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AM radio uses amplitude modulation,…Transmissions are affected by static and interference because lightning and other sources of radio emissions on the same frequency add their amplitudes to the original transmitted amplitude.
….Currently, the maximum broadcast power for a civilian AM radio station in the United States and Canada is 50 kW….These 50 kW stations are generally called “clear channel“ stations because within North America each of these stations has exclusive use of its broadcast frequency throughout part or all of the broadcast day.
FM broadcast radio sends music and voice with less noise than AM radio. It is often mistakenly thought that FM is higher fidelity than AM, but that is not true…. Because the audio signal modulates the frequency and not the amplitude, an FM signal is not subject to static and interference in the same way as AM signals.
The foregoing originates from wikipedia.org. Take that as you will.
Most descriptions of Jean Shepherd’s radio work describes his major New York City station as “WOR AM.” This jangles the daylights out of me every time I come across it. Because from his earliest NY broadcasts he was on WOR AM & FM. In fact, from September 1956 and into 1965, I mainly (if not entirely) listened to him on WOR FM. My parents had bought an early AM/FM radio so that my mother could listen to the once-a-week social studies class in which I was one of four or five students, broadcasting from the WNYE FM studios atop Brooklyn Technical High School I attended.
BTHS showing radio broadcast antenna.
This Zenith is like my old maroon AM/FM radio with the big gold dial.
Most people who now comment on their live-listening-days, listened on little AM transistor radios (as kids, the radios hidden under their pillows). Another reason so many leave out FM, I’d guess, is that once people encounter the inaccurate exclusion of FM in a reference, they repeat it without realizing that it isn’t quite correct. This way of thinking (accepting as true while failing to check original sources) causes many errors in descriptions of many aspects of Shepherd’s work.
Shepherd was not happy when the Federal Communications Commission decreed that the world would be a better place if stations with both AM and FM outputs broadcast different programming on each rather than the same programs:
Oh—this is WOR AM and FM in New York. This is the last time we’ll be on FM, right? Ohhh, it’s a poor, sad note. This is the last night we’ll be on FM. [said with irony.] Of course radio’s moving forward. Now I understand we have some magnificent programming for you—on FM. I’m sure of that—[Laughs.]
[Sings.] I’m forever blowing bubbles. [Laughs.] Ah well. Ah well. Progress is a slow descent into quicksand.–transcriptions snatched from my EYF!
It’s my understanding that the quicksand of later-day WOR included programs featuring Rush Limbaugh, Sean Hannity, and rock-and-roll. Yes, Ol’ Shep would have been delighted (“#@^%*#”).
Listen to the station identifications on Shep’s broadcasts
prior to mid-1966 for the old, familiar announcement.
On some of the Limelight broadcasts Shep
has the live audience yell:
“This is WOR AM and FM, New York!”
On the stairway in the old Hayden Planetarium, part of the American Museum of Natural History where I worked for 34 years, there was a sign that said, TO SOLAR SYSTEM AND RESTROOM. I wonder who has that sign now, because the old planetarium, an official New York City landmark, is no more. For decades I looked through the window by my desk, across the museum’s public parking lot, to the green-domed planetarium, until the day it was scheduled to be demolished and they put up a shroud around it.
Many wondered why the old landmark building had to be destroyed instead of redesigned inside. Many mourned the old building while invisible crews behind the white sheets killed it and carted it away.(I scavenged two bricks, which I still have.) One of us mourners, who happened to be writing poems in those days, wrote an elegy and designed it into a book.
Just the first and last 2-page spreads in the book.
How many millions would be spent and how many millions to maintain the new technology to be installed in the new, modern, glass cube? Indeed, that the newcomer was stunning, was somewhat undercut in some employees’ minds when someone circulated a magazine ad that showed an unheralded office building somewhere, that had been previously architected in that same sphere-in-glass-cube-format. Well, still, the newcomer on Manhattan’s Upper West Side was and is spectacular.
Somehow, I dwell on the past, maybe because, before that old Planetarium’s demise, I got to design into it our museum’s installation of a temporary exhibit of original Star Trek costumes and other memorabilia loaned to the Smithsonian. That original had been installed in traditional rectangular cases set blandly one after another with no sense of ambiance. I had other ideas in mind, as shown by the entrance and by the central exhibit case full of costumes in a setting evocative of the Enterprise’s bridge.
We had very little time to build and install. I ordered the Star Trek type font and designed a blank form so my memos would grab priority-attention of the Construction Department. I also used it for a personal memento with our kids. (Junior Officers’ uniforms designed and made by Allison M. Bergmann.)
Stirring my memories of the Planetarium-past,
while designing and installing this exhibit eons ago and light years away,
yet garnering what must be the envy of trekkies across the universe,
I got to mock-fire a painted, wooden phaser set to stun,
hold in my hand Mr. Spock’s wax ear,
sit in Captain Kirk’s chair,
and touch a tribble.