in Music
Ed Rudy, Chronicler of the Beatles’ First Trip to America, Dies at 93
Source: Music – nytimes.com More
Radio
Subterms
More stories
- in Music
Art Laboe, D.J. Who Popularized ‘Oldies but Goodies,’ Dies at 97
A familiar voice on the California airwaves for almost 80 years, he saw the appeal of old rock ’n’ roll records practically before they were old.Art Laboe, the disc jockey who as a mainstay of the West Coast airwaves for decades bridged racial divides through his music selections and live shows, reached listeners in a new way by allowing on-air dedications and helped make the phrase “oldies but goodies” ubiquitous, died on Friday at his home in Palm Springs, Calif. He was 97.An announcement on his Facebook page said the cause was pneumonia.Mr. Laboe worked in radio for almost 80 years. In 1973, The San Francisco Examiner was already calling him the “dean of Los Angeles rock ’n’ roll broadcasting,” and he would be on the air for almost a half-century more after that.He started in the business as a teenager during World War II, working at a San Francisco station, KSAN, before gravitating to KPMO in Pomona and KCMJ in Palm Springs. The idea of a disc jockey with a distinctive personality had not yet become the norm in radio — at KCMJ, a CBS affiliate, he was mostly an announcer doing station identifications and such between radio soap operas — but for an hour late at night he was allowed to play music.He featured big bands, crooners and other sounds of the day. But as tastes changed, his selections changed, and sometimes he was at the front edge of the evolution. In 1954, by then working in Los Angeles, Mr. Laboe “was largely responsible for making the Chords’ ‘Sh-Boom’ (sometimes cited as the first rock ’n’ roll record) an L.A. No. 1,” Barney Hoskyns wrote in “Waiting for the Sun: Strange Days, Weird Scenes, and the Sound of Los Angeles” (1996).He also saw the appeal of “oldies” practically before they were old. Around 1949 he had started working at KRKD in Los Angeles, selling advertising by day and playing music in the wee hours. He thought an all-night restaurant, Scrivener’s Drive-In, might be interested in advertising on his all-night show, so he paid a visit and sold the owner, Paul Scrivener, some spots. A few months later, Mr. Scrivener made a suggestion.“‘You know, that show’s pretty good,’” Mr. Laboe, in a 2016 interview with The Desert Sun of Palm Springs, recalled Mr. Scrivener saying. “‘Why couldn’t you do that show from my drive-in?’ So I did.’”Mr. Laboe issued the first volume of his “Oldies but Goodies” series of compilation albums in 1959. It stayed on the Billboard chart for more than three years, and many more volumes followed.JP Roth CollectionHe would broadcast from the restaurant (he moved to KLXA and then KPOP in this period), stopping by cars and asking the occupants to pick a song from a list.“At the bottom of the list,” The San Francisco Examiner wrote in 1973, “were a half a dozen ‘oldies’ titles — songs at that time no more than three years old — and when this portion of the list began to show the heaviest action, Laboe wondered if there might be something to this.”He had already formed his own record label, Original Sound, and in 1959 it issued “Oldies but Goodies, Vol. 1,” a compilation album — a relatively new concept — that included “In the Still of the Night” by the Five Satins, “Earth Angel” by the Penguins and 10 other songs that, although they’d been on the singles charts only a few years earlier, had already begun to acquire a nostalgic feel. The album stayed on the Billboard chart for more than three years, and many more volumes followed.Early in his career Mr. Laboe began taking requests on the air, allowing listeners to dedicate a song to a friend, love interest or other special person. It became one of his signatures; few if any other disc jockeys were doing that in his early days. Some callers would dedicate a song to a loved one who was incarcerated. And early on, Mr. Laboe welcomed Black and Mexican callers, a barrier-breaking thing to do at the time.In the 1950s, Mr. Laboe also began producing and serving as M.C. at live music shows at the American Legion Stadium in El Monte, a blue-collar city east of Los Angeles, that were known for the racially diverse crowd they attracted. The Penguins, Ritchie Valens and countless other acts performed at the El Monte shows.Mr. Laboe with Jerry Lee Lewis at the American Legion Stadium in El Monte, Calif., in 1957. The shows Mr. Laboe produced there were known for the racially diverse crowd they attracted. Art Laboe Collection“Friday and Saturday night rhythm-and-blues dances at the El Monte Legion Stadium drew up to 2,000 Black, white, Asian American and Mexican American teenagers from all over Los Angeles city and county, becoming an alternative cultural institution from the mid-1950s through the mid-1960s,” the scholar Anthony Macias wrote in American Quarterly in 2004.Mr. Laboe was still producing live shows into his 90s.“If you come to one of our concerts,” he told KQED in 2019, “you’ll see a mixture, a complete mixture, of what we have in California.”He was also still on the radio, on the syndicated “Art Laboe Connection,” after having logged time at assorted stations. In 2002, Greg Ashlock, the general manager of KHHT-FM in Los Angeles, where Mr. Laboe had a long run, summed up Mr. Laboe’s appeal in an interview with The Los Angeles Times.“There’s nobody that connects with the community like him,” he said. “The audience knows him and loves him like a family member. It’s almost like tuning in to Uncle Art.”Wherever he was spinning, Mr. Laboe made it a point of mixing genres and generations.“Sometimes the 20-year-old who wants to hear Alicia Keys will tolerate the Spinners,” he told The Press-Enterprise of Riverside, Calif., in 2008. “It’s not off the course enough to make them want to change stations.”Russell Contreras/Associated PressArthur Egonian was born on Aug. 7, 1925, in Salt Lake City to a family of Armenian immigrants. His obsession with radio began at a young age: His sister gave him his first radio for his eighth birthday. In a 2020 interview with The Press-Enterprise, he recalled being amazed by the “box that talks.” That experience sparked his interest in the nascent radio scene.He attended George Washington High School in Los Angeles and studied engineering for a time at Stanford University.He was hired at KSAN while still a teenager; his voice, he said, had not yet acquired the timbre that became his calling card.“The very first words I uttered on radio myself, I said, ‘This is K-S-A-N San Francisco,’ and it was in 1943,” he said.The station manager suggested he Americanize his name, and he is said to have taken “Laboe” from the name of a secretary there. After serving in the Navy during World War II, he moved to Southern California, which became his home base.Information about his survivors was not immediately available.In 2015, the nonprofit online radio station DubLab turned the tables on Mr. Laboe, the man who was a conduit for so many on-air dedications, giving his fans an opportunity to call in and dedicate a song to him.“I don’t know what we would have done without you,” one caller said. “I spent a lot of time in a car without anything but a radio, and you made it good, and you exposed me to a lot of beautiful music.” More
- in Theater
Lawsuit Says Charity Leader Hired His Former Personal Trainer for Key Role
Spending by a charity intended to honor a radio pioneer is being challenged by his granddaughter, who says he was tricked into leaving his fortune to it. The charity denies the charge and says the producer did not trust his family to protect his legacy.Over the course of a decade, Matthew Forman emerged as a public face of the Himan Brown Charitable Trust, a charity with $100 million in assets and a stated purpose of furthering the legacy of Mr. Brown, who had created treasured radio dramas like “Dick Tracy” during that medium’s golden age.As a director and, more recently, a consultant to the trust, Mr. Forman, 41, earned as much as $250,000 annually as he helped distribute millions of dollars in funds to deserving causes, often around Miami, where he was recognized with a community service award and spoke on expert panels.“He was great to work with,” said Isabelle Pike, senior vice president of development at Branches, an organization that works with poor families. “He supported great programming here in South Florida.”But a foundation run by a granddaughter of Mr. Brown’s has challenged Mr. Forman’s qualifications for those roles in court papers that say he apparently had no prior experience in the field when he was hired by the charity’s sole trustee, for whom he had worked as a personal trainer.The challenge is the latest chapter in a long-running lawsuit by the foundation, the Radio Drama Network, against the sole trustee, Richard L. Kay, who helped design the trust as Mr. Brown’s lawyer.Mr. Kay has argued that Mr. Brown created the trust to shield his money from a family from whom he had become estranged. But the suit contends Mr. Kay tricked Mr. Brown, at age 94 in 2004, into signing over his fortune to the charitable trust, whose spending Mr. Kay now controls. Mr. Brown died six years later.Under a new estate plan, the suit argues, most of the fortune that had been designated to go to the Radio Drama Network was instead diverted to the new Himan Brown Charitable Trust.The lawsuit argues that, under Mr. Kay, the trust has paid $1.5 million to Mr. Forman and donated millions more to causes tied to Mr. Kay, like his alma maters, Cornell University and Michigan Law School; his grandchild’s Montessori school; and the 92nd Street Y, New York, where he is on the board. That money, the suit asserts, should have instead been directed to the radio foundation, which Mr. Brown separately created to foster respect for the spoken word.“I really want to let people know who he was and show the kind of work he did,” Melina Brown, the granddaughter, said in an interview. “But it’s not happening.”Himan Brown, right, directing Betty Winkler and Frank Lovejoy at a radio studio in New York in 1943.Associated PressMr. Forman declined to be interviewed but his lawyer defended his qualifications, describing him as a former sales professional who had done well in college and while briefly attending law school at the University of Miami. In 2014, the Miami-Dade County public school system recognized him with a Community Partners Recognition Award for help the trust provided for children in Miami’s poorer neighborhoods. Several other grant recipients in Florida praised him and the charity for their work.“He is a humble, bright, diligent and caring person who is one of the most professional people I’ve worked with in philanthropy,” said Melissa White, the executive director of the Key Biscayne Community Foundation, which has received grants from the trust.The judge presiding over the case, filed in Surrogate’s Court in Manhattan in 2015, has ruled that the administration of the trust and its spending are beyond the scope of the lawsuit, which is focused on allegations that Mr. Kay deceived Mr. Brown into setting it up.But the drama network has challenged that ruling and argues that Mr. Kay’s spending choices, including the hiring of Mr. Forman, are indicative of his self-interest at the time the trust was drawn up in 2004. It did not begin functioning until after Mr. Brown’s death.Mr. Brown had created the radio network, a separate foundation, in 1984, and in a 1999 interview he spoke of it as being part of his effort to revive the lost “art of listening” in an era of reduced attention spans and competing media.The communal experience of radio, where families gathered in living rooms for a broadcast, had its heyday from the 1930s to the 1950s, before the expansion of television. During that time, Mr. Brown directed and produced shows like “The Adventures of the Thin Man,” “Flash Gordon,” “Grand Central Station” and “Inner Sanctum Mysteries,” working alongside actors like Orson Welles and Helen Hayes. In 1990, he was inducted into the Radio Hall of Fame.Several years before he died, Mr. Brown was sued unsuccessfully by his son, Barry, who said, among other things, that his father had molested him as a child, a charge that his father denied. Barry Brown sued again after his father died, challenging his father’s will in a case in which he accused Mr. Kay of manipulating his father into diverting money into the new charitable trust.But in 2015, Judge Nora S. Anderson of Surrogate’s Court rejected his claim and cited witnesses who said Mr. Brown had “remained clearheaded and firm-minded even through advanced age.”The drama network filed its suit later that year. Mr. Kay’s lawyers argued that the claims of fraud had already been adjudicated. But Judge Anderson decided that the new lawsuit could move forward.In the current suit, Mr. Kay’s lawyers have accused Ms. Brown of trying to claim a larger share of the estate so as to draw larger administration fees. Mr. Kay said in a deposition earlier this year that Mr. Brown had expressly created the new trust to keep the bulk of his money away from Barry Brown and Barry’s two children, including Melina.Melina Brown, left, and Himan Brown in an undated family photograph.via Melina Brown“I cannot be more dramatic about the venom displayed by Himan Brown with respect to his son, and it extended to his granddaughters, as well,” Mr. Kay said.Melina Brown has denied seeking larger fees or that the breach between her grandfather and father ever extended to her. She said in an interview that her grandfather, whom she cared for in his last years, had loved her and wanted her to push forward with his mission to build interest in the spoken word. Before he died, he appointed her as a director of the Radio Drama Network and in his estate left her $3 million and his home in Connecticut.Today, the radio foundation has about $20 million in assets. In the year ending June 2021, it gave $307,500 in grants, including to organizations that support Hispanic theater and storytelling in public schools. Pursuing the lawsuit against the trust has been expensive, with more than $2 million going to legal fees in the past two years, according to tax records.The charitable trust controlled by Mr. Kay holds about $107 million in assets. It distributed nearly $4.5 million in grants in the year ending in March 2021, according to tax filings.Mr. Kay receives yearly compensation as a trustee — $300,000 last year — which he shares with his law firm, Pryor Cashman, which has drawn fees of as much as $400,000 to represent the trust in recent years.Lawyers for Mr. Kay say Mr. Brown’s name is fully associated with gifts made by his trust, like a 60+ Program named for him at the 92nd Street Y, New York. They say that when Mr. Brown was alive, his radio foundation financially supported many varied causes, of which only a few were affiliated with the spoken word. They also point out that the trust has supported multiple speaking engagements, such as appearances by Dick Cavett and Bill Clinton. Mr. Brown, they say, viewed Mr. Kay as a friend whose judgment he fully trusted in making grants, and they point to personal messages from Mr. Brown to Mr. Kay to illustrate their close relationship.Mr. Forman said in a deposition last month that he had worked as a personal trainer for Mr. Kay and his family in New York, before moving to Florida. He had been working in sales, he said, when Mr. Kay hired him for the trust in 2011, and he acknowledged that he did not have prior experience in philanthropic giving beyond making gifts himself. In court papers earlier this year, he said he had also served at one point as a co-trustee of the trust.New York State does not set specific professional qualifications for employees or consultants of a charity. But experts said charities, especially those with substantial funds, often seek to hire individuals with an understanding of charitable work, topical expertise and experience in fund-raising or grant giving.Matthew Forman representing the Himan Brown Charitable Trust at an event at the University of Miami School of Medicine in 2011.via Key Biscayne Community FoundationLawyers from Carter Ledyard & Milburn, who represent the drama network, were precluded from asking detailed questions about Mr. Forman’s work for the charity during his deposition last month, after Judge Anderson ruled that the suit did not directly concern Mr. Kay’s administration of the trust.But in limited questioning, Mr. Forman said he had worked as an employee of the trust until sometime in late 2017 or early 2018. Tax records show from that point forward a company registered to Mr. Forman, Miami Philanthropic Consulting Inc., began to serve as an adviser to the trust. For the year that ended in March 2021, the consulting company was paid $250,000 by the trust, according to the tax records.Mr. Forman said in his deposition that he had not spoken to Mr. Kay in years, but said he could not give an exact date.He was also asked what he knew about the man whose legacy he had promoted. He said he knew that Mr. Brown had risen from a humble background to become a successful businessman who owned production studios and had stayed vibrant into old age.“He produced radio shows,” Mr. Forman said. “I believe ‘The Thin Man.’ Maybe ‘Dick Tracy.’” More
- in Music
Zach Sang, the Ryan Seacrest of the Youth, Wants to Save Radio
The former syndication star and top-flight interviewer is rebuilding his daily show on Amazon’s new app, Amp.LOS ANGELES — One afternoon in June, Zach Sang was curled into an improvised studio nook at the top of a staircase in a warehouse in Hollywood. The setup was ramshackle — right downstairs was the fallow set for Hailey Bieber’s YouTube series “Who’s in My Bathroom?” — but Sang didn’t let the scrappy conditions get to him.The interview guest on this day was Jake Miller, a onetime frat rapper turned anodyne singer-songwriter, an affable bro with a big smile and an unbothered air. While waiting for Miller to arrive, Sang sipped on a Celsius energy drink as he waited for a Gopuff delivery of snacks. He was dressed comfortably in a gray sweater vest and a worn-in pair of Birkenstock Bostons; his fingernails were painted in a casually intricate design.Sang is a relentless optimist and a warm landing place. After Miller arrived, Sang attended to their conversation with an uncommon amount of care, from time to time gently pushing him under the cover of affection. When Miller left, Sang reset himself and began his daily live show the same way he has for years and years: “Helloooo, beautiful humannnn.”At this time last year, Sang was broadcasting to more than a million people each night via his syndicated program, “Zach Sang Show,” which aired on around 80 terrestrial radio stations across the country. But today he’s building from the ground up: In March, he began broadcasting for three hours every weekday on Amp, the still-in-beta radio app recently introduced by Amazon.“The bedrocks, the building blocks that make radio radio — companionship, friendship, music, personality, discussion — that will remain the same,” Sang said. “But the delivery method at which it gets to the people is going to change.”The method is still slightly in flux. Several times over the next three hours, while songs played between conversation breaks, Sang tested out the studio’s Alexa smart speaker to make sure it played his show when prompted — mostly yes. He selected songs to play largely on the fly, sometimes inspired by a conversation in the room. It all made for a far looser approach to pop radio, with flickers of the unpredictable energy of livestreaming.Sang’s new perch allows him to figure out a fresh path for an old format. “I want them to understand that there’s a better version of radio out there,” he said of the listeners he has not yet been able to reach. “Radio that doesn’t play the same songs every 42 minutes. There’s a version of radio out there that doesn’t shove 18 minutes of commercials an hour down your throat.”Sang is 29 but carries himself with the awe of someone younger. It is a byproduct of a career that began in his teenage years, and has never let up since, a run that has made him something like the Ryan Seacrest of young millennials. During his 10-year tenure on terrestrial radio, he became one of the most crucial interviewers of contemporary pop stars, with clips of his most intimate conversations — with Ariana Grande, Halsey, Selena Gomez, Justin Bieber, BTS and various onetime boy band and girl group members — often gaining viral traction online.Sang is an uncommonly gifted interviewer: formidably grounded, fluid, quick with responses and also keen to steer conversations toward more intriguing topics. He makes an intense (but not uncomfortable) amount of eye contact and delivers his questions not brusquely, as can be the norm for radio interviews, but with a balmy, inviting smoothness. He treats interview subjects not as famous people, but rather people who happen to be famous. Sometimes, in videos of his interviews, there are little moments of relaxation a few minutes in, when stars realize they can turn off autopilot, retreat from the hard shell of fame just a bit and ease back into their humanity.“Deeply personable, researched and funny,” said Finneas, the singer and producer and brother of Billie Eilish. He described Sang’s true peers as much more senior and established: Howard Stern. Zane Lowe, the Apple Music host.“He has an emotional connectivity with artists that I don’t think I see with anyone else right now,” said Matt Sandler, Amp’s head of business and operations, who recruited Sang to the platform.When Ed Sheeran appeared last year on the syndicated show, he concluded his time by telling Sang, “I’m sure you get this a lot, but I end up watching your guys’ interviews with other artists, like, all the time, and I really enjoy it.”Like most daily radio programs, Sang’s has a rhythm. In the past he’s had multiple co-hosts, but there’s currently just one: Dan Zolot, an executive producer who shares the title with Sang. As the show’s longtime counterbalance, Zolot injects cold splashes of reality at unexpected moments. “Awkwardness is always fascinating to watch,” Zolot said. “It brings out a little more personality.” Part of his job includes trimming down Sang’s longform interviews for various social media platforms, because Sang’s true competition now isn’t just conventional radio stars but also YouTubers and podcasters. “Alex Cooper at ‘Call Her Daddy,’ Joe Rogan, ‘Impaulsive’ — that’s who the young kids are going to when they think of radio,” Zolot said.In recent years, as radio stations have leveraged their access to musicians to grow their presence on platforms like YouTube, some of the best radio hosts have become de facto podcast interviewers. But when Sang began his career, the radio station interview was by and large a banal format, a back-scratching relic of old power structures.“He treats his audience like they’re smart, which they are and they deserve to be treated like,” Finneas said.Another way Sang deviated from the strict formatting of pop radio was by sprinkling in progressive political opinions. “To have queer voices on the air in Pensacola, Fla., and Mobile and Montgomery, Ala., I was in the most conservative places in America, right? And I won. I was a queer kid from New Jersey who shared my truth.”Sang is an uncommonly gifted interviewer. He treats interview subjects not as famous people, but rather people who happen to be famous.Maggie Shannon for The New York TimesSang also pushed back against the strict playlisting most radio stations require, programming his show a little more eccentrically and holistically: “I never colored within the lines ever. I always went against the rules. I never asked for permission, I always begged for forgiveness.”Occasionally, those decisions were met with resistance. “When you’re syndicated, you’re on 80 stations, you have 80 bosses,” Zolot said. “Those bosses have things they don’t want talked about on their air, and they’ll let you know.”Sang’s negotiations with the radio conglomerate Westwood One went to the 11th hour late last year, but they couldn’t come to terms. The transition was jarring. “Seven o’clock at night would roll around and I would just be driving around my neighborhood, not knowing what to do,” Sang said.“I’ve been going through a deep depression the last few months,” he continued. “And my friends, who are some of the most famous people in the world, send me 77 texts until I answer. The night of my last show, Joshua Bassett showed up at my studio within 40 minutes, on the night before New Year’s Eve, to be with me while I literally cried on the floor of my studio. And then after that, who was there for me was Ariana, who was on me to figure out what my next step was.”Losing his syndicated show forced him to assess whether he was in the business of radio, or the business of Zach Sang. When his contract ended, he’d already been having conversations with Amazon for a few months, and he began to see Amp as an opportunity to spread his gospel of the power of radio even more widely.The very nature of radio is changing and has been for the past two decades. First came the rise of satellite radio, which jeopardized local specificity. Same went for market consolidation. Finally, the ascension of the internet, especially as a facilitator for livestreaming and playlists, threatens — or maybe promises — to undermine the primacy of radio as a delivery system for new music. By July, Sang and his team had relocated to a more substantial studio, the one that Rick Dees, the countdown show kingpin, previously used to broadcast out of. But even though Sang knew how to operate all of the fancy equipment in the room, the entire show was run off his iPad.“The way I view a microphone at this point in my life is, when I lost the show, it’s like I lost every friend I’ve ever made,” he said, in between playing Beyoncé songs. “It’s about regaining chemistry — it takes time. People find out every day we’re not on the radio.”He referred to the Sang universe as a “friend group” — the combination of the characters with him in the studio and the listeners.After more than a decade on the air, part of that friend group are the famous people he’s become close to along the way. That day, he told his listeners about how he’d drunkenly agreed to officiate Selena Gomez’s best friend’s wedding at Gomez’s 30th birthday party, and he mentioned his friend who was playing the role of Glinda, the good witch, in the upcoming film adaptation of “Wicked.” (That would be Grande.)It is a far cry from how he was raised. Sang, who is of Italian, Irish and Scottish heritage, grew up in New Jersey — first Paterson, then Wayne — and attributes his empathy and openheartedness to a challenging upbringing. His mother was a social worker for 35 years: “I watched my mom cry. She would carry people’s burdens every day.” His parents had a yearslong, protracted divorce. Sang had trouble learning to read, endured abusive teachers in Catholic school and was bullied by other children, who identified him as different.He got his start in 2008 at age 14, with a show on the BlogTalkRadio online radio platform that he hosted from his bedroom. Soon, he moved over to Goom Radio, a French internet radio concern that was introducing an American service. He booked his own guests, emailing publicists from his BlackBerry during high school classes, leaning heavily on the teen stars of the day. “On Wednesday nights, kids would camp out in front of my studio waiting to see which artists were going to be there,” he recalled.Sang described his approach back then as “blind confidence, blind naïveté, adrenaline.” In short order, he became a go-to interview stop and developed a quick rapport with his subjects. “They would tell me while on the phone or in person that they were happy, or they’d stay longer, or they’d ignore their publicist when they tried to get wrapped up.”In school, he wasn’t terribly popular. “I had no friends,” he said, but he built something of a double life for himself: “Not having a single kid talk to me in school, but I’d go home and get to get on the phone with Mitchel Musso from ‘Hannah Montana,’ and he’d give me an hour of his time.”Sang, far right, interviewing the rapper Yung Gravy, left, along with Dan Zolot, his co-host on “Zach Sang Show.”Maggie Shannon for The New York TimesIn 2012, Sang moved to terrestrial radio and began steadily accumulating stations for his nightly program, “Zach Sang Show,” which was syndicated via Westwood One. In short order, he was interviewing some of pop’s biggest stars, deploying the same amiability that made his teen-pop conversations so engaging.Peter Gray, the head of promotion at Columbia Records, recalled that when Sang was given just a few minutes with Adele, he “just killed it, nailed it. Five minutes with him was a symphony — no fear, no trepidation, no nerves, just a beautiful nonscripted conversation.”Sang’s show was a crucial entry point into the American media market for the K-pop superstar group BTS. Eshy Gazit, who was tasked in the mid-2010s with helping to break the act in the United States, said, “There was a certain stigma at the time — that K-pop was a bunch of marionettes. The first important thing to me was to show the humanity, that each member has a story, a feeling, a personality.” BTS would return to Sang’s show several times.Sang’s interviews also populate his YouTube, Instagram and TikTok channels, and in conjunction with his production partner, OBB Media, he’s in the process of building out his own studio. In the coming weeks, “Zach Sang Show” will begin international syndication.Amp is a creator-focused app meant to allow users to set up their own radio programs, a nod to public access and internet radio and an attempt to harness the democratization of online content creation. Sang’s responsibilities include populating the app with other hosts — currently he’s working with the party promoters Emo Nite and iParty, which specializes in music from Disney Channel and Nickelodeon shows. He’s also the service’s most high-profile interviewer — something like the Zane Lowe of Amazon.Still, the platform is new, and the listener numbers modest. “It was difficult to see the numbers and know that it’s not huge at first,” Zolot said. “That kind of got to him.”By last month, though, Sang was getting comfortable being indie again. “Nobody listened to me when I was broadcasting from my bedroom — I literally was talking to myself,” he said. “So, been there, done that.”The friend group he hopes to cultivate, he realized, begins with his own “therapeutic” relationship with the microphone. Everything else good has followed from that.“Every time, without fail, I have built it and they have come,” he noted, “so this will not be any different.” More
- in Television
Hank Goldberg, Betting Maven and Sports Radio Star, Dies at 82
A New Jersey fan of sports and gambling who became one of the country’s top television handicappers: What are the odds?Hank Goldberg, a prickly, bombastic and witty sports talk radio and television personality in Miami who became nationally known for handicapping horse races and N.F.L. games on ESPN, died on Monday, his 82nd birthday, at his home in Las Vegas.The cause was complications of chronic kidney disease, which required dialysis treatments and caused the amputation of his right leg below the knee last year, said his sister and only immediate survivor, Liz Goldberg.For more than 50 years, sports and gambling were inseparable spheres to Mr. Goldberg. A habitué of racetracks and casino sports books, he ghostwrote for the celebrated oddsmaker Jimmy Snyder, known as Jimmy the Greek, in the 1970s. He was an analyst for Miami Dolphins football games on radio, hosted sports talk shows on two Miami radio stations, and reported and anchored sports for a local TV station.As a major sports figure in Miami, he counted the Dolphins’ former head coach Don Shula and former quarterback Bob Griese among the friends with whom he bet on horses at Gulfstream Park in Hallandale Beach, Fla. He imbibed the privileges of celebrity, including being treated like a king at the famous Joe’s Stone Crab restaurant in Miami Beach.“I own this town,” he said while driving around Miami in archival video that was used by ESPN in a tribute to him after his death.Starting in the early 1990s, he found a broader audience as ESPN’s betting maven, dishing out his takes on favorites, underdogs and point spreads before Sunday’s N.F.L. games and the odds before Triple Crown and Breeders’ Cup horse races.ESPN reported that Mr. Goldberg had a .500 record or better in 15 of the 17 seasons that he handicapped N.F.L. games for the network.“It was the next step up from what ‘the Greek’ did,” said Mark Gross, a senior vice president of ESPN. Mr. Snyder declared which teams would win but was prohibited by the N.F.L. from discussing point spreads. Mr. Goldberg was restricted only from using team nicknames on the ESPN show “SportsCenter” but could talk about their cities.Mr. Goldberg’s outsize personality emerged most fully on radio, where he started in 1978, at WIOD-AM in Miami. His aggressive style led him to argue with callers and sometimes hang up in disgust.Joe Zagacki, one of Mr. Goldberg’s producers at WIOD, recalled in a phone interview a day when “Hank had an argument with a caller — he had one of his volcanic explosions — and I said, ‘My goodness, you just hammered that guy. You’re ‘Hammering Hank Goldberg.’”The nickname stuck. After he started at ESPN in 1993, Mr. Goldberg began banging a mallet on a studio desk to express his disagreement with a colleague or his disdain for a sports figure. He referred to himself as “Hammer.”He initially appeared on ESPN2, which was new at the time and was attempting to reach a younger audience with anchors who dressed in a casual, cool style. Not Mr. Goldberg, who was definitely not cool but brought a quirky, brassy personality to the network — although it was more congenial than his in-your-face radio demeanor.“Hank could fit into any genre; he could fit anywhere,” said Suzy Kolber, a longtime anchor and reporter at ESPN who worked with Mr. Goldberg on ESPN2 and in Florida. “Plug him into the horse-racing crowd or the ESPN2 bunch. He fit right in.”Henry Edward Goldberg was born on July 4, 1940, in Newark and grew up in South Orange, N.J. His mother, Sadie (Abben) Goldberg, was a homemaker; his father, Hy, was a sports columnist for The Newark Evening News. Hy Goldberg frequently took his wife and children to the Yankees’ spring training in Florida, where young Hank became friendly with Joe DiMaggio, who called him Henry, Ms. Goldberg said in an interview.At 17, Mr. Goldberg went to the racetrack for the first time and won $450 when he hit the daily double at Monmouth Park in New Jersey. When he brought his winnings home, he recalled, his father told him, “Oh, you’re in trouble now.” In an interview this year with The Las Vegas Review-Journal, he added, “He knew I’d never get over my love for the races.”After attending Duke University, he transferred to New York University and graduated in 1962. He started his career as an account executive for the advertising agency Benton & Bowles. He moved to Miami in 1966 and continued to work in advertising.He found work in the broadcast booth of the Orange Bowl in Miami as a spotter — helping the play-by-play announcer by identifying which player caught a pass or made a tackle — for network telecasts of the Dolphins. He developed a friendship with the NBC play-by-play announcer Curt Gowdy. and also developed relationships in the local sports world that led him to meet Mike Pearl, who wrote and produced Jimmy Snyder’s radio show and ghostwrote his syndicated column.Ms. Goldberg said that Mr. Pearl introduced her brother to Mr. Snyder and they got along well. When Mr. Pearl left for CBS Sports, where he would produce “The NFL Today,” Mr. Snyder asked Mr. Goldberg to take over the column.In 1978, he was hired as the host of a sports talk show and a commentator on Dolphins games at WIOD, replacing Larry King. In 1983, he added work as a sports reporter and anchor on the Miami TV station WTVJ. He also continued to work in advertising; from 1977 to 1992, he was an executive with the Beber Silverstein agency. Despite his success on WIOD, Mr. Goldberg was suspended several times over the years and fired in September 1992, following a dispute with the program director over the content of his show.“The biggest radio name in South Florida sports is a loudmouth who loves to drop names — often like dirt — and who upon announcing the Dolphins’ fantastic finish Monday Night didn’t know it was his own, too,” wrote Dave Hyde, a columnist for The Sun-Sentinel, a South Florida newspaper. Mr. Hyde suggested that all the station should have done was “wash out his mouth.”Mr. Goldberg was quickly hired by another local station, WQAM-AM, where he was again successful. But he left in 2007, believing he had been lowballed in contract negotiations.By then, he was well into his two-decade run at ESPN. It ended around 2014, but he returned for the “Daily Wager” show in 2019, a year after he moved to Las Vegas. He was also a prognosticator for CBS Sports HQ, a sports streaming service, and Sportsline, an online CBS sports network.Asked what motivated her brother, Ms. Goldberg gave a simple answer: “He loved the microphone.” More
- in Music
Sid Mark, Disc Jockey Devoted to Sinatra for Six Decades, Dies at 88
He hosted four radio shows that focused on the singer, who at one concert singled him out in the audience and said, “I love him.”Sid Mark, a longtime disc jockey in Philadelphia who made Frank Sinatra’s songs the center of his musical universe for more than six decades, died on April 18 in Bryn Mawr, Pa. He was 88.His daughter, Stacey Mark, confirmed the death, in a hospital, but did not cite the cause.Mr. Mark brought a warm, conversational style to his broadcasts. Between selections from his trove of vinyl albums and CDs, he offered bits of his aficionado’s knowledge, told stories about hanging out with Sinatra and played snippets of interviews with him.He hosted three shows on various Philadelphia radio stations: “Friday With Frank,” “Sunday With Sinatra” and the syndicated “The Sounds of Sinatra,” which has run for 43 years and at its height was heard on 100 stations. He also hosted a fourth, “Saturday With Sinatra,” on stations in New York.In 1966, Sinatra’s office invited Mr. Mark to Las Vegas to see him perform as a reward for helping to stoke sales in Philadelphia of the singer’s newly released live album, “Sinatra at the Sands,” by playing it nonstop for a week.While there, he dined with Sinatra and a group of other stars, including Jack Benny, Lucille Ball and Milton Berle. Afterward, Mr. Mark recalled, Sinatra told him, “I’ll see you at the show,” but Mr. Mark said that he and his wife, Loretta, did not have tickets.“He thought that was pretty funny, as did everyone at the table,” Mr. Mark told Vice.com in 2009, “and he gave me a little pinch on the cheek and said, ‘No, you’re sitting at our table.’ I walked in with all these celebrities and everyone knew who everyone was, but they had no idea who we were. Like ‘Who’s that with the pope?’”It was the start of a friendship that lasted until Sinatra’s death in 1998. Mr. Mark attended many of Sinatra’s performances and would sometimes visit him at his suite at the Waldorf Towers in Manhattan. At times, during a concert, Sinatra would single him out from the audience.“I love him, and I say that publicly, I love him,” Sinatra said in 1991 at the Spectrum in Philadelphia. “He’s one of the best friends I’ve ever had in my life.”Mr. Mark in a recent photo hosting “Sunday With Sinatra,” which was on the air for more than 40 years.Family photoSidney Mark Fliegelman was born on May 30, 1933, in Camden, N.J. His father, Aaron, and his mother, Sylvia (Pfeffer) Fliegelman, owned a variety store in Camden. The family lived above the store, where Sid got his first taste of Sinatra’s music by listening to his sister Norma’s records. He hoped to one day get a job in radio.He entered the Army in 1953 and served at Camp Polk (now Fort Polk) in Louisiana. His admiration for Sinatra’s music swelled when he listened to his records on the radio at night in the barracks. “Somehow his voice got to me and I realized he knew exactly what he was singing about,” he told Vice. “If he was singing about lonely, he knew what lonely was. If he was singing about love, he knew what love was about.”Mr. Mark stopped using his surname early in his career but never changed it legally.After his discharge in 1955, Mr. Mark got a job at the Red Hill Inn, a jazz club in Pennsauken, N.J., as a talent coordinator. His responsibilities included driving artists like Count Basie and Duke Ellington to and from their hotels. They would often talk about Sinatra, further stoking Mr. Mark’s interest in his music. More important, he was hired around that time as a disc jockey at WHAT-AM, a jazz station in Philadelphia. He hosted a one-hour show called “Sounds in the Night.”One night in 1955, when the station’s overnight D.J. did not show up, Mr. Mark was asked to fill in.“It was a show called ‘Rock and Roll Kingdom,’ and I wasn’t going to do that,” he told The New Yorker in 2021. He asked his audience what they wanted to hear, and one fan suggested playing an hour of Sinatra’s music. “The all-night guy got fired for not coming in, and they kept me on.” Several months later, in 1956, the show formally began its run as “Friday With Frank.”By the early 1960s, Mr. Mark’s popularity in Philadelphia was growing. He was hosting “Friday With Frank” and a daily six-hour jazz show, “Mark of Jazz,” which would run for nearly two decades, on WHAT. He also had a weekly jazz program on local public television.Mr. Mark hosted “Friday With Frank” for 54 years, “Saturday With Sinatra” for about 17 and “Sunday With Sinatra” for more than 40. “The Sounds of Sinatra” will remain on the air and present archival shows, said his son Brian Mark, the executive producer.In addition to his daughter and his son Brian, Mr. Mark is survived by his wife, Judy (Avery) Mark; two other sons, Eric and Andy Fliegelman; and two grandchildren. His marriage to Loretta Katz ended in divorce.The playlists of Mr. Mark’s Sinatra shows did not consist entirely of solo recordings by Sinatra. He also played duets Sinatra recorded with singers like Liza Minnelli, Lena Horne and Sammy Davis Jr., as well as records by Dean Martin, Tony Bennett and Davis.There have been other Sinatra devotees on the radio over the years. William B. Williams emphasized Sinatra’s music on his “Make Believe Ballroom” on WNEW-AM in New York (and gave him his nickname Chairman of the Board). Jonathan Schwartz was known for his loyalty to Sinatra on several New York stations. But with four Sinatra shows, Mr. Mark was probably singular in his commitment.“D.J.s can often be disappointing in person, which was not the case with Sid,” James Kaplan, the author of a two-volume biography of Sinatra — “Frank: The Voice” (2010) and “Sinatra: The Chairman” (2015) — said in a phone interview. “He was physically impressive, a tall, striking-looking guy who had a real warmth. He didn’t have a phony atom in his body, and he had a true love of Sinatra and everything about Sinatra. His enthusiasm was real.” More
- in Movies
‘Worst to First: The True Story of Z100 New York’ Review: An FM Radio Sensation
A look back at a time when “excellence in broadcasting” was taken seriously, including interviews with Joan Jett, Jon Bon Jovi and other stars.It wasn’t long ago that a subset of media enthusiasts took the concept of “excellence in broadcasting” seriously. It was enough of a thing with Rush Limbaugh and his fans that there was a 2010 episode of “Family Guy” sending it up — with Limbaugh’s own participation, even. While the phrase never actually comes up in “Worst to First: The True Story of Z100 New York,” the movie feels inspired by the concept.Directed by Mitchell Stuart, the documentary recounts the tale of one of the last FM radio sensations in New York — which wasn’t even actually in New York. The station’s studio — bought by Milton Maltz of the Cleveland-based Malrite Communications in 1983 — was in scenic Secaucus, N.J. Free-form FM radio was gone, Album Oriented Rock FM radio was on life support and AM radio was embracing talk, so the new Z100 went to a Top 40 format. The D.J. and programming director Scott Shannon, who was known for a semi-gonzo style, came up from Florida to helm the ship.There’s some nice wonky stuff here about how the station’s chief engineer contrived to make Z100 louder than other stations on the dial. A handful of rock stars (Jon Bon Jovi, Joan Jett) rhapsodize about how great it was to hear their songs on the radio. Shannon himself tells a few mildly amusing stories. But the movie’s prefab on-screen graphics are just one reason “Worst to First” has such a limp tone overall.Some Z100 veterans tell a tale of Madonna haunting the station’s lobby in the early ’80s with a quid-pro-quo offer to get airplay for her first single. She may consider her debt paid in full as she doesn’t show up for a new interview here.Worst to First: The True Story of Z100 New YorkNot rated. Running time: 1 hour 4 minutes. Rent or buy on Apple TV, Google Play and other streaming platforms and pay TV operators. More
- in Music
Ralph Emery, the Dick Clark of Country Music, Dies at 88
For six decades he promoted country performers on radio and television, earning a place in the Country Music Hall of Fame.NASHVILLE — Ralph Emery, the M.C. widely regarded as the most popular radio and television broadcast personality in the history of country music, died on Saturday at a hospital here. He was 88.His death, after a brief illness, was confirmed by his wife of 54 years, Joy Kott Emery.Heralded by turns as the dean of country music broadcasters and the Dick Clark of country music, Mr. Emery spent more than six decades on the air promoting country music and seeking to broaden its appeal among audiences with no natural affinity with rural Southern culture.He first made his mark in 1957 after signing on to work the graveyard shift at Nashville’s WSM, home of the Grand Ole Opry. A 50,000-watt radio station known as the “Air Castle of the South,” WSM could be heard throughout the Southern and Eastern United States — and, on clear nights, well beyond them.Only 24 at the time, Mr. Emery immediately distinguished himself at WSM as a low-key host with an intimate, easygoing on-air presence. His informal, open-door policy on the show encouraged his guests, both established and aspiring, to drop by the studio unannounced to chat, drink coffee and spin their latest records.“Ralph was more a grand conversationalist than a calculated interviewer, and it was his conversations that revealed the humor and humanity of Tom T. Hall, Barbara Mandrell, Tex Ritter, Marty Robbins and many more,” said Kyle Young, chief executive of the Country Music Hall of Fame, in a statement. “Above all, he believed in music and in the people who make it.”From 1957 to 1972, some of country’s biggest stars, including Loretta Lynn, Willie Nelson and Merle Haggard, made impromptu appearances on Mr. Emery’s show, its most devoted followers perhaps being the cross-country truckers it kept awake as they made their all-night runs.Mr. Emery, right, with Reba McEntire in 2007 during a break in his interview show on the RFD-TV cable channel. Over the years, he interviewed country music’s biggest stars.Mark Humphrey/Associated PressMr. Emery’s early success on WSM also led to a concurrent slot as an announcer on the Grand Ole Opry, as well as a role as host of “Opry Almanac,” an Opry-themed television broadcast on WSMV later billed as “The Ralph Emery Show.”One uncharacteristically fraught exception to Mr. Emery’s otherwise affable tenure at WSM came in 1968 when the pioneering country-rock band the Byrds were guests on his show.The group’s new album, “Sweetheart of the Rodeo,” unabashedly expressed their devotion to traditional country music, even to the point of recruiting some of Nashville’s first-call session musicians to play on the record. The Byrds’s performance on the Opry before going on Mr. Emery’s show, though, was greeted with a cool reception from the audience after they decided to perform one of their originals instead of the Merle Haggard song they assured the show’s management they would play.None too impressed with their hippie take on country music, Mr. Emery likewise gave the Byrds the cold shoulder. Gram Parsons and Roger McGuinn of the Byrds responded in kind by writing “Drug Store Truck Drivin’ Man,” a merciless sendup in which they characterized the song’s protagonist (a thinly veiled version of Mr. Emery) as a hidebound Southerner.This inauspicious clash with the counterculture notwithstanding, Mr. Emery continued to flourish within country music with “The Ralph Emery Show.” An early morning television broadcast that ran on WSMV from 1972 to 1991, the program featured a live band and earned a reputation for developing unsung talent like Lorrie Morgan and the Judds.A man of unflagging energy, Mr. Emery also hosted the nationally syndicated weekly TV series “Pop Goes the Country” from 1974 to 1980, before reaching what might have been his peak in popularity as the host of “Nashville Now.” A prime-time broadcast that aired weeknights on the Nashville Network from 1983 to 1993, “Nashville Now” for years featured a Muppet-like co-host named Shotgun Red, played by the comedian and voice-over artist Steve Hall.Mr. Emery, right, presented Loretta Lynn and Marty Robbins with plaques proclaiming them WSM’s top female and male vocalists in 1969.Dale Ernsberger/The Tennessean, Nashville Tennessean, via ImagnWalter Ralph Emery was born on March 10, 1933, in McEwen, Tenn., 50 miles or so west of Nashville, the only child of Walter and Maxine (Fuqua) Emery.His father, who suffered from alcoholism, was an accountant. His mother, who struggled with poor mental health, worked as a stenographer and at other jobs to pay the bills. Young Ralph’s happiest childhood moments were spent on his grandparents’ farm.Radio likewise proved an escape from childhood trauma — Mr. Emery’s “surrogate family,” as he put it in the first of two memoirs, “Memories” (written with Tom Carter), if not a career path.After his parents divorced, Mr. Emery worked as an usher in a Nashville movie theater. He also stocked groceries in a local Kroger store, paying his way through the Tennessee School of Broadcasting.“I practiced and practiced, in school and at home, talking and listening real hard to myself to rid my speech of its horrendous regionalism,” Mr. Emery said in an interview for his bio for the Country Music Hall of Fame.Perhaps inevitably, Mr. Emery tried his hand at recording with “Hello Fool,” an answer record to Faron Young’s “Hello Walls” that reached the country Top 10 in 1961. He also made an album, “Songs for Children” (1989), with Shotgun Red, his co-host from “Nashville Now.”Mr. Emery, right, was inducted into the Country Music Hall of Fame in 2007 with, from left, Mel Tillis and Vince Gill.John Russell/Country Music Hall of Fame, via Associated PressMr. Emery also appeared in several B-movies, including “Nashville Rebel” and the “Girl from Tobacco Row,” both from 1966.Mr. Emery continued to host country-themed programming into the 2000s, perhaps most notably, “Ralph Emery Live,” a TV production, later renamed “Ralph Emery’s Memories,” that aired on cable from 2007 to 2015.Mr. Emery was inducted into the Country Music Hall of Fame in 2007 and into the National Radio Hall of Fame three years later.Besides his wife, he is survived by three sons, Steve, Michael and Kit, five grandchildren and seven great-grandchildren. Mr. Emery was married several times, including a brief union with the singer Skeeter Davis from 1960 to 1964.“I’ve always tried to bring respect to country music,” he said in his bio for the Country Music Hall of Fame. “I’ll be very content if people can look on me and say, ‘He brought dignity to his craft,’ or, ‘He brought class to the business.’” More
