This is the Pittsburgh section of
The Broadcast Archive
Maintained by: Barry Mishkind - The Eclectic Engineer
Last Update 10/20/02
Porky Chedwick was a pioneer DJ in Pittsburgh. The
following was written by Ed Weigle, now at Nick Sommers Productions
CHEDWICK: RADIO’S MOST
entertainer of my era who say they don’t know who Porky Chedwick is— they’re
damn lyin’! That’s the cat that played the records.
-- Bo Diddley
you’re taking me back!”
Chedwick is a legend!”
Thomas, The Drifters
I’ve finally had
enough of so-called music and radio “historians” who believe they’ve told
all the important stories there are to tell. The last straw for me came on
February 4, 2001, when I phoned my dear friend and mentor back home in
Pittsburgh, Porky Chedwick, to wish him a happy 83rd birthday.
He’s been “The Daddio of the Raddio” and “The Founder and Creator
of the Oldies” to all of Pittsburgh for most of his 54 years on radio. For me, he’s been a beloved member of my family, ever since
he kindly offered me guidance as I embarked on my own broadcasting career at age
13. His recommendation of my Steel
City alma mater, Point Park College, years later, even led to my first national
gig, voicing promos for HBO, Cinemax and other television networks.
This great friend, second only to my parents as my primary career
influence, has helped launch a few notable music and broadcasting careers, since
he first manned the “air chair” in 1948.
Still, the millions of people—like you, perhaps-- who may have never
met him or heard his name, are the true beneficiaries of his unique legacy.
Our conversation that wintery day was
uncommonly brief. Porky was bundled
up and scrambling to catch his ride to WLSW-FM, a suburban Pittsburgh station
where he hosted a Sunday oldies show. Later
that evening, he added another record hop to his current total of more than
7,000 he’s hosted since the late 1940s.
While much younger men are retired or passing out lollipops to children
in department stores, “The Platter Pushin’ Pappa” has no intention of ever
stowing away his 45s. “Spinner
Sanctum” will remain open for business in The Oldies Capitol of the World as
long as he has a breath. I’ve
often said that Porky would never consider retirement because he can’t find a
rhyme for it!
“The Bossman,” Porky Chedwick has
remained as familiar as Pirates, Steelers, Penguins, Iron City Beer and Heinz
Ketchup to four generations of Pittsburghers.
For two consecutive years, beginning with his Golden Anniversary in radio
in 1998, our city honored Porky with the annual “Porkstock” summer oldies
festival-- the only such tribute given a disc jockey, living or dead.
It was quite an affair, while it lasted, showcasing day-long concerts by
scores of rock and roll pioneers, including Bo Diddley, Little Richard, Johnnie
& Joe, The Skyliners, The Marcels and many others, whose early careers Porky
helped boost. A local bakery even took to the airwaves to sell “Porky
Pies.” Sadly, the implosion of
Three Rivers Stadium also ended what could have become a great yearly city
tradition. To their credit, WQED-TV’s
T.J. Lubinsky (grandson of the founder of Savoy Records) and concert promoter
Henry DeLuca have featured Porky on their nationally popular PBS R&B/doo wop
television specials, taped at The Benedum Center.
Craig “Porky” Chedwick,
from Homestead, Pennsylvania, blazed a dual trail on the east coast, by
establishing a foundation for what another caucasian and fellow Pennsylvanian,
Alan Freed, called “rock and roll” some four years later.
Simultaneously, by airing all “dusty discs,” Porky also pioneered
oldies radio and the associated billion-dollar industry, which keeps record
labels like Rhino (headed by Pittsburgher Richard Foos) thriving today. Porky’s extreme importance to the history of radio-- and to
music as we know it-- is undeniable, given the voluminous documentation that
exists and countless fans who witnessed his milestones personally.
Still, for reasons unknown, the history books have completely overlooked
him. Even the fact that Porky was
recognized for his accomplishments by Congressman Ron Klink on the floor of
the US Congress on October 5, 1998 hasn’t enticed scholars to look more
closely at this man we call “The Founder and Creator of the Oldies.”
Our friend, the late composer and Skyliners vocal group founder/manager,
Joe Rock, observed to me once, “Alexander Graham Bell did invent the
telephone, but he never owned a piece of AT&T. It’s the same with Porky
Porky Chedwick was anything but a shrewd businessman, who sought to
become fabulously wealthy at the expense of the artists whose music he played.
He remains a simple man, who merely looked to our industry to make an
honest living, doing something he enjoyed. Although he was the first to perpetuate this music, Porky’s
lack of business savvy and reputation for being too kind, virtually
assured that he’d never be able to fully capitalize on that fact.
Money has never mattered much to Porky-- I’ve seen him giving a
homeless man his last bus fare and then walking home, miles away.
I believe he would simply like to finally be given his due credit, among
all the other DJ luminaries who, in fact, came after him.
By ignoring the very important part Porky played in both the radio and
music industries, no account of the roots of rock and roll can be complete.
Hopefully, this article will help to correct this inexcusable historical
oversight, before still another birthday goes by for him.
Visitors to Cleveland’s Rock and Roll Hall of
Fame can find Porky Chedwick among other radio icons—the only Pittsburgher so
honored-- whose airchecks (on-air recordings) and biographies have been
preserved for posterity. No known
early transcriptions of his radio shows exist, so his “aircheck” is actually
a 1993 re-creation done for the “Cruisin’” record series.
The recording features a portion of his most famous theme, “Bongo
Blues,” by The Dee Williams Sextette and vintage jingles by The Platters and
The Skyliners. Also included is his
early-‘60s theme, “Here Comes Bossman Porky,” by an un-credited Ruby &
The Romantics, rescued and re-mastered by me from the original studio acetate
Porky used to carry to sock hops in a giant satchel of sleeveless 45s (I’ve
recently learned that a former radio station owner, with whom Porky had dealings
in the ‘80s, refused to give this and other original jingles back to him..
I’d like to see Kurt Angle unleashed on him some night on WWE Smackdown!).
Unfortunately, the biography in the exhibit fails to tell how, days after
his radio debut on August 1, 1948, Porky pioneered the oldies radio format and
became the first white disc jockey on the east coast to present a program of
exclusively black R&B, gospel and jazz.
Unlike most white R&B disc jockeys who followed his lead in the
overnights, Porky’s broadcasts were in broad daylight (For the record, Los
Angeles DJ, Hunter Hancock, now in his late 80s, preceded Porky by less than a
year as the first white disc jockey to play all contemporary R&B.
Porky and Hunter are both the first and the last surviving DJ pioneers of
their respective coasts).
Fifty-four years ago, Munhall High School
graduate Craig Chedwick-- known as ‘Porky’ for amusing, if not enviable
reasons-- was already a well-known public address announcer at local athletic
events and a sports “stringer” for the Homestead newspaper.
One day he read that a small daytime-only radio station, soon to debut in
the suburb, was looking for announcers. WHOD
AM 860 would provide ethnic and foreign language programming for Pittsburgh’s
vast immigrant blue-collar. Porky’s
local popularity was well known to the station owners and he was instantly
granted a five-minute Saturday afternoon sports commentary program.
Days later, the show, sponsored by Toohey Motors auto dealership, was
expanded to include music from Porky’s own collection of 78s.
The tunes Porky featured were so well received, the sports portion was
dropped and his “Masterful Rhythm, Blues and Jazz Show” became a half-hour
program. Station management had no
idea that the records Porky played were at least several years old. As more sponsors signed on, the show was expanded to
five hours, seven days a week and finally occupied the noon-to-five weekday slot
as “The Porky Chedwick Show.” During
the summer months, when FCC regulations allowed WHOD to broadcast as late as
8:45 PM, Porky was allowed to fill the hours the station couldn’t sell.
With only 250 watts of power, the signal was more than sufficient to
garner Porky a large following-- so much so that his show eventually became a
thorn in the side of 50,000-watt monster KDKA and even competed for listeners
with Pirates baseball broadcasts! “The
Porky Chedwick Show” remains a fixture on WAMO AM 860 today, every Saturday
afternoon, where it first originated.
The records Porky aired on WHOD were ones
he had collected over the years and had been playing at social gatherings around
Pittsburgh’s racially integrated suburbs, using a single turntable and a
borrowed guitar amp. In Porky’s
own impoverished steel-working neighborhood-- described by him as being like a
“secluded island” of about 60 homes “with yards infested with children in
torn clothes”-- a white man playing Negro music was nothing extraordinary. Poverty, he told me, had a way of uniting his entire
community into one extended family, where skin color was inconsequential.
As the second of ten children, Porky’s parents relied on him to keep
his younger siblings entertained and out of trouble.
One of his many nicknames, “The Pied Piper of Platter,” may have been
inspired by his taking all local kids under his wing and offering them refuge
through his music. “I was mainly
looking for the gospel sound and down-home rhythm and blues,” remembers Porky,
“The songs which spoke of the problems of poor people.
That was my music.” In
the ‘30s and ‘40s, “race” or “sepia” records were banished to a
record store’s back shelves or bargain bins, since few were sold.
Many, from Sunny Mann’s Record Store in Homestead, were simply given to
Porky. “I used to have to blow
the dust off them before I could play them, “ remembers Porky,
“(Later), on the air I called them ‘dusty discs’ and the Porky
Chedwick sound was born!”
Porky’s “sound” established the
immense R&B-based repertoire of uniquely Pittsburgh
oldies, most of which never felt the regular kiss of a turntable stylus anywhere
else on the planet. Scores of these
records may have remained in obscurity, had he not featured them prominently,
because they were released only on fragile micarta 78 r.p.m. discs.
By the time radio began to embrace black records, 78s were being phased
out in favor of much more durable 45s. Porky’s
practice of playing old records became a novelty, picked up by disc jockeys
across America. Radio stations like
New York’s WCBS-FM and K-Earth in Los Angeles would maintain oldies formats
for decades. Record labels emerged,
dedicated to meeting the increasing demand for rock and roll nostalgia. When promoter Richard Nader conceived his first major “rock
and roll revival” concerts—essentially the catalyst for the ‘50s music
revival of the 1970s—he cited his influence as none other than his hometown
hero, Porky Chedwick.
By 1949, record promoters with long-overlooked black independent labels
had learned of Porky’s groundbreaking efforts with oldies on WHOD, so they
inundated him with contemporary R&B. He
happily accepted new material and helped launch many recording careers. Still, oldies would
always dominate his playlist. Nothing
could ever make Porky play a record that he didn’t believe his “movers and
groovers” would “dig.” He
never took a dime for playing a record, insisting that music belonged to everyone--
a fact that satisfied payola investigators, when they came knocking on his door
in 1960. From the WHOD studios,
situated in the back of a candy store on the bank of the Ohio River, the sounds
of Roy Brown, Wynonie Harris, The Dominoes, Hank Ballard and The Midnighters and
The Drifters— and their often provocative lyrics— first reached young,
caucasian ears in a major east coast market.
Joe Rock, a one-time A&R man himself, recalled, “Porky could get
away with playing records that would come closer to causing hell with the FCC
than anyone.” Often, Porky would
astound visiting record label reps by taking a 45 out of their hand and
“banging” the B-side, instead of the “plug” side. Porky knew what his dedicated legions wanted and was
responsible for putting Pittsburgh on the cutting edge of music in the 1960s,
making it a major testing ground for R&B through the ‘70s. He revealed his reason for the music’s popularity to
Billboard Magazine in 1966: “It’s
a good interpretation of basic emotions. I’ve
got kids brainwashed. They like the groove stuff.”
“The Station of Nations,” WHOD, abandoned
their ethnic manifest in1956, when they became the property of Dynamic
Broadcasting. The new owners
re-christened the station WAMO, an acronym for the rivers Allegheny, Monongehela
and Ohio. WAMO’s format became
country and western, with “The Porky Chedwick Show” the only exception to
the twang! By then, rock and roll
had begun to capture a national audience and record companies— not just black
interests— were beating a path to Porky’s studio door.
Col. Tom Parker, Elvis Presley’s manager, was one such caller, but
Porky felt Elvis was (ironically) “too country.”
For years, the only “Hound Dog” heard on his show was the 1953
original, by “Big Mama” Willie Mae Thornton (It’s amusing to note that at
the first “Porkstock” in 1998, Rock and Roll Hall of Fame officials
presented Porky with a large framed momento, heralding the museum’s new
“Elvis Is In the Building” exhibit! When
Porky returned from the stage after accepting the award, he looked a bit
puzzled. I said to him, “So what
the hell else could they give you? A
tie?” The folks from
Cleveland obviously didn’t realize the irony of their kind gesture).
In 1958, WAMO underwent its most revolutionary change, when it switched
from “hillbilly” to an all-R&B format, with an all-black air staff.
All except for Porky, that is.
Although Porky’s show was decidedly black
(in fact, most people thought he was black), he would occasionally
feature white acts. Most were local
and sounded anything but white. One
such artist was the late singer/songwriter, Johnny Jack (Greco), whose parents
were Sicilian. His first national
release at age 19 in 1959 was “Smack Madame,” inspired by Porky’s rhyming
on-air patter. “We took the
record to Clark Race at KDKA and he refused to play it,” recalled John, “He
said the lyric ‘smack madame mammy jammy get it all’ was filthy. But the real reason he wouldn’t play it was printed
right on the label-- ‘As originated on The Porky Chedwick Show!’
Even the big stations were afraid of Porky!”
Porky was one of the first DJs to openly and
vigorously promote a Christian lifestyle, free of alcohol, drugs and tobacco (By
his own admission, Porky’s only vice was girls, although I’ve known him long
enough to confidently add coconut crème pie!). Ironically, while Porky was
being lambasted by the vanilla establishment for corrupting (white) youngsters
with his “evil music,” his private crusade against juvenile
delinquency—which included having young boys from juvenile court placed in his
custody—was earning the accolades of Sen. Estes Kefauver, then the voice of
American Morality. Porky
established youth baseball leagues, outfitting his teams and supplying them with
baseballs sent to him by his brother in the Army.
The kids loved Porky, in spite of what their parents thought.
Joe Rock remembered, “When I’d listen to Porky on the radio, my
father used to say, ‘Turn that damn thing off!’
Of course, my father and he became friends years later, because by then,
the music Porky played represented the good old days.”
Porky’s youthful audience responded to their “Pied Piper
of Platter” with such fierce loyalty, one can only look back in wonder.
The fact that he didn’t even have 1,000 watts behind his signal until
1960 makes it all the more extraordinary. “Porky’s
Pulling Power,” as WAMO sales literature of the time called it, was so
monumental that when Porky would open the microphone and shout over the record,
“Blow your horn!” during a wailing sax solo, the entire city would respond
with a cacophony of car horn blasts! Once,
while excitedly “breaking” a new song, he proclaimed, “This is on fire!”
Within minutes, sirens blaring, the Homestead fire brigade stormed the
studio, responding to hundreds of phone calls from listeners insisting the
station was burning down! The
police weren’t amused, either, the time Porky suggested his audience stop
whatever they were doing and start dancing.
The resulting traffic tie-ups from teens getting out of their cars to
dance in tunnels and on parkways created gridlock for miles. At a remote broadcast he did under the marquee of the Stanley
Theater downtown Pittsburgh in 1961, more than 10,000 kids crowded the streets.
Police estimated that there were another 50,000 in transit, causing such
a traffic jam that Mayor Joseph M. Barr personally came down to request an end
to the broadcast. “Kids were
packed so tightly, you could literally stand on the shoulders of the people and
walk for blocks,” remembers Porky.
Porky’s rock and roll shows were late on the
timeline, considering much earlier ones presented by other DJs, like Alan Freed.
Still, they were no less grand. “The
Porky Chedwick Groove Spectacular” on May 11, 1962, at the newly-built
Pittsburgh Civic Arena, is still perhaps the largest multi-bill rock and roll
concert the city has ever seen. Variety
reported the show grossed more than $35,000-- an amazing sum for its time.
More than 13,000 kids packed the arena, while some of the more than 3,000
outside, who had to be turned away, vented their anger by lobbing rocks and
bottles at the arena dome. Jackie
Wilson headlined the day-long affair, with
21 other acts, including Bo Diddley, The Flamingos, The Marvellettes, The
Five Satins, Jerry Butler, Ketty Lester, Johnny Jack, The Skyliners, Patti
LaBelle and the BlueBelles, The Castells, Bobby Vinton, The Drifters, The
Debonaires (a local group, whose record, “The Holly Lind,” paid tribute to
the street where Porky lived), Gene Pitney and The Coasters— all
for a ticket price of $1 to $4! A
few of the artists did the show for free, as a way of thanking Porky for his
support. Porky’s generosity with
free promotion made local artists just as popular with teenagers as the national
acts. Johnny Jack remembered how
Porky rushed backstage at that show to tell him that there was a young man
outside the arena who was claiming to be Johnny
Jack. John didn’t care, but
his Sicilian mother, Angeline, insisted on going out to see the imposter, who
apparently could have been John’s twin. “There
he was, signing my autograph!” said John. “My mother walked up to him and said, ‘You Johnny Jeck?’
He gave her a big smile and said, Why, yes!’
She shook his hand and said, ‘I’m-a please-a to meet you— I’m-a
(John was a great friend of ours, who went on to pen and record many
local hits, including “Comes Love,” for The Skyliners— on which he also
sang baritone— and “Born Poor,” the B-side of “The Rapper,” a Top 5
national hit for The Jaggerz in 1970.
His 1962 cover of “Need You” remains a top Pittsburgh favorite.
Lou Christie gives both John and Porky credit for helping to launch his
career. Sadly, we lost John to
cancer seven years ago).
In 1964, WAMO left behind the drab yellow-brick
building at the end of the Homestead High Level Bridge for a more prestigious
address—and another drab yellow building-- at 1811 Boulevard of the Allies,
downtown Pittsburgh. A year later,
when Porky was named “Pittsburgh’s Favorite DJ” by Esquire Magazine,
station promotional flyers were already calling Porky “a legend in his own
time.” He remained the top
advertising draw at WAMO through the end of the decade. Record stores had
trouble keeping in stock the many oldies compilation albums to which Porky had
lent his name and picture. Unfortunately,
his lack of business acumen kept him continually at the mercy of charlatans who
absconded with most of the profits. Porky
told me once, “I made a million dollars, but I never saw it. I don’t think God wants me to have money because he knows I
can’t handle it.” He never
enjoyed the comforts of a six-digit salary, like his more famous contemporaries,
nor did he even make union scale for most of his career.
In the early ‘90s, Porky declared personal bankruptcy.
He continues to live, basically, from sock hop to sock hop.
Porky’s private life could itself have been
culled from a blues lyric. Although
he raised two sons, Paul and Michael, to successful adulthood, the cards seemed
stacked against him where family was concerned.
He experienced the grief of losing two sisters as a youth, two infant
daughters of his own and a 16-year-old son who bore his name. An accidental
misfire of a neighbor’s slingshot when he was just eight eventually cost him
his right eye. As time went by, his
trademark golden eyeglasses functioned mostly to protect his usable eye.
Still, he maintained a feverish nightclub appearance schedule, once
allegedly hosting a string of 110 consecutive nightly sock hops in the
Porky’s presence on Pittsburgh radio remained
constant for most of his first 40 years. In1972,
he even hosted a pre-recorded overnight weekend show on legendary 1410 KQV.
In spite of many offers to move elsewhere for more money, Porky could
never leave the people and the city he loved.
He only left Pittsburgh once—for one week, in the early 80’s.
As it happened, a Denver DJ mentioned “The Daddio of the Raddio” and
was surprised to find a multitude of transplanted Pittsburghers living there. While Joe Rock filled in at WAMO, the Denver station flew
Porky out to do an airshift and one of his famous record hops.
Soon, changing times would cause a rift between Porky and the radio
station he essentially put on the map.
By the dark days of the mid-1980s, when the “Less Talk, More Music and
NO Personality” doctrine pervaded radio, Porky was viewed as somewhat an
anachronism. Most of the “boss
jocks” of the bygone era had become frustrated with super-programmed radio and
retired shortly after music deserted the AM band.
Oldies that weren’t in the national mainstream were discouraged by
WAMO’s new program director. Unfortunately,
those non-traditional oldies made Porky’s show what it was!
When he was forced to begin playing vanilla, stock-pop pap that he
wouldn’t have touched in his prime, his friends all knew that a break from
WAMO was eminent. His failing
eyesight was also making it increasingly difficult for him to cue records and
he’s sometimes start a record mid-song (The number of songs in his repertoire
would have made recording his records on broadcast tape cartridges far too
expensive and time consuming). Porky
held out until 1984, when the station honored him for his years of
service—then promptly sacked him! He
returned to the air about a year later, following a phone call I made to an
enthusiastic John James, the general manager of WEDO in McKeesport.
For the next several years, “Pork the Tork” had an afternoon show and
a producer to cue the records, which Porky alone selected.
WAMO would not ask him back until 1992.
During this temporary decline, I was
Porky’s self-appointed chauffeur. A
near-miss with a city bus as he crossed a street one afternoon to shake
someone’s hand almost cost him his life.
We established our own “rat pack” social group, with Johnny Jack,
Fred Johnson—the inimitable bassman of The Marcels—and Prof. Joan Williams
of Point Park College’s journalism department.
Each Wednesday we’d meet downtown at Kason’s or Costanzo’s supper
club. Several successful ideas were
conceived at these meetings, including a cable TV mini-series I hosted with
Porky and Fred, directed by Joan. One
day, two of Porky’s admirers, Jim Sanders and Skip Smith (cousin of Skyliner
Jack Taylor), joined us at Kason’s to discuss starting an oldies club, which
would stage concerts by early doo wop artists.
Today, The Pittsburgh Oldies Record Collectors Club-- whose acronym,
P.O.R.C.C., was no accident-- is famous for doing just that.
In 1989, we finally convinced Freddie to re-unite with his cousins,
“Nini” Harp and “Bingo” Mundy, to perform and record together for the
first time in nearly 30 years. The
resulting a capella tracks recorded in my basement studio led to “Starlight
Serenade, Vol. 4” on Starlight Discs, which Porky broke in Pittsburgh and Don
K. Reed featured on WCBS-FM’s “Doo Wop Shop” in New York.
As a teenage radio personality and a rock and roll history buff, I was
perhaps never so much in my element as I was with these great friends.
On Porky’s birthday in1989, he debuted as
host of a short-lived radio program, which was syndicated to several stations
around the tri-state area from 1080 WEEP in Pittsburgh.
It was called “Porkytown”-- a trainwreck of ‘50s doo wop and ‘80s
pop, back to back. I think Porky
even did the show for free. Fortunately
for his ever-floundering finances, Porky’s personal appearance dates kept
coming fast and furious. We even
worked together as club DJs for the first time at The Linden Grove, a newly
refurbished historical landmark where Porky originally appeared in the 1950s.
The throngs of Porky’s fans who packed the giant dance hall caused fits
each week for the Castle Shannon fire marshal.
Two hours before he would take the DJ booth on Thursday nights, the
parking lots—both the size of a football field—were already packed!
It has been suggested that Porky’s excellent
physical condition (excluding his eyesight and diminished hearing) today may be
partly due to the many times he had to regularly resort to walking to his record
hop engagements. Many nights he’s
walk for miles, lugging a heavy satchel of records, when he couldn’t secure
motor transportation. His physical
fitness most certainly played a part in his swift recovery from brain surgery in
1990. When he was diagnosed with a
large, benign tumor, it sent a shock throughout Pittsburgh and a national
community of pioneer artists who still feel in his debt.
Friends including Little Anthony, Hank Ballard, Lou Christie, Wolfman
Jack, Johnnie and Joe, Bobby Comstock, The Marcels, The Vogues and Bo Diddley
organized a benefit concert to help shoulder his huge medical bill.
His recovery actually rivaled the Gulf War as a point of interest (beyond
classic rock) on my WRRK Pittsburgh radio program, with listeners calling daily
for a progress report. Porky
received more than 5,000 get-well cards while in the hospital-- some just
addressed to “The Bossman,” care of West Penn Hospital.
His wife of just several months, Jeannie, was a godsend to him. She quickly became very unpopular with many of the
opportunists, who preyed on Porky’s kindness.
She continues to manage his business affairs admirably and I believe is
entirely responsible for him doing as well as he is.
When Porky called me in1996 to tell me about his
inclusion in the Cleveland disc jockey exhibit, Fred Johnson and I had the first
and only gold record created for our friend.
The inscription says it all:
“To the Founder and Creator of the Oldies:
You’ll live forever in the hearts of every artist whose name and music
you brought before the public; every person who tunes to a radio station
dedicated to the “Dusty Disc” and every aspiring broadcaster to whom you
offered friendship, advice and inspiration.
Congratulations on your recognition in the Rock and Roll Hall of Fame.”
I’m hopeful that someone—perhaps an historian
or a screenwriter—may soon take a closer look at this under-appreciated
broadcaster. Far too few people
understand what Porky Chedwick’s trailblazing achievements helped make
possible. Whether you know him or
not, it simply is not right that a man who truly was one of the earliest
pioneers of the rock and roll era will be the last to be given credit, when--
if-- that definitive history of rock and roll is finally written.
2002, WeigleVOX Productions International.
This article may not be reprinted in part or as a whole without written
permission of the author.)
has been a voiceover artist since 1980. A radio veteran now based at Nick
Sommers Productions in Engelwood, FL, Ed remembers the ":good old
days" and hopes this biography of Porky Chedwick will help preserver a
different era of broadcasting, when radio was still an honored tradition, not
just a pastime for accountants.
him at email@example.com or firstname.lastname@example.org