September 1, 2025 • 40 mins
Morgan White Jr. filled in on NightSide:
No, not the 1960 classic Western film starring Yul Brynner and Steve McQueen, but rather the magnificent seven WBZ Radio talk hosts from the 1960s and up! Morgan and Media Historian Donna Halper chatted about seven of WBZ’s greatest, such as Larry Glick, Dave Maynard, and David Brudnoy.
No, not the 1960 classic Western film starring Yul Brynner and Steve McQueen, but rather the magnificent seven WBZ Radio talk hosts from the 1960s and up! Morgan and Media Historian Donna Halper chatted about seven of WBZ’s greatest, such as Larry Glick, Dave Maynard, and David Brudnoy.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:01):
With Dan Ray on WBZOS radio.
Speaker 2 (00:05):
Dan is off. He'll be back tomorrow, I promise, and
he's got a great show plans for you. Nine o'clock
tomorrow he will be speaking with Colonel Jeffrey Noble of
the Massachusetts State Police and is kind of a follow
up on Thursday, nine pm. He's got the gentleman who
(00:27):
wants to be the next mayor of Boston, Josh Kraft
on Nightside. So there are two things for program notes.
Write down and be prepared to enjoy an hour or
hours of nightside with Dan Ray. Now for the next
two hours, we're going to be speaking about the Boston
(00:52):
WBZ radio legends. There's only one person who I can
do the subject with them, and she is Donna Helper.
She knows more about media, not just in Boston. You
put her in Cleveland, you put her in Detroit, you
put her in New York, Los Angeles. She knows the
(01:13):
movers and the shakers through their RADI when TV programs,
as well as she knows the Boston names. Donna, thank
you for coming on.
Speaker 1 (01:25):
Oh you kidding me. It's my pleasure. Thank you so
much for having me.
Speaker 2 (01:29):
All right now, I was calling these names the Magnificent seven.
Then I added a name, so I called it the
Magnificent seven plus one.
Speaker 1 (01:41):
Ooh, I don't know you told me seven. What my
contract says here.
Speaker 2 (01:47):
I understand I had omitted.
Speaker 1 (01:50):
I have to charge you extra for the extra one.
Speaker 2 (01:53):
I'll pay whatever you say. But I forgot to put
Peter Mead on the original list.
Speaker 1 (01:58):
Oh oh, okay, so certainly talk about Peter. But before
we start anything, can I ask you a point of trivia?
Because you like trivia.
Speaker 2 (02:07):
I do. I made a living out of forty five
years and.
Speaker 1 (02:11):
So I've been told, so I have a like, let's
go back to your childhood question, okay, and to mine
as well. And some of the listeners are going to
know what I'm talking about immediately, because this is not
a person, this is a thing.
Speaker 3 (02:29):
Okay.
Speaker 1 (02:29):
And if you listened to talk radio, yes, I don't
care what station it was, you remember.
Speaker 2 (02:37):
Deep deep at the top of the hour.
Speaker 1 (02:42):
Yeah, And even during if you were on a talk
show in the fifties, the sixties, even into the early seventies,
do you remember a beep tone every fifteen seconds?
Speaker 2 (02:59):
Yes?
Speaker 1 (03:01):
Do you know what it was? And do you know why?
Speaker 2 (03:05):
I'm going to assume it had something to do with Conrad.
Speaker 1 (03:09):
And that would be a good guess. I'm wondering if
our listeners also remember that beat, because it ain't just me.
I was talking about this with a few folks who
grew up the same time I did, and they were like,
oh my god, that was so annoying. And I talked
to a couple of old timers who were DJs and
(03:30):
they were like, oh, it used to drive us nuts.
Speaker 2 (03:34):
What was it?
Speaker 1 (03:35):
Well, in nineteen forty seven, okay, FCC put in a
rule called Use of Recording Devices, and it said that
every radio show had a duty to notify a caller
(03:57):
that the call was either going to be record or
broadcast on the air. I you, and the way that
you notified them, yep, the way you notified them was
every twelve to fifteen seconds you had to have a beep. Now.
I remember talking to Jerry Williams about this a long
time ago, and he was like, why would you need
(04:21):
to do that? If a person is calling a talk show,
wouldn't they figure that they're going to be put on
the air or why would they call? And yet, from
nineteen forty eight until the early nineteen seventies, radio hosts
(04:43):
that did a talk show had to have that annoying
beep every fifteen seconds. And we're going to talk about
ways the talk show hosts got around it. In a
few minutes, I know how one got around it.
Speaker 2 (05:00):
I have to be careful how I pronounced his name,
Ken Mayor, the night Mayor on WU and R. He
didn't have to do that because he had one way talk.
You heard him, but you didn't hear to whom he
was speaking.
Speaker 1 (05:20):
That is exactly what a lot of the early hosts did.
There was some of you. We have a lot of
folks listening WBZ for those that are new here, we
get into like more than thirty states at night because
AM radio really travels. But now that you can listen online,
(05:42):
we have people listening from Seattle, for Heaven's sake, right,
But back in those days, there was a show in Pittsburgh.
I've written an Encyclopedia article about them a long long
time ago. Their names were Ed and Wendy King, and
they had a show in the fifties in Pittsburgh called
(06:05):
party Line on Katie Ka. And they did exactly that.
You only heard them. They would repeat what the caller
had said, or they asked the callers to like, you know,
send us a postcard or something. You know, Oh, I
just heard from you know, Joe from Squirrel Hill and
(06:25):
he wants to know bloody, bloody blah. And then Wendy
would be like, oh, okay, Joe, let's explain why that is.
But you'd never hear Joe. You'd just hear ed and
Wendy paraphrasing what the caller had said. And that was
one way that they all got around the beep, Well
(06:47):
the key?
Speaker 2 (06:47):
What are the keys? And I remember learning this a
good old Graham Junior College where I went, and Gil Santos,
not g Gary Lewin yep. And a number of us
attended that school.
Speaker 1 (07:03):
And somebody who just passed recently, you did a lovely
tribute to the other night.
Speaker 2 (07:09):
Thank you, thank you very much. But I learned in
college there were five stations that they gave a fifty
thousand license to. Why because if ever there was a calamity,
(07:31):
you could be in Seattle, you could be in Minnesota,
you could be in Albany and turn your radio to
a powerful radio station yep, that was there.
Speaker 1 (07:49):
These were called clear channels, interesting, KDKA, YEP, WBZ.
Speaker 2 (08:00):
CCO in Minnesota.
Speaker 1 (08:03):
Yep, I believe WLW and Cincinnati if I'm mistaken.
Speaker 2 (08:07):
And I forget the one that was on the West
coast a KRO. Anyway, those are the stations that could
broadcast across America in case there were reasons to notify
(08:28):
everybody at once. And that's why these stations BZ and
CCO and the others still exist. Tell you what, let
me take my break, and when we come back, I've
got a call from Canada and we will dive into
our subject matter with both feet.
Speaker 3 (08:48):
Are you ready?
Speaker 2 (08:50):
Time and temperature here on night Side tonight without Dan
Ray ten fifteen, I'm guessing it's still sixty six degrees.
Speaker 4 (09:04):
With Dan Ray on WBZ, Boston's news radio.
Speaker 2 (09:09):
Dan is not here tonight. I'm here Morgan White Junior
filling in. He'll be back tomorrow. He Dan will be
here at eight eight to midnight of the hours of Nightside,
and Donna Helper is my guest, and we are going
to do a retrospective on legendary WBZ evening slash nighttime
(09:31):
talk hosts.
Speaker 1 (09:33):
Oh, by the way, the station you were thinking about
in Los Angeles, I thought about it the moment you
want to break, because isn't that always the way KFI
in Los Angeles? Yes, now with the other clear.
Speaker 2 (09:45):
Other station, Yep, we a bz KFI. Now let's talk
about Peter Mead.
Speaker 1 (09:55):
I think we should and begin. Okay, Well, I'm just
going to say first of all, that what a gentleman. Okay,
I had the privilege of working with him on a
few occasions, but you probably worked with him a lot
more than I did. So if you want to do
some of your recollections, then I will follow with some
(10:18):
of mine. But I know that he and David Brodnoy
did a lot of work together. I know that he
and Gary Lapierre did a lot of work together. He
was on the radio, he was in local politics. I mean,
the guy was just a legend and a nice person
and a philanthropist.
Speaker 2 (10:40):
And he was very smooth on the air.
Speaker 1 (10:43):
Oh god, yes, very smooth.
Speaker 2 (10:46):
Tell you what. Let's take Daryl, who's been holding for
ten minutes and taking a call always opened up the
line for a million others. So Daryl, thank you for
calling in.
Speaker 4 (10:57):
Welcome to night Side, Donna Morgan. No, I appreciate the
old radio aspect. I think Donna was on prior when
I mentioned even about old radio stations run Detroit, WRIF
and CKLW and CKG.
Speaker 1 (11:18):
Yes, I have many fond memories of CKLW the Motor City.
I have a T shirt she Hello, I can't even
talk tonight t shirt from CKLW. And I was friendly
with the late great Rosalie Tromblay, one of the greatest
music directors of the sixties and seventies.
Speaker 4 (11:38):
And you rest in peace, Arthur Pentowl as well, and
all that stuff. But you guys keep the radio. I'm
just backing up what I talked last week with Brady
J about you guys are working on a long weekend
and keeping people informed they should call in.
Speaker 2 (12:02):
Well, thank you for that.
Speaker 1 (12:03):
But that's that's what it's about, though, Okay, Morgan and I,
in addition to being colleagues, are friends, and we both
love radio. Okay. And if you didn't love radio, you
wouldn't be doing this. Because while it is true that
(12:25):
there are a few big names, like you know, the
Howard Sterns of the world that have gotten fabulously wealthy
from doing radio, most announcers and DJs do not make
the big bucks. They work in smaller markets. They're on
the air on holidays, you know, Christmas, New Year's, you know, Russia, Shanna,
(12:47):
you name it. They're on the air and we do
it because we love to communicate. If we're playing music,
it's because we love music, but mostly we love talking
to the audience and making them feel connected. And in
the world today, that is still something that is so important.
(13:08):
So thank you for being part of that.
Speaker 2 (13:10):
And d I'm gonna guess, Daryl, I don't know, but
I'm going to guess because a couple of the radio
stations you mentioned were Canadian radio stations, and I know
if you lived in the Detroit area, you could turn
your down from one end to the other and get
both United States radio stations and Canada radio stations. And
(13:34):
I'm going to sail because I know Donna know of
her history and when you talk Canadian radio, and I
can tell your age, you're not twenty five or thirty
years old. You might be a bit older you Okay,
you were around when Rush became popular, Am I right?
Speaker 4 (14:02):
Actually Neil Pert was one of the best.
Speaker 2 (14:07):
Okay, So you understand where I'm going because Donna. It
was through Donna's hard work, very hard work, and getting
that group a national if not international spotlight placed on
(14:27):
their music, placed on them and.
Speaker 1 (14:31):
They That is something that I am to this day
profoundly grateful to have been a part of. I mean,
I am still in touch with the members of Rush.
I mean I spoke to Alex as recently as two
days ago. I never expected back to the whole thing
(14:51):
about radio. When I first played Rush on the radio
in the spring of nineteen seven, Oh my god, when
what a music director does. I was trying to find
the right music for my audience, and I thought that
they would like working Man. I thought they would like
the band. I thought they'd like the song. But I
(15:13):
never expected that it would lead to a fifty one
year friendship. Never thought that would happen. I never thought
they would dedicate two albums to me. I never thought
I'd be in a documentary about them. But it gets
back to when you're on the air and you have
that opportunity to, in the case of a music station,
(15:36):
give a song a chance, in the case of the
talk show, to give a topic a chance, and to
make that connection with the audience. It is such a privilege.
Speaker 2 (15:46):
And Daryl, I'm going to say this the room I
am in because I do the show from home. I've
got some classic photos up on the wall. I'm looking
at one with myself from Rex trailer. Rex and I
became friends for fri E n d S. Friends. I
(16:09):
turned my head and I'm pointing at one of June Foray,
who was an animation legend. She did so many voices.
I'm not gonna pick out one or two I could,
I could pick out a dozen or more. But she
sent me, personalized to me a photo that one of
(16:29):
her artist friends did of easily fifty sixty characters that
she supplied the voice to. It's right there. And I've
had people offer me money for that, but that's mine.
Speaker 1 (16:45):
I am not and I still I still have the
first Rush album. I mean the one that was on
Moon Records, which was a homegrown label that was sent
to me by a Canadian record promoter named Bob Roper.
And I still have it, and you know, I will
take it to my grave if you know what I'm saying.
(17:06):
I have no interest in selling it. I never would.
Speaker 2 (17:09):
And Darryl, I'm going to tell you this. I'm not
going to tell you. I'm not going to tell you
what I get paid, but I get paid what probably
most radio personalities that do not have a special contract.
For an example, Dan Ray has a contract through iHeart
(17:30):
and WBZ. It's a pretty substantial contract. My contract is
barely one twelfth of that. But I do radio because
it's still in my blood. I love it. I cannot
I cannot think of doing anything else. And I'll tell you.
Speaker 4 (17:51):
This because you said twelve of that. Yeah, I actually
go back to Rush twenty one to twelve.
Speaker 1 (17:59):
Oh, I see what you did there, I see what
you did there.
Speaker 4 (18:06):
I am a twin and I grew up the set
of twins and the one guy, Tom Wood, he actually
could drum. He was actually offered a professorship in northern
Ontario at a very Humber college. I believe was sure
(18:26):
okay and he was only a student, but he pulled
out and the professor actually offered him a tenureship.
Speaker 2 (18:34):
He wow good.
Speaker 4 (18:35):
And Rush was his mainstay besides led Zeppelin.
Speaker 1 (18:40):
There you go, right, there you go. And but no,
it's amazing how that music and announcers and certain people
that we bond with over the years and it just
stays with us even years later.
Speaker 2 (18:58):
There, I mean, I'm start for interrupting you. Forgive me.
Donna I mean this, it's a trillion to one shot.
But if I hit that power ball tonight, I'm still
gonna be on my radio show every Saturday from ten
to midnight.
Speaker 1 (19:14):
Yep, yep.
Speaker 2 (19:15):
And I could easily say bye bye, and when I
say bye Bosston, I could mean it. But I will
still do radio because it's enjoyable for me to do it.
It's in my veins. And on that note, I got
to take a break. But Darryl, thank you for calling.
(19:37):
And Donad We've got seven or eight other names to mension.
Speaker 1 (19:41):
Oh absolutely, But I wanted to thank Daryl for getting
us started, because no kidding, somebody that loves radio my
kind of person.
Speaker 2 (19:48):
Perfect.
Speaker 4 (19:49):
So you guys rock okay.
Speaker 2 (19:52):
Thank you, thank you, thank you.
Speaker 1 (19:54):
All right, you know you know I think we did
there too. We don't talk over your favorite rock.
Speaker 2 (20:04):
Let me give the phone numbers again six one, seven, two, five, four,
ten thirty eight eight eight, nine to nine, ten thirty
times and we'll.
Speaker 1 (20:12):
Get to the topic at hand. I promised we will.
Speaker 2 (20:14):
Time and temperature here at night Side ten thirty one.
It just changed sixty three degrees.
Speaker 4 (20:21):
You're on night Side with Dan Ray on WBZ Boston's
News Radio.
Speaker 2 (20:27):
We're back when I say we, Donna Helper is here.
I Morgan White Junior, I am here, and Brian from
Salem is here as well. Brian, good evening. Thank you
for calling night Side.
Speaker 5 (20:41):
Oh this is right up my alley. I'm sixty one
and pardon me, Donna. But while I was dialing into
the show, I heard you drop Howard Serves name. But
because I was doing the introduction thing with your producer,
I didn't know the context. But I think he is
probably one of the sellouts.
Speaker 2 (21:00):
And oh God.
Speaker 5 (21:03):
Made so much money off the privileged people.
Speaker 1 (21:05):
And I don't get me, don't even get me started.
Speaker 2 (21:08):
Five contest.
Speaker 1 (21:14):
My context, My context on Howard was very just exactly
what you were talking about, not not good, bad, or indifferent.
But there. My point was that for every Howard Stern
who's making big bucks, whether they did so goodly, badly,
or any otherly, they're making the big bucks. But all
(21:35):
over the world there are DJs in cities and towns
you've never heard of. They're making minimum wage, and yet
they never miss a shift and they show up because
they love radio. And that was my context. It was
about loving radio. By the way, I worked with Howard
when Howard was a nobody. We worked at New York
(22:02):
so that's amazing.
Speaker 5 (22:04):
So listen, I grew up. I'm sixty one, as I said,
Larry Glick, guess.
Speaker 1 (22:13):
We're going to talk about Larry, but go ahead.
Speaker 5 (22:16):
He just got me through so many nights I used
in the laugh of my mom in the middle of
the night because I couldn't sleep, and she'd let me
sit and listen to WBZ am and I in Dave
Maynard too, And I've searched and this is a WBZ thing.
I think there's no archive for the stuff that I'm
(22:36):
pretty good at Google searching and searching the web, and
the only thing I find for Larry Glick and Dave
Maynard is on YouTube, and it's just it's just a
small handful of shows or segments of shows. And I
just just wish there were a place I could go
to and get my comfort food from when I was,
you know, twelve, thirteen, fourteen fifteen, my mom.
Speaker 2 (23:00):
There were private all right, But you know what, Brian,
they are private collectors that have all that stuff. Donna,
and I know a few of these private collectors.
Speaker 3 (23:10):
I've had.
Speaker 2 (23:11):
I had one on my show periodically the Morgan Show.
Still think. As a matter of fact, when I did
that retrospective, a couple.
Speaker 5 (23:23):
Of weeks come up.
Speaker 2 (23:26):
For for ken Meyer. You always have to make that
extra pronunciation for Ken may and versus Kenny Meyer. But
he played a lot of Kenny Meyer's stuff on with me.
He has tons more tons.
Speaker 5 (23:48):
Which one was Glick's blind producer.
Speaker 1 (23:52):
Yes, yes, he just passed. He passed very recently, unfortunately. Yeah,
there's two things going on here. They're okay. Thing number one,
there are private collectors that, as Morgan said, have some
audio of people like Larry Glick and David Brodnoy and
(24:14):
so on and so on. That's the good news. Now
for the bad news because a lot of people did
not think ahead. And when I say a lot of people,
I mean people at stations from coast to coast. It
never occurred to them that, oh, someday somebody's going to
want to hear this stuff. So I'm remembering my childhood
(24:37):
listening to fill in the blank, pick a DJ and gone.
None of the stuff was preserved. There is such a
small amount of material from the forties, fifties, and sixties
that has made the cut with stations getting sold. Station moving.
(25:01):
So much stuff wasn't saved, and it's a shame and
it breaks my heart because there are so many people
that I remember, and I'm never going to be able
to hear their stuff unless tape them off the radio
went out.
Speaker 5 (25:21):
Yep, yep, there's someone saying, there's someone right now sitting
in their basement who has some reel turreels. They just
don't know they exist, and they're going to be discovered
some day hopefully, and you know, and but.
Speaker 1 (25:37):
None of them stematic. It's not like it's not like
somebody preserved them, like, oh, we need to have a
file for this, and we'll keep it here. There are
also a few universities Boston University is one and the
University of Maryland is another that have archival material from broadcasting.
(25:59):
But again they're at the mercy of donors. If donors said, oh, yeah,
you know, Larry Glick was my fourteenth cousin and here's
a tape he did, then somebody donates it. But in general,
none of it's systematic. Okay, there are some Walter Cronkite
tapes that are sitting at the University of Wisconsin for
(26:23):
some reason because someone donated them and it's very much
like that, so there's no rhyme or reason to a
lot of it. I hope more of Larry and more
of a whole bunch of people that I grew up
with Arnie Ginsburg. I'm hoping that so many more of
those people eventually make it to digital, but I don't
(26:49):
know who's got them.
Speaker 2 (26:50):
I had Ernie on maybe six times over the years.
He had his own stuff archives, Yes, he had his
own stuff. So when he would come on, he would
play a cut and he would he had Sonny and
chare as an example that he interviewed when they were big,
and Ernie had Sonny saying this to Ernie Ginsburg, I
(27:20):
got woo Babe. I got woo Babe.
Speaker 1 (27:23):
I got woo Babe resolutely yes.
Speaker 2 (27:26):
And I remember that.
Speaker 1 (27:28):
Freddy Freddy Cannon, Remember Freddy Boom Boom Cannon. Freddie Cannon
who did Palisades Park big hit. He did a parody song.
He had a hit song called Paddy Baby. It didn't
really go anywhere other than outside of Boston. I think
it was like number seventy seven with an anchor, but
(27:49):
it was really big in Boston. And he and Freddy
did a parody of it for Arnie instead of Paddy
Baby the girl that the guys all know or something.
He did Arnie Ginsburg, the guy with the swinging show. Yep,
and like.
Speaker 2 (28:05):
That a regular bit that Ernie would.
Speaker 5 (28:08):
Play, Hey guys, can I finish up? I do miss
the tone at the top of the hour. I've always
relied on that just to it just clicked and then
kept me in check. But that be and said, let
me finish with my tribute to Larry two five four, five,
six seven, Hey Larry is Brian Salem. Hey Brian, how
(28:30):
you doing? Let me check?
Speaker 3 (28:32):
Yep? Yep?
Speaker 2 (28:33):
Are Brian? Are you happy you get to say that
from the thirty eight states in Canada.
Speaker 4 (28:40):
I love the show.
Speaker 5 (28:41):
I love it when you're on, and it's such a
special Monday night to hear you tonight.
Speaker 2 (28:46):
Thank you for gott to let you go bye bye.
Thanks for the call.
Speaker 1 (28:50):
But that that stick though, that remember when anybody would
call Larry, Hey, Larry, how you feeling, He'd be like,
let me check, yep. They all had their stick. You
were going to talk about Peter mea, do you have
some memories of Peter?
Speaker 2 (29:06):
I just remembered nothing fazed him if a call we
call in angry because he took this side or that
side of an argument, and they would be rather ruffled. Peter,
I don't ever think I ever heard him raise his voice.
(29:28):
For an example, I'll mention the name Bob Demir because
he fits this example.
Speaker 1 (29:36):
Oh I remember Bob Demir.
Speaker 2 (29:38):
I saw now, this was at the old days of
fifteen ten yep. I saw Bob get so mad a
call just pushed his buttons. And this was when he
was in a studio and there was glass separating him
from the producer, and he wanted the producer to cut
the call, and the producer wasn't fast enough. He threw
(29:58):
pens and pencils and then everything he could at the window,
and was he pushed the cough button. So the broadcast
wasn't heard by the listeners, but we in the studio
could hear it and let out a tirade of wordy yourds.
Speaker 1 (30:20):
Oh we'll do it live.
Speaker 3 (30:22):
Yeah, absolutely, Let me.
Speaker 2 (30:25):
Take my break.
Speaker 1 (30:26):
That's why they developed the seven second delay.
Speaker 2 (30:29):
Indeed, but not about that too, not for the broadcast him.
It was usually for.
Speaker 1 (30:35):
The callers, listeners.
Speaker 2 (30:37):
Let me take a break. I see your name next night.
I'm wondering if it's a gentleman who's an author that
I interviewed, or just somebody else with that name. So
let's take our break time ten forty five temperature, late December,
back in sixty three degrees. It's night side with Ray
(30:58):
on wb Boston's news radio. Oh, if I could be
paid per statement of Dan is off tonight, He'll be
back tomorrow. Just a nickel, a nickel every time I
mention it, I'll get rich eventually, the person.
Speaker 1 (31:17):
A little inside baseball there? Do people know why we
repeat the call letters and why we repeat stuff like
this is the show and things like that? Because why
we do that?
Speaker 2 (31:31):
There are surveys that tell us that there's a turnover
every ninety seconds, and that number can be changed depending
on who tells you this story. But there are new
people listening every few seconds, and they haven't heard me
say that yet, even the one that just heard me,
(31:52):
they just heard me because.
Speaker 1 (31:54):
They just joined yes, yep. And the other thing it
has to do with the ratings. And years ago you
wrote it down and there was a survey called arbitron
alias aarb and you had to get a diary and
this and that. Today it's all done electronically, but some
of the old customs have still persisted based on the
(32:17):
fact that, yeah, people are constantly tuning in and out.
And this is even true with television. If you think
that everybody is like sitting there taking notes, you know,
did over videos or anything else, people's attention wanders. They're
doing this, they're doing that, and maybe they didn't hear
you say such and such as when I was a DJ,
(32:39):
that was like I would despair of the fact that
I had just played the Beatles, and somebody would call
up and say, you never play the Beatles?
Speaker 2 (32:48):
Did you hear the hour before you did? When I
had Dixie on, Yeah, I'll call it called and said,
you know, Morgan, it's been a while. When you net's
gonna have done a help roun without missing a beat,
I said, forty five minutes.
Speaker 1 (33:05):
Absolutely, I'll tell you what happens. All that happens all
the time. Anyway, I interrupted you because I'm a horrible person.
Speaker 2 (33:12):
No, you're not a horrible person. But this gentleman wrote
a book based on a very very famous holiday movie.
And I rarely see a first and last name up here,
so when I saw this, his name is so unique,
I said, this must be him on line one from
(33:32):
Grand Rappids. You'll shoot your eye out, kid. It's Quentin Schultz.
Hello Quentin.
Speaker 3 (33:39):
He indeed it is. Yeah. I was a longtime friend
of Jane Shephard.
Speaker 1 (33:45):
Yes, yes, about his.
Speaker 3 (33:47):
Movie A Christmas Story, and you had me on your
show twice. Well, I guess it was probably December. So,
by the way, I'm going to send you a case
of books so that you can give them that when
you go out to your speaking engagements.
Speaker 2 (34:01):
Barg and it says, happily accept that, thank you, thank you.
Speaker 3 (34:05):
Yeah, that's great. So Jane was the act of a character.
Of course, not WBZ too much, But I wanted to
tell you both an amazing story. Back in the late eighties,
maybe it was as late as nineteen ninety a publicist
for a new book I had written on TV Evangelists,
had me booked at WBZ, had me booked all over
(34:27):
the country. But all right on the show, and well,
I'm about to tell you this. I so, my wife
and I we go into the old station there I
think it was by the old train tracks or something.
I don't recall.
Speaker 2 (34:43):
Field road.
Speaker 3 (34:45):
Here you go. So we go in there and we're
waiting a little bit, and the guy comes out, very
nice guy, wonderful guy, a pleasant personality. Says, hell, my
name is David Brudnoy. Yes, and I'd like to have
you on my show right now, and let's go into
the studio and sit down. Now, here's what I want
(35:07):
to tell you. The book that I had written was
on TV evangelists. He remember Jimmy Swaggert.
Speaker 1 (35:13):
Yeah, oh sure, I've done tons of research on that.
Speaker 3 (35:16):
Yes, he had Oral Roberts and it was very condon
You would do a show on that. Some people would
think you were great, others would think you were nasty.
And my book was balanced, but it also had negative
material in about some of these guys. Of course, of course,
went into the studio with David Brudnoy, and I thought
(35:37):
it was going to be a rapid fire interview. And
the first thing David did was to pack his pipe
up and start the puffing on the pipe. And he says, well,
doctor Schultz, let's talk about these TV evangelists. They're very
interesting characters, aren't they. And then we had this been
pastic conversation for an hour it may have been two hours,
(35:58):
I don't recall, and he fielded questions. David Rudway did
in a way that was so kind. Yes, he was
such a virtuous person. And so we finished off this
show and I felt so good about it that he
had been fair to me and fair to the topic
and everything. And he shut it, shut the show down,
(36:20):
and he said listen. He said, mister and missus show,
would you like to come over to my place for dinner?
And we said, you know, based on the way he'd
been with the show, he said sure. So we got
a cab and went over to his place and he
made a nice dinner for us and regaled us for
(36:40):
various stories. We talked about history and philosophy. The guy
was brilliant, brilliant as a word.
Speaker 2 (36:48):
And Quentin, I will tell you this, I've met hundreds
of people doing radio. He is underlying the word the
put it in. I tell bold print. The most intelligent
man I ever met, bar none.
Speaker 1 (37:09):
Absolutely. David and I were friends for more than four decades.
He was a professor of mine in college. Politically we
were on pretty opposite side of the spectrum. He leaned
center right, I leaned center left. But David was the
most courteous human being you ever met. And he would
(37:32):
have anybody on his show, right, he's lefties, centrists, independent,
He didn't care, you know, atheists, It didn't matter to him.
As long as they knew their topic and as long
as they were courteous. He was an old fashioned talk
show host. He didn't go for name calling. The moment
you started name calling, it was like click, you know,
(37:56):
you were done.
Speaker 3 (37:58):
That was it?
Speaker 1 (37:59):
So, yeah, you're what's interesting about the story you just told?
David was famously agnostic. Okay, there's no interest in religion whatsoever.
But he had people from every walk of life on
his show, and as long as they didn't preach. He
loved good conversation and he loved different points of view
(38:24):
and I miss that kind of talk show.
Speaker 2 (38:27):
And he towards the end of his career and life,
he did the show from his home. I'm doing the
show for my home now, but good grief. He had
an apartment at the Von Dome Apartments.
Speaker 3 (38:45):
Yep.
Speaker 2 (38:45):
It was polatial to say the least.
Speaker 1 (38:48):
Oh yeah, and he.
Speaker 2 (38:51):
All the producers wanted to be his on premise producers
producer because you had perks like the kitchen. He had
a bar there, yep. Yeah, And there was just he
would do the show from his library, and his library
(39:12):
was pretty much equal to some libraries you'd find at schools.
Maybe not as big, but definitely thorough.
Speaker 1 (39:20):
And he was so so well read. And yes, what
I always admired about him, and you probably noticed this too,
was the fact that even if he didn't agree with you,
he wouldn't mock you, he wouldn't put you. He wasn't
the style of talk show host that is like into insults.
(39:40):
He was doing it because he loved good conversation. And
that's what he was in it for, was the good conversation.
He could do a theater review, I mean he was
a theater reviewer. He could also talk philosophy, he could
talk poetry, literature. I mean he hated rock and roll.
If he ever had a rock star on his show,
(40:02):
because they were in town. He was curious to them too. Absolutely.
Speaker 2 (40:07):
Now, Donna and Quentin, I'm right up against the break,
but I Quinton, I thank you for calling in. And
if you send me some books to give away, I'd
love that. But I gotta say good night.
Speaker 1 (40:18):
For the memories. What a nice person.
Speaker 2 (40:20):
I gotta say good night now, Quentin, thank you, and Donna,
you and I will be back after the news time
in temperature ten fifty eight sixty three degrees
With Dan Ray on WBZOS radio.
Speaker 2 (00:05):
Dan is off. He'll be back tomorrow, I promise, and
he's got a great show plans for you. Nine o'clock
tomorrow he will be speaking with Colonel Jeffrey Noble of
the Massachusetts State Police and is kind of a follow
up on Thursday, nine pm. He's got the gentleman who
(00:27):
wants to be the next mayor of Boston, Josh Kraft
on Nightside. So there are two things for program notes.
Write down and be prepared to enjoy an hour or
hours of nightside with Dan Ray. Now for the next
two hours, we're going to be speaking about the Boston
(00:52):
WBZ radio legends. There's only one person who I can
do the subject with them, and she is Donna Helper.
She knows more about media, not just in Boston. You
put her in Cleveland, you put her in Detroit, you
put her in New York, Los Angeles. She knows the
(01:13):
movers and the shakers through their RADI when TV programs,
as well as she knows the Boston names. Donna, thank
you for coming on.
Speaker 1 (01:25):
Oh you kidding me. It's my pleasure. Thank you so
much for having me.
Speaker 2 (01:29):
All right now, I was calling these names the Magnificent seven.
Then I added a name, so I called it the
Magnificent seven plus one.
Speaker 1 (01:41):
Ooh, I don't know you told me seven. What my
contract says here.
Speaker 2 (01:47):
I understand I had omitted.
Speaker 1 (01:50):
I have to charge you extra for the extra one.
Speaker 2 (01:53):
I'll pay whatever you say. But I forgot to put
Peter Mead on the original list.
Speaker 1 (01:58):
Oh oh, okay, so certainly talk about Peter. But before
we start anything, can I ask you a point of trivia?
Because you like trivia.
Speaker 2 (02:07):
I do. I made a living out of forty five
years and.
Speaker 1 (02:11):
So I've been told, so I have a like, let's
go back to your childhood question, okay, and to mine
as well. And some of the listeners are going to
know what I'm talking about immediately, because this is not
a person, this is a thing.
Speaker 3 (02:29):
Okay.
Speaker 1 (02:29):
And if you listened to talk radio, yes, I don't
care what station it was, you remember.
Speaker 2 (02:37):
Deep deep at the top of the hour.
Speaker 1 (02:42):
Yeah, And even during if you were on a talk
show in the fifties, the sixties, even into the early seventies,
do you remember a beep tone every fifteen seconds?
Speaker 2 (02:59):
Yes?
Speaker 1 (03:01):
Do you know what it was? And do you know why?
Speaker 2 (03:05):
I'm going to assume it had something to do with Conrad.
Speaker 1 (03:09):
And that would be a good guess. I'm wondering if
our listeners also remember that beat, because it ain't just me.
I was talking about this with a few folks who
grew up the same time I did, and they were like,
oh my god, that was so annoying. And I talked
to a couple of old timers who were DJs and
(03:30):
they were like, oh, it used to drive us nuts.
Speaker 2 (03:34):
What was it?
Speaker 1 (03:35):
Well, in nineteen forty seven, okay, FCC put in a
rule called Use of Recording Devices, and it said that
every radio show had a duty to notify a caller
(03:57):
that the call was either going to be record or
broadcast on the air. I you, and the way that
you notified them, yep, the way you notified them was
every twelve to fifteen seconds you had to have a beep. Now.
I remember talking to Jerry Williams about this a long
time ago, and he was like, why would you need
(04:21):
to do that? If a person is calling a talk show,
wouldn't they figure that they're going to be put on
the air or why would they call? And yet, from
nineteen forty eight until the early nineteen seventies, radio hosts
(04:43):
that did a talk show had to have that annoying
beep every fifteen seconds. And we're going to talk about
ways the talk show hosts got around it. In a
few minutes, I know how one got around it.
Speaker 2 (05:00):
I have to be careful how I pronounced his name,
Ken Mayor, the night Mayor on WU and R. He
didn't have to do that because he had one way talk.
You heard him, but you didn't hear to whom he
was speaking.
Speaker 1 (05:20):
That is exactly what a lot of the early hosts did.
There was some of you. We have a lot of
folks listening WBZ for those that are new here, we
get into like more than thirty states at night because
AM radio really travels. But now that you can listen online,
(05:42):
we have people listening from Seattle, for Heaven's sake, right,
But back in those days, there was a show in Pittsburgh.
I've written an Encyclopedia article about them a long long
time ago. Their names were Ed and Wendy King, and
they had a show in the fifties in Pittsburgh called
(06:05):
party Line on Katie Ka. And they did exactly that.
You only heard them. They would repeat what the caller
had said, or they asked the callers to like, you know,
send us a postcard or something. You know, Oh, I
just heard from you know, Joe from Squirrel Hill and
(06:25):
he wants to know bloody, bloody blah. And then Wendy
would be like, oh, okay, Joe, let's explain why that is.
But you'd never hear Joe. You'd just hear ed and
Wendy paraphrasing what the caller had said. And that was
one way that they all got around the beep, Well
(06:47):
the key?
Speaker 2 (06:47):
What are the keys? And I remember learning this a
good old Graham Junior College where I went, and Gil Santos,
not g Gary Lewin yep. And a number of us
attended that school.
Speaker 1 (07:03):
And somebody who just passed recently, you did a lovely
tribute to the other night.
Speaker 2 (07:09):
Thank you, thank you very much. But I learned in
college there were five stations that they gave a fifty
thousand license to. Why because if ever there was a calamity,
(07:31):
you could be in Seattle, you could be in Minnesota,
you could be in Albany and turn your radio to
a powerful radio station yep, that was there.
Speaker 1 (07:49):
These were called clear channels, interesting, KDKA, YEP, WBZ.
Speaker 2 (08:00):
CCO in Minnesota.
Speaker 1 (08:03):
Yep, I believe WLW and Cincinnati if I'm mistaken.
Speaker 2 (08:07):
And I forget the one that was on the West
coast a KRO. Anyway, those are the stations that could
broadcast across America in case there were reasons to notify
(08:28):
everybody at once. And that's why these stations BZ and
CCO and the others still exist. Tell you what, let
me take my break, and when we come back, I've
got a call from Canada and we will dive into
our subject matter with both feet.
Speaker 3 (08:48):
Are you ready?
Speaker 2 (08:50):
Time and temperature here on night Side tonight without Dan
Ray ten fifteen, I'm guessing it's still sixty six degrees.
Speaker 4 (09:04):
With Dan Ray on WBZ, Boston's news radio.
Speaker 2 (09:09):
Dan is not here tonight. I'm here Morgan White Junior
filling in. He'll be back tomorrow. He Dan will be
here at eight eight to midnight of the hours of Nightside,
and Donna Helper is my guest, and we are going
to do a retrospective on legendary WBZ evening slash nighttime
(09:31):
talk hosts.
Speaker 1 (09:33):
Oh, by the way, the station you were thinking about
in Los Angeles, I thought about it the moment you
want to break, because isn't that always the way KFI
in Los Angeles? Yes, now with the other clear.
Speaker 2 (09:45):
Other station, Yep, we a bz KFI. Now let's talk
about Peter Mead.
Speaker 1 (09:55):
I think we should and begin. Okay, Well, I'm just
going to say first of all, that what a gentleman. Okay,
I had the privilege of working with him on a
few occasions, but you probably worked with him a lot
more than I did. So if you want to do
some of your recollections, then I will follow with some
(10:18):
of mine. But I know that he and David Brodnoy
did a lot of work together. I know that he
and Gary Lapierre did a lot of work together. He
was on the radio, he was in local politics. I mean,
the guy was just a legend and a nice person
and a philanthropist.
Speaker 2 (10:40):
And he was very smooth on the air.
Speaker 1 (10:43):
Oh god, yes, very smooth.
Speaker 2 (10:46):
Tell you what. Let's take Daryl, who's been holding for
ten minutes and taking a call always opened up the
line for a million others. So Daryl, thank you for
calling in.
Speaker 4 (10:57):
Welcome to night Side, Donna Morgan. No, I appreciate the
old radio aspect. I think Donna was on prior when
I mentioned even about old radio stations run Detroit, WRIF
and CKLW and CKG.
Speaker 1 (11:18):
Yes, I have many fond memories of CKLW the Motor City.
I have a T shirt she Hello, I can't even
talk tonight t shirt from CKLW. And I was friendly
with the late great Rosalie Tromblay, one of the greatest
music directors of the sixties and seventies.
Speaker 4 (11:38):
And you rest in peace, Arthur Pentowl as well, and
all that stuff. But you guys keep the radio. I'm
just backing up what I talked last week with Brady
J about you guys are working on a long weekend
and keeping people informed they should call in.
Speaker 2 (12:02):
Well, thank you for that.
Speaker 1 (12:03):
But that's that's what it's about, though, Okay, Morgan and I,
in addition to being colleagues, are friends, and we both
love radio. Okay. And if you didn't love radio, you
wouldn't be doing this. Because while it is true that
(12:25):
there are a few big names, like you know, the
Howard Sterns of the world that have gotten fabulously wealthy
from doing radio, most announcers and DJs do not make
the big bucks. They work in smaller markets. They're on
the air on holidays, you know, Christmas, New Year's, you know, Russia, Shanna,
(12:47):
you name it. They're on the air and we do
it because we love to communicate. If we're playing music,
it's because we love music, but mostly we love talking
to the audience and making them feel connected. And in
the world today, that is still something that is so important.
(13:08):
So thank you for being part of that.
Speaker 2 (13:10):
And d I'm gonna guess, Daryl, I don't know, but
I'm going to guess because a couple of the radio
stations you mentioned were Canadian radio stations, and I know
if you lived in the Detroit area, you could turn
your down from one end to the other and get
both United States radio stations and Canada radio stations. And
(13:34):
I'm going to sail because I know Donna know of
her history and when you talk Canadian radio, and I
can tell your age, you're not twenty five or thirty
years old. You might be a bit older you Okay,
you were around when Rush became popular, Am I right?
Speaker 4 (14:02):
Actually Neil Pert was one of the best.
Speaker 2 (14:07):
Okay, So you understand where I'm going because Donna. It
was through Donna's hard work, very hard work, and getting
that group a national if not international spotlight placed on
(14:27):
their music, placed on them and.
Speaker 1 (14:31):
They That is something that I am to this day
profoundly grateful to have been a part of. I mean,
I am still in touch with the members of Rush.
I mean I spoke to Alex as recently as two
days ago. I never expected back to the whole thing
(14:51):
about radio. When I first played Rush on the radio
in the spring of nineteen seven, Oh my god, when
what a music director does. I was trying to find
the right music for my audience, and I thought that
they would like working Man. I thought they would like
the band. I thought they'd like the song. But I
(15:13):
never expected that it would lead to a fifty one
year friendship. Never thought that would happen. I never thought
they would dedicate two albums to me. I never thought
I'd be in a documentary about them. But it gets
back to when you're on the air and you have
that opportunity to, in the case of a music station,
(15:36):
give a song a chance, in the case of the
talk show, to give a topic a chance, and to
make that connection with the audience. It is such a privilege.
Speaker 2 (15:46):
And Daryl, I'm going to say this the room I
am in because I do the show from home. I've
got some classic photos up on the wall. I'm looking
at one with myself from Rex trailer. Rex and I
became friends for fri E n d S. Friends. I
(16:09):
turned my head and I'm pointing at one of June Foray,
who was an animation legend. She did so many voices.
I'm not gonna pick out one or two I could,
I could pick out a dozen or more. But she
sent me, personalized to me a photo that one of
(16:29):
her artist friends did of easily fifty sixty characters that
she supplied the voice to. It's right there. And I've
had people offer me money for that, but that's mine.
Speaker 1 (16:45):
I am not and I still I still have the
first Rush album. I mean the one that was on
Moon Records, which was a homegrown label that was sent
to me by a Canadian record promoter named Bob Roper.
And I still have it, and you know, I will
take it to my grave if you know what I'm saying.
(17:06):
I have no interest in selling it. I never would.
Speaker 2 (17:09):
And Darryl, I'm going to tell you this. I'm not
going to tell you. I'm not going to tell you
what I get paid, but I get paid what probably
most radio personalities that do not have a special contract.
For an example, Dan Ray has a contract through iHeart
(17:30):
and WBZ. It's a pretty substantial contract. My contract is
barely one twelfth of that. But I do radio because
it's still in my blood. I love it. I cannot
I cannot think of doing anything else. And I'll tell you.
Speaker 4 (17:51):
This because you said twelve of that. Yeah, I actually
go back to Rush twenty one to twelve.
Speaker 1 (17:59):
Oh, I see what you did there, I see what
you did there.
Speaker 4 (18:06):
I am a twin and I grew up the set
of twins and the one guy, Tom Wood, he actually
could drum. He was actually offered a professorship in northern
Ontario at a very Humber college. I believe was sure
(18:26):
okay and he was only a student, but he pulled
out and the professor actually offered him a tenureship.
Speaker 2 (18:34):
He wow good.
Speaker 4 (18:35):
And Rush was his mainstay besides led Zeppelin.
Speaker 1 (18:40):
There you go, right, there you go. And but no,
it's amazing how that music and announcers and certain people
that we bond with over the years and it just
stays with us even years later.
Speaker 2 (18:58):
There, I mean, I'm start for interrupting you. Forgive me.
Donna I mean this, it's a trillion to one shot.
But if I hit that power ball tonight, I'm still
gonna be on my radio show every Saturday from ten
to midnight.
Speaker 1 (19:14):
Yep, yep.
Speaker 2 (19:15):
And I could easily say bye bye, and when I
say bye Bosston, I could mean it. But I will
still do radio because it's enjoyable for me to do it.
It's in my veins. And on that note, I got
to take a break. But Darryl, thank you for calling.
(19:37):
And Donad We've got seven or eight other names to mension.
Speaker 1 (19:41):
Oh absolutely, But I wanted to thank Daryl for getting
us started, because no kidding, somebody that loves radio my
kind of person.
Speaker 2 (19:48):
Perfect.
Speaker 4 (19:49):
So you guys rock okay.
Speaker 2 (19:52):
Thank you, thank you, thank you.
Speaker 1 (19:54):
All right, you know you know I think we did
there too. We don't talk over your favorite rock.
Speaker 2 (20:04):
Let me give the phone numbers again six one, seven, two, five, four,
ten thirty eight eight eight, nine to nine, ten thirty
times and we'll.
Speaker 1 (20:12):
Get to the topic at hand. I promised we will.
Speaker 2 (20:14):
Time and temperature here at night Side ten thirty one.
It just changed sixty three degrees.
Speaker 4 (20:21):
You're on night Side with Dan Ray on WBZ Boston's
News Radio.
Speaker 2 (20:27):
We're back when I say we, Donna Helper is here.
I Morgan White Junior, I am here, and Brian from
Salem is here as well. Brian, good evening. Thank you
for calling night Side.
Speaker 5 (20:41):
Oh this is right up my alley. I'm sixty one
and pardon me, Donna. But while I was dialing into
the show, I heard you drop Howard Serves name. But
because I was doing the introduction thing with your producer,
I didn't know the context. But I think he is
probably one of the sellouts.
Speaker 2 (21:00):
And oh God.
Speaker 5 (21:03):
Made so much money off the privileged people.
Speaker 1 (21:05):
And I don't get me, don't even get me started.
Speaker 2 (21:08):
Five contest.
Speaker 1 (21:14):
My context, My context on Howard was very just exactly
what you were talking about, not not good, bad, or indifferent.
But there. My point was that for every Howard Stern
who's making big bucks, whether they did so goodly, badly,
or any otherly, they're making the big bucks. But all
(21:35):
over the world there are DJs in cities and towns
you've never heard of. They're making minimum wage, and yet
they never miss a shift and they show up because
they love radio. And that was my context. It was
about loving radio. By the way, I worked with Howard
when Howard was a nobody. We worked at New York
(22:02):
so that's amazing.
Speaker 5 (22:04):
So listen, I grew up. I'm sixty one, as I said,
Larry Glick, guess.
Speaker 1 (22:13):
We're going to talk about Larry, but go ahead.
Speaker 5 (22:16):
He just got me through so many nights I used
in the laugh of my mom in the middle of
the night because I couldn't sleep, and she'd let me
sit and listen to WBZ am and I in Dave
Maynard too, And I've searched and this is a WBZ thing.
I think there's no archive for the stuff that I'm
(22:36):
pretty good at Google searching and searching the web, and
the only thing I find for Larry Glick and Dave
Maynard is on YouTube, and it's just it's just a
small handful of shows or segments of shows. And I
just just wish there were a place I could go
to and get my comfort food from when I was,
you know, twelve, thirteen, fourteen fifteen, my mom.
Speaker 2 (23:00):
There were private all right, But you know what, Brian,
they are private collectors that have all that stuff. Donna,
and I know a few of these private collectors.
Speaker 3 (23:10):
I've had.
Speaker 2 (23:11):
I had one on my show periodically the Morgan Show.
Still think. As a matter of fact, when I did
that retrospective, a couple.
Speaker 5 (23:23):
Of weeks come up.
Speaker 2 (23:26):
For for ken Meyer. You always have to make that
extra pronunciation for Ken may and versus Kenny Meyer. But
he played a lot of Kenny Meyer's stuff on with me.
He has tons more tons.
Speaker 5 (23:48):
Which one was Glick's blind producer.
Speaker 1 (23:52):
Yes, yes, he just passed. He passed very recently, unfortunately. Yeah,
there's two things going on here. They're okay. Thing number one,
there are private collectors that, as Morgan said, have some
audio of people like Larry Glick and David Brodnoy and
(24:14):
so on and so on. That's the good news. Now
for the bad news because a lot of people did
not think ahead. And when I say a lot of people,
I mean people at stations from coast to coast. It
never occurred to them that, oh, someday somebody's going to
want to hear this stuff. So I'm remembering my childhood
(24:37):
listening to fill in the blank, pick a DJ and gone.
None of the stuff was preserved. There is such a
small amount of material from the forties, fifties, and sixties
that has made the cut with stations getting sold. Station moving.
(25:01):
So much stuff wasn't saved, and it's a shame and
it breaks my heart because there are so many people
that I remember, and I'm never going to be able
to hear their stuff unless tape them off the radio
went out.
Speaker 5 (25:21):
Yep, yep, there's someone saying, there's someone right now sitting
in their basement who has some reel turreels. They just
don't know they exist, and they're going to be discovered
some day hopefully, and you know, and but.
Speaker 1 (25:37):
None of them stematic. It's not like it's not like
somebody preserved them, like, oh, we need to have a
file for this, and we'll keep it here. There are
also a few universities Boston University is one and the
University of Maryland is another that have archival material from broadcasting.
(25:59):
But again they're at the mercy of donors. If donors said, oh, yeah,
you know, Larry Glick was my fourteenth cousin and here's
a tape he did, then somebody donates it. But in general,
none of it's systematic. Okay, there are some Walter Cronkite
tapes that are sitting at the University of Wisconsin for
(26:23):
some reason because someone donated them and it's very much
like that, so there's no rhyme or reason to a
lot of it. I hope more of Larry and more
of a whole bunch of people that I grew up
with Arnie Ginsburg. I'm hoping that so many more of
those people eventually make it to digital, but I don't
(26:49):
know who's got them.
Speaker 2 (26:50):
I had Ernie on maybe six times over the years.
He had his own stuff archives, Yes, he had his
own stuff. So when he would come on, he would
play a cut and he would he had Sonny and
chare as an example that he interviewed when they were big,
and Ernie had Sonny saying this to Ernie Ginsburg, I
(27:20):
got woo Babe. I got woo Babe.
Speaker 1 (27:23):
I got woo Babe resolutely yes.
Speaker 2 (27:26):
And I remember that.
Speaker 1 (27:28):
Freddy Freddy Cannon, Remember Freddy Boom Boom Cannon. Freddie Cannon
who did Palisades Park big hit. He did a parody song.
He had a hit song called Paddy Baby. It didn't
really go anywhere other than outside of Boston. I think
it was like number seventy seven with an anchor, but
(27:49):
it was really big in Boston. And he and Freddy
did a parody of it for Arnie instead of Paddy
Baby the girl that the guys all know or something.
He did Arnie Ginsburg, the guy with the swinging show. Yep,
and like.
Speaker 2 (28:05):
That a regular bit that Ernie would.
Speaker 5 (28:08):
Play, Hey guys, can I finish up? I do miss
the tone at the top of the hour. I've always
relied on that just to it just clicked and then
kept me in check. But that be and said, let
me finish with my tribute to Larry two five four, five,
six seven, Hey Larry is Brian Salem. Hey Brian, how
(28:30):
you doing? Let me check?
Speaker 3 (28:32):
Yep? Yep?
Speaker 2 (28:33):
Are Brian? Are you happy you get to say that
from the thirty eight states in Canada.
Speaker 4 (28:40):
I love the show.
Speaker 5 (28:41):
I love it when you're on, and it's such a
special Monday night to hear you tonight.
Speaker 2 (28:46):
Thank you for gott to let you go bye bye.
Thanks for the call.
Speaker 1 (28:50):
But that that stick though, that remember when anybody would
call Larry, Hey, Larry, how you feeling, He'd be like,
let me check, yep. They all had their stick. You
were going to talk about Peter mea, do you have
some memories of Peter?
Speaker 2 (29:06):
I just remembered nothing fazed him if a call we
call in angry because he took this side or that
side of an argument, and they would be rather ruffled. Peter,
I don't ever think I ever heard him raise his voice.
(29:28):
For an example, I'll mention the name Bob Demir because
he fits this example.
Speaker 1 (29:36):
Oh I remember Bob Demir.
Speaker 2 (29:38):
I saw now, this was at the old days of
fifteen ten yep. I saw Bob get so mad a
call just pushed his buttons. And this was when he
was in a studio and there was glass separating him
from the producer, and he wanted the producer to cut
the call, and the producer wasn't fast enough. He threw
(29:58):
pens and pencils and then everything he could at the window,
and was he pushed the cough button. So the broadcast
wasn't heard by the listeners, but we in the studio
could hear it and let out a tirade of wordy yourds.
Speaker 1 (30:20):
Oh we'll do it live.
Speaker 3 (30:22):
Yeah, absolutely, Let me.
Speaker 2 (30:25):
Take my break.
Speaker 1 (30:26):
That's why they developed the seven second delay.
Speaker 2 (30:29):
Indeed, but not about that too, not for the broadcast him.
It was usually for.
Speaker 1 (30:35):
The callers, listeners.
Speaker 2 (30:37):
Let me take a break. I see your name next night.
I'm wondering if it's a gentleman who's an author that
I interviewed, or just somebody else with that name. So
let's take our break time ten forty five temperature, late December,
back in sixty three degrees. It's night side with Ray
(30:58):
on wb Boston's news radio. Oh, if I could be
paid per statement of Dan is off tonight, He'll be
back tomorrow. Just a nickel, a nickel every time I
mention it, I'll get rich eventually, the person.
Speaker 1 (31:17):
A little inside baseball there? Do people know why we
repeat the call letters and why we repeat stuff like
this is the show and things like that? Because why
we do that?
Speaker 2 (31:31):
There are surveys that tell us that there's a turnover
every ninety seconds, and that number can be changed depending
on who tells you this story. But there are new
people listening every few seconds, and they haven't heard me
say that yet, even the one that just heard me,
(31:52):
they just heard me because.
Speaker 1 (31:54):
They just joined yes, yep. And the other thing it
has to do with the ratings. And years ago you
wrote it down and there was a survey called arbitron
alias aarb and you had to get a diary and
this and that. Today it's all done electronically, but some
of the old customs have still persisted based on the
(32:17):
fact that, yeah, people are constantly tuning in and out.
And this is even true with television. If you think
that everybody is like sitting there taking notes, you know,
did over videos or anything else, people's attention wanders. They're
doing this, they're doing that, and maybe they didn't hear
you say such and such as when I was a DJ,
(32:39):
that was like I would despair of the fact that
I had just played the Beatles, and somebody would call
up and say, you never play the Beatles?
Speaker 2 (32:48):
Did you hear the hour before you did? When I
had Dixie on, Yeah, I'll call it called and said,
you know, Morgan, it's been a while. When you net's
gonna have done a help roun without missing a beat,
I said, forty five minutes.
Speaker 1 (33:05):
Absolutely, I'll tell you what happens. All that happens all
the time. Anyway, I interrupted you because I'm a horrible person.
Speaker 2 (33:12):
No, you're not a horrible person. But this gentleman wrote
a book based on a very very famous holiday movie.
And I rarely see a first and last name up here,
so when I saw this, his name is so unique,
I said, this must be him on line one from
(33:32):
Grand Rappids. You'll shoot your eye out, kid. It's Quentin Schultz.
Hello Quentin.
Speaker 3 (33:39):
He indeed it is. Yeah. I was a longtime friend
of Jane Shephard.
Speaker 1 (33:45):
Yes, yes, about his.
Speaker 3 (33:47):
Movie A Christmas Story, and you had me on your
show twice. Well, I guess it was probably December. So,
by the way, I'm going to send you a case
of books so that you can give them that when
you go out to your speaking engagements.
Speaker 2 (34:01):
Barg and it says, happily accept that, thank you, thank you.
Speaker 3 (34:05):
Yeah, that's great. So Jane was the act of a character.
Of course, not WBZ too much, But I wanted to
tell you both an amazing story. Back in the late eighties,
maybe it was as late as nineteen ninety a publicist
for a new book I had written on TV Evangelists,
had me booked at WBZ, had me booked all over
(34:27):
the country. But all right on the show, and well,
I'm about to tell you this. I so, my wife
and I we go into the old station there I
think it was by the old train tracks or something.
I don't recall.
Speaker 2 (34:43):
Field road.
Speaker 3 (34:45):
Here you go. So we go in there and we're
waiting a little bit, and the guy comes out, very
nice guy, wonderful guy, a pleasant personality. Says, hell, my
name is David Brudnoy. Yes, and I'd like to have
you on my show right now, and let's go into
the studio and sit down. Now, here's what I want
(35:07):
to tell you. The book that I had written was
on TV evangelists. He remember Jimmy Swaggert.
Speaker 1 (35:13):
Yeah, oh sure, I've done tons of research on that.
Speaker 3 (35:16):
Yes, he had Oral Roberts and it was very condon
You would do a show on that. Some people would
think you were great, others would think you were nasty.
And my book was balanced, but it also had negative
material in about some of these guys. Of course, of course,
went into the studio with David Brudnoy, and I thought
(35:37):
it was going to be a rapid fire interview. And
the first thing David did was to pack his pipe
up and start the puffing on the pipe. And he says, well,
doctor Schultz, let's talk about these TV evangelists. They're very
interesting characters, aren't they. And then we had this been
pastic conversation for an hour it may have been two hours,
(35:58):
I don't recall, and he fielded questions. David Rudway did
in a way that was so kind. Yes, he was
such a virtuous person. And so we finished off this
show and I felt so good about it that he
had been fair to me and fair to the topic
and everything. And he shut it, shut the show down,
(36:20):
and he said listen. He said, mister and missus show,
would you like to come over to my place for dinner?
And we said, you know, based on the way he'd
been with the show, he said sure. So we got
a cab and went over to his place and he
made a nice dinner for us and regaled us for
(36:40):
various stories. We talked about history and philosophy. The guy
was brilliant, brilliant as a word.
Speaker 2 (36:48):
And Quentin, I will tell you this, I've met hundreds
of people doing radio. He is underlying the word the
put it in. I tell bold print. The most intelligent
man I ever met, bar none.
Speaker 1 (37:09):
Absolutely. David and I were friends for more than four decades.
He was a professor of mine in college. Politically we
were on pretty opposite side of the spectrum. He leaned
center right, I leaned center left. But David was the
most courteous human being you ever met. And he would
(37:32):
have anybody on his show, right, he's lefties, centrists, independent,
He didn't care, you know, atheists, It didn't matter to him.
As long as they knew their topic and as long
as they were courteous. He was an old fashioned talk
show host. He didn't go for name calling. The moment
you started name calling, it was like click, you know,
(37:56):
you were done.
Speaker 3 (37:58):
That was it?
Speaker 1 (37:59):
So, yeah, you're what's interesting about the story you just told?
David was famously agnostic. Okay, there's no interest in religion whatsoever.
But he had people from every walk of life on
his show, and as long as they didn't preach. He
loved good conversation and he loved different points of view
(38:24):
and I miss that kind of talk show.
Speaker 2 (38:27):
And he towards the end of his career and life,
he did the show from his home. I'm doing the
show for my home now, but good grief. He had
an apartment at the Von Dome Apartments.
Speaker 3 (38:45):
Yep.
Speaker 2 (38:45):
It was polatial to say the least.
Speaker 1 (38:48):
Oh yeah, and he.
Speaker 2 (38:51):
All the producers wanted to be his on premise producers
producer because you had perks like the kitchen. He had
a bar there, yep. Yeah, And there was just he
would do the show from his library, and his library
(39:12):
was pretty much equal to some libraries you'd find at schools.
Maybe not as big, but definitely thorough.
Speaker 1 (39:20):
And he was so so well read. And yes, what
I always admired about him, and you probably noticed this too,
was the fact that even if he didn't agree with you,
he wouldn't mock you, he wouldn't put you. He wasn't
the style of talk show host that is like into insults.
(39:40):
He was doing it because he loved good conversation. And
that's what he was in it for, was the good conversation.
He could do a theater review, I mean he was
a theater reviewer. He could also talk philosophy, he could
talk poetry, literature. I mean he hated rock and roll.
If he ever had a rock star on his show,
(40:02):
because they were in town. He was curious to them too. Absolutely.
Speaker 2 (40:07):
Now, Donna and Quentin, I'm right up against the break,
but I Quinton, I thank you for calling in. And
if you send me some books to give away, I'd
love that. But I gotta say good night.
Speaker 1 (40:18):
For the memories. What a nice person.
Speaker 2 (40:20):
I gotta say good night now, Quentin, thank you, and Donna,
you and I will be back after the news time
in temperature ten fifty eight sixty three degrees
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