Morley Safer

CBS News

Morley Safer, the CBS newsman who changed war reporting forever when he showed U.S. Marines burning the huts of Vietnamese villagers and went on to become the iconic 60 Minutes correspondent whose stylish stories on America’s most-watched news program made him one of television’s most enduring stars, died today in Manhattan. He was 84. He had homes in Manhattan and Chester, Conn.

Safer was in declining health when he announced his retirement last week; CBS News broadcast a long-planned special hour to honor the occasion on Sunday May 15 that he watched in his home.

A huge presence on 60 Minutes for 46 years — Safer enjoyed the longest run anyone ever had on primetime network television. Though he cut back a decade ago, he still appeared regularly until recently, captivating audiences with his signature stories on art, science and culture. A dashing figure in his checked shirt, polka dot tie and pocket square, Morley Safer — even his name had panache — was in his true element playing pool with Jackie Gleason, delivering one of his elegant essays aboard the Orient Express or riffing on Anna Wintour, but he also asked the tough questions and did the big stories. In 2011, over 18.5 million people watched him ask Ruth Madoff how she could not have known her husband Bernard was running a billion-dollar Ponzi scheme. The interview was headline news and water cooler talk for days.

“This is a very sad day for all of us at 60 Minutes and CBS News. Morley was a fixture, one of our pillars, and an inspiration in many ways.”

In some of his later 60 Minutes pieces, Safer profiled the cartoonists of The New Yorker, interviewed the founder and staff of Wikipedia and reported on a billion-dollar art trove discovered in a Munich apartment. In his last story broadcast on March 13, he profiled the visionary architect Bjarke Ingels.

“Morley was one of the most important journalists in any medium, ever,” said CBS Chairman and CEO, Leslie Moonves. “He broke ground in war reporting and made a name that will forever be synonymous with 60 Minutes. He was also a gentleman, a scholar, a great raconteur – all of those things and much more to generations of colleagues, his legion of friends, and his family, to whom all of us at CBS offer our sincerest condolences over the loss of one of CBS’ and journalism’s greatest treasures.”

“This is a very sad day for all of us at 60 Minutes and CBS News. Morley was a fixture, one of our pillars, and an inspiration in many ways. He was a master storyteller, a gentleman and a wonderful friend. We will miss him very much,” said Jeff Fager, the executive producer of 60 Minutes and Safer’s close friend and one-time 60 Minutes producer.

CBS News President David Rhodes said, “Morley Safer helped create the CBS News we know today. No correspondent had more extraordinary range, from war reporting to coverage of every aspect of modern culture. His writing alone defined original reporting. Everyone at CBS News will sorely miss Morley.”

Safer was a familiar reporter to millions when he replaced Harry Reasoner on 60 Minutes in 1970. A much-honored foreign correspondent, Safer was the first U.S. network newsman to film a report inside Communist China. He appeared regularly on the CBS Evening News from all over the world, especially Vietnam, where his controversial reporting earned him peer praise and government condemnation.

“Morley Safer helped create the CBS News we know today. No correspondent had more extraordinary range, from war reporting to coverage of every aspect of modern culture.”

Safer’s piece from the Vietnamese hamlet of Cam Ne in August of 1965 showing U.S. Marines burning the villagers’ thatched huts was cited by New York University as one of the 20th century’s best pieces of American journalism. Some believe this report freed other journalists to stop censoring themselves and tell the raw truth about war. The controversial report on the “CBS Evening News with Walter Cronkite” earned Safer a George Polk award and angered President Lyndon Johnson so much, he reportedly called CBS President Frank Stanton and said, “Your boys shat on the American flag yesterday.” Some Marines are said to have threatened Safer, but others thanked him for exposing a cruel tactic. Safer said that the pentagon treated him with contempt for the rest of his life.

He spent three tours (1964-’66) as head of the CBS Saigon bureau. His helicopter was shot down in a 1965 battle, after which Safer continued to report under fire. In 1990, he penned a memoir of his Vietnam experience, “Flashbacks: On Returning to Vietnam” (Random House), in which he goes back to reminisce and to interview the enemy’s veterans.

When he joined Mike Wallace at the beginning of 60 Minutes’ third season, they toiled to put stories on the air for a program that dodged cancellation each season. But their work was immediately recognized with an Emmy for Safer’s 1971 investigation of the Gulf of Tonkin incident that began America’s war in Vietnam. The two pressed on for five years, moving the broadcast from the bottom fourth to the middle of the rankings. Then in August 1975, with a new Sunday evening timeslot, Safer put 60 Minutes on the national stage. Interviewing Betty Ford, the first lady shocked many Americans by saying she would think it normal if her 18-year-old daughter were having sex. The historic sit-down also included frank talk about pot and abortion.

By 1978, the broadcast was in Nielsen’s Top 10. Safer’s eloquent, sometimes quirky features balanced out the program’s “gotcha” interviews and investigations, perfecting the news magazine’s recipe. It became the number-one program for the 1979-’80 season – a crown it won five times. 60 Minutes remained in the top 10 for an unprecedented 23 straight seasons.

It was another Safer story that would become one of the program’s most honored and important. “Lenell Geter’s in Jail,” about a young black man serving life for armed robbery in Texas, overturned Geter’s conviction 10 days after the December 1983 segment exposed a sloppy rush to injustice. Safer and 60 Minutes were honored with the industry’s highest accolades: the Peabody, Emmy and duPont-Columbia University awards. 60 Minutes founder Don Hewitt often pointed to the story as the program’s finest work.

Safer hit more journalistic home runs, but sought out the odd stories that piqued his curiosity. The offbeat tales were more suited to his raconteur style and cultural sensibility. He found esoteric subjects all over the world and here in the U.S., ranging from a tiny Pacific island nation economically dependent on guano to the strange choice of tango dancing as a national hobby for the shy people of Finland to the strange yet harmonious stew of cowboys and artists in the Texas town of Marfa — all narrated in his drolly delivered and precise prose. His conversational wit with his subjects was just as sharp as his written word. In a profile of the prim Martha Stewart, a smirking Safer passed her livestock pen and said to the domestic diva, “Your barnyard? It’s remarkably odor-free.”

Some of these features had national impact, however, like his November 1991 report, “The French Paradox,” which connected red wine consumption to lower incidents of heart disease among the free-eating French. Wine merchants say this report was single-handedly responsible for starting the red wine boom in America. His 1993 segment “Yes, But is it Art?” enraged the modern art community when it criticized expensive, contemporary installations featuring household items like toilets and vacuums. The Museum of Modern Art in New York City may have held a grudge; years later, it refused to allow Safer onto its premises to review a Jackson Pollock retrospective for CBS Sunday Morning.

Safer’s life was a work of art into which 60 Minutes fit seamlessly. He vacationed in Europe, often combining field trips for his stories. He made a regular pilgrimage to The American Academy in Rome to hone his painting skills, a hobby he began from an early age. He mounted a small exhibition of his paintings in 1985. He also had a special affinity for cars and did 60 Minutes segments on England’s Rolls Royce and Italy’s legendary Lamborghini. He owned a silver 1985 Ferrari convertible, which he had raced occasionally and also owned a Bentley when he lived in London, bought with his winnings from a card game.

Other highlights from Safer’s 60 Minutes work include a poignant segment in 1978 called “The Music of Auschwitz,” about an inmate who played in an orchestra to avoid the Nazi gas chambers; his 1979 profile of Katharine Hepburn; “The Beeb,” a 1985 Emmy-winning take on BBC Radio; “The Enemy,” the 1989 story for which Safer returned to Vietnam; and in 1979, “Marva,” about Chicago teacher Marva Collins, whose alternative school for disadvantaged kids proved such students could excel. Safer’s follow-up on “Marva” in 1996, in which he debunked a subsequent book that claimed Collins’ students would not succeed in the long run, earned him his fourth duPont-Columbia University award.

In addition to the four duPonts, Safer won every major award, including the Paul White Award from the Radio and Television News Directors Association in 1966 when he was only 35 — an award usually given for lifetime achievement. The other awards given to Safer over his long career include three Peabody awards, three Overseas Press Club awards, two George Polk Memorial awards, a Robert F. Kennedy Journalism first prize for domestic television, the Fred Friendly First Amendment award, 12 Emmys and a Chevalier dans l’Ordre des Arts et des Lettres from the French Government.

CBS News hired the Canadian-born Safer in 1964 in London, where he was a correspondent for the Canadian Broadcasting Corporation. He got the job in an odd turn of events. One of Safer’s CBC colleagues seeking a job with CBS sent a demo tape of a roundtable he anchored that included Safer. CBS news executives liked Safer better and gave him a job in the London Bureau. The young correspondent took over his new job behind the desk once occupied by another CBS legend, the late Edward R. Murrow. After a year, he was asked to open the Saigon Bureau to report on the simmering conflict in Vietnam. He was then named bureau chief in London in 1967 and reported on a variety of foreign stories beyond Britain, many of them risky assignments, including the Nigerian-Biafran War, the Middle East conflict and the Russian invasion of Czechoslovakia.

During this period he also filmed the historic CBS News Special Report “Morley Safer’s Red China Diary” (August 1967), the first broadcast by a U.S. network news team from inside Communist China. Safer’s Canadian citizenship helped get him into the country posing as a tourist interested in archeology. He and his cameraman, John Peters, were able to film the everyday lives of Chinese with a home movie camera. In a close call, suspicious authorities took Safer and Peters to meet an archeologist, who tested his knowledge. Safer knew enough about China’s archeological periods to avoid arrest.

Safer’s reporting and writing also appeared on the CBS News documentary series, “CBS Reports.” He had a regular feature on CBS Radio, “Morley Safer’s Journal,” that ran in 1970s. In May 1994, he hosted “One for the Road: A Conversation with Charles Kuralt and Morley Safer,” a CBS News special marking Kuralt’s retirement.

Safer was born Nov. 8, 1931 in Toronto and eventually became an American citizen, holding a dual citizenship. Telling MacLeans he felt “stateless,” he believed this status was an advantage. “I bring a different perspective and I have no vested interests,” he told the magazine in 1998.

Growing up, he was influenced by the writing of Ernest Hemingway and decided he would be a foreign correspondent. He attended the University of Western Ontario for only a few weeks when he dropped out to begin writing for newspapers. He first wrote for the rural Woodstock Sentinel-Review before landing a job with the much larger London (Ontario) Free-Press. He then went on to England with the help of the Commonwealth Press Union, which promised to place him in a job there. After a short stint on the Oxford Mail and Times, Reuters hired Safer in London in 1955. When he returned late that year, he found work as an editor and reporter in the Toronto headquarters of the CBC. He was chosen to produce “CBC News Magazine” in 1956, on which he also occasionally appeared . His first on-camera work was on assignment for the CBC covering the Suez Crisis in November 1956.

The CBC sent him back to London in 1961, from which he covered major stories in Europe, North Africa and the Middle East, including the war for Algerian Independence, until he joined CBS. He was the only Western correspondent in East Berlin the night the Communists began building the Berlin Wall in August 1961.

Safer was asked to characterize his legacy as a journalist in a November 2000 interview with the American Archive of Television. “I have a pretty solid body of work that emphasized the words, emphasized ideas and the craft of writing for this medium. It’s not literary, I wouldn’t presume to suggest that. But I think you can elevate it a little bit sometimes with the most important part of the medium, which is what people are saying — whether they’re the people being interviewed or the guy who’s telling the story. It’s not literature, but it can be very classy journalism.”

He is survived by his wife of 48 years, Jane, one daughter, Sarah Bakal, her husband, Alexander Bakal, three grandchildren, a sister, and brother, both of Toronto.

Funeral arrangements are private. A memorial service will be announced at a later date.




Alan Young as Wilbur Post with the star of “Mister Ed,” which ran from 1961 to 1966 on CBS. Credit CBS, via Photofest

Alan Young, a comedian and veteran supporting actor who found wide fame as an unlikely sort of second fiddle — the hapless straight man to a talking horse in the 1960s sitcom “Mister Ed” — died on Thursday in Woodland Hills, Calif. He was 96.

His publicist, Jaime Larkin, said he died at the Motion Picture & Television Home, where he had been living for four years.

Mr. Young had been a popular radio and television personality and had appeared in several films, including “Tom Thumb” (1958) and “The Time Machine” (1960), when, in his early 40s, he landed the role of Wilbur Post, the bumbling, well-meaning architect who owned a loquacious, fun-loving horse named Mr. Ed.

“Mister Ed” became a hit, running from 1961 to 1966 on CBS. The episodes usually revolved around Wilbur’s clumsy attempts to undo Ed’s mischief, situations made more difficult by the fact that Ed would speak only to Wilbur.

Mr. Young had a mischievous streak himself: Many years after the fact, he said he had started the rumor that the crew got Ed to “talk” by coating his mouth with peanut butter. Actually, the crew would place a piece of nylon in Ed’s mouth; the horse would then try to remove it by moving his lips, giving the illusion that he was talking when the voice of Allan Lane, a star of B westerns, was added. (Mr. Lane died in 1973).

Early in his film career Mr. Young, a native of England, was often cast in what he called “all-American” supporting roles, for which he had to lose his accent. One of his few leading roles was as the title character in the 1952 musical “Aaron Slick From Punkin Crick,” opposite Dinah Shore.

He was born Angus Young in North Shields, England, on Nov. 19, 1919. His family moved to Edinburgh when he was a toddler and then to Canada when he was about 6. He made his radio debut at 13, and by the time he was 17 he was both a writer and a performer on a Canadian Broadcasting Corporation show.

Mr. Young’s radio career took off in 1944 with “The Alan Young Show”; originally a summer replacement for Eddie Cantor, it proved so popular that it remained on the air for five years. After the show was canceled in 1949, he hit the theater circuit, playing the bagpipes and doing stand-up comedy.

In 1950 he brought “The Alan Young Show” to TV. It remained on the air until 1953. In 1951 it won the Emmy Award for best variety show, and Mr. Young won for best actor. (Sketch actors were included in that category at the time.)

Throughout the ’50s he appeared in numerous TV roles and on the variety shows of Steve Allen, Ed Sullivan, Dinah Shore and others. In later decades he made guest appearances on dozens of series, including “Death Valley Days,” “The Love Boat,” “Coach” and “ER.”

His last film was “Em & Me” (2004), an independent feature in which he played an elderly man traveling cross-country to visit his ex-wife’s grave.

Mr. Young was also a frequently heard voice in animated movies like “The Great Mouse Detective” and television cartoon series like “The Ren & Stimpy Show” and “The Smurfs.” He was the voice of Scrooge McDuck in several Disney projects.

He published two autobiographies: “Mister Ed and Me” (with Bill Burt) in 1995 and “There’s No Business Like Show Business … Was” (2006), an account of his career and life in Hollywood.




By Don Melvin and Brandon Griggs, CNN

Updated 6:13 PM ET, Tue May 17, 2016

A poet’s poet and a raconteur, Guy Clark filled his country-folk songs with eternal truths that made him one of the most respected singer-songwriters of his generation.

The Texas native died Tuesday in Nashville after a long illness, according to a statement from his publicist. He was 74.
Although he never found widespread fame, Clark recorded albums for almost 40 years, wrote hit songs for other artists and was revered by the Nashville music community for his songcraft and generosity of spirit. His best-known songs, such as “L.A. Freeway” and “Desperados Waiting For A Train,” were evocative tales of ramblers and dreamers, inspired by his own life.
Clark’s songs were recorded by a who’s who of country and Americana music, including Johnny Cash, Ricky Skaggs, Emmylou Harris, Brad Paisley, Alan Jackson, George Strait, Jimmy Buffett, Kenny Chesney and many others.

Guy Clark performs at the Paradiso in 1992 in Amsterdam,


“Oh Lord, just heard Guy Clark passed away. He was a huge influence on me, and an amazing writer. God bless his soul. What a life,” Paisley said on Twitter.
“Travel safe, old friend. I would not be the songwriter I am if I hadn’t sat at your table and learned from a master,” added singer Roseanne Cash, also on Twitter.
Born in the dusty west Texas town of Monahans on November 6, 1941, Clark flirted with college and the Peace Corps before opening a guitar-repair shop in Houston. He spent his spare time playing coffee shops and nightclubs, where he joined a bluegrass band and befriended such fellow songwriters as Townes Van Zandt and Jerry Jeff Walker.
As a young man, he moved to Los Angeles, seeking fame and fortune. But he didn’t stay long, moving with his wife Susanna to Nashville in 1971. After he left California, he wrote the song “L.A. Freeway” — later recorded by many other artists — which included the line, “If I can just get off of this L.A. freeway without getting killed or caught.”
He later said it took him years after O.J. Simpson’s famous slow-speed Bronco chase before he could sing that line without breaking into laughter.
Clark released his debut album, “Old No. 1,” for RCA Records in 1975 and scored a No. 1 country hit in 1982 with Ricky Skaggs’s take on “Heartbroke.” He recorded 13 albums and toured consistently over the next three decades, sometimes with such fellow artists as Lyle Lovett and John Hiatt.
“It’s what I enjoy,” he once said of songwriting. “It gets harder, all the time. It doesn’t fall out of the sky, you know. But I have joy doing the work, I enjoy the creative process. I write and build guitars in the same space, and I find that one is right brain and one is left brain, and they kind of feed off of one another. But, I don’t know. It’s just a way to while away the time until you die.”
Despite a gruff demeanor, Clark was considered one of country music’s nicest men. He enjoyed helping young musicians and was perpetually looking for artists who might record a song written by one of his friends.
Clark was unpretentious in the extreme — a blue jeans type of guy — with down-home values summed up in songs like, “Stuff That Works,” with its opening line: “I got an old blue shirt and it suits me just fine / I like the way it feels so I wear it all the time.”
Clark won his first and only Grammy late in life in 2014, for a folk album called “My Favorite Picture of You.” The album title referred to a snapshot of his wife, Susanna, who had died two years earlier.
CNN’s Stella Chan contributed to this story

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