After Dave Garroway left Today in June 1961, he took some time to deal with personal matters. So much had happened so quickly – the sudden death of his wife, most notably – on top of a demanding work schedule. Now, suddenly, everything was quiet. And after a few months, Garroway was ready to get back into a television gig.
There were some complications, however. The first was that while Garroway was away, television had gotten along without him. Suddenly, in the new, cool era of 1961 and 1962, Garroway seemed like something out of yesterday. The man who had been indispensable was now disposable, and the medium was getting along without him just fine.1 On a more personal level, the considerable clout Garroway had attained as host of Today was now gone.2
But one more thing was complicating Dave’s comeback. In his haste to get out of his obligations to Today (which lasted through 1961) and to NBC (which lasted through 1966), Dave hadn’t carefully considered the language of the agreement he signed. To his chagrin, he learned later that NBC retained a right of first refusal until 1966. If anyone offered Garroway a program, he was legally obligated to check with NBC to see if they had him in mind for a project. This meant Garroway wasn’t a sure thing for anyone who was proposing a program, and it gave NBC effective veto power over his doings. “I received nothing in return for it,” he lamented in 1965, “and managed to give up five years of a $100,000-a-year contract that would have paid me whether I worked or not.”3
Rumors of Garroway’s return to television began to circulate in late 1961. One item reported ABC was considering Garroway for a newscast to counter NBC’s Chet Huntley and David Brinkley. Instead, Garroway signed with the fledgling National Educational Television network to do a series of science programs called Exploring the Universe. Other odd jobs came up: filmed sporting events that Garroway hoped to parlay into a series; hosting gigs for the Miss Universe pageant, Talent Scouts and award shows. He signed a deal to narrate ads for the Ford Motor Company. He filled in for Arthur Godfrey and Jack Sterling on their radio programs, which prompted New York’s WCBS to offer him a twice-daily radio program. Garroway AM and Garroway PM began in April 1964, but in December Garroway announced he was leaving WCBS, claiming concerns about his son’s health and saying the preparation for each show had eaten up more time than he anticipated.
Les Crane, ABC’s bad boy (ABC photo)
In 1965 ABC offered Garroway another guest-hosting gig. Always trying to find a way to compete, ABC was trying to counter Johnny Carson’s Tonight program. It started with a show hosted by radio personality Les Crane. Initially a local program called Nightline, it hit the network in November 1963 as The Les Crane Show. It became notorious for its confrontational tone and controversial discussions. Columnist Kay Gardella later summarized the young Crane as “the Peck’s Bad Boy of TV, who parlayed such nontalents as rudeness, arrogance and conceit into a short but explosive TV career.”4 By 1965 ABC wanted to try a format with less fire and a more relaxed pace. Crane was sent away for a while and several guest hosts took turns on a show that now bore the title Nightlife. The new format abandoned controversy in favor of something more like a traditional late-night show. Several guest hosts were called in, including Shelley Berman, Pat Boone, Allan Sherman and Jack Carter. And after them, one Dave Garroway was given the chair for a week. Dorothy Kilgallen wished Garroway well in her column, writing that “Dave’s presence always guarantees the viewers a grace of intellect and originality not to be found on every spot on the dial.”
Garroway’s guests for his week as host reflected his interests. The beloved Mr. Wizard, Don Herbert, gave a science demonstration. A locksmith demonstrated how to keep locks safe from lock pickers. Singer Carol Sloane, whom Garroway had featured on Talent Scouts and while substituting on Arthur Godfrey’s radio series, appeared on the show. Godfrey himself appeared as a guest on another show, as did Morey Amsterdam. Another program found Garroway interviewing Major Donald Keyhoe, who had written a book about unidentified flying objects, while panelists Dizzy Gillespie and Dina Merrill joined in the discussion.5
Columnists cheered Garroway’s return, a calming influence on a show known for choppy seas. Ben Gross of the New York Daily News said Garroway “has given a new aura, a polish and an air of distinction to ABC-TV’s dismal flop (until this week) of a late-hour show…a knowing man, a truly sophisticated fellow, a wise and witty gentleman, he does not mar the proceedings with the garish, pushy pseudo-sophistication, the cheapness and Broadway crassness which have all too often blotted this show. Garroway should be made the permanent emcee of this attraction.” Paul Molloy of the Chicago Sun Times called Garroway “refreshing…personable, erudite and gracious,” and urged ABC to “cease its search and sign him up for some sort of duration.” Donald Freeman called Garroway “wonderful” and wrote that “the program enjoyed an immediate improvement.”
And ABC listened – after a fashion. How? Tune in next week.
Several assignments are competing for my attention this coming week, so in lieu of a new post I will instead refer you to this item about Monitor, the weekend radio service NBC launched in 1955.6 In particular, click on that picture of Radio Central and see if you don’t spot someone we particularly love around here.7 (Radio Central and that big window are long gone, alas; when you take the studio elevators to the fifth floor lobby these days, you see a wall flanked by two locked doors. So that picture makes me ache.)
As always, when mention is made of Monitor around here, it’s worth reminding everyone to visit one of my favorite places on the Internet, the wonderful Monitor Beacon website, with its hours upon hours of wonderful listening.
Of all the historic studios at 30 Rockefeller Plaza, the most famous is Studio 8H. Since 1975, 8H has been famous as the home of Saturday Night Live. For that reason, it’s the studio everybody hopes to see on the NBC Studio Tour. There’s no question SNL is the chief tenant of 8H; there’s an elaborate permanent set, the corridors are lined with photos of previous hosts and cast members, and Lorne Michaels has a ninth-floor office with a glass window overlooking the studio.8 Outside the balcony entrance there’s a display case where costumes from famous SNL characters are on display.9
The Auditorium Studio in its original configuration. (NBC photo)
But that’s not all 8H is known for. If we could look at a cross-section of the big studio’s history, we’d find all sorts of history. We would see, for instance, the many times NBC News based special events coverage – election nights, space missions – from the big studio. We would see live drama and musical programs from the early days of television. Going back into the days of radio, we’d learn about stars like Fred Allen hosting their series from 8H.10 We’d learn the studio has had several names over the years.11 We’d learn that 8H had seen innovation, and in itself is something of a marvel.12
Maestro at work in 8H. (NBC photo)
And, of course, you cannot talk about 8H without talking about its most prestigious resident. For next to that display case near the ninth floor balcony entrance, there’s another case that preserves for posterity the music stand used by the great Arturo Toscanini. RCA president David Sarnoff persuaded Toscanini to head up a symphony orchestra for NBC, believing the radio medium needed to improve its commitment to cultural and artistic programming. From 1937 to his retirement in 195413 Toscanini headed NBC’s symphony orchestra, which performed regularly for the network, and performed for many of those years from 8H.14
By now you’re no doubt asking what all this has to do with Dave Garroway. Well, I had to tell you those stories to get to this story. In a way, 8H was where Dave Garroway’s NBC career began, and ended.
As a 24-year-old NBC page, Dave got to know the RCA Building very well. As a tour guide, he had to know the studios very well in order to explain their purpose to visitors. Sometimes he was in proximity with dignitaries and celebrities; directing Lowell Thomas to the correct studio, or after a tour he led drew particular praise, being chosen by David Sarnoff to lead tours for distinguished visitors. And sometimes Garroway would watch history unfold. When Toscanini was hired to lead the NBC Symphony Orchestra, Garroway saw the preparations that were being made to keep the notoriously temperamental maestro happy: the tour routes that were changed, the corridors that were set up, all to minimize the chances of Toscanini getting annoyed.
Sometimes Garroway would get to perform page duties during Toscanini’s rehearsals, during the months before the first concert. As the “stand-in” page, Garroway guarded the door of 8H so no one could get in or out while the great man conducted. And in time, Garroway assisted with the live broadcasts. Years later he would remember all the special considerations; for instance, the programs given to audience members were printed on silk15, so the rustle of audience members turning pages wouldn’t spoil the performance or irritate the great conductor.
But not all was perfect even then. One evening, in the middle of a Brahms symphony, a woman in the audience began to retch. She could not leave; the studio was too full. Garroway remembered how the smell filled the studio. It soon reached Toscanini, who looked back just long enough to glare at the audience. During an intermission the pages brought in buckets of sand and cleaned up as best they could, while the unfortunate woman was taken away in a wheelchair, a bag over her face to hide her embarrassment. Other memories of 8H would dot Garroway’s memory, such as being there when a guest on Fred Allen’s show literally endangered his safety by flubbing his lines.16
Over the years Garroway’s duties would bring him through 8H. But there would be none so poignant as June 15, 1961.
As programs sometimes do, Today had shifted from its usual home in mid-June 1961. Studio 3B, the program’s usual home, needed to be vacated for a while, so Today was shifted into 8H, which was spacious and available. Framed correctly by the studio cameras, no one would really know the difference.17 But bigger changes were coming. The biggest was that on May 26, Garroway had requested his release from Today. There were several factors behind this. Dave’s wife had died the previous month. He was wearing out after years of a grueling schedule. He was at loggerheads with NBC, which wanted to move Today under the control of the news department, change the format, and greatly reduce Garroway’s role and influence on the program. The management of the news division didn’t see Garroway as a journalist, and this irked him no end.18
For these and other reasons, Garroway wanted out of his Today obligations. And it happened that on his last week, Today was originating from the studio where some of his most memorable page duties had taken place. During one segment in that final week, Garroway donned his old page jacket and took viewers on a tour of 8H. The tour featured photographs and recordings of those Toscanini performances, of Fred Allen’s programs, and of other stars of a bygone age.
On Garroway’s last live program19, he took the last two minutes to say farewell, although he insisted it wasn’t really a farewell. “I’m leaving television very temporarily,” he said, “for enough time to find out what’s going on, listen to people instead of talk – when you talk a lot, you don’t hear much, you know, and you don’t read much either when you do the Today show.” Garroway expressed his desire to learn more about the world so he could come back through television “and do more to preserve that in which I hope you and I believe, this system of government, and the human individual.” He thanked viewers for all the letters they had written and said they would each be answered, but it may take a while, “so let me thank you right now, very much, for them.” And one final time, Garroway wished the audience “much love…and peace.”
Dave’s farewell, June 15, 1961. (NBC photo)
A decade and a half later, Garroway would recall his last day as the most memorable of his career, as he walked “slowly and regretfully” from the studio…the studio that had figured so often in so many vivid memories from his career at NBC.
:: While we’re talking about NBC’s famous studios, may I please recommend you treat yourself to a copy of William Bartlett’s splendid book NBC And 30 Rock? It is thoroughly researched, well-written and lavishly illustrated, and I guarantee you’ll find some happy surprises therein. Seriously, treat yourself to one.
There are times when the work I am doing on the life of Dave Garroway, though those events took place decades ago, has echoes of the times in which we now live. And sometimes, those echoes are for the saddest reasons.
Over the last several weeks, I have been transcribing a handwritten log of articles I’ve saved from my searches in archival newspapers. You rediscover a lot of things you’d put aside in your head when you do that. Some of the rediscovered items are funny, and some are goofy. I had planned this week to write about a few cute little pieces I’d found about Garroway, along with Steve Allen and a few others, making it cool to wear glasses.
But this week isn’t the time for that. Not with what’s going on right now, not with its raw and inescapable sadness and frustration, the vaguely sick feeling it’s provided, and the many reminders of how much we’ve fallen short and how far we have yet to go. All of this has made me think, instead, about some things that echo with disturbing similarities.
In the last few days, I have been working on the late 1950s and early 1960s. By this time Dave Garroway, having hosted Today for several years and being very successful in so doing, had very much made the show his. The program had moved into heavier content as its novelty wore off, and Garroway had not been hesitant in using the program to bring attention to things that concerned him. One of those things was the cause of civil rights.
A few years back I covered an instance when Garroway faced down a bunch of bigots who were heckling a young Sarah Vaughan. To him, such things weren’t a pose; equality, and thinking for yourself, were core values. His father had taught him to get all the facts before judging anyone or anything, and it was a lesson he never forgot.
Garroway’s commitment continued into the Today years, both on the program and behind the scenes. Prominent figures for justice such as Thurgood Marshall would be interviewed by Garroway, as would victims of injustice, such as a black applicant who was denied a job as a page in the House of Representatives. Black entertainers such as Erroll Garner were prominently featured.20 On a March 1961 edition of Today, Garroway devoted both hours to Oscar Brown to help raise support for his his musical Kicks & Co.; within days the musical, which needed backers for part of its $400,000 budget, had received thousands in donations from dozens of viewers, ranging from a music teacher’s check for $5.00 to two separate donations of $5,000.
Oscar Brown with Dave Garroway. (NBC photo)
One day in December 1957, when it was learned that an elevator operator at Rockefeller Center had been the first black military pilot and a World War I hero, Garroway insisted on interviewing that man, Eugene Bullard, on Today. At the end of the interview, the crew spontaneously applauded.
Today‘s commitment to equality didn’t just apply to what people saw on camera; behind the scenes, for instance, Fred Lights became network television’s first African-American stage manager.21
It would be comforting to think Garroway’s take on matters of equality was warmly received. But it wasn’t always. Going through the archival collections from that era, we find signs of those times in sad abundance. Some examples: a South Carolina newspaper editorial accusing Garroway of “dramatizing” the crisis around the integration of a Little Rock school in 1957, or a letter to a Florida newspaper calling Garroway “one-sided” and “out to get the MVP award from the NAACP.” When Sen. Strom Thurmond appeared on Today after his marathon filibuster against civil rights legislation, Garroway asked Thurmond if the filibuster was meant to counter the possibility that South Carolina Gov. George Timmerman might run against him in 1960; Timmerman, himself no friend of civil rights, told a newspaper that if he ran, “I won’t leave it up to a nincompoop like Dave Garroway to make an announcement for me.”
While some of that is rather ripe, nothing can match the venom aimed at Garroway from a couple of states in particular during the period from 1956 to 1961. Going through papers from Mississippi and Louisiana in particular will make you acquainted with some particularly awful editorials and opinion pieces.22 For instance, a December 1956 Today story about prosecutors rebutting a story of bigotry motivating a prosecution was blasted by a Mississippi paper as being slanted. When Mississippi Gov. James Coleman was interviewed in April 1957, an editorial charged Garroway with asking “loaded questions” and displaying a “slight air of holding his nose.” A subsequent editorial accused the press of hating Mississippi and looking for angles to get that slant in.23 Even an item about Lynda Mead being the second consecutive Miss Mississippi to be crowned Miss America found a way to slam Garroway as “one of those northern bigots who likes to lambast the South with innuendo” and hoped he would “change his tune after his audience rating falls off drastically.”24
In May 1961, as the Freedom Riders challenged segregation laws in the South, Garroway aired a piece about one of the movement’s figures, activist James Peck, on Today. Peck, whose long tenure as an activist in several movements had seen him arrested several times, was called a felon by Mississippi Gov. James Eastland in an effort to discredit the Freedom Riders movement. The Peck interview on Today was yet another opening for segregationists to attack Garroway.25 Subsequent editorials called Garroway a “South-baiter” and slammed his impending resignation from Today as a hypocritical act.26 Another editorial praised the mayor of Jackson “for his word duel with TV Communistator Dave Garroway, whose soon departure from the networks will cause no tears to drop in Dixie.” Yet another extended hollow condolences on the death of Garroway’s wife: “Of course we know of the terrible tragedy in his family and we offer our deepest sympathy27 but we believe that his leaving the air lanes will be one of the greatest aids the South could have had, by his absence.” A columnist called “Davie Garroway’s Today show” as “offensive to Dixie” and “due to lose its bigoted star…Dour Dave.”28
Garroway would sometimes wonder if his outspokenness on civil rights had cost him, both in terms of his career and in his personal affairs.29 And there were times when he was at personal risk. Dave Jr. remembered a story in which his dad went to a jazz club in the South and stepped outside for some fresh air. Garroway suddenly found himself surrounded by a group of angry bigots who called him “a (racial slur beginning with ‘n’) lover” and tried to shove him around. The band leader saw this, gave a signal to his band mates, and, still playing, they marched out of the club. Without missing a note on their instruments, they surrounded Garroway and shielded him from the bigots.
There are many things troubling us right now. I hope someday soon I’m writing on more uplifting aspects of Garroway’s life. This, however, was too uncomfortable a parallel with our current moment. As in the times Garroway lived, we’ve got some work to do.
One of Today‘s most famous features in the early years was the big window along 49th Street. Not only could people watch Today as it was being produced live, but often the people on the street became part of the show. The RCA Exhibition Hall became kind of a tourist magnet in those years, and there are many stories of how some onlookers used that window and the chance to be on television for purposes sweet (a man who stopped by the window and greeted his mute mother in sign language) and sneaky (a man who used the window to plug a competing show).
But the window didn’t last forever, and Today moved out of the RCA Exhibition Hall in July 1958. Part of it was practical – putting the show in a storefront had brought challenges, and there was only so much space. Part of it was because a rival television manufacturer had charged that it was unfair competition for NBC to put on a television show in its parent company’s glass-fronted exhibition hall, where RCA’s products could be seen on television.
So came the move across the street, and on July 7, 1958 Today began to originate from Studio 3K30 in the RCA Building31 Although there was some amazement at how much more spacious the new studio was (associate producer Mary Kelly marveled to a reporter that the new control room seemed as big as the old studio), there were things the show missed. A lot of memories and a lot of history had been made in the Exhibition Hall. Betsy Palmer32 would remember that the window provided a form of connection with the audience, and the audience with the show. It was live and spontaneous. “When we went into the third-floor studio,” she said, “all of a sudden it was like losing the air.”33
And it didn’t take long to realize something was missing. That big window had provided more than just a trademark for Today; it also had a practical function. When there was time to fill, or when there was a cutaway to a break, that window and the people on the other side were a convenient and interesting visual. Now, inside the studio, that was gone. This became obvious the first day. Stage manager Fred Lights34 would later remember a gap of about thirty seconds they had to fill with something. “No one had thought about a replacement for the window,” Lights said. “We had nothing to shoot. You should have seen the shock, the chaos, that first morning in the studio. It looked like the chariot race for Ben Hur.”
And immediately after the show was finished, they solved the problem. A fish tank was brought into 3K. Now, when a visual was needed, the camera would linger on sights aquatic. Sometimes this would be built into the show’s rundown; during the five-minute “co-op” made available to local stations, those remaining with the network might see Garroway and the rest of the cast chatting, or they might get the fish swimming lazily along as music played behind.
Other tactics were employed to bring back some spontaneity. In January 1959, bleachers for a studio audience were set up in the studio, and 40 people each day were allowed to watch the show (but were not provided with coffee).35 But that experiment proved short-lived. The fish tank remained, but it couldn’t take the place of what had been left behind on the street below.
Inside the Florida Showcase. (NBC photo)
In 1962 Today took another try at capturing the spontaneity of a decade before. Through an arrangement with Florida’s tourism board, NBC originated Today from the Florida Showcase, the state’s tourism office on the ground floor of 30 Rock, with big display windows along 49th Street. For three years passersby could look in, watch the show on the air, and occasionally be captured by the cameras. But this came at a price, as each day the set had to be taken down and all the television equipment stowed away so Florida’s tourism office could conduct business. Plus NBC, going full-color, couldn’t justify keeping several precious (and HUGE36) color cameras down on the ground floor when they were needed in the main studios upstairs. So once again, Today lost its window on New York. For nearly three decades, the views of New York from within the Today studio would be through graphics.
In June 1994 Today went back to where it all began – or, at least, next door. A building on the corner of Rockefeller Plaza and 49th Street was converted into a modern television studio known as Studio 1A. With large glass windows along two sides, Today had gone back to its roots. And just as happened in the days when Garroway held court in the Exhibition Hall just down the street, it didn’t take long for the people outside the window to become part of the show. And, once again, a big window on 49th Street has become a must-see for tourists visiting New York.
January 14, 2020 is the 68th anniversary of Today, and to mark the occasion let’s not look at the program as it is now. Instead, let’s go back to the morning of January 14, 1977 and see how Today marked its 25th birthday. It was something really special.
I’ve seen several of the anniversary programs – the 25th, the 30th, the 35th, the 40th and 50th37 – but of them all, the 25th anniversary was the one that put the most effort into calling back to those first years. And while the others may have been a little more stylish, or might have even spawned a prime-time retrospective, there was something special about the 25th anniversary special that none of the others fully matched.
NBC photo
We see this special theme from the very beginning: the screen is black and white, there’s an in-studio reproduction (though not exact) of the original communicator’s desk from the RCA Exhibition Hall, and the first voice you hear is that of Jack Lescoulie re-creating a version of that very first morning’s open.
NBC photo
And there’s Dave Garroway himself, happy to see you. “Hello, old friend, and good morning, too! As I was saying when I was so rudely interrupted myself, seventeen years and thirty-eight days ago, we’re about to give you the news of the morning.”38 Garroway recounts the major headline of that first day in 1952 – the captain of the freighter Flying Enterprise is about to receive a hero’s welcome – and then throws to news editor Frank Blair.
NBC photo
It’s Blair (who wasn’t on the show that first morning, of course)39 who breaks the spell. “You know, they really used to call me that, Dave, 25 years ago?” Blair pretends to read a bulletin that what you’re seeing is not a dream, but let’s go across the studio to Tom Brokaw.
Tom Brokaw, captured in the warm tones the RCA TK-44 rendered so well. (NBC photo)
And with that, we’re in color and in 1977, and everyone has a good laugh. Brokaw explains the concept: they have turned the studio into a time machine so they can revisit the last 25 years. It’s a birthday party to which we’re all invited.
The first “Today” set I remember seeing. (NBC photo)
Brokaw explains that when Today first went on the air, he was living in a place where they could barely get television, and that co-host Jane Pauley was trying to learn how to walk. “And I was bald,” she adds. (Gene Shalit, asked where he was in 1952, said he wasn’t bald.)
There’s no way he could have been. (NBC photo)
The real headlines of January 14, 1977 are presented by the current news editor, Floyd Kalber. The big stories of the morning: the death of Anthony Eden, winter storms across Europe, a good part of the United States under extreme cold, and the following week’s inauguration of Jimmy Carter as president.
The Tuna. (NBC photo)
There’s then a short local break, during which the weather from across the country scrolls on the screen, along with the affiliates’ call letters, while music plays. Keeping with the morning’s throwback theme, the music selections are big band standards as re-recorded by Enoch Light and The Light Brigade.40
Nifty anniversary version of the bumper. (NBC photo)Today’s weather scroll was soothing when it would come on and music would play behind it, a handy little break in the action. I picked this particular location on purpose because it’s not far from where I grew up. It’s a long story, but WJBF-TV had switched to ABC from NBC in 1967, but was allowed to carry “Today” in a market where the NBC affiliate (WAGT-TV) was a UHF station. There’s a lot about affiliate history that’s like trying to sort family trees in ancient mythology. (NBC photo)
After the break, Kalber revisits the top story of January 14, 1952 and we see newsreel footage of the stricken Flying Enterprise and the hero’s welcome for Captain Carlsen. Kalber then throws to Lew Wood, who does the morning’s weather.
NBC photoLew Wood fascinated me when I was a kid. He seemed like such a nice man. (NBC photo)
There’s another break, then the party begins. Brokaw is at the old desk replica with Garroway, Lescoulie and Blair.
Not the best re-creation of the 1952 set but they at least get points for effort. (NBC photo)
Brokaw begins by calling Garroway “a heroic figure to a generation of young people who grew up wanting to get into broadcasting.”
Something about Garroway in 1977 reminds me of an aged lion, worn and scarred but still proud. (NBC photo)
He then introduces a clip from October 1955 to show what the program was like back then. The clip has Garroway throwing to Frank Blair for that morning’s headlines (which, strangely enough, also involved Anthony Eden). From the vantage point of 1977, the men laugh at what they’ve just seen. Lescoulie says of Blair, “He was a little nervous in those days. It took him two Bloody Marys to get the top off his Miltown bottle!” Blair ruefully says, “That came later. That came later.”41
Hard to believe Brokaw turns 80 this year, 17 years older than Garroway was in the scene you see right here. (NBC photo)
Brokaw asks Garroway how confident he felt about the program’s prospects when he agreed to join the show. Garroway recalls that when he met the people he was going to work with, he took out a four-year lease on a penthouse apartment on Park Avenue. Prompted to recall his most memorable moment: “June 19, 1961.42 Walking slowly and regretfully out of the studio.” Common questions follow: did J. Fred Muggs really bite? Blair instantly warns Garroway, “You’re gonna get sued!” Garroway claims the NBC dispensary has multiple reports in its files of vaccinations he received after chimp bites. This prompts recollections of various incidents involving Muggs, as well as the lawsuit Muggs’ caretakers filed against Garroway, Lescoulie and NBC. And with that, we see a clip of Muggs attacking Jack Lescoulie’s desk one morning.
NBC photo
Blair also mentions that all three of them are working on books. Blair promotes the upcoming publication of Let’s Be Frank About It (and the title draws a howl from Lescoulie). Garroway mentions that he is writing “sort of an autobiography” with the working title “Garroway At Length.” Asked for a publication date, Garroway replies, “As soon as possible!” Lescoulie says he isn’t working hard on his because Blair’s would be out first. “Mine will be meaner than his,” Lescoulie says. In the meantime, he leads a good life with a lot of golf and a little writing, and he and his wife had never really given up the bright lights: “At least once a week we go over to the A&P if it’s open at night and do our shopping.”43
NBC photo
During the optional local break the discussion continues, for the affiliates that didn’t air a local news break at :25 after. Garroway tells Brokaw he didn’t feel television had lived up to its potential, that he had hoped the programming we would get would be more truthful and informative than what we ended up with. There’s also a brief discussion about lighter moments. We see a clip from the color era with Lescoulie disguised as Superman…
NBC photo
…then Lescoulie talks about a circus pantomime act he once did that stretched nearly ten minutes and left him completely spent at the end of it. Suddenly Garroway interrupts Lescoulie and tells him to smile at the camera. Lescoulie asks why. Garroway replies, “Jimmy Carter!”
The resemblance is uncanny. (NBC photo)
Brokaw asks about embarrassing moments. “The day I sat down and there was no chair there,” Garroway says. Blair remembered an event when Garroway didn’t realize his fly was open. “That didn’t embarrass me at all!” Garroway replies, deadpan. In the background, you hear the studio crew cracking up.
Network break slide. I love Rockford. I’m there, baby. (NBC photo)
The next half-hour begins with another clip from October 1955: Lescoulie introducing the segment, interrupted by Gertrude Berg:
NBC photos
Then Brokaw and Pauley preview the upcoming segments, followed by news from Floyd Kalber and weather from Lew Wood, who shows a clip of how the weather was done in 1955.
Garroway with “Today Girl” Lee Ann Meriwether. (NBC photo)
We then see a segment on all the places Today has been and the technological innovations of the last 25 years. Then Jane Pauley introduces a 1955 clip observing National Doughnut Week, in which Garroway demonstrates a series of accessories for your coffee-and-doughnut habit: a pinkie rest, a cup for retrieving your doughnut if it falls in the cup, tongs for retrieving a doughnut, and a spoon for stirring your coffee. Of them all, Garroway likes the pinky rest the best. He says it makes you feel strong all over.
Dave’s smile in the final frame sells it. (NBC photos)
Gene Shalit then introduces Lionel Hampton and His Jazz Inner Circle. They perform a medley of the program’s various theme songs44 under a montage of famous guests.
Always a good morning when Mr. Hampton provides the music. (NBC photo)
At the end of the hour is what Brokaw calls a “family portrait” – the current staff with Garroway, Lescoulie and Blair.
NBC photo
Brokaw asks Garroway to give his famous sign-off. Garroway obliges, talking about something “that we have a great deal of and need so much more of…peace.” A few seconds later, Blair softly says, “God love you.”45
NBC photoNifty shot of 3K as the hour ends. Note the top of the cyclorama, the floor director at right with hand raised, Lionel Hampton and his group to the right. The kinds of details people like me love. (NBC photo)
The next hour begins with another simulation of that first day. This time, Lescoulie introduces the Master Communicator with “here’s old four-eyes himself, Dave Garroway!” Garroway wishes the audience good morning – “Once more we meet after a quarter of a century and we’re still making it, aren’t we? You and me. And so is Today, after a quarter-century.” Garroway forgets to give a cue to Frank Blair, and there are several seconds of silence. When they realize what’s happened, everybody cracks up. “Nothing’s changed!” Once it’s all straightened out, Blair introduces “the new boy on the block, Tom Brokaw.”
Oops! (NBC photo)
After the news and weather, Brokaw conducts a desk interview with Garroway and Pat Weaver.
The Master Communicator and his most important advocate. I love this screen-grab, for their respect and regard for each other is unmistakable. (NBC photo)
The former NBC executive talks about the idea behind Today. He had known for many years there was a morning audience with a lot of potential, and he wondered if he couldn’t do something better than another morning “gang” show – instead, a show that had information, but had enough showmanship to attract an audience. And here Brokaw introduces about thirty seconds of a promotional film NBC had put together to sell the Today concept to affiliates. Over a montage of clips of Churchill, Truman, Stalin, Eisenhower and other important figures, as dramatic music plays behind, a narrator talks about how “a program like this is a magnificent use of the tool of television in its ultimate social responsibility,” and that the viewer would get information to be a responsible citizen in a free society. “His horizon will be limited by neither time nor place.”
Not that we’re trying to make an important point in this scary atomic age, but…. (NBC photo)
As the film ends and its music swells to a conclusion, we see the enormous water vapor cloud from the second Bikini atom-bomb test, and a primitive (almost frightening) Today logo. “This is the real secret weapon of free men,” the narrator says. “To know, to understand, so that John Smith is ready for today…whatever it may bring.”46
Back in the studio, Brokaw gives credit to Garroway for his talent in helping make the show succeed. Weaver recalls how Garroway came in from Chicago and asked to do the show, and that Weaver quickly realized that Garroway’s “command and serenity” in the midst of the show’s chaos would work well. Brokaw asks Weaver how he would change television in 1977. “Oh, you’ll need an hour for that,” he replies with a verbal eye-roll.
Yes, he’s Sigourney’s dad – all the more reason to love him. (NBC photo)
The discussion continues into the local-option break. Brokaw introduces a piece by Paul Cunningham on how the Today model has been adapted worldwide. After the piece, Brokaw muses that in Britain they’re called “presenters” and Weaver insisted on the title “communicators,” and now Brokaw’s title was “host,” which made him feel like he should be serving breakfast to his fellow on-air personalities. Weaver didn’t like that title. “I’d knock that off fast!” he said. Garroway informs us that to this day, he’s still remembered for Today – for every one person who remembers Garroway at Large there will be two people who know him from Today. What fascinated him, he recalled, about the Today job was that at that hour, people’s minds were open. “It’s almost a blank slate.” Brokaw thanks Weaver and Garroway for what they have done to make Today last. Weaver replies, “See you on the fiftieth!” Garroway follows: “Amen!”47
The final half-hour doesn’t have a lot about Garroway and Lescoulie and Blair, but it does begin with a nod to the storefront studio window and a simplified version of the move inside 30 Rock for the move to color broadcasting.48 There’s news, and then after a commercial we get a live spot for Alpo with Gene Shalit:
NBC photo
And Lew Wood does a spot at the desk for True Value Hardware Stores.
Lew’s telling us about a special on white paint that keeps your walls easy to clean. (NBC photo)
Then there’s a discussion about what the preceding 25 years have meant for society and the country. The panelists are Daniel Boorstin, Pulitzer-winning historian and Librarian of Congress; Charlotte Curtis, editor of the op-ed page of the New York Times; and Martin Marty of the Christian Century, who is also a professor at the University of Chicago.49 It’s a lengthy and thoughtful discussion of the sort you would never see on the modern Today program.
A sign of a far different time indeed. I shudder to think what they’d use this segment for now. (NBC photo)
After a break, we get another Lionel Hampton performance. This time, the music plays behind a montage of photos of Today‘s people from the last quarter-century. It’s a simple but really cool tribute.
After the final break, Tom Brokaw stands with the morning’s guests and the show’s current staff. He says that two prominent television critics of the day gave Today bad reviews and shares some of the more pointed quotes from them. Then Brokaw points out that both those newspapers are no longer around, but Today still is. “While much has changed over 25 years, one hope that has been with this program from the very beginning has not changed.” At which point, Brokaw nods to Dave Garroway, who says, “That hope is some love…and peace.”
NBC photoNBC photo
As the cameras pull back, you can just see Garroway move over to the giant birthday cake and pretend to give it a karate-chop, much to everyone’s amusement.
And that’s how Today celebrated its 25th anniversary: a little silly and a lot sentimental, but all of it memorable.
It’s again the time of year when the holiday specials come out – and I say “holiday specials” because we not only have the ones that are explicitly Christmas specials, but we also have specials that are more generically about the time of year itself. And all of us have our favorites – for me, unless I watch A Charlie Brown Christmas, as I have nearly every year I can remember, something just doesn’t feel right.
But in a class by themselves are the Rankin/Bass holiday specials. Probably the best-known and most beloved of these is Rudolph, the Red-Nosed Reindeer. (I’ll bet you’re hearing that whistling beep of Rudolph’s nose as you read this.) You might also remember Frosty the Snowman, another Rankin/Bass holiday tradition. But those two weren’t all of the Rankin/Bass holiday specials: there was also Santa Claus is Comin’ to Town and The Little Drummer Boy, among others. And then there are some that aren’t as well remembered (see, for example, Nestor, the Long-Eared Christmas Donkey. Here’s a handy list of some of the lesser-known Rankin/Bass holiday efforts).
And, believe it or not, there was even one that involved someone we know and love here.
On December 13, 1979 NBC broadcast a new Rankin/Bass production, Jack Frost. The hour-long stop-motion special told the story of the mythical winter character. As tended to happen, the production featured celebrity voice talents. Buddy Hackett provided the voice of Pardon-Me-Pete, the groundhog who narrated the story. Animation voice mainstays Paul Frees and Don Messick also contributed. The great Robert Morse (hi there, future Bert Cooper!) provided the voice of Jack Frost himself.
As the film begins, reporters and television crewmembers are waiting for the world’s most famous groundhog, Pardon-Me-Pete, to see his shadow. And who might that reporter be anchoring the live coverage?
Why, yes, it’s Dave Garroway himself – in Animagic form.
But Pardon-Me-Pete has other ideas. To tell you more would start to spoil some surprises, so let’s move ahead just slightly. Let’s just say that devoid of a story, Animagic Dave pauses to buy some chestnuts from a local vendor…and as he’s making the transaction, Jack Frost stops by and touches him on the nose.
It isn’t much – we just see Garroway for the first few minutes, and after the opening titles Pardon-Me-Pete takes the story from there. But it’s neat seeing our friend again, and on his old network, no less. By his voice inflection, he’s having some fun. At least one television columnist at the time was happy to see him, too.
Jack Frost is lost in the shadows of the better-known Rankin/Bass efforts, and it seems to be one that people either love or dislike – as you read contemporary commentary on it, there’s not much in-between. But it has seen some love in recent years, including the 2008 issue of a restored print on DVD (so easy to find that…aw, heck, just search for it and you’ll find it for sale at a hundred places). AMC has also been showing it as part of the “Best Christmas Ever” programming block. If you’ve never seen it, take some time to check it out. It’s unusual, but it has a charm all its own – and certainly, you’ll love our friend’s little cameo.
For anything and everything you’d ever want to know about the world of Rankin/Bass, let me refer you to the website of Rankin/Bass historian Rick Goldschmidt. Check it out – but be prepared to spend a lot of time there, because there’s so much there, and it’s so much fun, and Rick knows the topic inside and out, so you can’t miss.
:: And with this post, all of us at Garroway at Large World Headquarters hope whatever you celebrate this time of year, may it be full of love, togetherness and fulfillment of the most meaningful kind.
In the early 1930s Dave Garroway held some jobs that weren’t in broadcasting. His first was as a piston ring salesman, arranged through a connection of his dad’s. For two months Garroway went from garage to garage to sell Chance Piston Rings, but he found he couldn’t even give away the samples. But another connection of his dad’s led to another job, and through that connection came the lucky break that led to Radio City.
Fred Tilden, a Schenectady native, had known Garroway’s father since childhood, and had served together in the National Guard. Garroway would remember that his dad and Fred Tilden played basketball together during their Guard service. Indeed, basketball was a theme through Tilden’s life; he and his brother George played together, and George served for several years as a tournament referee.
Fred Tilden eventually got into the publishing business. He compiled a list of 550 words that were commonly mispronounced, and used them to create a story of a young Amherst graduate who embarks on a sea voyage. Scattered throughout the story were the 550 words. On the left-hand side of each spread was a chapter of the story; on the right-hand side, a list of the commonly-mispronounced words, along with a pronunciation guide. Though Tilden admitted the style of the story was “rather stilted,” he reminded the reader that the story was of secondary importance, merely a vehicle for these tricky words.
Tilden published all of this in a booklet he titled You Don’t Say! …Or Do You? The little book, bound in paper and stapled, sold for fifty cents. Tilden set out to sell copies of these booklets to schools and other educational organizations, and had received some praise from educators and civic leaders. A professor in public speaking at Harvard congratulated Tilden “in your scheme for making improvement in pronunciation both useful and entertaining,” while the chair of history and English at the Massachusetts Institute of Technology called the project “novel and interesting” and said Tilden had “worked it up in a very ingenious way.” Boston’s school superintendent said Tilden’s efforts were needed more than ever “because of the spoken word on the radio.”
Tilden had managed some success in getting schools to buy his book. As Garroway recalled, Tilden would visit a school and ask to meet with the principal, who many times didn’t have that much to do and welcomed a visit from someone “who was literate and attractive, as Fred was.” Tilden would take out a copy of the book and offer a free copy to each of the principal’s teachers…that is, if the principal could read a sentence on a certain page without mispronouncing any of the words. The principal would accept the challenge, but seldom if ever passed. But that wouldn’t stop the sales pitch. Tilden would then explain how the book worked, and then hand the principal a box of the books. Each teacher was to get a copy and take it home for a few days. If they liked the book, they could bring in the fifty cents for it. If they didn’t like the book, they could return it. As Garroway remembered, “That seemed very easy to the principal, because he didn’t have to do any of the work. He could assign that to the girls in the office outside.” By Garroway’s recollection, Tilden was selling about half the books he offered.
Hiring young Dave Garroway allowed Tilden to cover an entire city more quickly. They would arrive in a town together, Tilden in his car and Garroway in his dad’s 1932 Buick, and work through the schools, often 15 in a day. They covered most of the cities in New England. Garroway remembered the profits running about $100 per week. “I’d been used to making that much playing golf, you see,” he later remembered. “And you do get spoiled, don’t you?”
In 1935 they got permission from the New York City superintendent to visit the schools in all five boroughs. Tilden and Garroway found lodging at the Y on 63rd Street and prepared to spend the next two years or so touring the schools and selling books. They were about three months in when fate turned on a dime. Garroway was leaving the Y when he happened into an acquaintance from about a decade before.50 In the course of their conversation, the old acquaintance asked, “Do you play bridge? We need a fourth.” Garroway accepted.
It was about 1:30 the next morning that the game’s hostess said she needed to shut the game down because she’d have to go to work in the morning. She said she had to fire 20 pages at NBC and hire 20 more. It turned out her job was in guest relations at NBC. Garroway remembered, “When she said NBC, those three letters came out as though they were gongs…they resonated through my skull.” He quickly told her, “You have nineteen to hire. You just hired me.” And from that, a book salesman was on his way to a broadcasting career. Garroway later remembered that his sudden abandonment of the bookselling career meant Tilden had to go back to all the schools Garroway had covered. “Poor Fred Tilden broke his back,” he said, but no money was lost. “It was the last of Fred’s many kindnesses to me because a couple of weeks later he suffered a heart attack in the Y in New York.”51
Garroway wouldn’t forget the little book, or how it helped make his career. A few years later, while working at KDKA in Pittsburgh, he came up with a quiz program that happened to be titled “You Don’t Say.”
Our hero, in a 1938 KDKA publicity still, holds a copy of the book that helped get him there.
A Pittsburgh radio columnist wrote that Garroway had written the booklet under the name of F.F. Tilden. Which, of course, wasn’t so, but it made a good story in the days before it was easier to check these things out.
And that’s how a little booklet helped make a broadcasting career happen.
All too often radio history seems to end in about 1950, when (as popular culture would have you believe) television roared from the cradle to the living room and never let go. Not only is that overly simplistic concept inaccurate in a lot of ways (and oh, how I could bore you to tears describing those inaccuracies), but it also sells way short some truly innovative attempts to keep radio vital and relevant. And one of those efforts involved our very own Dave Garroway.
On this blog you will often see me sing the praises of Sylvester “Pat” Weaver, the visionary NBC executive whose mind and clout shaped so much of what we now know – the Today and Tonight programs, magazine-style sponsorship of network programming (allowing sponsors to buy small segments of ad time during a show instead of sponsoring the whole thing, which opened up television sponsorship to dozens of smaller clients), and so forth. But while Weaver’s vision for television is often discussed, it’s sometimes forgotten he had concepts for the radio division as well.
Network radio was still going in the early 1950s, but it was obvious that within a few years television was going to dominate the landscape, as more stations signed on and as television receivers became more affordable. Radio had to adapt or die. It was against that backdrop that in 1955, Weaver – now NBC president – ripped apart the NBC Radio model52 to inaugurate a weekend radio service called Monitor.
This new concept called for NBC to provide 40 continuous hours of programming, starting at 8 am on Saturday. During those 40 hours, the program would hop from story to story, event to event, depending on what was going on. One moment you might hear a live remote from an airplane crossing the Atlantic. A few minutes later the program might have an interview with an author. A few minutes after that, you might hear a live band performance from a Manhattan night spot. At the top of each hour, there would be a news update. Holding each block together, your guide as the program hopscotched from feature to feature, was someone who wasn’t called a host, but styled in Weaver-ese as a “communicator.” And the program’s signature wasn’t a piece of music – or, at least, not music in a conventional sense. Instead, it was a distinctive, layered series of beeps, blips and boops performing their own strange tune – the tones of the Monitor Beacon.53
NBC photo
And who should be one of the first Monitor communicators? None other than our own Dave Garroway. When Monitor started, Dave was coming off a long-form weekend radio program called Sunday with Garroway (later in its run, Friday with Garroway). Dave’s easygoing style wore well in long-form programming, and thus he was brought in on the new Monitor concept early on. He hosted a run-through of the concept that was shared during a closed-circuit pitch to affiliates in April 1955. And Dave was also there on the very first Monitor segment on June 12, giving the latest news headlines.54
Garroway stayed on Monitor during its first five years, most often occupying a Sunday night slot. He was an excellent, easygoing choice for Sunday evenings. And sometimes he had some memorable moments – for instance, his famous 1955 interview with Marilyn Monroe. But as easygoing as Dave sounded, his Sunday night duties on Monitor added yet another layer to his complicated, over-scheduled life, which included hosting Today and another Weaver innovation, the high-concept Sunday television series Wide Wide World.
Monitor adapted with the times. It cut back on its hours as the industry changed. Its content became less ambitious; although live remotes could still happen, by the mid-1960s its staples were recorded segments and the pop hits of the moment.55 By the 1970s it was fairly well removed from what it had been, and in an effort to find new life NBC brought in such on-air personalities as Wolfman Jack and Don Imus.56
In 1975 NBC pulled the plug on Monitor, and on that final weekend the program looked back on nineteen and a half years of memories. Among the moments recalled on that final program were some involving Dave Garroway, who took part in a farewell interview. Monitor is long gone, but its influence lives on – for instance, I can’t help listening to NPR’s All Things Considered without noticing some of Monitor in its DNA.57
Happily, Monitor also remains with us in a vibrant online tribute. Dennis Hart (who literally wrote the book on Monitor) maintains the terrific Monitor Tribute Pages website. There, you can not only see some neat photos and read terrific recollections from Monitor‘s staff and listeners, but you can listen to dozens and dozens of preserved Monitor segments. And luckily for us, there’s a few clips from Dave Garroway’s reign as a Monitor communicator. Do yourself a favor and spend some time there – but if you end up spending hours on end enjoying all that splendid audio, consider yourself warned.58
:: Manuscript progress: you’ll be happy to know the manuscript is approaching 54,000 words. And I haven’t even started digging into the really big sources of information! But even with what I have done so far, I can promise that this book will give you a perspective on Dave Garroway unlike any you’ve ever before read. It’s a tale that’s well worth the effort to tell, and I believe you’re going to enjoy it – and you’ll be puzzled why it hasn’t been told before. Stay tuned.
Garroway’s guests for his week as host reflected his interests. The beloved Mr. Wizard, Don Herbert, gave a science demonstration. A locksmith demonstrated how to keep locks safe from lock pickers. Singer Carol Sloane, whom Garroway had featured on Talent Scouts and while substituting on Arthur Godfrey’s radio series, appeared on the show. Godfrey himself appeared as a guest on another show, as did Morey Amsterdam. Another program found Garroway interviewing Major Donald Keyhoe, who had written a book about unidentified flying objects, while panelists Dizzy Gillespie and Dina Merrill joined in the discussion.5
Tilden published all of this in a booklet he titled You Don’t Say! …Or Do You? The little book, bound in paper and stapled, sold for fifty cents. Tilden set out to sell copies of these booklets to schools and other educational organizations, and had received some praise from educators and civic leaders. A professor in public speaking at Harvard congratulated Tilden “in your scheme for making improvement in pronunciation both useful and entertaining,” while the chair of history and English at the Massachusetts Institute of Technology called the project “novel and interesting” and said Tilden had “worked it up in a very ingenious way.” Boston’s school superintendent said Tilden’s efforts were needed more than ever “because of the spoken word on the radio.”
