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TServo2049

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About TServo2049

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  1. Oh, I’d almost bet actual money on it, especially considering that KICU used Telesound’s “You Should See Us Now” promo campaign concurrently with that news package.
  2. Hi there! I am reaching out because I'm doing a research project on Hal Brown. I saw several of your posts on VTS Productions and Hal, and wanted to connect with you to learn more. This site isn't letting me send messages for some reason, but my e-mail is eric.e.ellington@gmail.com if you get this. Look forward to talking!

    1. Samantha

      Samantha

      Can confirm that this is legit.

  3. Correction from a post I did some weeks back theorizing about the possible origins of the KTXL/WRAL early 80s music package: Cascom most certainly did not do the WRAL 1982 animations. I was re-reading a Millimeter back issue in my personal collection, and was reminded that I had already seen stills from the WRAL '82 animation package in an ad for Bill Feigenbaum's studio (which was based in NYC). Just wanted to put that here. As to that WTVX package, I still think it could have been done in Dallas. (KHTV's music image package in the "39 Gold" period - which, as you say, didn't have corresponding news music - also sounds to have been done in Dallas. I swear it sounds like the late Chris Kershaw on solo vocals, but whether it was done by JAM, or he did it independently, I have no idea. Also I don't think I've heard a version that wasn't camcorded off a TV, as most of the YT clips I've seen of that period were.)
  4. I was going to bring that up, but didn't get around to it. I've heard that compilation before, and I honestly believe that theme has to be misattributed on NMSA. The theme cut there sounds quintessentially Tuesday. Not sure where the claim that it was Peters originated (perhaps it was on the old Pipeline news themes site in the early 2000s, and got passed around from there, but I'd have to go on Wayback Machine to be sure). Now that we've had a lot more package IDs from both Tuesday and Peters over the years, I'm thinking it is Tuesday. I can't imagine that one lone Peters thing somehow mistakenly wound up in this compilation of stuff that is definitely known to be Tuesday.
  5. I am assuming that WBMG only used Pulsar as bumper music going to commercials; it's heard behind a "coming up" tease / stock market summary / community bulletin board or something like that, in that compilation of 70s/80s Florida/Alabama news clips that has floated around for years. In fact, I believe NMSA's audio montage is just ripped directly from that compilation, without any edits.
  6. Yeah, I'm with @Samantha. My personal belief is that Tuesday9 was a straight-up ripoff of the Telesound NBC affiliate package. I would presume that either Tuesday came up with a faster-paced clone and WESH was the only taker, or maybe WESH commissioned it because they wanted something faster and they were already a Tuesday client. No idea which though.
  7. From what I remember, Earl Grizzell did the original 1983(?) iteration without any involvement from VTS, then did the more well-known 1986 "symphony" update at VTS (where he worked from 1986-90). Since he's the guy who wrote the theme, perhaps he'd know more about the later themes which used the melody. There's a 1995 copyright assignment document referencing Grizzell's original 1986-87 WNTCF registration, with Grizzell as party 1 and Kelly Broadcasting as party 2. So Kelly could have had some kind of rights to the melody and commissioned the themes from unrelated producers. (Granted, that document is dated 1995, several years after said mystery themes, so who knows?)
  8. Nice! I just bring up how little we know about any broadcast music that came out of Nashville, and then this comes up. (I just hope that perhaps some of our questions about unidentified music might be answered by further research into the Nashville ad music industry. There were several notable national jingle campaigns to come out of Nashville, the classic “Red Lobster, for the seafood lover in you” comes to mind, so I’m sure they must have been the origin of at least some other news music beyond what we already know.)
  9. The singers in the promo sound almost like Dallas to me. This MIGHT have been the work of VTS, who was based in Asheville, NC but recorded most of their stuff in Dallas (as well as having several working connections with FirstCom founder/TM co-founder Jim Long), but I certainly won’t be able to confirm anything from Hal Brown, because the Oodles World venture he was running at the time of our correspondence turns out to have been a Ponzi scheme, he pled guilty to defrauding investors of $22 million, he’s awaiting sentence and he may well spend the rest of his life in prison (he’s 70, the maximum sentencing totals up to 50 years). So bizarre to find this out, he seemed like such a nice guy over the phone, always willing to discuss his VTS work with me (at least until I started always getting his voicemail; this was a few years ago, but perhaps it did have to do with the Oodles con getting longer and longer, I guess I’ll never know). He seemed sincere over the phone, but I guess like they say, “beware the nice ones.” So we’ll have to search for news articles and other stuff (or I’d have to establish contact with someone else who was involved with VTS) if we ever want to know about VTS’ involvement in this or anything else we don’t know about. Fortunately, we know a lot as it is (not all of it reflected on NMSA - see: WRTV’s “Making a Difference” package which is still listed there as WRTV 1990/Unknown), but I don’t believe I ever got an answer from him on this package (I had my suspicions, I remember wanting to ask him, and I believe I even emailed the audio to him back when we were still talking, but I feel like I’d remember if I got confirmation one way or the other).
  10. Also, on the subject of WRAL, I don't think it's JAM. I'm also not sure it's the same singer on both those videos - they sound similar, but quite a few female vocalists from the South do. And that KSN thing doesn't sound like the usual Dallas vocal group we'd hear on JAM stuff, either. My current thoughts about WRAL 1982's possible place of origin go to a city that produced a lot of broadcast advertising music, but which nobody ever really talks about: Nashville. The reason I am thinking this is not even because of the music (though the vocalist on that WRAL promo vaguely reminds me of Janie Fricke, of all people), but because of the animation. Allow me to introduce you to a Nashville-based production company called Cascom. For those who have never heard of them, but know about the stock animations you see in a ton of old news opens and promos and stuff, especially for smaller stations - think of the laser outline cameraman with the mustache, the four spotlights, the rotating globe in the shiny ring, the city in the distance with the searchlights, all the stuff in that WLIG open - that was them.https://www.youtube.com/watch?v=bpjjYyCIg64 https://www.youtube.com/watch?v=bpjjYyCIg64 (I keep getting an error that YT doesn't allow embedding of this video, so just click on the link.) (And apparently, they were also involved in the distribution of those even more ubiquitous Cranston-Csuri CGI graphic templates that showed up everywhere in the mid/late 80s; they never owned nor were under common ownership with Cranston-Csuri, so it must have been some kind of licensing agreement, or maybe they contracted Cranston-Csuri to do them for lack of their own CGI production. I'm really not sure.) Cascom produced those generic animations (well, excepting the Cranston-Csuri stuff, of course) and syndicated them as a generic package, but they also did custom stuff (some of which was repurposed into the generic effects package - for example, the really long demo has a package of elements you can see in promos online for a couple Australian stations like SAS-10 Adelaide, and you can also spot starburst effects from United Artists Theaters trailers and camera shutter effects from General Cinema policy trailers, which they animated under contract for an Atlanta-based outfit called Cinema Concepts, which later merged with Cascom around 1987 or so, but evidently split back off from them later). The WRAL animations really look like the Cascom stuff I've seen - even knowing that so much of these backlit animation graphics looked similar and used similar tricks, no matter who made them - so if the animation was done in Nashville, might the music have also been done there? The fact that WRAL 1982 also showed up on KTXL, a station who definitely used Cascom's generic graphics, and had custom animations that looked very similar, also makes me wonder. So does the presence of a vaguely familiar voice in the "Take Off With Forty" song (and also possibly in "Go for the Stars"), who reminds me of the female vocalists in old Pepper-Tanner/William B. Tanner jingles. Those were done in Memphis, and I believe that some Memphis session singers (like Janie Fricke) eventually moved to Nashville, they're close enough that there could have been back and forth. I'm not that sure of the extent of Cascom's involvement in broadcast music, but it is food for thought.
  11. This is all accurate to what I'd learned from my correspondence. Hayes Productions (but not Mr. Byrne) also would appear to be behind "It's a New 4" for KTVY, based on 1.) it appearing in what appears to be an animation demo reel of theirs which NewsActive3 posted some years back, alongside KMOL '79, WAGA '79, and the 1976-77 Outlet group package; and 2.) the lead vocalist on the separately uploaded full promo, Johnny Hooper, confirmed to me in a separate conversation that it's his voice on the song, and that he would travel from Dallas to San Antonio a couple times a year to sing jingles there. (Side note: While I don't believe Hayes was behind "17 and You" for WJKS, I also feel like I hear Hooper's voice in the group of that ID jingle, and my research suggests that might have also been done in San Antonio and not in Dallas. There's a copyright registration for "Seventeen and you" by one Robert H. Bruce; there was/is also a Robert H. Bruce in San Antonio, who ran United Audio Recording.)
  12. I may have asked Hal Brown some years back about WRAL 1982; if so, he didn’t recognize it, because I’d have told people if I had gotten a composed ID. (VTS did, of course, do WRAL’s next package “The Place to Be.”) I’d previously theorized that WRAL/KTXL was by the same composer as the KTLA 1982 theme (a company called AdMusic; I got the information by asking some KTLA veterans and have corresponded with one or both of the principals). But IIRC, the former AdMusic writer/co-owner I spoke to did not recognize it - though he said they did one other station package for a station in Charlotte, I forget if they remembered which one. (Strangely, nobody I have spoken to remembers the KTLA package being used by KSTW, or being syndicated to a bunch of other stations in conjunction with a graphics package. That seems odd, but memory *is* fallible.)
  13. There’s plenty of clips of this on YT, so I just picked one at random. Rede Globo’s Bom Dia Brasil debuted in 1983 with the same theme music which NMSA labels as “WOKR 1982 ‘Morning Break’ Theme” (though unlike the WOKR open audio there, this is in the clear): I have no idea if WOKR used it first, or if the theme is misdated by NMSA, and Globo used it first. Probably the former, since I can’t imagine how a Brazilian TV music track would wind up in Rochester, NY - but if i hadn’t already heard audio of it from an American TV station, I’d have just assumed it was composed for Globo. It sounds of a piece with most of their other, seemingly custom-commissioned and domestically-produced music, even if it wasn’t actually made for them. As it is, I have no idea of its origin. The only video I’ve found online relating to “Morning Break” is a promo from 1985 with a different piece of music. Maybe someday a video clip of the show with this theme will turn up...
  14. Oh, wow! I thought I’d never see that AMC intro again! Someone else posted that open on YT maybe 11-12 years ago (no idea who; that video disappeared at least a decade ago), and I noticed the WROC resemblance even then. (I also have vague memories of the station ID music being similar to WROC’s, but I could be misremembering.) I hear a hint of Tuesday in there (the brass and percussion), but my memory suggests that I sent Tom DiNoto audio of the similar WROC theme some years back when I was corresponding with him via email, and he didn’t recognize it.
  15. An ID with that music has been circulating for years, on a compilation of assorted IDs and commercials that has been floating around since the early 2000s. (Genius7277 uploaded it in chunks on YouTube years back, it's still up and the KXAS ID is in there.) I've been waiting to hear this theme beyond the 5-second ID for 15 years.
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