 But I'd like to go beyond the book now and bring on my special guest for today, a person who worked inside Radio 4. He probably stopped counting the decades, but certainly he had a long, long string as our number one disjockey here in San Francisco from 1973 on his arrival to KFRC until he left in 1986. Would you please welcome the one and only, the real Dr. Don Rose. Okay. Well, first of all, people want to know, are you a real doctor? Put this to you first. Well, I've got lots of lines to go with. I actually, I was always at the foot of my class, so I became a chiropractor. No, I was my name and then I use now my real name is Don Rosenberg. And when I went to Omaha, Nebraska in 1956, seeking my fame and fortune, the manager of the station said, that's too long. He probably could have also said, that's too Jewish. But he didn't. And I'm not Jewish. So he said, well, shorten it to Don Rose. And he says, you know, your initials are D.R. We'll call you Dr. Don Rose. That saved me many, many years of study, thousands and thousands of dollars. A lot of time. And I never was that much of a scholar anyway. So, so it was a gift. But how did you really feel about this? So I mean, here you are, you're a guy with identity. You have your name and now you're getting this professional. You finally get to say your name on the radio. And here's this guy saying, yeah, but your name is different now. Is Dr. Don Rose. Well, how did that? Well, for a lot of years, I used to say, I'm Dr. Don Rose until nine o'clock after that. I don't know who the hell I am. So. Oh, you know, it was it was great until mom and dad came to town. And they said, your name, what happened to your name? And they were really upset about it. And I explained to them that it didn't. I was still Don Rosen. And in fact, to this day, I still am. So maybe I was right. You I told I told about how you told me years ago, how you got fired three times within about a year. That's right, early in your career. But the fact is, too, that it doesn't matter how successful you are. You had a long, wonderful run in San Francisco and it ended rather unceremoniously that you still think about the way that happened at KFRC. Well, you know, those things happen, you know, everybody else in practically any occupation that you can think of at the end of their tenure, they give their notice, they're going to retire and they get a gold watch or something. And they have a nice little dinner. Yeah, I was given five minutes to leave. But as they say in the business, they tied a can to my tail. But we should say it was not because of ratings beginning to decline or anything like that. The station had changed formats. True. And it was it only made sense. I mean, if you're going to play play that kind of music, then you don't want a disc jockey that's known for his rock and roll. Although you did stay on and still maintain, I think a pretty good audience with the first part of Magic 61, the new format. Let's see, no, it was 80 86. Yeah, right, right. And then you moved on and and that that was it. That's where they got the expression. I was 86. Oh, that's how that happened. I mean, put that in the next edition of the book here. Say, by the way, now, I noticed you said you had 75 interviews. Yes. And I'm thinking, let's see, 2795. Should be interview. My part should probably come to about 34 cents a book. See, I do. I do have something. Oh, man, you drive a hard deal. You are a doctor, aren't you? But what we were talking about, about the stress and strain of being a disc jockey is that something you yourself felt a lot of even after attaining solid success in Atlanta, in the Philadelphia and San Francisco. Or was there always pressure on you? I would have denied it. And it was the kind of pressure that maybe I just was, you know, blinding myself to that and denying it. But for many, many years, I said, I'm going to go in. I'm going to close the door. I'm going to do my show. I'm going to get up. I'm going to walk out. And then I'm not going to worry about it till six o'clock tomorrow morning. If something isn't right, somebody is bound to tell me. And could you do that really? I think a lot of people say, how can these top 40 disc jockeys or in many other formats to sound so happy and like so carefree on the radio, just laughing, telling jokes, then nothing's going wrong. And in their private lives, it must be moments. You have kids, you have family, whatever it is, ups and downs on various levels. You can really just shut that off for those three hours. I owe that all to that young lady with blonde hair back there because in the fifth row, she gave me a life. Radio gave us an income. But Kay was the one that gave me a life. And I would come home and it would be she would guard our privacy very, very jealously and and our friends. And I hope this doesn't sound snobby, sure, anything. But our friends were not usually radio people because we found through the years that they would come and go and you wouldn't want to lose your best friends every three months or four months. So so our life was was a little bit different. And I didn't even realize this until many years later, Ben. But Kay had the important job in our family because we have five children and because of her her efforts, they turned out great. In fact, one of them is sitting out there now, my my son, Jay. And he's the chief engineer at Camel and his wife, Laura and Jillian and DJ. And Rosenbergs, I hear. Yes. And now this is one fifth of the original five. We now have, let's see, five children, four spouses, eight grandchildren. Wow. So, you know, my my last paycheck was 10 years ago. But the dividends just keep on coming from the family. Well, are you saying that they're giving me 34 cents of every dollar also? So remember, when you buy those books, that 34 cents. That's right. Feeding a lot of mouths here, folks. Yes. What about them in terms of judging your jokes? Would you ever try your jokes on Kay, for example? And she would say, yeah, that's great. Or say no, no. No, Kay was very honest. The only problem with asking Kay's opinion is she'll give it to you. Not what you want to hear necessarily. Well, how did you get into the jokes in the first place? A lot of DJs tell jokes, you the humor or whatever, whether it's ad-libbing or reading from a joke collection. But you just said there's just endless jokes, one on top of the other. Every day you would bring in five pages of stuff every shift at one point. And you must have had a collection of, I would imagine, tens of thousands of jokes. I probably over a million, actually. Wow, files and files and files of them. And would you write many of them yourself or were they clipped from magazines or told to you by listeners, I guess, from all sources? I didn't do much myself. I had a number of people that wrote things for me. In fact, there's a gentleman here that works for Jay Trackman. And I met him a little while ago. And he was one of my suppliers. And I had a clipping service from newspapers. And but it was always it was always a real test to to cull out the material and to make it topical. And right. And so, you know, if there were a few stinkers, then that's why. How would you know if there was a stinker? What what what you don't hear the immediate response of a studio audience necessarily, except maybe an engineer or a traffic person, that kind of thing. How would you know when one failed? That's a good question. I don't think anybody really knows. But the one thing that worked for me, I would have maybe three gags and one of them was decent and two were poor. So I would tell all three at the same time, start off with a weak one to set people up and the second one would force it. And the third one would mow them down. And by the get to the third one, they forgot that it wasn't funny. You came into San Francisco, which is considered in 1973 a pretty sophisticated hip market. And you come in with this, you know, as I just we just said, a barrage. Oh, absolutely. Sometimes cornball jokes. But you made an assessment of the market that was kind of interesting to me some time ago, was just your view of what you tell us. You tell how you felt when you came to San Francisco. Everybody else came to town and they tried to go San Francisco out. But you know, San Francisco is less than 800,000. There are five million people in the area. That's a pretty small percentage. So I did it the opposite way. I completely ignored San Francisco and went to Hayward, went to Stockton, went to Benisha and and a lot of dumb towns. Oh, and I mean that in a charitable way. For instance, Pacifica. I used to love to pick out a dumb town. Yes, Pacifica. Pacifica is where you see hitchhikers and they're they hold up signs that say anywhere but here with a sign at the edge of town. It says now leaving Pacifica, resume normal behavior. The mayor of Pacifica has a personalized license plate. It says, Oh, what were their peak years at KFRC for you? Did you come in and instantly take over the town? Or is it a matter of getting yourself and worked into the well, my recollection was that the morning show was seventh when I came to town. My first book, it was fourth. And then the next book was third and second. And then first and it took about a year, one year. Yeah, sure. What was KFRC like? There were in the industry some Scuttlebutt that KFRC was a place where there might be some excessive behavior in terms of drinking and and drugs and all of that. It was in a state of change really, Ben. The old KFRC where they smoke dope in the record library and things like that, it was gone. And Bill Drake always ran a very strict ship himself. And the program director, Hal Martin, whose real name is Michael Spears, was a very, very straight arrow guy. And pretty soon the whole station was more like Michael. And more like me, I'm really a very mild-mannered guy. I have heard that at KFRC. There's a microphone around. And then I lose control. I heard that at KFRC today there is no more smoking dope in the record library. They have to do it outdoors now, you know. Oh, that's right. Very good. I like that. Dr. Dunn, could you fit in with today's radio? Do you think, given this increasing reliance in the view of many people on shock and crude humor and even vicious, cruel humor, could you fit in? No, I don't think so. But you'd be a refreshing alternative. The problem is there was an old radio show when you were putting that little plastic piece in your ear called Can You Top This? And that's what's happened to radio. Somebody says something outlandish. Somebody else has to top that and top that and top that. And that's a game I just wouldn't play. In fact, I would back off and I would be the opposite. But my thing was always be an alternative. And you were successfully, when you came to town, did you know of the history of San Francisco radio announcers that you followed, for example, Don Sherwood? Would you hear of him as a kid or were you living or when you began to work in radio? Well, you would have to be on some other planet not to hear about Don Sherwood and his antics and they worked very well for him. Unfortunately, they also, in the long run, turned out to be a kind of a downer for him. And you know what? That's the word I wanted to say. You're a braver person. It killed him. I got out of radio with my soul intact and without owing what I owe or the fans and there are a lot of people here that I met tonight. And I get really, really emotional when people tell me that I affected them in some part of their life. Well, that's the magic of radio, to have that intimate contact with people you don't even see while you're having that contact with them. And you become a part of their daily habit along with the paper and the coffee and whatever else. And it's good to have you as part of the family. I've got to, besides the paychecks I got, I have a nice little sheaf of letters from people. And one in particular, I think I was a lady from San Jose and she wrote me and said that she had two children. They were small. They lived in a one room little flat in San Jose and she would cook their beans on just a little external canned heat stove. And it finally got her down and a lot of bad things happened to her. She said she got in her car one day with the idea that she would get up to as fast a rate of speed as she could and then hit a bridge abutment. And something I said took her out of that mode and she said I'm OK now and thanks. And that was worth a year or so. Oh yeah, many years, right. I've heard that story or variations on that story too from other disc jockeys and other parts of the country and it probably applies to different parts of the world. Again, that is part of the magic of the medium that we're lucky to be a part of. I'd like to open up to your own thoughts and questions. I believe Laura here at the library is going to help us facilitate this by taking a natural microphone because this is actually being videotaped as you may have noticed. Oh that's right, I forgot. You're just so natural. Sure, have a sip of water. Hey, that's water. Dr. Don, I'm a native of Philadelphia and I remember you from my high school days in the mid-60s. I can't recall if it was WIBG or WFIL. WFIL, please. Oh yes. As I recall, there were two disc jockeys named Long John Silver and George Michael. Long John Wade. Long John Wade. Actually. Yes. And George Michael, I can give you an update on him very quickly. If you ever watch NBC at 11.30 on Sunday night, he does the George Michael sports machine, which was his great love. In fact, when he was at FIL, what he really wanted to do was be a baseball announcer, a play-by-play announcer, and he got to realize that ambition and was the play-by-play announcer for the Baltimore Orioles for a few years. So it is one and the same when I hear that name. Right. That's the same. And I see him every five years when I go back to Philadelphia for a radio greats reunion. And when they run out of greats, they ask me to come back. As for Long John Wade, we always used to call him Long. He was tall and he was very, very thin. And he was very nervous. And he carried a pistol with him. Now, that probably didn't get in your book. But the guy was just insane. I'm just crazy. One of the real zanies in the business. And life was not good to Long John after that. And he got into some difficulties for carrying that pistol around. I don't know what he's doing now. I guess he tries to get back into radio occasionally and it's one of the saddest things, I guess, is when you realize that it's over. It's not coming back. All right. By the way, there's a really good air check of you and Charlie Van Dyke on KFRC from about 1974. I think it is on a website called realradio.com, which is filled with all kinds of really, really great air checks. Oh, how about that? R-E-A-L? I think it's R-E-E-L. Yeah, it's radio. R-E-A-L.com. I'll remember that. Yeah. Wonderful. The circumstances of that, Charlie was doing the morning show at the RKO station in Los Angeles, K-H-J. And that year, the Dodgers were playing the A's. And of course, we had to have a bet. And the loser would have to come to town and push the winner around in a wheelbarrow. And of course, they got thinking, well, he's in town anyway. Might as well get him on the radio. So Charlie and I did a show. And then we went to, there was a little Korean tavern around the corner from K-F-R-C, up an alley, actually. And we sat in there for a couple of hours getting to know each other. And Charlie's a neat, neat guy. OK, what I wanted to ask, though, is. Oh, I'm sorry. OK, that was a warm-up. Great story. And it does a great air check. A lot of people talk about the Bill Drake years. Being the best years, you know, top 40 radio and all that. But if I'm not mistaken, you came to K-F-R-C at the end of the Bill Drake years after they canceled the contract, which I think was actually the golden era from about 72 on. So you weren't, you didn't work with Bill Drake at K-F-R-C, did you? No, no. He was out. And the program director for the chain was Paul Drew. And there's an exciting story in itself. Paul and I worked in Atlanta together. And he had done a sort of a Bill Gavin-type sheet called the Southern Music Survey. And I think he might have worked with, I know, Bill and Paul were great friends. Oh, yes. Paul Drew was Bill's first subscriber on the radio side. What year was that? Oh, 58. OK, because I became a correspondent when I was in Duluth, Minnesota. Duluth's a great town. You go there and the first thing you see is a dog frozen to a wheel of a car. So remember all these. What a weird filing system. So Bill and I were friends at the start. And then he became program director. And he thought I should fit into this nice little mold. And I thought I should be everywhere, but that nice little mold. And every day what he hated the most was dog and fire hydrant jokes. So every day I would come up with some variation of the dog and the fire hydrant. And he would get just furious. And he would have fired me, except Kent Burkhard, who was the manager of the station, liked me at least that week. Bill drank himself as a morning man at W-A-K-E in Atlanta alongside Paul Drew. So it was Paul Drew. We got to be friends again after we left. And he came to Philadelphia. And we beat him soundly. And then in the end, he said, Don, you're right. And he was a big enough man. He took Kay and I out to dinner, along with Tony Taylor, who was another disc jockey. One of the quicksy tigers. And he said, you were right. The morning show is different. Whatever works in the morning won't work the rest of the day. Whatever works the rest of the day won't work in the morning, which I had always said. And so then later on, I'd had some surgery in Philadelphia and spent nine months in the hospital and came out with a leg that was that much shorter than the other one. And things were not very good. And I got a call from Hal Martin saying, he laid out an offer that on the surface was twice as good as what I was doing in Philadelphia. And the only reason I didn't say, OK, I'll take it was I had to see what was wrong with it. So Kay and I flew out and found out there wasn't anything wrong with it. Except a dumb town, Pacifica. Well, they didn't get me in Pacifica. They heard you. They heard me, all right. They just didn't get me. I smelled that one a long way. When you came to town, by the way, when you immersed in a warfare with KYA, we have a couple of guys here from radio KYA 1260, Rustam Moose and Tommy. And Russ and I have become good friends. It took a lot of years. Congratulations, Russ. But how was that for you? Did you feel like I'm part of the KFRZ team now? And so there would be fist fights at the Henry Coast, or was it like that? I knew it was like that in the 60s sometimes. That was the way it was in Philadelphia, where we hated WIBG and always were doing one upsmanship on them. One of the reasons we beat them was because we played the seven minute, 19 second version of The Doors. Like my fire. Like my fire. Yeah, and they were sold out commercially. We had no commercials. We could do it. They were sold out, so they had to play the short version. And that whipped them. It was one of the things anyway. So the kids all came to you because you had the long version. And then after you finished it, well, let's light that fire again. What the hell? We got nothing else going on here. No, you say, so nice. Let's play it twice. Any other questions here? I think Laura's left. No, there she is. She probably fell asleep. Yes, sir. Oh, there she is. Well, a little free form here. Ben, you're dry-wit. It takes me back this idea of kind of oral history and hipstry that you're doing. I go back to a crystal set under my pillow, with my head under my pillow, but listening to XERB, a clear channel out of Mexico. And I remember hearing about Wolfman Jack and hearing that voice for the first time. And then being told somehow, when I began to meet a few people, also used to listen to XERB out of where was it out of across the line of Mexico. It's across the El Rio, Texas. The El Rio, Texas. I was told, in fact, he was a Jewish guy named Jack Wolfman. And I was amazed to find indeed he was a white dude for sure. And that was a little earlier. I think this is like the middle or early 50s, wasn't it? Wasn't it? And so he had come in effect. So far, you're wrong on about three things. His new name is Bob Smith. No, I don't. He was originally a country DJ. He was originally a country DJ in the South. The XERB out of when I heard it under my pillow, it was out of Chula Vista. Remember that town? Chula Vista, baby. Yeah, I think the studio was there. And it was in the mid-60s that he actually came on. OK. Yes. So we're talking about later. And the same thing with KSOL on but with, in fact, the later Sly Stone, who is Sylvester Stewart, then it was being listened to. That's right. There was another parallel, another thing. Yeah, Sylvester, you know about Sly Stone, right? Sure. As a young production and musical genius in San Francisco, that he got himself a job at the early version of KSOL when it was on AM radio, on Market Street, and just tore the town apart. I mean, he was just such a natural talent man. And he was a musician, so he would bring in his own keyboard and play his own music while on the air. Why not? He sounded better than many of the records that they were forced to play. He wrote his own jingles and had musician friends come in and hang out. It was a scene. They moved on to KDIA with a bigger signal and then moved on to his own music career, Sly, and the Family Stone. The reason you could pick up XERB? Yeah, XERB was because they broadcast with 250,000 watts, which is five times more than you can do in the United States. So you could get them on the fillings of your teeth. And nobody would go within 50 feet of that transmitter when it was on. You could carry a fluorescent light bulb up and it would light up. I mean, that's telling you something. That's why they had a dental insurance program at XERB. So this was the early 60s then with XERB and Wolfman Jack and that whole crew of breaking rhythm and blues to people I'd never heard of rhythm and blues quite like that. Well, you could say that, but I would say, too, that in most metropolitan cities, there would be an R&B station or two. We were in Minnesota. Oh, Minnesota, well. That Minniap? Yes, well, I'm sorry to hear that earlier. I'm talking about earlier, I think. But in San Francisco and Oakland, we did have wonderful stations here. Well, here so. Oh, well, before top 40, with KWBR and the early KSAN on AM, of course. Anybody else want to take the microphone? Just a moment for the microphone, please. Well, I don't think I need it. Oh, yeah. It's for the television. Oh, yes. You look great. They're getting a side shot. That's right. Make up, please. Being a native San Franciscan and listening to KWB, KYA, KFRC, and KMPX, KSAN, and so forth, can you elucidate more on the sterling qualities of a DJ and what assembled your compatriots here in the auditorium? Have in common. They're nuts. Well, that's a prerequisite. That's a given, yes. OK, Dr. Dunn. I never did it like the rest of the guys. Oh, of course, you're the singler and you need to. I broke every rule in radio. I remember one morning when he was still Hal Martin, it was Reverend Dave, it was Elvis Presley's birthday. So I played Heartbreak Hotel. And he came storming into the station. And he said, why did you play that song? It's not on our list. And I said, well, it was his birthday. And he said, why didn't you check with me? And I said, Michael, you would have said no. That's right. And he said, good reasoning. Oh. That was the end of it. He never said a word after that. On top of what the good doctor has just said, I'd like to offer my own thoughts about that. And that is that just as singular as he was and is, that would be the answer to what made a good sterling disc jockey. They were all unique in their own way. They all had particular things to offer. In this room, we have another singularly unique character, Rustam Oosir, who when he was banished to the all night show took it. He seized the opportunity. This is freedom. They can't make me get any lower than the basement at the well-known called the all night show. So I'll just turn it into something wild and whatever I want to do with it, I will do. Tommy Saunders was known for his dry wit and was regaled as the Terry Southern of Top 40 radio by none other than the esteemed jazz and pop critic Ralph Jake Leason of The Chronicle. Dave, the Duke Sheldon, is and was known for his superb ears. He could pick hits better than anybody else in radio in his time of doing it. He's still doing it right now in his capacity as a promotion man for Island Records. And he spent years as our Top 40 editor at Gavin Magazine. And I think I mentioned Kenny Wardell is here. On the other side on the FM, again, a passion for the music. But I would imagine that there was passion for both music and radio that could be shared by all the guys I've mentioned so far and all the people have done good radio. Not necessarily. Right, Tony Pig. I have a second question that I may. I used to say it was advertising art directors that went to the elephant's burial ground. And I think what happens to DJs as you either, you gentlemen said earlier, that their time is, what happens to the DJ at that point? Well, first of all, they're the last to know. When it's all over, somehow that doesn't get back to them. Well, I always used to say, somebody would come up and say, how do you get into radio? And I would always say, I'll tell you how to get in. If you'll tell me how to get out. And it took me 33 years and 28 days to get out. And I wanted to get out before I hurt somebody. Again, I think it's different with pretty much every single individual. There are those who plan for it and begin to expand their boundaries while in radio by doing, say, voiceover work, looking for opportunities elsewhere, and pursuing other skills and vocations. And then there are those who would only know to do those three hours and then are totally unprepared what has to come next when you're out of the studio. So it's a wide, wide variety of responses. I just wanted to ask. I'm not quite clear how much control this jockey has over what's played and what isn't played. Whether that's changed quite a bit. It's different from different format stations. And when stations used to be a bit more eclectic and then became very specialized, and then some were trying to be a bit more eclectic again. Well, the rules changed through the years. When I first got in, disc jockeys were free to pick and choose from among the records that the station was playing. I think most top 40 radio had a playlist. And you had to stick with that. But then everything you played in the last hour, you would put in a special place. And that meant that the disc jockey coming on couldn't play it until an hour had passed. So you could hear a song as frequently as an hour and two or three minutes. And then things changed. The last years at KFRC, we would get our music list in the order to play them from a computer. Now, you came in right at the time of the Congressional hearings on Payola. And that must have also caused a dramatic change in the way disc jockeys either picked or had to place already pre-selected records. Not for me. I was working at stations so small then that Payola was never offered. So it never became a temptation for me. Wait a minute. One time, I was offered $300 to play a record by a star. And I didn't do it. That's it? That's your Payola story? Oh. It's not Jerry Lee Lewis, actually. Well, I worked at the station. It was so bad that they paid us money not to play the records. I didn't play all that many records at KFRC. I would tell funny stories and things like that. That's right. OK. After KFRC, I believe you bought out or you wanted to go into a partnership. I guess the radio was not in your blood entirely. You bought the KKIS, I guess it was, in Pittsburgh? In Concord, yes. Jay was chief engineer of the station, and he kind of got us together. And we tried it to make a long story short. We actually got ratings. I think we had a 2.3, was it, Jay? Something like that. For a little station in Pittsburgh, that's a respectable rating. That will get you some national business. That's not a dumb dumb, obviously. And the guys didn't know how to sell it. So that was the end of that. And the other thing was, thank god we got our money out. And I think the 50 years or so or maybe 40 something years that that station has been in business, I think it's the highest rating it has ever gotten. In fact, for most of its history, it has never even shown up in the ratings. And why did you ultimately get out of it? Out of anything having to do with radio? I'm assuming that you're totally out of it now, right? Yes, yes. My last show was Groundhog Day, 1988. There's got to be a gag in there somewhere. No, I left it in my other pants. And I got in to do my show. This was a K-101. And no sooner got on the air than all of a sudden it was like pow, right in the chest. And it was like, I described it as like a truck parked on my chest. And help me out, Mike, who was my engineer is Brian. Thank you. Thank you. Brian Lee was my engineer. And I didn't know this until tonight, but he said it was the scariest moment of his life because he was watching a man die on the radio. Usually died on the radio. But this time it was in a different way, not a good way. Not in a good way, no. But I was new to the station. I didn't feel that I could say anything about it. I wanted to leave my options open. So I finished the show, drove myself to the hospital, and spent 11 days. And that was it for your radio career? And then my doctor said, if you don't quit, next time I see you, you'll be on a slab. And that was it for you? Never looked good on slabs. Good sound quality, though, bouncing off the slab. Oh, too live, too live. But you know, we've said here in no uncertain terms of how passionate the people who are in radio and do well are about being on the air. That must have been awfully tough for you to make that adjustment. Would you just start telling jokes to your family or call friends and start doing your stuff? OK, do I still tell dumb jokes? Somebody sent me a piece of email the other day that one morning, Kay called, and I put her on the air, and I said, is this my Kay? And yes. And how did that work? You read the story a couple of days ago. Somebody, oh, I think I asked you how I'm doing it. You asked me how I was doing it. And I said, oh, I'm about 60%. And what did you say? About normal, yeah. No, Kay always kept me from flying too high in the sky. She would keep at least one foot firmly on the ground. She could have that balance. Not necessarily on the other one. We have time for really one more question, Laura. Well, I have one question for Don. First of all, it's really nice to see all these radio legends here. Tommy Saunders, what happened to all that blonde hair? 25 years ago, I used to work at KGO television. And Tommy was in real underground radio. Remember KSFX? He was in the basement. He was in the basement at 277 Golden Gate. And I was in guest relations up for Jim Dunbar's AM show. I used to bring Tommy Bagels. Remember? Yeah. 25 years. But Don used to have a telephone number you could call it. Every morning, I was a teenager. I used to call it. They called it the smile-a-thon. Sure. He always had a joke every day. I'll never forget that number, 9828778. Every morning I called that. Whose idea was that? I would always do that three jokes. Three is the magic number. Remember the set-up, the reinforcement, and then the mow you down. Where did you get the material for that? Because I mean, it was fresh. Every day I would call that thing. Something from my show. I know a lot of people really enjoyed that. Thank you. And I was really sorry that when all of a sudden it disappeared. And I called Monday and this number has been disconnected. No. Well, so was I. One thing, and one question for Ben. Are you ever going to do a whatever happened to? To who? What? When? Whatever happened to mile a minute, Tom Campbell? Oh, you know that question came out, tall Tom Campbell. Yes. Yeah. I think he's gotten a little shorter, and that's about all I know. I don't know what happened to him. Well, he went on to voiceover work, I know that, for a chain of stereo stores for a number of years. I don't know. Well, that was Matthews. Matthews to me. Totally. We all remember what happened to Stephen David, and then he did Roger Butcher's comfort zone, and he did a lot of work for AFRTS down in Los Angeles. He always used to call me from LA. I've been here doing the show. Yeah, a few years ago I was in LA, and there he was, on the radio there. On radio there. So that's what I mean. He had a beautiful house up in the Oakland Hills, and then he was also a ham radio operator, too. And the last time I looked at the call book, his call letters disappeared. I've always wondered, you know, whatever happened to Tom? Well, I think you answered the question better than we could have. I have no idea. But that's a good question. We're out of time, so I just want to thank you for being here, and especially thanks to all the friends and DJs here, and to Dr. Don Rose for a 13-year smile-a-thon on Bay Area Radio. Thank you very much. I just say one thing. Yeah. Yeah. I met a lot of people tonight for the first time. I've heard your stories. They all registered. And I thank you. I thank you for coming. I thank you for providing the living for Kay and I, and our five kids. And I thank you for a life that has been greatly blessed. Thank you, Dr. Don. I'm going to thank you. Thanks again, Don. I'm going to stick around and sign some books. And perhaps Dr. Don will sign my book. Why not? So if you'd like to have that happen, just come on by. And I'm sure he'll do that. All right. Thank you again for being here. Hey, a 34 cents a copy. I can't miss.