Tag Archives: All in the Family

When Archie Met Sammy

I recently stumbled across a very entertaining and thought provoking list of 100 jokes that shaped modern comedy. The article is a fun read, and if you take the time to watch the video clips it is a good way to spend your entire weekend. As a scholar working on the intellectual history of the 1970s sitcom All in the Family, I was happy to see the show represented on the list. The joke representing the sitcom was from the classic episode Sammy’s Visit (originally aired February 19, 1972 on CBS), in which Sammy Davis Jr. forgets his briefcase in Archie Bunker’s (Carroll O’Connor) cab and comes to pick it up from his home on 704 Hauser St.

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Archie: Now, no prejudice intended, but, you know, I always check with the Bible on these here things. I think that, I mean if God had meant for us to be together, he’d-a put us together. But look what he done. He put you over in Africa, and put the rest of us in all the white countries.

Sammy Davis Jr.: Well, he must’ve told ’em where we were, because somebody came and got us.

The joke managed to not only dress down Archie, but make a direct link between slavery and the continuing bigotry in America. The issue of Archie as a “lovable bigot”, a term used by Laura Z. Hobson to criticize him six months earlier in the New York Times, was also addressed head-on in the episode. The Bunker’s black neighbor Lionel Jefferson (Mike Evans) tries to explain Archie to their guest.

Lionel: But he’s not a bad guy, Mr. Davis, I mean, like, he’d never burn a cross on your lawn.

Sammy: No, but if he saw one burning, he’s liable to toast a marshmallow on it.

The episode is widely considered one of the most memorable sitcom episodes, and was ranked 13th on TV Guide’s 1997 list of the “100 Greatest TV Episodes of All Time”. Yet, the episode almost did not come to be. When Davis guested the Tonight Show with Johnny Carson in the spring of 1971, some months after the premiere of All in the Family, he lauded the new, controversial show and introduced the idea of himself guest starring on it. Norman Lear, the creator of the show, and John Rich, the director for the first four seasons, both agreed that wasn’t going to happen but appreciated the kind words and welcomed the promotion. Davis, however, kept pushing the idea. His manager tried to convince Lear and Rich, while Davis himself told the press a guest spot was in the works. Finally, Lear and Rich bowed to the inevitable and set about to find a way to incorporate the star into the show.

It was the writer Bill Dana who came up with the idea of Archie encountering Davis while moonlighting as a cab driver. Carroll O’Connor described the episode as a fun adventure but at the same time noted that it was atypical, being mostly “gags and jokes” and not “applicable” to anything broader the way All in the Family shows usually were. John Rich and Norman Lear, both pleased with the episode, also vowed never to do another celebrity guest episode. The show is great fun and ends with Davis kissing Archie on the cheek, as they are posing for a photograph. It is unclear whether Dana or Rich, who both claim credit, came up with that iconic television moment, which received what Rob Reiner called one of the longest laughs in history.

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A final note to the story of when Archie met Sammy: Bill Dana, who wrote the show, was highly praised and perceived to be the favorite for an Emmy. As it happened, however, his agent’s secretary mistakenly sent the necessary paperwork to the Writer’s Guild instead of the Television Academy. Without even receiving a nomination, Dana watched as the show took home ten awards, including Outstanding Directing for Sammy’s Visit. There is a humorous side to such a silly mistake costing Dana, a comedy legend in his own right, an Emmy, though I doubt he saw it that way.

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The Lost Art of the Sitcom Theme Song

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In the old days of television, before on demand and remote controls, the theme song announced the next show. It was designed to catch or keep your attention. Between the birth of television and the end of the 20th Century, 42 television theme songs charted on the Billboard top 60, four of which made it to No. 1. In the 21st Century not one television theme song has hit the pop charts.

Reasons for this include changing public taste and the fragmentation of popular culture but also the simple fact that many modern shows have no theme, and most that do use a short instrumental motif in lieu of a full fledged song.

The 1950s

Like all television programming, the sitcom has its origins in radio shows that were adapted for the new medium. Two pioneering shows – The Honeymooners and I Love Lucy – set the template that would remain virtually intact for the rest of the millennium.

The Honeymooners theme keeps with the radio tradition of an orchestral bed beneath the announcer.

I Love Lucy was a pioneering show in many ways, including its theme song. The I Love Lucy theme, written by Eliot Daniel, is the first sitcom theme that works almost as a commercial jingle. It is an infectious, easily identifiable tune that serves to brand the show.

Interestingly, these two iconic 1950’s sitcoms featured childless couples living in apartments – one blue collar realism, the other showbiz glamour – in an era that would be defined by the quintessential suburban nuclear family: a large house with a yard and a dog, a father who works, a mother who keeps the home and the 2.5 kids who learn and grow from their problems each week: Leave it to Beaver, Father Knows Best, The Adventures of Ozzie and Harriet.

The 1960s

As the 50s morphed into the 60s, sitcoms began to focus on less traditional families, from the broken to the fantastic.

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Thanks to Obama You’re Paying for It: The Politics of Sitcoms

The scene is a hospital room where Luke Dunphy, at age 14 the youngest of the Dunphy children, is being treated for an allergic reaction. His young cousin looks at the IV drop hanging by his bed and asks what it does. Without missing a beat Luke replies: ”I don’t know but thanks to Obama you’re paying for it”. This scene from an episode of the popular sitcom Modern Family, which aired the day after Barack Obama was re-elected for a second term in the White House in 2012, was greeted with cheer among conservatives. Several conservative bloggers and news outlets commented on how Modern Family ”mocked” the president’s signature health care reform, the Patient Protection and Affordable Care Act from 2010. The conservative website RedAlertPolitics expanded, writing: “even liberal Hollywood writers can’t escape the reality that is the expensive repercussions from Obamacare”. Others took to social media, within days several clips of the scene had been uploaded to YouTube and comments written on Twitter.

Commentators connected the joke to earlier reports of advertising plans in connection with the roll out of the online marketplace for the medical coverage in California. The New York Times had reported that suggestions from the Ogilvy Public Relations Worldwide agency included having prime-time television shows, explicitly naming Modern Family and Grey’s Anatomy, incorporate the health care law into their storylines. The news of the plan was initially met with skepticism among conservative news outlets, criticizing viewers being “force-fed pro-Obamacare propaganda”. Following the Modern Family episode with the comment on the health care law these same voices gleefully saw it as a backlash towards the attempted marketing campaign.

Nolan Gould, who plays Luke Dunphy on Modern Family

Nolan Gould, who plays Luke Dunphy on Modern Family

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Teaching American Humor: What Should Be Taught?

Teaching American Humor: What Should Be Taught?

Here is your challenge: come up with a syllabus of material for a course on American Humor. Good luck with that.

First, count yourself lucky. In a parallel universe you could be asked to teach a course on American poetry before 1800 (here’s a hint as to how unpleasant that could be: “Day of Doom”). Unlike the poor soul who is stuck with Michael Wigglesworth and a handful of other dour Puritans, you have choices. In this universe, at least, you have the good fortune to teach humor. But you still have the formidable task of choosing from myriad possibilities. To even begin narrowing them down to a manageable body of work to fit into a course seems rather maddening in and of itself—Doom.

Where to begin? What to include? Why a duck?

I would like to take this forum to put together a working list of humorists, etc., and works that could be deemed essential. What I propose is an American Humor ……(wait for it)… Canon. If you are opposed to the rigid, standard-bearing, pomposity of the word, I understand. If you couldn’t care less and figure any guidance at all that may help you put together a class (or many classes) would be useful, then I greet you as a kindred soul.

This may start a fight. That is not what I am seeking, but I figure a discussion on anything but presidential politics may be welcome. I hope to stir interest and ultimately move toward building a broad and annotated database of sorts that could serve teachers and students alike. And serve American Humor. But there is no getting around the fact that such an enterprise forces limitations. I always tell students (in all courses) that I could easily put together multiple sections of the course without duplicating anything. That is not to intimidate them with the frightful power of my brain (that comes later); it is merely to confess up front that I am playing a bit of a shell game. Generally, they don’t mind. They embrace my “less is more” philosophy and often suggest an even more streamlined syllabus. Great kids, all around.

So, what should be taught?

I will serve up my neck with a few suggestions and wait for others to respond. I currently teach a course called “American Popular Humor,” and I am quite fond of it. I added the “popular” to be able to focus on works that have enduring and widespread appeal because, first, that interested me; second, it gave me some cover for leaving out works that I had never heard of. That statement has all the marks of a sound decision. I do not offer this as an ideal or even finished course; rather, I include it here simply to provide a reference point.

I divide the course into thirds: 1) prose and performance; 2) film comedy; and 3) situation comedy. Now, you can start being appalled at how much I have already left out simply by stating three general categories. It gets worse.

Here is my list of required material for prose and performance:

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