In honor of the moon landing, I am proud to share the following story sent to me by my friend, David Snell, a former correspondent on ABC Televison News. David is now the author of several books and his most recent best seller is THE BARON AND THE BEAR. Esther Blumenfeld
A friend emailed that he saw me on a TV special, The Lost Tapes of Apollo 13. It reminded me of my Apollo experiences. As follows.
Space and Me
My first space assignment was Apollo 11, the Neal Armstrong-Buzz Aldrin attempt to land a man on the moon. It was an exciting assignment and one that veteran correspondents weren’t seeking because of Jules Bergman. Jules was ABC’s Science Editor and in the age of space exploration, as close as reporters ever came to true expertise. But Jules was jealous of his turf which meant prospects of getting on the air from the Manned Spacecraft Center in Nassau Bay, Texas (near Houston) were, shall we say, limited.
Along with the correspondents from CBS and NBC, I spent endless hours outside the homes of the astronauts waiting for the moments (few and far between) when members of the family would venture forth. The good news was that Mary Lou was with me and, while I was waiting, she was enjoying time by the pool and lunches in a not-too-bad motel restaurant.
“One small step for a man, one giant leap for mankind.”
Despite limited air time, it was a thrill just being there watching – on the giant NASA screen – when Armstrong first set foot on the moon. The following morning I was stationed outside Mission Control when John Glenn, our first man to orbit the earth, came walking toward me. I don’t remember much about that interview, but I earned ninety dollars for a question – “What are they doing now?” – that made it onto an audio recording ABC made to memorialize the historic flight. It was earlier that morning when I did a live stand-upper (just me in front of a mock-up of the lunar landing module) that could have been career ending.
Frank Reynolds in New York switched to me to describe “The mood of Mission Control.” “Well Frank,” I began, hearing my voice coming back to me on the gizmo in my left ear. The audio man in New York hadn’t flipped the right switch so every word I said made the round trip from Houston to New York and back again. It was discombobulating. A more experienced reporter would have had enough sense to remove the ear piece, give his report, and put it back again when he was finished. I didn’t. And, since everything I had intended to say was blown out of my mind, I tried to describe what I was seeing. It was word salad.
How bad was it? I called Mary Lou back in the motel for reassurance. “How bad was it?” I asked, hoping against hope that, somehow, I had managed to make some kind of sense. “I’m packing,” she said. Was it really that bad? “You sounded like you were drunk.” My next phone call was to the producer in New York. I hoped I could explain what happened and find a sympathetic ear.
His secretary answered the phone and handed it to the producer. “It’s Snell from Houston.” I waited, listening to the muffled voices in the background, practicing my explanation.
“Good job,” he said, obviously preoccupied by the ongoing program. “Just what we needed.”
Somewhere, out there in America, there are viewers who will be forever convinced they heard an ABC correspondent who was drunk out of his mind. In New York, nobody noticed. I was standing there talking with that space-flight looking object over my shoulder and they, with my sound turned down, were discussing what came next.
I was back for Apollo XII and XIII with limited expectations of on-air exposure, but by then we had made friends with Texas-based reporters and one NASA Engineer – Donald Arabian – and his wife Debbie, so at least we had a social life. We were at dinner in Houston one evening while astronauts were moon-bound on Apollo XIII when I got a call. “Houston, we have a problem” were the five words that singled a routine flight had become anything but. We hurried back to the Manned Spacecraft Center and the ABC house trailer that was our make-shift studio.
During nearly a half hour of waiting while AT&T scrambled to connect lines to New York, I listened as Jules Berman, our science editor, droned on and on, detailing, in technical language that raised more questions than it answered, the problem the spacecraft had encountered. I took notes, trying to make sense of what he was saying. Once AT&T had us connected, I spent most of the next half-hour quizzing Jules on the meaning of his scientific explanations. It turned out he really did know what he was talking about, just not how to say it in everyday English.
As the evening went on into night, and night to morning, I reveled in the most on-air exposure I’d ever experienced. After that first half-hour interviewing Jules, I was on every five to ten minutes interviewing a succession of ex-astronauts and NASA officials who weren’t involved in calculating how to solve the problem and engineering the safe return or the astronauts. Once, while Jules carried on from New York, Apollo XII Command Pilot Pet Conrad arrived in our “studio.”
“Nope,” he said, as we listening to Jules explaining some technical fix the astronauts might try. “Ain’t no way.” On and on he went as Jules continued his explanation. By the time Jules switched to us, I had picked up enough about Pete and his relationship to Jules that I said: “I have Apollo XII astronaut Pete Conrad with me, Jules, and he has a few bones to pick with you. Sick-um, Pete.”
What followed was a fun and funny back and forth between Pete, who had an infectious personality, and the usually stiff and staid Mr. Bergman. It turned out they had a kidding relationship going back from Conrad’s earliest days as an astronaut. Obviously delighting in their easy banter, Jules showed a personality he’d never before used on the air. Along the way, he also showed an impressive understanding of technical aspects of space flight. “You’re right about that,” Pete conceded on one arcane point.
Buoyed by the concession, Jules went on to a discussion of the importance of turning “the framous” exactly one quarter turn. “You’re wrong on that one, Jules,” said Pete, obviously pleased with himself. “The framous needs to be adjusted three-quarters of a turn.” Back and forth they went, each explaining why they were right. Finally I intervened. “Gentlemen, gentlemen. What’s a framous?”
It wasn’t until after the Apollo XIII astronauts had been safely splashed down in the Pacific that I learned of the role our friend Don Arabian had played in the rescue. When all the flight engineers arrived at Mission Control that night, flight director Gene Kranz asked him to join the others in a brainstorming session. Don shook his head. “Can’t do group-think,” he said, going into his office and closing the door.
A half hour later he joined the other engineers who seemed to be getting nowhere. Arabian had figured out how, jerry-rigging a solution from various items on board, they could bypass dysfunctional systems and save the mission. His framework opened the way to a joint effort that made the rescue possible.
Back in New York I was prepared to go back to my persona non grata relationship with the Evening News, something that had been going on since Av Westin became the producer several months before. I never learned why, but, sight unseen, he’d decided I wasn’t Evening News material. I was sitting at my desk on the third floor in what we called the Correspondents Ghetto (four cubicles of two desks each down the hall from the Assignment Desk).
“They want you on the quintuplet story,” said John Sandifer, the assignment editor.
“What? Really?”
My months in purgatory had come to an end. Later, Bill Lord, the Washington, DC evening producer who’d been in New York that week, said Westin looked up at the monitor during one of my Apollo XIII interviews and said, “He’s pretty good.”
Marlene Sanders, another correspondent on Westin’s bad list, was happy for me, but disturbed enough about her situation that she finally sought a meeting. Westin explained that my redemption was because I had spent a lot of time on the second floor (where the Evening News was produced) “learning how we do things.” Marlene knew I had never done that, but knowing didn’t resolve her situation. Her rescue came from ABC News Vice President Bill Sheehan who put her in charge of the documentary unit.
My redemption lifted a weight from my shoulders, but the news back in New York was not all rosy. While I had been on the air some thirty times during two heady days, my dream of a sizable bonus was not to be. My friend John Reiser, knowing my on-air exposure would be limited (as it had been on Apollo XI and XII, had intervened on my behalf. John, a lawyer for ABC News, told his boss they’d save money if they switched me to a flat fee during the space coverage. I don’t remember how much it was, but it was a lot less than the bonus I would have earned. Thanks, John.
Meanwhile, the Special Events Unit (that handled space flights) submitted our XIII coverage for an Emmy. It included excerpts from my initial debriefing of Jules translating tech-talk into English. Mr. Bergman was not happy. That translated into even less exposure for me in the next two Apollo Missions. I managed to opt out of Apollo XVI and was planning to do the same on XVII until I got a call from Special Events. “It’s our turn to provide the (three network) pool reporter,” said Wally Phister, unit producer. “That would be you.”
So there I was, in the middle of the Pacific Ocean for seventeen days in December of 1972, reporting on the splashdown on NBC, CBS, Armed Forces Television and, of course, ABC. Well, not exactly “of course.” You would think the network would capitalize on the fact that its correspondent was the only broadcaster reporting the story. Ah, but that would assume Jules Bergman had no say. He did, and ABC came in dead last in their use of this pool reporter. I know because my dad, thrilled about my assignment, had rented two extra television sets so he wouldn’t miss a minute. I was all over NBC, made a number of appearances on CBS, and appeared only three times on my own network. Go figure.
I, of course, knew nothing of this. It was my job to narrate the splashdown from the first spotting of the landing module to the splashdown, to navy frogmen helping the astronauts into the life-rafts, to the ceremony onboard the recovery ship, the Ticonderoga. That was a lot of talking, but, in seventeen days, I’d filled up a couple of notebooks with anecdotal information and was loaded for bear.
Jonathan Smart, the lead frogman, told me the dressing down he got from Daniel Sorkin who lead the recovery team. Sorkin, Smart reported, was livid after one of the full-dress simulated recoveries because Smart had radioed back to the Tico, “We’ve got sharks in the water…Sharks!” “Never say sharks,” said Sorkin. “If there are sharks in the water during the actual recovery, say Marine Life. We’ll know what you mean. If you say sharks, the little old ladies down in Houston (at Mission Control) will go crazy.”
I also reported on the NASA-approved prayer the navy chaplain was to deliver. It seems the chaplain’s prayer in the ceremony after astronauts Armstrong and Aldrin returned from the first lunar landing was judged to be entirely too long. So, on subsequent aircraft carrier ceremonies, the prayers had to be approved in advance. Chaplain XXXX XXX’s prayer today will be fifty-eight words. Fifty-nine with amen.
David Snell
www.thebaronandthebear.com
770-656-2442