In 1965, ABC launched The Beatles, a cartoon series based on the most famous musical group in the world. Because no good idea ever goes without being imitated, a series called The Beagles premiered on CBS 50 years ago this weekend, on September 10, 1966. It centered around two singing dogs and their manager, who came up with crazy schemes to make them famous. Although the songs performed in each episode bore a striking resemblance to Beatles tunes, the characters of Stringer and Tubby were not modeled after real Beatles. (Stringer’s speaking voice may remind you a little of Bing Crosby.)
In 1960, New York ad men W. Watts “Buck” Biggers and Chet Stover created the cartoon series King Leonardo and His Short Subjects to sell cereal for General Mills. With its success, they left Dancer Fitzgerald Sample and formed Total TeleVision with Treadwell Covington, another ad man, and Joe Harris, a character designer and storyboard artist. Over the next several years, Total TeleVision created anthology shows featuring several different cartoon elements. Underdog, Tennessee Tuxedo and His Tales, and The Beagles all appeared on network schedules, but each included episodes of The World of Commander McBragg, Klondike Cat, Tooter Turtle, and/or Go-Go Gophers, as well as King Leonardo. They were animated by Gamma Productions (which also did the various Rocky and Bullwinkle shows at the same time), and had a look that was cheap, but distinctive. Like other Total TeleVision shows, The Beagles featured the voice talents of Kenny Delmar, a veteran radio actor who had played Senator Claghorne with Fred Allen in the 40s; Allen Swift, who had been a voice actor and writer on Howdy Doody; and Sandy Becker, another veteran of old-time radio and 1950s TV.
The Beagles ran for two years, one season on CBS and one on ABC, before going off the air in 1968. For a long time, the original masters of the show were believed lost, although Biggers told an interviewer in 2007 that nine episodes (which is all that were made) still existed, but not in complete form. They would have to be reassembled from pieces before they could be reissued. As of 2007, the rights to the show were owned by Lorne Michaels’ company, Broadway Video.
In 1967, the Harmony label, a Columbia subsidiary, released 10 songs on Here Come the Beagles (pictured above). As you might expect, it’s pretty rare. (In 1995, the songs were reissued along with songs by another made-for-TV group, the Banana Splits, but in a thousand-copy limited edition.) The identities of the musicians who performed as the Beagles are long lost. The songs were arranged by Charles Fox, who would go on to score dozens of movies and TV shows. It’s possible that Fox sang on them, although that’s unclear. The four principals in Total TeleVision are credited as songwriters. Biggers died in 2013; his obituary indicates that he wrote the songs and shared the credits with his three partners.
The show’s main theme, “Looking for the Beagles,” has an oddly downcast lyric for such a silly show: “Lookin’ for the Beagles / Not where rich men go / Rich is for the regals / Woe is all the Beagles know.” Many of the Beagles’ songs sound like straight-up garage rock, such as “Humpty Dumpty,” heard in this existing clip from the show. Some add a flute, which seems a little incongruous, as on “I’d Join the Foreign Legion,” which you can hear in the clip here. But the gem among the Beagles’ songs is “Thanks to the Man in the Moon,” on which the anonymous lead singer nails his John Lennon impression. Any resemblance to “This Boy” or “You’ve Got to Hide Your Love Away” is almost certainly intentional. You can hear some of it, and see a toy commercial from 1966 to boot, in this clip.
Whoever they were, the musicians behind the Beagles (thanks to the songwriting talents of Buck Biggers) managed to channel the sound of the British Invasion and the Beatles themselves into a handful of well-crafted pop tunes. And whoever they were, they would likely be surprised to learn that a half-century later, a few people are still listening to them.
(Based on a 2008 post, but mostly new.)
(Pictured: one incarnation of the Beach Boys. L to R: Bruce Johnston, Carl Wilson, Al Jardine, and Mike Love, circa 1971.)
In July 1971, the Beach Boys, Ike and Tina Turner, and several new young stars headlined a two-night stand in New York City’s Central Park, part of a regular concert series sponsored for many summers by Schaefer Brewing Company. Both nights were filmed and then edited into a concert special called Good Vibrations From Central Park. (The TV crew shot from different vantage points each night, so when the producers put the show together, it looked like they had twice the camera coverage.) An hour of concert highlights was broadcast on ABC 45 years ago tonight, on August 19, 1971.
The TV show opened with the Beach Boys doing “Good Vibrations,” although I am pretty sure that at Central Park itself, Boz Scaggs went on first. Good Vibrations From Central Park was the first national TV appearance for Boz and his band, doing their lone hit to date, “We Were Always Sweethearts.” It had reached #61 on the Hot 100 in May, and was the opening track on Moments, Boz’s second album. Boz may have played other songs that night, but only one got on TV, befitting an opening act.
Kate Taylor went on next. James Taylor’s sister, who billed herself as “Sister Kate,” had released her debut album in January, featuring many of the same musicians who appeared on Carole King’s Tapestry, including King herself. Her song choices were impeccable: two by King from Tapestry (“Where You Lead” and “Home Again”), two from Elton John’s Tumbleweed Connection (“Ballad of a Well-Known Gun” and “Country Comfort”), plus her brother James’ “You Can Close Your Eyes,” and “Handbags and Gladrags,” which was made famous by Rod Stewart. Any of those would have been better than the performance the producers opted to show, the R&B song “Barefootin'” which was not on Taylor’s album. Although she was enthusiastic as hell, she yelled more than she sang, and I wonder if she was having trouble with the stage monitors.
Next on the bill was Carly Simon, also making her first national TV appearance. Carly turned 26 in the summer of 1971, and she was already a showbiz veteran, having recorded two albums with her sister Lucy as the Simon Sisters, in 1964 and 1969. She came onstage in Central Park with the confidence of someone who knows she’s a star already and is going to be a bigger one, and she’s smokin’ hot besides. The broadcast featured “Anticipation,” which wouldn’t be a hit for six months, and “That’s the Way I Always Heard It Should Be,” which was on the radio at the time. (If you watch the video, you’ll easily spot a couple of famous spectators at the show.)
Ike and Tina Turner took the stage next, although they followed the Beach Boys on the concert broadcast. They were shown doing “Good Lovin’,” their recent hit “Proud Mary,” and a version of “Higher and Higher.” Then it was time for the headliners. The Beach Boys’ part of the program opened with “Heroes and Villains.” Next, either because it was on the set list or the producers edited the show that way, came a decent-but-ultimately pointless version of Merle Haggard’s “Okie From Muskogee,” sung by Mike Love. They had jammed on the song with the Grateful Dead earlier in the year, but it’s doubtful that people would have turned on a Beach Boys TV show at the height of summer to hear it. In fact, if you tuned in for the sun-splashed classics from the 60s, you didn’t hear many, just “Good Vibrations” and “I Get Around.”
Good Vibrations in Central Park was one of the forerunners of the concert shows that proliferated on TV within the next couple of years, including Don Kirshner’s Rock Concert and The Midnight Special. It has never had a DVD release, as far as I can tell.
(Inasmuch as this is a music blog, the following post is off-topic. Inasmuch as this blog is a sort of memoir, this post is squarely on-topic.)
Fifty years ago today, I was not quite six years old and in kindergarten at Lincoln School. Fifty years ago tonight (or thereabouts), I fell into the first pop-culture phenomenon I ever participated in directly.
On Wednesday, January 12, 1966, Batman premiered on ABC-TV. I don’t know if I was watching that night, but if not, it wouldn’t be long before I was part of the throng of viewers sweating out the cliffhanger every week. By spring, it would be so popular with kids that my kindergarten teacher asked us to stop bringing Batman stuff to show and tell.
(I had, for some reason, an official Batman wastebasket, although I don’t think I took it to show and tell. It’s still in service today, in the little-used upstairs bathroom of Mom and Dad’s house.)
To adult viewers, Batman was a campy satire on superhero comics; teenagers got the added spice of contemporary pop-culture references. But six-year-olds could take it absolutely straight, and I did. I spent many a Thursday contemplating the horrible fix facing Batman and Robin at the hands of some villain and fearing they might not make it out.
I have revisited Batman occasionally over the years. The show ran in syndication on local stations throughout the 70s, turned up on Nick at Nite during that channel’s heyday in the late 80s and early 90s, and aired on various other cable channels thereafter. Some channel high up on our satellite dish ran it briefly within the last four or five years, and I watched a lot of episodes then.
When the first season came out on DVD last year, I picked it up, and I have been working my way through the series again. Adam West’s parody of upright whitebread American manhood is hilarious, but the best member of the cast is Neil Hamilton, who is never better as Commissioner Gordon than when, in the middle of some speech about Batman’s heroism, he breaks the fourth wall with a look that says, “This is ridiculous, but let’s just go with it.” As Alfred, Alan Napier is the most likable member of the cast. On the other hand, Burt Ward plays Robin with over-the-top gosh-yes sincerity, and without the self-awareness of West, Napier, and Hamilton, can be pretty annoying. Stafford Repp (Chief O’Hara) and Madge Blake (Aunt Harriet) have the most thankless roles in TV; O’Hara sucks at his job and Harriet is oblivious to everything.
Of the four major villains, Frank Gorshin as the Riddler is the best; he conjures up genuine menace while being funny at the same time. The rest—the Joker, the Penguin, and Catwoman—are fine, although everything you have read about Cesar Romero’s disinterest in playing the Joker comes through on-screen even in the first season. Of the minor villains, the one that made the biggest impression on six-year-old me was Mr. Freeze. I couldn’t figure out how somebody could live only at 50 below zero, and I found him pretty scary. (I was freaked out by False Face, too. Not when I was six—a couple of weeks ago when I watched his episode again.)
The fun in watching Batman now is in playing spot-the-stars: for example, a smoking hot pre-fame Jill St. John appears in the very first episode broadcast. A procession of 60s starlets and Hollywood bit players rolls by as various molls and henchmen. I have yet to see any of the famous wall-climbing cameos (Jerry Lewis, Dick Clark, Don Ho, and others; see all of them here), which were reportedly arranged without contracts and thus became one of the obstacles to the DVD release. But the show doesn’t hold my attention beyond that. I find myself fiddling with my phone and looking at the DVD display to see how much time is left in each episode.
I wanted to like the newly restored and unedited Batman, just as I did when I was six. But I don’t, not really. I haven’t put away all of my childish things, but I’m going to bid goodbye to this one.
(Pictured: Mardi Gras revelers in New Orleans in the 70s. Saturday Night Live entered this maelstrom in 1977 and the result became a lost episode.)
In the flush of success during the show’s second season, NBC and Lorne Michaels decided to take SNL on the road to New Orleans for Mardi Gras—and the result was a near-disaster. The show aired in prime time on Sunday, February 20, 1977. Sketches were to be broadcast from various locations around the city, but security was minimal, and crazed crowds put the actors at risk; a parade that was intended to make up a major part of the the broadcast never arrived at the designated location. The show ran hundreds of thousands of dollars over budget and was never repeated. (It’s an extra on the Season 2 DVD set, however.)
The seams of Saturday Night Live, which were often visible during the early years, never stuck out more than they do in this episode. You can hear performers talking to people off-camera, and at one point, guest Penny Marshall gets put on the air before she’s ready, panicked, without a clear idea of what she’s supposed to do. In the show’s opening, the Meters are billed as a musical guest, but they never appear. The centerpiece of the show was supposed to be Buck Henry and Jane Curtin covering the annual Bacchus parade, but they find themselves having to fill time as the parade fails to arrive; at one point late in the broadcast, they’re seen reading “Weekend Update” stories off 3-by-5 cards, which were apparently being handwritten by a couple of writers just out of camera range. They’re also frequently startled by flying Mardi Gras beads, although they do a masterful job of keeping their composure.
I must have watched this episode when it was originally broadcast; by the spring of 1977, Saturday Night Live was something nobody my age dared to miss. It was never part of the post-NBC syndication package. In the intervening years, reporters seeking tapes of it have been rebuffed, and few cast members would even comment on it. It had gone as far down the memory hole as anything in SNL‘s history—but that’s as much for the generally poor quality as for the visible chaos. Apart from a few Buck-and-Jane wisecracks, nothing is very funny.
The show does contain one interesting bit of comedic history, however. In one sketch, Dan Aykroyd as Tom Snyder interviews a guy outside a topless bar who is played by Murray, and who is clearly Carl Spackler, the groundskeeper in Caddyshack. It’s widely believed this character’s first appearance on SNL came in 1978 (in “Theodoric of York, Medieval Barber”), but there’s no mistaking him a year earlier.
An excellent recent retrospective on SNL‘s New Orleans episode is here.
(This post concludes our series of Saturday Night Live reboots for the 40th anniversary of the first show, which was yesterday.)
(Pictured: Lorne Michaels and Paul Simon on a 1976 episode of Saturday Night Live. Partially hidden behind Michaels: George Harrison.)
In advance of the 40th anniversary of the premiere of Saturday Night Live this Sunday, I’m rebooting some of the posts I’ve written about the show over the years. Here’s one from 2012.
It often takes television programs a while to figure out what they’re going to be—for the producers to find the feel, the writers to find their rhythm, the actors to find their characters, the technicians to find the look. As a result, the early episodes of many long-running shows look fairly strange in retrospect. None are stranger than Saturday Night Live. Most everybody knows that George Carlin hosted the first episode, on October 11, 1975. Although its pace and timing is odd, it’s at least recognizable as Saturday Night Live. But the second episode is much different, and unlike anything the show would present in any of its succeeding seasons.
The episode, which aired on October 18, 1975, was hosted by Paul Simon, who was a close friend of SNL producer Lorne Michaels. His appearance cut two ways: he would attract viewers to the new show, and the new show would help him plug his new album, Still Crazy After All These Years. Simon brought along several of the performers who guested on the album: Phoebe Snow, the Jessy Dixon Singers, and most important, Art Garfunkel, with whom Simon hadn’t appeared in six years.
Simon and Garfunkel sang “The Boxer” and “Scarborough Fair,” accompanied only by Simon on guitar. They also performed their new single, “My Little Town,” singing live to the record’s backing track. Simon sang “Still Crazy After All These Years,” “Marie,” “Loves Me Like a Rock,” and “American Tune,” and sang “Gone at Last” with Snow. Snow and Randy Newman each got solo numbers.
With so much musical talent, the show featured only a handful of sketches. The Not Ready for Prime Time Players, who had been heavily utilized in the premiere because Carlin didn’t appear in any sketches, got almost no work in the second episode. Chevy Chase opened the show and did Weekend Update, but the rest of the company appeared only in a single, 30-second bit (and were not happy about being largely excluded). Simon appeared with sportscaster Marv Albert and NBA star Connie Hawkins in a too-long-and-not-very-funny film, 60s radical Jerry Rubin turned up in a parody commercial, and the show featured its regular spots for the Muppets and Albert Brooks.
The lack of comedy elements was partly by design: to give the writers a break after the first show, and to counteract the tendency of many shows to fall flat on episode 2 after a strong premiere. But Lorne Michaels had also told NBC executives before the show premiered that he knew what the ingredients would be but not the proportions, so the second show was a necessary step in deciding what SNL should ultimately become.
Coming in the next installment: the lost episode of Saturday Night Live.
Although Saturday Night Live celebrated its 40th anniversary with a special show last winter, the actual 40th anniversary of the show’s premiere is on Sunday, October 11. This is the first installment in a series of reboots of stuff I’ve written about the early SNL over the years.
Most people watching old SNLs today see the sketches on best-of discs devoted to various performers, from Dan Aykroyd and John Belushi to Will Ferrell and Alec Baldwin, where most of the material is reasonably strong. Before that, the show was syndicated for several years in edited half-hours, which made it seem like a continuous parade of genius moments. The 2006 DVD release of Season 1 permitted viewers to see the series as it really was in its infancy. As such, it provided a valuable reminder for students of TV history. Yes, SNL was always innovative, and it was always a showcase for the sorts of acts that didn’t usually find a home on network TV. But it was also hit-and-miss, veering from comedic brilliance on one side of a commercial break to stultifying stupidity on the other, prone to repeating itself, and frequently failing to be entertaining for long stretches of time.
The early episodes depict a show trying to figure out what it would be and how it would work, and they look strange and primitive now. George Carlin hosts the premiere (October 11, 1975), but he appears only in a couple of monologues, allegedly because he was too coked-up to appear in sketches. The second episode, hosted by Paul Simon, features 11 musical performances and only a couple of sketches. Not until the third episode, hosted by Rob Reiner, does it looking like the SNL we know. Candice Bergen hosts the fourth one. She was known primarily as a movie star and photojournalist at that point, not a TV personality—and she looks like she’s frightened out of her mind. (She’s better in the Christmas show just a few weeks later.) It’s not until the sixth episode, hosted by Lily Tomlin, that a truly classic sketch appears—the one in which Belushi as Beethoven writes “My Girl” and “What’d I Say.” At that point, there’s generally at least one fondly remembered sketch per episode, and at least one other one that works fairly well. The episode hosted by Madeline Kahn, which aired in March 1976, is strong from start to finish, and is not just the best show of the season but one of the best of all time.
(The Season 1 DVD set also includes the infamous July 1976 episode hosted by Louise Lasser. Her monologues at the beginning and end of the show, and the interminable film she directs in the middle, weren’t the first time SNL broadcast something pointless or painful. But Lasser brought an extra degree of incoherence and self-indulgence that doesn’t look like an act. She became the first guest host banned from future appearances, although by the time she appeared, her 15 minutes were nearly up anyhow.)
The Not Ready for Prime Time Players were billed as a group until January 1976, when they were finally introduced individually. Chevy Chase was the breakout star, and the writers—one of which was Chase himself—didn’t take very long to realize it. Chase gets more face time in some episodes than all the other cast members combined, even in appearing in sketches where another cast member might have served just as well. His traditional “fall” to open the show is incorporated in various clever ways, but most of the time, he plays variations on a single character—a non-sequitur-spouting doofus—whether he’s anchoring Weekend Update or doing Gerald Ford. Aykroyd and Belushi are more versatile actors and clearly superior talents, as is Gilda Radner.
It’s been well-documented that SNL was a boys’ club, and that the women of the cast had a hard time getting on the air, or being treated with much respect. The best evidence is the under-utilization of Gilda, who’s clearly game for anything and almost always funny doing it. More damning evidence of the writers’ attitude toward women is found in sketches where the laughs are intended to come from the physical abuse of Gilda’s characters by male characters, which seemed funny in 1975, but not so much now. Toward the end of the first season, the female cast members are better served, especially in sketches by female writers, such as “Slumber Party” in the Madeline Kahn episode.
Coming in the next installment: the Saturday Night smorgasbord.