1
00:00:01,969 --> 00:00:03,113
MOM LIKED YOU BEST!
2
00:00:03,137 --> 00:00:06,183
WHAT YOU SEE
IS WHAT YOU GET.
3
00:00:06,207 --> 00:00:09,485
I'M WEARING A LIVE RACCOON.
THAT TAKES GUTS!
4
00:00:11,245 --> 00:00:13,322
GEE, IT'S NICE
TO SEE YOU ALL AGAIN.
5
00:00:13,346 --> 00:00:14,991
LET ME HAVE
THAT MICROPHONE RIGHT HERE.
6
00:00:15,015 --> 00:00:16,593
DO IT RIGHT NOW?
I CAN...
7
00:00:16,617 --> 00:00:18,361
OOH.
8
00:00:18,385 --> 00:00:22,665
♪ THEY CALL HER
HARD-HEARTED HANNAH ♪
9
00:00:30,830 --> 00:00:31,874
THIS PROGRAM
10
00:00:31,898 --> 00:00:34,711
BY CONTRIBUTIONS
TO YOUR PBS STATION
11
00:00:34,735 --> 00:00:40,405
FROM VIEWERS LIKE YOU.
12
00:00:44,111 --> 00:00:47,790
Narrator: FROM THE MOMENT
TELEVISION FIRST
13
00:00:47,814 --> 00:00:50,260
ILLUMINATED OUR LIVING ROOMS,
14
00:00:50,284 --> 00:00:52,696
THEY ATTRACTED VIEWERS
15
00:00:52,720 --> 00:00:53,630
LIKE BUGS TO THE LIGHT.
16
00:00:53,654 --> 00:00:55,965
HOW ABOUT SAYING
"GOOD NIGHT"
17
00:00:55,989 --> 00:00:57,667
GIVE THEM A BIG,
YOU KNOW, BIG WAVE?
18
00:00:57,691 --> 00:00:59,902
I CAN'T WAVE.
WHAT'S THE MATTER WITH YOU?
19
00:00:59,926 --> 00:01:00,937
OH, THAT'S...
20
00:01:04,565 --> 00:01:07,543
PEOPLE DIDN'T EVEN
FLUSH THE TOILET.
21
00:01:07,567 --> 00:01:11,514
I MEAN, THEY STAYED
GLUED TO THE SET
22
00:01:11,538 --> 00:01:14,350
EVERY PERFORMER WANTED
TO BE ON "THE ED SULLIVAN SHOW."
23
00:01:14,374 --> 00:01:17,020
I MEAN, THAT WAS
THE PLACE TO BE.
24
00:01:17,044 --> 00:01:22,881
Narrator: THEY BECAME
TELEVISION'S FAVORITE STARS.
25
00:01:27,421 --> 00:01:29,999
THWTTT!
OH, SORRY, ROY.
26
00:01:30,023 --> 00:01:33,569
♪ THERE WAS HANNAH
POURING WATER ♪
27
00:01:33,593 --> 00:01:35,171
♪ ON A DROWNING MAN ♪
28
00:01:35,195 --> 00:01:36,940
IT WAS JUST A GREAT PLACE
TO BE ON MONDAY.
29
00:01:36,964 --> 00:01:37,908
WE COULDN'T WAIT
TO GET THERE.
30
00:01:37,932 --> 00:01:40,010
AND WE HAD SO MANY ADVENTURES
DURING THE WEEK.
31
00:01:40,034 --> 00:01:43,546
Narrator: THEY SET THE STANDARD
FOR SKETCH COMEDY,
32
00:01:43,570 --> 00:01:44,714
SONG, AND DANCE.
33
00:01:44,738 --> 00:01:45,615
GET TO THE POINT.
34
00:01:45,639 --> 00:01:47,951
POINT?
THE POINT IS SIMPLE!
35
00:01:47,975 --> 00:01:51,187
TO SHOW YOU HOW MUCH
TELEVISION HAS CHANGED,
36
00:01:51,211 --> 00:01:52,155
THAT'S THE POINT.
37
00:01:52,179 --> 00:01:53,689
IT CAN MAKE YOU CRY.
38
00:01:53,713 --> 00:01:55,424
IT CAN MAKE YOU LAUGH.
39
00:01:55,448 --> 00:01:58,761
IT CAN MAKE YOU
FEEL EXUBERANT.
40
00:01:58,785 --> 00:02:00,864
IT CAN MAKE YOU THINK.
41
00:02:00,888 --> 00:02:03,566
UH, WAITER?
42
00:02:04,625 --> 00:02:06,303
WE DID ALL DIFFERENT KINDS
OF SKETCHES,
43
00:02:06,327 --> 00:02:08,471
AND WE DID ALL DIFFERENT
KINDS OF MUSICAL NUMBERS.
44
00:02:08,495 --> 00:02:12,375
Narrator: THEY PUSHED
THE BOUNDARIES OF SATIRE
45
00:02:12,399 --> 00:02:15,978
♪ CBS WOULD LIKE
TO GIVE US NOTICE ♪
46
00:02:16,002 --> 00:02:20,783
♪ AND SOME OF YOU
DON'T LIKE THE THINGS WE SAY ♪
47
00:02:20,807 --> 00:02:23,653
♪ BUT WE'RE
STILL HERE ♪
48
00:02:23,677 --> 00:02:25,688
I HAD NO IDEA WE WERE
SAYING ANYTHING IMPORTANT
49
00:02:25,712 --> 00:02:27,157
UNTIL THEY SAID,
"YOU'VE GOT TO STOP."
50
00:02:27,181 --> 00:02:30,293
Narrator: THEY CHANGED
THE TIMING OF TELEVISION
51
00:02:30,317 --> 00:02:34,531
AND INFLUENCED THE PACE
OF MODERN LIFE.
52
00:02:34,555 --> 00:02:37,033
VERY INTERESTING.
53
00:02:37,057 --> 00:02:38,635
THEY WOULD SAY TO ME,
"SLOW IT DOWN."
54
00:02:38,659 --> 00:02:40,136
I'D SAY, "NO,
PEOPLE WILL UNDERSTAND IT."
55
00:02:40,160 --> 00:02:42,172
AND THEY SAID,
"BUT THEY'LL MISS THE JOKES."
56
00:02:42,196 --> 00:02:43,073
AND I SAID, "WELL, SO WHAT?
57
00:02:43,097 --> 00:02:45,241
"THERE'S ANOTHER ONE
COMING ALONG
58
00:02:45,265 --> 00:02:47,911
Narrator: THEY CREATED
A NEW ART FORM
59
00:02:47,935 --> 00:02:51,715
CALLED THE TELEVISION
VARIETY SHOW.
60
00:02:51,739 --> 00:02:58,509
THEY ARE THE PIONEERS
OF TELEVISION.
61
00:03:06,520 --> 00:03:07,430
THE PERSON WHO LEFT
62
00:03:07,454 --> 00:03:09,966
THE BIGGEST MARK
ON TELEVISION VARIETY
63
00:03:09,990 --> 00:03:13,336
HAD ABSOLUTELY
NO VISIBLE TALENT.
64
00:03:13,360 --> 00:03:18,608
BUT BEHIND THE SCENES
WAS ANOTHER STORY ENTIRELY.
65
00:03:18,632 --> 00:03:21,210
HIS NAME
WAS ED SULLIVAN...
66
00:03:21,234 --> 00:03:26,215
PERHAPS THE MOST IMPROBABLE STAR
IN TELEVISION HISTORY.
67
00:03:26,239 --> 00:03:28,752
HE CAME OUT HERE
SOME YEARS BACK,
68
00:03:28,776 --> 00:03:31,187
AND THERE'S A WHOLE
FLUX, FANS,
69
00:03:31,211 --> 00:03:33,857
FLUX OF EASTERN ATHLETES
TO THE COAST,
70
00:03:33,881 --> 00:03:35,391
AND I'D LIKE YOU
TO MEET HIM.
71
00:03:35,415 --> 00:03:37,727
HE WAS ONE OF THE STRANGEST
PERSONALITIES
72
00:03:37,751 --> 00:03:41,064
THAT YOU COULD IMAGINE
IN THE HISTORY OF THE BUSINESS.
73
00:03:41,088 --> 00:03:45,501
BECAUSE HE HAD NO BUSINESS
BEING ON THE AIR AT ALL.
74
00:03:45,525 --> 00:03:47,169
YOU DON'T SING.
75
00:03:47,193 --> 00:03:49,739
YOU CAN'T DANCE,
YOU DON'T TELL JOKES.
76
00:03:49,763 --> 00:03:51,675
YOU MERELY
INTRODUCE ACTS.
77
00:03:51,699 --> 00:03:52,776
UH-HUH.
78
00:03:55,102 --> 00:03:58,214
AND YOU'VE BEEN
DOING THIS
79
00:03:58,238 --> 00:03:59,616
FOR 19 YEARS.
80
00:03:59,640 --> 00:04:01,718
THAT'S RIGHT.
81
00:04:01,742 --> 00:04:02,585
MM-HMM.
82
00:04:02,609 --> 00:04:05,521
WELL, ED,
IF I MAY BE SO BOLD...
83
00:04:05,545 --> 00:04:08,257
AND I DON'T LIKE
TO ASK THIS...
84
00:04:08,281 --> 00:04:12,095
BUT ACTUALLY
HOW MUCH DO YOU MAKE?
85
00:04:13,086 --> 00:04:14,563
I MEAN, HOW MUCH
DO YOU...
86
00:04:14,587 --> 00:04:16,165
HOW MUCH MONEY
DO YOU GET
87
00:04:16,189 --> 00:04:18,434
FOR THIS PARTICULAR JOB?
88
00:04:18,458 --> 00:04:23,339
JACK, I'D SAY
APPROXIMATELY $800 MILLION.
89
00:04:23,363 --> 00:04:25,575
800 THOUSAND.
90
00:04:25,599 --> 00:04:27,643
I RAISED IT, BUT I'M
GOING TO CUT IT DOWN.
91
00:04:27,667 --> 00:04:30,346
HE'S READING IT,
AND HE GOT IT WRONG.
92
00:04:33,974 --> 00:04:38,954
Narrator: SULLIVAN KNEW
HE WAS AWFUL ON CAMERA.
93
00:04:38,978 --> 00:04:41,824
BUT HE WOULDN'T GIVE UP
THE LIMELIGHT.
94
00:04:41,848 --> 00:04:44,594
MORE THAN ANYTHING,
HE WANTED FAME.
95
00:04:44,618 --> 00:04:46,863
AND TO BE FAMOUS,
HE NEEDED TO STAY
96
00:04:46,887 --> 00:04:49,399
WHERE THE PUBLIC
COULD SEE HIM.
97
00:04:49,423 --> 00:04:51,067
WE WOULD ALL KIND OF LAUGH
ABOUT ED,
98
00:04:51,091 --> 00:04:54,136
BECAUSE HALF THE TIME,
HE COULDN'T REMEMBER YOUR NAME,
99
00:04:54,160 --> 00:04:57,306
OR HE COULDN'T REMEMBER
SOMEONE'S LAST NAME,
100
00:04:57,330 --> 00:04:59,175
OR...
101
00:04:59,199 --> 00:05:00,610
BUT I THINK THE AUDIENCE
102
00:05:00,634 --> 00:05:04,347
LOVED THAT, THE FACT
THAT HE WAS HIMSELF.
103
00:05:04,371 --> 00:05:08,918
Narrator: DESPITE
HIS ODD STAGE PRESENCE,
104
00:05:08,942 --> 00:05:09,852
SULLIVAN DID HAVE
105
00:05:09,876 --> 00:05:12,055
A UNIQUE TALENT
FOR BOOKING ACTS,
106
00:05:12,079 --> 00:05:17,794
THANKS TO YEARS OF EXPERIENCE
AS A BROADWAY COLUMNIST.
107
00:05:17,818 --> 00:05:18,928
HIS SKILLFUL MIX
108
00:05:18,952 --> 00:05:22,899
OF HIGHBROW, LOWBROW,
AND NEWSWORTHY
109
00:05:22,923 --> 00:05:24,567
REMAINS UNMATCHED.
110
00:05:24,591 --> 00:05:26,169
♪ AND IF YOU'RE
WITH A GAL ♪
111
00:05:26,193 --> 00:05:28,171
♪ SHE'D BETTER BE
YOUR SISTER ♪
112
00:05:28,195 --> 00:05:31,141
♪ YOU'LL WISH SHE WAS,
♪ 'CAUALL RIGHT ♪IN'T ♪
113
00:05:31,165 --> 00:05:34,577
Narrator: A TYPICAL HOUR
MIGHT INCLUDE
114
00:05:34,601 --> 00:05:35,845
A WASHBOARD BAND,
115
00:05:35,869 --> 00:05:37,781
A VENTRILOQUIST ACT...
116
00:05:37,805 --> 00:05:39,816
YOU WANT TO TALK TO HIM?
117
00:05:42,109 --> 00:05:45,287
Narrator: AND AN EXCERPT
FROM SHAKESPEARE'S "KING LEAR."
118
00:05:45,311 --> 00:05:49,726
THE SHOWS WERE MASTERPIECES
FOR THE MASSES.
119
00:05:49,750 --> 00:05:50,559
YOU DO ME WRONG
120
00:05:50,583 --> 00:05:54,864
TO TAKE ME
OUT OF THE GRAVE.
121
00:05:54,888 --> 00:05:58,901
HE HAD A PECULIAR...
MIGHT CALL IT A GENIUS,
122
00:05:58,925 --> 00:06:00,736
BECAUSE IT WAS A RADAR
KIND OF THING.
123
00:06:00,760 --> 00:06:03,606
HE KNEW WHAT THE AUDIENCE
WOULD LIKE TO SEE AND HEAR.
124
00:06:03,630 --> 00:06:09,279
Narrator: EVEN THE ORDER
AND HE BOF THE ACTSO THEM.
125
00:06:09,303 --> 00:06:11,481
WAS AN ART FORM
UNDER SULLIVAN.
126
00:06:11,505 --> 00:06:14,950
ON SOME NIGHTS, HE WOULD CHANGE
THE LINEUP
127
00:06:14,974 --> 00:06:16,186
DURING THE BROADCAST,
128
00:06:16,210 --> 00:06:18,821
TO MAXIMIZE
THE ENTERTAINMENT VALUE.
129
00:06:18,845 --> 00:06:21,257
HE KNEW HOW TO GET
THOSE ACTS ON.
130
00:06:21,281 --> 00:06:24,683
HE KNEW HOW TO CHARM
THOSE PEOPLE.
131
00:06:25,985 --> 00:06:30,800
Narrator: BEHIND THE SCENES,
SULLIVAN WAS A MASTER PUPPETEER,
132
00:06:30,824 --> 00:06:34,737
REWRITING PUNCH LINES,
ADJUSTING COSTUMES,
133
00:06:34,761 --> 00:06:36,305
EDITING SKETCHES.
134
00:06:36,329 --> 00:06:38,541
FOR THE LADIES,
IF YOUR GOWN
135
00:06:38,565 --> 00:06:40,610
WAS CUT
JUST A LITTLE TOO LOW...
136
00:06:40,634 --> 00:06:45,081
I DID IT MANY TIMES WHERE THEY
ADDED THE LACE, YOU KNOW?
137
00:06:45,105 --> 00:06:47,217
SO HE'D SAY,
"CUT FOUR MINUTES."
138
00:06:47,241 --> 00:06:49,519
WE CAN'T CUT FOUR MINUTES!
IT'S A SKETCH!
139
00:06:49,543 --> 00:06:51,087
YOU KNOW?
SO WE'D HURRY EVERYTHING.
140
00:06:51,111 --> 00:06:53,523
WE NEVER CAME OFF WELL
ON "THE SULLIVAN SHOW."
141
00:06:53,547 --> 00:06:54,958
YOU KNOW, IT'S EASIER
IF YOU TAKE OUT
142
00:06:54,982 --> 00:06:57,093
SIX MINUTES AT THE TOP
OR SIX MINUTES AT THE BACK.
143
00:06:57,117 --> 00:07:00,663
BIT WHEN YOU TAKE OUT
SIX MINUTES IN THE MIDDLE,
144
00:07:00,687 --> 00:07:02,264
AND THE GUY IS DOWN
TO TWO OR THREE MINUTES,
145
00:07:02,288 --> 00:07:04,233
YEAH, THAT'S TOUGH,
THAT'S REALLY TOUGH.
146
00:07:04,257 --> 00:07:05,167
AND THAT HAPPENED A LOT.
147
00:07:05,191 --> 00:07:07,803
TERRIFIED, AND ALL I REMEMBER,
148
00:07:07,827 --> 00:07:12,842
I FOLLOWED TRAINED CAMELS.
AND ALL I REMEMBER WAS,
149
00:07:12,866 --> 00:07:16,311
THERE WAS A BLUE SPOT
ON THE STAGE.
150
00:07:16,335 --> 00:07:17,513
AND THIS STAGE MANAGER,
151
00:07:17,537 --> 00:07:22,017
WHEN IT CAME MY TURN,
AFTER THE CAMELS WERE DONE,
152
00:07:22,041 --> 00:07:25,110
HE SAID...
153
00:07:26,113 --> 00:07:28,291
AND I GO OUT
ON THAT STAGE,
154
00:07:28,315 --> 00:07:30,693
AND I DO THE FOOTBALL MONOLOGUE,
155
00:07:30,717 --> 00:07:33,729
TO NO LAUGHS.
156
00:07:33,753 --> 00:07:36,220
NONE.
157
00:07:38,725 --> 00:07:41,704
Narrator: SULLIVAN WAS
ESPECIALLY CONCERNED
158
00:07:41,728 --> 00:07:43,739
ABOUT PROMOTING GOOD TASTE.
159
00:07:43,763 --> 00:07:47,410
EVEN HIS FAVORITE ACTS,
LIKE STILLER AND MEARA,
160
00:07:47,434 --> 00:07:51,848
WERE NOT IMMUNE
TO ED'S WATCHFUL EYE.
161
00:07:51,872 --> 00:07:53,783
ONCE, WHEN THE DUO
REHEARSED A SKETCH
162
00:07:53,807 --> 00:07:56,719
ABOUT A MAID WHO CLEANED
THE ASTRONAUTS' BATHROOM,
163
00:07:56,743 --> 00:08:00,523
SULLIVAN TOOK DECISIVE ACTION.
164
00:08:00,547 --> 00:08:02,959
WE'RE NOT GOING TO DO
THAT SKETCH TONIGHT."
165
00:08:02,983 --> 00:08:04,594
I SAYS, "WHAT'S WRONG,
MR. SULLIVAN?"
166
00:08:04,618 --> 00:08:08,831
HE SAYS, "WELL, IT'S,
IT'S NOT UP TO YOUR STANDARDS."
167
00:08:08,855 --> 00:08:11,434
I SAID, "WHAT'S WRONG
WITH IT?"
168
00:08:11,458 --> 00:08:16,505
AND HE USED THE WORD
THAT HAS TO DO WITH EXCREMENT.
169
00:08:16,529 --> 00:08:19,475
AND I LOOKED AT HIM,
AND I SAID TO MYSELF,
170
00:08:19,499 --> 00:08:21,010
"WELL, GEE WHIZ, IF I BACK OFF,
171
00:08:21,034 --> 00:08:25,581
IT'S ADMITTING THAT HE'S RIGHT
AND I'M WRONG."
172
00:08:25,605 --> 00:08:29,719
Narrator: STILLER DIDN'T DARE
DEFY SULLIVAN.
173
00:08:29,743 --> 00:08:34,023
IN TRUTH, EVERYONE
IN THE ENTERTAINMENT BUSINESS
174
00:08:34,047 --> 00:08:36,726
WAS BEHOLDEN TO ED.
175
00:08:36,750 --> 00:08:38,494
EVEN THE ROLLING STONES
176
00:08:38,518 --> 00:08:40,096
CHANGED THEIR LYRICS
177
00:08:40,120 --> 00:08:42,164
TO PLEASE HIM.
178
00:08:42,188 --> 00:08:44,700
AND IF SULLIVAN
WANTED PERFORMERS
179
00:08:44,724 --> 00:08:48,337
TO AUDITION AT 8:00 A.M.
AT HIS APARTMENT,
180
00:08:48,361 --> 00:08:49,905
THEY DID IT.
181
00:08:49,929 --> 00:08:54,277
ED COMES IN,
IN A DRESSING ROBE,
182
00:08:54,301 --> 00:08:58,781
BAREFOOT, SLIPPERS,
183
00:08:58,805 --> 00:09:00,383
WITH HIS DOG,
184
00:09:00,407 --> 00:09:01,817
A BLACK POODLE.
185
00:09:01,841 --> 00:09:03,152
AND WHILE I'M DOING MY,
186
00:09:03,176 --> 00:09:04,787
WHAT I THOUGHT WAS VERY FUNNY,
187
00:09:04,811 --> 00:09:07,690
THE DOG IS NIBBLING
ON MY TOES.
188
00:09:07,714 --> 00:09:09,725
I'M GOING NUTS,
I CAN'T CONCENTRATE.
189
00:09:09,749 --> 00:09:13,062
AND OF COURSE ED...
IT'S HIS FIRST CUP OF COFFEE...
190
00:09:13,086 --> 00:09:14,930
HE'S COUGHING AND GROANING,
AND...
191
00:09:17,624 --> 00:09:19,068
IT WAS A DISASTER.
192
00:09:19,092 --> 00:09:22,872
WELL, HE PROBABLY
LIKED MY LOOKS.
193
00:09:22,896 --> 00:09:26,197
AND REMEMBER, THAT WAS
MY OLD FACE.
194
00:09:28,701 --> 00:09:33,316
MOLDED POPULAR TASTE
WOR REFLECTED IT
195
00:09:33,340 --> 00:09:35,840
IS STILL OPEN FOR DEBATE.
196
00:09:37,477 --> 00:09:42,024
A SIXTH SENSE
BUT FOR ENTERTAINMENT, IFT,
197
00:09:42,048 --> 00:09:47,318
THAT KEPT HIM ON THE AIR
FOR NEARLY A QUARTER-CENTURY.
198
00:09:56,430 --> 00:09:59,042
ED SULLIVAN'S CHIEF RIVAL
IN THE EARLY YEARS
199
00:09:59,066 --> 00:10:03,546
WAS THE MAN WHO ESSENTIALLY
INVENTED TELEVISION VARIETY...
200
00:10:03,570 --> 00:10:05,448
MILTON BERLE.
201
00:10:05,472 --> 00:10:09,451
PREMIERING JUST 12 DAYS
AHEAD OF SULLIVAN IN 1948,
202
00:10:09,475 --> 00:10:12,288
BERLE TOOK A COMPLETELY
DIFFERENT APPROACH...
203
00:10:12,312 --> 00:10:18,294
WILD, ENERGETIC, AND READY TO
JUMP INTO ANY ACT AT ANY TIME.
204
00:10:18,318 --> 00:10:21,230
SO WHEN ELVIS CAME ON HIS SHOW,
205
00:10:21,254 --> 00:10:24,055
BERLE GRABBED A GUITAR.
206
00:10:30,663 --> 00:10:32,341
I WAS THE MASTER OF CEREMONIES,
207
00:10:32,365 --> 00:10:36,178
I WORKED WITH ALL THE ACTS,
I DID ALL THE SHTICKS.
208
00:10:36,202 --> 00:10:40,371
WE DID SLAPSTICK,
VISUAL COMEDY.
209
00:10:42,408 --> 00:10:46,355
Narrator: BERLE HAD COME OF AGE
IN VAUDEVILLE
210
00:10:46,379 --> 00:10:51,560
AND PERFECTED HIS ACT
IN NIGHTCLUBS.
211
00:10:51,584 --> 00:10:55,198
SO THE INTENSE PRESSURE
OF LIVE TELEVISION
212
00:10:55,222 --> 00:10:56,265
DIDN'T FAZE HIM.
213
00:10:56,289 --> 00:10:58,935
HE COULD HANDLE ANYTHING.
214
00:10:58,959 --> 00:10:59,701
OH, NO.
215
00:10:59,725 --> 00:11:00,903
PLEASE,
WILL YOU PLEASE?
216
00:11:00,927 --> 00:11:01,770
I LOST MY HEAD.
217
00:11:01,794 --> 00:11:04,273
YOU'VE GOT
I'LL TELL YOU...
218
00:11:05,631 --> 00:11:07,510
DON'T AD-LIB, KID.
I WANT TO JUST...
219
00:11:07,534 --> 00:11:09,378
Berle: I WAS SCHOOLED
IN IT.
220
00:11:09,402 --> 00:11:11,847
WE DID EVERYTHING LIVE
IN VAUDEVILLE.
221
00:11:11,871 --> 00:11:15,618
THTHE AUDIENCEING
SAT IN FRONT OF YOU.
222
00:11:15,642 --> 00:11:17,853
THEY EITHER LAUGHED
OR APPLAUDED
223
00:11:17,877 --> 00:11:20,389
OR HISSED YOU OFF THE STAGE,
224
00:11:20,413 --> 00:11:26,495
AND BEING USED TO AUDIENCES
OF THAT KIND,
225
00:11:26,519 --> 00:11:29,421
I WAS NOT SCARED.
226
00:11:31,158 --> 00:11:35,204
Narrator: BERLE'S OVER-THE-TOP
ANTICS WERE PERFECT
227
00:11:35,228 --> 00:11:38,374
AT TIMES, HIS AUDIENCE
REACHED A 95 SHARE...
228
00:11:38,398 --> 00:11:42,145
A NUMBER UNEQUALLED
EVEN BY MODERN-DAY SUPER BOWLS.
229
00:11:42,169 --> 00:11:46,982
HIS NICKNAME, "MR. TELEVISION,"
WAS WELL DESERVED.
230
00:11:47,006 --> 00:11:49,785
I REMEMBER WATCHING
MILTON BERLE ON THE OUTSIDE
231
00:11:49,809 --> 00:11:51,687
OF A HARDWARE STORE
IN THE WINTER.
232
00:11:51,711 --> 00:11:53,822
THE GUY WHO SOLD TELEVISION
LEFT IT ON
233
00:11:53,846 --> 00:11:56,625
SO PEOPLE FROM THE VILLAGE
COULD COME DOWN,
234
00:11:56,649 --> 00:11:59,350
STAND OUT THERE,
AND WATCH IT.
235
00:12:00,954 --> 00:12:03,365
Narrator: FOR A TIME,
MILTON BERLE
236
00:12:03,389 --> 00:12:07,235
WAS THE MOST POPULAR PERFORMER
IN THE COUNTRY.
237
00:12:07,259 --> 00:12:10,172
THEN, ALMOST OVERNIGHT,
238
00:12:10,196 --> 00:12:12,964
AMERICA GREW TIRED
OF HIM.
239
00:12:13,933 --> 00:12:16,678
BERLE'S RAPID DECLINE
WAS STRIKING,
240
00:12:16,702 --> 00:12:20,249
WITH ANOTHER OLD-SCHOOL
ESPECIALLCOMEDIAN, NTRASTED
241
00:12:20,273 --> 00:12:24,586
WHO MANAGED TO STAY
IN PRIME TIME FOR DECADES...
242
00:12:24,610 --> 00:12:27,689
RED SKELTON.
243
00:12:27,713 --> 00:12:30,192
AS I WALKED IN, THERE WERE
A LOT OF PEOPLE OUTSIDE,
244
00:12:30,216 --> 00:12:32,562
AND SOMEONE YELLED,
"RED SKELTON'S IN THE CROWD!"
245
00:12:32,586 --> 00:12:34,931
AND THEY ALL TURNED AROUND
AND LOOKED AT ME.
246
00:12:34,955 --> 00:12:42,827
I WAS SORRY
GEE, I RASSED.
247
00:12:44,831 --> 00:12:46,709
Narrator:
RED SKELTON UNDERSTOOD
248
00:12:46,733 --> 00:12:49,144
THE UNIQUE DEMANDS
OF TELEVISION COMEDY,
249
00:12:49,168 --> 00:12:53,883
PERHAPS BETTER THAN ANY
OF HIS CONTEMPORARIES.
250
00:12:53,907 --> 00:12:58,087
HE REALIZED THE NEED
FOR A LARGE STABLE OF CHARACTERS
251
00:12:58,111 --> 00:13:02,959
TO ENSURE HIS SHOW STAYED FRESH,
DIFFERENT EVERY WEEK.
252
00:13:02,983 --> 00:13:04,092
10 MILLION, 20 MILLION,
253
00:13:04,116 --> 00:13:05,761
40 MILLION, 100 MILLION PEOPLE
254
00:13:05,785 --> 00:13:06,696
WOULD SEE YOU A NIGHT.
255
00:13:06,720 --> 00:13:09,164
THAT ACT,
YOU CAN'T DO IT AGAIN.
256
00:13:09,188 --> 00:13:13,436
SO NO ONE I DID.ED FOR IT.
257
00:13:13,460 --> 00:13:17,072
Narrator:
I PSKELTON'S COLLECTIONON.
258
00:13:17,096 --> 00:13:18,841
OF VISUAL CHARACTERS INCLUDED
259
00:13:18,865 --> 00:13:22,512
CLEM KADIDDLEHOPPER,
CAULIFLOWER McPUGG,
260
00:13:22,536 --> 00:13:25,547
AND HUGE HITS ON RADIO, ER.
261
00:13:25,571 --> 00:13:29,252
THEY WERE EVEN FUNNIER
ON TELEVISION.
262
00:13:29,276 --> 00:13:32,889
Skelton: SAN FERNANDO RED,
I LOVED HIM IN POLITICAL TIMES.
263
00:13:32,913 --> 00:13:34,457
YOU KNOW, TIME TO VOTE.
264
00:13:34,481 --> 00:13:37,426
OR HE SAYS, "NOW, THIS IS
GOING TO BE A CLEAN CAMPAIGN.
265
00:13:37,450 --> 00:13:40,062
"I'M NOT GOING TO THROW MUD
AT MY OPPONENT,
266
00:13:40,086 --> 00:13:40,996
"BECAUSE HE'S A FINE MAN.
267
00:13:41,020 --> 00:13:45,100
"AND HIS WIFE IS
A MIGHTY FINE WOMAN.
268
00:13:45,124 --> 00:13:47,937
"WHAT HE SEES IN THAT DAME
HE'S RUNNING AROUND WITH,
269
00:13:47,961 --> 00:13:49,271
I'LL NEVER KNOW."
270
00:13:49,295 --> 00:13:50,105
YOU KNOW?
271
00:13:50,129 --> 00:13:51,373
NOT GOING TO THROW MUD.
272
00:13:51,397 --> 00:13:52,908
HERE'S LOOKING AT YOU.
273
00:13:52,932 --> 00:13:55,177
I TOLD THOSE BOYS
WE NEEDED LINES HERE,
274
00:13:55,201 --> 00:13:57,213
BUT THEY SAYS THIS
WOULD TAKE CARE OF IT.
275
00:13:57,237 --> 00:14:01,584
Narrator: SKELTON WAS ALSO
AMONG THE FIRST PERFORMERS
276
00:14:01,608 --> 00:14:02,718
TO UNDERSTAND ANOTHER
277
00:14:02,742 --> 00:14:05,721
FUNDAMENTAL RULE
OF TELEVISION SUCCESS...
278
00:14:05,745 --> 00:14:10,726
IFTHEY'LL KEEP WATCHING, U,
279
00:14:10,750 --> 00:14:12,761
EVEN IF THE MATERIAL
IS MEDIOCRE.
280
00:14:12,785 --> 00:14:15,631
I AIN'T SEEN YOU
FOR ABOUT SIX MONTHS,
281
00:14:15,655 --> 00:14:17,333
DEADEYE,
WHAT HAVE YOU BEEN DOING?
282
00:14:17,357 --> 00:14:19,235
I'M PRETTY HOKEY,
283
00:14:19,259 --> 00:14:21,803
BUT EVEN I AIN'T
GOING TO TELL THAT JOKE.
284
00:14:21,827 --> 00:14:24,406
AW, COME ON, DEADEYE,
I AIN'T SEEN YOU
285
00:14:24,430 --> 00:14:27,276
FOR SIX MONTHS,
WHAT'VE YOU BEEN DOING?
286
00:14:27,300 --> 00:14:29,811
HERE IT COMES,
FOLKS.
287
00:14:29,835 --> 00:14:33,315
ALL RIGHT, I AIN'T SEEN YOU
FOR SIX MONTHS, DEADEYE,
288
00:14:33,339 --> 00:14:34,550
WHAT YOU BEEN DOING?
289
00:14:34,574 --> 00:14:35,574
SIX MONTHS.
290
00:14:36,643 --> 00:14:40,021
Narrator: SKELTON'S LIKABILITY
WAS THE KEY
291
00:14:40,045 --> 00:14:43,792
TO MORE THAN 20 YEARS
OF VARIETY SHOW SUCCESS.
292
00:14:43,816 --> 00:14:46,762
IT WAS A LESSON KEENLY
UNDERSTOOD
293
00:14:46,786 --> 00:14:50,366
BY ANOTHER VARIETY HOST
WHO WOULD BECOME
294
00:14:50,390 --> 00:14:52,834
THE MOST POPULAR MAN
IN AMERICA...
295
00:14:52,858 --> 00:14:56,872
AN ENTERTAINER
WITH LITTLE OBVIOUS TALENT.
296
00:14:56,896 --> 00:14:59,141
YOU KNOW, I HAD
A JOKE LAST NIGHT
297
00:14:59,165 --> 00:15:00,976
I WAS GOING TO DO,
298
00:15:01,000 --> 00:15:04,413
Narrator: ARTHUR GODFREY
WAS A REGULAR GUY.
299
00:15:04,437 --> 00:15:08,250
AT LEAST, THAT'S THE IMAGE
HE NURTURED FOR DECADES
300
00:15:08,274 --> 00:15:12,621
TO BUILD A MASSIVE AUDIENCE
ON RADIO.
301
00:15:12,645 --> 00:15:13,822
YOU COULD WALK DOWN A STREET
302
00:15:13,846 --> 00:15:15,724
IN A MIDWESTERN TOWN
THAT I LIVED IN
303
00:15:15,748 --> 00:15:17,493
IN THE SUMMER, WHEN THE DOORS
WERE OPEN...
304
00:15:17,517 --> 00:15:18,827
AND NO ONE HAD
AIR CONDITIONING...
305
00:15:18,851 --> 00:15:20,729
AND YOU WOULDN'T MISS
A WORD
306
00:15:20,753 --> 00:15:21,997
OF "THE ARTHUR GODFREY SHOW,"
307
00:15:22,021 --> 00:15:25,301
AS YOU WENT FROM ONE HOUSE'S
RADIO TO THE NEXT.
308
00:15:25,325 --> 00:15:27,203
STAGGERING AUDIENCE.
309
00:15:27,227 --> 00:15:30,640
THAT'S A LOVELY DRESS
YOU HAVE.
310
00:15:30,664 --> 00:15:33,643
Narrator: ARTHUR GODFREY'S
LAID-BACK APPROACH TO RADIO
311
00:15:33,667 --> 00:15:34,543
SEEMED DESTINED TO FAIL
312
00:15:34,567 --> 00:15:36,679
WHEN HE MOVED
TO THE SMALL SCREEN.
313
00:15:36,703 --> 00:15:40,883
HE DIDN'T EVEN TAKE OFF
HIS RADIO HEADPHONES AT FIRST.
314
00:15:40,907 --> 00:15:43,486
BUT GODFREY'S WARM, FOLKSY STYLE
315
00:15:43,510 --> 00:15:46,955
STRUCK A CHORD
WITH TV AUDIENCES,
316
00:15:46,979 --> 00:15:48,424
JUST AS IT HAD IN RADIO.
317
00:15:48,448 --> 00:15:52,694
AND HE ARRIVES TWO MINUTES
BEFORE THE RED LIGHT COMES ON.
318
00:15:52,718 --> 00:15:55,363
COMES IN AND SITS DOWN,
AND...
319
00:15:57,090 --> 00:15:58,667
YOU KNOW, THEY START
HIS THEME SONG.
320
00:15:58,691 --> 00:16:02,337
AND HE HAS MADE
NO PREPARATION AT ALL,
321
00:16:02,361 --> 00:16:06,008
WE'LL MEET THE FIRST ONE,
WHO IS NAMED
322
00:16:06,032 --> 00:16:09,645
SANFORD BAUMSTEIN,
IS THAT RIGHT?
323
00:16:09,669 --> 00:16:10,913
SANFORD BAUMSTEIN?
324
00:16:13,039 --> 00:16:14,717
IT'S HOMEMADE,
AND THEREFORE IT HAS...
325
00:16:14,741 --> 00:16:17,019
Narrator: AS A COMMERCIAL
PITCHMAN,
326
00:16:17,043 --> 00:16:19,087
GODFREY'S INFLUENCE
WAS PROFOUND.
327
00:16:19,111 --> 00:16:23,025
HE REFUSED TO READ
THE HARD-SELL COPY OF THE ERA
328
00:16:23,049 --> 00:16:26,194
AND INSTEAD, AD-LIBBED
COMMERCIALS
329
00:16:26,218 --> 00:16:27,530
IN HIS NEIGHBORLY STYLE.
330
00:16:27,554 --> 00:16:30,065
SURE, I KNOW, WHEN YOU GO
IN THE GROCERY STORE,
331
00:16:30,089 --> 00:16:33,502
THERE ARE ALL THOSE CANS
THAT ARE SO EASY TO PICK UP.
332
00:16:33,526 --> 00:16:34,703
YOU HAVE TO GO WAY ON DOWN
333
00:16:34,727 --> 00:16:36,906
TILL YOU FIND
THE LIPTON ENVELOPES.
334
00:16:36,930 --> 00:16:39,942
Narrator: HE EVEN POKED FUN
AT HIS SPONSORS.
335
00:16:39,966 --> 00:16:42,878
BUT THAT MADE HIM
ALL THE MORE BELIEVABLE.
336
00:16:42,902 --> 00:16:45,280
I WILL THEREFORE
TAKE A TASTE.
337
00:16:45,304 --> 00:16:46,114
OOH, LOOK, LOOK,
338
00:16:46,138 --> 00:16:47,683
SEE ALL THE NOODLES
IN THERE?
339
00:16:47,707 --> 00:16:52,521
CHICKEN? CHICKEN?
340
00:16:52,545 --> 00:16:56,091
THE NATION'S
MOST EFFECTIVE SALESMAN...
341
00:16:56,115 --> 00:17:00,562
A SKILL THAT MADE
ARTHUR GODFREY VERY RICH.
342
00:17:00,586 --> 00:17:05,401
ABSOLUTELY DELICIOUS,
ABSO...
343
00:17:05,425 --> 00:17:09,972
Announcer: ARTHUR GODFREY
AND HIS FRIENDS!
344
00:17:11,230 --> 00:17:13,208
Narrator:
BY THE EARLY 1950s,
345
00:17:13,232 --> 00:17:16,612
GODFREY HAD TWO
TV VARIETY SHOWS,
346
00:17:16,636 --> 00:17:18,013
BOTH TOP-TEN HITS.
347
00:17:18,037 --> 00:17:21,450
EXPOSURE ON HIS SHOW
COULD MAKE A CAREER.
348
00:17:21,474 --> 00:17:24,052
Boone: I WENT OVER
AND AUDITIONED
349
00:17:24,076 --> 00:17:25,454
FOR "THE ARTHUR GODFREY SHOW."
350
00:17:25,478 --> 00:17:29,091
AND JUST LIKE "AMERICAN IDOL"
TODAY, YOU JUST SING A CAPPELLA.
351
00:17:29,115 --> 00:17:32,094
SO I SANG SOMETHING,
I DON'T REMEMBER WHAT IT WAS.
352
00:17:32,118 --> 00:17:34,830
AND THEY SEEMED TO BE
FAVORABLY IMPRESSED.
353
00:17:34,854 --> 00:17:38,534
CAN YOU COME BACK
THIN ABOUT THREE WEEKS?"...
354
00:17:38,558 --> 00:17:40,102
I SAID, "NO, I CAN'T.
355
00:17:40,126 --> 00:17:44,206
"I'M EXPECTING A CHILD, AND NO,
356
00:17:44,230 --> 00:17:47,743
THEY SAID, "NO?
OKAY, WE'LL PUT YOU ON TONIGHT."
357
00:17:47,767 --> 00:17:50,278
AND I WENT ON THE AT NIGHT
AND WON!
358
00:17:50,302 --> 00:17:53,449
Narrator: GODFREY'S SUCCESS
SEEMED UNSTOPPABLE
359
00:17:53,473 --> 00:17:57,453
UNTIL HE MADE
ONE OF THE BIGGEST MISTAKES
360
00:17:57,477 --> 00:17:59,421
IN TELEVISION HISTORY.
361
00:17:59,445 --> 00:18:01,323
JULIUS HAS A RECORD OUT.
362
00:18:01,347 --> 00:18:04,226
Narrator: AS ONE
OF ARTHUR GODFREY'S
363
00:18:04,250 --> 00:18:06,528
REGULAR SINGERS, JULIUS LaROSA
364
00:18:06,552 --> 00:18:08,297
HAD BECOME
A NATIONAL SENSATION.
365
00:18:08,321 --> 00:18:12,767
HIS FAN MAIL OUTNUMBERED
EVEN GODFREY'S.
366
00:18:12,791 --> 00:18:15,270
WHEN THE TWO HAD
A DISAGREEMENT,
367
00:18:15,294 --> 00:18:16,972
GODFREY FIRED LaROSA...
368
00:18:16,996 --> 00:18:18,240
ON THE AIR.
369
00:18:18,264 --> 00:18:20,776
AND YOU COULD SEE
BY THE LOOK ON LaROSA'S FACE,
370
00:18:20,800 --> 00:18:22,210
IT WAS A TOTAL SURPRISE TO HIM.
371
00:18:22,234 --> 00:18:24,746
AND I THINK THE FACADE BROKE,
372
00:18:24,770 --> 00:18:29,740
AND PEOPLE GOT A GLIMPSE
OF ANOTHER ARTHUR GODFREY.
373
00:18:31,644 --> 00:18:34,189
Narrator: PRESS COVERAGE
OF THE INCIDENT
374
00:18:34,213 --> 00:18:36,759
PAINTED GODFREY AS CALLOUS
AND EGOTISTICAL.
375
00:18:36,783 --> 00:18:43,521
ALMOST OVERNIGHT, PUBLIC OPINION
TURNED AGAINST HIM.
376
00:18:44,390 --> 00:18:46,968
GODFREY BECAME
THE BUTT OF JOKES,
377
00:18:46,992 --> 00:18:50,205
THE POSTER BOY
FOR PHONY CELEBRITIES.
378
00:18:50,229 --> 00:18:53,230
HIS CAREER NEVER RECOVERED.
379
00:18:54,333 --> 00:18:57,279
EVEN WITHOUT THE CONTROVERSY,
THE ERA
380
00:18:57,303 --> 00:19:01,917
OF THE TRADITIONAL VARIETY EMCEE
WAS COMING TO A CLOSE.
381
00:19:01,941 --> 00:19:06,021
A DIFFERENT TYPE OF HOST
WAS GAINING POPULARITY...
382
00:19:06,045 --> 00:19:09,925
THE SINGER.
383
00:19:11,617 --> 00:19:13,628
LADIES AND GENTLEMEN,
THANK YOU...
384
00:19:13,652 --> 00:19:17,432
Narrator: PERHAPS THE MOST
REMARKABLE EXAMPLE
385
00:19:17,456 --> 00:19:19,234
WAS PERRY COMO,
WHO TOOK ON
386
00:19:19,258 --> 00:19:23,172
TWO OF THE BIGGEST SUPERSTARS
IN TV HISTORY
387
00:19:23,196 --> 00:19:24,272
AND WON, BOTH TIMES.
388
00:19:24,296 --> 00:19:27,309
OUR SHOW TONIGHT HAS
SORT OF A LATIN FLAVOR.
389
00:19:27,333 --> 00:19:28,610
YOU'LL SEE WHAT I MEAN.
390
00:19:28,634 --> 00:19:29,778
Narrator:
SINGER PERRY COMO
391
00:19:29,802 --> 00:19:33,716
PERFORMED ON TELEVISION
AS FAR BACK AS 1948.
392
00:19:33,740 --> 00:19:36,785
HIS RELAXED STYLE
AND FRIENDLY PERSONALITY
393
00:19:36,809 --> 00:19:40,122
MADE HIM DIFFICULT
TO DISLIKE.
394
00:19:40,146 --> 00:19:42,357
IN 1955, NBC SLATED COMO
395
00:19:42,381 --> 00:19:46,862
OPPOSITE SUPERSTAR
JACKIE GLEASON ON CBS.
396
00:19:46,886 --> 00:19:50,632
IN ONE OF THE MORE AMAZING
UPSETS IN TV HISTORY,
397
00:19:50,656 --> 00:19:54,570
COMO TROUNCED GLEASON'S
NEW SHOW, "THE HONEYMOONERS."
398
00:19:54,594 --> 00:19:59,508
AFTER ONE SEASON, GLEASON
CANCELLED THE SERIES.
399
00:20:01,334 --> 00:20:02,477
OOH!
400
00:20:03,703 --> 00:20:06,582
Narrator: SIX YEARS LATER,
PERRY COMO WOULD AGAIN
401
00:20:06,606 --> 00:20:09,484
BE SCHEDULED AGAINST
A FORMIDABLE OPPONENT...
402
00:20:09,508 --> 00:20:10,985
"THE DICK VAN DYKE SHOW."
403
00:20:11,009 --> 00:20:15,324
COMO DID SO WELL,
"VAN DYKE" WAS NEARLY CANCELLED.
404
00:20:18,484 --> 00:20:19,994
PERRY COMO WASN'T ALONE.
405
00:20:20,018 --> 00:20:22,764
THERE WERE DOZENS
OF SINGER HOSTS,
406
00:20:22,788 --> 00:20:25,133
MATTER OF FACT,
TONIGHT WAS
INCLUDING FRANK SINATRA...
407
00:20:25,157 --> 00:20:27,202
THE FIRST TIME I GOT
A POLICE ESCORT.
408
00:20:27,226 --> 00:20:28,570
HE GAVE ME TWO MOTORCYCLES,
409
00:20:28,594 --> 00:20:31,139
AND I HAD TO RUN
IN BETWEEN 'EM, WOW!
410
00:20:31,163 --> 00:20:32,774
Narrator: DINAH SHORE...
411
00:20:32,798 --> 00:20:37,145
AND ONE OF TV'S LONGEST-RUNNING
VARIETY HOSTS EVER,
412
00:20:37,169 --> 00:20:39,248
ANDY WILLIAMS.
413
00:20:39,272 --> 00:20:43,652
♪ SILENT NIGHT ♪
414
00:20:43,676 --> 00:20:48,523
♪ HOLY NIGHT ♪
415
00:20:48,547 --> 00:20:53,928
♪ ALL IS CALM ♪
416
00:20:53,952 --> 00:20:58,066
♪ ALL IS BRIGHT ♪
417
00:20:58,090 --> 00:21:01,102
Narrator: ON THE SURFACE,
ANDY WILLIAMS SEEMED
418
00:21:01,126 --> 00:21:04,473
LIKE THE MOST LAID-BACK PERSON
ON TELEVISION.
419
00:21:04,497 --> 00:21:07,008
BUT HIS RELAXED LOOK CAME ONLY
420
00:21:07,032 --> 00:21:10,178
AFTER PRACTICE...
HOURS AND HOURS
421
00:21:10,202 --> 00:21:13,415
TO PERFECT EVERY LINE,
EVERY MOVE.
422
00:21:13,439 --> 00:21:15,851
Williams: MY THING WAS
TO REHEARSE LIKE CRAZY,
423
00:21:15,875 --> 00:21:18,353
YOU KNOW, FIVE DAYS A WEEK,
SIX DAYS A WEEK.
424
00:21:18,377 --> 00:21:20,823
IT WASN'T, WE DIDN'T JUST
REHEARSE FOR, YOU KNOW,
425
00:21:20,847 --> 00:21:23,759
A FEW HOURS AND GO UP
AND SING A BUNCH OF SONGS.
426
00:21:23,783 --> 00:21:24,760
WE REALLY KNEW THESE THINGS.
427
00:21:24,784 --> 00:21:26,662
AND SOME OF THEM
WERE VERY COMPLICATED.
428
00:21:26,686 --> 00:21:29,298
Narrator:
WILLIAMS' WORK ETHIC
429
00:21:29,322 --> 00:21:32,567
ENSURED 15 YEARS
OF VARIETY SHOW SUCCESS.
430
00:21:32,591 --> 00:21:36,505
BUT HE WAS WILLING
TO SKIP REHEARSALS
431
00:21:36,529 --> 00:21:40,208
WHENEVER JONATHAN WINTERS
GUESTED ON THE SHOW.
432
00:21:40,232 --> 00:21:43,144
THEN IT WAS ALL AD LIB.
433
00:21:43,168 --> 00:21:47,415
♪ I'M AS JUMPY
AS A PUPPET ♪
434
00:21:47,439 --> 00:21:50,485
♪ ON A STRING ♪
435
00:21:53,378 --> 00:21:54,590
♪ I'D SAY ♪
436
00:21:54,614 --> 00:21:59,061
♪ THAT I HAD
SPRING FEVER ♪
437
00:21:59,085 --> 00:22:03,298
♪ BUT I KNOW ♪
438
00:22:03,322 --> 00:22:09,437
♪ IT ISN'T SPRING ♪
439
00:22:09,461 --> 00:22:17,445
♪ AND VAGUELY DISCONTENTED ♪
440
00:22:17,469 --> 00:22:20,849
♪ LIKE A NIGHTINGALE ♪
441
00:22:20,873 --> 00:22:24,653
♪ WITHOUT A SONG
TO SING ♪
442
00:22:27,747 --> 00:22:29,424
WITH JONATHAN,
WE GOT TO THE POINT
443
00:22:29,448 --> 00:22:31,327
WHERE WE NEVER
REHEARSED WITH HIM.
444
00:22:31,351 --> 00:22:33,095
I MEAN, THERE WAS
AN OUTLINE
445
00:22:33,119 --> 00:22:34,296
OF WHAT WAS GOING TO HAPPEN.
446
00:22:34,320 --> 00:22:38,166
BUT, YOU KNOW, WE WOULD HAVE
A TABLE OF HATS.
447
00:22:38,190 --> 00:22:40,168
AND HE WOULD JUST GO
AND PICK UP A HAT,
448
00:22:40,192 --> 00:22:44,061
AND HE'D BECOME A DIFFERENT
CHARACTER WITH EACH HAT.
449
00:22:44,964 --> 00:22:47,876
LET'S, LET'S PLAY SWORDS.
450
00:22:53,372 --> 00:22:56,852
WELL, ANDY, IT'S AWFUL NICE
TO BE ON YOUR SHOW HERE.
451
00:22:56,876 --> 00:22:57,853
I JUST, UH, DROVE ONE
452
00:22:57,877 --> 00:23:00,189
OF THE LONGER BALLS
DOWN THE COURSE.
453
00:23:00,213 --> 00:23:02,124
HAD A LITTLE BIT
OF THE GRAPE THERE.
454
00:23:02,148 --> 00:23:04,726
♪ MOON RIVER ♪
455
00:23:04,750 --> 00:23:06,795
♪ FLASHING DOWN
THE STREAM ♪
456
00:23:07,753 --> 00:23:11,133
WELL, I GUESS
WE WON'T PRINT THAT ONE.
457
00:23:12,458 --> 00:23:15,604
THE REASON
A LOT OF THESE GUYS...
458
00:23:15,628 --> 00:23:19,475
ANDY AND DEAN
AND STEVE AND JACK...
459
00:23:19,499 --> 00:23:22,143
HAD CHOSEN ME WAS
460
00:23:22,167 --> 00:23:25,713
A VERY DANGEROUS THING,
BUT THANK GOD...
461
00:23:25,737 --> 00:23:30,886
THEY WOULD SAY, IF THEY WERE
HERE TODAY TO SAY IT,
462
00:23:30,910 --> 00:23:32,121
I WOULD BET ON THIS...
463
00:23:32,145 --> 00:23:35,257
"ONE THING ABOUT WINTERS,
YOU NEVER KNEW
464
00:23:35,281 --> 00:23:37,325
WHAT HE WAS GOING TO SAY OR DO."
465
00:23:37,349 --> 00:23:41,663
DID YOU EVER UNDRESS
IN FRONT OF A DOG?
466
00:23:41,687 --> 00:23:44,900
I DON'T KNOW... PEOPLE...
YOU KNOW, IT'S FUNNY...
467
00:23:44,924 --> 00:23:47,836
A BIRD SOMEHOW DOESN'T COUNT,
RIGHT?
468
00:23:49,127 --> 00:23:50,973
HA HA HA.
OR A CAT.
469
00:23:50,997 --> 00:23:54,276
BUT A DOG... THEY REALLY STARE.
470
00:23:56,602 --> 00:24:01,383
BECAME ANDY WILLIAMS'
JSECRET WEAPON, S
471
00:24:01,407 --> 00:24:05,587
BOOSTING RATINGS
WITH EVERY APPEARANCE.
472
00:24:05,611 --> 00:24:07,355
VARIETY SHOW HOST PAT BOONE
473
00:24:07,379 --> 00:24:09,658
HAD A SIMILAR ACE IN THE HOLE...
474
00:24:09,682 --> 00:24:10,792
DICK VAN DYKE.
475
00:24:10,816 --> 00:24:11,827
AS I SAY,
I'VE ADMIRED DICK
476
00:24:11,851 --> 00:24:13,962
FOR QUITE A WHILE,
BECAUSE TO MY WAY OF THINKING,
477
00:24:13,986 --> 00:24:16,965
HE HAS A FRESH,
NEW APPROACH TO COMEDY.
478
00:24:16,989 --> 00:24:19,200
I THINK ABOUT
ALL I REALLY DO, THOUGH,
479
00:24:19,224 --> 00:24:20,936
IS JUST KIND OF
AVOID SLAPSTICK.
480
00:24:20,960 --> 00:24:21,970
OH, IS THAT IT?
481
00:24:21,994 --> 00:24:24,740
YEAH, I THINK
LIKE MORE SUBTLE HUMOR.
482
00:24:24,764 --> 00:24:26,875
THEY'RE TIRED OF PEOPLE
THROWING PIES
483
00:24:26,899 --> 00:24:29,878
AND MAKING FOOLISH MISTAKES
OF SOME KIND.
484
00:24:29,902 --> 00:24:30,913
OH, I SEE.
485
00:24:30,937 --> 00:24:33,214
YOU REMEMBER,
FOR INSTANCE,
486
00:24:33,238 --> 00:24:35,551
DOROTHY PARKER
OR OSCAR WILDE,
487
00:24:35,575 --> 00:24:39,220
PEOPLE LIKE THAT,
AND GEORGE BERNARD SHAW?
488
00:24:39,244 --> 00:24:40,121
PAT, YOU'D BE SURPRISED
489
00:24:40,145 --> 00:24:43,224
HOW MANY PEOPLE ADMIRE
THAT TYPE OF HUMOR.
490
00:24:43,248 --> 00:24:44,593
REALLY!
491
00:24:44,617 --> 00:24:47,095
PEOPLE LAUGH
JUST AT THE ANTICIPATION
492
00:24:47,119 --> 00:24:48,030
OF THAT KIND OF HUMOR.
493
00:24:48,054 --> 00:24:50,265
DON'T YOU THINK
THAT PEOPLE ENJOY
494
00:24:50,289 --> 00:24:51,633
THAT SORT OF THING, PAT?
495
00:24:51,657 --> 00:24:53,969
SURE, SURE.
496
00:24:55,127 --> 00:24:56,838
WELL, THAT'S
THE WAY I FEEL,
497
00:24:56,862 --> 00:24:58,640
AND I REST MY CASE ON THAT.
498
00:24:58,664 --> 00:24:59,664
OOP!
499
00:25:03,102 --> 00:25:05,313
Narrator: VARIETY HOSTS
LIKE PAT BOONE
500
00:25:05,337 --> 00:25:09,083
WERE ALWAYS LOOKING FOR
THE BEST POSSIBLE GUEST STARS,
501
00:25:09,107 --> 00:25:12,054
MANY OF WHOM WERE
AFRICAN AMERICAN.
502
00:25:12,078 --> 00:25:15,023
AND WHEN BOONE
BOOKED HARRY BELAFONTE,
503
00:25:15,047 --> 00:25:17,092
HIS SPONSOR SAID, "NO."
504
00:25:17,116 --> 00:25:18,293
I SAID, "WHAT ARE YOU
TALKING ABOUT?
505
00:25:18,317 --> 00:25:19,761
HE'S THE BIGGEST ENTERTAINER
IN THE WORLD."
506
00:25:19,785 --> 00:25:22,731
"YEAH, BUT HE'S, UH...
YOU KNOW, HE'S, UH...
507
00:25:22,755 --> 00:25:24,933
"HE'S SORT OF
POLITICALLY ACTIVE,
508
00:25:24,957 --> 00:25:27,135
AND A LOT OF THE FOLKS
DOWN SOUTH..."
509
00:25:27,159 --> 00:25:30,205
AND I SAID, "YOU'RE TELLING ME
I'VE GOT TO GO BACK
510
00:25:30,229 --> 00:25:33,908
TO HARRY BELAFONTE
AND SAY, 'NO THANKS'?"
511
00:25:33,932 --> 00:25:36,311
I SAID, "WELL, THEN,
I'M SORRY, GUYS,
512
00:25:36,335 --> 00:25:37,812
"IT'S NOT 'THE PAT BOONE SHOW.'
513
00:25:37,836 --> 00:25:41,549
AND YOU'LL HAVE TO GET
SOMEONE ELSE TO TAKE MY PLACE."
514
00:25:45,010 --> 00:25:48,023
Narrator: IT'S A STORY
THAT WAS REPEATED OVER AND OVER.
515
00:25:48,047 --> 00:25:50,425
THE SPONSORS AND AD AGENCIES
WORRIED
516
00:25:50,449 --> 00:25:53,929
THAT WHITE VIEWERS IN THE SOUTH
WOULDN'T WATCH
517
00:25:53,953 --> 00:25:56,598
AFRICAN AMERICAN ARTISTS.
518
00:25:56,622 --> 00:26:00,702
♪♪ BUT HE SEEMED ♪♪
519
00:26:00,726 --> 00:26:05,607
♪ SWEET GOLDEN AS A CROWN ♪
520
00:26:05,631 --> 00:26:10,178
Narrator: POWERFUL VARIETY HOSTS
LIKE ED SULLIVAN AND STEVE ALLEN
521
00:26:10,202 --> 00:26:13,015
CHAMPIONED
AFRICAN AMERICAN ENTERTAINERS.
522
00:26:13,039 --> 00:26:17,319
THEY GOT THEIR WAY,
BECAUSE THEY HAD CLOUT.
523
00:26:17,343 --> 00:26:22,290
BUT WHEN IT CAME TO HOSTING
A VARIETY SHOW,
524
00:26:22,314 --> 00:26:26,194
CORPORATE AMERICA
COULDN'T BE PERSUADED.
525
00:26:26,218 --> 00:26:29,464
♪ WHY, OH, WHY ♪
526
00:26:29,488 --> 00:26:33,068
♪ OH, WHY, OH, WHY,
OH, WHY ♪
527
00:26:33,092 --> 00:26:36,271
Narrator: NAT KING COLE
DID GET
528
00:26:36,295 --> 00:26:38,706
HIS OWN VARIETY SHOW ON NBC.
529
00:26:38,730 --> 00:26:40,742
BUT NO SPONSOR COULD BE FOUND.
530
00:26:40,766 --> 00:26:45,013
IN AN UNUSUAL MOVE,
NBC THEN PAID
531
00:26:45,037 --> 00:26:48,082
ALL PRODUCTION COSTS ITSELF,
532
00:26:48,106 --> 00:26:51,486
TO GIVE COLE
A POSITIVE START.
533
00:26:51,510 --> 00:26:53,121
HE DID FIND
AN AUDIENCE,
534
00:26:53,145 --> 00:26:56,558
BUT NO SPONSOR HAD
THE COURAGE TO STEP FORWARD.
535
00:26:56,582 --> 00:27:00,128
AND "THE NAT KING COLE SHOW"
WAS CANCELLED.
536
00:27:00,152 --> 00:27:02,164
♪ FINE CALYPSO WOMAN ♪
537
00:27:02,188 --> 00:27:07,023
♪ SHE COOKED
ME SHRIMP AND RICE ♪
538
00:27:10,529 --> 00:27:13,975
Narrator: NEARLY ALL
THE EARLIEST VARIETY SHOWS
539
00:27:13,999 --> 00:27:16,845
HAD FOLLOWED A FAMILIAR FORM...
540
00:27:16,869 --> 00:27:21,015
TELL A FEW JOKES,
ADD A DANCE NUMBER OR TWO,
541
00:27:21,039 --> 00:27:22,317
SING A FEW SONGS.
542
00:27:22,341 --> 00:27:26,287
♪ BROKE MY HEART IN TWO ♪
543
00:27:26,311 --> 00:27:28,323
♪ YOU HELD MY DREAMS ♪
544
00:27:28,347 --> 00:27:32,493
♪ LIKE WORTHLESS GRAINS
OF SAND ♪
545
00:27:32,517 --> 00:27:36,364
BUT IN 1950, A NEW APPROACH
TO VARIETY
546
00:27:36,388 --> 00:27:37,565
TOOK CENTER STAGE,
547
00:27:37,589 --> 00:27:41,903
UNLIKE ANYTHING
THAT HAD COME BEFORE.
548
00:27:41,927 --> 00:27:43,772
HE'S TRYING
TO SAY SOMETHING!
549
00:27:43,796 --> 00:27:47,442
WHAT IS IT, LOUIS?
550
00:27:47,466 --> 00:27:51,246
ONE LAST REQUEST, PLEASE.
551
00:27:51,270 --> 00:27:52,647
A KISS.
552
00:27:52,671 --> 00:27:54,082
ALL RIGHT.
553
00:27:54,106 --> 00:27:57,040
NOT FROM YOU!
554
00:27:58,443 --> 00:28:01,322
HE'S IN HIS TOREADOR OUTFIT,
AND HE'S DYING,
555
00:28:01,346 --> 00:28:04,926
AND HE'S BEEN GORED,
AND IT'S ONLY A MATTER OF TIME.
556
00:28:04,950 --> 00:28:10,799
SO CARL SAYS, "DO YOU WANT
ANYTHING BEFORE..."
557
00:28:10,823 --> 00:28:16,938
UH... I WOULD LIKE
AN AMERICAN CHEESE SANDWICH.
558
00:28:16,962 --> 00:28:18,540
AN AMERICAN CHEESE SANDWICH.
559
00:28:18,564 --> 00:28:22,610
AMERICAN CHEESE SANDWICH,
ALL RIGHT, I'LL GET IT.
560
00:28:22,634 --> 00:28:25,747
NAH, I HAD CHEESE
FOR LUNCH.
561
00:28:25,771 --> 00:28:26,915
MAKE IT ROAST BEEF.
562
00:28:26,939 --> 00:28:29,083
I'LL CANCEL
THE AMERICAN,
563
00:28:29,107 --> 00:28:30,251
I'LL GET ROAST BEEF...
564
00:28:30,275 --> 00:28:33,955
NO, NO, NO,
I'LL HAVE THE AMERICAN CHEESE.
565
00:28:33,979 --> 00:28:38,526
MAKE IT TWO AMERICAN
CHEESE SANDWICHES.
566
00:28:38,550 --> 00:28:42,063
AND DON'T PUT MUSTARD
ON MINE, BECAUSE...
567
00:28:42,087 --> 00:28:43,698
ONE WITHOUT MUSTARD.
568
00:28:43,722 --> 00:28:47,234
GET ME A ROAST BEEF.
569
00:28:49,862 --> 00:28:53,240
WAIT A MINUTE, WAIT A MINUTE!
570
00:28:53,264 --> 00:28:57,946
LET'S HAVE AN ASSORTMENT
OF COLD CUTS, THAT'S ALL.
571
00:28:57,970 --> 00:28:59,814
AND DRINK SOME SODAS.
572
00:28:59,838 --> 00:29:01,415
AND FINALLY, SID DIES,
573
00:29:01,439 --> 00:29:05,854
AND THEY'RE STILL ORDERING.
574
00:29:05,878 --> 00:29:09,624
Narrator: IT WAS CALLED
"YOUR SHOW OF SHOWS."
575
00:29:09,648 --> 00:29:12,226
AND IT EMPHASIZED
SKETCH COMEDY.
576
00:29:12,250 --> 00:29:15,363
NINETY MINUTES,
EVERY WEEK.
577
00:29:15,387 --> 00:29:18,900
THE SERIES STARRED
SID CAESAR
578
00:29:18,924 --> 00:29:23,037
WITH SIDEKICKS HOWARD MORRIS
AND CARL REINER.
579
00:29:23,061 --> 00:29:25,539
WRITERS INCLUDED NEIL SIMON,
580
00:29:25,563 --> 00:29:29,077
LARRY GELBART,
AND MEL BROOKS.
581
00:29:29,101 --> 00:29:31,445
WOW, IT WAS JUST...
582
00:29:31,469 --> 00:29:33,582
THIS GUY DID IT ALL.
583
00:29:33,606 --> 00:29:35,750
YOU KNOW, HE PLAYED
THOSE THINGS
584
00:29:35,774 --> 00:29:37,552
WITH IMOGENE AND CARL AND HOWIE,
585
00:29:37,576 --> 00:29:40,221
AND NOBODY COULD TOUCH HIM.
586
00:29:40,245 --> 00:29:43,090
HE WAS JUST BRILLIANT,
EVERYTHING HE DID.
587
00:29:43,114 --> 00:29:44,459
Narrator:
CAESAR AND COCA
588
00:29:44,483 --> 00:29:47,328
DID UP TO 10 SKETCHES
PER EPISODE,
589
00:29:47,352 --> 00:29:48,396
ALL LIVE.
590
00:29:48,420 --> 00:29:51,900
INCREDIBLY, THE DUO
DIDN'T USE CUE CARDS.
591
00:29:51,924 --> 00:29:53,701
INSTEAD,
THEY MEMORIZED EVERYTHING.
592
00:29:53,725 --> 00:29:56,271
SO WHEN THE SHOW WENT
ON THE AIR,
593
00:29:56,295 --> 00:29:58,840
THEY COULD FULLY
INHABIT THE CHARACTERS.
594
00:29:58,864 --> 00:30:00,542
WITH YOU
AND YOUR SWELLED HEAD.
595
00:30:00,566 --> 00:30:02,644
I'M THROUGH!
YOU CAN TAKE THIS BACK.
596
00:30:02,668 --> 00:30:04,613
I'M GOING TO...
I'M GOING TO...
597
00:30:04,637 --> 00:30:06,281
I'M GOING TO...
I'M...
598
00:30:06,305 --> 00:30:10,685
I'M GOING TO GIVE YOU
ONE MORE CHANCE.
599
00:30:10,709 --> 00:30:16,224
YOU SEE, EVERY COMEDIC
SITUATION,
600
00:30:16,248 --> 00:30:18,793
HAS TO HAVE SOME ELEMENT
OF TRUTH THAT YOU CAN BELIEVE.
601
00:30:18,817 --> 00:30:21,829
IF YOU DON'T BELIEVE IT,
YOU'RE NOT GOING TO GO WITH IT.
602
00:30:21,853 --> 00:30:23,931
IT CHANGED TELEVISION COMEDY
FOREVER.
603
00:30:23,955 --> 00:30:26,968
IT'S STILL THE GREATEST ONE
EVER, AS FAR AS I'M CONCERNED.
604
00:30:26,992 --> 00:30:28,603
BUT THAT WAS LIVE!
605
00:30:28,627 --> 00:30:31,038
AND I JUST DON'T KNOW
HOW THEY DID IT.
606
00:30:31,062 --> 00:30:32,506
IT... THAT WOULD DRIVE ME CRAZY,
607
00:30:32,530 --> 00:30:36,578
AN HOUR AND A HALF,
AND IT WAS ALWAYS PERFECT.
608
00:30:36,602 --> 00:30:38,413
IN THE BACK
OF YOUR NECK HERE.
YES?
609
00:30:38,437 --> 00:30:39,314
IF I TOUCHED THAT NERVE,
610
00:30:39,338 --> 00:30:40,782
YOU'D BE
PARTIALLY PARALYZED
611
00:30:40,806 --> 00:30:43,351
ON THIS SIDE,
TEMPORARILYIS THAT TRUE, DOCTOR?
612
00:30:43,375 --> 00:30:45,687
SURE... SEE,
RIGHT OVER HERE.
613
00:30:45,711 --> 00:30:47,155
RIGHT THERE?
614
00:30:48,780 --> 00:30:50,858
WHAT HAPPENED,
DOCTOR?
615
00:30:50,882 --> 00:30:52,160
DOCTOR?
616
00:30:52,184 --> 00:30:55,564
YEAH, YOU SEE,
THAT'S THE WAY IT IS.
617
00:30:55,588 --> 00:30:59,801
Narrator: "YOUR SHOW OF SHOWS"
HAD A SECRET OBSERVER...
618
00:30:59,825 --> 00:31:04,372
A YOUNG WOMAN WHO WOULD SNEAK IN
EACH WEEK TO WATCH REHEARSALS
619
00:31:04,396 --> 00:31:07,041
FROM THE SHADOWS.
620
00:31:07,065 --> 00:31:10,433
HER NAME WAS CAROL BURNETT.
621
00:31:15,273 --> 00:31:18,219
YOUNG CAROL BURNETT
LOVED TO PERFORM.
622
00:31:18,243 --> 00:31:21,155
BUT SHE WAS DESPERATELY POOR.
623
00:31:21,179 --> 00:31:24,092
HER PROSPECTS SEEMED DIM...
624
00:31:24,116 --> 00:31:30,731
WHEN AN ANONYMOUS BENEFACTOR
HANDED HER $1,000.
625
00:31:30,755 --> 00:31:34,969
AND CAROL BURNETT
WAS ON HER WAY.
626
00:31:34,993 --> 00:31:38,873
BY 1959, SHE WAS STARRING
ON BROADWAY
627
00:31:38,897 --> 00:31:46,447
SOON, BURNETT WAS A REGULAR
ON GARRY MOORE'S VARIETY SHOW.
628
00:31:46,471 --> 00:31:49,050
CAROL BURNETT... I THINK SHE IS
629
00:31:49,074 --> 00:31:51,720
THE FUNNIEST COMIC
630
00:31:51,744 --> 00:31:54,322
AND THE GREATEST PHYSICAL COMIC.
631
00:31:54,346 --> 00:31:58,259
SHE HAD A NATURAL GREAT
CONTRALTO VOICE,
632
00:31:58,283 --> 00:31:59,861
AND THE FACE AND THE BODY
633
00:31:59,885 --> 00:32:02,129
AND THE... EVERYTHING
FOR COMEDY.
634
00:32:02,153 --> 00:32:05,766
I MEAN, WE ALL KNEW SOMETHING
WAS GOING TO HAPPEN WITH CAROL.
635
00:32:05,790 --> 00:32:09,337
AND OF COURSE SHE HAS
THIS GREAT SINGING VOICE.
636
00:32:09,361 --> 00:32:10,671
SHE HAS A GREAT VOICE.
637
00:32:10,695 --> 00:32:13,841
AND SHE'S A FABULOUS MUSICIAN.
638
00:32:13,865 --> 00:32:19,247
♪ SHE'S A GAL WHO LOVES
TO SEE MEN SUFFER ♪
639
00:32:22,274 --> 00:32:24,919
Narrator:
IN THE MID-1960s,
640
00:32:24,943 --> 00:32:28,989
CAROL GUESTED
ON LUCILLE BALL'S SHOW.
641
00:32:29,013 --> 00:32:29,957
LUCY WAS SO IMPRESSED,
642
00:32:29,981 --> 00:32:33,661
SHE OFFERED CAROL
HER OWN SITCOM.
643
00:32:33,685 --> 00:32:38,299
♪ THERE WAS HANNAH
♪ POURING WATER ♪ ♪
644
00:32:38,323 --> 00:32:40,001
♪ ON A DROWNING MAN ♪
645
00:32:40,025 --> 00:32:42,636
BURNETT TURNED DOWN
THE SITCOM OFFER,
646
00:32:42,660 --> 00:32:45,807
BECAUSE SHE WANTED
TO DO A VARIETY SHOW.
647
00:32:45,831 --> 00:32:50,244
IN 1967,
SHE GOT HER CHANCE.
648
00:32:50,268 --> 00:32:52,747
Jim Nabors: I WAS ALWAYS
HER FIRST GUEST
649
00:32:52,771 --> 00:32:54,382
EVERY YEAR
FOR HER WHOLE RUN.
650
00:32:54,406 --> 00:32:59,420
SHE WAS... ALWAYS SAID
I WAS HER LUCKY CHARM.
651
00:32:59,444 --> 00:33:02,023
SHE HARDLY NEEDED
A LUCKY CHARM.
652
00:33:02,047 --> 00:33:03,846
SHE WAS WONDERFUL.
653
00:33:05,584 --> 00:33:07,896
Narrator:
CAROL SURROUNDED HERSELF
654
00:33:07,920 --> 00:33:09,463
WITH A TALENTED ENSEMBLE...
655
00:33:09,487 --> 00:33:16,838
AND A HIGH SCHOOL GIRL
TIMNAMED VICKI LAWRENCE.N,
656
00:33:16,862 --> 00:33:19,340
BUT EVERYBODY SAID THAT I LOOKED
LIKE CAROL BURNETT.
657
00:33:19,364 --> 00:33:21,109
SO I WROTE HER
A FAN LETTER,
658
00:33:21,133 --> 00:33:24,178
TOLD HER I WOULD LOVE
TO MEET HER SOMEDAY,
659
00:33:24,202 --> 00:33:26,681
AND ENCLOSED MY LITTLE ARTICLE,
660
00:33:26,705 --> 00:33:27,848
WITH A PICTURE,
661
00:33:27,872 --> 00:33:28,816
AND MAILED IT OFF TO HER,
662
00:33:28,840 --> 00:33:31,386
AND SOMEHOW IT MADE ITS WAY
TO HER HUSBAND,
663
00:33:31,410 --> 00:33:33,621
WHO WAS THE EXECUTIVE PRODUCER
OF THE SHOW.
664
00:33:33,645 --> 00:33:35,723
AND THE HEAD WRITER OF THE SHOW
CALLED ME
665
00:33:35,747 --> 00:33:37,492
AND SAID, "WOULD YOU
COME DOWN TO CBS?"
666
00:33:37,516 --> 00:33:39,394
AND THEY WANTED TO TALK TO ME
ABOUT THIS LITTLE PROJECT
667
00:33:39,418 --> 00:33:41,963
THEY WERE PUTTING TOGETHER
CALLED "THE CAROL BURNETT SHOW."
668
00:33:41,987 --> 00:33:44,454
AND WOULD I BE INTERESTED
IN AUDITIONING?
669
00:33:45,990 --> 00:33:48,303
Narrator:
"THE CAROL BURNETT SHOW"
670
00:33:48,327 --> 00:33:50,672
WAS SHOT LIVE,
WITHOUT STOPPING,
671
00:33:50,696 --> 00:33:52,373
TO ENSURE A SPONTANEOUS FEEL.
672
00:33:52,397 --> 00:33:54,508
TIM CONWAY SAW THIS
AS A CHANCE
673
00:33:54,532 --> 00:33:58,713
TO CRACK UP HIS CASTMATES
AT EVERY OPPORTUNITY.
674
00:33:58,737 --> 00:33:59,714
I KNEW WHAT I WAS GOING TO SAY,
675
00:33:59,738 --> 00:34:02,784
BUT THEY DIDN'T KNOW
WHAT I WAS GOING TO SAY.
676
00:34:02,808 --> 00:34:04,719
AND I WOULD PUT IN MY LINES
AS ONE THING.
677
00:34:04,743 --> 00:34:08,389
WHEN WE DID THE SHOW, I DID
SOMETHING TOTALLY DIFFERENT...
678
00:34:08,413 --> 00:34:12,260
WHICH KIND OF, I IMAGINE,
THREW THEM FROM TIME TO TIME.
679
00:34:12,284 --> 00:34:14,562
NOT SO MUCH CAROL.
VERY TOUGH TO BREAK HER UP.
680
00:34:14,586 --> 00:34:17,598
BUT HARVEY,
BEING A POOR PERFORMER,
681
00:34:17,622 --> 00:34:19,400
WAS VERY EASY TO DESTROY.
682
00:34:20,191 --> 00:34:22,537
TIM WOULD DO TERRIBLE THINGS.
683
00:34:22,561 --> 00:34:24,972
HE WOULD COME... WE'D REHEARSE,
684
00:34:24,996 --> 00:34:27,341
AND HE'D ALWAYS
SAVE SOMETHING...
685
00:34:27,365 --> 00:34:32,680
THAT HE WOULDN'T SHOW YOU
EITHER IN REHEARSAL.RDROBE
686
00:34:32,704 --> 00:34:35,950
AND THEN HE WOULD THROW IT IN
WHEN THEY WERE ACTUALLY,
687
00:34:35,974 --> 00:34:37,084
THE CAMERAS WERE ROLLING.
688
00:34:37,108 --> 00:34:38,252
AND IT WOULD PUT HARVEY AWAY.
689
00:34:38,276 --> 00:34:42,623
A LOT OF PEOPLE THOUGHT
THOSE WERE STAGED BREAKUPS.
690
00:34:42,647 --> 00:34:45,993
HARVEY JUST HAD SUCH A WEAK SPOT
FOR TIM'S HUMOR
691
00:34:46,017 --> 00:34:48,629
THAT IT WAS...
IT WAS A BASKETCASE!
692
00:34:48,653 --> 00:34:50,765
HE JUST COULDN'T STRAIGHTEN UP.
693
00:34:50,789 --> 00:34:53,434
I SAW THESE
SIAMESE ELEPHANTS.
694
00:35:07,839 --> 00:35:10,284
THEY WAS ADJOINED
AT THE END OF THEIR TRUNKS,
695
00:35:10,308 --> 00:35:11,251
LIKE THAT.
696
00:35:11,275 --> 00:35:13,253
AND THIS TRAINER WOULD
MAKE 'EM STAND UP
697
00:35:13,277 --> 00:35:14,455
ON THEIR BACK FEET,
LIKE THAT,
698
00:35:14,479 --> 00:35:16,791
AND THEY HAD THEIR TRUNKS
STRETCHED LIKE THAT.
699
00:35:16,815 --> 00:35:20,695
THEN THIS LITTLE
MONKEY WOULD COME OUT...
700
00:35:23,522 --> 00:35:27,001
AND WALK OUT THERE,
AND DANCE THE MERENGUE
701
00:35:27,025 --> 00:35:28,536
RIGHT OUT IN THE MIDDLE.
702
00:35:28,560 --> 00:35:30,638
I KIND OF FELT SORRY
FOR THEM.
703
00:35:30,662 --> 00:35:33,007
THEY COULDN'T GO,
LIKE THE OTHER ELEPHANTS,
704
00:35:33,031 --> 00:35:34,676
WHEN THEY GO...
705
00:35:34,700 --> 00:35:39,781
ALL THEY COULD DO
IS JUST BLOW AND GO,
706
00:35:39,805 --> 00:35:40,805
"NORKEY."
707
00:35:42,974 --> 00:35:45,787
Narrator: ONE KEY
TO BURNETT'S LONG SUCCESS
708
00:35:45,811 --> 00:35:49,256
WAS HER WILLINGNESS
TO SHARE THE LAUGHS
709
00:35:49,280 --> 00:35:50,458
WITH HER COSTARS.
710
00:35:50,482 --> 00:35:53,494
WE WERE ALL PARTICIPANTS.
711
00:35:53,518 --> 00:35:58,399
SHE ACCEPTED EVERY CONTRIBUTION
OF A LINE OR A THOUGHT
712
00:35:58,423 --> 00:36:00,835
OR A THING OR...
FROM EVERYBODY!
713
00:36:00,859 --> 00:36:04,037
AND I REMEMBER HARVEY SAYING,
"YOU HAVE NO IDEA."
714
00:36:04,061 --> 00:36:06,641
BECAUSE MOST STARS
ARE VERY SELFISH.
715
00:36:06,665 --> 00:36:08,175
THEY'LL HAVE THINGS REWRITTEN
716
00:36:08,199 --> 00:36:10,211
TO WHERE THEY
GET THE JOKE LINES.
717
00:36:10,235 --> 00:36:13,648
AND THEY WILL NOT BE
SUPPORTIVE OF YOU.
718
00:36:13,672 --> 00:36:15,883
AND I THINK ONE OF THE MOST
IMPORTANT THINGS
719
00:36:15,907 --> 00:36:18,719
THAT I LEARNED FROM CAROL
IS THAT YOU ARE AS GOOD
720
00:36:18,743 --> 00:36:20,488
AS THE PEOPLE THAT
SURROUND YOU.
721
00:36:20,512 --> 00:36:22,690
I WAS SITTING
WITH LUCY ONE NIGHT,
722
00:36:22,714 --> 00:36:26,160
AND SHE... WE WERE WATCHING
CAROL DO A SKETCH.
723
00:36:26,184 --> 00:36:30,097
AND LUCY WAS ONE OF THE GUESTS.
724
00:36:30,121 --> 00:36:34,936
AND LUCY WAS WATCHING HER,
AND LUCY WAS VERY MUCH ANALYST.
725
00:36:34,960 --> 00:36:39,240
AND SHE SAID, "THE KID'S
THE BEST THERE IS."
726
00:36:39,264 --> 00:36:42,410
WELL, I SAYS, "YOU DO
PRETTY GOOD YOURSELF."
727
00:36:42,434 --> 00:36:44,579
SHE SAYS, "NO, I'M DIFFERENT.
I'M DIFFERENT."
728
00:36:44,603 --> 00:36:47,615
AND, YOU KNOW, SHE WAS TALKING
ABOUT HER COMEDY TO ME,
729
00:36:47,639 --> 00:36:49,584
BUT SHE DID SAY THAT SHE THOUGHT
CAROL WAS
730
00:36:49,608 --> 00:36:53,120
THE BEST SKETCH ACTRESS THAT HAD
EVER COME DOWN THE PIKE.
731
00:36:53,144 --> 00:36:55,055
OR EVER WOULD.
732
00:36:55,079 --> 00:36:57,759
Narrator:
"THE CAROL BURNETT SHOW"
733
00:36:57,783 --> 00:37:04,420
WASN'T THE ONLY LANDMARK VARIETY
SERIES TO PREMIERE IN 1967.
734
00:37:07,893 --> 00:37:08,936
IT WAS ALSO THE YEAR
735
00:37:08,960 --> 00:37:12,440
THE SMOTHERS BROTHERS
WOULD DEBUT.
736
00:37:12,464 --> 00:37:13,741
MOM LIKED YOU BEST!
737
00:37:13,765 --> 00:37:15,009
YOU LOWER YOUR VOICE.
738
00:37:15,033 --> 00:37:18,501
MOM LIKED YOU BEST.
739
00:37:20,105 --> 00:37:22,317
Narrator: "THE SMOTHERS BROTHERS
COMEDY HOUR"
740
00:37:22,341 --> 00:37:26,153
WOULD SOON BECOME
THE MOST CONTROVERSIAL PROGRAM
741
00:37:26,177 --> 00:37:28,989
ON TELEVISION.
742
00:37:29,013 --> 00:37:33,795
TOM AND DICK SMOTHERS
WERE NO STRANGERS TO TV.
743
00:37:33,819 --> 00:37:35,362
THEY HAD BEEN APPEARING
744
00:37:35,386 --> 00:37:38,299
ON SHOWS LIKE "JACK PAAR"
SINCE 1961
745
00:37:38,323 --> 00:37:41,735
WITH A POPULAR FUSION
OF FOLK MUSIC
746
00:37:41,759 --> 00:37:43,905
AND JOKES ABOUT SIBLING RIVALRY.
747
00:37:43,929 --> 00:37:47,641
AND HE NEVER LET ME
PLAY AT ANY GAMES...
WE DID TOO.
748
00:37:47,665 --> 00:37:52,479
YOU NEVER... YOU NEVER
WE DIDLET ME PLAY IN ANY GAMES.
749
00:37:52,503 --> 00:37:54,348
NEVER?
NOT EVEN ONCE?
750
00:37:54,372 --> 00:37:55,349
NEVER.
751
00:37:55,373 --> 00:37:56,317
NOT EVEN ONCE?
752
00:37:56,341 --> 00:37:57,651
NOT EVEN ONCE.
ONCE.
753
00:37:57,675 --> 00:37:58,686
ARE YOU SURE?
754
00:37:58,710 --> 00:37:59,653
YOU'RE RIGHT,
755
00:37:59,677 --> 00:38:00,454
MAYBE ONCE.
756
00:38:00,478 --> 00:38:01,622
YEAH, AND WHAT
DID YOU PLAY?
757
00:38:01,646 --> 00:38:03,991
YOU PLAYED
HIDE-AND-GO-SEEK, RIGHT?
758
00:38:04,015 --> 00:38:04,959
BUT I WAS "IT."
759
00:38:04,983 --> 00:38:05,793
YEAH, BUT TO BE "IT,"
760
00:38:05,817 --> 00:38:07,528
TO BE "IT"
IN HIDE-AND-GO-SEEK
761
00:38:07,552 --> 00:38:09,964
IS A POSITION OF HONOR
762
00:38:09,988 --> 00:38:12,900
I LOOKED FOR YOU GUYS
FOR FOUR MONTHS.
763
00:38:14,125 --> 00:38:17,171
THERE'S NO DOUBT WHO THESE
PERSONALITIES ARE ON STAGE,
764
00:38:17,195 --> 00:38:18,272
AND WE DON'T HAVE TO FAKE THEM.
765
00:38:18,296 --> 00:38:21,631
WE JUST KIND OF EXAGGERATE THEM
A LITTLE BIT.
766
00:38:24,002 --> 00:38:27,248
Narrator: EXPECTING
AN INNOCUOUS VARIETY HOUR,
767
00:38:27,272 --> 00:38:29,917
CBS GAVE THE SMOTHERS A SLOT
768
00:38:29,941 --> 00:38:32,553
OPPOSITE POWERHOUSE "BONANZA."
769
00:38:32,577 --> 00:38:34,888
THE NETWORK'S HOPE WAS
THAT THE BOYS
770
00:38:34,912 --> 00:38:37,525
WOULD CAPTURE SOME
OF THE YOUTH AUDIENCE.
771
00:38:37,549 --> 00:38:41,929
BUT CBS GOT MUCH MORE
THAN IT BARGAINED FOR.
772
00:38:41,953 --> 00:38:44,365
WHEN WE STARTED THAT SHOW,
WE HAD NO POINT OF VIEW.
773
00:38:44,389 --> 00:38:47,568
EXCEPT, WE'D LIKE
TO BE RELEVANT.
774
00:38:47,592 --> 00:38:51,294
AND THAT WAS IT,
AND HAVE CONTROL.
775
00:38:52,597 --> 00:38:55,809
Narrator: TOMMY SMOTHERS
PLAYED DUMB IN THE ACT.
776
00:38:55,833 --> 00:38:59,980
BUT OFFSTAGE,
HE OVERSAW EVERYTHING.
777
00:39:00,004 --> 00:39:02,650
WHILE HE WANTED THE SHOW
TO BE ENTERTAINING,
778
00:39:02,674 --> 00:39:06,854
HE FELT COMPELLED
TO COMMENT ON THE TIMES.
779
00:39:06,878 --> 00:39:08,656
WELL, IT'S JUST
THAT YOU CAN TELL
780
00:39:08,680 --> 00:39:09,890
WHO'S RUNNING
THE COUNTRY
781
00:39:09,914 --> 00:39:11,659
BY HOW MUCH CLOTHES
PEOPLE WEAR.
782
00:39:11,683 --> 00:39:13,827
YEAH, YOU CAN TELLO'S RUNNING
BY HOW MUCH CLOTHES COUNTRY?
783
00:39:13,851 --> 00:39:15,196
THE PEOPLE WEAR
BY WHO'S RUNNING...
784
00:39:15,220 --> 00:39:16,463
NOW, WHAT DO YOU MEAN,
LIKE,
785
00:39:16,487 --> 00:39:18,399
SOME PEOPLE CAN AFFORD
MORE CLOTHES ON,
786
00:39:18,423 --> 00:39:21,235
AND OTHER PEOPLE
LESS CLOTHES ON?
787
00:39:21,259 --> 00:39:25,139
SEE, SOME PEOPLE...
THE ORDINARY PEOPLE
788
00:39:25,163 --> 00:39:26,407
ARE THE LESS-ONS, SEE?
789
00:39:26,431 --> 00:39:27,875
UH-HUH?
THEY'RE THE LESS-ONS.
790
00:39:27,899 --> 00:39:29,843
WELL, WHO'S
RUNNING THE COUNTRY?
791
00:39:29,867 --> 00:39:31,445
THE MORE-ONS.
792
00:39:33,538 --> 00:39:37,918
AND THE CHICAGO RIOTS
AT THE DEMOCRATIC CONVENTION,
793
00:39:37,942 --> 00:39:41,155
THE ASSASSINATIONS
OF BOBBY KENNEDY
794
00:39:41,179 --> 00:39:43,958
ALL THIS HAPPENED
WHILE WE HAD A TELEVISION SHOW.
795
00:39:43,982 --> 00:39:45,860
Narrator:
SOON, THE BROTHERS
796
00:39:45,884 --> 00:39:49,430
BEGAN RATCHETING UP
THE POLITICAL COMMENTARY,
797
00:39:49,454 --> 00:39:53,467
WITH THE HELP OF A STAFF
THAT INCLUDED STEVE MARTIN,
798
00:39:53,491 --> 00:39:56,037
MASON WILLIAMS,
ROB REINER,
799
00:39:56,061 --> 00:39:58,105
AND PAT PAULSEN.
800
00:39:58,129 --> 00:39:59,073
WE NOW PRESENT ANOTHER
801
00:39:59,097 --> 00:40:01,309
IN OUR CONTINUING SERIES
OF EDITORIALS.
802
00:40:01,333 --> 00:40:05,479
THE SUBJECT...
ARE OUR DRAFT LAWS UNFAIR?
803
00:40:07,939 --> 00:40:10,517
WHAT ARE THE ARGUMENTS
AGAINST THE DRAFT?
804
00:40:10,541 --> 00:40:12,253
WE HEAR IT IS UNFAIR, IMMORAL,
805
00:40:12,277 --> 00:40:14,822
DISCOURAGES YOUNG MEN
FROM STUDYING,
806
00:40:14,846 --> 00:40:17,658
RUINS THEIR CAREERS
AND THEIR LIVES.
807
00:40:17,682 --> 00:40:21,662
PICKY, PICKY, PICKY.
808
00:40:21,686 --> 00:40:23,697
IT WAS ALTERNATIVE CHOICES
AND THINKING.
809
00:40:23,721 --> 00:40:25,433
SO THAT REFLECTED
IN OUR SHOW.
810
00:40:25,457 --> 00:40:26,868
AND THEN WE JUST STARTED GOING.
811
00:40:26,892 --> 00:40:28,302
AND WHEN THEY SAY,
"DON'T DO IT,"
812
00:40:28,326 --> 00:40:30,905
YOU PRESS, YOU PUSH BACK
AND PRESS.
813
00:40:30,929 --> 00:40:33,140
Narrator:
BY THE END OF 1967,
814
00:40:33,164 --> 00:40:37,978
THE BROTHERS HAD KNOCKED
"BONANZA" OUT OF ITS TOP SPOT.
815
00:40:38,002 --> 00:40:40,481
BUT THEIR NETWORK
WASN'T HAPPY.
816
00:40:40,505 --> 00:40:43,350
AND NEITHER
WAS PRESIDENT JOHNSON,
817
00:40:43,374 --> 00:40:48,255
A PERSONAL FRIEND
OF CBS PRESIDENT BILL PALEY.
818
00:40:48,279 --> 00:40:51,392
IN 1969, DESPITE GOOD RATINGS,
819
00:40:51,416 --> 00:40:54,895
THE SMOTHERS
WERE SUMMARILY CANCELLED.
820
00:40:54,919 --> 00:40:58,765
IT WAS VERY... IT WAS VERY
EMOTIONAL TO BE FIRED.
821
00:40:58,789 --> 00:41:01,168
WHEN YOU KNEW YOU HADN'T
DONE ANYTHING WRONG
822
00:41:01,192 --> 00:41:05,928
EXCEPT EXERCISE FREEDOM
OF EXPRESSION.
823
00:41:07,799 --> 00:41:11,212
Narrator: IN RETROSPECT,
TOMMY SMOTHERS ADMITS
824
00:41:11,236 --> 00:41:14,649
HE LOVED THE GAMESMANSHIP
WITH CBS EXECUTIVES.
825
00:41:14,673 --> 00:41:18,085
TWEAKING THE PEOPLE IN POWER
AND KIND OF WALKING THE EDGE,
826
00:41:18,109 --> 00:41:19,754
I LOVED IT.
827
00:41:19,778 --> 00:41:20,454
I JUST...
828
00:41:20,478 --> 00:41:22,023
QUESTION POWER,
WHEN YOU SEE
829
00:41:22,047 --> 00:41:25,226
SOMETHING OUT OF WHACK,
QUESTION IT.
830
00:41:25,250 --> 00:41:29,229
I ENJOYED SENDING
ALL THESE MEMOS BACK AND FORTH
831
00:41:29,253 --> 00:41:32,733
TO THE VICE PRESIDENT,
THE PRESIDENT,
832
00:41:32,757 --> 00:41:34,167
AND PROGRAM PRACTICES
833
00:41:34,191 --> 00:41:37,071
AND KIND OF
CRAFTING THE WORDS TO...
834
00:41:37,095 --> 00:41:39,273
IT WAS A LITTLE FUN.
OF COURSE IT WAS FUN.
835
00:41:39,297 --> 00:41:42,909
IT WAS FUN, EVEN THOUGH
IT WAS GETTING SERIOUS.
836
00:41:42,933 --> 00:41:44,311
IT WAS FUN THERE.
837
00:41:44,335 --> 00:41:46,880
Narrator:
THE SMOTHERS BROTHERS
838
00:41:46,904 --> 00:41:49,183
HAD CHALLENGED
THE ESTABLISHMENT
839
00:41:49,207 --> 00:41:54,888
AND REDEFINED WHAT YOU COULD
DO AND SAY ON TELEVISION.
840
00:41:54,912 --> 00:41:59,460
BUT IN THE END, THEIR SHOW
WAS TAKEN AWAY.
841
00:41:59,484 --> 00:42:02,863
IT WAS A LESSON THAT WAS
NOT LOST ON THE PRODUCER
842
00:42:02,887 --> 00:42:04,698
OF VARIETY'S NEXT BIG HIT...
843
00:42:04,722 --> 00:42:08,068
A SHOW CALLED "LAUGH-IN."
844
00:42:11,362 --> 00:42:18,512
THAT 18-YEAR-OLDS
SHOULD BE ALLOWED TO VOTE...
845
00:42:18,536 --> 00:42:23,339
JUST AS SOON AS THEY BECOME 21.
846
00:42:25,876 --> 00:42:28,889
TOMMY HAD A PLATFORM,
AND WE DID NOT...
847
00:42:28,913 --> 00:42:31,625
YOU WERE NEVER AWARE
OF OUR AGENDA.
848
00:42:31,649 --> 00:42:34,028
BECAUSE WE DID JOKES
ON BOTH SIDES.
849
00:42:34,052 --> 00:42:37,164
Narrator: EVERYTHING
ABOUT "LAUGH-IN"
850
00:42:37,188 --> 00:42:38,899
WAS NEW AND DIFFERENT,
851
00:42:38,923 --> 00:42:41,868
STARTING WITH
THE PSYCHEDELIC LOOK.
852
00:42:53,638 --> 00:42:55,816
"OH, THERE'S SOMETHING
TEENAGGOING ON HERE. SAID,
853
00:42:55,840 --> 00:42:58,152
"GIRLS IN BIKINIS,
WITH WORDS PRINTED ON THEM,
854
00:42:58,176 --> 00:42:59,020
"AND WHAT DO THE WORDS SAY,
855
00:42:59,044 --> 00:43:00,654
AND WHERE ARE THEY PRINTED?"
YOU KNOW.
856
00:43:00,678 --> 00:43:02,856
IT WAS REALLY RIGHT
FOR THE TIME,
857
00:43:02,880 --> 00:43:05,693
AND NOW, OF COURSE,
ALL OF TELEVISION
858
00:43:05,717 --> 00:43:08,228
IS THOSE BITES.
859
00:43:08,252 --> 00:43:10,564
BITE, BITE, BITE,
BITE, BITE, BITE, BITE.
860
00:43:10,588 --> 00:43:13,099
THEY DON'T GIVE YOU TIME
TO LOOK AT ANYTHING
861
00:43:13,123 --> 00:43:14,335
OR UNDERSTAND ANYTHING.
862
00:43:14,359 --> 00:43:15,168
IT MAKES ME VERY NERVOUS.
863
00:43:15,192 --> 00:43:18,572
BUT "LAUGH-IN" USED IT
TO ADVANTAGE.
864
00:43:18,596 --> 00:43:21,976
HOPE THIS STATEMENT
AIN'T TOO BOLD,
865
00:43:22,000 --> 00:43:24,544
HERE COMES THE JUDGE,
HERE COMES THE JUDGE!
866
00:43:24,568 --> 00:43:28,949
Narrator: WHAT REALLY
SET THE SHOW APART
867
00:43:28,973 --> 00:43:29,883
WAS TIMING.
868
00:43:29,907 --> 00:43:32,486
QUICK JOKES
AND QUICKER EDITS.
869
00:43:32,510 --> 00:43:35,823
THE SHOW DID HAVE CONFLICTS
WITH THE CENSORS.
870
00:43:35,847 --> 00:43:39,259
BUT OFTEN THE RACY MATERIAL
WAS ON AND OFF
871
00:43:39,283 --> 00:43:41,095
BEFORE ANYONE CAUGHT IT.
872
00:43:41,119 --> 00:43:42,096
NOW, WAIT!
873
00:43:42,120 --> 00:43:43,663
THAT'S LONG ENOUGH!
874
00:43:43,687 --> 00:43:45,132
SEE, WHEN YOU SAW THE SHOW,
875
00:43:45,156 --> 00:43:47,868
YOU WOULD, YOU WOULD BE
INTO THE NEXT JOKE
876
00:43:47,892 --> 00:43:50,237
BEFORE YOU REALLY GOT
THE LAST JOKE.
877
00:43:50,261 --> 00:43:51,771
AND THEY WOULD SAY TO ME,
"SLOW IT DOWN."
878
00:43:51,795 --> 00:43:53,273
I'D SAY,
"NO, PEOPLE WILL UNDERSTAND IT."
879
00:43:53,297 --> 00:43:56,110
AND THEY'D SAY, "BUT THEY'LL
MISS THE JOKES."
880
00:43:56,134 --> 00:43:58,746
THERE'S ANOTHER ONE COMING ALONG
IN JUST A FEW MOMENTS."
881
00:43:58,770 --> 00:43:59,780
BUT THE SPEED OF IT
882
00:43:59,804 --> 00:44:03,116
TOOK A LOT OF THE CURSE
OFF OF SOME OF THE THINGS
883
00:44:03,140 --> 00:44:06,920
WE WERE SAYING... YOU KNOW,
IT JUST WENT BY SO FAST.
884
00:44:06,944 --> 00:44:09,757
MR. BENNY, WAIT
FOR YOUR LAUGH NOW.
885
00:44:09,781 --> 00:44:14,461
BUT THERE IS HA HA HA!
NO LAUGH. NOW, THERE YOU GO.
886
00:44:14,485 --> 00:44:15,295
KEEP UP THE GOOD WORK,
887
00:44:15,319 --> 00:44:18,955
AND KEEP IT MOVING,
KEEP IT MOVING.
888
00:44:20,692 --> 00:44:23,370
Narrator: THE COMEDY TEAM
OF ROWAN AND MARTIN
889
00:44:23,394 --> 00:44:25,338
HAD BEEN BOUNCING AROUND
FOR YEARS
890
00:44:25,362 --> 00:44:27,775
BEFORE THEY WERE TAPPED
TO HOST.
891
00:44:27,799 --> 00:44:31,178
THE CAST ALSO STARTED OUT
AS UNKNOWNS.
892
00:44:31,202 --> 00:44:34,381
BUT WITHIN WEEKS,
THEY WERE STARS...
893
00:44:34,405 --> 00:44:36,383
INCLUDING RUTH BUZZI,
894
00:44:36,407 --> 00:44:37,584
LILY TOMLIN,
895
00:44:37,608 --> 00:44:38,652
GOLDIE HAWN.
896
00:44:38,676 --> 00:44:41,955
ARTE JOHNSON HAD BEEN
SELLING CLOTHES
897
00:44:41,979 --> 00:44:44,224
AT CARROLL'S IN BEVERLY HILLS.
898
00:44:44,248 --> 00:44:45,993
AND GARY OWENS WAS AN ANNOUNCER.
899
00:44:46,017 --> 00:44:50,798
AND THEY WERE ALL JUST
WORKING PEOPLE, PROFESSIONALS,
900
00:44:50,822 --> 00:44:52,433
BUT NOT KNOWN AT ALL.
901
00:44:52,457 --> 00:44:53,634
AND WE JUST ASSEMBLED THEM.
902
00:44:53,658 --> 00:44:56,937
Narrator:
"LAUGH-IN" WAS TV'S
903
00:44:56,961 --> 00:45:01,042
HIGHEST-RATED SHOW
IN 1968 AND '69.
904
00:45:01,066 --> 00:45:03,911
BUT IN 1970,
IT WOULD BE SURPASSED
905
00:45:03,935 --> 00:45:07,748
BY ANOTHER GROUNDBREAKING
VARIETY SHOW...
906
00:45:08,640 --> 00:45:10,984
WHEN THE DOOR FINALLY OPENED
907
00:45:11,008 --> 00:45:13,576
FOR PEOPLE OF COLOR.
908
00:45:20,985 --> 00:45:22,329
FLIP WILSON GREW UP
909
00:45:22,353 --> 00:45:26,400
IN A SERIES OF DIFFICULT
FOSTER HOMES.
910
00:45:26,424 --> 00:45:30,704
BUT IT NEVER DAMPENED
HIS INFECTIOUS SENSE OF HUMOR.
911
00:45:30,728 --> 00:45:32,706
YOU COULD NOT DISLIKE
FLIP WILSON.
912
00:45:32,730 --> 00:45:34,107
THERE WAS A WARMTH ABOUT HIM.
913
00:45:34,131 --> 00:45:35,743
AND I DON'T CARE WHO YOU WERE.
914
00:45:35,767 --> 00:45:39,179
THE GUY YOU SEE ON TELEVISION
WAS BASICALLY FLIP.
915
00:45:39,203 --> 00:45:42,850
I MEAN, HE JUST,
HE LOVED COMEDY.
916
00:45:42,874 --> 00:45:48,455
WON'T YOU WELCOME, PLEASE,
MISS GERALDINE JONES!
917
00:45:48,479 --> 00:45:50,624
Narrator: WILSON'S CHARACTERS
STILL RESONATE,
918
00:45:50,648 --> 00:45:55,129
INCLUDING HIS SIGNATURE,
GERALDINE.
919
00:46:10,268 --> 00:46:12,412
WATCH WHAT YOU
KISS, HONEY!
920
00:46:14,438 --> 00:46:17,384
WON'T YOU MAKE YOURSELF
COMFORTABLE, GERALDINE?
I'LL DO THAT!
921
00:46:17,408 --> 00:46:19,419
Narrator: GERALDINE WAS
AN INSTANT SENSATION.
922
00:46:19,443 --> 00:46:22,256
WOULD YOU CARE
FOR A CIGARETTE?
923
00:46:22,280 --> 00:46:25,025
I DON'T SMOKE,
AND I DON'T DO WINDOWS.
924
00:46:25,049 --> 00:46:29,263
Narrator: IT SEEMED EVERYONE
IN AMERICA
925
00:46:29,287 --> 00:46:30,330
WAS RECITING
926
00:46:30,354 --> 00:46:31,132
HER CATCHPHRASES.
927
00:46:31,156 --> 00:46:33,667
WHAT YOU SEE
IS WHAT YOU GET.
928
00:46:39,097 --> 00:46:41,909
Narrator: WILSON'S CHARACTERS
WERE FUNNY,
929
00:46:41,933 --> 00:46:43,743
BUT THEY WEREN'T
ONE-DIMENSIONAL.
930
00:46:43,767 --> 00:46:47,847
EACH HAD A BACK STORY
AND A MORAL CENTER
931
00:46:47,871 --> 00:46:51,017
THAT MADE THEM REAL
TO AUDIENCES.
932
00:46:51,041 --> 00:46:54,721
YEAH, HE WAS BRILLIANT,
THE WAY HE CREATED CHARACTERS,
933
00:46:54,745 --> 00:46:56,390
AND THE CHARACTERS HAD LIVES.
934
00:46:56,414 --> 00:46:58,826
WE KNEW ABOUT GERALDINE'S
BOYFRIEND
935
00:46:58,850 --> 00:47:00,727
AND HOW JEALOUS HE WAS,
936
00:47:00,751 --> 00:47:04,097
AND THOSE THINGS BROUGHT
THAT CHARACTER TO LIFE.
937
00:47:04,121 --> 00:47:06,766
YOU MUST NOT HAVE HEARD
ABOUT KILLER.
938
00:47:06,790 --> 00:47:08,002
KILLER?
939
00:47:08,026 --> 00:47:10,171
WHO'S KILLER?
940
00:47:10,195 --> 00:47:11,905
WHO'S KILLER?
941
00:47:11,929 --> 00:47:14,007
HONEY,
HE MARCHED DOWN
942
00:47:14,031 --> 00:47:17,945
THE FOOTBALL FIELD
OF MY HEART.
943
00:47:17,969 --> 00:47:22,249
AND TORE DOWN
THE GOALPOSTS OF MY LOVE.
944
00:47:22,273 --> 00:47:25,352
WHOO, TOUCHDOWN!
945
00:47:25,376 --> 00:47:27,521
Narrator:
"THE FLIP WILSON SHOW"
946
00:47:27,545 --> 00:47:30,190
SKYROCKETED TO NUMBER 2
IN THE RATINGS,
947
00:47:30,214 --> 00:47:33,928
PROMPTING TIME MAGAZINE
TO CROWN WILSON
948
00:47:33,952 --> 00:47:37,731
AS TV'S FIRST
BLACK SUPERSTAR.
949
00:47:37,755 --> 00:47:39,533
IT WAS ALMOST LIKE HE WAS
950
00:47:39,557 --> 00:47:42,803
CHANGING THE MOOD
OF THE COUNTRY,
951
00:47:42,827 --> 00:47:44,271
ETHNICITY-WISE.
952
00:47:44,295 --> 00:47:46,373
HE HAD SUCH A...
953
00:47:46,397 --> 00:47:51,645
A SPIRIT OF LOVINGNESS
TO HIS WORK
954
00:47:51,669 --> 00:47:54,047
THAT... AND THE GUESTS
THAT HE HAD ON
955
00:47:54,071 --> 00:47:57,250
WERE ALWAYS IN THE SAME WORLD
THAT HE WAS IN.
956
00:47:57,274 --> 00:47:59,319
WE WERE ONE PEOPLE,
ONE FAMILY.
957
00:47:59,343 --> 00:48:02,789
Narrator: AS THE FIRST
AFRICAN AMERICAN TO HOST
958
00:48:02,813 --> 00:48:08,996
FLIP WILSON'S POPULARITY
AOPENED DOORS FOR OTHERS, ,
959
00:48:09,020 --> 00:48:11,364
INCLUDING THIS TRIO.
960
00:48:11,388 --> 00:48:14,968
♪ A HUNDRED
YELLOW RIBBONS ♪
961
00:48:14,992 --> 00:48:19,106
♪ ROUND THE OLD
OAK TREE ♪
962
00:48:19,130 --> 00:48:23,610
YES, INDEED,
YOU'VE BEEN BEAUTIFUL!
963
00:48:29,240 --> 00:48:32,386
Narrator: TONY ORLANDO,
TELMA HOPKINS,
964
00:48:32,410 --> 00:48:33,586
AND JOYCE VINCENT WILSON
965
00:48:33,610 --> 00:48:36,690
RECORDED A STRING
OF NUMBER-ONE HITS
966
00:48:36,714 --> 00:48:40,027
AS TONY ORLANDO AND DAWN.
967
00:48:40,051 --> 00:48:43,297
BUT THEIR BIGGEST BREAK CAME
WHEN SONNY AND CHER
968
00:48:43,321 --> 00:48:45,799
ABANDONED THEIR TOP-RATED
VARIETY SHOW
969
00:48:45,823 --> 00:48:49,770
AND CBS INSTALLED
THE TRIO IN THEIR PLACE.
970
00:48:49,794 --> 00:48:51,404
IT WAS THE FIRST ETHNIC GROUP
971
00:48:51,428 --> 00:48:53,306
TO EVER BE ON PRIME TIME
TELEVISION.
972
00:48:53,330 --> 00:48:57,844
SO, WITH ALL THOSE COMPONENTS
AND DYNAMICS WORKING TOGETHER,
973
00:48:57,868 --> 00:49:00,581
WE WERE VERY LUCKY,
BECAUSE OUR TIME WAS...
974
00:49:00,605 --> 00:49:02,416
HAD COME.
975
00:49:02,440 --> 00:49:05,685
Narrator: FROM THE START,
ORLANDO TOOK ON THE ROLE
976
00:49:05,709 --> 00:49:07,187
OF THE BUMBLING SET-UP MAN,
977
00:49:07,211 --> 00:49:11,491
WHILE TELMA AND JOYCE DELIVERED
THE PUNCH LINES.
978
00:49:11,515 --> 00:49:12,826
I'VE GOT HIS MANNERISMS
DOWN COLD.
979
00:49:12,850 --> 00:49:14,694
ELVIS'S FAMOUS SNEER,
THE SNEER
980
00:49:14,718 --> 00:49:17,298
THAT'S DRIVEN WOMEN CRAZY
FOR YEARS.
981
00:49:17,322 --> 00:49:18,565
WATCH THIS SNEER.
982
00:49:18,589 --> 00:49:22,235
YOU WATCH WHAT HAPPENS
TO LADIES IN THIS AUDIENCE
983
00:49:22,259 --> 00:49:24,405
WITH THIS SNEER.
984
00:49:35,973 --> 00:49:37,951
HUH?
985
00:49:37,975 --> 00:49:38,619
HUH?
986
00:49:38,643 --> 00:49:39,920
ON ELVIS,
IT'S A SNEER.
987
00:49:39,944 --> 00:49:40,687
ON YOU,
IT LOOKS
988
00:49:40,711 --> 00:49:42,823
LIKE THE NOVOCAINE
DIDN'T WEAR OFF.
989
00:49:45,716 --> 00:49:48,862
Narrator: ORLANDO SEEMED PERFECT
FOR TELEVISION.
990
00:49:48,886 --> 00:49:52,165
HE WAS A QUICK STUDY
AND NATURALLY FUNNY.
991
00:49:52,189 --> 00:49:54,868
BUT HE SOON LEARNED
THE MOST BASIC TRUTH
992
00:49:54,892 --> 00:49:55,969
ABOUT TV VARIETY...
993
00:49:55,993 --> 00:49:58,538
IT'S A LOT OF WORK.
994
00:49:58,562 --> 00:50:00,374
IT WAS A VERY TIRING,
995
00:50:00,398 --> 00:50:04,210
VERY, VERY HARD EXPERIENCE
TO DO.
996
00:50:04,234 --> 00:50:05,579
ESPECIALLY FOR ONE
997
00:50:05,603 --> 00:50:09,838
WHO NEVER DID
A HIGH SCHOOL PLAY...
998
00:50:12,110 --> 00:50:15,088
NEVER WENT TO AN ACTING CLASS...
999
00:50:15,112 --> 00:50:19,559
DID NOT KNOW ZILCH
ABOUT COMEDY.
1000
00:50:19,583 --> 00:50:22,696
AND HERE I AM,
ASKED TO DO ALL THESE THINGS.
1001
00:50:22,720 --> 00:50:26,266
SO I WAS IN THE LEARNING
PROCESS, AS WELL,
1002
00:50:26,290 --> 00:50:29,636
WHILE I WAS ON A NATIONAL
TELEVISION SHOW
1003
00:50:29,660 --> 00:50:34,107
THAT 30 MILLION PEOPLE WOULD
TUNE IN ON EVERY WEEK,
1004
00:50:34,131 --> 00:50:36,176
AND SAY, WE EITHER LIKE YOU
OR WE DON'T.
1005
00:50:36,200 --> 00:50:38,511
Narrator:
ORLANDO SOUGHT ADVICE
1006
00:50:38,535 --> 00:50:42,349
FROM THE MOST BELOVED
VARIETY HOST OF ALL TIME,
1007
00:50:42,373 --> 00:50:45,518
WHO HAPPENED TO WORK
ACROSS THE HALL.
1008
00:50:45,542 --> 00:50:47,621
Orlando:
I WOULD MEET CAROL
1009
00:50:47,645 --> 00:50:50,724
IN THE HALLWAY,
AND I'M LIKE DRAGGING,
1010
00:50:50,748 --> 00:50:52,359
AND SHE'S FRESH AS A DAISY.
1011
00:50:52,383 --> 00:50:56,497
I GO, "CAROL,
HOW DO YOU DO IT?"
1012
00:50:56,521 --> 00:51:03,002
SHE SAID, "TONY, RELY ON
THE OTHER PEOPLE ON THE SHOW.
1013
00:51:03,026 --> 00:51:06,673
"THAT'S WHY I HAVE
A HARVEY KORMAN.
1014
00:51:06,697 --> 00:51:09,009
"RELY ON THOSE OTHER PEOPLE.
1015
00:51:09,033 --> 00:51:11,544
"AND YOU'LL FIND THAT
THE LESS YOU DO
1016
00:51:11,568 --> 00:51:13,479
"AND THE MORE YOU INVOLVE THEM,
1017
00:51:13,503 --> 00:51:17,739
THE HEALTHIER YOU'LL BE."
1018
00:51:20,144 --> 00:51:21,621
Narrator:
DESPITE THE GOOD ADVICE,
1019
00:51:21,645 --> 00:51:25,558
ORLANDO'S SHOW WRAPPED
AFTER JUST FOUR SEASONS.
1020
00:51:25,582 --> 00:51:27,894
TONY, TELMA, AND JOYCE
1021
00:51:27,918 --> 00:51:29,796
HADN'T LOST A STEP,
1022
00:51:29,820 --> 00:51:32,199
BUT THE VARIETY SHOW FORMAT
1023
00:51:32,223 --> 00:51:35,268
WAS REACHING THE END
OF THE LINE.
1024
00:51:35,292 --> 00:51:39,839
A YEAR LATER, CAROL BURNETT
LEFT THE AIR.
1025
00:51:39,863 --> 00:51:43,643
A FEW NEW SHOWS TRIED
TO BUCK THE TREND,
1026
00:51:43,667 --> 00:51:46,046
BUT NONE HAD STAYING POWER.
1027
00:51:46,070 --> 00:51:47,314
YOU SEE WHAT HAPPENED...
1028
00:51:47,338 --> 00:51:49,850
THE INVENTION
OF THE REMOTE CONTROL,
1029
00:51:49,874 --> 00:51:52,452
THAT CHANGED THE TIMING
OF THE WORLD.
1030
00:51:52,476 --> 00:51:55,889
BECAUSE PEOPLE HAVE
NO PATIENCE ANYMORE.
1031
00:51:55,913 --> 00:51:57,858
NONE WHATSOEVER.
IMMEDIATE GRATIFICATION.
1032
00:51:57,882 --> 00:52:01,194
I DON'T KNOW IF THAT GENRE
WILL EVER COME BACK.
1033
00:52:01,218 --> 00:52:03,696
BECAUSE... WELL,
I KNOW A FEW PEOPLE
1034
00:52:03,720 --> 00:52:06,533
THAT CAN WRITE AND DO IT,
BUT NOT TOO MANY.
1035
00:52:06,557 --> 00:52:11,338
Narrator: THE TRADITIONAL
VARIETY SHOW MAY BE GONE.
1036
00:52:11,362 --> 00:52:14,140
BUT WE STILL HAVE
THE MEMORIES
1037
00:52:14,164 --> 00:52:17,344
OF THE STARS
THAT BROUGHT US TOGETHER
1038
00:52:17,368 --> 00:52:22,215
FROM THE VERY BEGINNING
OF THE TELEVISION AGE.
1039
00:52:22,239 --> 00:52:27,354
I JUST LOVED
THE WHOLE ATMOSPHERE
1040
00:52:27,378 --> 00:52:28,355
OF THE VARIETY SHOW.
1041
00:52:28,379 --> 00:52:30,791
WHICH OF US
DO YOU THINK IS THE OLDER?
1042
00:52:30,815 --> 00:52:33,359
YOU MEAN WHICH OF
YOU TWO ARE THE OLDER?
1043
00:52:33,383 --> 00:52:36,096
YEAH, YEAH, WHICH
IS THE OLDEST?
1044
00:52:37,788 --> 00:52:40,300
WE HAND IT WAS PERFECT.UN,
1045
00:52:40,324 --> 00:52:45,205
WE WERE JUST BARELY
SOPHISTICATED ENOUGH
1046
00:52:45,229 --> 00:52:47,040
TO PULL IT OFF.
1047
00:52:47,064 --> 00:52:51,833
♪ RAINDROPS
ARE FALLING ♪
1048
00:52:54,338 --> 00:53:02,338
♪♪ PLEASE TELL ME WHY ♪♪
1049
00:53:02,580 --> 00:53:05,191
THE FAMILY SAT AROUND
THE TELEVISION...
1050
00:53:05,215 --> 00:53:06,493
AND A LOT OF PEOPLE TELL ME
1051
00:53:06,517 --> 00:53:08,828
THAT'S THE ONLY TIME
THE FAMILY TALKED.
1052
00:53:08,852 --> 00:53:10,764
WHY DO YOU THINK PEOPLE
GRAVITATE TO THAT?
1053
00:53:10,788 --> 00:53:13,967
BECAUSE WE WANT TO HEAR
SOME MUSIC, YOU KNOW,
1054
00:53:13,991 --> 00:53:17,270
THEY WANT TO HEAR
AND SEE A MUSICAL PERFORMER.
1055
00:53:17,294 --> 00:53:22,876
I WAS VERY, VERY LUCKY
TO HAVE HAD THAT EXPERIENCE.
1056
00:53:22,900 --> 00:53:28,348
♪ WE'RE AFTER ♪
1057
00:53:28,372 --> 00:53:35,355
♪ THAT SAME
RAINBOW'S END ♪
1058
00:53:35,379 --> 00:53:38,858
♪ WAITING ROUND THE BEND ♪
1059
00:53:38,882 --> 00:53:43,530
♪ MY HUCKLEBERRY FRIEND ♪
1060
00:53:43,554 --> 00:53:50,770
♪ MOON RIVER ♪
1061
00:53:50,794 --> 00:53:58,794
♪ AND ME ♪♪
1062
00:54:09,946 --> 00:54:14,883
Narrator: THE PIONEERS
OF TELEVISION.
1063
00:54:19,789 --> 00:54:21,735
FOR MORE INFORMATION
ON "PIONEERS OF TELEVISION"
1064
00:54:21,759 --> 00:54:23,970
AND OTHER PBS PROGRAMS,
1065
00:54:23,994 --> 00:54:26,272
GO TO PBS.ORG.
1066
00:54:26,296 --> 00:54:29,943
NEXT TIME, ON
"PIONEERS OF TELEVISION"...
1067
00:54:29,967 --> 00:54:32,279
Announcer:
BOB BARKER!
1068
00:54:33,570 --> 00:54:35,148
WE GOT SOMETHING GOING HERE,
HAVEN'T WE?
1069
00:54:35,172 --> 00:54:38,551
BOY, I HIT THE BULL'S EYE
RIGHT IN THE FACE.
1070
00:54:38,575 --> 00:54:41,688
Host: SAY, ARE MOST
STOLEN CARS RECOVERED?
1071
00:54:41,712 --> 00:54:44,725
I HAD ONE RECOVERED
IN ZEBRA ONCE.
1072
00:54:44,749 --> 00:54:46,726
OKAY, TOMORROW WE MAKE
ANOTHER PHONE CALL,
1073
00:54:46,750 --> 00:54:48,694
SO BE SURE AND GET
YOUR CARDS IN.
1074
00:54:52,523 --> 00:54:53,733
YOU GOT IT!
1075
00:54:53,757 --> 00:54:55,301
YOU GOT IT!
1076
00:54:55,325 --> 00:54:57,325
YOU GOT IT!
1077
00:54:59,830 --> 00:55:01,040
I'M THE FASTEST MAN
1078
00:55:01,064 --> 00:55:03,142
ON THE DRAW!
1079
00:55:06,303 --> 00:55:11,150
NOW, EVEN JOHN WAYNE
CAN'T DO THAT.
1080
00:55:19,817 --> 00:55:21,795
I FIGURE ANYTIME
A PROP GETS
1081
00:55:21,819 --> 00:55:23,463
A BIGGER LAUGH
THAN ME,
1082
00:55:23,487 --> 00:55:25,421
IT'S GOT TO GO.
1083
00:55:29,792 --> 00:55:30,837
THIS PROGRAM
1084
00:55:30,861 --> 00:55:33,673
BY CONTRIBUTIONS
TO YOUR PBS STATION
1085
00:55:33,697 --> 00:55:39,368
FROM VIEWERS LIKE YOU.