Radio The Way it Was: Boogie B-100 (July 2000, posted 1-2-02)

John Fox of RadioDigest reported an update on Bobby Rich's quest to present a one-of-a-kind radio reunion of our old friends on B-100 (now Star) during their heydays from 1975 when Gunsmoke ended until 1994 when Party of Five began.

For you late baby boomers and early Gen-Xers, B-100 was the place to listen to (aside of KCBQ's AM 1170) for today's hippest Top 40 music in living stereo, at least through 1979 when it "grew up" and changed to adult contemporary, cutting out the bubblegum and teen hits and losing a lot of musical edge in the process to another AM powerhouse The Mighty 690 and 13LK 1360 in 1980.

Where else would a defunct radio concept would turn up than their old radio home at 100.7? Think about it. Where would we have a Q106 reunion? Magic 91? Boss Radio 136 KGB? The old KCBQ? The Flash? KKOS? While corporate radio has engulfed San Diego, a lot of old brands and memories have been swept aside, living in the memory banks of the remaining San Diego listeners until they die forever into the ashes.

John Fox worked at B-100 for 16 of those 19 years as well as the long line of deejays that has paraded the station along the way just below. The reunion was conceived as a result of a couple of e-mails traded back and forth between Fox and the B-100 creator and twice its program director, Bobby Rich.

Confirmed so far are: Rich, Fox, Scott Kenyon, Ken "Beaver Cleaver" Levine, Wild Bill Calhoun, Frank Anthony, "Shotgun" Tom Kelly, Tony Pepper, Jeff Williams, Gene Knight, Rob Sisco, Vicci Taft, Roy Robertson, Gary Kelley, Pat Gaffey, Greg Simms, Dave Smiley, Dave Sniff, Danny Wilde, Mike Novak, Mark Larson, Kevin Anderson, the Rich Brothers' little buddy "Dwayne", Peter Hallisay, Mark and Jeanne Gleason, Liz Medina and Billy Martin.

Bobby Rich is looking for the following dozen others in this APB: Anyone who was ever employed at B-100 from sign-on in 1975 until May 1994, whether on-air, sales, management, traffic, promotions or building maintenance, is invited. Those they're still looking for include, but are not limited to: Willie B. Goode, Phil Flowers, Dave Conley, Rocket Man, Chris Lance, Teri Lynn, Diana, Cherie, Glen McCartney, CC McCartney, Dave Sommers, Fred Stemen, Trevelyn Ryan, Larry Himmel (hint: He's working at KFMB channel 8), Jon Michael K, Judy Puente, John Lander and his sidekicks, and that's just air staff.

If you know of any former B-100 staffers, you can e-mail John Fox at his website, or e-mail me and I'll forward them to Fox. What was that "B-100 Movie" all about that he mentioned?

B-100, like Star, is a supportive, loving and fun place to work at. Wish Clear Channel would get the hint and make it so (as Captain Picard would put it) over there.

References: Fox Trots: The San Diego Radio Scene

Of course, that URL doesn't work anymore, but John Fox was a columinst of the San Diego edition of Radio Digest, which is now on dot.com heaven along with pets.com and other dot.coms of the past.

B100 History (July 2000)

B100 History
BY BILL MARTIN
Radio Guide

KFMB executives told the original B100 crew,
  above, their jobs were "to have fun." This photo
 was taken a few days after B100's debut. Floor:
 Jimi Fox; seated left to right: Billy Martin, Bobby
 Rich and Rocket Man; Back row: Rob Landree,
  Willie B. Goode, Terry Lynn and Dave Conley.
   (Missing: Phil Flowers, who was on the air.)

As an anonymous KFMB voice announced,
"B100 is history." One of B100's first DJs
portrays the original FM station as fun but
innocent. It was February 1975, a few days
before B100 was to debut on the air. "Your
job is to have fun." 
Those were our marching orders uttered in
unison by B100 program director Bobby Rich
and KFMB AM/FM general manager Paul
Palmer. The newly hired air staff heard similar,
upbeat rhetoric from other radio executives. 
However, in dysfunctional radio families across
the land, management's cheerleading often rang
hollow, given the usual stress, zero job security
and even backstabbing endured behind the
scenes. (Recently, David Letterman described
broadcast executives as "weasels," except
CBS execs whom he dubbed "a higher form of
weasel.") Nevertheless, we ignored our
skepticism because we were "radio freaks" (
those who were "into" radio 24 hours a day).
We wanted the attractive major market
assignment.
Jimi Fox, Dave Conley and I were locals who
had worked for the competition KCBQ-AM.
Newsperson Terry Lynn and morning DJ Rob
Landree came from Northern California.
Bobby Rich ( a.k.a. Dr. Boogie) was from
KHJ in Los Angeles. Rocket Man dropped
down from Minneapolis and Willie B. Goode
moved from El Paso. Phil Flowers, a native
San Diegan, most recently worked for a Miami
Top 40 station.

San Diego radio was different in 1975 than it is now. For
one thing, many of the broadcasters were located
downtown. The KFMB stations (KFMB AM, FM and TV
8) were at 5th and Ash in an old, five-story building. KFMB
had one of those ride-at-your-own risk elevators that I can
remember headily sharing with the likes of Doug Oliver,
Harold Keane, Frank Thompson and Bob Dale. These
KFMBers graciously welcomed the new B100 FM air
personalities. Others were also very nice, like my college
buddy, TV 8 newsperson Jessie Macias.
However, overall, this was a pretty starchy company. There
was an element that didn't care for the arrival of the young (a
couple of the DJs were only 19), long-haired, rock 'n' roll
FM characters. Besides, up until then, the FM was not very
important in the big picture. KFMB-FM had been an
automated, beautiful music format called "music only for a
woman." Yes, such a format actually existed, complete with
Rod McKuen-like poetry read by male announcers. The
automated FM didn't make a lot of demands on company
resources. The situation suited some within the KFMB
stations just fine as it allowed them to focus on TV and AM
(in that order). Now they needed to reprioritize, turning their
attention to the FM and the young B100 punks who had just
come aboard. We were like the disgusting thing they found
in their salad.
A couple of days before going on the air, we began
rehearsing, doing practice shows in the studio. Most of the
equipment was old and unsuitable for our purpose. We
played 45s, many of which became scratchy with "cue
burn," on turntables that might or might not start when one
hit the switch. Folklore has it that gnomes speeded up the
turntables to about 46 1/2 rpm to make the music more
exciting. We played the biggest hits in very heavy rotation,
repeating them every two and a half hours or so. 
Everything was built around a "boogie" theme: "B100, All
Boogie, All the Time" and "B100 Boogies On." The
program director instructed the disc jockeys to call
themselves "boogie brothers," except female news
personality Terry Lynn, who was, of course, a "boogie
sister." Was the "boogie" thing a good idea or not? We were
tentative about that. Some of us even winced. 
The jocks found out that B100 would get a small promotion
budget at first. The company wanted an effective billboard
campaign, which was expensive. We were told to give out
B100 dollar bills, T-shirts and bumper stickers, but certainly
not freely. The odds looked as though they were against us.
Despite the odds, B100 hit the airwaves in March 1975
with more exciting, "bubblegum," screaming energy than any
teen Top 40 station had delivered before in the San Diego
market. The human chemistry was just right, and that made
up for our financial and technical shortcomings. We had
youth; we had energy; and boy, did we have fun! Paul and
Bobby stuck to their word; they made B100 a pleasant
place to work. They ran interference for us with those in the
company who were a bit uptight. They gave us a lot of
recognition in the form of "traded-out" meals, parties and
free concert tickets. Paul and Bobby turned out to be great
motivators and communicators in the personnel sense. It
became increasingly obvious that they too were radio
freaks.
Part of our job at B100 was to make a lot of public
appearances. The station sent us out as an ensemble and
mostly postured us as a group to the public rather than as
individuals. We showed up at high schools; we rode circus
elephants; and we even gave away a motorcycle during
Padre baseball in front of thousands at the Murph. KFMB
assigned us a talented photographer, Bob Gardner, who
took the group out around town for record survey pictures
and other publicity shots. For the sake of a photo, we had
close calls with supposedly tame animals at the zoo; caused
scenes in a couple of shopping malls; and risked life and
limb climbing a rickety billboard.
The audience began to build. Teen-agers, especially girls,
would show up in bigger and bigger numbers wherever we
went. The request lines at the station were always jammed.
There was a lot of talk about B100 in the street. When the
fall Arbitron ratings numbers came out in December 1975,
we tied with the other Top 40 station KCBQ-AM in teen
listening overall. B100 was No.1 in the teen category for
nights and weekends. The adult numbers soared as well. In
those days, Top 40 programmers started with teens as a
base and built station listenership from there. After only nine
months, B100 was big - really big!
In radio success stories there are always a number of
contributing factors. The fact that people all across the
country were discovering FM gave B100 a big boost. Prior
to the 1970s, meaningful numbers of people listened to AM
but not to FM. The big stations, in terms of ratings and
revenues, in practically all cases, were AM. FM was a place
for classical music or jazz. 
In some markets, background beautiful music stations fared
well on FM. In San Diego, the Rabell family successfully
operated beautiful music KITT-FM in the 1960s. In the late
'60s, KGB-style stations (or underground/progressive rock
stations, as they were known at that time) were starting to
appear. Locally, KPRI was doing very well with this format
while KSEA-FM had tried ABC's "Love" format for a while
with mixed results. A couple of FM stations failed with Top
40 in San Diego prior to 1975. But B100 had the timing
right. We went on the air just when the Top 40 audience in
San Diego was ready to take a listen to FM. That audience
moved over to FM entirely over the next few years and
never returned to AM again.
Another factor in B100's success was the youthful energy
projected on and off the air. Upon meeting the rest of the air
staff in February before B100 went on the air, I couldn't
help but notice a certain look and attitude we all had in
common. It was as if someone in management had been
watching too much of "The Monkees" on TV. 
One of the jocks, Willie B. Goode, a friendly, handsome,
almost androgynous-looking 19-year-old, had a lot of fans
(and dates). He had a good set of pipes and was pretty
clever. He had teen appeal, but the adults also liked him. As
Willie's car broke down often, he rented a studio apartment
in Cabrillo Square, a high-rise complex on 9th, a few blocks
away from the station. Willie's place became a place to go.
The nicest pad, a little house on Mission Bay, belonged to
Jimi Fox. His place became an important hangout during the
summer of '75. As radio freaks, we thrived on any kind of
radio material. We wanted to be up-to-date on what was
happening at stations, especially other Top 40s like KHJ.
Phil Flowers owned tons of tape of DJs from across the
country. We'd congregate at Jimi's and listen for hours to
Larry Lujack, Robert W. Morgan or the Real Don Steele.
Rocket Man left B100 in mid-'75, and management
replaced him with Glen McCartney. In 1976, I decided to
leave B100. My autocratic father, rest his soul, an apartment
builder here in town, never supported my desire to be in
radio. He wanted me to devote full-time to the family
business (I actually had been working for his company and
B100 during 1975). At that time I thought it was important
to please him. Also, in those days union (AFTRA) scale at
B100 was very low. Bobby, Paul and I got into a hassle
about money. I wanted more than scale, but they had a
certain budget. I remember Bobby wrote a memo to the
staff stating that Billy Martin was leaving B100 to devote full
time to an "administrative" job. Ugh! I hated that word. It
sounded so administrative.
In the months that followed, one by one, the rest of the
original air staff left B100 to climb another rung on their
respective radio career ladders ( or for other reasons). Phil
Flowers is in America's Finest City at KCBQ playing
"modern oldies." Bobby "Dr. Boogie" Rich became a very
successful program director in various markets and returned
to B100 in the '80s with the Rich Brothers and the "B"
Morning Zoo. Today, Bobby is at KKLD in Tucson. Dave
Conley is in between program director gigs in Texas
somewhere. Willie B. Goode, I believe, is also in Texas at a
station. Terry Lynn, the last anyone heard, was working for
ABC on the technical side. Rocket Man got into the record
business as a promoter. Jimi Fox is an educator and
consultant to radio stations. Rob Landree? Whereabouts
unknown. My own radio retirement lasted only a few years,
and I was back in the biz again. But today my involvement
takes a different form than those early B100 days.
We had no idea back in 1975 that we were the beginnings
of a major radio legend that would last nearly 20 years. As
B100's success snowballed, the salaries increased; the
equipment improved; and promotion budgets grew. B100
earned a place of respect within the KFMB stations, and the
company became less uptight over the years. Programmers
dropped the beloved "boogie" term and the station became
more adult-sounding. At times during its history, B100
turned more uptempo, and other times it became mellow. In
the later years, B100 had a pretty consistent hot adult
contemporary sound.
Many talented people passed through B100 since the early
days. Radio pros Gene Knight and Gary Kelley each
worked there for more than a decade. Danny Wilde was the
afternoon-drive man in the late '70s. He departed for
medical school and is now a physician. Ellen Thomas, an
important part of B100 for several years, left to join Rick
Dees and the morning show at KIIS-FM in LA. "Shotgun
Tom" Kelly did mornings on B100 for four years, and now
he's at KCBQ-FM, the KUSI Kids Club, and everywhere
else, it seems. Jeff and Jer were the B100 morning team until
a year or so ago. Special guest DJs like the legendary Rich
"Brother" Robbin made appearances. DJ's DJ the
"Chucker," the late Chuck Browning, performed a few
weekends. Beaver Cleaver (a.k.a. Ken Levine) went from
DJ to famous TV sitcom writer. His credits include
"MASH," "Cheers" and, most recently, "Dave." Billy Pearl
from KHJ DJ'd for fun on B100 from time to time. Now
he's an attorney for broadcasters.
But a special salute needs to go out to that first group of air
personalities, the pioneers: Rob, Terry, Dave, Jimi, Rocket,
Willie, Dr. Boogie, Phil and Humbly Yours Truly, Billy.
Change is part of radio's nature. People in the industry
greatly respect Tracy Johnson and the other current
decision-makers at KFMB. But it saddened this radio freak
to hear that KFMB-FM dropped the B100 moniker. B100
will never "boogie" again. We must "boogie on" to other
things. But it's fun to remember.
Bill Martin, M.A. is an adjunct faculty with the
Communications Studies Department of Point Loma
Nazarene College. Students from his radio class operate the
campus station KPLR AM 620. His disc jockey career
included stints with San Diego's KCBQ, B100, KSON,
KBBW, KDIG, KPRI and Channel 51. Today, besides
teaching, he is a partner in BLT Productions and a
psychotherapist with Clairemont Emmanuel Counseling
Center. One of his goals is to blend his psychology and
broadcasting expertise.

B100 (KFMB FM 100.7), as San Diegans knew it,
died May 16. In its place, after a three-week "great
radio experiment," is Star 100.7 with a nearly
all-female DJ lineup and an "adult Top 40" format.
B100, the once top-rated adult contemporary
station, never recovered from losing the popular
morning team of Jeff and Jer to its bitter crosstown
rival Q106 last spring. Ratings plummeted,
longtime DJs got pink slips and confusion reigned
supreme.
"The station had put all its money in the morning
show and neglected everything else," program
director Tom Gjerdrum said. "They were looking
for a replacement for Jeff and Jer. John [Lander]
and Jools [Brandt] were not a replacement."
Operations manager Tracy Johnson and Gjerdrum
figured adjusting the format would be simpler than
finding a high-profile morning team.
"Tracy and I looked at it a while," Gjerdrum said
of the morning show. "After a while, it's like
shooting a dead horse. There are no big-name
morning shows available. Everyone's locked into
four- and five-year contracts. We wanted to try
something different.
"We're not under the gun to turn this station
around by the end of '94. It's a two-year plan,
maybe more."
The new 100.7 morning team, a pair of
Midwestern women, "Shawn and Donna," (Shawn
Ireland and Donna Davis) are relieved Star
management isn't putting all the pressure on them
to reverse the station's fortunes.
"A metamorphosis of the station is occurring,"
Davis said. "We're absolutely excited. It's a big
venture. We're having a good time, and we don't
feel like we have to [be immediate superstars]
tomorrow."
The wisecracking Ireland agreed.
"There's no pressure - beyond the fact they won't
give us permanent parking spaces," she said.
The duo had never worked together prior to their
Star stint. Both, however, have been successful
morning personalities. Ireland hails from
Columbus, Ohio, and graduated from Ohio State.
She said she "bleeds scarlet and gray" (the school's
colors). She was most recently a top-rated morning
host with WNCI in Columbus.
Davis, a native of Chicago, came from WKZW in
Peoria, Ill. where she co-hosted the area's No. 1
morning show. She is a big fan of Indiana
University, one of Ohio State's Big 10 rivals, but
figures she and Ireland will get along anyway.
"They just put us together," Davis said. "We met
each other once, and right away you know who
you can work with and who you can't. It's
chemistry."
Her sidekick's analysis?
"It's women's intuition," Ireland said.
Speaking of women, the Star went out of its way
to find female disc jockeys. Other than 23-year-old
Dave Smiley, the Star's afternoon drive DJ (3 to 7
p.m.) and another Q106 defector, the rest of the
weekday lineup is comprised of women. Kim
Morrison follows "Shawn and Donna" from 10
a.m. to 3 p.m. After Smiley is Dominica (7 p.m. to
midnight). China More, who helped produce the
Rick Dees morning show for KIIS in Los Angeles,
is the overnight DJ (midnight to 5:30 a.m.).
With the new personalities comes a new format -
adult top 40. The music, while more upbeat,
doesn't seem to be a radical departure from what
B100 played.
"[Adult contemporary] is softer," Gjerdrum said.
"In [adult top 40], you can play a lot of newer
artists and more hits; it's a little more narrowly
defined."
Typical adult top 40 artists include: Mariah Carey,
Sting, Elton John, Whitney Houston, Phil Collins,
Gin Blossoms, Jade and Janet Jackson.
"It's upbeat and active; it gets you going in the
morning," Davis said.
It took KFMB three weeks to decide on the
format.
In May, the station began testing new formats on
listeners who were invited to call in and offer their
opinions on the air. The promotion was dubbed
"San Diego's great radio experiment." Formats
tested included: '70s disco, country, alternative,
classic rock, Elvis songs, MTV dance and Disney
music.
Listeners had plenty to say about the experiment.
"We've learned a lot from the audience," Gjerdrum
said. "We got so much more input than we
expected. We had to change the [answering
machine] tapes all the time."
Not surprisingly, some of KFMB's rivals were
critical of the "experiment."
"I think it's a joke," Q106 program director Greg
Stevens said at the time. "It's a ploy for attention."
Maybe so, but attention is precisely what the
languishing station needs.

More B100 Articles From The Past

To Coin a Phrase (From July 2000)

At the B-100 (now Star 100.7, KFMB FM) 25th anniversary reunion
earlier this month, KFMB (760 AM) program director Dave Sniff told
the story of how Shotgun Tom Kelly left B-100.

If you read this past Sunday's funny pages, in the comic strip "Zits,"
the main character wants to make his mark on pop culture by
creating new catch phrases. I don't know if the mainstream, even
19 years later, is quite ready for this creation, but it was
memorable.

In the early '80s, as the initial popularity of top 40 B-100 was
fading, a decision was made to move to an adult contemporary
playlist and image -- The FM B-100, with the slogan "You've Grown
Up, We've Grown Up." That image did not include morning rock jock
Shotgun Tom.

As Shotgun was breaking the news to his then show
producer/engineer, he told Sniff, "There's only one word for
situations like this ... f***-a-doodle-doo!"

It was certainly the catch phrase for the rest of the reunion party.

Rising Star

Following stints in Palm Springs and Albuquerque, the guy who now
uses the air name Ricky Lopez is back living la vida disc jockey
evenings 6 to 10 p.m. on Star 100.7. The jock formerly known as
"Pedro" was primarily a board operator with occasional on-air shifts
during the waning days of B-100, before the switch to Star.

Plenty of features punctuate Lopez's show, including the nightly top
10 countdown as voted by the locals of a different San Diego
community each night at 7 p.m., the ubiquitous alternative hot adult
contemporary '80s at 8 p.m. and "Live on the Star Set" at 9 p.m.
Mondays through Thursdays -- tonight featuring Keanu Reeves'
band Dogstar.




Fox Trots: San Diego Radio Scene
..........

By John Fox

Fun -- noun: A source of enjoyment, amusement or pleasure.
Playful, often noisy activity. Vis Comica. Jocularity. Espieglerie.
Verbal wit. Verb: Pleasantly entertaining. Amusive. Diverting.

To the extent that radio is entertainment and entertainment is
supposed to be fun, San Diego's B-100 FM -- now Star 100.7
(KFMB-FM) -- tapped into that very basic premise for hundreds of
thousands of loyal listeners for about 20 years. During that time,
some of the radio industry's heaviest hitters brought their expertise,
honed their craft or in some cases, like mine, learned their craft from
the best. One of the best slogans this station ever had was so
great because it went far deeper than the simple way it read:
"Music, money and FUN ... B-100."

This past weekend, more than 50 former employees -- disc jockeys,
management, sales (the ones who weren't afraid the programming
side hated them), newspeople, producers, engineers and other
support staff gathered at the Emerald Plaza Hotel in San Diego for
what was officially known as the B-100 25th anniversary reunion
and which Danny Wilde, disc jockey at B-100 from 1976 to 1984
aptly described as "a once-in-a-lifetime collective, massive,
humongous group hug."

No matter what business you're in, but especially if it's radio, who
among us has worked for a place so special that even after its
demise, people who worked there more than two decades ago would
be so anxious to travel up to 3,000 miles to spend one magical
evening together again? Keep in mind that the tenures of many of
these people did not overlap. A lot of them knew each other by
reputation only, yet they wanted to be there to celebrate, re-live,
reminisce and maybe recapture a little of the magic of what was a
labor of love. You are a lucky and rare person if you can say that.

While you, dear reader, no doubt have made many lifelong
friendships in your career, it is unlikely that you have ever looked
back with fondness or regret at the entity where those friendships
began -- a very special entity where, like a perfect marriage, the
total is far greater than the sum of the parts. In fact, I'd say it's
about five to one that your last thoughts, or maybe even words,
toward at least one job and its manager upon leaving that job were,
"I hope you die soon."

B-100 was the polar opposite of that. It was a place full of talented,
creative people. Some have gone on to be major market program
directors and general managers. At least three have gone on to
long-term drive time shows in Los Angeles. One is now not just a
doctor, but head of surgery at a major Los Angeles hospital. Another
has been a player in network television sitcoms for many years. And
several dozen others also proved through thoughtful and moving
speeches at Saturday night's reunion why they were and are the
best of the best to ever take up communications as a profession.

From Ken Levine, known to B-100 listeners from 1975 to '76 as
Beaver Cleaver:

"It WAS a magical evening. So great to see everyone again. So nice
and deserving a tribute to Bobby (Rich, B-100's creator and twice
its program director). So sad that radio can't be like that again."

Ken can currently be heard as part of Los Angeles Dodger radio
network pre-game shows.

From long-time afternoon drive talent at B-100, Danny Wilde with
two days elapsed since the reunion:

"I'm still coming back down to earth after one of the most intense
experiences of all time. Even now, every time I say 'so long' to my
Boogie Brothers I still get all teary-eyed. I guess I'm just a big
wuss."

Don't sweat it. Danny, as the Rich Brothers used to say, "There's a
lot of that going around." Besides, you can now write your own
prescription to correct excessive tearing.

Willie B. Goode, Danny Wilde's afternoon predecessor, now known as
Willie B. afternoons at WLTS (105.3 FM)-New Orleans, showed his
knowledge of classic literature in summing up the evening with the
quote, "The years know what the days can never teach."

Bottom line, it was a magnificent night of espieglerie. Huh?

A Trip Down Memory Lane

Over the next few weeks, before I'm done you will be thoroughly
bored with stories from the B-100 reunion -- a night of high
emotion, air checks, a beautifully produced video courtesy of Art
Vuolo including the original 8-millimeter B-100 movie,
heavily-in-demand commemorative 25th anniversary T-shirts, good
food, good friends and incredible storytelling. Here is one of the best
of those stories.

Gary Kelley, now weekend weatherman at KGTV (Channel 10) and
operator of The Kelley Company, a very large and successful mobile
disc jockey business, was with B-100 three times, first in late nights
and finally in afternoon drive.

Among other kind words, Gary told the story of how in 1977 a
disgruntled listener who never received a prize he'd won on the air
(sound familiar? Happens to the best of us) had sought revenge by
stealing the personalized license plate "B100 FM" off the station van.
(Being in charge of the vans for many years thereafter, believe me,
it was not easy getting those things attached with tamper-proof
screws.) The plate got stashed and forgotten in the listener's
garage for 20 years.

A couple of years ago, it was rediscovered. The listener, now
apparently over his disappointment since B-100 was no longer on
the air, told a friend, "You know Gary Kelley, right? Give this to him
for me." And he handed over the license plate. That friend passed it
along to Gary with the underlying story.

At that point in his tale, Gary reached for a package he'd brought
and unwrapped the license plate, still in pristine condition with its
1977 registration sticker, now framed with a commemorative plaque,
and presented it to B-100 program director Bobby Rich. The crowd
erupted. Definitely one of the high moments of the evening.