Historically, the two greatest ratings periods ever for KFI AM-640 have been the Gray Davis gubernatorial recall and the O.J. Simpson trial. Now, in early June '04, the tenth anniversary of the Ron Goldman/Nicole Brown Simpson murders is approaching, and O.J. starts to pop up once again on the cultural radar. And Mr. John Ziegler happens to be more passionate about the O.J. Simpson thing than maybe any other single issue, and feels that he "know[s] more about the case than anyone not directly involved," and is able to be almost unbearably stimulating about O.J. Simpson and the utter indubitability of his guilt. And the confluence of the murders' anniversary, the case's tabloid importance to the nation and business importance to KFI, and its deep personal resonance for Mr. Z. helps produce what at first looks like the absolute Monster talk-radio story of the month.

On June 3, in the third segment of the John Ziegler Show's second hour, after lengthy discussions of the O.J. anniversary and the Michael Jackson case, Mr. Z. takes a phone call from one "Daryl in Temecula," an African-American gentleman who is "absolutely astounded they let a Klansman on the radio this time of night." The call, which lasts seven minutes and eighteen seconds and runs well over the :46 break, ends with John Ziegler's telling the audience, "That's as angry as I've ever gotten in the history of my career." And Vince Nicholas, looking awed and spent at his screener's station, pronounces the whole thing "some of the best talk radio I ever heard."

Some portions of the call are untranscribable because they consist mainly of Daryl and Mr. Z. trying to talk over each other. Daryl's core points appear to be (1) that Mr. Z. seems to spend all his time talking about black men like Kobe and O.J. and Michael Jackson—"Don't white people commit crimes?"—and (2) that O.J. was, after all, found innocent in a court of law, and yet Mr. Z. keeps "going on about 'He's guilty, he's guilty—'"

"He is," the host inserts.

Daryl: "He was acquitted, wasn't he?"

"That makes no difference as to whether or not he did it."

"O.J., Kobe: You just thrive on these black guys."

It is here that Mr. Z. begins to pick up steam. "Oh yeah, Daryl, right, I'm a racist. As a matter of fact, I often say, 'You know what? I just wish another black guy would commit a crime, because I hate black people so much.'"

Daryl: "I think you do have more to talk about on black guys. I think that's more 'news'" … which actually would be kind of an interesting point to explore, or at least address; but Mr. Z. is now stimulated.

"As a matter of fact, Daryl, oftentimes when we go through who's committed the crimes, there are times when the white people who control the media, we get together and go, 'Oh, we can't talk about that one, because that was a white guy.' This is all a big conspiracy, Daryl. Except, to be serious for a second, Daryl, what really upsets me, assuming you're a black guy, is that you ought to be ten times more pissed off at O.J. Simpson than I am, because you know why?"

Daryl: "You can't tell me how I should feel. As a forty-year-old black man, I've seen racism for forty years."

Mr. Z. is starting to move his upper body back and forth excitedly in his chair. "I bet you have. I bet you have. And here's why you ought to be pissed off: Because, out of all the black guys who deserved to get a benefit of the doubt because of the history of racism which is real in this country, and which is insidious, the one guy—the one guy—who gets the benefit of all of that pain and suffering over a hundred years of history in this country is the one guy who deserves it less than anybody else, who sold his race out, who tried to talk white, who only had white friends, who had his ass kissed all over the place because he decided he wasn't really a black guy, who was the first person in the history of this country ever accepted by white America, who was actually able to do commercial endorsements because he pretended to be white, and that's the guy? That's the guy? That's the guy who gets the benefit of that history, and that doesn't piss you off, that doesn't piss you off?" And then an abrupt decrescendo: "Daryl, I can assure you that the last thing I am is racist on this. This is the last guy who should benefit."

And then June 4, the night following the Daryl interchange, turns out to be a climactic whirlwind of production challenges, logistical brinksmanship, meta-media outrage, Simpsonian minutiae, and Monster-grade stimulation. As is SOP, it starts around 7:00 p.m. in KFI's large central prep room, which is where all the local hosts and their producers come in to prepare for their shows.

The prep room, which station management sometimes refers to as the production office, is more or less the nerve center of KFI, a large, complexly shaped space perimetered with battered little canted desks and hutches and two-drawer file cabinets supporting tabletops of composite planking. There are beat-up computers and pieces of sound equipment and funny Scotch-taped bits of office humor (e.g., pictures with staffers' heads Photoshopped onto tabloid celebrities' bodies). Like the studio and Airmix, the prep room is also a D.P.H.-grade mess: half the overhead fluorescents are either out or flickering nauseously, and the gray carpet crunches underfoot, and the wastebaskets are all towering fire hazards, and many of the tabletops are piled with old books and newspapers. One window, which is hot to the touch, overlooks KFI's gated parking lot and security booth and the office of a Korean podiatrist across the street.

Overall, the layout and myriad tactical functions of the prep room are too complicated to try to describe this late in the game. At one end, it gives on to the KFI newsroom, which is a whole galaxy unto itself. At the other, comparatively uncluttered end is a set of thick, distinguished-looking doors leading off into the offices of the Station Manager, Director of Marketing & Promotions, Program Director, and so on, with also a semi-attached former closet for the P.D.'s assistant, a very kindly and eccentric lady who's been at KFI for over twenty years and wears a high-tech headset that one begins, only over time, to suspect isn't really connected to anything.

There are three main challenges facing tonight's John Ziegler Show. One is that Emiliano Limon is off on certain personal business that he doesn't want described, and therefore Mr. Vince Nicholas is soloing as producer for the very first time. Another is that last night's on-air exchange with Daryl of Temecula is the type of intensely stimulating talk-radio event that cries out for repetition and commentary; Mr. Z. wants to rerun certain snippets of the call in a very precise order so that he can use them as jumping-off points for detailing his own "history with O.J." and explaining why he's so incandescently passionate about the case.

The third difficulty is that Simpson's big anniversary Q & A with Ms. Katie Couric is airing tonight on NBC's Dateline, and the cuts and discussions of the Daryl call are going to have to be interwoven with excerpts from what Mr. Z. refers to several times as "Katie's blowjob interview." An additional complication is that Dateline airs in Los Angeles from 8:00 to 10:00 p.m., and it has also now run teases for stories on the health hazards of the Atkins diet and the dangerously lax security in U.S. hotels. Assuming that Dateline waits and does the O.J. interview last (which it is clearly in the program's interests to do), then the interview's highlights will have to be recorded off TiVo, edited on NexGen, loaded onto Prophet, and queued up for the Cut Sheet all very quickly, since Mr. Z.'s opening segment starts at 10:06 and it's hard to fiddle with logistics once his show's under way.

Thus Vince spends 7:00—8:00 working two side-by-side computers, trying simultaneously to assemble the cuts from last night's call, load an MSNBC interview with Nicole Brown Simpson's sister directly into NexGen, and track down a Web transcript of tonight's Dateline (which on the East Coast has already aired) so that he and Mr. Z. can choose and record bites from the Couric thing in real time. 'Mondo, who is back board-opping the ISDN feed of 7:00—10:00's Phil Hendrie Show, nevertheless comes in from Airmix several times to stand behind Vince at the terminals, ostensibly to see what's going on but really to lend moral support. 'Mondo's shadow takes up almost half the room's east wall.

John Ziegler, who is understandably quite keyed up, spends some of the pre-Dateline time standing around with an extremely pretty News-department intern named Kyra, watching the MSNBC exchange with half an eye while doing his trademark stress-relieving thing of holding two golf balls and trying to align the dimples so that one ball stays balanced atop the other. He is wearing a horizontally striped green-and-white golf shirt, neatly pressed black shorts, and gleaming New Balance sneakers. He keeps saying that he cannot believe they're even giving Simpson air time. No one points out that his shock seems a bit naive given the business realities of network TV news, realities about which John Ziegler is normally very savvy and cynical. Kyra does venture to observe, quietly, that the Simpson thing draws even bigger ratings than today's Scott Peterson, who—

"Don't even compare the two," Mr. Z. cuts her off. "O.J.'s just in his own world in terms of arrogance."

The designated JZS intern, meanwhile, is at the prep room's John & Ken Show computer, working (in Vince's stead) on a comic review feature called "What Have We Learned This Week?," which is normally a Friday standard but which there may or may not be time for tonight. At 7:45 p.m. it is still 90° out, and smoggy. The windows' light makes peoplelook greenish in the areas where the room's fluorescents are low. A large spread of takeout chicken sits uneaten and expensively congealing. Mr. Z.'s intern spends nearly an hour composing a mock poem to Ms. Amber Frey, the mistress to whom Scott Peterson evidently read romantic verse over the phone. The poem's final version, which is "Roses are red / Violets are blue / If I find out you're pregnant / I'll drown your ass too," takes such a long time because of confusions about the right conjugation of "to drown."

"And to top it off," Mr. Z. is telling Kyra as her smile becomes brittle and she starts trying to edge away, "to top it off, he leaves Nicole's body in a place where the most likely people to find it are his children. It's just a fluke that couple found her. I don't know if you've ever walked by there, but it's really dark at night, and they were in a, like [gesturing, one golf ball in each hand], cave formation out at the front."

Sure enough, Dateline runs the anti-Atkins story first. For reasons involving laser printers and a special editing room off the on-air news cubicle, there's suddenly a lot of running back and forth.

In Airmix, 'Mondo is eating Koo Koo Roo's chicken while watching Punk'd, an MTV show where friends of young celebrities collude with the producers to make the celebrities think they're in terrible legal trouble. 'Mondo is very careful about eating anywhere near the mixing board. It's always around 60° in this room. On the board's channel 6 and the overhead speakers, Phil Hendrie is pretending to mediate between apoplectic callers and a man who's filing sexual-harassment charges against female co-workers who've gotten breast implants. For unknown reasons, a waist-high pile of disconnected computer keyboards has appeared in the Airmix room's north corner, just across the wall from KFI's Imaging studio, whose door is always double-locked.

It is only right that John Ziegler gets the spot directly in front of the prep room's TV, with everyone else's office chairs sort of fanned out to either side behind him. Seated back on his tailbone with his legs out and ankles crossed, Mr. Z. is able simultaneously to watch Dateline's are-you-in-danger-at-luxury-hotels segment, to hear and help rearrange Vince's cuts from the MSNBC exchange, and to highlight those parts of the O.J.–Katie Couric transcript that he wants to make absolutely sure to have Vince load from TiVo into Prophet when the greedy bastards at Dateline finally air the interview. It must be said, too, that Vince is an impressive surprise as a producer. He's a veritable blur of all-business competence and technical savvy. There are none of Emiliano's stoic shrugs, sotto wisecracks, or passive-aggressive languor. Nor, tonight, is Vince's own slackerish stoner persona anywhere in view. It is the same type of change as when you put a fish back in the water and it seems to turn electric in your hand. Watching Vince and the host work so well as a team induces the night's first strange premonitory jolt: Emiliano's days are numbered.

The broadcast studio is strange when no one's in here. Through the soundproof window, 'Mondo's head looks small and far away as he inclines over the spot log. It seems like a lonely, cloistered place in which to be passionate about the world. Mr. Z.'s padded host chair is old and lists slightly to port; it's the same chair that John Kobylt sits in, and morning drive's Bill Handel, and maybe even Dr. Laura back in the day. The studio wastebaskets have been emptied, but the banana scent still lingers. It might simply be that John and/or Ken eats a lot of bananas during afternoon drive. All the studio's monitors are on, though none is tuned to NBC. On the Fox News monitor up over the digital clock, Sean Hannity and Susan Estrich are rerunning the Iowa Caucuses clip of Howard Dean screaming at the start of his concession speech. They play the scream over and over. Ms. Estrich is evidently filling in on Hannity and Colmes. "They have hatred for George W. Bush, but they don't have ideas," Sean Hannity says. "Where are the ideas on the left? Where is the thinking liberal?" Susan Estrich says, "I don't know. I don't have a full-time job on TV, so I can't tell you."

All multi-tasking ends when Dateline, after two teases and an extra-long spot break, finally commences the interview segment. It is Katie Couric and O.J. Simpson and Simpson's attorney in a living room that may or may not be real. One tends to forget how unusually, screen-fillingly large O.J.'s head is. Mr. Ziegler is now angled forward with his elbows on his knees and his fingers steepled just under his nose. Although he does, every so often, let loose with a "Katie Couric sucks!" or "Katie Couric should be fucking shot!," for the most part a person seated on the host's far flank has to watch his upper face—his right eye's and nostril's dilations—to discern when Mr. Z.'s reacting strongly or thinking about how he'll respond to some specific bit of Simpson's "sociopathic BS" when it's his turn to talk.

It's odd: if you've spent some time watching Mr. Z. perform in the studio, you can predict just what he'll look like, how his head and arms will move and eyes fill with life as he says certain things that it's all but sure he'll say on-air tonight, such as "I have some very, very strong opinions about how this interview was conducted," and "Katie Couric is a disgrace to journalism everywhere," and that O.J.'s self-presentation was "delusional and arrogant beyond all belief," and that the original trial jury was "a collection of absolute nimrods," and that to believe in Simpson's innocence, as Ms. Couric says a poll shows some 70 percent of African-Americans still do, "you have to be either crazy, deluded, or stupid—there are no other explanations."

To be fair, though, there truly are some dubious, unsettling things about the Dateline interview, such as for instance that NBC has acceded to O.J. Simpson's "no editing" condition for appearing, which used to be an utter taboo for serious news organizations. Or that O.J. gets to sit there looking cheery and unguarded even though he has his lawyer almost in his lap; or that most of Katie Couric's questions turn out to be Larry King—size fluffballs; or that O.J. Simpson responds to one of her few substantive questions—about 1994's eerie, slow-motion Bronco chase and its bearing on how O.J.'s case is still perceived—by harping on the fact that the chase "never ever, in three trials that I had, it never came up," as if that had anything to do with whatever his behavior in the Bronco really signified (and at which non-answer, and Ms. Couric's failure to press or follow up, Mr. Z. moans and smears his hand up and down over his face).    Or that O.J.'s cheerful expression never changes when Katie Couric, leaning forward and speaking with a delicacy that's either decent or obscene, inquires whether his children ever ask him about the crime. And when someone in the arc of chairs around John Ziegler says, almost to himself, that the one pure thing to hope for here is that Simpson's kids believe he's innocent, Mr. Z. gives a snort of reply and states, very flatly, "They know, and he knows they know, that he did it." To which, in KFI's prep room, the best response would probably be compassion, empathy. Because one can almost feel it: what a bleak and merciless world this host lives in—believes, nay, knows for an absolute fact he lives in. I'll take doubt.

Presented by

David Foster Wallace is the author of several books, including Infinite Jest, A Supposedly Fun Thing I'll Never Do Again, and Oblivion.

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