Showing posts with label WLCS. Show all posts
Showing posts with label WLCS. Show all posts

Tuesday, September 26, 2017

Banned in Baton Rouge


When I was a much younger man -- OK, not a man yet at all --  if you were really, really obsessed or pissed off about a local calamity, you always could write to ACTION, please! in the State-Times, right there in River City.

I'm talking a capital "AC" that rhymes with "WHACK" and ends with "SHUN."

Which, on Friday, April 20, 1973, is how we learned Paul McCartney was too filthy for Baton Rouge, and Chuck Berry missed suffering the same fate Fanny Hill did in Boston by this much.

Let's go to the microfiche:
OF COURSE, all those Baton Rougeans who thought the song "terrible" probably never get tired of hearing it today as part of the 200-song rotation on classic-rock radio. To be fair, though, the BBC banned it, too.

"Auntie" banned all the good songs.

But I've wandered a smidge. Anyway, the real significance of l'affaire Wings was that it meant that Baton Rouge was just getting warmed up.

JUST SIX years down the road, the motley metropolis sitting at the corner of coonass and redneck would face an existential cinematic threat that would require a full-bore Interfaith Inquisition to suppress.
The effort to save Baton Rouge from Monty Python's Life of Brian may have been one of the most complete examples of Catholic-Southern Baptist cooperation in the Deep South not involving fishing and the surreptitious consumption of Pabst Blue Ribbon.
And isn't that, when it comes right down to it, the genius of American civil society? Only under the authority of the state can Roman Catholics and Southern Baptists conspire completely enough to stick it to a bunch of heathen Limeys and their smutty, blaspheming moving picture. 

Damn straight, Cletus.

God bless, Boudreaux.

And always look on the bright side of life.

Wednesday, April 30, 2014

Radio as objet d'art

How do you wake up in the AM?

This how we rise and shine à la maison de Favog. It's a 1951 Stromberg-Carlson clock radio I found on eBay.

Once upon a time, beauty in the things we use every day wasn't unusual. Televisions and radios were pieces of furniture that commanded attention, things that stood out whether they were in use at the moment or not.

Now, unless you pay a premium for the privilege, not so much. A TV is little more than a screen; a radio -- You remember those, right? -- is a plastic box with a digital display.

A CLOCK RADIO is your smartphone . . . or one of those unadorned little thingies you stick your smartphone or iPod into. And the sound quality is such that your low-bit rate MP3 file sounds the same as a high-bit rate MP3 file that sounds like a low-bit rate MP3 file.

Yecch.

No, I am a proud anachronism. I love beautiful anachronisms, and I use them whenever I can. AM radio. Vacuum tubes. Analog clock dials. Young people still can tell time on analog clock dials, right?

If the power goes out, I can reset the clock in a snap on this thing. Try that on your digital clock radio -- assuming you have one of those and not a little box into which you shove a smartwhatever. When I was a little kid, my parents used this for a clock radio.

YOU BETTER damn believe everybody woke up. WLCS PLAAAAAAAYS the hits!

If only I could get the new-old clock radio to pull in the Big Win 910 all the way from Baton Rouge, circa 1967. Or 1971 -- I'm not picky. I'd settle for Omaha's Mighty 1290 KOIL from the same time.

Unfortunately, it's just a great old AM clock radio, not a great old AM clock radio time machine. So KHUB in Fremont, Neb., it is . . . the only station on that venerable old amplitude-modulated band that has both music and news hereabouts.

Tuesday, October 22, 2013

Real radio, real gone


Don't bug me. I'm busy being 15 again.

This truly, for me, is a blast from the past -- an aircheck of a radio station that's lived only in my memory since 1979. Stumbling upon this snippet of "Real Radio" WAIL from 1976 on YouTube, I am transported. Transported to my youth, and to a time when AM daytimers -- those stations that run down at sundown -- kinda still mattered.

Still played the hits.

Still had actual humans on the air.

These were the days when, sadly, WAIL was struggling. Soon would come the brief time when WAIL was kinda cutting edge (but still struggling). Too soon came the time when WAIL's struggle was over.

WHEN I was two months from emerging from the womb, Mama won a General Electric table radio from WAIL. When I was a child, WAIL (then a full-timer at 1460 on your dial) was the station that often came from that GE table radio that lived on the kitchen counter.

Mama loved her some "Pappy" Burge. Mama also loved to bend the ear of the receptionist, Marge.

When I was a preteen and then a teenybopper, WAIL got drowned out by the Big Win 910, WLCS. When I was a teen suddenly too cool for Top-40, WAIL was the "backup" station to "Loose Radio."

When I was finally old enough to vote, WAIL was gone, replaced by middle-of-the-road WTKL -- "Tickle." Yeah . . . right.

And now, here's a slice of unexpected bliss -- a song for the September of my years on a chilly October day.
Hello, old friend,
It's really good to see you once again,

Hello, old friend,
It's really good to see you once again.
(Cue Eric Clapton guitar solo.)

Saturday, June 22, 2013

3 Chords & the Truth: He played the hits

EDITOR'S NOTE: This blog post originally ran Aug. 31, 2009, and then again in September 2010. I repost it again today in memory of A. Lamar Simmons, the man who in 1946 helped to give life to a little radio station in Baton Rouge, La. -- one that would in time be known to all as the Big 91 or, alternatively, the Big Win 910 -- and then went on to run it for decades.

Likewise, this week's edition of 3 Chords & the Truth will be an encore presentation of a tribute to 'LCS, and ultimately to the Top-40 stations of my youth, that first ran Sept. 10, 2010.

May God rest your soul, Mr. Simmons. And thank you.

Here's the show.

* * *

One thing kids today will never know is what it was like to have your own radio station.

Not what it's like to be a bazillionnaire and own your own big-time broadcast outlet but, instead, what it's like to be devoted to a radio station, this hometown entity that plays cool tunes (well, mostly) and becomes your window on a world much, much larger than the hick burg in which you find yourself trapped. Face it, unless you're a kid growing up in New York, L.A. or Chicago, you think where you're from is That Which Must Be Escaped.

And I'll bet L.A. and New York kids probably want to flee to Paris or Rome. Maybe London.

You see, long ago, radio stations were living things. They were staffed by live human beings whose job it was to entertain and enlighten other live human beings. These were called "listeners," something radio has radically fewer of these days.

Oftentimes, way back deah den (as my mom says), people would find one station or another's personalities and music so compelling that the station, in a real sense, became "their" station. Listeners took emotional and figurative ownership.

They listened day and night. They called the DJs on the "request line." (And note, please, this was an era when "DJ" immediately brought to mind a radio studio, not a dance club.)

Listeners went nuts for the contests, whether it was the chance to win $1,000 or just a promotional 45. They'd pick up a station's weekly survey to see where their favorite songs ranked this week.

They'd wake up to the "morning man" and boogie down to the groovy sounds the afternoon drive guy was spinning out through their transistor radios.

Boogie down to the groovy sounds? Ah, screw it. You had to be there.

THE REAL business radio was in back during its second golden age -- the Boomer age of Top-40 AM blowtorches . . . and of laid-back, trippy FM free-form outfits, too -- was the business of making memories. That stations sold some pimple cream while selling even more records was just a happy accident, at least from the perspective of their loyal fans.

Back when the Internet was more like the Inter-what?, radio was the Facebook of its day. It told us about the world . . . and about each other. It served up new music for our consideration.

Likewise, a station's listeners formed the pre-social-networking incarnation of what became Facebook groups and fan pages. In short, between the hits and the ads, between the disc jockeys and the contests, radio was community.

All you needed to join was an eight-transistor job, or maybe a hand-me-down table radio in your bedroom, its tubes glowing orange in the darkness as the magic flowed from its six-inch loudspeaker.

AT ITS BEST, radio comforted the afflicted, afflicted the comfortable, lifted downcast spirits, was a friend to the lonely and provided the soundtrack for the times of our lives. To this day, I can hear a song and immediately think "WLCS, 1975," or "WTIX, summer on the Petite Amite River, 1972."

And every early December, my mind will drift back to a late night in 1980 when I was studying for finals at Louisiana State, with my head in a book and WFMF on the stereo. Bad news through the headphones, and -- at least for my generation -- "something touched us deep inside."

It was the Day the Music Died. Again.

Tonight my mind drifts back to Aug. 31, 1984. That was the night a close friend passed into that good night of blessed memory.

That night, the Big 91, WLCS, played its last Top-40 hit and left the Baton Rouge airwaves for its new home in the youthful memories of aging teen-agers like myself. Two-and-a-half decades later, it just doesn't seem right that it's gone.

OF COURSE, lots of things don't seem right nowadays.

That WLCS isn't there anymore -- hasn't been there for more than a generation -- is just one of them in the mind of one Boomer kid from a middling city in the Deep South. You can read about why that is here.

But a couple-odd decades in retrospect, it seems to me that Aug. 31, 1984, was in a way about as profound as the deaths of Buddy Holly and John Lennon -- the intangible end of something we still haven't quite gotten our minds (or our culture) around.

It's not that the actual deaths of Holly or Lennon, or of the "Big Win 910," precipitated some sort of musical or cultural cataclysm in themselves. It's just that things were happening.

And being that things were happening that more or less coincided with each instance of "bad news on the doorstep," it's handy to use these events as markers.

For me, the demise of WLCS -- and the deaths of many stations that were nothing if not actual life forces in their own cultural rights -- signals The Great Unraveling.

The unraveling of a common culture is what I'm getting at, I guess.

Lookit. As much as we kids claimed stations like 'LCS as our own, we can't forget that many of our parents listened, too. Or that Top-40 radio of old played what was big, period -- be that Jefferson Airplane or Frank Sinatra. Because of WLCS, I think I could comprehend more than my own little world of teen-age angst and teen-age fads.

And it's why I feel just as comfortable with Andy Williams and Tony Bennett -- and, yes, Ol' Blue Eyes -- as I do with (ahem) "harder" fare. My world is bigger, richer, more diverse because of a 1,000-watt AM station in a midsized Southern state capital too often prone to calling too much in life "good enough for government work."

Thank God, that couldn't often describe the Big 91.

And because "good enough" wasn't often good enough at WLCS -- because the men and women who worked there just did what they did and did it well -- I owe its memory more than I can repay.

If, after these 25 years, somebody were to require that I pen an epitaph for my long-dead friend, I'd write just this: WLCS played the hits.

Thursday, November 24, 2011

Listen and win!


Ladies and gentlemen, I present our last best hope for financial security amid our present economic desolation and tribulation.

Unfortunately, that cash train left the station in 1978. Our Lady of Listen and Win on the Big 910, pray for us.

Tuesday, November 01, 2011

Music in the ruins


Long ago and far away -- when I wasn't yet who I would become but sure that I was what I'd always be -- the soundtrack of my and my friends' lives was a three-track tape.

WLCS.

WIBR.

WFMF.

Two of these things were much like each other on the AM radio dial around Baton Rouge, La. --
WLCS and WIBR. They were the stations of our Top-40 selves. They played the hits; we tuned in; they fought like dogs to attract the bigger share of us.

WFMF was for our hippie selves. Sometimes, you feel like a freak . . . sometimes, you don't.

But it was
WLCS and WIBR which ruled the airwaves. On AM. One ruling from 910, high over downtown Baton Rouge; the other counterattacking at 1300, nestled amid the sugarcane fields of Port Allen, just across the Mississippi River.

It was kind of like the Cold War, only in a sleepy Southern capital and with burgeoning arsenals of records, T-shirts and bumper stickers instead of hydrogen bombs.

"We will bury you!" thundered Joe London and B.Z. "You'll never make it past the Prize Patrol," smirked Chucker and Scotty Drake.

AND THE YOUTH of Red Stick lined up behind their leaders, pledging allegiance to one radio ideology or another -- that of the Big Win 910 or its mortal enemy, Radio 13.

Some non-aligned parties looked on from afar, ganging a bong . . . er,
banging a gong over at 'FMF -- Loose Radio -- but they still had their Top-40 leanings, left and right side of the dial.

Mutually Assured Top-40 Destruction brought a certain stability to teen-age society. Had for decades. We thought it would last forever, and the biggest worry in the world would continue to be that your future children of the groove might someday defect to Them, whichever station was Them to your Us.


WE WERE wrong. Just like we were about being forever young, eternally slim and always having a full head of hair.

Today in Baton Rouge, the only thing to be heard at
AM 91 or Radio 13 is . . . nothing. Maybe some static. Maybe -- after the sun goes down and the tree frogs begin their bayou serenade -- you'll hear a station from far away riding in on the Ionosphere Trail.

High above downtown, somebody else inhabits Suite 2420 of One American Place, if that's still what they call that particular high-rise that once was the home of
'LCS.

Over in the Port Allen canefield, a ways down Lafton Lane, the old WIBR is a ghost studio with a busted satellite dish and dead towers. A vine runs across the peeling paint of a fading sign.

IT REMINDS me of a Walker Percy novel. Specifically, Love in the Ruins, the tale of a time near the end of the world. Well . . . at least our particular one.
At first glance all seems normal hereabouts. But a sharp eye might notice one or two things amiss. For one thing, the inner lanes of the interstate, the ones ordinarily used for passing, are in disrepair. The tar strips are broken. A lichen grows in the oil stain. Young mimosas sprout on the shoulders.

For another thing, there is something wrong with the motel. The roof tiles are broken. The swimming pool is an opaque jade green, a bad color for pools. A large turtle suns himself on the diving board, which is broken and slanted into the water. Two cars are parked in the near lot, a rusty Cadillac and an Impala convertible with vines sprouting through its rotting top.

The cars and the shopping center were burnt out during the Christmas riot five years ago. The motel, though not burned, was abandoned and its room inhabited first by lovers, then by bums, and finally by the native denizens of the swamp, dirt daubers, moccasins, screech owls, and raccoons.

I
n recent months the vines have begun to sprout in earnest. Possum grape festoons Rexall Drugs yonder in the plaza. Scuppernong all but conceals the A & P supermarket. Poison ivy has captured the speaker posts in the drive-in movie, making a perfect geometrical forest of short cylindrical trees.

Beyond the glass wall of the motel dining room still hangs the Rotary banner:
Is it the truth?
Is it fair to all concerned?
Will it build goodwill and better friendships?

But the banner is rent, top to bottom, like the temple veil.

The vines began to sprout in earnest a couple of months ago. People do not like to talk about it. For some reason they’d much rather talk about the atrocities that have been occurring ever more often: entire fam
ilies murdered in their beds for no good reason. “The work of a madman!” people exclaim.
PRETTY MUCH, that's radio today. Any kind of common culture today . . . ruins. Covered in vines, surrounded by weeds.

How did it get this way?

The work of a madman!

Madmen, actually. Perfectly sensible-looking, upper-crust ladies and gentlemen in board rooms across the land -- cultured folk prone to fits of business-school jargon about reimbursement packages, shareholder value, efficiencies of scale and "right-sizing." All of them bat-s*** crazy. All of them weapons of mass unemployment.

They are veritable neutron bombs that eliminate the heart and soul and local voices of broadcasting while leaving bricks and mortar relatively intact, ruins to be consumed by flora as tempis fugits and young people grow into old ones.

My memories remain young. Sometimes, 30-something years ago seems like 30-something minutes ago.

I drive north on La. 1. I turn left at a red light. I drive down the road, between the sweet fields of south Louisiana, thinking sweet thoughts about lost youth. I hang another left, a
sharp left, into the gravel parking lot.

And step into the ruins of Radio 13.

Of me.

Of us.

I step into silence where once there was music, and I cannot go home anymore.

Thursday, July 07, 2011

3 Chords & the Truth: Have a nice show


So far, it's been a crappy week.

I don't know about you, but I'm going to my happy place on this episode of the
Big Show. Musically, my happy place -- oddly enough -- is my elementary and junior-high years.

Oddly, because elementary school and junior high were adolescent hell for me. Hated elementary school. Hated junior high. Hated what was a difficult existence at home.

Hated it, hated it, hated it. It's my happy place. This week on 3 Chords & the Truth, it's all about the happy place.

With a little popular insurrection thrown in as teenage drama.

BEFORE YOU call the men with the nets and white coats, let me explain. It's my musical happy place because then, my happiness was on the radio. The Top-40, No. 1, pick-hit, blowtorch, adolescent-escape-pod, AM-by-God radio of the 1970s.

School might be hell and everything absolutely all wrong at home, but the radio always was all right. In Baton Rouge -- where I grew up -- the Big 91,
WLCS, was more than all right.

IN OMAHA, that distinction went to the Mighty 1290,
KOIL.

We start out 3 Chords & the Truth with a middle-age tip o' the hat to those days and those stations . . . and Barry White, who channeled our pubescent thoughts --
only cooler.

Baby.

OF COURSE, WLCS in Baton Rouge, the Mighty 1290 in Omaha, blowtorch Top-40 radio and my youth are all long gone. Of course, I'd like to have them all back -- especially after, as I said, a crappy week.

But the music remains. And I have this here show. We'll make do so that, maybe, you can find your happy place, too.

We're all in this life together, you know.

IT'S 3 Chords & the Truth, y'all. Be there. Aloha.

Friday, January 21, 2011

The Needle Drop Top-40 Record Shop


No, there's no real point to this.

It's just a photo essay, born of fooling around yesterday afternoon and reflecting on my misspent youth. Which, alas, went out about the time turntables did.


Turntables are making a small comeback, though. I suspect radio has a better chance of following in vinyl records' -- and record players' -- footsteps than my lost youth does. And radio's chances lie somewhere between slim and none.


Still, it's nice to remember old friends and good times.


And remember, boys and girls, the only two numbers that matter in life are 33 1/3 and 45.

For true.

Thursday, January 06, 2011

Simply '70s: Stick it and win


If you grew up in Baton Rouge, La., in the 1970s, you just got goose bumps.

And, irrationally, you're hoping the guy from the radio station will see the bumper stickers on your computer screen, stop you and give you a prize.


WIBR (Radio 13), WFMF (Why, oh, why didn't they stick with progressive rock?) and WLCS (the
Big Win 910) . . . we got 'em all covered. For we of a certain age, these stations -- with able assists from WAIL and WBRH (starting in '77) -- provided the soundtrack of our youth.


It was a time when school shootings were unheard of and teenagers did not live by the calendar on their smart phones, which blessedly did not yet exist. I miss those days, and I miss these radio stations.

Even the post-Loose Radio incarnation of 'FMF. But don't tell my friends; that would be so not cool.

Thursday, September 30, 2010

Your Daily '80s: A special 1975 edition


Before there were the 1980s, there were the 1970s.

Here, submitted for your approval, is a big heapin' helpin' of 1975, courtesy of the Big 91,
WLCS, and the pilot of Baton Rouge's afternoon-drive airwaves, Don Simon. Enjoy.

And boogie on, reggae woman.
Or something like that.

Friday, September 10, 2010

3 Chords & the Truth: Nine-10


This is the 3 Chords & the Truth episode of Sept., 10. 9/10, as it were.

I can't do an installment of the Big Show on 9/10 without immediately thinking of the Big Win 910, WLCS . . . the radio station of my adolescence.

Likewise, I can't think of recording 3 Chords & the Truth on 9/10 without doing some sort of tribute to radio's 910. Or at least the only 910 on the radio that matters to me.

So there you go. Now you know where we're going on this week's musical odyssey that we call the Big Show. I've said pretty much what I have to say about WLCS before in this space, so I won't belabor the point.

But I will rerun something I wrote a little more than a year ago, on the occasion of the 25th anniversary of the Big 91's demise. Read on -- and remember . . . it's 3 Chords & the Truth, y'all. Be there. Aloha.


* * *

ONE THING kids today will never know is what it was like to have your own radio station.

Not what it's like to be a bazillionnaire and own your own big-time broadcast outlet but, instead, what it's like to be devoted to a radio station, this hometown entity that plays cool tunes (well, mostly) and becomes your window on a world much, much larger than the hick burg in which you find yourself trapped. Face it, unless you're a kid growing up in New York, L.A. or Chicago, you think where you're from is That Which Must Be Escaped.

And I'll bet L.A. and New York kids probably want to flee to Paris or Rome. Maybe London.

You see, long ago, radio stations were living things. They were staffed by live human beings whose job it was to entertain and enlighten other live human beings. These were called "listeners," something radio has radically fewer of these days.

Oftentimes, way back deah den (as my mom says), people would find one station or another's personalities and music so compelling that the station, in a real sense, became "their" station. Listeners took emotional and figurative ownership.

They listened day and night. They called the DJs on the "request line." (And note, please, this was an era when "DJ" immediately brought to mind a radio studio, not a dance club.)

Listeners went nuts for the contests, whether it was the chance to win $1,000 or just a promotional 45. They'd pick up a station's weekly survey to see where their favorite songs ranked this week.

They'd wake up to the "morning man" and boogie down to the groovy sounds the afternoon drive guy was spinning out through their transistor radios.

Boogie down to the groovy sounds? Ah, screw it. You had to be there.

THE REAL business radio was in back during its second golden age -- the Boomer age of Top-40 AM blowtorches . . . and of laid-back, trippy FM free-form outfits, too -- was the business of making memories. That stations sold some pimple cream while selling even more records was just a happy accident, at least from the perspective of their loyal fans.

Back when the Internet was more like the Inter-what?, radio was the Facebook of its day. It told us about the world . . . and about each other. It served up new music for our consideration.

Likewise, a station's listeners formed the pre-social-networking incarnation of what became Facebook groups and fan pages. In short, between the hits and the ads, between the disc jockeys and the contests, radio was community.

All you needed to join was an eight-transistor job, or maybe a hand-me-down table radio in your bedroom, its tubes glowing orange in the darkness as the magic flowed from its six-inch loudspeaker.

AT ITS BEST, radio comforted the afflicted, afflicted the comfortable, lifted downcast spirits, was a friend to the lonely and provided the soundtrack for the times of our lives. To this day, I can hear a song and immediately think "WLCS, 1975," or "WTIX, summer on the Petite Amite River, 1972."

And every early December, my mind will drift back to a late night in 1980 when I was studying for finals at Louisiana State, with my head in a book and WFMF on the stereo. Bad news through the headphones, and -- at least for my generation -- "something touched us deep inside."

It was the Day the Music Died. Again.

Tonight my mind drifts back to Aug. 31, 1984. That was the night a close friend passed into that good night of blessed memory.

That night, the Big 91, WLCS, played its last Top-40 hit and left the Baton Rouge airwaves for its new home in the youthful memories of aging teen-agers like myself. Two-and-a-half decades later, it just doesn't seem right that it's gone.

OF COURSE, lots of things don't seem right nowadays.

That WLCS isn't there anymore -- hasn't been there for more than a generation -- is just one of them in the mind of one Boomer kid from a middling city in the Deep South. You can read about why that is here.

But a couple-odd decades in retrospect, it seems to me that Aug. 31, 1984, was in a way about as profound as the deaths of Buddy Holly and John Lennon -- the intangible end of something we still haven't quite gotten our minds (or our culture) around.

It's not that the actual deaths of Holly or Lennon, or of the "Big Win 910," precipitated some sort of musical or cultural cataclysm in themselves. It's just that things were happening.

And being that things were happening that more or less coincided with each instance of "bad news on the doorstep," it's handy to use these events as markers.

For me, the demise of WLCS -- and the deaths of many stations that were nothing if not actual life forces in their own cultural rights -- signals The Great Unraveling.

The unraveling of a common culture is what I'm getting at, I guess.

Lookit. As much as we kids claimed stations like 'LCS as our own, we can't forget that many of our parents listened, too. Or that Top-40 radio of old played what was big, period -- be that Jefferson Airplane or Frank Sinatra. Because of WLCS, I think I could comprehend more than my own little world of teen-age angst and teen-age fads.

And it's why I feel just as comfortable with Andy Williams and Tony Bennett -- and, yes, Ol' Blue Eyes -- as I do with (ahem) "harder" fare. My world is bigger, richer, more diverse because of a 1,000-watt AM station in a midsized Southern state capital too often prone to calling too much in life "good enough for government work."

Thank God, that couldn't often describe the Big 91.

And because "good enough" wasn't often good enough at WLCS -- because the men and women who worked there just did what they did and did it well -- I owe its memory more than I can repay.

If, after these 25 years, somebody were to require that I pen an epitaph for my long-dead friend, I'd write just this: WLCS played the hits.

Saturday, July 31, 2010

And if you liked that. . . .





Hey, if you're going gaga for old Baton Rouge TV commercials for stuff that ain't dere no more -- and you know who you are -- I think you'll really freak for this thing on the Internets, Gene Nelson's Podcast.

What's not to love about hours of vintage top-40 radio from the Big 91, WLCS. Which, of course, ain't dere no more. Hasn't been for 26 years.


I LOVED that station. And I may have written about it previously.

I wonder what's being burned into the brains of young people today -- what memories, or old sights, or old sounds will instantly take them back to this present when it's long past in some uncertain future.

What is it they take for granted today that will tomorrow become a touchstone . . . a glimpse into an increasingly murky mind's-eye vision of who they were?

I don't know. Neither do they.

Me, I have my old memories. And the sights and sounds of what helped make me who I am today -- God help us all.

Been there. Done that. And I can log onto Café Press and make the T-shirt.

Monday, April 12, 2010

'Sweet' sign at the supermarket


Here's the deal. It's always yesterday somewhere.

And in the parking lot of the Peony Park Hy-Vee in Omaha, you still can party like it's 1999 -- at least judging by the vintage Sweet 98 radio station and "Gary Coleman Has a Posse" stickers on the back of a sign there.

If you've been in Omaha a while, you certainly remember Sweet 98, which reigned as the undisputed champion of FM radio here for a couple of decades.


NOW, IF YOU'RE new to town or happen to be under 20, you would be one of the few people who don't still call KQKQ radio "Sweet 98," even though it changed format and name six years ago. For your edification, that previous incarnation of Q 98 Five played all the hits, had all the great contests and enjoyed the undying loyalty of every teenybopper in eastern Nebraska (and some of their parents, too).

It goes without saying that -- like the vintage bumper sticker there in the Hy-Vee parking lot -- was back when teenyboppers still listened to the radio. Which, of course, was back when radio was the picture of health and the iPod hadn't come out yet.

Back in the day, however, Sweet 98 was a hell of a station . . . if Top-40 was your thing. It inherited the mantle of "king of the teen-age hipsters" from the previous Omaha Top-40 powerhouse, "the Mighty 1290" KOIL (always said as "coil").

Always.

KOIL reigned from the late '50s through most of the '70s, but difficulties with the Federal Communications Commission knocked it down -- even off the air for about six months -- and then when "Sweet" came along in 1980, that was that, forever and amen.

I'm not from here, and my glory days were in the '70s, not the '80s, but I understand how it is. Sweet 98 was to KOIL here what KOIL was to WLCS, which wasn't in Omaha, but instead in Baton Rouge, La., where I grew up. Are you following me here?

IN OTHER WORDS, when I was a kid,
"the Big Win 910", was like KOIL, which was like Sweet 98, except that 'LCS got knocked off by WFMF, not KQKQ. Get it?

Whatever. If you're from my neck of the woods, and you still miss WLCS, go to the Big Win 910 CafePress shop and buy one of my shirts. Poppa needs a MacBook, OK?

They call this "full disclosure," I think.

But what we're really talking about here is sainted memory, isn't it? The little things long gone and -- objectively -- of little import, but which mean the world to me. And you. And everybody.

Usually, these things live on only in our hearts and minds. But sometimes . . . sometimes . . . they hang on and hold out -- kind of like those long-ago Japanese soldiers deep in the jungle on an island somewhere in the South Pacific, still fighting a war that ended long before, fighting on simply because no one told them it was over.

Obviously, not many people -- OK . . . no one, actually -- would mistake the parking lot at 78th and Cass for deepest, darkest New Guinea. But there, Sweet 98 holds out, ambushing unsuspecting grocery shoppers with promises of "Today's Hit Music."

Trying to win a brutal Top-40 ratings war that, for the rest of the world, is nothing more than a distant memory. A "sweet" memory of a time when radio mattered, and kids still listened.

Monday, August 31, 2009

The day the music died


One thing kids today will never know is what it was like to have your own radio station.


Not what it's like to be a bazillionnaire and own your own big-time broadcast outlet but, instead, what it's like to be devoted to a radio station, this hometown entity that plays cool tunes (well, mostly) and becomes your window on a world much, much larger than the hick burg in which you find yourself trapped. Face it, unless you're a kid growing up in New York, L.A. or Chicago, you think where you're from is That Which Must Be Escaped.

And I'll bet L.A. and New York kids probably want to flee to Paris or Rome. Maybe London.

You see, long ago, radio stations were living things. They were staffed by live human beings whose job it was to entertain and enlighten other live human beings. These were called "listeners," something radio has radically fewer of these days.

Oftentimes, way back deah den (as my mom says), people would find one station or another's personalities and music so compelling that the station, in a real sense, became "their" station. Listeners took emotional and figurative ownership.

They listened day and night. They called the DJs on the "request line." (And note, please, this was an era when "DJ" immediately brought to mind a radio studio, not a dance club.)

Listeners went nuts for the contests, whether it was the chance to win $1,000 or just a promotional 45. They'd pick up a station's weekly survey to see where their favorite songs ranked this week.

They'd wake up to the "morning man" and boogie down to the groovy sounds the afternoon drive guy was spinning out through their transistor radios.

Boogie down to the groovy sounds? Ah, screw it. You had to be there.

THE REAL business radio was in back during its second golden age -- the Boomer age of Top-40 AM blowtorches . . . and of laid-back, trippy FM free-form outfits, too -- was the business of making memories. That stations sold some pimple cream while selling even more records was just a happy accident, at least from the perspective of their loyal fans.

Back when the Internet was more like the Inter-what?, radio was the Facebook of its day. It told us about the world . . . and about each other. It served up new music for our consideration.

Likewise, a station's listeners formed the pre-social-networking incarnation of what became Facebook groups and fan pages. In short, between the hits and the ads, between the disc jockeys and the contests, radio was community.

All you needed to join was an eight-transistor job, or maybe a hand-me-down table radio in your bedroom, its tubes glowing orange in the darkness as the magic flowed from its six-inch loudspeaker.

AT ITS BEST, radio comforted the afflicted, afflicted the comfortable, lifted downcast spirits, was a friend to the lonely and provided the soundtrack for the times of our lives. To this day, I can hear a song and immediately think "WLCS, 1975," or "WTIX, summer on the Petite Amite River, 1972."

And every early December, my mind will drift back to a late night in 1980 when I was studying for finals at Louisiana State, with my head in a book and WFMF on the stereo. Bad news through the headphones, and -- at least for my generation -- "something touched us deep inside."

It was the Day the Music Died. Again.

Tonight my mind drifts back to Aug. 31, 1984. That was the night a close friend passed into that good night of blessed memory.

That night, the Big 91, WLCS, played its last Top-40 hit and left the Baton Rouge airwaves for its new home in the youthful memories of aging teen-agers like myself. Two-and-a-half decades later, it just doesn't seem right that it's gone.

OF COURSE, lots of things don't seem right nowadays.

That WLCS isn't there anymore -- hasn't been there for more than a generation -- is just one of them in the mind of one Boomer kid from a middling city in the Deep South. You can read about why that is here.

But a couple-odd decades in retrospect, it seems to me that Aug. 31, 1984, was in a way about as profound as the deaths of Buddy Holly and John Lennon -- the intangible end of something we still haven't quite gotten our minds (or our culture) around.

It's not that the actual deaths of Holly or Lennon, or of the "Big Win 910," precipitated some sort of musical or cultural cataclysm in themselves. It's just that things were happening.

And being that things were happening that more or less coincided with each instance of "bad news on the doorstep," it's handy to use these events as markers.

For me, the demise of WLCS -- and the deaths of many stations that were nothing if not actual life forces in their own cultural rights -- signals The Great Unraveling.

The unraveling of a common culture is what I'm getting at, I guess.

Lookit. As much as we kids claimed stations like 'LCS as our own, we can't forget that many of our parents listened, too. Or that Top-40 radio of old played what was big, period -- be that Jefferson Airplane or Frank Sinatra. Because of WLCS, I think I could comprehend more than my own little world of teen-age angst and teen-age fads.

And it's why I feel just as comfortable with Andy Williams and Tony Bennett -- and, yes, Ol' Blue Eyes -- as I do with (ahem) "harder" fare. My world is bigger, richer, more diverse because of a 1,000-watt AM station in a midsized Southern state capital too often prone to calling too much in life "good enough for government work."

Thank God, that couldn't often describe the Big 91.

And because "good enough" wasn't often good enough at WLCS -- because the men and women who worked there just did what they did and did it well -- I owe its memory more than I can repay.

If, after these 25 years, somebody were to require that I pen an epitaph for my long-dead friend, I'd write just this: WLCS played the hits.