The Spirit of the Spirit: A WGBH remembrance

This entry is part 12 of 12 in the series The Don Hallock Collection

By Don Hallock — 8/8/2015

In 2000 I was hired by Montana Public Television to direct a PBS production of the Montana Summer Symphony. It was a sizable piece (outdoors, 13 cameras, and seven regional symphony orchestras – yes 7, in Montana!).

DH - CUThe Montana program manager/producer and I hit it off from the get-go. I had directed nothing for 24 years previously, and it had been a whole 37 years since leaving ‘GBH. I was immediately forthcoming about that, but probably because they’d had good experiences with David Atwood the previous two years, added to the superlative reputation of WGBH, the Montana PM was game to collaborate with this broadcasting antique.

The folks in Montana and I (in Hawaii) worked on the production plans for two or three months by phone, Internet and email. Luckily the scheduling worked out so that I could hire Bill Frances as TD. (I tried to get Chas Norton for lighting as well but, unfortunately, the timing was wrong.) Still, as I expected, Bill was superb, and the Montana people were hugely impressed by his easy way and mastery of the production.

On site, the Montana PBS staff, it turned out, were very professional, capable, immensely cooperative, cordial and wonderfully easy to work with. There was a warm atmosphere of smooth camaraderie among their staff. Working with these folks felt in some subliminal way like ‘coming home.’ And eventually I came to understand that the whole experience was wonderfully, and touchingly for me, reminiscent of my years at ‘GBH.

But here’s the thing: The day after I arrived in Bozeman, several of the local staff and I met for lunch, and got to know each other in person. We spoke about our plans, our histories in broadcasting, and our philosophies. I reminisced on the family atmosphere I remembered at ‘GBH, and how much I valued that. In response, the Montana people remarked on having earlier attended an NAB convention, specifically noting that, in contrast to most of the other Public Broadcasting groups, the ‘GBH people seemed remarkably amiable, close-knit, and mutually supportive.

———

Once upon a moment of magic (during the ‘Golden Age of Television’ – 1957) there was a lower middle class kid with only a high school education, and a burning passion for the medium, who was taken on at ‘GBH as a scenic carpenter, soon brought into the studio as cameraman and, eventually, promoted to producer/director (for all of which he’s still hugely grateful). There were organizational restrictions in place at the station which should have made that trajectory formally impossible. But bending those rules in favor of who people actually were, and in respect of each individual’s intrinsic value, was actually the unspoken rule of the house.

People, and the talents they brought to the workplace, were always ‘coin of the realm.’

I don’t remember anyone really worrying about losing their job; ability and team effort seemed the most important measures of a person’s worth.

During my time at the station many folks came and went but, by way of testimonial, many stayed for very, very long times. And, though my memory may be faulty, I can recall, during that period at least, only one person who ever earned dismissal.

Certainly there were some frictions – all organizations suffer at least a few of those. There were also, however, times of wonderful fun, impressive loyalties, abundant kindnesses, and very genuine friendships. Internecine politics — while not entirely absent — never seemed to compromise commitment to the greater endeavor. That commitment was a quality within, and between, the people who worked there. It was palpable inside the station and, I believe, made itself felt through ‘GBH’s output, not only outside in the Boston community, but at distances which could only be imagined.

Being part of Educational Television was an education in itself; we were daily rubbing elbows with the finest the world’s cultures had to offer. And I believe we all knew, at one level or another, that we were involved in something noble and admirable. It was that spirit which undergirded the beginnings of ‘Educational Television,’ and with time would build the enormous force for good that is now Public Broadcasting. The philosophy which grounded the functioning of the station was omnipresent. A whole litany of words would be needed to describe what the station stood for: integrity, insight, intelligence, ingenuity, honesty, sensitivity, inventiveness, professionalism, scholarship, idealism, co-cooperativeness, community, creativity, perseverance and team spirit …. just for starters. Of course we didn’t always make it to the tops of those mountains.

Financially, technically and practically the obstacles were often daunting. But pride in overcoming was frequent, and shortfalls were not due to a lack of desire or commitment. These qualities were embodied, day to day, by the people who were WGBH.

Apparently, they still are.

In the early days, one of our Boston University interns coined the phrase, “We don’t say much, but we don’t offend anyone.” If that was ever true, much certainly has changed. A glance at the line-up of the station’s output (particularly in the realm of documentary) shows a great deal of grown-up risk-taking. The maturing of WGBH is something to be proud of, and it must be observed that, if one is proud to be (or have been) part of WGBH, it is automatically true that one is also proud of everyone else who has given their talents to make the station what it is.

Past, present, future, WGBH is us …. all of us. The continuity of the alumni web site and the recurring alumni reunions attest to this fact.

So, pardon me for gushing (just a bit more), but there has always been something magical about the ‘GBH cachet, growing I believe from the station’s spoken, unspoken, and lived, philosophy, and from those who have striven to express it. The WGBH logo inspires, immediately, well deserved respect, not only throughout the industry, but among audiences worldwide.

———

The kid I referenced earlier is now almost 80. He’s run through quite a few personal and professional incarnations since his 6 years tenure at ‘GBH, but each of those eras have been informed and influenced by what he learned there — not only about broadcasting, but about the spirit at the heart of intelligent living.

He’s invariably moved when, during its station breaks, our local PBS station here in Honolulu intones its two slogans, “It’s not just TV. It’s a relationship,” and “Home is here.”

Classic Theatre Shoots – London, 1975

Inside the courtyard of the Temple Church in London, on our way to interview Ian McKellan. Crew (left to right) John McKnight (lighting), Karl Lorencic (video), Nat Johnson (audio), Greg Macdonald (camera), and John McKnight (tape). Photo David Atwood.
Joan Wilson’s interview with Eric Porter. NSJ attaching Joan’s microphone. Director David Atwood (also my part-time audio assistant) adjusting Eric Porter’s lavalier.

Sic transit gloria (1959)

WGBH was to launch a new (live, of course) science show, and was looking for an opening that was a bit more dramatic than a 35mm slide of Madame Curie. It was decided that we would place a globe over a pan of water (you can’t make this stuff up, folks) and insert some “dry ice” into the water to create great spumes of “smoke” that would swirl like clouds around the “earth.”

After hours of intense rehearsal trying to get the right amount of ice into the right amount of water to produce the exact amount of “smoke,” we succeeded.

A moment before air time, the stage manager’s hand spun the orb. We all watched in awe as it became engulfed in “atmospheric matter.” What a shot! What an opening! There were cheers and pats on the back all ’round.

The next day the station got a call from the wizards at MIT informing us that the show was great, but that the globe had been turning in the wrong direction.

Sic transit gloria.

WGBH Timeline (1946-1978)

From “The first 24 years: A somewhat random compendium of milestones along the way”

1836

John Lowell Jr., leaves a bequest creating free “public lectures for the benefit of the citizens of Boston.”

1946

The Lowell Institute forms a cooperative venture with six Boston colleges (spearheaded by Ralph Lowell) to broadcast educational programs on commercial stations. Original offices are housed at 28 Newbury Street.

1951

April

WGBH Educational Foundation is incorporated. Parker Wheatley is first station manager.

October 6

WGBH-FM is on the air with a live concert by the Boston Symphony orchestra under conductor Charles Munch.

1955

May 2

WGBH-TV begins regularly scheduled broadcasting on Channel 2, 5:30 p.m. to 9 p.m., Monday through Friday. Studio and offices are located at 84 Massachusetts Avenue, Cambridge, with remote cables and lighting at MIT’s Kresge Auditorium (next door) and the Museum of Fine Arts, Boston.

First program: Come and See, “a progra.m. for young children” with Tony Saletan and Mary Lou Adams, from Tufts Nursery Training School. At 6:30 p.m., Louis Lyons, who has been a fixture on WGBH-FM, reads the news before a TV camera for the first time. Transmitter is located (as is FM transmitter) on Great Blue Hill in Milton; thus the call letters.

October

First BSO simulcast (FM/TV) originates from Kresge Auditorium, MIT, beginning a tradition of musical broadcasts unique in the U.S.

1957

February

Sunday programming begins, 2:30 to 6:30 p.m.; in May, Sunday hours are extended by moving sign-on to 11:00 am.

May

Hartford Gunn becomes WGBH station manager.

June

First “Boston Pops” telecast (from Kresge).

In the Sylvania Television Awards for 1957, WGBH’s Discovery is honored as the outstanding children’s educational series created by a local station. And Louis Lyons wins a Peabody Award for local TV and radio news.

1958

March

In-school instructional television service commences with eight weekly 6th grade science programs shown “in some 48 separate school systems in and around the Boston area.” In the fall, The 21″ Classroom is formally set in operation.

Summer

WGBH acquires its first videotape machine (one of the very first to be sold by Ampex).

September

Elliot Norton Reviews begins lengthy run.

November

A high power transmitter (a gift from Westinghouse) doubles Channel 2 signal to 100,000 watts maximum.

1959

June

WGBH helps set up WENH-TV, Channel 11, in Durham, NH, and the interconnection between the two stations represents the first “network” of educational stations; the Boston-Durham link will become the basis for the Eastern Educational Network.

October

Eleanor Roosevelt’s Prospects of Mankind, a WGBH monthly series carried on educational and commercial stations around the country, begins with V. K. Krishna Menon of India as first guest.

A Peabody Award goes to WGBH’s Decisions series.

1960

WGBH programs win six Ohio State Awards, more than any other station or network in the U.S.

1961

October 14

A fire in the early morning at 84 Massachusetts Avenue completely destroys WGBH facilities. Channel 2 is off the air for all of Sunday, October 15, but, by dint of herculean efforts by staff, and superb cooperation from the community, manages to sign on at the regular time on Monday the 16th. Emergency control room is set up in Catholic Television Center (WIHS), which also lends use of its limited studio space.

For the next seven months WGBH-TV functions as the “diffuse organization” — control rooms at Catholic Center, large-studio facilities provided late at night and on weekends by WHDH-TV on Morrissey Boulevard, films and tapes (some of which have been salvaged from the fire) originated, via network, at Channel 11 in Durham, as well as other Boston stations. Scenic department finds home at Northeastern, arts department at B.U., programming and production offices at Kendall Square, Cambridge. Full schedule of programs maintained.

1962

February

A film on the poet Robert Frost is begun by WGBH, encouraged by Secretary of the Interior Stuart Udall.

May

In a major consolidation, programming, production and engineering move to the Museum of Science, occupying the “red frame building” that had been used for construction offices when the Museum was built; space for a studio is found in the Museum itself. FM and some offices remain in Kendall Square.

August

Three programs on French cooking are produced in a special kitchen constructed in the Boston Gas Company’s auditorium; as a result of their instant success, a full series is decided upon, to begin in 1963. Within a year after that, Julia Child is being seen regularly in New York, Washington DC, San Francisco, Pittsburgh and many other cities, as educational TV’s first nation-wide “hit.” She is also the first in the distinctive WGBH series of “how-to” personalities that will in time include Thalassa Cruso, Joyce Chen, Erica Wilson, Maggie Lettvin, Theonie Mark, the Romagnolis, and many, many others. History is made!

October 14

By the first anniversary of the fire, over $1,700,000 has been raised to construct new studios for WGBH; a half million dollar matching grant from the Ford Foundation is the key contribution. Construction to begin in spring, 1963.

1963

August

National Doubles televised from Longwood Cricket Club in Brookline for first time; obscure Boston newspaperman becomes TV star. [Ed.: This reference begs for clarification. Bud Collins? Please help us.]

October

Symphony Hall is cabled and lit properly. Henceforth, all BSO and Pops telecasts originate there.

1964

March

Louis Lyons receives Dupont Award “in recognition of the nation’s outstanding news commentator of 1963.”

April

Louis Lyons retires as Curator of Nieman Fellowships, joins WGBH staff after a dozen years of news on FM and TV.

The Robert Frost film, A Lover’s Quarrel with the World, wins an Oscar for WGBH.

August 29

WGBH-TV signs on from new studios at 125 Western Avenue, Allston. Building is only partly finished, but functional. FM to move in by April, 1965.

November

Saturday programming begins with the support of the Boston Globe and Record American.

Late Fall

In order to film the two-part South African Essay series, a clandestine organization is set up with money laundered through Texas, a dummy corporation, and a specially trained African photographer, who mails exposed film back to the U.S. as “Zulu beads.” Cover never blown. [Ed.: This reference begs for clarification. Please help us.]

1965

April

Julia Child receives Peabody Award.

May 1

On WGBH-TV’s tenth anniversary, the new building, work complete, is formally dedicated as the Ralph Lowell Studios. In the course of a live anniversary broadcast, Louis Lyons tells a story: Lady from Boston meets a new faculty wife, who identifies herself as from Iowa, and tells her, “My dear, we say ‘Ohio.'” [Ed.: This reference begs for clarification. Please help us.]

October

Hamilton Osgood comes to offer his talents to WGBH, and is instantly pressed into service planning first Channel 2 Auction, scheduled for June 1966.

1966

Spring

Julia receives Emmy; South African Essay receives UPI Tom Phillips Award and is one reason for a special Peabody Award to NET.

May 31

First Channel 2 Auction begins. It raises more than $130,000, plays to biggest audiences in station’s history.

June 17 – 18

Channel 2 transmitter is moved to Needham.

1967

March

Vietnam View-In, a four-and-a-half hour special produced in WGBH studios, includes propaganda films, panelists of all persuasions, a studio audience asking questions, and open telephone lines. Well over six thousand phone calls are counted.

June

What’s Happening Mr. Silver? begins a year’s run.

September

WGBX, Channel 44, signs on. The first color cameras arrive: four by the end of the year, two more on order.

October

Public Broadcasting Laboratory (PBL) begins two-year run on Sunday nights, demonstrating potential of national public TV network.

November

Following Carnegie Commission Report, congress passes the Public Broadcasting Act, establishing the Corporation for Public Broadcasting, which will lead to the creation of the Public Broadcasting Service (and National Public Radio). Within three years, public TV will have its own coast-to-coast interconnection and simultaneous national programming.

MIT’s Dr. Jerome Lettvin takes on Timothy Leary in debate about drugs and “dropping out.” Filmed by WGBH and broadcast four times in one week, the debate becomes topic number one throughout Greater Boston.

1968

April 5

The night after the assassination of Dr. Martin Luther King Jr., a concert at Boston Garden starring James Brown is televised live by WGBH on roughly six hours notice. Worried that the concert might provide the critical mass to set off a riot, and certain that cancellation would be even worse, Mayor White gets the WGBH commitment and then urges people (via commercial radio stations) to stay home and enjoy the show for free. WGBH broadcasts the entire show, and then immediately begins showing it again on video tape, staying on the air until 1:45 a.m. It is shown twice more over the weekend. The Mayor writes that this “contributed as much as any other event to the atmosphere of conciliation which prevailed in Boston this past week.”

July

Premier of Say Brother, the first regular program by, for and about Boston’s black community.

September

After a controversial play — designed to help students understand black frustration in white America — has all but rips Wellesley High School apart, WGBH re-stages it (with some 11 words “blipped” to stay within the law) and follows it up with a lengthy discussion among parents, teachers and students dealing with its propriety and meaning. It is front-page news for two days running.

1969

April

In the aftermath of the University Hall bust at Harvard and the subsequent strike that paralyzed the school, WGBH places 16 chairs around a table in studio A and invites any and all members of the Harvard community to come in and speak their piece. And for five solid hours in the evening, students, faculty, neighbors, and other people keep coming in and sitting down and talking to each other … and all of Greater Boston. [Ed.: This reference begs for clarification. Please help us.]

October

The Forsyte Saga arrives in the United States. Public TV has an unprecedented success: telephone calls go unanswered, social engagements are rescheduled and life is generally disrupted throughout the country. To cushion the shock in Boston, channel 2 runs each weekly episode three times, Channel 44 an additional five times. Thanks to various repeats of the entire series, the final episode will be seen in Boston for the last time in August, 1972 … nearly three years later. If nothing else, the Forsytes give American television viewers a case of galloping Anglophilia (also known as BBC fever) that soon leads to other things.

The Advocates, produced on alternative weeks by WGBH and Los Angeles’ KCET, makes its debut via a national interconnection of public TV stations. Its even-handed debates on pressing national issues ellicit considerable mail (an early show on abortion brings over 11 thousand pieces), and in the first of its five seasons it wins a Peabody Award.

November

The voice of the Cookie Monster is heard in the land: Sesame Street, easily the most important children’s program in the history of American television, makes its debut. Shortly thereafter, every kid in the neighborhood can identify can identify the letter R.

1970

February

Hartford Gunn resigns as General Manager of WGBH to assume the presidency of the new Public Broadcasting Service in Washington. Later in the year, David Ives becomes President and Robert Larsen General Manager.

July

Evening at Pops’ first summer series brings Arthur Fiedler and WGBH’s Symphony Hall savvy to the whole country.

October

PBS’ first season begins, with a network of 198 public TV stations coast to coast. WGBH contributes The Advocates, The Nader Report, and a brand new French Chef (in color). Kenneth Clark’s Civilisation dazzles the eye.

Locally, more excitement: The Reporters, expanding the definition of “television news” five nights a week; Catch 44, the first public access TV program in the United States; Dr. Sachar’s The Course of Our Times.

1971

January

John, meet Sarah. The First Churchills inaugurates Masterpiece Theater, and Alistair Cooke becomes a regular Sunday night visitor.

April

Jean Shepherd’s America shows what the PCP-90 portable TV camera can do.

October

WGBY, Channel 57, signs on the air from its studios in Springfield, bringing public television to western Massachusetts. The microwave link between WGBH and WGBY establishes the first state-wide TV network, reaching over 90% of Mass. homes.

November

The Electric Company arrives to take on the task of reaching problem readers. And reaches them.

1972

January

ZOOM, WGBH’s revolutionary program for and by kids, makes its PBS debut and the first requests for ZOOMcards come in from all over the country. Within ZOOM’s first two years on the air, more than a million ZOOMcards will be mailed out.

October

The Advocates, now entirely a WGBH production, moves to Faneuil Hall for its Boston shows (and goes on the road for others).

1973

January

Are you ready for Lance Loud? An American Family startles the nation.

April

Death of Robert Larsen.

May

ZOOM and The Advocates are awarded Emmys.

June

For the first time, the Channel 2 Auction breaks the half-million-dollar barrier.

November

The mammoth BBC production of War and Peace marches onto American TV screens (introduction by WGBH).

December

With the cooperation of the American Broadcasting Company and its affiliates, WGBH’s Captioning Center begins nightly broadcasts of ABC Captioned Evening News for the hearing-impaired.

1974

January

Philip Garvin’s films of Religious America, produced at WGBH, begin on PBS.

On Masterpiece Theater, Upstairs, Downstairs brings back the bad old days and makes them look good.

March

Science adventures for curious grownups, some from WGBH, some from the BBC, and some joint efforts, give NOVA a breadth previously unknown on American TV.

May

Upstairs, Downstairs wins an Emmy as the best dramatic series of the season. And ZOOM receives its second Emmy in two years.

October

Evening At Symphony demonstrates nationally on PBS what Boston has known for years: orchestral music, even without special guests, makes for exciting television. (Also, Seiji Ozawa wears a turtleneck with his tails.)

November

A former Advocates moderator, Michael Dukakis, is elected governor of Massachusetts.

1975

January

The Ascent of Man, Jacob Bronowski’s brilliant bequest, is presented to U.S. audiences with introductions and epilogues by WGBH.

February

After over a year of preparation and six months of production under conditions that verge on impossible, the WGBH series Arabs and Israelis gets under way on public television.

March

NOVA receives a Peabody award, with special praise going to the programs produced by WGBH.

Michael Rice, head of programming and Vice President of WGBH since 1973 becomes General Manager.

1976

Channel 2 News moves out of early evening for the first time in 21 years, and The Ten O’clock News is born.

April

Dying, a cinema verite’ visit with terminally ill cancer patients, moves local audiences, and later the nation.

Club 44 brings live TV back to Boston. The two hour show happens in a pub set in studio A, with live audience and scads of local talent and talk.

November

Say Brother Salutes Webster Lewis With A Night On The Town, to rave reviews.

Channel 44 cuts the apron strings from Channel 2; within the year, 74% of its programming is unique to it — meaning we nearly double the public TV programs available to local viewers.

The WGBH Declaration of Independence — a major capital drive for equipment and programming funds — goes public. PrimeTime becomes a magazine again after a year as a calendar. ‘GBH radio sponsors the first Boston appearance of legendary Soviet pianist, Lazar Berman; Louis Lyons continues a stellar ‘GBH radio career by launching Pantechnicon, a magazine-format show with Elinore Stout and Frank Fitzmaurice.

Kudos: Upstairs, Downstairs wins its third Emmy in a row — and sixth over all. ‘GBH radio’s The Spider’s Web increases the number of NPR stations carrying it to nearly 100, while wining the Action For Children’s Television Award as “the most positive alternative to television.”

The New York Times is moved to ask, in an August feature article, “what makes WGBH Crackle with Creativity?”

1977

Christopher Lydon takes over The Ten O’clock News; the Boston Phoenix says viewers can now “expect to see lengthier and more professionally produced pieces as the Channel 2 news show moves away from heavy coverage of spot news.”

Ben Wattenberg begins his search for The Real America on Channel 2, and we find the ancient Mid-East at the Museum of Fine Arts and bring it home in Thracian Gold.

WGBH presents tennis for the 15th year in a row and World Tennis magazine says, “For the discerning viewer of this sport PBS is the only game in town.”

Crockett’s Victory Garden maven Jim Crockett’s book of the same title hits the best seller list.

‘GBH radio launches Evening Pro Musica, and a Live Performance series in its own studios – and sponsors another live event in Jordan Hall: Daniel Shafran is the visiting artist.

“Stereo television” takes a giant step forward with improved technology: a new kind of video tape is invented which has a stereo audio track right on it, making the vastly superior sound of FM-TV simulcast an affordable luxury, at long last.

Milestones: Upstairs, Downstairs ends May 1 with a Boston cast party which nets PBS stations nearly $2 million in viewer contributions; and, the series gets its seventh Emmy — making the total to date for Masterpiece Theater an even dozen. Emmy also goes to “ballet shoes” from the Piccadilly Circus series, ZOOM (for the third time!), and a Women’s Special: Rape, by ‘GBH’s own Nancy Porter.

1978

Ralph Lowell dies in May at the age of 87. He founded the Lowell Institute Co-operative Broadcasting Council in 1941, the parent organization of WGBH radio in 1951 and WGBH-TV in 1955.

Awards: Upstairs, Downstairs adds the prestigious Peabody Award to its long list of kudos. Ten O’clock News’ Mike Kolowich captures a Local Emmy for “outstanding news reporting” in his Logan Airport pieces — as the program celebrates its 2nd birthday.

People: Michael Rice departs for the Aspen Institute after a 13-year WGBH career. Henry Becton, Program Manager for Cultural Affairs since 1974 and an 8-year WGBH veteran, moves up to the Vice President and General Manager spot.

At CPB, Henry Loomis steps down and Robben Flemming is appointed to the President’s post. Newton Minow is elected Chair Person of PBS.

Milestones: Public television celebrates its 25th year in March, and, in November, becomes the first network in the country to be linked by satellite.

Two old friends return to WGBH studios: Julia Child to make her first new shows in 5 years, titled Julia Child and Company, and The Advocates returns after a 4-year hiatus to continue the debate tradition begun in 1969.

I, Claudius on Masterpiece Theater earns rave revues; James Lardner, in The New Republic, calls it “probably the best historical drama ever mounted on television.”

After a 2-year run on Channel 44, The Club books its exuberant act on Channel 2.

WGBH provides national and local TV audiences with a feast of new productions, among them World, Solzhenitsyn at Harvard, Mr. Speaker – A Portrait of Tip O’Neill, and three lush specials on exhibits at the Museum of Fine Arts: Thracian Gold, Pompeii – Frozen in Fire, and Treasures of Early Irish Art.

Local debuts include Dancing Disco (a Local Emmy winner), The Photo Show, Sports Weekly, At Home, and the fund raising extravaganza, Disco Dazzler.

‘GBH radio adds new local productions: Mostly Musicals, Folk Festival USA, Artists in the Night with Eric Jackson, MusicAmerica, and Poetry in Massachusetts.

Morning Pro Musica extends its reach to the Big Apple itself where it is heard on WNYC radio.

A fiscal-year fundraising gap is narrowed in a month-long on-air “Race To The Finish,” which includes the second biggest pledge night in WGBH history as the regular schedule is scrapped for a marathon effort — viewers call in with contributions totaling $92,000 in just one night.

On-Air (1979)

From Don Hallock

Ever wondered what it takes to put on a public television or radio production? Well, here’s a glance behind the scenes (as if you needed one). It was originally prepared as a 1979 issue of the WGBH publication ON AIR. In this context, the entire tract functions, as well, as an attractive recounting of the station’s more recent production history — and many of our friends and co-workers show up here.

A certain unpredictable amount of moiré may still be observed in the original scans.

Crew Training Tape – Transcript (1962)

This entry is part 7 of 12 in the series The Don Hallock Collection

From Don Hallock

This tape was shot in the temporary studio at the Boston Museum of Science. It was intended as an in-house training tool, primarily for new BU student interns. It puroprted to be a catalog of many of the most frequently perpetrated production errors portrayed in comic relief. Response at the April reunion suggested that it was at least moderately successful in the humor department.

Original sin: Title cards are off center.

Now the titles are centered, but the super is too weak so that Ginny Kassel’s credit is almost invisible….

….and so is MINE!

The dissolve to camera 2 is successful — but the floor manager is standing way off camera right. Poor Russel has to crane his neck to see his cue, and for a long moment we wonder what on earth he is looking at.

Russel begins, but with plenty of studio background noise (headset conversations and hand jewelry on pedestal rings). He is soon slowing down, speeding up and generally stumbling over his lines due to a deficit in the Teleprompter operator’s attention-span.

Crew training tape – part 1

And what’s this? Is Russel sporting a split lip? The rumor around the studio was a highly unlikely story about his having gotten into a bar room brawl. The other, more credible, explanation was that he had slipped in the snow and landed on his face.

At last, we’re in the groove. But no. There’s too much head-room, a serious light flare in the upper right corner and Russel has “gone soft” again.

Here’s the classic case of being in sharp focus — on the scenery.

Compounding the indignity of a slide badly mounted and scratched, a ghostly and enigmatic figure passess between the Cellomatic projector and the rear screen.

And….ooops! The boom operator was asleep at the wheel. Russel and George Spelvin (who was he really?) rise and nearly collide with the mic.

Crew training tape – part 2

The unkindest — and funniest — cut of all dosen’t show clearly on the tape. The sound track, however, betrays the stage manager scurrying to get out of the way as Russel and George move camera right to examine a priceless piece of sculpture. In his rush, stage manager, Steve Gilford, upsets it’s pedestal, sending the porcelain ducky crashing to the floor. As much of a hoot as this was, the spoof proved precognitive, as some years later, at the Museum of Fine Arts, a genuine, ancient, Egyptian marble statue was similarly atomized by poor Greg McDonald’s otherwise impeccable camera craftsmanship.

The inquisitorial voice of someone we think is Bill Lenz, impersonating “the director,” takes each crew member to task for their errors, and elicits explanations for, and solutions to, the mistakes.

A thoroughly humiliated Steve Gilford cops a guilty plea to every production crime from bad cueing to visible spike-marks and camera cables, going off headsets, misplacing furniture and destroying priceless objects of art. He promises better conduct in the take.

Teleprompter operator, Frank Brady, graciously accepts responsibility for rendering Russell’s script unreadable. Frank was always a sweet kid.

Crew training tape – part 3

Camera 1, Mark Stevens, catches hell for excessive headroom, jerky dollies (caused by yet another stage manager screw-up — Gilford standing on the camera cable), on-air lens-flips and shooting off the set as a result of running into the boom wheel while dollying back. More promises. (Catch the aluminum foil viewfinder shade.)

Crew training tape – part 4

The Cellomatic projectionist (who we can’t identify just now) acknowledges slides left over from other shows, a picture which probably fell on the floor and got stepped on and not stopping crew members from crossing behind the rear screen — on the air.

Crew training tape – part 5

Linda Hepler (later Linda Tucker), the switcher, comments on mis-takes (thought she was cutting in the dead-row), poor handling of the faders and not checking the title slides before the run-through.

(A touchingly youthful) Peter Hoving on camera 2 promises not to keystone the visuals, and rehearses an in-focus ZOOM.

Crew training tape – part 6

Our unnamed boom operator apologizes for locking down the boom and then relaxing on a stool. He asks for a monitor so that he can check his microphone height. And the “director” encourages better workmanship in the dress rehearsal.

Crew training tape – part 7

The closing credits bore the names of a few other friends who didn’t show up in the tape.

And finally, Russel reads from the gloomy reminiscence of Michelangelo Buonarroti. The famous renaissance artist sounds as if he may have been reflecting on a life spent in broadcasting studios. More likely, however, is that the master’s words simply put voice to Russel’s feelings about years of almost endless emotional stress, writing and performing the weekly MFA television program.

Crew training tape – part 8

Development Memories (1970s-80s)


From Lo Hartnett

This is the Development Department in the spring of 1979 taken in the palacial offices of the 110 Western Avenue garage.

The mad money-raisers are:

Standing – Susan Ballough, Nancy England, Katie (Murphy) Fisher, Jo Madden, John D. Carver, Debby (Thorburn) Ashton, Sam Tyler, Michael Newton.

On the desk – Lo Hartnett, Barry Forbes.

Sitting (floor) – Marilyn Bernardo (she started in the 50’s with Helen Fox), Linda Wege, Hugh Colliton, Sandra (Scott) Tyler, Luvenia Green, Mary White, Cindy (O’Connor) Madden.

A few of us are still fund raising in Public TV land.

"The Fun-d Raising Ladies" (circa summer 1999)

All (but Candy) worked in Development, most in the 70-80’s. There are five former Development Directors (present day title) in this photo.

Standing – Kay Twomey, Sally Foskett, Helen O’Malley, Jeanne Brodeur, Wendy Davidson, Marilyn Bernardo, Nancy England, Amy Meyers, Jo Madden.

Seated – Cindy (O’Connor) Madden, Mary Meadows, Helen Fox, Lo Hartnett, Candy Cutler.

Helen Fox (Foxy) and Marilyn Bernardo started in late 50’s. Marilyn retired in the mid 80’s. Kay Twomey is a 20+yr volunteer. Helen O’Malley introduced computer technologies and established the WGBH contributor database iin 60/70’s. Mary Meadows is the only one still at GBH.

Here’s John D. Carver, Development Department, Underwriting (circa 1980s).

Classic Theatre (1975)


From David Atwood

Here’s a great shot taken in the Temple Church Courtyard in London, 1975. The shoot was for Classic Theatre and the actor we were going to interview was Ian McKellan.

Characters in the shot left to right, John MacKnight (lighting), Karl Lorencic (video), Nat Johnson (audio), Greg Macdonald (camera), and John McKnight (tape). Joan Wilson was producing. I was directing. The camera being gently dollyed was the dreaded PCP-90, Phillps’ full broadcast color camera with a full set of headaches to match.

Studio A (1967)


From David Atwood

David Atwood (camera) and Steve Potter (dolly) shooting a 1967 production starring Lotte Lenya (Dave Davis directing). The monstrously unwieldy and notoriously unstable TK-60 camera, sporting a turret of four fixed lenses, is the last black and white model that RCA ever made.

These guys are operating the equally unwieldy (though beloved) Fearless Panoram Dolly, which was modified at the station for the 1959 series A Time to Dance. It was upgraded to a "long-tongue" version from its former "short-tongue" RUB (rather useless behemoth) status.

And two more pictures from the same production.

David "flying." (Lotte Lenya in the purple dress)

The "crucible."