It’s hard to find a banjo player up in heaven / There’s some things even Jesus won’t forgive

If there ever was a true “Valley” radio station, it was KGIL 1260 AM, which was located on Lassen St in Mission Hills. I’m very familiar with this station, as I lived under its transmission tower for 15+ years. KGIL started transmission in 1947, and was originally owned by Buckley Broadcasting. By the late 1980s, they had moved from a music format to a news/talk format, featuring hosts such as Carole Hemingway. In 1992, they closed up shop and sold the station to Mt. Wilson Broadcasters. Since then, the station has gone through a variety of formats. Until 1995, it was KJOI, playing big band music. In 1995, it became K-NEWS, simulcasting with XESURF (then with call letters XETIN) and now-defunct KNNZ-Costa Mesa. K-NEWS was an all-news radio service with content from the Associated Press and local announcers Peter Arbogast, Jim Roope, and H.K. Malay. K-NEWS was also the home of the Los Angeles Clippers and had an unprecedented 8 traffic reports an hour, causing competitors KNX and KFWB to add more traffic reports to its lineup, ultimately causing its demise. In 1997, the station reverted to the KGIL call letters and hosted an all-Beatles lineup for seven months. The station then switched to showtunes before going to a mainstream jazz format, as KJAZ, in 2000. Then, in 2002, it took on the call letters KSUR and began broadcasting its current format of adult standards, changing its call letters to KKGO in 2005 (to match the previous call letters of KMZT). I should note that Mt. Wilson also operates one of the few remaining all classical stations, KMZT 105.1 FM. Saul Levine, the owner of Mt. Wilson, has also taken over management of KKJZ 88.1 FM, and has vowed to keep the station all jazz. Levine and Mt. Wilson, as one of the last independent broadcasters in LA, has shown a dedication to specific genre stations.

Why do I mention all of this?

Recently, there is been a big brou-ha-ha in Los Angeles about the sudden death of KZLA, the only country music station in the Los Angeles. There have been reports of lots of pickup trucks with gun racks and confederate flags driving to the former corporate headquarters. But the KZLA fans don’t need to worry anymore–Saul Levine has come in on his white horse to rescue them. The Daily News is reporting that Saul Levine’s KSRF 540 AM is switching formats to country music. The new station will be known as 540 Country; it will be DJ-free until Oct. 28, when many ex-KZLA announcers, including Whitney Allen and Brian Douglas, come aboard. Levine says made the change to serve the area’s large number of country listeners, as Los Angeles has the nation’s second-highest country album sales and fans regularly sell out local arena stops by major acts. Demonstrating that different station masters have different views of what defines profit, Levine noted “Country on KZLA left town because it wasn’t making $40 to $50 million a year. We’ll be happy with a fraction of that.”

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In related news, NBC/Universal has announced (LA Times coverage) that they are cutting 600-800 jobs, consolidating a lot of operations, and eliminating scripted shows in the 8p-9p slot. They expect the revamp to save $750 million in operating expenses by 2008. The expected savings follow three lackluster years at NBC Universal, where operating profit fell 10 percent in each of the past three quarters, despite higher revenue from a successful string of film and DVD releases. The slumping results cut into GE earnings. NBC’s layoffs come even though the network has posted a 15% year-to-year increase in the all-important 18-to-49-year-old demographic. Much of that gain can be traced to NBC’s highly rated Sunday night broadcasts of professional football games. Hmmm. Maybe the new 8p-9p show could be a remake of the game show “Greed“.

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Background Music Changes

I’m working from home today for various reasons. As background music, I have on the “new” DirecTV Channel 823, which corresponds to XM Channel 28, “On Broadway”. This replaced old DirecTV Channel 832, which was a Music Channel International channel. I don’t like the new channel as much. There is much less “esoteric”-ness to the music, and I don’t like the voiceovers and constant station identification. Oh well, it’s out of my control…

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Los Angeles Radio

While doing my normal morning skim of the headlines, I noted an obituary in the Daily Breeze (Variety Obit) for Tracey Miller, who was part of the original KFI morning team when they moved to talk radio in 1990. Miller was among the first female talkshow hosts in Los Angeles, helping KFI establish itself as a drivetime leader with the popular “TNT in the Morning,” working with Terri-Rae Elmer. I used to alway listen to that program. After KFI replaced her with Bill Handel, Miller went on to other pursuits, cohosting the morning show with Peter Tilden on KABC. In 1996, on sister station KTZN, she hosted “Two Chicks on the Radio” with Los Angeles Times columnist Robin Abcarian. Miller may have been the only female talkshow host to have a radio engineer’s license, and could run the studio board herself in a pinch. In the earlier days of KFI, she was the consumer reporter for Gary Owens.

This got me to thinking about other programs that I always listened too that are gone. Starting from the days of Eliot Mintz and Lloyd Thaxton on KABC, to the later days of the morning news program on News-Talk 1260, KGIL in the Valley with Carol Hemingway (who used to host Religion on the Line on KABC). Miller, who was born in Santa Maria and grew up in Granada Hills, died in Glendale of brain cancer at the age of 51.

LA Radio is just not the same: it’s now right-wing wackos, or syndicated or network programs, with a bit of Air America. There are not real local hosts anymore.

Those were the days.

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What business of yours are my cheeks?

I’m happy.

While googling around on a break (I got in at 5:30am this morning), I discovered that Omaha is online in Real Media format.

What is Omaha? Here’s the description:

Rarely has a theatrical event been awaited with such rhapsodic expectations as 1958’s incontestable musical champion “Omaha!” Certain skeptics shook their heads and announced, “It cannot be done,” when Stan Freberg made public his intention to turn a commercial into a full-length musical. The valiant Freberg turned a deaf ear on the skeptics and proceeded on the work which, he exclaims, “has all my life been burning within me like a brazier of hot coals, crying out ‘hear me ! play me ! sing me!'”

The story, terrifying in its understatement, occurs in the small Midwestern city of Omaha, Nebraska, a city rich in comedy, rich in the tragedy of the Plains. The tale is that of an Omaha boy swiped by gypsies at an early age and reared in the shadow of tea leaves, who returns to his native city to wreak vengeance on the town’s fun-loving citizens in a heartless and unusual fashion.

Asked if the plot is autobiographical, Freberg’s pale blue eyes mist over and a shy smile plays about his mouth as he toys with the giant golden earring borne by his right ear. A more direct answer than that single subtle indication he will not give.

In its conception and execution, “Omaha!” is indeed a one-man work. The writer of the show’s book, lyrics and music, it’s producer-director, young Freberg plays the starring role of Biff as well. He brings to the swashbuckling devil-may-care hero a sensitivity, a poignant insight unparalleled in American theatre.

Each individual performance, actually, is a theatrical landmark. Has a heroine ever been played with such wry innocence, such primal strength as is Julie, portrayed by Frances Osborne? Her arresting vibrato moved Freberg nearly to tears. The great military leader, Major Bowes, upon hearing Miss Osborne perform as a child, rose quickly from his chair and announced, “This is a voice I will not easily forget.” Byron Kane, as Eustace K. ButterNut, is a poem of villainy. He elicits from the character — a deep and passionate one to begin with — moods and overtones of moods that Freberg never dreamed possible in the writing.

As for the show’s songs and their bittersweet Billy May arrangements, nothing that can be said of them will really capture their special quality. From the haunting strains of the show’s love ballad, I Look In Your Face And I See Omaha, to the rollicking rhythms of the title song there is not an ordinary moment, not a moment that doesn’t crackle with lustiness and joie.

In short: Omaha is a 8½ minute commerical, where the product’s name is only mentioned in the last minute. It is really rare. Further, the site it comes from looks really neat: Old Top 40 Radio Air-Checks. So, if you want to hear old Top 40 radio air checks, explore this site.

What’s interesting is that I’ve already got a different version of Omaha, where the mysterious stranger, with the Butternut Coffee shaped birthmark, robs the town at the end, forcing them to put their hands up, after they’ve been down for so long. You see, a gypsy curse made them burst into song and keep their hands up in the manner of a Broadway show until the stranger returned.

Omaha Moon, Keep Shining
On Omaha Keep Shining Down…

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