On Sunday, the anti-media chorus (targeting old and new platforms) sang out on Facebook and Twitter, decrying what was being called a myopic, biased world view by the mainstream media when it comes to the terror unleashed by ISIS last week. The complaint : while the attacks in Paris got the full western media breaking news treatment, a suicide bombing in a neighbourhood in Beirut along with another bombing at a funeral in Baghdad “got no coverage.”
It is a cold and wet Monday, February 7, 2011 in New York City. Chris and I have been in line for roughly 30 minutes when groups of about 20 people start to shuffle in to the lobby of the Ed Sullivan Theater. We patiently wait our turn and eventually make our way to an audience co-ordinator who asks us where we’re from and quizzes us to see how big of fans we are of Dave’s show.
How big of a fan am I? Well, I grew up watching Dave. After learning one summer night that there was something on TV if I stayed up after Johnny Carson finished his show, I was mesmerized by Letterman’s madhouse. There was something gritty and dangerous about the late night show that looked like it was shot in the ratty attic of 30 Rockefeller Center.
Stupid pet tricks. The top ten list. A low budget / high comedy distraction for adults who suffered from insomnia. But as a kid, if I could manage to keep my eyes open I’d watch Dave.
When Letterman crossed the street to join CBS, I was there from show one. There was something rather grand about what he was doing . One day – I swore – I’d get to New York City and see the show in person.
And now here I was – standing in the lobby of historic CBS Studio 50, waiting for a ticket that would get me inside the ultra-refrigerated auditorium where Dave performed his show.
With a smile, the audience co-ordinator hands over tickets with something scribbled on the back, and tells us what time we should show up for the taping. She also reminds us there are only two appropriate forms of expression in the well-microphoned theatre – applause and laughter. Woo-ing will get us ejected. These are rules I can live by if it means I get to see the show live and in person.
With time to kill, Chris and I head in to Angelo’s Pizzeria which is in the same block as the Sullivan theater for a few slices of pie and something to drink. I’m nervous. I don’t know why – it’s not like I’m going to meet Dave. But regardless, I’m jittery.
We finish lunch and it’s time to head back downstairs and queue to for the show. It might be Monday, but we will be watching Friday’s show – Dave likes to take Fridays off, so he does double duty when he’s fresh and ready early in the week.
The line starts moving in to the theater, and as we cross the threshold we hear Paul Shaffer and the CBS Orchestra playing warm up music for those who have already been seated. As we near the door, the audience member in front of us has a freakout because he wants four seats together on the floor for him and his friends. The page thinks we’re with him, and so she ushers us in behind him (even though we’re not.) Score!
We barely get settled in to our seats when Dave comes out on stage to talk with the audience. Rolling Stone says he’s relished this Q&A experience in the last days of the show, spending 7 to 8 minutes kibitzing with audience members before the “on air” sign illuminates. On the day we see Dave, he has about 45 seconds to make a couple jokes about a guy in the front row before running backstage as the floor director starts to count down to showtime.
Dave bursts out on to the stage, and tells some jokes. In hindsight, it’s challenging to do a monologue four days in advance. Letterman makes a joke about Hosni Mumbarak who – as of the taping – is the embattled leader of Egypt. By Friday (when the show will air), Mumbarak has resigned. The joke goes to air – still as relevant as when it was taped. That’s not being lucky – that’s being good.
Sixty minutes of late night television goes by in a flash. This is not an episode of any considerable note. Dave doesn’t get flashed. Richard Simmons doesn’t fly in from the rafters. But Ed Helms is there promoting a movie (Cedar Rapids), and participates in one of those classic late night talk show rituals of taking some small thing he learned during filming and having a bit of fun with it.
During the commercial breaks, the band plays as Dave and his producers huddle at the desk. It’s all business, and you can see them talking about what has just happened on stage, and what is coming up next. The size of the team needed to pull of this show is staggering.
Throughout the show, my eyes are darting around the theater. I can’t believe I’m actually here. I can’t believe that’s actually Dave. It’s all so surreal.
As fast as it started, it’s over. The credits roll, we applaud one last time. Dave comes back out and thanks everyone for taking in the show, and pages start ushering us out.
As I slowly saunter out of the theatre, I run my fingers along the back wall – it’s like pinching myself because I can’t believe I’ve actually been there. Cross it off the list.
30+ years in late night come to an end for Dave on Wednesday. It’s the end of an era in late night, and one I’m glad I had a chance to witness up close and personal – if only for one night. Thanks, Dave.
Earlier this year, TV geeks everywhere squealed a little when public radio’s This American Life featured a short piece about a promotional campaign CFAC-TV (now Global Calgary) ran in the 1980s called, “Hello, Calgary.”
The show’s host talked to a former Calgarian who was shocked to learn while the song’s lyrics say “there’s a feeling in the air, that you can’t get anywhere, except in Calgary,” the sales pitch of good-vibes-exclusivity wasn’t entirely truthful.
In fact, it appears legendary TV-news-theme-and-jingle artist Frank Gari made that “feeling in the air” show up in Milwaukee, San Diego, Nashville, Melbourne, and about 160 other cities around the world. Dubbed “Hello News,” the song is one of the most memorable (and likely successful) syndicated news image/civic pride campaigns to have hit the small screen.
But Calgary isn’t the only place that can feel a little stung.
In the 1960s, people here in Regina likely roamed around town with a bounce in their step while whistling what was CKCK-TV’s promotional song, “That’s My Wonderful Town.” (How can you not whistle this?)
It talks about everything quintessentially Regina! The Roughriders… the Saskatchewan Legislature. The song was about OUR CITY! That’s MY wonderful town! Right?
Then… how is this possible?
It turns out that like Frank Gari’s “Hello” campaign about a decade later, “That’s My Wonderful Town” was a syndicated jingle for TV and radio stations which could be localized and customized for places far and wide. From Lebanon, Pennsylvania to Hobart, Australia… they were all “my wonderful town” – for the right price.
Those of us lucky to have cable in the 80s watched Detroit’s ABC station tell viewers to take a little pride in where they come from.
But I bet you can guess where this is going…
It doesn’t have the same ring, does it?
It’s not just TV and radio stations that get in on the game. Other businesses license high quality, easily-localized promotional materials. Take the power industry, for example.
Growing up in Manitoba, “Louie the Lightning Bug” was a staple on TV screens across the province. Our little friend with the light-bulb-bottom buzzed around promoting the importance of electrical safety.
Louie was a busy little bug that got around. Originally created for a promotional campaign by Alabama Power back in 1983, the company had trademarked and licensed him for use by power companies across North America a year later. Here’s Louie pimping the power company in Oklahoma.
For one last kick in the groin to your childhood, try this one on for size. Many of us children-of-the-80s grew up watching Miss Fran on Romper Room, produced at CTV’s affiliate CKCO-TV in Kitchener, ON.
But – given the way this blog post has gone – you know she wasn’t the only one. From the same vintage as our beloved Miss Fran (who has lived a pretty amazing life, by the way), here is Miss Molly – host of an American version of the show based out of Baltimore, MD.
Romper Room was localized all over the world. Aside from versions produced in numerous cities across the United States, the show’s format was sold to Australian, British, Japanese and Hong Kong broadcasters. (Sadly, no video to show you from YouTube.)
While much of what we watched as kids was copied, pasted and replicated from other places, I take comfort in knowing at least one part of my childhood was homegrown… produced right here on the prairies.
I’ll always be a Size Small kid. Thank you, Miss Helen!
Featured image credit : Ronnachai Palas – Shutterstock