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[top4odj]

Major, I must agree about the Morning Zoo of yesteryear. Don't get me wrong. I think Kenny is a great talent, but as time went on, I think Y-100 ruined the moring show, not Kenny and Footy. Bobby and Footy were great together. I enjoyed stayin over to help out if I worked an overniter, or i'd just come in if I wasn't working. And they let me partake! I guess my most active feature was "Vinny The Chin" who was an inmate at the Danbury Correctional Center. Footy would tell me what he wanted and i'd run into production and rip something out for him. There were times that something was headlining in the news, so i'd write my own script, walk in to Footys studio (Yes, in the older days, they each had their own studio...Footy was a madman when it came to producing his bits as they needed em) and say "here....take a listen to this". Most of the time he'd get a smile on his face and work the bit in. Then there were the 1 Hit Wonder shows. Since the Y didn't have much of the older product left in the library, i'd get a call a few days before and come in with a list that they gave me and carted up the songs. They loved my extensive album collection.

Then, there was the "Cruises To Nowhere". They did a Sea Escape trip by giving away tickets to listeners, where they'd "Screw Off From Work" for a day. We'd be at the ship around 5:45 in the morning and do the show aboard, and when morning show was over, head out to sea for a few hours. Mike Van Driver III was funny, because he was as you heard him. Whacked and a bit foggy in the head. Everyone had a good time. Keyword is HAD. The only morning show that really does anything close, but not to the extent of what the Morning Zoo did in the late 80's/early 90's is Paul and Young Ron on Big 105.9

They send out their guys, but the stunts and outlandish things that Bobby and Footy had Mike do, pale in comparison. Chalk it up to those changing times and Corprate intervention. It's almost sanitized today, because you have to be so politically correct, you don't want a lawsuit. All n All....give me backing, and let me be the PD of a good Late 60's/70's Oldies station. People need to feel wanted again listening to a radio station.

 

[The-Major]

Major, I must agree about the Morning Zoo of yesteryear. Bobby and Footy were great together.

Even some of their simpler skits were memorable and hilarious. I loved everytime 'President Bush' called in with his now-famous introductory line, 'Bobby - You've got Bush on the line !' One of the most hilarious bits was when (the real) Jeb Bush (a close friend of Footy) was in the studio, and 'President Bush' called in and talked to his 'son' with words of encouragement. I think Jeb was contemplating his initial run for Governor at the time. That was a classic bit. I still remember it here in 2006.

I also loved everytime 'Roseanne Barr' called in with her now-famous introductory line, 'Is this the Zoo ? Hi Bobby Mitchell !'.

Mike Van Driver III was funny, because he was as you heard him. Whacked and a bit foggy in the head.

Remember when he was down in Key West looking for Ernest Hemingway ? He had no clue that he was long gone !

BOBBY MITCHELL NEWS:

When Bobby left Y-100 in 1998 he went over to Dallas Texas to start-up 99.5-THE-WOLF ('Texas Country'). He was their popular morning show host from 1998 to 2006. He also hosted the syndicated weekend night show 'The Road With Bobby Mitchell'. This past May (pretty much the same week that Footy enjoyed his final week at Y-100) Bobby was let go from THE WOLF as a victim of the infamous budget cuts and new corporate ownership at the station. I am not aware of his current whereabouts at this time.

THE MAJOR

 

[John FL]

This string is becomming a classic in itself with all the great stories as to how it was not too long ago. And Major, thanks for making me feel welcome here with your prior comment. For a long time I was reluctant to participate on this board but I guess when appropriate, no one should really mind.
I have a question about programming back in the early 80s but I need to tell a story first to get me there.

My sister was in the radio business for a time up in NYC. I thought it would be neat if I could surprise her with a visit to one of South Florida's radio stations when she planned a vacation to visit me. This would have been around 1981 or so. I lived just a few blocks north of the WAXY studios when they were on Sunrise Blvd. I listened to the station occassionaly (Y-100 was at the time my favorite station still) but since WAXY was in the neighborhood I took a chance writing to the station with my request to visit.
To my surprise, they agreed and off we went one weekday afternoon. Don Agony, who I knew from the Morning show with Greg Budell, gave us the tour. Apparently he was a music director of some sort too in addition to his hosting duties and he showed us how they put each hour together.

I remember seeing what looked like large computer sheets that listed the songs to be played and the number of minutes each song was etc. I also remember throughout this "spreadsheet" was the word "Rap." Apparently this is when the jock was permitted to talk. You have to understand I was naive about a lot of things in not having been in the business. I thought the jocks played what they liked from the playlist etc. So all that programming took me by surprise.

So to my questions. Was this a common practice among FM radio stations back then? As I think of 96X, for example, when they did their Top 16 thing early on, it seemed that every 4th song or so was either an oldie, something brand new or a recent gold. Was it up to the jock to add these extras or was this programmed?

When I listened to the Y, I swear each jock's show sounded different enough to give the feeling that they were picking out their own oldies etc. If they were following some kind of programming sheet, it sure didn't sound like it. Y-100 and pretty much all the stations at the time sounded so spontaneous and with the talent having more liberties, it was a combination that couldn't be beat. Man, I had forgotten about my trip to WAXY but all this nostalgia on this string is making me remember some really fun times.

 

[954]

This string is becomming a classic in itself with all the great stories as to how it was not too long ago. And Major, thanks for making me feel welcome here with your prior comment.

No reason for you (or anyone whyo wants to participate) to be reluctant.

Enjoyed your WAXY story!

73s

 

[top4odj]

So to my questions. Was this a common practice among FM radio stations back then? As I think of 96X, for example, when they did their Top 16 thing early on, it seemed that every 4th song or so was either an oldie, something brand new or a recent gold. Was it up to the jock to add these extras or was this programmed?

When I listened to the Y, I swear each jock's show sounded different enough to give the feeling that they were picking out their own oldies etc. If they were following some kind of programming sheet, it sure didn't sound like it. Y-100 and pretty much all the stations at the time sounded so spontaneous and with the talent having more liberties, it was a combination that couldn't be beat. Man, I had forgotten about my trip to WAXY but all this nostalgia on this string is making me remember some really fun times.

I'll take a bite at this one, seeing as I may have a little inside information on it. At 96X, with the Super 16 Countdown in 1985, you had your 16 current favorites. In the beginning, only twice an hour, at :15 & :45, we played something called a 96X Flashback. It went as far back as 1975. There were a couple different catagories of the Flashbacks, and that was the only time a jock got to pick a song. We had index cards with a grid on them, and when you played a song, you marked the Day & Time you played it, then put it to the back of the catagory.

This served 2 purposes. 1) To keep track of what was being played and how often. 2) To make sure jocks didn't play the same Flashbacks all the time in their shifts. We had 16 songs that were pounded into peoples heads, and we didn't want the jocks to do the same with the older stuff. I'd go thru the index and sure enough....you give an inch, and they take a foot. So...as any PD or MD would do, you sent out a memo stipulating the purpose for the cards & rotations. As the station grew into a more traditional Top 40 radio station, we then added more catagories, thus expanding the playlist.

As for jocks making it sound like they picked the music....Well...in the 70's we did that. I remember coming in 2 hours before my on air shift, sit down with the box of index cards and charting out my whole shift...Currents, Re-currents, Golds, oldies, classics. You had a format sheet where each group fell within the hour & filled it accordingly. Back then, you didn't play 2 female artists or 2 black artists or 2 slow songs back to back. That was a no no, but as time went on....it became safe to do.

The downside to allowing jocks to pick their own music is that they'd always skip over songs they hated and played THEIR favorites. You could only tell a jock so many times that the music isn't their for them, but for the listeners. And with that, the PD's and MD's went to Computer generated printouts. They'd tell the system (lets just say Selector..thats the Choice of most) what catagory to play and when, and the computer laid out the rest. This way, the jock couldn't cheat, and also didn't have to the burdeon of having to sit and pick.

As for the jocks making it sound like they're breaking the rules and playing a song just for "Debbie in Weston" or "Mike in Fort Lauderdale".....It's like this...Most people who call are your "active listeners". When they call for a request, it's usually for a current song. So the jock tapes it and puts it in the can (marks it and stores it). When the song is about to play...>BAM< INSTANT REQUEST!! Now that person may have called 5 minutes ago, or as long as 3 hours ago. It goes back to "Theater Of The Mind". You hear a person calling in and requesting a song on the air and what do you know....the jock does it right away! Even the call in request shows are usually formatted. You always have people calling up to be on the air, so you just say...Sure...this is what I want you to say........ And the next thing you know there's the request you just heard.

 

[Groove1670]

Got to enjoy some of the good Ol' days, and live it

South Florida radio was great in the 70's and early 80's. I grew up listening to Ron St. John on WGBS. Robert W., Tanner, and others on Y-100. Any yes even Stuart Elliott on I-95. Stuart, I had a Sanyo boom box that I could pick up I-95 on the second floor of a house in Key West (Home). Point being....Jocks could talk over the last 20 seconds of a song and into the intro of another song.. or the last 30 seconds of a song going into a stopset and make it fun. Even if it was longer those guys made it sound fun. Now it is just boring liner cards. Now for the living part. I was lucky to have my first job as assistant program director at WAIL FM Key west in 89'. We were CHR with a 28 share. We were lucky to have a budget and have nice things like a Jam jingle package (the flamethrower), and one of the first mobile CD boom boxes, and a optimod which was pretty expensive back then. We killed the competiton, (while running four 4 minute stopsets in middays!!) imagine that. Hours of listening and learning from the guys above help me make that station what it was. Hats off to you. Today there are no weekend or midnight shifts to learn our trade (Meaning no fresh talent to mold). A station that runs a board instead of the computer has a much better sound then one that is on hard-drive. running a station and creating the next event gives the DJ a on-air flow, and makes the station alive!!.

A message to the big boys:

Hire quality talent.

Let them be who the are (yes follow a basic rotation clock but allow them to speak to the listener!!)

Remember the good old days of the aircheck

Stuart, I would like to bend your ear, and have you tell us what some of the guidelines were as far as on air banter, talk times a the end of a stopset, taking on-air calls (back then). on I-95, 96 X etc. Thanks for your time and the memories.

Another curious question, When Metroplex owned Y-100 think they also owned 96 Kicks in tampa. I seen to remember some of the Y-100 jock would actually trade places at both stations sometime?..I think the station was also known as something else too. I remeber it being a close format to Y-100, but a distinct personality. Hope some of this will stir up the board

 

[The-Major]

Point being....Jocks could talk over the last 20 seconds of a song and into the intro of another song.. or the last 30 seconds of a song going into a stopset and make it fun. Even if it was longer those guys made it sound fun. Now it is just boring liner cards.

Now that's classic TOP 40 radio as I remember it. It's back to the time when I don't recall that many automated sweepers in-between the hit songs. The deejays actually gave the title and the artist of the song they just played, told us (the listener) what he or she was eating or drinking or wearing or doing, perhaps told a joke, and then eventually introduced the next hit by title and artist and timed it just perfectly so that the guy or girl or group singing the song began immediately after the deejay stopped talking. It was like clockwork magic on-the-air. And then there were those monstrous over-the-top station identification inserts at the top of every hour with catchy jingles mixed in during the hour. Wax nostalgic.

Stuart, I would like to bend your ear, and have you tell us what some of the guidelines were as far as on air banter, talk times a the end of a stopset, taking on-air calls (back then). on I-95, 96 X etc. Thanks for your time and the memories.

I would like to hear about that too. As a teenager growing up in the D.C. area in the early-1980s I was one of those regular kids that kept calling up the station just to talk to the deejay about something that he or she recently said on-the-air. Sometimes I'd even throw in a request or two. I frequently found myself on-the-air within 10 or 15 minutes. I was a regular. I was part of the show.

I recently stumbled across some of my old phone calls that got on-the-air back then that I recorded on cassette tape. I was listening to them and then I suddenly heard me. It was frightening.

THE MAJOR

 

[954]

Deejays talking

Now that's classic TOP 40 radio as I remember it. It's back to the time when I don't recall that many automated sweepers in-between the hit songs. The deejays actually gave the title and the artist of the song they just played, told us (the listener) what he or she was eating or drinking or wearing or doing, perhaps told a joke, and then...

You can still hear that today on WJNA.

Unfortunately, whenever you hear the deejay mention "what he or she was eating or drinking or wearing or doing" or an old saying or what happened 40 years ago today, it's ALWAYS a really lame segue into a spot. Which devalues the whole deejay/listener interaction. Makes them come across as phonies.

So much so that I no longer pay attention to *ANYTHING* WJNA deejays say, except on specialty shows like Jon Sommers, Ken Held, or Chris MacDonald or if I am specifically listening for something. The people who buy time on JNA should know this, assuming I'm not the only one who feels this way.

73s

 

[jcolletta275]

That's the kind of radio I live to do. Unfortunately, no one will let me do it.

 

[top4odj]

Stuart, I would like to bend your ear, and have you tell us what some of the guidelines were as far as on air banter, talk times a the end of a stopset, taking on-air calls (back then). on I-95, 96 X etc. Thanks for your time and the memories.

I guess the best way to explain it is this. It all depended on the PD and the Jock. Some PD's in my time didn't want what they considered "Senseless babble". Just do the formatics and move on. Other PD's, who had faith in their talent, allowed them to do their thing. In both instances, the PD didn't want you to just talk for the sake of talking. When you cracked the mic, you best have something worth while to say.

Talking over music...Well, that was based on how long your intro was. The average intro was about :10 to :25 seconds. So, before you did your rap...you should have already thought out what you needed to say in the alotted time. Most times you did, other times you "stepped on the song", which ment that you were still talking when the vocals actually started. There were DJ's in my time that would talk up extremely long intro's like Stairway To Heaven, Roundabout or Year Of The Cat to name a few. Most of those times were sensless babble. It was more an ego thing to see if they could hit the post (i'll explain that in a moment).

Perfect phone bits ending just milliseconds before the vocals started....This is what we call "Backtiming". You did your phone bit with a listener and before you played it on the air, you listened to it. As you did that, you timed it to the second. Then you looked at the intro time of the song you'd be playing it over. You subtracted the time of the intro from the length of the bit, and thats how much time you needed before you hit the next song for it to work. Before the industry went to CD's, we had the music cart. It varied in length from :10 seconds to as much as 13 Minutes, rare more. The face of the cart pretty much was layed out like this: Artist Intro Time Total Length and End (Cold, fades) and on the bottom half of the label was the name of the song. All we had to do was utilize that information.

The "Posts": The post is the Start of Vocals in a song, a Cymbal Crash, a Heavy Drum Beat, Change of Tempo or something that stood out during the intro. An example would be the song "Vehicle" by Ides of March. The intro is 16 seconds or what we'd call a long 15. You had posts at :03/:07/:12 and the vocals starting almost 16 seconds in. The total length of the song is 2:53 with a Cold End. A cold end is when there is no fade to the song, it's just an abrupt end, in this case, with the horns hittng a high note end, mixed with a cymbal. What you do over the intro for the 16 seconds depends on YOU. How you work in the "posts" or not. Some just talk right over them like it's nothing, others will taylor the rap to the posts.

Coming out of a record...Again, that depened on the song. If memory serves correct, unless it was a "cold" end where you just did your rap right after the last note or sound, with a "fade" ending, about 15-10 seconds was about standard, unless the fade of the song was fast. I Guess it's something that you learned after doing it a few million times lol. How much time you actually used between the end of the song and going into the commercial stopset, depended on the mechanics of that perticular break. At the :20 & :50 stops (these ment minutes after the physical hour), it was usually what was happening during the next hour....maybe a contest, or new music or something station oriented. Based on how much info you had to take care of station wise, was the gauge on what else you may discuss. PD's rule of thumb was "1 Thought per break" which ment, don't talk about station stuff...and 3 other topics...it just sounded like too much. It was kind of the same over intros...you didn't want to pile 5 thoughts over 20 seconds.

On Air Calls: Those are pretty much shoot from the hip. If you had a song coming up and there wasn't much happening station promotion wise, rathe than just babble, you played someone requesting a song. Or someone calling up to give a stroke to the station. It wasn't a good idea for you to have some female call and say "Oh wow, you have such a sexy voice, I think you're hot!" While its a great ego stroke for you, the idea is to promote the station. PD's hate that stuff.

The only other time you did anything extensive, was at the "cross-over". Thats when your air shift was ending and the next jock was about to start. What you did was either talk about something station oriented, do some joke or off the cuff remark, or do something listener related (ie: something happening in town...the Heat win, Marlins, a concert or an event). There were guidelines to what, how much and where you did all this stuff. It's pretty much like a playbook, and each jock had his own way of presenting it. Morning Shows & Afternoon Drive shows had the most freedom. As for the other shifts, it was based on the talent to what the PD would allow. When I was at the new 96X (1985 version) I did mostly 6-10 at night. Yea, there were times I just babbled on, but I did my shift unlike most other 6-10ers. I did a modified morning show, and being the Assistant PD & MD, I gave myself the lee-way. BUT...the diffrence was, and it was agreed upon by the PD, I knew what had to be done, and as long as I got station stuff taken care of, I had free reign. Believe me, I used that to the hilt!

Another curious question, When Metroplex owned Y-100 think they also owned 96 Kicks in tampa. I seen to remember some of the Y-100 jock would actually trade places at both stations sometime?..I think the station was also known as something else too. I remeber it being a close format to Y-100, but a distinct personality. Hope some of this will stir up the board

96 Kix, tho not a carbon copy of Y-100, was very similar. Alot of stations model their lesser stations after the big gun in the ownership chain. While I cannot answer for sure the swapping of jocks from one city to the next, it's not out of the relm of possibility that on ocassion, that it happened. It's more likely that a jock would be transfered to another station in the chain, rather than have them go work for the competition.

 

[954]

Glad to see this board is moving again.

Check out the numbers for this thread, 107.1, and Footy.

73s

 

[The-Major]

Glad to see this board is moving again. Check out the numbers for this thread, 107.1, and Footy.
73s

YOU'RE WELCOME !

Seriously though I have been having the time of my life on here since your return (954), as well as DJ Stuart Elliott's return. For a couple of months after the board's software changed over and a lot of people migrated to various other boards this particular board was struggling badly. Now it's been rejuvenated, and I couldn't be more thrilled to continue to post messages back-and-forth with all of you who are active on here. You guys and gals are intensely fueling my hobby and my passion for the Miami radio business. Let's keep it going !

THE MAJOR

 

[top4odj]

Glad to see this board is moving again.

Check out the numbers for this thread, 107.1, and Footy.

73s

Actually, i'm amazed at the numbers of the posts read. Kasey Casem would be awful proud how we're climbing the charts at bullet pace! <snikkah> I guess people who are not "in the biz", really want to know the behind the scenes life & torment we are a part of.

But I can't take all the credit....oh wait....errrr.....uhhhhh....ummm...I...I...I mean, awww shucks....thanks to both of you Major & 954. I appreciate the fact you let me come play in your neighborhood, and as long as i'm able to fill in some of the blanks, it's a done deal!

 

[954]

Kasey or Casey or K.C. Jones?

Actually, i'm amazed at the numbers of the posts read. Kasey Casem would be awful proud how we're climbing the charts at bullet pace!

It's all your good info which is making this board so interesting.

I'm surprised there haven't been more people responding.... what is it about 6 total?

Reminds me... whatever happened to K C Jones, of WGMA, The Country Giant?

73s

 

[John FL]

The number of posts read on this string proves that the subject is really near and dear to a lot of people. It's priceless reading Stuart Elliott's recollections and in fact I couldn't wait to see what was being said everytime I visted R.I.
But in many respects radio was a lot like that too. There was an incentive, a desire, even a need to tune in or surely you would miss something good.

Blame deregulation, blame the bean counters, whatever, but today it seems the fire has gone out. The only thing that matters is acheiving established norms/specific demo target at the least cost. Nothing wrong with making money. Radio is a business. But I think there is potential to do so much better. When talent is permitted to use their judgement and communicate accordingly to the audience, this can make far more favorable impression on the listener than virtually anything else. More on that below.

For those who are new to the business of radio and find themselves on the air, I'm sure they feel like they are on top of the world. But I imagine the Stuart Elliott's of the world who are on the air today who can't say anything except a few times an hour or perhaps not more than 2 minutes total an hour. How frustrating it must be for talent to be looking out the studio window and seeing a horific storm brewing but they can't say anything until programming says they can. Or if a listener calls in about an accident but again nothing can be said until it's traffic reporting time.

To illustrate, in one of my many trips along I-95 between South Florida and Jacksonville, one day traffic was virtually at a stand still between Daytona and Jax. It was a weekend and I searched all over the radio dial AM and FM trying to find out what was going on. It seemed every station was automated. I turned the radio off in disgust. I'm sure many others continue to do so when radio lets them down. Terestial radio clearly has an advantage over satellite to report on local events that have the most impact locally.

And so too when I read that a Y-100 doesn't have a local morning show, it proves that the bottom line is really the only consideration. The program will get ratings and I'm sure ad revenue won't be bad, but there won't be an emotional attachment. As that continues to occur throughout the business, it will enable listeners make choices to go somewhere else.

I think a comparison can be made to AM musicradio of the early 70s with FM challenges to AM. Back in the early 70s, AM was very dominant and many of the suits could not envision that FM would actually command more listeners in most markets by the mid to late 70s. It happened because AM was no longer trendy and FM quite frankly did a better job because they were motivated to win.

If the average listener's needs continue to be ignored, switching to something else will become an option and an easier choice. Turning the radio off in favor of CDs will continue to be an option too. This isn't rocket science folks but if there are less listeners and less incentive to listen, the bottom line will be effected. My two-cents.

 

[The-Major]

If the average listener's needs continue to be ignored, switching to something else will become an option and an easier choice. Turning the radio off in favor of CDs will continue to be an option too. This isn't rocket science folks but if there are less listeners and less incentive to listen, the bottom line will be effected. My two-cents.

GREAT POST JOHN !

There was a lot that I wanted to reply to there, but for simplicity purposes I'll key-in on your last paragraph.

Most of us on here are of the 'old-school' mind (if you will) in that we wish radio today were more like it was back in the day when radio deejays essentially owned their shows, pretty much said what they wanted to, and basically played what they felt like playing (or what their listeners were calling in to request). That was then and this is 2006. I'm 39-years-old. I grew up in the 1970s listening to AM TOP 40 'Music Radio' in the Washington-Baltimore area. There were a bunch of stations on-the-air with that format back then, and I listened to all of them as they all tried to outdo each other. It was fun radio. I don't consider myself to be old, but I feel old when I talk to / communicate with younger radio listeners in their 20s and teens. I have a popular hit music web site where I get a lot of my 'loyal fans' writing in to me all the time. The general consensus is that they are sick and tired of all of the deejay chatter, commercials, promotions, and other filler programming that takes away from their favourite hit music. That's when they start to flip around, or pop in their favourite "Now That's What I Call Music !" CD. They do not want to hear deejays talking or joking around on their radio. They want to hear music, and they want to hear it now ! They want to hear a jukebox. They want to hear their favourite songs every 75 to 90 minutes. Stations like Y-100 en Miami and KISS-FM in Jacksonville are more than happy to comply with these demands in this new radio world that we live in.

I guess the point that I am trying to make here is that there are a lot of people like us that want radio to return to its former glory, and then there are a lot of people like them that want radio to quit the nonsense and to just play the music.

THE MAJOR

 

[The-Major]

And so too when I read that a Y-100 doesn't have a local morning show, it proves that the bottom line is really the only consideration. The program will get ratings and I'm sure ad revenue won't be bad, but there won't be an emotional attachment. As that continues to occur throughout the business, it will enable listeners make choices to go somewhere else.

Besides the syndicated 'Elvis Duran & The Morning Zoo' out of Z-100 in New York there's also the voice-tracked DJ Nikki out of 103.5-KISS-FM in Chicago doing middays, and the voice-tracked Kane out of 93.3-FLZ in Tampa doing nights (although that will soon change with the arrival of the LIVE and LOCAL J-Niice from 96.5-KISS-FM in Cleveland to Y-100). There's also the voice-tracked Ashlee Reid out of 93.3-FLZ during the weekends.

Y-100 is slowly rebuilding its talent line-up. As an admitted Y-100 cheerleader I must add that the playlist is also starting to expand with the arrival of some current rock tunes by Panic! At The Disco and The Fray. Good stuff.

I'm actually a fan of the 'Morning Zoo' (when it's not in 'Best-Of' mode). I've heard how bad a syndicated morning show can sound on a non-local radio station, and I think that Elvis Duran & Company are far from that type of situation. The addition and inclusion of the LIVE and LOCAL Froggy helps out a lot.

THE MAJOR

 

[radiolover78]

Why is this board dead? Three days since the last posting, which was by me!

Stuart recently posted enough info about several stations to create a miniseries.

I have posted links to a bunch of new and updated pages, about radio news and history of local stations.

Doesn't anyone have any comments about either?

TV can't be that good!

73s

There you are David. I haven't heard from you in a while!

Don't forget I read your website on a regular basis.

Your love for radio has inspired me and I will continue to read you website and contribute what I can on this board.

Oh, and by the way, you still need to edit your Mark Levin article!

 

[954]

Why is this board dead? Three days since the last posting, which was by me!

Stuart recently posted enough info about several stations to create a miniseries.

I have posted links to a bunch of new and updated pages, about radio news and history of local stations.

Doesn't anyone have any comments about either?

TV can't be that good!

73s

There you are David. I haven't heard from you in a while!

Don't forget I read your website on a regular basis.

Your love for radio has inspired me and I will continue to read you website and contribute what I can on this board.

Oh, and by the way, you still need to edit your Mark Levin article!

Oops! I think I fixed it but didn't upload it!

Thanks!

73s