" And before you could say "rabbit ears" or "station break," he was talking about his favorite shows, "48 Hours" and "The Big Bang Theory.
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"We have, like, two or three callers that are still in the Sessions camp that call regularly," Clark told me off-air, during a station break.
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"Station Break: Will Satellite Consolidation Hurt Label Promotion Efforts?", Billboard 120 (17): 5.
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The server would operate from stored playlists, in which each programme, each commercial advertisement, each live or network feed and each station break had been configured in advance.
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The marriage was not a happy one.LeBow, Guy. "Station Break: Freddie B." In Watch Your Cleavage, Check Your Zipper! Everything You Were Never Supposed to Know About TV. SP Books, 1994.
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On April 5, 1993, KEZK switched to a sports radio format as 590 The Fan;Caesar, Dan. "KEZK To Make a (Station) Break From the Approach of KASP", St. Louis Post-Dispatch. April 2, 1993. Sports p. 5D.
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All three iterations of WSCR utilized the same studios at 4949 West Belmont Avenue in Chicago's Cragin neighborhood—shared with WXRT—from 1992 until moving to the NBC Tower in 2001,Feder, Robert. "WXRT staffers packing up for another station break", WBEZ. February 25, 2010.
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Technical Difficulties was a Filk group composed of Sheila Willis, Linda Melnick and T.J. Burnside (now T.J. Burnside Clapp). They won The Pegasus Award ("For Excellence In Filking") in the Best Performer category at the Ohio Valley Filk Fest convention in 1989, and produced two albums on cassette, Please Stand By and Station Break.
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Eastern to begin its coverage. At 1:57 p.m. EST, just as Frank McGee joined the reporting, NBC began broadcasting the report as their camera was ready and working. Three minutes later, at 2:00 EST, CBS' camera was finally ready and Cronkite appeared on the air after a brief station break, with ABC beginning its coverage at the same time.
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In broadcasting, continuity or presentation (or station break in the U.S. and Canada) is announcements, messages and graphics played by the broadcaster between specific programmes. It typically includes programme schedules, announcement of the programme immediately following and trailers or descriptions of forthcoming programmes. Continuity can be spoken by an announcer or displayed in text over graphics. On television continuity generally coincides with a display of the broadcaster's logo or ident.
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Interviews can sometimes take up the entire segment. Segment "B" ends at 29:00 past the hour, and a promotion for All Things Considered and a short music bed lead into a second full-length newscast at half past the hour. A one-minute music bed follows for a station break. The "C" segment follows at 34:35 and is sometimes covered by stations with local reports as well.
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The Global network has long been much more decentralized than either CBC or CTV. For most programs, there is no "network" feed per se, and in effect every commercial break is a station break. National advertising is certainly available, but such ads are seamlessly integrated into local ad blocks. In fact, it is not uncommon to see different lengths of commercial breaks from one station to the next even during identical programming.
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A station break ensued, followed by a 20-minute sketch based on a new movie and featuring several of the movie's stars. That abridged version of a movie apparently whetted listeners' appetites for the real thing. One writer reported, "Lolly [Parsons] could sometimes double a picture's earnings by admitting it to the program." In a sense, Hollywood Hotel may have marked a transition in the relationship between the movie industry and radio.
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Segment D ran from forty minutes to forty-nine minutes past the hour, and another two-minute station break ensued. Segment E (duration 8:20) began at fifty-one minutes past the hour. For the show's first three years, it was divided into Segments E1 and E2, which lasted roughly three and a half minutes each. On February 20, 2007, Day to Day combined the two E segments into one long one.
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He suggests authority without affectation." The program was perhaps best known for the station break that preceded the newscast, where Tom Gregory announced: "It's 10 P.M. Do you know where your children are?" The Ten O'Clock News on WNEW followed a talk show hosted by Merv Griffin and was followed by a local talk show hosted by Alan Burke. Gould described the acerbic Burke as "a piece of sandpaper wired for sound.
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At eighteen minutes past the hour, a two-minute station break starts. The first minute is a music bed solely for use of the member stations. The second minute, from nineteen to twenty past, is a "headlines" segment in which the NPR newscaster on staff that morning recaps the major stories of the hour. Some stations decide to use the entire two minutes for local purposes, taking the opportunity to deliver their own headlines, underwriting or events calendars.
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Somers apologised to Connick on-air after a brief station break. He said that nobody had intended to deliberately offend the viewers, the guests, or the audience, and he described the sketch as a "bit retro". The incident drew some negative response within Australia, but drew heavy negative reaction from commentators around the world, including in the US and the UK, and very prominently highlighted significant differences between the cultural acceptability of blackface in Australian culture compared with American culture.
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A thirty-second music bed follows, and then Segment A begins. Segment A (duration 12:29) contained the top story of the day, and usually synopses of longer-term issues viewed through the lens of current events. Segment topics ranged from the American judicial system to economics to geopolitics to conversations with notable newsmakers, and more. Segment A closed at nineteen minutes past the hour and leads into a two-minute station break. At twenty-one after, Segment B (duration 7:49) began.
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The return lasts thirty seconds, and ends with the tagline "It's Morning Edition, from NPR News," or some variation thereon. At 45:35 past the hour, the "D" segment (duration 4:00) is typically composed of two to three stories focusing on health news, international events, or short updates on national stories. At 49:35 past the hour the segment ends, and another two-minute station break begins. The "E" segment begins at 51:30 (duration 7:29) and differs between hours.
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It features important news stories, although not necessarily the most important news stories of the day. Often it is here that the most significant interviews or developing stories are placed. Segment A runs 11:29 in duration, and closes out at :18 after with a two-minute station break. At :20:35 past the hour, ATC picks back up with Segment B. This segment, which runs 8:24, features more news and analysis, and often contains lighter stories and commentary.
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Just before the 7:24am station break on the morning of October 6, 1981, word reached NBC of the shooting of Egyptian president Anwar Sadat. Tom Brokaw announced what was known at the time, then threw to the commercial break. Upon returning at 7:30, Brokaw began what turned out to be eight-and-a-half hours of coverage—a Today record. NBC's Cairo bureau chief Art Kent provided live telephone reports, as Egyptian television stations ceased broadcast in the chaotic aftermath of the shooting.
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Another two-minute station break, following the same music bed/headlines format as the first, ensues. Segment C, the longest segment of the hour, starts at 40:00 after the hour and runs for seventeen minutes, forty-nine seconds. Weekend Edition Saturday usually slots musical performances, arts stories or interviews in segment C. Weekend Edition Sunday uses the time for its weekly puzzle segment with Will Shortz, and interviews and light features. At the end of the segment, the host credits theme song composer B.J. Leiderman and signs off for the hour.
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On realizing that NBC was switching away from the game, Goodman said to Lindemann by phone, "Where the hell has our football game gone?" During the station break which began with the network announcement, Goodman called a BOC phone to which only he knew the number and which was not part of NBC's CIrcle-7 exchange (which blew a fuse 26 times in an hour). When Cline answered it, Goodman ordered him to go back to the game. Although Cline knew there was no way to reconnect the feed, he promised to do the best he could.
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The production brought back several failed builders (since they were, metaphorically, "in the doghouse" with the show) to do the build. This time around, the builders were finally successful. The show originally only remodeled residential houses, but in the third season, expanded to public buildings such as a teachers' lounge of a school, a fire station kitchen, and a police station break room. During the final season, the series regularly employed product placement by including a bald actor portraying advertising mascot Mr. Clean who would stand around during the last-minute cleanup jobs and nod approvingly.
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When the transaction is settled, it will actually post for the value of the purchase.Snopes.com. Station Break, by Barbara and David Mikkelson. April 24, 2005, retrieved September 27, 2006. There currently is litigation in the State of Florida that alleges that some gas stations do not adequately inform their customers that a certain fixed dollar amount (usually between $75 and $100) will be requested as a pre-authorization in connection with a customer's purchase of self-service gasoline at the pump using a debit card and that this practice violates various Florida consumer protection and civil laws.
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As a result, melody patterns from "Surrender" appear prominently many times in the score, mainly in the action cues, but it can also be heard in the dramatic "All in a Day's Work" track. The DVD version of the film has an "isolated music track" allowing the viewer to watch the film with just the background music. Scoring of the film had not been completed when the soundtrack was released so on a second album was released by Chapter III Records which removed the theme songs, Moby's Bond theme remake and "Station Break", and had additional music, as well as an interview with David Arnold.
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However, Guercio and the band members found themselves increasingly at odds over creative decisions, tour schedules, and finances, and they parted ways soon after completing Chicago XI in late 1977. Guercio's attention was not only on the big-time artists. In 1969 he encountered street poet and musician Moondog, going on to produce two albums with the eccentric character; on the second he performed vocals with Moondog and the artist's daughter. Guercio produced the Firesign Theatre's single "Station Break", which was released in November 1969 (and later appeared on the Forward Into the Past anthology), and in April 1970, Guercio produced the "Shoes for Industry" segment of their classic LP Don't Crush That Dwarf, Hand Me the Pliers.
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At 2:00 pm EST, with the top of the hour station break looming, Cronkite told the audience that there would be a brief pause so that all of CBS' affiliates, including those in the Mountain and Pacific time zones which were not on the same schedule, could join the network. He then left the radio booth and went to the anchor desk in the newsroom. Within twenty seconds of the announcement, every CBS affiliate except Dallas' KRLD (which was providing local coverage) was airing the network's feed. The camera was finally operational by this time and enabled the audience to see Cronkite, who was clad in shirt and tie but without his suit coat, given the urgent nature of the story.
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In the earliest days, wearing a tuxedo to intone the formal sign-on when WNBT went on the air each evening, Forrest announced every station break and every program. He covered wrestling, boxing, hockey, horse racing and movie premieres. He interviewed men and women on the street, introduced dramatic productions, was a quiz show announcer and variety show host and even became the network's first full-time news presenter after Lowell Thomas, whose radio news had been simulcast on television, decided to do his broadcasts from his upstate home. In those pre-World War II days, he became the most visible presence on television, when there were fewer than 5,000 television sets in America, mostly concentrated in the New York City vicinity.
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His journey takes him to the ruins of New York, where he discovers that the Martians have died – as with the novel, they fell victim to earthly pathogenic germs, to which they had no immunity. Life eventually returns to normal, and Pierson finishes writing his recollections of the invasion and its aftermath. After the conclusion of the play, Welles reassumed his role as host and told listeners that the broadcast was a Halloween concoction: the equivalent, as he put it, "of dressing up in a sheet, jumping out of a bush and saying, 'Boo!'" Popular mythology holds that the disclaimer was hastily added to the broadcast at the insistence of CBS executives, as they became aware of panic inspired by the program; in fact, at the station break, network executive Davidson Taylor had attempted to prevent Welles, who had added the speech at the last minute, from reading it on air for fear of exposing the network to legal liability, but Welles delivered it anyway.
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It has been hypothesized that the show suffered this sudden and drastic ratings plummet because many male viewers and teenagers were unable to make it home from work or school earlier in the afternoon to watch. This was not the only time Procter & Gamble saw one of its soaps take a significant drop in ratings in this particular timeslot of 2:30 pm; the same problem affected its long-running sister soap Search for Tomorrow when it was moved to that same timeslot seven years later. By summer 1975, CBS began considering expansions of two of the Procter & Gamble-owned soap operas, Search for Tomorrow and As the World Turns, to forty-five minutes daily, in response to NBC's full-hour expansions of Another World and Days of Our Lives some months earlier. The network changed its mind, however, when it realized that doing so would force them to take the thirty-minute station break slot at 1:00 p.m.
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Centralcasting is a form of broadcast automation which operates on the presumption that large quantities of content are similar and are handled in a consistent or repetitive manner across multiple stations in a broadcast station group. While each individual station has its own digital on- screen graphic logo, call sign and identity, much of the content on a typical affiliate station consists of a common television network or syndicated programming with a small number of local broadcast programming time blocks employed for television news and sports television coverage, public affairs programming or local television commercials. Traditionally, many operations at an individual broadcast station were handled manually by broadcast engineering technicians at the local station. Network feeds would arrive by satellite; these would contain time cues to indicate when the station could switch to a prerecorded local station break from a videotape recorder, a local station ID from a character generator or a local program such as a newscast.
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