been formed in 1848. (The Associated Press would later take seriously the threat that radio newscasts posed to newspaper sales. From 1922 to 1939 AP greatly restricted use of its reports by radio stations -- even those owned by newspapers -- in what became known as the "Press-Radio War"). It also became common to run special telegraph lines to major sporting events, so newspapers could receive up-to-the-minute reports. Banks of operators would be set up in the stands, each clattering away at their keys, such as those shown in Electrical Service at Harvard-Yale Football Game from the December 6, 1913 The Electrical World.

An important innovation occurred beginning in the late 1840s, when Great Britain used telegraph lines to establish standardized time throughout the country. The United States was somewhat slower to adopt this practice. The first step was to establish regional "railroad times", based on the solar noon at selected hub cities, which varied by railroad company. On the Allegheny System of Electric Time Signals by Samuel Pierpont Langley, from the 1873 Journal of the Society of Telegraph Engineers, reviewed how an astronomical observatory located near Pittsburgh, Pensylvania had expanded its telegraph time service, originally provided to local jewellers, in order to establish a standard time for use along the Pennsylvania Central Railroad lines. It wouldn't be until 1883 that the various railroad companies agreed on a common standard, using hourly time zones offset from the base time at the Greenwich Royal Observatory in London, England. Eventually the United States Naval Observatory in Washington, D.C. began using telegraph lines to transmit daily time signals nationwide, as reported in Distribution of Time Signals by Waldon Fawcett, from the March, 1905 The Technical World.

The information gathered by press associations was generally made available only to member newspapers. However, the introduction of printing telegraphs -- informally known as "tickers" -- which printed letters and numbers on paper tape, made it possible to also distribute news and information directly to paying customers. The original services were set up in major cities, serving mainly clubs and businesses, but also a few private homes. At first subscribers received stock and commodity prices, but later news items were added --in the April, 1914 issue of Technical World Magazine, C. F. Carter's Within a Tick of the News reviewed a New York City based news distribution service which provided "up-to-the minute knowledge of what the outside world is doing" to customers for whom even hourly newspaper editions were not enough. And the 1914 edition of the Our Wonder World encyclopedia included a photograph, Receiving News of the "Titanic" Disaster Over the Electric News Tape System, of persons receiving ticker reports of the 1912 sinking.

The telegraph was also sometimes utilized for group connections, both by businesses and private citizens. In 1860, the A Novel Meeting section of History, Theory and Practice of the Electric Telegraph reported how thirty-three offices of the American Telegraph Company were linked together in order to conduct a business meeting. In the February, 1917 QST magazine, Irving Vermilya's Amateur Number One (telegraph extract) recalled a private line, begun in 1903, which eventually connected forty-two locations, creating a telegraphic party-line for youths in Mount Vernon, New York to exchange messages with each other 24 hours a day. And in Germany commercial enterprises made use of an innovative printing-telegraph system that provided an early form of electronic mail, as the August 21, 1912 issue of Electrical Review and Western Electrician reported in The Teleprinter that "Business offices, large hotels and other establishments in Berlin and Hamburg, are now subscribers to the teleprinter exchange" and "Messages are thus sent and received directly and without any loss of time".

The clicking noise made by telegraph receivers led to audio experimentation, as recounted in Music by Telegraph section of History, Theory and Practice of the Electric Telegraph. Dr. G. P. Hachenburg spent many years promoting the use of telegraph lines to remotely operate distant musical instruments -- Musical Telegraphy, from the November 14, 1891 Electrical Review, was one review of his not-very-practical ideas, although, despite very little progress after more than thirty years of promotion, Hachenburg extolled his system as "An invention that in the near future will assert its importance as one of the great inventions of the age", and one with great financial potential, "For who would not pay an admission fee to hear this electro-music?" A somewhat more practical device, although not a financial success, was Dr. Thaddeus Cahill's electronic synthesizer, the Telharmonium. Marion Melius' Music By Electricity, from the June, 1906 The World's Work, reported that it was now "as easy to create music at the other end of fifty miles [80 kilometers] of wire as to send a telegraph message". A second reviewer, Thomas Commerford Martin, was equally impressed, and in the April, 1906 Review of Reviews, The Telharmonium: Electricity's Alliance With Music reported that "In the new art of telharmony we have the latest gift of electricity to civilization". The Telharmonium consisted of a massive assembly of 145 electrical alternators, whose currents could be combined using a musical keyboard to create a full range of notes. Although Cahill looked forward to day when four concurrent services would provide electronic music 24-hours a day to subscribing commercial establishments and private homes, the invention ultimately proved impractical, in part because the high currents produced interfered with adjoining telephone lines. In the March 8, 1907 New York Times, Music By Wireless to the Times Tower reviewed Lee DeForest's experimental radio broadcast of a Telharmonium concert, but, given the extremely crude nature of De Forest's arc-transmitter at this stage, it could hardly have impressed Cahill, whose Telharmonium was lauded for its "purity of tone".

The earliest experimental telegraphs employed multiple connecting wires -- in some cases a wire for each letter of the alphabet -- but over time simpler setups requiring fewer wires were developed. By 1844, Morse's line between Baltimore and Washington consisted of just two wires, one carrying the electrical current for signaling, and the other acting as a return line, to make a complete circuit. However, it turned out that even that could be simplified, and the return wire eliminated, if the sending line was "grounded", i.e. physically connected to a plate buried in the earth. The ability to eliminate the return wire was something of a mystery at the time, and the phenomenon became known under the misnomer of the "ground return", since it was incorrectly thought that the return electrical current was somehow flowing through the ground all the way back to the sending location. Actually, the earth around the grounding point was acting as a sink, so the "return current" was not traveling any significant distance. However, this mistaken belief that "return" currents were traversing the ground for extended distances suggested the idea of signaling without any connecting wires at all. Investigating this possibility, disappointed experimenters quickly found they were unable to send electrical currents through the ground more than a few meters, which they found perplexing, given their mistaken belief that "ground return" currents were somehow readily traveling hundreds of kilometers. In 1860, the Steinheil's Telegraph section of History, Theory and Practice of the Electric Telegraph reviewed what was known about the seemingly contradictory phenomenon, finally concluding that "It must be left to the future to decide whether we shall ever succeed in telegraphing at great distances without any metallic communication at all." In the end, it turned out that there was in fact no way to send standard electrical currents for long distances through the ground. However, in 1895 Guglielmo Marconi would discover the next best thing -- groundwave radio signals -- which were radio waves that used the earth as a waveguide, traveling across land and sea to the "great distances" envisioned by Steinheil.

ON THE ALLEGHENY SYSTEM OF ELECTRIC TIME SIGNALS.

By Prof. S. P. LANGLEY.

THE necessity of a uniform standard of time for the railways of the United States is one which is growing into importance with the increasing extent of our railway system, and we are, ere long, in this country, to be called on to settle for ourselves a practical problem which has been already solved in England, and which is beginning to make its demand for solution upon the managers of our railroads. Although the introduction of the plan in this country has been comparatively recent, the number of American observatories which thus distribute time is so considerable that the most partial account of their methods, and the extent of their work, would exceed the limits of such an article as the present. In this, the only arrangements described are those in use at the Allegheny Observatory, with which the writer has become familiar from the responsibility of their initiation and superintendence. It is proper to add that, were he writing a history of the progress of electric time signals in the United States, other observatories which have before employed not dissimilar means, would receive earlier mention, and that his own part in introducing these signals at the Allegheny Observatory has been less the contribution of any novel device than an adaptation of what seemed the best features of plans in use abroad, their arrangement in a form adapted to the needs of American railways; and the supervision of their application to the wants of cities and individuals. In doing this a great number of ingenious devices have been examined, and if the system to be described appears to be one of the simplest, it has yet been reached only after much care in setting aside all which would not bear the test of practical trial. The subject was first specially considered at the Allegheny Observatory some three years since, and a plan was arranged for the managers of the Pennsylvania Central Railroad in 1869. Previously to this, however, at the request of some jewellers of Pittsburg, the time had been transmitted to their stores, at a distance of some miles from the observatory. The system now described has been in use for nearly three years, in furnishing the Pennsylvania Central Railroad with its official standard of time, and by it the time is now sent daily to Philadelphia on the east, as far as Lake Erie on the north, and to Chicago on the west--regulating the clocks on a number of minor roads over whose wires it goes, as well as on those of the principal southern lines connecting the Atlantic with the Mississippi. Thus passing, as it does, over several thousand miles daily, it is believed to be at present one of the most extended systems of time distribution in the world. The observatory is on the summit of the ascent, on the northern side of the valley of the Ohio, about two miles in a direct line from the offices of the Western Union Telegraph Company in Pittsburg, and rather more from those of the Pennsylvania Central, and Pittsburg, Fort Wayne, and Chicago roads. It is connected with these points by three independent lines of telegraph. One of these runs to the Western Union offices, and thence to the stores of a considerable number of jewellers in Pittsburg. This is called the "jewellers' line." The second, connecting the observatory through the offices mentioned with eastern Pennsylvania and New Jersey railways, and also with Chicago, is known as the "railroad line." The third, consisting of a double wire or "loop," communicating with the city, is employed occasionally for the observatory's own messages, and when (as, for instance, in longitude determinations) it is wished to send sidereal time, without interrupting the regular transmission of signals from the mean time clock. In the transit room, in the western wing of the observatory, are kept the sidereal clock, by Frodsham, of London, and the principal mean time clock, by Howard, of Boston. On the escape wheel arbour of this, the standard mean time clock, and turning with it once a minute, is a wheel cut with sixty sharp radial teeth, of which those corresponding to the 50th, 51st, 52nd, 53rd, 54th and 59th seconds of the minute have been removed by a file. Near the clock is a "repeater," the circuit through whose coils passes through a local battery, through a second clock in the computing room, and then through the standard clock. Each wire terminates in a delicate spring close by the wheel just mentioned. While the extremities of these springs, which are shod with gold and platinum, rest in contact, the circuit is unbroken; it is opened by the minutest lifting of one from the other, and this is effected automatically by means of a ruby attached to one of them, and placed within reach of the wheel above mentioned. As each of these teeth passes, the ruby, and with it the spring, is lifted through a minute distance. (Not in practice more than one one hundreth of an inch, and usually much less.) Once a second, therefore, the circuit is opened during a period of probably less than a twentieth of a second, and as the wheel advances a tooth with each vibration of the pendulum, the armature of the repeater is raised each second of the minute until the 49th is completed. Since the teeth corresponding to the next five seconds have been filed away, during these seconds the jewel is not touched nor the circuit opened. The consequent silence of the "repeater's" beats draws attention to the fact that the end of the minute is approaching, its completion being indicated by the short pause caused by the absence of a tooth at the 59th second. This action is repeated in every minute of the twenty-four hours without variation. The particular second is thus identified, but one minute is (so far as the action of the standard clock is concerned) not distinguished from another. To do this is the work of the subsidiary clock in the computing room, through which the local wires are led, as has been mentioned. The subsidiary clock (made by Howard, of Boston) may be called for distinction the "journeyman," and its principal office is not to give the time but to interrupt the circuit, which it does on or near the completion of the 58th minute, closing it again about half a minute before the completion of the hour. When the circuit is opened by the journeyman the repeater is silent for a minute and a half; when it is closed, the standard is again heard ticking on the repeater, and the ensuing short pause evidently precedes the first second of the first minute of the hour. The time is thus wholly derived from the standard clock, and is independent of any other; the journeyman having no power to control or in any way re-act upon the primary, and being only able to interrupt the messages it sends, not to falsify them. The mechanism for effecting the transmission of the time is essentially that already described, but more is needed to insure against possible interruption. This may occur from several causes, prominently from oxidation of the platinum or gold contact surfaces, when the current must be interrupted while they are cleaned, if there be no other clock. To meet this contingency a chronometer of peculiar construction was made for the observatory by Frodsham. It resembles the ordinary marine chronometer in external appearance, but contains in miniature the apparatus for breaking circuit already described, the wheels being cut so as to give the same signal of the approaching end of the minute as the standard clock. The peculiarity consists less in this, however, than in a device by means of which it can be caused to gain or lose any fractional part of a second, or any number of seconds, without being stopped, and without any disturbance of its normal rate, except while the change is being effected. This chronometer is to replace the prime clock in the circuit, during any temporary stoppage of the latter for repair or adjustment. The mechanism which has just been described acts in connection with the local circuits of the observatory--one battery being employed for the sidereal clock and chronograph, and another for the mean time standard. Any interruption of the main external circuits is shown at once by the action of a galvanometer in each, which makes an audible and visible signal when the circuit is opened. The accessory apparatus, such as batteries, relays, switchboards, and so forth, which are used in every telegraph office, it will be superfluous to describe here in detail, but before following the operation of the electric current, outside the observatory, it will be well to speak of the method which has been adopted as likely to ensure most accuracy in the time keepers which control it. The transit instrument in the western wing is of four inches aperture, and with it and the chronograph, observations for time are made on every fair night of the year except on Sunday, when, if complete determinations have been made on the preceding night, none are taken. The instrument is of sufficient power to follow the principal nautical almanac stars in the day, and these are used (or more rarely the sun) when the weather permits if the usual night observations have been missed. From three to six stars are customarily taken, the azimuthal error of the instrument being found from the observations of each night, after the other corrections are applied, and the results determined from the chronograph and the sidereal clock. The mean error in the resulting determination of the sidereal clock correction is from three to four hundredths of a second, but it cannot be assumed that that of the mean time standard is known within these limits, except at the time that the observations are freshly made. It may be desirable to point out where the system pursued here differs from that in which a few signals are sent at stated hours, as at Greenwich. In the case of the time ball, for instance, dropped daily by a clock at Greenwich, mean noon, it is customary to compare the mean time clock which drops it with the sidereal time a few minutes before twelve. If it (the operating clock) be slow it is caused to gain, and if fast, caused to lose an amount needed to bring it to coincidence before the automatic action gives the signal. The time of this signal is nominally exact, but in fact involves the variations in rate of the standard clock or clocks which are treated in the comparison as having their errors absolutely known. It is by no means meant to criticise this procedure, but to point out that an error must exist where the rates of the clocks are treated as constant intervals between observation, no less real accuracy is reached in the method employed here, in which (as the signals are being constantly sent) the signaling clock has no less nominal error at noon (for instance) than at any other hour. When the sidereal clock has entered its beats upon the chronograph, during the time of observation, the record is not interrupted until, the mean time standard having been put into the same circuit, both clocks have automatically entered their time on the sheet together, and the break-circuit chronometer has done so also. The sheet being removed, and the breaks of the transit observer measured, the comparison of the various clocks with electric attachments are taken by measurement on the same sheet, and the others compared with the sidereal clock by noting coincidence of beats by ear. The resulting errors of all are then determined, reduced to a common epoch, and entered in a permanent record kept for the purpose in the following form: (ΔT, δt, being the usual symbols for the respective corrections of error and date): Aug. 10, 1872. Time stars { η Herculis, α Camelop, χ Ophinchi, δ Herculis, } A. E. F., observer.

At mean 9h ΔT. δt. Sidereal clock, 7s. 32 +1s. 18 Break-circuit chron. + 2m. 22s. 18 +3s. 30 Cron. 3242, + 50s. 05 +3s. 11 Mean time standard -- 00s. 27 +0· 46

The mean time clock is here 0 27 fast by actual observation, but when the next comparison is made the following morning (at 21 hours) its error can usually be obtained only by comparison with another clock. If it be compared with each of the other clocks in turn, each, owing to the variations of its rate during the night, will probably give a slightly different, result--but supposing all the time keepers equally reliable, the probable error will be less, in taking the mean of the four, than by any single one. The above corrections for error and rate having been applied to the sidereal clock, a comparison is taken with it in the morning, and the resulting time of the mean time clock noted, on the assumption that the sidereal clock is an exact standard. The same comparison is made with each, after the respective corrections and rates have been applied, each being successively treated as an independent standard. The results will then be entered in this form: 1872. August 10d 21h Error of mean time standard,-- 0s. 19 (by sidereal clock). " " " " 0s. 05 " break-cir. chron. " " " " 0s. 11 " chron. 3242. " " " " 0s. 04 " its own rate.

The mean or "adopted" error of the mean time standard is then-- -- 0s. 17 ________ = -- 0s. 04 4

In the absence of anymore absolute criterion the time of the standard in this instance is assumed to be kept four one-hundredths of a second fast, and this value is adopted and treated as though it represented an error determined by direct comparison with the stars. The clock will be compared again at 9 in the evening, and when this "adopted error" exceeds 0·25 such a change is made in the pendulum as will correct the error--not abruptly, but gradually during the ensuing twelve hours. It is of course impracticable to stop the clock and raise or lower the adjusting screw twice daily for such minute corrections, and many ingenious devices have been proposed for effecting the change without stopping the instrument. One of these, as applied to a chronometer, has already been referred to; another (employed at Greenwich) involves the use of a small bar magnet permanently attached to the pendulum, and swinging with it; and still another the changing tension of a long spiral spring, which connects the "bob" with the clock case. After considering many such plans, that adopted was the old one, familiar to most observers, of placing weights on the top of the bob of the pendulum, and then adjusting the bob by the screw till it runs with them approximately, after which a small increment or decrement of the weights will keep the clock under control. This plan has the advantage of employing as an agent gravity, whose effects can be reckoned on with more certainty than electricity or the tension of a spring. In common with the others it has however, as commonly employed, the defect that when changes are made daily or oftener the rate of the clock cannot be ascertained, and that reliance must be placed at the times of comparison only on other clocks whose rates are undisturbed. The writer has, therefore, found it advantageous to use these weights quantitatively, by making them of a size such as to cause a gain of one second a day; 01 an hour, etc. Weights representing three or four seconds are kept on the top of the bob, so that their removal will retard the clock, if desired, to that amount. A record is kept in which the comparisons in the tabular form above given are entered, twice daily, the amount of the weights and the consequent rate which the clock so controlled would have had with an undisturbed pendulum being noted likewise. The barometer and clock case thermometer are also read twice daily, for the purpose of laying down curves representing the separate effects of temperature and pressure. Another curve, whose ordinates represent the algebraic sum of the corresponding ordinates of the first two, shows the combined results of both, for comparison with still another representing the clock rates. These are chiefly useful in the occasionally long intervals of cloudy weather which occur in winter. At such times the clock rates are obtained by interpolation from the curves, and "weighted" according to the degree of dependence on each clock before making up the final or "adopted error" of the standard. When observations are obtained daily, however, such precaution is needless. Those who are aware of the number of patented devices for controlling distant clocks by electricity, may perhaps feel surprised that so little mention has here been made of their use. Some of these are of extreme ingenuity and much promise, and the English patents covering such points are alone to be reckoned by scores. Plans have been submitted to the writer by which the clocks along any number of miles of road could be set right, and brought to uniform time in a few seconds, by the operator at the observatory, and these plans appear feasible. The arrangements adopted here, as the reader will observe, do not greatly differ from these employed in telegraphic determinations of longitude, and in fact a prolonged examination of very many ingenious devices for directly controlling distant clocks led the writer to set them all aside, and to employ methods not differing in principle from those in use already, for purely scientific ends, in most American observatories. Of the very numerous plans for controlling distant clocks that of Jones (now well known) appears to be the best, but even this is not quite reliable where the circuit is a long one. The clocks described have subsidiary apparatus enabling them to send controlling currents on the Jones plan, but thus far its use has been confined to the observatory, has therefore been hitherto done by the sending of signals, through which distant clocks may be regulated, but without employing means for their control, and though this is done over a very extended field, a brief description of it, under the three divisions into which it naturally falls, will suffice 1st. The supply of time to watchmakers and jewelers. The "jewelers wire" passes through the Western Union telegraph offices and the stores of the principal jewelers of Pittsburg. Beside each "regulator" is a telegraphic sounder, on which the observatory time is heard constantly ticking, and by which almost, if not quite all the clocks and watches of the city are thus at second-hand regulated. There is, in this uniform and recognized standard, everywhere accessible, a convenience to watchmakers, of course, but still more to the public, as the discrepancies between clocks, public or private, which cause so many lost minutes in the day to each person in a city, that their aggregate represents a large draft upon the time of the business public, disappear. Applications have been received from watchmakers in neighbouring cities, and at a considerable distance from Pittsburg, for this telegraphic supply of time, which it has not always been possible to accommodate, but which have been welcome, as showing a public appreciation of the utility of the work. 2nd. The supply of time to railroads. The watchmakers and jewelers are in permanent telegraphic connection with the observatory by a wire which is devoted to their use--but distant cities, such as Chicago or Philadelphia, can be reached only by the wires of the telegraph or railroad companies which are too valuable to be exclusively employed for this purpose. The method used on the Pennsylvania Central, and Pittsburg, Fort Wayne and Chicago roads, will sufficiently illustrate the system as applied to railways. A special wire connects the observatory with the office in which the wires owned by these roads unite. In this office is a small bell, which is struck lightly every second, in the manner described, and except for the pauses to designate the minute and hour, continues to sound unintermittingly, affording to the conductors and other employés specially concerned in the time a means of ready comparison, even without entering the building. At 9 and at 4, Altoona time (ten minutes fast of Pittsburg), the Pittsburg operator in charge connects the main eastern wire to Philadelphia, 354 miles distant, with the observatory, and for the ensuing five minutes the beats of the Howard mean-time standard are automatically repeated on similar bells, or on the customary "sounders" in Philadelphia, and in every telegraph office through which the road wire passes--all station clocks and conductors' watches being compared with it as the official standard. After five minutes the clock is "switched" by the Pittsburg operator out of the main line wire, which is returned to its ordinary use. A similar set of signals, lasting for five minutes, is sent at 9 and 4 of Columbus time (thirteen minutes slow of Pittsburg time) to all stations as far west as Chicago, inclusive, in the main western line (of 468 miles in length). At Philadelphia the time is repeated to New York, at Harrisburg to Erie (333 miles), etc. As it is thus sent not only over the main lines from New York to Chicago (nearly a thousand miles), but over a number of subsidiary or branch roads too great for enumeration here, and which form in the aggregate a much larger number of miles than the main trunk, it will be observed that a considerable fraction of the railway system of the whole country is prepared for using a single unit of time; as, though the names of "Philadelphia time," "Altoona" or "Columbus time" are not yet abolished over that part of our railway system referred to every railroad clock and watch, and the movement of every train is regulated from a single standard--that of the clock in the observatory. The advantages of this uniform and wide distribution of exact time in facilitating the transportation of the country, and in enhancing the safety of life and of merchandise in transit between the Western and the Atlantic cities, seem to be sufficiently evident. The fact that the system described in this article has obtained the extension it has, within three years from its commencement, will, it may be hoped, justify the belief that its use has proved not only valuable to railways but an added security to the safety of the public. 3rd. Supply of time to cities. At present arrangements are in progress for regulating the principal public clock of Pittsburg (the turret clock of the City Hall about two miles from the observatory), which it is intended shall strike every third hour on the bells of the fire alarm, and probably also in the various police stations. As the mechanism for doing this is still in course of construction, and may yet be modified in trial, it would be premature to speak of it, especially as its success has not yet been proven in practice here. The city clock will automatically report its own time to the observatory by a special wire, and it is probable that in controlling its rate from the observatory the "Jones" system will be used. The necessity of a uniform standard of time over the whole country, which was alluded to in the outset as one of growing importance, has not been further directly touched upon in this article, which is yet as a whole devoted to describing the means of meeting it. The evident tendency, in thus sending the time from one standard over so large an extent of territory, is to diminish the number of local times, and so prepare the way for a future system, in which, at least between the Atlantic and the Mississippi, they shall disappear altogether. A step in this direction has been contemplated by the managers of the roads uniting New York, Philadelphia, Pittsburg and Chicago, who have intended to use the time of the meridian of Pittsburg between the two extreme points mentioned, running all trains from New York to Chicago by this time alone, in place of using successively the local times of Philadelphia, Altoona and Columbus, as at present. Such a change would have already taken place during the last summer, except for an unexpected cause of delay, on whose removal it will be effected. The labors of this and of other American observatories are tending to the same important end--that of the ultimate adoption of some single time for the country east of the Mississippi, by which not only the railroads but cities and the public generally will regulate themselves. What point shall be chosen is of less importance than that some one should be used and universally. The subject is one which has hitherto attracted little public attention, but it does not seem unsafe to make the assertion that the causes which have almost insensibly effected such a revolution in England, will in a few years more bring it about here. Allegheny Observatory, Allegheny, Penn., Sept. 22, 1872,

History, Theory and Practice of the Electric Telegraph, George B. Prescott, 1860, pages 334-336:

MUSIC BY TELEGRAPH.

It is an amusing fact, that music has actually been transmitted by the Morse telegraph, by means of its rhythm; in fact, it is of very frequent occurrence upon all lines. The following is related by Mr. Jones, who was an ear-witness of the experiment in New York : -- "We were in the Hanover Street office when there was a pause in business operations. Mr. Porter, of the Boston office, asked what tune we would have. We replied, 'Yankee Doodle;' and to our surprise he immediately complied with our request. The instrument commenced drumming the notes of the tune as perfectly and distinctly as a skilful drummer could have made them at the head of a regiment; and many will be astonished to hear that Yankee Doodle can travel by lightning. We then asked for 'Hail Columbia!' when the notes of that national air were distinctly beat off. We then asked for 'Auld Lang Sync,' which was given, and 'Old Dan Tucker,' when Mr. Porter also sent that tune, and, if possible, in a more perfect manner than the others. So perfectly and distinctly were the sounds of the tunes transmitted, that good instrumental performers could have had no difficulty in keeping time with the instruments at this end of the wires." That a pianist in Boston should execute a fantasia at New York, Philadelphia, Washington, and New Orleans at the same moment, and with the same spirit, expression, and precision as if the instruments, at these distant places, were under his fingers, is not only within the limits of practicability, but really presents no other difficulty than may arise from the expense of the performances. From what has just been stated, it is clear that the time of music has been already transmitted, and the production of the sounds does not offer any more difficulty than the printing of the letters of a despatch. It is well known that the pitch of any musical note is the consequence of the rate of vibration of the string by which it is produced, and that the more rapid the vibration the higher the note will be in the musical scale, and the slower the vibration the lower it will be. Thus the string of a piano-forte which produces the base note vibrates 132 times in a second; that which produces the note vibrates 66 times in a second; and that which produces the note vibrates 264 times in a second. On a seven-octave piano-forte, the highest note in the treble is three octaves above , and the lowest note in the base is four octaves below it. The number of complete vibrations corresponding to the former must be 3,520 per second; and the number of vibrations corresponding to the latter is 27½. By means of very simple expedients, the current may be interrupted hundreds or even thousands of times in a second, being fully re-established in the intervals. If the pulsations of the current be produced at the rate of a thousand per second, the alternate presence and absence of the magnetic virtue in the soft iron will equally be produced at the rate of a thousand per second. Nor are these effects in any way modified by the distance of the place of interruption of the current from the magnet. Thus, pulsations of the current may be produced by an operator in Boston, and the simultaneous pulsations of the magnetism may take place in New Orleans, provided only that the two places are connected by a continuous series of conducting-wires. When it is stated that the vibrations imparted by the pulsations of the current to levers have produced musical notes nearly two octaves higher than the highest note on a seven-octave piano, tuned to concert pitch, it may be conceived in how rapid a manner the transmission and suspension of the electric current, the acquisition and loss of magnetism in the soft-iron rods, and the consequent oscillation of the lever upon which these rods act, take place. The string which produces the highest note, on such a piano, vibrates 3,520 times per second. A string which would produce a note an octave higher would vibrate 7,040 times per second, and one which would produce a note two octaves higher would vibrate 14,080 times per second. It may, therefore, be stated, that by the marvellously subtile action of the electric current, the motion of a pendulum is produced, by which a single second of time is divided into from twelve to fourteen thousand equal parts. The adaptation of this power to the production of music upon telegraphic piano-fortes at any distance which may be desired, is a matter of the utmost simplicity, capable of being successfully carried into practice by any one who has the money and taste for the experiment.

Electrical Review, November 14, 1891, pages 172-173:

Musical Telegraphy. ______

BY G. P. HACHENBURG, M.D., AUSTIN, TEX. ______

It is a matter of interest to go through an analytical investigation of the first ideas, emotions and circumstances that led the inventor to an important invention. His mental application on the subject of his invention from beginning to end is a process of evolution. His first plan may be crude and even confused, but still it may retain something, the nucleus, that may prove mighty and wonderful in results. No one can fathom this metaphysical question better than the successful inventor himself. But in connection with this question, how many take in the dawn of great ideas that point to great inventions, that cease their prosecution in one or the stages of their progress--sometimes even at the very point of consummation, and, therefore, may run amiss of great renown and even wealth. I would hardly be warranted to open my subject in this style if certain leading electricians of this country had not given me their favorable recognition of my musical telegraphy in a manner that led me to flatter myself that I am the pioneer of an invention that in the near future will assert its importance as one of the great inventions of the age. For years in the progress of my study on the subject, I held in high consideration its importance, and became more fully confirmed in this view after taking counsel with wiser and more experienced men than I claim to be myself. Prior to 1860 I presented the subject to the late Professor Henry, and it will ever be with grateful feelings I will think of that great man for the encouragement he gave me in this invention. So sincerely was he interested in it that he offered me the use of the upper floor of the Smithsonian Institute for experimental purposes, and I am fully convinced, if circumstances had been such that I could have accepted his offer, he would have co-operated with me to bring the invention to a practical issue. Of late years my correspondence with Bell, Edison, Blake and other noted electricians, gave me a further guarantee as to its practicability. Although receiving this encouragement in casual ways, I have my doubts if the full scope of musical telegraphy was taken in by any of these eminent electricians. The main features of my system of musical telegraphy are as follows: 1. The electrical connection of 10 pianos for concert purposes, to be operated upon by one player, either individually or collectively. This plan we recommend for immediate adoption, and in coming up to our expectations all other plans would be of easy execution. 2. The electrical connection of 10 organs for church music operated in like manner. 3. The reproduction of electro-music at a distance. 4. The electro-musical hall for operatic music, etc., where a great number of musical instruments may be electrically connected, or rather incorporated with the entire inside lining of the building. 5. Electro-automatic music, by transferring the music from an ordinary music box (properly prepared) to the 10 pianos. The expression of this class of music is governed by a key-board to be described hereafter. There are other combinations that could be effected, but the limits of this paper will not allow me to take them into consideration now--as of bells, glass and other metallic contrivances. An electro-bell music could be made very attractive. 1. To connect electrically 10 pianos, and to operate on them with the best effect, the combination has two key-boards. One that is adjusted to the instrument occupied by the pianist, and has as many keys as there are keys in the piano. By means of this key-board electrical connection is secured with any number of pianos in the circuit. Not to impose new duties on the pianist in playing on these instruments, there is another key-board of 10 keys that is under the supervision of a musical director, who makes and breaks the electrical connection between the 10 pianos for the purpose of regulating the volume and expression of the music. The 10 pianos can be played upon simultaneously, or the most rapid run of notes can be secured without taking two successive notes out of the same instrument. By placing these 10 pianos in a certain position, the notes reaching the tympanum from different points gives the music a timbre that is both grand and peculiar. But why limit the number to 10 pianos, or 10 organs, and the small key-board to 10 keys? They are to correspond to the 10 digitals of the musical director. The pianist's manipulations in playing may be exceedingly rapid; such effort is not imposed on the musical director. His 10 fingers cover the 10 keys of his key-board, and by the slightest pressure of one or more of them the necessary connection is made. A more perfect arrangement between the cooperation of the two musicians, I believe, cannot be devised. It will be readily seen that the musical director is the head figure of this order of music, for it is he that (aside of all pedal action) gives it expression relatively with the skill he is able to command. When I explained this feature to Rubenstein, the great pianist, he demurred to the arrangement and asked: "Where is the individuality of such music?" I tried to make him understand that it must be sacrificed, if the music itself can be advanced. There may be an impression with some that this combination of pianos is characterized by much noise, like that of an ordinary brass band. Volume is not so much a desideratum as harmony and delicate expression. The ordinary expressions of a single piano are very limited; through the pedals there are but four, and they are very limited through the touch of the player. But, by a mathematical calculation, these 10 pianos have the range of 400 different degrees of expressions for each note. It is simply wonderful how these can be utilized. It is here the mysterious hand of electricity in a new role shows its power to please, where heretofore we only associated it with force and terror. It may be rather strange to state that the highest order of music to be effected by these 10 pianos is in accompaniment with the violin, flute or some other musical instrument, or even a brass band, and, in particular, with vocalization. The sympathetic vibration of sounds are well understood by scientists; but where modified by the laws of harmony, under different acoustic effects, as can be enforced by a system of electro-music, the result must be incalculably enhanced. 2. The main object in resorting to organs for church music is to diffuse the music and to destroy the emanation point where but a single instrument is used. The music would be in harmony with the congregational vocalization. A few concealed organs in the loft would greatly increase the effect. All the organs but one should be of a small size. 3. There are two methods in reproducing music at a distance--the telephonic and the instrumental--the latter being produced by the direct dynamic operation of electro-magnetism on the instrument in the distance. The former has been tested by several eminent electricians, but never with satisfactory results. The difficulty is in the loss of timbre of several notes in the scale of music. The telephone for the transmission of the human voice has the same defect, in particular with the pitch of some voices. In my experiments I have greatly remedied this defect by placing a small feather cushion between the receiver and the ear. I was led to think that there was a peculiar relation existing between feathers and electricity, believing that there was an "Electro-operation in the Flight of Birds" (vide ELECTRICAL REVIEW, April 28, 1888). The instrumental plan is the only feasible plan to reproduce music in the distance. This may be done by connecting the parent instrument with any number of instruments stationed at different places. One practical utility of such an arrangement, aside of its novelty, is for a distinguished music teacher on the piano to instruct simultaneously many pupils at the same time, living in different parts of a city or even in different towns; and another, having the pianos connected much after the fashion of the telephones, for the exchange of instrumental music between musical friends. Of course, this would demand a central station, as in the telephone, and an "electrical attachment" to each piano. 4. The most extensive, as well as the most perfect, development of musical telegraphy would be in an "electro-musical hall" containing every variety of musical instruments that could be manipulated by the aid of electricity. The location of these instruments and the acoustic arrangement of the hall would demand the best attention science could bestow. This concord of instruments is not in general, if ever, utilized in unison, but to have on hand to render the greatest variety of music; or, rather, put in action such instruments that are in keeping with the nature of the music to be played. It is here that the musical director, with his small key-board, will prove the wonder of all. Is it possible that a little instrument in the bands of an expert can call forth such a combination of sounds, or almost like a flash cast warbling many thousand notes in the air? Who can tell where these notes come from? The muffled notes from the deep stone vaults underneath, the soft sweet flying notes from above, and a flood of harmonies from all sides, are often blended with extraordinary effects: sometimes falling on the audience much like rumbling thunder and then die away like the sighing zephyr. In this hall there is a stage, such as we see in the theatres; it may be occupied by the managers of the concert or the participants of the opera, a prima donna, or otherwise serve as a relief to the eye. If we are inclined to give the prima donna a pre-eminence with the ten piano arrangement, here she would be placed in an atmosphere of music, where every strain of her own voice would be carried still in deeper melody by this colossal but tender accompaniment. The poet may dream of the heavenly song from the lips of Israfril, but he may soon find her heavenly gifts a terrestrial reality under the mysteries of electricity. 5. Automatic music has never been popular, and almost invariably has been looked upon with horror by the musicians. There are very good reasons for this from the fact that all appliances producing this kind of music are cheap and miserably constructed. Perhaps the most acceptable of them is the best and most costly kind of the common music box. What merit the best of these instruments have is their action of good time, but their music is deplorably deficient in expression. To make expression in keeping with their time, so mathematically exact, is a matter that can be readily effected by transposing their music under our 10 piano system. The electricians can readily see how a music box can be so reconstructed that it will transfer its music to the 10 pianos, taking the place of a pianist at the large key-board, leaving the task to the musical director to give it expression that would mask every trace of its machine work. But there is one feature in this kind of music that is much in its favor. In complex harmony it would supersede that corning from a pianist. For, as the manipulations of the pianist are limited to 10 fingers, such a limitation would not exist by our electro-automatic music. This advantage would have its characteristic effect. It may be hardly necessary to state that the music box itself may be placed out of sight, and beyond the reach of hearing; or it may be of interest to sit close to it and study its tiny accords with the bolder notes from the pianos. Of course, each note from the two would be strictly simultaneously expressed, which, in itself, would be a source of interest. The expression would be nothing like the stiff awkwardness of a duet. To prepare a music box for this purpose the cylinder is cut into as many rings as there are notes in the scales; each of these rings is insulated. The steel tongues that produce the notes are insulated in like manner. Without going into details it will be readily seen by electricians how the music is reproduced in the pianos from a music box thus modified. I remember in some of my lectures on musical telegraphy I spoke of a "musicometer" in connection with my invention. This instrument was something like a music box, only it was dumb, and the projecting pins in the drum were movable, that is, placed on a slide, and so constructed as to set them to play any piece of music on the 10 pianos. It was nothing else but an electrical test machine of any complex and difficult music; giving very accurately the time in music, but with the expression given by the musical director. As to the practicability and commercial importance of musical telegraphy there cannot be the least doubt. The only one that should now be constructed is the first in series. The pianos used in that combination require no reconstruction whatever, except the removal of the pedals. The cost of the different attachments and other incidental expenses would be less than $5,000; but let the entire cost be $10,000, it would prove a very profitable investment, where many hundred thousand dollars could be realized from concerts alone. For who would not pay an admission fee to hear this electro-music? As to the electro-musical hall, a considerable capital would be required to make it a success. But such a hall stationed in any of our large cities would prove yearly the Mecca of many hundred thousand. These are some of the outlines of my musical telegraphy I first fixed upon when residing in Springfield, Ohio, several years before the war. But what were the premises on electricity in those days to turn such a scheme into a practical shape. Then our knowledge of electricity was limited, at least so to the writer, although he had experimentally taken some interest in the subject before. In 1863, when on a temporary relief from my military service, I wrote out the details of my invention for one of the Cincinnati papers. In the excitement of the war the paper attracted but little attention in this country, but in some foreign land the act was accepted with interest, and its practicability acknowledged by some of the scientists. Godey's Ladies' Book, March number 1864, contains an extract on my musical telegraphy, taken from a London paper that shows that I then based my invention on the telephonic principle, to use a modern expression. I finally came to the conclusion that the telephonic plan would never be of any great service in music. To maintain the purity of musical notes, the plan was changed, by acting on musical instruments direct through electro-magnetic dynamics. On this plan everything now appeared clear, with not a single barrier in the way, to bring it to a ready and successful issue, without resorting to hardly any experimental work. To gain the attention of the public, and the electrical fraternity in particular, I made it the subject of a lecture I delivered in different parts of the United States. This lecture was delivered in the Crosby Opera House, in Chicago, April 9, 1869. It was then proposed, on the part of the audience, to make musical telegraphy a Chicago enterprise, with a view of celebrating the completion of the Pacific Railroad, but it could not be furnished to the Chicagoans in season for their jubilee. In 1871, through the courtesy of the Hon. Mr. Lord, of Rochester, N. Y., application was made to the State legislature for a charter to incorporate the Musical Telegraphy Company. At that time I lived in Rochester and took an active part in musical telegraphy rather preparatory to have it introduced at the Centennial celebration. I then proposed to issue stock, after $20,000 stock were ordered. The list was headed, ordering a liberal amount, by the Hon. Charles W. Briggs, Mayor of the city. As the amount was not guaranteed the stock was not issued. I had free access to the three principal dailies of the city, who from time to time accepted my papers on the subject. The nature of these papers was usually explanatory of the subject, and, as in this communication, nothing was kept secret. It was rather remarkably co-incident (as I was told afterwards) that Professor Bell lived in Rochester at the same time and was working on his telephone; and I was likewise informed that Dr. Gray heard my Chicago lecture in 1869. In 1872 the subject was presented to the United States Centennial Commission, which met their favorable consideration, as can be seen in their published proceedings for 1872, Appendix 3, p. 92-3. February 19, 1873. I treated the subject in its scientific aspect before the Franklin Institute, of Philadelphia. About this time I went to Texas on account of my health, and had to abandon business entirely. Soon after I came here I received an offer from the Shoemaker Piano Co. that they would defray the expenses of constructing the "Electrical Attachments" if I would apply them to pianos of their make at the Centennial. I could not accept their offer, owing to certain conditions. In 1890 the manager of the International Electrical Exposition (that was held in St. Louis) asked me to make an exhibition of my invention. He promised material aid to get it ready for the fair. But the time allotted to comply with his request was entirely too short, and I declined to take action in the matter. It will take several months to construct the "Electrical Attachments" on the 10 piano system, and about the same time will be required after they are completed for the musical director to learn to control them with the best effect. When it was decided to have a World's Fair in Chicago I offered my musical telegraphy to the Commission on the terms I did to the Commission of the Centennial, asking them to defray the cost of making the electrical attachments for the 10 pianos. They received the offer apparently with interest and asked for many details as to the cost, space, etc. I am doubtful that they will meet my demands, perhaps under the impression that outside capital will bring it into the Exposition anyway. If we are forced to this alternative, let any State, city or electrical association accept the offer I made the Commission and place it in its own department at the Fair. At the same time it will have the faithful co-operation of its inventor to make musical telegraphy a prominent attraction of the World's Fair.

Radio -- signaling and audio communication using electromagnetic radiation -- was first employed as a "wireless telegraph", for point-to-point links where regular telegraph lines were unreliable or impractical. Next developed was radio's ability to broadcast messages simultaneously to multiple locations, at first using the dots-and-dashes of telegraphic code, and later in full audio.

Although "electromagnetic radiation" is the formal scientific term for what Heinrich Hertz demonstrated with his simple spark transmitter in the 1880s, in addition to "radio" numerous other descriptive phrases were used in the early days, including various permutations of "Hertzian waves", "electric waves", "ether waves", "spark telegraphy", "space telegraphy", "aerography" and "wireless". In the November 30, 1901 Electrical Review, a letter from G. C. Dietz offered "atmography" as the answer to What Shall We Call It?, but the suggestion fell on deaf ears. Spark, Space, Wireless, Etheric, Hertzian Wave or Cableless Telegraphy--Which? by A. Frederick Collins in the August 24, 1901 Western Electrician wondered whether the question might eventually become academic, for "In the distant future when all wire systems, both telegraph and telephone, have been superseded by the so-called wireless, there will be no confusing qualifying adjectives, for there will be no dual systems requiring qualification, and wireless telegraphy and telephony will be spoken of as simply telegraphy and telephony." So, what's the difference between wireless and radio? "There ain't none" -- both refer to the exact same thing -- explains Edward C. Hubert in Radio vs. Wireless, from the January, 1925, Radio News.

In 1917, Donald McNicol wrote about the importance of documenting radio's "historical narrative", noting: "I believe it to be the duty of those acquainted with views and facts of its introduction to set [the most illuminating essentials] down for the inspection of the ultimate historian". McNicol's overview of The Early Days of Radio in America, from the April, 1917 issue of The Electrical Experimenter, covered significant events, articles, books and individuals during the period from 1896 through 1904, beginning with Guglielmo Marconi's groundbreaking demonstrations in Great Britain. (Included in this article are links to nineteen items mentioned in the review.) In the June, 1917 Proceedings of the Institute of Radio Engineers, Robert H. Marriott comprehensively reviewed technical advances plus the struggles and character flaws encountered during early United States Radio Development.

The transformation of radio, from scientific curiosity to a practical communications technology, was due to incremental improvements in a variety of areas. H. Winfield Secor traced the history of Radio Detector Development in the January, 1917 issue of The Electrical Experimenter, starting with the micrometer spark gap used by Heinrich Hertz, followed by various magnetic, electrolytic, and crystal detectors, and finally the very important improvements in three-element vacuum tubes.

The U.S. Navy quickly recognized radio's potential. Following successful tests by Great Britain and Italy, the Navy Department's 1899 annual report noted that Marconi equipment would soon be evaluated, "in order to determine its usefulness under service conditions". These tests quickly convinced the Navy of the value of radio, and three years later R. B. Bradford, Chief of the Bureau of Equipment, reported that "There is no navy, so far as the Bureau is aware, which has not given especial attention to this subject". The U.S. Navy began to equip its entire fleet with transmitters, and also set up an extensive chain of coastal stations. Radio was also employed as an aid to civilian and military navigation, beginning with time signals broadcast beginning in 1905: U. S. Navy Department Annual Report Extracts: 1899-1908. The Navy's impact on U.S. radio communications would continue to expand. In 1913, numerous shore stations started to handle commercial traffic in areas where there were no private stations, meanwhile, naval leaders lobbied for a government monopoly of radio transmitters. Finally, in April, 1917, with the entrance of the U.S. into World War One, the government, led by the Navy, took over control of all radio communications for the duration of the conflict: U. S. Navy Department Annual Report Extracts: 1909-1918. (A book published in 1963, History of Communications-Electronics in the United States Navy by Captain Linwood S. Howeth, USN (Retired), is a comprehensive history of activities in the U.S. Navy through 1945).

The United States Department of Agriculture also rapidly foresaw radio's possibilities. Beginning in 1900, the department financed some of Reginald Fessenden's early research, until the two sides had a falling-out. But the department continued to work, at times haltingly, to develop radio applications, at first for gathering reports, and then for distributing them over a broad area. The Agriculture Department was responsible for some of the earliest radio broadcasts, including weather reports in 1912, although the first transmissions were in telegraphic code: U. S. Agriculture Department Annual Report Extracts: 1898-1927

The Early Days of Radio in America

By DONALD McNICOL, Mem. I. R. E. Assistant Electrical Engineer, Postal Telegraph-Cable Company THE history of an art or a science, like that of individuals, is not of much general interest until the subject has attained permanent prominence. The historical development of a particular branch of science, such as radio telegraphy, in order to be complete and of instructive value should, if possible, be traced thru the personal connection therewith of all of its pioneers. So called official records alone are not sufficiently comprehensive. Many of the most illuminating essentials of historical narrative escape the observation of the official compiler and, in so far as radio is concerned, I believe it to be the duty of those acquainted with views and facts of its introduction to set these down for the inspection of the ultimate historian. To the extent this is done will be lessened the possibility that some item of value may be lost to the written records. -------------------------------------------------------------------------------- VERY few of our younger radio readers can recall the important events of the early days of radio in the United States most probably. We feel certain that you will be greatly interested in this timely contribution to radio history by Mr. Donald McNicol, who was actively interested in the early-day developments of Marconi, Lodge, Fessenden, de Forest, Stone, and other leading lights in this now distinct branch of applied science. Do you know when the first wireless text-book appeared in this country? When the first U. S. Navy instruction book was publisht? Who sold the first "coherer" sets for experimenters?--Then read Mr. McNicol's article. --------------------------------------------------------------------------------

In February, 1896, Guglielmo Marconi journeyed from Italy to England for the purpose of showing the British telegraph authorities what he had developed in the way of operative wireless telegraph apparatus. His first British patent application was filed on June second of that year. Thru the cooperation of Mr. W. H. Preece, chief electrical engineer of the British Post-office Telegraphs, signals were sent in July, 1896, over a distance of one and three-fourths miles on Salisbury Plain. In March, 1897, a distance of four miles on Salisbury Plain was covered. On May thirteenth of that year communication was establisht between Lavernock Point and Brean Down, a distance of eight miles. During this latter demonstration Prof. Slaby of Germany, was present as a spectator.* [Adolphus Slaby's review of this demonstation, The New Telegraphy, appeared in the April, 1898 The Century Magazine.] In America, (1890-1896), many students of science were in touch with the discoveries made in Europe during this period; but it was not until 1897 that the utilitarian American mind sensed the commercial possibilities of the advances being made abroad. In its March, 1897, issue McClure's Magazine presented a long illustrated article entitled "Telegraphing Without Wires," by H. J. W. Dam, describing the experiments of Hertz, Dr. Chunder Bose, and the youthful Marconi. Telegraph Age, New York, in its issues of November 1 and November 15, 1897, reprinted a long article from the London Electrician, entitled "Marconi Telegraphy." This article consisted chiefly of the technical description which accompanied Marconi's British patent specification number 12,039 of 1896. In [its issue for June 19,] 1897, Scientific American published an instructive editorial [Wireless Telegraphy] dealing with the status of Wireless Telegraphy. The article discust Nikola Tesla's work, his claims and his prophecies, also the reports of Marconi's experiments with induction coils and coherers. The Journal of the Franklin Institute, in December, 1897, [Telegraphy Without Wires] covered practically the same ground. In the year 1898, Mr. William Maver, of New York, read a paper on wireless telegraphy at the annual convention of the Association of Telegraph Superintendents, at Wilmington, N.C. The information communicated was in the main a review of Dr. Marconi's early work. In the June, 1899, issue of McClure's Magazine there appeared a long illustrated article by Cleveland Moffett, entitled "Marconi's Wireless Telegraphy." In this article the cross channel tests were described in a popular, semi-technical manner. American technical magazines at first were somewhat slow in grasping the significance of the work being done in Europe; their references to the subject consisting mainly of brief reviews of articles appearing in foreign periodicals, with the result that American telegraphers of an experimental bent were supplied with but meager information, and that not of much practical value. In its February 16, 1899, issue Telegraph Age, New York, printed an elementary article by Willis H. Jones, which was the first really lucid description of the system served to American telegraphers. In July, 1899, the American Electrician published a complete semi-technical description [The Apparatus for Wireless Telegraphy] of Prof. Jerome J. Green's demonstrations of wireless telegraphy at Notre Dame University, [South Bend, Indiana]. This article was hailed as a great find by amateurs, and in various parts of the country demonstration sets were made up, operated and exhibited. In September, 1899, during the International Yacht Races off New York harbor, the steamer Ponce was equipt with radio apparatus by Marconi, for the purpose of transmitting reports of the progress of the race. Two receiving stations were equipt; one on the Commercial Cable Company's cable ship Mackay Bennett, stationed near Sandy Hook, and connected with a land line station on shore by means of a regulation cable; the other at Navasink Highlands. This demonstration, altho not highly successful, immediately brought the subject to the fore in this country. In 1900, the erection of the first Marconi station at Cape Cod, Mass., was begun. In the fall of 1900, the author of this paper constructed the first amateur wireless set used in the twin cities, Minneapolis and St. Paul, Minn. Later he exhibited the first sets shown in the cities of Butte, Mont., and Salt Lake City, Utah. In later years thriving radio clubs have grown up in these various centers. In 1900, Mr. Thomas E. Clark, of Detroit, Mich., began the manufacture of radio apparatus. Handsome catalogs were issued illustrating coherer and register sets. One of Mr. Clark's assistants was Mr. J. Z. Hayes, chief operator of the Postal Telegraph Company, Detroit. In March, 1901, the Marconi Company installed apparatus at five stations on as many islands of the Hawaiian group. For a long time these installations were of little value due to a scarcity of competent operatives. During this year the Canadian government installed two stations in the Strait of Belle Isle; [also constructed were] the New York Herald stations at Nantucket, Mass., and Nantucket light ship. The crowning radio event of the year was the reception by Dr. Marconi at St. Johns, Newfoundland, of the now famous letter "S," transmitted as a test signal from his English station; this was on December 11, 1901. The most important published article on radio during 1901 was that of Reginald A. Fessenden, [Wireless Telegraphy] which appeared in the Electrical World of June twenty-ninth. Prof. Fessenden was at that time connected with the United States weather bureau, and his communication described the work accomplished by him under the direction of Prof. Moore, beginning in January, 1900. The article contains an interesting exposition of Syntony as at that time understood. In its February 9, 1901 issue, Collier's Weekly contained a long illustrated article by Dr. Nikola Tesla, entitled "Talking With the Planets." The Scientific American of March ninth published a complete account [The Slaby System of Wireless Duplex Telegraphy] of the so-called Slaby-Arco system of wireless telegraphy, and the same magazine in its December twenty-eighth issue, gave further details and illustrations of Slaby-Arco equipment [The Slaby-Arco Portable Field Equipment for Wireless Telegraphy]. These articles were written by A. Frederick Collins. In 1902, the Canadian Marconi Company was formed, as well as the American Marconi Company. On January thirteenth, Dr. Marconi delivered a lecture to the members of the American Institute of Electrical Engineers at New York, describing his system, and gave an account of the progress made up to that time. J. H. Bunnell & Company's catalog of 1902 lists a page of wireless goods. A relay, coherer, and tapper receiving outfit was listed at $25.00. On September first Prof. Fessenden's contract with the U. S. Government expired. He then established headquarters in Pittsburgh, Pa., and began a series of careful investigations which led to important results. In 1902, the United States Signal Corps established stations at Sandy Hook, N.J., and at Fort Wadsworth--twenty-two miles apart. The operators in charge were Messrs. L. E. Harper and C. J. Applegate. The instruments at first employed were manufactured under the direction of Dr. Lee de Forest, who had been developing new ideas during the two years previous. The detector consisted of two aluminum rods with a steel needle laid across them, and connected in series with a pair of head 'phones and a potentiometer controlled battery. During the year 1902, the output of radio literature increased in a very helpful degree. In its February, 1902, issue McClure's Magazine published a long article entitled "Marconi's Achievement; Telegraphing Across the Ocean Without Wires"[, by Ray Stannard Baker. In the magazine's April, 1902 issue, Henry Herbert McClure's "Messages to Mid-Ocean" reviewed Marconi's tests on the S.S. Philadelphia]. The Scientific American [Supplement] of February fifteenth, contained an article written by A. F. Collins, entitled "How to Construct An Efficient Wireless Telegraph Apparatus at Small Cost." I think it is safe to say that the appearance of this article did more to introduce the art of amateur radio than anything else that had appeared. On April twelfth, the Western Electrician, of Chicago, published a communication from Dr. Lee de Forest with the heading: "An Interesting Sensitive Flame Experiment," which subsequently I could not help believing started the train of thought which culminated in the development of the marvelous AUDION. The Electrical World of April twelfth contained a long communication signed by Wilfrid Blaydes, [Mr. Marconi and His Critics], which shed considerable light upon the Marconi-Slaby controversy which was then raging in Europe. In 1902, copies of three books on wireless telegraphy reached this country from England; one written by Richard Kerr, one by George de Tunzelman and Sir Oliver Lodge's "Signaling Thru Space Without Wires." The first United States Government pamphlet on wireless appeared in 1903, entitled "Instructions For the Use of Wireless Telegraph Apparatus" by Lieutenant Hodgins, U.S.N. This booklet described only the Slaby-Arco coherer system. In fact none of these works described anything beyond the coherer. Dr. John Stone Stone took out seventy American radio patents between 1901 and 1904, and Harry Shoemaker forty patents between 1901 and 1905. In the year 1903 the International Wireless Telegraph Company was formed in America to exploit Dolbear's claims and to push litigation first begun in March, 1901, against Marconi. The claims were based on Dolbear's patent of October, 1886. In October, 1903, stations were established by the U. S. Signal Corps at Nome and St. Michael's, Alaska. The summer and fall numbers of Popular Science Monthly contained a long article by Prof. J. A. Fleming on "Hertzian Wave Telegraphy." This as one of the best authoritative accounts of Marconi's work up to that time. In 1903, the author wrote the first book length American treatise on the subject of wireless. The matter was published serially in the Western Electrician, Chicago. In 1903, the Marconi Company opened stations at Chicago, and at Milwaukee. The first International Radio Convention was held in Berlin, Germany, during this year. The report [The International Preliminary Conference to Formulate Regulations Governing Wireless Telegraphy] of Mr. John I. Watersbury, one of the American delegates to the convention, appeared in the North American Review of November, 1903. These brief memoranda may well be closed with the advent of the year 1904, as during that year Fessenden's electrolytic detector, de Forest's responder, Dunwoody's carborundum detector, and Marconi's magnetic detector, all made their appearances, furnishing the hungry amateur with a plethora of devices to displace the often blest filings coherer. The year 1904 clearly marks the beginning of RADIO'S climb to the plane of practicability. On February twentieth of that year the Western Union Telegraph Company's tariff periodical, The Journal of the Telegraph, for the first time announced the acceptance of messages for ships at sea [Marconi Wireless Telegraph to Incoming and Outgoing Steamships]. ________ *Dealing only with the Art of wireless telegraphy we can reasonably omit reference to the work of Joseph Henry, in America; Hertz' work; the development of coherers; and Sir Oliver Lodge's famous lecture of 1894.

The Century Magazine, April, 1898, pages 867-874:

THE NEW TELEGRAPHY.

RECENT EXPERIMENTS IN TELEGRAPHY WITH SPARKS.

BY ADOLPHUS SLABY.1 IN the early months of 1897, when the news appeared in the papers that it had been possible to carry out practically the sending of telegraphic messages without a wire for distances of a mile or more, there were many doubters on both sides of the ocean. People thought it nothing more than the sensational imaginings of some able writer for the press, who wished to present to readers hungry for novelties in electrical matters a particularly toothsome dish. On the contrary, those who have followed with attention and understanding the science of electricity, came to quite a different conclusion; for these knew that a German scientist, Heinrich Hertz, had proved ten years ago by convincing experiments that the electrical forces spread themselves through space like the rays of light--so much so, in fact, that there exists between these two phenomena (of electricity and of light) no difference of quality, but merely one of quantity.

To be sure, these electrical forces do not emanate from electrical phenomena of every kind, but only from such as we designate as quick-pulsating or oscillating streams. From this Nikola Tesla first made the most interesting practical deductions, and performed those wonderful experiments in which the electrical rays transform themselves directly into the desired rays of light, without taking the roundabout way over heat, and without the strength-devouring agency of metal wires. Nature, that unapproachable schoolmistress, furnished him a shining example; for she had already solved the great problem thousands of years before. In the body of the glow-worm, which delights us on warm summer evenings with the magic of its greenish glow, she employs her whole strength in the selective radiance of light. Nikola Tesla followed Nature's footsteps and came upon the banks of a new river, into which the springs of Nature pour her energies of light in broad streams. It fell to the lot of the young Italian Guglielmo Marconi to bring to realization the transfer of forces through space with the help of electrical rays, and in a form within reach of practical application. First let us consider the means and apparatus wherewith he produced an efficient working radiation of electrical waves. An electrical phenomenon observed long ago, the springing of sparks from one loaded conductor to another, furnishes the most powerful electrical radiation. Hitherto we saw in such a discharge a simple passage of the electricity from one body to another, and hardly considered that the phenomenon, which is accompanied by brilliant crackling sparks, is more remarkable than any other electrical phenomenon. To-day we know that this discharge is an intermittent one in such wise that unnumbered other discharges follow the first discharge of electricity, and in changing direction and with diminishing strength. The whole phenomenon passes with such enormous swiftness that the movements to and fro of the electrical forces are concealed from sight. On the contrary, the eye is capable of receiving as a completed fact only the impression of one single spark. As an originator of sparks Nature shows to our view bounds that lie very far apart. It is a tremendous jump from the faint crackling that we hear on cold winter days when, in a heated room, we pass a rubber comb through our hair, to the flashing of gigantic lightning-bolts; and yet both consist of the same phenomena; from both the same invisible forces emanate. Marconi uses an artificial producer of sparks, the strength of which occupies a moderate middle place between the extremes that Nature shows. He employs the well-known induction apparatus, that important instrument for the production of Roentgen rays, and connects its binding-clamp with two spheres of brass, which are placed opposite each other at a distance of only a few millimeters (Fig. 1). When the inductorium is set in action we get an uninterrupted sequence of thick, white, shining sparks, the power of radiation of which is strengthened if the place of the sparks is filled with oil. In accordance with a process first used by Righi, he does not bind these brass spheres directly together with the binding-clamp of the induction apparatus, but charges them with the aid of smaller spheres which are placed at proper distance opposite the outer half of each of the larger spheres, which, in order to contain the oil, are surrounded with a shell of vellum. From this apparatus for the production of sparks emanate the rays of electrical force. Heinrich Hertz was the first to make the arrangement whereby it is possible to establish their presence. For this purpose he employed the so-called resonators (Fig. 2), which are open circuits of wire the ends of which are provided with little polished balls of brass. By means of an isolated graduator, the air-space between the balls can be exactly fixed to very small fractions of a millimeter. When such a resonator is placed in the path of electric waves an electrical sympathetic ringing is roused therein, which shows itself in the passage of sparks at the point of non-contact or interruption in somewhat the same way that a tuning-fork is brought to sympathetic sounding by waves of sound. To be sure, the sparks are so minute that they can be seen only in a darkened room. With the simple resource of this resonator Heinrich Hertz examined into the laws which the electric forces follow in their radiation. The most remarkable among his experiments showed that the electric waves were reflected from a metal surface exactly in the same way that light is thrown back from a mirror. Moreover, by means of ingenious arrangements he discovered that the velocity with which the electric forces spread themselves through space is the same as the velocity of light--namely, three hundred thousand kilometers in a second. So far as it has in any case been possible, these and further experiments have brought us the certainty that light and electric rays are phenomena of the same kind, which differ from each other only in relations of size. The retina of the eye is the sensitive instrument which permits us to become aware of the presence of rays of light; in the same way we may hereafter call the apparatus which shows us the electric rays an electrical eye. The resonator of Hertz is an eye which is still incomplete. It is weak and short-sighted. We can perceive with it only the most dazzling effects of the electric rays, and can, if I may so express myself, calculate only approximately the degree of their illuminating power. The electrical eye which Marconi uses is essentially more sensitive; we may call it a clever improvement on the resonator of Hertz. The chief characteristic of the latter was the interruption of a metallic circuit by an air-space of uncommonly short width. The working of an electric ray impact showed itself in the appearance of visible sparks. But we can bring other means of assistance to bear in order to recognize the presence of infinitely small sparks which the human eye fails to see. The most sensitive means are always electrical; therefore we choose a continuous electrical current, the slightest traces of which can be detected by the galvanometer. Let us imagine that the metal knobs of a resonator of Hertz have been so closely brought together that the air-space between them can be no longer detected even with the most delicate optical means; nevertheless, it is not necessary that a complete metallic contact has yet taken place. If we introduce into the wire circuit of the resonator a little galvanic battery (Fig. 3), say, in the nature of a desiccator, and a very sensitive galvanometer, then, as long as the electric stream is obstructed at the knobs, the needle of the galvanometer will remain at rest. But if the impact of an electrical discharge falls upon the circuit, electric effects tremble through it which are not barred by the air-space between the knobs, very much as a wave of water may spurt its way over an obstacle when it is turned into millions of little spray-drops. In this fashion is it that fine sparks spurt across; and though they are hidden from the keenest methods of optical reinforcement, yet for an instant they are there, and every spark of them fills the air-space with metallic steam. These guide the continuous current, and close the circuit. The result is a perceptible movement of the needle of the galvanometer. Either the needle swings back after the impact is finished,--then the isolating air-space has reëstablished itself as it was, and the electrical eye is ready to react to another impact,--or (and this is most commonly the case) fine scattered particles of metal, which have been consolidated again after evaporation, fill the air-space and build a metal bridge, whereupon the movement of the galvanometer's needle is permanent. But the slightest shock is sufficient to bring this bridge to a fall, and thus to break the metallic contact. In the same way, as Branly first discovered, works a tube of glass when filled with iron or copper filings. Such a tube presents an insuperable resistance to the passage of an electrical stream, so that we can clamp it to the pole of a galvanic battery with metal fasteners without receiving a charge. Put if this tube receives the impact of electric rays, then it conducts the main circuit, and the needle of the galvanometer moves. After the electrical radiation upon the tube is finished, a light shock given to the tube reëstablishes once more the complete resistance to the main circuit. Fig. 4 shows an apparatus of this kind, in which the metal filings are replaced with iron nails loosely piled up one upon another. There are countless points of contact present having insulating surfaces. The radiation of electric waves excites among them an electric vibration, and countless invisible sparks at the points of interruption cause metallic contact. Lodge of Liverpool appears to have beer the first to use such tubes as electrical eyes for the study of the Hertz rays. In his absorbing book, « The Work of Hertz and Some of his Successors,» he describes various arrangements of this and of other kinds, which he had been using as early as 1889. From him came the term « coherer,» which he chose because a more intimate connection, as it were a cohesion, of the metal filings was produced by the electrical waves. One may also fairly consider Lodge the father of the idea of telegraphing with electric rays and such tubes; but he fixes as the farthest distance that can be reached one half an English mile (eight hundred meters), without ever having given any practical proof of the theory. Marconi's electrical eye is pictured in Fig. 5. He uses a metallic powder, or, more correctly, a mixture of metallic powders, which consist of ninety-six per cent. nickel and four per cent. silver. This mixture is sealed up in a little glass tube between two knobs of silver, the meeting surfaces of which knobs are amalgamated by a trace of quicksilver. After it is filled, the tube is cleansed and soldered up; wires of platinum effect the passage of electricity, and are soldered on to the silver knobs; the tube is fastened with marine glue to a stick or pillar of glass, which serves as a support. Fig. 6 shows the arrangement of Marconi's receiver. The main circuit, strongly drawn out, contains a desiccator (A), a sensitive relay (B), and the coherer (C). It is well known that a transferrer commonly used in telegraphy is called a relay. It reacts to very slender streams of electricity, and moves at the same time a tongue which conducts a second circuit with stronger batteries. When the coherer is cut off, the circuit is broken, and the tongue of the circuitless relay points to contact of rest. After the impact of the waves, cohesion in C permits the establishment of a current which turns the tongue of the relay on the working contact. Therewith the circuit of the battery (a) is closed, and the Morse indicator (b), which has been inserted therein, as well as the ticker (c), are set to work. At the first stroke of the ticker against the coherer the particles in the latter must fall asunder; thereby the first circuit becomes at rest, and the tongue of the relay lays itself at the point of rest and cuts off the battery (a). At a renewed subjection to the electric waves this action repeats itself. It is evident that by subjection of the coherer to intermittent radiation one can produce the Morse alphabet. In January, 1897, when the news of Marconi's first successes ran through the newspapers, I myself was earnestly occupied with similar problems. I had not been able to telegraph more than one hundred meters through the air. It was at once clear to me that Marconi must have added something else--something new--to what was already known, whereby he had been able to attain to lengths measured by kilometers. Quickly making up my mind, I traveled to England, where the Bureau of Telegraphs was undertaking experiments on a large scale. Mr. Preece, the celebrated engineer-in-chief of the General Post-Office, in the most courteous and hospitable way, permitted me to take part in these; and in truth what I there saw was something quite new. Marconi had made a discovery. He was working with means the entire meaning of which no one before him had recognized. Only in that way can we explain the secret of his success. In the English professional journals an attempt has been made to deny novelty to the method of Marconi. It was urged that the production of Hertz rays, their radiation through space, the construction of his electrical eye--all this was known before. True; all this had been known to me also, and yet I never was able to exceed one hundred meters. In the first place, Marconi has worked out clever arrangement for the apparatus which by the use of the simplest means produces a sure technical result. Then he has shown that such telegraphy (writing from afar) was to be made possible only through, on the one hand, earth connection between the apparatus and, on the other, the use of long extended upright wires. By this simple but extraordinarily effective method he raised the power of radiation in the electric forces a hundredfold. The upright extended wires work like the pierced tube of a watering-cart; the rays of electric force spurt, as it were, in every direction upright to the wire; they cause a great part of space to be drawn into sympathy.2 Now, since these wires are the essence of Marconi's discovery, the term « telegraphy without wires » is really erroneous; more correctly should it be called telegraphy by sparks, in opposition to the term used hitherto, « telegraphy by circuits » (Stromtelegraphie). The experiments in England were carried out in the Bristol Channel. A mast thirty meters high was erected on the cliff near Lavernock Point--a cliff twenty meters high, one hour from the pleasant little bathing village of Penarth. Over the top of the mast was a cylindrical hood of zinc, two meters high and one meter in diameter. An insulated copper wire passed from the zinc cylinder to the foot of the mast to meet one pole of the receiver. The other pole was connected with the ocean by along wire which ran down the face of the cliff. In the midst of Bristol Channel, five kilometers distant from Lavernock Point, lies the little island called Flatholm. There was the place for transmission. The apparatus to engender the sparks was in a little wooden cabin. Its knobs were connected, one with a zinc hood on a mast of the same height as that on Lavernock Point, the other with the sea. After a few preliminary experiments, the sending of messages was perfectly successful. It will always be an unforgettable recollection how, on the morning of May 13, 1897, our party of five, cowering together in a big wooden case, because of the heavy wind, our ears and eyes bent with the most anxious care upon the receiving apparatus, suddenly, after the raising of the signal-flag agreed upon, perceived the first tickings, the first clear Morse letters on the tape! Silently and invisibly the message had been borne across the space from the rocky coast, ferried across by that mysterious medium, the ether. After my departure the experiments were continued. It was possible to make clear telegraphic communications between Lavernock Point and Brean Down, straight across the entire breadth of Bristol Channel, fourteen and a half kilometers. Having returned to my home, I went to work at once to repeat the experiments with my own instruments, with the use of Marconi' s wires. Success was instant. I set up telegraphic communication between my laboratory and a factory about two kilometers away, where a water-tower was placed at my disposal for the placing of the wire of transmission. I resolved, however, to discontinue the connection, because there came a query from the office of the telephone company, whether in that district any local meteorological storm existed, since all the telephone-lines there were out of order. Meantime the attention of the German Emperor had been drawn to the new form of telegraphy. It is known with what a lively interest and with what a depth of technical knowledge the Emperor follows the progress of applied science. Hardly a tract of this great field is foreign to him, and it is not unfrequently the case that the reading of technical reports, foreign and German, is, as it were, a rest for him from the wearisome exertions of state affairs. For carrying out extensive experiments, the waters of the Havel River near Potsdam were put at my disposal, as well as the surrounding royal parks--an actual laboratory of nature under a laughing sky, in surroundings of paradise! The imperial family delight to sail and row on the lakes formed by the Havel; therefore a detachment of sailors is stationed there during the summer, and I was permitted to employ the crews as helpers. I placed the receiving apparatus in the sailors' barracks. The flagstaff there was considerably heightened, so that the highest point of the clear receiving wire was twenty-six meters above the level of the ground. For my first transmitting-station I chose a church lying on the other shore of the Havel, which was built by Frederick William IV, called the Saviour's Church at Sacrow, distant one and six tenth kilometers in an air-line. Fig. 7 shows the edifice. On one side of the basilica stands the clock-tower, which has a platform immediately below its roof. There a mast was placed, and from its highest point, twenty-three meters above the ground, a copper wire was suspended by means of a porcelain insulator. I had chosen the nave of the church as the place for my spark-generator, in order to be protected during rainy weather. The telegrams transmitted from Sacrow reached the sailors' barracks with unimpeachable clearness and exactness. To be sure, I was on one occasion in a state of lively dismay because of the indistinctness of the marks on the tape. It was the very day on which the Emperor desired to inspect the arrangements. It was only a short time before the doors closed that I was able to discover the origin of the interference and to suppress it. I had withdrawn the transmitting or spark-generating apparatus farther than was my wont within the entrance of the church, and thus it had got too near the stone flooring. By pulling the wires tighter the trouble was overcome. The sending of messages was very successful. The Emperor himself sent a telegram, and on his return to the sailors' station could convince himself of its safe arrival there. Further experiments at the Sacrow church gave an important result. When I carried the transmitter wire perpendicularly down the clock-tower to the entrance of the church and to the spark-generator placed there, the signs entirely failed to appear at the receiving-station. After a good deal of experimenting the obstacle was discovered. In the immediate neighborhood of the clock-tower are clumps of trees (see Fig. 7) which almost entirely concealed the vertical wire, so that from the sailors' station with the telescope one could only make out the upper section of the wire. The rays emanating from the wire were swallowed up by the group of trees as rays of light might be, or else led off toward the ground. The chief condition for success with telegraphy by sparks is that all obstacles which are found in front of the transmitter wire must be cleared away. This fact was particularly felt when I wished to open telegraphic communication between the sailors' station and Peacock Island, three kilometers apart. The air-line between the two stations is crossed by a hilly, wooded tongue of land in the Glienicke Park, which is covered with houses. The electrical rays had to pass through these houses. It was successful, truly, but only after I had increased the length of the wire at both stations to sixty-five meters. It is remarkable that connection could also be had with Peacock Island when I substituted for the vertical wire and earth connection wires about one hundred meters in length, which I stretched parallel to each other about two meters above the level of the ground. The experiments in Potsdam had for their object the discovery of the basal conditions on which to predicate success in spark telegraphy in order to overcome greater distances, more auspicious places and methods had been considered. In the meantime Marconi, while conducting experiments at Spezia which he carried out with the support of the Italian navy, had succeeded in telegraphing from a moving battle-ship, the San Martino, sixteen and three tenth kilometers to the arsenal of San Bartolommeo, and at a distance of eighteen kilometers in deciphering a few signals. I resolved to attempt still greater distances. The Emperor had ordered the balloon department of the army to assist in these experiments. The practice-ground of the military balloonists lies in Schöneberg, near Berlin, and a military railway runs thence directly south. At a distance of twenty-one kilometers in an air-line lies the village of Rangsdorf, on the railway itself. The sending apparatus was arranged there, and the necessary guard and balloon material were sent down. After a few experiments, we succeeded on the 7th of October in establishing communication between the two posts. There was a cold, raw northwest wind, so that both the balloons, anchored at the two places, were driven about. At both stations thin copper wire was fastened to the baskets of the balloons, reaching two hundred and fifty meters to the apparatus. Connection with the earth was made by means of swords stuck in the ground. The first telegram received under these conditions is reproduced by the autotype process in Fig. 8. The clearness of the Morse characters seems all the more noticeable because the electrical condition of the atmosphere on that day was as unfavorable as one could imagine. The electricity of the air was so strong that one could not touch the wires hanging down from the balloons without getting the severest electrical shocks. When one of the wires broke loose from the apparatus by reason of the strong wind, a lively jumping about took place among the soldiers standing near, for fear that they might be hit by the wires whipping to and fro. Nevertheless, the effect of those electrical interferences in the air are to be seen on the Morse tape only in a few points which did not mar the legibility of the Morse characters, consisting of short and long lines. I have often been asked in what directions and in what field the use of spark telegraphy might be employed. Our knowledge of the phenomenon in question is, so far, a very modest thing; we are really in the very opening chapters. Who would care to say to-day how far, and whither, the path will lead us? I do not purpose to paint pictures of the future, but I believe I can state with emphasis that for certain purposes the new telegraphy is ripe to-day, and well worthy of consideration. The most important appear to me to lie in the military field. Besieged fortresses, and advancing armies which have the enemy between them, could make use of spark telegraphy to-day as a method of communication. The system works just as surely on a bright day as by night and in fog, though, to be sure, only in cases where balloons can be employed, since the distances reached when towers, masts, and high trees were used would hardly suffice in cases of this kind. Quite as important is the usefulness of the discovery for the navy. Experiments of last summer have made perfectly certain the possibility of using captive balloons on the high sea. In place of balloons, without doubt one might use the modern kites, brought to such a pitch of perfection in America, as those of Hargrave and others. I owe it to the kindness of an acquaintance in New York that I know something of these excellent kites, and a few experiments have already shown me that they are perfectly adapted to the carrying of thin wires. There is a future for the use of spark telegraphy for lighthouses and light-ships. The receiving apparatus can easily be made in a handy form, not bulkier than a chronometer. On the approach to a lighthouse it would not only give signs, but would tick out the name of the lighthouse; it appears even possible to provide the receiving apparatus with a regulator, to be adjusted at will according to whether a greater or smaller sensitiveness is desired, whereby the distance of the lighthouse can be read off. An undeniable weakness of spark telegraphy is this: every telegram is imparted to the whole world; every receiver can take it up. Owing to this reason, for the present its application will have to be confined to particular cases. For practical purposes, if one desires to protect one's self from having despatches read by others, there remains always the use of signs arranged before hand. In war, to be sure, telegraphy would become impossible as soon as a hostile spark generator should cause a permanent disturbance of the characters. A very interesting battle might occur in the waves of ether. Notwithstanding these undeniable shortcomings, let us not allow ourselves to be deprived of joy at the discovery of the new telegraphy. We are face to face with very peculiar phenomena. Nature has opened new door for us. It is the mission of science at present to bring light into the opened room. After that we shall not have to wait long for the necessary technical progress.

1 Privy Councilor Dr. Slaby is a professor in the Technical High School at Charlottenburg, near Berlin. 2 The reader will find in THE CENTURY for April, 1895, in an article on Mr. Tesla's inventions, a quotation from his lecture, delivered at Philadelphia in February, 1893, and at St. Louis in March, 1893, in which he expressed confidence in the practicability of telegraphy without wires. In the same lecture will be found a description of the scheme, the connections, and the arrangement of transmitting. and receiving-instruments used later in Signor Marconi's experiments. (See « Inventions, Researches, and Writings of Nikola Tesla,» by Thomas Commerford Martin; New York, « The Electrical Engineer,» 1894, pp. 346-349.) A number of scientific men have already called attention to this fact. This does not detract from the distinct merit of Signor Marconi in having effected the transmission to a five- or sixfold distance by an application of devices which were thought capable only of a transmission of a mile or two--THE EDITOR.

The Electrician, September 17, 1897, pages 683-686:

MARCONI TELEGRAPHY.

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The following is an abstract of Patent Specification No. 12,039 of 1896, which was applied for on June 2, 1896, by Signor Guglielmo Marconi, and accepted on July 2nd of the present year, the complete specification having been left at the Patent Office on March 2nd. The patent is for IMPROVEMENTS IN TRANSMITTING ELECTRICAL IMPULSES AND SIGNALS, AND IN APPARATUS THEREFOR. Signor Marconi begins by stating that his invention relates to the transmission of signals by means of electrical oscillations of high frequency, which are set up in space or in conductors, and having briefly described the apparatus he proposes to employ, he remarks that his invention relates in great measure to the manner in which the apparatus is made and connected together. Coming, then, to the description of his improvements applicable to the receiving instruments, the patentee says: "My first improvement consists in automatically tapping or disturbing the powder in the sensitive tube, or in shaking the imperfect contact, so that immediately the electrical stimulus from the transmitter has ceased the tube or imperfect contact regains its ordinary non-conductive state. This part of my invention is illustrated in Fig. 2. . . . In the apparatus I have made I have found that the relay n should be one possessing small self-induction, and wound to a resistance of about 1,000 ohms. It should preferably be able to work regularly with a current of a milliampere or less. The trembler or tapper p on the circuit of the relay n is similar in construction to that of a small electric bell, but having a shorter arm. I have used a trembler wound to 1,000 ohms resistance, having a core of good soft iron hollow and split lengthways, like most electromagnets used in telegraph instruments. The trembler must be carefully adjusted. Preferably the blows should be directed slightly upwards so as to prevent the filings from getting caked. In place of tapping the tube the powder can be disturbed by slightly moving outwards and inwards one or both of the stops of the sensitive tube (see Fig. 5 j1 j2) the trembler p (Fig. 2) being replaced by a small electromagnet or magnets or vibrator whose armature is connected to the stop. I ordinarily work the receiving instrument h, which may be of any description by a derivation as shown, from the circuit which works the trembler p. It can also, however, be worked in series with the trembler. It is desirable that the receiving instrument if on a derivation of the circuit which includes the trembler or tapper should preferably have a resistance equal to the resistance of the trembler p."

A further improvement, it is said, "consists in the mode of construction of the sensitive tube." The patentee has noticed that an ordinary sensitive tube is not perfectly reliable. His tube, as shown in Fig. 5, is if carefully constructed absolutely reliable, and by means of it the relay and trembler, &c., can be worked with regularity like any other ordinary telegraphic instrument. In the sensitive tube the two plugs should preferably be made of silver, or may be two short pieces of thick silver wire of the same diameter as the internal diameter of the tube j so as to fit tightly in it. The tube is closed and sealed on to the platinum wires j3 at both ends. Many metals can be employed for producing the powder or filings, "but, says the inventor, "I prefer to use a mixture of two or more different metals. I find hard nickel to be the best metal, and I prefer to add to the nickel filings about four per cent. of hard silver filings, which increase greatly the sensitiveness of the tube to electric oscillations. By increasing the proportion of silver powder or grains the sensitiveness of the tube also increases, but it is better for ordinary work not to use a tube of too great sensitiveness as it might be influenced by atmospheric or other electricity. The sensitiveness can also be increased by adding a very small amount of mercury to the filings and mixing up until the mercury is absorbed. The mercury must not be in such a quantity as to clot or cake the filings, and almost imperceptible globule is sufficient for a tube. Instead of mixing the mercury with the powder one can obtain the same effects by slightly amalgamating the inner surfaces of the plugs which are to be in contact with the filings. Very little mercury must be used, just sufficient to brighten the surface of the metallic plugs without showing any free mercury or globules. The size of the tube and the distance between the two metallic stops or plugs may vary under certain limits, the greater the space allowed for the powder the larger or coarser ought to be the filings or grains. I prefer to make my sensitive tubes of the following size :--The tube j is 1½in. long and 1/10th or 1/12th of an inch internal diameter. The lengths of the stops j2 is about 1/5th of an inch, and the distance between the stops or plugs j2 j2 is about 1/30th of an inch. I find that the smaller or narrower the space is between the plugs in the tube the more sensitive it proves, but the space cannot under ordinary circumstances be excessively shortened without injuring the fidelity of the transmission. Care must be taken that the plugs j2 j2 fit the tube exactly, as otherwise the filings might escape from the space between the stops which would soon destroy the action of the sensitive tube. The metallic powders ought not to be fine but rather coarse, as can be produced by a large and rough file. The powder should preferably be of uniform grain or thickness. All the very fine powder or the excessively coarse powder ought to be removed from it by blowing or sifting. It is also desirable that the powder or grains should be dry and free from grease or dirt, and the files used in producing the same ought to be frequently washed and dried and used when warm. The powder ought not to be compressed between the plugs but rather loose, and in such a condition that when the tube is tapped the powder may be seen to move freely." The specification then deals with the question of a vacuum which is said to be desirable but not essential :-- "The tube j may be sealed, but a vacuum inside it is not essential except perhaps the slight vacuum which results from having heated it while sealing it. Care should also be taken not to heat the tube too much in the centre when sealing it as it would oxidise the surfaces of the silver stops and also the powder which would diminish its sensitiveness. I have used in sealing the tubes a hydrogen and air flame. A vacuum is however desirable, and I have used one of about 1/1000th of an atmosphere obtained by a mercury pump." Coming next to another practical point Signor Marconi states that "in order to keep the sensitive tube j in good working order it is desirable but not absolutely necessary not to allow more than one milliampere to flow through it when active. If a stronger current is necessary several tubes may be put in parallel provided they all get shaken by the tapper or trembler, but this arrangement is not always quite as satisfactory as the single tube. It is preferable when using sensitive tubes of the type I have described not to insert in the circuit with it more than one cell of the Leclanché type as a higher electromotive force than 1·5 volts is apt to pass a current through the tube even when no oscillations are transmitted. I can, however, construct sensitive tubes capable of working with a higher electromotive force. Fig. 5A shows one of these tubes. In this tube, instead of one space or gap filled with filings, there are several spaces j1 j1 separated by plugs of tight-fitting silver wire. A tube thus constructed, observing also the rules of construction of my tubes in general, will work satisfactorily if the electromotive force of the battery in circuit with the tube is equal to about 1·2 volts multiplied by the number of gaps. With this tube, also, it is well not to allow a current of more than one milliampere to pass through it." Reference is then made to the size of the plates kk (Fig. 5), and to the means adopted for fixing their proper length, and it is further stated that in order to increase the distance at which the receiver can be actuated by the radiation from the transmitter, the receiver is placed in the focal line of a cylindrical parabolic reflector, preferably of copper, and directed towards the transmitting station. It is slightly advantageous for the focal distance of the reflector to be equal to one-fourth or three-fourths of the wave-length of the oscillation transmitted. A further improvement has for its object to prevent the electrical disturbances which are set up by the trembler and other apparatus in proximity or in circuit with the tube from themselves restoring the conductivity of the sensitive tube immediately after the trembler has destroyed it as has been described. "This I effect by introducing into the circuits at the places marked p1 p2 q h1 in Fig. 2, high resistances having as little self-induction as possible." Shunts having four times the resistance of the shunted apparatus are recommended. It is then stated that "in parallel across the terminals of the relay (i.e., corresponding to the circuit worked by the relay) it is well to have a liquid resistance s constituted of a series of tubes . . . partially filled with water acidulated with sulphuric acid. The number of these tubes in series across the said terminals ought to be about ten for a circuit of 15 volts, so as to prevent in consequence of their counter electromotive force, the current of the local battery from passing through them, but allowing the high-tension jerk of current generated at the opening of the circuit in the relay to pass smoothly across them without producing perturbating sparks at the movable contact of the relay. A double-wound platinoid resistance may be used instead of the water resistance, provided its resistance be about 20,000 ohms . . . Condensers of suitable capacity may be submitted to the above-mentioned coils, but I prefer using coils of water resistances." Another improvement has for its object to prevent the high frequency oscillations set up across the plates of the receiver by the transmitting instrument which should pass through the sensitive tube from running round the local battery wires, and thereby weakening their effect on the sensitive tube or contact. "This I effect by connecting the battery wires to the sensitive tube or contact, or to the plates attached to the tube through small coils (see k1 in the figures) possessing self-induction, which may be called choking coils, formed by winding in the ordinary manner a short length (about a yard) of thin and well-insulated wire round a core (preferably containing iron) two or three inches long." Another improvement consists in a modified form of the plates connected to the sensitive tube, in order to make it possible to mount the receiver in an ordinary circular parabolic reflector. Signor Marconi then deals with improvements applicable to the transmitting instruments, and says :--"My first improvement consists in employing four* spheres for producing the electrical oscillations." The dielectric liquid preferred is vaseline oil slightly thickened with vaseline, and it is stated that "the oil or insulating liquid between the spheres e e increases the power of the radiation, and also enables one to obtain constant effects, which are not easily obtained if the oil is omitted. The balls d and e (Fig. 6) are preferably of solid brass or copper, and the distance they should be apart depends on the quantity and electromotive force of the electricity employed, the effect increasing with the distance (especially by increasing the distance between the spheres d and the spheres e) so long as the discharge passes freely. With an induction oil giving an ordinary 8in. spark, the distance between e and e should be from 1/25th to 1/30th of an inch, and the distance between d and e about 1in. . . . Other conditions being equal, the larger the balls the greater is the distance at which it is possible to communicate. I have generally used balls of solid brass of 4in. diameter, giving oscillations of l0in. length of wave. Instead of spheres, cylinders or ellipsoids, &c., maybe employed. Preferably the reflector applied to the transmitter ought to be in length, and opening the double at least of the length of wave emitted from the oscillator. If these conditions are satisfied, and with a suitable receiver, a transmitter furnished with spheres of 4in. diameter connected to an induction coil giving a 10in. spark will transmit signals to two miles or more. If a very powerful source of electricity giving a very long spark be employed it is preferable to divide the spark gap between the central balls of the oscillator into several smaller gaps in series. This may be done by introducing between the big balls smaller ones (of about ½in diameter) held in position by ebonite frames." "A further improvement consists in causing one of the contacts of the vibrating brake applied to the induction coil to revolve rapidly. This improvement has for its object to maintain the platinum contacts of the interrupter in good working order, and to prevent them sticking, &c. This part of my invention is illustrated in Fig. 3 (c2 c3 c4). I obtain this result by having a revolvable central core c2 (Fig. 3 and Fig. 13) in the ordinary screw c3, which is in communication with the platinum contacts. I cause the said central core with one of the platinum contacts attached to it to revolve by coupling it to a small electric motor, c4. This motor can be worked by the same circuit that works the coil, or, if necessary, by a separate circuit--the connections are not shown in the drawing. By this means the regularity and power of the discharge of an ordinary induction coil with a trembler brake is greatly improved." "A further improvement has for its object to facilitate the focussing of the electric rays. The oscillator in this case being different from the one previously described, because, instead of being constituted of two spheres it is made of two hemispheres, separated by a small space filled with oil or other dielectric. The spark between the hemispheres takes place in the dielectric from small projections at the centres of the hemispheres." "Fig. 9 shows another modified form of transmitter, with which one can transmit signals to considerable distances without using reflectors. In Fig. 9 t t are two poles connected by a rope t1 to which are suspended by means of insulating suspenders two metallic plates t2 t2 connected to the spheres e (in oil or other dielectric as before) and to the other balls t3 in proximity to the spheres c1 which are in communication with the coil or transformer c. The ball t3 are not absolutely necessary as the plates t2 may be made to communicate with the coil or transformer by means of thin insulated wires. The receiver I adopt with this transmitter is similar to it, except that the spheres e are replaced by the sensitive tube or imperfect contact j (Fig. 5). whilst the spheres t3 may be replaced by the choking coils k1 in communication with the local circuit. If a circular tuned receiver of large size be employed the plates t2 may be omitted from the receiver. "I have observed that other conditions being equal the larger the plates at the transmitter and receiver, and the higher they are from earth and to a certain extent the further apart they are the greater is the distance at which correspondence is possible. "The permanent installations it is convenient to replace the plates by metallic cylinders closed at one end, and put over the pole like a hat and resting on insulators. By this arrangement no wet can come to the insulators, and the effects obtainable are better in wet weather. A cone or hemisphere may be used in place of a cylinder. The pole employed ought preferably to be dry and tarred. "Where obstacles such as many houses or a hill or mountains intervene between the transmitter and the receiver, I have devised and adopt the arrangement shown in Figs. 10 and 11. In the transmitting instrument (Fig. 10) I connect one of the spheres d to earth E preferably by a thick wire and the other to a plate or conductor u which may be suspended on a pole v and insulated from earth. Or the spheres d may be omitted and one of the spheres e connected to earth and the other to a plate or conductor u. At the receiving station, Fig. 11, I connect one terminal of the sensitive tube or imperfect contact j to earth E, preferably also by a thick wire, and the other to a plate or conductor w preferably similar to u. The plate w may be suspended on a pole, x, and should be insulated from earth. The larger the plates of the receiver and transmitter, and the higher from the earth the plates are suspended, the greater is the distance at which it is possible to communicate at parity of other conditions. . .

"At the receiver it is possible to pickup the oscillations from the earth or water without having the plate w. This may be done by connecting the terminals of the sensitive tube j to two earths preferably at a certain distance from each other and in a line with the direction from which the oscillations are coming. These connections must not be entirely conductive, but must contain a condenser of suitable capacity, say of one square yard surface (paraffined paper as dielectric). Balloons can also be used instead of plates on poles, provided they carry up a plate or are themselves made conductive by being covered with tin foil. As the height to which they may be sent is great, the distance at which communication is possible becomes greatly multiplied. Kites may also be successfully employed if made conductive by means of tin foil. When working the described apparatus it is necessary either that the local transmitter and receiver at each station should be at a considerable distance from each other or that they should be screened from each other by metal plates. It is sufficient to have all the telegraphic apparatus in a metal box (except the reading instrument) and any exposed part of the circuit of the receiver enclosed in metallic tubes which are in electrical communication with the box (of course the part of the apparatus which has to receive the radiation from the distant station must not be enclosed, but possibly screened from the local transmitting instrument by means of metallic sheets). When the apparatus is connected to the earth or water the receiver must be switched out of circuit when the local transmitter is at work, and this may also be done when the apparatus is not earthed." Nineteen claims are then put in. These are set forth verbatim below :-- The method of transmitting signals by means of electrical impulses to a receiver having a sensitive tube or other sensitive form of imperfect contact capable of being restored with certainty and regularity to its normal condition substantially as described. A receiving instrument consisting of a sensitive imperfect contact or contacts, a circuit through the contact or contacts, and means for restoring the contact or contacts with certainty and regularity to its, or their normal condition after the receipt of an impulse substantially as described. A receiving instrument consisting of a sensitive imperfect contact, or contacts, a circuit through the contact, or contacts, and means actuated by the circuit for restoring with certainty and regularity the contact, or contacts, to its or their normal condition after the receipt of an impulse. In a receiving instrument such as is mentioned in Claims 2 and 3, the use of resistances possessing low self-induction, or other appliances for preventing the formation of sparks at contacts or other perturbating effects. The combination with the receivers such as are mentioned in Claims 2 and 3 of resistances or other appliances for preventing the self-induction of the receiver from affecting the sensitive contact, or contacts, substantially as described. The combination, with receivers such as herein above referred to, of choking coils substantially as described. In receiving instruments consisting of an imperfect contact, or contacts sensitive to electrical impulses, the use of automatically working devices for the purpose of restoring the contact or contacts, with certainty and regularity to their normal condition after the receipt of an impulse substantially as herein described. Constructing a sensitive non-conductor capable of being made a conductor by electrical impulses of two metal plugs or their equivalents and confining between them some substance such as described. A sensitive tube containing a mixture of two or more powders, grains or filings substantially as described. The use of mercury in sensitive imperfect electrical contacts substantially as described. A receiving instrument having a local circuit including a sensitive imperfect electrical contact, or contacts, and a relay operating an instrument for producing signal actions or manifestations substantially as described. Sensitive contacts in which a column of powder or filings (or their equivalent) is divided into sections by means of metallic stops or plugs substantially as described. Receivers substantially as described and shown in Figs. 5 and 8. Transmitters substantially as described and shown at Figs. 6 and 7. A receiver consisting of a sensitive tube or other imperfect contact inserted in a circuit, one end of the sensitive tube or other imperfect contact being put to earth whilst the other end is connected to an insulated conductor. The combination of a transmitter having one end of its sparking appliance or poles connected to earth, and the other to an insulated conductor, with a receiver as is mentioned in Claim 15. A receiver consisting of a sensitive tube or other imperfect contact inserted in a circuit, and earth connections to each end of the sensitive contact or tube through condensers or their equivalent. The modifications in the transmitters and receivers in which the suspended plates are replaced by cylinders or the like placed hat-wise on poles, or by balloons or kites substantially as described. An induction coil having a revolving make and break substantially as and for the purposes described. The italics, we should add, are ours throughout. The figure numbers are those of the Specification.

Electrical World and Engineer, June 29, 1901, page 1103-1104:

Wireless Telegraphy.

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BY REGINALD A. FESSENDEN EVEN an experimenter working along similar lines and finding a considerable number of devices which he had considered as peculiarly his own, described in the paper, may be pardoned for feeling a considerable degree of pleasure in reading the admirable communication recently made by Mr. Marconi to the Society of Arts. Mr. Marconi is certainly to be congratulated not only upon the practical results which he has achieved, but also upon the beauty of the methods employed. It is most certainly apparent that his method has now passed from the original crude stage to a practical and commercial one. It may be of interest to compare the results, at least some of them (for it would be inadvisable at present to publish more than a part), obtained on this side of the water by the United States Weather Bureau. These experiments were commenced under the direction of the chief of the Weather Bureau, Professor Moore, in January, 1900. Under his direction and with his approbation the subject was investigated from the beginning, with a view first to finding out definitely the nature of the phenomena, and then devising means for utilizing the forces to best advantage. First will be described a number of cases in which the work of Mr. Marconi and that of the Weather Bureau has gone along parallel lines; secondly, the differences between the methods and results obtained so far as published, and, lastly, an indication of work done by the Weather Bureau which has not been, so far as is known at present, duplicated. Naturally, on account of commercial considerations it will not be possible to go into details so much as might be desired, and for the present this deficiency must be excused. The first point in which parallel results have been obtained is that concerned with the employment of larger capacities, more especially in the form of cylinders. Mr. Marconi describes the use of concentric cylinders, the inner one connected through a self-inductance to ground, and explains very clearly that in the case of wire conductors the electrical oscillations rapidly die away, and that with greater capacity we have a more persistent vibrator. The following quotation from one of the patent applications of the Weather Bureau experimenters will show that in this respect the same result has been reached, "The employment of simple wires having small capacity as sending conductors is objectionable for the reason that the radiation is so rapid that there are very few oscillations in each discharge, and hence the inductive rise in voltage at the receiving station cannot attain sufficient value to permit of the use of inductive devices for arresting the potential at such station. By the employment of conductors having large capacity at the sending station, and by properly proportioning the self-inductance and resistance, the radiation from the conductor can be so controlled that there will be a large number of oscillations; for example, 50 or more at each total discharge. In other words, the discharge is so controlled that only a small fraction of the total energy is radiated at each oscillation. By thus extending the period of radiation opportunity is afforded for the inductive voltage at the receiving end to rise to its full value. By increasing the number of oscillations for each total discharge from the sending conductor, and by adjusting the receiving system so that its natural periodicity corresponds, or approximately so, to the period of the electromagnetic waves, the distance of travel of the waves is not solely dependent upon the heights of the sending and receiving conductors as has heretofore been held." And the corresponding claim: "In a system of wireless telegraphy a conductor adapted to radiate electromagnetic waves having its capacity, inductance and resistance so proportioned that only a relatively small fraction of the energy of the large conductor is radiated during a single oscillation, thereby preventing rapid vibrating in oscillations substantially as set forth." As regards the details by which this is accomplished, Mr. Marconi uses two concentric cylinders, the inner one having an inductance connected with it. The object of the inductance is not fully described, but Mr. Marconi lays great stress upon it. According to the writer's experiments, the object of this inductance is three-fold. In the first place, as Mr. Marconi explains, it gives a difference in phase; secondly, it is only the outer conductor which radiates, and this radiates just as a simple cylinder of the same size would radiate if used as an ordinary vertical conductor, but for the fact that the oscillations are more persistent when the inductance is put in. For the formula for logarithmetic decrement contains the power, R / L, and hence we can decrease the decrement, i. e., render the oscillation more prolonged by increasing L. Also the two concentric cylinders act as a condenser, and this in combination with the inductance means that we really are shunting the spark-gap with a synchronous circuit of larger capacity, as was suggested by Dr. Pupin in his discussion of wireless telegraphy before the American Institute of Electrical Engineers. In this respect the work has not been parallel, for while the patent application and the drawings described inductances used in this manner, the same effect has been obtained, not by increasing the denominator, but by decreasing the numerator of the fraction R / L. This has been done in three different ways which will be described at a later date. The advantage of this method is that whilst when we increase the denominator we decrease the period and also decrease the total amount of energy radiated per oscillation, if we decrease the numerator we keep the amount of energy radiated the same and do not change the period, while at the same time we make the logarithmetic decrement just as small as can be obtained with the inductance. This means a greater sending power with a given height. Another line in which parallel results have been obtained is in the tuning of the secondary of the receiving transformer. Mr. Marconi shows clearly the necessity of this, and we may compare this with the following statement from another of the patent applications: "It has heretofore been impossible to make the receivers respond solely to waves of one periodicity, as other periodicities, if above a certain power, will affect the receivers. By constructing the second conductor so that the oscillations for each total discharge are increased, and by employing at the receiving station two or more tuned circuits, a very perfect resonance or tuning between the stations can be obtained. With one tuned circuit at the receiving station and with conductors permitting a rapid radiation at the sending station, electrostatic and hysteresis effects become very prominent, and the great self-inductance desirable for sharp resonance cannot be attained. By employing two tuned circuits, one connected to the receiving conductor and the other secondary to the first, the electrical effect in the secondary will occur only when the resonance is very sharp." And the corresponding claim, "In a system of wireless telegraphy a sending conductor in combination with a prime conductor, including the receiving conductor and one or more secondary circuits controlled by the primary circuit; a transmitting device included in the last circuit of the series, the several circuits being tuned to correspond to the period of the second conductor substantially as set forth." Here, however, there is another difference. Mr. Marconi makes the secondary of his coil equal to the height of the sending conductor. The writer makes it equal to twice the height of the sending conductor. Two explanations of this are possible: First, that Mr. Marconi uses the secondary wound in such a manner that the wire really has a longer natural period than if it were straight; secondly, that he is really working with the first overtone. I have found that the overtones are very pronounced, more especially when the spark length is slightly longer than that generally used. There may be some other cause not at present known, but all the writer's experiments seem to show that the wave length is really four times the length of the vertical conductor and not twice. Another difference consists in the form of the radiating conductor. Mr. Marconi uses concentric cylinders, but in the Weather Bureau experiments simple cylinders were at first used. Later these were replaced by conductors of the form shown in the accompanying sketch, in which A is a tower, BB are cables insulated from the tower at its top, CC are insulated strain insulators, and DD ropes boiled in an insulating compound. The spark or other apparatus is placed at the top of the tower and the waves go out, as shown by the dotted lines. This kind was later superseded by a third form, and this kind by a fourth, which will be referred to later. Another case in which parallel work was done is that in which a Thomson high-frequency coil (commonly called a Tesla coil, but in reality first brought out in its present form by Professor Elihu Thomson) was used. Unfortunately, however, some other modifications are used with it, which, as the patents have not been granted, it will be impossible to describe at present. The writer's experiments show plainly that Mr. Marconi's remarks on Professor Slaby's work are justified, and that much better results can be obtained by the Marconi methods. Lastly, with respect to the general direction in which the work of the Weather Bureau has progressed. In the first place, it has been found possible in several, ways to get over the old difficulty which troubled Hertz, and later experimenters, i. e., that when the spark length was increased beyond a certain length the discharge become no longer oscillatory. An electrical device was invented which, on being applied directly to the sending wire, measured directly the amount of energy radiated. A curve was then plotted, showing the relation between spark length and energy radiated, and it was found that the curve gave a sharp bend with a spark about one inch in length, and no further increase of radiation could be obtained. Different kinds of coils with different primaries and secondaries, different methods of producing the voltage, different kinds of gases and fluid insulators in which the balls were immersed, and different kinds of arrangements of the terminals were tried, but all without success. But finally the solution was found, with the result that with the later apparatus an amount of radiation 16 times as great as that got with the ordinary 12-inch coil and 1-inch spark was obtained. This means, of course, greater sending distance, and it may be mentioned here that transmission without the use of transformers, inductive devices, cylinders or any other apparatus for raising the voltage, has been accomplished over a distance of 50 miles without using more than a fraction of the available energy. The same result was also accomplished in two other ways. The question of high conductors has proved a rather serious one, because, as Mr. Marconi has pointed out, if we use large surface conductors, though they may be short, yet they are objectionable on account of the wind pressure. Means for overcoming this are described in some of the patent applications, but the method was finally abandoned because means have been found by which a conductor only one meter high can be made to radiate as much energy and of the same period as a conductor 100 meters high. Another difference again has been the fact that it has been found necessary to differentiate in form between the receiving and sending conductors, i. e., to have the receiving conductor with more self-inductance and less capacity than the sending conductor. Other work done by the Weather Bureau has been along the line of producing a non-interfering system. The admirable and beautiful work of Mr. Marconi has resulted in a system by which within certain limits messages can be sent without interference. But one great objection has been found in the Weather Bureau experiments to this method, although it is described in some of the earlier patents of the Weather Bureau experimenters. That is, that while it is no doubt possible, under certain conditions, to send and receive individual messages, yet by connecting two brass semi-circles to a motor revolving at several thousand revolutions per minute, it is possible to make what may be called an electrical siren which runs up and down a scale of seven or eight octaves several thousand times a minute, and which, as at some period of the scale it gives a note corresponding to any given syntonized receiver, is consequently able to stop all communication, when used in conjunction with the apparatus for strengthening the radiation, within a radius of 500 miles or so. Consequently this method has been superseded by several other methods which permits of selective signaling, no matter how strong the interfering radiator may be or how close it may be, even approaching the interfering radiator within a few feet producing absolutely no effect. The parallel manner in which a considerable part of this work has been done may possibly be taken as evidence of the fact that the matter has now got down to a sound scientific base. Mr. Marconi and his eminent colaborateur, Dr. Fleming, are certainly to be congratulated on the results they have so far achieved, and no one joins more heartily in wishing them the best of success than the writer. The future of wireless telegraphy in their hands is certainly assured, and it cannot be many years before Mr. Marconi will see the great system which he was the first to see the points of and to put in practical form, in as universal use as our present methods of telegraphy.

Amateur Work, November, 1901, pages 4-5: HERTZIAN WAVES.

IF a stone be thrown into a pool of still water, the motion of the stone causes a disturbance on the surface of the water. Circular waves radiate from the point at which the water was struck, diminishing in height until no longer visible. The movement of these waves is slow; the eye can easily follow them and count the number of waves per minute. Other waves in a more elastic medium than water are found to be much more rapid in movement. The striking of a bell causes it to vibrate, which vibration imparts wave motion to the surrounding air. Our ears are so constructed that this wave motion, if the rate be not less than 16 nor more than 44,000 per second, is transmitted through the tympanum and nerves of the ear, and we become sensible of it as Sound. Certain bodies are responsive to a particular rate of vibration. If a violin be played close to a wine-glass in exactly the same tone as the vibration rate of the wine-glass, the wave motion from the violin will set up a vibration in the glass, sometimes so violent as to cause the glass to break in pieces. Many interesting instances of this harmony of vibrating rate are recorded in the various textbooks on Physics. Sound waves, while much more rapid than the water waves, are still comparatively slow when we consider the rapid vibrating motion of heat waves. The rapidity of these waves is beyond the ability of the mind to comprehend except by comparison. That degree of heat termed "bright red" requires the atoms of the body giving out this heat to vibrate at the rate of 400 billion times per second. It has been discovered that, under certain conditions, electrical waves radiate through space and have the power to influence suitable objects prepared for that purpose. The particular form of electrical wave under consideration is that known as Hertzian waves, so termed from the comprehensive discoveries of Dr. Heinrich Hertz, of Carlsruhe and Bonn. By means of a series of masterly experiments based upon certain phenomena previously discovered by other scientists, Dr. Hertz, between the years 1886 and 1891, added greatly to the knowledge of these electric waves and their effects on adjacent bodies, enabling them to be put to practical use in wireless telegraphy. These Hertz waves do not have the extremely rapid vibratory rate of heat waves, though, as compared with sound waves, they are still very rapid, their vibrations being, as near as has yet been discovered, approximately 230 millions per second. These waves are set up by any sudden electric discharge, such as lightning flash, or in a less degree by a spark from a sparking, or induction coil or Leyden jar. They are made evident to our senses by suitable apparatus that, being adjusted to the same rate of vibration, receives the wave impulses and acts in unison with them. We may soon be able to learn of the approach of electric storms by means of instruments that will receive the electrical waves set up by the distant lightning flash. The apparatus for demonstrating electric-wave action is simple and may easily be constructed at small cost. Procure two sheets of heavy zinc 16" square, and mount them in a light wooden frame. Small picture-frame moulding makes a neat-looking frame. At the center of one edge of each plate ( Z ) solder an L-shaped strip of zinc, the projecting piece being about ½" long, and having a 1/8" hole through it. To one end of two pieces of brass wire 4" long and 1/8" in diameter, fit brass balls ( C ) 1" in diameter. The other ends of the wire are then put through the holes in the zinc angle-piece, and when the plates are placed in line, the two balls will face each other. The plates should also be fitted with ebonite or glass feet, raising them 2½" or 3" from the level. At the outside of one plate and in the lower outside corner of the other, bore small holes, and connect, by soldering, two pieces of insulated copper wire, size 16 or 18, which are to connect with the Leyden jar. This Oscillator, as Dr. Hertz named it, if placed on a stand with the plates in line and the balls from ¼" to 1" apart, according to conditions, will, when connected to the outer and inner coatings of the charged Leyden jar ( L ), set up powerful electrical or Hertz waves in the surrounding medium at the instant the discharge takes place between the balls of the "oscillator" plates. These waves are taken up and made evident by a simple form of receiver known as Hertz's Resonator. This consists of ¼" brass rod 5 feet long bent into the shape of a nearly complete circle 18" in diameter. The unconnected ends are fitted with two 1" brass balls; the distance between them is adjusted by bending the rod. Wings of thin sheet copper 6" wide and 10" long are fastened to each side of the rod by twisting around the rod extension strips that were left on the wings when they were cut out. In place of the brass balls the ends of the rod may be turned into two small circles, and soldered to make a perfect joint. The brass balls are the best, and should be polished with emery-cloth before trying experiments. The circular brass rod ( D ) is held suspended by two round pieces of wood 8" long and 1" thick, the lower ends of which rest in holes bored in the base ( B ). Two round-headed brass screws on each upright hold the brass rod in place, one screw on each side of the rod. It will add materially to the success of the experiment if one wing is connected by a piece of covered copper wire to a "ground." The nearest gas or water pipe will answer. The base is a heavy block of wood with wooden uprights, upon which to fasten the circular rod.

Journal of the Society of Telegraph Engineers, 1876, pages 519-525:

BELL'S ARTICULATING TELEPHONE.

Attempts have been made for many years past to transmit musical or articulate sounds to a distance by means of electrical communication, and some of the early experiments of the late Sir Charles Wheatstone were accompanied with so much success that it was hoped that a time would come when an instrument might be constructed not only to register graphically certain audible sounds but to produce upon a diagram a set of signs by which the sounds of the human voice could be recorded; in other words, that it might become possible to construct an automatic reporter; and in the Loan Collection of scientific apparatus at South Kensington may be seen several instruments bearing upon these researches, and in which the vowel sounds are recorded by a series of distinctive curves. In the year 1860, Philipp Reiss, of Friedrichsdorf, near Homburg, following the researches of Wertheim, Marian, and Henry upon the production of sounds by electricity, invented the telephone which bears his name, and which also may be seen at South Kensington. The telephone of Reiss is of two parts; a transmitting instrument and a receiver. The former consists essentially of a stretched membrane, which, by vibrating in unison with the impulses it receives from musical sounds played near it, transforms those impulses into a series of electrical currents by a simple make-and-break arrangement, and these currents acting on the receiving instrument, which may be hundreds of miles distant, reproduce the corresponding notes, so that a tune played at one station can be distinctly heard at the other. The receiving instrument is founded upon the well-known phenomenon discovered by Page in the year 1837, that a distinct sound accompanies the demagnetisation of an iron bar placed in an electro-magnetic helix. It consists of a soft iron bar about the size of a knitting needle, surrounded by a helix of wire which forms part of a voltaic circuit with the transmitting instrument, and for intensifying the effect both instruments are provided with sounding-boards, or resonators. From the above description it will be seen that if a note which makes (say) one hundred vibrations per second be sounded in the neighbourhood of the transmitting instrument, its membrane will make one hundred corresponding vibrations, making and breaking the voltaic current one hundred times, and producing one hundred demagnetisations in the receiving instrument for every second of time, so that exactly the same note that was sounded in the transmitter will be audible at the distant station. It is obvious that the duration of, and time between, two notes must be identical at both ends of the conducting wire, and thus is reproduced automatically and without a possibility of error the elements which make up melody, viz., correctness of note combined with measure of time. Following Reiss in Germany, Elisha Gray in America constructed in 1874 his far more perfect electric telephone, in which the transmitting instrument consists of a vibrating reed, which is at once a note-producer and a rheotome or contact-breaker. It is tuned like the reed of a harmonium to its proper note, and when adjusted can only transmit to the receiving instrument the number of currents per second corresponding to the vibrations producing its note. Elisha Gray's receiving instrument is electrically similar in principle to that of Reiss, but consists of a horse-shoe electro-magnet, mounted upon a wooden sounding-box or resonator, with a heavy armature attached to its poles. The transmitting instrument is provided with a key-board similar to that of a harmonium, and each note has its corresponding key and vibrating reed. The same inventor has since introduced his splendidly worked out telephonic telegraph, by which four or more distinct messages may be transmitted in the Morse code simultaneously along a single wire. This apparatus depends for its principle upon having a vibrator at the receiving station, tuned so as to be affected only by its corresponding transmitter at the sending station, and thus the receiving instruments along a line of wire have the power of selecting those messages intended for themselves and letting all others pass. This has also been accomplished by a Danish engineer, M. Paul Lacour, who employs vibratory tuning-forks for transmitting the impulses, and a series of corresponding tuning-forks, each arm of which is inclosed in a magnetic helix for the selecting instrument. This selecting instrument can be used either as a receiving telephone, or by being employed as an intermediate relay may transmit the signals to ordinary telegraph instruments. We give herewith illustrations of the transmitting and receiving instruments of Mr. Graham Bell's articulating telephone, by which the sound of the human voice may be transmitted by electricity along a telegraph line, and heard, as a voice, at the other end. The articulating telephone of Mr. Graham Bell, like those of Reiss and Gray, consists of two parts, a transmitting instrument and a receiver, and one cannot but be struck at the extreme simplicity of both instruments, so simple indeed that were it not for the high authority of Sir William Thomson one might be pardoned at entertaining some doubts of their capability of producing such marvellous results. The transmitting instrument, which is represented in fig. 1, consists of a horizontal electro-magnet, attached to a pillar about 2 inches above a horizontal mahogany stand; in front of the poles of this magnet--or, more correctly speaking, magneto electric inductor--is fixed to the stand in a vertical plane a circular brass ring, over which is stretched a membrane, carrying at its centre a small oblong piece of soft iron, which plays in front of the inductor magnet whenever the membrane is in a state of vibration. This membrane can be tightened like a drum by the three mill-headed screws shown in the drawing. The ends of the coil surrounding the magnet terminate in two binding-screws, by which the instrument is put in circuit with the receiving instrument, which is shown in fig. 2. This instrument is nothing more than one of the tubular electro-magnets invented by M. Niclès in the year 1862, but which has been re-invented under various fancy names several times since. It consists of a vertical bar electro-magnet inclosed in a tube of soft iron, by which its magnetic field is condensed and its attractive power within that area increased. Over this is fixed, attached by a screw at a point near its circumference, a thin sheet iron armature of the thickness of a sheet of cartridge paper, and this when under the influence of the transmitted currents acts partly as a vibrator and partly as a resonator. The magnet with its armature is mounted upon a little bridge which is attached to a mahogany stand similar to that of the transmitting instrument. The action of the apparatus is as follows: When a note or a word is sounded into the mouthpiece of the transmitter, its membrane vibrates in unison with the sound, and in doing so carries the soft iron inductor attached to it backwards and forwards in presence of the electro-magnet, inducing a series of magneto-electric currents in its surrounding helix, which are transmitted by the conducting wire to the receiving instrument, and a corresponding vibration is therefore set up in the thin iron armature sufficient to produce sonorous vibrations by which articulated words can be distinctly and clearly recognised. In all previous attempts at producing this result the vibrations were produced by a make-and-break arrangement, so that while the number of vibrations per second as well as the time measures were correctly transmitted there was no variation in the strength of the current, whereby the quality of tone was also recorded. This defect did not prevent the transmission of pure musical notes, nor even the discord produced by a mixture of them, but the complicated variations of tone, of quality, and of modulation, which make up the human voice, required something more than a mere isochronism of vibratory impulses. In Mr. Bell's apparatus not only are the vibrations in the receiving instrument isochronous with those of the transmitting membrane, but they are at the same time similar in quality to the sound producing them, for, the currents being induced by an inductor vibrating with the voice, differences of amplitude of vibrations cause differences in strength of the impulses, and the articulate sound as of a person speaking is produced at the other end. Of the capabilities of this very beautiful invention, we cannot give them better than in the words of an ear witness, and no less an authority than Sir William Thomson, who in his opening address to Section A at the British Association at Glasgow thus referred to it: "In the Canadian Department I heard 'To be or not to be . . . there's the rub,' through an electric telegraph wire; but, scorning monosyllables, the electric articulation rose to higher flights, and gave me passages taken at random from the New York newspapers: 'S. S. Cox has arrived' (I failed to make out the 'S. S. Cox'); 'the City of New York;' 'Senator Morton;' 'the Senate has resolved to print a thousand extra copies;' 'the Americans in London have resolved to celebrate the coming 4th of July.' All this my own ears heard, spoken to me with unmistakable distinctness by the then circular disc armature of just such another little electro-magnet as this which I hold in my hand. The words were shouted with a clear and loud voice by my colleague judge, Professor Watson, at the far end of the telegraph wire, holding his mouth close to a stretched membrane, such as you see before you here, carrying a little piece of soft iron, which was thus made to perform in the neighbourhood of an electro-magnet, in circuit with the line, motions proportional to the sonorific motions of the air. This, the greatest by far of all the marvels of the electric telegraph, is due to a young countryman of our own, Mr. Graham Bell, of Edinburgh and Montreal and Boston, now becoming a naturalised citizen of the United States. Who can but admire the hardihood of invention which devised such very slight means to realise the mathematical conception, that, if electricity is to convey all the delicacies of quality which distinguish articulate speech, the strength of its current must vary continuously and as nearly as may be in simple proportion to the velocity of a particle of air engaged in constituting the sound." --Engineering.

After Heinrich Hertz demonstrated the existence of radio waves, some were enchanted by the idea that this remarkable scientific advance could be used for personal, mobile communication. But it would take decades before the technology would catch up with the idea. --------------------------------------------------------------------------------

Both the telegraph and the telephone transformed communications in the 1800s, and at the close of the century radio was poised to start a third revolution. Some of the earliest speculation about radio's future centered on the almost mystical idea of portable individual communication. In the February, 1892 issue of Fortnightly Review, Sir William Crookes' Some Possibilities of Electricity looked forward to the day when two persons could use radio signals to privately communicate with each other. Crookes' review included one particularly arresting sentence: "...some years ago I assisted at experiments where messages were transmitted from one part of a house to another without an intervening wire by almost the identical means here described". J. J. Fahie contacted Crookes about this intriguing statement, and was told that the unidentified experimenter was David Hughes, who beginning in 1879 apparently had transmitted and received radio signals, although he was discouraged from further research by reviewers who thought he had not done anything unusual. In 1899, Fahie convinced Hughes to write a short memoir of what he had accomplished twenty years previously, which was included in the Researches of Prof. D. E. Hughes appendix of A History of Wireless Telegraphy. A few months later Hughes was dead -- his obituary appeared in the January 26, 1900 issue of The Electrician. Two decades after that, the March 31, 1922 issue of The Electrician carried an announcement in Wireless Notes (Hughes Equipment) that the inventor's original instruments had been found in a storage area, and put on display at the Science Museum in South Kensington. A photograph of some of this equipment appeared in World's First Wireless Outfit Found in London Tenement, from the August, 1922 issue of Popular Science Monthly. It is interesting to speculate how history might have been changed had Hughes been encouraged to continue his original research.

Guglielmo Marconi soon experimented with mobile communication, as reviewed in Military Automobile for Wireless Telegraphy from the July 27, 1901 Western Electrician, and in a speech to a New York City meeting of the Automobile Club of America, reprinted in the May, 1902, The Cosmopolitan, suggested that in the future Wireless Telegraphy from an Automobile would be a "handy thing for automobiles in general". Charles Mulford Robinson, in the June, 1902 The Cosmopolitan, speculated about the effect unchaperoned Wireless Telegraphy communication would have on romance, and, more practically, suggested the new technology would ensure up-to-the-minute shopping lists. (Twenty years later, romance was still on people's minds, as a song published in 1922, Kiss Me By Wireless proclaimed "There's a wireless station down in my heart... operating just for you and me".)

Five years after Crookes' article, Professor William Ayrton predicted that widespread personal communication using radio would eventually be developed -- a review of his thoughts, Syntonic Wireless Telegraphy from the June 29, 1901 Electrical Review, foresaw that someday "the calling which went on every day from room to room of a house" would be expanded into worldwide communication "extending from pole to pole", although "On seeing the young faces of so many present he was filled with green envy that they, and not he, might very likely live to see the fulfillment of his prophecy." (Ayrton died in November, 1908) Wireless Telephony, from the August 1, 1902 issue of The Electrician (London), reported that "a number of scientists scattered all over the civilised world are eagerly seeking the solution to the problem of wireless telephony", and although so far there had been only limited success, "A future generation may conceivably accomplish as much in wireless telephony as is dreamed of to-day by visionaries." (This review also gently chided Prof. Ayrton for his earlier assertion that being unable to contact someone by wireless telephone would mean that person was dead -- perhaps it was just a case of being temporarily unavailable for less dramatic reasons).

The development of compact radio receivers, especially the crystal detector, increased public speculation about personal telephones, although some foresaw disadvantages to being in constant contact with the outside world, as an editorial comment in the December 17, 1906 New York Times, A Triumph, but Still a Terror, asked "How will it be when we're told, not that somebody's 'on the wire,' but that somebody's 'on the air,' and we are exposed to answer calls from any part of the atmosphere?" In a section of Recent Developments in Wireless Telegraphy, from the June, 1907 Journal of the Franklin Institute, Lee DeForest made light of the idea of wireless telephone as premature. However, following the introduction of Poulsen arc-transmitters for audio transmissions, speculation increased in the period from 1907 to 1911, as promoters claimed that important advances were at hand -- for example, in the August, 1908 Modern Electrics, The Collins Wireless Telephone by William Dubilier suggested that in the near future "every auto will be provided with a portable wireless telephone" in order to call for help if the car broke down. Two years later, A. Frederick Collins was again featured, this time in Wireless Telephone Wizardry from the May, 1910 Technical World Magazine, as author Winston R. Farwell enthusiastically reported "It is now possible to talk without the use of wires with persons in distant parts of a building or in adjacent buildings regardless of the number and thickness of walls and floors intervening. One may take a wireless telephone on an automobile, a motor boat, a yacht, an airship or a submarine, into a caisson, a tunnel or a mine and be able to converse with others at any given point or points on the surface as freely and as plainly as one can now talk over a local telephone with nearby points." Actually the article was a little too enthusiastic, for during the next year Collins and some of his associates at Continental Wireless would be arrested for stock fraud, as the company's actual accomplishments did not match its broad claims. (In its February 12, 1910 issue, Telephony magazine had warned its readers about Collins' dubious reputation in Another Wireless Installation in the Stock Selling Campaign). And not too be left behind in the race to sell worthless stock, United Wireless, in R. Burt's The Wireless Telephone from the November, 1908 issue of that company's The Aerogram, foresaw broad advances in both personal communication and broadcasting, which would actually come years after the company had disappeared into bankruptcy.

By 1911, the lack of progress had triggered widespread skepticism, and when Modern Electrics reviewed Another Wireless Telephone in its October, 1911 issue, it noted dubiously that "the inventor displays the characteristic assurance of success". There were, however, continuing small advances, as Electric Auto as Wireless Station reviewed a successful radiotelegraph transmission, by W. B. Kerrick, from a car located outside Los Angeles, California, as reported in the July, 1911 Technical World Magazine. Also appearing in the same magazine was William T. Prosser's Wireless Telephone for Everybody, from the April, 1912 issue, which reviewed William Dubilier's high-frequency spark system, while the September, 1913 issue featured Edward J. McCormack's favorable report on Victor Laughter's work, also using high-frequency spark, in The Voice From the Air. But commercial success would continue to be elusive.

After a lull of a few years, the introduction of vacuum-tube transmitters reinvigorated the development of audio radio transmissions, and in January, 1916, The Electrical Experimenter looked ahead humorously to the day when people would find it impossible to escape being contacted, in The Wireless 'Phone Will Get You. (Eighty-three years later, Peter Laufer's Wireless Etiquette reviewed this same phenomenon, now a reality, in The wireless as leash). In the U.S. Navy Department's 1916 annual report, Secretary Josephus Daniels reported in Communication by Wireless Telephony that a May, 1916 test had successfully "brought to reality the prediction made to the Secretary some time previously that the time would come when he could sit at his desk and converse with the captain of a ship at sea". In the March, 1917 The Electrical Experimenter,Wireless 'Phone for Hotel Plan reported on investigations by Pacific Coast hotels into the possiblility of installing wireless telephones for guests to communicate with ocean liners. Alfred N. Goldsmith, in Future Development of Radio Telephony section of the 1918 Radio Telephony, predicted "a very rapid development", with the result that "it should become ultimately possible to keep in immediate touch with the traveling individual regardless of his motion or temporary location". In the 1919 U.S. War Department Annual Report, Signal Corps head Major General George O. Squier talked of "the day which I believe is not far distant, when we can reach the ultimate goal so that any individual anywhere on earth will be able to communicate directly by the spoken word to any other individual wherever he may be". In the August, 1919 Radio Amateur News, The Auto Radiophone by A. H. Grebe reported on the author's test installation of a wireless telephone in an automobile. Anticipation was also increasing in Britain, as Pocket Wireless Soon, Predicts Marconi Official, which appeared in the August, 1919 Electrical Experimenter, reported that managing director Godfrey Issacs "foresees the day, not far distant, when pocket wireless telephones will be in wide use". And the November 7, 1920 issue of the Boston Sunday Post featured John T. Brady's Talking by Wireless as You Travel by Train or Motor, which noted "It is now possible for a business man to talk with his office from a moving vehicle", as it reviewed a test two-way radio conversation the author had with Harold J. Power, head of the American Radio and Research Corporation, while Power was in a moving automobile.

In Margaret Penrose's 1922 The Radio Girls of Roselawn (communication extracts), two characters discussed whether they might, pretty soon,"carry receiving and sending sets in our pockets" which would allow them to "send or receive any news we wanted". Jessie is optimistic at first, declaring "It is going to be wonderful before long", and they might even be able to not only hear, but also see persons being talked to. However, later in the book she becomes more conservative, eventually dismissing the idea with "Oh! But that is a dream." And individual communication by radio was, in fact, still largely "a dream" at this time. In Radiotelephony and Wire Systems, from the January 7, 1922 Telephony, Henry Shafer calmed nervous telephone company executives by reviewing the "very substantial reasons why the radiophone cannot supplant the wire telephone systems". It wouldn't be until the 1980s that the technology needed for such things as pagers and wireless telephones would be perfected to the point that they became widely available consumer products. So, although the telephone's use for individual communication largely overshadowed its applications for distributing entertainment and news, the reverse would be true for radio, with broadcasting dominating for decades, before radio transmissions would be significantly developed for personal, mobile communication.

The first major use of radio was for navigation, where it greatly reduced the isolation of ships, saving thousands of lives, even though for the first couple of decades radio was generally limited to Morse Code transmissions. In particular, the 1912 sinking of the Titanic highlighted the value of radio to ocean vessels. --------------------------------------------------------------------------------

Prior to the introduction of radio, maritime communication was generally limited to line-of-sight visual signalling during clear weather, plus noise-makers such as bells and foghorns with only limited ranges. Beginning in the mid-1800s, an international convention was developed using special semaphore flags to exchange messages between merchant ships, as reviewed by the The International Code of Signals section of the 1916 edition of Brown's Signalling. In the same book, Examination Paper on the use of the International Code of 1901 provided an overview of signalling proficiency that a candidate needed to master in order to qualify for a Certificate of Competency issued by the British Board of Trade Examinations. Over time a huge vocabulary of signals was created, even as the expansion of radio was beginning to make visual signalling obsolete. The Urgent and Important Signals: Two Flag Signals section of Brown's Signalling reviewed over 600 basic signals, grouped by category, with meanings as diverse as "Where are you bound?" (SH), "In distress; want immediate assistance" (NC), "Keep a good look-out, as it is reported that the enemy's war vessels are going about disguised as merchantmen" (OJ), and "Heave to or I will fire into you" (ID). And in addition to the two-flag signals, there were thousands of three- and four- flag groupings, for communicating a huge variety of messages, including ship identifiers, geographical names, temperature and barometer readings, compass points, and units of measurement. The thousands of signals in part resulted from an apparent attempt to include every possible variation of a phrase, e.g. BUP stood for "He, She, It (or person-s or thing-s indicated) had (has, or, have) not done (or, is, or, are not doing)", which is included in a small selection of these additional signals from the U.S. Navy's 1909 edition of The International Code of Signals. The development of radio resulted, by 1911, in the addition of two more visual signals -- ZMX for "Wireless telegraph apparatus" and ZMY for "Report me by wireless telegraphy" -- which heralded the beginning of a major decline in the use of seaboard visual signals. However, to this day NC continues to be an international distress signal when using flag signalling.

In the 1872 edition of the annual Journal of the Society of Telegraph Engineers, Captain P. Columb's Visual Telegraphy. Signals of Distress, &c., in the Mercantile Marine reviewed the confusion and limitations often encountered, prior to the invention of radio, by ships trying communicate during emergencies, while suggesting that the "immediate object for the Telegraph Engineer... should be devising means for communicating at night, and in fog". Just a few years after Heinrich Hertz's historic proof of the existence of electromagnetic radiation, the Notes section of the April 10, 1891 The Electrician (London) included a strikingly advanced suggestion, that someday lightships might use microwave beams to overcome the problem of fog interfering with shore communication. In a December, 1891 lecture given at Inverness, Scotland, Frederick T. Trouton returned to this topic, noting that "There is little doubt that a powerful beam of this sort would, unlike light, be unabsorbed by fog; so, looking into the future, one sees along our coasts the light-houses giving way to the electric house, where electric rays are generated and sent out, to be received by suitable apparatus on the passing ships, with the incomparable advantage that at the most critical time--in foggy weather--the ship would continue to receive the guiding rays." A similar prediction appeared in the July, 1892 issue of The New England Magazine, as an extract from Elihu Thompson's Future Electrical Development stated "electricians are not without some hope that signalling or telegraphing for moderate distances without wires, and even through dense fog may be an accomplished fact soon", making possible a sort of radio-wave lighthouse. Although it turned out it would take decades before practical microwave transmissions were developed, a few years later Marconi would introduce a successful system using longwave signals, and soon many of the larger passenger liners began carrying radio equipment. The addition of shipboard operators quickly captured the public imagination -- The Work of a Wireless Telegraph Man, by Winthrop Packard, from the February, 1904 The World's Work, recounted the activities of a Marconi operator on the passenger liner St. Paul, at a time when shipboard radio transmitters were so rare that operators had to wait for other similarly-equipped vessels to come into range. In the December 23, 1911 issue of Chamber's Journal, an unnamed Marconi Wireless operator reminisced about a decade of Life as a Wireless Telegraphist, including a time when mysterious printing by a tape-coherer receiver turned out to be due to the fact that "a big beetle was crawling about the relay of the receiver". Wireless Telegraphy on Mail Steamers, from the November 19, 1904 Electrical Review, featured Emile Guarini's overview of radiotelegraphic operations by mail packets running between Ostend, Belgium and Dover, England. Wireless Tracking of Fish, from the December 1, 1906, Electrical World, reported that six Atlantic Coast vessels of The Fisheries Company had been outfitted with DeForest equipment, so they would be able to "notify each other and all assemble without delay to the location where the fish are being caught".

By 1912, when Francis A. Collins' The Wireless Man was published, all the major passenger liners were equipped with radio transmitters. In the opening chapter of this book, Across the Atlantic, Collins reviewed how radio now kept vessels on transatlantic voyages in nearly constant communication with shore stations and each other. Initially large passenger liners were the primary commercial ocean-going vessels to install radio transmitters. But in the 1913 edition of Marconi's annual The Yearbook of Wireless Telegraphy and Telephony, Wireless Telegraphy and the Mercantile Marine promoted the money-saving benefits of radio for smaller ships, proclaiming that "Wireless telegraphy is now recognised as an essential part of the equipment of ocean-going passenger vessels, and, to a rapidly increasing extent, of cargo vessels and smaller craft." The 1916 edition of Brown's Signalling noted that "Any book dealing with signalling in general is incomplete without a reference to wireless telegraphy which, for mercantile signalling, offers so many advantages over other methods of signalling" in its The Quenched Spark System section, which featured a shipboard installation offered by Siemens. The General Information chapter of Percy S. Harris' 1917 book, The Maintenance of Wireless Telegraph Apparatus, covered the basics for operating a Marconi shipboard radio installation, in part noting that "Nothing is more irritating than to find, when the point of a pencil suddenly breaks, that there are no sharpened pencils in reserve."

In 1905, the distinctive Morse code character string ...---... (SOS) was adopted by Germany for signifying distress, as reported in German Regulations for the Control of Spark Telegraphy, from the May 5, 1905 issue of The Electrician. (A German-language account of the adoption of the April 1, 1905 regulations appeared in the April 27, 1905 issue of Elektrotechnische Zeitschrift: Regelung der Funkentelegraphie im Deutschen Reich). In 1906, SOS was adopted at the Berlin Radiotelegraphic Convention as the official international standard for distress calls, although Marconi operators in particular were slow to conform -- G. E. Turnbull's Distress Signalling, from the 1913 edition of the annual The Yearbook of Wireless Telegraphy and Telephony, noted that the Marconi companies had adopted "C.Q.D." as a distress signal in 1904, only to have it supplanted by the international ratification of "SOS" two years later. Turnbull reports that even after this some of the old-time Marconi operators continued to use C.Q.D. for a time, although "The change of the call letter is, however, a sentimental regret, and 'C.Q.D.' is being gradually forgotten." However, in 1909 not all the Marconi operators had made the switch, reflected by the title of Alfred M. Caddell's article about sinking of the Republic, C Q D, which appeared in the April, 1924 issue of Radio Broadcast magazine. The February, 1909 issue of Modern Electrics printed a transcript of radio communication related to this event in Operator Binns' Wireless Log. And a review by Baltic Captain J. B. Ranson of the twelve long hours it took to find the Republic, The Triumph of Wireless from the February 6, 1909 issue of The Outlook, included Ranson's opinion that, due to recent scientific advances -- especially radio communication -- "the passenger on a well-equipped transatlantic liner is safer than he can be anywhere else in the world."

Radio greatly reduced the terrible isolation of ships during emergencies, and was quickly responsible for saving thousands of lives. Notable Achievements of Wireless, from the September, 1910 Modern Electrics, reviewed early cases where radio had provided maritime assistance, beginning with the January, 1909 sinking of the Republic. Radio Broadcast later ran two articles about SOS emergencies which had occurred in the 1910s, written by George F. Worts under the heading "Adventures of a Wireless Free-Lance". My First SOS--A Farce Comedy was humorous, while A Thrill that Came Thrice in a Night-time reviewed a series of events which saw both rescue and tragedy. Some Stirring Wireless Rescues, a chapter from Francis A. Collins' 1912 The Wireless Man, reviewed a number of incidents which had occurred over the previous three years, while noting that radio had changed things so much that an "up-to-date Robinson Crusoe", instead of facing years of isolation after a shipwreck, would now be able to radio for help, then listen to the latest stock market quotations while awaiting rescue. However, radio did not eliminate all the fatalities, as American Marconi's J. Andrew White, in the July, 1915 The World's Advance, reported the dedication of A Memorial Fountain to Wireless Operators, which commemorated ten operators who had lost their lives at sea. A February 1, 1916 pamphlet issued by the Department of Commerce, Important Events in Radiotelegraphy, included an extensive section, Wireless as a Safeguard to Life at Sea, reviewing radio's use in seagoing emergencies and rescues.

One of most dramatic sea disasters was the sinking of the Titanic in the North Atlantic on the morning of April 15, 1912. The Titanic -- along with the Carpathia, which picked up the survivors -- was staffed by Marconi Wireless operators, and Marconi shore stations along the Canadian, Newfoundland, and U.S. coasts handled most of the communication as the Carpathia slowly made its way to New York City. In addition, many inland stations tried to get information about the disaster, which in this unregulated era resulted in extensive interference and confusion. Included in all this was the American Marconi equipped facility, MHI, located atop the New York Wanamaker department store, where David Sarnoff was station manager. Sarnoff would later vastly exaggerate his importance, in progressively embellished retellings, including completely false claims that he was first in the United States to hear of the disaster, and that President Taft silenced other stations so that Sarnoff could become the sole link for gathering information. However, the operators at the New York Wanamaker station did spend long hours listening for reports and survivor lists. A collection of extracts about the Titanic comes from the Boston American and recountings by David Sarnoff: The Titanic and the New York Wanamaker Station. Marconi management also sent messages to the operators aboard the Carpathia, telling them to limit what they were publicly reporting, until their accounts could be sold to the newspapers. These activities, plus a complaint that the operators aboard the Carpathia were unresponsive to Navy vessels sent by U.S. President Taft, were covered by the New York Herald: Marconi Company and Titanic Disaster Communication. Amateur radio operators were blamed for much of the chaos experienced immediately after the Titanic sank, but it has never really been clear how many of the problems were actually their fault. In 1922, in The Book of Radio (Titanic extract), Charles William Taussig wrote about the next evening after the Titanic sank, as amateur operators, voluntarily responding to the emergency, scrupulously maintained complete radio silence in the New York City area, in order to avoid interfering with the survivor lists being transmitted by the Salem.

One area where radio's revolutionary effect on ocean-going communication was readily apparent was when shipboard newspapers started to include daily news summaries. As early as 1899 Guglielmo Marconi used onboard reception in order to prepare a shipboard newspaper, as reported in A Wireless Telegraphy Newspaper, from the November 22, 1899 Electrical Review. Regular nightly summary news transmissions by Marconi shore stations followed, beginning in June, 1904 -- their introduction was reported in Mid-Sea Wireless Telegraph News, from the May, 1904 The Electrical Age. Thanks to radio, the late 1906 issues of the S. S. Hamburg's onboard newspaper, The Atlantic Daily News, featured news reports "received by Special Marconigrams", and passengers were also notified that they could send telegrams to nearby ships and shore stations.

-------------------------------------------------------------------------------- As with most innovations, radio began with a series of incremental scientific discoveries and technical refinements, which eventually led to the development of commercial applications. But profits were slow in coming, and for many years the largest U.S. radio firms were better known for their fraudulent stock selling practices than for their financial viability. --------------------------------------------------------------------------------

In 1895, Guglielmo Marconi became the first person to successfully demonstrate the controlled transmission and reception of longrange radio signals. But once the details of his advances became widely known, a large number of competitors sprang up on both sides of the Atlantic, many of whom developed important refinements of their own.

Scientists in the United States were particularly intrigued by reports of Marconi's advances. A short notice in the January 23, 1897 Scientific American, Telegraphy Without Wires, stated that "a young Italian, a Mr. Marconi" had recently demonstrated to the London Post Office the ability to transmit radio signals across three-quarters of a mile (one kilometer), and that "if the invention was what he believed it to be, our mariners would have been given a new sense and a new friend which would make navigation infinitely easier and safer than it now was". (The May 14, 1898 issue of the same magazine, in a short note titled Wireless Telegraphy, repeated a completely unfounded rumor that Marconi had lost his financial backers, because "the syndicate which kept it going for over a year has arrived at the conclusion that there is no money in it".) A few months later, the May 26, 1897 New York Times' Topics of the Times--Marconi Extract reported that "English electricians, particularly those connected with the army and navy, are much interested in the Marconi system of telegraphy without wires" as the inventor had now increased the signalling range to two or three miles (five kilometers), with expectations of developing even greater ranges. At a December 15, 1897 meeting in New York City, W. J. Clarke gave "an exhibition of the Marconi apparatus" consisting of a spark-gap transmitter and a coherer receiver, reported in the Wireless Telegraphy section of the 1897 edition of Transactions of the American Institute of Electrical Engineers. Two years later the Institute returned to the topic at a November 22, 1899 gathering, as reported in Possibilities of Wireless Telegraphy (New York Meeting) from the 1899 edition of organization's Transactions. However, by now Marconi's work was better understood, and this time the participants, with much stronger electrical engineering backgrounds than the self-taught Marconi, identified certain inefficiencies and errors in Marconi's approach. Although the coherer receiver had sometimes been referred to as a "marvelously sensitive electric eye", Reginald Fessenden, a professor at the Western University of Pennsylvania, reviewed his experiments using detectors that were far more sensitive and reliable, and reported measurements which disputed Marconi's assertion that the range of radio signals was proportional to the product of the heights of the sending and receiving antennas. And although the Marconi companies would long promote the supposed superiority of the "whip-crack" effect of spark transmitters, Michael Pupin, a Columbia University professor, expressed his belief that spark transmitters were inherently inefficient, and suggested that an ideal transmitter would create undamped "oscillations in a wire without a spark-gap", outlining basic ideas which would eventually be incorporated in far more efficient continuous-wave transmitters.

An expansive review in the May 7, 1899 New York Times, Future of Wireless Telegraphy, looked optimistically at the prospects for radio technology, predicting that, once a few technical obstacles were overcome, "no prudent man will try to set limits to the development of wireless telegraphy", including the possibility that "All the nations of the earth would be put upon terms of intimacy and men would be stunned by the tremendous volume of news and information that would ceaselessly pour in upon them". An article in the February 21, 1903 issue of Harper's Weekly Magazine, American Wireless Telegraphy, profiled Lee DeForest and Reginald Fessenden, who would be the two mos