Planning the Next Alumni Reunion

We have begun planning the next reunion, and we need your help!

In order to make sure it will be another experience to remember, we need to know your preferences.

To make it easy, we have created a short, 7-question survey that shouldn’t take more than 5 minutes to answer … unless you choose to write a lot of comments at the end. In that case, take your time.

If you submit this survey by November 30, 2017, we will include your preferences in our planning deliberations.

Thanks, in advance, for your time!

Now, here’s the survey! (And if you don’t see it below, here’s a link to click.)

Seven thousand video tapes transferred to digital

From WGBH Archives — July 2014

On March 11, 2013, WGBH Media Library and Archives’ Archives Manager Keith Luf and Digital Archives Manager Michael Muraszko loaded 7,010 tapes from the WGBH vault onto 12 palettes, which were then shipped via an 18-wheeler to be digitized at Crawford Media Services in Atlanta, Georgia for the American Archive of Public Broadcasting.

Only a few months later would the WGBH MLA in collaboration with the Library of Congress be selected as the permanent home for the American Archive collection, an initiative to identify, preserve, and make accessible as much as possible the historic record of public media in America.

wgbhaapb-tapes

WGBH’s tapes were stored in 306 archives boxes, totaling 459 linear feet (longer than 1 1/2 football fields!) and comprising more than 6,400 hours of content. In many cases, the archives staff knew only the program title of the tapes — they often knew nothing about the recorded participants.

The content dated back as early as March of 1947 and was as recent as 2005. The MLA sent material on 15 different video and audio tape formats, the majority of which had exceeded the manufacturer’s intended lifespan. MLA’s Keith Luf compared the situation to a child’s 18 year old cat, which everyone knew wouldn’t — and couldn’t — be around much longer.

In June of 2014, WGBH’s 6,400 hundred hours of content was returned. In addition to the original 7,010 tapes, the content was delivered as digital files on a second copy — on 17 LTO-6 tapes…. stored in one box!

wgbhaapb-lto

And with the digitized material came a new ease of accessibility — the MLA staff have been able to easily watch or listen to the digital files and discover content they never knew had been sitting in the vault for all these years.

Among the new discoveries includes a 1967 10-minute monologue by American historian and activist Howard Zinn on the social unrest of the times; a recorded speech given by JFK in either 1962 or 1963 at the Armory in Boston; and a 1975 video recording of a cello class taught by Harvard professor Mstislav Rostropovich, who during the recording asked a graduate student in his class “What kind of a name is Yo-Yo?”

As additional funding has become available, the MLA has recently coordinated with Crawford on the digitization of 800 more hours of 3/4″ videotapes and 1/4″ audiotapes, which will be shipped out next week.  Who knows what we’ll find next!?

A Boy from Milwaukee

This entry is part 12 of 22 in the series The Fred Barzyk Collection

Rambling Reflections on Life by a 74-year-old TV director
By Fred Barzyk

Part 1: The Early Years

You see, I was this kid growing up on the South Side of Milwaukee. The Polish South Side.

It was the 1940s and things were going just great. I mean, we had just won a War.

My Mom and Dad took me to downtown Milwaukee to celebrate. It was either VE or VJ Day.

Anyway, the people were goin’ crazy, dancing, singing, jumpin’ around. One woman kissed me. That was way too much.


America in the 1940s

  • Population: 132,122,000
  • Unemployed in 1940: 8,120,000
  • National Debt: $43 Billion
  • Average Salary: $1,299. Teacher’s salary: $1,441
  • Minimum Wage: $.43 per hour
  • 55% of U.S. homes have indoor plumbing
  • Antarctica is discovered to be a continent
  • Life expectancy: 68.2 female, 60.8 male
  • Auto deaths: 34,500
  • Supreme Court decides blacks do have a right to vote
  • World War II changed the order of world power; the United States and the USSR become super powers
  • Cold War begins

Now that the War was over, my Uncle Ed would come home from Germany. My Aunt Frances was going to be so, so happy.

She had this colicky little baby, Edward, and she needed some help. He would cry and cry. You could hear it all over the neighborhood. He was my cousin and I felt sorry for the little kid. For my Aunt, too.

Our neighborhood

They lived across the street from us. Good old South 7th Street, that was where we lived. We were renters.

On one side of our rented house lived the Getarec’s. Their son, Lawrence, had just formed a Polka band; his friends would come over on weekends to rehearse. They were terrible. Three weeks later, they disbanded. Larry never got to do one of those weddings gigs he wanted to do so badly. Poor Larry.

On the other side of us lived the Nowicki’s. One of their clan was a hunter. Bow and arrow. He and a friend actually took down a 500 lb. Black Bear. They strung it up in their garage. The Milwaukee Journal came and took a picture. He was famous in our neighborhood.

Two young girls lived there, too. Joan and Barbara.


BARBARA  (1938-1941)

Barbara, lived next door, upstairs.
little kids, we played, making mud pies
under back porches,
digging dirt, all tiny pails and shovels.
Her sister, Joan, older by 4 years, taunted us
“Look! Boyfriend and girlfriend.”
Angrily we denied,
not understanding what it meant anyway,
but knowing nothing good
could come from being
boyfriend
girlfriend.

We played movies,
acting out all the parts
in grassy backyards
and concrete alleys
of the Polish South Side.
We had a secret hideout
dark dense bushes
one street over.
Here we could hide.
ours,
no one else allowed.

Then suddenly,
grade school.
She to Catholic, I to Public.
We saw each other
everyday,
but all was changing
We, evolving, living new adventures,
far from secret hideouts,
mud pies under back porches.
Becoming new people,
Wiser, distant.
Why do we have to grow anew?

Left then with only distant memories
Of a little girl who lived next door,
upstairs?


Show business

My Mom had this vision for me. She thought it would be wonderful if I could be in show business.

I mean, her very own cousin, Johnny Davis, had a big dance band that played all the big venues in Milwaukee. His band looked something like this.

She was very proud to be his cousin. Johnny’s band had these two young guys, Dennis Morgan and Jack Carson. They went to Hollywood and became movie stars! One of their movies was called “Two Guys from Milwaukee.” Movie critic, Leonard Maltin, gave it 2 and half stars. Not bad.

And my Aunt Frances, well, she was very good friends with a Polish musician from the South Side of Milwaukee. He played piano at all the fancy dinner restaurants in town. His name was Liberace.

My family was just surrounded by all these talented people.

My mother thought, “Why Not Freddy?”

Dance lessons

So, when I was seven, she signed me up for dance lessons.

I think she imagined me to be in a show, dressed in costumes, applauded by the masses.


THE LESSONS (1943)

We climbed 101 wooden steps up
Up, to the very tip top
of the 5th Street viaduct,
Mom and I, my tiny tap shoes in hand.

We paid a nickel each and rode the Hinky Dinky,
Milwaukee’s super small streetcar.
Rattling across the South Side,
past smoke stacks,
heady smells from the yeast factory,
we emerged from the rackety ride
and hurried down Wisconsin Avenue
to the School of Dance!

We climbed 31 wooden steps up
Up, to the very tip top
of the old brick building
Mom and I, my tiny tap shoes in hand.

In the hot, sweaty dance studio,
crammed tight with little kids
tap, tap, tap dancing,
steel cleats clanging wooden floors.
the tall thin dance teacher
trying to train little feet
Click, tap. tap, pat, click. click

Mom, sat, silently, secretly,
dreaming Dreams,
Dreams of Show Business,
Dreams through me.
Click, tap, pat, pat, click, click
My feet stomped, banged, kicked,
Hoping to create
rhythm grace
energy  Beauty!

Click, tap. Tap, tap, pat, click
Me, a 7 year old kid,
who bought his clothes in
the Sears husky department

Click, pat, tap, click, click, click
those tap shoes took a beating.
Me, too.
Click, pat, tap, click.

After the fourth tap dance lesson,
riding back on the
Jiggling, clankingly, Hinky Dinky,
it happened.
Breakfast, lunch, snacks
all made a nasty return.
Raining everywhere,
over the hard train seats.

Mom knew the dream was gone.
She put away the tiny tap shoes
way back, in a dark hall closet,
Never to be worn again.
No more click, clack, tap.
Not for those tiny tap shoes.
For that is how dreams die… sometimes.
Without a click or tap,
tap,
tap.


But I didn’t give up on her dream. I announced that I would become a piano player! Only problem was we didn’t have a piano.

Piano lessons

I started taking lessons practicing on a piece of fold out cardboard designed to look like piano keys. They knew eventually, I would need a real piano. I don’t think they could afford one, but somehow they managed to buy a small spinet piano. I still have it today.

I really never could play the piano, even after years of lessons. However, it was known in my neighborhood that I had a piano. This fact alone brought me face to face with a dilemma.

I had forgotten about this incident until I started writing this personal history. I learned a lesson that day: Do not judge a book by its cover.


POEM (1948)
“I can’t even remember his name”

Like a lingering shadow in my memory bank
Hanging there in the void, frozen, pale, fragile —
Almost brushed aside by other fading images
His freckled face —
His sandy hair —
His wet hazel eyes —
His grimy glasses —
So often I ignored him, thinking nothing of him
And now, I can’t even remember his name

It was the end of summer, hot and dry
He came to my porch and knocked on the door
He had never come to my house before
My God, we hardly even talked
But there he stood —
clutching papers,
hoping
How could I have ignored him, thinking nothing of him?
And now, I can’t even remember his name

He heard that I played the piano, that I knew music
He was just a 14 year old Polish kid from the South Side
Not polished or trained in music, awkward and shy
He told me his dream and thrust the papers into my hands
Can you play it?
I wrote it myself.
I can’t play the piano, you know —
Can you play my concerto?
He stood, waiting, hoping
And I can’t even remember his name.

Where did he get the blank music paper?
How did he know about D minor?
Allegro molto?
Andante?
I stared hard at his hand written notes, bewildered —
How could this be?

But there it was
It looked real,
Musically correct
difficult,
way too difficult —
I stuttered, swallowed hard, and admitted my failings
It’s too tough,
I’ve only begun to play the piano
Maybe someone else —
He said nothing, smiled and nodded his head
took his papers back, and left
I watched as he walked away down my street

We saw each other on the playground near St. Helen’s
We played basketball and hung around a little
Summers are like that
He never mentioned our meeting
Neither did I
My piano lessons went on and on
Never mounting to much
I stopped thinking of him
until now.
I wonder if he ever heard his concerto?
I hope so.
So sad that I can’t even remember his name.
Just a lingering shadow in my memory bank


The playground

Ohio Street playground.

Concrete, stark, a battle field where kids become ensnared in the thoughts of winning and losing, fighting through fears and hoping to win, you know, throwing in the winning basket just before the final bell goes off!  It doesn’t usually work out that way.

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.

The Lowell Council Ditty (1949)


From Larry Creshkoff

a song from the past. It’s sung to the tune of "There is nothing like a dame" (from South Pacific) and was performed for the first (and only) time at the Christmas party of the Lowell Institute Cooperative Broadcasting Council staff in the library of the building at 28 Newbury Street where LICBC was housed before the move to Symphony Hall in ’51. (At the time, 28 Newbury Street was headquarters of the American Academy of Arts and Sciences. The last time I remember looking, it was the Boston location of Elizabeth Arden!)

The Lowell Institute Cooperative Broadcasting Council (LICBC) was the forerunner of WGBH. Established in 1946 by Boston College, Boston University, Harvard, MIT, Northeastern, and Tufts — with the venerable Lowell Institute as the "spearhead" entity — its mission was to create educational programs using faculty and content from the member institutions.

The programs were to be broadcast by major Boston AM radio stations as part of their public service obligations. At its peak in 1949, some three hours per week were aired during prime time in regular series on such subjects as the humanities, meteorology, music history, behavioral sciences, child care, and international affairs.

The ditty that follows was created for the staff Christmas party in 1949, the same year that South Pacific (with Mary Martin and Ezio Pinza) played in Boston prior to its New York opening.

LICBC Alma Mater

(To the tune of There is nothing like a dame)

I. We are out to teach the masses here at LICBC
All the things they might have learned at Harvard University.
You don’t have to go to college ? you can listen to a station.
What do you get? AN EDUCATION!

Chorus
Education’s what we share
At L.I.C.B. C.
There is nothing quite so rare
As the stuff we put on the air.

II. We get kudos from professors, we get Peabody Awards,
And our loyalty ain?t questioned by investigating boards.
We get letters from our listeners, who are just like you and me.
What don’t we get? Publicity!

Chorus

III. We have Howard Mumford Jones1 or Willis Wager2; if you?d rather,
You can listen to Fred Morris3 as he talks with Kirtley Mather.4
We have good old Charlie Havice,5 who can straddle any fence.
What don’t we have? AN AUDIENCE!

Chorus

IV. We can talk about sex … we can talk about crime …
We can talk about drink … or have a good time …
We can do politics … or Plato for kicks …
But two things we can’t do (though we could)
Are the Old Testament and Planned Parenthood!
At L.I. C.B. L.I. C.B. C!

Chorus Finale

Notes

1. Distinguished scholar of American Literature at Harvard.

2. Professor of Humanities at Boston University College of General Studies. (Hard "g" in "Wager.")

3. MIT Professor of Earth Sciences.

4. Professor of Geology at Harvard, social activist in the peace movement, and supporter of organized efforts at population control.

5. Professor of Sociology and Dean of Chapel at Northeastern. As a moderator, he famously asked panelists to share their "kindly insights."

God never meant for pictures to fly through the air

Rambling Reflections on Life by a 74-year-old TV director
By Fred Barzyk

Part 2: Discovering radio and TV

Radio

It was the 1940’s and I thought we were really with it.

I mean, my Dad had this great big console radio sitting in the front room. He was an NBC man. The Nowicki clan next door were a CBS family. People took sides in those days.

My Dad would gather us around the big radio to listen to FDR. I really didn’t understand, but I knew it was important to him, a life long democrat.

My Mom had a Sears radio sitting on top of the ice box. She washed and ironed clothes on Saturdays. Her radio played on and on, talk, a little music, and radio dramas.

Ah yes, radio dramas and comedies. What a time!

And then, on my birthday, one of the greatest presents of all time. My own little bedside radio!

I had joined the media revolution! Early Saturday mornings, I would tune in the raspy little speakers and listen to “Don McNeil’s Breakfast Club.” I never could understand why he made everyone march around the table before they could sit down to eat breakfast. I didn’t care. I was connecting to the World!

http://video.google.com/videoplay?docid=4107024881555693930#

That was followed by “Let’s Pretend!” Great fairytales, brought to dramatic life through the magic of radio!

If you have a moment, take a listen to this classic kid show. Excuse the commercials. And think of me, a kid lying in the dim light of a Saturday (NO SCHOOL) morning, happily creating visions of Jack, the Giant, the Bean Stalk.

No animation could ever compare to what I fashioned out of those voices. It was the magic and the wonder of radio.

Let’s Pretend: Jack and the Beanstalk (excerpt)

Land of the Lost

But most important to me was the show that followed, a show that has stuck with me for all these years. It was called “The Land of the Lost.”

Land of the Lost (excerpt)

How can I explain this to you? The story involved these two little kids who had somehow made contact with a talking fish. The fish’s name was Red Lantern.

And if they could hold on to him, or he gave them something of his to hold, they could breathe under water. And why would they want to do that? Because all the things we lose up here on earth ends up down there, at the bottom of the sea. The Land of the Lost!

Now, as a kid, I found this mind bending. But what really knocked me out was Red Lantern telling the kids what was actually in the Land of the Lost.

“Remember that paper clip you could not find? Or that marble from your big collection? (and here it came) Did you ever wonder what happens to all those lost moments, those dreams that you forgot, the wasted minutes in your life? Well, they are all down here.”

Wow!

I began to imagine what it must have looked like, all glistening and wet, caves filled with lost moments, crevices with forgotten dreams, underwater currents filled with wasted minutes.

This surreal idea found its way into my TV work. And in, of all places, a French language show for kids, Parlon’s Francais. 21 Inch Classroom, 1961.

It was after the fire that destroyed WGBH that we ended up using another TV station’s studio to stage our shows for the 21 Inch Classroom. These are pictures of the last 4 shows of the French Language show, in which we hoped the kids would be able to understand the story told totally in French.

I had taken the premise of The Land of The Lost and changed a few things; Red Lantern became a turtle, and the undersea were reduced to painted sets. The teachers went along with my plan and so I was able to do my homage to my favorite radio drama. It made me smile.

Television

It was 1945 and I thought we had it all. 3 radios; a phonograph that played 78rpm records; we went to the movies almost every week, especially on free dish night; we read the newspaper — for me, it was the comics in the Milwaukee Journal section called the Green Sheet (yes, it was really green).

But we were missing the most important thing. Television! My Mom and Dad had seen one in a department store window. I had seen pictures of it in the paper. And then…


TELEVISION

Bang!
Blow it Up! (Booooom!)
Explosions! (Boooom!)
Shot in the chest! (Agggh!)
War games in a back yard under warm dark soot skies
Kids fighting the Big War again, while Mom washes clothes.
Dyin’, collapsin’, writhin’, oh so faux pain!
Laughing, then standing, victorious, shooting imaginary bullets.
Killing over and over. Then dying onto the freshly mowed grass.
Laying there, squinting up at the hot, hazy sun.
The wash swings in the summer breeze…
white, wet, billowing like sails of a distant ship.

Plop, plop, plop… running feet
(Knock on wood). loud banging on the side door

Yelling! Then yelling again, louder!
“It’s here!”
“You’re kidding!”
“No, I’m not.”
“For real?”
“Swear to God!”
We run in ridiculous anticipation, breathing heavy,
winded, finally reaching the smoke stained window.
Peering through, smelling beer in the air, looking…

Then, there, flickering black and white like a ghost in
the smoky air, a head talking, a mouth we could not hear.
It had arrived, sitting above the bar at Chester’s Tavern.
Could Life be any better?


My Uncle Ed was the first in our family to actually get a TV. After the war, he ended up being a bus driver for the Milwaukee transportation department, but he had bigger dreams. He was going to become a TV technician and make big money.

His first TV was a Muntz, it’s screen size was 9 inches. He was very proud of his new TV and invited everyone over to watch it. The extended family descended on his little abode, one of those hastily put up shacks that veterans got when they got home from the War. There we were, all stacked together, staring hard at the little screen.

But Uncle Ed was ahead of his time and he had anticipated people complaining about how small the screen was. So, he picked up a huge magnifying glass and mounted it on the front of the TV.

Now, for those fortunate enough to be sitting directly in front of the TV, it was great. But we kids, regulated to the sides, the picture was distorted and unintelligible. Some family members say this is probably where I got my interest in video art. Could be.

This is a work by Nam June Paik. I helped him and 5 artists take control of TV. It was supposedly the first time. It was called Medium is the Medium.

Grade school

My public grade school was called the Oklahoma Avenue School.

Mr. Geil was our principal. Short, glasses, always seemed to wear a grey suit. It was the right color for him. He was kind of a grey man.

Then the rumors began. It was said that during the summer hiatus he would go to New York City, go to plays, visit museums, and nightclub with the sophisticated people. I didn’t really believe it.

But then, as I entered 7th grade, Mr. Geil called the entire school into our auditorium. He announced that as of that day we now had a school song. He spent the next half hour teaching us the song. Somebody said it was from a Broadway Musical.

Oklahoma!

Our school song was a Broadway Musical Song! Show business had come to Oklahoma Ave. School!

“OK, Oklahoma, The Sooners know the way, hurray!!”

What the hell were Sooners anyway? It didn’t matter. We had a school song. We sang our lungs out, proud as anything!

And Mr. Geil had another surprise up his sleeve.

I learned many lessons here. Most importantly: a simple rule. Those who have access to information others don’t have, rules the roost. Or something like that.

It was in 6th grade, first day back from summer vacation, and Mrs. Anderson asked each of us what we had read during our vacation. When it came to me, I proudly proclaimed that I had just finished Don Quixote.

The look on her face was something I will always remember. Shocked, disbelieving, she questioned me about the story. I rambled forth a pretty good synopsis, if I say so myself. You know, good old Don and his servant attacking the giant windmills they believed to be giants.

Stunned, she moved on to others. Later that day as we were moving from one class to another I saw her whisper to another teacher while pointing at me. They must have thought I was some kind of genius, a budding A student. Nope.

You see, Classic Comics had just started publishing. My Mother thought it would be good if I read the classics… comic book style. I read all the greats, and it only cost 10 cents a pop!

Right: From Wikipedia

I probably started realizing it right then and there. Here I was, a true literary phony, and yet somehow I didn’t get caught.

I began to realize how unbelievably lucky I was. And amazingly this luck has stayed with me all through my career. Why? I don’t have a clue.

  • After 50 years in the business of doing TV shows, I have never been rained out.
  • I did only one show at the Museum of Fine Arts, Boston, and the Boston Globe showed up that day to do an article on the show.
  • The Boston Globe’s TV critic, Gregory McDonald, became a fan of an experimental show I was doing, “What’s Happening Mr. Silver?” He did many articles on the show. He left the Globe to write the mystery series Fletch. He had become a friend and not a critic. He helped save me when the station wanted to fire me for a show I did. Thanks Greg.
  • I have done hundreds of foreign language shows (French in Action, Parlon Francais, Destinos, Focus Deutch, Elementary Russian.) and have never learned to speak any of them. Every foreign crew and 90 percent of all the actors, spoke English. I never had to learn any other language. Thank God, because I am really terrible at learning new languages.
  • When doing drama’s for two local commercial stations, WBZ and WCVB, they allowed me to change their schedule so that I could direct both of their shows. Now that is unbelievable, two competitors making adjustments for me. Luck, pure luck

And so the 1940’s came to an end. I was now 14 and the further adventures will have to wait until Part 3.

Quo vadis WGBH (1946-2000)

This entry is part 4 of 12 in the series The Don Hallock Collection

From Don Hallock

Where, in Boston, has WGBH been?

It may surprise you to know how many places the station has called home.

A converted skating rink on the second floor of this building, and the office spaces on the third, were the home of WGBH from 1955 to 1961. The television operation was launched here and, because of that, many have thought of 84 Mass. Ave. as the place of WGBH’s origins….

….but the adventure actually began here, less than a block uptown of the Boston Public Garden.

The Lowell Institute

The first offices of the Lowell Institute Cooperative Broadcasting Council (LICBC) were housed in small, cluttered rooms on the top floor at 28 Newbury St. The FM station had not yet materialized. LICBC educational radio programming, originated and taped here, was broadcast on various commercial stations in the Greater Boston area.

A couple of years after the LICBC vacated 28 Newbury Street, the American Academy of Arts and Sciences (who’s brass lettering still tops the doorway), sold the building to Elizabeth Arden. Today [2000], it is occupied by a Banana Republic store.

Symphony Hall

With the launching of WGBH-FM, the LICBC offices were moved to Symphony Hall at the corner of Massachusetts and Huntington Avenues. The station’s first radio studio was built here, and WGBH went on the air in 1951 with an evening broadcast of the Boston Symphony Orchestra’s season opener.

The facade on Huntington Avenue.

The marquee and box offices on Massachusetts Avenue (looking toward Cambridge).

The north side (or rear) of the building facing on Westland Avenue.

Excerpts from One Way to Run a Railroad by Ray Wilding White:

“The station’s new quarters were in the northwest corner of Symphony Hall . Two utility rooms in the basement under the musicians’ room were Parker’s office and the business office… Hartford’s executive desk was a door and two iron-rod saw-horses…

“Two floors up, over the musicians’ room, the orchestra’s museum was vacated and turned over to the station. In one corner of the old museum space, a small studio big enough for , a seldom used spinet, a couple of chairs, and a mike boom, together with a cramped control room and a minuscule announcer’s booth, had been built.”

84 Mass. Ave.

This is one of the few existing photos of the 84 Massachusetts Avenue building. It was taken in 1958 by Brooks Leffler with his trusty Leica, from just across the street on the sidewalk in front of the steps of MIT.

Today the 84 Massachusetts Avenue lot is a grassy park occupying almost exactly the former building footprint. It might be read, by some, as a kind of unintended memorial.

The alley which ran behind 84 Mass. — and on which we all struggled daily to find parking— is a cement walkway. Hardly a trace of the old building can be found — unless you know where to look, and what to look for….

Our serious young guide points to “where we are”….

….and to the airy space which studio A once occupied.

Kresge Auditorium, behind the old WGBH building, and from which the first BSO telecasts originated, still stands, little having changed but the roof — newly copper clad (in response, no doubt, to the chronic leakiness of the old cement one).

The notorious Frank Lloyd Wright lecture, Handel’s Messiah, and Menotti’s The Gorgon, The Unicorn And the Manticore were televised from here as well.

And the MIT Chapel (round brick building on the right) is there as well. This view looks back toward 84 Mass. from Kresge Auditorium.

And here it is — the original alleyway, replete with sunken curb stones….

….the very ones over which one used to drive to the the Robert Moscone “Executive” Parking Space (up on the sidewalk), in which no one else dared park (except Al Hinderstien, when he was young and brash).

Fire!

From the Official History of WGBH

October 14, 1961: 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.

Kendall Square

Dawn first broke on “the new WGBH” in this imposing example of textile-mill architecture bordering the west edge of Kendall Square in Cambridge.

As part of a series of lightning moves to recover our footing as quickly as possible, Rose Buresh and a new telephone switchboard had been installed within days in a vacant fourth floor office space, along with dozens of very obviously pre-owned desks, chairs, filing cabinets and typewriters.

FM was given space on the fifth floor (and was the last department to leave the location, ultimately moving directly from here into the new building at 125 Western Avenue).

Life was extremely hectic and work, frustratingly difficult to organize, but the time was characterized by a heady sense of the heroic. Until its next move, to the Museum of Science, the entire station was administered from these offices, and programming originated from a maddening patchwork of disparate locations.

The fire refugees take hold in their new digs.

“Kendall” today, viewed from either end of Kendall square.

As seen from the rear of the building, the offices of WGBH were behind the circled windows.

Bay State Road at Kenmore Square (WIHS)

In a decidedly somber old home on the corner of Grabby Street and Bay State Road, just off Kenmore Square, and not far from the Zebra Lounge, the Archdiocese of Boston maintained a 3 camera, black and white television facility to create Catholic religious programming.

It bore the call-letters WIHS (In Hoc Signum), even though it included no transmitter, and therefore had no broadcast presence. WIHS made itself visible to the community, much as WGBH had in the early years, through local commercial stations.

Following the fire, use of their “studio A,” a large, second floor, mahogany paneled, living room with a tiny music room connected, was immediately given over to WGBH during the weekdays. A small, walled-in yard in the rear of the building was roofed and turned into a master control, tape and telecine room.

At the outset, most WGBH programming originated here, while a deal was soon struck with WHDH-TV to use their large and well equipped South Boston color studios on weekends and evenings for large-scale production work.

According to a recent contribution [1/06] from Phil Luttrell, WIHS/Granby Street was itself consumed by fire in the early 1970s. The building burned to the ground. The Catholic Television Center is now located in Newton.

Clearly, “Granby” is no longer standing, but the spot on which Al Hinderstein stands in the photo would have been just between the white post and the park bench. (Al Hinderstein in the control room at Granby Street: courtesy of Al Hinderstein.)

Here Norm Gagnon (GGN Information Systems) has once again come to the rescue. His apparently voluminous archives contained materials showing Granby Street in its heyday, which he has very generously forwarded to us.

So, here it is. The Granby Street headquarters building of WIHS as it looked in what appears to be the early spring of 1956. Our back is to Kenmore Square, and we are facing the Charles River.

From RCA Broadcast News we have a photo of Sunday Mass as televised from inside the WIHS studio. That may well be Cardinal Richard Cuushing celebrating. WGBH-TV used that same space and equipment for several months until the facility at WHDH and our own remote truck became available. (RCA Broadcast News pictures of the WIHS television facility were made available by Norm Gagnon; GGN Information Systems.)

And here’s the plan of the second floor. If you’re like me, you may remember it differently. Either the actual construction didn’t match this drawing – or my memory may be faulty.

Morrissey Boulevard (WHDH)

The cars roar by here, even in the late afternoon, headed south from the Route 93 off-ramp. We’re standing beside Morrissey Boulevard in Dorchester, just opposite the former location of the WHDH-TV studios.

Amazingly (to me at least) the building has been torn down and replaced by a bank and insurance company offices. It had been a very expensive facility, and could not have been in use for long as it hadn’t been occupied for many years before the fire, when WGBH began to use it for larger scale, taped productions. Few people in the neighborhood even remember it.

The WHDH building housed two color-equipped studios, probably the largest in New England at the time. The cameras were RCA’s first color models (TK-41), and will be remembered as about the size, and weight, of a baby grand piano.

At first we used WHDH’s mobile unit which was equipped with black and white cameras. As soon as possible, WGBH completed and pressed into service it’s own half-constructed Greyhound bus mobile unit using three nearly retired black and white field cameras obtained from CBS in New York. They had just come back from the Olympics in Europe. All the labels had been covered over with tape, and the names were written in German.

We were the “back door gang,” parking the bus behind the building, entering and exiting through the loading doors, rehearsing and taping on weekends and often far into the night. Orchestral and choral programs; Music for White Alice, a series on film-scoring with Daniel Pinkham; Tony Saletan’s first NET children’s music series, Sing, Children, Sing; the Dynamics of Leadership series; Epitaph for Jim Crow, a series with Tom Pettigrew on the history of segregation, and quite a few other productions were shot there.

We have no pictures of the building’s exterior. This, however, is a shot typifying the (familiar to us oldsters) programming use WHDH made of it. (Photo from RCA Broadcast News of April 1961; Courtesy of Norm Gagnon, GGN)

Now here, in lieu of the WHDH building itself, we have some photos from a little film clip of mysterious origin. Conversations with Al Hinderstein suggest that these are scenes from several productions shot at WHDH studios soon after the fire.

That’s Frank Vento in picture number one (above) setting up a camera bearing their call letters. Hindy remembers: “When we first went to WHDH we used their B&W mobile unit. The series with Daniel Pinkham was shot using the mobile unit except for one show that was done in color so could chroma key the film clips behind . I remember the title of the program was Music for White Alice. It was the first time Bill Harri
s and I ran the RCA TK 41s.”

Picture number two (above) includes Al Hinderstein, an unnamed Boston University student (background), a foreground man who we still cannot identify, Bob Hall, probably Ginny Kassel, Greg Harney and, in the background, Bill “Woozy” Harris. The production is unknown, but could (Hindy thinks) be Epitaph for Jim Crow.

The last four shots are, according to Hindy, from The Dynamics of Leadership series directed by Russ Morash. The host was Malcolm Knowles from Boston University.

The photo above may show Ken Anderson doing lighting, and the same unidentified BU student. And who’s that running prompter?

Please, if you have any more information on these photos, help us with our research by sending the information to us so that it can be entered here.

Public Garden — Boston Arts

Here, it’s comparatively quiet, even though we’re in the middle of Boston at the Public Garden. For many years WGBH camped out on this location for about two weeks each spring to televise the Boston Arts Festival.

Though the weather could occasionally be chilly and rainy, the talent and presentations were world-class and hugely exciting to shoot (with little to no rehearsal). For the largely studio-confined WGBH crew, the Arts Festival was a sweet ritual of renewal in more ways than one.

From the stage (constructed each year completely from scratch), ballet, opera, orchestral and jazz music was broadcast. The open-air theater sat here, straddling the walkway, right next to the Swan Boat pond. The audience area trailed back behind us into the grassy areas shown in the pictures above.

Museum of Science

In May, 1962 — 7 months after the fire, and countless cab rides and automobile expense sheets later — a consolidation of operations and a semi-permanent home was arranged in an agreement with the Boston Museum of Science. The win-win arrangement had WGBH-TV functioning both as itself, and as one of the museum’s exhibits.

A sizable space was allotted on the bottom floor in the rear of the museum building (which was, at that time, only about a third of its present size). A well traveled hallway ran along side the studio space, and large windows were cut in the studio and control room walls so that visitors to the museum could watch the station’s ongoing operations.

The staff eventually got used to working “in a zoo,” and things went on this way for 2 years and 3 months.

Offices were located refreshingly close to the studio, in what was known as the “Red Frame Building.” This wooden, one story structure had been used as office and workshop space during construction of the museum itself.

Cool enough in the summer, but frigid-windy in the winter, it was located by the Charles River just across a parking lot (now obliterated by expansion of the museum itself). Memory suggests that the “Red Frame” may actually have occupied a pier, similar to the one shown, as it seemed that going to work each day required walking on (or at least over) water.

The station’s new studios had been in planning during this whole time and anticipation became reality in August 29, 1964 (2 months short of 3 years after the fire).

125 Western Avenue

The station’s present home [2000], 125 Western Avenue, was a daring, one-and-one-quarter million dollar project made possible through the imagination and persistence of station management and impressive community, academic and corporate support.

And it was here that the potential, generated by the creativity, drive and resilience of the early staff, took hold, in the form of a very fine production plant, and making of WGBH possibly the most successful Public Broadcasting enterprise in the history of the medium.

Having begun in tiny offices on Newbury Street, and in Symphony Hall, the station has, in recent years, vastly extended its domain, occupying extensive real estate in the neighborhood around “125.”

A huge and labarynthine extension to its space, has been built and connected to the main building by an elevated walkway over Western Avenue.

Having begun in 1946 with a staff of less than a dozen and, in the “84 Mass. Ave.” era, expanded to something under 100, the present operation reputedly employs about 1,500 staff and boasts turn-of-the-century annual budgeting roughly 100 times greater than its 1960 level of $450,000.

Other locations

Unfortunately, we have no pictures just now showing other locations more-or-less regularly used by the station.

We refer here to places like The Boston Museum of Fine Arts (Museum Open House), Sanders Theater (BSO concerts), the showroom of the Boston Gas Company (The French Chef) and the Northeastern University Scene Shop.

Perhaps these omissions can be remedied in the future.

One way to run a railroad (1946-59)

Memories of the first days of WGBH

Introduction from Larry Creshkoff

The piece that follows is taken from an unpublished article by Ray Wilding-White and is presented here with permission of the author. Ray was a utility producer/director at WGBH from 1951 to 1956. His range was extensive, including musical performances on both FM and TV, “Children’s Circle” on FM, and “Images” on TV, which brought together in highly innovative ways the visual resources of the Museum of Fine Arts with music and narration, in an ongoing live series five days a week. He also composed and conducted the theme music for two series produced under the aegis of the National Educational Television and Radio Center: “Of Science and Scientists,” and “Action at Law.”

After leaving WGBH, he took a doctorate in music at Boston University. He subsequently taught music in the humanities department of Case Institute of Technology in Cleveland, and then at De Paul University in Chicago, attaining the rank of full professor. He is the composer of some 180 works, a number of which have been performed by the American String Quartet, the Chicago String Ensemble, and the Cleveland Symphony Orchestra.

Among his “extra-curricular” activities while in Chicago was “Our American Music” on WFMT — a daily series (366 programs!) produced in commemoration of the U.S. Bicentennial. Now retired, Ray and his wife, Glennie, live in Kewaunee, Wisconsin.

Having lived through or been privy to many of the events described below, I can bear witness to the essential accuracy of Ray’s reportage. As “Rashomon” demonstrated, however, interpretations can vary widely. Here is a very personal memoir. It describes what happened, from the perspective of a highly perceptive participant and observer of the scene.

One way to run a railroad

As it approaches its half-century mark, WGBH, Boston’s PBS station, has built up a reputation as the flagship of the Public Broadcasting System, a reputation derived from the production of such high-quality programs as NOVA. It is, at present, a relatively large and professional operation, and people must think it was always thus — when the topic of how it all began comes up, which it not infrequently does, I always hear a variant of the scenario where a group of civic leaders and educators, realizing the need for such a station, raised the funds and hired a small group of professionals to get it going.

Nothing could be further from the truth. The station was the brainchild of a disorganized, fuzzy-headed idealist and was made a reality with hairpins and bailing-wire by the heroic efforts of a bunch of dedicated, overworked and underpaid young maniacs who hardly knew a microphone from a zebra when they started on radio and positively did not know a camera from a Greyhound bus when they went into TV. I know. I was there.

The station was made reality by … a bunch of dedicated, overworked and underpaid young maniacs who hardly knew a microphone from a zebra when they started on radio… I know. I was there.

At the time, I was newly out of the New England Conservatory and Tanglewood, with some respectable credits as a composer to my name, but much in need of some way to pay the rent. “Tod” Perry, who managed the Berkshire Music Center and would soon manage the Boston Symphony, mentioned that there was a new radio station about to open in town and suggested that I give it a whirl.

I took his advice and took myself up to the top floor of a building on the south side of the first block of Newbury Street where I found the cluttered office of the Lowell Institute Cooperative Broadcasting Council (LICBC for short).

Here a man whose eyes were as baggy as his pants sat me down at a large, round green table and conducted a somewhat rambling job interview that was more psychoanalysis than interview, a sort of open-ended free-association session. It ended by his setting up what I thought was a dead mike (I was wrong), handing me that day’s Boston Herald, and telling me to pretend I was on the air and to give the news paraphrased from the paper — which I did in my best imitation Edward R. Murrow style. The man with the Fred Allen eyes, it turned out, was the boss and founder, Parker Wheatley. He hired me, against the advice of most of the existing staff, largely because I came cheap … $40 a week. Nearly five years later I would leave at the staggering pay of $85 a week with no pay for overtime and no rights to unemployment compensation due to a quirk in the Massachusetts laws that exempted “charitable” institutions.

Education on Commercial Stations

The LICBC was a co-operative of seven educational institutions in the area started in 1946. At that time, commercial radio stations were required by the FCC to provide a certain number of hours of public service programming; it was the mission of the LICBC to provide such programs on tape. The commercial stations were only too willing to tout their great public service deeds in their promotional material, particularly at license renewal time. Privately they saw the requirement as a pain in the butt. Since, then as now, they saw the only conceivable program as being a commercial program, the nature and possible sources for a non-commercial program were as remote to them as Outer Siberia. Understandably they were quite happy to have the LICBC assume their responsibilities.

Productionwise, the programs could not hold a candle to such present-day shows as All Things Considered, but the content was often excellent, and their very rarity gave them a special appeal. I may be one of the few left who remember the weekly radiocasts by Boston University’s Willis Wager. Wager was a truly Renaissance man who wandered, as the spirit moved him, through wondrous then unknown worlds, opening vistas into the music of the American Indians, Monteverdi’s operas, Elizabethan Folk Music of the Appalachians, or Balinese Gamelans. The 78-rpm recordings were often grittily recorded in the field and just as often scratchy, and Wager was alternately recorded in a tunnel and in a woolen blanket, but there came through a passion for knowledge and its dissemination not to be found in any of the polished present-day broadcasts. …

The Lowell institute had been established by the Boston Lowells — in the days when lectures were a major form of both instruction and entertainment.

The LICBC was not the first time Parker had tried to put together a co-operative of this kind; he had tried the idea in Chicago and the very successful Northwestern University Reviewing Stand and the University of Chicago Round Table came out of it, this latter run by one George Probst who was later to join the WGBH executive staff with dubious results. However the members of the Chicago cooperative got at each other’s throats, and the organization did not last. He had better luck in Boston, where he managed to get the Lowell Institute as the principal backer.

The Lowell institute had been established by the Boston Lowells — in the days when lectures were a major form of both instruction and entertainment. This era was long gone, but the Institute was alive and prestigious, and important names were still invited to lecture. Since these lectures were held at the Public Library, and often during the day, the lectures became the lunch and siesta hangout for the bum and panhandler contingent that used the Library as a shelter from the elements; the great opera director Boris Goldovsky remembered givin
g a six-lecture series on opera to an obbligato of crumpling paper, chomping jaws, and snores.

Getting WGBH-FM on the Air

It was [to become] obvious that producing taped programs for commercial stations was a stop-gap and that the next logical step would be an LICBC non-commercial station. The decision to go that route was triggered by the appearance of FM and its chief promoter, Major Armstrong of the Zenith Corporation. …

As the prime producer of FM sets, Zenith and, until his suicide, Major Armstrong decided to promote Zenith by promoting high-fidelity and with it “good music” broadcasting. Of course, WGBH with its proposed live Boston Symphony broadcasts was a natural. Zenith’s support, technical and otherwise, was a key factor in the birth of Educational Broadcasting.

The FM project also got a major boost from another source, one which many would have considered unlikely.

James Caesar Petrillo was one of the great labor leaders of a generation that produced such men as John L. Lewis and Sidney Hillman, men vastly different in style and temperament but united in their dedication to a better deal for their members. Petrillo was tough, arrogant, not above gangster tactics and often tactless and unaware of the need for good PR — as when he quite correctly went after the cute kiddies at the Interlochen Music Camp and got the worst press in the history of labor for his pains.

Petrillo belonged to a generation, now past, that held the classics in awe and as a result he gave the station virtual carte blanche to broadcast any concert it wanted to. If the performer or performers agreed and put it on paper, the event was then cleared with a local union representative appointed by the National office who operated pretty much on his own. The rep turned out to be Rosario Mazzeo, the personnel manager and union steward for the Boston Symphony. Luckily, like Petrillo, he totally agreed with the idea of Educational Broadcasting and so clearances were strictly pro-forma.

The crew of the good ship that sailed off into uncharted waters was armed with ideals, imagination, and ignorance, and not much else… With less imagination they could not have done it, with less ignorance they would not have tried.

Thus, when it went on the air, WGBH would broadcast, free of charge, the Boston Symphony every Friday afternoon and Saturday evening, a weekly concert from the New England Conservatory, and a wide variety of events, taped for later broadcast, from Sanders Theatre in Harvard, the Museum of Fine Arts, MIT, and other locations. Lowell may claim the fame but Zenith and Petrillo really put the station on the air.

The crew of the good ship that sailed off into uncharted waters was armed with ideals, imagination, and ignorance, and not much else. They all believed that they could change broadcasting for the better and if, sadly, we now know that most of broadcasting has changed for the worse, some changes did happen and much of it can be traced back to that gallant little crew. With less imagination they could not have done it, with less ignorance they would not have tried.

The Original Staff

There was Larry: slender, nervous and intense and an inveterate tinkerer; the engineers hid things when he came into sight. There was Hartford: the perfect Harvard MBA business school preppie who, for all his neat attire, got nowhere with the ladies and resented the more flamboyant social life of the others. Larry and Hartford were recruited from the Harvard student radio station and this and Larry’s four years at Newbury Street qualified them to be Program and Business Manager respectively.

Jordan was unique. Tall, long faced, slightly balding, he kept himself in perfect shape and dressed with meticulously studied carelessness — tight fitting slacks, spotless tennis shoes, a shirt with its sleeves rolled back with mathematical precision. His most salient characteristic was a voice like a cross between a fog horn and a bull in heat. He was one of the few who never did announcing duty. Jordan was also a Harvard man and was recruited into the music staff on the basis of a huge record collection.

Nancy M (not to be confused with Nancy H) was the station beauty; she may not have been hired because her father was a Harvard professor, but it didn’t hurt. Midwestern Wheatley was in total awe of Harvard and this tended to reflect on the station’s psyche. In one way or another the little red schoolhouse, as Harvard was affectionately known, had a pervasive influence. The station’s transmitter was on the Great Blue Hill (hence the call letters, though wits said they stood for God Bless Harvard) partly because the hill was the highest piece of land in the Boston area and partly because it was on the grounds of the Harvard Meteorological Observatory.

I, of course, was not Harvard; nor was Production Manager Ralph, a phlegmatic counterpart of the wiry Larry; or Jan, who was just looking for an office job and found herself editing tape; or Jack or Andy who very shortly left for greener pastures, one to eventually head a religious station, and the other for the Ford Foundation’s new Omnibus project.

The engineers were a group apart; they were the working stiffs of the station; unionized, higher paid, and as totally bemused by the whole circus as an Allman Brothers roadie setting up the Joffrey Ballet. The two exceptions were Gabe, a free spirit far ahead of his time, and Bill, the nicest guy at the station and the only really well-read radio engineer I have ever met.

Starting Pains

We opened on Saturday, October 6, 1951, with an evening broadcast of the Boston Symphony Orchestra’s season opener, after which we shut down. Regular, if you could call it that, broadcasting started on Sunday, and Larry remembers it well because the evening feature was the BBC World Theatre Hamlet, which came to us on the big transcription discs and in this case they were defective. Larry got through by phone to Basil Thornton, the BBC Honcho in New York, who took a fresh set personally down to Grand Central Station and persuaded a conductor on the Boston train to take the package with him. Larry met him at South Station, further decorated his palm, took the transcriptions back to the station, auditioned them and put Hamlet on the air. However, “To Be or Not To Be” was not to be since the transmitter chose this time to break down.

When the microwave link went down … we shipped a producer, announcer, sandwiches, etc., and the day’s programming on reel-to-reel tape out to the transmitter to spend a day of monastic peace and tranquility far from the madding crowd at the Hall.

The transmitter, I might add, had a mind of its own and, if it didn’t go down, the microwave link — did. In the first case we were out of luck, in the second we shipped a producer, announcer, sandwiches, etc., and the day’s programming on reel-to-reel tape out to the transmitter to spend a day of monastic peace and tranquility far from the madding crowd at the Hall.

Work Environment

The station’s new quarters were in the northwest corner of Symphony Hall. Two utility rooms in the basement under the musicians’ room were Parker’s office and the business office, where my first assignment in the field of radio broadcasting was to nail together a large work table from some old Boston Pops tables and some sheets of plywood (what! and quit show business?). Hartford’s executive desk was a door and two iron-rod saw-horses (The same two horses with a new door are today the retouching table in my photo-workshop). Two floors up, over the musicians’ room, the orchestra’s museum was vacated and turned over to the station. …

In one corner of the old museum space, a sm
all studio big enough for the old round Newbury Strippable, a seldom used spinet, a couple of chairs, and a mike boom, together with a cramped control room and a minuscule announcer’s booth, had been built.

Knowing that the Symphony would be blasting away at all hours right next door, expert consultants were brought in and great pains were taken to soundproof the walls of the studio. The job was very well done; even at Mahler’s best, not a peep from the hall could be heard in the studio. The designers and consultants, however, forgot that the musicians’ room was directly below and they didn’t do a thing about the floor; only too late did we find out that downstairs was the favorite place for the tuba player to practice. Though many a red-faced producer/director asked him to move, many an interview wound up with an oom-pah obbligato.

The rest of the upstairs space was filled by the production staff and their desks or, in some cases, doors and saw-horses (the engineers had their own small den), the tape library (there was no record library) and a bank of rack mounted Magnecord tape machines used for editing tape.

Ah yes! the Magnecorders, or Maggies for short. The station had a fleet of them and they were the backbone of the operation and every backbone in the station knew it. Built like Mack trucks and weighing almost as much, they came in two solid 8″ by 18″ by 12″ boxes, one for the tape drive and one for the amplifier, that you could drop down a flight of stairs without damage. They were built to last, which is more than you could say for the poor operator. If you went on a remote (and the station practically lived on them) you had a Maggie box and probably a mike stand in each hand and a large rucksack full of cables, connectors, mikes, tapes, tools and what-have-you on your back. To get the full impact of this we must look at one aspect of the station’s programming.

The Lectures of Academe

Parker took the “Educational” in Educational Broadcasting very seriously. Thus a number of college professors were talked into putting their courses on the air. We are not talking radio adaptations or in-studio recordings here, but straight, in-the-classroom, as-it-happened, taped courses all the way through from “Welcome, the required text is…” to “The final exam will be….” Thus a crew of one loaded down like a marine on discipline detail would, rain or shine, tear out to Harvard or BU or wherever and huff and puff down corridors and up flights of stairs (elevators, like the police, had a knack of not being available when you needed them) in order to set up and record an exhilarating hour of geology, then tear down and huff and puff to the next exciting event.

If the professors were not always balls of fire, they were, to be fair to them, a co-operative and long-suffering bunch. This was years before those dinky little tie-clip things you see Gumbel put on, and the cordless mike belonged with Dick Tracy’s wrist radio, still science fiction. The workhorse microphone was the “saltshaker” or “bullet” mike that was about the size and weight of a slightly ovoid billiard ball.

The first try was to put it on a stand on the professor’s desk, but professors don’t stay put. Thus the professor’s voice would drift in from China and drift off to Europe as he paced the floor. Then someone thought of putting the mike in a reflector — looking something like a three-foot-wide satellite dish — and chasing him around like a follow-spot from the back of the class; this tactic got us fairly consistently on-mike if you consider the sound of the Carlsbad Caverns on-mike.

The halter microphone … was an ungainly piece of pipe that hung around the neck and curved out and back from the chest with the mike on the end which gave the impression that the professor was trying to charm a fairly large and rather bad-tempered snake.

Then someone came up with the halter. This was an ungainly piece of pipe that hung around the neck and curved out and back from the chest with the mike on the end which gave the impression that the professor was trying to charm a fairly large and rather bad-tempered snake. The halter was, understandably, unpopular. The whole problem was never really solved until Altec came out with a small mike (the “lipstick” or “pencil” mike) that could be hung from the neck.

As time went by the system was automated. A microphone, cable, and an amplifier were permanently left in the classroom in a locked box, to which the professor had a key. Through a dial system taken from a rotary phone, and using the same system of stepping-switches, the control room could turn the amplifier on or off. With patience and perseverance, a sufficient number of professors were trained to jump through these electronic hoops, and trips with the Maggies became mercifully rarer.

Many a Splice

Though co-operative, the professors were by no means up on microphone technique — it’s not one of those things that gets pushed very hard in graduate studies. They snorted and coughed and hemmed and hawed and occasionally knocked their pipes out on the mike stand and all of this acoustical garbage had to be edited out.

This was done with a grease pencil, a pair of scissors, and splicing tape at one of the editing setups. This was a Maggie PT6 mounted at seat level with a shelf in front, the amplifier mounted below it, and an additional feed and take-up mechanism to handle large reels mounted above it. Since the heads were exposed and stuck out horizontally and there was no brake to stop the tape when you cut it, the setup was ideal. When we found out that there were such things as splicing blocks, we had all become so good without them that they were never bought. And we were good, damned good, at editing anything — even, when necessary, reconstituting fouled up passages and doing some acoustical cosmetic surgery.

There was one catch with the editing machines; when rewinding the tape, the speed kept increasing as it does for all reel-to-reel machines. The large reels, in particular, could work up a hell of a head of steam; the metal flanges could literally take a finger off. Tension being slightly uneven on those early machines, slowing down by turning the tape off and on was asking for a tangle of tape that would be beyond salvage, so we had to let it run out, splattering a small shower of tape fragments as it did so (long leaders were a must). Then we turned it off and deftly used our bunched fingers on the hub to slow it down, a feat of derring-do we all got good at with only minor flesh wounds.

Reaching Out

As time passed, WGBH went after, and got, grants to originate specific programs or series such as a docudrama on Soviet factories or “They Bent Our Ear,” dramatizations taken from writings about America by early European visitors to the Republic — Dickens, Trollope, and others.

One program involved a fairly complicated procedure. Questions would be put to Americans and the taped answers would be sent to a variety of European stations who would play them to locals, record their answers, and send them to us. All of this, and some commentary, would be edited into a cohesive whole by Ralph, the program’s producer.

There was a hitch. Standards and quality control were variable throughout the world and the tapes that came back had slight but obnoxious variations in speed. Ever the gadgeteer, Larry found a way to alter the speed on a Maggie, a very laborious procedure that also wrecked the poor Maggie. After hours of work, Ralph and Larry got what they needed and, after more hours of editing, Ralph got his program completely assembled on a large reel on one of the editing machines. With a sigh of relief, he clicked the switch to rewind. The tape cranked up to high speed
and then suddenly jammed — and feet upon feet of tape were sprayed out in tiny fragments throughout the room; the rest of the tape was spaghetti. Ralph did not openly burst into tears, in my opinion an extraordinary feat of self-control.

Feet upon feet of tape were sprayed out in tiny fragments throughout the room; the rest of the tape was spaghetti. Ralph did not openly burst into tears, in my opinion an extraordinary feat of self-control.

The station went on the air for a limited number of late afternoon and evening hours each day. Nearly all the programming was produced in-house, and this put a severe strain on the small staff and limited resources. The source material, be it remote or in-studio, was all from the Boston area, which made it a truly local station; however, all programs had to be affiliated with one or another of the members which, of course, ruled out some interesting possibilities.

This could be gotten around the Spanish have the saying “Hecha la ley, hecha la trampa” (Made the law, made the trick). Nat Hentoff was, at the time, an announcer on a local commercial station which let him do a late night jazz show on his own hook (good jazz broadcasts were even rarer then than now). We had been using Nat as a part-time announcer and we wanted him to do a series called The Evolution of Jazz, but the commercial station was certainly not an LICBC member. Nat, however, was a graduate of Northeastern University, a smaller and hungry member which had, so far, had little to offer. They promptly appointed him an honorary faculty member and put their blessing on the program. A wonderful series was the result and one, by the way, that gave jazz historians the term “mainstream” without which Gunther Schuller’s term “Third Stream” could not have been invented.

Later, at the time we were on TV, George Wein, the owner/operator of the two major jazz clubs in town, Storyville and Mahogany Hall, finagled an appointment to teach a course at Boston University on the history of jazz. A sometime pianist and an expert booker and operator — he would later be the prime mover of the Newport Jazz Festival — he was, however, no scholar. So he struck up an arrangement with me and borrowed Hentoff’s tapes, two at a time, from the station through me and used them as the basis of his course. The students were happy, George was happy, the station was none the wiser, and I got carte-blanche at both jazz clubs, which made me happy.

Music for the Millions

The broadcasts of the Boston Symphony were the jewels in the crown followed by all the other live and taped concerts in town. Of the in-house non-music programs, the two that rose to the top were Louis Lyons and Children’s Circle, followed by a melange of talk, talk plus records, round tables, remotes of conferences, lectures, poetry, theatre, and so on; it got so hardly anybody could open his mouth or his instrument case in Boston without a mike and a Maggie popping up in front of it.

The exceptions to the in-house programs were transcriptions from France and from the BBC, but the latter had yet to admit Educational and later Public Broadcasting into the British Empire. Following the Hamlet problem, all transcriptions were being auditioned; one of my very first assignments was to audition a BBC transcription of Ibsen’s The Doll’s House with an all-star cast; if this was what I was being paid for, I figured I was robbing the station. No such luck. Within a week I had joined the ranks of the overworked, and time pressures brought an end to all such auditioning.

One thing we did get from the BBC was the coronation of HM Elizabeth II, a day-long, wall-to-wall coverage of the event which, for some reason I now forget, Parker saw fit to re-broadcast not once but, like a royal I Love Lucy, six times. One spot stuck in everybody’s mind; this was not the moment of coronation, not the magnificent Walton music, not the new queen’s words, but a fatuous Arthur Treacher of a BBC announcer saying, as the parade passed by, “Ah! There is nothing quite like the splendor of horses!” Somehow it seemed to sum up the collapse of the British Empire in a nutshell.

And finally, to round out the programming picture, there were, of course, the courses. All told an ambitious schedule; it leaned heavily on the word “educational” and may have been a bit dry on that account but, certainly, it saw its audience as intelligent and mature. It was a far cry from the present plague of too many cooks, English comedians good and bad, and fix-its of every stripe; concessions to the middlebrow, let alone commercial bottom-of-the-barrel, were not in Parker’s vocabulary.

Each day at six our listeners got to drop onions in their Gibsons to the sounds of the Australian Didjeridoo, Tibetan monks or Chippewa love songs.

Parker’s idea of concession can be seen in our dinner, or better, cocktail hour, music program. This was not your usual breeze from Windham Hill which in those days would have been David Rose or Percy Faith. These were the years when Moses Asch was turning out his wonderful Ethnic Folkways recordings as if there were no tomorrow and Parker thought that, in keeping with our mission of being educational, one could mix drink and erudition at the same time and get smashed and sophisticated in one blow. So each day at six our listeners got to drop onions in their Gibsons to the sounds of the Australian Didjeridoo, Tibetan monks or Chippewa love songs.

Star Attraction: The BSO

The Boston Symphony, as I have said, was the jewel in the crown. Because of its drawing power and prestige, it was crucial to our success in those early weeks. NBC had organized its prestigious symphony under the baton of Arturo Toscanini, and CBS had imitated it (with less eclat) with Bernard Hermann; but nobody had done regular, live broadcasts of a major orchestra. Not only the administration but also every member of the orchestra had to agree, and getting all of that was no easy task, musicians being the most crassly materialistic of all artists.

Also this was the dawning of the age of high fidelity, when the dream of hearing a concert as it actually sounded in the hall (whatever that is) was really coming true; the day was yet to come when the term Hi-Fi meant any piece of Japanese junk. New technologies for pickup (condenser mikes), for recording (tape and LP), and for playback (bass reflex speakers), were emerging daily, and with them came a new language and a fanatic sub-culture of hi-fi nuts who monitored and calibrated every wiggle of the wave-shape the Symphony broadcast, from its highest highs to its lowest lows. The Symphony broadcasts were essays in culture, aesthetic experiences, and audio laboratories all in one.

To make the broth even richer, across the river the MIT Acoustics Lab was at its peak and more than ready to contribute a few more cooks. Everything about the Symphony broadcasts was touchy and had to be handled with kid gloves. When the opening broadcasts went off without a hitch, the collective sigh of relief blew off toupees in Providence, R. I.

Maureen, tall, slender, and up-tight, was the first producer of the Symphony broadcasts. She was dedicated but she lacked the musical wherewithal. Eventually Maureen was replaced by Gene, a smart-alecky New Yorker and a gin rummy shark. He lasted one season and his demise was not entirely his fault, but he was powerless to do anything about it. The single-mike pickup philosophy, which said that one microphone exactly placed gave the best results, was the recording credo of the day; to be sure to get the correct placement, the Symphony’s rehearsals were all carefully monitored.

The broadcast of the Bolero became a drum solo
with a slowly vanishing orchestral obbligato and the whole hi-fi subculture was up in arms.

The conductor at the time was Charles Munch who was notoriously unpredictable. One Friday Ravel’s Bolero was on the program and at the last minute Munch had a brainstorm. The snare drummer, he said to himself, is the real star of the piece, so he moved him down to the soloist’s position next to the podium and directly under the single microphone. The first the aghast Gene got to know of this was when the drummer, Harold Farberman, took his position. The broadcast of the Bolero became a drum solo with a slowly vanishing orchestral obbligato and the whole hi-fi subculture was up in arms. Though it was entirely Munch’s fault, there was no way anybody was going to come out and say so.

The third man to get the job was Jordan. He was the right man for the job, and he had the advantage of having learned from watching two years’ worth of other people’s mistakes. He stayed in charge of the Symphony broadcasts for many years.

The Talk-free Intermission

With the Symphony broadcasts, Parker came up with his most inspired and controversial idea. The problem was what to do with the intermissions. The standard solution was, and usually still is, to fill it with all kinds of inane gabble, and this was quite unacceptable to Parker. His solution was simplicity itself; long before Tom Lehrer’s dictum “If a man has nothing to say, the least he can do is shut up,” Parker said we will do nothing. The mike was turned up and one listened to crowd noise just as the people in the hall did. He had to fight for this idea, even with his own staff, but in the end he was right.

The idea was integral to Parker’s philosophy of “Do it the way it is.” The concept applied to concerts where, unlike commercial practice, nothing was cut, not even the encores. Thus, when recording a concert for later broadcast, we always got the names of the encores from the performer after the concert. After her Jordan Hall concert, pianist Nicole Henriot slipped through our fingers and was halfway back to France before we noticed she was leaving us with four unidentified encores.

With a little thought we nailed the first three, but the fourth drew a blank. We shanghaied a whole parade of Symphony members and had them listen to it with no results; then we went across the hall and recruited management: Manager Perry, Personnel Manager Mazzeo, Program Annotator Burke, et al., still with no results, until finally Leonard Burkat said: “Why not just say that it’s the Impromptu in A flat Major, opus 53, Number 5 by Caesar Cui?” Why not indeed, and not a peep was heard from our listeners who were famous for not letting anything get by. So, to this day, as far as I (or anybody else) is concerned, that fool piece is the Impromptu in A flat Major, opus 53 Number 5 by Caesar Cui, which Cui never wrote.

Remotes: The Technical Challenges

Since the Orchestra recorded there, Symphony Hall was properly equipped for the purpose. Not so the rest of our musical venues.

The New England Conservatory had agreed to do a weekly Wednesday night broadcast by students and faculty members. Being a graduate of the school, I was given the assignment which, like all assignments, carried the thundering title Producer/Director. The Conservatory end of the broadcasts was handled by Jean Demos, a wonderful lady, beloved by all and one of the very few deans I have met with a ticket to heaven and not to hell. The programs were well planned and prepared, and students and faculty gave their all — sometimes a bit too much.

Felix Wolfes was a German musician of the old school and looked much like “Cuddles” Zakal; an old bachelor living only for music of which he had an encyclopaedic knowledge, and neglectful of anything but his one love. His concerts from the vocal repertoire were Wagnerian in length and filled with such arcana as a whole act from an opera by Pfitzner. Three hours was minimum and at intermission, oblivious of the broadcast, he would retire to his room for a nap; when after a half-hour the already meager “crowd noise” had dwindled to silence, I finally had to go and wake him in the face of Parker’s dogma that all faculty and what they did were sacred.

Only once did we cancel a concert. Ten minutes before air time, Arnold Moss, scheduled to narrate L’Histoire du Soldat, declared that he had not been properly cleared and refused to go on. It was a blessing since I was running a fever of 104. I told the engineer to pack up, let the station fill as it could, went home, called the doctor and found that I had viral pneumonia; I was out four weeks. Arnold, I love you!

Once Jean Demos had set up the program, I had to obtain the clearances, write the script, tote and help set up and tear down, run the broadcast and, on occasion, also announce myself — sometimes literally; I once announced a concert with a work of my own on it.

Back then, performers were only just coming to terms with, and were understandably leery of, the creeping technological invasion of their sacred playing space.

The Conservatory’s Jordan Hall concerts were live so we only took over, and later permanently installed, an amplifier, mikes, and other gear. To set up we had to drop stage lines, climb over catwalks, play catch from the balcony and generally improvise until, slowly, permanent solutions were developed — all of this to get a good sound while staying as invisible as possible. Modern rock performance has not only inured us to the forest of sound equipment, it has made it part of the event. Back then, performers were only just coming to terms with, and were understandably leery of, the creeping technological invasion of their sacred playing space.

Problems were similar at another favored venue, Sanders Theatre, a peculiar structure inside an even more peculiar High Victorian structure built to have a romantic silhouette by moonlight which is Harvard’s Civil War memorial. By happenstance it had the best acoustics in town; it also had a booth of sorts but no telephone line and no way to hang anything. Larry came up with a laundry line of the pulley type you run between apartment balconies and ran it from the balcony to the useless (since there were never any minstrels) Minstrel’s Gallery over the stage. It looked like Saturday at Mrs. O’Leary’s, but it worked. …

For all the concerts in lecture halls, student lounges, museum galleries and whatever, the old tote-the-Maggie procedure went on for a long time; the machines were unwieldy, and their fidelity could be questioned, but they were reliable, and with them WGBH stockpiled a massive file of local performances. By comparison, in the recent past I spent 20 years in Chicago and noted that WTTW, a well-heeled PBS-TV station that gets 75% or more of its money from local fund-raising, broadcast NO Chicago theatre, concerts, blues or jazz, and almost no dance or opera. Different times, different values.

Louis Lyons and the News

Feisty and crusty and something of an earlier-day Studs Terkel, Louis Lyons was a journalist of an older vintage … he talked about what was really happening and he told it like it was with the voice and delivery of a tug-boat captain.

Parker wanted a newscast but he did not want it read off the news ticker and he lucked out in finding an experienced newsman on the Harvard faculty. Feisty and crusty and something of an earlier-day Studs Terkel, Louis Lyons was a journalist of an older vintage; he had no patience with “featurettes,” “human interest,” “breaking stories” and all that window dressing; he talked about what was really happening and he told it like it was with the voice and delivery of a tug-boat captain.
He was an instant success and when he predicted the outcome of a presidential election ahead of the (then uncomputerized) networks, he not only made the network news himself, he became something of a legend.

Lyons had left the city room to take charge of the Harvard Nieman Fellowships in journalism, and ensconced as he now was in the roll-top-desk atmosphere of his cozy office, getting him to do the news was almost impossible. Larry did all the stroking that was needed and clinched the matter when he fixed it so that the news could be piped directly from Lyons’ hideaway. After the Symphony, Lyons’ idiosyncratic newscasts became the second mainstay of the station’s programming.

Programming for Children

Parker also wanted a children’s program that would be based on some educational theory and that would depart from the hysterical mayhem personified by Howdy-Doody, at that time the king of the kiddie mountain and generally regarded as the perfect small-fry fare by the commercial stations.

By our rules, there had to be a member source and, in this case, the only potential one was a Nursery Training School run by Tufts College; the biddies who ran it, however, were about as exciting as two hours of static. Once again the station lucked out. Working in public relations and placement for the school was an attractive woman in her thirties with a low, sexy voice that would have made a great torch singer had she had any idea of music, which she didn’t. On the air, however, it had an infectious warmth and from her standard opening “Hi!” she had the kids, and a lot of adults as well, eating out of her hand.

Jack, the original producer, left within a few weeks. There being no one else available, I acquired the show, and a partnership, that I look back on fondly, ensued which lasted some four award-winning years. Nancy H. (not to be confused with Nancy M.) wrote all the scripts herself, a mix of stories, playtime, and instruction, whose tone, long before Captain Kangaroo (Bob Keeshan was still on Howdy Doody), was laid-back and relaxed, talking on an even footing with the kids rather than down or at them. The often-complicated sound effects and the music were in my domain.

The powers at the Nursery Training School had a dictum that children’s music must be simple; I soon discovered that this meant music you can play with one finger.

The powers at the Nursery Training School had a dictum that children’s music must be simple; I soon discovered that this meant music you can play with one finger which reflected more on the NTS staff’s inept piano technique than on the children’s ears. So I went for the peppier passages by Stravinsky and Beethoven and Bartok with an occasional march or stomp — our opening theme was by Ibert, and our closer by Villa-Lobos (played by Rubinstein yet). The NTS was upset and Parker called me on the mat.

“As I see it,” he explained, “Nancy is a mother who has her child on her lap and is telling her a story; now in this setting she wouldn’t have a hundred-piece symphony behind her.” I was forced to point out that, outside of the fact that most of the music was not orchestral, the child would not have the foggiest idea if it took one or a thousand people to make the sound it was hearing. Besides, in this audio age, given the unlikely possibility that some mother actually acted out his scenario, there was a very good possibility that an orchestra would be playing in the background. Our music policy remained in place; my criterion for selecting the music was a broad extension of one-armed jazz trumpet player Wingy Manone’s saying “If you cain’t march to it, it ain’t music!” I figured this would get the kids up and hopping, and it did. …

The Perils of Production

Of all the incidents connected with producing the hundreds of Children’s Circle shows, one is engraved in my mind. At five o’clock there was a regular routine. Louis Lyons’ news would be recorded by telephone line from his Harvard office as the Children’s Circle tape for the day (recorded earlier that week) was on the air; the engineer had a tape specially for this purpose. Just before five he would erase the Lyons tape, put it on one machine, put Children’s Circle on another and, as soon as this latter was on the air, dial in Lyons and record him. One day, at 10 minutes to 5, I was sitting at my desk when dependable-as-a-rock Bill came up to me and said:

“Ray?”

“Yes, Bill?”

“I just wiped the Children’s Circle.”

“How much of it, Bill?”

“All of it.”

“All of it?”

“All of it.”

“ALL OF IT !!!!?”

Panic! Everybody stopped what they were doing; I called Nancy H. and had her grab a taxi; assembled what we could in music, sound effects, etc., jury- rigged what would have been “post-production” and we winged it live. We were a bit rough, but only five minutes late.

Children’s Circle was radio; three days a week Nancy H. sat cross-legged on the floor of the studio with her materials in an arc around her — a mannerism that her occasional guests adapted to — while the engineer and I operated from the control room. With this, and extended editing sessions, we cranked out five shows a week until TV came along. …

It would seem that I have concentrated on my role — but then this is a personal memoir. I carried a weekly live Jordan Hall concert, five Children’s Circles and at least two or three other concert pickups a week plus minutiae. All the staff carried equally heavy loads and we all averaged 70 to 90 hours a week for the first few years without, I might add, the benefit of either overtime or unemployment compensation when we left. Jordan carried the Symphony and our only DJ, G. Wallace Woodworth, the conductor of the Harvard and Radcliffe Chorus, who did a weekly pre-symphony program.

We built him a mobile pair of turntables where he played a game of Drop-the-Needle, while Briggs and Briggs (the Harvard Square store that loaned us records) gritted their teeth, exclaiming the while “Oh that’s not it!… yes, here we have it….now isn’t that superb? Tum-tah-dee-tum-tah (He “sang” with the records)..then there is this mighty chord!..Bum-da,” and so on. He never said much, but he gave you the impression you had learned a lot. …

Imagination Plus Elbow Grease

I could list the work of the others, including the miles and miles of tape edited from courses by Nancy M. and Jan, or the long list of poets reading their own works — including Dylan Thomas’ last such recording — or Jacob Bronowski’s brilliant MIT lectures years before his TV series. Real contributions, however, are just as often found, and more often ignored, in the mundane.

Much too much emphasis is placed nowadays on “qualifications.” Colleges, for example, demand that before teaching you have a doctorate, which only means that you have spent four more years and a lot more money in college and damn little else.

Neither Larry nor Ralph had “qualifications” that would get them anywhere near jobs as Program and Production Managers in a radio station in this day and age; yet they met the host of little problems that cropped up, like roaches in a tenement, armed only with native ingenuity and dedication, and they solved them as no broadcast executive I have since met could have. …

Announcers were a particular problem. Parker had co-opted the Symphony; his laid-back approach came across like Will Rogers without the jokes, but it got by. For the day-to-day announcing we
went through an array of full- time and part-time people and the occasional production staff member without ever getting really on track. Two major issues were avoiding the rapid fire, high pressure delivery of the commercial announcers, and getting people to pronounce the names of composers and performers accurately.

Of all our failures, Hugh was the worst. Hugh had no intention of staying in Educational Broadcasting and was using his stay at WGBH as a place to practice his fast-paced delivery, to the point where he could make a car salesman sound tongue-tied, and he paid no attention whatsoever to Ralph’s admonitions.

And as for names, he could not have cared less. Moussorgsky was unfailingly Moussgorsky. He introduced the orchestral version of Pictures at an Exhibition as being by “Moussgorsky Ravel.” Ralph took him aside and explained that the piece was by Moussorgsky and was arranged by Ravel. When we later broadcast Scheherezade, Hugh told our audience that it was by Rimsky, arranged by Korsakov. That did it.

Bill Pierce to the Rescue

When Parker at last relinquished his hold on the Symphony, we finally got a full-time man who understood our needs, William Pierce. Besides a fine voice, his delivery was relaxed without being somnolent, informal without being folksy; add to this an ability to stay clear of the internecine strife that bedeviled the station in its TV days, and as a result Bill Pierce remained the voice of the Boston Symphony for many, many years.

In spite of the overwork, the staff was a partying crowd. The parties ran late, and usually somebody there was next day’s announcer, since this was generally a weekend and on weekends everybody pitched in.

At the end of the first week of broadcasting, the Boston Symphony threw us a party and a grand celebration it was. The job of tending bar was given to the Symphony Hall maintenance men, good Irishmen all, whose idea of a drink was a shot of soda in a water glass, fill with bourbon and light on the ice; they had the station and Symphony staffs and a lot of the orchestra hammered beyond recall in no time at all.

For an anniversary party, a couple of the producers put together a half-hour “program” which was a parody of the then very popular Dragnet. It had send-ups of the various WGBH programs all run together by a search by Friday and his sidekick Bill Gannon for the murderers of Educational Broadcasting. The climax of the show was the exchange:

Friday: “I’ve solved the case, it wasn’t murder”

Gannon: “Not murder?!”

Friday: “No”

Gannon: “Then what was it?”

Friday: “Suicide!”

… and the Dragnet theme crashed in fortissimo.

The words were somewhat prophetic, not for Educational Broadcasting as it grew into Public Broadcasting as we know it now, but for that special kind of naive enthusiasm that marked the early days.

Gearing up for TV

TV was still new and it was still glamorous. We were barely out of the Milton Berle era and coast-to-coast hookups had just come in. In many ways it was the golden age of television with such programs as Playhouse90 and Studio One presenting serious new plays by talented new people like Paddy Chayevsky. Videotape had not come in and everything was live.

The Ford Foundation funded Omnibus and we all went forward into the new medium feeling that we were to be the saviors of the wasteland. As it has turned out, we were not; all that Omnibus left behind was Alistair Cooke, and Educational Broadcasting fathered the middlebrow magazine formats of many modern Public TV stations. But we are getting ahead of the story.

WGBH moved out of its Symphony Hall quarters, which went back to being a museum, and moved into a disused roller-skating rink on top of a strip of stores facing MIT on Massachusetts Avenue.

WGBH moved out of its Symphony Hall quarters, which went back to being a museum, and moved into a disused roller-skating rink on top of a strip of stores facing MIT on Massachusetts Avenue. The radio production crew, all hooked on the tube and dreaming God knows what dreams of glory, were retreaded into a combination of producer, director, and technical director. All three functions — preparing the program, ordering the cameras around and pushing the buttons and the fade bar — were handled by the same man.

Hartford went on being business manager and more, as we shall see. On the grounds that TV, being more complex, needed experienced people, Larry and Ralph did not move into administrative spots. Judging from what happened, they would have done as well as the men that took over.

George Probst had been brought in by Parker before the move and now became “Number One” (in navy parlance). Tactless remarks to faculty members got him fired and he was replaced by Ted, a pleasant man, who said of one of the old timers, “The trouble with him is that he is too talented. …”

The new Director of Production was Colby Lewis, who was experienced, able, and sympathetic. Parker’s deals and many ideas were in the right place, but his administrative style was lamentable. Colby couldn’t take it and quit just as the production staff was shifting into gear for the opening. With air time only a few weeks away, a hurry-up decision was made, and Paul, who had been hired to be in charge of film, was promoted to Director of Production and proved to be both incompetent and vindictive. The “experience” the new men brought proved illusory and, more important, they lacked both the conviction and with it the ability to improvise that the old crew had had; no 90 hour weeks for them, thank you very much!

Programming also changed. Remotes were now impossible. Concerts had to be set up so that they could be brought into the studio, which was both more limiting and more complicated. Louis Lyons had to abandon the safety of his office, and professors retired to the safety of their classrooms. The talking heads proliferated like Brussels sprouts. Children’s Circle vanished; however, a nature show for older students was superbly put together by an indefatigable and iron-willed lady called Mary Lela Grimes, who had an awe-inspiring ability to walk rough-shod over any obstacle in the program’s path. She had an volunteer assistant who, with the aid of special lenses and things, could set up the most amazing shots; by dint of careful planning and timing, the two of them had a bat born on the air in close-up — both the bat and the program were live.

The Museum of Fine Arts & Images

One interesting program came my way and took the place of Children’s Circle, for me at least. Parker had found that the Museum of Fine Arts had a large file of slides and pictures mounted on cards. He thought that here was an inexpensive way of filling a daily half-hour and conceived of a program called Images, which would show a dozen or so pictures to the accompaniment of music; again there was nobody else available so I got the call.

It became obvious right away that Parker’s original format was not going to work. Asking someone to stare at an unmoving picture for two to three minutes might be OK in a lecture, but it would have TV viewers reaching for the dial in no time at all and with good reason. The Museum, however, had a competent educational department and my counterpart there was a very able lady called Narcissa Williamson; under her guidance, they turned to with a will and did their best to turn out the necessary number of scripts. At the station we designed a setup of rear screen
projectors and easels so that two cameras could pick off details, pan across or dolly in and out (electronic zoom was not yet available) for anything up to 120 slides and/or pictures a program. Recorded music would be played with the visuals and a reader — as often as not a guest — would read a synchronized script.

Images often wandered off into old clocks, bugs, old ships, sports cars, and even dramatizations of such stories as Wilde’s The Happy Prince or Poe’s The Telltale Heart.

All of this was done live five times a week. As anyone who has seen The Civil War knows, this kind of technique is now commonly used (though never live) but back then it was an innovation. The Museum could not keep up with the daily pace, so I filled in with programs using slides from other museums and from private collections; thus Images often wandered off into old clocks, bugs, old ships, sports cars, and even dramatizations of such stories as Wilde’s The Happy Prince or Poe’s The Telltale Heart. It is a pity that, since tape had not yet arrived, none of these programs was preserved.

WGBH-FM went on the air explosively with the Boston Symphony Orchestra; WGBH-TV was born with much less fanfare. We started late in the afternoon and shut down fairly early. To a new children’s program, Come and See, went the honor of putting the station on the air (unless you count Bill Pierce’s sign on). I then followed with Images, then Louis Lyons and a film about Shakespeare that cleared the studio in preparation for my evening feature which was a mixed bag from the New England Conservatory — a brass ensemble, a couple of solos, and two opera scenes, closing with the first act duet from La Boheme. Not an overwhelming presentation but what do you want, Cecil B. De Mille? There was no big party and if there had been it would not have been the same, since the Symphony Hall maintenance men would not have been thereto hammer us into oblivion.

Tight Quarters

Next to the TV studio there was a radio studio about the size of the old one, with its own control room, and here a much reduced radio schedule was continued. The radio studio had a window into the main TV studio; Lord knows why it was put there but it turned out to be a fortunate idea since the Louis Lyons news was done by shooting him through that window and simulcasting him through the radio control room. Outside of that, everything not on film (or better, kinescope) had to be set up, rehearsed, and broadcast in the one main studio, which sported a total of one boom mike and three cameras — two dolly and one tripod (no crane of any kind). The traffic problems were immense and frayed tempers a matter of course.

Radio had had its frictions, flare-ups, and conflicts, but it was surprisingly low on internecine politics. Atone point the crew threatened a strike, primarily because of the hours, but it is characteristic that, in good faith, they offered a list of suggestions for improving the station’s efficiency. However, the engineers, without whose support it wouldn’t fly, had far better deals than the production staff and were therefore lukewarm; thus the strike faded away but nobody got fired.

TV was different. Paul had earned no respect from the old timers; he knew this and resented it, and he wanted them out. At the same time Hartford had been exasperated by Parker’s inefficiency for a long time and he had his own agenda. Hartford — wanted to introduce “proper business procedures” and stamp out the old free-and-easy ways. Boardman (Boardie) O’Connor and Rocky Coe were our set designers; they were brilliant, hard working and drinking, and pure theatre to their very eyeballs. When a prestigious MIT professor, who also happened to be its “Radio and Television Co-ordinator,” knocked the large camera tripod clean through the cyclorama, tearing it to shreds, Boardie was understandably furious and cursed the professor out in language that would have made a Mississippi river boat pilot proud. Boardie was fired and the professor was apologized to.

There had never been any personnel files at the station; someone would say “You’re hired” and you went to work. Hartford felt that this was poor business procedure, that there should be complete files and that they should be retroactive. So he designed, and told us all to fill in, ludicrously detailed forms. The attitude of the old hands was “Are you serious!?” and we filled them out in as jocular a manner as we could dream up; so help me they went into the files just that way. Sometime later, after I had left the station, I applied to the Voice of America for a job and the FBI checked me out. They found that form in the station files and, since they had even less humor than Elliot Ness, they ran around town asking all kinds of embarrassing questions. Dear Larry didn’t help when, being asked if I was homosexual, blurted out “Hell no, quite the opposite!” and the FBI now went about its inquiry with me pegged as several degrees riper than Dorian Gray.

The Blow-up of ’57

Then came the Spring Of The Long Knives. Parker had made the mistake of letting Hartford handle all the business dealings with Ralph Lowell and, since this made up the major part of these dealings and since these two men could talk businessman to businessman, which Lowell and Parker could not, Hartford had a very big foot in the door. Rule number one: Never give the Grand Vizier the keys to the gun closet.

The Byzantine details need not concern us here. Ralph, sensing the direction the wind was blowing in, had left on a project of his own. I went next and then came Parker, no less, fired by Lowell? Finally the very next day, with the way clear, Hartford unloaded Ted and Larry, and the slate was almost clean.

Hartford was stuffy but not stupid; he could not possibly have wanted to share power with the likes of Paul over the long haul, so he must have known that Paul would self-destruct; that, given time, he would hoist himself on his own petard, and he did.

This was the time of a grand piece of international co-operation called The International Geophysical Year. WGBH got the job of making a series of documentaries covering the IGY; Paul was the producer, and a grand job of posturing he did too, including trips to Antarctica. However, when the time came to show some finished product, there was blessed little of it to show. Paul left under a cloud and Hartford was king of the mountain until he moved up to take over the helm of the national PBS, where he remained until near his death.

The Great Fire — and Beyond

The station had acquired some young men with ambitions in the TV field, young men not unlike the youngsters who started radio, who were willing to work very hard for very little and who were primarily used as grips. One of them was Bob Moscone.

One night he was passing the closed-down station when he detected suspicious signs; letting himself in he found the station aflame. He called in the alarm and then made heroic attempts to save the film library. The station, and the whole block of stores, and with it all the audio tapes that recorded the FM station’s achievement, were reduced to ashes.

There would be support from the public, from commercial broadcasting, from foundations, from everywhere, and WGBH would rise from the ashes with its own building up near the Harvard stadium, but now it was just a television station. The fire brought to an end the era where that group of badly overworked, grossly underpaid, imaginative young maniacs who did not know a microphone from a zebra when they began made, for better or for worse, what is now a Public Broadcasting reality.

Excerpts from One Way to Run a Railroad: Memories of the First Days of WGBH by Ray Wilding-White © 1993