A couple of posts I wrote a few years back about Humble Harve Miller, the Los Angeles disc jockey most famous (sadly enough) for murdering his wife in 1971 are among the most popular posts in the history of this website. Harve passed away this week at the age of 85. For the outlines of his career, I encourage you to read the obituary at that link. What follows is a reboot of the material I wrote way back when, consolidating and correcting as needed. 

(Late addition: Miller’s Los Angeles Times obituary is here.)

Humble Harve Miller was one of the Boss Radio jocks at KHJ in Los Angeles starting in 1967, but his tenure there ended in 1971, when he was 36 years old. On May 7 of that year, he shot and killed his wife, who had been taunting him about her infidelities. I have heard a couple of stories about how it went down. One says she pulled a gun on him, he tried to take it from her, and she was hit. According to this story, Harve panicked and ran to Mexico. After nearly two weeks, and following negotiations with authorities through an attorney, he surrendered voluntarily. (There is a story that he holed up in Phil Spector’s mansion. I don’t believe this is true, although Spector was a friend, and he testified to Harve’s character at sentencing.)

Harve pleaded guilty (although he later fired his lawyer and attempted to change the plea), got five-to-life for second-degree murder, and went to prison in August 1971. In December, Billboard reported that Miller was going to program a new radio station set up at the Chino Institute for Men, where he was incarcerated. Radio stations and record labels would donate equipment and records. (Miller was supposedly furloughed from prison to make a trip to San Diego, driving his own car, to pick up donated records from radio station KGB.) The Columbia School of Broadcasting of Los Angeles planned to offer classes for inmates, although Billboard snarked that “Harve doesn’t need any lessons, of course.” In January 1972, a one-line item in Billboard reported, “Chino Men’s Prison has been hearing some good rock since disk jockey Humble Harve began serving his term.”

It’s unclear to me just how long Miller was in prison. One blogger mentions that he “received a 14-month sentence,” which I believe is a reference to how long he actually served. If that’s the case, he would have been out in October 1972, almost certainly benefiting from credits for good behavior. According to an acquaintance of Harve’s with whom I exchanged some e-mail, prison changed him a great deal. He apparently got religion and came out a far different man than when he went in. The parole board considered what he’d done a crime of passion that did not make him a danger to the general public, and given that prison seemed to have rehabilitated him, he was set free.

A May 1974 edition of Billboard noted Miller’s return to the Los Angeles airwaves on KKDJ. In July 1974, he sat in for Casey Kasem on American Top 40. When KKDJ was purchased by new owners in 1975, he was installed on an evening shift, the same daypart he worked on KHJ in the 60s. He produced and hosted The National Album Countdown for a few years beginning in 1976. He worked for practically every station in Los Angeles over the years, and also in Philadelphia and Seattle, in addition to doing some satellite radio in the early years of the new millennium.

And this week Humble Harve Miller’s story ended.

If we’re lucky, you and I are not going to find our whole lives characterized by the single worst moments we ever had. Humble Harve Miller was not so fortunate. It seems clear, however, that he was far more than just the DJ who murdered his wife. Harve had lots of friends in the radio industry. They did not abandon him when he went to jail, or afterward. 

Thirty-five years ago, as spring turned into summer, I was in the middle of a weird little interlude in my radio career.

In mid-March 1984, I got fired after six months at a little stand-alone FM station in Illinois. So I filed for unemployment, then I started applying for radio jobs. At the time, the unemployment rules required job seekers to make contacts in person, two a week, to keep getting a check. Because of the nature of my career, I was given permission to make my contacts by mail and phone. The Mrs. and I were prepared to go anywhere, and I applied at stations as far away as Alabama and North Carolina, and to any place that was advertising a job that looked halfway plausible.

The first call I made, however, was to the radio station across town, which is what jocks have done since God was a boy. If Station A lets you go, you see if Station B has anything for you so it’s not necessary to move. And this AM/FM combo did—a part-time, night-and-weekend, automation-tending job. It wasn’t what I wanted, but it would help keep the wolf from the door until I found something else. They wanted me to start on the night of April 9—which was our first wedding anniversary. Rather than biting the bullet and showing up, I asked if I could start the next night, and explained the reason why. The station’s general manager chuckled softly and said, “Of course,” and my radio career continued, one day later than it would have otherwise.

It wasn’t long before the night-and-weekend job turned into a split shift, weekdays from 11AM til 1PM and 7:00 til midnight and 4:00 til midnight on Saturdays. I don’t think I was ever officially declared a full-timer during this period, although I was working 40 hours plus. I do remember that I was glad to have the work, even at the minimum wage of $3.35 an hour.

The AM station was a daytimer that signed off at 4:30 in the afternoon even in the summer, when it could have stayed on longer. It ran a lot of local news and farm programming and played country music the rest of the time. I pushed buttons for the noon news block on the AM, which was entirely pre-recorded. Part of my job was to run the news carts down the hall after I was done with them and stick them into the FM automation system.

(Digression: Nobody in the news department ever went on the air live on either station. The news staff would show up at 2:30AM to record the FM morning news block, then sit drinking coffee from 5:30 until 8 while the tapes played. Late in the summer, after the new owner took over and decreed an end to this practice, one of the reporters quit rather than face a live microphone.)

On the FM night shift, I was there to operate the transmitter, mostly. I also had to record and play back the network news once per hour. The only time my voice was heard was on the weather forecast, and on a short sports report that ran in the late news block. I also had to tend the automation that ran the station’s very soft adult-contemporary format, which pretty much avoided anything with a beat or too much electric guitar. Given the generally old-fashioned and conservative outlook of the people who owned and ran the station, it was probably hipper than they wanted to be, but the best they could get from a syndicator if they didn’t want straight-up elevator music. (The one song that always makes me think of it is Peabo Bryson’s “If Ever You’re in My Arms Again.”)

Come the summer, with the new ownership, I got off the bottom of the food chain. I became an official full-timer and was elevated to program director, at the princely annual salary of $13,200. The split shift was over. It had lasted two months at the outside and possibly less than that. It’s been so long I can’t remember.

I was not happy to have been fired from radio jobs twice in six months, and to have to settle for whatever unglamorous thing I could get (even though what I got would get better). But I don’t recall becoming disillusioned with radio. A young jock at the bottom of the food chain, in love with the profession he’s chosen, is willing to eat whatever he has to eat for a while, in hopes of getting a better meal someday.

I spent most of a month earlier this spring on the road: 24 nights away from home, 3300 miles on my car, and many hours spent listening to my car stereo. Not much of it spent listening to my car radio, however.

Part of the problem is technical. I am an AM-first listener, and I suspect that the AM radio in the new stereo I put in my car just isn’t very good. I noticed a similar phenomenon in my 2018 model rental car last fall. AM isn’t much of a priority for anybody, so why should the makers of automotive sound equipment invest much in it? Also, the AM band is a lot noisier than it used to be, with more devices generating random electrical noise—compact fluorescent and LED lights, wi-fi routers, and even our cars themselves. (The FCC is considering whether to allow AM stations to transmit in an all-digital format, which would make the band less noisy—but would also require stations to buy new transmitter equipment and people to buy new radios.) The FCC polices AM less than it used to, partly because practically nobody is there to complain if a station is running an AM signal at the wrong power, or one that interferes with other stations. And AM stations are simply going dark, too—surrendering the license and/or selling the transmitter site to a developer rather than keep losing money broadcasting.

So between my radio and the state of the band, unless I was practically in the shadow of a tower, I got noisy signals, weak signals, and along vast stretches of highway, no signals at all.

And when it did pick them up, there wasn’t much to enjoy. Programming once easily found on 50,000-watt clear channels and 5,000-watt regional stations has migrated to FM stations—in some cases, to low-powered ones that cover the city of license only. What’s left on the AM band isn’t much: mostly religion and non-English-language programming. The latter is a victory for cultural diversity and community service, even if I don’t understand the language and it replaces programming I used to enjoy. Because the former is frequently listener- or foundation-supported and doesn’t have to appeal to advertisers, or to more than a handful of listeners, it can be laughably bad, although some people like it.

On Facebook groups, Reddit threads, or message boards devoted to AM radio, you will meet guys who think that AM radio would come back and be just as important and popular as it was from the 30s through the 80s if ownership groups and listeners would only love it enough. (Strictly speaking, they’re right, if delusional about its likelihood.) You will also meet the AM-is-already-dead group, whose members believe the true believers are humping a corpse, and who mock even the slightest suggestion that AM could possibly have any value to anyone.

In some places, AM remains viable. A number of AMs around the country remain profitable and serve a sizeable audience with quality programming—although many are long-established legacy stations in major markets, and most have FM translators themselves. There’s also a number of AM stations serving communities that major broadcasting chains don’t care about. But the days of AM being a mass-appeal medium everyone listens to are long gone, for technical, financial, and cultural reasons.

The latter is critical: unless a person already listens to AM, grew up with it, or has some sort of religious or ethnic reason to seek it out, AM doesn’t register with most people. And it doesn’t have to. Most people can get the entertainment or information they want somewhere other than AM: on FM, a station stream, a smartphone app, and so on. The true-believer prescription for broadcast AM—“put on unique formats people can’t find anywhere else and they will come!”—ignores the fact that it’s easier and likely more profitable, if profit can be made, to do that unique format on an FM signal or an Internet stream. Conversion to digital AM seems like throwing money at a problem without solving it, and it will disenfranchise a lot of the dwindling numbers of people who currently depend on AM.

One variation on the digital AM plan suggests stations convert to digital as they please, and between competing formats, “the marketplace will decide” whether digital AM succeeds. But that presumes the marketplace—forced to their choice by the factors I mention here—hasn’t already decided the fate of AM.

But that’s just my opinion. I could be entirely wrong. Your opinion is welcome in the comments.

(Pictured: two Dubuque, Iowa, landmarks: the Washington Square Park gazebo and the Town Clock.)

During the first week of April 1979, the #1 country song was “I Just Fall in Love Again” by Anne Murray. Barbara Mandrell was in the Top 10 with a cover of the deep-soul hit “If Loving You Is Wrong (I Don’t Want to Be Right).” On the Hot 100, the Top Five were the Bee Gees’ “Tragedy,” “I Will Survive,” “What a Fool Believes,” Donna Summer’s “Heaven Knows” and “Shake Your Groove Thing.” Billboard‘s Top LPs and Tape chart was led by the Bee Gees’ Spirits Having Flown, the Doobies’ Minute by Minute, Dire Straits, Love Tracks by Gloria Gaynor, and Rod Stewart’s Blondes Have More Fun. In that same week, I got my first paying radio job, at KDTH and D93 in Dubuque.

It took a fair amount of stones to apply for a paying part-time radio job within a month of doing my first-ever shift on the college station. A couple of people I knew from school were already working at KDTH, and I must have figured why not me? I sent applications to both KDTH and WDBQ, and KDTH bit first. (When the guy from WDBQ called, I said I’d be willing to work for them, too, but “It’s either one or the other, son.”)

At the interview, I sold my thin credentials and glittering promise. They were enough to get me on Sundays from noon til 6. The shift involved board-opping the noon news and running a public-affairs program until about 12:30, then me playing DJ before the syndicated Sunday at the Memories, a nostalgia show that ran from 1:00 to 5:00. After that it was more news and public affairs, and then another half-hour of tunes and topics starring me. I also had to see to the automation system that ran the FM station, D93—change song reels when they ran out, pre-record the weather (which ran an incredible three times an hour in those days), and take transmitter readings for both stations.

I did nothing but Sunday afternoons for a while, although eventually I board-opped Iowa football on Saturday afternoons, played music on Saturday and Sunday nights, and even did the occasional weekend morning. The latter shifts came with their own challenges—Saturday mornings were very much like weekday mornings, with lots of stuff to fit in on a tight schedule, and I got very little training for it, which is to say none. Sunday mornings included a 30-minute buy-and-sell show (“no mattresses, guns, automobiles, or real estate”) that required me to take calls from listeners, usually the same people trying to get rid of the same crap week after week. One Sunday, it was my bad luck that all of the music reels on the D93 automation ran out during the show, and I was trapped on the air in the other studio with no way to get over there to fix it. The automation had a dot-matrix printer that recorded what actually ran, so that it could be verified against the scheduled program log. After I managed to get the music reloaded, it printed error messages for half-an-hour.

I don’t remember much about the program director who hired me, except that he was pretty much all business, he airchecked me on my very first day, and he left shortly after I got hired. He was replaced by a more affable guy who would remain the program director almost to the end of my tenure. I learned a lot from him, but he must have had a saint’s patience too, because I was really, really green, and I didn’t know what I didn’t know, while at the same time thinking I knew a lot more than I did. When I had the chance to work a fulltime gig at another station during the summer of 1980, he was kind enough to let me go and take me back in the fall; when I was looking for a fulltime job at the end of college in 1982, he thought enough of me to jigger the schedule and bring me aboard to do afternoons.

Forty years later, KDTH is still in my head as what a radio station ought to be—a well-equipped, well-run operation with a strong commitment to full service, deeply entwined with the community. Today, I stand on the shoulders of some of the broadcasters I met there. I was lucky to start my career in a place such as that.

(Pictured: Wolfman Jack, who could put more of himself into 10 seconds on the radio than practically anybody.)

Tuesday’s post, about oldies radio in general and WDGY in the Twin Cities in particular, seems to have struck a chord amongst the readership, and I’ve been thinking about some other stuff in response to the response.

WDGY’s competitor for the Twin Cities oldies audience is Kool 108, which is part of the iHeart empire. Our friend Yah Shure (who worked at the original WDGY back in the day) points out that “Without [60s music], there’d be nothing to differentiate WeeGee from its far more powerful FM competitor.” That Kool 108’s ratings dwarf WDGY’s is no surprise. Yah Shure observes that WeeGee’s signal isn’t very good—I have never been able to pick up the FM translators after the AM goes dark at sundown—and their ownership isn’t doing much to promote the station. It seems entirely likely to me that some of the people who listen to Kool 108 would very much like to hear some 60s music alongside the 70s and 80s stuff, but they either don’t know that WDGY exists, or they can’t pick it up.

Yah Shure notes that WDGY is mostly a jukebox outside of morning drive. On some of my visits to the Twin Cities, I’ve also heard a jock on weekday afternoons, and sometimes not. I am not bothered by the jukebox aspect. In fact, I’m bothered more by the quality of the on-air work I’ve heard, which segues into another comment I got on my original post.

Larry Grogan tweeted me to say, “I was thinking about your piece, and then turned on Sirius only to be greeted by the 60s morning DJ, who drives me nuts. Then it occurred to me that his style and the style of his show is aimed at old folks. Very chatty, lots of talking to callers at length.” I hear similar stuff on WDGY. The morning guy is very talky, and I often find myself exasperated when he goes on past the point at which I need to hear anymore about whatever his topic is.

Going on at length does not make you a stronger personality. And it’s not what the old-school jocks did all the time anyhow. The best of the jocks I grew up with could express themselves uniquely over a 10-second intro. A worthwhile short bit can be more challenging to create than a long one. A lot of jocks either forget that, or they never knew it. A lot of the yammering you hear today is intended to express personality, but it doesn’t add any value: chattering at length about the obvious (ordinary weather, for example) or something not especially interesting (“Don’t you love corned beef and cabbage on St. Patrick’s Day?”).

The Sirius/XM 60s on 6 morning guy is Phlash Phelps, who’s spent the majority of his career replicating a madcap style of 60s Top 40 despite being six years younger than I am. I haven’t heard his show, so I can’t speak to it. I occasionally hear the jocks on 70s on 7, and they, too, are replicating an older style: that of the ballsy-voiced “puker.” And these stations aren’t the only ones. When I was in New York a couple of years ago, I listened to the fabled WCBS-FM and noticed how jokey every jock was. After a while, it was off-putting. I wanted them to stop trying to hard to entertain me and just let the music do it.

A lot of DJs are tempted to constantly show off how cool and funny they are. (I certainly am.) But not everything has to be a bit. Sometimes, as my former program director Pat O’Neill frequently reminded me, title and artist is enough. And as Larry’s comment makes clear, that talky old-school style can drive away a listener for whom it isn’t an attraction to begin with.

It does not occur to me, when I’m on the air doing Saturday at the 70s (or at any other time), to ape the style of a 70s jock. At most, that style inspires me—the compact wisecracks of a Larry Lujack, the effortless delivery of a Casey Kasem, the boss-jock talkup skills of a Kris Erik Stevens. But I’m doing the show in 2019. We know stuff today, about how people listen and what people like, that we didn’t know in 1969 or 1979. The things we know include A) not everything has to be a bit and B) title and artist is sometimes enough.