Instrumental Invasion, 11/17/23: Finale November 18, 2023
Posted by Mike C. in Airchecks, Audio, Computer, Internet, Jazz, Jazz Fusion, Livestream, Media, Music, New Age, Personal, Radio, smooth jazz, Video.add a comment

The final prime time Instrumental Invasion on WCWP began life the same way the prior night did: as a Wednesday night show to air following what I assumed to be a short renovation programming hiatus. I hadn’t recorded this one yet, though. The playlist, annotations, and script were completed, but I wanted to work on more playlists before recording 181 or 182. I made 183 the Christmas show and 184 the third Three-of-a-Kind Showcase special. I’d work on 185 and 186 when I was ready.
The playlist was created on October 20 and 22. Annotations began on October 25, but were put on hold due to uncertainty over the hiatus and lineup change that was to follow. I finished those annotations and drafted the script on November 1. I figured I would record 181, then move on to 182.
After making tweaks to show 181 on the evening of November 6, I tweaked all components of 182: playlist, annotations, and script. Obviously, I’d have to redo the intro and outro, including a proper goodbye on the latter. These are the changes made:
- Extracurricular info about “The Secret Drawer” by Bob James was thrown out to allow more time for the goodbye.
- “This Time Around” by Four80East was replaced with “The End of Our Season” by David Benoit and Russ Freeman, the same song that closed The Instrumental Invasion on WGBB back on May 5, 2005.
- “Fellowship” by Justin-Lee Schultz was replaced by “Wrong Side (instrumental, no backing vocals)” by Cerian (kerry-anne), fulfilling my promise to her in the Twitch stream I raided on November 4.
- Annotations were updated to include the replacement songs, and the script was updated accordingly. The script was revised a few more times before recording began.
Two segments per day were recorded from November 9 to 11. Each time, I streamed the recording sessions on Twitch.
Click here to download the finale’s aircheck scope or listen below:
I’m sad the show is over, but relieved that the hard work is behind me. So much time and effort went into each show, so burnout was inevitable. While this isn’t quite how I wanted to end, I’m grateful to WCWP station manager Pete Bellotti for allowing me a proper ending. Here was Pete’s complimentary statement on the WCWP Alumni Association Facebook group hours before air:
A salute to Mike Chimeri … yes, his birthday (Happy Birthday!!!!!) ….but to his final Instrumental Invasion tonight at 9p on 88.1 FM WCWP. There are no words to describe how important Mike will always be to WCWP as a talent, alum and human being. I am truly grateful for Mike’s friendship and I speak for many by saying THANK YOU! Time for some R & R and the next project that you will execute with class, professionalism & superior skill.
Cheers my friend!!!
Pete Bellotti, 11/17/23, 1:05 PM
Thank you very much, Pete.
Thank you, the listener and reader, for reading these recaps and listening to the airchecks. See you all on Twitch.
The Heidi Game story from an NBC log clerk November 17, 2023
Posted by Mike C. in Film, Football, History, Hockey, Media, News, Sports, Technology, TV, Video.1 comment so far

Today is not just my 42nd birthday, but the 55th anniversary of the infamous Heidi Game, an AFL game between the New York Jets and Oakland Raiders. My fellow WCWP Hall of Famer John LiBretto, inducted in 2017, was a log clerk for NBC at the time, and permitted me to share what he remembered from that night via our e-mail conversation on Tuesday.
This is John’s story:
A little background: I was a Log Clerk, which was my entry job at NBC (I had started in June of 1968). Basically logged all programming and commercials etc. for the local station (WNBC) and for the network.
I worked in a room with two TV monitors just next to BOC (Broadcast Operations Control), the area that was responsible for all programming output to the network and WNBC. Next door was Master Control, and just in front was the Control Room that switched between all the control studios, rolled the station breaks etc. etc. Busy place.
On any given weekend that had live sports, the Operations Dept issued Conditions that outlined what was to happen during various points in the broadcast day (i.e. handoffs between games and regionalization of games during the football season, and the end of sports into the prime-time schedule at 7PM on a Sunday night). Remember, while the NFL and AFL had announced their merger to take effect in 1970, they were still separate leagues in 1968. The AFL did not have the high ratings of the NFL, nor the clout over the network (in fact, it was said that NBC saved the AFL, and helped facilitate the merger).
There were times that the network would allow a game to run slightly past 7PM, and either slide the network accordingly (rare), or do a Join-in-Progress (also rare). The show on this particular Sunday, Heidi, was a very expensive adaptation of the story (music by John Williams, by the way), and the conditions specifically stated that, no matter what, the show would air to east and central time zones at 7PM. The big 4PM game was, of course, Jets at Oakland Raiders. The commercial control was in Burbank (NBC’s west coast headquarters), so the game was coming back to the east via the video/audio lines from NBC Burbank to Paducah, KY, where it was switched, by AT&T, into the main network via something called the Round Robin (the network signal left NY and traveled in a big circle, city to city, and eventually came back to NY…a big circle that allowed news feeds and regional commercials to be switched into the network as needed (not to mention regional football games).
A lot of set-up information for what transpired next.
As we got closer to 7PM, it was pretty clear the game was not going to end on time. Curt Gowdy had already promoted that Heidi would be coming up in the east and central time zones at 7PM; the game would continue out west. The powers that be (Julian Goodman, President of NBC) realized that this was probably not a great idea after all, and tried to call BOC to order a change (i.e. let the game finish, and slide the east and central feed of Heidi). By this time, the calls were coming into NBC New York from viewers and overwhelming the switchboard, so Goodman couldn’t get through in time.
Here’s the sequence as it aired on the East Coast:
6:58:40 Network Identification (NI) a :06 seconded, either a promo, or just “This is the NBC Television Network.”
6:58:46 Network goes to black for local station break
Somewhere in here, BOC got word from Goodman to delay Heidi and go back to the game…mind you, only 1:14 to accomplish this. That NI I mentioned was also a set cue for the AT&T facility in Paducah to reverse the eastbound feed from Burbank to the normal feed of the network outbound to the west coast. So, that already meant the game was never coming back to the East Coast.
7:00:00 NBC Color Peacock (The Following is a Special Color Presentation on NBC)
7:00:12 A little bit of the Heidi opening, followed by hash (yes, they switched to the incoming feed from California, which unfortunately had nothing on it). Hash is what happens when there is no usable signal on the incoming line (looks like grey fuzz on the screen).
Looked worse than it seems in the writing of it!
Finally, realizing there was nowhere left to go, BOC switched back to the studio airing Heidi and just let it play. The screaming in BOC was quite something, but they actually did everything correctly; had they NOT aired Heidi according to the conditions without Goodman’s authorization, they probably would have all been fired. As it turned out, two of us became quite busy Sports directors!
It’s a miracle Goodman got through at all; the switchboard completely melted down from the volume of calls. The surprise was so did the switchboards in Chicago, Cleveland and Washington. That’s how NBC discovered that the AFL had become a pretty hot property.
I remember all this because I had to log every single second of what went on the air that evening. Eventually, a flash caster was aired over Heidi giving the final score (Oakland scored twice in a matter of a few seconds and won the game [43-32], which further pissed off the New York market).
John LiBretto, via 11/14/23 e-mail
As a postscript to John’s story, here is David Brinkley‘s report and Curt Gowdy’s re-creation of the end of the game on the following night’s Huntley-Brinkley Report:
The Jets would get their revenge on Oakland six weeks later in the AFL Championship Game, beating the Raiders 27-23 at Shea Stadium. Of course, two weeks after that, the Jets upset the NFL Champion Baltimore Colts in Super Bowl III.
Instrumental Invasion, 11/16/23: 60-year musical journey, 1963-2023 November 17, 2023
Posted by Mike C. in Airchecks, Audio, Computer, Football, Game Shows, Internet, Jazz, Jazz Fusion, Livestream, Media, Music, Personal, Radio, smooth jazz, Sports, Technology, TV, Video.add a comment

This edition of Instrumental Invasion started out as a regular Wednesday night show that I assumed would air after a short programming hiatus (one or two weeks) for WCWP. I guessed wrong. Thus, this was reworked as a Thursday night show. References to “this week” were removed and the intro and outro were redone to acknowledge the impending demise.
Rather than have my last six shows run on The Wave, station manager Pete Bellotti arranged for this show and the next one to air on consecutive nights, hours before the renovation programming hiatus was to begin. This meant I was on three nights in a row: November 15 to 17, all in the regular 9PM slot.
The playlist was created on October 4 and annotated from October 13 to 15. The script was drafted on the 15th, 17th, and 18th.
Recording began on November 4, during my second-ever Twitch livestream. It was an opportunity let viewers in on the process, though few cared to watch live. I worked on the first hour over the course of a two-hour stream. Then, I raided out to music streamer Cerian (kerry-anne). (Twitch doesn’t have a radio category, so I chose music and felt I should raid a fellow music streamer.) I was giddy (as in Biddy) to raid her because I’d been meaning to give her streams a try. I promised I would play the instrumental version of her song “Wrong Side” in my last show, which I assumed would be 186. More on that in the finale recap.
Livestream clips:
- Making a train-whistle motion while backselling “Dazzling” by Casiopea
- Using Game Dave emotes after playing his liner between songs, then imitating one of his sound commands
- The raid out to Cerian
The first segment of hour 2 was recorded on November 5 and the rest on the morning of the 6th. I was over a minute beyond my desired 1:49:00 threshold, but with legal IDs and spot breaks, I’d still end before 11PM.
As noted earlier, pickups were recorded on the evening of the 6th, but only after reinstating backups of segment session files. Thinking I was moving to The Wave, I recorded a tag to play in place of all FM references in liners, then I saved and exported those files accordingly.
David Benoit‘s cover of “Song for My Father” was first played on July 1, 2020, but not with the lengthy origin story. I ended up hooked on a video YouTube recommended of the Horace Silver Quintet playing “Song for My Father” on Danish TV in April 1968:
That, in turn, sent me down a Billy Cobham rabbit hole, culminating in this August 2016 Drumeo presentation:
Click here to download the penultimate scoped aircheck or listen below:
Instrumental Invasion, 11/15/23: Song pairs from 2023 albums November 16, 2023
Posted by Mike C. in Airchecks, Audio, Jazz, Jazz Fusion, Livestream, Media, Music, Personal, Radio, smooth jazz, Technology.add a comment

The November 15 Instrumental Invasion on WCWP was the last show to air on Wednesday night, and the third song pair show. The theme was pairs from 2023 albums. It was an excuse to accelerate my new release backlog airplay ritual of playing six songs from a new release. Since David Benoit‘s latest release came out in February 2022, he was absent from the show. That’s eight times in 180 shows without my favorite musician. And visiting the future, I can say it ended up eight times in 182 shows.
The playlist was created on September 9, the last in a group of four I worked on. Annotations were made alongside the other three, between September 13 and 18. The talk break script was drafted on the 21st.
I recorded this show’s first hour at the office on September 27. The first segment of hour two was recorded on the 28th (while watching VoiceUnmuted [Katie Seto] on Twitch) and the last two (plus pickups) on the 29th. The pickups were to accommodate the resulting deficit upon replacing Pat Metheny‘s “Trust Your Angels” with “Morning of the Carnival.” My September 30 quality control session (prior to Katie’s charity stream) came up clean, so no further pickups were needed.
The office recordings were the first time I changed my editing technique. You may have noticed distorted audio in talk breaks in last week’s show from the third segment on. Adobe Audition‘s declicker filter worked fine at home when used broadly (for the entire file), but not at the office where I had updated to the latest edition of Audition. So, after applying denoise, I listened intently for mouth clicks and other noises to filter out as I edited. I have since updated all my Adobe programs at home and have the same problem, meaning I have to use the same technique there.
Click here to download the scoped aircheck or listen below:
Instrumental Invasion, 11/8/23 November 9, 2023
Posted by Mike C. in Airchecks, Audio, Internet, Japanese, Jazz, Jazz Fusion, Language, Media, Music, Personal, Pop, Radio, Rock, smooth jazz.add a comment

NOTE: This is the last standalone Instrumental Invasion. I have agreed to end the run next week with three more shows airing on consecutive nights at 9:00: show 180 on November 15, 181 on the 16th, and 182 (the finale) on the 17th, my 42nd birthday.
The November 8 Instrumental Invasion on WCWP was another two-four recording: the first two segments on September 25, the last four on the 26th. A pickup was recorded on October 21.
The playlist was created on September 7. Annotations were made between September 13 and 18, with the talk break script drafted on the 20th. Caitlin Myers might have planted the “certified bop” seed, which is why I quipped how “Grooveyard” was that.
“Prince Vlad” by T-Square is probably the most metal thing I’ll ever play and it was followed by Najee‘s very smooth jazz thing.
I had to sacrifice another segment format to allow for more songs from recent releases. Next Wednesday, those songs will make up the entire show.
Click here to download this week’s scoped aircheck or listen below:
As a bonus, here is the music video for “Beyond the Galaxy” by Casiopea 3rd:
Instrumental Invasion, 11/1/23 November 2, 2023
Posted by Mike C. in Airchecks, Audio, Comedy, Internet, Jazz, Jazz Fusion, Media, Music, Personal, Radio, Rock, smooth jazz, TV, Video.add a comment

There is a major announcement at the end of this post.
The November 1 Instrumental Invasion on WCWP was recorded on September 23 (first two segments) and 24 (last four). Pickups were recorded on the 30th.
The playlist was created September 6, and annotated with three other shows between the 13th and 18th. The talk break script was drafted on the 20th.
David Benoit‘s cover of “Then the Morning Comes” by Smash Mouth was originally played April 14, 2021. I played it in tribute to their late lead vocalist Steve Harwell.
My talk-up for “Junior” by Euge Groove – “you can call it Junior!” – was a nod to the late Bill Saluga‘s Raymond J. Johnson Jr. character. An example performance:
Click here to download this week’s scoped aircheck or listen below:
Before air, I made the following announcement on Facebook:
Before tonight’s show airs, I would like to announce that I am ending my run of Instrumental Invasion after show 186. If the FM stream is working by 9:00, show 178 will be airing. That means I will have eight shows left to air. Two are ready to be recorded and the last four have yet to be worked on. I have taken this show as far as it can go and am burned out.
Instrumental Invasion has been my longest-running production and my best work creatively. I’m grateful for the opportunity to share it with the world and will carry on with the name each October during Homecoming Weekend.