Interview with Leonard Mosby August 9 1974

Material Information

Interview with Leonard Mosby August 9 1974
Mosby, Leonard ( Interviewee )
Publication Date:


Subjects / Keywords:
WRUF ( Radio station : Gainesville, Fla.)
Ted Burrow Tapes
Radio stations -- Florida
WRUF Collection (Ted Burrow’s Tapes) Oral History Collection ( local )


This text has been transcribed from an audio or video oral history. Digitization was funded by a gift from Caleb J. and Michele B. Grimes.

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Samuel Proctor Oral History Program, Department of History, University of Florida
Holding Location:
This interview is part of the 'WRUF' collection of interviews held by the Samuel Proctor Oral History Program of the Department of History at the University of Florida
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WRUF 19A Side one Bridges


Leonard Mosby, Aug. 9, 1974, Jacksonville

I: --same basic questions of everybody I talk to, but then

I'll custom tailor a few of them to fit the times.

M: Whatever.

I: And the first thing I want to do is check and see if the

card file at the station is accurate. Now it has you

working at the station from around April of 1947 to

around the fifteenth of July of '49. Was that correct

as you remember it?

M: The end date is right and I think that the beginning

date is accurate so far as when I went on the payroll.

I do have some scripts from 1946. I think I worked

there without any pay for a period of time. I've
got one that Otis Boggs wrote--"Hour of the Master--

"Hour with the Master.' whatever it was, and Otis

wrote it and I 5now a at up in the corner a

great job. And I think that was sometime in the--'46.

I: Uh huh. It seemed to have been the policy, I guess, for

students to work without pay for a while.

M: Uh huh. Yeah.

I: I know it was in the mid-sixties when I went there. I

had to serve my apprenticeship, you might say, before

they allowed us to go on the payroll.

M: I did the same thing.

I: Now what kind of circumstances were there--what were the

circumstances in which you began work? Did you have to

go and apply or were you sought out? I know with

WRUF 19A. Bridges

I: announcers sometimes they audition, but you apparently
were a writer.

M: I started out as a writer. I honestly don't remember.

I decided when I was in the army, I believe, that I

wanted to get into radio and eventually television.

Of course, there wasn't any television in 1946. There

were two stations, one in Miami and one in Atlanta, I
think, as far as the southeast is concerned. And so tht

wasn't much of a possibility. So I had made the decision

in the army to try to get into radio some way or another.

And when-I came back I guess I just--it's been a long

time. I guess I just beat on their door. It seems to me--

no, I'm trying to think if I had a friend at WRUF who could

have gotten me in--opened the doors. I don't beleive so.

I think I just went down and talked to Major Powell, and

talked to a few other people.- And eventually talked him

into letting me at least work free.

I: I was wondering if you had done any announcing work?

M: No, I did a few things while I was there, not much. You

know, on a late night DJ show with--well, names _-_

I: Had you done much writing prior to your joining the station?

Had that been a consuming interest for a while?

M: Not a great deal, but in my first year at Gainesville, '41,

'42--I started in '41 or '42 before going into the army.

I: Before that interruption.

M: Yeah. I had some interest and even in high school, writing

was of interest to me so I thought that I might take that

WRUF 19A Bridges


M: path.

I: Are you from the Jacksonville area or did you come in

from outside?

M: No, I'm from down--Volusia County in the little town of

Oak Hill.

I: Oh, just down the coast, yeah.

M: Yeah, so I didn't come very far, New Smyrna High School.

I: Uh huh. Now what were your normal working hours?

You were part-time then as a student, weren't you?

M: Yes, I don't recall. I think probably I just went in

two or three hours in the afternoon before I went on

the payroll. And then after that, of course it was

between classes. Generally, it was oh like two to five

or six as I recall--four or five hours a day.

I: Yeah.

M: But often weekends.

I: ^whenever there was something that had to be done.

M: Yeah.

I: Who was your direct supervisor? Did you report directly

to Major Powell or was there someone else along the line?

M: It seems to me John Seaver was sort* of the program

director. Yeah, that ) 'j- sure he was--it was

John Seaver. He's down in the St. Petersburg--I mean

Clearwater area. He's in Clearwater now.

I: Yeah.

M: And he's out of the business entirely. John Seaver was

I believe program director.

WRUF 19A Bridges


I: Did you deal very much with the Major after you went

to work there?

M: A fair amount, you know.

I: What do you recall about the Major--about his personality--

how people got along with him?

M: Well,.he wasn't aloof but he was--we thought sort of a

towering figure. I mean it was a little bit--it was ay\

imposing figure, and you didn't just walk in his office--

though the door was always open as I recall. And I don't

ever recall his ever having a closed door meeting. I'm

sure he must have, but I don't recall. It seemed the

door was always open, and it was not unnatural to stick

your head in, but you just didn't go in and out all the

time. And--

I: He seems to have been not the kind of man you bothered

with trivia, though.

M: He was not unapproachable. No, you didn't bother him

with trivia, no. You didn't go in there and tell him

about the fact that a record was broken that you were

planning to use on the show or something like that, you


I: Other people have said that he was pretty businesslike.

He didn't really mix business with pleasure too much.

M: No.

I: That they rarely saw him socially.

M: Uh uh.. No, I never saw him socially.

WRUF 19A Bridges


I: On the other hand, though, was he--

M: But then I was just a freshman, you know--or not a

freshman at that point but a lowly student.

I: But do you recall that he was inclined to, say, help

his student personnel out with things, whether it was

helping them find a job or maybe helping them develop

their skills or anything like that--willing to spend

time with them?

M: I had the impression and it's so many years passed that

it's all a little fuzzy now, but I believe he did spend

time working with people, particularly announcers. And

telling them what he thought they did wrong. And how

he thought they could improve. J9 I was looking for a

job in '46--'47 and I'd--was he still there in '49 when

I left?

I: Yeah. Right.

M: Yeah, u.)L, I don't know that he helped

me at all find a job, and I didn't find one, as a matter

of fact. Maybe I didn't ask him. I don't recall whether

I asked him or not, but that in itself may indicate that

I didn't think that he would be helpful for one reason or


I: Now what about the facilities at the station? What do

you recall of the physical layout of the place? This was

in the old station--what's now the police station.

M: Yeah. Uh huh. Well, it's now a police station.

I: Right.

WRUF 19A Bridges


M: One other thing I did want to mention about Major

Powell, and the thing that sticks in my mind is he was

so proud of the station's coverage and he had this huge

map on the wall which was there fifteen or twenty years

after he was gone, I beleive, with pins of different

colors from all over the United States and Cananda showing

where mail had come in indicating that there were

listeners in those areas.

I: I wonder if that's still there. I wonder if it's still


M: Oh, I'm sure it must not be now.

I: It seems to me there's a map of some kind in Kenneth

Small's old office, but I wonder if it's the same one.

M: Maybe. I can't imagine that it would be after all these

years, but this was a huge map of the United States and

it was just filled with pins from everywhere. And I

remember him taking me, you know, getting up from his

desk and going up several times. And oh, maybe two or

three times during the time I was there, and proudly telling

me how many--how far the station got out and how big a

radio signal. As far as facilities, yeah, I remember them

quite well, I thought they were darn good at that time.

And of course, we--the continuity department was up in

this hot attic.

I: Before the days of air-conditioned studios.

M: Yeah, there was no air-conditioning at all. I do think

there may have been a little window fan, but I'm not

WRUF 19A Bridges


M: even sure about that, and theaMB-re la MaiM machines--

the news machine--I guess there was just one machine.

I think it was up there, too, if I'm not mistaken. Yeah,

I know it was. So we had the news machine to put up

with--the noise and clatter from all that and the heat.

I don't really remember any great deal of

complaining or anything.

I: But the sound studios themselves were in the ground floor?

M: Yeah, they were in the ground floor on the west side, and

there were sound effects devices, I recall. In fact, I

worked with Thelma Bolton, who's over at the Stephen

Foster Memorial, Cousin Thelma, as they call her, on the

Gainesville Children's Theatre, I think it/was. And every

Sunday afternoon they did a story, Alice in Wonderland

and Cinderella and all these things. And I handled the

sound effects and the music and so forth for that. And

for that we had a pretty nice--slamming doors and a

separate turntable which you could take in the studio.

And I don't know that it had more than one turntable, but--

and I can remember some very fast changes on the music.

I: I can imagine.. So it was kind of a dramatic reading type

of things with sound effects--is that it or was it actually

a play?

M: No no. No, it was a bunch of a little kids.

I: Oh. Oh. I see.

M: Kids dramatizing it, yes.

I: Speaking of sound effects, you know, in our studio at

WRUF 19A Bridges


I: Radio Center there, we have a sound effects apparatus.

It looks like a large box on wheels, and it has a door

in it, and it has a window in another side.

M: Yeah. It sounds like the same thing.

I: Which can be opened and closed. I was wondering if, .

M: Does it look likes it thirty years old?

I: It looks pretty old. It looks like ....

M: Yeah, that sounds like it. It stands pretty good size.

I: Yeah, it's about that high.

M: I betcha it's the same one, yeah.

I: Yeah, how about that. I'm glad to know where that thing

came from. I can't imagine that that thing was built,

you know, more recently than the fifties.

M: No, I don't think anybody would have built a sound

effects thing that late.

I: Right. 'Cause when I arrived as a student in '64, that

thing was there.

M: Yeah.

I: And I know it's still there. Well, sc/6' y/Arj 2-cg know

M: It was there in the mid-f-eries, and we did use it. There

weren't a lot of those dramatic--well, I say there weren't

a lot of them. Someone on the faculty wrote a history of

Florida by I don't know who it was--was it Dr. Patrick?

I think it was his book.

WRUF 19A Bridges


I: Well, it might have been. He wrote some books.

M: Yeah, and he wrote one, Six Flags Over Florida or

something--I've forgotten what it was.

I: Uh huh. That--yeah, that kind of rings a bell. I
think / still selling copies of it at the book store.

M: Maybe. Maybe. And that was one of the biggest projects

when I was there. Everyone was involved in Six Flags Over

Florida or whatever. And we produced, I think, oh, six,

eight, or ten half hours, I believe, dramatizations. I

think I helped write some of them, but I didn't write most

of them--Brownstein, a boy from Gainesville, Bob Brownstein

was his name--SejaA( Brownstein. And he was--on the air

he was called Se(t Brown. He was the primary producer

of that series. And we--as I say, it was something that

we were all very proud of because we really felt we put

all the talent in the station into that one. Everybody,

I think including some of the secretaries had parts in it.

I: Hmmm. Yeah,

M: And we'd gather down there at 7:30--8:00 on a certain night,

and I guess it ran live because we were using wire tape

recorders during much of that period.

I: Uh huh. You had to if ,,

M: We were still making disks--we were still acetate disks

for most everything. Everything was made on acetate disks,

but the wire recorders had come out.

I: Uh huh.

WRUF 19A Bridges


M: And we had a couple of those and we experimenting with

those. And they worked quite well, but of course--

I: Did you have any tapes by that time?

M: No, I don't recall any tape 4-pc. .e-u; roo- at all.

It was either acetate disks or oh well, you want to turn

that off for a minute.


M: I was digressing anyway.

I: Well, I'm hopeful for any bit of information that you can

possible give me. You know, you've already mentioned a

few things that no one else has. So we're making progress.

I: I don't want to take you away from your work too much

this morning.

M: Now don't worry about that. Thereill be interruptions

I: Do you remember--now, let's see, you were there in what--

'47,'48--that area or that era--'49. Do you remember any

sleeping quarters at the station that might have been used

by an announcer, maybe on a semi-permanent basis?

M: Yes.

I: Did any of them live there?

M: Yes, uh huh. There was a little room behind the master

control room or behind the transmitter--east of the

transmitter. It was not much bigger than a large

closet, but I think it had bunk beds in it. And two

announcers stayed there, generally.

WRUF 19A Bridges


I: Uh huh.

M: Johnny Seaver, I think, was one of them during much of

that period. Norm Davis, who is assistant manager with

our Post-Newsweek station in Miami, WPLG, he stayed there

during a period, 44444

I: No kidding? I'll have to ask him about that.

M: Yeah.

I: You know, I'm corresponding with him, and I'm going

to get some information.

M: Are you? Oh, good.

I: I wish I could get down there to see him in person.

M: I remember when he came in from Palatka--he was living

in Palatka at that time. And I was working as a ticket

agent at the bus station. And Norm came in, but I had

also been working at the station. He came in during the

summer--nobody was around. He couldn't phone anybody he

knew, and he was going to live at the studios in that

room. And--but he couldn't get hold of anybody so he

moved in with me in the dormitory for a couple of days.

So I was really the first one, I guess, on the campus

to know Norm Davis. And I still kidipng him about him

coming with his carpetbag from little Palatka, you know,

the country boy.

I: Yeah.

M: Not knowing his way around in the big city of Gainesville.

I: Did they refer to that sleeping room at the.;station by

any particular name, do you recall?

WRUF 19A Bridges


M: They may have, but I--yot. know, I don't recall.

I: Okay, because I know the one in thestadium was referred

to as the guard room, and I was wondering if they

referred to the other one by some name.

M: I don't think so, no.

I: Let's see. If you had to pick out maybe the most

rewarding aspect of working at the station of your

experiences there, what would you say was your most

rewarding experience there?

M: Well, the fact that we could do so much. We--of course,

I was primarily a writer, but I did do some announcing,

and I did the sound effects thing--that wasn't really

writing. I didn't do any engineering, of course, but

you could do most anything that you were capable of doing

and wanted to take the time to do. And I was impressed

by the fact that most everyone working there at that time

was not worried about hours. We were all eager to learn

the business, and I don't think anybody punched/ time

clock. I mention this business of staying there over

Christmas holidays and summer holidays and weekends and

things like that. And as a writer, conceivably I could

have caught up. Now announcer, of course, have to--

somebody has to be there to run the station, but writers

don't have to be there. I either for one reason or

another didn't get far enough ahead. The salesmen probably

didn't bring me any copy soon enough, and I didn't badger

them about it. But I didn't really worry about it, akd

WRUF 19A Bridges


M: that seemed to be the tone around the station--that

everybody did their job and really a little bit more

without worrying about it. We didn't get paid a great

deal, but--

I: It was kind of an informal) re-lc-ye atmosphere.

M: Yeah, it was an informal sort of thing. Yeah, very--

I: Speaking of pay, do you recall what the pay scale was

at about that time?

M: It seemed to me it was $50.00 a month if I'm not

mistaken. I seem to remember $50.00, but I'm not sure.

I: For part-time work.

M: For part-time work, yeah.

I: Do you recall any frustrating or embarrassing experiences

while you were there. Now this is probably more

appropriate for an announcer, you know, who breaks

up laughing on the air during an important program or

something like that, but was there anything that you

goofed up that you might remember without too much


M: Hmmm.

I: I'm asking everybody this question, too, just to see what--

M: Yeah, I'm sure there were times, and I'm trying to

remember. Oh-yeah. Yeah, I can remember opening up a

Coca-Cola on the air and spraying Coca-Cola all over the
microphone and maybe using an expletive deleted at that

point. I'm not sure about that. And this was at 1:00

on a Saturday night--Sunday morning. And spring the

WRUF 19A Bridges


M: fluorescent fixtures in the studio and everything else

with the Coca-Cola, but that's not much of an incident.

It seems to me I fouled up something royally for one

of our best accounts, Chevrolet, Riverside--no, not

Riverside Chevrolet.

I: Is it University Chevrolet?

M: University Chevrolet. I think they sponsored the 7:00

news--Fullton Louis, Jr. and the 7:00 news at night

for fifteen minutes. And writing commercials for them,

you know, the used cars every day. I seem to remember

vaguely, and I guess I'm trying to put it out of my mind

that I goofed up something. I--oh, got cars from last

month that had long since been sold, and the salesman

Paul LaCosta hardly spoke to me for weeks about it.

I: I imagine he wasn't too pleased.

M: No, he wasn't too happy about that.

I: I was wondering, perhaps, since you mentioned there was

an informal atmosphere over there, did the announcers and

writers for that matter tend to congregate there even

while they weren't on duty.

M: Uh huh.

I: Was it kind of a club type thing? I recall people saying

they used to play cards there..,

M: Yeah.

I:,/ ate into the night.

M: Yeah, they did. It was a--it was where they congregated.

WRUF 19A Bridges


M: They did it very seldom. I guess there were other places, too, but

I don't remember any one hangout for the radio gang, you might say,

other than the station The Pig \>3 ryv-t a

barbeque place called The Pig on N.W. 9th then, now 13th. And a

couple of other places where you might run into somebody from the

station, but--And I can remember a few parties where we would get

together, but not very many as far as that goes--a few of us around

the station. I don't recall really wild parties. You know they had

the card games. I don't recall drinking parties, for example. I'm

sure there was drinking--I mean I'm sure people did bring beers in

from time to time, but the whole area was dry then.

I: Uh huh. That's right.

M: Of course, which--I mean it was supposed to be dry but we did have

that filling station up there on North Ninth that we could go to and

get a pint of Don Q rum or something like that which we did pretty

often, but I remember very little. In fact, I don't remember any

drinking around the station or parties with a lot of girls. People

brought their dates there, but if it went on I was too naive to realize

it was going on. And I really don't think it did.

I: Was there much in the way of buildings around the station at that time?

M: Oh no. No.

I: Or was it still pretty much out in the field?

M: There was nothing. The only building was--close to us at all--well,

along with--there were-there was a little nutrition lab building

north of the studio and they were feeding cattle in there and doing

experiments with nutrition. Then the poultry labs in the sheds or

WRUF 19A Bridges


M: whatever they kept the poultry in was just west of the station

where the museum is now.

I: Uh huh.

M: And south of the station was just woods as far as you could see.

In fact, there was a little observatory that was in the ravine just

due south of the station there. I never did go down to the observa-

tory,' but it--as I looked out the window of the attic, why, I could

see it over there. There was--very wooded.

I: That must have been down on to the way to where the Health Center

is now.

M: Yes, that's right. It's on the way to the Health Center.

I: A lot of people find that hard to imagine. They see it as it is

today, and they think, "How could it ever have been just fields

and woods."

M: I know. Well, this wasn't--this was dense woods. It was really a

dense woods or very much like the woods are around the lake next

to Reitz Union now. You know that's pretty heavy in there.

I: Uh huh. Right.

M: It's not dense as far as weeds are concerned, but this was almost

an inpenetrable woods unless you stayed on the trail.

I: Was the road paved past the station at that time or was it still a

dirt or a gravel road?

M: It was paved only to the station, I think. There was no road going

east from the station at all. Of course, the two towers were there.

You know they had two 200 foot towers.

WRUF 19A Bridges

I: Uh huh. Now which side of the building were they on--the towers?

M: It seems to me they were--one was--they were northeast and northwest,

I believe.

I: Okay.

M: I think that they, if I'm not mistaken, they ran...

(telephone rings)

they were in a straight line east and west, I believe, but I.s

I: Let's see. Oh, we still have time with that. Yeah.

M: I remember--one thing that sticks in my mind about the facility I

still remember from time to time watching the lightning arc over the

transmitter. Of course, it was an old-fashioned great big old

transmitter, 5,000 watts I guess or whatever--maybe more than that

in those days. I'm not sure. And we could stand up there on the

landing from the attic overlooking the transmitter room which was

really a two-story room. And during a thunderstorm, why, huge blue

bolts of lightning would arc between one pole and the other

4 oQA....of the transmitter.

I: Hmmm. Yeah. So the--I was trying to get straight which direction

the road came from because I haven't talked to anyone else who was

able to tell me. Did it come from the north?

M: Well, the road that comes down between the museum and the police

building is exactly where it was then.

I: Oh, okay. Fine.

M: You know, it looks like there would be photographs around.

I: There were photographs of the station, but oddly enough, they don't

really show the position where the road was, and that's why I was

WRUF 19A Bridges


I: trying to get it straight.

M: Well, it came down and curved around by the front and then there

was a shell gravel-an oyster shell driveway there. And then the

station was here like this. And I think there was a dirt road going

around to the poultry labs just how it went around I'm not sure. But

of course, the road--I don't have the building in quite the right

place, and now the road goes all the way through. .The building's

not that big, really.

I: Uh huh.

M: But it didn't go through at that time. This was just an open field


I: Oh, I see.

M: West of the station was nothing but an open field and you could see the--

I: So now the road goes this way and the museum would be over here.

M: Yeah, the museum's over here.

I: Okay. That places __

M: That's where the chickens were.

I: So in this direction would be up where the university auditorium and

the century tower are.

M: That's north. Uh huh.

I: Okay. Fine. Great. Well, that places it exactly.

M: Here was the dairy lab--dairy science lab.

I: Dairy science building. Right. That's still there.

M: Yeah.

I: Yeah. Okay.

M: And many of us stopped by there and got ice cream on the way down

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M: to the station because they were experimenting with flavors, and

we'd get guava and banana and all sorts of things at thirty-five

cents a quart, I think or something like that.

I: You can't beat that.

M: Delicious ice cream. But the road just dead-ended there. There was,

as I say, just places to park a few cars and bicycles and that was--

but you had grass on the west.

I: Uh huh.

M: And woods down here.

I: So the towers, then, for the antennas would be--

M: They were here, and--out here in this field I'm pretty sure.

I: Oh, okay.

M: I believe.

I: That's good. Let me take that drawing with me.

M: Well, that's not much help, but I haven't thought about it.

I: It is now. Okay. You've mentioned a couple of the other people who

worked there in the same era that you did. Let me mention a few more

and see what you remember about them. Do you remember people like

Ted Covington?

M: Oh yes. I've kept up with Ted Covington, yes.

I: And-okay you-that's right. You probably see him from time to time.

M: Uh huh. Uh huh.

I: And Bob Leech, of course, you must see him.

M: /AMcConnell--I keep--I see quite frequently.

I: Du ane was an engineer then, wasn't he?

M: He was the chief engineer.

I: Right. Wasn't it during this time, I understand, that the new

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I: transmitter location was built out on what's now called Tower Road

west of Gainesville? Didn't that happen in about '48 or something

like that?

M: It seems to me it did, I don't recall--yeah, I can recall vaguely

going out there, yes. I remember going out there so it must have

been about the time I left.

I: Right. This--like more of an engineering type of function. I'm

going to have to ask Dutae about it.

M: Yeah.

I: I want to go down that way toward Lakeland and talk to.Ted Covington

and Dua e.

M: Of course, Ted is in Lakeland, too.

I: And it seems to me when they put the new transmitter on the air that

was the occasion for a special program, and I don't have too many details

on it. Do you recall anything about that?

M: I don't recall a thing in the world about it. It must have been after

I left.

I; It may have been in the nature of like a ribbon cutting ceremony where

they push the buttons and--

M: It may have been. I don't think it was a retrospective scripted show.

I probably would have something to do with it because I headed the

continuity department if you want to call it that for a year and a

half-two years, I guess.

I: It may have been more of an actuality type of thing, not aP "A

scripted program.

M: I think that's probably what it was, and they may have had some

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M: former people there. I would guess that because we use this

technique quite a bit. We got tapes from people like Dan Valentine

and our successful alumni.

I: Right. Greetings to the old gang.

M: Yeah, and ran those, you know, congratulations on your new

I'm just guessing that's that what we would have done.if we had.

I: Yeah. I think I'll ask Bob Leech about that, too. I haven't

interviewed him although he's right there on the next floor up

from me, but--

M: Yeah. I--it's funny. I don't remember Bob at all. I think he came

after I-

I: He must have been very young.

M: Yeah, he was very young.

I: Because--well, at the time you left I think was about the time he

showed up so I'm not surprised.

M: Uh huh. I think--of course, I've known him so well in the last ten

years--fifteen years or so that I, think he just had come there at

that time and I just don't remember too much about him at all

as a student#
I: How about Dick Craigo--do you remember Dick from working there.

M: Oh yes. Yes, I worked with Dick.

I: Of course, I know he runs a station down in Vero.

M: Yeah, and I still see Dick quite often. In fact, he and I drove out
to the airport to pick up Commissioner Ben Hooks here for the convention.

I: Oh. Was he primarily an announcer?

M: Yes, he was specializing in sports, I believe even then, but I don't

know. Maybe he got into sports later.

WRUF 19A Bridges


I: And let's see, was Ray Danier working there at the time you

were there?

M: Yes, I got Ray Danler a job there.

I: No kidding? How did that happen.

M: Yes. Well, I had to find somebody to replace me, and Ray DanR er and

I were working together on a play, "Skin of Our Teeth"--Florida players.

And Ray hadn't--I don't think had ever done a play, but we happened

to be in this play. It had a huge cast, and I was frantically trying

to find somebody to replace me because I felt responsibility to fill

my shoes when I left. In fact, I stayed one semester after graduation,

partly because I hadn't found a replacement, partly because I was

still president of the Licensing Council and we had some big things

coming up in the second semester, and partly because I was pinned to

a gal and didn't want to leave.

I: Sure.

M: &t that may have had something to do with it. But anyway, Ray had

never thought about radio much I don't believe. He may have been in

a radio class. I'm not sure. You know where he is now, don't you--

at TV 3.

I: Right. And as a matter of fact, I talked to him not long ago.

M: Have you? Yeah.

I: And I must say he didn't give you any credit for getting him his job.

M: He didn't? Well, maybe I've exaggerated it, but ar ...

I: You'll have to talk to him about that.
M: He and I have discussed, and it was a result of that play, and the
fact that I needed a vacancy.

End of Side 1

WRUF 19A Side 2-Beginning Bridges


Leonard Mosby, Aug. 9, 1974, Jacksonville

I: Okay.

M: I'm giving you more than you can handle, 34u '.

I: Fortunately, there are still a lot of people who live

over in Gainesville who used to work at the station, and

I was surprised--a lot from the really earliest days. I

just talked to Major Powell's widow not long ago, Mrs.

Connie Dol/e rP She married again 4-t one oz -( p#ot-sors

M: 94544 .Mi. bo L oulc-,, 0o>^ ov-> p iCc

I: Yeah, she gave me a lot of information so--

M: 3CWS _S t ___ gave you more than you know what to do


I: Yeah. Right. That about wraps it up.

M: Oh no, I have to get--

I: It's possible I may call you if something else strikes me,

but-- 4
r-a urszoucl i daCez .
,gM: *';:-' f--: -- :*". ^^ --^.---*-*-*-r-*^- :- ,I-- ^..^-i^ ^ ^p

M: W s- ____I'm not sure where he lives.

I: Okay. He says he lives over in the Arlington area, and

I've got his address written down.

M: You need to make me another map.

I: Okay.

M: come to this old station here.
I: ge %,.I- 2 rma Road.

M: All right. I'll

`\~ ~^

WRUF 19A Bridges


I: He says I should go over the Matthews Bridge, if that's

M: Uh huh. All right.

All right. Go back to the Matthews Bridge.

I: Okay. Let's see. Where are we now

M: I'm trying to find us. Oh, here we are back in here.

Here we are.

I: Uh huh. Let's see. I came across the L)cLrr-vp Bridge.
rs-+ ka icrc-= ui V. rC -+- C ,c L- kC-re--
M: Oh yeah, -I w h. er-e the ^ j ".4ew where

the ) i

I: Okay.

M: All right now, to get back to town, I suggest you--

I: underneathi:the expressway.

-thre! ?'-^l T. t "the re .a are-: three -peop.le-t 1-k i-ng--hee-r-4

woi--"-abb-re via te-"U" -for ay voices- I cannot-r-ec-ognize)

^ $: Okay go--

I: And backtrack or go around where these little towns are.

M: No, you could go down that way, but I think you oJ r-- x

I: Okay. I'll backtrack down Montana.

M: Backtrack down Montana, but you don't even need to go all

the way to TEaieten enAvenue, then take the right at the

stop sign there and go down by the sandwich shop across the

railroads. And then continue up about three blocks to

Prudential Drive there.

I: Okay.

M: It will dead end up here. I'm lost again. You're going

WRUF 19A Bridges


M: under the expressway here.

I: Uh huh.

M: Then down Montana for just a block around the corner there,

and turn at

I: Uh huh.

M: Over here to the King's Avenue, and then up here to

Prudential Drive.

I: Uh huh.
A t\\vknyv cdaSr2cs -4turr
M: And I d4-4dt 'it dead ends at that point--go

ninety degrees right and all the way down to the Main
Street expressway. And you alongside the Main Street

expresswayy and over the Main Street fridge. And right
on down Main Street to Union I guess it is--yeah, Union--

Union Street. Let's see how many blocks it is--it's about

ten or twelve blocks. And you'll pass Ashly then everr
2 A
then Union. So as you pass Ashly, leaver, Union, then turn

right. It's one-way all the way down across--past the

Gator Bowl, which is right in here.

I: Uh huh.

M: Across the Matthews Bridge. Now Alderman Park is over the

road--is right in here. And I think that--you used to be

able to turn left there. And I know you can no longer do

that. You needed to get off the expressway here at Arlington

Road I'm quite sure.

I: Right. He says cross under the expressway on Arlington Road.
Yeah, so appently that's where I get off, and maybe circle
around under it.

WRUF 19A Bridges


M: Under the expressway) T V- -oo j oe-r -.

I: Well, maybe it is over it, but I have written down cross

the expressway. I guess--

M: Yeah.

You get over it and you get it in the righthand lane and

then on an access road and then turn left.

I: Uh huh.

M: I would--I don't knqw T-'er continue back along here,

but if I were going I' think I'd go down here. After

you turn left and cross the expressway, go down about two

blocks 'til you get to Lone Star.

I: Uh huh.

M: Well no, it's Lillian and that goes down here into Lone


I: Uh huh.

M: It's a little--there's a little baptist church on the

right there, a big shopping center here on the left.

I: Uh huh.

M: Then go down Lone Star to Carlotta because this is a mess

here under the expressway, but you could maybe go parallel

to the expressway.

I: Uh huh.

M: In that access road over there, and get down to Townsend

I believe it is--I--go to Townsend, left on Townsend and

then to Arlington Road that way. It's--

I: Okay. Once I get in this area I can certainly find it.

At least I'll be close enough so that if I do get confused

WRUF 19A Bridges

I: I can ask directions.

M: Well, you can lost even after you get there. It's not

as easy as--it's not laid out as well as Gainesville.

I'll tell you. I've gotten lost in Alderman Park as many

times as I've been there.

I: Well, I appreciate it, and

it's really--this has really been plenty of help to me.

M: Well, I hope so.

End of Side 2--End of Tape