Tuesday, June 18, 2013

"We Abhor and Condemn This Egregiously Offensive Presentation....Especially SInce It Didn't Make Us A Damn Dime or Kick Our Ratings Up Squat...."


First, let's be very clear.

There is no excuse for this.

There is, however, a reason.

Coming up.


UPDATE: The three radio hosts named below have now all been fired, per the station's website. Why this wasn't the station's first response is beyond us.

If you're the kind of nimrod who thinks it's humorous to make fun of people suffering from ALS (amyotrophic lateral sclerosis) -- a disease that mercilessly takes away nearly every bodily function most of us take for granted ... well, Atlanta radio "talent" Nick Cellini, Chris Dimino, and Steak Shapiro might be your kinds of guys.

For the rest of us, however, what these three chuckleheads did on their show Monday morning for the 790 The Zone station was outrageous, unprofessional, and most certainly fireable. After former New Orleans Saints player Steve Gleason, who was diagnosed with ALS in 2011, penned a guest column for SI.com's Peter King that went up Monday morning (Gleason penned that column with his eyes, by the way), Cellini and Shapiro went on the air and made fun of Gleason. Yes, they did.

According to Katherine Terrell of NOLA.com, the hosts set up a skit in which they pretended that Gleason was a caller to the show and set up a fake caller with a robotic voice, because the disease has robbed Gleason of his ability to speak. They then wondered, on the air, whether Gleason would be alive by next week.

In an obvious "CYA" move, Cellini apologized via his Twitter account.
 
The station first suspended all three hosts indefinitely, which was announced by way of a boilerplate statement that isn't really worth re-running here. What Rick Mack, Senior VP and General Manager of the station, should have been asking himself is why these two individuals still have jobs. When they were fired, hours after their suspension and the subsequent outrage their comments caused, the station issued this statement:
"We deeply regret the offensive programming that aired this morning on “Mayhem In The AM” on 790 The Zone, related to former New Orleans Saints player Steve Gleason and his battle with ALS. We suspended the three individuals involved immediately following their comments and have since terminated their employment. 790 The Zone, our owners, sponsors and partners in no way endorse or support this kind of content. We sincerely apologize to Mr. Gleason, his family and all those touched by ALS."
And since this happened on the Atlanta Falcons' flagship station, you can bet the Falcons franchise wasn't happy about it at all. The Falcons' statement:
“The Falcons are disappointed in the comments made about former Saints player Steve Gleason on a local Atlanta radio station Monday morning. The content concerning Mr. Gleason was completely inappropriate and is not representative of the views of the Falcons organization, nor does it represent the way we conduct our business on and off the field. To single out Steve the way he was this morning is totally lacking in taste and discretion.”
As Jeff Duncan of NOLA.com so eloquently wrote today, the station needed to make this right by firing the hosts, reaching out to Gleason with a public and heartfelt apology (if they can muster one up), and making a sizable donation to Team Gleason, which Gleason and his family established to help others suffering from ALS.

Nothing else will do. Formulaic apologies don't even begin to scratch the surface when you're dealing with disgusting behavior like this. This wasn't a slip of the tongue on a radio show -- this was a premeditated attempt to ridicule a man who has worked ceaselessly to maintain his dignity, his opponent a damnable disease that does everything possible to remove it. Gleason beat ALS in that sense, so he doesn't need to worry about a couple of sub-level radio goons. But the very idea that any of them could ever appear on that station again would be an endorsement of their repugnant actions.

And that is simply unacceptable.


Okay, let me reiterate my opening assertion.

There is no excuse for this.

And I'm not about to waste my time, or yours, making one for these hacks.

But, as I offered, there is a reason.

A reason that serves to illustrate what's terribly wrong with radio these days.

Essentially, it comes out of the folder labeled "Desperate Measures".

As in, "desperate times call for...."

If you're a connoisseur of the desperate, here's a link to the tasteless tidbit.

http://www.awfulannouncing.com/2013/june/audio-atlanta-sports-radio-station-mocks-steve-gleason.html 

While it would be easy and tempting to write this incident off as nothing more than stupidity exhibited by three academically depleted frat boys who finally, and inexplicably, ran out of Lohan/Kardashian/t&a jokes and fart noise sound effects on their daily "show", there is a more insidious villain at work here.

Which, of course, won't delay, for a micro second, management's public weep and wail that this incident is nothing more than stupidity exhibited by three academically depleted frat boys who finally, and inexplicably, ran out of Lohan/Kardashian/t&a jokes and fart noise sound effects on their daily "show".

But while there is no exoneration deserved, or expected, for the morons three here, there is enough blame left over to spoon out a dollop or two in the direction of the aforementioned weepers and wailers.

Because making the frat boys solely responsible for this little stomp through the poop pile is like laying the blame for the burning down of the day care center at the pitter pattering little feet of the youngsters found to have been playing with matches.

And casting no stones at the doorknobs running the place.

Regardless of what the programming department has wanted to believe all these generations, radio has always been, first, foremost and primarily, a business.

And a successful business, by definition, is one that shows a profit at the end of the day.

Not to mention fiscal year.

In order for that to happen, a simple cause and effect has to be in effect.

Stations offer an irresistible recipe of essential information and mass appeal entertainment sufficiently seductive to attract an audience large enough to impress advertisers that their very survival in the marketplace hinges on promoting their products and/or services in thirty, ideally sixty, second bursts each and every day.

Not to mention fiscal year.

For a long, long time, that recipe cooked up to make pretty much everybody involved fat and happy.

Cue the arrival of harsh reality.

That time has passed.

Today, essential information can be acquired in dozens of places, not the least of which, of course, being the smart phone you have very likely already used today.

Not to mention the PC and/or laptop and/or pad you're using to read this piece.

And "mass appeal" becomes almost a Quixotic impossible dream, given the availability of programming, to each and every unique demographic, in dozens of places, not the least of which, of course being the smart phone you've likely already used today.

Not to mention the PC and/or laptop and/or pad you're using to read this piece.

Given that reality, the advertising dollars that once flowed like sweet honey and fine wine through the hallways of sales departments from coast to coast, and AM to FM, are now more like shiny nuggets in a stream, still possible to possess, but, at best, elusive and, at worst, already mined and banked by those lucky, and savvy, enough to mine them correctly.

Then, as the inevitable economic paradigm goes, the downward spiral begins.

Fewer dollars means less quality means fewer listeners means fewer advertisers which means fewer dollars which means....

And, at some point in the spiral, panic, even a little hysteria, begins to rear its ugly little head.

Or heads, as in the case of Moe, Larry and Moron there in Atlanta.

Panic in the form of saying things out loud that any reasonable person wouldn't even likely think, let alone say, for no other reason than to attract attention, raise a ruckus, make some noise, keep the few remaining listeners from, once and for all, turning off the morning mindlessness and logging on to a  favorite podcast.

While checking the forecast, traffic conditions and stock market.

On the same pad.

Or pod.

Then, management doing what management usually does in these situations, looks for ways to continue cutting corners.

Less live, more voice tracked.

And what little live is left more and more too often comes in the form of burned out, used up old school radio jocks who still think that calling little people "midgets" in 2013 is both funny and relatable; tasteless, talentless grandstanding frat boys who are too stupid to have any sense of broadcasting savvy or any combination of the aforementioned who are willing to do the work of three or four people for salaries only marginally higher than your average, highly educated, professionally honed Wal Mart checker.

Or, obviously, three frat boys who, to their chagrin, misplayed a hunch that today's radio audience would find ridiculing a guy with ALS funny and relatable.

Instead of what it obviously is.

Childish, juvenile, careless, thoughtless and damaging.

Like little kids playing with matches.

And the smell of smoke is the day care center in flames.

Or radio station, as the case may be.

But kicking the little match strikers out of the building only solves half the problem.

The other half of the problem is meeting behind closed doors to continue their hysterical efforts to stop the bleeding of red ink at any cost.

Providing, of course, that at any cost means it doesn't cost anything.

And the wheel on the bus goes round and round.

Even as it runs over the three morons who got thrown under it in Atlanta.




Saturday, June 8, 2013

"...Meet The New Star.....Same As The Old Star...."

(ED. note: As a rule, these commentaries come to you without commercial interruption.

Today, for reasons that will become obvious, an exception is being made to that rule.

The following essay is brought to you by Caleb Hommel of Monroe, New York, maker of fine products for your life since 1908.)

Pop quiz.

Resisting the temptation to open a new browser window and bring up Google, identify, in just a few quick words, the following individuals:

Ali Dee.

Amber Hayes.

Elizabeth Lyons.

Lydia Hollis.

Alexandra Lee.

Jordan Anderson.

Rachelle Lynae.

Wow. Those pesky pop quizzes are just as vexing, and annoying, as they were in Miss Higgins' seventh grade classroom, wouldn't you say?

Okay.

Let's try this one.

Anna Christine.

No, Christine, not Christie.

There's always some Eugene O'Neill nerd in the crowd waiting for the chance to show off.

Still batting zip?

Okay.

Let me throw you a baby bone.

Danielle Bradbery.

Oh, you say. Wait. Wait. You got it...you got it....

EHHH! Oh, I'm sorry, time's up.

Ms. Bradbery, zealous fans will already know and part time followers will remember when prodded, is the latest "next big thing" singing talent to emerge from the NBC competition show, "The Voice".

For those who are unaware, and dutifully resisted the earlier Google temptation, this charming woman child is 16 years old and sings, in an oft repeated phrase, give or take a platitude, like a seasoned pro.

Here's a little bit of that great big talent that has so many folks predictably agog.




Meanwhile, simultaneously raising the bar while lowering the age, 10 year old Anna Christine arrives on "America's Got Talent".



This charming kid not only brought the crowd to their feet but created an online buzz that peaked with the uttering of the Holy Grail of competition show platitudes...

"...a Susan Boyle moment..."

Okay.

These are some impressive kids.

But not, for me, for the reason that is making so many folks stand up and/or tear up.

Obviously, they are good kids, legitimate role models for young folks in a culture that has way more than its share of anti role models parading in and out of clubs, rehab and/or reality shows.

And if one of these young ladies was a granddaughter of mine, you'd already be weary of the smartphone videos I would likely have in your face at every opportunity.

So, when I offer you what's coming next, please spare me the tsk tsk, eye roll that unfailingly accompanies the inevitable knee jerk desire to write off anyone who would find fault with these favorites as a glass half empty cranky pants.

There is a lot to be applauded and appreciated in both of these young ladies, for that matter, in each and every one of the other, aforementioned young ladies.

But, without exception, in each and every case, there is something of value that is missing.

To the everyday ear, a closed eyed comparison of Danielle Bradbery singing "Heads Carolina, Tails Cailfornia" with Jo Dee Messina's original version of the same song would likely result in an uncertainty as to who which one was w and/or who was singing at the time.

And chances are, with the same closed eyes resulting in taking the "awww" factor off the table, you would enjoy Ms. Christine's 10 year old take on the classic song about a New Orleans whorehouse, but would likely be unable to pick her out of the singing equivalent of a line up if they spotted you three voices and an upcoming tour schedule.

There is no blame being assigned here.

There is no blame to be assigned.

There is, simply, this.

They all sound wonderful.

And they sound just like the particular already established star that they have chosen to idolize and/or emulate.

And they sound just like each other.

They are, at the heart of it, products of their generation and their culture. A culture that provides eight lane interstates to potential stardom as opposed to the long and winding roads that previous generations of singers had to travel. A culture that hands out celebrity like free sausage samples in the grocery store instead of bestowing it on those who needed both raw talent and very hard work to even get a shot.

A culture where the "big break" is no longer a one in a million possibility, but one viral You Tube performance away from standing ovation, water cooler buzz and the caption of champions..."the next Susan Boyle".

A culture whose corporate entertainment mantra has become "if at first, someone succeeds, let's get another version of that same thing on the shelves as fast, and as inexpensively, as humanly possible."

Like, for instance...

Ali Dee.

Amber Hayes.

Elizabeth Lyons.

Lydia Hollis.

Alexandra Lee.

Jordan Anderson.

Rachelle Lynae.

All of whom, at this writing, have a major label release competing for airplay and/or acceptance on country radio.

I listened to each of them earlier today.

They all sound wonderful.

And they sound just like the particular already established star that they have chosen to idolize and/or emulate.

And they sound just like each other.



(The preceding essay was brought to you by Caleb Hommel of Monroe, New York, maker of fine products for your life since 1908, most notably, the delicious and nutritious taste treat the whole family enjoys....

Velveeta.

The name 'Velveeta' is intended to connote a velvety smooth edible product. Smoothness and meltability are promoted as its iconic properties )

As is the case with most processed cheeses, the manufacturer recommends Velveeta be refrigerated after opening.)



That last tip should probably be paid the most heed.

It gets very hot under those television lights.

Friday, May 3, 2013

"...Justice Isn't So Much Blind As It Seems To Be Starstruck..."

The list is getting shorter.

More on that shortly.



Los Angeles (CNN) -- Lindsay Lohan's legal situation has more drama than a Lifetime movie and more twists and turns than a high-speed car chase. And it could land the actress in jail soon.
Lohan, 26, was supposed to start a 90-day stint in a "lockdown" rehab center Thursday, an alternative to a three-month jail term for two misdemeanor convictions and a probation violation finding in March.
 
But she abruptly left the Southern California facility where she had gone Thursday morning because "she was not happy with the place," her father said.
 
 
Through what seems like years and years now, the saga of Lindsay Lohan has been framed in a number of themes, everything from celebrity news to legal issues, from tragic tale of child star gone wrong to late night fodder to sad commentary on the horrific crack in the foundation of the justice system that allows famous people to slip and/or wiggle through.
 
Comes a time, though, when it is no longer news, no longer tragic, even no longer satirical.
 
And certainly not funny.
 
Even a school aged child could determine, at this point in the production, that what is deserved here is a revocation of any leniency, a stonewalling of any sidestepping responsibility and an imposition of a fair, but firm, accountability for behaviors, past and present.
 
The list of people who don't seem to be capable of acknowledging that very simple and egregiously obvious fact has been, for some time now, dwindling with each playing out of the "lather, rinse, be sentenced, skirt the sentence, repeat" cycle.
 
At this writing, in fact, that list seems to have come down to a hearty, committed few.
 
Lindsay Lohan.
 
Her father.
 
And any and every judge that this troubled woman stands before.

Thursday, April 25, 2013

"...This Hour's Forecast Will Be Delayed As Our Weather Girl Has To Do An Extra Hour At The Drive-Thru Window...."

(...WARNING!  The following piece is rated "R", as in Parents and Grandparents R Going To Find The Language Offensive While Kids R Going To Roll Their Eyes And Suggest That Parents And Grandparents Should Just Chillax...)

Something is very wrong about all of this.

But it's not what I imagine you're going to think.

First, as our story begins...


A local news anchor was fired on Monday after his first-ever words on air turned out to be very inappropriate.

As AJ Clemente prepared for his debut on the evening news program for North Dakota's NBC affiliate KFYR, he uttered some words that he must have dearly wished he could take back.

"F---ing sh-t," he was heard whispering into his mic as an announcer introduced the show. It was Clemente's very first moment on air, and also his last. He was first suspended for using profanity and his coanchor, Van Tieu, opened up the 10:00 p.m. news hour with an apology.

"We were caught off guard and [Clemente] didn't realize his microphone was on. And while that was no excuse - we do train our reporters to always assume that any microphone is live at any time - unfortunately we cannot take back what was said. But, we do apologize and hope that you may forgive us and rest assured, that something like this will not happen again.," she said.

Here, for your perusal, prurient or puritanical as the case may be, is the "s**t heard round the world."




A few hours after, the later newscast on the now already infamous station opened like this...




A few days after, the "s**t" continued to fly...

Recently fired North Dakotan local news anchor A.J. Clemente continues his unlikely media tour tonight with an appearance on the Late Show with David Letterman. Clemente, whose first day on the job lasted mere seconds after he exclaimed “fuckin’ shit!” on air, got some important career advice from veteran television host David Letterman.



By now, it must have occurred to even the most obtuse, culturally de-sensitized average guy or gal (read: any one who thinks reality television represents the very best of what the performing arts have to offer) that there is something wrong here.

The guy opened his mouth when he shouldn'ta and got caught with his mike open and pants down.

Well, who among us has not tasted the piquant flavor of foot at one time or another.

As a broadcaster of some experience, I can personally testify that the fear of letting something inappropriate fly out onto the airwaves is, to any one worth their announcer salt, a constant, nagging little gnawing that, hopefully, keeps us on our toes when it comes to what's coming out of our mouths.

As a matter of fact, while I'm pretty confident no one can tag me as a prima dona when it comes to "work requests", I've made it policy to always insist, wherever I have been on air, that regardless of whatever other piece of equipment might be iffy or in obvious need of repair or replacement, the one thing that will, at all times and in all situations, be in good, dependable working order is the bulb in the button that lights up red when the micophone that I'm using is live.

Even at that, there have been plenty of moments when I have found myself, seemingly long after I have fired off a new song or commercial stopset, looking down at a mic button still glowing red and anxiously rewinding and replaying, in my head, anything I might have said outloud post new song and/or commercial stopset initiation.

Because common sense would dictate that no one in their right mind would be anything less than ever vigilant if their was a live micophone anywhere within mouthshot.

But radio, and TV, personalities aren't usually hired for their common sense.

And just like Ralphie in "A Christmas Story", we have all, to a one of us, let the "fuuuuuuuudge" fly at moments we wistfully wish we could relive.

So, suffice to say, that even the most obtuse, culturally, yada yada individual can see, from watching and listening, that this new kid on the Bismarck block effed up.

Very wrong, you say?

Frankly, these days, it's strictly a matter for the ear of the beholder.

I will grant you, though, that there is, to be sure, something very wrong here.

And, no, it's not that Letterman is giving fifteen minutes of arguably undeserved fame to a guy whose sole contribution to the hallowed tradition of broadcasting, at least to this moment, has been making kids laugh while sending Grandma and Grandpa into cardiac arrest with a zeal not seen since the golden days of George Carlin's "Seven Words You Can't Say On Television."

Letterman's job is to showcase people and things that people are talking about.

And people are certainly talking about A. J. Clemente.

What's very wrong here is not so much what A.J. said.

What's very wrong here is what A.J. said after.

Give the original on air faux pas a second listen.

And, this time, pay close attention to how he responds to the clearly flustered female anchor who is struggling to get the derailed daily news back on track.

I'll wait right here.

Okay. Let's be fair.

This is Bismarck, North Dakota.

Not Chicago. Or New York. Or L.A.

Or even Jacksonville, Florida.

Simply put, while I'm sure that Bismarck is a charming community with lots of charming people, it's a very small television market that, in the great big scheme of broadcasting, is little more than a very, very small blip on a very, very big radar screen.

And were it not for the You Tube world in which we live, young Clemente's misstep into the poop pile would have ended up being little more than giggly chat around the KFYR water cooler for a few days.

But we do live in a You Tube world and the airing, inadvertant or otherwise, of the "f" word is never, ever just giggly chat around water coolers anymore.

Hence, the bright lights of fame, misfortune and a little shy of fifteen minutes of fame with Dave.

That tempest on a TV screen, though, is only a symptom of the condition.

The condition itself is far more wide spread, more egregious and, ultimately, more damaging to the culture than any unfortunate attack of potty mouth.

And the condition is seeping its way through the television and radio industry more swiftly and more often with each passing day, a juggernaut that makes the Andromeda Strain look like the sniffles.

Inadequate, uncapable, inefficient, even untrained and uneducated bodies hired and placed behind microphones for no better reason than they meet what has become, too often, the baseline criteria for being acceptable broadcasters.

They have a pulse.

And they work cheap.

A.J. Clemente seems like a nice guy.

But nice guys, or nice gals, don't quality broadcasters make.

Necessarily.

And while A.J. has rightly, and laudibly, stepped up and fallen on the swearing sword, there's plenty of culpability to go around.

Nice kids who are hired as news anchors, clearly struggling to form a complete sentence without a teleprompter.

Housewives who are hired as radio hosts, clearly struggling to contribute anything to the presentation beyond amateur babbling and paid laughing.

Full time accountants, retail store employees, legal assistants, fast food workers, et al who are hired as show co-hosts or, worse, hosts clearly struggling to discern the difference between mic pot 1 and mic pot 2, but more than appreciative of the glamour and glitz that comes with being an "on air personality".

Not to mention the seven bucks an hour.

Management whose sole goal seems to be minimizing cost as much as possible, humanly or otherwise, regardless of the degradation of the broadcast product that results.

A.J Clemente made a mistake.

But, chances are, owing to both his ironically obtained high profile and his likely willingness to sign on for more glamour, glitz and/or seven bucks an hour will likely have a new gig on camera or on mic before you finish reading this piece.

And that's what's very wrong.

Because, at least for the moment, the guy simply isn't very good.

And there's a lot of that going around in the TV and radio business these days.

Now, that's some fuckin' shit.





Monday, April 22, 2013

"...Good News, St. Pete.....Here Comes The Sun...."

Eulogies have never been my thing.

But I'm not without my regrets when it comes to saying goodbye.

Wasn't all that long ago, though, that I realized my sadness wasn't always on the same frequency as others.

That particular tuning just ahead.


Richie Havens, a Brooklyn-born folk singer whose husky voice, open-tuned guitar and pointed protest hymns welcomed the hippy masses to Max Yasgur's farm at the original Woodstock, died suddenly at his home on Monday of a heart attack. He was 72.

Also known for his soulful covers of pop and folk songs, including Beatles classics "Here Comes the Sun" and "Strawberry Fields Forever," Havens toured and recorded music for over 40 years before retiring from the road three years ago.

"While his family greatly appreciates that Richie's many fans are also mourning this loss, they do ask for privacy during this difficult time," a statement reads from a representative.
A public memorial will be planned for a later date


More than once, I've observed, out loud and in print, that I'm intrigued by the paradox of our typical reaction to the passing of a fellow traveler.

If, as we all seem to profess in one form of theology or another, a better, happier, more fulfilling place awaits us, then it seems the expressions of loss that come pouring out of us when someone dies are a contradiction.

Should we not, in fact, be filled with joy that someone we love and/or respect and/or admire has moved on to that better, happier, more fullfilling place?

The Irish seem to get it.

The format of a traditional wake is nothing less than a full throated celebration of both the life which has just ended and the departure of our loved one to that better, happier, etc.

Testimonials will, undoubtedly and certainly deservedly, flow pretty freely for the next day or two on behalf of Richie Havens. And many more than the majority of those will be, undoubtedly, accompanied by expresssions of sadness, loss, pain., even a little wailing and weeping among those whose hearts tend to be less easily found just behind their shirt pockets than they are on their sleeves.

As for me, I'm appreciative of the gifts that Richie Havens was given and his own gift of sharing them with me for such a long time.

And I'm not just a little envious that he as moved on to the aforementioned fulfillment.

But, I'm not without feeling.

And I do feel a little sadness.

If only because Richie Havens was a bright, shining, authentic celebrity jewel.

And so much of what remains to replace him is so very clearly, and sadly, costume.


Monday, April 8, 2013

"...M I C...K E Y....I R O N Y...."

There is a bittersweet irony to today's news.

That follows shortly.


Los Angeles (CNN) -- Annette Funicello, one of the best-known members of the original 1950s "Mickey Mouse Club" and a star of numerous 1960s "beach party" films, died Monday at a California hospital, the Walt Disney Co. said.

Funicello, who was 70, "died peacefully from complications due to multiple sclerosis, a disease she battled for over 25 years," the Disney statement said.
 
"We are so sorry to lose Mother," her three children said in a statement. "She is no longer suffering anymore and is now dancing in heaven. We love and will miss her terribly."
 
Funicello was just 13 when she was selected by Walt Disney himself to be one of the original Mouseketeers of the "Mickey Mouse Club," the 1950s television variety show aimed at children.
 
Funicello, who had a background in dance, quickly became one of the most popular Mouseketeers.
She "was and always will be a cherished member of the Disney family, synonymous with the word Mouseketeer, and a true Disney Legend," Disney chairman and CEO Bob Iger said.
 
She remained with Disney after leaving the "Mickey Mouse Club," appearing in TV shows including "Zorro" (1957), "The Nine Lives of Elfego Baca" (1958) and starring in the Disney feature films "The Shaggy Dog" (1959), "Babes in Toyland" (1961), "The Misadventures of Merlin Jones" (1964) and "The Monkey's Uncle" (1965).
 
The most enduring images of Funicello, though, may be of her in a swimsuit, her primary wardrobe when she co-starred with teen idol Frankie Avalon in beach party movies in the early 1960s. These included "Beach Party" (1963), "Muscle Beach Party" (1964), "Bikini Beach" (1964), "Beach Blanket Bingo" (1965), and "How to Stuff a Wild Bikini" (1965).
 
Although she started out in a more modest version, each movie revealed a bit more, leading eventually to Funicello in a bikini.
 
The movies helped sell her music. Funicello had Top-40 hits including "Tall Paul," "First Name Initial," "How Will I Know My Love," and "Pineapple Princess." Along with the singles, she recorded several successful albums, including "Hawaiiannette" (1960), "Italiannette" (1960) and "Dance Annette" (1961).
 
Funicello reunited with Avalon in 1987 to star in "Back to the Beach," in which the two former teen idols played as parents of a pair of troublesome teenagers. Avalon and Funicello followed the movie with a nostalgic concert tour in 1989 and 1990, singing their hits from the 1960s.
 
"We have lost one of America's sweethearts for generations upon generations," Avalon said of her death. "I am fortunate enough to have been friends with Annette as well as appear in many films, TV and appearances with her. She will live on forever, I will miss her and the world will miss her."
 
"She will forever hold a place in our hearts as one of Walt Disney's brightest stars, delighting an entire generation of baby boomers with her jubilant personality and endless talent," Iger said in a statement released Monday. "Annette was well-known for being as beautiful inside as she was on the outside, and she faced her physical challenges with dignity, bravery and grace. All of us at Disney join with family, friends, and fans around the world in celebrating her extraordinary life."
 
Funicello moved with her family from her birthplace of Utica, New York, to Los Angeles when she was 4.
 
Walt Disney saw her dancing the lead in "Swan Lake" at the Starlight Bowl in Burbank when she was 13. Disney asked her to audition for a new children's TV series he was developing called "The Mickey Mouse Club." She was hired on the spot to become a Mouseketeer, Disney's statement said.
She became the viewers' favorite soon after the show debuted in October 1955. Although only three original seasons were produced, the show continued to be see in reruns for another four decades.
 
Doctors diagnosed Funicello with multiple sclerosis, a degenerative neurological disease, in 1987. She kept the illness a secret until 1992, the year she established The Annette Funicello Research Fund for Neurological Diseases. The charity, which is still active, supports research into the cause, treatment and cure of multiple sclerosis and other neurological diseases.
 
Funicello made few public appearances by the late 1990s as she became more debilitated by the disease. She lived under the care of her second husband Glen Holt, a rancher she married in 1986.
 
She had three children -- Gina, Jack Jr. and Jason -- from her first marriage to Jack Gilardi, which ended in 1981.
 
"It hurts me deeply in the passing of Annette," Jack Gilardi said. "She was such an important love in my life and blessed me with three beautiful children. I will remember her always and she will live in my heart forever."
 
 
 
Tributes and accolades for Annette, as well as Margaret Thatcher and Roger Ebert, are both deserved and inevitable, given their "celebrity".
 
Celebrity, though, like any status has a shelf life.
 
Put another way, those of us who grew up listening and watching Roger, witnessing Mrs. Thatcher's service to country and world and watching Annette and Cubby and Karen and Jimmie and Roy and company feel the myriad emotions that result from both experiencing the loss of someone familiar and feeling that nudge that unfailingly accompanies these kinds of passings, the nudge of awareness that our own finish line is just a little bit closer than it was yesterday.
 
But, those who know of Mr. Ebert and Mrs. Thatcher and Ms. Funicello only from archival footage or parental chit chat or whatever news they've heard in the last couple of days will be aware only that three people who were, at one time, well known, have died.
 
And while they can easily comprehend those passing intellectually, there is, obviously, no reason for them to feel any emotional connection.
 
Understandable. And totally fair.
 
I didn't really spend much time mourning the loss of Marilyn Monroe when she died in 1962.
 
I was eleven.
 
That said, it occurred to me today that the passing of Annette Funicello, in particular, was worthy of more than just a predictable obit sprinkled with a respectful and loving dose of tribute and accolade.
 
Because there is something both noteworthy, and ironic, about this particular shuffle off the mortal coil.
 
For pretty much her entire life, Annette Funicello was not only a celebrity, but a role model for young women, first, as a child entertainer who brilliantly walked the fine line between wholesome and lame, then, as a young actress whose movies are, in fairness, relics of their time, but whose personal presentation always managed to walk the fine line between sexy and slutty and then, in the third act, as an inspiration to anyone and everyone who find themselves living a life wearing the yoke of physical challenge.
 
And in each, and every case, for the duration of her life,  she lived that life with style, grace, class and a spirit that only the most cynical would think unworthy of aspiration.
 
In a world of celebrity that today offers up Lohans and Hiltons and Kardashians or even second generation Mouseketeers like Britney Spears or Christina Aguilera as the standard of style and, God forbid, role modeling, only those of us who grew up listening and watching Annette can fully appreciate the difference.
 
And those of us old enough to remember the funny hat with the big round black ears that we simply had to have feel both a special kinship with the lady who just left us...
 
...and a little extra melancholy at the caliber of celebrity that remains.
 
Oh...and the irony?
 
The accolades and tributes being offered up in honor of Annette Funicello will, at least in so far as today's young celebrity watchers are concerned, fall pretty much on deaf ears.
 
While those of us who know better will think fondly, and wish Godspeed, to the lady who first inspired us to hurry home every afternoon to put our ears on.
 
 
 
 
 
 

Thursday, April 4, 2013

"...On The Matter Of How Little It Really Matters...."



It's known, to those who know, as an "inside the biz" thing.

More on that in a moment.

First, a couple of takes from major media on what has become a major media event in the last few days.



Now that everything is official, Conan O’Brien is speaking out about Jimmy Fallon taking over The Tonight Show from Jay Leno next year.

On his TBS talk show Wednesday night, O’Brien congratulated Fallon and — without directly referencing Leno — noted the new host is “the perfect guy” for the iconic talk show.

“I want to congratulate Jimmy, that is a really fun gig,” O’Brien said, drawing laughs. “It is! … It’s a fun gig and you know what? Jimmy is the perfect guy to do it; he’s going to do a fantastic job. So congratulations Jimmy.”

O’Brien took over The Tonight Show from Leno three years ago, then exited NBC after the network wanted to return Leno to the 11:35 p.m. slot. Earlier this week O’Brien’s show Conan was renewed through 2015.


In a refreshing sign of empathy for his competitor, David Letterman expressed surprise during his Late Show monologue Wednesday that NBC would allow Jay Leno to leave his job while he’s on top.

“Now earlier today, NBC announced that Jimmy Fallon will take over for Jay Leno as host of the Tonight Show in February of 2014. This is – something’s wrong here,” according to a Late Show transcript released by CBS. “This happened once before with Conan O’Brien, and then they had to bring Jay back, and so he had to start his show all over again, and now it looks like the same thing is happening. And I just – I don’t get this. He’s retiring, so it says, and good for him. I’ve known him 38 years. I’ve known Jay Leno for 38 years, thank you. I don’t know what aspect of that you’re applauding, but thank you…So now he’s out again, but going out on top. So congratulations to Jay, a job well done. And, I mean, how many times can a guy be pushed out of the job, I mean. And what’s the matter with NBC? What’s the matter with these guys? You know, honestly, what are they thinking?”

Earlier in the show that was taped in New York today, Letterman made a series of quips that relate to his previous life at NBC. “I got a call from my mom today, she says, ‘Well, David, I see you didn’t get the Tonight Show again.” “It seems like we just went through this,” Letterman continued.

“Didn’t we just go through this? Jay Leno now is being replaced, and this is the second time this has happened. I mean, it’s crazy. He’s being replaced by a younger late night talk show host – what could possibly go wrong? Honestly. They had pretty good luck with this in the past. But NBC, God bless ‘em, announced the official date for Jay Leno’s departure – no mention of his official date of return, however. I happen to know Jay’s got another job on network that has greater viewership, higher ratings – Univision. He’s going there.”


Some random thoughts.

First, it's inevitable that, once the dust settles, Fallon is going to have his work cut out for him as he is compared to the guy considered the platinum standard when it comes to late night television hosts.

Johnny Carson.

Personally, I don't find Fallon all that hot, let alone holding a candle.

But, in fairness, it should be pointed out that the Jimmy Fallon of 2013 shouldn't be compared to the Johnny Carson revered by millions.

Because that Johnny Carson is the iconic host who retired in 1992 after thirty years of building, and keeping, an audience.

And not the less than well known part time stand up comic, former game show host who, in 1962, looked like a pretty debatable "what are they thinking?" replacement for the guy who, in 1962, was considered the standard when it came to late night television hosts.

Jack Paar.

Who?

Exactly.

So, at this point at least, if comparisons are inevitable, then the fair is fair comparison should be the Jimmy Fallon of 2013 compared to the Johnny Carson of 1962.

Which brings us around to that "inside the biz" thing I mentioned earlier and the bottom line that seems to escape a lot of the pundits waxing ad nauseum in print, on air and online about this massive shift in the tectonic plates of talk.

Most people really don't care all that much.

Oh, make no mistake, ask almost anyone if they have a favorite and you'll likely get an answer.

And in the game of "he with the most viewers makes advertisers the most money", the network executives whose future, not to mention present,employment is tied to winning that game, it matters, a lot, who gets to do the monologue and the behind the desk chit chat that has been the m.o. of every talk show host since the days of....well...

Jack Paar.

Who?

Exactly.

But ask any one of those same anyones who were earlier questioned about a favorite if they really care, one way or another, who gets the gig, chances are that the answer, in most cases, will be something along the lines of .....

...uh, no...not really.

Because the simple, and seemingly obvious but oft overlooked, fact is that it's not really the kind of thing that people think about all that much.

Not that you could tell from all the noise being made in print, on air and online about it.

Noise, though, being made primarily by media whose jobs are, primarily, to make noise.

And, as a result, to create the illusion that this kind of thing matters a whole lot more than it really matters.

It happens a lot.

A lot more than you might think.

If you were ever inclined to think about it.

And not just in "big" event stories like the change of hosts on a nationally televised talk show.

Even in some "smaller" events like, say, the departure of one local radio host and the arrival of another.

Over the years, I've done my share of moving on from and/or moving in behind the microphone and, along the way, have come to realize that, at least in terms of local broadcasting, "celebrity" as we tend to think of it, is, actually, mostly, an illusion.

Not that you could tell from all the noise made inside the hallways and offices of general managers, program directors and various and sundry water cooler hanger outers.

But travel five hundred feet in any direction from the building and you'll spend a lot of precious time trying to find one person who knows, let alone cares, that "Mike in the Morning" has become "Milt in the Morning".

Unless, of course, you happen to run into Mike.

In which case you'll find somebody who knows and cares a lot.

And the radio business, on a small scale, just like the television business, on a larger scale, is filled with folks who spend an inordinate amount of time, energy and/or resources wasting time, energy and resources on something that the average listener and/or viewer couldn't possibly care less about.

What in the world happened to Mike?

If he's a pro, he's sucked it up and moved on to another market to replace "Mickey in the Morning".

If not, he's hanging around in the market, scratching out a living doing voice overs and emceeing any local event that wasn't able to book a current on air, waiting for his loyal listeners to rise up, in numbers too staggering to ignore, and storm the station with placards of protest, convincing station management that he should be returned to his rightful place as the single most important thing to happen to broadcasting since Marconi first rigged some wires.

It's usually a long wait.

Because those loyal listeners have other, more pressing things to care about.

Like how to feed their families, keep their kids safe, pay their mortage....

...and if they're running late for work.

Information that they can easily get....from Milt.

The British have an expression that applies here.

The king is dead.

Long live the king.

Leno is done.

Fallon is next.

Good luck, Jimmy.

Jay, seriously, dude, let it go.

Yo, Mike....you, too.

People couldn't have liked your shows more.

But they couldn't care less.