The old lions of broadcasting are passing in the way old lions do, but the inevitability of losing them doesn’t make the losses any easier to take: Larry Lujack, Roy Leonard, George Lipper—and now, another one is gone. Don Davenport died earlier this month at the age of 78.
I first heard Don on WEKZ, my hometown radio station, probably before I had a radio of my own, but he spent most of the 1970s at WIBA in Madison. I can’t say I knew him well apart from the radio. His son was one of my brother’s close friends. As a result, I knew the younger Davenport well and his mother, Don’s first wife, a little—enough to recognize her when she and I found ourselves in the same summer-school class at Platteville years later. But once Don found out I was interested in radio, he took an interest in me.
I still vividly remember a day during Christmas vacation as 1977 turned to 1978. Don was doing a mid-morning shift on WIBA then, and he invited me up to watch him do his show. I found my way to the station, then located in the country south of Madison (in an area now completely urbanized). He explained what he was doing and patiently answered my questions, even putting headphones on me so I could hear what was happening when the microphone was on. I remember being deeply impressed that he played artists like Billy Joel and Fleetwood Mac at a time when WIBA was more likely to play Frank Sinatra and Doris Day.
(Don had one of those deep, resonant, impossible voices you rarely hear on the radio anymore. The story was told that he once got a check cashed with no identification apart from that voice.)
At the time of my visit, I was just as interested in WIBA-FM, which was then a free-form progressive rock station. That morning, I looked with fascination into the adjacent FM studio, lit by strategically placed spotlights even at 10AM. Don told me some scandalous tales involving WIBA-FM, one of which I can repeat: during the early 70s, if he found himself on WIBA against his will on a Saturday afternoon, he’d sometimes put on NBC Radio’s Monitor program service and go next door to get stoned with the FM jocks.
When I say that Don “took an interest” in me, I don’t mean he encouraged me. He did not fill me with illusions about radio, and was very honest about how difficult it could be to make a living at it. It occurs to me now that as 1977 turned to 1978, he was probably getting close to burnout and ready to make a change. Fortunately for him, he did. He became a successful freelance writer and photographer, specializing in travel pieces.
The last time I saw Don was at our wedding, way back in 1983. That he was kind enough to come meant a great deal to me. As he was leaving the reception, the last thing he said to me was, “If you have any sense at all, you’ll get back to the farm.”
He wasn’t wrong. Mentors and inspirations are good like that.
(Pictured: Jeff Lynne played his first show in 28 years last weekend. If you followed the author of this blog on Twitter, you’d have the bootleg already.)
My typically half-assed research efforts indicate that a relatively small percentage of you use Twitter, which is too bad, because I tweet a lot of stuff that I know will interest you. I show my Twitter feed in the right-hand column of this blog in the hope that you’ll see it. But the feed turns over quickly sometimes, and things disappear. So here’s a brief rundown of some of the better things I’ve tweeted within the last couple of weeks.
—The Guardian has a feature called “The Music That Changed My Life.” Last week, I tweeted a piece that pretty much blows the doors off any other example of the music-as-memoir genre: “Phil Collins saved me from suicide.”
—I am on the radio all the damn time, and it never really occurred to me that the fade-out, once a common way for records to end, has just about vanished. Somebody at Slate noticed, however, and wrote a fascinating article about the reasons why.
—Grace Potter and the Nocturnals are a band we have loved around here since always. One of the cool things about them is their eclectic selection of covers. Last weekend at their annual Grand Point North Festival in Vermont, they did Elton John’s “Rocket Man” with help from singer/songwriter Rayland Baxter, and it’s definitely worth four minutes of your time.
—Saving Country Music is one of my favorite sites on the Internet. It’s where you can learn about Billboard‘s new “consumption” chart, which seems likely to replace the Billboard 200 album chart in coming years. (That name, “consumption chart,” makes its own commentary on the music business in 2014: we don’t listen or experience art as much as we suck it down, and that’s not a compliment.)
—Saving Country Music also wrote recently about the unlikely friendship between Muhammad Ali and Waylon Jennings.
—On September 16, 1964, Shindig! premiered on ABC. Ultimate Classic Rock presented an interesting oral history of the show that brought straight-up rock music to American TV for the first time.
—When the first season of WKRP in Cincinnati came out on DVD several years ago, there was widespread disappointment over the fact that much of the original music was missing. Now, Shout! Factory is giving WKRP a complete-series DVD issue with most of the original music intact. It will be out on October 28th.
—Last weekend, Jeff Lynne did his first live show since 1986 in London’s Hyde Park. You can get the whole show from ROIO, and if you dig ELO, you’ll want to.
—Listen to 100 of pop, rock, and soul’s most famous bass lines played in a single 17-minute take, be gobsmacked long thereafter.
—Watch the trailer for I Am What I Play, a forthcoming documentary profiling four legendary album-rock DJs and their 40-plus years in the biz.
—Fifty years ago this month, the Beatles were on their second tour of the States. I tweeted a story about the DJ who introduced their Milwaukee show as well as a great piece about their show in Pittsburgh 10 days later.
—The Beatles cartoon series, which premiered in September 1965, is now up in its entirety at YouTube.
—Neither music nor radio-related, but interesting anyhow: way back in the pre-Internet days, a filmmaker did a mashup of Winnie the Pooh with Apocalypse Now, and it’s pretty great.
That’s plenty. If you want the rest of the good stuff in real time, you know what to do.
We know that memory is not history. If you’ve ever discussed the good old days with a friend and discovered that they don’t remember what you do—or that their memories of a particular event contradict what you “know” to be true—you understand memory’s unreliability. A spate of recent news articles has suggested that memories change all the time, for reasons both physical and psychological. It’s enough to make a person wonder if he can trust any of them.
So we can never know how it really was.
As heirs of the Enlightenment, we hold to the creed that anything worth believing must be founded on evidence—empirical truths that are apparent to everyone. So it follows that the question of whether our memories are true matters a great deal. (People are sent to prison all the time because of someone’s false memories.)
But not everything in which we believe is founded on such truths. Religion isn’t. There’s more hard, empirical evidence for the existence of Bigfoot and aliens than there is for the personal God of the Christian Bible, or Allah, or Zeus, or Odin. But the “truths” of religion are strong enough to live in the hearts of millions of people who order their lives by them. If you believe your god is real and you live your life as if it were, it doesn’t matter whether it’s real or not. Your belief is real, and that’s the fact that matters.
When I write about the fall of 1970, three-and-a-half transformative months that began with a remarkable act of kindness by a neighbor girl in early September and ended with the most significant Christmas gift I would ever receive, I understand that the vivid details may not be real. Things may not have happened as I remember them, and may not have happened at all. That I was being transformed almost certainly never occurred to me. (Recognizing oneself mid-transformation isn’t guaranteed to happen to a guy in his 50s, let alone a boy of 10.)
But the belief that I was transformed? That belief is real. No matter how many years it took to recognize it, no matter how the shape of the transformation might have been affected by events that have happened since, the belief that I was transformed has nothing to do with empirical reality, and it doesn’t have to. My “memories” from the fall of 1970 have the power of myth. Myths are the stories we tell ourselves to explain the world. The ancients told them to explain the weather; today, religion tells them to give meaning to life in the face of certain death.
And I retell the myths of 1970 to explain how I got this way.
We take as our text today the WLS Hit Parade, September 14, 1970:
1. “Looking Out My Back Door”/Creedence Clearwater Revival. “Wondrous apparition / Provided by a magician”
2. “Ain’t No Mountain High Enough”/Diana Ross. “Remember life holds for you one guarantee / You’ll always have me”
3. “War”/Edwin Starr. “Who wants to die?”
4. “Julie Do Ya Love Me”/Bobby Sherman. “Are you thinking of me / Will you still be there?”
5. “Candida”/Dawn. “The future looks bright / The gypsy told me so last night”
Inscrutable mysteries. The yawning abyss of doubt and fear.
Abiding hope. Everlasting love.
When you’ve got a radio, you don’t need a church.
(Pictured: the marquee for Elvis Presley’s 1969 Las Vegas debut. A future radio icon was in the audience.)
Over Labor Day weekend, the American Top 40 repeat on stations around the country was from August 29, 1970. It was a rarity in that most of the time, when Premiere Radio Networks offers shows from 1970, 1971, or 1972 to affiliates, it also offers an alternate show for those stations who’d rather not air something quite so ancient. Not this time.
The show was the eighth one in AT40 history. Technically, this one is pretty sketchy, like the engineer was having trouble balancing Casey’s audio level with the music, jingles, and sounders. The timing is occasionally off—a record fades before Casey comes on, or a jingle or record starts a split-second sooner than it should. And the beeping synthesizer sounder so frequently heard on the early shows is everywhere on this edition, as if Casey doesn’t want to talk without some kind of sound behind him, even for a couple of seconds. Casey himself doesn’t seem particularly well-scripted—a song will play for three or four seconds before he comes on mike, hurriedly says something that sounds like he just thought it up, and barely gets out of the way of the vocal. He’ll give a title without the artist’s name, or fail to mention the chart position of a song—which is kinda bad on a countdown show.
This show contains a couple of random oldies. I missed Casey’s intro of the first one, due to a combination of bad levels and his tendency to hurry unnecessarily. All I heard was that it was from 1966, and I didn’t recognize it at all—some female R&B singer from Memphis, I guessed. But it turned out to be this. The other featured oldie was “Chances Are” by Johnny Mathis, a vivid example of why many program directors today aren’t wild about the shows from the early 70s.
I can only think of a couple of instances in which Casey mentioned his personal life on American Top 40—and one of them was on the August 29, 1970, show. He told the story of seeing Elvis in Las Vegas in 1969, and how Elvis came down to his ringside table to sing to his date and ended the song by kissing her. “It was the only thing she talked about for weeks,” Casey remarked. Then he told how he’d seen Elvis again a few weeks ago with a different date, and how he was careful to sit several tables away from the stage this time. The only similar instance I can recall was on a 1976 show, when Casey told about being a high-school classmate of future jazz trumpeter Donald Byrd and playing in a band with him.
(Listen to most radio shows for several years and you’ll eventually learn something about the person or people behind the microphone. But little of Casey Kasem the man, as opposed to the radio icon, ever leaked over into AT40. He was politically active, a vegan, a baseball fan, and an actor who appeared on Hawaii Five-O, Emergency, and Charlie’s Angels in addition to dozens of voiceover gigs during AT40‘s heyday, but he never betrayed a hint of it on the show.)
A person of scientific mind might find themselves in speechless awe when contemplating the Big Bang. A religious person might get a similar sense of wonder when reading the first chapter of Genesis. In my world, the ur-text is the Hot 100 from the fall of 1970. It’s where the things that have mattered the most throughout my life began to begin. And although I’ve written about that subject many times before, I intend to go to the well again in the next post.
(Here’s one last post in our 1984 series.)
The University of Wisconsin has one of the most profitable athletic programs in the country, with the majority of its broadcasts syndicated by Learfield Sports, which originates games for dozens of other big-time schools. At smaller institutions like Western Illinois, the whole thing is less formal. Local stations may bid for the rights, but the broadcasts themselves are usually less elaborate. And in bygone years, the broadcasts were less elaborate still.
Thirty years ago, at my new little Top 40 station in Macomb, Illinois, we carried Western Illinois football and basketball. Our play-by-play man was the station’s sports director, the splendidly named Larry Derry, who had done the games since 1969. The pregame show started 30 minutes before kickoff, and the postgame show ran for maybe 30 minutes afterward. The broadcast was crowded with ads, many of which Larry sold himself. (The man drove a really nice car.)
Although today it’s commonplace for FM music stations to carry sports play-by-play, 30 years ago it was not. As far as I understood branding back then, I thought that sports play-by-play detracted from ours, even as I acknowledged that our largely student audience would have some degree of interest in WIU games. On the very day of the format change, I was forced to run a University of Illinois football game on my station—a night game that would normally have run on our daytime-only sister station—and when I found out I’d have to, a couple of weeks before, I was furious.
Our station also carried high-school football and basketball games. They were (and are) often an emotional buy for businesses that want to support their local school or the team their kids play on. By doing the hometown games and the games of a few nearby towns—football, basketball, volleyball, softball, baseball, hockey—a station can bring in quite a tidy bundle year after year. The downside is that high-school sports don’t generally attract huge listening audiences, apart from state tournament games, but carrying some games people don’t care about is the tradeoff you make for the money. I happily made that tradeoff—until I found about the games we were doing for free.
The Macomb-Western Holiday Basketball Tournament, a high-school event with 16 teams, had been held each year right after Christmas since 1946 (and is still played today). In 1984, to my horror, I discovered that my station had traditionally broadcast all of the tournament games, even the ones featuring two distant schools far beyond the range of our signal, and even if we had no sponsors for them. This struck me as remarkably stupid, and I fumed about it for the three days my air was held hostage to the tournament. (The next year, I successfully persuaded my boss that airing such games was silly—no advertising, no game.)
In 1984 and 1985, we carried WIU football and men’s basketball as the station always had. Come 1986, the university undertook a major marketing push for its football program, with the idea of turning WIU games into major events. And so we started broadcasting from the stadium parking lot a couple of hours before kickoff, talking to fans and various celebrities the university brought in. (I recall interviewing onetime WLS newscaster Catherine Johns, a WIU alum.) After the postgame show was over, we would broadcast for another hour or so from the private, catered postgame party the university threw for boosters. This gave the radio station a chance to schmooze important business and university leaders by making them feel like celebrities. Being the guy responsible for anchoring those broadcasts made me feel like a celebrity, too.
This past Saturday afternoon, I sat in my usual seat at Camp Randall Stadium in Madison watching Wisconsin pound lumps into WIU, which hasn’t been very good in recent years. There were 78,000 people there, and nobody knew I used to work on behalf of the other side.
(Our 1984 series will continue with one last post after this brief detour.)
Once a month since April, we have been tracking the Beatles and the British Invasion as it appeared on the Billboard Hot 100 against the weekly surveys of a representative local radio station, WOKY in Milwaukee. But entirely apart from chart numbers, Beatlemania was at an unequaled pitch in Milwaukee as September began, for on the 4th, the Fabs played a show at what was known then as the Milwaukee Arena.
On the Hot 100 dated September 5, there are four Beatles songs in the Top 40: the former #1 “A Hard Day’s Night’ at #8, “And I Love Her” at #12, “Ain’t She Sweet” at #30, and “I’ll Cry Instead” at #34. All are headed down the chart except for “And I Love Her.” Another Beatle ballad, “If I Fell,” is at #53 and rising in its 6th week on; “Matchbox” and “Slow Down” debut at #81 and #99 respectively, and “I’m Happy Just to Dance With You” bubbles under at #112. The George Martin Orchestra provides a bit of additional Beatle flavor with an instrumental version of “This Boy” (officially titled “Ringo’s Theme”) at #55. At WOKY, “A Hard Day’s Night” tumbles from #3 to #13; “And I Love Her” falls from #12 to #22. “Matchbox” and “Slow Down” debut together at #29.
Other British invaders were leaving their mark with iconic records 50 years ago this week: the Animals’ “House of the Rising Sun” hit #1 at WOKY the preceding week and held for the week of September 5, its first week atop the Hot 100. “Because” by the Dave Clark Five was at #5 in Milwaukee. Chad and Jeremy’s beautiful “A Summer Song” moved to #17 from #27, well ahead of its Hot 100 pace, and Manfred Mann’s “Do Wah Diddy Diddy” debuted at #20 (and at #58 on the Hot 100).
On the subject of icons, the reign of the Supremes had begun with “Where Did Our Love Go,” which sat at #2 on both charts after topping the Hot 100 the previous week. The wistful “Under the Boardwalk” by the Drifters held at #4. The single hottest record at WOKY was “Oh Pretty Woman” by Roy Orbison, jetting to #10 from #32 the previous week. It took a similarly mighty leap on the Hot 100, to #27 from #52. Debuting at WOKY was another new Detroit group, the Four Tops, with “Baby I Need Your Loving.”
On the flip, five more songs from the WOKY chart, less iconic but still noteworthy.