Faith, Vintage Television

Channel 16, Father Hesburgh, and the Prayer for Peace

Kids today don’t know how good they have it, with Nickelodeon and Cartoon Network delivering animation to their living rooms 24x7x365. During my 1970s-80s childhood, we got cartoons on Saturday mornings and for an hour after school, and that was it. My brother and I liked animation so much that we’d rise early on Saturday morning to not miss a single show.

We started on Channel 16 because they aired the Japanese anime Battle of the Planets right after sign on. Channel 16, WNDU-TV, was our local NBC station. We had no idea how unusual it was that it was owned by the University of Notre Dame. All we knew was that during sign-on they played a recording of University President Father Theodore Hesburgh reading of the Prayer for Peace of St. Francis of Assisi.

Lord, make me an instrument of Your peace;
Where there is hatred, let me sow love;
Where there is injury, pardon;
Where there is doubt, faith;
Where there is despair, hope;
Where there is darkness, light;
And where there is sadness, joy.

O Divine Master,
Grant that I may not so much seek
To be consoled as to console;
To be understood, as to understand;
To be loved, as to love;
For it is in giving that we receive,
It is in pardoning that we are pardoned,
And it is in dying that we are born to eternal life.
Amen.

I heard that recording so often that even today I can recite most of this prayer from memory. I haven’t heard that recording in 30 years until someone recently uploaded a 1985 sign-off that included it. Here it is!

I wasn’t raised in the faith. What I saw of Christians as a kid tended to repel me. (Here’s a story about how.) But hearing Father Hesburgh read this gentle prayer on those Saturday mornings gave me hope that perhaps somewhere people lived their faith in these ways. That’d be a faith worth following. When I sought God, I looked for him in people this quiet and humble.

To get Down the Road in your inbox or reader, click here to subscribe!

Advertisements
Standard
Photography, Vintage Television

Ozzie and Harriet for Kodak

The post about Ansco film and gear got such a good response that I dusted off this old post about Kodak, as advertised by Ozzie and Harriet Nelson, for you today. Enjoy!

If you’re of a certain age, you remember when a television show had one sponsor, or maybe two; all of an episode’s commercials were for those companies. The show’s open usually incorporated the sponsor, too. When these shows were later syndicated, new “generic” opens had to be prepared that referenced no sponsor, as local stations sold all the commercial time.

One such show I watched in syndication as a boy was The Adventures of Ozzie and Harriet, a 1950s and 1960s family sitcom starring the family of Ozzie and Harriet Nelson. A few years ago, someone gave me a big DVD set of episodes as a gift. All of those episodes used the original opens, with the sponsor mentions intact. I learned that for a few years, Kodak was a frequent sponsor.

OzzieEKC
OzzieTitle

Some of those episodes included commercials, and it was very cool to see advertisements for some of the Kodaks I have in my camera collection. Here’s Ozzie pitching the Kodak Brownie Starmatic. You can read about my Starmatic here.

The Nelsons appeared in many of the commercials. Kodak was pushing 35mm color slides hard via the Nelson family. The Signet 50 was a reasonably capable, if awkwardly styled, camera with a built-in light meter. I once owned the Signet 50’s little brother, the Signet 40, and it was a fine performer. Read my review here.

Ozzie and his family didn’t always appear in the Kodak commercials on their show. Here’s a commercial for two more cameras capable of handling slide film, the Retina Reflex and the Pony II. The Retina was at the top of Kodak’s line, and the Pony slotted between the lowly Brownie and the Signet series mentioned above. I’ve owned a Retina Reflex IV (review here) and several Ponies (reviews here, here, and here).

Ozzie and Harriet shilled lesser Kodaks, of course; all the way down to the least-expensive Brownies. They also held forth on the wonders of Kodak films and processing and printing services! But commercials for those things aren’t available on YouTube, so this is all you get.

To get Down the Road in your inbox or reader, click here to subscribe!

Standard
Film Photography, Vintage Television

1950s TV commercials for Ansco cameras and films

ansco_box
Pacific Rim Camera photo

Do you remember Ansco cameras and films?

For many decades, Ansco was second only to Kodak in the United States. Headquartered in Binghamton, New York, the company’s history stretched back to 1841. But its peak years were probably the 1950s, when it routinely manufactured two million cameras a year.

Ansco manufactured simple cameras that anyone could operate, and also rebadged as Anscos more fully featured cameras from other makers around the world, including Agfa, Ricoh, and Minolta.

During the 1950s, Ansco advertised its cameras and films on television. Many of its commercials were shot on film, and survive.

Here’s a short spot for Ansco films with a simple jingle. Don’t those harmonies just scream 1950s?

Here’s a spot for three Ansco cameras that took 127 film. Ansco manufactured the two Cadet cameras, but imported the Lancer from a German maker. I had a Lancer in my childhood collection. I never put film into it because its weak latch kept popping open, which would have spoiled the film. I hear that this was a common problem with Lancers.

This spot for Anscochrome color slide film mentions its “big extra margin of sensitivity” that makes up for challenging lighting. It also mentions making prints from slides using the Printon process. You can see a Printon print here, which shows that Anscochrome was a capable film.

If you have boxes full of Anscochrome slides, you’re going to want to project them. So you’ll need an Anscomatic projector!

It cracks me up how formally everybody dressed in these commercials. In the 1950s, did friends really gather casually in each others’ homes wearing suits?

In 1967, Ansco began to favor using the name of its parent, General Aniline and Film, or GAF. It stopped making cameras, instead selling GAF-branded cameras that other companies made. By the late 1970s, the Ansco brand name was sold to a Chinese camera maker.

Readers with keen memories will remember that I originally posted this in 2015. A challenge of a blog that’s about photographically documenting what I’m up to is that a long winter tends to run the well dry. So it has gone this year!

Standard
Vintage Television

Vintage TV: Garfield Goose and Frazier Thomas

Even in the 1970s, children’s television could be frenetic. Frazier Thomas and his friend, puppet Garfield Goose, were the gentle antidote.

GarfieldGoose

A pleasant morning breeze upon the children’s TV landscape, Garfield Goose and Friends aired each weekday at 8 AM on WGN-TV in Chicago. The premise was that Garfield Goose thought he was the king of the United States, and he appointed Frazier Thomas as Admiral of the King’s Navy.

Garfield_goose_reduced

Friends Beauregard Burnside III, Chris Goose, Romberg Rabbit, and Macintosh Mouse often joined Frazier and Garfield in the fun. Once in a while, even Garfield’s mom appeared! Garfield was non-verbal; his only noise was his flapping bill, yet Frazier somehow always understood him. Here’s how the show began one morning in 1971. The show was in color, but someone recorded this on an early black-and-white home video recorder.

The theme song is “Monkey on a String” by organist Ethel Smith. As it ends, you see pure Frazier Thomas, interacting both with the puppets and his young viewers. As a small boy, I was drawn in by this adult — a man my grandfather’s age — who talked to me like a friend. That happened nowhere else on children’s TV. It was typical for Frazier to read letters that young viewers wrote, and to share crafts the youngsters sent in. Once in a while, Frazier would invite a young viewer to appear on the program to show off their hobby. You can see one such clip, in color, at this link. It shows Frazier’s genuine interest in his viewers’ hobbies.

Between bits, Frazier and Garfield showed cartoons. I have a dim memory of seeing Augie Doggie cartoons on the show, and something called The Funny Company. But more than anything else, I remember watching Clutch Cargo, an adventure cartoon of sorts. Calling it a cartoon was a stretch, actually, as it was mostly a series of drawn stills. But it was just weird, because when the characters spoke, moving human mouths were superimposed on the drawings. I never liked Clutch Cargo very much. This video shows a full, color open to the show, and then a few Clutch Cargo cartoons.

Chicago was just far enough away from my South Bend childhood home that we couldn’t pick it up over the air. Cable television was in its infancy.  In South Bend, it was nothing more than an antenna on the tallest hill in town, connected to subscribing homes via coaxial cable, providing television stations from Chicago. It cost about $3 per month then, and Dad paid it so he could watch his beloved White Sox. And so I watched Garfield Goose late in its run, from 1972 to 1976. I wasn’t able to see it every day, as I had to be off to school just after it started. But I watched it during the summers and when I was home sick or on break.

But it turns out that Garfield Goose and Friends was the longest-running children’s puppet TV show in history. It went on the air in 1952, first on WBKB (now WLS) and then on WBBM before finding a permanent home on WGN.

But Frazier created Garfield even earlier, while working for a television station in Cincinnati. He started there in radio in about 1940, and moved to television during its infancy in 1948. After he moved to Chicago, he hosted all manner of programs before settling into his role entertaining children and families. Not only did he host Garfield Goose and Friends, but he also hosted a Sunday-afternoon program called Family Classics, on which he showed family-friendly films he selected and edited for broadcast himself.

FrazierThomas

By 1976, the children’s television landscape had shifted away from the 1950s style of Garfield Goose and Friends. WGN cancelled the show in September and appointed Frazier to replace retiring Ringmaster Ned on Bozo’s Circus, another WGN kid’s show. Garfield Goose came along; the premise was that Garfield had bought the circus. I never thought the fast-paced, buffoonish Bozo show suited Frazier’s calm, warm personality. But by then, my family had given up cable, and I never saw Frazier Thomas on TV again.

Frazier Thomas died in 1985, aged 66.

Standard
Vintage Television

Vintage TV: The CBS Late Movie

I mentioned this post recently here and decided it’s high time to rerun it. It’s an oldie, originally published in August, 2008.

Starting in the late ’70s, my brother and I got sent to Camp Grandma in southwestern Michigan for a couple weeks every summer. The rules were extremely relaxed at Camp Grandma. Pepsi and Vernors and root beer flowed freely, and Grandma always bought Pringles and Lucky Charms and Slim Jims and all sorts of other junk food we got very little of at home.

CampGrandma2

Me at Camp Grandma, 1977

We’d sit up late with our grandparents every night, playing penny-ante poker or Kismet and listening to their stories of the Depression and the fabulous 1950s until Grandma’s Gallo wine (from the gallon jug with the screw cap) and Grandpa’s Pabst Blue Ribbon got the better of them. Then my brother and I would roll out sleeping bags in front of the TV and watch until all the stations had signed off. Those were great days.

The late-night-TV pickings were slim then. The networks gave it up at 12:30 or 1 a.m. and most of their stations just signed off. WKZO, Channel 3 in Kalamazoo, sometimes ran a late show. If skies were clear and Grandpa’s antenna rotator was working, we’d try to bring in independent WUHQ, Channel 41 from Battle Creek; they almost always had a late show. Weather and antenna usually determined our bedtime, actually! Once or twice we were still watching TV when Grandpa made his way to the coffee pot at 5:30.

We always looked forward to the CBS Late Movie, which started right after the news. It ran lots of B movies in the mid 70s, including monster movies on Friday nights. But by the late 70s, the CBS Late Movie showed more and more crime-drama reruns, which were sped up by 10 percent and crammed so full of commercials that the shows ran 70 minutes instead of 60. We preferred the movies, but could be happy with good action and suspense in Hawaii Five-O, Quincy, M.E., or Kolchak: the Night Stalker.

What made the CBS Late Movie so cool was its open and bumpers. The opening theme’s vigorous horns triggered anticipation of gritty drama to come. The colors in the star and spinning wheel popped against the black background, and there was nothing like it in prime time. Here’s how the program opened one night late in August, 1982.

Because this bumper was transferred from the 35 mm masters, you can see how colorful these elements were. This particular bumper was used in and out of commercials, and the announcer would say either “We will return to” or “We now return to” followed by the movie name and its stars. The music sounded lonesome, which seemed appropriate for watching in the dark in the middle of nowhere, as we did.

The CBS Late Movie theme is called So Old, So Young, composed by Morton Stevens, who wrote lots of television music in his time. Here it is, from my collection.

In the summer of 1985, the CBS Late Movie ditched these elements for CBS’s then-current prime-time movie look and theme. The program was also renamed to CBS Late Night. David Letterman, filled with mock indignation over the slight to his program, then on NBC and also named Late Night, called CBS during his program one night, demanding to know why they were infringing on his territory. I saw that bit back then, and it made me laugh. That almost made up for losing that classic theme and graphics. At least until YouTube brought them back.

Standard
Vintage Television

Vintage TV: Freakies

It was a sugar-sweetened cereal for kids. But the cartoony characters that advertised them connected with young viewers in new way, at least for the early 1970s. My mom was not usually a sucker for TV commercials aimed at kids, but she fell hook, line, and sinker for the Freakies. And so we ate Freakies until they were coming out of our ears. I remember them being “good,” in the way any young child finds pretty much any sugar-sweetened cereal to be good. But more than that, the Freakies had a backstory, narrated by no less than Burgess Meredith.

These were the days of toys being packed inside the boxes of cereals aimed at kids. All kinds of crazy stuff came packed in cereal boxes. I remember one cereal — was it Cap’n Crunch? — giving away reflectors to attach to bicycle spokes. Frosted Mini Wheats gave away trading cards of the Presidents of the United States. I had a complete set of them for years. I didn’t eat all those Mini Wheats; Mom sent a dollar to Kellogg’s and they sent a whole deck. But once again the Freakies were different: they gave away only toys related to the Freakies characters.

I had the plastic Freakie figurines and the Freakie refrigerator magnets, complete sets. The figurines didn’t survive childhood, but the magnets lasted into adulthood. When my wife divorced me, they were on our refrigerator. She kept them.

Snorkeldorf was my favorite Freakie. He’s the one with the long, elephant-like snout. The rest of them were Hamhose, Gargle, Cowmumble, Grumble, and Goody-Goody, led of course by BossMoss.

I wish I still had my Freakies magnets.


Vintage TV is an occasional series. See all of them here.

Standard