Vanity in a Tin Can (Part 2)

(This is the conclusion of my two-part article about my experience as a jazz disc jockey)

Before long, manager Geoff hired me as a full-time, paid deejay. He was very encouraging:

“The whole trick is to put a smile into your voice.”

“Try to hit those peaks and valleys, like an easygoing rollercoaster.”

“Man, you sounded hot  yesterday! Have you thought of this as a career? It doesn’t pay much, but you can make a living.”

I began taping my shows, hoping for that one perfect show (I came close, but never got it). Downtown Lowndes and I occasionally exchanged notes. One night, very late, we pretended we were two pompous Top 40 deejays:

“Hey, OK! Got the hot wax and the best tracks, my man Downtown!”

“Hey, OK, Pedro! What’s comin’ up here? Michael Jackson? Noooo, sorry… Chuck Mangione! Hey, OK!”

We figured nobody was listening, anyway, so we might as well stretch out.

Once in a while, I did get phone calls for requests. There was a college guy who always requested Charlie Parker, and nobody else. There was a teenage girl who didn’t care about music but only wanted to talk to the male deejays. She was referred to variously as “Miss Lonelyhearts” or “Jailbait.”

The most frequent caller was this drunk who hated any song unless it was an old, Big Band standard. Everything else was a “buncha crap.” (If he hated it so much, why did he keep calling? I think he was upset because the music had changed so much since “his day,” including the type of jazz being played.)

Alto saxophonist Charlie “Yardbird” Parker

One night, while gazing out the porthole at the city lights, I tried to reason with him:

“You should give it a chance. I know this is newer music, but it’s good jazz. It’s Branford Marsalis, brother of Wynton!”

“It’s a buncha crap!”

I gave up.

Because WNOP was a small, tight-knit affair, we sometimes got together outside of work. Brendan, Downtown and I visited local clubs to hear different bands. Eventually, Downtown got his own weekend blues show and became Rod “Blueshound” Lowndes, and his became the station’s most popular show. Whereas at one time he’d complain about not getting any phone calls, soon he was complaining that he couldn’t cue the records “with all these damn calls!”

At one company luncheon, he and I got into a friendly argument about African-American origins of blues music. Similar to “buncha crap,” I was a bit of a purist, so I preferred the primitive, country blues, while Downtown liked contemporary, electrified, urban blues. We went back and forth before someone finally looked at Val, our resident “hip black cat,” and asked for his input. Val’s perfectly timed response was “I don’t know what the hell they’re talking about.”

The pinnacle of my time at WNOP was when I got my own avant-garde jazz show. It was still late at night, but it was my show, and I could play practically anything I wanted. I remember Glenn pulling me aside before my first show. He was musically knowledgeable, and he suggested I didn’t have to always play the really “black” stuff, meaning challenging and spiritually probing free jazz artists like Archie Shepp and Pharoah Sanders. It was a good tip, but I was already primed for a mix of dark and light, combining those artists with a little progressive rock, fusion, and ECM label.

Unfortunately, “The Vanguard Express” didn’t last long. Our Arbitron ratings dipped, and my show was one of the first casualties. The day after it happened, I received a personal phone call from Robert Fripp, legendary leader of King Crimson, who agreed to be interviewed for the show. I had to tell him.

“What?! You’ve been sacked!” Fripp said, as I struggled to recover from a hangover. I explained it wasn’t me that got fired, but the show, and he sympathized. So… no interview. Nevertheless, it was a thrill to get a morning wake-up call from one of my music heroes, even if I had cotton-mouth and crimson eyeballs at the time.

One night I showed up for work and noticed that the album sleeves in the library had colored tape on the spines. Red, yellow, blue, green, and brown. I soon learned that, in keeping with WNOP’s “jazz plus” format, this indicated varieties of jazz. Brown meant traditional jazz. Green was pop or rock with jazz elements (e.g. Joni Mitchell or Steely Dan). Red, yellow, and blue also had meanings of some kind.

Hereafter, all jocks were required to play a certain quota of each color per shift. Of course, the color brown, for traditional jazz, received minimal airplay. I worried about what “buncha crap” would say.

This is about the time I started losing interest in being a deejay. As with everything in life that’s free and untainted, people have to muck it up with manipulations.

It wasn’t long before programming director Chris was dropping by with comments like “Pete, you didn’t play much Red or Yellow last night. We’re trying to get the Arbitron ratings up, you know.”

Tenor saxophonist Dexter Gordon

I told him I’d try to do better. But I really didn’t try too hard.

Instead, I went in the opposite direction. I’d cue up Dexter Gordon and Wardell Gray’s “The Hunt,” which is a live, 18-minute saxophone apocalypse from 1947, then go out on the poop-deck to smoke a cigarette and watch the city lights shimmer on the water.

Things went from bad to worse. Like a lot of single guys who didn’t have girlfriends, I had a little dog to keep me company. One night during a long shift, I brought him to the station with me. He just lay there asleep on the floor, but one of the newer deejays saw him, then went and told the teacher.

“Pete, this is a place of business, and you really shouldn’t bring your dog here.”

“Sorry, Chris, but this is like a home away from home for me. The Jazz Ark is like an extension of my apartment.”

“Well, that’s very flattering, but we don’t allow animals in this ark.”

Not long after, I gave my notice. Chris was right, of course. The station wasn’t a playpen or home away from home. It was an office. And when I realized that fact, the fun disappeared.

WNOP’s jazz format lasted till the millennium, when The Jazz Ark became a Catholic Radio ark. I don’t know if Chris and Geoff’s Arbitron ratings ever spiked like they’d hoped. I saw Chris at a Pentangle concert, around 1992. During our time at the station, I didn’t think he had much taste in music. But maybe I pegged him wrong. Pentangle’s a damn good band.

The only other person I saw was my pal, Downtown. Appropriately, I saw him downtown, about eight years ago, after some function. It was about 1 a.m. He was serving drinks in a seedy bar and taking jukebox requests for the night owls. Same extroverted manner. I recognized him, but I don’t think he recognized me.

I debated whether or not I should reveal myself, but he looked a bit down on his luck, and I didn’t want to embarrass him. For all I knew, he owned a string of successful bars and restaurants downtown. But I didn’t want to take the chance.

So I just requested an old blues song.

Vanity in a Tin Can

Lately, I’ve been divulging incidents that occurred when I was young and stupid. Like, when I hurled rotten apples at moving vehicles, or harassed the night watchman at boarding school.

Here’s another slice of my biography that a few might find interesting or unusual. If no one finds it interesting or unusual – which is entirely possible – I give permission for this essay to be burned on the bonfire of my vanities.

***

After college, I worked for a couple years at an AM radio station called WNOP, in Cincinnati, Ohio.

If you’re an older American, you may remember the 1970s situation comedy “WKRP in Cincinnati.” Although I have no proof, I’m convinced WNOP was the model for WKRP.

Like its television counterpart, WNOP was no ordinary radio station. The walls were curved. There was no bathroom. To reach our “office,” we had to tread across a long wooden pier. Also, we never saw the station owner, we only heard about him. He was like the Easter Bunny.

And every time a barge passed by, we bobbed up, down, and sideways.

Take a soup can, peel off the label, then place it in bathtub water so it rests vertically. That was our place of work. It was a gigantic steel cylinder that floated on the Kentucky side of the Ohio River, just across from downtown Cincinnati. I’m guessing the location choice was related to airwave reception or something. Let me explain:

WNOP was owned by a wealthy local beer distributor, who loved jazz music. He seemed to run the station more as a hobby than a business. I worked there in 1984-85, when arena rock and new wave music were all over the radio. Therefore, because we played jazz – America’s homegrown music – nobody listened to us. So, we didn’t make enough money to afford a proper radio tower. So, the waters of the Ohio River carried our signal.

I was hired as a broadcasting intern by the station manager, a well-known former rock deejay named Geoff. He was a fat guy with glasses who had an excellent radio presence, and he was really nice. I had no radio experience, but I liked jazz music, and was eager to learn, and I’m guessing that’s why he hired me. Also – because I was an intern – he didn’t have to pay me.

Directly under Geoff was Programming Director Chris. Unlike the owner, Chris treated the station as a business instead of a hobby, and he wanted WNOP to be real successful. And whereas Geoff liked me, I don’t think Chris did. You’ll find out why a little later.

Despite being an AM station at the left end of the dial that played jazz, we had a lot of talent at “The Jazz Ark.” The morning host was Kristi. Kristi was a very attractive and outgoing blonde who (surprise, surprise) did a lot of public relations for the station. The two daytime hosts were Ray and Val. Ray was semi-retired, and a radio veteran. Warm radio voice, knowledgeable, and he personally knew many of the famous jazz musicians that occasionally swung through town.

Donald Fagen (Steely Dan) as “Lester the Nightfly,” from his solo album, “The Nightfly”

Val had a great voice, too. He was about 35 and had worked all over the country. Val was black, but he sounded white. Maybe that’s why, at one time in his career, he was a country-and-western disc jockey. This factoid always fascinated me. But I guess if you’re a good enough jock, you can do any type of music. Val was the epitome of cool, and most of us younger guys tried to model ourselves after him.

The younger crew consisted of me, Glenn, Brendan, John, Rod, Chuka, and a few others I can’t recall. Like me, Glenn also appreciated jazz, but unlike me, he was very smooth in front of a microphone. Brendan was a real affable, slightly conservative guy-next-door. John was a short fellow whose dad owned a chain of shoe stores in town. John idolized Val. If you talked with John for any length of time, eventually he’d bring up Val. And Chuka was from Africa and broadcast news only.

I was closest to Rod “Downtown” Lowndes, who previously worked as a riverboat bartender. We were both into dirty rock ‘n’ roll and blues. We also occasionally “indulged” in things.

I remember my trepidation the first time I stepped in front of the microphone. I had a fear of public speaking that dated to a bad incident in childhood, so I had a legitimate concern about hyperventilating while on the air. But the guy who mentored me that first night seemed to think I’d be ok.

“Don’t worry, you’ll be fine. Nobody’s listening anyway.”

That calmed me a little, but I still felt like Barney Fife appearing before the Mayberry Municipal Court. As time went on, it got easier. I discovered that talking with the music at a low volume was very helpful.

Symphony Sid Tolan, the dean of jazz disc jockeys

My best memories of WNOP were the early days. Many deejays adopt catchy on-air pseudonyms or nicknames, and I thought about doing the same, similar to real-life Symphony Sid Tolan, or fictional “Lester the Nightfly.” I asked Geoff if maybe I should become Pete ‘Midnight’ White, or something equally ridiculous.

“No, I think you have a good name already. It’s very German-sounding, which will appeal to all the German listeners in Cincinnati. What do you think, Chris?”

“Sure, keep your name,” mumbled Chris. So I kept my name.

And speaking of vanity, it was also fun to drop, in conversation, that I was a deejay. I got a lot of “Really?!” responses. Also, this was before I met my wife, so mentioning I was a disc jockey was a great icebreaker with women. Their eyes always got a little bigger. Previously, it was a struggle for me to even get a second look from an attractive female. But once they learned that I worked in front of a microphone, they seemed to push their breasts a little closer.

I was very careful not to spill that I was merely an unpaid, untalented intern working the graveyard shift at a cable station that nobody listened to.

(Please check back soon for the conclusion of “Vanity in a Tin Can”)

(Illustration of WNOP by Robert Freeson and “Cincinnati Magazine”)

Talkin’ Texas and Cincinnati Chili Blues

habanero

In a few weeks my company will be having a chili cookoff. I’m looking forward to it for two reasons: first, I love good chili; second, I’m curious to see the ratio of Texas versus Cincinnati-style chili.

I live on the outskirts of Cincinnati, Ohio, and around here if you mention “chili,” people think of a plate of spaghetti draped with a sweet and tangy meat-based sauce, and crowned by a heaping mound of shredded cheddar cheese. This is Cincinnati chili. It’s an acquired taste; not bad once you get accustomed to it, although I don’t recommend anyone making it a regular part of their diet.

Cincinnati chili originated in the 1920s after an immigrant Greek family opened a restaurant here. The key ingredient in their signature recipe was a liquid meat sauce that had a mild cinnamon flavor.

This Greek-style chili became very popular. Success, of course, breeds imitators, and soon other chili parlors sprang up. Currently, there are two big chains of Cincinnati chili, Skyline and Gold Star, although there are many smaller chains and independent chili restaurants (many locals swear that Camp Washington Chili is the best, though to me they’re all very similar).

cincinnati-chili

Cincinnati Chili

Like I said, the sauce is spooned over a pile of pasta, then topped with cheese. You have the option of adding red beans or onions, but the base ingredients are just spaghetti, meat sauce, and cheese. The combination is referred to as a “three-way.”

(Considering that Cincinnati is about as socially conservative as the hometown of Sheriff Andy Taylor and Deputy Barney Fife, I’ve always gotten a kick out of the natives here casually referring to “three-ways”).

The chili is always served with a side order of oyster crackers. An alternative to the pasta concoction is the “coney,” which features the same sauce and cheese, but is accompanied by a pale, pathetic-looking hot dog, all stuffed inside a small bun. I’ve never understood the appeal of these coneys. Before moving to Cincinnati I lived in Chicago and had the opportunity to indulge in Maxwell Street Polishes. Going from a Maxwell Street Polish to a Cincinnati coney was like going from the Sphinx to a pink flamingo.

Regardless, I really do like the chili here in Cincinnati. It’s a guilty pleasure… like playing cornhole, or watching “Wheel of Fortune.”

But I much prefer the Texas variety of chili, known down in the Lone Star State as a “bowl o’ red.” As everyone knows, Texans love to brag ad nauseam about their peculiar state. But the one thing they have a right to brag about is their chili.

Instead of slimy pasta, the base ingredient in Texas chili is MEAT; either beef or pork, or possibly armadillo or rattlesnake. Instead of cinnamon, Texas-style chili uses cumin and hot chile peppers or powder, such as red cayenne, jalapeno, serrano, or habanero (see header photo).

texas-chili

Texas Chili

Tomato and beans are frowned on for Texas chili. Both are more Mexican than Texan. But I’m a Yankee, so I’ll risk getting hogtied and tossed in the Rio Grande and proclaim that I like pinto beans in my chili.

(Note that I said pinto beans. I wouldn’t think of polluting my chili with kidney beans, which so many cafeterias and cheap diners have been doing since before Lyndon Johnson began soiling his diapers).

Meat, chile peppers, and seasoning: those are the core ingredients of Texas chili. Like 12-bar blues music, there are endless variations that can evolve from this basic formula. I’ve improvised and come up with a couple of my own recipes. One is slightly Texan, the other is somewhere north (or south) of the border. Both are simple and easy to fix. Here are the ingredients for both:

Durango Dead Buzzard Chili: contains ground beef, pinto beans (uh-oh), chopped tomatoes or tomato sauce (here comes the rope), French’s chili seasoning (don’t laugh, it adheres to the meat and tastes great), chopped onions, red cayenne pepper, and beer (optional).

Yuma Snake Venom Chili (derived from a recipe received from my aunt in Tucson, who got it from some chef in Yuma, and which I’ve “doctored” over the years): contains ground pork or pork sausage, chopped tomatoes (uh-oh), chopped onion, diced jalapeno or habanero chiles, ground cumin, red cayenne pepper, garlic powder, black pepper, salt, and tequila (mandatory).

I’ll add that Texas chili tastes best after it’s been refrigerated then reheated. For a beverage, I prefer a cold beer, though not too dark or heavy. As a side dish, I like either cornbread or corn tortilla chips. To aid digestion, I recommend the music of ZZ Top, or any Chicago-style blues.

pepper

Some of you may be wondering if I’ll be entering my chili in the company cookoff. I don’t think so. Many years ago I submitted a sample of my Yuma Snake Venom Chili to one of the fishwraps in suburban Cincinnati, which was sponsoring a contest. I think my chili may have been the only one that didn’t include pasta, cheese, or cinnamon. I never learned the results of the cookoff, and I never heard from the newspaper.

I’m guessing my submission lacked one or more ingredients. Or, maybe the combination of tequila, cayenne, and habaneros proved too lethal for delicate Mason, Ohio. But I wish I’d have been at the tasting, if only to see the look on the judges’ faces.

fife

90-Year-Old Marathon Man

Last weekend I ran the Marshall University Marathon in Huntington, West Virginia.  Competing in marathons is a fun hobby that I’ve been doing for years.  Running distances makes me feel good about myself, mentally and physically, and I also enjoy traveling and meeting interesting people.

In Huntington I was lucky enough to hear a talk by Mike Fremont of Cincinnati, Ohio.  Believe it or not, Mike is 90 years old and is still running marathons! (to put this into perspective for those who may not know, a full running “marathon” is 26.2 miles, or 42.2 kilometers).  Mike started running to deal with stress and depression after being widowed with three kids when he was 35.  Then when he was 69 he contracted colon and rectal cancer.  Facing a death sentence, he switched to an all-plant diet.  His cancer eventually disappeared and hasn’t returned.  And he hasn’t had a cold in 10 years (he takes no vitamin or mineral supplements).  Though long-retired, Mike does a lot of volunteering, including starting a foundation to clean Ohio’s rivers.

Last August Mike set a world record in the half-marathon.  At Huntington, he finished the full marathon in approximately 6 hours and 30 minutes, setting an American record (really, how many other 90-year-old marathoners are there?!).  Congratulations Mike!

Mike attributes his longevity and athleticism to his vegan diet.  There’s nothing wrong with golf or fishing or bridge.  But Mike defies the idea that retirement means low or no-aerobic activities.  He’s fit, mentally sharp, and happy.  He’s a pretty inspiring guy.  I don’t know if I’ll ever get to vegan stage.  But after meeting Mike Fremont, I’ll be eating even more bean soup and leaf spinach!