Category: TV Industry

CNN, The Inside Story

The Book of the Week is “CNN, The Inside Story” by Hank Whittemore, published in 1990. This volume tells the history of CNN, Cable News Network. The point of CNN was to create an alternative to the then-three networks, ABC, CBS and NBC, that monopolized American TV.

In 1976, Ted Turner owned a company that provided cable TV via satellite, consisting of games of the professional sports teams owned by him, and movies. By the end of the 1970’s his goal was to start a 24-hour cable network of just news. He was like the American president Donald Trump in that “…Turner had set the goal and the deadline and the sense of mission; and now, as he always did, he was putting together the people who knew how to make it happen.” However, the entertainment industry in the United States is a completely different animal from the federal government.

Nevertheless, a headquarters– a previously decrepit structure, gutted and created from scratch– for the new cable channel in Atlanta, had been readied sufficiently to provide minimal functionality in six months. The secretary of Reese Schonfeld, a high executive in the venture, had this to say, “… they had sketched out the whole newsroom one night on the back of a grocery bag…”

Launched in mid-1980, CNN evolved into a “revolving door” station (viewers tuned in periodically to see whether there was breaking news; they didn’t watch it every second) because it had to do things on the cheap and fill 24 hours of airtime every 24 hours. The big three networks practiced cartelizing behavior in order to shut CNN out of information-sharing. So CNN sued all parties involved, not just the networks.

Read the book to learn of what became of CNN, up until the book’s writing.

This Just In

The Book of the Week is “This Just In, What I Couldn’t Tell You On TV” by Bob Schieffer, published in 2003.

The author started his journalism career at the Fort Worth Star-Telegram at the dawn of the 1960’s. Later, he covered the overnight shift police beat. In those days, there was no security in the detectives’ office. He and people off the street could roam the station at will. Before Miranda Rights, reporters frequently recorded the confessions of suspects because they could type and the cops couldn’t.

Schieffer got his wish to go to Vietnam to cover the war in 1964, before it became controversial. During more than four months, he rooted out and interviewed all of the soldiers from Texas, hitching rides on military helicopters. President Lyndon Johnson was also from Texas, so the author trusted him when he initiated fighting in order to nip Communism in the bud and keep neighboring states from it, too.

The author later changed his mind when he saw how extremely inefficient it was to have tens of U.S. troops searching for one or two Viet Cong guerrillas per day in rural areas. He also saw how the teenage South Vietnamese would-be ragtag soldiers recruited by the Americans, refused to help the U.S fight. Stateside, he was sent to cover countless anti-war protests. At that time, protestors were expressing their feelings about a super-controversial situation in their country that was a matter of life-and-death.

In 1966, the author started to anchor TV news in Fort Worth. At the time, the screening of primitive newsreels was the norm. Next came CBS radio news in Washington, D.C. in 1969. Washington’s real beats consisted of the White House, State Department, Pentagon and Capitol Hill. Schieffer’s station chief expected his news gatherers to be on call 24/7, so CBS became the network that covered the government best.

However, President Richard Nixon held sway over the FCC. Negative news about the president was censored, because the agency had the power to revoke the licenses of TV stations.

In 1971, Nixon’s childish aides had nothing better to do than generate a blizzard of memos pouncing on every little negative thing that the press reported on the president, or memos on issues they failed to cover. Ironically, there was no security at the Pentagon– most of the building was open to the public. Anyway, the aides also did phony letter-writing to the networks with exaggerated complaints about slanted coverage, and had praise for the Nixon administration.

In 1972, during George McGovern’s presidential campaign, it was found that “Man-on-the street interviews are notoriously inaccurate gauges of public sentiment…” Broadcasting news on the traveling candidate was quite cumbersome. In those days, two reporters were at every campaign stop– one to get the story and the other to go get the film developed. Another fun factoid– the campaign plane served whiskey and food to the news crews, paid for by the networks.

THE AUTHOR HAD PEOPLE TELL HIM THEY THOUGHT A GOOD BUSINESSMAN COULD “… STRAIGHTEN OUT THE GOVERNMENT IN NO TIME…” The author disagreed. Sure, the positions of CEO and president both require leadership skills. However, a business and a government have different goals. THE GOAL OF GOVERNMENT OUGHT TO BE PUBLIC SERVICE, NOT MONEY-MAKING AND THE ACQUISITION OF POWER. All too often, elected officials forget what they were supposed to have been taught in high school civics class. They go astray. And a leopard doesn’t usually change its spots. Businessmen are usually once and always.

That’s why business leaders are less than ideal candidates for government. Besides, the 535 members of Congress make up a very diverse group of individuals who bear listening to, unlike a small board of directors- who are less likely to disagree.

Even when journalists are not under duress to slant their reporting, they have confirmation bias– hearing and seeing what they want to– which is “… the easiest and most destructive habit that a reporter can fall into and has probably caused more stories to be missed than any other single thing.”

Read the book to learn other pearls of wisdom from Schieffer. His decades-long career included experiences in the newspaper, radio and TV trenches covering crime, war and politics– which in some cases, were and still are, one and the same. 🙂

inventing late night

The Book of the Week is “inventing late night (sic), Steve Allen and the original tonight show (sic)” by ben alba, published in 2005.  This slightly sloppily edited book tells how Steve Allen created the format for late night talk shows on American television, starting in the early 1950’s.

When television was in its infancy, Allen’s original ad-libbing and off-the-wall physical comedy made audiences laugh through the 1950’s.  However, since history is written by the most prolific propagandists, and Allen was modest and less than aggressive at self-promotion, other entertainment-industry moguls such as Johnny Carson and his ilk, bragged that they were the ones amusing Americans in an unprecedented way on their late-night talk shows. David Letterman was one of the few who attributed his show’s stunts to Allen’s ideas.

In autumn 1954, Pat Weaver, president of NBC, gave Allen free rein to do whatever he wanted on his new, unrehearsed, live (!) program, “Tonight!” What resulted was an unscripted variety show featuring insane stunts, a band, singers, celebrity guests, news and theater reviews. In planning each weeknight’s episode, Allen would loosely specify the number of minutes of each segment– but continue with a segment if it got a great audience response, and cut the next act on the spot. If the show was a bit slow, he would go into the audience to converse with them.  Every minute of airtime was unpredictable. The only segment that was usually predictable, was the music.

Unfortunately, episodes of the taped, live shows were later incinerated due to lack of storage space at the network. Shortly after the airing of the show, the only way for the general public and cast and crew to get a recording was to buy one– a kinescope for $160. The singers made about $300 a week.

Eydie Gorme had this to say: “All of us working singers would go the Brill Building [in Manhattan] and get all the new sheet music, which they gave you free in those days.” Other celebrities who appeared on the show and were interviewed for this book, lamented that of late, performers of recent decades have resorted to obscenity and vulgarity to elicit cheap laughs from the audience, because they lack talent and creativity. Sadly, most audience members are unaware that their intelligence is being insulted. Even so, the younger ones are unaware of how high Steve Allen set the bar for quality entertainment.

Even more impressive– Allen’s show had TWO writers and twenty band members, while nowadays, late-night shows have TWENTY writers and five or six band members.

Read the book to learn the specifics of Allen’s stunts, antics, routines and style, and what changed when he started a second talk show simultaneously with what became “The Tonight Show.”

Jerry Orbach, Prince of the City

The Book of the Week is “Jerry Orbach, Prince of the City” by John Anthony Gilvey, published in 2011. This is a biography of multi-genre actor Jerry Orbach.

In 1985, at 50 years old, Orbach chose to pursue roles in the fickle world of TV and movies to achieve fortune and fame, instead of a secure income on Broadway, where he would have much less fame. Luckily, he hit it big with the surprisingly successful 1987 movie Dirty Dancing. He received 1% of the gross revenue of the movie. After that, he started to play a slew of bit parts on TV. Thus, people recognized his face on the street, but did not know his name. That is, until he became a major character on “Law and Order” in autumn of 1992. Unfortunately, cancer cut his career short.

Read the book to learn more about Orbach’s fabulous career and personal relationships.

David Spade is Almost Interesting

The Book of the Week is “David Spade is Almost Interesting, the Memoir” by David Spade, published in 2015. This ebook is about the life of the actor and stand-up comedian.

Born in the mid-1960’s, Spade is the youngest of three brothers. His father abandoned the family when he was little.

The comedian wrote about how he started his career in stand-up comedy, and achieved sufficient success to become a writer on the TV show “Saturday Night Live” for a few seasons in the early 1990’s. The show’s content-generators and performers were fiercely competitive because extra money and a big ego boost went to the writers who got a sketch on the air, or did more acting than others. When Spade’s sketches were rejected, his fellow cast members were “… quietly doing mental cartwheels because of the schadenfreude festival around the seventeenth floor [of Rockefeller Center in Manhattan].” He summed up his situation thusly: “I had such a massive chip on my shoulder about being an underdog from Arizona with no show business connections.”

According to Spade, the movie and television studios encourage actors to use social media to interact with their fans. He revealed that the studios might cast an actor for a certain role based on the number of followers he has on Twitter or Instagram.

In addition to describing the making of movies with fellow comedian Chris Farley, the author also included a chapter on his love life. He apparently believes all the male and female stereotypes and that is perhaps why is still a bachelor, as of this writing.

Read the book to learn of Spade’s antics and traumas.

Serling, the Rise and Twilight…

The Book of the Week is “Serling, the Rise and Twilight of Television’s Last Angry Man” by Gordon F. Sander, published in 1992. This is a biography of Rodman Serling, the television writer best known for “The Twilight Zone.”

Serling, born in December 1924, had traumatic experiences as a soldier in WWII. Prior to creating “The Twilight Zone” he penned “Requiem For a Heavyweight,” a drama about a professional boxer aired on the TV show, “Playhouse 90” in October1956. By early 1957, Serling had moved his wife and daughter from Westport, Connecticut to a mansion with a swimming pool in Beverly Hills, California.

Serling was a chain smoker. emotionally troubled for various reasons. One reason was that once the TV industry got its financial sea legs, it began churning out a high volume of lowbrow entertainment. That is why, during his writing career, Serling, an intellectual idea man, switched back and forth between television and movies.

Read the book to learn how, through the decades, Serling coped with radical changes in the profit-making structures and popularity of different genres of television.

What’s So Funny

The Book of the Week is “What’s So Funny?” by Tim Conway with Jane Scovell, published in 2013. This is the comedian’s autobiography. An only child born in December 1933 to an Irish father and Romanian mother, he grew up in a suburb of Cleveland. The former groomed horses and the latter made slipcovers for sofas at a time they were becoming popular in American living rooms. Conway is best known for acting on the Carol Burnett Show.

Conway started gaining experience in an entertainment career in his mid-20’s, at a Cleveland radio station. When he had “made it” on TV, he performed material he had written himself. In the early 1960’s, Steve Allen, the late-night talk-show host, told Conway to change his first name from Tom to Tim, because there was another performer named Tom Conway, so he did.

Read the book to learn of the antics Conway used to break into show business in his generation, and of the characters who populated his life.

Sesame Street Dad

The Book of the Week is “Sesame Street Dad” by Roscoe Orman, published in 2006. This is a general overview of Orman’s performance history in theater, in film and on television, and a comprehensive listing of the famous people with whom he worked. It reads more like a curriculum vitae than a memoir, but it is well organized in chronological order and has a comprehensive index.

The book is somewhat of a bragfest, and the author writes as though he is at a job interview. One section even tells of his encounters with U.S. first ladies who visited the set of Sesame Street. He also discusses how, in recent years, funding has been reduced significantly for that unique educational program, which is on public television. The show has suffered even more budget reductions of late, due to resource-rich, dumbed-down competition from cable channels.

Orman was luckily afforded mentors after he graduated high school in the early 1960’s. He took acting, singing and dancing lessons. He did summer stock theater, and joined a troupe– Free Southern Theater– that presented civil-rights related shows in the Deep South. However, jealousy among this and other acting groups generated competition rather than cooperation in the black theater community. Marijuana and cocaine also added to their problems.

The author started playing the character, “Gordon” on Sesame Street in 1974. The TV show had an anomalous shooting schedule, so its cast and crew were permitted to do other projects in the long off-season. Orman made extra money by making celebrity appearances via the American Program Bureau and later, Paul Jacob Productions. He was easily recognized by viewers as Gordon, but since Sesame Street is a children’s show with a mix of puppets and humans of all ages, the names of its performers are neither as well known nor is their acting as talked about as those of a long-running hit show comprised of adults.

Read the book to learn of the historical reference points in Orman’s life, in his quest for self-discovery and artistic growth, that he wants to “… pass along to my children and their fellow ‘hip-hop-generation-Xers.’ “