Podcast appearances and mentions of dan ingram

In this episode I share an interview with my friend Dan Ingram who invited me onto his podcast. I share some personal moments of both victory and defeat but in the end I persevered. If you feel like quitting ministry or life, I hope this episode encourages you to stay strong. Danny's Podcast: Recovery Church https://youtube.com/playlist?list=PL5PhkHtN9yV0Dn4ExGPZdTrZLFWizkKk4&si=isYRLVO6aKPjGL6N Danny's Music Channel https://www.youtube.com/channel/UClGaFZV5HLOQZRYbjW6eCQQ New Youth Pastor Bundle https://youthminresources.gumroad.com/l/dATPb A.C.T.I.O.N Figures 6 Week Series https://youthminresources.gumroad.com/l/rdzwk My Youth Ministry Playbook https://youthminresources.gumroad.com/l/cfmra Catalyst Coaching https://youthminresources.gumroad.com/l/Zvak

In radio news, a pair of new spanish radio stations hits New York City.  There is lots of news on the street.  Finally we begin our look at those October Personal People Meter Ratings.  This will be followed by the call letter and format changes.  Next up a the future of AM radio.  Our classic aircheck is WABC AM and Dan Ingram from Nov. 4th 1961.  Finally we visit San antonio Texas and radio station KONO FM with their classic hits format.

This week on the blog, a podcast interview with writer (and director and playwright and author and podcaster) Ken Levine about the business of writing and directing situation comedies.LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Ken Levine's Website: http://kenlevine.blogspot.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcastTRANSCRIPTWas being a writer always a goal?Ken Levine: I don't know if it was always a goal. It was something that I always did. Honestly, I did not get a lot of encouragement in high school. I was a cartoonist. I still am. And I was a cartoonist on the school newspaper. And I said, “Well, I also want to write. You know, can I cover sports or do a humor column or something?”And they said, “You're the cartoonist, just stick to cartoons.” And I said, “Well, I really want to write. And if you won't let me write, then I'm going to quit the paper.” And they said, “Then fine, quit the paper.” So, that's how much my cartoons were even valued. They called your bluff on that one, I guess. Ken Levine: They called my bluff, yeah.Just as a little tangent—just because I'm a big fan of your cartoons—did you have a couple of cartoonist heroes when you were growing up? Guys that you looked at and went, that's the kind of writing I want to do?Ken Levine: Well, my cartoonist heroes were more due to their cartooning than anything. Al Hirschfeld, who did the caricatures of the New York Times, was my god. And Mort Drucker would be another. Jack Davis. A lot of those Mad magazine guys. Originally, I wanted to be in radio. I mean, I really loved radio. And a lot of my comic influences early on were disc jockeys, you know. Bob and Ray and Dan Ingram and Dick Whittington. So, radio was a goal. I got out of college and became a Top 40-disc jockey.Let me back up. When I was in college, I got a job as an intern at KMPC in L.A. We're the big, full-service radio station. They had the Angels and the Rams and the Bruins and, you know, they were big music personalities. And their afternoon drive time jock was Gary Owens, who was on Laugh In at the time. You know, “From beautiful downtown Burbank.”And I would write comedy material for Gary, for him to use on the air. I never charged him for it. I mean, I was just so thrilled that someone of the caliber of Gary Owens would use my material on the radio. And one day I get a call to appear in George Schlatter's office. George Schlatter was the producer of Laugh In. And this is when Laugh In was getting 50 shares. And I'm like, what does George Schlatter want with me? So, I go to the meeting obviously. And apparently, unbeknownst to me, Gary submitted my comedy material to him. And George Schlatter offered me a job as a writer on Laugh In. And it's funny, we laughed about it because George is still around and he was a guest on my podcast, and I talked about this.And I said, “Can I do this part time or from home?” And he goes, “What? No, this is a job. You come to the office every day. We're paying you a lot of money to write the number one show in America.” And I said, “I would lose my 2S deferment and I would wind up drafted in Vietnam.” So I couldn't take it. I had to turn down Laugh In. So, I was almost a writer six years before I actually broke in.Okay. So how did you end up then meeting up with David Isaacs?Ken Levine: Like I said, I became a disc jockey out of college. My draft number was four. And like I said, I was at KMPC and one of our disc jockeys, Roger Carroll, was one of the main AFRTS disc jockeys. I shopped around looking, is there a decent reserve unit I could join that would keep me out of the army? And I saw that there was an armed forces radio reserve unit in LA. And through Roger, he helped pull some strings and got me in the unit. You know, it's like one of those things where you get a call saying, “Okay, there's an opening in the unit, but you got to go down to Torrance and sign up for it tomorrow.” And so, you don't have time to think, “Boy, do I want to risk this? Is there a way I can get a medical thing?” And it's six years. It's a six-year commitment. Go.So that's what I did. I got into that unit. And we were at summer camp three years later and somebody new to the unit was David Isaacs. And we met and started talking and we both kind of had desires to be writers. And when summer camp ended, I was at the time working as a disc jockey in San Bernardino. I got fired, which was a frequent occurrence. And I came back home to live with my parents in LA. I called David and I said, “Hey, remember me from the army? I want to try writing a script. You want to try writing it with me?” And he said, “Okay.” And so, we got together and decided to partner up and we wrote a pilot. But we didn't know anything. We had no clue what we were doing. And I had to literally go to a bookstore in Hollywood and on a remainder table were TV scripts. And so, for two dollars I bought a copy of an episode of The Odd Couple and looked at that.Oh, Interior Madison Apartment Day. That's what that is. This is the format, and this is how long they are. So, David and I wrote a pilot about two kids in college, which was the sum total of our life experience back then. We were both 23. And it didn't go anywhere, obviously, but we had a good time doing it. And we then learned the way to break in is to write spec scripts from existing shows.So that's what we did. And eventually we broke in. So, had you written anything with him before that or seen any of his writing? What was it that made you think this is the guy?Ken Levine: No, no. He just seemed like a funny guy. Neither of us had written anything. Neither of us had any writing samples for the other. No, we just sat down together and just tried doing it. It probably was a help that we were both starting from the same place, which was nowhere. You know, it's just kind of one of those happy accidents where you go on a blind date, and it turns out to be your wife.How many years did you guys write together?Ken Levine: Well, we're still writing together, if somebody would hire us. Fifty years.Congratulations. Ken Levine: October of 73 is when we started. And I'm trying to remember, was it The Tony Randall Show or The Jeffersons where you sold your first script? Ken Levine: The Jeffersons. And how did that happen? Ken Levine: Well, we had written a spec Mary Tyler Moore and a spec Rhoda, and another spec pilot. Which was better but didn't go anywhere.And one day my mom is playing golf with a guy who says he's the story editor of The Jeffersons, a new show that just came on. My mom says, “Oh, well, my son is a great young writer.” And he's like, “Oh Christ.” And he says, “All right, well just have him call me.” So, I called him, and the guy says, “You have a script?” And I said, “Yeah.” And he goes, “All right, send the script. If I like the script, we'll talk.” And I sent off our Mary Tyler Moore Show, and I got a letter back saying, “Oh, this is a really good script. Make an appointment, come on in and pitch stories.” And we pitched stories, and they bought one. And so that's how we got our assignment. Thinking back, is there one moment that you felt like was really pivotal that officially launched you guys? Ken Levine: Yeah, doing that first MASH episode. We had done The Jeffersons, we had done episodes of Joe and Sons, which was a terrible show on CBS. We had done some stories for Barney Miller, but Danny Arnold always cut us off before we got to script. We did a backup script for a pilot that didn't go. And then we got MASH And our first episode of MASH, which is the one where the gas heater blows up and Hawkeye is temporarily blind. And that script was like our golden ticket. It's a very memorable episode. Ken Levine: Oh, thank you. I remember it.I spoke with—I don't know if you know her—April Smith, and she said she learned everything she learned about writing in a room from Gene Reynolds. Where did you learn about writing in a room? Ken Levine: Well, I don't know about writing in a room from Gene, because we never worked in a room, really, with Gene. But, I learned more about storytelling, and more about story construction, from Gene Reynolds, than everybody else combined. I've been very lucky to have a lot of great mentors along the way, or to work with, you know, really talented writers and smart enough to just shut up and listen and learn from them. But if I had to pick one true mentor, it would be Gene Reynolds. I cannot say enough about Gene Reynolds. I owe my career to Gene Reynolds. What was his special gift? Ken Levine: First of all, he was very much a gentleman. So, when he would give you notes, if he didn't like a joke, he wouldn't go, “Jesus, guys, what the fuck?” He would go, “And, um, you might take another look at this. You might take another look at that joke.” Okay. Gene had a great story sense that was combined with a real humanity. It had to be more than just funny. It had to be grounded. There had to be, like I said, some humanity to it and the humanity and nice moments and things had to be earned. And he was very clever in constructing stories where things were set up and then got paid off in a somewhat surprising way. You know, look for inventive, different ways of finding a solution. It's why to me, storytelling is always so hard, because each time you tell a story, you want it to be different. You don't want to just keep retelling the same story over and over again. And Gene would look at a thing and go, “Is there a better way of conveying this? Is there something more interesting that Hawkeye could do once he learns this information?” You could give Gene an outline, and everyone can go, “Okay, well, this doesn't work.” Gene could go, “This doesn't work, and here's why. And here's how you can fix it. If Radar knows this, and then HotLips does this, then you could do a fun thing where it's a thing and…. And you're going like, man, he just, you know, just solved it. Just, just solved it. I thank him for that. He was very tough on story, which I took from him. And again, there's the humanity aspect of it, which normally you think, well, okay, that's just part of it. But when I see shows today—and I know I'm going to sound like an old guy, “get off my lawn”—but when I see shows today, like White Lotusand a lot of these other shows that are just mean spirited, where the laughs are coming from watching horrible people do horrible things to each other. And, look, comedy changes and, you know, society changes, et cetera. But to me, there has to be some heart to it. There has to be some, some humanity. And that was so drummed into me by Gene. Gene also talked about the value of research, which I have learned a lot.You know, you go off to write a project about whatever. You're going to do a pilot about the Department of Motor Vehicles. You sort of know a lot about the Department of Motor Vehicles. You've stood in the lines and everything. Gene would say, “Go there. Talk to those people. What is that job really like?What do they really do? And immerse yourself in that world.” And that's what I've always done since. Jim Brooks, who worked with Gene on Room 222, would say the same thing, that he learned the value of research from Gene. And when Jim Brooks did Broadcast News, he spent a tremendous amount of time in newsrooms, talking to those people, getting a sense of authenticity. It requires work, it requires a lot of extra legwork, but it makes the scripts richer and more authentic. And it's worth putting in the time and effort. I just had Michael Conley on as a guest on my podcast. And one of the things I asked him—he does the Bosch books and The Lincoln Lawyer and he's my favorite mystery writer—and I said, “So with all the detectives out there, what's so special about yours and your books?”And he said, “The authenticity.” He spent years on the crime beat at The Los Angeles Times and really got to know the inside working of the LAPD. There is an authenticity to his books that you don't get with a lot. It makes a difference. Research pays off. Okay, one more TV question. What inspired your move into directing? Ken Levine: I'd been a writer for many, many years. A lot of those years I was on staff of a show, and years when I wasn't on staff on a show—since I'm a good joke guy—I would get a job as a consultant on a show. Meaning, I would work one night a week, which was always rewrite night.What a great gig.Ken Levine: It was a great gig. You worked long hours, but it was a great gig. And at the time the pay was ridiculous. There was one season I was on four shows. So, I was working basically four nights till two, three o'clock in the morning. And it got to the point where I would go down to the stage and I would kind of dread going down to the stage, because all I was worried about was, “Okay, let this not be a train wreck. Okay, let this be in good shape, so that I can go home at 10 or 11 or 12.”And I thought to myself, “There's something wrong here. You get into the business, you should want to be on the stage.” So, I thought, be a director and be on the stage and play all day with the actors. And then when it comes time for rewriting, “Good luck guys. You go to the room and rewrite, and I'll go to a Laker game.” So that was my motivation. It should be fun. If you're in television and you're in multi-camera shows, you should look forward to going down to the stage. And if you don't, then it's time to change things around. So, that was my motivation. Did you feel like you had any advantages as a director because of your background in writing and your understanding of scene construction?Ken Levine: Yes. Number one: The writing served me very well. I was talking to Jim Burrows once, who is the Mozart of TV comedy directors.And I was asking him about shots and this and that. And he said, “Look, if the story works, you can have one camera and just shoot the master of the whole show and it'll work. And if the story doesn't work, you can have all the camera angles and cutting you want. It's not gonna save it.” So yes, it was a big help to me, having that experience, being able to say to the actors, “Okay, I see what's wrong here. You need help with the script. You need a few more lines before you can get this angry. Okay. The reason why you're having trouble here is you have to go from zero to 70 in two lines. And you need help here.”And I was also able—this is something Jimmy did and no other director I know of other than me would do the same thing—and that is, we would go back to the writer's room after the run through and I would sit with the guys while we discussed what was wrong and what needed to be fixed. And I would kind of help them along that line as much as I could, which proved to be very helpful.And also, it was very helpful because you go down to the stage the next morning and you have your table reading. And you're able to say to the cast, “Okay, this is what they did last night. These were the problems. This is how they addressed it.” And there were certain things where actors would go, “Where's my joke?” And you're able to say, “The script was long. It was not you. You did a good job with the joke. The script was really long. It's a joke that was easily liftable as opposed to something that was more integral to moving the story forward. That's why you lost the joke.” So, it helped in communication. Also, by that time I had been a showrunner. So, I was used to coming down to the stage, and if I saw something I didn't like—with blocking or something—I'd go, “Wait a minute, why is she here and she over there? This is a private conversation. Put them together. Why are they standing back there in the corner? Why did you put them at this table? The audience can't see them over here. You put them over here at this front table, and then we can have background and you can have some depth and geography.” And stuff like that.So, I have that aspect. I also spent a lot of time editing these shows. So, I would work with the editor, and I'd say, “Okay, go to the wide shot where we see the full costume.” And he goes, “We don't have it.” “Wait, what? It's a costume joke. He comes in dressed like Mr. Pickwick and you only have it up to here?” So, as a director, I go, “Okay, this is what I need to make this joke.” And also reaction shots are so important. You know, when the director is directing a multi camera show—which is like directing Rubik's cube—you have a camera coordinator who works with you, making sure that all the shots are rights. And so, he'll go down the script and it's like, “Okay, Kelsey's line. All right, we have Kelsey on camera A, and then his line we have on camera C, and then Roz we have here.” And he's making sure that everything is covered. But I also want reaction shots. They aren't in the script, but I know when Sam says this, you're going to want to cut to Diane's reaction to it. So, I had that going in my head.And also knowing like, “Okay, this show is running a little long. I suspect that they may cut this section of a scene.” So, when I block it and when I set my cameras, do it in such a way where you can make that lift. Don't have somebody cross the stage during that section, because then if you lift it, the guy pops onto the other side of the room. Don't just have a master, so that there's nothing to cut away to. So, there's like all kinds of things that are going through your head, besides just directing the actors, that my experience was able to help me with.Well, you said Rubik's Cube, and that's what it sounds like: a Rubik's Cube on stage. Ken Levine: You've got five, six people on stage, and you have four cameras. You want to get a master and singles and reaction shots, and two shots. And it's all happening fluidly while the scene is going on. And then when somebody moves around the couch, then the cameras have to move, and are you covered? And those guys are amazing, the camera people in LA, if you're nice to them. I remember there was an episode of Becker that I was directing, and it was in the diner. And somebody had to go way upstage in the corner to the coat rack. And so, as I'm camera blocking that scene. I'm saying, “All right, I'm going to have to do a pickup. Fred, I'm going to have to send you way up the line to give me Ted in the corner there.”And he said, “I can get there.” And I go, “Fred, you have like a line and a half, because I've got you on Reggie. And then they cut away to Bob saying, ‘I looked at my lunch pail and I didn't have anything.' That's all the time you got. You got three seconds to get up there and frame it and do it.”And he says, “I get it. I can get it for you.” And for them, that was kind of part of the fun, was sort of the challenge. If they like you. If they don't like you, good luck.

This week, Dan Ingram from Circle Square Ranch is here to talk with us both about what has been going on at the camp, as well as about a passage that has gotten him through difficult times.

Daniel Trombley Ingram (September 7, 1934 – June 24, 2018) was an American Top 40 radio disc jockey with a fifty-year career on radio stations such as WABC and WCBS-FM in New York City. July 3, 1961 - May 10, 1982 — WABC, New York City. He and Ron Lundy were on-air as the station switched to TalkRadio. Ingram was one of the most highly regarded DJs from his era. He was noted for his quick wit and ability to convey a humorous or satiric idea with fast pacing and an economy of words, a skill that rendered him uniquely suited to, and successful within, modern personality-driven music radio. He was among the most frequently emulated radio personalities, cited as an influence or inspiration by numerous current broadcasters. One of Ingram's unique skills was his ability to "talk up" to the lyrics of a record, meaning speaking over the musical introduction and finishing exactly at the point when the lyrics started. https://en.wikipedia.org/wiki/Dan_Ingram#On_air_history

Episode 69 - Dan Ingram by Cory Texter

Episode 69 - Dan Ingram by Cory Texter

Episode # 130 - BOC Founding Member Albert Bouchard promotes Livestream event of his solo album "Re Imaginos" in its entirety with some BOC classics!!

This week, Circle Square's Dan Ingram is with us to give an update as to the goings-on up at the camp, as well as to share some wise words.

In the first rebranded edition of “Tales of the Old World”, your humble host takes you back to late June 2018, wherein he recalls a road trip to Cooperstown and pays a final farewell to a Top 40 legend.

This Pentecost Sunday, Dan Ingram from Circle Square Ranch, shares with us about a story from the book of John that is particularly impacting now as we find ourselves in need of prayer for our country's Camp ministries.

This week, we pay tribute to the city hit hardest by CoVid-19, New York City.  Airchecks of 5 of the greatest dj's of all time:  Dan Ingram, Cousin Brucie, Don Imus, Wolfman Jack (yes he worked in New York City) and the incredible Howard Stern.  And, as always....Gary Owens brings us our sponsors for the week and a couple of vintage radio commercials to sweeten the pot.  Hope you enjoy -- and please share.  Thanks

Roger and Jason interview Dan Ingram as he tells them how Jesus freed him from a life of drug and alcohol addiction The post Out of the Horrible Pit” with Dan Ingram appeared first on .

Ken introduces you to four of his all-time favorite radio performers.  These are the voices that inspired him and made him laugh.   Vin Scully, Dan Ingram, The Real Don Steele, and Gary Burbank.

Dan Ingram Founder of NJ Concealment Furniture

This week's episode is about the stupidity surrounding firearms and 2nd Amendment rights and how firearms owners can educate ourselves and not be stupid. We're talking about the stupidity of Senator Cory Booker, Senator Dianne Feinstein and Former NYC mayor Michael Bloomberg. We're also pointing out the lowest common denominator firearms trolls and their stupidity online. We review the CZ 455 Ultra Lux, talk about Angelo Yacone's remarkable win at the latest Minuteman Challenge, give a Shout Out to Dan Ingram of New Jersey Concealment Furniture and more.

Today 5pm-6pm EST 2pm-3pm PDT 10pm-11pm BSTThe Menace's Attic#classics #pop #rock #classicrock #themenacesattic #bombshellradioWelcome to The Menace's Attic!Today 5pm-6pm EST 2pm-3pm PDT 10pm-11pm BSTThe Menace's Attic#classics #pop #rock #classicrock #themenacesattic #bombshellradio#classics #classicrock #themenacesattic #bombshellradio #vinyl #newwave #soul #postpunk #rock #pop #dennisthemenace,Welcome to The Menace's Attic!This Week – Episode #851(07/07/2018)“A Top 40 Celebration Of The Greatest Top 40 Disc Jockey Ever: Dan Ingram!” (Playlist does not reflect jingles!)Opening SongLove Child – The Supremes (Motown)Set # 1 Dan Ingram!Reach Out In The Darkness – Friend & Lover (Verve Forecast)Cry Like A Baby – Box Tops (Mala)Abraham, Martin & John – Dion (Laurie)People Got To Be Free – The Rascals (Atlantic)Set # 2 Dan Ingram!Good Morning Starshine – Oliver (Jobete)Hair – The Cowsills (MGM)Tighten Up – Archie Bell & The Drells (Atlantic)Love Is Blue – Paul Mauriat (Philips)Hurdy Gurdy Man – Donovan (Epic)Set # 3 Dan Ingram!The Mighty Quinn – Manfred Mann (Mercury)Lady Willpower – Union Gap (Columbia)Young Girl – Union Gap (Columbia)Get Back – The Beatles (Apple)Set # 4 Dan Ingram!In The Year 2525 – Zager & Evans (RCA Victor)I’m Gonna Make You Mine – Lou Christie (Buddah)Stormy – Classics IV (Imperial)Indian Giver – 1910 Fruitgum Company (Buddah)Hawaii 5-0 – The Ventures (Liberty)Closing SongTri-Fi Drums (Dan Ingram Edit) – Billy May (Capitol)

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Pride parade recap. Donny sees Bonnie Raitt and James Taylor. The winner of the ugliest dog contest was from Minnesota. Heather Locklear's troubles continue. Kit Harrington and Rose Leslie marry in Scotland. One of Donny's New York childhood radio heroes Dan Ingram passes away. Roseanne's interview. 9th anniversary of Michael Jackson's death.

S.U. Week of June 25th - It's a sad day. Legendary radio icon and inspiration for my career path, Dan Ingram passed away at 83. 50th Anniversary of my first radio show was this week. How and why I chose radio as a career is highlighted. If you could know what age you were going to die, would you want to know? Pros & cons of each are discussed. If you or your significant other were going to die today and you had the choice to decide who stays and who goes, which choice would you make and why? I'm having 2nd thoughts about being a proponent of the death penalty. I'm being discriminated on Mets Fan club page due to my age. Do people use shopping lists in grocery stores anymore? PGA officials themselves don't even know if a GPS is allowed on the golf course; and, isn't it time for people in the gallery to be able to start making noise like they do in every other sport?

Listen back to a portion of 77 WABCs coverage of the passing of Dan Ingram. From 62518. With comments from colleagues Cousin Brucie and Mike McCan. Newscaster Jerry Barmash

Listen back to a portion of 77 WABCs coverage of the passing of Dan Ingram. From 62518. With comments from colleagues Cousin Brucie and Mike McCan. Newscaster Jerry Barmash

Listen back to a portion of 77 WABCs coverage of the passing of Dan Ingram. From 62518. With comments from colleagues Cousin Brucie and Mike McCan. Newscaster Jerry Barmash

Welcome back for the second and final part of our chat with Eugenie Knox. We find out what happened at the grand opening of Dance of Life Studio on Smith Street in Fitzroy and the sad ending to the chapter of Rainbow the Clown. Eugenie tells us about how she learned of Amma, and became a lifelong devotee. We also will hear about Yogafest Retreat, and why you should come along! She also talks briefly about the process of writing her memoirs. Stay till the end where you get to hear my terrible rendition of the Lokah peace chant, and then finally our picks of the week! Links Rane's pick of the week - Mastering the Core teachings of the Buddha by Dan Ingram https://www.amazon.com/Mastering-Core-Teachings-Buddha-Unusually/dp/1904658407 Eugenie's pick of the week - Isadora by Amelia Gray https://www.amazon.com/Isadora-Novel-Amelia-Gray/dp/0374279985/ Yogafest Retreat in Somers - http://yogafestretreat.com/ Music is used with permission by Ghostsoul - buy his music at https://ghostsoul.bandcamp.com/

One of several labels used for the 45 of this song. I think this was the retail version of the original release, based on what the promo label looks like. Chester ("Chet") Powers was a musician who was well-known in the café scenes on both coasts, and certainly had his influence on other musicians. He's also known for being a member of the band Quicksilver Messenger Service. But for all that, he only wrote one song that was any kind of a commercial success, and that was after a virtual parade of artists had already recorded it. This episode also features a 2-1/2 minute clip from a show called "The Life and Times of Dan Ingram", a special program that runs for about six hours (no kidding) about one of the greatest disc jockeys of the Rock and Roll Era. It originally aired on RewoundRadio.com a little over a year ago. Thanks so much to Allan Sniffen, the heart of that website and the guy who knows pretty much everything there is to know about WABC-AM's Musicradio days. And if you go over there, you'll immediately recognize that this show's title is absolutely an homage. (No, I didn't tell Allan that until after he'd agreed to provide me with the clip. Heh.) Coincidentally (because I'm terrible at planning ahead), I'm typing this post on Thursday evening, September 7. Today happens to be Dan Ingram's 83rd birthday. Happy Birthday, Big Dan! Dan Ingram at WCBS-FM. I got to meet him back in the summer of 1984 when he was doing the Top 40 Satellite Survey for CBS Radio, and he couldn't have been a nicer, more giving fellow, especially considering the way my 21-year-old self was sputtering my way through the interview. He had a fabulous way of putting me at my ease. Unfortunately, I no longer have the tape of that interview. (Divorce can be a suck-fest, kids.) Here's a link to one of Allan's other labors of love: Musicradio77.com is a collection of stories, photos, airchecks and other goodies for anyone who was a fan of WABC in its Musicradio heyday. Click on the music note at left to visit that site. As usual, if you haven't subscribed via iTunes or your favorite podcast catcher, you can download the file  or just listen right here: And of course, I wouldn't complain too loudly if you went to iTunes and gave me a positive review. Even if that's not your podcast catcher, every little bit helps.

Guests: Grace-Marie Turner and Dan Ingram.  "Say What" features cuts from James Comey and Stephen Colbert; Scott Cosenza chews the fat with Tim.

Wednesday June 15th 2011.Bro. Dan Ingram talks tonight about the Five Fold Gospel.