Here’s another look back at my disc jockey career – when radio was great and I was passable. One thing that the industry was back then was FUN. Not so today certainly. And it’s a shame – both for the talent and the listeners.
Everything was live and local. You were encouraged to show some personality. Most radio markets had two competing stations playing the exact some music. So the only way to really distinguish yourself was in the presentation. Who had the crazier DJ’s? Who had the wildest contests? Who staged the best concerts? Who had the sluttiest girls call the request line? (Oh wait, that was just for the jocks, not the listeners)
You don’t have that competition today when the same company owns both competing stations (and seven others in the market) and to save money, one guy voice-tracks shows for all of them, they air some syndicated service out of Saugus, California, and the slutty girls are just emailing rock bands.
But the 70s were sweet. The pay was crap, there was zero job security, you had to play “Billy Don’t Be a Hero” six times a night, you usually needed a penicillin shot, and half your annual salary was lost to apartment security deposits because you skipped town so often – but we made up for it in fun.
And if I had to select the single MOST fun experience it would be the launch of KFMB-FM (B100) in March 1975.
Bobby Rich was hired to create an exciting FM Top 40 station for San Diego. SD was a tough market. There already was a juggernaut AM station – KCBQ, and FM rock had already failed once before with KSEA (a station I was on and helped kill).
But Bobby was a showman. He understood that you hire really talented people, give them all the support elements they need to succeed, and then just let them do their thing. The result was a cooking radio station that sounded like pure adrenaline mixed with laughing gas.
And to set the tone right off the bat, Bobby devised the B100 Hours to kick off the format. Here’s Bobby himself, explaining the concept:
Getting the station started I was looking for ways to promote the "100" with slogans, contests and other image branding. So having a 100 hour "Boogie-a-thon" with no commercials and giving away "B-100 Dollar Bills" every 100 minutes just worked.
The real magic came when we started bringing in guest dj's from all over the country for the party. It was a reunion of something that hadn't even happened yet. All of our talent was encouraged to invite jock buddies (like you did with Billy Pearl) who would want to "play radio" with our gang of wacko and wild Boogiemasters.
Oh, doing the math it turns out that is FOUR DAYS and FOUR HOURS. So that required much complicated back timing. To say nothing of the jocks being required to start each hour with the countup "and this is hour 78 of 100 hours of Better Boogie", etc.
Tapes of that insane weekend went viral in the radio industry. I still encounter people who say they have airchecks of me and Billy Pearl (at the time a jock for KHJ Los Angeles) on the air together, doing a limerick competition while we kept re-starting the record over and over.
The line-up was crazy. I was there all weekend. I’d work 8-9 PM, then come back and do 4-5 AM, 11-noon, 7-8 PM, etc. No one got any sleep.
I recall doing a morning show with Rich Brother Robbin, and at the time there was a syndicated program going around that basically was a fantasy Woodstock. All these live performances from various albums were woven together as if this amazing rock festival actually took place. We did a mock version. Doing my Ed Sullivan impression, we hosted the Concert for Rock n’ Roll Heaven and played all these dead artists. What we lacked in taste we made up for in audacity.
The launch was a huge success. The entire town was talking about it. And within months B100 dethroned longtime stalwart, KCBQ.