As we continue with a new blog series, “One-Named Detectives,” we find ourselves in New York City on the search for a bald man with a lollipop in each pocket on Kojak.
From 1973-78, Lt. Theo Kojak (Telly Savalas) fought crime in the city with an amazingly upbeat personality. The first choice to play Kojak was Marlon Brando; he was willing to do it, but I never could find out why the network would not approve him. Kojak is known for his catch phrase, “Who loves ya baby.” And that lollipop fetish? Kojak was trying to cut back on his smoking habit and used suckers as a way to do so.
The show was created by Abby Mann, a television writer. The series had an interesting back story. Universal Television asked Mann to write a story based on a 1963 murder/rape case of Wylie and Hoffert, two women from Manhattan. Because of the attitude of many police about African Americans, after a shoddy investigation, the murders were blamed on George Whitmore Jr. A second investigation proved he was innocent and identified the real killer, Richard Robles who was then sentenced to life in prison. The story Mann created was titled the Marcus-Nelson Murders and Telly Savalas starred in the movie as “Kojack,” and the movie became the pilot for the television show.
There were several other cast members on the show including Telly’s real-life brother George who played Detective Stavros. Other regulars were Captain Frank McNeil (Dan Frazer), Detective Bobby Crocker (Kevin Dobson), Detective Saperstein (Mark Russell), and Detective Rizzo (Vince Conti).
It has a little bit of 1940s noirish feel mixed with seventies details. Plots frequently deal with the Mob. There were also several jewel heists, bad cops who were murderers, and serial killers.
A lot of guest stars appeared on the show and so did many of Telly’s friends including Tige Andrews, Jackie Cooper, Michael Constantine, Vincent Gardenia, Daniel J. Travanti, Bernie Kopell, Shelley Winters and Danny Thomas.
Two different theme songs were used for the show. Seasons one through four used “We’ll Make It This Time” composed by Billy Goldenberg with lyrics written by Bill Dyer. The last season’s theme was composed by John Cacavas.
In season one, Kojak was in the top ten. The show aired Wednesday nights on CBS following Cannon, the show we learned about last week. In season two, the show moved to Sunday nights after Cher and before Mannix (which we’ll discover next week). Seasons two and three the show was in the top twenty. The show had decent ratings the fourth season, but it declined for the fifth season which is when it was canceled.
Two CBS movies were made later–Kojak: The Belarus File in 1985 and Kojak: The Price of Justice in 1987. In 1989 ABC tried to revive the series again with five more movies.
Savalas was won an Emmy in 1974. The show was nominated for best drama series that year as well but lost to Upstairs Downstairs. That exact scenario also occurred in 1975.
I learned a few fun facts researching the show. One was that Savalas was typically cast as the villain before getting the role of Kojak. Savalas was also a singer who had released five albums between 1972-1980.
For all you vintage automobile fans, Kojak drove two cars during the series: a 1970 Ambassador and a 1972 Alfa Romeo.
One fact that really surprised me was that Queen Elizabeth was said to be an avid fan of the show.
Telly Savalas seemed destined to play Kojak. Film producer Howard Koch said, “Telly was great in everything. But he was born for ‘Kojak’—those snappy remarks, they were really him.”
At his memorial service, friends remembered how kind he was. A “little old lady” wanted an autograph from him at the exact moment he needed to pay attention to a blackjack game in Vegas. She got the autograph, and he didn’t get the hundreds of dollars he lost that round. They also told a story about one cold day in New York while they were filming and the only thing available for warmth was a lady’s mink coat which Telly proudly wore.
So, when you hear Kojak ask, “Who loves ya baby?,” you can confidently answer “We all love you.”
This blog series is “It’s My Show,” about actors who featured their names in the titles of shows. I’ve definitely saved the best for last: The Dick Van Dyke Show. During the past five plus years of writing my blog, I have realized that my favorite shows are those that feature amazing writing and concentrate on relationships. This show is no exception.
From 1961 till 1966, this show aired on CBS, resulting in 158 episodes. Created by Carl Reiner, it was produced by Calvada Productions. Calvada was named for Carl Reiner, Sheldon Leonard, Dick Van Dyke, and Danny Thomas. The show was filmed at Desilu Studios in front of a live audience. Bill Persky and Sam Denoff wrote 29 of the episodes.
The theme song was written by the great Earle Hagen. (For more on Hagen, you can see my blog from December 10, 2018; Hagen wrote many great theme songs including The Danny Thomas Show, Gomer Pyle, I Spy, The Mod Squad, and most memorably, The Andy Griffith Show.)
The opening of the show had Rob walking into the living room. In one version, he trips over an ottoman, falling on the floor. In the another, he steps around the ottoman. You never knew which opening you would see, a fun element of the show.
I love that this show realized our professional lives are equally important to our personal and family life, and this show not only featured both, but often they meshed together just like all our lives do.
Not only was Rob Petrie’s (Dick Van Dyke) work life part of the show, but he was a television writer, which provided even more insights into what we were watching. Rob writes “The Alan Brady Show” with cowriters Sally (Rose Marie) and Buddy (Morey Amsterdam). Mel (Richard Deacon) is star Alan Brady’s (Carl Reiner) producer. Buddy and Mel have an ongoing feud, insulting each other on a daily basis. (In real life, Deacon and Amsterdam were good friends and often came up with new insults when they had drinks together after work.) Reiner originally planned on starring in the show and played Petrie in the pilot, but he was persuaded to give the role to another actor by Leonard.
Rob’s home life consisted of wife Laura (Mary Tyler Moore), son Ritchie (Larry Mathews), and neighbors/best friends Jerry and Millie Helper (Jerry Paris and Ann Morgan Guilbert). Paris directed 84 of the show’s episodes and would go on to a career as a director later.
In the pilot, titled “Head of the Family,” Barbara Britton played Laura, Gary Morgan played Ritchie, Morty Gunty played Buddy, and Sylvia Miles played Sally. Jack Wakefield played Alan Sturdy who was the star of the tv show.
The characters are very much like people we all know, except maybe a bit funnier. Rob loved his wife and son. He was a big fan of cowboy movies and Laurel and Hardy. He met Laura, a USO dancer, when he was in the Army as a Special Services Sergeant in Camp Crowder, Missouri. His brother Stacey appeared on the show a few times (played by real life brother Jerry Van Dyke). Richie is a typical kid who gets in trouble sometimes but is a good kid, just curious and looking to test his boundaries. Their neighbors Millie and Jerry have a son about Richie’s age, and they are their best friends; Jerry is also their dentist.
The only thing not realistic about his home life is that Rob and Laura have twin beds. Reiner asked the network to allow the couple to sleep in the same bed, but they would not approve it, so like most sitcom married couples, they had separate beds. About the only couples who were able to get around the challenge were the Stephens on Bewitched and Katie and Robbie on My Three Sons. The network also didn’t love that Moore wore capri pants but they did end up allowing her to do so.
Rob’s coworkers are also endearing characters. Buddy is energetic and sarcastic. He is married to Pickles and shares a lot of jokes about some of the scatterbrained things she does. We know he is in love with Sally, but they never take their relationship anywhere other than friendship. She is often making fun of herself for looking for a man, but we realize she is very lonely. Mel is an excellent producer who puts up with a lot from both Buddy and Alan.
Van Dyke had to give up Bye, Bye Birdie to star in the show but definitely made the right choice. The role of Laura was a hard one to cast. Sixty actresses auditioned for the character. Moore almost chose not to go, and when she did, she lied about her age, making herself older than she was. Sally Rogers was based on Lucille Kallen who wrote for Your Show of Shows and Selma Diamond who wrote for Caesar’s Hour.
After the first season, CBS said they were cancelling the show. Procter & Gamble threatened to remove all its advertising and viewers complained loudly. The network didn’t need to worry about ratings in season two; the show was in the top ten by episode three and was popular for the rest of its time on air.
To color or not was a big question during the sixties. Reiner actually considered filming the show in color in the third season until he found out it would add $7000 per episode (the equivalent of about $59,000 today).
I’m not the only one who thought this was an amazing show. The series was nominated for 25 Emmy awards and won 15 of them. Reiner won three times for writing, Van Dyke three times for acting, and Moore twice for leading actress in a comedy role.
Some of my favorite episodes are “Pink Pills and Purple Parents” (season 4) a flashback to when Laura meets Rob’s parents. She takes some anti-anxiety medicine Millie gives her. She gets a bit loopy and Rob’s mother thinks she has a drinking problem; “The Ghost of a Chantz” (season four) where Rob, Laura, Buddy, and Sally spend the night in what’s said to be a haunted cabin. Characters disappear one by one and finally we learn that Mel pranked them to test out a concept for a show called Sneaky Camera; “Coast to Coast Big Mouth” (season five) when Laura reveals on a TV game show that Alan is bald and wears a toupee. Laura bravely goes to the office to apologize; another one about Laura, “The Curious Thing About Women” (season one) when Rob writes a comedy skit about Laura’s bad habit of reading his mail. All her friends tease her after it airs, and she tries to deny it, but when a package comes to the house, she opens it and an inflatable raft opens up which she cannot put back; and finally, “That’s My Boy” (season 3) when Rob is convinced that the hospital switched their son with another boy born that day. He has to resolve this, and invites the other couple over to discuss the situation. When Rob opens the door, he sees an African American couple, and it gets one of the longest audience laughs than any other sitcom episode.
CBS may have wanted to end the show after season one, but they did not want to end it after season five. However, the cast made the decision to quit while they were still producing high-quality shows. I appreciate that they did this. One of the saddest things for me as a viewer is when a show goes on a year or two longer than it should and the quality diminishes greatly.
I just can’t think of anything about this show that needed improving. It had a great cast, great writers, likable characters, and a timeless quality. Sixty years after the show began, it is just as funny and easy to watch as it was then. Thank you, Carl Reiner and cast, for knowing how to make a memorable show and when to end it to keep it that way.
Continuing the theme “Living in the Past: Timeless Comedies,” we find ourselves transported to Milwaukee, WI in the 1950s getting to know the Cunninghams. Beginning September of 1984, Happy Days entertained fans for more than a decade, producing 255 episodes. When the show began, it was set in 1955, and when it went off the air eleven seasons later, it was 1965.
Garry Marshall developed the pilot which first aired on Love American Style in 1972 as “Love and the Television Set.” The network wasn’t interested in turning the pilot into a show when it first came up. However, once George Lucas released American Graffiti in 1973, also starring Ron Howard, ABC took another look at the period show. The first two seasons, the show focused more on Richie Cunningham as he interacted with his friends and family. Jerry Paris (Jerry Helper on The Dick Van Dyke Show) directed 237 of the episodes. Happy Days was described as relentlessly ordinary. The plots revolved around the same types of problems most teens experienced in the fifties: dating, wanting to be popular, peer pressure, and similar experiences.
Richie’s family includes his father Howard (Tom Bosley) who owns a hardware store, and his mother Marion (Marion Ross). Howard is a family man and is also loyal to his lodge. Marion is content to stay at home, except for a brief stint when she gets a job as a waitress at Arnold’s. The cast also includes his younger sister Joanie (Erin Moran) and an older brother Chuck.
Chuck would not be around long. At the end of the series, Tom Bosley says “he had the joy of raising two wonderful kids and watching them and their friends grow up into wonderful adults.” Poor Chuck. His existence wasn’t even acknowledged in the finale. When a character just disappears without an explanation, it is often referred to as the “Chuck Cunningham Syndrome.”
Richie’s friends include Potsie Weber (Anson Williams) and Ralph Malph (Donny Most). Potsie, whose real name is Warren, was a singer. When Richie went into the Army so did Ralph. A famous catchphrase from the show was Ralph’s uttering “I still got it!” after he told a joke. Richie’s girlfriend is Lori Beth Allen (Lynda Goodfriend). She and Richie marry later in the series. The friends hung out at Arnold’s and got to know Arnold (Pat Morita) well. They listen to a lot of music at the restaurant; Richie’s favorite song was “Blueberry Hill” by Fats Domino. One fun fact about the drive-in was that the restrooms were labeled “Guys and Dolls.” Eventually, Arnold sells the restaurant to Al (Al Molinaro).
The pilot included Ross, Howard, and Williams in their later roles. Harold Gould played the part of Howard and Susan Neher was Joanie. When the show got the go-ahead, Gould was involved in a play abroad and declined, so the role was given to Bosley.
Robby Benson and Donny Most were both under consideration for the role of Richie. They had appeared in a commercial for Reese’s Peanut Butter Cups together. When Howard was given the role, the role of Ralph was created for Most.
There are several references during the show made about Ron Howard’s past acting roles. One of these occurred when the family is leaving a theater where they watched The Music Man in 1962. Marion comments that she thought the little boy in the movie looked just like Richie when he was little. Howard did in fact play the role of Winthrop Paroo in The Music Man in 1962 when he was eight years old.
There were two primary sets for the show: The Cunningham residence and Arnold’s Drive-In. The real exterior of the house was in Los Angeles. However, Arnold’s found its inspiration in The Milky Way Drive-In located on Port Washington Road in Glendale, WI, more recently Kopp’s Frozen Custard.
The ratings began to decline during the second season, so Garry Marshall made Fonzie (Henry Winkler) more involved in the show. Fonzie moved into the apartment above the Cunninghams’ garage. Eventually he and Richie become best friends, and Fonzie is a basically a member of the family. Marion is the only person who is allowed to call him Arthur. Fonzie was also fond of Joanie and nicknamed her “Shortcake.” His best-known catchphrase was “Heyyyy!” By 1976 the show was number one.
In season four, Arnold sells his restaurant to Al (Al Molinaro). That same year, Fonzie’s cousin Chachi (Scott Baio) comes to town. He would eventually fall in love with Joanie. After season nine, Ron Howard left the show, and Howard’s nephew Roger (Ted McGinley) joins the cast as the new phy-ed teacher at the high school.
In season ten, Joanie and Chachi also leave the show; Moran and Baio starred in the spinoff Joanie Loves Chachi, but when the new show failed, both characters returned to Happy Days. Richie’s leaving was explained by him joining the Army. In season 11 he returns briefly to learn his parents have obtained an interview for him with the Milwaukee Journal. Not wanting to hurt their feelings, he eventually admits his wish is to go to California and try his hand at screenwriting.
Some of the best-known guest stars include sports star Hank Aaron, singer Frankie Avalon, western star Lorne Greene, Brady kids Maureen McCormick and Christopher Knight, legends Tom Hanks and Danny Thomas, and blonde beauties Morgan Fairchild, Charlene Tilton, and Cheryl Ladd.
The show’s theme song was a new version of an old standard, “Rock Around the Clock” by Bill Haley & His Comets. The theme was so popular it reached #39 in 1974; in real life, in 1955, the song had been a number one hit. Beginning in season three, a newer song, “Happy Days” was featured at the beginning of the show.
Amazingly, the show would be the source for a variety of spinoffs including Laverne & Shirley, Mork and Mindy, Joanie Loves Chachi, Blansky’s Beauties, and Out of the Blue.
Once so many of the main characters began leaving the show, the writing was on the wall. “Jumping the shark” is an expression that was coined when The Fonz actually jumped a shark. It’s a symbol for when a show grasps at straws to increase the ratings. Rarely is that type of exaggeration successful and it was not for Happy Days.
The show was so popular it never left its Tuesday night line-up. It aired at 8 pm EST for the first ten seasons and switched to 8:30 for its final season. However, the show had lost its magic, and the cancellation was inevitable. In fact, the show probably should have ended a season earlier. In addition to actors wanting to move on to new projects, the sixties were a very different time period than the fifties. The warm and fuzzy family themes that carried the show through the fifties and early sixties could not continue as the series had to survive the hippy era and the Vietnam War.
Although the show was a team effort, there is no denying that Winkler’s portrayal of the Fonz was the most popular character of the decade and one of the most iconic in television history. After the show was cancelled, his leather jacket was acquired by the Smithsonian Institution for the National Museum of American History. A bronze statue of the Fonz was erected in Milwaukee in 2008 along the Milwaukee Riverwalk.
This character warrants a closer look. One of the people who auditioned for the role of Fonzie was Micky Dolenz from The Monkees. He was a lot taller than the other cast members, so he was bypassed while they looked for a shorter actor which ended in Winkler’s hiring. Fonzie’s real name is Arthur Herbert Fonzarelli. His grandmother raised him and his nickname was Skippy. His hero is The Lone Ranger, and he carries a picture of him in his wallet.
Winkler said he based some of Fonzie’s movements and speech after Sylvester Stallone whom he had worked with in The Lords of Flatbush. The Fonz loved motorcycles, but Winkler decidedly did not, so most scenes were shot with the bike attached to a platform which was pulled by a truck, so Winkler never had to ride it. The cycle was the same model Steve McQueen rode in The Great Escape in 1963.
This show had a slew of catchphrases, and one of them came from The Fonz whenever he was trying to get someone to answer a question correctly. When they said the right answer, his response was “correctamundo.”
Fonzie was adored by many kids, especially kids who needed some extra help or attention. Marshall was asked if the show could do something to help kids realize how important reading was. On one of the episodes, The Fonz went to the library and checked out a book, saying “Everybody is allowed to read.” That week, library card registrations increased by 500%. During one day of filming, a call came to Paramount Studios. It was from a teenage boy who was contemplating suicide. He wanted to talk to Fonzie. Winkler picked up the call and gave the boy hope, convincing him not to take his life.
The only negative thing about Fonzie was the result he had on Winkler’s future acting career. It took a long time before he could shake that image and be considered for other types of acting roles.
In 2019, the cast reunited to celebrate the life of Garry Marshall who passed away in 2016. In an article by Gina Vivinetto in Today on November 14, 2019, Donny Most discussed the cast. “We were so good at what we did because we respected each other and loved each other.” He went on to say “we made it look easy and it wasn’t.”
In another article during that same event written by Zach Seemayer November 17, 2019], Williams and Howard both talked about the mentoring they received from Marshall. Williams said, “He really cared about us. More than as actors. He really inspired us to learn because he said [we might] wanna wear many hats.” Howard also learned from his mentor, saying “Garry was a natural teacher and he loved collecting theories and axioms about life but also making a show. They were all hilarious but they all rang true and they were great lessons.”
Both Howard and Winkler told writer Stephanie Nolasco of Fox News how they felt about each other and their time on Happy Days. Winkler had a hard time dealing with his sudden fame, and Howard was able to provide some grounding for him. Winkler described this time, “It’s unnatural—the human condition does not prepare you for stardom. That’s just the way it is. So, you have to hold on to yourself and then you’ve got friends like Ron who doesn’t take it all seriously. I learned from him; he was my teacher. And Garry Marshall never took bad behavior from anybody. He was a father figure. He was very funny and very idiosyncratic, and then he was very strict.”
Winkler also discussed his friendship with Howard. “I think people gravitate to the Fonzie/Richie relationship because Ron and I are ten years apart. He was 19 and I was 27. We had a connection that you cannot describe in real life, and it was similar off-camera. He gave me my first mitt; I’d never played baseball before. He’s my brother.”
Howard echoed the sentiments. “We were fast friends from the beginning. It continues all these years later. It was exciting for me to work with Henry because he was really a trained actor who attended Yale Drama School; just a trained New York actor. And, I’d grown up sort of through the Hollywood television system, so for me to work with this guy who was so thoughtful, so creative, and yet so hilarious, was really an opportunity for me to learn and grow and we just clicked, you know.”
The entire cast spent a lot of time together and participated in softball events. Marshall put the league together with casts from other television shows partly to help keep actors out of trouble and away from drugs. Winkler described the cast being “very much like a family. I love them, I talk to them, I email them, and I see them.”
For eleven years Happy Days provided all of us with lovely memories of the Cunningham family and their friends. It is one of the best sitcoms of the 1970s and has held up beautifully in syndication. Life in the fifties was a fun and heart-warming time (at least on television), but all good things must come to an end, and Happy Days was no exception. The good news is we can get immersed back into the Cunninghams’ lives whenever we want to. Eleven seasons provides for a lot of binge watching. Better make some extra popcorn.
The late 1960s and early 1970s might have contained the most diverse television shows than any other era. In 1968, there were the rural comedies like Green Acres and The Beverly Hillbillies; there were the standard sitcoms, My Three Sons, Get Smart, That Girl, Bewitched; there were the remains of a few westerns including The High Chaparral, The Virginian, and Gunsmoke; there were crime and thrillers such as Hawaii Five-0 and Mission Impossible; there was the crime/western in The Wild, Wild West, there were gameshows on at night including Let’s Make a Deal, The Dating Game, and The Newlywed Game; there were sci-fi shows like Star Trek and The Land of the Giants; family shows like Lassie; and even Lawrence Welk.
In addition, there were a couple of shows that were a bit edgier and introduced more provocative concepts and themes. The Mod Squad featured three teens who were helping solve crimes in lieu of jail time, and then there was the almost-impossible-to-describe Laugh In.
Similar to Laugh In was The Smothers Brothers Comedy Hour which also debuted in 1967 featuring Tom and Dick Smothers. It had more of a variety format to it but it had the same topical and satirical humor.
In addition to poking fun at politics, the war, religion, and current issues, you could tune in to the Smothers Brothers for some of the best and sometimes controversial music in the industry. Performers such as Jefferson Airplane, Steppenwolf, Simon and Garfunkel, The Who, Cream, Pete Seeger, and The Doors appeared on the show.
The show aired Sunday nights against Bonanza on NBC; ABC aired The Sunday Night Movie in its first season and Hee Haw in its second season.
The series had some of the best writers on television: Alan Blye, Hal Goldman, Al Gordon, Steve Martin, Lorenzo Music, Don Novello, Rob Reiner, David Steinberg, and Mason Williams. Reiner and Martin both commented on the show in an interview by Marc Freeman in the Hollywood Reporter 11-25-2017 (“The Smothers Brothers Comedy Hour at 50: The Rise and Fall of a Ground-Breaking Variety Show”).
Reiner relayed that “you had two cute boy-next-doors wearing red suits, one with the stand-up bass and the other with his guitar. They looked like the sweetest, most innocent kids. You got drawn to them, and then they hit you with the uppercut you didn’t see coming.”
Martin elaborated “When you have the power wrapped up in innocence, it’s more palatable. They were like little boys, but you also had Dickie there to reprimand Tommy when he would make an outrageous statement. It’s like the naughty ventriloquist dummy who can get away with murder as long as the ventriloquist is there to say ‘You can’t say that.’ It’s the perfect setup for getting a message across.”
In addition to the musical acts, hundreds of celebrities appeared on the show between 1967 and 1969, including Jack Benny, Carol Burnett, George Burns, Bette Davis, Jimmy Durante, Barbara Eden, Nanette Fabray, Eva Gabor, Shirley Jones, Don Knotts, Bob Newhart, Tony Randall, Ed Sullivan, Danny Thomas and Jonathan Winters, along with so many others.
Part of the show was the brothers’ ongoing sibling rivalry about whom their parents liked best. They also began to add political satire and ribald humor. Pat Paulsen delivered mock editorials about current topics such as the draft and gun control, and in 1968 he had a mock presidential campaign.
Church sermon sketches poked fun at religion. The show lampooned many of the values older Americans valued, often delivering anti-establishment and pro-drug humor. No one was given an exception, and the show lambasted the military, the police, the religious right, and the government.
Battles over content were ongoing with the network. The network pulled Pete Seeger’s performance of his anti-Vietnam War song, “Waist Deep in the Big Muddy.” They nixed Harry Belafonte’s song, “Don’t Stop the Carnival” because it had a video collage behind him of the 1968 Democratic National Convention riots.
Younger viewers were tuning in, and despite the conflicts, the show was picked up for a second season. The network insisted they receive a copy of the show at least ten days in advance for editing. In April of 1969, William Paley canceled the show without notice. Some sources contend it was canceled by CBS president Robert Wood. Some sources cite the issue with unacceptable deadlines and others mention Tom Smothers lobbying the FCC and members of Congress over corporate censorship that brought about the firing. The brothers filed a breach of contract suit against the network and after four years of litigation, a federal court ruled in their favor, awarding them $776,300.
Here’s a typical joke from the show that was not as controversial.
Tom: You can tell who’s running the country by how much clothes people wear, see?
Dick: Do you mean that some people can afford more clothes on, and some people have . . . less on? Is that what you mean?
Tom: That’s right.
Dick: I don’t understand.
Tom: See, the ordinary people, you’d say that the ordinary people are the less-ons.
Dick: So, who’s running the country?
Tom: The morons.
The Smothers Brothers elicited humor that was as topical, influential, and critical as anyone had ever heard before on television. Fifty years later, both the network and the brothers realized everyone over-reacted. If the Smothers Brothers had tried to play by the rules a bit, they would not have lost their platform to continue to help change what they saw as a messed-up culture.
The CBS executives felt the program created too much controversy. In their defense, politicians, especially Lyndon Johnson and Richard Nixon, exerted a lot of pressure on the network. Remember this was a time of three networks and ads are what produced the profits to fund shows. The network received a boatload of hate mail daily about the program and, when viewers begin talking boycotting advertisers, executives sit up a bit straighter and listen.
The Smothers Brothers Show, a less controversial series, debuted in 1975. They had two specials on NBC later and another CBS series in 1988 but never regained the influence they had in the sixties. However, the show did help pave the way for a future that permitted, and later embraced, shows with controversy beginning with All in the Family, continuing with Saturday Night Live, and recently seen on shows such hosted by Jon Stewart and Stephen Colbert. Although the comedy spouted on the show would seem quite tame by today’s standards, the show had an important part in the history of television and the rights of free speech.
I have seen some DVDs out there from this show, but they are pricey. Recently I saw season two going for $190. I do see Laugh In on Decades quite often, so perhaps The Smothers Brothers might show up somewhere too, although I’m not sure this show would hold up as well as Laugh In, but the musical performances would be fun to see.
Continuing my “We Salute You!” blog series, today we look at one of the most-loved television characters, Gomer Pyle.
In the late 1950s Make Room for Daddy was one of the most popular sitcoms. On one episode in February of 1960, Danny found himself in Mayberry, picked up for going through a stop sign. Although Sheriff Taylor came off a bit of a country bumpkin, viewers enjoyed the episode and the following fall, The Andy Griffith Show (TAGS) aired on CBS. When the series debuted, Andy was portrayed more of a wise sage and the folks of Mayberry were a quirky but lovable bunch. The show was in the top ten every year it was on the air. In fact, it seemed to get better as it went, making #3 in 1966-1967 and #1 in 1967-68. Andy left the show the following year, and it turned into Mayberry RFD which continued for three more seasons. The first two it was also in the top 10 and the third year it slipped a bit into the top 15. Although it was one of the most successful shows on CBS’s schedule, it was eliminated with a lot of other popular shows in the famous rural purging in the early seventies.
One night, Andy Griffith saw Jim Nabors performing at The Horn in Santa Monica and decided he would be a perfect fit for Mayberry. He offered him a job, and Gomer Pyle began working at Wally’s gas station.
Two writers, Everett Greenbaum and Jim Fritzell were said to have created the character. Greenbaum had dealt with an incompetent gas station attendant. He stopped by a station with motor trouble. The man could not think of any way to fix it except to keep adding gas to the tank, so Greenbaum thought a character based on him should be part of an episode on TAGS. He derived the name from Gomer Cool, a writer and Denver Pyle, the actor. Everett and Greenbaum (along with many TAGS writers) would continue to write for TAGS as well as Pyle episodes.
Gomer was one of the most popular characters on the show. Surprisingly he was only in 23 episodes in the two years he was with the show. Traveling around the country, you would be able to hear people repeating his “gawwwleee,” “surprise, surprise, surprise,” or “shazzam” which all became part of our language at the time.
Because Gomer Pyle was so popular, Andy, Aaron Ruben, and Sheldon Leonard decided to give him his own show and Gomer Pyle USMC was created. In this show, Gomer who is naïve, kind-hearted and morally upright has to deal with life in the marine corps and his gruff Sergeant Carter (Frank Sutton). Although Carter gets driven to distraction by Pyle and his “do-gooding,” we all realize he has a soft spot for Pyle and his main concern is protecting him.
The show was on the air from 1964-69 and had a solid supporting cast. Like TAGS, Gomer Pyle USMC was in the top ten for its entire run.
The show was on Friday nights, except for season three when it moved to Wednesdays. I was a bit surprised it stayed in the top ten, because it had some competition at times. Season one it was opposite Jack Benny and Twelve O’Clock High. Season two it went up against Honey West on one network and a variety of music shows on the other. Season three it was at the same time as Peyton Place and season four it was on opposite Star Trek.
Although the show depicted military life on base, war was never discussed. The series began at Camp Wilson in North Carolina and was moved to the fictional Camp Henderson in California. The actual show was filmed at Camp Pendleton and, along with TAGS, at Desilu’s Cahuenga studio and the RKO Forty Acres backlot. Unlike TAGS, Pyle used a single-camera setup because much of the shooting was outside.
The US Marine Corps worked with Leonard, giving the show unlimited access to their equipment because they felt the series was good for their image. The opening scene of the show was that of marching recruits from the Marine Corps Recruit Depot in San Diego. Nabors commented that it was very difficult for him to see that footage because so many of those service men were killed in Vietnam. In real life, Frank Sutton could not pass the Marine Corps physical for WWII but was able to serve in the US Army, taking part in 14 assault landings including Luzon and Bataan.
I had heard of universities bestowing honorary degrees to actors even if they did not attend the school, but I did not realize the military could do something similar. During the show, Gomer’s highest rank was Private First Class. In 2001, the US Marine Corps gave Nabors an honorary promotion to Lance Corporal, and in 2007 he was raised to Corporal.
Obviously, there were a lot of military vehicles used in the filming of the show. Chrysler Corporation provided them. Jeeps were also prominent in the show, but Jeep did not become part of Chrysler until 1987. As an aside, the vehicles for TAGS were provided by Ford.
Pyle’s loyalty and good-natured attitude made him a favorite of both his platoon members and many of the women whom he came in contact with. One of Pyle’s friends was Duke Slater played by Ronnie Schell. Schell was written off after the third season when he left to star in Good Morning World. When that sitcom did not get renewed, he returned to Pyle. Some of the other platoon members included Roy Stuart as Corporal Boyle, Forrest Compton as Colonel Edward Gray, Ted Bessell as Frankie, and William Christopher as Lester.
Gomer gets to meet a lot of people when he goes to town. He especially loves movies and one of his favorite all-time pictures was Godzilla.
As mentioned, Sergeant Carter eventually becomes a father figure to Gomer. Carter’s girlfriend Bunny (Barbara Stuart) also tried to help Gomer (I could not find anything to indicate that Roy and Barbara Stuart are related). Gomer often causes trouble between Carter and Bunny by trying to “help” Carter. In season three, Gomer also got a girlfriend in Lou-Ann Poovie (Elizabeth MacRae). She is a singer in a local nightclub, but eventually Gomer talks her into returning to Turtle Creek, NC to marry her old beau Monroe. She leaves but returns, informing Gomer she wants him for her boyfriend, and she gets a new job as a clerk at a record store.
Several TAGS alumni made appearances on the show. Allan Melvin was part of the cast as Staff Sergeant Hacker for four years, Carter’s rival on the show. Denver Pyle who was Briscoe Darling on TAGS showed up on Gomer Pyle as a farmer. Andy, Aunt Bee, Goober and Opie all were seen at the base at one time or another, including when Opie ran away from home.
With a show on the air so long, many well-known guest stars showed up at Camp Henderson as well, including Carol Burnett, Ted Knight, Rob Reiner, Don Rickles, and Jerry Van Dyke.
After the fifth season, Nabors expressed an interest to do a variety show, so Gomer Pyle was not renewed. He brought Ronnie Schell and Frank Sutton along for his new show which was on the air for two seasons. Carol Burnett called Nabors her good luck charm. He was one of her best friends and he was always on her season opener each year.
In an interview with Jim for American Profile, writer Paulette Cohn (Jim Nabors Lives Happily in Hawaii, January 13, 2008) quoted Carol Burnett’s perspective of Nabors vs Pyle: “ ‘The one thing Jim has in common with Gomer is his kindness,’ says actress and comedienne Carol Burnett, Nabors’ long-time friend, who named him godfather to her daughter Jody. ‘He loves people and is very gregarious. But he is also very smart. Not that Gomer wasn’t, but Jim isn’t naïve. He keeps his eye on things.’ ”
Considering how popular Gomer Pyle USMC has been in reruns, I was surprised to learn it wasn’t until 2006 that CBS Home Entertainment released the show on DVD. By 2008, all the seasons were available.
Let’s end with a few quotes that captures the essence of the show’s characters.
Carter: I don’t get it Pyle, how come you can knock that Phillips flat, yet you can’t handle that little Lombardi guy?
Gomer: Well sir, you see the big feller needed a lesson, the little feller didn’t.
Although Gomer Pyle USMC might not be everyone’s cup of tea, it was a well-done and popular show. I think its success, like TAGS and many of the other shows considered classics, comes from the fact that it’s a character-driven show. We start to consider the characters our friends and enjoy spending time with them. The show can currently be seen on MeTV nightly at 9 pm EST.
As we continue our Murder, Mystery, and Mayhem series, we move from Maine where senior citizen Jessica Fletcher solved mysteries to the streets of Los Angeles, where a hip trio infiltrates the counterculture to solve crimes.
1968 till 1973, The Mod Squad was a
unique concept. Created by Buddy Ruskin, a Los Angeles police officer, the show
took eight years to become a reality. Ruskin based the concept on his time as a
squad leader for an undercover narcotic division in the 1950s.
Spelling was the executive producer. Spelling worked on a number of projects
from 1960 onward, but his biggest hit shows were still in his future when he
took the helm of The Mod Squad.
As soon as the jazzy theme song by Earl Hagen began, we knew this was a different type of show. The sixties hippie culture and counterculture drug scene had not been explored in depth on television before.
In order to
get the necessary evidence, three young team members were trained to go
undercover to solve cases. Michael Cole was Pete Cochran, a wealthy kid who was
arrested for stealing a car; Peggy Lipton was Julie Barnes, who had run away
from a bad home situation; and Clarence Wlliams II was Linc Hayes, who was
arrested during the Watts riots. Captain Adam Greer (Tige Andrews) supervised
the trio. He mentored them and provided “parently” advice and wisdom. He
hand-picked them for his team. (Similarly, Spelling’s Charlie’s Angel’s would also feature a father figure hand picking
three non-traditional members for his crime-solving team.)
None of these kids were innocent, and their records were eliminated when they chose to work with the LA police. But they soon realized they had the ability most cops did not to inconspicuously fit in to help stop criminals from killing or hurting other young adults.
Similar to Room 222, which aired almost the same
time, The Mod Squad covered a lot of
socially relevant topics: abortion, domestic violence, drug addiction, child
abuse, police brutality, illegal immigration, and racism. Though the pilot was
written sixty years ago, these issues are still on the front page today.
The writers, including Tony Barrett, Harve Bennett, Sammy Hess, and Buddy Ruskin, created realistic characters. These three outcasts were a bit rebellious; they lived in the gray instead of black or white. They understood good people sometimes did bad things, and racism and domestic violence were not to be tolerated. Their speech and clothing marked them as quintessentially 1960s. Linc often said “Solid” or “Keep the faith.” You would probably hear “groovy” at least once an episode.
The team traveled in an old green 1950 Mercury wood-paneled station wagon that they affectionately referred to as “Woody.” Unfortunately, it was burned in an accident at the end of the second season.
The show was definitely controversial. It aired at a time when westerns, rural sitcoms, and Lawrence Welk were popular. The episodes pushed the envelope a bit on topics that had been taboo on television in the past. The team was like a family and on one episode, Linc gave Julie a brotherly kiss on the cheek which had the network up in arms, but not one complaint came in. Their relationship with Captain Greer helped America see how the generation gap could be bridged.
controversy, the show attracted a lot of famous guest stars. Some of the actors
who can be spotted during the show’s run include Ed Asner, Jim Backus, Tom
Bosley, David Cassidy, Tyne Daley, Sammy Davis Jr., Tony Dow, Andy Griffith,
Carolyn Jones, Leslie Nielsen, Stefanie Powers, Vincent Price, Robert Reed,
Marian Ross, Sugar Ray Robinson, Martin Sheen, Bobby Sherman, Danny Thomas,
Daniel Travanti, and Billy Dee Williams.
Each episode ended with the squad walking away from the camera.
The show was
extremely popular given its uniqueness. It was the 28th most popular
show its first year and number 11 in its third season. The show received seven
Emmy and four Golden Globe nominations. In 1970, it was nominated for
Outstanding Series. During its final year, it only ranked 54 and the “hipness”
of the show was starting to age a bit, so it was cancelled.
It did have
an afterlife. In 1979, a tv movie, The
Return of the Mod Squad, aired on ABC with the original cat. In 1999, a
big-screen film was released starring Giovanni Ribisi, Omar Epps, Claire Danes,
and Dennis Farina. Don’t feel bad if you don’t remember it; not many people do.
The Mod Squad could be seen on MeTV in 2014 and 2015. Apart from that, it has not fared well in syndication. Like Room 222, the show can feel dated quickly due to its language and fashion.
The show is still celebrated for its ground-breaking scripts, and in 1997, TV Guide included an episode, “Mother of Sorrow” as 95th of the greatest 100 episodes of all time.
While you probably won’t find it on television, it is available on DVD. Although the show may not be known by many people today, it was one of the first shows to break the barriers of going where television had not been before. In many ways, it paved the way for the creation of shows such as All in the Family, The Mary Tyler Moore Show, and Miami Vice. What more could you ask for: relevant topics, well-rounded characters, and exciting plots. Although its language and fashions date it, it captures a unique time in our history and is worth exploring.
As we wind up our salute to fathers during Father’s Day month, we finish with Make Room for Daddy. This iconic show doesn’t get the respect that I Love Lucy did, but it is one of the first iconic family sitcoms. This sitcom had to survive cast changes, network moves, and ratings fluctuations.
The show debuted on ABC in 1953. In 1957, it moved to CBS until 1964 when it went off the air. Danny Williams (Danny Thomas), a nightclub singer and comedian, tries to balance his work life with his family life. Danny obviously loves his children but is not an overly affectionate dad and is just as likely to tell his son Rusty, “I love you, you little jerk.”
In March of 1953, Thomas singed a contract for the show and picked Desilu Studios for filming because of their three-camera method. Several of the working titles for the show were “The Children’s Hour” and “Here Comes Daddy.”
The title of
the show was from a Thomas family joke. Whenever Danny was away for work, his
children had the run of the house. They slept in the master bedroom with their
mother, even putting clothes in the dresser there, so when he came home from a
tour or a filming, he told them it was time to spread out and “make room for
Danny has three children (two in seasons 1-4 and three in seasons 5 and after): Terry (Sherry Jackson and later Penney Parker), Linda (Lelani Sorenson, then Angela Cartwright), and Rusty (Rusty Hamer). The first three seasons his wife Margaret was played by Jean Hagen. They had Terry and Rusty. Louise (Louise Beavers) was their maid. When Beavers passed away, Amanda Randolph took over the role. Terry was later played by Penney Parker. Mary Tyler Moore auditioned for the role, but Danny felt Mary’s nose did not match his as well as Parker’s.
The show was filmed live before 300 people, so there was a lot of pressure on the younger kids to know their lines. All three children continued in successful acting careers after the show. (Unfortunately, Hamer had a harder time finding good roles as an adult and committed suicide at 42. Cartwright left acting to focus on a career as a photographer. Jackson continued acting.)
Thomas’s connections, you can imagine the quality of guest stars this show was
able to feature. Some of the bigger names include Lucille Ball, Milton Berle, Sammy
Davis Jr., Jimmy Durante, Shirley Jones, and Dinah Shore. If you looked at a
Who’s Who in Comedy Sitcoms, you would find a huge percentage of them on this
shows from this era, the original sponsor was The American Tobacco Company,
advertising its brands like Lucky Strike, Pall Mall, and Tareyton.
While the theme song went through variations during the run of the show, it was always a version of “Danny Boy.”
The show was
popular and did well in the ratings but had not made the top 30 after three
years. Jean Hagen decided to leave the show.
beginning of the fourth season, the title changed to The Danny Thomas Show. Thomas and producer Sheldon Leonard were
trying to decide how to explain Hagen’s absence. Divorce was not acceptable and
filling the same role with another actress didn’t seem like a good option
either. They decided to have her die between seasons.
of the show now switched to Danny being a widower. The family moved from their
home to an apartment. Danny dated occasionally and almost got engaged to singer
before learning she didn’t like children. The ratings were declining with the
new format, so it was decided to have Danny marry again.
Mary Wickes played the role of Liz O’Neal, Danny’s press agent from 1955-1957.
At the end of the 1957 season, Rusty becomes ill, and Danny hires Kathy O’Hara (Marjorie Lord) as his nurse. Kathy was a widow with a young girl (Lelani Sorenson). Danny and the kids both fall in love with her and they become engaged in the season finale. ABC cancelled the show, but CBS* was looking for a show to take over the spot of I Love Lucy which was ending its production, so they took it over and put it on the schedule for the fall of 1957.
The first episode of the fifth season “Lose Me in Las Vegas” centered on Danny and Kathy who had married an were on their honeymoon. Angela Cartwright took over the role of Kathy’s daughter from Sorenson. Danny adopted Linda. The family moved into a larger apartment. The ratings skyrocketed, and it was the number 2 show by the end of the season.
Sherry Jackson decided to leave the show during season six, and her absence was explained by her going to a school in Paris. Jackson had a five-year contract which she honored. She and Hagen had been very close, and Jackson wanted to leave when Hagen did, but Hagen only had a three-year contract.
In season seven, Terry comes back, now played by Penney Parker. During the season she gets engaged and eventually marries Pat (Pat Harrington Jr.), a friend of Danny’s. Terry and Pat move to California and are rarely mentioned afterward.
Make Room for Daddy might have had the first spinoff of a character not in the cast. In one of the episodes from 1960, “Danny Meets Andy Griffith,” Danny is pulled over in Mayberry and is detained in the jail. Sheriff Andy Taylor is featured in the show, and The Andy Griffith Show was created.
For the final two seasons, Danny and Kathy traveled for much of the series. They toured Europe while Rusty and Linda stayed home with Danny’s manager Charlie (Sid Melton) and his wife Bunny (Pat Carroll). Thomas decided to retire from the show in 1964. The show ended on a high note, still ranking number nine.
Although the show ended in 1964, NBC brought back the main cast of Thomas, Lord, Cartwright, Hamer, Jackson, Randolph, and Hans Conried, Uncle Tonoose, to star in a two-hour reunion special, The Danny Thomas TV Family Reunion. Having a reunion show was another first accomplished by this sitcom.
In 1969, CBS
created their own reunion special, titled Make
Room for Grandaddy. It had such high ratings that CBS put it on the schedule,
but Thomas didn’t like the time slot and pulled the show.
In 1970, ABC tried again. Sherry Jackson again was Terry, but her husband now was Bill; what happened to Pat? Terry had a six-year-old son Michael (Michael Hughes) whom Terry left with Danny and Kathy (still played by Thomas and Lord) to join Bill, a soldier stationed overseas. The show only lasted one year. One of the reasons given was that Sheldon Leonard was no longer controlling the scripts and actors, and the show was moved from Wednesdays to Thursdays during the season.
The show was so popular with kids that a comic book series was developed.
As I mentioned, this show does not get the credit it deserves. While Danny tended to be short-tempered and Kathy was the voice of reason, the scripts for the entire series were well written and realistic. It had an extremely talented cast. Unlike some series, the children really carried the show. The children acted like children, not mature adults, in most ways, but they created great characters and were very funny. Rusty always had a viewpoint on any given situation. Their moments are the ones that make this show so memorable. Many of the episodes center around the kids. A typical example is “Casanova Junior ” : Rusty hasn’t asked a girl to the school dance because he has no confidence. Danny gives him some pointers and now the girls are falling all over themselves to go out with Rusty. The only problem is Rusty, he’s gone from no confidence to treating the girls badly and Danny is not happy about it.
The show ended in the top ten. It created the first sitcom spinoff of a non-cast member and the first reunion movie. I specify “non-cast” member because December Bride included Pete Porter in its cast, and he talked about his wife Gladys. Later the show Pete and Gladys was created.
Despite the challenges it faced with cast members coming and going, the change from ABC to NBC, and the characters growing up on the show with changed the dynamics of the series, the show continued to garner great ratings and was given a second life in a new series in Make Room for Grandaddy. Along with The Donna Reed Show, it was one of the trend-setting family sitcoms from the 1950s and ’60s.
*Thanks to reader Howard Ian Stern for letting me know I originally had the wrong network listed.
We don’t often notice music in the background of our favorite shows, but it has a significant impact on our appreciation for a series. One of my favorite CDs in the 1980s was the music from thirtysomething. I admit I didn’t often pay attention to the music while watching the show, but I loved listening to the soundtrack.
Today we get to spend some time learning about one of the most prolific songwriters in the television industry: Earle Hagen. Earle was born in the Midwest in 1919, in Chicago, but moved with his family to Los Angeles. He began playing the trombone in junior high school.
At age 16 he left home to play with some of the best big bands in the country: Tommy Dorsey, Benny Goodman, Ray Noble.
During his time with Noble, when he was only 20, Hagen composed the song “Harlem Nocturne” as a tribute to Duke Ellington and Johnny Hodges. It would be recorded by numerous musicians over the years and later was adopted as the theme for both Mickey Spillane’s Mike Hammer and The New Mike Hammer.
In 1940 Earle was hired by CBS as a staff musician. Like many of the composers we have been learning about, Hagen enlisted in the military for World War II. When he came home, he became an orchestrator and arrangement writer for 20th Century Fox. He worked on a variety of films including Gentlemen Prefer Blondes and Carousel.
In 1943 he married Lou Sidwell, a big band singer. They would remain married until she passed away in 2002 and produce two sons.
When Earle accepted the Irwin Kostal Tribute Award in 2000, he explained that “In 1953, the studios committed to large screen production and we went from 38 pictures a year to one. There were other pictures on the planning board but not immediate enough to support the huge studio staffs. So, along with 1199 other people, I migrated to television.”
The first show he worked on was a short-lived series, It’s Always Jan which was on the air from 1955-56.
Then Hagen met Sheldon Leonard. As he says, “There again my good fortune held. I teamed up with Danny Thomas and Sheldon Leonard at a time when they were starting a string of hits that lasted 17 years.” Earle wrote the theme for Make Room for Daddy.
Those 17 years were busy. Leonard initiated the practice of using original music for sitcoms, so a lot of background music was required. Hagen said that during that era, the composer was part of the creative team. His opinion was asked for and respected in pre-production, production, and post-production.
He loved working in television. He said that there was “something about the immediacy of TV that I enjoyed. It was hard work, with long hours and endless deadlines, but being able to write something one day and hear it a few days later appealed to me. I think a statistic of which I am most proud is that in the 33 years I spent in television I was associated with some three thousand shows. Every one of them was recorded in Los Angeles with a live orchestra.”
His work continued with Leonard, and he wrote the theme song for The Dick Van Dyke Show.
Then Sheldon asked him to come up with a theme for a show about some gentle town folks and their sheriff. Earle said he struggled a while trying to come up with the perfect theme. As he described the process: It’s like “peeling an onion. Half of coming up with something good is throwing away what’s not.” Finally, he had a brainstorm and “he simply whistled the catchy tune which entered his head.” It’s the whistling of Hagen we hear on The Andy Griffith Show when we hear “The Fishin’ Hole.” Despite the difficulty of coming up with the theme song, Hagen enjoyed his time with The Andy Griffith Show. He said, “I guess my favorite show . . . was The Andy Griffith Show. It covered the spectrum from warmth to complete zaniness. It also was easy to write. Worthwhile, when you are doing four or five different series a week.”
He went on to work on several shows in the 1960s, including The Bill Dana Show, That Girl, Accidental Family, Gomer Pyle USMC, Mayberry RFD, and The Mod Squad. Hagen based the Mod Squad theme on Schoenberg’s 12-tone scale which added some tension to the scenes, along with a jazzy theme song.
Hagen’s songs are some of the most recognizable ones in television. However, his most innovative and beautiful scores were done for a show that is not remembered much today, I Spy. Leonard wanted original soundtracks for each episode. This humorous spy show was filmed in locations all around the world, so the music had to vary as well.
This was the first show to star an African American. Bill Cosby and Robert Culp were spies who took on assignments around the globe. I would like to say that the reason for the lack of the show being rerun is due to Bill Cosby and the poor personal choices he made which has resulted him being sentenced to jail and the shows he was involved with disappearing from television schedules. However, I rarely remember this show being available even before Cosby’s criminal trials, and I’m not sure why that is. In 2008, all three seasons of DVDs were released.
On the website earlehagen.net, we read that “During the run of the series he amassed one of the most comprehensive collections of ethnic music in existence at that time–some of it on commercial records bought in the countries he visited with the production team, but much of it taped live in situ with local musicians. These recordings containing priceless material of musical genres never before recorded, and in some cases, now extinct, were then mixed into the background music produced by the studio orchestra in Los Angeles. The result was what has been deemed ‘the richest musical palette ever composed for any American television series.’ ”
Sheldon relied on Hagen to literally scout the world for filming locations. The couple visited Japan, Hong Kong, Bangkok, India, Israel, Greece, Italy, France, and New York. Hagen discussed this trip. “Before the show started, at Sheldon Leonard’s invitation, Lou (my wife of 58 years so far), and I were invited to go on a `round the world trip with the Leonard’s scouting locations for the upcoming series, I Spy. On that 52-day trip we traveled first class, stayed in first class accommodations and at every airport were met by a car, driver, and interpreter, who stayed with us as long as we were in the country.”
Earle wanted viewers to remember that these were US spies so he named his music “semi jazz,” which fused local world cultures with American jazz music.
Deborah Young-Groves discusses the variety of music Hagen used in her article, Creating the Perfect Vibes for “I Spy.”
“And who could forget the frantic–almost joyous–chase across the University of Mexico in ‘Bet Me A Dollar’–Spanish brass–almost Copeland-esque (remember ‘El Salon Mexico’?), too loud to ignore but erratic and happy. And yet, like Copeland, Hagen only scored where he deemed appropriate. In that very same episode the child, who urgently seeks help for Kelly, runs in utter silence. We hear only his pounding feet and his sobbing gasps.
But the two best episodes for music are ‘Home to Judgment’ and ‘The Warlord,’ for equally fascinating reasons. ‘The Warlord’ borrows heavy oriental imagery for the action sequences (always punctuated by that American jazz – but it works) using snare drums and brass. How Hagen can get a trumpet to sound Asian simply by a jagged sequence of notes is still a mystery to me!
Then he changes completely and takes a plangent delicate note for the love theme between Chuang Tzu and Katherine, caught between their separate worlds. It is somber, powerful and almost painful – one of the saddest pieces of music I have ever heard.”
I Spy was on the schedule for three seasons. Hagen was nominated for an Emmy all three years for his work on the show, and he won it the last year the show aired. When asked about his favorite episodes, Hagen said, “Some of the shows of course stand out in memory: ‘Tatia,’ ‘Laya,’ ‘Home to Judgment’ ‘Warlord,’ and one of my favorites, ‘Mainly on The Plains.’ ”
The music was so memorable on this show, that Hagen was able to record two albums from the series. The first album was recorded by Warner Brothers and the second was Capitol. He said he enjoyed the Capitol album more only because he was able to work on in the off season, so he had more time to devote to it.
Earle would continue with his work on television throughout the 1970s, working on a variety of shows, including The New Perry Mason, Eight is Enough, and Mary Hartman, Mary Hartman. In the 1980s, he worked on Dukes of Hazard.
During the last decades of his life he taught and wrote books on scoring and music arrangements. He wrote the textbook, Scoring for Films: A Complete Text. In 2000, he published his autobiography, Memoirs of a Famous Composer Nobody Ever Heard Of.
In 2005, he married his second wife, Laura Roberts. Hagen died from natural causes in 2008.
In 2011, he was inducted into the Television Academy Hall of Fame.
Perhaps his website sums up his career best: “When one considers the vast range Earle Hagen’s career has covered, and just where he was at each stage in his life—playing trombone in the big bands during the 30s, writing arrangements for Frank Sinatra, working at 20th Century Fox during the reign of Alfred Newman, creating TV themes and scores for Sheldon Leonard shows, not to mention teaching brilliant young composers the art of scoring, and publishing the top texts in his field—it can truly be said that he lived through the best times in each of these worlds.”
Earle Hagen was another one of the great pioneers in the golden age of television and he should be celebrated for his amazing career.
Michele Ann Marie (Shelly) Fabares was born in 1944 in California. She began acting at 3 and at age 10 she appeared in her first television show. Her aunt was the actress Nanette Fabray who also began acting as a child, and then went on to musical theater.
During the 1950s, Shelly appeared in several television shows including Annie Oakley, The Loretta Young Show, and the Twilight Zone, in addition to 8 others. She was part of the cast of Annette in 1958, playing Moselle Corey. The star of the show was Annette Funicello. She is an orphan who grew up in the country and now lives with her wealthy aunt and uncle, not fitting into the snobby community. The show was cancelled after 19 episodes. Annette was a life-long friend of Shelly’s. They met in seventh grade, and Shelly was at her bedside when she passed away from multiple sclerosis in 2013.
Later that year she was offered the part of Mary Stone on The Donna Reed Show. The show was on the air seven years. Shelly left the show in 1963 to pursue a film career but stayed close to the cast, especially Donna Reed who was a second mother to her. Paul Petersen and Fabares both described how amazing Donna Reed and Carl Betz were during their time on the show. Realizing how tough the industry can be for young kids, they protected them and loved them as second parents. Both Shelly and Petersen pursued their music interests on the Donna Reed Show. In 1962, she recorded “Johnny Angel” which went to number 1 on the Billboard 100.
Shelly appeared in 13 films in the 1950s and 1960s, including three with Elvis Presley—Girl Happy in 1965, Spinout in 1966, and Clambake in 1967. She also appeared on television on The Ghost and Mrs. Muir, Daniel Boone,Lancer, and Bracken’s World. Shelly married Lou Adler in 1964.
Her acting career continued to skyrocket in the 1970s. She appeared as Joy Piccolo in Brian’s Song in 1971. She appeared in 26 television shows, three of them regular series. The Brian Keith Show was on the air from 1972-74. Keith was Dr. Sean Jamison and Shelly played his daughter, Dr. Ann Jamison. The two of them ran a free pediatric clinic in Hawaii financed by a wealthy patron. Sticking with the medical theme, she joined the cast of The Practice in 1976-77 working with Danny Thomas. She played Jenny Bedford, the daughter of Dr. Jules Bedford. At the end of the decade she tried another sitcom, Highcliff Manor, which only lasted 6 episodes. I don’t remember this sitcom, but it seems an odd one: the manor, owned by Fabares’ character, Helen Blacke, was home to the Blacke Foundation, a research institute staffed by an eclectic group of eccentric characters. It sounds a bit like Scorpion, maybe just a couple decades’ too early.
She continued working on television in the 1980s, appearing on Fantasy Island, Mork andMindy, Matt Houston, The Love Boat, Newhart, and Murder She Wrote. She joined the cast of One Day at a Time, playing Francine Webster between 1978-1984. She also made the movie Hot Pursuit in 1987. The description of the movie is that young Danny is following his rich girlfriend’s family to the Caribbean. But suddenly he simply must take a chemistry test and cannot go with them. After they have left, he gets a leave from his professor and takes a plane to find them. But he is not quite sure where they are, and meets smugglers, crazy captains, and murderers. Fabares’ marriage to Lou Adler legally ended in 1980, although they had been separated since 1966. In 1984, she married M*A*S*H star Mike Farrell.
Entering her 5th decade of acting, she made her last film, Love or Money in 1990. She continued her television work appearing in A Whole New Ballgame and the JusticeLeague. She also had a regular gig providing the voice for Martha Kent in Superman from 1996-99. In addition to the Donna Reed Show, the show that Fabares is best known for was Coach which ran throughout most of the 90s, from 1989-1997. As Christine Armstrong, she is the girlfriend, and later, wife of Coach Hayden Fox, played by Craig T. Nelson. The show revolves around the football team that Fox coaches. He lives for sports while Christine is not the least interested. This causes a bit of friction and miscommunication in their relationship.
Fabares had a long and full career. While her career kept her busy, she had to deal with several major life situations:
Donna Reed, her second mother, passed away in 1986 from pancreatic cancer. Shelly adored Donna, and Donna’s final words were to make sure Shelly’s birthday gift was wrapped and delivered.
At the same time Reed was dying, Fabares’ mother was suffering from Alzheimers.
In 2000, Shelly needed a liver transplant because she had autoimmune hepatitis.
She had to deal with the death of her life-long friend Annette Funicello in 2013.
Few actors can begin acting as a child, transition into teen parts, transition into movie roles, and then continue acting as an adult in sitcom series, but she did that beautifully. Hopefully she and hubby Mike Farrell continue to enjoy a long and well-deserved retirement.
Are you feeling comfortable? You might want to lean back, put on a pair of plastic glasses, and say Ahhh. Sorry, I guess I’m getting carried away by our topic today. March 6 is National Dentists Day. I thought it might be fun to delve into some shows that featured dentists. Apparently, the average viewer finds nothing funny about dentists. They are hard to spot on the small screen. Perhaps it brings back too many pain-filled memories of the sound of drills and mouths so numb you bite your lip without realizing it. Finding dentists on television was like pulling teeth – sorry I’m getting carried away again. Let’s look at a few of them.
When we think of television dentists, most of us probably conjure up pictures of Jerry Helper (played by Jerry Paris) on The Dick Van Dyke Show or Jerry Robinson (played by Peter Bonerz) on The Bob NewhartShow. These two shows can make anything funny, even dentists.
Jerry and Millie Helper are the Petries’ next-door neighbors and best friends on The Dick Van DykeShow. Jerry is a dentist, and Millie is a stay-at-home mom with a son the same age as Richie, Rob and Laura’s son. Jerry is a kidder and his comments often get him in trouble.
One episode, “Punch Thy Neighbor” from the first season, shows Jerry taking his teasing too far. Jerry and Millie are watching the Alan Brady Show with Rob and Laura, and Jerry makes comments about how bad it is. Rob isn’t happy, but the next day he gets mad when several people, including the Helpers’ son Freddie and the milkman, tell Rob Jerry mentioned how bad the show was. Rob goes to talk to Jerry and ends up punching him accidentally. When he attempts to show Laura how it happened, he hit her as well. Richie tells Millie his dad hit his mom, and she sends Jerry over to get Rob under control. Jerry walks in seeing Rob yelling, not knowing it’s because he tripped over a toy. Trying to calm him down, Jerry wrestles him to the floor. Jerry realizes he was out of line with his joking. You would think he learned his lesson, but at the end of the episode, Jerry starts again, and Rob hits him in the face with a pie. Like all the Dick Van Dyke episodes, this one is true to life, well written, and funny.
I’m sure it was also well directed, although not by Jerry Paris. However, Paris kept nagging Reiner to let him direct. Once he did a couple of shows, Reiner realized that “he understood our show more than any of the other directors.” In 1963-64, Paris won an Emmy for directing the show. He directed 84 of the 158 episodes. After The Dick Van Dyke Show ended, he went on to direct many shows including 2 episodes of The Partridge Family, 3 episodes of Love American Style, 3 episodes of The Mary TylerMoore Show, 7 episodes of The New Dick Van Dyke Show, 18 episodes of The Odd Couple, and 237 of the 255 episodes of Happy Days.
From 1972-1978, Jerry Robinson was Bob Hartley’s best friend on The Bob Newhart Show. Bob realizes his friends and family are not any more emotionally stable than his patients; they just get his advice for free. Jerry is an orthodontist, and he shares a receptionist with Bob. When interviewed about his character, Bonerz said “Jerry Robinson was written by 25 guys. It was my job to make those 25 different versions of Jerry the dentist credible.” Robinson was a swinging single, slow to trust others, and easily angered. Yet, his character was likeable, and he credited that to a well-balanced cast who all made each other better. They were like a close family; you don’t always approve of your family members, but you love them. Bonerz’s theory was that Bob Newhart was the psychologist/listener of the family, and that role made everything else fall into place. If you needed a root canal, Dr. Helper might be more proficient, but you would enjoy the conversation during the procedure more with Dr. Robinson.
One dentist who was a critical component of a show, although most people don’t remember him, was Dr. Barry Farber. Dr. Farber is the man Rachel Green was supposed to marry on Friends, but she left him at the altar, ending up living with Monica and meeting a new group of friends.
Several other shows, not as well-known as these three, also featured a dentist in their cast.
Doc Corkle was on the air in 1952. Doc, played by Eddie Mayehoff, was a neighborhood dentist. He lived with his father (Chester Conklin) and his daughter (Connie Marshall). Poor Doc has some money problems. The biggest financial setback was the fact that the network cancelled the show after only three episodes.
I’m a Big Girl Now featured Diana Canova who played a divorced woman, Diana Cassidy, who goes home to live with her father Benjamin Douglass, a dentist (Danny Thomas). His partner and his wife have run off to Spain. Diana also has a daughter Rebecca and a neurotic brother named Walter. The show was cancelled mid-season.
Charley Shanowski, played by Ted McGinley, is a dentist on Hope & Faith. His wife Hope (Faith Ford) is a stay-at-home mom with three children. Her sister Faith (Kelly Ripa) was a soap opera star whose character was killed off on the show. She moves in with her sister but expects to be treated like the star she used to be. Charlie does not like Faith and spends a lot of his time trying to get her to leave. We can understand why. It seems like every time a dentist has a show where a family member moves in, the network cancels the show. At least this show made it three seasons instead of three episodes before it got pulled.
Probably my favorite show with a dentist was an episode of The Carol Burnett Show. Like so many of the funniest episodes, this one featured Tim Conway (the dentist) and Harvey Korman (the patient). When interviewed about the skit, Conway said that memorable sketches often create themselves. “The novocaine portion of the dentist sketch wasn’t planned—it just happened. That’s the magic of comedy; you never know when it is going to sneak up on you and make you laugh.” The dentist skit was based on Conway’s real-life dentist who stuck the needle of novocaine into his own thumb while working on a patient. Korman didn’t know Conway was going to put that in the sketch.
Last, but not least, I wanted to mention Edgar Buchanan, Uncle Joe in Petticoat Junction. Buchanan earned a DDS degree from North Pacific College of Dentistry in Oregon. His father was also a dentist. During the time he was a pre-med student, Edgar took acting classes at the University of Oregon and eventually left dental school to take a position in their drama department. His father convinced him to finish his dental degree first. When he returned to North Pacific he met Mildred Spence, another dental student. They graduated in 1928. After marrying, the couple moved back to Eugene, Oregon where they opened a private practice. From 1930-1937, Edgar was chief of oral surgery at the Eugene Hospital Clinic but also worked as an assistant director in the University of Oregon drama department. In 1939, the couple moved to Pasadena. When Edgar appeared in a production at the Pasadena Playhouse, he received his first film offer. So, at the age of 36, he turned over the practice to his wife and became an actor. He appeared in more than 100 films between 1941 and 1974. He was the only cast member of Petticoat Junction to appear in all 222 episodes.
Apparently dentists are not too popular. There are a handful of shows about them while there are tons of shows about attorneys. But dentists are our friends, so to celebrate their day today, take a moment and watch the following:
Tim Conway talks about The Dentist episode to Conan O’Brien and they play a clip from it. If you watch it enough times, you might not actually look forward to going to the dentist, but you might not dread it as much. And if you’re a hopeful television creator, write a show about dentists. They’re due for a big hit.