Would the world miss DJs?
The Rest Of The I.R.S. * “Pop” on B'way
HzS
Gd
“Fighting to stay free” #154...May-June 2011
And now, ladies and gentlemen…
…it's come to my attention that this header may be inappropriate in this ever changing world in which we live in (thanks, Paul McCartney).
When Bill Drake said it, “now” referred not just to “this moment in time” but to a young (or, wanting to be young) way of thinking and a faster-paced lifestyle, both of which drove the format of his stations. To be “in the now,” all you had to do was listen to the radio. You didn't need to call the station on the phone, write a letter or watch anything on TV. All you needed to know (or, more accurately, all Drake felt you needed to know) was on KHJ/KFRC/WRKO/OR-FM etc. The ratings proved that was enough for the “now crowd.” While you could have been “multimedia,” you weren't out of touch if you were just “unimedia.”
That was “now” then. So what's “now” now? A lot more, for sure. The station in New York with the “Now” handle plays up their website, Facebook page, Twitter updates, links to music videos, ways to listen on your phone, even the news (like on May 1st). I don't recall any mention of an actual radio anywhere.
In 1967, you could go away for a couple of weeks, and when you came back, you were still part of the “now.” These days, most of us never really go away: we can check in from wherever we are, every day, every hour. If you're online, you know that things change every day, often every hour.
This is why Hz So Good and “now” in the same sentence is, I admit, somewhat ridiculous. At least five weeks have passed since the last Hz, meaning we've missed out on 35 days worth of stories (I never got a shot at “Friday”!). There's no online platform, no place to post reactions, no social network presence, no immediacy whatsoever. That said, it's amazing how many of you seem to be, in this day and age, ok with all of that.
I've flirted with the idea of giving Hz an ongoing presence online and always pulled back in fear of how much time that would involve. But the more things change, the less relevant Hz becomes, and, well, the more flirtatious I get. So you never know.
Meantime, I thank you for remaining a part of this “now,” even as the information world runs ever faster. Sometimes it's nice being the tortoise and not the hare.
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Would the world miss DJs?
For most listeners, music-based radio is a passive medium. Always has been. If I had to guess, I'd say that clever line the drive time talent just said was missed by at least 85% of those tuned in. And lately it seems the other 15% are wondering what they are missing elsewhere.
While it may be true what Mike + the Mechanics sang - “every generation blames the one before” - it's also true that every generation influences the one before. And this latest generation is re-educating the one – or ones – before about how to listen to music. As in, you and not someone else can control it: you can play it when you want and hear it however you want. And maybe hearing it brought to you by some girl or guy sitting in a studio somewhere isn't want you want after all.
While this is happening, we – as in me writing this, and you reading - know there's an art to talking around, in and out of, music. We understand the art and precision of hitting a post, creating a witticism and delivering it just right, educating the listener about the music itself, and doing all of it for an unseen audience. Some may feel any or all the above is a DJ's raison d'etre.
Two disturbing things I see happening. One, younger listeners are less aware of what a DJ is capable of. Two, which is really disturbing, those who do remember and are aware don't seem to want that anymore.
It's been so many years since personality Top-40 or freeform ruled the airwaves that few are old enough to draw a timeline back to a Don Steele, Scott Muni or Frankie Crocker. Even if they could, the rules have changed. Most listeners like a DJ who is engaging, but on their terms: tell me what I need to know, then shut up and let me enjoy the tunes. Steele, Muni, Crocker and really anyone from the Mesozoic Era of DJs answered to no one. They were entertainers first, it was their show.
Pause to focus on that last word: “show.” When radio personalities were bigger than the music they played, it really was their “show.” You knew, and it mattered, who was on your radio and at what time.
If the person on the air is nothing more than a 'format executor,' where it doesn't matter who's on, as long as the sound of the music is consistent – and if off-air listening continues to be DJ-less (and no, I'm not counting jingles as personality) – then, would the world miss DJs if (and, shudder, when) they're gone completely?
This isn't a piece I've wanted to write. But the more I punch buttons looking for someone with something to say who isn't doing a phone bit or slamming the current administration, the less I hear an actual disc (ok, outdated word, but whatever) jockey.
The girl or guy who can say something – to borrow a current phrase - “sticky” around a song, is an endangered species. I'm old enough to realize that, and maybe you are too. But do most people in the big money demographic care? Or do they just take DJs for granted, assuming they'll always be there, even if they're tuning out?
I'm surprised no one has started SAVE THE DJ. While that happens to be the name of a digital music DJ promotion group, the dotcom isn't claimed yet. Sounds to me like the type of thing past and present radio on-air people would band together for, especially to ensure the future of human beings on-air. If enough noise was made about how important music radio personalities are – as entertainers, educators, spokespersons and curators – TV, print and online media would take notice and get the word out. If people knew how riveting and fun live radio could still be, it just might turn around things.
We can dream, can't we?
EVERY The Great White Jukebox
LITTLE The curtain raises, and we see a basement decorated in early 1976. Lots
BIT of orange. Four teenage boys in rock band t-shirts and flare pants surround
Hz Joey, asking him about the party they weren't cool enough to get into. “Well, it was like this...” Joey says, and there's a pause. And then he tells them, in song.
“Everybody was kung fu fight-ing
Those kicks were fast as light-ning
In fact, it was a little bit fright-ening
But they did it with ex-pert time-innnng.”
Needless to say, the next time that chorus comes around, Joey's gang responds to each line with tightly-choreographed “huhhhhhh!” kicks.
This is Pop of Aged, the mid-70s Midwest's answer to Rock of Ages, which opened for a limited run on Broadway May 12th. You probably haven't heard much about it, because all the attention has been focused on Baby It's You, the early-60s music-al about Scepter Records' Florence Greenberg. But Pop delivers start-to-finish, stringing together songs you never thought you'd want to hear again, let alone hear in a Broadway musical.
Joey doesn't get to re-live that party too long, as girlfriend Julie has skipped cheer practice to see her doctor. Before she can tell him anything, Joey breaks into
“You're having my baby
What a lovely way of saying how much you love me”
Joey envisions a future with Julie. After all, best friend Billy's engaged to Angie, which he discovers while the two dash naked across the football field.
“Oh, yes, they call him The Streak
He likes to show off his physique”
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Joey
and Billy “Kung Fu Fighting” in Pop of Aged.
Julie's father, a former Chicago cop turned truck driver, already doesn't approve of Joey, but catching him streaking while with wife Ethel makes things worse. Julie tries to explain her dad to Joey, singing of his heroics on “The Night Chicago Died.”
But Julie's relationship with her dad suffers when he doesn't attend her graduation on June 6th because of a trucking assignment, the story of which he retells in “Convoy.” At graduation, Angie, who always carries around one of those Panasonic Toot-a-Loop radios, does not react well to her fiance's decision to join the Marines, in “Billy, Don't Be a Hero.”
Then, tragedy strikes both couples. After Joey learns of Billy's fate in battle, “Angie Baby” becomes institutionalized after the disappearance of a neighbor is traced to her Toot-a-Loop. When Julie's dad finds out about her pregnancy, he threatens to shoot Joey, in spite of her protests:
“Daddy, please don't, it wasn't his fault
He means to much to me
Daddy, please don't, we're gonna get married
Just you wait and see.”
The drama intensifies when Julie's dad shoots her instead of Joey, in this “Midwest Side Story.” But Julie has one more song for Joey before the final farewell.
“Goodbye to you, my trusted friend
We've known each other since we were nine or ten
Together we climbed hills and trees
Learned of love and ABCs
Skinned our hearts and skinned our knees.”
Where was Julie's dad on the 6th
of June? 
Pop of Aged ends on a happier note, as Joey and Angie find love together after Angie is freed and cleared of all charges, at which point the entire cast returns to sing “Life Is a Rock But the Radio Rolled Me.” A perfect ending to a gem of a musical.
My son wrote a review of Pop of Aged for his high school newspaper, and here's what it said: “At least it wasn't Spider-man: Turn Off the Dark.”
The HzLine I.R.S. 2011
I really enjoyed the 2011 version of the IRS...there wasn't an unlistenable dog in the entire 104.. Lloyd Carroll
Love the list... But you are costing me a small fortune buying the unforgottens from iTunes. ;-) Thanks again for keeping the mid chart stiffs alive, Bobby Rich
Thanks for putting this list together. Wow...never fails to shock me to see how many great, great songs didn't do as well as they should have! Andrea Chikofsky
Amazing list (this is the first year I've seen it).Those are all the songs that I will keep an oldies station on to listen to (local or XM) as opposed to changing the station the 10,000th time they play "My Girl", "Can't Take My Eyes Off You” or "I Heard It Through The Grapevine." Great work. John Fox
Amazing list. Even the 80s cuts are prime choices. I could have voted for at least half of the 104. Mark Haft
It was the best 104 ever. More exciting because it was presented over two days.
Great job, Allan Ross
Awesome list, Rich. And thank you for all the quotes. :)
Opus 17 (#52) is basically "I'm OK, don't worry about me. go ahead and have your fun..." I think it was written by Jewish mothers. Evan Marcus
great list! glad to see my Moodies make it {“Tuesday Afternoon,” #88). Next year I hope to see "The Story in Your Eyes", "Question" and "I'm Just a Singer (In a RNR Band) crack the 104 :) Gene Bolan
Always a fun chart, Rich, albeit heavily skewed toward the '60s (74 in total). Was happy to see NRBQ up there (#33).
The only two I vastly disagree with are "In Your Eyes" (#61), which I always thought was little more than background noise, and "Born To Run" (#6), which I've deeply despised since the first time I ever heard it. Chris Granozio
#75 (“Does Your Mama Know About Me,” Bobby Taylor and the Vancouvers) written by Tommy Chong...yes, that one. Bill Cain
#12 RIVER DEEP-MOUNTAIN HIGH/IKE & TINA TURNER....The song that helped blow Pia out of the American Idol competition :-( Johnny Dark
[“Can't Find the Time,” Orpheus (#2) was] my wedding song in NJ in January 1973, and we had to play the record because the band didn't know it.” Name withheld
I really enjoyed listening to the countdown of this year's IRS list - even though only one of my songs made it. (Oh, well.)
I was surprised by your comment regarding WRKO's failure to program "Can't Find The Time", but in checking it doesn't appear to be on any of their weekly surveys. I found proof, however, that WRKO indeed did play it at least once - in 1972: http://wrko.top40surveys.com/wrko_72t300.htm . It would be interesting to find out why RKO snubbed it in 1968 - perhaps it was due to a rival film studio making 'unauthorized' use of the term "boss"?
Likewise with "Ariel" (#32). It could be that it wasn't played on WABC not because they weren't 'friends of BAI' but because they weren't friends of Channel 2. Tom Smith
I grew up listening to WMEX 1510 (I did work at the reincarnation, on 1150 in 1985) and was more than thrilled to see ORPHEUS come in at #2 on your survey. To this day it brings a tear to my eye. The song SCREAMs Boston!
And for the record, WRKO did NOT play it as a hit. It was #1 at WMEX, WBZ and in 1970 WVBF beat the crap out of it. All New England stations played it except WRKO. In about 1974 I remember hearing Dale Dorman one Saturday AM play it on WRKO and him mentioning one of the biggest and most beautiful songs ever to come from Boston. I called him and challenged him that WRKO never played it. When I said I had WRKO vs WMEX and WBZ surveys from those dates that PROVED they never played it, he admitted I was right. He told me they had fights with Bill Drake to play it and Drake's attitude was it was a "local" hit, that KHJ, CKLW etc. didn't play it, and as it was a LOCAL band it wasn't worth playing. He went on to say Drakes attitude was that if WRKO didnt play it then it WASN'T a hit!
As a sideline, when I was at 1150, the PD refused to allow us to play it, claiming it peaked at 67 in Billboard and was therefore a stiff! He wanted to play Rose Coloured Glass. None of us even knew that version, as it was not played in Boston. We later discovered he was from Philly, and that band was from there, and it and not Orpheus was huge there. The airstaff refused to play it, and it wasn't til the day he left that ORPHEUS was added. As that story goes, he had tendered his resignation (the station was not doing well, partly because of the signal). He walked in and said GOODBYE to the middday guy who was also Music director. When he admitted he was no long in charge, the Music director took the "hidden" cart of ORPHEUS, slipped it in the player and aired it, and told the now ex-PD he was an (expletive deleted), and from then on the song WOULD be played!
I LOVE the song and to this day don't understand WHY it was not #1 NATIONWIDE!
Dave Macaulay (Airname was DAVE MACK)
My God, how great was that list? And it's more than because I was either in Boston or New York (or close enough) during most of those years. Yes, we did play Orpheus, but it was played more in N.Y., as I discovered when I replaced my friend Sebastian Stone, who absolutely loved that song. Who didn't?
One correction. Steve Alaimo (“Every Day I Have to Cry,” #43) did most of his singing and living around Miami. When I worked at the immortal WKKO Cocoa (Brevard Co.), Steve and I became friends, and a mutual friend and I would drive down to Miami to see Steve perform (with his Red Caps) and hang out with him. He would later work for Tone Distributers in Hialeah (run by Big Daddy Henry Stone and the boys) and was involved (musically) with KC and the Sunshine Band and other hit acts that broke out of Miami.
Loved your I.R.S. Mel Phillips
I would have enjoyed the show even if I hadn't heard my name, but that made it even better. So I'm thrilled not only for myself, but also for Duke Baxter, who finally made the countdown (“Everybody Knows Matilda,” #59). John Mehno
I got the CDs and I listened to them yesterday during a four-hour drive. Good job! You found some really rare ones in digital format. There was only one song I had never heard before, and that was "Walk Tall" (#54). It was great to hear a lot of those songs again, like Ariel and Pretty Lady (#42). It's amazing how many of them I listen to all the time. I found an Orpheus compilation with all three of their albums on it. They were really good. Ridin' In My Car was a big surprise. I have the album on CD and really like it.
Thanks again. I'm already working on next year's I.R.S. return! Mike Devich
Thanks, pains. I had fun too. But in my haste last time, I neglected to thank a few key folks who were instrumental in making this happen: prize people Jim deYong at www.radiologoland.com and Randy Price (the guy behind the CDs), and Oldies Message Board Chairman Mike Riccio.
Now, if you've wondered “Where did MY song show up?” or “DID that song even show up?” - here are those that coulda been among those that shoulda been. Over the next few Hz's, we'll rank every song listed on more than one I.R.S. form, starting with #s 105-200, on
THE REST OF...THE I.R.S. (part 1)
105. MR. BUSINESSMAN / RAY STEVENS (1968)
106. YOUNGER GIRL / THE CRITTERS (1966)
107. OUR LIPS ARE SEALED / THE GO-GO'S (1981)
108. I HEAR TRUMPETS BLOW / THE TOKENS (1966)
109. GAMES PEOPLE PLAY / JOE SOUTH (1969)
110. SOUL DEEP / THE BOX TOPS (1969)
111. YOUR HUSBAND – MY WIFE / BROOKLYN BRIDGE (1969)
112. SINCE I DON'T HAVE YOU / THE SKYLINERS (1959)
113. YELLOW BALLOON / THE YELLOW BALLOON (1967)
114. WHAT I LIKE ABOUT YOU / THE ROMANTICS (1980)
115. DANDELION / THE ROLLING STONES (1967)
116. LEVON / ELTON JOHN (1971)
117. YOU'RE A WONDERFUL ONE / MARVIN GAYE (1964)
118. NOBODY KNOWS WHAT'S GOIN' ON (IN MY MIND BUT ME) / THE CHIFFONS (1965)
119. IF I CAN DREAM / ELVIS PRESLEY (1968)
120. PATA PATA / MIRIAM MAKEBA (1967)
121. HEAVEN KNOWS / THE GRASS ROOTS (1969)
122. ALONE AGAIN OR / LOVE (1967,1970)
123. DO IT AGAIN A LITTLE BIT SLOWER / JON & ROBIN AND THE IN CROWD
124. WESTBOUND #9 / THE FLAMING EMBER (1970)
125. MY PLEDGE OF LOVE / JOE JEFFREY GROUP (1969)
126. IF SHE KNEW WHAT SHE WANTS / THE BANGLES (1986)
127. GET READY / THE TEMPTATIONS (1966)
128. RESPECTABLE / THE OUTSIDERS (1966)
129. THAT'S HOW MUCH I LOVE MY BABY / THE RACKET SQUAD (1968)
130. I WANNA BE FREE / THE MONKEES (1966)
131. AND YOUR BIRD CAN SING / THE BEATLES (1966)
132. I SAW THE LIGHT / TODD RUNDGREN (1972)
133. GOD ONLY KNOWS / THE BEACH BOYS (1966)
134. WHEN I'M GONE / BRENDA HOLLOWAY (1965)
135. LIES / THE KNICKERBOCKERS (1965)
136. THANK YOU GIRL / THE BEATLES (1964)
137. THE LITTLE GIRL I ONCE KNEW / THE BEACH BOYS (1965)
138. EIGHT MILES HIGH / THE BYRDS (1966)
139. SOCIETY'S CHILD (BABY I'VE BEEN THINKING) / JANIS IAN (1967)
140. CYNICAL GIRL / MARSHALL CRENSHAW (1982)
141. PRETTY WORLD / SERGIO MENDES & BRASIL '66 (1969)
142. I'M DOWN / THE BEATLES (1965)
143. ROLLER COASTER / THE IDES OF MARCH (1966)
144. JUST YOU WAIT / WALTER SCOTT (1967)
145. UP IN A PUFF OF SMOKE / POLLY BROWN (1975)
146. AND THAT REMINDS ME (MY HEART REMINDS ME) / FRANKIE VALLI & THE 4 SEASONS (1969)
147. OH MY ANGEL / BERTHA TILLMAN (1962)
148. DO IT AGAIN / THE BEACH BOYS (1968)
149. COME HOME / DAVE CLARK FIVE (1965)
150. BABY COME BACK / THE EQUALS (1968)
151. WHY DON'T YOU BELIEVE ME / THE DUPREES (1963)
152. LAUGH, LAUGH / THE BEAU BRUMMELS (1965)
153. FORTUNE TELLER / THE ROLLING STONES (1966)
154. WHEN YOU WALK IN THE ROOM / THE SEARCHERS (1964)
155. DIGGING YOUR SCENE / THE BLOW MONKEYS (1986)
156. CYCLES / FRANK SINATRA (1968)
157. WORDS / THE MONKEES (1967)
158. LOVE PLUS ONE / HAIRCUT ONE HUNDRED (1982)
159. L.A. GOODBYE / THE IDES OF MARCH (1971)
160. I LIVE FOR THE SUN / THE SUNRAYS (1965)
161. ABIGAIL BEECHER / FREDDY CANNON (1964)
162. SUAVECITO / MALO (1972)
163. IT WAS A VERY GOOD YEAR / FRANK SINATRA (1966)
164. IT WILL STAND / THE SHOWMAN (1961,1964)
165. LIKE TO GET TO KNOW YOU / SPANKY & OUR GANG (1968)
166. SELFISH ONE / JACKIE ROSS (1964)
167. TILL THE END OF THE DAY / THE KINKS (1966)
168. PLEASE DON'T KISS ME AGAIN / THE CHARMETTES (1963)
169. REVOLUTION / THE BEATLES (1968)
170. ALLENTOWN / BILLY JOEL (1983)
171. DARLING TAKE ME BACK / LENNY WELCH (1965)
172. MAKE ME YOURS / BETTYE SWANN (1967)
173. SEPTEMBER GURLS / BIG STAR (1974)
174. A WALK IN THE BLACK FOREST / HORST JANKOWSKI (1965)
175. I'M ON FIRE / DWIGHT TWILLEY BAND (1975)
176. THE CINNAMON CINDER (IT'S A VERY NICE DANCE) / THE PASTEL SIX (1963)
177. MY GENERATION / THE WHO (1966)
178. HOT SMOKE AND SASSAFRAS / THE BUBBLE PUPPY (1969)
179. SUNNY AFTERNOON / THE KINKS (1966)
180. APEMAN / THE KINKS (1970)
181. PILOT OF THE AIRWAVES / CHARLIE DORE (1980)
182. STAY WITH ME / LORRAINE ELLISON (1968)
183. DOWN DOWN / STATUS QUO (1975)
184. RESURRECTION SHUFFLE / ASHTON, GARDNER & DYKE (1971)
185. TAKE ME BACK / LITTLE ANTHONY & THE IMPERIALS (1965)
186. RAPPER'S DELIGHT / SUGARHILL GANG (1979)
187. PINBALL WIZARD / THE WHO (1969)
188. TO THE AISLE / THE FIVE SATINS (1957)
189. BREAK ON THROUGH (TO THE OTHER SIDE) / THE DOORS (1967)
190. BACK TO THE ISLAND / LEON RUSSELL (1976)
191. ALL STRUNG OUT / NINO TEMPO & APRIL STEVENS (1966)
192. HOLD ON / THE RADIANTS (1968)
193. GOODNIGHT MY LOVE / JESSE BELVIN (1956)
194. SEA OF HEARTBREAK / DON GIBSON (1961)
195. MORE LOVE / SMOKEY ROBINSDN & THE MIRACLES (1967)
196. K-JEE / THE NITE-LITERS (1971)
197. DELILAH / TOM JONES (1968)
198. HARMONY / ELTON JOHN (1974)
199. HERE'S TO YOU / HAMILTON CAMP (1968)
200. SURFIN' SAFARI / THE BEACH BOYS (1962)
And the hits…
STAND IN THE PLACE WHERE YOU WORK If you've seen the WIXY reunion video of the late great Jack Armstrong (like everything else, on YouTube), you'll notice he's standing up while on the air. Go back a few years to KKHR, and in that video Jack's sitting at the controls. Begging the question, is one better/more effective than the other?
Nearly 30 years ago I visited the old WHDH in Boston, where the announcer stood up, telling me he did that because it gave him a better view of the city from the window. A few years ago I got to see Pat St. John work his magic at WCBS-FM's old studio, where he sat down facing a wall. So, it seems to be a personal preference, and standing won't necessarily make you sound better. Then again, I haven't seen that many DJs in action, so for all I know, there's more to it.
So I throw the question out here: when it comes to on-air work, do you, or should you, do it standing up or sitting down? Me, I sometimes find I'm sitting when in “conversation mode” and standing when in “jock mode.” Or, more likely, I'm standing when I don't have time to sit.
“SO LONG” SEACREST Is it me, or is Ryan Seacrest looking more like the young Dick Clark every day?
MARS NEEDS BET Why would Bruno Mars, in “The Lazy Song,” tune in MTV
to teach him how to Dougie? If he's willing to sit through all that non-video
programming to catch that one song, he really is going to waste an entire day.
WHO DOES BRITNEY THINK SHE IS...CHER? Every time Britney Spears comes out with new music – like right now, for instance - someone in the media calls it a “comeback.” Do we have to go through this again? A “comeback” should be defined as a return to success after one or more (better if the latter) unsuccessful projects, or personal issues, after a certain number of years away. A #1 movie starring Pauly Shore, or a top 10 song by Fine Young Cannibals, now, those would be comebacks. But in Britney's case – where not only did her last album, in 2008, produce 3 legitimate hits, but there was a big hit even after that, on a hits package – the girl's barely been away. Maybe Brit has ceded tabloid space to more colorful bad girls since then, but does that define “comeback”? I think not.
Britney's latest round of hits, by the way, has helped spearhead a new pop chart strategy, one I call “remix remedy.” Here's how it works: if your song needs a little push up the charts, maybe to #1, send a new version of the song to iTunes and radio with 'special guest' vocalists or rappers. Britney has been on both ends of this strategy: her latest, “Till the World Ends,” high-jumped into the Top 3 during the week a remix surfaced featuring Nicki Minaj and Ke$ha, and Rihanna's “S&M” got to #1 for a week when her remix featuring Britney went for sale.
THIS DON'T IMPRESS ME MUCH Shania Twain? Now, that would qualify as a comeback, seeing as it's been almost seven years since we've heard any music. Some are already calling it one just because of her reality show on OWN and talk show tour plugging her book.
Eventually, the music will come, and it'll either work without Mutt or it won't. I'm looking forward to finding out where the witty lyrics came from, and what the music will sound like without all the Def Leppard hook ripoffs. I'm pulling for her; I hope she does come back and come back big, even though so much has changed since she left.
For now, though, the 2011 model Shania isn't doing herself any favors with us fans. We all know what happened, we know how tough her life was growing up, but seeing her crying on TV as if she was on Queen for a Day, and dressed like a Good Housekeeping cover, got old fast.
I think I speak for most Twainkies when I say, we'd like the old, fun, sexy Shania back. The one that'll get us good or she's outta here. The Sasha Fierce Shania, the feel-like-a-woman boots-up-to-there Shania. Come on, girl, even on Idol you were more dazzling than this.
One more thing. I know it's about selling a book that I'm sure was very cathartic to write, but, let's remember, this is a zillion-selling entertainer with a lot of money, who divorced a man with a lot of money, who re-married a man with, that's right, a lot of money. So, it isn't like she needs our money. In this case, I prefer to, as Aerosmith's Joe Perry said, let the music do the talking.
As a point of contrast, the same day I saw Shania with Ellen, I also saw Ke$ha with Conan. Now, here's a great talk show guest: riveting, funny, irreverent, and, surprisingly, given her hits, anything but incoherent. As I was watching, I was thinking, Johnny Carson would have loved Ke$ha, in the same way he loved Sir Monti Rock III.
AND THE REST... ...may still be “there” on Gilligan's Isle, although
that's probably harder to locate than The Rest of the Week with Rich Appel,
Saturdays 6am-1pm ET at http://wrnjradio.com/.
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