"The Jive 95: An Oral History of America’s Greatest Underground Rock Radio Station, KSAN San Francisco"/Hank Rosenfeld [Episode 147]

Episode Transcript
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(00:00):
We're totally bumped rock and roll.I think I'll leave you. You're reading
little hands. It's time to rockand roll, rollout. We are totally
booked. Welcome to Booked on Rock, the podcast for those about to read
and rock online at booked on rockdot com. Exclusive videos, blogs,

(00:24):
links to all of the social mediasites, including Facebook, Twitter, Instagram,
and TikTok. Find every back episodeof Booked on Rock there, along
with links to your favorite listening platforms. Hank Rosenfeld is this episode's guest.
His brain new book is titled TheJive ninety five and Oral History of America's
Greatest Underground Rock Radio Station KSA NSan Francisco. It's an oral history of

(00:47):
KSA N and San Francisco, America'sfirst hippie underground FM station. Rock gotts,
political stars in literary celebrities including JerryGarcia, Ken Kesey, sly Stone,
and John Lennon. We're all interviewedby founder Tom Donahue and his cohorts,
whose listeners tuned in and turned onto bands like Jefferson Airplane, The

(01:07):
Grateful Dead, Janis Joplin, Quicksilver, Messenger, Service Country, Joe and
the Fish Tuna, the Beatles,and Santana. Hank was there during those
final years, writing, producing andannouncing. He's here to talk about the
station known as JIBE ninety five andhow it went from a liberating voice to
a corporate cliche. Along the way, you're gonna hear audio from KSA N,

(01:30):
including clips of interviews with Jerry Garciaand John Lennon, protest announcements,
and station IDs like this one.This is KSA N and San Francisco Sleazy
Radio's up. Yaw mind I'll bringin. Hey, Hey, welcome to

(02:00):
the podcast. It's great to me. I don't know if you heard about
this, but there's a new bookout about the drive I heard, So
where are you joining us from?Where are you right now? I'm in
Santa Monica, California, But I'mabout to go up to San Francisco.
Take the old one on one upthere, because the book comes out on
August fifteenth, and then we're havinga party on the nineteenth. It's at

(02:23):
the beat Museum in the North Beach. So let's talk about your background.
Where are you from and how radiobecame such a huge part of your life
growing up. I grew up inDetroit, as you can see, I'm
a Booster, I'm a build therein the Detroit Red Wings. Jersey Man,
I'm way nutt And as a kid, I guess as a senior in

(02:44):
high school, I went and gota project an internship at w JR,
the Great Voice of the Great Lakeseven sixty clear channel. It was a
great am station I listened to asa kid. They had the Tiger Games
and you know, all of myheroes were there. JP McCarthy and Lions
and Tigers and Red Wings and Piston'sbroadcast. Anyway, So eighteen I had

(03:07):
an internship there, and then Iwent to college and was on at Wesleyan,
Connecticut w e s U eighty eightpoint one. Yeah, this is
in Connecticut. So you that's thereason that you came to Connecticut is to
go to college at Wesleyan. Yeah, my whole family went to the University
of Michigan. But I wanted totry something different and you know, get

(03:27):
out to the East Coast, whichwas great because Middletown, Connecticut's halfway between
Boston and New York. Yes,Hartford in New England, and I could
pick up great radio there too.I remember what was the one from New
Haven with the Stoneman ELR. Stonemanon PLR Stoneman ninety nine rock to w
PLR Stoneman. Yep. I've workedthere for a little while and he had

(03:50):
already been gone by then. Hewas a legend there. Okay, so
you're in Middletown and then at somepoint you joined WCCC. No. No,
I was on E SU. Mybuddy Steve Capin was on Triple C
for a while, so okay,back in the seventies. But I meant
I didn't meet him until San Francisco. Well after graduation. I wanted to
get as far away from the EastCoast as possible, so I went to

(04:11):
San Francisco and drove a cab andI moved to San Francisco in seventy seven
looking for the Beats. You know. I'd read Carouac and red Ginsburg,
read all that stuff from college,and I was looking for the Beats.
Unfortunately I was about twenty years toolate. You know, they were there
in the late fifties, early sixties. So I took a job driving cab

(04:32):
and then one night Gregory Corso,one of the great Beat poets, fell
into my cab on nineteen seventy eight. He wrote a lot of great poems.
He said, be a star Scower. You know. He was an
ecstatic beat poet, you know,drinking the Okay with down Ginsburg and Gary
Snyder and all those guys. SoI was like, Okay, I found

(04:53):
him. I found the Beats,so I can quit driving cab. And
the whole time I was driving cab, I was listening to Case and this
little station ninety four point nine.They called themselves the Jibe ninety five.
And I was driving around in thecabin. This is the greatest listening.
This is the greatest station I've everheard. I got a word there,
and so I kept bugging him andbugging him. You know, back then
you just pulled the cab over andget on the phone there and call in.

(05:15):
And I kept bugging the news guysthere, Dave McQueen and Larry Benski,
Scoop Nisker, who just passed away, one of the greatest newscasters.
He's famous for saying on Case andand remember, if you don't like the
news, go out and make someof your own. He's probably one of
the most famous guys there. Andthey finally said come in, and I
got five dollars an hour as anews intern, you know, pulling rough,

(05:39):
ripping in reading, and eventually werewriting more than news and then eventually
producing the morning show there with StephenCapin during the last days of Case Sin.
You know, hey, you saidfive dollars an hour and that's in
what the late seventies. Yeah,okay, I was making five dollars an
hour in nineteen ninety six at WCCCdoing weekends five and I washed my first

(06:02):
paycheck, so I had to askthem to recut me a check. I
washed it in the washing machine,had it in the pocket of my jeans.
I think maybe my mother still hasthat up on the above the machine
check your pockets before because I toldher, and you know, I was
like, oh my god, Iwas freaking out because I was so nervous.

(06:23):
I had to ask them to recuta check afterro So you are now
making so you get the job atCase and right. Is that what they
is what they call the case andin Case San Francisco, the jib ninety
five because they were at ninety fourpoint nine. It was kind of an
in house joke and it took off. This is a station that started in

(06:46):
nineteen sixty seven. As you knowif we're reading the book, as the
first underground hippie run rock and rollstation. So when I got there,
it was kind of in the endbecause by nineteen eighty, I've only been
there years. Reagan came in andthey the corporation that ran the station,
Metro Media. We called the Metromeaningless on the air. They came in

(07:09):
and just clamped down. Shout out, shout out to the cafesh and all
the co kids got fired and theywent country Western. And that's we're going
to lead up to as we gothrough the questions here that I have for
you. But let's start with theman known as Big Daddy Tom Donahue.

(07:29):
Chapter four. The book gets intoTom's background and his start in radio and
people that our fans of radio reallyshould know who this guy is because he's
so important. Can you give usa brief backstory on Tom, where he
was from and his background in radio. He's in He's in the Rock and
Roll Hall of Fame in Cleveland,one of the few DJs. Both his

(07:51):
parents were journalists. Is a realname is Coleman coma n and his dad
was His parents were in DC andhe started working a little stations in West
Virginia and Pennsylvania, and finally hegot a big rocker in Philadelphia and he
became the top DJ in Philly topforty sixties. And then he got a
run out of town and he ranto San Francisco, where one of his

(08:15):
buddies was and he started working thereTop forty dju, big daddy, four
hundred pounds of solid sounds at KFIis out there named KYA, I'm sorry
KYA KFI is Los Angeles. Kyowas the number one Top forty and he
was the force. He was anunbelievable force. He started his own uh

(08:39):
a company, that a label.He had a label called Autumn Records and
produced records and his engineer was slyStone. It was like an eighteen year
old, nineteen year old kid hiredand they put out records and he was
digging every way too. He wasa big guy physically, but a big
voice, big gold radio voice.It is. It's just that classic FM

(09:03):
rock radio voice that just your envyyou wish you could you could have.
I mean, he just he hadit. But he also what he had,
he had the force. He sawsomething happening while he's in San Francisco
and there's a place called the RedDog Saloon, which you cover in your
book. This is a very importantplace. What in where was the Red

(09:24):
Dog Saloon and can you explain whythis location plays an important role in the
San Francisco scene. The Red DogSaloon was in Virginia City, Nevada,
up in the Sierra Nevada's in Californiacrossing into Nevada there in the mountains,
and it started as a silver miningtown. In fact, Mark Twain worked

(09:45):
on the newspaper there, the TerritorialEnterprise, I believe it was. So
that was in like eighteen sixties.So cut to nineteen sixties, nineteen sixty
five, some hippies are hiding outout there beats actually, and on LSD
one night they're playing risk and theysaid, let's pix up that old saloon
downtown, the Red Dog, andthey turned it into a place for all

(10:07):
their friends to come and hear musicand trip and one of the first bands
they got to play there with theCharlatans. I think they're in this book.
You remember this book, Golden It'slike golden Nuggets, all these great
old Oh that's cool. Count fivePsychotic Reaction This is a great book I
recommended of all the San Francisco earlybands, and one of them was the

(10:33):
what's the title that book? It'scalled Love is a Song We Sing San
Francisco Nuggets nineteen sixty five to nineteenseventy. Okay, really it's covering bands
like Quicksilver Messenger Service. All thesebands used to go to the Red Ducks
and then and play Quicksilver Messenger Service, the Big Brother in the Holding Company,

(10:54):
the Charlatans, And it comes withfour discs in it of song by
like we five, Country Joe,the Warlocks, the Bow Rumbles, the
Warlocks, by the way, whichfuture would be become Grateful Dead? Is
that what we're talking about? Yeah? In fact, I was in San
Francisco where they just did their lastconcert, the Dead and Company. Oh

(11:16):
yeah, there tour in San Francisco. Was up there a couple of weekends
ago, and I saw Country Joeand the Fish without Country Joe, just
a Fish, Barry Melton five Bucksin North Beach, and they had a
guitar player from Big Brother and aguy from Quicksilver that was there. It's
amazing that the San Francisco sound goeson and on and it's still this place,

(11:37):
you know, to hear Jefferson Airplane. Yeah, yeah, those great
bands. What's the connection there withTom Donohoe and that particular saloon, Because
there is a connection there, itleads to what would become KMPX all that
stuff. Yes, the Charlotte Tinsand the people that produced the their bands

(12:00):
up there came down to San Franciscoin sixty six when the pranksters and Ken
Kesey and the hate Ashbury it wasjust starting. In fact, Scoop Niskers
and others say that the real summerof love was sixty six because that's when
everything coalesced in there. The hippiesstarting to see each other. LSD was

(12:22):
hitting everywhere, the hate neighborhoods wouldbe. It was it's kind of low
middle class black neighborhood and students fromSF State we're moving in there, and
hipsters we're like, we're getting communesand Victorians around. Their family dog was
getting there. So all these peoplebrought their ideas and dreams, and a
couple of from Virginia City they basicallygot run out of town there and they

(12:46):
came down to San Francisco and acouple of them became part of the KMPX,
which was Tom Downey Hugh's invention innineteen sixty seven, which was a
kind of which became case In.And then a year later these other FM
underground stations began in the East Coast, Boston, New York, Detroit,
all those but they were case andwas the one that started and spread at

(13:07):
Steeds nationwide and became what became alternativerock format. And it's interesting just tracing
all of this back because I knewof Tom Donihue, I knew of of
KSA N, but I didn't knowthat it really starts with KMPX in San
Francisco as Tony Mingos and Wednesday nightprayer meetings the Tom Donahue at KMBS one

(13:28):
of seven on your fmw we're playingrecords until midnight. By the way,
was Tom Downhue did he ever goto that Red Dog Saloon? I mean,
he wasn't there himself, was he? That's a good I don't think
he was. I don't don't.But but what happens is he meets up
with these this group from the RedDog Saloon. They all convene and they
get together and then all of asudden he's got his staff of disc jockeys.

(13:52):
A lot of them were from theRed Dog Saloon, correct, Yeah,
Mylon Melvin and Chan Laughlin and allthese cats. Some of them were
drug dealers, some of them werejust hippies. You know, you knew
everybody the hippies were. There wasn'tthat big a population in sixty four sixty
five yet Mark Prankster's Ken Kizi andall that acid acid tests around town,

(14:16):
and the community kind of got together. And I remember Tom used to come
on and say, Hello, I'mTom Donnie Hu and I'm here to play
phonograph records. And this is TomDonna Hue and I'm here to play phonograph
records. Old school man love it. Yeah, yeah, but it's interesting,
it's very organic how this all happens. Chapter seven leads off with a
quote from Tom Donna Hue, andit comes from his nineteen sixty seven piece
which is published in the second issueof Rolling Stone, and he writes,

(14:41):
Top forty radio is dead and it'srotting. Corpse is stinking up the airwaves.
So his answer to that was SanFrancisco, it's k MPX. It's
considered to be America's first alternative freeform radio station. And there's a picture
of in the book. How doesit go from a small FM station known

(15:03):
for foreign language programming to becoming thego to station for sixties counter culture.
It happened when he was working atTop forty down to Hill. An amazing
guy. He put on the lastBeatles concert in America, San Francisco's Candlestick
Park in sixty six. And heused to sit around with his friends and

(15:24):
play record albums. He lived upin Telegraph Hill. Friends would come over
and they play records for each other, kind of what we all did?
You know, here's an album.You got to hear this, you could
hear this. And one night somebodybrought up the doors and it was the
you know, father, I wantto kill you, a mother, I
want you and the end. Hesaid, what, yeah, this neighborhoo,

(15:45):
there's named Vaco abe Keshi in fromDetroit, and they said, we
gotta get this other. How comeon, I hear you this on the
radio. So Tom said, youknow, let's have a let's start a
radio station albums that we enjoy listening, playing for each other. And he
found this one radio station in KMPXthat was kind of really hurting, and
they just played foreign language hour byhour. You know, there'll be the

(16:07):
Chinese hour in the Ukrainian hour whereall these different foreign Christian shows and things
like that. And he bargained withthe guy to give him four hour slot,
six to ten, and that's whenyou put on the rock and roll
and they eventually it became twenty fourseven and you had all these people pouring
into San Francisco at that time,that whole generation Baby boomers now, and

(16:30):
they tuned in. It became thecommunity station. On a commercial station,
it was their community station. Theycame down, they decorated the studios,
they would hang around in the lobby. You know, it's an outpost that's
just not around today. It's kindof like the website where kids go,
like the Craigslist. That's what itwas. People got all their information from

(16:52):
this one hub on their radio.Where to get a ride, where to
go to rally's, where to getan apartment, to find your lost dog.
You know. You know, Ialways said I was born too late
because when I jumped onto the FMradio train, it was well, I
started listening in the late eighties andI thought it was so cool and then

(17:14):
in the mid nineties I started workingthe business, and I would hear things
and read things about what it waslike in the very beginning, and I
just thought, man, I wishI was around during that time because it
was an art form and every DJsounded drastically different. There was no que
card, there was nothing that theyhad to There was no playlist, there
was no grand design, no commercialprospects. It was just it wasn't our

(17:40):
form. Because also the it's interesting, we should know to the government there
was something that happened to where FMradio. It's crazy to think about it,
but it was considered just something likea throwaway. It wasn't anything that
was important. But what happens withthe government. They said to these these
owners of these stations, you haveto put something different on your FM.
There was a decree that you hadto have FM, and so that started

(18:03):
creating a f and stereo came inthe same time. So music sounded better
than it did on AM. Sothey played these LPs. Case said,
they played the whole side of anLP because the listeners were taping it,
so they haven't you could hear thewhole side, and also it sounded better.
Mostly was classical. You had theseeducational stations down at the left end

(18:26):
of the dial, and so therewasn't rock. This just completely changed it.
There actually was a dj ardy atCamp X who was on from midnight
to six and they let him dowhatever he want, and he was actually
Larry Miller. Came from Detroit toSan Francisco. You know a lot of
these guys had bands. He hada band in Detroit called the Southbound Free

(18:47):
Away. Anyway, he came thereand played whatever the hell he want and
they called him the first freak becausehe stayed there when Donny Hue came in,
was bringing all his friends in fromthe neighborhood, his friends who were
sitting around playing records with each other. Those were first hires, people like
Howard Hessman. You know, Iwant to get to that, Yeah,
you can to DJ And Larry Millerwas I think the farthest out, the

(19:10):
first free keep play whatever he wanted, said whatever he wanted. I mean,
you could swear on that station.When they had the sex Pistols on
in the late seventies, interviewed thembefore the last sex Pistols concert also broadcast
on the air. There can youimagine those guys were swearing right and left
on the airway. I don't knowhow they got away with it, but
I'm like you, I wanted tosay that. Eric, I'm like you.

(19:30):
I got there in the late seventies. I had missed it. Yeah,
when I got there, I waslike, what's this all about?
I hear this great thing. We'rethe coolest. We still felt like the
mythology had already had already developed andit was strong at that point. Yeah,
you must have been just to bein that building. It must have
been so cool because you were talkingwith the people that were there during that
time. It was the late thelast hey Day, and you know that

(19:55):
the corporation and Reagan came in.But I always want to know about the
early parts. Sure, and that'show I got into this book. Was
interviewing some of those original freaks andheads. And there were straits too,
and I interviewing them, and I'lltell you how the book got developed.
Tell me about that too, becauseI'm really interested, because I'm assuming it
comes out of just your natural fascinationwith the station and its history. But

(20:18):
yeah, when did this idea comeabout? Well, they had a reunion
in twenty fourteen, Case and Johnninety five reunion twenty fourteen. It was
at this club called Yoshi's in SanFrancisco. For those just listening in audio,
you're showing me a big poster promoposter, and it's definitely got that
late sixties psychedelia look to it.Yeah. So at that gathering twenty fourteen,

(20:44):
a couple of old Case sand Guystarters filming and all that footage is
eventually going to become a documentary.But there was also one guy in the
audience, dent Jeff House, andhe started taking notes and from twenty fourteen
on he interviewed a lot of Caseand characters and wrote a narrative about a
five hundred page narrative. Jeff House. He was a scholar, an academic

(21:07):
writer from San Jose. He diedand his sister sent me all the tapes
and then I took on the projectand wanted it to make an all history,
so continued interviewing some of those greatcats, and that's how it turns
into the book. That's how itbecame this book. Tell me about Howard
Hassman. Because Howard Hassman was amongthe DJs at KMPX. Don Sturdy was

(21:30):
his on air name, but hegoes on to become famous for playing doctor
Johnny Fever on WKRP in Cincinnati,one of my top five favorite television shows
of all time. In fact,when COVID hit and I was home,
I went through that box set andwatched each and every episode in succession because
I wanted to do it for thelongest time I had the box set,

(21:52):
I just didn't have time, andit was so great to go back and
watch each episode from start to finish. And he was hands down my favorite
character on that show. He hada DJ background, so that's why it
was just you get that feeling thathe was legit. You felt like he
was a real disst jockey. Nowhis character was inspired by Tom Donohue.

(22:15):
Plus he threw in a few otherDJs that he kind of put all together
for that character. Bob Dale andBob McClay. Those are the other two.
He sadly just recently passed away.But did you get to speak to
him for the book or was thisfrom the tapes that you received? They
were from the tapes I received,and for this documentary called Something in the
Air, which a new doc aboutCase sand which they're still shopping around the

(22:37):
film festivals. But they've been workingon that since twenty fourteen. And well,
he was in the committee, thegreat improv satirical group in San Francisco,
like the Second City or LA's Groundings. This was this was the place
in the mid sixties to hear yourpolitical satire at night and what was going
on in the sixties. And hewas a friend. He was in and

(23:00):
Telegraph Hill of Tom Donihue and RachelDonahue and they said should Rachel, we
should mention her too. That wasTom's wife. Yeah, she was originally
just a little kid. Rachel Hamiltoncame up to San Francisco met Tom.
I think she was stripping at thattime where she was dancing. She was
doing. She was at a NorthBeach club and they met. But Howard

(23:21):
always consider himself a beat nick.He was a beat more than a hippie
because he came out of that fiftiesthing. But he just had the greatest
time. He played whatever he wantedand it was a real wild assortment.
In fact, I have some ofthe records. Actually, I don't know
if your audio people can hear thisand seious, but he would play stuff
like country Joe The Great album That'shad that song section forty three on that,

(23:44):
you know, that song of thefirst great psychedelic songs. But he
played a lot of Satchmode too.He loved blues, love jazz, and
of course she had the the airplanestuff which was very popular in case Sam
showing showing these by the way,all on vinyl. I love it.
Yeah, yeah, Eric Crome andthen do you get do you have John
Coltrane there because he got into trouble. He said, Tom never Tom would

(24:07):
never tell anybody to do anything.But there was one incident where he's playing
a little too much John Coltrane.Yeah. Yeah, he called him up
and said you're playing too much Coltraneand he said, He's like, you
don't be playing him all night.You could do that, but you could
also play stuff like Eric. Thisis a Senator Everett Dirkson who did a
version of wild Thing but which isoriginally by the Trucks. Yeah, they

(24:30):
played anything they wanted. Let's faceit, do it. Is there any
audio out there of we call himer Jacks Howard has been on the air
because I've been dying to just hearwhat he sounded like. It's gotta be
he's out there somewhere. His familymembers must have something. I talked to
his wife, Katy Learner, andshe said it was really there was just

(24:52):
the best time. They would gowith Tom and Rachel the concerts and snort,
Emil Knight Trade and trip and therewas an earthquake and she and Joan
Bayez had to help people over thechairs and just yeah, in the book,
but that's right, read him inthe book. Yeah, did take

(25:12):
this out. I wanted to askyou, did KRP inspire you to go
into dj? Oh? It wasdefinitely. It was definitely what led to
me wanted to become a rock DJ. My dad was a disc jockey,
so I got into the level radiothrough him just watching him work as a
kid, but then listening to rockradio and seeing w KRP. Absolutely it

(25:33):
was part of the mix. Andwhen I got into radio, my dad
and I used to talk about howthat show was so close to the real
thing, and lo and behold,we find out that the producers and the
writers were people that did work inthe radio business in Atlanta, So there
was so when I started working inradio, there was all these crazy characters
that you'd come across and it waslike, that's exactly what KRP was.

(25:55):
You just get those those dudes thatwould be you know, always third shift.
There's always one guy all these characters. I think Johnny Fever had some
episodes that he took directly from stuffthat had happened. Sure, like you
said, he he modeled him aftersome great case in DJs that he knew.
Now here's a mind blow though,Carl Gottlieb. And I'm a huge
Jaws fan, so when I seeCarl Gottlieb, I'm like, is this

(26:19):
the same Carl Gottlieb that was ascreenwriter for Jaws? And yes, it
is Carl Gottlieb from Jaws. Hewas a DJ at KMPX. There's a
staff photo, by the way,in your book. People have to get
the book to see it from nineteensixty seven k MPX. You see Howard
Hessman, you see Carl Gottlieben there. And Carl talked about his approach on

(26:45):
air. His quotes are in thebook. He opened with the Beatles good
morning at noon, since that's whenmost of the station's listeners were waking up,
and he talked about all the differentartists that he played and many that
nobody knew about Bob McClay. Itwas the first DJ to play Jimmie Hendricks.
How did that happen? Well,he got he had an English an

(27:07):
album from England that a friend ofhas sent over, and Hendricks was coming
through in sixty seven. I thinkwhen he did the Monterey Pop Festival in
sixty seven. Then he played thePanhandle in San Francisco and the records that
blew up, you know, afterBob McClay was playing it. Gottlieb was
an old hippie another another hip younghippie in San Francisco. At the same

(27:32):
time. He also worked with Hessmanin the Committee, the Satirical Troupe.
I think it was Gottlieb who toldHessman about this radio station. The book
Done Rock Podcasts will be back afterthis, Okay, that's by Blind Willie
Johnson. Lord, I just can'tkeep from crying. Our guest tonight,
Jerry Garcian Philish from The Grateful DeadRay Charles is next thing. The schedule

(27:53):
is this earlier, late late,very recently was a last last single and
last single? Yeah, the latest. Do you think the stuff he's cut
with ABC has been as good assome of the things you cut with Anka
he was in It was in amuch heavier blues bag I think earlier than
Yeah. I like, oh,it's like the seven piece stuff and with
the ray lets and all like itwas real life stand But his big band

(28:15):
is one of the tightest going.Yeah, there's some good big bands I
like to sound. The Bobby Blandgroup gets too. Yeah, there's a
there's just a lot more funky.I think Ray Charleston. Yeah, James
Brown Accink acton. He has thebest big band, the tightest. They're
real, snappy, super discipline.Oh yeah, do you use two drummers
smoke on stage during rehearsal ten bucks? Late rehearsal twenty five bucks? James

(28:40):
keeps him in mind that he does. Have you thought about that? Jack
keeping the voys in line? Let'sdie rate, Charles, I didn't need
no doctor. Hank Rosenfeld, theauthor of The Jive ninety five and Oral
History of America's Greatest underground rock radiostation KSA and San Francisco and It's throughout

(29:00):
August fifteenth. Now, one thingI didn't know until reading your book that
Tom wasn't the first to create freeform radio. Who was the one that
made it a success. But inNew York DJ had been doing it prior
to that. And this is aname I know very well, Pete for
natal I tell w any w eventually, but I think he did it earlier
at another station. He had ashow, but nobody done twenty four seven

(29:23):
until Donnie who came along and turnedcam p X into that, and he
stuck around for a while in NewYork radio. I remember they stories.
I worked at radio in New Yorka w x R, K K Rock.
Yeah, Howard Stern was in themorning and I produced Steve Capin in
the afternoon, called it the AfternoonEpisode. It was a character named Coyote.
It could go off at any moment. But when we went in there,

(29:47):
we said, okay, Howard willtake everything below the waist and we'll
try to take everything from the neckup. Yeah, well, what about
There's another station in San fran calledKPFA. That was another one that was
free for him. Was that property. It's still there. It's a Pacific
custation. It's in Berkeley. I'mgonna do an interview up there. Chris

(30:07):
Welch is still there. She's eighty. She was at Case and Bonnie Simmons
still does a show on KPFA onThursday night, free form great stuff.
She was a program director at Caseand lives up there. A lot of
these stul jive ninety five or stilllive up there in the Bay Area,
and I hope when I do somereading events they'll drop in and talk to
about their lives. Oh yeah,they can give you some stories. So

(30:30):
KSCN happens because of a commercial takeoverof KMPX. Correct, it's the owner
of the station, Leon Crosby,got greedy. He saw they were number
one. He said, Okay,we're gonna straighten things out here. Now.
I'm gonna bring in my people withtheir suits and you're gonna cut your
hair. All this stuff, youknow, you hear about that happened in

(30:52):
the sixties and they went on strike. It was the first hippie strike and
they want a little more money,all the DJs, and they unified and
Tom Downe quit and so they allwalked out. In the meantime, Downa
Hue had started another station for LeonCrosby in La was a sister station to
CAMPX called k p p C andbecame popular in La. Firesign Theater were

(31:15):
on but you're really cool people.Harry Shear and his comedy troupe, they
went on strike at the same time, so they Leon Crosby went out and
hired a bunch of scab DJ's it'sa it's a great story, the first
hippie strike. And there's a picturein the book of that too. From
six Washington posted a couple of greatarticles about it. Mark Fisher, I

(31:37):
think is the journalist at the Postwho wrote it up. And they walked
down the street, they negotiated.Tom went around the country looking for a
new station Chicago, head to ABCNetworks there and he was like now and
then he came back and Bob McClayfound this ks AN which was k what
was it KSFR at that time,and then other it was just a middle

(32:00):
of the road classical station. Theyhad one hippie like free form alternative underground
radio at midnight, and they justwalked down the street and took over case
In and all the everybody went overthere, most of the people, and
one guy stayed there, Stephen Ponock. He was the one ks fire guy

(32:22):
and stayed at DJ there and thenthey were case and for the next twelve
year sixteen eight to eighty. Whatwas it the controversial pepsi ad that played
on KMPX. Well, they didn'twant you know, this was the there's
a there's a movie called FM whetherthe DJ's uh, you know, fight
about an army ad. They didn'twant to play an army add Well,

(32:42):
this was kind of the genesis ofthat. The staff didn't want to play
a pepsi ad. It was twocommercial the case and folks made up their
own commercials. They wrote, theyproduced, and they were goofy. They
were crazy and hippie like you know, Stone references and everything else, and
came in a big money pepsi wasbig money and it became this shoote caused

(33:07):
celett But they were sitting around oneday one of the DJs, Vako made
Keshi in I picture him in thebook, but here he is also that's
aide Keshian with Dusty Dusty Street oneof the great first female could be DJ's.
She went on to work with theRocket Hall of Fame in Cleveland.

(33:29):
I believe she's still on Serious XM. I think she still does a show
there. Yeah, it says MegGriffin Roorkes within New York at camera,
Vacco said you know, I drinkpepsi, and a couple of the other
said, yeah, I drink pepsitoo, So why be hypocritical about it?
And it was kind of part ofthe shift becoming more corporate the way

(33:50):
a lot of things did in theseventies. The Battle Nixon came in the
seventy two of the pushed back againstthe counterculture, the revolution that was created
in the sixties by the cover culture. In so many fields, the pushback
started in the seventies, that kindof stuff. And you know, these
these commercial products. They knew theycould sell the hippies, you know,
so they put a lot of commercialson Casean and eventually, as you know,

(34:15):
the station in Country Western the nineteeneighty and we were all blown out
of there nineteen eighty just after Reaganwas elected. Weirdly enough, Yeah,
like I said, Tom brought theDJ's with him from KMPX to KSA,
and one guy almost didn't make it, Edward Bare he had he had his
battles with Tom. I think thatwas that. Yeah, he was a

(34:37):
big city cat from New York down. A lot of New York radio came
out to San Francisco, came inand said I'm the best guy you ever
saw. You know, you shouldhire me, And Donnie had said,
yeah, give me a tape.He went in and made a tape at
midnight and just he was he becameEdward bare His name was hersh Or,

(34:59):
originally in York and he worked atin the village at the Cafe Figurero and
did midnights. He was the classic. His girlfriend was a flower child,
and he was just created this character, the Bear. He said, I
come down from the mountains to explorethese people in the city and have a
good side and the bad side.You know, don't get it on my

(35:20):
bad side. But Edward Barrow wasa great I loved his music. He
played a great mix. And Donnyyou didn't bring him to case in,
but all the other staff said yougotta bring you, gotta bring it Bear,
and it was personality clash. Yeah, most definitely, that's what Bear
said, the New York person backSan Francisco thing. Yeah, yeah,

(35:44):
they also engineers, you know theypeople didn't do their own engineering. Then
they're always white guys who are theengineers. They've been in radio forever.
So you couldn't engineer your own show. In fact, you couldn't spend your
own records. So Donnie, whohired women for that, got rid of
these suits and he hired what hecalled his chick engineers, chick engineers yet

(36:07):
fairly progressive for sixty seven. Ithought of that reading the book, I
thought about that. Man. Itwas really cool, really cool that he
did that. Yeah, some ofthem didn't get to go to case and
because they weren't needed anymore. Whenthey get you could do your own show,
you could do your own engineering.So some of them didn't didn't get
over there either, And Bear wasinvectually brought over, But I don't know
if all the chicks were brought over. Dusty Street started as a chick engineer

(36:30):
and found her voice there as aDJ and became now, like you said,
she's not serious XM and she's Hallof Fame. Now let's go back
to the Beatles performance, the finalAmerican appearance, which was at Candlestick Park
August twenty nine, nineteen sixty six. Rachel Donnie, who said the Beatles
did not want to do the show, but the only reason they did was

(36:52):
because of Tom. He put ina clause in the contract. Was there
a ten thousand dollars clause or somethingthat they didn't play. They have to
pay him that. And you knowit was at the very end of the
Beatles because after that tour sixty sixtour, my sisters actually saw them at
the Olympia Hockey Arena in Detroit atthat time. But on that tour sixty

(37:15):
five sixty six, when they goton the plane after that concert the Beatles,
that George Harrison was like, that'sit. I don't want a tour
done with this, and they allpretty much decided that and they never played
again live until that Top of theApple concert on the rooftop of Apple,
which you see in that recent documentary, that great documentary about the Beatles or

(37:36):
eight hour documentary. Yeah, interestingthat Tom had he played a role in
getting them to perform at that SanFrancisco show. And also their coverage.
KSA n's coverage of the Altamont concertis covered in your book. They covered
it from the moment it began rightthrough to the aftermath, and you include
excerpts from the broadcast on that Sundaymorning, December eighth, the day after

(37:57):
some chilling accounts from people who werethere called in. One was talking about
people getting kicked people getting walked on, a girl being dragged across the stage
by her hair. I mean,is there any standout quote from that chapter
for you? Well, when theHell's Angel, the head of the Hell's
Angels called in Sonny Barger and yougot the other side of it. We

(38:22):
moved them people to save that bike. And then after that they started trying
to destroy our bikes and we're notgoing to stand for it. And then
Nat made it personal, right itreally did? You know, that's not
a nice thing to do. Likewe tried, Like the talking about that
Mick Jagger had the people sit down, Well, you know what, you
grabble Mick Jagger and asked him whotold him to tell the people to sit

(38:45):
down? That's what I told himto tell the people to sit down.
And if anybody was there in thefront rows can remember me walking over and
telling them, you know what,if you tell these people to sit down
and be cool, the people inthe back and see a little bit and
this show get on and we canget it going. And he's done it.
You know, we've all heard theHell's Angels. They ruined it.
Sure they got hired to do securityfor five hundred dollars of beer by the

(39:07):
Rolling Stones. So they were completelyslashed, and they brought their bikes in
and somebody touched their bikes and thenthat went off and somebody was killed.
But you had Woodstock in August ofsixty nine and that was just went off,
as we know as a cultural landmarkof what it became. So San
Francisco said, let's do another one, and the Rolling Stones were going to

(39:29):
play free in Golden Gate Park.No, nobody's going to have a free
concert in Golden Gate Park with theRolling Stones. They tried a couple other
places and this Altamont Speedway only becameavailable at the last minute and turned into
a disaster, the opposite of Woodstock, and a couple of the case and
DJs had been to Woodstock, sothey got in the air the next day

(39:51):
and open up the phone lines forhours and talked about what we're wrong at
Altamont. I had to do withbad acid that went through everybody, terrible,
the vibe and the Rolling Stones.There's a lot of blame to go
around. And I talked to DavidSmith, who started to hate Ashbury Free
Clinic at that time. There's alot of kids down the streets. They
had nowhere to go, and they'dgo to this free clinic and he said

(40:14):
it there was it was known therewas bad ascid there and it just created
it horrible altimont what some people say. It was the end of the sixties.
Yeah, absolutely, that and CharlesManson, that and the Manson murders,
Sharon Tate, that whole thing.That was it. There's a chapter
devoted to Tom Donne, who wasinterview with John Lennon too from nineteen seventy

(40:35):
four. John and Yoko visited Tomand Rachel's home for the interview. Rachel
said Yoko was the most hated wifein America, but they got along great.
She added that she could hear Johnand Yoko doing their screen therapy from
where they were staying. They weredown the street and they could hear it
through their window. John gave alengthy interview to Tom, which speaks to
how respected he was. Would yousay that was at the high point of

(41:00):
Tom Donahue's career in terms of interviews. Well, you look at how long
they'd known each other. They reallyconnected in sixty five when Lennon was like
a sixty six when they came andyou know, Tom was the hippies guy
had ever seen Big Tom Donahue tookhim under his arm and helped him with
that final concert, and they stayedfriends all those years. And so there
he came in seventy four for thatinterview. And there's another great piece interview

(41:25):
with John Lennon in the book withScoop discard the last news show, Guy,
if you don't like the news going, and make some of your own.
Scoop who got that name when hewas covering the Chicago eight trial sixty
eight Chicago, he called Johnny Yokoin their hotel room when they were doing
their bed in there for Hair forLove and they were in the hotel room

(41:50):
bed in Montreal, and Scoop calledthem and that was on the air.
It's really funny interview. But Lennonand and and Tom went a long way
back and really dug each other,and you can tell on the air.
In fact, there's a link.I have QR codes in the book that
link you to certain audio and oneof those is the Lennon Donahue nineteen seventy

(42:10):
four interview. Lann had just finishedhis album on Walls and Bridges, so
he came on to play it let'sjust start through the new album with side
one cut one. That's where theyalways put the song they liked the most.
Then or do you well, whatdo you do? How do you
forget? It depends, you knowa time started off with except for when
I didn't imagine I put sort ofI suppose that was the album really easy.

(42:35):
Time put something that brings you inbut not too much, but just
sort of medium. And that's whatthis is. It's called going Down on
Love. And then Bob McClay wason the air when news of Tom's death
came April twenty eighth, nineteen seventyfive. And he was only forty six
years old when he died suddenly ofa heart attack. And I always get
the image whenever I there's pictures ofTom Donahue in the book, I always

(43:00):
think of orson wells like that,you know in later years, like the
big again, big voice, justat big presence. When he walked in
the room, he snorted coke,He did ascid, he had huge appetites.
He used to hold courted and Ricosand North Beach are famous night spot.
And everybody's sitting around him there,you know, Tom smothers and David

(43:20):
Steinberg and guys like that. Hewas the man hippist, hippy, the
hippiest hipster. In fact, youtalked about the end of the sixties being
at sixty nine. People talk aboutwhen was the end of casan and when
don Que died, a lot ofpeople said that was it. Well,
that was one of my questions.What effect did his death have on KSA
and and radio in general from thatpoint on in your opinion, because he

(43:43):
was he was planning on getting KMPXback and all the jocks were going to
go with him. He was verymuch still in the radio game. I
mean, it was a huge blowand he didn't like where the station was
going, and he could still getaway with whatever he wanted, but he
was thing to getting out at thattime. And there's a chapter about how

(44:04):
he died, and it's a rashaman. You know, everybody thinks they knew,
and it's something else. He wasplaying backgammon, he was snorting with
some high rollers or you know,who knows exactly, but they're all the
opinions are there was at the endof case. And I'm kind of thinking
it wasn't that era because the musicgot a little in more middle of the
road in the seventies, but thenby the end of the seventies, cases

(44:29):
punk punk music came along New Way, Elvis Costello, this whole British thing
to clash sex, pistols and caseand went for it, you know.
So you know, firstly, ofcourse I loved when I was there,
but some people say it ended whenKMPX went off the air in sixty eight.
Some people said that's it. Theygot two commercials. When I worked

(44:49):
at at the end of the eightiesin New York to the xrk K Rock,
it was like the dark side ofwhere Case end ended up. You
know. Forward FM playlist totally restricted. You know. Once we played Louie
had a new album out at thattime, New York. It's a great
comeback album, not come back withNew York album. And we had him

(45:12):
on as a guest and we saidwhat should we play and he said,
played Bussload of Faith. We playedit. It wasn't on the playlist,
so we were suspended. It wasso restricted by that point, and it's
kind of that's where it came,you know, from seventy nine eighty to
eighty nine ninety, you know,that's in radio today. You know,
everybody's got a radio everybody's got aradio show now, though, don't they.

(45:34):
Well, that's the thing he wouldlove podcasting. I think he would
appreciate that because it really is goingback to what he created in the beginning,
which was free form, say whatyou want, do what you want.
The thing that was different was itwas part of a movement. It's
part of the countercultural revolution, whichis the anti war movement. You know,
gave movement, Black movement, Chicanomovement, feminist movement, and case

(45:57):
and gave voice to all those typeof They had shows on all topics.
One year is a long time.Fifteen years is a very long time.
What are you going to be doingfor the next fifteen years? I know
of at least three gis who willbe spending that time in prison for the

(46:21):
crime of mutiny. What does mutinymean to you? However wide ranging the
definitions of mutiny are. I'm surea few of you would consider singing a
mutinous act, certainly not one deservinga punishment of fifteen years. At hard
Labor. This Saturday, March fifteenth, at one thirty pm, there will

(46:42):
be a peaceful public assembly at theMarina Green with music provided by a variety
of concerned performers at the foot oflyon Saturday one thirty. Arlo Guthrie's going
to be there, are you?Then the book gets into the end of
that great era of radio at KSAN and you've alluded to it throughout the

(47:07):
interview, which it was the lateseventies. What led to the demise?
And was there a time or wasthere a moment when you were there that
you thought, yeah, this isit, it's it's going down. Or
was it overnight because a lot oftimes that happens in radio, it's overnight,
Hey we're country. I had thatwhen I was working in Hartford.
It was just overnight, Hey,we're gonna be different, change of format.
So did you sense something was coming? You always knew something was wrong

(47:31):
because of Metromedia, which had becomethis big radio conglomerate in New York,
and they had LA and Philly wMMRR, and they had in Cleveland h
and w n E W New Yorkand the and the LA station was k
m ET from Metromedia. Yeah,and they came up from there. K

(47:52):
Sam was playing all that punk wasthe first one to play the new wave
punk and la people were like,no, we played commercial. There's some
really well produced albums out there.Fleetwood Mac was big. Then you play
these albums Tom Petty, the Eaglesmore likely, and this stuff was really
well produced. In case San hada problem. There was a real conflict

(48:14):
there between the DJs that loved toplay the new wave and then the DJs
wrote like still into the psychedelia,you know, all that music, and
so you had these two coming together, and the metro media looked at the
ratings and there was a new stationin town came El Camel. They were

(48:35):
playing the straight ahead rock and rolland they and the punks. There's nothing
big enough audience for that, rightthe shock of the new people were not
into that. There was a veryintense period. It's kind of like psychedelic
rock and reached as far as Icould right into this orchestral with the classical
classic rock, huge boom, youknow, triple or droop hoole albums,

(48:58):
and then punk daughter back down tolike three chords and the truth. You
know, it was like back tothe basics. So it had gone through
all this thing couldn't go any farther. There's a book called Twilight of the
Gods about where that music went heavymetal and all that stuff. Amazingly that's
still around now. But yeah,it was similar with Nirvana in the early
nineties, very similar that movement.Yes, the hair metal was getting way

(49:22):
way, way way out of controland it just pulled it all back.
Yeah, but you also must havehad those moments where you see it familiar
unfamiliar faces walking around the building likethis they sent these people up from La
Yeah. Yeah, you're like,who is this dude? And why is
he looking in the studio with thisthat look on his face, like you
could tell he doesn't approve of what'sgoing on here? Kind of a lockdown.

(49:45):
It started when they locked they lockedthe record library and brought in their
own what was to be played inbins. They put little bins. It's
a colored coating, yes, Andwhen you couldn't get into the lot,
the lot record library anymore. There'sa DJ, Norm Winer, who talks
about him seeing at the end rightthere he was on the air while he

(50:06):
saw the guy's hammering and putting inthis lock. Well, when I was
on with Capin near the end.Steve Capin was actually the last DJ in
the air November of eighty. Hewould send me over to get special records,
and he used to have me climbover the plexiglass into the library to
get the records. He wanted toplay shit, so he was like,
you know, he's going over thewar. That's awesome, clash or whatever

(50:30):
he wanted to play. You know, Fire Sign Theater Lenny Bruce albums which
I liberated after I got fired.They kept a lot out of the albums
in the basement and I liberated them. Well, I was gonna ask you,
did you get to leave on yourown or did you get fired?
And you just answered that, Howwhat was that moment, Mike? How
did they give you the news?These guys, you know, they came

(50:51):
in from la and they made aclean sweep. Dave Moorehead was his name.
We called him l nuclear Warhead.This is the anti nukes movement at
that time. And then next saidand the news director Joanne Rose's wag was
she was on her honeymoon and calledin to find out that she'd been fired.

(51:14):
And I was part of her newsstaff, so I was fired with
her, and they fired her whileshe was on her honeymoon with her husband,
Fred Green, who was another greatcase s and guy. They're still
married and worked at a bunch ofother stations as a news director. And
she's got a book out talks abouther radio history, and he's got a
golf podcast and she's doing a podcast. So they're all both still in the

(51:36):
broadcasting. But I had one ofour fellow newsmen g n US was what
they called the news department. ChrisStanley was a mentor mine. He went
up to this more head guy triedto punch him in the face, you
know. Yeah. He put upon acid for a couple of days before
they did that. Another gout,tom O'Hare, it was another one.

(51:57):
They took acid together and came inone time with Joanna Joyn Roseway was about
to go on the air of thenewscast. Tom owhare just set it on
fire and it all just scrumpled inher hands. She had a good scope
and talking through which the deep whichthe newscasters did all out there. Anyway,
they more talk the news. That'sanother important part of the station was
this radical news department that was inthe streets in Berkeley covering the riots when

(52:21):
Dan White shot Mary Masconi and HarveyMilk and seventy eight and just incredible.
These were my mentor, Scoop andSkirt, Larry Bensky, Larry Dave McQueen,
Larry Lee, who wrote a bookabout Jack Carrouac. So those kind
of the connection of the Beats tothe hippies. In fact, the first

(52:42):
day I was hired was Larry Leewas having a book party for his oral
biography of Case, and I don'tforget it. Going to it, I
was like, you know, kidstoday say I found my people, and
these are like, oh my god, this is my people. These are
the ones They're gonna get me.And so we did a lot of wild
creative stuff and walking home that afterthe book party, I remember walking up
Marcus Street and there are a lotof bums and homeless people at that time

(53:07):
seventy eight, which was ever thusand I looked at those people. I
thought, yeah, I'm gonna changethe world at Caselam, but I'm not
going to be able to help thesepeople. And I kind of realize the
n and yang of it. Youknow, the greatest of dreams, be
creative, put it all out there, be political counterculture, but boy,
how are you gonna get justice?It's gonna take a lot time man the

(53:29):
Jive ninety five and Oral History ofAmerica's greatest underground rock radio station k s
a N San Francisco. So it'sout August fifteen through Backbeat Books. And
let's talk about the website. Let'sget that out there, Jive ninety five
dot com. What can people finddot com? You can find out a
lot of information, stuff that thatcouldn't make the book that got cut from
all these people I interviewed, greatstories there. I'm gonna put those on

(53:52):
the website. And as you said, there's all this audio on the website.
Some of it's in the book,but you can pretty much find out
everything case in there at the jibninetyfive dot com. Also, my website
Hank Rosenvelt dot com tells you abouthow we're promoting the book places in the
Bay Area and eventually I hope acrossthe country to come see readings and events.

(54:13):
Yes, so it's all on yourwebsite and jiveninety five dot com.
And thanks for letting me play theseclips throughout. People have been hearing these
clips throughout this interview. So muchto pick from. I just picked a
few here and there. There's alot more on the website JIB ninety five
dot com. And where can peoplefind you outside of your website, any
social media sites that you want toplug. I've done a lot of stories

(54:35):
on NPR, so you can goto NPR dot org and put my name
in on my website. There's alot of audio from radio stories. I've
run journalism stories. I've been afreelance writer and a ghostwriter for years and
done a lot of other books likethat. And I just want to mention
that Beat Museum book launching. Ifyou're in San Francisco, coming down to
the Beat Museum August nineteenth, andwe're gonna have ice cream, ache Tokay

(55:00):
wine which the Beats drank, andtry to put a joint under every seat
kind of thing. I was thinkingof gummies, but it's the wrong era.
It's for medical reasons. Yeah,brownies. The servances go way beyond
it. Always they were doing marijuanaadds in nineteen sixty said they were for
the legalization, and Wavy Gravy wouldget on and way Frank Zapple would get

(55:24):
on and say one of the greatPSAs, don't do speed. This is
Frank Zapp for the Mother's invention.Don't do speed because he'll turn you into
your parents. By the way,he could have been a great disc jockey.
He did. Some of the clipsare on that website of him doing
reads for the station. He hadsuch a unique voice, a speaking voice

(55:44):
that he could have. You know. He came out with Tom and we
really scooled him. Tom. Theywere playing oldies together because the jet Zappers
love of those old forty five sohe was just telling Tom like, ah,
Tom, that's not what it was. Well, hello, oh,
this is Frank Zappa and you're listeningto the hippos of all radio stations simply

(56:06):
because of its location KSA m FM. Is that right? KSA n FM
in the city that God created,San Francisco, California. How cool you
are. I'm so glad that wewere able to do this, Hank.
This is we We actually have beenchatting leading up to this interview for quite

(56:28):
a while because this book was announceda while back and I was so excited.
I actually saw it before you reachedout to me. I said,
Hank, I already know about thisbook because as a radio guy, and
we got a picture of you inthe book there at you right, that's
Scoop Nisker. Oh, okay,that's the great Western scoopnistory. He just
died like three days ago. Oh. He was a boo Jew. He

(56:52):
started the Boo Jew movement up there. Well, he led weekends in it,
which was kind of his mantro washome Shalom. So you had the
Buddhism and the Jewish. The Swamifrom Miami was one of his creations,
played by a friend of his,Darryl Henriques, who actually I'm working with
him on his memoir now. It'sa very funny case and character. Scoop

(57:17):
Scoop Man just three days ago,go out and make some of your own.
Yeah, he was living in anelder ashram in Oakland. Best have
senior home. But that's why abook like this is more important than ever
because a lot of the people involved, we're losing them, and like we
mentioned, Howard Hessman has since passed. Yeah, it's it's it's an era.

(57:40):
It's an era that we'll never getback again. You know. It's
just things have changed too much withtechnology now where the importance of radio.
A lot of people that are youngerjust don't understand radio was part of your
everyday life. It's part of that, and it's also part of that counterculture
that I don't think he's taught inhigh schools, and I think it's important
because it was about community and changeand turning on kids to new ideas and

(58:07):
of course the great music always.Yeah, thank thanks so much man.
This was awesome, Eric, Itwas really fun and I want to talk
to you more about Triple C andSouthern Khan and all that stuff. Won't
get up the area. That's it. It's in the books.

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.css-14f5ked{margin:0;word-break:break-word;display:-webkit-box;-webkit-box-orient:vertical;box-orient:vertical;-webkit-line-clamp:2;overflow:hidden;}"The Jive 95: An Oral History of America’s Greatest Underground Rock Radio Station, KSAN San Francisco"/Hank Rosenfeld [Episode 147]

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On Purpose with Jay Shetty

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"The Jive 95: An Oral History of America’s Greatest Underground Rock Radio Station, KSAN San Francisco"/Hank Rosenfeld [Episode 147]

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