Chances are, Chris Godsick has been chewed out by more Hollywood A-listers than you've met in your lifetime. But we'll get to that.
As a member of the Class of 1987, Chris was a sophomore when WJPZ moved to the FM dial. He really captures the enthusiasm and excitement of that moment. The radio station's passionate staffers could now be heard in the market, and soon they were pulling ratings away from 93Q, "The Bagel Station."
During this episode, we also remember the late Larry Barron, and what an influence he had on the radio station at that time. Chris tells us about the year that WJPZ was able to secure the exclusive announcement of when to buy SU Basketball tickets, and the entire campus was listening, waiting for Larry to make the announcement. Then, if you know Chris, he follows that story with one that Larry would probably rather forget, may he rest in peace.
Following his time at Syracuse, Godsick went out to LA, where he started in the mailroom at William Morris, working his way up to messenger, dealing with everyone from Bea Arthur to Richard Simmons. Eventually he was at one of the premiere desks for the co-head of the motion picture department. He was yelled at by Si Maslow (Tom Hanks' agent), Sir Sean Connery, and Mel Brooks. But let's be honest, who among us wouldn't want to be roasted by Mel?
When he became an agent, Chris went after some untapped markets. He found Rowan Atkinson (aka Mr. Bean) in the UK, and eventually formed a company with a man he met in Asia. That would be director John Wu. He and Chris did Face Off and Broken Arrow together, along with (Chris's words) "some really horrible" stuff. We press him on that.
Throughout his career, Godsick spent time behind the scenes with the US Military and other organizations, and it was an invitation to shadow the US Marshals that spawned the idea for his latest project, a true crime podcast called Chasing Evil, which we highly recommend.
https://www.chasingevilpodcast.com/
We wrap up talking about Chris's time working on HBO's Veep. He tells us about Julia Louis-Dreyfus nailing her audition, and we hear about Chris's invitation to then-Vice President Biden's home that the writers were able to turn into this scene in the show. Oh yeah, and he won some Emmys too.
Join Us in Syracuse for Banquet on March 4th: https://bit.ly/WJPZ50BanquetTickets
The WJPZ at 50 Podcast is produced by Jon Gay '02 and JAG in Detroit Podcasts
JAG: Here's the power of the WJPZ Alumni Association. Year and a half ago. I am in Nashville, Tennessee at the Podcast Movement Convention. I get a text from Marty D. He says, Hey Chris Godsick from the class of 87 is at this convention. He lives in Nashville now. You should go find him and meet him. Sure. Great. And go. I find Chris, we sit down, we have our lunch or coffee or something together, and we've been in contact ever since. Welcome to the podcast.
Chris: Thank you very much. Do you regret that meeting?
JAG: Not at all!
Chris: Okay. Usually it doesn't take people that long to firmly regret meeting me, but Okay, thank you.
JAG: Tell me about your journey, how you got to Syracuse and the station and what you did there. For starters.
Chris: I grew up in New York City and my first internship that I had when I was a senior was at W V N Joy by Day, W V N Jazz by Night. And I went out there every Friday. I knew the guy that owned the station and he said, you can be a production intern.
I want you to put a tie and jacket on every Friday. Which I did and drove out to Livingston, New Jersey. I had no classes on Friday and I learned to be a production assistant from the ground up. And I think of all the very, very frustrated people who taught me from the very beginning. And that was great.
And then WVNJ got sold to Malrite Communications. And became Z 100. And then I started working for WHTZ as a promotion intern, and I drove the van to Jones Beach, which was very interesting. And those are stories for another day. And I also worked in the studio doing the request line and putting the carts together and the commercials together for the jocks. Really learned a little bit about radio and was very excited about radio and went to Syracuse because they had a dual program in Radio, Television Film production and marketing.
The radio and television film production was great. I had absolutely no business being in the business school, with the exception of the marketing courses. But all this other stuff I'm just shocked they let me in. But it is where I discovered Z89 and it was this really cool station that had a reach of about four people.
My first shift was 1:00AM to 4:00 AM , which I was dedicated to. And we were on in all of the dorms. The RA security guys in the dorms were the only ones that could hear it. And fortunately, Z89 had one groupie, one. God bless Felicia. One groupie, one dedicated groupie who heard it on a cable station in the Syracuse market.
And Felicia would call everybody every day. God bless her . So I started at one, doing 1:00 to 4:00 AM. The beautiful Julie Bruno was doing four to seven. , I thought I was a rockstar. No one ever heard it except for the RAs. I go, did you listen to the last three hours? And they're like, no,
I'm like you should have.
JAG: You would've heard Felicia .
You really missed something. And that's how it started. And it was nothing. A seed. A seed was growing, but it was really just an exciting place. Everybody, even though no one heard it, even though the equipment left a lot to be desired, it was exciting. People were excited to be on the air and we worked toward one goal, which was go on FM at that
JAG: point. So you were there from 83 to 87. So the switch to FM would've been right in the middle of your time there, right?
Chris: Yes. Sophomore year.
JAG: Take me behind the scenes there.
Chris: Yeah, it was amazing. I was just a young guy and I'm watching these guys take this station that was not even listened to by the RAs to FM! That was extraordinary.
That was just such a massive leap. And I was fortunate to get 4:00PM to 7:00 PM on Friday Drive, so I couldn't have had a more exciting time. We got new equipment and people were listening and it was a story and everybody wanted to get on the air, and there was a long process to work yourself up and it was wonderful.
It was magical because it really felt professional. You can't screw up. You have got to show up with your A game. There are actually people listening now. .
JAG: That's the big difference right now. You were pretending there were people listening besides Felicia, but now there's a lot more than just Felicia listening.
Chris: No, people actually are paying attention and there was a tremendous amount of pressure. You really learned to hone your skills. But there was a little bit of leeway to be creative, especially during the 4:00 to 7:00. We had the ability to put calls through, we would ask questions, we would want people to check in, and people were calling.
It was very participatory and it wasn't like, when again you're doing one to four and you're like, call in and and that one, it was a old fashioned phone and that one line is just blinking and you're like, Felicia, thank you, Thank you for being there. That was pretty much the only person I was hearing from and it really just took off.
We were excited to be on FM. But we also, I don't know, whoever did it was really, I think it was really smart and uniting everyone, of course, is to choose a common enemy. And the common enemy was 93!. The bagel station we called it. I can't remember why.
JAG: I was gonna add, that was my next follow up question. Okay. We can move on from that.
Chris: I can't even remember where I put my keys, so I just don't remember why it was called that. They may have even called themselves the bagel station, but they hated us because we were actually having an impact on their book. And they were like, what's this non-commercial radio station doing, taking our listeners costing us money?
That was also exciting. So we had somebody we were going after and we were uniting because people who were working there were not doing it casually. People who were working there when I first went FM had a passion and that was great because everybody had it and it was an exciting place to be.
JAG: Do you remember any specific moments or promotions or events the station did after you were on FM and you had listeners and you were pulling ratings away from 93Q?
Chris: I will mention it's a rumor. I have no idea how the law works or the statute of limitations, but one of the things that might have been done to help the station was somebody who worked at Z100 New York may have brought many of the drops, the music, beds, and sound effects from the number morning show in the country, and giving it to Chris Bungo. I don't know who that was, but I will tell you, the station was sounding really good. .
JAG: I'll have to ask Chris about that. We're talking to him in an upcoming episode.
Chris: But I do remember that everybody listened to the station and Larry, I don't know if it was Larry Barron who worked it out, but somebody made a deal at that point.
They were still trying different things on, to make tickets available to students for the SU basketball games.. And they had tried a number of things and this year they were gonna make an announcement. You were not allowed to line up for basketball tickets. And there was gonna be an announcement.
And then everybody was to go to the Dome and line up and get their place in line or to buy tickets. And somebody had worked it out that Larry Barron was gonna make the announcement of when the basketball tickets were gonna be available. And this was the year of Pearl Washington,
And that's about as much as I know about SU basketball.
So Larry was gonna make this announcement and Larry was very serious about it. For those of you who know Larry he took this very seriously. It was a big deal.
JAG: God rest his soul. Yeah.
So he wouldn't tell any of us. And I remember I was visiting somebody in Lawrinson. And of course everybody, everybody was listening to the station waiting for this announcement because they promoted it. Everybody knew it was gonna come on Z 89, but no one knew when. So we had everybody listening at that time and it was great.
So I remember Larry announcing it. And then I remember being in Lawrinson visiting somebody and looking out the window and it was like somebody poured hot water on an anthill. And you could see people running out of Sadler, Lawrinson, coming from all directions. It was extraordinary. People were running, there was a riot forming.
And that announcement came from Larry Barron and that was pretty damn cool.
JAG: I gotta say, it's unfortunate we just lost Larry, but it's great that we're getting to hear so many stories about him on the podcast. So thank you for sharing that one. What an incredible story too.
Chris: Yeah. There's also the Larry Barron moment he would like to forget. Larry Barron, the consummate radio man, dropped an F-bomb on the air.
JAG: Oh, he did?
We had a morning show my senior year. Larry and I. And Larry, I don't know where it came from, but an F bomb left his lips. And he, I looked at him and he looked at me and he did not know how to recover.
I've never seen him speechless before, but he looked at me, his head was about to explode, and he just walked outta the studio. It was a low moment, I think. I took complete advantage of the situation and did not try to brush it under the rug. I think I highlighted it pretty much for the rest of the show.
And then he composed himself and he came back. But that's one of those moments. It's like Walter Cronkite letting an F bomb fly. That was the importance of that. That was the respect that this man had.
JAG: That is fantastic. And knowing you, I haven't known you that long, but knowing you as I do at this point, I can totally see you just going back to it over and over again and belaboring it just to push his buttons. I'm sure.
Chris: You have to. Oh, it had to be done. Yeah, it was a low point in his career and I certainly couldn't let it go.
JAG: There are a number of folks listening to this podcast who may or may not have let something like that fly on JPZ. May or may not be including myself on that. So a relatable story for sure. All right. So you graduate in 87, Chris.
Chris: I was able to graduate in 87, yes.
JAG: Tell me about your career arc since then, cuz you have done a lot of cool things in the industry.
Chris: Thank you. Yeah, I went to Los Angeles probably a week after I graduated. Destined, I thought, to be in some aspect of the entertainment industry and I was exploring all kinds of avenues and realized I was way too much of a coward to be a writer director, which is what I thought I would initially be.
I just didn't think I could wait tables be poor and push my passion project. So I had somebody say to me, you know what, why don't you actually take a second to learn about the industry as opposed to jumping in and trying to be a writer director? And I said, okay, how does one do that?
And I learned all about the talent agencies and their well known, well-regarded trainee program. I was able to utilize my Syracuse network and other networks and interview all around and ended up in the mail room at the William Morris Agency. Where I remember I was sorting mail and I'm like, okay, I've got a four year degree.
I did not think sorting mail was gonna be my first job. I thought perhaps I've graduated from that. But the guy sorting mail next to me had graduated from Harvard Law School. So I said, perhaps this is exactly where I should be . You sorted mail and did everything that one would think that one would do in the mail room.
Then you get promoted and you become a messenger. So they give you a car and about 20 packages in the morning and 20 packages in the evening, and you get a dotted map and you run around Los Angeles delivering and picking up packages. And you knew who was gonna treat you well. Richard Simmons had me in for tea.
How lovely. And all of the trainees around town, the messengers all wore suits. So you knew who they were .By and large, one out of 10 of them might become an agent. So people treated you fairly well. And then. If you saw that map all the way out, cuz it was a pretty far drive. You had to go to Bea Arthur's house.
Bea Arthur from Golden Girls. It was always like, you went up, you were in your car and you pressed the button at her gates, you couldn't see her house. And I was like, hello? And I'm like, normally people are really nice. And it was like an annoyance that I have rung her bell.
Her massive dogs were barking. She's "fine, come in." And rest in peace Bea Arthur. So you got to know a lot of people. You learned a lot by running around to the studios, to different people's homes. And then I became an assistant for two and a half years where you are tested a little bit further and I was pretty sure I was gonna get fired.
I had one of the premier desks for the co-head of the motion picture department, and I was dealing with a lot of different people. And about four days a week, Tom Hanks' manager would hang up on me during lunch. I was not allowed to take lunch for two and a half years, literally three to four times a week.
Si Maslow, rest in peace, would yell at me cuz I said something wrong or I had the wrong, I was inevitably going to do something wrong. And he hung up on me and I thought for sure, it's Tom Hanks' manager. I'm done. Stick a fork in me. It was like the scene in Princess Bride, he's talking about working for the Dread Pirate Roberts, and he said, go to bed. I will most likely kill you in the morning.
And that's pretty much the way I felt every single day. But I survived and I became an agent in the motion picture and television department. Started working with all kinds of clients. I went to Asia where no one else had gone yet, but no one respected anybody out of Asia.
So I thought, okay, that's a good place to go. And found this director named John Wu.
JAG: Wow.
Who was a big action director in Asia, but no one had heard of him in the States except Quentin Tarantino. And then I also was in the UK and. We're trying to sign comedy guys out and a guy named Rowan Atkinson who plays Mr. Bean. Well known. He was my first client out of the UK. So I was an agent for a while. Met my lovely wife while she was an assistant at William Morris as well. Did that for, I don't know, five years. And then I left that and formed a company with John Wu. We did Broken Arrow and Face Off and Replacement Killers and some really horrible television.
JAG: Okay. Okay. You got my attention with Broken Arrow and Face Off, two great movies. Let's be fair here. Tell me about some of the bad TV..
Chris: One of them was called Blackjack, starring Dolph Lundgren, for the USA Network. The problem with that is when you have a director who's really hot off a big movie, no one will tell him no. This isn't a good idea.
And so, I will just say that Dolph Lundgren had a problem with white, and he wore sunglasses throughout the whole thing because of course if he took the sunglasses off, it's all white. He gets woozy, there you go. So the final scene. It's one of the worst final scenes, which is why people flock to it now, to see it. Where do you think, if you have a problem with white, where is the worst place to have the finale? The big shootout?
JAG: I would say, Midday, Old West. I don't know.
Chris: I won't keep you in suspense, John thought a dairy would be the ideal place to have the final shootout.
JAG: Oh, all that white!
Chris: Masssive, massive tanks of milk, that inevitably were gonna be shot up. And they were gonna be knee deep in whole milk. Pasteurized, homogenized vitamin D enhanced milk.
JAG: I don't have an eye problem with milk, but the lactose issue is starting to make my stomach turn a little bit here. .
Chris: Yes. Yes. And of course the sunglasses fall off, as you do in the final scene. So Dolph is woozy. What's gonna save him? Because he's gotta shoot all these bad guys. Fortunately the kid that he's saving is on his back. And tells him where to look, which direction to go.
JAG: Oh my god.
Chris: Yeah, I know. It just went from bad to worse to whatever.
JAG: Is this on YouTube? Can we link to this in the show notes or?
Chris: You know what? I don't know. It's not something I've looked for, but I have had friends watch it just so they can bring it up to me and just torment me.
JAG: This is after Rocky IV and "I must break you and all that." So he was well known at that point or?
Chris: It was, he was, one of the reasons he got cast. First of all, he is a lovely guy, but second of all, he was supposed to have been really big foreign . And so that's what they were saying, look, we could really use that slice of money and we have a much better chance of getting this show to go to series if we had the foreign money.
JAG: Oh, okay. Interesting.
Chris: So that was one of the appeals of going with Dolph.
JAG: So what was next for you career wise, Chris?
Chris: I briefly got into an internet venture as the internet was crumbling. And then went to New Line Cinema where I was a senior VP of production. Developed several films there, worked on what was gonna be the next installment of Rush Hour.
Got Sean Connery for a movie that everybody was really excited to have S ir Sean. And then one day I walked in, and the head of New Line, because they had done another heist movie recently with Brett Rattner that took place on a cruise ship that bombed. They said we're not making this heist movie.
But they already had a deal with Sean. And then I'm like who's gonna tell 'em because you don't want me, and of course yeah. They all looked at me and they' re like, you're the sacrificial lamb. Yeah, that didn't go down extraordinarily well. And at some point in our relationship Sir Sean told me I did things ass backwards.
So I got a shellacking from Sir Sean which is a highlight of my career.
JAG: Picturing this in the context of the Will Ferrell Celebrity Jeopardy impression. I'm picturing that that's the thing that comes to mind for me. I'll take swords for 400. That's, that's s words.
Chris: He called me once as we're preparing for this movie. He wanted to meet the director, and I said, I don't know if the director is available. Let me find out. And he says I've got all these flights in place and I'm traveling and I don't want to change anything unless the meeting is for sure. And I said, that's absolutely the way I feel. I have absolutely no idea if this guy is available, please let me find out, but don't change anything.
Next morning comes, Sean calls me and says, okay, I've changed everything . Where's the meeting? And I'm like, he's not available. And I'm like, but we just had a conversation and now he's mad at me. We just said, don't change anything. And he changed it all. And I'm like, this isn't your first movie,
So yeah. I've had moments in my career when I was an agent, even Mel Brooks yelled at me. That was fun. Actually it was fun. Yeah.
JAG: I'd imagine it would be with Mel Brooks.
Chris: I did. I made my assistant hang up what she was doing, and I said, you gotta pick up the phone. He's like ripping me a new one. But it's Mel Brooks.
JAG: I would imagine it was at least funny when he was ripping you a new one.
Chris: It got to that. Initially he was really pissed, and then it got to where he was just riffing and then he finally goes, "And Godsick? What kind of name is Godsick anyway?" He just started on that. Anyway, and then I bought, when I was at New Line, I bought this thing that probably was never gonna get made, but I was really excited to buy it.
I bought Shazam. It was a really unique situation because New Line didn't own any of the DC comic titles. They were all owned by Warner Brothers. And even though, same company, New Line was the bastard stepchild, so to speak. So this was really unusual that New Line was gonna get to own a DC title.
They had Superman. Oh, I don't know. Was it the fifties? There was a big lawsuit between Shazam and Superman because they were basically the same. And even though Shazam had a lot more powers linked to the name, basically it was all about strength and flying and all that stuff. So I bought it and I developed it and it never got made because Superman prevented it from ever getting made.
And then Warner Brothers really screwed up Superman, colossally. And the guy who was the head of New Line went to Warner Brothers and. You know what, we're gonna make a big, like a big version of a superhero character and that was Shazam. So that took 15 years later for it to finally ah, oh, there's some, lot of other stuff along the way.
And I did some stuff with the military, so I've been out on submarines and planes and Kuwait and Bahrain and all kinds of places doing a lot of research on stories. And that's been probably one of the most interesting things about being a producer. And then I started writing. I haven't sold any of the scripts yet, but I've gotten some really good responses and that's been really nice to finally be able to flex those muscles.
And then I was looking for something else to do. And a friend of mine at the US Marshal Service said, you should really learn about the marshals. Come learn. And I was pretty sure that anything that's ever needed to be said about law enforcement has been said by Dick Wolf
So there was no room, but he said yeah, whatever. That might be the case. But come anyway. And I started going out on arrests or hits. As they sometimes call 'em with the Marshal service. Getting guys wanted for homicides and for some other pretty heinous crimes. . And that morphed into the idea of doing a podcast, which I am just about to put out, called Chasing Evil which is about victims and bringing bad guys to justice.
They're just some really interesting, tragic stories, but I think we present them in a kind of interesting way.
JAG: And full disclosure, I helped edit one of the episodes and it was about a girl that was kidnapped, or is that the right way to phrase it?
Chris: She was a runaway. And then they made it a little bit difficult for her to leave. But what made it really interesting and this is what happens with a lot of runaways, is that things are so bad at home that whatever they're facing out in the world, whatever circumstance they get, no matter how horrible it is and they were preparing to traffic her, it's still better than being at home.
JAG: Right. And I will tell you that episode of the podcast is a harrowing story from having heard it already. And the podcast is really gonna take you behind the scenes of some really fascinating stuff. If you're in a True Crime podcasts, I don't just say this because you and I collaborated a little bit on this, but it's a Yeah, fantastic podcast, Chasing Evil. So we'll link to that in the show notes.
Chris: Thank you very much, sir. And even if you're not into true crime podcasts.
JAG: If you're into throwing a bone to fellow JPZ alumni, take a listen to the Chasing Evil podcast.
Chris: If you're into meditation, this'll be the podcast for you,
JAG: When you and I met in Nashville, Chris, you told me about your experience working on a show that most of us listening know, which is Veep with Julia Louis-Dreyfus.
Chris: Yes. That was a wild experience. But I was lucky enough to meet Armando Iannucci who had created The Thick of It, which was a political satire that had gained a lot of critical acclaim in the UK and he wanted to do another political satire. And.I was put together by his manager in the UK who also represented Rowan Atkinson.
And we set about setting up a political satire and we went to HBO, who was well aware of The Thick of it, and set up a political satire that took place in the State Department. And they were like, great, okay. State Department, that'll be interesting. Let us know what it's about. And then about two weeks later, he called me and goes, “It's not the State Department, it's the White House.”
It's the Vice President and the Vice President's a woman. And it was one of those very, very few eureka moments, that you say to yourself, that is, ridiculously brilliant. Because as everyone knows, the VP has almost no power. If the president dies, the VP steps in.
If there's a tie in the Senate, they break the tie. Other than that, All the power that the Vice President has is negotiated with the President's office. So that, of course, is ripe for comedy. So it really came out well. And Julia, we had a long list of actresses. I mean from everybody you can imagine. And Julia was the first meeting. The very first meeting, and that went on for about two and a half hours. It was Armando, Julia, and I. And afterward I was like, wow, that she is extraordinarily impressive, knows your work, really understands the humor. We got a lot of meetings ahead of us, and he goes no, we don't.
I said, what do you mean? He goes, I'm done. Normally the casting process can take several weeks, a month, two months. This took about three hours. And he was, yeah, absolutely. Very firmly. I am done. She's my girl. And as they say, the rest is history. And it was very critically acclaimed, got a couple of awards. I'm not the only JPZ alum to have won Emmy's.
I think there's several. What a talented group. I was on it for, including the pilot, probably six, seven years.. And for the first five seasons. And it was fantastic.
I once took, A meeting that I had, I went to the Vice President's house. I went to Biden's house. Biden had this thing called Biden's Beach Bash.
And it was held at the Vice President's house which is located at the Naval Observatory. They had a band and food and buoys and some sand. And it was a huge deal. It was great. So someone said to me, do you wanna go meet the VP? And I said sure. Syracuse guy, right?
JAG: Yeah. Why not, right?
Chris: Yeah. Why not? Syracuse guy. So you fill out a card and then you stand in this little bit of a line and you're at the house. So it's not a real long line. And someone takes the card, looks at the card, whispers in his ear a little bit and makes the introduction as to who you are.
And he lights up and he says, "Chris, I am so glad you're here!" And I'm like, God, damnit, I think he means it! He was so good at greeting me as well as Dr. Biden, that I'm like, he's been waiting all day just to meet me! That was great. So I took that back to the writers. And I said, look, I gotta tell you about this experience I had.
And they wrote it into a wonderful scene where, I don't know if you remember, I can't even remember what season it was in, where she is greeting people at a party. There's a line, and Gary is standing behind her and whispering into her ear who each person is as they walk up. And it's a great scene. And it happened because I told him about my experience at the Biden Beach Bash.
And it was great. They were able to do that. They would see things. They would make changes to the script on the fly. So it was a really energetic and creative experience.
JAG: That's a great story. Chris, as we start to wrap up here, are there lessons that you can think of that you learned working at JPZ that have served you well throughout this wild and crazy career you've walked us through this last half hour?
Chris: It's obviously no secret that I can chat for an extraordinarily long period of time. But a friend of mine, who was in the army, told me about three tenets that they live by, and I said, that's not dissimilar to being on the air. And that was: be brief, be brilliant and be gone.
And you got 10 seconds. That's exactly what you're trying to accomplish in those seconds. And that is a lesson that I did take away because there was so much of being an agent and a producer, but in particular there was so much phone conversation. There's so much relationship building and by and large, unlike this podcast, people don't really want to hear what I have to say.
Part of establishing a rapport as an agent is listening to what they have to say, and therefore, what I say has to be brief, has to be brilliant. And then I'm gonna get outta their hair. . And so I have thought about that a lot. And those are the lessons that you do learn when you're just about to hit that button.
You know how much time you have, you want to hit that post, you want to knock that post out of the park. And I loved trying to hit the post.
JAG: I worked with a guy in Vermont who would always, when he would just crush one, he'd be like, somebody call an ambulance! I just hit a post! Call me the postmaster general!
Yeah. All that kind of stuff. For sure. Yeah.
Chris: Yeah. If I knew it every time I hit a post, I would've just done a mic drop. And that's how it's done. But that is actually a lesson that I have thought about and I take from radio. That and the friends.
JAG: That's my last question for you. Some of the people that you're in contact with from JPZ to this day?
Chris: Yeah. I don't know what it says about me. Almost all my friends from Syracuse are from JPZ. I didn't join a fraternity.There were a lot of people who did not have a face for radio that worked at JPZ. And I had two lovely relationships with ladies that I met at JPZ. And I also, from Chris Bungo, Rocco, Mary, Julie, Happy Dave, you, Dave Peterman, Steve Donovan, Phil Locascio. The list is endless, but these are the people I gravitated toward. And these are the people that I value enough to have relationships with today. And Syracuse seems so long ago. People say what was the best thing about your school?
Cause I went to a very good school in New York City and it's like any place. It's the friends I took away. It's the lifelong friends that I made and I made a lot of lifelong friends at Z89.
JAG: That is a great place to leave it. Chris Godsick, Class of 87. Thank you so much for your time today. It's been fun chatting with you.
Chris: Thanks very much Jag. I'll see you in March. Perhaps.
JAG: Look forward to it.