Street Gang (65 page)
Authors: Michael Davis
CHAPTER SIX
Interviews:
Conversations with Fred Silverman, Beverley Stone, and Tom Whedon informed this chapter.
CHAPTER SEVENConversations with Fred Silverman, Beverley Stone, and Tom Whedon informed this chapter.
1
King, Peter H. “Burr Tillstrom, Creator of TV’s ‘Kukla, Fran and Ollie’ Dies,”
Los Angeles Times
, December 7, 1985.
King, Peter H. “Burr Tillstrom, Creator of TV’s ‘Kukla, Fran and Ollie’ Dies,”
Los Angeles Times
, December 7, 1985.
3
Found in both “Kukla’s Daddy,”
Radio Mirror
, November 1949, and “A Burr Tillstrom Biography,” prepared by NBC’s promotions department in September 1961, www .
richsamuels.com/nbcmm/kuklapolitans/tillstrom_biography_1961.html
.
Found in both “Kukla’s Daddy,”
Radio Mirror
, November 1949, and “A Burr Tillstrom Biography,” prepared by NBC’s promotions department in September 1961, www .
richsamuels.com/nbcmm/kuklapolitans/tillstrom_biography_1961.html
.
5
Ibid.
Ibid.
8
Unless otherwise noted, biographical information on Fran Allison came from “Allison in Wonderland,” by Bill Fay.
Unless otherwise noted, biographical information on Fran Allison came from “Allison in Wonderland,” by Bill Fay.
9
Ibid.
Ibid.
11
By then, Stone and Whedon had formed a two-man creative-services company, first puckishly called Talent, Ltd. It was later amended to Albatross Productions, at the behest of their agent, who feared some might not get the joke. In his memoir, Stone wrote, “My friend Charlie Rosen designed a logo for us consisting of the company name with a smug, smiling albatross leaning confidently on the capital
A.
Beneath and slightly behind the albatross was a huge egg.”
By then, Stone and Whedon had formed a two-man creative-services company, first puckishly called Talent, Ltd. It was later amended to Albatross Productions, at the behest of their agent, who feared some might not get the joke. In his memoir, Stone wrote, “My friend Charlie Rosen designed a logo for us consisting of the company name with a smug, smiling albatross leaning confidently on the capital
A.
Beneath and slightly behind the albatross was a huge egg.”
Interviews:
Caroll Spinney generously agreed to face-to-face interview time and follow-up phone conversations.
Caroll Spinney generously agreed to face-to-face interview time and follow-up phone conversations.
Additional Sources:
An especially illuminating interview conducted by Michael Rosen for the Television Academy on May 12, 2001, informed this chapter, as did
The Wisdom of Big Bird (and the Dark Genius of Oscar the Grouch): Lessons from a Life in Feathers
by Caroll Spinney with J Milligan (New York: Villard, 2003). Unless otherwise noted, quotes came from the author’s aforementioned interviews as well as the preceding two sources.
CHAPTER EIGHTAn especially illuminating interview conducted by Michael Rosen for the Television Academy on May 12, 2001, informed this chapter, as did
The Wisdom of Big Bird (and the Dark Genius of Oscar the Grouch): Lessons from a Life in Feathers
by Caroll Spinney with J Milligan (New York: Villard, 2003). Unless otherwise noted, quotes came from the author’s aforementioned interviews as well as the preceding two sources.
1
Spinney also created two animated films for children about a wombat and a crayon that comes to life. Entitled
Crazy Crayon
, the seven-and-a-half-minute shorts were drawn in black and shot on 16-millimeter film. Both were featured on
Captain Kangaroo
in the early 1960s.
Spinney also created two animated films for children about a wombat and a crayon that comes to life. Entitled
Crazy Crayon
, the seven-and-a-half-minute shorts were drawn in black and shot on 16-millimeter film. Both were featured on
Captain Kangaroo
in the early 1960s.
Interviews:
Joan Cooney, Gordon Howe, Lloyd Morrisett, and Cathy Short.
Joan Cooney, Gordon Howe, Lloyd Morrisett, and Cathy Short.
Additional Sources:
Unless otherwise noted, all quotes are from the author’s interviews, the Archive of American Television oral history DVDs, and
Children’s Television Workshop, The Early Years: An Oral History
by Robert Davidson (CTW, 1993).
CHAPTER NINEUnless otherwise noted, all quotes are from the author’s interviews, the Archive of American Television oral history DVDs, and
Children’s Television Workshop, The Early Years: An Oral History
by Robert Davidson (CTW, 1993).
2
Richard M. Polsky,
Getting to Sesame Street: Origins of the Children’s Television Workshop
(New York: Praeger Publishers, 1974), 28.
Richard M. Polsky,
Getting to Sesame Street: Origins of the Children’s Television Workshop
(New York: Praeger Publishers, 1974), 28.
3
Ibid., 30.
Ibid., 30.
4
Alistair Cookie was played by Cookie Monster, who in turn was played by Frank Oz. One of the featured presentations introduced on
Monsterpiece Theatre
was
Me, Claudius
.
Alistair Cookie was played by Cookie Monster, who in turn was played by Frank Oz. One of the featured presentations introduced on
Monsterpiece Theatre
was
Me, Claudius
.
5
Eric Pace, “Fred Friendly, CBS Executive and Pioneer in TV News Coverage, Dies at 82,”
New York Times,
March 5, 1998.
Eric Pace, “Fred Friendly, CBS Executive and Pioneer in TV News Coverage, Dies at 82,”
New York Times,
March 5, 1998.
6
Schlesinger was quoted in Pace’s obituary; ibid.
Schlesinger was quoted in Pace’s obituary; ibid.
Interviews:
Milton Chen, Joan Cooney, Mike Dann, and Lloyd Morrisett.
Milton Chen, Joan Cooney, Mike Dann, and Lloyd Morrisett.
Additional Sources:
Unless otherwise noted, all quotes are from the author’s interviews, the Archive of American Television oral history DVDs, and
Children’s Television Workshop, The Early Years: An Oral History
by Robert Davidson (CTW, 1993). Jon Stone quotes from his unpublished memoir.
CHAPTER TENUnless otherwise noted, all quotes are from the author’s interviews, the Archive of American Television oral history DVDs, and
Children’s Television Workshop, The Early Years: An Oral History
by Robert Davidson (CTW, 1993). Jon Stone quotes from his unpublished memoir.
1
Gerry Lesser recommended a trio of distinguished scholars from the University of Chicago (Susan Stodolsky), Duke (Michael Wallach), and Harvard (Roger Brown) to join Carnegie’s Barbara Finberg, USOE’s Lou Hausman, Edward Meade of the Ford Foundation, freelance writer Linda Gottlieb, Cooney, and Morrisett.
Gerry Lesser recommended a trio of distinguished scholars from the University of Chicago (Susan Stodolsky), Duke (Michael Wallach), and Harvard (Roger Brown) to join Carnegie’s Barbara Finberg, USOE’s Lou Hausman, Edward Meade of the Ford Foundation, freelance writer Linda Gottlieb, Cooney, and Morrisett.
2
Information on Johnson, PBL, and the Public Broadcasting Act of 1967 comes from Robert B. Semple, “Johnson Signs Bill Creating Nonprofit TV Agency,”
New York Times
, November 8, 1967.
Information on Johnson, PBL, and the Public Broadcasting Act of 1967 comes from Robert B. Semple, “Johnson Signs Bill Creating Nonprofit TV Agency,”
New York Times
, November 8, 1967.
4
Ibid.
Ibid.
5
Gould was particularly annoyed by the “tiresomely long” final segment, a satire entitled “A Day of Absence.” In it, a southern town awakens to find its black residents have vanished. “A Noble Experiment: Nowhere to Go But Up,”
New York Times
, November 12, 1967.
Gould was particularly annoyed by the “tiresomely long” final segment, a satire entitled “A Day of Absence.” In it, a southern town awakens to find its black residents have vanished. “A Noble Experiment: Nowhere to Go But Up,”
New York Times
, November 12, 1967.
6
Harold Howe II, memorandum, January 3, 1968, Carnegie Archives, CTW files, New York.
Harold Howe II, memorandum, January 3, 1968, Carnegie Archives, CTW files, New York.
7
Barbara Finberg, interview by Richard Polsky, Columbia University’s Oral History Research Office, March 30, 1972, 9.
Barbara Finberg, interview by Richard Polsky, Columbia University’s Oral History Research Office, March 30, 1972, 9.
8
The Children’s Television Workshop: How and Why It Works
(New York: Nassau Board of Cooperative Educational Services, Research and Development Division, n.d.), 25.
The Children’s Television Workshop: How and Why It Works
(New York: Nassau Board of Cooperative Educational Services, Research and Development Division, n.d.), 25.
9
James Day,
The Vanishing Vision: The Inside Story of Public Television
(Berkeley and Los Angeles: University of California Press, 1995), 107.
James Day,
The Vanishing Vision: The Inside Story of Public Television
(Berkeley and Los Angeles: University of California Press, 1995), 107.
12
Ibid.
Ibid.
15
“Joan Ganz Cooney: Powerful Impact, Gentle Persuasion,” 12.
“Joan Ganz Cooney: Powerful Impact, Gentle Persuasion,” 12.
16
Ed Meade, interview by Richard Polsky, Columbia University’s Oral History Research Office, April 17, 1972, 7.
Ed Meade, interview by Richard Polsky, Columbia University’s Oral History Research Office, April 17, 1972, 7.
19
Ed Meade, interview by Richard Polsky, 8.
Ed Meade, interview by Richard Polsky, 8.
20
“Joan Ganz Cooney: Powerful Impact, Gentle Persuasion,” 13.
“Joan Ganz Cooney: Powerful Impact, Gentle Persuasion,” 13.
Interviews:
Alan Connell, Jan Connell, Mike Dann, Sam Gibbon, Fred Silverman, Beverley Stone, and Polly Stone.
Alan Connell, Jan Connell, Mike Dann, Sam Gibbon, Fred Silverman, Beverley Stone, and Polly Stone.
Additional Sources:
Unless otherwise noted, all quotes are from the author’s interviews, the Archive of American Television oral history DVDs, and
Children’s Television Workshop, The Early Years: An Oral History
by Robert Davidson (CTW 1993); Jon Stone quotes are from his unpublished memoir.
CHAPTER ELEVENUnless otherwise noted, all quotes are from the author’s interviews, the Archive of American Television oral history DVDs, and
Children’s Television Workshop, The Early Years: An Oral History
by Robert Davidson (CTW 1993); Jon Stone quotes are from his unpublished memoir.
1
Squeezed into the final paragraphs: a lukewarm mini-review of the “The Reluctant Dragon,” a television adaptation of Kenneth Grahame’s children’s book, performed by Burr Tillstrom, Fran Allison, and the Kuklapolitans. Tellingly, Gould criticized both the small space in which Tillstrom worked as well as the clunky restaurant ads that had been inserted into the program by the players.
Squeezed into the final paragraphs: a lukewarm mini-review of the “The Reluctant Dragon,” a television adaptation of Kenneth Grahame’s children’s book, performed by Burr Tillstrom, Fran Allison, and the Kuklapolitans. Tellingly, Gould criticized both the small space in which Tillstrom worked as well as the clunky restaurant ads that had been inserted into the program by the players.
Jack Gould, “TV: Focus on Programming for the Disadvantaged Child,”
New York Times
, March 22, 1968, 95.
New York Times
, March 22, 1968, 95.
“[The program] illustrated the strengths and weaknesses of commercial television’s approach to programming for youngsters,” Gould wrote. “The adaptation . . . seemed cramped and static in the confining space in which the gifted Mr. Tillstrom had to work. And in his role as the dragon who wouldn’t breathe a wisp of fire, Ollie was never quite his endearing self.
“The larger lesson exemplified by “The Reluctant Dragon,” however, was the pitfall of trying to do children’s television under prevailing commercial standards. In the advertising, Miss Allison, Ollie, Kukla and Beulah stepped out of the world of make believe to plug the wares and services of a restaurant chain. The element of illusion was instantly sacrificed and there occurred the distasteful gimmick of capitalizing on childhood involvement as an instrument of sales promotion.
“To use the young as a merchandising weapon against their parents is one of the blights of TV. Mr. Tillstrom, Miss Allison, Kukla and Ollie are performers; if they need guidance on where to eat, let them consult Craig Claiborne, not the sponsor of their appearances.”
2
Ibid.
Ibid.
4
Among its properties was Roger Ramjet, the crudely animated misadventures of a dimwit superhero (voiced by Gary Owens) who protected our way of life from the likes of Noodles Romanoff and N.A.S.T.Y. (the National Association of Spies, Traitors and Yahoos), his dastardly organization.
Among its properties was Roger Ramjet, the crudely animated misadventures of a dimwit superhero (voiced by Gary Owens) who protected our way of life from the likes of Noodles Romanoff and N.A.S.T.Y. (the National Association of Spies, Traitors and Yahoos), his dastardly organization.
5
Dave Connell, interview by Richard Polsky, Columbia University’s Oral History Research Office, January 24, 1972, 2.
Dave Connell, interview by Richard Polsky, Columbia University’s Oral History Research Office, January 24, 1972, 2.
6
The Ground Floor started serving patrons in 1965, the year after Black Rock was completed. The
New York Times
reported in 1983 that CBS founder William S. Paley had sampled most of the restaurant’s dishes and supervised the decoration of the interiors before its grand opening.
The Ground Floor started serving patrons in 1965, the year after Black Rock was completed. The
New York Times
reported in 1983 that CBS founder William S. Paley had sampled most of the restaurant’s dishes and supervised the decoration of the interiors before its grand opening.
7
We should note that George Dessart, the executive who suggested using commercials to sell letters and numbers, was considered the top candidate for executive producer before Dave Connell entered the picture. “I desperately tried to get George,” Cooney said, “but that would have been a disaster. He resisted us, saying, ‘That’s not the job for me.’ To his credit, he, too, understood I needed a volume producer.”
We should note that George Dessart, the executive who suggested using commercials to sell letters and numbers, was considered the top candidate for executive producer before Dave Connell entered the picture. “I desperately tried to get George,” Cooney said, “but that would have been a disaster. He resisted us, saying, ‘That’s not the job for me.’ To his credit, he, too, understood I needed a volume producer.”
8
From an address given before the Hollywood Radio and Television Society on October 13, ca. 1970-71.
From an address given before the Hollywood Radio and Television Society on October 13, ca. 1970-71.
9
Dave Connell, interview by Richard Polsky, 2-4.
Dave Connell, interview by Richard Polsky, 2-4.
10
Ibid., 4-5.
Ibid., 4-5.
12
Ibid.
Ibid.
15
Daniel Ogilvie quoted from Polsky,
Getting to Sesame Street,
73. Originally appeared in Ogilvie’s “Partial History of Sesame Street: Summer 1968” (1970). CTW archives.
Daniel Ogilvie quoted from Polsky,
Getting to Sesame Street,
73. Originally appeared in Ogilvie’s “Partial History of Sesame Street: Summer 1968” (1970). CTW archives.
17
Ibid.
Ibid.
18
Howard W. Reeves, ed.,
Wings of an Artist: Children’s Book Illustrators Talk About Their Art
(New York: Harry N. Abrams, 1999), 26.
Howard W. Reeves, ed.,
Wings of an Artist: Children’s Book Illustrators Talk About Their Art
(New York: Harry N. Abrams, 1999), 26.
19
Dave Connell, interview by Richard Polsky, 9-10.
Dave Connell, interview by Richard Polsky, 9-10.
20
Ibid.
Ibid.
Interviews:
Joan Cooney, Danny Epstein, Sam Gibbon, Robert Hatch, Brian Henson, Lisa Henson, Charles Rosen, Toots Thielemans, and Tom Whedon.
Joan Cooney, Danny Epstein, Sam Gibbon, Robert Hatch, Brian Henson, Lisa Henson, Charles Rosen, Toots Thielemans, and Tom Whedon.
Additional Sources:
Sesame Workshop provided a DVD of the sales presentation. Unless otherwise noted, all quotes are from the author’s interviews, the Archive of American Television oral history DVDs, and
Children’s Television Workshop, The Early Years: An Oral History
by Robert Davidson (CTW, 1993); Jon Stone quotes are from his unpublished memoir.
Sesame Workshop provided a DVD of the sales presentation. Unless otherwise noted, all quotes are from the author’s interviews, the Archive of American Television oral history DVDs, and
Children’s Television Workshop, The Early Years: An Oral History
by Robert Davidson (CTW, 1993); Jon Stone quotes are from his unpublished memoir.
1
Marvin Gaye’s “What’s Going On” wouldn’t be released until 1971, but he and Tammi Terrell hit No. 53 on Billboard’s Top 100 for 1968 with “Ain’t Nothing Like the Real Thing.”
Marvin Gaye’s “What’s Going On” wouldn’t be released until 1971, but he and Tammi Terrell hit No. 53 on Billboard’s Top 100 for 1968 with “Ain’t Nothing Like the Real Thing.”
4
Cooney’s quest to influence program managers was reinforced by CPB president John Macy at an April 9 press conference at the Waldorf. He called on public stations to assign the twenty-six-week series to a time slot that made the most sense for the preschool viewer. “I would not want to see these prospects for success and enrichment jeopardized in any way by the fact that the new series could not be seen at the right time on the right station by the largest number of American children,” he said.
Cooney’s quest to influence program managers was reinforced by CPB president John Macy at an April 9 press conference at the Waldorf. He called on public stations to assign the twenty-six-week series to a time slot that made the most sense for the preschool viewer. “I would not want to see these prospects for success and enrichment jeopardized in any way by the fact that the new series could not be seen at the right time on the right station by the largest number of American children,” he said.
6
A brief historical note: When Stone was struggling to come up with a concept for the show, Dave Connell arranged to have a treatment completed by someone who was not intimately involved with the planning. Clark Gesner, an actor, author, and composer who wrote the music and lyrics for the Peanuts-inspired off-Broadway musical
You’re a Good Man, Charlie Brown,
worked on the project in Princeton, New Jersey. His stark, futuristic concept featured a set constructed of white plastic and actors dressed uniformly in white. It was soundly rejected. Gesner, another veteran of
Captain Kangaroo
, later worked on
The Electric Company
.
A brief historical note: When Stone was struggling to come up with a concept for the show, Dave Connell arranged to have a treatment completed by someone who was not intimately involved with the planning. Clark Gesner, an actor, author, and composer who wrote the music and lyrics for the Peanuts-inspired off-Broadway musical
You’re a Good Man, Charlie Brown,
worked on the project in Princeton, New Jersey. His stark, futuristic concept featured a set constructed of white plastic and actors dressed uniformly in white. It was soundly rejected. Gesner, another veteran of
Captain Kangaroo
, later worked on
The Electric Company
.
7
Raposo and Epstein also provided live music for Jim Henson when the Muppets appeared on
The Ed Sullivan Show
.
Raposo and Epstein also provided live music for Jim Henson when the Muppets appeared on
The Ed Sullivan Show
.
8
Thielemans received residual checks for decades for his studio work whistling the Old Spice jingle. He also composed the jazz standard “Bluesette.”
Thielemans received residual checks for decades for his studio work whistling the Old Spice jingle. He also composed the jazz standard “Bluesette.”
9
Brian Henson also appeared in a number film in which he counted dimes, nickels, and peas.
Brian Henson also appeared in a number film in which he counted dimes, nickels, and peas.
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