60 Minutes – Don't Gel Too Soon

Big Birthday Memory #5: Ed Bradley – Fini Bi Bi 41 Years Ago Today

NOTE: As I approach my 70th birthday, I’ll reprise a milestone post here each day until the end of May. Today – from November 9, 2006 – the last from this year.

Ed Bradley died today – of leukemia. He was not a usual man — not at all. Good, funny, gifted, fierce, loving and decent, he was a gentleman to the core. For two political convention seasons in the 80s I was his CBS News floor producer. In the midst of one of them, his mother had a stroke and was very ill in Philadelphia. She wouldn’t let him miss work though – insisted that he be on the convention floor every night. The convention was in New York , so Ed drove to Philadelphia after we were off the air each night, sleeping in a limo on the way to Philly – spending the night and morning with his mother and then returning in the limo the next day. He was there for her — and for his work, as she insisted that he be.

If you saw him on 60 Minutes, interviewing Aretha Franklin in the kitchen with a dish towel over his shoulder, chopping while they talked, or jamming with Aaron Neville, you saw another, wonderful Ed — no pretense, no baloney. And if you saw him with his godchildren – daughters of the wonderful Vertamae Grovesnor, you saw yet another part of this wonderful man.

Frantic efforts to escape on the last US choppers to leave Vietnam 4/75 — Frantic efforts to escape from the US Embassy roof on the last US choppers to leave Saigon 4/75

Somehow though, when I read the CNN Alert just an hour ago — what I remembered at once was that night in 1975, 41 years ago this month, when Saigon fell. I was just back from maternity leave and alone on the overnight for the foreign desk at CBS. As a long-time CBS correspondent in Vietnam, Ed was the last guy out — or just about. What I can’t get out of my head is his account of walking down the deserted embassy hallway — where almost all the lights were out except one far down the hall — and his description of thinking of “the light at the end of the tunnel” — and then – as he signed off for the last time from Saigon – ending with the words of Saigon hookers “fini bi bi.” I’m not sure I can describe the sensitivity and sadness of this report – but I do remember sending him an email “Ernie Pyle, move over.”

The thing is – he was at least as wonderful as he was gifted and as talented as he was dear. It’s just so sad to think of him gone and of such a miserable disease. He’s leaving a beautiful legacy but that doesn’t make it OK. Not at all.

“Truth” and “Spotlight” and the News

Cate Blanchett as Producer Mary Mapes, Robert Redford as Dan Rather

Spotlight_(film)_poster — Rachel McAdams, Michael Keaton, Mark Ruffalo, Lev Schreiver, and Brian D’arcy James as the Pulitzer Prize winning Boston Globe team

The ultimate goal of every great reporter is to find a terrific story that nobody else has, and report it. Right now, released almost simultaneously, are not one, but two movies about journalism and how it works. In one, eagerness to tell the tale combined with politics to destroy the story, and several stellar careers. In the other, universal caution and the power of the establishment combined in efforts to do the same. Based on true stories, Truth and Spotlight portray, with fierce and sometimes heartbreaking commitment, the professional, ethical and political challenges every good reporter faces.

Each features a wonderful cast: in Spotlight, Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, and Stanley Tucci; in Truth, Cate Blanchett, Robert Redford, Topher Grace, Dennis Quaid, Elizabeth Moss, Bruce Greenwood and Stacy Keach. They’re all great.

Both stories beautifully illustrate the adventure, pain, excitement, drudgery and teamwork required in the service of a seriously reported story. Although Spotlight is a far better film, the familiar TV-ness of Truth, as Dan Rather and his 60 Minutes production team, pursue the “George W. Bush Went AWOL from the National Guard” story made it particularly heartbreaking for me. I emerged agitated and halfway out of breath.

It’s was just so sad to witness great work sidelined not by corporate politics or even overt censorship but by small decisions made in service of a great story and a tight deadline. All good journalists understand the importance of this: “If you don’t have time to check one more way, or listen to the person who still has reservations, the story shouldn’t air; if it’s about the President of the United States, even airtight isn’t good enough.” Eager to get on the air and armed with several good pieces of evidence, Mapes insisted the story was ready though – and so it aired.

In this case, although the story was never proven to be false, challenges to errors or lack of clarity in several small details (which were indeed careless or at least a product of selective listening) provided enough ammunition to cost both Rather and Mapes their jobs. In each case the removal was deeply humiliating. Knowing what was coming, it was agony to witness, especially when the entire editorial process was so familiar and the problem elements stood out so clearly.

Spotlight, again drawn from a true story, followed reporters uncovering the child sex abuse scandal in the Catholic Church, revealed by the Boston Globe’s investigative unit the “Spotlight” team at the Boston Globe. In this case, the adversary wasn’t the White House and all the weapons at its disposal, Rather, it was one of the few institutions with more power: the Catholic Church and its hold over Boston and the Globe, whose readers were 56% Catholic as were much of the editorial staff.

Piece by piece, through roadblocks and threats, the team pulled the story of the abusive priests together, with victims on the record, only to be confronted by their new editor, who wasn’t satisfied that this information alone would bring change:

Show me that the church manipulated the system so that these guys wouldn’t have to face charges. Show me they put those same priests back into parishes time and time again. Show me this was systemic, that came from the top down.”

So they did. And their story rocked the Church worldwide. Literally.

To arrive there though, team members had to deal not only with the pain of the victims and horror of the story but also with their own relationships with the Church. That wasn’t just deep connection or lapsed faith, but also an emotional and spiritual system internalized by these longtime-Boston journalists as they grew up their very Catholic hometown.

In this case though, a combination of fierce commitment and great editorial guidance allowed them to resolve any questions that might arise before their initial story ran. They ended up writing hundreds. And won the Pulitzer Prize.

So. Two news movies. Both worth the time and money it will take to see them. Together they bring us perfect lessons: this is what happens when newsgathering doesn’t live up to the tough standards required of the profession, and these are the remarkable things that can happen when it does.

Fini Bi Bi

Somehow though, when I read the CNN Alert just an hour ago — what I remembered at once was that night in 1975 when Saigon fell. I was just back from maternity leave and alone on the overnight for the foreign desk at CBS. As a long-time CBS correspondent in Vietnam, Ed was the last guy out — or just about. What I can’t get out of my head is his account of walking down the deserted embassy hallway — where almost all the lights were out except one far down the hall — and his description of thinking of “the light at the end of the tunnel” — and then – as he signed off for the last time from Saigon – ending with the words of Saigon hookers “fini bi bi.” I’m not sure I can describe the sensitivity and sadness of this report – but I do remember sending him an email “Ernie Pyle, move over.”