1 00:00:01,120 --> 00:00:12,680 Speaker 1: Podcast playground Taking a Walk with Buzz Night. Well I Buzznight, 2 00:00:12,760 --> 00:00:15,600 Speaker 1: the host of the Taking a Walk podcast, and welcome 3 00:00:15,640 --> 00:00:19,239 Speaker 1: to another in our series of episodes on Greenwich Village. 4 00:00:19,800 --> 00:00:23,240 Speaker 1: My guest today is a dear friend who planted himself 5 00:00:23,280 --> 00:00:27,720 Speaker 1: in front of the microphone in New York City about 6 00:00:27,760 --> 00:00:31,880 Speaker 1: thirty years ago, and he continues to thrive. He's spent 7 00:00:31,960 --> 00:00:35,280 Speaker 1: over two decades on Q one oh four point three, 8 00:00:35,440 --> 00:00:39,080 Speaker 1: New York City's classic rock station. He and I spent 9 00:00:39,159 --> 00:00:42,159 Speaker 1: time on the air staff of the legendary one oh 10 00:00:42,200 --> 00:00:47,680 Speaker 1: two seven WNWFM. Welcome to Taking a Walk, Ken Dash out, 11 00:00:48,120 --> 00:00:50,760 Speaker 1: Buzz It's great to see you again. Brings back so 12 00:00:50,840 --> 00:00:54,720 Speaker 1: many great memories of working with you and the good 13 00:00:54,760 --> 00:00:58,680 Speaker 1: but also frightening news is that twenty twenty two, this 14 00:00:58,840 --> 00:01:01,960 Speaker 1: is my fortieth aniversary on the air in New York 15 00:01:02,240 --> 00:01:05,959 Speaker 1: which is a cool but on the other hand, these 16 00:01:06,200 --> 00:01:15,280 Speaker 1: fourth years. Oh man, when's the book coming out? Yeah? Really? Well, 17 00:01:15,280 --> 00:01:17,520 Speaker 1: when did you first know you were hooked on this 18 00:01:17,680 --> 00:01:21,800 Speaker 1: radio thing? Man? You know, it's a weird thing. It's 19 00:01:21,920 --> 00:01:26,520 Speaker 1: little kids. Kids want to be a ballplayer or a fireman, 20 00:01:27,040 --> 00:01:30,280 Speaker 1: or an astronaut or a doctor. And you have these 21 00:01:30,319 --> 00:01:32,800 Speaker 1: fantasies of what you want to do these days. Kids 22 00:01:32,800 --> 00:01:34,920 Speaker 1: grow up wanting to be a YouTube star. But that's 23 00:01:34,920 --> 00:01:38,280 Speaker 1: a whole other chapter of all this. But as a 24 00:01:38,400 --> 00:01:41,080 Speaker 1: kid watching the Mats and wanting to play baseball, and 25 00:01:41,120 --> 00:01:44,800 Speaker 1: it was something about radio, that friendly voice, that big 26 00:01:44,880 --> 00:01:48,440 Speaker 1: smiley voice that was telling me here's the new Beatles song, 27 00:01:48,920 --> 00:01:52,040 Speaker 1: and here's this new song. And it was in my bedroom. 28 00:01:52,320 --> 00:01:55,000 Speaker 1: And I don't know why, but even as a kid 29 00:01:55,320 --> 00:01:58,880 Speaker 1: hearing the big voices of WMCA, I was a good guy, 30 00:01:59,040 --> 00:02:01,920 Speaker 1: not an All America. There were two big AM stations 31 00:02:01,960 --> 00:02:04,640 Speaker 1: in New York for some reason, and I don't know why. 32 00:02:04,680 --> 00:02:08,400 Speaker 1: I just thought I want to do that. And I 33 00:02:08,400 --> 00:02:10,920 Speaker 1: don't know it just it told me like a thing 34 00:02:10,960 --> 00:02:13,799 Speaker 1: that had me by the collar, just dragging me. It 35 00:02:13,960 --> 00:02:16,200 Speaker 1: was always going I was always going to be the 36 00:02:16,280 --> 00:02:19,240 Speaker 1: artsy partsy kid. I was smart, I had good grades, 37 00:02:19,280 --> 00:02:25,000 Speaker 1: but it was movies number one theater and my fallback 38 00:02:25,240 --> 00:02:28,280 Speaker 1: was radio, much to the shock of the rest of 39 00:02:28,320 --> 00:02:31,800 Speaker 1: my family. But my mom and dad were like, look, 40 00:02:32,480 --> 00:02:35,360 Speaker 1: do the thing that you love and just work hard 41 00:02:35,400 --> 00:02:37,519 Speaker 1: at it, just be great at it, and you'll be fine. 42 00:02:38,120 --> 00:02:40,640 Speaker 1: Did Irving and Adele dash Out get to listen to 43 00:02:40,680 --> 00:02:43,639 Speaker 1: you on the radio. Yeah, thank god that they had 44 00:02:43,680 --> 00:02:47,000 Speaker 1: heard me, you know, before they passed. They lived okay, 45 00:02:47,040 --> 00:02:50,280 Speaker 1: but they heard me. My first job, my friends were 46 00:02:50,320 --> 00:02:54,639 Speaker 1: delivering pizza in Brooklyn, getting three dollars an hour. And 47 00:02:54,919 --> 00:02:59,600 Speaker 1: at nineteen, I got my first radio job, doing weekends 48 00:03:00,200 --> 00:03:04,280 Speaker 1: at Excel Country in Newton, New Jersey, which was seventy 49 00:03:04,360 --> 00:03:08,760 Speaker 1: six miles away. So in my sixty nine cutlass whose 50 00:03:08,800 --> 00:03:11,639 Speaker 1: phenometer had broken it a quarter of a million miles 51 00:03:12,200 --> 00:03:16,120 Speaker 1: and burned about fifty to fifty gas and oil, I 52 00:03:16,200 --> 00:03:19,360 Speaker 1: got a dollar seventy six an hour for a five 53 00:03:19,400 --> 00:03:23,640 Speaker 1: hour show. So I don't know about these youngsters today, buzz, 54 00:03:23,639 --> 00:03:28,000 Speaker 1: but if you've totaled in gas tolls and if I 55 00:03:28,040 --> 00:03:30,800 Speaker 1: bought a sandwich, I was pretty much losing five dollars 56 00:03:30,840 --> 00:03:35,920 Speaker 1: a show. But I'm nineteen and I'm in. I'm on 57 00:03:36,120 --> 00:03:38,880 Speaker 1: the air. I mean, had to be a disc jockey. 58 00:03:38,960 --> 00:03:41,920 Speaker 1: I don't know anything about country music, but I'm cousin 59 00:03:42,040 --> 00:03:45,600 Speaker 1: Ken in Excel Country and I'm in, and that's all 60 00:03:45,640 --> 00:03:49,120 Speaker 1: that mattered. That's so funny. I think you know Mark Chernoff, 61 00:03:49,120 --> 00:03:52,080 Speaker 1: our old boss and our dear friend was on an 62 00:03:52,120 --> 00:03:56,720 Speaker 1: earlier episode, had taken a walk. And if I'm not mistaken, 63 00:03:56,800 --> 00:03:59,680 Speaker 1: didn't he start at a country station as well, and 64 00:04:00,040 --> 00:04:04,480 Speaker 1: somewhere in Westchester County maybe he was the one running 65 00:04:04,760 --> 00:04:09,080 Speaker 1: EXL Country and he gave me my first job. He 66 00:04:09,160 --> 00:04:12,440 Speaker 1: needed somebody. On Sunday night, you had to run the 67 00:04:13,040 --> 00:04:16,200 Speaker 1: he was the end of the NETS game, and then 68 00:04:16,240 --> 00:04:18,920 Speaker 1: you had to run the gospel service. And then there 69 00:04:18,960 --> 00:04:21,760 Speaker 1: were three hours on the air where you get to 70 00:04:21,800 --> 00:04:25,000 Speaker 1: be a DJ. And that's all that mattered, was those 71 00:04:25,040 --> 00:04:28,480 Speaker 1: three hours. I did not realize that Mark hired you there. 72 00:04:28,600 --> 00:04:33,039 Speaker 1: That's great. My god, Barbara Mandrel is still sleeping single 73 00:04:33,120 --> 00:04:35,120 Speaker 1: in that double bed. I can't believe that she's so 74 00:04:35,200 --> 00:04:42,640 Speaker 1: pretty now said so much of this series is focused 75 00:04:42,680 --> 00:04:48,240 Speaker 1: on in and around Greenwich Village. Were you able to 76 00:04:48,360 --> 00:04:53,040 Speaker 1: venture to the village from the mean streets of Brooklyn? Yeah, 77 00:04:53,040 --> 00:04:57,560 Speaker 1: you know, born and raised in Brooklyn, and what very quickly? 78 00:04:57,600 --> 00:05:01,920 Speaker 1: I high school Poly Prep in Brooklyn, you know, big, 79 00:05:02,000 --> 00:05:05,680 Speaker 1: big sort of science and business and big sports school. 80 00:05:06,200 --> 00:05:08,480 Speaker 1: And I loved playing sports. But I was too small. 81 00:05:08,520 --> 00:05:11,280 Speaker 1: I didn't grow, you know, through puberty. I didn't get 82 00:05:11,279 --> 00:05:14,320 Speaker 1: big and strong. I'm five foot six. So as much 83 00:05:14,320 --> 00:05:16,640 Speaker 1: as I had talent, everybody else was bigger than me, 84 00:05:16,720 --> 00:05:20,320 Speaker 1: so I couldn't play varsity sports. But I wrote plays. 85 00:05:20,320 --> 00:05:23,119 Speaker 1: I was in the theater program. I did every play. 86 00:05:23,200 --> 00:05:25,320 Speaker 1: I wrote my own play and put it on. And 87 00:05:25,360 --> 00:05:27,719 Speaker 1: we didn't have a radio station, so I sold pizza 88 00:05:27,760 --> 00:05:30,559 Speaker 1: and cupcakes and I built a four watt radio station 89 00:05:31,200 --> 00:05:35,600 Speaker 1: and I took that and I as far as the 90 00:05:35,640 --> 00:05:40,400 Speaker 1: college goes, I figured every school has classes and classrooms 91 00:05:40,440 --> 00:05:43,240 Speaker 1: and teachers. I just cared about the theater and the 92 00:05:43,320 --> 00:05:46,359 Speaker 1: radio station. So I went to Hobart College because it 93 00:05:46,440 --> 00:05:49,599 Speaker 1: had a gorgeous radio station and a really nice theater program. 94 00:05:49,920 --> 00:05:52,120 Speaker 1: And I did that for a year, and then when 95 00:05:52,120 --> 00:05:54,640 Speaker 1: I came back from that, I sent out my tapes 96 00:05:54,680 --> 00:05:58,000 Speaker 1: and I went to NYU Film School. So that's when 97 00:05:58,040 --> 00:06:01,599 Speaker 1: Mark Turnoff hired me on weekends doing country. So Monday 98 00:06:01,600 --> 00:06:04,880 Speaker 1: through Friday, I'm writing scripts, I'm trying to shoot my 99 00:06:05,000 --> 00:06:08,400 Speaker 1: little student films. I'm trying to get work on commercials 100 00:06:08,400 --> 00:06:10,640 Speaker 1: and things to learn how the business works. And on 101 00:06:10,680 --> 00:06:14,640 Speaker 1: weekends I'm driving outfter Newton, New Jersey. And I was, 102 00:06:14,920 --> 00:06:19,720 Speaker 1: for whatever reason, as opposed to drinking beer and trying 103 00:06:19,720 --> 00:06:21,600 Speaker 1: to hook up and get girls. Not that I didn't 104 00:06:21,600 --> 00:06:25,360 Speaker 1: want it, but the switch was just on as from 105 00:06:25,440 --> 00:06:27,680 Speaker 1: eighteen on. It's like I had a get go and 106 00:06:27,720 --> 00:06:29,080 Speaker 1: I had to do this. I had to do so 107 00:06:29,360 --> 00:06:31,440 Speaker 1: that's why I came back to New York and instead 108 00:06:31,440 --> 00:06:34,320 Speaker 1: of joining the NYU station, I sent out my tapes 109 00:06:35,040 --> 00:06:37,599 Speaker 1: and that was it. But the biggest thing I learned 110 00:06:37,640 --> 00:06:40,160 Speaker 1: at NYU is I fell in love with a girl 111 00:06:40,760 --> 00:06:46,600 Speaker 1: and we moved into Thompson Street apartment right on Bleaker 112 00:06:46,680 --> 00:06:50,400 Speaker 1: Street and Thompson And the best education I ever got 113 00:06:50,400 --> 00:06:54,920 Speaker 1: at NYU was living in Greenwich Village at nineteen years old. 114 00:06:55,160 --> 00:06:58,520 Speaker 1: That was so wow. I got chills. That's so cool. 115 00:06:59,360 --> 00:07:02,000 Speaker 1: What were some of the favorite Clawns there? I know, 116 00:07:02,200 --> 00:07:05,360 Speaker 1: I mean, look, I always felt the bottom Line was 117 00:07:05,400 --> 00:07:10,200 Speaker 1: almost like any wfm's other studio in terms of, you know, 118 00:07:10,240 --> 00:07:14,080 Speaker 1: the relationship and the shows that were broadcast from the 119 00:07:14,080 --> 00:07:17,440 Speaker 1: bottom line. What are some of your favorite places and 120 00:07:17,960 --> 00:07:22,960 Speaker 1: memories in the village of shows? It's funny, what are 121 00:07:23,000 --> 00:07:27,520 Speaker 1: some of my favorite places? Yes, they're all my favorite places, 122 00:07:27,560 --> 00:07:30,440 Speaker 1: but you know, you asked me this. It's so funny. 123 00:07:30,600 --> 00:07:33,200 Speaker 1: Things we forget in life, or who is that guy 124 00:07:33,280 --> 00:07:35,800 Speaker 1: we worked with or whatever. But that period of time 125 00:07:36,160 --> 00:07:39,880 Speaker 1: nineteen in the Village early eighties, you know, in late 126 00:07:40,000 --> 00:07:43,880 Speaker 1: seventies or no, late seventies. I can't forget any of it. 127 00:07:44,040 --> 00:07:46,040 Speaker 1: It's all it's so much a part of my DNA 128 00:07:46,120 --> 00:07:49,120 Speaker 1: and influenced so much of me. The bottom Line, right 129 00:07:49,160 --> 00:07:53,679 Speaker 1: there on West Fourth Street by NYU was the first 130 00:07:53,720 --> 00:07:56,080 Speaker 1: show I ever saw in the village. It was Blood, 131 00:07:56,120 --> 00:07:59,000 Speaker 1: Sweat and Tears, and I was just leaving class when 132 00:07:59,240 --> 00:08:02,200 Speaker 1: we Sweat and Tears. Really literally down the block from Classic, 133 00:08:02,640 --> 00:08:05,920 Speaker 1: I'll buy a ticket and you realize it's that easy. 134 00:08:06,080 --> 00:08:08,360 Speaker 1: Every bend you want to see is playing here at 135 00:08:08,360 --> 00:08:10,680 Speaker 1: the bottom Line, I'll just keep coming in and then 136 00:08:10,720 --> 00:08:15,600 Speaker 1: when you move there and literally immediately you're in New Yorker. 137 00:08:15,680 --> 00:08:17,360 Speaker 1: It's the one thing about being in New York you 138 00:08:17,360 --> 00:08:20,000 Speaker 1: don't have to try. If you're living there, you don't 139 00:08:20,040 --> 00:08:23,200 Speaker 1: have to say, well, it's traffic or it's raining. You're there. 140 00:08:23,880 --> 00:08:27,680 Speaker 1: So the bottom line, the village gate is down the 141 00:08:27,760 --> 00:08:31,560 Speaker 1: block with the greatest jazz artists who ever lived. And 142 00:08:31,920 --> 00:08:34,880 Speaker 1: there's a club scene with open mic nights and cool 143 00:08:35,040 --> 00:08:38,839 Speaker 1: acts at the bidder end, and down the block from 144 00:08:38,840 --> 00:08:42,560 Speaker 1: that is Kenny's Castaways and Cafe. While where Bob Dylan 145 00:08:42,640 --> 00:08:45,920 Speaker 1: started is still there, and all the cafes are still there. 146 00:08:46,559 --> 00:08:49,800 Speaker 1: There's a stool and a spotlight in every cafe, and 147 00:08:49,960 --> 00:08:54,480 Speaker 1: it was just vibrating the entire thing. It was the 148 00:08:54,520 --> 00:08:57,280 Speaker 1: tail end of the glory days of the village, but 149 00:08:57,440 --> 00:09:02,640 Speaker 1: it was still there, the energy of just people, students 150 00:09:03,280 --> 00:09:07,160 Speaker 1: and everybody trying to make it. Musicians and comedians and 151 00:09:07,200 --> 00:09:11,040 Speaker 1: you're just walking with upcoming stars and people who live 152 00:09:11,120 --> 00:09:15,439 Speaker 1: there and students, and that collective energy is something that 153 00:09:15,480 --> 00:09:18,200 Speaker 1: I wouldn't trade for the world. How do you feel 154 00:09:18,280 --> 00:09:21,079 Speaker 1: about the village these days? I mean, do you feel 155 00:09:21,120 --> 00:09:24,360 Speaker 1: like it still has that energy? Now? On one of 156 00:09:24,400 --> 00:09:29,320 Speaker 1: these episodes, Danny Fields and I walked through the village, 157 00:09:29,360 --> 00:09:34,320 Speaker 1: and you know, Danny's perspective obviously is always unique, but 158 00:09:34,760 --> 00:09:38,760 Speaker 1: you know, for him it was certainly a bit mournful 159 00:09:39,200 --> 00:09:42,720 Speaker 1: going over to where CBGB's used to be and seeing 160 00:09:43,200 --> 00:09:46,640 Speaker 1: a fancy T shirt joint. Yeah, I mean, that's what's 161 00:09:46,679 --> 00:09:50,800 Speaker 1: happened to it, and truly to the detriment of the 162 00:09:50,840 --> 00:09:54,760 Speaker 1: neighborhood and like everywhere else in the world, and I 163 00:09:54,800 --> 00:09:58,720 Speaker 1: mean in the world where you know, corporations came in 164 00:09:59,120 --> 00:10:02,520 Speaker 1: and big stores could pay a lot more rent than 165 00:10:02,559 --> 00:10:06,520 Speaker 1: a club owner can and you know this venue is 166 00:10:06,920 --> 00:10:11,079 Speaker 1: now you know, a drug store and you know at 167 00:10:11,200 --> 00:10:14,360 Speaker 1: least an upscale T shirt shop where you've you know, 168 00:10:14,760 --> 00:10:18,440 Speaker 1: you've you've got a really fancy store where CBGB's was, 169 00:10:18,960 --> 00:10:22,840 Speaker 1: and it's still cool stereo components and things, but it's 170 00:10:23,080 --> 00:10:26,120 Speaker 1: you know, where the stage was, the stages there. But 171 00:10:26,200 --> 00:10:29,439 Speaker 1: that's a memory, the bottom line that I passed by 172 00:10:29,480 --> 00:10:32,200 Speaker 1: every day when I'm walking back from work, where I 173 00:10:32,240 --> 00:10:35,120 Speaker 1: saw all of these amazing shows. There were moons and 174 00:10:35,920 --> 00:10:38,320 Speaker 1: name name an artist that we love and listen to 175 00:10:38,360 --> 00:10:42,280 Speaker 1: where I saw them. You know, Elvis Costello, Nick Lowe, 176 00:10:42,440 --> 00:10:46,840 Speaker 1: all those bands of the seventies rock pile that every squeeze, 177 00:10:46,880 --> 00:10:50,120 Speaker 1: every billy, Joel doing a show from there and doing 178 00:10:50,160 --> 00:10:53,800 Speaker 1: his impression of Bruce Springsteen. Well that's now a Starbucks. 179 00:10:54,480 --> 00:10:56,800 Speaker 1: And I sit there and look at it, going, it's 180 00:10:56,960 --> 00:11:00,319 Speaker 1: us Starbucks. You don't You can't imagine what this place men. 181 00:11:00,760 --> 00:11:03,800 Speaker 1: And I know it's memories and all that, but I 182 00:11:03,960 --> 00:11:07,800 Speaker 1: got I went to a show at what changed for 183 00:11:07,880 --> 00:11:10,480 Speaker 1: me my whole perspective, the magic of it. I went 184 00:11:10,520 --> 00:11:12,720 Speaker 1: to see a comedy show. Tuesday nights was comedy shows 185 00:11:12,760 --> 00:11:15,600 Speaker 1: at the bitter End and there's a local guy really 186 00:11:15,640 --> 00:11:20,400 Speaker 1: funny caught me, guy David Copperfield, who's the host. He's like, 187 00:11:20,600 --> 00:11:23,160 Speaker 1: and this is when I got to any w He say, oh, man, 188 00:11:23,200 --> 00:11:25,480 Speaker 1: you should come down. Man, you should come down. And 189 00:11:25,920 --> 00:11:28,800 Speaker 1: I'm funny. We tell stories on the air. And he 190 00:11:28,880 --> 00:11:31,160 Speaker 1: got up on stage and said, a surprise for you 191 00:11:31,240 --> 00:11:34,760 Speaker 1: a bit is that ken dash out for many who 192 00:11:34,840 --> 00:11:37,000 Speaker 1: is going to come up to a few minutes. I 193 00:11:37,000 --> 00:11:40,360 Speaker 1: had literally never done stand up in my life. And 194 00:11:40,400 --> 00:11:43,439 Speaker 1: I said, David, I don't do this, man, you'd be great. No, 195 00:11:43,720 --> 00:11:46,480 Speaker 1: I don't have an act. Then, and he pulls me 196 00:11:46,480 --> 00:11:50,080 Speaker 1: into the kitchen. He goes, tell me one joke. Yeah, 197 00:11:50,360 --> 00:11:52,080 Speaker 1: just tell me a joke. Tell me tell me if 198 00:11:52,280 --> 00:11:55,680 Speaker 1: running your favorite jokes. Great, tell me a second joke. 199 00:11:56,160 --> 00:11:58,800 Speaker 1: There's your act. Two jokes. I'll come get you. And 200 00:11:58,840 --> 00:12:02,920 Speaker 1: he literally threw me figuratively threw me into the deep 201 00:12:03,000 --> 00:12:05,520 Speaker 1: end of the stand up pool and it went okay, 202 00:12:06,120 --> 00:12:08,760 Speaker 1: and he's like, great, man, great you did you just 203 00:12:08,840 --> 00:12:11,319 Speaker 1: did two minutes. You did two and a half minutes. 204 00:12:11,400 --> 00:12:13,160 Speaker 1: Oh my watch, I want another two and a half 205 00:12:13,240 --> 00:12:15,959 Speaker 1: minutes next week. I want to that five minutes. And 206 00:12:16,200 --> 00:12:18,080 Speaker 1: he forced me. He took me like on the bike 207 00:12:18,120 --> 00:12:20,560 Speaker 1: with training wheels and taught me how to build a 208 00:12:20,600 --> 00:12:25,640 Speaker 1: stand up back, and I started doing stand up and 209 00:12:25,880 --> 00:12:28,360 Speaker 1: you know, there's the bitter End, and there's on the 210 00:12:28,400 --> 00:12:33,559 Speaker 1: walls there's pictures of Richard Pryor and Dylan and Avery, 211 00:12:33,679 --> 00:12:37,600 Speaker 1: George Carlin and Allie Neil Young and you're there on 212 00:12:37,640 --> 00:12:41,600 Speaker 1: this little stage with a microphone, and I'm sorry, you 213 00:12:41,640 --> 00:12:45,920 Speaker 1: can't not realize that the people who preceded you on 214 00:12:45,960 --> 00:12:49,080 Speaker 1: that stage were the same two lights and a microphone, 215 00:12:49,160 --> 00:12:53,559 Speaker 1: and there was some magic in that room. Yeah, no kidding, Wow, 216 00:12:54,040 --> 00:12:57,600 Speaker 1: I'm hosting the Comedy Evening when I Tuesday, that's going well, 217 00:12:57,720 --> 00:13:00,400 Speaker 1: and I'm kiddetting and I'm bringing up this act that 218 00:13:00,520 --> 00:13:02,600 Speaker 1: when you're the host, you're doing a little stick in 219 00:13:02,640 --> 00:13:06,240 Speaker 1: between the different comedians. And I'm on stage and I 220 00:13:06,280 --> 00:13:09,079 Speaker 1: see a guy walk in and you could just feel 221 00:13:09,120 --> 00:13:11,960 Speaker 1: the air change. And he's got a hoodie and a 222 00:13:12,040 --> 00:13:14,760 Speaker 1: hat and a leather jacket and he stands at the 223 00:13:14,800 --> 00:13:16,560 Speaker 1: bar and so he gives him the beer and I 224 00:13:16,600 --> 00:13:21,280 Speaker 1: look over and it was Bob Dylan, and he walked 225 00:13:21,280 --> 00:13:24,240 Speaker 1: in and I just looked and I just knew I 226 00:13:24,240 --> 00:13:26,240 Speaker 1: didn't make a mention I didn't say anything, I didn't 227 00:13:26,280 --> 00:13:28,920 Speaker 1: do anything, and I can feel he was tense. I 228 00:13:29,040 --> 00:13:31,520 Speaker 1: just kept doing my act and did the thing against 229 00:13:31,559 --> 00:13:34,440 Speaker 1: the next comedian and I looked over. I just glanced 230 00:13:34,840 --> 00:13:37,800 Speaker 1: did the next one, and afterwards I came back towards 231 00:13:37,880 --> 00:13:41,559 Speaker 1: the bar where we'd hang out and just stood next 232 00:13:41,559 --> 00:13:44,679 Speaker 1: to him, and I, without looking at him, I just said, 233 00:13:45,400 --> 00:13:50,400 Speaker 1: everything's cool. You know, we love having you here, and 234 00:13:50,600 --> 00:13:54,360 Speaker 1: without him turning to me, he said heys, and so 235 00:13:54,440 --> 00:13:56,840 Speaker 1: we never looked at each other. But I had to 236 00:13:56,880 --> 00:14:00,120 Speaker 1: tell him, you know, I hope. What I want to 237 00:14:00,160 --> 00:14:02,600 Speaker 1: say is I hope the love of God you when 238 00:14:02,600 --> 00:14:05,720 Speaker 1: you stand what it means that you're standing here with 239 00:14:05,800 --> 00:14:09,640 Speaker 1: a beer watching what's happening now, when you built an 240 00:14:09,760 --> 00:14:13,600 Speaker 1: entire world here twenty years ago. Well that takes me 241 00:14:13,679 --> 00:14:17,800 Speaker 1: to another Bob Dylan story, which I've told before on 242 00:14:17,840 --> 00:14:24,040 Speaker 1: this podcast. I put it under my Regrets Part of Life, 243 00:14:25,120 --> 00:14:29,440 Speaker 1: but I'll let you tell the story. When we saw 244 00:14:29,600 --> 00:14:33,200 Speaker 1: Bob Dylan while we were at any w when our 245 00:14:33,520 --> 00:14:39,240 Speaker 1: dear friend, late friend, Rocky del Balzo and Paul Rappaport 246 00:14:39,680 --> 00:14:44,800 Speaker 1: took myself and you and my wife and your wife 247 00:14:44,840 --> 00:14:49,320 Speaker 1: at the time and some others up to see mister Dylon, 248 00:14:50,240 --> 00:14:54,960 Speaker 1: would you tell the story about the Shadow whiskey? Oh? Sure, 249 00:14:56,400 --> 00:15:00,360 Speaker 1: terrified to meet Bob, like as we all are. And 250 00:15:00,840 --> 00:15:04,280 Speaker 1: they're afraid. And it's the first time, you know, for 251 00:15:04,360 --> 00:15:08,960 Speaker 1: folks listening record company promo guys. They would walk into 252 00:15:09,000 --> 00:15:13,960 Speaker 1: the Vatican and say Hi, p Paul Rappaport, CBS Records, 253 00:15:13,960 --> 00:15:16,680 Speaker 1: how you doing. Listen, I've got an artist. There's no 254 00:15:16,800 --> 00:15:19,880 Speaker 1: fear in these guys. But they were afraid to knock 255 00:15:19,920 --> 00:15:23,560 Speaker 1: on the door. It was like softly talking tapping on 256 00:15:23,600 --> 00:15:26,800 Speaker 1: the Godfather's door. And came in. I'm like, don't be 257 00:15:26,840 --> 00:15:30,520 Speaker 1: an idiot, don't be an idiot, don't say anything stupid, 258 00:15:30,520 --> 00:15:33,720 Speaker 1: just say hi. And walked in and this is Ken 259 00:15:33,840 --> 00:15:37,680 Speaker 1: dash out and how you doing? And Bob said want 260 00:15:37,720 --> 00:15:43,120 Speaker 1: some whiskey? And everybody was looking at me like and 261 00:15:43,200 --> 00:15:47,480 Speaker 1: I just thought, no, you don't think I'm gonna I'm 262 00:15:47,480 --> 00:15:50,000 Speaker 1: gonna take a shot of whiskey with Bob Dylan. You 263 00:15:50,080 --> 00:15:52,720 Speaker 1: must be crazy if you take a passing of this opportunity. 264 00:15:53,360 --> 00:15:56,960 Speaker 1: And I said look him and he way, oh okay. 265 00:15:57,760 --> 00:16:01,560 Speaker 1: We toasted that some whiskey. Did not realize I was 266 00:16:01,600 --> 00:16:05,240 Speaker 1: so petrified there and I didn't realize you were the 267 00:16:05,280 --> 00:16:08,160 Speaker 1: one that took the shot of whiskey. I didn't. I'm 268 00:16:08,200 --> 00:16:11,840 Speaker 1: the lame o that was so petrified looking at him 269 00:16:11,880 --> 00:16:14,280 Speaker 1: like you're the voice of a generation. My god, I 270 00:16:14,320 --> 00:16:17,800 Speaker 1: can't answer you. So that's my like, that's my only 271 00:16:17,880 --> 00:16:20,920 Speaker 1: regret in life, not taking the shot. So you took 272 00:16:20,960 --> 00:16:24,960 Speaker 1: the freaking shot. Had to I like, because would this 273 00:16:25,040 --> 00:16:29,280 Speaker 1: opportunity ever come up again? That phil lesh passing you 274 00:16:29,360 --> 00:16:32,640 Speaker 1: had changed. I don't know what's in it, but I'm 275 00:16:32,640 --> 00:16:35,560 Speaker 1: never not going to do that to say there was 276 00:16:35,600 --> 00:16:38,120 Speaker 1: a moment in my life where somebody from the Grateful 277 00:16:38,160 --> 00:16:41,080 Speaker 1: Dead passed me in joint and I took a puff 278 00:16:41,200 --> 00:16:45,320 Speaker 1: and passed it back check mark. I mean, that's that's done. 279 00:16:45,400 --> 00:16:49,160 Speaker 1: I mean just that, that's where it's that is done. 280 00:16:48,920 --> 00:16:52,280 Speaker 1: I've met Bob. I met Bob three times in my life, 281 00:16:52,640 --> 00:16:55,040 Speaker 1: and I never want to meet him again because each 282 00:16:55,120 --> 00:16:57,600 Speaker 1: time it was better than the last, and I don't 283 00:16:57,600 --> 00:16:59,800 Speaker 1: want to ruin you know, it's too big a chance 284 00:17:00,080 --> 00:17:02,040 Speaker 1: to get him on a bad night. But each time 285 00:17:02,080 --> 00:17:07,840 Speaker 1: he was funnier and friendlier. And it's a digression from 286 00:17:07,840 --> 00:17:10,280 Speaker 1: the village. But the last time I met him and 287 00:17:10,320 --> 00:17:13,919 Speaker 1: I can't. I can't remember. I swear to god, I 288 00:17:13,920 --> 00:17:18,040 Speaker 1: can't remember what the venue was. It was some show 289 00:17:18,600 --> 00:17:21,840 Speaker 1: and again it was our late friend Rocky Del Balzoom, 290 00:17:21,840 --> 00:17:25,600 Speaker 1: Paul Rapaport come back VIP and it was before the show, 291 00:17:25,800 --> 00:17:30,320 Speaker 1: all right, let's clear out. And I got caught. And 292 00:17:30,359 --> 00:17:32,240 Speaker 1: for folks that understand, you're supposed to leave because you 293 00:17:32,240 --> 00:17:33,879 Speaker 1: don't want to interfere with an artist that have to 294 00:17:33,880 --> 00:17:36,960 Speaker 1: come on stage, unless he's a dear friend, you know, 295 00:17:37,200 --> 00:17:39,600 Speaker 1: they're focus, they've got to do a show. And I 296 00:17:39,640 --> 00:17:42,520 Speaker 1: got stuck. I couldn't get out because they had closed 297 00:17:42,520 --> 00:17:45,639 Speaker 1: the get out of here, but Bob was coming down 298 00:17:45,680 --> 00:17:48,399 Speaker 1: from the dressing room. So I literally just averted in 299 00:17:48,440 --> 00:17:51,000 Speaker 1: my eyes. I tried to be invisible. I stood in 300 00:17:51,040 --> 00:17:54,200 Speaker 1: this sort of little ante room. I was just averting 301 00:17:54,240 --> 00:17:56,959 Speaker 1: my eyes so you wouldn't see me. And I just 302 00:17:57,080 --> 00:18:00,760 Speaker 1: feel these two eyes just glaring at me, like two 303 00:18:00,760 --> 00:18:03,280 Speaker 1: feet away from me, just glaring at me, and it's 304 00:18:03,320 --> 00:18:05,080 Speaker 1: just burning a hole in me. And I finally turned 305 00:18:05,080 --> 00:18:08,439 Speaker 1: it around away and he said, do I know you? 306 00:18:10,600 --> 00:18:16,920 Speaker 1: I said, no, I know I met you Ken. I 307 00:18:16,960 --> 00:18:20,760 Speaker 1: work in radio radio, New York Radio. Yeah, it's Scott 308 00:18:20,840 --> 00:18:23,120 Speaker 1: Muni and he's about to go when he goes, oh 309 00:18:23,160 --> 00:18:26,920 Speaker 1: my god, Scotty Man, Scott Muni Man, that's great. So yeah, 310 00:18:27,040 --> 00:18:29,520 Speaker 1: so you know, we didn't have anything like that when 311 00:18:29,560 --> 00:18:31,800 Speaker 1: I got here. It was just AM Radio. We didn't 312 00:18:31,840 --> 00:18:34,120 Speaker 1: have any cluel radio. I couldn't get on AM radio. 313 00:18:34,720 --> 00:18:39,480 Speaker 1: And Buzz he's doing the interview that Olive Radio has 314 00:18:39,520 --> 00:18:42,760 Speaker 1: been trying to get from him since nineteen sixty four, 315 00:18:43,320 --> 00:18:47,840 Speaker 1: and he is just going on effusively about New York life, 316 00:18:48,080 --> 00:18:50,639 Speaker 1: living here in the village, what it was like. But 317 00:18:50,920 --> 00:18:53,399 Speaker 1: AM Radio was out of scene, so they had to 318 00:18:53,440 --> 00:18:56,000 Speaker 1: build their own scene, not because they wanted to, but 319 00:18:56,080 --> 00:18:58,920 Speaker 1: because it didn't exist and they were hoping to break 320 00:18:58,920 --> 00:19:01,480 Speaker 1: through to the mainstream. They knew he's doing the entire 321 00:19:01,640 --> 00:19:05,040 Speaker 1: interview just to me. I like, please, God, make my 322 00:19:05,280 --> 00:19:07,720 Speaker 1: make my ears at pape recorder, Please, God make my 323 00:19:08,040 --> 00:19:10,920 Speaker 1: make my brain a tape recorder. And the stage manager's 324 00:19:10,960 --> 00:19:14,760 Speaker 1: glaring at him, and the stage managers getting angry, and 325 00:19:14,760 --> 00:19:18,560 Speaker 1: he said this, this is amazing. I love this, but 326 00:19:19,280 --> 00:19:24,000 Speaker 1: I think you're needed And he said what I said, Yeah, 327 00:19:24,000 --> 00:19:27,199 Speaker 1: I think it's done. Oh oh yeah, hey, can you 328 00:19:27,200 --> 00:19:31,000 Speaker 1: hang after the show we keep talking? Sure, and that's 329 00:19:31,000 --> 00:19:33,840 Speaker 1: when I realized that's I felt that's Bob. I just 330 00:19:33,840 --> 00:19:36,280 Speaker 1: felt like talking. I felt like telling you this story. 331 00:19:36,320 --> 00:19:38,200 Speaker 1: Now you have a time face and the fact that 332 00:19:38,200 --> 00:19:42,040 Speaker 1: he's about to go on stage. God, this moment, in 333 00:19:42,080 --> 00:19:45,240 Speaker 1: this moment, I feel like doing this, and went, that's 334 00:19:45,280 --> 00:19:48,800 Speaker 1: what it is. That's why it's because this moment is 335 00:19:48,840 --> 00:19:51,720 Speaker 1: this moment and the next moment and the stage is 336 00:19:51,760 --> 00:19:53,800 Speaker 1: his road manager is going to kill me. And I said, 337 00:19:53,920 --> 00:19:56,920 Speaker 1: you saw what happened. You saw I didn't. He goes, 338 00:19:57,080 --> 00:20:00,840 Speaker 1: you can't engage him. You cannot engage him, like you 339 00:20:00,880 --> 00:20:04,080 Speaker 1: cannot engage him and stormed out, and I'm like, and 340 00:20:04,600 --> 00:20:09,400 Speaker 1: it was just that moment. Then afterwards, I'm not bad feelings. 341 00:20:09,400 --> 00:20:14,000 Speaker 1: He doesn't remember that. I'm with Roger mcgwin and Roger 342 00:20:14,080 --> 00:20:17,400 Speaker 1: and I'm talking with Roger mcgwinn and the road manager 343 00:20:17,440 --> 00:20:20,439 Speaker 1: comes back and says to Roger, he'd like to see you, 344 00:20:20,920 --> 00:20:22,800 Speaker 1: and I said, Roger is great talking to you. I 345 00:20:22,840 --> 00:20:25,040 Speaker 1: have to go. Roger said, why didn't you come with me? 346 00:20:26,240 --> 00:20:29,320 Speaker 1: And I said, you know what I had my moment, 347 00:20:29,400 --> 00:20:31,399 Speaker 1: I don't. I don't need to intrude because I know 348 00:20:31,440 --> 00:20:34,479 Speaker 1: what the guidance who want me in there. He goes, no, no, no, 349 00:20:34,520 --> 00:20:36,520 Speaker 1: it'd be great. We don't have anything to say to 350 00:20:36,600 --> 00:20:38,760 Speaker 1: each other. We need someone to talk to. Come back 351 00:20:38,800 --> 00:20:41,080 Speaker 1: with me. And I look at the manager and he 352 00:20:41,160 --> 00:20:43,919 Speaker 1: just throws up his hands and I went back, and 353 00:20:44,119 --> 00:20:47,640 Speaker 1: I'm sitting in like my uncle Danny's house with two 354 00:20:48,280 --> 00:20:50,920 Speaker 1: older rockers going, oh, remember this guy, Remember that guy? 355 00:20:51,240 --> 00:20:53,040 Speaker 1: There was this guy used to work in the village. 356 00:20:53,160 --> 00:20:55,240 Speaker 1: Oh that was cafe. Wow, wasn't it. It's like the 357 00:20:55,280 --> 00:20:59,920 Speaker 1: Sunshine Boys doing folk rock memories while I'm in the room. 358 00:21:00,040 --> 00:21:02,360 Speaker 1: If they needed a kid to talk to to tell 359 00:21:02,400 --> 00:21:10,480 Speaker 1: the story and it'll never talk. That's outstanding. Wow. And 360 00:21:10,520 --> 00:21:15,080 Speaker 1: how special was it for you working at w n 361 00:21:15,320 --> 00:21:17,919 Speaker 1: w f M. I know for me it was one 362 00:21:18,000 --> 00:21:22,600 Speaker 1: of the most special parts of a career that I'm 363 00:21:22,720 --> 00:21:26,480 Speaker 1: very grateful for. I mean, I grew up in Stanford, Connecticut, 364 00:21:26,520 --> 00:21:30,320 Speaker 1: and you know you grew up in Brooklyn. And obviously 365 00:21:30,400 --> 00:21:33,720 Speaker 1: we we knew the station. The station was a was 366 00:21:33,720 --> 00:21:39,040 Speaker 1: a powerhouse. I was doing. I had my dual identity 367 00:21:39,520 --> 00:21:44,119 Speaker 1: card then Dasher. I was a Buzznight five days a 368 00:21:44,160 --> 00:21:49,439 Speaker 1: week and Bob Killer Cosack on Saturday and Sunday. But 369 00:21:49,560 --> 00:21:52,000 Speaker 1: how special was it for you to be at that 370 00:21:52,000 --> 00:21:57,480 Speaker 1: that amazing station? It was. That was the moment. I mean, 371 00:21:58,240 --> 00:22:01,160 Speaker 1: I my break into New York. I went from country 372 00:22:01,760 --> 00:22:05,520 Speaker 1: in New Jersey getting a dollar seventy five an hour 373 00:22:06,400 --> 00:22:09,040 Speaker 1: to doing rock and roll out in eastern Long Island 374 00:22:09,080 --> 00:22:12,520 Speaker 1: and Riverhead getting three eighty an hour. Caught how many 375 00:22:12,560 --> 00:22:15,640 Speaker 1: people double their salary between their first and second jobs 376 00:22:16,440 --> 00:22:20,520 Speaker 1: to eighty two. The summer of eighty two is the 377 00:22:20,960 --> 00:22:24,240 Speaker 1: WAPP came in a new rock station. There was commercial 378 00:22:24,280 --> 00:22:27,440 Speaker 1: free for the summer, and I fought, I said tapes 379 00:22:27,480 --> 00:22:29,439 Speaker 1: to everybody who even knew was a rumor of them 380 00:22:29,520 --> 00:22:33,159 Speaker 1: running it. And it's another whole story about how you 381 00:22:33,200 --> 00:22:36,480 Speaker 1: get into radio. But our morning guy who's going to 382 00:22:36,520 --> 00:22:40,119 Speaker 1: be offered weekends and turned it down because he's a 383 00:22:40,240 --> 00:22:44,240 Speaker 1: morning He turned down weekends in New York City for 384 00:22:44,440 --> 00:22:48,080 Speaker 1: mornings out in Oshkosh, out in the Riverhead. And I 385 00:22:48,160 --> 00:22:50,919 Speaker 1: knew it, and I called this on here weekends whatever, 386 00:22:50,960 --> 00:22:54,840 Speaker 1: and it's a new station, so by the I'm doing weekends. 387 00:22:54,840 --> 00:22:57,280 Speaker 1: But before he even started, the nighttime guy couldn't sell 388 00:22:57,320 --> 00:22:59,320 Speaker 1: his house and his wife didn't want to move. And 389 00:22:59,359 --> 00:23:02,240 Speaker 1: I wind up doing nights. And it was a pretty 390 00:23:02,440 --> 00:23:07,960 Speaker 1: boring basic station that didn't have any personality musically, it 391 00:23:08,000 --> 00:23:10,360 Speaker 1: didn't have any effect. It was just commercial for pre 392 00:23:10,480 --> 00:23:13,720 Speaker 1: playing generic rock. And I just kept pounding on the 393 00:23:13,760 --> 00:23:16,080 Speaker 1: door at any W. And I don't know what your 394 00:23:16,119 --> 00:23:19,480 Speaker 1: interview was like at any W, but Richard nir was 395 00:23:19,520 --> 00:23:22,440 Speaker 1: the one who brought me in. And everybody thought, you're crazy. 396 00:23:22,440 --> 00:23:25,240 Speaker 1: You're giving up five nights to five days a week 397 00:23:25,480 --> 00:23:28,879 Speaker 1: on the brand new shiny rock station for weekends and 398 00:23:28,920 --> 00:23:33,080 Speaker 1: fill ins and any W. Hell, yeah, of course it's 399 00:23:33,119 --> 00:23:37,200 Speaker 1: any W. And it's the most unstanding of view. They said, 400 00:23:37,200 --> 00:23:39,280 Speaker 1: you got to meet Scott, and I go in to 401 00:23:39,320 --> 00:23:44,600 Speaker 1: meet Scott. You need coffee, cigarette, Scott the paper. So 402 00:23:44,600 --> 00:23:49,080 Speaker 1: what's your story, Fats, I said, born and raised in Brooklyn, 403 00:23:49,400 --> 00:23:52,080 Speaker 1: And my story is very simple. If you played it 404 00:23:52,160 --> 00:23:54,840 Speaker 1: and talked about it, I know it. If you didn't 405 00:23:54,840 --> 00:23:59,399 Speaker 1: play it, I don't know it. Anyway, what are your 406 00:23:59,400 --> 00:24:01,480 Speaker 1: sports teams? And that was the end of the interview 407 00:24:01,520 --> 00:24:04,080 Speaker 1: and I was done, and I meant it, if there 408 00:24:04,160 --> 00:24:07,199 Speaker 1: was played on that radio station, it's in me. You 409 00:24:07,240 --> 00:24:09,080 Speaker 1: didn't play it, I don't know what it is. It 410 00:24:09,160 --> 00:24:12,040 Speaker 1: was a lifestyle. It wasn't just casual. It was a 411 00:24:12,040 --> 00:24:15,720 Speaker 1: lifestyle for me? How did you get there? I knew 412 00:24:15,840 --> 00:24:20,760 Speaker 1: Charlie Kendall from some industry events. I remember I had 413 00:24:20,800 --> 00:24:24,400 Speaker 1: known him when he was in Philadelphia at MMR, and 414 00:24:24,440 --> 00:24:27,000 Speaker 1: then when he moved to any W, I had kind 415 00:24:27,000 --> 00:24:30,040 Speaker 1: of stayed in touch with him. And I remember asking 416 00:24:30,080 --> 00:24:33,879 Speaker 1: him at some you know, maybe you know R and 417 00:24:34,040 --> 00:24:38,880 Speaker 1: R convention or something you know, about working there, and 418 00:24:38,920 --> 00:24:42,399 Speaker 1: he's like, well, I only have weekends and I said 419 00:24:43,240 --> 00:24:47,440 Speaker 1: I'm in and he said really and I said yeah. 420 00:24:47,480 --> 00:24:50,280 Speaker 1: So he goes all right, and that was literally it. 421 00:24:50,400 --> 00:24:54,360 Speaker 1: I remember saying, well, what name do I use? And 422 00:24:55,400 --> 00:24:58,639 Speaker 1: I said, you know, because it's using this name buzz 423 00:24:58,760 --> 00:25:01,560 Speaker 1: Night while I'm up in etiquette. He said, well, how 424 00:25:01,600 --> 00:25:04,640 Speaker 1: about using your real name since it's okay with your mother? 425 00:25:05,480 --> 00:25:09,480 Speaker 1: And so I was like okay, and that was it 426 00:25:10,520 --> 00:25:13,800 Speaker 1: and uh, no, no practice show or anything like that. 427 00:25:14,640 --> 00:25:16,640 Speaker 1: Well you've been on five days a week, I mean, 428 00:25:16,840 --> 00:25:18,520 Speaker 1: you know how much warm. As long as you get 429 00:25:18,560 --> 00:25:21,720 Speaker 1: the call letters right, you're in. Well that's funny. I 430 00:25:22,119 --> 00:25:24,960 Speaker 1: got my name's right for the first year. I didn't 431 00:25:25,080 --> 00:25:28,560 Speaker 1: screw up at all. I got I have a coffee cup. 432 00:25:28,680 --> 00:25:30,880 Speaker 1: Did you have your coffee cup like Johnny fever with 433 00:25:30,920 --> 00:25:34,479 Speaker 1: your name on it. I just, you know, I just 434 00:25:34,560 --> 00:25:37,679 Speaker 1: had to constantly remind myself. But a year in, I 435 00:25:37,680 --> 00:25:40,480 Speaker 1: remember we had those liner cards that we used to read, 436 00:25:40,960 --> 00:25:43,720 Speaker 1: you know, promoting something, and you know, there was the 437 00:25:43,760 --> 00:25:47,520 Speaker 1: whole Weekend Warriors and there was a note that you know, 438 00:25:47,640 --> 00:25:52,160 Speaker 1: had our names promoting the Weekend Warriors, and they were 439 00:25:52,200 --> 00:25:56,400 Speaker 1: it was initialized there. So I'm staring at it reading 440 00:25:56,480 --> 00:26:00,360 Speaker 1: and of course I see BK. Well, BK is buzz Night. 441 00:26:00,480 --> 00:26:03,840 Speaker 1: BK is Bob Kosak. So a year in, I think 442 00:26:03,880 --> 00:26:06,040 Speaker 1: it was, I was doing Saturday Night at that time, 443 00:26:06,680 --> 00:26:11,560 Speaker 1: and buzz Night name comes out of my mouth while 444 00:26:11,560 --> 00:26:14,320 Speaker 1: I'm reading the card. I just ignored it. I figure, 445 00:26:14,359 --> 00:26:17,840 Speaker 1: it's New York City, it's Saturday Night. Everyone's got a buzz. 446 00:26:17,880 --> 00:26:21,800 Speaker 1: It's Buzz Night, you know. And I ignored my faux pop. 447 00:26:22,119 --> 00:26:24,520 Speaker 1: But I was mortified. But it took a year for 448 00:26:24,600 --> 00:26:28,760 Speaker 1: me to screw that up. Very good, excellent, excellent, excellent. 449 00:26:28,800 --> 00:26:32,280 Speaker 1: Love that, Yeah, but it was an amazing place, for sure. 450 00:26:32,760 --> 00:26:38,480 Speaker 1: I was just looking through some some some old memorabilia 451 00:26:38,600 --> 00:26:42,680 Speaker 1: from from that time, and remember the concert calendars that 452 00:26:42,880 --> 00:26:47,639 Speaker 1: uh oh that were done, and how beautiful they were. Really, 453 00:26:48,119 --> 00:26:50,240 Speaker 1: I had showed some of the calendars that we did 454 00:26:50,280 --> 00:26:53,600 Speaker 1: to our promotions team. They're like, this is just magical, 455 00:26:54,160 --> 00:26:57,600 Speaker 1: and I'm like, yeah, you know, it's when when a 456 00:26:57,640 --> 00:27:01,159 Speaker 1: company owned a radio station or to radio stations, you 457 00:27:01,200 --> 00:27:03,840 Speaker 1: could do your own promotions. You could build your own 458 00:27:03,920 --> 00:27:08,520 Speaker 1: idea and an identity. I mean, corporate radio is like 459 00:27:08,520 --> 00:27:11,840 Speaker 1: corporate anything. There's a giant chain of command of what 460 00:27:11,920 --> 00:27:14,919 Speaker 1: gets money, what doesn't you get by with what you 461 00:27:15,080 --> 00:27:18,679 Speaker 1: have as opposed to I bought this radio station and 462 00:27:18,760 --> 00:27:21,239 Speaker 1: I want to promote it. What's a creative, not too 463 00:27:21,320 --> 00:27:24,840 Speaker 1: expensive way to get it out there? And that's I mean, 464 00:27:24,880 --> 00:27:27,879 Speaker 1: it's not just radio, it's in every facet of life. 465 00:27:28,280 --> 00:27:31,720 Speaker 1: You know, that's something that's missing up places. This drug 466 00:27:31,760 --> 00:27:34,040 Speaker 1: store putting a unique spin on how they do things 467 00:27:34,119 --> 00:27:37,520 Speaker 1: versus that drug store. When you're a CVS or something, 468 00:27:37,720 --> 00:27:40,600 Speaker 1: that store manager can only do so many balloons to 469 00:27:40,640 --> 00:27:46,040 Speaker 1: promote something. Yeah, it was a time that certainly there 470 00:27:46,080 --> 00:27:49,440 Speaker 1: was an opportunity for that station to stand out by 471 00:27:49,480 --> 00:27:54,320 Speaker 1: doing unique things, unique events and unique promotions and the calendar. 472 00:27:54,760 --> 00:28:00,840 Speaker 1: Remember the Christmas concert at the Garden. What are unbelievable 473 00:28:00,840 --> 00:28:04,879 Speaker 1: experience that was being on stage with Yoko and Sean. 474 00:28:05,080 --> 00:28:09,080 Speaker 1: I mean, come on, you know, remarkable, remarkable memories, and 475 00:28:09,200 --> 00:28:12,640 Speaker 1: you know, circling back to the village. It was like that, 476 00:28:12,680 --> 00:28:16,760 Speaker 1: and there were certain types of acts that played certain venues. 477 00:28:17,240 --> 00:28:19,800 Speaker 1: You know. The Village Gate was mostly jazz. I saw 478 00:28:19,960 --> 00:28:26,439 Speaker 1: every great jazz are from Herbie Hancock to God David, 479 00:28:26,760 --> 00:28:30,920 Speaker 1: Dave Brubek played there. Miles. They would amazing hear these 480 00:28:31,240 --> 00:28:35,159 Speaker 1: legends of this music playing literally a block away from me. 481 00:28:35,840 --> 00:28:40,800 Speaker 1: Bottom line was rock and folk and occasionally folk jazz, 482 00:28:40,920 --> 00:28:43,840 Speaker 1: I mean rock jazz. Off David brombergo, he's playing there. 483 00:28:44,160 --> 00:28:47,520 Speaker 1: Dave Edmunds was a staple, you know, and he has 484 00:28:47,560 --> 00:28:50,840 Speaker 1: them from Renaissance and the Ramones, even though the Ramones 485 00:28:50,880 --> 00:28:54,720 Speaker 1: were more upon CBGB's but it would go in that direction. 486 00:28:55,280 --> 00:28:59,440 Speaker 1: And then for clubs and for what's considered alt rock today, 487 00:28:59,600 --> 00:29:03,880 Speaker 1: that was Kenny's Castaways, where the Smith Marien started, and 488 00:29:04,080 --> 00:29:07,719 Speaker 1: the Bitter n where Steve Forbert and Suzanne Vega and 489 00:29:07,760 --> 00:29:11,600 Speaker 1: those guys started. Every kind of club had a certain 490 00:29:11,680 --> 00:29:15,960 Speaker 1: sort of identity. And everybody who tells me, you know, 491 00:29:16,680 --> 00:29:21,760 Speaker 1: not just reading about San Francisco, but people work with 492 00:29:21,840 --> 00:29:25,400 Speaker 1: the grateful dead in that world about they explained to me, 493 00:29:25,600 --> 00:29:28,240 Speaker 1: I got a tour one from San Francisco, kind of 494 00:29:28,280 --> 00:29:30,080 Speaker 1: like what we're talking about. Greenwich Village of quote, it 495 00:29:30,120 --> 00:29:32,760 Speaker 1: was like then, as they said, you know the Jeffson airplane. 496 00:29:32,760 --> 00:29:38,600 Speaker 1: We're always playing, the pizza plays, and you know the storytellers, 497 00:29:38,600 --> 00:29:44,400 Speaker 1: the folk rockers and poets. Leonard Cone and the hippie 498 00:29:44,400 --> 00:29:46,760 Speaker 1: buss in Ginsburg were at the Ink. Well, if you 499 00:29:46,800 --> 00:29:50,080 Speaker 1: wanted coffee, he goes and the Dead, the Warlocks at 500 00:29:50,120 --> 00:29:51,960 Speaker 1: the time were at the hall, at the Union Hall. 501 00:29:52,480 --> 00:29:54,560 Speaker 1: So as you were if you went to the slice 502 00:29:54,600 --> 00:29:57,600 Speaker 1: of pizza, you were going to hear psychedelic grateful Dead. 503 00:29:57,640 --> 00:29:59,840 Speaker 1: If you wanted coffee in a muffin, you're going to 504 00:29:59,880 --> 00:30:02,800 Speaker 1: hear poetry. You know. If it was all here in 505 00:30:02,880 --> 00:30:06,200 Speaker 1: hate Ashbury, so you had to be influenced by it all. 506 00:30:06,600 --> 00:30:09,240 Speaker 1: And that's what Greenwich Village had. It's a small village 507 00:30:09,240 --> 00:30:14,240 Speaker 1: of network of clubs. Cafe wal Cornelia Street cafe that 508 00:30:14,360 --> 00:30:17,959 Speaker 1: doesn't get as much a cachet. Donovan has become a 509 00:30:17,960 --> 00:30:20,400 Speaker 1: friend through the years. He said, let's go have lunch 510 00:30:20,480 --> 00:30:24,960 Speaker 1: at Cornelius Street, and we had lunch and he gave 511 00:30:25,040 --> 00:30:28,200 Speaker 1: me his walking tour of the village. He just felt 512 00:30:28,200 --> 00:30:31,800 Speaker 1: like going down memory lane with somebody. And he explained 513 00:30:32,160 --> 00:30:34,880 Speaker 1: that this was important that he couldn't get into cafe 514 00:30:34,920 --> 00:30:38,280 Speaker 1: wa that it would be like an eleven midnight or 515 00:30:38,280 --> 00:30:41,600 Speaker 1: one am slot. But as Cornelia Street Cafe was trying 516 00:30:41,640 --> 00:30:44,000 Speaker 1: to get in the game, they gave him an eight 517 00:30:44,040 --> 00:30:47,440 Speaker 1: o'clock slot. So he forgot the big names and played 518 00:30:47,560 --> 00:30:50,280 Speaker 1: earlier show and worked that way to get to there. 519 00:30:50,320 --> 00:30:53,840 Speaker 1: And he's explaining the mechanics of who played where, and 520 00:30:53,880 --> 00:30:56,840 Speaker 1: as he's looking by buildings, he's given me a history 521 00:30:57,160 --> 00:31:00,880 Speaker 1: of sixties folk rock, English and American of who is wearing. 522 00:31:00,920 --> 00:31:03,880 Speaker 1: I'm like, totally get it. I love it. I think 523 00:31:03,960 --> 00:31:06,680 Speaker 1: I could see it. Wow. I think one of the 524 00:31:06,720 --> 00:31:09,360 Speaker 1: really cool things about you being at Q one o 525 00:31:09,520 --> 00:31:13,720 Speaker 1: four point three for so long is you know, we worked, 526 00:31:14,400 --> 00:31:16,920 Speaker 1: you know, as part of this air staff with some 527 00:31:17,320 --> 00:31:22,320 Speaker 1: you know, real iconic figures, and you have your whole 528 00:31:22,520 --> 00:31:28,080 Speaker 1: air staff at Q that kind of has iconic figures. 529 00:31:28,400 --> 00:31:35,720 Speaker 1: Jim Kerr and Shelley Sunstein. What's life like at Q? 530 00:31:36,000 --> 00:31:38,600 Speaker 1: Carol Miller, our old friend from any w What is 531 00:31:38,640 --> 00:31:41,959 Speaker 1: life like at Q one o four for you? It 532 00:31:42,040 --> 00:31:47,800 Speaker 1: has been truly an absolute blessing, not a drop of 533 00:31:48,200 --> 00:31:51,680 Speaker 1: boniness or whatever. It has been the dream job of 534 00:31:51,720 --> 00:31:55,280 Speaker 1: a lifetime for twenty three years and I hold on 535 00:31:55,320 --> 00:31:57,720 Speaker 1: to it as tightly as I can and protect this 536 00:31:57,800 --> 00:32:01,600 Speaker 1: house for all. Because it was eighteen ninety nine and 537 00:32:01,720 --> 00:32:05,640 Speaker 1: any w said, there's there's no classical music. Classic rock 538 00:32:05,800 --> 00:32:08,920 Speaker 1: is dead. There's a dime left in it. It's all 539 00:32:09,080 --> 00:32:13,760 Speaker 1: Opie and Anthony and strippers and putting handicapped people on 540 00:32:13,800 --> 00:32:17,080 Speaker 1: the microphone and making fun of their disability. And that's 541 00:32:17,120 --> 00:32:19,720 Speaker 1: what radio is now, and that's the all, that's the future. 542 00:32:19,840 --> 00:32:25,800 Speaker 1: From Melcharmeso, I said, can't be any waving a giant 543 00:32:25,840 --> 00:32:30,560 Speaker 1: book of you know, some consultants thing you, telling you 544 00:32:30,600 --> 00:32:32,800 Speaker 1: what you want to hear, and putting a lot of 545 00:32:32,800 --> 00:32:35,520 Speaker 1: pages in it. I said, you don't think the Beatles 546 00:32:36,040 --> 00:32:38,080 Speaker 1: have any cachet. You don't think there's money left in 547 00:32:38,160 --> 00:32:41,000 Speaker 1: the Beatles. He goes, it's twenty years ago, thirty years ago, 548 00:32:41,040 --> 00:32:43,920 Speaker 1: it's gone. I said, interesting, because if the Beatles were 549 00:32:43,960 --> 00:32:47,160 Speaker 1: a publicly traded company, I would take all my money 550 00:32:47,200 --> 00:32:49,600 Speaker 1: out of every mutual fund they have and put it 551 00:32:49,600 --> 00:32:53,040 Speaker 1: in Beatles Inc. Like you know, there's no Apple at 552 00:32:53,040 --> 00:32:56,040 Speaker 1: the time, like and I'll be fine. And ninety nine 553 00:32:56,680 --> 00:32:59,200 Speaker 1: a beautiful guy who I'm sure you know I'm they 554 00:32:59,320 --> 00:33:01,920 Speaker 1: rest in peace, who saved my life. Name is Steve 555 00:33:02,040 --> 00:33:06,680 Speaker 1: Young from Seattle. Steve was integral to launching Pearl Jam 556 00:33:06,920 --> 00:33:10,240 Speaker 1: and their fauna at his station. There he built what 557 00:33:10,400 --> 00:33:14,080 Speaker 1: became the grunge sound because he loved the writing iss 558 00:33:14,080 --> 00:33:16,360 Speaker 1: he saw the new Dylan in the writing of Eddie 559 00:33:16,440 --> 00:33:20,040 Speaker 1: Vedder and Kurt Cobay and Stone Tumble and you know, 560 00:33:20,160 --> 00:33:23,080 Speaker 1: all of those guys and Chris Cornell, and he helped 561 00:33:23,080 --> 00:33:25,959 Speaker 1: build it. And he came here and he called me 562 00:33:26,000 --> 00:33:28,520 Speaker 1: and said, I have the last seat on the last 563 00:33:28,560 --> 00:33:31,720 Speaker 1: lifeboat off the Titanic, and it has your name on it. 564 00:33:33,040 --> 00:33:35,120 Speaker 1: And you know, I'm sure like every once in a while, 565 00:33:35,160 --> 00:33:37,840 Speaker 1: like you're running into Charlie Kendall, there's a moment where 566 00:33:37,880 --> 00:33:41,880 Speaker 1: that magic thing happens and you go running. And he 567 00:33:42,040 --> 00:33:45,000 Speaker 1: just kind of cherry picked the DJs he liked. There 568 00:33:45,080 --> 00:33:49,600 Speaker 1: was Jim Jim Kerr, and Carol came. Even though Carol 569 00:33:49,760 --> 00:33:53,080 Speaker 1: was with us at annie W her glory days was 570 00:33:53,120 --> 00:33:57,680 Speaker 1: at PLJ, And he took me and Scott from annie 571 00:33:57,720 --> 00:34:01,080 Speaker 1: W and from k Rock, the other rock station down 572 00:34:01,160 --> 00:34:05,040 Speaker 1: he took Maria Malido and Mark Coppela and put us 573 00:34:05,040 --> 00:34:08,879 Speaker 1: together and we played the music. And you know, Buzz, 574 00:34:09,160 --> 00:34:12,200 Speaker 1: you've been a PD for so much of your life. 575 00:34:12,320 --> 00:34:14,760 Speaker 1: And whenever I would go in and ask him about 576 00:34:15,520 --> 00:34:17,839 Speaker 1: the structure of what he wants in the breaks, where 577 00:34:17,840 --> 00:34:20,120 Speaker 1: do you want the promos? Where? How do you want 578 00:34:20,200 --> 00:34:22,960 Speaker 1: horizontal promos for? And he would just go, you know 579 00:34:23,080 --> 00:34:27,160 Speaker 1: all that crap. Yeah I do. Okay, Well, I'll just 580 00:34:27,200 --> 00:34:30,640 Speaker 1: you know, just consistency, stay the course, build the music. 581 00:34:30,960 --> 00:34:33,680 Speaker 1: It's really a tight playlist. I said, you want to 582 00:34:33,719 --> 00:34:36,279 Speaker 1: open it up a little? He said, we will right now. 583 00:34:36,400 --> 00:34:38,440 Speaker 1: We got to establish who's on the air and what 584 00:34:38,480 --> 00:34:41,160 Speaker 1: we do because this place has been hazy. We have 585 00:34:41,239 --> 00:34:43,920 Speaker 1: to get it into focus. And he built it and 586 00:34:43,960 --> 00:34:46,040 Speaker 1: then got bored and left and went back. As he said, 587 00:34:46,920 --> 00:34:49,279 Speaker 1: I loved building a home for my friends, but I've 588 00:34:49,280 --> 00:34:52,399 Speaker 1: got a house overlooking Puget Sound. I want to go back, 589 00:34:52,480 --> 00:34:56,840 Speaker 1: like okay. And Bob Buckman came and it was he 590 00:34:56,880 --> 00:35:00,000 Speaker 1: wanted to bring into his BAB people, himself and Jerry Martinez, 591 00:35:00,600 --> 00:35:03,719 Speaker 1: and we worked it out and Jerry would do his 592 00:35:03,719 --> 00:35:06,880 Speaker 1: Friday road show because that was his big thing, and 593 00:35:06,920 --> 00:35:09,960 Speaker 1: he said, we would do do a weekend show. Oh, yeah, Sunday. 594 00:35:10,040 --> 00:35:11,520 Speaker 1: How about I'll do a morning show. I don't want 595 00:35:11,520 --> 00:35:14,640 Speaker 1: to do afternoons. Let's Sunday morning. Yeah. And it was 596 00:35:14,680 --> 00:35:17,919 Speaker 1: one after I don't remember one, two thousand and two 597 00:35:18,040 --> 00:35:21,080 Speaker 1: or something. It was an anniversary of the Beatles and said, Beatles' 598 00:35:21,080 --> 00:35:24,160 Speaker 1: anniversary of coming to America. Once you play Beatles music, 599 00:35:24,880 --> 00:35:26,680 Speaker 1: play a couple of songs, he goes, play the whole 600 00:35:26,880 --> 00:35:30,920 Speaker 1: play two hours, seriously, Yeah, play it? What's gonna happen 601 00:35:31,120 --> 00:35:34,000 Speaker 1: Sunday morning? And on Monday I came in and he said, 602 00:35:34,800 --> 00:35:37,400 Speaker 1: did you play two hours of Beatles music? I said no, 603 00:35:37,560 --> 00:35:42,240 Speaker 1: and I'm defensive like you told me to. He goes, yeah, 604 00:35:42,280 --> 00:35:45,840 Speaker 1: We've never gotten such a response to anything. You know, 605 00:35:45,960 --> 00:35:49,400 Speaker 1: my years in radio, you got to see the emails, 606 00:35:49,440 --> 00:35:52,040 Speaker 1: the phone calls that comeing in and all they're asking us, 607 00:35:52,080 --> 00:35:54,520 Speaker 1: are you going to do it again? I said, yeah, 608 00:35:54,760 --> 00:35:57,160 Speaker 1: next anniversary, I'll do it again. He said, how about 609 00:35:57,200 --> 00:36:02,279 Speaker 1: this coming Sunday? And I'm quick, quick, but you play 610 00:36:02,360 --> 00:36:05,920 Speaker 1: Beatles again the next week? Two hours of Beatles? Yeah, 611 00:36:06,880 --> 00:36:09,640 Speaker 1: all right, if you think so. I just played two 612 00:36:09,719 --> 00:36:12,880 Speaker 1: hours of Beatles music and told stories about it what 613 00:36:13,000 --> 00:36:15,040 Speaker 1: I love and hey, you want to hear something special? 614 00:36:15,280 --> 00:36:18,439 Speaker 1: And the phones exploded, exploded like I was giving away 615 00:36:18,480 --> 00:36:21,600 Speaker 1: who ticks? And I came in next Monday he said, 616 00:36:21,719 --> 00:36:25,200 Speaker 1: playing beatles again. Yeah, he goes, Just keep playing beatles 617 00:36:25,200 --> 00:36:32,120 Speaker 1: Sunday mornings. We'll be fine. And that's twenty two years now. Yeah. Yeah. 618 00:36:32,239 --> 00:36:35,840 Speaker 1: Which it's the one thing about you. And I know 619 00:36:35,880 --> 00:36:38,640 Speaker 1: this about radio or anything else. If it's if it's 620 00:36:38,680 --> 00:36:40,680 Speaker 1: not a great idea, if the audience doesn't resonate with 621 00:36:40,719 --> 00:36:44,080 Speaker 1: the idea, you can promote it from here until the 622 00:36:44,200 --> 00:36:46,560 Speaker 1: end of the world. Nobody's gonna listen or watch it. 623 00:36:47,080 --> 00:36:50,240 Speaker 1: If an audience loves something, they love it, don't stop 624 00:36:50,280 --> 00:36:54,920 Speaker 1: it exactly, dash Er, Why is music so vital to 625 00:36:54,960 --> 00:36:59,960 Speaker 1: our soul? I think the perfect answer is what happened 626 00:37:00,280 --> 00:37:04,319 Speaker 1: during the pandemic of people. We were frenetic. We've been 627 00:37:04,360 --> 00:37:07,640 Speaker 1: at each other's throat so much, but without live concerts, 628 00:37:07,680 --> 00:37:11,799 Speaker 1: without us congregating, not for religious experience, but for a 629 00:37:11,960 --> 00:37:15,960 Speaker 1: joyous music experience. I think it goes back to caveman days. 630 00:37:15,960 --> 00:37:18,759 Speaker 1: You know, we congregate together around the fire, and there 631 00:37:18,800 --> 00:37:23,239 Speaker 1: were storytellers and that was your television, that was your entertainment, 632 00:37:23,640 --> 00:37:25,840 Speaker 1: and it always goes back to we want to be together. 633 00:37:26,480 --> 00:37:30,040 Speaker 1: We're homogeneous people. But when you're at a Billy Joel. 634 00:37:30,080 --> 00:37:33,399 Speaker 1: Last night Madison Square Garden for John Lennon's birthday, they 635 00:37:33,480 --> 00:37:36,279 Speaker 1: played Lucy and Sky with Diamonds and the roof came 636 00:37:36,320 --> 00:37:38,960 Speaker 1: off the place. Because you don't ask the person next 637 00:37:38,960 --> 00:37:41,839 Speaker 1: to you who did you vote for? Or you have 638 00:37:42,040 --> 00:37:46,319 Speaker 1: an anti vaxxer or no, it's about music. It's a 639 00:37:46,400 --> 00:37:49,920 Speaker 1: thing I've always said. Music has been my best friend 640 00:37:50,080 --> 00:37:53,080 Speaker 1: my whole life. It's the most consistent friend I've ever had. 641 00:37:53,440 --> 00:37:56,200 Speaker 1: It's always there, it always lifts me up, it always 642 00:37:56,239 --> 00:38:00,480 Speaker 1: can reflect my mood. Happy said the emotion that a 643 00:38:00,520 --> 00:38:03,319 Speaker 1: book requires you to sit and look at it. I 644 00:38:03,400 --> 00:38:06,560 Speaker 1: love reading. A TV program means you can look at it. 645 00:38:07,040 --> 00:38:10,240 Speaker 1: Music you can listen while you're walking, while I'm walking 646 00:38:10,320 --> 00:38:14,080 Speaker 1: my dog, I'm listening to it and when I'm playing it. 647 00:38:14,200 --> 00:38:17,560 Speaker 1: The difference between streaming and what we do is you 648 00:38:17,680 --> 00:38:21,279 Speaker 1: have a friend and for us, at least in New York, 649 00:38:21,280 --> 00:38:26,160 Speaker 1: and I think nationwide, maybe a worldwide radio listening during 650 00:38:26,200 --> 00:38:30,160 Speaker 1: COVID shot through the room. Because Spotify never says to 651 00:38:30,200 --> 00:38:33,160 Speaker 1: you how you doing? Do you have anybody in your 652 00:38:33,160 --> 00:38:36,200 Speaker 1: family who's sick. I know we all do. And here's 653 00:38:36,239 --> 00:38:39,720 Speaker 1: hoping it gets better. And here's journey, don't stop believing. 654 00:38:40,239 --> 00:38:43,239 Speaker 1: And the song you've heard ten thousand times takes on 655 00:38:43,280 --> 00:38:49,320 Speaker 1: a different context. And that's what human beings on radio, 656 00:38:49,360 --> 00:38:52,200 Speaker 1: whether you're listening over the airwaves or streaming or however 657 00:38:52,239 --> 00:38:55,240 Speaker 1: you get it. You know, when I get an email 658 00:38:55,400 --> 00:38:58,879 Speaker 1: from Crete saying, listening to Breakfast and the Beatles here 659 00:38:59,000 --> 00:39:02,520 Speaker 1: on the iHeartRadio app, I go, yeah, it's not ego 660 00:39:02,600 --> 00:39:05,480 Speaker 1: of man on special, it's ego of the music. Look 661 00:39:05,480 --> 00:39:09,400 Speaker 1: what this music means that somebody on vacation or halfway 662 00:39:09,400 --> 00:39:11,520 Speaker 1: around the world. Does I need to listen to that? 663 00:39:12,160 --> 00:39:14,400 Speaker 1: I need not, I want to. I need to listen 664 00:39:14,440 --> 00:39:18,359 Speaker 1: to it. Like that's what. It's such a deep emotional 665 00:39:18,400 --> 00:39:23,000 Speaker 1: connection to see people sab when somebody plays music. They 666 00:39:23,120 --> 00:39:26,080 Speaker 1: feel a rush of energy. When somebody plays something lits 667 00:39:26,080 --> 00:39:30,760 Speaker 1: you up. It's just magic. Love you, buddy. I appreciate 668 00:39:30,800 --> 00:39:34,520 Speaker 1: the time. Oh my pleasure. I got one last quick 669 00:39:34,760 --> 00:39:38,360 Speaker 1: village spritage village story of my ear of late seventies, 670 00:39:38,640 --> 00:39:41,160 Speaker 1: and it goes back I was told ten years like 671 00:39:41,200 --> 00:39:43,839 Speaker 1: the early seventies there's an old Italian restaurant on sixth 672 00:39:43,920 --> 00:39:47,359 Speaker 1: Avenue and West fourth Street, right where the basketball courts are, 673 00:39:47,400 --> 00:39:50,080 Speaker 1: the famous intersection where the West fourth Street subway is, 674 00:39:50,920 --> 00:39:53,920 Speaker 1: and it's called Emilios. And when I was doing stand 675 00:39:54,000 --> 00:39:57,320 Speaker 1: up at the Bitter End, and there were folk musicians 676 00:39:57,360 --> 00:39:59,920 Speaker 1: here and there as well Casey's Castaways, we all went 677 00:40:00,080 --> 00:40:05,640 Speaker 1: two Amelias and the Billy Braggs and Suzanne Vegas would 678 00:40:05,680 --> 00:40:08,880 Speaker 1: sit at their table discussing world politics, and all the 679 00:40:08,920 --> 00:40:11,560 Speaker 1: comedians would be at this table try to work on 680 00:40:11,600 --> 00:40:14,839 Speaker 1: each other's acts. We were all it was all helpful. Hey, 681 00:40:14,880 --> 00:40:18,080 Speaker 1: you know that piece you do about the cars. Yeah, 682 00:40:18,800 --> 00:40:21,600 Speaker 1: I was thinking what if you said and what if 683 00:40:21,600 --> 00:40:24,239 Speaker 1: you said while you're driving? But of course driving in 684 00:40:24,280 --> 00:40:26,680 Speaker 1: Brooklyn is different, and you could tie in Brooklyn. And 685 00:40:26,719 --> 00:40:30,239 Speaker 1: we would help each other hone each other's acts. And 686 00:40:30,280 --> 00:40:33,520 Speaker 1: I noticed that the singers would never help each other 687 00:40:33,600 --> 00:40:36,000 Speaker 1: with their songs. At the table, they're always talking about 688 00:40:36,040 --> 00:40:39,319 Speaker 1: world politics and this and that and angry and we 689 00:40:39,320 --> 00:40:42,080 Speaker 1: were all just focused on making your show better. And 690 00:40:42,120 --> 00:40:44,560 Speaker 1: it was just two different worlds. But we never we 691 00:40:44,600 --> 00:40:47,120 Speaker 1: always came together. We'd see each other and say hi, 692 00:40:47,200 --> 00:40:51,240 Speaker 1: but we've never sat together that the comedians of this world, 693 00:40:51,239 --> 00:40:53,920 Speaker 1: and I got to meet the late David Brenner and 694 00:40:54,160 --> 00:40:57,560 Speaker 1: met George Carlin, just most brilliant. And I asked them, 695 00:40:57,600 --> 00:41:00,560 Speaker 1: that's how it was with me. He goes, oh, exactly 696 00:41:00,600 --> 00:41:03,720 Speaker 1: the same. It hasn't changed. Richie Havens and Joan Baez 697 00:41:03,840 --> 00:41:07,000 Speaker 1: go off here, you know me. I'm here with my 698 00:41:07,160 --> 00:41:10,439 Speaker 1: guys talking about this joke and that joke. And it's 699 00:41:10,520 --> 00:41:13,239 Speaker 1: always been like that because it probably goes back, you know, 700 00:41:13,360 --> 00:41:16,279 Speaker 1: the court jesters hung together and the lute player hung 701 00:41:16,320 --> 00:41:18,319 Speaker 1: with his guys, and like that's how it always is. 702 00:41:19,239 --> 00:41:23,719 Speaker 1: I love it. That's awesome. Thanks to your generosity. My friend. 703 00:41:23,840 --> 00:41:27,120 Speaker 1: Is great to be with you. Oh, Buzz, my pleasure. 704 00:41:27,200 --> 00:41:30,239 Speaker 1: Great reconnecting with you anytime. Let's get together. Let's go 705 00:41:30,320 --> 00:41:33,360 Speaker 1: down to the village and get something to eat one day, aman, 706 00:41:33,840 --> 00:41:39,359 Speaker 1: Thanks brother. Taking a Walk with Buzznight is available on Spotify, 707 00:41:39,920 --> 00:41:43,680 Speaker 1: Apple Podcasts, or wherever you get your podcasts.