Norm Nathan's Vault of Silliness - Ep 193

[00:00:00] Speaker A: Today brings us some Norm Nathan shows from July 23 and 31st of 1994. There's an extra bonus included from August 1 with another legendary WBZ broadcaster as well as a musical treat, we are just cruising through summertime. Thank you for letting us be a part of it by tuning in. I've titled this one road trip radio. The Lovely Keith Shiels was producing from the 23rd. We take a bunch of calls. Gene talking about the movie blown away, Neil from St. John's, New Brunswick, Laurie from West Medford on jazz, classical, a great composers, musical comparisons and a great discussion about revisionist lyrics and changing or updating things because they are judged as outdated. Some things never change. Ida gives us a call and I can't remember where she was from. Norm's daughter Sonya and her husband Lane calling from their car with a review of the Elton John Billy Joel concert that was at Foxborough Stadium. Then Dottie and Peter join the conversation from their car. Listen to the talk about the ticket prices. A bargain by todays standards. On to our good friend Helene in Belmont, gene with the address to the company, radio yesteryear. Dawn about ticket prices. Arlene in Philadelphia and Marie from the 31st. Theres a guest talking ever so briefly about carousels. Then we get a call from Bob Bachelder. Now we jump to August 1 with none other than Dave Maynard. He's hosting a show on some weekend afternoon, first day small business Saturday, who knows? It includes a very interesting interview with a guest named Beau Bauman, who assembled a book of advice and quotations from all sorts of people famous and not titled the most important thing I've learned in life. Then Dave talks about the WBZ farm stand and just wait until you hear the sheer amount of food that was being donated. And we close with a call from WBZ's auto guru, John Lawlor. Put the top down and turn it up. Episode 193 Road Trip radio drives its way to your ears now. [00:02:22] Speaker B: 103 oh, please don't turn that down. He makes me smile. Oh yeah, yeah. No one made the show. Oh yeah, you're a Mason show. Ooh ha. Oh yeah. Ooh. Sorry, I'm making funny noises. Eh. Anyway, this is that person that they were just so gloriously singing about. Normally we're just gonna be here for a couple hours tonight, so if you'd like to say hello or have some comments or anything may be on your mind, this would be a really neat time to call. Cause we just have a short time together and then we're off into the darkness of night. Thank you. Anyway, I'm Norm Rathen, Keith Shields is our producer. And our phone number is the same as Neil Chayette. He said, hey, Norm, you want to use my phone? Go ahead. He's that kind of guy. It's two. 5410 30. Area code is 617. But you knew that anyway. Okay. We keep these a little bit light, but whatever may be on your mind. Anyway. You know that Red Sox one, they beat Oakland four to three. Except with the exception of in the name of the father, which I thought portrayed the situation there. Yeah, I saw that movie too. I thought it was quite a good movie. Right. The reason is, is that Hollywood tends to focus on areas where it wants to. And it can, with its power, with its very powerful image. Or in creation of things, it can really let people know how things are. And when it comes to areas such as Northern Ireland, for example, there's too often the portrayal of terrorists. And that's what I have a problem with. Now, what does blown away get to do with that? Because I haven't seen the movies. That's not tied in with that at all, is it? Actually, yes, blown away. The backdrop of it is that the character, Tommy Lee Jones. Is basically a mad bomber. Who has IRA affiliations. And he comes to Boston to do battle with a Boston police officer. Who was really originally from Northern Ireland as well. And it's just this whole creation that it's violence with. No, I understand it's the movies. But somehow it has a powerful effect on people. When they see these conflicts. They tend to just say, oh, well, it's all just violence. There's really no backdrop to it. And that's why I'm tending to sway away from any of those films. Okay. Fair enough. Again, I had no idea that was attached to that. All I heard was a couple of friends of mine who've seen the movie. And they thought it was really kind of boring. Aside from the technical effects of, you know, bombings and that kind of stuff. They thought the movie was kind of nothing. But I appreciate what you're saying. Okay, sir. And I thank you for saying it. Okay. Take care, Gene. Good evening. Bye bye. Okay. Two. 5410 30. Area code is 617. You have no quality stations up there in New Brunswick. Is that what you say? We do, but. But we usually get what you people have said yesterday. Oh, I see. Well, that's soon enough. What the heck. A slower leisure life. Where bots in New Brunswick. Are you. What town are you near? The. Oh, St. John, New Brunswick. John, New Brunswick. Okay. Probably. I think we spoke before, but we're probably about an hour and 15 to 20 minutes from the main New Brunswick canadian border. Okay. I'm sure I've been there because I've been in that area. Been to Monkton before. I think I've seen you in Monkton. Yeah, I do hang around there a lot. And also up in Campbellton. Yeah, I do. I sometimes just. Just go up there and just hang around the streets. Yeah, it's a great spot up here. Just get back this weekend from. From a, what we call the Moosehead run. It's a run put on by our local brewery. You've heard of Moosehead? Yes, I have. Yes. It's brewed right here in St. John, and it's one of Canada's oldest independent breweries that's still around. A lot of them and other breweries have been taken over, corporately taken over, but this one here is still family owned. Oh, that's nice. That's a great name to it. I love that. I think it sounds like a real manly thing. If you're going to drink beer, drink a beer called a moosehead. Moosehead, yeah, I drink moosehead. Moosehead's been around for a long while now. What is there some kind of a festival? You said that was a. What they call a moosehead run. I believe it was the 7th or 8th annual Moosehead run. It's on the river now. We have one of the most beautiful river systems in the world up here, Norm. It's over 400 nautical miles, and a lot of people take advantage of this river system. And Americans come up here every year. Actually, there's a crew of them coming up now. They sail all from New England, I think it's called the American Sailing Squadron. Power squadron, I guess they call it. And there's probably somewhere between 75 and 100 powerboats that come up this way. What's the name of the river? St. John river system. Okay. The St. John river system. I very often just go along there with my power boat, drinking my moosehead beer. That's right. A lot of people do it. And this, this moosehead event that they put on, it's. It's strategically situated about the middle of the river system. So about 150 to 175 boats come and everybody ties up alongside of each other, and moosehead are there, and they're giving away some of their product by the truckload. That's great. Everybody has a dance, hot dogs, hamburgers. It's a great old thing. I don't think there's a whole lot of breweries around that do this sort of thing, but it's an old tradition. They have one of their company boat there. It's an old world war. World War two. It's sort of built like a canoe. It's the same shape on each end, but an old world war. I think it was World War one boat. They cut about 35ft out of the middle of it, then stuck it back together. And it's quite a part of. It's part of our heritage around here, you know. It's a great rig. It sounds okay, Neil. Yeah, not too bad. I'm glad for that report on that. You can be our. From now on, you'll be our St. John correspondent in New Brunswick. Correspondent? Yeah. Okay. It was a great weekend up here. The weather was great. Well, I'm glad to hear about that, Neil. And I always appreciate hearing from you. All right. Take care of yourself. You have a good night, Norm. You, too. We'll see you. Bye bye bye. Okay. How about we go to Lori, who's in West Medford, as a matter of fact. How you doing, Laurie? Well, I'm doing fine, Norm, I'm one of these people who have never spoken to you before, but I've been an admirer of yours for many years. Thank you very much. And you had mentioned something about jazz. I just wanted an excuse to call tonight. I didn't really have any reason. Okay. I don't have any reason even for being on the air, for that matter. So you don't really need a reason. Well, you were talking about jazz, and I have some love of jazzenhe. I love, basically, classical music and older american popular music and older jazz. I would die for a chance to go into a place in the Boston area, order pitches of moosehead beer and sit down and listen all night to Dixieland. Okay. There are places that have Dixie. I know there are a lot of good Dixieland fans that make your home in this area. I can't. I can't. I don't have a list in front of me at this moment, but I know there are places that do that. I don't know about the moosehead beer, but I do know why you mentioned that. But we could work that out, too, I'm sure. When you talk about liking classical moose. Because I like classical music. In fact, that's what I liked, first of all, before I even knew that there was such a thing as jazz and older american music. Like, when you say that, what do you mean? What kind of older american music? I'm talking about the music of the Gershwin Kern era. And before going back into the 19th century. Well, you're talking about the great composers like Kol, Porter, Rogers and Hart. People like that. That's right. And going back to people like people who wrote things like grandfather's clock. Oh, you're talking about really old. The old, really, really old stuff. The old grandfather's clock. It stood 90 years on the floor. I'm so glad I burst into song on that one. I wrote an arrangement of it. But anyway, because what these things do, and what a lot of this stuff does, which people don't really seem to realize, is that it says something about our history. These are period things that show something about the history of our country. And I get the feeling sometimes that this is becoming lost. I guess so. I don't. That's the kind of situation that you mentioned that I'm going to have to think about. I don't know how many songs from back a few years reflect the history of our country. I'm not quite sure I know what you mean by that. Oh, I can tell you one, if you will allow me to quote a verse from grandfather's plot. Okay, now, the grandfather is quote, the fellow who's telling the story is quoting what the grandfather said about comparing his clock to somebody that he had hired. Okay. My grandfather said that of those he could hire, not a servante faithful could be found, for it wasted no time, and had but one desire at the close of each day to be wound. And it stood in its place, not a frown upon its face, and its hands never hung by its side. Now, if you really look at that, you get a very chilling report about how labor and management were at the time when human beings in this country, citizens, were virtual slaves. Before the time you remember this song was written in 1876. This was before the time that you had labor unions or a government that would help them, when you had the mills and all this kind of thing. And in 1876, anybody hearing that verse would have thought it amusing that grandfather father would compare his clock to a workman. But in this day and age, it is a chilling report of what the attitude was of employers. Do that lyric again, because I didn't catch that first time around. My grandfather said that of those he could hire, not a servant so faithful, he found for it wasted no time, and had but one desire at the close of each week to be wound. And it stood in its place, not a frown upon its face. Let's see. I suddenly forgot the last line. I'll give you about a half hour to come up with it, or maybe till a week from Wednesday. But anyway, because I never thought of it in that light until you just did the lyrics just then, I guess. I guess that's so. I never thought of it that way. Oh, the last one was. And its hands never hung by its side, which means that it was always busy. Yeah. But, you know, that's part of what our older american music is, and it's part of what our older american plays are and our music. And there is a movement on now to sort of print this stuff up so that what we do is we change things so that we change history. It's sort of a revisionism movement. Now, who, who changes history? Who. Who do you say is responsible for doing that? We change. When you say change things, you're talking about changing lyrics to songs or what? Well, what I was. What I was bringing into the conversation, basically, was changing lines and plays. This is the politically correct stuff, and it's what I call revisionism. I don't think it happens as much on the professional level as it does on the amateur level. Yeah, because I'm not aware of that. I understand what you're saying. And being a union man myself, I can appreciate some of the things that you're bringing out, but I'm not sure about the revisionist part of any major works, whether they change them. I guess I'm just kind of fumping around here because I'm not quite. I can't quite hone in on what you're saying. Well, I've been involved in some amateur theater. I've done some acting and singing and stuff like that. No big deal or anything like that. And I don't think that on the professional level it's done that much because there are things you can get away with on the professional level that on the amateur level are very different. And there are groups that think that you have to make things politically correct, or you have to change things simply because they do nothing to modern day standards. And I think that that is really incorrect because you have to take plays, musicals, songs and this sort of thing and take them as they were written as part of our history. Now, if you're going to do a program of this kind of thing, you can make disclaimers in your programs, in your posters, all this sort of thing. That's perfectly legitimate. But to change the words simply because they do not conform to what is considered to be appropriate modern day standards, I think is wrong. Oh, I agree with you. Then if you're going to watch a play that was written 20 or five or 40 or 50 years ago. You oughta, particularly if the play was well written, at least written well enough so that you want to do it again. It ought to be done the way it was done originally. The only, the only exception is that I guess I'm going Broadway right now, for example, they're doing, I guess it's damn, I don't know, it's damn Yankees or another, another show that these two writers had done and they were bringing it up to the job. The pajama game. I guess that, I guess that is, I think that's the only two shows that. Adler and Ross Road. Yeah, that's right. Now, which one is the one that's on Broadway? Now is that, is that the pajama game or is that damn yang? I think it's damn Yankees. And I think what they're doing is changing lyrics in some areas because the lyrics that, that they wrote during that period don't make as much sense now. I don't think they're doing it because it's now politically correct to do it a different way. I think it was just to update the musical. But if you're doing a period piece like an Ibsen play example, which reflected the social situation and the business situation at the time, then you ought to do it exactly the same way today, you know, without trying to make it more palatable is what you're saying. They're not bringing it up to date. They just want to make it more palatable for people in the nineties whose ideas may have changed. Now that doesn't make any sense to me at all. Anyway, what I'm mumbling on here about is, I tend to agree with you about what you're saying. Well, with damn Yankees, what you had was a situation where the Yankees ruled the American League in the, in the fifties. It comes from a book which, which was entitled the year the Yankees won the pennant. Yeah. The year the Yankees lost the pennant. Yeah. But I mean, I think if, I think they're updating it and changing the lyrics to some of the songs, not to make it more politically correct. I don't believe, now I haven't seen the new version. I did see the old version, but just to bring it into the 1990s, that the fact that some of the lyrics were outdated not because they were not politically correct, but just because situations don't happen that way anymore or something, well, what they can do is they can make notes in the, in the program to say that these are done because this was the case at the time, because that book was written in the fifties. Yeah. But I think the changes were made to make the musical more fun, not to make it more politically correct. I think that that's probably a more legitimate point than the political correct stuff. Yeah, that would make sense if something is kind of boring or something, because it's so out of date that it doesn't make any sense to people anymore and you want to update it because there's a lot of good quality still there that you can still use. That would make sense to me. But to change a perfectly good play or good musical or whatever simply because people's ideas have changed, that wouldn't make any sense because you want to do it again, the way it reflects, reflected on society, the way the year came out. Even if the stuff is embarrassing. Because there are, of course, as we all know, many stuff. Many things that are embarrassing, both now and in the past, which are even more embarrassing that we did as a nation and as a society that we would just as soon forget. But when you're redoing a play or a musical of the past, I don't think we should forget them. I think that we should remember our history. And if you don't like the play or you don't like the musical, because there are certain things that are embarrassing by today's standards, then don't do it. Okay. Fair enough. Laurie, you're okay. Thank you very much. Thank you. Take care. Bye bye. Bye. Now he made sense, but I have a feeling I didn't make any sense at all. I'm thinking back to what I was saying, and I'm not sure what it was. Anyway, Ida, hang in there. We'll get to you next, and I'm doing fine. Good. [00:22:10] Speaker C: We haven't called you for a long time, but I heard my favorite song a little while ago. The saints go marching in, you know. [00:22:17] Speaker B: Oh, yeah. [00:22:19] Speaker C: We. Quite different. We have a number of different versions, and we're wondering if you know who. Who was playing that one. It's a new one to me. [00:22:29] Speaker B: Who was playing which one? [00:22:31] Speaker C: Saints go marching in that you were playing? [00:22:33] Speaker B: No, we haven't. Oh, do we play sensible marching? [00:22:36] Speaker C: Somebody did. Oh, I heard it there. [00:22:38] Speaker B: Yeah. No, I mean, that might have been someplace else. I know. I did not play that. I don't believe. [00:22:42] Speaker C: No, I think that was a few minutes ago. I can never, you know, was on a. [00:22:47] Speaker B: Was on a commercial, I'm told. [00:22:49] Speaker C: Oh, perhaps. Yeah, yeah. [00:22:50] Speaker B: No, I didn't. I really didn't hear that. [00:22:53] Speaker C: You know it. I know. I think one of the ladies who called you a few nights ago, was asking about was it a Jimmy Durante record or something like that. [00:23:05] Speaker B: She was interested in a record that he had made. Yes. [00:23:07] Speaker C: Yeah. And she was trying to find out where she could get it. You know, there are, I don't know how many places all over the United States that carry every record, I think, and every tape. I think perhaps you might be familiar with them. There's one in San Francisco called American Pie who has a lovely 800 number. [00:23:27] Speaker B: I'm sorry, I don't understand you just talk right into the phone, if you would. [00:23:31] Speaker C: Oh, yeah. We have potty line trouble on my telephone sometime. [00:23:36] Speaker B: Okay. Because I have a feeling that you're kind of turning away from the phone every now and then. [00:23:40] Speaker C: We're right here. We got four other people, I think, on it, but we can't prove it. [00:23:44] Speaker B: I see four other people in your line. [00:23:48] Speaker C: Well, we have the phone. It's one of those things people come in on the line. I don't know what they're coming in on. But you have trouble sometimes. [00:23:59] Speaker B: Okay. [00:24:00] Speaker C: No, as I was saying. Can you hear me now? [00:24:02] Speaker B: Yeah. [00:24:03] Speaker C: Okay, as I was saying, there are a number of different companies all over the country that can supply you with any tape and any record, no matter from what. No, man. I think from the first record on down. And one of them is american pie, over San Francisco has an 800 number and you can get in touch with them right away. [00:24:24] Speaker B: America. American pie. [00:24:26] Speaker C: American pie. [00:24:27] Speaker B: Is that the name of the company? [00:24:28] Speaker C: Yes, it is. [00:24:29] Speaker B: And the number is what? [00:24:31] Speaker C: I don't have the 800 number. [00:24:32] Speaker B: Okay, call information. [00:24:36] Speaker C: 800 information. They're very helpful. Okay, we have something that comes called a catalog of catalogs. [00:24:44] Speaker B: I'm sorry, the catalog of what? [00:24:46] Speaker C: Of catalogs. [00:24:47] Speaker B: Cadillacs, catalogs. Cavalons, you know. [00:24:51] Speaker C: No. You know, like the robot catalog. [00:24:56] Speaker B: No, I feel like we're conversing in two different languages. I know, I didn't. The Cadillac, the caravan of catalans or something. [00:25:09] Speaker C: They list many, many things from all the old radio programs. [00:25:14] Speaker B: Yeah. [00:25:15] Speaker C: And so you can pick up just about anything you want. [00:25:19] Speaker B: How would you get that catalog? [00:25:21] Speaker C: That. I don't know. I think it's simply because once in a while we deal through them. We buy things through the mail. [00:25:27] Speaker B: Yeah. [00:25:28] Speaker C: And then you can go to your nearest public library and of course, like here in Bridgewater and call your reference apartment. And they have one of their catalog catalogs there also. And we have a fine reference department. Why all you have to call up and you find it. [00:25:47] Speaker B: Okay. Call up. Call up the local library and they ought to be able to find. Get the information for you. [00:25:52] Speaker C: I don't know if they all have this information service, why didn't call up. [00:25:56] Speaker B: The Boston Public Library? And they certainly would anyway. But usually local librarians are pretty good about that. If they don't know, they'll. They'll be able to check it out and find out the information for you. [00:26:09] Speaker C: They average about 7000 calls a year. So that, you know, it's really quite a thing. [00:26:16] Speaker B: Okay. Good enough. You're okay, Ida. Thank you very much. [00:26:20] Speaker C: Oh, you're very welcome anytime. [00:26:23] Speaker B: Talk to you again soon. Maybe right after the. Right after the war, we'll meet again in that little cafe in Brussels, Belgium, just like it happened before. I don't know. There's something about the program tonight that's very weird. Not because of the people calling in, because of me. I have no idea what I'm talking about most of the time, but I suppose that doesn't make this program different than any other program I've ever done. Coming up to news time. But I thought we'd let the lovely Marilyn gorilla dance a little bit before we go to the news. Oh, do it, baby. Do it, do it. Sweetheart. If you're coming home from the Elton John Billy Joel concert down at the Fox world, give me a call. Maybe I'll. I love your review. Okay. Are heading back up 95. I guess the concert, did it just open up end? This is lane and it just opened up. And I didn't hear Rob say anything about traffic on route 95 and route one. No, he did not. Last time. He did say that they were expecting a little heavy traffic because of the Foxborough concert. We're in it right now. But it was a. It was a fantastic show. It was. It was really unbelievable. See two. Two people like that up in front of you at the same time. It was an unbelievable show. I guess this is. This is one of a series of stops. They're in Philadelphia, I think, earlier, and I guess they hit some other communities as well. How did they do it? Do they have two pianos? And they're both. They both. They each had their own piano, and they came out together when they started the show. And then Elton came. Billy Joel left for a while, and Elton John did quite. Quite a number of tunes. And then they took an intermission. Billy Joel came out. He put on a. Quite a show. And then towards the end of the show, they were both together, playing together, and it was. The way they had it set up was just phenomenal. You recall some of the songs that they did you know, it's unbelievable how many songs they did, because. And the show went on for hours. You know, it started at seven or after, and here we are, midnight, and it just got out. So they. They put on quite a long show. Yeah, earlier in the week. I was just looking through some of the earlier accounts of them on the wires, and this was a. Some comments on their show in Philadelphia, which I assume might have been similar here at Foxboro. It describes the shows running about three and a half hours, and. Which is pretty much what you're saying. I guess they took a 15 minutes break or so, but other than that, they put on a real long show. Yeah. Elton John had said. I guess it said the two of them have more in common than just pianos. Elton John says, we're both short and have problems with our weight like that. Well, was there a good sized crowd down there at Foxborough? It looked like it was filled right up the entire floor. And, yeah, there must have been 50, 60,000 people in there. It was. It was Jim packed. I think they have seats on the field itself, I would guess, too do. They did the whole. The whole field floor was full and as well as all the seats around it. And it was. It was jammed. Well, I'm glad. And obviously went over well, not only with you and Sonia, but apparently with the rest of the folks that were on board there. Sonia wants to say hello. That would be very nice. Thank you, Lane. Okay. [00:30:21] Speaker C: Hey, dad. [00:30:22] Speaker B: Who is this, please? [00:30:23] Speaker C: This is your daughter, the big guy. [00:30:26] Speaker B: Okay. How you doing, pal? [00:30:27] Speaker C: I'm doing good. [00:30:28] Speaker B: How was Lane's review? Do you think that was pretty accurate? [00:30:30] Speaker C: Well, yeah, it was. It was. It was an incredible show. The one thing that he left out was that the set was pretty creative as well. They had, like, the british flag on one side and the american flag on the other, and underneath each flag, they had a scene from the revolution. So they really, you know, it was. And on the t shirts, they had a design in the shape of a piano with each one of the flags, the british flag and the american flag on it. So they really play that up. Oh, and then when they came out, when Billy Joel and Elton John came out, they did you yankee doodle dandy when Billy Joel came out. And then they did the. It was a british theme. [00:31:12] Speaker B: I'm not. [00:31:12] Speaker C: Which. I'm not sure which theme it was, but anyway, it was a british sounding tune, and so they played that when Elton John came out, so that was kind of creative. And they just looked like they were having a great time. Together. I mean, it just looked painless. You know, they really played well off of each other. And Billy Joel sang one of Eltone, or sing actually several of his songs. And Elton John said, there are many songs that I admire of Billy Joel's, but the one that I love the most is New York state of mind. You know that song? [00:31:41] Speaker B: Yes, sure. [00:31:42] Speaker C: And he said. And he sang that. So it was really, I mean, they really were very respectful of each other. And you could tell that they admired each other for a long time. And, you know, Billy Joel at one point said to the crowd, isn't this like one cool idea for a concerte? And everybody went crazy. [00:31:58] Speaker B: They're apparently on a long tour. Are they? [00:32:01] Speaker C: Do you know it's about. We counted it up. I think it's like a ten city tour. [00:32:06] Speaker B: Yeah. We have somebody on another car who just came out of the concert. You want to talk to them, too? [00:32:10] Speaker C: Oh, yeah, that'd be fun. [00:32:11] Speaker B: Okay. This is Dottie, who was in a car also. You heading back from that same concert, Dottie? [00:32:17] Speaker C: I know. I'm with. Sure. I'm with my husband, Peter. [00:32:20] Speaker B: Okay, good enough. Do you agree with me with what Sonya and Elaine have been saying everything. [00:32:26] Speaker C: It was really a wonderful, wonderful concert and they did wonderful things together at the end. The last half hour was just fantastic. They played a few old rock and roll tunes. Lucille and great balls of fire. Oh, a Beatles tune. Yeah, kind of a medley. You. It was really, really great. At the end of Billy Joel's set, he was up on top of his piano dancing and they just made everyone feel like they had just a wonderful time. The energy was just great. The good crowd, everybody enjoying themselves. [00:33:07] Speaker B: And the rain held off, too, because it looked like that might be a problem at one point earlier today. [00:33:11] Speaker C: It was a beautiful night, it was warm. And one of the first songs they sang, I'm not sure the name of it, but, you know, don't let the sun go down on me. They were singing just as the sun was going down over the stadium wall. So that was great, too. And then the moon came out. It was a beautiful night. They showed the moon up on the monitor a couple of times. [00:33:35] Speaker B: You know, that's right. There was a half moon out there. I noticed that even driving into Boston earlier tonight. That's kind of funny. Cue the. Cue the sun. Let the sun go down while we're singing this song. All part of the scene. [00:33:47] Speaker C: And you know what? The last time Dottie, I'm sure, would say this, but the last song that they did was piano man. Yes. And that was just a perfect ending. Fabulous. Really, really fabulous. I mean, for, you know, for the money. And it was an expensive concert to go to. It was like seeing two. Two full concerts by two stars. It really was worth it. Yes. We were actually discussing or having a hard time deciding if one or the other of them was a better piano player. We just couldn't decide because they're both so talented. They just have real different styles, though, I think. And it's interesting, when I was watching them play, and I've been a fan of both of this for a long time, but never really contrasted this styles. But the interesting thing to note is that Billy Joel style is very american, and his songs are very, you know, they're just a, you know, very. They just kind of tell the story about growing up in America and his time period. And I think Elton Jones are the same way, probably, you know, a reflection of what it's like to grow up in England. And so that's why it was so interesting to hear both of the songs, which are really just kind of chronologies of their growing up. I mean, it was, you know, contrasts and comparisons. It was just. It was. It was wonderful. [00:35:02] Speaker B: This is really nice to have all you guys as critics. Did you want to add one more thing, Dottie? [00:35:07] Speaker C: No, I think we've both probably said it all. I'm just really happy I went. We paid a lot of money for our tickets, too, which, you know, I don't want to end this conversation on a negative note. I don't want to make this sound negative, but we paid at a, you know, legal ticket place to be left unnamed. We paid $125 each for really, for tickets that were marched. $42. So why isn't that scalping? [00:35:40] Speaker B: Well, I don't know. That seems like that seems. Does seem excessive, isn't it? It does seem excessive. And this is a legitimate ticket agency you're talking about. Yes. And they sounds like something you get from a scalper on the streets of proxima or someplace. [00:35:52] Speaker C: I know. [00:35:53] Speaker B: Yeah. [00:35:54] Speaker C: And they weren't even, you know, we paid that thinking we would get really good seats. They weren't even good seats. We actually. I have to say that the staff there at the stadium, they were all really great. And my husband went up and asked, you know, one of the security people if there was any way we could move to another spot. And they walked us over to another place. It was further away from the stage, but we could see everything better. And the sound was not distorted, which it had been in the seats we had been assigned, we were really lucky. I mean, I don't want to make Zaddy feel bad, but we had excellent, excellent seats. Were you down there in the front grabbing on to Billy Joe? Oh, I know. I thought they were going to pull. I thought they were going to, like, pull it right from under speed. No, we were. If you. If you were facing the stage from, just, say, the other end zone. I'm not. I don't know football, so that's even the wrong term. But anyway, if you're facing the stadium, we were, like, in the first section of seats to the. To the. To the left of this. Of the stage. So we had a great. It was an absolutely great view. But the tickets, even if you didn't go through a, you know, a ticket agency like you did, the tickets, I think that the cheapest tickets were $40, which is what you paid or what the value of your ticket was, the face value. And then the highest ticket price was $85. So that's, you know, I mean, that's a ticket price, but. Yeah, but if I had paid. Did you go to the box office? Well, yeah, kind of. Sort of. Oh, okay. [00:37:28] Speaker B: All right. [00:37:29] Speaker C: Well, that doesn't matter. But, I mean, if I had been able to go to the box office and pay $85, I would have got really good seats. Right? Yeah. And I paid a lot more than that for, you know, just. I know. That is. That's very depressing. [00:37:43] Speaker B: Yeah. [00:37:43] Speaker C: You know, it really is. I know it was worth it. And I don't mind that we paid it, and it was wonderful. But there's a lot of people out there who cannot afford that, and it's not fair. They could afford $42 a. And they couldn't afford. Did you see what a t shirt switch they were charging for the t shirt? Yeah. $30 for 125 for another. A program was $15 for a program. [00:38:09] Speaker B: That's awful. That's not. [00:38:11] Speaker C: But it was. But it really was history in the making. I hate to use a cliche like that, but it was a great concert. It was. And, boy, you know, it was just exciting to be there. [00:38:20] Speaker B: Okay. [00:38:20] Speaker C: It was a wonderful experience, and it'll be a great memory. You know, it's really great to have experience. Are you stuck in traffic right now? No, we're. We're cruising on down route one. Not. Nope. You're going south, obviously. Yeah. Okay, we're jealous. No, no, no. We're going north. Oh. We're going north on route one. Okay. Anyway. Okay. Hey, listen, listen, you guys, nice talking to you all. [00:38:45] Speaker B: Hey, Doddy, thanks a lot for calling that. I appreciate it. Sonia and Lane, thank you very much. [00:38:51] Speaker C: But, dad, you know, I want you to tell the traffic people this is a really bad traffic accident that we're passing right now. [00:38:58] Speaker B: Where's that? [00:38:58] Speaker C: It's in Canton. We just crossed over the Canton line. [00:39:00] Speaker B: And is that route one or one in this? [00:39:03] Speaker C: Fire trucks. And the staple? Oh, it's an. And they're putting somebody on. [00:39:08] Speaker B: Okay. We're getting in touch with Rob Floyd, right? This. I'm sure he knows about it. Probably will report on that in about ten minutes. [00:39:15] Speaker C: Oh, I think a car went over a guardrail. [00:39:18] Speaker B: Oh, my. Yeah, maybe, maybe. Maybe it had in it the guy who was charging 100 and something for the tickets. That would be. That would be poetic. Yeah, that would be good. Take care, you guys. Nice to talk with you. [00:39:32] Speaker C: Nice to talk to you, nami. [00:39:34] Speaker B: Okay, pal. Bye bye. [00:39:37] Speaker C: I heard you talking about not understanding soccer. You know, I'm a sports fan. [00:39:45] Speaker B: You're a soccer fan, too? [00:39:47] Speaker C: Well, at one time, I knew quite a bit more because I dated a man who was a soccer coach and saw quite a number of games. But I think the word you might, if you want to give nuance, arrest, you might try intricacies and fine points. [00:40:06] Speaker B: Okay. [00:40:07] Speaker C: But people who don't follow a game that goes for baseball. I've had friends knowing I'm a baseball fan, who get a little upset with me, saying, it's so boring. And I say, it's not a thing you can do casually. Either you follow every game, know everything about all the players, or it's a bull. [00:40:31] Speaker B: No, I understand that because as I was watching the game, I was trying to pick up these. What's the word I use instead of nuance? Intricacies? Yeah, like. Like the way they can kick the ball sideways, backwards, lift the ball up and over. I'm sure there are other terms for that, for all these things besides what I'm using. And I know I really admire them. I think they're great athletes. It's nonstop. They're really moving. I don't know how they have the energy to play as continuously as they do and do all these things. And I suspect if I watched enough of it and got a lot of these intricacies, I'm sure I would appreciate it more. But even. Even I can appreciate what they're doing. But maybe it should watch only 20 minutes of a game at first, and then sort of break your way into it more and more as you learn more about it, or something. [00:41:23] Speaker C: Well, I'll admit I was watching the Red Sox, but between innings, I went back to the soccer game, and nothing, you know, there was still no score. But I did go at the end. I wanted to watch the end, those kicks, because that was really exciting. Yes, I decided the game. But after the 750 hours they've been playing, as you put it. There's one other thing I want to complain about. Something. Nothing heavy, okay? But it applies to a couple of your colleagues, Gil Santos and your other sportsman. What is it? Siegel? Alan Siegel. [00:42:03] Speaker B: Oh, Alan Siegel. Yes, yes. [00:42:05] Speaker C: They ignore tennis. Not if it's local. They gave report on Longwood, but they played the final of the Davis cup. It's not the final, but the final day of the Davis cup match, the United States against Netherlands in Rotterdam. And it was very exciting. And no one mentions it. They go on endlessly about that boring game, golf. And I think it's because, because most of them are in no condition to play anything else. [00:42:40] Speaker B: Oh, you're slamming our sports guys as being in bad condition? [00:42:44] Speaker C: Yes. I mean, they probably couldn't play tennis if they tried without having to call some sort of rescue squad. [00:42:54] Speaker B: Oh, what a bit of person you've turned out to be elect. You're probably right, because tennis is a really tough game to play. I know, I know. I know that. I've tried to play it myself in the past, and I'm helpless. But then again, I was helpless with any other sport. [00:43:08] Speaker C: Well, I've never played tennis. I was a good swimmer one time. I'm a good dancer because those are large body skills. I have no hand eye coordination, so I've never been good at any sort of ballgame. But I do like to watch it. I wish one could get the same benefit from watching athletics as participating. [00:43:28] Speaker B: And my wife was a great lover of tennis, any tennis match on television, but she was there watching it. And we used to go to Longwood a lot when they had the matches there, like I just concluded. [00:43:42] Speaker C: But may I report on the Davis cup, the three days at Rotterdam, that on the first day sampras demolished and Currier demolished Krychuk. Then the second day, the Netherlands doubles team won. And today, a big upset in that Krejek beat Sampras in four sets. [00:44:13] Speaker B: Son of a gun helmet. [00:44:15] Speaker C: I mean, really, I was stunned. And so it was tied. Courier saved the day for the United States by beating everything in forfeits. [00:44:24] Speaker B: Okay. [00:44:24] Speaker C: Well, now, aren't you, you know, this should have been on your sports. [00:44:28] Speaker B: Well, now it was. See, now we, now we had it on. [00:44:33] Speaker C: One other thing I wanted to say about damn Yankees, I read the New York times, the Globe and the New Yorker, and sometimes they. They disagree. Some liked the current revival of damn Yankees, some didn't. But what interested me was that the song two lost souls, which was sung in the original production by Lola and young Joe Hardy, is sung in this production by Lola and Applegate. The devil. [00:45:05] Speaker B: Oh, yeah. Yeah. [00:45:06] Speaker C: And I wondered. I didn't think it would work, but my son thought. And he said it did work. [00:45:13] Speaker B: Yeah. Now, did he like the show? All of it? [00:45:16] Speaker C: He loved it. He thought it was great. [00:45:18] Speaker B: He did. He liked. [00:45:18] Speaker C: And he had seen the original. [00:45:20] Speaker B: Yeah. And he thought this was a good updating of it. [00:45:22] Speaker C: Mm hmm. [00:45:23] Speaker B: Great. [00:45:24] Speaker C: And he was. He felt that this made sense to have Applegate and Lola sing two lost souls. [00:45:30] Speaker B: Yeah. Because I haven't seen the show for a long time, since the. Since the original show. And I loved it. Maybe because I liked baseball and I liked the idea of. I just like to hide the idea of the whole plotline of old guy, even though he sold his soul to the devil. But being a lot, being able to be young again and being a tremendous baseball player and all, the whole plot line, I thought was kind of fun. And the songs were great. And I did see. Was it Gwen Verdon who played Lola. [00:45:59] Speaker C: In the original Newarth, who has played Fraser's wife, Orn. Cheers. Played Lola. [00:46:06] Speaker B: Yes. [00:46:06] Speaker C: Version. And I didn't know she was a dancer. Apparently, she's primarily a dancer. [00:46:12] Speaker B: I know. And I've seen pictures of her in the magazines as Lola, and she looks quite different than she did as the prissy fiance of Fraser on my father. [00:46:25] Speaker C: She was great. [00:46:26] Speaker B: Loved. I'm about three minutes late into the news. In fact, closer to four. [00:46:31] Speaker C: Well, I'm sorry I took so much time. [00:46:33] Speaker B: No, that's all right. [00:46:34] Speaker C: Will you please pass on to santos? [00:46:36] Speaker B: I will. I may see him in the morning. I may stick around and see him and punch him right in the mouth. [00:46:41] Speaker C: Please. [00:46:42] Speaker B: If he. That's right, I'll do it for you. This is for Elaine. [00:46:46] Speaker C: Thank you. [00:46:47] Speaker B: Thank you. Good luck. Bye bye. [00:46:49] Speaker C: Fee, you write this down. [00:46:52] Speaker B: I am radio. Yesterday, your box C. I am writing it down, teach. [00:46:56] Speaker C: Okay. Box C, Sandy Hook, Connecticut. Zip is 06482. [00:47:05] Speaker B: Say that number again. [00:47:07] Speaker C: Box C, Sandy Hook, Connecticut. 06482. [00:47:14] Speaker B: Okay. Because these. And this is where you get some old radio tapes of radio shows. [00:47:19] Speaker C: Listen to this. [00:47:20] Speaker B: Yeah. [00:47:20] Speaker C: The Jack Benny Show, Boston, Blackie, Super McGee and Molly, the Bell, telephone, Arrow. All the stuff is in there. [00:47:29] Speaker B: Oh, that's good, too. And I also. Okay, and I have. I have some information also. I don't have the sheets in front of me right this minute, but if anybody wants to know about catalogs and other catalogs as well, that sounds good. But there are a number of people, places that sell them by mail. They just dropped me a note, and I'll be happy to send you information about some other places, too, that have that. But this is radio yesterday, or Box C, Sandy Hook, Connecticut, 06482. You're okay. What were some of the old shows that you liked, particularly, Gene? [00:48:03] Speaker C: Oh, man. There was a Green Hornet. I used to listen to all these things when I was a kid. Yeah. Oh, man. The dragnet, big town, and Jimmy Duranty, the Jack Benny show, the adventures of Sam Spade, the detective mysteries, the adventures of Ellery Queen, and almost all of those shows at those soap up, the new Lemonade show. And by the way, they have dates like February. So called radio time was taped February 12, 1947, and Bing Crosby and his guest was Croucho Mott. [00:48:45] Speaker B: Yeah, some of those were kind of fun. And the announcer was Ken Carpenter. Wow. I remember that because I met Ken Carpenter at one of our union conventions, for that is after the American Federation of Television and radio artist Ken Carpenter, who's the analogous. It's kind of funny being at that convention, because I see a lot of the old time broadcasters who are part of that, including the J. Johnson, who played mister district attorney was there, and Virginia Payne, who was Ma Perkins. Remember, in an oxen halls. Old ma Perkins. [00:49:19] Speaker C: Yeah. And I have a tape. I have for a couple of tapes, and I got him here, too. I'm gonna play. I'd like to find my batteries anyway. This Della Dallas, do you remember her? [00:49:31] Speaker B: Oh, sure I do. You know, another guy who I met at some of these conventions who was kind of a leader of the California delegation to our conventions was a man named Frank Nelson. Does that name sound familiar to you at all? He was on the Jack Benny show, and he was the guy who always said yes, remember that obsequious man with radio cassettes also, I'm not sure, but I know that there are all kinds of companies that are in business with mail order businesses where you can. You can buy almost anything. [00:50:00] Speaker C: Yeah. Even some of the old commercials. Like, I forget the name of that soap powder. Does. Does it. Oh, something. [00:50:07] Speaker B: Oh, does. Does everything. [00:50:08] Speaker C: Yeah. Yeah. [00:50:09] Speaker B: Yeah. [00:50:11] Speaker C: It's really weird to hear all those things from way back when I was a little girl, when I was listening to all that, you know, like a lot of memories just reading this book here, the little pamphlet, brings back a. [00:50:24] Speaker B: Lot of memories, and I appreciate the information. Gene, you're okay. [00:50:27] Speaker C: Okay. [00:50:28] Speaker B: Take care of yourself. [00:50:29] Speaker C: Okay, Norm. And thanks for that show. Thanks for your show very much. [00:50:33] Speaker B: Thanks for listening to it. Thanks a lot. Bye bye. Bye bye. 99 to Eugene. What a service charge. See, they can. Yeah. Really charge any price they want. Yeah, I guess. I guess they. What they were curious about was the fact that they were going to a little legitimate ticket agency, and the legitimate. Well, it wasn't even, because they didn't call it scalping. It wasn't like they were buying from some scalper on the street and an $80 ticket went for. I forget what she said, 120 or something like that. It was. And it wasn't even. She said wasn't even a great seat. Yeah. Because I went to see the Rolling Stones in 1989, Atlantic City, and the ticket was $25, but I ended up paying 150. And. Through a legitimate ticket agency. Yes. They just. They can call it a service charge because it even costs more if they mail it to you. Like, they might mail it overnight, federal Express and a lot of other things. They just call it a service charge. So this is. You're talking about a 20. Did you say a $20 or $25 ticket and it cost you 100 and, what, 150? Oh, my. And it was Atlantic City, some big hall there, and there were people around me who paid $25, and they said they. I'm saying I paid on 150. I never told. I suppose if, you know, you maybe get one chance in a lifetime to see a group like the Rolling Stones or Billy Joel and Elton John and all that kind of stuff, so you figure, what the heck? And obviously, people are saying that, because otherwise they wouldn't be charging that. I guess they're thinking it's like, if you don't like the price, don't buy it. Yeah, that's right. It's because somebody else apparently will. Yeah. Yeah. And it just. It seems. It just seems unfair. But I suppose if you're in business, you grab whatever you can. Yeah. And as long as you enjoy the concert, I suppose. What the heck is. Donny, who mentioned was the one who had called and said. Said they had paid that much for it, but it was still a great concert, and she enjoyed it a whole lot, and that brought a lot of memory. So maybe in the long run, what the heck, you know? Yeah. So. Well, that's what I. That's what I was told, that. Oh, they can call it a service charge, and so. But maybe if someone else knows more, you know? Okay. Well, I appreciate your comments, Donna, and I thank you for the call. Thank you. Okay, we'll go to Arlene, who is in the city brotherly love. [00:52:58] Speaker C: Hi, Norm. [00:52:59] Speaker B: Hello. You're in Philadelphia. I just say that in case there's somebody who doesn't know what this city of brotherly love is and probably thinks it's like maybe fall river, Massachusetts or something. You see, I had to define it in that manner. [00:53:14] Speaker C: That's so nice of you. [00:53:15] Speaker B: Yes, sometimes leminster is called the city of brotherly love, but you probably never. [00:53:21] Speaker C: Even know where that is. [00:53:22] Speaker B: You've never heard of Lamin street? What do you Philadelphia people know anyway? [00:53:26] Speaker C: That's right. [00:53:27] Speaker B: What's doing anyway? [00:53:30] Speaker C: I must have missed the call, but I guess someone was looking for references for places where you could get old radios by old radio shows from everything. And that guy that I told you about, Chuck Shade, and he has a store right outside of Chicago, but I can't remember the name of the town. And I think if I have it right, it's called Metro golden memories. And if. Let's see. They could either call the 708 area code or 312, which is the Chicago area code, but 708 is right outside of the city. [00:54:14] Speaker B: Okay. Again, if anybody who's interested in buying old radio tapes, I do have a list of some other companies also that have been there. A number of companies will send them to you, and if they send me a note, I'll be happy to send them a copy of that. Some people also are interested in antique radios. They were wondering where you get them serviced and the way you buy them, or who wants to buy them or that kind of stuff. I have information on that also. [00:54:39] Speaker C: Yeah, he might even have some information, too, because I don't know if he owns it, but he has something to do with that broadcasting museum there in Chicago, and that would be another way of getting in touch with him. But I'm surprised you never. You know, I thought for sure you would have heard from. [00:54:59] Speaker B: Well, there. No, I. There are an awful lot of companies throughout the country who do. Do that kind of stuff, you know. [00:55:08] Speaker C: Well, when I. When I get a copy of the tape of him speaking. Speaking at that banquet, I'm going to send a copy to you. [00:55:17] Speaker B: Okay. Very nice of you are. [00:55:19] Speaker C: Yeah, because briefly, number one, he just said. I mean, he was reminiscing about his childhood and what the shows meant to him. And then he started out by collecting them after a while. And when he got older and you know, he started inviting his friends over on Saturday night, and then it kind of became such a big thing. Every, a lot of people were coming over to his house on Saturday night to listen to shows, and then his collection was growing, and then that's when he decided he'd like to take a. His hobby to, you know, share it with people over the radio. And that's how he got into doing the radio shows. Like I said, in Chicago, he does it on BBM every night. [00:56:07] Speaker B: Oh, I beg your pardon. I thought he was selling the tapes. You're talking about. [00:56:10] Speaker C: Oh, he does a little bit of both. He does a little bit of both. [00:56:12] Speaker B: But you're talking about the man who actually has a radio show where he plays all this whole time. [00:56:17] Speaker C: Yeah, and. But he also has his own store, too. [00:56:20] Speaker B: I see. [00:56:21] Speaker C: And then the second thing that was kind of interesting, just for tidbit of history, it kind of made me think of you. He was telling how they decided the letters of the stations and that all those letters meant something. [00:56:37] Speaker B: Well, in some cases, not always. [00:56:39] Speaker C: Not always. [00:56:40] Speaker B: Not always. No. [00:56:41] Speaker C: Some cases they did, but more so than now. [00:56:44] Speaker B: That's. Well, now they actually, now, on the FM stations now mean something because they, they have call letters that match up with the kind of music that they play. You know, like I'm trying to. The others, there's a station jamming, and then they usually. The frequency after that. And that's for, you know, sort of band jam music kind of stuff. And then there's one country music here, WCM. Yeah. Anyway, within the initials at one time, they meant the names of the people who own them. Like, there's a station in Boston, Wei, which stood for electric Edison, electric illuminating. And HDH is another station here. It stood for the name of a man, I forget his name, or something like Howard D. Hewson. That's not the name, but it stood for that. There's a station up on the north shore, WeSX, which stood for Essex county then, but now it usually means the kind of music they play and the kind of image they're trying to portray. [00:57:53] Speaker C: And the third thing was about here for the time, was taken up by playing little clips of some of the different shows and giving a little background information and about how they made certain sound effects and everything. [00:58:13] Speaker B: That sounds interesting. Yeah, I got to get going, but I appreciate knowing about that. Arleigh. [00:58:17] Speaker C: Yeah. [00:58:18] Speaker B: Okay. I hope you have a great week. [00:58:20] Speaker C: Oh, I hope you do, too. Guess what? Bob is going to come and see me on Tuesday. [00:58:24] Speaker B: Who is Bob? [00:58:25] Speaker C: I'm going to have to report to you on Friday. The guy from New Brighton, Pennsylvania. [00:58:33] Speaker B: Oh, the guy. [00:58:33] Speaker C: You look at me for the first time but we feel like we know each other. [00:58:37] Speaker B: Oh, well, that's right. The other fellow who calls. That's right. You met on this program? [00:58:41] Speaker C: No. No. Well, I'm gonna have to tell. Maybe we can. [00:58:47] Speaker B: Oh, you tell me. [00:58:48] Speaker C: Tell me about that. I'm fine. [00:58:49] Speaker B: Okay, tell me next week then. [00:58:50] Speaker C: Right. [00:58:51] Speaker B: Okay, Arlie, take care. I gotta get going. [00:58:53] Speaker C: And I saw you down at the jazz festival in Salem. [00:58:57] Speaker B: Oh yes. [00:58:58] Speaker C: And I had a funny incident in Salem in March. [00:59:03] Speaker B: Share it with us. For heaven's sakes, Marie. [00:59:05] Speaker C: It was in the Acorn bookstore and someone set me up and I had to go down there for a book called Sugar Babe. [00:59:14] Speaker B: An acorn bookstore. [00:59:16] Speaker C: Right. [00:59:16] Speaker B: Where's the acorn? Is that in Salem? [00:59:18] Speaker C: In Salem. And you know, it's down one of those alleys. What was that nice company that just went out of business? Daniel Lowe's? [00:59:28] Speaker B: No, they didn't go out of business. [00:59:30] Speaker C: Someone else is going to open up. [00:59:31] Speaker B: Yeah, they changed ownership. Yes. [00:59:32] Speaker C: Well, right down beside there, there's the acorn bookstore. [00:59:35] Speaker B: Okay, I know where that is. [00:59:36] Speaker C: So I went to the back of the bookstore because I like to go to the back of the bookstore. [00:59:41] Speaker B: Yeah. [00:59:41] Speaker C: And there was a man there dressed with a headdress of the beast from Beauty and the beast. [00:59:47] Speaker B: Oh really? [00:59:48] Speaker C: He started young, yelling at me about how much money I cost him and how terrible things I say about him. I say, I don't even know who you are. And we are screaming in this bookstore. Now my sister Laura, she gets in on it and she comes with Bob would do the attorney. They're trying to catch up with me in the meantime I get so aggravated. I leave him. I can't. But then I cool off. I go back and we start in all over again. And then I leave. And it's a rainy Wednesday afternoon in Salem. Now he runs out the back door, I run out the front door, I run to some other crazy place and all of these people come in dressed like, you know, from beauty and the beast. They say, oh my God, I'm cracking up. But I'm not cracking up being crazy. Now we're running around the streets and I say, where am I going to go? Well, I go up to the Hotel Hawthorn. Then I see these, you know, these. I think they're politicians or something. And I leave and I go to the national Park Department. I say, where am I going to eat? They say the chinese restaurant. And then the police come and Bob Woodou and my sister Laura. And you know, it's costing Sears a lot of money to send me to this doctor. And it's a very spooky situation. I have incident reports from all over the country and no one's doing anything. I think this man is trying to kill me. [01:01:06] Speaker B: Just. I think you're trying to confuse me. Marie, I was with you for the first couple of minutes here, and I've lost you. I don't. I don't know. You going off on some kind of a tangent here. I kind of lost you. [01:01:17] Speaker C: Well, where do you want to backtrack to? [01:01:20] Speaker B: What's that? Please. [01:01:21] Speaker C: We could backtrack. Where did I lose you? [01:01:23] Speaker B: Well, I don't. Well, you lost me after the beauty and the beast inside the acorn bookstore. [01:01:29] Speaker C: Well, see, he told me all about everything that was in my house. [01:01:33] Speaker B: I see. [01:01:33] Speaker C: And how could he be in my house? [01:01:35] Speaker B: Yeah, I wish we could backtrack because I've lost you and I have to get off the air within the next minute. So I'm kind of under. Under pressure. I'm in a severe stress. I'm under severe stress. [01:01:45] Speaker C: Mary, I gotta take a. I think I'll call the crusadist because I want this man put in jail and I want it done this week. [01:01:52] Speaker B: Okay. [01:01:52] Speaker C: All right. Bye bye. [01:01:54] Speaker B: Bye bye. Okay. Hey, next Friday night, we'll be back. Ed McMahon will be a guest with us, and it'll be fun to talk with him. Like, I forget. I don't know what I'm going to ask him. We'll ask him something anyway. On behalf of Keith, Keith Shields, the lovely Marilyn Gerelik, and myself, the almost good looking Norm Nathan person. Take care. Hope you have a good night. Bye bye. [01:02:18] Speaker C: Old support, an exhibit on rides that were created during the twenties, thirties and forties, when the factory was expanding its line of rides. And we also have currently an exhibit on different styles of animals, which include some of the more unusual types of animals that they made here. And we have on display currently an ostrich, a pig, several zebras and a dog. [01:02:41] Speaker B: And they were all part of carousels at one time? [01:02:43] Speaker C: Yes, there was an entire separate line of animals besides just horses that many of the factories made. And they were called menagerie animals, and they ranged from everything from lions and tigers to elephants and camels to the occasional seahorse. [01:02:59] Speaker B: Were carousels pretty popular around the world or mostly in what countries would have had them? Mostly. [01:03:07] Speaker C: Well, they were very popular in Europe and in the United States, although we can trace carousels that were shipped, at least from this country to places like India and Tahiti. So they really do have a very worldwide popularity. [01:03:23] Speaker B: Are they different in different locations? But as the animals different or the carving different, the style of animal does. [01:03:30] Speaker C: Change a little bit. Animals in the United States tend to be very realistic looking, and some of the european animals are a little bit more stylized, not quite as realistic looking as some of the animals that you might see in the United States. Also, if you see an english merry go round, probably it's going to be going in the reverse direction of what you would normally see here. [01:03:53] Speaker B: Okay, now, we here in this part of the country, and remember, I know as a kid, we call them flying horses. Is that just a phrase that my mother thought up, or is that used. [01:04:02] Speaker C: Generally other places that can, in fact, be used generally? Some of the early carousels were known by that and that name. Just as you call some of them merry go rounds or some of them carousels. Flying horses is also just a term that came to mean those wonderful animals that you rode around on at the fair. [01:04:19] Speaker B: Where do you get the carousels that you have at the museum? [01:04:22] Speaker C: Well, two of the carousel. The two carousels that we do have here, one of which we purchased from a. It was a privately owned carousel in Ontario, Canada. The other one we purchased from a gentleman in Madison, Wisconsin. So we have purchased machines that have been on the road for quite a while. [01:04:42] Speaker B: And what are their names? Joyce and Janice. Anyway, this is Bob Batchelor, who's a big bandleader and was at the totem pole for a long time. And it's why the other night, catching at the village green, that band sounded great. Every time I say that, you say, I don't know. We had to bring in another trombone player. Never played with them. He always makes excuses after, you know, after. I'm so excited about what I've just heard. So effusive. Well, I was pleased with the way it sounded at rehearsal. As I say, as soon as you walk in, everything changes. People start to sit up straight and they start to really address their music differently. Norm's here. Norm's here. The word goes. Will you just stop? Just stop. But you had. You have a lot of. That was a rehearsal, which is kind of fun to sit in on, but you have a lot of big kind of gigs going on. I have a feeling you have one coming up. Well, actually, we had one the next night over in Manchester, but we got rained out. Oh, really? We're doing a concert there, but we got paid anyway. It was kind of nice to show up and home. Oh, wait a minute, here's your check. This is up Manchester, New Hampshire. Yes. Yeah, they close Main street every Thursday they close Main street from like six to nine or something and they have all kinds of things going on and. And we're part of it. We're going to do two Thursdays there in front of Ted Herbert's music mart. Anyway, then a week from this coming, in other words, this coming Friday, I think it's the 5 August, we're doing a dinner dance at the Davisport Yacht Club and. Oh, that's a nice takers. I was. I did a gig at the King's grand tonight with a small group and some people were there saying, we're going to be here Friday. People have the option they could either have dinner and dance or they can just pay the low, much, much different price to get in and just come and dance. So you have your options. You can either come for dinner and dancing or just come for dancing and dancing. And when the date is coming again. Coming Friday. Yeah, the 5 August at the Davisport yard, Danversport York Club, which is right off Route 62. They used to run dances there with Ted Herbert, as a matter of fact, on Saturdays for years. And then they just decided they could have more profits coming in if they had weddings and they booked solid with weddings and other things. But he, they said, how would you like to do some Fridays away? We do one or two and a. Yeah, they work once a month or so. Excellent, excellent. You guys have been busier, it seems to me, this past six months or year than you have been in quite some time. It seems like this, I hate to say this because we've been saying this with wishful thinking for so long, but it just seems like there's more of a call for big bands for the first time. I'm optimistic because I'm not just speaking for myself, I'm speaking, for example, at Davisport. If it works, that doesn't mean they'll put us in every once a month, but it means that some big band will be brought in there for the same kind of program. Yeah, I've been talking to other band leaders and they're telling me they're getting very busy and there are a lot of calls for the legitimate big bands. Used to be that they would play records of big bands or they have a small band that tries to sound. And puff up their cheeks and try to sound like a big bandaid. Very pleased about that. Yeah, we've had a. This is the busiest summer we've had since we reorganized about four years ago. We've got about five concerts. We've got one coming up at the Salem Willows and we have a couple in Manchester, one in Reading, one in Winchester. And they're free. You know, people come and sit and pick their lawn chairs and listen and we really have a ball playing for it. We just love it. And we got some other stuff coming in the fall which I don't have to go into. And. But it's. There's something that's very exciting to me, stuff that we haven't gotten into before, kind of major league type of gigs, you know. Can you give us a little inkling into what that is or is it too early? Would you rather not say? The ink hasn't appeared on the paper yet? Okay. Or you want to wait till you get the sign on the dotted line thing? Yeah, as a matter of fact, you know Charlie Lake? Oh, sure. The whale does everyone. Yeah, was. He was rode manager for Dizzy Gillespie and all that stuff with Woody and Stan Kent and everybody. Well, he called me about a gig and he's all excited about it because he said, yeah, they want it. They want you. They want you. So he called me late last night and he said, they want to hear a tape. They want to hear a tape. Get a tape. Yeah, I got some nice tapes, you know, that we do ourselves. We don't sell them. And so he says, I'll see. I'll pick him up tomorrow morning. I said, well, I'll be on the tennis court. What are you playing? Tennis. I gave the directions and we're whacking the ball around. Here's Charlie Lake in his sandals comes sloshing through the clay courts balls, yellow balls flying around his shoulder like it's going through a war area, you know. A particular interest which has resulted from this is a desire to hear and study some of the higher thoughts of human expression. My idea is to collect and sample the answers of as many people as possible to the question regarding the most important thing they've learned from life. From this, I hope to gather enough information to write a book of quotations for publication. I've been working on this project since I was 13. I would greatly appreciate your cooperation helping to achieve this goal by submitting a summary of the most important things that you've learned in life. Because of your experience in life I expect your contribution to be noteworthy. Please respond. Thank you. And so forth. And the letter was good for some 370 people. How many, how did you send out over 4000. And the original letter, that was an updated version that was printed in the book, of course, that I'm a 13 year old boy and had omitted the sentence, whereas I've been working on this project since I was 13. Okay, hang on. We'll talk a little bit more about the book. There are kindergarteners and those are some of the key ones. It just kind of shows the variety of it. You know, not just have the great thinkers of the world in the book, but also kindergarteners. One of them said, don't push. And that's just, that was one of the greatest. Don't push. And that's just so pure and simple that it kind of shows that great advice can come from anyone, any place, any age. Did you, by any strange matter, did you receive any from, that were unprintable? No, not necessarily. The only ones that didn't get put in the book. Well, anything that was unprintable was edited out. I can usually slim it down. Yeah, but people would be surprised, though. For instance, Spike Lee saying, eat your vegetables. And at work, there's a thread of that that runs through the book. People are very impressed with hard work. Always keep at it. There are several themes that run throughout and some, it's interesting to even contradict themselves, which, you know, not necessarily contradicts. But, for instance, some people might say, live day by day. Live for the moment, don't put it off tomorrow. And other people say, prepare, plan ahead. But Spike Lee is actually an interesting story. I didn't just get his court through the mail. I had to actually sneak down to court side at halftime of a nick game. And I walked up to him and asked him. And that was fun. I bet it was. And did he remember who you were? No, no, no. You hadn't done it yet, right? He answered me in person when I walked up to him. I said, you know, I'm writing a book. Here's the question. What is the most important thing you've learned in life? He is. Most people went first, ask kind of last, you know, because it's pretty impossible. Then he gave me a smirk and he said, eat your vegetables. I'll tell you one. I did lie, too, and that was from Jackie Mason. I've been a Jackie Mason fan for a long time anyhow, and I find that either people loathe him or they think he's absolutely super. But he said, honesty is nothing compared to decency. Jackie Mason was one of the first people I got very special to me. Do me a favor. I have a couple of messages here. Just jot down a couple of notes of some of your favorites, will you? And I'll be right back. Okay, no problem. And wrong is wrong if everybody does it. Another one. Leon Uris, the author, said, mendacity the fine art of lying to oneself is perhaps the most terrible of all human failings. Able to lie to yourself you're able to justify hatred, greed, jealousy, avarice and any other evil. If you learn that you cannot lie to yourself you have a good shot at being a decent human being. Charles Groden the actor, said, live your life as though one day you'll be investigated because eventually you will be by yourself. Live your life so that when that time comes you like what you see. Why would you choose now? Charles Groden? It just wouldn't. He wouldn't seem to me to have a deep thought which is very misleading. I have no doubt the whole book is full of surprising and deep thoughts. You know, not all of them are deep. Some of them are funny. Bill Cosby simply said, breathe. Breathe. And you remember the one that about John Huston? Sure, that's a great story. Kevin Spacey, the actor told the story of some of the most famous people in the world around a dinner table on location for a film in Mexico. Elizabeth Taylor was one of them. Elizabeth Taylor, Richard Burton, Truman capote, great director John Huston, Eva Gardner, etcetera. And they're playing a little game. They're going down the line and using one word to describe what they felt was most important in life. The usual suspects emerged. Beauty, wealth, health, fame, knowledge. And then it got time for great John Houston to speak and he took his big cigar out of his mouth smiled looked around the room and quietly said, interest. Interest to be interested in what life has to offer. Yeah. And yeah. Well, it's been nice talking to you, Bo. I'm sure the book is going to do well. It's a real charmer. And thanks for being with us. Thank you for having me. Okay, bye bye. Bye bye. That's 17 year old Bo Baughman of Long island, as a matter of fact. And the book is called the most important thing I've learned in life. When did you plug into the farmstand? [01:15:12] Speaker C: First year. [01:15:14] Speaker B: And she said, I'd like to help you get some things for the farmstand. And before she had finished she'd gotten 10,000 hamburgers, 5000 hot dogs the rolls that go with them because you have to get them separately. And she'd call me every day and say, listen to what I got. And you'd tell us. And then you say, now, tomorrow I'm going after such and so forth. And you've been. Without you there wouldn't have been. There've been a lot of hungry people in afarnstanore. Serious? [01:15:40] Speaker C: Well, this year is going very well. [01:15:42] Speaker B: September 17, by the way, at the Shriners auditorium. Okay, go ahead. [01:15:47] Speaker C: Okay. Am I plugging the whole shebang here? [01:15:49] Speaker B: Sure, go ahead. [01:15:50] Speaker C: Okay. Well, last year I understand we ran out of hamburgers. So instead of 20,000 was from wendy's, we have 30,000 from Nissan Wonder, sunbeam and country kitchen. We have 30,000 hamburger roll and 5000 hot dog rolls. David Agar is donating 5000 hot dogs. Brian McCarthy at Kelly's on Revere beach, by the way, says hello. Mustard, relish, ketchup, salt and pepper. Harry Mustin at sweetheart Plastics is donating plastic plates, cups, knives, forks and spoons. Bill panick at Genoa donating breakfast sausage links. Matt, it sunshine produce in Chelsea. Onions, peppers and hash brown patties. I'm working on the hams and a truckload of ice for you. I'll let you know by the end of the week. [01:16:42] Speaker B: And of course I have to thank Kevin Freeney. You know, all those good guys at the Chelsea produce market who load up that, that tractor trailer and send it up there and all the people from the mass farm bureau. Did you hear? Pam Comstock was with me a little the first half hour and all the things the farm goes. So there's going to be, you know, people say bigger and better than ever, but it is going to be. And I certainly hope everybody's making a plan to attend. [01:17:06] Speaker C: Oh, it's going to be. [01:17:07] Speaker B: You are the neatest. [01:17:08] Speaker C: Oh, I know it. [01:17:09] Speaker B: But I don't want to cut into your begging today. Is there anything else? [01:17:12] Speaker C: Yes, paper towels and napkins. We always need those. [01:17:15] Speaker B: Paper towels and napkins. [01:17:16] Speaker C: And how are we doing on chicken and soda? [01:17:18] Speaker B: We're working on the chicken and soda. [01:17:20] Speaker C: Great. [01:17:20] Speaker B: Chicken and soda. It's a new drink, you know very well. All right, I'll talk to you later. [01:17:25] Speaker C: Sounds good. [01:17:25] Speaker B: Bye. Bye bye. [01:17:26] Speaker C: Dave. [01:17:27] Speaker B: She is really something. She is a sketch, you know, like a lot like John Lawlor yesterday who yesterday our automotive insider who had a lady on the show was telling you about. I think I tuned in a little late there she was talking about a show that I guess was at Lars Anderson. Yes. And she said something to you during the, the break off the microphone and I'm dying out there. I said, what do you think? She said? I don't know how the other people felt about it. But I thought, I'll ask him tomorrow. And I know one thing he won't tell me. You don't miss much, do you? I didn't yesterday. That's the dog on shore. What, what kind of a show is it at Lars Anderson? They have the Concord out there. Some of the, some of the fancier cars are on display out there to be judged. New, old, old stuff. Old stuff. It's really nice. They kick it off with the Gatsby ball last night, which is a dress up event that was, you know, it's open to anybody that would like to go. And apparently they had a real good time last night. I'm going to try to go out there a little later on today, because this is the big event for the year, is the Concord. It really is. If you want to see Rolls Royces and Bentleys and things like that, that's the place to go. What time does it end today? I think. I'm not sure. I think she said around four or 05:00 I think. By the way, I want to ask you a specific question. I noticed now that it's old hat. And I owned a lot of them because I just loved convertibles. Most people say I wouldn't have one of those things, and I had one since my very first car. I had a 31 Chrysler convertible. I had model a Ford convertible. I had a 37 Ford convertible. I had a 50 Dodge. I had a 53 Chevy. I remember them all. I had the four door fate and Lincoln. I had the Thunderbird. And I loved them, every one of them. Now you have to call them ragtops. Why ragtop? Well, Ragtrup is just a slang from the, from the. Actually dating from the fifties and sixties that referred to the fact that the tops were made out. Oh, yeah, I know why. But you, you mentioned the word convertible. People look at you as you've got measles. Yeah, yeah, yeah, yeah. It's just another thing that's fallen back into style, you know, back in. But, boy, I'll tell you, I'm with you. I absolutely love it. I still have a convertible, and I'll always have a convertible. I love them. But the difference is with the new cars, Dave, you put the roof down and the new cars from the ground up to be convertibles. So they're very stable. But it seems to me that very few convertibles now have a trunk. Am I wrong about that? You are correct. Yeah, you are correct. You lose, in most cases, you lose most of your trunk when you have a convertible. Top. So we should make a prediction that somebody's going to come out with a car about 2ft longer, but there'll be a reason for it. So you can put your top down in and still put some golf clubs or whatever the heck you want want in the back. You know what the next phase is, Dave? No retractable hot tops. Do you remember those? Sure. They making a big comeback already? Yes, they are. Mitsubishi has one on the 3000. It was a show car. They wanted to see how many of them they could sell. And they sold a ton of them. They sold them before the first one came down the assembly line. They were done by American Sunroof Corporation. And my understanding is that retractable of hard tops are going to be a coming thing in many, many car lines. We had them in the Thunderbird. Did we? You had them in the. What are they? The Ford Skyliner. Skyliner. Remember that one? The Ford Skyliner, I think, or. Yeah, I think it was the sky Skyliner was a convertible starliner, I think was the. Was the retractable. Is there a real reason to price convertibles or ragtops or whatever the heck you want to call price them higher? Do they cost really that much to make? Or is it because you find sportier people drive convertibles and they can afford it. Here's what used to happen. They used to have the convertible used to come down the assembly line, did lop the roof off, and historically convertibles were either they weren't 150 or $200 of the hot tub counterparts. Later on, what they did is they had to send the cars, completed cars, practically completed cars, to a coach builder, where they cut the roof off, reinforce the body, make modifications to the chassis and so forth, ship it back to the car company for completion and reassembly. So it was a big deal. But now these new ones, the Mustang, the Camaro and so forth, they're coming right down the assembly line as convertibles. So the answer is no. There really shouldn't be any reason why this that much more expensive than they were a few years ago when they had to be sent out and go through all these, you know, this ritual of building cars, the prices should come down on them. But do I think they will? Probably not. [01:22:15] Speaker A: Wasn't that enjoyable? And to get a little time with Dave there was sweet too. Before we go, please like subscribe and share and check out the exclusive extras on Patreon. Thank you to the generous subscribers there now. And you, yes, you can join for as little as $2 a month. It helps offset the cost of distributing the show and a percentage after that will go to a Berkeley College of Music scholarship. In Norm's name, I almost forgot the musical treat performed by the music for the nation's singers, who, by the way, are all Library of Congress staff members. This was recorded in the library's Coolidge Auditorium on September 23, 1998, what is known as indisputably the greatest of furniture songs. End quote. I give you Henry Clay works, 1876 smash hit grandfather's clock. [01:23:17] Speaker B: My grandfather's clock was too large for the shelf, so it stood 90 years on the floor. It was taller by half than the old man himself, though it weighed not a penny weight more. It was bought on the morn of the day that he was born and was always his treasure and pride. But it stopped short never to go again when the old man died, 90 years without slumbering. Tick, tick, tick tick is my second numbering. [01:24:07] Speaker C: Tick, tick, tick, tick. [01:24:09] Speaker B: It stopped short never to go again when the old round. [01:24:20] Speaker A: And on that note, it's time to close the vault and leave this world a little sillier than we found it. Four setting off into the darkness of night. Neil Chayette, Moosehead Brewery. Powerboating. Dixieland jazz, classical music, the great composers, disclaimers, telephone party lines, Elton John, Billy Joel, damn Yankees. Radio, Yesteryear, old time radio, antique radios, Frank Nelson, Mail Order catalogs, the City of Brotherly Love, the Longwood Tennis Club, Acorn Books, Carousels, Flying Hosses, the Village Green, Bob Batchelder, the Totem Pole, Ted Herbert's Music Mart, the Danversport Yacht Club, the King's Grant Inn, Big Bands, Charlie Lake, Bo Bauman, Wendy's Nissan Wonder and Country Kitchen Bakeries, Kelly's on Revere Beach. Sweetheart Plastics, sunshine produce at the Chelsea produce market, John Lawlor convertibles, ragtops and retractable hardtops, Mitsubishi Motors, Marilyn Girlnick, Dave Maynard, Keith Shiels and Lane's father in law, as well as Sonya's dad, Norm Nathan. I'm Tony Nesbitthe. It.