Rick: I know you've had to answer this question a million times, but please indulge us by answering it one more time. You were the Master of Ceremonies on February 2, 1959 in Clear Lake, Iowa--the last concert by Buddy Holly, Ritchie Valens, and the Big Bopper. Describe the scene backstage for us, and explain your part in that ill-fated coin-flip.
Bob: The bus with Valens, Holly, Richardson, Dion, and Frankie Sardo arrived in the late afternoon…actually around 6PM . We hurriedly got them something to eat, and then all pitched in to set up for the performance. Those days were pre-high-fi days, so we had to deal with only one microphone. The tour manager was Sam Geller of the GAC Corporation (which would go on to purchase Ringling Brothers, Barnum and Bailey Circus). As the set-up was taking place, Buddy was playing the piano. Sam and I were listening and he said to me, “This guy is going to be one of the greatest popular music composers of our time. He’s so talented – he can play so many instruments, and he creates such interesting music.”
Buddy’s talents were put to use during the concert as he played the drums during the Dion set. The regular drummer, Charlie Bunch was in the hosp[ital in Green Bay , Wisconsin , having suffered frostbite on the broken down bus! Buddy would play the drums for Dion’s set, which began the second half of the show. The first half was Frankie Sardo, and Big Bopper.
The second half, Dion and the Belmonts, followed by Buddy.
When Dion’s set was over, I sat down with him on the riser in front of the drum set and asked him to introduce his musicians. When it came time for the drummer Dion said something like: “This fellow is taking the place of Charlie Bunch, our regular drummer who is in the hospital in Green Bay suffering from frost bite. Um...let’s see…the drummer’s name…is…ah, oh yeah! BUDDY HOLLY!”
Buddy jumped up, grabbed his guitar and began singing “Gotta Travel On.” The backup men quickly changed places and joined Buddy before he was half way through the first stanza.
There was some drama taking place off-stage, even before we got started, actually. At one point Bopper was sitting with my wife, Kathy, and me in a booth. Kathy was expecting our first child, and Bopper said something like, “That’s what I miss most…being around my wife when the baby moves. Kathy, may I feel your baby moving?” Kathy took Bopper’s hand and placed it on her stomach as the baby moved. Bopper smiled: “I can’t wait to get home to do that.”
Interestingly, no such conversation took place involving Buddy. We didn’t even know at that point that Maria was expecting.
During intermission the back-and-forth conversation between Bopper and Waylon Jennings took place, resulting in Waylon giving up his seat to Bopper. At that point Waylon uttered a phrase that would haunt him all his life – “Well, OKAY, but I hope your plane crashes!”
Years later, at a social gathering in Kentucky, Waylon and I recalled that night. He said: “Man, there isn’t a day goes by that I don’t wish I could take back that comment. The next day when I got the news in Fargo, I went nuts. I cried, I yelled. And I began to drink. Drugs helped along the way. Of course, I realized years down the road I was killing myself, so I quit. I don’t know, maybe deep inside I was so damned guilty, I was trying to kill myself!” He admitted that no matter how long he'd live, he’d always be haunted by Feb 3rd 1959.
After the show was over that night, Tommy Allsup, pressured by Ritchie Valens, said, “Let’s flip a coin.” It’s at this point that two versions of the coin flip emerge. Tommy maintains he flipped the coin; I maintain that as soon as he suggested it, he reached into his pocket and realized he had no money – he was still in his stage clothes. He asked me if I had a coin. I took out a 50 cent piece, said to Ritchie, “OKAY, Ritchie, you want to go, you call it.”
“Heads!”
“Heads it is, Ritchie, you’re flying.”
Tommy said, “OKAY,” and went out to the car to retrieve his bags which he’d already put in Carroll Anderson’s car. Regardless which version of the coin toss you hear or accept neither Tommy nor I demand “ownership.” We’ve talked about this, and have no emotional investment in either version. What we agree on is that night was a tragedy and an extremely emotional one for us all.
Rick: What was that next day like?
Bob: February 3rd would be a painful day for family, friends, fellow-musicians, and for those who attended the Winter Dance Party. Within minutes of my announcing the plane crash – I was pulling the 9 to noon shift on the 3rd, teens began arriving at the station (KRIB) just to talk. It became a day-long wake, Pepsi and Coke distributors brought extra cases to our studios – we had so many people just “hanging around.” Parents came, too. Many had been at the Surf the night before. It was the custom of Carroll Anderson to invite parents to the weekly record hops free of charge. Many teens and parents were in tears.
Some students from Waldorf College had been at the Surf the night before. Some came to the studios. I interviewed college as well as high school students. What I didn’t know at the time was that Waldorf, a two-year Lutheran college, did not condone dancing! The school had a rigid Danish-Lutheran background which was extremely conservative in social activities – “Sad Danes,” they were called in Lutheran circles. When the school heard about the students who’d been to the Surf, they immediately suspended the dozen or so students for a couple of weeks. No comments on the deaths – just on “school policy.” Fortunately time has given Waldorf a more enlightened school administration, as well as transforming the college into a four-year, well respected liberal arts college.
On the way home in the afternoon, after conducting about two-dozen telephone interviews with radio stations across the country, I drove by the crash site. The bodies had still not been removed, as the ambulances were still in the corn field. I could not bring myself to walk the hundred yards to the site – and to this day, I’ve not been able to make that walk!
Rick: One of your former colleagues from WJJD, Bob Dearborn, also became known for a connection to the Buddy Holly story in a way. His analysis of Don McClean's "American Pie" (a song inspired by the Buddy Holly plane crash) is considered by many to be the best and most thoughtful one out there. I'm sure the two of you discussed the subject a time or two. What is your feeling about that song?
Bob: Bob Dearborn and I have talked about his analysis of "American Pie." While I take McLean at his word when I asked him about the several theories out there - " Oh, heck, I took words that rhymed, and some thoughts I had, and tied them together. If they sounded good I kept them in."
I think Don has begun to see the value in all the "deciphering" going on - it's good for sales, even today! - that he's backed off that open and honest statement these days. But, as far for which one strikes home the most - Dearborn's, as far as I am concerned.
(You can read Bob's analysis here)
