Q Code, Text, and Signs: A Study of
the Semiotics of
QSL Cards
1. W8SI - This blank card is from my grandfather's station. The stylized font of his station name, W8SI, is centered with a different type font of his city and state clearly marked across the top. These two pieces of information add up to what a ham who collected QSLs would want to know: from where did this card come?
This card also indicates that my grandfather had another station, 8ATZ licensed since 1919. This tells his reader that he is an experienced ham who had a station prior to the requirements of the government in 1912 which required ham operators to have a "W" to start their station name (Maxwell 2). What is unclear is how he was able to have a station without the "W" in 1919, seven years after the government required it. Copies of his 8ATZ card do not indicate the date which they were made or the date the station was created. It would be unlikely that my grandfather had a radio station prior to 1912 as he would have only been seven years old at the time.
The pre-printed text allowed my grandfather to complete the radio he contacted, the date, time, confirmation of contact, and radio station particulars such as the wavelength. The other pre-printed text on the right side of the card indicated the information of his station and a request for QRK - what is the strength of my signal? All of the cards in the collection exhibit this technical and specialized language which helps to establish the discourse community (Swales 13). In addition, the ubiquitous use of this specialized language shows a "critical mass of expertise" in this community (Swales 13). To the left on the card he created a cross of 5 letters, QSLPE. This was a request to please (PSE) acknowledge receipt (QSL). This request is repeated by the line "QSL to Others as You Would Have Them QSL to You" which is pre-printed towards the bottom of the card. This double-request indicates his strong desire to collect QSLs. Unfortunately, I don't have a copy of a card he filled out. It would have been interesting to see what he would write in the remarks section.
The creation of a cross from the PSE and QSL in addition to the QSL "Golden Rule" could indicate a nod to religion. However, in this case, my grandfather was not religious, and it is not socially acceptable in the ham radio world to discuss religion (Nevradakis 80). Discussing or indicating religious preference would break the rule of a discourse community by exceeding the bounds of "participatory mechanisms" (Swales 13). Applying the Golden Rule to QSL exchange would be appropriate because the Golden Rule indicates reciprocity in social situations regardless of religion. However, this doesn't mean that religious or political discourse didn't happen in conversation or on the cards in images. The discourse may occur but in a more covert manner.
3. U-IBAT - This card from Boston, MA is a clear example of the typical textual discourse and "genre-specific discoursal expectations" between ham operators (Swales 13). The sender, Billy Chamberlain, handwrites in shorthand not only due to the space limitations but because this shorthand is the normal discourse in the amateur radio world. Use of this language indicates that Chamberlain is a part of the discourse community, and this use of shorthand and Q Code plus the date of the card, 11/11/25, shows that he was active in the early years of Q card exchange.
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Chamberlain used three exclamation points so one could assume he was excited or happy to be writing and sending the card. Many of the cards indicate this sense of excitement by the use of exclamation points or the use of hi-hi, the Morse code equivalent of the SMS word of ha-ha, indicating laughter or a joke. Chamberlain doesn't seem to agree with the Amateur DX Report Cards guidelines published in 1924 that the cards should not exhibit humor (Codella "Card and Call"). One could surmise by the lightheartedness of this card and by many of the others that strict technical exchange was not the sole purpose of a QSL as the writer of Amateur DX Report Cards would have liked.
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This card has an ARRL (American Radio Relay League) sign on the right side of the card. Of the 140 cards, 74 cards indicated they were members of the ARRL or another national radio organization through the use of an image or through text. The other 66 either did not indicate a membership or had membership initials I did not recognize as such. The typical emblem used for the ARRL on the cards looks like the image to the right. The other national
symbols or emblems were similar with the diamond-shaped design but with their
country's initials.
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Chamberlain has pre-printed on the card, on the lower left hand side, "QSL?" He
then writes next to that "1BAT Does!" In addition, he writes "A Card for a Card, Old
Man!" Chamberlain has thus indicated twice the request for a QSL card. This is similar to the W8SI card which requested a QSL in preprinted form twice. Of all the cards, 77 request a QSL one time and 14 request a QSL two or more times. Therefore, 91 of the 140 cards request a QSL card which indicates not only a request for "information exchange" (Swales 13) but also ritual (Rogan 16). The ritual is exhibited by the large number of operators who request QSLs and can be classified as repetitive, institutional, and expressive (Rogan 16). Because a majority of the cards request a QSL, it seems to be standard in the community to do so. Perhaps requesting a QSL more than once could seem "pushy" or too repetitive since only 14 of the 140 exhibit this double request.
4. J1GA - The musical score on this card from Tokyo, Japan makes it unique in the collection. The notes, when played, form a pentatonic scale, a scale of 5 tones, and sounds like a traditional Japanese folk song (Gibson). It is in fact, the Japanese National Anthem "Kimi ga yo" (Kawamura). Click the play button to hear the tune.
The addition of musical notes to this QSL card exhibits adds a third type of language on the card to form a trio of kinds of discourse: musical notes, Q code, and English. This addition of the Japanese National Anthem could indicate pride in the country of Japan by the Japanese operator or could indicate that the operator likes music. It can't be assumed that anyone who received this card would know what the musical notes sounded like unless they could play an instrument to decipher it. The sender's purpose probably wasn't for a receiver to play; it was to establish the sender's ethos so that the receiver would know something about the sender.
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The inclusion of the song, the Japanese flags, and the operator's name, K. Sato, indicate the operator is probably native to Japan. Several of the cards sent from foreign countries seemed to have European names attached to them, unlike this card. Of the 140 cards with legible names, 16 seemed to be names which did not match the country from which the QSL originated. For instance, the China card at the bottom of this page was sent by Thompson, and this person signed off with a "Cheerio." This indicates the operator may have been of European descent.
5. W6CRF - One of the problems with attempting to establish ethos with image and text is that the sender needs to be clear about what they are "saying." This card from Reno, Nevada, "The Biggest Little City in the World," shows a quartet of tuxedoed men singing. At the bottom of the card is text that reads "Our Pride and Joy." What isn't clear about this meaning to modern readers is, what or who is Reno's pride and joy? The answer to that may have been common knowledge in 1931 to American recipients, but it wouldn't have been well-known by non-American operators. Although I spent some time searching, I was unable to find out who the singers are or what they represent. Therefore, although the sender's "words work in discourse," his meaning isn't clear (Richards 4).
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A potential upside to having an unclear message is that it may help to make the card more private. If there was a hidden meaning to this image of the singing men that only this sender and his recipients knew, the public audience, those who may have seen the card but were not the intended recipient, would be unaware of that message. This helps to create a type of media discourse that is neither fully private nor fully public (Östman 423). Of course, much of this card, to the untrained eye, creates a sense of privacy between the sender and receiver. One would have to be aware of and know the technical jargon of the ham radio community and Q Code to be fully privy to any of the cards' meaning.
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This card does have good balance with the image and radio letters centrally located. In addition, it has a frame around the whole card. This is very common in the whole collection with 80 of the 140 card detailing some type of frame.
6. BCL - This early card from Bedford, England doesn't have any images to assist with meaning, but the preprinted message indicates the verbose sense of humor and rhyming technique of the sender, F. Charman. The text reads:
O - 8ATZ - Amateur, whose CQ's I have heard, I beg of U to QSL; Oh! pse send me a crd,
For if U do not answer, it will be for Ur worse: I'll call the wrath of Jupiter upon U in my
curse. As Nelson said at Waterloo in 1962, "Up then Guards and Atom" - so shall I say of
U - "Up Sturbs and Electrons" - and by the seven spheres May the heavens belch forth
QRN, fit for Thor's own ears; May the sky be rent with lightnings, and the earth be rent
with quakes, And Ur Mast be stricken, so that every Guy Wire breaks; May Ur Radiation
wither, and Ur Amps refuse to amp; May Ur Bottles all Disintegrate, and Ur Lo-Cross Coils
git cramp, May Ur Generator sizzle, and Ur Meters all go fut; Ur Condensers stop
condensing, and Ur Tuning ne'er sta-put. And so because you didn't write things all turn
out so bad, When this Malediction comes to pass, perhaps U'll wish U had. However, if U
QSL, or send a word or two, I wish U VY 73's and I raise my hat to U!
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In addition to the typical technical discourse which is listed at the bottom right of the card, Charman also uses the specialized language of ham operators in his poem. In addition to this specialized language, the sender is clearly showing his humorous personality by using the technical language of radio mixed with historical and mythological language. This blend helps to establish his ethos and membership in the community. His poem also exhibits a blend of standard English and code, both Q Code and SMS language. This combination proves his membership in the ham community and also shows his comfort level in using this special blend of discourse.
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Once again, there is a small indicator that despite religion being a topic not discussed amongst hams, the sign of an ancient religion has worked its way into the vernacular. Just as the modified Golden Rule was used above, this operator makes mention of the "wrath of Jupiter" and in the form of a "curse." This does not indicate that Charman worships the early Roman deity but that despite the taboo of not speaking or writing about religion or politics, religious symbols and sayings have worked their way into this discourse community.
7. 5QX - Two distinctions mark this card from Belfast, Northern Ireland. First, the balance of this card doesn't use the standard centrally-balanced technique of most of the cards. In fact, of the 140 cards, only 5 are not centrally-balanced. This card uses color, blocked texture, and space to achieve balance (Faigley et al 26). I believe the sender uses this technique to draw the recipient's attention to the green-plaid area. And this is what leads to the second way the card is special: its "emphasis to certain material" (Faigley et al 34): friendship.
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Establishing friendships, although not a necessary part of this discourse community, does occur because of the common interests shared by the ham operators (Haring xi). J.N. Smith, the sender of this card, is quite forthright about his desire for international friendship; he has "Ham, Radio For International Friendship" and "We're All Good Pals. Es. Jolly Gud. Company." pre-printed on his cards. The text about friendship and the design of the card all belie the standards set forth that QSLs should only be about the exchange of technical information (Codella, "Card and Call).
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This card also exhibits the two types of messages described by Rogan using folkloristic theory; the card is meant to carry information (linear) and is an activity for purposes of continued relationship building or collection (circular or reciprocal) (15-16). In this instance, the operator wishes to, within the community boundaries, build relationship or friendship. In addition, the sender imagines the card as part of the receiver's collection, with collectability as one of Rogan's four factors which helped the postcard to gain such popularity (4-5).
8. AC8NA - One hardly has to mention what distinguishes this card from Shanghai, China; it has probably one of the most eye-catching images on it. The centered image and radio letters are standard for a QSL card, but in addition to that, there are hand-drawn images of two red demons holding up a ham radio tube featuring the radio letters AC8NA. After researching, I've come to the conclusion that perhaps the demons holding up the tubes aren't supposed to represent evil at all but something referred to as "Maxwell's Demon" (Bennett and Schumacher 3).
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James Clerk Maxwell, a Scottish physicist, developed theories about the electromagnetic field in 1873 which led to the development of radio usage (Maxwell 1). Maxwell, the physicist, also created the idea of "demons," or "imaginary supernatural creatures" which could participate in theories about physics (Bennett and Schumacher 3). These demons were outside of physical properties for purposes of theory. Although Maxwell invented these demons for work on thermodynamics, perhaps the sender of this card used this image on his QSL card as a way to honor Maxwell and his contribution to radio.
If my conclusion is accurate, then perhaps radio operators in the 1920s and '30s understood the reference but to observers from the present, the image is confusing and a bit disconcerting. The relationship between the image and text doesn't "work" because the text is rather cheerful and the image is rather chilling. If the radio operators of the time didn't understand the reference to Maxwell's Demon, the sender's ethos hasn't been well established.
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Another possibility about the meaning of the image is that the operator, seemingly not of Chinese descent because of his language use and surname, is making a political reference to the Chinese government. He could be saying that the government is controlling the usage of amateur radio waves. During the 1920s and '30s, the government was not considered communist in nature but did not allow for general freedoms for the citizens. The operator may have viewed the interference of the government as devilish or demonic.
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If the possibility of politics has entered the discourse on this card, then the card exhibits two types of discourse which are against the standards of ham radio. The devils or demons are indicative of religious and political vernacular entering the conversation, and the operator is resisting the standards set for the ham radio discourse community.
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This card, although can't be seen via an electronic image, is larger than the standard QSL cards used. The normal size of a QSL card is 5 1/2 x 3 1/2. This card is 6 1/2 x 4 1/2. Of all the cards in the collection, only 8 are larger than normal.
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Card 2 - Remarks: "Glad to communicate with you, Old Man. Hope to again, Please acknowledge receipt with me a card.Thanks for same. How, Copy?
Card 3 - Remarks: Very glad to communicate with you, Old Man and hope to again! A card for a card, Old Man! Ha-ha!
Card 4 - Thanks for fine business and communicating with me, Old Man.
Many thanks for communicating, I hope to meet you again in the future.
Trade photos? Would appreciate your card, Old Man!
Card 5 - Remarks: Here's your card, Old Man. Hope it takes its place of honor among the other (?). Am not on very often, sorry.
Card 6 - Remarks: Aerial then 15' long 2' from roof and no earth! Hi! I've not heard you since, Old Man, but will acknowledge receipt when I do. Please (??) delay, Old Man. I am swamped with cards.
2. 9DIB - There is a playful interaction between the corn stalks and radio wires on this card from Nichols, Iowa which could indicate the pride the sender has in not only his hobby, but in his home state. There is a relationship present amongst the color yellow and the images of corn and the slogan printed at the top, all reminding the reader through color, image, and text that corn is central to the state of Iowa. In addition to this, the corn stalks are acting as poles which are holding the radio wires from which the radio waves are emitting. The call letters are centrally placed and although large, are well-balanced to the size of the card; the letters are in good proportion to the rest of the card. The eye is drawn to these letters because of their size and color. All of these aspects of the card exhibit balance, classification, description, and proportion (Faigley et.al).
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Despite the clarity of the images of corn and the yellow color, the description of what the image means isn't fully defined until the slogan is added. Therefore, although the image is quite descriptive, it doesn't completely describe Iowa as a state with tall corn; this only happens with the added text of "In the state where the tall corn grows." One could suppose that the corn must be tall to support the height needed for radio wires. However, the corn image is metaphorical in nature; the corn couldn't be tall enough or strong enough to support radio wires. This is a perfect example of social semiotics; the interaction of words and images establishes meaning (Kress 2).
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Although only this card and the China card (#8), below, in this analysis exhibit this play of images between an image and a part of the radio, six of the 140 cards in the collection show an interaction of images to include the radio and the place of origin. Four more of the cards show both radio and place of origin images, but they do not interact in the same way as the corn and radio wires. 27 of the cards exhibit images of the place of origin, and six of the cards show just radio images. These described cards do not include several of the cards from the collection which show images of their membership in the ARRL or other radio club. The comparison of the Iowa card to the rest of the collection helps to place the Iowa card into a classification of other cards which have interactive images on them.
Card 7 - Thanks very much for the call, Old Man, and sorry conditions went flat on us. Ha. Hope to see you again very soon. 43 (could be related to conditions of transmission).
Card 8 - Remarks: Thanks very much for card Old Man and we hope to communicate with you soon. Best distance and cheerio.
Card 1