||Wednesday 12/06/2000 7:42:11pm
||Peter D Abrams, aka Chadboy
||Jacksonville Fl. Don't ask why. just do.
||If a Director screams Roll A, and the projectionist is watchin'
Charlie's Angel's, who's right?
Michael brings up something I wanted to mention as well. There is a tradition,
or whatever, that existed among fraternal organizations referred to as a
legacy. Someone made someone a frat brudder, whatever, I was a GDI at TU,
But my female family members knew it well. Legacies were sons and daughters
of previous frat folks. Something like that.
Anyway, I don't know the entire lineage, but if you look at the people who
went from switcher/projectionist to director, you might run across this one,
where the S/P becomes the D, and the next S/P follows right after. Strange,
1. Mike Denney leaves KTUL, heads West. Mike Bruchas, Chief Projectionist,
goes from Projection to Director.
2. A black hole in Projection. "Mr X" is inscribed on the schedule as new
hire. That would be me. Eventually (30 years or more) I get to Chief
Projectionist, not the most aspiring job, but wow. The things I got to be
a part of. Oil in Oklahoma stuff, among other things. Where's Robert Billings?
In retrospect, very cool.
3. Much later, I get a director slot. What to do. Why, hire Jim Reid, of
course! Jim becomes Chief Projectionist, like me, eventually.
4. I leave. Guess who takes my place? Daz right. JR. He did/does excellent
5. His projection replacement, I think, was one Dale McKinney. I have met
Dale only once in my life, but my impression was that he was a combination
of Michael, Jim, and myself. An amazing Darwinian example of survival. I
loved the Melvin spots so much, I bought a Honda in '85. Doug Wren had, and
still has, an excellent sense of humor, provided he's not the talent. 'nuff
I think the reason all of us turned out to be good was the experience as
2nd line witnesses. When you're sitting back there during the John Corn Show,
at 6 in the morning, you have a lot of time to do nothing but pay attention.
I was back there when Bob Welch, David Finch, Don Lundy, Glen Blake, Howard
Sanders, Jonathan Jeffries, P Kent Doll, and J Scott Blaker all punched this
show. Some times I learned, sometimes I laughed out loud, and sometimes I
used the Emergency Vomit Bag.
But I got to learn and learn, and learn some more. I felt I was ready.
Well, I learned very quickly that I had a lot more to learn. Duke (Clint
Baul), Heat (John Heatley) and Ricardo (Richard E. Wilson) were in the studio
the first morning I punched that show. They ripped me 12 days from the last
millenium. Not a single word. I kept telling them what to shoot, and they
kept aiming the cameras at the *correct* thing to put on the air. I didn't
feel humiliated in the least, just um how do you say it, 'unempowered'? I
just took the cameras. Let the show ride, worry about the breaks. And learned
real quickly that respect is what it's all about. These folks were my friends
outside of Lookout Mountain, but when it came to the job, they made it rather
clear that I needed some camera operating time before I was going to get
any respect from the floor.
I started volunteering for floor work right then.
I thank them every day. Does anybody have experiences like this now? I'd
like to hear about it.