Ward Chamberlin, 95, Public Television Architect

Excerpts from the New York Times

Ward Chamberlin Jr., a leading architect of the nation’s public broadcasting system who revitalized PBS stations in New York and Washington and nurtured the career of the documentarian Ken Burns, died on Thursday in Bedford, Mass. He was 95.

The cause was complications of dementia, his daughter Carolyn Chamberlin said.

Ward B. Chamberlin Jr., left, then WNET’s executive vice president and managing director, with Tamara E. Robinson, vice president for national programming and William F. Baker, president, in 1996.Mr. Chamberlin’s four-decade television career began circuitously. A corporate lawyer at the time, he was working for the nonprofit International Executive Service Corps, where Frank Pace, a former Army secretary, was the president.

The two men were close: Mr. Pace had earlier been chairman of General Dynamics, the military contractor, and Mr. Chamberlin had worked for him there. They were also squash partners.

When Mr. Pace was appointed by President Lyndon B. Johnson to be the first chairman of the newly minted Corporation for Public Broadcasting early in 1968, he recruited Mr. Chamberlin to join him as chief operating officer.

Mr. Pace promptly asked Mr. Chamberlin to determine what challenges and opportunities public broadcasting presented and gave him the latitude to meet them. Mr. Chamberlin proceeded to pioneer an enduring decentralized network model of independent public stations.

He remained chief operating officer until he retired in 2003. He was also senior vice president of the Public Broadcasting Service, executive vice president and managing director of WNET in New York and president of WETA in Washington, which he transformed into the third most prolific producer of original programming after WNET and WGBH in Boston.

PBS was created in 1969 to connect local public television stations and to distribute programming. National Public Radio (now just NPR) was formed the next year under the corporation’s umbrella.

From 1975 to 1989, under Mr. Chamberlin, WETA introduced programs like “The MacNeil/Lehrer Report” and “Washington Week in Review.” At WNET, he was responsible for many of the station’s signature cultural productions and other original programming, including the series “The Secret Life of the Brain.” He extricated both stations from financial distress.

Mr. Burns was seeking financial support for his third documentary film, about Huey Long, the Louisiana governor and presidential candidate, when he arranged to meet Mr. Chamberlin to pitch it.

Mr. Burns recalled in a phone interview on Monday that he had been stunned to leave Mr. Chamberlin’s office with a check for $25,000. “They never did that before,” he said.

He was even more surprised by Mr. Chamberlin’s response years later when he learned that Mr. Burns’s series on the Civil War had grown longer than the originally projected five hours.

“Seven, eight?” Mr. Chamberlin inquired, as Mr. Burns recalled.

“I said 11½, 12,” Mr. Burns replied.

To which all Mr. Chamberlin asked was, “Is it good?”

The series, called simply “The Civil War,” was broadcast in nine episodes in September 1990 and watched by about 40 million viewers, setting a PBS ratings record.

“Ward never sought to take the limelight, as opposed to many of us who gravitate to it,” Mr. Burns said. “He was flabbergastingly generous and courageous and indispensable to my professional life.”

From Henry Becton

Ward was a giant in our industry and a special person to me, having taken me under his wing, so to speak, early in my career at WGBH.  We all owe a great deal to him for the wisdom and energy with which he helped shape CPB, PBS, WNET and WETA. 

I will always consider him as one of my key mentors in public media.  He was one of the few people in the industry who understood our unique challenges in creating a culture where creative people could work and thrive.  There were only a handful of places where that was achieved and Ward was responsible for at least two of them!  Our views of our mission and values were closely aligned. 

Late WCVB photographer honored by Cambridge with dedication ceremony

From WCVB

 A former WCVB photographer was honored Saturday by having a corner of Cambridge dedicated to him.

Bob-Wilson-Square-JPG

The city of Cambridge renamed the corner of Copley and Fayweather streets the Robert N. Wilson Square in honor of the late Robert Wilson who passed away in 2014.

wilson2Wilson worked at WCVB for 22 years. While working as a television photographer, he received many honors, including being recognized by the Commonwealth of Massachusetts for outstanding achievement as a pioneer African-American news videographer and recognition by the Boston Association of Black Journalists for his achievements.

Wilson got his start in television at WGBH, where he progressed from a stagehand to a television photographer. Wilson was also a U.S. Army veteran and served during the Vietnam War.

“It is people like Bob Wilson that made a difference in this community,” City Councilor David Maher said. “He was a celebrated newsman and contributed to the change in the culture of news in Boston over a 30-year period.”

Wilson’s family was on hand for the unveiling.

Jim Kaup, 71, scenic carpenter

jim-kaupJames Albert Kaup of Watertown, 71, with grace and courage, died at home on January 25 after a long illness.

Son of the late James A. Kaup and Ruth Connolly Kaup, he is survived by his wife, Deborah Myerson Kaup of Watertown, his sister, Susan Kaup Kelley and his nephews, Andrew, Matthew, and Daniel Kelley.

Jim was quiet and unassuming, unless he felt called upon to make a stand on a principle. An autodidact with a vast knowledge of many subjects, he listened more that he spoke. His sense of humor endured to the very end. Some people thought Jim “could do anything.”

From the mid 1970s until 2006 Jim was a scenic carpenter at WGBH, a job that utilized his many talents. As president of AEEF, the in house union, he negotiated for fairness and safety.

In his youth he was involved with Club 47, a folk club in Harvard Square. Later he designed posters for the local concerts. While taking courses at Boston Architectural Center he interned at The Architects Collaborative.

A celebration of his life will take place in the spring. Donations in his name may be made to Good Shepherd Community Care or the charity of one’s choice.

  • Published in The Boston Globe from Feb. 2 to Feb. 7, 2016. Source

From Chas Norton

A celebration of Jim’s life will take place on April 30, 2016, at 9:30 am at Story Chapel, Mt. Auburn Cemetery, Cambridge.

Stereo Television: Origins

By Jack Caldwell

Screen Shot 2016-03-05 at 11.44.13 AM“OK RCA, if you build a stereo television transmitter and TV sets, we will prove to you that you need to.”

I can take no credit for this. Credit goes to Hartford Gunn, the visionary in whose shadow many of us have built our careers.

He believed, and I concurred, that, back in the late 1960’s, the absence of stereo sound for television was not a feature WGBH management, staff, listeners, or viewers would wish to endure for a very long time. Indeed, WGBH-FM was already attracting listeners who cared about the quality of sound. Why just radio? Why not television?

“Why not” became a buzzphrase that Hartford passed on to me … and I have embraced it ever since.

Back then, all TV sets had mono sound.

All TV transmitters transmitted mono sound.

TV set makers and transmitter manufacturers pointed fingers at each other. If the transmitters only delivered mono sound, why build TV sets that could deliver stereo … and vice versa?

So, Hartford, with me in tow, went to Hollywood to observe and learn — in a few days — how the recording of stereo was being accomplished in the film and LP recording businesses. (I did my thesis research on AMPEX — another story of how the video recorder came into being)

When we returned to Boston, I reorganized part of our engineering department to create a sound department. Bill Busick, engineering leader for WGBH FM was a reluctant player in this new undefined pursuit to establish WGBH as the leader in sound production for any media. Tom Keller was the EIC (Engineer-in-Charge) and welcomed the challenge.

Why wait to follow? Get out and forge new ground. That was WGBH. That is WGBH. We had two TV stations, a film department, and a radio station. Where would this pursuit of stereo sound for television take us? We didn’t know. We had bright people on staff, and Boston was rich with talented new companies that were focused on sound. KLH was founded by Henry Kloss in the late 1950’s. He came in to help. As did others.

24NETI came to WGBH from Ann Arbor where the-then NET (National Educational Television network) had the largest videotape duplication center in the world. I managed the national distribution to all public (then educational TV stations) of all kinescope, film and videotapes. And I managed the duplication of all film and kinescopes.

There were various processes to put sound on film products. And key producers of video programs would often come to Ann Arbor to edit sound and pictures. So, I had some background in putting sound with pictures for television distribution. But I was not the engineer/tech guru. That was Howard Town. He and I were the two VPs of NET, based in New York, that oversaw the Ann Arbor based duplication and distribution center. (On any given day we had 10,000 program units bicycling through the system)

Shortly after I left to join WGBH, my old buddy and colleague Howard Town left NET for AMPEX. (Back then, an AMPEX quarter inch tape recorder was the best there was.) Howard’s assignment was to develop a 24-track audio recorder using two-inch tape. All the “mechanics” for the VCR were in place. Why not use the concept for audio — where multiple tracks could be edited down to mono, stereo and four-track composites for the recording industry?

Naturally, Tom Keller, WGBH chief engineer, Howard Town, and myself (and Bill Busick, I think) started a conversation about syncing the AMPEX device (finally, I believe, named an MM1000) with a two-inch VCR. That took us to New York to talk to the folks who used the Selsyn Interlock system for syncing sound and pictures for motion pictures. Was there something we could learn?

While the technology development was underway, the creation of program material — and ultimate delivery of same — was front and center. The Boston Pops quickly became the lead contender for the experiment.

With all of “players” working as a team, we reached out to England to purchase a Neve audio board. We bought a truck to house it as a mobile sound recording facility. And we arranged with Howard Town at AMPEX to acquire an early MM1000. Serial number two, I believe, and that, too, went into the truck with the Neve board.

Someone, probably Bill Cosel and Hartford, worked with the Pops, Fiedler, the union and stage hands, et. al., to allow us to put cameras and lights and staging on the stage of the Pops. I remember Fran Mahard creating flats that would help us with the sound and the pictures. Back then, the lights were bright and hot. We needed the musicians to wear blue tucks instead of black, and we had to dig up the street in front of Symphony Hall to put in special transformers to handle the power we needed for lighting.

Yes, we had our big mobile television truck already in hand. Think Tennis.

A genius gentleman — Bill Pierce — produced the mix. We saved a track for mono TV, two tracks for stereo, a rehearsal track or two, and the rest of the 24 tracks were dedicated to the various sections of the orchestra. I’m sure Bill Cosel has a lot of memory and details to fill in.

After a concert by the Pops, the video came back separately (with a mono track) and the sound came back to WGBH in the sound truck. In post production, even a single note could be corrected — and was. The sound was edited to perfection. Then the video was edited to match. Now, remember, back then, editing video was done with a razor blade and a very expensive “splicer” where the cut two-inch tape was joined with aluminum adhesive tape. And the splice mark pulse was revealed by applying stainless steel “dust” in an alcohol base to the tape. (That’s another story!)

With some trial and error, we learned that we could place the video tape on machine A and the take up reel on machine B — some 20 feet or so to the right — in order to get the MM1000 and the VCR in sync. I don’t remember what it was we developed to sync the VCR and MM1000. It was a “black box.”

The broadcast, finally, was mono to channel 2 and stereo to WGBH FM. Viewers were taught to put their stereo speakers on each side of their TV set, turn off the TV sound and turn up their stereo FM amps. And the press in Boston was encouraged to watch and listen. They did … and they liked it. The new clippings were then delivered to RCA — who made both TV sets and transmitters. They “got it.” And, you know the rest of the story.

Hartford Gunn was the one who dreamed about what isn’t happening — and could or should be — and then made it happen. And that took a team of folks who had no experience of failure. Indeed, all we had was the thrill of inventing a then better “tomorrow” in the evolution of our chosen career of television.

Among the manny lessons taught to me by Hartford — from almost my first day at WGBH — was a critically important message on leadership. The first principle was, without reservation, to have no interest in WGBH being a follower or a second place player. Then, secure the most advanced technology the world has to offer, let the world know you have it, and the most talented will beat down your door to gain access to it. Hire the most creative who come forth, give them objectives and goals to be met, give them the necessary financial resources, give them encouragement and mentoring, — and get the hell out of the way!

Why is WGBH what it is today? Look around WGBH, then and now, and consider pioneering stories like this one. That’s why.

Do you have other memories of stereo television at WGBH? If so, send them to jay.collier@thecompass.com or post below.

Conrad “Connie” White, 80, Stage Manager, Colleague, Friend

Excerpts from the Boston Globe

conrad_white_1-9645-croppedAs the first African-American student admitted to the Cambridge School of Weston (MA), Virginia native Conrad White lived in two worlds.

A popular student at the private boarding school, he started the first campus radio station and was elected president of the class of 1954. “He was sort of the center of our class,” said his classmate and longtime friend Joan Walther.

Back home in Hampton, Va., however, Mr. White lived under Jim Crow laws and segregated public schools. When friends from boarding school gave him a ride home for winter break, they had to plot their trip carefully as an integrated group riding through the South.

“Once they got past a certain area, they couldn’t stop,” Walther recalled. The students made sure they had plenty of gas and plenty of food in their big old car, a former hearse nicknamed “Mehitable,” a Hebrew variant word for “God rejoices.”

At the 2000 WGBH Reunion with John MacKnight
At the 2000 WGBH Reunion with John McKnight

Mr. White, who often credited his experience at the Cambridge School as the foundation for his confidence and multimedia skills, worked at WGBH on popular public TV shows including Julia Child’s “The French Chef” and spent 27 years at Harvard University, where he retired from the Media Production Center.

A former longtime Cambridge resident, Mr. White died Nov. 9 in Miriam Hospital in Providence following a heart attack. He was 80 and lived in Providence….

Mr. White was in the studio audience for a WGBH show called “Folk Music USA” when he inquired about volunteer opportunities at the station and wound up with a new career. “I walked up to someone I knew who worked there, explained my background in television, and asked if they took volunteers,” he told Harvard Community Resource. “It was one of those ‘and the rest is history’ kind of jobs.”

He worked for WGBH for 15 years, holding various positions in production for shows including “Crockett’s Victory Garden,” “Say Brother,” and “The 10 O’Clock News.”

At the 2015 WGBH Reunion
At the 2015 WGBH Reunion, with Nancy Schuetz

 

After “The French Chef” ended, Mr. White gave a piece of Julia Child’s cutting board to his longtime friend Lou Greenstein, a culinary consultant and chef who appeared on the Boston television show “Good Day” for many years.

Mr. White and Greenstein first became acquainted as young men on the docks at Community Boating in Boston, where Mr. White was a longtime member.

“He was wonderful with people. He was a gentleman, as everybody should be a gentleman,” Greenstein said. He recalled that Mr. White was a favorite guest at the Greenstein family’s Thanksgiving table for several decades. Mr. White always brought deviled eggs to the party.

Sailing was one of Mr. White’s passions. He enjoyed skippering and sailing on what are known as Shields class boats in Newport, R.I., which he initially visited for the folk and jazz festivals…

“I wish I had 90 more years to do all the things I still want to do,” he said in the 1997 interview.

AAPB Makes Historical Public Media Content Available to the Public

From the American Archive of Public Broadcasting — 10/27/2015

In conjunction with UNESCO World Day for Audiovisual Heritage, WGBH and the Library of Congress are pleased to announce the launch of the American Archive of Public Broadcasting (AAPB) Online Reading Room.

Screen Shot 2015-11-29 at 12.31.53 PMWith contributions from more than 100 public media organizations across the country, programs that for decades have gathered dust on shelves are now available to stream on the AAPB website. This rich collection of programs dating from the 1940s to the 2010s will help tell the stories of local communities throughout the nation in the last half of the 20th century and first decade of the 21st.

Initially launched in April 2015 with 2.5 million inventory records, the AAPB website has added nearly 7,000 audiovisual streaming files of historical content from public media stations across the country.  The Library of Congress, WGBH Boston and the Corporation for Public Broadcasting have embarked on an unprecedented initiative to preserve historical public television and radio programs of the past 70 years. This extraordinary material includes national and local news and public affairs programs, local history productions that document the heritage of our varied regions and communities, and programs dealing with education, environmental issues, music, art, literature, dance, poetry, religion and even filmmaking on a local level. The project ensures that this valuable source of American social, cultural and political history and creativity will be saved and made accessible for current and future generations.

Nearly 40,000 hours comprising 68,000 digital files of historic public broadcasting content have been preserved. On the website, nearly 7,000 of these American public radio and television programs dating back to the 1940s are now accessible to the public. These audio and video materials, contributed by more than 100 public broadcasting organizations across the country, are an exciting new resource to uncover ways that common concerns over the past half century have played out on the local scene. Users are encouraged to check back often as AAPB staff continue to add more content to the website. The entire collection of 40,000 hours is available for research on location at WGBH and the Library of Congress.

“The collective archives of public media contain an unparalleled audio and video record of the second half of the 20th century and the beginning of the 21st,” said WGBH Vice Chairman Henry Becton. “These treasures of our times aren’t available elsewhere and it’s essential that we preserve them and make them available as widely as possible.”

50 Years of the WGBH Auction in Stories, Videos, and Pictures

Videos from the First WGBH Auction in 1966

Part 1: Where An Unruly Puppy is Auctioned Off

WGBH Auction Classics (Part 1)

Part 2: Where David Ives Introduces Julia Child

WGBH Auction Classics (Part 2) with Julia Child

Part 3: Where Russ Morash Introduces Bud Collins and Bob Cousy

WGBH Auction Classics (Part 3) with Bud Collins, Bob Cousy, and Russ Morash

Part 4: Where a Ghoulish Choir Sings the Auction Number: 868-2500 

WGBH Auction Classics (part 4) 868-2500

Stories and Images

Screen Shot 2015-07-09 at 5.38.47 PM Screen Shot 2015-07-09 at 5.38.36 PM

 

Henry Becton Remembers: Alistair Cooke

From Henry Becton

Alistair_Cooke,_head-and-shoulders_portrait,_facing_front,_gesturing_with_left_hand,_during_interview,_March_18,_1974Vanya Tulenko — now an alumna but formerly in charge of the Ralph Lowell Society — reminded me recently of this letter from Alistair Cooke. 

In 1987 with encouragement from our Board we decided to create the major giving society named after our founder.  The intention was to encourage annual fund donors at the $1,000 level and above with special events and recognition in our annual report.  

I don’t recall whose idea it was to solicit some of our on-air stars, but in any event I sent a solicitation letter to Alistair.  He replied promptly with this characteristically dry-whitted, tongue-in-cheek response.  It was one of those letters that makes one’s day!

cooke-letter

cooke-check

The text went as follows:

Easter Monday 1987

Dear Mr. Becton:

I am thrilled to receive your
invitation to join the Ralph Lowell
Society. I am not a clubman, but I
have always yearned to rub shoulders
with some of the glamorous starts of
television. And even though I dislike
champagne almost as much as its frequent
accompaniment (caviare), I cannot resist
sending you the enclosed in the hope, one
day, of meeting such breathtaking
celebrities as Vincent Prince and
Julia Childs. Do let me know if a
Ralph Lowell T-shirt comes with the membership.

Yours sincerely,

A. A. Cooke

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!?

Frank Lane, 74, Cameraman and Studio Engineer

From the Boston Globe

Francis X. Lane of Hyannis, formerly of Norwood, passed away peacefully at home on June 28 at the age of 74.

lane-BWBeloved husband of Nancy E. Lane. Devoted and loving father of his son Ryan C. Lane of Natick and adoring daughter Elizabeth B. Lane of Norwood. Francis was the youngest of eleven children born to the late Thomas M. and Nora (Cunningham) Lane of West Roxbury and the son-in-law of the late Patricia (Brown) Wolley of Norwood and Francis W. Cooney of TN. He is also survived by his sister-in-law, Ronnie Lane of Braintree, and many nieces and nephews.

Francis (aka Franny, Frank and Fran) was a cameraman and studio engineer for WGBH TV (Channel 2) for 35 years until his retirement in 2003. He was the former president of NABET-CWA Local 18 and the former treasurer of the Barnstable Newcomers Bowling League. In addition to bowling, he loved the beach and playing cribbage, but his greatest joy came from spending time with his family and many friends.

A funeral service will be held on Friday, July 3 at 11 AM at the Kraw-Kornack Funeral Home (1248 Washington St. in NORWOOD) immediately following a visiting hour at 10 AM. Burial will be at Highland Cemetery in Norwood. The family is especially grateful to his dedicated nurse, Diane Munsell.

In lieu of flowers, donations can be made to VNA of Cape Cod Hospice, 434 Route 134, S. Dennis, MA 02660.

bordett-lane2

Memories

Elizabeth Lane

My dear father, known as Frank to his ‘GBH family, passed away over the weekend. I always loved hearing his work stories (Zoom, the news, the Pops on the Esplanade, the BSO, The French Chef with Julia Child, This Old House, The Victory Garden…the list goes on), visiting him at the station, watching the Auction in hopes of catching a shot of him behind the camera, his days in Master Control, and his many escapades with his best friend, Greg Macdonald. He retired in 2003 after 35 years. Feel free to share your memories of my father!
Elizabeth Lane’s photo.
June 30 at 11:40am

Bob Manosky

I’m very sorry to hear this. Frank and I worked together on many many WGBH programs. He was a great guy.
June 30 at 11:50am

Ben Mayerson

Frank was such a character. He was a leader, a master of his craft, a Teddy Bear, and just an all around super great guy. To you my friend!!
June 30 at 11:51am

Tonia Magras

My deepest condolences! He was a dear friend and father figure to me. Always with a great big smile and bear hug! My thoughts and prayers are with you and your family during this time. I will miss him dearly!
June 30 at 12:16pm

Jack Comeau

I’m so sorry to hear this. There was always something that seemed indestructible about him. At first look he could seem intimidating. I remember thinking, “Who’s this leg breaker?” It took only minutes to discovery his kind, sensitive sense of humor and intelligent. I love working with him on many of the shows that you mentioned above. The world will miss him.
July 1 at 12:17pm

Ilene Fischer

Truly one of a kind. Frank made every shoot that much more fun.
June 30 at 12:20pm

Emily Yacus

Frank was wonderful. I worked with him from 1998-2001 or 02, sitting as an admin assistant behind Master Control. Thanks for sharing these pics of him- I’m smiling and teary at the same time.
June 30 at 12:29pm

Chas Norton

Frank was perhaps one of the brightest persons I ever met; his insightful and trenchant words were always right on.

May he rest in peace!
June 30 at 1:41pm

Dick Heller

Back in the old everybody-does-everything days of the Auction, Frank took over as Director. After a few minutes he handed the headset back to me saying, “I’ll never talk back to you, ever again.” Wonderful guy, always a pleasure to work with.
June 30 at 1:51pm

Cathy Page

Oh no…. I’m so sorry to hear this. Frank was a wonderful guy.
June 30 at 1:56pm

Emily Norman

I’m so sorry for your loss. I loved seeing his friendly face around the hallowed halls of GBH.
June 30 at 2:04pm

Kevin Kalunian

I’m deeply saddened by this news about Frank , but happy that I got to know him on a few rare overnight trips for La Plaza, Say Brother, or other programs that we worked on for The Foundation. He spoke very highly of his colleagues, some who have posted here, and others that left us already for another journey elsewhere. Frank also often mentioned his family while we waited for some event to happen, or while at lunch. He will be missed dearly.
June 30 at 2:14pm

Nancy Walker

I’m so sorry for your loss….Frank was a gentle giant to an 8 year old Zoomer…after College I came back to work with your Father in the field …I was a Production Assistant for Local Programming…what a wonderful person..RIP Frank
June 30 at 2:17pm

Mark Helton

Frank was a true pioneer at Wgbh and the broadcast nation. I learned a lot from both he and Greg. It was a honor to work with your father. Although only a freelancer for gbh all these years, Frank always made me feel welcome at the station and with the union. A pleasure to work with. Peace to Frank, and to his whole family.
June 30 at 2:42pm

Scot Osterweil

Frank was a wonderful guy to work with. On Pops shows he was always Camera 2, the camera at the far back of the hall, getting the widest shots.
June 30 at 2:54pm

Scot Osterweil

In ’85 When Pops played the Lincoln Memorial, camera 2 was at the top of the Washington Monument. But more memorably, he was just a kind, thoughtful person.
June 30 at 2:56pm

John M. Sullivan

So sad to hear this. Frank was warm and wonderful man!
June 30 at 2:59pm

Kathy Gleason

I am so very sorry for you and your family,
June 30 at 3:25pm

Joe Forte

My condolences. Franky was a lot of fun to work with. Sad day.
June 30 at 3:33pm

Mark Helman

I don’t think I’ve ever worked with anybody as well-liked as Frank. My best to you and your family.
June 30 at 3:42pm

Courtnay Malcolm

Frank was one of the first people I met when I started at WGBH in 1991. When I directed the auction Frank and Greg would always play pranks on me and sometimes I would laugh so hard I nearly fell out of my chair. My thoughts are with you and your family.
June 30 at 5:10pm

Maria Agui Carter

Frank was lovely and shot some of the first things I worked on at WGBH. So, so sorry to hear of his passing. Sincere condolences.
June 30 at 6:34pm

Mike Wilkins

We were happy to have Frank at the NABET 18 picnic last fall!
wilkins-lane
June 30 at 6:37pm

Hilary Finkel Buxton

Sending sincere condolences… Frank was always kind, and wonderful to work with!
June 30 at 7:59pm

Alison Bassett

So sorry to hear this news, thinking of your family, and what a great and talented man your father was…
June 30 at 9:14pm

Frank Coakley

Frank was one of the first people I met when I came to work at WGBH in 1981. He was tough, smart, funny and most importantly a good friend with a heart of gold. RIP brother, my thoughts go out to his family and his many friends and admirers.
June 30 at 9:17pm

Amy Tonkonogy

I am so sorry to hear this. Frank always made me smile. He had such dedication to Gbh and taught me so much. My thoughts to your entire family.
June 30 at 9:21pm

Sharon Corey Sleicher

My time at WGBH was a few years ago but I remember your father because he was always friendly, kind and fun to be around.
June 30 at 9:24pm

Bruce Bordett

Such sad news. Many happy memories of working with Frank and Greg. He is, and will be missed. This shot from the day the Pope came to Boston… Late 70’s
bordett-lane
June 30 at 11:25pm

Marcia Hulley

So sad. Frank was a great friend and mentor to me — like so many others at wgbh. It was a delight working with him over the years. An amazing cameraman, an amazing man. My heartfelt condolences to his family.
July 1 at 12:17am

Sherylle Linton

Jones Frank was just awesome. I worked with him frequently back in my Say Brother days. I am profoundly sorry for your loss. May he rest in peace.
July 1 at 12:38am

Lo Hartnett

Whenever I saw frank behind the camera for pledge, I knew things were in good hands. He always made me smile.
July 1 at 5:38am

Russ Fortier

I’m so sad to hear about Frank. He was a wonderful professional. Attentive and pleasant, he was, as I recall, virtually error free as a cameraman on the shows I directed. Most notably, as others have mentioned was his camera (2) at Symphony Hall; a deceptively challenging position. I recall one broadcast in which Frank had to zoom back from a single shot of the concertmaster (first violin) to a cover shot of the entire orchestra over 32 (slow) measures of music; a devilishly long move. Perfectly done. So normal and routine for Frank to deliver that way.
July 1 at 7:56am

Jennifer Jordan

Love the shot of him shooting at the Kennedy School Forum! I remember him well from my days both at WGBH and directing the Forum. Class act and all around great guy.
July 1 at 9:28am

Elizabeth Lane

Thank you all so much for sharing your beautiful memories of my dad. It’s bringing us so much comfort hearing from people who loved my dad as much as we do.
July 1 at 9:56am

Syrl Silberman

I worked with Frank for 12 years at WGBH. He was truly one of the kindest people I’ve ever known and more often than not made difficult times in the studio less so. I could always count on him to do whatever was needed and do it well. I can honestly say that I loved him and fully understand how much you will miss him. I wish you comfort.
July 1 at 10:04am

Anne Sweeney

God bless your family. May Frank rest in peace.
July 1 at 10:23am

Jane Arsham

I had the pleasure of working with Frank in the “early” years 1968-80. He started a year after me and we had a great friendship. Frank laughed a lot (I can still hear him) and enjoyed both work and play. He loved to sing Irish songs and we joined him often at a pub in Norwood I think it was!! He was a talented camera man and always willing to pitch in and help out in anyway he could. I don’t remember him ever saying no when I asked (which was often). Although we lost touch after I left GBH, he remains in my heart. My thoughts and prayers are with you.
July 1 at 10:36am

Edye Baker

The auction volunteers loved Frank and the way he made them feel like stars!! MANY memories of him. Sincere condolences to you and your family.
July 1 at 12:14pm

Vladimir Stefanovic

My deepest condolences. Frank was really an awesome guy. RIP Frank.
July 1 at 1:45pm

Nora Sinclair

So sorry to hear! My sincere condolences. I loved working with Frank in the studio, always a pleasure.
July 1 at 2:00pm

Ben Mayerson

Literally on this day, I quoted one of the lessons Frank taught me. “I only move at one speed, and this is it.”

It wasn’t a statement of non cooperation. It was a declaration of pacing, proficiency, and calm. I recall that mantra often, from my teacher Frank Lane.
July 1 at 4:53pm

Susan Dangel

In my brain and heart, when I think of WGBH, I think Greg and Frank. Your father was one of a kind. All those Pops shows and how he made us laugh. So sorry for your loss.
July 1 at 11:46pm

Larry Lecain

I loved Frank. Kind, generous , welcoming,quick to share a good story. He seemed immune to the pressures of long lens camera work at Symphony Hall. Frank was willing to share his insight on the ironies of life, work and people he knew. I miss him.
July 2 at 7:03am

Christy George

I loved Frank, too. One moment at the Ten O’Clock News stands out: I covered John Lakian’s libel trial against the Boston Globe, and for five weeks GBH was the pool camera – a rarity to be so well staffed. So all the Boston TV stations were using video shot by Frank and Greg. And their reporters were blown away. Years of shooting the Pops had taught Greg and Frank how to follow the action seamlessly and gracefully. Their camerawork made the trial seem like a Hollywood movie. And when a much-lauded commercial station shooter filled in one day, all the reporters grumbled. They wanted Frank and Greg back! I was delighted our guys got the respect they deserved.
July 2 at 2:46pm

Elizabeth Lane

Love these stories!
July 2 at 2:48pm

Nancy Walker

The dynamic duo!!!
July 2 at 2:53pm

Mary Helen Doyle

Frank was always a bright light bouncing (in his big way!) through the engineering tape room downstairs at GBH. He always welcomed a quick fun chat, never really grouchy as I remember, despite whatever the day had been. I’m so sorry to hear that he has passed, I’ll never forget him.
July 2 at 9:49pm

Bernadette Yao

I am deeply sorry for your loss, Elizabeth. I send my sincere condolences to you and your family. I remember your father with great affection and I am so sad to hear of his passing. I always looked forward to seeing him since my childhood days on ZOOM, and through the years after college when I sang with the TFC, BSO & Pops at Symphony Hall, and during live pledge drives and auctions when I worked behind the scenes at WGBH. Years later, whenever I visited WGBH, he would greet me with that familiar grin, and share what was going on in the moment as if no time had passed. I will remember Frank and his kindness always.
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