Air Check by Diana Marszalek

WFAA's Bert Shipp Remembers Nov. 22, 1963

Fifty years ago, Bert Shipp was assistant news director at Dallas ABC affiliate WFAA. He assigned himself to cover President John F. Kennedy's scheduled luncheon speech. Instead he found himself at the center of the biggest story of his career and one that filled the air of his and the other stations in town with four days of nonstop coverage. He talks about what that day meant to him and to the still-young medium of television news.
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As the WFAA Dallas assistant news director, Bert Shipp kept for himself what he considered the plum assignment of John F. Kennedy’s trip to Dallas 50 years ago this month — covering the president's lunch-time speech at the Trade Mart.

Somebody else would have to deal with the other appearances and general chaos that comes with a presidential visit. His goal “was to get in and get out," said Shipp in an interview over the weekend.

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We all now know that it ultimately didn’t matter what Shipp planned to do that day — Nov. 22, 1963. Kennedy never made it to the luncheon.

Bert+Shipp+at+WFAA+during+the+assassination+coverage.
Bert Shipp at WFAA during the assassination coverage.
And of course Shipp didn't "get out." Like every other reporter in town, he plunged into what would become one of the biggest stories of his generation and one that would elevate the value and status of TV news.

The assassination put local broadcasters in Dallas-Fort Worth — WFAA, then and now the ABC affiliate; KRLD, the CBS affiliate at the time; and NBC affiliate WBAP (now NBC O&O KXAS) — into the national spotlight, establishing affiliates’ pivotal role in covering major events.

WFAA launched into four days of nonstop news following the assassination, setting a precedent for the kind of wall-to-wall coverage we get today when breaking news necessitates it.

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“Kennedy’s assassination was a momentous event, totally unscripted,” Shipp later wrote in Details at 10, his book about Texas TV. “Events controlled us in our whole operation. But we felt we did rise to the job. During this national crisis, hour after hour, day after day, Channel 8 provided live coverage and became the darling of ABC network news.”

Ten days from now, on Nov. 22, WFAA will rebroadcast some of TV's defining moments in local TV news when it airs two hours of raw footage of the station’s assassination coverage — unedited and commercial free — some of it shot by Shipp.

The rebroadcast will follow the station’s live coverage of the city’s hour-long commemorative ceremony, scheduled for 11:45 a.m. at Dealey Plaza.

WFAA's day of programming will cap off a year of special reports exploring the assassination, and the way it impacted the half-century since. Last week, the 50 Novembers stories included an interview with Shipp.

That interview was conducted by Brett Shipp, who followed in his dad’s footsteps and is today an investigative reporters at WFAA. In taking the lead in covering Kennedy’s death, Dallas broadcasters proved local TV’s value, he says.

“The whole nation was watching coverage from Dallas with local reporters doing the best job they can to tell a horrific story,” Brett says.

“It brought an awareness to everybody in the industry of the importance of the ability of broadcast news, television news, to bring events into people’s living rooms on such a major scale,” he says. “Like when Ruby shot Oswald, everyone was watching that live across the country because of the local coverage that was provided.”

At 84, Shipp is losing his voice, making it tougher for him to tell his stories. But he is still a news junkie, spending much of his time “watching, reading and listening to news in whatever form he can get it,” including police scanners, Brett says. He published Details at 10 two years ago.

His actions on the day of the assassination were triggered by journalistic instinct, the kind that kicks into high gear when big news breaks.

Outside the Trade Mart, the elder Shipp says, he knew “somebody got hit” the moment he saw blood on the president’s car as it sped passed him and the Dallas detective he was with.

In an instant, Shipp was in the passenger seat of the detective's car, shooting footage from the window during the mile-long trip to Parkland Hospital, where the motorcade was heading.

Shipp kept the camera rolling once they arrived at the hospital emergency room, where he captured pictures of people “walking around with faces like the living dead.”

By that time, Shipp had learned that it was indeed Kennedy who had been shot, and he continued to film Texas dignitaries like Sen. Ralph Yarborough and Rep. Jim Wright, with whom he waited for word on the president’s condition.

“They wouldn’t say he was dead. They wouldn’t say he was alive,” Shipp says.

So Shipp started working his sources, including Dallas County Sheriff Bill Decker, who was in the lead car of Kennedy’s motorcade. Decker couldn’t give Shipp a definitive answer on the president’s condition, saying only that he was wounded and “couldn’t live in the state he was in."

For Shipp, though, that was a strong enough indicator of JFK’s grave condition that it warranted reporting. “You don’t have a story if you can’t get it to the audience,” he says.

Shipp raced UPI reporter Merriman Smith to a hospital payphone. Smith grabbed the phone first, and, according to Shipp, threatened to hit Shipp with it if he interfered with him calling his news desk.

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Ratings

Overnights, adults 18-49 for September 28, 2016
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    2.8/10
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    1.9/7
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    1.7/6
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    1.4/5
  • 5.
    0.6/2
  • 6.
    0.4/1
Source: Nielsen

Reviews

  • Rob Owen

    Easily fall’s best broadcast network comedy pilot, NBC’s The Good Place offers a clever high-concept premise that’s complemented with intelligent, sometimes absurdist humor. Created by Michael Schur, co-creator of NBC’s Parks and Recreation, The Good Place is a highly serialized series that’s essentially set in heaven and stars Kristen Bell and Ted Danson. NBC made five episodes of The Good Place available for review, and the show not only holds up, but also it improves, deepening characters that initially feel one-note and frequently leaving viewers guessing with cliffhanger endings to many of the episodes. The combination of snappy dialogue and winning but flawed characters makes The Good Place a great bet for fans of smart TV comedy.

  • Maureen Ryan

    Pitch has swagger, for good reason. It gets the big things right; the Fox drama about the first female baseball player in the Major Leagues is one of the year’s most assured and exciting debuts. But part of what impresses about the pilot is also the way it confidently strings together so many small but telling details. Ginny (Kylie Bunbury) is the first woman to be called up from the minors to the big leagues, and no show since Friday Night Lights has done a better job of portraying the internal and external pressures that weigh heavily on young athletes asked to do much more than merely succeed on the field. Pitch will likely do a good job of getting viewers to root for it. The hope is that the show won’t be an impressive, short-lived curiosity, but rather a long-term phenomenon.

  • Kevin Fallon

    In a fall TV season that’s already making a splash for championing diverse, distinctive voices in an array of projects that they created, wrote, and starred in, Better Things on FX stands out. The show is created by, written by, and starsPamela Adlon. She plays Sam Fox, the single mother of three daughters modeled after her own reality-show-ready experience raising three girls in Los Angeles following a divorce. Sam is also, like Adlon, a working actress — on shows both raunchy, a la Californication, and animated for children, like her role on Recess. It’s a refreshingly blunt take on single motherhood without sacrificing the warmth of parental love, portraying the dance between selfishness and selflessness that’s at the heart of being a parent — especially one weathering the hormonal fireworks of a household of four women at different ages.

  • David Wiegand

    The fall TV season doesn’t count as much as it used to — we already know that. But no matter how many retreads the broadcast networks throw at viewers in the next few months, this fall will be memorable because of the premiere of Atlanta on Tuesday, Sept. 6, on FX. The half-hour comedy created by and starring Donald Glover (Community), simply and brilliantly recalibrates our expectations of what a TV comedy is and how black lives are portrayed on the medium.

  • Louisa Ada Seltzer

    The second reboot of the 1980s John Candy movie Uncle Buck, bumped by ABC from midseason, has the same tired jokes you'll find on any second-rate sitcom. Too bad, because Mike Epps is appealing and ABC would be wise to keep him around for future shows, but there’s just not enough to this show to suggest it will last past summer. It also airs against NBC’s America’s Got Talent, summer’s No. 1 program on broadcast, which may make it even harder to find an audience.

  • Neil Genzlinger

    Bryan Cranston brings his Tony Award-winning interpretation of President Lyndon B. Johnson to television in an adaptation of the Robert Schenkkan play All the Way, and it’s still quite a sight to behold, just as it was on Broadway in 2014. Nothing beats witnessing this kind of larger-than-life portrayal onstage, of course. But the television version, presented by HBO, offers plenty of rewards, allowing Cranston to work the close-ups and liberating him from the confines of a theater set. Cranston’s performance is a gem — in his hands, this accidental president comes across as an amazing bundle of contradictions, someone who seems at once too vulgar for the job and just right for it.

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