News from the Archive

My Name... José Jiménez. A tribute to comedy legend Bill Dana

June 19th, 2017
Bill Dana as Jose Jimenez

It is with a very heavy heart that I write this.

Bill Dana- Comedian, writer, producer, recording artist, author, 8th Mercury Astronaut ("out of a possible 7"), and beloved as his signature character, José Jiménez, passed away at his home in Nashville on Thursday, June 15th, 2017 with his wife Evy by his side. He was 92 years young.

Born William Szathmary in 1924 (the “caboose” in a family of six children in Quincy, MA, of Hungarian-Jewish descent) and growing up during The Great Depression, Bill watched his family struggle. He had "a morning and an afternoon paper route" to help out. Bill’s father Joseph once had to break apart a wooden coal bin to use as fuel to heat their house.

Bill first realized the power that humor could wield at a young age, when he was picked on by schoolchildren for his Jewish heritage. “You killed Christ”, the bullies taunted. Young Bill summoned the courage to shoot back, “No I didn’t... my mommy and daddy did. They live at 31 Mechanic Street!” A startled pause, then laughter. The first of many times comedy would save him.

As soon as he turned 18, Bill signed enlistment papers to serve in WWII, earning a Bronze Star Medal as a combat infantryman. After the war, he enrolled at Emerson College on the G.I. Bill. He began performing stand-up with fellow Emersonian Gene Wood as “Dana and Wood”. He changed his name (after his mother Dena) because, well, “Whoever heard of a Wood-en szathmary?”

On his early television appearances as "Dana & Wood":

After graduating with honors from Emerson College in 1950, Bill got a job like so many other aspiring writers of the day- as a page at NBC’s 30 Rockefeller Plaza while continuing to perform stand-up in New York City. One of Bill’s first jobs was to deliver messages to Milton Berle (whose show he would produce decades later.) He was landing gigs on The Martha Raye Show and The Imogene Coca Show. Coca would become an unofficial sponsor and champion of Bill’s. When she hosted gatherings at her apartment, Bill would sit, wide-eyed and mesmerized by the comedy legends who would drop by her salons to kibbitz and try out new material.

It was through manager Mace Neufeld that Bill first met a young comedian named Don Adams and fell in love with his voice and unique style. Bill wrote the memorable “Would you believe…?” jokes for Don that would prove the breakthrough for both of their careers, when Don performed on the original Tonight Show. Steve Allen sought out the writer in the wings that night, and Bill soon became head writer on The Steve Allen Show, sharing that legendary comedy stable with Don Hinckley, Pat HarringtonTom Poston, Dayton Allen, Gabe Dell, Arnie Sultan, and Marvin Worth. 

On his writing partnership with Don Adams:

Bill convinced his friend, Don Knotts, to do his 'Tranquilizer Salesman' sketch for Steve, which got him hired on the show. Bill also hired writing legends Buck HenrySam Denoff, and Bill Persky for the ABC incarnation of The Steve Allen Show.

Bill had grown up doing impressions from a very young age- his older brother Arthur (later a Princeton Professor) taught him five dialects before he was five years old. So when Bill wrote a sketch about a Latino Santa Claus School instructor, Steve insisted Bill perform it himself. On November 23, 1959 Bill first presented José Jimenez on The Steve Allen Show, forever changing the trajectory of his life. As Bill would love to say, “And the rest ... was Jistory!”

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The character literally rocketed to fame. Bill’s 1961 comedy album was the backdrop to the Space Race at its height. The Mercury 7 Astronauts would play the José routines as they prepared for their mission. Bill delighted to learn that the first words spoken to an American in space on May 5, 1961, were from Deke Slayton to Alan Shepard as he blasted off in his Mercury-Redstone 3: “Ok, José, you’re on your way!” which thereafter entered the national lexicon. (Later, In 1966, Bill was proudly named as America's first "Honorary Astronaut" by the Aerospace Society. In 1981, “José the Astronaut” was honored by inclusion in the Smithsonian Air and Space Museum and later enshrined at the United States Astronaut Hall of Fame in Florida.)

Bill cherished the character. More than an alter ego, Bill saw José as a fully-formed human being. When Danny Thomas offered him a role on The Danny Thomas Show, Bill embraced the opportunity to make José more of a flesh-and-blood character. Gaining even more exposure and popularity, Bill performed at the hungry i, the Ruban Bleu, the Blue Angel, the Bon Soir... even at John F. Kennedy’s Inaugural Gala. He recorded 8 best-selling comedy albums, made 17 appearances on The Ed Sullivan Show, 6 appearances on The Tonight Show Starring Johnny Carson, guested on The Hollywood Palace, The Smothers Brothers Comedy Hourand even did a “window cameo” on Batman. José/Bill were ubiquitous on 1960s television screens. His wide-eyed visage was pictured on everything from billboards to Playboy spreads.

Producer Sheldon Leonard placed an order for 26 episodes of a new show starring Bill without so much as a pilot. The Bill Dana Show debuted in 1963 on NBC, with music scored by Bill’s brother Irving Szathmary (a former arranger for the bandleader Paul Whiteman) and starring Jonathan Harris, Maggie Peterson and Don Adams (as “Byron Glick”, the bumbling hotel inspector.) Adams left to star in Get Smart with Bill’s blessing (brother Irving also scored that show’s famous theme). But just after two seasons, The Bill Dana Show was unceremoniously cancelled (by telegram), to the shock of its star and many fans, in 1965.

On The Bill Dana Show and the subsequent success of Don Adams on Get Smart:

Bill would continue to perform throughout the 1960s, sharing the stage with luminaries such as Ella Fitzgerald, Frank Sinatra, Dean Martin, Jimmy Durante, Ed Sullivan and a host of others who would play “straight man” to Jose.

At the height of the Civil Rights Era, the character he had birthed and nurtured, began to face criticism and became the object of scorn. Bill began receiving death threats over his portrayal of José. While some loved his clever use of malaprops, others saw the dialect distinction as a racial slur. Bill had a leadership role in the Latino awareness organization, LA CAUSA, and was sensitive to the controversy surrounding his character. One night in San Antonio he was receiving the IMAGE award (Involvement of Mexican Americans in Gainful Endeavor) while simultaneously a group across town picketed against the AT&T “jellow pages” ad he was featured in. To the very end, Bill maintained that José was a dignified, industrious everyman with a heart full of innocence -- anything but a stereotype. “It never was a caricature,” he said. “He’s not a Latin character. He’s a universal character.” But he was torn on how to proceed.

By 1969, the negativity because too much for him, and he publicly retired José by reading his obituary at a Congress of Mexican-American Unity fete in Los Angeles (a move he would later regret). Bill then moved to Maui with his wife Evy and turned his attention to raising awareness for other causes close to his heart. In 1970, he honored Earth Day by creating the first syndicated cartoon series devoted to the environment, “Ecolo/Jest” for The Honolulu Star-Bulletin, later published by his dear friend Leonard Stern.

Another longtime friend, Norman Lear, eased him out of semi-retirement, offering him the chance to pen an episode of his wildly popular show All in the Family. Bill wrote “Sammy’s Visit”, which earned him a Writers Guild Award and is consistently voted one of TV Guide's "Top 100 Television Episodes of All Time." He was so proud of how he conceived of a way to get the real Sammy Davis, Jr. into the fictional household of Archie Bunker, and set the scene for one of the greatest on-screen kisses of all time.

 

Bill would continue to perform, write, and produce many other television shows in the 1970s-90s--notably as the memorable “Uncle Angelo” on The Golden Girls.

As someone who battled severe depression throughout his life, Bill wanted to share the lessons he felt we could learn through the healing power of laughter. In 1982, he co-wrote The Laughter Prescription with Dr. Lawrence J. Peter. He felt so passionately about comedy as a kind of lifeboat for the soul, that he convinced his oldest friend, philanthropist Ted Cutler, to fund a new project at their alma mater, Emerson College. In 2005 the pair founded The American Comedy Archives to establish a way to study, honor, and preserve the stories from comedy legends. On why he values humor as a subject of such deserved-attention, Bill told me, "Laughter is the greatest healer, the greatest survival mechanism God ever gave us. The same stuff that gets you depressed is the same stuff that's going to give you joy. So- Amuse it or Lose it!"

On founding The American Comedy Archives:

I had the honor of co-producing the Comedy Archives with Bill. I traveled on the road with him for years, interviewing all the friends he had made throughout his career- Bea Arthur, Shecky Greene, Charles Grodin, Hugh Hefner, Jackie Mason, Jonathan Winters, and over 60 more. I was awed by this octegenarian's energy, enthusiasm, and quick wit. My grandmother used to say “in the ocean, I’m ageless.” For Bill, time seemingly stood still anytime he had the floor. Whether at The Improv or Leisure World, or even in the cab to the hotel- he delighted in getting laughs and ALWAYS did, no matter who was in the room. Anywhere he was, laughter followed.

He embraced everyone proximate to him as family. There are so many of us lucky enough to have gotten to know him as "UB" (Uncle Billy). Just a few weeks ago, I was in Nashville with him and Evy, working on his autobiography. He had TOO many ideas, too many jokes, so much so that we decided to make a facebook page for his “No News Network” where he was just beginning to weave his never-ending creativity into hashtag-worthy posts: “And now.. No news: Congressional activity suggests in 2017 whatever hits the fan will still not be distributed evenly.” He was so excited by all the newfound ways to communicate with his fans, and he orchestrated this picture to emphasize that he had a lot more to do:

And he sure did. His mind never slowed or stalled, and he never stopped writing. At 80, he went on the road with five other legends of comedy (Shelley Berman, Irwin Corey, Dick Gregory, and Mort Sahl) billed as “The Comedians.” At 92, he was writing his autobiography and had plans to produce more Comedy interviews with Emerson College. He had so much more life than just one lifetime.

Bill is survived by his best friend and cherished wife, Evelyn (Evy) Shular Dana of Walden’s Creek, Tennessee, and the author of this inferior tribute, who will always think of him as "Uncle Bill."

-Jenni Matz, Director, The Interviews

 

QUOTES:

"Bill Dana, as dear and caring as he was funny. And my GOD- he was funny!" - Norman Lear

"Bill was always there for me in the early days of my career with a smile and a joke. A loving, sensitive, funny and brilliant friend. - Herb Alpert

"He was one of the kindest, sweetest, smartest people I've ever known and it's very difficult to imagine life without him." - Kix Brooks

Everybody in the world loved Bill Dana. Bill was not just a comedian. He was a philosopher. He was funny, but he was also super-bright. He bridged the culture gap. He popularized Mexican-American relations- as a result of Bill, a lot of people were communicating on a level they hadn’t before. He was political without being in politics. When you heard “My name… José Jimenez”-- everybody put their hands down. Whatever tension existed.. vanished. I wish he was around now to solve the immigration problem! He will be missed.” -George Schlatter 

"When I was a little kid, I remember seeing José Jiménez on The Ed Sullivan Show and falling in love with him. There was a such a joy and an innocence to him-- extremely funny and unlike anyone I'd ever seen. I connected with him on a deep level. I somehow became aware that he was a character played by a man whose name was really Bill Dana. That's one of the very first times in my life I was floored. Many, Many years later, I walked into an autograph show and across the room, directly in front of me sat a man with a nametag on that said 'Bill Dana'. As I walked toward him, I had a crystal-clear realization that I could draw a straight line from seeing him as a child, to me becoming Pee-wee Herman. What an amazing honor to have then had the pleasure to become friends with Bill. He was a true legend. A maverick. And one of the very nicest people in show business. He was clever and smart. Hilarious. Sweet. Happy. In love. Genuine, and one-of-a-kind! I knoew he knew how much I admired him, was influenced by him, and loved him. Now you know too. I'm gonna miss him a lot."- Paul Reubens

Photos

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Celebrate Father's Day with Famous TV Dads!

June 18th, 2017
Andy Griffith

As we celebrate all the fathers out there, here's a peek at what some interviewees had to say about their roles as iconic TV dads. A few played classic TV fathers, while others portrayed more unconventional dads. Here's William Schallert ("Martin Lane"), Ed O'Neill ("Al Bundy"), Andy Griffith ("Andy Taylor"), Tom Bosley ("Mr. C"), Dan Castellaneta ("Homer Simpson"), Dick Van Patten ("Tom Bradford"), and Carroll O'Connor ("Archie Bunker") on their memorable paternal roles:    

 

William Schallert on playing "Martin Lane" on The Patty Duke Show:

Ed O'Neill on Married... With Children's "Al Bundy":

Andy Griffith on working with TV son Ron Howard on The Andy Griffith Show:

Tom Bosley on Happy Days' "Mr. C":

Dan Castellaneta on "Homer Simpson's" parenting skills on The Simpsons:

Dick Van Patten on Eight is Enough's "Tom Bradford:

All in the Family's Carroll O'Connor on "Archie Bunker's" fatherly advice passed down through generations:

Happy Father's Day to all the dads out there!

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Celebrating 20 Years of Interviews!

June 18th, 2017
The Interviews: An Oral History of Television

It’s our 20th anniversary — and we’re celebrating with a new name! After two decades and 874 in-depth oral history interviews, The Archive of American Television will be the foundation of The Interviews: An Oral History of Television. The Interviews houses our original Archive collection, the Bob Hope Comedy Collection, Emerson College’s American Comedy Archives, plus additional interviews produced by and with partner organizations. And we'll keep producing new interviews, too! Same great oral history content, just with a new name!

Stay tuned for more exciting developments from The Interviews: An Oral History of Television!

TelevisionAcademy.com/Interviews

 

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Remembering Adam West

June 12th, 2017
Adam West

We’re sad to learn that actor Adam West passed away on June 9, 2017 of leukemia. West was under contract with Warner Bros. early in his career and appeared on many episodes of the studio's TV westerns. He’s best known for playing "Batman" in the classic 1960s series of the same title. On Batman he worked with co-star Burt Ward and many Hollywood luminaries who guest starred as villains, including: Frank Gorshin, Burgess Meredith, Cesar Romero, Otto Preminger, Liberace, and Milton Berle. Later in his career he enjoyed various voiceover roles on animated series, including on The Family Guy, where he played an exaggerated version of himself, "Mayor Adam West." 

Below are some excerpts from his 2006 Archive interview:

On how he was cast as "Batman":

On the tone of Batman:

On being typecast after Batman:

Watch Adam West’s full Archive interview and read his obituary in The Hollywood Reporter.

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Tony Soprano: Dead or Alive?

June 10th, 2017

Tony Soprano is dead. To paraphrase Monty Python, Tony’s passed on, he’s no more. He’s bereft of life, he rests in peace. He is an ex-person! I’ve come to understand this, but it was not the conclusion I reached on the evening of June 10, 2007, when the final episode of The Sopranos first aired. That night, I had no idea what to think. I’d been building up this finale in my head for months, years even. A couple of friends I watched it with were disgusted, and seemed to feel almost betrayed by David Chase. I wondered if maybe they were right. Something nagged at me, though, that the final scene might benefit from a second viewing.

About 300 viewings of that scene later, my feelings have changed. For the unaware, The Sopranos came to an end in a restaurant called Holston’s in Bloomfield, New Jersey. It seemed to be somewhat of an innocuous scene, but there was a sense of rising tension as Meadow Soprano attempted to parallel park, and a man who appeared to be sizing up Tony went into the restroom. Just as Meadow was about to enter the restaurant, there was one final shot of Tony, and the screen went blank, and thousands of people reached for the phones to give their cable company hell for this inopportune “outage.”

In my panic that evening, I texted a friend who was best friends with one of the principal writers. His comment? “Perfect. Nothing more to say.” I later came to find out that his friend had been in the editing room with David Chase, helping him to convey what Chase wanted to convey, and had actually told my friend exactly what that was. I later pleaded with him to tell me. He finally looked me in the eye and said, “Omerta.” 

I began to realize that there was more to that scene than my little viewing party and I thought the next day when I checked the late, lamented Television Without Pity message boards. An astute poster noticed a very distinct pattern in the editing. After Tony settles in, there’s a shot of Tony’s face, a bell rings, Tony looks up, and we see his point of view. At the first bell, a woman who resembles Tony’s sister comes in. Second bell is a guy in a baseball cap who I always thought looked like Robert Patrick. Third bell is Carmela Soprano. Fourth bell is a man who strongly resembles the actor who played Tony’s father in flashbacks, wearing a Members Only jacket, and Tony’s son, AJ. Each time: Tony’s face, we hear a bell, Tony looks up, we see a person coming in the door through Tony’s POV. 

As Meadow attempts to park, and the Soprano family makes small talk, we see the man in the Members Only jacket (the same brand of jacket worn by Eugene Pontecorvo in the season six premiere) looking over at Tony. Tony appears not to notice him. After a small discussion of AJ’s new career, and more shots of Meadow parking, Member’s Only guy enters the men’s room. As Meadow rushes toward the door, we get a shot of Tony, a bell rings, Tony looks up and once again we see Tony’s POV… which is nothing (represented by the blank screen) because Members Only guy has shot Tony in the back of the head. Do not ask for whom the bell tolls - in this case, it tolls for Tony.

I can’t imagine why Chase would edit the scene that way if Tony’s death wasn’t meant to have been implied. There are many events leading up to the finale that inform the final scene, and Tony’s fate, but let’s just focus on the strongest two. Take a look at this scene with Tony and Bobby Bacala. Bobby discusses how precarious the life of a mobster is, and he comments, “You probably don’t even hear it when it happens, you know?” Tony never hears it, and neither do we. As if that weren’t enough, this point is further driven home in this scene where Gerry Torciano is whacked. The scene is shot in a very specific way. It switches to slow motion, and we see Silvio Dante get splattered with blood while he’s still talking. We hear the gunshot on the soundtrack AFTER the bullet hits Gerry and Silvio gets spattered. David Chase himself has said that the murder of Gerry Torciano is key to understanding the final scene of the series. Again, the bullet kills Tony before he hears it, and we don’t hear it because we’re placed in his POV as we had been 4 other times previously in the scene. 

There are dozens of clues in the final season, and in the whole series that led me to me to my conclusion. There are several references to John F. Kennedy and Abraham Lincoln in the course of the show, and they are ramped up in the final season. Kennedy, Lincoln, and Tony share a similar fate. In fact, there is a scene late in season five where Fran Felstein (Polly Bergen) sings Happy Birthday to Tony a la Marilyn Monroe to JFK, and she places a cap once owned by John F. Kennedy directly on Tony’s head.

On November 17, 1968 there was an infamous incident on NBC. A tense, important Oakland Raiders/New York Jets game was broken away from by the network in order to start the premiere of the made-for-television movie Heidi. Two touchdowns happened in the final minute of the game, and sports fans everywhere were angry.

There are several references to the New York Jets in the final season of The Sopranos. Including this seemingly inexplicable cameo by Jets manager Eric Mangini in the second to last episode of the series. Was this David Chase’s way of cluing us in that another Heidi Game was afoot? The moment the television goes blank in the last moment of The Sopranos would be like NBC cutting off that crucial Jets/Raiders game in 1968. Not buying it? The third to last episode of The Sopranos is titled, “Kennedy and Heidi.”

Again, there are literally hundreds of pieces of evidence to consider. You haven’t lived until you’ve heard the part where Adriana La Cerva was reincarnated as a cat! Series finales are hard. Ask Larry David. And the day after The Sopranos finale aired many thought that David Chase had turned in one of the worst series finales ever. But since that day, upon analysis and reflection, its reputation has grown. The more time goes on, the more layers reveal themselves to us. Someone will point something out in a YouTube video comments section, and it will lead you to discover yet another piece of the puzzle on your own. The Sopranos finale is truly the gift that keeps on giving.

- John Dalton

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