WAYN-AM 860 RADIO
of
Wayne State University
 

by

Victor Edward Swanson
The Hologlobe Press
Postal Box 5263
Cheboygan, Michigan  49721
 

copyright c. 2004, 2005, 2006, 2007, 2008, 2009, 2010,
2011, 2012, 2013, 2014, 2015, 2017
 

This document may be freely distributed,
but it may not be reproduced and sold
for commercial purposes.
 

Version 20
(March 26, 2017)
 
 

INTRODUCTION

    The first version of this document was created and posted on the Internet, particularly through the Web site of The Hologlobe Press (www.hologlobepress.com), on April 10, 2004.  It provides a bit of history about WAYN-AM 860, a student-run radio station that once existed at Wayne State University, Detroit, Michigan, and the focus is on the time from the fall of 1971 to the spring of 1977, and one reason the focus is mostly on the time from the fall of 1971 to the spring of 1977 is I (Victor Swanson) was a member of the radio station at the time, and another reason the focus is mostly on the time from the fall of 1971 to the spring of 1977 is, since the spring of 1977, I have held onto newspaper articles about the station and copies or masters of documents that were created at the radio station at that time, such as copies of membership lists, and the paper materials only focus on that period in the history of the station.  A person who is unfamiliar with WAYN-AM, the history of which can be traced to the late 1950s, should find some information contained within the document interesting because it shows how many persons working in the Detroit area in the broadcast industry today or over the last few years (at least) were at "WAYN Radio" before they got their first jobs.  "WAYN Radio" as a real radio station disappeared in the late 1970s.  Some of the information in this document is commentary of sorts, but most of the information is made up of facts and data.
 


THE ROOTS OF WAYN-AM

        This section was not placed in this document till December 22, 2010, when I finally felt I should, after having done a check of the newspaper database for The South End (a newspaper associated with Wayne State University) to see if it had information about WAYN-AM and see if the database had been expanded to cover materials from the 1950s and 1960s, which I had not really expected.  Back in the 1970s, I spoke with Dr. Jack Warfield, who will be mentioned other times in this document, on some day, a long time ago and when I had no idea that I would make this document, and he noted to me that the history of WAYN-AM went back to the late 1950s, or that is what I remember him telling me.  Dr. Jack Warfield said that the station had another name in the 1950s and early 1960s, but, today, I do not remember what name it had, and I memory only has in it that maybe the letters "U" and "B" were in the call letters.  On December 22, 2010, I found an article in the database for The South End--"Former Mich. DJ dead; got start at WAYN radio" (Pas, J. Ryan.  "Former Mich. DJ dead; got start at WAYN radio."  The South End, 27 June 2010).  The article was inspired by an article in The Detroit News (which I have yet to see) that was about the death of Joseph Pietruska (who was known on radio as Joey Ryan), who had died on June 23, 2010, at the age of sixty-two, and the article noted that Joseph Pietruska visited WAYN radio when he was seventeen years of age and a high-school student, and making some calculations, I figured out Joseph Pietruska was at WAYN radio for the visit in 1965 (or so).  So, it seems WAYN-AM was the name of WAYN-AM by at least 1965.  By the way, the article in The South End had information from Ken Christopher, who was a friend of Joseph Pietruska's, and it was noted that Ken Christopher was the station manager at WAYN-AM when Joseph Pietruska--who would be known as Joey "Mr. Boogie" Ryan at WDRQ-AM, Detroit, in the 1970s--showed up for the visit.
 


WAYN-AM or "WAYN RADIO"

    From the fall of 1971 to the spring 1977, I was a student at Wayne State University, Detroit, Michigan, and, during the time, I was a member of the student-run radio station on campus, WAYN-AM 860, which should not be confused with WDET-FM, a station belonging to Wayne State University that still exists and still exists at 101.9 FM.  Before I walked in to the building that was the home of WAYN-AM, at 672 Putnam, the station had existed for, maybe, about a decade, though maybe not always at 672 Putnam; the station had started out with another name, which is unknown to me today.   After I was no longer a student at Wayne State University, I yet spent time at the station, such as in first half of the 1977-78 academic year.  Today, I probably have the only documents that tell some of the history of WAYN-AM from 1971 to 1977, the years that were about the last for the radio station and during a time when the heyday for disc-jockey radio was ending.
    On the campus of Wayne State University, 672 Putnam no longer exists.  I believe it was in the early 1980s or the mid-1980s that the place where 672 Putnam was was covered over by a building that added to the size of the engineering building.  In fact, all the old houses that were along Putnam near where 672 Putnam was are gone.
    The place that was 672 Putnam was a three-story building, built around 1900, was made of brown-colored brick, and had a slate roof and a large porch, which was covered by a roof.  The front door faced south toward the engineering building, which was as long as the block was; the block was a street that had the engineering building on the south side and a row of about fifteen old houses on the north side, one of which was the house for the station, which was in about the middle of the block.  Mounted on the porch--right underneath the roof for the porch--were two speakers, which were sort of aimed at the engineering building, and the sounds from the speakers sometimes bothered people in that old engineering building.  The building for WAYN Radio had a basement, which had brick foundation walls and was like a junk yard (during much of the period), a first floor, which was the heart of the station, a second floor, and a third floor, which had been condemned sometime in the past and was not used.
    To get inside the building and to the first-floor, a person walked up about six steps to the porch and pulled open a heavy wooden door.  From inside the front door, a person could look the length of the building and see down to the engineering room, which led to a back door for the building and a simply made old wooden porch; here, the person was in a foyer-like area that gave access to the two main studios, a stairway to the upstairs, and a pop machine, and a person could see part of a main room beyond a doorway.  If a person took a couple more steps inside, the person reached the door to the main studio, Studio A, which was on the left, and the stairs to the second floor, which were on the right.  When a person took another two steps or so, the person was at the door to the production studio, Studio B, which was on the left.  After taking three more steps or so, the person reached the main room of the first floor, and the main feature in the room was round yellow table and chairs and at least one old couch.
    In essence, the first floor was sort of divided in half from north to south.  Beyond the main room in the eastern half of the building or on the east side of the building was a lavatory and then the engineering room, which had a door that was the entrance to stairs that led up to the second floor and even the third floor and which had a door that was the entrance to the basement.  On the western side of the building were Studio A and Studio B, as I have already mentioned, a room that was for newscasters, sportscasters, and others to use (informally called, for one, a news work room), which was reached by passing through a doorway connecting it with the main room of the first floor, Studio C (or the News Studio), and a news director's office.  In the back by the news director's office was an AP teletype machine, and when the station was open for broadcasting, which was most of the days from September to June each year, the teletype machine was clicking away, or the keys were continuously typing out stories, and the sound of the teletype machine was never completely drowned out, even when all the speakers in the building were turned on.   Every room on the first floor had speakers so that no one could ever miss what was happening on the air.
    A person usually reached the second floor by walking up the main stairway; some time in the past, the stairs to the third floor had been sealed off.  The second floor was mostly an open space.  The eastern half of the level had a main office (usually called the general manager's office), which had a desk for the general manager and at least one more desk, and north of the main office was a lavatory, and then there was the music library, which was about eight feet by eight feet by eight feet and had hundreds of albums and forty-fives.  The remainder of the second floor had places set up for the sales department and for people to relax, though most people relaxed somewhere on the first floor.
    Studio A had two main configurations when I was at the station.  At first, the main studio was set up so that the disc jockey, when sitting in front of the microphone (an Electro-Voice 666), faced the street or faced south toward Putnam, and, through the bay windows, the disc jockey could see everyone passing by.  Officially, the disc jockey sat on a steel stool and was surrounded by a three-sided counter-like unit; the support structure was made of two-by-fours, which were painted black, and the counter was made of wood, maybe plywood, covered with white laminate.  In front of the disc jockey was a copy board, on which commercial copy and other material to be read could be set up, and also right before the disc jockey, below the copy board, was the studio control console, which had several rotary potentiometers and six slider potentiometers.  Up above was a big speaker, housed in a wooden cabinet that hung from the ceiling.  To the right of the disc jockey were two turntables (which were light-brown QRK turntables with Shure tone arms late in the period).  Off to the forward left were usually three cart machines (two Gates machines and one other, such as a Tapecaster Model 700-P from 1971 to about 1973).  The counter had space for records, and some of the counter was used as a place for a somewhat portable Ampex reel-to-reel tape machine (an Ampex 601), and tape cartridges (Audiopak types or Fedilipac types) were stored in a brown four-sided cartridge tower, which could be spun around.  Sometime around 1973, the studio was rearranged so that the disc jockey now faced west when talking into the microphone and faced a wall with no window.  In addition, Studio A had a couple wooden racks that were crammed with albums, and, in 1975 or so,.I built a yellow wood case with four rows (or four rectangular pockets of sorts) that could to hold forty-fives (in jackets), maybe two-hundred forty-fives, and placed it on the counter to the rear-left of where the disc jockey sat.
    Between Studio A and Studio B was a big double-pain window (two panes of glass separated by one inch or two of air space).  Studio B was set up so that a person using the studio was facing north or toward the news work room, and from the studio, a person could see down toward the AP teletype machine and, of course, Studio C, which had a small window that faced Studio B.  Studio B had a Sparta control board (an A-20B console, which had eight rotary potentiometers), a Scully 280 reel-to-reel tape machine in a brown cabinet with wheels (a one-track tape machine), an Ampex 601 reel-to-reel tape machine, usually two cartridge machines, and two turntables (two blue Russco CUE-Master turntables, which had Shure tone arms, during most of the period).  And the studio had an old wooden desk made of light-colored wood,  which was pushed tight against the west wall of the room, and it also had a wooden rack to hold such items as 12-inch reel-to-reel tapes.
    Studio C was really small.  The walls were covered with dark-brown cork board and with carpeting.  When a person sat in the studio, the person faced south and could see, looking through a series of windows, portions of the news work area, Studio B, Studio A, and, in the far background, the engineering building.  The studio had a small Sparta control board (an A-15B console, which had five rotary potentiometers), set right before the person who used the studio.  It had one turntable, set off to the forward-left a bit, and there was at least one cart machine (usually it had two Tapecaster cart machines), set off to the forward-right a bit.  And to the right of a person who was using the studio was an Ampex reel-to-reel tape machine (a model 350), the main unit of which was lying in the counter top and the electonics unit of which was housed in a homemade wooden unpainted rack (of sorts) that was above the electronics unit and mounted to the counter.
    By the way, there were big round clocks everywhere in the building, so a person never had to wear a watch.
    Generally speaking, the station was on the air from eight in the morning to two in the morning on a Monday-through-Friday basis (for a short while, the station was on the air on Saturday during the day).  The broadcast schedule started on the first day of the second week of each semester or quarter, and the broadcast schedule for each semester or quarter ended with the last week of classes.  From 1971 to 1973 or so, the station had three formats.  From early morning to mid-afternoon, the station had a progressive Top 40 format, a format focused on the popular songs that appealed to college-age guys and gals and that avoided "bubblegum" tunes (which might be popular with young teenage boys and girls).  From mid-afternoon to late-evening, the station had a progressive rock format, which was based on the Album Oriented Rock format-style of radio at the time.  The remainder of day was made up of a free-form format, during which a person could play any type of music.  The station had local newscasts and newscasts from the ABC Contemporary Radio (one of four main news services of ABC Radio of the time), and newscasts were usually aired at about five minutes before the hour and lasted five minutes, and, in a given hour, the newscast that was aired was either a local presentation or an ABC newscast presentation.  In the early 1970s, a light-rock format, which was then known as an MOR format (related to the middle-of-the-road music of the time), was added to the broadcast schedule (for part of the day) and, even for a while, circa 1973, it was the format that was done on Saturdays.  In the mid-1970s, jazz blocks and rhythm-and-blues blocks of music were added to the air schedule of the week.
    Blocks--they were the periods of time that were filled by broadcasters.  A person might do an hour shift or a two-hour shift each week, and what time a person had was a regular time slot, or a person had some regular time slots (such as two time slots each week), but a person might work other time slots if someone did not show up for a time slot one day.  Not only disk jockeys had regular time slots but also newscasters had regular time slots.
    The process of getting at least a one-hour time slot was not too hard.  A person had to show up at the station and sign up to be a member.  Then, a person had to make an audition tape, which was really only a tape that showed what the person could do and could not do, and the quality of the tape was very unlikely to keep a person from getting on the air, since the station was designed to allow beginners to get on the air and to learn "radio."  Usually, audition tapes were made during the first week of a semester or quarter, and, during the first week, a person made a request for a particular time slot or for time slots by signing the person's name to a sign-up sheet, which was marked off in blocks.  Audition tapes were evaluated by each program director, and each program director set up the air schedule for the program director's format, announcing the schedule on the Friday of the first week of classes.
    Of course, news audition tapes were evaluated by the news director, and the news director set the air schedule for the news department.
     The station was run on a day-to-day basis by students, who received a little--a little--supervision by a faculty advisor.  No one got paid to work at WAYN-AM.  For a student at the station, it was strictly a volunteer arrangement; however, a person could sign up for a class known as "Speech 0275," work at the station, and gain one college credit.
    The idea of a radio station being "student-run" probably makes some people wonder about the quality of the station.  I can argue well that, in the way that WAYN-AM was able to be run from the fall of 1971 to about 1974, WAYN-AM was the best environment to have in which to learn radio, and, I can argue well that, for some students, the structure was good from about 1974 to the spring of 1977.  A person was allowed to take part in every activity of the station, from disc jockey to engineer, from newscaster to janitor, from salesperson to management, and that was because no one was paid.  If a person wanted to work at getting better and develop skills, the person could.
    Let me present some commentary of sorts.  In the 1960s, Dr. Jack Warfield, a professor at Wayne State University, helped promote WAYN-AM within the university, and I have the impression that members of the station seemed to work hard to be good or get better and learn "radio" in the 1960s, and, for example, members of the station were good enough to send out programming on reel-to-reel tapes to a few stations in the Detroit area on a regular basis, such as weekly.  Those who learned things at WAYN-AM in the 1960s seemed to have a good work ethic, which I was able to pick up on when I joined the station.  When I joined the station, the station manager was Steve Lawrence, whose father had already been a regular staff announcer for many years at WXYZ-TV, Channel 7, in Detroit, and, as part of showing me how to do Top 40 radio, Steve Lawrence let me listen to a demonstration tape that showed what level of skill I should try to achieve; the anouncing for the tape had been done by Gary Bridges, who had left the station recently (and, for instance, had already been at WWWW-FM (Detroit) and WKNR-AM ("Keener 13," Dearborn), where he was known as Gary Stevens (and was the second "Gary Stevens" of WKNR-AM history)), and the tape, which Steve Lawrence produced, was really topnotch and professional.  (I met Gary Bridges one summer day when I was alone at WAYN-AM  in the mid-1970s; he showed up, simply to see the place again, and by then I had already heard stories about how he had practiced and practiced and practiced and practiced off the air at WAYN-AM to get good and be, I am pleased to say, perfect.)  Generally speaking, in the early 1970s, more established students did indeed pass along their knowledge about radio to new people, like me, as if it were a part of tradition and duty, and that was what I did while I was at the station, using Gary Bridges' tape and using my own example tapes.  In the mid-1970s, troubles at the station and on campus helped reduce the quality of what information was passed along from established members of the station to newer members, and the radio industry was entering a new phase of history, and that phase was a phase that was giving the disc jockey little to do, killing the art of being a disc jockey and taking away the heart of disc-jockey radio.
    WAYN-AM was designed to be run by students, and the students followed a constitution.  Generally speaking, each year, there was an election in late winter, and five persons were elected the managers of the station for the next year (generally speaking, from the start of spring to the end of the next winter), and those five members had responsibilities to perform, some of which were to appoint persons to the non-elected management positions of the station.  During the period that I was at the station, some board positions were changed in structure, but during the entire time, each board always had one general manager (the highest management position at the station), one station manager, and one operations manager.  A board member was allowed to serve one year, but sometimes board members did not finish their terms, and then special elections were held.
    From the fall of 1971 to the spring of 1977, the station had four main constitutions.  The first was in existence when I joined the station in the fall of 1971, and that document was called The Constitution of Wayne State University Student Radio, a copy of which I received in the mail on January 5, 1972, which was shortly before a new constitution would be voted in.  The first constitution had these positions as board members: a general manager, a station manager, a special productions manager (who oversaw special programming, such as the shows that were made for other radio stations in the Detroit area), an operations manager (who oversaw the physical status of the station), and a personnel manager.  Another constitution was adopted on April 1, 1972, and the positions of the board remained the same.  Another constitution was adopted on February 18, 1975, and the board was now made up of a general manager, a station manager, a minority access director, an operations manager, and a personnel manager.  The final constitution was adopted on June 27, 1977, and the board was now a general manager, a station manager, a general sales manager, an operations manager, and a station relations director; the team that worked on the final constitution was T.S. Taylor, Reuben Yabuku (whose name also shows up on materials as Reuben Yabuka), Ray Parker, Dr. Dan Logan, who was the faculty advisor, and Victor Swanson, who did most of the work to write up the document.
    WAYN 860 AM was a radio station.  In the 1970s, though, the station did not have much of an air signal, but it did have an air signal.  When I was at the station, for example, the station had a transmitter connected up to the AC circuit of the DeRoy Apartment building and a transmitter connected up to the AC circuit of Joy Dormitory, and what people in the rooms of those buildings did to hear the station was tune to 860 AM (at the time, the transmitters were allowed to have something like 200-milliwatts third-stage power and not force the station to have an FCC license to broadcast).  The signal was put over the loud speakers of the cafeteria in the basement of the Student Center Building (or University Center Building).   And the campus had "carrels," which were booths at which people could, for instance, listen to recorded French lessons, and the number for tuning into WAYN-AM was 108; the carrel locations were in room 228 of the Engineering Building, on the 3rd floor of the University Center Building, in room six of Old Main (which was a room in the basement), in the first floor study area of Science Hall, in room 201 of State Hall, in the reading rooms of Flint Purdy Library, in the nursing learning lab of the Cohn Building, on the ground floor of Prentis Hall, and in the Learning Resources Center (at 5448 Cass).
 


STAFFERS

    This section contains a listing of people who were members of WAYN-AM.  The listing is derived from telephone lists that were typed up for each quarter or semester, each of which was derived from sign-up sheets that people filled out to be at the station.  However, some people signed up to be at the station and then only showed up once or twice or never showed up.  You should be able to tell who were the regulars at the station, since the regulars often ended up at the station for more than one quarter or one semester; I note who some of the regulars were, especially in the first two years, by putting an asterisk next to their names (at least for their first appearances), but an asterisk usually notes during the first two school years that a person was enrolled a class called "Speech 0275," which allowed a person to get one college credit for doing work at the station.  Some people may have joined the station after a telephone list was made and will not show up in the statistics, and I know at least one person was at the station in the early mid-1970s and is not listed, and he is George J. Kereji, an engineering student, who never signed up as a regular member of the station but was like a "chief engineer" for a while, and a guy name Mark Andrews, who was a student at the university, showed up at the station during the time that Kurt Schneider was at the station.  Note: Almost all the spellings are as they were presented on telephone lists (I was able to make a few corrections).

    FALL 1971: Curtis Alden; Jack Allweiss *; Janice Allweiss *; Thomas Anderson *; George Baldwin *; Steven Barnaby *; James Baughman *; Daniel Bernath *; Sharon Blount *; Richard Cavellier *; Robert Clifford * (also known as "Bo" Clilfford); Larry Cohen; Christopher Conrad; Gerald Dugelar *; Ronald Dzwonkowski *; Paul Francuch *; Patricia Frasard *; ? William Glogower *; Steve Gordish; Simm Gottesman *; Robert Grant *; Martin Grossberg * ; Gabriel Gruen; Gerald Gubb *; Matthew Guice *; Luther Harven Jr. *; John Holod *; Andrea Ignatowski *; James Jarecki; Cynja Jones *; Larry Jones *; Larry Kaufman; Janice Kaye *; Charlotte King; Michael Klein; Richard Klos *; Gary Klueck *; Tom Krikorian *; Paul Lampi *; Steve Lawrence *; James Leinbach *; William McMillan *; Chris Mauer *; William Melucci; Paul Miller; Arthur Mirek *; Douglas Nagy *; Joseph Oberlee *; Pat Payne; Jerry Piasecki; Phyllis Rawls *; Raymond Rea; David Rosenberg *; John Rudnicki *; Larry Russell *; Karen Savelly *; Mark Schilling *; Kurt Schneider * ; Lee Schostak *; Don Schuster; Lucy Selecky *; David Strang; Victor Swanson *; Rhonda Tanton *; Charles Taylor *; William Trout; Eric Tulloch; Stephanie Turkin; Howard Waxer; Sherrelyn Williams; Charles Wilson; James Wilson; Brian Wood; and Robert Wunderlich. Adviser: Dr. Jack Warfield.

    WINTER 1972: John C. Aboud *; Jack A. Allweiss; Thomas G. Andersson; Frank J. Angelucci *; Jackie D. Armstrong; Robert Ashley *; George Baldwin; James Baughman *; Benita B. Bleecker; Sharon Blount; Anthony R. Bogadin; Linda Boigon *; Rae Brown; Kevin J. Burke; Richard Cavellier *; Robert Kinghorn Clifford; Joseph DeAgostino; Stephen G. Donovan; Paul C. Francuch; Patricia Frasard; Simm Gottesman *; Robert Grant; Carl S. Green; Martin Grossberg; Jane G. Huebner *; Deborah A. Hall *; Luther S. Harvin Jr.; Richard J. Herrmann; Andrea Ignatowski; Larry W. Jones; Janice A. Kaye; Michael C. Klein; Richard K. Klos; Gary G. Klueck *; Tom M. Krikorian; Robert Kustasz; Steve Lawrence; Richard Magyar *; Paul A. Manzella *; James J. Mickiewicz *; Arthur Mireck * (also known as Rick Mireck); Doug A. Nagy; Gregory N. Neubacher *; Phyllis A. Rawls *; Mary D. Reilly; David B. Rosenberg; John D. Rudnicki *; Karen F. Savelly *; Kurt M. Schenider; Lee Lawrence Schostak; Kenneth Skorina; Michael Sporer; David T. Strang *; Joseph Sullivan; Victor Swanson; Todd S. Taylor Jr.; William Tindall; Jon Truckenmiller *; Eric Tulloch; Mike Vacari; Brian J. Wood; and Rob Wonderlich. Adviser: Dr. Jack Warfield.

    FALL 1972: Frank J. Angelucci; Jack A. Allweiss; Cynthia Aguilar; Robert Ashley; Benita Bleecker; Bo Clifford; Robert J. Conway; Jerry D. Cornatzer; Joseph D. DaVic: Wendel D. Davis *; J. Michael DeAgostino; Bev Dinham; Isabel Doyle; Patricia A. Frasard; Robert J. Gengle; Daniel P. Gorzelewski; Simm Gottesman; Martin Gross; Martin Grossberg; Matthew Guice; Luther S. Harvin; Richard J. Hermann; Jane G. Huebner; Andrea Ignatowski; Jack L. Jaffe; James M. Jarecki; Robert F. Jordan; Janice A. Kaye; Michael C. Klein; Rick Klos; Paul M. Lampi; Steve Lawrence; Marcy Leeds *; Paul A. Manzella; Michael T. Maurer; James J. Mickiewicz; Arthur R. Mirek; Douglas A. Nagy; Michael L. Parrott; Phyllis A. Rawls; John Rudnicki; Karen F. Savelly; Mark Z. Segal; Kurt M. Schneider; Michael L. Schuff * (who called himself Mike Lawrence); Michael Sporer; David T. Strang; Victor E. Swanson; T.S. Taylor; William Tindall; Allen M. Wolf *; Brian Wood; and Rob Wunderlich.

    WINTER 1973: Frank J. Angelucci; Jack A. Allweiss; Alan Arndt; Benita Bleecker; Bo Clifford; J. Michael DeAgostino; L. Wendell Davis; Stephen Fioro; Simm Gottesman; Robert M. Grant; Martin Grossberg; Matthew C. Duerkop-Guice; Richard J. Herrmann; Jane G. Huebner; Raymond Kilmanas; Michael C. Klein; Steve M. Lawrence; Paul Manzella; James J. Mickiewicz; Rick Mirek; Phyllis A. Rawls; David Rosenberg; John W. Rudnicki; Karen F. Savelly; Tom Savelly; Kurt M. Schneider; Michael L. Schuff; Mark Z. Segal; Michael Sporer; Victor Swanson; R. Michael Tanner; Bill Tindall; Allen M. Wolf; Brian J. Wood; and Rob Wunderlich. SPRING 1973: Frank Angelucci; Linda Ashley; Robert W. Ashley; Benita B. Bleecker; David W. Bowles; David O. Chance; Robert M. Clark; Robert K. Clifford; Joseph D. DaVia; L. Wendell Davis; Miller G. Davis; J. Michael DeAgostino; Omelio Diaz; Michele Edwards; John Eissa; Stephen Fiori; Patricia A. Frasard; Simm Gottesman; Robert M. Grant; Martin Grossberg; Matthew C. Duerkop-Guice; Gerard Happy; Eric M. Herman; Jerry J. Kaufman; Richard K. Klos; Barbara A. Kusak; Steve Lawrence; Marcy Leeds; Paul A. Manzella; Pearl Moy; Paul J. Pastir; Edward J. Piquette Jr.; Robert O. Rucker; Greg Rabb *; Phyllis A. Rawls; Charles Sanzone; Karen F. Savelly; Tom Savelly; Kurt M. Schenider; Deborah M. Schornak; Michael L. Schuff; Mark Z. Segal; Michael S. Sporer; David T. Strang; Joseph Sullivan; Victor E. Swanson; Donald L. Swindell; Charles B. Taylor; Linda D. Taylor; Bill Tindall; Donald D. Walters; James D. Wear; Debra M. Weslow; Allen M. Wolf; William W. Woznak; and Robert Wunderlich. Adviser: Dr. John Spaulding.

    FALL 1973: Jerry J. Allaer; Frank Angelucci; Linda Ashley *; Dennis Bailey; Benita Bleecker (also known as Beni Bleecker); Ray Boyd *; Richard Bryce; David Brzezinski; David Chance; Mark Chester; Robert K. Clifford; Gerald Coleman; Connie Comequat; Robert Conaway; David Cottler; Joe DaVia; Loren Wendell Davis; J. Michael DeAgostino; Jerry DeMatin; Michael Dinwiddie; Roy Dolley; Matt Duerkop-Guice; Katherine Ervin; Steve Fiori; M. Christopher Frye; Marty Glazek; Donna Gorzelewski; Esa Katnamar; Jerry Kaufman; David Klueck *; Corinna Krajewski *; Gregory Kruzel; Barbara Kusak; Paul Manzella; Joseph McCauley; Gordon McClelland; J.J.J. Mickiewicz; Cynthia Novak; Richard Pesta; Tony Petta *; Richard Pomeroy; Loraly Ross; David Roque; Tom Savelly; Sue Sanderson *; Kurt Schneider; Michael Schuff; Mark Segal; Victor Swanson; Bill Tindall; Tim Wellman; Alvin Lee Wolf; Bill Woznak; and Mary Beth Zolik.

    WINTER 1974 (derived information from materials): Frank Angelucci; Linda Ashley; Robert Clifford; Wendell D. Davis; Michael DeAgostino; Jerry Kaufman; Barb Kusak; Paul Manzella; James Mickiewicz; Tony Petta; Susan Sanderson; Tom Savelly; Mike Schuff; Victor Swanson; Allen Wolf; Mary Beth Zolik. No more information is available.

    SPRING 1974: Jerry Allaer; Edward Anderson *; Frank Angelucci; Peter Antanaitis; Linda Ashley; Dennis Bailey; Bruce Blackford; Barbara Bleecker (who might be Benita Bleecker); David Bowles; Raymond Boyd; Salvatore Catanese; Robert Conaway; Miller Davis; Wendell Davis; Michael DeAgostino; Sandra Debogurski; Ezell Dunford; George Geck; Donna Gniewek; Howard Ishakis; David Johnson; Nick Jordan; Jerry Kaufman; Corinna Krajewski; Glenn Kurkowski; Barbara Kusak; Marcy Leeds; Allan Lengel; Dennis MacDonald; Paul Manzella; James Mickiewicz; Rick Mirek; Richard Morgan; David Muse *; Sharon O'Brien; Timothy O'Connor; Roger Olkowski; Tony Petta; Shirley Robinson; Susan Sanderson; Charles Sanzone; Thomas Savelly; Michael Schuff; Michael Sporer; David Strang; Victor Swanson; Patricia Taylor; T.S. Taylor; Allen Wolf; Reuben Yabuku; and Mary Beth Zolik. Adviser: Dr. John W. Spaulding.

    FALL 1974: Jerry Allaer; Frank Angelucci; Linda Ashley; Sue Ashley *; Dennis Bailey; Debra Beller *; Bruce Blackford; Sandy Debogurski; Jametta Boyce; Robert Ciarlo; Gary De Santis *; Bob Durivage; Robert Friedmann; Dan Gorzelewski; Charles Haynie; Mark Henkelman; Gary Henley; Leslie Hjric ?; Alan Hurvitz; Howard Ishakis; Nick Jordan; Jerry Kaufman; Marcus Kelley *; Hilde Kirkland; Glenn Kurkowski; Barbara Kusak; Joseph Larabell; Ilased Lewis; William Living; John McCartney; Paul Miller; Bruce Nicholas; Marcus Parrish; Anthony Petta; Vicky Polonka; Mielissa Press; Herman Quinney; Kathy Reppke *; Gail Roberts *; Loraly Ross; Susan Sanderson; Chuck Santoni; Kurt M. Schneider; Michael Schuff; Michael Sporer; Victor Swanson; T.S. Taylor; Dave Uchalik *; Roman Welyczkowsky (also known as Roman Wells); Reuben Yabuku; and Mary Beth Zolik.

    WINTER 1975: Anthony Accardi; Shirikiana Aina; Jerry Allaer; Frank Angelucci; Linda Ashley; Sue Ashley; Dennis Bailey; Debra Beller; Bruce Blackford; Sal Catanese; Mike Christian; Robert Ciarlo; John Cobb; Wendell D. Davis; Sandra Debogurski; Gary DeSantis; Bob Durivage; Mark Emge *; Therese Ensink; Brian Fishtahler; Gerry Garcia; Les Harvey; Chuck Haynie; Mark Henkelman; Dennis Heron; Jerry Hollingsworth *; Esa Katajamaki; Jerry Kaufman; Laura Keith; Marcus Kelley; Toni Kirkland; Glenn Kurkowski; Barbara A. Kusak; Dennis LaLone; Robert Leonard; Ilaseo Lewis; Willard Living; William Martin *; Mark Masters; Randy Mcghee *; Kevin Mclogan *; Paul Miller; Richard Moran; Rochelle Mullins; Austin Musgrove; Bruce Nichols; Roger Olkowski; Anthony Petta; Gail Roberts; Mike Saoud; Sue Sanderson; Kurt Schneider; Michael L. Schuff; Mike Seaver; Mark Sidge; Victor Swanson; Michelle Tate; Alecia Thomas; Brenda Thomas; Francis Weathers; Roman Welyczkowsky; Carol Williams; Al Wolf; Reuben Yabuku; Steve Zieman *; and Mary Beth Zolik.

    SPRING 1975: Greg Alexander; Jerry Allaer; Frank Angelucci; Linda Ashley; Susan Ashley; Dennis Bailey; Debra Beller; Edward Blackmon *; Michael Christian; Robert Giarlo; Jon Cobb; Steve Collins *; Wendell D. Davis; Sandra Debogurski; Gary DeSantis; Stephen Donovan; Steven Dorfman *; Edward Durrschmidtt; Mark Emge; Therese Enzink; Stefanie Foster; John A. Frankowski; Daniel Gorzelewski; Kenneth Harrell; Charles Haynie; Mark Henkleman; Dedria Humpries; Howard Ishakis; Esa Katajamki; Marcus Kelley; Jerry Kaufman; Glen Kurkowski; Barbara Kusak; Ilaseo Lewis; Robert J. Leonard; Clarence Lusane; Philip Martin; William Martin; Randy Mcghee; Kevin McLogan; Jim Meredith *; William Mims; Gayle Palmieri *; Anthony Robert Petta; Vicky Plonka; Melissa Press; Gail Roberts; Susan Sanderson; Chuck Santoni; Michael Saoud; Michael Schuff; Kurt M. Schenider; Omar Shakir; Silvia Soloman; Mike Sporer; Victor Swanson; Michelle Tate; Brenda Thomas; Roman Welyczkowsky; Allen Wolf; Rueben Yabuku; Steven Zieman; and Mary Beth Zolik.

    FALL 1975: Jerry Allaer; Frank Angelucci; Linda Ashley; Debbie Beller; Edward Blackmon; Raymond Boyd; Rory Bradles; John Callay; Herman Cecil; Michael Christian; Harold Clay; John Cobb; Stephen Collins; Bob Conway; Thomas Dean; Gary DeSantis; Jenise Drayton; Jeffrey Edwards; Mark Emge; Vickey Fenderson; Phillip Frederick; Steven Galloway; Darrell Gartrh; Jerry Jankiewicz *; Jerry Kaufman; Marcus Kelley; Greg King *; Renata Krajewski *; Marty Lawlor; Michael Lisby; Steven Magier; William Martin; August Messana *; Richard Moran; Raymond Mundy; David Muse; Randy McGhee; Kevin McLogan; Roger Olkwski; Ron Palmerlee *; Richard Patton; Gary Perzigian; Anthony Petta; Melissa Press; Gail Roberts; Rosfelt Rowe * (also known as Ross Rowe); Jon Sankovich; Charles Santoni; Belinda Smith; Robert Stuart; Victor Swanson; Michelle Tate; Dave Uchalik; Roman Welyczkowsky; Carolyn Williams; Reuben Yabuka; Steven Zieman; and Mary Beth Zolik.

    WINTER 1976: Edward Blackmon; David Bowles; Earl Brown; Herman Cecil; Steve Collins; Gary Desantis; Steve Dorfman; Jenise Drayton; Roderick Ford; Phillip Fredrick; Steve Galloway; Philip Garner; Dana Gatewood; Arlene Gero *; Michele Gerus *; Steve Gontarek; Dedria Humphries; James Jackson *; Dorothy Jakymowych *; Jerry Jankiewicz; Jerry Kaufman; Marcus Kelley; Lawrence Kupla; Renata Krajewski; Illaseo Lewis; Willard Living; Bill Martin; August Massana; Peter Moy; Randy McGhee; Kevin McLogan; Linda Nagy *; Damian Ochab; Raymond Parker; Anthony Petta; Douglas Podell; Antiono Pollock *; Gail Roberts; Rosfelt Rowe; Chuck Santoni; Kurt Schneider; Belinda Smith; Victor Swanson; Michael Tarver; Dave Uchalik; Claudia Vala; Roman Welyczkowsky; Vicki White; Brian Wood; Reuben Yabuka; and Steven Zieman.

    SPRING 1976: George Baier *; Edward Blackmon; Dave Breault; Steve Collins; Cheryl Crenshaw; Gary DeSantis; Steve Dorfman; Jenice Drayton; Mark Emge; Kathryn Ervin; Evin Fobbs; Philip Frederick; Irene Futiak *; Arlene Gero; Michele Gerus; Gregory Griggs; Jerry Hollingsworth; Dorothy Jakymowych; Jerry Jankiewicz; Ken Kalczynski * (also known as Kenny Kal); Jerry Kaufman; Marcus Kelley; Greg King *; Renata Krajewski; Amie Langerman; Janice Litch; Bill Martin; Kevin McLogan; James Meredith; August Messana; Eric Mitchell; Rochel Mullins; Linda Nagy; Damian Ochab; Mike Olah; Ray Parker *; Tony Petta; Doug Podell; Tony Pollock; James Ramos; Gail Roberts; John Rohr *; Ross Rowe; Thais Rozmay; Steve Sexton; Belinda Smith; Mike Sporer; Victor Swanson; Michael Tarver; Dave Uchalik; Roman Welyczkowsky; Johnny White; and Steve Zieman.

    FALL 1976: Jerry Allaer; George Baier; Phil Beaudette; Tim Blachut; Ed Blackmon; Joseph Bommarito; Dave Breault; Larry Brooks; Mark Constantine; Cheryl Crenshaw; Ben Crumpton; Gary DeSantis; Steven Dorfman; Mark Emge; Phil Frederick; Irene Futiak; Arlene Gero; Michele Gerus; Steve Gontaraek; Greg Griggs; Jewel Haywood; Patricia Ice; James Jackson; Dorothy Jakymowych; Rudolph James; Jerry Jankiewicz; Ken Kalczynski; Jerry Kaufman; Jeanette Killewald *; Greg King; Ventie King; Larry Kozin; Mitchell Kozuchowski; Renata Krajewski; Amie Langerman; Robert Leonard; Keith Leveille; Steven Magier; Bill Martin; Kevin McLogan; Jim Meredith; August Messana; Eric Mitchell; Rochel Mullins; Linda Nagy; Ron Nolan; Damian Ochab; Ray Parker; Gary Perzigian; Tony Petta; Doug Powell; Tony Pollock; Donna Reed *; Gail Roberts; Ross Rowe; Douglas Rowland; Peter Salinas; Victor Swanson; Michael Tarver; T.S. Taylor; Toni Thomas *; Giselle Thornton; Robin Turla; Dave Uchalik; Claudia Vala; Roman Welychzkowsky; Reuben Yubuka; Richard Zalewa; and Steven Zieman.

    WINTER 1977: Kevin Beverly; Cheryl Crenshaw; Ben Crumpton; Dave DeBrosse *; Steven Dorfman; Martin Edelstein; Amia Fore; Kevin Frederick; Irene Futiak; Arlene Gero; Steve Gontarek; Liz Grisdela; James Jackson; Dorothy Jakymowych; Rudolph James; Jerry Jankiewicz; Ken Kalczynski; Marcus Kelly; Jeanette Killewald; Vertie King; Renta Krajewski; Bill Martin; Kevin McLogan; Jim Meredith; Steve Mertion; August Messana; Eric Mitchell; Linda Nagy; James Nahirniak; Ray Parker; Chris Pietrizyk (female); Gail Roberts; Robert Robinson; John Rohr; Ross Rowe; David Salinger; Rick Schwallie; Victor Swanson; T.S. Taylor Jr.; Goldie Thomas; Charles-Fontaine Wilson, and Victoria Yee.

    SPRING 1977: Kevin Beverly, Sharon Blount; Greg Briskey; Cheryl Crenshaw; Amia Fore; Kevin Frederick; Phil Frederick; Arlene Gero; Steve Gontarek; Linda Grissom; Morris Hayes; Gayla Houser *; James Jackson; Dorothy Jakymowych; Rudolph James; Jerry Jankiewicz; Ken Kalczynski; Rita Kapetanski; Marcus Kelley; Jeanette Killewald; Greg King; Mertis King; Renata Krajewski; Amie Langerman; Robert Leonard; Gary Lockard; Millie Luchkovitz; Howard Makkonon; Bill Martin; Kevn McLogan; August Messana; Eric Michell; Sharon Mitchell; Linda Nagy; James Nahirniak; Ray Parker; Eleanor Parnell; Chris Pietrzyk (female); Tony Pollock; Donna Reed; Gail Roberts; John Rohr; Ross Rowe; Robert Rucker; Dave Salinger; Victor Swanson; Larry Watson; Craig Weiland; Roman Welyczkowsky; Tamara Williams; Charles Wilson; and Victoria Yee.
 


MANAGEMENT

    The previous section has information about people who a showed up to at least sign up to be members of station.  This section gives some information about those who were involved in management work.  The information is not complete, and one reason for that is my files lack information; for example, in the very early 1970s, the music guides that were printed up at print shops had the managers listed, and, in the mid-1970s, music guides, which could have indicated to me today who was doing what or who were the managers, were not produced at print shops (Yes, I have all the music guides produced at print shops and the music guides that were produced in print-shop-like ways during the period).

1971-1972 SCHOOL SEASON (two seminsters this year) --
    FALL 1971: George Baldwin, general manager; Dave Rosenberg; station manager; Steve Lawrence, program director of Top 40; Rob Wunderlich, music director. Jack Allweiss took over for George Baldwin in April 1972, and, in April 1972, Steve Lawrence and Bo Clifford were program directors.

1972-1973 SCHOOL SEASON (now on the quarter system) --
    FALL 1972: Jack Allweiss, general manager; Steve Lawrence, station manager; Bob Grant, operations manager; Mike Schuff, personnel director; Bo Clifford, Rick Klos, and Jim Mickiewicz, "programming" (program directors); Rob Wunderlich, music director; Doug Nagy, news director; Victor Swanson, sales manager; and Jim Mickiewicz, promotions director.
    WINTER 1973: Jack Allweiss, general manager; Steve Lawrence, station manager; Mike Sporer and Bill Tindall, programing (program directors); Robert Wunderlich, music director; and Victor Swanson, sales manager.
    SPRING 1973: Paul Manzella, general manager; Bo Clifford, station manager; Bob Grant, operating manager; Mike Schuff, personnel director; Mike Sporer, special productions manager; Steve Lawrence and Bill Tindall, programming (program directors); Victor Swanson, program director of Top 40; Frank Angelucci, music director; Jim Mickiewicz, promotions director; and Phyllis Rawls, public service director.

1973-1974 SCHOOL SEASON --
    FALL 1973: Mike Schuff, general manager; Bo Clifford, station manager; Victor Swanson, operations manager; Barbara Bleecker, personnel director; Frank Angelucci, special productions manager; Frank Angelucci ("progressive" format), Bo Clifford ("free-form" format), and Kurt Schneider ("Top 40" format), program directors; Frank Angelucci, music director; Tony Petta, assistant music director; Kurt Schneider, news and sports director; Victor Swanson, sales manager; and Barb Kusak, traffic director.  James W. Spaulding was the advisor.
    WINTER 1974: Mike Schuff, general manager; Bo Clifford, station manager; Victor Swanson, operations manager; Tony Petta, personnel director; Frank Angelucci, special productions manager; Bob Ashley (a short while), Wendell D. Davis, Tom Savelly, and Bo Clifford, programming; and Frank Angelucci, music director.
    SPRING 1974: Victor Swanson, program director of Top 40.

1974-1975 SCHOOL SEASON --
    FALL 1974: Victor Swanson, program director of Top 40.
    WINTER 1975: Victor Swanson, program director of Top 40.
    SPRING 1975: Al Wolf, news director; Victor Swanson, program director of Top 40; and Mike Schuff, program director MOR format.

1975-1976 SCHOOL SEASON --
    FALL 1975: Victor Swanson, operations manager; Victor Swanson, program director of Top 40; and Jerry Allaer, free-form program director.
    WINTER 1976: Frank Angelucci, station manager; Victor Swanson, operations manager; Victor Swanson, program director of Top 40; James Jackson, jazz program director; Linda Nagy, traffic and continuity director; and Jerry Hollingsworth, sales and promotions director.
    SPRING 1976: Tony Petta, general manager; Victor Swanson, station manager; Jerry Jankiewicz, operations manager; Roman Welyczkowsky, personnel manager; Victor Swanson, program director of Top 40; Ed Blackmon, program director MOR format; Earl Brown, program director jazz and R&B; Gail Roberts music director; Reuben Yabuka, minority afffairs director; Jerry Allaer, assistant music director; Kevin McLogan, program director of progressive rock; Johnny White, program director of jazz and rhythm and blues; Arlene Gero, news director; Jerry Hollingsworth, sales manager; Michele Gerus, account executive; Johnny White, account executive; and Judy Donlin, playlist executive.

1976-1977 SCHOOL SEASON --
    FALL 1976: Tony Petta, general manager (the first few weeks); Victor Swanson, general manager; Victor Swanson, station manager; Jerry Jankiewicz, operations manager (the first few weeks); Reuben Yabuku, minority affairs director; Victor Swanson, program director of Top 40; Ed Blackmon, program director of MOR; Dave Uchalik, program director of progressive rock; Earl Brown, program director of jazz; Jerry Jankiewicz, program director of progressive rock (for a short while); and Gail Roberts, music director.
    WINTER 1977: Victor Swanson, general manager; Victor Swanson, station manager; Victor Swanson, news director; Ray Parker, program director of Top 40; and James Jackson, program director of jazz.
    SPRING 1977: Victor Swanson, general manager; Victor Swanson, station manager; Reuben Yabuku, minority affairs director; Bill Martin (Bill Martin-Cartier), program director of R&B; John Rohr, news director; David Salinger, sports director; Jeanette Killewald, sales manager; Dorothy Jakymowych, music director; and Jerry Allaer, assistant music director.

    Here is information about others and the jobs that they did, but I have no clear dates about the people and their work: Linda Ashley, news director; Jerry Hollingsworth, news director; Kevin McLogan, program director rock-and-roll format and program director punk rock format; Damian Ochab, sports director; and Kurt Schneider, sports director (circa 1976, around the time he was working at WPON-AM, Pontiac).
 


EVENTS AND PROMOTIONS

    From the fall of 1971 to the spring of 1977, the station held a number of promotions or events, and members of the station took part in special programming.  Not much information is available about some events, of course.  One event I have no information about in my files, but I will make some guesses about it, and that event was a radio marathon, the first of five marathons it seems.
    The first big event that took place while I was at the station was a radio conference, which attracted radio people and music people from other places in the country.  The event was a weekend event, taking place from Friday, March 3, 1972, to Sunday, March 5, 1972, and it took place at the radio station, a restaurant (a Howard Johnsons restaurant), where a dinner was held, and the Community Arts Building on campus.  There were lectures and discussion groups, of course, and there were concerts, such as with Burton & Cunico, Billy Joel, and Spencer Davis (on Friday) and Harry Chapin (on Saturday).
    The next type of big event that I am going to list is the "radio marathon," and here is where the lost event gets a mention or no clear mention.  WAYN-AM held several marathons, and the marathons lasted either one week or two weeks, and, during each marathon, a couple disc jockeys did work on a rotation basis, doing shifts that were long, such as eight-hours long.  The first marathon was held in the late spring of 1972, and here is a bit of information about the start of the event that was published in Billboard on June 10, 1972:
 

    Detroit--WAYN, student radio station of Wayne State University, is seeking sponsors for a special radio marathon that is being held to raise money for the March of Dimes.  The marathon will start at 11:59 pm. on June 9, and is scheduled to continue for at least 11 days, during which WAYN will remain on the air 24 hours a day.
    "Sponsorship" of an hour's worth of programming on the station is being set at $10 for each person, club, organization or company.  The donation is tax deductible.
    The marathon will also seek to break the two-man college radio endurance record.
    Additional information regarding sponsorship may be obtained by calling the station at (313) 577-4200, between 8:00 am. and 9 p.m.


I have no information about who were the two disc jockeys for the first marathon.  I do recollect that Kurt Schneider and Paul Manzella did a marathon together, and it seems very likely that they were the disc jockeys (but, as I noted, I am not sure at the moment who were the disc jockeys for the event).  I can report that the second annual marathon began on June 4, 1973, and for this marathon, the "WAYN/March of Dimes Radio Marathon," Wendell D. Davis and Mike Schuff (known as Mike Lawrence on the air) did eight-hour shifts for a 336-hour-long period.  The marathon of 1974 was held from June 10 to June 17, and I have no information about who the disc jockeys for the event were, but I know the event was designed to raise money for the March of Dimes.  From June 14 to June 28 of 1976, the station ran another marathon, and, for part of the time, from midnight to six in the morning, it was simulcast on WMZK-FM 97.1; Tony Petta was the marathon director, and the disc jockeys were Victor Swanson, Ed Blackmon, and Ross Rowe, and Jerry Hollingsworth was a backup disc jockey, and the newscasters were Arlene Gero, Jeanne Lobb, Tony Pollock, Jeanette Killewald, Jim Meredith, and Dave Uchalik, and the backup newscasters were Damian Ochab and Greg King, and sportscasting was done by at least Kurt Schneider and Damian Ochab.  The final marathon was held from July 11 to July 27 of 1977; the disc jockeys for the event were Ed Blackmon, Larry Watson, and Ross Rowe, and the news director was John Rohr, and John Rohr's news team was Morris Hayes, Chris Pietrzyk, Craig Weiland, Ton Pollock, Liz Twardon, David Salinger, Donna Reed, and Victor Swanson, and sportscasting was done by David Salinger (the sports director) and T.S. Taylor.
    The fall was the season for two different types of events.  On October 28, 1971, the station held a pumpkin-carving contest at the University Mall, and, during the event, people paid a small sum to carve a pumpkin and then hoped to win a prize, and what money was raised went to Mother Waddles' charity.  Another pumpkin-carving contest was held the next year (in October 1972), and I believe this was the event that Mr. Belvedere (the head of a local construction firm whose real name was Maurice Lezell) showed up as a celebrity guest.  There may have been a pumpkin-carving contest for 1973, but I have no information about one.  Later in the 1970s, the station conducted turkey-race events around Thanksgiving Day, and the events were informally called "Turkey Trots," and I know one "Turkey Trot" was held on November 23, 1977, and the event was held in the mall near the Student Center Building, and what money was raised went to the Mother Waddles Perpetual Light Mission, and it seems to me there had been at least one event previously.
    From time to time, the station held on-air contests.  The station ran a promotion to give away a trip in the Virgin Islands in the fall of 1972 (and I believe it was related to Windjammer Cruises), and, in April 1973, the destination promoted in a contest was the Bahama Islands.  Jim Mickiewicz was instrumental in setting up both contests.
    An unusual contest was held during the 1974-75 school season, starting in the fall I believe.  The contest involved "The Mystery Runner" (me).  The contest was set up so that, during a radio show, I could run to different carrel locations on campus and give away albums.  The act was accomplished by my having a board operator during a show, such as Jerry Hollingsworth (and, I think Ken Kal was a board operator at least once).  After doing a break or segue, I ran out of the station and to a carrel location, and at the carrel location, I asked someone what number could be used to pick up WAYN-AM on the carrel system, and if the person knew the number was 108, I handed the person an album, got the person's name, and ran back to the station to do the next break.  Yes, some people did win albums.
    In the spring of 1973, WAYN-AM obtained a bright yellow van (a true van and not a minivan), which could be used for doing remote broadcasts.  George J. Kereji set up the electronics for the van, and I have a copy of the block diagram for it, which is dated April 18, 1974.  I remember one remote was held at the Kern Plaza of Detroit, but, for now, I cannot give information about what the event was.  I yet have an eight-inch-by-ten-inch photograph of the van, inside of which is Wendell D. Davis, and on the side of the van, it states in black paint: "WAYN 860/DETROIT.  SPONSORS: Verne's bierstube.  MOTOR CITY CUSTOM VANS INC."  I remember the transmission soon went bad and had to be repaired.
    I have already hinted at some concerts that WAYN-AM was associated with, and besides concerts, there were a few "dances," which were held during the disco years, the latter days of my time at the station.  On April 22, 1974, Dean Rutledge was the headliner for a concert in the second-floor ballroom of the University Center Building (which I always think of as the Student Center Building).  This was promoted to the students of Wayne State University: "The Jazz Connection of WAYN Presents A BENEFIT "SUPER-DISCO" DANCE At the Student Center Building, on the Wayne State Campus. Friday, October 15, 1976..."; Reggie "The Rapper" of WAYN and Reuben Yabuku of WJBL-FM (Detroit) and WAYN-AM were promoted as some of the people who were going to appear at the event.  And the event for April 16, 1977, was "Luv's in the Air, Spring Affair Disco"; it was an event held in the basement of the Student Center Building (or Student Union or the University Center Building), and scheduled to appear were Reuben Yabuka (of WJLB-FM), Donnie (the Luv Bug) Simpson and "Rockin Ronna" of WGPR-FM, Detroit, and "Reggie the Rapper," and the music was provided by THE M.A.R.S DISCO MACHINE.
    At least twice, the station was promoted on the covers of commercial magazines that were distributed on campus.  "Sound: The Sony Guide to Music 1975/1976" was a promotional magazine that was distributed on campus, and at the bottom of the magazine was "Campus Sponsor: WAYN; DIAL No. 108; 860 AM."  And "Nutschool: A handbook for College 1976/77" was distributed on campus, and on the bottom left-hand corner of the magazine was "Detroit Edition. Compliments of WAYN; Dial #108; 860 AM".
    The last event that I note was a radio play.  Jim Mickiewicz wrote a radio play entitled "Nightmare!";  I use the quotation marks in the title, since they were noted in the contract that I signed to take part in the event, which could result in my getting paid some money someday, if the production made any money by being aired somewhere, and that contract, which I still have, is dated March 15, 1973.  "Nightmare!" was produced at the station; Studio B was the recording studio, and the work area for the news department was where the performers stood before microphones.  The production was completed in the spring of 1973 it seems, and it was aired at least once on a radio station in the Detroit area, but I am unsure what station it was.
 


STORIES CONTAINED IN BILLBOARD

    To make this section of this document and the next section of this document, I did research in Billboard magazine.  I had available to me editions of the magazine published since 1942; from the issue of January 3, 1942, through the issue of December 3, 1960, the magazine was called The Billboard, and from the issue of January 9, 1961, through the issue of December 29, 1962, the magazine was called Billboard Music Week, and since issue of January 5, 1963, the magazine has been known as Billboard.  Today, people only think of Billboard as a magazine that focuses on music and radio, but, in the first three decades of existence, the magazine did cover television, too.  I went hunting for articles in Billboard, knowing there were articles about  WAYN-AM in it and wondering if I would find articles that might hint at early history of the station, during the late 1950s and early 1960s, but all I found was material from 1971 to 1977.  Much of the material that got published in Billboard had been supplied by Rob Wunderlich, as you shall especially see by reading the next section.  For now, look at what articles I found in Billboard that bring to light other things that happened at WAYN-AM.
    The first big-deal article that I found in Billboard was entitled "WAYN Seminars Focus On Total Campus Radio," and it was published in the edition for March 25, 1972 ("WAYN Seminars Focus On Total Campus Radio."  Billboard, 25 March 1972, p. 27.).  On the weekend of March 3, 1972, WAYN-AM was the host site for the "WAYN Radio Conference," and the people who took place in the event were from WAYN-AM and other college radio stations.  Some of what a person could take part in were a session on music on Saturday afternoon or a session on "News and Public Affairs" on Saturday afternoon, during which people talked about such topics as how newscasts offered could be made relevant to students and how stations could go beyond conventional news sources, and the story noted that Jim Cameron (of WLVR Radio at Lehigh University, Bethlehem, Pennsylvania) and Michael Benner (of WRIF-FM, a commercial station in Detroit) were two panelists.  [I must note that, I believe, DeRoy Auditorium at Wayne State University was used as one location for the event.]  The station was used for discussion session focusing on engineering topics.
    One article that I found was about an event that had no close ties to WAYN-AM, but the article did involve some people who were members of WAYN-AM, who, in essence, represented WAYN-AM at the event, and the article was entitled "IBS, Confab Hit by Reps" and was published on April 8, 1972 ("IBS, Confab Hit by Reps."  Billboard, 8 April 1971, pp. 1 and 25.).  The event was the "33rd Annual Convention of the Intercollegiate Broadcasting System," which was held in New York City, New York, which took place on the weekend of March 24, 1972, and the theme of the event was "Speak Out 72," and it was an event that--as noted in the article--did have dissension issues related to, for one, "the convention itself" (but I do not cover those dissension issues for the most part).  The event was attended by people from record companies, people from commercial radio stations, people involved in publications (such as Billboard), people involved in making broadcast equipment, and people involved in college radio stations, and there were a number of forums at the event, and one afternoon forum--entitled "Music Industry Forum"--had Rob Wunderlich (of WAYN-AM) as a panelist (and the moderator of that forum or panel was Gary Cohen (of Record World), and the other panelists were Scott Muni (the program director of WNEW-FM, New York), Jimmy Fink (of WPLT-FM, New York), Russ Singer (of WVBR-FM, Cornell University, Ithaca, New York), and Pete Fornatele (of WNEW-FM)).  It was estimated in the article that about six-hundred persons had attended the event.  The event had concerts.  At the Alpine on Saturday, attendees saw Jake & the Family Jewels, Nanette Natal, and Dennis Stoner (of Rare Earth), and also on Saturday, attendees was David Bromberg and was the Kenny Loggins Band with Jim Messina.  The big concert event had Todd Rundgren with the Hello Public, Billy Joel, David Pomeranz, George Gerdes, and Tiny Alice.  I note that one problem brought up during the event was that record people felt students--those involved in college radio stations--were more interested in getting free records than looking for ways in improve relations between record companies and college radio stations.
    In the issue Billboard for May 22, 1972, Sam Sutherland wrote the "What's Happening" portion, a section that was being used around this time to report information from college radio stations, especially information about records that stations were playing.  This edition had no information about new songs being played by WAYN-AM, but it had other information.  Here is the text (Glassenberg, Bob.  "What's Happening."  Billboard, 22 April 1972, p. 34.): "Rob Wunderlich of WAYN, Wayne State University in Detroit, reports increased activity for the station ranging from expanding off-campus shows of WHIF, WHRI, and WJR-FM to alterations in the programming format.  Also, please note the new appointments of Jack Allweiss as general manager, Bob Grant as operations manager, Karen Savelly as news director, and George Baldwin as sales director.  Rob Wunderlich continues as music director."  [Note: I wonder if the article wanted "WHIF" instead of "WHIF."  I will have to track that down sometime.]
    On page 24 of the issue of Billboard for June 10, 1972, there is an article that focused on the first on-air "marathon" that was held at WAYN-AM, and the article was entitled "WAYN SETS A MARATHON" ("WAYN SETS A MARATHON."  Billboard, 19 June 1972, p. 24.).  The story reported that WAYN-AM was seeking "sponsors"--people or entities--to pay $10 to sponsor an hour of airtime during a "marathon," during which two disk jockeys would play the tunes and do more.  The event was scheduled to begin at 11:15 p.m. on June 9, 1972, and run for eleven days.  The two disk jockeys were hoping to break the college radio endurance record.  In this case, the disk jockeys would alternate being on the air during the period.  [I believe the disk jockey format was a twelve-hours-on-and-twelve-hours-off format.]  If you wanted to sponsor an hour, you could contact the station by calling 1-313-577-4200.
    The issue of Billboard for June 16, 1973, had an article that I am not going to cover much about here (and if you wish to learn more about what it was about, you can see it).  The article was entitled "Intra-State Service Unit" ("Intra-State Service Unit." Billboard, 16 June 1973, p. 24.).  The focus of the article was on the Michigan Intercollegiate Radio Association (or the MICRA).  One part of the article noted that the first MICRA convention or meeting had been held at Wayne State University in April 1973 [probably in conjunction with WAYN-AM], at which time a constitution for the MICRA was ratified and three chairpersons were elected.  I have no idea whatever became of the MICRA and whether or not it had any value.
    The final article--the most recent article--that I found was published in the edition of Billboard for April 23, 1977, and the article was entitled "Wayne State's WAYN-AM Like a Commercial Station" ("Wayne State's WAYN-AM Like a Commercial Station."  Billboard, 23 April 1977, p. 48.).  It looks as if the material contained in the article had come from then music director Gail Roberts, who got quoted several times.  The story noted that the station receives $4,000 from the Speech Department of Wayne State University to run, and the station also gets funds from the sales of commercials.  The hours on the air at the time were from 8:00 a.m. to 1:00 a.m. on, in essence, a Monday-through-Friday basis, and the station played music in five main format blocks--Top 40, MOR, Rock, R&B, and Jazz--and it was noted that on Monday at 11:00 p.m. to 12:00 a.m., the station had a program called "No Scratches Or Fingerprints," during which cuts from new releases were featured.  The story had this text: "'Up until 1974 we didn't program jazz or r&b as separate entities.  We've gone from an abstract to regular hourly formats,' says Roberts."  [The quotation is a little misleading.  Since the fall of 1971 at least, the station had had a block format.  What happened around 1974 or so is blocks specifically focusing on jazz and R&B were would start to show up.]  What was really important in the story is that the station was going to hold a "Radiothon" for two weeks starting on June 27, 1977.  The event, which was hoping to raise money to keep the station running, was going to run for twenty-four hours a day, and during the hours between 12:00 a.m. and 6:00 a.m., the station signal would be simulcast on WWWW-FM.  And in the story, there was this material related to what the function of the station was as seen by Gail Roberts: "'It's the best way to train students for professional careers,' says music director Gail Roberts."
 


MUSIC DIRECTORS FEED BILLBOARD

    I have noted that WAYN-AM is mentioned in issues of Billboard from 1971 to 1977.  Much of the information published in the issues had come from music directors at the station, especially Rob Wunderlich, who was the music director at the station for about three years.  This section notes what was presented in Billboard as reports about records being played at WAYN-AM (and the information about the issues exists in the "Bibliography"):
    In the issue for March 24, 1971, this was published: "WAYN, Wayne State University, Putnam, Mich.: 'Never Ending Song,' Delaney and Bonnie & Friends, Atco."
    In the issue for March 31, 1971, this was published: "WAYN, Wayne State University, Detroit, Mich., Rob Wunderlic reporting: 'Malt & Barley Blues,' McGuinness Flint, Capitol."
    In the issue for April 10, 1971, this was published: "WAYN, Wayne State University, Detroit: 'If,' Bread, Elektra."
    In the issue for May 15, 1971, this was published: "WAYN, Wayne State University, Detroit, Mich., Rob Wunderlich reporting: 'High Time We Went,' Joe Cocker, A&M."
    In the issue for May 22, 1971, this was published: "WAYN, Wayne State University, Detroit, Mich., Bob Wunderlich reporting: 'Low Down,' Chicago, Columbia."
    In the issue for June 5, 1971, this was published: "WAYN, Wayne State University, Detroit, Rob Wunderlich reporting: 'Little Bit Lonely,' (LP cut), Heads, Hand and Feet, Capitol."
    In the issue for June 19, 1971, this was published: "WAYN, Wayne State University, Detroit, Mich., Bob Wunderlich reporting: 'Uncle Albert'/'Admiral Halsey,' (LP cut), Paul and Linda McCartney, Apple."
    In the issue for August 14, 1971, this was published: "WAYN, Wayne State University, Detroit, Mich., Bob Wunderlich reporting: 'Stick-Up,' Honey Cone, Hot Wax."
    In the issue for October 1, 1971, this was published: "WAYN, Wayne State University, Detroit, Rob Wunderlich reporting: 'Closer to the Ground,' (LP cut, Pilot), Joy of Cooking, Capitol."
    In the issue for November 11, 1971, this was published: "WAYN, Wayne State University, Detroit, Bob Wunderlich reporting: 'Step Out,' (LP cut, People Like Us), Mamas and Papas, ABC/Dunhill."
    In the issue for November 27, 1971, this was published: "PICKS AND PLAYS: WAYN, Wayne State Univ., Detroit, Mich., Rob Wunderlich reporting: 'American Pie,' Don McLean, UA."
    In the issue for December 4, 1971, this was published: "MIDWEST--MICHIGAN--WAYN, Wayne State, Detroit, Rob Wunderlich reporting: 'Open the Door,' Judy Collins, Elektra."
    In the issue for December 16, 1971, this was published: "WAYN, Wayne State University, Detroit, Rob Wunderlich reporting: 'Third Week in the Chelsea,' (LP, cut, Back), Jefferson Airplane, Grunt."
    In the issue for December 23, 1971, this was published: "WAYN, Wayne State University, Detroit, Rob Wunderlich reporting: 'Mister Deadline,' Vigrass and Osborne, Uni; 'Demon in Disguise,' (LP), David Bromberg, Columbia; 'Talking Book,' (LP), Stevie Wonder, Tamla."
    In the issue for January 22, 1972, this was published: "WAYN, Wayne State Univ., Detroit, Rob Wunderlich reporting: "Dynamite,' Supremes & Four Tops, Motown."
    In the issue for February 5, 1972, this was published: "MICHIGAN--WAYN, Wayne State Univ., Detroit, Rob Wunderlich reporting: 'America's Great National Pastime,' Byrds, Columbia."
    In the issue for February 12, 1972, this was published: "WAYN, Wayne State Univ., Detroit, Rob Wunderlich reporting: 'Beads and Feathers,' (LP), Carol Hall, Electra."
    In the issue for February  19, 1972, this was published: "WAYN, Wayne State Univ., Detroit, Rob Wunderlich reporting: 'FM & AM,' (LP), George Carlin, Little David."
    In the issue for March 11, 1972, this was published: "WAYN, Wayne State Univ., Detroit, Rob Wunderlich reporting: 'McKendree Spring 3,' (LP), McKendree Spring, Decca."
    In the issue for December 9, 1972, this was published: "WAYN, Wayne State U., Detroit, Rob Wunderlich reporting: 'Because of you,' Kracker, Dunhill; 'The Grand Wazoo,' (LP), Frank Zappa, Bizarre; 'Talking Book,' (LP), Stevie Wonder, Tamla."
    In the issue for May 5, 1973, this was published: "...The last month has seen many stations experiencing staff turnovers, among them WAYN at Wayne State University in Detroit.  There, Rob Wunderlich, music director and station sparkplug for the past three years, has stepped down this term while Frank Angelucci has taken over the post.  Angelucci is now the man to talk to regarding all music programming and service."
    In the issue for May 12, 1973, this was published: "WAYN, Wayne State U., Detroit, Frank Angelucci reporting: 'Blues Band, Ops 50,' Ozawa/Siegel-Schwall Blues Band, DGO; 'Banquet,' (LP), Lani Hall, A&M; 'Birthday,' (LP), New Birth, RCA."
    In the issue for June 9, 1972, this was published: "WAYN, Wayne State U., Detroit, Frank Angelucci reporting: 'Banquet,' Lani Hall, A&M; 'The Tin Man was a Dreamer,' (LP), Nicky Hopkins, Columbia; 'Daltrey,' (LP), Roger Daltrey, MCA."
    In the issue for March 9, 1974, Frank Angelucci had information reported, and this time, I do not quote the material (since it was spread out in the article), and I note that Frank Angelucci reported the station was playing "Playing My Fiddle for You" by Papa John Creach & Zulu, "Manfred Mann's Earth Band" by Manfred Mann's Earth Band, "Rock 'n' Roll Animal" by Lou Reed, and "Different Drummer" by Linda Ronstadt.
 


AMBIANCE OF THE MOMENT

    In the 1970s, the campus of Wayne State University was nearly deserted at about midnight, or only from time to time someone might walk by the station at the late hour, but, even at about midnight, someone was very likely to be in Studio A of WAYN-AM doing an air shift, maybe lighted only by the lights on the control console and the small rectangular florescent lamp that was positioned above the control console.  The ceiling light in the lobby might be on, and the speakers in the room were most certainly turned on, though maybe not high.  If it were a warm spring day, the front door of the old building might be open, and someone could be sitting on the front steps, and that someone had no car to follow with the eyes from right to left or from left to right, since the street was blocked to traffic at both ends.  What music left the speakers bounced off the Engineering Building and the other buildings and disappared down the street.
    If I had time to write a novel and present it here, I might be able to give a good description of the ambiance of WAYN-AM to someone who was never there, and since I am unable to present a good description, I can only present a few notes that might bring up memories in someone who was once at WAYN-AM.
    If I bounded up the front steps and on to the porch, which had a wooden deck, I could send little shockwaves through the building that people inside the station--at least on the first floor--could probably feel.  The sound of the heavy front door closing could be detected by someone up in the general manager's office, though the office was on the second floor.  Inside the station at a given moment, I might hear the sound of The Rolling Stones or The Dramatics.  I might catch someone putting coins in the pop dispenser, or I might hear a pop can falling through the machine.  In the air might be the scent of smoked pipe tobacco, something from Doug Nagy, who could be in the news director's office, or the air might have a hint of perfume from a gal who had moments ago passed through the foyer and gone inside Studio B.  Almost every room had one ceiling florescent-light fixture, and each of the florescent-light fixtures was made up of four four-foot-long U-shaped florescent bulbs and looked like a large ceiling fan, and because each fixture gave off a lot of light, the station was certainly no dark place when all the lights were on.  When the light was on in the main room of the first floor, a person had no trouble reading while at the round yellow table, and when the light was on in the news work area, a person had no trouble seeing the red carpet on the floor of the room.  The floor in the engineering room was made of wood strips; the floor was painted gray, so a person had a hard time telling what type of wood the floor was made of, but the floor in the engineering room was sturdy, and the floor in the enginnering room seemed more sturdy than the floor in the main room of the first floor, which was a wood floor covered with light-brown tiles and which was sort of warped and somewhat spongy, because right below the main room in the basement was the steam-run furnace, heat and humidity from which had warped the floor above over many decades.  When one of the two gray steel cabinets in the engineering room was closed, the sound could easily be heard by someone in the main room of the first floor, who might wonder if I were locking up the Electro-Voice 635A microphone that the person had recently used with a black Sony Cassette Recorder (a model TC-110B cassette recorder) to record an interview.  If it were a windy day, the back door of the building would rattle, especially the single pain of glass, and I might notice the rattling, and I might hear the footsteps of someone right above on the second floor in the music library.  "W.A.Y.N., Wayne State Music"--that could be the sweep jingle, sung by a chorus and backed by musicians, that I might then hear over the small speaker in the engineering room, a jingle used to separate two songs.

    Let me digress to note what Rob Wunderlich might be typing out on a Selectric II typewriter on the second floor, such as the copy that was put in the music guide of 14 February 1972: "...BESIDES WHAT WE DO HERE....  Every Sunday on WHFI, 94.7 FM, Wayne State Student Radio present 'COVERSATIONS WITH WAYNE STATE' featuring interviews and conversations with newsmakers in the New Center area.  8 a.m.   Late Sunday night (actually Monday morning), you can hear us on WRIF, 101.FM, presenting music and campus news.  1:00 a.m.  Even later, music your mother likes (MOR) can be heard by us on WDRQ, 93.1 FM, with 'MUSIC FROM WAYNE STATE'...."  A Selectric-type typewriter was electric and had a distinct sound when used, and it is a sound that I shall have to leave undescribed.

    Each weekday--a little before eight in the morning--someone opened up the station.  Studio A was turned on.  The rack in enginnering was turned on.  Usually, the first sounds put out over the air were those from the sign-on cart, and in someway the sign-on cart announced: "This is W. A. Y. N., eight-sixty A.M ., Detroit."
 


WHERE PEOPLE WENT
(noted May 10, 2007)

    In one of the final music guides that I helped produce in the spring of 1977, I wrote up a list of where I knew some people from WAYN-AM were working or had recently worked.  In fact, it was the music guide for May 16, 1977, and it had this information: Linda Ashley, news at WDEE, Detroit; Debbie Beller, disc jockey, WWWW-FM, Detroit; Bo Clifford, ABC records; Paul Francuch, The Voice of America, Washington, D.C.; Arlene Gero (AAA Motor News); Bob Grant, engineer, WCAR-AM, Detroit; Jerry Jankiewicz, disc jockey, WWCK; Rick Klos, disk jockey, WSDS-AM, Ypsilanti; Barbara Kusak, news, WOMC-FM, Detroit; Steve Lawrence, engineer, WXYZ-TV, Detroit; Jim Mickiewicz, sales, WWJ-AM, Detroit; Dave Muse, engineer, WIID; Tony Petta, disc jockey, WSDS-AM, Ypsilanti; Doug Podell, disc jockey, WWCK; Karen Savelly, disc jockey, WABX-FM, Detroit; Chuck Santoni, disc jockey, WABX-FM, Detroit; Kurt Schneider, sports, and Michael Schuff, disc jockey, WSDS-AM, Ypsilanti; Belinda Smith, news, WJLB-FM, Detroit; Al Wolf, sports, WPON-AM, Detroit; Reuben Yabuku, disc jockey, WJLB-FM; and Mary Beth Zolik, news, WJR-AM, Detroit.
    In the years after the music guide was produced, people went on to other jobs, and here are rough notes about some people:
    Mark Andrews had a number of radio-related jobs in the Detroit area (Michigan), such as working with Dick Purtan at WOMC-FM; Mr. Andrews died in early 2004.
    Frank Angelucci worked for WDET-FM for a while (in either the late 1970s or early 1980s), and , in the early 1980s, he was managing a Detroit-area band called The Reputations, a member of whom was Johnny Angelos (who had worked with Ted Nugent and the Amboy Dukes in 1971 and 1972).
    J. Michael DeAgostino, who is sometimes called Michael DeAgostino (or only Mike DeAgostino), is the public relations manager for the Grand Traverse Resort and Spa at Acme, Michigan.
    Stephen G. Donovan, who was a member of the station for a very short time, never entered the radio field and went on to study law, and, today, he is in private practice, listed as "Stephem G. Donovan, Attorney at Law" in Roseville, Michigan.
    Steve Dorfman, who was a game-show trivia buff, work as a writer for Jeopardy! from the fall of 1984 to his death in early 2004.
    Paul Francuch yet works for The Voice of America; in 2003 and 2004, he was in London, England.
    Arlene Gero worked at WRNN-AM (Clare, Michigan), starting in spring 1977 or so, and did work a little later in St. Ignace, Michigan.
    After announcing hockey games for the University of Michigan for at least a decade, Ken Kalczynski (a.k.a. Kenny Kal) started to work as the play-by-play announcer for the Detroit Red Wings on radio in the fall of 1995, and he is still associated with the Detroit Red Wings.
    Jerry Kaufman, who became an attorney, did work at WPON-AM (Pontiac, Michigan).
    Rick Klos did work in the 1970s at WDRQ-FM (Detroit, Michigan), which is not the current WDRQ-FM.
    Barbara Kusak did much work as a newcaster in the Detroit area; in the 1980s and the early 1990s, for instance, she worked at WLLZ-FM.
    Gary J. Lockard did a bit of work in radio around 1980 and that was it; mostly, he has been associated with the United States Air Force since the early 1980s, and, currently, he is a colonel in the U.S. Air Force, and, for example, he is considered a veteran of Operation Desert Shield, Operation Desert Storm, Operation Enduring Freedom, and Operation Iraqi Freedom, and, in 2005, he was Iraq.
    Bill Martin became a part of the security staff of the Detroit Public Library (the main branch), where he yet works today.
    Greg Neubacher, who once worked in the news departments of such television stations in the Detroit area as WJBK-TV, Channel 2, and WDIV-TV, Channel 4, moved to London, England, to work for CNBC Europe in the fall of 2003; he was hired to be a morning executive producer for CNBC Europe.
    Tony Petta became a teacher and worked for the Detroit school system, such as in the 1980s (I believe).
    Doug Podell did work, I believe, in Cleveland and on a television show on WTVS-TV (Detroit, Michigan), and he would certainly do work at WRIF-FM (Detroit, Michigan), where he currently is.
    Chuck Santoni did work on a television show on WTVS-TV (Channel 56 in Detroit),  and he also worked at WWWW-FM (Detroit, Michigan), and he is currently on WMJC-FM (Detroit, Michigan).
    Karen Savelly was at WRIF-FM (Detroit, Michigan) for many years and is currently at WCSX-FM (Detroit, Michigan).
    Kurt Schneider did work at WPON-AM (Pontiac, Michigan) before working for many years at "Sports Phone," which was a sports-information line in the Detroit area.
    Dave Uchalik has been a member of a Detroit-area band called The Polish Muslims since the 1970s, and since 1998, he has been a pediatric occupational therapist at the Abilities Center of Walled Lake, Michigan.
    Rob Wunderlich, who worked in the record industry in California and in public relations in the Detroit area, is currently working for NuTech in Bloomfield Hills, Michigan.
    Mary Beth Zolik, who did work in Charlotte, N.C., before 1981, works at  WRVF-FM 101.5 in Toledo, Ohio; she started out doing news at WRVF-FM ("The River"), and since the early 1980s, she has been a co-host on the morning show of the station, "Mitch & Mary Beth."
    It is noted, here, that many members of the station worked for a short periods at AAA Michigan in the 1970s; AAA Michigan ran broadcast services from about 1966 to 2003, and the services were the Holiday News Services, The Icicle News Service, and The Weekend News Services, and some of the persons who work at AAA Michigan for at least short periods of time were Arlene Gero, Jim Meredith, Donna Reed, Kurt Schneider, Mike Schuff, Victor Swanson, T.S. Taylor, and Al Wolf.
 


WHERE PEOPLE WENT
(ADDITIONS)

    Added December 10, 2008:
    Gary Bridges began his professional announcing career in the Detroit area, working at WWWW-FM (1970), WKNR-AM (1971), and WRIF-FM (1971), and over the years from 1972 to 1987, he worked at stations scattered about the country, some of which were KSLQ in St. Louis, WZZD in Philadelphia, and WNBC in New York City, and now he is the "voice" (not an on-air staffer) of WMJI-FM in Cleveland, Ohio, and has a productiion company called "Winning Sounds," which, for one, makes political commercials.
    Michele Gerus, who did Top 40 programs at WAYN-AM and did not end up as a "Top 40 D.J.," has been involved in the publishing business in recent years; she has worked as, for instance, a global account manager for The Wall Street Journal (such as around early 2005), the global account manager for Business 2.0 magazine (around spring 2005), and as the associate publisher at Dwell magazine (in 2007 and 2008).
    Added June 29, 2011:
    On June 29, 2011, I finally decided to make an addition to this document about Chuck Santoni, having, somewhat recently, found information about where Chuck Santoni is.  Around this date, Chuck Santoni was the morning disc jockey at WSAQ-FM ("Q Country" 107), Port Huron (Michigan), and he was doing the shift of 5:00 a.m. to 10:00 a.m. on weekdays.  While I write this section, I remember when Chuck Santoni was at WAYN-AM, he did sometimes play country-music records.
    Added January 13, 2015:
    In mid December 2014, Barb Kusak (who at one time had worked for MSNBC)  started up in a new job as one of the anchors for the new radio news service called "Westwood One News," and she was the anchor for the evening hours.
 


RECOLLECTIONS

    Since I put this small document together, I felt I should note some things that I remember about WAYN-AM.  If someone sees this document and sends some information that can be added to this document, this section will have more than only my recollections.  Material should be sent to The Hologlobe Press (The Web site for The Hologlobe Press is www.hologlobepress.com.)

    One recollection that I have is about the cold winter of 1975/1976 and the days during which I spent rebuilding the "rack," which was the distribution center of the station (and located near the back wall of the engineering room); a rack held amplifiers, patch bays, and more, and the rack was used to connect up studios and send audio signals down telephone lines to transmitters and the carrel system of the university, and, by the way, one amplifier in the rack was used to route the ABC Radio news feed to WDET-FM, which received its feed through WAYN-AM.  During the winter break of 1975-1976, the heat in buildings on campus had to be turned down; it was a conservation "thing" at the university. I had to work in mid-forties temperatures to tear the old rack apart and build the new rack, and I even spent an entire night at the station to get some of the main work completed, taking a few-hours nap on the floor in the general manager's office, next to a heating vent; the building had a gravity steam-heat system.  I completed the rack in more than enough time so that the winter broadcast schedule could begin on time.
    I rewired Studio A in the summer of 1975, and I got supervision from George J. Kereji, who reworked the Studio A Control Console.  George J. Kereji, an engineering student at the university, was the sort of the chief engineer of the station in the mid-1970s, though he was never a true member of the station, such as by indicating he was by signing up on membership lists; my copy of his technical notes for "Studio A Audio Control Console" is dated February 24, 1975.  I had no problems getting the studio rewired, and, on the date that I finished the main work, I turned on all the speakers in every room and studio on the first floor of the station and cued up a side of Yessongs (by Yes) in Studio A (and I think it was side two of volume one, which begins with "Perpetual Change"), and when I started the record, the station was filled with music.
    Dr. Jack Warfield, a member of the faculty, was very helpful to the people at WAYN-AM, especially in the 1960s.  Someone he knew wrote a script for a nine-part production, which, I believe, was supposed to be played in schools in Canada, and, in December 1974, I did much of the work to get the nine stories turned into one main audio presentation, entitled "The Future Tapes."  Dr. Warfield took part in the production by being one of the narrators, and the other narrator was Mike Parrott.  Mike and some other students in one of my television production classes, maybe my television-directing class, provided the voices for the stories.  The characters of the nine-part production were done by: Henry Adams, Cal Hughes, Barb Kusak, Mike Saoud, and Mike Schuff, and there was a "Bob P.," the "p" standing for a last name, which is missing from my files.  I did all the mixing for this roughly 35-minute production, and I used all three studios of the station one night--all night--to do the final mixing; I used Studio B as the center of operations, and I used Studio A to feed some materials to a pot in Studio B, and all the feeds of Studio A and Studio B were fed to Studio C, where a master recording was collected.  All through the night, I was running back and forth between Studio A and Studio B to hit carts, stop carts, start records, stop records, start tape machines, et cetera, and, of course, I was running back and forth between Studio A and Studio C.  It was sort of like "Old Time Radio."
    Some time after the WAYN-AM van had been taken apart, I took some of the cabinetwork, which was brown, and made "The Box."   The Box was a roll-around turntable unit; I had cut a hole in the top of the square cabinet, filled the hole with one of the turntables that had recently been taken out of Studio A or Studio B, put in some electronics in the unit, and mounted rubber wheels on the bottom of the unit.  People used The Box, which was kept on the second floor, to listen to records, such as an album that had arrived in the mail for the music director moments earlier.
    And Mike Schuff created and wrote a couple short vignettes about crime-fighter "Hotdog," whose partner was called Wiener.  Mike and I produced those comedy bits using Studio B and Studio C on a number of occasions.  I have copies of those productions on a reel-to-reel tape, and I will have to play the tape sometime, if only to make myself remember if Mike was the voice of Wiener and I was the voice of Hotdog or if Mike was Hotdog and I was Wiener.


    On Friday, November 25, 2005, I received a letter from Gary J. Lockard, who was a member of the station from early 1977 to the spring of 1979.  The letter was an unexpected delight.  Here, I now present most of the letter written by Gary J. Lockard.

    I was surfing the Internet and ran across your history of WAYN Radio.  It brought back a lot of memories as I worked there from the winter of 1977 until I graduated in the spring of 1979.  I don't know if you remember me, but I remember you.  When I first began to work at the station, you were one of the first people I met.  I remember the vast amount of time you devoted to the station.  I also remember when you did the spots for AAA.
    I first worked at the station as a DJ, doing "progressive rock."  I recall that Kevin McLogan was the "Prog Rock" program director.  I continued to work as a DJ and in the spring of 1978 I assumed the duties of Rock program director.  At that time the name changed from "Progressive Rock" to "Alternative Rock."  The station manager would not let us use the term "Punk Rock" or "New Wave."  I guess we were well ahead of the times as the term "Alternative Rock" would not be used by the mainstream radio business for a number of years.  I continued to work at WAYN as a DJ and program director until I graduated in the spring of 1979.
    After graduating, I worked in radio for a few months and then joined the U.S. Air Force.   Now, 25 years later, I am a Colonel and the Director of Public Affairs for a major military base in the Midwest.  As a public affairs officer, I am responsible for all media relations, community relations, and internal infomation programs for the base....
    In my spare time, I am a guitarist-songwriter and recently produced the "Garage-O-Rama" new music festival in Indiana.  I have also been involved in professional wrestling as a manager (under the name Johnny DeVille) and was a charter member of the Landmark Wrestling Federation Hall of Fame.
    The experience I received at WAYN played a major role in my life.  It gave me the chance to improve my broadcasting and people skills as well as improve my overall self-esteem.  Even though I did not keep in touch with the friends I had made at WAYN (Kevin McLogan, Kenny Kal, Dave Menard, E. Dale Lee, Jerry Jankawicz [Jerry Jankiewicz], etc) I have very fond memories.


    This following section contains information from a person who was a member of the station before I became a member.  The member is Horst Mann, who, when he put together this information, was the editor of The Monitor--the publication was a free weekly entertainment-themed newspaper focusing on the Metropolitan-Detroit area and Windsor (which is in Ontario, Canada, and which is across the Detroit River from Detroit (which is in Michigan of the United States of America)), and it was distributed in Wayne County (in which Detroit exists), Oakland County, and Macomb County, which are three counties of the southeastern region of the Lower Peninsula of Michigan.  This information came to me in a letter dated September 28, 2007, and the letter passes along history of WAYN-AM in the late 1960s and early 1970s (only a few paragraphs of the letter are not presented here):

    I joined WAYN (and WSU) in the fall of 1968 and was there when the house at 672 Putnam was first used for the radio station.  Student radio had previously been located on the main floor of the "Mass Communications" building (also called CIT, earlier or later) which was the two-story house on Woodward Ave. next door to the Schools Center Bldg. (Macabbbes).  My only encounter with the Woodward Avenue. studios was when a friend and I visited there just after graduating Denby High School in 1968, as we prepared to enter WSU that fall.  That's when we found out that the Putnam location would be the new home of student radio.
    It was about the same time when WSU switched to the new Centrex telephone system that allocated "outside" numbers to the campus (all those 577 numbers), while also providing for truncated on-campus dialing.  I recall that it was a thorn in the side of the folks at the "real" campus radio station (WDET-FM) that they got some gobledy-gook phone number while WAYN got the more "commercial" number of 577-4200.
    At first, WAYN only occupied the first floor of the house on Putnam, pretty much the way you described it.  But the biggest room (the living room) had not yet been divided to create the news studio and work room.  It housed the record library and was used mostly as a lounge.  The second floor of the house was being used as a studio by the Photographic Department which had offices in the house next door.  We often saw parades of costumed actors tramping up the front stairs as they came to pose for publicity photos for the Hilberry and Bonstelle Theatres.
    We experimented for a short time, using the small "space" at the top of the back stairs on the second floor as a news booth.  The noisy AP teletype machine was in a "sound-proofed" closet on the main floor underneath the front stairs.  The third floor attic was so dirty and unfinished, that we only went up there to "fool around," risking serious injury and lots of dust.  Sometime later, we re-configured the first floor to create the news studio as we had some very serious students who wanted to have a "real" newscasting experience on their way to real jobs in the broadcast industry.
    Anyways, your story brought back a lot of memories and conjured up some names from the past.  Many of the names from the fall of 1971 are familiar to me, although some elude me completely.  While I was at WAYN, the names I remember most were Bob Greenwood (PD when I first arrived), Jon Myers (PD later), Tony Russomannno (now working in TV in California for many years), Rob Wunderlich (Music Director), Paul Francuch, Ed Mutter, Chuck Switzkowski (aka Chuck Richards, who I also went to high school with), Janice Kaye, Steve Lawrence, Lee Schostak, Don Schuster, Gary Bridges, Elliot Shevin, Dick Wallace and Dick Haefner (I think he's the same one), among many others (sadly, it seems like very few women ever spent time at WAYN in those days).  There are some other names just on the tip of my tongue, but I just can't remember them.
    I recall when WWWW Radio [WWWW-FM was a commercial radio station based in Detroit] changed from an automated background music station to 'oldies,' a few WAYN alumni became their air and technical staff, getting them real radio jobs as they left student radio behind.  Of course, many others were already working at various local radio stations in minor roles and many became quite prominent.
    While at WAYN, I did a one-hour air shift for a while (like so many others) at a time when we were programming Drake-style Top-40 music.  The console in studio A had the DJ facing the windows to Studio B, but the layout seemed to change quite often.  Jon Myers, a real wiz and first-rate radio talent, got some jingles from other radio stations and spliced together some audio tape to create a very convincing set of WAY...N jingles that we used for a long time.  I don't recall when the WAY...N came from, but he did a spectacular job of joining them.
    I personally had a brief broadcasting career, working as a board-op helper in 1968 at WBRB (Mt. Clemens [a suburb of Detroit]) and as a TV producer at then WXON-TV Channel 62 (later Channel 20) in 1971-72.
    I went to work at the Downtown (Detroit) Monitor newspaper in 1971 and have been at the Monitor ever since, though I dabbled in radio on several occasions, including briefly for Victor Ives at WTWR-FM in the Renaissance Center in the late 1970s and again at WBRB in the 1980s.
    To help readers who are unfamiliar with the Detroit area and WAYN-AM, I add some information here that will make the previous letter more clear (this information was written on October 18, 2007).  When I was at the radio station from the fall of 1971 to the summer of 1977, the station had three telephone numbers--577-4200 (which used as the general-purpose line), 577-4201, and 577-4202 (which was used as the "request line").  The Hilberry Theatre and the Bonstelle Theatre were stage theatres associated with Wayne State University, and they still are.  Since 1963, The Monitor has been published (currently, it is based in Fraser, which is a suburb of Detroit), and to make money to publish, the publishers sell advertisements, and although the publication can be picked up for free at various places in the Detroit area, a person can subscribe to the publication for a fee; to give you a better idea about what the newspaper is, I report that the edition for October 18, 2007, which had sixteen pages, featured such articles as an article about the "Treats in the Streets" event at the Detroit Historical Museum, a theatre review by Robert Delaney, a theatre review by Daniel Skora, a small article noting "Uncommon Women" begins at the Bonstelle Theatre soon, a music review, an article about the University Players at the University of Windsor (Windsor, which is in Ontario, Canada), a small article entitled "Healing Belly Dance," and a sports article by George Eichorn.  Dick Haefner is the news director at WJR-AM (760), Detroit, and he has worked for the station for many years, and, in the early 1970s , he worked as a broadcaster for the Automobile Club of Michigan (to see a document that presents the history of the broadcast services of AAA Michigan, you can use this link: AAA; the link reaches the first of five parts, and, really, Dick Haefner is listed in part three (AAA Part 3) and part five (AAA Part 5).  The "Drake"-style format, created by a man named Bill Drake, was a type of radio format adopted by CKLW-AM ("The Big 8"), Windsor, Ontario, Canada, in 1967 (to see information about a television program that recounts the history of CKLW-AM, you can use this link: T.H.A.T. # 21).  And when I was at WAYN-AM, the closet under the front steps were used to store toilet paper and soda pop (for the soda-pop machine)--the teletype machine had been moved to the back of the house on the first floor near the news studio and the news director's office before I showed up.  And when I became a member of WAYN-AM, the station had already acquired a true "jingle package," and I never heard the "jingles" put together by Jon Myers.

    On some day in July 2009, I received a letter from Mitchell Kozuchowski (who was in New York City, New York); the letter was dated July 15, 2009, but I was away from home, and I cannot determine when the letter arrived.  The name Mitchell Kozuckowski did not come to my mind when I saw the envelope, and I understood why when I read the letter, since Mitchell Kozuchowski was at WAYN-AM as a regular after I had left the station.  Here is what Mitchell Kozuchowski wrote:

    I enjoyed reading your history of W.A.Y.N.  I remember my time spent there fondly.  I see that you update it from time-to-time on what people went on to do and where they are now.  I was the music director the last year-and-a-half of my stay there 1976-80.  I moved to New York City in 1982 and began working at MTV in the programming department before moving over into production where I became an executive producer working on a wide range of MTV shows like The Video Music Awards, The Movie Awards, and MTV Sports series like Rock N' Jock.  In 1999, I left MTV to go freelance.  I worked for many of the cable channels and networks (ABC, Fox, CBS, ESPN, VH-1, CMT, Vesus, and BBC) on a variety of projects. Thanks for the memories from reading your W.A.Y.N. post.  Be well...


    By the way, since I am a television historian, I will note here that Rock N' Jock is a title that can be called an overall short title for a number of specials that MTV ran from the early 1990s to the early 2000s, and some of the programs of the very early 1990s were Rock 'N' Jock Diamond Derby, Rock N' Jock Slugfest, Rock N' Jock Softball Challenge, and Rock 'N' Jock B-ball Jam, and, in essence, each show had celebrities competing against sports personalities, and, by the way, if you were at the station when I was not and you do write me, please provide recollections about the station, such as about where it was located at the time when you where there, what the station had for studios, where it could be heard on campus, and what was going on at the station.

    On Wednesday, November 6, 2013, I received an email message from Allen Wolf, who had been, basically, involved in doing news and working in the news area of WAYN-AM in the early 1970s.  Allen Wolf reported that he recently saw an obituary for Rob Wunderlich.  I did a little research and found an obituary for Rob Wunderlich in the Daily Tribune (of the Detroit area) for September 5, 2013, and the article noted that Rob Wunderlich died on August 30, 2013 and was a resident of Pleasant Ridge, Michigan, at the time he died.  At the date that Allen Wolf reported the information to me about Rob Wunderlich, Allen Wolf was involved with the Wolf Law Firm, PLCC, in Lake Orion, Michigan.
 

    Note: Since this document was first posted on the Internet on April 10, 2004, it has gone through changes and has been posted in updated versions from time to time, and since April 10, 2004, these individuals have officially reported that they have seen the document (in some version): Chuck Santoni (in April 2004), Ken Kalczynski (June 2004), J. Michael DeAgostino (September 2004), Stephen G. Donovan (October 2004), Gary J. Lockard (November 2005), Jerry Allaer (March 2006), Bob Grant (April 2006), Horst Mann (September 2007), Gary Bridges (November 2008), Mitchell Kozuchowski (July 2009), and Allen Wolf (November 2013).
 

ADDITIONAL MATERIAL

    I was at WAYN-AM from 1971 to 1977, and I report that the heyday for the station was probably between 1965 and 1974.  Before I arrived at the station, staffers had done a number of things that show why the heyday was between about 1965 and 1974.  For instance, on September 30, 1969, staffers of WAYN-AM began to do a WAYN radio program regularly on WDET-FM (the non-commmercial radio station associated with Wayne State University, and the program was called On Campus.  The goal of the program was designed to provide listeners with campus news (things related to Wayne State University) and rock music.  By the way, at the time, the promotions director at WAYN-AM was Janice Kaye.  On June 6, 1970, the station held a first annual broadcasting banquet, which was designed to honor members of the station who had done things at the radio station to make it better, and the event also was set up to honor the station advisor, Edwin Glick, who was a staffer of the university and was leaving.  For the banquet/awards event, the special speaker was Ken Thomas, who at the time was one of the main news anchors at WJBK-TV, Channel 2.  In October 1970, the third annual Pumpkin Carving Contest was held, and any profit-money raised during the event was given to the United Fund.
 


BIBLIOGRAPHY

    This bibliography is not much of a bibliography; that is, I did not gain much information for this document from the articles.  The articles are really a number of articles that I have stored in my files. Most of the articles are from "The South End," which was and is the student-produced newspaper of the university.  "Wayne Report" was a publication of Wayne State University, which it seems was sent out to former members of the university at least, and it was sort of like a glossy newsletter.

Wayne Report, campus article, XXXVII, No. 15, 22 April 1976. P. NA.

"Campus News."  Billboard, 31 March 1971, p. 24.

"860 WAYN PRESENTS THE FIRST ANNUAL WAYNE STATE UNIVERSITY MARATHON, BEGINNING NOON JUNE 14. SIMULCAST ON WMZK-FM 985. MIDNIGHT-6 A.M...." (advertisement). The South End, IX, No. 166, 10 June 1976, p. 7.

"Get Down Disco For WAYN."  The South End, X. No. 110, 23 February 1977, p. 1.

"Jim Nabors to Make Movie; Glenn Ford to Do Special."  Detroit Free Press, 27 May 1970, p. 18.

"WAYN."  The South End, 26 May 1976, p. 5.

"WAYN RADIO presents The first annual Wayne State University Marathon. June 14 through June 28...." (advertisement).  The South End, 8 June 1976, p. 6.

"WAYN Sets a Marathon."  Billboard, 10 June 1972, p. 24.

"Wayne State's WAYN-AM Like a Commercial Station."  Billboard, 23 April 1977, p. NA.

"What's Happening."  Billboard, 22 May 1971, pp. 27 and 33.

Baily, Marie. "Students At WAYN May Face New Department Guidelines." The South End, X, No. 44, 3 November 1976, p. 1.

Bukowicz, Colette.  "Planned 'battle of the bands' could start campus war."  The South End, 17 November 1977. p. NA.

Cezat, Liz.  "Concert promoters squabble over rights to campus." The South End, XI, No. 57, 18 November 1977, p. 1.

De Marco, Tony.  "Students protest change in WSU radio policies." The Detroit News, 11 September 1978, p. 2-B.

Deland, Michelle.  "WAYN Hosts Fund Raising Marathon."  The South End, IX, No. 129, 19 April 1976, p. 8.

Fritz, Mark.  "Hey Gobblers! Turkeys trot tomorrow."  The South End, XI, No. 59, 22 November 1977, p. 1.

Giumbruno, A.G.  "Reporter plays dj, finds radio different." The South End, 16 November 1977, p. 5.

Glassenberg, Bob.  "Campus News."  Billboard, 14 August 1971, p. 20.

Glassenberg, Bob.  "What's Happening."  Billboard, 24 March 1971, p. 30

Glassenberg, Bob.  "What's Happening."  Billboard, 10 April 1971, p. 22.

Glassenberg, Bob.  "What's Happening."  Billboard, 15 May 1971, p. 35.

Glassenberg, Bob.  "What's Happening."  Billboard, 5 June 1971, pp. 27 and 28.

Glassenberg, Bob.  "What's Happening."  Billboard, 19 June 1971, p. 39.

Glassenberg, Bob.  "What's Happening."  Billboard, 16 October 1971, p. 27.

Glassenberg, Bob.  "What's Happening."  Billboard, 23 October 1971, p. 26.

Glassenberg, Bob.  "What's Happening."  Billboard, 13 November 1971, p. 30

Glassenberg, Bob.  "What's Happening."  Billboard, 27 November 1971, p. 18.

Glassenberg, Bob.  "What's Happening."  BillBoard, 4 December 1971, p. 27.

Glassenberg, Bob.  "What's Happening."  Billboard, 22 January 1972, p. 45.

Glassenberg, Bob.  "What's Happening."  Billboard, 5 February  1972, p. 33.

Glassenberg, Bob.  "What's Happening."  Billboard, 12 February 1972, p. 19.

Glassenberg, Bob.  "What's Happening."  Billboard, 19 February 1972, p. 26.

Glassenberg, Bob.  "What's Happening."  Billboard, 10 June 1972, p. 24.

Gormley, Mike.  "Ghettos Gain If the Beatle Tour."  Detroit Free Press, 3 October 1969, p. 46.

Jakub, Gregory, and Philip Sherman.  "Mass Comm. Major Not Required To Work at Student Radio WAYN."  The South End, X, No. 61, 30 November 1976, p. 1.

Manos, Charley.  "A Super Play lottery ticket goes to the dog almost." The Detroit News, 11 June 1976, p. 8-G.

Manos, Charley.  "Wedding ballads for bride and groom strike sad note."  The Detroit News, 25 June 1976, p. 8-G.

Metivier, Signa.  "Rock promoters try campus test concerts." The South End, 16 November 1977, p. NA.

Nirkind, Bob.  "College Radio Reps Come to Wayne."  The South End, 7 March 1972, p. 12.

Pietrzyk, Chris.  "SAC office blocks WAYN campus concert." The South End, XI, No. 61, 28 November 1977, p. 1.

Ritter, Debbie.  "Credit May Be Offered For Students Workings at WAYN."  The South End, X, No. 63, 2 December 1976, p. 1.

Stevenson, Roberta.  "Station Manager, Many Students To Leave WAYN Next Quarter."  The South End, X, No. 59, 24 November 1976, pp. 1 and 3.

Sutherland, Sam.  "Campus News: What's Happening."  Billboard, 11 March 1972, p. 26.

Sutherland, Sam.  "Campus News: What's Happening."  Billboard, 9 March 1974, p. 26.

Sutherland, Sam.  "What's Happening."  Billboard, 23 December 1971, p. 21.

Sutherland, Sam.  "What's Happening."  Billboard, 22 April 1972, p. 34.

Sutherland, Sam.  "What's Happening."  Billboard, 5 May 1973, p. 26.

Sutherland, Sam.  "What's Happening."  Billboard, 12 May 1973, p. 26.

Sutherland, Sam.  "What's Happening."  Billboard, 9 June 1973, p. 26.
 

WAYN RADIO TODAY

    What happened with WAYN-AM from the summer of 1977 to today is mostly unknown to me.  I heard that in the 1980s, the station was moved to a building where the Detroit Police Department recruiting was done, which was along Second Avenue near I-94, but that may be incorrect information.  Certainly, the house at 672 Putnam was vacant by the mid-1980s or it was gone--the building having been torn down to create other big buildings north of what was the Engineering Building, which was right south and across the street from 672 Putnam.  In the fall of 2010 and in the spring of 2011, I looked at the Web site for what is now considered "WAYN Radio" (which was based in Suite 21 of the Student Center Building), and it was then some type of Internet-based radio entity, which had programming available seven days a week.  To me, WAYN-AM and WAYN Radio have no real connection, and it is up to others to write the story about the WAYN Radio that exists today.
 


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