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Barney Miller is the kind of cop we'd all like to run into. Always sensible, he maintains order over a band of detectives who gamble, hit on anything in skirts, go to renaissance philosophy conventions for fun, and would really prefer to be writing. Nearly all of the action takes place in the squad room where citizens and criminals are brought in to complicate the mix.
Hee Haw was an American variety show featuring a mixture of country music and comedy skits. Co-hosted by Buck Owens and Roy Clark for most of the series, the show also guested well-established country music stars including Johnny Cash and Dolly Parton. Originally airing on CBS from 1969 to 1971, the show ran for over 20 years in syndication until 1993.
Head of the Class is an American sitcom that ran from 1986 to 1991 on the ABC television network. The series follows a group of gifted students in the Individualized Honors Program at the fictional Monroe High School in Manhattan, and their history teacher Charlie Moore. The program was ostensibly a vehicle for Hesseman, best known for his role as radio DJ Dr. Johnny Fever in the sitcom WKRP in Cincinnati. Hesseman left Head of the Class in 1990 and was replaced by Billy Connolly as teacher Billy MacGregor for the final season. After the series ended, Connolly appeared in a short-lived spin-off titled Billy. The series was created and executive produced by Rich Eustis and Michael Elias. Rich Eustis had previously worked as a New York City substitute teacher while hoping to become an actor.
ABC Stage 67 is the umbrella title for a series of 26 weekly shows that included dramas, variety shows, documentaries, and original musicals. It premiered on American Broadcasting Company on September 14, 1966 with Murray Schisgal's The Love Song of Barney Kempinksi, directed by Stanley Prager and starring Alan Arkin as a man enjoying the sights and sounds of New York City in his last remaining hours of bachelorhood. Arkin was nominated for an Emmy Award for Outstanding Single Performance By An Actor in a Leading Role in a Drama and the program was nominated as Outstanding Dramatic Program. Future programs included appearances by Petula Clark, Bobby Darin, Sir Laurence Olivier, Albert Finney, Peter Sellers, David Frost, and Jack Paar. ABC's effort to bring culture to the masses was a noble but unsuccessful experiment. Scheduled first against I Spy on Wednesdays and then The Dean Martin Show on Thursdays, the show consistently received low ratings. Its last production, an adaptation of Jean Cocteau's one-woman play The Human Voice starring Ingrid Bergman, aired on May 4, 1967. "Stage 67" was not actually a part of the primary ABC facilities in Los Angeles. It was produced at the old Monogram Studios backlot that was later sold to KCET.
Welcome Back, Kotter is an American television sitcom starring Gabe Kaplan and featuring a young John Travolta. Videotaped in front of a live studio audience, it originally aired on the ABC network from September 9, 1975, to June 8, 1979.
The Julie Andrews Hour is a television variety series starring Julie Andrews that was produced by ATV and distributed by ITC Entertainment. It aired on the ABC network in the United States. In order to secure Andrews for the series, Sir Lew Grade and ABC offered her an extremely lucrative contract. In 1963, when another major star, Judy Garland was signed to a weekly television variety series, it failed to catch on with the public. One of the main reasons for its demise was its constant change of format and the fact that critics and audiences felt that Garland was not shown off to her best advantage. In order to avoid that error, Andrews asked producer Nick Vanoff what the premise of the show would be about. Vanoff immediately answered her by saying "Julie Andrews...without Julie Andrews there is no 'Julie Andrews Hour'". The show premiered on ABC Wednesday, September 13, 1972 at 10:00 P.M. ET to rave reviews. Unfortunately, its time slot proved to be daunting because it was up against the popular CBS detective series, Cannon. Another reason for the low ratings was that the lateness of the hour was not conducive to family viewing since children were in bed by that time. On Thanksgiving Eve, November 22, 1972, "The Julie Andrews Hour" devoted an entire episode saluting Walt Disney. To make it more of a "family special", ABC switched the time slot of "The Julie Andrews Hour" that night to 8:30 P.M. and The ABC Wednesday Movie Of The Week to 9:30 P.M. The ratings improved a little so ABC then made a decision to alternate Andrews' time period each week This continued until January, 1973 when the series was moved to Saturday nights at 9:00 P.M. The ratings went from bad to worse as Andrews' chief competition was The Mary Tyler Moore Show and The Bob Newhart Show on CBS. "The Julie Andrews Hour" was finally canceled by ABC after its 24th episode in April, 1973.
TV special starring Lily Tomlin
The Muppets of Sesame Street and the cast of The Electric Company take over the ABC Nightly News when the newsroom staff takes a lunch break.
After taking her successful Broadway show to Las Vegas, Lily Tomlin is faced with a tough decision: soften her act for mass appeal, or keep her material the way she originally intended?
“WINTER, 1973. Late afternoon: the entr'acte between dusk and darkness, when the people who conduct their business in the street -- numbers runners in gray chesterfields, out-of-work barmaids playing the dozens, adolescents cultivating their cigarette jones and lust, small-time hustlers selling ‘authentic’ gold wristwatches that are platinum bright---look for a place to roost and to drink in the day's sin. Young black guy, looks like the comedian Richard Pryor, walks into one of his hangouts, Opal's Silver Spoon Café. A greasy dive with a R & B jukebox, it could be in Detroit or in New York, could be anywhere. Opal's has a proprietor -- Opal, a young and wise black woman, who looks like the comedian Lily Tomlin -- and a little bell over the door that goes tink-a-link, announcing all the handouts and gimmes who come to sit at Opal's counter and talk about how needy their respective asses are.” — Hilton Als