Another Historical Site of Interest

I always assume that many of the readers of this site are interested in the history of Houston beyond just the history of radio and television, hence the section on the sidebar devoted to History Links. Here's another site I just learned about, a personal reminiscence of growing up in Houston, primarily in the 50s and 60s. It's a great collection of photos and facts drawn from many different sources and tied together with a narrative. I particularly appreciate the fact that the sources are always documented; too many people assume anything they find on the web they can use as though it was their own without crediting or asking permission. (Yes, there is some material from this site on there).

For those just interested in broadcast history, there's material related to radio on the page entitled The End of the Journey. Material concerning Houston TV in that era is on the page entitled More Life in Houston. And some of Marving Zindler's career is detailed on the page entitled More Memories.

Classic TV discussion - 11/18/11

---

I've been contacted very belatedly about this and thought I would pass it on. Tonight, Fri 11/18/11, at 8 pm on Channel 8, Ernie Manouse leads a panel discussion "A Conversation On…Classic Houston TV," discussing Houston television's past with Doug Johnson, Warner Roberts, Jan Glenn, Jim Bernhard and Harold Gunn.

I'm hoping for some juicy behind-the-scenes tidbits.

A Conversation On...

Update: It was a great show including not only fascinating tidbits but clips of some classic moments/bloopers. I wish I'd had more time to promote it. I'm sure there will be re-airings.

Congratulations to Dave Ward

Celebrating 45 years at KTRK-TV on Wednesday, November 9, 2011, and now a Houston institution. A tribute from the Chronicle, a bit of history and some old pictures in a slide show.

Quite a record - congratulations Dave.

'Crash' Collins - KLOL - RIP

Yet another obituary, from 29-95.

Roy Lemons - RIP

I happened across news of Lemons passing on the internet. The name probably does not ring a bell with many in Houston radio today but he was with one of the most important stations in the 60s - KIKK. He wrote me a few years ago and filled in some valuable information on both KRCT and KIKK.

Here is an online obituary.

Bill Zak - RIP

Sad to report on the passing of yet another long-time Houston radio man, Bill Zak of KTRH.

Here is the obituary in the Chronicle.

I have found references indicating he started at KTRH in the 1940s; others say the early 1950s. I have found a Billboard reference that seems to indicate he was a disc jockey back in the day when KTRH interspersed CBS network programming with local music shows; however, given the cryptic style of Billboard, it's not entirely clear he was a disc jockey. But he will be most easily remembered by most for hosting 'Garden Line' with Dr. Ben Oldag, who died less than a year ago.

Here is a tribute that I found a long time ago, entered into the House of Representatives Congressional Record by Representative Jack Fields, on the occasion of Zak's retirement.

A KILT Tour - 1961

My correspondent, John Hill, has provided me with a wealth of information about KILT in the early 1960s, including a description of the equipment in use at this time. This is fascinating information for radio and equipment geeks and for everyone who worked in the McLendon building over the years, and so I am reproducing it here as John related it to me. Note: KILT first occupied the facility in 1957 and moved out in 1995. Although the building is still standing, there is no broadcast equipment or operation at this location now.

In 1961, the KOST-FM (now KILT-FM) transmitter, a Gates 5KW kit, was located in the engineering workshop on the 2nd floor of the McLendon Building at 500 Lovett Blvd. The antenna was a 4-bay horizontally polarized "V" array atop the tower immediately behind the building. The UHF (News COMM) antenna was also mounted on the tower.

We ran KOST-FM from 6-midnight (the minimum time to keep a license current) and John Trotter would sign it on as "This is KOST'n KILT in Houston. At the time, KOST was "costing" KILT but, Gordon McLendon had the foresight to know what a more significant role FM would play in the future of broadcasting.

There was a lot of old paperwork at the AM transmitter site that indicated it was the original site. The Collins 5V main transmitter, and the 1V back-up transmitter, were not original. Since the McLendon's were pro-Collins, I'll guess the Collins gear was installed after they purchased the station. The antenna phasing cabinet, between the two transmitters, was earlier vintage than the Collins transmitters, but had been well maintained. The board and turntables at the transmitter site were definitely 'early marriage.'

With regard to the studio layout at the McLendon building, as you looked at the building, there were two sides. KILT occupied the left side. (John believes an insurance company occupied the right half of the building). The receptionist, copy, sales and management offices were on the first floor. The stairway, near the left front lobby glass window before the atrium, went upstairs to the studios.

On the second floor, the break room faced Lovett Blvd. Following the hallway toward the back of the building, on the left, there was the newsroom, On-Air studio #1, another much larger studio that we called "Studio B," On-Air studio #2/Recording Studio/Master Control Room, Engineering Office, and Engineering Shop. The right side of that hallway was solid wall.

Between the Newsroom and Studio #1, there was a double glass window so that the on-air newsman and on-air DJ were facing each for "tighter" production. Both had their boards in front of them.

There was another double glass window between Studio 1 and Studio B, which had a table and chairs. The back wall of Studio B had a double glass window so those at the table (voice talent) were normally looking up and through the double glass to the recording engineer, who had a board in front of him. Or, when in Studio B, the on-air DJ would have eye contact with me as I operated the on-air board in #1, there again for hand signals, nods...whatever cue, for tighter production.

With all that glass, we had visibility from the Master Control Room to the Newsroom so that the on-air newsman had eye contact with whomever was at the board of the Master. (In those instances, lights were usually turned off in Studios #1 and B...otherwise field glasses helped!)

Occasionally, the on-air jock would be in Studio B and I would be operating the on-air board while the jock was (usually) doing an interview, such as the train wreck we had when Dean Martin and Jerry Lewis came in. (We finally had to break that off, get John Trotter back in the on-air #1 and tape the interview which took over an hour for a 10 minute "clean" interview...not to mention the tape edit time). All our interviews were...uh, interesting.?!!

Equipment-wise, the Newsroom had 5-Model 19 teletypes, 4 on line and a back-up, a Collins board, several rack mounted recorders, patch panels, a Collins cartridge playback machine and our UHF transmitter/receiver for mobile news unit COMM.

On-Air #1 had a Collins board, 4 Gates turntables, 4 Collins cartridge playback machines, a rack/cabinet mounted Schaffer remote control system (AM transmitter remote controls), an FM transmitter control panel, and a rotating cartridge bin. It was pretty much a full house.

Studio B was for voice work only; it had a table with several phased mics, two wall mounted play-back speakers and about a dozen chairs. It was more like a small conference room.

On-Air #2/Recording Studio/Master Control had a Collins board, 2 Gates turntables, 2 Ampex 361 recorders on wheels, 2 Collins ATC record/playback machines, two racks with patch panels, McIntosh audio amplifiers and two rack mounted receivers for on-air monitoring. (The DJ was listening to the AM receiver, rather than his console output, so we would have another indicator if we went off the air.) On the back wall we had a cabinet with a disc cutter, its McIntosh driver amplifier and our cartridge and tape erasing devices, all of which I'm sure are long since dust-biters.

The engineering office was rather small with a desk, chairs and filing cabinets.

In the engineering shop, there was the 5KW KOST-FM Gates transmitter and the controls for the natural gas powered Onan generator that was mounted inside the FM tower base behind the building. There was also a sizable work bench with various test equipment and spare parts bins.

We replaced the older cartridge machines and all studio mics with the relatively new Collins ATC's and Telefunken microphones that were removed from the M/V Mi Amigo, which was home to McLendon’s ‘pirate’ radio ship operation off the coast of Norway, when Radio Nord was disassembled at Pier 37 in Galveston. KILT was the recipient of a good bit of studio gear.

Note: Although it was not a Houston radio station, its connection to Gordon McLendon and KILT warrants more information; for more on Radio Nord and it’s successor ship, see:

Radio Nord in Wikipedia

Pictures of Radio Nord, more pictures, and still more pictures.

Radio Atlanta in Wikipedia

Note: the Soundscapes site says the ship was outfitted at Copenhagen; John was told it was outfitted at Galveston by KILT transmitter supervisor Frank Maher. This was before John joined the station. Although both operations were referred to as 'pirate' radio stations, both actually operated under the laws of that time.

See also the KILT staff directory, the story of Bob Horn/Bob Adams, and the Hooper Ratings for this era.

Red Jones - KILT

Another KILT Ex has checked in.

Red Jones worked for KILT from 1957 to 1962, with a stint as Program director from ‘59 to ‘62. He got out of the Army in September, 1956, and joined KXYZ doing evenings in November of that year, working with Chuck Dunaway and Larry Kane among others. About a month after KILT signed on in March, ‘57, Don Keyes hired Red to do overnights but he soon moved up to Noon to 3 pm. After Keyes left to go back to Dallas, Jack Sharp was PD; Red replaced him in 1959 and moved to 3pm-7pm for the rest of his time in Houston.

Red says when he made PD, Bill Weaver told him ‘You run the upstairs and I’ll run the downstairs’ and he never went back on his word. As far as he remembers, they never had staff meetings - everybody did their own thing and it paid off. They had great Hooper and Pulse numbers and a dominant staff including the likes of John Trotter, Rob McLeod, Bob Presley, Bill Slater, Joel A Spivak., Cecil Tuck, John Land, and Thom Beck. Glen Cook was CE and Hank Poole was production engineer. It was fun times according to Red (and fun to listen to, too).

He was invited to interview for a gig at WABC, New York, and did. He didn’t get the job but when KILT heard about it he was ‘eased out.’ News Director Cecil Tuck took over as PD for a brief spell.

Red was hired by Kent Burkhart, another KILT alumnus, as PD of WQXI, Atlanta, and spent the rest of his career in Georgia radio. He’s retired now after 63 years in radio and living in Georgia. He was inducted into the Georgia Radio Museum and Hall of Fame in 2008 and recently celebrated his 80th birthday, still going strong.

His Georgia Radio Museum and Hall of Fame page (a much more impressive site than out TRHOF) contains more biographical information about his early years in South Texas and Austin and his stint with AFN in Germany before coming to Houston, plus much more about his long career in radio in Georgia, in a collection of clippings from his career.

The picture above is from the GRHOF site.

A KILT Footrace

J.R. Gonzales' Bayou City History blog in the Chronicle has posted a story about a big promotional event staged by KILT in the Astrodome in 1969 between Roy Hofheinz, owner of the Astros, and Mayor Louie Welch, a foot race to promote physical fitness and the KILT Jog Corps.

The Great Indoor Contest

It's a great little story about an event I never had heard of with pictures of Hudson and Harrigan and probably some other KILT staffers of that day.

Weaver Morrow - RIP

I am very shocked and saddened to report the passing of Weaver Morrow, longtime Houston radio man. I first met Weaver in the first week of September, 1970, during the first days of KAUM. He was a Houston Radio Legend from the first moment he cracked the mic; his humor turned the market upside down and was a huge part of the success of KAUM - and we were the most successful of the ABC-FMs, at least at first. Radio people came from all over to hear what we were doing that had vaulted us from something like 27th to 7th in the ratings in one rating period. The ABC execs in NY suggested moving him to afternoons, when more of our audience would likely be awake; they listened regularly and so did the other ABC-FM PDs. Everyone loved him. I was so disappointed when he first left the market and glad when he returned. He had long stints at KRBE-FM and KODA-FM.

Chronicle obituary and services

Elvis in Houston - the Venues, the DJs

James V. Roy is a researcher who has put together a website devoted to Scotty Moore, the legendary guitarist and first personal manager of Elvis Presley. His very comprehensive article on Elvis' early appearances in Houston, before he became a national star, is a very fascinating account of the venues Elvis played at as well as mentioning many of the DJs and radio stations that were very involved in live music back then and makes very good reading related to this blog.

Bob Horn/Philly Bandstand - Bob Adams/KILT

This is a story I only recently learned of, a small part of Houston radio history, brought to my attention by John Hill. It’s the story of how the creator of Bandstand, as in American Bandstand, wound up a deejay on KILT, then an ad agency and bar owner in Houston.

The details have been spelled out, not without contradictions, in several accounts online and in a book, Bandstand: The Untold Story, by Stan Blitz.

Briefly, Bob Horn was a popular deejay on Philadelphia’s WIP in the late 40s with a late nite program called ‘C’mon And Dance.’ He was hired away by rival WFIL to create a similar show on that station which became known as Bob Horn’s Bandstand. He also got his first taste of TV, hosting a game show that bombed.

It’s not clear who’s idea it was but the late nite radio show was given a television spinoff on WFIL-TV, also called Bob Horn’s Bandstand, which featured Horn introducing film clips of artists performing their songs and occasional interviews with artists passing through Philly. It bombed, and was taken off the air after a month and the station started running movies in its stead.

Conflicting claims have been made as to whether station management or Horn himself suggested the show be moved to a larger studio and teens invited in to dance on-air, but the idea went over with management and a new version of Bob Horn’s Bandstand premiered on WFIL-TV on October 7, 1952, heavily promoted by the radio and TV outlets and their parent, the Philadelphia Inquirer. Teens were slow to respond on the first day but by the third day, it was said there were a thousand waiting to get into the studio and Bob Horn’s Bandstand was on it’s way. The first advertiser was Earl ‘Madman’ Muntz of Muntz television fame.

Over the next four years, the show garnered as much as 60% of the daytime Philly TV audience according to some accounts and caught the attention of TV executives elsewhere. There was even talk of going national. Early on, the teens danced to artists like Joni James and Frankie Laine but as the music changed during the decade, so did the show. At times it ran as long as two hours a day, five days a week, all done live.

Then in 1956, Horn’s career hit a couple of major road bumps. First, the Philly PD, the Inquirer and WFIL-TV were conducting a month-long drive against drunk driving and Bob Horn was caught driving drunk and assessed a $300 fine. Then he was involved in a minor accident driving the wrong way on a one way street, resulting in some injuries. He was adjudged intoxicated, but not enough to impair his driving, and his insurance company paid $100,000 in claims.

In addition charges of statutory rape were brought against him by a teen-aged dancer or would be dancer on the show. Horn’s family has said there was an extortion attempt that preceded the charges and the prosecutors knew of it and cooperated in amassing the money for the payoff but took the case to court anyway. A first trial resulted in a hung jury while a second trial found Horn innocent.

But he was finished in Philly radio and TV. He had been taken off Bandstand and a producer had filled in as host for a short time while the station sifted through it’s other deejays for a replacement, finally selecting a 26 year old named Dick Clark, who had to be given a crash course in rock ‘n roll. A year after taking over for Horn, Clark pitched the show to ABC which picked it up for a trial run then took it on as a permanent fixture of their afternoon schedule, renaming the show American Bandstand.

Meanwhile, Horn was out of work when an old employer, Gordon McLendon, called. He had heard of Horn’s predicament and offered him a job at his new station in Houston. Horn accepted and made the trek across country, changing his name to Bob Adams for his new career.

According to the schedule published in the Chronicle, March 14, 1957, Bob Adams was on the air from 9pm to Midnight on the first day of the new station. In an accompanying article, Bill Weaver was quoted as naming Bob Adams as one of the new announcers but also mentioned other deejays who would be joining the staff, including Bob Horn of Philadelphia. One of the online accounts of Horn’s life says he didn’t get to Houston until July of 1957. It’s not known if the Chronicle reporter misunderstood Weaver or if someone else began the use of the name Bob Adams on KILT, but it didn’t matter much, because Horn/Adams didn’t last long as an announcer on KILT. His East Coast style didn’t sit well with KILT’s audience and he was taken off the air and put in sales before long, becoming according to one account the top producer in the KILT sales staff. It was said the audience may not have liked his sound but advertisers loved hearing his stories of how he created Bandstand.

Eventually he left the station and opened his own agency, Bob Adams Associates, credited with creating Houston’s first Midnight Madness Sale. He also bought a ranch in the country and a bar in Bellaire called the Town and Country Lounge. John Hill’s contact with Adams came when he visited the recording studio that John ran at the back of the second floor of the McLendon Building at 500 Lovett Blvd. to record spots for his clients. He preferred to use Bob Presley and Rob McLeod to voice his spots.

Bob Adams life seemed to be going very well in Houston until the summer of 1966 when he suffered a heat-stroke induced heart attack while mowing his lawn and died. He is buried at Forest Park on Lawndale where his simple grave marker includes the epitaph ‘Bandstand.’

The History of Rock website has the most thorough account of Horn’s career, including photos, reproductions of newspaper clippings concerning the trials, and a shot of the grave marker. The original article is in bold while additions to the story credited to Peter Horn, Bob Horn’s son, are in un-bold typeface.

Philadelphia’s City Paper did a story on American Bandstand for the fortieth anniversary a few years back including some references to the early incarnation of Bandstand, and this article in the Tucson Sun introduced me to Stan Blitz and his book, which I have not seen.

I’m hoping some readers of this blog who were around back then, those who were just listeners or old radio pros or advertisers, can provide some more details of his career in Houston. I wonder, for instance, if any of the local TV teen dance show hosts, Larry Kane, Bob Byron, etc., knew of his role in the creation of the genre and ever conferred with him and where his bar was.

Larry Kane Show Clips

I've heard from Bud Buschardt, a graduate in RTV from the University of Houston who worked at KUHF and KUHT and went on to a long career at WFAA-TV and KVIL, Dallas, and then the ABC Radio Networks. He now teaches communications classes at the University of North Texas and was inducted into the Texas Radio Hall of Fame in 2010.

Buschardt has talked to his friend and classmate Kerry Richards who was the director of the Kane show beginning in the mid-60s and who confirmed that the tapes of the show were destroyed while in storage in an un-air conditioned warehouse. The only videos known to exist are those that were traded with stations in other markets that were doing similar teen shows. One such clip was provided by Buschardt to Ovid Stevens, a member of the 1960s Dallas psychedelic rock group Southwest FOB. Stevens has posted the clip on YouTube. The song was produced by Buschardt's record company. Kane's mention of the smash hit Harper Valley PTA dates this clip to the spring of 1968.



Stevens was the guitarist and founder of the group which also included Dan Seals and John Colley. Seals was the younger brother of Jim Seals of Seals and Croft; he and Colley teamed up to form the soft rock group England Dan and John Ford Coley in the 1970s. After the group disbanded, Seals had a lengthy solo career as a country artist and died in March, 2009.

There is also an edited version of the clip which runs only 59 seconds and shows only Kane's intro to the band and his interview with members afterwards.



Since this Blogger template unfortunately does not accommodate YouTube videos, here are the links. The long version has been uploaded a couple of times; here's the original upload by Ovid Stevens with comments. And the shorter version.

There is also a 9 minute clip in black and white with KUHT leader posted by Jay Dooling, one of the dancers on the show. This was filmed while the show was still being broadcast from studios on the UH campus at the facility on Cullen Blvd. that that had been the original home of KNUZ-TV and later became the long time home of KUHT. Buschardt believes the episode dates from January, 1963. Two dancers, Dooling and his partner Mary Ann Masters, are tagged in the video, about half way through. This one shows only the dancers, however, Kane's appearances are edited out.

The dancers on the Kane show had to take dancing lessons before they could appear and their talent is clearly showcased, especially in some of the uptempo numbers near the end of the clip.

Still another 14 minute clip consists of home movies of a couple on the show; it's in color but the video is poor and there's no audio.

ETA:  Here's a YouTube video clip of a segment of KTRK's Good Morning Houston featuring an interview with Kane with Don Nelson and Hank Moore with lots of brief videos from the show.

If anybody knows of any other clips online please let me know.

KILT Staff DIrectory

I have been corresponding with John Hill, CSRTE, an engineer at KILT from 1960 to 1964, who has been filling me in on a lot of facts and data from that era. He lost almost all his family, musical career and radio memorabilia thanks to tropical storm Claudette in 1979 and only a few pieces survive, among them a staff directory. I have organized it by department instead of alphabetically and added a few facts on some of the personalities I have from my own research.


Beverly Bales - Secretary to GM
Sabra Hall - General office
Dino Thompson - Receptionist

Bruno Leonardt - Sales Manager
Paul Fielding, Dickie Rosenfeld, Charlie Trub and Ted Van Brunt - Sales
Sue Reid - Sales Secretary
Sandra Arnold - Traffic
Barbara Van Horn - Continuity

Glenn Cook - Chief Engineer
John Hill - Recording Engineer
Tim Milton Kingston - Transmitter Engineer
Frank J Maher - Transmitter Superintendent

Rob McLeod - Program Director
Chuck Benson - Assistant to the PD
Gene Kelly, Dick Lahm, Bob Presley, Bill Slater, John Trotter - Disc Jockeys
Milton Allen (Graves) - Weekend Disc Jockey

Cecil Tuck - News Director, Program Manager
Thom Beck - News Editor
Dick Dobbin, Rick Eiser, Gary Fuller - Newsmen

Reed Robinson, Larry Thomas - Porters

Missing from the list was Bill Weaver, General Manager.

Also missing were two other transmitter engineers, Bryan Burne and Sam Warren, working at the transmitter on West Rd., west of the Dallas highway (US 75/I-45).

As John remembers it at the time of this list, the air shifts were: Gene Kelly, Midnight to 6 A. M.; Chuck Benson 6-9 AM; Rob McLeod 9-12 Noon; Bob Presley from 12 Noon-3 P. M. (with his KILT Pool & Patio show); Bill Slater 3-6 P. M.; "Honest John" Trotter 6 PM.-Midnight.

I had in my notes from the Chronicle that Trotter had been brought in to do mornings in January, 1961, replacing Joel A. Spivak, I believe, but was demoted to the 6 to Midnight shift as a way of suggesting it was time for him to leave. He did shortly thereafter for KEWB in Oakland, CA. In 1965 he was one of the original group of Western Gentlemen who brought country music radio to WJJD, Chicago and later he worked at KBOX, Dallas. He died in Abilene in 1976 and was inducted into the Country Radio Broadcasters DJ and Radio Hall of Fame in 1996.

Bob Presley went on to a long career in Houston radio at KPRC and KILT.

Bill Weaver left KILT to work for Cap Cities Broadcasting in 1966; he had married his secretary. He touched base with John in Nashville in 1982 at which time he was Executive Vice President at WWCO, a 24 hour station in Waterbury, CT. He died in retirement in San Antonio in February, 2008.

Both Bob Presley and Bill Weaver were inducted into the Texas Radio Hall of Fame in 2003.

Milton Allen (Graves) left for WNOE, New Orleans, one of McLendon's wife's stations; Chuck Benson left for WGR in Buffalo, NY, followed by Bill Slater. John left shortly thereafter, too. After WGR, Bill Slater went to KFWB, Los Angeles (64-65), KRLA (64-67), and KPPC (69-70) according to a Los Angeles radio website. He died in 2002 at age 67 and there were probably some other radio gigs. I have not had any luck finding more information about the other personalities and will appreciate hearing from anyone who can fill in the details of their careers.

See also the Hooper Ratings for the Houston market from this era, courtesy of John. There will be more posts on the blog soon based on the communications I'm having with John.

Updated 7/29/11.

Hooper Ratings - December, 1961 - January, 1962

The Ratings are in!

KNUZ was still doing quite well vs. KILT with it's 250 watts; second place ain't bad. Note only two FMs showed up.

Thanks to John B. Hill, an engineer at KILT from 1960-1964, for sharing these. John has shared some other memorabilia from that era and filled in some facts and anecdotes about the McLendon operation, both AM and FM. See the KILT Staff Directory from this era here; there more published on this blog in the near future.

Joel A. Spivak, RIP

I'm a little late with this but just recently came across the news myself.

The Washington Post obituary.

This is not a name familiar to many today, probably, but if you were around Houston radio in the late 50s early 60s, especially if you were a teen and listened to KILT, you'll remember Joel. I remember him doing evenings on KILT; he was my favorite jock of all the voices brought to town by Gordon McLendon when he purchased KLBS. Later he did mornings before being demoted again to evenings and then leaving town. I believe he left once in the late 50s to join Eliot Field at KFWB in Los Angeles from what I've read. He was low key, funny, weird, sardonic, in an era before boss jocks. There's one anecdote in the obit about his career in Houston and I'll have a few more in an upcoming article from a former co-worker. I remember the time he joined the Salt Grass Trail Ride, broadcasting his show each evening from along the trail, one night from the studios of KWHI, Brenham, after it had signed off. I lived to hear his faux commercials, especially a running series about Polly Pelham Pizza - "look for it wrapped in old newspaper in the freezer section of a grocery near me."

ETA:  Here is another obituary and resume from the Campaign for Tobacco Free Kids, which Spivak worked for in his final years.  The link includes not only more detail on Spivak's antics in Houston but also an embedded link to an extended excerpt from Marc Fisher's Something in the Air:  Radio,  Rock, and the Revolution That Shaped a Generation with much about the launch of Top 40 radio, Todd Storz and Gordon McLendon.  The excerpt is worth reading even if it didn't mention Spivak or KILT.

KPRC-TV Memories

I found this video clip on HAIF of a recent Channel 2 reunion. Never having worked at 2 nor in television anywhere in Houston, I recognize only a few of the former air personnel but some of the stories are interesting.

UPDATE 1/20: AS EXPLAINED ON THE LINK, THE VIDEO WAS TAKEN DOWN BY YOUTUBE DUE TO A COPYRIGHT COMPLAINT.