Katy Tur spent 500 days covering Donald Trump’s 2016 campaign, wrote a bestselling book called Unbelievable, and now hosts a show on MSNBC. She was planning to pitch a memoir about the 2020 election but changed her mind during the Covid pandemic, after a heavy package arrived from her mother.
The package contained a hard drive, which contained every minute of tape her parents, Bob Tur and Marika Gerrard, had taken as sole proprietors of the Los Angeles News Service. The drive contained all the footage shot from helicopters piloted by her father, Bob: from Madonna giving her parents the finger on the day she married Sean Penn to the famous chase of OJ Simpson as he sped through the streets of LA in a white Ford Bronco.
As a child, Katy was often a passenger as her mother leaned far out of the cockpit to catch the best possible shot. Her daredevil father once got so close to a forest fire, he was cited for fanning its flames. Sometimes Katy felt the heat on her shins from a blaze barely 500ft below.
That hard drive convinced Tur to switch subject. Her second book therefore tells a story she had spent her adult life avoiding: the story of her childhood. The switch was the right choice because even a particularly hard-fought campaign could not compete with the drama of her upbringing.
Bob Tur was the kind of journalist who would do anything to get the story, “an oracle” to Katy. When the Northridge earthquake knocked out power to half of Los Angeles, her father used a forklift to rip open a hangar door so he could drag the chopper out and take off.
He had such good sources in the fire department that he and his wife once scooped KABC-Los Angeles when its own 11pm anchor was shot outside the station. The Turs then sold the tape to KABC. A few hours later, Katy was born.
Years later, she fondly recalled a childhood that “smelled like eucalyptus trees, the Pacific ocean and jet fuel”. But she was resolutely silent about all the ghastly things she experienced.
Her father was the son of a gambler who would take him to the racetrack, give him the rent money to keep it from his own father, then beat his own son to get it back. Bob Tur’s “nose was broken by his father’s fist”, his “hand stabbed with his father’s fork”, his “face slashed by his father’s key”. He was “missing a piece of his ear because his father sliced it off”. In his mid-teens, Bob ran away.
But according to Katy Tur, her father was unable to unlearn the worst lessons of his childhood and repeated the pattern of violence in his adult life, striking his wife, whipping Katy and her brother, punching holes in the living room walls.
When Tur was covering the Boston Marathon bombing, she got the most startling call of her life. Her father told her he had “decided to become a woman. It’s why I’ve been so angry.”
After the transition, Zoey Tur attacked Katy Tur for allegedly being transphobic. She insists she has always been supportive of such a courageous decision. But what she could not forgive was Zoey’s refusal to discuss or acknowledge the violence Bob Tur inflicted on his family, because the man who committed it no longer existed.
Tur writes: “It felt like my dad was playing a get-out-of-gender-free card I didn’t know existed … I was dumbfounded by the idea that a person could change their gender … and think that in the process the deeds of the past would no longer be relevant.”
It was “like a bank robber pleading not guilty on account of gender misalignment. But that’s how my father saw it.”
“Bob Tur is dead,” Zoey Tur said. But, Katy Tur replied, “The stuff Bob Tur did isn’t dead.”
The family story gives Katy Tur’s book its spine and its power. But interspersed with personal history are occasional attempts at press criticism which reveal uneven judgement.
On the one hand, Tur acknowledges that her parents’ hugely successful focus on sensationalism is often blamed for the downfall of local TV news, and “some would say the downfall of national TV news too”.
“They don’t dispute it,” she writes. “Neither do I.”
But when she complains that too many people bemoan the decline of her profession in the decades since Walter Cronkite practiced it, she goes completely off the rails.
Quoting a biography of Cronkite by Douglas Brinkley, another pundit of uneven judgement, she endorses the absurd idea that CBS Evening News covered the civil rights movement of the 1960s too sympathetically – citing as evidence the fact that bigoted southern affiliates derided their New York parent as the “Colored Broadcasting Station.”
Tur also thinks it was wrong for the CBS Evening News to devote two thirds of its broadcast to Watergate two days before the 1972 election, when the New York Times and every major organization except the Washington Post was ignoring the scandal.
She disputes Cronkite’s 1968 description of Chicago police under Mayor Richard Daley as a “bunch of thugs”, a description delivered when the Connecticut senator Abraham Ribicoff was accurately accusing Daley of using “Gestapo tactics” against leftwing protesters.
Tur even questions Cronkite’s single finest moment, also in ’68, when he accurately identified Vietnam as a “stalemate” after the Tet offensive.
Tur is a better than average network news correspondent. I admired her work when she covered Trump. But judgements like the ones she passes on Cronkite are the very reason so many long for the days when networks employed correspondents of the caliber of Roger Mudd, Richard Threlkeld, Charles Kuralt, Elie Abel, Bob Simon, Charles Collingwood, Ed Bradley, Edwin Newman, Jim Wooten and more – all of whom were vastly superior to their current counterparts.
Rough Draft: Motherhood and Journalism in a World Gone Mad is published in the US by Atria/One Signal
