This Charlie Stone guy I mentioned was blessed with such a voice. There is a blip of him on the old Bootleg Top 40 from '71, doing mornings at KOIL, Omaha. I first heard him as a kid on WDDT, Greenville, where his air name was Charlie Tuna (not to be confused with Art Ferguson). Hmmm...
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Is this this the same Charlie Stone at WDSK Cleveland in 1963....later owned a station in Sulphur, OK. in the 80's?...If So, I think he may be in Greenville again as an insurance man...Thanks...JBI
I was here looking for someone and came across this subject mentioning the guy I was looking for. Back in the early 70s, I used to trade stories from Nashville with Mike Day for stories from Memphis. Anyone know where Mike is?
However, some of the other names I did recognize. Mike (Dook) Donegon was my ND at WSM in 1981. He now is on satellite radio as a sidekick to Carl P. Mayfield. He is also the stadium announce for the Titans during the fall. I also worked with Ron Jordan at WSM. After the big meltdown in the news over there, he's now doing news for another station in town and I can find out where if anyone asks.
Doc Damon, also a long-time friend, is doing a lot of voice work and getting older here in Nashville. He last did some part-time weekend work on the last oldie station in town before it changed formats.
They're the only ones on the list I knew...thanks ahead of time if you know where Mike Day is now.
However, some of the other names I did recognize. Mike (Dook) Donegon was my ND at WSM in 1981. He now is on satellite radio as a sidekick to Carl P. Mayfield. He is also the stadium announce for the Titans during the fall. I also worked with Ron Jordan at WSM. After the big meltdown in the news over there, he's now doing news for another station in town and I can find out where if anyone asks.
Doc Damon, also a long-time friend, is doing a lot of voice work and getting older here in Nashville. He last did some part-time weekend work on the last oldie station in town before it changed formats.
They're the only ones on the list I knew...thanks ahead of time if you know where Mike Day is now.
K
KennyBosak
Guest
Sorry that it's taken me so long to post on this subject. I'll fill in as many details as I can -- feel free to post more questions and I'll see what I can come up with.
First, the facilities at 112 Union:
From when I was first hired at WMPS in November 1975 (Roy Mack brought me on board for my first paid radio gig: running the Sunday morning public affairs block), here's what I recall:
As other posters (such as Rob and Dan) have indicated, all WMPS studios were on the third floor, with Plough Broadcasting corporate on the second floor. The huge record library was on the second floor as well. The librarian was a really sweet lady and I think her name was Jackie. If I'm not mistaken, she later worked at WREC.
Outside of business hours, employees needed two keys to get to WMPS: A key for the front door, as well as a key to the elevator. You could not take the stairs to the second or third floors, as the door to the stairwell was locked. The stairs could only be used for going down, and really were just a fire escape. Once inside the building, you pushed the call button for the elevator, but once inside the elevator, you had to use a key to activate the buttons allowing you access to the second or third floors. Inside the elevator, the floor indicator did not have 1-2-3 on it, but rather 1-2-WMPS. It was quite a rush for a 20-year-old upstart to see the light change from 2 to WMPS as the door opened on the third floor.
The elevator opened to a nice reception area, where visitors were greeted by receptionist Juanita Arnold. I got to know Juanita quite well while I waited on numerous occasions to present my latest aircheck to Roy Mack.
Past the reception area there was a very long hallway. The first door to the right (not really even a door, just an opening) was kind of a jock lounge/office. There were about half a dozen desks in there, and not much else.
The next stop on the right was the door to both the on-air studio and the newsroom. As you came through the door, if you took a hard right and went through another door, you were in the newsroom. The first room was the news gathering area, with city guides, wire machines, telephones, scanners and the like. The second room was the actual news announce booth.
When you came in the door from the hallway and went straight ahead through another door, you were entering the on-air studio. It was, I believe, up three steps (about 24 inches) from the hallway. I have no idea why it was designed that way. Was it to give the jocks a psychological boost as they entered? Was it to facilitate cables being run under the studio? I haven't a clue.
As Rob pointed out, it was a classic RCA console, with eight rotary pots (four on each side of an intercom button). To the left of the console were two of the ITC 3D cart machines. They were the ones with three cart slots in each machine, with the big green start buttons, the little red stop buttons and the yellow "ready" indicators. There was a third ITC triple-decker to the right of the console, but I think Dees is the only jock who used it, since his show had so many carted drops and elements.
Radio folks who used the ITC gear remember the "sec" and "ter" tones that could be encoded onto a cart either before or after recording. WMPS used the sec tone as a warning that a song or spot was about to end. It would blink a little light on the cart machine, but the engineers also had it set up to fire a little light bulb in the studio as well. The ter tone was the old-school way of sequencing spots in a set. The sequencing could be turned on or off with a switch. Songs and jingles did not have the ter tone -- only spots and promos.
The three ITC units were on three pots, so you could not go song-to-song on the air in the same machine, but rather go back and forth between 1 and 2.
There were two reel-to-reel machines in the studio, but they were both in a rack at the back of the studio, under a patch bay. Thankfully, there was a remote start within arm's reach of the jock.
There was also an ancient Gates turntable to the right of the console in a very awkward position. It was really only used for two purposes: For some of the public affairs shows which were provided on vinyl, and for Ron Jordan's legendary signoff sequence. Jordan ended every show with "Memphis, My Home Town" by Terry Lee Jenkins. As many of you already know, the song was a promotional jingle done for all the Plough stations in 1961. The Memphis version featured references to the Cotton Carnival, Mid-South Fair, and -- of course -- WMPS. Jordan would frequently pepper the song with horn honkings and cowbells in the background while it was playing. As it ended, he would -- I swear to you -- take the 33-45-78 shifter on the old Gates and change the speed wildly for the last 10 seconds or so. Poor Dan Sears had to follow that with the 6:55 news.
To the jock's left was a small cart rack, which was used for current songs, recurrent songs, jingles and promos. Commercials were kept in a big metal wire roll-around rack. It probably held about 250-300 carts. Dees had an identical roll-around rack with all of his drops and bits. When he was not on the air, it was rolled into the secondary on-air studio (more on that in a minute). All other song carts were in a wooden rack that covered an entire wall of the studio. In 1975, the only songs on that wall were from 1970-1974.
As the jock faced the board, directly behind him was a door leading to a mirror-image on-air studio. It had the same board, the same cart machines and was pretty much ready to go as an emergency backup to the main on-air studio. It was later used for dubbing music and simple production, but I don't know of any time that it was used on the air. That's not to say it wasn't -- I just don't know that it was.
If you faced the board in the secondary studio, you were looking down (remember, you're still about two feet above everything else) on the main production studio. There was an adjacent room with mics for voiceover sessions. By 1977, that room was converted to the production room (it was nicknamed the "blue" room because of the color scheme) and the 1975-era production room was the on-air studio.
As for the rest of the third floor, if you started back at reception and walked the hall, on the left side of the hall you would pass sales & traffic, restrooms, Roy Mack's office and a break room with vending machines. Believe it or not, there was no coffee machine in the break room. My early Sunday morning routine included making a pot of coffee at home and bringing it in a Thermos.
At the end of the hall was the general manager's office. If you made a right turn, the were a couple of small offices. When Dees was elevated to PD in 1976, that's where his office was located. The same office was used by subsequent PDs such as Michael St. John, Tommy Charles and Bob Knight.
I did not spend much time on the second floor, but here's what I remember:
As you exited the elevator and walked down the hall, Ed Crump's office was on the left. I remember visiting him in his office when all jocks were told to see him to make sure we were up to speed on log compliance. In 1975, jocks were only required to keep the program log, since back then a first-ticket engineer was required to be at the transmitter site 24/7. By 1977, transmitter readings were taken on a remote unit in the on-air studio, so jocks had the extra responsibility of doing the logs.
Further down to the right was the record library. There were literally thousands of albums, singles and old transcription discs. In 1977, I was given the task of filling out our BMI logs. I took the jocks' hand-written logs and typed them onto the BMI form. In those days, we had to list the song and composers on the BMI logs, so I spent long hours in the library looking up songwriters, which were usually on the record labels.
In 1977, there was also a production room on the second floor which was used for recording the 10 1/2-inch reels of music for the K97 automation system. A lady named Candy Wessling was in charge of that, and I believe she also produced reels of music for other Plough stations.
Now for the WMPS staff:
I'll cover three eras of WMPS that I know fairly well. Please add or correct if I have any errors or omissions.
The WMPS legendary line-up of 1975:
Rick Dees (Full name: Rigdon O. Dees III)
Roy Mack (also PD) (Real name: Roy McIlwain)
Bill Murray (also production whiz) (Real name: Bill McMurray)
Ron Jordan
Dan Wilson
Harry Simpson ("The Best of WMPS" as it was called, with the regular jocks pre-recording intros of the songs)
Bud Leonard - News
Dan Sears - News
Mark Adams - Weekends (Real name: Lance Holley)
Chris Reviere - Weekends (Real name: Rusty Reviere - see below)
Carlos Riley - Weekends (Real name: Cecil Holmes)
As many know, Harry Simpson was a first-class engineer, so he did overnights from the transmitter site on Benjestown Road in Frayser, which kept WMPS from having to employ an extra jock or engineer.
I'm pretty sure that Reviere replaced Adams in the fall of 1975. Rusty's name appeared in the phone book, so he used the name Chris on the air to deflect kids calling him at home. In the spring of 1976, WMPS got a new jingle package (Jam's "Energy"), and Roy Mack goofed and had them sing the jock jingle "Rusty Reviere." There was no way Roy was going to pay for another jingle, so he told Rusty he'd have to use his real name. Ron Jordan, in all his 1976 brilliance, referred to him as "Crusty Reviere" on the air for several weeks.
The final WMPS top 40 line-up:
Bob Tracy
Charlie O'Neil
Walt Jackson
Rob Grayson (As Robert Grey)
Kevin Murphy
Jennifer Fox (Real name: Denise Hay) (Confirming earlier post that she was the first female jock at WMPS)
Michael Jay (Real name: Michael J. Paige, best known as Michael Jeffries - see below)
Tommy Charles - PD (Would do fill-in on the air. He did middays at WMPS in 1973)
Bud Leonard - News
Mike Donegan - News
Rusty Reviere (Weekends)
Myself (Weekends)
After the March 1978 flip to country, here's where folks went:
Bob Tracy and Charlie O'Neil to WMAQ in Chicago.
Walt Jackson, Rob Grayson, Kevin Murphy, Bud Leonard, Mike Donegan and myself stay on.
Jennifer Fox to Miami.
Michael Jeffries to WDIA.
Rusty Reviere left radio, finished law school in 1979, and is now a Jackson, Tennessee attorney.
I don't know what became of Tommy Charles.
The initial 680 WMPS Country Music Radio line-up:
Kevin Murphy
Rob Grayson
Walt Jackson
Bill Murray (Returns as Production Director and fill-in on the air)
Debbie Conner
Jay Marvin (Real name: Marvin Yust)
Paul Wyatt (Weekends)
Don Roberts (Weekends)
Myself (Weekends)
Bud Leonard - News
Mike Donegan - News
Craig Scott - Interim PD and VP/Programming for Plough Broadcasting.
Bob Knight - PD who arrived in the summer of 1978. This is NOT Robert E. Knight.
Robert E. Knight - Chief Engineer
Somewhere I've got some pictures of me in the WMPS studio in 1975. When I find them, I'll put them on my still-being-developed website.
Thanks for your indulgence of my massive post. As you can see, I have great reverence for 112 Union Avenue.
First, the facilities at 112 Union:
From when I was first hired at WMPS in November 1975 (Roy Mack brought me on board for my first paid radio gig: running the Sunday morning public affairs block), here's what I recall:
As other posters (such as Rob and Dan) have indicated, all WMPS studios were on the third floor, with Plough Broadcasting corporate on the second floor. The huge record library was on the second floor as well. The librarian was a really sweet lady and I think her name was Jackie. If I'm not mistaken, she later worked at WREC.
Outside of business hours, employees needed two keys to get to WMPS: A key for the front door, as well as a key to the elevator. You could not take the stairs to the second or third floors, as the door to the stairwell was locked. The stairs could only be used for going down, and really were just a fire escape. Once inside the building, you pushed the call button for the elevator, but once inside the elevator, you had to use a key to activate the buttons allowing you access to the second or third floors. Inside the elevator, the floor indicator did not have 1-2-3 on it, but rather 1-2-WMPS. It was quite a rush for a 20-year-old upstart to see the light change from 2 to WMPS as the door opened on the third floor.
The elevator opened to a nice reception area, where visitors were greeted by receptionist Juanita Arnold. I got to know Juanita quite well while I waited on numerous occasions to present my latest aircheck to Roy Mack.
Past the reception area there was a very long hallway. The first door to the right (not really even a door, just an opening) was kind of a jock lounge/office. There were about half a dozen desks in there, and not much else.
The next stop on the right was the door to both the on-air studio and the newsroom. As you came through the door, if you took a hard right and went through another door, you were in the newsroom. The first room was the news gathering area, with city guides, wire machines, telephones, scanners and the like. The second room was the actual news announce booth.
When you came in the door from the hallway and went straight ahead through another door, you were entering the on-air studio. It was, I believe, up three steps (about 24 inches) from the hallway. I have no idea why it was designed that way. Was it to give the jocks a psychological boost as they entered? Was it to facilitate cables being run under the studio? I haven't a clue.
As Rob pointed out, it was a classic RCA console, with eight rotary pots (four on each side of an intercom button). To the left of the console were two of the ITC 3D cart machines. They were the ones with three cart slots in each machine, with the big green start buttons, the little red stop buttons and the yellow "ready" indicators. There was a third ITC triple-decker to the right of the console, but I think Dees is the only jock who used it, since his show had so many carted drops and elements.
Radio folks who used the ITC gear remember the "sec" and "ter" tones that could be encoded onto a cart either before or after recording. WMPS used the sec tone as a warning that a song or spot was about to end. It would blink a little light on the cart machine, but the engineers also had it set up to fire a little light bulb in the studio as well. The ter tone was the old-school way of sequencing spots in a set. The sequencing could be turned on or off with a switch. Songs and jingles did not have the ter tone -- only spots and promos.
The three ITC units were on three pots, so you could not go song-to-song on the air in the same machine, but rather go back and forth between 1 and 2.
There were two reel-to-reel machines in the studio, but they were both in a rack at the back of the studio, under a patch bay. Thankfully, there was a remote start within arm's reach of the jock.
There was also an ancient Gates turntable to the right of the console in a very awkward position. It was really only used for two purposes: For some of the public affairs shows which were provided on vinyl, and for Ron Jordan's legendary signoff sequence. Jordan ended every show with "Memphis, My Home Town" by Terry Lee Jenkins. As many of you already know, the song was a promotional jingle done for all the Plough stations in 1961. The Memphis version featured references to the Cotton Carnival, Mid-South Fair, and -- of course -- WMPS. Jordan would frequently pepper the song with horn honkings and cowbells in the background while it was playing. As it ended, he would -- I swear to you -- take the 33-45-78 shifter on the old Gates and change the speed wildly for the last 10 seconds or so. Poor Dan Sears had to follow that with the 6:55 news.
To the jock's left was a small cart rack, which was used for current songs, recurrent songs, jingles and promos. Commercials were kept in a big metal wire roll-around rack. It probably held about 250-300 carts. Dees had an identical roll-around rack with all of his drops and bits. When he was not on the air, it was rolled into the secondary on-air studio (more on that in a minute). All other song carts were in a wooden rack that covered an entire wall of the studio. In 1975, the only songs on that wall were from 1970-1974.
As the jock faced the board, directly behind him was a door leading to a mirror-image on-air studio. It had the same board, the same cart machines and was pretty much ready to go as an emergency backup to the main on-air studio. It was later used for dubbing music and simple production, but I don't know of any time that it was used on the air. That's not to say it wasn't -- I just don't know that it was.
If you faced the board in the secondary studio, you were looking down (remember, you're still about two feet above everything else) on the main production studio. There was an adjacent room with mics for voiceover sessions. By 1977, that room was converted to the production room (it was nicknamed the "blue" room because of the color scheme) and the 1975-era production room was the on-air studio.
As for the rest of the third floor, if you started back at reception and walked the hall, on the left side of the hall you would pass sales & traffic, restrooms, Roy Mack's office and a break room with vending machines. Believe it or not, there was no coffee machine in the break room. My early Sunday morning routine included making a pot of coffee at home and bringing it in a Thermos.
At the end of the hall was the general manager's office. If you made a right turn, the were a couple of small offices. When Dees was elevated to PD in 1976, that's where his office was located. The same office was used by subsequent PDs such as Michael St. John, Tommy Charles and Bob Knight.
I did not spend much time on the second floor, but here's what I remember:
As you exited the elevator and walked down the hall, Ed Crump's office was on the left. I remember visiting him in his office when all jocks were told to see him to make sure we were up to speed on log compliance. In 1975, jocks were only required to keep the program log, since back then a first-ticket engineer was required to be at the transmitter site 24/7. By 1977, transmitter readings were taken on a remote unit in the on-air studio, so jocks had the extra responsibility of doing the logs.
Further down to the right was the record library. There were literally thousands of albums, singles and old transcription discs. In 1977, I was given the task of filling out our BMI logs. I took the jocks' hand-written logs and typed them onto the BMI form. In those days, we had to list the song and composers on the BMI logs, so I spent long hours in the library looking up songwriters, which were usually on the record labels.
In 1977, there was also a production room on the second floor which was used for recording the 10 1/2-inch reels of music for the K97 automation system. A lady named Candy Wessling was in charge of that, and I believe she also produced reels of music for other Plough stations.
Now for the WMPS staff:
I'll cover three eras of WMPS that I know fairly well. Please add or correct if I have any errors or omissions.
The WMPS legendary line-up of 1975:
Rick Dees (Full name: Rigdon O. Dees III)
Roy Mack (also PD) (Real name: Roy McIlwain)
Bill Murray (also production whiz) (Real name: Bill McMurray)
Ron Jordan
Dan Wilson
Harry Simpson ("The Best of WMPS" as it was called, with the regular jocks pre-recording intros of the songs)
Bud Leonard - News
Dan Sears - News
Mark Adams - Weekends (Real name: Lance Holley)
Chris Reviere - Weekends (Real name: Rusty Reviere - see below)
Carlos Riley - Weekends (Real name: Cecil Holmes)
As many know, Harry Simpson was a first-class engineer, so he did overnights from the transmitter site on Benjestown Road in Frayser, which kept WMPS from having to employ an extra jock or engineer.
I'm pretty sure that Reviere replaced Adams in the fall of 1975. Rusty's name appeared in the phone book, so he used the name Chris on the air to deflect kids calling him at home. In the spring of 1976, WMPS got a new jingle package (Jam's "Energy"), and Roy Mack goofed and had them sing the jock jingle "Rusty Reviere." There was no way Roy was going to pay for another jingle, so he told Rusty he'd have to use his real name. Ron Jordan, in all his 1976 brilliance, referred to him as "Crusty Reviere" on the air for several weeks.
The final WMPS top 40 line-up:
Bob Tracy
Charlie O'Neil
Walt Jackson
Rob Grayson (As Robert Grey)
Kevin Murphy
Jennifer Fox (Real name: Denise Hay) (Confirming earlier post that she was the first female jock at WMPS)
Michael Jay (Real name: Michael J. Paige, best known as Michael Jeffries - see below)
Tommy Charles - PD (Would do fill-in on the air. He did middays at WMPS in 1973)
Bud Leonard - News
Mike Donegan - News
Rusty Reviere (Weekends)
Myself (Weekends)
After the March 1978 flip to country, here's where folks went:
Bob Tracy and Charlie O'Neil to WMAQ in Chicago.
Walt Jackson, Rob Grayson, Kevin Murphy, Bud Leonard, Mike Donegan and myself stay on.
Jennifer Fox to Miami.
Michael Jeffries to WDIA.
Rusty Reviere left radio, finished law school in 1979, and is now a Jackson, Tennessee attorney.
I don't know what became of Tommy Charles.
The initial 680 WMPS Country Music Radio line-up:
Kevin Murphy
Rob Grayson
Walt Jackson
Bill Murray (Returns as Production Director and fill-in on the air)
Debbie Conner
Jay Marvin (Real name: Marvin Yust)
Paul Wyatt (Weekends)
Don Roberts (Weekends)
Myself (Weekends)
Bud Leonard - News
Mike Donegan - News
Craig Scott - Interim PD and VP/Programming for Plough Broadcasting.
Bob Knight - PD who arrived in the summer of 1978. This is NOT Robert E. Knight.
Robert E. Knight - Chief Engineer
Somewhere I've got some pictures of me in the WMPS studio in 1975. When I find them, I'll put them on my still-being-developed website.
Thanks for your indulgence of my massive post. As you can see, I have great reverence for 112 Union Avenue.
Kenny....that is a classic..thanks for the update and helping my poor memory.
I was still there during the flip to country..
I actually don't remember when exactly I went to WREC.
Charlies O'Neil was who I was trying to remember...and I do remember Tommy Charles as PD...so I still had to be there during that time. Bob Knight also.
Mike Day did hire me in news, but I don't remember the circumstances of him leaving. I just think he took another job outside of radio.
Dan S.
I was still there during the flip to country..
I actually don't remember when exactly I went to WREC.
Charlies O'Neil was who I was trying to remember...and I do remember Tommy Charles as PD...so I still had to be there during that time. Bob Knight also.
Mike Day did hire me in news, but I don't remember the circumstances of him leaving. I just think he took another job outside of radio.
Dan S.
olebud said:I was here looking for someone and came across this subject mentioning the guy I was looking for. Back in the early 70s, I used to trade stories from Nashville with Mike Day for stories from Memphis. Anyone know where Mike is?
However, some of the other names I did recognize. Mike (Dook) Donegon was my ND at WSM in 1981. He now is on satellite radio as a sidekick to Carl P. Mayfield. He is also the stadium announce for the Titans during the fall. I also worked with Ron Jordan at WSM. After the big meltdown in the news over there, he's now doing news for another station in town and I can find out where if anyone asks.
Doc Damon, also a long-time friend, is doing a lot of voice work and getting older here in Nashville. He last did some part-time weekend work on the last oldie station in town before it changed formats.
They're the only ones on the list I knew...thanks ahead of time if you know where Mike Day is now.
Olebud..we are talking about another Ron Jordan. I know the one you referred to. This is a jock at did afternoons at WMPS..different guy.
I too would like to know where Mike Day is.
If you run into Doc tell him Dan Sears said hello. Or do you know how to get into touch with him? Also if I recall he was the songwriter of
"Mama Loved the Roses" which appeared on the CW McCall album. Nice guy.
I have related this before, but it fits here...I brought an aircheck to WMPS one day. The PD was in a meeting but wanted to talk to me so the receptionist (or someone) showed me around the place while I was waiting. Charlie O'Neil was on the air...when we got to the control room, rather than treat me like an interruption he actually sat me down in a chair and explained the format elements as he was executing them, and asked questions about me and my background. I didn't get the job, but Charlie's attitude and hospitality has stuck with me all these years.
K
KennyBosak
Guest
I 100% concur on Charlie being a great guy. I also had occasion to hang out in the studio with him and marvel at what a smooth and polished pro he was. He also had drop-dead amazing pipes.
Dan ... sorry about getting your timeline wrong. I thought by March 1978 you had already left for WREC. I know that by May 1978 they had added a female to the news team: Susan Morris. Susan was exceptionally good at a very young age, and she went on to work for Channel 3 News. I'm also fuzzy on the timelines for Wayne Weinberg and Larry Bachus. Both worked there between 1976 and 1978, but I'm not sure what their start/end dates were.
As for Mike Day, he left in late 1975 to become PD of WMQM, a daytime country station. It was not a wise move. In 1975, the WMPS steamroller was in high gear. On the other hand, WMC had flipped to country in 1973 and completely destroyed WMQM. After he was crushed by Les Acree and the gang, I have no idea what happened to him.
Dan ... sorry about getting your timeline wrong. I thought by March 1978 you had already left for WREC. I know that by May 1978 they had added a female to the news team: Susan Morris. Susan was exceptionally good at a very young age, and she went on to work for Channel 3 News. I'm also fuzzy on the timelines for Wayne Weinberg and Larry Bachus. Both worked there between 1976 and 1978, but I'm not sure what their start/end dates were.
As for Mike Day, he left in late 1975 to become PD of WMQM, a daytime country station. It was not a wise move. In 1975, the WMPS steamroller was in high gear. On the other hand, WMC had flipped to country in 1973 and completely destroyed WMQM. After he was crushed by Les Acree and the gang, I have no idea what happened to him.
I am pretty sure Mike Day came in to Wilkerson to do a commercial VO, perhaps for one of Roy Mack's clients. This would have been within the last 6 or 7 years. Mike was in auto sales at that time.
I haven't heard anything from them in a few years. I know for a while there Roy had a number of clients, and would come in a knock out a spot or two. He was a lot of fun to work with, and I recall his radio work with the utmost respect. Of course, Roy was gone by the time John Long came to program WHBQ, but could you imagine what a slug fest it would have been battling those two up against each other?
F
FMSales
Guest
robgrayson said:I am pretty sure Mike Day came in to Wilkerson to do a commercial VO, perhaps for one of Roy Mack's clients. This would have been within the last 6 or 7 years. Mike was in auto sales at that time.
Wow, the last I had heard of Day was when Roy and Sandy Mack had LMA'd WPLX from Rudy Pylant and Day did mornings for awhile. That was in 89 or 90, I think.
L
littlebigradio
Guest
Rudy Pylant......there's another name I havn't heard in a long time
O
old man river
Guest
YES, THAT WOULD BE ME. I HAVEN'T SEEN OL' LEW ALLEN IN MANY YEARS. BUT, YOU'RE RIGHT HE WAS IN THE ELECTRONICS BUSINESS UP IN POCAHONTAS LAST TIME I RAN INTO HIM. HE HAD JUST GOTTEN MARRIED FOR THE SECOND TIME AND SEEMED CONTENT. HIS BROTHER OWNED A CARPET STORE IN POCAHONTAS AND I USED TO SELL HIM A BIT OF TELEVISION ADVERTISING WHEN I WORKED FOR KAIT-TV. SO, WHEN DID YOU WORK ON WMPS? IT'S BEEN A LONG TIME AGO WHEN LEW AND I WERE THERE. WE BOTH WORKED AT KBTM-AM HERE IN JONESBORO ...I WENT TO WORK THERE IN JAN. 68 AND HE CAME I THINK IN APRIL DURING THE HEIGHT OF THE MADNESS CAUSED BY THE ASSANATION OF MARTIN LUTHER KING, JR. I STILL REMEMBER FOLLOWING THOSE NATIONAL GUARD HALF-TRACKS UP UNION AVENUE TO WORK. WE ALL HAD SPECIAL ID'S AND HAD TO GO THROUGH THREE CHECK POINTS TO GET TO THE KING FUR BUILDING. NOW, THOSE WERE THE DAYS.
Danoinark said:Bob Knight - PD who arrived in the summer of 1978. This is NOT Robert E. Knight.
HAVE NOT HEARD THAT NAME IN YEARS...
anyone know what happened to this guy???
F
FMSales
Guest
littlebigradio said:Rudy Pylant......there's another name I havn't heard in a long time
As of 2 or 3 years ago Rudy could be heard in some parts of the city on 830 AM out of Kennett. I haven't thought recently of turning over there.
Edit - ok, it's been longer than that. I just Googled and read where Ruday died four years ago this December. I hate that I missed that news.
L
littlebigradio
Guest
didn't Jeff do a little TV work too?.....weather or something?????
littlebigradio said:didn't Jeff do a little TV work too?.....weather or something?????
I think you are right..I do remember him doing some weather.
Dan
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