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.

• Image: Wikipedia

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

• Audio: Internet Archive

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.

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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.

• Image: Library of Congress on Flickr

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.

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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.

• Image: Alan Light via Flickr Creative Commons

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.

• Image: Retro Milwaukee

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.

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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.

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Coming soon: Part 2

From Don Hallock (with Michael Ambrosino) — 12/18/2010 (updated 1/11/2011)

Many extraordinarily-gifted figures and luminaries of the day — in the arts, science, politics and education — found their ways into the halls and studios of the original WGBH-TV/FM studios at 84 Massachusetts Avenue, which were located just across the street from one of the main entrances to MIT, and close by Eero Saarenen’s beautiful Kresge Auditorium.

84 Massachusetts Avenue, Cambridge

WGBH first moved into the building in 1955, and a major expansion was accomplished in the fall of 1956. The fire, which destroyed it all, ending the station’s rather brief six year tenure, took place in October of 1961.

During those short six years though, the place was a veritable hot-bed of talent; many very successful careers were begun here, and much that was revolutionary in broadcasting history took place during WGBH’s time in the building.

Simulcasting (FM and TV) of the Boston Symphony Orchestra was pioneered in this building. The projection room was also home to the very first unit off the assembly line of the Ampex VR1000 2-inch videotape machine (the first videotape machine ever commercially available).

Much broadcast history was laid down at 84 Mass. Ave., and much accomplished which was the genesis of what WGBH has become today.

The Eastern Educational Network was dreamed up here, and eventually proved itself a model for vastly more extensive educational broadcast link-ups.

Even then WGBH was proving itself a production center to rival that of WNET in New York and KQED in San Francisco, the other two major centers supplying programming for NET (the National Educational Network). This was not an easy accomplishment, given that most major talents were located in New York, and had to be brought (lured by superior program ideas) to Boston to perform in WGBH television productions.

A certain reverence accompanies this presentation, as much broadcast history was laid down at 84 Mass. in six short years, and much accomplished which was the genesis of what WGBH has become today.

A space designed for creativity

I’ve taken the time to do this project since there are still a few of us who affectionately remember working in these rather modest, musty, and occasionally ill-fitting spaces, but also because there may also be some alums of more recent vintage with an interest in having some sense of the rather makeshift origins of the station’s facilities.

This journey into the past includes two annotated floor plans of 84 Mass. Ave. during that brief period. Likely this presentation is unique, since I believe none of the original blueprints exist, and as far as I know no one else has attempted such a reconstruction.

There are still a few of us who affectionately remember working in these rather modest, musty, and occasionally ill-fitting spaces.

Please also bear in mind that these drawings are a reconstruction completely from memory, and so there may be unintentional errors or omissions. I apologize for any of these in advance; but the building was configured this way almost 50 years ago, and memory can become a bit vague over time.

Since (I believe) no helpful dimensional information has survived the interim,these plans could not be drawn to scale. The measurements are quite approximate but, I also believe, give a good idea of what the original 84 Mass. Ave. facility looked like.

The slight angle of the rear wall is not a mistake.  I had thought I remembered it that way, and made the original drawings to reflect that.  Later, though, I doubted my memory and made the building rectangular.  In a very helpful email, however, Michael Ambrosino said that he remembered the building tapering toward the north, and so I revised my plan again to show that peculiarity.

I want, also, to offer a second apology here. Since far too many of the WGBH “family” worked in the various parts of the operation at 84 Mass. Ave., I will have forego trying to fit names with the spaces. Instead, I will mention only a few key figures. For those who will inevitably be left out, please don’t be hurt, and please forgive the omissions.

First some notes on the building itself, and the virtues and drawbacks it presented to a new WGBH-TV, and a somewhat more mature WGBH-FM.

From roller rink to educational link

The building was constructed as a roller rink, with the skating surface on the second floor, and balcony spaces for observation and relaxation on the third – as is the custom generally for skating facilities. The street floor was sub-divided into spaces to house several shops, offices and other store-front enterprises. I’d be surprised if it measured much more than 250 feet in length, 70 feet in depth, and about 40 feet in height.

Possibly the only surviving image of the front of the building, looking approximately north from across Mass. Ave. at the MIT entrance — by Brooks Leffler.

WGBH did not own the building and, initially, the station rented only the south half of the upper two floors (to the left of the photo). The north half of both floors (to the right) housed a company which designed and built highly accurate atomic clocks — probably for MIT.

It was constructed of red brick, and judging by the rather stern and gloomy architecture — which may be seen in Brooks Leffler’s unique photo of the façade from across Mass. Ave. — probably dated from the 1920s or possibly the 1930s. It could possibly have been built in the early 1940s, but I doubt it. Renovations required to make the cavernous edifice fit the station’s needs were very extensive, and must have been quite costly.

Advantages and disadvantages

One advantage of the building — aside from its being located just across the street from MIT, or even in the same city as some of the nation’s most prestigious educational institutions — was that, while obviously not very fire resistant, it was a sturdy monolith, and didn’t need as much sound-proofing as might otherwise have been required.

Studio A, during construction - looking south-east toward the control room. Personnel (according to Michael Ambrosino): Hartford Gunn, Parker Wheatly, an unknown participant, and Ted Sherbourne.

One very major disadvantage, which plagued production work from the beginning to the end, was the studio floors (the original roller-skating surfaces) which were made of maple boards which had been washed too many times. The boards were all cupped from the moisture, and this made camera-dollying in most directions a horribly lumpy business.

As well, the cameras of the day were very heavy (about 250 pounds for a pedestal unit — God knows how close to a ton when the Fearless Panoram Dolly was used), and the creaking of the boards was heard on countless shows and recordings. We tried many solutions, including hand nailing each and every board down tighter, but all to no avail. For this reason the studios were a sound engineer’s, and camera operator’s, ongoing nightmare.

Studio A panorama, looking south, from the cyclorama area toward the control room. FM studio and studio A entrance is to the left. Photo by Brooks Leffler.

Other disadvantages included the fact that only the station’s top four or five executives had reserved parking spaces in MIT’s lot behind the building. The school’s parking facilities were even then over-subscribed. And so the rest of the nearly 100 staff had to do countless daily neighborhood drive-bys in order to find awfully scarce (and very frequently illegal) parking.

I don’t know who was responsible for all of the renovations that made the old rink suitable for a radio and television facility, but they do deserve abundant praise.

One notable exception was Bob Moscone, the studio supervisor (affectionately known to the studio minions as “The King”), who managed to convince all and sundry that an illegal spot on the alleyway sidewalk at the front left corner of the building was his (somehow, it was never ticketed). The only person I can remember ever successfully violating this unofficial convention was Al Hinderstein. Such chutzpa Al had!

And a final major disadvantage: there was almost no place nearby serving any kind of decent food. Under most of studio A the street floor did feature Tech Drug, a soda fountain with a large table area in which to eat lunch. Many from WGBH and MIT did so. But the food was — how can I put it diplomatically? — atrocious. Besides, they only served lunch, which is not very helpful to a staff most of which started work at 2 pm, rehearsed for three hours until 5:00pm when we took to the air, and left around 11:00pm.

Jerry Adler in video control, with TV master control at far end of console.

There was an Italian restaurant about a block further into Cambridge, and the food was reasonably tasty, but that place only served dinner and the kitchen was not very clean (witness the many canker sores one could contract after eating there). Otherwise, we had to travel a bit of a distance to find eats. Bag lunches were by far our most common form of nourishment. Ah, but it all made the pioneering effort somehow more of a commitment, and bound us together the more tightly.

In fairness, I’ll hasten to observe that the two stages of renovations to make the old rink suitable for a radio and television facility were quite well thought out, and with considerable foresight. The layout and facilities were always practical, and served our basic needs quite admirably. I don’t know who was responsible for all that, but they do deserve abundant praise.

The tour begins

Well let’s get to the meat of the thing by bringing on the plans.

Click thumbnail to download floor plans

As a convention — and to avoid confusion — we will call the street floor of 84 Mass. the “street floor.” But the logic ends there. The second floor of 84 Mass. we will call the “studio floor” (since, obviously, the studios were all located there). The third, following similar reasoning, we will refer to as the “office floor.” Please remember that both floor plans reflect the layout following the occupation of the entire length of the building.

The drawings — one of the “studio floor” (floor 2), and one of the “office floor” (floor 3) — show the configuration of each floor after the expansion from occupancy of one half of the upper 2 floors of the building to filling of the entire upper 2 floors, from one end of the building to the other.

I very much hope you find this “magical mystery tour” enjoyable. If you’re one of the “original crowd,” you might test yourself on the floor plans before consulting the key numbers, just to see how well you remember the place — or if, perhaps, you remember it better than I. Maybe this will even coax a tear or two from a few old eyes.

• Download floor plans (290KB PDF)

Most of the mobile unit: The Boston Globe TV Week, April 20, 1962 (From Al Hinderstein's memorabilia collection - and that's Hindy, topside, behind the camera. From the right: Greg Harney, Dave Davis and a collection of the WBZ-TV staff) Fred Barzyk adds, "The second from the right is Mel Bernstein. He was on my crew and soon became program manager at WBZ."

Behind 84 Mass. Ave.

In the rear alley, the new/used WGBH-TV Greyhound bus resided while it was being converted to a mobile unit.  As luck would have it, the outfitting was very nearly complete when the building burned, and the bus became the literal life raft for the TV operation.  We did many productions using it, including parking it outside WHDH-TV, and shooting our own productions inside their studios.

What we accomplished here

From this humble home sprang the media colossus that is now WGBH. Sometimes (upstairs, in the heat of summer) we hated the place, but mostly we loved it dearly. What we did there, and who we were with each other, seem to have an ongoing life which can still be felt.

Looking back, it’s amazing what was accomplished in this place.

The fire was a catastrophe from which the public face of the station quickly recovered; the viewing audience barely noticed a hiccup. But we who salvaged what little was salvageable from the charred remains, even while pursuing a commitment to continue, did so in spite of a subtle but persistent state of shock.

It could be speculated that the fire actually catalyzed the station’s growth and rapid maturation, and that without that kick in the pants we might have languished in that old building, and in relative poverty. From adversity often comes strength, and out of ashes….

WGBH has had two more sets of digs since 84 Mass. For younger alums, and those who stayed on past the middle sixties, these newer abodes will form more of the framework of their recollections. Some of us, however, and with justification, will remember this original building fondly, and recall vividly the day of its demise.

With warmest regards,
Don Hallock

Fred Barzyk (2007)

The story of a BU/WGBH scholar, 1958-59

By Fred Barzyk — 12/20/2010

It all began on a hot summer’s day. The two of us waited, standing on the corner, staring hard at the passing cars. We were searching for our ride.

We waited, not quite sure of our new adventure. Not that one, not that one. Tom McGrath and I waited there for what seemed hours, our overstuffed suitcases surrounding us on the hot pavement.

It was 27th street and Oklahoma Avenue in Milwaukee, Wisconsin, just up the street from Leon’s Frozen Custard Stand, an icon of all things dairy in America’s Dairy Land, and right across from Pulaski High School. I had graduated from Pulaski just four years ago. You could tell by its name that this was the South Side, and very Polish. My Aunt Jenny had a sausage shop just a few miles down Oklahoma Avenue; she had all kinds of Polish delights in her white gleaming glass cases. Kiszka, Headcheese, Mettwurst, Kielbasa, and of course, Blood Sausage.

“Hi, guys. Nice to meet you.” As we loaded the suitcases into the car, I wondered if it could actually make it all the way to the East Coast.

A big old black car pulled up and out stepped our fellow traveler, David Nohling. “Hi, guys. Nice to meet you.” As we loaded the suitcases into the car, I wondered if it could actually make it all the way to the East Coast.

Tom sat in front and I in the back, shoved in with everyone’s belongings. We were all to bear the cost of the drive — gas, tolls, etc. — we were all to take turns driving, thus avoiding the cost of having to stop at motels, just drive right on through to Boston. It was going to take 16 plus hours.

And then it hit me. This was a standard shift car! I could only drive automatics! They were kind to me. Don’t worry, we can do all the driving, they reassured me. I felt like a jerk.

On the road

The car lumbered down 27th street toward Chicago. Soon we were on the interstate heading East. Dave had figured out that if we drove at night, the car would be a hell of a lot cooler than it would be driving during the day. His car did not have air conditioning. Dave was a good planner.

Dave had just graduated from the University of Wisconsin, Madison. He was a Communication major, very knowledgeable. Tom and I had just graduated from Marquette University, with degrees in Speech. Yup, that was what they called it.

Why us? God works in mysterious ways. I could understand why Tom was chosen. He had already worked part time at a local commercial TV station, he had experience. I had no experience. I mean, Marquette didn’t even have real TV cameras: we used wooden mock up cameras, faking TV shows. But as I huddled in the back seat, I knew the only reason I was here was because of Bill Heitz.

Paul Noble and Bill Heitz

Bill was finishing up being a BU/WGBH scholar that summer. He had graduated from Marquette the year before. He insisted that I try to get into this scholarship program; he said it was absolutely great. You studied for your graduate degree in communication at Boston University and worked three days a week at the Educational Television station. Free tuition and you got $600 to live on for the year in Boston! Bill said this program would change my life. He was right.

I slept a lot during the trip. Darkness came and went, and we drove on and on. Then Dave gave us his real surprise. He had never been to New York City. Neither had we. He was a good planner.

It was late morning when we drove into the heart of NYC, the big enchilada. We drove through the traffic, staring up at the tall buildings. And then Dave pulled over into a no parking zone, got out of the car, opened the hood and peered at the engine as if the car was having trouble. He told Tom and I to go in first. He had stopped outside Grand Central Station. Tom and I moved though the crowd and into the giant train station.

Alfred Hitchcock, from Wikipedia

And there he was.

Just sitting in a chair while the rest of the film crew moved around the cameras and lights. Someone came to him and asked a question. He responded, but never left his chair. Tom said “It is Alfred Hitchcock!”

We had stumbled into the filming of “North by Northwest.” There was Gary Grant and Eva Marie Saint. They were walking towards one of the train tracks.

While they were acting inside the station, Dave was doing a wonderful acting job outside. Tom and I came back and now we stared into the engine while Dave rushed into have a look.

We couldn’t believe our luck as the car headed off toward Boston.

Boston at last

I had left behind Milwaukee’s three B’s: Beer, Baseball and Bowling. And now I was in Boston with its three B’s: Brahms, Beethoven and Bach.

Several hours later, tired, sweaty, thirsty, we drove into the Boston area. We had made it, and it took just over 18 hours.

Dave turned on his radio and searched the dial. And there it was… classical music on the AM dial! Can you believe it? The only classical music station in Milwaukee was on FM and wattage so low hardly anyone could hear it. I had left behind Milwaukee’s three B’s: Beer, Baseball and Bowling. And now I was in Boston with its three B’s: Brahms, Beethoven and Bach. This was going to be some kind of year.

Heitz opened his apartment to us. We showered, had some beers, told about our trip, and went to sleep. The next day Bill took us to what he thought would be the perfect place for us to rent. It was just down the block from Massachusetts Ave., right on Marlboro street.

The entrance to Fred Barzyk's and Tom McGrath's little hovel in "Rat Alley," 1959. Photo by Brooks Leffler.

The 3 scholars from Wisconsin rang the doorbell and the landlady opened the door. Mrs. Gautraux. Her hair was frizzed, her elderly eyes had that crazy look after all these years of renting to college kids. She led us to the basement, to a two-room apartment fashioned around steam pipes and the furnace. “$80 bucks a month.” We took it.

She gave us the key and said we should use the backdoor for coming and going. She opened the door, which led directly to the alley. The alley. What can I say? Here among the garbage cans, cars parked in little spaces, lived some of the largest rats in Boston. Bill told us this was known as Rat Alley. Ah, yes and now it was our home.

Getting oriented

That night Bill took us to see the latest WGBH remote. There was a huge arts festival happening in a park called the Boston Public Garden. The three of us stood besides a pond in the middle of the Garden and watched as members of the Boston Symphony Orchestra drifted by in a Swan Boat playing Handel’s Water Music. And our little TV station was broadcasting it live! Wow!

That night as bedtime approached, Tom and I acted like freshman who had just moved into a dorm. Both Tom and I had lived at home while going to Marquette. This was real freedom. Alone at last in our own space. We giggled on about Rat Alley, you know, “Snow White and Seven Rats,” that kind of thing. Stupid stuff.

The big day arrived. The 1958/59 scholars were to assemble at WGBH. We walked down Massachusetts Avenue, over the bridge into Cambridge.

Dave soon made arrangements to move in with another scholar, Brooks Leffler. Now it was up to Tom and myself to make the $80 monthly rent.

Then the big day. The 1958/59 scholars were to assemble at WGBH. We walked down Massachusetts Avenue, over the bridge into Cambridge. On the bridge were strange markings, Smoots, based on a man named Smoot who was placed end to end in the ’40s by his MIT fraternity.

Finally, we arrived at the address. And there it was, right in the middle of the MIT complex of buildings. It was in a low-slung three story building. It appeared to have some non descript businesses, a drug store that served lunch, not much else. In the middle of the building was a plaque on a pillar announcing that this was the home of the WGBH Educational Foundation.

84 Massachusetts Avenue

We climbed the wooden stairs leading us up to the reception area. There sat Rose Buresh, receptionist, the one person who really knew what was going on at WGBH. We were ushered into the studio. It was huge. It was once an old roller skating rink. Its wooden floor proved to be problematical when moving the TV cameras. If you went straight forward, going with the floorboards, you got a pretty smooth ride. But going across the grain, led to some very bumpy dollies. We all took notes.

The notorious Boston University Scholars "Crew of '59." Top left to right: Al Kelman, Phil Fields, Tom McGrath, Fred Barzyk, Don Knox, Bert Bell, Sue Dietrich, Dave Nohling, Jim Hennes, John Sunier, John Engel. Bottom left to right: Lew Yeager, Joe (Mark) Mobius, Brooks Leffler, Mel Bernstein. Not present: Hiromichi Matsui. Caption by Al Boyns.

Introductions

We met our leader, Bob Moscone: from then on to be known as the King. Bob was once an Arthur Murray Dance teacher; a slender attractive Italian man who carried a little note card on which he kept track of what was going on at the studio. And he also controlled when we were to work at WGBH. He was the man in charge. He was the King.

"Prospects of Mankind." Left to right, Bob Moscone, Dave Davis, Virginia Kassel (behind Dave), Paul Noble, and Eleanor Roosevelt, fall 1959.

His second in command was Kenny Anderson. Kenny was a young slender guy with a terrific Boston accent, full of energy. I found out later he was a true lover of women, all women. The King asked him to show us on how to hang and focus a light. Kenny climbed the ladder, moved the light and then to show off, slid down the ladder. The scholars gasped. The King smiled. He hoped we should all be able to do the same in a few days.

Our audio man was Wil Morton. He seemed to be very young but with a keen sense of professionalism. He showed us the mikes, the cables, the endless cables. Eventually we met the TV directors and producers. Jean Brady (The Queen) a sweet, lovely woman with a wonderful southern accent; Gene Nichols (the Court Jester) a quiet man with a great smile; Ted Steinke, a big smiley guy from the mid west; Lou Barlow, who seemed to smoke whenever he directed. I don’t remember him smiling much.

And then there was Paul Noble, who had been a BU scholar in Bill Heitz’s group and had just been hired as a producer/director. It is important to note here that Paul and his crew really set the culture of WGBH scholars. It was family, fun, and camaraderie. His team bonded like no other, still meeting yearly, nearly 55 years later. Paul and his team created a WGBH yellow journalism news rag, The Ille Novi. (Latin for “Here’s the News,” which were the words used by Louis Lyons each night when he opened his news program. Copies of it are in the WGBH archives.) This mimeographed tabloid told all the “real news” for the scholars. Paul once told me his greatest talent was reading memos upside down as they sat on the executives desk. Long live yellow journalism.

Sitting front row: Vic Washkevich, Paul Noble and Ed Donlon.

There was Whit Thompson, who seemed to do all the music shows. His dad was Randall Thompson, composer of symphonies and other pieces, who taught at Harvard; Lenny Bernstein was one of his students. Whit wore glasses and was very erudite. And then there was Cabot Lyford who had a nasty habit of kicking the wall every once in awhile. He was the director of the Museum of Fine Arts show “Invitation to Art,” a big remote production from one of the country’s great museums. (Not many people know that the museum was internally wired with TV cables in expectation that the MFA and WGBH would be doing shows for a long time. I wonder if they are still there.) The host was Brian O’Doherty, a visiting Doctor from Ireland who had come to Boston to study heart related illness at Harvard University.

Brian became a dear friend. Years later, Brian became head of the National Endowment for the Arts Media Panel. His panels awarded many grant dollars to WGBH. Brian was also the fine arts commentator for NBC’s Today show for 9 years and is a celebrated artist painting under the name Patrick Ireland.

Brian would occasionally invite me to have lunch at Ken’s deli restaurant in Copley Square. I mean, we never even did a show together, but he had somehow become interested in what I thought about TV and art. That was really hard to imagine. I was just a kid from the South Side of Milwaukee. It was very unexpected but complimentary. I really enjoyed the talk and the food.

An aside: the culinary arts

Tom and I existed on peanut butter and jelly sandwiches, pasta and cheap canned tomato sauce, and every once in awhile, a piece of meat.

Yes, the food. Food was a constant concern at our apartment in Rat Alley. Tom and I existed on peanut butter and jelly sandwiches, pasta and cheap canned tomato sauce, and every once in awhile, a piece of meat. Milk, when we felt really rich.

I remember one day, I traded my jelly sandwich with cameraman Don Hallock for his tongue sandwich. Tongue! I wasn’t sure about eating tongue but what the hell, it was meat. After all, I had eaten a lot of weird things in my mother’s Polish kitchen. Czarnina, a black duck blood soup with prunes and raisins; boiled chicken hearts and gizzards over mashed potatoes. I sort of liked the tongue sandwich, even though it was kinda chewy.

Brian, I can still taste those big Reuben sandwiches at Kens. Thanks. It meant a lot. More than you ever knew.

Back to introductions

Russ Morash, who would soon become one the most important producer/directors at WGBH, had just married. He and his wife took an extended honeymoon in France that summer. Russ eventually returned to direct a French Language show for kids called “Parlons Francais.” He had studied acting at BU and his wife had graduated with a degree in set design from BU,  fellow theater artists. I ended up using Russ in a number of dramas that I did for PBS. The most memorable is when I cast him as a fellow TV newscaster with actress Lily Tomlin. They were perfect together.

There was also Bob Squier. Talk about energy. He was the quickest, the most animated of our directors. He took more shots in one show than most of us ever thought about. Bob soon moved on to become an independent producer and eventually became the Democrat’s PR spokesman. He appeared often with Roger Ailes, the Republican counterpart (now head of Fox Cable News). Bob passed away a few years ago. Sad.

Don Hallock, Al Kelman, and Tom McGrath

A reflection: As I now look back at the staff of WGBH in those days, it dawns on me how young we all were. I mean, the average age of the camera people, lighting, audio was 23. Even the engineers were young; Bobby Hall, blond, happy guy; Jerry Adler, FM engineer, the only practicing Jew with a Southern accent I had ever met; Andy Ferguson, the only African American on staff, were all in their late 20’s. And the staff camera people, Don Hallock, a true artist and one of the greatest TV camera operators I have ever known, was not even 20. Bob Valtz, a recent Harvard grad who wore his tie flung over his shoulder while running camera, was 23. Frank Vento, a dark haired, intense camera/lighting person was probably near 30. Even the executives were only in their thirties.

Frank Vento and Mary Lela Grimes

The executives

The Executives. The visionaries who helped make WGBH so special. There was Dave Davis, manager of the station. He was a former trumpet player and lover of jazz and good music. In addition to his duties as station manger, he also directed the Boston Symphony Orchestra concerts. His was a tightly run production, which created the most sophisticated music/camera shot list ever.

It was amazing that he could take a bunch of BU Scholars along with this young staff, and make the broadcast seamless and professional. (The BSO and WGBH have paired up to release some of these early TV concerts on DVD, to be released in 2011.)

It is fair to say that Dave was the paternal figure in the organization. He didn’t say much and it was expected of you to present your questions in an exact and quick manner. He would then give a quick answer back.

Dave appreciated hard work and creativity. Once, after a music show that I did, he called and complemented the staff and me. It was really a big moment for us. That didn’t happen too often. We celebrated by going out and having a few beers at the Zebra Lounge.

Aside: The Zebra Lounge

The Zebra Lounge on the corner of Mass Ave. and Beacon Street. The home away from home. (Now, called The Crossroads.) The corner booth covered over with fake Zebra cloth. Our corner booth. A place for the young scholars to relive the day, laugh at what we did and did not do.

Our BU Scholar group broke into three groups. First, there were those who had come back from the war and were going for their master degrees. They were older, married, some with kids. Second, there were the serious scholars who wanted their degree. They studied hard, did their WGBH work and acted like adults. And then there were the rest of us.

We thought all of this was fun and games. A great time to learn, try new things, drink beer, laugh, what me worry? Not many of us finished the degree. We went to class and were responsible students, but spent most of our time at WGBH. I mean, we used to go to the studio after closing hours, crank out the big boom mike into the middle of the studio, and play volleyball. This was fun. The whole thing was fun.

Young ladies came into Tom and my lives. Tom hooked up with a sparkly woman, Peggy. I met Ruth Smith casually at the Zebra lounge. She was from Revere, graduated from Chandlers, and now was a special assistant to some big wig at Bank Boston. After a few dates, we became a number. As a matter of fact I ended up marrying her. As she likes to remind me, we will be married 50 years next March. How time files.

Back to the executives

Three important executives who influenced my life were Mike Ambrosino, Greg Harney, and Bob Larson. Bob was program manager. He had graduated from Harvard and was a practicing Christian Scientist. It was Bob who saw the potential of a TV series for a tall Cambridge woman who had appeared on our weekly book show: her name was Julia Child.

Bob thought I could only be a director since he questioned the kind of education I might have gotten at Marquette. I accepted his opinion then and said, “I will show him that there is more to me than he thinks.” He was my challenge. Years later he accepted me as someone who could become a producer. Bob passed away from stomach cancer, much too young. His religion, which he cherished, did not allow him to see a doctor. His prayers were not answered. Sad.

Michael Ambrosino, September 1956.

Mike Ambrosino, though an executive, also produced and directed a number of shows. He was in charge of creating the Eastern Educational Television Network. He also created the 21 Inch Classroom, a coordinated program between WGBH and 35 independent school systems to see if TV could be used in the classroom to enrich the teaching experience. We did a lot of 15 minute shows directed to grade school kids.

Mike did a lot of science shows, especially with Gene Gray, a teacher from Newton. It was during one of Gene’s shows that he poured some acid into a plastic cup only to see it dissolve the cup. (This is still in the archives.) Not much you could do because the show was live. Gene did a great job making the disaster into a teaching moment. Ambrosino later went on to create one of the great staples of PBS: NOVA.

Greg Harney. What can I say? He had arrived from CBS at about the same time as our crew. He was one of the best lighting directors at CBS. However, Greg was ambitious and took the job as production manager at WGBH to expand his choices. He took a hefty pay cut and supplemented his WGBH salary by teaching a grad course at BU,Lighting and Production. This was a class that all of the BU scholars took. His style of directing, lighting and program style was gleaned from his days at CBS and it was soon our style, too.

Script Conference, A Time to Dance, 1959. Left to right: Paul Noble, AD; Jac Venza, Producer; Martha Meyers, host; and Greg Harney, Director.

Greg and I always had an “interesting” relationship. Greg liked to call you into his office after one of your shows and critique your performance. A dear fellow director, Ed Scherer, told me how to handle these sessions. Agree and then go do what you normally do. I did this many times. Many.

Finally, one day Harney confronted me in the hallway, and accused me of not really listening to him. He had me caught. What to do? I blurted out that he was probably right. I should really listen to him. He looked relieved. Of course, I just went back to what I was doing anyway.

Greg was pushing me to be the best I could. Many years later, he said that he had tried to hire me as a director when our scholar year ended. But there wasn’t any money. He kept after me, bringing me back three times to WGBH for short stints as a director.

Then one day, when I was back in Milwaukee doing a silly job working for a Polish Newspaper, he offered me a permanent TV directing job. Somehow, he had found me at this little office where I was doing blind calls for a Polish newspaper, Novini Polski. I would call up people who were trying to rent apartments and suggest that they should rent to good Polish people who were clean and reliable payers of rent. All they had to do is place an ad with the Polish newspaper.

Greg’s offer was exactly what I was needed. I walked up to the office manager and quit. It wasn’t even 10:30.

So, for the next 50 years I did at least one show a year for WGBH. Sometimes, I did as many as 100 TV shows in a year. It became my professional and spiritual home. As I often said to the present executives, this is my station.

I haven’t said much about Hartford Gunn. He was the head of the whole thing. He was the brains behind the operation and soon left to create the whole PBS system. Hartford was there, but we didn’t interact with him on a daily basis. He was gracious to us all as he bustled about his business.

Hartford Gunn

Years later, Hartford and I had an interesting confrontation. In those days, I wore white shirts and ties. Hartford grabbed me by the tie and pushed me up against the wall.

Why? My fellow producer/director Dave Sloss and I had written an internal memo criticizing David Ives for not being adventurous, as we wanted him to be.

The musician’s union had complained about our local folk music show because we didn’t pay anything. David felt we were in danger of being blackballed by the union and we should cancel the show. He said we always get in trouble when we do entertainment. Our memo took Ives to task for this position, in rather brutal language.

Hartford wanted to make a point to me while holding me by tie and up against the wall, that he too wanted the station to venture into entertainment. He warned me that we had to be careful. Go slow. I agreed with him. The folk music show continued. It was my most intimate moment with Hartford.

Special moments

Left to right: Fred Barzyk, Barbara Goble, Libby Alford, Al Reese, Don Hallock, and Ruth (now) Barzyk with her back to the camera.

Fact: Our personal history is not made up by remembering specific days, but by remembering the special moments. There were three special moments during this period.

Birthday party

First, was my birthday party. I turned 22 in October and the gang gathered at our apartment in Rat Alley. Beer flowed, laugher filled the small apartment, there was even food that somebody brought.

And then, Hallock and Vento paraded into the packed place carrying a birthday cake. The crowd sang Happy Birthday. Then they plugged the cake into a wall socket and the whole thing exploded. BOOM! The room filled with smoke. At first, everyone cringed but then, realizing it was a joke, broke into loud laughter. In she came.

Mrs. Gautraux.
In her bathrobe.
She yelled and screamed.
The place cleared out fast.

What a birthday!

Halloween

Second was Halloween. It had been decided by our crew that Educational Television was dead. It would go nowhere. ETV is dead. It was even chalked on the side of the building in Rat Alley. (I think that was me who did it.)

Anyway, it was decided that WGBH scholars, along with the staff, would join in a Halloween parade that was planned for Boston. Don Hallock, God Bless him, built a wooden coffin. They dressed Nohling up as a cadaver and placed him in the coffin and drove around the city in a convertible. A banner declared that ETV was dead. Probably no one in the crowds ever knew what it meant.

The driver of the convertible had a little too much to drink and I guess it was a pretty harrowing drive. The WGBH crowd ended up at some apartment on the seedy side of Beacon Hill. The next day, Don Hallock and I carried the coffin across town to my apartment. And there the coffin stood, propped up against our wall, open and empty. It stayed that way until I moved out months later.

Picnic in Rat Alley

And finally, the last week in the apartment, we had a picnic in the alley. Everyone brought whatever booze they had and we poured into one of our old pots. We called it a wassel bowl. English phrase I guess. As I sat there thinking about the last days in Boston, I looked over to our open apartment door. A rat quietly walked out of the apartment and into a garbage can next to the building. It was the end. The end of my scholar days. The end of a great year.

Henry Morgenthau

Wait! Not yet. I haven’t talked about Henry Morgenthau III.

Mrs. Roosevelt and her staff. Henry Morgenthau, Eleanor Roosevelt, Paul Noble, and Diana Tead Michaelis, fall 1959.

Henry was a producer at WGBH. He was rumored to be wealthy. I know that he had a man, someone to drive him around, cook his meals. I guess you would call him a butler. But Henry was one of us. He laughed and played just like the rest of us.

But one important fact: Henry knew Eleanor Roosevelt. He convinced her to be part of one of WGBH early important shows, “Prospect of Mankind.” (This program is also in the archives.) Everyone was on that show; John F. Kennedy, Adlai Stevenson, you name it. And it was all because of Henry.

Henry’s father was Roosevelt’s Secretary of the Treasury, signer of all the nations currency. And here he was, one of our producers. Henry was great. Fun and creative. He and I ended up doing a whole ton of shows together, none more important than “Negro and the American Promise.” (Also is in the archives.)

My Dad was very impressed that I knew a Morgenthau. My Dad was a lifelong Democrat. He was very pleased that I was in good company, especially the son of the man who signed all the nations money.

Money

My Dad always said “follow the money and you’ll find the truth.” All I know is we never had enough of it in those days.

Tom and I had each derived ways of making ends meet. Some of them were not very pretty. Fortunately, Greg Harney and Henry Morgenthau were bringing in big budgeted shows that were shot on weekends. That meant the crew was paid overtime. Tom became one of the regular paid crew members. That money really helped him

Guinea pigs

However, in some kind of desperation, Tom signed up to be a medical guinea pig. He went to the Mass. General Hospital and was injected with a blood thinner. Then they took out some blood and tested to see how thin it really was. I guess it was pretty thin because of what happened next.

Tom walked home. The Doctor told him not to get hit by a car or he might bleed to death. Ha, ha, I guess this is Doctor humor. Tom told me all about it as he combed his hair in our little bathroom.

In some kind of desperation, Tom signed up to be a medical guinea pig. Tom’s payment … 15 bucks

All of a sudden, the bandage came off and he started squirting blood all over the place. I mean pumping, squirting blood. He held his arm over the tub to catch the blood. I went crazy. I handed him a towel, got the name of the Doctor, raced upstairs to the pay phone in the hallway, dialed MGH and asked for the Tom’s Doctor. As I waited, I wondered if I should have called 911.

The operator came back on and said there was no such Doctor at the hospital. Egads! I rushed downstairs to see if Tom could make it to the street where I could call an ambulance. Fortunately, he had applied enough pressure to the wound that the blood had started to coagulate. Whew! Disaster avoided. Tom’s payment for all this … 15 bucks.

Sundays

Jerry Adler

My money problems were solved in other ways. Bill Heitz had told me to try and get the Sunday master control job.

The local CBS station would not carry the networks Sunday morning shows, so WGBH, as a service to its audience, worked out a deal with CBS for Ch. 2 to air the programs from 10:00 a.m. to 6:30 p.m. The station needed an engineer, a booth announcer and a master control operator.

I got the job. My pay was $10 for each Sunday worked. That took care of the rent.

My buddies during these Sunday stints were (usually) engineer Bobby Hall, booth announcer Bob Jones, and Jerry Adler who was right next door to master control running WGBH-FM from a small control room. We were a quiet group, sometimes fighting off hangovers, planning what we would do with the rest of Sunday.

There were talk shows, and then there was Camera Three. Camera Three had been a cultural godsend to me when living at home in Milwaukee. It did segments on the fine arts, the theater, dance, photography. It was up to speed with the NYC art scene and exposed me to ideas and concepts that were beyond my wildest dreams. It helped determine my style and approach to TV.

An aside: Camera Three and Nam June Paik

Many years later I was asked to be a guest producer for Camera Three. And to show what a small world it really is, one of the executive producers was a former BU Scholar from Bill Heitz’ group. I choose video artist Nam June Paik as the star of my Camera Three.

Nam June Paik

That meant bringing into the CBS union studio all his broken down TV’s, Charlotte Mormon, who would play her cello while wearing Paiks’ Video Bra, an upright piano which Paik would destroy, and lots of his small non-broadcast electronic gear.

It probably was the first time that this kind of electronic equipment had been brought into a studio of CBS. I think every engineer in CBS found some reason to walk through the studio on their way to wherever. And every last one of them had to stop and gaze at what Paik had created.

The show was called “The Strange Music of Nam June Paik.”

CBS never asked me back to do another show. As a matter of fact, this turned out to be their last season, Camera Three was no more.

Still, it was wonderful to see the cycle completed. From an avid viewer as a college kid to a full-fledged TV producer creating something for a show that meant so much to me. Special.

Accidental solution

And then, my money problems were solved.

Late in that first summer, I walked across Mass Ave. heading from WGBH to MIT’s indoor pool. We were going to do some kind of remote. As I crossed the street, I was hit by a car. Not really hit, more like bumped.

The problem was that, in those days, cars had hood ornaments. This was a Pontiac, which carried a shiny Indian-face ornament. This sharp little piece of metal pierced my left side, causing a rather deep wound.

Moscone took charge. Somehow, I was in a car racing to Boston City Hospital. They took me to the emergency room. The King kept telling them it was not a knife wound. I don’t know if they ever really believed him. Anyway, they washed out my wound, stitched it up, bandaged it and told me not to lift anything heavy for six weeks. I went home and rested and healed rather quickly.

Bob Moscone took me to see a lawyer … I went to his office and with great fanfare, he presented me the insurance company’s settlement. A check for $600.

But Bob Moscone, being the King, went a step further. He took me to see a lawyer. The lawyer’s office was situated in a back room of a walkup in a seedy part of Boston. The lawyer listened, got the name of the person who hit me, and said he would get back in touch. I didn’t hear from him for over 4 months.

Then I got a message from Moscone. The lawyer wanted to see me right away. I went to his office and with great fanfare, he presented me the insurance company’s settlement. A check for $600.

This money changed my lifestyle. Since I’d dreamed of making the professional theater my career choice, I spent a lot of the money going to plays, Wednesday matinees, in Boston’s theater district. Yes, in those days, there were still plays up and running in one theater or another. It seemed like there was a new one every couple of weeks.

I became a regular in the balcony section. I shared the spot with a group of ladies who were also weekly attendees. We became great friends. They started bringing me sandwiches. They were great. I saw Carol Burnett, Tom Bosley, Tommy Tune, so many great stars. It was heaven.

I decided to celebrate my new wealth by taking Ruth out on a real date. We went to a little French restaurant, which existed on Mass. Ave. (and is no longer there). We had Duck a l’Orange and a glass of wine.

Then we took a bus to Harvard Square and went to see a New Wave French film at the Brattle Theater. The Brattle, whose theater history I knew and appreciated, was not built in the faux-Oriental style that I was used to in Milwaukee. No, the Brattle was a basic box theater with little international flags on the wall, tight hard seats, and a back screen projection system.

It was clear the audience was young, college kids, most likely, intellectuals. Probably Harvard, MIT, Tufts, Brandeis, BU.

As Ruth and I settled into our seats, it was clear the audience was young, college kids, most likely, intellectuals. Probably Harvard, MIT, Tufts, Brandeis, BU. We were early and so sat back to wait for the beginning of the film.

And that’s when it happened. Like a flash of bright white light, the truth bopped me on the head. This was the Eureka moment!

Somewhere in the theater, somebody had turned on some music to keep the customers entertained until the movie began. It was a scratchy, LP record. The audio was slowly turned up until you could finally hear it. It was a harpsichord. Oh no, it was a Scarlatti Sonata.

And right then, at that very exact moment, I knew I was a hopeless stranger in a wildly exotic land. It was as if I had been plunged into some distant planet, a planet filled with flying things, a planet so different from where I had come from that it left me speechless. Clueless. Sitting, watching, not believing — right there in the Brattle Theater!

The recorded music grew more intense, filling the cavernous room with harpsichord music. The young couple in front of us moved closer together. Tighter and tighter.

She looked up at him, lovingly.

“They are playing our song.”

“I know, I know.”

And then they kissed.

About Fred Barzyk

From IMDB: Fred Barzyk is a longtime producer/director at WGBH, the public television station in Boston, Massachusetts. His credits include: Ollie Hopnoodle’s Haven of Bliss (1988), The Star-Crossed Romance of Josephine Cosnowski (1983), The Great American Fourth of July and Other Disasters (1982), The Lathe of Heaven (1980), and Between Time and Timbuktu (1972).

• Image of Alfred Hitchcock from Wikipedia

From Art Singer

Art Singer is president of the Massachusetts Broadcasters Hall of Fame.

Fifty years ago this past September, as I began an intensive one-year Masters of Communication Arts program at Boston University, I also was approved for a volunteer internship assignment at Channel 2. And for most of the academic year, on several late afternoons a week, I would take the twenty minute walk from BU across the Charles to the station’s studios on the MIT campus for a night’s work.

Who knew at the time it was to be the very best part of my graduate year and would direct a good part of my career?

84 Massachusetts Avenue

To enter the building that housed the WGBH studios was from the beginning a thrilling experience. The feeling was one of being part of grand experiment (this educational television) and also due in large measure to the fact that most of the programs I was assigned to as “crew” were produced and aired live.

As I recall, we’d begin with the children’s show, underwritten by Hood’s, at 5:30 pm and then jump to the inimitable Louis Lyons and the News at 6:00pm. A distinguished journalist for the Christian Science Monitor, Louis would unabashedly read from his notes with an occasional look up over his spectacles to remind himself and the viewer that was on camera.

At 7 p.m., one night a week, legendary theater critic Elliot Norton held forth for a half hour and his guests would be the elite of Broadway whose shows were trying out in town before opening in New York City. There in the guest chairs would be the likes of Rogers and Hammerstein or Julie Styne, or the directors, producers, and stars of the shows.

And scattered elsewhere on my assignments were tapings of other shows. These ranged from Brandeis President Abe Sachar’s “The Course of Our Times “series to Madame Anne Slack and her “Parlons Francais” French language instruction show (Madame Slack would say “Bonjour mon ami” then wait for the viewer to repeat the phrase while she mouthed the words in support). The same late afternoon or evening Eleanor Roosevelt and other luminaries might be taping shows as well.

Studio A, 84 Massachusetts Avenue

The studios were constantly in use. And with so much of it being live, everything was or seemed to be in continuous motion. The likes of Dave Davis and Greg Harney seemed to be everywhere. The man himself, Hartford Gunn would make an occasional appearance in the halls or on the set . And the atmosphere bubbled over with energy and knowledge, talent and creativity.

This was educational television and we were there at the infancy of what many of us sensed could be a new direction for broadcast television. I may have been learning broadcast history and production theory at BU, but here I was learning what actually was necessary to create a TV program, And to boot, I was getting a bonus education –in current events, theater, language, cooking, and journalism.

And music. My most favorite assignment was being on the crew for the live telecasts of the Boston Symphony Orchestra. At the time, the BSO performed with some regularity at Sanders Theater in Cambridge. And on a number of Tuesday evenings, we were there to capture and broadcast the event. I don’t believe that GBH had permanent cameras and mikes in the hall. I believe everything had to be trucked over and set up anew each time.

The producer responsible for these major productions was Jordan Whitelaw. And I can vividly recall attending, along with the director, the camera operators, the audio guys, the switcher, and others the rehearsals in Jordan’s office.

After personnel assignments were confirmed for each of us in the room (most often mine was as a lowly cameraman assistant), we would do a mock production of the evening’s program, each attendee having been given a “shot sheet” to note which shots were assigned to which camera.

Next to Jordan’s desk was either a phonograph or a tuner-turntable-and speaker arrangement. And ready for play was an LP recording by the BSO in most cases performing the very work(s) on the Sanders program that week. We’d all settle down, pencils and paper in hand and Jordan would begin:

“Camera One ready with wide shot of the orchestra. Take Camera One. Ready for opening credits. Roll credits. Camera Two ready to follow Munch as he enters stage right. Ready Two, take Two. Follow him to the podium. Camera Three on First Violin. Ready Camera Three, Take three.”

This continued through the playing of the entire piece. To me it seemed brilliant, but now I suspect that he was mimicking the pre production approach used by the NBC Symphony or the New York Philharmonic on network TV. Yet it could be that he was breaking new ground. Who knows?

Truth is we were all breaking new ground. That ‘GBH experience made a convert of me and I remained hooked for more than 35 years in what became the public broadcasting business.

Yet through all those years, no coverage of an event, development of a series, no dramatically successful nights of on air pitching, gave me more insight and purpose and pleasure than my intern days at this offbeat, eclectic, determined operation known as WGBH-TV Boston.

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.

In the early morning hours of October 14, 1961, a raging fire at the 84 Massachusetts Avenue studios of WGBH completely destroyed the facility. WGBH FM and TV were located in the second and third floors of a three story roller former skating rink. The fire, which began in the studio-A area, quickly consumed the upper floors of the building, rendering it a total loss. These stills were excerpted from 16mm black and white news film footage shot by Boston area commercial television stations.

Here firemen enter the rear of the building from the fire escape near studio-A control and the projection room. In the background light from the fire inside can be seen through windows which had formerly been covered over when studio-A was created.

Cambridge firefighters worked through the pre-dawn hours in a vain attempt to limit the damage.

By morning the effort had had proved futile, and evolved into one of simply hosing down the charred remains.

The top of 84 Mass. had become an open shell. For the first time in the history of the station the studios were illuminated by natural light. Left: inside studio-B, showing what remained of the grid and the wall over the control room.

Inside studio_A looking toward Massachusetts Avenue. The roof had fallen in and the wall between the upstairs offices and the studio had collapsed making the Mass. Ave. windows visible from the studio floor. Norman Feather’s screening room and film library is upstairs to the right, and below it the studio control room. The FM studio is straight ahead.

Studio lights among the wreckage

Film storage racks in the screening room sagging from the intense heat.

The Baldwin concert grand piano which had been played by the likes of George Shearing and….

…carcasses of cameras 1 and 2, all in studio-A.

All through the day, station staff scavenged the building for any materials which might have been of use. Not much was.

Out on the street, a growing collection of fire and/or water damaged equipment included: A 5K studio light

Empty 1/4 inch audio tape reels from FM control, and a monitor, probably from Studio-A control.

FM engineer, Andy Ferguson, in full disaster gear adds to the salvage pile accumulating to the side of the building closest to the Charles river.

One of the studio clocks stands in mute testimony to the exact moment during the fire when the power went off — 4:40 am.

Books and files are brought out of the building.

A staff member examines the focus yoke from one of studio-B’s cameras, which were completely destroyed in the extraordinary heat generated in that smaller and more enclosed space (that’s a pedestal column lying to the left). In “B” the aluminum microphone boom was literally vaporized, and the control room windows melted into flowing rivulets of glass.

Bill “Woozy” Harris opens the camera equipment cabinet just outside studio-A control. He pulls out what’s left of a 75mm lens.

One of the cameras in studio-A, looks to the sky, while at the left, that vertical structure is the long tongue of the Fearless Panoram dolly.

Outside, in the early afternoon, a few last items are stripped from the building. The station’s call letters are removed from their place on the little balcony above the front door, and the name plaque is removed from the column to the left of the door (it is now on permanent display in the lobby of 125 Western Avenue).

Fred Barzyk lifts the big “W” into a waiting van, while Bob Moscone looks on.

Thoroughly exhausted and hollow-eyed, Dan Beach, Greg Harney and Bob Moscone look on as the last remnants of the station’s tenure at 84 Massachusetts Avenue are hauled away.

Beyond WGBH’s human resources, the only truly useful production asset to survive the fire is the partly completed Greyhound mobil unit. It will play a crucial role in the station’s future viability as a television producing organization.

A camera side-panel tacked to the door identifies WGBH’s interim location on the 4th floor of the Kendall Square Building.

The offices were secured within hours of the fire, and a phone switchboard, run as usual by inimitable Rose Buresh, had been installed by the next day.

The station’s young program manager, Bob Larsen, pores over schedules in an effort to keep the station on the air and on schedule.

And when time permitted, he’d pick up a mop and join those cleaning up the space. In the long run, WGBH missed only one day of programming.

Volunteers scrub down well used replacement office furniture.

Continuous damage control meetings take place around a long table in a back corner of the office space (that’s Greg Harney in the trench coat, second from right).

David Ives sorts through badly soaked files.

George Weiner, WGBH building maintenance custodian, now with no building to maintain, put in long hours doing the hard-core installation of new office facilities.

The station’s accountant sets up his facilities as rapidly as possible in order to keep financial operations running as smoothly as possible.

In the background, the big call letters from 84 Mass. Ave. are carefully stored as a gesture of everyone’s belief in the future.

Very soon, the shell of 84 Massachusetts Avenue is disassembled and trucked away leaving, ultimately, almost no trace of the station’s former location.

While, at high levels, wheelings and dealings between the station’s upper management and the Boston academic community result in the launching of big plans….

Trustee of the Lowell Institute Co-operative Broadcasting Council, Ralph Lowell and Hartford N. Gunn Jr., General Manager of WGBH, are interviewed by a local television reporter (probably for WBZ-TV).

(For those of you who’ve forgotten what 16mm double-perf sounded like, there’s a little sprocket-noise surprise in each of these clips.)

Interviewer: Mr. Lowell, when do you expect to break ground for the new WGBH studios?

Ralph Lowell: We’re hoping to break ground early this fall.

Interviewer: And if the luck is with you, when do you expect to move in?

RL: Within a year from the time that we break ground.

Interviewer: Have you received all the money you need now to build these new studios?

RL: As you know, the Ford Foundation offered to match a half a million dollars, and we’re within a hundred thirteen thousand dollars of our goal.

Interviewer: And what will the building cost you when it’s through. What is the entire cost of this new structure going to be?

RL: The building alone, itself, will approximate a million two-hundred-thousand dollars.

Interviewer: Did any other university besides Harvard offer you space for channel two?

RL: Oh yes, they were all of them most cooperative. Brandies and Northeastern offered us land. Boston University offered us part of one of their buildings.

Interviewer: Well, thank you very much, sir.

RL: Thank You.

Interview with Hartford Gunn

Interviewer: Mr. Gunn, what type of building will this be when it’s concluded?

Hartford N. Gunn: We expect this to be a modern design, and to incorporate the best facilities that we know that are available for radio and television today.

Interviewer: Is this going to be a multi-storied studio, or is it going to be all on one floor?

HNG: No, its…the studio height will be about twenty to twenty-two feet….normal….height. And then the large studio will have an area which goes up to thirty feet, including a stage-house, so that scenery can be lifted off the studio floor and stored overhead.

Interviewer: Would you say that this is going to compare favorably with any other educational channel in the United States when you’re through?

HNG: I would think so. I would think that this might be one of the very best facilities of any educational station around the country, and probably the largest, for the moment anyway.

Interviewer: How do you think it will compare with commercial TV stations?

HNG: I think it will compare very favorably….larger than many of them and possibly not as large as some stations. But I think it will be an excellent facility.

Interviewer: Are you planning to have any brand new television equipment put in that perhaps some of the stations in this area may not have?

HNG: That’s a little hard to say. As you know, many of the stations in the area are putting in new equipment, even now. I would hope that ours would be certainly as new, and possibly there might be a few surprises. I would hope so.

Interviewer: Right, well thank you very much, sir, and good luck to you.

HNG: Thank you.

And here, at 125 Western Avenue, are the first signs of WGBH’s new beginnings….

This 1956 film about the making of Mary Lela Grimes (Sherburne’s) kinescoped NET series on science for children was resurrected for the reunion. It is a show within a film, showcasing the 84 Massachusetts Avenue facility and many of our best remembered WGBH friends.

A teleprompter mounted on the front of Frank Vento’s camera bears the film’s opening titles.

And here is Bill Pierce announcing a dummy close for the program “Discovery,” followed by Bill Cavness narrating the opening of the film “Discovering Discovery.”

“Discovery” director, Bob Larsen, and production assistant, Patty Hurley, are shown assembling the srcipt for the upcoming progam.

And this is, of course, the day of the manual typewriter and the mimeograph machine.

Mary Lela and an (as of this writing) unidentified film maker shoot and srceen nature footage for the program.

Then, film editor, Jean Higgins, matches negative to work-print, using rewinds, a synchronizing block and the old hot-splicer.

Graphic artist, Betty Sears, who learned the craft of producing visuals for television “on the job” with “Discovery,” generates semi-animated illustrations, which will ultimately be shot and manipulated “live” in the studio. In the days before computer graphics, these cumbersome, hand-made, cardboard devices used cutouts, sliding inserts and magnets to create the illusion of developmental movement.

Titles, in that era, were laboriously hand printed on cards, and then either shot with a studio camera, or photographed and transformed into 35mm slides which could be transmitted through a “film chain” in the projection room. Here, station graphic artist, Ed Lovell, sets each line of the title, letter by letter, using metal type. The type is then mounted in the “hot press” and the text pressure-transferred to the card through a thermal film bearing the pigment.

He then shoots the slide film with a still camera on an animation stand, and finally develops and mounts the slide for use in the projection room. The projectionist — in this case Bob Hall — places the slides in the slide projector which feeds into the same optical multiplexer as the 16 mm motion picture projector.

Sets and larger visual displays were designed and built in the station’s scene shop (originally an office-sized room located between the reception room and the record library, and just across the hall from FM). Here, staging director, Peter Prodan, and assistant, Don Hallock, do the work.

In the studio….

….Whitney Thompson impersonates a lighting director.

On the left is, Bob Moscone, the real lighting director and official Prince of Darkness, with Bob Larsen, right, running a lighting check.

Frank Vento (the station’s first full-time cameraman), is one of the program’s camera crew.

In this clip Bill Cavness narrates a quick course in the shooting of a television program. Bob Larsen directs the show, while the voice of audio engineer, Bill Busiek, can be heard advising the boom operator to move in closer.

Bob Larsen and switcher, Ted Steinke, execute the program.

Bill Busiek mans the audio board, while an unidentified video engineer rides shading on the camera images.

Mary Lela rehearses the close-ups. (Notice that 12″ lens, which would never have been used for an ECU.)

Mary Lela takes a short break before air time.

In this clip, Bill Cavness desrcibes the conclusion of dress rehearsal, Bob Larsen initiates the actual kinescoping and Bill Pierce announces the show’s opening.

The End

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!

• Image: Shelley Hubbard

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.

• Source: Free Old Time Radio Shows

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.”

• Source: Old Time Radio Catalog

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?

• Image: EllenM1 via Flickr Creative Commons

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.

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 [entered from Westland Avenue]. 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 [the large round table from Newbury St.], 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 [Don Hallock] could chroma key the film clips behind [Daniel]. 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.