1961-01-01, WNTA, 112 min.
"Hollywood's Fourth Estate," is discussed by columnists covering the movieland scene. They include, Joe Hyams, American columnist and author of bestselling biographies of Hollywood stars including Humphrey Bogart, Mike Connolly, American magazine reporter and primarily a Hollywood columnist, Florabel Muir, American reporter, newspaper columnist and author, covering Hollywood celebrities and underworld gangsters from the 1920s through the 1960s, Murray Schumach, Author and Hollywood reporter for the New York Times, Mike Connolly, American magazine reporter and Hollywood columnist, and Jonah Ruddy.
1961-01-03, WNBC, 57 min.
Alexander Scourby narrates this documentary showing the rise and fall of Adolf Hitler. Produced by Henry Salomon and Richard Hanser. Musical score by Robert Russell Bennett. NBC news bulletins with Wilson Hall interrupts programming, stating that "President Eisenhower has broken off U.S. relations with Castro's Cuba." This program originally aired on March 14, 1956.
NOTE:
This was the second of over 30 different NBC PROJECT XX documentaries made for television (1954-1970). This broadcast depicts a chronicle of the rise and fall of Adolf Hitler, dictator of Germany. The story begins with scenes of Hitler as a shabby street-corner orator in Munich Germany. It shows his rise to a position of supreme power in his homeland and eventually in much of Europe.
High Nazi officials are seen strutting about at the height of their success. Goering, Goebbels, Himmler and Hess are among the figures seen in addition to Adolph Hitler. Aside from newsreel shots of concentration camps there are reconstructed scenes of Nazi victims being prepared for extermination.
There are scenes of mass Nazi rallies.
As Nazi power begins to fail, there are scenes of Germans fleeing for shelter from "Allied bomb s. From a recent German movie comes re-enacted details of the abortive bomb lot against Hitler's life on July 20, 1944. Newsreels show Der Fuhrer being congratulated on his escape from death. But in fact his health is broken. While he broods in his bunker, Berlin falls in ruins above him. As the Russians advance on the doomed capitol Hitler takes his own life.
An exceptional original music score is composed by Robert Russell Bennett to compliment and give impact to the visuals, and the narrative by Alexander Scourby is superb. He would continue to narrate over half of all Project XX events during its 16 year television cycle.
1961-01-06, WNBC, 52 min.
January 12, 1959-April 26, 1968. This musical series ran semiregularly for almost ten seasons-sometimes weekly, sometimes biweekly, and sometimes as irregularly scheduled specials. All types of music were presented on the hour series; Donald Voorhees conducted the Bell Telephone Orchestra.
1961-01-06, WNBC, 18 min.
A Best of Paar rebroadcast which originally aired
Nov. 16, 1960.
Hugh Downs announces the opening, and introduces Jack Paar who does a brief monologue and then is stymied by verbal gibberish by Joe E. Brown who kids Jack.
Guest Joe E. Brown talks about his affection for Marliyn Monroe while filming Some Like it Hot. Other subjects discussed is his early acrobatic life beginning when he was only nine years old. He also tells the story of the time when only one person remained in the audience before his act with Billy Bash and the Five Ashtons was over, and he was the janitor.
On the panel Peggy Cass, Jack Douglas and his wife Reiko Douglas chime in and comment.
Joe E. Brown mentions his pride for his son Joe L. Brown, general manager of the Pittsburgh Pirates who won the World Series in 1960.
Joe E. Brown states his own love of what he is currently
doing as President of the Pony Baseball League and the 14,000 volunteers who give of their time to helping these young teenagers.
1961-01-13, NBC, 6 min.
July 29, 1957- March 30,1962.
A "BEST OF PAAR" re-run from November 14, 1960. Mickey Rooney returns to the Tonight Show and greets Jack eleven months after they had their controversial moment together on the TONIGHT SHOW, December 1, 1959.
1961-01-13, NBC, 6 min.
July 29, 1957- March 30,1962.
.
For four years and eight months Jack Paar reigned supreme as host of the Tonight Show with a crew of regulars, but only two stayed with him for the entire run; announcer Hugh Downs and band leader Jose Melies, a former army buddy. Familiar faces who appeared many times with Jack included Dody Goodman, Betty Johnson, Elsa Maxwell, Alexander King, Genevieve, Jack Douglas; and wife Reiko, Zsa Zsa Gabor, Hans Conried, Peggy Cass, Cliff (Charley Weaver) Arquette, and Johnathan Winters. Hugh Downs substituted for Jack Paar 79 times, more than any other substitute host there were 20 different performers over the period of the series run. Joey Bishop substituted for Paar 31 times. Arlene Francis, 30 times, Jonathan Winters, 26 times, Orson Bean, 21 times and Johnny Carson 15 times. Altogether there were 243 broadcasts that had substitute hosts filling in for Paar during Jack Paar's TONIGHT SHOW tenure. The title of the late-night broadcast changed to THE JACK PAAR SHOW which took effect on February 3, 1958. The first videotaped broadcast aired on January 5, 1959. "Best of Paar " Re-runs began on July 10, 1959. The first color broadcast aired on September 19, 1960.
This show is a "Best of Paar"rerun from November 14th, 1960.
Jack's guests are Mickey Rooney, Genevieve, and Jack Haley.
NOTE: This was the first time Mickey Rooney would return as guest on Jack Paar's Tonight Show since his controversial confrontation with Paar on the air on December 3, 1959. (See ATA # 13402)
1961-01-15, WCBS, 78 min.
The third of six General Electric specials- a review of life in the 1920's and '30s, against a background of George Gershwin's music presented by top name stars: Maurice Chevalier, Florence Henderson, Ron Hussman, Julie London, Ethel Merman and Frank Sinatra. Richard Rodgers is host.
1961-01-15, WNTA, 95 min.
The topic of tonight's round table discussion, predictions about the world in the New Year, 1961.
Guests include, Alogey Jose Nigerian Correspondent, William Clark, UK commentator and director, Bottom Nekrasov, Russian Correspondent, Patrick O' Donovan, Washington D.C. correspondent, James McCulley, Australian Editor, and Prim Batiya, Indian Correspondent.
1961-01-15, WCBS, min.
Walter Cronkite narrates.
In 1944 the Allies waged a series of battles around the monastery of Monte Cassino in an attempt to penetrate the German lines. The two opposing generals, Mark Clarke, commander of the United States Fifth Army, and Gen. Fridolin von Senger of the German forces, give their views of the strategic encounter.
1961-01-17, NBC, 3 min.
Jonathan Winters in a comic routine, satirizing the "space race."
A test pilot and others on a lunch pad of an X-100 rocket discuss the launch with a U.S. Senator.
1961-01-19, WPIX, 51 min.
This March of Dimes syndicated program highlights the 1961 poster child Linda Breese as she encounters Louis Armstrong, The Kingston Trio, Lee Marvin, Robert Young, Robert Stack, Roger Smith, Efrem Zimbalist Jr., Craig Stevens, Crosby Boys, Shirley Jones, Connie Stevens, Debbie Reynolds, Stubby Kaye, Van Johnson, Juliet Prowse, Bobby Van, Nick Adams, Don Knotts, Barbara Nichols, Keenan Wynn, and Randall Scott. Robert Cummings is host.
1961-01-20, WNBC, 52 min.
January 12, 1959-April 26, 1968. This musical series ran semiregularly for almost ten seasons-sometimes weekly, sometimes biweekly, and sometimes as irregularly scheduled specials. All types of music were presented on the hour series; Donald Voorhees conducted the Bell Telephone Orchestra.
1961-01-20, WCBS, 57 min.
CBS coverage with Walter Cronkite, Edward R. Murrow, Charles Collingwood, Howard K. Smith and others provide commentary on this eventful day. We hear the last 14 minutes of President John F. Kennedy's 15 minute inauguration speech. In addition, Nancy Hodgeman interviews Lynda Bird Johnson and Lucy Johnson, Robert Kennedy, and Gov. Averell Harriman. Charles Collingwood reports from the Mayflower Hotel where the inaugural luncheon is covered. There are retrospective original audios heard of Herbert Hoover, Franklin D. Roosevelt, Harry S. Truman, and Dwight D. Eisenhower being sworn into office plus the oath of office taken today by President John F. Kennedy. Howard K. Smith commentary and analysis follows.
1961-01-23, WNTA, 120 min.
1959-1961. Produced by David Susskind, a New York-based dramatic anthology series that relied heavily on talent from Broadway. SEARCH PROGRAM TITLE FOR COMPLETE DETAILS.
1961-01-23, WNTA, 120 min.
THE PLAY OF THE WEEK - Syndicated - 1959-1961
A New York-based dramatic anthology series that relied heavily on talent from Broadway, with occasional musical revues.
Each Thursday night there was broadcast a staged different play covering all genres, dramas, comedies, musicals, fantasies, mysteries, etc.
Underwritten by Standard Oil of New Jersey, the series' executive producer was David Susskind.
NEW YORK SCRAPBOOK
This was the second WNTA-TV review attempt for Play of the Week which presented two hours of song, dance and sketches about Manhattan and surrounding environs.
Many bright moments in this program included "Demi Dozen" which had a solid run at Julius Monk's "Upstairs at the Downstairs" nitery. "Mr. Off-Broadway" is sung by lead Orson Bean. and "Ballad of the Lexington Ave. Express" is sung by Jane Connell. There is a song narrative about a corner preacher by Gerry Matthews.
Kaye Ballard also belts out a few songs of her own, as well as singers Kenneth Nelson and Maureen Bailey.
Julian Stein's orchestrations were for piano and from time to time, drums.
1961-01-23, WNTA, 120 min.
THE PLAY OF THE WEEK - Syndicated - 1959-1961
A New York-based dramatic anthology series that relied heavily on talent from Broadway, with occasional musical revues.
Each Thursday night there was broadcast a staged different play covering all genres, dramas, comedies, musicals, fantasies, mysteries, etc.
Underwritten by Standard Oil of New Jersey, the series' executive producer was David Susskind.
NEW YORK SCRAPBOOK
This was the second WNTA-TV review attempt for Play of the Week which presented two hours of song, dance and sketches about Manhattan and surrounding environs.
Many bright moments in this program included "Demi Dozen" which had a solid run at Julius Monk's "Upstairs at the Downstairs" nitery. "Mr. Off-Broadway" is sung by lead Orson Bean. and "Ballad of the Lexington Ave. Express" is sung by Jane Connell. There is a song narrative about a corner preacher by Gerry Matthews.
Kaye Ballard also belts out a few songs of her own, as well as singers Kenneth Nelson and Maureen Bailey.
Julian Stein's orchestrations were for piano and from time to time, drums.
Duplicate of #10524.
1961-01-27, WNBC, 6 min.
September 26, 1960 - December 28, 1962
Dean Miller interviews veteran actor Charlie Ruggles. The only television interview Ruggles ever did aside from appearing on a This Is Your Life episode.
Excerpt.
Here's Hollywood (568 broadcasts) aired as a half-hour interview program, weekday afternoons on NBC at 4:30pm. On October 2, 1961 the show was reduced five minutes giving way to a live news broadcast with Sander Vanocur which aired at 4:55pm.
Here's Hollywood was the leading daytime show for two years. It was the first TV broadcast of its kind, using two mobile vans equipped with 2" video tape equipment which traveled to the homes of celebrities...two locations each day, one star in the morning and one in the afternoon. Most of the interviews aired were ten minutes in length. Two different interviews comprised the full length of the half hour program. Occasionally, one subject would be interviewed for the complete program. Occasionally programs were produced outside of the United States...Hawaii, Germany, France. Five color broadcasts were attempted and then the concept abandoned, due to the complexity of 2" quadruplex video tape at the time.
Dean Miller conducted interviews from September 26, 1960 to September 29, 1961. He was replaced by Jack Linkletter who conducted interviews from October 2, 1961 to December 28, 1962. Joanne Jordan conducted interviews from September 26, 1960 to June 9, 1961. She was replaced by Helen O'Oconnell who conducted interviews from June 13, 1961 to December 28, 1962.
Note: Only a handful of the 1,100 different interviews survive. Most were erased, discarded, misplaced. NBC Archives have only two surviving kinescopes, one with Joe E. Brown (12-2-61), and one with Linda Darnell (12-4-61). UCLA Film & TV Archive has 46 different subject interview kinescopes on separate negative film and separate optical film.
Archival Television Audio has 82 broadcasts on audio tape, originally recorded by Phil Gries at the time the broadcasts first aired. Most of them are complete interviews. These television Audio Air Checks represent the greatest number of known surviving HERE'S HOLLYWOOD broadcast episodes.
UCLA FILM & Television Archives retains, in their vaults, the greatest number of individual original HERE'S HOLLYWOOD separate 16mm Kinescopes and coinciding separate optical and magnetic sound tracks, representing approximately four dozen shows. Almost ALL of these broadcasts remain in analog form, and not view-able as composite video and audio.
1961-01-27, WNBC, 52 min.
January 27, 1961-April 21, 1961; September 28, 1961-September 21, 1964. This was the first broadcast of the series. Home viewers were able to participate in this hour-long musical series, as the lyrics to the songs were superimposed at the bottom of their screens; viewers were invited to "follow the bouncing ball" as it moved from one lyric to the next. Goateed composer-arranger Mitch Miller led the Sing-Along Gang, and on-stage aggregation of about two dozen. Among the featured vocalists were Leslie Uggams, Diana Trask, Barbara McNair, and Gloria Lambert. "Sing Along with Mitch" was introduced on "Ford Startime" in 1960 and had a limited run in the spring of 1961, alternating with "The Bell Telephone Hour," before going weekly in the fall of that year. Reruns were exhumed in the spring of 1966 to replace the faltering "Sammy Davis Jr. Show." Bill Hobin produced and directed the series.
1961-01-27, WNBC, 26 min.
Jack Paar's guests are Red Skelton and Joey Bishop. Co-host is Hugh Downs.
A Best of Paar rebroadcast from September 26, 1960.
1961-01-27, WCBS, 19 min.
September 20, 1952-June 22, 1957;
October 3, 1958-January 2 1959;
January 27, 1961;
February 3 1961-March 24, 1961;
September 1962-September 12, 1970
After the 1954-1955 season (one hour live broadcasts), Jackie Gleason produced a series of 39 filmed half-hour episodes of "The Honeymooners" which was syndicated (1955-1956). For the following 1956-1957 season, the Jackie Gleason Show returned to a live one-hour variety format with a Honeymooners sketch included in many of its broadcasts. After this season, The Honeymooners sketches would not be revived until the 1966-1967 season of The Jackie Gleason Show.
Jackie Gleason criticizes and apologizes for his bad panel show, "You're In The Picture." He comments on the risks of theatrical productions. This show was canceled after its premiere episode.
1961-02-03, WNBC, 52 min.
January 12, 1959-April 26, 1968. This musical series ran semiregularly for almost ten seasons-sometimes weekly, sometimes biweekly, and sometimes as irregularly scheduled specials. All types of music were presented on the hour series; Donald Voorhees conducted the Bell Telephone Orchestra.
1961-02-04, WINS, 3 min.
1010 WINS RADIO New York switched from top forty to the first successful all-news station April 19, 1965.
Previously when WINS was one of four premiere New York Rock 'N' Roll radio stations only a few snippets of on the half hour five minute Dick Waffle "Newswatch" broadcasts are known to exist. This rare audio was recorded by Phil Gries at 10:55 AM from his Brooklyn New York home on Saturday morning, February 4, 1961.
Dick Waffle reports at the "Newswatch." Waffle reports initial bulletins reporting the blizzard of '61.
This third "knockout" blizzard of the winter accounted for a 17 consecutive day of temperatures below freezing, the longest in New York history. We also hear the 1010 WINS sign off as the WINS announcer reports that the next news bulletins will be heard will be at 11:25 AM.
NOTE:
The Blizzard of February 3 - 4, 1961
The storm, U.S. HEAVIEST SNOW STORM SINCE 1947 tied up the Northeast coast. It occurred toward the end of an extended cold snowy period that brought the temperature in New York's Central Park down to -2 (2 degrees below zero) on the morning of February 2nd. The storm reached blizzard proportions throughout much of the northeast and winds at LaGuardia airport gusted over 80 miles per hour on the 4th. Snowfall totals exceeded 20 inches over much of the region. Falling on top existing snow cover, including that left over from the "Kennedy inaugural" snowstorm on the 19-20th of January, the aftermath of the storm found near record snow cover over the region ranging from 2 to 2 1/2 feet in and around New York City up to nearly 4 feet around Newburg, New York.
Snow began falling on the evening of February 3rd 1961, dumping six inches and continued through the morning of the 4th, with an additional 11.4 inches of snow piling up. The snow that fell on February 4th was heavy and wet and was driven by gale force winds. This was the third major snowstorm of the winter, following 15.4 inches on December 11th and 12th 1960, and 9.9 inches of snow recorded on January 19th and 20th. However, those storms were characterized by very cold temperatures while this storm saw temperatures rise from the upper 20's to the mid 30's during the afternoon of the 4th when the snow changed to rain. This was the second winter in a row to have two snowstorms of one foot or more.
1961-02-06, WGN, 00 min.
October 18th, 1959-1966,
A one hour syndicated taped color weekly broadcast, featuring the Chicago Symphony Orchestra. The series was awarded a Peabody. Superb music by a 71 piece orchestra in the sumptuous setting of a ballroom. Different guest conductors appear on a weekly basis and take the podium.
Andre Kostelanetz conductor.
1961-02-08, NBC, 00 min.
September 12, 1955-June 12, 1963. In the fall of 1955 Perry Como returned to NBC where he hosted a weekly hour show. From 1955 to 1959 it was seen Saturday evenings and was titled "The Perry Como Show." From 1959 to 1963 it was seen Wednesday evenings and was titled "The Kraft Music Hall." Regulars included Frank Gallop and the Ray Charles Singers. After his final weekly June 12, 1963 broadcast Perry Como appeared in scores of specials, beginning October 3, 1963, airing on NBC, CBS & ABC, and concluding on December 6, 1986.
1961-02-09, WNBC, 52 min.
Jack Benny hit radio in 1932. A lot of songs have come through the mill since then, and tonight Benny is host for a look-see at some of them.
1961-02-09, WNBC, 00 min.
Music and comedy special.
Dupe Of Number 5417.
1961-02-10, WNBC, 52 min.
January 27, 1961-April 21, 1961; September 28, 1961-September 21, 1964. Home viewers were able to participate in this hour-long musical series, as the lyrics to the songs were superimposed at the bottom of their screens; viewers were invited to "follow the bouncing ball" as it moved from one lyric to the next. Goateed composer-arranger Mitch Miller led the Sing-Along Gang, and on-stage aggregation of about two dozen. Among the featured vocalists were Leslie Uggams, Diana Trask, Barbara McNair, and Gloria Lambert. "Sing Along with Mitch" was introduced on "Ford Startime" in 1960 and had a limited run in the spring of 1961, alternating with "The Bell Telephone Hour," before going weekly in the fall of that year. Reruns were exhumed in the spring of 1966 to replace the faltering "Sammy Davis Jr. Show." Bill Hobin produced and directed the series.
1961-02-11, WOR, 30 min.
A 12-part series produced for the National Educational Television & Radio Center by KRMA-TV, Denver Colorado.
The Ragtime Era with host Max Morath, who at the age of 32 is the ideal spokesman. He holds forth at an elegant pianoforte, singing and playing in a lively, authentic style. He' a close student of the period when America's popular music developed, and he sparks the narrative segments with anecdote and erudition that is as bright as the music.
We hum ragtime tunes quite casually today, unaware, as Mr. Morath points out, that ragtime was once a national issue, and that the musicians’ union once passed a resolution censuring this type of music. Mr. Morath explains why ragtime was more than just another kind of tune. He tells of its origins and the men who first wrote it: Scott Joplin, the author of Maple Leaf Rag; John Stark, the first publisher of good ragtime music; James Scoot and others. He defines ragtime, syncopation, polyrhythm, and improvisation. He speaks of the player piano, the importance of the ragtime composer who wrote his music down, and the spread of ragtime across the nation by the end of the first decade of the twentieth century.
Episodes in this series cover American pop music from the 1890's to 1920. Included are broadcasts focusing on the Blues, Ragtime, Musical Comedy, Tin Pan Alley, the Mauve Decade, Those Singin' Songs, Movie Music, the Song Pluggers, Tempos of the Time, and the songs made popular during World War 1.
From radio to television to national fame as a performer, Max Morath became the recognized purveyor of music and popular culture of the ragtime era. That is the way most people remember Max Morath as “Mr. Ragtime.”
In 1959, his epic 12-episode TV series The Ragtime Era, was the first modern educational documentary at KRMA-TV in Denver that both entertained and informed. It ushered in a field now produced by modern documentarians like Ken Burns at Florentine Films. Max wrote, hosted, and performed each 30-minute episode live in one-take and followed that series with other TV projects.
He pioneered educational television with his producer Moss Hall and this series helped move the transition from National Educational Television (NET) to the Public Broadcasting System (PBS).
Archival Television Audio, Inc. has preserved in its archive ten of the twelve part series. Missing is the sixth broadcast in the series, "The Yankee Doodle Boy," and the ninth broadcast in the series, "Emancipation of Women: New Music of the 20's"
With “The Ragtime Era” National Educational Television brings viewers one of the most delightful, and at the same time informative series ever produced. But “The Ragtime Era” is more than a recreation of the music from 1890 to 1920. It is also a careful study of American social history between 1890 and 1920, a period which saw the beginning of the labor movement, modern technical achievements, feminism, the growing importance of Negroes and immigrants. It was a period of activity, unrest, gaiety and real distress. And, finally, “The Ragtime Era” provides the audience with some sound and at the same time uncomplicated, musical theory and analysis. To do all of this KRMA-TV, the Denver affiliate of NET, has drawn on the services of singer-pianist-musician Max Morath, who combines with his performances of ragtime classics a presentation of the pictures, stage sets, and other paraphernalia of “The Ragtime Era.”
Episodes:
Episode #1: The Mauve Decade
Episode #2: Any Rags Today
Episode #3: Lonesome Road
Episode #4: Those Real Singin’ Songs
Episode #5: More Music than Comedy
Episode #6: The Yankee Doodle Boy
Episode #7: Tin Pan Alley
Episode #8: Tin Pan Alley Also Ran
Episode #9: June, Moon, and Spoon (New Music of the '20s)
Episode #10: The Tempos of Our Time
Episode #11: Feet First
Episode #12: The Great War
In this opening episode presented on February 11th, 1961, pianist Max Morath presents music from the Mauve Decade, the 1890's. A retrospective trip back in time exploring music of the 1890s, also called "The Gay Nineties" or "Naughty Nineties."
Note: Max Morath passed away on June 19th, 2023 at age 96.
1961-02-14, WQXR, 50 min.
A salute to Alan Jay Lerner and Frederick Loewe on this Valentine's Day live presentation saluting the play "My Fair Lady." Hosts are Samuel Liff, stage production manager for the original Broadway production and conductor Franz Allers, who also performed during the Broadway "My Fair Lady" debut. Musical selections are played from the British and American productions. They include "I Could Have Danced All Night," sung by Julie Andrews, "The Rain in Spain," sung by Julie Andrews and Rex Harrison from the London Production, "With a Little Bit of Luck," sung by Stanley Holloway from the London Production, "The Ascop Gavotte," and "I've Grown Accustomed to her Face," sung by Rex Harrison.
Anecdotes and recollections by Franz Allers and Samuel Liff reflect the many transitions experienced for this great classic as the company tours the world three years prior to the making of the motion picture in 1964.
NOTE:
The musical MY FAIR LADY had its pre-Broadway tryout at New Haven's Shubert Theatre. Then it played for four weeks at the Erlanger Theatre in Philadelphia, beginning on February 15, 1956.
The musical premiered on Broadway March 15, 1956, at the Mark Hellinger Theatre in New York City. It transferred to the Broadhurst Theatre and then The Broadway Theatre, where it closed on September 29, 1962, after 2,717 performances, a record at the time. Moss Hart directed and Hanya Holm was choreographer. In addition to stars Rex Harrison, Julie Andrews and Stanley Holloway, the original cast included Robert Coote, Cathleen Nesbitt, John Michael King, and Reid Shelton. Harrison was replaced by Edward Mulhare in November 1957 and Sally Ann Howes replaced Andrews in February 1958. By the start of 1959, it was the biggest grossing Broadway show of all-time with a gross of $10 million.
The Original Cast Recording, released on April 2, 1956, was the best-selling album in the United States in 1956.
Original London production
The West End production, in which Harrison, Andrews, Coote, and Holloway reprised their roles, opened on April 30, 1958, at the Theatre Royal, Drury Lane, where it ran for five and a half years (2,281 performances). Edwardian musical comedy star Zena Dare made her last appearance in the musical as Mrs. Higgins. Leonard Weir played Freddy. Harrison left the London cast in March 1959, followed by Andrews in August 1959 and Holloway in October 1959.
MY FAIR LADY won six 1957 TONY awards, including Best Musical, and the Film version released in 1964 with Audrey Hepburn replacing Julie Andrews in the role of Eliza Doolittle won five Oscar awards including Best Actor for Rex Harrison and Best Picture.
1961-02-15, NBC, 00 min.
September 12, 1955-June 12, 1963. In the fall of 1955 Perry Como returned to NBC where he hosted a weekly hour show. From 1955 to 1959 it was seen Saturday evenings and was titled "The Perry Como Show." From 1959 to 1963 it was seen Wednesday evenings and was titled "The Kraft Music Hall." Regulars included Frank Gallop and the Ray Charles Singers. After his final weekly June 12, 1963 broadcast Perry Como appeared in scores of specials, beginning October 3, 1963, airing on NBC, CBS & ABC, and concluding on December 6, 1986.
The 2-15-61 program features a short excerpt only.
1961-02-16, NBC, 00 min.
Variety- NBC - 30 minutes, October 4th, 1956-June 29th, 1961.
Tennessee Ernie Ford was host, singer and comedian of this variety show. The musical portion of the program consisted mostly of Country and Western and Gospel music.
A special presentation of the opera "Carmen."
1961-02-17, WNBC, 52 min.
January 12, 1959-April 26, 1968. This musical series ran semiregularly for almost ten seasons-sometimes weekly, sometimes biweekly, and sometimes as irregularly scheduled specials. All types of music were presented on the hour series; Donald Voorhees conducted the Bell Telephone Orchestra.
1961-02-17, WCBS, 20 min.
Guest Art Carney ad libs with Jackie Gleason, who also does a seven minute stand up comedy routine on the subject of "Bob Hope." For two months, Jackie conducted this informal talk show replacing the abortive quiz show "You're in the Picture," which aired only one time (Jan. 20, 1961).
1961-02-18, WOR, 28 min.
February 11, 1961 - April 19, 1961
A 12-part series produced for the National Educational Television & Radio Center by KRMA-TV, Denver Colorado.
The Ragtime Era with host Max Morath, who at the age of 32 is the ideal spokesman. He holds forth at an elegant pianoforte, singing and playing in a lively, authentic style. He' a close student of the period when America's popular music developed, and he sparks the narrative segments with anecdote and erudition that is as bright as the music.
We hum ragtime tunes quite casually today, unaware, as Mr. Morath points out, that ragtime was once a national issue, and that the musicians’ union once passed a resolution censuring this type of music. Mr. Morath explains why ragtime was more than just another kind of tune. He tells of its origins and the men who first wrote it: Scott Joplin, the author of Maple Leaf Rag; John Stark, the first publisher of good ragtime music; James Scoot and others. He defines ragtime, syncopation, polyrhythm, and improvisation. He speaks of the player piano, the importance of the ragtime composer who wrote his music down, and the spread of ragtime across the nation by the end of the first decade of the twentieth century.
Episodes in this series cover American pop music from the 1890's to 1920. Included are broadcasts focusing on the Blues, Ragtime, Musical Comedy, Tin Pan Alley, the Mauve Decade, Those Singin' Songs, Movie Music, the Song Pluggers, Tempos of the Time, and the songs made popular during World War 1.
From radio to television to national fame as a performer, Max Morath became the recognized purveyor of music and popular culture of the ragtime era. That is the way most people remember Max Morath as “Mr. Ragtime.”
In 1959, his epic 12-episode TV series The Ragtime Era, was the first modern educational documentary at KRMA-TV in Denver that both entertained and informed. It ushered in a field now produced by modern documentarians like Ken Burns at Florentine Films. Max wrote, hosted, and performed each 30-minute episode live in one-take and followed that series with other TV projects.
He pioneered educational television with his producer Moss Hall and this series helped move the transition from National Educational Television (NET) to the Public Broadcasting System (PBS).
Archival Television Audio, Inc. has preserved in its archive ten of the twelve part series. Missing is the sixth broadcast in the series,"The Yankee Doodle Boy," and the ninth broadcast in the series, "Emancipation of Women: New Music of the 20's"
With “The Ragtime Era” National Educational Television brings viewers one of the most delightful, and at the same time informative series ever produced. But “The Ragtime Era” is more than a recreation of the music from 1890 to 1920. It is also a careful study of American social history between 1890 and 1920, a period which saw the beginning of the labor movement, modern technical achievements, feminism, the growing importance of Negroes and immigrants. It was a period of activity, unrest, gaiety and real distress. And, finally, “The Ragtime Era” provides the audience with some sound and at the same time uncomplicated, musical theory and analysis. To do all of this KRMA-TV, the Denver affiliate of NET, has drawn on the services of singer-pianist-musician Max Morath, who combines with his performances of ragtime classics a presentation of the pictures, stage sets, and other paraphernalia of “The Ragtime Era.”
Episodes:
Episode #1: The Mauve Decade
Episode #2: Any Rags Today
Episode #3: Lonesome Road
Episode #4: Those Real Singin’ Songs
Episode #5: More Music than Comedy
Episode #6: The Yankee Doodle Boy
Episode #7: Tin Pan Alley
Episode #8: Tin Pan Alley Also Ran
Episode #9: June, Moon, and Spoon (New Music of the '20s)
Episode #10: The Tempos of Our Time
Episode #11: Feet First
Episode #12: The Great War
1961-02-19, WCBS, 00 min.
There is a Western Saloon sketch with Sullivan playing "Dead Eye," from a clip of February 7th, 1961, when Sullivan guest-hosted on the Red Skelton Show. This Sullivan show was repeated by CBS on August 6th, 1961.
1961-02-20, WGN, 00 min.
October 18th, 1959-1966,
A one hour syndicated taped color weekly broadcast, featuring the Chicago Symphony Orchestra. The series was awarded a Peabody. Superb music by a 71 piece orchestra in the sumptuous setting of a ballroom. Different guest conductors appear on a weekly basis and take the podium.
Guest: Count Basie
1961-02-24, WNBC, 52 min.
January 27, 1961-April 21, 1961; September 28, 1961-September 21, 1964. Home viewers were able to participate in this hour-long musical series, as the lyrics to the songs were superimposed at the bottom of their screens; viewers were invited to "follow the bouncing ball" as it moved from one lyric to the next. Goateed composer-arranger Mitch Miller led the Sing-Along Gang, and on-stage aggregation of about two dozen. Among the featured vocalists were Leslie Uggams, Diana Trask, Barbara McNair, and Gloria Lambert. "Sing Along with Mitch" was introduced on "Ford Startime" in 1960 and had a limited run in the spring of 1961, alternating with "The Bell Telephone Hour," before going weekly in the fall of that year. Reruns were exhumed in the spring of 1966 to replace the faltering "Sammy Davis Jr. Show." Bill Hobin produced and directed the series.
1961-02-25, WOR, 28 min.
February 11, 1961 - April 19, 1961
A 12-part series produced for the National Educational Television & Radio Center by KRMA-TV, Denver Colorado.
The Ragtime Era with host Max Morath, who at the age of 32 is the ideal spokesman. He holds forth at an elegant pianoforte, singing and playing in a lively, authentic style. He' a close student of the period when America's popular music developed, and he sparks the narrative segments with anecdote and erudition that is as bright as the music.
Mr. Morath’s subject for this program is the blues: their origin, their musical form, and the new rhythms involved. Combining musical analysis with some excellent performances by Ernie Douglas singing the blues, Mr. Morath presents a program of musical theory, history, and song. He talks about one of the fathers of the blues, WC Handy, and about the spread of the blues from Memphis to London, England. He gives a picture of music whose importance and popularity still continue, half a century later.
Episodes in this series cover American pop music from the 1890's to 1920. Included are broadcasts focusing on the Blues, Ragtime, Musical Comedy, Tin Pan Alley, the Mauve Decade, Those Singin' Songs, Movie Music, the Song Pluggers, Tempos of the Time, and the songs made popular during World War 1.
From radio to television to national fame as a performer, Max Morath became the recognized purveyor of music and popular culture of the ragtime era. That is the way most people remember Max Morath as “Mr. Ragtime.”
In 1959, his epic 12-episode TV series The Ragtime Era, was the first modern educational documentary at KRMA-TV in Denver that both entertained and informed. It ushered in a field now produced by modern documentarians like Ken Burns at Florentine Films. Max wrote, hosted, and performed each 30-minute episode live in one-take and followed that series with other TV projects.
He pioneered educational television with his producer Moss Hall and this series helped move the transition from National Educational Television (NET) to the Public Broadcasting System (PBS).
Archival Television Audio, Inc. has preserved in its archive ten of the twelve part series. Missing is the sixth broadcast in the series,"The Yankee Doodle Boy," and the ninth broadcast in the series, "Emancipation of Women: New Music of the 20's"
With “The Ragtime Era” National Educational Television brings viewers one of the most delightful, and at the same time informative series ever produced. But “The Ragtime Era” is more than a recreation of the music from 1890 to 1920. It is also a careful study of American social history between 1890 and 1920, a period which saw the beginning of the labor movement, modern technical achievements, feminism, the growing importance of Negroes and immigrants. It was a period of activity, unrest, gaiety and real distress. And, finally, “The Ragtime Era” provides the audience with some sound and at the same time uncomplicated, musical theory and analysis. To do all of this KRMA-TV, the Denver affiliate of NET, has drawn on the services of singer-pianist-musician Max Morath, who combines with his performances of ragtime classics a presentation of the pictures, stage sets, and other paraphernalia of “The Ragtime Era.”
Episodes:
Episode #1: The Mauve Decade
Episode #2: Any Rags Today
Episode #3: Lonesome Road
Episode #4: Those Real Singin’ Songs
Episode #5: More Music than Comedy
Episode #6: The Yankee Doodle Boy
Episode #7: Tin Pan Alley
Episode #8: Tin Pan Alley Also Ran
Episode #9: June, Moon, and Spoon
Episode #10: The Tempos of Our Time
Episode #11: Feet First
Episode #12: The Great War
1961-03-03, WNBC, 00 min.
January 12, 1959-April 26, 1968. This musical series ran semi regularly for almost ten seasons-sometimes weekly, sometimes biweekly, and sometimes as irregularly scheduled specials. All types of music were presented on the hour series; Donald Voorhees conducted the Bell Telephone Orchestra.
Host:Burl Ives.Salute To London
1961-03-04, WNBC, 52 min.
January 12, 1959-April 26, 1968. This musical series ran semiregularly for almost ten seasons-sometimes weekly, sometimes biweekly, and sometimes as irregularly scheduled specials. All types of music were presented on the hour series; Donald Voorhees conducted the Bell Telephone Orchestra.
1961-03-04, WABC, 34 min.
The fourth match between Middleweight Champion Gene Fullmer and Challenger Sugar Ray Robinson is called by Don Dunphy. Winner Gene Fullmer is interviewed with Fullmer's manager Marv Jensen. Ring announcer is Dick Porter. Rounds 1, 3, 8, 10, 13, & 15 are described, blow-by-blow, by Don Dunphy.
1961-03-04, WABC, ?? min.
July 2, 1955-September 4, 1971; 1971-1982 (Syndicated). "The Lawrence Welk Show" presented middle-of-the-road music for almost three decades. Numbers were performed by the members of Welk's television family. That large group included the Lennon Sisters (Dianne, Peggy, Kathy and Janet), Alice Lon, Norma Zimmer, Tanya Falan, Arthur Duncan, Joe Feeney, Guy Hovis, Jim Roberts, Ralna English, Larry Hooper, Jerry Burke and former Mouseketeer Bobby Burgess.
1961-03-04, WOR, 28 min.
February 11, 1961 - April 19, 1961
A 12-part series produced for the National Educational Television & Radio Center by KRMA-TV, Denver Colorado.
The Ragtime Era with host Max Morath, who at the age of 32 is the ideal spokesman. He holds forth at an elegant pianoforte, singing and playing in a lively, authentic style. He' a close student of the period when America's popular music developed, and he sparks the narrative segments with anecdote and erudition that is as bright as the music.
Some songs stay alive despite any changes in taste or style, and a large number of the songs we’re singing now were written in the Ragtime Era. Mr. Morath sings many of them and describes why they have remained so popular for so long. The fact that they were written by musicians who were not professional song writers, the use of a simple pattern of notes, and the rhythms which made them easy to sing made these songs memorable. This program features not only Mr. Morath, but also a barbershop quartet.
Episodes in this series cover American pop music from the 1890's to 1920. Included are broadcasts focusing on the Blues, Ragtime, Musical Comedy, Tin Pan Alley, the Mauve Decade, Those Singin' Songs, Movie Music, the Song Pluggers, Tempos of the Time, and the songs made popular during World War 1.
From radio to television to national fame as a performer, Max Morath became the recognized purveyor of music and popular culture of the ragtime era. That is the way most people remember Max Morath as “Mr. Ragtime.”
In 1959, his epic 12-episode TV series The Ragtime Era, was the first modern educational documentary at KRMA-TV in Denver that both entertained and informed. It ushered in a field now produced by modern documentarians like Ken Burns at Florentine Films. Max wrote, hosted, and performed each 30-minute episode live in one-take and followed that series with other TV projects.
He pioneered educational television with his producer Moss Hall and this series helped move the transition from National Educational Television (NET) to the Public Broadcasting System (PBS).
Archival Television Audio, Inc. has preserved in its archive ten of the twelve part series. Missing is the sixth broadcast in the series,"The Yankee Doodle Boy," and the ninth broadcast in the series, "Emancipation of Women: New Music of the 20's"
With “The Ragtime Era” National Educational Television brings viewers one of the most delightful, and at the same time informative series ever produced. But “The Ragtime Era” is more than a recreation of the music from 1890 to 1920. It is also a careful study of American social history between 1890 and 1920, a period which saw the beginning of the labor movement, modern technical achievements, feminism, the growing importance of Negroes and immigrants. It was a period of activity, unrest, gaiety and real distress. And, finally, “The Ragtime Era” provides the audience with some sound and at the same time uncomplicated, musical theory and analysis. To do all of this KRMA-TV, the Denver affiliate of NET, has drawn on the services of singer-pianist-musician Max Morath, who combines with his performances of ragtime classics a presentation of the pictures, stage sets, and other paraphernalia of “The Ragtime Era.”
Episodes:
Episode #1: The Mauve Decade
Episode #2: Any Rags Today
Episode #3: Lonesome Road
Episode #4: Those Real Singin’ Songs
Episode #5: More Music than Comedy
Episode #6: The Yankee Doodle Boy
Episode #7: Tin Pan Alley
Episode #8: Tin Pan Alley Also Ran
Episode #9: June, Moon, and Spoon (New Music of the '20s)
Episode #10: The Tempos of Our Time
Episode #11: Feet First
Episode #12: The Great War
1961-03-06, WGN, 00 min.
October 18th, 1959-1966,
A one hour syndicated taped color weekly broadcast, featuring the Chicago Symphony Orchestra. The series was awarded a Peabody. Superb music by a 71 piece orchestra in the sumptuous setting of a ballroom. Different guest conductors appear on a weekly basis and take the podium.
Andre Kostelanetz Conductor
1961-03-10, WNBC, 52 min.
January 27, 1961-April 21, 1961; September 28, 1961-September 21, 1964. Home viewers were able to participate in this hour-long musical series, as the lyrics to the songs were superimposed at the bottom of their screens; viewers were invited to "follow the bouncing ball" as it moved from one lyric to the next. Goateed composer-arranger Mitch Miller led the Sing-Along Gang, and on-stage aggregation of about two dozen. Among the featured vocalists were Leslie Uggams, Diana Trask, Barbara McNair, and Gloria Lambert. "Sing Along with Mitch" was introduced on "Ford Startime" in 1960 and had a limited run in the spring of 1961, alternating with "The Bell Telephone Hour," before going weekly in the fall of that year. Reruns were exhumed in the spring of 1966 to replace the faltering "Sammy Davis Jr. Show." Bill Hobin produced and directed the series.
1961-03-11, WABC, ?? min.
July 2, 1955-September 4, 1971; 1971-1982 (Syndicated). "The Lawrence Welk Show" presented middle-of-the-road music for almost three decades. Numbers were performed by the members of Welk's television family. That large group included the Lennon Sisters (Dianne, Peggy, Kathy and Janet), Alice Lon, Norma Zimmer, Tanya Falan, Arthur Duncan, Joe Feeney, Guy Hovis, Jim Roberts, Ralna English, Larry Hooper, Jerry Burke and former Mouseketeer Bobby Burgess.
1961-03-11, WOR, 28 min.
February 11, 1961 - April 19, 1961
A 12-part series produced for the National Educational Television & Radio Center by KRMA-TV, Denver Colorado.
The Ragtime Era with host Max Morath, who at the age of 32 is the ideal spokesman. He holds forth at an elegant pianoforte, singing and playing in a lively, authentic style. He' a close student of the period when America's popular music developed, and he sparks the narrative segments with anecdote and erudition that is as bright as the music.
Musical comedies broke away from the Viennese operetta in the Ragtime Era, and Mr. Morath spends this program telling about the ancestors of Naughty Marietta, and, later, Oklahoma! and Carousel. Jerome Kern, Irving Berlin, George Gershwin and Cole Porter gained their starts from the impetus of the musical comedies, vaudeville shows and extravaganzas of the Ragtime Era.
Episodes in this series cover American pop music from the 1890's to 1920. Included are broadcasts focusing on the Blues, Ragtime, Musical Comedy, Tin Pan Alley, the Mauve Decade, Those Singin' Songs, Movie Music, the Song Pluggers, Tempos of the Time, and the songs made popular during World War 1.
From radio to television to national fame as a performer, Max Morath became the recognized purveyor of music and popular culture of the ragtime era. That is the way most people remember Max Morath as “Mr. Ragtime.”
In 1959, his epic 12-episode TV series The Ragtime Era, was the first modern educational documentary at KRMA-TV in Denver that both entertained and informed. It ushered in a field now produced by modern documentarians like Ken Burns at Florentine Films. Max wrote, hosted, and performed each 30-minute episode live in one-take and followed that series with other TV projects.
He pioneered educational television with his producer Moss Hall and this series helped move the transition from National Educational Television (NET) to the Public Broadcasting System (PBS).
Archival Television Audio, Inc. has preserved in its archive ten of the twelve part series. Missing is the sixth broadcast in the series,"The Yankee Doodle Boy," and the ninth broadcast in the series, "Emancipation of Women: New Music of the 20's"
With “The Ragtime Era” National Educational Television brings viewers one of the most delightful, and at the same time informative series ever produced. But “The Ragtime Era” is more than a recreation of the music from 1890 to 1920. It is also a careful study of American social history between 1890 and 1920, a period which saw the beginning of the labor movement, modern technical achievements, feminism, the growing importance of Negroes and immigrants. It was a period of activity, unrest, gaiety and real distress. And, finally, “The Ragtime Era” provides the audience with some sound and at the same time uncomplicated, musical theory and analysis. To do all of this KRMA-TV, the Denver affiliate of NET, has drawn on the services of singer-pianist-musician Max Morath, who combines with his performances of ragtime classics a presentation of the pictures, stage sets, and other paraphernalia of “The Ragtime Era.”
Episodes:
Episode #1: The Mauve Decade
Episode #2: Any Rags Today
Episode #3: Lonesome Road
Episode #4: Those Real Singin’ Songs
Episode #5: More Music than Comedy
Episode #6: The Yankee Doodle Boy
Episode #7: Tin Pan Alley
Episode #8: Tin Pan Alley Also Ran
Episode #9: June, Moon, and Spoon (New Music of the '20s)
Episode #10: The Tempos of Our Time
Episode #11: Feet First
Episode #12: The Great War
1961-03-12, WNBC, 54 min.
December 8, 1957-June 18, 1961.
Programs not hosted by Dinah Shore (every 4th week during the season of 1957-58 and 1958-59, more often thereafter until June 1961) were known as "The Chevy Show."
Presented on "THE CHEVY SHOW." An original musical fantasy, based on a story by Stephen Vincent Benet, about an Irishman who sets off for America.
The leprechaun Rory and his friends are portrayed by the Baird Marionettes. Book by A. J. Russell from a story by Stephen Vincent Benet. Music by David Saxon. Lyrics by Diane Lampert and Peter Farrow.
Songs include, "Every Little Boy," "Watcha Do on Sunday,?" "Hoo Boo,""Shenanigans," "Watersprite Ballet," and Goin' Green."
NOTE: A "LOST" television broadcast only survives on B/W 16mm original negative stock and separate 16mm neg. optical track...not processed since its original broadcast almost sixty years ago.
Unlike many other musical productions for television during the 1950's and 1960's NO LP was conceived or created for this presentation.
The ATA original reel to reel pristine direct line audio recording of O'HALLORAN'S LUCK was completed at the time of its one time airing, in color, on NBC TV.
1961-03-13, WGN, 00 min.
October 18th, 1959-1966,
A one hour syndicated taped color weekly broadcast, featuring the Chicago Symphony Orchestra. The series was awarded a Peabody. Superb music by a 71 piece orchestra in the sumptuous setting of a ballroom. Different guest conductors appear on a weekly basis and take the podium.
Igor Markevitch Conductor.
1961-03-13, NBC, 21 min.
July 29, 1957- March 30,1962.
Jack Paar speaks vehemently about Ed Sullivan continuously. He explains why Ed Sullivan refused to appear on The Tonight Show. Jack said that Ed wanted to use a teleprompter and to read a prepared statement. Jack said "any idiot can read a teleprompter" and continued to address other grievances about Sullivan including feuds with Joey Bishop who Paar considers as a protege. He ends his address calling Ed Sullivan a liar.
NOTE: Highlights of this broadcast unprecedented monologue is the only example of a JACK PAAR TONIGHT SHOW where Jack was a guest on his own show. Hugh Downs opens the 11:15pm opening segment as substitute host, and conducts the show for the first 15 minutes. Jack Paar is introduced at 11:30pm. He then speaks about Ed Sullivan continuously for 51 minutes, only interrupted for commercials. At 12:21am Jack finally finishes his emotional tirade, calling Ed Sullivan a liar!
So angry was Paar that he left the show after his monologue, leaving Hugh Downs to finish the show.
Archival Television Audio, Inc. has a portion of this memorable historic episode recorded on audio tape related to the never predictable host of The Tonight Show, Jack Paar.
THIS BROADCAST WAS THE HIGHEST RATED JACK PAAR TONIGHT SHOW aired during his for four and one half years as host.
Occasional variations in sound quality.