Variety (January 1961)

98 isYmo-T*;i*;visiov January 4, 1961 Fiftyfifth P^RIETY Anniversary PUTTING FLESH ON AN IMAGE: THE EVOLUTION OF THE EMMY By HARRY S. ACKERMAN fPri's., Xational Academy ot Television Arts and Sciences > An linage is an ephemeral, to achievements in the most Imn wraith-like tiling. It is skeleton -Portaiit medium of mass communi (often rattlin?., shadow .invariably f(a,i.ons ,*h' L"'orld bas e™r, k"°."n. . ... . * It hasn’t been easy. Television, grey-, ami in our business* often ; witli its incomparable capacity' to hot air. The image of an Academy, entertain, to inform and to enin dictionarv terms, conjures up lighten, lias embraced, all areas of all of tiuse things: “1. a secondary ;human experience, many/ kinds _ . , , _ * and methods of presentation, and school, esp. a pnvato one. 2. a a mul!;tude of tafents in an effort school for instruction in a particu-to fulfill its phenomenal potential, lar art or science: a military acad! And so, the Emmy has -had to emy. 3. an association or institu choose, from year to year, whether tion for the .promotion of! to “give everyone a chance” and literature, science or art: the Acad risk dimming her lustre or to emy of Arts and Letters.” Yet group the many into broad areas this image fails to define itself; of as compatible competition as until the ‘‘responsible parties” j possible in an effort to acknowlgive it substance. ledge only the truly outstanding Feeding the image has been the devoted work of the National Trustees, the Chapter Governors achievements. The latter course has proved, in the final analysis, to be the rea RALPH CAMARGO ANNOUNCER— ACTOR— j NARRATOR Registry JU 2-8800 and the more than 6,000 members | listic one and the most honorable, of the National Academy of Tele-; And so, with the blessings and aevision Ar ts and Sciences since our jknowledgment of the press, the beginning in 1947 in Los Angeles, [public and the industry, the Emmy through our founding of the Na [Awards for 1960-1961 will be pretionai Academy in 1956 by the Rented in May, 1961 in substanLos Angeles and New York Chap tially the same limited categories ters and continuing with the addi-.as last year — endeavoring to ac¬ tion of Chapters in Arizona. Bal¬ timore. Chicago. Seattle and Wash¬ ington. D. C. It will go on as long as “to advance the arts and sci¬ ences of Television” is a worthy objective for the viewer, for the ’ advertiser and for the industry' it¬ self. And that will be for as long as there is television. Our beginnings in 1948 were knowledge the truly outstanding achievements in 23 categories with¬ out regard to considerations of budget, length of program, etc., which are admittedly important considerations in “type” competi¬ tions, but which cannot prevail when “art” and “science” are to be the. criteria. And the Academy has, in the past two seasons, de no?. by any means, humble; but termineri to adhere to these cri: they' were decidedly regional and teria in making its annual awards. 1 singularlv concerned with the And s0* ^ie skeleton of the jmpresentation of the first' Annual has been strengthened and its Emmv Awards. These Awards were stature well established. How are presented in five categories — all we filling it out. putting meat on Los Angeles berthed — but they the bones? set tiie -s taste tor the evolution of Desisned Xo Embrafe All te!e\ ision s definitive awards for • outstanding achievement and for You will remember that several the development of the most paragraphs back I noted that the unique organization in the annals Academy is “the most unique orof American industry. ganization in the annals of Ameri As you are well aware, the evo can industry’.” Now for the realution of the Emmy has been a son. and it is the greatest single painful one. Beset by criticism source of the Academy’s present frpm the press, the public and the and potential strength. The Acadinllustry itself, she has struggled emy’s membership. 6,000 strong in to achieve her present eminence seven Chapter cities, represents no and r.i be worthy of having be-; single segment of our great in¬ come the one significant accolade Idustry, but embraces all. Every jone working actively and creative¬ ly in television — executives, stage ’managers, producers, writers, di! rectors, designers — these and all i others are eligible for active mem¬ bership. Among our associate I members we number educators, students, lawyers, tv’s business:meh, secretaries and others whose •jobs may not be creative, but who [ are deeply involved in and coni.eerned with the “advancement” ! which is our credo. The signifi¬ cance of this broad base of memi bership is that every’ day’ — at : membership meetings in volunteer jobs, at committee meetings and meetings of our boards of gover¬ nors and trustees — there is active, positive communication and ex¬ change of ideas among all of tv’s toilers without regard to company affiliation, the job or the salary. “Wearing the Academy’ Hat” is not an empty phrase, but a positive at¬ titude which our members assume when they meet to further our cause and the cause of the indus¬ try we serve. The real meat, how¬ ever. is in the methods we are using to advance the arts and sci¬ ences of television for the people on both ends of the tuge.! I’ve said that the Emmy is the skeleton — it is also our most celebrated func¬ tion. Now. however, the presenta¬ tion of our annual Awards has be¬ come not the be-all and end-all. but rather each year's valedictory — the climax of many hours of service and the salute to many successful activities and projects. In seven Chapter cities which now constitute the National Acad¬ emy, and in the many more which will be formed as the need is felt and as our strength enables us to support them, we conduct regular informational services calculated to broaden the horizons of our members, to increase and strength¬ en their know-ledge of their own and others’ creative functions in television. We have Forum Series where we discuss the development of educational tv, the influence of television on politics, an ideal pro¬ gramming schedule, the political and social rights of performers, writers, btc. Wre have regular mem¬ bership meetings which serve as a platform for the policy procla¬ mations of network leaders, gov¬ ernment officials influential in communications and others. We are conducting workshops to dis¬ cover and develop new’ talents, ,. ..a , , . and techniques of performance, | ,,El^ tee” Jdl/ors who work in writing, directing and all of the i ^ Czech desk °PP°s^d f p“ other facets of production. That’s Pointment of Kostra to the top all fine, you say, but isn’t it kind \s*°h a?d submitted a plea for his of “inside”? | resignation. The editors wrere Let us study our sphere of in 'given 24 hours, to withdraw’ their fluence. We give fellowships to ! pr?tes!. ai^ ,vvere fired when they leading educators in communica: refused. T^e..gr°PP then enlisted tions. These consist of a concen > 1 If. tielp °f the New York office, trated exposure to professional i instated them r tv. to production, to meetings with The groHP, accused Kostra of leaders in all phases of the indus Permitting intrigue and denunciatry so that, back on campus. ^n’and °f not being sufficiently courses will be designed, associates i firm tpwarf anti-Semitic incidents Internal Strife In Radio Free Europe Frankfurt. The director of Radio Free Eu¬ rope, w’hich has its headquarters in Munich, and two of his officials have resigned in a disagreement with the group’s world headquar¬ ters. the Free Europe Committee in New’ York City, Chief Erik Hazelhoff and his twro assistants, Charles J. McNeill, as¬ sistant director of administration and David J. Penn, assistant direc¬ tor for policy, announced their resignations as a protest concern¬ ing the appointment of Oswald Kostra to be chief of the Czech, oslovakian desk in the RFE opera. tion. * enlightened, and students stimu ’ ^cording to their charges. «d,ich llated to bring their most creative bave becn dcmed b-v Radl° Free abilities to bear on television. We ’ 'c,ut£opf‘ , , . ; , ! give scholarships to worthy stu Kostra has also resigned from I dents, majors in performing and ,he privately financed non-governcommunications. Through ou? pub P1™!3 . radio orgamzation, which lie information, lecture and serv specializes m beaming messages of news and encouragement to coun¬ ice bureau we are sending volun tries behind the Iron Curtain. iteer lecturers and advisers, to: , , , _ — | * j nrtiiAftAt» 4/v Aivirt _ _ j The RFE officials fiom New schools and colleges, to civic and 1 . .• j; . i ork, John Dunning. assistant di¬ ssocial and professional organiza ■ . M , -d ^ j « . p , . » j • i Sttl'Stt: tfK nich to make arrangements until the top slots are filled. to be inaugurated in the Fall of 1961 in New York City, erases all geographic and ideological bar¬ riers and places us in the forefront of television as a teaching force, and to improve the understanding of what we do and why we do it. • Further steps to expand this sphere of influence are envisioned in our plans to publish definitive works about television — books, encyclopaedia and a quarterly j of those w ho salute the imminent journal of our industry’s develop ! realization of the international exments. We are also working toward change of television programs — 'the establishment of a library and live, taped and on film — and the • Museum of Television — an archive [hope for “Greater World L’nderand a practical source of research ' standing Through International materia! for the professional and Television.” : Hie student. This, then. Is the image. Ne I And our recent announcement longer, skeletal, but full-blooded, :of the sponsorship of an annual .hefty, and rarity to go. We invite International Television Festival, you all to come along. Oh, Pshaw! — Continued from page 86 ■■■ — ; ested . . . that’s a great switch, especially if we can get Christine to play it . . . oh. she’s rot a transvestite . . . that’s too bad! So. what happens next? . . . Yeah, she goes to an Army camp ... a female Sergeant Bilko, hut.? . . . Oh. not exactly? . . . You mean five stars, like Ike? I’ll be damned! Then what happens? ... A. big investigation, only you call it an inquisition? . . . Sure. I get you. Georgie: But we couldn't cast it right what w i* h McCarthy and Welch both gone. Well,' it was a good idea. What happens to her? Does she pull the fat out of the fire? . . . Come again, what did those soldier-, do’ They threw whn: on the fire? . . . Well! We haven't been troubled with that kind around our studio ririre we tired our last casting director. What? . . . You didn’t mean that kind . . . you meant the wooden kind. “Look, Georgie. I'm going to have to give it to you straight. ^ We have this hibachi sponsor, and I sort of Imagine h*‘’d crawl it we burned a saint on his time. Got anything ei-e.’ . . . Go on. Im listening . . . what ye.u “ A. I). 31.820? You’re pretty far out, boy . . . there are the.-e big eggs, yeah . . . they do xrhai? . . . ha*ch people who are full-grown? I like it, personally, but v. e\e got this client Mho's up to his navel with competitor talking about the 70c spread . . . and then you come along and want u*. to lou-e up* his egg route too? “What el-e is lying around on your desk? A romance, ma;be? . . . Sounds good ... a peasant girl and a soldier ’ : \.no kidding? In her bedroom? . . . And he hates war? Weii. F. I). R. got away with it. why can’t we? . . . Wuat” Now you're losing me again. Georgie-Porgie . . . he curies what in-tead of bullets? Chocolate creams? . . . Sure i*’s a great gag. might even make a good musiCd\, but we k:we Whitman’s. Remington-Rand and the. Pentagon tuning time. Sorry. George. ’Aon just don't seem to sense the image our medium wants * t> establish. We ha\e to hit the mass market. . . . Ob. you think you have an all-time hit under any condition-'* Well, spill it. I’m listening . . . go on . . . yean, she s a flower-girl . . . un-huii. and w bat does he •do'.* . . . tie’s a speed! expert . . . and she has a daddy wno boozes . . . you're out of your mind. George. It’il never catch on! Are you sure ym thought it up. and not the CBS crowd? “Well, try us again sometime. If you oniv had a Western . . . what, you do? . . . Now you’re talking. That’s what this industry wants and needs, a new kind of Western . . . wait’ll I hear about \ours'* Fire awav . . . you say there’s this Blanco feller '. . . lie’s the hero they’re gonna string him up ... I like that . . . good conflict . . . what’s he done? Oh. no! We can’t take that. The hero is never a horse-thief! “Oh. I see. You say this really is a new kind of West¬ ern? The hero's got a brother, a pillar of the Church . . . that’s fine . . . wow. what a scene . . . brother face-to-face with brother in a kangaroo court ... go on ... so he stole the minister's horse . . . hell, that ain’t stealing if it’s all in the family! I like this. What happens next? . . . What? Oh. come off it. Georgie, you’re teasing me . . . you say the minister what? . . . Hah-hah-hah! You say lie runs a saloon. Yeah, and the star witness what? . . . Hah-hah-hah! She’s a hustler? Sounds like a typical Merrick show . . . she. xvhat with the sheriff? And his brother? And every able-bodied man; in town? Even if .the audience would believe it. George, we’ve sold Planned Parenthood on a heck of a good coast-to-coiist schedule. Well, thanks for the call. What did you say your last name was? “Hello, operator? Operator? ... We were cut off . . . what do you mean he hung up? No two-bit hack i'' going to say “Oh. Pshaw!” to me and get away with it. Get off the line, honey. I w^ant to flash my secretary . . . Hello . . . Miss Harlow, if a bushy-bearded scenario writer named George who talks with an Irish lilt ever comes around here, throw’ him out! Now, call the Italian Riviera for me and get hold of Tennessee. If he’s finished his bayou-country adaptation of ‘Little Women’ we ought to have a natural for our next spectacular. “You what? . . . Say that again, Miss Harlow. You do?>’r think it’s such a good idea? Why not? . . . Oh, m> God! I forgot the Mattress Makers' Association was going to sponsor it. Well, a £uy just can’t win these days! He just can’t win!” •HE HANGS UP AND GOES IN SEARCH OF THE NEAREST HEADACHE REMEDY*. THE DEFENSE RESTS _ Bv SAM LEVENSON _ _ As a rebuttal to the contention that television has done nothing to raise the moral level of American life I should like to point up the areas in which the great new medium has emphasized the virtues we all hold dear. Since the industry is too modest to credit itself publicly for its achievements in the uplifting of mankind I take it upon myself to indicate how subtly, through indirection, subliminally, through emotional suggestion, moral values are established in the mind of the unsuspecting viewer who turns off his set at the end of the day a better human being. I otter here a partial list of virtues and the words, situa¬ tions, or shows which promote these virtues. 1. HELPFULNESS: “They went that away.” 2. PERSEVERANCE: Another Evening With Fred Astaire. 3. OBEDIENCE: “Go and tell your mother to buy you an Idio-Toy.” 4. PROMPTNESS: “Some day we're going to have it out, stranger” “What's the matter with noi r?” 5. MERCY: “The video portion of this program has been temporarily interrupted.” 6. OPTIMISM: “We’ll be seeing you at the same time at the same place next week.” 7. TRUSTWORTHINESS: “I Kid You Not.” 8. GOOD GRAMMAR: “Who Do You Trust?” 9. HOSPITALITY: Sinatra’s return visit to Dean Martin on the Bob Hope Visits Dean Martin's Sinatra Return Visit Show. 10. INDUSTRY: “I Led Three Lives.” 11. CANDOR: “I'm a big star from Hollywood and look at vnj arm pit!” 12. RELIGION: “Give us this day our daily Slow-BakedVitamin-Enriched Golden Brown Bread” 13. EASING THE LIFE OF SIIUT-INS: “Warden, may I stay up to Watch TV tonight? My crime is being reenacted.” 14. FREEDOM OF SPEECH: “The opinions expressed on this program are not necessarily condoned by the man¬ agement of this station — or even understood by them.” 15. THE ONE-WORLD OUTLOOK: “We have just re¬ ceived a bulletin of earth-shattering importance tp all of mankind — but first, a word from our sponsor.” r ■■■ ■■ ■■■■■■■■ -'j " _ _ ■ ■■ -■ ■ 1 —i Yeh, Let’s Have Culture Continued from page 87 — a “Bertrand Russell and the Three Stooges.” The theory of hydrodynamics could be explained with bellylaughs by the ‘seltzer in the pusC bit. Newton’s theory of gravitation could be demonstrated by Larry in a series of pratfalls. An irresistible force against an immovable body could be illustrated by 'the fingers in the eyes' “In our new western ‘Gunshnook,’ most of the action will take place In a library instead of a satoon. The two bushwackers -to be played by Dr. Baxter, and Steve Allen) hold up a stagecoach which carries a shipment of ency¬ clopedias instead of gold. The driver is shot in the head and when Doc has to extract the bullet from his brain, instead of doing it with a slug of whiskey and two chop sticks, we’ll insert a stock shot of a brain operation from ‘Medic.’ The big fight scene will take place in the library. Matt Killem, the sheriff, gets into a hot argument with the two bushwackers on the philosophy of Nietzsche. In the brawl that follows. Matt is saved when a bullet from Dr. Baxter’s gun is deflected by his Phi Beta Kappa key. The baddies come uppance when a set of encyclopedias falls on their heads.” * Director has since resigned and is now selling jujubes for a confectionary outfit.