text:
Shane MacEachern

Shane MacEachern (born December 14, 1967) is a Canadian former professional ice hockey centre. He played one game in the National Hockey League with the St. Louis Blues in the 1987–88 season, on January 2, 1988 against the Calgary Flames. The rest of his career, which lasted from 1987 to 1995, was spent in the minor leagues and Europe.

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Shane MacEachern


text:
Ethelton railway station

Ethelton station is located on the Outer Harbor line. Situated in the north-western Adelaide suburb of Ethelton, it is 13.1 kilometres from Adelaide station. The station is currently closed for reconstruction.

History
Ethelton station opened in 1916, following construction of the Commercial Road viaduct at Port Adelaide and a new bridge across the Port River. This new line diverted trains from Adelaide to Semaphore and Outer Harbor away from the congested rail yards at Port Dock station and to avoid heavy traffic along St Vincents Street in the centre of Port Adelaide. It has been unstaffed since the ticket office closed in 1980, and there is a small interchange for local buses adjacent to the station.

The railway tracks through Ethelton are dual gauge and capable of carrying both broad gauge and  trains. Until July 2008, the dual gauge tracks were used by freight trains from Dry Creek and the Rosewater loop which passed through Ethelton to access industrial facilities on the Lefevre Peninsula and the container terminal at Pelican Point. All freight services through the station ceased when the new Mary Mackillop Bridge opened. The disused standard gauge rails have been removed, however the dual gauge sleepers remain in place.

Sections of the platform were replaced in 2014, and the station's seating and shelters were replaced in 2017. The platforms will be demolished and rebuilt in 2024.

title: Ethelton railway station


text:
Talk:Born and Bred

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Blair MacKasey

Blair David MacKasey (born December 13, 1955) is a Canadian former professional ice hockey defenceman. He played one game in the National Hockey League, with the Toronto Maple Leafs during the 1976–77 season, on October 5, 1976 against the Colorado Rockies. He was drafted in the fourth round, 55th overall, by the Washington Capitals in the 1975 NHL Entry Draft. He was also drafted by the Indianapolis Racers (fourth round, 47th overall) of the World Hockey Association in the 1975 WHA Amateur Draft. MacKasey was born in Hamilton, Ontario.

Playing career
As a youth, he played in the 1967 Quebec International Pee-Wee Hockey Tournament with a minor ice hockey team from Verdun, Quebec.

MacKasey played one game in the National Hockey League, with the Toronto Maple Leafs during the 1976–77 season. He also played minor-league baseball for two seasons in the Montreal Expos organization.

Post-playing career
After his playing career ended, MacKasey was head scout for the Phoenix Coyotes from 1996, and then head scout for Hockey Canada from June 2002 until July 2005, when he became Director of Player Personnel. From January 2006 to 2013 MacKasey held the position of Director of Professional Scouting for the Minnesota Wild, and then served as their Director of Player Personal from 2013 to 2018.

title: Blair MacKasey


text:
Talk:Microwaving

How about merging this article with Microwave oven? Peter S. 11:41, 5 October 2005 (UTC)

 * I agree. It's kind of silly how that article keeps referring to this one.  Pfalstad 21:43, 7 October 2005 (UTC)

Contradicting referrences?
This is from the "Mircowave oven" article:

''It is a common myth that metallic kitchen equipment, like kitchen forks and knives, can somehow repel the microwaves back into the magnetron and cause it to catch fire. This is highly unlikely. See microwaving for more information.''

But in this article it states :''...Metals do not absorb microwaves effectively. Instead, metals reflect microwaves, thereby preventing the latter from reaching the food. If the microwaves are not absorbed inside the oven, the oven can be damaged by electrical arcs and overheating of the microwave source.....''

Can someone do something about this?

--24.85.147.171 23:12, 28 October 2005 (UTC)

Authenticity of information
This entire article sounds somewhat like those urban legends ripped from a magazine of sorts. Some of the "dangers of microwave" stated in the article lack a source of any kind...

I don't know how to do this, but can somebody tag this article for a rewrite of some sort? --24.85.147.171 23:18, 28 October 2005 (UTC)

title: Talk:Microwaving


text:
Talk:Birbhum district

Comments
Dr.saptarshi 20:46, 26 April 2006 (UTC)
 * We need to find a good copyright-free map.
 * We need to put information on
 * Demography (eg distribution of population of different religions),
 * Economy,
 * Transport,
 * Education,
 * Sports
 * Reformatting is required for the page
 * Some good photograph (eg that of Khowai or baich khela etc)

I have an interest in the region and can provide some assistance. I have already done some cleaning up. Maybe, I will do so again. However, I do not have any photgraphs.

Please do not put in unnecessary links. It makes the reading jarring. P.K.Niyogi 15:45, 14 July 2006 (UTC)

I have done another round of work on this and replaced the clean up tag with a stub tag. It requires further attention. I am still working on Asansol and Durgapur and want to work on Bardhaman district, as there is hardly any material on it. Bardhaman will consume much of my time. May be, I will return later to Birbhum, if no one else does anything significant, in the meantime. P.K.Niyogi 07:51, 16 July 2006 (UTC)

By "ever unsettled" as an adjective to Santhals I means both migratory as well as fighting behavior.. They are a component of the "Bir" behavior of this land. They come in from bihar as labourers, then get exploited and dont realize.. and suddenly when this realization dawns upon them, they explode and create furor.. But they are simple people easy to diatract. Just one bag of toddi or one bucketful of puffed rice chills their brain and cools their tummy. They need more education and basic amenities. :)-Dr.saptarshi 13:30, 12 October 2006 (UTC)

Can any of you please explore this site and curette some encyclopedic info? http://www.wbcensus.gov.in/DataTables/01/FrameTable2_4.htm Please click on the presentation at the top menu for some very interesting stuff. Dr.saptarshi 14:11, 12 October 2006 (UTC)

Waist vs Neck
Chandan, to me it looks more like waist. The northern districts like Darjeeling for the head, Dinajpur and Malda the bosom and Birbhum and Murshidabad the waist.--ManasShaikh (talk) 17:53, 28 February 2009 (UTC)

 * The wording is "south of the narrow neck of of the state". Uttar Dinajpur is tradtionally referred to as the narrow neck. I think that the concept can be dropped. - Chandan Guha (talk) 22:20, 28 February 2009 (UTC)
 * It is dropped - Chandan Guha (talk) 00:16, 1 March 2009 (UTC)
 * OK. Thanks. :) --ManasShaikh (talk) 18:36, 1 March 2009 (UTC)

Query re: place names
I have an 1842 source here that says "... coal mines in Pachete and Bheerbhoome ... in Bengal ... within the space included by the river Adji to the north, the border of Burdwan to the east, the river Damooda to the south, and a circular line to the west, described from the town of Aytura in Pachete, at the distance of ten miles from Aytura, between the one river and the other."

The nearest match for "Bheerbhoome" is this article, although I can find no match for "Pachete". Can anyone place this area? Are there any old maps that might assist? It relates to a new article that I am fettling up, Suetonius Grant Heatly. Thanks. - Sitush (talk) 10:48, 26 October 2011 (UTC)

 * The place/area could be in the Asansol region, which has Ajay River to the north and Damodar River to the south. The area was once ruled by the Rajas of Panchkote (Panchet). - Chandan Guha (talk) 11:17, 26 October 2011 (UTC)

 * Thanks. Yes, that makes sense because of the coal mining aspect, but I couldn't find Pachete or Bheerbhoome there either. What with transliteration issues + old-fashioned Brit spelling, getting a fix on places can be a real pain. - Sitush (talk) 11:24, 26 October 2011 (UTC)
 * Meant to say, Panchkote --> Panchet --> Pachete: it could be. Does it work out phonetically? - Sitush (talk) 11:26, 26 October 2011 (UTC)
 * Please see Rennel's map around 1764-66, which shows "Pachait" in what is now the Asansol Region. It also shows "Soorie". - Chandan Guha (talk) 11:48, 26 October 2011 (UTC)

 * Genius. I can see another problematic name on there, Palamow. This does the trick for me. Thanks very much for your help. - Sitush (talk) 11:53, 26 October 2011 (UTC)

 * The map also shows "Beerboin", just around where Birbhum district presently is. - Chandan Guha (talk) 11:59, 26 October 2011 (UTC)

 * It shows Pachete by that name, just above the capital letter A of "Pachait Burd". I've found a description that refers to "the great hill of Pachete, from which innumerable dykes issue". Whether that means the hill is called Pachete or there is a hill at a place called Pachete is moot. I am wondering whether it would be possible for me to sort of highlight the various names relevant to my on this map & upload it under another file name, or whether that would just cause other problems. I'm not very good with image work. I had hoped to link to articles but that now looks unlikely. - Sitush (talk) 14:59, 26 October 2011 (UTC)

 * "Pachait" is both a place (see small letters) and an area. "Burd" is shortened version of Burdwan. "Pachait" obviously refers to Panchakot kingdom, which was in decline in Rennel's time. There is a hill named Panchet Hill on the shores of Damodar River. It was earlier called Panchakot Hill. Panchet Dam has been named after the hill. There is another place Garh Panchkot linked with this name. - Chandan Guha (talk) 15:25, 26 October 2011 (UTC)

Including Bengali script in the lead
I believe that this states clearly, without any ambiguity, "The body of each article, preferably in its first paragraph, should list all frequently used names by which its subject is widely known. When the native name is written in a non-Latin script, this representation should be included along with a Latin alphabet transliteration. For example, the Beijing article should mention that the city is also known as Peking, and that both names derive from the Chinese name 北京." Keeping this in view, native name in the native script should have been included in the article. Shovon (talk) 04:41, 2 July 2013 (UTC)
 * This article is part of WP:WikiProject India. The project have decided that Indian articles should not include indic script in the lead. See WP:INDICSCRIPT. noq (talk) 19:04, 2 July 2013 (UTC)
 * Sorry noq, the closing admin's observation hardly comes across as a consensus to me. Its written, "There is ultimately no consensus about which language to use, but I see a fair bit of support in regards to IPA and pronunciation and would think this would help normal readers, so I am going to say that 'Using IPA to clarify pronunciation' is the consensus of this discussion, all other sections do not meet a level of consensus needed to pass.'" I don't see the justification at all! Shovon (talk) 05:14, 3 July 2013 (UTC)
 * I have mentioned your concerns on the project talk page to see what participants of that project think. noq (talk) 07:01, 3 July 2013 (UTC)
 * The consensus was there and has been widely applied. However, various discussions at WT:INB have indicated that appropriate scripts would be ok for geographic articles.. "Appropriate" means scripts that are the primary official language for the area, as determined by reference to sources. I don't like this exception but it does seem to have support. - Sitush (talk) 08:08, 3 July 2013 (UTC)
 * Hmmm. So it means that -
 * a) For geographic articles, script of the primary official language of the area can be added.
 * b) For biographical articles, only IPA and pronunciation should be added.
 * So, I am re-inserting the Bengali script in this article then. I hope it is alright. Shovon (talk) 10:24, 6 July 2013 (UTC)

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Cuisine of Birbhum
I am so thrilled to see that this article which I had started 10 years back has become a good article. Hats off to all the people whose focussed team work made this achievement. Would it be possible for any of the locally available contributors to get some information on the unique foods, cuisines of this area? Eg I remember that there were some sort of crispies like "Hurum" and "shyao bhaja" etc, and there were murabba made of asparagus roots that I had seen in Suri which was locally called "shatamooli'r morobba".. which I think are unique delicacies worth documenting and presenving. But of course for the text content we will need some 3rd party references as we cannot put original research here. But some original pictures can be put in --Dr.saptarshi (talk) 10:30, 29 October 2016 (UTC)

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Lyricon

The Lyricon is an electronic wind instrument, the first wind controller to be constructed.

Invented by Bill Bernardi (and co-engineered by Roger Noble and with the late Lyricon performer Chuck Greenberg ), filed for patent on October 5, 1971, by Computone Inc., patented under #US3767833 October 23, 1973 and then manufactured by Computone Inc. in Massachusetts in the early 1970s. The first Lyricon was completed in 1974 with Tom Scott being the first customer for the instrument. The Lyricon was available in two designs, the first being somewhat silver and resembling a soprano saxophone and the latter, black and resembling an alto clarinet. Using a form of additive synthesis, the player was allowed to change between types of overtones with a key switchable between fundamentals of G, Bb, C, Eb, and F (allowing the instrument to be used to play transposed parts written for saxophones, trumpets, etc.) and an octave range that could be switched between low, medium, or high. The instrument also had controls for glissando, portamento, and "timbre attack" (a type of chorusing). The Lyricon used a bass clarinet mouthpiece, with a sprung metal sensor on the (non-vibrating) reed that detected lip pressure. Wind pressure was detected by a diaphragm, which moved and changed the light output from an LED, which was in turn sensed by a photocell to give dynamic control. The Lyricon I was originally priced at $3,295 which was quite expensive for the time, also probably one of the reasons why the instrument was sold only in small numbers.

Two additional re-modelled Lyricons were engineered later. First the "Wind Synthesizer Driver", which had control voltage outputs for lip pressure, wind pressure and pitch, to control the VCA and VCF and pitch of an external analog synthesizer. Then the "Lyricon II" was engineered, which included a two-oscillator synthesizer. All the Lyricons used the same saxophone style fingering system, with two octave keys above the left-hand thumb rest. The Wind Synthesizer Driver and the Lyricon II also had a transposition footswitch feature, where a foot pedal could be used to transpose the entire range up or down one octave. None of the Lyricons were engineered to use MIDI (which was invented after Computone went out of business in 1980 when Yamaha started to develop their WX7 MIDI wind instrument ), although external MIDIfication modules were produced by JL Cooper and STEIM.

Approximately 200 units of the Lyricon I were handmade and approximately 2000 units of the driver and Lyricon II were manufactured. However, since Computone went out of business and due to the death of the instruments' inventor in 2014, the number of functioning instruments has greatly reduced as few people have the know-how to repair them and spare parts are hard to obtain.

The design of the Lyricon controller was later borrowed to form the basis for Yamaha's WX-series MIDI wind controllers.

Prominent examples of a Lyricon's sound can be heard in Gerry Rafferty's song "Night Owl", played by Raphael Ravenscroft, and in Michael Jackson's song "Billie Jean", where Tom Scott used the instrument.

Prominent Lyriconists

 * Ian Anderson
 * Jay Beckenstein
 * Richard Elliot
 * Kenny G
 * Chuck Greenberg
 * Steve Jolliffe
 * Roland Kirk
 * Michał Urbaniak
 * Yusef Lateef
 * Andy Mackay
 * Bennie Maupin
 * Dan Michaels
 * Lenny Pickett
 * Jonas Kullhammar
 * Courtney Pine
 * Raphael Ravenscroft
 * David Roach
 * Tom Scott
 * James Senese
 * Wayne Shorter
 * Bruno Spoerri
 * Pedro Eustache
 * John L. Walters
 * Charles "Prince Charles" Alexander
 * Chris Wood
 * Takeshi Itoh

title: Lyricon


text:
Dusa McDuff

Dusa McDuff FRS CorrFRSE (born 18 October 1945) is an English mathematician who works on symplectic geometry. She was the first recipient of the Ruth Lyttle Satter Prize in Mathematics, was a Noether Lecturer, and is a Fellow of the Royal Society. She is currently the Helen Lyttle Kimmel '42 Professor of Mathematics at Barnard College.

Personal life and education
Margaret Dusa Waddington was born in London, England, on 18 October 1945 to Edinburgh architect Margaret Justin Blanco White, second wife of biologist Conrad Hal Waddington, her father. Her sister is the anthropologist Caroline Humphrey, and she has an elder half-brother C. Jake Waddington by her father's first marriage. Her mother was the daughter of Amber Reeves, the noted feminist, author and lover of H. G. Wells. McDuff grew up in Scotland where her father was Professor of Genetics at the University of Edinburgh. McDuff was educated at St George's School for Girls in Edinburgh and, although the standard was lower than at the corresponding boys' school, The Edinburgh Academy, McDuff had an exceptionally good mathematics teacher. She writes:

"I always wanted to be a mathematician (apart from a time when I was eleven when I wanted to be a farmer's wife), and assumed that I would have a career, but I had no idea how to go about it: I didn't realize that the choices which one made about education were important and I had no idea that I might experience real difficulties and conflicts in reconciling the demands of a career with life as a woman."

Turning down a scholarship to the University of Cambridge to stay with her boyfriend in Scotland, she enrolled at the University of Edinburgh. She graduated with a BSc Hons in 1967, going on to Girton College, Cambridge as a doctoral student. Here, under the guidance of mathematician George A. Reid, McDuff worked on problems in functional analysis. She solved a problem on Von Neumann algebras, constructing infinitely many different factors of type II1, and published the work in the Annals of Mathematics.

After completing her doctorate in 1971 McDuff was appointed to a two-year Science Research Council Postdoctoral Fellowship at Cambridge. Following her husband, the literary translator David McDuff, she left for a six-month visit to Moscow. Her husband was studying the Russian Symbolist poet Innokenty Annensky. Though McDuff had no specific plans it turned out to be a profitable visit for her mathematically. There, she met Israel Gelfand in Moscow who gave her a deeper appreciation of mathematics. McDuff later wrote: "[My collaboration with him]... was not planned: it happened that his was the only name which came to mind when I had to fill out a form in the Inotdel office. The first thing that Gel'fand told me was that he was much more interested in the fact that my husband was studying the Russian Symbolist poet Innokenty Annensky than that I had found infinitely many type II-sub-one factors, but then he proceeded to open my eyes to the world of mathematics. It was a wonderful education, in which reading Pushkin, Mozart and Salieri played as important a role as learning about Lie groups or reading Cartan and Eilenberg. Gel'fand amazed me by talking of mathematics as though it were poetry. He once said about a long paper bristling with formulas that it contained the vague beginnings of an idea which he could only hint at and which he had never managed to bring out more clearly. I had always thought of mathematics as being much more straightforward: a formula is a formula, and an algebra is an algebra, but Gel'fand found hedgehogs lurking in the rows of his spectral sequences!"

On returning to Cambridge McDuff started attending Frank Adams's topology lectures and was soon invited to teach at the University of York. In 1975 she separated from her husband, and was divorced in 1978. At the University of York, she "essentially wrote a second PhD" while working with Graeme Segal. At this time a position at Massachusetts Institute of Technology (MIT) opened up for her, reserved for visiting female mathematicians. Her career as a mathematician developed further while at MIT, and soon she was accepted to the Institute for Advanced Study where she worked with Segal on the Atiyah–Segal completion theorem. She then returned to England, where she took up a lectureship at the University of Warwick.

Around this time she met mathematician John Milnor who was then based in Princeton University. To live closer to him she took up an untenured assistant professorship at the Stony Brook University. Now an independent mathematician, she began work on the relationship between diffeomorphisms and the classifying space for foliations. She has since worked on symplectic topology. In the spring of 1985, McDuff attended the Institut des Hautes Études Scientifiques in Paris to study Mikhael Gromov's work on elliptic methods. Since 2007, she has held the Helen Lyttle Kimmel chair at Barnard College.

In 1984 McDuff married Milnor, now a professor at Stony Brook University, and a Fields medallist, Wolf Prize winner and Abel Prize Laureate.

Work and research
For the past 30 years McDuff has been a contributor to the development of the field of symplectic geometry and topology. She gave the first example of symplectic forms on a closed manifold that are cohomologous but not diffeomorphic and also classified the rational and ruled symplectic four-manifolds, completed with François Lalonde. More recently, partly in collaboration with Susan Tolman, she has studied applications of methods of symplectic topology to the theory of Hamiltonian torus actions. She has also worked on embedding capacities of 4-dimensional symplectic ellipsoids with Felix Schlenk, which gives rise to some very interesting number-theoretical questions. It also indicates a connection between the combinatorics of J-holomorphic curves in the blow up of the projective plane and the numbers that appear as indices in embedded contact homology. With Katrin Wehrheim, she has challenged the foundational rigor of a classic proof in symplectic geometry.

With Dietmar Salamon, she co-authored two textbooks Introduction to Symplectic Topology and J-Holomorphic Curves and Symplectic Topology.

Honours and recognition
McDuff was the first to be awarded the Satter Prize, in 1991, for her work on symplectic geometry; she is a Fellow of the Royal Society (1994), a Noether Lecturer (1998) and a member of both the United States National Academy of Sciences (1999) and the American Philosophical Society (2013). In 2008 she was elected a Corresponding Fellow of the Royal Society of Edinburgh. She was a Plenary Lecturer at the 1998 International Congress of Mathematicians (ICM) and an Invited Speaker at the 1990 ICM. In 2012 she became a fellow of the American Mathematical Society. In 1999, she was the first female Hardy Lecturer, an award from the London Mathematical Society. She is also a member of the Academia Europaea, and is part of the 2019 class of fellows of the Association for Women in Mathematics.

In 2010, she was awarded the Senior Berwick Prize of the London Mathematical Society. For 2017 she received, jointly with Dietmar Salamon, the AMS Leroy P. Steele Prize for Mathematical Exposition. In 2018 she received the Sylvester Medal by the Royal Society.

title: Dusa McDuff


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Talk:Bankura district

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title: Talk:Bankura district


text:
Ken Mann

Kenneth Ross Mann (born September 5, 1953) is a Canadian retired professional ice hockey right winger who played in one National Hockey League game for the Detroit Red Wings during the 1975–76 season. Mann previously served as a coach in the national senior amateur men's ice hockey league.

title: Ken Mann


text:
Julie Anthony

Julie Anthony may refer to:

 * Julie Anthony (singer) (born 1949), Australian soprano
 * Julie Anthony (tennis) (born 1948), American tennis player

title: Julie Anthony


text:
Ndombolo

Ndombolo, also known as dombolo, is a genre of dance music originating in the Democratic Republic of the Congo. Derived from soukous in the 1990s, with fast-paced hip-swaying dance rhythms, often accompanied by upbeat, percussion-driven music, the style became widespread in the mid-1990s and the subsequent decade, dominating dancefloors in central, eastern, and western Africa. It inspired West African popular music, coupé-décalé, Kuduro, and East African dance music.

Ndombolo customarily features lead vocalists, backup vocalists, guitars, drums, and synthesized sounds. The lyrics often explore themes of human relations, marriage, courtship, trickery, disappointment, and Congolese sociopolitical culture. Prominent musicians such as Papa Wemba, Dany Engobo, Koffi Olomide, Werrason, Awilo Longomba, Quartier Latin International, Général Defao, Aurlus Mabélé, Extra Musica, Wenge Musica, and Wenge Musica Maison Mère played a pivotal role in popularizing the genre.

Etymology
Etymologically, "ndombolo" derives from Kikongo, meaning "to ask or solicit". The lexicologist Arizona M. Baongoli, specializing in Lingala, expounds that "ndombolo" encapsulates a genre of Congolese dance, literally meaning "gorilla" or "chimpanzee". The dance choreography involves hip gyrations, showcasing the posterior while executing forward and backward movements. Baongoli posits that this stylized dance mimics gorillas' and chimpanzees' gait, dance, or movements during courtship rituals. The Parisian writer Milau K. Lutumba elucidates that this metaphorical construct emerged as a collective expression of the Congolese populace's hope for an end to the brutality, terror, injustice, and misery perpetuated during the reign of president Mobutu Sese Seko. The genesis of the term coincided with Mobutu's ouster from power by the Alliance of Democratic Forces for the Liberation of Congo, led by Laurent-Désiré Kabila. In the aftermath of Mobutu's exile in May 1997, musicians immortalized Kabila as the embodiment of "ndombolo". Lutumba notes that this symbolic renaming marked a turning point in the country's history, signifying a desire for positive change and a departure from the oppressive era. The term took on additional layers of meaning when president Kabila, seen for the first time on television in 1996, was immediately identified as a ndombolo—a dwarf, a characterization stemming from the extensive time he spent in the bush as a guerrilla fighter, highlighting his pliability, elasticity, and strategic intelligence, reminiscent of the smart monkeys often depicted in African tales. In African folklore, the monkey character is portrayed as an intelligent figure who, through wit and cunning, prevails over larger, stronger animals such as lions and leopards.

Form
Ndombolo's dance style is characterized by convulsive and fast-paced hip movements with intricate steps, combining floating arm movements, whirling body rotations, and ape-like poses. Men typically bend low and box in the air while women undulate their hips and bottoms with plenty of facial expressions. The hip-swaying is often accompanied by synchronized footwork and precise leg movements while maintaining a relatively stationary upper body. Ndombolo is usually danced in pairs or groups. Dancers form close connections with their partners and engage in coquettish movements that reflect the connection present in the accompanying music.

Meanwhile, the musical elements unfold in a frenetic sébène, a cyclic repetition of a certain number of notes during the passage of two chords, with an emphasis on the rhythm guitar. This repetitive soundscape gains momentum as the tempo intensifies, with the guitarist incorporating gimmicks and caesuras to craft a distinctive sound. The role of the guitarist is shared with an atalaku, a singer who, from the music's outset, directs the percussion, galvanizes the audience, and augments assertive rhythms through impassioned MC harangue. The hypnotic sway of atalaku persists through powerful jolts of guitar and drums, emerging as the central pivot around which the rhythm revolves.

Origins and foreign label takeover
During the late 1960s and early 1970s, Franco Luambo, Tabu Ley Rochereau, and Zaïko Langa Langa revolutionized soukous by removing the horn section and wind instruments and elevating the snare drum and electric guitars. Nelson George notes that this transformation resulted in a high-octane auditory quality that produced hits and dance crazes that gained popularity across Africa and major European cities, launching the careers of many homegrown artists, most notably world music singer Papa Wemba. However, the fiscal insolvency that befell Congolese record labels such as Parions-Congo, Parions Mondenge, International Don-Dass, and Molende Kwi Kwi following the collapse of the Mazadis, Sophinza S.P.R.L., and Izason recording labels, coupled with the transition from vinyl to compact discs, led to national phonographic production sinking into lethargy during the 1980s. Foreign labels specializing in African and Caribbean music took over, starting with Sonodisc and Sonima (France). However, this also gave the Democratic Republic of the Congo a substantive platform for the proliferation and cultivation of homegrown artists.

Formation and paternity debate

By the end of the 1990s, musicians such as Radja Kula, Wenge Musica, Koffi Olomide, and Général Defao joined Sonodisc, orchestrating a paradigm shift that transformed soukous into raunchy, fast-paced dance music, renaming it ndombolo.

The genre's paternity is a subject of contentious debate, with some attributing it to Radja Kula in 1995, and others crediting Wenge Musica. Researcher Manda Tchebwa posits that Wenge Musica's generation was instrumental in shaping the style. The BBC has also credited the band, acknowledging them as pioneers of the style, with their rapid hip movements and body swaying, occasionally accompanied by abrupt gestures.

Heyday
Ndombolo quickly established itself as a popular African dance style across Africa and into the continent's diaspora in Belgium, France, the UK, Germany, Canada, and United States. In May 1997, JB Mpiana's ndombolo-infused debut album, Feux de l'amour, became the first ndombolo album to attain a gold record, with over 150,000 copies sold. This success reverberated in Central Africa, East Africa, France, and Belgium, which in turn augmented ndombolo's visibility in francophone and anglophone countries.

Koffi Olomide's ndombolo album Loi, released in December 1997, also secured a gold record, with 25,000 copies sold in France and 105,000 internationally. The album's eponymous single became synonymous with ndombolo dance, making waves across Africa and France with a combination of the singer's deep baritone voice and sophisticated arrangements, blending old-school rumba and keyboard melodies and ending in a guitar climax.

On 29 August 1998, Olomide became the first Congolese artist to sell out the Olympia Hall in Paris. The concert, featuring ndombolo-infused tracks, is widely acknowledged as crucial in popularizing the genre. In December 1998, the Extra Musica ensemble from the Republic of the Congo released their fourth studio album, Etat-Major, marking the first ndombolo record to attain broad success in English-speaking African countries. The album's eponymous single is characterized by multi-thematic lyrics, catchy melodies, and distorted guitar riffs.

Awilo Longomba played a significant role in popularizing ndombolo music much across West Africa. He has characterized his music as "techno-soukouss", signifying a new variation of soukous that integrates elements of techno music into ndombolo, sometimes fused with electro, dance music, or Afro zouk. In 1998, Longomba released his second studio album, titled Coupé Bibamba. The eponymous track, featuring Jocelyne Béroard, achieved widespread success in Africa and Europe as well as within diaspora communities globally, and remains popular in Africa. The song's broad appeal led to renditions in various native languages, including Yoruba and Nigerian Pidgin. The album's success bolstered Longomba's visibility, culminating in three consecutive sold-out concerts at Lagos National Stadium, establishing him as the first Congolese artist to dominate Nigerian airwaves.

In 1999, Wenge Musica Maison Mère debuted their ndombolo-infused album Solola Bien!, which achieved gold certification and experienced immediate success in Africa and France. The record's eponymous single, along with Ferré Gola's "Vita Imana", garnered significant popularity in France. Notably, Wenge Musica Maison Mère's track "Augustine" was recognized as one of the "five songs that made Congo dance" by the French pan-African weekly news magazine Jeune Afrique.

Censorship and resurgence
Laurent-Désiré Kabila's rise to power in Congo prompted speculation and misinformation, with rumors of impending bans on miniskirts, women's pants, and love song on airwaves, as well as the closure of nightclubs. In 1998, Libération reported a perceptible decrease in the number of soukous orchestras in Kinshasa, along with strict regulation of public spaces. Only a few nightclubs, including le Circus, le Seguin, le Gin Fizz, l'Imprévu, l'Atmosphère, le Savanana, and le M16 remained accessible for public revelry.

By the early 2000s, numerous African television stations banned ndombolo due to its perceived "pornographic" nature, alleging that it compromised youth morality. In Cameroon, ndombolo faced prohibition for being deemed excessively erotic and obscene. Critics contended that Cameroon's imposition emanated from the belief that ndombolo encroached upon local music genres like makossa and bikutsi. Paradoxically, despite prohibitions, many artists continued to release records that dominated discos, bars, and clubs across Africa, characterized by their distinctive bass, tingling guitars, and soaring falsettos. In Europe, the sound became synonymous with African music, catapulting artists like Papa Wemba into high demand.

On 19 February 2000, Olomide made history as the first African solo artist as well as ndombolo artist to headline a sold-out performance at the Palais Omnisports de Paris-Bercy in Paris (now Accor Arena), selling 17,000 tickets solely through word-of-mouth promotion. His performance garnered the attention of ndombolo enthusiasts and set a precedent for subsequent Congolese musicians. According to a report by Libération, more than 5,000 people were unable to gain entry due to seating capacity constraints. On 16 September 2000, Wenge Musica Maison Mère followed suit, becoming the second African act to achieve a sold-out concert at the same venue. On 26 June 2001, Werrason released his debut album, titled Kibuisa Mpimpa (alternately known as Opération dragon). The record, a fusion of ndombolo and Congolese rumba, achieved immense popularity in Africa, earning Werrason two consecutive Kora Awards, for Best Male Artist of Africa and Best Male Artist of Central Africa, in the same year. On 22 September 2001, JB Mpiana became the third Congolese artist to perform at Paris-Bercy, captivating his audience with several ndombolo tracks. During this period, ndombolo gained significant traction in Paris, with Radio France Internationale reporting that it had garnered substantial attention beyond the "Afro community circles of Paris" in April 2003. The genre was noted to be "seducing the post-black-white-beur generation, in the name of an increasingly strong discourse on diversity".

In December 2003, Wenge Musica Maison Mère released a two-track maxi-single titled Tindika Lokito, which included the eponymous song, used in promotion for the beer brand Skol, along with "Allez À L'Ecole". "Tindika Lokito" boosted ndombolo's appeal in Central Africa, French-speaking regions of West Africa, East Africa, France, and Belgium. Its success led to Werrason receiving two consecutive Kora Awards, for Best Male African Artist and Best Central African Male. Following this, in December 2004, Koffi Olomide released the double album Monde Arabe, noted for its fusion of ndombolo and Congolese rumba with acoustic guitar interludes, which sparked a fashion trend known as "Sabot Monde Arabe" that featured round-toed slippers adorned with pearls, covering the phalanges and metatarsals of the foot.

By 2007, Faustin Linyekula emerged as the genre's most influential dancer and choreographer, instrumental in popularizing its dance form in France. In an online interview, Linyekula elucidated that the genre's dance informs his "choreographic process and cultural identity", drawing from the dynamism of ndombolo dance to explore the "carnal possibilities central to ndombolo's power and popularity". In July 2007, his Festival des mensonges was presented at the Festival d'Avignon, along with Dinozord: The Dialogue Series (2006), and later won the 2007 Principal Prince Claus Award. On 15 August 2009, Wenge Musica Maison Mère published the album Techno Malewa Sans Cesse volume 1, which also blended ndombolo and Congolese rumba. The album's hit single "Techno Malewa Mécanique", featuring atalakus Brigade Sarbati and Lobeso, gained substantial popularity across Africa and among the continent's diaspora in Belgium and France, leading to a performance at Zénith de Paris. The song was also awarded Best Sound at the 2014 Nollywood and African Film Critics Awards in the United States, five years after its debut. They followed this with Techno malewa suite et fin volume 1, released in August 2011, a double album predominantly blending Congolese rumba and ndombolo, which peaked at number two in the Congolese Hit Parade of the newspaper L'Avenir, after Bande Annonce by Jossart N'yoka Longo of Zaïko Langa Langa.

2010s

Fally Ipupa's "Original" became a hit in 2014, reigniting interest in the genre after prominent ndombolo artists migrated to Europe. By the end of 2014, Fabregas Le Métis Noir debuted his seven-track EP, titled Anapipo, which achieved great success and garnered recognition throughout Africa. The album's standout ndombolo-infused single "Mascara" sparked the Ya Mado dance trend, leading to the #YaMadoChallenge on social media, where numerous online personalities emulated the dance and nominated others to participate. The song also brought attention to the African dashiki, a colorful patterned shirt that became colloquially known as "Ya Mado", in reference to the accompanying dance. However, the song faced a government ban on airplay in the Democratic Republic of the Congo, citing the Ya Mado dance as "indecent".

Koffi Olamide's ndombolo-inspired song "Selfie" (alternately known as "Ekoti té"), from his 2015 studio album 13ème Apôtre, rapidly became a viral sensation, amassing over a million views on YouTube within three weeks of its release. The accompanying hashtag #OpérationSelfie gained traction across various social media platforms and was endorsed by celebrities such as French singer Matt Pokora, Ivorian footballer Didier Drogba, and French-Congolese footballer Blaise Matuidi. Meanwhile, Félix Wazekwa's breakthrough single "Fimbu", steeped in ndombolo rhythms, gained immense popularity during the lead-up to the 2016 African Nations Championship and emerged as a celebratory anthem for the Congolese national football team during the 2017 Africa Cup of Nations, inspiring a synchronized dance among players to commemorate each goal scored.

In June 2018, BM released a remix of his single "Rosalina", featuring Awilo Longomba, which gave rise to the "#RosalinaChallenge" trend on TikTok, Instagram, and YouTube. This trend features exhilarating ndombolo motions synchronized with pulsating Congolese rhythms, encapsulating the precise articulation of the entire physical form, from limbs to waist. "Ecole", from Fally's November 2018 album, Control, introduced a new dance known as the "Ecole dance", synonymous with ndombolo dance moves, embraced by numerous dancers on social networks.

Emerging ndombolo artists like Innoss'B, Robinio Mundibu, Gaz Mawete, and the Paris-based Ya Levis Dalwear surfaced. In September 2019, Inoss'B released a remix of his song "Yope", featuring Tanzanian singer Diamond Platnumz, which became one of the most-viewed ndombolo songs on YouTube as well as the first song in East and Central Africa to surpass 150 Million views. The "Yope dance challenge" emerged on various social media platforms as a result of the remix, influencing Diamond Platnumz to incorporate dance sequences from it into his subsequent release, "Baba Lao". In June 2020, the song earned Innocent a nomination for Best New International Act at the BET Awards.

2020s
In November 2020, Diamond Platnumz released a successful crossover ndombolo-infused Swahili song, "Waah", featuring Koffi Olomide. It became the first Sub-Saharan African song to reach two million views on YouTube in less than 24 hours. In June 2021, Tanzanian singer Ali Kiba released his single "Ndombolo", featuring K2ga, Tommy Flavour, and Abdu Kiba, which was later used as a sample song for the ndombolo music genre on the Grammy Awards website.

On 24 September 2021, Congo-Brazzaville singer Roga Roga and Extra Musica released the single "Bokoko", from their eponymous EP. It quickly became a hit in Kinshasa, where it was played in various bars and clubs, and it gained prominence in French-speaking and Anglophone African regions. "Bokoko" became the first ndombolo hit to receive three consecutive awards, including the Kundé d'Or for Charismatic Leader of Central Africa in Burkina Faso, the Special Prize for selling African music worldwide at the 2021 Primud in Ivory Coast, and the Francophonie Prize at Lokumu, in the Democratic Republic of the Congo.

On 15 May 2022, French-Congolese singer Dadju released the ndombolo single "Ambassadeur", later certified gold, from his album Cullinan, shortly after being appointed as a cultural ambassador for the Democratic Republic of the Congo. The song, featuring the Paris-based Congolese atalaku Brigade Sarbati, quickly became popular and amassed eleven million views on YouTube within a month.

On 16 December 2022, Congo-Brazzaville singer-songwriter Afara Tsena Fukuchima debuted his single "Afro Mbokalisation", which fuses elements of ndombolo, particularly the sebene instrumental section, with coupé-décalé, characterized by a predominance of piano and guitar riffs. "Afro Mbokalisation" accrued over three million views in a single month and catalyzed the popularization of the mopacho dance through TikTok dance challenges. This dance, originally conceived in 1990 by the Brazzaville artist Sixte Singha, was subsequently embraced by prominent artists from Congo-Kinshasa, such as Fally Ipupa, Tidiane Mario, and Gaz Mawete, as well as Ivorian singer Serge Beynaud.

On 6 October 2023, another Franco-Congolese singer, Jungeli, premiered his single "Petit Génie", which included guest appearances by Imen Es, Alonzo, Abou Debeing, and Lossa. Co-produced by the Orchard, Next Generation, 2054 Records, and Fulgu Prod, "Petit Génie" quickly gained traction. Excerpts of the single were prematurely leaked and extensively shared on TikTok, leading to a surge in popularity even before its official release. The song achieved commercial success in France, topping SNEP's Top Singles chart for 18 non-consecutive weeks and breaking records for airplay, streams, and digital downloads. It came close to the absolute record, held by American singer-songwriter Pharrell Williams' "Happy", which had spent 22 non-consecutive weeks at the top of the charts. "Petit Génie" was honored with the Best Piece of African or African-inspired Music prize at Les Flammes.

French rap
Ndombolo has strongly impacted French hip hop from the Congolese diaspora. The group Bisso Na Bisso pioneered the infusion of Congolese guitar patterns and rhythms into French rap in late 1990's.

French rapper Naza pioneered the infusion of ndombolo rhythms into French rap. In September 2017, he released his Platinum-certified album Incroyable, predominantly blending ndombolo rhythms. Adorned with lead guitar tributes to musical collectives like Wenge Musica, Extra Musica, Quartier Latin, and Viva La Musica, the record emerged as a defining ndombolo-rap fusion in France. This success paved the way for subsequent hits like Dadju's "Mafuzzy Style" (2018), Belgian rapper Damso's "Même issue", and Maître Gims with "Na Lingui Yo"

Ivorian coupé-décalé
Ndombolo has exerted a significant influence on the evolution of the Ivorian dance style known as coupé-décalé. Emerging in the early 2000s, coupé-décalé extensively draws from the Zouglou genre of Ivory Coast while also integrating elements of ndombolo, techno, and tribal house music. The influence of ndombolo is evident in the percussion-driven, repetitive rhythms and the emphasis on intricate hip and body movements that characterize coupé-décalé. Coupé-décalé essentially accelerates the speed of the ndombolo beat, particularly at the level of the bass drum and snare drum, creating a fast-paced cadence. Ethnomusicology professor Ty-Juana Taylor of the University of California posits that ndombolo laid the groundwork for the coupé-décalé dance, a perspective echoed by Ivorian researcher El Hadji Yaya Koné. Coupé-décalé artists frequently incorporate ndombolo-inspired dance steps and choreography into their performances, resulting in a fusion of the two styles.

This view is further supported by Ivorian music journalist Diarra Tiemoko of Soir Info, who notes the early use of pseudo-Lingala language in coupé-décalé songs during the genre's evolution. Tiemoko also highlights the influence of Congolese artists such as DJ Shega Mokonzi and Ronaldo R9 on Ivorian DJs, particularly in the early albums released in Ivory Coast. The incorporation of atalaku entertainers, whose role is to enhance songs and engage listeners in dancing, has been pivotal in coupé-décalé's early development. The concept of atalaku was first employed by the Congolese band Zaïko Langa Langa, pioneered by members Nono Monzuluku and Bébé Atalaku in the 1980s. In one of their early compositions featuring these animators, the chant "Atalaku! Tala! Atalaku mama, Zekete" (Look at me! Look! Look at me, mama! Zekete!) was repeated, commanding attention. Coupé-décalé musician Douk Saga's debut single, "Sagacité", is recognized for its incorporation of atalaku. Douk Saga, initially in Paris in the early 2000s, developed this novel mode of musical expression, combining the Congolese sartorial subculture of La Sape with the percussion of soukous and ndombolo. Coupé-décalé rapidly gained international acclaim through DJs, spreading throughout West Africa and eventually reaching Central Africa. In an interview with Radio France Internationale, DJ Arafat, a renowned Ivorian artist, acknowledged the influence of atalaku on his style.

title: Ndombolo


text:
Talk:Frank Sherwin Bridge

If anyone can help confirm (with definitive source) who Frank Sherwin is/was, it would help this article a lot. I understand he was a Dublin Councillor, but can find no secondary source to confirm.Guliolopez 11:42, 5 October 2005 (UTC)

title: Talk:Frank Sherwin Bridge


text:
Han Guangsheng

Han Guangsheng (韩广生; born 1952), emerged as a Chinese defector in Canada during July, 2005 to support a number of allegations made by Chen Yonglin. Han claims to have been in charge of Shenyang's public security and labor camps prior to his defection.

title: Han Guangsheng


text:
Muda (Japanese term)

Muda (無駄) is a Japanese word meaning "futility", "uselessness", or "wastefulness", and is a key concept in lean process thinking such as in the Toyota Production System (TPS), denoting one of three types of deviation from optimal allocation of resources. The other types are known by the Japanese terms mura ("unevenness") and muri ("overload"). Waste in this context refers to the wasting of time or resources rather than wasteful by-products and should not be confused with waste reduction.

From an end-customer's point of view, value-added work is any activity that produces goods or provides a service for which a customer is willing to pay; muda is any constraint or impediment that causes waste to occur.

There are two types of muda:

 * Muda Type I: non value-adding, but necessary for end-customers. These are usually harder to eliminate because while classified as non-value adding, they may still be necessary.
 * Muda Type II: non value-adding and unnecessary for end-customers. These contribute to waste, incur hidden costs and should be eliminated.

Toyota's (Ohno's) Seven Forms of Waste
One of the key steps in lean process and TPS is to identify which activities add value and which do not, then to progressively work to improve or eliminate them.

Taiichi Ohno, "father" of the Toyota Production System, originally identified seven forms of muda or waste:

A mnemonic may be useful for remembering the categories of waste, such as TIM WOOD or TIM WOODS (with the S referring to Skills).

Transporting
Every time a product is touched or moved unnecessarily there is a risk that it could be damaged, lost, delayed, etc. as well as being a cost for no added value. Transporting does not add value to the product, i.e. is not a transformation for which the consumer is willing to pay.

Inventory
Whether in the form of raw materials, work-in-progress (WIP), or finished goods, represents a capital outlay that cannot yet produce an income. The longer a product sits in one of these states, the more it contributes to waste. The smooth, continuous flow of work through each process ensures excess amounts of inventory are minimized.

Motion
In contrast to transportation, which refers to damage and transaction costs associated with moving the product, motion refers to the damage and costs inflicted on what creates the product. This can include wear and tear for equipment, repetitive strain injuries for workers or unnecessary downtime.

Waiting
Whenever the product is not in transportation or being processed, it is waiting (typically in a queue). In traditional processes, a large part of an individual product's life is spent waiting to be worked on.

Overproduction
Making more of a product than is required results in several forms of waste, typically caused by production in large batches. The customer's needs often change over the time it takes to produce a larger batch. Over-production has been described as the worst kind of waste.

Over processing
Doing more to a product than is required by the end-customer results in it taking longer and costing more to produce. This also includes using components that are more precise, complex, expensive or higher quality than absolutely required.

Defects
Having to discard or rework a product due to earlier defective work or components results in additional cost and delays.

Unused skills
Organizations often under-utilize the skills their workers have, or permit workers to operate in silos so that knowledge is not shared. In other words, the workers are over-skilled. This was added to the original seven forms of waste, as resolving this waste is a key enabler to resolving the others.

Alternative forms of waste
The eight forms of waste were developed for Toyota specific processes.

Other companies and individuals have elucidated or identified other forms of waste. Some examples follow:

Canon's nine wastes

 * Work-in-process waste: e.g., stocking items not immediately needed
 * Defect waste: producing defective products
 * Equipment waste: idle or broken machinery; empty facilities; taking too long for setup
 * Investment or expense waste: overuse of resources for required output
 * Indirect labor waste: excess personnel due to unskillful use of indirect labor
 * Human resources or talent waste: employing people whose talents exceed job requirements, when the job can be mechanized or assigned to less skilled people
 * Operations or motion waste: Not working according to the best standards.
 * Planning or product design waste: Implementing processes or producing products with more functionality than necessary.
 * Start-up waste: The waste or inefficiency in the ramp-up or stabilization of the production of a new product.

Confusion
General uncertainty about the right thing to do, or absence of documented procedures and operating statements.

Self-doubt
Writer Jim Womack described "thinking you can't" as the worst form of waste, quoting Henry Ford's aphorism: "Henry Ford probably said it best when he noted, "You can think you can achieve something or you can think you can't and you will be right.""

Implementation
Shigeo Shingo divides process related activity into Process and Operation. He distinguishes "Process", the course of material that is transformed into product, from "Operation" which are the actions performed on the material by workers and machines. This distinction is not generally recognized because most people would view the "Operations" performed on the raw materials of a product by workers and machines as the "Process" by which those raw materials are transformed into the final product. Shingo breaks down the process into four phenomena, Transportation, Inspection, Processing and Delay. He makes this distinction because value is only added during the processing steps in the process not by the transportation, inspection and delay steps. He states that whereas many see Process and Operations in parallel he sees them at right angles (orthogonal) (see Value Stream Mapping). This starkly throws most of the operations into the waste category.

Many of the TPS/Lean techniques work in a similar way. By planning to reduce manpower, or reduce change-over times, or reduce campaign lengths, or reduce lot sizes, the question of waste comes immediately into focus upon those elements that prevent the plan being implemented. Often it is in the operations' area rather than the process area that muda can be eliminated and remove the blockage to the plan. Tools of many types and methodologies can then be employed on these wastes to reduce or eliminate them.

The plan is therefore to build a fast, flexible process where the immediate impact is to reduce waste and therefore costs. By ratcheting the process towards this aim with focused muda reduction to achieve each step, the improvements are 'locked in' and become required for the process to function. Without this intent to build a fast, flexible process there is a significant danger that any improvements achieved will not be sustained because they are just desirable and can slip back towards old behaviours without the process stopping.

title: Muda (Japanese term)


text:
KOME

KOME was a commercial FM radio station in San Jose, California, broadcasting at 98.5 MHz. KOME was on the air from 1971 through 1998. Currently, the 98.5 FM frequency is home to KUFX "K-Fox," a classic rock station.

An unrelated FM station in Tolar, Texas, airing a classic hits radio format in the western section of the Dallas-Fort Worth Metroplex, currently uses the KOME call sign. It broadcasts on 95.5 MHz, and is owned by Chisholm Trail Communications.

KRPM
On July 1, 1959, the station first signed on the air. It was owned by Edward W. Meece, one of the founders of Pacifica Radio. Meece formed The Audio House, Inc., and got the Federal Communications Commission to issue a construction permit for the radio station to be built.

KRPM's original format was classical music. It was only powered at 3,300 watts, so its signal was only available in and around San Jose.

Free-form KOME
Meece sold The Audio House, Inc, with KRPM, for roughly $300,000 in February 1971 to Mel Gollub of Pennsylvania and Ron Cutler. The station's call letters were changed to KOME, and the format became free-form rock.

The station allowed its disc jockeys to choose their music from a vast and diverse library of rock, jazz, blues and R&B vinyl albums. It would not be uncommon to hear The Beatles, Jimi Hendrix, The Who and The Allman Brothers in the same show where you'd hear Issac Hayes, James Taylor, Stevie Wonder, The Crusaders, Grover Washington, Jr., Laura Nyro and Joni Mitchell. Music sets were often themed as "Who'll Stop the Rain," "I Wish It Would Rain" and "Riders on the Storm." Or you could hear a themed set of only Motown songs. But the emphasis at KOME from 1971 to 1974 was on each DJ having a show with its own music personality. And segues (blending two songs together as one ends and one begins) was always part of the presentation.

KOME first originated from studios in the Pruneyard Shopping Center in Campbell in the Towers building on the 13th floor. Later, KOME moved to an old house on The Alameda in San Jose. Radio veteran, Bob Simmons became their Program Director in 1972 and remained for a year, taking charge of the jocks and designing the iconic black and yellow diamond KOME sticker. DJs from 1971 to 1975 included Cese McGowan, Uncle Jack Tossman, Gary T., Phil Charles, Michael "Mother" Deal, Wolf (Rick Ricketts), Wapaho Joe (Amadeo), Joe Kelly, Dick Baribou, Captain Reif/Jim Reifschneider, Mark Sherry, Victor Boc, J. William Weed and The Lobster (Paul Wells). The DJs each had their own personalities while on the air. Cese was laid back and was quite eclectic with an emphasis on folk music. Uncle Jack was a Beatles, Moody Blues and Crosby, Stills, Nash & Young fan with an engaging personality. Mother Deal was a prankster on the air, a straight-ahead rocker who loved novelty songs like "My Ding-a-Ling." And Wolf (Ricky Ricketts) was serious about constructing engaging sets and segues. He would regularly come up with songs the listeners never heard before, styles you hadn't heard before, and types of music you may have never considered before. Lobster, Joe Kelly, and Wapaho Joe were progressive rock guys who enjoyed playing Nektar, Genesis (band) and Robin Trower but all could easily stretch out to fusion of any kind, especially jazz-rock fusion artists such as Jeff Beck.

Moving toward playlists
In 1973, Cliff Feldman was put in charge of the jocks and format as KOME's Program Director. In 1974, KOME management appointed a new program director, Ed Romig from ABC owned rock station WDAI-FM in Chicago (now WLS-FM). As other progressive stations were moving toward more researched rock playlists, Romig ended the free-form format, mandating the use of index cards with specific songs to be played. This became a time of transition from progressive radio disc-jockeys whose shows had music personalities to be replaced by air personalities and strict music formats.

Romig brought in Peter B. Collins from Chicago, and hired Jona Denz, Dana Jang, and Gene Mitchell. In August 1977, Mikel Herrington (previously known as "Captain Mikey") was made Program Director and discarded the card catalog playlist in favor of allowing jocks to select "playable" tracks from an eclectic library of art rock, punk, new wave, country rock, heavy metal, oldies, and comedy. Local bands such as Hush and Cornell Hurd often got airplay. Herrington hosted the morning show and hired Barry Corkery, Dennis Erectus, Laurie Roberts, Mark Goldberg, Kelly Cox, Larry Jacobs, Greg McClure and Joe Regelski.

KOME attracted a loyal South Bay rock audience throughout the 1970s, 1980s, and early 1990s, against original San Jose FM rock rival 92.3 KSJO. Both stations managed to also serve listeners in the larger neighboring San Francisco radio market, against well-known progressive rock leader 94.9 KSAN (now KYLD), programmed by Tom Donohue.

Slogans and logos
KOME's stickers were a common sight on vehicles and high school lockers around the area. Several on-air slogans suggested the sexual connotations of its call letters, probably the most memorable being "Don't touch that dial, it's got "KOME" on it!" as well as others saying things like "K-O-M-E all over your radio dial," "You've got KOME... oozing out of your speakers," "Wake up with KOME in your ear," and "The KOME spot on your radio dial." Playboy magazine found this newsworthy enough to mention the station.

KOME black-on-yellow diamond stickers were designed in 1972 and became an instant hit. For a short time in 1974, a round zig-zaggy design was tried but was retired quickly. As an alternative the diamond was brought back with reverse colors. The famous KOME diamond stickers have been spotted all around the world. Listeners soon became highly creative, cutting up the decals to read new phrases. The "Our Decal" slogan on the stickers lent itself to other "KOME Paraphernalia" such as pinbacks, patches, nightlights, glass, T-shirts, and even the payroll checks said "Our Checks" on them. The later "Rock Radio" era eliminated the "Our Decal" and replaced it with "FM," as well as producing some with a digital typeface. Both eras produced limited edition decals promoting bands of the day such as The Rolling Stones, The Who and Bruce Springsteen.

Changing ownership
In 1973 a group of New Yorkers led by former Metromedia executives Michael A. Wiener and Gerald Carrus, who later named their company Infinity Broadcasting, acquired KOME as the first of numerous FM rock acquisitions which soon would include WIVY in Jacksonville, Florida in 1977 and WBCN in Boston in 1979. They moved the studios to a location on Winchester Blvd near Payne Avenue in San Jose in early 1974.

Newscasts
News on KOME was taken seriously, but room was allowed to expand to clever parodies of news events of the day. Early reporters included Lynn Ryder and Victor Boc, who also hosted The Expressway talk show on Sunday mornings. Victor became well known for his interviews with over-the-top guests like "Squeaky" Fromme, Sylvia Browne, Mae Brussel, and "The Two".

In the early '80s, news often turned hilarious as current events were transformed into skits that rivaled those of popular comedy troupe, The Credibility Gap The Credibility Gap through the efforts of Production Director Jack Perry and News staffers Rob Singleton, Joe Regelski, and Mark Goldberg.

In the latter years, the morning team of Blazy and Bob integrated news into mornings, since Bob Lilley was both reporter and side-kick.

1980s–1990s
KOME's reputation for irreverence, raunchy fun, and a broad music format continued into the 1980s. Mikel Hunter and his crew became known for oddball station promotions like the Chicken-Fly and the KOME Party Crashers. KOME enjoyed good ratings in both San Jose and San Francisco during this era.

According to an article in Metro, KOME's freeform ethic ended around 1982, when Infinity Broadcasting cut back the station's playlist and enlisted radio programming consultant Jeff Pollack. Mikel Hunter, who earlier had great success programming KMET in Los Angeles, left the station in protest. He spent the next few years doing radio in Las Vegas, Philadelphia and finally back in Northern California at KVYN in Napa Valley, California.

In 1983, PD Les Tracy hardened the format to a mostly heavy metal playlist. Tracy and the hard rock sound lasted less than a year. Due to poor ratings, KOME management released Tracy, and new PD Pat Evans reverted KOME to its previous approach.

The era between 1984 and 1994 were also ratings winners with personalities such as Blazy & Bob, Stephen Page, "Weird Old Uncle Frank" Bennett, Scott Lewis and the return of Dennis Erectus. KOME won the Rolling Stone Readers' Poll as "Station of the Year" in both 1988 and 1990, landing the station on the cover of the music magazine. Local, national and international live broadcasts and innovative promotions kept the station in the forefront of rock radio.

KOME's sound became a blend of alternative rock and new wave music in May 1994. Syndicated programming such as The Howard Stern Show and Loveline were featured on the station.

Final days
In 1997, Infinity Broadcasting, which had recently merged with CBS, purchased KITS "Live 105," San Francisco from Entercom. Both stations were run with identical formats for a short time. In May 1998 the company acquired American Radio Systems and was legally required to sell one of its existing stations. Infinity opted to sell the 98.5 frequency to Jacor, owners of longtime rival KSJO. Jacor transferred the classic rock station format heard on KUFX and its call sign to the newly acquired frequency. This meant the end of the KOME call letters on June 19, 1998.

CBS/Infinity transferred three members of KOME's air staff, Ally Storm, No Name, and Janine Siegel plus the syndicated Howard Stern and Loveline shows to KITS as "The New Live 105". The KOME call letters were retired from the Bay Area, resurfacing briefly on a small co-owned AM station outside the market.

KOME was inducted into the Rock Radio Hall of Fame in 2014.

Ratings history
The following tables compare KOME's Arbitron average share with those of KSJO and KSAN, over five two-month periods. The data is valid for listeners 12 years and older, from 6 a.m. until midnight, for seven days. In both tables, it appears that KOME began to overtake KSJO significantly in January and February 1979. In the San Francisco nine-county area, KOME actually overtook KSAN slightly in April and May 1979.

KOME personalities

 * Ally Storm 1990s
 * Bear (Barry Corkery) also Oregon radio (died 2013)
 * Billy Vega about 1988–1992 also KSJO KUFX
 * Bob Lilley 1986–94: news (News Director in Idaho) (Syndicated, various stations with Jeff Blazy)
 * Bob Simmons early 1970s also KSJO
 * Brad Lee 1990s
 * Brian Kay 1986–1987 also KMBY Monterey
 * Candi Chamberlain 1984–87 Music Director also KSJO KFRC KYA KRQR KTIM KRSH
 * Captain Reif (Jim Reifschneider) 1970s also KOME, KEZR (died 2004)
 * Carson Daly, 1990s (MTV, Last Call with Carson Daly)
 * Cese McGowan early 1970s
 * Peter B. Collins, 1970s. He switched to talk show host he covered the Watergate Scandal at the age of 19. He was a host on San Francisco's KGO radio and also had a syndicated talk show. Inducted into the Bay Area Radio Hall of Fame in 2021.
 * Cooper (a.k.a. Ken Chelonis) Late 1980s also KLRB (died 2010)
 * Craig "The Killer" Kilpatrick 1990s
 * Dana Jang 1974–85 also KKUP KSJO Group Operations NextMedia Chicago, PD of KBAY and KEZR. Inducted into the Bay Area Radio Hall of Fame in
 * Dan Stich 1990s (KEZR and KBAY)
 * Dave Wohlman 1982–98: Production Director, Promotion/Marketing Director, Assistant Program Director, Personality. Host of "The Sunday Morning Time-Machine" and currently hosting "Radio Free Wohlman" (radiofreewohlman.blogspot.com)
 * Dennis Erectus (Dennis Netto), 1977–92, 1994–97. He was removed from his airshift for decency violations in 1992 then brought back in 1994, after working at KSJO 1993–94. Also on air in San Antonio, Texas and as a production assistant for PD Dana Jang at KBAY/KEZR from 2005 until his heart attack in November 2006. He suffered brain damage and was institutionalized. Because of his lack of health insurance, Netto's friends held fundraisers to help with his medical costs.  He died from a second heart attack on June 13, 2012.   Inducted into the Bay Area Radio Hall of Fame in 2013.
 * Denise Erectus (Donna Volpicella) played Dennis Erectus's sister on the air
 * Dick Baribou about 1971 with topless young ladies singing station ID, "We're up to our ears in KOME, KOME, KOME"
 * Don Potoczak early 1970s (died 2012)
 * Don West 1979; 1981–83; 1984–98 Production; Night DJ, and Engineering also KSFM KMEL KROY-FM
 * Ed Romig 1975–77 Program Director also WDAI responsible for ending the "free-form" era at KOME
 * Geno Michelini (Gene Mitchell) 1979–82 also KLOS
 * Gary Lyte 1971–1973 Astrology Report
 * Gary T. (Torresani) 1971–72 and 1975–83 also KSJO KLOK
 * Greg Stone 1978–83 and 1986–98: Stone Trek Import Show, also KUFX
 * Holly Adams 1990s
 * Jay William Weed (J. William Weed) 1972–1973: DJ and PD; also KSJO, KGO-FM KSFX
 * Jack Perry 1979–83 Production Director also CBS SF Radio Group Creative Services Director
 * Janine Siegel (J9;1987–1998; also KSLY, KRQK and WDEK/WLBK, WNIU)
 * Jay Cruz 1990s
 * Jeff Blazy 1987–94 also PD of The Fox Santa Rosa, CA (Syndicated on various stations with Bob Lilley)
 * Jim Pratt 1990s
 * Jim Seagull about 1975–76 also KSJO KKSF KWAV KMBY KBPI
 * Joe Regelski about 1976–77 also KSJO KQAK (News Director KOZT)
 * Joe "OK" Kelley 1973–78
 * Johann Schmidt - 1980–1992 - nemesis to Dennis Erectus, and the self-proclaimed President of the San Jose Reagan Youth.
 * John Higdon 1971–98 Longtime Chief Engineer, "The Classical KOME" host early 1970s (Consultant-Engineer for KBAY and KEZR)
 * Jona (Jona Denz-Hamilton) 1974–82 also PD of KLRB, PD of KROY-FM KLOK KEEN KFJC. (Longtime Midday jock KBAY)
 * Karin Nakamura 1976–83 also KUFX (KEZR)
 * Kelly Cox 1979–83 also KLOS
 * King Raffi (Raffi Nalvarian) 1992–95 also KEZR KITS
 * Larry Jacobs 1977 also KLOS, NBC The Source, ABC News Radio
 * Larry Miles 1990s
 * Laurie Roberts 1975–85 Longtime PD and DJ KUFX (KPIG KHIP KUFX) Inducted into the Bay Area Radio Hall of Fame in 2011. Died May, 2021.
 * Leah Raim 1986 The Expressway Talk Show
 * Les Tracy Program Director 1983–84 also KROY-FM
 * Lobster (Paul Wells) 1974–76 also KSJO KQKE KLIV. Inducted into the Bay Area Radio Hall of Fame in 2021
 * Lorraine Meier late 1980s also KLRB KCTY
 * Lynn Ryder (a.k.a. Lynn Rashkis) 1975–77 News
 * Mark Goldberg 1979–86 (also News Director KKCS, Colorado Springs)
 * Mark Sherry early 1970s: DJ and PD; also KFIG, KSJO (Eugene, OR area radio)
 * Marla Davies 1990s (long-time morning host KEZR, San Jose)
 * Marshall Phillips late 1980s
 * Matthew Arnett 1987–1992 also KLRB, KMBY. Became Matthew in the Morning at KTYD, KXFX and WZXL. (KRKC station manager)
 * Mikel Hunter (a.k.a. Mikel Herrington, Lefty, Oil Can Harry "Captain Mikey") operations manager/Morning DJ, 1977–82 also KMET WYSP KLIV KVYN national voice of Sears (died 1997) Inducted into the Bay Area Radio Hall of Fame in 2008.
 * Mistress Monique, a dominatrix who appeared regularly on Dennis Erectus's show, was portrayed by writer/comedian Stephanie Landers.
 * Monnica Sepulveda 1990s frequent guest psychic on morning show
 * Mother Deal (a.k.a. Michael Deal) early 1970s
 * Nicci Tyler 1990s
 * No Name 1990s also KLLC "Alice" (Live 105 morning host)
 * Pat Evans program director mid-1980s also KFOG, KQED, KFOG, KYA (died 2012)
 * Peter B. Collins 1976–77 also owner of KRXA (KGO and Syndicated Peter B. Collins show) Inducted into the Bay Area Radio Hall of Fame in 2021.
 * Phil Charles early 1970s also KSJO KSAN general manager MSU's KGLT (died 2013)
 * Radley (a.k.a. Brad Wright) 1990s
 * Ric Curtice 1981–1984
 * Rob Singleton 1979–83 also news director KJZY
 * Roger Watson Superfly Sky Hang-Gliding Report
 * Ron Nenni 1985–98 program director and operations manager
 * Scary Gary 1990s
 * Scott Lewis c. 1985–1990
 * Sean Donahue (Sean Coman) 1970s also KSAN (died July 2000)
 * Stephen Page (Dunwoody) 1973–75 and 1985–95 music director also KSJO KRQR KYOURadio CBS Interactive Music Group
 * Ted Kopulos 1976–83 movie guy/song parody guy also KSJO's Morning Music Magazine host and KUFX
 * Tex Wong late 1980s
 * Tom Ballantyne 1970s
 * Uncle Frank ("Weird Old Uncle Frank" Bennett) PM Drive and Production 1985–93. Then PM Drive at KUFX 1995–02 (Became "Aunt Fran" in 2002)
 * Uncle Jack Tossman (Jonny Martin) 1971–74 also KSJO KIFM KOTR (audio man for "Mickey Mouse Club" "Jeopardy" "Wheel of Fortune")
 * Victor Boc 1972–80 The Expressway Talk Show Host, News Director, jock (Oregon talk show host)
 * Wapaho Joe (Amadeo) 1971–1975, the "Italian Indian" named by Uncle Jack (Tossman) also future Publisher of BAM Magazine/Assoc Exec Producer BAMMIES 1976–1991
 * Wendy Hoag about 1972–73
 * Whipping Boy 1990s
 * Wolf (Robert "Ricky" Ricketts) 1971–74

title: KOME