Toronto Mike'd: The Official Toronto Mike Podcast - Scot Turner: Toronto Mike'd #102

Episode Date: December 17, 2014

Mike chats with Spirit of Radio Sunday host Scot Turner about his many years on CFNY and Energy 108, what's next for Spirit of Radio Sunday on Edge 102 and why he keeps changing the spelling of his name.

Welcome to episode 102 of Toronto Mic'd, a weekly podcast about anything and everything, often with a distinctly Toronto flavour. I'm Mike from torontomic.com and joining me this week is Scott Turner from Spirit of Radio Sunday on 102.1 The Edge. Hello, hello. I like your 102. Nicely done. Yeah, normally I would say like my 102nd episode, but then I realized, nah, man, this is the episode 102. 102, yeah. I like it.

And if we do another like short one after, I can call it 102.1. We'll have to do that, yeah. The marketing department had a meeting with me this morning and they want more of that so you know i think uh strombo wanted episode 102 i don't know if you saw that on twitter no no he was asking for 102 and i've given it to you oh thank you you know bless you uh you came very highly recommended so so CFNY, you were there. You were there.

I got my notes. It says 84 to 92. Does that sound right? That is correct. 84 to 92. So how did you end up at CFNY 102? I was lucky enough to be down the hall. So there was a way in.

And I, you know, back years ago, listening to the station, I started, you know, I picked up on the station around 77 and started to listen and became a fan, of course. And at the time, I was very interested in radio. In fact, I think I was taking radio at Humber College and I was like, I want to be in radio. And my earliest dreams of being in radio was Chum FM when they were Progressive Rock, which was like early 70s, I think. And they had like Pete and Geetz there. Yeah, that's right. Yeah. And David Marsden, of course.

Yes. And people like that. And it was like, wow, this is cool. And when I heard CFNY, it was like just absolutely life changing. It really was. And when you're, you know, at that age and being influenced by music and it just was your world right it was like oh my god this station is fantastic this stuff i've never heard before so from that point it was uh i need to work at this station it doesn't have to have doesn't have to happen right away but that was a long-term goal and a focus i never never

let go of and um so it started off you know taking a course at humber and then getting into some smaller stations and uh interestingly uh cfny had an am station which conveniently was down the hall okay is this like chick or something or am i closer originally was yeah which is bizarre people if you want to Google the stories, it's fantastic. It was actually an all-girls station at one point, but CFNY had an AM station, and it was CHIC. And this is like a Brampton, still Brampton station? Yeah. Okay, okay.

But it did change. They did change the format and some owners, and at the time I worked down the hall, it was CKMW. And MW, this is AM, CKMW, gives you an. This is AM. CKMW. Gives you an idea of my age. CKMW for Metro West. Okay. Okay?

So I worked down the hall. But the other weird thing at the time was they had split ownership. So the AM, even though they were in the same building, this story is getting really long, I know. No, no. This is the CFNY stuff. You'll be surprised. Guys my age, they hear about the legend. I was a little too young to appreciate the early 80s CFNY.

I was too busy with the Tom Rivers on 680. Yeah. Oh, fair enough. Yeah. I got to hear my top 40, Wham and Madonna and all that shit. Exactly, yeah. But yeah, no, I want to hear this. So, yeah, so there was an AM station, and at one time they were the same owners, but they changed ownership, but out of

convenience, they were still in the same space, which was above, it was a plaza on 83 Kennedy Road South. So, it's in this plaza, there's an AM, there's an FM, I'm down the hall at the AM, and trying to find my way into CFNY. So, brilliantly, like it was the same complex, different owners, but I kept walking down the hall and being seen and hello and, you know, dropping off demo tapes, that kind of thing. You were persistent. Yeah. And getting to know different people down the hallway. And they were like, you know, I was this kid, of course. And there was like, hey, this kid, we got

to get this kid in. So I had people helping me. And I just, you know, it was just persistence. And eventually at some point, you know, David Marsden in the hallway went, oh, Scott, Scott, I got your demo. Yeah. Hey, listen, what are you doing this weekend kind of thing? It was like, oh, why? Why? He said, I want you to fill in. You know, and it was like, it just went from there.

It was fantastic. And it was like, thank you. Hey, before we even proceed, I'm going to play like a 30-second clip. I'm going to just play it cold here. Here we go, 30 seconds. Department of things you plug into the wall regrets to announce that this coming Super Bowl Sunday, your TV set will be on the fritz. What?

Coincidentally, CFNY's Department of Stuff You Hear in the Air Sundays at 1 p.m. is pleased to announce a Super Bowl Sunday Music Magazine All-Star Sports Special. Scott Turner will call the big shots of the sports world, talk about game predictions, play their requests, and some other sports-related music. Super Bowl Sunday Music Magazine All-Star Sports Special, beginning at 1 p.m., following which we'll send someone over to fix your TV, really.

Oh, my God, where did you get that? That's fantastic. Yeah, there's an album I was sent by Steve, who works at The Rock right now, and they put together some kind of a spirit of radio reunion compilation. Wow. I have more. Later, if you're in the mood,

I got like two and a half minutes of you on the air back in the day. That is funny because first of all, the first thing that struck me is I know nothing about football and I'm not a fan of football. I love my Raptors and my Leafs and certain sports, but...

No, you're like me. I quit football. I don't, yeah. Interesting. But I watch a lot. Like I watch a lot of Raptors, a lot of Leafs, a lot of Blueors a lot of leaks yeah a lot of blue jays but there was a show sunday music magazine i think was that the title because that's what

that's as far as i remember it was sunday music magazine anyway yeah i did that show and it was a lot of fun and a lot of work but i don't remember i think that was just they were just joking around i think sure in terms of you know well in the venn diagram yeah in the venn diagram of sports super bowl versus uh cfny i'm thinking you had all the non-sports fans tuning in. That's, well, probably, yeah. Yeah, I do remember. That was a lot of fun doing that show. Tell me a bit about David Marsden.

I had the pleasure of, I had a good chat with him recently for the, and I want to talk about this later, but a Martin Streak retrospective I was putting together. And I talked to David. He's actually airing his final, I understand next weekend, he airs his final terrestrial radio show on The Rock in Oshawa. And he's going towards this, I think it's $5.99 a month, I think, but it's like a streaming service, customized David Marsden. I don't know. NY the Spirit.

NY the Spirit, there you go. So what was it like working for Marsden? Well, incredible. First of all, he's working for somebody you look up to so much, and he's an icon and this legend, and I don't use that word lightly. He really was in the radio industry. And, of course, my memory goes back to hearing him on Chum FM and being, wow, you know, this guy.

And then when I heard him actually on CFNY, I was like, oh, my God, this guy works at this amazing station. And then, you know, meeting guy. And then when I heard him actually on CFNY, I was like, oh my God, this guy works at this amazing station. And then, you know, meeting him and he's such a gentleman. He is such a creative guy, creative spirit. And he's, there is a presence about the man that to this day, when you sit down and talk to him or when he's in a room, he's just commanding.

He just has this energy about him, which is fantastic. Very knowledgeable. He's just got the kind of the creativeness that a lot of people like myself in the radio business that are music heads just connect with because he's a music person. He's a businessman on one side. You know, he was my boss. You know, he's running this radio station. But he never lost that connection, you know, that ground roots connection to the music and being creative and doing something unusual and different. And, you know, I learned a million things from him. Learned a million things from him.

I mean, we have a mutual friend, Fred Patterson, who we talk at length about these days. And he speaks about these CFNY days as Marsden. These were the highlights of his professional career. And he just glows when he talks about these times. He talks about David Marsden would give you sort of the freedom to try different things, to experiment and be different. And you got to experiment and be different. And you got to choose your own music. Is this right?

A very unique time. And I think if you're going to put it down to one thing that as DJs, we could choose from the library. There was a very sort of a template, a guideline, if you will. So you had a music sheet that had, here's, you know, there's like 12. So you had to take something off the sheet? Is that, so you couldn't, you had to take something from a very large list? No, no, it was blank. It was completely blank, you know, but it did say, you know, on the sheet, and I'll be straight and honest with you, there was, you filled in the songs, you selected the songs. However, there was, you know, there had to be some assemblance to a guideline because truly if we all did left to our own devices, it would be all over the map. But there had to be some sort of format to it.

So there would be these things, these strange things like a double purple dot. We had some, and these were records at the first before we went to the CDs. There were records on the back of the records. All the tracks were open for play. But some were marked with two purple dots and some were marked with single purple dots. The double purple dot was the big hit. Now that doesn't mean it was a, you know, cheesy top 40 style hit. It would be like the bigger hit off the record, for example. And then the single dots were sort of either, you know, secondary tracks or singles or choice picks by the music department. You were still open to choose other tracks on the album, but you had to choose.

And I think there were, if memory serves me, I believe there were two double purple dots you had to play an hour. And these are all great tracks anyway, right? And then there'd be like a one or two. That would be like, I don't know, Chalk Circles, April Fool or whatever. Would be like a double. Yeah, exactly. So and then there'd be like a one or two. That would be like, I don't know, chalk circles, April Fool or whatever. Would be like a double. Yeah, exactly. So and then there'd be the single purple dots. As long as you got a couple of those in and you know your quota, the rest was open up to you to go anywhere in the library.

Cool, yeah, and I hadn't heard that. That's very cool. I did hear though because I had Alan Cross in here and he tells me at some point they were going to get rid of all the records in the throw them out or whatever and he rented a truck or something. He teaved them. Yeah, he says he's got them all hence you got now you got like adventures in vinyl and all this because he's got a lot of records from thank god he's back working for the station again because we've been able to rebuild the library and well that's probably why

you had to bring him back uh he had all the records the reason oh and alan was nothing to do with your talents it was just because you had the stuff and we needed them again. Now, we really, unfortunately, over the years, as years pass, the story I tell is it's like having stuff in your garage and you're looking at it

and you're going, when am I ever going to use this again? And it gets to a certain point where you go, let's just toss it. And the moment you do that, the next day a neighbor will come over and go hey yeah yeah mike have you got that you know the rotor with the thing and oh my god i just threw it out last week that's good and i think that's what kind of happened with some of the music that uh over the years they just weren't using it and then they tossed a lot of it so we've been rebuilding the library as we speak thank you alan

yeah well that's alan be a big part of that it sounded like he literally like rented a u-haul truck or something the way he told the story it's too good to be true like it's one of those amazing you gotta make a movie about this it's a funny thing and then you know people like yeah go ahead you know now and that's the funny thing about what's um you know useful now you know at one time everybody was getting rid of their vinyl at a certain point. It was like, really? Really? Let's get rid of this. And then just in the last five years, there was just this turn

again. It was like, vinyl is absolutely cool again. And there are people regretting what they threw away. And I think that there's a point where things are like, yeah, I'm not going to use this. But if you wait long enough, it's like clothes that's well i'm holding on to my i got the star wars trilogy the widescreen edition on vhs you never know when vhs will make a comeback it's

true you never know i'm holding on i'm holding on to a lot of crappy i recorded the like the last game at exhibition stadium that the jays played a lot of that last game at maybelline gardens i got all this crap on vhs somewhere i'm holding on to it good played. Did you really? A lot of that last game at Maple Leaf Gardens. I got all this crap on VHS somewhere. I'm holding on to it. Good for you. Good for you. One day. I keep a lot of stuff too, embarrassingly.

I just wish I owned a VCR. That would be helpful. But this is a list of shows I'm told that you either created it and hosted it or you co-hosted it. But live in Toronto, the Thursday 30, Sunday Music Magazine, Beats Per Minute, Friday Night High, and Nightly Music Magazine. A lot. And what it was, I was what was called, believe it or not, I had this title, get ready for

it, I was the Director of Foreground Programming for CFNY. I was the director of foreground programming for CFNY. So without getting into a long story and complicated, there was a time in FM radio where you had to have so many hours of foreground. I'll try to make this interesting. You had to have so many hours of foreground and spoken word. This was an FM regulation at one time. I forget where they threw it out. It was 86 or something like that.

So foreground meant, and mosaic. So there's foreground and mosaic programming. So what you had to have X number of hours per week, where you had to have a show, perhaps like this podcast, where you had to discuss a subject, and you might have music in it, and it all had to relate to a certain subject for a certain... So say it was an hour, for example. And all the music had to relate to it, and you couldn't give the weather,

you couldn't do a time check, so there couldn't be any surveillance, is what they called. So a mosaic program would be like Sunday Music Magazine or Live in Toronto. So you had to have so many hours of that a week. And there had to be so many hours of spoken word. So a Live in Toronto program, we would have music. So maybe we would have 40 minutes of music. We would have eight minutes of commercials. The rest would be talk. And that would count so many hours of talk. And the news and the week would all. So you had to have those things in FM radio. You don't anymore, but you did at the time.

So they needed someone to sort of organize those programs, and that was me, and so I had to come up with all these programs because we had so many hours to fill with this stuff. But you had to make it, the trick was making it interesting. So, you know, Friday Night High, believe it or not, was a Mosaic program. Live in Toronto was, Sunday Music magazine. What else was there? BPM? the side of music that was more, I don't want to say, you know, the Depeche Modes,

the New Orders, but there was this whole other branch of music that was starting, especially in the late 80s into the 90s where electronic music was really taking off. Right. That's a whole other story.

However, so yeah, that was the, that's where those shows, that was the impetus of those shows. That's where they came from. Some of them were actually not bad. Which was your favorite? Well, Live in Toronto, probably. That one I rememberetus of those shows. That's where they came from. Some of them were actually not bad. Which was your favorite? Well, Live in Toronto, probably.

That one I remember the best of that. Well, other than the Thursday 30, that would be the... Thursday 30 lasted, I think it was one of the longest running programs on the station. So they don't have any more? No. When did it? Not many years ago. I think maybe, correct me somebody, maybe five years ago.

Because Laurie Ann was, I know she left the station. Well, there were a lot of different hosts over the years. But it was a very successful program. And the story behind that, very quickly, on Thursday 30, is I proposed doing this show. And I thought, okay, we're going to get in big trouble here because it's a countdown show, which is sort of anti-alternative. Yeah, it's a little Dick Clark-ish or whatever. Yeah, how are we going to do it?

You know, Casey Kasem, I guess. But I was frustrated because why can't we? Because we're playing different music than most people, but there's favorites. We obviously get requests and people have their favorites. We have the Video Roadshow and people request. So it would be nice to have a nice, neat little list of the best songs each week. So I thought, we need to have that. But they're all going to be cool, unique, different songs.

So that's how it started. But the reason we call it the Thursday 30 was because we didn't want to use the term 40, top 40, in any which way. So that's where the 30 came from. And then you had alliteration. Now you've got 30, you've got to find the alliteration. Oh, it's going to be Thursday. That was it. And then the third part, it was because I was doing evenings and I wanted the show for

myself because I knew it was going to be a rating success. Sure, of course. Which it was. So that was that. Yeah, especially back then. You know, how else do you find out sort of what's hot? Yeah. And live in Toronto, there was Ivor and I started it.

It was, I think, started as a 15 or 20 minute. Then it was a half hour. Then it went to an hour um may potts and i did the show and it went on to various hosts after that and you know i kept going for so many years so i was really happy about live in toronto the life it had because it was all about what's happening in toronto the shows concerts um and we would you know lead off with the concert announcement and play some new tracks. It was just, loved doing that show. At some point, the Thursday 30,

after you had left the station, but we'll get to that in a minute, but at some point, Martin Streak becomes the host of the Thursday 30. Yeah. And I'm sorry now that I didn't actually reach out to you earlier when I was putting together the Martin Streak on the fifth anniversary of his death, but how well did you know Martin and do you have

any, if you could share some memories of Martin the Streak? First thing that always comes to mind is his passion for the music, the passion for the radio station, which we all had, but he had it, you know, like no other. He just lived it. He was part of the station. And the other memories are the video roadshow. That's where I first met him because he pretty much ran it along with Ivor Hamilton, the music director, and he was just a riot. It's so much fun um he was a really he was that road show in many ways uh he always made it fun he always uh had a crazy dance he always had a funny video to show in between the videos you know before youtube he was you know playing right funny little videos and he was just a character just a lot of fun a great character and he just had a huge huge passion for the station and and

really wanted to you know have an on-air gig. I think he started a junior and just wanted, I want to be on the air someday, which he got that wish, so I was really happy to see that. And a tragedy in the end, but he had a long gig, as we say in radio. He lasted a very long time, and it's tough in this business to

stay at one station for any given length of time but he had a long long run it just i think it was in the end i i think it really um emotionally was a lot too much to handle for him in some ways and we could talk forever about you know when somebody gets to that point in their life, the various things that take you to that point. But I believe that the station was part of it. Him not being there was just, it was such a big part of his life. I think that was a tough thing to handle. Well, back to Alan Cross, he actually spoke on that very topic about how sometimes people sort of have trouble separating, and I'm kind of paraphrasing here but separating their identity from the identity of their like on-air persona and see because i understand he literally had a tattoo of the

station on his butt yep i never saw i told david i told dave mars this story he had no idea i don't know if he was just pretending he didn't know but he told me he had no idea but uh i've heard now i've interviewed enough people about martin so it's definitely got to be true at this point apparently it's a true story i mean that was it was it was the fabric of who he was because he had other opportunities i mean i don't know if you had any contact with him uh post being being let go from the station not much really uh you know after um i was no longer at the station and you know he continued on i i was just so busy with other projects i you know after um i was no longer at the station and you know he continued on i i was just so busy with other projects i you know i wasn't very good at keeping in touch with a number

of people after that um but occasionally we'd run into each other but an amazing amazing guy yeah that sounds like he had massive passion for the music huge in the station just larger than life yeah yeah he really was that. You know, you hear stories about people that really, that their life, you know, revolved, and they lived so much part of a particular vocation or career or whatever their passion was. They were so much a part of it. Right.

And some people could criticize that maybe you shouldn't, you know, get get too too much involved in any one sort of aspect of your life but i don't you know in in the is it creative person it's hard to tell a creative person like you know or shut that off right right right you're spending too much time with that it's how do you tell somebody that uh they're driven by a passion so strongly, right? That's who he was. Absolutely. Now, I can't even proceed in this discussion until we talk about your name for a moment here. Because I remember this distinctly. S-K-O-T was the spelling of Scott.

Yeah. Oh, boy. But then when I rediscovered, I don't know, at some point, maybe it was with the Spirit of Radio Sunday or something, I would see your name in press releases and stuff as S-C-O-T. So tell me, why was it ever... First of all, is Scott your real name?

Yeah, it actually is. It is Scott, and it legally is Scott with two Ts. So, as I proudly remind my mother of that, because she was like, why are you spelling your name like that? And then I changed it again. So, you know what it is? It's like when Prince had that symbol.

Of course. I feel like when I had my name with S-K-O-T and then I changed it to S-C-O-T, that I feel like Prince. And I was like, why was I doing that? But the story behind it, it actually, because it's not a very interesting one, but I'll tell you the story anyway.

Tell me anyway. Back when the earlier days when I was working at CFNY, there was another Scott. I think there were two other Scotts. There was a Scott Ferguson, I believe, and a James Scott. And somewhere in our music sheets or when we filled things out to differentiate,

somewhere along the line. It was actually David Marsden, I think, suggested it. He said, why don't you spell your name with a K? And of course, at that time, everything was being cool and creative. I'm like, yeah. That's different. I want to be different. Yeah, okay.

That's so cool. And it looked cool. Sure. I'm like, yeah. And so that's what I did. And that went on for a long time. And then the other stupid part is I went to a numerologist once. Okay.

This is a true story. Let's hear it. It's really dumb. A numerologist. Because I was into stuff like that, metaphysics and astrology and all these different things. And the numerologist did this full chart. And she was really good at it. And there's a lot to it.

I really believe at it. And there's a lot to it. I really believe in it. And she did my birth date and this and then my calendar and my birth sign and everything. And then she came back to me. You should spell your name like this because the C should be open for communication. And I'm like, sure. Now, I totally bought it. I don't know

if she was just making it up or not. That's funny. So there I changed it to C-O-T with one T. Why not? Because she felt that based on the numerology chart, see, I told you it was an interesting story, that the letters, it had to be one less letter in my name. And that's where that came from.

And your mom would be happy because you're inching closer to your birth name. You're only one character off. So it kind of stuck. I feel now it's too late to go back, but I'm somewhat embarrassed by it, but what the hell. I guess the other thing is

that I come from a Scottish background. My parents were Scottish, so I thought SCOT. Oh, that's kind of, you know, for Scotland, Scotland only has one T, so yeah, okay, I'll take that. Cool. So, you know, whatever.

So do you make a lot of decisions based on numerologists? I'm just curious. Thankfully, no. Any investment advice coming from them? No, I think the Leafs do now, though. know, whatever. So do you make a lot of decisions based on numerologists? I'm just curious. Thankfully, no. Any investment advice coming from them? No, I think the Leafs do now, though. Oh, yeah. They've got that guy.

They've got some guy doing all the stats. Analytics. Yeah. They did a bunch of analytics. They jumped on the analytics bandwagon there. Maybe there's something there, but no, I don't. Well, we are. If the season ends today, we're in the playoffs.

So that's an improvement. That's a good way of looking at it. Yeah. In the summer, I don't know if actually it was a summer, but back in 1989, the station CFNY gets bought by McLean Hunter. And there's like, I don't want to call it a mutiny or whatever, but the story I keep hearing is Danny Elwell on air reads a resignation letter and quits on air. Who does that? That's amazing. That's pretty cool. Yeah. Oh, absolutely.

That's famous. And good for her. And again, there's an example of how involved and how passionate people were about the station. And it meant so much. And we were so involved. And it was such a unique station. That's part of the legend of the story.

Because radio, at the time, there weren't a lot of radio stations like that. And it just doesn't happen anymore where people get, there are a few cases and it's very unique. But generally, radio stations are programmed and they're programmed. Very programmed. Yeah. The DJs, announcers have very little say in the music that's being played sometimes that's a good thing but um it's just different and um it was a very very different time and you know it's the music uh that the station um broke there's so many artists that um got their start

on the station and the support you know of the greater toronto area area southern new york who who made a lot of bands where southern ontario western new york made a lot of bands got their first start and their first success you know in this region um partly because of the station but the listeners are a key part of it because I think there's really something special about Toronto and their their passion and love for music and and taking on new music not being afraid to listen to new things and going out to the shows and all those things a lot of bands that played here and um you know got traction here before anywhere else well you uh you stuck around beyond this 89 upheaval. Yes.

Okay. Yeah, for a little while. I mean, you could see that things were changing and that... Is Marsden leaves in 89? Is he probably... No, I think it was he... He had already left? Yeah, he stepped aside to allow Don Burns to be program director. And I think it was around 87-ish.

And David stayed on as an operations manager at at one point he did eventually leave and he went to vancouver to start uh coast 1480 or i forget the name of the radio station it was an actual am station where he kind of did the same thing he was doing at cfny but it was an am station so that was a really tough thing with am radio at the time. But yeah, I stuck on until about 92. But you could see that things were starting to change. And this is essentially, I don't know, I don't see the books or whatever,

but I guess they felt like they needed to make more money or this is all like, I don't know. I think that pressure was always there. Sure. It just became bigger and bigger as FM radio became a bigger and bigger entity. And more and more money was being made by FM. When FM first started out, they didn't even pay attention to what was going on. It was like the guys down the hall from the AMs.

And it's like, you guys, whatever you want, play whatever you want. They weren't making any, they didn't care. And then years on, became such a moneymaker for companies. And, you know, the corporate side of radio was starting to change. And I think, you know, there was only going to be so long where they'd really truly allow the DJs to really, you know, have all their hands over the music and that. So that's naturally started to change. And slowly, bit by bit, they began to pull away, you know, the rights and what you could play and, of course, the playlist. The narrows. Yeah, what you could choose from started to shrink. And it was just, you know, it was sort of a natural evolution of the way things change.

You know, that being said, you know, the station still played music that nobody else played. They still, you know, kept along the way of modern rock and still supported and launched and played music that nobody else played. So that did stay. But some things did change. And certainly, you know, the being able to play what you wanted, you know, came to an end. Yeah. And I mentioned, I think it was off air actually that i mentioned

episode 100 was humble and fred and we talked uh we talked about you briefly because i mentioned you were going to be episode 102 so fred uh reminded me actually i knew already but we discussed how uh i guess the humble and fred i guess are created in 89, I think. And at some point, very shortly thereafter, Howard gets a job. He leaves for 99.9. So Howard quits his job at CFNY. And now Fred is without a morning show co-host. And he tells me they bring in Scott Turner and I think May Potts, I think, was the third. But I think you were doing the morning show.

So, yeah, you know, as I remember it, and I believe from what I thought that, and maybe I have it right, maybe I have it wrong, that I was actually doing the morning show for, I think it was one year, and Fred was there, and I think May was with me. Boy, sorry, May, I've forgotten. I think pretty sure May was with me, but I remember Fred, and I think I've tried to erase most of that out of my mind. Because, you know, I was just not a morning.

Gotcha. And if you're in radio, it's sort of the pinnacle of an on-air career is to do a morning show. And so I wasn't particularly really, that wasn't my goal in life. but the opening came up and I, well, I'll apply for it. Sure. And I made this proposal and Reiner Schwartz actually bought it. And I was like, oh my God, he's actually going to let me do this, which was a huge mistake. Yeah. So in 91, you're now doing the morning show with Fred and May, I believe.

Yeah, I think it was May. Sorry, I forgot May. Well, Fred thinks it's May, so I'm going to go with that. Okay, it was May. And yeah, I just was not suited for mornings, and I was terrible. And I was more of a music head, where I liked to talk about music, which I was used to doing in the evenings, and I did overnights, and I did these mosaic foreground shows like, you know, Sunday music magazine, where we're, you know, talking about interviews and I was really more heady. Like, yeah. So they recorded this album in a studio and all this kind of stuff.

So, and that's, you know, I'm taking that sort of approach into the mornings, which is just so not the way you do morning radio. And it was just, yeah, it just was, but you know, I learned my lesson and uh i wasn't suited for getting up that early and i don't know how people do it and uh anyway but um i learned my lesson don't do morning don't do morning radio so sorry fred i was probably a complete uh you know he has nothing but uh good things to say about you because even in his later incarnation as a program direct we'll get to this later but even in his later incarnation as a program director,

we'll get to this later, but even in his later life as a program director for the Peterborough stations, he has very high regard for you and your advice. He's too kind. Thank you, Fred. So in 91, Humble Howard leaves. You kind of take his spot, if you will, and May Potts gets thrown in the mix. No pun intended.

And then in 1992, they let you go. Is this right? Yes. So I guess it was the, I was on a contract to do the morning show for a year. And this was when there was a lot of changes. This was, the station was... The summer of 92, I'm told there was lots of turmoil and changes and stuff. It was the beginning of a new era. The end of one and the summer of 92 i'm told there was lots of uh turmoil and changes and stuff i think it was the beginning of a new era the end of one and the beginning of another and there were a

number of people that were part of that purge and um you could see things changing sure and i i knew it was coming and uh so um but you know they so it was a they said, we're not renewing your contract. Right. The irony behind it all is because it's a funny business. You can actually, one of the few businesses you can actually be fired for doing a good job. So, you know, the funny story there was because they put the piece of paper on the desk and say, Scott, sorry, we're not renewing your contract and we're going to let you go. And then it's like, oh, and here's your bonus check for improving the rating.

Oh, right. Improving the rating. So is it just change for change's sake, or just to mix it up? Is it just change for the sake of change, or is it sort of to new direction? Yeah, I think also, but I think, I mean, I'm just guessing this,

that there was people like myself and the Dannys and other people in the station that were kind of getting grumpy about the changes and i don't think we're going to fit into the new attitude right and and sometimes you know that's a that's gonna that's a big weight and a big anchor that's going to drag everybody else down you know they've got this design we want to go like here and these people over going, you're screwing with the station. You're ruining it. We're kind of like, and you don't need that. And I think that was part of it, and I think they needed a new sound,

new people, new staff, new entertainers, I guess, whatever. That's fine, and I think they own the station. They have the choice to do that, and that happens in entertainment, right? They change up present. I mean, in radio, it seems you're hired to be fired anyways. I don't know anyone who hasn't had it at least once or twice. Oh, yeah. Three times.

Oh, yeah. And I was, you know, it was a good ride for me, 84 to 92. I had a nice ride. It was an experience of my life. So, you know, I was a little pissed off. As anybody is, it's not fun being fired. It sucks. Sure.

But, you know, looking back later, you know, you see these things and you understand it. And eventually, like everybody says, you know, it worked out in the end, right? I ended up somewhere else. You're doing the next thing and you look back and go, hey, that happened, I think, at the right time. Well, you end up in Energy 108 with, I mean, some of the names there. I'm going to, where's my list of names here? Don Burns is there and Chris Shepard and Hedley Jones. Yes. I mean, these are names, you know, and you were there for like a decade. So what was that like at Energy 108? So, you know, next to my, it's hard to compare, but alongside with CFNY, it was, you know, one of the greatest experiences in my professional career.

Energy 108 was an absolute blast. It was, again, like CFNY, it was a station like no other. It was, we were playing music we wanted to play. We did not follow particular playlists. We were doing things we wanted to play. We did not follow particular playlists. We were doing things nobody else was doing. It was, there wasn't such a thing as a dance music station. That's what it was.

Right. So that was all new. And that was an absolute thrill. It really changed the landscape of Toronto clubbing. It just exploded a whole new dance music scene in Toronto. Clubs were opening. You know, it led to, you know, the rave scene. All of that was a part of, you know, the early 90s into the 90s. It was a whole fresh new time. And then hip hop happened. All that stuff. I had another side that, you know, I did partly on CFNY, the beats per minute. There was another electronic side to music that interested me a lot. And so as I saw CFNY backing away from that, when Nirvana happened, that was a real change for CFNY. At that point, they started to go in a more rock direction. I mean, there was some great stuff. There was Nirvana, there was Pearl Jam, and all this stuff was happening.

But, you know, the Depeche Modes and New Orders and that, OMDs and those bands that were doing more of the electronic side of things, or poppy side, if you will, that became less of an interest for the station, and they decided to go in more of a rock direction, of which there was a lot to choose from. But I was just hearing these new tracks out of the UK on the Warp record label and some of this stuff with this bleep music and this techno music that was happening at the time that I was going, wow. that I was going, wow. And I remember the taking to the music department at CFNY at the time, which was all changing and saying, hey, check this out, you know,

check out this, this all techno stuff is coming out of the UK that's brilliant. There's all this new kind of house music that's really cool. And it was, no, not interested, not interested. I'm like, wow, this is cool. Why not? I don't get it.

And that was part of the impetus for me to reach out for something new and came across the station out in burlington right at the time was dance 108 and uh i listened and said okay um they've got an idea here i but i think it could be done better and i pitched an idea for them saying hey i've got an idea for you, and I think I can help, and I can bring some people from CFNY that are no longer there, that are unhappy there. And there, that's where Don Burns came. I brought Don over, and I brought Pamela Blair over. I brought Shep over, and we just started this whole new thing. And there were already some great people there, Wayne Williams and other people. And we just started this whole new thing. And there were already some great people there,

you know, Wayne Williams and other people. And we just said, hey, we can take the coolest dance music and pop music and urban, you know, hip hop and R&B and all of that stuff and mix it all together in a radio station. And we're going to do some parties at night. And on the weekends, we're going to do like Dr. Trance. We're going to do a hip-hop show. It was the first station in Canada, commercial station in Canada,

to have a hip-hop show, which we ran on Mastermind, which we did on Saturday night. All this stuff had never been done before on radio, commercial radio. And it was a complete success. Huge blast. You still friendly with Chris Shepard? Yeah. Although we don't talk that often.

People ask me all the time, where's Shep? I know he sort of, he went and became a professor and there's some, I don't know what the proper term is, but some heavy thought process going on from this man now.

He's an interesting character. Yeah. Chris is a very, very smart guy. and one of the things he was doing um was doing it was doing research and looking at um you know how the human brain works with music and how it can help people and uh there's a huge amount of uh the area of study there and that's what he he spent some time doing and uh you know i didn't get a chance to talk to him a lot about it because he's been a bit aloof and a bit of a hermit. No, that's it. He doesn't surface very often. It just seems like what happened... I get this

question a lot through my blog, TorontoMike.com. Because you search a lot of CFNY stuff, you end up on my site. And then I get these questions, what the heck happened to Chris Shepard? And I know a little bit because he did appear on the Humble and Fred podcast at some point in the last year. And I listened to that and I learned a lot from that, but I'm like, I need to get this guy in here. But he just seems very,

like Obi-Wan, you know, before. Well, I'm hoping to, I'm hoping to have Chris on the Spirit of Radio Sunday show in the new year. And, you know,

some of the people we talked about today, part of the plans, I've had a lot of people ask me about what are the old hosts and DJs. Well, let's stop. Okay, good. I'm glad you're going there because I wanted to cover the Energy 108. But now let's talk about what you're doing now and what I'm loving, which is this program, Spirit of Radio Sunday. Yep.

So it's 11 a.m. to 5 p.m. on 102.1. So tell me, I have a lot of questions about this. I want you to tell me about it. But one of the questions I have is, who picks the music that you play on these Sundays? So essentially, myself. So I'm not trying to be too indulgent. So what we have done here is, it started with a playlist, if you will, that I came up with first.

You know, first of all, it was, okay, we need to do this show. I pitched it to them, and I had pitched it in the past. But this time around, they were saying, you know what? I think this is cool. And I said, great. I said, because this music needs to be recognized. But how much of this is in

response to the arrival of 88.1 on the scene? Nothing to do with it? Yeah, no. It's not particularly a unique idea because a bunch of people thought, hey, it'd be cool to have that kind of show. And I think they were doing a Friday night at one of the clubs for a while. They played some

of that music. So I had some little pockets. But for a while, it ran dry. And you just didn't hear some of that stuff on the station from that era, that late 70s to early 90s, which was what I call the punk, the grunge, and everything in between, that spirit of radio days. So the station got back to me, and I work for the same company. I work for some stations in Kitchener. And they said, hey, Scott, you know that idea you had about that Sunday show thing, that spirit of radio show? Yeah, I think that's a good idea. And they said, let's talk about it. We did. We agreed on a six-hour show on Sundays. See how that goes.

And they basically left it up to me. So I was like, okay, now I need to pick the music from 77 up to around 92. We'll start with the punk stuff and then land around Nirvana. And we'll just find all that stuff in between. And I just pulled up and I keep everything, which is really embarrassing. But I had all these charts and, um, all, you know, the, the top thousand and two of, uh, you know, of all time. I had that list. I had every, yeah, that's one of how soon is now is number one or something. Yeah, I think you're right. And every year there was, you know, a top one or 102 of the year. I had all those lists. I had, you know, a ridiculous library of my own at home, all kinds of lists and charts and things like that. I keep all this stuff. And so I started assembling it. And, you know, you're going down the list and sometimes I'm going on YouTube because everything's there. It's surprising. And I'm listening to some of the stuff going oh my god that sounds fun that still sounds great and then the odd one i'm what does that sound like again

and i'd listen to it going oh yeah you know because in every era yeah exactly it didn't have the legs it's like oh okay i'm not sure we're gonna play that one but you know uh surprisingly and i guess i'm too close to it so it's hard to be objective. But a lot of it really sounded really good to me still. So that's where the list started. Later on, Alan came back to the station. Yeah, okay. So when the Spirit Radio Sunday launches, Alan's actually affiliated in some capacity with 88.1. Correct.

And that's why the perception is, and of course, I don't have any inside info. It was merely a perception as a fan. So 88.1 shows up on the scene and at least at the beginning not so much now i noticed but the beginning it seemed like they were playing some stuff that 102.1 stopped playing like the smiths or the clash yeah i hear the clash like this yeah yeah and you just basically you guys uh your 102.1 had dropped all that pre-90s stuff seemed to be dropped. Yeah. And I think they were doing, you know, as programmers, you look at different errors and you've got a certain target audience and it's going to be, you know, 18 to 34 year olds, 25 to 54 year olds, those sort of things. So they, you know, the station was doing what stations should do.

things so they you know the station was doing what stations should do and at a certain point you either grow older with your audience yes or you have to stay true to that audience which means the older music and so that's why a station like 102.1 maybe when they do a top they do their top 102 rock songs of all time maybe when they do it in the late 90s how soon is now will be number one but they do that same thing in 2009 and maybe it's a sublime song that's number one you know what i mean yeah and it's the same station with the supposedly but now suddenly my and i blogged about this at the time because it seemed like anything pre 90 basically pre-grunge yeah had disappeared completely from the playlist yeah i think partly think partly by research. They, you know, in research, whether you love it or hate it, that sometimes it's what broadcasters...

Sure. My understanding is like Ross... Ross or Ross Winters? Ross, yeah. So it seemed to be a correlation when he took over as program director. That's when this happened. And then we all say, oh, well, that's when Alan Cross kind of is no longer program director and this disappears.

So now we have what I think Barry Taylor once called top 40 for grunge. I think he called it at some point. So we all know that Ross Winters is no longer there. So maybe when he left, they decided, let's not forget our roots here. Let's try to pick up those 40-year-old, because I'm a 40-year-old guy. Yeah. You know, I listened to the Sunday program and I love it. And the rest of the CFNY stuff,

it's a little less interesting to me. So is it just, let's not forget these guys who, you know, aged with us through the 80s and 90s? I think so. And I think a station like CFNY is, I think you have to understand

the type of listeners and the nature of alternative music is, I think there are people that are, and no offense to anybody else, but I use music heads as a term, or people that just have, I think, a little more depth at hearing newer things or something a little bit different.

So I think by that same nature that people have a more open ear and expressive ear to take in more. And that can be older music. And I think that's one of the great things I find about Spirit of Radio Sunday. Nothing thrills me more than somebody younger that's hearing this stuff for the first time. And then they go do a deeper dive because they'll hear it on your show and then they'll go, oh, that sound.

Like then they'll do the deep dive on their own. Yeah. But you need that intro. And it's like any era because, you know, I missed the 60s. I didn't grow up in the 60s as a kid old enough to get into that music. But I discovered it later and went back to, you know, Stones, Beatles, Bob Dylan, who at first was like, that's weird. And then you spend the time with it going, wow, this stuff is brilliant. So I think if you spend the time with it, if you're a musicologist,

you will get into that stuff because there's some great stuff in every decade. So I think it wasn't any conscious thing that Ross Winters left. So not a response to 88.1, nothing to do with Ross Winters. No, nothing to do with 88.1, I think. But Ross, I think, you know, and I know Ross well because we actually, he's a road cyclist fan and we actually cycled together.

But I know he wasn't a big fan of that music. So I knew that when he left, I think it was an opportunity where there would be something, somebody else that might be more open to some of that music. So that's kind of when I made that proposal, when Ross left, because I thought, okay, anytime there's a change,

you might think, okay, they might have a different sort of perspective. They might be open to new ideas. Yeah. It's a good time to... So I think that was it. But I think anytime stations,, like any time stations, they go through eras and phases and they have different people behind

that are making the decisions. And they may have a different take on things. So I think it just... Timing seemed right. And that all happened at the same time. It just so happened that the 88.1 started. And yeah, I was listening to them going, hey. Yeah, they were playing The Clash.

Yeah. Why don't we play The Clash? That was part of my proposal. It was like, hey, hey, they're playing some of this. This is music owned by CF1. Yeah, this is our music. Come on, man. Come on.

We got to play this stuff. The Smiths? That's our stuff. Exactly. And to a certain extent, Boom in Toronto has been extremely successful. Oh, yeah, like you wouldn't hear The Spoons or something like that. They play stuff that got its start and was pretty much owned by CFNY. And they got May Potts over there.

Yeah, absolutely. So it's like, hey, I think you should be playing some of this. Not all the time. Absolutely, you should be doing what they're doing, breaking new music still, playing new music and new alternative music uh but i thought you know on a sunday afternoon why not right so is there okay when alan cross the announce he was coming back it was like i guess in the fall i guess he came back to see if and why and then we know he's doing the ongoing history new music but one of the

questions i get asked a lot and i even like i thought maybe freddie because freddie p's got friends in the building like he must know what's going on what exactly is alan cross doing like what is his role at 102.1 okay well you know i think the official title is is and this is going to sound horrible to everybody but uh consultant because uh i think he's officially you know under as a consultant. Okay. Because in a corporation, which, you know, Chorus Entertainment is a corporation, is that they have to have anybody that works for a corporation. You probably know this, that everybody has sort of a title and probably a number. And they have to have these names for people. And they have to file them as something, you know, so they need to come up with a better term because everybody hates that term consultant. But so he's an advisor and a consultant and he, you know, he works with me on Spirit of Radio Sunday.

So, you know, we collaborate together on the show and its direction and where is it going to go and the ideas because there's, you know, we're still building the show. Sure. Is there any plans to expand, right? Like right now we got this 11 to 5 thing, and I like it. I realize I'm like a little older maybe than your target. I don't know. But for that day, it's perfect.

But is there any idea to expand this spirit? Like I talked to a friend who I'll mention in a minute, but there's some rumors that he hears. I love the rumors, right? I can't name my sources here. You understand. It's okay. I understand.

But not necessarily as something as dramatic as a format change, but maybe some kind of a mild rebranding, maybe something spirit beyond this 11 to 5. Is there anything you can tip me off in the works? You know, I'll be straight and honest with you. There is nothing that I know of. There is a chance, perhaps, if the show does well,

and it's still new because we just started in March, and there's ratings and all that stuff, and the show's been performing, it's been doing very, very well, and if it continues to do well, it could be expanded perhaps. And if you look at the model of Q107 and Psychedelic Sunday, which is also owned by Chorus, which is just down the hall, Psychedelic Sunday started, I believe, as maybe a four, five, six-hour show, but expanded as it did really well. I could see that potentially happening with the show,

I think, if it does really, really well. But I think beyond that, I don't know, because, you know, the station, it's a specialty show, and the station has a format, and, you know, it needs to play today's music. Now, another idea out there is that kids today aren't listening to radio as often as they used to,

and that they're getting their music from other places. True. But the old, I can't, the old farts they got me who, you know, the 40 plus crowd or 35 plus or whatever, we'd be more likely to actually tune into terrestrial radio F on the FM dial

and kind of get into it. And maybe you've got to like age with the audience that's actually into radio. So maybe there's something to be said that maybe the new music, they're getting it from either streaming services or heck, you can get it from YouTube, as you mentioned. Through the Bluetooth now,

sometimes my kid will be in the front seat and he'll want to hear a tune. He's really into Eminem right now. So he has some Eminem disc track he wants to play, and it's now on the car speaker because he's using Bluetooth and playing it on my phone or whatever. But that's what the kids are doing. A lot has changed, certainly the younger demographics today.

Their time is spent and split in so many different areas. They still do actually listen to radio the hours per week is way down uh when you go over 30 uh it's still radio is still the old traditional terrestrial radio is still um amazingly uh quite strong a lot of hours per week uh especially when you get up to you know plus 40 50. It's earlier than 30 crowd, though, that I... Yeah, that's where it drops off, and it's all new technology. But it's only going to get worse, right? Oh, absolutely. You're right.

Because the internet's not going away, right? It's just splintering, and I think, like any comparison, you could go back to when DVDs, before DVDs, you mentioned VHS. Right. This is going to kill the film industry. People will not go to the movie theater anymore, and yada, yada, yada, yada.

Well, it did take a bite, but people still go to the movie theater, and newspapers, people don't read newspapers anymore. Newspapers are dead. Well, that's not true. The numbers are down. And the younger end, yes, it's down. But people still read newspapers online.

Sometimes they even pick up the paper, the paper that you hold in your hand. Some people like it with their coffee on a Sunday morning. Yeah, it still happens. The numbers are down, but I think that'll still exist to a certain degree. But there's just so many different choices now. It's insane. the numbers are down but i think that'll still exist to a certain degree and it you know but there's just so many different choices now it's insane but yeah you know the younger people um

have a massive interest in music it's just how they get it you know and uh and maybe traditional radio will become more uh oldie based era based uh niche i don't know is that yeah no one good thing and i as you know i actually sincerely like the spirit radio sunday program well thank you music but what i really really like is when you add context to the music like often you'll tell a story about i don't know 30 years ago today uh whatever depeche mode played whatever in toronto and there's some kind of that's the stuff because anybody can kind of download the 102 songs of all time and then create a playlist. Yeah, well, my job is I get reminded.

I'm the guy who reminds people of how old they are every week. So I think it's like, oh, my God, thank you for reminding me how old I am. Well, yeah, context is important because, yeah, there are the songs and you can get them anywhere else. But I think, you know, I don't want to become just a statistician, you know. So I try not to have too many of those stories. But they're important.

I think you can learn. Don't you know you're here to service me? Yeah. It's what I want. Come on. But you can learn a few things. And I think of younger listeners who might be hearing a song like a clash for the first time or something and, you know, hearing the story behind it and how important the band was or how cool they were.

And there are some great stories. And I think they can be told again. And, you know, the future is I'm going to have some guests continue to have guests on the show that will tell fresh stories, stories you might not have heard. And it's reminding people, too. Here's the other key thing. And this is what's happening for me because I'm forgetting stuff too. So I have to research and it's like, oh yeah, it's like I'd forgotten. So I think for some people, as you said, the 40 plus people out there, I think it's hearing that story again and a reminder, oh yeah, so that's

when, oh, that was when that album came out and that single, and then they played at Massey Hall. And, oh, yeah, I remember that now. That's cool. And I think it's just a refresher, you know. And, you know, there's a lot of great stories. And I, every week when I'm doing research, I learn something new. It's like, oh, my God, I didn't realize they were on that album or, you know, whatever it might be. Where do you record it?

Do you record it from the Kitchener stations? It's not recorded. It's live. It's live. This is really important for everybody to know this. I actually do it live every week, and some people do think it's recorded, but it's actually live.

I'll only admit once. I'll be very honest with you. I did pre-record once. Just once. Because I had to go on a vacation. I wondered if you were doing it out of the Beat or the Dave FM studio or something like that in Kitchener. No, do it live. And because it's just trying to live as close as I can to the spirit, the spirit of radio and doing live radio, which is what it's all about.

Awesome. Nothing beats live radio. It's still exciting and I want to continue to do it live as much as possible. Just before I release you here, my good friend Andrew Stokely helped me out with the audio. He does audio stuff.

If you see a Blue Jays game on Sportsnet, he's the one doing the audio for that. I know that name. Andrew Stokely tells me a story. I was on the phone with him. He's actually in Saskatchewan right now because of a curling event he's doing the audio for that. Oh, cool. Yeah. Very cool job. I know that name, I think. Yeah, so Andrew Stokely tells me a story. I was on the phone with him. He's actually in Saskatchewan right now because of a curling event he's doing the sound for, okay? It's like minus 36 in Yorkton or something. Oh, he gets all the best gigs.

And he, yeah, and he's telling me a story about the House Martins, and this happens to be, I asked Alan Cross what his least favorite interview of all time was, and he actually referenced this interview as his least favorite interview ever, the House Martins. And there's a new music, any NME was doing some kind of, I want to get the story right, but they were following them. And I guess, I think, I don't know if you're there, but Andrew Stokely somehow gets photographed with the House Martins.

And then in the UK, you're in England, I understand. You, Scott Turner, are in England. And you see the music magazine. And Andrew Stokely is in these pictures. And Stokely tells me you called him up. I don't know if you... Maybe called you up. You called Andrew Stokely up. Okay. And, you know, to let him know he's all over these magazines in the UK or something like that.

I do not remember that at all, but I believe it's happened. And trust me, I've forgotten a number of things. I believe it. Yeah. Uh, I believe it totally. That's a great story. Wow. And I understand you mentioned road cycling. So I do, um, to keep in shape, I probably approximately 20 to 25 kilometers a day I'll bike every day. Good for you. Yeah, and that's what I'm doing today. Like I'll go until there's so much ice I have to take a couple, you know, even last year, I went all last winter and I had to take, it was a bad winter actually for biking, but I had to take a couple weeks off of the ice storm and stuff like that. But so do you do a lot of cycling?

Yeah, this, thanks to the show I do now, Sundays 102.1. How many clicks is that, approximately? From Burlington to the Edge Studios. You know, that's, of course, Sundays for any road cyclist, you know, you need time. You need available time. So it's eaten into my cycling, but, you know, for up to last year, you know, I was doing anywhere from 2,500 to about 3,000K a year. Basically a weekend road warrior, you know. But that's awesome.

Going out for, you know, anywhere from 40, 50K rides up to 100K rides. Just love it. Love, love, love road cycling. And you have a, because i have a what i call a like a shitter it's a 500 hybrid and that's what i go out on and i always get jealous of these guys with these amazing road cycles so you got a nice uh nice bike embarrassed to say yeah i'm more than your car somebody said there's a term now for middle-aged men who are road cyclist enthusiasts and they've entered it in a dictionary.

Okay. Every year they have new words. Sure. Oh, I have to look it up. Okay. Someone look that up. So middle-aged guys who ride expensive bikes wear expensive cycling gear. And yeah, I've got an embarrassingly expensive bike, all carbon, and I've got all the accessories.

Can you give me an approximate price? It's embarrassing. The bike is... Can I put it on? Is it a $5,000 bicycle? It's about six grand. Yeah, wow. So you don't...

The answer is it doesn't leave your hand. You never lock that up. I take it in the house. If my girlfriend would let me, I'd keep it in the bedroom. Yeah. No. Yeah. You know, if my girlfriend would let me, I'd keep it in the bedroom. I used to keep it in the hallway. And when she moved in, she was like,

Oh, you know what? My wife's amazing. Cause last winter I didn't want to, I leave it locked up in the shed, but the winter I didn't like doing it. Cause I'd get back from these snowy rides. Yeah.

Like I have to bring it in and then clean it out or whatever. She let me park it in the hall all winter last winter. Yeah. Good for her. I know. She hated it. She hated it too. Cause it would drip down and then it out or whatever. She let me park it in the hall all winter last winter. Oh, good for her. I know. She hated it. She hated it, too. Because it would drip down, and then it was just...

I tried to pitch it as it looked cool, right? Could you see these people in European... Yes, very European. Yeah, they have them in the hallway. They're hanging up on the wall in living rooms. Of course, they have no space, right? Well, like Jerry Seinfeld in his apartment. He's got that bike always...

I don't know if he ever rode it, but it was hanging there the whole time. Exactly. Yeah. I got to do that. I missed the bike in the hallway. It's down in the basement now, but it's okay. We worked it out. Well, I'm glad to have you as a member of the cycling club. Yeah, good for you. You don't say politicize cycling.

Now people are politicizing it like you're some kind of a lefty. You notice this? Ridiculous, right? Really? Oh, come on. I'm hearing it. Hey, thanks for doing this. Thank you. This was a blast.

Appreciate it. And that brings us to the end of our 102nd show. You can follow me on Twitter, at Toronto Mike, and Scott is at Scott Turner. Remember that first Scott there only has one T at the end. So two Ts for Scott Turner. The answer I tell people now is the reason why I only has one T at the end okay so two T's for Scott Turner the answer I tell people now is the reason why

I only have one T in Scott because it looks great on Twitter yes at Scott Turner it connects perfect beautiful

see you all next week