April 12, 2024 • 31 mins
Danny G. produces a Ben Maller special for your Friday! Ben takes a deep dive into the career of radio legend Phil Hendries & the documentary about the man who's satire helped shape talk radio! Plus, Phrase of the Week, and more!
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Speaker 1 (00:00):
Kabooms.
Speaker 2 (00:02):
If you thought four hours a day, twelve hundred minutes
a week was enough, think again. He's the last remnants
of the old Republic, a soul fashion of fairness. He
treats crackheads in the ghetto cutter the same as the
rich pill poppers in the penthouse.
Speaker 1 (00:18):
Wow.
Speaker 2 (00:18):
The clearing House of Hot takes break free for something special.
The Fifth Hour with Ben Maller starts right now.
Speaker 3 (00:28):
In the air everywhere, The Fifth Hour with Ben Mahler
and Danny g Radio who is on assignment today not
with us on today's pod as we kick off the weekend,
because hey, four hours a night on the overnight clearly
not enough.
Speaker 1 (00:47):
In this podcast available wherever you have found the podcast
in pretty much everywhere in the iHeart podcast network. You
knew all that stuff. And we'll get the Komodo dragon
out of the room as we begin the pod. Why
are you doing the podcast but you didn't do the
overnight show yet? So I was away from my post
and some of you went batshit crazy because I was
(01:10):
away from my post for a couple of nights here
doing the family thing at a family assignment. But it's
only a couple of nights. And I still am doing
the podcast. The podcast is easy to do because it's
not in the middle of the night. I'm not tied
down somewhere where people are sleeping and all that. I
can do the podcast when a more proper time, a
(01:31):
more proper time to enjoy audio content and to do
audio content, which is just terrific. So we're doing the podcast.
I'll have the pod all weekend. Obviously. Today is it's
the twelfth day of April, and I am celebrating a
teeny bit National Grilled Cheese Sandwich Day, which is always
(01:52):
a big day in the house. There are a few
things better than a well made Chris be cheese melted
on top of the bread, just outstanding, outstanding a National
grilled Cheese Day, and occasionally you can mix it up. Now,
at what point does it not become a grilled cheese?
(02:13):
Is that a when you put like a little pastrami
in there, and then it's no longer a grilled cheese.
But it's mostly a grilled cheese. It's just a little pastrami.
You can put any kind of meat you want it.
But I'm a big grilled cheese guy, big grilled cheese guy.
Love it's also big wind day today, so that's always
a exciting day. On the twelfth of April. Who comes
up with this crap? Well, on today's podcast, we will
(02:37):
have a Malor film review. That's right, a Malar film review,
just the content you've been looking forward to. Also have
the phrase of the week as well, and whatever else
pops up on the pod. But we begin with this.
So I got tipped off a couple of weeks back.
(02:57):
Some of my radio minions were like, Hey, did you
hear there's this documentary about a radio guy? And I
was like, oh, really, I didn't think they made documentaries
about radio guys anymore. It's all about those cool podcasters, right,
everyone wants to be a podcaster. But sure enough I
heard a little more about it, and then I had
to track it down. Now the documentary, let's see if
you can figure out who it's about. This is. This
(03:19):
is not a dead giveaway at all, right, not a
dead giveaway at all. The documentary is called Henry. Who
could that possibly be about? Who could that possibly be about?
A documentary named Henry ding Ding ding ding nang. Yeah,
Well it turns out that is a dead giveaway. So
this thing just came out at least I just became
aware of it. And it is a documentary that tracks
(03:43):
the career of a Hall of famer in radio, Phil Henry,
as it's described in the bio for the film, a
radio genius whose satirical brilliance reshaped comedy. And then and
they brought in a bunch of these real heavyweights in Hollywood,
like Judd Apatow and people all on that line. There's
(04:08):
some one of the people from the Simpsons who were
fans of Phil Henry liked Phil Henry, and then they
had Phil was in there as well, and then it
went behind the microphone. The Impact of the Phil Henry
Show is a documentary ran for like a hour and
a half, a little over an hour and a half.
(04:28):
So I found out about it and I was like, well,
I want to get it, and how do you get it?
And then you're like, well, it wasn't streaming that many places.
It was on Amazon Prime for like five bucks, and
since I'm in radio, I'm like, I don't know if
I want to do that. So then I started snooping around,
like how can I watch it without having to pay
the five bucks? And I found this weird app on
(04:48):
my dive into the dark web, and I came across
this thing called let me let me find it on
my phone here and just beare with me. It's called Hooplah.
Never heard of that. It is a app through your
local library and you can watch documentaries, TV shows, audio
books for free. But you gonna have a library card.
Speaker 3 (05:11):
Now.
Speaker 1 (05:11):
I don't have a library card, so I had to
pivot and I had to find one. I could have
signed up and that would have been easy to do
online and all that, but I was like, I don't why.
I'm not going to ease my wife, though she of
course loves loves the books, all about the books and
all that, and so she was able to track down
the library card, which then allowed me to get on
(05:34):
said app. Well, originally it was the website. It was
on the website watching it. I tried to watch it.
I had to save it, but then you had to
come back after midnight because only a certain number of
people could get it, and there was a lot of
hoops he had to jump through. But I was like, hey,
it's free, I'll save five bucks. Why not That'll buy
like one chicken nugget or something like that. When I'm
out to eat. So I go on the website, I
(05:55):
type in the past code, library card, wife's information and
get to the thing is all right, you've saved the
Hendri documentary. I'm like, all right, hallelujah, I have saved
the Hendri documentary. I'm ready to go. So then I
clicked to watch it and it was like, well, no,
you have to You can't watch it on this device.
It's only available you have to download our app. And
(06:16):
so I'm like, oh, well, this is a pain in
the ass, but I wanted to watch it. I was
motivated because I appreciate radio people, because this is my
professional career, what I've done my entire adult life. And
so I downloaded the stupid app and then I was like, oh,
I will just connect it from the app to the
big TV. Right, you do that phone the TV thing,
(06:39):
and you can send the stream and you can watch
it on your television and it's just like you're watching
it the regular way, and that's how you do it.
And so then I kept clicking on the anything wouldn't work,
and so I was like, oh, I'm fuxing around with it.
I'm like, what the hell? And I just would not work.
I could not get the documentary. I was like, well,
how stupid are the people behind this app? Wouldn't you
(07:00):
think the whole point of it is for people to
enjoy the content they're getting from their tax dollars that
they're going to subsidize the library, and they would like
to watch on the television. But it wouldn't work. Now,
maybe it was a user error. It's possible right that
something I did did not resonate with the phone and
the TV. But either way, it did not work, and
(07:22):
so I ended up having to watch this thing on
my phone. But I enjoyed it. In fact, I liked
it so much I actually watched it a couple of times.
And so now it is the Malor film review for
Henry the Documentary. I should start out first of all
with the fact that you might not know who Phil
(07:42):
Henry is, Like, I know who Phil Henry is because
I've worked in RAID. I should have met Phil Henry
a couple of times. More on that later in this podcast,
so I know the act. He was a big star
in radio in the late nineties early two thousand. In fact,
right around the time that I came to Fox Sports Radio,
(08:05):
FOXS Radio lodged Phil Henry was nationally syndicated at the
Premiere Networks, which is where I work at. Fox Sports
Radio is a part of the Premiere Radio Networks. It
was of the Premier radio networks. Now it's just Premiere
Networks that got rid of the radio. And Phil was
doing a syndicated show at night, and his whole shtick
(08:25):
is he is the host, he is the guest, and
he just has this amazing ability of sashing his way
through a steeplechase on a nightly basis, and he's able
to hornswaggle the listeners and it it's great if you
(08:46):
get it, it's great. If you don't get it, it's ridiculous.
And there was a point I didn't really get to
Phil Hendry show. He started out. When I first heard him,
he was on KFI in Los Angeles, big news talk station,
and I was like, oh, this is kind of stupid.
And then the more I listened, and I was doing
radio at the time, and I realized what he was
doing and how he was using the people that call
(09:10):
the show as putty, I thought, well, that's pretty good.
So that was my first running with Phil Henry, is
that I knew of him at KFI in LA and
then I worked at Premiere and he had a syndicated
show Premiere, so our paths crossed a couple of times.
But he was doing satire. He was doing satire of
(09:33):
talk radio, which I have been accused of doing when
I talked to Marcel and Brooklyn or Cowboy and windsor
or some of the other characters that call the show.
The only difference between me and Phil Henry is I
am not doing impersonations. They're real. They are real, they
call in, they find me. I am not the one
(09:54):
that is doing the voice right. I might bust the balls,
I do that a lot. I like to bust balls,
right and all that, but I'm not the one that
is on the other side of the phone. Phil was
the person on the other side of the phone as
the guest, and he created all these fugazi characters. But
his story. If you watch the documentary, I don't want
to give the whole thing away, but I do recommend it.
(10:14):
Help another radio guy out. Now. Phil's going to get
some credit. Even though I'm a tightwad. And I went
through the library to watch the documentary. You can even
just cut out the middle man. Watch it on Amazon.
I'm sure there'll be some other ways the way these
things work down the line. If you're hell bent on
getting the documentary for cheaper, probably get a cheaper down
(10:35):
the line and all that. But I already watched it.
I don't think you can get cheaper than free. And
so it was fascinating as someone that has worked in
the business a long time. Phil started out as a DJ,
a regular disc jockey on music radio for seventeen years.
This guy was your generic radio DDRE and just did
the normal radio crap. And there was video of him
(10:58):
as a DJ at KLAX here in Los Angeles ninety
seven point one, which was a music station for a
long time, became a talk station and now it's a
news talk station. But Phil was there when it was
a music station as a just a generic, boring ass DJ.
And he said in the documentary that he had a
(11:19):
midlife crisis he wanted to do talk radio. One of
the inspirations was Rush Limbaugh of all people, that that
was about the time when he decided early nineties. Henry
in the documentary talks about how he decided, Hey, I
want to go that direction because I'm tired of playing music.
I hate and I don't even get to pick the music,
(11:40):
and it stinks and all that stuff, and I would
like to use my personality, and so he decided to
getting talk radio. But Rush Limbaugh was one of his
inspirations because Rush at that time was blowing up and
was coming the voice most listened to guy and news
talk radio and a lightning Rod and all that, and
(12:04):
wasn't under control like a DJ had to be. When
you're at DJ, you had to be under control. And
so anyway, henteres sid, I'm gonna do it. And he
got a couple of weekend shows at KFI, ironically enough
where he would end up and just did boring generic
news talk radio, which according I didn't hear any of it,
(12:24):
but they said in the documentary it was just bad.
You know. He was doing radio talk radio the way
he thought talk radio needed to be. Anyway, he got
laid off from that job or fired everyone to say
it it was such as snooze that he lost the gig.
And then he ended up getting a job mid days
just north of La Proper in Ventura, in Ventur, which
(12:48):
is north of La Some of the people that work
at Fox Sports Radio live in Ventur it's that close
to the San Fernando Valley studios of Fox Sports Radio,
and so he went out there and that's where he
was in his own element, and he just used his
mind and created what became his life's work. All these
(13:09):
dopey characters were part of his little neighborhood on the
Phil Henry Show, and he talked about how that worked,
the creative process behind it. So if you're really into
Phil Hendry, it's great. I knew a little bit about him,
like I said, but it's kind of cool to learn
the art, the ancient art of broadcasting. So they talked
(13:30):
about his time there and very controversial because as I
have noticed from my work in radio and my years
of doing the Overnight Show, there is a percentage. And
I'm gonna shure what percentage is. It might be twenty percent,
might be ten percent. Maybe it's only five percent that
do not get the sarcasm, that don't get the bit.
(13:50):
They're not in on it. They're completely beguiled by the bit,
right They just they to them, it's a turd in
the punch bowl, and they are just fair upset that
this voice on the radio is mocking whatever they're mocking.
In this case, Phil Henry was mocking the very medium
of talk radio. And so those people are very voiceters.
(14:11):
They're upset and they scream and shout and yell and
they go lightning and thunder and all that. And so
Phil Henry had to deal with this at this little
small station in southern California that didn't have a very
big transmitter and Mack, in those days, you couldn't listen
to radio on an audio device like a phone. You
had to listen on the old radio, like the old
(14:32):
radio station that was it. You couldn't hear anything other
than the transmitter. And so he created this show and
they show did very well according to the documentary, but
there were the haters and so the people that ran
the radio station didn't know quite how to deal with this.
But he had good ratings and so that's important. He
(14:53):
was tearing up the dance floor, if you will, behind
the microphone, and the ratings were coming in and he
was doing very well, so that was great. So eventually
he moved on. He said, well, I want to go
to a bigger place, and I want to I want
to create this into something bigger than it is. And
the jibber jabber, continue, you got a job in Atlanta.
(15:14):
They talked about his time in Atlanta. Not a good fit.
Worked in Minneapolis. And these are a big heritage news
talk stations. And when the term heritage is it's like
a blue blood. They've been around forever. They have a
built in audience. There's a certain pedigree of the listener
to these type of operations. And so Phil Henry was
(15:37):
not a fit because, again by his own admission, he
was mocking the very medium that he was working on.
And they talked about that, and he was beaming with
pride how he was doing it, and he was very
good at it. But when you're dropped in to one
of these stations, it's kind of like showing up. The
analogy I will use, it's like showing up to Yankee
(15:58):
Stadium putting on the pench ripes and you've got rainbow
hair and a bunch of piercings in your nose, and
you've got a beard that looks like you're from a
nineteen eighties metal band. Wouldn't fit, right, wouldn't fit. That's
the Yankees, that's the iconic New York Yankees. You have
to have your facial hair trimmed, and you have to
(16:19):
be prim and proper, because that's what the Yankees doing.
If not, you can blow it out right and blow
it out you took us. And so that was what
Henry did to talk radio. So anyway, bunced around, didn't
work in Atlanta, got fired, went to Minnesota kind of work.
And then a guy that fired him in Atlanta or
helped his dismissal Atlanta, hired him for Miami. And that
(16:40):
is where things really took off for him in Miami
and the Phil Henry Show. And keep in mind that
can't really happen now that this career path that Phil
Henry went on is all but impossible in modern radio
because there's not enough local programming and there's not enough
(17:03):
people willing to pay for you to relocate the difference,
and you would have to pay your own moving expenses
to move around there. There was a point when I
remember I went to school at Saddleback to learn about radio,
and they put up one of the things we did
in class. They had this DJ, and I forget the
guy's name, and I apologize, but they talked about his
(17:25):
DJ who had written some book about his life in radio,
and this guy was like a military brat. He had
lived and I'm not exaggerating here. It was like twenty
five or twenty six cities. And he was a middle
aged dude. He started in radio when around the age
I started. I started in radio when I was nineteen.
Danny started. He's not here today, but Danny started when
(17:48):
he was younger, a little younger than me. But we
were kids, right, We were teenagers starting in radio. And
so at that time you could start out at eighteen
or nineteen and move on up to a penthouse on
the Upper East Side and work your way up and
create the magic and all that, and move from city
to city. And there's another old radio guy who he's
(18:09):
had on the podcast, Ken Levine or ken Levine rather,
and he's also talked about that experience where he was
a DJ, and you work at different radio stations and
move up. But you really can't do that anymore anyway.
So Henry did it. He went to Miami, showed it
very well in Miami, and then he ended up getting
a gig back in Los Angeles at the station that
(18:32):
had gotten rid of him originally, at KFI in LA.
So he's come full circle. And then he gets a
syndication with Premiere, So not only is he doing the
night show locally in LA but now it's a syndicated show.
And moving on. In the review the Malor Film review
of the documentary, this one hit a little close to home.
(18:53):
If you watch this documentary, they interviewed the program director
of KFI, as they used to say back in Howard
Stearns Day's well, pig vomit the pig vomit of KFI,
and his name was David G. Hall. Still is fun fact,
fun fact for you. I and Phil Hendry have something
(19:16):
in common. I, Phil Henry, and Tom Likeas have something
in common. Tom Like has a radio legend back in
the day. Who's out of the business now as far
as I know. But Phil Henry, Tom Likeas and me
all were fired by David G. Hall. We all got
let go by David G. Hall. And it was odd.
It was odd seeing him on the documentary You fired,
(19:41):
and he was in there several times. Bill Handel, who's
a very talented broadcaster himself, who also used to make
fat jokes at me when I worked across the hall
near KFI back in the old days. But he was there.
Phil Handle's handle on the Law, which is syndicated by
the Premiere networks. Hear that occasionally on the weekend. So
(20:03):
it was odd seeing some people that I knew in
the documentary who were very loud and proud. Henry came
back to La Got the syndicates show and they were
pointing out one of the blessings and the curse. It's
a double edged sword about Phil Henry. Those that worshiped
him didn't have a problem with Phil Henry. Obviously a
lot of people didn't. I said the percentage maybe twenty percent,
maybe ten, maybe only five, but a certain percentage of
(20:25):
people that listen to radio content audio content just it
goes right over their head. They don't understand that there's
a gag. Even though Henry legally had to announce the
beginning of every hour that this is satire, these are
not real people and all that, and yet people tune
in when the show starts. As we say in radio,
(20:45):
the show starts when you turn the show on. We
do a four hour show at night on the radio,
the Ben Mallor Show with my name on It is
four hours, but a lot of people will either tune
in for twenty minutes the beginning of the show, or
maybe you're getting up early to get a jump on
the traffic. We get to do very well. We have
more people listening to the last hour of the show
than the first hour of the show. Because up and
(21:07):
down the Eastern Seaboard, in the I ninety five corridors
we like to call it on all the big East
Coast affiliates, people are getting up and trying to beat
the traffic, and they're running out of their house and
they turn on the show. And maybe they turn it
on at like five twenty in the morning or five thirty,
and they listened for half an hour and that's it,
and that's great. So that's all they hear. They don't
hear what happened three hours earlier, two hours earlier, an hour.
(21:32):
So the show starts, you turn it on, and that's
giving a disclaimer at the beginning. Legally it allows you
to get out of trouble, but it does not prevent
the knuckleheads from calling up and screaming and shouting and
all that. So Phil became syndicated, and as it was
pointed out, every affiliate that he went on, it became
(21:55):
a nightmare. It was. It was death by a thousand affiliates,
or in this case, five hundred affiliates, because every radio
station Phil would go on, the same process would start
over where people were a little off balanced there. They
were bobbing and weaving with the show. They didn't know
what was going on, and so it was endless, endless
(22:20):
complaints and you blow, you suck, you're terrible and all that.
And so there was this upsurge right in this talk zilla,
this monster, this fire breathing monster from Phil Henry and
his show. And so that was a problem. But here's
and you'll learn this in the documentary. And again I'm
(22:42):
probably going too far into it, but trust me, the
documentary is better than me recapping the documentary on this
Mallard podcast edition the fifth Hour review of the Henry Documentary.
But there was one point that was the point of demarcation,
i'll call it for the Phil Hendry Show. It was
something that affected me and what I did and everyone
(23:05):
in radio because we were essentially told to shut the
f up, shut the f up because of a booby.
That's right, a booby. If you remember Janet Jackson and
Justin Timberlake at halftime of the Super Bowl, they were
performing and we had the wardrobe malfunction heard around the world.
(23:29):
Who knew that a nipple would cause corporate broadcasting to
lose their minds? But that's exactly what happened, and it
was it touched close to home because I know what
I had to deal with at the time, and I'm
a small time player, right, I'm not a big time player.
I'm a small time player, especially at that time. And so, okay, fine.
(23:51):
It was a lot of uproar, and Henry pretty much
said that was the beginning of the end of his
show as the boss of Premiere and one of the
coolest people. I don't know anyone that's ever said anything
bad about this guy. His name is Craig Kitchen. He's
now an agent, but he ran the Premiere Radio Networks
when I when I started, he was the guy that
(24:12):
had one rule. I mentioned a while back on the
on the show this week, I think I mentioned it
that he is His one rule was no popcorn because
he did not like the smell of burned popcorn. That
would just said. But Craig Kitchen went to Washington, d
C with a bunch of other radio muckety MUCKs and
they all went to d C after Janet Jackson showed
(24:33):
her her nipple the nip Slip, because they were worried
about the FCC dragging all of their radio stations down
a right, so they were like, all right, we're gonna
go and we're gonna say all right, well we're not
We're playing. And Phil Hendrys, as he pointed out in
the documentary, like, well, this is a television thing. This
is not radio. We can have and this is my line,
(24:55):
not his line. We can show nipples all we want.
Radio we were allowed to show nipple because you can't
see them. It's radio. Hello, it's radio. But anyway, there
was the shock jock, the over the top shock jock
that was a lot of ripoffs of Howard Stern who
(25:15):
also there was some b roll on Stern in this
number of radio legends, the Greaseman from DC. There was
a big radio guy in Miami that was prominently mentioned
in this as well. I mean, there's some heavy hitters.
If you're a radio nerd, this documentary is great. Anyway
gets the point. So Phil Henry the way he really
the story. This guy, Craig Kitchen, our boss, went to
(25:36):
DC to meet with the FCC and then they had
to come back and edit a bunch of stuff. And
it was a big, big to do, right, big to
do and all that, and they'd to bleep some things.
And that really was the beginning of the end. As
Phil said, he had reached the pinnacle of broadcasting and
it was supposed to be fun, and it wasn't that
(25:57):
much fun, right, because there's a lot of micromanaging that
goes on when you get to that level, especially with
the show like that. And and the other thing is
the advertisers, you know, and my experience, often the people
that have no sense of humor are advertised. They're so paranoid,
they're so over the top, freaking out over one person
complaining that they don't have any wiggle room for humor
(26:22):
because they are afraid that someone might take it the
wrong way. When I think, as an advertiser, if you
can get people laughing and make your product part of
the show, whatever show that is, you're killing it, right,
You're absolutely killing it. That's great for the sponsor. It
just becomes a part of the experience. Anyway, long story,
(26:42):
short documentary which just came out, Henry, I'll give it
on the Malor report card. I'll give it a solid
give it in a minus, and I have a play,
I'll give it a minds. But if you're you gotta
be into radio. If you're not into radio, if you
don't know who Phil Henry is, that's fine. But if
you're into radio, that's great and audio content and all that.
(27:03):
I guess Phil is still doing a podcast where he's
just doing his characters and all that, and so anyway,
check that out. It is available right now again Amazon
streaming and some other places. We should try to probably
get Phil on the show. Phil would do it. I
think Phil would come on. I met Phil a couple
(27:23):
of times. Typical radio guy. I'm in introvert. He seemed
like an introvert. I didn't really talk to him much.
It was at one of the holiday parties, the premiere
holiday parties, and so I recall he was there and
there were some heavy hitters, Art Bell, the Legend, Doctor
Laura was a huge star at that time, Jim Rome,
(27:44):
Matt Drudge. Mean, these are some big time players. And
one of the bosses was trying to show off and
he was introducing me to all these people, you know,
because it was like a major flex for the boss, like, hey,
look cool, I know, you know, and all this stuff
and oh that's cool. I'm a radio nerd, so why not.
(28:04):
So anyway, check that out. And before we get out
of here, on this Friday edition of the Fifth Hour,
time now for the phrase of the week. The phrase
of the week on this one by request a important
media mogul by request asking for the origin of Punch
(28:26):
and Judy Hitter. Now, if you're unfamiliar with Punch and Judy,
this is an old baseball colloquial term. As we're into
the baseball term portion of the show, we did two
baseball terms last weekend on the pod. So this one,
Punch and Judy is actually a reference. This is very hot.
This is a baseball term, but it is a reference
(28:50):
to a huppet show from Italy in the sixteenth century
that didn't really get in embraced until it went to
the United Kingdom. So we're going back hundreds and hundreds
of years. Who goofed, I've got to know. So Punch
and Judy Hitter. Punch and Judy Hitter a famous we
(29:14):
are told marinette performance that did begin in Italy back
in the day, but became popular in the UK years later,
and the popularity thought it went down because of some
controversial themes, including Punch's infamous tendency to pound the heck
(29:35):
out of his wife to beat up his wife as
part of the Marinet Show. And so, a punch and
judy hitter, it's a baseball term, to my knowledge, does
not involve anything to do with domestic violence. A punch
and judy hitter in baseball, it's kind of a slap hitter, right,
banjo hitter. You're a punch and judy hitter. You're a
(29:55):
banjo hitter. You don't have a good exit velocity. You
don't have good exit velocity. Uh, and you know, hits
hit the ball kind of soft, but you find ways
to get the ball through the infield and past you know,
past the infield and in front of the outfield and
all that, and so uh, it's that's what it's a
banjo hitter. And that plunk playing the punch, the puppet
(30:21):
held the bat very awkwardly, and that led to punch
and judy being a hitter, has a poor batting stance,
and as a banjo hitter doesn't have good exit velocity
but is able to hit. So a baseball term that
goes all the way back, way before baseball, way before
baseball too, Italiano in the sixteenth century, punch in, Judy, Hitter,
(30:47):
have a wonderful rest of your of your day today,
enjoy your weekend as we slide on in here. We'll
have new pods all weekend long here on the fifth hour.
Danny is scheduled to be with me tomorrow. He is
on assignment today, but he should be back tomorrow. We'll
have a fresh weekend of pods and we will catch
you next time. And as Danny would say if he
(31:10):
was here, Asta pasta got a murder. I gotta go.
Kabooms.
Speaker 2 (00:02):
If you thought four hours a day, twelve hundred minutes
a week was enough, think again. He's the last remnants
of the old Republic, a soul fashion of fairness. He
treats crackheads in the ghetto cutter the same as the
rich pill poppers in the penthouse.
Speaker 1 (00:18):
Wow.
Speaker 2 (00:18):
The clearing House of Hot takes break free for something special.
The Fifth Hour with Ben Maller starts right now.
Speaker 3 (00:28):
In the air everywhere, The Fifth Hour with Ben Mahler
and Danny g Radio who is on assignment today not
with us on today's pod as we kick off the weekend,
because hey, four hours a night on the overnight clearly
not enough.
Speaker 1 (00:47):
In this podcast available wherever you have found the podcast
in pretty much everywhere in the iHeart podcast network. You
knew all that stuff. And we'll get the Komodo dragon
out of the room as we begin the pod. Why
are you doing the podcast but you didn't do the
overnight show yet? So I was away from my post
and some of you went batshit crazy because I was
(01:10):
away from my post for a couple of nights here
doing the family thing at a family assignment. But it's
only a couple of nights. And I still am doing
the podcast. The podcast is easy to do because it's
not in the middle of the night. I'm not tied
down somewhere where people are sleeping and all that. I
can do the podcast when a more proper time, a
(01:31):
more proper time to enjoy audio content and to do
audio content, which is just terrific. So we're doing the podcast.
I'll have the pod all weekend. Obviously. Today is it's
the twelfth day of April, and I am celebrating a
teeny bit National Grilled Cheese Sandwich Day, which is always
(01:52):
a big day in the house. There are a few
things better than a well made Chris be cheese melted
on top of the bread, just outstanding, outstanding a National
grilled Cheese Day, and occasionally you can mix it up. Now,
at what point does it not become a grilled cheese?
(02:13):
Is that a when you put like a little pastrami
in there, and then it's no longer a grilled cheese.
But it's mostly a grilled cheese. It's just a little pastrami.
You can put any kind of meat you want it.
But I'm a big grilled cheese guy, big grilled cheese guy.
Love it's also big wind day today, so that's always
a exciting day. On the twelfth of April. Who comes
up with this crap? Well, on today's podcast, we will
(02:37):
have a Malor film review. That's right, a Malar film review,
just the content you've been looking forward to. Also have
the phrase of the week as well, and whatever else
pops up on the pod. But we begin with this.
So I got tipped off a couple of weeks back.
(02:57):
Some of my radio minions were like, Hey, did you
hear there's this documentary about a radio guy? And I
was like, oh, really, I didn't think they made documentaries
about radio guys anymore. It's all about those cool podcasters, right,
everyone wants to be a podcaster. But sure enough I
heard a little more about it, and then I had
to track it down. Now the documentary, let's see if
you can figure out who it's about. This is. This
(03:19):
is not a dead giveaway at all, right, not a
dead giveaway at all. The documentary is called Henry. Who
could that possibly be about? Who could that possibly be about?
A documentary named Henry ding Ding ding ding nang. Yeah,
Well it turns out that is a dead giveaway. So
this thing just came out at least I just became
aware of it. And it is a documentary that tracks
(03:43):
the career of a Hall of famer in radio, Phil Henry,
as it's described in the bio for the film, a
radio genius whose satirical brilliance reshaped comedy. And then and
they brought in a bunch of these real heavyweights in Hollywood,
like Judd Apatow and people all on that line. There's
(04:08):
some one of the people from the Simpsons who were
fans of Phil Henry liked Phil Henry, and then they
had Phil was in there as well, and then it
went behind the microphone. The Impact of the Phil Henry
Show is a documentary ran for like a hour and
a half, a little over an hour and a half.
(04:28):
So I found out about it and I was like, well,
I want to get it, and how do you get it?
And then you're like, well, it wasn't streaming that many places.
It was on Amazon Prime for like five bucks, and
since I'm in radio, I'm like, I don't know if
I want to do that. So then I started snooping around,
like how can I watch it without having to pay
the five bucks? And I found this weird app on
(04:48):
my dive into the dark web, and I came across
this thing called let me let me find it on
my phone here and just beare with me. It's called Hooplah.
Never heard of that. It is a app through your
local library and you can watch documentaries, TV shows, audio
books for free. But you gonna have a library card.
Speaker 3 (05:11):
Now.
Speaker 1 (05:11):
I don't have a library card, so I had to
pivot and I had to find one. I could have
signed up and that would have been easy to do
online and all that, but I was like, I don't why.
I'm not going to ease my wife, though she of
course loves loves the books, all about the books and
all that, and so she was able to track down
the library card, which then allowed me to get on
(05:34):
said app. Well, originally it was the website. It was
on the website watching it. I tried to watch it.
I had to save it, but then you had to
come back after midnight because only a certain number of
people could get it, and there was a lot of
hoops he had to jump through. But I was like, hey,
it's free, I'll save five bucks. Why not That'll buy
like one chicken nugget or something like that. When I'm
out to eat. So I go on the website, I
(05:55):
type in the past code, library card, wife's information and
get to the thing is all right, you've saved the
Hendri documentary. I'm like, all right, hallelujah, I have saved
the Hendri documentary. I'm ready to go. So then I
clicked to watch it and it was like, well, no,
you have to You can't watch it on this device.
It's only available you have to download our app. And
(06:16):
so I'm like, oh, well, this is a pain in
the ass, but I wanted to watch it. I was
motivated because I appreciate radio people, because this is my
professional career, what I've done my entire adult life. And
so I downloaded the stupid app and then I was like, oh,
I will just connect it from the app to the
big TV. Right, you do that phone the TV thing,
(06:39):
and you can send the stream and you can watch
it on your television and it's just like you're watching
it the regular way, and that's how you do it.
And so then I kept clicking on the anything wouldn't work,
and so I was like, oh, I'm fuxing around with it.
I'm like, what the hell? And I just would not work.
I could not get the documentary. I was like, well,
how stupid are the people behind this app? Wouldn't you
(07:00):
think the whole point of it is for people to
enjoy the content they're getting from their tax dollars that
they're going to subsidize the library, and they would like
to watch on the television. But it wouldn't work. Now,
maybe it was a user error. It's possible right that
something I did did not resonate with the phone and
the TV. But either way, it did not work, and
(07:22):
so I ended up having to watch this thing on
my phone. But I enjoyed it. In fact, I liked
it so much I actually watched it a couple of times.
And so now it is the Malor film review for
Henry the Documentary. I should start out first of all
with the fact that you might not know who Phil
(07:42):
Henry is, Like, I know who Phil Henry is because
I've worked in RAID. I should have met Phil Henry
a couple of times. More on that later in this podcast,
so I know the act. He was a big star
in radio in the late nineties early two thousand. In fact,
right around the time that I came to Fox Sports Radio,
(08:05):
FOXS Radio lodged Phil Henry was nationally syndicated at the
Premiere Networks, which is where I work at. Fox Sports
Radio is a part of the Premiere Radio Networks. It
was of the Premier radio networks. Now it's just Premiere
Networks that got rid of the radio. And Phil was
doing a syndicated show at night, and his whole shtick
(08:25):
is he is the host, he is the guest, and
he just has this amazing ability of sashing his way
through a steeplechase on a nightly basis, and he's able
to hornswaggle the listeners and it it's great if you
(08:46):
get it, it's great. If you don't get it, it's ridiculous.
And there was a point I didn't really get to
Phil Hendry show. He started out. When I first heard him,
he was on KFI in Los Angeles, big news talk station,
and I was like, oh, this is kind of stupid.
And then the more I listened, and I was doing
radio at the time, and I realized what he was
doing and how he was using the people that call
(09:10):
the show as putty, I thought, well, that's pretty good.
So that was my first running with Phil Henry, is
that I knew of him at KFI in LA and
then I worked at Premiere and he had a syndicated
show Premiere, so our paths crossed a couple of times.
But he was doing satire. He was doing satire of
(09:33):
talk radio, which I have been accused of doing when
I talked to Marcel and Brooklyn or Cowboy and windsor
or some of the other characters that call the show.
The only difference between me and Phil Henry is I
am not doing impersonations. They're real. They are real, they
call in, they find me. I am not the one
(09:54):
that is doing the voice right. I might bust the balls,
I do that a lot. I like to bust balls,
right and all that, but I'm not the one that
is on the other side of the phone. Phil was
the person on the other side of the phone as
the guest, and he created all these fugazi characters. But
his story. If you watch the documentary, I don't want
to give the whole thing away, but I do recommend it.
(10:14):
Help another radio guy out. Now. Phil's going to get
some credit. Even though I'm a tightwad. And I went
through the library to watch the documentary. You can even
just cut out the middle man. Watch it on Amazon.
I'm sure there'll be some other ways the way these
things work down the line. If you're hell bent on
getting the documentary for cheaper, probably get a cheaper down
(10:35):
the line and all that. But I already watched it.
I don't think you can get cheaper than free. And
so it was fascinating as someone that has worked in
the business a long time. Phil started out as a DJ,
a regular disc jockey on music radio for seventeen years.
This guy was your generic radio DDRE and just did
the normal radio crap. And there was video of him
(10:58):
as a DJ at KLAX here in Los Angeles ninety
seven point one, which was a music station for a
long time, became a talk station and now it's a
news talk station. But Phil was there when it was
a music station as a just a generic, boring ass DJ.
And he said in the documentary that he had a
(11:19):
midlife crisis he wanted to do talk radio. One of
the inspirations was Rush Limbaugh of all people, that that
was about the time when he decided early nineties. Henry
in the documentary talks about how he decided, Hey, I
want to go that direction because I'm tired of playing music.
I hate and I don't even get to pick the music,
(11:40):
and it stinks and all that stuff, and I would
like to use my personality, and so he decided to
getting talk radio. But Rush Limbaugh was one of his
inspirations because Rush at that time was blowing up and
was coming the voice most listened to guy and news
talk radio and a lightning Rod and all that, and
(12:04):
wasn't under control like a DJ had to be. When
you're at DJ, you had to be under control. And
so anyway, henteres sid, I'm gonna do it. And he
got a couple of weekend shows at KFI, ironically enough
where he would end up and just did boring generic
news talk radio, which according I didn't hear any of it,
(12:24):
but they said in the documentary it was just bad.
You know. He was doing radio talk radio the way
he thought talk radio needed to be. Anyway, he got
laid off from that job or fired everyone to say
it it was such as snooze that he lost the gig.
And then he ended up getting a job mid days
just north of La Proper in Ventura, in Ventur, which
(12:48):
is north of La Some of the people that work
at Fox Sports Radio live in Ventur it's that close
to the San Fernando Valley studios of Fox Sports Radio,
and so he went out there and that's where he
was in his own element, and he just used his
mind and created what became his life's work. All these
(13:09):
dopey characters were part of his little neighborhood on the
Phil Henry Show, and he talked about how that worked,
the creative process behind it. So if you're really into
Phil Hendry, it's great. I knew a little bit about him,
like I said, but it's kind of cool to learn
the art, the ancient art of broadcasting. So they talked
(13:30):
about his time there and very controversial because as I
have noticed from my work in radio and my years
of doing the Overnight Show, there is a percentage. And
I'm gonna shure what percentage is. It might be twenty percent,
might be ten percent. Maybe it's only five percent that
do not get the sarcasm, that don't get the bit.
(13:50):
They're not in on it. They're completely beguiled by the bit,
right They just they to them, it's a turd in
the punch bowl, and they are just fair upset that
this voice on the radio is mocking whatever they're mocking.
In this case, Phil Henry was mocking the very medium
of talk radio. And so those people are very voiceters.
(14:11):
They're upset and they scream and shout and yell and
they go lightning and thunder and all that. And so
Phil Henry had to deal with this at this little
small station in southern California that didn't have a very
big transmitter and Mack, in those days, you couldn't listen
to radio on an audio device like a phone. You
had to listen on the old radio, like the old
(14:32):
radio station that was it. You couldn't hear anything other
than the transmitter. And so he created this show and
they show did very well according to the documentary, but
there were the haters and so the people that ran
the radio station didn't know quite how to deal with this.
But he had good ratings and so that's important. He
(14:53):
was tearing up the dance floor, if you will, behind
the microphone, and the ratings were coming in and he
was doing very well, so that was great. So eventually
he moved on. He said, well, I want to go
to a bigger place, and I want to I want
to create this into something bigger than it is. And
the jibber jabber, continue, you got a job in Atlanta.
(15:14):
They talked about his time in Atlanta. Not a good fit.
Worked in Minneapolis. And these are a big heritage news
talk stations. And when the term heritage is it's like
a blue blood. They've been around forever. They have a
built in audience. There's a certain pedigree of the listener
to these type of operations. And so Phil Henry was
(15:37):
not a fit because, again by his own admission, he
was mocking the very medium that he was working on.
And they talked about that, and he was beaming with
pride how he was doing it, and he was very
good at it. But when you're dropped in to one
of these stations, it's kind of like showing up. The
analogy I will use, it's like showing up to Yankee
(15:58):
Stadium putting on the pench ripes and you've got rainbow
hair and a bunch of piercings in your nose, and
you've got a beard that looks like you're from a
nineteen eighties metal band. Wouldn't fit, right, wouldn't fit. That's
the Yankees, that's the iconic New York Yankees. You have
to have your facial hair trimmed, and you have to
(16:19):
be prim and proper, because that's what the Yankees doing.
If not, you can blow it out right and blow
it out you took us. And so that was what
Henry did to talk radio. So anyway, bunced around, didn't
work in Atlanta, got fired, went to Minnesota kind of work.
And then a guy that fired him in Atlanta or
helped his dismissal Atlanta, hired him for Miami. And that
(16:40):
is where things really took off for him in Miami
and the Phil Henry Show. And keep in mind that
can't really happen now that this career path that Phil
Henry went on is all but impossible in modern radio
because there's not enough local programming and there's not enough
(17:03):
people willing to pay for you to relocate the difference,
and you would have to pay your own moving expenses
to move around there. There was a point when I
remember I went to school at Saddleback to learn about radio,
and they put up one of the things we did
in class. They had this DJ, and I forget the
guy's name, and I apologize, but they talked about his
(17:25):
DJ who had written some book about his life in radio,
and this guy was like a military brat. He had
lived and I'm not exaggerating here. It was like twenty
five or twenty six cities. And he was a middle
aged dude. He started in radio when around the age
I started. I started in radio when I was nineteen.
Danny started. He's not here today, but Danny started when
(17:48):
he was younger, a little younger than me. But we
were kids, right, We were teenagers starting in radio. And
so at that time you could start out at eighteen
or nineteen and move on up to a penthouse on
the Upper East Side and work your way up and
create the magic and all that, and move from city
to city. And there's another old radio guy who he's
(18:09):
had on the podcast, Ken Levine or ken Levine rather,
and he's also talked about that experience where he was
a DJ, and you work at different radio stations and
move up. But you really can't do that anymore anyway.
So Henry did it. He went to Miami, showed it
very well in Miami, and then he ended up getting
a gig back in Los Angeles at the station that
(18:32):
had gotten rid of him originally, at KFI in LA.
So he's come full circle. And then he gets a
syndication with Premiere, So not only is he doing the
night show locally in LA but now it's a syndicated show.
And moving on. In the review the Malor Film review
of the documentary, this one hit a little close to home.
(18:53):
If you watch this documentary, they interviewed the program director
of KFI, as they used to say back in Howard
Stearns Day's well, pig vomit the pig vomit of KFI,
and his name was David G. Hall. Still is fun fact,
fun fact for you. I and Phil Hendry have something
(19:16):
in common. I, Phil Henry, and Tom Likeas have something
in common. Tom Like has a radio legend back in
the day. Who's out of the business now as far
as I know. But Phil Henry, Tom Likeas and me
all were fired by David G. Hall. We all got
let go by David G. Hall. And it was odd.
It was odd seeing him on the documentary You fired,
(19:41):
and he was in there several times. Bill Handel, who's
a very talented broadcaster himself, who also used to make
fat jokes at me when I worked across the hall
near KFI back in the old days. But he was there.
Phil Handle's handle on the Law, which is syndicated by
the Premiere networks. Hear that occasionally on the weekend. So
(20:03):
it was odd seeing some people that I knew in
the documentary who were very loud and proud. Henry came
back to La Got the syndicates show and they were
pointing out one of the blessings and the curse. It's
a double edged sword about Phil Henry. Those that worshiped
him didn't have a problem with Phil Henry. Obviously a
lot of people didn't. I said the percentage maybe twenty percent,
maybe ten, maybe only five, but a certain percentage of
(20:25):
people that listen to radio content audio content just it
goes right over their head. They don't understand that there's
a gag. Even though Henry legally had to announce the
beginning of every hour that this is satire, these are
not real people and all that, and yet people tune
in when the show starts. As we say in radio,
(20:45):
the show starts when you turn the show on. We
do a four hour show at night on the radio,
the Ben Mallor Show with my name on It is
four hours, but a lot of people will either tune
in for twenty minutes the beginning of the show, or
maybe you're getting up early to get a jump on
the traffic. We get to do very well. We have
more people listening to the last hour of the show
than the first hour of the show. Because up and
(21:07):
down the Eastern Seaboard, in the I ninety five corridors
we like to call it on all the big East
Coast affiliates, people are getting up and trying to beat
the traffic, and they're running out of their house and
they turn on the show. And maybe they turn it
on at like five twenty in the morning or five thirty,
and they listened for half an hour and that's it,
and that's great. So that's all they hear. They don't
hear what happened three hours earlier, two hours earlier, an hour.
(21:32):
So the show starts, you turn it on, and that's
giving a disclaimer at the beginning. Legally it allows you
to get out of trouble, but it does not prevent
the knuckleheads from calling up and screaming and shouting and
all that. So Phil became syndicated, and as it was
pointed out, every affiliate that he went on, it became
(21:55):
a nightmare. It was. It was death by a thousand affiliates,
or in this case, five hundred affiliates, because every radio
station Phil would go on, the same process would start
over where people were a little off balanced there. They
were bobbing and weaving with the show. They didn't know
what was going on, and so it was endless, endless
(22:20):
complaints and you blow, you suck, you're terrible and all that.
And so there was this upsurge right in this talk zilla,
this monster, this fire breathing monster from Phil Henry and
his show. And so that was a problem. But here's
and you'll learn this in the documentary. And again I'm
(22:42):
probably going too far into it, but trust me, the
documentary is better than me recapping the documentary on this
Mallard podcast edition the fifth Hour review of the Henry Documentary.
But there was one point that was the point of demarcation,
i'll call it for the Phil Hendry Show. It was
something that affected me and what I did and everyone
(23:05):
in radio because we were essentially told to shut the
f up, shut the f up because of a booby.
That's right, a booby. If you remember Janet Jackson and
Justin Timberlake at halftime of the Super Bowl, they were
performing and we had the wardrobe malfunction heard around the world.
(23:29):
Who knew that a nipple would cause corporate broadcasting to
lose their minds? But that's exactly what happened, and it
was it touched close to home because I know what
I had to deal with at the time, and I'm
a small time player, right, I'm not a big time player.
I'm a small time player, especially at that time. And so, okay, fine.
(23:51):
It was a lot of uproar, and Henry pretty much
said that was the beginning of the end of his
show as the boss of Premiere and one of the
coolest people. I don't know anyone that's ever said anything
bad about this guy. His name is Craig Kitchen. He's
now an agent, but he ran the Premiere Radio Networks
when I when I started, he was the guy that
(24:12):
had one rule. I mentioned a while back on the
on the show this week, I think I mentioned it
that he is His one rule was no popcorn because
he did not like the smell of burned popcorn. That
would just said. But Craig Kitchen went to Washington, d
C with a bunch of other radio muckety MUCKs and
they all went to d C after Janet Jackson showed
(24:33):
her her nipple the nip Slip, because they were worried
about the FCC dragging all of their radio stations down
a right, so they were like, all right, we're gonna
go and we're gonna say all right, well we're not
We're playing. And Phil Hendrys, as he pointed out in
the documentary, like, well, this is a television thing. This
is not radio. We can have and this is my line,
(24:55):
not his line. We can show nipples all we want.
Radio we were allowed to show nipple because you can't
see them. It's radio. Hello, it's radio. But anyway, there
was the shock jock, the over the top shock jock
that was a lot of ripoffs of Howard Stern who
(25:15):
also there was some b roll on Stern in this
number of radio legends, the Greaseman from DC. There was
a big radio guy in Miami that was prominently mentioned
in this as well. I mean, there's some heavy hitters.
If you're a radio nerd, this documentary is great. Anyway
gets the point. So Phil Henry the way he really
the story. This guy, Craig Kitchen, our boss, went to
(25:36):
DC to meet with the FCC and then they had
to come back and edit a bunch of stuff. And
it was a big, big to do, right, big to
do and all that, and they'd to bleep some things.
And that really was the beginning of the end. As
Phil said, he had reached the pinnacle of broadcasting and
it was supposed to be fun, and it wasn't that
(25:57):
much fun, right, because there's a lot of micromanaging that
goes on when you get to that level, especially with
the show like that. And and the other thing is
the advertisers, you know, and my experience, often the people
that have no sense of humor are advertised. They're so paranoid,
they're so over the top, freaking out over one person
complaining that they don't have any wiggle room for humor
(26:22):
because they are afraid that someone might take it the
wrong way. When I think, as an advertiser, if you
can get people laughing and make your product part of
the show, whatever show that is, you're killing it, right,
You're absolutely killing it. That's great for the sponsor. It
just becomes a part of the experience. Anyway, long story,
(26:42):
short documentary which just came out, Henry, I'll give it
on the Malor report card. I'll give it a solid
give it in a minus, and I have a play,
I'll give it a minds. But if you're you gotta
be into radio. If you're not into radio, if you
don't know who Phil Henry is, that's fine. But if
you're into radio, that's great and audio content and all that.
(27:03):
I guess Phil is still doing a podcast where he's
just doing his characters and all that, and so anyway,
check that out. It is available right now again Amazon
streaming and some other places. We should try to probably
get Phil on the show. Phil would do it. I
think Phil would come on. I met Phil a couple
(27:23):
of times. Typical radio guy. I'm in introvert. He seemed
like an introvert. I didn't really talk to him much.
It was at one of the holiday parties, the premiere
holiday parties, and so I recall he was there and
there were some heavy hitters, Art Bell, the Legend, Doctor
Laura was a huge star at that time, Jim Rome,
(27:44):
Matt Drudge. Mean, these are some big time players. And
one of the bosses was trying to show off and
he was introducing me to all these people, you know,
because it was like a major flex for the boss, like, hey,
look cool, I know, you know, and all this stuff
and oh that's cool. I'm a radio nerd, so why not.
(28:04):
So anyway, check that out. And before we get out
of here, on this Friday edition of the Fifth Hour,
time now for the phrase of the week. The phrase
of the week on this one by request a important
media mogul by request asking for the origin of Punch
(28:26):
and Judy Hitter. Now, if you're unfamiliar with Punch and Judy,
this is an old baseball colloquial term. As we're into
the baseball term portion of the show, we did two
baseball terms last weekend on the pod. So this one,
Punch and Judy is actually a reference. This is very hot.
This is a baseball term, but it is a reference
(28:50):
to a huppet show from Italy in the sixteenth century
that didn't really get in embraced until it went to
the United Kingdom. So we're going back hundreds and hundreds
of years. Who goofed, I've got to know. So Punch
and Judy Hitter. Punch and Judy Hitter a famous we
(29:14):
are told marinette performance that did begin in Italy back
in the day, but became popular in the UK years later,
and the popularity thought it went down because of some
controversial themes, including Punch's infamous tendency to pound the heck
(29:35):
out of his wife to beat up his wife as
part of the Marinet Show. And so, a punch and
judy hitter, it's a baseball term, to my knowledge, does
not involve anything to do with domestic violence. A punch
and judy hitter in baseball, it's kind of a slap hitter, right,
banjo hitter. You're a punch and judy hitter. You're a
(29:55):
banjo hitter. You don't have a good exit velocity. You
don't have good exit velocity. Uh, and you know, hits
hit the ball kind of soft, but you find ways
to get the ball through the infield and past you know,
past the infield and in front of the outfield and
all that, and so uh, it's that's what it's a
banjo hitter. And that plunk playing the punch, the puppet
(30:21):
held the bat very awkwardly, and that led to punch
and judy being a hitter, has a poor batting stance,
and as a banjo hitter doesn't have good exit velocity
but is able to hit. So a baseball term that
goes all the way back, way before baseball, way before
baseball too, Italiano in the sixteenth century, punch in, Judy, Hitter,
(30:47):
have a wonderful rest of your of your day today,
enjoy your weekend as we slide on in here. We'll
have new pods all weekend long here on the fifth hour.
Danny is scheduled to be with me tomorrow. He is
on assignment today, but he should be back tomorrow. We'll
have a fresh weekend of pods and we will catch
you next time. And as Danny would say if he
(31:10):
was here, Asta pasta got a murder. I gotta go.
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