“You Know What Makes Me Sick?” An Introduction to Gary Burbank, Radio’s Relentless Satirist and Beloved Voice of WLW Gary Burbank didn’t just host
“You Know What Makes Me Sick?”
An Introduction to Gary Burbank, Radio’s Relentless Satirist and Beloved Voice of WLW
Gary Burbank didn’t just host a radio show—he built a universe. From the moment his voice hit the airwaves, listeners were transported into a world of redneck philosophers, befuddled retirees, evangelical hucksters, and fictional Bengals soap operas. For over two decades on Cincinnati’s 700 WLW, Burbank redefined what radio could be: not just a medium for music or news, but a stage for character comedy, biting satire, and cultural commentary wrapped in absurdity.
Born Billy Purser in Memphis, Tennessee, Burbank’s journey from Southern disc jockey to nationally syndicated humorist was anything but linear. He was a shape-shifter—known early on as “Bill Williams” and “Johnny Apollo”—before adopting the name “Gary Burbank,” a nod to Laugh-In’s Gary Owens. But it was in Cincinnati, beginning in 1981, that Burbank found his true home and his most enduring audience. His cast of characters—Earl Pitts Uhmerikun, Gilbert Gnarley, Rev. Deuteronomy Skaggs, and many more—became daily companions to thousands, their voices etched into the morning routines and commutes of Midwestern America.
Burbank passed away on August 28, 2025, at the age of 84, after complications from dementia. His death leaves behind a legacy of laughter, sharp insight, and a body of work that deserves enshrinement in the annals of radio history. This tribute for the USA Radio Museum is not just a remembrance—it’s a celebration of a man whose radio voice made us laugh, made us think, and made his humor become a part of our daily lives. — USA Radio Museum
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Early Life and Radio Origins
From Memphis Roots to Microphone Mastery
Credit: www.heyterry.com
Before Gary Burbank became the voice of Earl Pitts or the satirical conscience of Cincinnati, he was Billy Purser—a Southern kid with a quick wit, a restless spirit, and a voice destined for radio. Born on July 29, 1941, in Memphis, Tennessee, Purser grew up in a region steeped in musical heritage and storytelling tradition. Memphis was the cradle of rock ’n’ roll, the home of Sun Records, and a city where rhythm and rebellion danced together on every street corner. That cultural backdrop would later infuse Burbank’s work with a sense of timing, tone, and theatricality that felt both familiar and fresh.
Burbank began his radio journey at KLPL in Lake Providence, Louisiana, using the air name Bill Williams. From there, he became Johnny Apollo at KUZU West Monroe, Louisiana, before landing on stations like WMPS Memphis and WWUN Jackson, Mississippi in the mid-1960s.
In 1968, he moved to WAKY Louisville, where he would officially adopt the name Gary Burbank—a playful nod to legendary announcer Gary Owens, who regularly declared he was broadcasting from “beautiful downtown Burbank” on Rowan and Martin’s Laugh-In. With a natural vocal resemblance to Owens, Burbank leaned into the persona, and Owens himself would later contribute to Burbank’s programs.
His early years weren’t marked by privilege or polish. Like many radio greats, Burbank’s path was forged through grit and improvisation. He attended Ole Miss and the University of Memphis but never graduated—opting instead to chase the airwaves. His first radio gigs came under borrowed names: “Bill Williams” and “Johnny Apollo,” monikers that allowed him to experiment with persona and performance. These early stints were more than stepping stones—they were laboratories for voice, character, and connection.
One of his most groundbreaking roles came at WDIA in Memphis, where he became the first white disc jockey on a station that primarily served Black audiences. WDIA was legendary, home to voices like Rufus Thomas and B.B. King, and Burbank’s presence there was both bold and boundary-breaking. It wasn’t just about spinning records—it was about listening, learning, and respecting the culture he was stepping into. That experience would shape his comedic sensibility, giving him a keen ear for dialect, rhythm, and the nuances of identity.
From Memphis, Burbank moved through a series of stations—each one sharpening his skills and expanding his repertoire. At WAKY in Louisville, he began to lean into satire, crafting bits that poked fun at local politics, pop culture, and the absurdities of everyday life. It was here that the seeds of his future characters were planted. He wasn’t just a DJ anymore—he was a storyteller, a satirist, and a voice actor rolled into one.
By the time he arrived at WHAS in Louisville and later at WWL in New Orleans, Burbank had become known for his sharp wit and fearless commentary. He could lampoon a mayor, parody a preacher, and still make you laugh on your morning drive. But it wasn’t until 1981, when he joined 700 WLW in Cincinnati, that Gary Burbank truly found his stage—and his audience.
The CKLW Years: Detroit’s Big 8 and Burbank’s Big Break
Before Cincinnati, There Was Windsor—And a Morning Show That Made Waves
Gary Burbank, CKLW circa 1975.
Long before WLW became his comedic playground, Gary Burbank was a morning radio titan at CKLW—“The Big 8”—broadcasting from Windsor, Ontario into the heart of Detroit. From 1974 to 1976, Burbank helmed the CKLW morning show, following in the footsteps of legendary voices like Dave Shafer, Charlie Van Dyke, and Big Jim Edwards. But Burbank didn’t just inherit the mic—he redefined the role.
CKLW was no ordinary station. It was a cultural juggernaut, a Top 40 powerhouse whose signal reached across borders and demographics. With its Drake-Chenault format and tightly produced sound, CKLW shaped the musical tastes of a generation. And into that high-octane mix stepped Burbank, bringing not just music but a growing arsenal of characters, sketches, and satirical bits that hinted at the creative explosion to come.
His time at CKLW marked a turning point. Burbank began experimenting more boldly with persona-driven comedy, blending music with monologues, prank calls, and social satire. Detroit listeners were treated to the early incarnations of voices that would later become household names. It was here that Burbank honed the timing, tone, and theatricality that would define his WLW years.
CKLW also gave Burbank a broader canvas. Broadcasting into one of America’s most diverse and dynamic cities, he absorbed the rhythms of urban life, the tensions of politics, and the absurdities of pop culture. His humor became sharper, his characters more layered. And while he would later say he never wanted to be called a “DJ,” his CKLW run proved he was more than that—he was a radio dramatist, a satirist in the making.
When he left CKLW for WWL in New Orleans and WHAS in Louisville and eventually WLW in Cincinnati, Burbank carried with him the lessons, the audience connection, and the creative momentum of those Detroit years. CKLW wasn’t just a stepping stone—it was a launchpad. And for many fans in Windsor and Detroit, those morning shows remain legendary.
CKLW | Gary Burbank | April 23, 1975
Audio Digitally Remastered by USA Radio Museum
The WLW Era: Building a Comedy Empire
Where Morning Radio Became Theater, and Satire Found Its Stage
When Gary Burbank arrived at 700 WLW in 1981, Cincinnati radio was already a force—boasting powerhouse personalities and a fiercely loyal listener base. But Burbank didn’t just join the lineup; he reshaped it. Over the next 26 years, he transformed WLW’s afternoon slot into a daily variety show of characters, sketches, and social commentary that blurred the line between radio and performance art. It wasn’t just talk—it was theater. And Burbank was its ringmaster.
At the heart of his WLW reign was a cast of fictional misfits, each voiced by Burbank himself with uncanny precision and emotional nuance. These weren’t throwaway bits—they were fully realized personas with backstories, quirks, and catchphrases that listeners could quote by heart. The most iconic of them all? Earl Pitts, Uhmerikun.
WLW (Gary Burbank) | ‘Toenails’ | Earl Pitts
Audio Digitally Enhanced by USA Radio Museum
Earl Pitts: Redneck Philosopher, Cultural Mirror
Earl Pitts wasn’t just a character—he was a phenomenon. With his signature opening line, “You know what makes me sick?” and his closing salute, “Wake up, Uhmerika!” Pitts became a daily fixture for millions. He was a satirical take on the Southern everyman: opinionated, misinformed, and hilariously earnest. Inspired by Burbank’s own stepfather, Raymond Woods, Earl Pitts embodied a kind of rural wisdom that was both absurd and oddly insightful.
Through Pitts, Burbank tackled everything from politics to pop culture, always with a wink and a punchline. The character’s popularity exploded, leading to national syndication across hundreds of stations, TV commercials, and even mock political campaigns. Pitts wasn’t just a voice—he was a brand. And Burbank, ever the craftsman, kept the satire sharp and the delivery flawless.
Gilbert Gnarley, Rev. Skaggs, and the WLW Ensemble
But Earl Pitts was just one star in Burbank’s comedic constellation. There was Gilbert Gnarley, the sweet but confused retiree who made prank calls with innocent sincerity. His calls to corporate hotlines—asking if he could use Preparation H as toothpaste or wondering if his VCR could record smells—were masterclasses in deadpan delivery.
Then came Reverend Deuteronomy Skaggs, a televangelist parody who hawked miracle cures and divine merchandise with evangelical fervor. Skaggs was Burbank’s jab at religious exploitation, and his sermons were equal parts hilarious and haunting.
Other characters included:
• Ranger Bob: A clueless park ranger with a heart of gold and a brain of oatmeal.
• Dan Buckles: A sports announcer whose play-by-play was more dramatic than the game itself.
• The Soap Opera Bengals: A serialized spoof of Cincinnati’s football team, blending locker room drama with soap opera tropes.
Each voice was distinct, each personality vivid. And all of them lived inside Burbank’s head—brought to life with nothing more than a microphone and a boundless imagination.
Satire with Teeth: Local Legends and National Laughs
Burbank’s comedy wasn’t just character-driven—it was topical, timely, and fearless. He lampooned local figures like Jerry Springer (then mayor of Cincinnati) and Marge Schott (owner of the Reds), often pushing boundaries that other hosts wouldn’t dare touch. His sketches tackled race, religion, politics, and media with a sharpness that earned both praise and pushback.
But what made Burbank’s satire resonate was its humanity. He never punched down. His characters, while exaggerated, were rooted in real emotion and social observation. He held up a mirror to America—not to mock it, but to understand it.
A Daily Ritual for Millions
By the mid-1990s, Burbank’s show had become a ritual. Commuters timed their drives to catch Earl Pitts. Office workers huddled around radios for Gilbert Gnarley’s latest call. Families quoted Ranger Bob at the dinner table. WLW wasn’t just a station—it was a community. And Burbank was its voice.
He wasn’t a DJ spinning records. He was a one-man sketch troupe, a satirist, a storyteller. And for 26 years, he never missed a beat.
Character Spotlight: Earl Pitts Uhmerikun
“You know what makes me sick?”—The Redneck Philosopher Who Made America Laugh
Earl Pitts didn’t just rant—he sermonized. With a nasal twang, a trucker’s cadence, and a worldview forged in the fires of backyard barbecues and AM radio, Pitts became one of the most iconic characters in radio history. Created and voiced by Gary Burbank, Earl Pitts was a satirical archetype: the blue-collar everyman with strong opinions, questionable logic, and a heart buried somewhere beneath the bluster.
His daily commentaries—each beginning with the immortal line, “You know what makes me sick?”—were equal parts comedy and cultural critique. Whether railing against cell phones, political correctness, or the decline of common sense, Pitts delivered his monologues with a mix of indignation and innocence that made listeners laugh, nod, and sometimes wince. He wasn’t just a caricature—he was a reflection of the American id.
Origins: A Tribute to Raymond Woods
The voice of Earl Pitts was inspired by Burbank’s stepfather, Raymond Woods—a man whose Southern drawl and folksy wisdom left a lasting impression. Burbank once said that Woods “could say the dumbest thing in the world and make it sound like gospel.” That cadence, that conviction, became the foundation of Pitts’ persona.
But Burbank didn’t stop at mimicry. He layered Pitts with nuance, giving him a wife named Pearl, a son named Bubba Jr., and a worldview shaped by small-town life and big-time confusion. Pitts wasn’t malicious—he was misinformed. And that made him endearing, even when he was outrageous.
Syndication and National Fame
By the early 1990s, Earl Pitts had outgrown WLW. His commentaries were syndicated across hundreds of stations nationwide, reaching millions of listeners each week. He became a fixture in morning drive-time, a voice that cut through the noise with humor and heart.
Pitts’ popularity led to appearances in TV commercials, including spots for car dealerships and political campaigns. His image—complete with trucker hat and flannel shirt—became instantly recognizable. And while Burbank remained behind the scenes, Pitts was the face of a brand that blended satire with Americana.
WLW (Gary Burbank) | ‘Earl’s Old Flame’ | Earl Pitts
Audio Digitally Enhanced by USA Radio Museum
Satire with Substance
What made Earl Pitts work wasn’t just the voice—it was the writing. Burbank’s scripts were tight, topical, and surprisingly insightful. He used Pitts to explore issues like immigration, education, and consumer culture, often exposing contradictions and hypocrisies with a wink.
Pitts wasn’t politically correct, but he wasn’t cruel either. He was the guy at the end of the bar who’d tell you exactly what he thought—whether it made sense or not. And in that honesty, Burbank found a kind of truth that resonated across political and cultural divides.
A Legacy Worth Preserving
Today, Earl Pitts stands as one of the great creations in radio comedy—a character who captured the voice of a generation and gave it a platform. His commentaries remain archived, studied, and quoted, not just for their humor but for their insight into the American experience.
For the USA Radio Museum, Pitts represents more than a punchline. He’s a symbol of what radio can do when it dares to be bold, character-driven, and emotionally honest. And through Gary Burbank’s voice, he’ll never stop ranting—never stop waking up Uhmerika.
WLW (Gary Burbank) | ‘Getting Older’ | Earl Pitts
Audio Digitally Enhanced by USA Radio Museum
Legacy of Satire and Sketch Comedy
Gary Burbank’s Place in the Pantheon of American Humor
Gary Burbank never wanted to be called a “DJ.” Not because he didn’t respect the craft—he did—but because the label felt too narrow, too reductive for what he was building. Burbank wasn’t spinning records; he was spinning worlds. With every sketch, every character, every monologue, he was crafting a form of radio that owed more to Second City than to Casey Kasem. He was a satirist, a voice actor, a writer, and a cultural critic—all rolled into one.
Influences: From Laugh-In to Lenny Bruce
Burbank’s comedic DNA was rich and varied. He drew inspiration from the absurdist brilliance of Monty Python, the manic energy of Robin Williams, and the biting social commentary of Lenny Bruce. He admired the sketch format of Saturday Night Live and the character-driven storytelling of The Carol Burnett Show. But he also carved his own lane—one that fused Southern storytelling with Midwestern sensibility and national satire.
His characters weren’t just funny—they were vehicles for commentary. Earl Pitts embodied the contradictions of American populism. Gilbert Gnarley exposed the absurdity of bureaucracy. Reverend Skaggs skewered televangelist excess. Each voice was a lens through which Burbank examined the world, often with more insight than the nightly news.
Radio as Theater: A One-Man Troupe
What set Burbank apart was his ability to create entire sketch universes using nothing but his voice and a soundboard. He didn’t rely on a team of writers or a cast of actors—he was the cast. His transitions between characters were seamless, his timing impeccable. Listeners often forgot they were hearing one man. It felt like a troupe, a community, a living radio sitcom.
This approach placed him in rare company. Few radio personalities have ever matched Burbank’s range and consistency. He wasn’t just riffing—he was scripting, performing, and producing daily content that rivaled television in its complexity and polish.
Satire with Empathy
Burbank’s satire was sharp, but never cruel. He punched up, not down. His characters, while exaggerated, were rooted in empathy. He understood the people he parodied—their fears, their frustrations, their flaws. That’s why his humor resonated across political and cultural divides. He wasn’t mocking America; he was trying to understand it.
In an era of polarized media, Burbank’s work offered a rare middle ground: a place where laughter could coexist with reflection, and where even the most absurd characters carried a kernel of truth.
A Legacy That Lives On
Gary Burbank’s influence can be felt in the DNA of modern satire—from podcast sketch shows to character-driven YouTube channels. He proved that radio could be more than music and headlines—it could be art. His work belongs alongside the greats: Garrison Keillor, Jean Shepherd, Howard Stern, and Bob & Ray. But Burbank’s voice was uniquely his own—Southern, satirical, and deeply human.
For the USA Radio Museum, his legacy is a masterclass in what radio can be when it dares to entertain, provoke, and connect. His sketches deserve preservation not just as comedy, but as cultural artifacts—snapshots of American life, told through the voices of its most colorful citizens.
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Gary Burbank’s Broadcasting Résumé
A Journey Through American Radio’s Most Iconic Stations
WMPS – Memphis, Tennessee
• Mid-1960s
• Early career beginnings in his hometown
• Developed foundational skills as a music DJ
• Also worked at WDIA, becoming one of the first white DJs on a station serving Black audiences
WNOE – New Orleans, Louisiana
• Early 1970s
• Served as program director
• Gained creative control and exposure to Southern radio culture
WAKY – Louisville, Kentucky
• 1968–1973
• Adopted the name “Gary Burbank,” inspired by Laugh-In’s Gary Owens
• Created early versions of signature characters
• Famously staged a fake on-air assassination during his final broadcast
WHAS – Louisville, Kentucky
• Mid to late 1970s
• Hosted a successful afternoon show
• Continued developing character-driven satire and sketch formats
CKLW – Windsor, Ontario / Detroit, Michigan
• 1974–1976
• Morning show host at “The Big 8,” a Top 40 powerhouse
• Reached a massive cross-border audience
• Blended music with satire, laying groundwork for WLW-era comedy
WWL – New Orleans, Louisiana
• Late 1970s
• Brief but creatively significant stop
• Refined Southern character work and deepened his satirical voice
• Contributed to the evolution of Earl Pitts and other personas
WLW – Cincinnati, Ohio
• 1981–2007
• Afternoon drive host for 26 years
• Created and voiced iconic characters: Earl Pitts, Gilbert Gnarley, Rev. Skaggs, and more
• Won Billboard and Marconi awards twice
• Inducted into the National Radio Hall of Fame in 2012
This résumé now reflects the full arc of Burbank’s broadcasting journey—from Memphis roots to national syndication.
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Beyond the Microphone
The Man Behind the Voices, and the Legacy That Lived On
Gary Burbank, returns as guest, WHAS, in October 2009. Credit: heyterry.com
Gary Burbank may have retired from WLW in 2007, but his characters never did. Earl Pitts kept ranting in syndication. Gilbert Gnarley kept dialing. Reverend Skaggs kept preaching. And Burbank himself—though no longer live on air—remained a presence in the lives of fans, colleagues, and the radio community that revered him.
Continued Syndication and Cultural Presence
Even after stepping away from daily broadcasting, Burbank’s work remained in rotation across the country. Earl Pitts commentaries aired on hundreds of stations, a testament to their timeless appeal. The humor still landed, the voice still resonated, and the satire still felt relevant—even as the world changed around it.
Listeners who had grown up with Burbank’s characters found comfort in their consistency. In a media landscape increasingly fragmented and fast-paced, Pitts and company offered a familiar rhythm—a reminder of when radio was personal, local, and deeply human.
Burbank’s Real Bar-B-Q and Ribs
Outside the studio, Burbank channeled his creativity into the culinary world. He opened several restaurants, most notably Burbank’s Real Bar-B-Q and Ribs, which became a local favorite before closing in 2009. The venture wasn’t just about food—it was about community. Patrons came for the ribs, but stayed for the atmosphere, the memorabilia, and the chance to connect with the voice they’d welcomed into their homes for decades.
The restaurant reflected Burbank’s personality: warm, quirky, and full of character. It was a physical extension of his radio universe—a place where fans could gather, laugh, and share stories.
Honors and Recognition
Credit: www.heyterry.com
Burbank’s contributions didn’t go unnoticed. He won the Billboard Magazine and Marconi Awards twice for Large-Market Radio Personality of the Year—an acknowledgment of his impact, innovation, and enduring popularity. And in 2012, he was inducted into the National Radio Hall of Fame, cementing his place among the greats.
That honor was more than symbolic. It was a recognition of a career that defied categorization—a career built not on celebrity or controversy, but on craft, character, and connection.
Gary Burbank’s induction into the Kentucky Broadcasters Hall of Fame stands as a powerful testament to his deep roots in the Bluegrass State and the indelible mark he left on its airwaves. Though nationally celebrated for his decades at WLW in Cincinnati, Burbank’s creative foundation was laid in Kentucky—particularly during his transformative years at WAKY and WHAS in Louisville.
Honoring a Kentucky Original
• WAKY Louisville (1968–1973) was where Burbank truly found his voice. It was here that he adopted the name “Gary Burbank,” inspired by Laugh-In announcer Gary Owens, and began experimenting with the character-driven satire that would later define his career.
• At WHAS, he continued to refine his sketch format and deepen his connection to Kentucky listeners, blending music, humor, and social commentary with unmatched timing.
His induction into the Kentucky Broadcasters Hall of Fame recognized not just his national success, but his creative origins and lasting influence on Kentucky radio. It celebrated his role as a pioneer of character-based broadcasting, a satirist who elevated the medium, and a beloved voice who made Kentuckians laugh, think, and feel.
A Legacy Etched in the Commonwealth
This honor placed Burbank among the state’s most revered broadcasters—those who shaped Kentucky’s media landscape and brought its stories to life. For the USA Radio Museum, it’s a reminder that Burbank’s legacy isn’t confined to Cincinnati or national syndication—it’s deeply woven into the cultural fabric of Kentucky.
Reflections and Final Years
In interviews following his retirement, Burbank often spoke with humility and humor about his journey. “I think it was all just some kind of dream,” he once said. That dream began in Memphis, took flight in Detroit and Louisville, and found its heart in Cincinnati.
His final years were marked by health challenges, including dementia, but his legacy remained intact. Friends like Bill Cunningham continued to honor him publicly, and fans kept his characters alive through recordings, tributes, and shared memories.
When news of his passing broke on August 28, 2025, the outpouring was immediate and heartfelt. Cunningham’s post—“May the GOAT… RIP…”—captured what many felt: that Gary Burbank wasn’t just a radio host. In radio, he was the greatest of all time.
Conclusion: The Voice That Never Left
Gary Burbank’s Legacy, Preserved in Laughter and Memory
Gary Burbank’s passing on August 28, 2025, marked the end of a chapter—but not the end of his voice. That voice, which once rang out across WLW’s airwaves and into the hearts of millions, continues to echo in syndication, in archives, and in the memories of those who tuned in and never tuned out.
His longtime friend and fellow broadcaster Bill Cunningham captured the moment with raw simplicity:
It was more than a farewell. It was a coronation. The Greatest of All Time—not just for his talent, but for his impact, his longevity, and his ability to make radio feel like home.
Even in his final years, Burbank’s characters remained alive in syndication. Earl Pitts, American, still ranted. Gilbert Gnarley still dialed. Reverend Skaggs still preached. These voices didn’t fade—they endured. And in that endurance, Burbank proved that satire, when rooted in truth and empathy, can outlast even the man who created it.
The obituary published by USA Today (8/28/2025) offered another poetic detail: that Burbank, born Billy Purser in Memphis, once listened to WLW while stationed near Stuttgart, Germany in the late 1950s. A young soldier, far from home, tuning into the very station that would one day become his stage. That full-circle moment speaks to the magic of radio—the way it connects, comforts, and calls us home.
For the USA Radio Museum, Gary Burbank’s legacy is more than a collection of recordings. It’s a living archive of American humor, cultural critique, and character-driven storytelling. His sketches belong in our exhibits. His voice belongs in our oral histories. And his story belongs in every conversation about what makes radio not just a medium, but a movement.
He was twice honored with Billboard and Marconi awards. He was inducted into the National Radio Hall of Fame in 2012. He opened restaurants, mentored peers, and built a universe of voices that made us laugh, think, and instill within humorous spirit and emotion. But perhaps his greatest achievement was this: he made radio personal. He made it feel as humanly possible. And he connected.
So here’s to Gary Burbank—the satirist, the storyteller, the soul of WLW. May his legacy forever echo in the frequencies of American radio. And may we, the keepers of that legacy, always keep the dial turned to his image, his voice, his characterized humor filled with undying truth–the Uhmerikun way. “Wake Up, Uhmerika!”
Godspeed, Gary Burbank.
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Sidebar Feature: Honoring Gary Burbank Through the Eyes of His Peers
Tributes from Art Vuolo and Pat Holiday
As the USA Radio Museum celebrates the life and legacy of Gary Burbank, we proudly spotlight two extraordinary contributions from longtime friends and fellow radio icons—Art Vuolo, known affectionately as Radio’s Best Friend, and Pat Holiday, CKLW legend and programming visionary.
Art Vuolo’s Tribute Video
Art Vuolo, the archivist of American radio culture, has produced a newly revised tribute video honoring Gary Burbank’s life, career, and enduring impact. Vuolo’s work captures the humor, heart, and brilliance of Burbank’s decades on the air, offering fans and historians alike a visual journey through his most iconic moments.
Watch the tribute on Vimeo, HERE.
Pat Holiday’s 2022 Conversation with Gary Burbank
In 2022, Pat Holiday—who shared the CKLW airwaves with Burbank in the 1970s—recorded a 49-minute conversation that now stands as one of the most intimate and insightful reflections on Burbank’s life. The video, uploaded to YouTube three years ago, offers rare stories, laughter, and reflections from two voices who helped shape Detroit-Windsor radio history.
Watch the full conversation on YouTube, HERE.
Together, these tributes form a living archive—preserving not just Gary Burbank’s voice, but the friendships, memories, and reverence that surrounded him. We thank Art Vuolo and Pat Holiday for their dedication to radio history and for helping us keep Gary’s legacy alive. — USA Radio Museum
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Special Acknowledgement: Several photos featured in this post is courtesy of the Cincinnati Enquirer, as credited in the images. Several images presented in the post is credited and is courtesy of Terry Meiners, of www.heyterry.com
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