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A border blaster is a broadcast station that, though not licensed as an external service, is, in practice, used to target another country. The term "border blaster" is of North American origin, and usually associated with Mexican AM stations covering large parts of the United States and United States border AM stations covering large parts of Canada. Conceptually similar European broadcasting included some pre–World War II broadcasting towards the United Kingdom, "radio périphérique" around France and the US government funded propaganda station Radio Free Europe targeting eastern Europe. With broadcasting signals far more powerful than U.S. stations, the Mexican border blasters could be heard over large areas of the U.S. from the 1940s to the 1970s, often to the great irritation of American radio stations, whose signals could be overpowered by their Mexican counterparts. These are also sometimes referred to as X stations for their call letters: Mexico assigns callsigns beginning with XE or XH to broadcast stations. On November 9, 1972 in Washington, D.C., the United States and Mexico signed an "Agreement Concerning Frequency Modulation Broadcasting in the 87.5 to 108 MHz Band". Since then, in the FM band power levels and frequency assignments have been set by mutual agreement between the two countries. AM radio border blasters still exist, though they are largely ignored due to the decline of AM radio in the U.S. and in Mexico. There are several such stations licensed by Mexico's Secretariat of Communications and Transportation using transmitters with an effective radiated power similar to those of major licensed commercial stations located within the USA. In 1973 the border blaster XERB became famous when George Lucas featured the station as the source for the musical soundtrack of his motion picture ''American Graffiti''. ==Background== In contrast to pirate radio stations which broadcast illegally, border blasters are licensed by the government upon whose soil they are located. Pirate radio stations are freebooters from offshore, outside the territorial waters of the nation they serve, or ones that are illegally operating in defiance of national law within its sovereign territory. A similar situation developed in Europe, beginning with Radio Luxembourg after World War II. The British government identified these stations as ''pirates'' because the Sunday broadcast was reserved for British listeners (deliberately coinciding with the BBC Sundays of religious programmes).〔History of International Broadcasting, by James Wood, ISBN 0-86341-302-1 p46〕 The broadcasts were considered illegal on British soil as these stations were breaking the monopoly of the non-commercial BBC. Listening to the broadcasts was technically a violation of UK radio-license laws of the day. The same radio périphérique, or "peripheric radio", phenomenon existed in France from the 1930s until the legalization of private broadcasting in the early 1980s, which allowed Radio Luxembourg from Luxembourg, Radio Andorre and Sud Radio from Andorra, Radio Monte Carlo from Monaco, and Europe 1 from Saarland, Germany to begin legally broadcasting signals across international borders. In Mexico and the US, while the federal government of the US did not particularly like them, the stations were allowed to flourish. W. Lee O'Daniel used a border blaster in his successful campaign for governor. The US, unlike the UK, has never required a license to listen to broadcast radio or television. The only restriction placed upon border-blasters was a law which prohibited studios in the US from linking by telephone to border-blaster transmitters in Mexico. This law, part of the Brinkley Act, was introduced in the wake of John R. Brinkley's fraudulent medical advice program on XERA. The Brinkley Act remains on the books in the US, but licenses under that act are now routinely granted as long as the station follows applicable US and Mexican regulations. The British government created a similar measure after World War II: the state-owned telephone monopoly prevented studios in Britain from linking by telephone to the transmitters of Radio Luxembourg. These restrictions were mostly lifted following the privatisation and demonopolisation of the UK telephone system. Signals of many US and Canadian radio stations (and to a lesser extent television outlets) encroach into neighboring territory. Such stations are usually not deemed "border blasters," as their programming is not primarily targeted at listeners and viewers across the border. US and Canadian stations adhere to comparable maximum power levels, and the encroachment is regarded as unintentional and largely unavoidable. An exception to that general rule is KRPI located in Ferndale, Washington. It is owned by BBC Broadcasting Inc., a Washington state company with studios in Richmond, British Columbia. The station airs a mixture of music, news and talk focused on the South Asian communities in Metro Vancouver. To improve reception of the station within its target market, KRPI applied and received a FCC construction permit 〔 FCC Legal Action Information http://licensing.fcc.gov/cgi-bin/ws.exe/prod/cdbs/pubacc/prod/leg_det.pl?Application_id=1576309&File_number=BR-20130927AJA 〕 to increase its nighttime power from 10 to 50 kilowatts, change the community it served and move its transmitter from Ferndale to Point Roberts, a community adjacent to the Canadian border. The move has attracted much criticism from the local citizens of Point Roberts and the adjacent densely populated community of Tsawwassen, British Columbia because it would cause harmful blanketing interference.〔Heavy static greets radio towers proposal http://www.allpointbulletin.com/news/article.exm/2013-08-30_heavy_static_greets_radio__towers_proposal_〕〔Radio towers spark high wattage opposition http://allpointbulletin.com/news/article.exm/2013-08-22_radio_towers_spark_high_wattage_opposition〕〔Letters and Comments from Ferndale Residents to FCC http://allpointbulletin.com/static/files/Attachment%20B%20comments%20ferndale.pdf〕 Another possible exception to that general rule on the Canadian side was CKLW in Windsor, Ontario, across the river from Detroit. Originally licensed as a Class II-B (now Class B) station and always operating in full compliance with the technical specifications and operating rules of its CRTC licence (i.e., protection of the entire Mexican border nights and protection of co-channel Canadian stations days and nights), CKLW's 50,000-watt directional signal blanketed much of Michigan and northern Ohio east to Cleveland days and nights, and south to Toledo, Lima and Dayton in the daytime. American-owned until 1970 as part of the RKO General chain (along with such other top 40 powerhouses as KHJ in Los Angeles and KFRC in San Francisco), it functioned essentially as a Detroit-market station during the 1960s and 1970s. Its Motown-flavored personality Top 40 format made it one of the most highly rated stations in the Midwestern US. The decline of AM radio as a music source in the 1970s, combined with new Canadian government rules imposing minimum domestic music content, made it difficult for CKLW to continue to compete for listeners with Detroit-based, US-licensed FM music stations, which offered clean stereo sound and faced no program content or music playlist restrictions. CKLW abandoned the Top 40 format and its efforts to compete in the Detroit market in the 1980s. Today it is a news/talk station aimed specifically at an Ontario audience, though still containing a significant amount of American syndicated talk. According to the Canadian Radio-television and Telecommunications Commission (CRTC), the regulatory body for Canadian broadcasting, it is illegal to operate a station licensed in Canada from studios in the US; CKEY-FM in Fort Erie, Ontario learned this when it attempted to offshore its operations to American-based Citadel Broadcasting's studios across the Niagara River in Buffalo, New York, and almost had its license revoked because of it. CKEY remains on the air, targeting solely the Niagara Region and no longer targeting Western New York. Attempts at border-blasting were somewhat more common on the other side of the border, where smaller markets in the United States could find lucrative larger markets in Canada within their broadcast range. WIVB-TV, prior to the digital television transition, could be seen as a U.S. border blaster into Canada (as Western New York is a smaller market than Southern Ontario, which boasts the major world city of Toronto); it operated with 100,000 watts of power on the VHF low band (channel 4), even after the Federal Communications Commission reduced the maximum allowed power for that band to 80,000 watts. (WIVB did not make significant attempts to reach the Canadian market, although rival station WKBW-TV did.) Another famous U.S.-based border blaster into Canada was KCND-TV in Pembina, North Dakota; Pembina was a small border town of less than 1,000 residents, which normally would be far too small of a market to support a television station, but spent its fifteen-year existence targeting Winnipeg, a much larger city sixty miles north of Pembina. Likewise, the small market of Burlington, Vermont and Plattsburgh, New York found it could reach a larger audience in Montreal. Canadian regulators put in simultaneous substitution requirements to prevent losing revenue to these American border-blasters (this forced KCND's owners to sell the station to Canadian interests, who transformed the station into modern-day Winnipeg, Manitoba-based CKND-TV; Burlington station WFFF-TV entered into a famous cross-border scheduling feud over the simsub problems, while WKBW competed mainly by focusing on its unique brand of local news, which could not be simsubbed). The mythology surrounding the history of the border blaster stations in Mexico is extensive with examples being the 1971 Doors song, "The WASP (Texas Radio and the Big Beat)", 1975 ZZ Top song "Heard It on the X", 1983's "Mexican Radio" by Wall of Voodoo, and 1987's "Border Radio" movie theme by The Blasters. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「border blaster」の詳細全文を読む スポンサード リンク
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