Toronto Mike'd: The Official Toronto Mike Podcast - The Ongoing History of CFNY: Toronto Mike'd #1021

Episode Date: March 25, 2022

In this 1021st episode of Toronto Mike'd, Mike dives deep into the ongoing history of 102.1 CFNY with David Marsden, Ivar Hamilton, Liz Janik, Scot Turner, Maie Pauts, Fred Patterson, Leslie Kross, Alan Cross, Captain Phil Evans, Dani Elwell, Humble Howard Glassman, Rob Johnston, Bob Willette and Jay Brody. Toronto Mike'd is proudly brought to you by Great Lakes Brewery, Palma Pasta, Canna Cabana, StickerYou, Ridley Funeral Home and RYOBI Tools.

Wado 2.1 City and then Rome Wado 2.1 The damn radio Welcome to episode 1021 or 1021 of Toronto Mic'd. Proudly brought to you by Great Lakes Brewery. A fiercely independent craft brewery who believes in supporting communities, good times, and brewing amazing beer. Order online for free local home delivery

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1021. 102.1. C-F-N-Y. I wanted to do a deep dive into the ongoing history of CFNY. The evening of March 9th, 2022, I met with the following people on Zoom. David Marsden, Mae Potts, Captain Phil Evans, Alan Cross, Ivor Hamilton, Leslie Cross, Liz Janik, Rob Johnston, Danny Elwell, Humble Howard Glassman, Freddie P, Scott Turner, Bingo Bob Willett, and Jay Brody. Here's our conversation. Thank you all for joining me on this Zoom.

I'm overwhelmed by the turnout. And I thought we'd just begin, before we jump into the history of CFNY, from the beginning to the current day, maybe we just one by one, I'll shout you out and you can just say hello so we know who's here on this 1021st episode of Toronto Mic'd. So I'm actually going to go in order

of like Zoom panels. So this is no particular order except the order you arrived, I suppose. But in my top left, I'll just say hello. And as I speak, people will be joining. I see May Potts just entered, but let's start with David Marsden. Thanks for joining us, David. Hi, everybody. How you doing? Wow. It's great to see you.

You look great, David. Scott, Scott Turner. Scott Turner. Hi, everybody. Look, just the same. Thanks. Not far off. Scott, for those listening, he showed us a picture of himself, I guess, back in the 80s, and he looks pretty much the same here. Leslie Cross, who has never been on the program, but I'm just delighted to meet you, Leslie.

Say hello to everybody. Hello, I'm Leslie. I was David's assistant from 83 through 88. And I know where all the bodies are buried. By the end of this conversation, we're going to know as well, hopefully. Robbie J. Say hello, hopefully. Robbie J. Say hello to us, Robbie J. How is everyone doing? I think this is amazing because there's a lot of people on this call.

About a third of the people here I actually never worked with. I never worked with Liz or David or Leslie. But everybody else at some point. Oh, Ivor actually as well, except for the record days, but everybody else at some point in time I've crossed paths with. So this is great. Well, thanks for being here, buddy. Thank you to everybody for being here.

But Fred Patterson, Freddie P, how you doing? Fred Patterson, sportscaster, class of 79. Freddie's the one guy. I feel like I've talked to Freddie already today because we touch base regularly. But good to see you on this Zoom, Fred. No, glad to be here. And again, looking at all these sweet faces,

nothing but fabulous memories of my life, my times at CFNY. There's a story in every one of those faces. Amazing. Love it. Or two, or two, or three. Or three, you're right. We're going to see how many we can collect

over the next two hours. If Captain Phil ever figures out his camera, but that's another story. I don't know. I am attaching other cameras and none of them work. Well, I know you're there, so I'll remember to shout you out, but I won't see your hand raising, but Alan Cross, I'll see your hand raising. Thanks for being

here, Alan. Yes, hello. Hi, Mike, again. We raising. Thanks for being here, Alan. Yes. Hello. Hi, Mike. Again, we've been doing this quite a bit, haven't we? You're a good FOTM, Alan. Okay. That's a compliment. By the way,

wait, I'm not done. I'm not done. I've worked with everybody here except Jay. Hey, Alan. I never got a chance to meet you once COVID started and we got separated. Yes, we did. Maybe at a future TMLX, I'll get to introduce you guys. Ivor Hamilton. Where's your mic?

Who's mic? Where's Alan's microphone? Alan, where's your mic? Let us know. No, I mean, my wife is watching TV on the main floor. It's Mary Ellen Benninger, by the way. Yes, it's true. She's watching her stupid real estate shows.

That's next door to my studio. My studio isn't completely soundproof. So you would be listening to the Property Brothers in the background if I was doing this. When I'm down in my office, using mac there you go inquiry minds want to know but ivor hamilton how you doing buddy very good original import show cf and y video road show currently ny the spirit.com uh i've worked with most of you if not at the radio station uh what worked with you uh danny in um business uh uh and robbie jay i i highly anticipate every time that we talk about doing business together as well and uh uh

fred missed you while you were on holidays uh the last couple weeks i'm glad that you and howard are back well i thank you uh iver and good to see. Ivor and I have this thing where every time we see in a record label's script highly anticipated new release from, we want to go and throttle the copywriters because it's the most overused, overextended phrase ever in the history of media. It's funny, Ivor, you came to the station originally 77 we became friends in 79 and really haven't touched base for the past 40 some odd years oh we haven't i mean we haven't we haven't lost lost we haven't lost touch is what i'm saying in the past 40 years yeah that's what i meant to say okay that changes everything but But glad you're here, Ivor. Glad you're here. And bingo, Bob

Ouellette. Thanks for joining us, Bob. Thank you very much. Yes, bingo, Bob Ouellette, one of the few people, actually the only person from the Humble and Fred intern program, the very successful one, and also known as RQEQ Technical Guy, the producer of Martin Streak's Live to Heirs for

close to three years as well. Well, Bob, we have Very, very soft hands. Soft hands. In addition to our soft hands, I have something in common with Bob in that at some point you were producer of Humble and Fred and today I'm proudly producing the program. I am the last producer

of the terrestrial radio show that are exclusively terrestrial radio show known as the Humble and Fred show. Well, good for you. We're going to hear more about that through this. I buried them. What will that get you? What a legacy. Liz Janik. So glad to have you on the program.

At some point, you're going to get your own episode of Toronto Mic'd. I promise. But say hello to everybody. Hi, Liz. Hi, Liz. Hello, everybody. Nice to be here with you all. See your faces, especially the gang.

Everyone but me and Jay. Leslie's internet is jerky. Hope I'm not frozen. You look all frozen now. Yeah. Yeah. We'll have to work around that, but everybody else seems pretty stable,

but Liz, we'll work around that. But Danny Elwell, let's hope her internet is okay. How are you doing, Dani? I think it's okay. Is it okay? Sounds great. Okay, good. Yeah, I'm okay, except I'm inspired by everybody else's backgrounds, and I feel like I'm lacking a little bit. I'm always marveled at Ivers. I love all of your stuff. Oh, thank you. You have good stuff.

Thank you very much. My house is bursting at the seams. Why don't you just put it all on an iPod, for Christ's sake? At some point during this marathon Zoom, we're going to find out about how Alan Cross and Ivor Hamilton have all the vinyl from CFNY. We're going to get those stories. But thank you, Danny. Mae Potts.

I got to hear this voice. What a voice. How are you doing, Mae? I'm good. How are you? Nice to connect again. Nice to see everyone. I'm actually prepared with my wine.

Because you know what? I'm treating this like a cocktail party. Yes, it is. I don't get to see you know we haven't seen each other in so long so i'm i'm looking at this as a great opportunity for some old friends to hang out and you know shoot the whatever so cheers to you all i haven't started drinking yet because i want to be able to make it for the show but yeah i'm ready i'm gonna crack one open now the pandemic has ruined me i'm gonna crack one open right now. A Great Lakes beer because I'm going to drink. Beautiful.

So cheers to all of you. We're not quite done the roll call yet here, but May, what year did you start at CFNY? Ah, this was finally resolved last year. We finally figured it was 1987. The day of 87 that I officially started.

Okay. But I was hanging out because I was at CKMW, like Scott was. Who was at that call? And so I had to go down the hall to CKMW through the 83-86 period an awful lot. Yeah. It's funny. Scott, you started at CKMW, and it's it's funny at the time hearing you and may on ckmw the buzz in the hall it won't take long for marsden to jump on those people

and fred you were really helpful because you were like come on down the hall okay a couple more intros, and then we're going to get right into those early days. We're going to start at the launch. The last couple of intros, last but not least, Jay, we're closing with you, but Phil, you're on this Zoom, even though we can't see you. Captain Phil.

That's why I'm out of this business and the telecoms. I'm just terrible at it. Captain Phil Evans, but Captain with a K after Scott Turner changed his name in the early 80s. I'm just terrible at it. Captain Phil Evans, but Captain with a K after Scott Turner changed his name in the early 80s. I was there in May of 86, boat driver until 1990, promotion director through the 90s and the early 21st century. And Phil, so glad you're here. Whether we can see you or not,

it's great to have your voice on the program. And last but not least, Jay Brody, current morning show host at 102.1. How you doing, Jay? to be here with you guys. You guys paved the roads that I drive to work on every morning. So it's a great honor for me to be here. With that being said, I would trade my job right now for either Scott Turner's hair in the 80s or David's hair right now. So if anyone wants that, take tiny up on that offer,

I would do it right away. That hair that David Marsden is rocking right now is really unbelievable. Like I thought it was a wig. No, it's real. And you know, there are some photos of David at Chum FM in the early 70s

where you had very, very cool long hair, but that's actually longer, I think. It's just, I don't know. That's called COVID hair. It hasn't been cut since COVID. Yeah, me too.

Yeah, you're the same. We ought to share hair jokes together. You're all looking great. You're all looking great. So glad you're here. We're going to go back to 1977 here. So, and you guys, you were there, some of you at least were there in 77, 78,

but who would like to speak to the origin, the launch of CFNY in 1977? An all-female. That was at the AM. Yeah. Not at the FM. Not the FM, but it was Chick FM as well. But Chick FM was 102.1?

So when I met Nick Charles on overnights, he was overnights at CFNY and I was doing 790. He gave me, and I still have them somewhere in a box downstairs, match packages from Chick, where the girls are.

I had those match packages. I'd like to tell the story from when I walked in the door because I as I think I said earlier that was 77 or 78 I really don't remember but I met with Harry and Leslie at their fancy offices in Yorkville. And I mean, it was antique city. It was fancy, fancy, fancy. I didn't know who Harry was. I was meeting with Leslie. Leslie was dressed up in a $9,000 suit and a $400 tie. Everything was perfect. The tan, Oh, it was lovely. And this other guy walks in and Leslie says, I was with Don Schaefer, by the way. He was in the original package. This guy walks in and Leslie says, Harry, get these boys a couple of coffees.

I didn't know who it was. And then he brought the coffee. And then Leslie said, sit down. And then he introduces this coffee boy as this is my brother, Harry. And we were like, what? Anyway, so Schaefer decided to go his way, which was Vancouver. And I started there as an announcer. The first I had just come from Trump FM.

And the first day I walked into the little yellow house up in Branton there, it was the most filthy place on earth. It was, oh, my God. And every chair only had three legs. It was unbelievable. It was totally unbelievable. And I thought, should I just turn around and go home? Because this doesn't look good. It was unbelievable. It was totally unbelievable. And I thought, should I just turn around and go home? Because this doesn't look good.

And then I went upstairs to the control room. The control room was like this little miniature room with a ceiling that if you were over six feet, you had to bend down. And it had an old Gates board there from i don't know the 1800s and i decided to stay for some reason i don't know why because i thought this is really ridiculous and the albums were kept just outside the studio and um there was really nobody in the place. There was a wonderful woman behind the desk who kind of apologized for the dirt. One night, the first year or so that I was on the air, the turntables were back here on my left side. There were only two of them.

And all of a sudden, one turntable is going to tip and I'm thinking, oh, it's going to skip in the vinyl and in those days we used to have distilled water and you put a little bit of distilled water on the final and uh the needle would hydroplane over the over the skip and i turned around to put the water on there was a mouse on the turntable and every time it went around, it hit the arm and the arm would jump up and then it would go. I just didn't know what to, I just freaked out. I mean, I'm not a big follower for mice,

no matter even if my name did have to be Mickey, but that was, that was how it all began for me. It was just crazy. I remember I'll just go one more story, then I'll stop. I also remember, and Daniel liked this story, Ryan Schwartz was on there on Sunday afternoons. And I'm listening one day. By the way, I lived up in North York at the time, and you couldn't get the station in North York.

So it wasn't the best signal. But so I was listening, and all of a sudden I hear this voice on the air with Reiner. And the voice is Leslie Allen. And Leslie says, on air, live, I want you to play this. And Reiner took the album and he went, hey, I want you to play this. And Miner took the album and he went, Harry, I can't play the Bee Gees. Ultimately,

he did play the Bee Gees. It was just ridiculous. Those are particularity stories. So Leslie and Harry Allen Jr., they're the owners of CFNY. That is correct. And CFNY comes out of Chick FM in 1977. And I understand the first program director before you, David,

is Dave Pritchard. Oh, I'd like to speak to that if you don't mind. Go ahead, my friend. There was a bad rumor going about that I had actually fired David Pritchard, which I did not. David was a friend, David's son, Christian, who some of you may know, he's a chef. He's quite on television a lot. Christian and I have talked a lot about this. Because David left us too early, I never had a chance to discuss it with him. But there's just no way I would ever have gone in there.

I did not go in as program director. I just went in as an announcer. David was long gone by the time I got there. And I still love David. And I mentioned this to you before I pressed record, but I recently had a conversation with Lee Eckley. And Lee swears that he was fired from his gig at CFNY and replaced with you. So this is the, Lee's on it. And so you did come in as, of course,

you came in as a announcer. And then I guess in 1978, when Leslie and Harry fired Dave Pritchard, in as, of course, you came in as a announcer, and then, I guess, in 1978 when Leslie and Harry fired Dave Pritchard, they make you the program director. Yeah, I don't know when they dismissed him. I don't remember the

Lee Eckery story, but I know Lee, and I'm sure he remembers better than I. I'm a little bit older here. And so, I don't remember i don't i mean when i first joined there uh i al spring was doing mornings that's who i started with with al spring yeah he was the morning man remember he used to walk around with his can of Pepsi? Oh, yeah. Well, I used to see him whenever I saw him in there. No, whenever I saw

him, he had a bottle of Aqua Velva. He used to carry a can of Pepsi, and we knew there was booze in it, so I'd go up to him and I'd say, Al, I'm really thirsty. Can I have a sip of your Pepsi? And he'd go, no. No, you can't. Get your own. Well, it's too bad.

He died young too, eh? He's another one who died much too young. I don't remember who did Middays. Maybe that was, was that, was that McKelligott? Terry McKelligott, maybe? I think you're right. Terry McKelligott. Yeah. As a matter of fact, he, he was the first DJ anywhere in the world to play Baker Street and of course Baker Street became this massive hit and shortly thereafter he was playing that at CHFI I think yeah I don't remember who I just

remember I was doing I think six to ten or seven to eleven and I don't remember who, I just remember I was doing, I think, six to 10 or seven to 11. And I don't remember what was around me at all. Let me just bring in Ivor Hamilton and Leslie Cross here. Cause you guys were there in the late seventies. What do you remember about, cause I mean, I, I've heard the legends of the, the little, the, the yellow house uh like just you know david did a good job talking about the mouse and the turntable and everything but what do you remember about that old uh yellow brick house there uh some some great memories

in there i mean uh this one hey nice he's holding a picture of it. Fantastic. Yeah. It's a, it's a vacant lot now up in Brampton. Yeah. I mean, I mean, it was interesting because, you know, he had CHIC, the newsroom was down the street and then three 40 main street is where the radio station itself was. I started in the, you know, my internships in the music library and we were, you know, it was an absolute mess when I started there and we worked pretty hard to to put it back together but I you know it was a it was just a you know it was a small team up there David was right we only had the

you know the very basics and those three-legged chairs um but i i i remember the constant um visits to the radio station back in those early days like there was a you know a ton of artists that came to the radio station um and i remember one in particular was when frank zappa came to the radio station and he basically came up with a coffee machine and he was on the air for the whole night it was it was quite incredible and uh canceled all his other interviews and he was just having a whale of a time and there was a and then there ended up being a giant party out in the parking lot because all the listeners showed up and wanted to, you know, see Frank and what was going on with that. I do remember Ted Walsh and one Sunday afternoon he was on the air and I came in. I was doing some production work or something.

And he had a giant cooler in the control room, but he was having the best time. And he was there with john candy on the air and i'll never forget that you know john candy came to visit um i remember a bunch of blues artists coming to visit tom petty came to visit when when it was the early days of the of the heartbreakers um yeah ian hunter it was like the list was Boomtown Rats, Ultravox, Deep Purple, all came to visit the radio station. So I have some great memories of people coming to visit that station, Japan, David can jump in on that when he took them across the street to the, to the, to the supermarket. Yeah, well, I could do that. I also want to tell at some point the story of how Ivor became full time and what he did at the time was astounding.

The Japan thing, those of you who know Japan, they're always in almost full drag. Not the kind of drag you see on TV but they have a full makeup everything and they said to me because by now I was kind of half programming and they said before we do

the interview we need to get something to eat and I said well there's not much around here but I can run over to Ziggy's which was in the Loblaws or wherever it was and I can get you a sandwich and he said no no take us over to Ziggy's

it sounds cool but so we walk across the street we walk across the street to the Loblaws where the Ziggy's is and the four of them come in, and they are just outrageous, beautiful, but outrageous. And about 700 old women who were shopping in the Loblaws dropped their purses, just stood there and didn't know what to do. I didn't know what to do. And I admire the fact that Japan, the members of Japan, just kind of took it all in and it didn't bother them.

They were waving and saying hi. And they picked up some bagels and something and we went back and they did the interview. Love it. It was a funny moment that afternoon. So, David, before we get your Ivor Hamilton origin story, I know I called on Leslie earlier, but I'm missing up my L names. I meant Liz because, Liz, you show up in 77. Leslie doesn't get there till like 82, so we'll get to her soon. But, Liz, what are your memories of those late 70s years at CFNY? late 70s uh you know years at cfny well um i started working there because david pritchard was at the program director at the time and david pritchard had been the all-night dj on chum fm

during the heydays of chum fm and i used to run wire up my bedroom down the clothesline to pick up chum fm to listen to david and when I got to Ryerson, David took me under his wing and started training me how to be a DJ. And so he was program director initially, I think Reiner Schwartz was in between for a very short period of time as a program director. And as a female on the air, one of the things that Chick Radio did for us, Chicks, was convinced every broadcaster in the city that Chicks shouldn't be on the air. So I was very grateful to David when he gave me a chance to be on the air. And there's actually a, it was kind of like a psychic story behind me starting on the air. And that is, I was a single mom at the time. And my parents

said, Okay, this radio thing that you're doing, it has to pay off. You're a mom now. So I had a sort of side career in the microcomputer, we call them personal computers today, industry that was really quite exciting, but I wanted to be in radio. And so we made a deal, my parents and I. I promised them if I did not have an on-air job full time by January 1st, 1980, I would leave radio. On December 31st, 1979, David called and gave me the all-night show. Thanks, David. Did David know about the ult the all night show. Thanks, David. Did David know about the ultimatum? No.

Wow. It was between my parents and myself. I have to say, just I'll join her up for a moment. I have to say that Liz Janik overnights at CFNY was nothing short of amazing and wonderful. Except that one night when she went out to get a coffee

out of her car. Yes. You hear that door behind you and you know you're shit out of luck. I can say that on podcast. It was the last track on a television album. It was only five minutes long.

Oh, man. So I had to call Brad McNally, who came back and let me back into the station some 25 minutes later. So for 25 minutes, we heard. Love it. And Liz, for the record, you can say anything you want. Swears are all good here. Freddie P., I want to hear how you end up on the air

at CFNY. Well, it's fine. You know, I grew up in Scarborough, and I used to... My mom and dad had this small pool, and I'd lay out there and listen to Rock 102 from Buffalo. Remember that station? And I think when CFNY signed on the air, the signal was really shitty, but it would skip or whatever it would do. Sometimes during the day, I'd start hearing this weird station that would come over 102.5 in Buffalo. And I used to say, what the hell is that shit? Why? What's happened to my radio station? Anyway, the point of that story is within two years of that,

I'm working for the radio station. And most of the people here went there out of their passion for music. Well, I went out of a passion for a job. And like anything else, I was working at CKFH, and I was just writing traffic reports and doing some operating. I wanted to get on the air. I heard about a job opportunity in Brampton. Met with a guy named Rick Charles.

He was the, no, it was Peter Heskey his name was. And then he worked with Rick Charles. And they hired me to do news and sports. And almost instantly, I was talking to David, was and then he worked with rick charles and they hired me to do news and sports and almost instantly i was talking to david and uh mike stafford was around and they teamed me and mike stafford up as the news and sports uh team that's like in 1979 before pete and geats actually um we were the news and sports team and it was was, yeah, it was amazing. It was just, it happened really, really fast. And I was so lucky because I got out of college and got that job at CKFH,

not doing what I wanted. And within, you know, Pete and Geats came in 1980, the summer of 80. Like within two years, I'm, for all intents and purposes, working for a major market morning show. So I was really fortunate that way and learned so much from those guys and learned so much from David. It was fantastic. Brad, you brought up, what was the call sign in Buffalo? Rock 102.

Yes. So they were 102 point something. 102.5. Yes. And when, when Harry and Leslie went to the CRTC, what they said to the CRTC is, we'll block out that Buffalo station. And of course, in those days, the CRTC was good and recognized Canada first. Yes. Here's something you may not have thought of. Buffalo is in a place called New York. Yes.

New York sometimes is called NY. Yes. That's how we got the call. That's how they got the call letters. Really? Yeah. Yeah. Because, and I would listen on my mom and dad

in one of those old Lloyd stereos, you know, with the twist dial, so it wasn't very precise. And again, when NY signed on, it used to crowd that signal. That's a... I didn't know. I had heard it was New Youth or...

No, it was NY. It was New York. For New York. Wow. All right. I just learned something. Yeah, I was going to say, drop any mind blows like that you can.

And David, I'm coming back to you for two reasons. One is I want to hear the Ivor Hamilton superhero origin story. But also, if you could speak to the sale of CFNY. So Leslie and Harry Allen Jr. sell it to, and I'm probably going to miss, Civitas? Civitas. So close. I will fix that in post as well. David, so you've got a bunch of stuff on your menu here. I need to hear

about Ivor and I need to hear what you can share with us about the sale to Civitas. Would you like that now or do you want to go through everybody else and then come back to me? Well, I'm sort of going chronologically. Yeah, so we're okay. So to you now, because obviously it's going chronologically so uh yeah so we're okay so to you now because you're

obviously it's going to be heavy mars bar at the beginning as people would say sorry about that everybody we love it david we love it almost as much as we love your hair please uh let's hear i don't know about this hair i have to have it cut off tomorrow. Oh, don't. I love it. It's great. Exactly. Well, the Ivor Hamilton story, I'll do as quickly as I can, and I hope Ivor doesn't mind me telling it. He had been hired on, and in those days, there was very little money for anybody, including myself on that end. And one day day Iber rolled into my office. I was sitting in this filthy office. I had only three legs on the chair,

you know, that whole thing. And Iber comes in and he said, David, I need to make some more money. And if you can't give me more money that I'm going to have to go somewhere else. that I'm going to have to go somewhere else. And I knew that we had something in Ivor Hamilton. It hadn't been worked out. It hadn't been developed yet, but there was something about this guy.

So I said, well, I can't get you any more money. And Ivor says, well, I have an idea. To an old guy, he says, i could do record hops for the station and take whatever money the high schools or whoever will give me i said that's a great idea go have it do it so ivor was out with his his camaro uh and he would go to the high school, and he would play songs and records, and kids would dance, and it was like the 50s all over again. And then some magic took place, because suddenly we realized Ivor was on to something. So we decided to change the name to the Roadshow. It wasn't video yet because we hadn't reached the video point yet. And Ivor would go out and he would do the high schools under the name of

CFMY Roadshow. And then came video. And we had to hire a couple of people. I got a sponsor called Milk. They sponsored it. And then we had so much equipment because of all the video screen and everything. We had so much equipment. We didn't know what to do. But we knew we had to get a big truck. A big, big truck.

So we got a five-ton truck. But then we didn't have anybody to drive it. And you have to have a special license, apparently, to drive a five-ton truck. So this guy came into my office one afternoon looking for a job. And I said, you know, if you could get a chauffeur's license or whatever it's called, you could get a job. You'll be involved with the UCF and Live Video Roadshow,

which was going out in those days two to three times a week, and it was playing everywhere. It was playing Buffalo. I mean, sellout shows at Ontario play, sellout shows at Kingswood Theatre, Music Theatre. And this guy who's sitting there, he says, he's like 17, 18 years old, this guy.

And he said, well, I'll just go and do that. So he went and did that. I'm sitting in my office, a couple of months have now passed. And I'm sitting there in my office and I hear this screaming, I got it, I got it, I got office, and I hear this screaming, I got it, I got it, I got it, says this guy. Run up and down the halls.

And what he got was his chauffeur's license, and he was then able to become the driver of the five-ton truck. And his name was Martin Streak. Wow. I forgot that, David. And as soon as you said that, it's like I remember he was absolutely ecstatic. You'd never seen anybody so excited to make me on board. There was just another guy involved, but I always have trouble remembering his name. Roger Roadshow, but his real name is Hal.

And we started with a little company out of Etobicoke. And then it grew, as you say, when we had the sponsorship with milk. And we had our Alberto Balsam sponsorship that we took to Ontario Place. sponsorship that we took to Ontario Place and the moat at Ontario Place was filled with thousands of cans of bottles of Alberto Moose and we were so successful we were told asked to leave. Ivor, if I can jump in there, I was actually working at Ontario Place when you guys brought the roadshow over and this was before I worked for CFNY. I drove the showboat with you guys brought the road show over and this was before i worked for cfny i drove the show boat with you guys from the main island to the other island and then everyone sprayed the whole place with that moose the alberto v05 or whatever it was yes it was crazy and scary

it was kind of scary because i remember it just seemed like we did it one summer and it was okay. So we got a second summer at Ontario Place. And I think the first show was like, wow, that's quite a bit bigger than last year. And by about the third show, it seemed like every kid in the city of Toronto every week was descending on Ontario Place, where it was getting to the point where we're doing like eight to ten thousand people every week. And it just became unmanageable by the end of the summer. I mean, I think we all, all, you know, fell over with exhaustion by the end of the summer. And it all started, I'll just do this, if you don't mind. It all started with Ivor Hamilton

saying, I need to make a few more bucks. 7,000 a year as I was back then. You needed to do something, right? Well, hey, on that note, in 1982, my daughter Melanie was born, who's going to turn 40, by the way. Wow. No way. In September.

I remember just after she was born, David called me into his office and he said, congratulations on the birth of your daughter. And I said, thank you very much, David. And he said, you know, Fred, we'd love to pay you more money because you're a father now.

And I was one of the first fathers in the crew. He said, we'd love to pay you more money because you're a father now, but we just can't listen. Maybe we can contrary you some diapers or something. I'll look into it. It never happened, but you did.

Your heart was in the right place. Your heart was in the right place, yeah. Housekeeping notes here from the host here. One is congratulations to Captain Phil Evans for getting his camera to work. Yay!

Hey, Philly. Hi, Phil. And secondly, welcome humble Howard Glassman to the East European Radio. Hello, Howard. Fred, do you know Howard? Do you remember working with him? Yes. Over an extended period of time, yes.

Ivor, maybe you're the man for this question. Maybe it's you, Liz Janik. But who can speak to the – because we've heard a lot of David, and I want to hear more David, don't get me wrong. But I got to get some other voices in here to talk about the programming at the time. So I'm still curious, like, what happened when Leslie and Harry Allen Jr. sell CFNY to Civitas? And how did that affect the programming at all? And maybe tell some of the younger people, like Jay Brody, what was the programming of CFNY in the late seventies, early eighties?

Well, I think when, when I first started, it was pretty much, it was pretty much a free for all, but I think when, once when, Oh, I'm sorry. I got my, my dog disapproves. That dog has its own Instagram account. Sorry sorry guys um anyway so it was it was pretty it was pretty free for all back in uh the 77 78 but when when david got there we sort of started to restructure uh things and you know brought um you, some kind of setbacks of order. But, I mean, the thing is that we played basically every track on an album was available to play.

That was some things were day parted. And as long as we got our, you know, Canadian content in and we had a few, you know, some categories that were, you know, what we kind of made our own hits. And those were the things that were, you know what we we we kind of made our own hits and um those were the things that were were you know cf and y hits and a lot of things that we stressed were you know exclusives and there was uh in those early days there was you know a very wide variety outside of alternative i mean there was a lot of a lot of guys played uh jazz a lot of people played some classical in the

mix of some blues um you know and then you know eventually as time went on some of those things kind of got squeezed out but um you know we were a station that that served just about everybody in those early days apart from top 40 i remember a good dose of reggae too absolutely reggae was paramount yeah that's how i discovered bob marley was was just by being a dj at the station and uh so when we first started it was just everything goes electronic music jazz all that and then and we were playing older music as well and then when david started to put his vision into play we dropped everything that was older than five or 10 years, I think. They were all out the door.

So we weren't carrying the baggage of all those songs from 40 years ago, like perhaps some current stations are doing. And we put into a system where we had to play a pattern of familiar songs and unfamiliar songs. And we were allowed to program the mood or the atmosphere of the day. Back in those days, when the sun was coming up at 4.30 in the morning, I could run a microphone out the station's bathroom window to catch the sound of the birdies in the morning. Now, outside that window was a shed and listeners used to crawl up that shed and try to crawl into the bathroom window. So it was a little kind of all over the place. But the structure in the music made gave the listeners a chance to hear something they knew and something they never would have heard before.

And it so captures what the audience is like for a station like the Spirit of Radio. The audience is passionate about music, and they love all kinds of music. They almost have no patience for oldies because they're still exploring music. And that's the heartbeat of a true alternative, People who are passionate about music, all kinds. And maybe, and again, I will stop asking about this, if it meant nothing changed, but did anything change when the station was sold to Civitas? Yeah, pretty much what I just described.

David made it more structured. What else did they do to you, David? I don't know if any, I think everybody remembers when it was announced that the station had been taken away from Harry and Leslie because they had done some things they shouldn't have with their other businesses. But we had a signal that, you know, it fell off the tower and dropped to the ground.

And if you weren't within 110 feet of it, was really difficult to hear cfny in those days but i knew we had to do something different q107 was just coming on the air at about the same time and we i was very nervous that we were going to lose what we had built and i when I say we, I mean we, all of us together. We built this thing. So one night on my show, I decided to ask for people to sign petitions. I said earlier tonight that there was something we had to talk about. tonight that there was something we had to talk about and it's not going to hurt you any little bit to take a couple of minutes here with me now and talk about something that I think is awfully damned important.

First of all, let me say that... If you were with me last night when I signed off, I said that I might not come back today, but I did come back today to play some more records. Probably because I must admit I really do get off on doing it. Probably because I must admit I really do get off on doing it. And I really get off on trading little stories with you on the telephone and on the radio.

And I came back to do that, but more importantly, I came tonight to tell you all something and to try and reach out and to touch you and to ask for some help. Now, you know I don't get serious a whole bunch because I don't really believe in being serious a whole bunch. But every now and then there's a time

when you have to get serious just a little bit. And it is also possible that after I finish this little catharsis of mine and this little discussion that we're going to have together here for a couple of minutes, they might take me off the air for doing it. But I believe that I have to take that chance. CFNYFM, as you know, has been around for a couple of years.

And I have been here for about a year and a half. You also know that radio is a competitive business and that there are other radio stations in this city and I would like to make it clear that I think that CHUM FM does what they do very well and I think that Q107 does what they do very well and I think that CFNYFM does what it does extremely well and what it does is something that nobody else in this country does and I don't know if you know that or not but if you've traveled anywhere you know there's nothing else like it there are no radio stations doing what we do for the very simple reason that it's really difficult to do.

I've worked very hard every night to entertain you, and I think that you've worked hard to entertain me in a way, and I also know that the other guys on this radio station have worked awfully hard to entertain you and probably if you knew how much of our hearts and our souls go into each radio show you'd be shocked there's no question that we do it for ourselves

and we do it for a couple of bucks but I think I'm safe in saying that each one of us here on the radio station at this radio station also do it for you but you know something radio stations like this one in fact I wouldn't hesitate to say radio stations like this one. In fact, I wouldn't hesitate to say that this very radio station is the last

of a dying breed. Oh, the middle of the road schlock has taken over. And we're left here. You and I and all the rest of the guys on this radio station and the listeners all over Ontario. We're the last of something very important. We're the last of a radio station that plays music that you can't hear anywhere else.

Not because it's on the damn charts. And not because it's hyped by some record company, but because it's good. And because we believe in it. because it's good and because we believe in it. That's why we're here and that's why we play what we play and that's why this is one radio station you can phone and know or probably be 90% sure that if you ask for a record you're gonna hear it.

But the point of what I'm really saying is that I am here now to warn you of something and I think the reason I see it coming is because I was caught in it once before as you probably are aware unless you and I underline the you unless you do something

right now for us this radio station And I underline the you unless you do something. Right now for us, this radio station is going to go the way of a lot of other great radio stations in our memories. Right now, I'm going to ask for your help. Somehow or other, each one of you has to organize some little thing that will prove that we here at this radio station are not batting our heads against the wall. If you like what you hear, and if you like what we're doing on the radio and you want it to stay then you've got to organize together I'm going to give you some ideas

first of all whether you work somewhere, go to school, or maybe you don't do anything, but that's okay. That gives you all the more time to do what I'm going to ask you to do, and it's really important and I'm really serious. We're going to start with petitions. Not a couple of thousand names. We're not going for anything small here this time, folks.

500,000, that's the number. Can you help? 500,000 names on petitions is what we need for starters. Then, if you believe in the music that we're playing, go into the record stores. Bug those record stores to display the music that CFNYFM is playing exclusively in Canada. Tell them to put those records up front where everybody can see them instead of in back of the store where you have to hunt for an hour and a half

to find them. It's time to mobilize. I know that's a pretty tired word but I think we've got a little army here that we can mobilize and it's going to take you and me and everybody else to do it.

Now, what else are we going to do? We're going to write letters and we're going to write letters until it hurts. Because we need 300,000 letters. Later on, I'm going to start giving you addresses and over the next couple of days, if I last that long, I'm going to start giving you addresses, and over the next couple of days, if I last that long, I'm going to continue to give you addresses. But first of all, there are two places that you can sit down right now and write a letter to.

And one is to the management of this radio station at 340 Main Street, Brampton, and the other is to the CRTC in Ottawa. Letters to the CRTC, but I've got to tell you something. 10,000 is not going to do it. 20,000 is not going to do it. 300,000 might do it. Those are the figures those kind of people need, you see.

I mean, that sounds dumb, but those are the figures those kind of people need you see I mean that sounds dumb but those are the figures those kind of people need so as we continue to work here on the radio station I'm asking you because I really believe in this what we're doing I'm asking you to help us we need some letters to the editors of newspapers we need telephone calls. Telephone calls to newspapers. Telephone calls to the CRTC.

Letters to the newspapers. Letters to Wilder Penfield. Letters to Peter Goddard and anybody else you can think of. Let them know that you care. Letters to the CFNYFM management. Yeah, the crunch is coming. I'm really serious about this. And we want your help to spread the word.

I believe you will help. I really do. Now I'm going to tell you organize the petitions over the next couple of days yourself and if you need some help don't hesitate to call me. But if you're calling me to tell me that you believe in what we're doing, don't call me to tell me, because I believe right along with you. What we have to do now is convince other people that there's more of us than they ever thought possible. Oh, what a sunny day when they carried the radio home. Bringing him in off of the truck and the dogs wouldn't leave us alone. Will you come and join me now

in the Marsden campaign to keep real radio alive? Get on those telephones and call your friends. Get on that phone and talk to everybody you can talk to. Let's move things. Let's let them know that we are alive and well and feeling good about what we're hearing. CFNY FM 102.1, the spirit of radio. And it went way beyond anything I ever expected. I mean, people were sending us petitions with literally hundreds and hundreds of names on them.

It blew up completely. It was fantastic. At the same time, a couple of the other folks in the station, namely, I guess, Brad McNally, Ivor Hamilton, I can't remember who else, Ivor, decided to write a song about 102.1. I don't remember all the names, but they wrote the song, and we played it with 102.1 Street Band, I think it was called.

I'm not sure. Sorry there, Iver? 102.1 Band. Yeah. We're Progressive FM. You can't call us mainstream. The only real radio versus a big machine.

Those little whispers start to shake the floor. And the noise can be heard from the corporate doors Excuse me for mentioning but there's people here and people out there with people ears I'm looking for a record and talking on the phone

And I ain't your average radio clone I'm an FM jock and I play them as I see There ain't no strings pulling on me And why is my station We're the only one We don't make much money But we sure have fun We won't play a record Just because it's a hit

But we love New Wave And those punk girls' tits Stuff the surveys and computerized sweeps Shove the billboard charts in the backseat All right. We get free records and tickets to the shows Just a couple of perks for working on the radio Working on the radio I'm working on the radio I'm working on the radio I'm working on the radio

I'm working on the radio I'm working on the radio I'm working I'm working on the radio I'm working on the radio. I'm working. I'm working on the radio. I'm working. I'm working. I'm working on the radio.

And all of those things together put the CRTC on notice. Because it wasn't about the buyers I was worried about at that point. I was worried about the CRTC giving it to some because there were eight or nine people applied to buy that radio station and Civitas won it. They were a Montreal organization this was their first English radio station and they called me into a meeting one day and asked me what the fuck are you guys doing it was that blunt and uh you can edit that out if you need to uh and so i spent about two hours selling them on leaving it alone and at the end of the meeting, they promised me that they would leave it alone. And that was when I got the titles. But the listeners and all of the other DJs and the

102.1 Street Band, everybody deserves applause. David, can I ask you a question? Were you genuinely surprised at the amount of support that the station had at that time? Yes. Only, only because our, our signal was so bad. I mean, I lived in North York. I couldn't hear the station at home. And we were stuck with that until Selkirk took over. And then we figured out a way to get to the CN Tower. But yes, I was blown away, actually.

I think all of us in the station at that time were. One little thing about the sale with Harry and Leslie Allen. When I started in 1979, the station was actually in receivership. Yes. When I got the job, Rick Charles said to me, just so you know, you've got the job, but you could come here one morning and the doors will be locked. Like you may not be able to get in.

They may be shutting this place down. And again, I didn't care. I had a job and I thought, oh, well, I'll take that chance. It never happened. But that was the circumstance when I started. I will tell you when the license was taken away from them, someone from the CRTC, and I don't know who, contacted me and said, we're going to shut you down

until we find a new owner. What was his name? Ed Prevost? He was a good guy. I think it's worth David speaking to, besides the 102.1 band, was just the support from the listenership at the time. A lot of people banded together to save the outreach and petition to the CRTC. I remember a number of clients offering up money to give support to the radio station but the listeners in particular were just so super supportive that they did absolutely did not want

to lose this radio station which i think really went you know a long long way in in getting the civitas sale through to um through and and obviously keeping yourself on as the leader. I was, I was doing, I think, evening seven to 11 or something. I was absolutely, and this answer, again, I'll answer Danny's question. All of us, I think, were just like, whoa, where is this call coming from? Because we really didn't know we had that many listeners. It's an amazing story. I mean, there aren't that many examples that I can think of in the history of radio where there's been such a rise of that kind of support. Yeah, it was. I mean, even today, I thank everybody who signed. The only other time I got that much reaction,

I remember I was at Chum FM and they didn't want to bring Pink Floyd to Toronto and I convinced them to do it. But again, using this, that was years before. But again, I used petitions and all that sort of thing. Right. It was pretty cool. You remember we did the vault?

We did a, it was like we took a, we took all the air shifts that we recorded and a whole bunch of stuff. And we put it in the, what the hell was that? Time capsule, Leslie. Time capsule. Thank you. What happened to that? Was it an actual safe, Leslie?

It was a time capsule, Phil. I remember. Where the hell, where is that? I don't remember safe, Leslie? It was a time capsule, Phil. I remember. Where the hell is that? I don't remember that, Leslie. We need to find that. Well, if they buried it in the old house, it's gone. The old house is gone, isn't it?

Yeah, it is. There was a big vault in the old house. It was a walk-in vault. And it was always rumored that that's where the Allen brothers kept all their movies, their old Charlie Chaplin movies and it was worth billions of dollars it was recorded. And then one day somebody opened the vault and it was empty. There was nothing. I'm sorry sorry i said another heraldo moment if there

ever was i think it was an amazing it was younger people but united in this belief that we were doing the right thing and we were giving the people what they wanted and it was this like visceral sense you could just feel it in the air um i have never you know it's like that was my first job and i've never experienced anything like that since it was just so completely amazing. Leslie, you know, Bill Hutton, and I'd say, okay, I want to tell you, I want to ask you something, and I would do a pitch on him. And invariably, I don't think I ever heard him say no. Invariably, he said, prove it to me. And I did my best. And then he'd say, okay, let's spend the money and do it. And, you know, things like Locky Jockies.

Who the hell would have ever thought that would be? Seriously, I still have a few of them somewhere. But even when I went to Bill about the Caspys or the Uno Awards, and it was like, yeah, let's do that. And it was a lot of money spent on the first few years until we got a sponsor. So Bill Hutton really gets my standing ovation. Yeah, he was quite something.

And he was a tough guy, right? Like he had a reputation of being a really tough businessman. Do you know what his nickname was? A fireman. That's right. Yeah. He fired people. He went to LBC in London and fired everybody.

I know. Stafford and I come in to work one morning. We used to get there, you know, we'd start at 5.30. We'd get in just after 5. And he was already in his office and that day the shit hit the fan because he thought he expected being an old newsman that we should have been in there a lot earlier than that and he's yeah he scared the the shit out of me that day i'll tell you remember he gave you a little embroidered uh thing for the newsroom always ask yourself why right bastard lying to me do you

remember that yes yeah because he was he was a newsman at heart because i know the odd time i mispronounced the name of a city or something and he'd call me and then oh that's a wooster massachusetts not worcester yeah well i mean oh yeah he would go down to the HQ at Bloor & Young and talk to I can't remember his name, Ken Baker, and say yes, they're doing this and don't tell me I can't have the money.

He was just, but he was always behind the scenes doing it. And he gets a standing ovation from me for sure. And all of us, I'm sure. sure yeah i think we love yep and he he died what about 10 years ago or something something well the last time i chatted with him um i was in vancouver and i i was watching the news and i'd heard that he had received some award for something i don't know what hotel he was in and I sent a big bottle of

very expensive wine to him. How expensive, Dick? How expensive? I don't remember. I was working for the CBC, so, you know. He phoned me and I said, hello, and he said, it's Bill. And I said, hi, Bill. And he said, you're, you're always, I can't remember what he said. Your timing is always so good.

That's what he said to me. You know what? I remember it's so funny how you like certain things. Right. I remember interviewing with you. So I was working in the newsroom as an intern and, and Mary Curtis said to me, we have this job and you know, it's going to be working for David and I, do you want to talk to him? And I said, Oh, and I was going to be a journalist and save the world. You know, I'm in the newsroom. You guys are doing, I'm listening.

I love the music, but I don't really know what you're doing. And David, I remember the interview. I sat in the chair. You sat in that love seat against the back wall. Legs crossed, ashtray on the seat beside you. So you're smoking. I'm smoking. You can't see in the in the room for the smoke. And, and it was this, I just thought, Oh, my God, this guy's so cool. And you were just so

kind. And I and I think I started the next week. And I, you know, I used to leave the station at the end of the day, and I'd be ready to go home. And I used to leave the station at the end of the day and I'd be ready to go home and I'd stop at the door at the top of the stairs. And I just think, did I do this? Did I get that? Did I do this? Did I get it all in? It was magical. It was absolutely magical. I loved it. Can I just jump in and say that Leslie is failing to also capture her time as the voice of the entertainment listings in Toronto.

Follow 102 Club and Concert Line at 454. What a natural. How are you doing, Phil? How are you doing? I'm lovely. This is fantastic. I mean, just seeing all your faces, it's, I mean, you know, I'm sitting in a room by myself, but to see you is really cool. What a lovely set of stories, and I'm looking forward to getting to 1981. Okay, can we talk about that? Oh, but wait, but we still have time i'll shut up bro here so i want to get through

the 80s absolutely we have to talk about we have to talk about rush and the spirit of radio and the story of how they wrote it for the station yeah oh yeah and david i guess you know who knows that story best um are you asking me to tell that story i know it from my point of view but how about yours okay i was i was driving in the car it was a lunch hour and i had gone and had something to eat and there wasn't a lot to do in brampton in those days it was pretty small town and i'm driving back from wherever i was and i was thinking about 102.1 and i we need a some kind of a little slogan but slogans can be really corny and really yeah uh and suddenly out of nowhere i don't know it was as if someone spoke to me

from somewhere up there boom the spirit of radio and I went back and we put it into action almost immediately I think we were still in the little relo house when that happened uh as for the rush thing uh Ivor knows the story as well but I'll let him finish the story my story was that their manager called and he said, we're releasing a new album tomorrow. And there's a song on it called The Spirit of Radio. In fact, the album Spirit of Radio. And he said, what do you think about that? And I said, I don't know. Can I get three points on the album

and we'll go with that? And I said to him, I said, that's fine. You know, we're definitely going to still be CFNY, the spirit of radio. And that's about all I remember. I do know that on the vinyl, if you have an old vinyl, if you look on the insert in the middle of the album, the serial number is in there and the serial number is 1021. So they were kind to us.

And then, of course, when they had their big celebration, Ivor put together a whole lot of stuff recently for the big celebration. And one of the things he was kind enough to do was put in two images of what's his name? David Marston. And the CFNY logo was in the back of the video. That was in a, what do they call that? Animated album. you can tell them more i don't know much more than that what i was going to say i was in on the on the production of the

permanent waves 40th anniversary and and uh there's a fabulous liner notes that were put together a rush super fan out of out of buffalo new york named ray warsniak and he he just took such attention to detail to make sure that cfny was was properly recognized both in the story and the liner notes both david and myself were interviewed for that and then they put treatments together for the for the uh for the video and when i first saw it and i was like what the fuck are you guys doing it was like it was like a all this california beach scene as i said that's nothing to do with what the spirit of radio is all about and they are and they just ended up you know going back to the drawing board and uh a gentleman who made the video

named david calcano is a fabulous animator. You know, he took it all in and they came up with the animation to show the radio station in that video. So I think that, you know, in over the years that, you know, Rush is always, you know, acknowledged CFNY, even though it's they they were, they were all so careful to be neutral, because it became a global anthem. And I do recall, you know, in later years that when we did, when I was in my polygram days, there was a, we did a couple of Spirit of the Edge compilations. And on the second one, one of the persons I work with had the idea to get it re-recorded by Catherine Wheel. So that was a second life for the song. guitar solo Begin the day with a friendly voice

A companion out a truce He plays that song that's so elusive And the magic music makes your mind move Up on your way to the open road There is magic, you'll catch your fingers And the music never lingers And demanding hands that can guide me Solitude

Invisible airwaves Tackled with light Bright antenna Bracing with the energy Motion of feedback A timeless wavelength Ready to give it a life That someone's free

Polish the shears Making modern music A life that's all one's free All this machinery, making modern music To be all but honest We're not so good at trying It's really just a question of your honesty Yeah, your honesty We're the last to believe in the freedom of music A theater of prizes and endless compromises Shadow the illusion of integrity

Oh yeah Visible airwaves Procuring light Bright antenna Fussing with the energy Emotional feedback Your time is way late Wearing a gift beyond life It's almost free

Free free And the words of the prophets were written on the studio walls Cuts it hard It echoes with the sound of salesmen Of salesmen I'm a salesman I'm a salesman We like to believe We like to believe. We like to believe. We like to believe. We like to believe. But they wanted to do Rush about it at the time, which I think it would be like probably 97, 98,

that the station wouldn't play the original Spirit of Radio. So it kind of left a little bit of, you know, not a good taste in the mouth of Rush. But it's all good now. And some wonderful history on that song. Who can speak to the significance of getting the transmitter on the CN Tower in 1983 and that party that, I heard about this party at the CN Tower. I can tell you a quick story,

and I'm sorry it's me again. Both Sibitas and Selkirk tried a few times to get us on the CN Tower, and it never worked. One day I walked into Bill Hutton's office, and I said, I think I have the idea. Well, what would that be? Well, what would that be? I said, there's a lot of people who live in Brampton, but they drive to Toronto to work. Why are they being cheated out of hearing their local station when they're at work? And it worked. It did the job. That was what got us to CN Tower. Hey, remember, though, Dave, there was talk, remember, we were going to go on the top of the Bank of Commerce or the Bank of Montreal first, remember? Yes, yes.

That plan was in the works, and then the opportunity came for the CN Tower. Yeah, I think it had to do with the fact that radio stations on the top of the tower kind of fade out once you get over into the Oshawa-Whitby area. Right. And then it was kind of like, it was just one of those, yeah, I remember that event. The CFNY breakfast. As you can tell, I raided all the walls of CFNY when we left Kennedy Road.

I have this poster, and I have it in the bathroom in my basement. We have your push button. Do you remember this thing? We have your push button. That like 40 years ahead of its time yeah i also like the i'm on top part that always mirrors david i really like that impression of bill hutton i was you know people do impression impressions of you oh that was a good one of bill Hutton. I hadn't heard that before. He did talk for a while. A quick David Marsden impression.

I told this when you were teaching me a few tricks. It was like, Scott, it's not on CFNY. It's from CFNY. I typed that a hundred times. Yeah. During the DJ meetings, I said that a hundred times. Scott, while I hear your beautiful voice there, what's the story with the spelling of your first name? Like, like, like, cause it was S-K-O-T, right?

Yeah. And that was, you know, one of those cool little things that David suggested, because I think we had a, like there was Scott Eagleson, James Scott. There was, I think, another Scott in the station at the time. And it kind of started around just too many Scots. And, you know, I think David was helping trying to mold me into a personality, which I was kind of awkward and, you know, learning my way. me into a personality which I was kind of awkward and you know learning my way and David had many many you know different personas and different uh you know he you know from the David Mickey and there he he knew it all you know from Mars Bar and David Marcy and they think this guy needs to

learn a little personality style so he helped me along the way and one of the things was why don't you spell your name with a k cfny 102 in toronto at level 42 now that sounds like the old level 42 that sounds great children say a cut from the new LP, Running in the Family. Also, KTP, Kissing the Pink, formerly, and Certain Things Are Likely, a remix of that. Quite good and punchy. New Order, The Age of Consent. And James Scott finishing with The Human League. The Heaven's 17 Single Contenders.

And Mondo Rock. Something new called Primitive Law Rates. Or something like that. Eric's writing is atrocious scott turner with you tonight and finally some sunshine in toronto it's a really nice evening and uh of course the sun will shine until oh gosh maybe eight o'clock maybe a little later and i think we'll uh start the show off tonight with maybe a couple of requests if you have something musical in mind 870 7700 and we'll go to the air and we'll go to the phones in just a moment cfny fm 102.1 the spirit of radio cfny 102 scott turner with you just to show you how accommodating i can be uh we'll take your request live on the air here for just a moment 870-7700 of course if it's

something i like then it's you know a lot easier to get it on that way. Hi, who's this? It's Caroline. Where are you calling from, Caroline? Um, I'm talking from Richmond, Ohio. Are you sure? I'm kind of sure. Okay, how are you doing tonight? Fine, Ariel. Good, good. What do you want to hear? I want to hear

I'm Out With You by Modern English. Mm-hmm. Good song. Okay, can you play that for me? Uh-huh. If it hasn't been played yet today, no problem. Okay, thanks. Okay. Have a nice night.

Bye. Bye-bye. We'll try one more. 870-7700. Hi, who's this? Hello? Hello? Hi, who's this?

This is Eva. And where are you calling from? Toronto. Great. How are you doing tonight? Fine, thanks. How are you? Good.

Wonderful. Wonderful. What would you like to hear? It's my life. Talk, talk. It's my life. Talk, talk. Okay. Do you go to school? Are you studying? Work? Doing nothing? What are you doing? Nothing. Listening to you.

Oh, well. Yeah, nothing. Listening to me, right? Okay. Thanks. You have a nice night, too, huh? Okay. Okay, well. Yeah, nothing listening to me, right? Okay. Thanks. You have a nice night too, huh? Okay. Okay, thanks for your call. Bye-bye. I walked into that one.

Brand new Smiths from CFNY. And lose a T, right? Because you're supposed to have two Ts in there. Okay, that sounds awesome. Okay. Let me please chime in to say my sincere condolences to you, David, on the loss of your brother, James Baby Scott. I'm so sorry. Yeah, it was, I mean, we lost him much too early.

He was a great afternoon drive person. I will say this. We never really were brothers. We knew each other, but we never hung out much together. I don't know what brothers do, to tell you the truth, but I think I went to his house once. He came to my place up in Caledon once, but he left way too early. He and I chatted every day up until the day that he left.

Yeah, that was sad. He was your brother, and he felt he was your brother. I can tell you that. Yeah, it was, you know, I grew up in foster homes, and that's a long story story I don't get into. But I think I was probably 16, maybe 17, when I found out that I had a real mother and a brother. Jesus. Yeah.

Wow. You've gone far. I got in touch with him too, David. I was so glad that I had a chance to to kind of say goodbye and I reminded him of the day that I came to work and I had on a pink dress and pink shoes and what do you think he played that morning right um and uh I never forgot that you know so funny I'm thinking yeah okay guys so basically we have Alan Cross. If you're still with us, Alan, I know you show up at CFNY in 86

and then May Potts, May, you show up in 87. What I'd like to just address right now is the whole sale to Selkirk. Maybe one of you could speak to the significance of the sale to Selkirk communications. I wasn't there for the sale that happened just before I arrived. Same, same thing with me. Selkirk was in charge when I,

when I got there. Oh, okay. Gotcha. So maybe instead of the sale to Selkirk, let's talk about the dark period. Okay. I don't know what you call this.

Yes. The mistake of period. Okay. I don't know what you call this. Yes. The mistake of 88. Right. One day we were called in and there was this guy from Montreal with a British accent named Peter Pringle. Doug Pringle. No, no. Doug Pringle. Doug Pringle.

Sorry. Who was telling us that. Oh my goodness. Really? Doug Pringle, sorry, who was telling us that. Oh my goodness, really, Doug Pringle? He came in and he was the consultant and he said that in this interim, this sale of Selkirk to Rogers Communication, we are going to goose the ratings by changing the format because this alternative thing is dead. We're going to be a top 40 station and go after the biggest slice of the market.

And it's not what you play now. It's what you're playing next. And that was the beginning of a period that ran from, I guess, late 80... 88. Yeah, late 88 through to sometime, I think in 89 or early 90. And when you say Rogers, you mean McLean Hunter?

No, I mean Rogers. What happened was Rogers had bought Selkirk. But because Rogers had already had its maximum number of FM stations in the market, we were in escrow for nine months until they figured out how Rogers was going to divest themselves of us. And it took that nine months for them to figure out that we would go to McLean Hunter. That's what happened. So we were caught in a really, really weird place. Not only were we being sold, but we didn't know who we were being sold to. So in this interim, the management team who is entrusted with the stewardship of the radio

station at the time decided that they were going to change the format, change the entire feeling of the radio station, boost ratings, boost revenues, so they could keep their job no matter who bought us. Now, Alan, one second, though. Did they not say that we're going to introduce top 40, but play the best of the best of the alternative. And they believe it could work together. So you could play Madonna and you could play The Cure, which maybe today can work on Today Radio. On May's station. But at the time, I think that was part of, I believe,

was part of their, or maybe that was the introduction to say, you know, this can work. And they were going to maybe go full top 40. Because they were allowing certain, you know, the mainstream alternatives, like a Depeche Mode or a New Order or a Pure, into the mix. Yeah. And we as a staff handled that very well. Can I just jump in? So the end result of that is that the numbers of people tuning in went up considerably, but they only listened for one song.

So they would listen to Depeche Mode, then we'd play Madonna, and they'd leave. Or we'd play Madonna, then we'd play New Order, and'd leave. I would mention also too, I was part, just before I left, I was part of when they decided they wanted to do this. And my direction was from Jim Fonger at the time, who told us that we were going to have to play X amount of hits on each and every week. We absolutely must play X amount of hits as part of what, you know, what we were going to do. So it all transpired, I believe it was on the Labor Day weekend of 1988.

And I decided, you know, I, I helped program it. I was actually given the orders to, you know, go to the, you know, pull all these things from the charts, order all the product from the record labels, go to the library, research, all of this, these things. And I just like, I couldn't be around for it. I left town for the, for the weekend, but I, although, and I think Scott was part of this too, that just, and I think we even recorded a couple of these, right, Scott?

Yes, we did. People calling in and going, what the hell? I just think I heard that. I just hear George Michael on your radio station that I just hear whoever on the radio station and people were flipping the fuck out. They were so upset. And be also fair to say that it was also because there was a shift in who was now programming and who was management. You mentioned Jim Fonger. This is now a person at the helm, giving us directions who came from sales and people from sales look at things in a

very different way than people who are passionate musical programmers and so not to say that people who love music and love you know programming in that sense aren't mindful of sales and how that has to balance in order to survive but all of a sudden it was as if the pendulum had swung in a whole different direction as far as management and i'd like to quote uh the late uh brad mcnally and i learned this on it is a funeral that brad used to call the sales department the taliban and that's how i think most people felt about what jim fonder was doing to that radio station in 1988. You know, to be fair, and from my perspective as the sportscaster, and again, I like the music. You know, I didn't have the passion of everyone else,

but as a father with a couple of kids, and let's not kid ourselves, everybody. The station was struggling, I mean, monetarily. A company takes it over, and what do companies do when they're private companies? How do we make more money? Like, I used to struggle with that myself and go well i sort of understand what they're doing they want to make more money because they own this company and um you know that's a great point to be fair everybody blames the sales department but again that was their job too yes a great point and you know david before talk, because I wanted to go to you, actually, on this note, because just hearing you talk tonight, tell some of those stories. And I think one of the things that is a takeaway for me listening to these stories and your stories is that the part of what David did, you know, he was such a music programming on-air artist. He was such a music programming on-air artist, but a huge amount of his time, and David, maybe you put it in a percentage.

Think of all of these years that he has dealt with that force of business, the force of the suits, the force of the money, and trying to do it. It's one of the most difficult formats to monetize. It's one of the most difficult formats to monetize. And it was in its infancy before you got to the edge days in the 90s and beyond. But like what a challenge for a person that's really, truly at his heart about the music and him to have to put on that other hat, David, to talk to the suits, to talk in a way that made sense to them and try to do that is amazing. Really. I will say this about sales. In terms of national buys, and I didn't know this until Don Schaefer, who was operating Q107, told me about it.

There were three stations, ChemUM FM, Q107. Those two stations sounded very similar. And then there was CFNY. On all national buys, CFNY always got the number two buy. They would buy either CHUM or Q, and then they would buy us. And that is, I mean, it's funny. I did the game I knew about the Fonger thing, but he was on my case for a year and a half, two years about playing Madonna.

And I had to keep saying, Jim, no, go back to sales. We'll look after the programming. But I was always there to help sales because that's what you need to do. So we always got the number two buy on a three by station and that in itself, I, Jim told me that, you know, Chum is playing Madonna and Chum is playing blah, blah, blah, blah. If we play that, we'll be number one instead of them. That isn't how it works.

Yeah. Wow. But let's face it, ratings is a bit of a game in itself too. Sometimes it's not about selling numbers. It's about selling demographics. Like, for example, it's the only succinct example I can think of in regards to CFM, why, but with the alternative bedtime hour, the idea was that you were selling Carlsberg, and it was

the live in a world of difference. So it's not necessarily sometimes about, you know, being number one, sometimes it's about getting a specific kind of audience that your product is going to want, right? The real thing with Q and Chum is they were doing a similar thing. So people would dial back and forth. As soon as Chum would hit commercials, they'd go to Q. As soon as Q hit commercials, they'd say, with us, there was nowhere else to go. they go to Q. So as Q commercial say, with us, there was nowhere else to go. And that to me is the strength. As you say, Danny, that is the strength of doing something different. And it's really difficult. It's not easy. Doing something different gets a lot of people arguing with you

that that won't work. I've heard that all my life. Dave Mickey heard that. I've heard that all my life. Dave Mickey heard that. Hello, David. Howard Glassman here. I used to work there many years after you. But isn't it interesting that phrase about doing something better isn't always different? Different isn't always better, but better is always different. Yeah.

And there was a lot of things that I learned later coming after the fact about the radio station that you're talking about that I didn't really understand. And Fred's heard me say this. I never really appreciated in 1989 when I arrived in the station was planet chaos for all the reasons you're saying and some that you haven't talked about, but I didn't understand at the time what the station meant to the audience. I had no perspective. I came from out west. I grew up around the Fox and Vancouver and stations like that.

And so what I think CFNY, what I've learned subsequently, obviously having known the listeners now for 30 plus years, that it was a unique place in the marketplace. But to your point, danny it might have almost been too niche like for its time because yes carlsberg is a great sponsor for the alternative bedtime hour there just wasn't enough of those i think and correct me if i'm wrong dave david to be sustainable do you know what i mean like it what there were some but maybe not enough to to make it to make a go of it i i don't know what they were thinking at the time i'm just

thinking that yeah it had a psychographic uh attractiveness but maybe not enough of the the numbers and times right hours all that stuff right. Ratings don't matter until they do, until there's not enough of them. Yeah. Yeah. I will say I don't disagree with what you're saying, Howard. Being different is not always what you need to be correctly different. You need to be. Because a lot of people are just different for the sake of being different.

Yeah, I know. No, I don't believe in that. No, I don't. I don't believe in that no i don't i don't believe in that um you know i'm a i'm a blues fan and i don't think ever maybe in the south or or i used to live but in toronto you could you probably couldn't live for more than three or four weeks if you were trying to sell strictly blues and four hours of food because there's not enough people in toronto who enjoy the blues uh but you know i mean we had the funny thing is that a lot of what we played duran duran's and all those people they became

they became huge market wise they weren't just some underground thing you know Iggy Pop wasn't some underground thing he was a big star when they did Police Picnic you know they sold 30 or 40

thousand tickets so he had a huge following what we left out were the big hits of that day, I don't know what I can think of this episode it'll be 20 i don't know if it would work i will say this ny the spirit.com plays a lot of new music that's being ignored by others. It also plays a lot of the music from the CFNY era. Some of the

DJs, Ivor Hamilton, and it does show All Night Andre, who was originally with NY in the Little Yellow House. And I'm with all these people. So would it work today?

Well, it's working pretty well, okay, for NYTheSpirit.com. I will say that. In fact, I may say this. What was CFNY is now NYTheSpirit.com. Thank you. I hope you didn't mind the commercial. Listen, I'm happy to promote that wonderful independent streaming

station you have. People should check it out. But really, because I want to get us to the 90s here, and I want to get us to Humble and Fred before Humble goes to bed here. So I am hoping Maybe sometime. Any minute now, Mike. Hang in there, Howard. We almost have you coming from Montreal.

But I just want to know, if I say this name, I want to know what people think about it. If I say the name Larry Bates, does that name mean anything to anybody on this? Yeah. Yes. I know him as Master. Does anyone know the story that can tell it better well go ahead larry larry larry bates

intervene yeah yes and he he said stop oh this is before your time howard it stopped the agony nobody i know the story repeats yeah um and and lar and Larry formed a group of people who lobbied the CRTC to get us to go back to alternative. And he showed up at the Canada day festival with a group of people with signs and he rented an airplane saying, stop the agony. And, and basically go back to what you were doing. Was that a shot at Steve? It was Steve and the music repeats. Cause we were doing um was that a shot at steve it was steve and the music repeats because

we were doing they were up to like oh i don't know 20 times a week by that point um so uh he didn't like the repeats and he didn't like the shift in music philosophy he was a steel worker an iron worker and it became his cause and his passion to get us. Now, I'm going to just add one more thing. Go ahead. Sorry. The spring back under the McLean Hunter team was significantly more spring back to an eclectic sort of college style than a commercial alternative station. I was going to say. So it went a long way.

If he had been around nowadays, Larry would have parked an 18-wheeler outside of the station on Kennedy Road. Yeah. The Larry thing irked me a bit because it's like, you know, you're screwing with some people's lives here. No matter which side you fell on, it was like, well, easy for you to tell this radio station what to do. But you don't know the real story.

You don't know the bottom line. You don't know what it needs to do to be viable. Yeah, I remember those. Alan, what did you think of the Bates intervention? I was one of the uh insurrectionists so i was quite happy when anybody took the side of some of us who were on the air which uh you know looking back was not the smartest thing to do from a from a pr and um toxic workplace point of view uh But I thought Larry was kind of cool. I really was shocked by his passion for the whole thing.

And when I found out he died about three years ago, I hadn't thought about him for a while, but it moved me because this was a guy who really went to the wall for the radio station, or at least as a representative of the radio of a subset the most passionate subset of the station and he spent his own money on it and he was a listener yeah i i went to the crtc hearing that he showed up at with a bunch of listeners and he was very very vocal and it got to the point where Doug Pringle just didn't know what to say. Like he just was like, I want my radio station back. And I remember I was standing in the corner at Pringle knew that I was, you know, very much on.

What a unique, like I've worked in radio stations all across the country, and again, as I've said a bunch of times, I had no appreciation in 1989 for what the place was. But looking back now, 30 years later, there really isn't very many places in media in general, forget radio, where people have felt that passionate about something so passionate that they would, as you said, spend their own money, go to the wall for it, go to hearings, because a lot of people, you know, nowadays, it would just be a bunch of people tweeting at the station. That's right. That's right.

At that point, too, I'm just going to jump in very quickly. Well, I was going to ask for you, actually. I'm glad you're jumping in here. Well, what you said about how passionate people were about it and how you didn't realize Howard at the time and in hindsight, you discovered, I think all of us who are still working in some capacity on air with the public can say, and without fail, that I hear still pretty much every single day, if not several times a week from listeners who say i used to listen to you on cfny i've worked at other stations um since then i worked at chum and some people will say that to me from chum as well but not like they do when they talk about man i used to listen to you on

cf it's just the way they say it and the love that's still there for that station all these years later you know if i can if i can chime in uh working there today i i still get blown away by the amount of texts we get every week um mentioning like i've been listening since pete and geats um i i loved humble and fred talking about david scott like we get these texts every single week many times and the fact that like the music has changed so much the edge is totally different than it was back then but the goodwill is still so strong there um for what you guys did and uh it's mind-blowing considering, like, how much time has passed and how much passion I still see every day there from the listeners of the past that are sticking with the edge

because of what happened before. Okay, so I want to bring Humble to Toronto here. But Fred, before I get Humble here to join you, just a little cleanup here. So morning show CFNY, just a moment, speak to Pete and Geats, where you and Mike Stafford were on Pete and Geats, and then what happened to Pete and Geats before Howard comes over to form Humble and Fred?

Well, as I said, I was a couple of years out of college, and all of a sudden I'm working with Pete and Geats, and I knew who they were at Chum FM. In fact, I couldn't believe it. In fact, I think I read it in the who they were at Chum FM in fact I couldn't believe it in fact I think I read it in the newspaper they were coming to CFNY while I was working at CFNY one Gary Dunford or something and then all of a sudden I'm working with these two guys and uh you know I was in the same room with like uh just a great morning show a great major market morning show.

Obviously, I learned a lot, and Pete, a lot like Howard, really knew how to use the people around him, and it was just a lot of fun working with those guys for seven years. I guess they left in 87. Talking Heads from CFNY 102. Good morning, Gates. Good morning, Pete. How are you today?

Not too bad. Busy. Can't really stop to tell you how I am because we've got so much stuff to give away. It's unbelievable. We'll be giving away the 250 Elite Honda Motor Scooter a little later this morning. Yep, yep, yep. A weekend with Kathleen Turner. That's another story.

That's right. We can explain that right now. Clue number one for the Nissan. Yes, the Nissan. That's right. We can explain that right now. Clue number one for the Nissan. Yes, the Nissan. That's the 4x4 that we'll be giving away. We want to remind you about the first annual Upper Canada Waiters Race on Ice. But there's no time to talk about that now.

That's right. Because we have to move along. We have more information concerning... Information package coming at the bottom of the hour. And let's see. Let me tell you this. You're beautiful, don't ever change, and we must have lunch real soon.

One of North America's two great radio stations, CFNY. You know, Geach, earlier this week when we were at Eaton's, a lot of people came up to us and asked us about that particular station identification. You say one of two great radio stations in North America. And they asked us, what does it mean? Well, we really didn't have an answer at that time,

and we decided to reactivate an old Pete and Gates feature called Disc Jockeys Around the World. We thought by calling at random some of the other radio stations that are active on this old dust ball, we might find out what the other great radio station is. So we're placing a call right now, and I believe this is going to be an overseas call. Hello? Radio One? Hi, it's Pete and Geach from Toronto, Canada. Can you hang on?

Yes. 22 minutes after 1 in the afternoon, this is John Rhine, Radio 1 BBC, one of the world's two great radio stations. You too, with or without you, from their spectacular hot new album, it's Move Over, Sgt. Pepper, Move Over, Disco Duck,

Move Over, Gino Vanelli. This is Vinyl to Remember, a disc to file under Incredible. John Rhine, Radio 1 BBC Home Service, 21 minutes past 1 o'clock. Remember, tonight at 10, it's the Hello Show with Lee Carter, our friend from Canada. Tonight, Lee chats with Bono. Unfortunately, due to a bit of a cock-up with Island Records, it will not be Bono from U2, but rather Sonny Bono.

Oh. Has an incredible new album that'll jump right out of the box and onto the lorry. And Lee will chat later with Morrissey from those scrumptious smiths, discussing how to Oh. Hello, John. Oh, John. Hi, John. John Rind, is it? John Rind, yes. BBC One, can I help you? Yes, Pete and Geet from Toronto, Canada.

We have a station identification on the air that says CFNY, one of two great radio stations, and I know that you have a similar station ID there. Absolutely. It's BBC One, one of the world's two great radio stations. We're a bit of a mess up here, I think. Well, we should be like, we're the number two, and then you're the number one, I guess. Well, it could be that we are number two and you're number one. What are your numbers? Of course, we don't have numbers, per se, as in those cheap

North American Lee Abram consulted sort of disgustingly AOR Stadium Rock toffee names of American business make money, money, money, money commercialized radio. John, I know you're busy, but the station ID says

one of. It doesn't say we're one or number two or number two or number one. Can you hang on a second? Hello? John Peel, 22 minutes after, one o'clock, Radio 1, BBC, one of the world's two great radio stations. Listen, we have a new promotion.

Be a DJ for a day. We ask you listeners to go out drinking with us until four in the morning. Then you're shuttled in to do the morning shift. We'll go home, but we'll first make sure that none of the turntables work and we'll bounce your rent check. John Peel, Radio 1, back after this.

Hello. Hello, John. Well, if you can shed any light on this situation, we'd appreciate it very much. I'm afraid I can't. I'm John Rhine from Radio 1, BBC. You see, I don't hear any Beat Sessions albums out like John Rhine Sessions.

No, no. Thank you for your trouble this morning. John Crane? You're going to continue to use that. Hang on a second. And remember, folks, it's the Spurfatory Contest. Listeners invited to identify any Conservative Member of Parliament in this steamy picture of a

West End London bathhouse. Look carefully. I'm back after this. Hey, I think we should write you. Listen, I must leave. Okay, John, thank you for your trouble this morning. Do you have some super tramp up next, I suppose? No. As a matter of fact, we've got Bob Geldof.

Irish. Yes. Buddy Irish. 21 BBC, Morrissey time is 23 after 8. You know, and again, it was a collective thing because Marsden, David used to call me and Stafford into his office and say, don't be afraid.

Take chances. Don't be like the other stations. And that was pretty heady stuff for a 22 like i was 22 stafford was like 19 and we have the program director you know and then the radio station goes on the cn tower and we have the program director telling us to do things that i know weren't being told to other people at other stations they just weren't hey if you make if you make a mistake don't worry there There's always tomorrow and all that stuff. Let me just jump in and say, Fred, that was not what was said to us years later.

Don't be afraid. Shut your mouth. Stop talking. You know, seriously, as a sportscaster, I mean, that influence of Pete and Geetz, but David saying, do whatever you want. Like, have fun. Yeah, you're a sportscaster, but David saying, do whatever you want. Like, have fun. Yeah, you're a sportscaster, but be a different kind of sportscaster. And it was invaluable.

I mean, that's probably why I stayed in the business for as long as I did. Fred, in private conversations, I've heard you say, you know, you love David Marsden. Like, tell David you love him, Fred. I've told David I love him. Seriously, for all those conversations, he used to tell again, not a lot of guys my age at that point in your career

would be told the things that David told me and Mike Stafford to do. The freedom. Push the envelope. One of my favorite stories that Fred tells about David Marsden, beside that one, which is, I always think, whenever you tell me that story, I think, god damn it,

why couldn't Marsden have been our boss? But one of the things that always impresses me is that David had an appreciation, and I know a lot of people on this call have done mornings or filled in on mornings. David always seemed to have an appreciation for what doing mornings was like, and there's a story

you should tell it, about David saying to you guys take some time off take time away oh that was absolutely this is another Mars that this is another reason I love the guy he called me and Stafford in and said together and said how much holidays do you guys get and we said two weeks said, well, I want you to start taking four. And we looked at each other and said, what's up? He said, a good morning show is a well-rested morning show. Try and take a week off every quarter. That's what he said to us. So we went from two weeks, which we were eligible for, to four weeks. And that's a true story. And it was

like, Sam and I are looking at each other going, did he just double our holidays for a week? No, that's crazy. Because David, most most program drugs are like how much holidays do you guys get we'll cut that in half yeah because we we weren't we weren't we weren't anywhere eligible for four at the time but i think pete and geats came in with four and and again i'll never forget that because it was just so progressive and thinking ahead of course oh well you know you get up at 3 34 o'clock in the morning of course a well-rested morning show is a productive morning show it all made sense so ready i want to freddie i want to come off something you just said there about the ability to um do what you want right you had the ability to do that on air

yes one thing i learned in the background on the creative side is that we could do that as well and i think that was ingrained in the way the station sounded we could just do whatever we wanted make it go out i mean i remember jamie watson standing over my shoulder and his whole thing was don't worry about it you can't break it just put it out there see what happens yeah what's the worst that's going to happen right someone's going to call and say it's stupid so what who cares so i think you know it's not just the ability to be on the front end yes on on the on the front facing end it's the ability on the back side to actually take that idea and that imaging through promotions and through everything and just and push it forward look at the creative that that station had traditionally year after

year, person after person. Like it was amazing. Like the creative department, like under Maureen Bulley and then after. You know, there's a lot of us here tonight and it's so great to see everybody's faces and so everyone's so cheery and happy.

But there were so many people behind us. We had a news department of, what, nine or ten people. It was crazy. What radio station does music? It had ten or twelve people. We had an incredible writing department headed by Maureen Bully. And on and on it goes. It was... Wow.

It was the whole team that brought it together. You also had Norm as your voice guy. You had sounds like live, just these voices. Hey, Rob, I'm just thinking, Jay Brody heard you say you had nine people in the newsroom. There's not nine people working in three fucking rooms. No, no. heard you say you had nine people in the newsroom. There's not nine people working in three fucking rooms. No. I haven't seen nine people since I started

at the edge. No, no. There's not nine people working in three conversations. I'm not exaggerating. Dude, when I started, there were nine people in the newsroom. David, wasn't that

spoken word commitment, right? A lot of it. Well, foreground programming, foreground or whatever. We had two difficult, absolute things that we had to do for the CRTC. One was six hours of class. Oh, you want to say something? No, actually, I'm counting down with you these things.

Sorry. Yeah, very confusing. No, actually, I'm counting down with you these things. Sorry. Yeah, very confusing. So we had six hours of classical music that we had to play every week. And I created with David Haidt, who I believe is a Dr. David Haidt now. And we created masters and moderns. And what we would do is we would play the classical music

but then we would compare it to people like the moody blues and other sort of bands like that we had a lot of hours of foreground programming uh most of that took place between 11 and midnight uh you had the streets of ont Ontario on the weekends with Liz. We had a lot of the... We had PQ Special. People at Pivotas couldn't get over that.

I completely lost my mind because they were from Quebec. Was that Eddie Valiquette's show? That was Eddie's show. Where's Eddie these days? I have no idea. I spoke to him once. Don't forget Hedley.

Yeah, he called me from Vancouver. When I was in Vancouver once, Brad, and I've not heard from him since. Oh, yeah. Hedley did the reggae. Brad did eclectic spirit. So all these foreground shows that most agents are just cringe we just took this horrible idea and made it into something interesting can i just jump in one element you uh didn't capture david is that you had a certain amount

of peel region coverage you had to do too so um when I lived in Toronto and listened to CFNY, it sounded like the most dangerous place on earth because every headline was Peel Regional Police have a 22-year-old man in custody. And that's how Mike would open all the newscasts. Okay. I just wanted to throw in another restriction that worked to our advantage was the catch us if you can.

Yeah. All that said we couldn't play a song more than once a day. That's right. So you say CFNY's catch us if you can contest has got you down. I can hear it now. It's almost impossible to hear a song play twice in one day and win $102. You think it should be called,

You Haven't Got a Hope in a Hand Basket of Catching Us? Well, you're right. Maybe you should just line up at the door and the boss will hand out $102 to each and every one of you. How would that be? Just to show you we're good sports at CFNY, we're doubling your chances to win. That's right, all you have to do is call in

when you hear a counterfeit commercial. What is a counterfeit commercial? Well, for example... Green Giant, me and the Sprouts want to see your niblets. I've just French-necked non-stop for three days in the hood of a Buick, and you offer me a light beer? So be the first to call in when you catch us playing a phony

commercial and win $102. And of course when you hear a song on the Pete and Geet show repeated before midnight, you also win $102. And of course, when you hear a song on the Pete and Geet show repeated before midnight, you also win $102. Okay? Happy now? It's the new and improved and easier to win. Catch us if you can from the spirit. Now with NutraSweet.

Brother Bill wanted to be here. Brother Bill had to work. So he had to actually, you know, work for a living here. So he couldn't join us. But shout out to Brother Bill who very badly wanted to be here. Danny, you're on standby, because I'm going to ask you about Reiner Schwartz, and then we have something to discuss.

But Fred, before we bring Howard to Toronto, what were the morning shows between Pete and Geetz and Humble and Fred? One thing I will say about Pete and Geetz, they were, if I'm, were they not probably the first sort of irreverent, fun FM morning show in Canada? FM I'm talking about. I would agree.

Absolutely. And I don't know your ties to that Canadian Music Week and all that. Why those guys have not been recognized to me is a crime. You know why? Because a lot of the guys that are making the decisions don't even, you know, they didn't listen to CFNY, I guess, or no early Chum FM, but they deserve a little recognition on some level, I would think. Yes, they do. That's why I'm bringing it up, Fred.

Pardon me? I think it's worth trying to lobby, you know. Oh, I talked to that Neil Dixon about it one day, but he just wasn't really even looking at me when I was making the pitch. How many years ago was that, Fred, if I may ask? Well, probably eight or nine years ago. I wanted to say me and Howard should, but I thought that was a little too... Fred gave up on Pete and Gates, and then we started trying to get us, and that was completely a shit show. Would you like me to talk to this gentleman?

Yeah. I got mine in 2011, and I think I was the first DJ. Because it was always managers and sales managers. Oh, okay. David, did I not host that? Was I not hosting that night that you were? Were you not inducted at the same time as Derringer? No.

Okay, because I hosted a couple of those in the early 2010s and 11s. It says March 14th 2011 on my thing here. Okay, Fred, tell me morning shows between Pete and Geetz and Humble and Fred. Okay, so Pete and Geetz

left and then I, for a short period of time after Pete and Geats, I think James Scott did it just for a short period of time, and then I worked with Scott and May, and I don't know if that was before or after Randy Taylor. I think it was after Randy Taylor. Was it after Randy Taylor, May, and Scott? Was it May and Scott? Yes, I believe so, because I think that right after scott and i then

it was humble that came in no no i never worked with ted as a morning show guy and that wasn't no wasn't wasn't may scott and may scott and fred when Right. I think that was when I left in 91 to 92. Oh, that's right. That was in between. That was after I left. It was Steve Anthony. Okay, hold on, hold on. So it was Randy Taylor and then I guess Steve Anthony.

No, it was Anthony and then Randy Taylor because Randy Taylor was working with you when I arrived in town. Oh, okay. All right, whatever. And then, right, and then Scott in May, during the interim there when Howard left. Howard left.

We'll get to that in a moment because I want to get to the Danny and then the Reiner Schwartz, and then we got Howard leaving, and then we got Danny doing something exciting on the air. But how the hell did you end up at CFNY, humble Howard Glassman? Well, thank you, Mike. and uh listen it's great to

see everyone i don't i don't know i was gonna say i don't know leslie vera i don't know that we've ever met and and liz i don't know maybe we've met but i i think everyone else i've met a few times i haven't seen danny in a long time uh it's interesting though danny looks younger than she did when she worked there 30 years ago which is weird um well first of all uh yeah i'd done i know pete and geats were sort of the first irreverent morning show but the guy that i that hired me in vancouver i guess was a pete and geats fan don shaffer and he put me on a morning show and we were supposed to be sort of like the funny you know i was a stand-up comic and i got put together with a couple other radio guys.

Anyway, fast forward to 1989. I had been out of radio. I'd only been back in the business for a year. Some people that I had worked for before and worked with were trying to put together a morning show. You know, everyone knows the Humble and Fred origin story. Came to Montreal. We got along and started working. But what I kind of thought would be germane to this call is, you know, what impressions I had of the station when I first arrived.

And I've already said that I had no appreciation for the history, David and others and Scott and Ivor. You know, I really didn't understand it. And I think I said this to Mike earlier today. Like, I just thought it was I just thought it was chaos because it wasn't what it was and it wasn't what it was going to become. It was this weird amoeba in the middle. And it was a bunch of, to Alan's point, a bunch of insurrectionists. I thought people were just, it was madness to me. And I didn't know where I fit into it. I had just been a traditional radio morning guy and done pretty

well and I was a you know medium successful stand-up comic and I was now thrown into this group of people that all knew each other and I didn't know anybody and didn't know Fred and I mean like a lot of things it's easy to see hey it worked out now but at the time it was pretty unsettling for me I had just met this woman that was going to become my wife and move to a new city and my impression of the station was almost immediately what am I doing here like because because it was still I were still I think we were still playing top 40 and we were playing some alternative and I remember there was a meeting the chicken meeting at the place I remember at the end of the chicken meeting there

was the people like Scott and Alan and Neil Mann and all these people and they were all happy that we were going back to alternative or something and I just remember Neil Mann walking up to me and shaking his fist going you can take your top 40 format and shove it up your fucking ass and I'm like he did say I just want to do jokes. I just hear for jokes, fellas. You know, what's funny, Howard, is that I started I started interning right about the time you guys started. OK, so I came in right about the same time and I was just an intern and I grew up in Toronto, but I didn't I knew the stage, but I wasn't like an evangelist for it. Right. So I came in and it was the same thing. Whenever I'd be there, I'm like, this is like this is like wkrp this is a bizarre place there is some weird but who was was reiner the

the program director then when you came out well no no no no danny kingsbury but that was on the three fonger and mr you guys were talking about jim hutton he was bill hutt bill hutton sorry right jim Fonger. Jim Fonger, yeah. And I would just like to say, too, because I know a lot of you worked with me in those days and haven't really, we haven't kept in touch. But I can tell you this. A lot of the impressions of me were made at a time when, like, it was very unsettling to me. I'd never been around anything like it. And, again, you know, my perspective,

my perspective obviously has changed over time. So I was thrown into this situation with this guy, Fred Patterson, who, by the way, was really funny, who I smoked cigarettes at the time, like everyone, you know, it was 1989. You had to smoke cigarettes. It was the law. But Fred didn't smoke cigarettes, but we were so excited slash nervous that i got him smoking like within a few days because i was smoking so much he just couldn't help himself he's like all right well i guess and in those days which drove Geetz crazy. We could smoke in the studio. Oh, yeah. People are stupid. Mm-hmm. We were.

So, Howard. Just remember. Yes. Yeah, you're mid-sentence there. Very rude of me. No, no, that's fine. I'm just going to say, I just remember that time now. It was, again, unsettling and bizarre to me.

Yeah. Is that why you quit? And that is why, and I'm glad you asked that. I left the radio station because I loved the show and I loved working with Fred and everyone around the show. But I remember Reiner became my boss and you said something about an hour ago, David, I wanted to interrupt you, because you actually wanted us to say you wanted people to say the callers. Cause I remember being in a meeting with Reiner and nothing against Reiner, may he rest in peace. But I remember him saying, Hey, I got an idea. We'll be the station that doesn't say the call letters. And I'm like, I'm like, I was a morning guy at the Fox when I was

21. What am I doing here? So I said to my now ex-wife, I said, I don't think I can work there because I don't know that it's going to be where I want to go with my career, which is why I left. And I didn't want to leave the show. They'll just know, Howard. They'll just know. They'll just know. They'll just know. That's what Reiner said. He said a lot of bizarre things.

I think Howard got caught in a huge transitional time, not only for the station, but radio, FM radio was just peaking, and the money that was coming in, so it was becoming slowly corporate, and there was this time of transition to try to, how do we continue to be, you know, creative radio from the past,

but also be a corporate entity. It was a difficult time. Sure it was. Yeah. Yeah. Just on that smoking thing, just so you guys know, I still live in Brampton.

I'm still in Heart Lake, 40 years. The odd time I go down, remember Jai, the guy that sold the rice beside the Caribbean thing? Well, the odd time I still get it. And if you walk up the stairs and into the station, it's all immigration lawyers now in driving schools, but they didn't

their offices are the actual studios. They didn't change a thing. I'm telling you the truth. One day I went in and an immigration lawyer was like the main FM studio. And I push open the door and I look in where Pete and Geetz and me and Howard would have sat. And it's like filing cabinets and a woman working in there. And I went in and say, I said hi to her. And I looked up at the ceiling, nicotine all over the ceiling. Still from Peter Griffin and Humble Howard

and all the morning men that smoke. I'm telling you, nothing has changed. Even the old AM station is still there and the studios are used for offices. Wow. I couldn't stop. They'll have the right, the floor is still rised.

Wow. The day we left in 96, you could walk into that control room and still smell the staleness of cigarettes. Can I just jump in on the floors? We had a music department assistant who rolled the chair across the floor, hit an outlet, and put the whole station off the air. Remember, too, that you couldn't have the microwave and the coffee machine going at the same time. And there was no one to say that.

Except on Mondays after Hedley worked over the weekend, because you'd come in Monday morning and the microwave would be gone. Hey, two quick Peter Griffin stories. Number one, you know, he'd be on Geetz about the equipment all the time, and Geats would often ignore him, and he complained about this chair one day, or over a period of days, a week or so, and one morning, me and Stafford are sitting there, and we hear,

wham, bang! He opened the studio door, grabbed the chair, and thrown it down the hall. Right down the hall, and yeah, you know pete had a bit of a temper on him and another day you know the microphone would be in front of his mouth but the gooseneck thing or whatever you call the spring that held it up started to it's it started to wear out and the microphone would drop every so often so one mid-break pete just started punching

it on the air yeah it was bang. Yeah, it was crazy. Dan wants the default report that says, can someone please take a look at the control room chair because the seat smells. True story. That's a true story. I remember that. Absolutely.

That's a surprise to me. Fault reports. I forgot. How do you know? How do you know that the seat smells? Yeah, how do you know? That was Dan. That's a chair stiffer from way back. I forgot. How do you know? How do you know that's the seats? Yeah. How do you know? That was Dan.

That's a chair stiffer from way back. As a guy, the only one on the Zoom who wasn't there, I got to say, I'm absolutely loving this and I almost feel guilty because it's going long, but episode 1,000 was five hours and 40 minutes, so maybe this is it. No, this won't be that long. What kind of a Zoom plan do you have?

Mike, I am going to say thank you, and I'm going to get off to a little... If you've got to go, can you tell us why you came back? So you go to CKFM. You're the first man to say Mix 99.9 on... Quickly, I go to CKFM. Slate hires me

for the first of three times. And I start there August of 91 on Labor Day. After Labor Day, that Monday, I say Mix 99.9 for the first time. And that was 1991. I was back on the air with Fred by August. I want to say August of 1992. Yeah. So other than that, and I, so those are the reasons I left.

The reason I came back is sitting right there. I knew that the show that I was doing with Fred was the best show for me. Right. And that staying where I was, because Gary didn't fire me, although he says he did, but that was one of the times he didn't fire me. The other two times he did. And by the way, May, the last time he fired me was four months before he sold the company to Astral.

And I remember saying to him after, what the fuck, Slate? Like, really? I was the thing holding up the sale? Right? Shitty little salary? Well, Howard, thanks for jumping on jumping on go ahead i came back to work with fred um beautiful and it's worked out pretty well and i'm being honest like i i just recognized that that was the best radio i had done and that there's a secondary reason and you guys may not

like these people but i recognize that vince dimaggio and Stu Myers knew I had known them from radio. So my insecurity around the station, as it was when I arrived at the first time, was quelled by the fact that I knew those two guys in charge knew how to do a radio station, how to do radio. knew how to do a radio station, how to do radio. And so I came back. I remember the first meeting they said, did you leave? They were talking to me about why I left. And I said, I left for those reasons. And I said, but I always loved working with Fred. And they said, would you like to work with him again?

I said, absolutely. And that's how I came back. And it was 19, again, August of 1992, I guess we went back on the air. Amazing. And tomorrow morning, we'll be back doing it again 34 years or 33 years after we started. So thank you. I will see you there, Howard.

Thanks so much for jumping on the Zoom. Before you go, before you go, before you go, Robbie J wants to say something to you before you hang up. Before you go. Hi, Howard. How are you, brother? I'm great, man. I just want to say the times you before you hang up. Before you go. Hi, Howard. How are you, brother? I'm great, man.

I just want to say the times that I did fill in for Danger doing the show for you guys was a freaking blast. It was. I learned so much things. And the funniest thing was, remember, sometimes I would screw up during the show. I'd make a mistake or something. And you get pretty mad during the show. You know, when you go off. Yeah.

It's the weirdest thing. Bob bob would not bob would never experience this but afterwards you would say you know hey man that's sorry about that you know it's cool i just want to make sure everything's cool i learned so much it was it was an absolute fantastic experience and if i've never expressed that there you go thank you rob i just want to say i don't care as much as i once did well i know I know that now. I know that now. It's close to death. Anyway, thanks, everyone. Stay well.

See you tomorrow, Freddie. Okay. Talk to you in a few hours. You know, I mentioned Stuart Myers and Vince DiMaggio and that regime. Some liked them. Some didn't. I liked them. So he comes back in 92.

Some didn't. I like them. So he comes back in 92. In 93, Howard and I received a really nice offer from Q107 to go do the morning show there. And we were free and clear to go at the time. But through negotiations, at the end of the day, it was, no, we want to stay working with these guys, the guys we know, as opposed to the guys we don't know. And that was 93. I wish we'd have done that in 2003, but we didn't. We made the wrong move at that time, but it was the right move in 93.

I'd like to just shine a light on Danny Elwell here. Hello, Danny. How are you doing? Hey. Could you speak? We heard his name earlier, you know, talking about not saying the call letters, Reiner Schwartz. But could you please speak just briefly about reiner schwartz's time here at this kind of transition

period of cf and y and then i need you to speak to the fact that you resigned from cf and y on the air and we need to know why you did that so there's a bunch of stuff on the plate for daniel for Danielle? Well, um, and I'm, I'm going to invite Scott and Alan and may and Phil to, to speak to this time period too, because I, I, I don't know all certainly. And when I met Reiner, I met him at, uh, CKFM 99.9. Um, he and I became friends. Uh, He was doing a bunch of things there and soon told me that he was leaving and going to CFNY. You mentioned Larry Bates. And I remember, I mean, knowing Reiner a little bit and not really knowing what he was up to, I remember him telling me about, you know, you know, collaborating with Larry on some things in regards to CFNY. And soon after he landed there and I got hired 89, hired to do evenings. And I loved it. I don't remember things like him saying, you know, you can't say the call letters or

this or do that. To be truthful the thing that I enjoyed most about Ryanair is that he allowed you to be who you are and for me at that time that was everything. He was a very sensitive and empathetic person towards especially the announcers. He really felt I think a kinship with us and did want us to be creative and and you know be ourselves and yeah he I don't I didn't know Reiner before so Reiner Schwartz was a name I knew but I didn't know him at all so it was an interesting opportunity that I had to work with him unfortunately part of my time working with him was cut short because I went off to have a baby. But I do remember him also being so great because the night of the Caspies was I think I was really, really, really, really pregnant.

There's a funny picture of Scott Turner and myself from the 89 Caspies. We look like Laurel and Hardy standing there together, by the way, becauseott's so slim and i was like and i remember reiner saying are you sure you could do this i'll have a limousine on standby to take you to the hospital but he was you know just a really sweet empathetic guy and um yes greatly missed i'm sure by many i unfortunately only had a very short period of time to work with him I remember when Ryder came along the music policy snapped 180 degrees from where it had been in the previous two years and I remember hearing you know ministry on the morning show thinking okay I like this but this isn't gonna last it's It's just not going to work. And I remember we had pretty free reign.

And this is, I guess, what is it? Is this 91? 90, 91? Oh, earlier than that. 90? 89? 89. And Earl Jive was the music director.

That's right. And we were just on the cusp of the whole alternative revolution of the 1990s. So you could feel that something was shifting with music but we hadn't reached a grunge or 91 which was a you know a big year where every single day a new record came out that was perfect for our format and and helped us establish ourselves for the entire decade the one thing i do remember about reiner is that he got very angry with me or or at least very, yeah, he got angry with me, because I had done a bit on the air talking about how elephants who had been released from logging camps were were roaming the streets of Bangkok. And I said, we have the same thing here, too, except we call them new fees. So Reiner calls me in and accuses me of racism.

And I said, well, Reiner, how many complaints did you get? He goes, none. OK, so what's the problem? Well, i just don't think we should be doing that okay we won't do it anymore how many complaints did you get none how many complaints did he ever get none right but uh okay i i never equated unemployed thai logging elephants with people from the Maritimes over again. That's funny. You couldn't say Newfies on the air now. No way. I have a story I'd like to tell. You couldn't say Bangkok either.

You couldn't do that. Probably half of what Geeks did on the air now. That's true. David, you were going to say something there? Yeah, I just, Reiner, when I was at Montreal and

I was hired by I moved to and Reiner left and went to Montreal and he and I had that sort of thing going on for the longest time even

the whole thing with CFNY I was gone and Reier came in. We got to know each other pretty well in his ending years. And when I had Iceberg, he did some voice work for me at Iceberg. And he and I used to really chat up in my office a lot. And we had a pretty good time because I think we both see the world somewhat oddly. I also wanted to mention, if I may, I want to mention the on-air staff that we had. Many of us are here today, but then we have like, someone mentioned Earl Jive a few minutes ago. And Earl Jive in Beverly was hugely

popular. I mean, they did so much club work. It was just crazy. And Earl drove around in Geddy Lee's Porsche. And that didn't quite do it, so he went and bought a brand new one. So they were doing well. Also Jim Reed, who did Middays at CFNY for years, a great guy and a wonderful announcer. Nick Charles,

of course, was fill-in. And when he wasn't on CFNY, he was chauffeuring all the stars around. David Bowie, Iggy Pop, that's what he did. Also All Night Andre, of course, his very early years at CF for the Y. And who did I leave out?

Brad McNamara, of course. Ron Vachelle. Whatever happened with Ron Vachelle? Yes, thank you for mentioning that. Yeah. I do not know. I see his former wife, I think, posting on Facebook sometimes. Wendy.

Yeah. That's right. I see Wendy posting on Facebook. I do not know. He just disappeared, as some others have done. Yeah. That's great. That's Sparks from CFNYFM, 102 Toronto by request tonight.

And change and rational youth before that, and I've got a sister in the Navy. Good time for change. This is the first day of fall, I believe, officially, isn't it? People get into different things at different times of year. And speaking of something different, right now I have a double pass to give away for the Little Shop of Horrors. Let's see if this person wants to go. Hello.

Hi. Who's this? This is Jenny. Jenny? Yes, in Brampton. In Brampton? Yeah. Would you like to go see Little Shop of Horrors?

Sure. Sure? Yes. You're all shook up about it, I can tell. Would you rather go to a fashion show? Oh, I don't care. You don't care as long as you win something, right? Right.

All right. 102.1, C-F-N-Y, 102.1, the new radio. From the heart of the night comes Eurythmics from CFNY 102 Toronto. And the walk. Friday night's a good time for walking. Get fed up with the party. I'm going for a walk. See you in a few minutes.

Hours later, you return. Also, The Explorers with Venus de Milo. And before the top of the hour, Nick Mason with Rick Finn. And A Lie for a Lie with David Gilmour on vocals there. And Echo and the Bunnymen 2. And the all-night version of The Killing Moon. It's almost a half moon, I think, so far. It is 12 minutes after 1 o'clock as well.

I'm Rob Rochelle. You're listening to See Up and Why's Weekend Spectacular. Actually, a beautiful night outside. Just stepped out for a few moments myself. And speaking of beautiful, I have a pair of tickets right now for someone to attend Turning Urban, a Holt Renfrew Flair Magazine fashion presentation taking place this Thursday, September 26th. And all you have to tell me is what club it's taking place at. First one through wins. Of course, also the people who did a lot of the specials, Skip Prokop, for example, did the Gospel Hour.

I don't know if he did it after I left. I just don't want those people to be left out. Right. Well, Skip Prokop came back as a salesman, and I got to know him pretty well because he lived here in Brampton. I spent some time with him. I was also Jim Reed. I went to his 60th birthday party.

Did you? Yeah, I did. And a few times over the years, he's popped in. He lives where he goes to work at some produce company, was close to the Humble and Fred studio when we were in South Etobicoke, and he would drop in the odd morning. So I've kept in touch with him. Romeo had Daddy Cool.

Remember Daddy Cool? Oh yeah, Daddy Cool. I just ran into him in Kitchener. He was in the audience with the Rolling Stones on Zip Exhibit. He always did Monday nights

11 until midnight and it was a rock and roll party and he played a lot of the Daddy Cool music. Oh, Jim Bower. Jim Bower is another one. Jim and I still speak quite often. He does listen to NY the Spirit, so we have a connection there. And Jim was a very quiet, unassuming fellow, but a really nice and wonderful friend. And we still chat quite a lot.

No one has mentioned Chris Shepard yet. Oh, yeah. I was going to get to that. I was going to get to that. Talk about Chris Shepard now, because I've been trying to find this guy for the last, you know, where is he?

What are you talking about? He was 2014, Fred. That was 2014. 2014. Everybody's looking for Chris Shepard. I got his number from somebody one day, and I called. I said, Chris, it's Freddie. Freddie, how are you doing?

I said, me and Howard are doing a podcast. Will you come in one morning and do it? No problem. And he came in and sat in with us for an hour and a half. That was the last appearance, though, Fred. That's his last public appearance, is Humble and Fred on 2014. Really?

I mean, I tell you about Chris. I tell you how I found him. I was doing Saturday nights, and it was just too much for me. And so I went around to all the clubs in the city and listened to the club DJs, because I thought there was a spot there for a club DJ to dance

and I went to all the clubs and I listened to probably seven or eight different DJs and the guy that I thought was great was Chris and Leslie will probably know about this I invited him to come in and we had a meeting

and he just did I offered him the the saturday night joe and i'll never forget what he said to me and if you know chris if you know chris his voice is very sublime he said david i don't know anything about radio. I said, neither do I. It's okay. But Chris Shepard, he took that and he literally owned it. It made his career, but he doesn't do much public anymore.

He's really laid back. I saw him one day on Yonge Street, and he had the Mickey Mouse hair, the buns at the back of his head, and he and I chatted quite a while. So he's in Toronto. He's in Toronto. Yes, he is in Toronto. I believe he lives in North York. in North York. It's Saturday night and you're so deaf because you've got your dial

tuned to Chris Shepard's Club 102, a radio show that's made just for you. The pseudo-intellectual, most illinous b-boy fly skimmer type. Yeah! All the fish from Hashim on the bonus beats. Rough Trade,

who have been cancelled from the Imperial Room room what's the pure the name of that track the grapes of wrath with misunderstanding i'm in a grapes of wrath mood i got my cowboy boots on the smith's big mouth strikes again david bowie fame i was gonna play the new one but you listen to the spirit you've already heard the new one a million times frank sinatra new york new york usa the name of the cut from the exploited we rocked really hard to that van halen you really got me paul whatever his last name is you remember i don't say his last name anymore because i called him something

really naughty that i'm not supposed to boom boom let's go back to my room dead or alive with a live version of you spin me round or as some people Alive with a live version of You Spin Me Round, or as some people might call it, a dead version of You Spin Me Round. Queen, Another One Bites the Dust, Club 102 style, with the Roland MXR mixer and sequencer and digital effects and Roland 808 drum machine all programmed together to give you another one bites the dust. Run DMC with their latest 12-inch It's Tricky.

Shep Pettibone did the remix on that one. Taste So Good, the name of the telephone conversation over the drum machine from File 13. And we started it all off with Cookie Puss, the infamous Cookie Puss, X-rated version from the Beastie Boys on a Saturday night. Kevin Key from Skinny Puppy will be my guest live in the Club 102 studios next week. Be sure to tune in for that. The telephone lines are open right now, man.

At 870-7700 is my telephone number. Shepard on the wheels of steel, feeling good if you can't tell. These are leads, right? You're writing this down, Scott? We've got to find this guy. Well, yeah, the pigtail thing, that was part. That's the way his hair was in the video, right, with the band that he was in. Loving.

Yeah. Loving, right. Loving, yes. But when he came in with us, I don't know. You should listen to the show because he's very. He came in with like a bunch of paper with written notes. He's very spiritual. We're going to pause this because Danny's got a jet,

but I just need to ask her a specific question here. Danny, why did you quit in 1992? Mike, it's on your other Toronto Mike podcast. I thought you might say that. It's all there. And no regrets. And I loved it. And I'm so grateful

for this time in my life. And I'm grateful for all of you. And I'm happy to have all of your stories and to see your lovely faces. Well, thank you for this. Thank you so much. And I promise everyone else

this won't take another... I'm going to go quickly to wrap all this up. There's still some points I want to hit, but Danny, thanks for your time today. I really appreciate this. And yes,

if you go to Danny's, uh, appearance on Toronto, Mike, she tells in all the great detail why she resigned from the station on the air. You read your resume live on the air and, uh, that's a unique way to do it.

1985 until December of 89. CKFM, the all nightnight show, The Quiet Storm, morning show sidester for Don Boehner and Ted Wallach and dance shows interviews. Ryerson's campus station before that, CKLN, graduate of the radio and television arts program and just kind of crept through my last year, I have to admit. I'm an actor member. I do a fair amount of voice work, and I just did this principal role in an episode of Forever Night, a series that's shown on CBS in the States.

Agent is the wonderful Sandy Sloan. Interests, music, and people living a fulfilled life. There, there you go. I am officially out of work. I resign my position at CFNY. I wanted you to know first. Good night, good dreams, and if not now, more than ever, thank you very much for listening.

Thank you very much for listening. It was before LinkedIn. It's the way to do it. Oh, Danny, I remember the chaos the next day. I remember the chaos the next day. It was fun. I'm sorry. I was down at the boombox at the C&E,

and people are coming up, what happened to Danny? What is she doing? I have no idea what's going on. I know what the problem was. She wouldn't play Pour Some Sugar on me. That's about right. So thank you, Danny. Alan, 1993, a little show called The Ongoing History of New Music Debuts. You might know the producer the technical producer of that program but how did that come to be and how is it that it still uh persists till this very day in a good way i enjoy listening to that program okay i i'll answer the second question first i have no idea the radio show breaks all kinds of rules the host talks too much

plays a lot of uh unfamiliar music and never mentions the call letter of the radio station within the body of the program it's not so i don't know it's the production oh it's oh okay too much compression on that program if i may but i'm i'm working on uh episode number 954 now so uh and rob how, how many downloads for the podcast? We are 315 shows, about 15 million. That's one show a week.

That's not bad. The way it worked was, again, we were in this transition time between being part of Selkirk, then we were in Escrow with Rogers, then we were in McLe with rogers then we were mclean hunter and then uh that's when uh vince dimaggio and stew myers came in in 1992 and the idea was to uh to to clean up the radio station get rid of some of the baggage and and uh turn it into something

else something new and for a while we thought it was going to be a country station we were sure the station was going to go that in that, we thought it was going to be a country station. We were sure the station was going to go in that direction and we were all going to be fired. But then they looked around, did some research, and found out that, hey, you know, there's these bands like U2 and Nirvana and the Tragically Hip and Soundgarden and Smashing Pumpkins and so on. Well, this is a big deal right now.

So if we're going to ride a youth wave, an 18- to 34-year-old demo, we're going to stick a youth wave, an 18 to 34 year old demo, we're going to stick with what we're doing, except we're going to do it in a more professional, less chaotic sort of way. But one of the things that we're going to have to do is give everybody, all these new listeners that we hope to attract, some context for the music that we're playing. So they looked around and they found one person on staff with a history degree which was me and I at that time was working Monday to Friday two to six it was the greatest shift in the world and then they said to me well listen we're changing things you are going to do this foreground programming

program called the ongoing history of new music like that's a stupid name it doesn't matter it's what we're going to call it. All right, fine. Honest to God. And they said, you're going to do it. And what do you think? And I said, well, you know what? I really kind of like my working from two to six Monday to Friday. And they said, that's OK. If you don't take this job, which, by the way, well, if you don't take this job, we'll find a nice package for you.

And, you know, best of luck in your future endeavors. At that point, I'd just been married. I just bought a house. So I had to do something. So what they ended up doing is they ended up severing me and hiring me back. I was no longer a full time employee. They wanted to save on payroll taxes and benefits. I was no longer a full-time employee. They wanted to save on payroll taxes and benefits. So they fired me and immediately hired me back as a part-time contractor to do this ongoing History of Me music show for three days a week. And then they paid me as a part-timer hourly, Saturday and Sunday from 6 a.m. to noon.

Yes, I remember that specifically because I remember I was doing the overnights off on the overnights. And you came in a couple of times and you were like, I got to do this stupid ongoing history this is a waste of time you were just you were just like this is the dumbest thing I'm ever gonna you were not in a good mood for a while for a very long time because I didn't have a common day off with Mary Ellen we you know somebody was always working for the for that period and I thought well this is this is not how I I want to to to start my married life. And I made some attempts to get out of,

you know, find jobs elsewhere. Nobody would pay attention to me. So anyway, that eventually worked out after about nine months and they put me back on afternoons as still as an independent contractor, but I had to continue doing this ongoing history thing. So, okay, fine. If that's the condition of my employment, I'll do it.

But around the same time, because they brought me back as an independent contractor, allowed me to do other things with some of the intellectual property that I was acquiring. I basically turned this situation with a big pile of lemons into some lemonade. And, uh, you know, here we are next year will be, yeah, next year is the 30th anniversary and next year will be 1000 shows. The rest is ongoing history. How the hell am I still doing this? I have no idea. Wow. Okay. Alan, if you do the 1000 show, can you make it not five hours?

Yes, I promise. Well, I mean mean the funny the funny thing is is you got to remember when this when this show first started um craig venn did it initially for the first 110 episodes and for the first 200 or so it was all done in the foreground in the production studio and it was all two track so it was recorded two track edited down bounced over to the multi-track, bounced down again, bounce, bounce, bounce, bounce. It was, it was an unbelievably long, laborious task, which can now be achieved in a matter of hours on a laptop, wherever you want to do it. Bob Lillette, are you still here?

Yeah, yeah, yeah, yeah. Okay. What's it like for you joining this station? What is it? 97 when you show up? Yeah. So what is it like joining? Because, I mean, we run down the lineup of the people when you join CFNY in 97. It's like a murderer's row.

Yeah, I talked about this on my own podcast. I actually had Captain Phil and Robbie Jay on and a couple other people talking about. I was at CFNY for the very short, I think about three-year stint of Edge one Oh two wasn't one Oh 2.1. The edge. It was edge one Oh two may was on as well. We had Vishna on brother bill.

So when I got there as a humble and Fred intern walked in off the street and begged for a job, I, I was humble and Fred in the morning. Then may pots. Then it was Alan cross. Kim Hughes and George Trombalopoulos were doing live in toronto brother bill was doing evenings vishna was doing overnights live it was for me like that's that's

my i know all these spirit days but for me that that's why that lineup is why i'm in radio still yeah marty and marty doing the club night well yeah and then that was my first full-time my first regular gig phil evans hired me to be the on-site tech for Martin Streak's Live to Airs, Friday nights from the Kingdom in Burlington, Saturday nights from Club 102 at the Phoenix, and Sunday nights at Whiskey Saigon. And I was in there every night. And then during the week, I'd go in and work with the Humble and Fred show.

And that, you know, like I said that for me that's my the halcyon days for the radio station i know we had literally thousands of people in the clubs every friday saturday and sunday night um the the dj at the time it was post paul dingra who and we like we didn't even get into the whole chris shepherd paul dingra uh dj dwight days like we like it was the the energy of the station then was a totally different thing. You know, edge fest, you know, edge fest 97, you know, almost entirely Canadian lineup you know, 25 years ago, by the way, also happens to be the first date. My wife,

my now wife and I had was edge fest 97 and you know, it was just walking in there and getting to know all these people. Again, there was a time when if you had a party, you would put on the radio station because it was commercial free on Friday and Saturday and Sunday nights between 10 and 2. So you would just throw it on and Streak could be on there. And I was just a massive Humble and Fred fan. And my wife or my girlfriend at the time had heard hey you know chicken shawarma is leaving and again we can talk about the the humble and fred intern program has so many great radio people but shawarma was leaving to go work with uh kim hughes and and strombo on live in toronto and they needed somebody to come in and

i was that guy that was my lineup that's my era that edge 102 era for me and it's amazing how many people still refer to it as edge 102 by the way guilty as charged for how long it was 102.1 the edge and all that there's so many people our age again like you said gen xers you know i'm born in 76 there's so many people edge 102 and that can rock explosion right the our lady pieces the tea parties the moist like all those not to mention the Tragically Hippos already mentioned. That is what CFNY was and in my brain still is. Well, I think the interesting thing, Mike, before I forget, because I wanted to get Phil's take on this

because Phil would have been instrumental in all this back in 93 when it went from modern rock to the leading edge, to the edge, to that. And that was when mean and that was when stew and vince came in and they brought that whole thing in and that was that was the the turning point where it really went from okay now it has an identity from from you know the spirit of radio all those weird years and now it was like okay now it's getting an identity with the edge and it

really had something to focus on because it had all the music to focus on right it was like the halcyon days of this incredible music was coming up and then you had an amazing lineup as bob said with a lot of that talent on air at the time so captain can you just definitively hear what how did the branding how did it go i remember modern rock because alan cross gave me a sticker at the boom box at the C&E in 1989, and I was working there that year. And I remember the sticker because it went on my boom box. Mine was smaller than yours. But it said Modern Rock. So can you walk down the branding here that brings us to 102.1 The Edge real quick?

Well, I think David implemented Modern Rock after the Spirit, didn't you, David? Or was it? No, Modern Music, wasn't it? Modern Music. Yes, that's what it was. Music. to modern rock after the spirit didn't you or was it no modern music wasn't it modern music yes that's what that's what it was music music music okay so what comes after modern music modern rock that's true liz would know this too because uh we kept changing the name of the talent search ontario talent search great ontario modern music search, great Ontario, modern rock search, modern rock search. And I think Liz was the gatekeeper for most of those early versions of that.

Isn't that right, Liz? Yeah. We, I think the album we released in 88, we called it, we called it modern rock. Yes. Yeah. So modern rock then goes into when McLean Hunter takes over and Reiner is installed in the program director's position. We just become CFNY FM 102.1. Because strangely, like Howard said, not only were we the station that didn't say the call letters under Reiner, but we're also the station that didn't tell them what we were doing um so the um uh vincent stew who came in with the next round of of ownership with who is it guys uh oh whatever became chorus right sean hunter

mclean hunter um McLean Hunter leaves. For a period of time. Right. Okay. So then you guys, Vince and Stu were from out West and they acted like they were from out West and they were cowboys, but they were fantastic. They were great at branding. They did incredible research. They did panels almost bi-weekly with listeners. And then we, I have it

behind me. So then we go to CFNY 102.1, the leading edge. And that's a big launch for us because they tell us we're keeping CFNY 102.1 and we're keeping the leading in there. But the whole idea was to evolve that logo and bring the audience along with us from CFNY to 102.1 The Edge, which is where it is today. The Edge, CFNY, 102.1. Now, why do I keep calling it Edge 102? Because they believe... Oh, sorry, Fred.

I was going to say late 90s, some kids come in one day and talk to whoever was in charge at the time to drop 102.1 the edge and just go edge 102. And I remember it was a head scratcher at the time. It's not that much of a difference. And again, late 90s. So I guess. It was 96 or 97 because when I started, it was already edge 102. So they go back to 102.1.

What was the philosophy? Behind that? Yeah. I'm going to say something here. I think it was the internet. I think we needed to be able to capture what we were saying on the air on a website. And so there's another thing that ties in with that afterwards.

They go back to 102.1 The Edge because the other one they found was too sanitized and too stereotypical of a brand. And they roughed it up and they went back to 102.1 The Edge. The logo itself, you mean. They actually, yeah, they roughed the logo up. They roughed it up. They roughed the logo up. They roughed it up. So in between here, at this point, by the time we went back to 102.1, the edge, I was the one responsible for registering domain names with my pal Orville.

And we'd gone through every iteration. So we finally just took edge.ca, which meant that whatever else they put around it, we'd always have edge.ca. Smart. Okay, guys. By the way, fun fact, of course, is that Stu Myers, who we've spoke about quite a bit, Stu Myers' daughter is working with... Jay, are you still there or did you go to bed?

Oh, he may be gone. Oh, no, I'm here, guys. It's like a Jay and Ben are still awake and going. Look at you guys rock. Hey, how's it going? Jay, I just want to say thank you for hanging in there, man. I know, you know, the thing about these things,

you start something and you go chronological and you realize two hours deep, you haven't hit the 90s yet. So, I mean, what I'm hoping we can do right now before we speak to you, Jay, is could we remember just, I have a few names, I know so many great on-air personalities are no longer with us, sadly.

And we did speak about James Baby Scott and we talked about Reiner Schwartz, but can we just take a moment and speak to, let's start with Martin Streak. Can anybody just share any thoughts on Martin Streak who passed away in what, 2009? So far, far, far too soon. I will tell you that

I was doing DJ at Andy Poole Hall and one Wednesday evening, I think it was, Martin came in to Andy Poole Hall because there was a birthday party or something for him and he came right up on the DJ stand, and he gave me this big hug, and he whispered in my ear. And he said, I've just been fired. And I said, you're kidding. And he said, no.

And he said, I've never been interviewed for a job by anybody but you. Because he stayed with it. He moved through all the format changes and everything and became a very, very important DJ. I said to him, we'll have a drink. I'll try and help you as best I can. He said, I'm going to L.A. for two weeks. And when I get back, we'll talk. And I need your help.

He went back. He called me when he got back from LA. And he said, David, how about we get together whatever day it was, two days later or something. And that day never came because on the next day, he put on his wings and flew away. And it bothers me to this day. I wish I had said something that I didn't say, obviously. Dave, same thing. And the time frame now, it's years ago.

Brother Bill's stag. You were there, Rob, weren't you? Yeah, I was there too. Ivor, okay. So we're at Brother Bill's stag and he had been fired. And I had been fired from the mix. Again, I'm forgetting the time frame. But I spent a lot of time talking to him.

He was asking me about fire being fired and um the severance because i know that they were trying to screw him over severance wise chorus and i knew he was upset but that not that upset and it's funny in retrospect too that day i was talking to him and i knew he was down and you know it was obvious but in retrospect i wish at the time i'd have known that he was that dark because it's the same way it's like if he just said something more maybe i could have said something to change it i mean like who knows but that haunts me a bit too here's the thing i don't think a lot of people know he was an amazing host of a party like oh i know if you went to his place he was like everybody got his attention he was always checking make sure you got this you got that taking care of everybody like he

was just the man that the the gad about town it was it was to have him outside of the element of radio outside of the element of a club night just just like at his home, at his place. It was phenomenal. It was a bon vivant, if you will. Like just loved everything that was going on. I had a different sort of experience with him because I went from being a co-worker to be his boss. So when I got to be his boss, I got to see the demons that he was fighting in his life. And there were quite a few of them.

I was told on at least three occasions to fire him by my bosses. And each time I refused saying that, no, because if you fire him, that will be the end of Martin. He will be dead within six months. And that is not, yes.

And that is not happening that does not happen he lived and died that radio station i worked for three years in that booth with him and you're spending five hours a night or more like in very very close quarters i got to know him very well and he really did define himself by by the radio station well that's a demon in itself really when you think about it it's sad really yeah good point right we were we were trying together to uh figure out you know martin you're going to be what was it you know 42 43 44 45 46 years old the peter pan act is is going to run out at some time and while you you're still doing great work and you're still legendary in the eyes of what's now two generations of club goers and radio people,

you're going to have to find something to do because it's going to come a time when it's just not going to work. So I don't want you two to end up on the street. So what are we going to do? So we worked at a variety of things and um you know he was more than welcome to continue doing the the uh uh the live to airs as long as he wanted but you know we had to come up with some sort of future plan for his own good um and throughout that time uh he surrendered or was beaten down by his demons a number of times.

He didn't show up for work once, three, four times because he was he had succumbed to some some addiction issues. There was one time I had twice I had to go pick him up from someplace because he had gotten in with the wrong crowd. Twice I had to go pick him up from someplace because he had gotten in with the wrong crowd. And I convinced Chorus to put him through detox at least twice, rehab at least twice. And when I moved on from being the program director to being to a different part of the company, you know, I thought he was in a good place. I thought he was going to be able to carry on. I brought him in. He was part of the music department committee. He was doing, you know, these special things on Friday nights

out on Polson Pier. And, you know, we had given him all kinds of, you know, extra autonomy doing what he was doing. And I thought he was going to be okay. I really did. But that's not the case. Well, I remember, I guess, you know, several years before that, when Howard was away, he actually hosted the morning show a couple of times. And me having the talk with him at the, you know, having those talks, like, I want to do more.

I want to be able to do. I want to be able to slide from what I'm doing into something else. And so i guess it was stewart at the time let him host the morning show a couple of times and i think he hosted a few shows on mojo too to dabble in that he did do some of that and he did leave us with one of the all-time great memos and the history you know in the history of of the radio station the time he he went on air and told pete fowler just go with this and then he proceeded to yell fuck on air and told Pete Fowler, just go with this. And then he proceeded to yell, fuck on air. It was one of the greatest moments in the history of the radio station. I work just aren't real good right now.

And I don't know every time I go into work whether it's going to be my last week there or not. Frankly, I'm getting a little ticked off. Go to hell. Leading edge. See if and why 102.1, I'm getting a little ticked off. Go to hell. Leading edge. CFNY 102.1. The band is called Dink. They are from Kent, Ohio. And from their self-titled debut album. Go to hell. That's the track

Green Mind, and that's steady at number 29. Go to hell. Thank you. Debut with song number 30 from the album Day for Night, the tragically hit with Greasy Jungle on the Thursday 30. Thursday 30 from the edge of Blur and Bathurst. Martin Street Cure, Pete Fowler as well. And, uh...

What? If you tuned in last week, you know that, uh... What? There isn't something quite happening the way that we said it was going to happen. Spit it out. Okay. What was originally supposed to happen was, I was supposed to be at Nine Inch Nails and Mario was supposed to be here in a little room by himself.

Or something along that line. We'll lay it out for you straight. Pete was going to broadcast from here. We were going to set up some broadcast equipment up in the press booth above the stage from Nine Inch Nails for the big gig tonight. Me being a big fan since day one. And, well, last minute,

or very close to last minute, management from the band and record label decided that they didn't really like the idea too much. Okay, how close were you going to be? Were you going to be... Fuck! Sorry. Sorry.

Sorry, it's just... Sorry. You want me to run with this? Yeah. Sorry. For those of you who may be offended by that, I'm sorry, but as you can possibly imagine... Pete, just run with it.

Just run with it. I'm just a little... fucking pissed off right now. No, really? Because you look really happy and you're dapper now. No, I'm just glad that the band's going to go on at 10, which means that if we really race through this show right through, I might have a chance to see the smiles on the faces of the people as they leave Maple Leaf Gardens tonight. Let's get on with the Thursday 30 then.

Exactly. We're going to take a short break while I... I don't know. Do something. Splash some cold water onursday 30 then exactly we're gonna take a short break while i i don't know do something splash some cold water on my face we're gonna take a short break in a moment we're gonna get to a debut from green day comes from the woodstock 94 disc and it's when i come around it's sitting at number 28 we get to right after this hollywood 1950 yeah i i think um you know what what you said, I've been afraid I was just saying that, you know, his life had become like what nearly entire his entire life was connected, attached to the radio station. As great as that can be in the history of the station, and he loved the stage, you can't live a life 100% attached to one thing. And, you know, it was just too much for him, I think.

Obviously, there were other things at play, as Alan said, but it's dangerous, right? The funny thing was, they just started to do some... Oh, that sounds like a feedback there sounded like a toilet flushing to do some um video stuff right and i think the interesting thing was it was almost like a few years ahead of the time right if it had been four or five years later you know right do you mean backstage pass is this with uh yeah just sort of getting into some of the synergy seeker i saw an episode yeah yeah some of that stuff and i think it was just a little

it was just it hadn't quite clicked yet and if you gave it a couple more years it would have just been he would have just been like in that complete zone if he could own the video ownership of being agreed of doing stuff like that, right? This is... The Human Kebab! Well, this is Martin Stinker backstage at the Sound Academy. We're standing here with the guys from USS. We got Ash and Jay, a.k.a. The Human Kebab. Their album, Questimation, just came out. It's a follow-up to Welding the C-Drive.

That was the album that gave us Hollow Point, Sniper, Hyperbole, and Porno Star Trek, and... 2 and 15, 16... I dance, yeah! What's the deal with the name? Well, this is what it starts with. Now, why would you pick something as difficult as Ubiquitous Synergy Seeker?

Like, if you're gonna make it difficult, you should have put in in like a Santé Gu or some Umlau or something in there. You know, I was working in a factory and I was just a dude that lived in the suburbs. I didn't know that we were going to be standing here seeing the face of Martin Streak, who I've heard on the radio every single day, you know, pretty much for my whole upbringing. You still do the blender and smoothie break in the middle? What do you put in the smoothie? Usually strawberries and bananas. I've had to sprint across London, Ontario to find pineapple tidbits that were covered in dust, which was amazing because they were probably around when the Philippines, when France and England or some country was fighting over them or something like that.

You're not really up on your history, are you? So what's next on deck for USS? It's probably going to work. Yeah, we got some roofing to do, Martin. I got to go think of some more band names that people are going to hate. That's Jay, the Human Kebab, and Ash from USS. This is Martin Streaks backstage at Sound Academy. Yeah, he did great on camera and great in front of people.

And I think there could have been clearly other chapters if he just could have navigated change. Like sometimes change is so hard for people, right? I'm just going to jump in here and say that, you know, I think it's easy to deconstruct all these things that happened around him. But what happened that day is that it was the one day that he was down and no one was there to bring him back up. Right. And the other days when you talk to him, Fred, when you talk to him, David, you know, no one's fault. It was the day that no one was.

No, exactly. You know, compare that last week or the week before. Again, my mind, I'm 65 now. We had George Strombolopoulos on the show you know and he talked he says looking back over his career the one thing he wishes he'd have done more of was be at the edge because like the rest of us he fell in love with the radio station you know and he hated to leave the radio station and And in retrospect, it's like, boy, I wish I'd have spent more time there. But he talked about change too, you know, and you know, he's got a great gig now.

He's living in Los Angeles half of the year and he's doing that Apple music thing. And I think of that and I think that could have been Marty. Yeah. You know, that could have been Marty. And that's what I mean. He could have transitioned into those things. Yeah. Yeah. And it was a few years too soon. Yeah. You know, that could have been Marty. And that's what I mean. He could have transitioned into those things. Yeah. Yeah.

And it was a few years too soon. Yeah. And it's funny you say that about George because I can't even tell you the number of times George has said to me, radio is his passion.

It is. It is his all-time love. And no matter what he can do, if there's a way he can keep doing it, he will keep doing it. Yeah. But he said he was torn

at the time he left the edge he sort of had to because you know his conscience told him his career had he had to do it but he wishes now he maybe he hadn't but somebody comes up to you and says hey we want you to come do the new music which was like the pinnacle of tv music shows yeah yeah, yeah. What did he do? Did he get to turn that down? No, I don't think so. Wow. Is it true that Martin Streak had a tattoo of the station's Spirit of Radio logo on his ass? Is that right?

I think it was on his leg. On his thigh, on his leg, yeah. I never looked, but I heard. It was there. Well, right. It's all so shitty. And the funny part about Marty Streak, his brother, Rob, was actually around the station before Marty.

He never became a radio guy. Right. Yeah. But Rob was friends with Kevin O'Leary and a lot of the guys, the guy that produced the Pete and Geet show. And Rob hung out. And then Marty all of a sudden was around. So my first memories of Martyy was this like teenage kid just bopping around just you know just i will say too fred he did a terrific job on the road show over

the years he brought so much yeah color to it and and so much character um such an integral part of it and uh you know um and he was always nice to me too. Like he was all like, he, he just said, remember him saying to somebody, he goes, yeah, Iver is my brother. And I just, I never forget that. You know, it was so great. And just, we touched just for a second, Mike, and it's a whole other story. We could talk more about the connection, you know, Chris Shepard and Marty.

But, you know, in some ways they were similar. And Chris, you know, they were like if you want to label it in such. I mean, you could say they were the two rock stars of of the station. And and Chris, in many ways, had that that sort of persona and demons and all the stories and things. And and, you know, and then Marty kind of stepped into those shoes and took it to another level. Different. You know, I don't want to ever compare the two, but, you know, there's some similarities there. What they put the gift for was with listeners and with people in the clubs, making them feel as they were, like they were, like you mentioned privately about Martin in the Home. But they would do that. They would make everybody feel so welcome.

Martin, I know, was Chris Shepherd, too. But Martin, I do remember, you know, at those live to airs, it was like, it was his party. And he was the host. And he walked around and he welcomed people. And he talked to everyone. He made everyone in there feel somehow special. He had that gift. And look, he confined himself to the booth. You go to the Phoenix on a Saturday, and he's in the parlor. He's in the main room. He's he's here he's there and look who's sitting there talking about making people feel good and being so friendly and sweet and wonderful you know how often your name comes up when i you know the cfi oh that maypods i love maypods i love i hear maypods on Boom. Yeah.

Because I said so. That is the Godfathers from CFNY 102. We also heard from Zodiac Mindwarp and the love reaction. The clash in there. Sending that one out to Kevin. Clamped down and we started off with the fall. Just got a few requests actually last night

while i was at york mills collegiate for the road show what a great party that was and of course so many requests came through i had to promise a few for tonight for the folks at that school great time great party thanks a lot and if you're looking for the road show the next stop is uh saturday night at philip pocock secondary school that's out in Etobicoke. Your host for the evening will be Hal Harbour. Gets underway at 7.30pm. And just a note, if you want the roadshow to make it over to your school, just give

CFNY a call at this number, 453-7452 and get it booked. CFNY! CFNY! If you're looking to do something for your Saturday night club-wise, there's a few things going on around town, actually quite a few things. The Pursuit of Happiness are going to be at Lee's Palace for Saturday evening.

The Phantoms are checking into Alberts Hall. Billy Bryans, the drummer with the Parachute Club, is joining Lillian Allen. He's worked with her before, and they're doing kind of something different, an improvisational poetry and rhythm evening at the Blue Room. They're doing two shows, 10, 30, and 12. Billy Paul, remember him? Me and Mrs. Jones?

Yes. He's going to be at Network. Razorbacks are at Sybony, and a whole bunch of people are playing the Silver Dollar. I'll let you know who's downstairs first. Shadowy Men on a Shadowy Planet, along with the Dundrells and Heimlich Maneuver and the Dick Van Dykes.

All that at the downstairs Silver Dollar. Upstairs, you can catch the Asexuals in from Montreal. Also joining them will be Problem Children. Danny Marks is at OV's. And it seems as though the big thing right now is New Orleans music and food. If you've noticed, there's all of a sudden restaurants offering Cajun spices with absolutely everything. You could probably get a hot dog with Cajun spices.

But at any rate, if you're into the music of New Orleans, there's a New Orleans Saturday night extravaganza prepared for the Brigantine Room down at the Yorkie Centre along with Mighty Sam McLean and Katie Webster taking care of the vocals. So if you want to check that out, sounds like a lot of fun, actually. What else is going on? The Dandelions and The Lawn, two different bands. Sounds like they kind of go together, though.

They're checking into the cabana. And at the horseshoe, it's Paul James. Oh, I have words for each of you before we say goodbye. By the way. Poor Mike, you really opened a can of worms. We're here all night. I'm staying. We're here all night. We've got some wine going here.

I'm worried about you guys. We've lost a couple but I want to speak to one more fallen soldier before we speak to Jay Brody and then I want to address you all individually. This is the dead guy. One more fallen soldier yes right hold on mike do you have a sponsorship credit here you need to do ridley funeral there we go shout out to

ridley funeral home in all seriousness who wants to speak about uh dave bookman bookie oh bookie Dave Bookman, Bookie. Oh, Bookie. Oh, yeah. There's a guy who I love the fact that he never became other than what he was the first day that he walked in. I did some live in Toronto with Scott Turner

and then Bookie came in as a contributor. Right, Scott? Was he a contributor with us when we were still hosting it? No, I think it was after us. But I do remember doing some live in Toronto's with Bookie. And he just was, he was who he was till the very end, that passionate guy about the music and, you know, just he never changed. I mean, we did get, I think that a lot of us at first were like, whoa, he doesn't have a radio. So typical of CFNY, embracing people for all the right reasons. He didn't have that radio background, so to speak, but he had the passion for the music. speak but he had the passion for the music and he was willing to learn how to do the throws and the things that you have to do to sort of keep a show going but he never stopped having the charm that

he initially had from the beginning sometimes it was almost uncomfortable listening to him because you were thinking oh my god he's gonna go off the rails but it was still great you always loved hearing what he had to say and it was authentic and I think that's the one of the best things about bookie yeah I uh that absolutely he um he was a character and he was a personality and he was a larger than life personality which was the whole point yeah or should be the whole point of of much of radio and uh used to have, Dean Blundell used to come in and say, you got to get rid of that book. He stinks on the air.

No, he doesn't. He's a great, passionate broadcaster who knows the name of the hot dog guy who runs the cart at the end of the street by the horseshoe. Right. He personifies the street and the music fan of the street in the city we're keeping him and who the does and and when i know the comes in and says somebody else should be fired oh freddie i got yours like seriously no matter how you feel like who does that well there you go anyway anyway uh when uh he was, when he was let go,

he was let go from CFNY, from the edge. And at that point, I had jumped ship and helped put Indy 88 on the air. And I lobbied them. Hire Bookie, hire Bookie, hire Bookie. And they finally did. And that became his new spiritual home for a while, until he died. man you know there's

nobody more passionate that have ever come across in the business for music with all due respect to everybody what about sports oh anything sports young and the restless right wilco wilco hats and converse shoes and just he he as you said he personified Toronto. And the horseshoe, you know, choose the knights of the horseshoe for how many ever years he did that. And he knew the best diner outside of any small town. Anywhere you went, right? And the night they did a tribute for him at the horseshoe, the bands that came out, the people that came out, it was one of the most eclectic,

incredible evenings I've ever seen or been a part of. It was, it was an absolute tribute to, to Dave. And if you go to the horseshoe right by the stairwell, there is the Bookman senators jersey hanging over top. Senators. He wasn't perfect. Yeah. there well there's the bookman senators jersey hanging over top right senators he wasn't perfect yeah why does all that stuff have have to happen after after you're dead wow

did you see did you see curb your enthusiasm this year one of the characters wanted to have his funeral before he died so we could hear the all the nice things set up on him. I think that's a great idea. It's a fabulous... Maybe I'll do my Phil's 365 and do tributes to people. That's what this is. Phil, what were you going to say about Bucky? I just wanted... He was a lovely guy. And then at the end of my day,

I'd always hang out with him just before he started live in Toronto. But a couple of nights uh he he didn't record his was it the indie hour at 11 was that what it was called so we what we did was we took our it was a little briefcase with a remote transmitter in it and what we do is go down to the horseshoe and broadcast the band live me and him so we plug it into their phone lines and the amps david would introduce the show uh and then of course it's always the rheostatics playing at the horseshoe but right um and then we we go live

to air and it was just one like where else could you do that um you know and and and have the buy-in that you could go and do that and um and you're right about the food. But not only did he know hot dog vendors in Toronto, he knew them across North America. Just incredible. What a loss for this city. over 40 years that we all exist on the same continuum. We all have something in common with whether it's Jay or Ron Brichel, you know, in 1980. And we all still get along. I mean, if you go on the internet and try and find stuff, there is no station better documented than CFNY and The Edge. There is video, there's's audio there's your ongoing canon

of cf and y toronto mike um and it's flabbergasting all these all these names and all these personalities um at one place yeah just wait until the documentary documentary and then the book to follow afterwards right there you go wow wow okay there you go. Wow. Wow. Okay, Jay, are you still there? Here I am, guys. Hey, how's it going? So, Jay, you've been listening. I know I promised two hours and I took three because that's how I roll. Poor Jay.

When do you go to sleep, Jay? Look at you go. Right away. Right after this. Jay, I want to know what you've been thinking, how you feel having listened to the last few hours where we spoke about the legacy of CFNY and what that means to you when you turn on your microphone tomorrow morning and you sort of, you're carrying the torch now in 2022. You know, one of the things I'm working at the edge in 2022,

that like I said this before, continuously blows me away is how many of our listeners still talk about something like all, all the shows, all you guys on here and the fond memories and the fact that we've built up so much goodwill over the years. It still keeps us afloat. It feels at times during these rough times, it's it's been amazing.

And I really hope that, you know, like I've, I've been in the last two years has been a lot of covid so we've been separated we haven't been in the building i haven't i've been in the building but no one's in it and you know talking to like our engineers like mike emmons who has this amazing just this amazing vault filled with amazing audio and clips of the past and some of the most incredible content. I just hope we get the opportunity when everything opens back up fully to kind of share that again. Because I think the thing that The Edge has at no other station in probably Canada has is this history, this history,

not just behind the jocks, but the shows we've put on over the years and the shows we've been a part of the legendary performances that have been, that have happened in, in a building and an edge fast and the interviews and just so much incredible stuff. And I hope we get an opportunity to play a little bit of that again and bring that up because I do feel like there's such an appetite for it,

even being on the radio every single day there. I feel that vibe, and I'm very thankful that it's there. Jay, is your whole time there doing the morning show at The Edge been during COVID, or were you there before COVID? Like, what's whole time there doing the morning show at the Edge been during COVID or were you there before COVID? Like what's the time frame? We started February 24th, 2020. And we were sent home pretty much March 13th. And I've been in the building with people probably a couple weeks.

And then, you know, we get sent back. And then, you know, we stay for three or four weeks together. And then we haven't, like, I haven't had a, I haven't, I've only seen a full building for two weeks of my time there. Well, isn't that changing soon for you guys? Not, I don't, not yet. Yeah, like, probably. That's more like the C team, never mind the B team, right?

Yeah, we have no, it's literally, there's not a lot of team right now. Tough to build a morning show when you're not in the same room, man. Wow. Yeah, it is hard. It's very difficult. We're doing pretty good. It's just – man, it's difficult. It is difficult.

And the initial pitch, like I think when we first tried to get that job and really pitched our vision, it had a lot to do with kind of like I compared the edge to the Toronto Maple Leafs, the way they present the product these days. Okay, so like when you go to a Leaf game, right? The Leafs are still, you have a lot of young stars on the ice. It's about the young guys, but there's a lot of nods to the past. And there's a lot of, you know, you're in the intermissions,

and they're talking about great moments in Leafs history, even though there hasn't really been any in fucking forever. But there's a lot of that, that look to the past. And I still believe that would work with the Edge today. I do believe that with the audience we're trying to attract, I don't think the younger demographic gets turned off by looking into the past as much as people think they do. Because I think people in 2022 want to be a part of something.

And I think that's the strong suit of The Edge is that people have felt a part of something and i think that's the strong suit of the edge is that people have felt a part of the station for as long as you know any of us can remember the only problem with that leaf analogy is is in the end you lose buddy that's the thing hey you know what in the jay you're not on for a few hours yet you Save that for the morning show. Okay, Jay Brody. Jay Brody. Bless you for trying and bless you for giving a shit.

I love the fact that you admire and respect those who came before you on this station that so many love so passionately. Thank you. This is why I got into radio to be a part of the edge and be a part of the morning show if it wasn't for listening to the edge growing up with my dad. And then I got into radio eight years ago and I made this decision. I was working on a construction site. I was listening to the Dean Blundell show at the time, thinking to myself like i've missed my opportunity i'm just digging ditches and i fucked my life up completely and uh you know there was like i had one bad week where i lost my job and i lost my i quit my job and i lost my fiance she left me um and uh i just kind of reassessed

my life and i said this is what I've always wanted. I'm going to go for it. And it's been that journey is what brought me to the morning show on the edge. But like we're hearing today, it's not great to make your whole personality or persona be one station, right? And be one thing. And seeing what you guys have done with your careers post the edge, um, has been also inspiring and eyeopening this today. Yeah. Well, you know, on one, on one hand, I'm jealous of you because I just remember the days years ago, you know, the, the vibrancy and the fun and the excitement of going into a morning show studio, especially at the edge. I mean, it was different, you know our show ending may walking

and all the fun fun times on the other hand man i gotta hand it you know it's so fragmented now and you're battling uh competition that we never dreamed of at the time and right you got a battle on your hands and uh a whole new world to deal with. I'm doing it from my basement, which is difficult, but I do get to proudly say that I brought the edge back to Brampton because I'm recording. Are you in Brampton? Are you in Brampton? Yeah, I'm recording a kilometer away from the original studios here.

Well, they're still there. Go back in. I'm going to go. Go on the slope. I'll bring the go i'll bring the comp on the balcony bring the comrex there wow you show there wear a mask it still smells like smoke apparently thank you jay thanks for staying up with us i know it's late for you that was amazing thank you jay bro. And some others who had to drop off because we went very long.

So thank you, Leslie Cross, for joining us. She had to leave. Bob Willett had to go. Thank you, Bob. Always great to hear from Bob Willett. Danny Elwell had to go, but it was great to have her join us. And of course, Humble Howard Glassman, who, you know, he'll be on Humble

and Fred tomorrow morning. So thank you. And those is David Marsden still with us or did he have to drop off? Are you ready? Yes, indeed. Got to be ready tonight. Yes. Because if you ain't ready tonight, well, you're going to miss it all. You know what I'm saying here?

C.F. and why It's Marsden here, of course, on this Christmas Eve as we sort of gather together by the, well, I got a little fire in the fireplace. And in case you're wondering, I'm dressed up in my Santa Claus suit tonight. And every now and then you'll probably hear the beard fall off my face and get into the way of the microphone. But other than that, it's just a regular and wonderful night to be together. And as a matter of fact, I do believe that it must be time to reach out and try and find

Willie Crinkle somewhere in Northern Ontario. Hello? One, two, check. There he is. One, two, David. Yes. Are we on? Where we are. Hello, David. Willie. This is Willie Crinkles reporting live via satellite from Northern Ontario for the CFNY Santa Search. It is an honor again this year to be on the lookout for the jolly old man as he

arrives to feed all those Canadian children full of toys on the Christmas morning. And it is a wild scene up here. Very, very inhospitable, but we have quite a crowd this year. Among the people around me, I can see there's veteran character actor Dabney Coleman. Linda Evans from Dynasty is here. We've got the City Pulse News team. Fred Travolina. And, of course, Mark Griffin, former Miss America Vanessa Williams, and Dick

Clark's over there, and actress Rita Moreno. It is quite a wide spectrum of the entertainment and news businesses this year, David. And we hope that we'll be seeing Santa within the next half hour. He is due to arrive according to the sophisticated

satellite equipment we have employed on the Santa search this year. Expected arrival time should be close to 11 o'clock your time. And that would be, I believe, well, I don't know this time. It is just so far to the

north, David. I am just without my senses or my watch. I'll bet. Well, that's it for now, David. We'll just without my senses or my watch. I'll be at home this year again. Well, that's it for now, David. We'll check in a little later on. This is Willie Crinkles reporting live via satellite from northern Ontario and the CFNY

Santa Search. Now back to you, David. All right, Willie. We'll check in with you very, very shortly and find out how you're making out there in northern Ontario. It is CFNY and a Marsden Christmas Eve. I think he had technical problems. He went, his room went dark and then he,

and then he was silenced. It goes about saying, I didn't want to do this episode without David. Like I wanted all of you, but David to me was like, if he wasn't into this, I don't think I would have done it, to be quite honest. And when he was into it, I'm like, awesome.

No disrespect to anyone. No, I don't. Ivor, you better check on David, though, right? He's in his 80s now, right? The room went dark. I hope he didn't fall backwards. Doesn't he look good? He's like 84, I think. Oh, I know. 81.

Let's not age him too much. But he looks amazing. Well, the fact he can still grow hair like that. You sure that's not a wig? I gotta go pull that next time I see him. One thing before we go, sweet Liz. from cfny 102 in toronto this band's called the thought and the song is i had too much to dream last night which some of you may remember goes back to about 1967 the electric prunes did it originally for those of you who go back that far I like this version too kind of like the electronic touches that have come into it we also heard tin-tin

with one of my favorite songs kiss me that was by request the palace at 4 a.m. is a local band with a EP available the song we heard tonight was sex and death and we started off with Tibet and Tibet are the winners of the Great Ontario Talent Search for 1983. This is the third time that we've had a Great Ontario Talent Search. And Tibet are the winners. They've put a lot of prizes in their van, I'm sure. And the song that we heard tonight is Believe It or Not. If you'd like to see Tibet, they're playing live tonight at Larry's Hideaway.

And you can go down and check them out. Say hello to the good folks at Larry's. It's 29 minutes after two o'clock. My name is Liz. I'm filling in for Nick Charles. Hi, darling. How are you? I'm doing pretty good. I wish I could say the same for my husband, my darling Peter. He's quite gravely ill, same for my husband, my darling Peter. He's quite gravely ill. But when we think back to our times together on this station, it's just incredible the imprint it leaves on you for your entire life.

Yes, it does. But Liz, I'm so sorry to hear that news, but I am glad that you were able to join us tonight, Liz. And at some point, Liz, because you're the only one on the Zoom right now who hasn't had their own episode of Toronto Mic. So at some point we have to make that happen. Oh, you do, Liz, because you're the only one on the Zoom right now who hasn't had their own episode of Toronto Mike. So at some point we have to make that happen. Oh, you do. You do. You do. I'm up for it.

Mike, I was just going to say that that was one of the first voices in the early days of CFNY. Liz's voice and the way she articulates and speaks absolutely captured me early in my radio career. Just somebody that I wanted to be and emulate. She had it all. Let me thank Ivor. You're still here. Yes, I see you there. And, of course, that's one of the more requested songs around CFNY these days,

the 102.1 Band with Eleanor Rigby. And we just happen to have one of singers from the one on two point one band actually the lead singer iver hamilton how are you doing i've got to bed i am signing autographs one signing autographs are you asked the fans well i didn't hear that big already million seller

understand your at the stones this evening yeah i went down there they would let me go on stage with them oh well we thought maybe you'd be opening the show well that was originally planned john belushi took over for me oh how was the show was it uh i know it could have been the event of the year was it indeed the event of the year close close to the event of the year uh john belushi was the only fellow who the only person rumored to have showed up who came. He just opened it up. He didn't sing on stage with the band or anything.

He just introduced the New Barbarians, and that was it. Do you think the crowd will be that excited when the 102.1 band performs? Oh, well, give it a little time. I think we've got a little bit of work to do. Well, a fair bit, I might say. However... Ivor, thanks for doing this. And can you shout out once again, NY the Spirit for David on his behalf?

Absolutely. NYthespirit.com is where the spirit of radio lives today. Is it still five bucks a month? It is. Yeah, that's an amazing story that he's done that on subscription. Good for him. Yeah. I really think. Andre's on there. And you're on there.

I'd like to do on that station is play the music. No radio will play. Right. Liz is breaking up, but I'm going to get Liz's contact from you, Mike, because I want to catch up with her. Oh, yeah. Happy to share that. That would be great.

Robbie J., thanks for hanging in here and for joining me. I'm glad we could do something special for episode 1021. I appreciate it. You know, and I just, again, I wanted to give a shout out to all the incredible behind the scenes people who really made that station and continue to be relevant to audiences past, past present and hopefully future right because it's it's um i look back and i'm like yeah it's pretty cool pretty cool place

they've done stuff with absolutely and captain captain phil so um tell brother bill he was missed we really will i wanted to say just one last thing before you go mike um i think you've done an incredible job of capturing uh the whole canon of this radio station for 40 years worth your interviews now capture the whole history of this radio station and the people who work there and and uh the way you're able to get interviews back on track is it's something that even people on terrestrial radio need to learn from you. So thanks, Phil. Honestly, keep going. I have another hour for this. You know what? To add to what Phil said here is that I think, you know, you, Mike, are very similar to the way we were. You, Mike, are very similar to the way we were, not to take away from what we are today, but the earlier, when we were a little bit younger, that drive, that passion is wonderful

to see in you and do the kind of thing, just getting people together. And you know what? There's the beauty of when you're a little bit younger, you just don't have any filters. You just call people up and say, hey, and people do, it's amazing. And you've done that. You've managed to bring people together. And you've, you know, archived all this audio and some video documented so many great stories that nobody else would have done or has not done. So that's really very important, not just for the CFNY story, but a lot of other radio stories that you've captured.

Pretty amazing. Well, thank you, Scott. And I can't wait for your next visit. So thank you for doing this. This was awesome having you here. And I can't wait till your next visit to the backyard because you're just one of the great guests. In the summer.

Sure. Summertime. You're one of the guys that's not allowed inside right oh okay i hit my head once like everybody okay look at phil i just want to hug phil look at phil he's the type of guy you just want to hug the fucker look at him totally oh i've never had the pleasure meeting uh captain phil maybe one day but but he's on the left coast there. But Freddie P. Look at that. Yeah.

Oh, cool. Cool. Freddie P., thanks for being a part of 1021 and for hanging in the whole three hours. I know you won't listen to a three-hour episode. Absolutely not. Maybe in one-hour segments, but, you know. Yeah. Don't chunk it up no mike uh you know i just echo what everyone else has said uh your passion and your interest and you know your ability to do this it's uh pretty good because nobody else seems to be doing it yeah sometimes i think i only did 10

years in a thousand episodes so i could have an episode 1021 like this the reason for all of it was for this right here right now and i've loved this but alan cross speaking of great fotms superb album from martin and sell from cfny that's called the englishman abroad actually the title track of that ruupert Hime produced production. How's that for language? Rupert Hime produced production. And psychedelic first for David in there with Heartbreak Beat,

the extended version from the Midnight to Midnight album. It is 1245. Are we going to make it through the morning? My name is Alan Cross. Kind of squeaky this morning. Here's something you might want to check out over the next couple of days. It's called the Connoisseur Showplace. It starts tonight and continues through Sunday at the Metro Toronto Convention Center. It's basically an exhibition of some of the best things that money can buy.

Cars, sculptures, cigars, wine, furniture, that kind of thing. The idea is to give everybody a chance to see what the rich and famous buy when they go shopping. And guess who's going to be there to open the show? Robin Leach. He's back in town. I thought they stopped his kind of customs. Anyway, he'll be here tonight, 6 p.m., to officially kick things off. And he'll also be available for autographs and to answer questions. I wonder if he'll shout the answers.

Judging by his TV programs, the man doesn't know how to talk quietly, does he? At least he can talk. Who am I to say things? Anyway, admission to the show is $6 for adults, $4 for seniors. And for that price, you can do some pretty expensive and exotic window shopping. It's the Connoisseur Showplace, tonight through Sunday at the Convention Center. It's 17 after 3. This is Alan Cross above the Donut Shop across from the Chicken Place.

And so far, so good. Halfway through the morning and my voice hasn't dropped out yet completely. Thank you so much for being a part of this, buddy. Well, you're very welcome. Again, nobody is documenting Canadian radio, especially Toronto radio like you. Please keep doing it because if you don't, no one will, apparently. And last but not least, the voice. Even just reading the phone book to me may brings me back

to my my university days listen you know uh bumping into the frosh week you were there and it was like oh my god there's may potts like my mind was blowing then my mind's blowing now thank you so much for popping on the zoom tonight may pot oh my pleasure it's always great to connect and you know what like i said at the beginning I was looking forward to this like a cocktail party with friends that I haven't seen in a long time. Totally. We actually got some great history shared and some great stories out. Thank you so much, Mike,

for allowing this to happen and putting this together. It was really a special experience. Thank you. What a sweet woman. You and Liz. I'm just looking at both of you. The guys can piss off. I'm just looking at you. No, I'm serious. I'm just thinking, you know, Lauren was a little kid and your son, Tad, and our history. And my goodness, we were all young kids. And now look, and here we are still talking to each other. Fabulous.

And our kids are older than we were when we started there at Seattle. Yes, yes. We started, May, I started right when you were there. Our kids are the same age as Pete and Gates were. Mike, a couple of quick things I was thinking, Mike. I'm trying just to add to that. Our kids are the same age as Pete and Gates were when they first showed up. And I thought they were way too old.

That's funny. Yeah, you're right. Scott with 1T, what say you there? Oh, it's a quickie. I was going to say you could do an entire show just on the road show and the stories around that. That's a story in and of itself. It's a separate thing. Oh, Scott, you don't want to see what I left on the cutting room floor.

in and of itself. It's a separate thing. Oh, Scott, you don't want to see what I left on the cutting room floor. I realized very quickly you were going to break the record I set with episode 1,000 if I did everything on that sheet. Well, I was going to say, you know what? This thing could have been like six hours if Brother Bill was on here, so probably Goody wasn't on.

And that brings us to the end of our 1021st show. 1021. You can follow me on Twitter. I'm at Toronto Mike. Our friends at Great Lakes Brewery are at Great Lakes Beer. Palma Pasta is at Palma Pasta. Sticker U is at

Sticker U. Ridley Funeral Home is at Ridley FH. Canna Cabana are at Canna Cabana underscore. And Ryobi are on Instagram at Ryobi underscore Canada. See you all

next week. Everything is coming up rosy and gray Yeah, the wind is cold but the smell of snow warms me today And your smile is fine and it's just like mine And it won't go away Cause everything is rosy and gray Well, you've been under my skin for more than eight years It's been eight years of laughter and eight years of tears

And I don't know what the future can hold or do for me and you But I'm a much better man for having known you Oh, you know that's true Because everything is coming up Rosy and green

Yeah, the wind is cold But the smell of snow Wants me today And your smile is fine And it's just like mine And it won't go away Cause everything is rosy and green Well, I've been told that there's a sucker born every day

But I wonder who Yeah, I wonder who Maybe the one who doesn't realize there's a thousand shades of grey cause I know that's true yes I do I know it's true

yeah I know it's true how about you all them picking up trash and them putting down roads and they're I'll be right back. Maybe I'm not and maybe I am, but who gives a damn? Because everything is coming up rosy and gray. Yeah, the wind is cold, but the smell of snow warms me today. And your smile is fine and it's just like mine and it won't go away. Because everything is rosy and gray. It won't go away. And I've seen the sun go down on Chaclacour But I like it much better going down on you

Yeah, you know that's true Because everything is coming up Rosy and green Yeah, the wind is cold But the smell of snow Warms us today And your smile is fine And it's just like mine The wind is cold, but the smell of snow warms us today. And your smile is fine, and it's just like mine, and it won't go away.

Because everything is rosy now. Everything is rosy, yeah. Everything is rosy and gray, yeah. Yeah.