Today – Page 5 – Garroway at Large

Gehman on Garroway: “Portrait Of A Tormented Man”

A couple weeks ago we looked at a 1954 Esquire article Richard Gehman wrote about Today. Close to seven years later, now writing for TV Guide, Gehman returned to the Today studio to observe Dave Garroway in action. But in that time, much had changed both with the program and with the master communicator. Stories regularly circulated about staff shake-ups, of fits of temper from an unhappy Garroway. And, of course, the sudden death of Pamela Garroway in April 1961 compounded things. Soon after her passing, Garroway announced he would leave Today.

The first part of Gehman’s article ran in the July 15, 1961 TV Guide.¹ A box on the cover promised, “Dave Garroway: Portrait of a Tormented Man.” A subhead in the spread stated, “His peaceful television image belies a seething personality.”

Perhaps our understanding of this article will be helped by a look at Richard Gehman’s style. In their terrific study Changing Channels: America in TV Guide², Glenn Altschuler and David Grossvogel wrote that freelancer Gehman, who contributed many articles for TV Guide, was the kind of writer appreciated by editorial director Merrill Panitt. For the sort of respected publication Panitt and publisher Walter Annenberg wanted TV Guide to become, they felt that celebrity profiles shouldn’t gush; instead, they should probe. Panitt told Altschuler and Grossvogel that where other magazines gushed, TV Guide “looked for warts.” And Richard Gehman’s work, they wrote, “helped change the direction of the magazine.”

Gehman, they noted, grounded “virtually every profile in popular psychology.” He also employed the “new journalism” technique of placing himself in the story as participant or observer. And another calling card was his use of literary allusions. In “Portrait of a Tormented Man,” we see those techniques at work as Gehman tries to capture the essence of Garroway, who turned 48 in July 1961, as he seeks the next chapter in his life.³

Gehman leads off with a literary allusion, comparing a Christmas party for the Today staff to a Roman bacchanalia which “would have delighted a contemporary Edward Gibbon.” While others at the party lived it up, Garroway “sat near the center of the saturnalia, his bony face expressing boredom that was close to despair,” perhaps wishing he were instead working on one of his cars or relaxing with his telescope. “Whenever anyone approached, Garroway forced a wan, Proustian smile. He spoke cordially but with obvious effort.” Less than an hour into the party, Garroway left.

Why? Associates repeated things Gehman had heard for years – he’s shy, hard to know – and a Today director called Garroway a “cold fish” who “can’t warm up to people in the flesh.” But to Gehman, the best explanation came from a passage in Nathanael West’s The Day of the Locust, describing the protagonist as “really a very complicated young man with a whole set of personalities, one inside the other like a nest of Chinese boxes.” Gehman wrote that the phrase could have been written for Garroway. “For 14 years, off and on, he has been seeing a psychiatrist in an effort to learn what is inside those boxes. And what he has learned is that there are more boxes.”

To Gehman, the conflicting aspects of Garroway’s personality – a man who could engage in breezy, light conversation and then moments later opine about dark scenarios that Communist agents had already hidden small atomic bombs in major cities, and describe his own Manhattan bomb shelter in great detail, including a supply of Seconal capsules (“better to go that way than to die horribly of radiation”) – made the real Garroway hard to define, and Gehman found the man’s own explanations contradictory. Although Garroway stayed aloof to most people, he claimed to enjoy the company of others. “Yet there was a period when he seldom ventured out before he had disguised his face with cotton wads slipped into his nostrils and cheeks and under his upper lip. ‘It made me look mean and feel mean; it got me into two fights,’ he told me.”⁴

Now, Gehman wrote, “he no longer disguises himself except with an air of impenetrable calm,” stylized by the famous “peace” signoff, which he also used “to bid farewell, to express approval, or to get out of arguments. Or, in the majority of cases, to shun small talk.” Garroway admitted he had difficulty relating, but insisted it helped him with the casual style he had on the air; in front of the camera, he felt he could be himself. His in-person aloofness, his preference for spending time with gadgets instead of people, didn’t come across to home viewers. “They think he loves them. They regard him as an old friend who is welcome to drop by for breakfast any morning,” Gehman wrote. One morning Garroway lamented that American-made screwdrivers no longer had wooden handles; within days his office was inundated with packages from viewers, sending him wooden-handled screwdrivers.

Viewer loyalty to Garroway made Today a very profitable program for NBC, and Garroway was handsomely rewarded for it (more than $350,000 a year). But Gehman wrote that for more than two years Garroway had been unhappy because “he has been forced to work under what has seemed to him mysterious pressures, not only from sponsors but from the NBC brass.”

Complicating things, Gehman wrote, was Garroway’s home life. “Garroway’s moody introversion has made him not only hard to know but also to live with,” he wrote. When he married his second wife, Garroway was not aware of what Gehman called her “unhappy girlhood” and that she was “a highly emotional young woman.” Her psychoanalyst would not discuss her case with Garroway, citing ethical reasons. Late in April, while Garroway was spending a weekend at their summer home on Long Island, his wife was found dead in their Manhattan townhome, having overdosed on sleeping pills. On May 29, Garroway announced he would be leaving Today.

The second half of Gehman’s profile, in the July 22 issue⁵, tries to get inside Garroway’s head through a biographical approach. Gehman writes that Today‘s variety, and the departure of its host, couldn’t be attributed to one answer. “There are several, all as intertwined as Garroway’s several personalities.” And his closest associates “argue about what makes him tick – and about whether or not he does tick.” (“He doesn’t,” said former Today director Mike Zeamer. “He hums, like an electronic watch.”)

And here Gehman uses his favorite tactic, putting Garroway on the analyst’s couch and tracing that “humming” to a childhood spent moving from one place to another. He describes Garroway as “a shy, withdrawn youth who found communication with strangers difficult, perhaps because he met so many,” having attended 21 different schools by the time he graduated high school. “It may have been his desire to make people like him by entertaining them that led him eventually into radio, as an announcer,” Gehman writes.⁶

In a few paragraphs Gehman traces Garroway’s two decades or so in broadcasting, from his start as an NBC page through the birth of his style in wartime Hawaii, through the Chicago years and his tenure on Today, and his role in turning the show into “a reflection of his many interests. Also, he says frankly, it is a reflection of his shortcomings, for he does not have time to prepare adequately for the many different spots he is called upon to fill.” Gehman notes that Garroway has made mistakes for this reason, criticizes the program as “often shallow,” and that Garroway’s behavior has sometimes seemed excessive, citing an on-camera confrontation with a delegate from a Communist-controlled country that came across as “a disjointed argument on Communism.” Garroway insisted to Gehman that he spoke up because he feels anti-communists had a duty to do so. “Because he has spoken up so many times, he is certain that if the Russians ever defeat us, he will be one of the first to be liquidated.”

The article concludes with Gehman’s account of being with Garroway in Studio 3B⁷ during a May 29 rehearsal, right after Garroway announced he was leaving the program. Around Garroway nearly fifty people were busy with the varied tasks that went into recording each day’s program. At one point a woman slipped into the studio and approached Garroway, saying, “Darling, are you ready to go?” Garroway calmly replied, “Just a minute. I’ll get my stuff,” and gave what Gehman called “a significant look” at a nearby page, who escorted the woman away. A few moments later, someone brought Garroway’s four-year-old son into the studio, and the host put aside his preparations to visit with his child. Not five seconds later, someone summoned Garroway to the phone to talk with an upcoming guest. Gehman noticed that as Garroway was on the phone, he played with his keys – “a huge bunch, two whole handfuls, symbolic of the locks and barriers that make prisoners of all stars in television. He obviously was tense, holding himself inside the Dave Garroway shell with an immense effort.” But the moment the show was to go on, Garroway put aside his nervous tics, smiled, turned to the camera, and became “the Garroway his audiences know.” Producer Fred Freed whispered to Gehman, “How he’s been able to do this for damned near 10 years, I’ll never tell you.”

After the taping ended at 6:30, Garroway went to an appointment with his psychiatrist, then was back home at 7:45 for dinner with his three children. But he couldn’t relax, as the phone constantly rang with reporters wanting to know why he was leaving Today. Garroway patiently told them he wanted to refresh himself, read books, travel, take stock of himself, and rest. But Gehman said he had learned “through reliable sources” that Garroway and NBC had been at odds for two years because the network wanted him to stress entertainment. In addition, Gehman said, Garroway’s home life had already been unhappy for two years, and then the shock of his wife’s death made him stop and review his life.

“I find my attitudes, after nearly 10 years for Today, have standardized themselves into about 25 different cliches,” he told Gehman over a drink that night. “I’m tired of them and everybody else must be.” But Garroway saw himself getting back on television at some point. “I’ve got four years to go on my NBC contract. Relations are amiable now. I’ll be back – but I don’t know, right now, how or when.”⁸

“The Man Who Came To Breakfast”

There are several treatments of the early days of Today. Some of them are oral histories, some of them reminiscences, some of them as parts of books. Nothing, though, quite matches a contemporary account of Today during the Garroway era. And one of the most interesting, and inadvertently insightful, was printed in the June 1954 Esquire, and it’s a story that has a story of its own.

“The Man Who Came To Breakfast,” written by Richard Gehman¹, is a bird’s-eye view of Today in its second year. There’s some good material about Garroway himself, but he’s not the main focus. Gehman spends a good bit of time on what goes into making an early-morning program work five days a week, the people behind the scenes who made it happen, and the unusual pressures they face.

One issue they faced was how the early morning hours messed up normal daily routine. Staffers complained that their kids didn’t know who they were any longer, that wives had to go to parties alone, that they had difficulty ordering in restaurants because the weird hours meant only breakfast menus were available when the staffers were free.

Another challenge? In the parlance of the day, “nervous tension.” Gehman surveyed a group of Today staffers at Toots Shor’s tavern², saying they were conspicuous by how they kept checking their watches or a nearby clock. Some had developed nervous tics. Gehman described their routines as a “vicious circle” in which “they get keyed up on the show to such a degree that when they return home even a few drinks won’t help them sleep. Finally, after hours of tossing, they manage to fall into restless comas. The alarm goes off. The moment they get to the studio, the tension begins again. In mid-morning, real fatigue sets in.”

And here’s where the piece gets really interesting, for it touches on a famous part of Garroway lore, and shows it wasn’t exclusively his province: “To offset [the fatigue],” Gehman writes, “they take doses of a compound they call The Doctor, a Dexedrine-and-vitamin stimulant obtained by prescription, widely used by combat crews during the war to forestall fatigue.” The Doctor, Gehman noted, kept them so alert that they couldn’t get to sleep, and it fed a cycle.³

While Gehman noted that staff members seemed to face “a killing grind,” he saw no signs of the strain in Garroway. “He is happy about Today because he feels that it is educational and amusing at once,” but is always looking for ways to make the show better, Gehman wrote. And, apparently, the odd hours agreed with Garroway. Writer Charlie Andrews told Gehman that Garroway didn’t care much for parties but didn’t like to refuse invitations. “Now that he’s got this show, he can always go to a party, have one drink and escape, pleading that he has to go to bed around nine, which is true. It’s perfect for him,” Andrews said.

Gehman describes what happened in the RCA Exhibition Hall as a typical program happened, and for that alone the article is worth seeking out: the four cameras (including one on a platform), the nearby turntables, the array of desks and telephones and teletypes, everything you see in the few preserved kinescopes. But we also meet the writers (including Andrews and Paul Cunningham), directors Jac Hein and Mike Zeamer⁴ and their several assistants, and go inside the downstairs control room to learn about the particular kind of stress they faced making the program happen.⁵ We appreciate why, just after each day’s broadcast ended but before the daily post-mortem meeting in the program offices in the RKO Building, the working crew stopped off for a quick decompression at the Hurley and Daly tavern across 49th Street.⁶ Then it was off to the meeting, which typically lasted to around one in the afternoon.

Then after that, a group of Today staffers, calling itself the “Telop One Club,”⁷ adjourned to Toots Shor’s for what Mike Zeamer called “the daycap” – as Gehman explained, the daycap “differs from a nightcap in that it is not the last, but the first of several.” The club’s members unwound by telling jokes and airing gripes, and sometimes those sessions turned into impromptu conferences about new ideas for the program. And thus the cycle continued.

There’s one more item of interest in Gehman’s article: he describes the work of “a lovely, scrubbed-faced girl who also takes care of the weather board,” who also “writes the book and magazine reviews as well as serving as decoration on the show, and often gets as much fan mail as Garroway.” That lovely, scrubbed-faced girl was Estelle Parsons. While gathering the material for this article, Gehman struck up a connection with her that eventually culminated in their marriage.⁸

The Rube Goldberg Hour

As television production was being carved from the wilderness, some things worked better than others. Live production was challenging enough in a regular studio with two or three cameras and simple switching from the nearby control room. Throw in additional elements – live remotes, telop cards, film chains, you name it – and the chances of things going wrong went up even more. On Today, one of the most ambitious and technically complicated programs on the air in the early 1950s, flubs were inevitable.

In the early days of Today, the program originated from the RCA Exhibition Hall¹, across 49th Street from NBC’s facilities inside 30 Rockefeller Plaza. But while the program was directed from a control room downstairs from the studio floor, additional elements had to originate from inside 30 Rock. And one source of constant angst was the coordination of filmed pieces, which were ordered up from the control room and had to be inserted from inside the main facilities across the street.

In a 1954 Esquire article about Garroway and Today, writer Richard Gehman² described the challenges of bringing it all together. Sometimes the wrong film came up (Gehman mentioned a morning when Garroway announced, “We take you now to Ambrose Lightship!” and instead a film of the Vienna State Opera appeared). Other times, the timing was off, since the film machine required five seconds to get going up to speed. Gehman noted that if the director didn’t give an on-time cue to the assistant director to tell the film technical director to “roll up” the film machine, viewers might see numbered leader film or an empty screen. “Considering the difficult timing involved,” Gehman wrote, “it is miraculous that such horrors do not appear more often.”

But other times, film goofs weren’t the fault of the control room. Today writer and managing editor Gerald Green³, interviewed by Jeff Kisseloff for the great oral history The Box, told of an ongoing frustration with Garroway and Jim Fleming that led to film problems. In their copy, on-camera talent say certain words that serve as a cue for the control room to roll a particular piece of prerecorded material – appropriately enough, this is called a “roll cue.” Green remembered that he had difficulty getting Garroway or Fleming to read their roll cues as prescribed – instead, they’d ad-lib and since the roll cue wasn’t given, no film would follow. After the program, when they would ask Green what happened to the film, he would reply, “Read your roll cue and you’ll get the film on time.”⁴

Green remembered that when he was managing editor, he’d watch Today from his home and watch Garroway or Fleming ad-lib, miss the roll cue, and then muse aloud that there was supposed to be film to go with this. Green would shout at his television, “Run it! Run the damn film!”⁵

All of which led to the evening Green was in the kitchen, and from the den he heard his young daughter yelling. He went in to see what was the matter. In the den, he saw his daughter watching Felix the Cat. Sure enough, she was yelling at the television: “Run it! Run the damn film!”⁶

One week in: “Gutenberg’s reputation is not threatened”

We spend a lot of time here talking about the early days of Today, and there’s a couple reasons for that. The first, obviously, is because when you look at the career of Dave Garroway you find a ton of material about his years on that program, and to not talk about it is sort of like talking about Neil Armstrong without mentioning that whole Apollo 11 thing. But it’s also interesting to look at those early days because Today was such a departure from anything else that had come before, and it’s worth seeing how a program we now take for granted brought such responses when it was new. In this installment, we’ll look at how Broadcasting looked at the first few days of Today in its January 21, 1952 issue.

(Before we go any further, it’s only right to thank the amazing online archive at the incredible American Radio History website, where this and a ton of other issues of Broadcasting, along with many other titles, are available for research. Folks like these make historians’ jobs so much easier, and they really deserve an award or ten for doing this stuff.)

The review begins by noting the immense buildup NBC had created around the program, “suggesting that the program would be of greater historical consequence than the invention of the printing press.” After the first few days, however, the review noted “Gutenberg’s reputation is not threatened” – and that the early-morning radio programs Today was meant to rival should not yet be thrown out.

Its main problem, Broadcasting noted, was that it tried to do too much too quickly and set an impossible mission for itself. “No one television show can deliver the contents of the Library of Congress to America’s living rooms and that is just about what its originators envision Today as attempting.” As a result, it reduced news stories to brief headlines, three-minute songs were truncated to a minute’s play, and book segments didn’t go into any appreciable depth. Even the trans-Atlantic reports seemed to do little more than just demonstrate such communications were possible.

The review included this really nifty depiction of the Exhibition Hall studio. (Broadcasting Magazine)

Broadcasting was not impressed with the busy studio, noting its array of clocks (“one showing the time in Calcutta, a hot-bed of interest to Indian viewers”), flashing lights, recorders and other gadgetry “as to suggest it was designed by the producers of Captain Video or Space Cadet.” The busy set with its many occupants milling about would resemble “St. Vitus’ dance brought to the screen were it not for the restorative presence of the man who now saves the show and can, with proper support, establish it as an important television feature.” Broadcasting praised Garroway as “imperturbable” and suggested Today would be successful only if the rest of the program were tuned to more closely match Garroway’s calm demeanor.

The review noted a moment from the January 15 edition that suggested a path Today could take. That morning, Garroway had interviewed New York Daily News drama critic John Chapman about a play that had opened on Broadway the previous night. Chapman told Garroway he hadn’t cared for the play, and explained why. After Chapman expressed his views, Garroway presented a recording made the night before in which theatergoers’ opinions differed from Chapman’s. “This was imaginative,” Broadcasting noted, “and an example of the kind of foresighted thinking that it will be necessary to employ consistently to make this program a success.”

Broadcasting noted that NBC had put a lot of resources into making Today a success, and “it remains only for production genius to figure out how to use it.” The review suggested that Today limit its mission to what it could do well within its allotted two hours, for at its current pace, “it will succeed only in being a costly what-is-it, running a poor second in music and news to radio in the competition for the morning audience.”

In a separate item below the review, Broadcasting noted that on its first day Today claimed a newsbeat, with NBC publicizing that a bulletin on a Northeast Airlines plane that crashed in the East River “scooped all networks and stations.” Broadcasting noted that the “scoopees” presumably included NBC’s New York flagship station WNBT-TV, since East Coast stations left Today at 9:00 AM, while the bulletin was seen only on the additional hour for Central Time Zone viewers.

One final note: In a sidebar, the basic facts about Today included an approximate cost of $35,000 per week. In January 2018, that translates to $327,371.51 per week, which…I somehow doubt would cover the week’s expenses these days.

The King Is Dead (Part II)

A couple weeks back my co-author provided an excellent precis of what happened the morning of February 6, 1952, as Today had to throw out its planned program to cover the death of King George VI. As it happens, Billboard had been publishing ongoing reviews of Today (“because of its importance in opening up additional morning hours in television,” the publication promised it would continue to offer critiques “as long as it believes significant improvements may still be made”), and the program’s coverage of the King’s passing was a major component of its February 16 review.

Joe Csida’s review began by noting the program had improved in its second and third weeks, losing the “frantic, disorganized atmosphere” of its first week and slowly discarding ideas “which no doubt sound great on paper but come off just short of ludicrous on the air,” including a bowling match between players in Chicago and New York and a knitting contest. But the February 6 program, which had to deal with two major stories that broke before air, made Csida believe “the show really seemed to come into its own.”

The King’s death, obviously, dominated the morning. Csida noted that the program’s tribute included newsreel footage of the King’s life, a telephone report from London correspondent Romney Wheeler, and an in-studio visit from H.V. Kaltenborn, “who was shaken out of the hay for the event [and] contributed interesting sidelight and background data in interviews with Garroway to round out the picture.” Csida called the program’s coverage “dignified yet exciting” and that it “left little to be desired,” summarizing it as “knowing and beautifully-handled.”

(One casualty of the story was a plan to have a group of Boy Scouts take over the program that morning. Garroway had them come on camera, where he apologized to them and explained that in view of what had happened, the Scouts would need to come back the next day.)

As if that wasn’t enough, Today dealt that same morning with word that President Harry Truman, who had earlier called the state primaries “eyewash,” had decided to enter the New Hampshire primaries after all. The program carried a pickup from Washington with NBC’s Richard Harkness and newspaperman James Reston discussing the move. Their conclusion that Truman’s announcement was meant to counter the rise of Sen. Estes Kefauver, riding a wave of popularity after his well-known hearings into organized crime, prompted Csida to praise them for “a nice piece of ‘inside’ reportage.”

Csida concluded his review by noting that Today would rise and fall on how stories broke, and that the inevitability of dull news days meant that producers needed to bring together “sound thinking on the feature-type stuff,” and that other elements of the program needed improvement. However, he noted, “Garroway gets better every day. The guy is a great performer, and his development on this tough job is something to be marked in TV’s history books. Jim Fleming and Jack Lescoulie continue, too, to make solid contributions.”

Csida concluded his review with these words: “If the program’s planners and thinkers don’t let up, Today is a cinch to make it, and make it big.” (Wonder how that turned out?)

The Truman interview that wasn’t

By November 1953 the big window of the RCA Exhibition Hall had become a popular attraction for visitors to New York, and every once in a while a famous face could be seen looking in on Dave Garroway and his merry group as they made Today happen. But one day, a particularly famous face could be seen looking in from the 49th Street sidewalk – and but for one particular remark, Today could have landed its biggest interview to date.

On Friday, November 13, former president Harry Truman was in New York. Truman, who had been out of office less than a year, was known for the brisk walks he would take each morning. New York was no obstacle to his routine, and that morning he left his hotel for a two-mile stroll around the city. In tow were his old haberdashery store partner, Edward Jacobson, and entertainer George Jessel. Following them were about 15 reporters and photographers, who peppered the former president with questions about current controversies and received Truman’s candid comments in response.

Truman’s path through Midtown brought him along 49th Street, and as he passed through Rockefeller Center he noticed the crowd looking in on the Today program across the street. Intrigued, he crossed in the middle of the block. “I know this is against the law,” the nation’s highest-ranking jaywalker told reporters.

Inside, the program staff noticed Truman at the window, smiling and waving. Cameras were quickly swung around. Somebody scooped up J. Fred Muggs and brought him to the window to see Truman, who smiled. “I’d better get along,” he said. “I don’t want to spoil the show.” Quickly, staffers hurried outside, bringing Muggs along to meet Truman. Truman shook hands with the chimp, but backed away when he tried to put a hand around his shoulders. “I don’t let people get so intimate with me,” the former president quipped. Although Truman drew the line at an embrace, he did sign a baseball for Muggs.

For a moment, Today staffers thought they’d have the interview of the year. A staffer asked Truman and Jessel if they’d step inside to talk with Garroway. Truman sounded receptive to the idea. But Jessel, who had a program on ABC, had other ideas. “The president is too busy and I work for another network,” Jessel said. (Years later, recounting the incident, former Today writer Gerald Green called Jessel “the biggest schmuck that ever lived.”) To the consternation of Today staffers, the retired chief executive and his entourage waved goodbye and wandered on, the hoped-for exclusive gone as quickly as it seemed to appear.

The King Is Dead

Teletypes inside the RCA Exhibition Hall clattered to life at 5:45 a.m. EST, Wednesday, February 6, 1952, carrying news that Britain’s King George VI died. Today was still in its first month on the air, experimenting to find the right balance of its various tasks – news, weather, sports, music, interviews, reviews and myriad ephemera. But the significance of the king’s death made its own case. The plan for that day’s program was thrown out, and a new one created from scratch.

Dave Garroway points to a headline on the “Today in Two Minutes” board, 9:30 a.m. EST, February 6, 1952. (NBC photo)

In the slim hour available before airtime, the Today crew arranged for remote phone reports from London and Paris, found stock film, and secured live television pickups from Washington. Broadcasting magazine reported the show went on at 7:00 a.m. with Dave Garroway’s announcement of the king’s death. A few moments later, he spoke with NBC correspondent Romney Wheeler, phoning from London. The “Today in Two Minutes” board was updated through the morning with newspaper front pages and wire service photos.

NBC foreign affairs commentator H.V. Kaltenborn was summoned to the Exhibition Hall. He worked with Today news anchor Jim Fleming to provide background information on George VI’s tenure. Coverage continued through the program’s three hours that day. CBS and ABC, having no comparable early-hour network program, aired their first television reports beginning at 10:00 a.m., after Today signed off. It was a coup for the show.

The busy Exhibition Hall during the 9:00 a.m. hour, February 6, 1952. News anchor Jim Fleming is at right, wearing a dark suit. (NBC photo)

As should be no surprise to students of early television, no kinescope of this Today exists, so we’ll never be able to see how it all played out. But accounts that have been written since indicate the cast and crew pulled off their first real test of breaking news and helped solidify the show’s bonafides.

In November 1955 Mad magazine trained its sights on Today. The result was The Dave Garrowunway Show, a spoof that gleefully skewered the program’s conventions. Dave not only loved the piece, but talked about it on the air and recommended the Today audience check it out.

Obviously I can’t post the whole piece here (besides, the version I have is the reformatted version printed in the paperback The Brothers Mad, and it doesn’t look anywhere as good as the magazine version). But the image above, the work of the great Jack Davis, should give you an idea of how deliciously off-the-wall The Dave Garrowunway Show is.

The forgotten chimp

It’s a given, almost as if guaranteed by some kind of law of nature, that any discussion of the Garroway era on Today will mention J. Fred Muggs. And, yes, it’s important to remember Mr. Muggs, who provided a ratings boost after his February 1953 debut (and whom some accounts credit with saving the program from cancellation) and became something of a pop-culture sensation. An entire generation still has vivid memories of Muggs’ mischievous antics on early morning television.

That’s all well and good. But J. Fred wasn’t the only animal sidekick on Today, and another chimpanzee is often lost in his shadow, or identified as Muggs in photos or footage. And that’s sad, for while Kokomo Jr.’s tenure on Today wasn’t as long, his story is no less interesting.

In early 1957, Muggs’ days on Today were numbered. (That’s a story I will get into another day; let’s just say it’s complicated, and since lawsuits ensued I want to make sure I tell that one correctly.) Producers were going to have a gap to fill somehow. As it happened, an upcoming Florida remote would provide an answer.

Enter New York bricklayer and nightclub magician Nick Carrado, who had fallen in love with an adorable year-old chimp during a visit to a Massachusetts wild animal farm in 1956, and purchased the little one. Frustrated with trying to teach a rabbit to do tricks, Carrado thought of incorporating the chimp into his act. But his plans changed when the chimp started stealing the show. Carrado, who remembered “literally raising him like a child,” taught the chimp how to do magic tricks and other things that would delight audiences. In honor of two fallen Marine Corps buddies, Koke and Moe, Carrado named the chimp Kokomo Jr. They shared Carrado’s Manhattan apartment, where Kokomo had his own room with its own television set. “He’s crazy about programs with horses and dogs in them. He likes to bark at horses,” Carrado told a reporter.

In early 1957 Carrado and Kokomo Jr. took their show to Florida. While they were down South, Today was doing a remote from the state. The producers had heard about Kokomo’s act and wanted to meet him, and the chimp ended up on the program. As Carrado remembered, “NBC taped the whole show around us and we were hired on the spot.” According to contemporary accounts, Today began promoting Kokomo Jr.’s March 1 debut in mid-February, before Muggs’ send-off.

Kokomo made his official Today debut on March 4, dressed in a white shirt, gray trousers and a bow tie. Throughout the program, he ran errands for Garroway and carried paper to a wastebasket. “At the close of the first day,” wrote one reviewer, “he rubbed his natural crew-cut (signifying he had a headache), but then – after some thought – he dropped his hand and applauded his own performance.” In later programs Kokomo wrote “poetry” on a typewriter and did watercolor paintings, or helped Garroway with the weather.

The producers would sometimes ask Carrado for certain routines, like playing a violin, and Carrado would train Kokomo in how to play. Carrado took pride in Kokomo, taking him for regular shaves and haircuts and keeping him outfitted in nice clothes, and adding new tricks to the repertoire.

Within two months of his Today debut, the city of Kokomo, Indiana named the chimp an honorary citizen. A New York restaurant asked him to contribute a painting for display. Soon Kokomo was asked to appear on the newly-retooled Tonight program with Jack Paar in July 1957, and went through basic training with a Naval Air Reserve unit for a September 1957 Today segment. Merchandise soon followed, including a doll. The chimp was invited to Kokomo, Indiana, and even invited to throw out the first ball on the opening day of the Kokomo Dodgers’ season.

Kokomo’s personality differed from that of his predecessor. While Muggs had a reputation for mischief, Kokomo Jr. came across as relaxed. Take a look, for instance, at this moment from November 1957 as Garroway gently reads poetry to an affectionate Kokomo. (And note that while the video misidentifies Kokomo Jr. as Muggs, that is Kokomo Jr. If you look closely, you will see the “Kokomo Jr.” nametag on his vest.)

While Kokomo Jr. was an adorable addition to Today, lightning did not strike twice. Perhaps audiences accustomed to the higher-octane antics of Muggs weren’t as engaged by the laid-back Kokomo Jr. Perhaps the producers, or Garroway himself, got tired of the concept or felt it didn’t fit the increasingly informative nature of Today. In any event, by July 1958 Kokomo Jr. was off the program. Columnist Marie Torre noted at the end of that month that “Kokomo Jr. (of old Today fame)…is posing for photographic illustrations for a series of Hallmark greeting cards.”

After his Today gig was over, Kokomo went on to continued success on television and the stage, doing everything from mall openings to television commercials. In 1969 the original Kokomo Jr. retired to a farm Carrado owned in upstate New York. Kokomo’s son took over the act, traveling with Carrado in a custom motorhome from gig to gig. A reporter noted in 1977 that Carrado credited the elder Kokomo for a successful act that made millions of dollars. Carrado later revealed that he used two chimpanzees in the act, alternating them between days to keep them from getting exhausted. “I was always concerned about not pushing them too hard,” Carrado told an interviewer in 2000 about that secret. “In the end, I’d rather that people know that I’m humane.”

In 1983 Carrado and the chimps retired to North Carolina. Carrado and his wife started a company that sold packaging tape. The chimpanzees lived out their retirement painting, snacking, watching television and riding on their Big Wheels through the Carrados’ yard. Carrado himself, long concerned about the humane treatment of animals, drew up a proposal for a retirement home for show-business animals. When Carrado passed away in December 2007, his obituary noted that he was “best friend and trainer of Kokomo Jr.”

Though the various Kokomos are long retired, they live on at the official Kokomo Jr. website, where you can learn more and see some interesting photographs and artifacts from Kokomo’s moments in the spotlight.
—–
SOURCES:

Associated Press, “Kokomo Jr. Swinging, Rich Chimp,” Orangeburg, SC Times and Democrat, 24 June 1977.
Hurley E. Badders, “Tuning In,” Greenville News March 10, 1957.
William Ewald, “Kokomo A Versatile Young Chimp,” San Mateo Times, 8 May 1957.
Jack O’Brian, “Lark Rating Falls Short,” Des Moines Tribune 13 Feb. 1957.
Marie Torre, “Lawrence Welk Plans To Try Teen-Age Band,” Rochester Democrat and Chronicle 29 July 1958.
WFMU.org, “Kokomo Jr., Renaissance Chimp.” https://wfmu.org/LCD/24/kokomo.html

The first “Today,” as it happened

The very first Today program aired on January 14, 1952. The complete program is lost to history, since in the run-up to “T-Day” nobody thought to order a kinescope. All that remains on film are the 7:00-7:29 segment and the segment from roughly 8:44 to 8:58. Many years ago the Today website had a rundown transcribed from the NBC archives, but some segments in the original document were out of sequence, and some other information was missing, incorrect, or didn’t seem to square up somehow.

What is presented below is the result of a years-long effort to reconstruct that first program. The detailed portions are from my notes from the kinescope (which you can watch here), while the rest is reconstructed from the rundown document, from the photographs Peter Stackpole took for Life that morning (many of which are linked below), from contemporary articles, and other sources. I have also embedded a few screen captures (credit: NBC) to illustrate from time to time. This is a living document, and as more information is found this post will be updated. If you have information that will help make this more complete, please share (gently) in the comments or drop us an e-mail.

TODAY – January 14, 1952
7:00 am – 10:00 am Eastern Standard Time

(kinescope begins)
6:59:30: NBC ID
6:59:35: Telop and v/o promo for Richard Harkness and the News
6:59:50: WNBT ID telop/spoken ID

The very first images of Today came from this camera position, which stayed busy that morning. (NBC photo)

7:00:00: Program begins. Jack Lescoulie spoken intro.
7:00:15: Garroway’s “preamble” begins.
7:02: Time stamp and headline crawl begin. Garroway walks to headline board for “Today in Two Minutes.”

7:04: News film of Capt. Carlsen of Flying Enterprise.
7:05: Return to studio; sports stories. Garroway explains when news summaries will be presented during the program. Begins tour of communications center.
7:06: Introduces Jack Lescoulie. Visits with Mary Kelly, who tells him the weather bureau is on the line for him. Garroway shows off Kelly’s electric typewriter.
7:07: Garroway shows off tape recorder and telephoto machine. Visits with Buck Prince, who has Romney Wheeler from London on the line. Also talks to Ed Haaker in Frankfurt. The big story there is the first big snowstorm of the year. “It’s really chilly here today.” Garroway: “You’re not alone. Thank you very much, Ed.”
7:09: Garroway introduces news editor Jim Fleming.
7:10: Garroway shows off wire service machines and wall of newspapers flown in for the program.

Newspapers from around the country. I think that’s Estelle Parsons holding the newspaper. (NBC photo)

7:11: Garroway walks back to telephoto machine and looks at photo – “still wet.” Walks back to his desk.
7:12: First remote – view from top of RCA building.

The first remote gives a view of 30 Rock’s ventilator stacks, but the rainy and cloudy morning prevents seeing much else. (NBC photo)

7:13: Remote from outside Pentagon. Frank Bourgholtzer v/o. Says things aren’t too visible from the Wardman Park Hotel location. Pans right from Pentagon to view of Washington skyline. Cut back to monitor view in New York.
7:13: Remote from Chicago. Jim Hurlbut interviews two Chicago police officers who are sitting in their patrol car.
7:14: In the middle of Hurlbut’s interview, we cut back to the studio. Call over studio PA from control room: “Station break, Dave.” “Oh…recess time, right back!”
7:15: Telop and v/o promo for The Mel Martin Show and WNBT ID.
7:15: Garroway at desk attempts to resume remote to Chicago but cannot get through to Hurlbut (although Hurlbut is visible on monitors with police officers).

Garroway gives up on trying to reach Jim Hurlbut: “Peace, lad.” (NBC photo)

7:16: Jim Fleming gives a news update (Mark Clark nomination as Vatican ambassador withdrawn; China accuses US of flights over Indochina; investigation into inflammable sweaters).
7:18: Garroway on phone with Jim Fidler for weather report, but Fidler not heard on the circuit. Control room (via studio PA) tells Garroway as much and asks him to continue. Garroway relays Fidler’s forecast while drawing it on map (which Garroway has to erase first).
7:20: Garroway finishes weather report, informs viewers they will play records from time to time.
7:21: First record: “Slow Poke” by Ralph Flanagan and His Orchestra (backtimed with no instrumental lead-in; music about 90 seconds in duration). Slow pan over newsroom; clock dissolves in.

7:23: Garroway walks over and cues Jim Fleming at the newspaper board on far end of communications center. Fleming compares Minneapolis headlines vs. San Francisco headlines. Lescoulie (next to Fleming) marvels that the late headlines from San Francisco would come in via wirephoto so quickly. Garroway comes over and announces “recess time.”
7:24:30: NBC tones. Telop promo for Dave and Charlie. Telop and v/o promo for Lights Out with Frank Gallop. Telop ID for WNBT; v/o promo for Tex and Jinx. V/O ID for WNBT.

7:25: Jack Lescoulie explains what viewers can expect on the program and over the next half-hour. Previews records, upcoming interview with family with son in Korea. Introduces Garroway, who interviews Lescoulie about his background and experiences.
7:27: “Sentimental Journey” fades up. “Recess; right back.” Garroway walks back to desk.
7:27: Film PSA for Treasury Dept./US Savings Bonds. No sound from film; instead, sounds from inside communications center (teletypes, phones, bells, etc).
7:28: Garroway at desk: “I didn’t know there was any sound with that film or I’d have whistled ‘Dixie.’” Remarks that he didn’t hear it over his speaker. Also notes they lost the time at the bottom of the screen and “we’re having some new times made.”
7:29: Garroway does time check, explains program for those just tuning in. Notes people looking in through windows. “Recess time right now for a minute.”
7:29: Telop promo for Richard Harkness and the News.

(end of kinescope segment; until further notice, this is reconstructed from program log sheet and other sources)

7:30: Garroway provides a briefing on what the program is about and talks with one of the remotes.
Garroway talks to the families of two soldiers stationed in Korea, Sgt. Mickey Sinnot and Sgt. Bill Cassidy. They are then shown films taken in Korea of the soldiers when they had talked to their families in days previous.
7:41: Record: “I Wanna Love You” by the Ames Brothers.
7:45: Jim Fleming gives a news update.
7:48: A live shot from a busy Grand Central Terminal as commuters hurry to work. Record: “It’s a Lonesome Town” by Mary Ford and Les Paul.
7:51: A similar live shot from Washington, D.C.
Garroway at newspaper rack takes a look at the headlines, and Jack Lescoulie gives sports update. Curious passersby watch.
Record: “Weaver of Dreams” by Nat King Cole.

8:00: Central time zone joins the program. Garroway introduces program; gives rundown of “Today in Two Minutes.” Newsreel of Capt. Carlsen of Flying Enterprise shown.
8:07: Garroway goes to newspaper board, then checks in with the overseas correspondents via shortwave radio. Robert McCormick in Paris says the big story of 1952 will be about SHAPE and NATO. In a moment widely criticized, Garroway asks a favor of Romney Wheeler in London: “All we want you to do is start our next record.” Wheeler obliges. “I hope it’s ‘Domino.’ It’s very popular over here.” You can guess what happens next. On the way back to his desk, Garroway visits with Mary Kelly.
8:12: Views of Grand Central Terminal.
8:13: Views of Washington from the Wardman Park Hotel and the Pentagon. At the Pentagon, Ray Scherer flags down Chief of Naval Operations Adm. William Fechteler on his way to work. “Can you give us a pronouncement on the state of the Navy?” Fechteler: “Well, I don’t know. When I left it yesterday, it was in great shape.”
8:15: Views of the rush hour in Chicago.
8:20: Jim Fleming with news update.
8:22: Garroway interviews Fleur Cowles about her book Bloody Precedent, published today.
8:31: Garroway does “Today in Two Minutes” briefing. Bill Stern, just arrived from California, walks into the studio and greets Fleur Cowles.
Record: “October 32nd, 1992” by the Modernaires.
8:40: Jim Fleming gives news briefing. Talks with Garroway, Bill Stern and Fleur Cowles.

(kinescoped segment resumes)

“Changing Times” was with “Today” on its first telecast. Kiplinger’s publications remained “Today” sponsors into the 1970s. (NBC photo)

8:44: Garroway does live spot for Changing Times while leaning on desk. Notes that a lady from Brooklyn called in reference to a spot earlier in the program: “Tell Garroway that the penny postcards he’s talking about now cost two cents.” Remarks that’s a sign of changing times.
8:45: NBC chimes/telop promo for Howdy Doody. Film promo for Boston Blackie. V/O promo by Don Pardo. Film ID for WNBT with V/O promo for Kukla, Fran and Ollie.
8:45: Back to studio. Garroway sees he’s on camera – “Oh, I’m talking to a friend! Is that all right?…Mort [Werner, producer], will you tell our cue people that they’re running about three inches high?” Gives time check; throws to Jim Fleming. Fleming gives story just in from Tokyo: US Navy patrol bomber crashed this morning near Yokohama. Recaps Mark Clark story, Douglas will not run for president or VP, attacks in Suez zone, Chinese charges that US planes overflew Manchuria, AEC chairman says we’re still working on H-bomb, new US proposal in Paris about control of A-bomb, Secretary of State Dean Acheson to testify before Senate Foreign Relations Committee today, Iranian prime minister Mohammad Mossadegh refuses to rescind order to close British embassies in Iran next week, economic adviser Leon Keyserling predicts $85 billion US budget for the year, recap of inflammable sweater story, bad weather in Pacific prevents search for survivors of missing freighter. Late bulletin comes in: Capt. Carlsen received a decoration today from the king of Denmark; Fleming notes that he will be honored in NYC Wednesday. Throws back to Garroway: “Brother Garroway, are you there?”
8:46: Garroway is on phone; grins at Fleming. Goes back to phone; asks control room if the mobile units are coming up after “Frenesi.” Asks them to hold “Frenesi” and to go to mobile units first. Cues Frank Blair in Washington. There’s a pause, cue channel chatter audible; picture from Wardman Park comes up, cough over audio. Garroway says he sees Jim Hurlbut in Chicago. Frank Bourgholtzer comes on, identifies himself. Picture shows morning traffic on Connecticut Avenue bridge and Rock Creek Parkway. Bourgholtzer says he’s at the Pentagon. Picture cuts to Pentagon and crowded parking lots there. Bourgholtzer says Ray Scherer is standing in front of the Pentagon, doesn’t know if they can cut to him or if they’ll show the yacht basin. “Sherm, can we have that shot? There we are!” Bourgholtzer notes that some come to work by boat, including Air Force brass from Bolling Field. Pan over parking lots; Bourgholtzer notes some can contain 6-7,000 cars. Bourgholtzer then throws to Ray Scherer, who notes parking lots on Mall side of Pentagon and how quickly they filled up. Notes Washington Monument and Jefferson Memorial in distance. Says he expects Secretary of the Army Frank Pace at any moment. Gloomy, overcast morning in Washington.
8:50: Quick view of Pentagon exterior before cuts back to Garroway: “There! We got it that time!” Garroway, smiling, gives quick explanation of how these are some of the tools that will be used on the program to take you to various places, how they can get into just about any place. Cues Jim Hurlbut in Chicago.

8:51: Hurlbut in Chicago, outside the Loop Terminal of the Illinois Central suburban railroad. Shows people coming out of terminal to go to work. Cuts to corner of North Michigan and East Randolph, showing pedestrians and traffic. Hurlbut notes how busy that corner gets during rush hour. Cuts back to Hurlbut outside terminal with people coming out of terminal. Hurlbut notes the fog will be with them all morning long. Cut to view of bridge tower in fog and NBC mobile unit on bridge, panning left. Cut to view of buses waiting for passengers. Cut back to Hurlbut, who wraps with “so, take it away, Dave Garroway.”

The state of the art in 1952. If only this baby could come up for sale in Hemmings the month after I win the lottery. (NBC photo)

8:53: “Thank you, Jim, old friend…and he is that.” Garroway notes Chicago is his old hometown and it looks familiar to him, but NYC is his new hometown and how busy and populated it is. Time check as he cues camera at Grand Central Terminal and Peter Roberts. Shots of commuters arriving as Roberts explains what’s going on.
8:54: Back to Exhibition Hall and Garroway. “We’re going to take a time-out for a short recess at this minute. Be right back, folks.”

There’s no way I was leaving this out. (NBC photo)

8:54: NBC chimes. Telop promo for Kukla, Fran and Ollie. Telop card for Mothers’ March on Polio with Eddie Cantor v/o. Don Pardo v/o repeats phone number. Telop ID for WNBT with Pardo v/o for Ben Grauer’s Seeing is Believing. WNBT verbal ID.
8:55: Lescoulie at desk recaps what program has done thus far and what it intends to do, bringing you top stories “as regularly as coffee is served.” Wire service photos will also be shown. “And, of course, we’ll always have…Dave Garroway!” Garroway standing near desk realizes he’s on, gives time check. Time and headline crawl return to screen. Garroway notes a lady has called and said it’s an interesting program but they haven’t once mentioned Brooklyn. Garroway walks over to Lescoulie, says Jack was telling him something about “a rhubarb between [Roy] Campanella and the Dodgers.” Lescoulie notes the lady calling about the lack of a Brooklyn mention; Garroway taps Lescoulie’s shoulder and says “I just said that.” They laugh about it.
8:56: Lescoulie begins telling story about Campanella’s refusal to have bone chips removed. “Sentimental Journey” comes up and Lescoulie is faded out in middle of story.
8:56: Filmed PSA for Big Brothers of America with Gene Lockhart. “Sentimental Journey” still plays over first few seconds.
8:57: Back to Lescoulie in studio; no audio for first few seconds. Lescoulie recaps his conversation with Campanella about a story that he was holding out on re-signing with the Dodgers for the 1952 season. Campanella debunks story, saying he would return to the Dodgers.

Jack Lescoulie not only smiled between every sentence, but kept smiling while he was talking. It’s truly amazing to watch. (NBC photo)

8:58: Garroway at desk notes they have a box of gadgets. Shows off needle-threading device.

8:59: Garroway notes it’s time to say goodbye to east coast viewers. Notes he wants to stand because he means it sincerely, and notes that the show has a lot of bugs but they will work them out. “Today” super comes up. “Peace.”

(end of kinescope)

9:00: Program continues for Central Time Zone. Garroway does “Today in Two Minutes.” News update.
Record: “Frenesi” by Artie Shaw
9:20: A view of commuters at Grand Central Terminal. Music: “Grand Central Station.”
9:22: Weather report from Jim Fidler. Jack Lescoulie marks weather map.
9:23: Jim Fleming has AP report on Northeast Airlines Flight 801, which crashed on approach to LaGuardia 20 minutes ago. The bulletin is broadcast one minute after it was received via teletype.
9:27: Fleming illustrates story with viewgraphic map showing location of crash.
9:40: Jim Fleming gives news update. Garroway at newspaper board shows the headlines in different parts of the country.
Record: “I’ll See You in My Dreams” by Hugo Winterhalter.
9:48: Visit with families of soldiers in Korea.
9:55: Garroway shows wire service photo just received.
9:59: “Peace.”
9:59: We’re clear.