| Appendix M Humorous Christmas CarolsNo sooner than a popular poem or song becomes popular, you can expect to see or hear a parody of it somewhere. This is hardly a new phenomena. One of the first known "take-off" of A Visit From St. Nicholas (popularly known as ‘Twas the night before Christmas) appeared within a decade of the first publication. These parodies have been written by numerous individuals; one currently finds attribution to Howard Ryan, R. L. Gunn, "Christmas" Carol Blake, Dave "Candy Coin" Cash, Erica Avery, Mark Roberts, Leah Roberts, LeAnne Davis, Scott Davis, Patricia Shaffer, Matt Magnasco, Morley Dotes, Bill Dekle, Eric Cooper, Will Hartje, Chris Duel, Kip Adotta, Bob "Grandpa "Tucker, C. Jarboe, W. P. Max, and D. M. Goldstein. But one of the most prolific writers of humorous Christmas carols is Bob Rivers, a Seattle, Washington radio personality. In addition to parodies of Christmas songs, Bob has written, recorded and issued numerous other parodies of songs. He currently has 19 CDs of parodies, five of which are Christmas parodies (The "Boxed Set" contains Twisted Christmas and I Am Santa Claus). A bio prepared by Bob Rivers follows:
I have a long radio history which began at age 7, when I saw my first radio broadcaster doing a live remote from the grand opening of the W T Grant store in Branford. CT. I think his name was "TJ Martin". I was instantly hooked on radio. I noticed he made his living by listening to music, speaking to millions of people in a playful way, and best of all, he did it all while sitting down. The Radio Station was WAVZ, New Haven. It was programmed by a guy named Les Garland (who later went on to be one of the founders of MTV). This was top 40 radio. The jocks never talked for more than 8 seconds, and nearly everything they said was written out for them on these 5 X 8 index cards they called "Liners". All you needed to be a big star was a deep voice and basic reading skills. I knew for absolute sure at that age that I could do this. Since I was only 7 at the time, I would have to wait for the deep voice. But I did not wait that long to practice. I started listening to the radio and mimicking the phrases and voices I heard. I would announce to everyone that it was a "Solid Gold Weekend on 1340, WNHC" and that it was going to be "Partly Cloudy with a high of 56". I was a loner and did not have many friends. When I was 14 years old I joined a Junior Achievement Club at WNHC that actually let High School students broadcast for a half hour on Sunday Morning. I was on the air! My voice had not changed yet, but that didn't matter. I would practice practice practice reading news copy. I was such a pain in the butt to every employee at that station that most would quickly pretend to be busy if they saw me coming. One day a guy named "Pete Moss" (his real name was Gary Peters, but in those days you had to have a wacky name) told me I would have a great future in broadcasting. When I was about 15, a high school buddy named Jeff Colter built me a bootleg radio transmitter. It was strong enough to broadcast to my whole town of Branford, CT. I set up a little closet in the basement with two turntables, a crude mixer, and a tape deck. I called my little underground station WBRG. It was named after my favorite food at the time: The hamburger. For the past 7 years, I've worked for a guy named Berger. Eerie coincidence. I would call my friends and tell them to tune their radios to 1610AM so they could hear my broadcasts. I gave out my home telephone number as a request line. My parents suspected that what I was doing was illegal (it was: the FCC fine was 10,000 a day), and besides, the poorly shielded transmitter interfered with the TV upstairs. I'd be in the middle of playing DJ, and my Mom would come in and pull the transmitter plug. It was embarrassing. At least I didn't get the plug pulled by the authorities, like my friend Bruce Macfarlane. Bruce was my very first radio buddy. We worked at 3 or 4 stations together and did some things that are best left unpublished. Bruce was a TV weatherman for awhile; did a soft-rock 6-10pm radio shift in New York City and then left the radio business. I think those 4 hour work days burned him out. The pressure gets to a lot of us. In the beginning of my career, I remember being proud of the fact that I'd worked in one capacity or other at 20 different stations in 5 years. Some stations I remember working at: WLIS, WAVZ, WNHC, WELI, WCDQ, WFIF, WCCC, WTOR, WYBC, WNHU, WWCO, WSAR, WTSV, WECM, WFRD, WFTQ, WAAF, WIYY, and now KISW. Half the time I was fired and the other half I quit just before they intended to fire me. My first on-air paying job lasted just 1 four hour airshift. It was on WLIS, Old Saybrook, CT. (I guess I fudged the music list a little.) I was 16 years old. When I was in my early 20's (for some reason, those years are a little fuzzy), I actually quit Radio to become a Rock Star. I figured it was even easier than radio, since Rock Stars only worked for about 90 minutes at a time, and could sleep in everyday. I loved playing music, although I was only fair at it. What I did discover was that I had a great ear. Even though I couldn't play like a genius, I could recognize talent and coax it out of others. When the time came to mix recordings, I had a vision of how it could sound. And I loved the recording studio even more than the stage. The band was called "Legend". Kind of a hokey name by today's standards, but this was back in the days of "Styx", "Journey", and "REO Speedwagon". Our drummer developed career ending tendentious , the singer had a nervous breakdown, and the band broke up. I returned to Radio, and eventually I actually kept a job. I was very fortunate to work at WAAF, Worcester/Boston for 5 years. With the encouragement of some great radio people at what is now known as NewCity Communications, I began to explore new possibilities. I became the morning show host at WAAF, mostly because they couldn't find anybody else they liked. I was there doing part time fill in, and I begged my way into the job on a trial basis. To make spare money, I would write and produce jingles for advertising clients of the station. One day management announced that they were forming ACN. "The American Comedy Network", a group of talented performers who would produce syndicated comedy for morning shows. I offered to produce any music they might need, and they called on me to record a parody they had written. It was to the tune of Neil Sedaka's "Breakin Up Is Hard To Do". The song was "Breakin' Up Is Hard On You". It was about the split up of Ma Bell. (AT&T). I recorded it with a guy named Jim Perry singing lead vocals, and my on air sidekick- Zip Zipfel played drums. It was a huge hit nationwide. I became instantly rich and famous beyond my wildest dreams. OK, so I am exaggerating a little. It peaked on the Billboard Hot 100 at #69 with an anchor. We made a few hundred dollars. But the next thing I know, I don't have time for Jingles. I am producing comedy songs for these guys at A.C.N. every week. Working with a few friends (Brian Silva and Dennis Amero), we began writing the material and selling it to them. Brian and Dennis taught me a lot about writing lyrics. And the guys who produced The American Comedy Network inspired me to do more on air than just read promo's and liners. In 1987 Brian, Dennis and I wrote "Twisted Christmas". About the same time the ABC Rock Radio Network asked me to supply syndicated song parodies for their Radio Stations. And I've been producing them every month since. They are now syndicated by the TM Century Radio Network, in Dallas TX. Today I work with a lot of very talented people. My on-air co hosts: Downtown Joe and Spike O'Neill help brainstorm and write tunes with me, and I still collaborate with Dennis and Brian back in Boston. Over the years, I have built up a database of hundreds of session players. When I need a musician or vocalist, I have a tremendous pool of talented people to choose from. There is no way I could mention them all here now, but as this page develops I hope to include more info on them. Twisted Tunes are recorded mostly in my home recording studio. It's a 24 Track basement with some nice gear. I use the old tube microphones and as many of the original instruments as possible when re creating the original sounds of a song. Source: Bob Rivers
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