That’s right…we’ve had one more trip around the sun, and another year of remembering the life and legacy of our beloved Dave Garroway. We’ve come so far since our very first post all those many years ago, when this little project was just getting started and the book was little more than an aspiration. Now the book is out there (in the fancy hardcover version, in a casebound version, in paperback, and for Kindle) and it’s sold some copies, and we remain pleased with what we’ve achieved and hope we’ve helped show the world some sides of Dave Garroway that have too often been neglected.
Of course, just because the book’s published doesn’t mean we don’t stop finding new things. A couple new items arrived in the mail this week, vignettes from moments frozen in time. I’ll present them here – and please forgive the watermarks, but these are special items and I want to protect them. I think you’ll be able to enjoy them, regardless.
The first is from a large-scale color transparency that I had to do a great deal of color-correction on. It’s still not as good as it could be, but it’s a lot better than the washed-out version I started with. This was taken a few minutes before 9 a.m. Eastern on May 5, 1952. The two East Coast hours of Today have ended, and there’s a brief pause to regroup before the second hour for Central Time begins. To the left, Jack Lescoulie sits, taking a pause before announcing the top-of-hour program intro. Up front, a floor crewman reviews the rundown while a cameraman looks away from his TK-30’s viewfinder. Atop the viewfinder is part of a Tele-Q system, an early prompter system.
It’s coming up on four months since Today‘s debut, and there are already changes to the set; the big board that lists the home cities of affiliates, with weather conditions for each, has been mounted between the newsroom and Dave’s desk. Look closely and you’ll see some interesting things on that desk, including some books, a milk carton, and a large envelope. Note also that both Dave and Jack are wearing carnations in their lapels; this could be a run-up to Mother’s Day.1 Dave’s wearing the big RCA BK-4 in a harness rig.
If the first one was washed out, then this one is vivid as life itself. This is from after Today moved into Studio 3K in 1958, and is a vivid Ektachrome by Fred Wertheimer. The caption states that’s Helen O’Connell next to Dave. If that’s the case, this was taken sometime between July 10 and August 15, 1958, for O’Connell had requested her release from the program and was replaced by Betsy Palmer on August 18.
Look at Garroway’s expression. Even though he’s smiling, there’s something about him that seems worn and worried, in contrast to the droll Garroway of 1952. His hair is turning silver and he just looks older somehow. Look closely and you’ll see the pinkie finger of his right hand is completely bandaged; other photos from this same day show it to be a heavy bandage, and it makes me wonder if there’s a splint under it.
The big BK-4s have been replaced by the much smaller (and long-lived) BK-6, which could be worn on a cord or clipped to a lapel.2 In front of Dave is one of the iconic RCA 77 microphones. There are two monitors behind the anchor desk, but in the background there’s just a dark wall. You get the idea of what it was like to move from the bright RCA Exhibition Hall, with its street-level window, into a studio walled off and isolated from the outside world, and of the challenges the program staff faced. In the old storefront studio, all they had to do was turn the camera toward the window, but inside 3K, there was nothing to go to.3
And that’s a little present to you for Dave Garroway’s 111th birthday. Enjoy!
I’ve written on here before about the importance of preserving television history. That’s not just in writing books about people like Dave Garroway, but also in preserving the things that remain. Some of those things are easy to preserve, like books and documents. Other pieces are a little more substantial, but still manageable. And then there’s some that require some effort. That’s what led to an adventure last week.
I’ve been friends with Bobby Ellerbee for several years, and on a few occasions I’ve visited him and his dogs at his home in Georgia. Over the years Bobby amassed a collection of television cameras that spanned a good half-century of the medium’s history. The first time I visited, two rooms were awash with just about every studio camera you could imagine, and his garage had just about enough surplus equipment to start a network.
Over the years, some of Bobby’s collection found new homes at museums or with film prop companies, but his camera room was still nicely populated. Recently, though, he bought a new house. It’s a nice house, but it doesn’t have the display area of the house he’s vacating. Bobby had to make some hard choices. To make a long story short, I got a phone call, and last week I rented a box truck and drove over to his house.
The more the truck filled up, the more I realized this was real, and I started to think about the two happiest days in the life of a boat owner.
In the space of about two and a half hours that Thursday, Bobby and three movers and I loaded four cameras and pedestals, a few boxes of equipment and books, and some other stuff we could put to work in our building. Bobby had told me to rent a truck with a lift gate, and it’s a very good thing I did. Camera pedestals are heavy. By 11 that morning the truck was loaded up and I was headed back home. I spent the afternoon and evening unloading the truck at the office, and that night I drove it back and reclaimed my car.4
The brave rental truck at the end of its travels with me. This was a happy moment, likely for both of us.
So, let’s see what we have.
Longtime readers will be familiar with this: the RCA TK-47. I already had one, but I certainly was not going to pass up another. Unlike mine, the internals of this one are still intact, and as I was cleaning it up I was interested to look inside.5 Bobby had installed vinyl lettering on either side to honor NBC’s flagship stations in New York and Los Angeles. Inside is a property tag from WISH-TV in Indianapolis. Part of me thinks it would be fitting to restore the WISH-TV livery, but I’m awfully fond of the genuine NBC stickers on there, especially since I associate the TK-47 with Saturday Night Live and David Letterman’s late-night NBC show.6 Fortunately, I’ve got a while to decide what to do.
A contemporary of the TK-47 is the Ikegami HK-312, which Bobby had decorated as an ABC camera of the 1980s. It’s appropriate, because ABC used Ikegamis a lot. The Ikegami doesn’t get recognized a lot but it was one of the workhorse cameras of its day, and you’ve watched a lot more television that was brought to you through these machines than you may realize. This particular one has some interesting labels inside about its history, and the box lens has an ABC property tag on it.
Now, here’s a rarity: a Marconi Mark VII. This one actually did belong to Tele-Tape Productions back in the day, which meant it spent a couple years at work in the early days of Sesame Street. What looks like sheet metal damage in the photo is really the reproduction logo, printed on vinyl, separating from the side of the camera. I’m going to replace that as soon as I can get the printing done (the design is pretty much done, but I just need to find someone who can print it to my specifications). In the meantime it’ll wear a rare and very interesting livery that a few Mark VIIs wore for a short period.
No, that’s not the pedestal they used under these when they were in service. Although, given their weight, you can sort of understand it.
And this stylish beast is the RCA TK-42. I’ve seen it described as RCA’s attempt to combine the color of the TK-41 with the sharpness of the monochrome TK-60. Unfortunately, ambition didn’t match execution and the TK-42 was not a hit. NBC itself really didn’t want anything to do with them, so TK-42s and TK-43s were often what brought local stations into the color era.7 The TK-42 was soon superseded by the great and durable TK-44. This one somehow made it to modern times, and even has the proper RCA pedestal and head most often seen beneath them. Unfortunately, it’s missing a few of its internals and has to be balanced with some weights inside, but from the outside you couldn’t tell. The black-and-gold RCA logo disappeared from the right side somewhere along the way, but a very helpful designer with a 3D printer was able to print up a replacement that looks just like it’s always been there, and I’m very happy.
We look much happier wearing the General’s lightning bolt. Now imagine how we’ll look once we’re back on our big ol’ pedestal and we can get a good all-over clean-up and shine.
There’s plenty left to do on these cameras. I’ve done some initial clean-up on them, but when I have time I want to give each one a good going-over to make them look as good as they can.8 There’s also a few things I may do as I find period-correct hardware for these machines. But all that’s down the road. Right now, what matters is that these old machines are safe in their new home, where young eyes will be able to see the equipment that helped make possible what they now take as a given.
It’s been busier than I’d like of late, and that’s where I’ve been. On the other hand, it means a lot of cool stuff has accumulated. Let’s begin with this image, which is from a large-format negative I recently acquired. It’s from December 7, 1954, and Dave’s expression captures what I’ve spent a lot of time feeling because of work.
Next up, check out this really cool interview with my friend (and collaborator) Brandon Hollingsworth on my friend Mitchell Hadley’s It’s About TV. The topic isn’t Garroway, but Brandon is always worth listening to and Mitchell’s blog is always worth reading.
Now let’s take a trip back in time: it’s 1958, and here’s a brief glimpse at the RCA Exhibition Hall. No glimpse of the Today set in its final months, alas, but it’s the Exhibition Hall and that’s worth checking out any time.
Finally, here’s a chance to see just how well I can bury a lede: at this link, you can get a glimpse of the image that will be on the cover of Peace: The Wide, Wide World of Dave Garroway, Television’s Original Master Communicator. (It’s also a chance for me to say that working with the estate of Raimondo Borea, and with Jon Gartenberg, could not have gone better or happier, and I gladly recommend both to you.)
Today is a day that should be celebrated everywhere, with cake and ice cream for everybody, for it was on this day in 1913 that our beloved Dave Garroway was born. Not to mention, it was on this day in 2017 that this website was officially launched. It was a birthday tribute to Dave, a way of keeping his memory alive in a world where he’s so often been forgotten.
Five years ago, if you’d asked me if the book would be completed by now, I’d have told you that I hoped it would be, but it was a tall order. I’d love to get the James Webb Space Telescope to look back five years and tell me “yes, it will be.”9 The book is being proof-read; I’ll make whatever alterations are advised, and then it’ll be off for layout and the next steps, and of course I’ll say more about that when the time is right.
The end of the writing process is so much of why it’s been quiet here, but I thought we’d celebrate Dave’s birthday by taking a look at some favorite pictures I’ve accumulated over the years. For various reasons, none of these will be in the book10 but there’s no reason why we can’t take a few minutes here to enjoy them.
Happy birthday, Old Tiger.
The principals of the Chicago School pose for a family portrait. Our Dave is in a typically relaxed pose on the couch. (NBC photo)Nearly two decades later, Garroway returns to the Chicago studio to appear in a special. (NBC photo)A younger Garroway goofs around for the photographer in a Chicago studio. (NBC photo)On top of the news in the RCA Exhibition Hall. (NBC photo)My favorite photo that I couldn’t get for the book: daughter Paris visiting dad at work. (NBC photo)Reviewing a “Dave Garroway Show” script with cast members Shirley Harmer and Jill Corey. (NBC photo)Publicity shot for “Dave’s Place,” his November 1960 prime-time special. (NBC photo)The lights down, another “Today” comes to an end. (NBC photo)
On January 31, 1987 NBC gave over a prime-time hour so that Today could celebrate its 35th anniversary. As you’ll see, this is a fascinating special, particularly because of one feature.11
A word of warning: This is a very image-heavy retrospective. This special was fast-paced and used a lot of archival footage. I didn’t include everything I had wanted to include, because otherwise I’d still be editing photos this time next week. Anyway, here we go.
“Hunter takes a detour tonight so we can help our friends at the Today Show celebrate a special anniversary.”12 This six-feathered version of the Peacock that we know so well? When this airs, it’s less than a year old.
We open with Jane Pauley and Bryant Gumbel, who just happen to be walking along 49th Street in front of the old Exhibition Hall. Gumbel points out where they are and how it was where Today began. “I think there’s a bank there now,” Gumbel adds mid-sentence, in that parenthetical way of his. Jane Pauley sets the scene for what television was like in 1952 – only 15 million sets in the whole country, with most viewership in the evenings, and the thought of an early-morning television show was unusual. “In fact, only 26 stations carried that first Today show,” she says.
The people on the sidewalk just keep passing by, paying no heed. There’s no way you could do this now, not when everybody wants to mug for the camera.
Then we go to a montage of classic moments, with a simple and very pretty rendition of “Sentimental Journey” in the background. And, sure enough, the first clip we see is J. Fred Muggs with Dave Garroway.
The focus in the opening montage is on lighthearted moments. You’d almost get the feeling Today was a comedy revue. The only really serious moment is Pope John Paul II holding hands and praying with Gumbel and Pauley. Then we dissolve to the dignitaries gathered for the evening, and the velvet voice of Fred Facey introduces the show.
“Welcome to Today at 35, and our family reunion,” Gumbel says, teeing up the introductions as being like a family album. We’re introduced to the returning family members with archival footage, followed by a shot of them in the studio. One neat touch is that the NBC logo appropriate for the start of their tenure is shown alongside their names.
The entire gathering was introduced in alphabetical order: Frank Blair, Tom Brokaw, John Chancellor, Hugh Downs, Betty Furness, Joe Garagiola, Jim Hartz, Florence Henderson, Jack Lescoulie, Lee Meriwether, Edwin Newman, Helen O’Connell, Betsy Palmer, John Palmer, Willard Scott, Gene Shalit, Barbara Walters, and Pat Weaver (“all of this is his baby – which he enjoys now from retirement,” Gumbel says). Jane Pauley and Bryant Gumbel round out the introduction.
“Our beginnings were humble,” Gumbel says, teeing up the obligatory clip of the first morning. “Dave Garroway and a staff of 35, working in a storefront with people looking in the window. The critics all laughed, and said it wouldn’t last even 13 weeks.”
I think there’s some kind of written regulation at NBC that they have to show this clip at least once in every special.
When we rejoin the present, Bryant Gumbel is sitting at a re-creation of the original set – “this is NOT the original,” he takes pains to point out.13
Gumbel is joined by Hugh Downs, Tom Brokaw and Frank Blair there to recount the early days of Today. Gumbel asks Blair if he felt like a pioneer. “Definitely,” Blair says. He noted that being up early and doing this unusual thing bound them together. Blair notes that producer Mort Werner was asked once what makes Today click: “It’s a matter of chemistry.”
Downs remembers being on the NBC staff in Chicago and watching the first Today program from the booth – “I was duly amazed, but I didn’t think people would be up tuning in.” Brokaw muses, “As I sit here thinking about it, these are my heroes! I was growing up out there in South Dakota, and television was truly my window on the world.” Downs remembers moments that, looking back, he called “golden.”
Garroway sits, bemused, as an entire marching band winds through the Exhibition Hall…and watches a flea circus perform on the air.
Blair notes the program was criticized “when we brought the chimpanzee in,” but the reasoning was that kids would turn the program on to see the chimpanzee, and the parents would realize there was a news program going on. “So we all owe a great debt of gratitude to J. Fred Muggs…wherever you are,” Blair says with mock solemnity.
I guess I owe the little guy this much.
Gumbel asks all three if one appreciates Today more after you’ve left it. Brokaw is grateful for having done it; Downs makes a lighthearted but appreciative comment. It becomes clear that Frank Blair never really let go. “If I were younger, I would love to still be doing it. I would boot John Palmer right out of here and take over. But you reach a point of no return. You run out of fuel, and it’s better that a younger man has my job now.”
As they go to break, there’s a clip of John “Skid” Chancellor and Frank “Checkers” Blair running the first Today Show Grand Prix, a go-kart race inside the studio.
There’s a commercial. Soft piano. A woman’s voice, over shots of a bedroom: “Silk always makes me feel sensuous.” And when the woman in the commercial wears pantyhose that glistens like silk and feels like silk, “I feel wonderful…all over.”14
Then GM, in a Very Important Commercial, talks about its commitment to building better cars, culminating in a new six-year, 60,000-mile warranty “that tells you each and every GM car we build today is the best-quality, best-value GM car ever.”15
When we come back, Jane Pauley leads off a segment with Barbara Walters, mentioning her ascent from being hired by Dave Garroway as a writer to becoming co-host. There are clips of her interviewing dignitaries and statesmen and other VIPs…followed by the obligatory clips from a segment in which Walters went undercover at a Playboy Club in 1962, complete with the bunny costume.
Walters remembers the “bunny dip” used to serve patrons their drinks.
They segue into how Walters’ role evolved from writing women’s features to doing general features. Then there’s another clip, a 1965 segment where Walters spends an evening with the information telephone operators in the 50th Street office, and tries it herself, only to be greeted by the voice of Jack Lescoulie on the other end of the line.
Pauley asks Walters who she looked up to growing up. Walters replies that someday Pauley herself would hear young women say what Walters heard: “I grew up with you.”16 And Walters says she was very proud that when she left, Pauley took her place. “I think it’s a great credit to me that someone like you followed.”17
From there Pauley segues to talking about the role of the Today Girls. And four of them – Lee Meriwether, Helen O’Connell, Florence Henderson and Betsy Palmer – regale us with a cute song about what it was like and the people (and chimpanzee) they worked with, complete with more clips.
Edwin Newman is mentioned only in passing in this song, but I love this clip during the montage – from the end of a special he did long ago. He gives the NBC News disclaimer at the end, while taking a long-awaited bath, then squeezes the sponge over his head and lets out a satisfied sigh.
At the end, Jane Pauley comes over and has a little fun with how they sang her name. She then asks Bernie Wayne, who wrote the song and played the piano, to play a few bars of his most famous composition.
It turns out to be “There She Is, Miss America.” Which, of course, Lee Meriwether came to Today after her reign as Miss America, and there’s a moment of warm reminiscence. That’s promptly disposed of in the throw to break, with the famous clip of Harpo Marx18 chasing a Today Girl around the studio.
Then a bumper, with an RCA TK-11/31. Always a lovely thing to see.
Commercials: A UPS ad looks back on the company’s history through old black-and-white photos. Then lots of fast-paced, high-energy scenes of modern UPS operations. Lots of 727s and 747s. “We run the tightest ship in the shipping business.”
Great airplanes. I loved flying on 727s, back when you could. I miss them.
That’s followed by a commercial for a very personal thing women use. Somehow, clear blue liquid is supposed to demonstrate how effective it is. Right. (No, I’m not showing a picture.)
Then Ann-Margret and Claudette Colbert in “The Two Mrs. Grenvilles,” coming February 8.
“Sir, does this mean Ann-Margret won’t be coming?”
Followed by a Saturday Night Live promo with host Paul Shaffer being heckled by the Church Lady.
Back to the anniversary show, it’s time for a look at the entertainment greats that have been on Today. Some neat finds in the montage, including this exchange between George Gobel and Dave Garroway, when the entire morning’s show was done outside the studio:
Gobel: “The whole show? Out here in the street?”
Garroway: “Yep.”
Gobel: “Well, see now, that’s television for you. You know, just one bad week and you’re out.”
There’s also a glimpse of the famous/infamous “Caesar and Cleopatra” sketch with Jack Lescoulie and Jayne Mansfield.19
Gumbel is at the desk, this time with various occupants of the sidekick role: Willard Scott, Gene Shalit, Joe Garagiola and Jack Lescoulie.
The first anecdote has Lescoulie telling the story of the day Ava Gardner was supposed to be on Today, but didn’t show up. The quick-thinking Garroway summoned staff member Estelle Parsons to the desk. “You be Ava Gardner.” And Garroway conducted the interview. This dissolves into a discussion about how humor is tough to sell in the morning, which leads to playful bickering between Joe Garagiola and Gene Shalit. “Did you ever have hair?” Shalit asks. Garagiola replies, “I think you’re overdressed!” Without missing a beat, Willard Scott leaps up, his toupee in hand. “I think we can correct that!” And he plonks the toupee atop Garagiola’s head.
“This is the dignified Joe Garagiola look….”
…and then Willard turns the toupee. “Now here’s the Hippie Joe Garagiola look! Give him a guitar and watch him go!”
Lescoulie tells a story about a day he was late getting to the studio, and how in those days the tradition was to cut your tie if you made a mistake. Up against the segment clock, Gumbel asks Lescoulie to tell about the ring he wears.
It’s a duplicate of the one Garroway wore, Lescoulie says, and he gave it to him in 1953. “The inscription inside is typical Garroway,” he says, “And it says ‘To Jack from Dave, for being just what you are by the dawn’s early light.’ And I’ve worn it ever since.” Lescoulie then looks toward the camera. “And, old partner, thank you, and peace to you.”
There’s then a montage, introduced by Jane Pauley, about the versatile but lesser-sung members of the Today family.
The very first clip in the montage is the only glimpse you’ll get all night of the forgotten Jim Fleming.
Then there’s an interview with Betty Furness.
Betty mentions that she was a friend of Garroway’s20, so she watched the very first show, and when they began to have women on the show, she wanted to be on the show. “But nobody would talk to me!” She notes that she continued to be snubbed even after she was no longer doing commercials at CBS. What finally got her a role on Today was her work as a consumer reporter for WNBC-TV, and a chance meeting at the elevator with a Today producer led to a substitute hosting job. Then Gumbel crashes the interview21 to show a clip of Jane Pauley bogarting his cigar at a political convention a few years before.
Then more ads.
AT&T is going to combine computers and communications so we can get the right information to the right people at the right time. Reckon how that’s gonna work out?
Smart Cat. Ask any cat and they’ll tell you they’re smarter than humans, anyway.
A slow sweep of the newsroom on that first morning forms a neat bumper for the local throw.
Remington Steele is back! Tuesday!
Peak ’80s. (And, yes, Today did originate from Australia starting the following Monday.)
Back from the break, it’s time to talk about Important News, the big stories, the world leaders and presidents and aspirants and such who have stopped by. This leads in to a discussion with Barbara Walters, John Chancellor, John Palmer and Edwin Newman.
Chancellor starts the discussion with a self-deprecating joke about the montage that led the segment off.22 The comments from the panel speak of the influence the morning shows have gained, to the point that the White House kept track of the shows’ ratings and decided where to deploy their spokespeople accordingly.
Back at the 1952 desk, Jane Pauley takes note of the changes in technology, and notes that Today has featured new technologies right from the first day:
Garroway shows off a wirephoto machine on the first day. “We’ll show it to you mere minutes after it was taken. The print we show you will still be wet, but you won’t be able to feel it at home. I hope.”
Then Mufax shows the home audience grainy stills of the Queen’s coronation.
Hugh Downs and Jim Hartz join Pauley to talk about the change in technology, particularly in how microphones have grown tinier as time has passed. Downs predicts that at the rate they’re shrinking, microphones will disappear altogether in August 1991. Pauley disagrees: “No, I think it’ll be implants, Hugh.” They then discuss how Today has been around the world, buttressed with a quick montage of the many places the program has visited: Paris, Romania, Ireland, Tokyo, Rio de Janeiro, at sea aboard the liner s/s Norway. Jim Hartz suggests that the audience may have become jaded, because they have become accustomed to “whatever you can imagine, you can do.”
We go to commercial with a look out the old 49th Street window.
Other side of the TK-11/31. I want one.
A sentimental spot for Amtrak. “There’s somethin’ about a train that’s magic.”23 Followed by a spot for this new pain reliever called Advil.
“The ritual of Oil of Olay.” Get you some of this stuff and some of that silky pantyhose from the first half-hour, and you’ll be at full-blown Mystical Womanhood before you know it.
A really neat spot for college basketball, with live action giving way to animated pastel renderings. Really beautiful, really classy. I wish we still saw stuff like this today.
During a brief interlude Pauley, Gumbel and Scott talk about what it’s been like, with all the stories and anecdotes and good times. Willard notes, “Everybody really seems to like each other.”24 Then Pauley says they’ve been wondering what Today will be like in the future, so through the magic of computers, they’ve sent Mike Leonard ahead 35 years…to the year 2022. Yes. To this year.
So this is what this year is like. Where’s the Snake logo, then?
“The cameras are robotic. Just stick to the script,” a robotic voice tells Leonard. Well, we do have robotic cameras now, I guess. Anyway, in this version of 2022, there’s a cure for the common cold.25 And they’ll talk live with some of the moment’s biggest celebrities:
The news is sent through absorption. Commercials are two seconds long and subliminal. And weather forecasters can actually do something about the weather: as a robocam hovers nearby, a blizzard in Buffalo gets sent to Los Angeles.
But there’s time to look back to 70 years ago, when Garroway tried out Mary Kelly’s electric typewriter.
This compares to the “rather large” portable television of 1986.
“But give them credit…they knew what the future held.”
Yeah, they got that one right.
And in a disturbing twist, digital facsimiles of yourself can be sent anywhere around the world. Which leads to several Mike Leonards ganging up on him.
This disturbs him. “Because that’s what made the Today show. All the human touches.” Garroway pops in every now and again, a patron saint of the program’s humanity.
Especially as he roars at a telephone receiver.
Leonard’s had enough of this technological dystopia. “Send me back 35 years.”27 So he clicks together his ruby-studded shoes…only to be trapped inside a computer screen.
A more serious look at the future comes in a brief visit with Pat Weaver. “It’s good to be back,” Weaver says, “and particularly on such an auspicious occasion.” Weaver doesn’t think the future will be like Leonard’s fanciful journey. “It’ll still be people. But the future will change, a lot.” Weaver hopes the future will bring fulfillment of the first promise of broadcasting: that you can sit at home, in your comfortable chair, and be somewhere else in the world, at the push of a button and the speed of light. Although he’s disappointed that the promise has yet to be fulfilled, he is optimistic “that with the new technology that we’re getting, we will finally be able to be a world without privilege” – that it won’t require family connections or wealth or aristocracy to enjoy the best things there are. Gumbel reminds Weaver of something he wrote in 1952: that the goal was to enrich life and make the common man quite uncommon. “That’s right!” Weaver says. “Glad to see you’re still consistent,” Gumbel says.28
We go to break with Garroway using his long microphone cord like a whip, to the amusement of the crowd outside.
As they say good night, they remember a couple of family members who have gone onward.
Frank McGee, who joined Today in 1971, “and before his death three years later, the quiet man from Oklahoma made a lot of new friends.”30
…and Dave Garroway. Gumbel closes: “We want to remember Dave Garroway tonight as we always remember him: on some weekday morning, sometime in the ’50s, in living black and white, slightly bemused by the world around him, and believing that a little whimsy never hurt anybody.”
“The environment you live in inevitably influences your personality…I wonder how ours is gonna get influenced, living as often as we do, many hours of the day, in this strange and unique room. This is the only room in the world like the one we live in. With many lights, and…I wonder if we’re gonna have lights growing out of our heads someday.”
It’s Garroway who sees us through the closing credits…and bids us good night, in his familiar way.
I must have been 13 or 14 when a friend told me about a book he’d stumbled across at his grandfather’s house. It was a paperback called The Brothers MAD, and it contained material from MAD magazine from the 1950s. My friend let me borrow it. I loved looking through it, because it was a time capsule from a long-gone era. But one piece in particular fascinated me: a spoof of Today called The Dave Garrowunway Show, which – through the magic of drawings by Jack Davis – was a completely madcap look at the early days of the morning show, and the lurking threat of mayhem from the hands (and feet) of J. Fred Muggs. It is a dead-on spoof of early Today, and even Dave Garroway loved it, putting in a plug for the issue on Today.
Ever since this blog began I’ve wanted to bring The Dave Garrowunway Show to you, because it’s sublime. But the version in The Brothers MAD is chopped up to fit the paperback book format and the resolution of the pictures suffered in the printing process. And copies of the November 1955 MAD go for more than I’m willing to pay right now. Fortunately, the Internet can be a very handy thing every now and again, and while looking for something a couple nights ago I stumbled across an incredible online archive.
It is with pleasure that I can finally bring you, in its entirety and in its original format, The Dave Garrowunway Show. The first page is here; please page through to enjoy the rest. (And I mean that – enjoy.)
On January 14, 1982 Today marked its thirtieth anniversary.31 As it tended to do on its milestone anniversaries, Today devoted much of the program to a big celebration. The 1982 anniversary special was unexpectedly poignant, and it’s for a reason we’ll get to in a little while.
As most Today anniversaries do, this one began with a glimpse at a few moments from that very first telecast.
I think there’s a law that mandates the use of footage from that kinescope. (NBC photo)
Then we return to the studio, where we see Jack Lescoulie and Dave Garroway joking with each other about the spelling of Lescoulie’s last name.32 The rapport between the two melts away the years, and for a moment it’s like 1954.
It’s as if they never stopped being on the program together. (NBC photo)
Bryant Gumbel – who had just taken over as co-host after Tom Brokaw accepted the NBC Nightly News anchor slot – introduces the men he calls “the originals,” Lescoulie, Garroway and Frank Blair.33
Lescoulie, Garroway, Gumbel, Blair and Jane Pauley. (NBC photo)
Gumbel asks Garroway what they were thinking the first day. And at this point, Garroway sounds like a grandfather dispensing advice. “You are now in the first phases of the beginning of your real life, Bryant,” he says. “You’ll find that out in the years to come. At least, I did.” Gumbel asks if it really was an adventure for him. “It changes you from one man into another. Did me. And you will feel differently about the world, very much so, if you’re on like three, four, five years.”
Gumbel notes that Lescoulie was called “the saver,” and Lescoulie described the origins of that: Garroway instructing him to walk in if he ever thought Dave was getting dull or an interview wasn’t going right. “Now, that kind of trust you don’t get very often!” Lescoulie said. Garroway mentions hearing Lescoulie as host of The Grouch Club, and suggesting him to Pat Weaver as a result.
Old Reliable. (NBC photo)
Frank Blair remembers the task they had, which was to get people to watch at seven in the morning. He and Lescoulie recall John Crosby’s famous “What hath God and NBC wrought?” review, and that the show couldn’t last beyond thirteen weeks. At this point, Garroway jumps in: “Well, all the pioneers, you know – Copernicus, Galileo, we all suffered the first year or two!”34 There’s a little laughter from the panel. “That’s true!” Lescoulie says. “You’re putting us in pretty fast company, though.”
This comes from the next segment, but I can’t help putting it in here. The old Dave – funny, playful – showed up that morning. It was magic. (NBC photo)
Jane Pauley asks Garroway about his statement on the first program “to be informative without being terribly stuffy.” She asks why Garroway was afraid of being stuffy. “I don’t like stuffy things, or people, very much, I guess,” he says. “And there was so much to talk about, and do, and there still is in the world, that I don’t find it a very stuffy world even today. And if you can get the world over to them, it’s great.” And with that, the inevitable topic of J. Fred Muggs comes up. “You didn’t consider that at all demeaning because you’re not a stuffy guy, eh?” Pauley asks. “No!” Garroway says. “He was a charming, marvelous beast.” At which point Garroway pulls out a TV Guide and says that Muggs is more in the public eye today than he has ever been,35 and as evidence shows the magazine’s “Distinguished J. Fred Muggs Awards.”36 To which Garroway says, “This chimpanzee has been off the air for twenty-one years! And yet he’s still in the public eye!”
Dave shows off the “J. Fred Muggs Awards” in “TV Guide.” (NBC photo)
After a break – or as Gumbel says to Garroway, “what you used to call a recess” – Pat Weaver joins the panel. Gumbel asks why a chimpanzee joined the program. “Well, a pleasant little small ape – you know, if you got a gorilla, it might have scared Dave and Jack! I don’t think it would have worked with a gorilla!” Weaver explains that one of the problems they faced was that children would turn the set to cartoons, so they needed something that could effectively compete. “When Muggs did happen, it was the ideal solution to a problem that we faced in the early days, which is how to get the kids to like the show.”
Pat Weaver joins in. I wish they hadn’t bounced Jane Pauley, though. (NBC photo)
In the next segment, Gumbel talks to John Chancellor and Edwin Newman, who joined Today when Garroway left. “You replaced Dave Garroway,” Gumbel says to Chancellor. “Tough act. What were your thoughts?”
(NBC photo)
Before Gumbel can finish his question, Chancellor slumps over, puts his head on Gumbel’s shoulder, and snores loudly. Then he snaps back up. “Well, that was one of my thoughts,” Chancellor says. “I couldn’t believe we were on that early. It was a very difficult act to follow, and I’m not sure I was really able to fill those shoes, which I learned to be about size eighteen. Dave was one of the most magnificent communicators I had ever known and I suppose some of us learned – I think maybe Edwin did, too – from David and from Jack Lescoulie to be a little easier on television. I think most of us were very solemn when we were doing the news, and I loosened up a lot when I was on the Today show, and I think Ed did too.” Chancellor talks about how serious the show was when he took over, with a lot of heavy global and national topics balanced with some of the lighter things they did. “And they’ve threatened me by showing some of the lighter things that we’ve done.”37
Gumbel then asks Newman about a couple of famous moments from his time on Today, including the time he abruptly cut off an interview with George Jessel that was going off the rails,38 and the time Newman interviewed himself about his book Strictly Speaking.39
Edwin Newman interviews Edwin Newman. (NBC photo)
Throughout the morning there are birthday wishes at the end of segments. Here’s one from the Blues Brothers.
Belushi and Aykroyd. Less than two months later, Belushi would die. (NBC photo)
Later segments are less Garroway-centric, but still give us glimpses of a bygone era. Here, Gene Shalit has a few minutes with Barbara Walters, who talks about how she was the last person hired when Dave Garroway was still there, so there was really nobody on the show she didn’t know.
NBC photo
We then see some other historic moments, such as greetings from Pope Paul VI via satellite:
NBC photo
…then a clip from the program’s visit to Romania:
NBC photo
…and the Orient:
NBC photo
…and to London.
NBC photo
And then there’s top-of-the-hour greetings. Some views of the set:
NBC photoNote Gene Shalit’s hair, spectacular as ever. (NBC photo)Bryant Gumbel and Willard Scott. I predict a beautiful friendship between the two, in which nothing can ever possibly go wrong. (NBC photo)
But even in the midst of celebration, the world continues to turn, and the second hour begins with a news update from Chris Wallace in Washington. The big story was the previous day’s crash of Air Florida Flight 90 after it took off from Washington National Airport.
NBC photo
After some updates on the crash and investigation from correspondents in Washington, Wallace talks to NBC technician Jim Bigger, who had been returning to the Washington bureau from an assignment at the Pentagon.
Jim Bigger, who had been close enough to the doomed 737 to be glad he was no closer. (NBC photo)
Bigger was less than half a mile from the scene – as he tells Wallace, “close enough to know I was glad that I was no closer” – and provides a chilling report, saying it looked for all the world like the plane was going to land on the bridge, that the plane was in a stall configuration with nose up and tail down, and a lot of noise.40 The plane, Bigger says, settled on the span of the bridge and then disappeared. “There was almost an eerie sense of silence,” he says. “There was nothing, and the aroma of jet fuel began to permeate the air and we knew there was an aircraft in the river. There was no place else for him to go.”
Then it’s to Willard Scott with the weather. He begins by acknowledging the crash – “Our hearts go out to everyone down there” – and the big weather story, which is a huge winter storm system covering much of the United States.41 Willard mentions that Phil Donahue had been scheduled to appear on today’s program but was stuck in Boston. “Enjoy your second cup,” Willard advises him.
That big winter storm got to us down here, too. (NBC photo)
Gene Shalit does a longer interview with Barbara Walters, mentioning a time that “a really tough subject almost got the better of Barbara Walters,” and asks that a monitor be nearby for her to see the clip. But it’s not of a prime minister or celebrity trying to squeeze out from a hard question; instead, it’s this:
NBC photo
And her response:
NBC photo
Walters talks about how the times have changed for women; when she started on Today as a writer, they only had one female writer at a time, and they only wrote women’s stories. Producer Shad Northshield championed her, saying that Walters was capable of writing about anything, so she wrote about more topics and eventually became an on-air reporter. When she sees someone like Jane Pauley in a prominent role, she says, it is a sign that times have changed since those early days.
They would be reunited on “20/20.” (NBC photo)
The interview continues after the break, as Hugh Downs42 joins Shalit and Walters. “I would not have been on the air were it not for Hugh and his generosity,” Walters says, “because they didn’t take writers and put them on the air. And so many of the opportunities I had were because this was a man who was never jealous, and never small.” They talk about her reputation as a tough questioner, and she talks about how she gets people to open up on sensitive topics. Downs backs her up, saying he’s never heard her be mean to an interviewee.
Then there’s a segment about Joe Garagiola that turns into a roast, of sorts. But it takes a serious turn when Gumbel talks about being offered the Today job; when the offer came, Gumbel knew there was someone who could give him advice about moving from sports to a general-interest morning program, because he’d done it. Gumbel thanks “my buddy here” and says “I will forever appreciate it. Thank you.”
NBC photo
Jane Pauley references the station break cue “We’ll be back; don’t go far,” and how that was the trademark of Frank McGee. She introduces Jim Hartz, who was McGee’s longtime friend and who succeeded McGee as Today host when he died in 1974.
The often-forgotten Jim Hartz, low-key and easygoing, speaks from the heart about his friend and fellow Oklahoman Frank McGee. (NBC photo)
Hartz, an Oklahoman like McGee, talks about their close friendship and remembers McGee’s distinguished career. “As a reporter he was all business – no nonsense, nothing fancy,” Hartz says.
Frank McGee in one of his signature roles, holding the desk during NASA missions. (NBC photo)
“On camera he was blunt, sometimes abrasive43, but never lost what one critic called his ministerial dignity. Away from here, though, on the farm down in Virginia, Frank was relaxed and warm and funny. One of the things he told me he liked most about the Today show was the luxury of enough time to be himself, to let the other side of his personality come out.”44
A clip from New Year’s Day 1974, in which McGee talks about his childhood experiences watching movies, poking fun at himself for not realizing the same people got shot every week and how many times he saved Ronald Colman’s life. (NBC photo)
In the next segment, a clip of Dave Garroway doing the weather with the help of Lee Ann Meriwether is followed by Willard Scott doing that day’s weather with the help of Lee Ann Meriwether. She remembers how the weather was outlined on the map in red, which couldn’t be seen on black-and-white television, so they only had to trace over it. “And it made me look so intelligent!”
Lee Ann Meriwether helps Dave Garroway with the weather..…and helping Willard Scott with the weather. (NBC photo)
After they ham it up for a few minutes, Jane Pauley and Gene Shalit visit with Tom Brokaw. He remembers coming to New York for the World’s Fair and looking in the window at the Today Show,45 and holding up a sign plugging Today in Omaha. “I thought that was going to be my one network shot, and as a penalty I had to come back and do it for five and a half years.”
NBC photo
After a segment showing times when presidents had given interviews to Today, including Harry Truman’s post-presidency strolls past the big windows, Gumbel throws to Willard Scott, who’s on the 49th Street sidewalk opposite the old Exhibition Hall.
NBC photo
After talking to a woman who said she remembers watching the first Today program, Willard just happens to bump into David Letterman, whose new NBC late-night program begins Feb. 1. Letterman congratulates everyone on Today on the show’s thirtieth anniversary – “and I know that means a lot coming from a guy whose own show lasted eighteen weeks.”46
No mistaking that grin. (NBC photo)
And then one more celebrity greeting, this one from Steve Martin.
“Well, the Today show is thirty years old. Happy birthday, and remember: don’t trust anyone over thirty.” (NBC photo)
As the two hours come to an end, Gumbel talks about all the hours of programming on over 7,810 broadcasts – “and if that doesn’t humble you a little bit on this January 14th, 1982, then I am not sure what does” – and then each Today alum identifies themselves.
NBC photo
One is saved for last – as Gumbel says, a very special goodbye from a very special man. “Sentimental Journey” comes up in the background.
“I’m Dave Garroway…and peace.”
NBC photo
There is applause. Gene Shalit hands Garroway the first piece from the enormous birthday cake. Lee Ann Meriwether, Florence Henderson, Helen O’Connell and Betsy Palmer – former Today Girls – gather around Garroway. He holds the plate and says to them, “I said ‘peace’ and I got one!” They laugh and hug him.
NBC photo
No one knew how poignant the moment would be. Six months, one week and one day later, the same studio that hosted a joyous celebration, and some of the same people who had gathered for that celebration, would be holding an on-air memorial for Dave Garroway, who had died the day before. No one knew, or could have known. In a thank-you letter to producer Steve Friedman, Garroway had written of the fun he had coming back for the show. He ended the letter, “Now, let’s talk about 1987.”
If only it could have been.
Here are a few more photos to supplement the screengrabs above:
NBC photoNBC photoDave with Estelle Parsons, Florence Henderson, Jane Pauley, Lee Ann Meriwether, Betsy Palmer and Helen O’Connell. (NBC photo)From left: Jack Lescoulie, John Chancellor, Hugh Downs, Pat Weaver, Jim Hartz, Betty Furness, Gene Shalit, Bryant Gumbel, our Dave, Helen O’Connell, Florence Henderson, Betsy Palmer, Lee Ann Meriwether, Frank Blair, and Estelle Parsons (hidden behind teleprompter hood). (NBC photo)
Some years ago I made reference to a 1953 Esquire article by Richard Gehman. This article captured what it was like when Today was young and everything seemed brand-new, and cast and crew were coping with life at an hour that still seemed far too early for television. Back when I wrote about it, the best I could do was give you a summary of the article, for the Esquire archive was paywalled.
As I work industriously on bringing you the finest in Dave Garroway-centric literature47, I come across tidbits that, although they won’t quite fit in the book itself, are too good to let fall down the memory hole. Like this item, from the Sept. 3, 1953 Brooklyn Daily Eagle. Wow, would that would be a lot of fun to bring home from the store in the Toyota.
And here’s that big window, with the blinds sporting a nifty logo.
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 3K48 in the RCA Building49 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 Palmer50 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.”51
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 Lights52 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).53 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 HUGE54) 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.
“Hunter takes a detour tonight so we can help our friends at the Today Show celebrate a special anniversary.”
Some years ago I made reference to 
