On the radio, on the telephone: John Otto (and elsewhere around the dial)

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


WGR Radio News Minutemen, 1961

“I try to skewer with grace. I love being called a curmudgeon.”

John Otto may have been Buffalo’s greatest curmudgeon. Scholarly and erudite, but with a playful silly streak that kept listeners glued to his “conference call of all interested parties” for nearly 40 years.

He spent the 50s and early 60s doing just about everything imaginable on-air— and doing it superbly, first on WBNY and then on WGR, both radio and TV.

He was a classical music host, radio news anchor, and TV weatherman– but he seemed best in his element once he began hosting talk shows, specifically WGR Radio’s “Expression,” a nightly moonlit program which invited “listeners to telephone spontaneous, unrehearsed opinions” starting in 1962. 

Such would be Otto’s gig, more or less, for the next 37 years.

“He’s a good show with his deep, pulpit-shaped voice because his unshakeable confidence forces you take sides,” wrote News Radio Critic Hal Crowther in 1973. “If you agree with him, it’s ‘Give ‘em hell, John,’ but if you’re against him you’re often sorry that there are six or seven miles of night between your fingers and his windpipe.”

“Dracula and I have a lot in common,” Otto told News reporter Mary Ann Lauricella in 1981. “Daylight rather frightens us back into our caves. My metabolism is so attuned to nighttime hours that I’m more comfortable at night, when a velvet cloak is wrapped around the world.”

“He takes delight in practicing conversation as an art,” wrote Lauricella. “He uses a metaphor here, a simile there, perhaps a humorous play on words and weaves them into bright conversational tapestries.”

But Otto preferred self-depreciation to plaudits.

“I’m certainly not modern in anything— from the way I dress to the way I think,” said Otto in 1978, who was still dressing in “outdated narrow ties and straight-legged pants.”

“Weekends, I tend to fall out in customary corduroy slacks and white socks. I even let myself go a day without shaving. It’s a very exciting life I lead,” Buffalo’s congenial co-communicator told News reporter Jane Kwiatkowski in 1986.

His biggest vice, Otto confided nightly to his listeners, was his “regular investment of fortunes at Hamburg or Batavia.” Otto loved the horses, and would announce the winners from the local tracks on his show.

“We have the first three from Batavia Downs,” he’d say, often with commentary on the horse’s name, but sometimes with the hint of disdain in his voice. “It’s the rental of a horse for two minutes to run across the finish line first, and they seldom do,” said Otto of his horsing around.

Catching him in a moment of serious self-reflection, it was clear Otto had loftier goals for his nightly meeting of the minds. “If it works right, it raises the level of community thought and sets people to thinking with some added knowledge they didn’t have before.”

“We want to occupy and engage thoughts and to allow the opportunity for people to have access to a forum they are otherwise denied,” said Otto. “Some people call in who are just passing through and want to say ‘hi’ to the world—to let others know they are alive—a fact sometimes overlooked by the rest of the world.”

Not every caller “wants to unburden himself on the big hot-line issues like Vietnam, Watergate, crime in the streets, drugs, and the rest.” Otto’s often hardboiled entrenchment on those issues easily and often made way for the kind of calls an overnight program attracts.

“We get a lot of older people, lonely people. What they need are some voices in the night. And they have other things on their minds besides the headlines,” said Otto.

“One thing I’ve learned on this show is that many of them have an abiding fascination for marvels. Anything about the supernatural, ESP, UFOs, and experience that can’t be explained—that will get them talking like nothing else.”

For decades, Otto was ol’trusty—the iron horse of radio. Starting in 1955, through his first 30 years in broadcasting, he never missed a day of work—not once called in sick.

John Otto, 1962

However, he landed in the hospital in 1985 with pneumonia. “Forty years of smoking,” he said. The streak was broken and over the next decade and a half, sickness in breathing would slowly take Otto’s life—right before your listenership’s ears.

Eventually, very labored breathing made it difficult for him to get around, and he spent his final year “on the radio, on the telephone” broadcasting from his home. Even in his final days, “John, John, your operator on,” didn’t miss a broadcast. He signed off with his signature “I’ll be with you” on a Friday, went to the hospital on Saturday, and died early Monday. He was 70 when he died in 1999.


Jim Santella’s presence and sensibility blazed the trail for progressive rock radio in Buffalo, starting at WBFO (above), then notably at WGRQ and WUWU. Santella’s on-air presence mellowed in the 90s in a return to WBFO as a blues host and the original co-host of Theater Talk with Anthony Chase. His 2015 book, “Classic Rock, Classic Jock” was itself an instant classic, with an in-depth look back at one of the great eras in Buffalo radio.

This ad from a 1967 Buffalo Hockey Bisons program explained some of the far-out jive coming from America’s youth. It was clearly meant as a joke, but probably actually provided insight to more than one dad, sitting in the gray seats at the Aud, flipping through the program to find a Hershey Bears or Cleveland Barons roster.

Lifelong Lockport resident Hank Nevins has been heard up and down Buffalo’s radio dial for more than 40 years, but his career began overseas.

He volunteered to head to Vietnam the day after he graduated from broadcasting school, and was heard on American Forces Vietnam Network in starting in 1969.

In Southeast Asia, he worked with, among others, Pat Sajak.

Since returning home, Nevins worked as a disc jockey, host, and manager at radio stations in Western New York nearly without pause. Most recently, he’s spent more than a dozen years as the Saturday morning host on WBEN.


Dennis Majewicz was both Mac McGuire and Mike Melody at WNIA in the late 60s. He went onto a long career in broadcast engineering at Ch.4, Empire Sports Network, and now back at 1230am.

The deejay’s names never changed at WNIA, neither did the fact that Richard Maltby’s Midnight Mood would play every night at midnight. To put it mildly, WNIA was a quirky station. The daily noon time Catholic prayers were bookended by rock ‘n’ roll music.

There was also the reminder to be big, be a builder. The minute-long, run-on diatribe was the brainchild of station owner Gordon Brown in reaction to the war protests of the late 60s.

The impression your friends and others have of you is based on what you do– to teach, to create, to accomplish, or to build, whether you dig the trench for the foundation for a building; whether you lay the last brick on its top; whether you work with a pick and shovel or with the tools and machines, or in the office, or sell the products or services of industry; whether you grow, prepare or harvest the very food we eat, whether you are a homebuilder raising, teaching or educating your family or others how to become a builder, no matter what you are or what you do, if you are a builder, you are one to be long remembered.

Those who attempted to destroy the pyramids of Egypt were despised and soon forgotten, those thousands who labored to build them will never be forgotten. Be big, Be a builder.


Muhammad Ali in the WBEN studios with “Viewpoint” host Garfield Hinton.

Vice President Hubert Humphrey makes a Presidential campaign swing through Western New York in 1968, with KB newsman Jim Fagan over his shoulder holding up the microphone. Next to Jim is Buffalo Congressman Thaddeus Dulski. Over Humphrey’s other shoulder is Erie County Democratic Chairman Joe Crangle.


This page is an excerpt from  100 Years of Buffalo Broadcasting by Steve Cichon

The full text of the book is now online.

The original 436-page book is available along with Steve’s other books online at The Buffalo Stories Bookstore and from fine booksellers around Western New York. 

©2020, 2021 Buffalo Stories LLC, staffannouncer.com, and Steve Cichon

Dick Lawrence brings Top-40 to Buffalo

       By Steve Cichon
       steve@buffalostories.com
       @stevebuffalo


Excerpt from 100 Years of Buffalo Broadcasting 


A young program director with a big mouth, big ideas, and a big appetite for promotion rock ‘n’ rolled his way into Buffalo in 1957, and Dick Lawrence permanently etched his taste for music and in-your-face radio into the taste and expectations of Buffalonians.

Even if they came along kicking and screaming. Buffalo’s newspaper radio critics reflected the feelings of most Western New Yorkers past the age of 16, with regards to the new sounds coming out of their radios.

Dick Lawrence

Sturgis Hedrick of the Buffalo Evening News recalled Lawrence on the pages of the paper as “the energetic young man who brought the raucous, jangling—and alas, moderately successful—sound of ‘modern radio’ to Buffalo.”

 The original WBNY Top-40 line-up included Lawrence, who appeared on the air as Felix with his pet parrot Fernando.

“A sound of hoopla and noisy disc jockeys went into full swing night and day,” said the Courier-Express’ Jack Allen. “Most 15-minute newscasts, a tradition at the station, were dropped and Gene Korzelius’ sportscasts were reduced. The fast-paced schedule eventually also did away with the Grosvenor Library Classical Music Show…The top-40 format with the rock ‘n’ roll beat was in to stay.”

The theme is pretty clear. It was also echoed by J. Don Schlaerth.

“Station WBNY, described as ‘the friendly voice of Buffalo’ seems to have given in to the noisy bounce of rock ‘n’ roll and Elvis Presley to ‘keep up with 1957 musical tastes.’ Not long ago semi-classical music and standard favorites predominated on WBNY. Then there was no room for an Elvis.”

Henry Brach was a newsman and deejay at WBNY and as ‘BNY’s news director, gave Danny Neaverth his first job in Buffalo radio. He moved over to KB and spent more than 20 years there as the station’s gruff uncle and the butt of the jokes of untold numbers of disc jockeys.

If you tuned to WBNY in the late 50s, you were likely to hear the voice of Daffy Dan Neaverth, Fred Klestine and Henry Brach. At WBNY, Neaverth would pull a rooftop like event similar to Guy King’s, throwing candy out to passersby. Neaverth, perhaps with his boyish good looks and demeanor, evaded arrest for his stunt.

Daffy Dan Neaverth, WBNY. Neaverth left WBNY for WKBW, inspiring the rath of Dick Lawrence—who made firing Neaverth one of his first acts when he became boss at KB. Neaverth went to work at WGR until returning to 1520 for a 26-year run at the station.

It was fast tempo music, fast tempo talk, fast tempo musical station IDs. It was also the only programming on the station. Rock ‘n’ roll could be heard elsewhere on the dial, but nowhere else was it the only music a station played.

Love it or hate it, the tiny 250-watt station– which could barely be heard outside of the city’s boundaries– was the talk of Western New York.

Other radio stations hated more than radio critics and parents of teens combined.

Four months into Dick Lawrence’s reign at WBNY, WGR announced that it is no longer in the rock ‘n’ roll business.

“Radio station WGR, after taking an impartial music survey among local housewives, has decided to go off the ‘hot’ music path into the relaxing realm of ‘good music,’” reported The Courier-Express. “It will let other Buffalo stations divide the rock ‘n roll spoils.”

The survey named Perry Como as favorite male vocalist followed by Pat Boone and Bing Crosby.

The next day, the paper printed reactions from local radio programmers and called Lawrence’s response “violent.”

“I’ve seen this policy tried before,” Lawrence said. “It doesn’t work and I’ll be a pallbearer at their funeral.”

WGR went to the extreme, but most other stations had some rock music at some point during the day. The only station that didn’t, was WBEN.

“The changing styles in music have never affected the WBEN program policy of providing music, news, drama and public service for all members of the family,” a station official told the Courier-Express.

Other radio stations might not have embraced the music, but after six months, they were beginning to lose revenue. 50,000-watt WKBW Radio was losing to a 250-watt station.

WKBW General Manager Al Anscombe told the Courier-Express that the sound being put out by Dick Lawrence was “slightly wacky” – but the trends were there. KB could die on the vine, or go all in.

And did KB go all in. The station owned by a preacher with call letters standing for “Well-Known Bible Witness” hired away the young programmer and promoter who sent a donkey around downtown Buffalo wearing a sign that said, “Everybody is listening to the new WBNY but me, and you know what I am!”

Lawrence christened KB as Futursonic Radio, rock ‘n’ roll had a new home on Buffalo’s radio dial, and KB would begin a dominance that would last a generation.

Within a year of the change to a Top-40 format on July 4, 1958, WKBW Radio was taking out full-page ads in Buffalo’s newspapers touting their status as Buffalo’s most listened to radio station.

One of the most famous disc jockeys to spin tunes on WBNY only lasted about a month at the station– but would go on to a legendary career in syndicated radio and voice work.

Before he became the voice of “American Top 40” and Shaggy on “Scooby-Doo,” Casey Kasem was “Casey at the Mic” on WBNY in 1960. Shortly before his arrival, he set a record at WJW in Cleveland for what he called “world’s longest on-air kiss,” after laying an 85-second smooch on starlet Diana Trask.

Much later, Kasem would admit to “screwing around too much” during his short time in Buffalo. He’d land in San Francisco, and was well on his way to forever having his feet in the ground while reaching for the stars.

Early group shot of The Even Newer WKBW Futursonic disc jockeys, including Jim Taylor, Ted Hackett, Tom Shannon, Don Keller, Dick Braun, Gene Nelson, Bob Diamond, and Russ Syracuse.

Dick Biondi at a record hop in 1960, just before leaving KB for Chicago.

Dick Biondi was the first nighttime voice of the rock ‘n’ roll era on WKBW.

He referred to himself as “a screamer,” and often told the story about how he was fired from KB because he was too loud. He also claimed to have been fired from KB because he played an Elvis song that wasn’t approved.

What really happened: he told listeners that one of KB’s managers was driving down Main Street in an Impala convertible. “If you see him,” he said, “Throw a rock!”

Someone did—through the boss’ windshield. Maybe he was too loud.

Dan Neaverth, WKBW

Irv Weinstein joined the WKBW Radio news staff in 1958, ultimately becoming the station’s news director. He was responsible for creating a news sound that reflected the music and personalities on the station. He walked across the parking lot to become Ch.7’s news anchor in 1964.

When WNIA officially signed on in 1956, the station was promised to be “as revolutionary to radio as color was to television.”

More than just Top-40, the record library at the Genesee Street studios boasted more than 10-thousand recordings.

But there was still plenty of room for rock ‘n’ roll. From early on, 1230am was “a home for top tunes” as J. Don Schlaerth put it in the pages of the Courier-Express, who wrote, “as a new station with lots of peppy music, the ratings began to jiggle.”

In 1957, Gordon Brown, owner, WNIA, told The Courier-Express, “We play the top 100 tunes half of the time and the old standards the other half of the time. I think people like the sweet popular music as well as rock ‘n’ roll. We’ve had terrific results in the popular music field. We also like to play some soft music to help the housewife work around the house.”

WNIA signed-on in 1956, and doubled its power in 1962.

While the power changed, what didn’t was the disc jockey’s names. For more than two decades, when you turned on the radio in the morning, the deejay identified himself as Tommy Thomas— even though it might have been a different guy with a different voice calling himself Tommy Thomas the day before.

Just like with Guy King at WWOL, station founder Gordon Brown insisted that the disc jockeys at the radio stations he owned use those on-air handles instead of their own.

He felt the stock jock names gave a more consistent sound even as the DJs changed rapidly, it was always Mike Melody and Jerry Jack.

WNIA saw itself as a more staid (and cheaper!) version of WKBW. KB wasn’t mentioned by name in one 1963 ad, but anyone reading it would have known what was being implied.

“As far as wild banshee, screaming announcers, wild nonsense gimmicks and promos… NEVER on WNIA.”

At 1080am, WINE was perhaps the least remembered of the handful of radio stations which tried to break in on the Rhythm music scene in late 1950s Buffalo.

“WXRA has changed their call letters along with their programming,” wrote Danny McBride in his column in the Blasdell Herald in 1957. “The new call is WINE, along with crazy sounds like the new WBNY.”

The WINE call letters didn’t last very long. In 1960, WINE became WYSL at 1080am.

1080am was then sold to WUFO, and the WYSL call letters moved to 1400am, displacing the old WBNY.

Before WXRA became WINE, Tommy Shannon had his first radio job there.

Hernando was the morning man at WXRA, and stayed on at WINE. The mic flag in this photo was edited from saying WXRA to WINE.

Hernando went on to do the all-night show on WGR, after the station “gave up” on giving up rock ‘n’ roll.

Greyt Scott appeared on other Buffalo stations as Charlie Griggs. Tap Taplin had been a regular on WEBR for at least a decade before moving to WINE, and Jimmy Lyons was Buffalo’s first full-time, regularly featured African-American deejay.

The WINE mobile unit—a Volkswagen van—always turning heads.

Disc jockeys joined forces to raise money for charity at a game at the Bishop Timon gym in 1959. Standing: Charlie Griggs (Greyt Scott) WINE, Rog Christian WBNY, Tom Shannon WKBW, Terry Mann WWOL, Dan Neaverth WGR, Danny McBride WEBR, Jack Kelly WKBW, Rick Bennett WWOL. Sitting: Bud Stiker (Jerry Jack) WNIA, Dick Carr WBNY, and Don Fortune WBNY.


This page is an excerpt from  100 Years of Buffalo Broadcasting by Steve Cichon

The full text of the book is now online.

The original 436-page book is available along with Steve’s other books online at The Buffalo Stories Bookstore and from fine booksellers around Western New York. 

©2020, 2021 Buffalo Stories LLC, staffannouncer.com, and Steve Cichon

The early rock ‘n’ roll history of Buffalo’s WNIA 1230am

By Steve Cichon
steve@buffalostories.com
@stevebuffalo

1230am signs on

When 1230 am officially signed on in 1956, WNIA was promised to be “as revolutionary to radio as color was to television.”

WNIA, 1956

The record library here in our Genesee Street studios boasted more than 10-thousand recordings.

From early on, 1230am was “a home for top tunes” as J. Don Schlaerth put it in the pages of the Courier Express, who wrote, “as a new station with lots of peppy music, the ratings began to jiggle.”

WNIA control room. (Dennis Majewicz photo)

Sixty years ago, it was a difficult decision for a radio station to play rock ‘n’ roll music full-time, like WECK does now.

In 1957, Gordon Brown, owner, WNIA, told The Courier-Express, “We play the top 100 tunes half of the time and the old standards the other half of the time. I think people like the sweet popular music as well as rock ‘n’ roll. We’ve had terrific results in the popular music field. We also like to play some soft music to help the housewife work around the house.”

WNIA Founder Gordon Brown, remembered in his hometown Democrat & Chronicle in 1979.

Tom Donahue, 7th grade

A few years after the station first signed on, a group of local singers—all high school students– at WAY Radio productions sang the jingles you can hear in the piece linked above.

One of those singers was Tom Donahue.

That means his voice has now been heard professionally on the station for more than 50 years.


Mike Melody, Tommy Thomas, and Jerry Jack…

We’re continuing to talk about the early rock ‘n’ roll history here at 1230am.

There were dozens of young disc jockeys who played the hits here at Buffalo’s upstart rock ‘n’ roll station.

Dozens of DJs– but only 4 or 5 names.

Station founder Gordon Brown insisted that the disc jockeys at the radio stations he owned use those on-air handles instead of their own.

He felt the stock jock names gave a more consistent sound even as the DJs changed rapidly, it was always Mike Melody and Jerry Jack.

WNIA’s on air schedule

6 AM to Noon – Tommy Thomas
Noon to 6:30 – Jerry Jack
6:30 to 12:30 AM – Mike Melody

Brown died in 1977, and the station was sold. Since then, the disc jockeys you’ve heard on WECK didn’t necessarily have to use their own names– but they didn’t have to be Mike Melody or Mac McGuire, either.

WNIA poster created from original WNIA art by Steve Cichon.


Midnight Mood & Be Big…. 

We continue our week long look back at the early rock ‘n’ roll history of 1230am.

It’s one of the most requested songs as people reminisce about radio in Buffalo in the 50s and 60s.

It was the 1230 theme song for years, Richard Maltby’s Midnight Mood would play every night at midnight… that’s a tradition we continue now at WECK each night as the clock strikes twelve.

WNIA was a quirky station. The daily noon time Catholic prayers were bookended by rock ‘n’ roll music.

And if you listened to the station at all in those days, you probably remember that you should be big… be a builder.

THE IMPRESSION YOUR FRIENDS AND OTHERS HAVE OF YOU IS BASED ON WHAT YOU DO…TO TEACH…
TO CREATE… TO ACCOMPLISH… OR TO BUILD, WHETHER YOU DIG THE TRENCH FOR THE FOUNDATION
FOR A BUILDING; WHETHER YOU LAY THE LAST BRICK ON ITS TOP; WHETHER YOU WORK WITH A PICK
AND SHOVEL OR WITH THE TOOLS AND MACHINES, OR IN THE OFFICE,OR SELL THE PRODUCTS OR SERVICES
OF INDUSTRY; WHETHER YOU GROW, PREPARE OR HARVEST THE VERY FOOD WE EAT… WHETHER YOU ARE A
HOMEBUILDER RAISING,TEACHING OR EDUCATING YOUR FAMILY OR OTHERS HOW TO BE COME A BUILDER…
NO MATTER WHAT YOU ARE OR WHAT YOU DO, IF YOU ARE A BUILDER, YOU ARE ONE TO BE LONG REMEMBERED.
THOSE WHO ATTEMPTED TO DESTROY THE PYRAMIDS OF EGYPT WERE DESPISED AND SOON FORGOTTEN…THOSE
THOUSANDS WHO LABORED TO BUILD THEM WILL NEVER BE FORGOTTEN………. BE BIG…… BE A BUILDER
–as transcribed at http://www.flynnflam.com/wsay/bbbb.html, a website dedicated to remembering WNIA’s sister station, WSAY, in Rochester.

The minute long diatribe, punctuated with the slogan BE BIG, BE A BUILDER, was the brainchild of station owner Gordon Brown.

It was a reaction to the war protests of the late 60s, and now its a well-remembered part of Buffalo’s broadcasting history.


Listening to the Archives

Mac McGuire, Tommy Thomas, Mike Melody, and Jerry Jack all holding court in the Make Believe Ballroom during the 50s, 60s and 70s.

The call letters WNIA originally stood for “NIAGARA.”

When the station was sold in 1977, the new call letters, WECK were selected to represent another Buffalo institution.

WECK sticker, late 1970s.


From WNIA to WECK

This week we’ve been looking back at the history of 1230am…

For 20 years, tiny WNIA had a powerhouse sized influence on rock ‘n’ roll radio in Buffalo, from the same ranch house we broadcast from on Genesee Street.

From Mike Melody’s “Make Believe Ball Room,” to “Be Big… BE A BUILDER,” to Richard Maltby’s “Midnight Mood,”  WNIA and 1230am were very much a part of the tapestry that made up life as a teenager in Buffalo in the 50s and 60s.

By the late 70s, those days were over, the station was sold. WNIA became WECK.

The Roll that rocks. Get it? WECK Roll?

Anyway, 1230 grew up with those 50s and 60s rock ‘n’ rollers and was spinning the disco tunes with DJs like Frankie Nestro.

After years of “Music of Your Life,” then talk for a while, we’re now back to our roots as Buffalo’s home for Good Times, and Great Oldies…

Buffalo’s Very Own WECK.