Wednesday, April 25, 2012


[For new readers:  STD = Scorching Ticket Disquisition.]

Your Plainsman attempts to keep a moistened finger in the air, but one doesn't have to be terribly perceptive to realize that The Hardline, and especially one Mr. Corbett Davidson, has been  much on the mind of the Confessor Nation over the past couple of weeks, even though I'm not writing a whole lot about them.  Let's review:

T4 in Rockwall, a frequent Confessor, writes:

"Don't mean to switch gears, but every since Barry Switzer said the other day that they (the Hardline had him on) were shock jocks, I've been listening extra hard (no pun intended)and do notice that it seems to be all that Corby knows. That is to act like a shock jock probably 70% of the time. I think that's where he's failed since Greggo left and he's had to fill in on a full time basis. I personally thought he was very good when he was a yuck monkey full time. Since then, nothing but down hill."

Anonymous picks up the thread:

"I think T4 is on to something. The Hardline is a lazy show. It's only getting lazier. I was hoping that the return of the Russ Martin Show and RaGE would kick it in the ass and help it return to its former greatness. It hasn't. One of its "competitors" (RMS) barely has a pulse and seems to lose listeners with each ratings period, while the other (RaGE) is so far away from being a threat that it might as well not exist. Hell, without the infinitely deep pockets of CBS, RaGE wouldn't have made it this far. Yes, like the rest of The FAN's programming, it's that bad to mediocre.

"The Hardline has become nothing more than a somewhat less puerile audio version of The Dallas Observer. It's all fluff and baseless, highly slanted opinion. I for one don't miss Greggo. He became a caricature of himself. He became Triple Fake Greggo. But what I do miss is the days prior to bands, constant music talk, E and Community News, and "she's a pig" talk. Talk that takes up damn near the entire 4 hours. It's just lazy."

Oh, my treasured Confessors, the piling on is just beginning, starting with another blast from T4:

"A bit [referring, I think, to Corby's general Corbiness] or not, he was nearly unlistenable yesterday. I want to totally punch out when he's doing that crap. Wouldn't it be sad if the likes of Corby types were the end of the Ticket as we know it? I know they're still #1 in the ratings, but I believe they turn more listeners off with their shock jock rants than they bring in.

"I know Rhyner adapts to what's around him, and could and would change to whoever's working with him, but I believe that's all Corby has."

blergoyen considers the reasons for Corby's ascension to co-host:

"I suspect it was two fold: (1) he did a good job endearing himself to Mike by playing the entertaining, "up for-any-gag-nephew" to Mike's "dirty uncle," and (2)given corby's instinctual need to dominate every conversation, Mike knew he could talk as much, or as little as he wanted, sit back and enjoy semi-retirement with a large pay check as long as he wanted. I think I saw someone comment on this blog and make that 2nd point a while back."

Anonymous -- who knows whether it's a different one or not -- has an interesting perspective:

"I wish they would cut way back on the blue. They don't need it; they are (well, at least at one time were) better than that. Don't know if anyone here is still watching The Office, but if you are, you see the same thing occurring: a program and a showgram that's run out of ideas and has now devolved into one over the top blue scene or segment after another. The overall quality of the each show suffers greatly. But both shows are ratings monsters (though not as much as they once were), and so I don't see where or how improvement implemented. Much like The Office, I think we are watching the final couple of seasons of The Hardline (at least in its current configuration)."

T4 is on a roll:  

"As far as the topic here, it used to be ok working blue when it was occasional. Now, like I said in the previous thread, it seems it's all they have. Corby being immature and Danny giving in to him. I believe if they replaced Corby with any number of people, The Hardline would be total greatness again. "

The always sensitive and astute duckandcover observes:

"I would like to think that sooner rather than later there will be a reconfiguration of The HL. I feel the same as some of the Anons and T4. It's grown stale, lazy, and I think they're better than where the show is now/what it's become. What's the answer? Dunno. But maybe it involves Danny sliding over into a fulltime host position, allowing Jake to take the producer helm with TC manning the board. Or maybe the other way round, with Jake remaining on the board while TC produces. The thing is, for all of you/us that wish Corby wasn't a part of the show, he's not going anywhere. So the only way I see it being revamped is by the scenario above. Maybe, just maybe, a serious Danny influence would muffle Corby's influence and right the ship, somewhat. Yes Danny will play into Mike and to some extent Corby's fascination with music talk, but he also is very sportsy. Something needs to happen. If there was any program even half way decent running against them, I have a feeling we'd see changes ASAP. Because the show has sunk pretty low."

DRW1961, an MTC stalwart, writes:

"It's just another manifestation of the "overCorbyization" of the Hardline. He doesn't have enough talent to do his job the way it should be done, so he resorts to high school humor. 

"I'll take it another step further and say that I wish they wouldn't rely so much on the "ass"es and the "son of a bitch"es as well. And, I cringe when I hear a station spot with "bullsh" in it. I'm not a prude, but I think they lower themselves to a level that they really shouldn't lower themselves to with all that nonsense."

*     *     *

All of this -- plus constant harping from Confessors looking for more interesting original Plainsman content -- inspires me to cut loose with what may well be my all-time most controversial STD, yes, even more controversial than my multi-part analysis of BaD Radio, and here it is:

I like Corby Davidson.

You want some more of this?

I like The Hardline.

Yes, much of what The Nation says is true:  I could do with a less vulgar showgram, as I have written on many occasions; I could do with some show prep; I could do with greater attention to reigning in the OverCorby who sometimes appears; I've noted the salutary effect of Danny's increased participation on several occasions.  I could do with less Wire, showbiz, and comment on the same half-dozen musical acts.  In general, I could do with a more mature approach to pretty much everything about The Hardline, including Corby's contributions.

But as I sit back and consider The Hardline and alternative radio offerings as a whole, I can come to only one conclusion:

Corby Davidson is a notable and unique radio talent.  No one on the Philco sounds anything like him. I would say that of my laugh-out-loud moments from all programs on The Little One over the past several years, more than half of them are accounted for by Corby.  He's got native intelligence; he can be witty (not in Danny's galaxy, but he can surprise you); he's one of The Ticket's best serious interviewers, if not the very best.  He complements Mike.

If Corby disappeared from The Hardline tomorrow, I'll bet that even those of you who are weary of him for all of the reasons set forth above would miss him terribly.

That's not to say that The Hardline doesn't need to step up its game.  When I started this site in 2009, I thought The Hardline was in trouble.  Mike was seriously disengaged, there was too much Corby.  The showgram was way out of whack.  I thought it started to right itself in late 2010, and to my way of hearing -- while the show does suffer from the problems identified above -- it's continued pretty strong.  I'll confess (of course) it's seemed lazier than normal the past month or so, but nothing alarming and nothing that leads me to want a huge change in the showgram (except more Danny).  

But I just don't find it the mess that some of our faithful Confessors do.  

So right now, although I give it to them from time to time and will continue to do so, I'm pretty on board with Mike, Corby, Danny, Ty, and Jake.

I know the last two posts have already prompted extensive comments on Corby and The Hardline, but I hope you will continue to offer your thoughts on this most unusual, and, to my mind, entertaining of shows and its very singularly gifted broadcasters.

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Tuesday, April 24, 2012

Final Words on Hardline Profanity Until the Next Time

     (1)  If freakin' Barry Switzer thinks you're working blue, you're working blue.

     (2)  If you run ads featuring freakin' Barry Switzer commenting on you working blue, you know it.

Monday, April 23, 2012

In the Beginning . . .

.  .  .  there was Bob and Dan, and they named their show BaD Radio, standing for those selfsame Bob and Dan.  And God listened to the showgram, and he heard that it was good.  Mostly good.

And lo, the days were accomplished when Greggo came to depart from the Line of Hard and joined with Richie the Observer, and lifted BaD's naming bit wholesale to create RaGE, the Richie and Greggo Extravaganza.

And it came to pass that Scot Harrison and Jean-Jacques Taylor brought forth The Soul Patch on Sunday mornings, not because of any association of Soul with Sunday the Day of Our Lord, but because it described a facial feature possessed by both men, and also described a racially-prescribed cultural feature possessed by one of them, and was defined, according to Wikipedia, as follows:

"The soul patch (also known as a mouche) is a small patch of facial hair just below the lower lip and above the chin. It came to prominence in the 1950s and 1960s, when it was a style of facial hair common among African American men, most notably jazzmen. It became popular with beatniks, artists, and those who frequented the jazz scene and moved in literary and artistic circles. Jazz trumpeters in particular preferred the soul patch for the comfort it provided when using a trumpet mouthpiece."

But the prodigal JJT left the Patch of Eden, never to return, and was never heard from again, ever, in any medium, in any capacity whatsoever.

The Overlords who lived in the Clouds saw that it was not good for Scot Harrison to be alone.  So while he was sleeping, they removed a piece of him we are not allowed to name on this blog and crated Matt McClearin to join together with Scot and be his companion and helpmate.

And the Cloud-living Overlords named the resulting program "The Soul Patch," although Matt McClearin did not possess that certain facial feature or racial characteristic that would render the name in the slightest way sensible.

And the Confessor Nation commenced with a vast wailing and gnashing of teeth over the continued use of "The Soul Patch" to describe the Scot Harrison and Matt McClearin program.

And behold, after a process heretofore mysterious, someone had the idea to parody RaGE's ripoff of BaD, and renamed the Sunday show "Sunday MaSS" -- Matt and Scot Spectacular. 

All right, way too much Plainsmanian BS.  Here is Scot's account of the name change, offered as a comment to the last post, reposted here with his permission:

"We approached management about a name change right after the new year. The Soul Patch was so named for the obvious reason that both JJT and I have them. When he left it was generally agreed that in the interest of branding it would be better to leave the name the same. (despite the fact the Matt couldn't grow a soul patch if a gun was put to his head).

"We came up with the name after dozens of ideas were developed, reworked, and rejected. We asked for ideas from people we respected but eventually The Matt and Scot Spectacular or Sunday MaSS, separated itself from the rest - "testing" best among those who were consulted both inside and outside the Ticket studios as well as inside and outside of the radio business. 

"We accept the fact that many of you will hate it or at least dislike it strongly (as it was with The Soul Patch moniker), many will approve (so far the trend on twitter), and some who just want to have their weekend Ticket fix won't be bothered either way. We're just pleased that you guys care enough to discuss our goofy little Sunday morning show and that you would take the time to complain/compliment.

"So, triple fake Scot Harrison says pour one out for the Soul Peettcchh!! (off mic tribute:) Stay Hard Soul Patch!"

My thanks to Scot for permitting the reposting of his remarks, and for putting the process out there for comment.  Personally, I think it's a perfectly fine and clever name and should not be offensive to Roman Catholics, any more than broadcasting a sports show during normal churchgoing hours is in the first instance.  While the name gets mixed reviews, the Nation seems to be reacting pretty favorably to the show, as do I.  Some good stuff there.

*     *    *

They did not take my suggestion, which was this:  Have Matt drop the second "t" from his name, so we'd have hosts named Scot and Mat and call it the "Low-T Center," which would both describe the show and attract the growing number of sponsors appealing to the low-testerone crowd.

Thanks again to Scot H.

*     *     *

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Friday, April 20, 2012


Well, that didn't take long.

Folks, if you want to talk Ticket, there is only one destination for you.  You're there now.

Michael Gruber was an early adopter of My Ticket Confession.  He was the first ever commentor on this site, and from time to time he would drop us a line with information or answers to questions. Nothing too inside or proprietary, just stuff that listeners might want to know.

Turns out, he had a few other things on his mind.

If you follow this site closely, you may already have seen what follows. Michael penned some comments to the last post expanding on his decision to move on -- but he also took the opportunity to unburden himself of some observations on station operation and treatment of the JV. 

Every once in awhile someone will say something on the air that will give us a glimpse of what goes on behind the scenes.  We make educated guesses based on the very rare drawing back of the curtain.  Speaking only for myself, I delight in overinterpreting and jumping to conclusions based on the occasional odd inflection and unexpected pause.  Keeps the site interesting, even when I'm wrong.

I daresay we have never heard anything like some of Michael's observations from anyone who worked there, although hints of some of what follows will sometimes leak onto the airwaves. 

They don't require any further comment from me.  They speak eloquently for themselves.

I should add that I sought and received Michael's permission to rerun his thoughts as a featured post.   I have edited them very slightly for length.  His comments (and the comments to which they respond) appear in full in the previous post, if you want to check them out in context.

Michael first expands on his decision to leave The Ticket:

"In an ideal world, of course I'd rather stay at the Ticket and play drops until my hands fell off. But despite the awesomeness of the job, it's not a career no matter how hard I tried to make it one. And being a career board-op without a degree just doesn't lead to many opportunities to move up, or even expand current responsibilities. I was stuck, basically.

.  .  .  .

"June 3 would have been my tenth anniversary with the station. In that time I have gotten to do so many fun things and meet so many awesome people, I could probably write a book. I'm fully aware that the majority of that goes away in a few months once the aftershocks of my departure totally end. If no one knows who the hell the I am after that, I'll manage to survive. I've gotten more than I could ever dream out of the "local celebrity" lifestyle.

".  .  .  .  I plan on going for a business degree, but that may change. Regardless, I know that I want to LEARN and try to better myself. Especially the last few years, my focus on life has become way too narrow. All I worried about was the Ticket, baseball, Pepper Theft, and hanging out (drinking) with friends. Maybe I'm wrong, but I think I can be more than that. Seeing all the things my parents have done is intimidating at times, but it's a great blueprint for how I want to live the rest of my life. If I can achieve even a small percentage of what they've accomplished, I'd be damn proud. There's more to life than the Ticket, and I want to experience as much of that part as possible now that I'm moving on. I'm 26, so I hopefully have another 75ish years to live. The Ticket will have taken up a tenth of that time, but what a wonderful time it was.

"And I'll say it again...the decision to leave the Ticket and go back to college was mine, and mine alone. Maybe I'll regret it, but I doubt it. I'd hit the glass ceiling at the Ticket, and I have just enough inner drive to not be happy with the status quo.

"Hopefully that explains my decision a little better. I'm not bitter in any way, though I am disappointed with the way some things were, especially the disaster that was/is the move to Victory. But in the grand scheme of things, it's just a blip on the radar. My experience at the Ticket was the best time of my life, and hopefully I made some small dent in the history of it."

In response to a commenter making the intriguing suggestion that Michael purchase The Ticket, Grubes starts to warm up, echoing some thoughts expressed frequently on this site:

"I would love so much to buy the station and let everybody earn the money they deserve while working with the best equipment available. It's a shame such an amazing and unique station is run with a cookie cutter, anti-spending, "make the quarter/month's budget" mentality by those geniuses in Atlanta. I'm convinced the station could be even more successful if treated properly. But, alas..."

In response to the suggestion that perhaps the clumsy move to Victory played a role in his decision to leave, he writes:

"I will allow that the move probably helped "push" me a little bit...But only in terms of leaving in time for the summer semester rather than the fall semester. Like I said, my leaving was inevitable. The timetable just got pushed up by a few months. :)"

As far as his own potential at The Little One was concerned, he mused:

"I think a yuk monkey role would have been absolutely awesome if that opportunity arose, but realistically I don't feel I speak well enough to do that or am clever enough to do the kind of bits yuk moneys do. I feel like I become decent at throwing in a one liner from time to time, but I tended to stammer and stumble over words beyond that.

"I considered seeking producer roles when they came up, but I just couldn't reconcile leaving the board for a minimal pay raise and a supposedly better role. If I was going to be part of a show, the best role for me by far was board-op. Playing drops for BaD Radio and the Hardline was perfect for my skill set, mentality, sense of humor, etc.

"That's why the idea of management tended to float around in my head. As a P1, I know how I'd like things to be, and I feel like I got along with everybody in all departments well enough that I could be pretty good at that.

"But in the end, I'd pretty much maxed out what I could really do at the station without a degree. Hurts to leave, and I shed many a tear in the weeks leading up to my departure, but I'm excited to see what the future holds...Even if I'm not famous anymore! Haha."

Did you catch that "the idea of management tended to float around in my head"?

Well, look out, management.  A floating thing sunk the Titanic:

"Really, if I had my way, I would just let the shows police themselves. I know that's an awful way to go about being program director of a station, but seriously...The "newest" show on the station is Norm and he's been doing it since 2000. Every show has been #1 basically for as long as I can remember.

"It's silly to micromanage how many freaking times Norm does a Twitter segment in a week, or when a certain bit like porn birthdays is "played out". There's enough internet savvy P1's to let, them, know when a bit is played out.

"The other way to know something is played out? When the guys on the show stop laughing at it. Working at the Ticket really sharpens your view on how funny things are because there's such an insane number of funny and creative people working during the week and on weekends. Most guys have a pretty good barometer on when to cut bait on a bit. No need to intervene.

"So while there technically wouldn't be a whole lot I'd do on the programming side other than leave the shows alone, I would spend more of my time on trying to make the work environment as positive as possible. Everyone should be treated like they matter...just because you're a board-op or intern doesn't mean you're less of a human or matter less to the station. Unfortunately, there tends to be such a classification of people by their jobs that it can wear on the self esteem for those that aren't in a more prominent position. It's tough as hell to move up at the station because jobs hardly ever come open. People do what they can to stick around as long as possible, so why treat them poorly in addition to that?

"The Ticket is a fast-paced station. Everything is live, and no matter how well something is (or isn't) planned, nothing is guaranteed to go perfectly. Whoever makes a mistake is going to feel bad already. What's wrong with just pulling someone aside and discussing what happened in an even tone? Knowing that a rip session is on the way makes you even more likely to make a mistake and that much slower on the trigger. Just human nature. I'd rather someone make a mistake in the name of entertainment than hold back and create "bleh" radio. That can be found elsewhere.

"I know that's a very Utopian way of viewing things, but as someone who was lucky enough to go from outsider to insider and now back to outsider, I think my ideas would essentially maximize productivity and by extension, ratings."

And, he adds modestly:

"I think."

I think so, too.  My thanks to Michael for writing and for allowing me to re-post his thoughts.

*  *  *

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Monday, April 16, 2012

Cheap Monday Morning Quick Hits

(1) I tuned in this morning expecting to punch out quickly when faced with the prospect of another Gordon lust-fest over Mike Doocy.  But it ain't happening, and I haven't punched out.  What a pleasure listening to more-or-less mature professional broadcasting without the show coming to a screeching halt with a dozen Doocy-baitings per segment.  I can take and even enjoy most of Gordon's excesses, but this is one I can't. Sorry to obsess over this, and I promise I'll drop it until the next time.

(2) Liked that little Bobby Vinton imitation Gordon tossed out there.
*     *     *

Again, folks, Sorry the posts have been few and far between lately. I've been dealing with a long-term personal issue (family member's health, thanks for your good wishes) that is taking pretty much all of my discretionary writing time. I'll try to at least post brief items like this one to freshen up the comment thread from time to time.

As usual, please treat all threads as open and be fearless in changing the subject if the spirit moves you.

Tuesday, April 10, 2012

OPEN THREAD: Ticket-Listening Tech & Talk

I've noted an uptick in the number of questions commenters have on how to listen to The Ticket other than via the Philco.

To start this off, I'd like to collect all of the various ways it is possible to listen to The Ticket other than through a conventional radio.  There is, of course, the online stream accessible on the website.

There.  I've exhausted my knowledge of the topic.

I'd like to give listeners a list of as many other ways of listening to The Ticket -- mobile and non -- as possible. Can some of you get us started with a catalogue of online sites and programs?  While knowledgeable listeners are doing that, you are also free to throw out questions on problems you're having, and someone out there will probably have encountered it and solved it.

If you're savvy, please contribute to (1) listing the programs and sites available for listening (podcasts, too), with any preferences you may have; (2) questions and problems; and (3) solutions.  If this is too huge a topic we'll break it down in future episodes.

Don't know why I didn't think of this before. Might actually do Confessors some good for a change. Thanks in advance for your contribution, be it information, problem, or solution.

Ranjit, Chad, if you're out there, please check in.

*     *     *

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Saturday, April 7, 2012

Exactly . . . I Mean . . . This Is: Michael Gruber -- An Appreciation

I accept and incorporate in this post almost every comment that has been made on this site since Michael Gruber announced his retirement from The Ticket.  That includes those who deem him irreplaceable, and those who note that The Ticket will survive.  Those who praise his intelligence, those who will miss the jolliest sound in American media:  Grubes's merry chortle bleeding through into Danny's mic deep in the background of whatever hilarity is being committed at that particular moment.

I've been considering whether I have any distinctive observations to add to this outpouring of praise, good wishes, and regret.  I am frequently criticized, probably with justification, for overthinking The Little Ticket.  But as I've thought back over my eight years of listening, I've had some thoughts about Michael's contribution, a couple of which will resonate with what you've already offered.

(1)  The Ticket gives the impression of being a pretty rough and tumble place.  Everyone's in competition with everyone else.  True enough that often it is friendly competition, and frequently it's a bit -- things like remarking on BaD Radio's lust for Top Ten honors, Mike's jabs at the Musers, and Craig's jabs back.  But the men we hear on the air are all highly-motivated, the hosts are highly compensated, and the JV are elbowing for airtime and plum assignments, and hoping to avoid the wrath of some of the touchier talent.  Over the absolutely amazing run of programming stability on The Ticket, almost every name we would recognize -- weekday hosts, Tickermen, board ops, traffic chicks, producers, CTO -- each of them has had some kind of run-in somewhere along the line, having rubbed someone or other the wrong way.

In the middle of it all -- no, above it all -- stands Grubes. 

The Nicest Man on The Ticket. 

His drops can be savage, lacerating, hilarious, teasing, but I never, ever felt that they were hostile.  I never felt like Michael was a part of the Ticket demimonde that was struggling to get ahead.  Maybe it was because, as we all know, he is an offspring of prosperity, and, for that reason (and because he's so damned smart), I never thought he'd hang around The Ticket or radio production too far into his twenties, although he (sincerely, I think) has said many times that he loved that greatest job in the world.  So he never felt the need to put anyone else down.  His on-air remarks were usually brief, never unwelcome, and almost always self-effacing.  Quite aside from his technical brilliance, his personality added a note of grace to any show he was a part of.

(2)  Almost alone among DFW radio stations -- hell, radio stations anywhere -- The Ticket has had an astonishingly stable history, stretching now to almost two decades.  It's a rich history, but for those millions of us who were not Day One listeners, we would not know that history if it weren't for Grubes.  Not only with drops, but with his sampling from the vault at the close of each episode of The Hardline, those of us who have come lately to the station, and who can't listen to every show every day, he ties the present to the past.

He is a major reason that the P1 feels like a community of friends who not only share the pleasures of that day's broadcasting, but who are a part of something much richer and more personal, a family of sorts.  A dysfunctional family at times, but one where all the actors are bound together with that firmest of cements, humor.

(3) This is the one that's been most on my mind.

We all know that Grubes is the Ticket's Professor Emeritus of Dropology.  We all know about his encyclopedic memory, his astoundingly associative intelligence, his jaw-dropping speed, and his comedic timing. 

But he's done a lot more for The Ticket, and for the P1, than make us laugh.  Hell, listening to some of Grubes's Greatest Hits on The Hardline, I sat in the Conestoga in a parking lot with tears running down my face at some of his brilliantly timed bulls'-eye inserts.  And yet, I think his influence is much more profound than just a series of yuks, gratifying though they may be.

Consider one of his most unusual series of drops.

We've all heard the Corby brag-drops.  "I went to TCU  .  .  .  ," "I have HD," and the rest.

But sometime in the past couple of years, we started hearing some Corby drops that, if you heard them in normal conversation, wouldn't sound like Corbyesque bragging at all.  I don't know that I can quote any of them, but they can be something as simple as (and I'm making these up) "I bought some new jeans yesterday," or "I had dinner last night."  They're momentarily baffling, but they always bring a laugh to the show and to listeners (at least this listener). 

Why is this? 

I think these drops, and our reaction to them, reveal the true importance of Michael Gruber's contribution to The Ticket:

Michael's use of drops has had a significant role in defining the on-air character of the hosts themselves.   By constantly repeating memorable moments, and by highlighting remarks that may not have seemed notable at the time, he shapes our perceptions of all these talented talkers, permanently fixing in our minds the unique personality and quirks of each.   Not only is he constantly sketching them for the listeners, forming our perception of these guys, I'm going to go out on a limb and say that some of the hosts have been influenced by Grubes's portrayal of them through his artistry.

That's why we laugh at the non-brag brags.  Even though if you listen to the body of Corby's work he does not seem to be unduly afflicted with CJWilsonesque conceit, Michael's drops have defined Corby to the extent that these most innocuous of remarks seem freighted with self-regard.  To this extent, Grubes has enriched Corby's broadcast personality.  And he does the same with all of his willing victims, to the very great advantage of The Ticket.  To use a current trope, he has created brands for the men he works with, and when you're a station that depends for its popularity on the distinctive personality of its hosts and other on-air guys, that's immensely valuable.  And for us, immensely entertaining.

Too grandiose?  Your Plainsman overthinking The Ticket again?  Yeah, maybe.  It's fun to overthink The Ticket.  And it's an unalloyed pleasure to say nice things about Michael Gruber.

Ah, Grubes, we hardly knew ye.  But thanks to you, we know a lot of people we all care about a whole lot better.

My thanks, and best wishes from My Ticket Confession as you make your way in the world.

Sunday, April 1, 2012

Almost Back

I'm still tied up like crazy but should be back in a couple of days.  In the meantime, I've got a few minutes here tonight so will toss off a couple.

(1) My appreciation of Michael Gruber will be appearing as soon as I can write it.

(2) Cannot believe I missed what from all reviews were very well-received wife swaps.  I wonder if someone an tell me:

     -- Confessors reported on Gordon and Geoge as plus-ones on The Hardline.   Did HL personnel appear on The Musers?  Any other swaps?

     -- Was there any reported reason for the swaps?  Was Corby away?  Travel plans require the swaps?

(3)  Re:  Vulgarity.  I hope I have been clear about my position on this.  Let me repeat it:  The Hardline is not too vulgar for me.  I don't recall ever punching out because I was offended by any of the orifice and related humor.  My point in the past has been simply that The Hardline is, by terrestrial radio standards, pretty blue, and that the talent on that showgram is better than that, and the presentation would be better without it.  And that the vulgarity is a big reason that a lot of non-listeners are non-listeners.  Pretty obviously, The Hardline's tone hasn't hurt it one point in the ratings, so I wouldn't expect they would change a thing. 

(4)  As to whether this site comes to any host's attention:  I agree with the commenter who said that they probably cruise by once in awhile, but I'm guessing that every host and Jeff Catlin get more emails every day than this site gets hits.  They've probably had complaints about content for years.  And I suspect they're a whole lot more interested in y'all than they are in me.

(5) The question of Michael's replacement is a verrrry interesting one.   There's a lot of talent among the JV, but I believe only a few are highly experienced board operators.  I had a candidate in mind, but I don't think I've ever heard that he twiddles and tweaks, so I'll probably stash that idea.  So who knows -- we may never have heard of the next BO.  Whoever it is, I'm already feeling sorry for him -- or her.

Think about it.

Hope to be back with some actual content in the next few days.